Global companies often exploit architectural icons to transform physical form into their desired brand reputations. To help achieve this goal, after twilight, the natural qualities of buildings have often been supplemented by architectural lighting, as the facades call unmistakeably for attention with their colorful and dynamic illumination. Representation has become the leading motivation for upgrading the lighting at headquarters and retail outlets. But when the illumination evolves into spectacular gestures, the brand identity and architecture itself starts to fade. Hence, the struggle for individuality has revived the discussion about ornament – though ornament appears now as light.
Is there a designer who does not dream of the perfect lighting concept, which conveys a feeling of well-being and shows the architecture at its best? Unfortunately, however, it is often the case that the brief received from the client causes difficulties. All too often discussions are peppered with such terms as LEDs and lux levels,causing an unconscious shift in thinking in the direction of norms and technology instead of placing questions about requirements and lighting quality at the centre of discussion. But what exactly is quality lighting design?
Thanks to the increasing availability of giant LED screens, the Golden Age of Neon has quietly faded in Las Vegas. For decades casinos defined their visual identity with colorful neon signs and competed for the most innovative signage. But with casinos closing, being refurbished and the arrival of new lighting technology a lot of neon signs were replaced, and for many years the Young Electric Sign Company kept the old neon signs in their "boneyard" for storage and recycling. Fortunately historic preservation groups rescued these signs. With support of the arts council The Neon Museum was born to save neon treasures and to educate the public.
Read on to explore Las Vegas' luminous landmarks and The Neon Museum.
Architecture professor and photographer Henry Plummer has heightened the transformative power of daylight with his cameras and published several remarkable books about light and architecture. His deep interest in light, and his lyrical writing perspective, were formed through his contact with the designer and art theorist György Kepes while studying at MIT. Within his numerous photo journeys Plummer has documented the various facets of daylight in Japan and the Nordic Countries, and of masters like Le Corbusier and Louis Kahn. As a Professor Emeritus of Architecture at the University of Illinois at Urbana-Champaign Plummer also still has ambitious plans for future book projects. In the second part of this interview, Plummer reveals how changing technologies have affected his photography, and discusses his thoughts on phenomenology and developing a poetic language of light.
If you missed it, you can read part one of this interview here.
Architecture professor and photographer Henry Plummer has heightened the transformative power of daylight with his cameras and published several remarkable books about light and architecture. His deep interest in light, and his lyrical writing perspective, were formed through his contact with the designer and art theorist György Kepes while studying at MIT. Within his numerous photo journeys Plummer has documented the various facets of daylight in Japan and the Nordic Countries, and of masters like Le Corbusier and Louis Kahn. As a Professor Emeritus of Architecture at the University of Illinois at Urbana-Champaign Plummer also still has ambitious plans for future book projects. In the first part of this interview, Plummer shares a variety of insights about understanding light and approaching buildings for photography.
Before computer daylight simulations were used to optimize the atmosphere and energy in buildings, generations of builders developed simple principles to create the best windows for their site. Two lighting experts have studied these traditional openings in buildings to find inspiration for more sustainable designs today. Francesco Anselmo, a lighting designer at Arup, and John Mardaljevic, Professor of Building Daylight Modelling at the School of Civil & Building Engineering of Loughborough University, have analysed the sun and skylight variations from northern regions like Stockholm down to the equator in cities like Haiti or Abu Dhabi.
Read on to learn more about the variety of traditional windows.
For his three sacred buildings, Le Corbusier has played masterfully with orientation, openings and textures to create kinetic architecture with daylight. His pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of Saint-Pierre in Firminy reveal distinctive and individual approaches that each render contemplative spaces with light. In his book “Cosmos of Light: The Sacred Architecture of Le Corbusier,” Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has analysed these projects with outstanding photographs taken over 40 years and brilliant writing.
Read on for more about how Le Corbusier created his cosmos of light.
Light is all around us, and it increasingly affects our daily lives. For example, we have started to carry personal light sources around with our smartphones, and in our homes many electrical machines now utilize light to display information and simply to appear more attractive. In a larger context, architecture and cities have also developed a new dimension with the advent of electrical lighting for work and entertainment.
Inspired by the central role of light for our culture and technology, the United Nations has proclaimed 2015 as the “International Year of Light and Light-based Technologies” (IYL2015). With IYL2015 the UN wants to raise the awareness of the importance of light and optical technologies in our lives, our future and the development of society.
Read on after the break for more enlightenment around IYL2015.
Sustainable lighting design offers various well-being and environmental benefits in addition to economic advantages for clients and users. Although daylight provides a free lighting source, for most spaces the amount and time of daylight is not sufficient and electrical lighting is necessary. A focus on sustainability becomes essential for minimizing energy consumption and improving the quality of life. Even though efficiency has significantly increased with LED technology, electrical lighting is still more widely used. Often the ambition for renovations or new applications goes along with a higher quantity of lighting instead of finding a better lighting quality with an adequate amount of energy.
