This Sunday evening 26th May 2013 between 6pm and 8pm a constellation of stars will perform a diverse selection of compositions on the enlightening piano a light art installation located at Campbell’s Cove part of Vivid Sydney 2013.

Glenn Sarangapany (second from left) from Birds Of Tokyo

Glenn Savangapany from Birds of Tokyo, outstanding concert pianist Ambre Hammond, jazz pianist extraordinaire and member of Monsieur Camembert Marcello, Maio, solo artist Eleanor Dunlop (ex Cameras) and ideas man Jonathan Pease will play.

Using the latest digital technology the enlightening piano can create an infinite number of LED light patterns dependant on the sequences of notes played. It was created by Tariq Qayoom and Allan Crew of illumni, the world’s leading online lighting design publication, in association with Emrah Baki Ulas + Mirjam Roos, lighting designers at leading engineering firm Steensen Varming, and brought to life technically by Rick Cail and Matthew Cavanagh from Xenian Living Light. Project supporters include mySmartCTI and YPP Plastics.

Sydney Morning Herald Spectrum Cover photoshoot for Vivid Sydney 2013

the enlightening piano is located harbour side at Circular Quay between the Overseas Passenger Terminal and the Park Hyatt Hotel, in front of the italian village.

Be there, it’s free. Or miss out on something you will never see or hear again.

The post STARS COMPOSED FOR
THE ENLIGHTENING PIANO
AT VIVID SYDNEY 2013 appeared first on illumni – Lighting Design, Light Art, Lighting Jobs.

Electrolight, in conjunction with Fed Square are excited to announce a joint initiative for The Light in Winter 2013.

‘Yo Gobo’ will see a selection of designs realised as unique gobos and displayed in a public art projection in St Paul’s Court, Fed Square over the Winter Solstice celebrations from 20th to 23rd of June. All entries received will be displayed on Fed Square’s Big Screen on the evening of 20th June during the Winter Solstice Weekend.

‘Yo Gobo’ will be a prominent, active part of The Light in Winter and a highly visible attraction at Fed Square for it’s duration.

WHAT’S A GOBO?

A gobo is a metal disk with holes cut into it, through which light passes to create a desired shape or pattern. In effect, it enables stencil art to be created with light.

Entries close in 3 weeks! For more information click here, here or download the Expression Of Interest document below.

The post ‘YO GOBO’…a light stencil competition and exhibition appeared first on illumni – Lighting Design, Light Art, Lighting Jobs.

If you have ever heard Martin Lupton and Sharon Stammers (who are Light Collective) speak (and illumni has), you will appreciate their unique ability to combine entertaining delivery interspersed with pertinent knowledge. You walk away with the feeling that you have just been exposed to something worthwhile. (60 minutes of your life you won’t want back).

They will be speaking at Daylight Thinking, a two week long conference hosted by the University of Florida and Professional Lighting Design Association to explore and celebrate the ‘Culture of Daylight As An Expressive Device’.

Set against the backdrop of the Italian Veneto in the ‘history dripping’ town of Vicenza, ‘Daylight Thinking’ is the one conference you should attend this year if you can only attend one conference this year.

For more details see daylightthinking.com

Read illumni’s interview with Light Collective

The post LIGHT COLLECTIVE JOIN LIST OF EXALTED SPEAKERS AT ‘DAYLIGHT THINKING’ IN VICENZA, ITALY. appeared first on illumni – Lighting Design, Light Art, Lighting Jobs.

Commended in the Retail and Leisure Project of the Year category, Lux Awards 2012

Based at One New Change, next to St Paul’s Cathedral, Gordon Ramsay’s Bread Street Kitchen is a lively and exciting new 300-cover restaurant and bar, set in a large warehouse-style room. The relaxed dining experience is underpinned by a menu that includes dishes from the raw bar, wood-burning oven and lively open kitchen.

The interior vision was of an energetic New York meatpacking district eatery characterized by gloss tiles, and exposed concrete, services and wiring to create an industrial feel.

Hoare Lea Lighting was invited by Russell Sage Studio to collaborate on the lighting design with a brief to create a visually stimulating space, while meeting strict energy and low carbon requirements.

Scale and intimacy

Two scales of space were created – a macro space encompassing the interior’s vibrancy and overall impression, and a micro space at tables and bars, where a more intimate feel is created by directional spotlighting, low level lighting and locally mounted reclaimed lighting objet d’art.

