Luminapolis

Autor: wk

  • Gernot Tscherteu: Medien Architektur Biennale in WienGernot Tscherteu: Media Architecture Biennale in Vienna

    Vom 7. bis 31. Oktober findet im Künstlerhaus Wien die Media Architecture Biennale 2010 statt. Luminapolis sprach mit Dr. Gernot Tscherteu (reality lab – mediadesign and rearch), einem der Kuratoren der Ausstellung. Tscherteu gehört zu den führenden Köpfen der noch jungen Szene. Nach der Luminale 2010 gab es eine Reihe von Medien+Architektur-Ereignissen wie das laufende Media Facades Festival Europe 2010 oder der Workshop auf der Ars Electronica. Die Wiener Biennale dürfte der Höhepunkt dieser Veranstaltungsserie werden.


    Luminapolis    : Dr. Tscherteu, what is your personal interest in the link between media and architecture? And when did you start to be curious on this subject?

    Gernot Tscherteu    : Well, my wife is architect and i love architecture in many ways – as a media designer. I was always interested in projects that happen beyond the computer screen. In 2004 during our work for the University of Applied Arts in Vienna, T-Mobile asked us for an artistic proposal for the facade of the new T-Center in Austria. At that time we thought the first time about a building integrated media facade system, which then was prototyped in the mediaface.net project.

    Luminapolis    : During last Luminale you organized the Media Facade Summit in Frankfurt. Now six month later the Media Architectur Biennale follows in Vienna. What is the difference between these two events?

    Gernot Tscherteu    : The Summit took advantage of the unique opportunity that the whole light+buidling industry and a lot of creatives comes to the Luminale and the trade show. The presentations there were intended to provide a summary of the state of the art in the field. During the Biennale there will much more time to meet and discuss into depth during our 3 days conference curated by Oliver Schürer. In our large exhibition we will show projects and the technology behind. The Biennale is our biggest project so far: It is planned since August 2009 and currently there are more than 10 persons involved in the organisation and production.

    Luminapolis    : The public space is a very difficult sphere between privacy and publicity, commercial and social interests. A lot of project are occupying this space with media messages. I think it is difficult to find the right balance.

    Gernot Tscherteu    : I totally agree! It is not our goal to maximise the number of Media Architectures but to maximise its quality and its usefulness for public space. We want to promote the discourse around these projects and raise the public awareness so that a common sense of responsibility and quality evolves. We cannot make aggressive led-screen technology unhappen, but we can help to discuss the important issues and bring the different stakeholders together so that the projects will become better.

    Luminapolis    : What kind of visitors do you expect on your conference?

    Gernot Tscherteu    : In the conference we expect four groups of stakeholders: creatives: architects and (media) designers / artists, lighting and building industry and their technical experts, media and telecommunication sector and sciences and city administration. The conference will be forum for these groups and allows the discusssion of overlapping issues in the panels as well as more specific topics in smaller groups in the workshops.

    Luminapolis    : Do you know an example of a perfect media architecture? And can you give a discription of it?

    Gernot Tscherteu    : We do not have a monolithic understanding of Media Architecture. The exhibition in Vienna that I curate together with Martin Tomitsch will show that there are different cultural settings in which the production of Media Architectures takes place; we call them „animated architecture“, „money architecture“, social media architecture“, „spatial media art“ and „future trends“. Each setting has its own key projects and „stars“. I personally prefer „Architecture“ – which is more than a big screen on the facade. Therefore i like the work of UNStudio, Asymptote or realities:united. But come and see yourself!

    More details >


    From October 7th to the 31st the Media Architektur Biennale 2010 takes place in the Künstlerhaus (artists‘ house) Vienna. Luminapolis spoke with Dr. Gernot Tscherteu (reality lab – mediadesign and rearch), one of the curators of the exhibition. Tscherteu is one of the leading heads of this young scene. With Luminale in 2010 a serie of media +architecture events starts like the current Media Facades Festival Europe 2010 or the workshop on the Ars Electronica. The Biennale in Vienna might become the summit of this serie.


    Luminapolis    : Dr. Tscherteu, what is your personal interest in the link between media and architecture? And when did you start to be curious on this subject?

    Gernot Tscherteu    : Well, my wife is architect and i love architecture in many ways – as a media designer. I was always interested in projects that happen beyond the computer screen. In 2004 during our work for the University of Applied Arts in Vienna, T-Mobile asked us for an artistic proposal for the facade of the new T-Center in Austria. At that time we thought the first time about a building integrated media facade system, which then was prototyped in the mediaface.net project.

