London Design Festival 2022, UK

We are very proud to announce that Ingo Kalecinski, dpa Associate based in our London Studio, has recently won a competition at the London Design Festival for his design of a GOBO projection. The challenge set by WE-EF Lighting was to create an illustration that addresses “how design can help create environments that foster well-being and enrich our lives”.

“The inspiration for the design came from west-facing building façades that I often observe from my living room when they reflect the sunset against the eastern sky above them, that is already immersed in darkness. These glazed facets pick out this magical, warm glow and turn into temporary beacons of light dotted into the otherwise dark concrete jungle surrounding them.

I have always been intrigued to find out what these intense pockets of light must feel like close-up. Ironically once you have made your way over there, they would inevitably disappear as your perspective changes and the sun moves along its path – never to be caught.

The idea was to capture this phenomenon of colour and the emotional uplift it provides within this secluded forecourt and to preserve the effect for an extended period throughout the evening, well past sunset.

The projected image creates an abstract perception of the courtyard space for the viewers standing within it by replicating shadow outlines of surrounding architecture and planting. These silhouettes seamlessly frame the mesmerising and uplifting warm gradient glow of the sun setting.”

I see a secondary vantage point for passers-by on the trains above who may only catch a short glimpse of the projection, making it even more mystical and perhaps something to look out for again next time around. “ Ingo Kalecinski, Associate, dpa lighting consultants.

Ingo’s sunset GOBO projection can currently be seen on a Monday, Wednesday, Friday and Sunday between sunset and 21.00 hrs at 33-34 Dolben St, London SE1 0UQ.

 

 

The Louvre, Abu Dhabi, UAE

dpa are immensely proud and thrilled to be associated with the Louvre as their local design lighting specialist tasked with assisting the museum when new and existing exhibitions are changed or rotated to ensure the strict criteria for lighting to the artworks, many of which are priceless, are maintained and preserved for future enjoyment. Having opened in 2007, the Louvre Abu Dhabi is firmly recognised as one of the region’s most respected art museums and continually delights visitors with its collection of permanent and temporary exhibitions.

Client: Department of Culture and Tourism, Abu Dhabi
Architect: John Nouvel
Photography: Louvre Abu Dhabi

Statue of Unity, India

The Statue of Unity is the world’s tallest statue, with a height of 182 metres, located in the state of Gujarat, India. Depicting Indian statesman and independence activist Vallabhbhai Patel, the statue was designed by Indian sculptor Ram V. Sutar and inaugurated by the Prime Minister of India, Narendra Modi on 31 October 2018, the 143rd anniversary of Patel’s birth. dpa worked with Larsen & Toubro, Graves Architects and Turner India to create an iconic lighting scheme befitting the world’s tallest statue. The statue is constructed of 3D formed bronze clad around steel and concrete core and situated on an island in the river basin of the Narmada River and the Sardar Sarovar dam. Lighting a 182m statue from its small island base presented many challenges making a traditional statue uplight scheme impossible. dpa conducted 100s of lighting calculations, pushing the limits of the lighting software, to create a scheme focusing on the important elements of the statue such as the face and hands. Special attention was paid to the key viewing points of the statue from the mainland and visitor’s centre. The final scheme used a mixture of LED projectors utilizing wide to super narrow beam angles with custom cowls and louvres for maximum control of the light beams. These were concealed within the planting around the base of the statue, on the roof structure of the pedestrian bridge, and mounted on retractable columns hidden from view in the daytime on the mainland and a small island behind the statue. 2700K was used to enhance the warmth of the bronze cladding and avoid any lighting within the blue colour spectrum reducing the impact on the local ecology.

Sculpture Artist: Ram V. Sutar
Architect: Michael Graves
Engineering & Construction: ITG
Photography: statueofunity.in

 

 

Darc Awards 2021 Super Massive Black Hole red close up

Darc Awards 2021 : Supermassive Black Hole

dpa were invited to create a light art installation in collaboration with Tryka to be displayed during the [d]arc Night event on 31st March 2022 celebrating the darc Awards 2021.

