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Berlins Jewish Museum is among the largest and most famous of its kind in the world. Yet the permanent exhibition, unlike the acclaimed Daniel Libeskind building that houses it, has long been considered old-fashioned and clunkyin short, always something of a disappointment.

Since January 2019, the Libeskind galleries, which were frequented by more than 11 million visitors since opening in 2001, have been closed for a comprehensive refurbishment due for completion this summer. The museum announced yesterday thataftersome delayvisitors will be welcomed on August 23.

Given both the institutional context and the wider political landscape, this major reboot has curators and designers balancing on a tightrope. Last year, its director Peter Schfer resigned after a series of incidents for which he was criticized for being too outspoken in the Israel-Palestine debate. Outside the museum, both in Germany and abroad, right-wing populism and anti-Semitism are on the rise, making this institution more important than ever.

Aerial view of the Jewish Museum Berlin, Libeskind Building Jewish Museum Berlin. Photo: Gnter Schneider.

Amid such high stakes, the Berlin-based design office chezweitz has been tasked with integrating the museums heavy content into its existing architecture in a way that draws viewers in and brings them along. Walking through its empty galleries while the project was still underway, difficult questions emerged: How do you design exhibitions within a building already so thoroughly designed? And how might design accommodate a history ridden with tragedy without succumbing to clich or kitsch?

In a city of few architectural wonders, not only as far as museums go, Libeskinds landmark is tied only with Mies van der Rohes Neue Nationalgaleriean uncompromising glass box with a levitating roofand David Chipperfields poetic restoration of the bombed-out Neues Museum. In the shape of a lighting bolt, or a broken star of David, Libeskinds zinc-clad structure, cut up by slitted windows, is a sculpture. It stood empty for years before the unveiling of the permanent exhibition in 2001 and, considering that Peter Eisenmans Memorial to the Murdered Jews of Europe wasnt finished until 2005, in its vacant state, the Jewish Museum effectively served as the German capitals primary Holocaust remembrance site. And as suchIve heard time and time againit was perfect.

Yet Libeskind seems to have considered every detail except how his idiosyncratic galleries could possibly fulfill the purpose they were designed for, namely housing a presentation of historic ephemera, artworks, and artifacts. The architecture, quite simply, is too busy exhibiting itself. For that reason, the permanent exhibition on view for the better part of the last 20 years was something of an Eintopf: a stew in which the individual ingredients disappear into a murky whole. Too full and too monotonous, each chapter simply followed the next in an uneventful continuum. In what was presumably an attempt to lend prominence to the surroundings, the display and architecture ended up sounding each other out.

In 1999, in the early stages of his career, architect Detlef Weitz submitted a bid in the public debate over a future Holocaust memorial that would become Eisenmans famous work. In Libeskinds building you already have your memorial,he wrote to the city, just leave it empty. It is ironic that now, as head of chezweitz, which is among Europes leading exhibition design firms, Weitz is tasked with filling up the very same rooms he once advised to leave alone. He and his team have been reworking the 3,500-square-meter (38,000-square-foot) building since 2016, and the roughly 6.5 million ($7 million) project is set to be unveiled to the public in August.

Bowing to a number of Jewish personalities in the Hall of Fame of the Jewish Museum Berlins new core exhibition (illustrations: Andree Volkmann). Jewish Museum Berlin. Photo: Yves Sucksdorff.

The new exhibition Jewish Life in Germany: Past and Present is broken off into five chapters spanning the Middle Ages to the present. The buildings updated design is deliberately disorienting, intending to mirror the tortured and winding trajectory of Jewish history. Our challenge as designers has been to maintain this sense of disruption, while at the same time making a functional exhibition, Weitz told me as we stood in the half-finished installation. In the main concourse, Libeskinds black void-bridge stretches the length of the complex, interrupting the flow of its various galleries and allowing only partial views into its memory voidslarge, bare, and sometimes inaccessible concrete shafts at the buildings core.

