As dusk shrouded Lower Manhattan in darkness last night, the National September 11 Memorial & Museum extended an 88-cannon salute to those whose lives were indelibly-changed by the events of September 11, 2001. Now in its 12th year, the Tribute in Light sent two high-intensity beams of light four miles up into the night sky in a poignant memorial marking the absence of the original Twin Towers. Several dozen onlookers including victims' family members and city officials watched the beams emanate from the top of a parking structure just blocks from Ground Zero in a solemn expression of remembrance. Last night's light show marks the second year the 9/11 Memorial has produced the Tribute in Light. "It makes total sense for us to be custodians of the memorial. It makes sense as a museum to curate this as a piece of our extended collection," said Ryan Pawling, assistant director for public programs at the 9/11 Memorial. "It's a symbol of New York and of the resilience of New Yorkers after the attack." The Tribute in Light concept was imagined immediately following the attacks in 2001 as a group of architects and artists organized by the Municipal Art Society (MAS) and Creative Time, a non-profit devoted to public art and was first displayed on the six month anniversary of the attacks. Designers included John Bennett, Gustavo Bonevardi, Richard Nash Gould, Julian Laverdiere, and Paul Myoda with lighting consultant Paul Marantz. MAS continued the show annually through the tenth anniversary in 2011. "Most people see the beacons from far away. Not a lot of New Yorkers know the high-tech design that goes into putting on the show," Pawling said. The technology behind the Tribute in Light and skill required to pull it off are as impressive as the display itself. During the previous week a team from lighting design studio Fisher Marantz Stone worked tirelessly to align the 88 Italian-made light cannons—each equipped with a 7,000-watt xenon light bulb—to create the dual beacons. While the official Tribute in Light was only one night, New Yorkers for miles around could see the beams at night as crews traveled ten to fifteen miles away in several directions to ensure the beacons were plumb. Pawling said each cannon had to be individually aligned—beginning with the corners of each of the squares—to ensure the light beams point directly skyward with one unified glow. The cannons were adjusted fractions of a degree using specialized mounting gear that miles up in the sky accounts for a wide berth. If the lights are not all in sync, the beacons would appear fuzzy from far away. The group brought in observers from the Audubon Society to help mitigate the effects of the lights on the migratory patterns on birds. Pawling said the time of year and New York's geography makes it a prime route for birds, and that while the city itself with its ample night lighting can cause problems for the birds, the Tribute in Light hopes to steer clear of the birds. For instance, Pawling said the light show was turned off last year for two twenty minute periods to allow flocks to pass through without distraction. By taking the reigns from MAS, the Museum was able to gain around $300,000 in funding from the Lower Manhattan Development Corporation (LMDC) to put on the Tribute in Light. LMDC's three-year grant, reallocated from unused transportation funds, extends through next year. With the LMDC phasing out its role in coming years, funding sources for the Tribute in Light will need to be found elsewhere, likely from private sources. Pawling said the museum has not begun exploring new funding options but will meet with various groups in the coming year to help determine the future of the display. All photos by Branden Klayko / AN.
Posts tagged with "Lighting":
Join NightSeeing Friday night for an illuminating walk through Queens to discover the dynamic interplay of light and shadow along the Roosevelt Avenue and 82nd Street corridors. Led by lighting professional Leni Schwendinger and the 82nd Street Partnership , NightSeeing is an educational tour and community enrichment program which aims to introduce the public to lighting theory by bringing awareness to the complex role of light within our urban environments. The projects will work to create a site-specific lighting strategy that aims to foster community engagement and enliven one of the borough’s most vibrant commercial districts. The event begins with a LightTalk by Schwendinger at the Jackson Heights Cinema at 8:00 pm, followed by a guided tour later that evening and a community planning workshop the following day.
The other day, AN revealed details of Fentress Architects' new Tom Bradley International Terminal at LAX, with its arched, light-infused spaces and fancy new retail offerings. Variety takes a closer look at LA- and Montreal-based media company Moment Factory's contribution: a series of interactive displays, including an 80-foot LED “Welcome Wall” that greets visitors, two “Concourse Portals” consisting of 10 video columns that respond to movement, and the 72-foot "Time Tower," a four-sided LED experience surrounding the terminal’s main elevator. The system, which can be updated and adapted, is the most sophisticated of any in the country. And the production, as you can see from the video above, rivaled that of many motion pictures. In other airport news, we plan to head over to Long Beach to see the renovation of several of its airport concourses, part of a $140 modernization plan. We'll keep you posted.
