ILR 2002 - 021

Pagina B 12:11 18-04-2002 a.cover1-4 BC

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

021 R E TA I L

Retail

c.contents a-b-1 a-b-1 c.contents

18-04-2002 30-05-2002

13:39 16:06

Pagina ab Pagina

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.

I n t e r n a t i o n a l Lighting Review 021

For 2002, the subscription rates (including postage) are: Within Europe €45 Outside Europe €53

021 ILLUMINATIONS

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 web site mentioned below.

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 €21 per issue.

http://www.lightingreview.com

2

International Lighting Review ISSN 0020-7853

ILR web site and ILR index An online overview of the current issue of ILR and the Quick-Reference Index of the back numbers 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 53rd year / issue 021

011 OFFICES

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

003 ROADS 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.

002 SHOPS

Layout: Marie-Louise Mannaerts.

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 power to grant permission to reproduce this.

The views expressed in this journal by third parties are not necessarily those held by the

001 CITY BEAUTIFICATION EURO 2000 SOCCER

publisher. The editor reserves the right to edit and abridge articles for publication.

993 INDUSTRY

Philips Lighting b BU Luminaires

Mexico: mailto: german villalobos@philips.com fax 052 5728 4844 New Zealand: mailto: brian.brandford@philips.com fax 098497812 Netherlands: mailto: Anneke.summerfield@philips.com fax 040 2786795 Norway: mailto: bjoern-inge.skipperud@philips.com Peru: mailto: fabian.ysla@philips.com fax 01 2136274 Pakistan: mailto: rao.salman@philips.com fax 021 2579514 Philippines: mailto: robert.m.victoriano@philips.com fax 028166340 Poland: mailto: joanna.stanuch@philips.com fax 067 3513104 Portugal: mailto: rui.santos@philips.com fax 014163222 Russia: mailto: vitaly.stepanov@philips.com fax 0959379357 Singapore: mailto: teh.eng.chuan@philips.com fax 02532343 Slovakia: mailto: zuzana.marekova@philips.com fax 075424213 Spain: mailto: susana.gallardo.fuentes@philips.com fax 0915669622 Sweden: mailto: per-ake.alm@philips.com fax 0859852760 Switzerland: mailto: jolanda.hagnauer@philips.com fax 014883249.

Taiwan: mailto: sasha.lee@philips.com fax 03 3854917 Thailand: mailto: taweechai.kangwansurakry @philips.com - fax 02 323 0904 Turkey: mailto: haldun.demirdes@philips.com fax 02122804501 United Kingdom: mailto: andy.gowen@philips.com fax 01816898752 Uruguay: mailto: juan.fabra@philips.com fax 02 6287777 USA: mailto: mike.hewitt@philips.com fax 0732 5633740 Venezuela: mailto: alejandro.samour@philips.com fax: 02 2378343

Editor’s notes

8

Dynamic, with a touch of colour Germany

Projects

By Marike de Kruiff

12

By Ralf Knorrenschild

16

021

3222 635 34261

A shopping experience that departs from the ordinary at Jean Pascale in Frankfurt

High-key fashion Germany Camera’s updated lighting focuses on architecture and accents

Picture perfect France Hennes & Mauritz’s bright and colourful new shop

36

By Ralf Knorrenschild

46

By Clive Baily

50

By Helga Tritt

A shop made to fit Germany The youthful style of Görtz 17

Two systems in one United Kingdom ASDA combines ambient and accent lighting in one installation

The new world of Hagebau Germany A new generation DIY superstore with something for everyone

Research 34

By Fred Oberkircher

Colour acceptance and coloured light The effects of light on colour perception and consumer behaviour

Trends 44

Lighting the shopping experience Philips Lighting, Euroshop 2002, Düsseldorf, Germany

Design 40

Strato Brings a feeling of dynamic daylight indoors

42

Daruma A multiple light system that fits seamlessly into any architectural style

Concepts 7

By Ennio Capasa

20

Ennio Capasa on shop design The co-founder of Costume National discusses his methods

Mandarina Duck The firm’s Paris flagship is a shop full of experiences

24

By Ole Scheeren

32 Other countries: Mail to: franka.heesterbeek@philips.com fax 31 40 275 5730

Front cover: Prada epicentre store, New York City, see page 24 Back cover: Strato—Dynamic light experience at Euroshop 2002,

see page 44

6

Retail

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

Argentina: mailto: alberto.fernandez.ripoll@philips.com fax 015467668 Australia: mailto: andrew.nagy@philips.com fax 029947 0319 Austria: mailto: petra.lawender@philips.com fax 0160101 79 1347 Belgium: mailto: roger.petitjean@philips.com fax 025257694 Brazil: mailto: antonio.yochiaki.sakaguti@philips.com fax 0115188 0735 Canada: mailto: sandra.weil@philips.com fax 04167546265 Central America: mailto: ricardo.chicas@philips.com fax 2941801 Chile: Valeria Sáez, fax 027371711 China: mailto: cindy.yw.ding@philips.com fax 021 63543949 Colombia: mailto: jannette.ballestas@philips.com fax 0161 94299 Czech Republic: mailto: jakub.wittlich@philips.com fax 02 33099326 Denmark: mailto: hans.jorgen.jacobsen@philips.com fax 033293931 Finland: mailto: petri.pekola@philips.com fax 096883230 France: mailto: pierre.launay@philips.com fax 0149876178 Germany: mailto: jeroen.rijswijk@philips.com fax 05041 75508 Greece: mailto: i.terzaki@philips.com fax 016845728 Hong Kong: mailto: pilva.p.kwan@philips.com fax 02 28610568 Hungary: mailto: laszlo.fabian@philips.com fax 013821851 India: mailto: sudeshna.mukhopadhyay@philips.com fax 033 4754318 Indonesia: mailto: shinta.marino@philips.com fax 0264 351666 Ireland: mailto: eoin.cooke@philips.com fax 017640121 Italy: mailto: mariangela.speroni@philips.com fax 0392036125 Japan: mailto: masako.manning@philips.com fax 0337405367 Korea: mailto: s.h.cho@philips.com fax 027091359 Malaysia: mailto: chee.hoong.ng@philips.com fax 037574368

Forum News from the world of lighting

By Gérard Barrau

38

By Ton Akkermans

Epicentre Prada makes an image statement in New York

Light’s many roles Light speaks a language all its own

Volkswagen on display A view on the ideal car showroom

c.contents a-b-1

18-04-2002

13:39

Pagina b

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.

I n t e r n a t i o n a l Lighting Review 021

For 2002, the subscription rates (including postage) are: Within Europe €45 Outside Europe €53

021 ILLUMINATIONS

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 web site mentioned below.

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 €21 per issue.

ILR web site and ILR index An online overview of the current issue of ILR and the Quick-Reference Index of the back numbers 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

011 OFFICES

003 ROADS

002 SHOPS

001 CITY BEAUTIFICATION EURO 2000 SOCCER

993 INDUSTRY

2

Argentina: mailto: alberto.fernandez.ripoll@philips.com fax 015467668 Australia: mailto: andrew.nagy@philips.com fax 029947 0319 Austria: mailto: petra.lawender@philips.com fax 0160101 79 1347 Belgium: mailto: roger.petitjean@philips.com fax 025257694 Brazil: mailto: antonio.yochiaki.sakaguti@philips.com fax 0115188 0735 Canada: mailto: sandra.weil@philips.com fax 04167546265 Central America: mailto: ricardo.chicas@philips.com fax 2941801 Chile: Valeria Sáez, fax 027371711 China: mailto: cindy.yw.ding@philips.com fax 021 63543949 Colombia: mailto: jannette.ballestas@philips.com fax 0161 94299 Czech Republic: mailto: jakub.wittlich@philips.com fax 02 33099326 Denmark: mailto: hans.jorgen.jacobsen@philips.com fax 033293931 Finland: mailto: petri.pekola@philips.com fax 096883230 France: mailto: pierre.launay@philips.com fax 0149876178 Germany: mailto: jeroen.rijswijk@philips.com fax 05041 75508 Greece: mailto: i.terzaki@philips.com fax 016845728 Hong Kong: mailto: pilva.p.kwan@philips.com fax 02 28610568 Hungary: mailto: laszlo.fabian@philips.com fax 013821851 India: mailto: sudeshna.mukhopadhyay@philips.com fax 033 4754318 Indonesia: mailto: shinta.marino@philips.com fax 0264 351666 Ireland: mailto: eoin.cooke@philips.com fax 017640121 Italy: mailto: mariangela.speroni@philips.com fax 0392036125 Japan: mailto: masako.manning@philips.com fax 0337405367 Korea: mailto: s.h.cho@philips.com fax 027091359 Malaysia: mailto: chee.hoong.ng@philips.com fax 037574368

Mexico: mailto: german villalobos@philips.com fax 052 5728 4844 New Zealand: mailto: brian.brandford@philips.com fax 098497812 Netherlands: mailto: Anneke.summerfield@philips.com fax 040 2786795 Norway: mailto: bjoern-inge.skipperud@philips.com Peru: mailto: fabian.ysla@philips.com fax 01 2136274 Pakistan: mailto: rao.salman@philips.com fax 021 2579514 Philippines: mailto: robert.m.victoriano@philips.com fax 028166340 Poland: mailto: joanna.stanuch@philips.com fax 067 3513104 Portugal: mailto: rui.santos@philips.com fax 014163222 Russia: mailto: vitaly.stepanov@philips.com fax 0959379357 Singapore: mailto: teh.eng.chuan@philips.com fax 02532343 Slovakia: mailto: zuzana.marekova@philips.com fax 075424213 Spain: mailto: susana.gallardo.fuentes@philips.com fax 0915669622 Sweden: mailto: per-ake.alm@philips.com fax 0859852760 Switzerland: mailto: jolanda.hagnauer@philips.com fax 014883249.