The brief for the Darc Awards 2021 Darc Night was to create a light art installation inspired by a song related to lighting. dpa chose the song “Supermassive Black Hole” by Muse.  A relatively simple shape was created by stretching flexible RGBW LED tape along a metal radial structure mimicking the gravitational field of a black hole. Careful and creative programming allowed us to generate movement and dynamism to express the vortex movement of the stars precipitating towards black holes in a spiralling movement.

Photography by Tommaso Gimigliano, Associate – dpa lighting consultants

 

Binary Sculpture, Manyata Embassy Business Park, Bangalore, India

Located on 110 acres of land to the north of Bangalore is Manyata Embassy Business Park, one of the largest operational technology and business parks in India, home to both large global brands and small start-up companies. dpa developed and implemented the design of the lighting masterplan for the entire site including the soft and hard landscaping, pedestrian and vehicular circulation, and building facades. The Binary Sculpture artwork is the centrepiece of the entrance plaza, greeting all visitors to the site. dpa worked closely with the artist, Romicon Revola, to implement her desire to create a sculpture whose form was expressed by concealed integrated lighting. The sculpture itself is a 3 metre cube constructed from stainless steel, each of the four visible faces has an array of “0” and “1” binary cut-outs, making reference to the IT nature of work of many of the park’s companies. Located directly behind each cut-out is an acrylic diffuser and behind this an LED colour changing node, each node is individually addressable and programmable allowing its colour, brightness and fade rate to be controlled separately from all of the other nodes, and hence “0” or “1”, in the installation. This permits for an almost endless number of visually dynamic effects to be created, resulting in a vibrant, eye catching piece of artwork.

Client: Embassy Group
Project Management: Synergy
Artist: Romicon Revola
Landscape Architect: Design Cell

 

Al Maktoum Residence, Dubai, UAE

The house of Sheikh Saeed Al Maktoum was built in 1896 and was inhabited by the Sheikh from 1912 until his death in 1958. Al Maktoum Residence charts the meteoric rise of Dubai from regional town to global metropolis. Visitors to the museum will gain a fascinating insight into the history of this pioneering region and its most famous family, history and conflicts.

The museum consists of over 30 rooms, each dedicated to differing narratives of the Al Maktoum Family. From the terraces you can appreciate the historic view of Dubai Creek and the Persian Gulf whilst on the other hand the contemporary city skyline reminds you of Dubai’s ambition and future direction.

Working closely with GSM Project, dpa developed a lighting scheme to help the viewer understand the significant local, regional and global contexts of the Al Maktoum Family, Dubai and their closely interwoven heritage.

In conjunction with the Perfume House and Story of the Creek, dpa developed a robust, pragmatic yet flexible lighting concept that enabled all aspects of the Al Maktoum Residence experience to develop at an individual level.

Architectural features have been highlighted to enhance the traditional building materials and techniques, whilst contemporary exhibition interventions are dealt with sympathetically.

Conservation played a major role in the illumination of certain spaces. Lighting equipment was sensitively located in order to provide maximum function with minimal impact.

Technology has formed a significant part of the realisation of this project. A sophisticated, dedicated architectural lighting control system forms the backbone of the scheme, ensuring the correct operation of the system whilst delivering flexibility along with cost and environmental benefits.

Client: Dubai Municipality 
Interior/Exhibition Designer: GSM Project
AV Consultant: XYZ Cultural Technologies
Photography: Alex Jeffries Photography Group
Visuals: dpa lighting consultants

“Together” Darc Awards 2019

dpa’s London Studio designed an art installation for the darc Awards held on 5th December 2019 titled “Together”, the following provides a brief explanation about the inspiration behind this artwork.

