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PROJECT / SHANGHAI EXPO 2010, CHINA
Right The pavilion structure is folded like a piece of paper to create an entrance for visitors
Below Using a mix of ground mounted LED strips, placed behind the ‘paper cut-out’ internal walls, lighting designer Marc Heinz was able to manupulate the colour temperature of the glowing white light
parts of the interior that had yet to be finalised, so Heinz began by looking at the big picture - namely how he might place lighting at strategic points throughout the pavilion. It became clear that it would not be possible to hang lighting from the ceiling space, so an alternative solution had to be found. With the general outline of the exhibition established, Heinz suggested creating three ‘light islands’ that eventually became the backbone of the lighting design. Each island varied in height from nine to 13.5 metres, mirroring the varying height of the exhibi- tion space itself.
In order to keep the interior as clean as possible, much of the illumination came from up-lighting placed behind the ‘cut-out’ walls. Two sets of LED striplights placed along the base of the walls enabled the cre- ation of warm and cool white washes, and an additional RGB strip running between the two makes it possible to achieve all kinds of ‘off colour whites’. Profiles and spots shine through the web casting shadows and adding depth to the set.
The exhibition elements feature a number of projected videos, so it was important to light the room in such a way that the clarity of any images would not be affected. Heinz opted for profile spots so that light could be specifically targeted. The additional requirement that the space should be able to slowly but constantly change mood and also be able to host a variety of special events, led him to use entertainment light- ing from Philips’ Varilite brand. Initially, Heinz had planned to use more lights in the scheme but various fire regulations made this impossible.
As the design for each area of the pavilion began to take its final form, Heinz was able to create a specific scene for each. Communicating these plans to the Chi- nese partners who were responsible for constructing both the main structure and interior scheme proved a major challenge for the creatives. Though experienced in large-scale, olympic stadium constuction, the Chinese team were, says Heinz, less well versed in the intricacies of set design. “They were very helpful, but I compared it with trying to built an olympic stadium with ballet dancers,” he comments. During his visit in March, Heinz insisted on
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