Yina Mora. Lighting Design.

GROUP 3: OUR LIGHT STORIES

By: Charmaine Javier Yina Mora Ana Flavia Coleto Maria Ellain Santiago

CHARMAINE JAVIER - Architect - B.Sc. in Architecture at the University of Santo Tomas, Philippines - Nationality: Filipino

ANA FLAVIA ERICHSEN-COLETO - Architect - B.Sc. in Architecture at Universidade Positivo, Brazil - Nationality: Brazilian

YINA MORA - Architect & Interior Designer -B. Sc. in Architecture at Universidad Nacionad de Colombia - M.Sc. in Interior Design at Politecnico di Milano, Italy - Nationality: Colombian

MARIA ELLAINE SANTIAGO - Architect - B.Sc. in Architecture at the University of Santo Tomas, Philippines - Nationality: Filipino

URBAN PROJECT: PIAZZA SANT’ANGELO, MILAN

LIGHTING REFLECTIONS

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

3

PRESENTATION This Project is a reflection about light. Beyond the importance that the light has for the enhancement of life, let’s say “beyond its function”, in this case it has a spiritual meaning and value. The aim of this project is to illuminate a traditional square in the center of Milan, the square of Saint Angelo (Piazza Sant’Angelo). The church and the monastery around the square belongs to the religious order of the Franciscans. It was quite a challenge for us to light up this place because of the difficulty of translating the importance of the light from a spiritual dimension into a lighting design project.

The light, in a spiritual level, is related to God. From that point of view, the physical light becomes into something precious in this kind of project.

“Light as a material of design” in this case is particularly precious.

Our interest on this specific square at the beginning was just that actually, in terms of artificial lightingit is so poor and that it really needs a lighting design project. So, basically we decided to doit because it is really needed. As we started to go deep in the study of this place, we discovered its importance, its transcendence. Then we understood the responsibility to illuminate it.

We read about San Francis and his Order. Knowing about him and understanding his philosophy and his lifestyle has helped us to hypothesize about “How he would like to be enlightened”. So, we started reading about historical, philosophical and religious issues to understand how our approach must would be.

The whole philosophical and spiritual context of this project is our effort to make an approach delicate and sensible. At the end these reflections about light are a kind of homage, a tribute in memory of Saint Francis.

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

4

GENERAL PLAN

CONCEPT The complex of Saint Angel in the center of Milan is dedicated to San Francis of Assisi.

The church of Saint Angel was originally named Saint Mary of the Angels remembering a church restored by San Francis in the past.

The church and the monastery next belongs to the Franciscan’s Order.

San Francis followed the teachings of Jesus Christ and imitated his life. He renounced his father and his patrimony and decided to live in absolute poverty. In his Testament, he said that absolute personal and corporate poverty was the essential lifestyle for the members of his order.

Following the philosophy of San Francis we adopted the premise: “LIGHT ONLY WHERE IS NEEDED” For instance, we decided not to light up the trees because it is not a necessity as well.

Our aim is to lit up the façade of the church through the light reflected from the ground of the square and not by using direct lighting.

In this context, we think that this project must be very sober, and that we must light up just what is strictly necessary. In other words, this must be a kind of “minimalist lighting”, in terms of quantity of elements (poles, bollards, luminaires, etc.) and in terms of quantity of light (amount) At the end, the result must be a dimmed effect. The idea is to use the less possible of elements avoiding to use poles, for instance, and using the trees to install the luminaires.

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

5

FOUNTAIN San Francis asked God the Father for spiritual enlightenment. As the light of God comes from the heaven we propose to light up the sculpture of San Francis from the top, installing a lighting fitting on a tree next to the fountain, in order to create the idea of the spiritual enlightenment that at the end he reached. “ Nature is the mirror of God” By the other hand, San Francis believed that nature itself was the mirror of God, so, we want to make an analogy between this idea and our project by using the fountain as a mirror, reflecting the light coming from the top on the figure of San Francis.

SAN FRANCIS MONUMENT Fountain

FACADE Our aim is to lit up the façade of the church through the light reflected from the ground of the square and not by using direct lighting.

