Lighting Concepts 2013 Lighting Concepts 2013 - Lamp

Lighting Concepts 2013

Lamp Lighting Solutions Awards‘13Lamp LightingEs un honor poder continuarescribiendo dicho prólogo, cuandose trata ya de nuestra quintaedición. Después de tomarnos undescanso de un año, y afianzar estospremios bienales, os presentamos alos finalistas de los Premios LampLighting Solutions 2013.El magnífico Jurado de éste año,al cual queremos agradecer sucolaboración, se ha sorprendidogratamente al disfrutar de tantosproyectos, de tal calidad, yprovenientes de 52 países.Observando éste libro de finalistasse puede llegar a percibir lainternacionalización de esteconcurso, que premia la buenailuminación por encima de todo.Quiero agradecer el apoyo quehan brindado a los premiospersonalidades, instituciones ymedios del sector. Continuaremostrabajando para que éstos tengandicho reconocimiento universal.Entre todos conseguiremos dar ala luz el reconocimiento que lecorresponde.It is an honor to be able tocontinue writing this prologue,when we are now talking aboutour fifth edition. After taking abreak for a year and consolidatingthese biennial awards, we presentthe finalists of the Lamp LightingSolutions Awards 2013.This year’s magnificent Jury, whowe thank for their collaboration,was pleasantly surprised to enjoyso many projects, of such quality,and from 52 different countries.Observing this book of finalists,you can come to appreciate theinternationalization of thiscompetition, which rewards goodlighting above all.I want to express my gratitude forthe support given to the awardsby personalities, institutionsand media of the sector. We willcontinue working for these tohave such universal recognition.Together we will manage to achievethe recognition light deserves.C’est un honneur de pouvoir continuerà écrire cette préface, alors qu’ils’agit déjà de notre cinquièmeédition. Après avoir fait une paused’un an et consolider ces trophéesbiennaux, nous vous présentons lesfinalistes des Trophées Lamp LightingSolutions 2013.Le magnifique Jury de cette année,que nous voulons remercierpour sa collaboration, a étéagréablement surpris d’avoir àjuger autant de projets d’une sigrande qualité, provenant de 52pays. En regardant ce livre desfinalistes, nous nous apercevonsde l’internationalisation de ceconcours, qui récompense le bonéclairage par dessus tout.Je tiens à remercier les personnalités,les institutions et les médias dusecteur, pour l’appui qu’ils ontdonné aux trophées. Nous continueronsà travailler pour que ces derniersaient cette reconnaissance globale.Tous ensemble, nous parviendrons àdonner à la lumière la reconnaissancequ’elle mérite.Ignasi Cusidó CodinaConsejero Delegado LAMP LIGHTING

PRESIDENT OF THE JURYQuella del Lighting Designer è unaprofessione difficile e fantasticaallo stesso tempo; da un lato viè una ricerca continua per tentaredi riprodurre quello che il sole fà,dall’altra c’è una ricerca continuaper inventare qualche effetto luminosoche in natura non esiste; si trattadi un divenire ed una sfida continuatra uomo e invenzione, tra uomo esimulazione della realtà.Esiste però un aspetto strano,irrazionale che desidero fare emergere:quando si parla di luce la si consideracosì “normale” da nemmeno considerarla.Quella macchia luminosa sul muro è ovvioche ci sia di giorno, e quella strisciaa terra così forte di luce chiarissimae fredda è altrettanto ovvio averlasotto i piedi, tanto ovvio che nessunoci fà più caso; succede però che quandoin un interno di notte proiettiamouna luce di un tipo o di un altroin una stanza buia, solo allora, lenostre coscienze si rendono conto chequei due semplici effetti trasformanol’ambiente, lo cambiano, lo modificano.E’ allora che capiamo, è in quelpreciso momento che diventiamo amantidella luce, è in quell’istante che ciinnamoriamo della luce, e non smetteremopiù di amarla per tutta la vita.Molti si chiedono perché chi disegnaluce è una persona entusiastae professionale, creativa ecoinvolgente, felice e riflessiva:lo è perché si è innamorata di unamore che durerà per sempre. Questoconcorso, al quale ho avuto l’onoredi presiedere, lo dimostra.Milano 19 Aprile 2013Francesco Iannone

Lamp Lighting Solutions Awards‘13President of the JuryLa del diseñador de iluminación esuna profesión difícil y fantásticaal mismo tiempo; por un lado, hayuna búsqueda continua por tratar dereproducir lo que hace el sol; porotro lado hay una búsqueda constantepor inventar algún efecto luminosoque no exista en la naturaleza; es undevenir y un continuo desafío entre elhombre y el invento, entre el hombrey la simulación de la realidad.Existe, sin embargo, un aspectoextraño, irracional, que quisierasacar a relucir: cuando se habla deluz, ésta se considera tan “normal”que poco menos que no se considera.Esa mancha luminosa en la pared esobvio que está ahí durante el día,y esa franja sobre la tierra, tanfuerte, de luz clarísima y fría esigualmente obvio tenerla bajo lospies, tan obvio que nadie le haceel menor caso; sucede sin embargoque cuando en una noche cerrada,proyectamos una luz de un tipo o deotro en una habitación a oscuras,sólo entonces, nuestras concienciasse dan cuenta de que esos dossimples efectos transforman elambiente, lo cambian, lo modifican.Es entonces cuando lo entendemostodo, es en ese preciso momento en elque nos convertimos en amantes de laluz, es en ese instante en el que nosenamoramos de la luz y no dejaremosya de amarla mientras vivamos.Mucha gente se pregunta porqué alguien que es diseñadorde iluminación es una personaentusiasta y profesional, creativae implicada, alegre y reflexiva:lo es porque está enamorado de unamor que durará para siempre. Esteconcurso, que he tenido el honor depresidir, así lo demuestra.The profession of lighting designeris one that is difficult and fantasticat the same time. On the one hand,it involves constantly trying toreproduce what the sun does, while onthe other hand it involves constantlytrying to invent a luminous effectthat does not exist in nature. It isa state of flux, a constant strugglebetween man and invention, betweenman and simulation of reality.There is, however, a strange,irrational aspect that I would likethe highlight: when we speak oflight, we consider it so “normal”that we don’t even think about it.It’s a matter of course for thereto be that bright area on the wallduring the day, and equally a matterof course to have that strip ofcold bright light under your feet.So much so that no one even noticesit. However, when we shine a lightof any kind in a dark room at night,it is then and only then that ourconsciousness realises that thesetwo simple effects transform theroom – they change it, alter it.It is then that we understand, itis in that precise moment that webecome lovers of light, it is in thatinstant that we fall in love withlight, and after that we never stoploving it for the rest of our lives.Many people wonder why lightingdesigners are enthusiastic andprofessional, creative andcaptivating, happy and thoughtful.They are like this because theyhave found a love that will lastforever. This competition, which Ihave had the honour of presidingover, demonstrates this fact.La profession de concepteur lumière estune profession difficile et fantastiqueen même temps; d’un côté, il y a unerecherche continue pour essayer dereproduire ce que le soleil fait, del’autre il y a une recherche continuepour inventer des effets lumineux quin’existent pas dans la nature; il s’agitd’un devenir et d’un défini permanententre l’homme et l’invention, entrel’homme et la simulation de la réalité.Il existe toutefois un aspect étrange,irrationnel que je souhaite souligner:quand on parle de lumière, on la considèrecomme à ce point “normale” qu’on ne laprend même pas en considération.Cette tache lumineuse sur le mur ilsemble aller de soi qu’elle soit làpendant le jour, et sur le sol, cettebande de lumière très claire et froideil semble tout aussi naturel de l’avoirsous les pieds, si évident même quepersonne n’y prend plus garde. Pourtant,il arrive que lorsque dans un intérieurde nuit, nous projetons une lumièred’un type ou d’un autre dans une piècesombre, et à ce moment-là seulement,nous nous rendions compte que ces deuxeffets simples transforment un lieu, lechangent, le modifiento.C’est alors que nous comprenons,c’est à cet instant précis que nousdevenons amants de la lumière, c’està ce moment-là que nous tombonsamoureux de la lumière, et que nouscomprenons que nous ne cesserons plusde l’aime pendant toute notre vie.Beaucoup se demandent pourquoi leconcepteur lumière est une personneenthousiaste et professionnelle,créative, heureuse et réflexive: ill’est parce qu’il est tombé amoureuxd’un amour qui durera pour toujours.Ce concours, que j’ai eu l’honneurde présider, le prouve.

