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Uvijek naglašavam važnost integracije u dizajnu rasvjete što podrazumijeva usku suradnju s arhitektom i dizajnerima interijera. Imam tu sreću da su česte situacije

gdje se arhitekt i ja međusobno nadahnjujemo, iz čega proizlaze svjetlosne i strukturne instalacije u prostoru. Građevinski zahvat koji se izvede u arhitekturi i

interijeru radi svjetla postaje integralni dio tog prostora, bez obzira je li svjetlo upaljeno ili nije

uća svjetla u Puli primjer je uspješnog i ambicioznog po-slovnog pothvata koji je vlastitim pri-mjerom pokazao

mogućnosti struke dizajnera rasvjete i tehnoloških dostignuća s područja osvjetljavanja. Nedavno uručena nagrada „Award of Merit“ prestiž-nog IES udruženja Sjeverne Amerike nadovezala se na niz priznanja koje je Kuća dobila za svoja ostvarenja. Vlasnik Kuće svjetla, korporativnog sjedišta tvrtki Skira d.o.o. i Lumenart d.o.o., dizajner rasvjete Dean Skira pojasnio nam je nepobitne činjeni-ce svog 20-godišnjeg profesional-nog iskustva.

K Po struci ste dizajner rasvjete što je mnogima u Hrvatskoj još uvijek neo-bično zanimanje. Što vas je ponuka-lo da se bavite svjetlom? Oduvijek sam gravitirao prema arhi-tekturi, uređenju, formi i svjetlu. Nedu-go nakon dolaska u New York 1986., imao sam sreću upoznati ljude koji su se bavili upravo svjetlom i ubrzo sam počeo raditi s njima. Paralelno sam upisao FIT gdje sam studirao dizajn interijera i dizajn rasvjete. Na fakul-tetu smo imali vrhunski opremljen la-boratorij svjetla gdje su profesori, koji su morali imati najmanje 10 godina iskustva u privatnoj praksi, prenosili znanja na buduće generacije. Uz taj studij radio sam direktno u struci, od-lazio s kolegama na gradilište, pro-

jektirali smo i nadzirali zajedno što je za mene bilo neprocijenjivo iskustvo. Učiti, raditi i vidjeti realizacije dizajna rasvjete u zemlji odakle struka i po-tječe.

Kakva je situacija u struci u Hrvatskoj i inozemstvu? Nakon povratka u Hrvatsku bilo mi je puno lakše pratiti tehnologije u gra-diteljstvu budući da je Amerika u tom području puno naprednija od nas. Već tada, prije 23 godine, imao sam priliku vidjeti što znači građevinski izvesti neki detalj u stropu u knaufu, proučiti ugradnju centralnog uprav-ljanja rasvjetom i mnoge druge pri-mjere koji su kod nas zaživjeli tek pri-je desetak godina ili koji tek sad stižu

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Rasvjeta za čovjeka kao integralni dio arhitektureIntervju: DEAN SKIRA

Piše: Jelena Badovinac Foto: Arhiva DalCasa

DIZAJN RASVJETE KAO OBLIKOVANJE PROSTORA

PEJZAŽNA ILUMINACIJA ČESTO PREDSTAVLJA DIZAJNERSKI IZAZOV ILUMINATION OF LANDSCAPE IS CHALLENGE FOR DESIGNERS

kao novitet. Europa tehnološki sustiže Ameriku velikim koracima, a možda ju je u kreativnom pristupu i prestigla. Međutim, u Americi se nove tehnologije i proizvodi puno brže prihvaćaju i plasiraju do krajnjih korisnika zbog ogromnog tržišta od 250 milijuna ljudi koje je jedinstveno. U Europi je tržište kompleksno, svaka država ima svoj jezik, kulturu, norme i uzance.

