|Owner:||Staatsbetrieb Sächsisches Immobilien- und Baumanagement (SIB), Dresden (DE)|
|Architect:||Exhibition: Holzer Kobler Architekturen GmbH, Zürich (CH); Building: Büro Lungwitz, Dresden (DE)|
|Lighting design:||Lichtvision Design & Engineering GmbH, Berlin (DE)|
|Electrical consultants:||Elektro Ing-Plan GmbH, Dresden (DE)|
|Electrical installations:||Elektro Dresden West, Dresden (DE)|
Large exhibit pieces are presented free-standing, while small and especially sensitive objects are protected in glass showcases. In view of this, the lighting solution plays an important role: it accompanies the visitor through the galleries and pavilions, facilitates orientation and also highlights the objects in a targeted and gentle manner, allowing them to be experienced authentically.
A significant change within the scope of the renovation was the decision to use a 100-percent LED lighting solution. The minimalistic LED SUPERSYSTEM spots are integrated discreetly and feature low power consumption and outstanding light quality. The fact that the new generation of LED luminaires emits less heat and their light is virtually free of IR and UV radiation fulfils the stringent conservational requirements of the museum. Excellent colour rendering of more than Ra 90 allows visitors to experience the natural materials and colours of the exhibit pieces. Based on specific lighting requirements SUPERSYSTEM was installed in all of the exhibit rooms and in the public areas as flushmounted or surface-mounted ceiling luminaires or as pendant luminaires.
A further characteristic element of the new lighting solution is the interplay of daylight and artificial light. Thanks to the integrated DALI unit, SUPERSYSTEM is compatible with diverse lighting management systems. The spotlights can therefore be controlled in groups for adjustment to the prevailing light situation and to the ideal luminous intensity for the particular exhibit constellations.
Zumtobel. The Light.
|Owner:||Eugenio Lopez, Mexico City (MX)|
|Architect:||David Chipperfield Architects, London (UK)|
|Lighting design:||Arup, London (UK)|
|Execution planning:||TAAU –Taller Abierto de Arquitectura y Urbanismo, Mexico City (MX)|
ARCOS boasts technical features developed especially for this application: David Chipperfield designed the extremely compact spotlight for Zumtobel in 2008 and revised it in 2013. The architect contributed his extensive experience in building museums to the development of a technologically innovative design luminaire for the most stringent conservational requirements. Testing of the luminaires in the room was especially important to him. Also at the focus: the perspective of the user, which Chipperfield also included.
Cooperative design process
With the Jumex project, Zumtobel and David Chipperfield resumed the cooperative design process for several individual solutions: For the two exhibition levels the luminaire development team designed special features for ARCOS, including an extended arm, single sockets and LED versions with excellent colour rendering (Ra90) and a colour temperature of 4,000 K. They are also used in the 3rd upper floor for accent lighting. A continuous row lighting system provides for even illumination of the floor – because the complex roof geometry requires a detailed scenario for the interplay of natural and artificial light. Daylight enters this level through skylights in the sawtooth-like jags. The light is scattered by means of a multi-layer system of matte glass and semitransparent acrylic and is admitted into the room through matte white blinds.
At night and in the case of reduced light intensity, the ZX2 continuous row lighting system installed in the skylights and the configured ARCOS spotlights, with special lenses and filters, ensure optimal light quality for homogeneous illumination of the exhibits. The flexibility of the configuration here also allows alteration and division of the spatial dramaturgy of the total of 860 square metres, with no loss of the sense of spaciousness. Additional continuous row luminaires are installed for added, accented illumination of single objects in the room. Control of the respective luminaires in the gallery and office rooms is achieved by means of the lighting management system LUXMATE BASIC.
Zumtobel. The Light.
|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)|
|“We wanted to show this unique collection in the right light, literally.”
Dr. Sabine Haag, director of the Vienna Museum of Art History
The Museum is a walk-in synthesis of the arts in itself, enhanced by a unique and multifaceted art collection that adds to the success and fascination of the Kunstkammer Wien. With respect to the new presentation, the main challenge was to create a contemporary lighting design that remains in the background and lets the exhibits take centre stage.
Hence, a collection that had not been open to the public for eleven years can now be experienced in all its modernness, multifacetedness and absolute quality. The intelligent integration of daylight results in softly modulated light, so that the collection is presented in a different lighting scene in summer than in winter, and visitors will perceive it differently in the morning light than in the evening.
“The atmosphere conveyed by the 16th century exhibits finds its continuation in the Starbrick chandeliers.”