THE JURY

Lamp Lighting Solutions Awards‘13The JuryFrancesco IanonneLighting Designer andPresident of the Jury.(Italy)Elías CisnerosLighting Designer.(Mexico)Andreas SchulzLighting Designer.(Germany)Philippe ChaixArchitect.(France)Rafael ArandaArchitect.(Spain)María LangaritaArchitect.(Spain)Antoni ArolaInterior & Industrial Designer.(Spain)Paul JamesMondo Arc Magazine Editor.(UK)

THE FINALISTS

Lamp Lighting Solutions Awards‘13The FinalistsARCHITECTURAL OUTDOOR LIGHTINGPág.12THE ROOKERYPág.16 Pág.20 Pág.24 Pág.28C4 - ARTISTICMULTI RESOLUTIONPUILAURENSCATHAR CASTLESILO 468& MULTI SCALELIGHT - ANDMEDIA FAÇADETHE BEACONINDOOR LIGHTINGPág.34CINETECAMATADEROMADRIDPág.38CRISTÓBALBALENCIAGAMUSEOAPág.42DAS TIROL PANO-RAMAPág.46HAFENCITYUNIVERSITYSUBWAY STATIONPág.50ST. STEPHANCHURCHURBAN AND LANDSCAPE LIGHTINGPág.56GARDENS BY THEBAY, MARINASOUTHPág.60COLLECTIVELIGHT FORRURAL AFRICAPág.64EGGENFELDENTOWN SQUAREPág.68“IN THE FOOTS-TEPS OF THEGIANTS” -SKIING RESORTPág.72TAXCO, CIUDAD LUZSTUDENTS PROPOSALSPág.78THE HOPEPág.82 Pág.86 Pág.90 Pág.94CALOR HUMANOMONOLITO DE LUZPRESENCIAILUMINADA“UNA X SIEMPRESEÑALA ALGO...”

Lamp Lighting Solutions Awards’13Architectural Outdoor Lighting

The RookeryArchitectural OutdoorLighting AwardJury Evaluation:The lighting designer’s treatmentof this historical building facadeis both sympathetic and innovative.All of the luminaires areconcealed, using a clever mountingarm system, to protect the integrityof the building that picksout each detail of the intricatemasonry carving. It would havebeen easy to just floodlight thisbeautiful building. The judges feltthat by going the extra mile, thislighting designer has revealed TheRookery in the new light.Lighting Project Author:Office for Visual Interaction(OVI)Architect:Daniel Burnham and John Wellborn RootManagement Company:Buck Management GroupClient Representative:Stefan BoehmeCity / CountryChicago, United States of AmericaThe Rookery is a milestone in Americanarchitecture. Designed by DanielBurnham and John Wellborn Root andcompleted in 1888, its masonry issupported by a steel frame an innovationin construction at the timethat allowed it to achieve the heightof 12 stories. Added to the NationalRegister of Historic Places in 1970and designated a Chicago Landmarkin 1972, is now considered one ofthe greatest surviving examples ofearly skyscrapers and Chicago’s oldeststanding high-rise. Its statelydark red brick and terracotta façadewith elaborate masonry is unmatchedin architectural detailing.Lighting SolutionDeveloped in close collaborationwith the client and the ChicagoLandmarks Commission, the exteriorlighting design creates a subtlepresence of brightness, shadow,and contrast without overpoweringit with light. By activating thefaçade with a soft veil of illumination,The Rookery’s distinct characterand historic integrity arerespected and maintained. At firstglance, it would seem that providingfloodlighting for The Rookerywould be relatively straightforward.However, there were manyunknown factors, irregularities,and preservation requirements toconsider. Key to the success of theproject was achieving the desiredlight distribution while concealinglighting hardware from pedestrianview, in line with historicpreservation stipulations.The final lighting design schemeuses visually unobtrusive luminaires.These LEDs, optimized to12

Lamp Lighting Solutions Awards‘13Architectural Outdoor Lightingbe only 36.8 mm (1.5”) high, arepositioned at levels 3, 5, 8 and11, highlighting the window frameswith a subtle glow of light. Line ofsight studies ensured they are notvisible from the street. Even forobservers from higher neighboringbuildings the light sources are barelynoticeable, due to their smallsize, low wattage and precise focus.Placing the custom luminaires wasanother challenge. While the buildingappears visually uniform, nearly everywindow condition is unique. With over100 irregular ledges, ribs, and joints,the use of standard linear luminairesproved impossible. A custom luminairewith special optics was developed tooptimize the amount of light on thefaçade while minimizing power consumptionof the system and light spillinto the night sky. The final designuses high performance LED luminaireswith custom optics that create a flattenedcone of illumination extendingup three stories. The resulting customluminaire is small enough to fit intothe palm of a hand. To minimize directphysical contact with the facade,a custom telescoping mounting arm wasdesigned. This allows the luminairesto be anchored to the granite windowsills, instead of attaching them tothe more brittle masonry elements. Thetelescoping design accommodates thedifferent ledge conditions and allowsfor lockable field adjustment and aiming.The brackets’ polyurethane feetrest on the ledges minimizing directcontact and the assembly is finishedin Rookery-red to match the façade. Itutilizes LED luminaires, which consumeonly 14.4 watts each, for a total of2,304 watts. A 3,000K warm white colortemperature is chosen to enhance thedistinctive red color of the terracottawithout rendering it orange.

Lamp Lighting Solutions Awards‘13Architectural Outdoor LightingPhotography: Robert Halbe by courtesy of Nieto Sobejano Arquitectos

Photography: realities:united, BerlinPhotography: Robert Halbe by courtesy of Nieto Sobejano ArquitectosDATA FLOWWORKING REAL TIMEWORKING OFFLINECREATECONTENTCREATOROSCSTREAM.C4rmRAWFILE.C4rmRAWFILE.C4rmRAWFILECREATESHOWTIMELINEiCALSET UP.C4sfSHOWFILEiCALEVENTARTISTCURATORcontentcoordinatorPLAYSHOWPLAYERADMINfacadeoperatorPhotography: realities:united, BerlinDrawings: realities:united, Berlin18

Puilaurens Cathar CastlePhotography: Jean-Marc CharlesLighting Project Author:Anne Bureau – WonderfulightElectrical Engineers:Damien Cayuela – Cetur LRCity / Country:Lapradelle-Puilaurens, FranceThe castle was built around theyear 1000 AD, on a rocky peak. Inthe 13th century AD, the persecutedCathar people used it as a shelter.Later the castle was used as “a stonesentinel” to guard the border ofthe French kingdom. The monument wasrestored in the 20th century.The castle of Puilaurens was choosento be an experimental site forthe night-time lighting beautificationof the ‘Aude, pays cathare”monuments. As it was an experimentalsite in a beautiful preservedlandscape, the challenge was to finda balance and a harmony between thecastle illumination and the naturalenvironment around, while preservingthe dark sky around.The monument is characterized bythe challenge of its constructionat the top of the rock peak. Puilaurensdeserves well the title of«citadel of the vertigo» which isoften given to the Cathar castles.The illumination includes the monumentand its promontory, so thatthe castle does not seem to “float”in the darkness with no relation tothe landscape.The lighting project reveals thesilhouette of the rock peak andemphasizes the architecture of thecastle, while respecting the naturalcharacter of the site andprotecting the night-mystery. Thespirit is not to put the site «underthe spotlights», but to make itdelicately emerge from the darkness.A poetic night-vision waslooked for, as the Romantics of thenineteenth century did it, by glorifyingthe secrets of the ruins ofthe past centuries.20

Lamp Lighting Solutions Awards‘13Architectural Outdoor LightingPhotography: Jean-Marc Charles

Lamp Lighting Solutions Awards‘13Architectural Outdoor LightingLighting SolutionA light of bluish tone lights certainelements of the cliff of therock peak, to allow the lectureof the relieves while preservinga dark ambience. The outside surroundingwall of the castle is litby a light of cold white tone, inreferences to moonlight. The partsof the inner surrounding wall ofthe castle, visible at long distance,are lit by a tonality of whitelight less cold than on the outsidesurrounding wall (white neutral),to make perceptible the successionof the various plans by a contrastof tonality of light. The grazinglightings were singled out to givea subtle perception of the volumesof the wall texture.Watercolors drawing: Anne BureauThe levels of illuminations are muchlower than in «urban» lighting projects.An average of 20 lux on therock peak lit in bluish; from 30 to 70lux on the walls of the castle lit inwhite cold or in white neutral.This project is completely realizedwith LED projectors: for reasons ofmaintenance, for energy and photometricperformances, for the widechoice of tonalities of light. Theoptical performance of the last generationsof LED projectors allowsto limit the consummate power: allin all, only 7,5 KWatts for 96 projectors.The number of watts consumedby every projector is low,36W, 96W, 200W. For the lightingof the rock peak, the bluish lightwas obtained by the mixture of LEDsof two types: cold white (5.500K-6000K) and blue (460-490nm).Photography: Jean-Marc Charles

