ILR 2000 - 001 by Luminous – International Lighting Magazine - ILR

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City Beautification Euro 2000 Soccer

International Lighting Review

Revue Internationale de l’Eclairage

Internationale Licht Rundschau

Revista Internacional de Luminotecnia

Philips Lighting BU Luminaires

International Lighting Review Internationale Licht Rundschau Revue Internationale de l’Eclairage Revista Internacional de Luminotecnia

ISSN 0020-7853 ISSN 0165-9863 ISSN 0035-3388 ISSN 0167-7608

51th year / issue 001 Founded in 1949, International Lighting Review is devoted to all aspects of lighting. Published three times a year, it reports extensively on developments and trends in lighting, on actual problems encountered in lighting design and technology, and on outstanding projects from all over the world. ILR is richly illustrated with colour photographs and drawings covering more than 50 pages. Published by Philips Lighting, Luminaire Group Produced by LiDAC, Lighting Design and Application Centre, Eindhoven, the Netherlands. Editorial office Address: P.O. Box 721, 5600 AS Eindhoven, the Netherlands. Telephone: administration 31 40 275 5779; ediitors: 31 40 275 52 52 / 31 40 275 74 85. Telefax: 31 40 275 78 00. E-mail: LIGHTING.ILR@PHILIPS.COM Internet: http://www.lightingreview.com Bank: Postbank Amsterdam. VAT Reg.no. NL005476604B46. Chief Editor and Art Director: JF Caminada. Editors: Derek Parker and Marcel Janse. Photography: Rien Valk. Artwork: Jo van Hemert. Layout: Marie-Louise Mannaerts. Client services: Franka Heesterbeek. Translation: Philips Translation Services. Pre-publishing by Neroc, Eindhoven. Printed by Roto Smeets Services, Eindhoven. Subscriptions / Back Numbers: see at the end of the magazine. Correspondents Argentina: Guillermo Spini, Casilla de Correo 3479, Buenos Aires. Australia: Lynden Kirkness, 34 Waterloo Rd, North Ryde, N.S.W. 2113. België/Belgique: H Leclercq, 2 Stationstraat 80, 1070 Bruxelles. Brasil: Isac Roizenblatt, Caixa Postal 8681, Sao Paulo. Canada: Jorge M Pereira, 9 Invergordon Ave., Toronto, Ontario M1S 2Y9. Chile: Carlos Seisdedos M, Casilla 2687, Santiago. Colombia: Luis Enrique Martinez S, Apartado Aereo 4282, Bogotá. Costa Rica: C Katsava, Apartado Postal 3214, San Jose. Denmark: H J Jacobsen, Sydhavnsgade 23 , DK-1780 Copenhagen. Deutschland: C H Zieseniß, Lerchenweg 14a, 21244-Buchholz. Ecuador: Carlos Valencia, Casilla 343, Quito. España: Fernando Vila, Martinez Villergas 2, Madrid 28027. Finland: Petri Pekola, P.O. Box 4, 04601 Mäntsäla. France: M Coupez, 9, rue Pierre Rigaud, 94200 Ivry-sur-Seine. Greece: Ion Economopoulos, 7, Artemidos Str., 15125 Paradissos Amaroussion-Athens. Hong Kong: J Chu, G.P.O. Box 2108, Hong Kong. India: V K Divadkar, 29 Alipore Estate, 8/6/1 Alipore Road, Calcutta 700027. Indonesia: S Marino, Purwakarta – Jawa Barat. Ireland: N J Moran, Newstead, Clonskeagh, Dublin 14. Italia: Mariangela Speroni, Via G Casati 23, 20052 Monza. Japan: Dr K Narisada, 2-612 Asahi, Kuzuha Hirakata, Osaka 573. Kiyoshi Sugimoto, 2-13-37 Kohnan, Minato-ku, Tokyo 108. Kenya: Umakant Harish Pandit, P.O. Box 17756, Nairobi. Korea: Y C Hwang, C.P.O. Box 3680, Seoul. Malaysia: K.C. Wong, P.O. Box 12163, 50768 Kuala Lumpur. México: Javier Romer, Norte 45, No. 669, 02300 Mexico DF. Nederland: M Jacobs, Tooroplaan 6, 5591 AL Heeze. New Zealand: Chris Huff, P.O. Box 1041, Mt Albert, Auckland 1. Norge: Torgeir Sogge, Ropernveien 4, 1335 Snaroya. Österreich: Walter Stefanik, Triesterstrasse 64, A-1100 Wien. Pakistan: M K Shabazker, P.O. Box 7101, Karachi-3. Paraguay: M Haber, Casilla de Correo 605, Asuncion. Perú: V Huiman, Apartado 1543, Lima 18. Philippines: Anastacio R Martirez, P.O. Box 911 MCC, Makati, Metro Manila. Poland: Marek Lasinski, Ul. Kossaka 150, 64-920 Pila. Portugal: Vitor Vajao, Philips Iluminaçao, Lda. Apartado 1331, 1000 Lisboa. Romania: Florin Pop, str. C. Daicoviciu 15, RO-3400 Cluj-Napoca. Schweiz/Suisse: Job Daams, Allmendstrasse 140, Postfach, 8027 Zürich. Singapore: K Seshadri, P.O. Box 340, Toa Payoh Central Post Office, Singapore 9131. Sverige: Leif Berggren, Estlandsgatan 140, S-122 37 Enskede. Taiwan: Claudia Luo, P.O. Box 22978, Taipei. Thailand: N Panlop, P.O. Box 961, 10500 Bangkok. Turkey: Dr Haldun Demirdes, Talatpasa Cad. no. 5, 80640 Gültepe/Istanbul. United Kingdom: David Greaves, 420-430 London Road, Croydon CR9 3QR. Uruguay: Luis Jubin, Canelones 1367-305, Montevideo. USA: Mark Roush, Philips Square, 200, Franklin Square Drive, CN 6800 Somerset, NJ 08873. Venezuela: J J Quagliano, Apartado Aéreo 1167, Caracas 1010-A. Zimbabwe: Derek Warner, P.O. Box 994, Harare. Copyright Normally speaking, articles published in International Lighting Review may be reprinted, either completely or in part, with prior written authorisation from the publisher. However, in those cases where the artwork concerned is not the property of ILR, it is not in our power to grant permission to reproduce this. The views expressed in this journal by third parties are not necessarily those held by the publisher. The editor reserves the right to edit and abridge articles for publication.

Front cover: New generation ArenaVision (see p. 46),

I n t e r n a t i o n a l Lighting Review Contents

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http://www.lightingreview.com

Forum

Editor’s notes

Capital Bridges

News from the world of lighting

City Beautification/Euro 2000 Soccer Projects

City Beautification in the New Millennium What better way for a city to herald the new millennium than to light its bridges and bring a new perspective to the night-time riverside scene

p.6 Pierre Arnaud

p.6 Benoit Lalloz

The Seine by night – Paris France Across the Liffey – Dublin Ireland Out of the Blue – Belfast Northern Ireland A bridge to the past – Stockholm Sweden

p.8 Duilio Passariello

Outdoor museum of light

France

Brian Callagy Paul Watson Lars Hägglund Vincent Laganier

A riverside art gallery of projected images in the centre of Grenoble p.8 Brian Callagy

p.8 Michel Moloney

p.12 Paul Watson

p.12 Sean Curran

A fairy-tale of light

Monaco

Vincent Laganier

Monte Carlo’s famous Casino Square is bathed in the soft light from more than a thousand hidden floodlights

24 p.16 Lars Liwendahl

Mystic Lighting

Peru

Tomas Sandoval

An ambitious city beautification project has made it possible to increase trade, tourism and safety well into the night-time hours

p.16 Stefan Sjölund

Euro 2000 Soccer 32 p.18, 20 Vincent Laganier

p.18 Philippe Mouillon

p.18 Jean-Paul Giraud

Football Without Frontiers Soccer stadiums in Belgium and in The Netherlands are being made ready for the first big sporting event of the new millennium – Euro 2000

p.20 Alain Guilhot

Stadium perspectives Everyone from the architect to the soccer supporter and tv camerman has an opinion regarding the modern-day soccer stadium

p.24 Tomas Sandoval

p.32 Jac Slegers

p.32 Bart Mertens

p.32 Volmer Rosi

Design 46

ArenaVision – New Generation The unique ArenaVision floodlighting system launched by Philips has led to a new, even further improved floodlighting system

New concepts 28

Exploring the future of urban lighting A report on the recent City People Light conference and exhibition held in Paris

Index Quick-reference index, listing the 8 latest issues of ILR

FORUM

Speicherstadt Hamburg

Light + Building Fair 2000

The entire docks area bathed in light

A spotlight on three interesting lighting products Hamburg Art Ensemble

Hamburg Art Ensemble

Decorative Adante Adante is the name of a new range of indoor accent and decorative lighting products providing everything that is required to emphasise and enhance any architectural design, making it perfect for a

This is what the docks and warehouse area will look like if the major event gets the go-ahead. The illumination is provided by transparent tubing.

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lamps. The system allows the lamp’s light output to be regulated between 35 and 100 per cent with from 50 to 100 per cent system performance. The system also offers continuous dimming and easy integration with tele-control or telemanagement systems. Manufacturer: Philips Lighting

A city beautification project in Buenos Aires ‘Torre de los Ingleses’ (The English Tower) is a 58-m-high monument given by the British Community living in Argentina in 1910 to celebrate the 100th anniversary of the May Revolution of 1810. The original designers used to call it ‘Torre Reloj’ (The Clock Tower) because of the big clock it has at its top. Below the clock there is a balcony offering a view of part of the city and the Rio de la Plata. In 1998 the Government of Buenos Aires undertook a City Beautification Plan, which included this Tower. Several monuments

and buildings have been lighted employing HNF 003/HPI-T 1000 W, ArenaVision/HID 1800 W and Decoflood with MHN-TD 150 W and 250 W. The GLS and blended-light lamps formerly employed to light the four inner sides of the clock have been replaced by TLD lamps. The new lighting can be enjoyed from the different international hotels surrounding the square. Lighting equipment: Philips Lighting Argentina

variety of professional surroundings. Shown here are the Wall and Pendent versions of the luminaire intended for use in entrance areas, sales areas, offices and public buildings. Designed to house a variety of lamp types including fluorescent and Mastercolour CDM-TD, the luminaire is of aluminium with a mat-glass cover. Manufacturer: Philips Lighting DynaVision controller The DynaVision controller is a light regulating system for high-pressure sodium lamps (viz. SON) for use primarily for road and industrial lighting applications. The controller uses a conventional electronic ballast with a separate controller for 250/400 W SON

LED Rail The LED Rail comprises a string of highbrightness red-coloured LEDs (light emitting diodes) mounted on a patented flexible rail system that allows for easy installation in standard channel letter housings. The LEDs are so spaced as to brightly and evenly illuminate the channel letters. Unlike with neon, there is no glass tubing to bend, so the LED Rail is easier to install. And since it operates on 24 volts as opposed to the much higher voltages of neon, it is also much safer to install, and LumiLeds

The English Tower

Philips Lighting Argentina

The docks and warehouse area (‘die Speicherstadt’) of Hamburg as a theatre stage bathed in colourful light – this could become a reality this year. The Hamburgbased author and literary adviser Michael Batz, head of the ‘Hamburg Art Ensembles’ that specialises in ‘event theatre’ and organiser of the ‘Hamburger Jedermann’, has drawn up a plan for an extravagant illumination project that could be realised for a millennium show with the help of sponsorship. On a smaller scale, the show had its premiere from 10 to 26 September of last year. It was a combination of theatre, music, the docks and lighting. The central part of the show consisted of the narration of ‘Mozart America’ by Batz, a story about the Mozart librettist Lorenzo da Ponte during his stay in Hamburg before 1801. The story was read by actors in costumes and masks to 50 theatre-goers at a time, on launches that passed through the city, with in the background music by Mozart. And the backdrop was the docks area. For this purpose, thirteen bridges and three main buildings in the area have been illuminated using 2200 metres of transparent tubing. The show could possibly form part of Hamburg’s contribution to the Expo 2000, and could provide an opportunity to brush up the image of the docks area as the entrance to the future harbour city. Lighting equipment: Philips Lighting Germany

Among the many interesting lighting products on show at this year’s Light + Building 2000 (the new international fair for light and electrical technology, air conditioning, and building services), the following were particularly worthy of note.

building owners have the comfort of knowing that their signs won’t be causing fires. Lastly, the LED Rail saves energy – up to 80 per cent over the same size neonpowered channel letters. Manufacturer: LumiLeds Lighting (a jointventure of Philips Lighting and Agilent Technologies)

