ILR 2001 - 012

Floodlighting

by Philips

Creating and identifying landmarks In the comprehensive approach to the urban environment, creating and identifying landmarks is an important step.

Lighting a building, a monument, or a specific architectural feature contributes to the identity of the city/ town/village. Creating landmarks also facilitates orientation.

Whether you are working on a single building or an entire lighting masterplan, night-time sight-seeing tours or illumination of specific sites, Philips offers you its lighting expertise, together with state-of-the-art products, systems and services.

Internationale Licht Rundschau

ILR 012: ILLUMINATIONS

Chateau de Versailles Lighting design : Frédéric Didier,Architecte en Chef des Monuments Historiques • Photographer : J. Evenou/DUPON

Revista Internacional de Luminotecnia

Pagina B

Revue Internationale de l’Eclairage

15:25

For more information : info.citybeautification@philips.com

International Lighting Review

27-11-2001

012

a.cover1-4 BC

Illuminations

FORUM Subscriptions Three issues per year. Unless cancelled in writing, existing subscriptions will automatically be renewed and invoiced accordingly. For subscriptions contact the Reader Service person in your country as indicated below.

MuseumsQuartier sparkles in light

Sungai Dinding Bridge, Malaysia Orchestrated colour

For 2001, the subscription rates (including postage) are: Within Europe €44 Outside Europe €52

011 OFFICES

Metronomis luminaires for Vienna’s new cultural district

Back Numbers An overview of the subjects dealt with in the last eight issues of ILR can be found in our Quick-Reference Index, which is included in the ILR website mentioned.

Back numbers are available, while stocks last, in all four language versions, and can be purchased individually. Please contact the Reader Service person in your country.

The charge (including postage) is €20 per issue.

International Lighting Review ISSN 0020-7853 ILR website and ILR index An online overview of the current issue of ILR and the Quick-Reference Index of the backnumbers from 1998 onwards is available. These ILR online versions represent a key-selection of the contents of the printed versions of ILR. See www.lightingreview.com

Internationale Licht Rundschau ISSN 0165-9863 Revue Internationale de l'Eclairage ISSN 0035-3388 Revista Internacional de Luminotecnia ISSN 0167-7608 52nd year / issue 012

003 ROADS

Founded in 1949, International Lighting Review is devoted to all aspects of lighting. Published three times per 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.

002 SHOPS

Editorial office

Address: P.O. Box 721, 5600 AS Eindhoven, the Netherlands

Telephone: administration 31 40 275 5779 Telephone: Editors: 31 40 275 52 52 / 31 40 275 74 85

Telefax: 31 40 275 57 30 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: Mark Heuer, Derek Parker and Marcel Janse.

Photography: Rien Valk. Artwork: Jo van Hemert.

Layout: Marie-Louise Mannaerts.

001 CITY BEAUTIFICATION EURO 2000 SOCCER

Client services: Franka Heesterbeek.

Translation: Philips Translation Services.

Pre-publishing by Neroc, Eindhoven.

Printed by Roto Smeets Services, Eindhoven.

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

993 INDUSTRY

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.

992 LANDMARKS

Philips Lighting BU Luminaires

ILR Reader-service Are you interested in receiving further information on a product or lighting theme featured in ILR? If so, simply fax your address and request to the Reader-Service person in your country.

Argentina: Ariel Szajowicz, Buenos Aires, fax 015467668 Australia: Therese Tarlinton, Sydney, North Ryde, fax 0298054495 Austria: Thomas Jelemensky, Vienna, fax 01601012176 Belgium: Roger Petitjean Brussels, fax 025257694 Brazil: Juliana Ficheli, Sao Paulo, fax 01151880662.

Canada: Sandra Weil, Toronto, fax 04167546265 Central America: Ricardo Chicas, San Salvador, fax 2941801 Chile: Valeria Sáez, Santiago, fax 027371711 China: Cindy Ding, Shanghai, fax 021 63543949 Colombia: Edgardo Cayón, Bogota, fax 016194299 Czech Republic: Jakob Wittlich, Prague, fax 02 33099326 Denmark: Hans Jorgen Jacobsen, Copenhagen, fax 033293931 Finland: Petri Pekola, Mäntsäla, fax 096883230 France: Pierre Launay, Ivry-sur-Seine, fax 0149876178 Germany: Gunter Puetz, Springe, fax 05041945183 Greece: Isabella Terzaki, Athens, fax 016845728 Hong Kong: Pilva Kwan, Hong Kong, fax 02 28610568 Hungary: Laszlo Fabian, Budapest, fax 013821851 India: Meera Bankal, Mumbai, fax 0224964319 Indonesia: Sinta Marino, Jakarta, fax 0264 351666 Ireland: Eoin Cooke, Dublin, fax 017640283 Italy: Mariangela Speroni, Monza, fax 0392036125 Japan: Masako Manning, Tokyo, fax 0337405367 Korea: S.H. Cho, Seoul, fax 027091359 Malaysia: K.C. Wong, Kuala Lumpur, fax 037574368

Mexico: Jorge Avila, Mexico fax 057294844 New Zealand: Brian Brandford, Auckland, fax 098497812 Netherlands: Anneke Summerfield, Eindhoven, fax 0402786795 Norway: Line Furulund, Oslo, fax 022748229 Peru: Fabián Ysla, Lima, fax 01 2136274 Pakistan: Ejaz Ahmed, Karachi fax 021 2570068 Philippines: Robert Victoriano, Manila, fax 028166340 Poland: Magda Tarnowska, Pila, fax 067 3513104 Portugal: Rui Santos, Lisbon, fax 014163222 Russia: Vitaly Stepanov, Moscow, fax 0959379357 Singapore: Teh Eng Chuan, Singapore, fax 02532343 Slovakia: Zuzana Marekova, Bratislava, fax 075424213 Spain: Susana Gallardo, Madrid, fax 0915669622 Sweden: Per-Ake Alm, Stockholm, fax 0859852760 Switzerland: Jolanda Hagnauer, Zürich, fax 014883249 Taiwan: Sasha Lee, Taipei, fax 0221342678 Thailand: Taweechai Kangwansurakry, Bangkok, fax 02 3230904 Turkey: Didem Sen, Istanbul, fax 02122804501 United Kingdom: Andy Gowen, Croydon, fax 01816898752 Uruguay: Juan C. Fabra, Montevideo, fax 02 6287777 USA: Megan Carroll, Somerset, fax 0732 5633525 Venezuela: Alejandro Samour fax: 2 2378343

Other countries: ILR/ Franka Heesterbeek fax 31 40 275 5730

012

This is the longest river bridge in Malaysia and is located on the west coast in Lumut in Perak state. Completed in 2000, the 1.24-km-long bridge has 13 arches, which symbolise the 13 States of Malaysia. The height ranges from 45 m to 90 m. Because of its beautiful arches, the Sultan (ruler) of Perak state was keen to have the bridge illuminated.

The lighting design philosophy was to preserve the bridge’s structural form at night with: 1) A sufficiently high lighting level 2) A nice ambience 3) Good colour contrast 4) Minimum glare 5) Ease of maintenance 6) Optimised energy cost Due to the dark surroundings and to provide contrast, the bridge is illuminated with a varying level of 200 lux maximum and 20 lux minimum.

To create a dramatic or theatrical

ambience, three colours (yellow, green and blue) are used. Yellow is the Royal colour of the state, and also it enhances the natural effect seen during sunrise and sunset.

Blue produces a glow on the underside of the arches, which exaggerates the watery reflection of the bridge and creates a floating effect. Green creates a friendly atmosphere surrounding the bridge.

The lamps employed are cool-white HPI-T 250 W/400 W and CDM-T 70 W/150 W 942 with blue and green colour filters. SON-T 250 W/400 W lamps provide the yellow colour effect.

The S/MVF 617 luminaires on the largest arch (90 m) have good beam control, while the narrow beams on vertical pillars are from MVF 606.

Maintenance of luminaires is a major concern. So these are of high-grade die-

cast aluminium, which is dustproof and jetproof to IP65. Due to space constraints, all the luminaires are equipped with builtin ballasts, and this also saves on the cost of the installation.

Switching can be used to regulate light colour change and also to save on energy consumption. After midnight, certain lights can be switched off while maintaining some safety brightness for river users. At the arches, timer switches are set to give different colours (one colour at a time) with a delay of 5 minutes. Stand-alone switches can be used to by-pass the timer switches in the event of an emergency.

The normal energy cost per day (12 hours) is about US$45.00, which seems very economical considering the dramatic effects achieved and the enjoyment of the night sky surrounding the bridge.

Public authority: Public Works Department Lighting design: Ng Chee Hoong, Philips Lighting, Malaysia Main electrical contractor: Sin Chew

At one of the most prominent places in the heart of Vienna a new centre for contemporary art and culture has come into being. On the historic ground of the former Imperial stables and coach houses –used as the venue for fairs in recent times–a district has arisen, designed by well-known architects from all over the

world. Opened at the end of June this year, the MuseumsQuartier is the perfect place for cultural activities of all kinds.

The first impression when you enter the area is of cool concrete, historic structural materials–and Metronomis luminaires along the paths. In order to keep the luminaires ‘in dialogue with modern architecture and fitting into the historical ambience‘, the architect, Arch.Dipl.Ing. Rudolf Lamprecht, chose Metronomis ‘Torino‘ for this very special solution.

‘Beside impressive technical specifications and easy maintenance, Torino convinces by its timeless minimalistic form, free from exaggerated modernism or simple industrial design‘, says Mr Lamprecht, in explanation of his decision.

According to the mainly young people visiting this new cultural district, Metronomis Torino harmonises perfectly with all the historic buildings as well as with the newly-built museums, galleries and cafés. Metronomis not only accentuates both the classic and modern architecture by night, it also produces an atmosphere of ideal symbiosis of old and new by day.

Luminaires: Philips Lighting, Austria

3222 635 28101

Front cover: The imposing figure of Ramses II in the Great Temple of Abu Simbel (see page 34)

ilr 012 forum

3

d.forum 2-5

27-11-2001

16:30

Pagina 2

FORUM

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

Regional Parliament Building, Pamplona, Spain

012

Carried out with energy-saving criteria in mind Pamplona, with some 190 000 inhabitants, is the provincial capital of Navarre. It sits in the shadow of the Pyrenees, about 50 km south of the mountain range, on its west side, and is surrounded for the most part by the waters of the River Arga.

The illumination of the Regional Parliament Building and fountain was carried out with energy-saving criteria in mind. The result is a total installed load of only 11 kW, divided over 114 Mini-decoflood spotlights each housing a 65 W CDM-R lamp, 304 fluorescent lamps in TGW luminaires, and six 70 W CDM-R Pompei lamps, which are installed in the main buttresses of the central door.

The lighting system involved several innovations for this type of installation. The fountain, for example, has been lighted using advanced fibre-optics technology instead of with the conventional spots formerly employed. This has resulted in a

http://www.lightingreview.com

2

Forum News from the world of lighting

7

Editor’s notes

Illuminations Projects 6

by Duilio Passariello

14

by Michael Batz

20

by Volmer Rosi

28

A street reborn Norway On how lighting, backed up by the local citizens, can become the most remarkable aspect of an urban revitalisation project

Urbane Light Germany Speicherstadt, Hamburg, the largest historical warehouse complex in the world, has became a softly-glowing night-time panorama

A harmony of light Belgium The Grand-Place in Brussels has been illuminated as part of a new city beautification project

Primarily Colour France A UNESCO World Heritage Site, the Pont du Gard aqueduct in Nimes has been given a colourful, new lease of life

ANZAC Bridge, Sydney A stunning new feature of the city skyline The Anzac Bridge spanning Johnson’s Bay is one of Sydney’s newer landmarks.

Opened in December 1995, it provides a key link between Sydney City and the suburbs to the west and an east-west route from the city to the M4 toll way at Concord and the Homebush Bay Olympic 2000 site.

This new bridge has a main span of 345 m.

It is the longest cable-stayed span bridge in Australia and amongst the longest concrete cable-stayed span bridges in the world. It replaces the old Glebe Island Bridge and initially adopted that name.

During 1998, Australian flags were placed on the two 120-m-high tower tops and the bridge renamed Anzac Bridge to honour the memory of the Anzacs who served in World War 1.

Lighting is a subtle, dignified but highly

2

ilr 012 forum

substantial decrease in the lighting power from 16 kW to only 700 W. Fibre optics have also been employed to light the sculpted parts of the two facades of the palace. This is a great advantage, since it facilitates maintenance and reinforces safety, as it prevents contact

between the water of the fountain and the power lines. The lighting system has also been incorporated into the facade itself, which avoids installation of spotlights on other buildings or in external loca

effective form of advertising that creates a positive image for companies, attracts visitors and promotes tourist attractions.

This project presented an opportunity to unify Sydney’s nightscape.

The predominant consideration in selecting a lighting system to highlight the various facades of the bridge (apart from safe movement for vehicular, nautical and

pedestrian traffic) was to complement the surrounding vista. Also, attempt has been made to reveal the three-dimensional form of the to using contrasting surface brightness and colour temperatures.

The north-south tower faces are generally subject to more distant views, illuminated to a higher level.

30

by Duilio Passariello

34

by Har Hollands

Dynamic light at the Sforza Castle Italy The new outdoor lighting system of the Sforza Castle represents the first example of ‘dynamic light’ in Italy

Ramses comes to life Egypt The temples of Abu Simbel are the subject of a colourful, high-tech sound and light show

Design 42

MiniDecoflood Their compact design, ease of installation and flexibility in use make this new range of mini-floodlights well-suited for accent lighting

44

Metronomis 2 Architectural enhancement can only be fully realised when the range of luminaires and their supports are part of an integrated concept

Concepts 24

by Jean-Marc Dupont

46

by Paul Entrop and Jos Hoens

Painted Grasse France Changing the nocturnal image of the old Provençal town and surrounding hamlets in this Commune in the South of France

A Vision of Efficiency A new compact 3-D lighting system for petrol-stations realises substantial energy savings, with colour rendering to near daylight quality

d.forum 2-5

27-11-2001

16:30

Pagina 2

FORUM

FORUM

Regional Parliament Building, Pamplona, Spain

Sungai Dinding Bridge, Malaysia

Carried out with energy-saving criteria in mind

Orchestrated colour

Metronomis luminaires for Vienna’s new cultural district

Pamplona, with some 190 000 inhabitants, is the provincial capital of Navarre. It sits in the shadow of the Pyrenees, about 50 km south of the mountain range, on its west side, and is surrounded for the most part by the waters of the River Arga.

The illumination of the Regional Parliament Building and fountain was carried out with energy-saving criteria in mind. The result is a total installed load of only 11 kW, divided over 114 Mini-decoflood spotlights each housing a 65 W CDM-R lamp, 304 fluorescent lamps in TGW luminaires, and six 70 W CDM-R Pompei lamps, which are installed in the main buttresses of the central door.

The lighting system involved several innovations for this type of installation. The fountain, for example, has been lighted using advanced fibre-optics technology instead of with the conventional spots formerly employed. This has resulted in a

ANZAC Bridge, Sydney A stunning new feature of the city skyline The Anzac Bridge spanning Johnson’s Bay is one of Sydney’s newer landmarks.

Opened in December 1995, it provides a key link between Sydney City and the suburbs to the west and an east-west route from the city to the M4 toll way at Concord and the Homebush Bay Olympic 2000 site.

This new bridge has a main span of 345 m.

It is the longest cable-stayed span bridge in Australia and amongst the longest concrete cable-stayed span bridges in the world. It replaces the old Glebe Island Bridge and initially adopted that name.

During 1998, Australian flags were placed on the two 120-m-high tower tops and the bridge renamed Anzac Bridge to honour the memory of the Anzacs who served in World War 1.

Lighting is a subtle, dignified but highly

2

ilr 012 forum

MuseumsQuartier sparkles in light

This is the longest river bridge in Malaysia and is located on the west coast in Lumut in Perak state. Completed in 2000, the 1.24-km-long bridge has 13 arches, which symbolise the 13 States of Malaysia. The height ranges from 45 m to 90 m. Because of its beautiful arches, the Sultan (ruler) of Perak state was keen to have the bridge illuminated.

The lighting design philosophy was to preserve the bridge’s structural form at night with: 1) A sufficiently high lighting level 2) A nice ambience 3) Good colour contrast 4) Minimum glare 5) Ease of maintenance 6) Optimised energy cost substantial decrease in the lighting power from 16 kW to only 700 W. Fibre optics have also been employed to light the sculpted parts of the two facades of the palace. This is a great advantage, since it facilitates maintenance and reinforces safety, as it prevents contact

between the water of the fountain and the power lines. The lighting system has also been incorporated into the facade itself, which avoids installation of spotlights on other buildings or in external locations.

effective form of advertising that creates a positive image for companies, attracts visitors and promotes tourist attractions.

This project presented an opportunity to unify Sydney’s nightscape.

The predominant consideration in selecting a lighting system to highlight the various facades of the bridge (apart from safe movement for vehicular, nautical and

pedestrian traffic) was to complement the surrounding vista. Also, a deliberate attempt has been made to reveal the three-dimensional form of the towers using contrasting surface brightness and colour temperatures.

The north-south tower faces are generally subject to more distant views, so they are illuminated to a higher level. The east-

Lighting design: Philips Ibérica, Spain, in collaboration with the province of Navarre Installation: HUGUET S.L.

west tower faces are directed towards oncoming traffic, so they are illuminated to a lower level to enhance modelling while limiting distraction.

It was not necessary to uniformly illuminate the entire deck edge. Rather, the approach has been to use floodlights that distribute light along the deck, leading the eye to the towers by graduated brightness.

This also minimised installation costs and made maintenance more convenient.

The main luminaire employed is the MVF406 ArenaVision floodlight (71 units).

This is usually used for sports floodlighting, but is also perfect for largescale city beautification projects.

Lighting design: Andrew Nagy, Philips Lighting, Australia Electrical design and installation: Ultimate Lighting International

Due to the dark surroundings and to provide contrast, the bridge is illuminated with a varying level of 200 lux maximum and 20 lux minimum.

To create a dramatic or theatrical

ambience, three colours (yellow, green and blue) are used. Yellow is the Royal colour of the state, and also it enhances the natural effect seen during sunrise and sunset.

Blue produces a glow on the underside of the arches, which exaggerates the watery reflection of the bridge and creates a floating effect. Green creates a friendly atmosphere surrounding the bridge.

The lamps employed are cool-white HPI-T 250 W/400 W and CDM-T 70 W/150 W 942 with blue and green colour filters. SON-T 250 W/400 W lamps provide the yellow colour effect.

The S/MVF 617 luminaires on the largest arch (90 m) have good beam control, while the narrow beams on vertical pillars are from MVF 606.

Maintenance of luminaires is a major concern. So these are of high-grade die-

cast aluminium, which is dustproof and jetproof to IP65. Due to space constraints, all the luminaires are equipped with builtin ballasts, and this also saves on the cost of the installation.

Switching can be used to regulate light colour change and also to save on energy consumption. After midnight, certain lights can be switched off while maintaining some safety brightness for river users. At the arches, timer switches are set to give different colours (one colour at a time) with a delay of 5 minutes. Stand-alone switches can be used to by-pass the timer switches in the event of an emergency.

The normal energy cost per day (12 hours) is about US$45.00, which seems very economical considering the dramatic effects achieved and the enjoyment of the night sky surrounding the bridge.

Public authority: Public Works Department Lighting design: Ng Chee Hoong, Philips Lighting, Malaysia Main electrical contractor: Sin Chew

At one of the most prominent places in the heart of Vienna a new centre for contemporary art and culture has come into being. On the historic ground of the former Imperial stables and coach houses –used as the venue for fairs in recent times–a district has arisen, designed by well-known architects from all over the

world. Opened at the end of June this year, the MuseumsQuartier is the perfect place for cultural activities of all kinds.

The first impression when you enter the area is of cool concrete, historic structural materials–and Metronomis luminaires along the paths. In order to keep the luminaires ‘in dialogue with modern architecture and fitting into the historical ambience‘, the architect, Arch.Dipl.Ing. Rudolf Lamprecht, chose Metronomis ‘Torino‘ for this very special solution.

‘Beside impressive technical specifications and easy maintenance, Torino convinces by its timeless minimalistic form, free from exaggerated modernism or simple industrial design‘, says Mr Lamprecht, in explanation of his decision.

