Luminous 11 - Beyond Light and Well-Being

Light and well-beingInterviewsDr. Bernecker and Dr. Daan

ProjectFloating silkworm cocoons

International Lighting Magazine 2013/11 Spring Issue

Luminous_11_2013_UK_v6.indd 1 16-04-13 10:58

2 EDITORIAL

BEYOND EFFICIENCY

This edition’s cover of Luminous says it all: the rightful and purposeful design of light in

architecture is a profession that goes way beyond making things “efficient”. Because what

does “efficiency” really mean?

Sure, the reduction of energy consumption is of incredible importance, and today’s LED

lighting contributes in a tremendous way to that. But then there is so much more about

light.... Beyond the simple objective of reaching efficiency, light is about wellbeing, about

feeling healthy and being stimulated. Light is about being amazed and about giving people

a feeling of love for the world around them. Light is about imagination.

This year, it’s “our year”. With the completion of the new lighting for Empire State Building

in New York City, lighting design takes a new turn: fully integrated, a part of the building

experience, and a gift to the city. And, on the other side of the world in my hometown

Amsterdam, the new Rijksmuseum just re-opened after ten years, and puts the Rembrandt

and Vermeer paintings on display in the most beautiful light one can imagine. And it’s all

done with LED. A benchmark project for the entire museum industry, with many galleries

around the world to follow.

These projects do not just come along. They are fine examples of lighting design and

project planning, and they could only be realized because both the creative team and the

engineers worked so closely together with the client. These are processes that took many

years, and that are rooted in a profound knowledge of the project, and deep interest in its

context, as well as its history and future. And what a pleasure it is for lighting designers

to work on such projects! To be able to contribute to the imagination of so many people,

visitors and city dwellers alike, and make light and lighting design go beyond efficiency. It’s

not without a reason the theme of this edition of Luminous.

The examples around the world are plentiful. We take a look at enhancing people’s well-

being through light, and explore why and how light affects our mood and health. We dive

into the world and the work of Prof. Serge Daan, a behavioral biologist who published over

250 articles on topic of circadian rhythm. It’s the stuff that matters to each lighting designer,

just like daylight. Similar to the Rijksmuseum, where the paintings render so beautiful under

the skylights, daylight is instrumental to keep office workers healthy and happy, and to help

patients in the hospital to heal faster. Read on in the article “In praise of daylight”.

Let Luminous not just provide you with new ideas for future projects, but also provoke a

meaningful discussion about the role of light in our lives. Because, as Santiago Calatrava

said it so rightfully about the role of designers: “We have to deliver a sign of beauty”. Feel

free to write me, and let us know what you think about Luminous!

Rogier van der Heide

P.S. Looking for inspiration? The Light Show at the Hayward Gallery in London. is a

phenomenal overview of light art from all over the world. Open until 6 May 2013.

colophonpublished by | Philips Lighting BV – Mathildelaan 1, Eindhoven 5611 BD, The Netherlands – www.lighting.philips.com editor in chief | Vincent Laganier managing editor | Paulina Dudkiewich steering committee | Fernand Pereira, Cécile Davidovich, Matthew Cobham copywriting & editing | Ruth Slavid graphic design concept | MediaPartners dtp | Relate4u printing | Print Competence Centre ISSN nr | 1876-2972 12 NC 322263567444 cover | Sony Center, Berlin, Germany photo | © Alexander Weckmer Licht und Mediensysteme GmbH more info | [email protected]


CONTENT 3

BEYOND LIGHT AND WELL-BEING

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6

DIALOGUE

LIGHT, DARKNESS AND WELL-BEING Dr. Bernecker and Dr. Daan interviews

IN PRAISE OF DAYLIGHT Research into health and light

DOSSIERBeyond light

VOLCANO OF LIGHT Helmut Jahn and Yann Kersalé in Berlin, Germany

SLEEK ELEGANCE Bally store refurblishment, Geneva, Switzerland

FLOATING SILKWORM COCOONS Aurélien de Fursac and Patrice Echassériaux in Lyon, France

MORE NATURAL LIGHT Bradford Royal Infi rmary, Yorkshire, UK

FEEDBACK

THINKING ABOUT CITIES ‘Create the Liveable City’ workshops

DAZZLING EXHIBITION Light Show expo, London, UK

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By Ruth Slavid

If lighting designers are to create solutions that are not

simply technically proficient but also enhance health and

well-being, then they need to understand the scientific

basis of our response to light. Two leading researchers

outline the basis of their work.

Light, darkness and

well-being



6 PLATFORM

Dr. Bernecker

CRAIG BERNECKER

There are many researchers who have seen effects from their

work, but few as directly as Craig Bernecker, founder of the

Lighting Education Institute. A study he carried out in the early

1990s into people’s perception of lighting has changed the design

of thousands of uplighters since then. The popularity of the direct

indirect light can be largely laid at Bernecker’s door, since the

research that he did both for his PhD and later on showed that

people’s perception of lighting is greatly improved when they can

see a direct as well as an indirect element.

“We found that you need to see the source of the lighting to feel

that it is bright enough,” Bernecker explained. “People described

rooms lit with entirely indirect lighting as being like having an

overcast sky, rather than the clear crisp environment that you get

on a sunny day.

“Bernecker researched his PhD after a spell working for Peerless

Lighting in California, a manufacturer of indirect lighting. The

experiments he carried out resulted simply from putting a diffuse

lens into the side of an uplighter. More sophisticated forms – such

Philips Lighting University’s collaboration with Parsons The New School for Design

In 2012 the Philips Lighting University began

exploring a collaboration with Parsons with the

intention of creating a platform for exploring and

sharing academic and industry knowledge which

was of benefit to further light as part of architecture.

Derek Porter, lighting designer and director of

lighting design at Parsons, developed the idea with

the Philips Lighting University. The first step was

the Luminous Talk, which took place at Parsons

in October 2012. When Dr George Brainard,

professor of neurology at Jefferson Medical College

in Philadelphia, spoke at the Luminous Talk in New

York last October, it was not only a successful event

but also the start of something more. The event, a

collaboration between Philips Lighting University and

Parsons The New School for Design, was chaired

by Craig Bernecker, one of the most determined

educators in the field of lighting, as well as a man

with his own impressive research pedigree.

Brainard gave an insight into the effect of blue light

on circadian rhythms, and the intention is to widen

the audience to learn not about the technology

of lighting but about the scientific basis of our

responses to light. Bernecker says, “We hope to

build on the relationship between Parsons and

Philips initiated with Luminous Talks, looking to

future topics for face-to-face seminars, and perhaps

other modes of delivery for some of these topics,

such as distance education. This would allow us

to expand the interest generated in the local NYC

community to a much broader audience, with the

same academic focus we created with the initial

Luminous Talk.”

A number of academics will be involved in this

endeavour. On these pages we look at the work of

two of them, Bernecker himself and Serge Daan, the

Dutch scientist who has enhanced understanding of

our reaction to daylight and darkness.

