SHERATON, FRANKFURT
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Into were appointed by United Designers and Hospitality Europe to provide the lighting design for all the public areas of the hotel.
The principle behind the design solution was to enhance the architecture and interior design and create the appropriate ambience for the changing use of the space during the day.
With this in mind the majority of lighting was concealed in architectural slots or troughs. Also vertical surfaces were illuminated so that important vistas were created through the space and material choices were rendered and textures enhanced.
All areas were designed to be controlled by a dimming system manufacturered by Lutron so that scenes could be set for each period of the day.
The lighting was also used to draw people through the space from the airport entrance psychologically by emphasing routes through with ceiling, wall and floor lighting treatments.
The restaurant lighting concept centred around large ceiling coffers lit with blue light. The intensity and colour of the blue alters automatically from day to evening creating different ambiences.Blue light was chosen because of its calming properties on the human pysche. Further interest and enhancement is created by using light to wash perimeter blinds, wall features and the ceiling features over the breakfast bars.
The Jazz bar has a more funky lighting solution. Similar coffers have been created but this time lamps with blue and red filters softly change the colour of the coffers. Further feature illumination is provided with floor and ceiling lamps that form a runway of light points through the adjoining bars.
The main atrium and reception area is illuminated with indirect lighting illuminating the structure of the architecture. Also lamps are directed onto mirrors providing reflected ambient light into the space.
A balance of light is achieved during the daytime to counteract the strong daylight entering the space through vertical illumination of all walls adjoining and leading off the main atrium.
WESTIN, NEW YORK
A distinctive architectural element of the city's skyline by day, the lighting design transforms the Westin hotel tower into a dramatic beacon at night, visible from many areas of New York City and New Jersey along the Hudson River. The 'Beam of Light' was created through a collaboration of the hotel's architect Arquitectonica, lighting designer Brandston Partnership Inc., and owner/developer Tishman Realty & Construction Co., Inc.
A total of 466 miniature halogen lights are integrated into the building's facade and into the atrium's wall, inside an arched, recessed 'split'. The lights are grouped into individually controlled modules of twelve fixtures and create dynamic visual effects that run the height of the hotel. A 65-foot-long strip of the beam, consisting of 96 halogen lights, is featured inside the atrium, along one of its eight-story-high walls. The total length of the beam, from the atrium's floor to the hotel tower's crown, is 355 feet.
The design team devised innovative ways to use standard components to create the custom lighting effects. Hidden within the building's curtain wall, weatherproof channels run power to low-voltage, 50-Watt, 24 degree beam halogen lights located every nine inches along one side of the beam's arch.
For ease and safety of installation, the electricians assembled and pre-tested the fixtures off-site, as part of the curtain wall pre-fabrication process. The off-site assembly assured a safe and waterproof installation. To reduce and ease maintenance, the team utilised 10,000-hour lamps, which are more than twice as long-lived as the industry standard. The lamps are accessible from the building's window washing equipment.
At the roof, the arched light form is launched beyond the physical bounds of the structure with pulsing spotlights projecting into the sky. The lighting system on the tower's roof combines two fixture types from different lighting disciplines to create a spectacular display. Seven metal halide 400-Watt GE Powerspot floodlights, which are commonly used at sports fields, were fitted with mechanical Wybron Total Eclipse dowsers to control the frequency of pulsation and the intensity of light. A single xenon 4000-Watt Space Cannon Color Art 2000 fixture utilises its full range of theatrical capabilities, including a high-speed strobe, to pulse and punch light into the Times Square night. Reflective panels, installed on the roof's angled structure above the light fixtures, strengthen the Beam of Light, dramatically framing the roof's sloped form against the night sky.
A hybrid architectural and theatrical lighting control system, including a Lutron Grafik Eye 6000, controls and coordinates both the facade and the rooftop displays. It has 56 separate control zones utilising architectural switching, dimming, and theatrical DMX controls, which direct all the different parts and key the visual effects. All controls and power supplies are located within the building.