    Luminapolis    : During last Luminale you organized the Media Facade Summit in Frankfurt. Now six month later the Media Architectur Biennale follows in Vienna. What is the difference between these two events?

    Gernot Tscherteu    : The Summit took advantage of the unique opportunity that the whole light+buidling industry and a lot of creatives comes to the Luminale and the trade show. The presentations there were intended to provide a summary of the state of the art in the field. During the Biennale there will much more time to meet and discuss into depth during our 3 days conference curated by Oliver Schürer. In our large exhibition we will show projects and the technology behind. The Biennale is our biggest project so far: It is planned since August 2009 and currently there are more than 10 persons involved in the organisation and production.

    Luminapolis    : The public space is a very difficult sphere between privacy and publicity, commercial and social interests. A lot of project are occupying this space with media messages. I think it is difficult to find the right balance.

    Gernot Tscherteu    : I totally agree! It is not our goal to maximise the number of Media Architectures but to maximise its quality and its usefulness for public space. We want to promote the discourse around these projects and raise the public awareness so that a common sense of responsibility and quality evolves. We cannot make aggressive led-screen technology unhappen, but we can help to discuss the important issues and bring the different stakeholders together so that the projects will become better.

    Luminapolis    : What kind of visitors do you expect on your conference?

    Gernot Tscherteu    : In the conference we expect four groups of stakeholders: creatives: architects and (media) designers / artists, lighting and building industry and their technical experts, media and telecommunication sector and sciences and city administration. The conference will be forum for these groups and allows the discusssion of overlapping issues in the panels as well as more specific topics in smaller groups in the workshops.

    Luminapolis    : Do you know an example of a perfect media architecture? And can you give a discription of it?

    Gernot Tscherteu    : We do not have a monolithic understanding of Media Architecture. The exhibition in Vienna that I curate together with Martin Tomitsch will show that there are different cultural settings in which the production of Media Architectures takes place; we call them „animated architecture“, „money architecture“, social media architecture“, „spatial media art“ and „future trends“. Each setting has its own key projects and „stars“. I personally prefer „Architecture“ – which is more than a big screen on the facade. Therefore i like the work of UNStudio, Asymptote or realities:united. But come and see yourself!

    More details >


  • Luzern gewinnt den City.People.Light Award 2010Lucerne is the Winner of City.People.Light Award in 2010

    Luzern hat den ersten Preis beim City.People.Light Award 2010 gewonnen. Die jährlich von Philips in Kooperation mit der Lighting Urban Community International (LUCI) organisierte Ausschreibung prämiert Städte, die vorbildliche Licht-Konzepte verwirklichen und die Lebensqualität ihrer Einwohner verbessern. Der mit 10.000 Euro dotierte Preis wurde in Chartes übergeben.
    Den zweiten Preis erhielt die südwest-französische Stadt Pau für ihre Beleuchtung seiner aus dem 14. Jahrhundert stammenden Burg. Der dritte Preis ging nach Göteborg für die Beleuchtung des ehemaligen Hafengebietes, das in ein Wohnquartier umgewandelt worden war. Mehr über den City.People.Light Award hier>

    The city of Lucerne in Switzerland has been awarded first prize in the 2010 international city.people.light awards, the annual contest organized by Philips and the Lighting Urban Community International Association (LUCI) to reward the use of lighting in the creation of livable cities that benefit the well-being of those who live, work or visit them. At the 2010 city.people.light awards ceremony today in Chartres, Philips and LUCI presented Lucerne with its first prize – a cheque for Eur 10,000 in recognition of the city’s winning submission, a comprehensive lighting ‘masterplan’ aimed at highlighting the strengths of Lucerne’s five districts while minimizing the impact of light on residents. “Lucerne has produced a perfect example of simply enhancing life with light,” comments Marc de Jong, General Manager of the Professional Luminaires business group within Philips. “In creating a coherent lighting strategy the city has brilliantly integrated its lighting design into the complete fabric of urban life.”

    In their deliberation, the independent city.people.light awards jury – made up of three lighting designers and three representatives from municipalities – praised Lucerne’s “sophisticated and beautifully understated” application of natural lighting to transform the urban experience. The jury praised how the plan brought out the city’s unique character while at the same time minimizing excessive light ‘spill’ or order to give residents a peaceful night’s sleep.

    Cathy Johnston, president of the jury and a senior urban planner within the City of Glasgow in the UK, praised Lucerne’s entry by saying: “The holistic and comprehensive nature of this lighting plan demonstrates the commitment of the city to integrating lighting into the city.” Leading lighting designer Ian Theobald added that Lucerne’s entry was “…a well executed masterplan, involving a diverse team and public consultation, resulting in a pleasant aesthetic experience.”, while German designer Ulrike Brandi added: “The approach to install a [lighting] masterplan for the city helps to create an atmosphere for the whole city. The vision of ‘less is more’ respects darkness and the day-night-rhythm of the residents.”