Because this state of disharmony is essential to the power of Libeskinds spaces, Weitz and his team have taken on the task of matching or even exacerbating its symbolic potency.Where the old exhibition used a similar design scheme for the entire display, chezweitz has opted for a series of distinct and characteristic spaces that each respond to the architecture in their own way. In rendering the fatal claustrophobia of the World War II years, for instance, semi-reflective steel plates suspended from the ceiling are scarred by narrow glass vitrines, which are also reminiscent of the windows to the outside.

Here we really made an effort to avoid the material clichs of Holocaust memorial architecture, said Weitz, listing the rusted metal and raw concrete that is typically mobilized to lend gravity to memorials around the world. Instead, their maze of knife blades merges with the black void bridge, enriching the existing symbolic vocabulary. It will be brutal because its perfect, he added. If Libeskinds metaphors have always seemed somewhat contrived, the incorporation of them into the exhibition itself, even in its current half-built state, turns them winningly self-evident.

Exterior view of the Jewish Museum Berlin, Libeskind Building Jewish Museum Berlin. Photo: Jens Ziehe.

As for art, as part of the revitalization, German artist Anselm Kiefer is creating a much-anticipated work about the Kabbalah. The existing Shalekhet installation, an epic and solemn piece by Israeli sculptor Menashe Kadishmanmore than 10,000 faces with open mouths cut from heavy iron plates that cover the floor of one of the memory voidswill be complemented by a more uplifting face-based artwork by illustrator Andree Volkmann. In a previously blank staircase connecting the two floors of the exhibition, Volkmann has portrayed a diverse list of famous Jewish personalitiesfrom Jesus to Weimar-era Foreign Minister Walther Rathenau and Amy Winehouseon a backdrop of dreamy pastel-colored clouds that doubles as a selfie spot. Its a welcome moment of levity before the exhibition turns to the 20th century.

While artworks can introduce a helpful sense of ambiguity and poetry, in a context like this museum, their qualities are just as often not what is required. A gallery about the legal restrictions imposed upon Jews throughout the 1930s might have been the subject of another art commission, or some creative sentiment could have helped to bring home the point. But this content needs more specificity and less subjectivity than is typically offered by an artwork; here, unpoetic documentation is crucial.

At the entrance to the new core exhibition of the Jewish Museum Berlin is the Welcome Pointa wooden sculpture modeled after a tree. Jewish Museum Berlin. Photo: Yves Sucksdorff.

Weitzs solution delivers on both facts and drama: layers and layers of paper measuring the height of the room bear the laws issued by Germany that gradually turned Jewish life into an oxymoron after 1933. In these rooms, the procedure by which barbarism was veiled by bureaucracy is given material form in a way that is both moving and straightforward.

As the timeline of the exhibition moves into the 1940s, the paper walls turn to steel, and you notice your own blurred reflectiona gesture both to identity and complicity. On the other side of this dark chapter follows one about anti-semitism in our contemporary moment. When the museum and chezweitz started working on the project, this section was somewhat meager. Now, following dramatic right-wing riots in the German city of Chemnitz and elsewhere since 2018, Weitz calls it one of the most important parts of the exhibition. One hopes another update wont be necessary for a while.

Read more:
For Years, Daniel Libeskinds Dramatic Jewish Museum Building Upstaged the Poignant Collections It Housed. A New Overhaul Hopes to Change That - artnet...

Global LED Indoor Lighting Market

The Global LED Indoor Lighting Market report consists of the latest discoveries and technological advancements recorded in the industry, along with an analysis of the factors and their effect on the markets future development. The report focuses on the current businesses and the present-day headways, and the future growth prospects for the LED Indoor Lighting market.

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PhilipsOsramCreeGE LightingMaxLiteHugewinGemcoreWestinghouseDECO Lighting

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In market segmentation by types of LED Indoor Lighting, the report covers-

<60w60w-100w>100w

In market segmentation by applications of the LED Indoor Lighting, the report covers the following uses-

Healthcare Indoor LightingCommercial Indoor LightingIndustrial Indoor LightingHome Indoor LightingOther

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LED Indoor Lighting Market Regional Analysis:

Geographically, the LED Indoor Lighting market is segmented across the following regions: North America, Europe, Latin America, Asia Pacific, and Middle East & Africa.

