Luminous 9

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International Lighting Magazine 2012/9 June

Design InnovationsLighting-Architecture Integration?Ludovico Lombardi and Dominic Harris

Organic top lightThe way forward for OLEDs


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2 EDITORIAL

Last month, many of my Architecture students at the Academy of Arts felt they

should design their projects entirely by themselves; its the idea of the mastermind

who develops the entire building design in a single holistic - and solistic - gesture.

Anything less the students considered a fail. As a result, they coveted their own ideas,

competitively protecting them from theft.

What I teach the students however, is that true innovation does not happen in a vacuum.These days, Architecture has simply become too complex to be solved by a single

person or even a single discipline. Technology is now a major part of architecture,

and moreover, the pace of innovation means that we all have to team up, to design

the solutions for the real issues of today: the energy dilemma, mobility, food and

urbanisation, sharing of culture, enjoying history, and above all giving people a feeling

they are free and inspired.

Innovation does not happen in a vacuum. My talk at TED last november (http://youtu.be/

XFNuKqW6TRA) explores how Philips Lighting approaches Open Innovation: teaming

up with clients, designers and scientists; creating technical platforms that we share with

others; publishing our research, and above all providing our best people in technology,

science and art to our clients and to their architects and engineers. The result is that

we speed up development of lighting fixtures, and that we apply technology in more

meaningful ways. We apply product design to make our technologies meaningful, and

our products people centric.In this issue of Luminous, we explore more relationships that fuel Open Innovation.

Dominic Harris (Cinimoid Studio) and Ludovico Lombardi (Zaha Hadid Architects)

share with each other and with you their thoughts on design, creation, and innovation.

A great and inspiring dialogue! We cover a report on some very inspirational visits to

our kitchens at Philips Research, the OLED laboratories and more. And we have a

wonderful interview about the magical light art of Glenn Shrum, a designer and artist who

fuses technology, art, and craft.

Enjoy all of the inspiration in this issue of Luminous, and when youre working on your

next project, think of the Chinese philosopher Confucius, who said you dont know,

what you dont know.

Rogier van der Heide

Vice President & Chief Design O cer

twitter: @rogiervdheide

colophonpublished by|Philips Lighting BV Mathildelaan 1, Eindhoven 5611 BD, The Netherlands www.lighting.philips.comeditor in chief |Vincent Laganier managing editor | Paulina Dudkiewicz steering committee | Fernand Pereira,Matthew Cobham copywriting & editing | Ruth Slavid graphic design concept | MediaPartners dtp | Relate4uprinting | Print Competence Centre more info | [email protected] ISSN nr | 1876-2972 12 NC 322263566996cover | Aston Martin photo | Courtesy of Aston Martin


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DIALOGUELIghTIng ARChITECTuRE InTEgRATIOn? 4Eye to eye vision

DOSSIERDesign Innovations projects

sTARRY CITY skY 12Hyllie Square, Malm, Sweden

ORgAnIC TOP LIghT 16The way forward for OLEDs

EnTER ThE DRAgOn 22U-Park Marketing Centre, New Taipei City, Taiwan

FEEDBACKnEw musEum DEmOnsTRATIOn 2Lighting application centre - LAC, Eindhoven, The Netherlands

LIghT ART AnD LIghTIng DEsIgn 2FLUX Studio, Baltimore, Maryland, USA

InsPIRATIOnAL vIsITs 3High Tech Campus Eindhoven, The Netherlands

DESIGN INNOVATIONSDesign is a vital actor in the overall lighting eects created throughout the world. How are architects and lighting designers using it?

Four projects in this Dossier introduce innovations in lighting concepts which go beyond the employment o new technologies. Please tapart in the discussion on the Light Community: www.philips.com/lightcommunity


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B Rth Slavid

Ludovico Lombardi, architect withone o the worlds leading practices,Zaha Hadid Architects, and lightingdesigner Dominic Harris, ounder oCinimod Studio, met in London todiscuss their interest in lighting andhow they believe the discipline willdevelop in the uture.

Lighting-ArchitectureIntegration?


