Planlux
News
Korhan Şişman will be attending in EEMKON 2019 Electrics and Electronics congress.
He will be presenting his ideas about what lighting designers can and will do for the development of our cities we live in.
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News
Doğan Kozan and Korhan Şişman will be attending MIPIM UK Summit in London, 14-15 October 2019. MIPIM UK Summit brings together top-level real estate professionals from all the world and investors from all asset classes to build partnerships, gain industry insight and discover outstanding projects. The event is made up of a world-class content programme dedicated to real estate investment and development opportunities, an exhibition, and a plethora of networking opportunities over 2 days.
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News

LPS 2019 and TIL 2019 REVIEW:

In its 9th year the co-hosted LED professional Symposium + Expo (LpS), Trends in Lighting Forum &Show (TiL) and for the first time the Digital Addressable Lighting Interface (DALI) Summit gathered in the unique setting of Bregenz, Austria. The three international conference and exhibition events were carefully curated to bring together a unique blend of award-winning industry talent including; architects, planners, lighting designers, scientists and technologists.

The event brought focus to the continuing relevance of interdependent technologies, human-centric design and more acutely, sustainability. The approach of combining distinct lighting fields by Luger ResearchLpS 2019TiL 2019 and DALI Summit 2019, succeeded in inciting conversations and knowledge sharing to facilitate the evolution of lighting in the complex global environment. The combined three-day event presented delegates with the opportunity to interact with an extensive selection of prominent keynote speakers from the lighting design world, scientists, and technologists. The opera stage and theatre spaces were utilized for panel discussions, lectures and workshops crossing disciplines and sectors of industry.

LPS 2019 and TIL 2019 CEO – Influencer Panel

Another insightful aspect to the event was a lively press conference and CEO + Influencer panel allowing promulgation of news, industry opinion and key expectations and challenges for the coming years in the lighting industry.

Meanwhile, the exhibition hall was awash with startups and global industry giants simultaneously showcasing the latest developments in interoperability, sustainability and digital technologies. Delegates could appreciate the complementary nature of final products, components and modules, equipment and service providers. This included wireless technologies, driver manufacturers, Internet of Light controllers, ultrathin light sources, luminaires, digital communication devices and 3D printed optics to name a few.

Image of 3D printed optics by Luximprint - the best 2019 LPS TIL Start-Up
Printed Optics by Luximprint – the 2019 Best TIL-LPS Start-Up – is an example of a digital (fabrication) technology with the potential of disrupting the way the industry fabricates and applies custom optics. Image credits: Luximprint.

Human Centric Lighting, Interfaces and Light Controls

LpS/TiL/DALI 2019 highlighted notable key trends for the lighting sector. More recently, the generally accepted principles of Human Centric Lighting have growing influence and are increasingly important in design application. In order to generate optimized light, the spectral compositions are tuned to applications and visual requirements.

Another key topic was the significance of light controls and user-friendly human interfaces as the consumer seeks to be able to integrate additional functions such as colour controls or light distributions. In this context, it can also be seen that lighting planners are increasingly confronted with the complexities of data handling.

News Source:
https://www.trends.lighting/trends-in-lighting-forum-show

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News
Başak Okay Tekir will talk about MACFit projects and her experiences at IstanbulLight Lighting Design Summit.
MACFit Sports Clubs: Lighting design as corporate identity “
You can find MacFit in most of the cities in Turkey,  a health club concept developed for ‘everyone’. The group aims to provide high-quality amenities at an affordable price in a fun and exciting environment. Since 2014, PLANLUX  participated in the development in more than 80 MACFit projects as lighting designers which has made ‘lighting design’ an important part of the brand that transforms brand identity into the visitor experience. Despite rapid project design processes and low budget requirements, the team aimed to create a sustainable lighting scheme that considers light quality with practical solutions.
Başak Okay Tekir will ve sharing the details and experiences of the mentioned lighting scheme in her presentation.
Book your place, free registration: https://bit.ly/2ZwmmwP



Başak Okay Tekir, IstanbulLight Aydınlatma Tasarımı Zirvesi’nde MACFit projelerinden ve deneyimlerinden bahsedecek.
MACFit spor salonları: Kurumsal kimlik olarak aydınlatma tasarımı”