Inspired on the daylight we proposed a light scene alternative for the cases in which the church will need some additional light. So, we decided to mimic the effect of the daylight on the façade of the church.

The oblique light that reaches the façade creates a dramatic effect.

All the shapes are pop up by this light. So, we propose to install two projectors on the building beside (Angelico’s) to recreate this effect.

Only the upper part of the façade is enlightened. The lower part is dimmed simulating the shadow produced by the Angelico’s building beside during the day.

There is also the possibility of lit up the main sculpture at the center, by using some projectors, but it is up to the Franciscans adopt this intervention.

CHURCH OF SAINT ANGEL Facade / Interior view

STREET LIGHT We decided to enhance the current street lighting by adding four more catenary lights at the intersection to the current system.

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

6

LIGHT SCENE 1 - All ON 18:00|19:30 - 0:00

LIGHT SCENE 2 - Church and Fountain Lighting ONLY 0:00 - 4:00

FACADE LIGHTING MIMICKING THE DAYLIGHT EFFECT

FOUNTAIN LIGHTING

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

7

Elevation Square

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

Elevation Facade

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

section Square

8

Lighting Summary

CONCLUSIONS

The light, in a spiritual level is related to God. From that point of view, the physical light becomes into something precious in this kind of project. Our job has been to translate the spiritual meaning and value in a lighting design interpretation.

Following the philosophy of San Francis we adopted the premise: “LIGHT ONLY WHERE IS NEEDED”to develop our project. The result is a dramatic effect. Most of the visual field is in the darkness. Only the floor of the square is enlightened. The facades around are not directly lit up but by the reflected light incident on the floor. We decided to highlight the fountainemphasizing the figure of San Francis, which is the monument of the square, through our design by using two lights: First, a narrow beam angle installed on a tree, directed to the fountain. Second, a wider beam angle projector to give a soft light and glow around the fountain.Then, the water reflects the light to the statue of San Francis. This is an analogy between our design and the belief of San Francis that “NATURE IS THE MIRROR OF GOD”. Here the nature literally reflects God, which is represented by the light itself.

During summer, the artificial light output from the projectors installed on the trees will be filtered by the leaves, creating a very interesting shadows play, and integrating artificial light and nature.

TOTAL POWER = 1.087.20 WATTS

Then, we decided to lit up the façade of the church inspired on the daylight. We wanted to imitate the effect of the natural light by using an oblique artificial light. The effect created is very dramatic and the whole shapes are pop up by the light.

This lighting solutions successfully achieve our general concept, which is functional with spiritual light impressions, and with our main objectives: simplicity, sobriety, and a dimmed effect result.

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

9

RETAIL: XYZ SHOP. Stockholm, Sweden.

THE PEOPLE

CONNECT

THE FUTURE

FLUIDITY

INTANGIBLE REALITIES

CONTINUITY

VIRTUAL CONNECTIONS

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

10

DIAGRAM This is a graphic explanation of the concept, where the single element crosses the whole project like a thread, and changes in relation with each environment. This is an abstraction of our idea, which is not literally a line but we use it to represent the idea of the continuity. A line can be described as a sequence of points. It is the continuity that we pretend to do and not a “linear� project or a linear lighting fittings composition but a sequence of one element.

REPETITION AND TRANSFORMATION

ENTRANCE HALL In the entrance hall we proposed to install some mirrors on the two sides of the corridor and on the ceiling. The effect of the faced mirrors is the multiplication of the images by the creation of virtual images. In this case we pretend to reflect lights, creating virtual lights.

The virtuality is related to the computer technologies, so this is how we connect our project with the brand and the kind of products that are going to be displayed.

The virtuality is intangible and untouchable. So, we decided to make an analogy between that dimension of the computing space and the virtuality of the spaces created through the mirrors.

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

11

ENTRANCE CORRIDOR : Renderings

LIGHT SCENE 1 -

Moving linear lighting system.

ML1

DL1

ENTRANCE CORRIDOR : Fixtures

ML2

M1

LL1

LIGHT SCENE 1 Moving linear lighting system at 150lux

VIRTUALITY

LIGHT SCENE 2 -

In the entrance hall we proposed to install some mirrors on the two sides of the corridor and on the ceiling. The effect of the faced mirrors is the multiplication of the images by the creation of virtual images. In this case we pretend to reflect lights, creating virtual lights.