According to the mainly young people visiting this new cultural district, Metronomis Torino harmonises perfectly with all the historic buildings as well as with the newly-built museums, galleries and cafés. Metronomis not only accentuates both the classic and modern architecture by night, it also produces an atmosphere of ideal symbiosis of old and new by day.

Luminaires: Philips Lighting, Austria

ilr 012 forum

3

d.forum 2-5

27-11-2001

16:30

Pagina 2

FORUM

FORUM

Regional Parliament Building, Pamplona, Spain

Sungai Dinding Bridge, Malaysia

Carried out with energy-saving criteria in mind

Orchestrated colour

Metronomis luminaires for Vienna’s new cultural district

Pamplona, with some 190 000 inhabitants, is the provincial capital of Navarre. It sits in the shadow of the Pyrenees, about 50 km south of the mountain range, on its west side, and is surrounded for the most part by the waters of the River Arga.

The illumination of the Regional Parliament Building and fountain was carried out with energy-saving criteria in mind. The result is a total installed load of only 11 kW, divided over 114 Mini-decoflood spotlights each housing a 65 W CDM-R lamp, 304 fluorescent lamps in TGW luminaires, and six 70 W CDM-R Pompei lamps, which are installed in the main buttresses of the central door.

The lighting system involved several innovations for this type of installation. The fountain, for example, has been lighted using advanced fibre-optics technology instead of with the conventional spots formerly employed. This has resulted in a

ANZAC Bridge, Sydney A stunning new feature of the city skyline The Anzac Bridge spanning Johnson’s Bay is one of Sydney’s newer landmarks.

Opened in December 1995, it provides a key link between Sydney City and the suburbs to the west and an east-west route from the city to the M4 toll way at Concord and the Homebush Bay Olympic 2000 site.

This new bridge has a main span of 345 m.

It is the longest cable-stayed span bridge in Australia and amongst the longest concrete cable-stayed span bridges in the world. It replaces the old Glebe Island Bridge and initially adopted that name.

During 1998, Australian flags were placed on the two 120-m-high tower tops and the bridge renamed Anzac Bridge to honour the memory of the Anzacs who served in World War 1.

Lighting is a subtle, dignified but highly

2

ilr 012 forum

MuseumsQuartier sparkles in light

This is the longest river bridge in Malaysia and is located on the west coast in Lumut in Perak state. Completed in 2000, the 1.24-km-long bridge has 13 arches, which symbolise the 13 States of Malaysia. The height ranges from 45 m to 90 m. Because of its beautiful arches, the Sultan (ruler) of Perak state was keen to have the bridge illuminated.

The lighting design philosophy was to preserve the bridge’s structural form at night with: 1) A sufficiently high lighting level 2) A nice ambience 3) Good colour contrast 4) Minimum glare 5) Ease of maintenance 6) Optimised energy cost substantial decrease in the lighting power from 16 kW to only 700 W. Fibre optics have also been employed to light the sculpted parts of the two facades of the palace. This is a great advantage, since it facilitates maintenance and reinforces safety, as it prevents contact

between the water of the fountain and the power lines. The lighting system has also been incorporated into the facade itself, which avoids installation of spotlights on other buildings or in external locations.

effective form of advertising that creates a positive image for companies, attracts visitors and promotes tourist attractions.

This project presented an opportunity to unify Sydney’s nightscape.

The predominant consideration in selecting a lighting system to highlight the various facades of the bridge (apart from safe movement for vehicular, nautical and

pedestrian traffic) was to complement the surrounding vista. Also, a deliberate attempt has been made to reveal the three-dimensional form of the towers using contrasting surface brightness and colour temperatures.

The north-south tower faces are generally subject to more distant views, so they are illuminated to a higher level. The east-

Lighting design: Philips Ibérica, Spain, in collaboration with the province of Navarre Installation: HUGUET S.L.

west tower faces are directed towards oncoming traffic, so they are illuminated to a lower level to enhance modelling while limiting distraction.

It was not necessary to uniformly illuminate the entire deck edge. Rather, the approach has been to use floodlights that distribute light along the deck, leading the eye to the towers by graduated brightness.

This also minimised installation costs and made maintenance more convenient.

The main luminaire employed is the MVF406 ArenaVision floodlight (71 units).

This is usually used for sports floodlighting, but is also perfect for largescale city beautification projects.

Lighting design: Andrew Nagy, Philips Lighting, Australia Electrical design and installation: Ultimate Lighting International

Due to the dark surroundings and to provide contrast, the bridge is illuminated with a varying level of 200 lux maximum and 20 lux minimum.

To create a dramatic or theatrical

ambience, three colours (yellow, green and blue) are used. Yellow is the Royal colour of the state, and also it enhances the natural effect seen during sunrise and sunset.

Blue produces a glow on the underside of the arches, which exaggerates the watery reflection of the bridge and creates a floating effect. Green creates a friendly atmosphere surrounding the bridge.

The lamps employed are cool-white HPI-T 250 W/400 W and CDM-T 70 W/150 W 942 with blue and green colour filters. SON-T 250 W/400 W lamps provide the yellow colour effect.

The S/MVF 617 luminaires on the largest arch (90 m) have good beam control, while the narrow beams on vertical pillars are from MVF 606.

Maintenance of luminaires is a major concern. So these are of high-grade die-

cast aluminium, which is dustproof and jetproof to IP65. Due to space constraints, all the luminaires are equipped with builtin ballasts, and this also saves on the cost of the installation.

Switching can be used to regulate light colour change and also to save on energy consumption. After midnight, certain lights can be switched off while maintaining some safety brightness for river users. At the arches, timer switches are set to give different colours (one colour at a time) with a delay of 5 minutes. Stand-alone switches can be used to by-pass the timer switches in the event of an emergency.

The normal energy cost per day (12 hours) is about US$45.00, which seems very economical considering the dramatic effects achieved and the enjoyment of the night sky surrounding the bridge.

Public authority: Public Works Department Lighting design: Ng Chee Hoong, Philips Lighting, Malaysia Main electrical contractor: Sin Chew

At one of the most prominent places in the heart of Vienna a new centre for contemporary art and culture has come into being. On the historic ground of the former Imperial stables and coach houses –used as the venue for fairs in recent times–a district has arisen, designed by well-known architects from all over the

world. Opened at the end of June this year, the MuseumsQuartier is the perfect place for cultural activities of all kinds.

The first impression when you enter the area is of cool concrete, historic structural materials–and Metronomis luminaires along the paths. In order to keep the luminaires ‘in dialogue with modern architecture and fitting into the historical ambience‘, the architect, Arch.Dipl.Ing. Rudolf Lamprecht, chose Metronomis ‘Torino‘ for this very special solution.

‘Beside impressive technical specifications and easy maintenance, Torino convinces by its timeless minimalistic form, free from exaggerated modernism or simple industrial design‘, says Mr Lamprecht, in explanation of his decision.

According to the mainly young people visiting this new cultural district, Metronomis Torino harmonises perfectly with all the historic buildings as well as with the newly-built museums, galleries and cafés. Metronomis not only accentuates both the classic and modern architecture by night, it also produces an atmosphere of ideal symbiosis of old and new by day.

Luminaires: Philips Lighting, Austria

ilr 012 forum

3

d.forum 2-5

27-11-2001

16:32

Pagina 4

FORUM

FORUM

Saint Paul de Vence

‘Nebula’ on show at Global Tools exhibition

CIE Road Lighting Workshop Proceedings

Illuminated defences

New interactive projection system presented at the Künstlerhaus, Vienna

Publication CIE x019-2001 (ISBN 3 901 906 07 X)

The Global Tools exhibition held from July 11 to September 9, 2001, aimed at revealing the basic ideas and cultural prerequisites of today’s technology design.

It has welcomed work from the most innovative design studios that would answer to the definition of ‘total design’: a design that is not decoration but the actual invention of things, and the shaping of their surroundings.

The Philips Design prototypes that went on show this year were all developed within the Philips Design research programme: from Ambient Intelligence to Ambient Culture.

Among the working prototypes presented was the interactive system entitled Nebula.

This interactive projection system is designed to enrich the personal experiences surrounding the ritual of going

Towards the end of the last millennium, CIE Division 4 ‘Lighting and Signalling for Transport’ organised three workshops. The first was that on ‘Road Lighting for Developing Countries’, held on 3 September 1997 in Durban, South Africa.

The next was on ‘Warrants for Road Lighting’ held on 24 October 1998 in Bath, Great Britain. And the last one was on ‘Criteria for Road Lighting’ held on 24 June 1999 in Warsaw, Poland.

There is a certain relation between the three workshops, and a clear progression can be seen in the topics that were discussed. The topics developed from the general discussion of Road Lighting for Developing Countries became more specific in Warrants for Road Lighting, and ended in the area of practical application as Criteria for Road Lighting. The progression is from general to specific and from abstract to concrete. The developing countries were in all cases a major focal point.

Another aspect of progression is that in the past the question of whether a section of road needed lighting was considered as a matter for politicians to decide; CIE only showing its involvement in road lighting after such decisions had been made. Even now, it is still recognised that the decision ‘to light or not to light’ is indeed a decision of policy makers, but the lighting profession could make valuable contributions to the decision-making

to bed, sleeping, and waking up. It consists of a ceiling projector linked via the Internet to a database of content.

Once the users have selected the content for projection, they can manipulate it simply by adjusting their sleeping positions and interacting with their partner while in bed. Content is selected by placing a smart ‘pebble’ in the bedside pocket. For example, a ‘cloud’ pebble produces content related to clouds and the sky, and encourages relaxation, while a ‘poem’ pebble produces content related to poetry and rhythms.

The system is also connected to an alarm clock, which projects two dots onto opposite sides of the ceiling. During the night, the distance between the dots diminishes. When the dots collide, sound and images are combined to create an appropriate waking experience.

The system, which also includes messages, drawings and games, is aimed at creating an atmosphere that encourages and enhances rest, reflection, conversation, intimacy, imagination and play.

A favourite with celebrities and lovers of Provence, Saint Paul de Vence used to be a ‘royal borough’ under the direct authority of the King of France. In 1537, a continuous village wall was built at the request of François I. The lighting of these impressive ramparts, which are on average 11 m high, employs a mix of different sodium and metal halide sources.

Their primary function is to highlight the strong points of the ramparts and other features, so prolonging the visiting hours until late into the evening.

More than 200 projectors were required to light the western fortifications. Sixty-two Condor C3 asymmetrical high-pressure sodium projectors of 400 W and twentytwo PRTA high-pressure sodium projectors of 400 W, both with Ra 65 and 2150 K, are

4

ilr 012 forum

installed in the moat and aimed upwards.

The angles in the wall are highlighted at close range by using six Condor C3 asymmetrical metal halide projectors (Ra 65, 4000 K) and three PRTA 41 metal halide projectors (Ra 54, 4000 K), all of 400 W. The gun ports are picked out by contre-jour lighting employing ninety Surf 2 fluorescent luminaires (58 W, Ra 85, 4000 K). The various trees along the wall are revealed in the light from 150 W and 400 W metal halide projectors.

Lighting design: Alain and Thierry Guilhot, Architecture Lumière Conseil Electrical installation: Jean-Pierre Boniface, Spie Trindel Côte d’Azur and Michel Girone, Ciampi

Photos Jean-Marc Charles

For further information: contact Laura Traldi, Email: press.design@philips.com or see: www.design.philips.com

process. This contribution might help lead to a better result where technical, humanitarian, ecological and economic factors all have their place.

The Proceedings contain the text of 17 papers as well as a report on the discussions and general conclusions. The publication contains 114 pages, and is readily available from the CIE National Committees or from the Central Bureau of the CIE in Vienna.

These Proceedings are a must for everybody working in the field of Road Lighting. www.cie.co.at

New ILR Team Member In June 2001, Mark Heuer joined the ILR team in the position of English Editor.

Mark, 49 years of age, comes from Iowa, USA, and moved to the Netherlands in 1997. He is a graduate of the University of Iowa with a degree in journalism, and has experience in writing English in both academic and popular environments.

We wish him every success in his new career.

ilr 012 forum

5

d.forum 2-5

27-11-2001

16:32

Pagina 4

FORUM

FORUM

Saint Paul de Vence

‘Nebula’ on show at Global Tools exhibition

CIE Road Lighting Workshop Proceedings

Illuminated defences

New interactive projection system presented at the Künstlerhaus, Vienna

Publication CIE x019-2001 (ISBN 3 901 906 07 X)

The Global Tools exhibition held from July 11 to September 9, 2001, aimed at revealing the basic ideas and cultural prerequisites of today’s technology design.

It has welcomed work from the most innovative design studios that would answer to the definition of ‘total design’: a design that is not decoration but the actual invention of things, and the shaping of their surroundings.

The Philips Design prototypes that went on show this year were all developed within the Philips Design research programme: from Ambient Intelligence to Ambient Culture.

Among the working prototypes presented was the interactive system entitled Nebula.

This interactive projection system is designed to enrich the personal experiences surrounding the ritual of going

Towards the end of the last millennium, CIE Division 4 ‘Lighting and Signalling for Transport’ organised three workshops. The first was that on ‘Road Lighting for Developing Countries’, held on 3 September 1997 in Durban, South Africa.

The next was on ‘Warrants for Road Lighting’ held on 24 October 1998 in Bath, Great Britain. And the last one was on ‘Criteria for Road Lighting’ held on 24 June 1999 in Warsaw, Poland.

There is a certain relation between the three workshops, and a clear progression can be seen in the topics that were discussed. The topics developed from the general discussion of Road Lighting for Developing Countries became more specific in Warrants for Road Lighting, and ended in the area of practical application as Criteria for Road Lighting. The progression is from general to specific and from abstract to concrete. The developing countries were in all cases a major focal point.

Another aspect of progression is that in the past the question of whether a section of road needed lighting was considered as a matter for politicians to decide; CIE only showing its involvement in road lighting after such decisions had been made. Even now, it is still recognised that the decision ‘to light or not to light’ is indeed a decision of policy makers, but the lighting profession could make valuable contributions to the decision-making

to bed, sleeping, and waking up. It consists of a ceiling projector linked via the Internet to a database of content.

Once the users have selected the content for projection, they can manipulate it simply by adjusting their sleeping positions and interacting with their partner while in bed. Content is selected by placing a smart ‘pebble’ in the bedside pocket. For example, a ‘cloud’ pebble produces content related to clouds and the sky, and encourages relaxation, while a ‘poem’ pebble produces content related to poetry and rhythms.

The system is also connected to an alarm clock, which projects two dots onto opposite sides of the ceiling. During the night, the distance between the dots diminishes. When the dots collide, sound and images are combined to create an appropriate waking experience.

The system, which also includes messages, drawings and games, is aimed at creating an atmosphere that encourages and enhances rest, reflection, conversation, intimacy, imagination and play.

A favourite with celebrities and lovers of Provence, Saint Paul de Vence used to be a ‘royal borough’ under the direct authority of the King of France. In 1537, a continuous village wall was built at the request of François I. The lighting of these impressive ramparts, which are on average 11 m high, employs a mix of different sodium and metal halide sources.

Their primary function is to highlight the strong points of the ramparts and other features, so prolonging the visiting hours until late into the evening.

More than 200 projectors were required to light the western fortifications. Sixty-two Condor C3 asymmetrical high-pressure sodium projectors of 400 W and twentytwo PRTA high-pressure sodium projectors of 400 W, both with Ra 65 and 2150 K, are

4

ilr 012 forum

installed in the moat and aimed upwards.

The angles in the wall are highlighted at close range by using six Condor C3 asymmetrical metal halide projectors (Ra 65, 4000 K) and three PRTA 41 metal halide projectors (Ra 54, 4000 K), all of 400 W. The gun ports are picked out by contre-jour lighting employing ninety Surf 2 fluorescent luminaires (58 W, Ra 85, 4000 K). The various trees along the wall are revealed in the light from 150 W and 400 W metal halide projectors.

Lighting design: Alain and Thierry Guilhot, Architecture Lumière Conseil Electrical installation: Jean-Pierre Boniface, Spie Trindel Côte d’Azur and Michel Girone, Ciampi

Photos Jean-Marc Charles

For further information: contact Laura Traldi, Email: press.design@philips.com or see: www.design.philips.com

process. This contribution might help lead to a better result where technical, humanitarian, ecological and economic factors all have their place.

The Proceedings contain the text of 17 papers as well as a report on the discussions and general conclusions. The publication contains 114 pages, and is readily available from the CIE National Committees or from the Central Bureau of the CIE in Vienna.

These Proceedings are a must for everybody working in the field of Road Lighting. www.cie.co.at

New ILR Team Member In June 2001, Mark Heuer joined the ILR team in the position of English Editor.

Mark, 49 years of age, comes from Iowa, USA, and moved to the Netherlands in 1997. He is a graduate of the University of Iowa with a degree in journalism, and has experience in writing English in both academic and popular environments.

We wish him every success in his new career.

ilr 012 forum

5

e.ednkarlj6-13

27-11-2001

17:26

Pagina 6

Projects

Urban rehabilitation Editor’s notes

Photos Philips Lighting, Norway

Many Europeans have a liking for a seaside holiday, during which swimming, sun-bathing and looking at others doing the same are the main activities. That is by day. But then comes darkness and what to do then?

Maybe a small walk after dinner for a look at the heritage, something to feed the conversation when back at home. This means that the church or cathedral or any other monument must be lighted by more than the roadlighting or the lights of the disco opposite. This good and simple idea to attract tourists with light was put into practice for the first time, perhaps, on the coast of Normandy (see ILR953). Now the city of Grasse in the South of France is effecting a Commune-wide lighting plan. The traditional heritage is here also the main subject, combined with the industrial heritage, as it has long been the city of perfume production.

Could what is being done for temporary residents as tourists also be done for residents elsewhere? Two cities of Northern Europe–Hamburg and Oslo (Norway)–are making the attempt. Adjacent to the harbour in Hamburg, the dark and nearly forgotten Speicherstadt (for warehousecity) is now lighted with just as much respect and delicacy as the architectural details of monuments in the city centre.

Many large cities in the world, especially capitals, have a street or avenue or square (Paris has the Champs-Élysées, Berlin the Kurfürstendamm) that provides a prestigious setting and address for a shop or head-offices.

Alas, many of these renowned streets suffered quickly from their own success. Shop signs and luminous advertisements disfigured the original architecture. Such was the case on Oslo’s Karl Johan. In these instances, one could speak of an urban rehabilitation by light. And certainly about city beautification.

In Brussels on the Grand Place, a tourist high spot of Europe’s capital, the lighting design brief was to update a superb square with today’s whiter and (of course) more economical light sources.

White? Light? Well. Was or is light for outdoor use ever really white? To laymen it was earlier yellowish or bluish–but white? Truly coloured light has been the speciality of entertainment, theatre and signs. Perhaps it is this association with signs that sometimes triggers controversial discussions about using colour when lighting heritage buildings. And yet no one opposes using ‘white’ light to enhance existing colours, so why not use real colours?

1 Duilio Passariello

This traditional 1.8-km-long avenue in the centre of Oslo, with its fine architecture in a rich diversity of styles, has been completely revived

J F Caminada

O

Oslo is predominantly a modern city in terms of its architecture, and is noted for its many museums, parks and public places. Karl Johan Gate, which has become the city’s main shopping area, was built over 150 years ago to connect the Royal Palace to the rest of Oslo.

Named after its planner, the king Karl Johan, it is now the most famous street in Norway and the traditional site for the celebration of the country’s national day. KJG extends from the Central Station to the Royal Castle, and half of its length is for pedestrians only.

Along the street there are several buildings of great importance for the country, among them:

A street reborn Karl Johan Gate, Oslo, Norway

On how lighting, backed up by the local citizens, can become the most remarkable aspect of an urban revitalisation project

the Stortinget (parliament), the University, and the National Theatre. Also the Grand Hotel (figure 1, right), from where the Nobel Peace Prize winner greets the crowds.

In an attempt to humanise a magnificent street, which had fallen into a state of neglect, a workgroup called ‘Initiative Karl Johan’ was established. Its goal was the beautification of this part of the city.

2

6

ilr 012 illuminations/projects

ilr 012 illuminations/projects

7

e.ednkarlj6-13

27-11-2001

17:26

Pagina 6

Projects

Urban rehabilitation Editor’s notes

Photos Philips Lighting, Norway

Many Europeans have a liking for a seaside holiday, during which swimming, sun-bathing and looking at others doing the same are the main activities. That is by day. But then comes darkness and what to do then?