Tungsten halogen for general lighting was not viable and metal halide and fluorescent would not supply the ambiance required. LED was selected and Hoare Lea Lighting worked with AC/DC Lighting to select the correct LED chip in terms of colour temperature, efficacy, spectral distribution and beam angle. The LED luminaires provide a rich 2700K light, good colour distribution in critical visible wavelengths and good colour representation of food.

A key interior design objective was to use reclaimed chandeliers and low level angle-poise lamps for table lighting. The use of LED retro-fit lamps in the decorative lighting was investigated but it was felt that the product available on the market was not acceptable in terms of dimming, colour or quality of light. The most efficient tungsten lamps were found and installed with the expectation that these will be replaced in the future when technology catches up.

Scaffold frames, supported by chains and entangled with electrical wiring, serve as mounting locations for high level lighting. Low level LED lighting washes incorporated into column cladding, bar fronts and privacy curtains create a human scale interaction.

A staircase links the ground to the first floor. With a drop of 5m between floors it was necessary to create a centre piece and draw customers to the first floor. Linear LEDs in the handrail detail downlight the stair treads and wash the mesh side panels, creating a subtle link of vertical illumination.

A mezzanine floor was added to the first floor with a wine balcony that holds 2000 bottles. This stretches along the wall above the open kitchen; integral lighting treatments create a strong visual backdrop.

Energy Efficiency

The space conforms to UK Building Regulation energy requirements for new commercial buildings (45 luminaire- lumens/circuit-watt.)

We would normally expect that, for a restaurant of this kind, a display lighting category would be appropriate. In the UK this would have given an allowance of 15lm/w for lighting and would have meant that the lighting could have used tungsten halogen lamp sources. This was not allowed for the One New Change development as the One New Change energy model required a maximum lighting load of about 20W/m2 for internal lighting – yet the visual expectation was for the warmth and colour of tungsten-lit restaurants.

The Building Regulation notional modeling allowed us 3.43W/m2/100lux and was based on a retail benchmark of 600lux. Our scheme came to a total of 10W/m2/100 lux including all FF&E and decorative lighting – but crucially we were only illuminating to 150 lux.

If one follows the 3.43W/m2/100 target, a 1000m2 building at 600 lux would equate to a target energy of 20.5kW. By illuminating to 150 – 175 lux and using efficient sources we achieved an energy value of just under 20kW. However, this was deemed incompliant with Building Regulations because it did not achieve the 3.43W/m2/100lux stated.

Compliance was gained by the addition of daylight linking as the interior is encompassed by 6m high windows which allow linked control to reduce energy use. This was used in conjunction with scene setting control to create atmosphere and further reduce energy consumption.

Without daylight linking or scene setting the scheme (including back-of-house) came to approximately 20W/m2. This included the reclaimed feature lights which were considerably dimmed on final scene setting. Without these elements the fixed lighting installation load was under 11W/m2 (downlights and lighting details). Functional downlighting alone equated to only 4.85W/m2.

Jonathan Rush, Associate Lighting Designer, Hoare Lea Lighting, comments: ‘Bread Street Kitchen is a snapshot of the current situation with energy efficient lighting and high-end, aspirational interiors. A full LED scheme would have compromised the ambience and so a hybrid solution was developed. It is energy efficient, feels comfortable and adds to the appeal of the restaurant.  When the functionality and light quality of LED retrofit lamps catches up with the energy savings available, it is likely that Bread Street Kitchen will actually get more efficient.’

Alex Pitchford, Operations Manager at Gordon Ramsay Holdings comments:

 ‘Hoare Lea Lighting’s solution complements the interior design concept developed by Russell Sage Studio and adds to the ambience and vibrancy of this unique restaurant. It gives an added dimension to the dining experience at Bread Street Kitchen while achieving an energy-efficient scheme. The general response from visitors is that the space is engaging and impressive.’

CREDITS

Interior Designer – Russell Sage Studio
Architect – Emulsion Architecture
Lighting designer – Hoare Lea Lighting
Project and Cost Managers – Gardiner & Theobald
Contractor – ISG PLC
Electrical Contractor – ISG PLC
M&E Consultant – MTT Consulting Suppliers

Suppliers
AC/DC Lighting
LightGraphix

The post Bread Street Kitchen
One New Change
10 Bread Street, London
by Hoare Lea Lighting appeared first on illumni – Lighting Design, Light Art, Lighting Jobs.