PALMS, LAS VEGAS
In Vegas, it's all about lights and attraction. And what better way to get noticed than a 325-foot high facade of colour changing light.
Martin Architectural has illuminated the 42-story tower of The Palms Casino Resort in Las Vegas with 98 Exterior 600 automated colour changers, making it the first Vegas resort hotel facade with full colour changing.
Owned by the Maloof family, the $265 million resort opened in late 2001 with an eclectic mix of entertainment leisure activities. In November 2002 Martin Architectural was part of a mock up shoot out along with other exterior lighting companies, which Martin won 'hands down'.
The illumination project was contracted out to Kelly Communication. Kelly Communications' Director of Design & Construction, Steve Cox, and Director of Lighting, Adam Gregory, contacted Martin to complete a layout, design and specification for a 360-degree illumination of the tower. Martin's Architectural Application and Integration Specialist, Joe Zamore, and Martin's Project Coordinator, Carl Wake, provided Kelly with a proposal for a lighting design based on the 575-watt Exterior 600. The head of Martin's Las Vegas office, Tim Brennan, and technician Doug Brown were also instrumental throughout the project.
Martin's design proposal was accepted and the order executed just after Thanksgiving, which didn't give much time to meet an operational date of New Year's Eve. The fixtures were on site within 21 days of the order, installed and wired by electrical contractors TekCon, and on December 28th Joe Zamore and Adam Gregory completed the aim and focus with assistance from Martin's Las Vegas crew. Mark Pranzini, an independent lighting programmer, then completed the programming and the install was ready to go, on time, December 31st.
Various roof levels around the building meant that a variety of pole-mounted positions were created for the Exteriors. These start at 40 ft. off the ground so as not to interfere with the ground lighting.
The Exteriors are controlled via a Martin PC-based LightJockey system located in the building engineer area. The owner reportedly also has a LightJockey at home along with a 3D model of the building so he can play with various lighting schemes and motifs.
HOTEL ANNA, MUNICH
Lumileds' Luxeon LEDs have been used as the sole light source in the bar of the new Hotel Anna in Munich, Germany, creating a key attraction through the dynamic colour-changing light they provide.
The German company Bocom developed the energy efficient lighting solution incorporating Lumileds' RGB Superflux and Luxeon 1-watt technology.
Opened in November 2002, the varying colour scheme of the Luxeon-lit bar at Anna's has already become famed, with customers attracted to the style and design of the new building's light features.
All LEDs used in the project are RGB and are housed in 12 luminaires located throughout the bar area. 1800 Superflux LEDs and 24 Luxeons with optics are used to create the control and flexibility needed for the colour system - no other light source provides the same management and dynamic colour creativity over lighting solutions.
Designed by Joachim Dahms, from the architects Atelier Dahms, the interior design was created to meet the demands of the hotel for a more flexible, unusual, environmentally friendly lighting concept. Dahms worked closely with Bocom and the Luxeon technology design recommendations of Lumileds to develop the most effective lighting solution for the Hotel Anna.
RADISSON, GLASGOW
Kevan Shaw Lighting Design were appointed in 2000 to design the architectural lighting scheme for all public spaces within the hotel. KSLD's scope for the interior included the atrium reception and bar, all day dining room, function rooms, pre-function spaces, all the hotel meeting rooms and bedroom corridors. KSLD also designed the lighting for the exterior entrance and central courtyard.
The lighting concepts were developed in close discussion with architects GM+ADA. Understanding the spaces and materiality of the building was fundamental in producing an integrated lighting scheme that supports the architectural language of the building. The most central theme to the lighting is the idea of public and private space. Views into the building are controlled and the general public only gets glimpses into the hotel where the copper facade has been peeled back or punctured to reveal the interior behind. Artificial lighting was designed to respond to and enhance these views into the building enjoyed from particular vantage points along the length of Argyle Street.