Maybe a small walk after dinner for a look at the heritage, something to feed the conversation when back at home. This means that the church or cathedral or any other monument must be lighted by more than the roadlighting or the lights of the disco opposite. This good and simple idea to attract tourists with light was put into practice for the first time, perhaps, on the coast of Normandy (see ILR953). Now the city of Grasse in the South of France is effecting a Commune-wide lighting plan. The traditional heritage is here also the main subject, combined with the industrial heritage, as it has long been the city of perfume production.

Could what is being done for temporary residents as tourists also be done for residents elsewhere? Two cities of Northern Europe–Hamburg and Oslo (Norway)–are making the attempt. Adjacent to the harbour in Hamburg, the dark and nearly forgotten Speicherstadt (for warehousecity) is now lighted with just as much respect and delicacy as the architectural details of monuments in the city centre.

Many large cities in the world, especially capitals, have a street or avenue or square (Paris has the Champs-Élysées, Berlin the Kurfürstendamm) that provides a prestigious setting and address for a shop or head-offices.

Alas, many of these renowned streets suffered quickly from their own success. Shop signs and luminous advertisements disfigured the original architecture. Such was the case on Oslo’s Karl Johan. In these instances, one could speak of an urban rehabilitation by light. And certainly about city beautification.

In Brussels on the Grand Place, a tourist high spot of Europe’s capital, the lighting design brief was to update a superb square with today’s whiter and (of course) more economical light sources.

White? Light? Well. Was or is light for outdoor use ever really white? To laymen it was earlier yellowish or bluish–but white? Truly coloured light has been the speciality of entertainment, theatre and signs. Perhaps it is this association with signs that sometimes triggers controversial discussions about using colour when lighting heritage buildings. And yet no one opposes using ‘white’ light to enhance existing colours, so why not use real colours?

1 Duilio Passariello

This traditional 1.8-km-long avenue in the centre of Oslo, with its fine architecture in a rich diversity of styles, has been completely revived

J F Caminada

O

Oslo is predominantly a modern city in terms of its architecture, and is noted for its many museums, parks and public places. Karl Johan Gate, which has become the city’s main shopping area, was built over 150 years ago to connect the Royal Palace to the rest of Oslo.

Named after its planner, the king Karl Johan, it is now the most famous street in Norway and the traditional site for the celebration of the country’s national day. KJG extends from the Central Station to the Royal Castle, and half of its length is for pedestrians only.

Along the street there are several buildings of great importance for the country, among them:

A street reborn Karl Johan Gate, Oslo, Norway

On how lighting, backed up by the local citizens, can become the most remarkable aspect of an urban revitalisation project

the Stortinget (parliament), the University, and the National Theatre. Also the Grand Hotel (figure 1, right), from where the Nobel Peace Prize winner greets the crowds.

In an attempt to humanise a magnificent street, which had fallen into a state of neglect, a workgroup called ‘Initiative Karl Johan’ was established. Its goal was the beautification of this part of the city.

2

6

ilr 012 illuminations/projects

ilr 012 illuminations/projects

7

e.ednkarlj6-13

27-11-2001

17:27

Pagina 8

Per Ditlev Simonsen – Mayor of Oslo

Kaare M Skallerud – Consultant

‘I get one more thing in the city that is incredibly beautiful: the combination of light and the historic traditions and the architecture. This is wonderful. And it is also a very strong reminder of the importance of co-operation between private enterprise and private property, and the city itself.’

4

6

The Lighting In 1999 Philips won a competition to design a lighting concept for Karl Johan Gate buildings.

The task of the ‘Initiative Karl Johan’ workgroup’s project planner was to convince the more than 30 property owners of the 52 buildings facing the street to participate in this urban lighting project. The renovation effort also included street pavement for the pedestrian area, new light poles and street furniture. Some building facades were also refurbished.

Democracy The aim was to accentuate the individual

8

5

characteristics of each building using a unifying language that would create a sense of context: a street. Light acts as a medium to express the buildings’ great diversity of architecture, function and identity. The result was a total experience of this public domain. A world full of architectural details was revealed using 4000 small fixtures. Their location fits with each building’s formal character, avoiding conflicts with the decorative elements of the building.

The aim was for a soft and warm visual feeling.

The metaphor we used in creating this public experience was the idea of Democracy. Here every individual light counts, every architectural detail is important.

1, 2 Karl Johan Gate. By night, showing the participation of the various buildings in the illumination. By day, a celebration atmosphere.

View toward the Royal Palace.

Photos Philips Lighting, Norway

3

‘I guess the project itself was a challenge. I have never experienced anything like it in my career. There is nothing like it in Scandinavia. Because Karl Johan street is a multiplicity of functions, a variety of buildings, it was a question of trying to pick out the identities of the different buildings, what’s in their architecture, and how is one building compared to another building. And that is one of the strengths of the street…it is different.’

3-6 Elegant lighting of the University (3,4) and Parliament (6) and the more utilitarian look of the Central Station (5).

7, 8 Democracy in practice: compact spotlights emphasise architectural details, while vivid roof sign attracts attention.

Per Jaeger – Project manager ‘Initiative Karl Johan’

‘People were very sceptical, in the beginning. They were not really keen on the project, but after a while they became very positive and enthusiastic. Indeed, a lot of people who were never meant to participate in this actually called to ask if they could do so. To work with lights in the city is probably the best tool you can have to make the citizens really start to care.’

7

8

ilr 012

ilr 012

9

e.ednkarlj6-13

27-11-2001

17:27

Pagina 8

Per Ditlev Simonsen – Mayor of Oslo

Kaare M Skallerud – Consultant

‘I get one more thing in the city that is incredibly beautiful: the combination of light and the historic traditions and the architecture. This is wonderful. And it is also a very strong reminder of the importance of co-operation between private enterprise and private property, and the city itself.’

4

6

The Lighting In 1999 Philips won a competition to design a lighting concept for Karl Johan Gate buildings.

The task of the ‘Initiative Karl Johan’ workgroup’s project planner was to convince the more than 30 property owners of the 52 buildings facing the street to participate in this urban lighting project. The renovation effort also included street pavement for the pedestrian area, new light poles and street furniture. Some building facades were also refurbished.

Democracy The aim was to accentuate the individual

8

5

characteristics of each building using a unifying language that would create a sense of context: a street. Light acts as a medium to express the buildings’ great diversity of architecture, function and identity. The result was a total experience of this public domain. A world full of architectural details was revealed using 4000 small fixtures. Their location fits with each building’s formal character, avoiding conflicts with the decorative elements of the building.

The aim was for a soft and warm visual feeling.

The metaphor we used in creating this public experience was the idea of Democracy. Here every individual light counts, every architectural detail is important.

1, 2 Karl Johan Gate. By night, showing the participation of the various buildings in the illumination. By day, a celebration atmosphere.

View toward the Royal Palace.

Photos Philips Lighting, Norway

3

‘I guess the project itself was a challenge. I have never experienced anything like it in my career. There is nothing like it in Scandinavia. Because Karl Johan street is a multiplicity of functions, a variety of buildings, it was a question of trying to pick out the identities of the different buildings, what’s in their architecture, and how is one building compared to another building. And that is one of the strengths of the street…it is different.’

3-6 Elegant lighting of the University (3,4) and Parliament (6) and the more utilitarian look of the Central Station (5).

7, 8 Democracy in practice: compact spotlights emphasise architectural details, while vivid roof sign attracts attention.

Per Jaeger – Project manager ‘Initiative Karl Johan’

‘People were very sceptical, in the beginning. They were not really keen on the project, but after a while they became very positive and enthusiastic. Indeed, a lot of people who were never meant to participate in this actually called to ask if they could do so. To work with lights in the city is probably the best tool you can have to make the citizens really start to care.’

7

8

ilr 012

ilr 012

9

e.ednkarlj6-13

27-11-2001

17:39

Original sketches by Duilio Passariello

Pagina 10

Duilio Passariello – Lighting designer, Philips Lighting

‘I wanted to show a democracy. It is a very difficult concept. I wanted to show every building of this street participating in the overall illumination of the street. So this is a collective effort, where every detail counts, where every facade has a unique form. So, this is the participation of the individuals, of the society, of this city. So for me, it's the metaphor of democracy.

‘I think we have succeeded. We have created a very soft elegant illumination of the street.’

Kari Gaarder –Lighting designer, Philips Lighting

Commercial and non-commercial spaces In designing the illumination of the different buildings we considered their use. All of the commercial spaces were generally located in the ground floor of the street. They have their own commercial lighting and we did not want, at this stage, to interfere with it–eventually there will be a harmonising criterion for these types of lights–so we concentrated on levels above the ground. We searched for a lighting vision that would challenge the view at the commercial levels below, of what is on the streets for sale. For the non-commercial buildings, we did not have these competing areas; here we worked on a much grander scale. The Stortinget, University and National Theatre were constructed at almost

10

ilr 012 illuminations/projects

the same time in the 19th century, but convey three different architectural styles. For the neoGothic Parliament we wanted to express the nostalgic quality of the building, the corbels and archways that are part of its unique ornamentation. For the neo-classical University we used light to accentuate the fluted shafts of the columns. Light was aimed to the upper parts of the building to avoid glare; a classical combination of blue and amber gave to the building a pleasing patina. In the case of the neoRomanesque National Theatre, the obvious choice was to create a theatrical scene, using the building’s grand scale to create the emotion of a play about to begin.

We hope that one day soon the Royal Castle will

be part of the public urban lighting scheme. Its integration into the KJG will consolidate the aspect of the street. ■

‘We worked closely together with the City Inspector of the Inspectorate of Ancient Monuments and Historic Buildings.

One of the challenges was to limit the types of luminaires.

To meet this we introduced the world’s smallest halogen spot.’

Initiative: ‘Action Karl Johan’, Project leader Per Jæger Electrical consultant/lighting designer: Kaare Skallerud AS Lighting designer: Duilio Passariello, Philips Lighting, LiDAC Lighting technics and test installations: Kari Gaarder, Philips Lighting, Norway Installation contractor: Viken Energinett AS

ilr 012 illuminations/projects

11

e.ednkarlj6-13

27-11-2001

17:39

Original sketches by Duilio Passariello

Pagina 10

Duilio Passariello – Lighting designer, Philips Lighting

‘I wanted to show a democracy. It is a very difficult concept. I wanted to show every building of this street participating in the overall illumination of the street. So this is a collective effort, where every detail counts, where every facade has a unique form. So, this is the participation of the individuals, of the society, of this city. So for me, it's the metaphor of democracy.

‘I think we have succeeded. We have created a very soft elegant illumination of the street.’

Kari Gaarder –Lighting designer, Philips Lighting

Commercial and non-commercial spaces In designing the illumination of the different buildings we considered their use. All of the commercial spaces were generally located in the ground floor of the street. They have their own commercial lighting and we did not want, at this stage, to interfere with it–eventually there will be a harmonising criterion for these types of lights–so we concentrated on levels above the ground. We searched for a lighting vision that would challenge the view at the commercial levels below, of what is on the streets for sale. For the non-commercial buildings, we did not have these competing areas; here we worked on a much grander scale. The Stortinget, University and National Theatre were constructed at almost

10

ilr 012 illuminations/projects

the same time in the 19th century, but convey three different architectural styles. For the neoGothic Parliament we wanted to express the nostalgic quality of the building, the corbels and archways that are part of its unique ornamentation. For the neo-classical University we used light to accentuate the fluted shafts of the columns. Light was aimed to the upper parts of the building to avoid glare; a classical combination of blue and amber gave to the building a pleasing patina. In the case of the neoRomanesque National Theatre, the obvious choice was to create a theatrical scene, using the building’s grand scale to create the emotion of a play about to begin.

We hope that one day soon the Royal Castle will

be part of the public urban lighting scheme. Its integration into the KJG will consolidate the aspect of the street. ■

‘We worked closely together with the City Inspector of the Inspectorate of Ancient Monuments and Historic Buildings.

One of the challenges was to limit the types of luminaires.

To meet this we introduced the world’s smallest halogen spot.’

Initiative: ‘Action Karl Johan’, Project leader Per Jæger Electrical consultant/lighting designer: Kaare Skallerud AS Lighting designer: Duilio Passariello, Philips Lighting, LiDAC Lighting technics and test installations: Kari Gaarder, Philips Lighting, Norway Installation contractor: Viken Energinett AS

ilr 012 illuminations/projects

11

27-11-2001

17:40

Pagina 12

Photos Philips Lighting, Norway

e.ednkarlj6-13

10

11

Petter Kristiansen – Viken Energinett

Petter Haug –Norwegian Institute of Lighting

‘There are over one hundred thousand street lights in Oslo, so I think we have the routines and know how to take care of the street lights. And it is similar with the façade and effect lighting.’

9 Accent lighting reveals the elegant elements on this facade.

9

‘I believe that the project has resulted in many benefits. People can now discover their own city in another way. Many of the buildings, nice old buildings with elegant facades, which may never have been noticed before, can now be seen in a completely different way. Now we can admire the architecture, the small figures, and the details in the buildings.'

10, 11 Lighting expresses great diversity of corners and facades.

Specific light effects at various levels on shops and cafés with (coloured) spots and fibres.

12 Shoppers stroll the avenue, becoming part of the light and life of the street.

12

12

ilr 012 illuminations/projects

ilr 012 illuminations/projects

13

27-11-2001

17:40

Pagina 12

Photos Philips Lighting, Norway

e.ednkarlj6-13

10

11

Petter Kristiansen – Viken Energinett

Petter Haug –Norwegian Institute of Lighting

‘There are over one hundred thousand street lights in Oslo, so I think we have the routines and know how to take care of the street lights. And it is similar with the façade and effect lighting.’

9 Accent lighting reveals the elegant elements on this facade.

9

‘I believe that the project has resulted in many benefits. People can now discover their own city in another way. Many of the buildings, nice old buildings with elegant facades, which may never have been noticed before, can now be seen in a completely different way. Now we can admire the architecture, the small figures, and the details in the buildings.'

10, 11 Lighting expresses great diversity of corners and facades.

Specific light effects at various levels on shops and cafés with (coloured) spots and fibres.

12 Shoppers stroll the avenue, becoming part of the light and life of the street.

12

12

ilr 012 illuminations/projects

ilr 012 illuminations/projects

13

f.hamburg14-19

27-11-2001

19:01

Pagina 14

Projects Roland Halbe

1 Illumination of hoist bays and winch covers accents working areas of this street-side façade.

3, 5 Westfalen stairway towers lit at each level by two FNF 100 luminaires fitted with PL-C 13W lamps (3). Test lighting (5): emphasis was split between Westfalen towers and adjacent winch covers.

1

Michael Zapf

Michael Batz

Michael Batz

2 Midday canal-side view at low tide in the Speicherstadt.

4 The Speicherstadt as a backdrop for performances, such as ‘Hamburger Jedermann’.

4

Michael Batz

The largest historical warehouse complex in the world became a softly glowing night-time panorama over a stretch of 1.5 km

A

At a time when municipalities are increasingly competing with one another to market their cultural identities, temporary transformations of the urban space for cultural purposes frequently give rise to lasting urban design projects. In Hamburg this was the case when in September 1999 the “Mozart.Amerika” project transformed the city's warehouse district (Speicherstadt), illuminating it with over 2200 metres of transparent tubing. That display led to the realisation of an unprecedented project: in late April of this year light from over 800 luminaires bathed an entire section of the city during the early hours of darkness. Over a stretch of 1.5 km, the largest historical warehouse complex in the world became a softly glowing night-time panorama.

Urbane Light Speicherstadt, Hamburg, Germany

Illumination of several viewing levels invites the observer to discover the wealth of architectural detail of facades and bridges in these 19th century structures

Michael Zapf

The subject This group of warehouses was designed in the neo-Gothic style prevalent at the end of the 19th century. As a result, there are a number of features reminiscent of cathedrals: a wealth of detail, asymmetry, and variation in the serial elements (bays, gables, turrets, pointed roofs, hoist covers). The colours of the building materials used range from light yellow to bluishred, enhanced with green or black glazed decorative bricks.

3

5

The Concept Artistic illumination The idea of illuminating the warehouse district did not come from the town planners, but from a theatrical conception. Since cultural projects have discovered this traditional commercial area, the programme of a ‘district as a stage’ is developing more and more into an artistic idea of public space. Basically, it is not a matter of ‘throwing’ light at a group of structures, but using light to accentuate the existing architecture as a special treasure of the city. The buildings themselves remain the central theme. In addition, an artistic lighting design describes a locality not only as it actually presents itself, but also in the dimensions of tradition and transformation. No other medium can depict this transformation more appropriately and sensitively than light.

Three light forms Various light forms coexist on this urban landscape. Along with commercial light in the

2

14

ilr 012 illuminations/projects

ilr 012 illuminations/projects

15

f.hamburg14-19

27-11-2001

19:01

Pagina 14

Projects Roland Halbe

1 Illumination of hoist bays and winch covers accents working areas of this street-side façade.

3, 5 Westfalen stairway towers lit at each level by two FNF 100 luminaires fitted with PL-C 13W lamps (3). Test lighting (5): emphasis was split between Westfalen towers and adjacent winch covers.

1

Michael Zapf

Michael Batz

Michael Batz

2 Midday canal-side view at low tide in the Speicherstadt.

4 The Speicherstadt as a backdrop for performances, such as ‘Hamburger Jedermann’.

4

Michael Batz

The largest historical warehouse complex in the world became a softly glowing night-time panorama over a stretch of 1.5 km

A

At a time when municipalities are increasingly competing with one another to market their cultural identities, temporary transformations of the urban space for cultural purposes frequently give rise to lasting urban design projects. In Hamburg this was the case when in September 1999 the “Mozart.Amerika” project transformed the city's warehouse district (Speicherstadt), illuminating it with over 2200 metres of transparent tubing. That display led to the realisation of an unprecedented project: in late April of this year light from over 800 luminaires bathed an entire section of the city during the early hours of darkness. Over a stretch of 1.5 km, the largest historical warehouse complex in the world became a softly glowing night-time panorama.

Urbane Light Speicherstadt, Hamburg, Germany

Illumination of several viewing levels invites the observer to discover the wealth of architectural detail of facades and bridges in these 19th century structures

Michael Zapf

The subject This group of warehouses was designed in the neo-Gothic style prevalent at the end of the 19th century. As a result, there are a number of features reminiscent of cathedrals: a wealth of detail, asymmetry, and variation in the serial elements (bays, gables, turrets, pointed roofs, hoist covers). The colours of the building materials used range from light yellow to bluishred, enhanced with green or black glazed decorative bricks.

3

5

The Concept Artistic illumination The idea of illuminating the warehouse district did not come from the town planners, but from a theatrical conception. Since cultural projects have discovered this traditional commercial area, the programme of a ‘district as a stage’ is developing more and more into an artistic idea of public space. Basically, it is not a matter of ‘throwing’ light at a group of structures, but using light to accentuate the existing architecture as a special treasure of the city. The buildings themselves remain the central theme. In addition, an artistic lighting design describes a locality not only as it actually presents itself, but also in the dimensions of tradition and transformation. No other medium can depict this transformation more appropriately and sensitively than light.

Three light forms Various light forms coexist on this urban landscape. Along with commercial light in the

2

14

ilr 012 illuminations/projects

ilr 012 illuminations/projects

15

f.hamburg14-19

27-11-2001

19:02

Pagina 16

quayside buildings (offices, storage floors) and functional light (street lighting), the illumination represents a third form of lighting in this unique warehouse complex – urban light. While the criterion for commercial lighting is the greatest possible conspicuousness, functional lighting is often content to be visual buttermilk, offering basic visual fare in the form of flat illumination from a distance. Urban light, on the other hand, facilitates metropolitan moments, statements about the contemporary world. This refers here not only to the large-scale light of dominant systems (stadiums and shows), but also to the small-scale and muted light from very inconspicuous light sources.

Creating the optical theatre The aim in the warehouse district is to create an optical theatre with the discrete distribution of light and darkness. Three viewing directions are important to consider for such a theatre: - the view from the water (motor launches, boats) - the view from the street (pedestrians) - the view from above (floors of the buildings).

7 Daytime view of the neoGothic architectural style of the Speicherstadt.

illumination is based on the interaction of these five levels.

