News

Galataport İstanbul is expected to receive more than 7 million foreign tourists and 1.5 million cruise passengers. With a capacity of approximately 15,000 passengers per day, the new cruise port will make Istanbul a better destination.   
Galataport İstanbul will carry Istanbul’s cruise tourism new to a new level with substantial dining and shopping options.

Galataport Istanbul Cruise Terminal project, which Planlux served as lighting designers, is finally coming to an end.
Here you can find the Arrival Homeport Pedestrian video to understand more about the project.

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News

Projemiz İstanbul Senin – Aydınlatma Ürünleri Tasarımı Yarışmasında 4. Mansiyon’a layık görüldü.  













KONUR İSTANBUL PROJE LİNKİ




PROJE RAPORU

STIN·POLI

Günün Akşam Saatlerinde İstanbul, Yerler ve Kentte Gezenler

Kış günleri, akşam erken gelen karanlıktan sonra acele acele evlerine dönen insanların siyah-beyaz renkleri bana bu şehre ait olduğum, 
bu insanlarla bir şeyler paylaştığım duygusunu verir.

Hayatın, sokakların ve eşyaların yoksulluğunu gecenin karanlığı sanki örtecek ve hepimiz ev içlerinde, odalarda,
yataklarda soluk alıp verirken, İstanbul’un artık çok uzaklarda kalmış eski zenginliğinden, kaybolmuş
yapılarından ve efsanelerinden yapılmış rüyalarla, hayallerle haşır neşir olacağız gibi hissederim. Soğuk kış akşamlarının,
tenha kenar mahallelere, soluk sokak lambalarına rağmen şiir gibi inen karanlığını, yabancı, Batılı gözlerin
bakışlarından uzakta olduğumuz, şehrin utançla saklamak istediğimiz yoksulluğunu örttüğü için de severim.
İstanbul – Hatıralar ve Şehir
Orhan Pamuk


Haritalar yere ilişkin verileri yeniden düzenler ve bazı bilgileri görünür kılar; bu sayede yer ve gündelik hayat deneyimlerimiz arasında köprü kurmamızı, kendimizi kentsel mekânda yeniden konumlandırmamızı sağlar. Haritalar ve hikâyeler arasında güçlü bir analoji kuran Turchi, haritaların okuyucusuna aynı zamanda kentteki yaşama dair soru sordurduğunun altını çizer: “Haritalara soru sormak bana bir hikâye anlat demektir” [1].

Harita ve hikâyelerin kesişiminde, bugün bize çevrimiçi haritaların ya da kartografik belgelerin kolaylıkla veremeyeceği bir bilgi açığa çıkar: İstanbul şehirden kente, kentten hem nüfusu artan hem de sınırları genişleyen bir metropole dönüşse de hep bir çeşitlilik (diversity) barındırır.

Osmanlı coğrafyasının parçalanması ve ardından ulus-devletlerin inşasında dünyanın pek çok kentinin olduğu gibi İstanbul’un da çok dinli, çok uluslu ve çok kimlikli kozmopolit yapısı zarar görmüştür. Fakat, kentleşme, küreselleşme, neoliberal dönüşüm gibi süreçler sonrasında bile İstanbul bugün hâlâ bir çeşitlilik (diversity) ve heterojen kesişimlerin olduğu bir bir-aradalık barındırıyor. Kendini kamusal alanda ifade edişi son yıllarda daralsa da, baskın olan dışında kalan, etnik, politik, dini, sınıfsal kimlikler ve cinsiyet kimlikleri kentte bir arada yaşıyor.

İstanbul farklı geçmişler ve kimlikler taşıyan çok çeşitli insanlara aittir. İstanbul’u ‘Stinpoli’ olarak adlandıran Türkiyeli Rumlar bu tarihsel isimle kentin sahiplerinin içinde yaşayan insanlar olduğuna dikkat çeker. ‘Stinpoli’ oldukça yalın bir biçimde şehir içinde (se tin poli, in the city) demektir. “Çünkü i poli, yani şehir, ne krallara ne padişahlara ait değildir. Şehir insanlarına aittir” [2].

‘İstanbul Senin’ çağrısının kurduğu güçlü bağlamın haritaya sorduğu sorular var: İstanbul kimin kenti? Kentin hangi mekânları hangi farklı kimlikleri barındırıyor? Gün battığında hangi sokaklara kimlerin gölgesi düşüyor?

