From Pokemon to Tiffany's to LEED to DALI - Illuminating ...

(right) Some 3000 solar-powered LED
luminaires are located throughout the site.
(below) At the entrance, the trees are illuminated from
above to create a silhouette and to illuminate the ground.
(opposite, top) Polycarbonate covers seal
the submerged luminaires.
(opposite, bottom) LEDs
illuminate windsocks.
Beautiful space, beautiful time
Departing from ecological ideas that aim at conservation
but deny human involvement in nature,
we attempted to inspire emotions that can only
come about through such involvement. We
screened the enormous amount of information
found in urban environments and attached meaning
to the balanced design that offers a sense of
gentleness and life—like breathing. From the
changes in light’s strength and density in the passage
of time—such as lights reacting to nature or man—people
become aware of the key to cities co-existing with nature.
Brilliance and dew of the forest
Particles of light called Mori No Shizuku or forest dew are
studded throughout the site to represent the brilliance of the
forest dew, as well as water and light, the sustenance of all living
things. Light and water, which shower the forest and penetrate
the ground in the daytime, float above the surface and
regenerate light when the sun sets. The regenerated light represents
the brightness of the forest dew that had been invisible.
The light colors gradually change on paths around the site to
tell a story about returning to the forest and sky. Delicate specks
of light and soft surface illuminations are balanced throughout
to create a light form symbolic of brilliance and dew in the
undulating landscape.
Some 3000 LED units, powered by the sun, are equipped
with sensors that react to people, sounds, and wind. Heat sensors
react to the presence of humans, causing the LEDs to
increase in brightness from 20 to 80 percent.
Returning to the forest, returning to the sky
Unlike conventional
expositions with ostentatious
lights and clusters
of light, the forest
exposition avoids light
pollution and unnecessary
illumination, using
lights that appear and
disappear. The lights
evolve from ostentation
to harmony, changing
color from that of a
warm fire to that of a
verdant forest.
Light created by
man and triggered
by nature
Blue and blue-green
lights are created by
using sunlight and the
force of wind. The natural
energy is regenerated
into light. LED units
are equipped with a
28 LD+A/January 2003 www.iesna.org
solar panel with built-in sensors that react to movement, wind,
and sound.
At a nature tour site that faces a mountainous backdrop,
human voices are detected by a microphone, divided into 25
sound zones according to decibel levels, and converted into
light, creating sparkles across the ravine.
Solar-powered LEDs equipped with ultra-small microphones
respond to the wind passing through the site, creating lights
that follow the wind paths blowing up and down the hills.
All illumination on buildings, benches, and plants blinks
continuously in a pattern similar to breathing.
The exposition is a festival of lights. “Timesharing” alternates
darkness with illumination. This “communication of light”
connects the forest to man, enveloping the site with an ebb and
flow of light.
Graded landscape lights along the path change from orange
to blue green in ten steps, intended to tell a story of people
returning to the forest along paths spreading out like a flame
from the center of the exposition.
Architectural lighting is key to conveying the magnificence
of the exposition. Light changes from white to blue on buildings,
creating the image that the light is returning to the sky.
Small water streams are illuminated from submerged lights
that respond to the sound of the water.
Incandescent sources are used throughout, except for vending
machines lighted by fluorescent lamps the color of incandescent
sources. The narrow ultraviolet band is less likely to
attract insects.
The project received a 2002 Paul Waterbury Award of
www.iesna.org
Excellence special citation for innovative use of solar, wind and
voice technology.
The designers: (left to right)
Satoshi Uchihara, graduated from
Tama Art University’s Design program.
From 1982-1992 he
worked with Motoko Ishii Lighting
Design Inc. In 1993 he established
Uchihara Creative Lighting
Design Inc., which has worked on
the lighting design for several
temples in the Kyoto area, as well
as museums.
Hiroki Yagi, graduated from Tokyo University of Art and Design’s Fine art program.
From 1989-1994 he worked with Motoko Ishii Lighting Design Inc., He
has worked with Uchihara Creative Lighting Design Inc., since 1996.
Mayumi Watanuki, graduated from Chuo College of Technology’s Architectural
Interior Technology program, has worked with Uchihara Creative
Lighting Design Inc., since 1999.
Makoto Tanaka, graduated from Tokyo Technical College’s Architecture program,
From 1988-1994 he worked with Nishio Architecture office Inc. 1994-
1998 he worked with Archi Works inc. He has participated in this project as an
Architectural Director with Uchihara Creative Lighting Design Inc., since 1999.
Shinji Umino, graduated from Japan Design Academy’s Industry Design program,
From 1982-1986 he worked with Nishi Electric Industry. From1987-
1991 he worked with Domus international Ltd. From 1992-1995 he has participated
in the establishment of import and sales company of lighting equipment
and became freelance in 1996. He has participated in this project as a
Technical Director from Ushio Spax Inc.,
Kouji Mochino, graduated from Nipon Univercity College Of Art’s Design program
in 1980. He is the Executive Director of Akatsuki Art & Technology Inc.,
He has participated in this project as an Amusement Director.
Set Your Lights on Chicago
Join us for the
IESNA 2003 Convention
Chicago, August 3-6, 2003
www.iesna.org
Photo by Taber Photography
LD+A/January 2003 29