The winner of the Lighting Design Awards 2013 in the special projects category is Strand East Tower. Hoare Lea sent us some additional info, which you may find below:

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Strand East Tower is a 40m landmark sculpture, located within a newly landscaped public space in Dane’s Yard. The tower signifies the start of a regeneration project, which will transform this 26 acre, near derelict site, just south of the Olympic Park into a vibrant, waterside neighbourhood, comprising 1,200 homes, 620,000 sqft of business space, shops, cafes, restaurants and other community facilities, together with a 350-bedroom hotel.

The brief from the client, LandProp, was to create a dramatic landmark, which would also achieve excellent sustainability credentials and cost-efficiency. Hoare Lea Lighting worked closely with the designers of the sculpture, ARC-ML architects, and engineers eHRW, to turn this ambitious idea into reality.

Min Sang, Lighting Designer, Hoare Lea Lighting explains: ‘Our intention was to recreate the hidden nature of the architecture with artificial light. The lighting is designed to assist the tower to reveal every unexpected architectural aspect without losing its transparent nature.’

The Solution
The sculpture’s slender form is made up of a wooden lattice of 72 twisted, diagonal laths and 16 horizontal galvanised steel rings. It narrows in the centre to form a hyperboloid shape, just 6.3m wide, opening out to 8.3m at the top. This creates a light and transparent sculpture, held together by 32,000 bolts. Visible from around Stratford, by day the sculpture is left in its natural blonde colour, but at night it is lit by more than 600 LED lights within the sculpture, which are fully controllable in both intensity and colour and which can be programmed to achieve a range of effects.

The lighting consists of internally located wash lighting and an externally installed dot matrix system. The internal wash embraces the lattice, by illuminating the internal space and highlighting the negative shapes of the tower form. High-power RGB colour-grazing technology, positioned at four different levels, illuminates the structure.

The dot matrix system was designed to be installed at the exact cross points of the lattices. Due to a new assembly method, and at the later stage of the architectural development, the structure became unable to accept penetrating lighting elements. Hoare Lea Lighting developed a bespoke acrylic rod system to shift the installation away from the cross point and lift the illumination away from the LED light source, thereby creating a matrix of crisp light points that do not interfere with the timber structure.

The individually addressable dot matrix system, integrated externally to the lattice, creates the night time characteristics of the Strand East Tower, by forming a secondary layer of light. The matrix of more than 600 fully addressable LED nodes, (supplied by Traxon Technologies) wrap round the tower, creating dynamic and responsive light play.

Harmony between the lighting elements is achieved by a control system, by Traxon technologies and Mode lighting. This provides automated scene settings with local override control, as well as the potential for remote access by the public. Lighting elements were designed to enable straightforward and simple installation allowing maximum cost efficiency. This was achieved by bringing the fabricator, Wood BetonS.p. A and the lighting installer, Lighting Technology Projects on board at the early stage of the design process. As a result, the lighting system was integrated as part of the design of the tower, as opposed to being an add on component.

Hoare Lea Lighting also designed the landscape lighting for Danes Yard. This features Optelma LED tape, controlled by a Mode Lighting Evolution System, which also provides triggers to the Tower LED control, supplied by Traxon Technologies.

‘Strand East Tower is a symbol of change, something to give the area a bit of a lift, put a smile on people’s faces, while the wider regeneration takes place. During the day, the tower is a beautiful sculpture of untreated timber, but at night with the 612 LED nodes and more up and downlighters, it takes on a new persona and brightens up a somewhat hitherto neglected corner of Stratford. We are delighted with result of Hoare Lea Lighting and the whole lighting team’s work, as are the local residents.’ said Valli van Zijl, Regeneration Manager, LandProp.

Credits:
Client – LandProp Holding BV
Sculpture design – ARC-ML architects and engineers eHRW
Contractor – Wood BetonS.p. A (Italy)
Lighting Installers – Lighting Technology Projects

Suppliers: Traxon Technologies and Osram business, Lightgraphix, Optelma, Mode Lighting.