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6 PLATfORm

Dominic Harris:

I think that lightingdesigners will become

even more specialisedthan they are now

Ludovico Lombardi: For me, architecture is about the integrationo orm, unction and beauty. I try to be experimental and try to beunctional. There is always a lot o research about orms and unction.Light is an amazing, powerul tool that can reveal particular colours,materials, shadows and shapes.We do a lot o work in China, and there are days when there is a kindo uniying og that melts all the shapes together, and other days whenthe light reveals the buildings in a dierent way. It is interesting to have

that diversity; the dierent light reveals dierent things.Dominic Harris: I trained as an architect, but I have always beendeeply obsessed with light. I worked or our years or Future Systems,at a time when lighting was beginning to be addressable. I elt thatlighting consultants didnt always understand how best to use light.I set up Cinimod to explore the interaction o lighting, architecture and

art, and I have ound that they can be melded together successully tocreate great results.LL:Architects are realising how important the use o light is, and thetechnology. As architects, once you design something, you want tocontrol everything. We are scared o having a lighting designer whomight collide with our ideas. We would even control natural light i wecould.It is important to get the lighting designer on board when we are still

articulating the design o the building. Otherwise they might not be ableto light it to give the results that we want.DH: We like to approach lighting so that it is integrated with the designprocess. You can immediately tell the dierence between a buildingthat was designed rst and lit aterwards, and one where the lightingdesign integrated at the design stage.

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inimodStudio

Aronas chandeliers b Cinimod Stdio were sed in an oce in Lima, Per. Cinimods Phable explores the sensations associated with the sraceo a table.

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rantSmith

Seein ee to ee. Ldovico Lombardi (let) and Dominic Harris see a brihttre ahead.


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PLATfORm

Top: DJ Liht is an immersive sond and liht installation b Cinimod.Bottom: Cinimods Sno rozen-ohrt shop in Soho, London.

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8 PLATfORm

Exchanin views on architectre and lihtin.

Ludovico Lombardi:

As architects, onceyou design something,

you want to controleverything... We wouldeven control natural lighti we could.G

rantSmith

Right and let: Zaha Hadid Architects desined the Tide shelvin sstem or Italian rnitre manactrer Mais.

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PLATfORm

Aldate compass, desined b Ldovico Lombardi, is a proposal or a viscentre in East London.

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I the lighting designer is present at the start, they can addressclient concerns about control and maintenance. More importantly,the client ends up with a seamless design where the lighting is notjust enhancing the architecture, but is also very much part o thearchitecture.Looking back at nature is becoming more and more important or us looking at the way that light permeates spaces naturally. In a worldwhere we can do almost anything, it is nice to reocus back to natureinspiration.

LL: I did my masters at the Architectural Association in London,where I was rst exposed to digital rendition the relationship tonature, and the relationship between elements. It has ormed theway that I have done design. There is a relationship to nature and toresponsive systems, and on the other hand there is materiality, andthe process rom design to production and manuacturing. It was veryinteresting or me to do an installation o travelling pavilions, whereyou are designing a building that has to be staged in a number oenvironments. You have to keep the building neutral enough to respond

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10 PLATfORm

Top: Shanhai Expo pavilion desined b Zaha Hadid Architects.Bottom: Cinimod desined an interactive lihtin sstem that reected themood o the crowd or the National Stadim o Per.

Ludovico Lombardi

Zaha Hadid Architects

Websites

www.zaha-hadid.comwww.ldvc.net

Dominic Harris

Cinimod Studio

Websiteswww.cinimodstudio.com

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inimodStudio

to a number o environments and to dierent specic conditions.DH: We worked on the reurbishment o the National FootballStadium in Lima, Peru. Normally the walls o a stadium block ocommunication rom the inside. We came up with a lighting design thatis interactively controlled by the people in the stadium. We designedand implemented a system that used sound-level analysis to determinethe collective mood o the crowd. This inormation was used to controlthe lighting on the aade, communicating the passion and excitementto the outside city.