Key Coverage of Report:

Key insights of the report:

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In conclusion, the Global LED Indoor Lighting Market report provides a detailed study of the market by taking into account leading companies, present market status, and historical data to for accurate market estimations, which will serve as an industry-wide database for both the established players and the new entrants in the market.

About Us:Planning to invest in market intelligence products or offerings on the web? Then marketexpertz has just the thing for you reports from over 500 prominent publishers and updates on our collection daily to empower companies and individuals catch-up with the vital insights on industries operating across different geography, trends, share, size and growth rate. Theres more to what we offer to our customers. With marketexpertz you have the choice to tap into the specialized services without any additional charges.

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Read more from the original source:
Global Impact of Covid-19 on LED Indoor Lighting Market to Witness Promising Growth Opportunities During 20202027 - Morning Tick

This is an excellent research study specially compiled to provide the latest insights into critical aspects of the LED Indoor Lighting Market. The report includes different market forecasts related to market size, production, revenue, consumption, CAGR, gross margin, price, and other key factors. It is prepared with the use of industry-best primary and secondary research methodologies and tools.

Each segment of the global LED Indoor Lighting Market is extensively evaluated in the research study. The segmental analysis offered within the report pinpoints key opportunities on the market within the LED Indoor Lighting market through leading segments. The regional study of the global LED Indoor Lighting market included in the report helps readers to gain a sound understanding of the development of different geographical markets in recent years and also going forth. It includes several research studies such as manufacturing cost analysis, absolute dollar opportunity, pricing analysis, company profiling, production and consumption analysis, and market dynamics.

The following Top manufacturers are assessed in this report: Philips, Osram, Cree, GE Lighting, MaxLite, Hugewin, Gemcore, Westinghouse, DECO Lighting, XtraLight, RAB Lighting, Havells Sylvania, Toshiba, Acuity Brands, Emerson Electric, LSI, Bravoled, Hubbell Lighting, Ligman Lighting, & More.

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Product Type Coverage100w

Application CoverageHealthcare Indoor LightingCommercial Indoor LightingIndustrial Indoor LightingHome Indoor LightingOthers

Regional Analysis For LED Indoor Lighting Market :North America (United States, Canada, and Mexico)Europe (Germany, France, UK, Russia, and Italy)Asia-Pacific (China, Japan, Korea, India, and Southeast Asia)South America (Brazil, Argentina, Colombia, etc.)Middle East and Africa (Saudi Arabia, UAE, Egypt, Nigeria, and South Africa)Research Methodology:

The information provided in this report is based on both primary and secondary research methodologies and assumptions.

Primary research methodology includes the interaction with suppliers, service providers, and industry professionals. Secondary research methodology consists of a meticulous search of relevant publications like company profiles, annual reports, financial reports, and selective databases.

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Q.1. What are some of the most promising, high-growth opportunities for the global marketQ.2. Which products segments will grow at a faster pace and why?Q.3. Which region will grow at a faster pace and why?Q.4. What are the key factors affecting market dynamics? What are the drivers, challenges, and business risks in this LED Indoor Lighting market?Q.5. What are the business risks and competitive threats in market?Q.6. What are the emerging trends in this LED Indoor Lighting market and reasons behind them?Q.7. What are some of the changing demands of customers in the LED Indoor Lighting market?Q.8. What are the new developments in the LED Indoor Lighting market and which companies are leading these developments?Q.9. Who are the major players in this LED Indoor Lighting market? What strategic initiatives are being taken by key companies for business growth?Q.10. What are some of the competing products in this LED Indoor Lighting market and how big of a threat do they pose for loss of market share by product substitution?Q.11. What M&A activity has occurred in the previous years in this LED Indoor Lighting market?

