Posts tagged with "LEDs":

Aluminum panels injected with air make EarthCam’s new campus glow

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For nearly 20 years, EarthCam has documented projects by many of the world's top design firms: Zaha Hadid ArchitectsBjarke Ingels Group (BIG)Foster + Partners, Gehry Partners, LLP, The Ateliers Jean Nouvel, Renzo Piano Building WorkshopShigeru Ban, Snøhetta, and Weiss/Manfredi. The company, founded in 1996, is a global leader in providing webcam content, technology, and services. An expansion of their current headquarters, located on a 10-acre campus in northern New Jersey, is the result of a recent collaboration between Steven Davis of Davis Brody Bond and Spacesmith. This expanded corporate headquarters joins 12 additional EarthCam offices worldwide.
 
  • Facade Manufacturer ALUSION by Cymat Technologies (facade panels); Nvelope (panel framing); Kawneer (curtain wall)
  • Architects Davis Brody Bond; Spacesmith
  • Facade Installer EarthCam (panel installation); County Glass and Metal Inc. (glazing)
  • Facade Consultants David L. Kufferman P.E. (structural engineering); OMDEX (MEP Engineer); GK&A (LEED consultant); EarthCam (A/V engineering); Ten Foot Digital (LED screen)
  • Location Upper Saddle River, N.J.
  • Date of Completion 2018
  • System steel frame with curtain wall
  • Products Large Glass by Viracon; Aluminum Curtainwall by Kawneer; custom LED exterior lighting by EarthCam
The project, dubbed 'EarthCampus', involves an extensive renovation to an existing 26,000 square-foot cement block building housing technology and manufacturing divisions, along with the addition of a new entryway, connecting atrium, and office workplace. Key features of the project include an uplit translucent aluminum facade. The architecturally stabilized aluminum foam panels were added to the existing office building, installed on a subframe that mechanically attached to the existing block wall. The lightweight panels, manufactured by Alusion, were produced by injecting air into a molten aluminum liquid that contained a fine dispersion of ceramic particles. These particles stabilize the bubbles formed by the air, resulting in a porous but strong surface. The sheets are manufactured in custom sizes, but also are commercially available in standard four-by-eight-foot sheets. The textural aluminum panels frame an entryway pavilion housing a 25-foot-tall LED video wall that showcases live EarthCam feeds from around the world and leans over the interior of the room. This surface extends beyond a curtain wall enclosure where it is clad with flush metal panels, precisely tapering to a sharp edge. “We wanted the building’s facade, one of the first things a visitor sees, to reflect our company values. At the top of the list are innovation and transparency,” said Bill Sharp, senior vice president at EarthCam. “We apply these principles in our business practices, products, services and relationships with clients and employees. The entry is made of three stories of transparent glass where visitors can view from both inside and out a floor-to-ceiling video wall featuring our live streaming camera feeds and construction time-lapse movies.” A steel-clad tunnel leads visitors to the new 11,000 square foot employee workplace where floor-to-ceiling windows and skylights offer ample daylighting. The workplace environment prioritizes a strong connection to nature and the art housed both within the building and throughout the campus grounds. Energy efficiency targets were achieved through the integration of sustainable equipment. Reclaimed building components and new materials made from recycled content contributed to the LEED certification of the facility, highlighting EarthCam’s commitment to corporate sustainability.

The new Ottawa Art Gallery dissolves into the sky with clever detailing

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The expansion of the Ottawa Art Gallery, designed by KPMB Architects and with Régis Côté et Associés as architect-of-record, introduces a new building and redistributes the Gallery within the existing Arts Court complex to create an integrated creative community. The project unites the various programmatic elements through a coherent architectural language and materiality.
 