The word present has three main definitions: a temporal value, (present time); a physical value, (to be present); and a material value, (to receive a present). Etymologically, the word derives from Latin (prae + sum), meaning to be in front of something or put something in front of someone, and is the root of the meaning around Presence.

When interpreting and correlating these definitions whilst trying to translate them into something concrete, the meaning and values of Christmas became the main inspiration for the installation.

Considering Christmas as the traditional core of western society’s values whilst looking beyond the modern, commercial aspects of the period that are strongly associated with physical presents, there is a deeper range of ideals. These ideals have their roots in the soil of communities, family and friends gathering together, spending time with loved ones and enjoying the simpler pleasures of life. Beyond the religious aspects of Christmas, ethical and moral values are universally agreed.

As mentioned above, the present has a temporal value; the present time, the present instant. Time is impalpable and once we think about it, it becomes the past already. When we ‘see’ something, the light reflected by our surroundings travels to our eyes and is transformed and translated into electrical signals and redirected to our brain. This is a very quick process, but it still needs an infinitesimal time to happen. Therefore, we always experience in a certain way only the past and never the present.

The last definition of present we explored is its original etymological meaning: to be present and to be in front of something. In this specific case, we are referring to our own presence inside or in front of the installation. The interaction between our physical presence and the light will create the most evanescent and fugitive of the lighting phenomenon: shadows.

Our primary exercise of building the leitmotif of the installation, whilst considering all of the above elements, starts from the most important aspect we want to enhance in this concept: gathering together. For us, the real present at Christmas is to have the opportunity to spend precious time with our loved ones and to be present with them. It is not a physical present, rather than a physical presence: sharing time. This component of the installation is expressed via a series of figures: such as silhouettes of people, being present.

Connecting these pieces, we merged human figures using the dynamic effect of guest’s shadows to create a memorable, physical experience. The aim was to create a relationship between the presence of the observer, the vanishing shadows of moving and stationary figures.

All of these considerations inspired the physical construction of the installation: a series of layers of semi-transparent panels on which casting both the shadows of the guests observing and interacting with the installation and the shadows of some static figures populating the space.

To represent the above we positioned a series of transparent screens/curtain elements. We were keen for this not to represent an obvious box-shape commonly associated with a Christmas gift, but rather capture it in state of ‘unwrapping’ itself.  The multiple staggered layers pick up and fragment the shadow patterns created internally and interlace them with the shows cast by the guests as they explore the installation from its surround and within.

We cannot change the past; neither can we fully control the future. However, “present” is the gift that allows us to take the chance of fulfilling our dream. This installation invited the audience to engage in our installation, at this moment (present), with friends, to create their own playful, unforgettable memory.

Photography by Tommaso Gimigliano, Associate – dpa lighting consultants

Ishara Art Foundation, Dubai, UAE

dpa are immensely proud to have been invited to design the lighting for the newest gallery space in Alserkal Avenue Dubai.

Ishara Art Foundation is a non-profit contemporary art space centred on South Asia, established by Smita Prabhakar, collector and UAE resident and curated by specialist in South Asian art, Nada Raza. The current exhibition, Altered Inheritances, is a collection of work form artist Shilpa Gupta and Zarina.

dpa worked closely with the foundation team and architect Rahoul Sing from RLDA Architecture to conceptualise and develop a flexible and modern lighting scheme for the two floors of the gallery. As the art pieces and gallery layout will change from time to time, the lighting needed to be flexible in design to allow for all eventualities yet at the same time be uncluttered, elegant and identifiably different from other galleries. A carefully considered arrangement of recessed track under the mezzanine level allows for multiple luminaire mounting positions together with versatile spotlights with interchangeable lenses so that every art piece can be correctly addressed. For the atrium space the ambient and iconic lighting is created by 3 diminishing custom made squares suspended from the structural ceiling. Each square is an unbroken line of light with the ability to hold any configuration of spotlights, all independently controlled.

