EMPIRE STATE BUILDING, NEW YORK
Philips Color Kinetics is creating a state- of-the-art, dynamic lighting system at the iconic Empire State Building. The building’s tower lights are being
switched to light emitting diodes (LEDs) to allow the building’s facade and mast to change lighting scenes in real-time. The LED lights will be used to recognise key milestones, events, charitable organisa- tions, countries and holidays. The new computerised system pro- vides a palette of more than 16 million colours, including hard-to-achieve pastels, in almost limitless combinations. Before, the traditional lighting fi xtures allowed for 10 colours, but needed a team to spend several hours replacing each of the build- ing’s nearly 400 fi ttings. Ripple, cross-fade, particle and burst effects, previously not possible, can be easily automated to create unique lighting designs. The light- ing system will also allow the building to minimise light spill, ensuring that light is
The Empire State Building’s LED changeover will be completed in September
focused on the façade and mast, while providing enough light to allow the building to be seen from anywhere in New York City. This feature not only respects the night
sky, but the building’s neighbours as well.
The update is part of a $550m (£354m, 442.5m) Empire State ReBuilding pro- gram to help make it more energy effi cient.
Lighting is integral to the 3m-wide sculpture. Fixtures have been installed in the sculpture’s base, pointing
upwards and outwards to the east and west THE DROPLET, AUSTRALIA
A 6m (20ft)-tall droplet-shaped sculpture in Canberra, Australia has been lit up by LED. Perth-born artist Stuart Green created the
gleaming 3m (10ft)-wide sculpture, which has been installed with Anolis ArcPad 48 LED fi xtures. The piece is made from laser- cut marine grade stainless steel and has a 10-degree tilt. It was commissioned by the Australian Capital Territory Government. Lighting is integral to the sculp-
ture. Fixtures have been installed in the sculpture’s base, pointing upwards and outwards to the east and west. A colour changing sequence morphs from blue to pink to white over fi ve minutes. The fi xtures give slightly varied hues of the same col- our throughout the sequence, providing a richer and rounded chromatic experience. The ArcPad 48s were specifi ed by Light Application in Australia and supplied by The ULA Group. Light Application’s David Sparrow says the project required a fl ex- ible, high powered LED fi xture that was compact, well-priced and maintenance-free.
AM 3 2012 ©cybertrek 2012
Sound and light helped reinforce the impact of the Tate’s paintings
THE TATE, BRITAIN
Early Victorian art at the Tate Britain has been brought to life with music and lighting effects. Mid-19th century artist John Martin’s biblical pano- ramas were centre stage during the 11-minute sound and light show exhibi- tion, which ran from February to April. The aim was to recreate the impact
The Droplet illuminates the night in Canberra
the paintings – which have inspired movies, video games and other media – had when they fi rst toured Victorian Britain. The son et lumière project used a range of sound effects includ- ing music, narrative and historical documentation over 16 JBL loud- speakers and three digital projectors. Speakers were wall-mounted behind the audience and low down near the paintings. A rubber buffer behind the mount gave additional protection.
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