e lichtbericht 99 - erco.com€¦ · erco lichtbericht 99 erco lichtbericht 996 7 "wallwashing...

EE Lichtbericht 99April 2020

Topsy turvy Walls become ceilings and floors are transformed into walls – the extraordinary museum "The Twist", designed and realised by the architectural office BIG for the Kistefos sculpture park in Norway. A building that is simultaneously bridge, sculpture and exhibition space: could there be a more stimulating task for lighting designers?

ERCO Lichtbericht 99 1

ForewordIs there the one true way to correctly illuminate art? Certainly not – but just as quality criteria exist for art, the implementation of lighting in a museum, gallery or exhibition can be better or worse. The range of gallery projects presented in this Lichtbericht show just how successfully lighting technology can serve a curatorial con-cept. The title project itself controversially sparks off the old discussion about how impor-tant architecture can be when it creates spaces for art: "The Twist" designed by BIG in the Norwegian sculpture park of Kistefos is bridge, gallery and large-scale sculpture in one. With-out question a technical challenge for lighting designers, brilliantly mastered by Morten Jensen and his team from Light Bureau in Oslo.

The lighting solution for "The Twist" is highly specific, as is the lighting for David Adjaye's much-praised Ruby City Museum in San Antonio and that of the recent Rembrandt exhibition at London's venerable Dulwich Picture Gallery, whose building by John Soane incidentally rep-resents no less than the first specific museum architecture in a modern sense. Simultaneously technical similarities exist, namely the use of flexible infrastructure consisting of ERCO track and spotlight systems. The aesthetic diversity that is achievable on this basis, which has been

Publishing informationEditor: ERCO GmbHEditor in chief: Martin KrautterDesign/layout: Thomas KotzurPrinting: LUC, GrevenTranslation: Lanzillotta Translations, DüsseldorfIllustrations (page): 8 top: Edgar Zippel, Berlin, bottom: Iwan Baan, Amsterdam, 9 top: Moritz Hillebrand, Zurich, bottom: Gilles Toller, 10–11: ERCO simulations, 10 top: Edgar Zippel, BerlinArticle no. 1039995000© 2020 ERCO

2 8 12 14 16

Theory and practice: Light for galleries Light renders art visible in museums. At the same time though light also interprets. Different paths lead to the goal of displaying art to its best advantage – with the range extending from objectivity to hyperrealism. We consider lighting strategies for art with a special focus on the technically demanding method of wall-washing.

Ruby City, San Antonio David Adjaye's new museum in San Antonio, Texas presents itself from the outside in the form of a large-scale sculpture in a rich, earthy red. The interior has no white cubes but irregular white polyhedra to provide the background for art. A complex task for the lighting – admirably mastered with almost 200 Parscan spotlights and wallwashers.

The Twist, KistefosThe architects from BIG have constructed a bridge spanning the Randselva river in the Norwegian sculpture park Kistefos in the form of an artistically twisted gallery building. The construction itself, clad in anodised aluminium sheet, adopts the mode of a sculpture. The interior of the "The Twist" consists of exhibition areas for alternating works of art, flexibly illu-minated in a contemporary way with Parscan spotlights and lens wallwashers from ERCO.

"Wallwashing respects both the architecture and the presentation of art" An interview with Morten Jensen, lighting designer and country manager at Light Bureau in Oslo, by Kristina Raderschad

Dulwich Picture Gallery, London The painter Rembrandt is often heralded as a master of light. The London gallery risked breaking new ground with its Rembrandt exhibition: with legendary cinematographer Peter Suschitzky as the exhibition designer and Bluetooth-enabled ERCO spotlights to master the light

ProjectsShanghai History Museum, ShanghaiJokhang, LhasaStapferhaus, Lenzburg (CH)Berlinische Galerie, Berlin

Content

tried and tested over decades, is astounding. This is of course also due to the possibilities that ERCO opens up for both exhibition designers and lighting designers thanks to innovative developments such as tool-free, interchange-able LED optics or smart spotlights that can be wirelessly networked via Bluetooth. We're curi-ous to find out which experiences the creativity of artists, curators and engineers will lead us to!

The Lichtbericht editors

Inspired with new lighting ideas for your project? Allow ERCO experts in your region to advise on your design and implementation: www.erco.com/contact

ERCO Lichtbericht 99 32 ERCO Lichtbericht 99

To the light, to the other sideWhen the crossing of a river becomes an architectural experience: "The Twist" gallery, designed by BIG Architects for the Kistefos sculpture park north of Oslo, makes transformation its theme. Walls become the ceiling and the floor becomes the wall within a twisted beam – a challenge for the lighting design.