  • Facade Manufacturer Amico Canada Inc.
  • Architects KPMB Architects (design architect), Régis Côté et Associés (architect of record)
  • Facade Installer Raymond & Associates Roofing Inc.
  • Facade Consultants KPMB Architects (design architect), Régis Côté et Associés (architect of record)
  • Location Ottawa, Ontario, Canada
  • Date of Completion 2018
  • System Expanded metal mesh suspended over metal siding with wall-washing LEDs
  • Products Amico Apex expanded metal mesh, Vicwest AD300-SR metal siding, Shouldice architectural block
The primary facade of the Gallery is an expanded metal mesh suspended in front of an inexpensive metal siding. KPMB conceptualized it as a levitating box acting as a beacon for the city, and the volume contains the art galleries and administration space. Because the galleries require indirect natural light, the design includes strategically placed windows for controlled daylight into special galleries and for clear orientation in the central staircase. KPMB began the design with a custom perforated mesh in mind but, due to cost restrictions, they were forced to investigate other options, including back-painted glass and perforated metal fins. Ultimately, the project team arrived at the expanded metal mesh because it was the simplest way to maintain the original design intent while still being cost effective. The mesh panel slides in front of the edges of the window openings and below the bottom edge of the cladding at the soffit. This creates an effect where the mesh dissolves into the sky as it extends beyond the solid box behind. Where the mesh abuts other materials on the facade, it cuts short to create a reveal. The project team faced a different challenge when detailing the stand-off clips for the metal mesh. The clips coordinate with wall-washing LEDs to make the light as uniform as possible and are organized in columns of three, with exceptions at the corners of the building and at the perimeter of the apertures. At night, the metal clips reflect the light of the LEDs to create a grid of points that dissolve as the building rises in elevation. The black box theatre and the multi-purpose room intersect with the art gallery’s space and use contrasting materials. The theatre volume, which houses the University of Ottawa’s drama program, is clad in a charcoal-colored block that references the neighboring historic stone walls. On the north side of the new complex, above the entry court and atrium, the multi-purpose room is clad in anthracite-colored zinc.

Governor Cuomo’s bridge lighting plan draws criticism amid MTA stalls and shutdowns

Last year, New York Governor Andrew Cuomo excitedly discussed plans to illuminate seven bridges across New York City with multicolored LED lights choreographed to music. Those bridges, along with the Empire State Building and One World Trade, were first slated for installation in winter 2017. Now, among massive stalls and shutdowns at MTA stations across the city—dubbed “the summer of hell” for commuters and tourists alike—critics are gearing back up to question how the city is spending on public infrastructure. A spokesperson for Governor Cuomo, Jon Weinstein, emailed Politico to say the bridge lighting project “is definitely NOT being paid for by the MTA,” indicating the costs could be split between the New York City Power Authority and Empire State Development. The MTA and the New York Power Authority (NYPA) seem to think otherwise: In March, the NYPA’s Board was shown a $216 million estimate for the plan with the MTA picking up the tab, although this was an unaudited financial plan with the project cost as a placeholder. Critics have been quick to distinguish cosmetic from reparative lighting—for instance, bridge and tunnel fixtures repaired after Hurricane Sandy. For example, recent upgrades to one of these post-Sandy projects, the rehab of the tunnel and exit plaza on the Manhattan side of the Queens Midtown Tunnel, included $7.3 million in additional funds to create a decorative blue-and-gold tiling pattern that reflects the state's official colors. Additionally, the Port Authority has officially withdrawn the George Washington Bridge from the lighting portion of the collective plan, which has been dubbed New York Crossings. However, that initiative doesn’t end with its lights. The governor's office has framed New York Crossings as a public art project that would address a number of other civic concerns: incorporating automatic tolling designed to reducing commute times, increasing checkpoint security (through facial recognition software at these stations), seismic updates to each bridge (the plan also incorporates reinforced concrete armoring units underwater), and sustainability (introducing LED units wherever possible). The projected end date for New York Crossings is currently May 2018, even as the governor's office claims the MTA is spending no money on the initiative. An independent review by watchdog group Reinvent Albany estimated the agency has spent roughly $40 million on the decorative towers and LED lighting so far.