MACFit, Türkiye’nin çoğu şehrinde bulunan “herkes” için tasarlanmış bir sağlık kulübü konsepti. Grup, eğlenceli ve heyecan verici bir ortamda uygun fiyata yüksek kaliteli olanaklar sunmayı amaçlıyor.
PLANLUX, 2014 yılından beri 80’den fazla MACFit projesine aydınlatma tasarımcısı olarak dahil oldu. Aydınlatma tasarımınının, marka kimliğini ziyaretçi deneyimine dönüştüren markanın önemli bir parçası olmasını sağladı. Ekip, hızlı proje tasarım süreçleri ve düşük bütçe gereksinimlerine rağmen, temel aydınlatma kalitesi ihtiyaçlarını göz önünde bulunduran ve pratik çözüm yolları izleyen sürdürülebilir bir aydınlatma şeması oluşturmayı hedefledi.  
Başak Okay Tekir, sunumda, bahsi geçen aydınlatma şeması detaylarını ve deneyimlerini paylaşacak.

Siz de bu konuşmayı kaçırmamak için zirvedeki yerinizi ayırtın! Ücretsiz kayıt: https://bit.ly/2ZwmmwP
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News
We have great news:

Korhan Sisman will be participating ‘Lights in Blokzijl’ as a workshop head.

The first edition of Lights in Blokzijl will be held on December 2019 in the small historic center of Blokzijl, in the north of the Netherlands.
It follows in the footsteps of the Swedish light festival, Lights in Alingsås, which is celebrating its 20th anniversary in September 2019. Six international lighting designers will gather with students from all over the world to participate in an educational workshop, from 6-11 December to create designs that will illuminate selected sites and buildings throughout the town.

The workshopheads are:
Roberto Corradini (Italy)
Juliette Nielsen + Sjoerd van Beers (Netherlands)
Luciana Alanis (Switzerland)
Korhan Şişman (Turkey)
Anuj Gala + Rogier Hengeveld (Finland + Netherlands)
Kapil Surlakar (India)
Johan Moritz (Sweden)

Participants in the light festival will come from varied backgrounds in design; from architecture, interior design, art, lighting design and more. The installations will be opened to the public from 12-22 December. On 11 December, a convention (in English) will be held with several speakers that are active in the lighting industry. Following on, the students from each workshop team will present their work before finishing with the official opening of the festival in the evening. The installations will be on show to the public from 12 to 22 December, together with several events running alongside.

More info about the event:  www.lightsinblokzijl.nl
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News
Garanti Bank BBVA Technology Campus is the 2019   A+ Awards Winner of Popular Choice in the Commercial – Office – Mid Rise (5-15 Floors) category.
Article link.
Thanks to ERA Architects and Garanti Technology for giving us such a great opportunity to be part of this special project.
@architizerawards #architizer #architizerawards #winner#architecture #design #officedesign #populerchoice #garantibbva#garantiteknoloji #garantideyasam #garantitechnology #eraarchitects
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Blog
Building shape and massing
 
The massing of a building determines the quality of light distribution. In general, narrow forms with greatest access to exterior openings will be easiest to illuminate with natural light. Before electric light was common, buildings were narrow, only as wide as they could be illuminated.
 
There are three basic forms for admitting natural light into a space: side lighting, top lighting or atria, as described below.
 
Sidelighting
 
The term side sighting describes the location of the opening. However, effective use of natural light requires more than a window. Light-reflectingand light-receiving surfaces must be integrated into the architecture to avoid glare and excessive heat gain. 
 
In most cases, the ceiling will be best surface to receive reflected light. It should be unobstructed, high-reflectance, and shoıld be able to seen by task areas in a space.
 
See the following graphics, how to use the ceiling best to advantage.
 
 
Openings
Locate openings carefully because location affects both light distribution and the perception of distribution. A window wall can be horizontally divided into an upper third, middle third, and lower third. Each section has its distinct characteristics.



Upper section
The upper window sees brighter zenith of overcast sky and therefore has the best distribution of light on overcast days.For sunny conditions , the upper window does not provide the best light distribution. In any weather condition, an unbaffled upper window has great potential for sun and sky glare. Because the high window is often located above eye level, when properly baffled, the high window can admit very bright light without glare.
 
Middle section
The middle window is not optimal for light distribution on sunny days or overcast days, yet it is the most commonly used location because of the view afforded. Be careful to avoid glare from bright window sills and reflections in video display terminal screens from middle windows.
 
Lower section
The lower window provides optimal distribution of reflected sunlight. This is because it maximizes the distance between the light source and ceiling and provides greatest uniformity. Light levels will be lower near the window wall and higher deep in the space.
 
In practice, the upper, middle, and lower windows are often combined, and it is important to recognize that in the sunny condition, locating the opening as low as possible will result in most uniform distribution.




