|Owner:||Vienna Art History Museum, Vienna (AT)|
|Architect:||HG Merz, Stuttgart, Berlin (DE)|
|Lighting design:||Die Lichtplaner, Limburg (DE), Symetrys, Lustenau (AT)|
|Electrical installations:||IB Süd, Vienna (AT)|
Now, ten years later, the unique salt container made of gold and ebony – having been recovered in 2006 – finally has a new home. After years of construction work, the fully renovated Kunstkammer on the raised ground floor of the Vienna Art History Museum (KHM) has reopened. 2,200 artefacts made of silver, gold, precious stone and ivory are kept in 300 night-black showcases and will be presented to the public. An important supporting role beside all the material art objects is the light. “A museum without the right light is inconceivable,” says Sabine Haag, general director of the KHM. “There were long discussions about whether a contemporary solution is permissible in the context of a historic collection housed in a historic building. So we finally settled on the idea of using modern lighting in the Kunstkammer and of combining our collection with the STARBRICK from Danish artist Olafur Eliasson.” The black-yellow STARBRICK, which was developed and designed for the Zumtobel Masterpiece collection, today shines as a striking light sculpture from the ceilings and rib-vaulted arches of the Kunstkammer’s 20 rooms, setting the scene for the diverse artistic conceptions of the past and present. The contrast between Old and New is impressive. At times, the angular “star-shaped brick” seems to hover between the ornate ledges and capitals, among the finely painted cases.
“Light has to be visible,” according to the German exhibition architect HG Merz, who is responsible for the overall design conception of the new Kunstkammer. “If I cannot recognise the source of light in a brightly lit room, that makes me unhappy. It was obvious to us, therefore, that we need to work with a modern reinterpretation of the classic chandelier.” The only modification of the production model: On the bottom the STARBRICKS are equipped with additional LED spotlights, to set accents from the middle of the room. The bottom light surfaces of the STARBRICK chandelier also fulfil the function of emergency lighting. The contemporary primary light sources are supplemented by indirect wide beam luminaires integrated on the tops of the showcases and in the suspension construction of the chandeliers. Also, additional miniature LED spotlights from the SUPERSYSTEM family are positioned on the borders of the ledges. Since each single light source has a separate dimmer control, the right light scenario can be configured for each room based on its colour, form and size.
“The objects in the Kunstkammer could not be more different in nature, and this necessitates absolute tactfulness with respect to the lighting,” explains Ralf Müller, technical project director at Zumtobel. “Lenses with different radiation patterns and adjustable spotlight heads, however, allow optimal illumination of each exhibit piece.” To prevent heat emissions inside the showcases, only LEDs were used. Small, discreet SUPERSYSTEM spotlights integrated in the ceilings of the showcases leave the main role to the statuettes, ornate receptacles and exotic hand crafted articles from the past 1,000 years of art history. Old materiality and modern immateriality complement each other perfectly. This is demonstrated not least of all by the famous Cellini Saliera, which has taken its place of honour in the unexcited warm light of the new Kunstkammer.
Zumtobel. The Light.
|Owner:||EYE Film Instituut Nederland, Amsterdam (NL)|
|Architect:||Delugan Meissl Associated Architecs, Wien (AT)|
|Lighting design:||Arena: Die Lichtplaner, Limburg (DE) in collaboration with Symetrys, Lustenau (AT)|
Another special feature of the building is the arena covering 1,200 square metres that welcomes visitors who enter the futuristic building. Predominantly lined with wooden panelling and fitted with high-quality oak parquet flooring, the arena boasts an open, warm and pleasant atmosphere as well as a direct view across the river and the city. Visitors are welcomed by a pleasant ambience inviting them to stay for a while in the coffee bar, restaurant or bar to get in the mood for the show. Usually, it doesn't take long before the many seat cushions placed on the terraced stairs are occupied, where guests can enjoy a wonderful view of Amsterdam. “The spatial centerpiece of the building, the “arena”, invites visitors of the museum to stay for a while. The room's unique geometry promotes social interaction to a great extent”, Roman Delugan points out. The STARBRICK installation contributes significantly to this effect. STARBRICK is a Zumtobel Masterpiece, a collection of exclusive works of lighting art which the luminaire manufacturer has developed together with renowned partners. The highly versatile lighting module was made by artist Olafur Eliasson in collaboration with Zumtobel. “The STARBRICK is a space-generating lighting module. Developing it together with Zumtobel we were able to create it for everyday use and living. I’m very excited to see it integrated into a public institution. The expandable system behind the geometric design enables the STARBRICKs to grow in all directions. For the new EYE museum foyer, the bricks form luminous cloud-like structures that conjure up the atmosphere of a cinema – stars for the stars”, explains artist Olafur Eliasson.