Na hrvatskim sveučilištima ne postoji kolegij o dizajnu rasvjete. Na koji način se ljudi u Hrvat-skoj educiraju o njoj i postoji li sve veća potreba za tom strukom? U Hrvatskoj su tržište i trgovina doveli novitete i edukaciju u vezi svjetla, za razliku od Amerike gdje se o svjetlu uči unutar obrazovnog susta-va i kroz udruženje koje svaki mjesec organizira

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stručna predavanja. Ovdje stručna predavanja organiziraju ljudi koji prodaju lampe i prezentiraju svoj proizvod kako bi uvjerili kupca da je upravo taj proizvod najbolji za neku određenu funkciju. Na taj način pro-

jektantima olakšaju odabir lampi u fazi projektiranja. Strani investitori su također odigrali važnu ulogu u ge-neriranju potrebe za našom strukom pošto su inzistirali da projektni tim uključuje dizajnera rasvjete. Pozivi sa

zagrebačkog i splitskog sveučilišta, gdje sam održao predavanja o di-zajnu rasvjete u arhitekturi, također dokazuju da je danas svijest o rasvje-ti na daleko višoj razini nego što je bila prije 15 godina.

Koje su specifičnosti oblikovanja ra-svjetom i mogućnosti za kreativnost? Budući da je rasvjeta neodvojiva od arhitekture, najčešće mi se postavlja pitanje koliko je svjetlo važno u arhi-tekturi, na što odgovaram da uopće nije važno u arhitekturi, već je važ-no za čovjeka. Kuće ne osvjetljava-mo radi kuća, slike u muzejima nisu osvjetljene radi slika nego radi ono-ga koji ih gleda. U tom smislu pristup u osvjetljavanju arhitekture je pogre-šan. Naš je posao specifičan prven-stveno zbog izuzetno dobrog pozna-vanja psihološkog utjecaja svjetlosti na ljude i njihovih generalnih reakcija na određenu vrstu svjetla. Moguće je procijeniti da će većina ljudi reagi-rati na određeni način ako se nađe u mračnom prostoru i da će, ako im upališ neko hladno, bijelo, jako svje-tlo reagirati na drugi. U nijansama i varijacijama između tih dviju krajnosti leži naša kreativna snaga.

Koje se prepreke i izazovi javljaju pri realizaciji projekata? Kakvi su odnosi s investitorima, arhitektima i dizajne-rima interijera? Uvijek naglašavam važnost integra-cije u dizajnu rasvjete što podrazu-mijeva usku suradnju s arhitektom i dizajnerima interijera. Imam tu sreću da su česte situacije gdje se arhitekt i ja međusobno nadahnjujemo, iz čega proizlaze svjetlosne i strukturne instalacije u prostoru. Građevinski

zahvat koji se izvede u arhitekturi i in-terijeru radi svjetla postaje integralni dio tog prostora, bez obzira je li svje-tlo upaljeno ili nije. Imamo primjer arhitektonske simulacije vena smo-kvinog lista u Novom Vinodolskom gdje čitav strop zapravo postaje rasvjetno tijelo. Možemo reći da je Lumenartov i Skirin trodimenzional-ni pristup projektiranju rasvjete vrlo specifičan i mnogima prepoznatljiv. Nažalost, nema uvijek prilike za ta-kve izvedbe, tu je odnos mene, in-vestitora i arhitekta ključan. Ukoliko i jedna karika u tom lancu pukne, ideja se ne može realizirati. Nedav-no sam imao slučaj gdje smo svi

veći od troška koji stvara klasična žarulja. Dalje, njena staklena opna sadrži određenu količinu žive koja je u jednoj žarulji možda i zanema-riva, ali u milijunima štednih žarulja nailazimo na ogromnu količinu žive koja zagađuje vodu i okoliš. Ukoliko se takva žarulja razbije, potrebno ju je ukloniti na za to predviđen način

uključeni u projekt bili za realizaciju ideje koja je, priznajem, dosta radi-kalna. Ideju, u kojoj smo kolni ulaz u hotel Four Seasons u Baku pretvorili u azerbejdžanski tepih, nije podupro jedino predstavnik investitora i taj je najbitniji detalj ostao nerealiziran.

