Lighting in Design Q3 2019

I nternational N ews

Chromatic light installation by non-profit ‘Beyond Walls’ aims to diminish crime in Massachusetts

Poor visibility in the dark underpasses beneath the rail line in down- town Lynn, has produced a high level of crime and vehicle-pedestrian accidents. BeyondWalls aimed to minimise these issues by propos- ing urban interventions: street-art murals, vintage neon sign art and dynamic underpass lighting. The once-avoided urban spaces have now become vibrant landmarks in downtown Lynn, where people feel more safe and welcome. Merging art, history and technology, Beyond Walls restored and displayed vintage neon artwork from the collection of Dave Waller of brickyard VFX. On display are artefacts of classic commercial Americana, which have been refurbished to expose their retro glory. Newly mounted on downtown buildings or displayed in storefronts throughout the downtown cultural district, these nostalgic pieces evoke the heyday of the city. The piece’s illumination brings more light and increases the

walkability and economic vitality of downtown Lynn. The project was funded by gifts, grants and in-kind labour and equipment donations. The project’s high-efficiency Philips LED fixtures consume only as much energy as sixteen of the city’s street lights.

Trueing's Cerine lighting hangs from chunky coloured glass chains

NewYork design studioTrueing has put ‘an interesting spin on the familiar’ with the bold hand-formed coloured glass chain links that feature in its latest collection of lighting. Launched at this year's NYCxDesign festival, Trueing's Cerine series comprises two pendants, a floor lamp and a sconce. The Brooklyn studio, founded by partners Aiden Bowman and Josh Metersky, found influences for the designs in a number of places. These include delicate golden chain necklaces, rough metal versions found in ship yards and the decorative motifs featured in the façade of beaux-arts buildings. "Chain is also common in traditional lighting design – we wanted to make something that would reinterpret that vernacular, putting an interesting spin on the familiar," Metersky said. Hand-formed from thick borosilicate glass in bold and bright colours, the chain functions as a way to place the lights in their prescribed spots, and serve as the focal point of the design. Each chain link is sized 7 cm wide by 12 cm tall, and can be ordered for bespoke arrangements in seven opaque or transparent colours. The metal finishes for each piece come in brushed brass, satin or polished nickel, and oil rubbed bronze. "The chain has a certain softness and character to it; what I love is that each link is hand-made, so they’re all a little bit different, but when you step back the whole thing just looks natural and perfect," Metersky continued. Each of the lights in the series uses the chains to hold up mouth-blown glass bulbs in various ways. One fixture attaches to the ceiling via two hooks, creating a large droop that resembles an inverse arch, while the sconce comprises three links that dangle from a metal arm holding the bulb. The floor lamp, meanwhile, ismade fromnine pieces of stacked Carrara marble with five pastel pink links hanging from an arched arm. The glass orb is available in either white opaline glass or a variety of custom colours.

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LiD Q3 - 2019