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To conclude, LED Indoor Lighting Industry report mentions the key geographies, market landscapes alongside the product price, revenue, volume, production, supply, demand, market growth rate, and forecast etc. This report also provides SWOT analysis, investment feasibility analysis, and investment return analysis.

Contact UsJay MatthewsDirect: +1 513 549 5911 (U.S.)+44 203 318 2846 (U.K.)Email: [emailprotected]

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LED Indoor Lighting market is expected to pick up in healthy CAGR by 2020-2025 Top companies | Philips, Osram, Cree, etc - Jewish Life News

The global smart street lights market is expected to reach approximately USD 12,404 million by 2024 growing at a 22% CAGR over the forecast period 2018-2024.

With its recently published study, Smart Street Lighting Market: Trends & Forecasts: 20162022, MRE predicts that Smart Street Lighting market will witness a huge two-fold growth in Europe and APEJ in the near future. As per the study, Smart Street Lighting market will see a significant growth in the coming years due to the growing number of global smart cities, increase in government investments and growing awareness regarding energy efficient lighting solutions. The RF technology and Wi-Fi network technologies will continue to be preferred technologies in the Smart Street Lighting market.

Browse Full Report: https://www.marketresearchengine.com/upcommingreport/smart-street-lighting-market

Smart Street lighting is a rapidly growing lighting market. At present, lot of countries are replacing the traditional street lights with the smart LED street lighting. Globally, there are about 281.4 million streetlights in the world and it is expected that it will reach 338.9 million by 2024.The traditional High Intensity discharge lamps (HID) consumes lot of energy and generates lot of heat. Thus, with growing awareness and to reduce the carbon footprints globally countries have started replacing the street lights with smart LED based lights. The smart street lighting poles can be turned ON or OFF through the smart devices and can automatically change brightness according to the time of the day. With the technology advancements, most of the smart poles are enabled with motion sensors. So, whenever there is movement near the pole the lamps brightness increases.

Smart Cities and Smart Homes will drive the Smart Street Lighting market and also ensure the penetration of cloud based Smart Street lighting in the near future. Due to huge ROI estimations, more and more smart street lighting projects are handled by PPP model.

The scope of the report includes a detailed study of Smart Street Lighting Market with the reasons given for variations in the growth of the industry in certain regions.

The report covers detailed competitive outlook including the market share and company profiles of the key participants operating in the global market. Key players profiled in the report include GE Lighting, Philips Lighting, Acuity Brands, Osram and Honeywell Lighting, Acuity Brands Inc, Bridgelux, Inc., Cooper Industries, Cree, Inc., Digital Lumens, Inc. Company profile includes assign such as company summary, financial summary, business strategy and planning, SWOT analysis and current developments.

The major opportunities factor of Smart Street Lighting Market are as follows:

The major challenges factor of Smart Street Lighting Market are as follows:

The Smart Street Lighting Market has been segmented as below:

The Smart Street Lighting Market is segmented on the Basis of Communication Technology Type, Application Type, Product Type, Lighting Source Type and Regional Analysis. By Communication Technology Type this market is segmented on the basis of Wired technology and Wireless Technology. Wired technology is segmented into Powerline communication, Power over Ethernet, Digital addressable lighting interface and Hybrid. Wireless Technology is segmented into Bluetooth, Zigbee, Wi-Fi, EnOcean, LPWAN and Hybrid.

By Application Type this market is segmented on the basis of Indoor lighting and Outdoor lighting. Indoor lighting is segmented into Residential lighting, Commercial lighting and Industrial lighting. Outdoor lighting is segmented into Highway & roadway, Public places and Bridges & tunnels. By Product Type this market is segmented on the basis of Luminaries and By lighting control. Luminaries is segmented into Smart bulb and Fixtures. By lighting control is segmented into Sensors, Switches & Dimmers, Routers & Gateways, LED drivers & ballasts, Relays and Others.

By Lighting Source Type this market is segmented on the basis of LED lamp, Fluorescent lamp, Compact fluorescent lamp, High intensity discharge lamp and Others. By Regional Analysis this market is segmented on the basis of North America, Europe, Asia Pacific, Latin America, Middle East and Africa.

