Winning designs

2011

CLUE

1ST PRIZE

PROJECT NAME : LightPot

NAME OF WINNERS : Ninad V. Jogdand

PLACE : Pune, Inde

 

Last week, we announced the winners of the 6th annual CLU Foundation contest whose main purpose is to encourage young designers to develop innovative lighting concepts for exterior public spaces. In the first of four installments with the winners, we present an interview with the 1st prize laureate, Mr. Ninad Jogdand from India. In addition to having submitted a draft of a higher difficulty level, Mr. Jogdand seized an opportunity by reusing the energy generated on site for other purposes.

Congratulations on winning the 1st prize of the 2010-2011 CLU Foundation contest.

I would like to thank Philips Lumec and all the jury members of the CLU Foundation for their time and efforts. I would also like to congratulate all the winners and participants of the contest.

Tell me about yourself, your career and your education.

I am an architect from Pune, a city in West India. I am 30 years old and have been working with a lighting design firm in Goa, India. After studying architecture from the University of Pune, I happened to come across a Masters program in Architectural Lighting which I subsequently completed from Wismar, Germany, in 2007. It has been an interesting journey through the field of lighting since then.

 

What has brought you into industrial design?

The use of daylight in architecture has always fascinated me. It is an element that reveals architecture and has an effect on both perception of physical spaces and emotional response of those who use the space. The modern day architecture also demands use of artificial light. I find it very interesting how the use of artificial light can enhance an architectural space or give it a completely different meaning. With light as a medium, one can play with textures, building materials and colors in order to create an atmosphere.

 

What kind of challenges do you have to overcome, being an emerging lighting designer in India?

Architectural Lighting is an emerging field in India and there is not much awareness about the subject. Here, lighting is often provided as a part of interior design or building services and not as an independent design based on the specific requirements of the project. However, working as a lighting designer with a background in architecture helps me understand the requirements of the clients in a better way and provide an optimized solution. The cultural and socio-economic factors also play an important role in planning a design. At the same time, it is also necessary to keep myself updated with current technologies in lighting and construction as the architecture of modern buildings requires varied lighting solutions.

 

What motivated you to enter the CLU Foundation contest?

The CLU Foundation contest has offered me an international platform to showcase my ideas in lighting. I especially find the theme of the contest “Light it for Humanity” very interesting this year. It makes one think not only about the issues related to public lighting but also about the social, economic and cultural background of a community.

 

What does your 1st prize standing at the CLU Foundation contest represent?

I feel that winning the first prize at the CLU Foundation contest is just a start. I am pleased that my ideas are well accepted and are not vague. I would be even happier if I could take these ideas forward, transform them into reality or apply them in my projects.

 

How did your idea for the LightPot project come about and evolve?

For my design proposal for the contest, I started off with a completely different concept and was looking for information on recycling material. In the process, I came to know about Dharavi, a place in Mumbai, which has a large recycling industry along with traditional pottery and textile industries. There have been several plans for redevelopment of Dharavi but none has been realized so far. So I thought of developing a lighting solution for the place, which is sustainable and can be implemented with the expertise of the local workers. Different business activities are carried out along the narrow lanes of Dharavi. This called for a luminaire which provides functional light after dark as well as promotes interaction between people of all ages. The design of the luminaire was of course inspired by the shape of an earthen pot.

 

How would you feel if your LightPot solution became a reality and was achievable?

I would be happy to see this project realized. I am quite sure that the task is achievable, given the right kind of support and resources. The main objective of the design was to extend the day ambience of the place into the night and thus increasing safety in the frequently used areas. The important question for me would be “how the residents or the users feel about it and if they are satisfied”.

 

How would it change that environment?

The aim of the proposed solution was to provide functional light for day to day activities of the residents as well as to create a safe environment at night which encourages interaction. Use of colored light at squares and gathering places would add to the atmosphere during the festivals.

 

How could your project eventually become a reality?

At the moment, it is just a design concept that I have submitted for the project. Extensive site surveys are required to check the feasibility of the project. There is still a huge task ahead to realize a project of this scale. It is however a good start and I would like to take it forward.