Lighting Design International sent us their recent project, Bluewater Winter Garden. Please see below for further details:

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The architectural and lighting challenge was to transform the dated and under-lit ‘Winter Garden’ at Bluewater, in to an exciting, contemporary, easy to navigate environment, encouraging visitors to return throughout the day and evening. On Lighting Design International’s initial visit, it was apparent existing lighting was soulless and utilitarian, with a large percentage of illumination provided by halogen downlighters. Lighting levels were inappropriate and inadequate, when considering time of day, contributing daylight, space use and human factors.

LDI wanted to make visitor experience paramount, by enhancing daytime and evening ambiance, visual comfort and wayfinding, whilst adding feature lighting for improved atmosphere, sensual feedback and charm. Increased levels of daytime illumination, less visual ‘clutter’, improved technology and energy saving were also prerequisite. Superb low loads were achieved: Installed power density 9.6W/sq m, daytime operational power density 7.2W/sq m, evening operational power density 3.2W/sq m.

Key objectives and solutions were to:
1. Increase light levels to the mall access and ground floor food counters, providing better balance compared with day lighting experienced in the central atrium. Lighting contrasts were historically too large, with daylight contributing over 7000lx in the atrium, and patchy existing light levels ranging from 21lx to 120lx. LDI used an organic array of 2000lm 3000K Xicato dark light DAL downlighters to provide a minimum of 350lx. Light is colour consistent, high colour rendering, low glare and efficient.

2. Increase mall access apparent brightness by lighting surfaces to reflect light into the space, including ceiling uplighting and direct lighting to vertical surfaces and columns. 460m of Ecosense driver integral linear LED was employed to uplight the ceiling. The dynamic lattice of sweeping light troughs, gives a bright and interesting ceiling plane leading the eye through the space, from mall to the food counters.

3. Improve ambiance with dynamic lighting that can adapt from day to night. It was important for spaces to feel impressive, light and voluminous during daytime, and intimate during the evening. To create moodier lighting, LDI introduced a splash of colour with infinity coffers in the mall link, uplit trees in the atrium, uplit roof structure and refreshed colour uplighting to the iconic lake glass towers. Colour feature lighting linked the three individual zones (mall link, atrium seating, lower seating) with the same identity, whilst allowing white light to be lower during the evening.

4. Atrium; metal halide gobo projectors placed in trees and high level atrium structure give patterned light of varying intensity to the main communal seating creating an indoor moonlit piazza effect. Luminance levels are set lower for intimacy, without feeling flat and lifeless.

5. LDI designed custom pendants, from Mike Stoane Lighting, provide ambient lighting to the lower seating. With 12m ceiling height and huge glass façade, it was important to reduce the feeling of scale during the evening, the six 2m x 2m x 0.8m, 150kg pendants helped by lowering the perceived ceiling height and providing focus to the space. Pendants are internally lit with cold cathode, and have lockable Xicato downlighters to give pools of light to the seating.

LDI have created an atmospheric welcoming space with their creative energy efficient solution adding depth drama and focus.

Again, we can present you something interactive. WhiteVoid sent us their very recent project: Fluidic- a vivid organic art experience. For further reading, please see below:

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Between April 9 and 14, 2013 the art installation “FLUIDIC – Sculpture In Motion“ was displayed in the Temporary Museum for New Design in Milan.

The installation was designed and produced by Berlin based design studio WHITEvoid for Hyundai’s Advanced Design Center. Combining high-power laser projectors, a dynamic point cloud and the interactions of its viewers the companies brought the design philosophy of Hyundai to life and transformed it into a vivid organic art experience.

Nature is to be seen as a source of inspiration, including the dynamics of ebb and flow of life, its instinctive natural rhythms and the ability to adapt and evolve. FLUIDIC transforms this idea into a vibrant art experience: with a liquid surface transmuting into vapor, seemingly random molecules forming an organized cloud and sensing the presence of life around the arrangement.

Shaped by human interactions, the molecules begin to swarm – aggregating and accumulating. They are constantly in motion, reacting and adapting with the people who seek to engage with the installation.

Technology at its highest level for a natural impression: A seemingly floating point cloud above a water pond and consisting of 12,000 translucent spheres marks the heart of the installation. Due to a complex computer algorithm the spheres are arranged seemingly random within the cloud. At the same time the algorithm observes the positions and projection angles of eight high-speed laser projectors that are being arranged around the artwork. They are sending out beams scanning through the arrangement of the cloud.