Project: The Twist, Kistefos Water and forests once supplied the raw m aterials and power for the historic Kistefos paper mill, now- adays an industrial museum. Christen Sveaas, descendant of the com-pany founders, initiated Norway's largest sculpture park and a showplace for contemporary art in the midst of the austere and peaceful landscape. In the form of a large walk-in

sculpture itself, "The Twist" is simultaneously infrastructure, exhibit and art space.


Project: The Twist, Kistefos

The building houses three exhibition areas on floor space of around 1,000 square metres: a room completely glazed on one side with a pan-oramic view into the landscape, a narrow, nine metre high room devoid of daylight, and the actual "Twist" that con-nects the two areas.

Wallwashing empha-sises the continuity of the interior, which transforms its character through the rotation. The supplemen-tary direct light from the spotlights does not serve to carve exhibits from their surroundings via their brightness, but rath-er brings the colours and textures of the artworks to life through a subtle interplay of radiance, light and shadow.

Uniform wallwashing with a splash of direct light – the recipe devel-oped by the lighting designers for "The Twist". Both tasks are performed by Parscan spotlights and wallwashers mounted on flush mounted track.

Space continuum – with a twist

Project data

Client: Kistefos MuseumArchitecture: BIG Bjarke Ingels Group (partner in charge: Bjarke Ingels, David Zahle; head of project: Eva Seo-Andersen; project architect: Mikkel Marcker Stubgaard)Lighting design: Light Bureau, part of AFRY, Oslo (formerly ÅF Lighting)Electrical engineering: Rambøll / Strøm-HansenPhotography: Tomasz Majewski, OsloImage rights for the art: for all works on the walls © The Estate of Howard Hodgkin. For all other works © Martin Creed. All rights reserved, DACS 2019 Courtesy the artist and Hauser & WirthWebsite: www.kistefosmuseum.no

Luminaires used

Parscanwww.erco.com/parscan


"Wallwashing respects both the architecture and the art exhibition"Kristina Raderschad talked with Morten Jensen, Lighting Designer and Country Manager of Light Bureau, Oslo

Interview

THE TWIST is a spectacular new gallery building designed by BIG Bjarke Ingels Group architects and located in the Kistefos sculpture park, one hour's drive from Oslo. Lighting designer Morten Jensen explained the lighting design concept for this extraordinary museum. Parscan lens wallwashers and spotlights from ERCO illuminate the architecture and the exhibited artworks. By placing the focus on wallwashing, a highly uniform lighting effect is achieved that optimally emphasises the architecture, whilst carefully supplemented spotlights bring the best out of textures, shapes and colours of the exhibits.

Kristina Raderschad (KR): What was your approach to the lighting design concept for THE TWIST? Morten Jensen (MJ): Within this complex con-struction the architects wanted to create an impression of space that was as homogeneous as possible, allowing no superfluous detail to distract from concentrating on the art. The architecture is spectacular, as is the interior – it's completely white. Walls, floors and ceilings are all painted in the same white. And it is an art gallery with a very exposed daylight situ-ation in the northern part and a non-daylight situation in the southern part, the twist area being a transformation between these two components. What we aimed to highlight with our lighting concept is the art, the people with-in, and the room – it´s a very holistic approach.

KR: So you had to deal with an extraordinary interior and a building that is itself a form of art – it´s not just a museum but functions as a bridge over the Randselva river, and from a distance appears as a sculpture majestically set within the beautiful green surroundings of the Kistefos sculpture park. MJ: Indeed, the human experience in Kistefos is all about art, architecture and nature and visitors should be able to experience the art and the architecture without disturbance. On the one hand, a good lighting design concept should underline and emphasise the room geometry and enable visitors to orient them-selves conveniently while progressing through the architecture. However, apart from the space and the people it contains, the lighting design also has to consider what we call 'the distance effect': how the building expresses itself from the outside and how it appears to visitors walk-ing through the sculpture park.

KR: I assume one important aspect was to avoid glare created by the glass facade in the northern part of THE TWIST.