STIN·POLI, İstanbul’un farklı kentsel mekânlarını İstanbul’da yaşayan, tanıdığımız ya da karşılaştığımız insanların ve onlarla yolları kesişen diğer canlıların sokak lambalarıyla aydınlanan hikâyeleri üzerinden okuyor. Bu hikâyeler, birbirinden hem insanların farklı kimlikleri hem de bu kimliklerin İstanbul’un kentsel mekânlarıyla kurdukları bağ üzerinden farklılaşıyor.

STIN·POLI’nin hikâyeleri farklı ülke ve şehirlerden göç edenleri ve İstanbul’da doğmuş olanları içeriyor. Saleh Suriye’den zorunlu yerinden edilmeyle İstanbul’a gelmiş. Ayşe ve Ali, iş, eğitim, kültür ağlarının tetiklediği iç göçle Anadolu’daki küçük şehirlerden İstanbul’a taşınmış ve burada yaşamlarını sürdüren kişiler. Miranda, Figen, Hayat ve Cemil doğduklarından beri aynı mahallede yaşama şansına sahip olmuşlar. Miranda ve Figen, bir kısmı mübadele sırasında ve sonrasında Yunanistan’a göç etmiş İstanbullu Rum bir ailedenler. İstanbul’un martıları, kedi ve köpekleri, mahalle arasındaki sokakların, yeşil alanların, Boğaziçi ve Haliç’in kent sakinleri olarak hikâyelerdeki çeşitliliğin bir parçası. Soner ve Orfi dünyada çok az kentte rastlanabilen bir durum olarak İstanbullularla sokakta ortak bir yaşam sürdüren köpekler [3].

Gün devrildikten sonra hikâyelerin karakterleri kent meydanında, saklı bir Roman mahallesinde, dar kaldırımlar boyunca, merdiven-sokaklarda, mezarlık ve patikalarında, manzaralı bir tepede, sahil parklarında, plaza önlerinde ve mahalle aralarında geziniyor. Hikâyelere ve rotalara sahne olan tüm yerler; Taksim, Tarlabaşı, Şişhane, Kasımpaşa, Cihangir, Fındıklı, Boğaziçi, Balat, Eyüp, Pierre Loti Tepesi, Haliç, Bahariye, Moda, Levent ve Teşvikiye, STIN·POLI ürün ailesi ile yeniden aydınlatılıyor.




Tasarım Yaklaşımı

Kentin altyapısını oluşturan köprüler, yollar, kaldırımlar, duraklar gibi aydınlatma ürünleri de insanların yaşam alanlarını ve kamusal mekânı üretir. STIN·POLI İstanbul’un kentsel kamusal mekânlarını çeşitliliğin deneyimlendiği bir zemin; aydınlatma ürünlerini ise farklı özellikteki ışık kaynaklarını saran bir ‘zarf’, onları taşıyan bir arayüz olarak yorumluyor.

Kamusal alanların aydınlatılması için dünya metropollerinin bulunduğu noktada olmasak da, zaman içinde belli bir kültürün ve üzerinde mutabık kalınmış bazı standartların oluştuğundan bahsetmek mümkün. Kent kimlikleri oluşturulurken kamusal aydınlatma konusu eskisinden daha çok önemseniyor ve bu alanda mühendislik ve tasarım hizmetlerine ihtiyaç duyuluyor. Enerji politikalarındaki gelişme ve ışık kirliliği için yapılan uyarıların dikkate alınmaya başlaması da bu alandaki önemli gelişmeler arasında.

Alışılagelmiş yol/sokak aydınlatması açısından baktığımızda sayısız algılayıcı ve ekipmana ev sahipliği yapabilecek aydınlatma elemanlarının önünde hâlâ bazı temel engeller mevcut. Kablosuz iletişim platformlarının veri protokollerinin hâlâ netleşmemiş olması, tasarımların geleceği ile ilgili temel belirsizliklerin başında geliyor. Bununla birlikte bir ışık kaynağı tasarımının kamusal mekânda tüm sorunları giderilmiş olarak, çok sayıda üniteyle, ergonomik ve ekonomik bir kullanım alternatifi haline gelebilmesi bazen yıllar süren araştırma – geliştirme süreçleri gerektiriyor. Teknolojik gelişmelere doğrudan bağlı bu süreçler doğal olarak ışık kaynağı tasarımı ile armatür tasarımını birbirinden ayırıyor.