FORUM

Fortress laboratory Security lighting can be attractive as well as functional

When in Bangkok, the king resides at the Royal Palace, known locally as the Chitlada Villa. The palace is set in an area of slightly over one square kilometre behind a moat cornered by fountains. At the King's initiative and with his support, substantial portions of the grounds have been turned into a green oasis in an intensely built-up Bangkok. Here are living laboratories that work. Livestock is bred, grains are hybridised, and milk dehydration practised on a model basis. And even techniques are studied for keeping bees to yield income for rural Thais. The whole palace is contained within a 3400-m-long security fence, which contains 25 forts for security guards. The approach to the main entrance is guarded by a bridge. The fence was formerly lighted by column-mounted decorative CFL luminaires. This was principally security lighting, and did little to enhance the aesthetics of the architecture. The new lighting was designed with three main aims in mind: to increase the prestige of the palace without drawing attention to the light sources themselves, to increase palace security, and to be as energy effective as possible. The buildings flanking the main entrance are lighted by a combination of groundrecessed and wall-mounted uplighters to provide a vertical illuminance of 100 lux. The lower part of the facades is lit by thirty narrow-beam Pompei units, each housing a single 70 W (CDM-T) metal halide lamp. These rotationally-symmetrical units are buried

flush with the ground close to the wall at the corners of the buildings and in between the window openings. The low roof is lit by small, round-beam floodlights. Each of these Decoflood units houses a single 35 W metal halide lamp. The upper parts of the façade at each end of the building and the roof-mounted flag poles above are lit by compact QVF435 floodlights specially modified to accept the MHW-TD 70 W metal halide lamp. The bridge is lighted from the near bank of the moat by a cluster of small narrow and wide-beam Decoflood units fitted with the 70 W CDM-T lamp. The security fence with its manned forts is lighted in very much the same way as the main entrance, that is to say by unobtrusive ground-recessed and, in the case of the forts, wall-mounted units. These provide adequate lighting for security purposes (70 lux), whilst ensuring that the fence will be seen attractively reflected in the dark waters of the moat. Lighting design: Mr Chalermpong Darongsuwan, Philips Lighting, Thailand Installation: Metropolitan Electricity Authority of Thailand

ø 275 ø 358

490

Philips Lighting Thailand

Pompeï recessed floodlights

ø 248

Housing: Die-cast aluminium Beam widths: Narrow, medium and wide Lamps: SDW/T 50 W/100 W, CDM/T 35W and 70 W, MHN/T 70 W, and QL 55 W

Decoflood 606 313 273

260

103

123

209

296

182

Ø 228

Ø 162

Housing: Die-cast aluminium Beam: Narrow, medium and wide Lamps: CDM-T (35-150 W), SDW-T (35-100 W), MHN-T (70-150 W),halogen (75-150 W), and the PAR 56 lamp. The security fence seen reflected in the dark waters of the moat.

QVF 435 Philips Lighting Thailand

Housing: High-pressure die-cast aluminium Beam: Wide Lamps: Double-ended halogen 300/500 W. In this case, modified to accept MHW-TD 70 W. The main entrance of the Royal Palace in Bangkok.

For the product catalogue, see: www.lighting.philips.com

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Editor’s notes

Millennium highlights The start of the new millennium was celebrated in many different ways all over the world. While there were those who were quite content to quietly catch the very first rays of the sun as it rose above the horizon in their particular time zone, others preferred to see the sky spectacularly illuminated by laser beams or fireworks. But not all celebrations in which light plays such a prominent role are of such a transitory nature. Many city authorities have taken the opportunity to mark the event by staging special year-long light spectacles, such as the giant illuminated Ferris wheel in the heart of Paris pictured on these pages. Others commissioned artists to have their works projected in public places for all to see. And then there are the numerous city authorities who have taken the opportunity to implement new, imaginative city beautification projects aimed at making their towns safer and more attractive for those living there and more appealing to visitors. JF Caminada

A new, though temporary, Paris monument by Serge Dumont and Marcel Campion. The giant 60-m diameter Ferris wheel provides a magnificent panorama from the Place de la Concorde, the largest and most beautiful spot in Paris.

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No. of lighting circuits: 130 No. of lamps: 50 000 (110 V 10 W) Floodlights: 24 x ArenaVision Installed power: 500 kW Special feature: Dynamic switching Holographic effects: Cyril Vachez Lighting equipment: Philips Lighting Cabling & installation: Amusement Lights Control Systems, The Netherlands

Jean-Marc Charles

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A selection of river bridges, both ancient and modern, in four European capitals that are playing their part in welcoming in the new millennium

Capital Bridges Bridges in Paris, Dublin, Belfast, and Stockholm

iver bridges are amongst man’s oldest architectural endeavours. And the fact that many ancient bridges are still in daily use in cities all over the world is a sure sign of the affection with which they are held. But whether old or new, it is only in recent years that such bridges have received the attention of lighting designers in their campaigns to implement city beautification projects. Once simply lighted roadways, with perhaps a few ornate lanterns to emphasise their charm, many

What better way for a city to herald the new millennium than to light its bridges and bring a new perspective to the night-time riverside scene

are now being floodlighted for all to see and admire from a distance. In this article we draw attention to a number of capital bridges lighted to celebrate the start of the new millennium. Paris has put the spotlight on numerous bridges along the Seine, including the famous 16th century Pont Neuf, now the most famous bridge in the city. In Dublin, in the Republic of Ireland, no fewer than eleven vehicular and two pedestrian bridges have been lighted, eight of them dating from the late 18th

and early 19th centuries. And in Belfast, in Northern Ireland, where the city government intends to promote investment and tourism and to bring about economic regeneration, a number of new bridges across the river Lagan have been illuminated. And last but not least, there is the beautiful city of Stockholm, with its ancient Norrbro, or North Bridge, dating back to the 11th century. Its illumination marks the start of a lighting master plan covering the decorative lighting of the whole of central Stockholm.

Jean-Marc Charles

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1 The central bridges of Paris are strongly lighted on every surface and detail. 2 Pont Neuf. The linear lighting is integrated in the details of the architecture using innovative compact fluorescent lamps.

Pont Neuf

Viaduc d’Austerlitz

3 Viaduc d’Austerltz. The lighting is dynamic: warm colours during the rising and setting of the sun, while in between these times the bridge is seen in cool blues and greys.

Vincent Laganier

The Seine by night - Paris The bridges of Paris have been lighted according to their history, architecture and location in the city In recent years the city’s many illuminated bridges along the Seine have formed an evermore important part of the night-time scene. The completion of the programme of various lighting installations celebrated the start of the new millennium.

The Lighting

The Seine bridge-lighting master-plan has taken account of several important principles: Stone bridges – The materials and structural details are accentuated by the lighting. Iron bridges – The structures have received accent lighting in cool colours to create an open atmosphere. Historic bridges – The lighting reveals the historical and cultural aspects. Central bridges – These short and important links between prestigious sides of the river are strongly lighted on every surface and detail. Bridges outside the centre – These are longer and form a liaison between less dense environments. The lighting of the balustrades is much softer and the lower parts are not lighted at all.

Pont Neuf The lighting of this the most famous bridge complements the modern image of the Eiffel Tower, the whiteness of the former contrasting with the golden glow of the tower. One of the main characteristics is the linear lighting integrated in the details of the architecture using innovative compact fluorescent lamps. Thus, each machicolation under the balustrades is lit with the asymmetrical beams from Nantes

‘Illuminating the bridges of Paris has finally linked the two halves of this, the City of Light’ (Pierre Arnaud) and Roussillon fluorescent luminaires of 2700 K. A shield in the colour of the stones hides the luminaires from view and cuts out glare. The balustrades are lit by a continuous line of small xenon lamps, their colour matching that of the stonework. The arches are lit from their keystones by Rennes HF graduated fluorescent luminaires of 3000 K.

Austerlitz viaduct The lighting of this railway viaduct is dynamic in two ways. First, warm colours enhance the natural effects seen during the rising and setting of the sun, while in between the bridge is seen in cool blues and greys. Lamps having the appropriate colour rendering properties have been employed: high-pressure sodium, metal halide, mastercolour and fluorescent. In standby mode, fluorescent luminaires Rennes 4000 K integrated in the bridge structure underline the balustrades, while the vertical tie beams are lit by CDM 4200 K Decoflood 606. For about twenty minutes at sunset and sunrise, the upper arches are lit by SON Comfort 2200 K Tempo 2 units, while the underside of the deck is lit by SDW-T 2500 K Tempo 2 units fitted with louvres. Secondly, to radiate movement, passing trains are lit by rotationally symmetrical beams from Decoflood 606 floodlights. ❑ Pont Neuf Lighting design: Pierre Arnaud, ECA, JeanFrançois Arnaud, Citélum Lighting equipment: Philips Lighting, Mazda, and Agabekov Viaduc d’Austerlitz Commissioner: RATP (Régie Autonome des Transports Parisiens), project leader J C Berardo Lighting design: Benoit Lalloz, Durgué Laigret, ACT Espace, Paris Lighting equipment: Philips Lighting and Mazda

ilr 001 city beautification/new millennium projects

Philips Ireland, Barry Mason

5 4

4 Heuston Bridge, 1828. The bridge, designed by George Papworth, is of iron construction supported by two granite piers. 5 Sherwin Bridge.

6 Grattan Bridge, 1874, between Capel and Parliament Streets. 7 Rory O’More Bridge, previously known as Queen Victoria Bridge, 1859.

Philips Ireland, Barry Mason

6 7

Brian Callagy

Across the Liffey – Dublin The city’s lighted bridges are a reminder of its ancient heritage and a statement of its confidence in the future Dublin, capital of the Republic of Ireland, is Ireland's administrative, commercial, and trading hub, as well as its main centre of education and culture. Situated in easterncentral Ireland, on the coast facing the Irish Sea, this city of more than one million inhabitants is split north to south by the River Liffey on its way to the estuary. There are eleven vehicular and two pedestrian bridges in the central area catering for northsouth traffic, eight of them dating from the late 18th and early 19th centuries. These bridges and the very structures themselves encapsulate the city’s history, whose origins date back to Viking settlements in the ninth century.

The Lighting The night-time scene west of Grattan bridge, only 700 m west of the city centre, beyond which stand six bridges, was dark and uninviting, a

‘I felt like a painter, and the bridges were to become my canvas’ (Duilio Passariello)

Philips Ireland, Barry Mason

black trough dividing the city north from south. There existed an overwhelming need to soften this night landscape on the very axis where much recent development had occurred – the river and its bridges. It was against this background that Dublin Corporation Engineers met to consider a joint design brief for the floodlighting of all the citycentre bridges.

The objective was to create a permanent addition to the night-time aspect in contrast with other millennium projects designed to be dramatic or theatrical in nature and of temporary duration. The design was to be such as to preserve the

‘I dreamed of the Liffey being transformed from a ribbon of darkness into an axis of light’ (Brian Callagy)

structural form in every case and maintain the texture of weathered stone masonry under illuminated conditions. It was also required to preserve the individuality of the bridges, but at the same time introduce a common theme throughout. No glare was to be permitted on any vehicular traffic axis, and there was to be a minimum of intrusive discomfort for pedestrians. Luminaire dimensions were to be of such a scale that no visual obtrusiveness was created by day, a demanding requirement considering that the average bridge span was no more than 40 metres. The installation was to be practical and capable of completion within a thirty week period from its commencement on site. Energy consumption was to be minimised without compromising the design. Future ease of maintenance was essential, and no permanent obstructions or hazards were to be created for river-craft traffic. The design work commenced in the early autumn of 1998 and evolved to its final state through a series of tests involving trial illuminations for each type of bridge structure, steel, cast iron, limestone and Portland stone.

ilr 001 city beautification/new millennium projects

O’Connell Sean Heuston Frank Sherwin

Grattan Butt

Father Matthew

Rory O’More

Mellowes

Loopline

Talbot

Wellington (Ha’penny) O’Donovan Rossa

The final design features a dark-green fluorescent illumination beneath the arches, a golden sunlight wash for the balustrades, and metal halide low-power projectors for the bridge faces and abutments. Utilising this theme

‘The challenge to create something different required all the work to be done from the water... a new experience for all involved’ (Michael Moloney) throughout did not create undue uniformity, because the bridges when illuminated asserted even more powerfully their individual characteristics. A number of special projectors based on the Decoflood design, with its precise optical system, together with the use of 700 m of linear light-emitting diode strips were employed to

illuminate the balustrades. This kept the number of luminaires needed to a minimum, the compact design of these luminaires ensures that glare is minimised and that there is little physical obtrusiveness by day. When the installation had been completed and the formal switch-on had taken place on New Year’s Eve 1999, it became clear that there was now a new and subtle presence in the city, delineating by night the flow of the river from west to east. The achievement for the city of Dublin has been the resurrection of structures of charm and beauty during the hours of night when all other visual distractions have been subdued by darkness. Ironically, it is the moment of switch off that is the more dramatic, presently at midnight, when an ephemeral sense of loss prevails. ❑

Lighting design: Brian J Callagy, C. Eng. M.I.E.I. Divisional Engineer, Electricity and Public Lighting Division, Dublin Corporation in collaboration with Duilio Passariello, Philips Lighting, Miribel France Lighting co-ordination: Michael Moloney, Philips Lighting Ireland

8 Philips Ireland, Barry Mason

8 O'Connell Bridge, 1798. Widened in 1882, it is now as wide as it is long. 9 Wellington Bridge, 1816. Nicknamed Ha'penny Bridge from the toll, one old half penny, paid to cross the river.