Multilateral openings
Locating the openings in more than one wall will enhance the distribution of light. With sidelighting in  only one wall (unilateral), large amounts of light must be admitted to provide light deep in buildings. Because of this, there is a tendency for the area near the window to be underlit and perceived gloomy. Daylight openings on opposite or nearby walls of a space will provide more even distribution of light, brighten dark areas and allow usage of smaller windows with less over lighting.
 
Displacement
 
Projecting lower sills form a large glazing area similar to a greenhouse. This configuration will maximize illumination from area sources such as overcast skies. It can be used at orientations aht  do not require shading.
The reverse is the overbite configuration , in which  the window header extends over the lower sill. Like overhangs, it is best for ground-reflected sunlight and shades direct sun and skylight.


 
Follow us on our next article “ Sunlight Shading & Redirecting devices ”.
 
Sources;
Architectural Lighting by M. David Egan and Victor W. Olgyay
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PLANLUX  (Plan Aydınlatma Tasarımı Ltd. Şti.

Planlux, İstanbul ve Londra’da, 2008 yılında kurulduğu günden beri çalıştığı mimari projenin ihtiyaçları doğrultusunda, ergonomik, estetik ve fonksiyonel kriterlere uygun, IALD etik kurallarına bağlı marka bağımsız mimari aydınlatma tasarımı ve danışmanlığı hizmeti veren bir tasarım ofisidir.

Aydınlatma tasarımının mimarinin ayrılmaz bir parçası olduğuna inanırız. Mimari aydınlatma tasarımı ile ilgili proje yönetim ve kontrol süreçlerini tüm taraflar için basitleştirip kayıt altına alırız. Her mimari projede; paradan ve zamandan tasarruf, mimari çevreyi ve doğayı koruma hedeflerimizi ciddiye alırız. Müşterilerimiz ve kullanıcılar için özenli bir proje tasarım gelişimi süreci sonunda; estetik, etkili ve uygulanabilir aydınlatma tasarımı çözümleri sunmak için çalışırız.

Çalışma alanlarımızın içinde sosyal alanlar, ofisler, alışveriş merkezleri, eğlence ve spor tesisleri, perakende mağazaları, kamuya açık alanlar, müzeler, galeriler, oteller, restoranlar, özel konutlar, mimari cepheler, eğitim kampüsleri, peyzaj alanları, tarihi binaların renovasyonları, bölgesel ölçekli aydınlatma master planları bulunur.

Planlux hizmetleri:

Bağımsız mimari aydınlatma tasarımı proje danışmanlık hizmetleri
Aydınlatma marka kimliği geliştirilmesi (LIDD) hizmetleri
Aydınlatma ürün tasarımı ve geliştirme hizmetleri


EKİP;

Korhan Şişman, IALD / Kurucu ve Direktör / İç Mimar ve Çevre Tasarımcısı, MBA

Doğan Kozan, IALD / Direktör UK /  Elektrik Mühendisi, BS

Başak Okay, Kıdemlı Aydınlatma Tasarımcısı / Endüstri Ürünleri Tasarımcısı, MDes

Görkem Engin, Aydınlatma Tasarımcısı / İç mimar ve Çevre Tasarımcısı

Sinem Erman, Aydınlatma Tasarımcısı / İç Mimar, MDes

Cansu Değirmencioğlu
, Aydınlatma Tasarımcısı / İç Mimar, M.Sc.

Erkan Alakas, İdari


ADRES:

Istanbul Merkez Ofis HQ

Cerrah Saliha Sok. No.23 D.1 Acıbadem 34660 Üsküdar – İstanbul  

T:+902163273777 – F: +9002163278608

Londra Ofis

Uncommon Offices, 126 – 128 New King’s Rd, Fulham,  London SW6 4LZ, UK

T: +4407759891610


www.planlux.net

Vergi No.7300369866 (USKUDAR VD.)  / Trade Reg. No.847202 / Mersis No.0730 0369 8660 0019

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Blog
Room Proportion
 
There is no universal answer to the question: “How deep can a room be effectively illuminated with natural light?” Room proportion determines light distribution, not size. For example, given the same proportion and opening, orientation, and reflectances these two rooms will have the same luminance distribution.
As ceiling height increases, the light distribution becomes more even for both toplighting and side lighting. Shown in the side lighting sections below, as the ceiling height increases from 8 to 16 m, the ratio of average light levels to minimum light levels decreases by a factor of 6. The flatter the illumination gradient, the more even the distribution of light.
 