Architect: Rahoul Singh, RLDA Architecture
Photography:
Photographer Ismail Noor/Seeing Things. Images courtesy of Ishara Art Foundation 2019.

 

Perfume House, Al Shindagha Museum, Dubai, UAE

Located within the dynamic and ever evolving Shindagha district this new addition to Dubai’s renowned cultural quarter, the Perfume House represents a valuable insight into Emirati Culture, Social Rituals and Heritage.

The re-appropriation of the building, consisting of one main covered gallery with smaller galleries and an external courtyard, help to trace and define the narrative of scent and perfume making through the ages.

Individual galleries tell the story of the regions complex and personal relationship with scent and perfume whilst detailing the geopolitical and demographic impact associated with the inevitable trade routes that developed and strengthened over time.

GSM Project developed a blend of traditional, contemporary, unique, interactive and immersive spaces that delight the senses whilst delivering a strong educational and heritage message.

dpa responded to this brief through the development of a robust yet flexible lighting concept that enabled all aspects of the museum experience to develop at an individual level.

Traditional exhibits such as vessels and stone work were illuminated to enhance their tactile and material qualities. More contemporary exhibits such as interactive screens and scent stations demanded a less intensive approach to illumination.

The building itself is a canvas upon which the exhibition is cast.

Extensive use of existing architectural features have been highlighted to reveal colour, contrast, form and texture helping to complement and reinforce the sense of heritage within the building.

Technology has formed a significant part of the realisation of this project.  A sophisticated, dedicated architectural lighting control system forms the backbone of the scheme, ensuring the correct operation of the system whilst delivering flexibility along with cost and environmental benefits.

Client: Dubai Municipality
Exhibition Designer: GSM Project
AV Consultant: XYZ Cultural Technologies
Photography: Alex Jeffries Photography Group

Dubai Creek: Birth of a City, Al Shindagha Museum, Dubai, UAE

Located within the dynamic and ever evolving Shindagha District this new addition to Dubai’s renowned cultural quarter, Dubai Creek: Birth of a City represents a valuable insight into Dubai’s historic and remarkable contemporary story.

The exhibition, consisting of several main galleries and an interactive cinema experience help to retell the story of Dubai Creek and its most important asset, it’s people.

GSM Project developed a blend of traditional, contemporary, unique, interactive and immersive spaces that delight the senses whilst delivering a strong educational and heritage message.

In conjunction with the Perfume House, dpa lighting responded to this brief through the development of a robust yet flexible lighting concept that enabled all aspects of the museum experience to develop at an individual level.

Traditional exhibits such as maps and chandlery were illuminated to enhance their tactile and material qualities.  More contemporary exhibits such as interactive models and history stations demanded a less intensive approach to illumination.

Architectural features have been highlighted to enhance the contemporary exhibition interventions against the more traditional building fabric whilst still revealing colour, contrast, form and texture

Technology has formed a significant part of the realisation of this project.  A sophisticated, dedicated architectural lighting control system forms the backbone of the scheme, ensuring the correct operation of the system whilst delivering flexibility along with cost and environmental benefits.

Conservation also played a major role in the illumination of certain spaces and artefacts within this exhibition. dpa worked closely with the curators to deliver precise amounts of illumination to specific sensitive exhibits.

Project Credits: 

Client: Dubai Municipality
Exhibition Designer: GSM Project
AV Consultant: XYZ Cultural Technologies
Photography: Alex Jeffries Photography Group

The INFINITREE, UK

The concept for INFINITREE was conceived with the unanimous desire of the dpa design team to create a sculpture that for one ‘was not obvious’, but was also much larger than its own physical confinement and the space it is exhibited within.

At first glance it presents itself as a subtle yet high-impact but non-described composition of glowing elements. No association to a Christmas tree would naturally be made whilst exploring the structure from the surround.