    The French city of Ville-de-Pau and Gothenburg in Sweden were named as runners-up in the competition, which attracted a total of 27 entries from municipalities around the world, including cities in China, South Korea, Brazil, South Africa and the United States.

    Pau, in south-western France, received second prize for the impressive illumination of its iconic 14th Century castle. Overlooking the city, the castle provides a distinct point of local identity, creating an enormous sense of pride for Pau’s residents, as well as draw for tourists in the region. In replacing the existing 30-year-old lighting installation, the project team focused on balancing heritage and sustainability, ensuring the new installation maximized the latest energy-efficient lighting solutions.

    “The culture of the city and the region has been given new interpretation through this lighting project where the involvement of the city municipality and the cultural minister has brought about a new landmark,” commented city.people.light awards jury president Cathy Johnston. “The mixture of spectacular storytelling illumination and high quality permanent lighting is unusual in a project. It has required skill to create the balance and produce high quality design.”

    The Swedish city of Gothenburg had a different mission with its third prize-winning submission to the 2010 city.people.light awards – applying lighting in the transformation of the city’s former shipyard into a residential area. The project set out specifically to link the past with the present, lighting up the Västra Eriksberg yard’s giant crane to provide a visual reference to Gothenburg’s industrial history, while providing new residents to the area with an inspirational urban sculpture to welcome them home at night.

    Commenting on the project, Cathy Johnston said: “The use of light has brought out unexpected qualities in the former dockland. The crane has become transformed into a sculpture creating a new landmark.” Lighting designer Lucette de Rugy added that it was: “an original idea to create new places of interest for the population in using a place where they were gathered and transforming it into an attraction for everyone.” More about the city.people.light award>

  • LUCI Charter: Für eine Lichtkultur der NachhaltigkeitLUCI Charter on Urban Lighting

    Auf der Generalversammlung von LUCI (Lighting Urban Community International) in Chartres ist eine Erklärung zum Thema „Lichtkultur der Nachhaltigkeit“ verabschiedet worden. Der Energieverschwendung und Lichtverschmutzung wird eine Absage erteilt. LUCI gehören rund 60 Städte rund um den Globus an. More>On the general assembly of the LUCI (Lighting Urban Community International) in Chartres a LUCI Charter has been adopted on the subject „Promoting a culture of sustainability in Lighting“. A refusal is given to the energy waste and light pollution. LUCI members are about 60 cities all around the globe. More>

  • Deadline: Deutscher Lichtdesign Preis 30.9.2010Deadline: Deutscher Lichtdesign Preis 30.9.2010

    Am 05.05.2011 wird zum ersten Mal der Deutsche Lichtdesign-Preis vergeben. In zehn Kategorien sind Planungsbüros im deutschsprachigen Raum und BeNeLux aufgerufen, bis zum 30.09.2010 ihre Projekte einzureichen. Die unabhängige Jury, bestehend aus fünf namhaften Persönlichkeiten der Lichtbranche, wird nach der ersten Jurysitzung im Spätherbst die eingereichte Projekte besichtigen und bewerten. Die örtliche Begutachtung der nominierten Projekte durch die Jury, unterstreicht die Qualität des Wettbewerbs und ist eine absolute Besonderheit! In einer zweiten Jurysitzung werden dann die Gewinner je Kategorie nach festgelegten Kriterien mit der höchsten Bewertungszahl bestimmt. Enthüllt werden die Preisträger erst am Abend der Preisverleihung im Maritim-Hotel in Köln.
    Die Preisverleihung wird dabei zu einem wichtigen Branchenereignis. Hier treffen sich Lichtplaner, Bauherren und die Lichtindustrie in fest­licher Atmosphäre und erleben einen kommunikativen, anregenden Abend. Die Veranstaltung wird so zu einem Fixstern für das Netzwerk aus Planern, Industrie und Bildung im Architekturlicht. Licht als „Baustoff“ ist heute allgegenwärtig. Als temporäre Verwandlung von Gebäuden, als Anstrahlung oder ganz profan als gut beleuchtetes Interieur. Und seit ein paar Jahren wird die Lichtplanung, die als Grundlage dafür notwendig ist, auch als integraler Teil der Planung verstanden – der Berufsstand beginnt sich durchzusetzen. Zuerst in großen Projekten, aber immer weiter auch in der Breite der Architekturwelt.
    Für die Premiere des Wettbewerbs steht nun auch die Jury fest. Die Mitglieder sind: Prof. Dr.-Ing. Paul Schmits, FH Hildesheim; Prof. Dr. Thomas Römhild, FH Wismar; Dr. Jürgen Waldorf, ZVEI; Burkhard Fröhlich, Chefredakteur DBZ und Markus Helle, Chefredakteur Highlight.