U posljednje vrijeme dosta se u me-dijima spominje Zakon o štednim ža-ruljama. Kakvo je mišljenje struke po tom pitanju? Osobno i stručno mišljenje iza ko-jeg čvrsto stojim je da, u svojoj kući i kući svojih klijenata, apsolutno ne dolazi u obzir korištenje štednih ža-rulja u prostorijama poput dnevnog boravka gdje svjetlo treba biti toplo, s mogućnošću regulacije i koje ne titra. Sve te zahtjeve još uvijek ispu-njava jedino klasična žarulja sa žar-nom niti. Štedna žarulja, koja dolazi u 99% slučajeva iz Kine, u stvari nije ni ekološka, uzmemo li u obzir tro-šak njezine proizvodnje, transporta i eksploatacije koji je neuporedivo

KUćA SVJETLA POTPISUJE RASVJETUEKSTERIJERA HOTELA MONTE MULINI

THE HOUSE OF DESIGN SIGN UPTHE LIGHTING OF EXTERIOR

OF HOTEL MONTE MULINI

KUćA SVJETLA U PULI

THE HOUSE OF LIGHT IN PULA

SIMULACIJA RASVJETNOG RJEšENJAVRLO JE bITNA U PROCESU REALIZACIJE PROJEKTA

SIMULATION OF LIGHTING DESIGNIS VERY IMPORTANT IN PROCESS

OF REALISATION OF PROJECT

RASVJETA EKSTERIJERA HOTELA KEMPINSKI ADRIATIC

THE LIGHTING OF EXTERIOR OF HOTEL KEMPINSKI ADRIATIC

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i pakirati je u nekoliko vrećica prije odlaganja u otpad. Također, nji-hov veliki nedostatak je to što se ne mogu regulirati, ne podnose često paljenje i gašenje i imaju izuzetno lošu reprodukciju boje. Njezino svje-tlo je zapravo nekvalitetno, prostor koji osvjetljava djeluje neprirodno i boje ne dolaze do izražaja, crvena nije crvena, plava nije plava. Iz tih razloga ljudi često ne vole boraviti pod tim svjetlom. Neka istraživanja

su dokazala da izlaganje u prostoru koji je konstantno osvijetljen štednim žaruljama izaziva migrene. Nedosta-taka je mnogo. Sva stručna udruže-nja, europski PLDC, američki IES, svi su protiv zabrane običnih žarulja. Međutim, glavni lobisti tog zakona ostvaruju daleko veći profit na šted-nim žaruljama.

Na koji način je onda moguće ostva-riti uštede energije i ostvariti ekološko

osvjetljenje? Koji su novi trendovi u svijetu rasvjete? Prilikom realizacije dijela porečke zaobilaznice prvi smo u Hrvatskoj pri-mjenili princip novih optika u javnoj rasvjeti. Kod nas kad se priča o eko-loškoj svjetiljci još uvijek se spominje samo karakteristika da svijetli prema dolje, odnosno da ne isijava svje-tlost prema gore. Ukoliko je potreb-no osvijetliti ulicu od 4-5 km gdje se inače prosječno nalazi stotinjak stu-pova, tada čini veliku razliku hoće li ih biti 100 ili 70 komada i u tome je bit uštede energije, istovremeno poštujući principe protiv svjetlosnog zagađenja. Danas je tendencija da se u velikim komercijalnim prostori-ma, poput nedavno realiziranog NY Times buildinga Renza Piana u New Yorku, kontrolira i upravlja umjetnim i

dnevnim svjetlom u radnom prosto-ru. Prema današnjoj dostupnoj teh-nologiji ta kontrola uključuje regula-ciju rasvjete, motoriziranih vanjskih žaluzina i motoriziranih unutarnjih prozorskih sjenila Lutronovim Eco i Quantum sistemima koji su tek odne-davno dostupni i u Europi. Mjerenjem kuta upada svjetlosnih zraka, takav napredan sustav regulira podiza-nje i spuštanje prozorskih sjenila te paljenje i gašenje rasvjete ovisno o položaju zgrade u odnosu na sunce i godišnje doba. Daylight harvesting (žetva dnevnog svjetla) maksimal-no je iskorištena. U Europi se sprema 2012. zakon zbog kojeg će arhitekti koji projektiraju komercijalne objek-te morati osigurati određenu količi-nu svjetla u svim prostorima i na taj način će projektirati fasade.