The major driving factors of Smart Street Lighting Market are as follows:

The major restraining factors of Smart Street Lighting Market are as follows:

This report provides:

1) An overview of the global market for Smart Street Lighting Market and related technologies.2) Analyses of global market trends, with data from 2015, estimates for 2016 and 2017, and projections of compound annual growth rates (CAGRs) through 2024.3) Identifications of new market opportunities and targeted promotional plans for Smart Street Lighting Market.

4) Discussion of research and development, and the demand for new products and new applications.5) Comprehensive company profiles of major players in the industry.

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Table of Contents

1 INTRODUCTION

2 Research Methodology

3 Executive Summary

4 Premium Insights

5 Market Overview

5.1 Luminaries5.1.1 Smart bulb5.1.2 Fixtures5.2 By lighting control5.2.1 Sensors5.2.2 Switches & Dimmers5.2.3 Routers & Gateways5.2.4 LED drivers & ballasts5.2.5 Relays5.2.6 Others

6 Industry Trends

6.1 Wired technology6.1.1 Powerline communication6.1.2 Power over Ethernet6.1.3 Digital addressable lighting interface6.1.4 Hybrid6.2 Wireless Technology6.2.1 Bluetooth6.2.2 Zigbee6.2.3 Wi-Fi6.2.4 EnOcean6.2.5 LPWAN6.2.6 Hybrid

7 Street and Roadway Lighting Market, By Lighting Type

8 Street and Roadway Lighting Market, By Light Source

9 Street and Roadway Lighting Market, By Wattage Type

10 Street and Roadway Lighting Market, By End User

11 Street and Roadway Lighting Market, By Offering

12 Geographic Analysis

13 Competitive Landscape

14 Company Profiles

14.1 Introduction

14.2 Koninklijke Philips N.V. (Royal Philips)

14.3 Cree, Inc.

14.4 General Electric Company (GE)

14.5 Eaton Corporation PLC

14.6 Osram Licht AG

14.7 Acuity Brands, Inc.

14.8 Hubbell Incorporated

14.9 Kingsun Optoelectronic Co., Ltd.

14.10 Thorn Lighting

14.11 LED Roadway Lighting Ltd.

14.12 Syska LED

14.13 Virtual Extension

14.14 Key Innovators

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Smart Street Lighting Market 2020: Challenges, Growth, Types, Applications, Revenue, Insights, Growth Analysis, Competitive Landscape, Forecast- 2025...

Editors note: Exposure to UV-C light poses known threats to human health. While the research discussed in this story examined ways that UV-C might be broadly deployed to stem the spread of COVID-19, it is presented only as information about new research. Readers are strongly cautionednot to experiment on their own with UV-C as an antimicrobial measure.

COVID-19 has upended society and brought chaos to generous swaths of the global economy, as governments have locked down to prevent the spread of the virus. The pandemic has also boosted interest in a variety of technologies that might help in the coronavirus fightincluding the use of ultraviolet light to sterilize scarce personal protective equipment (PPE) such as face masks, for reuse.

In recent papers, two research teams have now proposed approaches to take the use of UV-C much farther. The two groups lay out different schemes for using this high-energy light to scrub the pandemic virus from the air in occupied indoor spaceswhile still keeping the occupants safe from the usual harmful long-term effects of exposure to UV radiation. The teams argue that the approaches they suggest, if widely adopted, could sharply reduce viral transmission in public indoor spaces, and thereby help the world resume something closer to normal economic activity.

The antimicrobial effects of UV-C lightwhich occupies the wavelength band from 200 to 280 nmhave long been known, and 254-nm mercury-vapor germicidal lamps are routinely used to disinfect empty hospital rooms, clean up tainted water, and otherwise cleanse surfaces and areas where bacteria and viruses may lurk. The problem is that the same light that hammers pathogenic airborne bacteria also wreaks havoc on human cells, with long-term impacts such as skin cancer and eye damage.