Silo 468Lighting Project Author:Lighting Design Collective: TapioRosenius, Oscar Martin,Rodolfo Lozano, Victor Soria,Gorka Cortazar, Reinaldo Alcala,Rodrigo Arcaya (www.ldcol.com)Client: City of Helsinki planningdepartment, TASKE, Helsinki EnergyProject manager: HKR ExecutiveExecutive Architect: Pöyry Finland OyElectrical Engineers: Olof Granlund OyContractor: VRJ Etelä-Suomi OyCity / Country:Helsinki, FinlandDisused oil silo has been convertedinto mesmerizing light art pieceand a public space with the aidof swarm intelligence, interactivelighting and some crazy acoustics.It sits by the sea facingcentral Helsinki, Finland. Prevailingwinds well known to residentsare strongly present. The naturallight, wind, and the movement oflight on the water formed the principlesfor the lighting concept.Walls are perforated with 2012 holesreferring to the Helsinki WorldDesign Capital 2012 year. The Silois a civic space for the citizensof Helsinki. Light interventionhas created a new space for people.The lighting signifies the start ofa major urban redevelopment for theCity of Helsinki. It functions todraw focus to unknown district andcreates a landmark and a marketingdevice for the City. Maybe most importantlythrough the use of naturaland artificial light it created aunique civic space for the citizensto use. Furthermore, it set a precedentfor a new district for 11000people to become the “district oflight”. During the first years thesilo is mainly viewed from distancewhen the area starts to get build.Lighting Solution1280 LED domes in 2700K white arefitted inside the silo behind thecut-outs and visible from severalkilometres away. LDC developed abespoke software using swarm intelligenceand nature simulating algorithmsthat refresh responding toparameters such as wind speed, direction,temperature, clear nightand snow. System dials out every 524

Lamp Lighting Solutions Awards‘13Architectural Outdoor LightingPhotography: Tuomas Uusheimo

Photography: Tapio RoseniusPhotography: Tuomas UusheimoPhotography: Tuomas UusheimoPhotography: Tapio Rosenius26

Lamp Lighting Solutions Awards‘13Architectural Outdoor Lightingminutes for new data. The patternsare fluid, natural in feel and neverrepeat. They are slow but speedup in relation to the wind speedscreating constantly changing muralof light. At midnight the exteriorturns deep red for 1 hour. The colourrefers to the former use ofthe silo as a container of energy.At 02:30 when the last ferry goespast to Suomenlinna lights go off.The interior gains importance asthe area gets populated. Insideis painted deep red. Daylightseeps through the pattern derivedfrom original rust patterns onthe walls. North facing wall hasno perforations. 450 steel mirrorsmoved by winds are fitted behind theholes. With sunlight the silo appearsto glimmer and sparkle likesurface of water. The warm whiteLED grid reflects light indirectlyvia the red walls into the space.The moving patterns read as halosracing across the walls.During normal use the installationuses about 2kw of power, which isapproximately 2W per square meter.The software creates a particle systemthat combines motion behaviorsfrom birds, insects, and fishes tocreate organic and non repetitiveanimations for the lighting system,in a 128 x 10 LED grid. This animationsare being generated using currentdata from the local weather,specially wind speed and direction,to create a vast and unpredictablearray of light movements thatgive the viewer a visual representationof the weather sensations inthe city. The control applicationwas developed in OpenFrameworks, anopen source c++ toolkit for creativecoding, an runs in an e:cueLighting Control Engine mx server.Photography: Hannu Iso-Oja

The BeaconLighting Project Author:‘Tunji Olaogun – Urban Think Lab.Architect:Urban Think LabDeveloper:Guaranty Trust Bank (CorporateSocial Responsibility Project)City / Country:Lagos, NigeriaThe beacon was designed and builtas a gateway icon to the Lekkineighborhood in Lagos, Nigeria.Considering its location and rolein the urban context, the designteam proposed a gateway that presentedmore than just the vehicularand pedestrian passages. Thebeacon also serves as a theatricalurban feature that brings warmthand cheerfulness to people as theypass by.Lighting SolutionIts most iconic feature is a 12 meterhigh acrylic cube illuminatedby 4 low energy lamps each consuming14w. This cube is the subjectof the project name: “the beacon’.On evenings, the beacon can be seenfrom as far as 500 meters away.The architectural components ofthe structure share a dual dynamismof being illuminated objects andalso colorful illumination sourcesthemselves.The entire ensemble of the structureis made up of various componentsmade of various materials that havean architectural identity in daylight and night. The lighting setuputilizes an ensemble of RGB lights,a glowing cube, outdoor spotlightsand LED traffic signage to unveil amore colorful picturesque characterin evenings whilst still portrayingthe architectural structurein its true undiluted self,more like a peacock displaying itsplumage.The glowing cube is uniformly suspendedwithin a larger square openingand is only supported within28

Lamp Lighting Solutions Awards‘13Architectural Outdoor Lighting

Lamp Lighting Solutions Awards‘13Architectural Outdoor Lightingby a square aluminum frame alignedwith the axis of the gate structureitself. The four low energy bulbsare also mounted on the square framewithin thus achieving the absenceof visible shadows on the cubewhen it glows.Using underground cabling, thepower supply and light control issupplied by a LED DMX Controllerinstalled on the first floor of thegate house, thus staging a lightingshow using any desire combinationof the RGB colours, typically aparticular color for every day ofthe week. The DMX controlled lightsare distributed across the 2 sidesof the 2 road lanes. Another setof 2 lights are mounted below theinner leaves of the gates on bothsides; these 2 lights are only usedwhen the gates are closed.All illumination and energy usageis powered by roof mounted solarpanels and is not connected to anyexternal power supply. The powersupply design is such that solarpanels charge a battery bank inthe day whilst providing adequatepower for day time usage. And thebattery bank powers all lightingthrough the night.

Lamp Lighting Solutions Awards’13Indoor Lighting

Cineteca Matadero MadridIndoor Lighting AwardJury Evaluation:The judges felt that this stunningscheme, using a lit woven basketstructure to lift a once gruesomespace (it was a slaughterhouse)into a contemporary art centre,is nothing short of miraculous.Strips of LED light the basketsand the space they occupy to createa magical effect thus greatlyenhancing the visitor experience.Autores Proyecto de Iluminación /Arquitectos:CHURTICHAGA+QUADRA-SALCEDOJosemaría de ChurtichagaCayetana de la Quadra-Salcedowww.chqs.netArquitectos Colaboradores:Mauro Doncel MarchánNatanael López PérezLeticia López de SantiagoArquitectos Técnicos:Joaquín Riveiro PitaMartín Bilbao BergantiñosPromotor:AYUNTAMIENTO DE MADRIDDirección General de ProyectosCulturalesCiudad / País:Madrid, EspañaLas distintas naves del antiguo MataderoMunicipal de Legazpi, construidoen 1911, con una superficiede casi 150.000m2, están siendoocupadas por usos asociados a laactividad creativa contemporánea.Nuestro proyecto rehabilitó 5 navesconcatenadas: el Matadero, la nevera,las calderas… tratando de mantenerla memoria de cada espacio.La conservación de la envolventeopaca de las naves cuyos reducidoshuecos apenas dejan pasar la luznatural; el gris oscuro de la maderaque recorre paredes, suelos ytechos; y la presencia de grandes‘cestas’ tejidas con mangueras deriego que flotan ingrávidas, no sonmás que elementos de una escena espacialen penumbra que espera seriluminada para revelarse. Es en estanueva escenografía de contrastes ysombras donde la luz, el ojo y elcoqueteo constante de la percepcióncon el engaño se convierten en protagonistasde esta historia de cine.Lighting SolutionCine: Contraste y percepciónLa naturaleza del centro cinematográficoconvierte al antiguo Mataderoen un lugar necesariamente oscuroen el que la luz artificial, es unmecanismo de información y creaciónatmosférica. La penumbra dominantese conserva como hilo conectorcon el pasado y se añade luminosidadpara generar una atmósfera deespacios fuertemente contrastados,contornos diluidos entre brillos ymuros desdibujados en la sombra.En este escenario arquitectónico,luz, sombra y contraste articulanla manera de entender el espacio,generando, al igual que sucede en el34

Lamp Lighting Solutions Awards‘13Indoor Lighting

Lamp Lighting Solutions Awards‘13Indoor LightingFotografía: Idoia Unzurrunzaga

Fotografía: Idoia Unzurrunzaga40

Lamp Lighting Solutions Awards‘13Indoor Lightingel hieratismo, todos los elementospresentes en el entorno de laspiezas entran en juego con la luzpara mostrar cada vestido único,como es.Lighting SolutionEl espacio expositivo del museo sedivide en seis salas, Sala Los comienzos,Sala Día, Sala Cocktail,Sala Noche, Sala Novias y Sala Versus,que se caracterizan por:El color como soporte:Un color distinto para cada sala,en su mayoría colores claros, queserán la base para generar mediantelo proyección de luz indirecta eltono que envolverá las piezas.La luz como elemento dinámico:El cambio , el movimiento, la evolución...serán característicascasi imperceptibles de la iluminaciónpero con la potente funciónde mantener la relación entre elvestido y su entorno.Cada sala tendrá unos tonos de colorde luz siempre cambiantes aunquede forma casi imperceptible.Tonos ligados a ambientes lumínicosasociados a los conceptos quedefinen cada sala.Cada pieza tiene además una iluminaciónde tipo documental frontal puntualy un apoyo de luz halógena lateral,que ayudará a crear volumen.Fotografía: Idoia Unzurrunzaga