Okušali ste se vrlo uspješno i u dizajni-ranju rasvjetnih tijela. Kako je nastala ideja? Ideja za dizajn nove lampe proizaš-la je iz potrebe za točno određenim zahtjevom koji nisam uspio zado-

voljiti niti jednim proizvodom koji je trenutno dostupan na tržištu. Počeo sam ozbiljno razmišljati prvenstveno o funkciji i nakon toga je forma doš-la sama po sebi. Međutim, forma te lampe nije bila moguća prije 3 godi-ne, zato što tehnologija potrebna za njenu izvedbu nije tada bila dostu-pna. To pokazuje koliko je ova struka izuzetno vezana uz razvoj tehnologi-ja. Serija lampi koje sam dizajnirao i koje će ići u proizvodnju za iGuzzini, jednog od vodećih svjetskih proi-zvođača rasvjetnih tijela, bit će pre-zentirana na sajmu 2011. Dotad će biti korištena kao specijalni proizvod na određenim objektima. Forma te lampe vrlo je zahvalna i prilagod-ljiva, može se koristiti u neizmjerno mnogo različitih varijacija, u kutevi-ma, u interijeru i u eksterijeru, i iz nje se mogu generirati razni oblici.

Na koji način prezentirate svoje ide-je? Kako pojašnjavate klijentima što mogu očekivati kad se posao završi? Moji prvi projekti i način na koji da-nas projektiramo u Kući svjetla uvijek slijede istu filozofiju. Naš projekt mora biti razumljiv svakome, što znači da će svim sudionicima projekta kroz prezentaciju biti razumljivo kako će

izgledati krajnji rezultat. Uvijek se trudimo vizualno prezentirati priču, nakon čega slijedi inženjerski dio koji je važan izvođačima. Prvenstveno je ključno da svi sudionici, od inve-stitora do onoga koji to realizira, ot-početka do kraja dobiju sve neop-hodne podatke za obavljanje svog posla. I naravno da korisnik, prije nego je instalacija uopće izvedena, ima jasnu viziju kako će izgledati ra-svjetno rješenje. Zato često radimo foto simulacije interijera i eksterijera koje su 80-90 % točne. Nemoguće je dostići stopostotnu vjerodostojnost jer je svjetlo jako često nepredvidi-vo, bez obzira što je linearno i što je njegova putanja predvidljiva. Posto-je mnogi izvanjski utjecaji na fasa-du, utjecaji javne rasvjete, refleksije materijala i sl. Stoga kad kažem da mi to uspjevamo sa osamdesetpo-stotnom preciznošću, onda to jako puno znači.

Koji je pristup u projektiranju kojeg zastupate u Kući svjetla? Nastojimo se svakom projektu po-svetiti kao da je jedan jedini i ne uspoređivati ga ni s jednim drugim. Nema univerzalnog rasvjetnog rje-šenja, postoje slični primjeri. Jedini ograničavajući faktori u poslu su po-stojeći tehnološki izvori svjetla i lam-pe u kojima se oni nalaze. Žarulje u sebi imaju određenu optiku, uzak ili širok snop, isijavaju toplo ili hladno svjetlo određenog intenziteta, sna-ge, mogućnosti usmjerenja, mon-taže itd. Tehnološki si ograničen, ali kreativno nisi i to je najčešći problem na koji nailaziš u struci. Kad želiš po-stići neki efekt, uvijek razmišljaš da to što si zamislio mora biti izvedivo i da je moguće dugoročno održavati. Stoga nastojiš ne montirati rasvjetna tijela na mjesta do kojih više nitko ne može doći. Onda jednom kad žarulja izgori fasada izgleda okrnje-na. Bitno je sagledati sve elemente, kako kuća izgleda oblikovno, gdje je smještena, u kakvom okruženju, gdje su ključne vizure te kuće. Otpočetka točno znamo sve detalje, gdje će biti koja lampa, kako će biti usmje-rena, tako da kasnije nema izne-nađenja. Budući da u našem timu rade dizajneri, elektroinženjeri i pro-grameri, proizvod je cjelovit jer ima svoj kreativni sadržaj te je tehnološki, energetski i upravljački maksimalno obrađen. U svim fazama projekta poduzimamo sve potrebno kako bi to doslovno bila pametna kuća u kojoj će se naši klijenti osjećati ugod-no i opušteno.

