Luminous 01 - Grid Stifles Imagination

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International Lighting Magazine 2008/1 June

GRID STIFLESIMAGINATION

MARTIN

LUPTON (BDP)Talking trends in Lighting design

LAS PALMASCreating a landmark


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EDITORIALWith pr ide I would like to introduce you to the veryfirst edition of Luminous,

a new magazine published by Philips Lighting, concentrating on the world of

architectural lighting.

The world of lighting whether you participate in that world as architect,

lighting designer, or manufacturer is about to move into a new era. We are

together facing enormous and exciting challenges and opportunities. Lighting is

no longer simply a means of illumination; instead, it is used to enrich peoples

lives, to brighten the mood, enhance emotions, increase productivity, give a

sense of pride and improve safety. Custom-built and fit-for-use are no longer

the exceptions but the rule. And so too, increasingly, is stricter legislation and

ever-higher expectations, not least in the field of environmental sustainability

and responsibility.

If we are to successfully grasp the opportunities facing us, we cannot continue

to work from our own perspec tive . Co-creation is, I believe, the key toour success. It will help to fuel the dialogue between architects and lighting

designers and the technical resources of a company with the experience of

Philips so that together we can turn imagination into tangible new concepts.

With this idea of co-creation, at the core of Luminous, we are hoping to

create a platform for a mutually beneficial exchange of ideas. If we are able

to inspire each other architects and lighting designers inspir ing us with new

visions, new concepts, and Philips inspiring you with new technologies and

market-driven prototypes we can lay the foundations for creating a world

that satisfies both the changing needs of society in general and our own

efforts to create a business that is truly sustainable, improving peoples lives

with lighting.

The examples included in this first edi tion of Luminous demonstrate howcreative vision and technical expertise can together achieve something

which is more than the sum of its parts. Something that is, quite simply,

creating Delight with Lighting.

Rudy Provoost

CEO Philips Lighting

colofon

published b y | Philips Lighting BV Mathildelaan 1, Eindhoven. 5611 BD, The Netherlands www.lighting.philips.comeditor in chi ef | Vincent Laganier editorial department/Marketing Communications | Marga Janse, Jos van Gemertsteering commit tee | Anissa Abbou, Afke Bokma, Peter Halmans, Dorien van de Weele copywriting | Jonathan Ellistranslations | Philips Translation Services graphic design concept | Philips Design dtp | Relate4u printing | PrintCompetence Center more info | [email protected] T: +31 (0)40 27 57956 ISSN nr | 1876-2972 12NC | 3222 635 52461

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DIALOGUEChallenges in Lighting design

LIGHT SOURCEPiazza San Magno,Legnano, Italy

PLATFORMMartin Lupton, London,United Kingdom

SUSTAINABILITYLas Palmas building,

Rotterdam, The Netherlands

SNAPSHOTPUB Department StoreStadium XXLBugatti ShowroomHSH NordbankTour ExaltisNational Tourism Blvd.

DOSSIERArchitectural Grid

INTRODUCTIONGrid stifles imagination?

PROJECT REPORTScience and Culture ArtCenter, Suzhou, China

PROJECT REPORTThe LuxembourgPhilharmonie, Luxembourg

PROJECT REPORTWestraven Office Complex,Utrecht, The Netherlands

PERCEPTIONSThe Grid: A tool for design

FEEDBACKDevelopment and Trends in Lighting

BLUE SKY THINKINGImaginative ideas

SHOWROOMHotel du LAC, Eindhoven,The Netherlands

RECESSED LIGHTINGRecessed lighting,Lyon, France

GALLERYSeeing is believing,Indonesia and Asia Pacific

SPOTLIGHTAgenda, Books, Websites

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The inspiration for lighting the Piazza San Magno, lighting designer Jacopo Acciaro

told Luminous, was born in living spaces , along the streets, even standing alone

in special places. For me it was critical to capture and exploit wi th light all the

different architectures, paths and open spaces that make the square so unique.

My intent was to express, through the lighting project, all the architectural

elements present in the area, thus creating a lively and pleasant feeling containing

clear-rich shadow and different shades of light.

For me, one of the factors that has helped create a link between the various

surfaces illuminated was the decision to use different colour temperatures. The

lighting has been carried out with a colour temperature of 3000K (pot, surfaces of

buildings), while for some architectural accents, the choice was a cold temperatureof 5500K. We believe that this choice is par ticularly appreciated because as ones

eyes travel through space, there are common reference points with warnings

through colour temperature.

In the Basilica site, the lighting in the elevated walking area with fountains, benches

and vegetation is delivered by a system of little LED luminaires, placed under the

wooden benches. The white light which has a colour temperature around 5000K

(cold light) is arranged from the top to the bottom like a blade of light, making sure

it provides enough illumination to the path itself (around 100 lux).

There is also scenographic lighting for the trees which will be put to use whenever

a special occasion takes place. This lighting will be provided by two recessed

luminaries with metal halide lamp bulbs 35W 3000K arranged in the flower pots.

For the buildings located all around the square, the lighting is provided by non-

symmetrical luminaries which contain metal halide lamps bulbs 70/150W which

are placed under the water spots and which deliver precise and controlled

flowing light.

lighSourClientCity of Legnano, ItalyArchitectErmanno Ranzani

Lighting DesignJacopo Acciaro , Massim iliano Morace , Voltaire S.A .S,Milan, Italy

Light sources3000K: pot, surfaces of buildingsPhilips MASTERColour CDM

5000K: benches and architectural accentsPhilips SSL customized solutions, LED 0 .4 W 4 lm

LEGNANO, ITALY

PIAZZA SAN MAGNOTalking with Jacopo Acciaro


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William Landell Mills: How does lighting get articulated in

a project?

We try to base every thing we do on a strong conceptualfoundation. I believe in going through the concept processto arrive at a solution rather than just instantly walk ing inand saying right this is the best thing to do in this space.It is not about generating a list of kit and locations to putit in; its about generating a reason for the kit being in acertain place and doing a certain thing.

I think if you look at the work we do, our foundation,you will see that were trying to make projects, excusethe clich: people centred. We want to make the lightingabout the people in the space. It is not just aboutglorification of architecture or light and design; its aboutcreating space for people or a place for people to be in.

WLM: Why is that people centred?

It reflects my personal philosophy on lighting which Ideveloped when I veryfirst got into design. I dont think

there is one correct approach to lighting design. Thebiological, the physical, the science, the art, the product,the architectural these different approaches can allgenerate a really good lighting solution. But if you havepeople contributing from different backgrounds thenyoure going to get an even better solution.

WLM: How did your background influence your work?

I think what happens is your background mine isacademic and science and engineering may influenceyour approach. But ultimately its the passion for lightingand the love of lighting design that connects everythingand becomes the common language. Then your trainingbecomes a greater influence than the tools you actually

use on the job.

Jasmine van der Pol: Do you generally start with a team?