Immersive LED installation by artist Pipilotti Rist goes on view at Museum of Fine Arts, Houston

After a smashing success as part of a retrospective of visual and multimedia artist Pipilotti Rist at New York’s New Museum, Pixel Forest and Worry Will Vanish were acquired by the Museum of Fine Arts, Houston. The Swiss artist created Pixel Forest with lighting designer Kaori Kuwabara, constructing thousands of hanging jewel-toned LED lights that shift in waves of color. Worry Will Vanish is a projected video that occupies a corner of the room and takes the viewer through dreamy nature scenes and distorted views of the human body. Conceived separately but displayed together, the immersive experience transports the viewer into Rist’s world.

Pipilotti Rist: Pixel Forest and Worry Will Vanish Museum of Fine Arts, Houston 1001 Bissonnet, Houston Through September 17

Chicago tower gets 150-foot-long LED art installation

A new art installation has recently been illuminated in the epic lobby of the Goettsch-designed 150 North Riverside. At 150 feet long and 22 feet high, 150 Media Stream is an ever changing digital installation comprised of 89 LED blades. Commissioned by the building's developer, Riverside Investment & Development, the installation was closely integrated with 150 North Riverside's design. “150 Media Stream represents an interesting convergence of art, architecture, and technology, and we believe it celebrates the transformational experience of media art,” said Yuge Zhou, creative director at Riverside Investment & Development. The physical components of 150 Media Stream were designed and constructed by McCann Systems, who worked with Digital Kitchen. Chicago-based Leviathan produced the initial artwork and content delivery system. “We set out to build a flexible, intelligent system of endless digital content that would make 150 Media Stream look exceptional, every moment of every day,” explained Jason White, executive creative director of Leviathan. The artwork that will be displayed on the installation will be commissioned from artists and students. A series of collaborative projects have been specifically created for the piece in classes sponsored by Riverside. Partnering cultural and educational institutions also contributed. The first prominent artist to be featured on the installation will be Chicago-based new media artist Jason Salavon. Coupled with its site specificity, this will be one of the largest pieces Salavon has ever done. “The opportunity to explore these aspects of this project was intriguing. There is no other video wall in the world that looks like this one,” Salavon said.
The 150 Riverside tower will officially open Thursday, April 20, 2017, with the lobby being open to the public starting Friday, April 21, 2017, at 6pm.

Three huge LED public art installations planned for downtown L.A.

Over the last few years, the areas around L.A. Live and the nearby Los Angeles Convention Center in Downtown Los Angeles’s South Park neighborhood have been undergoing a development boom, with mid- to high-end condominium and apartment complexes sprouting up at a steady clip. However, a new crop of projects currently either under construction or in the entitlement stages of development—dubbed Metropolis, 1020 Figueroa, Circa, and Oceanwide Plaza by developers—signal an infusion of upscale amenities headed for the area, all connected to the financial core and the rest of the city by a growing transit system, including the Long Beach–bound Blue Line and Santa Monica–bound Expo Line.

Three of the four projects mentioned above—1020 Figueroa, Circa, and Oceanwide Plaza—are to be located on the blocks directly across the street from the StaplesCenter, with the Metropolis development located a block northwest. Through their sheer density and size, they will bring a sorely missing street culture to an area that is roaring back to life.

But what will greet those pedestrians when they step off the trains and onto the streets? Walls of LED screens.

That’s because each project features large expanses of LED ribbon walls wrapping street-level commercial and leisure programs. And, to varying degrees, these ribbon walls are being programmed with art content in an effort to bring a new form of artistic expression to the street.

The Metropolis project, consisting of a multiphase, multi-tower hotel and apartment complex on a 6.33-acre site, is currently under construction, with the first phase of the project due to finish at the end of 2016. Eventually, the $1 billion-plus development will consist of four towers: Tower I will be 38 stories tall and contain 308 condominiums; Tower II will be 18 stories tall and contain a 350-room hotel; Tower III will be 40 stories tall and contain 514 condominiums; and Tower IV will be 56 stories tall and contain 736 condominiums. This project, designed by Gensler, is much further along in the construction process than the others and, as such, its arts program is starting to come into sharper focus.