DEKORATIVNA I INTEGRIRANA RASVJETA U RESTORANU RESORTA NOVI

DECORATIVE AND INTEGRATED LIGHTING IN

RESTAURANT OF THE RESORT NOVI

MEMORIJALNI CENTAR DRAŽEN PETROVIć U ZAGREbU

THE MEMORIAL CENTER DRAŽEN PETROVIć IN ZAGREb

SPA NOVI, DIZAJN RASVJETE PRIDONOSI STVARANJU OPUšTAJUćE ATMOSFERE

SPA NOVI, DESIGN OF LIGHT CONTRIbUTE IN CREATION OF RELAXING ATMOSPHERE

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is the corporate centre of companies Skira d.o.o. and Lumenart d.o.o., has enlightened some basic facts of his 20-year experience in this field for our readers.

Your professional calling is a lighting designer, which is still a fairly unusual job for many people in Croatia. What encouraged you to start working with light?I have always gravitated towards architecture, decora-tion, form and light. Not long after I arrived in New York in 1986, I was fortunate enough to meet some people

who were involved in the lighting business, and I soon started working with them. I simultaneously entered the FIT University where I studied interior design and lighting design. Our university featured a laboratory with top-qu-ality equipment where the professors, all of whom had at least ten years of experience in private practice, tau-ght the future generations everything about this field of work. Along with that I worked directly in the profession as I walked around construction sites with my co-wor-kers, projecting and supervising various projects. That was simply an invaluable experience for me. To learn, work and observe performance of lighting design in a country that is the home of this profession.

he House of Light in Pula stands as an exam-ple of a successful and ambitious business project that has set the example for the po-ssibilities within the profession of lighting de-sign and technological achievements from the lighting field. The recently-won “Award

of Merit” from the prestigious IES Association of North America stands as the latest in a string of awards that The House received for its accomplishments. Lighting de-signer Dean Skira, the owner of The House of Light, which

Human light as an integral part of architecture I always emphasize the importance of

integration in lighting design, which assumes a close cooperation with architects and

interior designers. I am fortunate enough to often find myself in situations where the architect and I mutually inspire each other,

which results in lighting and structural installations in the space. Constructions procedures that are performed in the

interior with the purpose of light become integral parts of architecture, regardless of

whether the light is turned on or not

Written by: Jelena Badovinac Photo: DalCasa Archive

Interview: DEAN SKIRA

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LIghTINg DESIgN AS ThE ShAPINg Of SPAcE

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What is the current situation in this profession in Croatia and the world?After my return to Croatia, it was a lot easier for me to keep up with the latest construction technologies as America is way ahead of us in that department. That was 23 years ago, and I already had a chance to see what it means to perform a knauf ceiling, install a cen-tral lighting control system and observe numerous other methods that only arrived to our part of the world ten years ago or even now. Europe is catching up America in big steps, and maybe it has already caught up crea-tively. However, in America new technologies and pro-ducts are embraced and placed in much faster fashion by the users due to the enormous market of 250 million people that has certain unique rules. The European mar-ket is much more complex, as every country has its own language, culture, rules and standards.

Croatian universities do not offer classes on the subject of lighting design. How do Croatian people get educa-ted on this matter and is there an increasing need for this profession?The Croatian market and the trading business have led to certain novelties in educational methods within the lighting business, unlike America that offers education on lighting within their universities and various associa-tions that organize professional lectures every month.

In our country, professional lectures are organized by people who sell lamps in order to present their product and convince the buyer in its adequacy for a certain function. These lectures make the process of choosing lighting objects a lot easier for consultants in designing phase. Foreign investors have also played an important role in the process of generating the need for our pro-fession as they insisted on lighting designers in basically all architectonic teams. The level of consciousness on the subject of lighting is now much higher than it was 15 years ago.