New York's inaugural design week, held from May 10 through 21, was a comprehensive, two-week celebration of all things design across Manhattan island, as well as parts of Brooklyn. Showcasing the latest from industry stalwarts to emerging and independent designers—local, domestic, and international—AN culled its top picks of New York Design Week products from the ICFF show floor, Wanted Design exhibitions, showroom launches, and all events in between. The Low Collection 13&9 Design The multidisciplinary Austrian design studio debuted at Wanted Design with a collection of furniture, wearable fashion and accessories, a cinematic video, and a music album. With the Low Collection (pictured above), Corian is formed into several seating styles that combine with storage vessels, all at ground level. Suitable for outdoors, furniture heights can be modified to generate a unique landscape. Cartesian Chair Alexander Purcell Rodrigues Named for Descartes's coordinate system, the Cartesian chair is made from aircraft-grade aluminum with an anodized finish for extreme durability. Mathematically generated, subtle texture on the back is realized via parametric design tools. Stool 60 Special Editions Artek Originally designed by Alvar Aalto in 1933, Artek celebrates 80 years of production with special updates by guest designers including Mike Meiré, Tom Dixon, Commes des Garcons, Mads Norgaard, and Nao Tamura. Special Edition by Brooklyn-based designer Tamura features screen-printed tree rings directly onto the seat to unify the lifespan of a tree with the longevity of Stool 60. Regent Street Mirror Avenue Road Debuting its second collection with Avenue Road, Yabu Pushelberg launched seven new pieces with its production partner for 2013. Regent Street is a full length dressing mirror with a functional, glass-topped shelf, supported by a polished nickel frame. Minikitchen Boffi Made from Corian with a solid teak chopping board, Boffi's mobile, outdoor kitchen unit can be repositioned easily on swiveling castors. It also features space for a mini-refrigerator, small cutlery drawers, electrical appliance sockets, and a pull-out worktop. Maharam Shell Chair Project Carl Hansen Carl Hansen has collaborated with Maharam textiles on the Maharam Shell Chair Project to celebrate the 50th anniversary of CH07's design. For this special collection, 20 of Wegner's Shell Chairs will feature a range of re-edition designs from Wiener Werksẗatte and Alexander Girard, as well as collaborations with Hella Jongerius and Paul Smith. Tuareg Foscarini The frame of Ferruccio Laviani's Tuareg floor lamp is marked by three metal tubes that house fully adjustable LED light sources. At 82 inches in height and 50 inches in width, it is available in Orange and Black. Curl Luceplan Industrial designer Sebastian Bergne designed Curl with adjustable white, LED technology which allows users to change the light temperature quickly and easily. And with no established base, the fixture can be set in any position for endless configurations of ambient light. Pleat Box Marset Featured in the "Design: Istanbul–Turkey" showcase at Wanted Design, the Pleat Box lighting pendant is designed by Mashallah Design in collaboration with Barcelona ceramicist Xavier Mañosa. Recycling various enamels produces a white ceramic, brown, black, terracotta or gray exterior and is finished with a glossy white or gold interior. Røros Tweed Blanket Snøhetta Debuting this spring, Mountainfold, Color Noise, and Islandskap are Snøhetta-conceived patterns on Norwegian-manufactured Røros Tweed. On Mountainfold, the design was derived from the famous mountain peak in Dovre, Norway (and the firm's namesake), and is available in six colorways. Heze Trove Geometric, circular patterns are rendered in blurred strokes on wood veneer, matte foil wallpaper, PVC-free Type II Redeux, embossed Type II Marquee, or in bamboo and rice textures for windows. A 12-foot by 67-inch panel shows no vertical repeats. Exquisite Wink Wolf-Gordon For its booth at ICFF, Wolf-Gordon commissioned 10 leading designers and artists to demonstrate the benefits of Wink, a clear, dry-erase coating that can be applied to any smooth surface. Featured sketches and designs in the "Exquisite" installation came from Snarkitecture, Ali Tayar, karlssonwilker, Michael Graves, Boym Partners, Myles Karr, and Ben Katchor.