Taiwan: mailto: sasha.lee@philips.com fax 03 3854917 Thailand: mailto: taweechai.kangwansurakry @philips.com - fax 02 323 0904 Turkey: mailto: haldun.demirdes@philips.com fax 02122804501 United Kingdom: mailto: andy.gowen@philips.com fax 01816898752 Uruguay: mailto: juan.fabra@philips.com fax 02 6287777 USA: mailto: mike.hewitt@philips.com fax 0732 5633740 Venezuela: mailto: alejandro.samour@philips.com fax: 02 2378343

see page 44

6

Editor’s notes

8

Dynamic, with a touch of colour Germany

Retail Projects

By Marike de Kruiff

12

By Ralf Knorrenschild

16

021

3222 635 34261

A shopping experience that departs from the ordinary at Jean Pascale in Frankfurt

High-key fashion Germany Camera’s updated lighting focuses on architecture and accents

Picture perfect France Hennes & Mauritz’s bright and colourful new shop

36

By Ralf Knorrenschild

46

By Clive Baily

50

By Helga Tritt

A shop made to fit Germany The youthful style of Görtz 17

Two systems in one United Kingdom ASDA combines ambient and accent lighting in one installation

The new world of Hagebau Germany A new generation DIY superstore with something for everyone

Research 34

By Fred Oberkircher

Colour acceptance and coloured light The effects of light on colour perception and consumer behaviour

Trends 44

Lighting the shopping experience Philips Lighting, Euroshop 2002, Düsseldorf, Germany

Design 40

Strato Brings a feeling of dynamic daylight indoors

42

Daruma A multiple light system that fits seamlessly into any architectural style

Concepts 7

By Ennio Capasa

20

Ennio Capasa on shop design The co-founder of Costume National discusses his methods

Mandarina Duck The firm’s Paris flagship is a shop full of experiences

24

By Ole Scheeren

32 Other countries: Mail to: franka.heesterbeek@philips.com fax 31 40 275 5730

Forum News from the world of lighting

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

Front cover: Prada epicentre store, New York City, see page 24 Back cover: Strato—Dynamic light experience at Euroshop 2002,

b

http://www.lightingreview.com

By Gérard Barrau

38

By Ton Akkermans

Epicentre Prada makes an image statement in New York

Light’s many roles Light speaks a language all its own

Volkswagen on display A view on the ideal car showroom

d.forum 2-5

18-04-2002

13:46

Pagina 2

FORUM

FORUM

JOHAN JANSEN–in memoriam

Harvard Design School Guide to Shopping

Founder of ILR dies at age 91 Johan Jansen, founder of ‘International Lighting Review,’ died in Veldhoven, The Netherlands, on 1 March. He was 91. He began his career with Philips Lighting in Eindhoven in 1928, and eventually became a leading lighting engineer. He established the renowned ILR in 1949 and was Chief Editor until he retired in 1976.

Over the ensuing years he took numerous exhibitions to many countries all over the world, using his extensive collection of posters, prints, paintings and light-related sculptures and objects. Jansen’s fascination with electric light focussed in particular on the enormous impact that it has had on society over the past century— in the street, the pub, theatre life, art, in the workplace and in the home. He published various works on artificial light and artistic light, and in 1984 he set up the foundation

‘Light Effects in Painting and Sculpture’, which was rechristened ‘Artificial Light in Art’ in 1999. It is thanks to Jansen's dedication and commitment that on 27 March 2002 the foundation had the grand

opening of the Centre for Artificial Light in Art, housed in the original Philips factory in Eindhoven. It is a permanent display of his collection of lighting-related materials. The Dutch government awarded Jansen the prestigious medal: ‘Companion of the Order of Orange-Nassau’ in December of 2000.

Johan Jansen was one of the pioneers of modern lighting technology and his contributions to the study of light in art will benefit generations to come.

ILR's 25-year Jubilee issue in 1974 featured a favourite picture of Johan Jansen, chief editor at the time.

Visual:'The Eyes of the Night' by Sylvia Quandt,

A new look on the high street

LED Rail System, Esprit stores, Singapore

Nationwide Building Society, Newbury, UK

Esprit, the US-based fashion retailer, wanted to present its signature logo in an eye-catching way at three of its Singapore shops. The pictured unique floor display is at Esprit’s 900 square metre outlet in the Raffles City Shopping Centre on North Bridge Road. In use is an innovative light emitting diode (LED) system—LumiLeds LED Rail System—a joint venture of Philips Lighting and Agilent Technologies. By using these ultra-compact, long-life (100 000 hours) and energy efficient light sources, the three shops set themselves apart from

Nationwide, the UK’s number one building society, wanted a new and modern image for its high street branches. The new concept steered away from conventional square modular luminaires in the ceiling, and instead focused more on the use of small and compact luminaires.

Some key elements of the new system: The ‘Communication Wall’—used for promoting all financial services from Banking through to Mortgages. Fixed asymmetric ‘Wall Washers’ employing 1x 55 W PLL 840 lamps provide a uniform wash of illumination averaging 1000 lux down this concave wall with its colourful graphics. It gives the impression that the wall is backlit, when in fact it is not.

Impact points—point of sale locations promoting the company’s products.

Recessed gimbal downlights with 2x 35 W

2

ilr 021 forum

The Harvard Design School Guide to Shopping examines the factors that contributed to shopping becoming the

copyright Franz Hanfstaengl.

Long-life Footlights

the rest of the tenants in their high-traffic, mall locations. Sections of red and amber LED Rail System were placed beneath the 45 cm by 45 cm pieces of sandblasted translucent glass flooring at the store's entrance. The sign consists of 188 individual LED modules connected by wire, plus drivers and mounting components.

Light output is 20 lumens per metre for the amber LED and 40 lumens per metre for the red. Esprit plans to install the LED system in all of its stores in Singapore and Malaysia.

Project coordination: Kuan Mun Fai, Philips Lighting Singapore Installation: Siatyun (S) Pte Ltd

Edited by: Chuihua Judy Chung, Jeffrey Inaba, Rem Koolhaas and Sze Tsung Leong; Published by Taschen GmbH, Cologne, Germany, 800 pages, €45 ISBN 3-8228-6047-6

CDM-T to create a 3:1 accent to ambient ratio. Illuminance level is 2000 lux.

Feature lighting—false wall panels are installed away from the main walls in selected areas. Contrasting colour finishes and TL5 battens mounted behind the panels create perspective and a ‘floating’ effect.

Entrance lighting—supplied by downlights fitted with 150 W CDM-T 942 lamps. Their cool-white light provides a contrast for the adjoining warmer lit (3000 K) window displays.

The new design is now being rolled out to a number of Nationwide’s top high street branches across the UK. Lighting design: Clive Baily, Philips Lighting, UK Electrical contractor: S&J Electrical Installation: Rocare Building Services

center of urban life and how this focus has reshaped the modern city. Like Great Leap Forward, the first book in this planned four-part series, it is based on research by Rem Koolhaas’ students in the graduate thesis program of the Harvard Design School’s Project on the City. For this project they delved into retail technologies, marketing strategies and the blending of commercial and cultural/recreational environments in the United States, Europe and Asia.

At 800 pages this book has the size and weight to be another brick on the hod; however, unlike a building stone it is bursting with text, photographs, diagrams and statistics. For instance, America has 2.9 square metres of retail area per person, compared to 0.4 metres in Europe and 0.2 metres in Asia. The final product is a collection of forty-two essays, presented alphabetically by title, which ranges from more technical aspects such as air conditioning and the escalator to ‘Junkspace’, a contribution by Koolhaas that is a free-form (no margins or paragraphs) discussion of the world that modernization has created.

For more information see: www.taschen.com

Shanghai Orient Meitha Exclusive fashion presentation on the Huai Hai Road, Shanghai Shanghai, centrally located on China’s eastern coast, is a fashionable and international metropolis. The Shanghai Orient Meitha women’s fashion store is on the tree-lined Huai Hai Road, an area known for shops offering the best in fashion, and the Orient Meitha is no exception.

The lighting plan called for highlights on the store’s most exclusive items in order to draw the customer to the parts of the shop that have the highest profit potential.

To create pleasing contrasts in the spacious, 17-metre-high lobby, recessed downlights (MBS205) and 67804 wallmounted projectors are used. The downlights hold MHN-TD 250W lamps of Ra>80 and the projectors the Mastercolour CDM-T 150W of Ra>90. The illuminance averages more than 500 lux, and all lamps have a colour temperature of 4200 K. The flowered archway on the 3rd floor is lit with the same CDM-T 150 W lamp to give full effect to this display.

For special light effects, the shopping areas on all three floors use 70W MHN-TD metal halide lamps and 18W PLC lamps in recessed downlights of the Trilogy standard and low-height models.

Lighting design: Yao Mengming, LiDAC, Philips Lighting China

Lighting installation: Shanghai Construction Group Interior design: ARQUITECTONICA/Architecture

‘The Reference’ in Fashion Lighting Bigotti shops, Romania Graffitti ’94, the owner of the Bigotti brand men’s fashion shops, desired a flexible, sophisticated lighting plan for its stores.

The design appeared first in the new shop in the renovated Bucharest Mall in 1999 (right), and was such a success that the company decided to expand it to the Tomis Mall shop (below), located in Constanta, and all other Bigotti locations in Romania.

Within three years Bigotti has defined a

new wave in shop lighting.

Emil Rosca, chief architect of Graffitti ’94: ‘In the individual luxury shop market development, Bigotti is perceived as “the reference”. The essential element of the integrated design was the lighting system.’

In the display window and outside showcases, adjustable downlights (MBN/SBN 210 or 60800 track mounted projectors) are fitted with Mastercolour

70 W lamps for a cool, crisp appearance and excellent colour rendering. This contrasts with the warmer light from White SON and Masterline halogen reflectors used in the interior, and is meant to give the customer the feeling that Bigotti is for all the moments of the day and night Architect: Emil Rosca Lighting design: Cornel Sfetcu and Dan Musat, Philips Lighting Romania

ilr 021 forum

3

d.forum 2-5

18-04-2002

13:46

Pagina 2

FORUM

FORUM

JOHAN JANSEN–in memoriam

Harvard Design School Guide to Shopping

Founder of ILR dies at age 91 Johan Jansen, founder of ‘International Lighting Review,’ died in Veldhoven, The Netherlands, on 1 March. He was 91. He began his career with Philips Lighting in Eindhoven in 1928, and eventually became a leading lighting engineer. He established the renowned ILR in 1949 and was Chief Editor until he retired in 1976.