The Metropolis project, like the others mentioned here, is subject to Section 22.118 of the City of Los Angeles Administrative Code, “Arts Development Fee Credits” (ADF) provision that requires commercial projects valued at $500,000 or more to pay a fee either based on the square footage of the building or equal to one percent of the project’s Department of Building and Safety permit valuation—whichever is lower—into a fund used to increase access to public art citywide. The ADF fund is administered by the city’s Department of Cultural Affairs, an arm of the city government that maintains a trust fund organized by project address to be used to fund arts initiatives at required sites, as necessary. This “one percent for the arts” approach is common in many California municipalities and is being stretched by this collection of projects to incorporate potentially new definitions of what public art might be in the city.

For Metropolis, arts consultants Isenberg & Associates partnered with project management firm DG Hunt & Associates to find suitable artists for the project. After a lengthy selection process, a team made up of digital media artists Refik Anadol and Susan Narduli was selected for the project. Their work Convergence, a 100- by 20-foot LED wall installation, will be unveiled in January of 2017 as construction on phase one wraps up, creating, the developers hope, an opportunity to introduce the project to the city and local community. Anadol and Narduli describe Convergence as “a generative construct fuelled by data and informed by aesthetics,” a synergy of Anadol’s digitally focused art practice and Narduli’s narrative-infused artwork. The duo wants the artwork—located in a plaza facing Francisco Street on the site’s eastern edge—to “create a lively public space by giving urban activities a new experiential dimension.” They plan to do this by fusing the “real-time demographic, astronomical, oceanographic, tectonic, and climate data streams, as well as social media posts, traffic, and news feeds into a constantly shifting cinematic narrative of Los Angeles.” The project was developed hand-in-hand with the architects as part of the overall design process, and is being deployed as an integrated architectural component of Metropolis.

According to the team’s statement, “Convergence explores new ways of storytelling through an intelligent platform that both expresses and responds to the spirit of the city in a seamless fusion of digital content, public space, and urban life.” The work will be available in situ for pedestrians to experience as part of the new sports and entertainment promenade the developers behind Metropolis hope to extend from L.A. Live to the upper reaches of the financial district. It will be available online, as well as via a mobile-device-friendly website accompanied by real-time audio. Experiencing the work in person will generate changes to the physical manifestation of the art, as the attendant data resulting from proximity, interaction, and occupation become woven into a living digital display.

It’s unclear what pedestrians can expect from the arts programs developed for the other three projects, but if Anadol and Narduli’s Convergence is a guide, expect more lights, more data, and perhaps most importantly, a closer relationship among architecture, digital art, and the public realm.

2016 Best of Design Award for Lighting > Indoor: Planned Parenthood Queens by Cline Bettridge Bernstein Lighting Design

The Architect’s Newspaper (AN)’s inaugural 2013 Best of Design Awards featured six categories. Since then, it's grown to 26 exciting categoriesAs in years past, jury members (Erik Verboon, Claire Weisz, Karen Stonely, Christopher Leong, Adrianne Weremchuk, and AN’s Matt Shaw) were picked for their expertise and high regard in the design community. They based their judgments on evidence of innovation, creative use of new technology, sustainability, strength of presentation, and, most importantly, great design. We want to thank everyone for their continued support and eagerness to submit their work to the Best of Design Awards. We are already looking forward to growing next year’s coverage for you.

2016 Best of Design Award for Lighting > Indoor: Planned Parenthood Queens—Diane L. Max Health Center

Lighting Design: Cline Bettridge Bernstein Lighting Design Location: Queens, NY

Planned Parenthood’s new clinic in Queens transforms a former storage warehouse into a welcoming ambulatory healthcare center. Using the building’s generous new windows as inspiration, LED light coves in bold colors punctuate a sleek, white interior. These colorful elements work with signage and furnishings to support wayfinding and spatial organization and the overall design embodies a modern, forward-thinking spirit, representative of the center’s youthful clientele. A thoughtful combination of LED and fluorescent sources achieves a 5 percent energy savings beyond the stringent standards and also meets the project’s modest budget. Light, color, and architecture are woven together to create a friendly, upbeat health center that will serve as a guide for future Planned Parenthood facilities.