Das Tirol PanoramaLighting project Author:Manfred Draxl, DI Tina Schneider –conceptlicht at GmbHArchitect:stoll.wagner ztgmbh – generalplaner(Arch.DI Philipp Stoll, Arch.DIReinhard Wagner),Innsbruck - AustriaExhibition design:hg merz architecture, Stuttgart -GermanyDeveloper:Amt der Tiroler LandesregierungCity / Country:Innsbruck, Tirol, AustriaThe Tirol Panorama is situated onthe Bergisel hill, an historic placewere the Tyrolean struggle forfreedom took place in 1809.Due to the relocation of the cyclorama,showing scenes of this battleon a 1.000m² panoramic oil painting,and the new construction ofthe adjoining museum, a new attractionfor tourists as well as forall Tyroleans was realised.The new museum forms a visibly completeensemble with the KaiserjägerMuseum, the Urichhaus and the AndreasHofer monument and creates simultaneouslya spacious forecourt with afantastic outlook and an uninterruptedview across the Inn Valley.The Tirol Panorama takes the visitoron an exciting journey throughmajor stages of the Tyrolean historyand on the search for the“myth of Tyrol”.The panoramic oil painting of 1896,known as the “Riesenrundgemälde”is one of the main exhibits. Havingbeen made aware of the history andits protagonist at various informationpoints, visitors find themselvesparticipating as observersat the scene of a historical drama.42

Lamp Lighting Solutions Awards‘13Indoor LightingPhotography: Brigida Gonzales

Photography: Brigida GonzalesPhotography: Markus BstielerPhotography: Brigida GonzalesPhotography: Ascher Foto Design44

Lamp Lighting Solutions Awards‘13Indoor LightingLighting SolutionThe Tirol Panorama is one of thelast existing cyclorama with a1.000 m² gigantic painting showingthe Tyrolean struggle for freedomin 1809. To create an affect ofhistorical lanterns and to allow apainting to be applied at a heightabove 12 m effectively, the daylightopenings were fitted withglasses, light deflectors, diffusersand reflectors.The glasses come with UV protectionand spreading elements. In addition,the brightness can be controlledvia a shading system.A high-power wall washer was developedfor the artificial light whichtracks the course of daylight. Thecolour of the velum and the baseof the viewing platform were madedark, to make the image surprisinglynaturalistic and exciting.The other exhibition rooms arrangedaround the rotunda with the cyclorama,are illuminated with recessedspotlights in the ceiling arrangedin a loose geometric pattern. Eachlamp was equipped with a reflectorunit to generate an ambient lightand a hinged, hidden spotlight unitto accent object details.Thus the requirement for a backgroundand accent light was solvedwith one recessed downlight. Withthis recessed downlight system mostobjects are illuminated.In the historical Kaiserjägermuseum,there is a shiny black cube inthe centre of each hall, thus makingthe topic of the hall a main to exhibit.The indirected room lightingwas integrated in the ceiling ofthis cube. This makes the rooms appearcalm and pleasant – no lightsare visible, light is just there.Photography: Brigida GonzalesPhotography: Ascher Foto Design

1Schalterhalle WestBeleuchtung der Containersiehe Containerplan 096-L-0423Schalterhalle Ost4Wandverkleidung Stahl5Wandverkleidung Stahl67891011Legende BeleuchtungDOWNLIGHT, DeckeneinbauiGuzzini, facettierter Reflektor mit VVG induktiv2 x 26W/ TC-DELeinzelne in Notbeleuchtung integrierbarSchutzklasse II, IP 44LICHTBAND in Deckenvoute, Öffnungsweite 200 mmLeuchtstoffprofil T8 36W,NORKA Lutterroth, Hochglanzspiegel, asymetrischStrahleriGuzzini,Platea Nr 73762 x 26 W TC-L, floodSchutzklasse II, IP 66Beständigkeit 850 °CGrundlage: raupach architekten vom 2.07.2007Index Datum Änderung NameProjektnummer: 096Plannummer: 096-L-03 -IndexPlandatum: 26.07.2007 M 1:100 gez: cm/rokLPH3 EntwurfsplanungProjekt:Bauherr: HOCHBAHN AG, Steinstraße 20, 20095 HamburgArchitekt: raupach architekten, Bauerstraße 19, 80796 Münchenpfarré lighting designsonnentaustrasse 12d-80995 münchentel. + 89.1 50 75 38fax + 89.1 50 75 39info@lichtplanung.comwww.lichtplanung.com12Grundlage: raupach architekten vom 2.07.2007Index Datum Änderung NameProjektnummer: 096Plandatum: 26.07.2007 M 1:200LPH3 EntwurfsplanungProjekt:Bauherr:Architekt:DOWNLIGHT, DeckeneinbauiGuzzini, facettierter Reflektor mit VVG induktiv2 x 26W/ TC-DELeinzelne in Notbeleuchtung integrierbarSchutzklasse II, IP 44LICHTBAND in Deckenvoute, Öffnungsweite 200 mmLeuchtstoffprofil T8 36W,NORKA Lutterroth, Hochglanzspiegel, asymetrischStrahleriGuzzini,Platea Nr 73762 x 26 W TC-L, flood Schutzklasse II, IP 66Beständigkeit 850 °CDOWNLIGHT iGuzziniSchalterhalle West: 61 StückSchalterhalle Ost: 35 StückDownlights gesamt: 96 StückLICHTBAND NORKASchalterhalle West:ca. 116,5 Lauf. MeterSchalterhalle Ost:ca. 173 Lauf. MeterLICHTBAND NORKA gesamt: ca. 289,5 Lauf. MeterPUNKTLEUCHTETreppen zum Bahnsteig (10 + 8 Stück): 18 StückAufzug: 8 StückPUNKTLEUCHTEN gesamt:26 Stückpfarré lighting designsonnentaustrasse 12d-80995 münchentel. + 89.1 50 75 38fax + 89.1 50 75 39info@lichtplanung.comwww.lichtplanung.comPlannummer: 096-L-01 -Indexgez: cm/rokHOCHBAHN AG, Steinstraße 20, 20095 Hamburgraupach architekten, Bauerstraße 19, 80796 MünchenHafenCity UniversitySubway StationLighting Project Author:Pfarré Lighting Design, Muenchend-Lightvision, MuenchenArchitect:Raupach Architekten, MuenchenContainer Design:Design Stauss Grillmeier, MuenchenDeveloper:Hamburger Hochbahn AG (HOCHBAHN)City / Country:Hamburg, Germany... to capture the light in containers.The subterranean project is a resultof a synthesis of the exterior’smaterials, textures, lights andcharacteristics. The design ofHamburg’s Hafencity - Universitysubway station reacts in an associativemanner with local identitiesmanifest in the harbor city:it responds to the iridescent colorsof the brick facades wichchange with the seasons and thechanging daylight, and the steelship’s hulls, with the massive superstructuresof the cranes andocean freight container modules.Being heavily rooted in the lifearound the harbor and the industrialnature that accompanies, theconcept stemmed from the use ofsteel, light, color and reflection.LichtplanungGrundriss SchalterhallenU-Bahnhof Lohsepark, HamburgLegende BeleuchtungLeuchtenanzahlAnzahl LeuchtenLichtplanungGrundrissU-Bahnhof Lohsepark, Hamburg46

Lamp Lighting Solutions Awards‘13Indoor LightingPhotography: Markus Tollhopf, Hamburg

Photography: Markus Tollhopf, Hamburg48

Lamp Lighting Solutions Awards‘13Indoor LightingLighting SolutionA powerful ambiance is created byhanging twelve metal-framed glassboxes weighing six tons each andwith the exact dimensions of astandard shipping container (6.5m x2.8m x 2.8m) in repetition over themiddle of the platforms. The translucentpanels between the sharplydefined frames glow from the lightof 280 individual RGB LED emittersin each capsule. To illuminate theplatform with evenly distributedwarm-white light, each undersideof the containers is made of mattwhiteglass.The colors can be coordinated bydifferent sections in each freehangingunit or as an entire setand can change to signal the arrivalor departure of trains, synchronizewith the seasons or simplycreate an enjoyable environment.Carefully composed, the color schemeschange smoothly in unexcitedrhythms; the concept is not intendedat all to generate an entertainment-like,color changing circus.Both atmosphere and spatialexperience created by the colorsare extemely powerful.All entrance areas and tickethalls are illuminated with fluorescentcove lighting systems tosharpen the architectural concept,and with freely arranged, recessedmetal-halide downlights. As onthe platform, the well balanced reflectionof all architectural materialsplays a key role in thelighting quality of this project.Photography: Markus Tollhopf, Hamburg

