Lightopia

Pier Mauá Cranes, Rio de Janeiro LD Studio

Two beautiful and sculptural cranes from the 60’s remain by the port area of Rio de Janeiro’s downtown as a record of a glorious past. Those big structures are located next to the Museum of Tomorrow at Mauá Square, a recently renewed area of the city that has become an important site for the city residents, the Cariocas, as well as for tourists. But sadly, those beautiful cranes used to go dead during the night.

These metal piece characters are well known by the Cariocas and certainly every child that has set eyes on one of them, have related its form, shape and size with cartoons like dinosaurs or some other creature of their imagination. Therefore, the intention of the lighting is to give life to these big metal structures in a way that allows people to go back to childhood and thus give wings to their imagination.

Their approach to this lighting concept consists in revealing the main structure, the ‘animal’s legs and upper body’, using a warm white LED floods, with different intensity and beam angles, while taking the opportunity of the existent transparency of its operator’s cabins and along with the crane’s boom, the “arms” of the imaginary creature, using an LED RGB technology that adds movement and pulsation to this character they are creating.

Raum der Stille, Frankfurt 2018 Light Design Engineering Belzner Holmes

The main vision for Raum der Stille was to create an interdenominational devotional space that serves as a haven from the stressful travel dynamics of an airport. The interior designer achieved this spatial effect as she was inspired by the way light refracts in water, also called caustic, and functioned as a calming meditative aura for her.   The ceilings and walls of the room are covered with gold coloured metal panels with a slightly uneven surface that creates a warm ambience. The light reflects onto the curved surfaces, which slowly change in intensity, creating an impression of slow flowing movement. To achieve an optical effect, narrow beam spots were used to illuminate the ceiling from below. The structure of the ceiling panels creates the caustics on the floor, walls and furniture. In the area of the façade, the panels are perforated in order to extend our vision outwards.

CLD Certified Lighting Designer

Light-Space-Modulator, 1930 László Moholy-Nagy

This piece of lighting equipment is a device used for demonstrating both plays of light and manifestations of movement. The model consists of a cube-like body or box, 120 x 120 cm in size, with a circular opening (stage opening) at its front side. On the back of the panel, mounted around the opening are a number of yellow, green, blue, rot, and white-toned electric bulbs (approximately 70 illuminating bulbs of 15 watts each, and 5 headlamps of 100 watts). Located inside the body, parallel to its front side, is a second panel; this panel too, bears a circular opening about which are mounted electric lightbulbs of different colors. In accordance with a predetermined plan, individual bulbs glow at different points. They illuminate a continually moving mechanism built of partly translucent, partly transparent, and partly fretted materials, in order to cause the best possible play of shadow formations on the back wall of the closed box. (When the demonstration occurs in a darkened space, the back wall of the box can be removed and the color and shadow projection shown on a screen of any chosen size behind the box.) The mechanism is supported by a circular platform on which a three-part mechanism is built. The dividing walls are made of transparent cellophane, and a metal wall made of vertical rods. Each of the three sectors of the framework accommodate a different, playful movement study, which individually goes into effect when it appears on the main disc revolving before the stage opening. The first sector’s playful movement study: three rods move jerkily (since the plan of the edges and base are somewhat different) on an unbroken path. Different materials, translucent screening, parallel horizontal rods, and wire netting are mounted to the three rods. The second sector’s playful movement study: found within three levels arranged one behind the other is a large immobile aluminum disc; moving up and down in front of this is a small, bent and highly-polished perforated brass disc; at the same time—between the two—a small ball is set in motion as if on a roller coaster. The third sector’s playful movement: a glass rod topped by a spiral of glass. This describes, in the reverse, the movement of the pin of the large disc, whose tip touches the base made of a diagonally-arranged and sector-shaped glass disc, levitating over a reflecting circular platform. This piece of lighting equipment can be used to arrive at countless optical conclusions, and it seems correct to me that the development of these attempts be continued as planned, as a way to approach the designing of light and movement. 

