The Florio Wine Cellars in Marsala
Located on the seafront in Marsala, in spaces once used as a warehouse by the Florio Wine Cellars, Florio Terrace is a project that successfully combines architecture with art and design, reinterpreting the relationship between industrial and contemporary elements.
The structure comprises two different areas: the hall on the ground floor, and the terrace overlooking the sea on the first floor.
The materials chosen distinguish the space by giving it a modern, unfinished feel: sand and cement screed, bare concrete and plaster walls, deliberately left unfinished like the pillars revealed during demolition, which have been left in their attractively imperfect state.
The premises, with its play on volumes and equilibrium, is similar to an art gallery: the staircase between the two floors is an articulated element made of iron, painted glossy white with black steps. The balustrade features different sized holes and cut-outs. Under natural light by day and artificial light by night, this design feature gives rise to discreet but fascinating lighting effects.
Perfectly integrated in this setting are elegant 10 watt and 26 watt directional spotlights with a CRI of up to 94. The white embossed finish of the fixtures blends seamlessly with the texture of the walls, and the use of the product in both white as well as black areas creates balances and contrasts that define the spaces even more powerfully.
Next to the staircase there are three chairs/sculptures in red that allude to the three wine labels: Corvo, Florio and Duca di Salaparuta. The stairs lead up to the splendid 500 square metre terrace with a view of the sea, marked by white gazebos and furnished with sofas, armchairs and tables.
Architect: Franco Marabelli,
In collaboration with: architect Silvio Maglione, and set designer Lino Colombo
Lighting design: Lorenzo Bruscaglioni
Photos: Gionata Xerra
by Joachim Ritter
The new lighting for The Last Supper by Leonardo da Vinci met with the approval of experts from the lighting field.
The existing lighting for The Last Supper could only be described as insipid and washed out. It certainly did not whet anyone’s appetite for anything, spiritual or otherwise. Not surprising given that the light sources used to light – or should one say afflict – da Vinci’s masterpiece in the Santa Maria delle Grazie Dominican convent were fluorescent lamps … And we all know that fluorescent light does very little to enhance the appearance of a meal, let alone the people sat at the table.
In the last days of March, a special event was staged to officially launch the new lighting scheme for the wondrous painting for the public. Just four weeks before the opening of Expo 2015 in Milan, and two days before Maundy Thursday, state-of-the-art lighting demonstrated that the historic occasion depicted, and the items of food on the table, can look as fresh as they would have done almost 2000 years ago. It is all a question of light, and in this case of digital light. Of course, we are not talking about the display of fruit and vegetables in a modern shopping environment, but about the overall atmosphere in a space in which, according to Christian belief, an historic event took place.
At the Last Supper Jesus took bread and shared it with his twelve apostles, saying “Do this in remembrance of me”. The meal they took together thus became a symbol of his continuing presence in his community, and the words spoken and actions undertaken have been adopted in the Christian belief as part of the Holy Communion, sometimes also referred to as the Eucharist or the Lord’s Supper. The painting is very large: 422 by 904 centimetres and shows Jesus with his twelve disciples at the moment immediately after he had revealed to them: “One of you will betray me”. The painting is regarded as a milestone of the Renaissance period, because the accurate perspective depth it portrays had a tremendous impact on painting in the western world.
The work was created by Leonardo da Vinci between the years 1494 and 1498, commissioned by the Duke of Milan Ludovico Sforza. And now the masterpiece has been relit in close collaboration with Fabio Aramini, who is Head of Photometry and Lighting Design at the Istituto Superiore per la Conservazione ed il Restauro in Rome. The restoration also incorporated retouching the colours.
In the picture there are three windows in the background. The wall on the right from the perspective of the viewer is brighter, indicating the influx of daylight and the position of the sun. This therefore meant that this part of the painting needed to be more brightly lit. This idea was reiterated in the refectory in the monastery where the painting is. All except one of the windows in the refectory are shaded. Incident daylight can only be seen on the right-hand side when facing the painting.
When painting this masterpiece, Leonardo did not trust in traditional, resistant fresco techniques that meant the paint had to be applied quickly while the plaster was still wet. Instead, he decided to experiment with a new method (fresco-secco technique) that would allow him to continue perfecting the details of the painting even after the plaster had dried.
Unfortunately, Leonardo’s experiment proved to be far from ideal and the painting soon began to deteriorate. Over the centuries, this meant the painting needed to be restored on numerous occasions. In 1999, the latest restoration project, which took over twenty years to complete, finally unveiled what was left of the original painting after carefully removing the clumsy attempts at restoration made previously.