AN had boots on the ground at the 2013 Milan Furniture Fair, taking the air and parsing the differences. This year saw an abundance of collaborations between furniture designers and architects. What follows is the second half of our greatest hits, everything from modular shelving and sleek hardware to design-forward consoles and practical seating. View even more architect-designed furniture from Milan in the first section of our roundup here. Parrish Collection Emeco In conjunction with its collaboration with Konstantin Grcic on the mobile interiors of the new Parrish Art Museum, Emeco released the Parrish Collection of modular indoor–outdoor chairs and tables. Chairs are available with three recycled aluminum frame designs that can be combined into four seat options, including one made of locally sourced wood from Lancaster, Pennsylvania. Ovetto Wallsystem FLOS Continuing his collaboration with Flos, Antonio Citterio designed the new Ovetto wall light for functional up- and down-lighting on walls. The light can be mounted on a rosette or in its own socket. Other additions to the Wallsystem collection include a long-necked Minikelvin design and Disco, a pivoting head that allows for adjustable directional lighting. Tools for Life Knoll Celebrating 75 years of design at this year’s Salone, Knoll introduced its new Tools for Life collection designed by Rem Koolhaas’ practice, OMA. The twelve-piece collection is designed to facilitate the flow between office and social life with adjustable tables and consoles available in a range of Knoll finishes. Dream Chair Carl Hansen & Son Pritzker Prize–winning Japanese architect Tadao Ando and Carl Hansen & Son teamed up to pay tribute to Danish furniture designer Hans Wegner, one of Ando’s own influences. Designed with a single piece of bent plywood atop a bent plywood base, the chair is also available in oak and American walnut with optional leather upholstery. Stack Shelving Paustian Designed by professor and architect Anders Brix, Paustian’s Stack shelving system is made up of stacking elements that lock into each other, allowing the shelves to be assembled without tools. Elements are available in six colors and are easily reconfigured based on evolving needs at home or at the office. ColoRing Collection Schemata Architects Young Tokyo-based architect Jo Nagasaka, founder of Schemata Architects, reinterprets the traditional technique of Udukuri, in which a wood surface is polished to reveal its coarse grain pattern, applying bright paint leftover from construction sites before polishing the surface smooth. The collection includes a variety of tables, chairs, benches, and stools.
Lightfair International held its 2013 edition at Philadelphia’s Pennsylvania Convention Center from April 21–25. More than 500 exhibitors, including 80-plus first-timers, filled over 200,000 square feet of exhibition space with the latest lighting technologies, from solar fittings to roadway fixtures, and rounded out a robust conference program with ample networking opportunities. Following are a handful of standout products from Lightfair’s exhibitors. Fino Amerlux Designed for corporate and hospitality settings, the wall mounted Fino produces indirect light for washing floors or ceilings. Aluminum construction with an extruded latching system was designed to be set within sheet rock for hairline seams. Once installed, light from a replaceable LED board bounces off an internal reflector to produce a soft, even glow. Fino is available in increments of 6-inch lengths. Coastal Light Lighting Science Amber LEDs differentiate Coastal Light, which produces a glow effective for humans but safe for sea turtles and other animals sensitive to white light. In compliance with International Dark Sky Association requirements, as well as the Florida-based company’s state wildlife standards, Coastal Light’s illumination does not attract sea life and provides a solution for legal compliance in the protection of sea turtles. The luminaire is available in various configurations and mountings. Quantum Total Light Management System Lutron The Quantum Total Light Management System unifies all lighting controls, automated window shades, sensors, digital ballasts, and LED drivers under one system. With new additions to the Quantum system, electric light and natural sunlight can be managed, mitigated, and monitored under a single software umbrella to optimize performance and reduce energy use. New control interfaces incorporate slider controls, architrave keypads, and software features like conditional logic, user access rights, and and iPad app. The system’s new features and components will be available this summer. Lumiblade Philips The Lumiblade system utilizes organic light emitting diode (OLED) technology for even, glare-free illumination on a razor thin fixture at .13-inches in thickness. As a fixture, the OLED Panel GL350 measures 4.9 inches on each side with up to a 200-lumen luminous flux suitable for commercial settings. The same OLED technology is also applied to the LivingSculture 3D Module System: The modular system arranges any number of 3-by-3-inch tiles along rods of varying heights to create a uniquely illuminated surface texture. Flatlight Luminaire PIXI Lighting The PIXI company debuted at Lighfair with its Flatlight Luminaire series, which utilizes the same LED technology found in high definition televisions to prevent glare, flicker, and hot spots. The fixture utilizes an internal power source that enables flush mounting on any vertical, horizontal, or angled surface. It can also be installed into T-grid ceilings or suspended as a pendant. At .55 inches thick, it’s available in a variety of rectilinear shapes, sizes, finishes, and color temperatures.