St. Stephan churchLighting Project Author:Lunalicht:Matthias FriedrichTatjana MahlkeFlorian ZachArchitect:Erzbischöfliches Bauamt Heidelberg:Bernhard NicolaDeveloper:Kath. Kirchengemeinde St. StephanCity / Country:Karlsruhe, GermanyThe domed structure was almost completelydestroyed during the war.Rather than reconstructing the baroquestucco decoration, it was decidedto leave the brickwork completelyuntreated and the originalhemisphere of the dome was replacedby a corrugated concrete calotte.The church, reduced to its geometricform, unveils a particularstrength in its simplicity.The concentration on space and materialon the one side and the liturgicalplace on the other is amplifiedby an illumination which functionsusing light only, while the engineeringis concealed from view.The heart of the conceived lightinstallation is the light ring inthe dome. As the central illuminationelement, it picks up on thehistoric archetype of a crown oflight and emphasizes the holy centreof the sacred space.The ring completely surrounds theoculus of the rooflight with a 6m diameterand floods the entire interiorspace with warm and brilliant light.This is an innovative and preciselycalculated technological element withregards to construction and function.This technology is perceived exclusivelyas a symbiotic interior adornmentand splendid enlivenment.A second lighting component illuminatesthe dome: The delicate concretestructure receives a goldencoating when illuminated and isthereby visible as an imposing spatialboundary.A third element lights the barrelvaulted aisles. Wall lights thatharmoniously integrate with thebrickwork have been designed. Thelight beams are directed diagonallyinto the vault, precisely andwithout streaks.50

Lamp Lighting Solutions Awards‘13Indoor Lighting

Lamp Lighting Solutions Awards‘13Indoor LightingLighting SolutionThe main lighting in the churchbuilding is designed around theskylight oculus.In 6 rows, a total of 1920 pointsof light close to form a light ringthat can illuminate the entirechurch from a height of 26m as theonly source of light.Divided into four control groups,specific light distributions havebeen created with different lensoptics and angles which can be usedfor the optimal and independentlighting of the central areas, aisles,walls and altar island.Against the daylight coming throughthe oculus, the dome appears darkand oppressive. The full-area illuminationof the dome will cancelout this negative effect.The light beams create an intensegolden colour on the fairfaced concreteand highlight the delicateribbed structure of the dome.The lighting systems are mounted ona wide cornice on the walls at aheight of 9m.The aim is to light the dome alone,with no visible light source, andwithout highlights on the walls.The wall lights are mounted on thewalls of the aisles at a height of8m onto the fairfaced masonry.With their simple square shape andthe proprietary powder coating,they merge unobtrusively with themasonry. The light shining upwardsilluminates each opposite half ofthe barrel vault diagonally withprecise optics.The downlighting is to be providedby a circular spotlight in thebottom of the lamp.Highlights on the walls are preventedusing adjustable shutters here.

Lamp Lighting Solutions Awards’13Urban and Landscape Lighting

Gardens by The Bay,Marina SouthUrban and Landscape LightingAwardJury Evaluation:The genius of this scheme is itsscale and the ability to integrateall the areas into a tangible,environmentally friendly, design.The judges felt that the schemeengages visitors with interactivelight elements whilst at thesame time creating dramatic centrepiecesusing layers of shadowand light and not just blankets ofoverlit spaces.Lighting Project Author:Lighting Planners Associates (LPA)Master Planners and Landscape Architects:Grant AssociatesArchitect:Wilkinson Eyre ArchitectsCity / Country:Singapore, SingaporeGardens by The Bay is the latestaddition to ever-evolving the citystate Singapore’s cityscape comprises3 distinctive waterfrontgardens with Bay South, the firstand largest of the 3 Gardens (54hectares). It includes 2 colossalglasshouses as well as a clusterof 18 distinctively shaped structuresof various sizes called “SuperTrees”that immediately becamenew icons in Singapore.Lighting ConceptEven today, the excessive consumptionof energy in entertainment isno longer considered viable; a morefriendly approach is essential fromboth a consumer and environmentalperspective. For this reason, whilethe lighting entertains visitors,it must be done with “organiclight” in playful harmony withthe garden’s greenery, water, andother natural scenery.Such a light environment requiressustainable lighting fixturesas well as sensors and light modulationand programming technologycapable of subtle changes in colorand intensity. We sought to createan environment in which garden visitorsfeel the living vitality ofnature around them.Light fixtures need to be concealedand integrated within the architectureand the landscape as much as pos-56

Lamp Lighting Solutions Awards‘13Urban and Landscape LightingPhotography: Lighting Planners Associates Toshio Kaneko

Photography: Lighting Planners Associates Toshio Kaneko58

Lamp Lighting Solutions Awards‘13Urban and Landscape Lightingsible. The light, itself, should beused to emphasize the concept anduniqueness of the landscape design.Flower Dome and Cloud ForestTo house temperate and tropicalplants in especially created temperatureand humidity conditions,these giant biomes glow with a softlight from within. Soft shadesof color, with varying levels oftransparency are also experiencedwhen visitors enter the huge singularspaces.SupertreesSupertrees are 18 unique verticalgardens ranging from 25 to 50m inheight, with emphasis placed onthe vertical display of tropicalflowering climbers, epiphytes andferns. We can sense something surrealin the air, like the spirit ofthe forest is thriving within thesetrees. As if they are trying tocommunicate a message to us: we areall part of the same earth, livingorganisms living together is a profoundrealization. They continue tostand tall, for an eternity, watchinghuman activity and the historyof life, as a silent protectorof the future of this planet.All the lighting fixtures on Supertreesare controlled througha centralized intelligent controlsystem that makes it possible tocreate dynamic lighting scenes.The vertical planting displays areeffectively lit up with metal halideprojector with 250W lamp locatedaround the base. The colouredlighting of the membrane above thevertical planting is programmed tokeep changing slowly and mysteriouslyand show different colourschemes over the course of a night.Photography: Lighting Planners Associates Toshio Kaneko

Collective Light forRural AfricaUrban and Landscape LightingAwardJury Evaluation:At the other end of the scale thejudges loved this innovative ideato generate local light for localcommunities. The ‘lighting tool’uses an LED module with bicycleparts, water pipes and a telephonecable to create off-grid lighting.The system has now brought communitiestogether at night in additionto the day. Ingenious.Lighting Project Author:Matteo FerroniArchitect:Matteo FerroniDeveloper:Fondazione eLandCity / Country:Commune Rurale de Cinzana, MaliThe project aims to introduce offgridlighting to rural areas ofMali by developing an appropriatetechnology inspired by local cultureto enhance the existing socialand economic context. Night is especiallyrelevant in rural Africa.Climatic and cultural conditionsmake village’s nightlife comparableto daytime life, but the lackof an appropriate tool to overcomethe darkness constrain night activitiesto full Moon or small individualsources like flashlights orpetrol lanterns.Italian architect Matteo Ferronispent over two years living in theRural Community of Cinzana studyinganthropological patterns to createsuch a lighting tool. The main conceptswere to brighten activitiesrather than spaces and to deliver acollective tool rather than a publiclighting network.60

Lamp Lighting Solutions Awards‘13Urban and Landscape Lighting

Lamp Lighting Solutions Awards‘13Urban and Landscape LightingLighting SolutionVillagers don’t use spaces like squaresor streets, rather they gather toperform duties like gardening, grinding,collecting water, crafting,trade, study, pray, celebrate. So wedeveloped a tool to allow such activitiesat nighttime. It is a portablesolar lantern transportable evenby children who usually help theirmothers. It is manufactured locallyby assembling bicycle parts, waterpipes and a telephone cable togetherwith a 15w LED module properly designedfor this project. Each lamp has a12V 12Amp no-acid battery chargeablewith a remote solar panel.Also the quality of light was important.Flashlight is locally called“dark’s drill” revealing thatlight is perceived as a hole in thenight. So we created a LED moduleto cast intense light and sharpshadows, marking a clear boundarybetween dark and bright space. Ourlantern is the “tree shade in darkness”that is the social space peopleis used to share in daytime.The lamp was conceived as a collectivetool entrusted to women’s groups, sothat real needs of a village are attendedwith only 4 to 6 portable lanterns.The embrace of this technologywas above expectations. Upon requestof women’s associations from 12 villagesin the Commune Rurale de Cinzana,52 lanterns were manufactured in 4months and diffused into a communityof 23.000 inhabitants. Each associationelected a committee to manage thelanterns and schedule their allocationwithin the community. Definitelythe project explore a social way toshare technology and energy.

