2 9 Blum Inspirations ABOUT Holger Leibmann works for the Zumtobel Group in Austr ia where he oversees par ticular ly complex lighting projects, for example at museums and educational institutions. The innovative company enjoys a long tradition and has been of fer ing lighting solutions at the highest standards of qualit y and aesthetics since 1950. Zumtobel is a global player with 50 sales agencies wor ldwide. zumtobel.com bathroom or a child's room, for example, as a means of or ientation dur ing the night. This prevents us being stimulated at the wrong time of day. On the other hand, we can k ick-star t our day in the morning by creating set tings with high-intensit y light in the blue spectrum. So the light ing in a room should be variable? You should always think in terms of at least three scenar ios. If I 'm work ing or look ing for stimulation, I need br ight and uniform light. For normal use of the room I create a balanced propor tion bet ween accent lighting and dif fused light. In the evening I reduce the lighting to a few accents and perhaps dim them as well. Depending on what you prefer, this can be done with a smar t control unit or simply with sets of switches. Do you have a favourite project? In terms of a favour ite project, I would say the Beyeler Foundation museum in Basel. A key feature of the building is the interplay bet ween inside and outside and thus the way daylight and ar tificial light play of f one another as well. The design makes intensive use of var ious colour temperatures and moods over the course of the day, and when a warm, white ray of sunshine dances across a painting at t wilight, it 's simply stunning. • S M A L L S P A C E W O N D E R S
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