Zumtobel. The Light.
|Owner:||Staatsbetrieb Sächs. Immobilien- und Baumanagement, Dresden (D)|
|Architect:||Studio Daniel Libeskind AG, Zurich/CH|
|Lighting design:||DELUX AG, Zurich (CH)|
|Electrical consultants:||IPRO Dresden, Dresden (DE); INNIUS GTD, Dresden (DE)|
|Electrical installations:||Elektro Dresden West, Dresden (DE); FAE Elektrotechnik GmbH & Co, KG, Heidenau (DE)|
Emergency lighting remains invisible during the day-to-day operation of the museum because the ultra-modern RESCLITE LED luminaires are seamlessly integrated with the TECTON trunking system. These efficient LED luminaires have a recognition range of 16 m and ensure safe guidance in the event of an emergency.
Special optical fibre lighting outlets with different beam patterns and UV/IR blocking filters were used to illuminate the display cabinets. A STARFLEX light engine with a 100 W QR-CB halogen lamp with a dichroic glass reflector for optimum injection of light was fitted in line with the customer's requirements. Zumtobel's LINARIA batten luminaire is used to light the special table showcases. Installed flush with the top on the rear wall, this narrow light line does not interfere with the showcase's visual look and illuminates its interior uniformly and pleasantly.
Zumtobel. The Light.
|Owner:||Städelsches Kunstinstitut, Frankfurt (DE)|
|Architect:||schneider+schumacher, Frankfurt (DE)|
|Lighting design:||Licht Kunst Licht AG, Bonn/Berlin (DE)|
|Electrical consultants:||Delta-Tech, Weiterstadt (DE)|
|Electrical installations:||Imtech, Rüsselsheim (DE)|
The new extension of the Städel Museum provides approximately 3,000 m2 of exhibition space underneath the garden of the existing building. The hall is up to 8.20 m high and is spanned by an elegantly curved, seemingly weightless ceiling. Although it is an underground structure, the new extension is apparent on the surface, too. Visitors can walk around in the museum's slightly domed garden, which is now covered by a remarkable pattern of circular skylights illu-minating the new museum space.
These 195 skylights with diameters of 1.5 to 2.5 m form openings in the self-supporting, slightly domed ceiling of the subterranean hall. They allow daylight to enter the exhibition space below and are also used as a source of artificial lighting with a ring of LED elements that is fitted with warm (2700 K) and cool white (5000 K) LEDs– a custom solution developed by Zumtobel in collaboration with LichtKunstLicht lighting designers and schnei-der+schumacher architects. When it is cloudy, and in the evening and at night, these LEDs ensure that paintings and exhibits are uniformly illuminated.
Thanks to Zumtobel's tailor-made lighting solution, highly sensitive exhibits such as works on paper, for instance, can be displayed directly alongside room partitions where sculptures are illuminated. Illuminance levels can be individually adapted for each skylight as needed. Cus-tom-built Arcos LED projection spotlights with various optics can be plugged into sockets in the skylights in order to emphasise individual objects or pick out wall surfaces as required.