This really depends on what we are asked to do. If werecommissioned to do a lighting project and we are askedto do a presentational pitch, wel l drag in four orfivepeople from our group and well all sit round the tableand throw lots of ideas around. We always try to baseour pitch on a concept or a series of concepts, just todemonstrate to people how we work. If we are invitedto join we want to sit down with the design team andgo through the process with them as well. In that waywe find we can work with the architect and inform each

others thinking and sometimes the lighting concept makesthe space work better and the architecture changes tofacilitate that.

WLM: What do you think are the lighting trends?

I think one of the big trends I see with lighting at themoment is media facades. Youre essentially turningfacades into TV screens by putting lots of LED pixelson them. You are beginning to see them everywhere.Its a technology-driven solution. The trouble is that

MARTINLUPTONLighting Designer BDP, London, United Kingdom

Martin Lupton is one of the industrys leading lighting designers,

eagerly sought after for projects and seminars. William Landell

Mills and Jasmine van der Pol join him for a wide-ranging

discussion of his profession, his views and his ideas.

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those things are so easy to plug into a DVD player andplay adverts on. There is little intellectual content orjustification for having them; the majority will just beadvertising panels. Its like that at the moment: if you goto a public square in Japan youll have three or four. Everysquare is like Piccadilly Circus!

JvdP: Do you think that is the way of the future or do

you think its maybe too much? Surely the planners have

something to say about it.

They do have something to say about it yes. I just thinkit is happening so quickly at the moment because thetechnology is new and there is st ill a novelty value toit. Actually weve got two schemes with that sort oftechnology happening at the moment. What tends tohappen is that you have a few, and then everybody startsusing them until they are everywhere.

WLM: Do you think they can enhance or is it potentially

doom-laden?

I think it could potentially be doom laden, unlesssomebody realises that we could end up with CitySquares with screens everywhere. You could end up witheverybody living in Vegas, simply because the technologyhas become readily available and affordable. Well I wouldhope that actually we would have...

WLM: Better taste?

Yes, I would hope so. But were such a media drivensociety now.

WLM: How does that fit with ecology? Whats happening in

those terms?

Well thats a very bright area for what we do. I really think

that the sustainability issue is a real oppor tunity for thelighting designers profession. I think we need to be moresocially responsible about what we do. Every time I put adot on a drawing its a bit of energy used on somebodyelses behalf. Im ultimately responsible for the energythey use and it is something we have to address seriously.I see that as a key to promoting professional lighting anddesign. People have the skills and the qualifications andthe moral responsibility to apply lighting sensi tively and inthe right contex t. But they also have the responsibi lity ofminimising energy consumption and deciding responsiblynot to light certain things.

I think sustainability is also going to facilitate ourreconnection to daylight. We are already seeing this.Over the last 30 years or so, architects seem to have lostthe skill of daylight design. They dont design buildingsto be day lit any more. Windows arent considered as ameans of getting light into buildings; they consider them asdecoration on the side of the building. How can I do mywindow layout, how is it going to make my faade look? Itis all about decoration...

WLM: The gherkin comes to mind

I disagree that this is just decoration.

In my opinion Foster & Partners are one architecturalpractise who use daylight well; a lot of their work revolvesaround daylight. But there are lots of other architectsbuilding lots of things that dont acknowledge daylightas a light source. Our buildings are much denser, thespace more deeply planned. Were trying to pack moreand more people into less space in the city so space isbecoming a premium. But for me, the true sustainablelighting is daylight. And thats the connection weve got torediscover.

7th January 2008Extract from the Light and Emotions Research on goingby Synovate Qualitative Research and Philips Lighting

PLATFORM


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LAS PALMAS ROTTERDAM, THE NETHERLANDS

CREATINGA LANDMARKInterview by Jonathan Ellis

An interview with Marten Wassmann about the challenges he faced

when redeveloping the Las Palmas building in Rotterdam.

As you approach the redeveloped Las Palmas buildingat night, you are immediately struck by the ring of light created by a chain of LED lights measuring 160 metres which emphasises a modern structure on top of theoriginal building that dates from the fifties.

Las Palmas is a symbol to many people in Rotterdam,explained Marten Wassmann of Benthem CrouwelArchitects. It was built in the fifties as the work-place forthe Holland Amer ica Line and we wanted it to become alandmark for the Kop van Zuid development. The originalplans included the possibility of erecting two new storeyson top of the building, but interventions during theconstruction stage such as the inclusion of light domes -had made full use of the roof impossible. We had severalideas a restaurant, penthouses, offices but when OVGpurchased the building from Rotterdam council they wereso impressed with the design that they decided to use thepenthouse for their head-office. The building is knownnow as Las Palmas Penthouse and ships passing see the

name spelt out on the side of the building in Morse codeilluminated by Philips.

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ClientOVG Projectontwikkeling

ArchitectBenthem en Crouwel;Marten Wassman

Lighting solutionsWibeke Polle , Philips Netherl ands

InstallerInteco / C2N / ETB VOS

Light sourcesPhilips TL5 and LED

LuminairesPhilips Ledline2, Origami, Fugato, TBS and I nteco

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Another possibility we were able to incorporate was aparking deck under the penthouse. The carfleet of OVGconsists of 14 Mini Coopers, and these now reach the

parking deck in a converted goods lift from the cellar.I understand OVG is now planning to allow visitors touse the lift and deck. During the ascent which takesa minute and a half they will be shown a film aboutOVG projects.

In May we are starting fur ther redevelopment of theroof. We are turning it into a roof-top garden. Thebuildings surrounding Las Palmas will be able to lookdown on a patch of green. We initially had the idea ofcreating a city camping site on the roof, but that wasconsidered too radical by the city council. We are nowlaying grass on the roof instead. This has not only an

aesthetic role, but also a practical one. The grass layerwill provide better insulation to the building and will alsoretain moisture before it enters the waste system.

Is this part of an effort to introduce sustainability into

the building?

I wish I knew what the word meant, replied MartenWassman. If I asked you how your relationship wasand you replied sustainable, that wouldnt be verypositive, would it? Obviously we must all do somethingto contribute to the conceptof sustainability. After all,building and construction is responsible for 50% of wastein the world. But I think we all too often concentrate

on doing things less badly rather than on actuallyimproving them.

In Las Palmas we obviously integrated as many energy-saving features as possible movement detectors to turnlights on and off, for example but more importantly,we made very conscious decisions. We used light whereit was necessary. Was the ring of lights around thepenthouse necessary? I believe it was. It is a gesturetowards the buildings past and to its future . Even in timesof sustainability, our cities need landmarks.


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PUB - DEPARTMENT STORE,STOCKHOLM, SWEDEN

The project was to re-design PUB, the oldest department s tore in Sweden.Formerly a rather anonymous city galleria, PUB is changing into a moderndepartment store focused on fashion for a young, urban, internationallyorientated target group. Lighting plays a significant role in the project,balancing the historical roots with a modern, constantly changing content.

The lighting design concept for the cupola aimed to emphasize its role as a

natural centre point of the department store. The architectural design allowedfor an interesting play with light, shape and movement. By changing thecolours, the intensities and the speed of the dynamics of the 500 RGB LEDlight fittings that are hidden in the construction, the cupola transforms into aliving element that breathes light.

