Last call for entries! LAMP Lighting Solutions is inviting lighting designers, architects, urban planners, interior designers, engineers, landscapers and students to submit their projects for the 2015 LAMP Awards. The LAMP Awards recognize projects that have successfully met the architectural lighting needs of an indoor or outdoor space, having created a positive synergy between architecture, interior design, landscaping and lighting. The awards value the creativity, innovation and sustainability of lighting projects, regardless of the manufacturer or the brand of lights used in the project. January 31st is the last day to submit projects.
Last year, 608 projects from 52 countries were submitted as part of the LAMP Awards, and this year the jury will be comprised of Mark Major, Kai Piippo, Douglas Leonard, Anne Bureau, Emma Cogswell, Anupama Kundoo, Juan Carlos Sancho and Ignasi Bonjoch.
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.
Miguel de Guzmán, a noted photographer and Spanish audiovisual producer, has shared with us one of his most recent works. MOON is the lighting project by Brut Deluxe that has taken Madrid’s Gran Vía, delivering a perfect urban setting for the year-end celebrations. This context is also the location of a new film by Imagen Subliminal, who has already delighted us in the past with audiovisual proposals for projects like The POP-UP House and Casa del Espinar. The full Moon, after the break.
In the ongoing battle to hold the Guinness World Record for the Most Lights on a Residential Property (aka the house-with-the-most-Christmas lights), the Gay family in LaGrangeville, New York has once again reclaimed their title. This year the family used 601,736 lights, spanning two acres and set to more than 200 songs. RITZ Crackers, part of Mondelēz International, helped the family top the record, providing 200,000 lights. The Gay family and the Richards family in Canberra, Australia, have been fighting for the title over the past three years. But not to be outdone, the Richards family took home the Guinness World Record for the Largest Image Made of LED lights for their Christmas light installation this year. The installation in Canberra used 1,194,380 lights to make a 3D image of three Christmas gifts spanning 3,865 square meters and raised money for the charity SIDS and Kids ACT. See more pictures and read more about the ongoing lights competition at City Lab and Guinness World Records.
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.
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.
Glasgow has just unveiled its new multipurpose structure which will end up revitalizing the Clyde Waterfront, which went into decline and neglect for many years following the closure of the town’s major shipyards. After 8 years of construction, Foster + Partners’ SSE Hydro now reveals its ETFE facade which is lit up every evening. During the day it manages to blend in with the usual changing Glasgow skyline.
The structure of the SSE Hydro Arena is covered by a 1.400 ton steel housing – one of the largest domes in Europe – and the ETFE translucent building enclosure allows one to discern what is happening inside from the outside. A 260 ton ring which supports the lighting is suspended from the dome, which will allow spectacular and customized lighting for each show.
The modern technology applied to this project contrasts with its interior structure that has been based on the Roman amphitheater, allowing each and every spectator at an event — which can be up to 13.000 — to have an optimal view of the stage. The viewing angle and comfort of the user is furthermore guaranteed by the special seating system designed by Foster + Partners along with Figueras International Seating.
The bowels of a Gasometer may be an unlikely place to stage a light installation, however, URBANSCREEN, a German projection company, has done just that. 320 Licht is a spectacle of light and sound within a cylindrical volume over 300 feet high. With the help of Epson Germany, URBANSCREEN was able to sync 21 separate projectors for a 22 minute loop, documenting the process in the amazing high-definition video above. Enjoy!
In this interview, originally published by Metropolis Magazine as “Q&A: Melissa Weigel of Moment Factory“, Leslie Gallery-Dilworth talks with Weigel about the challenges of devising multimedia installations for public spaces, as in their recent installation for the Bradley International Terminal at LAX.
Montreal’s Moment Factory, a new media and entertainment studio, is best known for creating and producing multimedia environments that combine video, lighting, architecture, sound, and special effects. You may have seen their work at Cirque du Soleil, Madonna’s 2012 Superbowl Half Time Show, Disney’s E3 booth, or Jay Z’s Carnegie Hall debut. Perhaps you were there when they lit up the facade of the Sagrada Familia or Montreal’s Quartier des Spectacles district. Or maybe you saw that they were included in Apple’s recently launched 30th anniversary timeline.
Moment Factory was the main content provider for the interior concept and media features in the newly opened Bradley International Terminal at LAX, designed by Fentress Architects. It was a large collaboration consisting of several partners, including Mike Rubin with MRA International, Marcela Sardi of Sardi Design, Smart Monkey, Digital Kitchen, and Electrosonic with installation by Daktronics and Planar.