Room Reflectances

Light distribution is highly dependent on room reflectance. In general, the ceiling is the most important light-reflecting surface. The IESNA guideline of 70/50/20 (ceiling/walls/floor) for minimum surface reflectance follows this principle. Because most tasks “see” light reflected from the ceiling, it will be a significant light source, especially in deep, wide, sidelit rooms. In toplighting and smaller rooms, the side walls become increasingly important.
In diagrams below, various combinations of flat black and matte white surfaces are placed opposite a window wall. The reduction of daylight on the desktop surface illustrates the relative importance of each surface for a space with this light source and proportion. The percentages show illuminance according to all white surface conditions rated at 100%.


Follow us on our next article “ Sidelighting & Openings ”.
 
Sources;
Architectural Lighting by M. David Egan and Victor W. Olgyay
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Blog
Planning for Solar Access
Master planning of an area or region is an ideal opportunity to provide solar access. Planning for solar access at the largest scale can very simplify the design for natural light at the building scale. 
 
Topography may be used to provide shade or access sunlight. When properly oriented and located, circulation patterns can provide solar access between building and masses. 










In urban design; large buildings often shade close by buildings or themselves. This can be an asset when cool courtyards are created or a liability when dark, huge urban streets are created. Zoning codes in many urban areas include daylight or solar access requirements to regulate building massing. Codes that specify access to daylight enhance views of the sky, whereas codes that specify access to sunlight must consider temporal orientation and sun angles.



Solar envelopes

Solar envelopes are three dimensional design tools used to maximize the buildable volume on particular site, while preserving access to sunlight for close by buildings. The basic elements used to design a solar envelope are: latitude, size, orientation and topography of the site; times of day solar access is desired and impact of shading on the site.

Building orientation


Planning for solar access includes more than direct solar access and shading. Urban planning e appropriate building orientation (typically elongated on the east-west axis) and thereby facilitate use of direct sunlight, shading and sunlight reflected from nearby ground and buildings.

Building orientation facilitates the use of natural light in buildings. Building orientation is critical for shading and redirecting sunlight, but less for non-directional daylight.




Long axis running North-South
Buildings oriented with the long axis running-north south usually have greatest exposure to the morning sun. The east and west facades receive more light during the summer than during the winter. Because of low -angle sunlight orientations it is hard to shade direct sunlight without also blocking the view. Openings on the east and west sides of buildings are less preferred for illumination, especially side lighting. However, toplighting with this orientation can give the best constancy of daylighting through the day.
Long axis running East-West
Buildings oriented with the long axis running east-west usually have greatest exposure to southern sunlight. This is generally the preferred building orientation. High summer sun has greatest impact on the roof and horizontal surfaces. The north-south faces are the easiest to shade, often by a simple device. The effects of the orientation are greatest at the northern latitudes where sun angle is lower. The higher-angle sunlight entering the openings on the north and south facades illuminates the horizontal surfaces well.


Follow us on our next article “ Room Proportion & Reflectances ”.
 
Sources;
Architectural Lighting
Book: Architectural Lighting by M. David Egan and Victor W. Olgyay
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Blog
    Daylight can be defined as diffuse light through clouds or partially cloudy skies. In a cloudy climate, the diffuse sky is often the main source of useful daylight.
 
    For climate conditions in which cloud cover exists (no visible sun for a substantial percentage of the year), we should design to optimize daylight. In this case, the light source is the sky, not the sun or sunlit surfaces. Still, some of the sunlight strategies also apply to daylight, such as using light efficiently, controlling the amount of light, and integrating with architecture. Because the overcast sky not a point source it is an area source.
 
    Here are the basic approach to the daylighting strategies;



1. Maximize solid angle of the sky seen from the task or light-reflecting surfaces. In practice, this means that tasks cannot be too far from the aperture. (windows and skylights). However apertures can be larger for daylighting than for sunlighting.

2. Shade to prevent glare. avoid direct views of overcast sky because it is a bright source of potential glare. Shading is not needed on the building exterior since heat gain is not a problem from overcast sky conditions.
 
3. Do not block light. Do not use solid light shelves or overhangs. They are not effective for redistributing light in overcast sky conditions and may reduce the amount of daylight reaching the task.

4. Locate openings high. Openings should see the brightest part of the sky. The overcast sky at the zenith is about 3 times brighter than at the horizon. High window locations and horizontal skylights will provide the best access to light
from overcast sky.