MJ: We had to take care of reflections from the inside and outside. As said, one of our aims was that the building is highly visible from the park and that visitors can see straight into the art gallery from the distance. We also wanted to enable them to be inside the gallery and to look out towards the impressive landscape without being detracted by glare, and without any vis-ible luminaires or reflections from the interior. This is what we had to take into account in our lighting design concept, and also to define a hierarchy: the artworks should stand out as the most important objects, but that has to be balanced within all the other aspects of the project.

KR: In the very white, clean and homogeneous interior of THE TWIST you created a very uni-form lighting effect – with a lighting design concept mainly based on wallwashers and only low levels of directional light targeted onto the exhibits themselves. Would you say that is a general trend in museums – that lighting for contemporary art should be highly uniform?MJ: It's a trend not only in museums, but yes, definitely in museums: it often starts with wide distribution wallwashing. With THE TWIST we didn't want to frame single artworks with light but create a very uniform lighting effect that highlights both the art and the architecture. It should be perceived as a single space filled with both wonderful art and wonderful light instead of a collection of artworks highlighted within a room. There are two stories to tell in fact, because THE TWIST not only exhibits premium quality art but the building itself is also spec-tacular – which is the case with many of today's museums. To respect both, the architecture and the art exhibition, wallwashers are the perfect tools. We then start to apply layers if required – for illuminating the art, for functional lighting

Morten is Country Man-ager and Head Designer for Light Bureau Norway (formerly ÅF Lighting). He has more than 25 years of experience as a lighting consultant and has won several interna-tional lighting awards. He is also a member of the Norwegian Lighting Committee and has headed major assignments for local authorities, devel-opers and architects for designing and developing

lighting solutions. His many years of experience elevate conceptual design into sustainable technical solutions, making him a successful project manager, consultant and lecturer in lighting.

or for other lighting principles that need to be applied. In THE TWIST we work with functional general lighting emitted from ceiling-integrat-ed downlights – the Parscan wallwashers for what we call room-shaping illumination which emphasises the architecture and underlines the shape of the room – along with task lighting by Parscan spotlights that highlight the works of art themselves.

KR: But the spotlights don't create strong accents on the artworks?MJ: We use the spotlights in a very sensitive way, to add only a touch of directional light on the artworks. It could even be the same lux lev-el, but with spotlights you give a painting more life because you have the reflection directly on the work of art, with not only indirect light as from wallwashers. When the directional light falls on the art it makes it crisp and gives it more depth and greater texture. We need those directional spotlights to help the artworks vis-ually pop out a little more. If we had used only wallwashers the effect would have been too clinical, too flat, and with insufficient drama. Wallwashing is beautiful, calm, but almost devoid of life. Because we don´t have any dynamics we see no sense of sparkle, and so we need directional light from spotlights, but just a very low level. We don't cut out the artworks. The lighting effect is still uniform and bright, but when I come close to a painting I can per-ceive a reflection from the directional light.

KR: You used Parscan lens wallwashers and spotlights in the northern gallery area of THE TWIST, the one with daylight, as well as in the southern gallery with no daylight. Why didn't you also opt for wallwashers in the actual twist zone connecting these two spaces?MJ: We didn't use wallwashers in the twist area

because we wanted to separate the different areas which, in fact, are all located in one space. At the start of the project it wasn't intended to display any art works in the twist between the two gallery areas. In the twist area the floor elevates upwards to become a ceiling and vice versa – it's a transformation between two spaces and we didn't attempt to connect them together but rather to expose the twist as an added layer of experience. To go through that twist is a journey in itself – with its stunning architecture and beautiful views into the natu-ral environs. The concept is that the visitor pro-gresses from one gallery area through the twist that transforms into a new area, a new gallery. To underline this idea, the light fades out from the galleries into the twist, and this fading out is with dimmed Parscan spotlights equipped with wide flood optics. The actual fade-out is created by a transition from wallwash to wide flood to dimmed wide flood.

KR: The wide exhibition room in the north has plenty of daylight but the very high one in the south has no daylight at all. How did you deal with that aspect?MJ: Because THE TWIST is only open in the summer months from 10 am to 5 pm and shuts down for the public in the winter months, apart from certain special events, we actually always compete with the daylight. It takes a while until the eyes adapt from high levels of daylight in the northern part to a much lower lux level in the southern area. In the twist zone between those two areas we need to manage the transi-tion from daylight to absence of daylight.