The main atrium lobby was most complex as it operates on a number of levels. Different intensities of light are used for orientation, at the back the reception and all day dining room are lit to a higher level to guide guests through the space and compensate for daylight entering the front of the lobby. The front area of the lobby receives a lot of natural light during the day and KSLD were concerned early on that the full volume of the space would not be appreciated during the evening. They wanted to guard against the vertical and soffit glazing becoming a black mirrored surface. For this reason lighting to the seating groups within the lobby bar at the glazing is kept to a lower level to avoid reflections in the glazing and guests feeling 'on show'. Instead the timber soffit outside is uplit to provide a backdrop and welcoming entrance for the hotel. At the top of the atrium a subtle slow shifting colour-change of light was created to give a sense of the volume at night. Warm colours were utilised to bring out the warmth of the surrounding timber and surrounding glazing amplifies the colour further into the space. Several pre-programmed sequences have been set up for the hotel to utilise for different events, one of these scenes provides a progression of different colour across the roof. These bands of colour are very evident at night from Central Station and act as a form of signage. Guests in the hotel also have an opportunity to view the colour changing soffit at closer proximity when they use the scenic lifts at night.
Coloured light is also utilised within the soffits of the main function space. Blue T5 fluoresent battens are located within architectural coves to create a sense of height within these spaces and the combination of warm accent light to tables provide a dramatic night-time scene for dinner dances, music events or wedding receptions. White light within the cove, down-lights and integrated track provide a total of 8 basic pre-set lighting scenes for a variety of functions. Partition control devices allow the hotel to operate each of the three rooms independently or as a whole. The Pre-function space also has a lot of in built flexibility with a combination of track and multi-head fittings similar in language to the ground floor reception lighting. Walls are washed in this space to provide a sense of enclosure to the space and make it feel more intimate.
Supporting the private/public theme a special light installation has been created by KSLD within the central courtyard space of the hotel, this is viewed exclusively by hotel guests from their rooms at night.
HILLSIDE SU, ANTALYA
And now for something completely different... The use of Clay Paky intelligent lighting more usually associated with theatrical usage has created quite a stir in Turkey at the Hillside Su hotel. This, combined with huge mirror balls in the lobby, has produced one of the most wacky lighting schemes in any hotel in the world.
RADISSON, HEATHROW
The Sound Workshop Ltd has completed a new and exciting project at Radisson Edwardian Hotels Flagship at Heathrow.
Having worked closely with the Radisson Edwardian Hotel group for the past four years, David Mitchell of The Sound Workshop was appointed to design, supply and commission the Architectural Lighting and Sound System within the Atrium and surrounding break out areas.
The lighting design is based around two illuminated glass bridges and an island, manufactured and installed by Arc Lighting. Their System Tread flooring is unique in its design and forms one of the central lighting features within the Atrium.
The illuminated bridges traverse a water feature made up of three weirs. Each weir is edged with colour changing, side-emitting fibres. Glass balustrades surrounding the water are illuminated with floor mounted blue LED lighting, providing a unique effect at night. The side-emitting fibre system was also used to illuminate the glass bar and ceiling mounted colour changing LED lanterns illuminate the rear bar area.
The general lighting within the atrium is provided by bespoke Cherry-wood wall lights, which illuminate the periphery of the room and produce diffused flares on to the wooden wall panels. In addition, LED Lanterns mounted in the floor and skirting, provide subtle flares of colour onto the walls and the black marble floors.
Andrew Moore was commissioned to design and install the glass columns and David Mitchell was given the task of lighting them. The nine glass columns, both unique in design and construction form the boundary between the Commonwealth Lobby and the Atrium.
The atrium roof is constructed out of glass panels, with sails evenly distributed to reduce light input. An array of colour changing LED Lanterns mounted on the North and South sides of the Atrium produce a subtle wash of coloured light, creating a warm, intimate effect.
All areas, which impinge upon the new space, have been incorporated within the design. These include a colour changing glass walled waterfall and hundreds of small feature lanterns illuminating the public walkways.