5. Shape space to minimize absorption of light. Use high-reflactance interior finishes. Maximize the ceiling height near windows to allow high windows and slope ceiling down toward the rear to minimize interior surface area.


Follow us on our next article “Planning for Solar Access ”.

Sources; Architectural Lighting by M. David Egan and Victor W. Olgyay
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Blog
The sun is a powerful source of light. Properly used in building design, sunlight can be energy efficient and aesthetically pleasing. However, if not carefully designed, building may overheat, be too bright or have a poor distribution light.
 
For all designs, the preliminary goal is to provide illumination for visual activities and visual delight. With sunlight, the basic design strategy is to use the sunlight indirectly. Sunlighting design also should be integrated with architecture.


There are 5 design strategies to promote the effective use of sunlight.

1.Shade; Shade building openings to control to glare and excessive heat gain due to direct sunlight. North-south openings tend toward a lower, horizontal illumination which lights vertical surfaces well.
 
2.Redirect; Redirect sunlight to where it needs. The right distribution of illumination is the essence of good lighting, therefore it is even more important with sunlight. It is undesirable to have the area near the window over illuminated while the rest of the room is under illuminated.

    The light from the sun, should be spread over a large area to optimize the balance of brightness. This has additional benefit minimizing the contrast in the room.
 
3.Efficiency, we can use light more efficiency by shaping the interior and using high-reflectance interior building surfaces.This will help better distribute light and will reduce the total amount of light that needs to be admitted.
 
4.Integrate; Integrate forms for sunlighting with architecture. When an opening for sunlight does not provide a view or fill an essential role in the architectural design, the opening is likely to be blocked with drapes or other obstructions.
 
5.Control; We must control the amount of light entering space. Provide the amount of light required, at the time it is desired. No more, no less.


So, what can be used to control natural light? With technological improvements everyday, we have many options. Such as; light shelves integrated to building control system, glass facade and blind/louvre systems, prismatic glass panels, spectral selective glazed glass and photochromic glass usage, also filtering alternatives can be used to balance the natural light indoors.

Sunlight is a must in architecture. We should try to find the balance, make sure to get the maximum use out of it, practice these strategies so design process can benefit from it in the best way possible.

Follow us on our next article “Light Distribution of Luminaires”.
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Blog
An another source of natural light is Reflected light, which can be defined as light reflected from natural and man made surfaces.

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The sun illuminates surfaces, creating secondary sources of light. Light-colored surfaces reflecting sunlight are typically the second-brightest sources of light in the environment. On a sunny day they can be dominant light sources in the field of view.
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Reflected sunlight is normally is more diffuse than direct light, reflected sunlight may be less intense and maybe have a different color or direction. The qualities of reflected sunlight are largely dependent on properties of the reflecting material.

Ground is dominant secondary light source on a sunny day.
Reflected light effects architecture in two very distinctive ways, it can be studied as reflectance on horizontal and vertical surfaces.
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Horizontal reflected light is most abundant on the sunny sides of buildings. Light reflected from horizontals surface such as un shaded light colored ground cover can be significant source of natural light, especially in low buildings.
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In tall buildings, a much greater extent of sunny foreground is required. Light may also be reflected from horizontal surfaces attached to or integral with the building facade. Examples are wide sills or light shelves. Even small amount of horizontal surfaces receive greatest solar impact at high sun angles.
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Ä°lgili resim

 

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Vertical reflected light is most abundant on the shady side of buildings, where light is reflected from unshaded light-colored walls or facades of adjacent buildings in the sun. vertical surfaces receive their greatest solar impact at low sun angles, such as in winter time and at high latitudes. Light reflected from vertical surfaces is often relatively horizontal  and may be a source of glare. For this reason, luminous surfaces should be of visual interest or locate openings above eye level.
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Good interior lighting can simply be defined as lighting that enables people to perform visual tasks and to be comfortable while performing them. Daylighting design is inseparable from electric lighting design and must consider issues such as:  Brightness balance, Distribution of light in space and time (time of day and season), Appropriateness of illumination levels , Energy saving techniques.
For interior spaces in which sunlight and daylight are an integral part of the luminous environment, special care must be taken early in the design process to ensure proper orientation, massing, space planning, and sizing and shaping of apertures, since these early decisions will have the biggest effects on the overall building performance.
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Follow us on our next article “Sources of Natural Light; Sunlighting Strategies”.
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Blog
As we mentioned on our previous article to effectively use natural light, first we must try and understand its abilities. Sunlight can be defined as direct-beam light through clear or partially cloudy skies.