LIGHT SCENE 2 -

Niche display lighting

Maintenance lighting at 150lux.

We constructed a physical model to test the reflections and the light produced by this mirrored corridor.

Here there is a picture of our model.

This work was useful to us to perceive the kind of experience we were creating in our project.

LIGHT SCENE 3 -

LIGHT SCENE 3 -

Maintenance lighting

POLITECNICO DI MILANO

Entrance Virtual Experience

Niche Display lighting at 500lux.

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

12

MAIN DISPLAY AREA

LIGHT SCENE 1 Display lighting ONLY

LIGHT SCENE 1 Display lighting ONLY

LIGHT SCENE 1 Display lighting only at 500lux

LIGHT SCENE 2 -

LIGHT SCENE 2 -

LIGHT SCENE 1 Display lighting only at 500lux

FLUIDITY AND CONTINUITY Fluidity can be translated into continuity of some element that would be present in the whole project, like a thread crossing all the spaces. This element can change along the project but it must be always recognized and read as only one. So, even if each space has a different ambient we have the continuity of one single element, permanent, as a mark connecting them and giving them fluidity.

In the contrary, if each space would be different to each other and there is no connection between them, then there is no fluidity.

Our connector is the mirror. We chose different types of mirrored materials to cover the surfaces creating reflections (virtual images) along the whole project.

POLITECNICO DI MILANO

POLIDESIGN

All lights ON

LIGHT SCENE 2 All lights ON

Master in Lighting Design & LED Technology

AA 2015 - 2016

All lights ON at 500lux

LIGHT SCENE 2 All lights ON at 500lux

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

13

DL1

ENTRANCE CORRIDOR : Fixtures PR1 LL2

LIGHT SCENE 1 -

LIGHT SCENE 1 -

LIGHT SCENE 2 -

LIGHT SCENE 2 -

Video screen only at 500lux

Video screen only at 500lux

LIGHT SCENE 3 -

LIGHT SCENE 3 -

LIGHT SCENE 3 -

LIGHT SCENE 3 -

Video screen only

Maintenance lighting renderings

LIGHT SCENE 3 Maintenance lighting

POLITECNICO DI MILANO

POLIDESIGN

LIGHT SCENE 3 Maintenance lighting

Master in Lighting Design & LED Technology

Maintenance lighting renderings

AA 2015 - 2016

Video screen only

Maintenance false color rendering at 500lux

Maintenance false color rendering at 500lux

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

14

BRAINSTORMING ROOM BRAINSTORMING ROOM : Lighting Layout and Fixtures

LL1

LIGHT SCENE 1 Task Lighting

LIGHT SCENE 2 All lights ON

LIGHT SCENE 1 Task Lighting at 500lux

LIGHT SCENE 2 All lights ON at 500lux

LIGHT SCENE 1 Task Lighting

LIGHT SCENE 2 All lights ON (linear light at Cool White)

LIGHT SCENE 1 - Task Lighting at 500lux

LIGHT SCENE 2 All lights ON at 500lux, Cool White

RGB1

LIGHT SCENE 2 All lights ON (linear light at Blue)

POLITECNICO DI MILANO

LIGHT SCENE 2 All lights ON (linear light at Red)

POLIDESIGN

LIGHT SCENE 2 All lights ON (linear light at Yellow)

Master in Lighting Design & LED Technology

LIGHT SCENE 2 All lights ON (linear light at Purple)

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

15

LOUNGE AREA : Lighting Layout

Lounge and Buffet Area renderings

LIGHT SCENE 1 Artificial lighting with daylighting factor

LIGHT SCENE 1 Artificial lighting + daylighting factor at 500lx

LIGHT SCENE 2 Artificial lighting only (night scene)

LIGHT SCENE 2 Artificial lighting only at 500lx

Buffet Area & Display Pedestal renderings

LIGHT SCENE 1 Artificial lighting with daylighting factor

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

LIGHT SCENE 2 Artificial lighting + daylighting factor at 500lx

16

Fixtures

LL3

DL1

DL3

DL4

PL1

LL4

Buffet Area & Display Pedestal renderings

LIGHT SCENE 2 Artificial lighting only (night scene)