    Die Kategorien zum Deutschen Lichtdesign-Preis im Detail:
    Büro und Verwaltung
    Ein klassischer Bereich für Lichtplanungsprojekte, der notwendige Arbeitsgrundlage und Ästhetik verbindet.
    Energieeffizienz
    Kategorie für Projekte, die sich besonders dem Thema Nachhaltigkeit widmen oder das Thema Nachhaltigkeit in innovativen Ansätzen behandeln.
    Private Projekte
    Wohngebäude und private Projekte mit repräsentativem Charakter.
    Shopbeleuchtung
    Licht zum Verkaufen – Beleuchtung von Läden und kommerziellen Präsentationen aller Art.
    Events und Messen
    Temporäre Projekte sowie Beleuchtung von Messeständen und Showrooms.
    Außenbeleuchtung / Anstrahlung
    Die Kategorie für Projekte im Außenraum.
    Museen / Lichtkunst
    Bespielhafte Beleuchtung von Ausstellungen und/oder Prämierung von Lichtkunstprojekten.
    Öffentliche Bereiche / Innenraum
    Foyers, Publikumsbereiche von Shoppingmalls und andere Bereiche mit Publikumsverkehr.
    Öffentliche Bereiche / Straßenbeleuchtung
    Bahnhöfe, städtische Räume, Fußgängerzonen, Parks und Beleuchtung von Straßen.
    Internationales Projekt
    Herausragende Projekte außerhalb Deutschlands
    Lichtdesigner des Jahres
    Prämiert wird der Planer oder das Büro mit den meisten Punkten aus der Jurierung der einzelnen Projekte.

    Anmeldungen zum Deutschen Lichtdesign-Preis 2011 werden bis zum 30.9.2010 entgegengenommen. Diese sind nur über das Einreichungsformular des Veranstalters möglich und müssen schriftlich eingereicht werden. Bewerben dürfen sich Planer (Lichtplaner/Lichtdesigner, Architekten, Innenarchitekten, Elektroplaner …) Bauherren und Investoren. Pro eingereichtes Projekt wird eine Registrierungsgebühr von 75,-Euro erhoben. Das Formular für die Einreichung kann direkt von der Homepage des Veranstalters geladen (www.lichtdesign-preis.de) oder per E-Mail angefordert werden: info@lichtdesign-preis.de.

    Am 05.05.2011 wird zum ersten Mal der Deutsche Lichtdesign-Preis vergeben. In zehn Kategorien sind Planungsbüros im deutschsprachigen Raum und BeNeLux aufgerufen, bis zum 30.09.2010 ihre Projekte einzureichen. Die unabhängige Jury, bestehend aus fünf namhaften Persönlichkeiten der Lichtbranche, wird nach der ersten Jurysitzung im Spätherbst die eingereichte Projekte besichtigen und bewerten. Die örtliche Begutachtung der nominierten Projekte durch die Jury, unterstreicht die Qualität des Wettbewerbs und ist eine absolute Besonderheit! In einer zweiten Jurysitzung werden dann die Gewinner je Kategorie nach festgelegten Kriterien mit der höchsten Bewertungszahl bestimmt. Enthüllt werden die Preisträger erst am Abend der Preisverleihung im Maritim-Hotel in Köln.
    Die Preisverleihung wird dabei zu einem wichtigen Branchenereignis. Hier treffen sich Lichtplaner, Bauherren und die Lichtindustrie in fest­licher Atmosphäre und erleben einen kommunikativen, anregenden Abend. Die Veranstaltung wird so zu einem Fixstern für das Netzwerk aus Planern, Industrie und Bildung im Architekturlicht. Licht als „Baustoff“ ist heute allgegenwärtig. Als temporäre Verwandlung von Gebäuden, als Anstrahlung oder ganz profan als gut beleuchtetes Interieur. Und seit ein paar Jahren wird die Lichtplanung, die als Grundlage dafür notwendig ist, auch als integraler Teil der Planung verstanden – der Berufsstand beginnt sich durchzusetzen. Zuerst in großen Projekten, aber immer weiter auch in der Breite der Architekturwelt.
    Für die Premiere des Wettbewerbs steht nun auch die Jury fest. Die Mitglieder sind: Prof. Dr.-Ing. Paul Schmits, FH Hildesheim; Prof. Dr. Thomas Römhild, FH Wismar; Dr. Jürgen Waldorf, ZVEI; Burkhard Fröhlich, Chefredakteur DBZ und Markus Helle, Chefredakteur Highlight.