ClientAtrium LjungbergStockholm, Sweden

ArchitectBAU Arkitektur, Hans Birkholz, Ulrika Lundgren,Stockholm, Sweden

Lighting Design

Kai Piippo, Clara Fraenkel, Paul EhlertLjusarkitektur, Stockholm, Sweden

Light sourcesInside the circular niches created in the ceiling:Philips iColor Cove, ColorBl ast 12 Powercore,linear high intensity LED luminaire RGB


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STADIUM XXL, GOTHENBURG, SWEDEN

The new Stadium XXL is more than a store: it contains not only an exceptionalrange of sports products and brands, but also a sports caf, a cycling station,putting green and a runners lab. The architect wanted comfortable retail lightingthat would help create an interest ing shopping environment and so a specialfixture was developed and designed according to the demands of the customer.New techniques and fixtures with an appropriate design and light output wereused to create a combination of well lit and tuned down retail areas.

Client

Stadium XXL

ArchitectJosefine Larsson and Tomas Eriksson TEA,Stockholm, Sweden

Lighting solutionsLars Grdebck, Fagerhult Retail

Lighting controlsDALI, DSI system

Accent lighting for displayFixed on aluminium rail:Marathon, wide, medium and narrowspotlights Fagerhult,Philips MASTERColour


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BUGATTI SHOWROOM,DSSELDORF, GERMANY

The assignment was to turn factory Hall 29 into a showroom for fashion houseBrinkman Gruppe where retailers could buy in their new collections while stillretaining the buildings original industrial atmosphere. The enormous spacebreaths peace and openness. The architecture is largely implemented in lightcolours and much of the original metal has been left exposed. The floor, highpanels and furniture, all made of the same materials, provide a contrast to the

light colours.

The lighting design concentrates on bright white light and results in a crispcolour reproduction, providing retailers with an accurate view of what they arebuying in.

ClientBrinkmann Group

Interior architecturePaul Gielissen Gielissen Interiors & Exhibitions,Netherlands and Germany

ArchitectJeroen va n Alphen

Lighting solutionsNicol Brambilla, Marike de Kruiff,Philips Lighting

Light sourcesGeneral lighting for peopleFixed on the aluminium ceiling cladding:Philips MINI300, surface mounted. CDM- TD

Customers roomRecessed in the lower ceiling:Philips Fugato functional downlight and Fugato

compact adjustable, projector downlight, 36 beamwith Philips MASTERColour CDM-T

Accent lighting for displayFixed on aluminium rail:Musa, track mounted projector, 12 beam, PhilipsMASTERColour CDM-T


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HSH NORDBANK PRIVATE BANKING,HAMBURG, GERMANYHSH Nordbank wanted to offer a special ambiance for their customers withthe possibility of changing the atmosphere with light ing to reflect the eventstaking place in the building. The space is also used for cultural events, such aspiano recitals and literature readings.

During office hours, the lighting system is used to create a dynamic ambianceand stress the time of the day for clients and staff. Cove Lighting is used inan AWB, Amber, White, Blue programming mode. RGB will only be usedfor events. The highlight of the interior design is the High Grade Steel Stairs;although it is possible to change the colour of this stairway, HSH Nordbankhas decided to keep it blue in the colour of the company.

Client

HSH Nordbank private Banking

ArchitectNugent Heitmann MontufarNHM architects, Hamburg, Germany

PlannerPinck Ingenieure, Hamburg

Lighting DesignCarlos Montufar, NHM architects

Lighting solutionsMyla Strtebek, Philips Germany

Light sourcesCove lightingInside the niche created in the architecture:Philips Cove lighting AWB, low power LEDs

High Grade Steel Stair lightingBehind the translucent glass:Philips LEDline2, Philips High Power LED

Controls:Philips ColourChaser DMX and Colour Wheel


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TOUR EXALTIS, PARIS LA DFENSE, FRANCE

This office building offifteen levels and 23 000 m2 appears to be a small buildingcompared to the surrounding skyscrapers. Its daring architecture features a cleargreen glass faade, which gives the impression of a luminous transparent prism.

At night the buildings ceilings are a constellation of small lighting points, created

by the interior lighting of the open-plan offices. Breaking with traditional grid ofembedded fluorescent square 600x600mm, the architects chose to fix roundmetal perforated cases in the ceiling with circulars downlights. These tailormade luminaires (210 mm diameter) were created with decorative glass usingfluorescent compact.

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ClientLa Mondiale

ArchitectBruno Willerval, Bridot-Willerval, FranceBernardo Fort-Brescia, Arquitectonica, UnitedStates of America

Technical Research DepartmentCOTEBA, SFICA

Light sourcesOffice lightingPhilips tailor made luminaires, circular downlight18 and 26 Watt


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NATIONAL TOURISM BOULEVARD,SANTIAGO, CHILESantiagos most important bus station is the Central Distr ict Station. JotabecheStreet has been transformed into a 120 meters long and 19 meters wideboulevard. The stations 35 meter tower has become a new landmark in thecity. This is especially due to its dynamic lighting system which represents themotion of traveling.

At night, this space turns into an amazing exhibition of life, and it has becomesomething of which Santiagos inhabitants are very proud.

Client

Inmobiliaria Pullman Bus Costa Central S.A.

ArchitectFelipe Banda M. & Arquitectos Asociados

Lighting solutionsPaulina Alamo, Philips Chile

Light sourcesTower lightingFixed on the steel beamsPhilips LEDline2 RGB

Building lightingFixed on the steel beamsPhilips ConTempo RVP350, symmetric andasymmetric with Philips MASTERColour

Lighting controlsPhilips ColourChaser DMX144


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GRIDSTIFLES IMAGINATION?

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The Grid is like a skeleton, underlying the s tructure, composing and

sequencing the elements. The Grid is one of the oldest mediums

of construction.

From urban planning to architecture, from the ancient Greeks to the

American city plans i t is the background design for organizing thespace. Piet Mondrian in art or Frank Lloyd Wright in architecture

created their aesthetics using a predictable Car tesian grid. More

recently, Renzo Piano and Bernard Tschumi superimposed different

grids in their architecture design. And Jean-Claude Bignon is

demonstrating that the Grid is far from pass.

Where should architect and lighting designer work more together? It

is on the luminaire arrangement grid the luminaire spacing, position

and orientation in the architecture design. In that respect, a lot still

can be done! How often in offices does the light from downlights

concentrate too much on the wall, creating distracting hot spots in

the visual field? Two examples presented here illustrate alternative

ways of employing ceiling luminaire arrangements to create a

proper ambience: Westraven in Netherlands and Philarmonique

in Luxembourg.

In lighting, the Grid provides a set of points in a two dimensional

plane, at which the lighting calculations will be carried out:illuminance and luminance values. The grid here is predefined by

the archi tecture dimension i tself. I t can be measured in any plane:

floor, wall or ceiling. But it must always be rectangular, whereas in

architecture the grid could be hexagonal like the Suzhou Science and

Cultural Centre faade in China reviewed here.