Generating bright and dim light points, this creates a highly organic and natural distribution of voxels (3D pixels). Emerging lines and shapes finally form graphical compositions without any sweet or blind spots. Keeping the same density and intensity the FLUIDIC graphics enables their viewers to observe and interact with it from every point of view.

Furthermore the installation comes with multiple 3D camera tracking systems that are able to analyze the presence of the visitors, their positions and posture. All joints of the human body are recognized and tracked by the systems constantly. This enables precise three-dimensional interactions with the graphics and elements of the cloud.

Christopher Bauder, founder of the design studio WHITEvoid, considers the project as a perfect symbiosis of futuristic technology, aesthetic art and involving the observers. “It’s not only the physical 3D display, but also the organic aspect the visitors create just due to their mere presence, that makes the FLUIDIC project a very unique art experience”, Bauder says.

This time we are glad to present a recent project from a Manchester based lighting design studio, Cundall Light4. Have a look for more info about the Lake View:

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Cundall Light4 developed the new external lighting concept for the building, bringing together both the original business park architecture, and the new build double-height entrance lobby archway all within an energy efficient, contemporary design.

To help create the feature lighting within the scheme Cundall’s brought in London-based studio The Light Lab. The Light Lab assisted with the feature design,and then implemented the manufacture and install of a custom linear light feature to complement the new entrance lobby and reception. Lines of diffused LED light were recessed into the exterior of the entrance lobby to follow the contours of the new build archway.

Complementary linear lines of light were also installed internally with all RGB LED elements DMX controlled to allow very subtle shifts of colour throughout the day. Additional exterior lighting was supplied by ACDC lighting.

Don´t miss out our special Featured Article about The Light Lab in May 2013.

Into Lighting Design sent us their recent project in Hong Kong, IL MILIONE restaurant. For further reading, please see below:

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Appointed as lighting consultant by Savors Group on their flagship restaurant in Hong Kong, INTO were tasked with realising the interior designer DLSM and the clients vision for a luxurious theatrical scheme which included a ‘wow factor’ feature ceiling. The feature ceiling would also be used as one of the main promotional images for gaining publicity for the restaurant world wide.

The venue has no natural daylight so we had to ensure there was enough light for lunchtime dining whilst retaining the theatre. The ceiling was also very low so we have to be sure to create the illusion of increased space. This was achieved with a well illuminated feature ceiling along with the extensive use of mirrors and reflective finishes.

Creatively led by INTO Director Darren Orrow the lighting design is based around creating many layers of warm white light glowing from concealed architectural details along with the bespoke feature ceiling. Table are lit with pin spots of light to heighten the drama.

Warm white Led profiles and tape products have been specified from Led Linear and Osram for all concealed lighting details. We specified a flexible Luci Led tape for the bespoke ceiling feature fittings which were designed by Design LSM and Into and manufactured in China. Due to the amount of linear LED products we specified a DMX dimming system from Lutron to ensure we could dim all LED lighting smoothly to a very low level in the evening settings.

All ceiling recessed down lights were specified from Lucent for their minimal aesthetics and low glare. In the main dining area we specified surface mounted low glare fittings from Precision to light the dining tables. The long snoot and honeycomb louvre accessories ensure minimal glare even when lighting tables at an angle. The client wanted to ensure the private dining room exuded glamour and together we sourced crystal pendants from Swarovski to sit over the dining table.

Skira lighting design won the IALD Special Citation award 2012 for the successful translation of a visual theme into light. We are pleased to share with you the awarded project based in Zagreb, Novamed Polyclinic. For further reading, please see below:

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In addition to its practical functions, such as increasing security, providing visual comfort and enhancing people activities, lighting also has another important task—creating emotions. Many medical researches already emphasized the connection between light and emotions and its benefits so it was only logical to apply them in a medical institution.

Healthcare projects are truly a great challenge for lighting designers. Nowadays many medical institutions are built to make the space look as non-institutional as possible. Creating a residential and relaxed atmosphere is beneficial to patient health, and a gentle, unobtrusive lighting system can accomplish that goal.