 

What is the most important thing that you have learned by participating in this contest?

The goal of the contest was to design a ‘‘friendly public lighting’’ scheme which is accessible to all the people living in a society. And it was a good opportunity for me to look at other interesting ideas or ‘‘perspectives’’ from which one can look at the same thing.

 

What do you think of urban lighting in the future?

With the introduction of advanced lighting technologies, the use of artificial light is ever increasing in urban spaces. Therefore, we, as lighting designers, have a greater responsibility of using light sensibly and only in places where it is required. Artificial light plays an important role in overall presentation of the cities and one has to consider the topography, the history, the culture of a place for planning at a bigger scale. The concept can then be applied for planning at local level in order to create a uniform nightscape in urban spaces.

 

How do you see your career evolving?

As I mentioned before, architectural lighting is an emerging field in India and there is not much awareness about the industry. I feel that working as a lighting designer in this environment is a challenging job as we spend a lot of time educating our clients, the architects and also the interior designers about lighting in general. However, in the future, I hope to complete some projects wherein I can implement new ideas that contribute to improving the lifestyle of a society in general.

CLUE

2ND PRIZE

PROJECT NAME : Buoyant Light

NAME OF WINNERS : Claire Lubell et Virginia Fernandez

PLACE : Waterloo, Ontario, Canada

 

Two Canadian undergraduate students, Claire Lubell and Virginia Fernandez receive high praise and win 2nd prize in the CLU Foundation contest. The project entitled Buoyant Light unveils a community that is often left to itself: the Nordic region. The illustrated idea combines the human and his environment, demonstrating an excellent example of humanity. The jury would like to congratulate Miss Lubell and Fernandez for the efforts they put into their theoretical and technical research.

 

Claire  and Virginia tell us about your background?

Claire: I’m 24 years old and currently completing my final semester of an undergraduate degree at the University of Waterloo, School of Architecture. Previously I studied at l’Université de Montréal and University of Alberta, each for one year. In the last 5 years I have worked in architecture offices and participated in studios in Canada, the United States, Switzerland, Italy, Australia, and South Africa. My interests in architecture lie in its more broad ability to address complex social, economic and political issues, rather than its specific role as a practice of object making. I am particularly interested in how the traditional formality of the built form can be reconsidered in contexts where informality in urban development is an autonomous force.

Virginia: I’m 25 years old and am also finishing my last semester of undergraduate studies in Architecture at the University of Waterloo and previously studied in Venezuela. Because of the co-op program at the school I have had the opportunity to work in many places over the last five years including Toronto, Austria and Venezuela. My interest in architecture resides in its power as a concrete medium in which other less tangible economic, political and cultural forces are materialized. As a designer I am interested in context, both physical and notional, as a source of knowledge and invention 

 

What interests you about industrial design?

We are not specifically industrial designers. In studying architecture we have the opportunity to address design on a wide scale ranging from singular objects to large urban/infrastructural proposals. In the case of Buoyant Light, we decided that the questions we wanted to explore were best addressed with a highly articulated object which could respond in a softer way to the human scale, climate and scale of the Arctic landscape.

 

How would you define your style? What differentiates you from others?

For us it is not so much a question of style as a one of process. We generally approach projects with research into conditions, be they physical or anthropological, related to the context in question. Based on this research we identify a problem that can be addressed with a simple intervention in the site. In doing this we develop projects that have the freedom to be highly imaginative because they are simultaneously grounded in a framework of rigorous research.

 

What motivated you to enter the CLU Competition?

The theme “Light it for Humanity” motivated us to submit Buoyant Light. We had developed the project in 2010 and beyond its technical aspirations and response to climate, its potential role within a community is most important to us. We think the proposal’s strength resides in its potential to be a meaningful part of the seasonal cycles and social gatherings of communities in northern Canada. For this reason we felt that the CLU Competition very directly addressed the aspects of Buoyant Light which we feel the most strongly about.

 

What does your 2nd prize standing at the CLU Foundation contest represent for you?