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10 Mellowes Bridge, 1768. This is the oldest standing bridge spanning the Liffey. The bridge replaced an earlier structure named Bridewell Bridge built in 1683. 11 O'Donovan Rossa Bridge, 1816. The bridge features keystone heads in the manner of the Custom House on each of its three arches.

Philips Ireland, Barry Mason

11 10

Philips Ireland, Barry Mason

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Paul Watson

Out of the Blue – Belfast It was decided that as the previous floodlighting of Belfast’s river bridges was totally blue, we should keep the blue theme running up the river Belfast, capital of Northern Ireland, was founded in 1177 and has been a city since 1888. It lies on the river Lagan at the head of Belfast Lough, some 80 km from the river’s source in the Mourne Mountains. The development of the river by the Laganside Corporation has seen major investments in the area, such as the Waterfront Hall, a 2200-seat conference centre, the Belfast Hilton Hotel, and the BT Tower, headquarters for 1200 staff, all looking out over the river Lagan.

The Lighting The Laganside Corporation also constructed the new Lagan Weir at Donegall Quay. This, and a new rail and road link over the Lagan, was already illuminated with blue metal halide lamps. It was therefore decided that as the previous floodlighting was totally blue, we should keep the blue theme running up the river, but not for all bridges to appear the same. We were able to come up with a scheme for eight bridges, six of which are completed or near to completion, with the others to follow later on this year.

Philips Ireland,Ashley Morrison

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For the new Lanyon Place Railway Bridge we used special, protected fluorescent luminaires (TCW596) with integral louvres mounted continuously to illuminate the walkway. When used with colour 965 lamps, these luminaires give a perfect line of cool blue light across the river while remaining glare free to any pedestrians. They are complemented by Decoflood 605 luminaires with 70 W CDM-T lamps and blue filters, which are mounted to the sides of the piers and give lines of blue light that sparkle on the ripples in the river. Small tungsten halogen floodlights (QVF 415) have been positioned under the bridge to illuminate the piers and make the whole bridge float. The new Lanyon Place Footbridge, a walkway

‘The perception of the Lagan is of a mirror reflecting a colourful vision of its bridges’ (Duilio Passariello) from the train station to the development, that is suspended six metres above the road below has been totally illuminated with Focus fibre optics. The nine-metre-high fins that guard the entrance to the footbridge have been covered in copper

Philips Ireland,Ashley Morrison

Govenors

Kings Queen’s Ormeau

Lanyon Place Footbridge Queen Elisabeth Railway Footbridge Albert

15 Philips Ireland,Ashley Morrison

12–14 The new Lanyon Place Railway Footbridge. Fluorescent luminaires fitted with colour 965 lamps give a perfect line of cool blue light across the river.

15, 16 Queen’s Bridge. This traditional road bridge is illuminated by Decoflood units fitted with CDM-T lamps and yellow filters to enhance the stonework. Blue metal halide lamps produce a blue glow to the underside of the arches.

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Philips Ireland,Ashley Morrison

17–19 The new Lanyon Place Footbridge is totally illuminated with Focus fibre optics.

20, 21 Ormeau Bridge. The lighting is the same as for the Queen’s Bridge.

18 Philips Ireland,Ashley Morrison

Philips Ireland,Ashley Morrison

19 Philips Ireland,Ashley Morrison

and have a grazing light produced by projectors (VCN 810) mounted to the fins. The footbridge itself has been illuminated from light points recessed into the deck (VFG 540CL)

and metal, viz. the Queen’s and the Ormeau. These use a mixture of CDM-T lamps with yellow filters to enhance the stonework, with either CDM-T with blue filters or blue metal halide lamps employed to produce a blue glow to the underside of the arches, which exaggerates the reflection of the moonlight in the river and give the bridges some depth. The schemes have again produced a talking point for Belfast at night, just as it was back in 1994 when the Lagan Weir was first illuminated. ❏

‘All of us felt the challenge to do something special with the lighting’ (Paul Watson)

and shining up onto the metal sides of the walkway. Decoflood units also illuminate the other more traditional road bridges constructed from stone

Architect: Paul Shirley-Smith, Camlin Lonsdale Landscape Architects, Welshpool Wales Lighting design: Duilio Passariello, Philips Lighting, Miribel France, and Paul Watson, Philips Lighting Ireland, in partnership with Sean Curran, KMM Waring Consulting Engineers, Belfast N. Ireland Consultants: Mike Clarke, Kirk McClure and Morton, Belfast N. Ireland

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Philips Sweden, Nino Monastra

22 Lars Hägglund

A bridge to the past – Stockholm The importance of Stockholm’s medieval city centre has been emphasised by lighting the bridge that provides access to it Stockholm, situated on about twenty islands and the adjacent mainland, is a beautiful city with many waterways and open spaces. The Norrbro, or North Bridge, leads from the north part of the town to a small island named Helgeandsholmen, whose history goes back to the 11th century. This is where the House of Parliament is located, and it is the historical centre of the Kingdom of Sweden. The bridge continues south on the other side of the island to the Old Town, where the Royal Palace (1754) is situated. The bridge was built during the reign of King Gustav III, 1786-1806, and was the first place in Sweden with pavements and a speed limit (for horses) – nothing faster than a trot was aloud. In front of the government building, close to the water, is a famous statue named Solfångaren (The Sun Catcher), by Carl Milles, to the memory of the writer Esias Tegnér. The statue illustrates Tegnér’s poem ‘Song to the Sun’.

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The Lighting The Norrbro is not the largest bridge in Stockholm, but it is certainly the most important, especially from an historical point of view. Its illumination was therefore undertaken with great sensitivity to ensure that it would harmonise perfectly with the surroundings. Test illuminations were done on site to get the

‘The lighting introduces a sense of continuity between the city centre and the Old Town’

Decofloods are employed to illuminate the statue in front of the House of Parliament. Two luminaires are used, one from the front right and one from the left rear to give the right shadowing and volume to the statue. One of the aims with the newly-installed lighting, which was carried out in close collaboration with the Street and Estate Administration, has been to introduce a sense of continuity between the centre of the city in the north and the Old Town, with its Royal Palace, in the south. Also, the project is the start of a lighting master plan covering the decorative lighting of the whole of central Stockholm. ■

(Stefan Sjölund)

very best result. Only the arches (three on the north side and one on the south) have been lighted. The source chosen is the SDW-T White SON lamp of 50 W. The lamps are housed in compact, all-weather floodlights (SNF100) chosen for their simple and easy maintenance. The same sources housed in MVF 606

Client: Street and Real Estate Administration Lighting design: Lars Liwendahl, Philips Lighting, Outdoor, Sweden, and Stefan Sjölund, Street and Real Estate Administration Installation: Birka Service

Product survey – a selection

Statue

RIDDAR HOLMEN

Luminaire/lamp

Paris

Rennes Fluorescent

Nantes Fluorescent 105

Norrbro

City

GAMLA STAN

12˚ -12 0˚

HELGEANDSHOLMEN

0˚

-12

12˚

153

236

Tempo 2 SON Comfort

Decoflood 606 CDM-T 313

101.5

273

260

75.5

103

296

23.5

26.5

234.25

182

Ø 228

Philips Sweden, Nino Monastra

350

201.5

Ø 162

123

209

197.5

Dublin

Decoflood 605 Metal halide

Rennes Fluorescent

220

137

190

172

Ø 160

Ø 120

130

152

190

142

30 30

Belfast

TCW 596 Fluorescent

Decoflood 605 CDM-T

+ colour filters 220 190

152

172

Ø 120

152

190

142

Ø 160

188

QVF 415 Halogen

Focus fibre optics 25

QVF 416 187

130

148

275

∅9

∅ 90

57.5

22 Only the arches of the Norrbro have been lighted. The source chosen is the SDW-T White SON lamp of 50 W, housed in compact, all-weather SNF100 floodlights.

VCN 810 projector terminations

103

VFG 540CL light-point terminations

Stockholm 23 Norrbro with its three arches. On the left the government building and on the right the ministry for foreign affairs.

SNF100 SDW-T

Decoflood 606 SDW-T 313

355

255

316

103

Ø 162

∅ 13

296

123

209

∅ 9 x 22 83

182

∅ 9 x 22

Ø 228

130

244

Philips Sweden, Nino Monastra

24 MVF 606 Decoflood units with SDW-T White SON lamps of 50 W illuminate the statue in front of the government building.

273

260

201

24 ilr 001 city beautification/new millennium projects

j.grenoble 18-19

31-10-2000

07:04

Pagina 18

Philippe Mouillon

Grenoble, with a wealth of experience in high technology, opens up to the world

Philips Lighting, Pierre Crouzet

Vincent Laganier

1, 2 The Berge 2000 project is to be found along the bank of the river where this flows through the centre of the town.

renoble, near the convergence of the Drac and Is•re rivers in a mountainous region of south-east France, is the capital of the French Alps. But the mayor saw this famous city as Òa jewel case without a pearlÓ. Gaz ElectricitŽ Grenoble, the local operator in charge of the public lighting, therefore developed an ambitious project that marries gigantic scales and frailty, poetry and technological innovations. The Berge 2000, created by Laboratoire Sculpture-Urbaine, is to be found along the bank of the river where this flows through the centre of the town. The idea of plastic artist Philippe Mouillon, instigator of the project, was to make use of the 600-m-long retaining wall of the quay built in 1850 to narrate something from the domain of fresco and to create order. Fragile, impalpable images made up of shadows and lights are cast on the wall above the footpath, where they seem to drift along the river, like a huge frieze framing the town.

3 Installation of the fibre-optics projectors.

Martin Stahl GEG – Grenoble, lucy in de Sky

Outdoor museum of light Berge 2000, France

At nightfall, the embankment of the Is•re river becomes an urban sculpture of shadows and lights

The Lighting The twenty-seven images, each with a diameter of 3.5 m, are spaced 25 m apart along the wall, just above head height. Each image is produced by a fibre optics lighting system mounted on the wall above. The system comprises a waterproof 100 W Focus generator (total installed load 3.78 kW), and a length of fibre optics cable supported on a 2.5-m-long bracket, with the waterproof (IP 54) projector termination at its end aimed at the wall. The optical system is designed to obtain a sharp image on the wall in spite of the anamorphic distortion caused by the angle of projection of 35 degrees to the perpendicular. This has been done by calculating the distortion using a computer, then engraving the corrected image on the glass slide used in the projector, like pattern filters or

gobos in stage lighting. The discharge lamp used in the projector has a correlated colour temperature of 8500 K. The colour is extremely stable during lamp life and creates a pleasant contrast against the street lighting of 2000 K. The first sixteen artists, from Egypt, USA, Brazil and Japan, inspired by the cultures of their countries, will be exhibiting their work until October 2000, which can be viewed at weekends and on public holidays between nightfall and 00.30. Other works will follow in their place during the time of the Olympic Games of Sydney 2000. Then works from other artists will take their place for a further six months. And so a unique heritage of contemporary works will be built up through the coming years. ■

3 Commissioner: Jean-Paul Giraud, Gaz ElectricitŽ de Grenoble (GEG) Exhibition designer: Philippe Mouillon, Laboratoire Sculpture-Urbaine Technical support: Eric Bertot, HervŽ Humez, Louis Montagne, RŽmis Noirot, Fabienne Petitgas, Philips Lighting Author: Vincent Laganier is working as Lighting Designer with LiDAC Outdoor, Philips Lighting, France

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j.grenoble 18-19

31-10-2000

07:04

Pagina 18

Philippe Mouillon

Grenoble, with a wealth of experience in high technology, opens up to the world

Philips Lighting, Pierre Crouzet

Vincent Laganier

1, 2 The Berge 2000 project is to be found along the bank of the river where this flows through the centre of the town.

