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LED Lighting Design Jemena, Melbourne
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By Marc
Light Pushes Stuff - Late Interactive
An interactive mechanical light installation created by Late Interactive for Science in the City 2017.
Light pushes stuff is an artistic representation of the concept of radiation pressure. A sensor in each sphere relayed data to a central computer which in turn communicated to the winch lights.
Late Interactive is an artistic collaboration based in Malta dedicated towards creating interactive installations. The main goal of Late Interactive is to bring to life accessible and entertaining work that stimulates the audience by putting it in the driver seat and challenging it both through new concepts and unconventional aesthetics.
Source: vimeo, lateinteractive
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By Marc
In the middle of Tokyo, Midtown, vegetables are growing.
They sunbathe inside a plastic greenhouse, and are living through photosynthesis and absorbing water. Leaves, roots, flowers, fruits. Their shapes and colors are their survival strategy.
They are design. Start off by touching the 7 types of lives now growing strong in the soil. Then, bathe in the design of vegetables, enhanced by videos and sounds.
＜Digital Vegetables＞
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By Marc
LED Backlit Poster Frame - Big Naked Wall
Big Naked Wall, an online art gallery that exclusively focuses on backlit art is announcing its official launch this week with the unveiling of their “Life is a Feeling” campaign.
Big Naked Wall is a provider of large, backlit, and interchangeable artwork. The backlit aspect of the artwork is new to the art industry and is currently unique to the marketplace.
“We feel our product will resonate with designers and art enthusiasts alike. It invokes an emotion and feeling and at the essence that is what designers are selling; feeling. Our contemporary art concept allows for flexibility in design at a modest investment” says Raymond Wali, Creative Director at Big Naked Wall.
Titled “Genesis” by Zouassi, this artwork is the same as previous. However, once the lights are dimmed, you can see the visual impact these backlit frames make on its environment.
In addition to the art being backlit, it is also interchangeable. This means a new piece of artwork can be purchased without the frame and the existing image can be replaced. Big Naked Wall works with popular artists around the world to provide limited edition pieces.
The frame and artwork are self-assembled on site so they are easily shipped and can accommodate larger sizes without special handling or shipping charges.
“Our backlit art provides a new depth and impact that traditional canvas art does not. Our frame system is unique, in that you can easily purchase additional art and swap it out as desired. These pieces look great in commercial or residential applications, we are excited to bring this to market” adds Raymond.
Titled ”Colored Spectacle” by Mark Lovejoy, this is an example of the differences shown when artwork is backlit vs non-backlit.
Titled “Astronaut in Space” by Zouassi. This is another backlit art piece that showcases the deep impact that the backlighting provides on its environment. The picture below is used to show the relative contrast of when the artwork is backlit vs non-backlit.
Source: dzinetrip, bignakedwall
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By Marc
Lighting Retrofit vs. Lighting Redesign
The revolution in industrial and commercial lighting is shepherding in a host of new LED lighting systems that are replacing traditional metal halide and high pressure sodium fixtures. As more organizations look to make this transition, their first question is whether they should retrofit existing lighting systems to utilize LED fixtures and control systems, or move entirely to a new redesign of their entire lighting configuration. As with many other facilities-related issues, this decision will be a function of personal preferences, the facility itself, and budgetary considerations.
LED Lighting Retrofit
If you are working with a limited budget and the facility does not have unique lighting needs, a retrofit may be adequate. Existing lamps can simply be replaced with LED lamps and self-contained drivers. The end result will be equivalent or better illumination with an immediate reduction in utility costs, but maintenance costs will likely be higher than with a full or partial redesign. LED lamps can be more directional than traditional bulbs, and replacing existing lamps will not solve light distribution issues or elimination of any shadows that an existing design had created.
LED Lighting Redesign
The next step up from just replacing lamps is changing all of the existing fixtures with LED-specific luminaires. New LED lamps and fixtures will likely generate greater illumination than prior-generation lamps, and this option might produce an environment that is overlit. Moreover, replacing the fixtures will not readily facilitate the addition of advanced controls for the LED lights, such as dimming and custom adjustments of individual fixtures.