Bu temel sebeplerle STIN·POLI ürün ailesi geliştirilirken, aydınlatma üreticilerinin hali hazırda piyasaya sunmuş oldukları platformları (aydınlatma aygıtlarını) kullanmanın değerli ve gerçekçi bir yaklaşım olduğu düşünüldü. Tasarlanan ürünlerle, bu platformları (aydınlatma aygıtlarını) sarıp sarmalayacak, taşıyacak, mimari çevreyle ilişkisi kuvvetli, kimlik anlamında kendi içinde tutarlı bir arayüz oluşturmak hedeflendi. Her ürünle birlikte kullanılabilecek piyasada mevcut en az iki ışık kaynağı alternatifi bulunmasına dikkat edildi. Bu sayede yıllar süren aydınlatma aygıtı tasarımı sürecini baştan başlatmadan, hem piyasanın teknolojik olarak mevcut kapasitesinin en doğru şekilde kullanılması, hem yerel yönetime mevcut yasal mevzuatlar çerçevesinde gerçekçi bir tedarik serbestliği sağlanması, hem de yıllar içinde gerçekleşecek teknolojik değişimlerden etkilenmeyecek sürdürülebilir, İstanbul’a ait bir ürün kimliği yaratılması hedeflendi.

Tasarım yaklaşımının önemli noktaları:

  • Ürün ailesinin her üyesi ışık kaynaklarını taşıyan birer ‘zarf’, arayüzdür.
  • Ürün ailesi modülerdir. Kullanılan ortak malzemeler, ortak üretim süreçleri ve tekrar eden boyutlar sayesinde seri üretime uygundur.
  • Ürün ailesi ile birlikte halihazırda piyasadan tedarik edilebilecek hazır ürünler (ışık kaynakları) kullanılabilir.
  • Piyasadaki ürünler, teknik olarak AR-GE çalışmaları ve kullanım testleri yapılmış, gerekli sertifikasyon işlemlerinden geçmiş teknolojiler içerdiğinden yerel yönetimin tedarik yönetmeliklerine ve ilgili yasal / teknik standartlara uygundur.
  • Ürün ailesi birden çok ışık kaynağı için uyumlu olacak biçimde tasarlanmıştır. Böylece farklı üreticilerin muadil ürünleri tercih edilebildiğinden, kamu yararı adına gerekli rekabet ortamı sağlanır.
  • Zaman içinde kullanılan ışık teknolojileri, lensler, ekipmanlar değişse bile ‘zarf’ aynı kalır. Böylece teknolojiden bağımsız olarak kentte görsel bütünlük korunur, kimlik sürekliliği sağlanır.
  • Sistem, tedarik ve bakım pratikleri açısından yerel yönetim için avantaj sağladığından ekonomik olarak sürdürülebilirdir.

Ürün ailesi IPOLI (6) ve STINA (9) adlı iki ayrı set olarak kurgulandı. IPOLI setine ait ürünler meydan, sokak ve caddelerde yoğun olarak kullanılan, endüstri standartlarında kentsel armatürler olarak planlandı. STINA seti ise İstanbul’a özgü kentsel mekânlara özel olarak tasarlanan ürünlerden oluşuyor. Ürün ailesinin farklılaşan üyelerinin isimleri beraber, birleştirmek, karanlığın açılması, akşam sohbetleri, gölge gibi zengin anlamları olan Osmanlıca, Yunanca, Ermenice, Arapça, Süryanice, Farsça, Kürtçe gibi farklı dillerdeki kelimelerden esinlenilerek üretildi. Tasarım yaklaşımının temelinde İstanbul’un barındırdığı çeşitlilikten (diversity) beslenen STIN·POLI ürün ailesi, isim yelpazesiyle de bu tavrı koruyor.

 
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News


IALD Webinar: Gallery Lighting Installations – Permanent Vs. Temporary

THURSDAY, 17 SEPTEMBER 2020 | CHICAGO 9:00 A.M. CDT (UTC-5)
NEW YORK 10:00 A.M. EST | LONDON 3:00 P.M. BST | PARIS 4:00 P.M. CEST | ISTANBUL  17:00 P.M. CEST


Join Doğan Kozan, IALD, managing director of Planlux UK, for a discussion on the challenges lighting designer encounters with control systems in the specifics of permanent and temporary installations.