LIGHT SCENE 2 Artificial lighting only (night scene) at 500lx

Hallway with skylight renderings

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

LIGHT SCENE 1 Artificial lighting with daylighting factor

LIGHT SCENE 2 Artificial lighting + daylighting factor at 1500lx

LIGHT SCENE 2 Artificial lighting only (night scene)

LIGHT SCENE 2 Artificial lighting only (night scene) at 1500lx

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

17

SHOP : Renderings & false colors renderings

SHOP : Lighting Layout and Fixtures LL1

DL3

LIGHT SCENE 1 Artificial lighting with daylighting factor

LIGHT SCENE 1 Artificial lighting with daylighting factor at 500lx

LIGHT SCENE 2 Artificial lighting only (night scene)

LIGHT SCENE 2 Artificial lighting only (night scene) at 500lx

LIGHT SCENE 1 Artificial lighting with daylighting factor at 500lx

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

LIGHT SCENE 2 Artificial lighting only (night scene) at 500lx

18

Lighting for Cultural Heritage: Museo di Turin, italy

MINERALS EXHIBITION

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

19

EXHIBITION ROOM : Lighting Layout

MINERALS EXHIBITION SPECS. SUMMARY To lit up the Museum of Natural Sciences of Turin we pretend to create an analogy between nature and space by using biomorphic forms, by simulating natural scenes and by mimicking the daylight.

For this project we have focused on Mineralogy in particular, because of the visual variety of the minerals in terms of shapes, colours, textures, dimensions, etc., also because of the dimension of the space allows to display only small pieces and for the beauty of the minerals itself, so, for practical and aesthetical reasons. Our concept premise is: “Display the minerals as in its original ambient” As the minerals are mostly extracted from the underground we pretend to create a sort of underground environment. The way we propose to mimic nature in this case is by creating dimmed spaces, making a reference to the caves, and recreating the original ambient of the minerals. This is Our interpretation of the “cave” and so, it is an abstraction.

The cave effect is dimmed and dramatic. That’s the kind of environment that we want to create in our project.

Inspired on the minerals we propose our furniture; the furniture is composed by prismatic shapes, making and analogy to the quartz crystals. The showcases of the display area are octagonal prisms, transparent solids self illuminated with integrated lighting. In this way the light becomes shape, going from an intangible dimension into a corporeal one.

DL 1

Floating glass display ERCO. 3000K. CRI 90.

210 Lm. Starpoint Recessed Spotlight 10º Beam.

LL3

Floating glass display LED LINEAR. 3000 K. 897lm / m CRI 96 Diffuse Base Lighting. 120º Beam Dimmable.

LL4

Octagon glass Island display LED LINEAR. 2200-5000K. CRI 86. 720Lm /m Indirect Dynamic Lighting LED RGB/white

LL5

Long Wall display lighting ERCO. 4000 K. 2475 Lm. CRI 80 Wallgrazing lighting (High Power) Non dimmable.

EXHIBITION ROOM : Details

Our scope is to create a play of light with the minerals: When light passes from air or vacuum into a transparent crystal, some is reflected and some refracted.

The crystal structure plays with the light, producing luminous reflections and flashes of colour.

The furniture makes part of the play: The glasses of the displays will also produce reflections of light on the floor and on the walls.

In this case, the play of the light is an integral part of our project.

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

20

Luminous showcases and vault ceiling lighting at 300lux

Integrated showcase lighting only at 300lux

FLOATING WALL DISPLAY top view at 300lux

POLITECNICO DI MILANO

POLIDESIGN

OCTAGONAL DISPLAY top view at 300lux

FLOATING WALL DISPLAY top view at 300lux

Master in Lighting Design & LED Technology

AA 2015 - 2016

OCTAGONAL DISPLAY front view at 300lux

LONG WALL BACK DISPLAY top view at 300lux

OPEN DISPLAY false color rendering at 300lux

LONG WALL BACK DISPLAY front view at 300lux

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

21

atrium : Lighting Layout and Fixtures

DOOR LIGHTING ACCENT

DOOR LIGHTING ACCENT at 150lux

STATUE NICHE LIGHTING

STATUE NICHE LIGHTING at 150lux

ATRIUM GENERAL VIEW

ATRIUM GENERAL VIEW at 150lux

RECEPTION LIGTHING

RECEPTION LIGTHING at 500lux

Section 1

ATRIUM Display the elements as in its original ambient, with the play of light by mimicking the daylight. “Cave effect”