KR: But your aim was not to create the same lux level in the north as in the south gallery? MJ: No, there is a difference. However, visitors walking through the building from north to

south don't perceive this difference – the eye adapts when progressing through the twist area in the centre of the building, and when visitors enter the south gallery they have an impression of entering a brighter room and vice versa. Even if we used 4000K lighting through-out, it seems like 3000K because we have a lot of daylight here, and with the amount of daylight and artificial light together we actu-ally visualise 6000K – but without the visitor noticing.

KR: Let's mention the flexibility of the track system. Parscan spotlights can be adapted to the displayed artworks with each new exhibition. MJ: Christen Sveaas, the director at Kistefos, is a very ambitious art collector and a genuine art enthusiast. The intent at Kistefos is to have not only good lighting but outstanding lighting for the exhibited art, and they will probably also implement lighting design for all future exhibitions. One of the tasks for lighting design is to narrate the story of the exhibition in collaboration with the artist or the curator. To achieve excellent lighting for the art on display, the incident angle of Parscan spotlights can not only be modified but the Spherolit lens optics of the luminaires can be simply interchanged thanks to the Parscan system. It was in fact yet another reason why ERCO was selected as the supplier. When it comes to art ERCO is always the ideal partner – even if the costs are perhaps a little higher per square metre.


Theory and practice Interpreting art with lightLight renders art visible in museums. At the same time though light also inter-prets. Curators, architects and artists often have differing concepts of what is appropriate. Discover four exemplary categories for display: from the appear-ance of objective art perception to hyperrealism.

For a detailed report on the design concepts of the museum lighting see: www.erco.com/lichtbericht

1. The pretence of objective art appreciationProsaically and uniformly illuminated exhibition spaces evoke the impression of factual, objective presentations. This may be desirable for example if an overview of a wide range of exhibits, a contemplative atmosphere or a neutral stance is to be conveyed. Uniform wallwashing creates a soft and harmonious atmosphere and pictures and wall blend to form a unity. The neutral ambience of a "white cube" is especially advanta-geous with large-scale artworks. A calm, wide impression of space is created.

The uniform wallwashing does not differentiate between the art and the wall plane, thereby giving a generous spatial impression. Richard Nonas / Donald Judd exhibition in the Fergus McCaffrey gallery, New York

3. Strong contrasts in light achieve dramatic presentationsJust as painters and photographers use intense contrasts in brightness to create tension in their image compositions, exhibition designers can also use light and shadow as a design tool to provide visitors with a holistic experience of art. High-contrast, light-dark displays are achieved by directed light from spotlights. This automatically brings the exhibits into the foreground as protagonists, allowing viewers to optimally focus on the artworks.

Like a theatre stage: an intense play of light and shadow in the Swiss National Museum / Landesmuseum Zurich, a design by the architects Christ & Gantenbein, Basel.

2. Minimalist accenting – subtly emphasising works of art and motifsBetween the uniformity of the "white cube" concept and dramatic, rich-contrast displays lies an attitude based on a bright, uniform environment with the subtle emphasis of indi-vidual works and conceptual guiding principles. Curators apply targeted light accents that lend a sense of presence to works of art and make them stand out from the surface of the wall. Directional light highlights central works within a room, directs the visitor's gaze and thus guides through the exhibition.

Accent lighting in the Louvre Lens Museum emphasises the exhibits below the daylight ceiling in a subtle way to create a peaceful atmosphere. The architectural office SANAA from Tokyo worked with Studio Adrien Gardère for the

exhibition design and with Arup in London for the lighting design. The installation was carried out by ACL Alexis Coussement.

4. Interpreting artworks with hyperrealismVisitors are confronted with an exaggerated sense of reality within hyperrealistic display strategies. The contemporary British artist Matthew Penn classifies his works as hyper-realistic. He makes lighting an integral part of his works: several precisely aligned contour spotlights with different colour temperatures highlight the brightness gradients of his por-traits. A nuanced clarity and definition of detail come about as part of an interplay with the multi-layered application of oil colours.

British artist Matthew Penn subtly emphasises his brightness gradients with several contour spotlights per painting to exaggerate the visual perception.


a

d

– 50% + 50%

– 25%

40° Cut-off

<10cm

Em:Emin 3:1

a=1/3h

h

a=1/3h x 1,5

Em:Emin 3:1

Flexible wallwashing with high toleranceThe new Eclipse wallwasher generation is more flexible and tolerant with luminaire arrange-ments compared to previous wallwashers. The lighting effect remains very uniform even if luminaire- or wall spacing varies – ideal for complex projects, e.g. with irregular room geometries or beams.