LL: The idea o responsive architecture has developed so much.We look at knowledge rom other elds. We like to integrate with thelighting as much as possible. There is no longer a strong linearity in thedesign process. It is much more integrated.DH: I talk very actively to the big lighting companies when we startpushing new designs in our projects. For example, when we designedthe Snog rozen yoghurt store in Chelsea, and we wanted to doeverything with LEDs. Because the lighting industry is so technicallydriven, it can be very responsive, which results in positive drives

orward. At the moment we are doing a lot o work with OLEDs. Theyare at a very early stage, but this could be the next industry-leadingtechnology. It will be very interesting or lighting designers. Instead oluminaires and coves, architects will be able to design lighting thatorms the abric o their environment. Im really interested to see howarchitects will use it. There will be a temptation to take the design outo the hands o lighting designers.LL: Its the control issue, how much we can control the type o lights,the way we use light. But the more we are advancing, the more

specialised lighting designers are becoming. There will have to be acommon understanding, and I think that is the uture.DH: I think that lighting designers will become even more specialisedthan they are now, because to make absolute beautiul and controlleduse o the new lighting technology, the level o technical expertiserequired by a lighting designer is going to keep on increasing.But I think architects and lighting designers will come much closertogether in their projects. I think we will see much tighter integrationbetween the lighting and the architecture.

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Starry city skypage 12

Organic top lightpage 16

Enter the dragonpage 20


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Starrycity sky


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DEsIgn InnOvATIOns I

Client

City o Malm

Architect

C.F. Moller ArchitectsArrhus, Denmark

Landscape architect

Thorbjrn AnderssonSWECO, Stockholm, Sweden

Lighting design

Niklas dmannBlack Ljus Design, Sweden

Associate lighting designer

Deike CanzlerLjusarkitektur, Sweden

Light sources

Insta Elektro GmbH

Luminaires

Philips Color Kinetics Flex SLX

Lighting controls

Pharos LPC 30

Websites

www.cmoller.comwww.sweco.sewww.blackljusdesign.se

Let: When niht comes, LED starsappear and the wires become invisible.

HyLLIE SquARE, MALM, SWEDEN

By Ruth Slavid

LEDs create a starry sky above a new square that brings

the magic o a beech orest into the city o Malm, Swede

The stars twinkle and change with the seasons as artifcia

moonlight casts the shadow o leaves on the ground.

Stand in the new Hyllie Square in Malm, Sweden at night andwhatever the weather, you will be able to see the stars twinklinabove you. They will not, admittedly, be real stars, but a twinksimulation created rom LEDs. Wait long enough and, or a minevery hour, you will also see the lighting change to refect themood o the season.This unusual appearance is in keeping with one o the citys munusual squares developed as a trail blazer or a new area ourban development, so that instead o responding to the buildiaround it, it has been put in place beore those buildings arriveSet to the south o the city, the square sites in an area earmarkor development, in ront o a railway station that links


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14 DEsIgn InnOvATIOns I

Plan showin the position o the wires spannin between the masts inront o the station.

Bases o the transparent masts in which the oodlihts are fxed, withwires above.

keEsonLindman

L

jusarkitektur

to Copenhagen across the resund Bridge. A massive arena isnearby but otherwise little has yet arrived. It is unique or Swedento build a square beore anything else, said landscape architectThorbjrn Andersson who works at Sweco Architects, and wonthe competition to design the space.His concept was to recreate an area o beech orest within thesquare, as the beech is special to the south o the Sweden, theonly part o the country mild enough or it to survive. It holdsits dead winter leaves, giving a warm brown colour and, says

Andersson, has a beauti ul trunk the colour o an elephantsoot. Technically, this proved very demanding, as beech trees areamong the most di cult to establish in a city and he had to createa structural soil beneath the 2m by 1m granite pavers.Andersson worked with Niklas dmann o Black Ljus Design.It was Anderssons idea to criss-cross the space with wiressupported on masts, but initially he intended to unroll thin stripso illuminated cloth along them or special occasions. When thisproved impractical it was dmann who came up with the idea oa sky o LEDs instead, supported on wires so slender that they

oer virtually no wind resistance. Lited just over 15m above theground, there is a total o around 2km o wires, supporting lightchains set as closely together as possible. All the controls are inthe masts, and each LED is individually controllable. The standardsetting is a white twinkling sky, with dierent eects representingburgeoning spring, the warmth o summer, the rain o autumn andthe cold aurora o winter kicking in once an hour. Ater midnightthere is a peaceul mode known as satellite.dmann deliberately eschewed too much drama. That kind o

installation can be very tiring and short-lived, he said. He has alsoilluminated the orest with cool downlights creating lea shadowsand mimicking moonlight, and warmer uplights. And there islighting around the base o the benches. The orest is what thesquare is all about, he said. I was very happy to be involved inthe project. Its special.So ar there are ew users o the square ater dark, but theirnumbers will grow with the development o new buildings. Theyare in or a treat.