Eggenfelden Town SquareLighting Project Author:Conceptlicht GmbH: Jan Nielsen,Helmut Angerer, Martin MöllerArchitect:Arge Eggenfelden, Heinz+MüllerArchitektenDeveloper:Municipality of EggenfeldenCity / Country:Eggenfelden, GermanyBeing a part of the inner-city redevelopmentconcept of the town ofEggenfelden, the revitalisation ofthe town square was realized fromJuly 2011 until October 2012. Inthis sense, also a new lightingconcept was required.The former lighting of the squareconsisted of simple pole mountedluminaires equipped with monochromesodium vapour lamps that radiatedin all directions. Due to theirlow fading out, they presented thetown square very undifferentiatedat night and produced considerableglare and light pollution.Against this backdrop, the newlighting concept is focused on ahigh visual lighting quality, ratherthan a mere numerical approach bysimply reaching lux levels.Lighting SolutionThe whole town square is illuminatedwith a good or excellent colourrendering quality, presentingthe historical stone façades and thesubtle shift of floor materials intheir undistorted original colour.The luminaires are tailor-made andwere constructed with appropriatecut-off angles to prevent glare, thedisturbance of residents and lightpollution towards the sky. There isno scattered radiation in the fieldof vision or above.The lighting design is geared tothe architecture of the town square,with a clear focus on the floorarea. Though the fields of light arelimited to the borders of the floor,they allow a clear visual distinc-64

Lamp Lighting Solutions Awards‘13Urban and Landscape Lighting

Lamp Lighting Solutions Awards‘13Urban and Landscape Lightingtion between the different floor zones:pedestrian area –parking area–street by variations of illuminance.Keeping the pedestrian area asfree of poles as possible, the mainlighting is done by façade mountedluminaires. There is only one row ofpoles for street lighting, which isnecessary as otherwise the luminaireshad to shine so low and flat thatthey would produce glare.The light-shadow-border of the façadeluminaires exactly matches thebottom of the façades. This way, thefaçades themselves don’t gain anydirect light, but are evenly lit bysoft reflections from the floor.Illuminating the façades by meansof light cones – as usually done –does not make sense as the façadesshall appear as a unit, undistortedby light beams that only highlightparts of them. Apart from that, residentsshould not be disturbed bystray light into their living spaces.Façades of important landmarks,however, that characterize thetownscape and simplify orientation,are indeed illuminated, hence ina way that glare does not arise.The façade of the old town hall,for instance, is illuminated fullscreen,starting above ground levelup to the tower. Being visible fromall sides, the tower is illuminatedall-around, with the fields of lightbeing strictly limited to the towerborders.Also the illumination of passagewaysis geared to the geometry of space,showing respect for the architecture.This way, for instance, the transitionway “Lepel-Passage” is magicallylit by highlighting its floorevenly, without hitting the walls.

“In the footsteps of thegiants” - skiing resort63 custom poleson wireless e DMXLighting Project Author:Ljusarkitektur, StockholmResponsible Lighting Designer Kai PiippoProject Managing Designer Paul EhlertLighting Designer Joonas SaaranenLighting Designer Lina FärjeLighting Designer Janica WiklanderDeveloper:Skistar Åre ABResort Manager Niclas Sjögren BergTechnical Project Manager Carl-Johan EckblomControl System/Support:Stockholm Lighting Company AB,Stockholm, Ian Fanning, RikardÅhlstrandElectric Planning:Johnson´s El AB Åre, Project planerMartin LyrenText/Story concept:Mathias KnaveCity / Country:Åre, SwedenDesigned not only to be a skiingexperience but also a great adventurein the winter landscape and theconnected story, the run attractsfamilies and less-skilled skiers especially.Along the 3.5km long skirun the orange-glowing poles, referringto fire and lava beneath thesurface, in combination with dynamicbluish general light connecting tomoonlight and the natural scenery,to create the background for an amazingride across the mountain.Starting from the bottom lift stationand already prepared with some ancientstories in the cabin, one willarrive at top of the mountain and diveinto the winter-world of the giants.Whilst passing a stream, waterfalls,sparkling rocks, hidden treasures andprojections of ancient motives thestories will remind of the colourfulpast at the peak area around Åre.Lighting SolutionThe main part was built on a distributednetwork of 63 custom designedpoles along the slope, which not onlyoffer a flexible mounting of severallighting fixtures but also the possibilityin the future to update oradjust the installation according tothe wishes and development of theproject. Each pole supported a basicgeneral lighting in regard to safetyof the skiers but mainly providesspatial understanding and landscapelighting. This was realised with 2custom designed Lumenpulse LumenbeamXL with two dark blue and one 4000Kcold-white LED-cards. This providedthe full range of the moonlight scalefrom cool white to a dark; almostblack blue – the main idea forthe landscape and nature lighting.Different spread angles of 20 de-68

Lamp Lighting Solutions Awards‘13Urban and Landscape Lighting

Lamp Lighting Solutions Awards‘13Urban and Landscape Lightinggree medium spot and a 10 degree narrowspot with linear lens offeredvarious possibilities to react onthe natural scenery and dramaturgicneeds. Additionally to this, a warmwhite spotlight – Lumenbeam M 6 degreevery narrow spot grazes downeach and every pole with a flickeringlight – giving a guidance down theslope and reminisces of sticks leftby the giants, but also connects tofire and lava in the mountain.Effect lights and special effectswere added along the slope, followingthe sequence of the story. To achievethese effects, several LumenbeamXL, L and M in RGB and white tonesas well as Griven Gobo LED 80, MartinExterior 400 and 1200 IP imageprojectors were added to the poleconfiguration, even a position withUV light, provided by an Elvar UVprojector, is creating a special experiencewhile skiing through.At the very end, a tunnel connectsfrom the world of the giants to theworld of mankind. Within this tunnel,only a few narrow beam LumenbeamM RGB with 10 degree narrow beam anda linear lens providing a stunningeffect, just using the strong reflectionof light by the snow and theinner side of the tunnel tube. Thisis even emphasized by Dicon fibreopticssupporting the image of thetreasuries hidden in the mountain.The control system is based on a Ki-NET / DMX solution, where over a fibrebackbone each and every fixture canbe controlled individually and whereeven the complete sound system is accessible.Nowadays it is accessibleremotely and allows to run severaldynamic shows, which underline thedynamic natural movement with moonlightand cloud movement as well asdifferent snow and weather patterns.image projectorsgeneral light 2 x LBXdownlight

Taxco, Ciudad LuzAutor Proyecto de Iluminación:Arq. Gustavo AvilésArq. Juan Carlos MartínezArq. Julio Obscura LangoPromotor:Gobierno Federal del Estado deGuerreroGobierno Municipal de Taxco deAlarcónCiudad / País:Taxco de Alarcón, Guerrero, MéxicoLa ciudad de Taxco de Alarcón comenzóa desarrollar un Plan Maestrode Iluminación con la fachada dela Parroquia de Santa Prisca, delbarroco churriguresco. Después, laciudad fue sede de la ConvenciónInternacional de Iluminación de MonumentosHistóricos. Con ello surgióla propuesta de desarrollar unaperspectiva de iluminación y unaestrategia para la conservación delos monumentos históricos patrimonialesestablecidos en la Carta deTaxco. Se completó la plaza principal,el Cristo de la Montaña, lasplazas y templos de Chavarrieta,Ojeda, Santa María de Guadalupe,San Miguel, San Nicolás, SantísimaTrinidad, Santa Veracruz, y el ExConvento.Lighting SolutionLa luz se convierte en el elementoque integra las dos capas internasy urbanas de la ciudad. Se trazaroncalles y callejones articulados portemplos, elementos arquitectónicos,detalles ornamentales, espaciospúblicos, y evidencias anecdóticasde la identidad de Taxcoque se entretejen en una secuencianarrativa que sugiere un recorridoa la gente local y a los turistas.La red de templos, articulados ensu corazón con la Parroquia de SantaPrisca, se iluminaron para resaltarla actividad religiosa comoun pilar de la vida diaria de Taxco.Los faros tradicionales existentesse restauraron para crearuna continuidad de la iluminacióna través de los circuitos.La intervención realizada estásustentada en la valoración visualde la musicalidad en la arquitec-72

Lamp Lighting Solutions Awards‘13Urban and Landscape Lighting

Lamp Lighting Solutions Awards‘13Urban and Landscape Lightingtura, el cuidado al lenguaje en lapalabra, el ejercicio de la medidasometida a la métrica y proporción,el reconocimiento de losúnicos instrumentos perceptivosinterpretativos accesibles al génerohumano que son: punto, línea,superficie, volumen y movimiento entiempo-espacio. Todo esto en la envolturainexistencial de la luz. Nose pretende minimizar las herramientasde la tecnología, el cálculofotométrico, la numeralia delos consumos energéticos... El diseñode iluminación conlleva la capacidadde manipularlas con dominiomanteniendo al día el desarrollo dela tecnología, su materlialización,los objetivos de sostenibilidad ypermanencia ergonómica visual.En la cercana, cuidadosa y delicadaalternancia de ideas con elinstituto Nacional de Antropologíae Historia, ha prevalecido en elimaginario colectivo la presenciay visión de la luz con dimensiónsocial y expectativa emocional.Reconocer el barroco churrigueresco,con el respeto total a la formay materiales, tocando a distanciay sólo con luz, estableciendo uncriterio de interpretación ante elpatrimonio edificado, insipirado enla observación, la poesía y el artevisual contemplativo.