Does the Grid stifle imagination? If you look at the original way

designers are using the grid for lighting their architecture, you will

probably say no. And perhaps in your next project, your imagination

will release the flexibility of the Grid.

Vincent Laganier


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It is also a city that is undergoing radical change, as newbuildings many in the new Singapore Industrial Areato the east of the city spring up. The latest bui ldingto grace Suzhou is the Science and Culture Art Center,

a stunning example of modern architecture based ona concept by the French-based architect Paul Andreuand executed under the supervision of Cui ZhongFangof East China Architectural Design & Research Institutein Shanghai.

A piece of faade, a piece of peel and a garden, explainsexecutive architect Cui ZhongFang. These are theelements of the final design. The faade of the mainarchitecture, the peel of the commercial centre in themiddle and the garden inspiring the landscaping.

HEXAGONAL GRIDUndoubtedly, it is the metal mesh of the faade that

provides the building with its unique identity.

Searching for the right decorative element for the metalmesh occupied much of the architects time. I wanted tocreate something that is familiar, but something with newtechnology. It was l ike searching for an elusive memory. Iwanted it to be linked to the rich tradition of Suzhou, butat the same time unique. And it had to be repetitive foreasy production and construction. It is traditional design,absorbed and reborn in a new form.

The faade itself is constructed of nearly 2,500 repetitivehexagones. The architecture we created is not simply a

reappraisal of the past; it is modern to the core. Whenwe discuss modern architecture, we are not talking aboutthe use of modern mater ials and technology, but about amodern approach to the concept of space. Architecture isdesigned for people. It is a dialogue between the architectand the users.

LIGHTING CONCEPTAs architect, I concentrate on the soul of the building.The lighting design was included at the concept stage andwe concentrated very much of the final lighting effect.But I believe we could have achieved something evenbetter. For me, architecture must be an integrated whole.

Perhaps we could have achieved a greater integrationbetween all aspects, by combining different sources oflight. Architectural design is only part of the life of abuilding. As time passes, it is the users who decide how

successful we have been.

The lighting concept was in the hands of Mrs. PeipeiJin, local cooperation designer for the Suzhou ScienceCulture Art Center. How did she approach the design?

It is essential that we convey the imagination of thearchitect, said Mrs. Jin. That is the star ting point for ourdesign. We focused on the peel and the faade, trying tobring to life the original concept of the Brilliant Peel.

EMBEDDED SOLUTIONDuring the day, the faade changes as daylight movesacross it; in the evening, the lighting incorporated in it

encapsulates the building in a coloured skin. Each hexagonembedded eight LED low profile fixtures, each fixturecontaining 6 Red, 6 Green and 6 Blue 1 Watt high-powerelectroluminescent diodes.

In the evening, explains Cui ZhongFang, the mesh isnot only emphasised by the LED lighting, but also by theinterior lighting penetrating the faade. It provides a totalview of the architecture.

Mrs. Jin concluding: Using a dynamic lighting method, wetried to create an emotional and living concept, echoingthe theme of the architecture. By carefully balancing

faade lighting, roof lighting and interior space lighting, thewhole building becomes both brilliant and mysterious.

Few cities have stood the test of time better than Suzhou. It is said to be more than

2500 years old and its beauty has become a legend. Today it boasts the magnificent

East Gardens and typical white wall, black roof houses along the river.

THE SUZHOU SCIENCE AND CULTURE ART CENTER, CHINA

A BRILLIANT SKINInterview by Diana Y. Lu


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ClientSuzhou Science and Culture Art Center

ArchitectPaul Andreu; Paul Andreu architect; Paris, France(Concept design) Mr. Zhongfang Cui, East ChinaArchitectural Design & Research Insti tute Co., Ltd.,Shanghai, China (Executive architect)

Lighting DesignMr. Y.Nakamura, Tokyo Shomei Consultant Co.,Ltd.,

Tokyo, Japan (Concept design)Mr. Junwei Xie, Ms. Peipei Jin,; Shanghai LightingLandscape Engineering Co.,Ltd; (Detail design andon-site support)

Electrical installerNingbo Municiple company, China

Lighting solutionsGongquan Qian, Diana Liu, Philips China

Light sourcesPhilips Lumileds LUXEON Led IW Red Green Blue

LuminairesPhilips Low profile Strip II BCS780-18 RGB SP

ControlsPhilips Activemix systems i_BUS, ABB


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THE LUXEMBOURG PHILHARMONIE:

JEWEL OF LIGHTWritten by Isabelle Arnaud

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dressing room for solists

void of the rehearsal rooms

dressing rooms for solists

Backstage

stage of the chamber music hall

void of the rehearsal room

artists entrance

stage of the auditorium

Backstage

musicians dressing rooms

the ticket booth

0 m 5 m 10 m 20 m 50 m

French architect, Christian de Portzamparc, created a real harmony of shapes, colour and lighting

that envelops and at the same time, comes from the building of the Luxembourg Philharmonie.

Georges Berne, French lighting designer, LObservatoire 1, took part in the project from an early stage.

De Portzamparc conceived the building in the shapeof an oval, with an external appearance provided by acolonnade screen formed by 823 closely spaced steel

columns at the perimeter supporting a thin, radius-edgedroof. At the front prow of the ellipse, de Portzamparcwidens the spacing between columns to accommodatethe entrance that runs parallel to Avenue Kennedy.

Two shells clad in metal panels rise on either side of themain structure. The tangential curve of one appears tolaunch visitors arriving from underground parking intothe peristyle. The other arcs up as the carapace of thechamber-music hall. Stretching 126 meters at maximumlength, and 109 m at maximum width, the buildingdominates the Place de lEurope situated in the Kirchbergquarter on the north-east side of Luxembourg.

Along with acoustic excellence for concerts ranging fromsymphonic music to amplified jazz, the tacit expectationwas that the structure r ise to its ceremonial function as acrowning symbol of the new, sophisticated LuxembourgCity. The concert hall also had to address the plateausmain thoroughfare and ceremonial boulevard, AvenueJohn F. Kennedy

A DIALOGUE OF TRANSPARENCIESI believe, says Christian de Portzamparc, that spacecan be considered as a phenomenon that one discoversthroughout time, movement, with all its surprises and it s

sequences. When sound and light fill in this wonderfulemptiness which opens between the built shapes, thenspace and music reveal each other.

Seen from inside, the play of light here is very particular.The observer discovers a continuous dialogue oftransparencies. Even before I visited the site, looking atthe pictures of this neighbourhood, I thought of guidingthe public towards the future building through a forestring of high trees, but then, once I saw the site, I thoughtof a faade filter, neither completely opaque nor totallytransparent, but rather an envelope of light , with theauditorium in the centre. A foyer-gallery encircles thecentral kernel of the hall. The faade of this peripheralfoyer is a vast filigree offine columns mathematicallyorganized in curves. The rhythms affirm the outer shape

of the hall and offer a wealth of varying views deep intothe building, depending on where you stand.