    Die Kategorien zum Deutschen Lichtdesign-Preis im Detail:
    Büro und Verwaltung
    Ein klassischer Bereich für Lichtplanungsprojekte, der notwendige Arbeitsgrundlage und Ästhetik verbindet.
    Energieeffizienz
    Kategorie für Projekte, die sich besonders dem Thema Nachhaltigkeit widmen oder das Thema Nachhaltigkeit in innovativen Ansätzen behandeln.
    Private Projekte
    Wohngebäude und private Projekte mit repräsentativem Charakter.
    Shopbeleuchtung
    Licht zum Verkaufen – Beleuchtung von Läden und kommerziellen Präsentationen aller Art.
    Events und Messen
    Temporäre Projekte sowie Beleuchtung von Messeständen und Showrooms.
    Außenbeleuchtung / Anstrahlung
    Die Kategorie für Projekte im Außenraum.
    Museen / Lichtkunst
    Bespielhafte Beleuchtung von Ausstellungen und/oder Prämierung von Lichtkunstprojekten.
    Öffentliche Bereiche / Innenraum
    Foyers, Publikumsbereiche von Shoppingmalls und andere Bereiche mit Publikumsverkehr.
    Öffentliche Bereiche / Straßenbeleuchtung
    Bahnhöfe, städtische Räume, Fußgängerzonen, Parks und Beleuchtung von Straßen.
    Internationales Projekt
    Herausragende Projekte außerhalb Deutschlands
    Lichtdesigner des Jahres
    Prämiert wird der Planer oder das Büro mit den meisten Punkten aus der Jurierung der einzelnen Projekte.

    Anmeldungen zum Deutschen Lichtdesign-Preis 2011 werden bis zum 30.9.2010 entgegengenommen. Diese sind nur über das Einreichungsformular des Veranstalters möglich und müssen schriftlich eingereicht werden. Bewerben dürfen sich Planer (Lichtplaner/Lichtdesigner, Architekten, Innenarchitekten, Elektroplaner …) Bauherren und Investoren. Pro eingereichtes Projekt wird eine Registrierungsgebühr von 75,-Euro erhoben. Das Formular für die Einreichung kann direkt von der Homepage des Veranstalters geladen (www.lichtdesign-preis.de) oder per E-Mail angefordert werden: info@lichtdesign-preis.de.

  • Licht-Schrift-Roboter auf Trafalgar SquareLIght Painting Robots in Trafalgar Square

    Clemens Weishaar und Reed Kram werden die Installation der London Design Week 2010 auf dem Trafalgar Square realisieren. Auf jedem Roboterarm sind LED Lights installiert. Via Computer oder über andere mobile Zugänge kann das Publikum in die Choreographie der Roboterarme eingreifen. Jeder Roboter formt durch seine Bewegung einen Buchstaben, der von einer Langzeitbelichtungs-Kamera aufgenommen wird. Dieses Photo wird auf der Projektseite im Internet publiziert. Vom 16. bis 23. September läuft das Projekt unter dem Titel OUTRACE, das mit acht Industrie-Robotern aus der Audi Produktion umgesetzt wird. Die Besucher vor Ort aber auch die Internet-User können mit der Installation über die Website www.outrace.org interagieren. Mehr>

    Clemens Weisshaar and Reed Kram will design this year’s Trafalgar Square installation for The London Design Week. A powerful LED light source is positioned at the tool head of each robot. By logging in to the online control website with a mobile device or a computer a global audience as well as visitors to Trafalgar Square are empowered to direct the path of the light held by the robotic tentacles, each creating a letter trace recompiling the user’s text message. Long-exposure cameras capture these interactive light paintings to the project website and social media to be shared. From September 16 to 23, 2010 their project entitled OUTRACE, empowers the general public to take control of eight industrial robots on loan from Audi’s production line. Both visitors to the square, as well as a global web audience can interact with the installation via www.outrace.org. More>

  • New York: 9/11 September – Tribute in Light

    New York. Jedes Jahr erinnert die Licht-Skulptur „Tribute in Light“ an die Opfer des Terrors am 11. September 2001. Lighting Designer Charles Stone stellte „Tribute in Light“ auf der Luminale 2002 vor. Hier finden Sie Informationen zum Konzept 2010. Mehr>