Over the ensuing years he took numerous exhibitions to many countries all over the world, using his extensive collection of posters, prints, paintings and light-related sculptures and objects. Jansen’s fascination with electric light focussed in particular on the enormous impact that it has had on society over the past century— in the street, the pub, theatre life, art, in the workplace and in the home. He published various works on artificial light and artistic light, and in 1984 he set up the foundation

‘Light Effects in Painting and Sculpture’, which was rechristened ‘Artificial Light in Art’ in 1999. It is thanks to Jansen's dedication and commitment that on 27 March 2002 the foundation had the grand

opening of the Centre for Artificial Light in Art, housed in the original Philips factory in Eindhoven. It is a permanent display of his collection of lighting-related materials. The Dutch government awarded Jansen the prestigious medal: ‘Companion of the Order of Orange-Nassau’ in December of 2000.

Johan Jansen was one of the pioneers of modern lighting technology and his contributions to the study of light in art will benefit generations to come.

ILR's 25-year Jubilee issue in 1974 featured a favourite picture of Johan Jansen, chief editor at the time.

Visual:'The Eyes of the Night' by Sylvia Quandt,

A new look on the high street

LED Rail System, Esprit stores, Singapore

Nationwide Building Society, Newbury, UK

Esprit, the US-based fashion retailer, wanted to present its signature logo in an eye-catching way at three of its Singapore shops. The pictured unique floor display is at Esprit’s 900 square metre outlet in the Raffles City Shopping Centre on North Bridge Road. In use is an innovative light emitting diode (LED) system—LumiLeds LED Rail System—a joint venture of Philips Lighting and Agilent Technologies. By using these ultra-compact, long-life (100 000 hours) and energy efficient light sources, the three shops set themselves apart from

Nationwide, the UK’s number one building society, wanted a new and modern image for its high street branches. The new concept steered away from conventional square modular luminaires in the ceiling, and instead focused more on the use of small and compact luminaires.

Some key elements of the new system: The ‘Communication Wall’—used for promoting all financial services from Banking through to Mortgages. Fixed asymmetric ‘Wall Washers’ employing 1x 55 W PLL 840 lamps provide a uniform wash of illumination averaging 1000 lux down this concave wall with its colourful graphics. It gives the impression that the wall is backlit, when in fact it is not.

Impact points—point of sale locations promoting the company’s products.

Recessed gimbal downlights with 2x 35 W

2

ilr 021 forum

The Harvard Design School Guide to Shopping examines the factors that contributed to shopping becoming the

copyright Franz Hanfstaengl.

Long-life Footlights

the rest of the tenants in their high-traffic, mall locations. Sections of red and amber LED Rail System were placed beneath the 45 cm by 45 cm pieces of sandblasted translucent glass flooring at the store's entrance. The sign consists of 188 individual LED modules connected by wire, plus drivers and mounting components.

Light output is 20 lumens per metre for the amber LED and 40 lumens per metre for the red. Esprit plans to install the LED system in all of its stores in Singapore and Malaysia.

Project coordination: Kuan Mun Fai, Philips Lighting Singapore Installation: Siatyun (S) Pte Ltd

Edited by: Chuihua Judy Chung, Jeffrey Inaba, Rem Koolhaas and Sze Tsung Leong; Published by Taschen GmbH, Cologne, Germany, 800 pages, €45 ISBN 3-8228-6047-6

CDM-T to create a 3:1 accent to ambient ratio. Illuminance level is 2000 lux.

Feature lighting—false wall panels are installed away from the main walls in selected areas. Contrasting colour finishes and TL5 battens mounted behind the panels create perspective and a ‘floating’ effect.

Entrance lighting—supplied by downlights fitted with 150 W CDM-T 942 lamps. Their cool-white light provides a contrast for the adjoining warmer lit (3000 K) window displays.

The new design is now being rolled out to a number of Nationwide’s top high street branches across the UK. Lighting design: Clive Baily, Philips Lighting, UK Electrical contractor: S&J Electrical Installation: Rocare Building Services

center of urban life and how this focus has reshaped the modern city. Like Great Leap Forward, the first book in this planned four-part series, it is based on research by Rem Koolhaas’ students in the graduate thesis program of the Harvard Design School’s Project on the City. For this project they delved into retail technologies, marketing strategies and the blending of commercial and cultural/recreational environments in the United States, Europe and Asia.

At 800 pages this book has the size and weight to be another brick on the hod; however, unlike a building stone it is bursting with text, photographs, diagrams and statistics. For instance, America has 2.9 square metres of retail area per person, compared to 0.4 metres in Europe and 0.2 metres in Asia. The final product is a collection of forty-two essays, presented alphabetically by title, which ranges from more technical aspects such as air conditioning and the escalator to ‘Junkspace’, a contribution by Koolhaas that is a free-form (no margins or paragraphs) discussion of the world that modernization has created.

For more information see: www.taschen.com

Shanghai Orient Meitha Exclusive fashion presentation on the Huai Hai Road, Shanghai Shanghai, centrally located on China’s eastern coast, is a fashionable and international metropolis. The Shanghai Orient Meitha women’s fashion store is on the tree-lined Huai Hai Road, an area known for shops offering the best in fashion, and the Orient Meitha is no exception.

The lighting plan called for highlights on the store’s most exclusive items in order to draw the customer to the parts of the shop that have the highest profit potential.

To create pleasing contrasts in the spacious, 17-metre-high lobby, recessed downlights (MBS205) and 67804 wallmounted projectors are used. The downlights hold MHN-TD 250W lamps of Ra>80 and the projectors the Mastercolour CDM-T 150W of Ra>90. The illuminance averages more than 500 lux, and all lamps have a colour temperature of 4200 K. The flowered archway on the 3rd floor is lit with the same CDM-T 150 W lamp to give full effect to this display.

For special light effects, the shopping areas on all three floors use 70W MHN-TD metal halide lamps and 18W PLC lamps in recessed downlights of the Trilogy standard and low-height models.

Lighting design: Yao Mengming, LiDAC, Philips Lighting China

Lighting installation: Shanghai Construction Group Interior design: ARQUITECTONICA/Architecture

‘The Reference’ in Fashion Lighting Bigotti shops, Romania Graffitti ’94, the owner of the Bigotti brand men’s fashion shops, desired a flexible, sophisticated lighting plan for its stores.

The design appeared first in the new shop in the renovated Bucharest Mall in 1999 (right), and was such a success that the company decided to expand it to the Tomis Mall shop (below), located in Constanta, and all other Bigotti locations in Romania.

Within three years Bigotti has defined a

new wave in shop lighting.

Emil Rosca, chief architect of Graffitti ’94: ‘In the individual luxury shop market development, Bigotti is perceived as “the reference”. The essential element of the integrated design was the lighting system.’

In the display window and outside showcases, adjustable downlights (MBN/SBN 210 or 60800 track mounted projectors) are fitted with Mastercolour

70 W lamps for a cool, crisp appearance and excellent colour rendering. This contrasts with the warmer light from White SON and Masterline halogen reflectors used in the interior, and is meant to give the customer the feeling that Bigotti is for all the moments of the day and night Architect: Emil Rosca Lighting design: Cornel Sfetcu and Dan Musat, Philips Lighting Romania

ilr 021 forum

3

d.forum 2-5

18-04-2002

13:47

Pagina 4

FORUM

FORUM

The Web: Lighting.com

It’s all about show!

La Maquinista Shopping Centre, Barcelona, Spain

A gateway to the latest in Lighting News

International Retail Design Conference, Orlando, Florida

Theatre of light

Visual Merchandising + Store Design (VM+SD) hosted the first ever International Retail Design Conference, October 28-31, 2001 in Orlando, Florida.

The first day started with a video presentation of Peter Glen, ‘A is for attitude’. He talked extensively about marketing, design, branding and copying great ideas, but cautioned that ‘you’ll never rip off anything unless you rip off the attitude that created it’. This was followed by an assignment in Downtown Disney. We evaluated the retail outlets for their effectiveness in supporting their brand, and learned a lot about the way designers and merchandisers can often be in conflict when realising a visual identity. During the report-back session, one of the audience complained that in some stores, there was ‘too much happening on the ceiling’. Tony Mancini, senior vice president of global retail store development for Disney, explained that this was because kids in strollers have a different view of the world and further demonstrated by lying on the floor and looking up the way a child would.

More proof that Disney thinks of everything.

Many of the presentations and panel discussions revolved around the need for interaction and communication with the consumer: emotional branding, themed ‘shoppertainment’, where to find imaginative inspiration and the creative use of new surfacing materials.

The La Maquinista Shopping Centre, which opened in mid 2000, is the largest retail development in the province of Catalonia.

It covers almost 225 000 square metres, and its two levels have some 240 shops, plus restaurants, cinemas and a hypermarket. The architect’s goal was to make patrons feel like they were in an open city centre, where they could enjoy the Mediterranean climate while exploring the many shopping options, leisure activities and services available. Canopies

When launching your next shop lighting project, you might find it illuminating—and time-saving—to start on the Web. 'We're finding that a growing number of designers, specifiers, architects and interior designers spend much more time online than they did in the early days of our site four years ago. And they’re finding more value from each visit,' says Jordan Ayan, who runs Lighting.com, an online resource for lighting professionals.

Such is the case with Matthew Tirschwell, an award-winning lighting designer based in New York City, who consults Lighting.com to find the lighting manufacturers he’s seeking on the Web. Indeed, designers use Lighting.com because its custom-designed search engine filters out all sites that aren’t lighting-related, making search results more meaningful for the user.

Among its other features are:

• A Quick Links section organized by category, so visitors have easy access to the information they want; • Articles about new products; • Links to e-commerce sites where you can buy lighting online; • Case studies highlighting specific lighting applications; • Stories about research projects in the world of lighting; and, • Forums where professionals can pose questions and find answers.