As a result, much of the recent interest in leveraging UV-C light against the COVID-19 virus, SARS-CoV-2, has centered around possible uses in disinfecting PPE for doctors, nurses and first responders. (One such effort, focusing on a low-cost system that can be used to disinfect scarce N95 face masks for reuse in resource-limited areas, is being pursued by an interdisciplinary team including OSA Fellow and past president Thomas Baer.)

The teams behind the two recent papers favor substantially broadening the use of UV-C against SARS-CoV-2. They suggest that, with the right precautions and setups, the light might be used as a prophylactic in occupied indoor spaces such as workplaces, schools, hospitals and other public areas, silently scrubbing the air of the coronavirus even as the occupants of the buildings go about their daily lives.

One of the studies was led by OSA Fellow Javier Garca de Abajo of the Institute of Photonic SciencesICFO, Spain, and tapped a multinational, interdisciplinary team of researchers in virology, aerosols, immunology and other areas (ACS Nano, doi: 10.1021/acsnano.0c04596). In the study, the researchers looked at how the judicious, strategic installation of UV-C sources might attack the most common routes of indoor viral transmission.

The team began by inventorying the indoor places and systems most likely to spread the virus. These, the researchers argue, include interior ventilation systems in a wide range of settings, which can spread airborne viruses; infrastructure items touched by many persons, such as elevator buttons, stair rails and public-transit handles; and common public facilities with repeated, periodic high use, such as public toilets, storerooms and other areas.

The ICFO-led team argues that antimicrobial UV-C light sources could be placed in a variety of locations associated with viral spread, such as ventilation systems and other areas. The lamps could then be operated without a direct optical pathto humans, or while the roomsare not in use, to help reduce virus propagation without endangering human health. [Image: Sketches by Nacho Gaubert] [Enlarge image]

The team then analyzed how a range of UV-C sources, including LEDs and conventional mercury-vapor lamps, could be safely deployed to attack coronavirus in these individual spread scenarios. For example, the team argues that lamps could be deployed inside ventilation systems, with no direct optical path to occupants in the building, and run continuously, to disinfect ambient air. In other settings such as public restrooms, high-intensity UV-C light could be applied during the periods in which the rooms are unoccupied. And frequently touched surfaces, such as elevator buttons, might be subjected to continuous, weak UV-C illumination for ongoing disinfectionas human interactions with these surfaces tend to be brief, and thus would involve only a very low dose of radiation.

The team acknowledges that putting such an approach into effect would require a massive new deployment of UV lighting, with a correspondingly huge required uptick in its production. Yet the cost, they argue, may not be excessive, given the scale of the problem humanity now confrontsnot just in human mortality, but in the economic devastation that antiviral lockdowns have created.

The team estimates, in fact, that disinfection with fluorescence lamps could be implemented at a cost of a few dollars per person with minimum changes in infrastructure. Thus, they argue, a global capital investment of a few billion [U.S.] dollars could protect on the order of 109 indoor workers worldwide. The authors add, however, that current manufacturers of UV-C sources may have difficulty coping with the expected rise in demand originated by the SARS-CoV-2, pandemic, as the global market for UV-C light barely reaches one billion dollars a year at present.

Another team, based at Columbia Universitys Irving Medical Center, USA, took a different view of how UV-C might be used to fight coronavirus in occupied indoor settings (Sci. Reports, doi: 10.1038/s41598-020-67211-2). The team focused in particular on the specific wavelengths of UV-C light that might be used against the virusstressing that not all UV-C light is necessarily the same in terms of its hazard to human health.

Conventional germicidal lamps operate at a wavelength of 254 nm, as that is one of the sweet spots for UV-C absorption by DNA or RNA molecules; the light thus scrambles and inactivates the pathogens genetic machinery. It can also penetrate into the skin and eyes, causing similar genetic and other damage to living human cells.