Visitors are encouraged to step inside the installation, immerse themselves within its intricacy and discover its true meaning. Structurally it consists of steel frame open for views and access from all four sides, enclosed only from the top. Ceiling and floor panels are mirror clad with minimal slot cut outs to conceal the lighting equipment best possible. The double mirror array provides the desired infinity effect, reflecting the illuminated elements in between and through natural perspective shaping them into an abstract Christmas tree like cone.

Although a DMX lighting control system with full spectrum RGBW capability was utilised, as the physical aspect of the design evolved, it became more and more apparent that a small core selection of solid colours would provide the most striking visual impact and experience for the audience.

Photography: Tommaso Gimigliano

The Wellesley Hotel, Knightsbridge, London, UK

The Wellesley Hotel in London is a special property located in Knightsbridge offering the highest quality service and facilities. The recent addition of glass pavilions at the front of the property to provide additional bar and smoking terrace space is now complete, but to make this even more exclusive, the artist Lee Simmons was commissioned to produce an installation that provided unique decoration and a visual screen. The solution was a series of cast bronze buds that produce a three dimensional textured screen wall. The lighting solution to the exterior component is a series of small LED uplights, the positioning of which was very carefully considered to expose the three dimensional nature and texture of the buds. Inside the pavilion a low level linear concealed skirting light floats the wall, coupled with uplighting to the buds as on the outside. A gas fire, wall light and lighting to the artwork completes the spaces.

Operator: The Wellesley Hotel, London
Concept Architect: Ken Shuttleworth, Make Architects
Project Architect: Gibberd Ltd
Artist: Lee Simmons

The Constellation, The Founder’s Memorial,
Abu Dhabi, UAE

dpa were privileged to be invited to illuminate The Constellation, a monumental public artwork that forms the centrepiece of The Founder’s Memorial in Abu Dhabi, a permanent national tribute to the UAE’s founding father, the late Sheikh Zayed bin Sultan Al Nahyan.

The artwork was conceptualised and designed by artist Ralph Helmick, whose practice explores human perception through large-scale public sculptures and installations that invite optical discovery.

dpa collaborated closely with the artist at both his studio in Boston and during the extensive lighting trials that were conducted in Abu Dhabi to achieve the optical visual performance of the lighting scheme that enhances this world class artwork. Particularly challenging was the task of conceptualising and developing a lighting scheme that would highlight the unique artwork from multiple viewing angles, whilst retaining the subtle complexity and depth of the sculpture.

The Constellation  consists of over one thousand three hundred geometric shapes suspended from more than one thousand tensioned cables. These elements constitute varying sizes of the five different types of regular, convex polyhedrons known as ‘platonic solids’, which are renowned for their mathematical beauty and symmetry. In order to achieve three dimensional rendition of the sculpture at night, seven hundred and fifty three downlights and twelve hundred and three uplights were custom made to illuminate the sculpture from above and below.  Each fixture is fitted with a 3.5w warm white LED and integral DMX control, which enables the exact tailoring of the lighting scheme to respond to the differing textures and forms of the individual and collective solids that make up the artwork.

The Constellation is situated within the landscape of The Founder’s Memorial, which features plants indigenous to the Arabian Peninsula, an elevated walkway offering breathtaking views of the city, and a Welcome Centre with a state-of-the-art multimedia experience. Housed within a pristine, prismatic Pavilion at the heart of the space, the suspended solids of The Constellation shine like stars within the night sky. This celestial display evokes the timelessness of Sheikh Zayed’s vision, which continues to offer the UAE people guidance along a path of progress and prosperity.

Project Owners: Ministry of Presidential Affairs
Artist: Ralph Helmick
Photography: Alex Jeffries Photography Group

 

Night of Heritage Light – Radcliffe Camera, Oxford, UK

dpa were invited to take part in an event on 29th September 2017 showcasing the talents of the Society of Light and Lighting (SLL) (and CIBSE) and in particular the local members, the wider community and research expertise within Oxford. This event was part of another Night of Heritage Light & Pockets of Light (NoHL & PoL) organised by the SLL and CIBSE. It was also in collaboration with the Curiosity Carnival as part of the European Researchers’ Night across 25 Countries celebrating research and science.