The more inconspicuous the luminaires and the way in which they are mounted, the more the illumination will have a natural quality. Small, economical light sources are required, particularly for roofs and bridges. To avoid glare, uplights should generally be used. The sense of great spatial depth can be emphasised at various points by the use of backlights. The reflections on the surface of the water make it possible to speak of double illumination.

Vertical, static paths of light stand in contrast to flat-spread, moving ones.

Generally speaking, the interplay of distance and proximity should at all times invite people to explore, to change vantage point and direction and to discover the rich detail. This includes surface structures, figurative elements and the strong colour of the brickwork landscape, as well as railings, doors, etc. Atmosphere, emotion and changes in ways of viewing are qualities that have a major influence on the character of a city.

Urban light allows the viewer’s image of an illuminated city to become a vision of urbanity.

9 Total storage area of the complex is 315 000 m2.

7

9

Michael Zapf

These three views incorporate five basic levels that are relevant to the lighting design: the waterline, the quaysides, the bridges, the facades and the rooflines. In principle, the artistic

6 6 The softly glowing night-time panorama along the customs channel. In use: Decoflood MVF606 luminaires and CDM-T 35W lamps. The white light provides good natural colour rendering.

8 The creation of the optical theatre at the opening ceremonies in late April.

8

16

ilr 012 illuminations/projects

ilr 012

17

f.hamburg14-19

27-11-2001

19:02

Pagina 16

quayside buildings (offices, storage floors) and functional light (street lighting), the illumination represents a third form of lighting in this unique warehouse complex – urban light. While the criterion for commercial lighting is the greatest possible conspicuousness, functional lighting is often content to be visual buttermilk, offering basic visual fare in the form of flat illumination from a distance. Urban light, on the other hand, facilitates metropolitan moments, statements about the contemporary world. This refers here not only to the large-scale light of dominant systems (stadiums and shows), but also to the small-scale and muted light from very inconspicuous light sources.

Creating the optical theatre The aim in the warehouse district is to create an optical theatre with the discrete distribution of light and darkness. Three viewing directions are important to consider for such a theatre: - the view from the water (motor launches, boats) - the view from the street (pedestrians) - the view from above (floors of the buildings).

7 Daytime view of the neoGothic architectural style of the Speicherstadt.

illumination is based on the interaction of these five levels.

The more inconspicuous the luminaires and the way in which they are mounted, the more the illumination will have a natural quality. Small, economical light sources are required, particularly for roofs and bridges. To avoid glare, uplights should generally be used. The sense of great spatial depth can be emphasised at various points by the use of backlights. The reflections on the surface of the water make it possible to speak of double illumination.

Vertical, static paths of light stand in contrast to flat-spread, moving ones.

Generally speaking, the interplay of distance and proximity should at all times invite people to explore, to change vantage point and direction and to discover the rich detail. This includes surface structures, figurative elements and the strong colour of the brickwork landscape, as well as railings, doors, etc. Atmosphere, emotion and changes in ways of viewing are qualities that have a major influence on the character of a city.

Urban light allows the viewer’s image of an illuminated city to become a vision of urbanity.

9 Total storage area of the complex is 315 000 m2.

7

9

Michael Zapf

These three views incorporate five basic levels that are relevant to the lighting design: the waterline, the quaysides, the bridges, the facades and the rooflines. In principle, the artistic

6 6 The softly glowing night-time panorama along the customs channel. In use: Decoflood MVF606 luminaires and CDM-T 35W lamps. The white light provides good natural colour rendering.

8 The creation of the optical theatre at the opening ceremonies in late April.

8

16

ilr 012 illuminations/projects

ilr 012

17

19:03

Pagina 18

12 ‘Double’ illumination: a contrast of the static lighting and its dynamic reflection.

Roland Halbe

10 Kornhaus Bridge lighting: ‘Pacific’ waterproof luminaires fitted with ‘TL’D 36W lamps and very compact MiniDecoflood spotlights housing CDM-R 35W lamps.

11 A single luminaire centred under the bay doors brings out the sandstone façade elements along the Kehrwieder canal.

13 The interplay of light and shadow creates a strong impression on this trio of ornately-executed roof peaks.

Roland Halbe

27-11-2001

Roland Halbe

f.hamburg14-19

14 Street-side lighting plan: luminaires are set on either side of hoist lifts (red). Roofline luminaires (blue and pink) focus on hoist covers and peaks.

12

13

Michael Batz

10

14

The Lighting The final lighting design addresses both the size and architectural diversity of this port area and its bridges, using light sparingly to achieve the desired artistic expression.

The average lamp wattage for the over 800 luminaires used in the entire warehouse district is only 26 watts, with a range from 13 watts around the towers to 18 watts for the bridges and 35 watts for the façades. In selected cases have lamps of 70 watts been installed, but then only to distinguish one building, or block, from another.

The overall result is an exceptionally attractive arrangement of light and dark.

Façade lighting The inner canal routes, no longer required for delivery purposes, are lit with a single luminaire centred under the bay doors. This makes the protruding sandstone façade elements and the rounded arches of the hatches appear even more impressive, while the recessed doors look like portals for a performance.

On the street side bordering the customs channel, luminaires have been installed above the public lighting domain (approx. 4.5m above ground level) on both sides of the hoist lifts.

Located near the old part of the city of Hamburg, this area is destined to become a popular place for a stroll once the customs fence is taken down.

Thus, downlights were out of the question because of their glare, but also in order to exclude any dramatic effects–artificial moonlight, etc.

The proximity to the subject and the façade has been a definite priority. As a rule, distant lighting, surface lighting and the introduction of new colours have been avoided.

Commissioner: Foundation “Lebendige Stadt”, Hamburger Hafen- und Lagerhaus AG (HHLA) in cooperation with the City of Hamburg Artistic concept: Michael Batz, Speicherstadt Theatres Lighting design: Reinier Hendriks, Philips Lighting, France; lighting coordination: Ernst Brunken, Philips Lighting, Germany Installation: Horst Busch Elektroinstallation GmbH, Hamburg

Bridge Lighting Ten of the thirteen bridges connecting the island complex are currently illuminated, most from the underside with 18W or 36W fluorescent lamps. In addition, small floodlights project on the vertical beams of both the Brooks and Kornhaus bridges, drawing the eye to these large constructions that span the customs channel.

Brighter future By the end of the year a further 300 or so luminaires will have been installed, preparing the warehouse area to be a fitting gateway for the planned ‘Harbour City’ port complex. This large urban development program will link up directly with the ‘Sandtorkai’, the world-famous address for the coffee trade. ■

Michael Batz, 49-year-old German dramatist, author and literary adviser, heads the ‘Theatre in the Speicherstadt’ group in Hamburg.

Educated in, among other things, literature, philosophy, and the history of art, he specialises in ‘event theatre’. He organises the ‘Hamburger Jedermann’ production staged every summer in the Speicherstadt, and is also currently involved in the development of a permanent illumination for the Hamburg Contemporary Art Museum.

11

18

ilr 012 illuminations/projects

ilr 012 illuminations/projects

19

19:03

Pagina 18

12 ‘Double’ illumination: a contrast of the static lighting and its dynamic reflection.

Roland Halbe

10 Kornhaus Bridge lighting: ‘Pacific’ waterproof luminaires fitted with ‘TL’D 36W lamps and very compact MiniDecoflood spotlights housing CDM-R 35W lamps.

11 A single luminaire centred under the bay doors brings out the sandstone façade elements along the Kehrwieder canal.

13 The interplay of light and shadow creates a strong impression on this trio of ornately-executed roof peaks.

Roland Halbe

27-11-2001

Roland Halbe

f.hamburg14-19

14 Street-side lighting plan: luminaires are set on either side of hoist lifts (red). Roofline luminaires (blue and pink) focus on hoist covers and peaks.

12

13

Michael Batz

10

14

The Lighting The final lighting design addresses both the size and architectural diversity of this port area and its bridges, using light sparingly to achieve the desired artistic expression.

The average lamp wattage for the over 800 luminaires used in the entire warehouse district is only 26 watts, with a range from 13 watts around the towers to 18 watts for the bridges and 35 watts for the façades. In selected cases have lamps of 70 watts been installed, but then only to distinguish one building, or block, from another.

The overall result is an exceptionally attractive arrangement of light and dark.

Façade lighting The inner canal routes, no longer required for delivery purposes, are lit with a single luminaire centred under the bay doors. This makes the protruding sandstone façade elements and the rounded arches of the hatches appear even more impressive, while the recessed doors look like portals for a performance.

On the street side bordering the customs channel, luminaires have been installed above the public lighting domain (approx. 4.5m above ground level) on both sides of the hoist lifts.

Located near the old part of the city of Hamburg, this area is destined to become a popular place for a stroll once the customs fence is taken down.

Thus, downlights were out of the question because of their glare, but also in order to exclude any dramatic effects–artificial moonlight, etc.

The proximity to the subject and the façade has been a definite priority. As a rule, distant lighting, surface lighting and the introduction of new colours have been avoided.

Commissioner: Foundation “Lebendige Stadt”, Hamburger Hafen- und Lagerhaus AG (HHLA) in cooperation with the City of Hamburg Artistic concept: Michael Batz, Speicherstadt Theatres Lighting design: Reinier Hendriks, Philips Lighting, France; lighting coordination: Ernst Brunken, Philips Lighting, Germany Installation: Horst Busch Elektroinstallation GmbH, Hamburg

Bridge Lighting Ten of the thirteen bridges connecting the island complex are currently illuminated, most from the underside with 18W or 36W fluorescent lamps. In addition, small floodlights project on the vertical beams of both the Brooks and Kornhaus bridges, drawing the eye to these large constructions that span the customs channel.

Brighter future By the end of the year a further 300 or so luminaires will have been installed, preparing the warehouse area to be a fitting gateway for the planned ‘Harbour City’ port complex. This large urban development program will link up directly with the ‘Sandtorkai’, the world-famous address for the coffee trade. ■

Michael Batz, 49-year-old German dramatist, author and literary adviser, heads the ‘Theatre in the Speicherstadt’ group in Hamburg.

Educated in, among other things, literature, philosophy, and the history of art, he specialises in ‘event theatre’. He organises the ‘Hamburger Jedermann’ production staged every summer in the Speicherstadt, and is also currently involved in the development of a permanent illumination for the Hamburg Contemporary Art Museum.

11

18

ilr 012 illuminations/projects

ilr 012 illuminations/projects

19

27-11-2001

19:21

Projects

Pagina 20

Volmer Rosi Photos: Philips Lighting Belgium / Visual News

g.brussel20-23

Through the nature and quality of its architecture, the Grand-Place in Brussels is outstanding as a public open space

A harmony of light The Grand-Place, Brussels, Belgium

The buildings and the square itself have been illuminated as part of a new city beautification project to help create a better sense of harmony

20

ilr 012 illuminations/projects

ilr 012 illuminations/projects

21

27-11-2001

19:21

Projects

Pagina 20

Volmer Rosi Photos: Philips Lighting Belgium / Visual News

g.brussel20-23

Through the nature and quality of its architecture, the Grand-Place in Brussels is outstanding as a public open space

A harmony of light The Grand-Place, Brussels, Belgium

The buildings and the square itself have been illuminated as part of a new city beautification project to help create a better sense of harmony

20

ilr 012 illuminations/projects

ilr 012 illuminations/projects

21

g.brussel20-23

27-11-2001

19:21

Pagina 22

1 Brussels main square’s new lighting. Left: Town Hall; right: Maison du Roi, now housing the City Museum. Mastercolour based, with natural colours.

Ra>80 and 3000-4000K.

I

In Brussels’ Grand-Place, or main square, is a remarkably homogeneous body of public and private buildings, dating mainly from the late 17th century. When entering the square, one's eyes are drawn automatically to the Gothic tower of the Hotel de Ville, or Town Hall.

Opposite this 17th century building stands another of the remarkable historical buildings of Brussels, the Maison du Roi, dating from 1860.

This beautiful neo-Gothic building, with its many decorative statues, now houses the City Museum.

2 City Museum.

Sketches left: Intricate architecture lit by unobtrusive luminaires.

Lamps: a,c,f - CDM b - fluorescent d - white SON e - halogen.

a

b

3 Town Hall.

Sketches right: Illumination brings out natural colours at all levels.

Lamps and locations: a - (tower balconies) fluorescent, white SON and CDM, left to right b - (gallery) - white SON c - (side tower) - fluorescent d - (roof) - fluorescent e - (balcony) - CDM f - (side tower balcony) fluorescent.

4 Town Hall’s architectural lighting from 1970s.

High-pressure sodium lamps with only yellowish colours.

Ra=25 and 2000 K.

a

b

5, 6 Close-ups of natural colour effects at the facades.

The Lighting

luminaires unobtrusively mounted on the buildings and balconies.

In the case of the Town Hall, from top to bottom: some parts of the towers have extra floodlighting from CDM-T and SDW-T (White SON) units, while the inner parts of the tower are lit, in contrast by warm-white SON. The roof receives glancing white light from a line of tubular fluorescents. The first and second floors are washed by the white light from CDM-T 70 W and 150 W luminaires, and this contrasts again with the warm-white lighting at ground-floor level provided by White SON (SDW-T 100 W).

Similarly, for the City Museum, from top to bottom: the warm halogen lighting employed for the towers and their small statues contrasts with the white roof lighting, which here too comes from a line of tubular fluorescents. In the same way, the white lighting of CDM-T 150 W/830 (3000 K) employed for the bluish stone

This ancient market square has recently been relighted as part of a new city beautification project.

Existing lighting system - SON based The public lighting, dating from the 1970s, consisted of thirty-one antique-style pole-top lanterns, each housing a SON 150 W lamp.

Similarly, the former architectural lighting from the same period was also based on the use of high-pressure sodium lamps. These lamps, with their poor colour rendering (Ra = 25) and low colour temperature (2000 K) created a yellowish colour appearance.

New lighting system - Mastercolour based The public lighting has now been replaced by specially developed Mastercolour CDM-ET 150 W/830 lamps to give a white light (3000 K) of much-improved colour (Ra > 80).

Many of the buildings have also been relighted, including the Town Hall and the City Museum.

At the same time, the amount of stray light has been reduced.

A major part of the new lighting comes from compact metal halide floodlights: Mastercolour 150 W/830 3000 K aimed at the City Hall and Mastercolour 942 4000 K to light the City Museum. These are mounted 3.5m above the ground atop the antique lanterns that provide the public lighting. This soft, glancing light from below gives a more natural white daylight colour appearance. Certain parts of each building have also been softly accentuated using

Photos: Philips Lighting Belgium / Visual News

2

2

c

3

4

on the second floor provides a pleasant contrast with the warm-white SDW-T window lighting on the first floor. At ground-floor level, the warm halogen lighting of the arcade contrasts softly with the white light of Mastercolour on the facades. ■ 5

c Commissioner: City of Brussels Project management: City of Brussels in cooperation with ELECTRABEL District Centre - SIBELGAS, Brussels Lighting design: Volmer Rosi, Philips Lighting, Lidac, Brussels.

Electrical installation: Electrabel District Centre SIBELGAS, Brussels

d

d

e

e

6 f

2 Volmer Rosi

22

ilr 012 illuminations/projects

f ilr 012 illuminations/projects

23

g.brussel20-23

27-11-2001

19:21

Pagina 22

1 Brussels main square’s new lighting. Left: Town Hall; right: Maison du Roi, now housing the City Museum. Mastercolour based, with natural colours.

Ra>80 and 3000-4000K.

I

In Brussels’ Grand-Place, or main square, is a remarkably homogeneous body of public and private buildings, dating mainly from the late 17th century. When entering the square, one's eyes are drawn automatically to the Gothic tower of the Hotel de Ville, or Town Hall.

Opposite this 17th century building stands another of the remarkable historical buildings of Brussels, the Maison du Roi, dating from 1860.

This beautiful neo-Gothic building, with its many decorative statues, now houses the City Museum.

2 City Museum.

Sketches left: Intricate architecture lit by unobtrusive luminaires.

Lamps: a,c,f - CDM b - fluorescent d - white SON e - halogen.

a

b

3 Town Hall.

Sketches right: Illumination brings out natural colours at all levels.

Lamps and locations: a - (tower balconies) fluorescent, white SON and CDM, left to right b - (gallery) - white SON c - (side tower) - fluorescent d - (roof) - fluorescent e - (balcony) - CDM f - (side tower balcony) fluorescent.

4 Town Hall’s architectural lighting from 1970s.

High-pressure sodium lamps with only yellowish colours.

Ra=25 and 2000 K.

a

b

5, 6 Close-ups of natural colour effects at the facades.

The Lighting

luminaires unobtrusively mounted on the buildings and balconies.

In the case of the Town Hall, from top to bottom: some parts of the towers have extra floodlighting from CDM-T and SDW-T (White SON) units, while the inner parts of the tower are lit, in contrast by warm-white SON. The roof receives glancing white light from a line of tubular fluorescents. The first and second floors are washed by the white light from CDM-T 70 W and 150 W luminaires, and this contrasts again with the warm-white lighting at ground-floor level provided by White SON (SDW-T 100 W).

Similarly, for the City Museum, from top to bottom: the warm halogen lighting employed for the towers and their small statues contrasts with the white roof lighting, which here too comes from a line of tubular fluorescents. In the same way, the white lighting of CDM-T 150 W/830 (3000 K) employed for the bluish stone

This ancient market square has recently been relighted as part of a new city beautification project.

Existing lighting system - SON based The public lighting, dating from the 1970s, consisted of thirty-one antique-style pole-top lanterns, each housing a SON 150 W lamp.

Similarly, the former architectural lighting from the same period was also based on the use of high-pressure sodium lamps. These lamps, with their poor colour rendering (Ra = 25) and low colour temperature (2000 K) created a yellowish colour appearance.

New lighting system - Mastercolour based The public lighting has now been replaced by specially developed Mastercolour CDM-ET 150 W/830 lamps to give a white light (3000 K) of much-improved colour (Ra > 80).

Many of the buildings have also been relighted, including the Town Hall and the City Museum.

At the same time, the amount of stray light has been reduced.

A major part of the new lighting comes from compact metal halide floodlights: Mastercolour 150 W/830 3000 K aimed at the City Hall and Mastercolour 942 4000 K to light the City Museum. These are mounted 3.5m above the ground atop the antique lanterns that provide the public lighting. This soft, glancing light from below gives a more natural white daylight colour appearance. Certain parts of each building have also been softly accentuated using

Photos: Philips Lighting Belgium / Visual News

2

2

c

3

4

on the second floor provides a pleasant contrast with the warm-white SDW-T window lighting on the first floor. At ground-floor level, the warm halogen lighting of the arcade contrasts softly with the white light of Mastercolour on the facades. ■ 5

c Commissioner: City of Brussels Project management: City of Brussels in cooperation with ELECTRABEL District Centre - SIBELGAS, Brussels Lighting design: Volmer Rosi, Philips Lighting, Lidac, Brussels.

Electrical installation: Electrabel District Centre SIBELGAS, Brussels

d

d

e

e

6 f

2 Volmer Rosi

22

ilr 012 illuminations/projects

f ilr 012 illuminations/projects

23

h.grasse24-27

27-11-2001

19:29

Pagina 24

Photos: Philips Lighting France / Pierre Crouzet

Concepts

Grasse 1

Painted Grasse Grasse, France

Jean-Marc Dupont

Combining medieval heritage and modern convenience, a new lighting design transforms the nocturnal image of this city in the South of France

The Lighting

The masterplan

The lighting design team first did a comprehensive inventory of the city's actual lighting situation. They found that the city was not easily recognised at night from the main roads, and that the existing street lighting was made up of a variety of luminaires and lamps, with no unifying scheme. A coordinated plan would make the connections between the suburbs and city centre more identifiable and result in energy savings as well, and it could also bring the many historical elements in the Commune to life again at nightfall. The lighting design team presented this completed masterplan via detailed night-time artistic impressions (see figs. 1-3).