Reaction from passengers and the airport management at LAX has been, to put it most effectively, “WOW!” So was mine. That’s why I asked them to present the project at Dynamic Digital Environments-Master Class on Feb 11, at the Digital Signage Expo in Las Vegas. I produce this annual pre-conference education workshop and roundtable with architects and designers in mind. To preview our master class, I asked Moment Factory’s Melissa Weigel, senior multimedia director on Bradley International Terminal at LAX a few questions about the project.
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…
In mid autumn, when the nights get longer in the northern hemisphere, we encounter numerous light festivals. And indeed, within the last ten years, more and more light festivals have globally emerged. The reason for the success of light festivals is simple, as the German curator Bettina Pelz concludes: “It’s actually fairly easy, because whenever you do something with light in cities in the night, then people do come. If you do it good, they come twice.”
As Pelz points out, light is an apt medium for evening events, since it easily attracts people. Communities have discovered the potential of lighting for city marketing, and the closer they plan their date to Christmas, the more they merge their illumination with the festive blinking lights of commercial Christmas markets.
Join us on a tour through some of the leading light festivals in Europe. Read more about their different backgrounds, artistic concepts and future trends after the break…
Powerful video projectors at an affordable price have opened the path for a young, impressive art form: 3D video mapping, a means of projection that uses the architecture itself as the screen. Artists and researchers initiated the movement, developing a new visual language to interpret architecture. Later, marketing adopted this technique for branding, with large-scale projections on skyscrapers; political activists have also initiated dialogues, turning ephemeral light interventions into eye-catching ways to point out and address urban design issues.
More on the ways artists and groups develop this visual language for urban storytelling, after the break…
The winners of the 2013 Lamp Lighting Solutions Awards have been announced. With a total of 608 projects submitted from 52 countries, €48,000 in prize money has been awarded to 5 winning teams. The Lamp Awards were given to projects that successfully met the architectural lighting needs of an interior or exterior space, having created a positive synergy between the architecture, interior design, landscaping and lighting. The four categories included Architectural Outdoor Lighting, Indoor Lighting, Urban and Landscape Lighting, and Students Proposals.
The 2013 Lamp Lighting Solutions Awards Winners are:
The advent of electrical lighting has allowed us to colonise the night. Not only have kilometres of street lighting ensured higher levels of safety, but signs, advertisements, etc. continue to draw us into nocturnal landscapes. As Rem Koolhaas explored in Delirious New York, Manhattan and Coney Island were the early luminous prototypes for today’s continuously vibrant metropolises: cities that establish new rhythms, a new balance between work and life.
But what happens when lighting upsets our natural balance? When we lose the beauty of the dark sky, the stars? What happens when lighting turns into pollution?
More Light Matters, after the break…
London-based United Visual Artists (UVA) has brought Sou Fujimoto’s “cloud-like” Serpentine Pavilion to life with an “electrical storm” of LEDs. With the intention of making the architecture “breathe” from within, UVA seamlessly integrated a network of LED lights into the latticed, 20mm steel pole structure that mimics the natural forms of an electric storm. In addition, carefully conducted auditory effects further enhance the experience, transforming Fujimoto’s “radical pavilion” into an electrified geometric cloud.
In recent years the use of CAD and simulation programs has resulted in a new understanding of light in architecture. The drawing board and its lamp have given way to the self-illuminating monitor. The result is that concepts in architecture are now made of light from the very first mouse click. In the visualisation process, luminous space now predominates.
However, this begs the question: has the luminous impression (part and parcel of the perfect, rendered setting) become more important than the engineering or architectural concept itself? With the improved interplay of shades, contrast, and brilliance, can lighting actually obscure the point of a realistic simulation?
More Light Matters, after the break…
Light matters, a monthly column on light and space, is written by Thomas Schielke. Based in Germany, he is fascinated by architectural lighting, has published numerous articles and co-authored the book „Light Perspectives“.
From early nocturnal studies in a lonely hotel room to transforming a volcano in the world’s biggest landscape art project to, most recently, lighting up the Guggenheim in New York, the American artist James Turrell is driven by his fascination with light. He explores perception for visual experiences where light is not a tool to enable vision but rather something to look at itself.
More Light Matters, after the break…
“We don’t live in nature any more – we put boxes around it. But now we can actually engineer nature to sustain our needs. All we have to do is design the code and it will self-create. Our visions today – if we can encapsulate them in a seed – [will] grow to actually fulfill that vision.” - Andrew Hessel in a recent ArchDaily interview
“Engineering nature to sustain our needs” is exactly what the Glowing Plant Project aims to do. Synthetic biologist Omri Amirav-Drory, plant scientist Kyle Taylor and project leader Antony Evans are working together to engineer “a glow-in-the-dark plant using synthetic biology techniques that could possibly replace traditional lighting” – and perhaps even create glow-in-the-dark trees that would supplant (pun intended) the common street light.
How is this possible? Read on to find out.