The Columbia team points out, however, that light in the far UV-C, between 207 and 222 nm, is also effective at killing microorganismsyet studies to date suggest that these wavelengths do not cause the human health issues associated with the 254-nm radiation of germicidal lamps. The reason, according to the team, is that light in the far UV-C penetrates less than a few micrometers into biological materials. Thats too short a distance to pierce the nonliving protective layers of the skin and eye into the living cells beneath. But its more than sufficient to bore into tiny bacteria and viruses.

These considerations, the Columbia team argues, suggest that far-UV-C light should have about the same anti-microbial properties as conventional germicidal UV light, but without producing the corresponding health effects. Thus, they conclude, continuous, low-dose application of light in the wavelength area of 222 nm might be used in occupied public areas to stem the spread of SARS-CoV-2, without posing other hazards to the occupants themselves.

To test the idea out, the team used a misting device to aerosolize two common coronaviruses that were structurally similar to SARS-CoV-2, and then flowed the aerosols through the air in front of a 222-nm UV-C lamp. The researchers found that, at very low doses, the far UV-C light killed more than 99.9% of the viral load. The team is now at work on tests using the actual SARS-CoV-2 pathogenand says that preliminary data suggest that the far-UV-C light effectively kills that virus, too.

Putting these results together with the safety data, the team leader, David J. Brenner, asserted in a press release accompanying the work that far-UV-C at very low doses could be used in combination with other measures, like wearing face masks and washing hands, to limit the transmission of SARS-CoV-2 and other viruses.

Read more here:
COVID-19: Putting UV-C to Work - Optics & Photonics News

A 28,000-square-foot Austin headquarters lets designers see how fabric, furniture, and food can look under the company's array of lighting solutions.

Parent company Lutron invested in the 28,000-square-foot, state-of-the-art interiors for Ketra, which showcase the brands complex lighting solutions. Courtesy Ketra

To specify lighting, it helps to observe the glow it casts on realistic environments. So when it comes to understanding the breadth of Ketras programmable settings, which imitate sunlight down to precise color temperature and intensity throughout the day, authentic showroom design is crucial.

When Lutron acquired the Austin-based upstart in 2018, it decided to invest in a new state-of-the-art facility built to thoroughly demonstrate Ketras groundbreaking lighting technology

According to the chief operating officer and lead designer for Ketra headquarters, Horace Ho, during a tour of the new 28,000-square-foot space earlier this year, We wanted it to show the dramatic effect light can have on a space.

Staff areas feature flexible workspaces such as reading nooks and the companys programmable, sun-imitating lighting system. Courtesy Ketra

His team, in collaboration with Urban Foundry Architecture, renovated a two-story building by Michael Hsu Office of Architecture, which featured an open-concept plan and floor-to-ceiling windows. In-house interior architect Vlado Pejic and lighting expert Cecilia Ramos worked to expand its programmatic potential, designing it to serve as a sandbox for testing new products as well as a practical showroom.

Guests enter through the Collaboration Studio, an area where designers can see how fabric, furniture, and even food will look under the full scope of Ketras lighting technology. This airy studio, which takes up a quarter of the building, includes zones replicating environments designers might seek to illuminate, such as a functioning kitchen, a living room, a home office, and a restaurant-style dining booth. For flexible demonstrations that can address many scenarios, the Collaboration Studio also includes a training room, which can be converted to host events like art shows or performances.

Workstations are arranged in open areas with access to windows, so that employees can enjoy Ketras hallmark human-centered lighting, which can be programmed to change with the level of sunlight throughout the day. Courtesy Ketra

There, clients can observe what happens when Lutrons solar-adaptive shades and Ketras location-based lighting technology pair up. The latter of these is programmed to lower shades and adjust the indoor lighting in response to the suns natural, changing glow, which filters in through windows. We wanted to liberate the perimeter with natural light and let light and shade tell that story, Ho says.

To illustrate just how light color and temperature can change the mood of a space, Ramos uses a small, handheld remote control to cycle through a days worth of light. A single Ketra bulb can emit an incredible range of illumination, from the 1400K of candlelight to 10000K of broad daylight.

