Nikolay Kabluka, founder and chief lighting designer of the Expolight company
Most often, media facades are associated with huge luminous screens on which content is "transported". Initially, they were intended for advertising. Think of, say, Times Square, beckoning with the bright lights of displays with running lines, or the streets of Tokyo, Osaka with skyscrapers, completely speckled with endlessly flashing monitors. With the development of media art and IT technologies, they have significantly expanded the range of their capabilities.
"The experience of the modern city in electric light brought a new sense of changeability to what was previously unchanging and monumental. Changing the usual relations between dimensions (2D, 3D, etc.), distance and materiality created a strange environment: architecture under the influence of the world "came alive". The obvious loss of physical stability, the rapid change in scale and proportions, the blurring of edges, the mixing and superimposition of previously torn spaces reinforced the ambiguity of the relationship between reality and fantasy. Nevertheless, such fantasies quickly became a part of everyday life," writes the well-known media theorist Scott McGuire in his book "Media City".
A view of the central entrance of one of the Tetris Hall residential towers
Tetris game. Principles of proper media architecture
The idea, as well as the name Tetris Hall, was conceived by the author of the project, architect Andrey Pashenko, whose workshop designed this residential complex. "It was traced mainly in the architectural design of the facade," explains Mykola Kabluka. "We just wanted to strengthen it, emphasize it with light." The shape of an elongated rectangular trapezoid, usual for residential high-rises, is complicated here by a subtle game of gray gradations and alternating square and rectangular elements, visually arranged in a recognizable pattern - Tetris figures. After analyzing the architecture of the building, we did not cover it with a regular grid of lamps or lines with a uniform step, as is often done when creating media facades, but integrated light modules into the architecture: we attached ourselves to the structure of the facade and developed the dynamics of the movement of Tetris figures under it. The generation of content here is much more difficult, since we were limited by the shifted squares of the building's windows."
In the fall, the second stage of Tetris Hall was put into operation - two residential towers connected by a pedestrian bridge at a height of 90 meters
Expolight specialists achieved the fact that the lamps are not visible on the structure of the facade during the day, and, accordingly, the dynamics of the content is organically woven into its picture: from completely dissolved in the darkness, it is suddenly made of luminous modules as if by magic, as if in a game of Tetris.
The most interesting thing is that the lighting of the new part of the complex is built into the already existing scheme
"We always strive to make our solution a part of the architecture, and not disrupt its rhythm or create extra elements that distract from the facade during the day," Nikolay emphasizes. - Therefore, they were attached to large square windows, and installed light modules in them. The task was to make the most compact element that is not visible during the day. The second task: we took into account the fact that the building is surrounded by dense construction, and the usual standard for such elements, the contrasting contours of the light modules are too aggressive in this case - they would blind the windows of the houses opposite, disturbing the residents. Therefore, we conducted a whole series of experiments and made special elliptical lenses that turn the light stream from a point by 180° (that is, it shines to the sides), and additionally covered it with a diffuser that makes the light comfortable."
Light modules are integrated into the architecture, turning the facade into a huge screen on which figures move, like in Tetris
Architect and architectural lighting designer. Faithful tandem
The Expolight team joined the work on lighting the first stage of Tetris Hall at the stage of completing the design, which introduced a number of restrictions. By that time, the facade had already been decided and coordinated, so it was too late to provide, say, separate architectural units for lighting equipment or to make new ones. But at the launch of the second phase, as in the case of other current KAN facilities, Expolight specialists were invited much earlier. "The issue with illumination, in our opinion, should be resolved at the stage of choosing the technology, the structure of the facade, and its elements. As, for example, was the case in Dnipro when Alexander Dolnyk's team built the "Passage" shopping center: the elements of the facade were already designed for lighting at the stage of the draft project. It is even better when the architect immediately discusses his ideas with the architectural lighting designer."
"The issue with lighting, in our opinion, should be resolved at the stage of choosing the technology, structure of the facade, ego elements"
In other words, the company is convinced that the effective and correct way is to work together with an architect and an architectural lighting designer, and as an example of a correct strategy in this matter, they refer to the practice of such architectural bureaus as Zaha Hadid Architects, with which Expolight has experience of cooperation. Foster & Partners, Heatherwick Studio and other giants of the industry, attracting architectural lighting designers even at the stage of conceptual design. "The result is better then," says Nikolai. — Advanced architects already understand this and include us in their project teams. Gradually, developers are coming to the realization that competent architectural lighting makes the quality of the perception of architecture in the evening an order of magnitude higher. For example, KAN, with whom we did the lighting of UNIT.City in particular, use such specialists in all their projects."
Landscaping on the roofs. To illuminate the benches, for example, linear lamps were used, thanks to which the light seems to pour directly from under them
The most interesting thing is that the lighting of the new part of the complex is built into the existing scheme. "When we were developing the lighting for the first stage of Tetris Hall," Nikolai recalls, "at that moment we did not expect that there would be two more towers connected by a bridge. Therefore, the first media facade lighting solutions were optimized for one building, and when the second phase was added, we wanted everything to work in a complex."
On the bridge under the sky
One of the main architectural and structural features of the complex is a bridge connecting two new residential towers at a height of 90 m. It was impossible to make it rigidly attached to the buildings, so it has hinges and clearances for the correct distribution of wind loads, plus it serves as an additional measure of fire safety. In addition to providing not only a rare beautiful view of the garden, but also unusual thrills, part of the floor is made of glass. "His structure," adds Nikolay, "forced us into the framework of linear lighting, and the task was to ensure that he himself was not alien to the topic of pixel dynamics of facades." Therefore, we developed content that correlates with it: on the axis of the bridge, revealed by linear lamps, some smooth movements of light appear periodically, echoing the media programs of the main facades."