The Philips Lighting University in collaboration with

Parsons The New School for Design presented

webinars in April, May and June around this

subject with Bernecker, Daan and others. For more

information visit the following link:

www.lighting.philips.com/main/connect/

lighting_university/webinars.wpd


PLATFORM 7

as adding perforated metal, cutting slots and adding lenses and

louvres to indirect luminaire – are now nearly universal.

In case you were wondering, people don’t actually need to see a

light source directly to get this effect. Lighting design such as the

use of cove lighting actually has, says Bernecker, the effect of “a

virtual source”. When one sees the reflected light it is clear where

the light source is, even though it is not visible. The result, in terms

of perception, is the same as if the research subjects could see the

light source directly.

Not all Bernecker’s work has yielded such tangible results. A study

with neurology professor George Brainard looked at whether

architectural lighting could alleviate the effects of seasonal affective

disorder. “Until then most studies were therapeutic,” Bernecker

explained. “We wanted to know if we could create physiological

responses with architectural light.” They found that by using light

levels as low as those commonly found in offices, it was possible

to suppress melatonin, the hormone that is a marker of circadian

rhythms (melatonin levels rise at night when we are not exposed

to light). They found that higher levels of light have an even greater

effect. It is possible to achieve this by raising light levels, particularly

of task lighting, but not to levels that seemed ludicrously bright.

“We were able to suppress levels of melatonin with much lower

levels of light than people were predicting,” Bernecker said.

“We could build in those levels.”

One might think that, with our current concerns about energy

saving, ratcheting up the levels of light would be entirely

unacceptable, but Bernecker thinks there are ways to get around

the issue. With more research one could discover exactly how

much of a “daily dose” people needed and this could be done

by turning on lights early in the morning, for example, or having a

brightly lit canteen. If it reduced the incidence of depression and of

absenteeism, then the costs would easily be offset by the savings

to employers and health services – not to mention by the increase

in health and happiness.

These two studies indicate the breadth of Bernecker’s interests,

which cover the psychological and physiological effects of lighting

Nike shop lighting design, option 1, flexible LEDby Byungwoo Jun and Jacinda RossLighting Studio 1 Fall.11, Parson’s MFALDProfessor: Craig Bernecker

© B

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8 PLATFORM

as well as a sound technical background and a drive to spread

knowledge. Some of this derives from the unconventional way in

which he came into the lighting world.

Bernecker’s first degree was in psychology, which he intended to

be a precursor to training as a Lutheran minister. When he decided

that was not the path for him, he started taking additional classes

in architecture, a career that had always interested him.

On graduation he tried to get on a master’s course in architecture

at Pennsylvania State University, where he had taken his first

degree. He was not successful, but was instead steered toward

the architectural engineering course.

He had a lot of catching up to do in preparation for a graduate

degree in engineering. “I took a lot of undergraduate courses,” he

said, but he rapidly became a protégé of John Flynn, who was

carrying out some of the earliest work into the psychology of light.

Bernecker became his graduate assistant and his master’s thesis

was on predicting and mapping brightness from luminance data as

a better way to understand how people perceive spaces.

Some of this work was carried out in mocked-up rooms, but

Bernecker also created some of the earliest computer simulations

of lighting effects. Crucially, these were correlated with impressions

of real rooms and, although the experience is different – with a

simulation one is standing outside it – the reactions were found

to be the same. Now, when such simulations are part of every

designer’s armoury, it is easy to forget that they did not always

exist – and, crucially, that they might not have worked.

Most of the work dealt with brightness, although there was also

some variation in colour temperature, but the range of colour

temperatures available was far less – this was the 1980s. Now

not only are many more colour temperatures available but digital

technology offers far more opportunities. Bernecker has explored

with students a simple way of measuring the light that falls on a

surface, using a digital camera as a measuring device. In this way it

is possible to carry out more tests of perception.

“With better measurement techniques we can do many more

studies,” said Bernecker. “I would like to go back with the data that

Most of the work dealt with brightness,

although there was also some variation in

colour temperature.


PLATFORM 9

we can capture and correlate with the Flynn data. I am interested in

discovering when people perceive something as uniform and relate

it back to ideas of spaciousness, for example.”

The fact that Bernecker is doing this work with his students is

important, since teaching has been a major thread through his

working life. Just as he fell into the world of lighting, so he fell

into teaching, originally taking over some work that Flynn found

inconvenient. But in both cases Bernecker has developed a

passionate commitment.

He set up the Lighting Education Institute because he was

interested in offering a range of programmes, including distance

learning, to anybody who was interested in lighting – an area

where he still feels that there is a great lack of information. He sees

lighting as a specialism in itself, which helps to explain the eclectic

nature of his research – as well as the fact that “as an educator,

in order to help my students achieve the understanding of these

disciplines and acquire the creative ability to do good design,

I need to have achieved these things myself. Multidisciplinary

research helps me to better help my students. It is also important

to point out that it is my students who sometimes help direct my

research activity. A graduate student’s specific interest in an area

would lead me in a direction I might otherwise not take in order to

properly advise him or her.” Hence his co-authoring of papers such

as “Formation of a zirconate phase within the emission mix for low

pressure Hg-Ar discharge lamps”, which was the particular area of

interest of a Chinese student in the mid-1990s.

Better lighting can, Bernecker believes, only result from better

knowledge. “Systems are still being designed by folks who haven’t

had the advantage of a lot of lighting background,” he says. “I see

architects who are designing lighting systems that are creative but

they are not achieving the effects that they would like to achieve.

And there are engineers who are meeting the required criteria but

who are creating spaces in which people are unhappy.”

The planned series of webinars together with the Philips Lighting

University represent just one way in which Bernecker hopes to help

alleviate this situation.

HDR image of a room and the associated false color luminance map. This refers to the digital camera measurement technique to capture better luminance data and thus better study brightness perception.

© C

raig

Bern

ecker


10 PLATFORM

After a PhD in Amsterdam on the subject of hibernation, Daan

went to the Max Planck Institute in Germany and then to Stanford

University in California. Early in his career he forged a relationship

with Jürgen Aschoff and Colin Pittendrigh who did pioneering

work in chronobiology. Over 25 years Aschoff monitored the sleep

behaviour of volunteers who spent four weeks in a specially built

underground apartment with no access to natural light. They were

also deprived of all time clues, such as watches, radio and TV. The

researchers monitored the sleep patterns of the volunteers, and

gathered a wealth of information. They found that most people

have a natural sleep cycle independent of the stimulus of light, but

that this varies in length, so for some it is a little longer than 24

hours and for others a little less.

Daan is particularly interested in a group who have what he calls

a “circabidian” rhythm. If a circadian rhythm is one with a cycle of

about 24 hours, with a period of sleep and a period of wakefulness,

then people with a circabidian rhythm develop a two-day pattern,

SERGE DAAN

Serge Daan still has a copy of a booklet that American airline

Pan Am gave to first-class passengers in the 1980s. Entitled “The Tireless Traveller” it gives advice on when to go outdoors and

when to stay away from sunlight in order to minimise the effects of

jetlag. The reason that Daan has kept the book is that it is based

on research that he carried out into the effects of light on our

sleep timing. It is research that is wide-ranging and that is not yet

complete, despite the fact that Daan has worked on it much of his

life - he was born in 1940. It is a more complex field than many

would imagine but the work is not only fascinating in itself, but has

major implications for the ways in which we can use light to help

make our unnatural ways of living more acceptable and healthier.