Section 2

Section 3

Elevation

SPECS. SUMMARY

LL1

COUNTER LIGHTING LED LINEAR Lightbox (high power) LED linear, 3000K CRI 80, Dimmable 10º beam.

POLITECNICO DI MILANO

POLIDESIGN

LL2

TASK LIGHTING COUNTER LED LINEAR LED linear, 3000K, CRI 80, Non dimmable 120º beam

Master in Lighting Design & LED Technology

PR1

STATUE LIGHTING iGUZZINI Projector Spot Light

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

-

22

SHOP : Lighting Layout and Fixtures RENDERINGS

SHOP Shelf lighting Indirect lighting - Diffuse up light Lightbox - Counter

Shop General View at 150lux

False colors rendering at 300lux

SPECS. SUMMARY

LL1

COUNTER LIGHTING LINEAR Lightbox (high power) LED linear, 3000K CRI 80, Dimmable 10ª beam.

POLITECNICO DI MILANO

POLIDESIGN

LL2

TASK LIGHTING COUNTER LED LINEAR LED linear, 3000K, CRI 80, Non dim- mable 120º beam.

Master in Lighting Design & LED Technology

LL6

Shop Top View false colors render at 300lux

SHELF BACK LIGHTING LED LINEAR LED linear, 3000 K, CRI 85, 620 lm, (mid power)

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

23

Lighting for Hospitality: Collegio di Milano, Milan

INDUSTRIAL DWELLINGS

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

24

COLLEGIO DI MILANO - HOSPITALITY “Hospitality refers to the relationship between a guest and a host , where the host receives the guest with goodwill, including the reception and entertainment of guests, visitors or strangers.”

Lighting MASTERPLAN LIGHT SCENE 1 “SOFT TOUCH INDUSTRIAL MODERN LIGHTING” Lighting Integration - Lightness

FACADE

INDUSTRIAL DWELLINGS Objectives: - To achieve significant reduction of electrical energy utilization for all forms of lighting using leds - To equaly distribute the uniformity of daylight and artificial lighting - To control the daylight glare during the day and mimic the daylight effect during at night.

Strategy: - With the use of the wire mesh in the skylight to control excess daylight to prevent too much glare.

- Immitating the daylight in the dining room through the method of indirect lighting.

Concept: - The Collegio di Milano building by Architect Marco Zanuso with one of his brutalist architectural style. To fully preserve this style we plan to continue it through lighting with a modern touch of technology. As of today the demand of industrial decorative lighting is booming this concept is perfect for this type of project that is already envisioned by the architect as an industrial style of building. Industrial style with its raw, utilitarian appeal, it gives a modern homes a sophisticated edge.

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

25

RECEPTION: Lighting layout

Lighting MASTERPLAN LIGHT SCENE 2 “SOFT TOUCH INDUSTRIAL MODERN LIGHTING” Sustainable Light Sources

Lighting layout

D1

Flos Compass Box Recessed Small 1L LED Array DC 500mA 9.2W 945lm 3000K CRI80 48° beam angle DALI, IP20

POLITECNICO DI MILANO

RENDERINGS

B1

iGuzzini Laser Blade InOut BX65 LED 10W 920lm 3000K CRI90 48° beam angle Non-dimmable, IP65

POLIDESIGN

S1

Led Linear VarioLED Flex Hydra LD10 9.6W/m 1,364 lm/m 3000K CRI85 120° beam angle Non-dimmable, IP20

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

26

ATRIUM: Lighting layout

ATRIUM: Daylight Scene

D1

Flos Compass Box Recessed Small 1L LED Array DC 500mA 9.2W 945lm 3000K CRI80 48째 beam angle DALI, IP20