LED Lighting Retrofit vs. LED Lighting Redesign
A complete lighting system redesign will impose the highest upfront cost on an organization, but that cost can be more quickly recovered through utility and maintenance cost savings with a redesign than with a simpler retrofit. Design engineers will analyze the space that need to be illuminated and will sketch out a customized plan that includes a blend of different LED fixtures to achieve optimum lighting in the facility. LED’s are available in a variety of light dispersion patterns that can be mixed and matched to uniformly light a facility with a minimum of dark spots and shadows. The engineer can also incorporate advanced control systems into a new LED lighting design that allows a facilities operator to selectively dim or adjust individual fixtures to alter facility lighting to coincide with particular or changing uses of the facility.
LED lighting technology has advanced rapidly over the past ten years. Decisions about retrofitting or redesigning a lighting system should be based on the most current available information. Manufacturers and designers of LED lighting systems have also gained considerable experience in that time with helping their clients to make the best lighting choices that fit their needs and that do not go over budget. That experience extends to adapting specific color temperature and color rendering indices (CRI) into new lighting systems that can improve employee morale and performance with lighting that better matches natural sunlight throughout the day.
Source: specgradeled
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By Marc
The 5 Biggest Myths in LED Lighting
In their early stages, most new technologies are the subjects of myths that are either exaggerations or inaccuracies, if they are not altogether incorrect. LED lighting has been the subject of many myths since the first installations of LED systems appeared several years ago. Many of those myths denigrated LED lighting on the basis of cost and performance. As LED technology has improved, early-stage problems have disappeared but the myths have remained. Rather than falling prey to those myths, organizations that are considering LED lighting for their own operations should base their decisions on objective facts about modern LED lighting systems.
Myth: LED lighting is expensive.
Fact: As with many new technologies, the first generations of LED lighting systems were costlier than traditional metal halide or high-pressure sodium alternatives. Upfront acquisition and installation costs have since fallen dramatically and LED retrofits or new installations can now be completed at competitive price points to those traditional systems. Moreover, LED lighting generates the same or better illumination with substantially lower power input. Upfront system costs are usually recovered very quickly from utility cost savings alone. Myth: Light from LED bulbs is too harsh or bright.
Fact: New LED bulbs and control systems give operators much more flexibility to alter the color temperature and color coordinated index (“CCI”) of LED illumination to tone down the perceived harshness that might have plagued earlier LED systems. Modern fixtures and lenses also help to disperse lighting and to reduce glare from brighter bulbs. Myth: All LED bulbs are identical.
Fact: LED bulbs include more complex technology than incandescent or fluorescent fixtures. Quality LED manufacturers push that technology to produce better and longer-lasting products that incorporate features such as advanced thermal control and more stable electronics. Some LED systems might cost less than others, but those lower-cost systems might not have the newest technology that creates improved lighting performance. Myth: LED lamps never need to be replaced.
Fact: LED’s last substantially longer than traditional lighting fixtures, but the will need to be replaced at some point. On average, LED bulbs will perform above a minimum illumination level for 50,000 hours. Many continue to generate light beyond this average lifespan, but their total light output will be lower than when they were first brought into service. Facilities that install LED lighting systems will continue to need to plan for maintenance and replacement, but those needs will be substantially reduced in comparison to traditional lighting. Myth: LED lighting is bad for your health.
Fact: Doctors’ groups did criticize early generations of LED light that had high concentrations of blue-wavelength lighting. Lighting in that wavelength tends to keep people alert and to interfere with circadian rhythms and sleep patterns. Newer LED systems have controls that allow operators to reduce blue wavelengths in favor of more calming orange or yellow lighting. Therefore the early criticisms are no longer as valid. Myth: LEDs have sub-par color rendering index properties
Fact: Incandescents have a perfect color rendering index (CRI) of 100, so when alternative energy-saving lighting solutions like fluorescents came to the market, people were disappointed in the quality of the light. And rightly so. Many compact fluorescents have a low CRI of 50. Most LEDs have a solid CRI of 80, with High CRI options available when color rendering is very important (like in restaurants, retail stores, galleries, etc). Our LED MR16, for example, has an incredible High CRI option of 95, so colors appear as vibrant to the eye as under broad daylight. Source: specgradeled
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By Marc
L&L is the technical sponsor of the artistic installation Wave/Cave on display at the INTERNI Material Immaterial exhibition in the Cortile d’Onore courtyard of the University of Milan as part of the FuoriSalone 2017.