The new LED lighting system brings richer colour to The Last Supper while also guaranteeing better light distribution control and the correct conservation of the painting thanks to unchanging light levels and a consistent reduction in the heat dissipated inside the room. Thermographic assessment and spectramorphic survey values have been achieved that are 30 times lower than the levels stipulated by Italian and European standards for highly sensitive artworks. All the photometric, thermal and microclimatic values registered were conducted and certified by the Photometry Laboratory for the Higher Institute for Conservation and Restoration or ISCR.
The colour rendering index (CRI or Ra) is a quantitative measure of the ability of a light source to faithfully reproduce the colours of objects. In order to compare the colour rendering properties of each light source objectively, the standard CIE measuring method operates on a scale from 0 to 100 (poor to excellent). The Palco floodlights used to illuminate The Last Supper are fitted with continuous spectrum CoB LEDs with a high blue radiation presence and ample warm light tone. The colour temperature is 3400K.
The new lighting systems for the art works and their environment improve energy efficiency and reduce absorbed power (more than 80%) by helping conserve these masterpieces in the best way possible. The decision to replace halogen lamps with new LED products has reduced the power dissipated by the system from 3400 watt/h to 570 watt/h.
At PLDC Fabio Aramini and Piergiovanni Ceregioli from iGuzzini will present the design process in a 45-minute presentation.
Client: Architectural and Landscapes Heritage Office for the provinces of Milan, Bergamo, Como, Lodi, Monza, Pavia, Sondrio and Varese.
Lighting solution: iGuzzini Research and Development Centre, the Higher Institute for Conservation and Restoration (ISCR), the Architectural and Landscapes Heritage Office for the provinces of Milan, Bergamo, Como, Lodi, Monza, Pavia, Sondrio and Varese.
Electrical installation: Tecnosaier srl – Lucio and Fabio Pironi.
by Joachim Ritter
Let me try to explain why I have a problem with this initiative…
Many people in our society do not eat healthily. What they eat is too fat or too sweet, or they eat too fast or too much. And meat? Way too much compared to what our bodies really need. But we know all this. And it doesn’t change anything, or this state of affairs, if we eat badly 364 days a year and eat nothing at all on one day. And for all those who can provide seventeen good reasons for eating like they do in order to clear their conscience: forget it!
It’s not much different with Earth Hour. At the initiative of the WWF, more than 7000 cities around the globe switch the lights off for one hour every year. How daft is that? It certainly won’t help counteract global warming, nor will it influence the way people think about electricity or light. We are not changing anything – nothing at all. It’s like some kind of ‘remembrance hour’, or a big nudge to make people think about wasting energy for 60 minutes. How hypocritical is that?!
Perhaps we should talk more about light, or explain why designed lighting, or purposefully applied light, is important. Good lighting is a social necessity and not just messing around with electric light sources.
Nobody would dream of not driving their car for an hour or, what would be substantially more efficient, switching off all televisions around the world for an hour. That would be pretty easy to manage, too: all TV channels cancel their TV programmes for an hour. No TV programmes to choose from, no TV. That would save energy like crazy.
I would go as far as to say that the whole thing is not about energy saving at all, but is an attempt to demonstrate that lighting is nonsense – something we can do without. And that is indeed hypocritical, people.
Especially in 2015, the UNESCO International Year of Light …
Art installation and photos: Studio Roosegaarde
Daan Roosegaarde’s temporary installation “Waterlicht” which could be seen in Weestervoort/NL from 26. February to 1. March, 2015, was referred to by many visitors as “the Northern Lights of the Netherlands”. But the project that was realised along a section of the River Ijssel was not only designed to be a visual delight: Waterlicht was indeed a breathtaking visual experience in blue light, but was actually designed to draw attention to the work, energy and costs incurred to protect the parts of the country below sea level from flooding. Walking along the dyke, the view of the sparkling lights was designed to remind the viewer of light reflected on water. Visitors could actually walk down into the flooded area as if they were submerging into an underwater world.
Motorised LED projectors generated the virtual flood across a site of over four acres: curved lines of blue light hovered dramatically over the dyke. The installation, which Daan Roosegaarde realised in collaboration with the Dutch water board for the Rhine and Ijssel, was intended to demonstrate how difficult it is to control the forces of nature.
There is no denying that the visual dimensions of the virtual flood were reminiscent of the northern lights that can be seen at certain times of the year at high latitudes. In this case, spectacular to the eye and food for thought on environmental factors.