Theory and practice Distinguishing the quality of wallwashers

EclipseThe Eclipse wallwash lens allows more variance in the arrangement of lumi-naires whilst still achiev-ing a very good level of uniformity. The tolerances consist of up to +/- 50% for luminaire spacing and to -25% with distance to the wall. Find out more: www.erco.com/eclipse

Uniformity To assess the uniformity of wallwashing, illumi-nance levels on the wall are compared from top to bottom and in the hori-zontal. In both the verti-cal and horizontal planes the ratio of nominal illuminance to minimum illuminance should be 3:1. It is also desirable for the light to start directly below the ceiling: for

Criteria for wallwashingThe decisive quality criterion for wallwashing is and remains the visual impression. Large, white wall surfaces in foyers and exhibition rooms for example clearly demonstrate whether the light is really distributed evenly on the wall and whether it begins crisply directly below the ceiling through application of profession-al, correctly applied lighting technology. A further quality feature is good visual comfort, achieved by high glare control. But the cost- effectiveness of wallwashers also increases thanks to high quality lighting technology: greater efficiency and wide axis distances reduce the investment and operating costs of lighting.

Creating depth and brilliance with wallwashing To achieve lighting effects comparable to diffuse daylight in their exhibitions, museums often resort to wallwashers. The homogeneous distribution of brightness in the vertical plane creates a contemplative atmosphere and a deep spatial impression. In contrast to light ceilings with a purely diffuse distribution of light, targeted vertical lighting makes details in paintings more perceptible and creates a subtle brilliance on the exhibits. Wallwashers such as those from the Eclipse product range feature a special asymmetric light distribution to achieve a very uniform distribution of brightness on the wall.

Visual comfort A high cut-off angle of 40° avoids glare for the observer looking into the luminaire. Outstanding visual comfort means that the focus in the room is not on the luminaire but on the uniformly illumi-nated wall surface.

Energy-efficientTo assess the efficiency of a wallwasher, the con-nected load (W/m2) with which a specific nominal illuminance is achieved on the wall surface is considered. High-perfor-mance lighting technology directs the light onto the wall surface with as little loss as possible. Wallwashers with exem-plary energy efficiency

Economic efficiency The greater the spacing between the wallwashers, the fewer luminaires needed and thus the associated investment costs. Lighting technology optimised for large axis distances contributes to the overall cost-efficiency of architectural projects. For example, luminaire spacings of up to 1.5 m are possible with very

require only about 3W/m2

for a nominal illumi-nance of 200lx.

example with less than 10cm clearance in a room with height of 3m.

good horizontal uni-formity in room heights of 3 m.

For perfect results it is essential to arrange the right wallwashers correctly. Innovative lighting technology extends the scope for planning and lighting design. Four criteria help you to assess the quality of wallwashers.

A detailed report about wallwashing can be found at: www.erco.com/lichtbericht


A red crystal as space for artThe new museum building designed by Sir David Adjaye for the Ruby City Art Centre in San Antonio, Texas, presents itself in a rich, earthy red. Almost 200 Parscan spotlights and wallwashers display contemporary art as effectively as the sculptural architecture.

Project: Ruby City

With Ruby City, Sir David Adjaye has created an unconventional new museum construction that is angular and cool on the outside, but with a friendly and open interior. The archi-tect's design ties in with the vision of the Texan artist and collector Linda Pace: in her dream she envisaged a red, castle-like building that could house her collection of contemporary art. Pace died in 2007 but her dream was transformed into reality: the art centre in San Antonio opened its doors 12 years later. The building's red facade is particularly striking: the colour tone of the concrete slabs is a reference to the hot climate and the clay-based soil of the region.

The high quality of the interior is charac-terised by the lighting concept conceived by Tillotson Design Associates, combining day-light, wallwashing and accent light. Visitors entering the foyer of the museum from the intense Texas daylight outside are greeted with diffuse ambient light. ERCO wallwashers from the Parscan range guide visitors via a narrow

staircase to the exhibition rooms on the first floor and provide the canyon-like corridor with a generous impression of space. The open exhibition rooms consist of three high galleries with skylights through which subdued daylight enters. In rooms with heights of up to 4.6 metres, wallwashers provide uniform, con-templative general lighting. The accent light of Parscan spotlights emphasise individual works of art and thus guide through the exhibition.