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Partially cloudy skies are also partially clear. Clear sky and sunlight together act very differently from a diffuse overcast sky. In clear, sunny condition, sun is the brightest source of light, virtually a point source coherent, parallel rays producing sharp shadows.
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The light intensity of sun varies with many factors such as latitude,solar altitude and atmospheric conditions. The solar illumination at sea level can exceed to can exceed 100,000 Lux perpendicular to the sun’s rays, the color temperature of sunlight changes also, from 1000 to 1800K at sunrise to approximately 5000K at noon. This is considerably lower than a clear blue sky at greater than 10000K.
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Atmosfere of the clear blue sky filters and diffuses light, but provides low illumination. Near the sun the sky is bright, but majority of the blue sky provides less bright illumination than overcast skies. The allure of northern skylight for artists is due to its consistency of intensity and color temperature.
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To find out more about Natural light, follow us on our next article “Sources of Natural Light; Reflected Light”.

 

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Blog
To use natural light effectively, first we need to understand its abilities. Available daylight patterns are modified by factors such as close by landforms, vegetation, and structures. the variety light conditions create dramatically different perceptual environments and architectural responses.

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The three basic sources of natural light are;
Daylight, Sunlight, Reflected light.

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Let’s start from Daylight with a basic definition.
We can define Daylight as diffuse light through clouds or partially cloudy skies.

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We can describe daylight such as the combination of all direct and indirect light originating from the sun during daytime. In a cloudy climate, the diffuse sky is often the main source of useful daylight.

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When the cloud cover completely obscured sun, the sky is considered totally overcast. An overcast sky produces diffuse light. The sky is brightest at the zenith and decreases at the horizon to approximately one third of its maximum brightness.

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In totally overcast condition, the sky is generally the brightest element in an outdoor scene; light reflected off other surfaces has a much lower luminescence.

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The totally diffuse diffuse area of the sky indistinctly  renders shadows. Filtering of the light by the clouds also significantly raises the color temperature of the transmitted light.

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The totally overcast sky is actually quite uncommon. It is much more common to have less dense cloud cover with uneven luminous distributions revealing the sun.Thin, hazy clouds can be very bright, usually brighter than the fully overcast sky or a clear sky.

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Partially cloudy skies are even more common, constantly changing between direct sunlight  and hazy daylight and fluctuating in intensity, distribution and color temperature, as all of us experience the most in our daily routine.

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To find out more about Natural light, follow us on our next article “Sources of Natural Light; Sunlight
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News
Turkish lighting design firm Planlux to expand beyond its home base Istanbul, as frontier in Turkish lighting design field for more than 10 years, launched namesake firm in London in 2018 with an expanding international client base led by director Doğan Kozan.
Dogan Kozan
Firm rely on on Doğan’s is a talent and experience on the sector to develop more oportunities on one of the most importand cultural and commercial hubs of the world.
As a practice, aimed for a combination of creativity, efficiency and expertise Planlux focuses to provide a joyful lighting design project experience balancing the time, budget and quality.
Planlux team believes  continous face to face interction with its clients to be a part of the projects they are involved in.
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Doğan says; ‘Planlux’s skill and quality has been proven with 10+ years of background. Now with our combined experience and skill, we’re very positive that Planlux UK will take part in landmark projects all around the globe.
London is the capital of design and innovation in Europe and also a gateway to other regions like Middle East, East Asia, South America, etc. And we’re very excited to be a part of this network.’
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London is the firm’s first satellite location to be a mailestone to reach further markets in the future.

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Ongoing Projects

 


PLANLUX is an independent architectural lighting design studio established in 2008, with over 400 realised national and international, in various scopes and scales. Here you can find a reference list of our selected project.

 

CULTURAL


KONYA MEVLANA MUSEUM   
2019 –
ZEYREK CINILI HAMMAM/ KABA Architecture, ITOAŞ/ 2013 –

BORNOVA YESILOVA HOYUGU VISITOR CENTER BUILDING/ SCRA Architecture/ 2011-

IZMIR COAST DEVELOPMENT PROJECT MAVISEHIR/ STEB, Izmir Municipality/ 2012 –

T. OZAL & A MENDERES MONUMENT TOMBS/ IBB, Moonlight+HEPER/ 2011

GURRILLA LIGHTING ISTANBUL/ Studio DEKKA, PLD Turkey/ 2009

DOGRAMACIZADE ALI SAMI PASA MOSQUE/ Tepe Group/ 2009 (EFFECTPLD)

AKARETLER ROW HOUSES/ Geomim, Hayat Tourism Group/ 2007 (EFFECTPLD)