It is important to us that Buoyant Light has received recognition in a Canadian competition, because we feel that a sensible and innovative development in the arctic, both culturally and ecologically, is of fundamental importance to Canada’s future economic, environmental and political sustainability. As designers we hope that our profession will be able to contribute to the urban and infrastructural development of the arctic in the future.  

 

How did your idea for the “Buoyant Light” project come about and evolve?

We participated in a studio in fall 2009 at Waterloo Architecture entitled Frozen Cities/Liquid Networks which focused on the development of the Canadian Arctic as a consequence of global warming and the melting of the polar ice cap and in relationship to the development of shipping networks and infrastructure. This studio introduced us to the communities in this vast region and their vulnerability both to climate change, upon which day to day life depends, and to growing international political and economic interest for shipping and resource extraction.

Having completed this studio, we decided to address the Arctic from a different angle, one which focused on smaller scale interventions within the landscape and the role of light as a constant in a climate where all other cycles are changing dramatically. We also saw a potential connection between the need for more widespread data collection for the region, and the relationship of communities to sea ice for hunting and traveling. 

 

How would you feel if your “Buoyant Light” solution became a reality and was achievable?

Although speculative, Buoyant Light proposes a simple object that we feel is a very tangible and achievable idea and our final goal is to continue developing the project. As students, having the opportunity to address and resolve some of the technical issues would be a great experience and it would allow us to truly imagine the project implemented in a community, how it would be received and what its potential benefits and problems would be. Neither of us have had the opportunity to travel to northern Canada which we believe is necessary if we continue to work on Buoyant Light and other projects in the arctic.

 

How would it change that environment?

Buoyant Light would offer a solution we think would be of vital help to the community in terms of safety and quality of life, while at the same time offering researchers data that could help understand global warming and its consequences in the Canadian arctic. Inside the community Buoyant Light would enhance spaces for gathering, offer clean energy and most importantly a safe environment particularly in relation to seasonal traveling and hunting on ice. Imagining its potential implementation through the Arctic, Buoyant Light would create a soft network that could prompt points of connections between remote communities.  

 

What’s the most important thing that you have learned by doing this project? 

We have learnt the value of very thorough research into particular conditions and technical innovations. Without this knowledge, Buoyant Light would remain a highly speculative proposal for a context which needs practical solutions. With it, the project has developed into one with a certain level of rigor and depth which allows it to retain relevancy and a poetic character simultaneously. 

 

Is it the first time you worked together on a project?

We’ve collaborated many times on academic work throughout our degree at Waterloo but this is the first time we developed a project independently together.

 

What do you think of urban lighting in the future?

Along with service distribution and location of public and social amenities, lighting should be one of the fundamental infrastructures in urban development. Lighting design has the versatility to give shape to paths of circulation and public space, as well as address sustainability and safety within communities. As designers continue to be involved in new city design as well as redevelopment projects in both the developed and developing world, light will hopefully become increasingly relevant in providing quality of life in urban settlements regardless of context.   

 

Where do you see yourselves professionally in ten years?

Given that we have a great deal more exploring to do it’s impossible to say where we will be in 10 years.  We both plan to pursue work and graduate studies in the coming years and this will no doubt give shape to the trajectories we take.

CLUE

3RD PRIZE

PROJECT NAME : Sensible Light

NAME OF WINNERS : Daekwon Park

PLACE : Cambridge, Massachusetts, États-Unis

 
Today we introduce you to Mr. Daekwon Park, a young professional and the 3rd prize laureate of the CLU Foundation contest. The judges were particularly charmed by the reinterpretation of evenings around a campfire. The aspects of interactivity, communication and community are well represented in his project entitled Sensible Light.

 

Tell me about your academic background and your work experience?