Have you ever found yourself thinking: “If only they had invented a/an—insert really clever device here—my life would be so much better?” For instance, a “clam kayak” that you could serenely float along in after a long week at work, or a “slide bridge” that offered the option to well, slide, rather then walk down a flight of stairs. It sounds too good to be true, but these inventive concepts were just two out of the twelve winning submissions of the first Lexus Design Award competition. The competition, conducted in collaboration with designboom, invited some of the most talented visionaries from around the world to submit their innovative design ideas. The theme of the 2012 competition was “Motion.” Contestants were asked to submit ideas that responded to issues in daily life and provided solutions related to movement. With such an abstract theme, contestants were allowed to let their imaginations run free, and they certainly did. 1,243 submissions were received, 12 winners were selected, and the top two were awarded a prize that appropriately reflects the innovation of the competition—the opportunity to see their designs come to life with the help of world-famous professionals. First place went to Hideki Yoshimoto and Yoshinaka Ono of Tangent for their “INAHO” lighting concept. The designers incorporated their natural environment into their vision for an interactive interior lighting system inspired by the movements of an ear of rice. The delicate freestanding panicles, or bulbs, arranged in a ring and emitting a golden glow, gently sway towards people as they approach the fixture. Yoshimoto and Ono will work with world-renowned product designer Sam Hecht to realize their vision. Second place was awarded to the Japanese Hitomi Igarashi for his design entitled “Making Porcelain with ORIGAMI.” The design clearly integrates the traditional Japanese paper folding technique; porcelain casts will be made from paper molds. Igarashi will be mentored by Japanese architect Junya Ishigami who will help him create the prototype for his design. Both prototypes, along with the designs of the other 10 winning entries, will be exhibited during Milan Design Week taking place this April. Some of the other winners include the Spanish Pablo Fernandez-Goula and Pablo Figuera's "Bscooter," an electric scooter whose sleek and compact design was inspired by the Swiss Army knife, the Italian Rudi Davi's "KLAVA lamp," which remains balanced in any position and emits precise illumination in any setting, and Taiwan's Dear Cai's "FLY," a device that will efficiently disperse crowds throughout Taipei's bustling metro transit. Below are the designs of the 10 finalists whose works will be featured during Milan Design Week:
Lighting artist Leo Villareal has been busy lately, opening installations in the New York City subway system and in Madison Square Park, but an even bigger achievement is set to debut tonight in San Francisco. Villareal has attached 25,000 LED lights to the San Francisco Bay Bridge and connected them to a computer in order to create dazzling lighting displays viewable from the city and the water along the suspension bridge. Called The Bay Lights, the project celebrates the bridge's 75th anniversary and is set to go live tonight at 8:30 PST. But don't worry, if you're not in San Francisco to view the installation from the Embarcadero or Telegraph Hill, the event will be streamed live online at the project's website here. Until then, check out a couple videos below of the installation being tested. The Bay Lights is believed to be the largest of its type in the world and will be in San Francisco for two years, lit each night from dusk till 2:00a.m. [h/t to WNYC and Inhabitat for the videos.]
Beginning on January 22, Pelli Clarke Pelli's glass Winter Garden at Manhattan's World Financial Center will be twinkling with strands of LED lights. Lighting artist and theater designer Anne Militello designed the Light Cycles installation, inspired by the jewel-tone color of lights found in nature such as the Aurora Borealis. LED lights will be attached to strings of mirrored discs hanging from the ten-story barrel-vaulted ceiling. The lights will feature "shifting movements and patterns" programmed by the artist. According to the World Financial Center, "Like charms on a bracelet, the jeweled discs entrance through a softly evolving manipulation of color and texture." The installation runs through March 30, 2013.