I like the contrast between the br ightness of theilluminated foyer-gallery and the darkness of the concerthall. In between, the wall looks like a prismatic cliff, fromwhich colour springs up. These colourful crevices achievea particular chromatic subtlety, making the geometricfaades decompose the colours at a height of 20 metres.

A PARTITION OF LIGHTOutside, the building works as a lamp in the night,as indeed was Christian de Portzamparc intention.


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Coming from the asymmetrical downlights (Odyssey)recessed in the ceiling of the foyer-gallery and throughthe glass faade between the steel columns, a whitelight bathes the Place de lEurope. Outside, recessedground projectors complete the lighting. To meet thearchitects requirement, the place has been freed of allthe lighting poles in order to offer a full view of the newbuilding at night. The illuminance levels go from 5 to 10lux, depending on the program chosen for the lighting (alllamps on or half of them). Our reflection on the lightingconcept of the Philharmonie building, explains GeorgesBerne, concerned both the interior and the exterior ofthe building. We were in charge of the urban light ing, andwe took the opportunity to create lighting effects that

reveal the architecture of the building from the inside andilluminate at the same time the Place de lEurope, createdby Riccardo Bofill in 1996.

Inside, the colonnade of the foyer-gallery is lighted bya white light emanating from the downlights Odyssey,designed previously by Georges Berne for another Philipsinstallation, equipped with two metal halide lamps, oneof 70 W and one of 150 W. Two rows offixtures aredisposed in the ceiling, evoking notes of music on a stave,adds Georges Berne. 260 downlights have been installed,offering a level of 50 lux obtained when the 70 Wluminaires are on, 100 lux when the 150 W luminaires are

on and 150 lux when all the downlights are lit.

Furthermore, the homogeneous and powerful light of thissystem allows the hollow prismatic crevices of the highcliff to provide a changing, coloured lighting experience.

From far away, by night, the public can tell if there isa concert or not: if there is a concert, this dimmingcoloured vertical light illuminates the crevices, otherwisethe monument shines only in a white light, let ting thearchitecture be a silent but luminous spectacle.

ClientMinistre des travaux Publics, Administration desTravaux Publics, Grand Duch du Luxembourg

Architect

Christian de Portzamparc, Paris, France

Lighting DesignGeorges Berne, Franois Migeon, Remy Cimadevilla,LObservatoire 1, Paris, France

Consultant engineersFelgen & Associs

Electrical installerCegelec Luxembourg

Light sourcesPhilips MASTERColour CDM

LuminairesPhilips Odyssey 310Artemide; Bega; Erco, iGuzzini, LEC , Le non dela Capitale, Mar tini, Panavision, Targetti, Z-Lighting,

WadeZimmerman

NicolasBorel


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OFFICE COMPLEX WESTRAVEN UTRECHT, THE NETHERLANDS:

TWO YEARS ONInterview by Jonathan Ellis

The former Westraven Tower in Utrecht held few charms for the peopleworking in it. Sombre, small rooms shut off from contact with others,depressing. It was a challenge for Ronald Schleurholts, architect with the Dutchdesign agency Cepezed, to radically change the building.

There was initially a lot of resistance from the people who worked there,said Ronald Schleurholts. Few were eager to return, not just because ofthe memories of how things used to be, but also because they were uneasyabout the high level of transparency we had introduced into the building.Before, people were able to hide themselves away in their cubby-holes; noweverybody can see everybody else. You can see who is sitting in the directorsoffice. You know if your colleague is available. And this has had a positive

effect. The transparency, I am told, is also reflected in the management style.People are now involved. And the views from the building are fantastic.You can now look out over the canals and motorways for which the peopleworking in the building are responsible.

The building that was formerly so dark and oppressive is now bathed inlight. In fact, the Westraven Office Complex won the coveted DaylightAward in 2008. This award is presented every two years to a building thatdemonstrates an optimum combination of daylight, artificial lighting andarchitectural excellence.

Introducing as much daylight as possible was ourfirst pr iority. People functionbetter in daylight. They feel more comfortable, more in tune with the natural

rhythm of life. Daylight is constantly changing, and this is far more stimulatingthan a bland, constant light level often found with tradi tional uses of artificiallighting. By introducing so much glass and allowing natural light to enter thebuilding, people are happier doing their work. Whats more, they can orientatethemselves better in a building which offers both a view and daylight.

An interview with Ronald Schleurholts, architect of the Westraven Office Building

for RWS, the Dutch Directorate of Public Works and Water Management


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KorffenvanMierlo

RobH

oekstra


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Of course, artificial lighting is also essential. We were able to combine thebenefits of both by introducing daylight-control led artificial lighting. The systemof dynamic lighting we used actually ensures that the artificial lighting mirrorsdaylight. Constantly changing in subtle ways. In this way, we create an ambiancethat is pleasant for work. You know, a building only really comes to life whenit is lit. It is light that makes a building interesting. Yet it mustnt be intrusive.A building should not suddenly change when the lights are switched on. Thisis disturbing. One project we undertook was a car showroom. Now cars aredesigned to look their best out of doors. So the challenge was to create anenvironment in which we brought the outdoors inside. A careful combinationof natural and artificial light plus a well chosen finishing made this possible.

The Westraven Tower leans heavily on the use of the grid. Did Schleurholtsfind this restrictive?

I think it is important to include the grid as early in the design stage aspossible. By using it, you design in flexibility it gives you enormous freedomfor designing the interior space and adapting it at a later date. After all, abuilding needs to be able to change. By using a grid you make it possible tochange the building as the need arises.

Another advantage of using the grid was that we were able to designhigh-quality ceiling units. Thanks to the high repetition of these elements,

standardised high-end elements could be used within the str ict budgetparameters. In these, we incorporated lighting, air conditioning, loudspeakers all the modern technologies that are essential in an office building today. Butwe were able to make them unobtrusive. People shouldnt be bothered bytechnique. I t is there to serve them, not to take centre stage.

In our design, we made use of two different ceiling elements one for theoffice space, the other for the corridors. The grid provided structure, yetgave us the opportunity of designing in deviations to the grid which makesthe building fascinating. When you dr ive past the building in the evening, yousee the grid clearly. The lighting accentuates it. But you are also aware of thedeviations. It is much more interesting.

Now that the office building is in use, Ronald Schleurholts is still satisfied with

the results he achieved in Westraven Tower.