3 Installation of the fibre-optics projectors.

Martin Stahl GEG – Grenoble, lucy in de Sky

Outdoor museum of light Berge 2000, France

At nightfall, the embankment of the Is•re river becomes an urban sculpture of shadows and lights

ilr 001 city beautification/new millennium projects ilr 001 city beautification/new millennium projects

Casino

Cafe

Hotel

Vincent Laganier

Monte Carlo’s legendary Casino Square attracts the international players

A fairy-tale of light Casino Square, Monte Carlo, Monaco

Cherubs, mouldings, cornices and balconies, all are lighted to reveal the artistry of the architecture

amous throughout the world for its many artistic and sporting events, the vitality of Monte Carlo developed during the belle époque. Dominating the bay of Monaco is the famous Casino, a gaming house established by the Societé des Bains de Mer (SBM) in 1863. Under the enlightened management of the billionaire François Blanc, it made Monaco a synonym of fortune, gaming, holidays and travel. Today it is the main building in the square, having been increased in size and then embellished and rebuilt. In 1878 it gained a neo-classical frontage surmounted by

two pinnacles designed by Charles Garnier, architect of the Opéra de Paris. The Hôtel de Paris was built in 1864 on the model of the Grand Hotel in Paris. Opposite the hotel, on the other side of the square, is the Café de Paris, with magnificent windows again by Garnier. Renovated throughout, the new Café de Paris was inaugurated on 21 July 1988. The entrance hall, the drugstore and the huge bistrostyle terrace pleasantly complement the rest of the building, permitting the Café de Paris to retain its place in the first rank of Monegasque tourist facilities. 2

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2 The casino. Floodlights

Fluorescent tube Power track

3 Hôtel de Paris. ■ Condor C2 150 W metal halide ● Condor C3 400 W metal halide (Blue) ▲ Prenso 70 W metal halide ▲ Prenso 100 W White SON ▲ Calao 2 100 W White SON ▲ Calao 2 150 W metal halide ● Cordes 50 W low voltage halogen ▲ HRM 70 W wide-beam metal halide 4000 K ■ HRM 150 W narrow-beam metal halide 3000 K ▲ HRM 150 W narrow-beam metal halide 4000 K ▲ HRM 150 W medium-beam metal halide 4000 K –– Rennes 58 W –– High-voltage tube high discharge tube (neon) –– Agabekov

Floodlights

Fluorescent tube Power track

■ Condor C2 150 W metal halide ● Cordes 50 W low voltage halogen ● HRM 70 W wide-beam metal halide 4000 K ■ HRM 70 W rectangular wide-beam metal halide 3000 K ▲ HRM 100 W round narrow-beam White SON 2500 K ■ HRM 150 W rectangular wide-beam metal halide 3000 K ● HRM 150 W round wide-beam metal halide 3000 K –– Rennes 36 W –– Agabekov

3 Philips Lighting, Pierre Crouzet

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Philips Lighting, Pierre Crouzet

4 Philips Lighting, Pierre Crouzet

1 Casino Square, Monte Carlo. On the left the Café de Paris, in the centre the Casino, and on the right the Hôtel de Paris.

4, 6 Hôtel de Paris, built in 1864 on the model of the Grand Hotel in Paris. 5 Renovated throughout, the new Café de Paris was inaugurated on 21 July 1988. 7, 8 The famous Casino, a gaming house established by the Societé des Bains de Mer (SBM) in 1863.

7 ilr 001 city beautification/new millennium projects

The SBM had been planning to illuminate the Casino Square for some time. The approach of the new millennium accelerated things, and in 1998 the lighting contract was put out to tender. On the strength of his international references and computer-generated visualisations of the end result, the lighting designer Alain Guilhot was engaged to carry out the work. A major task was that of ensuring that the numerous luminaires employed in the various lighting installations remained as unobtrusive as possible. This work was carried out in collaboration with the technical-services department of the SBM. Besides the traditional solutions adopted to this end, like the use of small floodlights, many embedded in the ground, a number of original solutions were developed. For example, at the side entry, which is reserved for the Monaco royals, two glass-

Philips Lighting, Pierre Crouzet

The Lighting

fibre pedestals have been introduced, identical in appearance to the existing ones of stone, to hide from view the floodlights lighting the façade. The power cables for the lighting of the hotel have also been cleverly hidden. Some are fed through false rain-water pipes, while others are masked behind glass-fibre cornices running between the windows. Another major challenge was the completion date. In two months of work, more than 1000 floodlights and twenty-five kilometres of cabling had to be installed. This called for both skilled technicians and careful planning, a team of fifty workers using ten mobile platforms dealing efficiently with any contingency. The lighting was switched on at midnight on December 31, 1999. And the effect is certainly no less spectacular than that predicted in the computer simulation. The whole of the frontage of the Casino is lit by floodlights hidden in 8 Philips Lighting, Pierre Crouzet

regularly-spaced diffusing pits one metre away from the façade. The symmetrical composition of the building is emphasised by the extra brightness of the lighting on the central part. This is provided by ground-recessed Pompeï floodlights equipped with the CDM-T metal halide lamp of 3000 K and having a symmetrical, narrow-beam light distribution. The windows on the first storey of the Casino are picked out by twin floodlights fitted with the SDW-T White SON lamp of 2500 K located at the inside ends of each balcony, while the windows on the second storey are underlined by small dichroic halogen lamps. The third-storey columns of the Hôtel de Paris are also underlined by small dichroic halogen lamps. Each span is surmounted by a pinnacle, which is accentuated by narrow-beam floodlights of 3000 K while the piers of the façade are lit by wide-beam units of 2500 K. The copper-clad and glazed-tile roof of the Casino and the zinc-clad roof of the Hôtel de Paris are both illuminated by a line of fluorescents, which serve to give some depth to the buildings. In both cases, the lighting reveals the details of the architecture and adds an otherwise missing dimension when darkness falls. ■

Building owner: Societé des Bains de Mer (SBM) Lighting design: Alain Guilhot, Architecture Lumière Conseil Project management: Patrick Rainaut, Michel Borgio, Work and Technical Service Management of the SBM; Thierry Guilhot, Architecture Lumière Conseil Installation: SEE, Square Electrique, Spie Trindel Lighting equipment: Philips Lighting Author: Vincent Laganier is working as Lighting Designer with LiDAC Outdoor, Philips Lighting, France ilr 001 city beautification/new millennium projects

Tomas Sandoval

The ancient city of Cusco high in the Southern Peruvian Andes has the potential to become one of the most popular tourist spots in the world

Mystic Lighting Cusco city and fortress, Peru

Philips Lighting Peru

An ambitious city beautification project, the first of this size carried out in South America, has made it possible to increase trade, tourism and safety, as well as prolonging the activity of the city into the night-time hours 2

Philips Lighting Peru

3 Philips Lighting Peru

he city of Cusco, in the Southern Peruvian Andes, was once the political centre of the Inca Empire and is one of the most extensively visited cities in South America. The city still retains its traditional paved streets associated with the Inca culture, combined with Spanish colonial architecture with its large churches and balconies, which were built on the foundations of Inca structures.

The Lighting Lighting has played an important part in highlighting the architecture of Cusco’s buildings and in creating a safe and pleasant night-time environment. In order for the lighting to be effective, it was necessary to co-ordinate the luminous intensity of the floodlighting in the various parts of the square and the adjacent streets so that the three different environments – arcades and facades, park, and the cathedral and church – could be integrated without clashing with one another,

Levels of lighting 250 Lux

250 Lux 60 Lux

15 Lux

Arcades and facades The arcades and facades are enriched by colonial balconies and a series of arches, which provide access to the inner corridors of the arcades. These corridors are lit by Tempo 2 floodlights, fitted with SDW-T 100 W white sodium lamps, positioned five metres apart, leaving the silhouette of the arches and columns of the arcades framed by the outer semi-darkness. For the outer facades, asymmetrical floodlights fitted with SON-T Plus 150 W lamps are employed. The colonial balconies that surround the square benefit from the lighting of the facades.

Philips Lighting Peru

The central park This consists of eight gardens separated by paths, with a lighted fountain in the centre.

Facades Roadway

15 Lux Central park

Roadway Facades

1, 2 The centre of Cusco. The park lighting is largely by decorative street lamps in a colonial style (SON-T Plus 150 W). The Cathedral and the Compañía church are highlighted with very intense light, with low-pressure sodium luminaires for the inner lighting of the bell towers.

3, 4 Corridors and facades. The former are lit by Tempo 2 floodlights (SWD-T 100 W), while the outer facades are lit by asymmetrical units (SON-T Plus 150 W). 5 Lighting scheme of the various parts of the square and the adjacent streets.

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6 The 15th century fortress of Saqsaywaman in the hills above Cusco. The town can be seen in the background to the left. 7, 8 The large stones in the first of the three levels are illuminated by ground-recessed Pompei luminaires (MasterColour CDM-T 70 W, 3000 K). The average illuminance is 170 lux.

9, 10 Detail showing siting and aiming of the Pompei luminaires. 11, 12 The smaller stones in the second level are illuminated by Tempo 2 floodlights (SDW-T 100 W). The lighting level here is 120 lux.

The lighting design included the installation of decorative street lamps in a colonial style. The street lamps, each containing a single SON-T Plus 150 W lamp, are mounted on ornamental posts, on which are engraved some features specific to the Inca culture, such as the puma and the Cantu flower. The lighting levels were calculated so that they did not clash with the lighting of the central fountain. Cathedral and Compañia church The Cathedral and the Compañía church are noted for their exquisite colonial architecture, large bell towers, and finely-textured carvings on their facades. The most significant elements and the details of the architecture have been emphasised by highlighting them with very intense light, punctuated lightly by shadows to define the profiles and silhouettes. Narrow-beam luminaires emphasise the architectural volume. Fortress of Saqsaywaman The 15th century fortress of Saqsaywaman in the hills above Cusco was one of the most incredible buildings made by mankind. It was constructed of enormous stones, some weighing over 140 metric tons, that were shaped and fitted so

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perfectly that no mortar was needed. Originally a temple for worshipping the Sun God, it was built in about 50 years by some 20 000 people working at the same time. When the Spaniards arrived, the temple was fully finished and in use. What we see today are just the foundations of the Inca temple that was destroyed over a period of about four centuries.

The Lighting As a result of recent archaeological discoveries on the perimeter of the site, the body responsible for its care and supervision expressed particular concern for the size and ease of installation of the luminaires. Another requirement related to the type of floodlights to be used. These had to be such as to reveal the characteristic texture of the stones. The first of the three levels of stones are up to two metres high, and are arranged to form walls of up to five metres high. They are illuminated by ground-recessed Pompei luminaires fitted with MasterColour CDM-T 70 W lamps of 3000 K installed 2.5 m apart, 1 m away from the wall. The average illuminance obtained is 170 lux, which decreases regularly upwards. The second level consists of smaller stones, some 1 m high, forming a 3.5-m-high wall. The lighting level here of 120 lux is provided by asymmetrical Tempo 2 floodlights, again embedded in the ground and spaced 3.5 m apart. The lamp used is the SDW-T 100 W. The third level consists of stones of a smaller size than on the two previous levels, forming a wall approximately 2.5 m high. For this level, Tempo 3 symmetrical luminaires

Philips Lighting Peru

fitted with the 400 W SON-T Plus lamp are used, spaced about 15 m apart. The level of illuminance at this level was not important, but it was attempted to create a dramatic environment, contrasting with that obtained on the first and second levels. The same Tempo 3 floodlights are used to light the sloping ground surrounding the fortress, so as to form a continuous volume of lighting. This lighting is very discreet, creating an environment that is both mystical and dramatic. ■ 9

Philips Lighting Peru

Commissioner: City council of Cusco Lighting design: Tomas Sandoval, Philips Lighting, Peru Special thanks to: Instituto Nacional de Cultura (INC) Electro Sur Este, Energy distributor of Cusco, and the Major of City of Cusco Nomination: Cusco has been nominated by UNESCO as a part of the world’s Cultural Heritage

800

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New Concepts

Exploring the future of urban lighting City People Light conference and exhibition in Paris

ver the last few years, Philips has been engaged in a process to explore how lighting could develop and improve the quality of city life in the future, the objective being to stretch the intellectual and creative boundaries towards more innovative and relevant solutions. One of the first steps in this direction was taken in 1998 when Philips published the findings of a study entitled City People Light (see ILR 982). The aim of the present City People Light conference and exhibition, which was held in the Musée du Petit Palais in Paris in October of last year, was twofold: firstly, to further stimulate discussion and to explore ways in which lighting can help to improve the quality of city life today, tomorrow, and further into the future, and secondly to put on show some of the abstract lighting concepts and City Beautification products that have been developed so far. For three days, leading architects, city planners and lighting designers from Europe visited the exhibition and participated in the conference and workshops . The conference was opened by Bart van der Cammen, director of Philips Outdoor Lighting Europe. Among the speakers he introduced were Robert Wilson (international scenographer, New York), who talked about how to integrate lighting in architectural design and how to use the integrative power of lighting to give cities their own identities, Ole Bouman (editor of Archis Magazine, The Netherlands), who explored the realm of digital lighting and on-line architecture, and Ilan Pivko (architect, Jerusalem), on how to use lighting to highlight antique or modern architecture. Of particular relevance to the City Beautification products on display in the exhibition was the talk given by Stefano Marzano of Philips Design.

His subject was ‘Exploring the future of urban lighting’. Marzano: ‘The challenge for us was to find ways of helping cities by looking into the cultural, emotional and aesthetic significance people attach to the outdoorlighting stage. In the first step, we carried out an exploration of sociocultural trends in the industrialised society in the West. We also conducted interviews with city planners in a number of capitals in the world that are dealing with the subject. ‘In the most recent phase of our research we explored ways in which the inherent quality of light itself can be exploited in the outdoor environment. There are many inherent qualities, some are especially familiar to us from indoors, such as the warmth of the flickering light of an open fire, or a romantic candle-light dinner. These are settings we like at moments that are emotionally and socially important. Suppose we move such emotions out into the streets, with a fireplace, for instance, or an attractive lamp or a candle light, will this trigger the same emotional responses that are triggered in an indoor environment? An important question that arises is do people react as strongly or perhaps more strongly to the psychological effect of lighting outdoors as they do in the home? ‘On the basis of what we learned so far, we then developed a number of lighting concepts that in principle might be the sort of thing we could see in our streets in the coming decades. The first result of this work has begun to find its way to actual production, and in the exhibition you will see a number of our latest luminaires. They reflect some of our thinking about the options for urban lighting, about directions that urban lighting might take.’ ■

city

1 The expectant audience. people

2, 3 The speakers. From left to right: Bart van der Cammen, Stefano Marzano, Ole Bouman, Ilan Pivko, and Robert Wilson. light

4 Musée du Petit Palais, Paris. 5 The illuminated object shown here functions as a landmark.

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6 The striking illuminated entrance to the exhibition.