POLITECNICO DI MILANO

D2

Flos Compass Box Recessed Small 2L LED Array DC 500mA 9.2W 945lm 3000K CRI80 24째 & 48째 beam angles DALI, IP20

POLIDESIGN

A1

Led Linear Kalypso Hydra HD25 1514mm LED 25W/m 2,448 lm/m 3000K CRI84 10째 beam angle DALI

Master in Lighting Design & LED Technology

AA 2015 - 2016

Diffuser Rendering

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

27

ATRIUM: Rendering and False colors Rendering

MOUNTING DETAIL

SKYLIGHT

Mesh, Filtering the daylight

Controlling the daylight

rendering of the Diffuser (meshes) POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Light Scene 1 - Artificial Light at 300lux

False colors rendering at 300lux

Light Scene 2 - Daylight Scene at 500lux

False colors rendering at 500lux

Light Scene 1 - Artificial Light at 300lux

False colors rendering at 300lux

Light Scene 2 - Daylight Scene at 500lux

False colors rendering at 500lux

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

28

LIVING ROOM: Lighting layout

Living Room Daylight Scene

Longitudinal Section

E1

Flo Compass Box Large 1L LED QR-111 G53 15W CRI80 3000K 40° beam angle IP20

POLITECNICO DI MILANO

M1

Led Linear Kalypso Hydra HD10 952mm LED 10W/m 928 lm/m 3000K 10° beam angle CRI83 DALI, IP20

POLIDESIGN

Cross Section

M2

Led Linear Kalypso Hydra HD10 952mm LED 10W/m 928 lm/m 3000K 30° beam angle CRI83 DALI, IP20

Master in Lighting Design & LED Technology

AA 2015 - 2016

Living Room light Scene 1

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

29

Light Scene 1

False colors rendering at 300lux on task areas

Living room Daylight Scene

Daylight False colors rendering at 500lux

Light Scene 2

False colors rendering at 50lux general

Light Scene 1

Light Scene 1False colors at 300lux on task areas

Daylight scene

False colors rendering

Light Scene 2

Light Scene 2 False colors at 50lux average

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

30

DINING ROOM: Lighting layout

Dining Room Current View

Mounting Detail

Buffet Section

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

31

1 LED K CRI90 ALI, IP20

DINING ROOM: Lighting fixtures

L3 Flos Super Flat Suspension 30x30 Down LED 17W 1270lm 4000K CRI80 92° beam angle Electronic dimmable 1-10V, IP20

P2

P1

P2

iGuzzini Palco P631 LED 20W 2000lm 3000K CRI90 20° beam angle DALI, IP20

T1

iGuzzini Palco P633 LED 20W 2000lm 3000K CRI90 46° beam angle DALI, IP20

POLITECNICO DI MILANO

iGuzzini Palco P633 LED 20W 2000lm 3000K CRI90 46° beam angle DALI, IP20

T1

S1

iGuzzini Front Light N273 LED 12W 1300lm 3000K CRI90 16° beam angle Nondimmable, IP20

Led Linear VarioLED Flex Hydra LD10 9.6W/m 1,364 lm/m 3000K CRI85 120° beam angle Nondimmable, IP20

Day Scene

Day Scene False colors at 300lux

Night Scene

Night Scene False colors at 300lux

Day Scene False colors at 300lux

Night Scene False colors at 300lux

S1

iGuzzini Front Light N273 LED 12W 1300lm 3000K CRI90 16° beam angle Nondimmable, IP20

POLIDESIGN

Led Linear VarioLED Flex Hydra LD10 9.6W/m 1,364 lm/m 3000K CRI85 120° beam angle Nondimmable, IP20

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

32

PLAY ROOM: Lighting layout

Play room current view

Play room current view

Light scene 1 at 300lux

Light Scene 1 False colors at 300lux

Lighting Layout

Section

Section

Y2

Xoominescent T5 HE 17.2W/m 2,300 lm/m 3000K CRI85 120° beam angle Non-dimmable, IP20

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

33

FIXTURE CODE

POLITECNICO DI MILANO

ILLUSTRATION

LIGHTING FIXTURE

ZONE

FIXT. QTY

UNIT

POWER PER FIXT. (WATTS)