The new outdoor lighting of Milan Cathedral, Milan 2019 Ferrara Palladino Lightscape, powered by Erco

[...] "We undoubtedly improve the perception of the cathedral with the new lighting. The cathedral regains the didactic role it's played since its creation: as with every Gothic building, the cathedral was built to proclaim a message of salvation. The facade of the cathedral bears the teachings and dogmas of religion, from creation to the teaching of the saints as well as the entire history of Christianity. This more or less educational function is once again ensured by the increased number of projectors. Illuminance levels of between 70lx and 100lx enable the numerous details of the building to be more clearly defined. The 4000K light colour enhances perception of the Candoglia marble interspersed with various shades of pink-grey” explained Palladino. Projectors with particularly narrow and precise light distributions are required to effectively illuminate a building of this size in a densely built-up urban space, without having a negative impact on the immediate surroundings. "A good lighting concept doesn't need masses of light but rather precisely applied, high quality illumination”. For the new exterior lighting of the cathedral the designer specified glare-free ERCO Lightscan and Gecko projectors, modified to the special requirements of the project. The "ERCO individual" version of Lightscan installed achieves this with high lumen packages, a higher protection class, special mounting brackets, the mounting positions and a housing colour precisely matched to the marble of the facade.

The relighting of Milan Cathedral, Milan 2015 Ferrara Palladino Lightscape, powered by Erco

“[...] the first aspect to consider is the monumentality of the architecture as a whole. The impressive size, its enormous scale which accompanies us from the moment we enter through the main portal,” Pietro Palladino says explaining his design approach. “These are dimensions that confront us right away.” Effectively, the Cathedral is among the world’s largest sacred buildings. It is 157m long, the transept is 92m wide and the nave is 45m high. In its concept, the light therefore needed to emphasise the lofty character of Gothic architecture as much as the vastness of its interior. In the words of Palladino, it was to “be a tool used to bring out the grandeur of this building and pay homage to the Cathedral as the most significant place of worship in the city”. The concept by Ferrara Palladino integrates several components. First, the uniform illumination of the Gothic vaults, which are staged for the first time using this approach. The ceiling washlighting reinforces the sense of height and lightness in the interior. Indirect light blends with additional zenithal illumination of the ground to produce a kind of light carpet that connects the different spaces and creates a milder overall impression. Within this ambient lighting, accent lighting adds contrasts that direct the attention – onto the rhythm of the slender columns, but also onto individual prominent objects such as sculptures of saints, altars and paintings. These lighting tasks, where distinct brightness contrasts need to be created across a distance of 40m or 50m, require spotlights with a very narrow beam, yet high lumen packages, as ERCO is able to offer thanks to its innovative Spherolit LED lenses. The designers did not specify an electronic lighting control system, but structured the lighting in switchable groups to allow the selection of light scenes appropriate for different occasions and usage situations.

Lichtdecke Kandinsky, Munich 2006 Olafur Eliasson

An investigation into white light, this installation was conceived for an exhibition at the Lenbachhaus in Munich, Germany. Invited to respond to the works of Wassily Kandinsky, Eliasson focused on the way in which the changing daylight affected visitors' perceptions of Kandinsky's paintings. Various geographical and temporal light conditions were simulated by a light-control system, situated above a translucent glass ceiling. As the artificial light changed, so did the room, the color of the walls, and that of the paintings. The walls of the gallery were painted chamois gray, a hue that before the invention of modern Titan white paints in the 1940s was generally considered pure and neutral.

The Last Supper, Leonardo da Vinci Lighting by iGuzzini, 2015

The specifications for the new lighting system defined by the Heritage Office focused on the need to limit lighting to the surface of the paintings, not illuminate the side walls of the refectory or the section of the vault above the paintings, restore the work's chromatic qualities, reduce the heat created by the luminaires and lower energy consumption. The design procedure consisted of two separate phases involving laboratory testing the luminaires and then defining the solution on site. The first phase was conducted in the ISCR light research laboratory with the aim of assessing the optimal spectral distributions. The new system features Palco spotlights fitted with Chip On Board LEDs installed on a DALI track including an iGuzzini control unit that can individually regulate the luminous flux of each spotlight. This creates a superior level of light uniformity on the painting while remaining within the lighting levels produced on the painting set by the conservation specifications defined and tested by the Higher Institute for Conservation and Restoration. The LED spectral quality and relative colour temperature were chosen following a visual assessment of the tests on the painted surface made by a commission of experts including the Head of the Milan Architectural and Landscapes Heritage Office, the Director of the Last Supper Site, the painting's Chief Restorer and the Director of the Lombardy Regional Museum Group, who together judged that the optimal colour balance produced by the spotlights is an LED colour temperature of 3384 K. On the basis of this decision a number of assessments were also made regarding conservation. Tests were made and all the measurements taken indicate that the consistent reduction of dissipated heat in the room achieved by the new lighting system has a positive effect on the stability of the exhibition environment. 