Kristy Philp + Murray Robson

After almost three years as an integral member of the Haron Robson lightmatters® design team, Kristy Philp has decided to further her creative career and gain additional international experience by relocating to Toronto, Canada.

Virgin Australia Lounge

Kristy joined Haron Robson in 2010 with experience as an Industrial Designer, having worked on marine interiors, exhibition design and product development. With a passion for spatial design, art and science, the creative and technical challenges guaranteed by a specialism in Lighting Design ensured it was the logical next step. Winning the coveted Klaus Engelhardt Memorial Scholarship, Kristy completed her Masters in Illumination Design and graduated with Deans Honors in 2012.

Vivid ‘Infinity Squared’ Sculpture 2012

Kristy contributed much during her tenure at Haron Robson, most notably her involvement in the design of the multi award-winning light sculptures for Vivid Sydney 2011 & 2012, the acclaimed Virgin Australia lounge in Melbourne and the award-winning energy efficient façade lighting at Club Five Dock RSL.

Vivid ‘LightWave’ Sculpture 2011

Echoing the thoughts of the whole Haron Robson team, Glen Haron, Managing Director, notes: “We will certainly miss Kristy’s considered and creative approach to projects. In her time with us, Kristy has been a key part of the design team and has played an active role in many award winning lighting projects”

Club Five Dock RSL

We wish Kristy all the very best and look forward to following her successes into the future.

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farewells Kristy Philp appeared first on illumni – Lighting Design, Light Art, Lighting Jobs.

The idea of “ISOTOPES” is to generate a dematerialised space. The catalyst of the project have been post Fukushima’s atmosphere. This tragedy that collided within our memories and childhood has led us to think about the brittleness of reality. This point of no return reflects the brutality of this evolving world that surrounds us, replacing any individual’s existence into fiction.

“Isotopes” is an open space which can also be perceived as a prison. At first, the slow and hypnotizing moving lights attracts the visitor into the heart of it. Then, the rhythm and the intensity become continually more aggressive until it generates immaterial barriers: it’s easy to get in but neigh impossible to get out. This echoes the way humans approach nuclear power. First seduced, then addicted by its comfortable energy, humans have become trapped in an unstable situation. The rhythm of the lights and the sounds bring back the connection between the Japanese and their awareness of radioactive omnipresence. Sometimes you can forget it, like the glow of a night light, but sometimes the conscience gains the upper hand, and fear comes back with loss of ground reference. Through the metamorphoses of its appearance, this installation leaves the visitor between what once existed and what didn’t, drawing them into the spectrum of their own volatile emotions.

CREDITS

Artists : NONOTAK ( Noémi Schipfer & Takami Nakamoto)
Many thanks to : Ana Ascensio, Justine Beaujouan, Boris Edelstein, Adrien Boulanger, Fanny Visser,Will Wires Dardelin, Dominique Peissel, Fabrice Giraud, Fabio Manozzi, Jorge Escobar, Yves Evéquoz, Sougwen Chung, Wengnam Yap, Adi Panuntun, Sony Budi Sasono, Gaz Bushell, Anthony Rowe, Loic Shutter, Linda Cavaliero, Audrey Powell and Walid Van Boetzelaer
Mapping festival 2013 Geneva. www.mappingfestival.com

Inspired by -ANTIVJ 3DESTRUCT: http://www.antivj.com/3Destruct_v2
- ILAN KATIN’s Work: https://vimeo.com/31817427
- JULIO LE PARC’s WORK: http://www.youtube.com/watch?v=GHo0yy…
- RYOJI IKEDA’s TRANSFINITE: http://www.youtube.com/watch?v=omDK2C…

The post ISOTOPES v.02 by Nonotak appeared first on illumni – Lighting Design, Light Art, Lighting Jobs.

illumni Infinity Awards take a small but extremely tasty bite of the big apple.

Have you ever noticed, when you start something new and different, sometimes it takes a little while for people to get on board.

And so it was with the illumni infinity awards in New York in early May this year.

After big successes presenting the awards in Sydney, Singapore and London, to an accumulated crowd of over 400, illumni landed at JFK with great expectations.

An exceptional venue was booked in Soho. Invitations extended and a more than adequate supply of top end refreshments accumulated, ready to be served.