TOTAL POWER (WATTS)

Kalypso Hydra HD25 1514mm LED 25W/m 2,448 lm/m 3000K CRI84 10° beam angle DALI

Hall / Foyer

55

pcs

25

1,375

IGUZZINI

Laser Blade InOut BX65 LED 10W 920lm 3000K CRI90 48° beam angle Non-dimmable, IP65

Entrance

2

pcs

10

20

D1

FLOS

Compass Box Recessed Small 1L LED Array DC 500mA 9.2W 945lm 3000K CRI80 48° beam angle DALI, IP20

Reception & Corridor

29

pcs

9.2

266.8

D2

FLOS

Compass Box Recessed Small 2L LED Array DC 500mA 9.2W 945lm 3000K CRI80 24° & 48° beam angles DALI, IP20

Corridor

18

pcs

9.2

165.6

E1

FLOS

Compass Box Large 1L LED QR111 G53 15W CRI80 3000K 40° beam angle IP20

Living Room

20

pcs

15

300

L3

FLOS

Super Flat Suspension 30x30 Down LED 17W 1270lm 4000K CRI80 92° beam angle Electronic dimmable 1-10V, IP20

Dining Room

49

pcs

17

833

M1

LED LINEAR

Kalypso Hydra HD10 952mm LED 10W/m 928 lm/m 3000K 10° beam angle CRI83 DALI, IP20

Living Room

51

pcs

15

765

M2

LED LINEAR

Kalypso Hydra HD10 952mm LED 10W/m 928 lm/m 3000K 30° beam angle CRI83 DALI, IP20

Living Room

50

pcs

25

1,250

P1

IGUZZINI

Palco P631 LED 20W 2000lm 3000K CRI90 20° beam angle DALI, IP20

Dining Room

25

pcs

20

500

P2

IGUZZINI

Palco P633 LED 20W 2000lm 3000K CRI90 46° beam angle DALI, IP20

Dining Room

23

pcs

20

460

S1

LED LINEAR

Led Linear VarioLED Flex Hydra White LD10 9.6W/m 1,364 lm/m 3000K CRI85 120° beam angle Non-dimmable, IP20

Reception & Corridor

2.2

pcs

9.6

21.12

T1

IGUZZINI

Front Light N273 LED 12W 1300lm 3000K CRI90 16° beam angle Non-dimmable, IP20

Dining Room

4

pcs

12

48

U1

IGUZZINI

iPro BX03 LED 12W 1550lm 3000K CRI80 20° beam angle Non-dimmable, IP66

Hall / Foyer

2

pcs

12

24

Y1

LED LINEAR

Xoominescent T5 HE 17.2W/m 2,300 lm/m 3000K CRI85 120° beam angle Non-dimmable, IP20

Play Room

17.92

m

17.2

308.224

PROPOSED TOTAL POWER

6,336.744

EXISTING TOTAL POWER (WATTS)

4,298

TOTAL POWER SAVINGS

-2,038.744

MANUFACTURE R

REFERENCE

A1

LED LINEAR

B1

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

34

Show Lighting: “WISH YOU WERE HERE” By Pink Floyd

Syd Barret Tribute

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

35

“WISH YOU WERE HERE” by Pink Floyd

“WISH YOU WERE HERE” (Lyrics) So, so you think you can tell Heaven from hell Blue skies from pain Can you tell a green field From a cold steel rail?

A smile from a veil?

Do you think you can tell?

Did they get you to trade Your heroes for ghosts?

Hot ashes for trees?

Hot air for a cool breeze?

Cold comfort for change?

And did you exchange A walk on part in the war For a lead role in a cage?

How I wish, how I wish you were here We’re just two lost souls Swimming in a fish bowl Year after year Running over the same old ground And how we found The same old fears Wish you were here

ABSENCE

INSPIRATIONS: MOOD IMAGES

The song represents the feeling of absence and the detached feeling most people go through life.

This song was based on a poem Roger Waters wrote about Syd Barrett, founding member, and his fall from reality.

Our lighting concept starts as dark, deep and intense with a feeling of isolation from reality progressing to bright, vivd colours and frenetic light intensities that gives a euphoric symphony of light evoking all human emotions both good and bad.