Daan is a biologist. Born in a windmill in Mook in the Netherlands,

he became involved in the field of chronobiology - the biology of

time - early in his career. ”It has always been the main thrust of my

work,“ he said. ”I am interested in particular in the evolutionary and

functional aspects of timing in animals and humans.”

“Most people have

a natural sleep cycle

independent of the

stimulus of light.”

Dr. Daan:


PLATFORM 11

typically sleeping for 12 or 13 hours, and then being awake for

35 or 36 hours. During their waking period, these people will eat

three normal meals as if this was a ”normal” day, and indeed this

is what it feels like to them. Obviously this only happens in the

special circumstances of the experiment when their body is able to

express its natural rhythm without external stimuli.

Daan is still analysing these research results. He would like to have

carried out further studies in the mid 1990s but found that attitudes

had changed. Whereas the original guinea pigs were keen to

take part for only minimal compensation, and there were more

volunteers than could be accepted, by the 1990s the opposite was

the case. ”Social and cultural changes make it virtually impossible

now,“ Daan said. ”We could not fi nd anybody who would undergo

such an experiment without being paid a lot of money.”

Nevertheless the original data has given him plenty to analyse.

We normally experience temperature fl uctuations over a 24-hour

cycle and this was the same for the circabidian people. Despite

their eccentric sleep cycle, their temperatures did not switch to a

48-hour cycle. But there is some interesting data in terms of their

temperatures. ”I am fi nding that these people tend to be colder

than other people,“ Daan said. ”Their average temperatures are a

few tenths of a degree lower than the average.“ And people with

very short cycles - as little as 16 hours - tend to be hotter. ”This

may refl ect the metabolic rate,“ Daan said.

One of the major pieces of work with which Daan was involved in

the 1980s addressed the question of internal clocks. This was a

response to the existence of internal desynchronisation – the fact

that while the world runs on a 24-hour cycle, most people have

a temperature cycle that operates over something like 25 hours.

There is obviously a ”biological clock” in the brain that causes this

cycle. Its location had been known for some time. At the bottom of

the brain, sitting on top of the chiasma – the place where the optic

nerves cross – are the suprachiasmatic nuclei, which contain the

circadian pacemaker. This pacemaker has a direct connection to

The underground isolation facility in Andechs, used by Profs. J.Aschoff and R.A.Wever between 1964 and 1989. Upper left: Transection through the bunker. Upper right: Entrance to the bunker. Lower left: Plan and section of the bunker. Lower right: The Max Planck Institute.

© S

erg

e D

aan


12 PLATFORM

the retina of both eyes. Later research by Russ Forster showed that

the responsible photoreceptor in the eyes is entirely separate from

the rods and cones that make up our visual system - which is why

it still operates for many blind people.

There was a belief that there was a second clock in our brains that

governed sleep, but nobody had worked out where it was. ”One

day I had a brain wave,“ said Daan. ”It was inspired by the sleep

researchers.“ His brainwave was that the reason nobody could

find the biological clock for sleep was that it did not exist. Sleep

is a homeostatic process, as had been shown by the Swiss sleep

expert Alex Borbély. This means that the need for sleep increases

during periods of wakefulness and decreases during sleep. It is a

self-regulating process that is only entrained by the biological clock

(that is adjusted to synchronise with it), not generated by one.

As humans evolved to become diurnal creatures - animals that are

awake during the day - they developed a cycle of sensitivity. This

means that their pacemaker will slow down if light hits it at the start

of the night but speed up when they encounter light at the end of

the night. There is a complex interrelationship between light and

our sleep patterns. The fact that it is complex is obvious when you

think about it since, as Daan points out, we are able to fall asleep

outside in bright sunlight if we are tired. There is not a simple

relationship such that we are always awake in the light and always

asleep in the dark. But changes in the pattern of light - in particular

through international flights or by working shifts - will have an

impact as they synchronise our clock.

The light receptors that set our biological clocks do not respond to

all light equally. They are particularly sensitive to blue light, which

is logical, Daan explains, because that is the light that is most

generally diffused - hence the sky looks blue. That is why artificial

lights that are designed to entrain our body clocks use blue light.

Daan is very interested in these lights and their potential. ”If they

turn on slowly and gradually become brighter, then they will reduce

sleepiness,” he says. They probably do not affect the biological

Internal synchronization: record of a common subject with alternating sleep (blue), wake (yellow), daily maximum body temperatures (red dots) for 28 cycles, lasting on average ca. 25 h.

The light receptors that

set our biological clocks

do not respond to all

light equally.

0

5

10

15

20

25

TIM

E (D

AY

S)

WAKE SLEEP

TIME OF DAY IN HOURS

0 12 24 12 24 12 24


PLATFORM 13

SLEEP-WAKE

SLEEP-WAKE

S C

CIRCADIAN

TIME OF DAY IN HOURS

0

5

10

15

20

25

0 24 24 24 24 24 24 24 24 24 24 24 24 24 24 240 24 24 24

TIM

E (D

AY

S)

The two-process model of a circadian clock component (C) and a homeostatic sleep-wake component (S) accounting for the phenomenon of internal desynchroinisation.

Internal desynchronisation - a person whose record is shown on the left will have much longer cycles (ca. 35 h) in sleep-wake, but similar (25 h) in body temperature.

clock very much but reduce what he calls” sleep inertia”, the time it

takes to become fully alert after sleeping.

As well as providing a gentler means of waking up, they may be

of assistance in resetting the sleep patterns of ”owls”. These are

people who have a biological clock cycle that is longer than 24

hours - in contrast to early-rising “larks” who have a shorter cycle.

As a result, owls never want to go to bed at the “proper” time, but

stay up late. When they have to get up regularly to go to work,

they will therefore tend to become sleep deprived, suffering by the

end of the working week from what Daan’s colleague Roenneberg

has described as ”social jet lag”. This is not only unpleasant but

may affect their performance or their health or both. ”It may be

possible to help these people with personalised light patterns,“

Daan says. ”This is a really important area. We could have personal

light patterns, trying to enable them to shift their clock forward by

exposing them to light early.” Such engineering of the day could

prove vital on the proposed privately funded mission to Mars, which

the world’s first space tourist Dennis Tito says that he intends to fund

for take-off in 2018. He wants to send an older married couple on

the 501-day long ”fly-by” mission. There are many issues to address

of which one is sleep. “Do you keep the people synchronised with

each other and with the home base?” Daan asked. ”Or should they

alternate their sleep patterns? This could be resolved by light.“ But,

he warned, it would be costly in energy terms. Solar radiation does

not provide a lot of energy for conversion into electricity, particularly

as one gets further from the sun.