The installation, designed by the New York firm SHoP Architects, evokes the idea of geological time marked by the different eras. It uses 1670 blocks of unglazed terracotta to create 797 profiles on 3 levels, alluding to the idea of rock stratification.
The lighting, designed by PHT Lighting Design, brings out the beauty and porous nature of the material and creates a play of volumes between the façade, compact and regular, and the interior, which reveals a surprisingly rich ornamentation.
For this installation, L&L supplied 89 FLORI 1.0 projectors, which were positioned on the external perimeter and between the strata of the interior.
The chosen outdoor lighting fixtures have 15° optics, a 2700K warm white light colour, and anthracite finish.
Project SHoP Architects
Construction NBK KERAMIK, METALSIGMA TUNESI
with Arup, Cricursa, PHT Lighting Design
Lights L&L Luce&Light
Source: lucelight
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By LED Linear
The new linear LED toolbox for free configurable luminaires.
For additional information, please visit www.led-linear.com
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By SGM_Light
New Year’s Eve 2017: SGM Q-7 strobes were the main cannons of the stage lighting for Justin Bieber’s exclusive show at the Fontainebleau Hotel in Miami, FL.
Everlast Productions have carried out the New Year’s Eve Party at Fontainebleau Hotel for several years. It was the first year that Tyler Frank spearheaded the overall design. Tyler and his crew took the shell of the structure from previous years and incorporated that into the new design for the stage. He wanted to create something that had more depth, immersion and dynamics, all the while fitting into the tight restrictions of the space. They built a 18m wide x 15m tall x 13m deep (60’ wide x 50’ tall x 40’ deep) structure and stage over an existing poolside bar. The lighting design had to be practical, bright and resilient to South Beach weather conditions. He explained why he chose the Q-7s for the stage setup:
“The Q-7s were the main cannons for the show. They were the only fixtures that I could trust to fill in the void between the LED walls and to have a output bright enough to make it across the pool. The Q-7s were going to be out in the open to the elements and so the IP-rating and the durability of SGM was a no brainer. The fixtures acted as bookends to the LED wall and really brought synergy between the lighting and video elements.”
Tyler was very satisfied with the performance of Q-7s from SGM:
“The Q-7s set the bar for a LED strobe fixture. It’s a tank and can handle anything you throw at it. I didn’t have a single issue with these fixtures, whereas I had several with others due to the rain. The Q-7s are now in my bag of tricks - and I will definitely use them again.”
The Everlast Production crew had no idea who the headliner was going to be until a few weeks beforehand, so they focused on creating a large canvas that could support any act. Once they found out that it was Justin Beiber, they got in touch with his team to make any changes. Fortunately, they loved the rig and rocked with what Everlast Productions had provided them. The Lighting Designer from Justin Bieber's team, Nick van Norstrand, took the rig and made it fly.
Production Company: Everlast Productions
Production Manager: David McCranie
Lighting Designer/Director: Tyler Frank
Guest Lighting Designer: Nick van Norstrand
Master Electrician: Patrick Forrest
Set Design: Tyler Frank
Rigger: Mike DeBlois
Video Director: Alejandro Mejia
Audio Engineer: Micah Hudson
Audio Engineer 2: Jay Newbold
Products used for this project:
Q-7
Original: sgmlight
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By SGM_Light
New Year’s Eve 2017: SGM Q-7 strobes were the main cannons of the stage lighting for Justin Bieber’s exclusive show at the Fontainebleau Hotel in Miami, FL.