Emlyn Altman, a digital designer and lighting consultant, regularly researches lighting fixtures online. 'In one case we had to do a lot of research to find fixtures you couldn't normally locate in a catalog, because it was Art Deco style. I used Lighting.com for that. It allowed me to find a wider selection of fixtures,' she says.

www.lightsearch.com

www.archrecord.com

www.lighting.com A selection of Sites to See: www.lighting.com www.lightsearch.com www.archrecord.com www.shoplighting.philips.com

www.shoplighting.philips.com

Improved lighting with the MINI 300

Musa

MAKRO’s new concept in The Netherlands

Spotlights designed for food and fashion

MAKRO, the international self-service wholesaler with stores throughout Europe, has added a new element to its lighting approach in the food sections of its Netherlands branches. The previous lighting situation consisted only of a trunking system with fluorescents (TTX 200-400, 1x58 W 830 lamp), which provided a horizontal general lighting level of 400-600 lux. The goal was to create brighter, more attractive lighting effects in the traffic and special sales areas. To achieve this, a new lighting design has been realised by adding the very energy efficient and compact MINI 300 luminaire (see article in ILR 012) at the ends of the display racks and also down the center aisle separating the rows of product shelving in this 10 000 square metre food

4

ilr 021 forum

area. In total about 80 MINI 300s (symmetrical, medium beam width) have been independently suspended at the same level as the fluorescent system, 7 to 8 metres above the shop floor. The luminaires are fitted with Mastercolour 150W CDM-TD 942 lamps, and this has resulted in a strongly improved horizontal lighting level of 600-1100 lux. This brighter light environment piques the customers’ interest as they move from the side aisles to the main entryway and attracts them to special offers presented there.

Mastercolour lamps give crisp, sparkling accents and true colour appearance to all products with their near perfect colour rendering of Ra=96 and cool-white temperature of 4200 K.

Musa, a new line of powerful spotlights developed through the Philips Shop Lighting Vision project, features three sizes and works with a variety of halogen and discharge lamps. The largest is intended for the higher ceilings of supermarkets, DIY shops and car showrooms, for example, while the smaller versions are appropriate for fashion stores, department stores and petrol station shops. Ergonomic improvements include: balanced weight for easy handling, fast positioning with a quick-release clip, and a built-in carrying grip. Available in several colours, Musa's cylindrical, streamlined housing and

Dynamic lighting was discussed during many presentations and informal breaks.

By learning from our theatre lighting colleagues, we can attract more visual attention through motion and changes in colour, intensity and zoning. Fred Oberkircher of Texas Christian University gave an ‘illuminating’ presentation on the emotional and psychological effects of coloured light and the impact on the presentation and sale of goods in the retail environment (see article on page 34). He left us with some tantalising food for thought: by introducing dynamic lighting, can we lower the lighting level and power for the same or better customer response?

I look forward to hearing some responses to that question at the next conference in Pasadena, California, September 18-20, 2002.

Julie Allen - European Shoplighting Manager, Philips Lighting

and arcades cover the walking areas to provide shelter from the sun and rain, but shop entrances are otherwise open to the elements.

At night La Maquinista comes alive through its lighting. Large four-columned arches mark the centre's major entrances and these are highlighted with blue LEDs to provide a unique impression for entering pedestrians. For walkway illumination, the lighting designer opted for tall poles, much like street lights, rather than mounting the luminaires to the buildings. These poles, and the taller stainless steel ones that support the large canopies, are topped with clusters of narrow-beam Decoflood luminaires fitted with metal halide lamps.

The pools of sparkling light they create on the ‘street’ have a very dramatic and beautiful effect. The canopy supports also have luminaires directed upward that lend a mystical bluish tint to the gridwork.

Overall, the exterior lighting consists of dynamic patterns of light and dark. The floodlit streets, illuminated building columns and roof uplighting all combine to give La Maquinista a comfortable, theatrical ambience.

Architect: L35 Architects, Barcelona Lighting design: Theo Kondos, T Kondos Associates, Inc., New York, NY

translucent head become decorative elements when applied in groups. All types have the control gear integrated into the casing, so installation is a one-step process.

Ramon Janssen, Philips Design

Lighting design: Ruud Bagen, Philips Lighting The Netherlands Installation: Gerard Artz, Breek & Weber

ilr 021 forum

5

d.forum 2-5

18-04-2002

13:47

Pagina 4

FORUM

FORUM

The Web: Lighting.com

It’s all about show!

La Maquinista Shopping Centre, Barcelona, Spain

A gateway to the latest in Lighting News

International Retail Design Conference, Orlando, Florida

Theatre of light

Visual Merchandising + Store Design (VM+SD) hosted the first ever International Retail Design Conference, October 28-31, 2001 in Orlando, Florida.

The first day started with a video presentation of Peter Glen, ‘A is for attitude’. He talked extensively about marketing, design, branding and copying great ideas, but cautioned that ‘you’ll never rip off anything unless you rip off the attitude that created it’. This was followed by an assignment in Downtown Disney. We evaluated the retail outlets for their effectiveness in supporting their brand, and learned a lot about the way designers and merchandisers can often be in conflict when realising a visual identity. During the report-back session, one of the audience complained that in some stores, there was ‘too much happening on the ceiling’. Tony Mancini, senior vice president of global retail store development for Disney, explained that this was because kids in strollers have a different view of the world and further demonstrated by lying on the floor and looking up the way a child would.

More proof that Disney thinks of everything.

Many of the presentations and panel discussions revolved around the need for interaction and communication with the consumer: emotional branding, themed ‘shoppertainment’, where to find imaginative inspiration and the creative use of new surfacing materials.

The La Maquinista Shopping Centre, which opened in mid 2000, is the largest retail development in the province of Catalonia.

It covers almost 225 000 square metres, and its two levels have some 240 shops, plus restaurants, cinemas and a hypermarket. The architect’s goal was to make patrons feel like they were in an open city centre, where they could enjoy the Mediterranean climate while exploring the many shopping options, leisure activities and services available. Canopies

When launching your next shop lighting project, you might find it illuminating—and time-saving—to start on the Web. 'We're finding that a growing number of designers, specifiers, architects and interior designers spend much more time online than they did in the early days of our site four years ago. And they’re finding more value from each visit,' says Jordan Ayan, who runs Lighting.com, an online resource for lighting professionals.

Such is the case with Matthew Tirschwell, an award-winning lighting designer based in New York City, who consults Lighting.com to find the lighting manufacturers he’s seeking on the Web. Indeed, designers use Lighting.com because its custom-designed search engine filters out all sites that aren’t lighting-related, making search results more meaningful for the user.

Among its other features are:

• A Quick Links section organized by category, so visitors have easy access to the information they want; • Articles about new products; • Links to e-commerce sites where you can buy lighting online; • Case studies highlighting specific lighting applications; • Stories about research projects in the world of lighting; and, • Forums where professionals can pose questions and find answers.

Emlyn Altman, a digital designer and lighting consultant, regularly researches lighting fixtures online. 'In one case we had to do a lot of research to find fixtures you couldn't normally locate in a catalog, because it was Art Deco style. I used Lighting.com for that. It allowed me to find a wider selection of fixtures,' she says.

www.lightsearch.com

www.archrecord.com

www.lighting.com A selection of Sites to See: www.lighting.com www.lightsearch.com www.archrecord.com www.shoplighting.philips.com

www.shoplighting.philips.com

Improved lighting with the MINI 300

Musa

MAKRO’s new concept in The Netherlands

Spotlights designed for food and fashion

MAKRO, the international self-service wholesaler with stores throughout Europe, has added a new element to its lighting approach in the food sections of its Netherlands branches. The previous lighting situation consisted only of a trunking system with fluorescents (TTX 200-400, 1x58 W 830 lamp), which provided a horizontal general lighting level of 400-600 lux. The goal was to create brighter, more attractive lighting effects in the traffic and special sales areas. To achieve this, a new lighting design has been realised by adding the very energy efficient and compact MINI 300 luminaire (see article in ILR 012) at the ends of the display racks and also down the center aisle separating the rows of product shelving in this 10 000 square metre food

4

ilr 021 forum

area. In total about 80 MINI 300s (symmetrical, medium beam width) have been independently suspended at the same level as the fluorescent system, 7 to 8 metres above the shop floor. The luminaires are fitted with Mastercolour 150W CDM-TD 942 lamps, and this has resulted in a strongly improved horizontal lighting level of 600-1100 lux. This brighter light environment piques the customers’ interest as they move from the side aisles to the main entryway and attracts them to special offers presented there.

Mastercolour lamps give crisp, sparkling accents and true colour appearance to all products with their near perfect colour rendering of Ra=96 and cool-white temperature of 4200 K.

Musa, a new line of powerful spotlights developed through the Philips Shop Lighting Vision project, features three sizes and works with a variety of halogen and discharge lamps. The largest is intended for the higher ceilings of supermarkets, DIY shops and car showrooms, for example, while the smaller versions are appropriate for fashion stores, department stores and petrol station shops. Ergonomic improvements include: balanced weight for easy handling, fast positioning with a quick-release clip, and a built-in carrying grip. Available in several colours, Musa's cylindrical, streamlined housing and

Dynamic lighting was discussed during many presentations and informal breaks.

By learning from our theatre lighting colleagues, we can attract more visual attention through motion and changes in colour, intensity and zoning. Fred Oberkircher of Texas Christian University gave an ‘illuminating’ presentation on the emotional and psychological effects of coloured light and the impact on the presentation and sale of goods in the retail environment (see article on page 34). He left us with some tantalising food for thought: by introducing dynamic lighting, can we lower the lighting level and power for the same or better customer response?

I look forward to hearing some responses to that question at the next conference in Pasadena, California, September 18-20, 2002.

Julie Allen - European Shoplighting Manager, Philips Lighting

and arcades cover the walking areas to provide shelter from the sun and rain, but shop entrances are otherwise open to the elements.