The selection of the correct lighting control system has always been important for art galleries, but in recent years it has become more of a critical and fine-tuned process. As control systems have evolved with enhanced functions—coupled with improved quality in the light sources themselves—lighting designers are required to think about lighting control systems in more detail, particularly in the early stages of projects. These developments allow the lighting designer to have greater flexibility; however, they also come with challenges.


SAVE MY SEAT

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We are honored to participate in developing lighting design schemes for Studio Evren Başbuğ Architects’ proposal, and Kardelen Peyzaj Planlama.

Great to hear that  ‘Haliç v5.1‘ has been awarded an Honorable Mention at ‘Haliç Waterfront National Invited Architectural Competition‘ organized by İstanbul Metropolitan Municipality. 

You may reach the project via the link:

https://www.studioevrenbasbug.com/post/haliç-v5-1

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We share our expertise with
On-Line Consultancy Services


What is this?

The market is constantly shifting to remain relevant to the information age. 
At Planlux we aim to share our knowledge and expertise through our Online Lighting Design Consultancy Service.
We serve all types of market professionals, such as Architects, Designers, Consultants, Contractors, M&E engineers, Manufacturers, Investors, and Developers. Our clients can access and benefit from our expertise as fast as a click.


How does it work?

We’ll arrange a quick remote meeting so that we can fully understand your project’s needs, any questions you might have, and which specific lighting techniques (if at all) may be required. Essentially, the initial meeting aims to gather as much information as possible and also to establish a program of consultancy sessions best suited to you and your job’s requirements.

In our Consultancy Session, we will share our knowledge and expertise with you, specific to your needs.
For example:

  • Concept ideas
  • Product suggestions
  • Design solutions
  • Lighting strategy suggestions
  • Lighting control strategy
  • Installation detail assistance
  • Design construction process
  • Daylight related queries
  • Lighting guides & legislation advice

Our consultancy services are intended to provide you with specific information on a “need-to-know” basis, to save you from excessive fees charged for standard full lighting design packages, often containing unnecessary information that may be surplus to requirements.  

What is next?

We’ll contact you to arrange a FREE initial meeting where we will gather as much information as possible to understand what’s required and how we can help. 

After our meeting, we will send you a link for you to book a Consultancy Session with us. You can choose the best time suited to you, for the duration you require. In the link, you’ll also be able to view the booking fee attached to that session; straight up with no hidden additional fees. We’re available 24/7 for our customers, who are situated in a range of different time zones.

Responsibilities

Planlux is an independent lighting design practice with no commitment, alliance or affiliations to lighting manufacturers and suppliers. We’re members of IALD (International Association of Lighting Designers) and bound with association’s Code of Ethics.

In our consultancy session, we will share our knowledge and expertise with you, which will assist you in your recent or upcoming projects. This is not a project design service so Planlux doesn’t take responsibility for Building Regulations compliances


Let us get in touch with you!

Please fill out the form below and one of us will be in touch with you.

https://pipedrivewebforms.com/form/60fbae1042babf96814b40ec7acb62a75455489

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Online Seminar: 
Status and Future of the Profession / Industry

A series of career seminars with the theme of “Status and Future of the Profession / Industry” is organized in order to prepare the students for professional life after graduation within the scope of the DAN 301 Career Counseling course carried out in the Istanbul Technical University Electrical Engineering Department. 
In this series of seminars, Doğan Kozan, IALD / Managing Director – Planlux UK will make a presentation on his ‘Lighting Design’ career in the Electrical Engineering profession and the challenges, opportunities, and experiences he has encountered in this way. Our lessons will be carried out via Zoom as Online Education with the pandemic experience.

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Blog

Defenders of Lighting Identity 

Light Identity Design as a Service


What exactly is brand identity? 


What does it have to do with lighting design? 


And how do you create a brand identity without a designed lighting scheme? 


Branding is a long term process including a combination of various aspects.  For a brand, one of the key elements is to define a strategy and feeling about the architectural environment presented as a part of the services given.  From the retail sector to hospitality, from individual spaces to chains in large numbers, national or international, even to the cities itself.