Official PLDC warm-up in collaboration with UL
by Joachim Ritter
The call for a minimum level of quality is becoming louder. Many designers and clients feel overwhelmed and unable to cope with the issue of whether they have managed to reach the level of safety stipulated for the products they specify or apply. The reasons for more stringent quality management requirements lie, on the one hand, in the risks arising from a global market and, on the other hand, in the competition through the price pressure from the Far East, which is swamping the globe. Strangely enough, very few people link the price of a product with the quality of that product. As a result, even high-quality suppliers of lighting solutions are compelled to succumb to lower pricing and forgo larger profit margins. There comes a point, however, where someone has to put his foot down with a firm hand. Especially when the quality of light is not only a question of technology but also a human-oriented issue.
The term Human Centric Lighting (HCL) is widely used by high-quality suppliers of lighting products and systems right now… and actually describes the work a lighting designer does pretty well: designing spaces for humans. This is therefore also an argument for gaining more recognition for the lighting design profession – a big chance to come nearer to establishing the profession – provided lighting designers can prove they know how to design lighting in order to satisfy the demands of this new approach.
Manufacturers of high-grade HCL products and product ranges are prepared to go to considerable lengths to ensure their quality products end up in the hands of qualified designers. Otherwise they would once again be compelled – as they were in the seventies – to continue to activate, or educate, their own design departments. That would be like making the same mistake all over again, which neither the lighting design community nor the lighting industry really want, but which will become unavoidable if the independent lighting designers don’t deliver.
Who is in a position to offer Human Centric Lighting products on the market today is another question. UL stands for Underwriters Laboratories and is originally from the USA. UL is a global independent safety science company with more than a century of expertise innovating safety solutions from the public adoption of electricity to new breakthroughs in sustainability, renewable energy and nanotechnology. Dedicated to promoting safe living and working environments, UL helps safeguard people, products and places in important ways, facilitating trade and providing peace of mind.
In the field of lighting UL is now globally promoting new standards and offering services to certify quality products and services. We as the organisers of PLDC 2015 are happy to welcome UL as a sponsoring partner of the event in Rome. In collaboration, we are also staging a warm-up in Milan together within the framework of Euroluce. Please note down the 15. April, 2015.
UL services and expertise bring new opportunities to light.
Rapidly evolving thinking about energy efficiency and public safety – along with exciting technological advances – is driving the evolution of the lighting industry, providing greater opportunities and growing challenges. Designers and manufacturers can leverage UL’s safety science expertise, worldwide presence, and active involvement in the lighting industry to gain accelerated access to the global marketplace and to meet regulatory requirements.
Leverage UL’s global lighting expertise in testing, certification and standards development activities.
UL testing, certification and global market access services provide efficient, cost-effective entrance to over 50 countries.
UL works to build relationships with the entire lighting supply chain, including manufacturers, retailers, showrooms, designers, regulatory authorities, government agencies and consumers. UL is the only independent laboratory currently serving on the Zhaga Consortium Steering Committee, an industry group that is developing specifications to enable interchangeability for LED light sources made by multiple manufacturers.
UL meets the needs of the lighting industry so effectively because they know the industry from the inside out. Their active leadership in lighting standards development committees and industry technical task groups and their participation in global industry conferences and trade shows allow them to deepen their understanding of the ever-evolving lighting industry and to share this critical business intelligence with customers.
In response to the high-pressure deadlines that are part of doing business in this industry, they have further enhanced their capacity to accommodate short turnaround time requests. UL’s five state-of-the-art performance and energy efficiency laboratories, located around the globe, help speed the testing process. Test results can be delivered in just five business days for IEC’s LM-79 testing and in seven days for DesignLights Consortium testing.
The breadth of UL service offerings enables customers to take advantage of cost-saving bundling offers and to eliminate unnecessary redundant testing. Thus customers can meet the performance and energy efficiency requirements in support of programmes such as ENERGY STAR®, California Energy Commission, DesignLights Consortium, Lighting Facts, NRCan and Zhaga. Additionally, UL regularly conducts testing to IESNA LM-79, IESNA LM-80, IESNA LM-82 and fluorescent lamp ballast testing requirements. UL’s trusted expertise and network of accredited global laboratories convincingly demonstrates adherence to safety and energy efficiency standards to regulatory authorities.
Anyone who is interested in learning more about UL is welcome to attend the official PLDC warm-up on the occasion of Euroluce 2015 in Milan. Please register here. Tickets are limited.