At night La Maquinista comes alive through its lighting. Large four-columned arches mark the centre's major entrances and these are highlighted with blue LEDs to provide a unique impression for entering pedestrians. For walkway illumination, the lighting designer opted for tall poles, much like street lights, rather than mounting the luminaires to the buildings. These poles, and the taller stainless steel ones that support the large canopies, are topped with clusters of narrow-beam Decoflood luminaires fitted with metal halide lamps.

The pools of sparkling light they create on the ‘street’ have a very dramatic and beautiful effect. The canopy supports also have luminaires directed upward that lend a mystical bluish tint to the gridwork.

Overall, the exterior lighting consists of dynamic patterns of light and dark. The floodlit streets, illuminated building columns and roof uplighting all combine to give La Maquinista a comfortable, theatrical ambience.

Architect: L35 Architects, Barcelona Lighting design: Theo Kondos, T Kondos Associates, Inc., New York, NY

translucent head become decorative elements when applied in groups. All types have the control gear integrated into the casing, so installation is a one-step process.

Ramon Janssen, Philips Design

Lighting design: Ruud Bagen, Philips Lighting The Netherlands Installation: Gerard Artz, Breek & Weber

ilr 021 forum

5

e.ednotes 6-7

18-04-2002

13:57

Pagina 6

Light, transparence and the interplay between mat and gloss can make objects appear to float out from their surroundings into their own space

Image statement Editor’s notes

Is a brand now more important than the piece of fashion carrying it? Or is clothing some kind of proof of membership in an exclusive club? Shop-concerns today seem more interested in their image and image statement than their products. And what is such a statement composed of?

• The location of the shop is still important, although the city may overshadow the neighbourhood— Milan, Paris, Berlin, New York, LA, San Francisco— all furnish interesting names for labels and logos.

• The products will not necessarily be exposed under spotlights. Instead, the customer is invited or expected to find them behind a screen or even in a drawer.

• The shop area itself might very well be used, at times, for something completely different: an art gallery or temporary exposition or performance.

Tokyo

Rome

Ennio Capasa on Shop Design Costume National

I am a fashion designer. Through fashion I express my thoughts, my aesthetic sense, my style. My work involves translating this style into architecture, furnishings, graphic design and photography. I like designing our stores. I enjoy the challenge and excitement of finding a balance between Costume National, the sense of the city I am designing for, and my idea of the right retailing space for my clothing. I approach the project trying to express a prevailing emotion in the clearest way, following a simple sequence: nature, form, function. Where 'nature' means both my authentic nature and the nature, the spirit of the city I design for. It is inevitable that SoHo and Melrose Avenue, Milan and Rome influence my projects in different ways, producing distinctive outcomes.

As in my fashion, I use mostly black and white, in all their hues, to emphasize volumes and lines. I use light, transparences, and the interplay between mat and gloss to clearly display objects, sometimes making them float and isolating them into a space of their own. I try to convey a sense of measure and wonder, keeping in mind that the aim of the space revolves around the pleasure of seeing, touching, and feeling good in my clothes.

Specific elements of display and lighting design related to the above: • Translucent materials and luminous walls, which contribute to a feeling of airiness and provide diffuse light as a welcome counterbalance to directional light by spots.

• An ordinary batten with a fluorescent tube—which is a beautiful thing • Luminous cabinets in which the smaller products show very nice silhouettes, as Costume National and Japanese minimalists do so well.

• And finally daylight, once considered the natural enemy of the lighting designer. Even though it will not be easy to create extraordinary spaces like the Galleria Vittorio Emanuele in Milan, useful 'suggestions' of daylight on a smaller scale will add an impression of freshness to a space and avoid the claustrophobic feeling that indoor spaces sometimes induce. As little as a square in the ceiling lighted indirectly with a cooler daylight colour may do the job.

Ennio Capasa and his brother, Carlo, founded Costume National in 1986.

This high-end fashion house opened its headquarters and main showroom in Milan in 1996. The flagship stores pictured here are in Los Angeles, Osaka, Rome and Tokyo.

J F Caminada

Osaka Ennio Capasa

6

ilr 021 retail/editor’s notes

Los Angeles

ilr 021 retail/concepts

7

e.ednotes 6-7

18-04-2002

13:57

Pagina 6

Light, transparence and the interplay between mat and gloss can make objects appear to float out from their surroundings into their own space

Image statement Editor’s notes

Is a brand now more important than the piece of fashion carrying it? Or is clothing some kind of proof of membership in an exclusive club? Shop-concerns today seem more interested in their image and image statement than their products. And what is such a statement composed of?

• The location of the shop is still important, although the city may overshadow the neighbourhood— Milan, Paris, Berlin, New York, LA, San Francisco— all furnish interesting names for labels and logos.

• The products will not necessarily be exposed under spotlights. Instead, the customer is invited or expected to find them behind a screen or even in a drawer.

• The shop area itself might very well be used, at times, for something completely different: an art gallery or temporary exposition or performance.

Tokyo

Rome

Ennio Capasa on Shop Design Costume National

I am a fashion designer. Through fashion I express my thoughts, my aesthetic sense, my style. My work involves translating this style into architecture, furnishings, graphic design and photography. I like designing our stores. I enjoy the challenge and excitement of finding a balance between Costume National, the sense of the city I am designing for, and my idea of the right retailing space for my clothing. I approach the project trying to express a prevailing emotion in the clearest way, following a simple sequence: nature, form, function. Where 'nature' means both my authentic nature and the nature, the spirit of the city I design for. It is inevitable that SoHo and Melrose Avenue, Milan and Rome influence my projects in different ways, producing distinctive outcomes.

As in my fashion, I use mostly black and white, in all their hues, to emphasize volumes and lines. I use light, transparences, and the interplay between mat and gloss to clearly display objects, sometimes making them float and isolating them into a space of their own. I try to convey a sense of measure and wonder, keeping in mind that the aim of the space revolves around the pleasure of seeing, touching, and feeling good in my clothes.

Specific elements of display and lighting design related to the above: • Translucent materials and luminous walls, which contribute to a feeling of airiness and provide diffuse light as a welcome counterbalance to directional light by spots.

• An ordinary batten with a fluorescent tube—which is a beautiful thing • Luminous cabinets in which the smaller products show very nice silhouettes, as Costume National and Japanese minimalists do so well.

• And finally daylight, once considered the natural enemy of the lighting designer. Even though it will not be easy to create extraordinary spaces like the Galleria Vittorio Emanuele in Milan, useful 'suggestions' of daylight on a smaller scale will add an impression of freshness to a space and avoid the claustrophobic feeling that indoor spaces sometimes induce. As little as a square in the ceiling lighted indirectly with a cooler daylight colour may do the job.

Ennio Capasa and his brother, Carlo, founded Costume National in 1986.

This high-end fashion house opened its headquarters and main showroom in Milan in 1996. The flagship stores pictured here are in Los Angeles, Osaka, Rome and Tokyo.

J F Caminada

Osaka Ennio Capasa

6

ilr 021 retail/editor’s notes

Los Angeles

ilr 021 retail/concepts

7

f.jp/cam 8-15

18-04-2002

14:08

Pagina 8

Projects

1

Marike de Kruiff

New shop layout, merchandising concept and advertising presence form one complete polished package in this new Jean Pascale fashion store

J e a n

P a s c a l e

Dynamic, with a touch of colour Jean Pascale, Frankfurt, Germany

The new lighting helps create an inviting shopping atmosphere for a mainly young clientele

I

2

The new Jean Pascale store in the Zeil in Frankfurt.

1

2

Floor plan.

This large daylight entry, its walls washed in a blue light, introduces a touch of colour to the interior. Pairs of Scrabble luminaires provide the local illumination.

3

8

ilr 021 retail/projects

In 1936, the Langhein family in Hamburg opened the first of several textile stores. In 1979, after a period of expansion, and having become quite strong and modern in fashion, the family decided to unite the various stores, aimed at a clientele in the 18- to 28-year-old age group, under one name: Jean Pascale.

On 25 May of last year, a new Jean Pascale store opened its doors in the Zeil in Frankfurt. With a floor area of 830 square metres, the store’s most striking feature is its new look. White back walls, lots of light, stainless steel furniture, wood-effect Amtico flooring and generouslywide walkways create an inviting shopping atmosphere and optically suggest a departure from the uniform mass shopping experience.

3

ilr 021

9

f.jp/cam 8-15

18-04-2002

14:08

Pagina 8

Projects

1

Marike de Kruiff

New shop layout, merchandising concept and advertising presence form one complete polished package in this new Jean Pascale fashion store

J e a n

P a s c a l e

Dynamic, with a touch of colour Jean Pascale, Frankfurt, Germany

The new lighting helps create an inviting shopping atmosphere for a mainly young clientele

I

2

The new Jean Pascale store in the Zeil in Frankfurt.

1

2

Floor plan.

This large daylight entry, its walls washed in a blue light, introduces a touch of colour to the interior. Pairs of Scrabble luminaires provide the local illumination.

3

8

ilr 021 retail/projects

In 1936, the Langhein family in Hamburg opened the first of several textile stores. In 1979, after a period of expansion, and having become quite strong and modern in fashion, the family decided to unite the various stores, aimed at a clientele in the 18- to 28-year-old age group, under one name: Jean Pascale.

On 25 May of last year, a new Jean Pascale store opened its doors in the Zeil in Frankfurt. With a floor area of 830 square metres, the store’s most striking feature is its new look. White back walls, lots of light, stainless steel furniture, wood-effect Amtico flooring and generouslywide walkways create an inviting shopping atmosphere and optically suggest a departure from the uniform mass shopping experience.

3

ilr 021

9

f.jp/cam 8-15

18-04-2002

14:09

Pagina 10

The main focus in the store is provided by the displays of merchandise along the walls.

These are illuminated by single or twin-lamp (CDM-T 70 W/12º) Scrabble luminaires recessed in the ceiling opposite, and adjustable Mezzo units.

Background lighting within the recess is provided by hidden fluorescents.

4

4

The well-lighted changing booths.