This may be futuristic, but in a sense it harks back to the earliest

days of Daan’s research. ”Aschoff always used to joke that he should

run a marriage bureau,“ he said. ”He should take engaged couples

down to his bunker and see what their sleep patterns were.” In those

days of course Aschoff could only have suggested that couples

married people with matching cycles. Now it may be possible to

adapt those cycles to match – thanks in part to the research that

Serge Daan has conducted.



RESEARCH 15

In praise of

By Ludmila Svistunova

At present, arguments in favour of energy-efficient

buildings primarily focus on their environmental

sustainability. As a result, the main advantage of their

internal lighting system that is usually stressed is reduced

carbon footprint. What is often overlooked is the effect

of lighting design on occupants’ health, well-being and

work performance. At the same time, the International

Commission on Illumination, upon issuing its principles of

healthy lighting, called for greater integration of daylight in

architectural design. Why exactly is natural light good for

us – and why is it so vital for the designs of places where

people live and work?

daylight


16 RESEARCH

Lighting affects us much more than we realise. Studies have

consistently demonstrated that natural light can have visual and non-

visual effects on people’s physical and psychological state. It allows

us to collect appropriate environmental information – for instance,

to distinguish between times of day and seasons of the year. Bright

light, and specifically daylight, upon entering through the eye, acts

as a trigger and regulator of many physiological processes in our

bodies. These processes include regulation of our body temperature

and hormones. Overall, independent research shows that the

more time we spend in daylight or artificial light that mimics natural

daylight, the better we feel. Throughout the evolutionary process our

biological rhythms have adjusted to the natural patterns of light and

dark. Therefore, appropriate levels and quality of light can improve

comfort and quality of sleep.

The presence of windows and availability of daylight in the

workplace both contribute to satisfaction with the working

environment. A series of studies in Germany reported a considerable

difference in the health of employees working in spaces where

artificial lighting was primarily used, and those dominated by natural

lighting. The first cohort complained more about not only eye strain,

but also about higher perceived levels of noise and temperature.

Furthermore, multiple studies related greater amounts of sunlight to

higher job satisfaction.

What is ultimately important for employers, however, is proof

that the quality of lighting in the workspace affects employee

performance. A variety of studies have positively related daylight

to human performance. One of the explanations for this could be

the relationship between different types of lighting conditions and

individuals’ moods, the fluctuations in which in turn affect their

behaviour and work performance. Light can also affect employee

Light can also affect employee performance

through physiological effects.

performance through physiological effects. Limited access to

daylight has been shown to be disruptive to the biological systems

of workers.

As good lighting is also vital for successful performance of complex

visual tasks, it is particularly essential it be provided to shift workers,

such as doctors and nurses. Unfortunately, in hospitals both

staff and patients have limited access to natural daylight. Medical

professionals often work extensively long shifts without being

exposed to sunlight. Thus, their natural sleep patterns can become

distorted, resulting in drowsiness and irritability, which poses a

significant risk in a setting where precise work with no mistakes is

essential.

Adequate exposure to the right kinds of light has also been shown

to play a vital role in the treatment of patients. Its importance stems,

once again, from the combination of physical and psychological

effects. Hence, existing studies suggest that daylight can be

beneficial to hospital patients in two ways: by affecting their

psychological state and by enhancing the patients’ health and well-

being.

One of the particularly well-researched psychological effects of

daylight is its ability to treat Seasonal Affective Disorder and battling

depression. It improves sleeping patterns and reduces agitation

amongst psychological patients, whereas adequate amounts and

quality of light could reduce their length of stay in treatment facilities,

as demonstrated in a study conducted by Benedetti and colleagues

in 2001. By affecting body chemistry, light can help speed up the

healing process or even act as a treatment. For instance, daylight

phototherapy is used as a means of treating newborn jaundice.

Greater doses of sunlight have been shown to improve the mental

well-being of patients who have recently undergone surgery and


RESEARCH 17

reduce the time spent in hospital after the surgery.

Incorporating daylight into the design of stores, on the other hand,

is something that retailers should find worth considering, especially

since it appears to attract customers and encourage them to

buy more products. This was demonstrated by the two studies

conducted by the Heschong Mahone Group for the California

Energy Commission. The studies found that the increased use of

daylight resulted in a considerable increase in monthly profits from

sales, as well as an increase in the number of transactions. The

researchers estimated that the increased sales profits related to

daylight use were worth from 19 to potentially 100 times more than

energy savings from using more natural light.

An increased number of daylight hours were also theorised to be

associated with various intangible benefits. Those could possibly

include improved health and morale of employees. Similarly,

exposure to daylight in store could evoke positive emotions in

customers.

When designing spaces for living and work it is important to

remember that it is not the quantity of daylight that counts, but

rather the quality of its delivery. Heat and glare caused by sunlight

can cause irritation, and incorrectly placed windows may not allow

privacy. The challenge is thus to design buildings where daylight

brings benefits rather than discomfort. Without doubt, finding the

right lighting solution that balances comfort, aesthetics, well-being

and energy efficiency is not an easy task. However, if done right,

daylighting can help to create sustainable building designs, where

occupants are also healthy and productive. In turn, Philips can

help you by offering knowledge to use daylight wisely to get the

maximum impact of light and dim areas where possible to save

energy.

For more information on the use of skylight in retail, turn to the next page.


18 RESEARCH

Philips innovation village lighting solutions are developed based on customer ideas and insights.

INNOVATION VILLAGE

At Philips Innovation Village, lighting

solutions for supermarkets, fashion and

beauty and do-it-yourself retail stores are

developed based on customer needs,

assessed by talking to retail designers,

experienced store managers and format

managers. Such customer-driven

innovations are aimed at increasing sales

through improved store experience or

highlighting of products in a different way.

Future Store Concepts created by Philips in

Eindhoven provides a space to discuss new

ideas and test innovative solutions before

they are launched on the wider market.

Effects of skylights in retail

(Heschong, 2002)

108 WalMart stores, 2/3 equipped with

diffusing skylights

Sales measured for 18 months

Controlling for many factors, including

opening times, average income of

REFERENCES:BENEDETTI, F., COLOMBO, C., BARBINI, B., CAMPORI, E., AND SMERALDI, E. (2001). MORNING SUNLIGHT REDUCES LENGTH OF HOSPITALIZATION IN BIPOLAR DEPRESSION. JOURNAL OF AFFECTIVE DISORDERS. 62(3), PP.221-223

DIMICH-WARD H, LORENZI M, TESCHKE K, SPINELLI JJ, RATNER PA, LE NCHOW Y, SHU D, GALLAGHER R. 2007. MORTALITY AND CANCER INCIDENCE IN A COHORT OF REGISTERED NURSES FROM BRITISH COLUMBIA, CANADA. AM J IND MED (50), PP. 892–900

HESCHONG-MAHONE GROUP, INC. (1999). SKYLIGHTING AND RETAIL SALES: AN INVESTIGATION INTO THE

RELATIONSHIP BETWEEN DAYLIGHTING AND HUMAN PERFORMANCE. FAIR OAKS, CA: CALIFORNIA BOARD FOR ENERGY EFFICIENCY THIRD PARTY PROGRA.