About 60 of New Yorks finest lighting designers and friends arrived to enjoy illumni’s hospitality, view the work and drink in the atmosphere, not to mention the beer and wine.

It was a really great night. But next year, as they say, will be much bigger.

After all the infinity’s are a truly global awards celebrating the unlimited creativity of lighting designers.

Proudly sponsored by International Sponsors Gerard Lighting, Austube and supported by Illumination Physics, Indesign, Traxon Technologies

Out of a total of 32 awards, 2 Golds, 2 Silver and 2 Bronze were awarded to projects based in North America. Congratulations to the award recipients:

Facade Lighting: Gold
Office for Visual Interaction
The Rookery Building

Retail Lighting: Bronze
Lux Populi
Tourneau

Residential Lighting: Silver
Lux Populi
Lakeside Retreat

Civic Lighting: Silver
Schuler Shook
University of Illinois, Chicago – Daley Library

Workplace Lighting: Gold
Schuler Shook
Confidential Project

Workplace Lighting: Bronze
MCLA Inc.
1828 L Street, NW

We’ll be featuring the award winning work on illumni over the next week.

Thank you to all of our international judges:
(North + South American judges in bold)

Keith Bradshaw Director, Speirs+Major London
Mark Elliott Design Director, Point of View Sydney
Barbara Horton President, Horton Lees Brogden Lighting Design New York
Doriana Fuksas Partner, Fuksas Rome
Florence Lam Global Lighting Design Leader, Arup London
Peter Mak Design Manager, Hong Kong
Thomas Paterson Founder, Lux Populi Mexico City
Francois Roupian Founder, Lightemotion Quebec
Donn Salisbury Director, Electrolight Sydney
Adam Scott Creative Director, Freestate London
Hiroyasu Shoji Founder, lightdesign inc. Tokyo
Dean Skira Founder, Skira Ltd Pula
Joe Snell Architect, Snell Architects Sydney
Charlie Tancharoen Executive Lighting Designer, Meinhardt Bangkok
Nathan Thompson Design Director, The Flaming Beacon Melbourne
Rogier Van Der Heide Chief Design Officer, Philips Lighting Amsterdam
Paulina Villalobos Director DIAV Chile

illumni Infinity Awards European Presentation, London
illumni Infinity Awards Asian Presentation, Singapore
illumni Infinity Awards Australasian Presentation, Sydney

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Two Japanese businessmen flew into the Australian Gold Coast to play golf at the Royal Pines Resort and subsequently bought a brand new set of Calloway Golf Clubs and a set of very expensive golf balls each. Apparently this was far cheaper than taking out a golf membership in Japan.

After nine holes, the two Japanese golfers returned to the pro-shop and bought themselves another set of very expensive golf balls each.

Puzzled that two people could lose that many golf balls in only 9 holes, the young golf apprentice who was operating the pro shop that morning asked what happened.

“A man we met on the course told us not to hit into the rough, cause if you go in there, if the snakes in there don’t bite you the crocodiles certainly will,’ said one of the Japanese with an air of concern.

I suspect these two were maybe engineers or accountants by trade and therefore inherently cautious so just to be safe, they left any ball that landed in or close to the rough well alone. Hence their rapid need to acquire new balls.

It seems to me this little story serves to highlight the current Politics of Public Lighting, ie. they say the easiest way to negotiate with someone is not convince them that your service or product is the best but to just cast doubt on their current situation.  If you are not part of the solution, there is a great deal of money to be made prolonging a problem.

And so we have lobbying, masked as lighting trade shows and information forums where LED is presented as part of the Australian Standards ASNZS1158.6.  Backroom, invitation only events are convened with councils and energy distributors by industry bodies representing the Standards Committee who set the rules in the first place.

Of course it could all be perfectly innocent and above board but then you hear the same concerns from any number of confidential sources.

At said Trade Shows and Information Forums for example, large projector screens can be seen depicting LED streetlights now swathed in a web like substance. Apparently this strange and rapidly growing phenomena is something Australia has only recently had to deal with.

I’m going to let you all in on a little secret many of you might not know. (Come in close so I don’t have to talk too loud otherwise we might scare the rest of the Australia population, and let me say you didn’t hear this from me) …….. we now have spiders and apparently they are invading every LED streetlight in the country.