Lighting is an art form as well as a science and as lighting designers we are challenged with new technologies, which ultimately provide an improvement to our ability to design creative schemes. Science and technology play a huge role in lighting development and provide us with more incredible tools in which to design, sculpt and paint our environments with light. Our Oxfordshire studio was delighted to be given the iconic Radcliffe Camera to light as part of the NoHL & PoL, along with other local lighting design practices and artists working on several other notable and significant buildings.

For ‘The Camera’, as it is fondly known in Oxford, our story starts with the beautiful neo-classical architecture and our desire to expose this at night, as it has never been artificially lit as an architectural treatment since it was built in the early 1700’s.

Our design approach therefore started with darkness. We looked at key architectural features and how ‘layers of light’ could best represent the building at night. We only lit half of the building to express the significance of how lighting intervention could expose the beautiful and intricate details, materials and marks of its history. Coincidentally a ½ moon fell on the night so that influenced our thoughts too during the design process. We also controlled the ‘layers of light’ with the use of a lighting control system which we sequenced every ½ hour running through the various ‘layers’ from a dark building to a fully lit one, from the ground up and back. Again, this little nod to the power of light was intentional as part of the overall night to showcase the importance of light, science, and art or however individuals interpret our medium.

We were fortunate to attract the artist Emma Safe who drew ‘The Camera’ over the 3-hour period of the event. The stunning charcoal drawing can be seen here along with the photographs of the lit Radcliffe Camera.

We would like to thank the University of Oxford for their kind permission and assistance to allow us to light this magnificent building as well as the assistance from Monard Electrical who were responsible for the sensitive installation of the lighting equipment. We were also grateful to a number of manufacturers who supported the project with lighting equipment.

Photography: Courtesy of Sotirios Stamatopoulos – dpa lighting consultants and Matthew Hicks (last image of artist Emma Safe)

Helios, Darc Awards 2017

For the third year running dpa were invited to participate in designing an installation for the darc Awards, held on 14th September 2017.  This year proved particularly successful as dpa designers Ingo Kalecinski, Veronica Lykou and Laura Voss from our London studio, won the first prize on the evening for their installation Helios, which means sun in Greek.

A total of 12 teams of lighting designers, each partnered with a lighting manufacturer, were tasked to create their vision of an exciting, immersive light art installation to be showcased on the night of the awards with each guest being given one vote to cast for their favourite installation. This year dpa were partnered with LED Linear with local support by Architainment, UK.

As part of their brief, each team was provided with a modular kit to construct their own geodesic dome framework, which had to form an integral part of the final design and was restricted in size to create a level playing field for all participating teams.

From early on in their design process, the dpa team agreed to focus their thoughts around LED Linear’s product range of flexible homogeneous lines of light and the designers were also keen to flip their dome on its side, eventually providing the full circular elevation required for their final design. Although very much inspired by the clean lines and mesmerising characteristics of traditional neon lights, the designers also welcomed the added benefit of full colour control the LED fixtures provided and used it to its fullest extent.

Helios is a stylised sequenced representation of the sun, emerging out of a total eclipse into its full bloom before slowly starting its descent into the shimmering evening sea and finally disappears into the night. Clean graphic lines of light formed into the internal volume of the geodesic dome provide the viewer with an ever changing range of perspectives and only when viewed straight on, will form a complete circular sun. Although intentionally kept very simple, graphically, individual colours of light for each scene were meticulously identified for being as true to nature as possible.

The introduction scene was always considered very important and was intended to provide a contrast to the slow fading scenes that would follow, and draw the viewers’ attention immediately. Once more inspired by conventional light sources such as neon or fluorescent lamps, which often flicker when faulty or whilst warming up, the opening scene utilises cool white light only.