6

6

The Lighting The requirements placed on the new lighting were that it should help show off the architecture whilst at the same time establishing the identity of the store in terms of its visual merchandising.

The lighting installation, which consists of general, architectonic, decorative, and workstation lighting, plays a very important role in the new interior. Just as before, this is largely based on ceiling-recessed Mastercolour downlighters. However, the wide-beam units previously employed to create a blanket of light with no really large contrasts (except directly beneath the downlights) have been replaced by narrow-beam Mezzo units, which can be aimed.

These grey-coloured units, which protrude from the ceiling, result in a much better rhythm in the lighting. Furthermore, the ‘corridors’ are no longer lighted, which further increases the contrasts.

The main focus in the store is provided by the displays of merchandise along the walls. These are illuminated by twin-lamp (2 x CDM-T 70 W/12º) Scrabble luminaires recessed in the ceiling opposite. Where shallow wall recesses are employed for display purposes, these are illuminated by single lamp (1 x CDM-T 70 W/12º) Scrabble units, with background lighting within the recess provided by fluorescents hidden behind the surrounds.

A particularly striking feature of the store is the large daylight entry in the vaulted ceiling. This has been employed to introduce a touch of colour to the interior. Pairs of Scrabble luminaires provide the local illumination, one fitted with a colour filter and aimed upwards to wash the walls in a blue light and the other aimed downwards to flood the floor space below in white light.

And then there is the all-important JP logo, which is found in strategic positions in the store.

This has been modernised, and the initials JP are now in white against a blue background, adjacent to a square bearing the colour appropriate to the department concerned. The illumination is provided by internal fluorescents, one being provided with a special sleeve filter of the colour required.

The net result of the new lighting is that the store is more exciting, very modern, with much more happening. This has been largely achieved by the greater use of variation in colour and in interior display-units combined with a larger variation in lighting accents. At present some 25 of the 141 JP stores have, to a greater or lesser extent, been converted to the new system. ■

Lighting design: Larsen Indoor Light Concept, Oststeinbek, in cooperation with Marike de Kruiff and Ralf Knorrenschild, Philips Lighting

Marike de Kruiff 10

The lighting, which is largely based on ceiling-recessed Mastercolour downlighters, plays a very important role in the new interior. The ‘corridors’ are no longer lighted, which serves to increase the contrasts on the adjacent displays.

5

ilr 021 retail/projects

5

ilr 021

11

f.jp/cam 8-15

18-04-2002

14:09

Pagina 10

The main focus in the store is provided by the displays of merchandise along the walls.

These are illuminated by single or twin-lamp (CDM-T 70 W/12º) Scrabble luminaires recessed in the ceiling opposite, and adjustable Mezzo units.

Background lighting within the recess is provided by hidden fluorescents.

4

4

The well-lighted changing booths.

6

6

The Lighting The requirements placed on the new lighting were that it should help show off the architecture whilst at the same time establishing the identity of the store in terms of its visual merchandising.

The lighting installation, which consists of general, architectonic, decorative, and workstation lighting, plays a very important role in the new interior. Just as before, this is largely based on ceiling-recessed Mastercolour downlighters. However, the wide-beam units previously employed to create a blanket of light with no really large contrasts (except directly beneath the downlights) have been replaced by narrow-beam Mezzo units, which can be aimed.

These grey-coloured units, which protrude from the ceiling, result in a much better rhythm in the lighting. Furthermore, the ‘corridors’ are no longer lighted, which further increases the contrasts.

The main focus in the store is provided by the displays of merchandise along the walls. These are illuminated by twin-lamp (2 x CDM-T 70 W/12º) Scrabble luminaires recessed in the ceiling opposite. Where shallow wall recesses are employed for display purposes, these are illuminated by single lamp (1 x CDM-T 70 W/12º) Scrabble units, with background lighting within the recess provided by fluorescents hidden behind the surrounds.

A particularly striking feature of the store is the large daylight entry in the vaulted ceiling. This has been employed to introduce a touch of colour to the interior. Pairs of Scrabble luminaires provide the local illumination, one fitted with a colour filter and aimed upwards to wash the walls in a blue light and the other aimed downwards to flood the floor space below in white light.

And then there is the all-important JP logo, which is found in strategic positions in the store.

This has been modernised, and the initials JP are now in white against a blue background, adjacent to a square bearing the colour appropriate to the department concerned. The illumination is provided by internal fluorescents, one being provided with a special sleeve filter of the colour required.

The net result of the new lighting is that the store is more exciting, very modern, with much more happening. This has been largely achieved by the greater use of variation in colour and in interior display-units combined with a larger variation in lighting accents. At present some 25 of the 141 JP stores have, to a greater or lesser extent, been converted to the new system. ■

Lighting design: Larsen Indoor Light Concept, Oststeinbek, in cooperation with Marike de Kruiff and Ralf Knorrenschild, Philips Lighting

Marike de Kruiff 10

The lighting, which is largely based on ceiling-recessed Mastercolour downlighters, plays a very important role in the new interior. The ‘corridors’ are no longer lighted, which serves to increase the contrasts on the adjacent displays.

5

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5

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11

f.jp/cam 8-15

18-04-2002

14:10

Pagina 12

Projects

I

In September of last year, a new Camera boutique opened on the main shopping boulevard in Berlin, the Friedrichstrasse. The shop, with a floor area of 350 square metres, caters to both men and women, principally 28 to 38 years old. These are customers who generally know exactly what they want.

It is much more stylised than the Jean Pascale stores: off-white stone floor, grey ceiling, glass and steel display racks, and white mannequins.

The only colour accents in the shop are the orange armchairs and the wall of the same colour behind the cash desk, which give the shop a humorously artistic touch.

3

C

1

It is largely the indirect, architectonic lighting of the ceiling cove by hidden fluorescents that gives the shop its character and form (1).

Recessed twin-lamp Scrabble luminaires provide good vertical lighting with plenty of contrast.

1, 4

2

Floor plan.

Stand-alone wall displays of accessories, with backlighting from hidden fluorescents.

3

a

The new Camera boutique on the Friedrichstrasse, Berlin.

5

Orange armchairs provide a bright colour accent.

6

m

4

Ralf Knorrenschild

The change in the image of this fashion chain has been brought about purely on the basis of the more attractive and more coherent presentation of the merchandise

High-key fashion Camera boutique, Berlin, Germany

Bright surfaces and sparkling architectural lighting with just accent spots create a stylish environment

2 12

ilr 021 retail/projects

6

5

e

The Lighting

r

This is a very bright shop with no general lighting at all. It is largely the indirect, architectonic lighting of the ceiling cove by hidden fluorescents that gives the shop its character and form.

The ceiling itself is delineated by a regular pattern of recessed twin-lamp (2 x CDM-T 70 W/12º) Scrabble luminaires. Although these run in one direction only, independent of the interior layout, their narrow beams and spacing ensure very good vertical lighting with plenty of contrast, both on the free-standing floor displays and on the wall displays. At the same time, the grey, slightly protruding luminaires form a pleasant contrast with the white-plaster ceiling.

The well-defined wall alcoves are much deeper than in the JP stores and are used as a stagesetting for the clothing. They are again lighted internally by hidden fluorescents, and the accent lighting comes from the Scrabble luminaires recessed in the ceiling opposite.

The only colour employed in the interior décor is

a

on the orange wall behind the cash desk bearing the Camera logo. This is washed by two Mezzo luminaires, coloured white so as not to interfere with the pattern of Scrabble luminaires. The desk itself is lighted by two Scrabble luminaires (QR 111 halogen/40º) suspended above it.

In spite of the absence of general lighting, the shop is still very well lighted. This helps the product itself and the interior as a whole to communicate the high-quality image of the shop, which is perfectly in keeping with the chic trends of today. ■ Lighting design: Larsen Indoor Light Concept, Oststeinbek, in cooperation with Ralf Knorrenschild and Marike de Kruiff, Philips Lighting

Ralf Knorrenschild ilr 021 retail/projects

13

f.jp/cam 8-15

18-04-2002

14:10

Pagina 12

Projects

I

In September of last year, a new Camera boutique opened on the main shopping boulevard in Berlin, the Friedrichstrasse. The shop, with a floor area of 350 square metres, caters to both men and women, principally 28 to 38 years old. These are customers who generally know exactly what they want.

It is much more stylised than the Jean Pascale stores: off-white stone floor, grey ceiling, glass and steel display racks, and white mannequins.

The only colour accents in the shop are the orange armchairs and the wall of the same colour behind the cash desk, which give the shop a humorously artistic touch.

3

C

1

It is largely the indirect, architectonic lighting of the ceiling cove by hidden fluorescents that gives the shop its character and form (1).

Recessed twin-lamp Scrabble luminaires provide good vertical lighting with plenty of contrast.

1, 4

2

Floor plan.

Stand-alone wall displays of accessories, with backlighting from hidden fluorescents.

3

a

The new Camera boutique on the Friedrichstrasse, Berlin.

5

Orange armchairs provide a bright colour accent.

6

m

4

Ralf Knorrenschild

The change in the image of this fashion chain has been brought about purely on the basis of the more attractive and more coherent presentation of the merchandise

High-key fashion Camera boutique, Berlin, Germany

Bright surfaces and sparkling architectural lighting with just accent spots create a stylish environment

2 12

ilr 021 retail/projects

6

5

e

The Lighting

r

This is a very bright shop with no general lighting at all. It is largely the indirect, architectonic lighting of the ceiling cove by hidden fluorescents that gives the shop its character and form.

The ceiling itself is delineated by a regular pattern of recessed twin-lamp (2 x CDM-T 70 W/12º) Scrabble luminaires. Although these run in one direction only, independent of the interior layout, their narrow beams and spacing ensure very good vertical lighting with plenty of contrast, both on the free-standing floor displays and on the wall displays. At the same time, the grey, slightly protruding luminaires form a pleasant contrast with the white-plaster ceiling.

The well-defined wall alcoves are much deeper than in the JP stores and are used as a stagesetting for the clothing. They are again lighted internally by hidden fluorescents, and the accent lighting comes from the Scrabble luminaires recessed in the ceiling opposite.