And it seems Australian spiders are unique in that they are super intelligent. While they have been nesting in places such as my lounge room they have been looking over my shoulder watching all those home renovation shows and developed a preference for penthouse LED Streetlights without dropped visors or an overlay of LED arrays so they can then rest comfortably knowing that their newly acquired homes are adequately illuminated to the correct standards.

Apparently the way the wording on the DRAFT Standards is written, it doesn’t specifically say visors are mandatory, it’s just implied in such a way that some of those Japanese business type golfers might assume that its safer to stick with LED Streetlights with Visors or a staggered overlay of optics.

And so to conclude with a half-truth of my own, a rumour, an implication of sorts that will possibly cause you some unease. A few very large international companies are watching Australia at the moment. These companies have incredibly large teams of people that provide a service dressed in a funny uniform.  They leap in front of you, bind you in web of sorts, wrap you in a string so that you cannot move and charge about 5 times the hourly rate as a top-class engineer or accountant. They are also watching the developments, conducting interviews and will be checking the wording and the implications of this DRAFT Public Lighting Standard and its implied meaning and though mandatory inclusions are not explicitly stated, they’ll be checking for the intended effect and anything that would create a trade restriction or a barrier to competition, you might start seeing them in their flowing capes

And no, they are not dressed as Spiderman.

Adam Carey
Managing Director
Citelum Australia / NZ
www.citelum.com.au

The post e-lumen-arti:
The Politics of Public Lighting
by Adam Carey appeared first on illumni – Lighting Design, Light Art, Lighting Jobs.

Speirs + Major are pleased to announce the following internal promotions, reflecting the continuing growth and development of the practice.

Andrew Howis has been appointed to the position of Managing Director of Speirs + Major. Alongside his design work Andrew will be responsible for the management of the practice on a day to day basis. He has been with Speirs + Major since 2006 and has worked on many high profile projects; most recently the St Botolph Building with Grimshaw, the University of the Arts, London with Stanton Williams and the multiple award winning Burlington Arcade with Blair Associates.

Clementine Rodgers has been appointed to Design Associate. With an architectural background and an MSc in Lighting from The Bartlett UCL, Clementine has wide ranging experience in both interior and exterior lighting design. Key projects she has worked on include the ’Light + Darkness’ strategy for Durham, the IALD Award of Merit winning BBC Scotland Headquarters with Granve Images, and the IALD Radiance Award winning Plot 3, More London Riverside with Foster + Partners. She also led the lighting of Barbecoa at One New Change with Tom Dixon and is currently completing the lighting for a new Maggie’s Centre in Newcastle with Edward Cullinan Architects.

Benz Roos has been made Senior Designer. Educated to Masters level in Architectural Lighting Design at the University of Wismar, Germany, Benz joined Speirs + Major in 2008. His projects have included the Beauty and Power Exhibition of Wallace Collection, Yas Island Retail and Greenwich Peninsula. He was also the project designer for the award winning ‘Aeroblade’ street light with CREE. Most recently he led the “In Lumine Tuo” project, an animated lighting installation for central Utrecht, The Netherlands.

Kerem Asfuroglu has been promoted to Project Designer. A fellow alumni of the University of Wismar, with a strong background in stage lighting Kerem joined Speirs + Major early in 2011. He has won several awards including SLL Young Lighter of the Year Best Presentation 2010, Red Dot concept 2011 and Vox Juventa 2012.

“We are lucky in that we have a great team from a broad range of backgrounds. It’s very exciting to work with such a creative and technically knowledgeable designers. We’re all enjoying what this brings to the work and the evolution of our practice. “ said Principals Mark Major and Keith Bradshaw.

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Alena Leonardi recently started at Darkon Architectural Lighting as Marketing Manager. Following her move to Australia from Germany 2 years ago, Alena worked as Product Manager for JSB Lighting and later set up the Australian subsidiary of German company Hess Form and Light.

“When Dean Phillips called me to discuss joining his team in Melbourne, I honestly had little idea of who Darkon and Dean Phillips Architectural Lighting are. Now, after having understood them to be one of the most creative, dynamic and innovative companies in the market, I am shocked about my ignorance. My job here is to harness this creative spirit and product intelligence and translate it to national and international markets,” says Alena.

The post Alena Leonardi joins Darkon Architectural Lighting appeared first on illumni – Lighting Design, Light Art, Lighting Jobs.