Which are the specific aspects of shaping a space with li-ghting, and where are our opportunities to get creative?The lighting aspect cannot be separated from archi-tecture, so I am often questioned of the importance of lighting in architectural processes, and my usual respon-se states that lighting is not important for architecture, but for people. I do not arrange lighting because of houses, and museum paintings are not highlighted with light because of themselves, but because of the people watching them. In that sense, the entire approach of lighting up architecture is fundamentally wrong. Our job is specific primarily because we know psychology of li-ght and general reactions of people to the certain type of light. It is possible to predict that the majority of peo-ple will react a certain way if they find themselves in a

darker room, and that they will change their behaviour if you turn on a cold, strong, white light. The shades and variations between those two extremes reveal our creative strength.

What are some of the obstacles and challenges during the course of your projects? What are your experiences with in-vestors, architects and interior designers?I always emphasize the importance of integration in lighting design, which assumes a close cooperation with architects and interior designers. I am fortunate enough to often find myself in situations where the architect and I mutually inspire each other, which results in lighting and structural installations in the space. Constructions procedures that are performed in the interior with the purpose of light become integral parts of that space, regardless of whether the light is turned on or not. We have an example of an architectonic simulation of fig-leaf veins in Novi Vinodolski, which resulted in the entire object becoming a lighting object. It is fair to say that Lumenart’s and Skira’s three-dimensional approach to lighting design is very specific and recognizable to many. Unfortunately, the-re aren’t always opportunities for those scenarios, as the re-lationships between myself, the architect and the investor become crucial. If one of the links in that chain breaks, the idea is dead. There are numerous obstacles. I recently had a situation where everybody involved in the project agreed on an idea, which was admittedly rather radical. Idea, in which we wanted to transform the driveway to the Four Seasons Ho-tel in Baku into a gigantic Azerbaijan carpet, wasn’t backed

DIZAJN RASVJETE U HODNIKU KOJI POVEZUUJE HOTELSKE SObE I SPA CENTAR RESORTA NOVI

LIGHT DESIGN IN HALL WHICH CONNECTS HOTEL ROOMS AND SPA CENTER OF RESORT NOVI

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and regulate artificial and natural light in a working fa-cility. The latest technology allows this control to include lighting regulation with motorized outdoor shutters and motorized indoor widow shades by Lutron’s Quantum and Eco systems that are from recently available in Eu-rope. By measuring the light rays’ invasion angle, this advanced system regulates the moving of window sha-des and the ignition of artificial light depending on the building’s position towards the sun and the season of the year. Daylight harvesting has been put to maximum effect. Europe will receive a new law in 2012, which will determine the minimum amount of light in all commer-cial objects and have a direct effect on the way archi-tects project facades in the future.

You’ve also been very successful in designing lighting objects. How did that idea come about?The idea to design a new lamp originated from a very precise demand that couldn’t be solved by any of the products on the market. I started to seriously think prima-rily about function, and the form simply came as a logi-cal extension. However, the form of that lamp wouldn’t have been possible three years ago, as the required technology wasn’t available at that time. That exam-ple clearly shows just how dependent this profession is to the development of technology. The series of lamps I’ve designed and that will be manufactured by iGuzzi-ni, one of the world’s leading manufacturers of lighting objects, and will be presented at the fair in 2011. Un-til then, the lamps will be used as special products on specific objects. The form of this lamp is very convenient and adjustable, and can be used in numerous different variations in both interiors and exteriors, as well as gene-rate into different forms.

How do you present your ideas? How do you suggest your clients what they can expect when the job is fi-nished?My first projects and the way we now project at The House of Light always follow the same philosophy. Our project must be understandable to everyone, which means that each participant can visualise the final re-sult after our presentations. We always make an effort to visually present the story, and that is followed by the all-important engineering part. It is absolutely crucial to ensure that all participants in the process, from the inve-stors to people in charge of the realisation, receive all the essential information from the get-go. And it is also imperative for the user to have a clear vision of what li-ghting solution will look like before the installation is even in the works. That’s why we frequently perform photo-simulations of interiors and exteriors and I must say that I feel our simulations are about 80-90% accurate, as it is impossible to create a 100% credibility because light is a very unpredictable phenomenon. Despite the fact that light is linear and its direction can be predicted, there are numerous external factors that affect a facade, pu-blic lighting or material reflexes etc. meaning it is very di-fficult to visualize everything prior to the realization pro-cess. That’s why our 80-percent precision actually goes a long way in serving our clients.