10 These seats demonstrate how integrated light could add a new dimension to urban furniture.

7 As a symbol of living-room cosiness, the iconic fireplace uses light to create a point around which people can gather and mingle in the urban setting.

11 Based on existing Philips streetlights, these modified City Beautification products demonstrate the virtually limitless possibilities for tailoring lighting solutions to the needs and wishes of the client.

8, 9 The Multipole provides light outputs at four levels: top, high, close, and foot. Luminaire Concept: JF Caminada and R Hendriks, LiDAC, Design: JF Caminada and Dido van Klinken,Philips Design

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The venues chosen for Euro 2000 are being lighted to provide full visual satisfaction for spectators and television viewers alike

t precisely 8:45 p.m. on the evening of June 10, the referee’s whistle will blow in the King Baudouin soccer stadium in Brussels to signal the start of Euro 2000, the first big sporting event of the new millennium. A total of sixteen national teams will be participating in Euro 2000. Both host countries, Belgium and The Netherlands, qualify automatically. They, together with the other fourteen participants, will be hoping to make it to the final, which will be held in the Feyenoord Stadium in Rotterdam on July 2, twenty-two days later. Euro 2000, the theme for which is ‘Football without frontiers’, is a sporting event with enormous international charisma. And, remarkably, it is the first time in history that two countries have organised such a prestigious competition together. The third largest event in the world, Euro 2000 is preceded only by the Football World Championships and the Olympic Games. Eight world-class stadiums The championships are expected to attract 1.2 million ‘live’ spectators, with a further 7 billion fans watching the matches on television in more than 200 countries throughout the world. All the thirty-one matches will be played in eight host cities, four in Belgium and four in The Netherlands. Five of the eight world-class stadiums involved will each be able to seat 30 000 spectators, and the other three will each have seating accommodation for 50 000. Sixteen cameras in each stadium will ensure the best possible TV pictures.

ilr 001 Euro 2000 soccer/projects

Football without frontiers

Soccer stadiums in Belgium and in The Netherlands are being made ready for the first big sporting event of the new millennium – Euro 2000

Qualifying criteria General To qualify for the Euro 2000 stadium title, the stadiums had to meet the following general requirements: • have a security certificate issued by the proper authorities • a minimum capacity of 30 000 seats • numbered seats

• minimum of two-thirds of the seats must be under cover • exclusive space for commercial purposes for sponsors and suppliers • parking space • space for extensive media facilities • unrestrictedly available, so free from commercial obligations.

Lighting requirements UEFA/FIFA Lighting The lighting in all the stadiums, a selection of which are looked at here (the Amsterdam ArenA stadium and the Feyenoord Stadium in Rotterdam, both in The Netherlands, were featured in ILR 971), must be such as to ensure high-quality colour images, not only of the overall action, but also close-ups of the players and spectators. Close-up images are an important means of conveying the emotions and

atmosphere in a stadium to viewers watching at home. The lighting requirements for Euro 2000 are laid down by UEFA (Union of European Football Associations), which are in line with those drawn up by FIFA. ■

Parameter Ev Ev2 U1v U2v U1h U2h GR Ra Tk

Description Vertical illuminance in direction of main TV camera Vertical illuminance in direction of secondary TV cameras Vertical illuminance Uniformity: Emin/Emax Vertical illuminance Uniformity: Emin/Eav Horizontal illuminance Uniformity: Emin/Emax Horizontal illuminance Uniformity: Emin/Eav Glare Rating General colour rendering index Correlated colour temperature

Value 1400 lux 1000 lux 0.4 0.6 0.6 0.7 < 50 > 80 > 5000

ilr 001 Euro 2000 soccer/projects

Buissin /Reporters

Brussels, Belgium

King Baudouin Stadium It is in this, the largest stadium in Belgium, that the Opening Ceremony will take place

The present stadium, which like its predecessor has facilities for both athletics and soccer, has recently had the seating capacity increased yet again to 50 000 in preparation for Euro 2000. Now the largest stadium in Belgium, it is very suitable for the staging of very large sporting and other events, and it is here that the Opening Ceremony will take place on June 10, followed by the first match of the tournament.

The original stadium was opened in 1930 to commemorate Belgium’s 100 years of independence – although only the façade designed by Jozef van Neck still remains. In 1995 the stadium was re-opened after extensive renovation work in which the seating capacity was increased from 15 000 to 40 000. At the same time the stadium was named after the country’s king, King Baudouin. Buissin /Reporters

The Lighting

Damanet /Reporters

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Along with the increase in seating capacity has come an update of the floodlighting. The original symmetrical floodlighting consisting of a combination of four-corner high-mast lighting and stand-edge lighting has been modified to provide an asymmetrical lighting installation. The floodlight employed in the four 54-m-high lighting masts is the HNF 006. This is a rotationally-symmetrical narrow-beam unit housing a 2 kW (HPI-T) metal halide lamp. A total of 346 of these units (in place of the former 468) are employed: 117 per mast on the main stand side and 56 per mast on the side opposite. At the same time, the number of original standmounted PowerVision (MVF 024) floodlights has been increased (from 135 to 235), with more than a third of these on the main stand. These are narrow, medium and wide-beam floodlights

housing the 2 kW (MHN-TD) metal halide lamp, some of which are fitted with louvres to eliminate glare. The combination, employing a total of 581 floodlights, provides a horizontal illuminance on the pitch of 2000 lux and a vertical illuminance of 2000 lux in the direction of the primary TV camera in the main stand. ❏

Architect: W J & M C van Campenhout, Brussels Consultancy: Greisch, Liege and Tractebel Development, Brussels Lighting design: Bart Mertens, LiDAC, Philips Lighting Belgium in co-operation with consultancy Tractebel Electrical installation: VS&E, Brussels

Lighting the players

1 The 50 000-seat King Baudouin Stadium in Brussels, Belgium. 2 Floodlight aiming pattern. The installation provides a horizontal illuminance on the pitch of 2000 lux and a vertical illuminance of 2000 lux in the direction of the primary TV camera in the main stand (bottom). 3 Aerial view showing the distinctive lighting masts. 4 Cross-section of main stand.

Vertical illuminance is essential for viewing vertical objects, including players. The side of a player that can be seen can be approximated by a vertical plane at right angles to the viewer’s line of view. A better approximation is the curved surface of a vertical half-cylinder, and although most experts agree that the corresponding ‘semi-cylindrical’ illuminance is therefore a better measure than the usual vertical illuminance, there is still no detailed guidance on semi-cylindrical illuminance available (see also ILR 1984/2). To guarantee identification of players from all directions, the illuminance on four, mutually perpendicular, vertical planes should be adequate. But to get good modelling of the players, the lighting on the four vertical planes should not be identical. And to obtain a good brightness harmony between the players and their background, there should be a suitable relation between the horizontal and the vertical illuminances. Stands, spectators and advertising boards often form part of the visual background for the players, so an adequate vertical illuminance is required here too. The degree to which the above criteria are fulfilled determines to a large extent how good a lighting installation is appraised by all concerned. The photographs of players taken at the different Euro 2000 stadiums and shown on these pages are a valuable illustration of this.

Note: The action photos of the players in this article were taken during recent soccer matches in the various Euro 2000 stadiums under lighting approved by UEFA for Euro2000. At the time of going to press, actual Euro 2000 championships soccer photos were not available.

5 Main stand.

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Bruges, Belgium

Jan Breydel Stadium This former Olympic stadium, built in 1975, has been thoroughly renovated for Euro 2000

To the north-west of Brussels and about fifteen kilometres in from the North Sea coast is the city of Bruges and the Jan Breydel Stadium. This former Olympic stadium, built in 1975, has been renovated for Euro 2000. This involved, amongst other things, doubling the seating capacity to 30000, two-thirds of the seats being covered, with most of the new seating being located behind the goals. To safeguard security within the stadium, there is free access at all four corners. The new stadium, opened in May of this year, besides being a world-class soccer venue, can now play host to a wide variety of cultural festivities.

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The Lighting The original four-corner floodlighting made use of 36-m-high lighting masts, each carrying twelve 2 kW HPI-T metal halide units to provide a horizontal illuminance on the field of play of 360 lux. Then, in 1976, in preparation for the UEFA Cup, the lighting was improved by the addition of two extra rows of stand-mounted 2 kW floodlights (61 in total) to increase the horizontal illuminance to 800 lux, with a vertical illuminance of 700 lux. A further update followed in 1995 in the form of an extra sixteen 2 kW stand-mounted floodlights

to improve TV picture quality. In order to meet UEFA requirements for Euro 2000, the old lighting masts have been removed and new metal halide floodlighting installed in four angled clusters on top of the new stands behind the goals. Each floodlight cluster contains twenty-five (narrow, medium and wide-beam) MVF 406 1.8 kW ArenaVision units. The existing rows of 2 kW MVF 024 PowerVision floodlights (109 in total) on top of the east and west stands have been retained, although the roof on the main stands has been completely renewed. The new lighting provides a horizontal illuminance of 1700 lux. The vertical illuminance in the direction of the main and secondary TV cameras is 1800 lux and 1600 lux, respectively. ❏

Bernard Delentree

ANP

Architect: Ir Jonckheere, Bruges Consultancy: Jonckheere, Bruges and Ingenium NV, Bruges Lighting design: Volmer Rosi, LiDAC, Philips Lighting Belgium in co-operation with Ingenium NV Electrical installation: Verstraete, Jabbeke

6, 7 Floodlight aiming patterns. The installation provides a horizontal illuminance on the pitch of 1700 lux and vertical illuminances in the direction of the main and secondary TV cameras of 1800 lux and 1600 lux, respectively.

10 The existing rows of PowerVision floodlights on top of the east and west stands have been retained.

Thys/Reporters

8 New ArenaVision floodlighting is installed in four angled clusters on top of the new stands behind the goals.

9 Aerial view of the new 30 000-seat Jan Breydel Stadium in Bruges.

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Charleroi, Belgium

Stade Communal de Charleroi An old stadium that has been brought in line with present-day requirements

Some fifty kilometres south of Brussels is the somewhat smaller Stade Communal de Charleroi. Built in 1939 and originally named the Mambourg Stadium, it was renovated in 1987 with the addition of business boxes. Five years later the terraces behind both goals were replaced by seats. For Euro 2000 the capacity of the four stands has been increased further, so that the total stadium capacity is now 30 000 seats. The new stadium was opened on May 24 of this year.

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The Lighting The original floodlighting employed a total of sixty narrow and wide-beam 2 kW metal halide units mounted atop four 32-m-high lighting masts. This provided a horizontal illuminance on the pitch of 550 lux. In the eighties this was increased to 800 lux, and an illuminance of 1000 lux provided toward the main TV camera by the addition of 38 PowerVision floodlights (2 kW) mounted along the edge of the stand roof. The new lighting installed in 1998 for Euro 2000 employs a combination of PowerVision and ArenaVision metal halide floodlights. The

former (86 in total), in a more or less equal mix of beam widths, are equipped with the MHD-TD 2 kW lamp and are mounted in rows along the front edges of the main stand (25 m) and the stand opposite (30 m). The ArenaVision floodlights (80 in total), mostly the narrow-beam version, are equipped with the MHD 1800 W lamp. These are mounted at two levels on 39-mhigh lighting pylons, one at each corner of the stadium. The installation provides a horizontal illuminance of up to 1500 lux, with 1200 lux in the direction of the main TV camera and 1060 lux in the direction of the secondary camera. ❏

Bernard Delentree

ANP

Architect: Paul Petit & Associes SA, Charleroi Consultancy: Igretec Charleroi and Pirnay, Charleroi Lighting design: Rosi Volmer, LiDAC, Philips Lighting Belgium in co-operation with Igretec Electrical installation: Baltau, Liège

11, 12 Floodlight aiming patterns. The installation provides a horizontal illuminance on the pitch of up to 1500 lux, with 1200 lux in the direction of the main TV camera and 1060 lux in the direction of the secondary camera.

14 Aerial view of the newlyrenovated 30 000-seat Stade Communal de Charleroi stadium.

13, 15 The ArenaVision floodlights are mounted at two levels on 39-m-high lighting pylons, one at each corner of the stadium.