I am a designer and architect based in Cambridge, USA and simultaneously studying at the Harvard Graduate School of Design in the post-professional Master’s Degree in design technology. Professionally, I have worked for Populous (formerly HOK Sport) as the director in Korea since 2009, independently leading all the projects there including the 2014 Incheon Asian Games Main Stadium, Gimpo Sports town master plan and Ansan Baseball dome project. I have also worked in their US, Australia, China offices from 2006 to 2009 on numerous sports/entertainment projects including the Target Field (Minnesota Twins MLB ballpark), Sochi Winter Olympics master plan, and Taipei Baseball Dome. In parallel with this career I have established my multi-disciplinary design practice ‘meta-territory_studio (www.daekwonpark.com)’ in 2008 and have been participating in design competitions, exhibitions and publications. Academically, I have focused on a broad range of design disciplines from urban design and master planning to architectural design and product/furniture design. Currently, my work is focused on design technology topics including digital fabrication process, computational design, advanced geometry, and interactive environment/object design.

 

How would you define your style? What differentiates you from others?

I think versatility is probably one of my strongest design identities. I have studied and worked in various scales and disciplines ranging from urban design to product design. Although everything could be categorized as “design”, there are still many distinctions (goal, process and outcome) between scales and disciplines that make each field unique in its own right. I believe my multi-faceted understanding and experience allows me to truly work inter-disciplinary and integrate key lessons learned from each disciplines in a creative way.

 

What motivated you to enter the CLU Competition?

The CLU competition provided me with a good opportunity to experiment and implement my interest in interactive/augmented environmental design. I was intrigued with the theme “Light it for Humanity” and ‘public lighting’ as the subject for design was both a challenging and rewarding experience for me.

 

How did your idea for the Sensible Light project come about and evolve?

Public lighting had various purposes and meanings for different cultures and societies. In the ancient time, public lighting was a bonfire which was a centerpiece for a gathering space as well as a vehicle for ceremonies, rituals and event. As the society grew larger and the territory extended to great distances, public lighting became a beacon. Signal fire was the means for communicating between distant settlements and a lighthouse was the instrument for guiding the sailors traveling the dark oceans. Nowadays, public lighting is an integral part of the urban fabric, preventing accidents and increasing public safety. In this context, this project aimed to create a public lighting that captures all of these aspects which can be summarized as a public lighting that can become a gathering space for events, a beacon for communication, and an infrastructure for public safety.

 

How would you feel if your Sensible Light project became a reality and was achievable?

I would be very excited to see Sensible Light become a reality. During the design of the Sensible Light project, I have built a working prototype that has all the components including the embedded electronics, light source, sensors and coding. I feel confident that the project is feasible and when the opportunity comes, the process of making it real will be a rewarding experience for me.

 

How would it change that environment?

I believe Sensible Light system will become one of the key features of the urban environment and define the major public spaces and the fabric of the city in a highly visual way. Not only will it function as a public infrastructure for public safety but also add additional values by functioning as an anchor for major gathering spaces throughout the city and as a visual landmark that communicates with the public.

 

What’s the most important thing that you have learned by participating in this competition?

This competition gave me the opportunity to think about public lighting as infrastructure for public safety as well as an element that has rich symbolic meaning to the people. I became aware of the importance of public lighting and its potential to expand the effect to urban environment and fabric with great impact.

 

What do you think of urban lighting in the future?

I believe urban lighting in the future will be interactive, smart, and multifunctional. As a public infrastructure, urban lighting has a potential to become the main interface between the public and the urban environment. With the availability of low cost sensors, actuations and lighting source, urban lighting will not only interact with people through light, motion and visual information but also with each other. This will open up unlimited amount of possibilities (i.e. urban sensing, data collection and crowd sensing, communication and urban media, etc.) that could be implemented into urban lighting system.

 

Where do you see yourself professionally in ten years?

I would like to see my multi-disciplinary design practice, ‘meta-territory_studio’ running both as an experimental design laboratory as well as a full scale office. The studio would have capacity to handle large scale urban design, master planning, architecture, and landscape projects to interior, industrial design products, and interaction design. In addition to this I would like to see myself teaching/collaborating with talented students and hope to inspire people with a book about design.

CLUE IS AN INTERNATIONAL LIGHTING COMPETITION FOR STUDENTS AND YOUNG PROFESSIONALS SUPPORTED BY PHILIPS LIGHTING UNIVERSITY

NEWSLETTER

Subscribe to the newsletter and get all the inside information!