Here, light is the fundamental layer and hidden advantage. Lighting design is a key aspect that communicates directly about the values of any particular brand. The use of light as a branding tool deepens a brand strategy. Do we use it? / How do we use this advantage? 


What do we ‘lighting designers understand from the term ’brand’? 
A brand in its the term what we think when we hear a name. But we as lighting designers have a different way of approach; we generally start thinking of adjusting and balancing the light levels, contrast, scene, visual distraction.   We understand the final visual image of how the light will interact with the color/texture/space. Even sometimes we see nothing but light.

We are ‘The defenders of Brand Identity for our Built Environment’


Communication with Light 
‘Brand communication influences the stakeholders of the company. The stakeholders include employees, customers, investors, and sponsors as they are attached to the brand in the most integrated manner and it is the prime duty of the management to have a communication with them on regular basis about the issues and important matters of the brand. It works as the voice of the brand that strengthens the relationship with the  stakeholders on a long-term basis.’  


The duration of the effect
We can assume that a change in the identity that lasts over 20 years. Because it presents a behavioral change. Change the way of working and communicating. Within a brand perspective, it is similar to creating a corporate brand identity through the generations.


Advantages of good Brand Communication
Lighting today is used as another way of communication and interaction. 70% of all our perception is visual, so let’s make the most of it using this opportunity and tool. ‘Lighting’ is one of the most important and economical ways of emphasizing the visual environment. Which companies try to express this with the combination of the architectural environment as it offers as a brand


A good brand communication;


1-Creates an Impact, 


2-Makes you an authority, 


3-Creates uniqueness, 


4-Improves loyalty,


5- Develops the market. 


In fact, as lighting designers, we dedicate our time and energy to our customers for the design and development of their branding – ‘their communication with light’. 


We carry out this close communication from concept to commissioning whether it is a singular space or one of the branches. When you bring lighting design into the branding, it helps to enhance the reputation by presenting a consistent image. Lighting impacts every aspect of experience and reinforces a perception.



A lighting strategy 


We know that the wrong way of lighting creates a miserable atmosphere.  So we should define what is needed and what to avoid. This we can call a ‘lighting strategy’ 


We define and tailor the lighting strategy unique to the particular brand. 

We are responsible for the visual image making sure that the project is just the way that the design team imagined. This strategy is briefly a mixture of; understanding the brand’s need and message, unifying concept design, efficient (total (min) carbon footprint)-affordable and sustainable specifications, documenting, procuring, fine-tuning, reporting -creating a brand history about lighting.

Understanding what the brand achieves with the acceptance of designed lighting is, in fact, is a new journey. We should turn this into excitement to overcome resistance at different levels. We need to make it as easy going and smooth as possible in terms of changing the old habits.  Example of a strategy booklet for a particular brand.  


Our history for the lighting design for brands started working with Mars Entertainment Group. 

Here you can find some of our selected projects that are provided as ‘Lighting Identity Design Development’ service for; Bimeks (electronic retail chain), MACFit (gym chain), Cinemaximum (cinema chain), Beymen (high-end retail chain), Boyner (high-end retail chain), Kahve Dünyası (coffee shop chain).


A new approach for new generations 

“Energy-efficient lighting” was a common approach/terminology, which was used by the clients to describe what they want from the end product.

But what is the term energy-efficient and why it is not the main aspect of 2020?

More than %90 of ‘energy efficiency’ goals are reached from the day it became a paradigm change since the 1960s. Since then lighting manufacturers have dictated lighting configuring with what they already have, with a limited product range, with the standards defined in laboratories 40-50 years ago, This hasn’t changed for over twenty years.


The question should not be “We would like to change the old lighting” now.  It should be ‘Let’s enhance our customer experience.” For that, we need to educate our customers.


When light and branding work together well, people can easily differentiate one from the other brands without realizing it. Lighting and branding represent creating a perception in someone else’s mind. Branding is not just about a logo and how something looks on a screen. The light and brand tie-in and have resonance when it reinforces a customer’s complete experience. It is always the finer details. A brand cannot ignore them. 


Lighting designers manage brands through their knowledge of how light behaves and integrates into our built environment. 