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DEsIgn InnOvATIOns I

Top: Hllie Sare seen rom the top o a mast, showin the landscape architects pavement rid.Bottom: The oodlihts on the masts mae the trees cast shadows.

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Organictop light B Rth SlavidAs OLEDs become bigger, brighter and cheaper,will they nd applications in the ceilings o ourbuildings and o our cars?


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State-o-the-art materials and technoloies allow new concepts to be implemented in the smart Forvision electric car that not onl save ener,bt even enerate it.

18 DEsIgn InnOvATIOns II

OLEDs are one o the newest lighting technologies around butonly now is it becoming possible to see how they might ndwidespread application. While some spectacular installations havegiven an indication o what is technically possible, we now havethe prospect o larger, cheaper and brighter OLEDs which make itpossible to envisage their use beyond the one-o.Many o the original installations were in the orm o some kind oresponsive wall, but now one can look orward to ways in whichOLEDs may be employed in the horizontal plane, either suspended

rom ceilings or actually orming the ceiling or part o the ceiling.Jason Bruges Studios rst adventure with OLEDs was in thehorizontal plane, albeit coming up rather than hanging down.This was Mimosa, the intriguing installat ion that responded tomovement, which it prepared at Philips Lumiblades behest toshowcase the then very new OLED technology. Having had thatexperience, when the practice was approached by top-end carmaker Aston Martin to design a presentation suite or the new

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ASF

Location

smart Forvision electric car, Germany

Client

BASF

Lighting Solutions

Philips Lumiblade OLE

Websites

www.bas.comwww.smartorvision.bas.comwww.lumiblade.com

Video

http://youtu.be/QSWlBnc-J4w


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Transparent OLEDs create a spacios ambiance in the interior o the car.

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DEsIgn InnOvATIOns II

Aston Martin One-77, i t took the opportunity to use OLEDsto create a magical-eeling environment. Customers who come tocollect their car are introduced to an almost entirely dark space inwhich a number o seemingly unsupported lights then come on,refected in the perect paint nish o their car which is decoratedwith light rather like a very high-end birthday cake.We were looking or something that expressed the special natureo the car, said Bruges. The rst thing we noticed was the qualityo the paint nish Aston Martin pride themselves on it. So we

became excited about the idea o using Lumiblade OLEDs thatalso have a very shiny nish. They become almost mirror-likewhen they are o. Bruges took over 700 OLEDs, devised a xingand clipped them to slender rods o varying heights so that theyechoed the shape o the car. Wires run down the insides o therods and everything in the space, with the exception o the OLEDsthemselves, is black. So, until the OLEDs come on, and illuminatethe car, it is as i nothing is there.

The car is decoratedwith over 700 OLEDs

like a very high-en

birthday cake


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20 DEsIgn InnOvATIOns II

Product designer Tom Dixon designed the Flat Lamp withLumiblade OLEDs, a concept that never went into production,partly due to the price at that time. In the near uture, such lampsare going to be aordable, but they miss the main point about

OLEDs, which is that they allow an altogether dierent approachrom other light sources. Because they are not point sources, theydo not need to be diused, but create a diuse light already. Theywill thereore be able to become part o a wall, a piece o urnitureor, indeed, a ceiling.At present the main limitation in using OLEDs is the size theyare available in. Philips took a big step orward when it launchedan OLED measuring 12cm by 12cm in April, with a light area oaround 10cm by 10cm. To do this its researchers had overcomethe halo eect which previously gave an uneven eect on largerOLEDs. Now Philips believes that by 2018 it will have OLEDs thatare 1m2.The other great potential lies in translucent OLEDs. In place orefective aluminium these use a layer o silver which is 80 per

OLEDs reect on the new Aston Martin One-77.

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Until the OLEDs comeon, and illuminate thecar, it is as i nothing

is there.

cent translucent. Current technical work to improve their durabilitymeans they should be commercially available by 2013. Already,Philips has supplied translucent OLEDs or use on the roo oa concept car that was developed by BASF. During the day

the roo is transparent, allowing views out and light in, and atnight it provides a lovely diuse light. Even cleverer, translucentphotovoltaic panels are layered on top, producing the energyduring the day that can be used to operate the OLEDs at night.It is easy to imagine this idea being applied to buildings. Atriaare becoming increasingly important as architects and clientsrecognise the importance o natural light. Roong those atria withthe same combination used on the concept car translucentOLEDs with translucent PVs above would provide good naturallight during the day, and sel-powered attractively diuse lightat night.The innovative nature o OLEDs means they wi ll challengedesigners to think dierently about lighting but it is an excitingchallenge and not a daunting one.