The lighting of the bridge is designed from the point of view of the maximum comfort of those who are on it
The main architectural element of the second phase of the residential complex was a bridge with a transparent floor at a height of 90 m
Moreover, the lighting of the bridge is also designed from the point of view of maximum comfort of those who are on it in the dark. The light sources here are mounted in the railings, namely in the asymmetrically arranged special slits. The lenses direct the light stream exclusively to the bridge canvas, that is, it does not blind the eyes and you can enjoy the panorama of the night city without squinting from the bright light, without any glare or discomfort.
Biodynamics of the world. Following a person
In addition to the media facades, the surrounding park, the pedestrian bridge and the roof gardens, the Expolight team was engaged in lighting the hall and other public spaces of the new residential complex, applying the concept of biodynamic, that is, human-oriented lighting. When asked whether this is a fashion or a necessity, Nikolay answered as follows: "In the world, a certain trend has developed in the development of lighting schemes for these places. It is due to a number of studies by leading American and British institutes, including medical, psychiatric, and architectural ones, which assess the influence of the world on the psycho-emotional state of a person, his activity, work capacity, and so on.
Scene "Evening"
General light 0 %
Atmospheric light 30%
Hidden light 0 %
Illumination of plants 90%
Decorative shades 40%
Accent light 50%
Gobo projection 100%
Scene "Evening"
Scene "Evening"
In America, certain standards have even been adopted for the use of biodynamic lighting in public spaces. At every time of the day, he creates a scenario that corresponds to the circadian rhythms of a person: in the morning - bright, awakening light, in the afternoon - neutral, even, in the evening - muted, soothing, preparing for sleep. Moreover, based on the experience of working with leading hotel operators, such as Hayatt, for example, I will say that the very purpose of the common hall, especially in residential complexes, expands and becomes deeper: residents socialize in them - communicate, get to know neighbors, spend time in bars and lounge areas arranged here.
The park became a continuation of the hall, and the same scheme works in it. The main task of biodynamic lighting is to improve the quality of life and create an adequate psychological atmosphere."
Scene "Late Evening"
General light 0 %
Atmospheric light 80%
Hidden light 50 %
Illumination of plants 60%
Decorative shades 20%
Accent light 20%
Gobo projection 0%
Scene "Late Evening"
Scene "Late Evening"
The concept of biodynamic light was used to illuminate the public spaces of the residential complex
Scene "Morning"
General light 80 %
Atmospheric light 80%
Hidden light 60 %
Illumination of plants 90%
Decorative shades 0%
Accent light 0%
Gobo projection 0%
Scene "Morning"
Scene "Morning"
Landscape in natural light
When developing the lighting scheme of the territory, Expolight specialists followed the same principle of integrated lighting. "The hall of the complex," says Mykola Kabluka, "was decided by the project authors as a guest room for residents, where they feel comfortable." In the warm season, it expands to a part of the park, so some kind of parade light coming from supports or light poles is not at all appropriate here. Instead, we used the same techniques as at a private object. Soft reflected light, pouring, for example, directly from under the benches, and the main emphasis is on the illumination of the trees, so that the park works as well as possible. It is important that the developer made it, and did not cover the entire plot in the center of Kyiv with high-rise buildings."
We strive to convey the colors of plants as naturally as possible, and for this we use the so-called green-white illumination scheme
When designing the lighting of the adjacent park, the Expolight team used the same principle of integrated lighting, which made it possible to create a private atmosphere here, as in a private house
The park's interesting landscape, which changes depending on the season, is formed by plants and trees of different species brought, by the way, from a German nursery. Their lighting has its own nuances, for example, not all shades of green look equally good in simple warm white light. "We strive to convey the colors of plants as naturally as possible, and for this we use the so-called green-white illumination scheme," explains Kabluka. - If you illuminate the trees with pure green light, it looks unnatural, and if you only use white, then the greenery can look ugly. Therefore, we mix 10 to 30% of the green component with the white. Then she looks juicy, beautiful, natural."
Program failure is excluded
All this complex lighting system of the complex is fully automated and controlled from the central control panel. The Expolight specialists who developed it always have the opportunity to see the current state of light sources and, if necessary, repair or replace faulty elements. "The equipment is 10% LED, with radiator cooling. It requires minimal maintenance, and its resource is calculated for more than XNUMX years of operation. It is more important to monitor the electronics of the facade: it is it that informs the dispatcher and our service department about problems in the early stages," explains Nikolay.
The lighting scheme of the medifacades is based on a reference to a standard element — irregularly arranged view windows, where light modules were installed
Minimum energy
Three residential high-rise buildings, a bridge at a height of 90 m, a park territory of about 60 acres - with such active use of lighting, a natural question arises, how well the proposed Expolight scheme meets today's current trend of energy saving and sustainability? Absolutely answers. The developer himself paid a lot of attention to this issue, because otherwise it would increase the costs of operating the facility, which, in turn, would affect the cost of a square meter of housing. "All equipment is energy efficient," emphasizes Kabluka. — Both stages of the complex with such active illumination consume up to 30 kilowatts of power, which is equal to the total consumption of 5-6 split air conditioning systems. Firstly, these are LEDs. Secondly, the optical systems selected for them direct their radiation not to the sky, not to the sides, but only to separate zones.
The Expolight team also illuminated the surrounding area of Tetris Hall, including the landscaped park, pedestrian bridge and gardens on the roof of the towers
In other words, we did not set a goal to fill everything with light, like a football field or a parking lot, but we focused only on some separate zones, elements, not at all shy about the appearance of some dark "spots" between them. Such an approach is precisely in the spirit of modern energy-saving trends."