Yet, complex visual activities have to be performed in the same space and the detailed cleaning activities also. Considering the variety of needs, it is crucial to find lighting solutions that effectively balance the visual requirements of all users. When choosing general lighting equipment in Novamed Polyclinic the decision was to use mainly fluorescent light sources, keeping focus on the color temperature specific for each room, and fixture performance to meet the highest standards.

While there are no rules in how to make good lighting, many manuals and technical books gives us proper guidelines on how to provide adequate lighting for different spaces. This can help us fulfill the formal requirements, but if we want to step out of the ordinary it takes more than that. When a person in need of medical assistance walks into a clinic, expectations of interiors are usually connected with light green walls, Armstrong ceiling with 60×60 fluorescent fixtures. The idea in this project was to create a space that is fun and dynamic, colorful and inviting, with ever changing scenes of light where patient will not feel the pressure and formality of medical institution. That was the main intention, creating lighting that is more a sculptural installation instead of using formal lux per m2 lighting approach.

The interior of the Polyclinic is set of three levels in terms of pogramme. The ground floor includes reception zone, beauty centre, and Pediatrics’ Department, Internal Medicine Department, pharmacy and cafe bar. The first floor includes the Dental Medicine Polyclinic and Gynecology Department, and the second floor offices, a small hall for education and suites for patients.

In entrance and reception zone an organically shaped channel is winding through the plasterboard ceiling and reaching the cafe bar where it inosculates with the opposite semicircular wall in glass. Along this channel linear LED RGB lighting is hidden as well as the downlighters that are recessed into upper ceiling. The treatment of the ceiling, as the most important forming element of the Polyclinic, resulted from the awareness that the patients are usually directed towards it during the examinations. The downlighters are chosen to match the visual comfort and follow the organic contour.

The idea of this contour came out of a picture of brain cells in a local newspaper. Transforming the basic image of these cells into a lighted curve linear organic form was a challenge not only presenting the idea but also building it. It was necessary to find the exact possible location for the continuous curve since the ceiling is packed with various installations. It needed to bi perpetual to reveal the idea of continuity and connection of cells in our mind.

To reduce the number of visible elements it had to be reached out for some existing solutions such as the multi-lamp recessed luminaire that holds three or four adjustable projectors inside the housing. Thanks to the well planned height for the HVAC it was possible to integrate the lamp in form of lighting dome that needs 350mm depth in the ceiling and can provide desired amount of light, wired for fluorescent lamps and RGB LED module. In this way diffused and soft lighting was achieved with controllable intensity and changing colors.

The visitors probably won’t understand at first glance what this form represents but it will certainly make them think about it and forget for a moment where they actually entered and for which reason.

Credits:

Client: Novamed Polyclinic
Architects: Ante Nikša Bilić, Vanja Biščanić, Sunčica Mastelić-Ivić
Lighting designers: Dean Skira, Maja Lipovčić
Photos: Vjekoslav Skledar
Text: Skira Ltd.

Easter is a convenient time to present the recent lighting concept for the Cathedral of Crema by Francesca Storaro. Please read below for more information:

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The building as we now see it replaced the one destroyed by Barbarossa in 1160. In 1185 reconstruction work began on the eastern side. In 1212 work was halted, only to start up again in 1284, changing to a Gothic style. The church was completed around 1340. In 1385 the apse was lengthened, and the crypt created. Restoration work carried out in the last century removed alterations made in subsequent periods, restoring the building to its original state.

The space inside has a nave and two side aisles with five bays, marked by majestic polystyle columns. The longitudinal arches are Romanesque, and are round, while the rib vaults were built at the end of the 13th century.Above the arches two single-lancet windows are located in the attic of the side aisles, while above them outward-opening double-lancet windows are located above.

The lighting design foresees 2 types of lighting: The first- ordinary lighting, architectural in type, the cathedral’s characteristic architectural elements are played up through light: the polylobed pillars, single and double-lancet windows of the nave, vaults, altar, fresco fragments and the apse. The polylobed pillars and single and double-lancet windows of the nave will be illuminated by a warm white light.The apse, the visual centrepiece of the composition, will have a warmer tone of white light than the elements above, highlighting the concept of colour contrasting through Light, typical of medieval Lombard architecture. The vaults of the nave and of the side aisles will be illuminated with a neutral white light. The altar, pulpit and crucifix suspended above the altar will be given special lighting.