Track serves as the infrastructure for the spotlights and wallwashers. Their parallel lines reflect the tectonics of the tilted ceiling planes. "The complex geometry of the ceilings made uniform wallwashing technically very demand-ing," states Megan Pfeffer Trimarchi, Senior Associate at Tillotson Design, describing the challenges with lighting design. "We needed several attempts in each case for the 3-D cal-culations, mock-ups and commissioning of the lighting after installation."

Up into the light: the narrow staircase leading to the three exhibition spaces exudes an irre-sistible pull thanks to the uniform wallwashing of Parscan wallwashers.

The Parscan range of spotlights met the com-plete spectrum of the designers' requirements for exhibition lighting at Ruby City: design flexi-bility due to interchange-able Spherolit lenses, a consistent luminaire design, energy efficiency, durability and UV-free LED light.

Project data

Location: San Antonio, Texas (USA)Architecture: Adjaye Associates, London/ New York Lighting design: Tillotson Design Associates, New York Photography: Timothy Schenck, New YorkWebsite: https://www.rubycity.org/

Luminaires used

Parscanwww.erco.com/parscan

With the help of a lifting platform the lighting designers accurately aligned the LED luminaires, dimmed the spotlights and also equipped them with appropriate Spherolit lenses for the desired light distributions. Megan Pfeffer Trimarchi summarises: "The wide range of applications of the Parscan track-mounted spotlights with their unique interchangeable Spherolit lenses gave us the requisite flexibility, along with a consistent design"

Wiebke Lang


8

Project data

Architecture: Sir John Soane (1753-1837)Lighting design: Peter SuschitzkyPhotography: Gavriil Papadiotis, LondonLocation: LondonCountry: Great Britain Website: https://www.dulwichpicture- gallery.org.uk

Optec spotlights (with Casambi Bluetooth)

Luminaires used

Project: Dulwich Picture Gallery, LondonExhibition "Rembrandt’s Light"

The world's oldest specifically built art gallery has installed state of the art wireless technology from ERCO to illuminate an extraordinary exhibition, Rembrandt's Light, marking the 350th anniversary of the artist's death.

Baroque meets Bluetooth

The LED Bluetooth lighting system is not the only innovation to be found in the exhibition. In the final room, artist Stuart Semple has pro-vided his Black 3.0 (the world’s blackest black acrylic paint) to create a dramatic backdrop for some of Rembrandt’s finest portraits.

An enduring storyteller and a master of light – Rembrandt is one of the greatest painters to have ever lived. The exhibi-tion celebrated his work and skills with 35 iconic paintings, etchings and drawings, including major international loans.

An innovative decision: London's Dulwich Picture Gallery invited award-winning cin-ematographer Peter Suschitzky to create lighting specifically tailored to the 35 paint-ings, etchings and drawings on display. The exhibition celebrated the role of light both in the creation and content of the artist's work, examining the way he manipulated it to evoke a meditative mood, to illuminate people and to create impact and drama. "We aimed to use the lighting to underline and emphasise the different themes of the rooms and the moods contained within Rembrandt's paintings," said Alexander Moore, head of exhibitions at the gallery and Helen Hillyard, assistant curator. "The new system allowed us to unlock some of the key messages of the exhibition through our own manipulation of light."

The gallery upgraded its existing halogen lighting to a Casambi Bluetooth operated system featuring 12W Optec BLE LED precision spotlights from ERCO. This enabled individ-ual switching and dimming, and control and

programming with use of an iPad or iPhone. A range of tertiary lenses were also used to pre-cisely shape the light on each artwork.

The technology enabled Suschitzky to illuminate the works in unique ways. The cin-ematographer is well-known for his work on films such as Star Wars: The Empire Strikes Back, The Rocky Horror Picture Show and Mars Attacks, and as director of photography for the films of David Cronenberg. "I've been inspired by the work of the greatest of the Old Masters my entire life," stated Suschitzky. "Rembrandt seems to me to have been striving to find a universal truth in the human condition, and he used light to create motion and emotion. This parallels cinematography, where sculpting light and directing the gaze of the viewer to the desired place in an image is essential for pow-erful storytelling."