Architect Stephen Yablon Architecture

Signage & Environmental Graphics Calori & Vanden-Eynden Dimming Ballasts Lutron Fixed-Color LED Cove Lights iLight Technologies Adjustable Downlights Lucifer Lighting

Honorable Mention, Lighting > Indoor: Lincoln Square Synagogue

Lighting Design: Tillotson Design Associates Location: New York, NY

Small recessed LED downlights in the synagogue’s ceiling create the effect of a starry night, while LED coves with resin diffusers spill soft light onto the acoustical walls, accentuating its form and completing the imagery of a nomadic tented structure under a desert sky.

Honorable Mention, Lighting > Indoor: The Cathedral of Saint Mary of the Assumption 

Architect: MBH Architects Location: San Francisco, CA

In order to maintain the character of this important cathedral while modernizing its lighting, long-life solutions like LED and fluorescent fixtures as well as DMX lighting were seamlessly integrated. The system creates studio-quality imagery for television recordings while maintaining a warm glow.

Iván Navarro’s surreal neon and LED artworks now on view at Paul Kasmin Gallery

Iván Navarro’s Mute Parade exhibition opened this week at New York's Paul Kasmin Gallery. The show features two large works that employ light, sound, and language to engage ideas of migration, propaganda, and power. The first gallery features Navarro’s Impenetrable Rooma labyrinth of six 6-by-6-foot structures outfitted with mirrors and undulating, green neon lights whose interior spaces seem to recede into infinity. The adjacent gallery features two drums, each of them 6 feet in diameter, that incorporate neon LEDs, mirrors, as well a pyramid of six more drums on the rear wall. The interior of each artwork is outfitted with messages that play on the intersection of political and instrumental themes.  Iván Navarro was born in 1972 in Santiago, Chile, during the dictatorship of General Augusto Pinochet. He is known internationally for the politically charged messages of his sculptures and represented Chile at the 53rd Venice Biennale. The exhibition, running through late December, will be his second solo show at Paul Kasmin Gallery.  

Students build glowing installation in West Side Chicago park

Students at the School of the Art Institute of Chicago (SAIC) have designed and built a temporary installation in Chicago’s Homan Square Park. The installation, entitled bLUMEN, is the result of a summer course taught by architectural light artists Luftwerk and Chicago-based MAS Studio. The course was organized by the SAIC Department of Architecture, Interior Architecture, and Designed Objects (AIADO) and the Shapiro Center for Research and Collaboration. bLUMEN takes its name from the German word for flower, blume, and the latin word for light, lumen. The installation is comprised of six 10-foot tall hexagonal steel canopies. The canopy supports fifteen interconnected horticulture LED grow lights that help grow a handful of plants and vegetables. Situated on an underutilized site, bLUMEN was envisioned as a catalyst for community activity and social interaction. The West Side community of Homan Square is one of Chicago’s neighborhoods that suffers from a lack of access to healthy and fresh food. bLUMEN spotlights this issue, while providing a space for existing or new programs to gather, by day or night. The 10 students involved with the project worked with engineers from Skidmore, Owings & Merrill (SOM) and metal fabricators, Active Alloys.