The second type od lighting, Solemn lighting during Mass, celebrated by His Excellency the Bishop, lighting will be symbolic, theological, in nature. The immense and rich art centring on the figure of Mary is the most eloquent expression of the great devotion with which the Church, over twenty centuries, has constantly venerated the mother of God.

As Crema Cathedral was built as a homage to the Madonna, the idea for the building’s lighting is based on the concept of being able to clothe the Temple dedicated to her in Light, in a similar way to the colour symbols attributed to Mary in the figurative arts. Being in a Church dressed as She is dressed is a sign that our thoughts are turned to the Virgin Mary, evidence of our will to carry forward our baptism and to become her sons and daughters, brothers and sisters, and of our desire to be dressed in her virtues, her contemplative spirit, her purity of heart.

In Crema Cathedral, therefore, the figurative idea is that of viewing the cathedral just as Mary is depicted in Christian iconography: an orange tunic, a sky blue mantle and a white veil. The orange tunic symbolises Mary as the mother, as Earth, as the Gate. In order of time, the main characterisations of Mary arise from the oldest, indeed primordial, title attributed to her, that of mother of God. A particular iconographic aspect of the Mary-Communion theme is the emphasis on the maternal nourishment given by the Virgin and the consequent relationship with “mother Earth”. Another image of Mary is that depicting her as a Gate, a pathway, this too a symbol of the Earth. This gate alludes to one of the most suggestive symbolic functions associated with Mary, that of janua coeli, “Gate of heaven”. Thanks to His flesh, His human nature, Christ the son of God became the “gate” through which men can gain access to everlasting life. The first “gate” is Mary, giving her consent and allowing God to gain access to human life. Thus the oldest parts of the cathedral, the round longitudinal arches, of Romanesque origin, and the apse, the central core of the cathedral, will be bathed in Warm Light, similar to Mary’s innermost garment, the Orange tunic.

The BLUE MANTLE is the symbol of Mary as Woman, as Bride: the symbol of the Moon. The blue mantle is none other than Mary assumed into Heaven. The iconography of the Mater Misericordia (Mother of Mercy), showing Mary gathering the faithful under her mantle, illustrates the maternity uniting man and God, extending to everyone the merciful love of the Father. As such, the mantle, a symbol of protection, holds two meanings which, by analogy, are part of the Marian devotion: the legitimacy of children kept within the nuptial cloak, and the refugee’s right to protection beneath the sovereign’s mantle. All believers seek protection beneath Mary’s opened cloak. The gothic rib vaults of the Cathedral will be completely bathed in heavenly light. Just as the sky blue mantle wraps around the Virgin Mary, so this heavenly light will cover the rib vaults, symbolically sheltering the faithful from above.

The WHITE VEIL represents Purity, Virginity, the state of Grace. Just as the White Veil falls over Mary’s head, so the White Light will shine on the cathedral’s main decorative elements, such as the single and double lancet windows above each arch of the nave, coming down from above and illuminating the main architectural elements, such as the polylobed pillars. In addition to being decorative, these columns are also a structural, weight-bearing element, just as the concepts of Virginity and Purity in the case of Our Lady.

A fundamental role will be played by the brand new LED technology inside the SIMES lighting fixtures. All lights will be latest generation LED, providing powerful beams and high energy efficiency. This technology provides high quality solutions to the intentions of the lighting designer and the client. This challenging project is a continuous search to strike the right balance between light and shadow, a journey exploring light and various forms of expression, working in a team towards a common goal: restoring to the Cathedral its ancient splendour.

Credits:
Lighting concept/design: Arch. Francesca Storaro
Lighting fixtures: SIMES

A Zürich based Lighting Design studio, Lichtkompetenz, sent us their very recent project: the new wine cellar at La Grande Epicerie de Paris, Le Bon Marché. Please read more below:

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Just finished before the 2012 Christmas season, La Grande Epicerie de Paris has opened their new Wine cellar “La Cave”. The 550m² space in the basement of Le Bon Marché, Paris’ most traditional and very first Shopping centre, links 3000 carefully selected wines with a new restaurant and the male fashion area“Balthazar”.

