24. Mar 2014

 No. 92 – Shop lighting

Jan/Feb 2014

Karl Lagerfeld flagship store in Paris/F
Behind the facade

Text: Moritz Gieselmann
A neo-classical facade made of wood painted in matt black, two asymmetrical shop windows: the initial impression you get of Karl Lagerfeld’s first flagship store is somewhat unspectacular. What awaits you behind the outer facade is a sophisticated design and lighting concept.

The Zoo Palast in Berlin/D
Searching for the soul of cinema

Text: Moritz Gieselmann
The revitalised Zoo Palast building cleverly unites the love of architecture of the fifties with the expectations of a modern-day audience. The main idea behind the architects’ design was to reconstruct all the original elements as far as possible. People’s expectations and viewing habits have changed substantially over the last few decades, which is why it was decided to restore the architecture as true to the original as possible and applied modern lighting design to reveal the aesthetic qualities of the architecture of the fifties to a modern-day audience..

The principles of Nordic Lighting applied in a jeweller’s shop in Stockholm/S
Warmth from the north

Text: Moritz Gieselmann
Central Europeans tend to associate the north with snow and ice, with cold and darkness. The opening of a jeweller’s shop in Stockholm puts paid to this preconception in an impressive fashion. Classic design and state-of-the art lighting technology, all in line with the principles of “New Nordic Lighting”, have been combined and applied to create a warm and friendly masterpiece.

Temple in Eifukuji/J
Text: Joachim Ritter
A window is a window is a window. Is it not? Can we make any more out of an opening in a wall than we already do? Certainly we can, if we regard light as an integral part of the design and approach the task of creating a window with purpose and awareness.

Lighting and graphic design
When the boundaries between two disciplines begin to blur

Text: Paolo Portaluri
It has always been good for a lighting designer to have some skills in graphic design or drawing, since it is not easy to portray light or to communicate a concept.

Daylight or not daylight?
The copy is no longer distinguishable from the original

Text: Joachim Ritter
As German legend would have it, people – namely the “simple” folk of Schilda – were already trying to bring daylight inside buildings at the end of the 16th century. They were not that successful in the undertaking, however. Their idea was to capture daylight in sacks, carry the sacks into the buildings and open them up in the rooms where the builders had forgotten to put in windows. A tall story indeed. But all the stories about the people from Schilda have a similar twist. It must have had something to do with the speed of light that left the people wondering why the light would not stay inside but quickly found its way out through the door again …

Lighting retail environments
Small, Medium and Large
Text: Gary Campbell
What does the lighting in retail spaces need to achieve to meet a particular retail brand’s aspirations? Primarily to show the merchandise to best effect in terms of form, colour and texture, and to help make it attractive to the customer. Then, to further promote sales, illuminate the retail space itself to best effect to enhance the brand, and ultimately form part of the whole brand and store experience for the customer.


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