Lamp Lighting Solutions Awards’13Students Proposals

The HopeStudents Proposals AwardJury Evaluation:The professionalism of all thestudent entries impressed thejudges but this particular proposalhad a practical, as well as aninspirational, purpose. Beautifullypresented with a quirky video,The Hope is an evacuation solutionto disaster struck areas and itspeople. A ray of light in times ofturmoil.Autor Proyecto de Iluminación:Daniel Guerra RubioAlejandra Muelas SánchezUniversidad:Escuela Técnica Superior de Arquitecturade Madrid (ETSAM)País:EspañaThe hope nace de la necesidad deinfraestructuras en zonas donde sehan producido catástrofes, tantonaturales como humanitarias. Estaszonas suelen sufrir el derrumbe demuchos de sus puentes o la necesidadde algunos nuevos, debido aque los cauces –naturales o artificiales,como calles o avenidas- serellenan con el agua de las riadas.La luz es otra de las infraestructurasque suele verse comprometidaen situaciones como éstas. The hopeno sólo sirve para conectar, sinotambién para atraer, guiar. La luzpuede llegar a hacer de punto dereunión, de lugar seguro. Inclusoel excedente de las baterías puedeusarse para recargar teléfonosmóviles o hace funcionar aparatoseléctricos.Todo lo anterior obliga a The hopea ser como es. Necesita ser modularpara poder adaptarse y ser transportadacon facilidad. Su formatiene que ser resistente inclusosi los materiales no lo son, ytiene que poder soportar diferentesorientaciones. Necesita poderconstruirse sin manual ni personaltécnico. Tiene que ser capaz deiluminar en aquellas zonas dondemás se necesita, sin usar un soloenchufe.78

Lamp Lighting Solutions Awards‘13Students Proposals

Lamp Lighting Solutions Awards‘13Students ProposalsLighting SolutionLight to connect. Puente de luz paralugares que han sufrido algún tipode catástrofe natural. La iluminaciónse divide en dos partes. Laprincipal es la formada por los tubosfluorescentes. Sirven para convertiral puente en fuente de luz,para atraer, ser guiados hasta él.La segunda ilumina la parte interiorpor medio de tiras de LEDs. Indicanel camino a seguir, te llevan a sueloseguro. Todo ello alimentado porunas baterías que se recargan pormedio de los paneles solares.

Calor HumanoAutor Proyecto de Iluminación:Guida Ferrari ColladosUniversidad:Arquitecta por la UniversitatPolitècnica de Catalunya,Máster en Iluminación Arquitectónicapor la Universidad Politécnica deMadridPaís:EspañaDadas las extremas condiciones lumínicasde los círculos polares árticos,las vastas extensiones deterritorio gélido y sin electricidad,y la condición nómada de muchosde sus habitantes; se proponeun sistema de iluminación autosuficiente,móvil y flexible, adaptadoal modus vivendi del lugar y quefacilite la comunicación entre sushabitantes, ya sean autóctonos oexploradores.82

Lamp Lighting Solutions Awards‘13Students Proposals

Lamp Lighting Solutions Awards‘13Students ProposalsLighting SolutionLa solución es versátil y adaptablea las necesidades de cada grupo olabor, ya que puede funcionar individualmenteo mediante el ensamblajede varias unidades. Además,jugando con la altura del cable quesustenta las luminarias y la combinaciónde varias unidades (su formahexagonal permite la formación deuna malla al combinarlas), el sistemapuede funcionar como luz deorientación, faro o hito, que permitasaber la posición de los demásnómadas o pescadores, o como generadorde espacio para actividadessociales del grupo.De plástico e hinchadas mediantehelio, son impermeables, pesan yocupan muy poco.Funcionan mediante un método de obtenciónde la energía completamentelimpio: el calor humano y elprincipio termoeléctrico; que creaenergía mediante el contraste entreel calor que el hombre emitey el aire circundante. Como másgrande es esta diferencia de calormejor funciona el sistema. Ungenerador termoeléctrico conviertedespués la energía en electricidad,que servirá para encender losleds del interior de la luminaria.

Monolito de LuzLighting Project Author:André Luís Dos SantosFelipe Alberto Alves VieiraRenan Bussi MachadoUniversity:Universidade Presbiteriana MackenzieCity / Country:São Paulo, BrazilFavela, abandonment and appropriation.It’s in the neglected voidsaround the city that favelas arebuilt, informal settlements withmodest resources, one makes withwhat one has, and what one has isnot much. The electricity supplyand sanitation are improvised, homeshave very poor health conditions,and the state assistance tothe slums is minimal and insufficient.Obviously the favela’s dwellersare victims of an exclusionary socioeconomiccontext, and livinginformally is not their choice,but that does not prevent, duringthe search to meet their own needs,that social integration and communityexperience be intense and vivid.There has been a general priorconcept of favela always negative.But in an exercise of observationand learning we can see demonstrationsof everyday life that enableus to an urban experience very differentfrom the formal city andthat we see as positive.iiiiiiiii i i i iiiThe social life of the communitystands out for the climate of neighborhoodand personhood. The timidpublic spaces are always the stageof social interactions of all kinds,hampered by the lack of structure ofthese spaces that do not have streetlighting and consist of the remainingsbetween the squeezed buildingsof the favela. In this sense our proposalis not civilizational, qualifying,but it is a way to enhance andcontinue these positive aspects thatare hampered by the lack of publiclighting, creating a framework thathighlights the human dynamics incramped public spaces of the favela.86

Lamp Lighting Solutions Awards‘13Students Proposals

Lamp Lighting Solutions Awards‘13Students ProposalsLighting Solution1.0 mpanel solarsolar panel0.22 m²As anyone who meets around a campfire,our monolith legitimizes socialgathering in favela. Not onlyas an auxiliary light, but as anallegory to living the common life,the community. As the larger orsmaller number of people close tothe monolith its light becomes moreintense or weaker. During the dayserves as a mailbox for residentslacking formal address. This waythis strong appropriation of theterritory in the favela is ratified.The monolith is a symbol, a locallandmark, a meeting place. Butit can also be a benchmark in thecity. Often the favela are builton hills of little interest to themarket, and this topography hasgreat notoriety in the prospectsof the formal city. Amid the randompoints of light bulbs, the monolithwith its white light is a kindof beacon, something that connectscity and favela, hill and asphalt,“citizens” and “favelados”.The monolith is recharged throughsolar energy, which is feasible dueto low consumption LED and the longperiod in which the photovoltaicpanels receive sunlight over theshorter period that the monolith islit. However for us in a place withinequalities as fierce as it is, socialsustainability is primordial.0.5 m3.5 m05 cmLED bordoLED board8.60 m²buzónmailbox77 buzones / boxesLED bordo pivotantepivoting LED boardbateríabatterypanel solarsolar panelLED bordoLED boardThe monolith is something that canconnect very different people, butwith one strong thing in common:the city.20 cm15 cm

Presencia IluminadaAutor Proyecto de Iluminación:Iván Díaz VilchesLaura Martín GonzálezUniversidad:Escuela Técnica Superior de Arquitecturade Madrid (ETSAM)País:EspañaEl Everest, localizado en el Himalaya27 ° 59’17 “N 86 ° 55’31”E,con 8.848m es la cumbre más altadel mundo. Su clima es extremo, conuna temperatura media de -36º, llegandoa -60º con riesgos de congelaciónconstantes y vientos de hasta285km/h. La mejor época para elascenso es entre abril y mayo, yaque su clima es más leve y cálido ylas pendientes más estables.La idea, pretende mediante la luzguiar y conectar en condicionesextremas de montaña, gracias a lapresencia iluminada del refugio,aportando un punto de referenciareconocible a grandes distanciasy en circunstancias adversas. Lallamada de luz y la emergencia esla característica fundamental entorno a la cual gira el proyecto.Los procesos químicos que se produceno activan, permiten identificarmediante cromatismos cálidosy fríos las diferentes situaciones.La gama fría es la llamadade luz constante para el refugioy la gama cálida es la señal deemergencia activada manualmente encaso de peligro. El proyecto proponeresguardos confortables y resistentes,aplicables a cualquierlugar de clima extremo, capaces desoportar fuertes vientos, intensaslluvias y la acumulación de nievesobre sí mismo.Los refugios permiten desarrollarla fase de acomodación y aclimatación,donde puede aparecer la hipoxia.Cada refugio contará con unacámara hiperbárica que permita aumentarla presión y disminuir losefectos de altura.90