What is the projecting approach you represent in The House of Light?We try to approach every project as if it is our only job, and we never compare it to any other assignment. The-

re are no universal lighting solutions, but only rather simi-lar examples. The only limitation factors in our business are existing technological sources of light and lamps. In wich bulbs are situated. Bulbs possess a certain optic, narrow or wide beam, warm or cold light of a certain intensity, power, direction options, installation etc. We are technologically limited, but there are no creative boundaries, and that ends up as maybe the biggest problem in our profession. When you’re going for a cer-tain effect, you always feel that the vision in your head can be accomplished and permanently maintained, which is why it isn’t desirable to install lighting objects at inaccessible places – a facade is damaged if the bulb stops working and it can’t be replaced. It is important to analyze all elements – the shape of the house, its lo-cation and surrounding, which side is more accessible and which points of view are crucial. As we simulate the lighting arrangement, we already know where to put certain types of lamps, how to direct them and arran-ge all other details, so there aren’t really any surprises. As our team consists of designers, electro-engineers and programmers, the product is a complete unit because of its creative value and because of maximum attenti-on to issues in technology, energy and management. All phases of our project include all necessary steps to make these houses truly intelligent, and to make our cli-ents feel comfortable and relaxed.

down by investor’s representative and that crucial de-tail wasn’t realized like we planned.

There has been a lot of talk lately about the Law on Eco-nomical Light Bulbs. What is the profession’s opinion on that matter?My personal and professional opinion that I wholehear-tedly represent is that I would never install an econo-mical light bulb into my house or the house of my cli-ents, due to the fact the light in living rooms needs to be warm, non-vibrating and with regulation options, which is best accomplished by the classic bulb filaments. That economical light bulb, which is manufactured in China in 99% of cases, is not even ecological, as the manu-facturing, transporting and exploitation costs are much higher than those of a classic light bulb. Furthermore, its glass membrane contains a certain amount of mercu-ry, which may seem irrelevant in one light bulb, but the millions of such bulbs release a huge amount of mer-cury that pollutes the water and the environment. If such a bulb breaks, it needs to be removed in specific manner that involves several different packages befo-re throwing it away. One of their huge disadvantage is they also have no regulation options, do not have high tolerance for frequent on-off situations, and the level of colour reproduction is extremely bad. Their light is ac-tually of low quality, as the room often looks unnatural without true colour penetration – red isn’t red, blue isn’t blue. These are the reasons why people often don’t like spending time in rooms with these light bulbs. Some re-searches have shown that spending time in such rooms causes severe cases of migraine. There are numerous shortcomings. All professional associations, including

PLDC Europe and IES America, have made it clear that they oppose to banning regular light bulbs. However, the strongest lobbyist of that law turn a much bigger profit on economical bulbs.

If that is the case, which is the way to achieve energy preservation and ecological lighting? What are the new trends in the lighting world?While we were building a part of a bypass road in Poreč, we were the first to use the new optical principle in pu-blic lighting in Croatia. When people talk about ecologi-cal lamps in our country, they still exclusively refer to tho-se lamps directing light downwards, and not radiating light upwards. If we need to light a 4-to-5-kilometre road where it’s common to build about 100 poles, building about 70 poles would make a big difference in terms of energy preservation, while also respecting the principles that oppose to lighting pollution. It is now a tendency in large commercial spaces, such as the recently-built NY Times building by Renzo Piano in New York, to control

DIZAJN RASVJETE INTEGRIRAN U ARHITEKTURI

LIGHTING DESIGN INTEGRATED IN ARCHITECTURE

ODAbIR RASVJETNIH TIJELA U SKLADU JE S INTERIJEROM

SELECTION OF LIGHTING FITTINGS IS IN ACCORD WITH INTERIOR