As functionality was a prerequisite for installation of the chandeliers, the Starbrick had to be modified for the actual room situation, in collaboration with Olafur Eliasson. Of course, Ms Haag and her team were fully aware of the risk to polarise when integrating a contemporary element into a historical artwork complex. But after all, the Starbrick reflects many developments that the exhibits have already gone through. Like the 16th century exhibits, it represents a combination of cutting-edge technology, art, absolute perfection and an attractive appearance, not least because its crystalline shape is also found in many exhibits. Therefore, at a room height of six metres, a second level of artworks was created, but in contrast to the exhibits, these artworks do fulfil a function, too.
“It was clear to us that in order to present the best collection, we wanted to collaborate only with the best partners as well.”
Obviously, sustainable preservation of the exhibits had been given top priority. Against this background, the decision in favour of gentle and authentic LED lighting was a matter of course. Beside the ambition of creating an innovative and future-oriented solution able to llast for decades, in contrast to a temporary exhibition, collaboration in this project was above all characterised by unwavering trust in the partners' skills and their commitment to quality without any compromises.
|“This collection is one of the most important things I will exhibit in the course of my career.”
HG Merz, architect and museum designer
|“The success of this project results from the high willingness displayed by all those involved to approach one another and make compromises in order to bring out the best as a team.”
Dr. Franz Kirchweger, curator of the Vienna Museum of Art History
|“Throughout the history of art, existing laws and the creation of reality have been questioned many a time – this is why the Starbrick fits perfectly into the Kunstkammer.”
Zumtobel. The Light
|Owner:||The Reform Club|
|Lighting design:||Lighting Services Limited|
|Lighting technology:||CBS Mainenance Services Limited|
|Photos:||David Thrower of Redshift Photography|
The Reform Club is one of the most important buildings in London dating back to the Victo-rian period. A visit to the Reform Club is a special experience even today. The primary goal of the lighting solution developed in late 2009 was to enhance the Victorian-age building's charisma and provide a pleasant and unforgettable atmosphere for both visitors and staff, while at the same time meeting conservational and energy requirements.
London, in July 2013 – The long-established Reform Club is situated right in the heart of London. Its founders commissioned Charles Barry, at the time one of the most renowned architects, to de-sign the palatial building for the club. The original structure of the Victorian-age building opened in 1841 is extremely well preserved; it is considered one of the most important “grade 1 listed build-ings” in London, i.e. one of the buildings listed by the English Heritage Organisation that is of par-ticular historic and architectural relevance. In collaboration with the Bristol-based “Lighting Ser-vices” design studio, Zumtobel developed a trend-setting lighting solution for this special building, which is referred to by the English Heritage Organisation as a reference for the illumination of sen-sitive buildings of architectural value even today.
In addition to emphatic treatment of the building's architectural peculiarities, requirements in terms of efficiency, sustainability and flexibility also played a major role. After the start of the project in autumn 2009, a new lighting concept was developed for the ground floor and the first floor as a first step. The owners wanted the lighting solution not only to make the reception area with the “Grand Hall”, the atrium and the staircase with the galleries shine in new splendour, but also to illuminate the paintings and art objects in these areas in a natural and gentle way. The primary goal was to create a pleasant and warm atmosphere that would make a visit to this historic building a special experience. The trend-setting technology used stylishly accentuates the building's structures, sig-nificantly reduces energy consumption and at the same time meets the highest conservational requirements that must be taken into account when illuminating listed buildings.
Based on the intelligent Luxmate Litenet lighting management system, Zumtobel has, in collabora-tion with the designers, developed an innovative lighting concept that provides ideal lighting condi-tions in the various areas, increases the building's energy efficiency and sets the lighting stage for the architectural structures and art objects in a gentle, yet targeted way. Thanks to the system's compatibility, the lighting solution can be adjusted as required and, in the future, can also be ex-tended to other rooms which will be fitted with a new lighting solution later on, in a second step.
Daylight-based control increases comfort and efficiency ...
Since the building is used 24/7, potential energy savings had to be identified and realised to opti-mum extent. This sustainable lighting solution is based on the perfect interplay of state-of-the-art LED technology and innovative luminaires with intelligent lighting management as its centrepiece: the Luxmate Litenet lighting management system combines complex system features such as use of daylight, presence detection, integration of emergency lighting, and predefined room profiles in one central unit that is easy to operate. The external daylight sensor installed on the roof continu-ously monitors incoming daylight, thus optimising the use of daylight. In every room, just the right quantity of artificial light required to achieve optimum lighting conditions.
In addition, Luxmate Litenet provides a high degree of flexibility, which was the decisive factor for its use at the Reform Club. As the lighting system will be refurbished step by step in other areas and rooms as well, the operators wanted the system to be easily extendable in the future. Using pre-programmed scenarios, Luxmate Litenet also provides the opportunity to easily and conven-iently create appropriate atmospheres for a variety of social gatherings and other events in the areas designated for this purpose.