Lamp Lighting Solutions Awards‘13Students Proposals

Lamp Lighting Solutions Awards‘13Students ProposalsLighting SolutionLa planta se genera desde las formasnaturales, que mediante la degradacióny la exposición, resultanideales para la adaptación almedio como refugio. En el interior,las dimensiones serán de 210 x 75cm por persona, teniendo capacidadpara 4 personas. Los materialesen los que se fabrica soportanla degradación en condiciones extremasde alta radiación solar yfrío intenso. Dentro del refugioencontraremos el aparataje para elalmacenamiento de energía y funcionamientodel dispositivo luminiscente,así como el resto de aparatajeseléctricos periféricos. Secuenta con un sistema energéticofotovoltaico, mediante un generadorde placas solares flexibles quecarga los acumuladores, y medianteestabilizadores y transformadoresde corriente, garantiza la conexióneléctrica. La fuente de luzutilizada es luz química, visiblegracias a un compuesto poliméricoorgánico fosforescente. El refugiose adapta a las características delentorno utilizando la luz como sistemade garantía, de iluminación interiory de identificación exterior,gracias a la energía acumulada.Se cuenta con dos variantes en elproyecto como emisor de luz: La luzconstante, para la identificacióndel refugio, basada en la fosforescencia,un proceso donde se absorbeenergía, se almacena y emiteluz visible suficiente para iluminargrandes distancias. La señal deemergencia, basada en la quimioluminiscencia,usando agua con un catalizador-basede pigmento fluorescentecomo fuente de luz, capaz demantener el brillo en la oscuridad.

“Una X siempre señalaalgo...”Autor Proyecto de Iluminación:Rosa Pérez ResinoUniversidad:Escuela Técnica Superior de Arquitecturade Madrid (ETSAM)País:España{...}Gigante ola que el vientoriza y empuja en el mar,y rueda y pasa, y se ignoraqué playa buscando va;Luz que en cercos temblorososbrilla próxima a expirary que no sabe de elloscuál el último será;Eso soy yo, que al ocasocruzo el mundo sin pensarde dónde vengo ni adondemis pasos me llevarán.SA E T A Q U E V O L A D O R A . . .Gustavo Adolfo BécquerEl lema del concurso pedía unapropuesta en la que la luz se usasecomo herramienta para conectarlas personas y/o los espacios. Pero¿y si además, la luz fuese una herramientade seguridad que consiguiesesalvar vidas...? Todos losaños vemos en los medios, noticiasen las que personas (bien por imprudenciao por desconocimiento)sufren accidentes ocasionados porlas embestidas del mar en las zonascosteras. La mayoría de puebloscosteros donde ocurre esto, dedicadosa la pesca y al turismo comomedio de subsistencia, cuentan conpaseos y espigones próximos al mar.En muchos casos, especialmente encomunidades pequeñas con escasasinfraestructuras, estos espacioslimítrofes “tierra-mar” no estánbien definidos ni conectados conlos núcleos habitados. Su caráctertransitorio y un tanto peligroso,(se trata de tierra que se adentraen el mar) los hace ser atracti-94

Lamp Lighting Solutions Awards‘13Students Proposals

Lamp Lighting Solutions Awards‘13Students Proposalsvos para el visitante y un lugarde ocio y pesca para el residentehabitual.Lighting solutionLa propuesta trata de acondicionarestos espacios frontera y conectarlosa través de la iluminación con losnúcleos habitados. Para ello se valede unas “señales luminosas” que tienenlos siguientes propósitos:X Servir como elemento conector entreel espigón y los núcleos habitadosX Actuar como señal luminosa parael peatón indicadora del estado dela mar junto al espigónX Ser una baliza de referencia paralas embarcaciones próximas a costaEl proyecto se encuentra en la naturaleza,y en consecuencia, es unainstalación autosuficiente y respetuosacon el medio. Para ello, juntoa las “señales luminosas” existeun sistema de generación de energíarenovable a partir de la energíacinética producida por las olas. Setrata de un sistema de generaciónde energía eléctrica limpio, que noafecta negativamente al ecosistemacostero ni supone un deterioro delpaisaje costero, ya que los dispositivosde captación energética seencuentran sumergidos bajo el aguay están diseñados para no resultarhostiles para la vida marina.Recurriendo a la rima de bécquer:el proyecto trata de ser un sistemade referencia visual que conectey unifique el espacio costero, haciéndolomás bello y seguro, a travésde una iluminación eficiente yrespetuosa con el medio.

AGRADECIMIENTOSA los 669 inscritos, gracias. A los608 proyectos recibidos, gracias. Alos miembros del Jurado, gracias. Alos medios nacionales e internacionalesque nos han ayudado con la difusión,gracias. Sin todos vosotroseste concurso no sería posible.En su 5º edición, los Premios LampLighting Solutions 2013 han cerradosu plazo de inscripción con cifrasrécord: 608 proyectos de 52 países yun 61% de internacionalización.Los 608 proyectos recibidos estánrepartidos según: Iluminación ExteriorArquitectónica con un total de108 proyectos, Iluminación de Interiorescon 236, Iluminación Urbana yPaisaje con 95, y Students Proposalscon 169 proyectos presentados.De los 52 países, los que han presentadomás proyectos por orden demayor a menor son: España, Alemania,Francia, Reino Unido, Méjico, Italia,Estados Unidos, China, Chile,Argentina y Singapur.Además, en esta edición de 2013, damosla bienvenida a 11 países nuevosque por primera vez se presentanal concurso: Bielorrusia, Bosnia yHerzegovina, Bulgaria, Costa Rica,Egipto, Eslovaquia, Indonesia, Líbano,Macedonia, Nigeria y Polonia.Desde LAMP queremos agradecer, unavez más, a todos los que hacéis queestos premios sean una realidad.Gracias por creer en los PremiosLamp Lighting Solutions.*Todas las imágenes aparecidas en el libro han sidoaportadas por los finalistas y los textos han sidoextraídos de sus memorias técnicas.To the 669 who registered, thankyou. For the 608 projects received,thank you. To the members of theJury, thank you. To the national andinternational media that have helpedus with the promotion, thank you.Without you all this competitionwould not be possible.In its 5th edition, the Lamp LightingSolutions Awards 2013 have closedtheir submittal period with record figures:608 projects from 52 countriesand 61% of internationalization.The 608 projects received are distributedbetween: ArchitecturalOutdoor Lighting with a total of 108projects, Indoor Lighting with 236,Urban and Landscape Lighting with95, and Students Proposals with 169projects submitted.Of the 52 countries, the ones whichsubmitted most projects in descendingorder are: Spain, Germany,France, UK, Mexico, Italy, USA, China,Chile, Argentina and Singapore.Moreover, this year 2013, we welcome11 new countries that have enteredthe competition for the first time:Belarus, Bosnia and Herzegovina,Bulgaria, Costa Rica, Egypt, Slovakia,Indonesia, Lebanon, Macedonia,Nigeria and Poland.At LAMP, once again, we wish to thankall of you who make these awardspossible. Thank you for believing inthe Lamp Lighting Solutions Awards.*All images appearing in the book have been providedby the finalists and the texts have been extracted fromtheir technical reports.Aux 669 inscrits, merci. Aux 608 projetsreçus, merci. Aux membres duJury, merci. Aux médias nationaux etinternationaux qui nous ont aidé àla diffusion, merci. Sans vous tous,ce concours ne serait pas possible.Lors de la 5e édition des TrophéesLamp Lighting Solutions 2013, la périoded’inscription s’est close avecdes chiffres record: 608 projets de 52pays et 61 % d’internationalisation.Les 608 projets reçus sont répartisde la forme suivante : un totalde 108 projets présentés pourl’Éclairage Extérieur Architectural,236 pour l’Éclairage d’Intérieur, 95pour l’Éclairage Urbain et Paysager,et 169 pour les Students Proposals.Parmi les 52 pays, ceux qui ontprésenté le plus de projets sontpar ordre décroissant: l’Espagne,l’Allemagne, la France, le Royaume-Uni,le Mexique, l’Italie, lesÉtats-unis, la Chine, le Chili,l’Argentine et Singapour.Lors de cette édition de 2013, nousavons également accueilli 11 nouveauxpays qui, pour la premièrefois, ont été présents au concours: la Biélorussie, la Bosnie-Herzégovine,la Bulgarie, le Costa Rica,l’Égypte, la Slovaquie, l’Indonésie,le Liban, la Macédoine, le Nigeriaet la Pologne.LAMP tient à remercier, une fois deplus, tous ceux qui ont permis àces trophées de devenir une réalité.Merci de croire aux Trophées LampLighting Solutions.*Toutes les images qui apparaissent dans le livre ontété fournies par les finalistes et les textes ont étéextraits de leurs mémoires techniques.

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Edita | LAMP SAUCoordinación | Marketing LAMPDiseño y maquetación | Marketing LAMPImpresión Alternativa gráficaAño | 2013LAMP: 9500320PEFC/ 14-38-00014