Zeitschrift
archithese 3.2008
Mehr Licht?
Editorial
More Light?
Since artificial light was being revolutionized, gaslight at the beginning and electric light towards the end of the nineteenth century, the demand for more or less light is renegotiated every now and then. The ongoing debate about light pollution shows it: the main focus lies on the quantity, intensity, and distribution of light in respect to possible ecological, economical, cultural, and social benefits or damages. But next to this, there is a discussion going on about „good“ or „better“ light – about high-quality lighting in fact, which is more closely related to aspects of quantity as it may seem at first sight.
The articles of this publication are situated at the intersection of these two axes. Their subjects are today’s criteria of modern lighting and thus, they allude to contexts which couldn’t be more different. We want to invite you to delve into the magical glow of individual lights at the margins of the city – of the former industrial area Zurich West or the development of residential buildings in a French suburb. We wander through long subways where we find impressive light installations and meaningful light art objects; we take the liberty to get a glimpse into the most intimate room of an apartment – into the bathroom, where, every morning, we want to look at ourselves in the kind of light that shows us at our best; we examine sceno¬graphic light effects in the Frankfurt Stock Exchange. Looking at these examples against the background of the ideas of two light designers with whom we’ve had a long conversation about their profession, we see that there is a wide range of possibilities for light design at the moment.
The presented lightings light up their constructed environment in the interior rooms or exterior areas in different ways. For example the textile façade of the new Miroiterie in the quarter Flon of Lausanne, which is illuminated from the inside, gives its place a characteristic feature, whereas the lighting design of a brand store of the clothing industry is more effective through global luminance – even if it has to be reduced to only a few expensive cubic metres in a shopping mall. It is stated at the very beginning of the book that advertisement with means of light exists as long as light itself. At the end, it dares to look in the future: How will our cities glow some years from now? A new technique of light projection – energy-saving, low-light-emission and extensive – gives raise to speculations.
The editors
02 Editorial
22 Inszenierte Ordnung: Über alte und neue Aufgaben des künstlichen Lichts | Bernadette Fülscher
28 «In Licht denken»: Die Lichtgestalter Thomas Mika und Christian Vogt im Gespräch | Doris Agotai
34 Lichterhektik und Feenwälder: Ein nächtlicher Spaziergang durch Zürich West | Andri Gerber
40 Bâtiment phare: À propos de la Miroiterie de Brauen Wälchli | Adrien Besson
44 Anderes Licht in der Unterwelt: Neue Beleuchtung von Fussgängerunterführungen | Bernadette Fülscher
50 Lichterglanz im Badezimmer: Licht im Bad – zwischen Funktionalität und Wellness | Norbert Wild
54 Leuchtende Marken: Corporate Light als Gestaltungsmittel der Markenwelt | Thomas Schielke
60 Schaufenster der Globalisierung: Zur Szenografie und Neugestaltung des Parkettsaales der Deutschen Börse Frankfurt | Andrea Gleiniger
64 Urbaniser par la lumière: L’éclairage au service de l’espace public des quartiers d’habitat social | Jean-Michel Deleuil
68 Notturno über die Modulation der Nacht: Ohne Lichtverschmutzung zu einer neuen Ästhetik | Oliver Schürer
Architektur aktuell
74 LIN – Finn Geipel und Giulia Andi: Transformation eines U-Boot-Bunkers in Saint-Nazaire, 2007 | Hubertus Adam
80 Fuhrimann Hächler: Häuser für die Kunst in Vnà und Lenzburg, 2007 | Hubertus Adam
Rubriken
88 Ausstellung: The World of Madelon Vriesendorp | Bettina Schürkamp
92 fsai
96 Neues aus der Industrie
102 Lieferbare Hefte
104 Vorschau und Impressum
More Light?
Since artificial light was being revolutionized, gaslight at the beginning and electric light towards the end of the nineteenth century, the demand for more or less light is renegotiated every now and then. The ongoing debate about light pollution shows it: the main focus lies on the quantity, intensity, and distribution of light in respect to possible ecological, economical, cultural, and social benefits or damages. But next to this, there is a discussion going on about „good“ or „better“ light – about high-quality lighting in fact, which is more closely related to aspects of quantity as it may seem at first sight.
The articles of this publication are situated at the intersection of these two axes. Their subjects are today’s criteria of modern lighting and thus, they allude to contexts which couldn’t be more different. We want to invite you to delve into the magical glow of individual lights at the margins of the city – of the former industrial area Zurich West or the development of residential buildings in a French suburb. We wander through long subways where we find impressive light installations and meaningful light art objects; we take the liberty to get a glimpse into the most intimate room of an apartment – into the bathroom, where, every morning, we want to look at ourselves in the kind of light that shows us at our best; we examine sceno¬graphic light effects in the Frankfurt Stock Exchange. Looking at these examples against the background of the ideas of two light designers with whom we’ve had a long conversation about their profession, we see that there is a wide range of possibilities for light design at the moment.
The presented lightings light up their constructed environment in the interior rooms or exterior areas in different ways. For example the textile façade of the new Miroiterie in the quarter Flon of Lausanne, which is illuminated from the inside, gives its place a characteristic feature, whereas the lighting design of a brand store of the clothing industry is more effective through global luminance – even if it has to be reduced to only a few expensive cubic metres in a shopping mall. It is stated at the very beginning of the book that advertisement with means of light exists as long as light itself. At the end, it dares to look in the future: How will our cities glow some years from now? A new technique of light projection – energy-saving, low-light-emission and extensive – gives raise to speculations.
The editors
02 Editorial
22 Inszenierte Ordnung: Über alte und neue Aufgaben des künstlichen Lichts | Bernadette Fülscher
28 «In Licht denken»: Die Lichtgestalter Thomas Mika und Christian Vogt im Gespräch | Doris Agotai
34 Lichterhektik und Feenwälder: Ein nächtlicher Spaziergang durch Zürich West | Andri Gerber
40 Bâtiment phare: À propos de la Miroiterie de Brauen Wälchli | Adrien Besson
44 Anderes Licht in der Unterwelt: Neue Beleuchtung von Fussgängerunterführungen | Bernadette Fülscher
50 Lichterglanz im Badezimmer: Licht im Bad – zwischen Funktionalität und Wellness | Norbert Wild
54 Leuchtende Marken: Corporate Light als Gestaltungsmittel der Markenwelt | Thomas Schielke
60 Schaufenster der Globalisierung: Zur Szenografie und Neugestaltung des Parkettsaales der Deutschen Börse Frankfurt | Andrea Gleiniger
64 Urbaniser par la lumière: L’éclairage au service de l’espace public des quartiers d’habitat social | Jean-Michel Deleuil
68 Notturno über die Modulation der Nacht: Ohne Lichtverschmutzung zu einer neuen Ästhetik | Oliver Schürer
Architektur aktuell
74 LIN – Finn Geipel und Giulia Andi: Transformation eines U-Boot-Bunkers in Saint-Nazaire, 2007 | Hubertus Adam
80 Fuhrimann Hächler: Häuser für die Kunst in Vnà und Lenzburg, 2007 | Hubertus Adam
Rubriken
88 Ausstellung: The World of Madelon Vriesendorp | Bettina Schürkamp
92 fsai
96 Neues aus der Industrie
102 Lieferbare Hefte
104 Vorschau und Impressum
Weiterführende Links:
niggli Imprint der Braun Publishing AG