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

36

Cue 1:

Cue 1:

Electric guitar solo

Second guitar enters (Frontman)

Image projection. Color spots on the guitarrist and the frontman

TRAXON

High Resolution Media System (T & PRO Series)

TRAXON

High Resolution Media System (T & PRO Series)

CLAY PAKY Hepikos

Cue 3a: Voice 1 enters. Starts with a black-out and then a fast come out of sharp blue rays with flickering white front spots to give an initial show of the psychedelic meaning of the song.

CLAY PAKY Sharbar

CLAY PAKY Hepikos

CONCEPT We decided to represent the idea of the absence by using two different light colours, dividing the stage into two imaginary dimensions, evoking the social detachment of a person that suffers of a mind illness. Practically, one person in this conditions is living in another reality. Is completely apart. Isolated.

So, we not only intend to have two different light colours on the stage, dividing it, but our intent is more on the way of manage the both sides of the stage, separately, with different velocities, rhythms, colours, images, geometries, ,, So, there should be one side” frenetic”, accelerated, acid colour, obscene, fantastic, lunatic, wild, galactic.... and other side more calmful, quiet, slow, ordered.. rational.

This duality finishes in two different moments: 1. The “frenetic” scene is going to be only in the first part of the lyric (QUE 4) and it is going to be a flash... something fast, fleeting, volatile... evoking the fast and bright career of the genius Syd. Even if he died when he was already old, all his geniality, the top of this career was extremely short,,,, his best moment, the more productive, was ephemeral. After his mental collapse, his artistic production declined.

It was like a meteor.

POLITECNICO DI MILANO

POLIDESIGN

Cue 3B:

Voice 1. The front spots move towards the band

with the band being illuminated by a white video projection.

CLAY PAKY Hepikos

Master in Lighting Design & LED Technology

TRAXON

High Resolution Media System (T & PRO Series)

AA 2015 - 2016

Cue 4: Drums enter.

Rear colored rays from the stage floor and white spotlights moving fast left and right continuing the psychedelic mood.

CLAY PAKY Sharbar

CLAY PAKY Hepikos

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

Cue 5a: Front sharp rays moving side to side on the stage in a medium pace with the orange video projection, giving a fast strobe effect.

CLAY PAKY Sharbar

TRAXON

High Resolution Media System (T & PRO Series)

37

Cue 5b: Instrumental chorus. Video projection becomes static and changes to a red tone while the rear sharp rays and the spotlights radiate light like sun rays reaching towards the sky.

CLAY PAKY Hepikos

TRAXON

High Resolution Media System (T & PRO Series)

Voice 2. From a black-out again, front spotlights and video projection slowly illuminates the stage in low intensity after coming from strong lighting in previous cues presenting delirious light mood transitions.

Cue 6:

CLAY PAKY Hepikos

TRAXON

High Resolution Media System (T & PRO Series)

Cue 7: Instrumental chorus - End. Surprising the audience with kaleidoscopic lighting effects lighting up the whole stage and the front spotlights moving from the stage to the audience and back again making a mind-blowing and lasting finale.

TRAXON

High Resolution Media System (T & PRO Series)

CLAY PAKY

Show - batten 100 AS

CLAY PAKY Hepikos

By the other hand, there is the long artistic life of the band Pink Floyd, that still exists. This difference of velocities are like a meteor and a wood fire... and that’s exactly the idea that we want to represent with our project.

But the way we represent the sense of the Absence in this case is making it present, evoking the missing Syd and his geniality and then dissapearing him of the rest of the song. Reflecting the history of the life of the band..

Most of the best songs of Pink Floyd were inspired by Syd Barret, even if he doesn’t continue playing with them, he continues inspiring them for long time.

Syd is a real artist, independent, doesn’t mind about the money, not even about the opinions of the others, just following his own way, misunderstood, alone. This project can be a kind of tribute to him and in general to the artists.

POLITECNICO DI MILANO

POLIDESIGN

Master in Lighting Design & LED Technology

AA 2015 - 2016

Architects: Charmaine Javier, Ana Flavia Coleto, Yina Licet Mora, Maria Ellain Santiago

38