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Eindhoven, The Netherlands

Philips Stadium Advances in floodlight design have seen the number of units needed reduced in number

The Philips Stadium in Eindhoven is one of the most modern in The Netherlands. There has been a soccer stadium on the site since 1913, but several complete rebuilds over the years have changed the original structure beyond all recognition. The present stadium really dates from 1988, when the main South Stand with business rooms and seats was added. A new West Stand was completed in 1992, and the two open corners on the north side have been closed to add further business facilities and an extra 6000 seats. This has brought the seating capacity up to 30 000 in time for Euro 2000.

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The Lighting Over the past ten years the stadium has undergone many changes, and the lighting has been constantly updated to keep up with them. For instance, with the building of the new South Stand a number of the mast-mounted ArenaVision floodlights were rehoused in the stand roof. And when the new north stand was rebuilt, all the mast-mounted floodlights on this side were moved to the stand. The last of the four lighting masts, so long a landmark in Eindhoven, was removed last year and the lighting has now become an integral part of the

architectural design. Advances in floodlight design have also seen the number of units needed reduced in number, despite the increased demands in terms of level and uniformity being placed on the lighting. In the new lighting installation installed to meet Euro 2000 requirements, 248 ArenaVision MVF 403 floodlights with the special MHD 2 kW metal halide lamp provide a vertical illuminance of more than 2000 lux in the direction of the main TV camera (horizontal 2700 lux). These new floodlights are mounted in specially-designed frames along the edges of the north and south stands and on mounting rails under the northeast and west stands. The result is the most modern stadium lighting in The Netherlands, and one that can measure up to the best in Europe. ❏

ANP

17 Toon van Aken Architectuur

Toon van Aken Architectuur

Architect: Henri Wijenbergh, Toon van Aken Architectuur, Eindhoven Lighting design: Jac Slegers, Philips Lighting, The Netherlands, Eindhoven Project management: Arnold Severens, Philips Projecten, Eindhoven Electrical installation: ERGON BV, Eindhoven

18, 19 Artist’s impression and scale model of the new 30 000-seat Philips Stadium in Eindhoven. 20 Philips Stadium. Work is still in progress to add further business facilities and extra seats, and to finalise the new lighting for Euro 2000.

John Claessens

16, 17 Floodlight aiming patterns. The installation provides a horizontal illuminance on the pitch of 2700 lux and a vertical illuminance of more than 2000 lux in the direction of the main TV camera.

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Arnhem, The Netherlands

Gelredome The first stadium to have not only a sliding roof but also a retractable playing surface The first foundation stone of this multi-purpose 26 600-seat stadium was laid on 1 July 1996. In March 1998, the stadium was declared open for business. The Gelredome is the first to have not only a sliding roof but also a unique retractable playing surface. Natural grass does not grow well indoors, and rather than resort to artificial surfaces the designers decided to keep the pitch outside in the open air, only moving it into the arena when needed, a process that takes only two hours. The Gelredome accommodates the audience according to modern standards. No gates or canals, no police but stewards, fully heated in the winter, fully air conditioned in the summer. The stadium offers a perfect view of the field and an attractive promenade with dozens of catering outlets, shops and luxurious business accommodations. It takes only one day to transform the Gelredome into a huge and comfortable theatre, or into a hall for concerts, exhibitions, conferences, arena sports, and so forth.

The Lighting

22 Gerth van Roden

ANP

Intended primarily to satisfy the international guidelines and recommendations pertaining to soccer, the lighting has been so designed that it can be used wholly or in part for all the other activities taking place in the stadium. Since this meant that the number of burning hours would be far greater than for soccer alone, it was decided to employ the MVF 024 PowerVision floodlight, which is fitted with the efficient, long-life MHN-TD 2 kW metal halide lamp. A total of 192 of these floodlights, in wide (20), medium (124) and narrow-beam (48) versions, light the arena from all four sides and from two mounting heights (27 and 21 m). This provides even, shadow-free lighting with a vertical illuminance in the direction of the main TV camera of 1400 lux. ■ Architect: Alynia Architecten, Harlingen Consultant: Tebodin Engineers, Hengelo Lighting design: Jac Slegers, Philips Lighting, The Netherlands Electrical installation: Ergon BV, Apeldoorn

21, 22 Floodlight aiming patterns. The installation provides a vertical illuminance in the direction of the main TV camera of 1400 lux.

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ANP

23, 24 The 30 000-seat Gelredome stadium in Arnhem with its roof closed and open.

25 Wide, medium and narrowbeam floodlights light the Gelredome arena from all four sides and from two mounting heights.

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Stadium architect

Stadium manager

Supporter

Henri Wijenbergh Project architect at Toon van Aken Architectuur, Eindhoven, for the rebuilding of the Philips Stadium, Eindhoven, The Netherlands.

Antoine Vanhove Manager of Jan Breydel Stadium, Bruges, Belgium.

Vancaeneghem Jean-Claude Chairman of the Supporters Federation Club Brugge KV, affiliated with the National Supporters Federation in Belgium. Magazine Club Brugge

Stadium perspectives

The modern soccer stadium is designed to suit the lighting

International soccer matches are nowadays really huge events and are broadcast world wide. Stadiums are getting more and more professional, as are the spectators and, regrettably, the vandals as well. So safety and comfort are essential at Euro 2000, which is why many of the chosen stadiums are being rebuilt. Henri Wijenbergh: ‘The streams of rival supporters must be kept apart, and comfort must be improved. Seats now replace terraces, often supplemented by “sky boxes”.’ Stadiums are becoming larger and more massive than ever before. The Philips Stadium has new covered stands and two newly-rebuilt corners. This ‘roofing in’, however, often means that the pitch is starved of life-giving sun, wind and rain, and the ground staff have to work overtime to keep it playable. Henri: ‘We have opted for a ventilation system. The corners of the stands are provided with louvres that remain open while the stadium is not in use. These allow the pitch to breathe, and the roof is transparent to allow the sun’s rays to reach it. And there is also an underground watering, drainage and feeding system to ensure that the pitch remains in top condition.’ The floodlighting, too, has been brought right up to date during the rebuilding programme. The four lighting masts have been removed and extra floodlights mounted on the edge of the stand roofs. These new ArenaVision units have been so positioned as to provide a better, shadow-free light coverage, and light scatter outside the stadium has been virtually eliminated. Henri again: ‘As far as the players and spectators are concerned, there must be as little shadow as possible, for with today’s high lighting levels needed for TV coverage, shadows mean contrasts, and contrasts create glare. And equally important, the local residents must be happy with the lighting, too.’

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Today’s soccer stadiums bear little relation to those of twenty years ago. For a start, the modern stadium is far better lighted. This is because the lighting must satisfy the very stringent demands of colour TV. Levels have risen to the 1400 lux being demanded for Euro 2000. Antoine Vanhove: ‘As Chairman of the Disciplinary Committee of the Royal Belgian Football Association I am responsible for approving the lighting of our national stadiums, and am fully aware of this. And it is all to the good, for a brighter stadium is also a safer stadium. There is a totally different atmosphere created when the floodlighting is switched on during an afternoon match with dark weather. It is just as if the sun had risen.’ But lighting levels apart, have there been any other noticeable changes in the ways stadiums are lighted? What about the relative merits of four corner versus line lighting? There are many stadiums where the masts are placed behind the stands to leave the four corners free for seating. But this means using more powerful floodlights to achieve the same lighting levels as with line lighting, and hence higher running costs. Antoine Vanhove: ‘The ideal, of course, would be to make the floodlights completely invisible, fully integrated in the stadium’s architecture, with only the light on the field giving a clue to their presence. That would be wonderful.’

The Jan Breydel Stadium in Bruges has recently been modernised in preparation for Euro 2000. This included removing the four lighting masts in favour of roof-mounted floodlighting, and the provision of extra seating in place of terraces. How are these changes viewed by the public? Jean-Claude: ‘Of course, as far as comfort is concerned, the seating is a great improvement. But what I miss, personally, is the atmosphere found in the old ground, where 22 000 supporters could huddle together on the terraces. And then there are the new security arrangements taken by the police: no more fireworks or flags, everything is banned. And as regards the new lighting, in my opinion the old lighting was already very good, except during an afternoon game. The higher lighting levels are then certainly more evident. Before, on a dull day, it was difficult to see the ball, even with the floodlighting.’ And what about the difference between a daytime game and one played under floodlighting? Jean-Claude: ‘I am not aware of any great difference between day and night-time soccer. I know that in the beginning I was very impressed by the night-time atmosphere in the ground, although the atmosphere in the afternoon is also very enjoyable, in spite of the glare caused by the low, afternoon sun. The artificial lighting in the evening is well planned, with good light coverage and no glare.’

Soccer player

Sports photographer

TV cameraman

Luc Nilis Striker for PSV in Eindhoven and nominated for the Belgium national soccer team.

Robert Collette Working (for more than 30 years) for magazines Voetbal International and Sport International, The Netherlands.

Eric Mengan Free-lance working for international broadcasting corporations such as Eurosport, RTL, Canal+, and TF1.

Michael Kooren

Pics United/Bob van den Cruijsem

needs of various parties. So how does it measure up? The Philips PSV Stadium in Eindhoven is one of the most modern in The Netherlands, and spectators are effusive in their praise of the new lighting. But what do the players think about it? For example, what does it feel like to play here under the new roof-lighting compared with the former four-mast lighting? Luc: ‘For me personally, as a player, there is no great difference, but I can imagine that the goalkeeper will prefer the new lighting. With the roof lighting he is now less likely to be dazzled when dealing with a corner or a difficult cross.’ The trend nowadays with stadium lighting is to treat a soccer match as if it were being staged in a theatre, which in effect it is. An important function of the lighting is to help concentrate the attention of the spectators on the action taking place before them. Luc: ‘The artificial lighting in this stadium is perfect from goal to goal and from corner to corner. There are no weak points. It’s just as if you were playing in the full light of day, but without disturbing shadows and glare from the sun. During a daytime match in good weather, artificial lighting is not needed, but on grey days the lighting is always switched on. This also helps create a more exciting atmosphere.’

Apart from those selected for Euro 2000, there are not many stadiums in The Netherlands that satisfy the lighting requirements laid down by UEFA for international matches. These lighting requirements are, in the opinion of sports photographer Robert Collette, a must, for without them it is often impossible for photographers to ‘deliver the goods’. He finds the present situation unworthy of the game. Robert: ‘Today, we are often obliged to shoot from a distance with a 600 mm lens. With good lighting, you then have a depth of focus of a few centimetres. But with poor lighting you will have problems with the exposure time, and even a well-printed photograph will appear with a very dark background. Many stadiums, primarily those in the football league, have old lighting installations dating back twenty years. There is thus plenty of justification for drawing up a new joint plan for the whole of professional soccer in The Netherlands.’ Another important point concerns the relative impact of the still photograph compared with video coverage. Experience has shown that the former is three times more effective than the latter. Robert: ‘It is the still photographs that easily stay in the memory. So, the sponsors get important "free" advertising. How? By means of the advertising boards forming the background of the pictures we make, provided these are well lighted.’ Robert is of the opinion that it must be possible for soccer clubs to secure a long-term lowinterest loan in order to update their lighting installations: ‘All the stadiums would then have lighting up to UEFA requirements. This would satisfy both the TV companies and the sponsors.

As far as the cameraman is concerned, the main difference between filming in a stadium during the day and in the evening is that in the former case he usually has unpredictable sunlight and harsh shadows to contend with, although switching on the floodlighting does help to soften the shadows. Another advantage of floodlighting is that it helps reveal the facial details of the players, their eyes in particular, which is so important to the creation of excitement and atmosphere. Eric: ‘As a cameraman, I like to have the same conditions all around the stadium, so I prefer filming at night. It is, of course, cold and it is more difficult because we are tired, but it is much better for pictures. I never find bad light. In all the large stadiums where I have been you find good lighting, even in the rain. We now have highlysensitive cameras with very good lenses, so we do not have technical problems. Yesterday I was in a stadium with a very special camera, a Loop, for slow-motion work. This costs FF two million, although the normal price of a camera is between FF 5000 and FF 500 000. But what about when the cameraman is forced to shoot more or less in the direction of the floodlights? Is this more of a problem with fourmast lighting or with stand lighting? Eric: ‘Sometimes, depending on the position of the camera, it is disturbing, although I like a “starlight” shot at night. I occasionally find more difficulties when there are no lights behind the goals, for example, and there is light on the corners. Then there is too much difference; you have to constantly adjust the lens opening, and that is disturbing. I prefer lights on the roof. A lot of light, with many floodlights spread out all over the stadium.’

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Design

ArenaVision – New Generation An innovative optical system in a new aerodynamic housing gives increased light output, uniformity and flexibility in lighting design

he unique ArenaVision floodlighting system was launched by Philips in 1988. It made possible an entirely new approach to the lighting of a whole range of outdoor sporting events. For the first time, here was a truly flexible floodlight system that combined colour quality and brilliance with decreased spill light and glare and a choice of beam widths to create a more thrilling stadium atmosphere and television experience.