HESCHONG MAHONE GROUP, INC.(2003). DAYLIGHT AND RETAIL SALES. CALIFORNIA: CALIFORNIA ENERGY COMMISSION. TECHNICAL REPORT P500-03-082-A-5

ZULLO, S.E. (2007). EVIDENCE-BASED HEALTHCARE DESIGN: USE OF COLOR, LIGHT, AND GARDENS AT CHOICES RECOVERY SERVICES CHOICES LONGITUDINAL STUDY. LONG BEACH. SEPTEMBER (1.5)

population, floor area and architectural

design

Presence of skylights explained increase

of the sales index by 4%

Other reasons for using daylighting

in retail (Edwards and Torcellini, 2002)

Create a more pleasant shopping

environment

Attract more customers

Improve colour rendering


Beyond LightSony Center,

Berlin, Germany

page 20

Bally,

Geneva, Switzerland

page 26

La Montée du Boulevard,

Lyon, France

page 30

Bradford Royal Infi rmary,

Yorkshire, UK

page 36


SONY CENTER, BERLIN, GERMANY

Volcanoof light


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By Isabelle Arnaud

The Sony Center in Berlin, Germany, is an

international commercial, communication, and

cultural hub that draws nearly 8.3 million visitors

a year. The Center’s modern steel and glass

design is the work of internationally renowned

architect Helmut Jahn, and the lighting concept

is by French lighting designer Yann Kersalé.


22 PROJECT I

Top: 26 444 m2 complex is the tent-like roof of the Forum.Bottom: The tall marquee starts to cycle through all the colours of the spectrum, from magenta to cyan, with the exception of yellow.

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PROJECT I 23

Located in Potsdamer Platz, the complex consists of seven

buildings containing shops, restaurants, hotel rooms and

suites, condominiums, a conference centre, offices, cinemas

and museums.

The most prominent architectural element of the 26,444 m2

complex is the tent-like roof of the Forum, made of steel, glass and

textile sails. At night the roof comes to life with fascinating changing

lighting in shades of blue and red.

Yann Kersalé compares this cap, designed by structural

engineering firm Ove Arup+Partners, to a ‘volcano’: “At the top,

luminous sources shine downwards: on looking up, the intensity

of the spotlights would have been blinding,” he explained. “When

Helmut Jahn asked me to conceive the lighting of the Forum,

I suggested that not only should it emanate from within, but also

that its pulsation would express nocturnal life, both radiating light

and sending signals. The only other element was the positioning of

blue lights at the angles of the buildings, highlighting the multiple

entrances to the Forum.”

As night falls, the tall marquee starts to cycle through all the

colours of the spectrum, from magenta to cyan, with the exception

of yellow. When the Forum empties out, the dome changes to an

intense blue, fading back into white in the morning.

Project team

Hines Immobilien GmbH

Client

Sochribel Fixtures GmbH

Architect

Helmut Jahn

Engineer

Ove Arup+Partners

Lighting design

Yann Kersalé, Les Ateliers AIK, Vincennes

Lighting solutions

Alexander Weckmer Licht und

Mediensysteme GmbH, Königsbrunn

Installation

WISAG Building Berlin-Brandenburg GmbH,

Frankfurt

Luminaires

Philips ColorReach Powercore

ColorBlast Powercore

Websites

www.sonycenter.de

www.jahn-us.com

www.ykersale.com

www.lichtundmediensysteme.de

www.wisag.de

“Its pulsation would express nocturnal life, both

radiating light and sending signals.”


24 PROJECT I

The original lighting system had been in place for twelve years.

After constant operation, it had reached its maximum life

expectancy and had become costly to maintain. The plan was

to reduce running costs as well as maintenance costs while still

creating the colour-changing light effects.

Alexander Weckmer Licht und Mediensysteme GmbH provided

a turnkey solution for replacing the existing lighting installation.

The team immediately thought of an LED lighting system, the only

solution that could meet the criteria. The firm coordinated the

entire project and handled all aspects of the lighting replacement

– developing technical plans, specifying and delivering all lighting

components, installing the system, and programming.

“Longevity and the low maintenance requirements proved the

primary reasons for selecting a system using Philips Color Kinetics

LED fixtures,” said Alexander Weckmer. “A particular challenge

was providing the fan-like geometry with uniform illumination.” In

order to achieve all of the project’s goals, they needed sufficiently

powerful and flexible LED fixtures such as ColorReach Powercore

and ColorBlast Powercore, which accept line voltage, allowing

the existing 230 V circuits to be extended directly to the fixtures.

This allowed the Center to retain significant portions of the original

electrical infrastructure, considerably reducing the labour costs of

installation.

Each individual “blade” of the cone is different in terms of

dimensions, angle of inclination and twist; for this reason, each

fixture had to be individually positioned to achieve uniform

illumination across the entire structure.

“The positioning of the original fixtures could be maintained as

both LED models permit flexible adaptation thanks to their multi-

faceted lens systems,” explained Weckmer. “The positioning of 38

ColorReach Powercores and 67 ColorBlast Powercores provided

both uniform and powerful illumination of the sails.”

The lighting control system is operated wirelessly via a smart

device and the client has access to the control system remotely,

allowing greater flexibility and faster service. The Center can now

choose from more than 16 million colours, and create new light

shows for special events such as film opening nights and holidays.

Far more than mere energy savings, the new lighting system offers

a combination of comfort, efficient technology and artistic design,

while bringing to life the exceptional architecture of the building.

“A particular challenge was providing the fan-like

geometry with uniform illumination.”


PROJECT I 25

The positioning of the original fixtures could be maintained thanks to the multifaceted lens systems of ColorReach Powercores and ColorBlast Powercores.

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PROJECT II 27

Sleekelegance

BALLY, GENEVA, SWITZERLAND

Client

Bally Shoe Factories Ltd

Architect

Bally Store Planning Department

Lighting design

ADM Event Services di Andrea de Marco

Installation

Permasteelisa Group

Luminaires

Philips MASTER LEDspot MR16,

eW Cove QLX Powercore,

StyliD Compact Power – track and

surface mounted

Website

www.bally.com

By Ruth Slavid

The new Bally store in Geneva, Switzerland,

is the first for the international shoe company

that uses an all-LED solution. But given the

cost savings and customer response, it will

certainly not be the last.

LED lighting in Bally’s new Geneva store creates an ambiance of refined luxury and allows customers to view products to their best advantage.


28 PROJECT II

respect to the existing stores,” he said. “This meant that we had

to compromise and to use traditional lighting systems, replacing

halogen lamps with MR16 Master LED. These lamps were used for

lighting the shop and for the lighting of the various exhibition areas.

This system has allowed us to maintain the design of the store and

to give it a higher luminous efficacy. In fact the Master LED lamps,

being provided with optics, focus the light better than a dichroic

lamp does.”