Location

Aston Martin One-77 car showroom,UK

Client

Aston Martin

Lighting design

Jason Bruge Studio

Lighting Solutions

Philips Lumiblade OLED

Websites

www.astonmartin.comwww.jasonsbruges.com

Video

http://www.jasonbruges.com/

projects/uk-projects/reveal-aston-martin


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Detail o the Aston Martin One-77 car reectin the sare OLED liht.

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DEsIgn InnOvATIOns II


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the dragonEnter

By Ruth Slavid

A marketing centre in Taipei, Taiwan, uses the Chinese

symbolism o the dragon to create a building that is special

both inside and out.

I you are running the most important construction company inTaiwan, producing innovative homes that continue to increasein value even when the market is dicult, then you will want to

do something special with your marketing centre. This was thesituation or Farglory Land Developments, which not only holdsthis position within Taiwan but is also expanding its infuence tomainland China.The marketing centre, which it recently commissioned, neededto give a eeling o being special to visitors once they cameinside, but it also had to proclaim its special properties rom theoutside. The architect, Sherwood Design, came up with the ideao the dragons curve, a orm that is contained within the overallrectilinear shape o the building, but that also bursts through itsboundaries. With translucent walls, and a sophisticated lightingscheme, this dragon attracts people to the building, which is set inXinzhuang, in the western part o New Taipei City.

u-PARk MARkETINg CENTRE, NEW TAIPEI CITy, TAIWAN

DEsIgn InnOvATIOns III

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Let and right: With clear lazin at the ront,and a semi-transparent wall board behind,this crved element is lit with iColor CoveqLX and ColorBlast Powercore fxtres.


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It also uses the positive associations o dragons in Chinese

mythology, where they are seen as symbols o power, strength

and good luck.

The main curve o the dragon where it breaks through the wal l

contains a curving ramp to take visitors up to the oor above. Its

U-shape has given the name to the building, the U-Park building.

With clear glazing at the ront, and a semi-transparent wall boardbehind, this curved element orms a corridor that is lit with Philips

Color Kinetics iColor Cove QLX and ColorBlast Powercore xtures.

These produce a varying cycle o coloured light that is visible rom

both outside and inside the building. A similar translucent efect

is used on the main entrance, to attract visitors into the building.

They are then drawn through to the main atrium area, which is

used or special events, as well as or circulation.

This has an art ceiling installation, a series o non-concentric

circles on a total o seven diferent levels, which can be lit in a

variety o diferent ways to provide diferent scenes and moods.

The angles and positions o the xtures had to be worked out

very careully to ensure that there was an even distribution o light.

The iColor Cove QLX was particularly suitable to this application,

because it is extremely compact and the sculptural orm o the

ceiling meant that there was a minimal amount o space available.

Both the dragons curve and the atrium art ceiling were designed

to make the building into somewhere special, and the lighting

plays a vital role in this. But there is another way in which lighting

has been used in the building, and this is in the showroom

o a smart home, to show the level o sophistication that willbe available to purchasers. This area is tted out to extremely

luxurious standards, to give potential purchasers a sense o what

will be available to them. The dining room has been constructed

in a traditional European style, complete with a central chandelier,

while the bedroom is more contemporary with a bed that has a

dramatic modern bedhead, and a patterned glazed wall. It has

a coved ceiling with colour changing lights, as well as bedside

lamps, and a control system that allows users to alter both

brightness and colour.

U-Park is a special building, and or Farglory it has to give the

same image o quality that it wishes to associate with all its

developments. Visitors will not be disappointed.

J

osephHuang,

Companyname:TIGERRUSHCO.

24 design innovations iii

Client

Farglory

Architect

ShuHeng Huang,

Sherwood Design

Lighting solutions

Veronica Chang,

Philips Taiwan

Luminaires

Philips Color Kinetics iColor

Cove QLX,

ColorBlast Powercore

Lighting controls

Philips Color Kinetics iPlayer 3

The architects dragons curve is contained within the overall rectilinear

shape of the building.