    Informationen aus dem Luminapolis-Archiv: Das detaillierte Konzept, die Bilder von 2008 und ein Video der New York Times geben einen Eindruck. Mehr>

    New York. Every year the light sculpture „Tribute in Light“ reminds the victims of the terror on the 11th September, 2001. Lighting Designer Charles Stone presented „Tribute in Light“ on the Luminale 2002. More about the memorial in 2010 here>

    The Luminapolis-Archive: The concept, the current images of 2008 and a video made by New York Times give an impression. More>

  • Experimentierkasten: OLED für den SelbstversuchExperience Kit: Compose your own OLED Light

    Lumiblade, unter dieser Marke entwickelt Philips seine Organic Light Kompetenz. Jetzt gibt es den ersten Experimentierkasten zum Thema, um quasi im Selbstverusch eigene Erfahrungen mit der neuen Lichtquelle zu machen. Eine informative Website stellt die neuen Möglichkeiten vor. Mehr>The Lumiblade Creative Lab brings together professionals from a wide range of creative backgrounds, inviting them to experience – and experiment with – Lumiblade for themselves. More than just an abstract design concept, our Creative Lab is a real workshop, in Aachen (Germany), where experts in the fields of lighting, electronics and materials are on hand to advise you how to integrate light and add a new dimension to your projects. It is a journey of discovery, a meeting of creative and technical minds, to explore the wide-reaching potential of OLED lighting in design and construction. More>

  • Plinio Godoy: Die nächste Herausforderung: FIFA World Cup in BrasilienPlinio Godoy: The Next Big Lighting Design Job: FIFA World Cup in Brazil

    Plinio Godoy von Luz Urbana ist einer der führenden Lichtdesigner Basiliens und Lateinamerikas. Plinio Godoy hat Luminapolis ein Interview gegeben.

    Luminapolis    : What was the first contact with lighting design in your biography?

    Plino Godoy    : When I was in the university I had an opportunity to be a trainee in a public lighting fixture company, when I could study about photometrics and basics.

    Luminapolis    : What is your most important project you have realized until today?

    Plino Godoy    : The most famous is the Octávio Frias de Oliveira Bridge, in São Paulo and Pelourinho in Salvador – Bahia – Brazil

    Luminapolis    : What do you think is the mission of your profession in the next ten years?

    Plinio Godoy    : Our mission is to give to market a kind of balance between the industry and the clients, supplying both with good and precise technical information applied to creativity. The LED world has to be in the lighting design aspect, because the lack of information for the market and the speed of development by the manufactures is a very delicate relationship.

    Luminapolis    : What is your next project you are working on?

    Plinio Godoy    : We are investing time to develop the concept of lighting master plan, for places and cities, we are working in some sites to the next FIFA World Cup in Brazil 2014.

    Kontakt:
    Eng. Plinio Godoy
    Luz Urbana
    Rua Áurea, 344 | Vila Mariana
    São Paulo | SP | 04015-070
    www.luzurbana.com.br

    Buch-Tipp    : International Lighting Design Index 2010 reports the Octávio Frias de Oliveira Bridge
    Plinio Godoy of Luz Urbana is one of the leading lighting designers in Brazil and Latin Americas. He answers the questions of Luminapolis.

    Luminapolis    : What was the first contact with lighting design in your biography?

    Plino Godoy    : When I was in the university I had an opportunity to be a trainee in a public lighting fixture company, when I could study about photometrics and basics.

    Luminapolis    : What is your most important project you have realized until today?

    Plino Godoy    : The most famous is the Octávio Frias de Oliveira Bridge, in São Paulo and Pelourinho in Salvador – Bahia – Brazil

    Luminapolis    : What do you think is the mission of your profession in the next ten years?

    Plinio Godoy    : Our mission is to give to market a kind of balance between the industry and the clients, supplying both with good and precise technical information applied to creativity. The LED world has to be in the lighting design aspect, because the lack of information for the market and the speed of development by the manufactures is a very delicate relationship.

    Luminapolis    : What is your next project you are working on?

    Plinio Godoy    : We are investing time to develop the concept of lighting master plan, for places and cities, we are working in some sites to the next FIFA World Cup in Brazil 2014.