Everlast Productions have carried out the New Year’s Eve Party at Fontainebleau Hotel for several years. It was the first year that Tyler Frank spearheaded the overall design. Tyler and his crew took the shell of the structure from previous years and incorporated that into the new design for the stage. He wanted to create something that had more depth, immersion and dynamics, all the while fitting into the tight restrictions of the space. They built a 18m wide x 15m tall x 13m deep (60’ wide x 50’ tall x 40’ deep) structure and stage over an existing poolside bar. The lighting design had to be practical, bright and resilient to South Beach weather conditions. He explained why he chose the Q-7s for the stage setup:
“The Q-7s were the main cannons for the show. They were the only fixtures that I could trust to fill in the void between the LED walls and to have a output bright enough to make it across the pool. The Q-7s were going to be out in the open to the elements and so the IP-rating and the durability of SGM was a no brainer. The fixtures acted as bookends to the LED wall and really brought synergy between the lighting and video elements.”
Tyler was very satisfied with the performance of Q-7s from SGM:
“The Q-7s set the bar for a LED strobe fixture. It’s a tank and can handle anything you throw at it. I didn’t have a single issue with these fixtures, whereas I had several with others due to the rain. The Q-7s are now in my bag of tricks - and I will definitely use them again.”
The Everlast Production crew had no idea who the headliner was going to be until a few weeks beforehand, so they focused on creating a large canvas that could support any act. Once they found out that it was Justin Beiber, they got in touch with his team to make any changes. Fortunately, they loved the rig and rocked with what Everlast Productions had provided them. The Lighting Designer from Justin Bieber's team, Nick van Norstrand, took the rig and made it fly.
Production Company: Everlast Productions
Production Manager: David McCranie
Lighting Designer/Director: Tyler Frank
Guest Lighting Designer: Nick van Norstrand
Master Electrician: Patrick Forrest
Set Design: Tyler Frank
Rigger: Mike DeBlois
Video Director: Alejandro Mejia
Audio Engineer: Micah Hudson
Audio Engineer 2: Jay Newbold
Products used for this project:
Q-7
Original: sgmlight
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By Jamie A.
The existing Slater & Gordon Building in Melbourne has a very tall but narrow atrium flanked by office floors on the north and south sides, and glazed structures on the east and west. In 2011, the architectural team, as part of a series of ground floor foyer upgrades, suggested that the atrium space could be an ideal location for an integrated art installation. The brief was simple: create a unique light element that is visible during day and night, works with the atrium design and its servicing requirements, and fits within the project budget.
The installation itself was designed around the abstracted concept of individual raindrops falling into an invisible pool. This was created by using twenty pairs of concentric luminous rings. Each individual ring was kept as simple as possible, with blue neon selected for its overall luminous intensity. The 360 degree light output of the neon tube allowed people to look down on the installation with the same effect as viewing it from below. The final outcome of the design is expanded after hours by reflections in the glazed and mirrored surroundings.
Source: ndylight
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By Jamie A.
39 Victoria Street, London, United Kingdom
The refurbishment of this key building in Victoria involved the relighting of the main office floors with low energy lighting and the creation of an impressive new entry experience.
A special canopy feature was developed with integrated lighting built-in to visually link the interior spaces to the external streetscape. A series of canter-lever arms extend through the interior lobby and are brought together to form a canopy at the entry point on the streetscape. Adjustable lighting offers the facility for varying coloured presentations. Whilst a set colour balance is used at most times in a static mode, for special occasions the colours, tone and brightness can be set to different levels.
The lighting controls utilise the DMX protocol which in this project is on a wireless network, due to the complex nature of the building and the tight voids which precluded traditional cable ways to be threaded through the structure.
Source: ndylight
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By Agata
LED lighting in Qatar by Francesconi Architectural Light
Francesconi Architectural Light illumina Marina Landscape, le vie che accompagnano i visitatori al rinomato Nobu Restaurant, situato all’interno del lussuoso Four Seasons Hotel di Doha in Qatar: un capolavoro architettonico a tre livelli affacciato scenograficamente sul Golfo Persico raggiungibile da un’arteria di grande viabilità che necessitava di un’illuminazione sicura, performante e di qualità.