Read on after the break for Light Matters’ 7 fundamental steps to achieve sustainable lighting.
Imagine luminaires that could fly and visualise new buildings or individually guide you through space. What would happen if you could even interact with these flying pixels? These concepts could be realised in the near future as the first prototypes and experiments are being introduced. Software-driven LED pixels combined with drone swarm technology provide extraordinary possibilities for inducing new forms of spatial experience. These luminous pixel clouds emerge as digital patterns, but at the same time they emanate a romantic quality with their unique star formations twinkling in the night sky. The first projects have shared a playful note, but laboratories such as MIT's SENSEable City Lab, ARES Lab and Ars Electronica Futurelab have shown an intriguing future in urban design for guidance systems or envisioning real estate developments, as advances in battery technology and wireless control have opened new perspectives for a life with smart flying pixels.
The Scandinavian countries have developed great buildings that resonate with both the scarce light in winter and the long summer days. Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has very carefully studied the various daylight phenomena in the Nordic countries, with extensive photo journeys and brilliant writing that combines an analytical perspective with a poetic touch. His view of daylight looks beyond the practical advantages of using reflective white spaces to facilitate bright rooms; the passionate photographer is much more interested in the light effects that play with the local beauty of nature and touch the human soul.
Read on for more about how Nordic light enters white spaces
“Elements of Architecture,” the Rem Koolhaas-curated exhibition at the 2014 Venice Biennale, delved into several remarkable structural as well as technical components of architecture, including floors, walls, doors, stairs and toilets. But why was light missing?
My manifesto for the inclusion of light as a fundamental element of architecture — after the break.
Modernism induced a shift in lighting away from luminaires and towards invisible light sources that render spaces in a purer (forgive the pun) light. For the first time, lit walls were used to define rooms and to structure architecture. Today I’d like to explore early prototypes - including Philip Johnson’s Brick House and the Seagram Building - and discuss how their lighting techniques continue to influence architecture today.
The delicate mashrabiya has offered effective protection against intense sunlight in the Middle East for several centuries. However, nowadays this traditional Islamic window element with its characteristic latticework is used to cover entire buildings as an oriental ornament, providing local identity and a sun-shading device for cooling. In fact, designers have even transformed the vernacular wooden structure into high-tech responsive daylight systems.
Jean Nouvel is one of the leading architects who has strongly influenced the debate about modern mashrabiyas. His Institut du monde arabe in Paris was only the precedent to two buildings he designed for the harsh sun of the Middle East: The Doha Tower, which is completely wrapped with a re-interpretation of the mashrabiya, and the Louvre Abu Dhabi museum with its luminous dome.
More mashrabiyas, after the break...
Richard Kelly illuminated some of the twentieth century’s most iconic buildings: the Glass House, Seagram Building and Kimbell Art Museum, to name a few. His design strategy was surprisingly simple, but extremely successful.
Lighting for architecture has been and still often is dominated by an engineering viewpoint, resigned to determining sufficient illuminance levels for a safe and efficient working environment. With a background in stage lighting, Kelly introduced a scenographic perspective for architectural lighting. His point of view might look self-evident to today’s architectural community, but it was revolutionary for his time and has strongly influenced modern architecture.
Read more about Richard Kelly’s remarkable, and unsung, contribution to architecutre, after the break.
The use of light can lead to very diverse feelings: a ray of sunlight calls attention; glare overpowers; the nocturnal sky fascinates, while a dense dark forest arouses fear. Religions have made use of these experiences to convey the mystic aspects of their respective deities — accordingly, so too do their erected buildings.
After the break, an exploration of the different approaches for using light as a vehicle of symbolic meaning and spiritual experience in religious spaces.
Daylight is a highly cost-effective means of reducing the energy for electrical lighting and cooling. But architectural education often reduces the aspect of daylight to eye-catching effects on facades and scarcely discusses its potential effects - not just on cost, but on health, well-being and energy.
This Light Matters will explore the often unexplored aspects of daylight and introduce key strategies for you to better incorporate daylight into design: from optimizing building orientations to choosing interior surface qualities that achieve the right reflectance. These steps can significantly reduce your investment as well as operating costs. And while these strategies will certainly catch the interest of economically orientated clients, you will soon discover that daylight can do so much more.
More Light Matters with daylight, after the break…
In Modernism’s attempt to dissolve spatial boundaries with transparency, the material used - glass - is all too often dematerialised. In contrast, the New York-based designer James Carpenter is interested in multiple readings of glass - beyond transparency.
As Carpenter explains: “People approach light in relationship to architecture. It is that the light is the means by which the architecture is revealed and the architecture is basically defined by the way the light enters the space. I tend to think actually from the opposite direction where the light itself is what informs the architecture. The architecture is in service of light rather than the other way around.”
More Light Matters, after the break…