City beautification Everything is different in the evening landscape, i.e. shapes and colours of buildings, shadows and distances perceived. The nocturnal image that the town wants to project must be both specific to the night, and complementary to that which exists during the day. Based on the lighting survey, several features were chosen to best portray this nocturnal image:

G

Grasse forms a Commune of over 40 000 inhabitants, spread over nearly 45 km2 of hillside. It is situated between the Mediterranean Sea and the southern Alps, 15 km from the coast in the South of France. The city has a well-preserved medieval centre–classified as an artistic heritage town by the National Historic Monument Fund–as well as a number of suburbs, each having its own identity. The city is also considered the world perfume capital and most great perfumes, including the famous Chanel no. 5, have been created and are still produced in Grasse. To enhance the Commune's night-time appearance, city authorities worked closely with the Regional Electric Syndicate and a specially chosen lighting design team to develop an extensive city lighting masterplan.

1-3 Artist's impressions from the masterplan of lighting effects in a square, perfume factory and garden, respectively.

4 The characteristic colours of the South of France seen at night under a combination of white SON and CDM Mastercolour floodlighting.

2

24

ilr 012 illuminations/concepts

4

• Heritage and architecture: When discovering the heritage sites of the city centre and suburbs, the night-time visitor needs light to orient him and draw him toward the points of interest. Brighter lights on the high parts–for instance, the belfry of the cathedral, clock tower, and the watchtower–are effective here. But on the lower parts the viewer should be enveloped in a peaceful, reassuring atmosphere.The architecture also bears witness to the passage of time, and compact spotlights can reveal the superimposed periods, additions and details that give the buildings their unique aspect.

• The identity of the suburbs: Consisting of hamlets which became joined together over the centuries, Grasse is far more than an ancient town centre.

The lighting will focus on certain memorable or historic aspects of each hamlet and create an inviting setting to attract passers-by.

• Restoring of the colours: Coloured buildings are typical of the medieval era and very characteristic of the South of France. Selective placement of façade lighting can reawaken their colours at night, and allow visitors to discover the origin and development of these sites in the cooler evening hours.

• Gardens and greenery: The lighting of Princess Pauline’s Garden will include the walking paths and the remarkable trees. This is a spot that is very dear to the inhabitants and it offers a panoramic view of Grasse. The

3 ilr 012 illuminations/concepts

25

h.grasse24-27

27-11-2001

19:29

Pagina 24

Photos: Philips Lighting France / Pierre Crouzet

Concepts

Grasse 1

Painted Grasse Grasse, France

Jean-Marc Dupont

Combining medieval heritage and modern convenience, a new lighting design transforms the nocturnal image of this city in the South of France

The Lighting

The masterplan

The lighting design team first did a comprehensive inventory of the city's actual lighting situation. They found that the city was not easily recognised at night from the main roads, and that the existing street lighting was made up of a variety of luminaires and lamps, with no unifying scheme. A coordinated plan would make the connections between the suburbs and city centre more identifiable and result in energy savings as well, and it could also bring the many historical elements in the Commune to life again at nightfall. The lighting design team presented this completed masterplan via detailed night-time artistic impressions (see figs. 1-3).

City beautification Everything is different in the evening landscape, i.e. shapes and colours of buildings, shadows and distances perceived. The nocturnal image that the town wants to project must be both specific to the night, and complementary to that which exists during the day. Based on the lighting survey, several features were chosen to best portray this nocturnal image:

G

Grasse forms a Commune of over 40 000 inhabitants, spread over nearly 45 km2 of hillside. It is situated between the Mediterranean Sea and the southern Alps, 15 km from the coast in the South of France. The city has a well-preserved medieval centre–classified as an artistic heritage town by the National Historic Monument Fund–as well as a number of suburbs, each having its own identity. The city is also considered the world perfume capital and most great perfumes, including the famous Chanel no. 5, have been created and are still produced in Grasse. To enhance the Commune's night-time appearance, city authorities worked closely with the Regional Electric Syndicate and a specially chosen lighting design team to develop an extensive city lighting masterplan.

1-3 Artist's impressions from the masterplan of lighting effects in a square, perfume factory and garden, respectively.

4 The characteristic colours of the South of France seen at night under a combination of white SON and CDM Mastercolour floodlighting.

2

24

ilr 012 illuminations/concepts

4

• Heritage and architecture: When discovering the heritage sites of the city centre and suburbs, the night-time visitor needs light to orient him and draw him toward the points of interest. Brighter lights on the high parts–for instance, the belfry of the cathedral, clock tower, and the watchtower–are effective here. But on the lower parts the viewer should be enveloped in a peaceful, reassuring atmosphere.The architecture also bears witness to the passage of time, and compact spotlights can reveal the superimposed periods, additions and details that give the buildings their unique aspect.

• The identity of the suburbs: Consisting of hamlets which became joined together over the centuries, Grasse is far more than an ancient town centre.

The lighting will focus on certain memorable or historic aspects of each hamlet and create an inviting setting to attract passers-by.

• Restoring of the colours: Coloured buildings are typical of the medieval era and very characteristic of the South of France. Selective placement of façade lighting can reawaken their colours at night, and allow visitors to discover the origin and development of these sites in the cooler evening hours.

• Gardens and greenery: The lighting of Princess Pauline’s Garden will include the walking paths and the remarkable trees. This is a spot that is very dear to the inhabitants and it offers a panoramic view of Grasse. The

3 ilr 012 illuminations/concepts

25

27-11-2001

19:30

Pagina 26

Photos: Philips Lighting France / Pierre Crouzet

h.grasse24-27

5

8

goal is to provide a festive, welcoming impression and a place suited to family gatherings.

• Squares: Each square has its own special features, whether they be arcades, vegetation, or coloured buildings. To render faithfully the different tones and qualities of coexisiting materials–roughcast, vegetation, slabs, and water–the intended lamps are metal halide (Ra>80, 3000K).

• The fountain trail: From the Foux springs the visitor travels to the numerous fountains and washing places throughout the town. It evokes a time when these areas were gathering places and a necessary part of everyday life.

• The perfume trail: This route uses places and objects, such as factories and the ‘private’ stills placed in car parks by present-day perfume manufacturers, to narrate the industrial history of the town. Attractively lighted, they would enliven the approaches to the town and be more than commercial symbols.

9 Street lighting plan

7, 9 The lighting plan focuses on memorable aspects from each of the hamlets, such as this church (7) and a nearby wash-house (9).

are

du

je u d e b

Cla vec in

a ll o n Place

aux

Aires

leva

Place du Barri

rd C arn ot

tett e Fon

rue de

de

rue

s s el

Place de la Poissonnerie Pl ac l' de e Ev céh é vcé hé ru

ed

place du Petit Puy

ne t

Re pi

rue D

ro ite

r ue C . Ngé re

Pla c a e He ux rbe s

el

r. d

e la

'E

Po uo st Place du Pontet

r

Place

uv

e .d

S E

Ne

Po

tre

Place du Aoû t

e

Place Colomban

O

r u e d e l a Lau we

r

Bou

rue

ire l' O r a to

rue Rev e Vie ille

rue M . Jour

ard

oby P. G r chie oua du R

sso la

Neuve

Thierry Demangeat

ilr 012 illuminations/concepts

rue

dF rag on

.O

es reri Fab

v ar

eJ

te on

rue

eC

r. d

r. des

ul e

ru

des Moulin ets

Bo

al de Grasse mir eA ru

ru e

Jardin Publicp

gins-R oquefo rt

7

S qu

Cours H. Cresp

G a z an

Yellow: City centre White SON 100 W Ra>80, 2500K Blue: Squares Mastercolour 70 W Ra>80, 3000K Red: Ring road high pressure sodium 150/250 W Ra=65, 2150K Orange: Connecting roads high pressure sodium 150/250W Ra=25, 1900K

rue

Commissioner: City of Grasse in close cooperation with the Regional Electric Syndicate Lighting masterplan - project management: JeanMarc Dupont, Philips Lighting, France - lighting design: Thierry Demangeat, Philips Lighting, France

Av.

M.Isnard

6 The heritage of the city is easily identified along the welllighted roads.

rue Mou

ilr 012 illuminations/concepts

5, 8 Recognition from a distance of Grasse during day and night.

ue Tracastel

26

6

Mirabeau rue

Street lighting The Commune intends to create a hierarchy for its roads based on their purpose and use, and light them so as to guide drivers from the outer roads to the city centre. A one-way route running along the ramparts of the town will have provision for visitors to park their vehicles and venture into the pedestrianised centre.

• Connection routes: The main routes from the centre to the suburbs, and suburb to suburb are not readily obvious. To remedy this, luminaires will be mounted and lit differently: 9 m high on the connecting roads using high-pressure sodium lamps (Ra=25, 1900K); 8 m high on the one-way route, also with high-pressure sodium with a yellowish appearance, but with much better colour rendering (Ra=65, 2150K).

• Roundabouts: Roundabout luminaires are also at 8 m height, housing 150 W Mastercolour metal-halide lamps (Ra>80, 3000K) for a white appearance. This alerts drivers that a change is coming and gives them a clear reference point should they become lost.

• City centre: Within the centre, mounting height drops to 4 to 6 m on the streets (100 W white SON, Ra>80, 2500K), and 4 m in the squares (70 W Mastercolour metal halide, Ra>80, 3000K). This gives a well balanced mix of lighting colours in relation to the present architectural lighting.

Major parts of the lighting masterplan are already in effect. Once the new lighting scheme is fully in place, Grasse by night will appear as unique and colourful as it does by day. ■

27

Bd

Ga

mb

ett

a

27-11-2001

19:30

Pagina 26

Photos: Philips Lighting France / Pierre Crouzet

h.grasse24-27

5

8

goal is to provide a festive, welcoming impression and a place suited to family gatherings.

• Squares: Each square has its own special features, whether they be arcades, vegetation, or coloured buildings. To render faithfully the different tones and qualities of coexisiting materials–roughcast, vegetation, slabs, and water–the intended lamps are metal halide (Ra>80, 3000K).

• The fountain trail: From the Foux springs the visitor travels to the numerous fountains and washing places throughout the town. It evokes a time when these areas were gathering places and a necessary part of everyday life.

• The perfume trail: This route uses places and objects, such as factories and the ‘private’ stills placed in car parks by present-day perfume manufacturers, to narrate the industrial history of the town. Attractively lighted, they would enliven the approaches to the town and be more than commercial symbols.

9 Street lighting plan

7, 9 The lighting plan focuses on memorable aspects from each of the hamlets, such as this church (7) and a nearby wash-house (9).

are

du

je u d e b

Cla vec in

a ll o n Place

aux

Aires

leva

Place du Barri

rd C arn ot

tett e Fon

rue de

de

rue

s s el

Place de la Poissonnerie Pl ac l' de e Ev céh é vcé hé ru

ed

place du Petit Puy

ne t

Re pi

rue D

ro ite

r ue C . Ngé re

Pla c a e He ux rbe s

el

r. d

e la

'E

Po uo st Place du Pontet

r

Place

uv

e .d

S E

Ne

Po

tre

Place du Aoû t

e

Place Colomban

O

r u e d e l a Lau we

r

Bou

rue

ire l' O r a to

rue Rev e Vie ille

rue M . Jour

ard

oby P. G r chie oua du R

sso la

Neuve

Thierry Demangeat

ilr 012 illuminations/concepts

rue

dF rag on

.O

es reri Fab

v ar

eJ

te on

rue

eC

r. d

r. des

ul e

ru

des Moulin ets

Bo

al de Grasse mir eA ru

ru e

Jardin Publicp

gins-R oquefo rt

7

S qu

Cours H. Cresp

G a z an

Yellow: City centre White SON 100 W Ra>80, 2500K Blue: Squares Mastercolour 70 W Ra>80, 3000K Red: Ring road high pressure sodium 150/250 W Ra=65, 2150K Orange: Connecting roads high pressure sodium 150/250W Ra=25, 1900K

rue

Commissioner: City of Grasse in close cooperation with the Regional Electric Syndicate Lighting masterplan - project management: JeanMarc Dupont, Philips Lighting, France - lighting design: Thierry Demangeat, Philips Lighting, France

Av.

M.Isnard

6 The heritage of the city is easily identified along the welllighted roads.

rue Mou

ilr 012 illuminations/concepts

5, 8 Recognition from a distance of Grasse during day and night.

ue Tracastel

26

6

Mirabeau rue

Street lighting The Commune intends to create a hierarchy for its roads based on their purpose and use, and light them so as to guide drivers from the outer roads to the city centre. A one-way route running along the ramparts of the town will have provision for visitors to park their vehicles and venture into the pedestrianised centre.

• Connection routes: The main routes from the centre to the suburbs, and suburb to suburb are not readily obvious. To remedy this, luminaires will be mounted and lit differently: 9 m high on the connecting roads using high-pressure sodium lamps (Ra=25, 1900K); 8 m high on the one-way route, also with high-pressure sodium with a yellowish appearance, but with much better colour rendering (Ra=65, 2150K).

• Roundabouts: Roundabout luminaires are also at 8 m height, housing 150 W Mastercolour metal-halide lamps (Ra>80, 3000K) for a white appearance. This alerts drivers that a change is coming and gives them a clear reference point should they become lost.

• City centre: Within the centre, mounting height drops to 4 to 6 m on the streets (100 W white SON, Ra>80, 2500K), and 4 m in the squares (70 W Mastercolour metal halide, Ra>80, 3000K). This gives a well balanced mix of lighting colours in relation to the present architectural lighting.

Major parts of the lighting masterplan are already in effect. Once the new lighting scheme is fully in place, Grasse by night will appear as unique and colourful as it does by day. ■

27

Bd

Ga

mb

ett

a

i.pont du gard28-29

27-11-2001

19:41

Pagina 28

Projects

1

3

Primarily Colour Pont du Gard, Nimes, France

4 1, 2 Just after sunset, halogen floodlights switch on to reveal the Pont du Gard in a wash of white light.

3-6 As night falls, coloured light begins to transform the aqueduct. To start with, some of the stonework is bathed in red

5 light. Then, very slowly, the colours start to change.

Photo CCI Nimes

A UNESCO World Heritage Site, the Pont du Gard has been the object of a major protection and development operation by the Chamber of Commerce of Nimes

American lighting artist James Turrell lives and works in Flagstaff, Arizona. A man with qualifications in psychology, mathematics and the history of art, Turrell's work reveals the materiality of light. In each work his objective is not the installation itself, but the physical and mental reality of visual perception.

6

The remains of the Roman aqueduct of Nimes have been given a colourful, new lease of life to mark the millennium

T

The Pont du Gard, a UNESCO World Heritage Site, is a Roman aqueduct close to the city of Nimes, in southern France. It was built in the 1st century BC to help channel water from a spring 50 km from Nimes, and consists of three tiers of arches, the topmost supporting the water channel. Some 275 metres long and standing 48 m above the Gard River, it is the highest of all Roman aqueducts and one of the greatest pieces of Roman architecture in France.

The Lighting Just after sunset, halogen floodlights switch on to reveal the Pont du Gard in a wash of white light. Then, as night falls, coloured light begins to transform the aqueduct. To start with, some of the stonework is bathed in red light. Then, very slowly, the colours start to change.

The floodlights installed opposite and under each arch are equipped with dichroic colour filters in the three primary colours red, green and blue. These colours are additively mixed so that the arches pass imperceptibly from red to magenta by the addition of blue, then to primary blue. After a full white fire and a brief illusion of black, the green skims over the pillars of the intermediate level, then spreads over the arches of the last level. Then the green merges with the blue. Only the last level is then in blue, while the low-angle white lighting silhouettes the bridge and draws crescents of light. Finally, the nighttime lighting returns for a moment. The bridge, simply illuminated, then seems slightly faded.

The 20-minute sequence is continually repeated up to midnight. ■ Note: To be seen in 2001 from 1 June onwards as part of the events of Mission 2000 in France.

28

ilr 012 illuminations/projects

Client: Chamber of Commerce of Nimes, concessionaire of the Pont du Gard site Principal contractor: Jean-Paul Viguier (authorised architect) and Gilles Cuzy (operational architect) Lighting design: James Turrell Principal lighting contractor: Citélum (coordination of artistic and technical interface) Research-Installation: Beture (cabling plan, specifications for system of adjustment), Spie Trindel, Cegelec Lighting equipment: Comatelec, Extérieur vert, iGuzzini, Mazda, Philips Lighting, Phoenix, Platek, Thomas, Thorn Europhane, RVE, Wever & Ducré Courtesy: Revue de l’Eclairage LUX

2 Technical data Aqueduct

Lighting

48.77 m high 490 m wide (3rd level) 24.50 m opening onto the Gardon 500 luminaires 2 x 250 kWA of power 90 km of cables 173 3 kW numeric graduators 97 different circuits 1 DMX 512 control system 2 two-directional switches control software on stand-alone PC 6 astronomical watches

ilr 012

29

i.pont du gard28-29

27-11-2001

19:41

Pagina 28

Projects

1

3

Primarily Colour Pont du Gard, Nimes, France

4 1, 2 Just after sunset, halogen floodlights switch on to reveal the Pont du Gard in a wash of white light.

3-6 As night falls, coloured light begins to transform the aqueduct. To start with, some of the stonework is bathed in red

5 light. Then, very slowly, the colours start to change.

Photo CCI Nimes

A UNESCO World Heritage Site, the Pont du Gard has been the object of a major protection and development operation by the Chamber of Commerce of Nimes

American lighting artist James Turrell lives and works in Flagstaff, Arizona. A man with qualifications in psychology, mathematics and the history of art, Turrell's work reveals the materiality of light. In each work his objective is not the installation itself, but the physical and mental reality of visual perception.

6

The remains of the Roman aqueduct of Nimes have been given a colourful, new lease of life to mark the millennium

T

The Pont du Gard, a UNESCO World Heritage Site, is a Roman aqueduct close to the city of Nimes, in southern France. It was built in the 1st century BC to help channel water from a spring 50 km from Nimes, and consists of three tiers of arches, the topmost supporting the water channel. Some 275 metres long and standing 48 m above the Gard River, it is the highest of all Roman aqueducts and one of the greatest pieces of Roman architecture in France.

The Lighting Just after sunset, halogen floodlights switch on to reveal the Pont du Gard in a wash of white light. Then, as night falls, coloured light begins to transform the aqueduct. To start with, some of the stonework is bathed in red light. Then, very slowly, the colours start to change.

The floodlights installed opposite and under each arch are equipped with dichroic colour filters in the three primary colours red, green and blue. These colours are additively mixed so that the arches pass imperceptibly from red to magenta by the addition of blue, then to primary blue. After a full white fire and a brief illusion of black, the green skims over the pillars of the intermediate level, then spreads over the arches of the last level. Then the green merges with the blue. Only the last level is then in blue, while the low-angle white lighting silhouettes the bridge and draws crescents of light. Finally, the nighttime lighting returns for a moment. The bridge, simply illuminated, then seems slightly faded.

The 20-minute sequence is continually repeated up to midnight. ■ Note: To be seen in 2001 from 1 June onwards as part of the events of Mission 2000 in France.

28

ilr 012 illuminations/projects

Client: Chamber of Commerce of Nimes, concessionaire of the Pont du Gard site Principal contractor: Jean-Paul Viguier (authorised architect) and Gilles Cuzy (operational architect) Lighting design: James Turrell Principal lighting contractor: Citélum (coordination of artistic and technical interface) Research-Installation: Beture (cabling plan, specifications for system of adjustment), Spie Trindel, Cegelec Lighting equipment: Comatelec, Extérieur vert, iGuzzini, Mazda, Philips Lighting, Phoenix, Platek, Thomas, Thorn Europhane, RVE, Wever & Ducré Courtesy: Revue de l’Eclairage LUX

2 Technical data Aqueduct

Lighting

48.77 m high 490 m wide (3rd level) 24.50 m opening onto the Gardon 500 luminaires 2 x 250 kWA of power 90 km of cables 173 3 kW numeric graduators 97 different circuits 1 DMX 512 control system 2 two-directional switches control software on stand-alone PC 6 astronomical watches

ilr 012

29

j.castello 30-33

27-11-2001

20:04

Pagina 30

Projects Duilio Passariello

1 Mix of colour gives new life to Sforza towers and adjoining castle walls.

Started by the Visconti family in 1392, the castle has been transformed and modified by many different distinguished occupants down through the ages

2 Ground plan of the castle and environs, with park façade at top and front façade at bottom.

3, 4 ‘Humanistic’ view of the park façade, softened by the greenery and the dynamic colourful lighting.

Dynamic Light at the Sforza Castle Sforza Castle, Milan, Italy

The new outdoor lighting system of the Sforza Castle, which has been created in a non-invasive manner, with minimum impact and maximum respect for the building, represents the first example of ‘dynamic light’ in Italy

1

T

Urban lighting is a form of monumental painting. The Castello Sforzesco is an example of the way in which an urban object can be rediscovered using light as a medium.