The client opted to use Zumtobel'sLuxmate Professional lighting control range to ensure ra-tional use of daylight: the lighting management system controls the use of artificial lighting from the skylights depending on the amount of available daylight and the required or maximum lighting levels, according to specifications, for the exhibits that are on display.
Zumtobel. The Light.
“What is required for a project to succeed is undisturbed and challenging communication be-tween manufacturer and designer that can sometimes even become passionate on a matter. The outstanding result shows how good this has worked for us."
Andreas Schulz, Managing Director, Licht Kunst Licht
“The way we designed the building, we made sure that all benefits the Städel ensemble had before would be maintained. In addition, the new rooms are spectacularly visible from the street thanks to the domed lawn and the skylights. From a technical point of view, sustainabil-ity is ensured by modern air-conditioning technology and above all the lighting system based on LED technology and a large daylight component.”
Michael Schumacher, Architect, schneider+schumacher
“Our task was to find an integral lighting solution for the complex requirements, among others, to lighting quality, colour rendering and lighting based on conservational aspects. Our ability to develop custom solutions and the co-operative partnership with lighting designers and archi-tects enabled us to create this special LED lighting solution. By combining intelligent control with state-of-the-art LED technology we were able to develop an absolutely unique and flexible lighting concept that allows to provide the best light at any time for unlimited enjoyment of art.”
Reinhardt Wurzer, Head of International Projects, Zumtobel Lighting
|Owner:||Strabag, Lukas Lang GmbH, Vienna (AT)|
|Architect:||Delugan Meissl Associated Architects, Vienna (AT)|
Some 400 LED spotlights create a festive atmosphere inside the Festival Theatre. For the wall lighting and brilliant accentuation of the art exhibits in the foyer, the LED spotlight IYON is used, which was developed in an earlier cooperation between Delugan Meissl and Zumtobel.
Zumtobel. The Light.
|Owner:||Comune di Milano, Milan (IT)|
|Architect:||Italo Rota, Fabio Fornasari, Milan (IT)|
|Lighting design:||Allessandro Perdetti, Mailand (IT)|
|Electrical installations:||Cooperativa Cellini Impianti Tecnologici, Prato (IT)|
|Competition and construction documentation:||Gruppo Rota: Italo Rota, Fabio Fornasari, Emmanuele Auxilia, Paolo Montanari|
For a long time, the Palazzo dell’Arengario near Milan Cathedral lead a miserable existence. After being converted into the museum of 20th century Italian art, it now shines in new splendour. The austere building from the 1930s was turned into a multi-faceted art museum. A tour of the collection, which comprises 400 works - from futurism up to Arte Povera -, is also a walk through the city's history: city views that are deliberately positioned like paintings resemble still lifes.
Although the facade has hardly been changed (only the bricked up round arched windows on the middle floor were glazed), the tower-like building seems like a transparent shell, as if backlit, allowing glimpses into its new interior. Behind the large glazed surfaces, Lucio Fontana's "Struttura al neon" lighting installation sends out rays of light onto the cathedral square.
To achieve this new openness, the building was mostly gutted. Now, a ramp spirals upwards leading visitors to the exhibition rooms. The glass facade surrounding the ramp offers insights and views that change with every step you take, like in a film sequence. Point-shaped luminaires track the curved surfaces on two levels: downlights recessed into the ceiling mark the way, illuminating the ramp's surface, while small LED spots on the balustrade irradiate blue/green light into the interior.
Light as a creative design tool also plays an important role at the interfaces of the various divisions of the museum. "Portals of light" mark the entrances to the exhibition rooms. In this context, wide-area lighting modules act as door frames emphasising the transitions to the more quiet gallery rooms. Here, the modular CIELOS luminous ceiling provides uniform, diffuse ambient lighting, leaving the leading part to the art objects. The CIELOS modules are arranged depending on the respective floor plans either as linear continuous rows or in a square; they are controlled via the central LUXMATE lighting management system. As opposed to the wide-area lighting of the ceilings in the galleries, the access areas are illuminated by vertical light lines installed flush in the walls.