    Contact:
    Eng. Plinio Godoy
    Rua Áurea, 344 | Vila Mariana
    São Paulo | SP | 04015-070
    www.luzurbana.com.br

    Book-Tip    : International Lighting Design Index 2010 reports the Octávio Frias de Oliveira Bridge

     

  • Experimental Box: Goethe’s Color StudiesExperimentierkasten zu Goethes Farbenlehre

    1791 verfasste Johann Wolfgang Goethe eine Experimentieranleitung, die er zusammen mit einer Sammlung kleiner Spielkarten herausgab – die Beiträge zur Optik. Durch ein Prisma kann der Nutzer Goethes Tafeln betrachten und erkennen, wie und warum Farben entstehen und sich mischen. Goethes Farbenlehre fasziniert bis heute Künstler, Architekten, Designer und vor allem Anthroposophen, die sich mit Licht und Farbe beschäftigen. Die zur Buchmesse herausgebrachte Box enthält alle Texte und Materialien, die nötig sind, um Goethes Farbenlehre nachzuvollziehen und wirklich zu verstehen. Mehr InformationenIn 1791 Johann Wolfgang Goethe has written experimental instructions which he published together with a collection of small playing cards – the contributions to the optics. By a prism user can look at Goethes boards and recognize how and why colors originate and interfere. Goethe’s color studies fascinates till this day: artists, architects, designers and all anthrosophisticated people who deal with light and color. The box brought out to the Frankfurt Book Fair contains all texts and materials which are necessary to understand Goethe’s color studies really. Instructions only german.

    More information

  • Christoph Kronhagel: Über MediatekturChristoph Kronhagel: On Mediatecture

    Luminapolis: Christoph Kronhagel, you are founder of Kronhagel Mediatecture (Bonn/Germany). These days you publish a book on the conjunction of architecture, digital media and public space. „Mediatecture / Mediatektur“ is the title. Is mediatecture a new discipline?

    Christoph Kronhagel: Currently we have reported a great deal on Media Architecture. I prefer the term “Mediatecture”, because it describes in a more suitable way, the claim of architecture being comprehended as a media. The use of electronic media in architecture is only a secondary matter. Rather, it is all about building a link between a spot with ideas, visions and happenings (media…), so that the spot receives an individual construction (…tecture).

    Luminapolis    : What are your personal experiences with mediatecture?

    Christoph Kronhagel    : As a one of the founders of ag4 in Cologne in 1991, I have mediated, as a sensorial experience, the ideas and visions of many enterprises in their spatial structures, such as foyers and exhibitions. For some years now the subject “media façade” has shifted into focus and with ag4 I have developed technologies and products, in order to be able to integrate the transparent and daylight adequate media techniques on façades. Thereby, I experienced that the building of a media façade is not only a technological, but especially a contentwise and conceptual challenge. Therefore I founded Kronhagel Mediatecture in 2009 and my first job has been the book.

    Luminapolis    : Mediafacades are interventions in the urban space. Could they be more than digital billboards? What are possibles places to realize such
    a project?

    Christoph Kronhagel    : Billboards are like postal stamps in the façade. Mostly they are much too small in proportion to the architecture and mainly they don’t accept any creative context to the architecture or to the urbane space either. In contrast, media façades are ideally a part of the architectural concept. This can on the one hand increase the architecture’s quality and on the other hand, enable the location access to worlds, which physically through the architecture alone, cannot be entered.

    Luminapolis    : In your book a lot of experts are discussing several aspects and possibilities of Mediatecture from the culture history to social media. Your book gives also an overview on best practice projects. You explain that mediatecture could be a tool to make urban identities visible. What are possible strategies to generate the contents?

    Christoph Kronhagel    : It depends on the project’s business model and here one can discern between three possibilities:
    1. The media façade is part of an enterprise’s Headquarter and should uphold the Corporate Identity. The content for these projects are solidly oriented towards the communication interests of the enterprise.
    2. An enterprise or an institution affords itself a media façade in the sense of a cultural sponsoring. Within a program structure, which is conceptually oriented towards its location, there are artistic events planned, which change continuously. The promoter thereof can also be a city that wishes to distinctively express its identity and is looking for typical cultural impression for its urban space.
    3. A real estate investor wishes to fashion his building attractively for the occupants with a media façade. He wants to receive back a good part of his investment through advertising revenue. Classic advertising on a media façade can only be partially accomplished, as it is not simple to become a license therefore – which is understandable, if you want to set up simple ad-clips on the facade. It would be preferable to operate the media façade exclusively with one or several Brands and intelligent and programmatic to link execution with the Brand’s Marketing Strategy. But than it is the best way to construct hybrid content between marketing strategies and cultural concepts.

    Luminapolis    : I think mediatecture is a revolution in architecture because the archtects have to create the process of reception with the buildingowners and the users of the spaces permanently. Do you agree?