An interactive room full of digital flowers
Installation and photos: teamLab
The light art installation designed by the multidisciplinary design studio teamLab is entitled “Flowers and People, Cannot be Controlled but Live Together, for Eternity”. Together with fourteen other works, this installation is part of an exhibition of digital, interactive works of art at the National Museum of Emerging Science and Innovation (Miraikan) in Tokyo/J. Inspired by the flora native to the region around Tokyo, teamLab have designed an interactive space that addresses the way flowers bloom and wither, and are replaced by new buds – in a perpetual cycle. The idea behind the carpet of digital blossoms is that man cannot control nature, but can influence it and co-exist with it.
Computer-aided real-time renderings of flowers on the floor change algorithmically every hour. Once a visitor enters the installation, he becomes a part of it: sensors register his movements, which cause flowers to blossom or wither away. The floral images that are generated are always new. The walls in the space are mirrored to generate the effect of infinity.
Food for thought:
We can impact nature by applying the latest technologies, but natural phenomena, such as daylight, is basically beyond our control.
The team behind the Chinese fashion label Dazzle have enhanced the reputation of their prestigious brand by opening two new-look stores. The concept reflects the brand’s desire to maintain a feminine touch, expressed unconventionally in fashion terms, whilst at the same time conveying the exclusivity of the products on display.
The first Dazzle store, located in Shanghai’s Kerry Center, comprises an extremely dynamic space featuring clean design in a style which might be termed baroque minimalist. The layout of the space is developed around rhomboid-shaped volumes with rounded corners which divide the spatial layout, creating pure white partitions which, reminiscent of a theatre stage, cut through the original store and build a powerful space.
The lighting design concept features a cove lighting system with a series of concealed Yori LED projectors, which winds its way through the softened volumes of the architectural space. The luminaires have a colour temperature of 3000K and a colour rendering index of >90 to truly showcase the garments. They boast a power consumption, including driver-related loss, of just 23.9 watts for a luminous flux of 2028 lumens from the LED source. Unimosa adjustable ceiling recessed luminaires complete the set-up.
The lighting design comprises layers of light, on the one hand lighting up the space and emphasising the materiality and texture of the partitions, and on the other hand creating accents and highlighting the colours and materials of the garments and accessories on display.
The second store, Diamond-Dazzle, is located inside Beijing’s Oriental Plaza Shopping Mall. The style of the space has a strong European palace vibe, with the various rooms connected via brass doorways. The ceilings are different in each space, enriched with classic-pattern plaster motifs, while the floor is embellished with stone inserts and carpets. The rooms have received marble and plaster panels in the shape of curtains to reflect the drapery typical of aristocratic homes. The use of warm grey with tones of pink and white creates a luxurious, feminine ambience.
Here too, the lighting design integrates perfectly with the shapes of the architectural space. The LED luminaires are mounted inside coves in the ceiling, in niches in the walls, or recessed into the ceiling. Inside the coves, Yori projectors with articulated brackets and Unimosa recessed ceiling luminaires offer a colour temperature of 3000K, a colour rendering index of >90 and a lumen package of 93 lm/W.
As in the first store, the lighting design is composed of layers of light to showcase the garments and articles on display, without undermining the values expressed by the architecture. In both stores the luminaires are equipped with a selection of accessories, shields and diffusers to reduce glare and improve the customer’s in-store experience.
Location: Shanghai / Beijing, China
Interior design: Cristofori Santi Architetti
Lighting design: Rossi Lighting
Photos: Dazzle; Cristofori Santi
Luminaires: Reggiani Illuminazione
Holographic light sculptures
Installation and photos: Roseline de Thélin
Ghostly, not of this world, strangely fascinating – is how one might attempt to describe “Homos Luminosos”, light sculptures by the French born artist Roseline de Thélin. Hundreds of optical fibres suspended in circles from the ceiling are cracked at specific points along their length to generate holographic light sculptures. The cracks in the optical fibres give rise to tiny dots of light that together form larger-than-life human shapes apparently floating in mid-air. The installations are inspired by astronomy and quantum physics and play with the viewer’s perception, creating stunning illusions.
Roseline de Thélin works with light both as a medium and as a subject, creating installations and light sculptures by exploiting the scientific properties of light: reflection, refraction, conduction and transparency. She particularly likes working with fibre optics. To her they represent the endless possibilities of photons.