The only colour employed in the interior décor is

a

on the orange wall behind the cash desk bearing the Camera logo. This is washed by two Mezzo luminaires, coloured white so as not to interfere with the pattern of Scrabble luminaires. The desk itself is lighted by two Scrabble luminaires (QR 111 halogen/40º) suspended above it.

In spite of the absence of general lighting, the shop is still very well lighted. This helps the product itself and the interior as a whole to communicate the high-quality image of the shop, which is perfectly in keeping with the chic trends of today. ■ Lighting design: Larsen Indoor Light Concept, Oststeinbek, in cooperation with Ralf Knorrenschild and Marike de Kruiff, Philips Lighting

Ralf Knorrenschild ilr 021 retail/projects

13

f.jp/cam 8-15

18-04-2002

14:11

Pagina 14

Fashion for two quite distinct target groups

Ralf Schmalriede

Jean Pascale & Camera

Jean Pascale and Camera

Jean Pascale, the well-known fashion shop, started in Germany in the seventies.

In the nineties, it opened under an additional brand name: Camera.

JP and Camera have some 145 and 40 stores, respectively, based in various European countries and are continuing to grow to form an internationallyrenowned key player in the fashion market Jean Pascale and Camera cater to two quite distinct target groups. The former, whose stores are of 350 to 1000 square metres, is aimed at a clientele in the 18- to 28-year-old age group while the latter, whose boutiques are of up to 350 square metres, caters more for 28 to 38 year olds. In other words, JP is mainly for students and people in their first job, while Camera is more for those who know exactly what they want.

Jean Pascale’s new marketing concept involves the shop layout, the merchandising concept and advertising presence. These form one complete, polished package. JP director Ralf Schmalriede: ‘Everything has been done to transform the initials JP from a label into a brand in the minds of our customers. The new concept therefore provides a clever formula in that visitors to the shop can generally find what they are looking for on their own without any difficulty.’ The bright colours represent certain departments—red for Ladies, for example, blue for Men. Within the departments the range is further structured according to the purpose of the merchandise.

Within the Ladies’ department there are subsections for City (work and town visits), Outdoor (leisure time) and Disco (clothing for special occasions). The men’s range is only subdivided into City and Outdoor. Within each subsection the range is divided up into colourways.

The Camera concept operates in the same way as the JP concept. However, as Mr. Schmalriede points out: ‘Compared with JP, the collections for men and women are more fashionable and are based on a higher positioning.’ Here, too, the collection is divided up according to occasion: Daily Work, Leisure and Special Event. The change in the image of the fashion chain will be brought about purely on the basis of the more attractive and more coherent presentation of the merchandise. The new lighting design has to make the new marketing and shop concept visible in a clear and dynamic way to the customers.

Recessed lighting creates a striking fashion display.

7

7 14

ilr 021 retail/projects

ilr 021 retail/projects

15

f.jp/cam 8-15

18-04-2002

14:11

Pagina 14

Fashion for two quite distinct target groups

Ralf Schmalriede

Jean Pascale & Camera

Jean Pascale and Camera

Jean Pascale, the well-known fashion shop, started in Germany in the seventies.

In the nineties, it opened under an additional brand name: Camera.

JP and Camera have some 145 and 40 stores, respectively, based in various European countries and are continuing to grow to form an internationallyrenowned key player in the fashion market Jean Pascale and Camera cater to two quite distinct target groups. The former, whose stores are of 350 to 1000 square metres, is aimed at a clientele in the 18- to 28-year-old age group while the latter, whose boutiques are of up to 350 square metres, caters more for 28 to 38 year olds. In other words, JP is mainly for students and people in their first job, while Camera is more for those who know exactly what they want.

Jean Pascale’s new marketing concept involves the shop layout, the merchandising concept and advertising presence. These form one complete, polished package. JP director Ralf Schmalriede: ‘Everything has been done to transform the initials JP from a label into a brand in the minds of our customers. The new concept therefore provides a clever formula in that visitors to the shop can generally find what they are looking for on their own without any difficulty.’ The bright colours represent certain departments—red for Ladies, for example, blue for Men. Within the departments the range is further structured according to the purpose of the merchandise.

Within the Ladies’ department there are subsections for City (work and town visits), Outdoor (leisure time) and Disco (clothing for special occasions). The men’s range is only subdivided into City and Outdoor. Within each subsection the range is divided up into colourways.

The Camera concept operates in the same way as the JP concept. However, as Mr. Schmalriede points out: ‘Compared with JP, the collections for men and women are more fashionable and are based on a higher positioning.’ Here, too, the collection is divided up according to occasion: Daily Work, Leisure and Special Event. The change in the image of the fashion chain will be brought about purely on the basis of the more attractive and more coherent presentation of the merchandise. The new lighting design has to make the new marketing and shop concept visible in a clear and dynamic way to the customers.

Recessed lighting creates a striking fashion display.

7

7 14

ilr 021 retail/projects

ilr 021 retail/projects

15

g.h&m 16-19

18-04-2002

14:59

Pagina 16

Projects

2

On Boulevard Haussmann, the main shopping street in Paris, right between the famous department stores LaFayette and Au Printemps, H&M’s new and inviting flagship store has opened

Picture perfect Hennes & Mauritz, Paris

The lighting is based more on compact metal halide than on halogen to give a bright interior and a more efficient installation

3

H

The new flagship store of Hennes & Mauritz occupies the ground floor and basement of premises on the busy Boulevard Haussmann in Paris.

1-3

1

16

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H&M opened its first women's clothing store in Sweden in 1947 as Hennes (‘her’). In 1970 Mauritz (‘his’), offering clothing for men, was introduced. Today, Hennes & Mauritz has more than 750 stores in 14 countries in Europe and America.

Its new flagship store in Paris is situated on Boulevard Haussmann, the main shopping street, between the internationally renowned department stores LaFayette and Au Printemps.

H&M targets the Hip & Modish and offers attractively priced but chic women's, men's, and children's clothing.

Hennes & Mauritz tailors its shop layout according to the target group. In a family shop, women are happy to spend a few hours in a store, but men have to be able to find their clothes very easily. In this shop in the centre of Paris, however, the aim is to attract the young and trendy, and this starts with eye-catching display elements right at the entrance, and includes monitor screens showing the latest fashions within the shop itself.

The Lighting Hennes & Mauritz’s own creative and technical shop-design team has created a very attractive and comfortable shop: a combination of light and colour, with decorations on the walls. But the economical aspect of design was not forgotten, and this was to minimise the running costs. Nevertheless, lighting levels in the company’s shops have increased a lot in recent years. The shop is bright, with greater use being made of compact metal halide (CDM-T) lamps, which is more economical in the long term.

In this location, the design team had to deal with ceiling heights varying from 3.8 m to 2.6 m. This meant employing luminaires with carefully selected beam widths to help create a balanced rhythm of light throughout the shop.

As much of the lighting as possible is integrated in the ceiling: recessed Trilogy downlights for PL and Mastercolour and adjustable Mini-Mezzo Mastercolour spots to provide highlights and modelling on the various displays, tracks with halogen spots for extra flexibility, and concealed

ilr 021 retail/projects

17

g.h&m 16-19

18-04-2002

14:59

Pagina 16

Projects

2

On Boulevard Haussmann, the main shopping street in Paris, right between the famous department stores LaFayette and Au Printemps, H&M’s new and inviting flagship store has opened

Picture perfect Hennes & Mauritz, Paris

The lighting is based more on compact metal halide than on halogen to give a bright interior and a more efficient installation

3

H

The new flagship store of Hennes & Mauritz occupies the ground floor and basement of premises on the busy Boulevard Haussmann in Paris.

1-3

1

16

ilr 021

H&M opened its first women's clothing store in Sweden in 1947 as Hennes (‘her’). In 1970 Mauritz (‘his’), offering clothing for men, was introduced. Today, Hennes & Mauritz has more than 750 stores in 14 countries in Europe and America.

Its new flagship store in Paris is situated on Boulevard Haussmann, the main shopping street, between the internationally renowned department stores LaFayette and Au Printemps.

H&M targets the Hip & Modish and offers attractively priced but chic women's, men's, and children's clothing.

Hennes & Mauritz tailors its shop layout according to the target group. In a family shop, women are happy to spend a few hours in a store, but men have to be able to find their clothes very easily. In this shop in the centre of Paris, however, the aim is to attract the young and trendy, and this starts with eye-catching display elements right at the entrance, and includes monitor screens showing the latest fashions within the shop itself.

The Lighting Hennes & Mauritz’s own creative and technical shop-design team has created a very attractive and comfortable shop: a combination of light and colour, with decorations on the walls. But the economical aspect of design was not forgotten, and this was to minimise the running costs. Nevertheless, lighting levels in the company’s shops have increased a lot in recent years. The shop is bright, with greater use being made of compact metal halide (CDM-T) lamps, which is more economical in the long term.

In this location, the design team had to deal with ceiling heights varying from 3.8 m to 2.6 m. This meant employing luminaires with carefully selected beam widths to help create a balanced rhythm of light throughout the shop.

As much of the lighting as possible is integrated in the ceiling: recessed Trilogy downlights for PL and Mastercolour and adjustable Mini-Mezzo Mastercolour spots to provide highlights and modelling on the various displays, tracks with halogen spots for extra flexibility, and concealed

ilr 021 retail/projects

17

g.h&m 16-19

18-04-2002

14:59

Pagina 18

The low-ceilinged basement area, with general lighting from ceiling-recessed metal halide downlights. Wall coves have fluorescent background lighting, while track-mounted halogen spots provide accents on these and other displays.

The wall displays on the ground floor are lit by angled Mezzo spots in the ceiling.

4, 5

6

Shoppers are attracted to the escalator leading to the large basement by a row of mannequins, in combination with the portraits on the wall behind. Adjustable Scrabble spots light the mannequins; the wall-size portraits are dramatically lit by pairs of theatre-like spots.