VALENS AQUEDUCT/ IBB/ 2007 (EFFECTPLD)

 

HOSPITALITY


MINDELO HOTEL BY MARRIOTT , CAPE VERDE / Toner Architects 2019 

MARRIOTT YALIKAVAK, BODRUM / Toner Architects 2018 
DAY FULYA /
İzgi Archıtecture, Day Group/ 2018

CER ISTANBUL/ Ege Yapı, Muum Architecture/ 2018 –

RADISSON BLU HOTEL VADISTANBUL/ Toner Architects, Artaş Group/ 2018

THE STAY HOTEL ALAÇATI/ NuPeople/ 2017

VELIALEMDARHAN HOTEL RESTORATION PROJECT/ Seba Construction/ 2016

SWISSOTEL RESIDENCES BODRUM HILL/ GAD Architecture, Çağdaş Holdıng/ 2017

BODRUM ŞALVARAĞA 2 EVLERİ/ GAD Architecture, Çağdaş Holding/ 2016 –

OKURA HOTEL/ Viva Architecture, Ungun H/ 2016

IL RICCIO HOTEL/ Studio Frezza, Doğüş Holding/ 2015

HILTON IZMIR/ Toner Architects, Sweet Group/ 2015 –

HILTON HAMPTON INN/ Nova Architecture, Turkmall, Kavanlar/ 2013

RADISSON BLU HOTEL/ Toner Architects, SBOzel Group/ 2013

HILTON GARDEN INN UMRANIYE/ Meas Architecture/ 2013

HILTON ANKARA/ Toner Architects, TurSA./ 2012

SHERATON HOTEL/ Metex, Serka, Adali Group/ 2012

CONRAD HILTON/ Has-Koen, Ara Design, RA Desig, Hilton Group, Aksoy/ 2012

SWISSOTEL BODRUM/ B&R, GAD Architecture, Çadğaş Holding/ 2012

RADISSON BLU HOTEL ATAKOY/ Toner Architects, SBOzel Group/ 2012 –

KERBELA HOTEL, Kerbela, Iraq/  Mavi Peri Architecture, Tefirom/ 2011

THE MARAMARA TAKSIM/ Akan Architecture, Wilson Associates, Istanbul Turizm AS, 2010

AYADA RESORT HOTEL, Maguhdhuvaa, Maldives/ Ahmet Aydeniz Construction/ 2009

W HOTEL ISTANBUL/ Geomim, Hayat Tourism Group/ 2007

 

OFFICES


ENTEK ENERGY OFFICE, Istanbul, DerinYapi, 2019i

BSH CERKESKOY INNOVATION CENTER,  Istanbul, Muum Arch.,  2018

MICROSOFT ISTANBUL OFFICE,  Istanbul, Muum Arch.,  2018

FIBA HEAD OFFICE/Fiba GYO/2018

HIGH LIFE/ Iki Derece Architecture, SEC Construction/ 2017 –

GALATAPORT/ Autoban, Bilgili Holding, Dogus Group/ 2017 –

IBB DATA CENTER/ Superpool/ 2017 –

IBB LIVING LAB/ Superpool/ 2017 –

OYAK HEADQUARTERS OFFICE/ MuuM, Oyak Construction/ 2016 –

SEBA OFFICE BOULEVARD/ Koray Yavuzer Architecture, Seba Construction/ 2016 –

TEMA HEAD OFFICE/ Superpool, TEMA/ 2016 –

NIDAKULE ATASEHIR WEST OFFICE/ Swanke Hayden Connell, Tahincioglu/ 2016 –

TAO OFFICE/ KREATIF Architecture, Tahincioglu, 2015 –

NIDAPARK/ Viva Architecture, Tahincioglu/ 2015 –

NUPEOPLE OFFICE/ GMall/ 2015  (IES AWARD OF MERIT 2017)

MAIDAN OFFICE/ A Design Architecture, Ege Group Construction/ 2015 –

DOGUS OTO TECHNOLOGY CAMPUS/ ERA Architecture, Dogus Technology/ 2013  (IES AWARD OF MERIT 2015)

CANAKKALE MUNICIPALITY MANAGEMENT AND CULTURAL CENTER/ SCRA Architecture, CBN Architecture/ 2013 –