Lighting designers are crucial for brands to defend their identity  



Korhan Şişman / Planlux, 2019 

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Blog
The 8th Edition of the festival, started in last november. Amsterdam Light festival is actually a big outdoor exhibition. This years theme “disrupt” is marked all over each and every piece. Festival can be discovered by boat tour specially made for the occasion or the walking routes which you can find on the official website. Here is this years artworks:


BIG BANG, UxU Studio
According to the artists of the collective Uxu Studio, there’s nothing that symbolises disruption – and destruction, war, and aggression – more than a bomb. Their blue-lit bomb BIG BANG hangs somewhat threateningly in the air like it is just about to hit the water.



THE CRACKS, Karolina Howorko
There is a crack, a crack in everything / That’s how the light gets in,” legendary Canadian singer and poet Leonard Cohen sang in his song Anthem (1992). Striving for perfection makes little sense, Cohen said, because life is simply about change and decay. Yet there is always hope, and we must embrace the imperfections in what we do and what we make; damage and defects define the character of a person or an object.





NEIGHBORHOOD, Sergey Kim
Illuminated laundry hangs to dry on washing lines, as though it were a summer day in Amsterdam. Glowing white garments, and a cheerful collection of blouses, T-shirts, underwear, trousers and dresses, hang on either side of the canal. There are also some special items of clothing such as a pair of wide Turkish pants, a traditional Jewish dress, and a Moroccan djellaba. Together these pieces represent the cultural and ethnic mix of residents in the city. 




ATLANTIS, Utskottet
You may identify the image of an international metropolis plagued by floods and other natural disasters from blockbuster films like Deep Impact (1998) and The Day After Tomorrow (2004). With the sinking city, Atlantis, Utskottet demonstrates how this menacing scene can become a frightening reality.



NOTHING HOLDING US, Ben Zamora
With his installation Nothing Holding Us, Ben Zamora shows us that nothing should hold us back. Not even the disruptive shock of a totally life-changing experience, which he has depicted with dozens of light tubes in the form of an explosion that seems to be frozen in time. The painful shock of losing a loved one, or the excitement and joy you feel when a new person comes into your life – your life will never be the same again and that offers room for perspective and development.



NACHT TEKENING, Krijn de Koning
The Skinny Bridge counts around 1,800 light bulbs that are responsible for lighting up the contours of the bridge at night. This type of illumination is typical for Amsterdam bridges: the arches are accentuated by the concentration of light bulbs, and together they provide a unique and coherent cityscape.The artwork has two faces: during the day, the image of Amsterdam’s most famous bridge remains intact, but when night falls and the lights turn on, it is completely disrupted. The monumental light drawing distorts, distances, and comments on the existing image of the bridge as we know it. With this two-dimensional play of forms and light lines, De Koning has succeeded in turning the Skinny Bridge into an abstract drawing.
 
FEEL LIKE THE KARDASHIANS, Laila Azra
Artist Laila Azra transforms Amsterdam’s Amstel River into a red carpet. Photographers and fans have flocked to the docks on either side of the Amstel lock passage, surprising passengers in passing boats with the flashes of their cameras.






ORDER/DISORDER, Lambert Kamps
Movement is key to Lambert Kamp’s 7-metre-high installation. Nine luminous circles continuously rotate in and out of each other.For the artist, the moving rings represent the dynamic and rapidly-evolving world that we live in.




BUTTERFLY EFFECT, Masamichi Shimada
Seven gigantic butterflies have landed on the surface of the canal. The butterflies not only rise and fall with the movement of the water caused by passing boats, but their wings glow blue against the dark night. At first sight, the artwork seems to portray a peaceful, almost magical scene. But with his artwork Butterfly Effect, Masamichi Shimada attempts to portray how something as delicate as a butterfly can possess such immense power.



ICEBREAKER, Wilhelmusvlug
Ice skating is a winter tradition in the Netherlands.With global warming, skating on frozen waters such as the Amsterdam canals is becoming less and less likely. Icebreaker is an artwork that reminds us of when the canals would freeze over every year, but simultaneously a warning for the results of global warming.




HIDING IN THE WOLF’S LAIR, Republic of Amsterdam Radio & Nomad Tinker House
Four ominously lit-up wolves have suddenly appeared on the edge of the ARTIS Amsterdam Royal Zoo. They have gathered around a group of people who are hiding in the attic of one of the wooden buildings along the water, but what exactly are wolves doing roaming free in this scene, designed by the collectives Republic of Amsterdam Radio and Nomad Tinker House? Important clue: an envelope containing poems written by resistance fighters during the Second World War was discovered between the roof tiles of these former storage houses in 2013.
 