To conceptualize lighting for a heritage building is a great challenge. When dealing with a castle it is important to remember that these structures were autonomous, independent of their surroundings–the outside being the realm of the assailants and the inside the defender’s stronghold–and capable of autarchy when besieged. Here light had not only to become an integral part of the architecture, but more importantly an expression of the building's social character and, in this case, a representation of power for the city of Milano.

30

ilr 012 illuminations/projects

Urban Lighting–first aid for areas in distress Our survival as societies depends in part on our capability to live with urbanity during the night.

In this sense, lighting conceived as an artistic medium can create complex visions of the urban context, images capable of expressing the unique character of each city. Some hold the opinion that with the new trends in urban lighting there will soon be no difference between Montenapoleone and Madison Avenue. I do not agree with this. On the contrary, in this particular urban lighting concept of Castello Sforzesco the use of artificial light can be seen as a key factor in revealing the uniqueness of those cities that today exhibit the same globalised luminous signs. If cities are immersed in a

2

homogeneous commercial world, then urban lighting could contribute to making visible those elements that are characteristic of each place. For those urban elements that have become commonplace, for example the favelas, urban lighting can give not only better living conditions but also personality. After all, shadows look the same everywhere. The castle’s lighting design is a case where light has added attractiveness to an otherwise unappealing nocturnal condition. The area surrounding the castle was an important achievement in the urban development of Milano, a turning point of the 19th century that the massive presence of cars had rendered inhospitable. The distress of this zone required a radical gesture that could reinvigorate the grandeur of its architectural composition, a nocturnal rewriting. Today our work has created a magnet for this district and a focal point for the area. The castle’s nocturnal image is now a reason to visit and explore this part of town. As a result citizens have driven drug peddlers out of the area. Their presence to visit the 'curtain of lights' has outnumbered the small gangs that used to move freely through the shadows. Should the city authorities acknowledge the success of this operation, it might even promote the area's transformation into a pedestrian zone–a positive scenario for a city crippled by traffic.

The Castle’s duality as a source of inspiration Milano’s castle is a true fake. The building that we see today was initiated by the Visconti family in 1392; transformed by the Sforza’s in the 15th century; modified by the French during François I's invasion; extended and fortified by the Spaniards in the 16th and 17th centuries; destroyed by Napoleon in the 18th century; garrisoned by the Austrians in the 19th century;

turned into a prison during the Italian Risorgimento and finally, after barely escaping from real estate entrepreneurs, the place was reinvented and transformed into a museum by Luca Beltrami and Ambrogio Bonomi in 1901.

The building reproduces all the elements of 13th century Italian military architecture: towers, walls, swallowtail merlons and embrasures, and checker-set corbels with holes to throw missiles down the battlements. This building has two main facades: the Beltrami front representing the military side and the Sempione front representing the humanistic side. The first exhibits mineral materials: brick, stone and iron; the second, enshrined in the park, is invaded by evergreen ivy leaves and cats. Two faces of the same building conveying the two sides of its long history: stronghold and refined palace; condottieri’s garrison and ducal court; place of warriors and artists. This ambiguity enables us to break up the sacrosanct archeological unity and propose instead a scene in constant transformation: an open work of dynamic lighting.

The dynamic of light Natural lighting changes all the time: hourly, daily and seasonally; it is probably one of the few things that remind us of the natural passage of time. By introducing sequences into the language of urban lighting we can create a sense of life in the city. In order to use time in urban lighting, a designer has to work much like in the theatre and use the medium as a form of art.

Through a sensitive spirit and the use of information technologies, dynamic lighting can become the means to create a more humane city.

For the castle we created a visual metaphor and designed a networked lighting system accordingly. Light beams were adjusted and

3

4

ilr 012

31

j.castello 30-33

27-11-2001

20:04

Pagina 30

Projects Duilio Passariello

1 Mix of colour gives new life to Sforza towers and adjoining castle walls.

Started by the Visconti family in 1392, the castle has been transformed and modified by many different distinguished occupants down through the ages

2 Ground plan of the castle and environs, with park façade at top and front façade at bottom.

3, 4 ‘Humanistic’ view of the park façade, softened by the greenery and the dynamic colourful lighting.

Dynamic Light at the Sforza Castle Sforza Castle, Milan, Italy

The new outdoor lighting system of the Sforza Castle, which has been created in a non-invasive manner, with minimum impact and maximum respect for the building, represents the first example of ‘dynamic light’ in Italy

1

T

Urban lighting is a form of monumental painting. The Castello Sforzesco is an example of the way in which an urban object can be rediscovered using light as a medium.

To conceptualize lighting for a heritage building is a great challenge. When dealing with a castle it is important to remember that these structures were autonomous, independent of their surroundings–the outside being the realm of the assailants and the inside the defender’s stronghold–and capable of autarchy when besieged. Here light had not only to become an integral part of the architecture, but more importantly an expression of the building's social character and, in this case, a representation of power for the city of Milano.

30

ilr 012 illuminations/projects

Urban Lighting–first aid for areas in distress Our survival as societies depends in part on our capability to live with urbanity during the night.

In this sense, lighting conceived as an artistic medium can create complex visions of the urban context, images capable of expressing the unique character of each city. Some hold the opinion that with the new trends in urban lighting there will soon be no difference between Montenapoleone and Madison Avenue. I do not agree with this. On the contrary, in this particular urban lighting concept of Castello Sforzesco the use of artificial light can be seen as a key factor in revealing the uniqueness of those cities that today exhibit the same globalised luminous signs. If cities are immersed in a

2

homogeneous commercial world, then urban lighting could contribute to making visible those elements that are characteristic of each place. For those urban elements that have become commonplace, for example the favelas, urban lighting can give not only better living conditions but also personality. After all, shadows look the same everywhere. The castle’s lighting design is a case where light has added attractiveness to an otherwise unappealing nocturnal condition. The area surrounding the castle was an important achievement in the urban development of Milano, a turning point of the 19th century that the massive presence of cars had rendered inhospitable. The distress of this zone required a radical gesture that could reinvigorate the grandeur of its architectural composition, a nocturnal rewriting. Today our work has created a magnet for this district and a focal point for the area. The castle’s nocturnal image is now a reason to visit and explore this part of town. As a result citizens have driven drug peddlers out of the area. Their presence to visit the 'curtain of lights' has outnumbered the small gangs that used to move freely through the shadows. Should the city authorities acknowledge the success of this operation, it might even promote the area's transformation into a pedestrian zone–a positive scenario for a city crippled by traffic.

The Castle’s duality as a source of inspiration Milano’s castle is a true fake. The building that we see today was initiated by the Visconti family in 1392; transformed by the Sforza’s in the 15th century; modified by the French during François I's invasion; extended and fortified by the Spaniards in the 16th and 17th centuries; destroyed by Napoleon in the 18th century; garrisoned by the Austrians in the 19th century;

turned into a prison during the Italian Risorgimento and finally, after barely escaping from real estate entrepreneurs, the place was reinvented and transformed into a museum by Luca Beltrami and Ambrogio Bonomi in 1901.

The building reproduces all the elements of 13th century Italian military architecture: towers, walls, swallowtail merlons and embrasures, and checker-set corbels with holes to throw missiles down the battlements. This building has two main facades: the Beltrami front representing the military side and the Sempione front representing the humanistic side. The first exhibits mineral materials: brick, stone and iron; the second, enshrined in the park, is invaded by evergreen ivy leaves and cats. Two faces of the same building conveying the two sides of its long history: stronghold and refined palace; condottieri’s garrison and ducal court; place of warriors and artists. This ambiguity enables us to break up the sacrosanct archeological unity and propose instead a scene in constant transformation: an open work of dynamic lighting.

The dynamic of light Natural lighting changes all the time: hourly, daily and seasonally; it is probably one of the few things that remind us of the natural passage of time. By introducing sequences into the language of urban lighting we can create a sense of life in the city. In order to use time in urban lighting, a designer has to work much like in the theatre and use the medium as a form of art.

Through a sensitive spirit and the use of information technologies, dynamic lighting can become the means to create a more humane city.

For the castle we created a visual metaphor and designed a networked lighting system accordingly. Light beams were adjusted and

3

4

ilr 012

31

j.castello 30-33

27-11-2001

20:05

Pagina 32

sequences were programmed into the computer memory and later executed according to different scenes. Three types of signals are possible: voltage variations to control halogen fixtures, on/off to power high intensity discharge sources and DMX to pilot servocontrolled fixtures.

The fixture that we chose for down-lighting the walls was the MVF 606 N from Philips Lighting, carrying a CDM-T 150W/830 lamp. These materials were specially chosen for their refined optical performance and mechanical sturdiness.

To replace lamps, luminaires are lowered using a steel wire pulled by an electric winch. Only two persons are required for the task.

For the merlons we created an ad-hoc light fixture using the small CDM-TC 70 W/830. A removable arm allows easy access for maintenance. The cylindrical towers were illuminated from above using a FOCUS generator for each of the 46 holes between two checker-set corbels.

Our lighting project sparked a controversy over the use of colour in lighting. Citizens expressed their views over the issue of whether historical monuments should or should not use colour as a means of expression. One newspaper even asked its readers to express their views on this matter.

According to the poll we became the 'new poets of light'. We, lighting designers, believe that our language–that of light and shadows–should be sufficiently extensive to give us the expressive freedom we need. Colour is part of the way we see the world that surrounds us, and since Palaeolithic painting it has been an integral part of artistic expression. As artists of the public domain we need the possibilities others have.

Painters, film and theatre directors, choreographers, photographers, video artists and many others have total liberty when it comes to their chromatic choices.

In art, moral values are not attached to hues.

According to some, the same doesn’t seem to apply to lighting design. Some people even

argue that our work has no place in the public domain because the use of colour is disrespectful to the value of heritage buildings.

But wasn’t the Parthenon once a coloured building, too? ■

Commissioner: City of Milan Lighting design: Duilio Passariello, LiDAC, Philips Lighting Installation: Aem Spa - Milan

Duilio Passariello

5

6

5 In this scheme, coloured lighting emphasises the various architectural elements.

8, 9 Lighting of the tower corbels (blue in sketch) is realised with FOCUS generators.

6, 7 Small, unobtrusive floodlights (blue in sketch) illuminate merlons and lower part of the front façade.

7

32

ilr 012 illuminations/projects

8

9

ilr 012

33

j.castello 30-33

27-11-2001

20:05

Pagina 32

sequences were programmed into the computer memory and later executed according to different scenes. Three types of signals are possible: voltage variations to control halogen fixtures, on/off to power high intensity discharge sources and DMX to pilot servocontrolled fixtures.

The fixture that we chose for down-lighting the walls was the MVF 606 N from Philips Lighting, carrying a CDM-T 150W/830 lamp. These materials were specially chosen for their refined optical performance and mechanical sturdiness.

To replace lamps, luminaires are lowered using a steel wire pulled by an electric winch. Only two persons are required for the task.

For the merlons we created an ad-hoc light fixture using the small CDM-TC 70 W/830. A removable arm allows easy access for maintenance. The cylindrical towers were illuminated from above using a FOCUS generator for each of the 46 holes between two checker-set corbels.

Our lighting project sparked a controversy over the use of colour in lighting. Citizens expressed their views over the issue of whether historical monuments should or should not use colour as a means of expression. One newspaper even asked its readers to express their views on this matter.

According to the poll we became the 'new poets of light'. We, lighting designers, believe that our language–that of light and shadows–should be sufficiently extensive to give us the expressive freedom we need. Colour is part of the way we see the world that surrounds us, and since Palaeolithic painting it has been an integral part of artistic expression. As artists of the public domain we need the possibilities others have.

Painters, film and theatre directors, choreographers, photographers, video artists and many others have total liberty when it comes to their chromatic choices.

In art, moral values are not attached to hues.

According to some, the same doesn’t seem to apply to lighting design. Some people even

argue that our work has no place in the public domain because the use of colour is disrespectful to the value of heritage buildings.

But wasn’t the Parthenon once a coloured building, too? ■

Commissioner: City of Milan Lighting design: Duilio Passariello, LiDAC, Philips Lighting Installation: Aem Spa - Milan

Duilio Passariello

5

6

5 In this scheme, coloured lighting emphasises the various architectural elements.

8, 9 Lighting of the tower corbels (blue in sketch) is realised with FOCUS generators.

6, 7 Small, unobtrusive floodlights (blue in sketch) illuminate merlons and lower part of the front façade.

7

32

ilr 012 illuminations/projects

8

9

ilr 012

33

k.abou simbel34-41

28-11-2001

07:34

Pagina 34

Projects Har Hollands

These two temples, saved from the rising waters of Lake Nasser, are among the most remarkable achievements of the ancient world. First seen by foreign visitors in 1812, they have become one of the most visited sites in Egypt

Ramses comes to life

1 The Great Temple. Each part of the 20-metre-high figures is separately illuminated. Ramses’ wives, sons and daughters stand near his legs.

2 The sound and light show with the audience of up to 400 at a time.

3 Plan of the temple complex, with the viewing gallery below.

The temples of Abu Simbel, Egypt 2 1

Egypt is staging a high-tech sound and light show to revive the glory of the 3000-year-old temples at Abu Simbel. The giant statues are ablaze with their longfaded colours

I

In 1290 BC, Ramses the Great (reigned 1290-1212 BC) carved two unique temples into bluffs of pinkish sandstone rising steeply from the desert bordering the narrow floodplain of the Nile. The temples face east to receive the rays of the rising sun. Behind them stretches the vast African desert.

The larger temple was dedicated by Ramses II to the chief gods of Heliopolis, Memphis, and Thebes. The façade has four sitting statues of Ramses II, each more than 20 m in height. The smaller temple was dedicated by Ramses to his beautiful wife, Queen Nefertari, and to the goddess Hathor. Smaller statues of Ramses II, Nefertari, and their children adorn the façade.

The larger temple, largely covered by drifting sand, remained unseen by foreign visitors for

3

34

ilr 012

ilr 012 illuminations/projects

35

k.abou simbel34-41

28-11-2001

07:34

Pagina 34

Projects Har Hollands

These two temples, saved from the rising waters of Lake Nasser, are among the most remarkable achievements of the ancient world. First seen by foreign visitors in 1812, they have become one of the most visited sites in Egypt

Ramses comes to life

1 The Great Temple. Each part of the 20-metre-high figures is separately illuminated. Ramses’ wives, sons and daughters stand near his legs.

2 The sound and light show with the audience of up to 400 at a time.

3 Plan of the temple complex, with the viewing gallery below.

The temples of Abu Simbel, Egypt 2 1

Egypt is staging a high-tech sound and light show to revive the glory of the 3000-year-old temples at Abu Simbel. The giant statues are ablaze with their longfaded colours

I

In 1290 BC, Ramses the Great (reigned 1290-1212 BC) carved two unique temples into bluffs of pinkish sandstone rising steeply from the desert bordering the narrow floodplain of the Nile. The temples face east to receive the rays of the rising sun. Behind them stretches the vast African desert.

The larger temple was dedicated by Ramses II to the chief gods of Heliopolis, Memphis, and Thebes. The façade has four sitting statues of Ramses II, each more than 20 m in height. The smaller temple was dedicated by Ramses to his beautiful wife, Queen Nefertari, and to the goddess Hathor. Smaller statues of Ramses II, Nefertari, and their children adorn the façade.

The larger temple, largely covered by drifting sand, remained unseen by foreign visitors for

3

34

ilr 012

ilr 012 illuminations/projects

35

k.abou simbel34-41

28-11-2001

07:35

Pagina 36

G

E I D

C

B

4

5 4 A moving effect is seen in the finale. A hidden row of ArenaVision floodlights cast their beams upward to help create the illusion that these rays of light originate from the sun disc above the head of the Ra-Harakhti.

eleven centuries until it was rediscovered by the Swiss explorer J L Burckhardt in 1812.

In 1964 an international project was begun to save the temples from inundation by Lake Nasser, the reservoir of the recently-completed Aswân High Dam. In a remarkable engineering feat, the temples were cut into 1036 thirty-ton blocks and, in 1968, reassembled in the exact same relationship to each other and the sun, in an artificial mountain constructed 64 m above the slowly-rising waters of the lake.

The Lighting The temples of Abu Simbel have been floodlighted before, and their interiors too have previously been illuminated. But this is the first time that the temples have featured in a sound and light show. The Egypt Company for Sound and Light embarked on the project in 1999, and the show was first presented to the public last year.

The show tells the intriguing story of how the temples were discovered, only to face being swallowed up in the slowly-rising waters of the new reservoir. It tells the epic story of their relocation to a place of safety. And it tells, too, the history of Ramses II and his two temples, his triumphant victories, and his lovely wife Nefertari.

The viewer sees the façades of the two temples and the huge statues in the same colours that they were in ancient times. And for the first time, visitors are able to repeatedly witness the sun’s rays entering the temples, which in reality happens only twice a year.

As unobtrusive as possible The project has been designed so as not to clash with the monuments and their surroundings.

The viewing gallery, or grandstand, some 150 metres distant from the facades has been kept low, and all floodlights and loudspeakers have been installed as unobtrusively as possible. This meant hiding them from view wherever possible and painting the housings in a sand colour that would blend in with their surroundings. The floodlight and loudspeaker groups have been kept as compact as possible.

History come to life The project employs modern technology to help bring the ‘dead’ stones to life. Since the discovery of the Rosetta Stone, much more has been learned about the ancient culture of Egypt.

Some of this knowledge, mixed with fiction, has been incorporated in the scenario of the show.

But the prime aim was to express historical events in a more dramatic way so as to captivate the audience.

6 5 A scene depicting sunrise at the Great Temple.

6, 8 The Sanctum sanctorum.

Twice a year the sun penetrates 65 metres into this the deepest space inside the Great Temple to light 3 of the 4 statues: Amon-Ra, the deified Ramses II, and Harmakhis. Ptah, the god of darkness (left), remains in shadow.

H

F

9

H A

J

7

10

Exterior lighting The exterior of both temples and the hills are illuminated by 278 floodlights. A total of 80 circuits, almost all dimmable, light the various distinctive parts of the structure, including: the plinth, legs, body and head of Ramses II, the smaller sculptures between the colossi, the row of baboons on top of the large temple, the stele in front of this temple, and the reliefs cut in the rock next to the temples.

The small free-standing sculptures in front of the temple dedicated to Ramses II are lit by red and yellow PAR 38 lamps. Switching these lamps on and off very quickly serves to create the impression that torches are burning.

Parts of the adjacent hills are continuously lighted by three floodlight circuits, but the floodlights in each circuit, although identical as regards type and number, are of three colours, namely red, green and blue. These primary colours can be mixed in different intensities (e.g.

100% red + 100% green = yellow, 100% red + 50% green = orange) to give the subject being illuminated almost any colour desired. The floodlights are automatically switched and dimmed in a prearranged sequence and synchronised with sound effects to create for the visitor a moving narrative in which variations in colours simulate such effects as the sunrise or sunset.

The static lighting is made by a selection of lighting circuits of the dynamic lighting system.

7 Ground plan of the Great Temple A - Entry B - Osiris pillars C - Vestibule D - Offerings Room E - Sanctum sanctorum F - Base of the dome G - Access to the dome H - Colossi of Ramses II I - Concrete support structure J - Sandstone wall 9, 10 Light bursts forth from the Great Temple (9).

This dramatic effect is achieved using retro-reflective material in the door opening, which is illuminated from above the grandstand by a number of pole-mounted extreme narrowbeam light generators (10), normally used in fibre-optics installations.

8

36

ilr 012 illuminations/projects

ilr 012 illuminations/projects

37

k.abou simbel34-41

28-11-2001

07:35

Pagina 36

G

E I D

C

B

4

5 4 A moving effect is seen in the finale. A hidden row of ArenaVision floodlights cast their beams upward to help create the illusion that these rays of light originate from the sun disc above the head of the Ra-Harakhti.

eleven centuries until it was rediscovered by the Swiss explorer J L Burckhardt in 1812.

In 1964 an international project was begun to save the temples from inundation by Lake Nasser, the reservoir of the recently-completed Aswân High Dam. In a remarkable engineering feat, the temples were cut into 1036 thirty-ton blocks and, in 1968, reassembled in the exact same relationship to each other and the sun, in an artificial mountain constructed 64 m above the slowly-rising waters of the lake.