Zumtobel. The Light.
|Owner:||Städelscher Museumsverein, Frankfurt (DE)|
|Architect:||Kühn Malvezzi, Berlin (DE)|
Within the scope of the recent infrastructure measures, a comprehensive colour concept was introduced and the lighting was completely renovated. The result is impressive: the individual objects and groups of works in the rooms of the collection are set off precisely against the red, blue, dark green and grey walls, with clarity increasing significantly.
The luminous ceilings existing in many rooms were completely renovated to provide uniform ambient lighting. TECTON luminaires with warm and cool white fluorescent lamps fitted behind frosted glass panels create an effect similar to daylight. The objects on display are additionally illuminated by energy-efficient LED SUPERSPOTS. In this way they unfold a focussed effect in the room without space-consuming halogen spots affecting the overall room impression. The objects are optimally illuminated from a height of five to six metres - with only 2.5 W per spotlight or 5 W in case of two spots; previously, 50 W were required.
Installed in groups of three in the TREN trunking system that runs around the rooms, the more than 2000 controllable LED spots provide for a high degree of flexibility for exhibition-specific adjustments.
In rooms without a luminous ceiling, the TreN trunking system was equipped with an additional indirect component. Fluorescent lamps brighten up the ceilings to convey a new room dimension. Pendant luminaires were replaced by technologically upgraded spherical pendant luminaires. This integration of LED SUPERSPOTS enhances the general lighting, allowing to elegantly highlight the sculptures.
Control is effected through the LUXMATE Professional lighting management system. To optimize the room ambience similar to natural daylight, the brightness and colour temperature of the luminous ceilings are adjusted to the time of day by time-based programming.
Zumtobel. The Light.
|Owner:||Danish Radio, Copenhagen (DK)|
|Architect:||Ateliers Jean Nouvel, Paris (FR)|
|Lighting design:||Atelier Yann Kersalé, Paris (FR)|
|Photos:||Bjarne Bergius Hermansen/DR, Copenhagen (DK); Agnete Schlichtkrull/DR, Copenhagen (DK); Torben Petersen (DE)|
For Copenhagen and the international culture scene, the Danish Radio Koncerthuset is like a symphony of contemporary architecture, innovative lighting and a unique musical experience. A cube clad in blue, the building unites four concert halls of different sizes. During the long winter months, in the hours of twilight and darkness, the building's facade, which is used as a projection surface, comes to life. It unexpectedly sparkles with exuberant musical life. Specially developed cushion-shaped CONCRETE LIGHTS wide-area ambience luminaires play a major role in this sophisticated presentation. Their light seems to ooze from the concrete; it is one example of the poetry of this total work of art with its breathtakingly staged lighting scenes.
Like a garage door, the huge music cuboid opens up for the visitor. And Copenhagen's starry sky sets the mood for the upcoming experience. The glittering firmament consisting of 1600 LEDs installed in the 300 m² perforated acoustic ceiling was implemented in cooperation with LEDON. Abstract projections of motifs from the world of music as well as small video sequences bring life to the lobby, even if no event is taking place at the moment. To enable these projections in the required intensity, Zumtobel had a particularly performing gobo projector developed.
The big concert hall is entirely clad in warm wooden tones. Here, architecture is the backdrop and space is the landscape. Terrace-like galleries characterise the hall, with the organ sitting enthroned above all this like a rock. The visual scene culminates in the lighting. Solemnly dimmed light immerses the concert hall in a virtual evening sun. Soft candle light underscores the acoustic pleasure during concerts. These subtle lighting scenes were made possible by a number of special solutions: a recessed floor luminaire illuminates the galleries, deeply flooding them with soft light. Along the upper edge of the room, a ribbon of light simulates incident daylight, at the same time providing exactly the right light for a huge mural. Indirect floodlights on the gigantic acoustic reflection sail in the centre of the room flood the hall with majestic halogen light. At total of over 800 individually controllable luminaires or luminaire groups compose the desired lighting scenes via the LUXMATE lighting management system. Finding solutions was essentially facilitated by the Vivaldi interactive design software that was used to coordinate lighting scenes with the architect and the user at the early stages of the project already. A first virtual concert within the scope of a three-dimensional simulation of the concert hall was the highlight of this work. Architects, designers, user's representatives, and the musical director applauded optimistically.