I certainly believe we produced the best design possible within theparameters set. But more importantly, the reactions from the people whowork there and they are, after all, the most important critics have beenuniformly positive. The initial resistance the idea that everybody would besubjected to social control in such an open and transparent environment has disappeared. People now feel comfortable, relaxed. And I am convincedthat much of this is due to the use of light. It cer tainly provides a stimulus tocontinue along the same road in the future.Client

Rijksgebouwendienst (Dutch Ministry of Housingand Construction)

ArchitectRonald Schleurholts, Jan Pesman

CEPEZED Architects Delft, The Netherlands

Lighting consultantsHet Lichtatelier - Grontmij Technisch ManagementAmersfoort, The Netherlands

Lighting solutionsPhilips Netherlands

Light sourcesPhilips TL5 2700 and 6500K

LuminairesPhilips TBS 375, Lightmaster Modular system

Lighting scenariosDynamic lighting; summer and winter scenario,

temperature lim iting 25 C ,minimum lighting intensity, EN-12464


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A grid can be defined as an ordered network of axes inone or more directions, and with one or more pitches(fixed or variable spacing). A grid is therefore a graphictool in the same way as a line, a full stop, a symbol or amark. However, it is also a scalar system, the variables ofwhich (and their values) assist design operations. Each ofthe axes of the grid can be assimilated to discrete unitswhich have no meaning, but which combine into complexunits (or modules) which do have meaning. Someexamples of grids will illustrate this text.

13TH CENTURY: WALL AND FLOOR TILESTowards the end of the 13th century, Parisian tilers had

the idea of forming smal l mosaic elements from tileswhich were surface-etched before being fired. Althoughthe technique was already known for dividing a tile intotwo tr iangles or rectangles by means of a simple incision,this workshop produced several incisions in order tocreate as many as sixteen or even thirty two multiplesmall elements from a single square. [] It thereforebecame possible to create remarkably complex mosaicpanels1. In this example, the idea of forming a grid forthe products and sur faces to be covered is based onthe search for a practica l combinatory system for theircreation. The grid acted as a calibration tool, at a timewhen measurement units were not homogeneous, and

when graphic documents, when they existed, nevercontained dimensions. However, the module was alsoused to guide the design work. Grids based on modulesprovided a mathematical or even spiritual essence, byassisting with the proportioning and positioning of theparts of a building.

1940: THE MODULORIn the forties, Le Corbusier developed a measuringsystem which he intended to be universal, and wasdesigned to proportion spaces, works and objects:The Modulor controls lengths, surfaces and volumes. Itmaintains the human scale everywhere, and lends it self

to unlimited combinations, it assures unity in diversity,which is an incalculable advantage, a miracle derived fromnumbers2. The construction of a harmonic grid froma modular unit acts for Le Corbusier as a measurementsystem which makes it possible to reduce the almostinfinite number of dimensions of an open work by meansof the metric system, by replacing this number by aproportioning device which is more limited, but is basedon the human scale.

1978: THE ACC GRIDIn 1978, the Association Construction et Composants(Building and Components Association - ACC) proposed

a document concerning the general conventions fordimensional co-ordination. By defining a co-ordinationgrid with ver tical steps of 100 mm and horizontal stepsof 300 mm, the ACC proposed a reference system forthose who create ranges of components, or s tructuralsystems, who par ticipate in the development of par ticularconventions for assembly, tolerance and quality, or whoconceive projects with concern for architectural andtechnological openness3. According to the authors theuse of a dimensional discipline based on modulationrepresents an element of simplification. The simplificationprovided by this ACC grid went hand in hand withanticipation of problems relating to compatibility of

components and implementation, in terms of bothdefinition and positioning of the products. It co-ordinatednot only the dimensions, but also the technical devices,and even the implementation operations. This is whatgave it its operative character for technical designwithin the context of logic which is known as openindustrialisation.

THE EFFECTIVENESS OF THE GRIDThese examples emphasise the dual efficiency of the grid.Firstly, it provides designers with a genuine measurementsystem which reduces the field of possibilities todimensions which are considered to be relevant from

Architectural and engineering design is, by nature, very complex. It requires the use of graphic

interventions to assist with the formulation and solving of problems. Among the various

instruments for representation, the grid is a particularly fruitful device, which makes it possible

to guide research into forms, while reducing the field of possible solutions and showing what the

products, works or spaces are capable of.

THE GRID: A TOOL FOR DESIGNBy Jean-Claude Bignon Architect, Professor Ecole Nationale Suprieure dArchitecture de NancyCRAI-MAP (Centre for Research into Architecture and Engineering)


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LocationCit internationale, Lyon, France

ArchitectRenzo Piano Building Workshop, Genova, Italy

a point of view which is simply technical, or one whichis more philosophical. While analysing the principle ofregularity more generally, the historian Jacques Guillermesaw graphic reticulation as a network which generates alimited number of spatial operations by means of a law ofcontinuous co-ordination4.

It also makes it possible to anticipate the object (theproduct or component), proportion it and position it soas to facilitate its execution. The grid therefore acts intwo ways, i.e. as a means of simplification of the possiblesolutions, and as a heuristic projection of the problems ofmeasurement and position.

The grid is an instrument which acts in the complexsystem of design. Against the random, it proposes therule; against the uncertain, it proposes the premise;against the infinite number of measurements, it proposesthe informed dimension. The grid therefore plays aparticularly fruitful part in assisting design. It constitutes asystem of operative lines which regulates graphically thespace of the representation, and semantically the space ofthe design. It is a simulated figure which makes it possibleto measure and posit ion, and therefore to plan.

1 C. Norton, Carreaux de pavement du Moyen Age et de la Renaissance [Floor tilesin the Middle Ages and Renaissance] art and history catalogue of the MuseCarnavalet, Paris, Editions Paris-Muses, 1992.

2 Le Corbusier, Le Modulor, Essais sur une mesure harmonique lchelle humaineapplicable universellement larchitecture et la mcanique [The Modulor, Essayson harmonic measurement on a human scale, which is universally applicable toarchitecture and mechanics] [1950], Paris, Editions de lArchitecture daujourdhui,1983.

3 ACC, La Pratique de la coordination dimensionnelle, les conventions Pourquoi ?Comment ?, [Dimensional co-ordination in practice, the conventions Why?How?] Paris, Editions du Moniteur, 1979.

4 Notes pour lhistoire de la rgularit [Notes on the history of regularity],Revue desthtique, Paris, n3, 1970.


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Light tiles

34 FEEDBACK

IMAGINATIVE

CONCEPTSPhilips ResearchTake retail, for example. Feedback shows that customersconstantly demand fresh experiences. That atmosphereis vital. But often atmosphere change goes hand-in-handwith high investments. Can some way be found to allowchange at the flick of a switch?

Philips thinks it can. And to assess imaginative ideas,it uses a retail-dedicated ShopLab which allows fully

operational value propositions to be tested in a realisticshop environment. Based on a deep understanding ofshoppers and retailers, innovative concepts are beingdeveloped and tested with these stakeholders.

Philips Atmosphere Flipbookcontains illustrationsreflecting atmospheres, all pre-programmed in the shopsmaster lighting design. The shop owner who does notneed to be a lighting designer simply browses throughthe book and chooses the atmosphere required. Eachpage has a unique ID associated with the lighting schemein the book and opening the chosen page instantly givesthe store the chosen atmosphere . And new atmospherescan be added at will. Instant change at minimum costs.

Imagination is at its best when it knows no restrictions. When

the mind is allowed to range freely, exploring new paths that

could lead to solutions that make a practical contribution to a

specific sector.