As the light source should not be visible for the most part, the minimalist Supersystem LED lighting system was used in all areas, both on the ground floor and the first floor. Thanks to its pared-down design, Supersystem blends unobtrusively into the architecture, enhancing it to optimum effect. The high-power LED spots cannot fail to impress on account of their modularity, since lighting in-serts for direct and indirect lighting can be flexibly placed next to each other within one module, which allows to tackle a variety of different lighting tasks easily. In the atrium, the lighting solution is complemented by four Discus LED spotlights. They set the lighting stage for the impressive “sun-burner”, an oversized historic gas lantern formerly used for illumination and heating.
|Owner:||Royal National Lifeboats Institution (RNLI), Dorset|
|Architect:||David and Jane Darcy of Darcy Architects, Northumberland|
|Lighting design:||Jason Jobes of TGA Consulting Engineers, Durham|
|Lighting technology:||Jason Jobes of TGA Consulting Engineers, Durham|
|Photos:||David Thrower of Redshift Photography|
TGA Consulting Engineers worked in conjunction with Darcy Architects to specify the functional lighting required to illuminate the preserved artefacts, which include Grace Darling’s original wooden boat, whilst remaining discreet and unobtrusive. Jane Darcy, from Darcy Architects, commented that the light sources needed to be, “contemporary and well designed but in keeping with other finishes in the building.”
Amongst the lighting solutions, unique flip out taps on the Panos S downlights were applied to a number of display cabinets, offering easy repositioning without the help of a technician and making them ideal for a constantly changing museum environment. The flexibility of the Panos S is further emphasised by its unique tilting abilities enabling a 360º rotation and a 60º upward tilt.
In the museum’s staircases, the light emitting diodes of the Kava LED are directed onto the ground by a reflector, producing an indirect light source, which subtly illuminates the staircases. The Paso 2 D120 works in harmony with the traditional architectural design of the museum, washing the walls with a soft glow and highlighting high level displays.
Other Zumtobel luminaires specified include the surface mounted Mellow Light IV in the office areas, Spheros in the education resource room and the Onlight Look Artsign for the emergency exit routes.
“The quality, performance and range of luminaires available from Zumtobel, together with the company’s track record for quality, made it an easy decision for TGA to make,” said Jason Jobes of TGA Consulting Engineers.
Jane Darcy commented: “We are very pleased with the finished project and feel that the lighting is well integrated into the overall design, with the standard of fittings matching the high quality finish of the building.”
Zumtobel. The Light.
|Owner:||Bristol City Council|
|Architect:||Levitt Bernstein Associates|
|Photos:||David Thrower of Redshift Photography|
The people of Bristol have been enjoying music at Colston Hall for nearly 140 years. As part of their re-development project they researched the key points of the four Colston Halls that are stood on Colston Street, as well as, the many musical highlights experienced along the way.
When it came to the design of the building, Architect's Levitt Bernstein in conjunction with Consulting Engineer Arup, were challenged to enhance the spacious atrium at the upper level by using a series of bridges, seamlessley linking the new foyer to the existing building.
Zumtobel's SLOTLIGHT light lines were the perfect lighting solution to help create the seamless effect that the designers wanted to achieve, thanks to their pleasant uniform light distribution and outstanding lighting effect.
Throughout Colston Hall SLOTLIGHT II is recessed into the ceiling and mounted to the stair wells so the lighting working in perfect harmony with each other.
The luminaire's innovative hollow chamber system makes sure that, despite all the precautions taken to ensure extra protection, the linear, uniform look of the luminaire is not at all compromised.
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 illuminating 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 schneider+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. Custombuilt 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's Luxmate Professional lighting control range to ensure rational 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, sustainability 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 cooperative partnership with lighting designers and architects 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:||Museum of Technology, Vienna (AT)|
|Lighting design:||Pokorny Lichtarchitektur, Vienna (AT)|
|Electrical installations:||Brüder Gros, Vienna (AT)|
The new lighting concept provides a combination of direct and indirect lighting designed to improve lighting quality in the museum. The indirect lighting is housed in architecturally sophisticated lighting channels and achieves 40–50 lux on the actual object illuminated. The lighting is dimmable. Additional accent lighting is provided by ARCOS spotlights fitted with 20 W or 35 W HIT lamps. Impressive energy savings were realised here compared with the previous lighting system, which used 100 W halogen spotlights.
A total of 1,400 ARCOS spotlights have been installed over the three floors of the Museum of Technology. One major advantage of the new lighting is that it produces less heat; this improves room climate conditions drastically, especially in summer.
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:||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:||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.
|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.