DE NACHTLOERRRDERS, 72andSunny Creative Collective
Hidden in the darkest of darkness, down amongst the bushes or high in a tree, we see their strange, unfamiliar eyes shining out at us. These eyes are here to show us a possible future evolution, one that we humans could soon be faced with if we continue disturbing animal habitats with our ever expanding cities that light up the night skies.

 
BETWEEN THE LINES, Har Hollands
With Between the Lines Holland demonstrates that the crane can be much more than a retired machine. For Hollands, elements and rhythms in urban constructions, which often go unnoticed in our day to day, form the basis of a magical play of light. The city comes to life in a new way in ‘the domain of the fantasy’, as Hollands beautifully describes the night.


 
SURFACE TENSION, Tom Biddulph & Barbara Ryan
The artists have transformed part of Amsterdam’s famous canal into a drowned city street: the spooky, glowing silhouettes of swept-up cars, lamp posts and traffic signs rise out of the water, a ghostly vision of what could happen. Biddulph and Ryan’s background in graphic design is clearly visible in the piece: it is a spatial line drawing, made of light.




REMIND EULJIRO FREEDOM, Eon Sld
Colourful, flickering and illuminated Korean signs compete for your attention on the Schippersgracht in Amsterdam. EON SLD’s installation contains about 40 replicas of traditional signs, neon signs and lightboxes that represent the 1950s to the present, as well as several newly designed signs. The jumble in which these signs have been presented on the quay are typical of a Korean shopping street.



THE ICE IS MELTING AT THE PØULES, Martin Ersted
By combining hard, scientific facts and intense laser light, Ersted generates a performance that is simultaneously confronting and poetic. It is no coincidence that Ersted’s installation can be seen on the facade of the Maritime Museum. From 4 October 2019 until 10 May 2020, the worldwide impact of the ice melt and sea level rise are the focus of the exhibitions Scramble for the Arctic and Rising Tide by Kadir van Lohuizen.


ALL THE LIGHT YOU SEE, Alicia Eggert
Light always takes a moment to travel from one point to another – one second to cover 300,000 kilometres to be precise – and to reach our eyes. The travel time varies from, for example, eight minutes for the light from the sun to reach the earth, to millions of years from a star at the edge of our universe. This means that the information that light brings us, like how long ago that distant star was born, is always dated. Exactly that is the focus of Alicia Eggert’s artwork ‘All the Light You See’. As in many of her works, Eggert uses a poetic statement written in light that changes meaning with a small intervention. Part of the text in ‘All the Light You See is From the Past’ occasionally switches off, making her message even simpler, ‘All You See is Past’. ‘All the Light You See’ is therefore a memento mori (Latin for ‘reflection on mortality’), an artwork that reminds us that in a short while, we too will belong to the past.

NOBODY, Gabriel Lester
The title given to the installation by Lester, Nobody, says a lot about its meaning. It is the English translation of the Latin word ‘nemo’ – not exactly a coincidence that this is also the name of the science museum. With this work, Lester asks the question of whether man is still ‘someone’ of significance in a world that is increasingly controlled (or dominated) by technology.


AD. EMPTY DOMINATION, M. Watjer, J. Pielkenrood en W. Brand
Two enlarged billboards, or light boxes meant for outdoor advertising, are displayed prominently on the quay. The advertisements are missing; instead, the boxes are marked by their emptiness and the harsh white light they emit. Research has shown that when people are on the move, they often have a positive attitude, are alert, make plans, and are open to visual communication. Too often brands have taken advantage of this, which has resulted in the fact that many of our public spaces are dominated by advertisements. The daily flood of hidden messages regarding how we should live and what we should think controls us and, in some cases, causes overstimulation. Breitner Academy students Pielkenrood, Watjer and Brand created a work of art that disrupts this vicious cycle and dominates the space with an overwhelming nothingness.




Amsterdam Light Festival will be keeping up with the rhythm of the streets and many canals of the city of Amsterdam during  28 November 2019 – 19 January 2020. For more information visit the official website of the festival.
Sources;  https://amsterdamlightfestival.com
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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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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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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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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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