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3 x Spot LED surface mounted3 x Haloshelf

Glass

Buttons

01

01

Product

Another important area of retail is display. The HaloShelfuses light to create a decorative ring of light around aproduct. It can be given any colour in the spectrum sothat each product is given its own halo of light. A bigadvantage is that this colour can be changed easily andthat it is not necessar y to repaint display elements whennew products arrive.

Another innovation is the Reactive Spotlight. It providesaccent lighting on a product such as a fashion accessoryor luxury item, but when a customer approaches

the display, the beam narrows and helps to focus theattention of the shopper on the product. It is a responseto the customers interest and the effect is almost as if ashop assistant presents the product to the shopper forinspection. Imagination is being stimulated in the ShopLabwith very interesting results.

Drawings by: dArt Design, Neuss Germany


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SHOWROOM


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Lighting applications are becomingincreasingly specialised, clearlyfocused on responding to specificrequests from clients in particularareas.

Philips Lighting Application Centre(LAC) is a unique showroom wherelighting speaks louder than words.Here, we present our expertise in

a practical way, demonstrating inan actual setting the effects thatcan be achieved with imaginativeuse of sophisticated lightingtechnologies. For this allows suchideas to be assessed in their properenvironment. And provides bothknowledge and inspiration to lightingdesigners and architects.

A recent challenge came from thehospitality industry. It is importantthat guests should immediately feel

comfortable in a hotel, for example,because this ensures repeat business.Careful and imaginative use oflighting can make an importantcontribution to this. And so PhilipsLighting created the Hotel du Lac.Using over 500 lighting sources,creating 35 different scenes theHotel du Lac demonstrates howlighting can be used to create exactlythe right mood in reception, guestrooms, bars, restaurants and otherpublic areas.

But demonstrating the verylatest lighting technologies suchas LEDs is only part of thesolution. Because Philips Lighting isconcentrating much of its effor ts ondeveloping environmentally friendlytechnologies that lower the totalcost of ownership. It allows clientsto upgrade to more ef fective lightingsolutions in the knowledge that these

will be more environmentally friendlyand, in the long-run, considerablylower the costs of operation.

Hotel du Lac is very much a toolbeing made available to clients,lighting designers and architectsworking in the hospitality sector.Being able to see solutionsin practice places them in aunique position to leverage newtechnologies that are at oncecomplementary to their design aims

while keeping operating costs downto a more than acceptable level.

Please contact your local Philips officefor a LAC visit.

Lighting applications are becoming increasingly specialised, clearly focused

on responding to specific requests from clients in particular areas.

HOTEL DU LAC

ProjectHotel du LAC

Location

Lighting Application Centre, Eindhoven,The Netherlands

Interior architecture andlighting solutionsUlrika Vis van Heemst, Li n Ppping,Philips Lighting

Interior DesignVan den Oever Tentoonstellingsbouw.

Light sourcesPhilips LEDs, MasterColour, Halogen,Compact Fluorescent

LuminairesPhilips Fugato, Savio, Spot LEDs, Celino,Fiorenza, Scrabble, Origami, Amazon LED,LEDflood, LEDline


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5300

4000

800 1500

27004000

10003600

RECESSED LIGHTING

The use of recessed luminaires in an architectural setting is

growing due to their discretion and their on-site integration.

They allow uplighting effects that completely change the identity

of an architectural structure from its day appearance

Different architectural structures can be illuminated using fixtures for recessmounting. A number of tests have been undertaken to study both heritageand contemporary sites: a classical pillar gallery and a contemporary arch gateat CNSMD, Conservatoire National Suprieur de Musique et de Danse inLyon, France. The aim was to illustrate the effect of a given beam shape froma recessed luminaire on a specific architectural volume.

Two kinds of recessed LED luminaires were used in different shapes:square and linear. The sites were illuminated with a wide range of optics:asymmetrical, rotational, linear and rectangular shapes with narrow, mediumor wide beams.

For the on-site photographic sessions, rough lighting schemes were preparedindicating the positioning of the luminaires in relation to the architecture.

Each lighting design scheme photograph was taken from a different shootingangle: front, lateral and side views. We began by shooting the basic individuallighting effects and then combined these basic effects, two at a time. Viewingthe illuminat ion from these var ious angles gives r ise to a different perception of

volume, contrast and layers.

These tests show what kind of basic effects can be obtained with differentlight beams and how compositions of effects can be achieved. Morecomplex effects can be created using several kinds of light beams or colourtemperatures. This makes it possible to emphasize one structure more thananother to highlight the architecture, to suggest specific details and so on.

Incidentally, it is possible to change completely the identity of a classical orcontemporary building from its daytime appearance. This is why such effectsshould be used with caution. In most cases, combining more than twodifferent effects can overload the architecture and this does not enhanceits appearance.

by Natacha Lameyre, Christian Ferouelle

concept corner


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002

081

40 FEEDBACK

General lighting is created with warm white asymmetricalbeams. This gives volume to the gallery. The door isemphasized by linear narrow beams. The two differentcolours make the entrance door more visible.

Asymmetrical beams produce a soft and uniform wash oflight on the ceiling. This illumination reinforces the volumeof the vault.

Lighting plan

The light follows the pillars perfectly, creating a highlevel of contrast. Light and dark spaces give rhythm tothe gallery.

Asymmetrical beam Philips LEDflood recessed

Wide beam Philips LEDline recessed

Narrow beam Philips LEDflood recessed

Rectangular linear beam Philips LEDflood recessed


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180

2100

Underlining the arch with two linear wide beams seemsto cut off the background pillars. The light followsarch inner side perfectly, revealing the corners of thearchitecture.

Another way to underline this architecture is to lightit with two rectangular beams (2x4/2x27). The lightfollows the top of the arch more effectively.

The linear beams on the pillars in the foreground reveal thecorners of the architecture. If we also highlight the pillars inthe background, our perception of the architec ture changes:we now perceive the arch as a three dimensional object.Moreover, the contrast between the two colors add to theperception of depth.


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Todays lighting designer has a wide range of tools which can be used to assesslighting designs. Software simulation in par ticular is playing an important role,yet nothing can fully replace the actual experience of seeing a lighting designtranslated into reality.

With this in mind, lighting specialists at Philips in the South East Asia Nationthe so called ASEAN region recently organized the Seeing is believingevents in Singapore, Thailand and in Bandung Indonesia. The event in Bandungfocused on SSL Solid State Lighting. Not simply as a concept, but also ina tangible form. For recently, SSL has been used in the Plaza Dago, one ofBandungs main centres. The aim of the event was to create awareness of whatcan be done using SSL and also to demonstrate the artistic results that canbe achieved.

An important feature of the event in Bandung was a photographic competitionfor young, amateur and college photographers. Their brief: to show the artisticresults of SSL lighting. The photographs were all taken on one evening and hadto be submitted to the jury by the next morning. No electronic manipulationof the photographs, using computer software, was allowed. A selection of theentries is included here.