According to Moore and Hillyard, both the products themselves and the range of services influenced the decision for selecting ERCO. "We hadn't set out in search of a Bluetooth-con-trolled system but ERCO suggested the concept to us. We selected them partly because their products, to us, seemed the best value for mon-ey, but mostly because of the extent to which they involved themselves in the project from our initial outreach onwards." The new system has unleashed future possibilities. "What is exciting is that if you need the Bluetooth sys-tem to do something particular you can essen-tially construct and expand upon it,' said Moore and Hillyard, who are now exploring interactive lighting designs controllable by the visitor. "The important thing is that we have now exposed ourselves to these new developments and can be a part of the conversation."


Shanghai History Museum, ShanghaiIn a city that is transforming as rapidly as Shanghai, buildings nearly a century old are already historical monuments. The prestigious complex of the former Shanghai Race Club from the 1920/30s had housed cultural institutions since 1949. The Shanghai History Museum moved in following extensive renovation in 2018. Its collection includes art, artifacts and documents from 6,000 years of urban history, vividly displayed in rooms of very different character. ERCO lighting emphasises the drama and at the same time meets all the conservation requirements.

Project data

Architecture: Arcplus Group PLC, Shanghai (restoration and reconstruction)Exhibition design: Shanghai Huacheng Industrial Co. Ltd.Photography: Jackie Chan, SydneyWebsite: www.historymuseum.sh.cn

Jokhang, LhasaFor Tibetans the Jokhang in Lhasa is the central sanctuary – but a visit to the centuries-old site of pilgrimage is also a must-do for tourists. The hustle and bustle around the temple disperses when the night showers begin during the rainy season from July to September. A special atmos-phere is created, particularly in the evening hours, with a new lighting installation that spectacularly displays and highlights the com-plex: Kona projectors mounted on high masts accentuate the architectural ornamentation over long distances, with Lightscan floodlights mounted on the metre-high prayer wheels illu-minating the surroundings.

Project data

Lighting design: Faculty of Architecture, Tsinghua University, Zhang Xin Lighting Studio, BeijingPhotography: Jackie Chan, Sydney

Berlinische Galerie, BerlinThe Berlinische Galerie is one of the youngest museums in the capital city, collecting art created in Berlin from 1870 up to the present. Founded in 1975, the Landesmuseum opened its own building in 2004 in a converted industrial hall with 4,600 square metres of exhibition space and within the neighbourhood of the Jewish Museum. As with the original lighting with halogen spotlights, the institution once again placed its trust in ERCO's museum experts for its energy-saving renovation project. As a result the much-acclaimed exhibition "original bauhaus" radiated in the LED light of Parscan and Pollux spotlights in its anniversary year.

Project data

Photography: Edgar Zippel, BerlinWebsite: www.berlinischegalerie.de

Stapferhaus, Lenzburg (CH)Originally, the Stapferhaus in Lenzburg, Switzerland saw itself as a meeting place and venue for social debates. Since 1994 the foun-dation has also been regularly offering public exhibitions and last year it moved into a modern building designed by pool Architects, Zurich. In addition to conference and event halls, the blue-black, cubic timber building also houses an exhibition hall for a variety of uses. For the inauguration the in-house curators designed the exhibition "FAKE – The Complete Truth" which until June explores how we deal with truth, lies and trust in the digital age – effec-tively displayed with spotlights from the Oseris luminaire range.

Project data

Architecture: pool Architects, ZurichExhibition design: Kossmann.dejong, Amsterdam Lighting design: tokyoblue GmbH, ZurichPhotography: Moritz Hillebrand, Zurich Website: www.stapferhaus.ch

Projects

Find detailed reports on the projects shown here and many more at:www.erco.com/lichtbericht

www.erco.com

E

Light is the fourth dimension of architecture

Gyeongbokgung Palace, Seoul

Lighting design: Bitzro & Partners, Seoul / South KoreaPhotographer: Jackie Chan, Sidneywww.royalpalace.go.kr

The extensive palace complex at the base of Bugak Mountain was built by the founders of the Joseon Dynasty at the end of the 14th century. Repeatedly destroyed by invaders, the complex has been reconstructed piece by piece since 1990 and equipped with modern lighting technology. The concept of combining uplighting from Tesis ground-recessed luminaires with

illumination from large distances by Kona projectors mounted on masts proves to be successful: thus Gyeonghoeru, the banquet pavilion of the kings surrounded by a pool, develops a distinctly poetic ambience at night.

e lichtbericht 99 - erco.com€¦ · erco lichtbericht 99 erco lichtbericht 996 7 "wallwashing...

Documents