The use of the existing fittings was particularly important in the

ceiling, where the lighting is integrated with other systems

such as the fresh-air supply in a neat and unobtrusive solution.

If new fittings had been used, this would have involved Bally

in a major rethink.

Specific areas in the store required their own special treatment.

“A particular challenge,” said Di Marco, “was finding a lighting

system suitable for lighting the display shelves. Normally these

were illuminated with fluorescent lamps embedded in the same

shelves. This time the customer asked us to find a system with LED

technology that would have a greater luminous efficiency than the

fluorescents. We tried a variety of solutions that would achieve the

desired result while keeping costs down and maintaining the size of

the shelves. We settled on Cove.”

Basilico says that he is delighted with the result. “Our

merchandising people say that they don’t need to ask customers

to go outside to see the true colours of the shoes that they

are thinking of buying.” And a survey after a year of operation

has shown just how much the use of air conditioning has been

reduced. There will also be the maintenance benefits of not

needing to replace lights regularly.

With a shop that costs less to run, where the staff and customers

are happy, it is not surprising that Basilico is planning another

all-LED store. This will be in the new Doha Airport in Qatar. The

project has been delayed because of hold-ups in the airport

construction, but should be completed later this year.

“They don’t need to ask customers to go outside

to see the true colours of the shoes that they are

thinking of buying.”

The Bally store in Geneva, Switzerland, represents a new departure

for a brand that is over 150 years old and combines tradition with

forward thinking. Switzerland is its home country, since Carl Franz

Bally started the manufacture of shoes in Schönenwerd in 1851.

Since then it has combined tradition with fashion, most recently

with the appointment of two new creative directors in 2010.

The Geneva store, created in an existing building in one of the city’s

prime shopping streets, reflects this mix. It has the sleek, elegant

materials typical of a Bally store, including a dramatic staircase –

it is all designed to emanate a feeling a quality while making sure

that the building takes a back seat to the products – but it is also

a pioneering store, the first that the company has built using LEDs

throughout for the lighting.

Luigi Basilico, Bally store planning director explained: “We had

used LEDs in a small way before, but we wanted to try to light a

store entirely with LED, and the opportunity was there in Geneva,

which is one of our flagship stores. The LEDs were three times the

cost of traditional lighting, but we did an analysis and discovered

that we could reduce our costs immediately by savings on

mechanical plant.”

Because LED lighting produces almost no heat, the air conditioning

load is reduced dramatically, allowing Bally both to cut down on

the amount of plant that it installed and to have lower running

costs. The power reduction overall in the store will be 80%. In

addition, the environment is more natural and pleasant for both

staff and shoppers.

It was essential that the very high standards of lighting were

maintained, and Bally has clear views about how its stores should

be lit. This is crucial both for creating the desired ambiance of

refined luxury and to allow customers to see the products to their

best advantage.

Andrea di Marco of lighting designer ADM Event Services

explained some of the challenges. “There was a need for the

customer to see lighting that had not changed radically with


PROJECT II 29

Display shelves illuminated with LED technology. eW Cove QLX Powercore luminaires are well-suited for display shelves illumination aimed at increasing materials perception.


LA MONTÉE DU BOULEVARD, LYON, FRANCE

Floating silkworm

cocoons


By Isabelle Arnaud

The renovation of the ‘Montée du Boulevard’ lighting in

Lyon provides an ergonomic solution that combines highly

effi cient technology with sustainability. The objective of the

lighting designers at Côté Lumière was to guide pedestrians

along the winding stairway without blocking their views, as

well as to highlight the historical ramparts of the city.

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32 PROJECT III

The Montée du Boulevard is the name of the stairway that links the

first and the fourth districts of Lyon, beginning in Place Bellevue

and going all the way down the steep hill to the Montée Bonafous.

To understand better the topology of the place, let’s go back to

the etymology of the word ‘boulevard’, which comes from the

Dutch bolwerc, meaning ‘wall of a fortification’. In fact, the staircase

descends between the beautiful arrangement of golden stone on

the side of Fort Saint-Laurent, one of the city’s numerous forts, and

two apartment buildings designed for the Canuts (Lyon’s famous

silk weavers). It drops down through charming areas, eventually

becoming a rough, steep path that winds around at the foot of

Lyon’s fortifications.

Above all, the City of Lyon wanted a project that would meet

people’s needs. The previous lighting used old luminaires

equipped with Sodium High Pressure – SHP – lamps. They were

difficult to access, making maintenance operations complicated

and expensive. The light quality was poor, and the lamps were

inefficient, and energy-hungry. It was obviously time to replace the

old installation with sustainable, high-efficiency lighting that could

meet pedestrians’ requirements.

In order to design the solution, it was necessary to know who used

the staircase and what their needs were. It turned out that the

staircase was used as a shortcut whatever the weather by people

An intimate lighting project

that puts people first.


PROJECT III 33

going to work, by children and students going to school and by

joggers. Therefore, the lighting concept had to:

- allow pedestrians to see the stairs without any effort at night

- eliminate any risk of dazzle

- offer continuity both in fixtures and effects from top to bottom

- create a global, coherent and soft image that could be seen from

a distance.

Aurélien de Fursac and Patrice Echassériaux of lighting designer

Côté Lumière, suggested using LED technology and a pole-less

luminaire.

Thinking about the best way to deliver good lighting without

disturbing the look and feel of a public space, and about how

to adjust the lighting to suit the users’ needs De Fursac chose

FreeStreet, presented by Philips at Light+Building in Frankfurt.

With no visible support, the fittings float like the cocoons of the

silkworms that formed the basis of so much of Lyon’s traditional

prosperity.

“Apart from the poetic aspect of such a product, we chose

FreeStreet for its pragmatic characteristics that enabled us to do

away with the need for poles, which would have been difficult to

install in the stairway. For us, both the people’s well-being and a

friendly lighting environment were equally essential,” explained the

lighting designer. The system, by eliminating the need for traditional

Day and night lighting design sketches with lighting beams and directions.

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34 PROJECT III

streetlight poles, removes visible and physical obstructions at eye

level. Instead, a narrow cable strings together a line of slim-line

LEDs, which are virtually invisible during the day and at night and

appear to float in mid-air.

“The innovative new system consists of 26 LED lamps of 20 W

each (against 6 x SHP 250 W before), integrated on a cable that

runs the entire length of the passageway,” said Aurélien de Fursac.

“One of the city’s requirements was to have a colour temperature

of 3.500 K, which the FreeStreet did not offer, so we asked Philips

to adapt the fixture.”

Jean Philippe Advinin, business engineer for outdoor lighting at

Philips Lighting, explained: “This change was achieved by mixing

3,000 K and 4,000 K LEDs. More difficult was defining the metallic

support for the cable while preserving the ramparts, so we worked

together with the installer to make all the necessary calculations

and tests. The system offers enormous flexibility in terms of how it

is installed, so it can be structured in response to the way people

move and behave in a public space, rather than people having to

adapt to where the lighting is located.”