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DEsIgn InnOvATIOns III

Top: Series o circles lit with iColor Cove qLX.Bottom: The dinin room has been constrcted in a traditional Eropean stle.


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26 shOwROOm

New museumdemonstration

LIgHTINg APPLICATION CENTRE - LAC, EINDHOVEN, THE NETHERLANDS

By Luc van der Poel

One o the latest jewels in the Philipslighting crown was the acquisition o theIlti Luce company which is based in Turin,Italy. Ilti Luce started 20 years ago andwas the rst company in Italy to provide a

lighting system that could protect historicalarteacts by using bre optics, so avoidingexposure to damaging UV and inra-redradiation and allowing easy maintenance.Since 1998, LED lighting has increasinglyreplaced bre optics in these applications.A new museum demonstration spaceopened at the Philips Lighting ApplicationCentre in Eindhoven last summer toprovide a particular ocus on museum andexhibit lighting. Objects ranging rom 400million-year-old ossils to contemporary artsuch as sculptures by the Italian artist Enzo

Torcoletti are on display, demonstratinghow lighting can help to reveal orm,texture, material and colour while ullyrespecting the delicacy o the products.This latter issue is crucial since radiation,including light, can damage exhibits. Inthe case o sensitive products the light

level, the time o exposure and the spectralcomposition o the light will all need tobe considered in order to minimise thedamage.Architects, designers, museum directorsand conservators who visit the centre cansee how arteacts such as archeologicalobjects, statues and paintings can bepresented in an attractive and sae setting.Issues explained include modelling (theplay o light and shadow), colour renderingand preventing glare on glass covering theobjects on display. The way the arteacts

are presented will depend on the theme.Extra attention is given to innovations in theeld o LEDs. The miniaturisation o LEDlight sources presents opportunities to takeorm and design to a new level.The in-house laboratory at Ilti oers thepossibility o working with external creatives

to develop and technically validate andproduce prototypes or on-site test inmuseums. This allows Ilti to ensure that thecustomers specications are met. In themuseum display at the Lighting ApplicationCentre, a wide overview o the morestandard Ilti Luce products is presented.Special demonstrations are also availableon request.Combining the expertise o Philips lightingand Ilti Luce is a perect match to helpcreate the best in museum lighting.

Sclptre b Enzo Torcoletti Il gardiano, shown with decorative wall lihtin and colored bac wall lihtin.

Please contact your

Philips representative

to visit the LAC


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shOwROOm

Vitrine flled with ossils (trilobite, Morrocco, 400 million ears old, Mosasars teeth, Maastricht, 69 million ears old, and a small lizard seleton).


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gALLERY

Top: James Turrell - OutsideInsight, inside view, See Colour exhibition, Jrna, Sweden.Let: James Turrell - Amrta 2011, dierent colour impressions, See Colour exhibition, Jrna, Sweden.

Lighting artand lighting design

FLuX STuDIO, BALTIMORE, MARyLAND, uSA

B Rth Slavid

Are light art and lighting design two entirelyunrelated subjects? Not according to GlennShrum, president o FLUX Studio, based inBaltimore USA. Shrum is interested in investigatingthe relationship between the two, and he is verywell placed to do so.

Exhibition

James Turrell 2012May 26 to SeptemberSee Colour, Jrna, Sweden

Website

www.seecolour.se

JamesTurrell,Photos:FlorianHolzherr


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30 gALLERY

Top and right: James Trrell - OtsideInsiht, permanent Sspace rom otside, See Colorexhibition, Jrna, Sweden.

His practice divides its output into extant work and ephemeralwork and the latter category denitely veers into the world oinstallation and art. This suits Shrum who trained as an architectbeore becoming a lighting designer and then, ater a dozen orso years o working, went back to college to study ne art. I was

interested in investigating the intersection o lighting design and lightart, he said.The light artists who most intrigue Shrum are James Turrell, OlaurEliasson and Dan Flavin, all o whom all on the right side o adivide he makes between light art and art that lights up. Thereis however a great dierence in the way that they handle light.Whereas Turrell deliberately conceals the sources o his light, inorder to maximise the impact that he makes, Flavin, who died in1996, deliberately exposed the then ubiquitous fuorescent tubesthat were the basis o his work. Flavin comes rom the minimalisttradition o using everyday objects and providing an opportunity orthe viewer to see them in a dierent way, Shurm says. Eliassonhas used both approaches. The Weather Project, installed at TateModern in London, created the impression o a giant sun while