Zumtobel. The Light.
|Owner:||Museum of Technology, Vienna (AT)|
|Lighting design:||Pokorny Lichtarchitektur, Vienna (AT)|
|Electrical installations:||Brüder Gros, Vienna (AT)|
|Owner:||Autonoom Gemeentebedrijf Museum, Leuven (BE)|
|Architect:||Stéphane Beel Architecten, Ghent (BE)|
|Electrical consultants:||RCR studiebureau, Herent (BE)|
|Electrical installations:||Spie NV, Zaventem (BE)|
Featuring a collection of 46,000 objects of medieval or contemporary art, the Museum M acts as a bridge between history and the present. "Centuries old and vitally alive" - the tenet of the city of Leuven also holds true for the new museum: the spacious complex has several entrances opening it towards the historical city centre; it combines different architectural styles and eras, presenting itself as lively, multi-faceted art district.
The former academy building and the Vander Kelen-Mertens Palais - both buildings were integrated into the Museum M - have been renovated carefully according to the rules of the preservation of monuments, and they were linked with the modern building via a bridge. A total of 6,500 square metres of exhibition area are spread over this labyrinth-like museum complex. While the colourful splendour of ages long past is perceptible in the ancient building, in relatively small rooms with wooden ceilings and wall panelling, the new building is all sober minimalism.
Instead of monotonous, isolated rooms, the architect has designed an extremely varied museum tour that may be used flexibly, with spacious, high rooms, and then again smaller, lower ones. The lighting concept pays tribute to the character of the individual rooms, responding with great sensitivity to their specific spatial characteristics. Thus, the officially protected art rooms of the existing buildings are illuminated by delicate SUPERSYSTEM tracks floating below the ancient wooden ceiling, suspended on almost invisible cords. Vertical wallwashers provide for flexible, expressive accent lighting of the objects on display, as required. For the general, compact and flexible lighting, 3-phase tracks with spotlights are used. In the clearly more spacious White-Cube rooms of the new building, TEMPURA spotlights incorporating LED technology have been installed on TECTON trunking. The spotlights’ colour temperature can be adjusted in the range of 2700 to 6500 Kelvin according to requirements. Moreover, by using LED light, any impairment of the art objects through IR or UV radiation can be avoided.
Zumtobel. The Light.
|Owner:||Italian Ministry of Culture, Rome (IT)|
|Architect:||Zaha Hadid Architects, Zaha Hadid and Patrik Schumacher, London (GB)|
|Lighting design:||Equation Lighting, London (GB)|
|Electrical installations:||Electrical installations: Ciel Spa, Rome (IT)|
|Electrical consultants:||Max Fordham and Partners, OK Design Group, London (GB)|
The exposed concrete building of the Museo nazionale delle arti del XXI secolo - MAXXI - is like a sculpture featuring a multi-faceted interplay of light and shadow. The sunlight falling through incisions and apertures draws bright patterns, shadows travel over the wide forecourt, the inside and outside being interwoven in subtle ways. In the form of canopy roofs, the projecting building units guide the visitor into the lobby that extends over the entire height of the building. Intersecting stairways and bridges connect the five exhibition levels, a "vertical piazza" directs the flow of movements. Natural light floods into the building from the glazed roof to the floor, finely tuned by a specially developed luminous ceiling that incorporates indirect lighting from fluorescent lamps that can be switched on additionally as needed. This combined system provides for uniform ambient lighting. In addition to that, artificial lighting is used as a deliberate creative tool to dynamically highlight the routing system. Stairways and bridges are turned into "bearers of light". Their translucent, glittering undersides equipped with fluorescent lamps behind light-scattering film and acrylic glass seem like luminous display cases.