Enormous LED facade lights up Las Vegas arena

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Owned by AEG and MGM Resorts International, the 650,000-square-foot T-Mobile Arena is the result of a three year process involving Populous and Hunt-Penta Joint Venture. The building showcases smart urbanistic principles, aiming to extend pedestrian amenities west from Las Vegas Boulevard along the formerly-named Rue de Monte Carlo (updated to Park Ave) with around 16 acres of park-like entertainment space. The project team, led by Brad Clark, Senior Principal at Populous, took inspiration from the surrounding desert by prioritizing a contextual design response that resulted in two unique facade systems: a thermal wrapper of insulated metal panels, and a curtain wall paired with a curvilinear LED screen. “Our team felt pretty strongly the building should be contextual and of Las Vegas,” said Clark. “Not just the city but the region. Everything in Vegas seems to be a re-creation of something else. We wanted this building to be more authentic than that.” The LED facade takes advantage of an axial connection to Park Avenue, orienting the arena’s main entrance to the northeast, facing Las Vegas Boulevard. Gabe Braselton, Project Architect at Populous says this offers a unique experience for pedestrians: “It really becomes a beacon as you're coming down the Rue de Monte Carlo off of the Strip.”
  • Facade Manufacturer see products listed below
  • Architects Populous
  • Facade Installer Crown Corr Inc
  • Construction Manager Hunt-Penta Joint Venture
  • Location Las Vegas, NV
  • Date of Completion 2016
  • System Formed metal wall panels on continuous insulated backup, curtainwall, exterior LED façade overlay system
  • Products J.E. Berkowitz (Glass Fabricator), Daktronics PSX (LED Façade), Old Castle Engineering Products (Glazing/Curtain Wall), Guardian Industries Corp. (Glass Manufacturer). Centria (Insulated Backup Panel) Crown Corr Inc (Metal skin)
Populous programmed the building to maximize its engagement to urban Vegas, pushing support spaces (restrooms, concessions, vendors, first aid rooms, etc.) to the perimeter to open up a large lobby space at the main entrance where a 1,000-person terrace hovers overhead. Above this, numerous private balconies provide outdoor access for some of the 50 luxury suites lining the arena. All of this activity is overshadowed by the LED screen, which is composed of individual 1/2” thick 50mm pixel pitch sticks set 2” apart. The 9,000-square-foot electronic surface is structured off of a primary steel frame with secondary 6” tube steel members forming a doubly-curved surface that cants outward toward the Strip while curving around the elliptical arena facade. The dynamism of the surface is further articulated with a skew in elevation, producing a parallelogram-shaped screen area with acute angles. Despite a density of LED sticks producing high-resolution video and a daytime-visible brightness level, the screen is surprisingly porous and doubly-functions as a shading and ventilation device for the outdoor balcony spaces and building envelope. The screen is set 18” off a standard aluminum-framed curtain wall assembly which provides enclosure of the building envelope. While previous Populous projects have integrated LEDs into curtain wall assemblies, the scale and tectonics of this configuration is something new for the firm, which has a portfolio of more than 17 NBA/NHL arenas and 85 university and civic arenas. Braselton attributes the unique scale of this facade to evolving technology which is managing to keep up with flexible, multi-purpose architecturally innovative arena design: "as we push different ideas and boundaries, the marketplace for the different products evolves as well. Every couple of years there is something new to consider." The LED facade system accounts for around 25% of the arenas surface area. The other 75% of the building, including south and west exposures, provides thermal response to a harsh desert sun. The earth-toned coloration and stratified composition of the metal panels reflect Vegas’ desert environment and its distant mountain topography. This composition extends inward to the seating bowl which takes on similar design aesthetic. Contained within these two wrappers is a multi-purpose arena that accommodates a variety of events from concerts to sporting events, beauty pageants, circuses and rodeos. "This venue is the definition of multi-purpose." End-stage concerts drove the seating bowl layout, which limits seating behind the stage to maximize capacity for concerts and other events utilizing an end stage configuration. Capacity varies based on the event, ranging from 12,000 to 20,000. Multiple locker facilities, dressing rooms, green rooms and multipurpose spaces were included to accommodate the variety of events and performances that will occur in the building. Since opening, the NHL has awarded an expansion franchise to Las Vegas which will play at the arena. The project, designed to LEED Gold specifications, opened in April and anticipates around 100 to 150 events annually. https://www.youtube.com/watch?v=inpJWJ7tLhg
 

Philadelphia’s Fairmount Park Welcome Center undergoes a retrofit

With its limited financial resources, Philadelphia can’t save all the buildings in the city that deserve protection. But one structure that city officials are preserving is the 1960 Fairmount Park Welcome Center at JFK Plaza/LOVE Park, a round pavilion that locals have dubbed the “saucer” due to its Jetson-like qualities.