A mural by Aaron Darling depicting skylines of cities where Lutron has offices is illuminated by Ketras Vibrancy technology.Courtesy Ketra

The effect is almost like a spectrum of real-life Instagram filters radiating through the showroom. Each fixture is digitally addressable, Ramos says, dimming a single pendant fixture over the long white bar in the kitchen. She points out that the system makes it easy to create zones with light. If you want to put up a wall or reorganize the desk layout, you dont have to tear up the ceiling to rewire the fixtures, she says, explaining practical spatial benefits of the companys control system.

Designers also considered ways to show the systems effects on artwork. Near the main entrance, a mural from Austin based graffiti artist Aaron Darling underscores the relationship between Ketra and its parent company. His installation depicts skylines from the host cities of Lutrons 16 main offices, including Hong Kong, London, and New York. Under Ketras Vibrancy technology (the feature that makes its white light tunable), the paint dramatically fluoresces as if the buildings were illuminated against a night sky.

Office meeting hubs use color-changing light to signal the rooms availability. Courtesy Ketra

Another space that stops guests in their tracks is the stairway leading to the second floor, where designers suspended 448 individually programmable bulbs to mimic the bottom of the nearby Colorado Riverone of several biophilic elements found throughout the Collaboration Studio and offices.

The new headquarters doesnt stop at considering the client experience; it also aspires to be an effective and pleasant place to work. For their own office, Ketras employees asked the in-house team for features similar to those they design for clients, which include BuzzFeed, Google, Delos, and R/GA. That means natural light, flexible spaces for collaboration, and amenities to make the office feel more like home, including some zones for privacy.

The office has dedicated quiet spaces for personal phone calls, and nooks for poring over art, design, and photography books from the office library. An area of the kitchen also has pods for eating alone or in small groups.

Courtesy Ketra

But Ketra didnt skimp on some of its own popular bells and whistles in enlivening areas, from color-changing luminaires to individual controls over lighting. Indirect lighting creates an even sky of illumination over the workstations, and each conference room has a light that changes color to signal whether a room is reserved or available. Other lights tied to sensors will dim or change colors after users leave a room.

The many Ketra features seem to bring full circle the era of lighting-control technology that Lutron introduced in 1961, when it created the first commercial dimmer. Back then, says Ramos, they couldnt have dreamed wed be here now.

You may also enjoy Fritz Hansens Entire Office is Now a Showroom

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Ketra's Showroom Brings to Light the Dramatic Effects of Its System - Metropolis Magazine

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<60w60w-100w>100w

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LED Indoor Lighting Market Size, Future Trends, Segmentation, Gross Margin, Opportunity Assessment and Potential of the Industry by 2027 - The Canton...

Growing at a steady pace, this LED Lens market research values the industry size in USD million terms for 2020 and expected USD million value by the end of 2026 is provided for decision makers and stakeholders interested in LED Lens market. The report on LED Lens market provides qualitative as well as quantitative analysis in terms of market dynamics, competition scenarios, opportunity analysis, market growth, industrial chain, etc.

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LED Lens Market Structure, Industry Inspection, and Forecast 2026 - CueReport

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Key CompaniesPhilipsOsramCreeGE LightingMaxLiteHugewinGemcoreWestinghouseDECO LightingXtraLightRAB LightingHavells SylvaniaToshibaAcuity BrandsEmerson ElectricLSIBravoledHubbell LightingLigman Lighting

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Key Product Type<60w60w-100w>100w

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Global LED Indoor Lighting Market 2020 Applications, Trends, Demand, Regional Analysis, Business Strategies and Forecast Report to 2026 - Owned

The LED Secondary Optic Market Research Report 2020 published by Prophecy Market Insights is an all-inclusive business research study on the current state of the industry which analyzes innovative strategies for business growth and describes significant factors such as top developers/manufacturers, production value, key regions, and growth rate. Impact of Covid-19 pandemic on the market will be completely analyzed in this report and it will also quantify the impact of this pandemic on the market.

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LED Secondary Optic Market: Market Analysis and Opportunities till 2030 - Cole of Duty