On Monday, December 3, the "Jewel of Park Avenue" at 230 Park, aka The Helmsley Building, really began to sparkle as building-owner Monday Properties unveiled a new LED lighting display to a crowd huddled at the base of the building, staring upward with anticipation as rush hour traffic swirled around. Monday Properties President and CEO Anthony Westreich and Manhattan Borough President Scott Stringer stood together to push a giant red button, officially triggering the light show, which flickered into action, turning heads of passers by for blocks around as a live violinist provided musical accompaniment. Built in 1929, the 34-story tower stands guard over Park Avenue, terminating the street's vista looking south on the same block as Grand Central Terminal, and is one of the only buildings in Manhattan that you can literally drive through, underneath monumental stone arches. Designed by the same architects as Grand Central—Warren & Wetmore—230 Park was originally the headquarters of the New York Central Railroad Company and features many rail-centric decorations inside the building's ornate lobby. 230 Park has undergone an extensive renovation, bringing its 1.4 million square feet of office space into the 21st century and earning a LEED Gold certification. The new lighting scheme, designed by Al Borden of Philadelphia-based The Lighting Practice with LED lights by Lumenpulse, is part of the building's sustainability program, Westreich noted at the lighting ceremony, reducing energy requirements by 70 percent from the high-pressure sodium lights they replaced. “Our intent has been to give the building a lively nighttime appearance by reinterpreting its historic forms and proportions with concealed uplight sources,” Borden said in a statement. “During daylight hours, when downlit by the sun, the building’s architectural details have a familiar appearance. At night, we flip the source upside down and present a new way of looking at the building. People will see details very differently and have a new experience of the architecture.” Overall, more than 700 color-changing LED lights have been installed on the building, hidden from view on the street. Each is programmed into a computer than can coordinate a fanciful light show, as was seen at the unveiling, or a simple static light wash at night. Dynamic light shows can be expected during special events and on holidays like the Fourth of July or Thanksgiving. Chairman of the New York City Landmarks Preservation Commission Robert B. Tierney lauded the renovation and lighting efforts at the event, stating, "This is a model of restoration and preservation of one of the most important buildings in the city of New York, and therefore the United States." Scott Stringer was equally enthusiastic about the project during his speech, "The fact that this is a building that's sustainable, that speaks to reducing energy, is really about the future of cities around the country and around the world." While the wash of color along the building facade creates a vibrant profile for the building at night, the real power of the light is at the tower's ornate cupola, where the building's detail comes into view in stark contrast to the rigid grid of windows on Walter Gropius' neighboring MetLife Building.
Digital design meets traditional Chinese craftsmanship in a pavilion constructed like a paper lanternHong Kong-based architects Kristof Crolla (LEAD) and Adam Fingrut (Zaha Hadid) married traditional Chinese craftsmanship and digital design technology in their temporary pavilion, Golden Moon, which won the Gold Award in the Mid-Autumn Festival Lantern Wonderland last month. The 60-foot-tall structure was built in just 11 days atop a reflection pool in Hong Kong's Victoria Park, proof that "complex geometry can be built at high speed and low cost with the simplest of means," said Crolla and Fingrut, who sought to rethink digital design by "anchoring the paradigm in a strong materiality." To create the "fiery flames," a reference to the Chinese legend of Moon Goddess Chang, Crolla and Fingrut began with a geodesic dome structure made from steel and wrapped it with a bamboo grid made using traditional scaffolding techniques. In this case, however, that "highly intuitive and imprecise craft" was based on an incredibly precise computer generated grid designed to install and bend the bamboo rods into a specialized structure around the steel dome. The dome was then clad with metal wire and a translucent, flexible fabric, two typical paper lantern-making materials, which were then lit up by 10,000 LEDs. The flame pattern and bamboo structure is "based on an algorithm for sphere panelization that produces purity and repetition around the equator and imperfection and approximation at the poles." The dome is wrapped with a diagrid according to a Fibonacci sequence that produces order along the equator and randomness at the poles. Simple drawings of this code were made for the construction team so they could easily mark the intersections between the steel and bamboo structures. Golden Moon is the result of research into what Crolla and Fingrut call "building simplexity," or constructing complex geometries from the simplest means. For example, optimization scripts were used to reduce the amount of fabric "flames" from 470 different units to ten that could stretch and adapt to the curve of the dome. "Preconceptions of building methods and familiar construction techniques had to be abandoned by all parties as both the digital and the material world demanded a new design and building set-up to be devised."
In honor of the Day of the Dead (and to raise some money), LA's MAK Center is hosting an auction of some amazing lamps this Friday from 7 to 10pm at its Fitzpatrick-Leland House. Those designing pieces for Light My Way, Stranger include Ball-Nogues, Hitoshi Abe, Coop Himmel(l)au, P-A-T-T-E-R-N-S, Hodgetts + Fung, Ehrlich Architects, B+U and many more. We can't do these objects justice with words, so check out the slideshow. Enjoy!