Ever since its introduction, the ArenaVision system has been put to the test in all conceivable types of sports lighting applications in stadiums, large and small, all over the world. But lighting designers are constantly looking for ways of improving the quality of the end result by adopting new findings and the latest technology. Consequently, a special multidisciplinary team was formed to develop a new, even further improved floodlighting system. We talked to some of the key persons involved in this continuing development process. ArenaVision is born The ArenaVision floodlighting system first made its appearance in 1988 to light the PSV soccer stadium in Eindhoven. But the idea for this revolutionary system in fact came some twelve years earlier, when Paul Entrop was busy designing the lighting for the Olympic sites in Montreal. Paul: ‘We were constantly striving to get the light onto the flexible target of the various sports areas, whilst keeping stray light outside these sites to a minimum. We were anxious not to create a “visual barrier”, where everything is lighted and yet nothing in particular is focused on. Like in a theatre, the lighting has to focus on the “stage”, bringing the players closer to the audience and so stimulating interaction between them. Indeed, the International Olympic Committee was behind us in this, so we renewed our efforts to come up with a powerful, compact light source coupled with an improved optical system. This would enable us to put much more light into the beam and reduce the amount of stray light, which is the primary key to good lighting control.’ The result was the very compact double-ended MHD metal halide lamp without outer bulb and having an electrode spacing of only 25 mm compared to the 85 to 135 mm discharge tube of the formerly-used HPI-T lamps. The lamp is positioned transversely rather than in the conventional

axial orientation, at the focus of the parabolic reflector. Paul: ‘We did this to create a rather broader, asymmetrical light distribution – not entirely conical – to provide better uniformity on the horizontal target area. Also, we incorporated an internal “skirt”, or baffle, in the top of the luminaire to redirect back down what would otherwise be stray upward light.’ Hence the first-generation ArenaVision, the MVF 406, was born. Smaller than any other floodlight of comparable power, it was the first to offer the lighting designer a choice of five different optical systems. New oval optics Further development work on the ArenaVision system was prompted by the desire to broaden the light distribution in the horizontal plane still further. This has been achieved by the adoption of a system of so-called ‘oval optics’. A preciselyengineered oval reflector shape provides a better defined light gathering capacity while minimising double reflections. But how do oval optics serve to increase beam width? Henk Wybenga, optical designer: ‘The oval optical system in fact consists of a number of flat surfaces joined to form a parabola in both the horizontal and the vertical planes. By varying the size and number of these surfaces, and by adopting a somewhat different shape of parabola, you can alter the shape of the beam. For example, if you increase the width of the surfaces, you can influence the outrun capacity and thus the width of the beam in the horizontal direction.’ With this flatter beam, beam overlap is easier to achieve, and providing good lighting uniformity is no longer a problem. Paul: ‘As you can imagine, if you are trying to light, say, a horse-race track with conventional narrow beams, getting the right beam overlap can be very difficult. But if you can employ somewhat flatter beams, the problem is greatly simplified.’ As before, the new system incorporates an inner skirt to redirect stray upward light effectively back down and a choice of seven mirror reflectors to optimise performance in any application. New Generation ArenaVision New, tailor-made lamps The lamp employed during the development phase was the very compact MHD 1800 W, with magnificent colour properties. Emile van Dijk, co-ordinator of the multi-disciplinary development team at Miribel: ‘What was needed to extend the field of application of the new ArenaVision system to indoor lighting and smallscale outdoor lighting was a 1 kW lamp. At the same time, a 2 kW version would be invaluable in providing the increased lumen output needed for longer throws outdoors. This new 2 kW lamp gives 3

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1, 2 The PSV Stadium in Eindhoven before (left) and after installation of the new ArenaVision floodlighting in 1988. 3 Emile van Dijk 4 The New Generation ArenaVision floodlight. 5 The rather broader, asymmetrical light distribution (horizontal ellipses) provides better uniformity on the horizontal target area. 6 Paul Entrop. 7 Henk Wybenga. 8 The new, very compact double-ended MHD metal halide lamp without outer bulb and having an electrode spacing of only 25 mm.

9 Ray diagram showing cut-off produced by the internal baffle or ‘skirt’.

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up to 15% more light output and enables us to increase the lighting level by 15% when using the same number of luminaires, or to maintain the same lighting level with up to 15% fewer luminaires. ‘In the event, four new metal halide lamps were developed, making five in all, with lumen outputs ranging from 90 000 to 200 000 lumen – see box. These are the 1 kW and 2 kW lamps, respectively. The former has a longer discharge tube to give the broader beams (medium and wide) needed to deal with lower mounting heights, the type of the beam created being suited for line mounting at the sides of a sports-pitch. ‘The two new floodlight systems, the MVF 401 and the MVF 403, offer a choice of nine different optical systems, four lamp types, and five levels of light output to suit all possible uses, both indoors and out.’ New housing design The greatest challenge in the development of this extended range of new generation ArenaVision sports lighting systems was that the 2 kW lamp created an extra heat-load inside the luminaire. To solve the problem of how this extra heat could be dissipated, a working group consisting of thermal expert, material technologists, mechanical engineers and several partner-suppliers embarked on an extensive study. Emile van Dijk: ‘The goal here has been to evacuate the heat generated by the lamp via the rear housing of the luminaire (to do it via the front would

have called for a special front glass, making the luminaire too expensive). ‘To facilitate heat transfer from the reflector to the outside we did two things: the first was to improve the contact and contact surface between the reflector and the rear of the housing (die-cast alumium part), and the second was to paint the rear of the rear reflector (inside the luminaire) black so as to promote heat radiation towards the aluminium housing. Before coming to these conclusions, a “thermal model” was built in a computer to simulate all kinds of possible solutions. Prototypes were then made to validate these solutions by means of thermal measurements in our lab. This revealed that there was no need to resort to drastic measures like increasing the size and thus volume of the luminaire.’ Dido van Klinken of Philips Design: ‘The two primary considerations as regards the shape of the new housing were the need to draw attention to the redesigned optical system, and the importance of keeping wind loading to a minimum. Both these aims have been achieved by the simple expedient of making the housing oval in shape. There were two primary considerations, the actual shape of the housing that would be needed to draw attention to the redesigned optical system, the problem of how to dissipate the increased heat loading, and the importance of keeping wind loading to a minimum. Both these aims have been achieved by the simple expedient of making the housing oval in shape. Not only does this make the new technology “visible”, it also happens to be a very aerodynamic shape, which means less windage and drag 13

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compared to conventional floodlights. Jos Stuyfzand of Philips Design: ‘We adopted an integral approach to the design in which marketing managers, engineers, lighting designers, and also people with project experience representing the market were involved. Later we approached the customers direct, with questions such as “what do you think of this?” and “how can we improve it?” We even visited mast manufacturers and installers to see just what their problems were. ‘We performed a wind-tunnel test of the new design, which showed that we had achieved a reduction in the drag factor (a measure of the wind force on the floodlight) of between 40 and 50 per cent. This allows architects to use slimmer masts for better architectural integration in any structure or stadium. It is also a shape that is more in harmony with the new “organic” style of stadium architecture. It is a new shape, with a sort of soft touch given to a high-tech product.’ More functional than “technical” But in what other ways does the new generation ArenaVision differ from its predecessor? Dido: ‘One thing, is that the floodlight is far less “technical” in appearance; there are few technical extras such as cooling fins. We have optimised the product, with the emphasis on ease of installation and maintenance. For example, we have incorporated an aiming memory. Once aimed and locked, the unit can be swung up for

cleaning and then simply clicked back into its original position. And the double-clip lamp holders ensure more accurate beam control and a firm, permanent focus because of the constant and reliable positioning they give to the lamp.’ A whole new family of floodlights The idea was to come up with a whole new family of floodlights that would offer a total sports-lighting solution. That was not possible with the existing ArenaVision, which was purely high-end, and only intended for large stadiums. The two new floodlight systems, the MVF 401 and the MVF 403, offer a choice of nine different optical systems, four lamp types, and five levels of light output to suit all possible uses, both indoors and out. The systems have been designed to appeal to architect, lighting designer and installation engineer alike: the first will go for their aesthetic appeal, the second will benefit from the wide range of application possibilities offered, while the third will appreciate their functional, no-nonsense technical features. ■

ArenaVision system development team: POLE (Philips Outdoor Lighting Europe): Product Management - Emile van Dijk, luminaire development - Patrick Flêche, Optics and technology - Jean Michel Miquel, Remi Noirot, Laboratory - Olivier Girard, Design - Jos Stuyfzand, Dido van Klinken, Lamp development - Thijs Loomans, Purchasing - Philippe Collange

ArenaVision International Reference

10 -12 Stages in the development of the new floodlight. 13 Dido van Klinken and Jos Stuyfzand of Philips Design.

Country Austria Australia Australia Belgium China France France Germany Germany Hong-Kong Japan Italy Italy Netherlands Norway Oman Pakistan Singapore Spain Spain South Africa South Africa Thailand UK USA USA

City/Province Ramsau Sydney Sydney Bruges Shenshen Marseilles Lyon Cologne Leverkusen Shatin Osaka Rome Turin Amsterdam Oslo Ibri Lahore Singapore Barcelona Sierra Nevada Cape Town Cape Town Bangkok Glasgow Chicago Atlanta

Stadium Olympic Stadium Homebush Aquatic Centre Sydney Superdome Club Brugge Shenzhen Stadium Stade Vélodrome Gerland Köln Arena Bayer Leverkusen Shatin Racecourse Osaka Expo’70 Stadium Olympic Stadium Stadio delle Alpi AmsterdamArenA Holmenkollen Youth Complex at Ibri Gaddafi Stadium Orchid Country Club Nou Camp Nevarros Newlands Cricket ground Newlands Rugby Stadium Thammasat University Stadium Hampden Park Soldier Field Turner Field

Club/Event World Championships 1999 Olympics 2000 Olympics 2000 EURO 2000 National Championships World Cup 1998 World Cup 1998 Multi-use National Championships Weekly racing World Cup 2002 World Cup 1990 World Cup 1990 Euro 2000 Lillehammer Winter Olympics 1994 National Championships Cricket World Cup 1997 International and national opens Champions League Final 1998/1999 World Alpine Ski Championships 1995 Day/Night series World Cup 1995 13th Asian Games National Stadium Scotland World Cup 1990 Olympics 1996/Atlanta Braves

Application SKI JUMP SWIMMING GYMNASTICS/BASKETBALL SOCCER SOCCER SOCCER SOCCER INDOOR/ARENA SOCCER/ATHLETICS HORSE RACING SOCCER SOCCER/ATHLETICS SOCCER SOCCER SKI JUMP ATHLETICS CRICKET GOLF SOCCER DOWNHILL SKI CRICKET RUGBY ATHLETICS & SOCCER RUGBY/SOCCER SOCCER/GRID IRON ATHLETICS/BASEBALL

14 Computer-aided simulation of wind-tunnel test of the new ArenaVision floodlight.

Technical data Feature

MVF 401

MVF 403

Lamp

MHN-TD 1 kW

MHD-TD 1 kW

MHD 1.8 kW

MHD 2 kW/956

MHD 2 kW/856

Mains voltage

220-240 V 50 Hz

380-415 50 Hz

Optics

medium wide

Cat. A1–Cat. A7

Version

downlighting uplighting

downlighting

Luminous flux

100 000 lm

90 000 lm

155 000 lm

180 000 lm

200 000 lm

Colour temp.

4200 K

5600 K

Colour rend.