Per il prestigioso progetto di illuminazione urbana sono stati scelti gli incassi a terra EGO e MAXIEGO, apparecchi illuminotecnici per esterni con grado di resistenza IP67 e agli urti IK10. Interamente realizzati con il migliore Acciaio Inox 316L, questi prodotti sono garanzia di ottime prestazioni in ambienti ad elevata umidità e salinità tipiche delle zone costiere del Golfo Persico. Diffusore in vetro temprato, viti di chiusura in acciaio inox A4, guarnizione in silicone e controcassa in policarbonato V1 (850°) completano il quadro di una gamma di incassi a sorgenti LED dalle altissime prestazioni.
Francesconi Architectural Light, che ha sede a Roncadelle in provincia di Brescia, da oltre 60 anni opera nell’ambito dell’illuminotecnica: dalla produzione di apparecchi per esterni altamente performanti alla consulenza progettuale di elevata specializzazione, l’azienda sviluppa la propria attività su una superficie di 6500 mq, di cui 2500 mq coperti.
Coniugando elevata resistenza e confort visivo, know-how tecnico e qualità formale e funzionale, il team Francesconi ha donato un effetto particolarmente scenografico alle strade di questa grande città dal forte carattere cosmopolita, segnando i percorsi, esaltando i dettagli e guidando gli ospiti verso il più grande e noto ristorante del Qatar.
Fonte: officebit
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By AliLight
On October 13, 2016, Boston mayor, Martin J. Walsh unveiled the new LED-based architectural lighting of Boston City Hall. The lighting debut was during this year’s final Beer Garden on the Bricks event, themed “Light Bright Beer Garden.” The city intends the new LED lighting to highlight and enhance the building’s original design and increase public safety. The exterior lighting installation is one among several ongoing initiatives to highlight City Hall and City Hall Plaza and make them more inviting for residents.
“I am proud that for the first time in its 48 year history, Boston City Hall is going to shine,” said Mayor Walsh. “This state of the art lighting system will help make City Hall the civic heart of our city by livening up the plaza, while making the area safer and connecting us to Faneuil Hall and Quincy Market. Bringing new light to City Hall is symbolic of a more responsive vision here at City Hall, one that is meant to be engaging, inspiring, and serve as a beacon of the city and our values.”
New LED fixtures replaced the original Metal Halide exterior recessed lighting and the existing floodlights that illuminate the building’s lower levels and accentuate the entrances. The new fixtures cover the building in a warm white light, and they can produce a broad range of colors. Such color options can allow the City to light the building to acknowledge a variety of celebratory and public events.
The mayor lit the building blue to recognize the police officers injured in East Boston, and as a further demonstration of its light changing capability, the mayor changed the color to pink in honor of Breast Cancer Awareness Month. The pink lights at city hall added to pink lighting of numerous buildings and landmarks around the city.
The lighting highlights the original three-part design of City Hall. The lower levels house the public spaces of the building. The symbolic spaces including the middle sections hold the offices of the Mayor and the City Council, and the administrative spaces crown the building and house the administrative functions of government.
According to the city, the new exterior lighting improves security lighting. The city says that the system allows for the floodlights and associated conduit added to the building over the years to be entirely removed.
“By illuminating its iconic and bold form, City Hall’s interaction with Boston’s urban fabric may be reinvigorated,” said David Eisen FAIA, Boston Society of Architects/AIA (BSA) Vice President for Communications. “It’s a decisive step toward transforming one of the most internationally renowned buildings that make up our distinct architectural heritage.”
The new fixtures are more energy efficient than the Metal Halide fixtures and the existing Flood Lights that they replace. The LED lighting is expected to save the city about 300,000 kWh of electricity annually compared to the replaced lights. The LED technology has a projected 20-year lifespan compared to the 4-year life of the metal halide lights that the LED system replaces. The City expects additional savings from the cost of maintenance and light replacement.
Arcade lights have also been retrofitted with LED lighting to complement the new City Hall lighting. The same controller will be able to operate and coordinate both the arcade lights and the City Hall lights.
“It is wonderful that the City is taking this opportunity to recreate its own home place – City Hall – as the keystone and central event in an ongoing pursuit of improved illumination for our city,” said Todd Lee, President of LIGHT Boston.
Based on materials from boston.gov
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