The photographs were later sent to all customers and the owners of buildingsand the comments were very positive. Many commented that the use offaade lighting increased not only the attractiveness of the buildings, but alsotheir image and value.

SEEING IS BELIEVINGBy Matthew Cobham, Bayu ade Pramudia


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bert Yonathans Riva Latifah

unt

oni Afriyanto

va Latifah

Refleksi di bebatuan


44/4844 FEEDBACK

Fajar Cahyaardi

Handy Pranoto lampu

Doni Afriyanto


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HabAditya Bayu


46/4846 FEEDBACK

BOOKSIngo Maurer: Designing with Light

Author: Bernhard DesseckerPublisher: Prestel Publishing(Germany), December 2007ISBN-13: 978-3-7913-3829-3288 pages, 600 colour illustrations,Half-LinenLanguage: German and Englishprestel.txt.de

Ingo Maurer has been illuminating lives since 1966, whenhe designed his first light fixture for an installation at theHerman Miller showroom in Munich. His creation wasentitled Bulb and featured a light bulb within a light bulb.The design was so successful that Maurer had to producemore to match the demand. Since then, his fascinationwith lighting, his pursuit of simplicity of form, and histalents as a graphic designer and typographer have

brought him to the forefront of his field.

Iluminacion/ Lighting

Authors : Fernando de Haro, OmarFuentesPublisher: Arquitectos EditoresMexicanos (Mexico), Novembre2007ISBN-13: 978-9-7097-2655-864 pagesLanguage: Espagnol and English

Designing With Light: An Introductionto Stage Lighting

Author: J. Michael GillettePublisher: McGraw-Hill Humanities/Social Sciences/Langua (UnitedStates), February 2007, 5th EditionISBN-13: 978-0-0735-1415-4384 pages, colour illustrations,SoftcoverLanguage: Englishwww.mhhe.com

This comprehensive survey of the practical and aesthetic

aspects of basic stage lighting design treats its subject asan art closely integrated with that of the director, actor,and playwright, and as a craft that provides practicalsolutions for the manipulation of stage space.

Light, Luz, Lumire, Licht

Author: Fernando de Haro, OmarFuentesPublisher: AM Editores (country),January 2008ISBN-13: 978-9-7097-2664-0272 pages, 429 colour illustrations,hard coverLanguage: English, Spanish, French,Germanwww.ameditores.com

The volume, useful for individuals and professionals,presents the most excellent ideas in home lighting,including a great diversity of possibilities as much of lightsas of types of illumination in the different spaces from ahouse. The solutions that are simple to make and theyadapt to all type of budgets.

Provoking Magic: Lighting of Ingo

Maurer

Authors: Kim Hastreiter, Julie V.Lovine, Claude Maurer, Ingo MaurerPublisher: Editions Assouline (France),February 2008ISBN-13: 978-0-9105-0394-5144 pages, 150 colour illustrations,PaperbackLanguage: Englishwww.assouline.com

Published in conjunction with a major exhibition at theSmithsonians Cooper-Hewitt, National Design Museum,Provoking Magic: Lighting of Ingo Maurer presents abroad array of Maurers iconic works, remounted andreconceived specifically for this project.

The Electric Light: Thomas Edisons

Illuminating Invention

Author: Liz SonnebornPublisher: Chelsea House Publications(United States), June 2007ISBN-13: 978-0-7910-9350-4

128 pages, colour and black-and-white illustrations, hard coverLanguage: Englishchelseahouse.infobasepublishing.com

In 1879, Thomas Alva Edison invented the first practicalincandescent electric light in his Menlo Park, New Jersey,laboratory, ushering in an era driven by electricity. TheElectric Light is an enlightening look at this monumentalachievement, examining how the lightbulb was partlyresponsible for transforming the countrys agrarianeconomy into the modern industrial economy it is today.


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15 March - 13 July ExhibitionChina Design Nowwww.vam.ac.ukVictoria and Albert MuseumLondon, United Kingdom

24 April - 10 August ExhibitionRichard Rogerwww.designmuseum.orgDesign MuseumLondon, UK

29 June - 3 July UIA CongressTransmitting ArchitectureTrasmettere lArchitetturawww.uia-architectes.orgTurin, Italy

31 July deadline LUCI Call for Entry

city.people.light award 2008www.city-people-light.com/awarInternational urban lightingcompetition in conjunction withPhilips

7- 8 July CIE expert symposiumAdvances in Photometry andColorimetrywww.cie.co.atTurin, ItalyVenue: Hotel Concord

18 - 23 August PLDA Workshops

Light and musicwww.lightandmusic.noStavanger, Norway

till 31 December ExhibitionLa peau, entre texture etossaturewww.citechaillot.frCit du Patrimoine et delArchitectureParis, France

29 September - 4 October PLDA WorkshopLighting design practicewww.alingsas.seAlingss, Sweden

27 October - 1 November PLDA workshopBaltic Triangle and Merseywww.pld-a.orgLiverpool, United Kingdom

WHERE TO GOREFERENCE SITES

Dialoguevoltairedesign.it

ovg.nl; benthemcrouwel.nl

bdp.co.uk

Snapshotnhm-architekten.de

ljusarkitektur.se

gielissen.com

tea.se

bridot-willerval.com; arquitectonica.com

Dossiersscac.com.cn/en/a-1.asp

chdeportzamparc.com

cepezed.nl; grontmijmt.nl; hetlichatelier.nl

Featureresearch.philips.com

lighting.philips.com

PARTNERSarchi-europe.com

iald.org

pld-a.org

uia-architectes.org

MAGAZINESvia-internet.com

mondiale.co.uk

arplus.com/broch/broch.htm

innovapresse.com/architecture.lasso

WEBSITES

Copyright

2008 Koninklijke Philips Electronics B.V.All rights reserved. Reproduction in whole or in part is prohibitedwithout the prior written consent of the copyright owner. Theinformation presented in this document does not form part of anyquotation or contract, is believed to be accurate and reliable andmay be changed without notice . No liability will be accepted by thepublisher for any consequences of its use. Publication thereof doesnot convey nor imply any license under patent - or other industrial orintellectual property rights.


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CITY.PEOPLE.LIGHT AWARDIS YOUR CITY A POTENTIAL WINNER?Urban lighting is now regarded as an essential component of town planning and a major part of any towns

cultural identity.

The international city.people.light award was set up jointly in 2003 by Philips Lighting and the lighting urban

community international association (LUCI) to reward the towns or cities that best demonstrate the added

value that lighting can give to an areas cultural and architectural heritage and night-time identity whilst at the

same time respecting the environment.

Is your town or city a potential winner? See if you meet the criteria and register your project for the 2008

award, more information on www.citypeoplelight.com/award or www.luciassociation.org The award

ceremony will take place in San Luis Potosi (Mexico) during the LUCI annual general meeting this autumn.

Your entry must be received by 31th July, and must be in English.city.people.lightaward 2008 Entries will be judged by a jury of independent experts.

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Luminous 01 - Grid Stifles Imagination

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