concealing the workings. But in 1m3

Light, he placed ttings at thecorner o his cube which lit each other, placing the technology atcentre stage.Shrum is interested in the act that both approaches are valid,

whereas in current architectural lighting design there is an orthodoxywhich dictates that the source o light must be hidden on high-endprojects. Ironically, this has come alongside a modernist belie inmuch architecture that elements such as structure must be honestand exposed wherever possible. Many architects are concerned

about letting lighting become a oreground element, he said. Andlighting designers are accepting o the status quo.One clear dierence between lighting design and light art is that inan art commission the designer sets the problem which they thensolve, whereas in lighting design the designer is given a brie thatcovers the clients wishes, the architectural design, the unctionalprogramme and issues such as energy use. Shrum is part icularlyattracted to projects that sit somewhere between the two, wherethe designer has the ability to dene the problem to a greaterextent.Light art can also teach us interesting things about technology.Whereas Flavin stuck to his T12 fuorescent tubes throughouthis lie, Shrum has noticed, by studying the quality o the light, achange in Turrells tool kit. About ve years ago, he says, the artist

moved rom neon to LEDs. The saturation is dierent, and you cansee a bit o ficker, he says. What is interesting is that he couldshit technology without undamentally changing the content o theartwork. The same does not apply to a Flavin piece.

Shrum drawsa dividingline between

light art andart thatlights up.

JamesTurrell,Photos:FlorianHolzherr


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bLuE skY ThInkIng

visitsInspirationaPHILIPS RESEARCH EINDHOVEN, THE NETHERLANDS

Top: Aachen, germanA reen OLED at the Lmiblade Creative Lab in Aachen, german.Let: LED Visal Displa Soltions showroom, EindhovenJoe Morris p close with a Philips Vidiwall.

By Merlin Fulcher

In February this year, UK-based architects and lighting

designers travelled to Philips Lightings Eindhoven

headquarters in the Netherlands to pick up some brightideas. The two-day visit provided inspiration or an initiative

by The Architects Journal to regenerate Rye Lane, Peckham,

one o south Londons busiest high streets.

Liting o rom oggy London City Airport, Pies Michael Corr,Joe Morris o last years Manser Medal-winners Duggan Morris,and Robin Lee rom Dublin-based Robin Lee Architecture, werecautious about what lay beore them.As architects, they conessed, lighting design was not always thetop o their agenda.But arriving in Eindhoven they were met by lighting designersLorraine Calcott rom It Does Lighting, Light Bureau principal PaulTraynor and Arups Dan Lister who made their act-nding mission

a collaborative learning experience.


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Michael Corr:

I dont knowwhether it isresponding tomy hands or mypersonality.

Philips Hih Tech Camps, Eindhoven. Let to riht: Michael Corr, Robin Lee,Pal Tranor, Joe Morris, Lorraine Calcott, Palina Ddiewicz.

Hotel d LAC part o the inspirational visits.

M

erlinFulcher

At Philips Lighting Application Centre, the MasterLED caught theattention o architect Kieran Ganey o Edinburgh-based KonishiGaney. They last up to 25 years, thats as long as some buildingsin Japan. The bulbs are also beautiul objects in their own right,he said.Back in London, the teams new knowledge would be used to helpregenerate Peckham. As creatives, its about working out whatthe opportunities are or the system, said Morris. Their design dayideas could shape its uture.

Together they saw interactive products being tested atExpericenceLAB on the crisp High Tech Campus Eindhoven where lunch time ice skating is, o course, the norm. Then organiclighting at the Lumiblade Creative Lab in Aachen, Germany.I dont know whether it is responding to my hands or mypersonality, said Corr placing his hands above Jason BrugesMimosa installation.Returning to Eindhoven, Morris said: You could have a single pixelOLED and somehow it responds to the lighting conditions. This bit

o intelligence reacting to absence and to light.

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Copyright

2012 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. Theinformation presented in this document does not form part of any quotation or contract, is believed to be accurate and reliableand may be changed without notice. No l iability will be accepted by the publisher for any consequences of its use. Publicationthereof does not convey nor imply any license under patent - or other industrial or intellectual property rights.

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