Richard Kelly (American, 1910-1977) One of the pioneers of architectural lighting design, with a background in stage lighting he introduced a (revolutionary for his time) scenographic perspective for architectural lighting. He had a deep influence on modern architecture, working with Mies van der Rohe, Philip Johnson, Eero Saarinen, Louis Kahn among others. To this days his terminology is used to describe the conceptual background for numerous lighting solutions, particularly his concept of three distinct types of lighting:

Focal glow, a way to point out important elements: “Focal glow is the follow spot on the modern stage. It is the pool of light at your favorite reading chair. It is the shaft of sunshine that warms the end of the valley. It is candlelight on the face, and a flashlight on a stair… Focal glow draws attention, pulls together diverse parts, sells merchandise, separates the important from the unimportant, helps people see.”

Ambient luminescence, the background lighting that serves to perceive the environment in general: "Ambient luminescence is the uninterrupted light of a snowy morning in the open country. It is foglight at sea in a small boat, it is twilight haze on a wide river where shore and water and sky are indistinguishable. It is in any art gallery with strip-lighted walls, translucent ceiling, and white floor. (…) Ambient light produces shadowless illumination. It minimizes form and bulk.”

Play of brilliant, light as information, which can be dynamic or colourful: "Play of brilliants is Times Square at night. It is the eighteenth century ballroom of crystal chandeliers and many candle flames. It is sunlight on a fountain or a rippling brook. It is a cache of diamonds in an opened cave. It is the rose window of Chartres… Play of brilliants excites the optic nerves, and in turn stimulates the body and spirit, quickens the appetite, awakens curiosity, sharpens the wit….”

Robert LaPrelle, © 2013 Kimbell Art Museum, Fort Worth                Kimbell Art Museum, Fort Worth, Texas; constructed 1969–72; north galleries; Louis I. Kahn (1901–1974), architect

Story Wall Eskilstuna, Sweden ÅF Lighting IALD Merit Award 2018

The municipality of Eskilstuna, Sweden requested a lighting solution to turn a dark pedestrian tunnel into a more inviting place. This simple solution succeeds at making the tunnel brighter, safer and more fun for people passing through. Approaching the tunnel, you might notice nothing more than the well-lit walls along the pedestrian path. It isn’t until you step inside that you see a unique and colorful shadow show that mimics your movements as you walk, run, bike or dance through. The project’s low budget meant the design team had to work with existing white tiled walls, grey concrete pillars, and yellow-toned light cast by existing luminaires. Their innovation means that dozens of people who would have passed through the space daily without any thought for their surroundings now find cause for delight, curiosity, and interaction – all due to the thoughtful use of light.

HSBC Cafeteria, Dusseldorf 2017 Licht Kunst Licht Award of Excellence IALD 2018

As part of a modernization project, a staff restaurant and associated kitchen from the 1970s were to be architecturally renovated. An essential part of the design task was to introduce daylight by constructing a new light well. However, for structural reasons, only a confined shaft geometry with small windows could be realized. The daylight intake would be minimal, with few positive effects and poor views. Instead, designers began work on an electric lighting-based approach that would simulate daylight and support the circadian rhythms of the occupants. Collaborating with experts on occupational health and safety, the team determined the specific wavelengths and programming of the luminous wall, simulating daylight’s variations, dynamics, color, direction, and intensity. The floor-to-ceiling panorama window wall shows a folded image of the river Rhine. When illuminated, the wall emulates a relation to the outdoor environment. Behind the glazing, linear RGBW LED luminaires are concealed in the floor. Linear luminaires in the ceiling simulate daylight during mid-day hours. The artificial panorama window provides human centric illumination in a daylight deprived space. As one judge said, “This project succeeds where many have tried.”

German Ivory Museum, Erbach 2017

Sichau & Walter Architects + Licht Kunst Licht 2018 Radiance Award for excellence in lighitng design