Designed by Roy Larson of Harbeson, Hough, Livingston & Larson, the building renovation is part of a $16.5 million upgrade to LOVE Park, at John F. Kennedy Boulevard and North 15th Street, well known for its Robert Indiana LOVE sculpture. The work is being described as a retrofit rather than a pure restoration.

Local firm KieranTimberlake will head the Welcome Center upgrade and prepare the building for use as both a visitor center and setting for a food and beverage operation. Hargreaves Associates is the landscape architect leading the park makeover, slated for completion by spring 2017, and Pentagram is the graphic designer.

The Welcome Center is getting energy-efficient glazing, a green roof, upgraded systems, and improvements to make it more accessible to the disabled. As part of the project, Philadelphia’s Office of Arts, Culture and the Creative Economy commissioned Chromoscope, a ceiling mural by husband and wife artists Tom Drugan and Laura Haddad of Seattle, under its “percent for art” program.

According to the artists, who are working with local lighting design firm The Lighting Practice, the ceiling mural is made with aluminum panels printed in saturated colors with archival ink. The image is composed of distinct patterns in separate colors, layered and blended to create an abstract pattern. In daylight, all of the layered images will be visible at once, resulting in an abstract pattern.

At night, red, green, and blue LED lights will transition through a variety of hues, durations, and sequences on the mural. The timing, speed, and type of color fades can be composed to create a variety of effects for different times and events. As the light color changes, the imagery changes, resulting in a kinetic optical effect that appears to animate the structure itself.

“The art reinstates the pavilion’s original lighting concept as a ‘lantern,’ but will be visually dynamic and compelling at all times,” the artists said. “From a distance, the dynamic pattern will embody the motion and modernist power of the original Welcome Center, which was conceived as an emblem of futurist ambition.”

Product> Shine Bright: Architectural Lighting

Advances in LED technology allow for brighter stars outdoors and perfect clarity within, while providing stylish points of interest. Nova Modular Suspension Edge Lighting The Nova Modular Suspension system is highly adaptable to any commercial or residential environment and can be configured in nearly any pattern because of its ability to run from 4 to 120 inches in 2.4-inch increments. It is compatible with a variety of connectors and is available in six color temperatures from 24 kilowatts to 57 kilowatts. Teardrop Glass Nathan Allan Glass Studios Teardrop architectural glass is the first “texture less” kiln formed glass of its kind. It provides more than adequate levels of opacity and privacy, while allowing ample streams of light to effectively brighten the office interiors. Eggboard Artemide This two-in-one piece won the iF product design award for 2016 and offers both a high number of low-voltage LEDs and sound-absorbing capabilities. It is available in two sizes and three colorways to fully adapt to the needs of each room. Hex Creative Systems Lighting Geometric shapes have been popular as of late and can easily be incorporated with this hexagonal fixture, which is available in two sizes and countless finishes. Constructed of a stamped aluminum housing with a molded acrylic lens, this dimmable wall and flush mount is also safe to use in damp or wet locations. Stellina Amerlux The Stellina fixture is made of a 1.5-inch-thick extruded aluminum housing and is available in a variety of customizable options including as a direct pendant, indirect pendant, or low fixture. Additionally it is available in a range of custom color finishes and can be equipped with integrated Enlighted Smart Sensors. Castor Bollard Luminaire Erco This sleek outdoor luminaire can project light either 180 degrees for pathways or a full 360 degrees for open areas and is available in two different sizes. The product’s special Dark Sky technology prevents light from being diffused above the intended area, cutting down on glare.