Company
Fields of activity
Art and daylight planning for architecture
museum and commercial exhibition lighting design
Theater and stage lighting design
The main field of activity of the planning office is art and daylight planning for architectural building projects.
The field of work includes lighting planning for the object areas of museums and event venues, representative buildings, media facades, hotels, stores, gastronomy, traffic structures, outdoor space and parks. As well as lighting design planning for temporary lighting tasks in the areas of museum and commercial exhibitions, trade fairs and installations.
The office has a profound knowledge in the fields of architectural lighting design, theater and stage lighting technology as well as media and video technology.
Mode of operation
Architecture and the medium of light are directly connected.
The main focus of our work is to support the design intentions of architects for an architecture through a holistic and customized lighting design.
Ideally, the collaboration between the lighting designer and the architect begins at the design stage of an architecture/media façade/exhibition/stage to be designed. Early cooperation enables unobtrusive integration of necessary lighting technology.
Model making, visualizations of daylight and artificial lighting scenarios, illustrations and video animations are part of our planning services.
Our planning strives to offer innovative solutions that take into account the aspects of functionality, economy and energy efficiency.
Philosophy
We want to show that light is not a functional necessity. Instead, we want to show what quality and creative power the medium of light makes possible.
Following the theater three aspects:
In the theater, a spatial effect is determined significantly, by light. Light direction, light color and light intensity determine whether a scene appears warm or cold, near or far, friendly or uncomfortable. Theatrical lighting technology makes it possible to illuminate a scene individually. The balancing act between too much and too little light, between noticeable and unreadable, can be perfectly achieved. This condition is reached, for example, when it is no longer possible for the human eye to decide whether a wall is illuminated or appears to be illuminated by itself. This intangible condition often accounts for the quality and apparent obviousness of a good lighting design.
The lighting technology used is mostly hidden behind the stage portal ? not visible to the viewer. This gives a scene additional power and sometimes makes the magic of theater. The technical origin of the perceived spatial impression cannot be read off – it recedes into the background and thus creates space for an intensive experience of a space.
The same can be true for architectural lighting design!