The prestigious 200.000 bottle wine, spirit and champagne selection is presented in a subdued and warm atmosphere created by mainly furniture integrated, high colour rendering LED lighting, hence adding value to the presentation and preserving the sensitive and valuable goods.

Only few downlights and inground uplights help emphasising and promoting the elegant, distinguished look and feel for the high quality interior. Conceptionally we proposed three zones of light to offer a transition from a warm white cave space, over a neutral white circulation zone in the central rotunda, to a cool white ambient feature light in the atrium space, which at the of the building process will have direct access to daylight.

Various changes in the integrated lighting details and the decorative lighting were developed during value engineering to ensure a punchy but glare free light quality in all of the curved displays and the decorative lighting intend developed from fully bespoke crystalline chandeliers and wall appliqués to off the shelf chandeliers specified by the interior architect. Also the originally intended dimming system for a final balancing and further energy saving settings could have helped promoting the caveous impression even more.

The subdued scheme however is very well accepted by Le Bon Marché and its clients, raising expectations for their complete renovation plans in the near future.

Credits:
Lead architects: Le Bon Marché, Paris
Executive Architects: DYA, Paris
Design development: Delacroix & Friant ,.Bruxelles
Concept architects: Concrete, Amsterdam
Furniture design: Schweitzer, Naturns
Lighting Design: Lichtkompetenz, Zürich

Focus Lighting from NY sent us their recent interactive light art project, named Cloud. You may see it in Boffo Show House, NY or read about it here below:

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Focus Lighting teamed up with arts and culture non‐profit, Boffo, on a “cutting‐edge experiment in living” displayed for a limited time in New York’s Lower East Side. The Boffo Show House is a collection of innovative furniture, décor, and art by famous artists and architects such as Andrew Yes, Thomas Heatherwick, and Cecil Balmond.

All together these pieces combine to create complete environments that redefine the modern home. The four apartments within the Boffo Show House offer completely unique experiences according to specific themes – Future, Nature, Work, and Play.

Focus Lighting’s interactive installation – “Cloud” – unifies the Show House experiences by ushering guests in with a veil of ever‐changing color overhead. The LED nodes illuminating the 200 tubes and uplighting the ceiling above the 16 wooden discs employ infra red sensors that allow “Cloud” to process the movement beneath it. As visitors walk through the 35‐foot long hallway, a dynamic shift in color springs ahead of them.

The principal designer, Brett Andersen commented: “We wanted to use light to create a welcoming and memorable experience for each visitor. We kept the colors and the programming quite simple, allowing us to create abstract representations of nature that tie these four very different spaces together”.

Guests entering the hallway from either end or from the middle rooms can trigger a transition to one of 12 unique looks.

“Part of the challenge was designing the logic by which “Cloud” would function – how and when the sensors would communicate with the lighting. We then focused on timing to get everything to flow smoothly,” says lighting designer, Ryan Fischer. In addition, an increase in the amount of activity sensed by the installation’s eight motion sensors intensifies both the pulsating and the color of the light, giving “Cloud” a life of its own.

Credits:

Light Artist: Focus Lighting Inc.
Design Team: Brett Andersen – Principal Lighting Designer, Ryan Fischer – Assistant Lighting Designer, Dan Henry – Programmer
Photographer: Ryan Fischer

LightAct Systems sent us a couple of nice photos and a case study video of an interactive lighting for a small gallery called Galerizi.

It is a small outdoor space in central part of Ljubljana in Slovenia dedicated to exhibitions of photography.

The artworks are exhibited on a rectangular feature mounted on the wall approximately 6m in length.

The artworks are translucent and are hidden behind a dark glass.

They only appear when you step in front of them, thus allowing the visitors to (re)create an exhibition space with every step they make.

The gallery is visible from afar as well. LightAct therefore decided to create a random dynamic pattern which becomes active when there in no one in the gallery for some time.

This dynamic life-like moving pattern of lit artworks attracts visitors to step inside the gallery.