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P H O T O N S NOTES ON LIGHTING DESIGN New World Symphony A team of Japanese lighting designers believed that just as a quiet dining environment helps to ensure a pleasant meal or an office’s innovative interior design can positively effect the work of its employees, then lighting could enhance the sound quality of a symphony orchestra. When the ambitious designers—Koichi Moto, Setuko Ando, Chiho Tanaka, Hisakazu Fujita, and Tomokazu Ishikawa—were given the task of illuminating the Sumida Symphony Hall in Tokyo, Japan, they decided that their primary design goal would be to visualize sound. The Hall is located in Sumida, downtown Tokyo, built with the aim of bringing classical music to the community. It is currently the home of the New Japan Philharmonic. The main concert hall, constructed in what the designers call “a shoe box style” on a slightly slanted plane, is the major architectural element. The concert hall seats 1800 and was designed to have multiple acoustic spaces created by several dark wooden “screens,” or panels, installed along the walls. The lighting designers’ first priority was to optimize this unique design feature, as well as call attention to the hall’s space with sound as the design’s unifying theme. After all, since light and sound share similar properties and vocabulary (e.g., wave, intensity, frequency), why not merge the two The idea of sound visualized was based on the designers’ ideas about “wave lengths” and “oscillations.” Images of semicircle canals and musical instruments, as well as reflected and refracted rays of light, were all used to convey the designers’ intentions. Indirect lighting is used to emphasize the grandeur of the main concert hall; at the same time, it brings out the contrast between the walls and wood screens. A 1.8 m high chandelier with fiber optic points is the concert hall’s lighting centerpiece. Extending the sound theme outside of the concert hall, musical notes are patterned on the light receptors of chandeliers in the foyers and lobbies. The glittering chandeliers add dazzle to the contemporary interior. The designers made sure that the light sources for the chandeliers were located in remote spots, out of view whenever possible. The lighting designers of Sumida Symphony Hall have subtly brought together two distinct and hard-to-define fields, light and sound, with flair and meaning and united them in a space devoted to culture and community. —Kevin Brady 14 LD+A/April 1999
Subterrenean Grace Hideo Yasui, whose theories on lighting design have been profiled before in LD+A (“Semi-Charmed Light,” February 1999), approached the design of Dgrace, a fashion boutique in Tokyo, using his concept of “spacial light.” Yasui believes lighting is a significant design element that should not impose itself on a space, but merge with it under one unified concept. Spacial light works to stress the color and form of a space, while integrating itself within it. Yasui wanted to create a bright, rich space for the boutique, located on the basement floor of a department store. For Dgrace, as is the case with many department stores, design restrictions were numerous and the budget was tight, making the installation of new or additional ceiling lights impossible. Instead, Yasui turned his attention to the boutique’s wall surfaces, enveloping them with white light, making them appear illuminated by natural light. Polycarbonate, more often used on the exterior surfaces of buildings, was used to decorate Dgrace’s walls with a wallpaper-like effect. Yasui conceived of the hollow polycarbonate as film that wrapped the boutique. He then arranged fluorescent lighting to enhance the walls’ film-like quality, turning the polycarbonate material into a light source which gently encloses the entire space from its circumference. The same material was used for the boutique’s shelves, thereby maintaining the continuity of the design and the sense of unity. The polycarbonate, along with transparent acrylic fittings, expand the visual depth of the space, making it appear wider than it actually is. Having white light illuminating and overlapping a white space highlights the clothing—the reason for the boutique’s existence. —Kevin Brady P H O T O N S NOTES ON LIGHTING DESIGN 16 LD+A/April 1999
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