    Christoph Kronhagel    : The great difference between architecture and mediatecture is that with the media façade the project really only begins when the façade is technically and creatively accomplished. It is not that the media technique alone is fascinating, but which performance the media façade shows. And for it not to get wasted away by the continuous repetitions, the Content Design must be processually applied and always stimulate new situations and moods. That is the real important job!

    Luminapolis    : What is your next project?

    Christoph Kronhagel    : I accompany the project „Bayer Media Sculpture“ for ag4 media facade GmbH in regard to creation and media design. We hope to be able to inaugurate this project this year. Besides this, I am waiting for the decisions concerning other delivered concepts.

    Book-Tipp: Christoph Kronhagel: Mediatektur

    Weblink: http://www.mediatecture.info/forum
    Luminapolis: Christoph Kronhagel, you are founder of Kronhagel Mediatecture (Bonn/Germany). These days you publish a book on the conjunction of architecture, digital media and public space. „Mediatecture / Mediatektur“ is the title. Is mediatecture a new discipline?

    Christoph Kronhagel: Currently we have reported a great deal on Media Architecture. I prefer the term “Mediatecture”, because it describes in a more suitable way, the claim of architecture being comprehended as a media. The use of electronic media in architecture is only a secondary matter. Rather, it is all about building a link between a spot with ideas, visions and happenings (media…), so that the spot receives an individual construction (…tecture).

    Luminapolis    : What are your personal experiences with mediatecture?

    Christoph Kronhagel    : As a one of the founders of ag4 in Cologne in 1991, I have mediated, as a sensorial experience, the ideas and visions of many enterprises in their spatial structures, such as foyers and exhibitions. For some years now the subject “media façade” has shifted into focus and with ag4 I have developed technologies and products, in order to be able to integrate the transparent and daylight adequate media techniques on façades. Thereby, I experienced that the building of a media façade is not only a technological, but especially a contentwise and conceptual challenge. Therefore I founded Kronhagel Mediatecture in 2009 and my first job has been the book.

    Luminapolis    : Mediafacades are interventions in the urban space. Could they be more than digital billboards? What are possibles places to realize such
    a project?

    Christoph Kronhagel    : Billboards are like postal stamps in the façade. Mostly they are much too small in proportion to the architecture and mainly they don’t accept any creative context to the architecture or to the urbane space either. In contrast, media façades are ideally a part of the architectural concept. This can on the one hand increase the architecture’s quality and on the other hand, enable the location access to worlds, which physically through the architecture alone, cannot be entered.

    Luminapolis    : In your book a lot of experts are discussing several aspects and possibilities of Mediatecture from the culture history to social media. Your book gives also an overview on best practice projects. You explain that mediatecture could be a tool to make urban identities visible. What are possible strategies to generate the contents?

    Christoph Kronhagel    : It depends on the project’s business model and here one can discern between three possibilities:
    1. The media façade is part of an enterprise’s Headquarter and should uphold the Corporate Identity. The content for these projects are solidly oriented towards the communication interests of the enterprise.
    2. An enterprise or an institution affords itself a media façade in the sense of a cultural sponsoring. Within a program structure, which is conceptually oriented towards its location, there are artistic events planned, which change continuously. The promoter thereof can also be a city that wishes to distinctively express its identity and is looking for typical cultural impression for its urban space.
    3. A real estate investor wishes to fashion his building attractively for the occupants with a media façade. He wants to receive back a good part of his investment through advertising revenue. Classic advertising on a media façade can only be partially accomplished, as it is not simple to become a license therefore – which is understandable, if you want to set up simple ad-clips on the facade. It would be preferable to operate the media façade exclusively with one or several Brands and intelligent and programmatic to link execution with the Brand’s Marketing Strategy. But than it is the best way to construct hybrid content between marketing strategies and cultural concepts.

    Luminapolis    : I think mediatecture is a revolution in architecture because the archtects have to create the process of reception with the buildingowners and the users of the spaces permanently. Do you agree?

    Christoph Kronhagel    : The great difference between architecture and mediatecture is that with the media façade the project really only begins when the façade is technically and creatively accomplished. It is not that the media technique alone is fascinating, but which performance the media façade shows. And for it not to get wasted away by the continuous repetitions, the Content Design must be processually applied and always stimulate new situations and moods. That is the real important job!

    Luminapolis    : What is your next project?

    Christoph Kronhagel    : I accompany the project „Bayer Media Sculpture“ for ag4 media facade GmbH in regard to creation and media design. We hope to be able to inaugurate this project this year. Besides this, I am waiting for the decisions concerning other delivered concepts.

    Book-Tip: Christoph Kronhagel: Mediatecture

    Weblink: http://www.mediatecture.info/forum