MARS ENTERTAINMENT GROUP OFFICE/ Mars Entertainment Group/ 2011

GARANTI TECHNOLOGY CAMPUS/ ERA Architecture/ 2011 –

TC MINISTRY of FOREİGN AFFAIRS CAMPUS/ ESSA Project/ 2011

KOC SYSTEM DATA CENTER/ Derin Construction/ 2010

KUWAITI TURKISH BANK BRANCHES/ AE Architecture/ 2010

BOSTON CONSULTING GROUP/ Ozer & Tulgan Architecture/ 2010

FOX TV STUDIOS/ DGP Design, Alliance Production, News Corp/ 2009

AGUSTOS ADVERTISING AGENCY OFFICE/ Agustos Adverting Agency/ 2009

 

RETAIL


DIVANEV by YATAS /
Yalın Tan & Partners/ 2019

NETWORK / Toner Architects / 2019

KISMET BY MILKA / Toner Architects / 2019

BEYMEN/ Toner Architects, HMKM, Beymen/ 10 Projects/ 2015-2017

BEYMEN CLUB/ Beymen/ 4 Projects/ 2015 – 2016

BORUSAN AUTO SHOWROOM/ Arkizon Architecture, 2B Designed/ 2016

BOYNER SHOPS/ Toner Architects/ 4 Projects/ 2016 – 2017

SEVAN BICAKCI/ Fabricca/ 2013

BIMEKS TECHOPORT/ Bimeks/ 2009

TIFFANY & CO/ DPG Design/ 2009

SHOPPING MALLS


SYMBOL KOCAELI MALL/ Nova Architecture, Turkmall, Kavanlar/ 2013

FORUM ALMATA/ Nova Architecture, Turkmall/ 2013

CANPARK MALL/ Toner Architects, MUTLU-MES TURKUAZ-MİLTAŞ-UZMAN/ 2012

FORUM ADANA MALL/ ERA Architecture, Multi Development/ 2012

FORUM DIYARBAKIR MALL/ ERA Architecture. 2013

BAGHDAD AL KENDI MALL, Baghdad, Iraq/ 2011

NOVADA TOKAT MALL/ Turkmall, Sultani Architecture/ 2011

FORUM RUSTAVI MALL, Rustavi, Georgia / Nova Architecture, Turkmall/ 2011

FORUM EURASIA BATUMI MALL, Batumi, Georgia / Nova Architecture, Turkmall/ 2011

FORUM ATASEHIR MALL/ Nova Architecture, Turkmall/ 2011

FORUM UPTOWN MALL, Tiblisi, Georgia / CPU Architecture, Turkmall/ 2011

SHENYANG PLAZA, Shenyang, China/ ERA Architecture, Starmall/ 2010

FORUM CAPADOCCIA MALL/ ERA Architecture, Multi Turkmall/ 2009

FORUM GAZIANTEP MALL/ ERA Architecture, Multi Turkmall/ 2009

 

 

 

SOCIAL


INTI RESTAURANT / HONEY & DOUGH RESTAURANT/ Naif , Jit Group / 2019
DASDAS
/ NuPeople/ 2017

KAHVE DUNYASI/ Toner Architects, Altinkiliçlar/ 4 Projects/ 2016-2017    (IES AWARD OF MERIT 2017)

QUPPA RESTAURANT/ Toner Architects/ 2016

UNIQ ISTANBUL/ ERA Architecture, Turkmall/ 2012

MACFIT SPORTS CLUBS/ Mars Entertainment Group/ 53 Projects/ 2012 –   (DARC AWARDS SHORTLISTED 2017)

CINEMAXIMUM CINEMAS/ Mars Entertainment Group/ 42 Projects/ 2012-2015

NIDAPARK SEYRANTEPE SOCIAL AREAS/ Tahicioğlu / Gonye / 2012

MACFIT SPORTS/ Geomim, Mars Entertainment Group/ 2011

GIGI RESTAURANT & BAR/ Erul Design, Doors Group/ 2010

CINEBONUS CINEMAS. Mars Entertainment Group/ 14 Projects/ 2007-2008 (EFFECTPLD)

MAC, MARS ATHLETIC CLUB/ Mars Entertainment Group/ 2007 (EFFECTPLD)

 

URBAN

SUYABATAN/ İzmir Karşıyaka Coast, STEB Architecture, 2017

PEYNIRCIOĞLU PEDESTRIAN BRIDGE, Municipality of İzmir, 2018

BOZDOĞAN AQUEDUCT, Saraçhane, Istanbul IBB, 2007 (EFFECT PLD)

İZMİR COAST DEVELOPMENT PROJECT REGION OF MAVİŞEHİR/ Alaybey District STEB – İzmir Metropolitan Municipality, 2012

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