The Lighting The temples of Abu Simbel have been floodlighted before, and their interiors too have previously been illuminated. But this is the first time that the temples have featured in a sound and light show. The Egypt Company for Sound and Light embarked on the project in 1999, and the show was first presented to the public last year.

The show tells the intriguing story of how the temples were discovered, only to face being swallowed up in the slowly-rising waters of the new reservoir. It tells the epic story of their relocation to a place of safety. And it tells, too, the history of Ramses II and his two temples, his triumphant victories, and his lovely wife Nefertari.

The viewer sees the façades of the two temples and the huge statues in the same colours that they were in ancient times. And for the first time, visitors are able to repeatedly witness the sun’s rays entering the temples, which in reality happens only twice a year.

As unobtrusive as possible The project has been designed so as not to clash with the monuments and their surroundings.

The viewing gallery, or grandstand, some 150 metres distant from the facades has been kept low, and all floodlights and loudspeakers have been installed as unobtrusively as possible. This meant hiding them from view wherever possible and painting the housings in a sand colour that would blend in with their surroundings. The floodlight and loudspeaker groups have been kept as compact as possible.

History come to life The project employs modern technology to help bring the ‘dead’ stones to life. Since the discovery of the Rosetta Stone, much more has been learned about the ancient culture of Egypt.

Some of this knowledge, mixed with fiction, has been incorporated in the scenario of the show.

But the prime aim was to express historical events in a more dramatic way so as to captivate the audience.

6 5 A scene depicting sunrise at the Great Temple.

6, 8 The Sanctum sanctorum.

Twice a year the sun penetrates 65 metres into this the deepest space inside the Great Temple to light 3 of the 4 statues: Amon-Ra, the deified Ramses II, and Harmakhis. Ptah, the god of darkness (left), remains in shadow.

H

F

9

H A

J

7

10

Exterior lighting The exterior of both temples and the hills are illuminated by 278 floodlights. A total of 80 circuits, almost all dimmable, light the various distinctive parts of the structure, including: the plinth, legs, body and head of Ramses II, the smaller sculptures between the colossi, the row of baboons on top of the large temple, the stele in front of this temple, and the reliefs cut in the rock next to the temples.

The small free-standing sculptures in front of the temple dedicated to Ramses II are lit by red and yellow PAR 38 lamps. Switching these lamps on and off very quickly serves to create the impression that torches are burning.

Parts of the adjacent hills are continuously lighted by three floodlight circuits, but the floodlights in each circuit, although identical as regards type and number, are of three colours, namely red, green and blue. These primary colours can be mixed in different intensities (e.g.

100% red + 100% green = yellow, 100% red + 50% green = orange) to give the subject being illuminated almost any colour desired. The floodlights are automatically switched and dimmed in a prearranged sequence and synchronised with sound effects to create for the visitor a moving narrative in which variations in colours simulate such effects as the sunrise or sunset.

The static lighting is made by a selection of lighting circuits of the dynamic lighting system.

7 Ground plan of the Great Temple A - Entry B - Osiris pillars C - Vestibule D - Offerings Room E - Sanctum sanctorum F - Base of the dome G - Access to the dome H - Colossi of Ramses II I - Concrete support structure J - Sandstone wall 9, 10 Light bursts forth from the Great Temple (9).

This dramatic effect is achieved using retro-reflective material in the door opening, which is illuminated from above the grandstand by a number of pole-mounted extreme narrowbeam light generators (10), normally used in fibre-optics installations.

8

36

ilr 012 illuminations/projects

ilr 012 illuminations/projects

37

k.abou simbel34-41

28-11-2001

07:38

Pagina 38

F

11-13 The temple dedicated to Queen Nefertari.

Dramatic uplighting, with glancing light to bring out the texture of the sandstone from which the temple is carved.

The floodlight housings have been painted in a sand colour that helps them blend in with their surroundings.

E D C G B

H

11

14 Ground plan of the small temple A - Entry B - Hathor pillars C - Vestibule D - Sanctum sanctorum E - Base of the dome F - Access to the dome G - Concrete support structure H - Sandstone carvings

A

14

Special-effect lighting An important part of the sound and light show involves the creation of special lighting effects.

One notable example is the striking illusion of bright light bursting from the entrance to the Great Temple. The light in fact comes from several powerful narrow-beam floodlights, placed behind the audience, and reflected back towards them from a special material placed in the door opening.

Another moving effect is seen in the finale, when a row of ArenaVision floodlights hidden from view behind the mountain cast their beams upward to help create the illusion that these rays of light emanate from the sun disc above the head of the sun god, Ra-Harakhti–a relief of which is cut into the rock above the main entrance.

Flashes of light, generated by stroboscopes, are used to depict the lightning strike that once shattered the head of one of the colossi during a thunderstorm.

12

38

13 ilr 012 illuminations/projects

ilr 012 illuminations/projects

39

k.abou simbel34-41

28-11-2001

07:38

Pagina 38

F

11-13 The temple dedicated to Queen Nefertari.

Dramatic uplighting, with glancing light to bring out the texture of the sandstone from which the temple is carved.

The floodlight housings have been painted in a sand colour that helps them blend in with their surroundings.

E D C G B

H

11

14 Ground plan of the small temple A - Entry B - Hathor pillars C - Vestibule D - Sanctum sanctorum E - Base of the dome F - Access to the dome G - Concrete support structure H - Sandstone carvings

A

14

Special-effect lighting An important part of the sound and light show involves the creation of special lighting effects.

One notable example is the striking illusion of bright light bursting from the entrance to the Great Temple. The light in fact comes from several powerful narrow-beam floodlights, placed behind the audience, and reflected back towards them from a special material placed in the door opening.

Another moving effect is seen in the finale, when a row of ArenaVision floodlights hidden from view behind the mountain cast their beams upward to help create the illusion that these rays of light emanate from the sun disc above the head of the sun god, Ra-Harakhti–a relief of which is cut into the rock above the main entrance.

Flashes of light, generated by stroboscopes, are used to depict the lightning strike that once shattered the head of one of the colossi during a thunderstorm.

12

38

13 ilr 012 illuminations/projects

ilr 012 illuminations/projects

39

k.abou simbel34-41

28-11-2001

07:39

Pagina 40

Large-scale projections Many of the scenes include images of actual reliefs from inside the temple. These are projected on the temples themselves using computer-controlled large-scale projection techniques. It is hoped that besides being a highly effective means of story telling, this will

also provide tourists with an alternative to physically entering the temples themselves, so contributing to their destruction.

Even colour is brought back onto the (formerly polychromatic) sand-coloured monuments.

These projectors are also employed for simulating the flooding of the Nile, heavy rains, 16

sandstorms, and to indicate the concrete structure–which was built during the resurrection in the sixties–that covers each temple for bearing the load of the hill.

Interior lighting The interior lighting of the two temples has also been completely revised. The exposed, rather unsightly fluorescent tubes with omnidirectional light distribution have been replaced by very-narrow-beam fluorescent luminaires placed close to the walls. This glancing light picks out the wall reliefs with the hieroglyphs.

All the lamps are covered by filters that hold back most of the UV light. These continuous rows of luminaires are concealed by a raised wooden floor. The various pillars depicting Osiris or Hathor are lit by recessed uplights.

Sound installation The sound installation employs solid-state EPROMs (Erasable Programmable Read-Only Memory), which afford an ever-lasting CD quality, since all the sound information and the eight languages employed are stored digitally.

All the timing codes are stored in a computer, so the operator is easily able to modify the program by simply changing the software. ■

15 15, 17 Interior of the Great Temple.

The wall reliefs (15) are picked out by dimmable light for adaptation reasons when entering from daylight or darkness at night. For reasons of conservation, the light from the fluorescent lamps is blocked with UV filters.

The Osiris pillars, each ten metres high and depicting Osiris with the features of Ramses (17), are lit from below by spots.

All the lighting is recessed into a specially-constructed wooden floor, which also serves to conceal the cables from view.

40

ilr 012 illuminations/projects

16 The Great Temple’s protective man-made concrete dome, ‘supporting the load of the mountain’. The interior is equipped with air conditioning to help preserve the various statues and wall decorations.

Har Hollands

Principal: Misr, company for sound and light Show concept: Har Hollands, lighting designer Kees Bos, architect Artistic services: General de Producciones y Diseño Eric Teunis, artistic director, Rafael Rodriguez, script writer and Pep Llopis, composer Installation: Philips Projects, Leonard van der Laken, project manager, Theo van de Velde, site manager, Toon Thellier, sound engineer Photographer: Hans van Stekelenburg Photo copyrights: Har Hollands

17

ilr 012

41

k.abou simbel34-41

28-11-2001

07:39

Pagina 40

Large-scale projections Many of the scenes include images of actual reliefs from inside the temple. These are projected on the temples themselves using computer-controlled large-scale projection techniques. It is hoped that besides being a highly effective means of story telling, this will

also provide tourists with an alternative to physically entering the temples themselves, so contributing to their destruction.

Even colour is brought back onto the (formerly polychromatic) sand-coloured monuments.

These projectors are also employed for simulating the flooding of the Nile, heavy rains, 16

sandstorms, and to indicate the concrete structure–which was built during the resurrection in the sixties–that covers each temple for bearing the load of the hill.

Interior lighting The interior lighting of the two temples has also been completely revised. The exposed, rather unsightly fluorescent tubes with omnidirectional light distribution have been replaced by very-narrow-beam fluorescent luminaires placed close to the walls. This glancing light picks out the wall reliefs with the hieroglyphs.

All the lamps are covered by filters that hold back most of the UV light. These continuous rows of luminaires are concealed by a raised wooden floor. The various pillars depicting Osiris or Hathor are lit by recessed uplights.

Sound installation The sound installation employs solid-state EPROMs (Erasable Programmable Read-Only Memory), which afford an ever-lasting CD quality, since all the sound information and the eight languages employed are stored digitally.

All the timing codes are stored in a computer, so the operator is easily able to modify the program by simply changing the software. ■

15 15, 17 Interior of the Great Temple.

The wall reliefs (15) are picked out by dimmable light for adaptation reasons when entering from daylight or darkness at night. For reasons of conservation, the light from the fluorescent lamps is blocked with UV filters.

The Osiris pillars, each ten metres high and depicting Osiris with the features of Ramses (17), are lit from below by spots.

All the lighting is recessed into a specially-constructed wooden floor, which also serves to conceal the cables from view.

40

ilr 012 illuminations/projects

16 The Great Temple’s protective man-made concrete dome, ‘supporting the load of the mountain’. The interior is equipped with air conditioning to help preserve the various statues and wall decorations.

Har Hollands

Principal: Misr, company for sound and light Show concept: Har Hollands, lighting designer Kees Bos, architect Artistic services: General de Producciones y Diseño Eric Teunis, artistic director, Rafael Rodriguez, script writer and Pep Llopis, composer Installation: Philips Projects, Leonard van der Laken, project manager, Theo van de Velde, site manager, Toon Thellier, sound engineer Photographer: Hans van Stekelenburg Photo copyrights: Har Hollands

17

ilr 012

41

l.minideco42-43

28-11-2001

08:01

Pagina 42

Design A compact design makes this new range of mini-floodlights well-suited for accent lighting. Accessories and ballast options offer full flexibility and ease of installation

Mounting features

groundspike – by request

two integrated cable glands

Mat Bembridge

Exceptional tilt and rotation give true aiming flexibility

4 mm gap for heat dispersion and water drainage.

Colour filters clip into glare shield.

1

3

MiniDecoflood

'twin' halogen unit

Just a dot on the wall

9 cm The MiniDecoflood luminaire for dichroic halogen lamps has a front dimension of only 9 cm, compared to almost 22 cm for the smallest Decoflood currently available. A second version for CDM-R metal halide and

MasterPAR20-E halogen lamps measures just under 12 cm. Mat Bembridge: ‘From a design point of view, accent lighting should really look like a dot on the building. The goal is to have a very thin ballast box, which creates simple, clean lines, and then the light source is just a movement element on that box. And with the remote ballast configuration, you can have a very small light source on the front of a building and place the ballast in a discreet location elsewhere on the façade.’ A wide selection of painted finishes also makes it easier to match the luminaire and housing to the architectural colour scheme.

1 Halogen reflector (left) and Mastercolour CDM-R metal halide or MasterPAR20-E halogen, with glare shield and gear box.

2 From left: compact base for use with remote ballast, tilt-angle scale on swivel, remote ballast configuration, glare shield and colour filter, vertical strips for added beam control.

dichroic colour filters. Also offered is an electronic ballast, so halogen lamps can be dimmed to create subtler effects.

Other features Unique ‘twin’ halogen dichroic reflector unit with two light sources on one ballast box.

An innovative swivel mechanism that allows 355º rotation and 160º tilt. ■

Light-control accessories Mat Bembridge: ‘The essential philosophy in the product application is light-control accessories, about playing with light. We designed the accessories together with the product, not as an afterthought. The accessories therefore fit within the silhouette of the product and that’s totally new.’ Accessories include a glare shield with vertical strips and an array of standard and

Development team members: -Product management: Raphaëlle Laval -Design: Mat Bembridge

ø 90/118

42

ilr 012 illuminations/design

See www.city-people-light.com for more information.

78

78

143

90

182/272

3

Technical data Lamps: – Metal halide CDM-R 35W/830PAR20L, beam angles: 10˚, 30˚ – Halogen reflector Masterline plus 12V/20-30-50W, beam angles: 10˚, 24˚, 38˚, 60˚ reflector Masterline ES 12V/20W, beam angles: 8˚, 36˚ 12V/30-35-45W, beam angles: 8˚, 24˚, 36˚, 60˚ MasterPAR20 Electronic beam angle: 10˚ Accessories: – Arm extensions (mm): 65, 350, 650 – Glare shield with two vertical strips – Colour filters (supplied with glare shield): Standard–blue, red, yellow and green Dichroic–magenta, cyan, blue, red, yellow, and green – Corner bracket/tree mount

143

57

ø 90/118 78

70

4 Luminaire and box dimensions (mm): compact base, single unit and ‘twin’ unit.

92/134

92/134

2

3 9 cm ‘dots’ are unobtrusive and suitable for all parts of the facade.

143

Rapid development Mat Bembridge of Philips Design: ‘Our first charge was to develop a significantly more compact luminaire to fulfil a need within the city beautification market. The development

team – a product-designer, an engineer, a lighting-application designer, also people who were actually communicating with city authorities about lighting solutions – visited several key cities in the UK. We talked to urban planners and studied locations to get a feeling for what was required, and within six weeks the industrial design was fixed.’

57

T

The use of accent lighting in cities for the illumination of landmarks, centres, and historical buildings is an accelerating trend.

Good accent lighting must be compact and unobtrusive, able to blend with both contemporary and historical architecture. It should also have mounting and aiming flexibility to offer a broad spectrum of lighting effects.

These criteria form the heart of the design solution for the new MiniDecoflood range of compact mini-floodlights.

106/126

286

126

4 ilr 012 illuminations/design

43

l.minideco42-43

28-11-2001

08:01

Pagina 42

Design A compact design makes this new range of mini-floodlights well-suited for accent lighting. Accessories and ballast options offer full flexibility and ease of installation

Mounting features

groundspike – by request

two integrated cable glands

Mat Bembridge

Exceptional tilt and rotation give true aiming flexibility

4 mm gap for heat dispersion and water drainage.

Colour filters clip into glare shield.

1

3

MiniDecoflood

'twin' halogen unit

Just a dot on the wall

9 cm The MiniDecoflood luminaire for dichroic halogen lamps has a front dimension of only 9 cm, compared to almost 22 cm for the smallest Decoflood currently available. A second version for CDM-R metal halide and

MasterPAR20-E halogen lamps measures just under 12 cm. Mat Bembridge: ‘From a design point of view, accent lighting should really look like a dot on the building. The goal is to have a very thin ballast box, which creates simple, clean lines, and then the light source is just a movement element on that box. And with the remote ballast configuration, you can have a very small light source on the front of a building and place the ballast in a discreet location elsewhere on the façade.’ A wide selection of painted finishes also makes it easier to match the luminaire and housing to the architectural colour scheme.

1 Halogen reflector (left) and Mastercolour CDM-R metal halide or MasterPAR20-E halogen, with glare shield and gear box.

2 From left: compact base for use with remote ballast, tilt-angle scale on swivel, remote ballast configuration, glare shield and colour filter, vertical strips for added beam control.

dichroic colour filters. Also offered is an electronic ballast, so halogen lamps can be dimmed to create subtler effects.

Other features Unique ‘twin’ halogen dichroic reflector unit with two light sources on one ballast box.

An innovative swivel mechanism that allows 355º rotation and 160º tilt. ■

Light-control accessories Mat Bembridge: ‘The essential philosophy in the product application is light-control accessories, about playing with light. We designed the accessories together with the product, not as an afterthought. The accessories therefore fit within the silhouette of the product and that’s totally new.’ Accessories include a glare shield with vertical strips and an array of standard and

Development team members: -Product management: Raphaëlle Laval -Design: Mat Bembridge

ø 90/118

42

ilr 012 illuminations/design

See www.city-people-light.com for more information.

78

78

143

90

182/272

3

Technical data Lamps: – Metal halide CDM-R 35W/830PAR20L, beam angles: 10˚, 30˚ – Halogen reflector Masterline plus 12V/20-30-50W, beam angles: 10˚, 24˚, 38˚, 60˚ reflector Masterline ES 12V/20W, beam angles: 8˚, 36˚ 12V/30-35-45W, beam angles: 8˚, 24˚, 36˚, 60˚ MasterPAR20 Electronic beam angle: 10˚ Accessories: – Arm extensions (mm): 65, 350, 650 – Glare shield with two vertical strips – Colour filters (supplied with glare shield): Standard–blue, red, yellow and green Dichroic–magenta, cyan, blue, red, yellow, and green – Corner bracket/tree mount

143

57

ø 90/118 78

70

4 Luminaire and box dimensions (mm): compact base, single unit and ‘twin’ unit.

92/134

92/134

2

3 9 cm ‘dots’ are unobtrusive and suitable for all parts of the facade.

143

Rapid development Mat Bembridge of Philips Design: ‘Our first charge was to develop a significantly more compact luminaire to fulfil a need within the city beautification market. The development

team – a product-designer, an engineer, a lighting-application designer, also people who were actually communicating with city authorities about lighting solutions – visited several key cities in the UK. We talked to urban planners and studied locations to get a feeling for what was required, and within six weeks the industrial design was fixed.’

57

T

The use of accent lighting in cities for the illumination of landmarks, centres, and historical buildings is an accelerating trend.

Good accent lighting must be compact and unobtrusive, able to blend with both contemporary and historical architecture. It should also have mounting and aiming flexibility to offer a broad spectrum of lighting effects.

These criteria form the heart of the design solution for the new MiniDecoflood range of compact mini-floodlights.

106/126

286

126

4 ilr 012 illuminations/design

43

m.metronomis 44-45

28-11-2001

08:14

Pagina 44

Design 12.00

9.00

6.00

4.50

3.50 3.20

1.80 1.20 0.80

2

Metronomis 2 Architectural enhancement can only be fully realised when the range of luminaires and their supports are part of an integrated concept

0 o 90 - 270

150o

180o

150o

30

22 - 202

(cd/1000lm) 30 o 0 - 180

120

90

o

60o

0o 90 - 270o

o

30o 28 - 208o

90o

60

Polar intensity diagram o

120o

90

o

60o

60

o

0 o 90 - 270

150o

180o

150o

30

o

(cd/1000lm) 30o 0 - 180o

T

has launched Metronomis 2.

Whereas the original Metronomis luminaires were designed for use up to a height of six metres (street scene), the new second-phase luminaires extend this mounting height to 12 metres, where they take on a broader, architectural lighting function.

The new range The Metronomis 2 range comprises three innovative, modular, suspension-mounted luminaires (each in a large 400 W and a small 150 W version) for road and area lighting: the Brussels, Porto and the Oslo. These extend the application field of Metronomis to virtually every architectural context.