Photography: Courtesy of Tommaso Gimigliano – dpa

Fairmont St Andrews, Scotland

The Fairmont St Andrews has recently been renovated with a fresh and stylish new interior design by RPW Design. Within the 50M atrium, the key feature is the Zephyr Chandelier by George Singer (meaning soft gentle breeze) which fills the space with soft kinetics and shadows created by layers of lighting from both above and below. Colour has been utilized for parties and events as the Atrium doubles as a huge event space when not used as Restaurant and Lounge.

Client:  Kennedy Wilson
Operator: Fairmont Hotels & Resorts
Interior Designer: RPW Design, London
Project Manager: Fitzsimons, Glasgow
Architect: Hurd Rolland, Burntisland
Electrical Consultant: BGL Contracts, Glasgow
Atrium Chandelier: designed by George Singer, London
Photography: Sim Canetty-Clarke

Tiffany Gallery, New-York Historical Society, New York, USA

dpa lighting consultants worked in collaboration with the office of renowned architect Eva Jiřičná to create the Tiffany Gallery for the redesigned Luce Center on the fourth floor of the New-York Historical Society Museum & Library.

dpa also worked closely with the New-York Historical Society on this project. Specifically the brief required the creation of a spectacular, custom-designed glass gallery showcasing the Museum’s preeminent collection of Tiffany lamps. The gallery of Tiffany lamps, comprises a 4,800-square-foot, two-story space measuring nearly a city block with its elegant glass Norman S. Benzaquen Grand Staircase.  As the centerpiece of the fourth floor, the gallery features 100 illuminated Tiffany lamps from New-York Historical’s collection displayed within a dramatically lit jewel-like space that visitors can access through the Geduld Family Gateways.  The project was inspired by New-York Historical’s discovery of the unknown story of Clara Driscoll and the “Tiffany Girls,” who designed and created iconic Tiffany lamps at the turn of the 20th century, many of which are in the Museum’s collection.

“The reopening of our Henry Luce III Center on the fourth floor of our landmark building marks a new and dramatic phase in the evolution of New-York Historical as one of the great showcases for architectural innovation in New York with, among other spectacular features, a bi-level glass Tiffany lamp gallery that is a major feat of design and engineering,” said Dr. Louise Mirrer, president and CEO of the New-York Historical Society.

Nick Hoggett, Partner at dpa lighting consultants and lead on the project adds: “It was a wonderful project to be part of, the technical challenges of showcasing lamps that are over 100 years old in some cases, with contemporary context and techniques, was one we relished.  The Tiffany Girls remain an inspiration to all of us interested in light.”

The glass stair underwent considerable design input by all concerned, dpa and EJA carried out numerous studies and mock-ups, which has culminated in the carefully integrated linear LED lighting elements to the stair treads and supporting fins. A cool crisp white light was chosen so as to complement the glass structure whilst also complementing the warm white light used within the Tiffany lamps and elsewhere within the gallery space.

Eva Jiricna Architects designed special curved glass showcases to house part of the Tiffany collection and perimeter glass showcases for the remainder of the various Tiffany lamps that are now on show. Artificial lighting has been carefully coordinated within the showcases with a combination of fibre optic spotlights and various LED sources.

The lamping of the Tiffany lamps themselves raised some interesting philosophical questions which were debated with the curatorial team at the museum and internally at dpa. One key question was whether the lamps used should provide an accurate representation of the tungsten lamps used historically or whether the visual impact of the Tiffany lamps was the most important factor. After much debate and trialling of numerous retrofit LED lamps, a palette of high CRI ‘filament style’ LED lamps was settled upon which paid respect to tungsten sources in terms of look, colour temperature and colour rendering but offered the energy savings of LED and reduced the heat build-up within the display cases. Another question included whether specific lamps should be provided with additional illumination to further reveal and highlight the craftsmanship and decoration of their bases. Several mock-ups were carried out using fibre optic sources but it was eventually decided that the lighting of the bases should reflect how they were presented historically using the spill light from the shades above.