The lighting resembles silkworm cocoons floating

above the stairs.

FreeStreet fittings float like cocoons of silkworms.

Client

City of Lyon

Lighting design

Aurélien de Fursac,

Patrice Echassériaux,

Côté Lumière

Installer

Eiffage Energie

Luminaires

Philips FreeStreet

Website

www.lyon.fr

www.cotelumiere.com

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PROJECT III 35

Top: Lighting design concept plan showing the zig-zag positioning of the cable.Bottom left: One of the city’s requirements was to have a colour temperature of 3.500 K. Bottom right: Good and uniform lighting level is provided on the staircases.

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By Ludmila Svistunova

Independent research has shown the importance of quality lighting in

the healing process of mental health patients. In the United Kingdom,

Philips is working with The King’s Fund to transform the Bradford Royal

Infirmary so as to improve the well-being of dementia patients with the

help of innovative lighting solutions.

BRADFORD ROYAL INFIRMARY, YORKSHIRE, UK

More natural light



38 PROJECT IV

An independent British charitable organisation, The King’s Fund,

runs the Enhancing the Healing Environment (EHE) programme

whose objective is to enable nurses and dementia patients to work

together on improving the health care delivery environment. The

project carried out at the Bradford Royal Infi rmary is a part of this

programme. The Infi rmary was looking at refurbishment options

that would improve the environment for people with dementia,

and thus the Fund introduced them to Philips. The outcome of this

cooperation is the transformation of Ward 23 and Ward 29 of the

Infi rmary, where innovative lighting solutions have been installed.

Philips’ Dynamic Lighting system is used in both wards. The

system produces cyclical lighting throughout the day, following the

natural rhythm of daylight. Previous research has demonstrated

a relationship between hormone levels in the human body and

exposure to the cycle of light and darkness, suggesting that light

regulates the sleep-wake rhythm and hence our overall well-being.

Maintaining an appropriate sleeping pattern is especially diffi cult for

dementia patients, as they often sleep throughout the day

and remain awake in the night, which also creates additional

challenges for the nursing staff . Hence, in the Bradford Infi rmary,

the Dynamic Lighting system serves two main functions: it creates

a pleasant and bright environment in the wards, while also keeping

patients active during the day so that they can have better quality

rest at night.

“We found that that defi nitely helps with patients’ sleep and wake

cycles. I think the idea of having a warmer yellow-orange light is

to help people to prepare for sleep,” observed Ward Manager

Debbie Beaumont. “Overall the lighting solutions have helped the

appearance of the ward so they look lighter, brighter and more

welcoming. There’s defi nitely a change in how patients feel about

their environment; they report feeling more relaxed and calmer,”

she added.

In Ward 29, the Philips HealWell solution has been installed in

three patient rooms typically used for the most acutely ill patients.

The HealWell system combines gradually varying levels of light

during the day with an ambient lighting that patients can regulate

“We found that that

defi nitely helps with

patients’ sleep and wake

cycles.”

Raytrace preview of the bed ward showcasing two lighting settings from the HealWell system.

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PROJECT IV 39

themselves by using a touch-pad controller. The positive effects

of the HealWell lighting solution were also captured in the study

conducted by Maastricht University Medical Center+ in partnership

with Philips. The research demonstrated that patients in the study

fell asleep faster and slept on average 8% or 30 minutes longer

during their length of stay. Both patients and staff of the Bradford

Infirmary have provided positive feedback for the new system.

Ms. Beaumont also noted the enjoyment that patients derive from

having a degree of control over the ambiance in the room.

Commenting on the early results of the HealWell solution trial at

Bradford, Shane Embleton, Project Manager Estates Design at the

hospital, noted that it had been going very well. “The evaluation

results are still to come out but the indications are that things are

looking really good for patient well-being,” he said. Meanwhile,

Debbie Beaumont also observed employee satisfaction with the

system. “The staff seem to enjoy the fact they’ve got this lighting,

I think it makes them think the area they work in is a little bit

special, a little bit different. We’ve had staff walk on to Ward 23 to

ask to work there, and they appreciate the fact that we are thinking

about the patients,” she noted.

The lighting solutions installed in the Infirmary not only serve to

improve the well-being of patients and staff. The project uses

energy-efficient light sources, such as Philips LuxSpace and

LED compact lights, which help to save energy and minimise

maintenance requirements, as they need to be replaced less often.

Shane Embleton commented: “The benefits to the infrastructure of

the estate is that it’s all on a time clock, so it runs itself and in the

11 to 12 months since the solution was installed we’ve not had to

come out to look at any repairs or anything, So it’s been good from

that point of view and because it’s energy saving and it’s reducing

costs for the Trust.”

Sarah Weller of the King’s Fund stressed the importance of good

lighting for people with dementia and the benefits that artificial

lighting schemes could bring. “We look forward to seeing the

results of the Bradford Royal Infirmary trial with great interest,”

she concluded.

Warm lighting on the wall before going to sleep.


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By Ruth Slavid

Day-long seminars that combine theory with

practical experience give lighting designers

the opportunity to create solutions that would

make our cities better places to live in.

‘CREATE THE LIVABLE CITY’ WORKSHOPS IN DUBROVNIK, COPENHAGEN, TURNHOUT AND BRATISLAVA

Thinkingabout cities


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WORKSHOP 43

Improving our cities is one of the biggest challenges that we face,

and it is one in which Philips has taken an interest for some time,

with a programme studying comparing key indicators in different

cities. Most recently it has run four events in European cities,

in Dubrovnik in Croatia, Copenhagen in Denmark, Turnhout in

Belgium and Bratislava in Slovakia.

These ‘Create the Liveable City’ events combine high-level

discussion with practical workshops. Tapio Rosenius, founder

of Madrid’s Lighting Design Collective, who leads the practical

sessions, explained: “The idea for every workshop is to create

an inspiring, experimental design environment with a strong

focus on lighting concept work. The whole structure of the

day is challenging but also very rewarding. Each group gets to

choose a site to work on, and this is followed by intense concept

development guided by Marco Bevolo to create a link to the

research work. They also get support from an illustrator/artist and

of course I help and challenge the ideas as much as possible. The

concepts are then physically built by the participants, which can be

equally challenging.”

“Effects are great but if they don’t support

the concept they will have to go.”

The participants have access to all the latest technologies. While

Rosenius encourages participants to experiment, part of his

role is to ensure that they do not get carried away by technical

considerations. “We insist on a coherent concept and the key point

is to realise the presented concept,” he said. “Effects are great but

if they don’t support the concept they will have to go.”

His other major concern is that the participants create a space

that can be experienced, not merely looked at. “It can be easier

to create a display, a kind of temporary theatre stage set and this

is something that many of the groups naturally gravitate towards,”

Rosenius said. “Whilst experimenting with some of the theatrical

display principles is not a bad thing, the requirement to create a

lit environment highlights many of the real-world challenges when

working with urban constraints.”