The spaciousness of the entrance hall is continued into the exhibition rooms. With straight, curved, tilted walls, with corridors, ramps and terraces, the sequence of rooms unfolds in a surprising and at the same time complex manner. The rooms run parallel with each other, they intersect, interlock, form cascade-like levels, meandering in various directions, just to meet again somewhere else. The lead in the lighting concept is played by natural light. In addition to that, complex luminous ceilings provide for natural rendering of colours and surfaces. All the technical components are integrated in the narrow roof girders (steel trusses clad with concrete elements): they carry the exterior grids serving for solar protection and the diffusion of light, as well as the two glass levels and the blinds. Uniform ambient lighting is ensured by the dimmable fluorescent lamps installed on both sides of the ribbed girders over their entire length, behind translucent acrylic glass scattering the light. The blinds and light output are controlled by the Luxmate Litenet lighting management system according to the position of the sun and depending on the lighting situation required. Additional spotlights for accent lighting, but also video projectors and light partitions can be installed on the trunking system integrated at the bottom of the girders.
Zumtobel. The Light.
|Owner:||Danish Ministry of Culture, Copenhagen (DK)|
|Architect:||Lundgaard & Tranberg, www.lundgaardtranberg.dk, Copenhagen (DK)|
|Electrical consultants:||COWI A/S, Ansprechpartner Bernt Wangy, www.cowi.dk, Kongens Lyngby (DK)|
Located near the city residence of the Danish Royal Family, the Playhouse, together with the Opera House just across the channel and the Black Diamond, as the Royal Library is usually called, is one of the highlights of the harbour front promenade that forms the cultural axis in the centre of Copenhagen.
Theatregoers enter the building from the waterside: a wooden deck situated on oblique columns is formed as a public walkway all around the Playhouse and allows access to the glass foyer, which opens towards the water. The entrance area of the Playhouse seems to merge with the walkway outside, forming an integral whole, thanks to the transparent glass panels and the parquet floor which corresponds to the planks of the wooden deck and blends into them without any steps. From the bright, open space of the entrance area, the visitor proceeds to the stage building where dark brickwork prevails. The access paths are kept in dark grey shades so that the transition from the foyer to the theatrical space itself is clearly noticeable. To illuminate this area, the lighting designers opted for PANOS downlights and Starlight luminaires, which they installed in well thought-out quantities. Thus, the visitors are mesmerised by the theatre’s mysterious atmosphere even when entering the outer zone of the theatre itself.
It was explicitly requested by the client that an auditorium be created where magic can unfold and the play’s action can be communicated in an intimate way. Thanks to PASO II recessed floor luminaires, the coarse brick walls are suffused with mysterious lighting, while the red, velour-covered seats boost the room effect even further. Zumtobel downlights were also installed in the access area of the smaller stages as well as in those parts of the stage building that are not open to the public. For the rehearsal rooms and other backstage areas requiring brighter illumination, the lighting designers chose the top-class lighting quality of the TECTON continuous-row lighting system. More attention than is usually the case with this kind of buildings is given to the service area of the Royal Theatre’s Playhouse, which takes the form of a square panel. This in part slightly protruding roof floor houses among others the artist functions, administration and canteen. In these areas, sufficient illumination is achieved by more than 500 Copa suspended luminaires, supplemented by XENO spotlights installed on 3-phase tracks in the access areas.
Zumtobel. The Light.
|Owner:||Bavarian Administration of State-owned Palaces, Gardens and Lakes, Munich (DE)|
|Electrical installations:||Ambos, Füssen (DE)|
King Louis II would have been delighted. The sovereign, who had always been very open-minded about innovative technologies, had a number of sensational technological advancements implemented during the construction of Schloss Neuschwanstein. With its new LED lighting system, Schloss Neuschwanstein has ventured a step into the twenty-first century. In this way the State Apartments are illuminated efficiently and, above all, gently. All areas open to the public are gradually going to be fitted with individual LED lighting solutions.