Roseline de Thélin’s works are regularly exhibited around the world – soon in Charlotte, North Carolina/USA.
by Joachim Ritter
Of course, we can’t give you the final list of attendees at PLDC 2015 in Rome now already. But what we can say is that the chances are very high that you will meet many renowned, experienced and ongoing lighting designers as well as clients, architects, researchers, educators, students and lighting industry people from all over the world. More than you would ever meet at any other conference around the globe. Some lighting design practices will even be closing their offices down completely during the week PLDC takes place.
A leading lighting design practise from UK has decided to bring his complete team to Rome. That means 18 lighting designers. Lighting designers sees the value PLDC offers in the way of high-quality education, discussions and activities – and the international network – for his design team. From previous years we know that other design practices have made similar decisions. During the PLDC week, the lighting design world in the offices takes a break, and a deep breath, to be able to take the next step into the future based on educated decisions.
We also often see groups of designers forming and coming as a delegation representing their respective country. For example, a group of 20 lighting designers plus ten architects from Iran are expected to attend this year’s event in Rome. This is ten times more than we counted for PLDC 2013 in Copenhagen. Traditionally the Finnish designers also come as an organised group. Up to 30 designers are expected from this part of Northern Europe – and that is without those who register individually. For groups of at least ten we offer special deals and arrangements. Group registration forms are available.
Specific international networks will be holding meetings at PLDC. The EILD group has been a partner of PLDC since 2011 in Madrid. They will be meeting to prepare their 2016 conference in Brazil on board level. We also welcome the Visual Ergonomics researchers. They will offer a workshop for everyone on the Wednesday afternoon in the form of a pre-convention meeting.
Also we notice a tremendous growth of interest on our website. This year the page impressions on our website are extraordinarily high. Compared to the same time two years ago, we have counted a total growth in page impressions of over 120%. In February 2015 alone, when the programme was released, growth was recorded as being at 150%. The third year in a row we are doubling the numbers of page impressions on our website. Until now we have counted 180,000 impressions. By PLDC, we expect around 500,000 impressions in total.
We also expect a strong growth in the number of architects and clients attending PLDC this year. The event is seen as an increasingly important marketplace to further development in the field of professional politics and lighting design knowledge. Slowly but surely light is becoming acknowledged as an important issue in architectural design – and this needs taking care of by skilled designers.
by Joachim Ritter
The basis for lighting design is not light but darkness. According to Christian belief, we all started from nothing, and from darkness. And then God said: Let there be light! Not man, nor beast, nor nature, but light. We can of course argue as to whether this makes sense of not, or whether there was something else more important than light. What is clear – according to the Bible at any rate – is that it was not light that God came across when preparing for the creation. It was darkness He had to get right first. Which is why it is also darkness that lighting designers need to focus their design skills on – or should be focussing their design skills on. And yet for many designers light still forms the core of all their actions, probably because they are not aware of the underlying principle of design.
If we are looking for literature on shadow design, we tend to refer to “In Praise of Shadow” by Jun’ichirō Tanizaki. A small book, but a standard work destined for eternity. And yet not powerful enough to change the design world. A recently published work has now taken it upon itself to address the topic anew – a wonderfully modern approach to amending our current awareness of the meaning of shadow. “You Say Light – I Think Shadow” by lighting designer and artist Aleksandra Stratimirovic and graphic designer Sandra Praun, who partnered the project, comprises references and thoughts from numerous authors who appreciate shadow in the way it deserves.
That does not mean to say that the book is a compilation of superficial ideas. Nor is it a collection of profane platitudes. And it definitely does not feature any of the shallowness you find on the Internet. The project does not contain the kind of images and photos which could easily have described to us what light means to us. It is a book full of ideas and perceptions with depth, which gain power through the selected texts and abstract graphics. A real winner. And an honour for any author who was selected to present his/her perception of shadow and the close relationship between light and shadow.
“You Say Light – I Think Shadow” is proof of the fact that the quality and depth of a book cannot always be transferred to the Net. It demonstrates that holding a book in your hands and leafing through it is a feeling comparable to a journey of discovery. It speaks of the love you feel for light or shadow, which would get lost if you tried to access it via the Internet.
Congratulations to the artist, lighting designer and author Aleksandra Stratimirovic and her project partner graphic designer Sandra Praun. I count myself especially lucky because I received a personal note from Aleksandra together with the book. This note is part of the book for me and a true delight.
This is one of the last books that deserve to be designated as an absolute must in a library.
“You Say Light – I Think Shadow”
Aleksandra Stratimirovic and Sandra Praun
Texts in English.
Art and Theory Publishing