Ambient Light Effect Available with the Porto and Oslo luminaires is a ‘one-lamp’ concept with dedicated reflectors that use a small part of the light output to create a decorative ‘domestic’ or so-called ‘Ambient Light Effect’ and visual guidance in the city. This is achieved with only a modest decrease in the

0o o 90 - 270

180

o

150

o

120

o

90o

30o

0o

30o

o

Polar intensity diagram o

120o

120

30o

90o

90

o

60o

60

o

150o

180o

150o

120o

90o

60o

(cd/1000lm) 23 - 203

o

60o

(cd/1000lm) 22 - 202

150

70 - 150W 250 - 400W 125 - 250W 70 - 400W 85W

300

o

400

120

o

4

The city environment is made up of countless open areas and structures, the artificial lighting of which helps shape our feeling about the city at night.

Philips Lighting is continuously developing its portfolio of street and area-lighting luminaires and accessories. This all based on an extensive city beautification research and development program worked out together with internationally acclaimed city planners, architects and lighting designers (see ILR 992).

o

Polar intensity diagram o

120o

150o

500

o

180o

300

60

o

300

400

500

60o

o

150o

90

3

Metronomis family extended Following on from the Metronomis range launched in 1998 (see ILR 982), Philips Lighting

ilr 012

90

o

Optional lamps: CDM HPI HPL SON QL

150

o

(cd/1000lm) 30o 0 - 180o

Integrated concept Jos Stuyfzand, designer at Philips Design: ‘I spent some time travelling around Europe talking to leading experts in the field of city lighting application. The consensus of opinion was that we needed a luminaire program that would take us from a mounting height of zero metres up to twelve metres.’

44

o

120

o

200

o

120

60

Polar intensity diagram o

120o

90

Polar intensity diagram o 90

150o

250

(cd/1000lm) 30 0 - 180o

o

180o

400

o

150o

300

60

400

90

500

120

4 Typical light distribution diagrams from various reflectors. From left to right, top: CT-pot road lighting, standard road lighting and rotationsymmetrical; bottom: Diagrams with ‘Ambient Light Effect’.

150

Polar intensity diagram o o

3 An example of the Metronomis 2 Brussels with the integrated concept of 3 brackets on a 12 m high mast.

500

Jos Stuyfzand

1, 2 A selection of the luminaires program from a mounting height of zero metres up to twelve metres, including (1) the curved version of Metronomis 2.

200

Page left: The new Metronomis 2 range mounted on elegant 6-12 m high straight and curved columns, all shown with the ‘Ambient Light Effect’.

Bottom centre: (clockwise from top left) The Brussels, Porto and Oslo luminaires.

250

1

30o

0o

30o

o

light output ratio and even has a positive impact on the illumination uniformity!

Special reflector There is also the option for the special CT-pot reflector, which has been conceived for high-end CDM Mastercolour lamps with their more natural colour appearance.

Now, with the full Metronomis range, architects, city planners and lighting designers have a complete toolbox for architectural street lighting.

■

Multi-disciplinary development team Luminaires, Masts & Brackets: -Product management: N van Duinen, F Fossey, C Roche - Development: JC Grousset, W Droz , J Michel, E Loge - Optics: M O Flaissier -Design: M Nitsch, J Stuyfzand, T Halma, D van Klinken -Purchasing: Ph Collange - Quality: P Vinau - Production: P Blachon

ilr 012 illuminations/design

45

m.metronomis 44-45

28-11-2001

08:14

Pagina 44

Design 12.00

9.00

6.00

4.50

3.50 3.20

1.80 1.20 0.80

2

Metronomis 2 Architectural enhancement can only be fully realised when the range of luminaires and their supports are part of an integrated concept

0 o 90 - 270

150o

180o

150o

30

22 - 202

(cd/1000lm) 30 o 0 - 180

120

90

o

60o

0o 90 - 270o

o

30o 28 - 208o

90o

60

Polar intensity diagram o

120o

90

o

60o

60

o

0 o 90 - 270

150o

180o

150o

30

o

(cd/1000lm) 30o 0 - 180o

T

has launched Metronomis 2.

Whereas the original Metronomis luminaires were designed for use up to a height of six metres (street scene), the new second-phase luminaires extend this mounting height to 12 metres, where they take on a broader, architectural lighting function.

The new range The Metronomis 2 range comprises three innovative, modular, suspension-mounted luminaires (each in a large 400 W and a small 150 W version) for road and area lighting: the Brussels, Porto and the Oslo. These extend the application field of Metronomis to virtually every architectural context.

Ambient Light Effect Available with the Porto and Oslo luminaires is a ‘one-lamp’ concept with dedicated reflectors that use a small part of the light output to create a decorative ‘domestic’ or so-called ‘Ambient Light Effect’ and visual guidance in the city. This is achieved with only a modest decrease in the

0o o 90 - 270

180

o

150

o

120

o

90o

30o

0o

30o

o

Polar intensity diagram o

120o

120

30o

90o

90

o

60o

60

o

150o

180o

150o

120o

90o

60o

(cd/1000lm) 23 - 203

o

60o

(cd/1000lm) 22 - 202

150

70 - 150W 250 - 400W 125 - 250W 70 - 400W 85W

300

o

400

120

o

4

The city environment is made up of countless open areas and structures, the artificial lighting of which helps shape our feeling about the city at night.

Philips Lighting is continuously developing its portfolio of street and area-lighting luminaires and accessories. This all based on an extensive city beautification research and development program worked out together with internationally acclaimed city planners, architects and lighting designers (see ILR 992).

o

Polar intensity diagram o

120o

150o

500

o

180o

300

60

o

300

400

500

60o

o

150o

90

3

Metronomis family extended Following on from the Metronomis range launched in 1998 (see ILR 982), Philips Lighting

ilr 012

90

o

Optional lamps: CDM HPI HPL SON QL

150

o

(cd/1000lm) 30o 0 - 180o

Integrated concept Jos Stuyfzand, designer at Philips Design: ‘I spent some time travelling around Europe talking to leading experts in the field of city lighting application. The consensus of opinion was that we needed a luminaire program that would take us from a mounting height of zero metres up to twelve metres.’

44

o

120

o

200

o

120

60

Polar intensity diagram o

120o

90

Polar intensity diagram o 90

150o

250

(cd/1000lm) 30 0 - 180o

o

180o

400

o

150o

300

60

400

90

500

120

4 Typical light distribution diagrams from various reflectors. From left to right, top: CT-pot road lighting, standard road lighting and rotationsymmetrical; bottom: Diagrams with ‘Ambient Light Effect’.

150

Polar intensity diagram o o

3 An example of the Metronomis 2 Brussels with the integrated concept of 3 brackets on a 12 m high mast.

500

Jos Stuyfzand

1, 2 A selection of the luminaires program from a mounting height of zero metres up to twelve metres, including (1) the curved version of Metronomis 2.

200

Page left: The new Metronomis 2 range mounted on elegant 6-12 m high straight and curved columns, all shown with the ‘Ambient Light Effect’.

Bottom centre: (clockwise from top left) The Brussels, Porto and Oslo luminaires.

250

1

30o

0o

30o

o

light output ratio and even has a positive impact on the illumination uniformity!

Special reflector There is also the option for the special CT-pot reflector, which has been conceived for high-end CDM Mastercolour lamps with their more natural colour appearance.

Now, with the full Metronomis range, architects, city planners and lighting designers have a complete toolbox for architectural street lighting.

■

Multi-disciplinary development team Luminaires, Masts & Brackets: -Product management: N van Duinen, F Fossey, C Roche - Development: JC Grousset, W Droz , J Michel, E Loge - Optics: M O Flaissier -Design: M Nitsch, J Stuyfzand, T Halma, D van Klinken -Purchasing: Ph Collange - Quality: P Vinau - Production: P Blachon

ilr 012 illuminations/design

45

n.petrol46-51

28-11-2001

08:18

Pagina 46

Concepts

4

3

1

5

A Vision of Efficiency Paul Entrop and Jos Hoens

I

In the early nineties the benefits of good vertical lighting of the undercanopy in petrol stations received serious attention, resulting in the development of a set of lighting principles expressly for this application (see ILR 941)–this marked the beginning of the 3-D lighting concept. Since then petrol station lighting has continued to become more effective and energy conserving, as the oil industry embraced worldwide the principles and technology of 3-D.

A new compact, 3-D design petrol station lighting system using a specially developed luminaire reflector coating realises substantial energy savings, while its compact Mastercolour lamps raise colour rendering to near daylight quality

1, 3 Texaco petrol station (1) has a cooler, neutral appearance under the Mastercolour 942 lamps compared with the SON-T Plus and HPI-T used in this traditional system (3).

2 The lights of a petrol station glowing in the distance–a beacon for the weary traveller.

Redesigned 3D lighting concept Now we have entered the 21st century and change continues apace. Petrol stations extend their hours for more customer convenience and this places more demands on the lighting. Travellers, women in particular, want to feel safe when they make a late-night fuel stop. While station operators, mindful of their costs in a competitive business with small profit margins, strive to create an inviting environment that will encourage patrons to browse the station shop before driving on.

Incorporating the redesigned 3D lighting scheme with the innovative and efficient MINI 300 luminaire design should satisfy those on both sides of the petrol sales-counter.

4, 5 With its bright, sparkling aspect, this Total outlet (5) using the new MINI 300 outshines the MPF 200 (4), and offers at least 35% energy savings.

Energy saving and better colour rendering Drawing on extensive coating research from other applications, Philips Lighting developed a coating specific to the needs of the petrol lighting segment. The unique white coating of this new compact luminaire

produces an efficiency of 85%, compared to 65% for the traditional MPF luminaire. The increase in efficiency affords the possibility of using a smaller wattage lamp (CDM-TD 150 W) to provide the same illumination, thus cutting energy use by at least 35%. Projections are that in a typical station the luminaires will pay for themselves in only one and half years.

And they retain all of the best features of the MPF–low glare, flexible mounting and easy access. The lamp for this situation (942 Mastercolour) fulfils the important task of showing the true colours of all of the objects and people in the under-canopy area. With a colour rendering index of Ra 96, important features for refuelling, such as pump handles and displays, appear as intended and make orientation easy regardless of the time of day.

In Europe alone there are about 100 000 petrol stations, so the potential to reduce energy consumption and thereby greenhouse gas emissions is significant. Several international oil companies, including Exxon/Esso/Mobil, Texaco, Total/Elf/Fina and BP Amoco, have already chosen this new luminaire for the under-canopy lighting in their stations.

In fact, BP Amoco has committed to installing the MINI 300 in its stations worldwide, to the extra benefit of a select group of its outlets. The company began an eleven-country project in 1999 to mount thin-film solar panels atop the canopies of about 200 of its petrol stations to supplement their power needs and test the viability of such a system. The luminaire's high efficiency could encourage BP Amoco to expand this venture.

Continued on page 50

2

46

ilr 012 illuminations/concepts

ilr 012 illuminations/concepts

47

n.petrol46-51

28-11-2001

08:18

Pagina 46

Concepts

4

3

1

5

A Vision of Efficiency Paul Entrop and Jos Hoens

I

In the early nineties the benefits of good vertical lighting of the undercanopy in petrol stations received serious attention, resulting in the development of a set of lighting principles expressly for this application (see ILR 941)–this marked the beginning of the 3-D lighting concept. Since then petrol station lighting has continued to become more effective and energy conserving, as the oil industry embraced worldwide the principles and technology of 3-D.

A new compact, 3-D design petrol station lighting system using a specially developed luminaire reflector coating realises substantial energy savings, while its compact Mastercolour lamps raise colour rendering to near daylight quality

1, 3 Texaco petrol station (1) has a cooler, neutral appearance under the Mastercolour 942 lamps compared with the SON-T Plus and HPI-T used in this traditional system (3).

2 The lights of a petrol station glowing in the distance–a beacon for the weary traveller.

Redesigned 3D lighting concept Now we have entered the 21st century and change continues apace. Petrol stations extend their hours for more customer convenience and this places more demands on the lighting. Travellers, women in particular, want to feel safe when they make a late-night fuel stop. While station operators, mindful of their costs in a competitive business with small profit margins, strive to create an inviting environment that will encourage patrons to browse the station shop before driving on.

Incorporating the redesigned 3D lighting scheme with the innovative and efficient MINI 300 luminaire design should satisfy those on both sides of the petrol sales-counter.

4, 5 With its bright, sparkling aspect, this Total outlet (5) using the new MINI 300 outshines the MPF 200 (4), and offers at least 35% energy savings.

Energy saving and better colour rendering Drawing on extensive coating research from other applications, Philips Lighting developed a coating specific to the needs of the petrol lighting segment. The unique white coating of this new compact luminaire

produces an efficiency of 85%, compared to 65% for the traditional MPF luminaire. The increase in efficiency affords the possibility of using a smaller wattage lamp (CDM-TD 150 W) to provide the same illumination, thus cutting energy use by at least 35%. Projections are that in a typical station the luminaires will pay for themselves in only one and half years.

And they retain all of the best features of the MPF–low glare, flexible mounting and easy access. The lamp for this situation (942 Mastercolour) fulfils the important task of showing the true colours of all of the objects and people in the under-canopy area. With a colour rendering index of Ra 96, important features for refuelling, such as pump handles and displays, appear as intended and make orientation easy regardless of the time of day.

In Europe alone there are about 100 000 petrol stations, so the potential to reduce energy consumption and thereby greenhouse gas emissions is significant. Several international oil companies, including Exxon/Esso/Mobil, Texaco, Total/Elf/Fina and BP Amoco, have already chosen this new luminaire for the under-canopy lighting in their stations.

In fact, BP Amoco has committed to installing the MINI 300 in its stations worldwide, to the extra benefit of a select group of its outlets. The company began an eleven-country project in 1999 to mount thin-film solar panels atop the canopies of about 200 of its petrol stations to supplement their power needs and test the viability of such a system. The luminaire's high efficiency could encourage BP Amoco to expand this venture.

Continued on page 50

2

46

ilr 012 illuminations/concepts

ilr 012 illuminations/concepts

47

n.petrol46-51

28-11-2001

08:20

Pagina 48

A

13 6

7

8 14

15

B

9

3-D lighting with the MINI 300 The heart of the under-canopy 3-D lighting system (10) is good vertical lighting provided by the correct location of a combination of asymmetrical and symmetrical luminaires (14). This allows patrons to see all surfaces and objects in bright, full colour (11, 12), and small items dropped on the forecourt are easily retrieved (9). Installation of the MINI 300 is fast and precise with a frame that bolts into the canopy (13) for recessed mounting, or with a special hinge plate for surface mounting.

The MINI 300's energy-saving advantage (15): in Part A, the number of luminaires remains the same, and the change from 250 W to 150 W lamps results in nearly 40% energy savings; in Part B, two luminaires are added to the middle column to compensate for the removal of the 400 W lamps, but the saving is still over 35%. Including the coating innovation, advances in lighting technology in the past 10 years have reduced the cost of lighting a typical petrol station by 60%.

The new compact system is also suited for area lighting (6), with both pole-mount (8) and wall-mount options. A range of beam configurations (7) assures good illuminance throughout.

10

Petrol lighting system comparison table

11

12

traditional MPF 200 series

new compact MINI 300

System efficiency (%)

65

85

Lamp type and wattage Light output (lm) Lamp efficacy (lm/W)

HPI-T 250 / 400 W 17000 / 30500 68 / 79

CDM-TD Mastercolour 942 150 W 14200 95

Colour rendering (Ra) Colour temperature (K)

65 4500

96 4200

IP rating Cut-out size (cm)

54 47

65 36

See www.petrolstationlighting.com for additional information.

48

ilr 012

ilr 012 illuminations/concepts

49

n.petrol46-51

28-11-2001

08:20

Pagina 48

A

13 6

7

8 14

15

B

9

3-D lighting with the MINI 300 The heart of the under-canopy 3-D lighting system (10) is good vertical lighting provided by the correct location of a combination of asymmetrical and symmetrical luminaires (14). This allows patrons to see all surfaces and objects in bright, full colour (11, 12), and small items dropped on the forecourt are easily retrieved (9). Installation of the MINI 300 is fast and precise with a frame that bolts into the canopy (13) for recessed mounting, or with a special hinge plate for surface mounting.

The MINI 300's energy-saving advantage (15): in Part A, the number of luminaires remains the same, and the change from 250 W to 150 W lamps results in nearly 40% energy savings; in Part B, two luminaires are added to the middle column to compensate for the removal of the 400 W lamps, but the saving is still over 35%. Including the coating innovation, advances in lighting technology in the past 10 years have reduced the cost of lighting a typical petrol station by 60%.

The new compact system is also suited for area lighting (6), with both pole-mount (8) and wall-mount options. A range of beam configurations (7) assures good illuminance throughout.

10

Petrol lighting system comparison table

11

12

traditional MPF 200 series

new compact MINI 300

System efficiency (%)

65

85

Lamp type and wattage Light output (lm) Lamp efficacy (lm/W)

HPI-T 250 / 400 W 17000 / 30500 68 / 79

CDM-TD Mastercolour 942 150 W 14200 95

Colour rendering (Ra) Colour temperature (K)

65 4500

96 4200

IP rating Cut-out size (cm)

54 47

65 36

See www.petrolstationlighting.com for additional information.

48

ilr 012

ilr 012 illuminations/concepts

49

n.petrol46-51

28-11-2001

08:21

Pagina 50

16

17

18

Simple mounting procedure Luminaire installation is a one-step, 10-minute job for both surface mount and recessed luminaires, as both versions now have an integrated ballast.

The reduced heat load through the high system efficiency and smaller wattage lamp makes this change possible. Retrofitting existing recessed MPF luminaires for the smaller MINI 300 is also straightforward–an adapter plate slips inside the existing frame and is held securely in place at the four corners with self-locking nuts. No need for additional cut-outs or other ceiling modifications. Due to the improved system efficiency, most upgrade situations do not require supplemental luminaires to maintain the desired illumination levels. Luminaires are available in asymmetricalwide, -medium and -narrow beams and symmetrical-wide and -medium beam configurations.

Area lighting Aside from under-canopy applications, the new luminaires can also be

50

ilr 012 illuminations/concepts

pole-mounted for an effective and economical alternative for the area lighting around the petrol station. The approach area is the ‘decompression’ zone, where the driver adjusts to lower speed and increasing light levels and good visibility with no glare is important for everyone's safety. Adequate but reduced lighting on the exit area (recommended illumination being 10 to 12% of that under the canopy) prepares the driver for the total darkness or limited illumination of the open road.

There are also possibilities away from the petrol station. The high colour rendering value of the Mastercolour 942 lamp makes the luminaire an attractive choice for areas in- and outside megastores, DIY centres, as well as railway platforms, industry and high-quality area lighting. Moreover, the new lighting techniques applied in the MINI 300 may lead to a serious trend for the future in flood and area lighting in general. ■

b.cover2-3 DE

27-11-2001

15:49

Pagina D

Urban e-solution From Philips Lighting

city-people-light.com provides professionals with information about urban lighting in Europe, together with selected resources, presentation of futuristic concepts, self-training in lighting, calendar of events and lighting solutions.

A reference site for town planners, landscape architects, lighting designers and all those who care about the improvement of the urban environment through lighting.

16, 17 Improved colour rendering at Esso from CDM-TD (17) in the new system, compared with the HPI-T in the 200 series (16), as Ra increases from 65 to 96.

city-people-light.com

18, 19 Everything under the BP Amoco canopy is brightly lit and in full colour (18), in comparison to the traditional lighting system (19).

Paul Entrop

Lighting concepts and product creation: Paul Entrop, Philips Lighting, Eindhoven International account manager, petrol stations: Jos Hoens, Philips Lighting, Eindhoven 19

ilr 012 illuminations/concepts

51

Floodlighting

by Philips

Creating and identifying landmarks In the comprehensive approach to the urban environment, creating and identifying landmarks is an important step.

Lighting a building, a monument, or a specific architectural feature contributes to the identity of the city/ town/village. Creating landmarks also facilitates orientation.

Whether you are working on a single building or an entire lighting masterplan, night-time sight-seeing tours or illumination of specific sites, Philips offers you its lighting expertise, together with state-of-the-art products, systems and services.

Internationale Licht Rundschau

ILR 012: ILLUMINATIONS

Chateau de Versailles Lighting design : Frédéric Didier,Architecte en Chef des Monuments Historiques • Photographer : J. Evenou/DUPON

Revista Internacional de Luminotecnia

Pagina B

Revue Internationale de l’Eclairage

15:25

For more information : info.citybeautification@philips.com

International Lighting Review

27-11-2001

012

a.cover1-4 BC

Illuminations