The greatest concern of those in charge is the heavy burden on historical furniture, textiles and paintings caused by UV and IR radiation. In order to not interfere with the historical room impression, visible light sources should be avoided to the greatest possible extent. Another requirement is that existing points of installation or clamping devices must be used in order to avoid any impairment of the historical structure.
The clients were particularly impressed by the compact dimensions and UV-free light of SUPERSYSTEM. Architecturally speaking, the LED lighting system is very discreet, while setting highly attractive accents - even from a greater distance. Owing to different optical attachments, the LED spotlights generate varying beam patterns with only 2.5 W. The magnificent colours in the cupola of the Throne Room are illuminated impressively by TEMPURA LED spotlights. By choosing colour temperatures between warm (3000 K) and cool light (6500 K), details can be emphasised to optimum effect, and those in charge at the museum can always modify the lighting according to requirements.
Zumtobel. The Light.
|Owner:||Free State of Bavaria, Bavarian State Ministry of Science, Research and Art, Munich (DE)|
|Architect:||Sauerbruch Hutton, Berlin (DE)|
|Electrical consultants:||Zibell, Willner und Partner, Munich (DE)|
With a burst of colours, the Brandhorst Collection adds pizzazz to Munich's art scene. On three storeys, covering an area of 3,200 square metres, more than 700 paintings, sculptures and installations allow lovers of modern art to enjoy a special experience.
What the client wanted was a daylight-based museum, built in line with the latest findings in terms of energy efficiency, but without windows. The architects responded by implementing a concept that allows vertical daylight to enter all storeys. 36,000 ceramic louvres glazed in 23 colours make the mainly closed external skin of the building shine in radiant colours. The visually extravagant external facade also contributes to the building's energy efficiency. The glazed ceramic louvres reflect the sunlight so that heat cannot build up in the building.
All galleries have white walls and solid Danish oak board flooring. This is the muted backdrop against which the artworks - most of which hang on the walls – can be viewed. TECTON continuous row luminaires installed vertically relative to the windows give the seven-metre high transverse gallery a special appeal. A gentle culmination is achieved by translucent textile ceilings on the upper floor, where daylight can enter unimpeded. In the basement, too, the seven-metre high hall is lit by daylight. This has been achieved by a shift in the ground plan. In addition, TECTON continuous row luminaires direct the light uniformly into the room. In the adjacent small rooms, TEMPURA LED spotlights with adjustable colour temperature allow visitors to experience the works of art in all their splendour, gently illuminating the precious sculptures and paintings without emitting any UV and IR radiation. The small restaurant in the foyer invites visitors to stay for a while. Below delicate LED light lines suspended from the ceiling, they can relax and reflect on what they have just seen. The design-oriented special LED luminaire was developed in close collaboration with the architects' studio.
Zumtobel. The Light.
|Owner:||Siegfried Weishaupt, Ulm (DE)|
|Architect:||wwa, Wöhr Heugenhauser, Munich (DE)|
|Lighting design:||a·g Licht, Bonn (DE)|
The opening of the Weishaupt Art Gallery has made one of Germany's most important private collections of contemporary art accessible to the public. The impressive new building successfully completes the redesign of downtown Ulm. In spite of its dimensions, the three-part building elegantly blends into its surroundings. This is achieved primarily through the 360° glazing of the entrance hall, offering passersby a brief glance into the world of art.
