On Monday, December 3, the “Jewel of Park Avenue” at 230 Park, aka The Helmsley Building, really began to sparkle as building-owner Monday Properties unveiled a new LED lighting display to a crowd huddled at the base of the building, staring upward with anticipation as rush hour traffic swirled around. Monday Properties President and CEO Anthony Westreich and Manhattan Borough President Scott Stringer stood together to push a giant red button, officially triggering the light show, which flickered into action, turning heads of passers by for blocks around as a live violinist provided musical accompaniment.
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Digital design meets traditional Chinese craftsmanship in a pavilion constructed like a paper lantern
Hong Kong-based architects Kristof Crolla (LEAD) and Adam Fingrut (Zaha Hadid) married traditional Chinese craftsmanship and digital design technology in their temporary pavilion, Golden Moon, which won the Gold Award in the Mid-Autumn Festival Lantern Wonderland last month. The 60-foot-tall structure was built in just 11 days atop a reflection pool in Hong Kong’s Victoria Park, proof that “complex geometry can be built at high speed and low cost with the simplest of means,” said Crolla and Fingrut, who sought to rethink digital design by “anchoring the paradigm in a strong materiality.”
Cecil Balmond, who famously left ARUP to start his own firm, Cecil Balmond Studio, a couple years ago, has a mesmerizing new project. The ethereal light sculpture, dubbed Snow Words, stretches out towards the Alaskan sky and illuminates the lobby of the new Crime Detection Laboratory in Anchorage. Suspended between a glazed skylight and a mirrored floor, the 30-foot-high beacon, which opened last month, seems to float within its laser-cut cylindrical shell. Made of LED-lit rods calibrated to a unique sequence, the installation commemorates the officers who have lost their lives in the line of duty.
From the latest issue: Lighting goes minimal with fixtures that embrace the bulb. See our six favorites from lighting superstars, independent studios we scouted at London Design Festival, and Artek’s foray into the previously under designed world of light therapy.
Even as Berlin loses green space, the city remains Europe’s greenest with more than 400,000 trees. One of the grandest, a 100-year-old chestnut tree towering over Montbijoupark, was the center of Tree Concert, a public art project that took place in September to bring light, literally, to the city’s diminishing greenery with a glowing LED sculpture circling the trees trunk.
They’re being phased out in Europe and in many other countries around the world (but not in the U.S.), but there’s no denying that the soft, yellow glow from incandescent light bulbs—especially the low-Wattage Edison original that’s a staple in any Brooklyn-chic bar or restaurant—hasn’t been matched by fluorescent or LED alternatives. Until now. Lancaster, PA-based artist Luke Anderson partneres with a ceramicist and a glass blower to create a larger-than-life modern version of the Edison bulb called Alva—the famous inventor’s middle name—built with modern LED technology but with the nostalgic glow of the original.
When construction was completed on the Empire State Building (ESB) in 1931 it cost $25.6 million—that’s just $9.20 per square foot. You can’t even build a single floor for that nowadays, much less a 1,454-foot tall skyscraper (adjusting for inflation, the ESB would cost $352 million today). Though the building hosts events and tour groups, most of us only see it from the outside and don’t realize that the reason it’s known as the World’s Most Famous Office Building is because tenants occupy the vast majority of its 102 floors. And like any other office building, lighting consumes the majority of its electrical costs—a whopping 39 percent.
In order to meet their stringent return-on-investment requirements, Anthony Malkin, President of Malkin Holdings, which owns the ESB, and Jones Lang LaSalle, an energy and sustainability consultancy, commissioned Lutron to supply pre-built tenant spaces throughout the building with sustainable lighting control solutions as part of the Clinton Climate Initiative Building Retrofit program aimed at improving efficiency and financial performance. The building-wide retrofit is projected to provide a total lighting energy savings of up to 65 percent and a reduced installed payback period of just 2.75 years. Overall, the Lutron system will reduce energy use by 38 percent and energy bills by $4.4 million per year. Moreover, the upgrade will prevent an estimated 105,000 metric tons of greenhouse gas emissions over the next 15 years.
Video rendering of the Bay Lights (courtesy TBL)
“What if the West Span [of San Francisco’s Bay Bridge] wasn’t a bridge and instead were a canvas?” asked Ben Davis, founder of creative agency Words Pictures Ideas and man behind the The Bay Lights (TBL) some time ago. That question soon became the foundation for San Francisco’s latest high-tech public art project that’s got even Silicon Valley abuzz. With the support of San Francisco Mayor Ed Lee and major Silicon Valley bigwigs, TBL is planning to put up an ethereal light show 1.5 miles wide and 230 feet high covering the west span of San Francisco’s Bay Bridge.
Perched on the rooftop of a parking garage in Lower Manhattan a few blocks from the World Trade Center site, two groups of 44 light cannons pointing skyward will soon project high-intensity beams of light into the night sky for Tribute in Light, marking the tenth anniversary of the 911 World Trade Center attacks. Last week, as a crew of 30 workers was positioning the lights and laying cable to a large generator on the sidewalk, we stopped by to learn more what’s involved with the massive display.
With the High Line getting the lion’s share of attention lately, Hudson River Park feels more neighborhoody then ever. Last night’s opening of public art installation by artist/performer Jon Morris of Windmill Factory felt pretty down home with everyone sprawling out on the grass around Morris, who explained the inspiration for his light show which sits out in the water.
Growing up in Beria, Kentucky, Morris could see the stars, but in New York light pollution made the experience impossible. His idea was to sprinkle a little stardust onto the Hudson in the form of solar powered LEDs attached to the tops of pilings from a long departed pier.