Ra 80

Ra 90

Ra 85

Award: ArenaVision received for its design the IF Industry Forum Design Hannover 1999 prize

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991

972 972 972 974 991 991 993

Industry Art (Light art, Light performances) A sculptured tree of steel, roundabout Weert, Netherlands ❉ 972 Graduation ‘97, the Design Academy, Eindhoven, the Netherlands ❉ 974 Lightforms ‘98 - Satori ❉ 981 Sculptures Exhibition, The Haque H. Hollands 982 Exhibition Light and Sculpture, The Haque ❉ The city as a matrix, Graduation ‘99, the Design Academy, Eindhoven, the Netherlands ❉ 992 Sculptured gateway, Spijkenisse, Netherlands ❉ 992 Roundabout Åbenrå, Denmark 992 Roundabout, Århus, Denmark 992 Roundabout "La Coquille", Reims, France 992

Books / publications Lighting Historic Buildings, author Derek Phillips 1997 VIA-Light Year Book (VIA-Verlag) Creation of Lightscape, author Motoko Ishii (Libroport Co. Ltd) Les Couleurs de l’Europe, authors J-P and D Lenclos La lumière urbaine, author R Narboni The Outdoor Lighting Pattern Book, authors R P Leslie and P A Rodgers The 1997 Interior Design Handbook (The Interior Design Handbook, London) Discharge lamps and the environment (European Lighting Companies Federation) The Demise of the Office, authors E Veldhoen & B Piepers (1010 Publishers) Stage Lighting Controls, author Ulf Sandström (Focla Press) Lighting Detectives, authors Kaoru Mende/ Reiko Kasai (Shomei Tanteidan) Lamps and Lighting, (John Wiley & Sons) CIE guide "Guide to the lighting of exterior working areas" CIE guide* Update "Guide to the lighting of exterior working areas" Light and Design, Developments in artificial light sources "Faszination Licht:", author Max Keller "A-Z of Lighting Terms", author Brian Fitt

972 972 972 973 973 973 973

981 981 982 982 982 992 992 993 993

973 992 992 992

972 974 974 974 992

Cities / Town planning of light - On the waterfront, Utrecht, the Netherlands Planet OLAC / Plazas & Squares - Roads and streets G Giesbers - Light and the city H Hollands - Plaza de España Spain F Alcón Enriquez & V Nishnik - Leaping dolphins Japan K Suima - 1st of May Square Uruguay C A Galante & F Comerci - Hongqiao Square China S Soon Quartier 206, Berlin ❉ Upstairs / Downstairs - Lyon’s car-parks France - Nijmegen’s hospital parking The Netherlands W J Idema et al. No parking, no business G Giesbers Vitré City Centre, France Tournai City Centre, Belgium B Josz Veurne City Centre, Belgium V Rosi Light Square, Eindhoven, The Netherlands D. v.d. Weele & H Hollands Light in de City, Copenhagen, Denmark S Frandsen & E Christensen Jyväskylä city centre, Finland ❉ Symposium "City/people/light", Amsterdam, the Netherlands

ilr 001 index / coming events

993 993 993 993 993

Lamps and light technology Fibre-optics Lighting Systems - Product review G Deraedt - Application considerations L vd Poel & D vd Weele Lighting controls Unified Glare Rating (UGR) W van Bommel, A de Visser, M Wouters Architectural fibres ❉ Decorative floodlighting R Hendriks Brødrende A & O Johansen A/S, Denmark

974

981 981 991 992 993

Landscaping (Light-)

Churches, Places of Worship Basilica San Lorenzo, Italy ❉ Church of St Nectaire, France ❉ ▲ Sri Mariamman Temple, Singapore M Klaasen Cathedral of Gniezno, Poland ❉ Cologne Cathedral, Cologne, Germany

993 993 993 993 993 993 993 993

974

Bridges City of Bridges, Cleveland, USA ❉ Hohenzollern bridge, Cologne, Germany Akashi Kaikyo Bridge, Japan Tsing Ma Bridge, Hong Kong

Cikampek Luminaire Center, Indonesia Amica Wronki, Poland TVS Suzuki, India Melamo B.V., Helmond, The Netherlands Printing Works Goldmann, Tulln, Austria Good lighting.... better work Sjaak Dekker Light and Productivity P R Boyce Peugeot’s Mulhouse factory, France TCG, Transport Centrale Gelderland, Veenendaal, The Netherlands Archicom Building Services, Eindhoven, The Netherlands interview R vd Water The Boots Company Warehouse, England Rio de la Plata port terminal, Argentina Control Room, Refining company, New Zealand ❉

972

972 973

973 982 982 982 982

Focus on Buildings- Mercedes - Euro Tower ❉ Arcos 1, Mexico ❉ Fiber Wave, Tokyo, Japan ❉ Do not X-Ray, Dordrecht, the Netherlands ❉ Aquatic fibres - Chamalière fountain France ❉ - Wilsonplein Ghent, Belgium ❉ - Montgomeryplein fountain Brussel, Belgium ❉ - Association Liégoise du Gaz, Liège, Belgium ❉ Lively Squares H Hollands & D v.d. Weele

971 971 973 974 974

Hannover Messe ‘98 ❉ - Mastercolour CDM-TT - Ecotone Ambiance - ArenaVision for indoor - TL5 Circular - SON for outdoor Metronomis, city-friendly luminaires Soprano ACS/2 spots ❉ Europa 2 downlighter ❉ Under a starry sky ❉ Starry Sky Kits ❉ Metropol, park luminaire Milewide project, Denmark HPI Plus range of lamps ❉ TTX 400 line-lighting system TLD Reflex TLD Secura

981

AMERICAS USA, Los Angeles, 22-25 September 2000, AES. Las Vegas, 1315 October, 2000, LDI.

ASIA/PACIFIC/AFRICA 982 991 991 991 991 991 992 992 993 993 993 993

Public / Institutional buildings Colossal Tokyo Forum, Japan ❉ Justus Lipsius building, Belgium ❉

973 973

Shops, stores and showrooms Virgin Megastore The Netherlands L vd Poel Lighting Application Centre in Istanbul ❉ Espace Lumière, Paris, EDF ❉ Swarovski Kristallwelten Austria H Weingärtner Perry Sport ❉ Fibre-shop, Vught, the Netherlands Graphic fibres - Kurfürstenpassage, Mannheim, Germany ❉ - La Rinascente Duomo, Milan, Italy ❉ Bijenkorf store, Amstelveen, The Netherlands R bagen C & A stores M de kruiff C & A Clockhouse, Manchester, U.K. Karen Owens Siegert, Gentlemen’s outfitter, Regensburg, Germany W Huber Superquinn Supermarket, Ireland L vd poel Wellworths-SuperValu store, Ireland Sainsbury Supermarket, U.K. Burger King Restaurant, Amsterdam, The Netherlands P rijnders Praxis Megastore, Amsterdam, The Netherlands Petrol-station shops P Entrop Volvo Car showroom J Tielens-Aarts Yeasu Book Center, Tokyo, Japan Motoko Ishii Shoplighting, "Keeping pace with the times" S Cornelissen WalMart supermarkets, Brazil ❉ New shops in Italy ❉ Bruna Retail chain ❉ INNO department store, Brussels/Belgium ❉

971 972 972 973 973 974 974

991 991 991 991 991 991 991 991 991 991 991 991 991 991 991 991 991

982

Sports buildings and installations Monuments and landmarks Evoluon Eindhoven, The Netherlands ❉ Roman Forum, Rome, Italy ❉ Riegersburg fortress, Austria Skywalk*, pedestrian walkway, Hannover, Germany Twin Tower , Berlin, Germany Calakmul building, Mexico City, Mexico "Die Pyramide", office building, Berlin, Germany UFA Multiplex-Kino, Dresden, Germany Forte de Nossa Senhora dos Remedios, Brazil ❉

971 982 982 992 992 992 992 992 993

Skiing on television - Neveros piste Spain J A Sánchez - Kandahar piste Italy R de Marco - The Planai downhill Austria M Schmutzler - Holmenkollen Norway T Sogge Soccer stadiums at the French ‘98 World Cup in Toulouse, Lyon and Marseille JF Caminada Gelredome arena, Arnhem, the Netherlands ❉ Morumbi Stadium, Sao Paulo, Brazil ❉

973

981 981 993

Theatres, concert halls Museums and themed buildings Singapore Art Museum ❉ Museums - Musée de la Musique, France - Patio de la Infanta, Spain - The Egyptian Museum Cairo, Egypt S Cornelissen & T Akkermans Congress Hall in Villach, Austria ❉ Bibliothèque Nationale de France, Paris American Air Museum, Duxford, U.K. Palais des Beaux-Arts, Lille, France Van Gogh Museum, Amsterdam, new wing: Symbyosis ❉

Theater de Harmonie, the Netherlands ❉ 973 974

974 974 992 992 993

Offices Fifth floor Philips Nederland, Eindhoven, the Netherlands Interpolis Head Office, Tilburg, the Netherlands Twijnstra Gudde Consultancy, Amersfoort, the Netherlands R B S Tan WDR, Cologne, Germany Building Research Establishment, Garston, England M & C Saatchi’s building, London, England N Kelso The many faces of the office M Wouters & W van Bommel Office lighting M Wouters Philips Design, Eindhoven

982 982

Products

992

Fibre Stone, Japan ❉ Metsys

981 981 981 981 981 981 981 981 982

974 981

973

General //www.Lighting Fibre-optics lighting, schemes Not only for your eyes Urban Lighting, Research study World Lighting Index

972 974 981 982 991 3222 635 23551

CHINA: Hong Kong, 11-14 October, 2000 Hong Kong International Lighting Fair. Hong Kong, November 2000, HEIMTEXTIL ASIA ASIAFLOR, International Trade Fair for Hometextiles, Floor Coverings, and Interior Furnishings. Hong Kong, 15-18 October, 2000 ,CELF2000 Shenzhen International Exhibition Center, export oriented lighting fair . Shanghai, 13-16 September, 2000, ILE CHINA, China International Lighting Exhibition. INDONESIA, Jakarta, 22-25 November 2000 (26-29 September 2001 ) BUILDING & CONSTRUCTION INDONESIA SERIES, International Building and Construction, Equipment and Materials Exhibition. SAUDI ARABIA, Jeddah, 01-05 October 2000, Saudi Building Industries Exhibition. SINGAPORE, Singapore, 01-03 November, 2000, LUMINAIRE ASIA, The World Light Show in Asia. SOUTH AFRICA, Johannesburg INTERBUILD AFRICA, African International Building and Construction, Plumbing and Property Exhibition. TAIWAN, Taipei 20-23 September, 2000 Taiwan International Furniture, Interior Decoration, Kitchen Furniture and Building Materials Fair. VIETNAM, Ho Chi Minh City, 25-28 October, 2000, Lighting and Electrical Appliances Expo.

EUROPE AUSTRIA: Vienna, 19-22 October 2000 (18-20/10 2001), WOHNDESIGN, Domestic Design Exhibition. CZECH REPUBLIC, Pilsen, 19-22 October 2000, VIA CREATIVA, Exhibition for Glass, Lighting, Ceramics, Gifts and Handicrafts. Prague, September 2000, HIT PRAHA, International Trade Fair for Consumer Electronics and Domestic Appliances . FRANCE: Paris, 8-12 September, 2000, ELEC International Exhibition, Electricity, Automation, Lighting, HVAC – A world of Communications, Services and Maintenance. Paris, 08-12 September 2000, LUMIERE PARIS, International Lighting Exhibition. GERMANY: Bad Salzuflen, 20-24 September 2000, M.O.W. Herbst, Furniture Trade Fair. Barntrup, 20-24 September, 2000 , M.O.W. Herbst, Furniture Trade Fair. Frankfurt/Main, 25-29 August, 2000 (24-28 August, 2001), Tendence Internationale Frankfurter Messe, Tavola & Cucina, Präsent & Carat, Domus & Lumina. Goslar, 20-22 September, 2000, LiTG Germany – Licht 2000. Hamburg, 13-15 September, 2000 (11-13 September, 2001) NORD ELEKTRO, Fair for Electrical and building Technology, Electronics and Building Automation. Lemgo, 20-24 September, 2000, M.O.W. Herbst, Furniture Trade Fair. Schieder, 20-24 September, 2000, M.O.W. Herbst, Furniture Trade Fair. ITALY: Verona, 14-18 September, 2000 MONDOLUCE , Lighting Exhibition. POLAND, Lotz, 24-26 November, 2000 , Lighting Equipment, Materials, Devices and Technology Exhibition. Warsaw, 06-09 November, 2000, ElektroExpo, International Electrical Fittings and Lighting Exhibition. PORTUGAL, Lisbon, 16-19 September, 2000, INTERHOME, Furniture and Lighting Fair. Lisbon, 10-15 October, 2000 (09-14 October, 2001) INTERCASA, International Furniture and Lighting Exhibition. . RUSSIA: Moscow, 12-15 October, 2000 (15-19 October, 2001) MUSIC, International Exhibition on Musical Equipment and Lighting Technology. Moscow, 13-16 December, 2000, InterLight, International Trade Fair for Lighting and Light Technology. Novosibirsk, 03-05 October, 2000, SIBDOMOTECH, International House Technology. SPAIN: Valencia, 25-30 September, 2000, FIM, International Furniture Fair. Valencia, 2530 September, 2000 FIAM, International Fair of Lighting Fixtures, Accessories and Components. UNITED KINGDOM: London, 1013 September, 2000 Light and Sound Trade Show.

ordering ilr and product data Please make a copy of the order-form below, complete it, and fax or mail it.

972 OLAC / PLAZAS & SQUARES

973 CAR-PARKS

974 FIBRE OPTICS

981 OFFICES SPORTS

982 CITY/PEOPLE/ LIGHT

991 SHOPS AND STORES

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992 LANDMARKS

993 INDUSTRY

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PRINCIPAL BUSINESS 1 Architecture/interior design 2 Consulting engineering 3 Lighting design 4 Government/Municipality Electrical utility 5 Electrical contractor 6 Manufacturer of lighting accessories or materials 7 Professional society orassociation 8 Education/library 9 Other____________________

PRINCIPAL LIGHTING INTERESTS A Commercial/industrial B Institutional/social environment C Indoor sports D Outdoor sports E Public lighting F Floodlighting G Theatre/television/Performing arts H Other____________________

001

ILR 001: CITY BEAUTIFICATION EURO 2000 SOCCER Photo: Philips Lighting,Pierre Crouzet

Outdoor museum of light Grenoble, France

ILR 2000 - 001

Articles inside

Millennium highlights

Outdoor museum of light

A fairy-tale of light