During development of the lighting concept, considerable importance was attached to creating a lighting system which was unobtrusive but efficiently integrated into the architecture of the building. The focus was on the preferred strategy of using daylight that can be supplemented by artificial lighting as needed. For this purpose, a shed roof was designed that keeps out direct daylight for the most part and provides for modification of incident daylight at any time. The artificial lighting was implemented using TECTON TETRIS continuous row systems with open light distribution. Integrated in the shed roofs, these luminaires provide for a lighting effect similar to daylight on account of their indirect beam pattern. As twilight falls, a lighting management system is used to gradually switch and intensify the artificial lighting; as soon as it is dark, it takes over the general lighting completely.
Indirect general lighting is supplemented by accent lighting of the art objects using VIVO spotlights. The combination of diffuse general lighting and accent lighting creates an exciting interplay of light, setting the works of art perfectly centre stage. In the special version, some spotlights are also equipped with cameras. In this elegant way, the required monitoring can be effected without any annoying additional elements.
The lower level imitates the lighting concept of the shed roof by means of roof slots, indirectly lit by TECTON TETRIS continuous row systems. VIVO spotlights have been integrated into the roof slots for accent lighting.
Zumtobel. The Light.
|Owner:||Dornier Stiftung für Luft- und Raumfahrt, Munich (DE)|
|Architect:||Allmann Sattler Wappner Architekten, Munich (DE)|
|Lighting technology:||Belzner Holmes, Heidelberg (DE)|
|Electrical consultants:||Rable + Partner, Reutlingen (DE)|
|Lighting art design:||Torsten Braun, Limburg (DE)|
|Lighting art:||James Turrell
Friedrichshafen Airport has a new landmark: the Dornier Museum for aeronautics in Friedrichshafen is shaped like a hangar, impressively representing the fascination of flying. While, during the day, light penetrates into the building through large windows, the museum turns into a glittering point of light at night - with a lighting installation by James Turrell adding to the effect.
In the museum, visitors enter a bright, welcoming foyer. TECTON continuous rows and Vivo pendant luminaires make for a pleasant atmosphere. From the spacious entrance area with cafeteria and shop, visitors get into the museum box above, which illustrates the history of the Dornier company and the milestones of aviation in eleven rooms. Model airplanes, drawings and other historical exhibits are highlighted in glass display cabinets by means of batten luminaires and compact LED spots. The lighting design makes do without any windows, structuring the exhibition rooms in relatively bright and relatively dark zones that provide for variety on a tour through the museum, highlighting certain exhibits. The hangar contains the heart of the museum: a large hall with historical airplanes, many of them veritable curiosities. Slotlight luminaires with a special louvre ensure uniform illumination without undesired shadows.
To highlight the exterior facade during the night, James Turrell has created a lighting work of art bringing visitors' perception to new dimensions with its harmonious colour sequence. Thanks to innovative 16-bit control, the luminaires’ colour space was extended to several million colours, providing nearly unlimited freedom in lighting composition.
Zumtobel. The Light.
|Architect:||Henning Larsen Architects, Kopenhagen (DK)|
|Lighting design:||Studio Olafur Eliasson, Berlin (DE)|
The new Harpa Concert Hall rises up like a giant cut crystal in front of the jagged coast of Reykjavik harbour. The honeycomb elements of the façade make up a dazzling sea of multicoloured highlights. Refl ections on the water surface reinforce the association with a natural phenomenon, calling to mind mysterious northern lights. The sparkling Concert Hall and Conference Centre that now adorns the cosmopolitan capital of Iceland was designed by Henning Larsen Architects in cooperation with the Danish-Icelandic artist Olafur Eliasson, who was responsible for the characteristic appearance of the outer envelope. The area in front of the building is bathed in mystical blue light emanating from hidden sources of light, transmitted inside the building through glass fi elds. Olafur Eliasson and Zumtobel developed a special new type of luminaire, the shape and colour of which permits almost invisible integration in the prism structure of the façade, lighting it up with LEDs. Inside the crystalline outer envelope, visitors can expect to experience music in a new dimension. The large three-tiered concert hall with a blazing red interior is named after one of Iceland’s most beautiful volcanoes “Eldborg”, meaning “Fire Castle”.
Zumtobel. The Light.