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‘Now You See Me’, Coventry, UK, 2011 by MacKay Design Studio. The softly coloured artwork is sequenced to scroll gradually down the building with occasional bursts of highlight colour using a different palette every day of the week.

project was that the team of ‘non artists’ were sensitive to the voice of the site and strong in their support of a project which was now approximately one fifth of its original size. In this value for money world, I wouldn’t have been surprised if they had wanted more for their buck and asked for the other architectural lighting elements to be retained or developed. In my opinion they were getting their value for money by cutting the extraneous elements because the artwork was stronger with just the lasers.” Kulkarni’s recent lighting artwork ‘Hryre’ (the word for ‘ruin’ in Old English) is another good example of meaning driving the aesthetic. The artwork explores the medieval heritage of Chester, UK and is funded by the AHRC and Chester Renais- sance. The current artwork is temporary and will be replaced by a permanent work in early 2012. Projections across the ruins at St John’s Church are formed from fragments of medieval texts which describe the city of Chester, in English, Latin and Welsh. Medi- eval Chester was a multi-cultural city with a rich multi-lingual culture, and these texts reflect that. As the words are projected across the uneven, fractured stonework, they take on new shapes and abstract visual forms. Some letters and words remain leg-


Wir wissen, dass die Beleuchtung die öffentliche Wahrnehmung eine Gebäudes oder Platzes beeinflus- sen kann, doch wie können wir uns vergewissern, dass das Licht eine möglichst große Wirkung auf zunehm- end knappen Budgets hat? Da die Beleuchtungstech- nologie sich schnell weiterentwickelt, insbesondere wo Festkörper betroffen sind, nutzen mehr und mehr Gebäudeprojekte die Möglichkeit, mit Licht Zeichen zu setzen. Eine Marktlücke hat sich geöffnet, die sch- nell mit neuen und originellen Beleuchtungsinstalla- tionen gefüllt sein wird. Derzeit ist diese Lücke offen, um von Künstlern und Designern erkundet zu werden, und da die öffentliche Erwartung wächst, ist dies eine aufregende Zeit für all die, die Licht auf neue und kreative Weise nutzen. Meine Erfahrung sagt mir, dass qualitative hochwertige Beleuchtungslösungen mit einer Vision beginnen. Keine Mittel, technischen

ible, and are designed to open up ideas and themes for reflection.

The artwork asks viewers to contemplate subjects such as ruin and memory, decay and survival, the passing of time and the idea of a spiritual, peaceful place. A remote computer controls which lights are on at any moment which means that the artwork will gently change from hour to hour and night to night revealing the different quali- ties of the ruins and highlighting the texts. Sometimes the work will be a bold illumi- nation and at others a more subtle play of light, shadow and text.

These project examples demonstrate the ways in which lighting can be driven to- wards an unexpected visual conclusion as a result of a conceptual focus. The narrative of meaning makes communication with the public more fulfilling and presents a greater level of ownership to those that experi- ence the lighting on a day-to-day basis. The public do not necessarily need to ‘under- stand’ an artist’s concept but its existence makes the process of viewing an illuminated space more significant. In discussing ‘180° of Light’ Fairfax points out that “we kept publicity to a minimum and people wanted to explore the event for themselves – it worked well that they weren’t told what it was, it gave room for them to discover and

Fähigkeiten, Budgets oder Umweltbelange, sondern eine ästhetische Vision. Dieser Artikel untersucht die Hauptbestandteile von origineller und passender Beleuchtung aus der Perspektive eines Künstlers, der Licht als Medium verwendet... wo Kunst auf Design trifft.


Sappiamo che l’illuminazione ha il potere di far cam- biare la percezione del pubblico di un edificio o di un luogo, ma come possiamo garantire che la luce fornisca il massimo impatto sui bilanci sempre più tesi? Mentre l’illuminotecnica avanza rapidamente, in particolare dove lo stato solido è l’interessato, sempre più progetti di costruzione stanno sfruttando l’opportunita di aumentare la loro qualità con la luce. Si è aperta una lacuna che presto sarà colmata con nuovi ed originali impianti di illuminazione; attual- mente questa lacuna da colmare è aperta ad artisti

relate to the piece on their terms. Their imaginations had room to roam.” Whatever label is applied to an individual or a company, the difference in priority and project approach can be very positive if rules and preconceptions are broken as a result of adherence to the meaning behind a concept; to focus on quality of light and not quantity of light; simplicity in communi- cation rather than interactivity for its own sake. Original design emerges out of lateral thinking and this, in turn, is enhanced by exploring diverse opinions. So much is pos- sible with advanced control systems and, consequently, the need to monitor what is truly appropriate and sensitive to each situation is greater than ever. Too many mainstream installations are lighting for the sake of light and we need to be careful that we do not replace current light pollution with equally inappropriate effects. Kulkarni suggests that we “use all of the means we have to control artificial light. There is no reason why the nocturnal experience of space and place cannot be as rhythmic and complex as the daylight expression.”

e progettisti per esplorare e capire come crescono le aspettative del pubblico; e questo fa si che sia un momento eccitante per le persone concentrate sull’utilizzo della luce in un modo nuovo e creativo. In base alla mia esperienza posso dire che le soluzioni di illuminazione di qualità iniziano con una visione; nessuna risorsa, nessuna capacità tecnica, nessun budget, nessuna preoccupazione ambientale, ma solamente con una visione estetica. Questo articolo esamina gli ingredienti fondamentali di illuminazione originale e appropriati dal punto di vista dell’artista, utilizzando la luce come mezzo di...dove l’arte incon- tra la progettazione.


Sabemos que la iluminación tiene el poder de cam- biar la percepción pública acerca de un edificio o de un espacio pero ¿cómo nos aseguramos de que la luz provea un máximo impacto con presupuestos que se

estiran cada vez más? A medida que la tecnología en iluminación avanza a pasos agigantados, especial- mente donde preocupa el estado sólido, cada vez son más los proyectos de edificios que sacan ventaja de la oportunidad de comercializar con luz. Se ha abi- erto una brecha que pronto será suplida con nuevas y originales instalaciones de iluminación; actualmente esta brecha se encuentra abierta para que los artis- tas y diseñadores exploren; y a medida que la expec- tativa de la gente va creciendo, este es un momento fascinante para aquellos concentrados en utilizar la luz de manera nueva y creativa. Mi experiencia es que las soluciones de iluminación de calidad comienzan con una visión; no con recursos, no con capacidad técnica, no con presupuesto, ni siquiera con preocu- paciones ambientales, sino con una visión estética. El presente artículo examina los ingredientes cen- trales de la iluminación original y apropiada desde la perspectiva del artista que utiliza a la luz como medio... donde el arte se encuentra con el diseño.

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