The participants produce a wide variety of solutions, but Rosenius

has spotted some common themes. “There is a desire to bring

a sense of nature into the urban context through light,” he said.

“Water ripples, shadows from tree canopies and other visual

linking effects have been popular.” Whatever the solutions they

came up with, he believes that “Everybody left with a feeling that

lighting is a powerful yet demanding tool for creating positive urban

environments. The feedback has been very positive. This is an

intense learning process, not a product display. It’s a great day for

learning, for debate and analytical thinking.”

It should help prepare the participants for forthcoming changes

that Rosenius predicts in the way that we use lighting. “I see a

multidisciplinary approach and creativity being the defining factors

for the lighting design profession in the future,” he said. “New

technology opens up new possibilities but also adds complexity.

Each project will need a holistic vision, creativity, a great deal

of collaboration and a high level of technical competence. The

lighting profession must be able to grow and develop to answer

these needs.”

Top: Dubrovnik Create the liveable city, ground floor, workshop group results. Bottom: Dubrovnik Create the liveable city, lighting ambiances.


44 WORKSHOP

STRATEGY MEETS SOCIO-DYNAMIC FORCES

Marco Bevolo, who led the theoretical part of the discussions at

the four workshops, is an author and researcher who specialises

in strategic design, people research and thought leadership. At

the workshops, he encouraged participants to think in terms of an

urban futures matrix which he developed as part of a project called

City.Futures.Light, which he developed when working for Philips.

This matrix considers four different strategies for cities (accelerator,

memory, iconic and connecting) and also four socio-dynamic

forces (identity, exploration, belonging and sustainability). It then

allows an exploration of each of the 16 possible interactions

between strategy and socio-dynamic force.

“It is,” Bevolo explained, “the core tool regulating the entire

methodology: it cross-references socio-cultural drivers

‘Create a liveable city’, Bratislava. Lighting ambiances.

‘Create a liveable city’, Dubrovnik. Ground floor, workshop group results.

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representing future evolution of human societies, regardless of any

business implication (horizontal axis) with city strategies that are

possible ways to position cities for the future (vertical axis).”

Bevolo’s role then was to give the participants some ideas about

the challenges and potential of cities that they may not have

encountered before. He presented these ideas, which he has been

refining since they were first published in 2007, and then led a

panel discussion with regional experts who were invited to each

of the events.

This approach offered participants an insight into some creative

thinking about cities, which they could then use as a theoretical

basis for the real-world designs that they produced later in the day.

‘Create a liveable city’, Dubrovnik. The Rector’s Palace, first floor, workshop group results.

‘Create a liveable city’, Dubrovnik. Lighting ambiances during the Rector’s Palace workshops.

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LIGHT SHOW EXPO, LONDON

By Ruth Slavid

The Light Show exhibition in London’s Hayward

Gallery earlier this year contained art works

spanning a 50-year period, with technologies

ranging from neon and incandescent bulbs to

the latest highly-programmed LEDs.

Dazzling

exhibition


48 GALLERY

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London saw one of its largest collections of incandescent bulbs

earlier this year, when Light Show opened in a major exhibition

space, the Hayward Gallery. This was not an exercise in nostalgia

but an art exhibition of the sculptural use of light in which some

of the 27 exhibitors, such as Philip Parreno and Katie Paterson,

chose to use the bulbs in their work. Parreno’s piece, Marquee,

which also employed neon, was one of the most recent works,

showing that contemporary thinking does not have to employ the

newest technology.

For example, Cerith Wyn Evans, in a piece entitled

S=U=P=E=R=S=T=R=U=C=T=U=R=E ‘Trace me back to some

loud, shallow, chill, underlying motive’s overspill’ created in 2010,

used defunct technologies to create tall illuminated columns. “The

technology is obsolescent,” said curator Cliff Lauson,” as it emits a

lot of heat. We are used to all the light we have being cold. So this

is fantastic, it has a great architectural resonance.”

In contrast, Jim Campbell with Exploded View (Commuters) and

Leo Villareal with Cylinder II have written their own programmes to

create rapidly changing effects with LEDs.

Lauson decided to put on the show because there had not,

he believes, been one of this nature before. “There have been

monographic shows looking at a single artist,” he said, “but light art

has not been looked at in this way before.”

There are big names, and also artists little known outside

their countries. Most exciting are the immersive environments,

such as Olafur Eliasson’s Model for a Timeless Garden, with

fountains ‘frozen’ by strobe lighting, and Carlos Cruz-Diez’s

Chromosaturation, which makes you question the way that you

perceive colour.

“The technology is obsolescent”

Above: Cerith Wyn Evans, S=U=P=E=R=S=T=R=U=C=T=U=R=E (‘Trace me back to some loud, shallow, chill, underlying motive’s overspill…’) (2010) ©the artist; courtesy the artist and White Cube.Pages 46-47: Carlos Cruz-Diez, Chromosaturation (1965-2013), ©the artist/DACS, Cruz-Diez Foundation.


GALLERY 49

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Top: Leo Villareal Cylinder, II (2012), ©the artist; courtesy the artist and GERING & LóPEZ GALLERY, NY.Bottom: Anthony McCall, You and I, Horizontal (2005), ©the artist; courtesy of the artist and Sprüth Magers, Berlin, London.


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Top: Ann Veronica Janssens, Rose (2007), ©the artist/DACS.Bottom: Jim Campbell, Exploded View (Commuters) (2011), ©the artist; courtesy Bryce Wolkowitz Gallery, New York and studio of Jim Campbell.


Copyright

© 2013 Koninklijke Philips Electronics B.V.All rights reserved. Reproduction in whole or in part is prohibited without the prior written consent of the copyright owner. The information presented in this document does not form part of any quotation or contract, is believed to be accurate and reliable and may be changed without notice. No liability will be accepted by the publisher for any consequences of its use. Publication thereof does not convey nor imply any license under patent - or other industrial or intellectual property rights.

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city.people.lightaward 2013

11th anniversary of city.people.light award

is your city a potential

winner?

Register your urban inspiration

lighting project now to enter the

11th international city.people.light

award competition, by completing

the entry form for 2013 on

www.citypeoplelight.com/award

The international city.people.light award was

set up jointly in 2003 by Philips Lighting and

the Lighting Urban Community International

association (LUCI). It rewards cities and

villages that best demonstrate the added

value that lighting can give to an area’s cultural

and architectural heritage and night-time

identity, whilst at the same time respecting the

environment. Three cities will be awarded for

their projects during the annual LUCI Forum,

which takes place in Guangzhou in China this

year. The winning project will receive the first

price award and a cheque for € 10,000.

Is your urban inspirational lighting project a

potential winner? Go online now to see if

you meet the criteria and register for the

2013 award. All entries must be received

by before 31 July 2013, so visit

www.citypeoplelight.com/award or

www.luciassociation.org today.

The award ceremony will take place in Guangzhou, China, during the Annual LUCI Forum from 13-17 November 2013.Lyon, FranceWinner city.people.light award 2012

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Luminous 11 - Beyond Light and Well-Being