LIGHTING
GLOW’S DAWNING LIGHT
In 2020, Bogdanovich was approached by a good friend of his, the chief financial officer of the South Coast Botan- ic Garden. She posed a question to Bogdanovich, asking if California Outdoor Lighting would be interested in a first-ever nighttime project in the garden’s 60 years. Never opposed to expanding his lighting horizons,
Bogdanovich agreed. “We have a great eye for lighting spaces and establish- ing balance and cohesion, but this was a little bit different,” Bogdanovich says. “We had to make sure we could capture everybody’s eye invitingly.” Te first step of the project was meeting the garden’s
request for an overarching theme. He realized the instal- lation’s theme was right in front of him, crashing onto the golden sand in turquoise ripples. “Everybody around this area, we’re all drawn to the
ocean,” Bogdanovich says. “I just thought water would be a great theme for our local community.”
Lighting is an art, so we wanted to display it as that. You go
to the garden during the daytime, and it’s so peaceful and serene. But what we wanted to do was actually show the garden for what it was.
– Anthony Bogdanovich | California Outdoor Lighting 14
Irrigation & Lighting Fall 2022
Despite both years of Glow going on display during the winter holiday season, Bogdanovich envisioned a winter wonderland beyond red and green string lights. Instead, he saw one that connected to the greenery it adorned. “Lighting is an art, so we wanted to display it as that,”
Bogdanovich says. “You go to the garden during the day- time, and it’s so peaceful and serene. But what we wanted to do was actually show the garden for what it was.”
THE FIRST GLOW
Trough a combined effort of the garden and lighting company staff, the brains behind the first Glow sought out-of-the-box ways to reimagine about 20 of the gar- den’s 88 acres. Bogdanovich explains that no idea, no matter how
far-fetched, was shot down. Tis resulted in the creation of various watery themes and color palettes for different sections of the garden, all paired with specially selected music. Upon completion, the team used 1,200 to 1,300 low-voltage fixtures. “When you can look at a space and think like a kid
again, I think that’s what made it more special,” he says. “We had no constraints on our creativity.” Bogdanovich and his team sought to push the bound-
ary of what light could do. Using special effect fixtures and electronics, once stagnant lights could be made into dynamic, free-flowing entities.
irrigationandlighting.org
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