Whilst the glass staircase and Tiffany lamps themselves are the star attractions in the gallery, the lighting design challenges also included the integration of illumination to non-self-illuminated exhibits and also the descriptive texts and graphics within the gallery. dpa worked closely with the architects and the display case suppliers to integrate and conceal lighting within the cases and again mock-ups proved an invaluable tool in the testing and refining stages of the casework development.

Whilst the Tiffany gallery predominantly provides a stunning space within which to display the Tiffany lamps and present their history, the gallery can also be used by the museum to host special events. In order to respond to this additional requirement, the coves which are ordinarily lit in blue to reveal the barrel vault ceiling can be set to differing hues and brightness via a DMX system to set a more celebratory tone within the gallery.

Rounding off the floor, the Robert H. Smith Family Skylight Gallery designed by Eva Jiricna Architects provides visitors an airy, sun-soaked lounge space where they can reflect on their experience beneath a historic skylight that was part of the building’s original construction, restored with the generous support of American Express.

Client: New-York Historical Society
Architect: Eva Jiricna Architects
Local Architect: PBDW Architects
Structural Designer for Staircase: GL&SS Consulting Engineers
Lighting Control Systems and Integration: Westview Productions
M&E Consultant: ads Engineers
Photography: Corrado Serra and Jon Wallen

 

Chase the Dark 2015 Arête apasionado

On 1st October 2015 IALD members created temporary lighting displays during a 24 hour period as the sun set westward across the globe.

The results were captured via social media to display the creativity and diversity of the lighting design profession.

Akihiko Kawabata, Partner of our Japanese Studio used the flashlight function on his smartphone to create a unique lit effect and transformed his phone in to a lighting fixture. He captured his work as a photo and shared it via Twitter using the hashtag #IALDchasedark, and watched as the lighting design community brightened up the globe one time zone at a time.

In this piece Akihiko-san has created a Silhouette of a flamenco dancer who is wearing pierced flashing earring. This makes us reflect upon her life as a Flamenco dancer, and imagine the story behind it.

This work uses two smartphones to create the lighting effects for Flashlight and Silhouette.

Light Tunnel, darc Night Awards 2015

dpa were recently invited to participate in designing an installation for the inaugural darc Night Awards, held on 24th September 2015.  This was a unique event held to celebrate the darc awards and to also showcase a series of light installations from collaborations between lighting designers and manufacturer partners.

“Light is our guide.  Light assists when darkness falls.  But what if light were a barrier?  An obstruction?  Enter the Light Tunnel, where you must find your own way.”

Light Tunnel creates the illusion of a seemingly impassable route by utilising a series of full height lit vertical lines placed carefully so the participant perceives a barrier that prohibits them from travelling through.  The use of mirrors to the ceiling, walls and the edges of the lit profiles provides infinite inter-reflections, extending reality and the sense of obstruction so one is left to discover the pre-defined passage. Dynamic control of the installation alters the appearance of the Light Tunnel, ensuring continuous way finding adjustment amongst the blurred visual boundaries.

The installation used homogenous illuminated double faced tunable white and RGB modules complete with mirrored side facias. Each light element was installed at floor to ceiling within a secondary tunnel structure designed to conceal the existing building fabric with mirrors continuing along the entire ceiling length.

Night of Heritage Light – Blenheim Palace,
Oxfordshire, UK

dpa Lighting Consultants were delighted to be involved in creating the Night of Heritage Light on 1st October, and seeing one of these World Heritage sites in a way that nobody has before. This project shows the potential of light to present the world around us in a completely new way, but it also demonstrates the versatility of light and the technology behind it.

Lighting is an art as well as a science, and it’s been really exciting and a lot of fun for us to take part in this event with the SLL. We hope it will inspire the next generation of lighters, and remind others of the huge role lighting plays in their daily lives.

Client: Blenheim Palace