7

4

5

6 fluorescents in the ceiling coves. Additional fluorescents provide back-lighting in the many wall coves, which besides helping to display the products, also create extra depth and enhancement of the interior architecture.

There are huge back-lighted translucent photos to help guide shoppers to the right customer segment. And the lighting plan even includes the fitting rooms, where a simple switch permits a choice of either warm or cool light according to the article of clothing being tried on.

As the ground floor is smaller than the basement floor, a way was needed of enticing customers down to the lower level. This has been achieved by placing a row of eye-catching pedestal-mounted mannequins adjacent to the down escalator, in combination with larger-thanlife sepia-tint portraits of models on the wall behind. The mannequins are lit from the ceiling above by recessed adjustable Scrabble CDM-T spots and the portraits by a row of theatre-like halogen spots complete with barndoor attachments to eliminate glare. The escalator

18

ilr 021 retail/projects

itself receives additional light from downlights recessed in the ceiling, where concealed fluorescents provided with coloured sleeves create a striking bluish cove lighting.

With its attractive shop windows and open entrance, passers-by on the Boulevard Haussmann cannot fail to notice that the new name in fashion is here—Hennes & Mauritz. ■ Shop concept: Johan Wohrne, Hennes & Mauritz Interior and Lighting design: Hennes & Mauritz, Lighting in cooperation with Eddy Calvados and Joost Flanagan, Philips Lighting

7 ilr 021 retail/projects

19

g.h&m 16-19

18-04-2002

14:59

Pagina 18

The low-ceilinged basement area, with general lighting from ceiling-recessed metal halide downlights. Wall coves have fluorescent background lighting, while track-mounted halogen spots provide accents on these and other displays.

The wall displays on the ground floor are lit by angled Mezzo spots in the ceiling.

4, 5

6

Shoppers are attracted to the escalator leading to the large basement by a row of mannequins, in combination with the portraits on the wall behind. Adjustable Scrabble spots light the mannequins; the wall-size portraits are dramatically lit by pairs of theatre-like spots.

7

4

5

6 fluorescents in the ceiling coves. Additional fluorescents provide back-lighting in the many wall coves, which besides helping to display the products, also create extra depth and enhancement of the interior architecture.

There are huge back-lighted translucent photos to help guide shoppers to the right customer segment. And the lighting plan even includes the fitting rooms, where a simple switch permits a choice of either warm or cool light according to the article of clothing being tried on.

As the ground floor is smaller than the basement floor, a way was needed of enticing customers down to the lower level. This has been achieved by placing a row of eye-catching pedestal-mounted mannequins adjacent to the down escalator, in combination with larger-thanlife sepia-tint portraits of models on the wall behind. The mannequins are lit from the ceiling above by recessed adjustable Scrabble CDM-T spots and the portraits by a row of theatre-like halogen spots complete with barndoor attachments to eliminate glare. The escalator

18

ilr 021 retail/projects

itself receives additional light from downlights recessed in the ceiling, where concealed fluorescents provided with coloured sleeves create a striking bluish cove lighting.

With its attractive shop windows and open entrance, passers-by on the Boulevard Haussmann cannot fail to notice that the new name in fashion is here—Hennes & Mauritz. ■ Shop concept: Johan Wohrne, Hennes & Mauritz Interior and Lighting design: Hennes & Mauritz, Lighting in cooperation with Eddy Calvados and Joost Flanagan, Philips Lighting

7 ilr 021 retail/projects

19

h.mandarinaDuck 20-23

19-04-2002

08:37

Pagina 20

2 Wouter

Christoph Kicherer

Pieter Bannenberg of NL Architects comments on the process of realising Mandarina Duck's flagship store in Paris, located on the prestigious rue Saint Honoré

NLArchitects

Concepts

I

In the fashion world the reinvention of identity is a continuous process, and the flagship stores serve as the entry point for the infusion of new ideas into the market. The major labels and brands compete to create the most convincing environment for contemporary urbanites to practice their favourite distraction—shopping. This is a growing phenomenon and the current Mandarina Duck shop is at the forefront.

Mandarina Duck, the Italian company known for designer bags and accessories, and more recently men’s and women’s clothing, wanted to try on something new for its flagship store in Paris. They approached Droog Design about making a contribution to their identity, rather than their product line, and Droog turned to Amsterdam-based NL Architects to come up with a design. For both companies it was their first retail project.

The resulting two-storey, 300 m2 shop shows none of the minimalist character favoured in Mandarina Duck’s establishments in recent times.

The inside out clothes rack emits a blue neon glow.

1

An impression of a field of waving grain that inspired the design of the first-floor changing rooms.

2

Vacuum-packed sweater 'floats' at eye level.

3

The rubberband wall: an unexpected use of the ordinary.

4

20

ilr 021 retail/concepts

1

3 Christoph Kicherer

Pieter Bannenberg of NL Architects: ‘Most fashion shops you enter here you see that they will hang things on the wall and then put a few tables in the middle. That’s the general concept. So we tried to use the walls as little as possible, and our first proposal became one big piece of furniture fitting exactly in the offered space. All the products were in this piece of furniture so from the outside you could not even see them. Right away they (Mandarina Duck) said “No, that’s not what we want. Make it more open, more friendly, more colourful.” So the objects became smaller, but we still wanted to try to hide the products. You see something but you cannot see it all, so you have to go to the piece of furniture to see the product.’

What developed was a store without architecture, inhabited artfully by a series of ‘cocoons’ presenting their goods in various degrees of availability.

And the use of light in white and in specific chosen colours stimulates visitors on their discovery tour.

The 3.6 metre diameter inside out clothes rack, for example, attracts through sheer size, but one has to step into it to see the clothing. Items in the pin wall, a fibreboard partition bristling with sliding aluminum rods, seem to be imbedded, fixed in place. Clothing displayed between the clear plastic sheets of the vacuum wall floats there, preserved and perhaps untouchable. Objects are held fast on the rubber band wall, the only display that is not self-contained. Pieter Bannenberg: ‘We always try to stay within the concept, but we saw those rubber bands like you sometimes have inside your suitcase, and we thought you can also use them to fasten your whole suitcase to the wall.’

The shop walls are bare, painted oyster white, so the merchandise and furnishings provide the colour and atmosphere and create the feeling that they can be arranged in any environment. Overhead beams were left exposed to give the shop a more spacious look, particularly on the already low-ceilinged upper floor.

For the problematic task of encouraging the clientele to move from the ground floor to the first floor, the designers chose a revolving spiral staircase painted in white, green and yellow. Its slow, anticlockwise travel invites one to step aboard and be carried upward. Pieter Bannenberg: ‘The

4

ilr 021 retail/concepts

21

h.mandarinaDuck 20-23

19-04-2002

08:37

Pagina 20

2 Wouter

Christoph Kicherer

Pieter Bannenberg of NL Architects comments on the process of realising Mandarina Duck's flagship store in Paris, located on the prestigious rue Saint Honoré

NLArchitects

Concepts

I

In the fashion world the reinvention of identity is a continuous process, and the flagship stores serve as the entry point for the infusion of new ideas into the market. The major labels and brands compete to create the most convincing environment for contemporary urbanites to practice their favourite distraction—shopping. This is a growing phenomenon and the current Mandarina Duck shop is at the forefront.

Mandarina Duck, the Italian company known for designer bags and accessories, and more recently men’s and women’s clothing, wanted to try on something new for its flagship store in Paris. They approached Droog Design about making a contribution to their identity, rather than their product line, and Droog turned to Amsterdam-based NL Architects to come up with a design. For both companies it was their first retail project.

The resulting two-storey, 300 m2 shop shows none of the minimalist character favoured in Mandarina Duck’s establishments in recent times.

The inside out clothes rack emits a blue neon glow.

1

An impression of a field of waving grain that inspired the design of the first-floor changing rooms.

2

Vacuum-packed sweater 'floats' at eye level.

3

The rubberband wall: an unexpected use of the ordinary.

4

20

ilr 021 retail/concepts

1

3 Christoph Kicherer

Pieter Bannenberg of NL Architects: ‘Most fashion shops you enter here you see that they will hang things on the wall and then put a few tables in the middle. That’s the general concept. So we tried to use the walls as little as possible, and our first proposal became one big piece of furniture fitting exactly in the offered space. All the products were in this piece of furniture so from the outside you could not even see them. Right away they (Mandarina Duck) said “No, that’s not what we want. Make it more open, more friendly, more colourful.” So the objects became smaller, but we still wanted to try to hide the products. You see something but you cannot see it all, so you have to go to the piece of furniture to see the product.’

What developed was a store without architecture, inhabited artfully by a series of ‘cocoons’ presenting their goods in various degrees of availability.

And the use of light in white and in specific chosen colours stimulates visitors on their discovery tour.

The 3.6 metre diameter inside out clothes rack, for example, attracts through sheer size, but one has to step into it to see the clothing. Items in the pin wall, a fibreboard partition bristling with sliding aluminum rods, seem to be imbedded, fixed in place. Clothing displayed between the clear plastic sheets of the vacuum wall floats there, preserved and perhaps untouchable. Objects are held fast on the rubber band wall, the only display that is not self-contained. Pieter Bannenberg: ‘We always try to stay within the concept, but we saw those rubber bands like you sometimes have inside your suitcase, and we thought you can also use them to fasten your whole suitcase to the wall.’

The shop walls are bare, painted oyster white, so the merchandise and furnishings provide the colour and atmosphere and create the feeling that they can be arranged in any environment. Overhead beams were left exposed to give the shop a more spacious look, particularly on the already low-ceilinged upper floor.

For the problematic task of encouraging the clientele to move from the ground floor to the first floor, the designers chose a revolving spiral staircase painted in white, green and yellow. Its slow, anticlockwise travel invites one to step aboard and be carried upward. Pieter Bannenberg: ‘The

4

ilr 021 retail/concepts

21

h.mandarinaDuck 20-23

19-04-2002

08:38

Pagina 22

Halogen lamps and fluorescents light the perimeter of the ‘shop without architecture.’

Items appear to be imbedded in the pin wall.

5

7

Floor plan: ground floor on right.

Photos Christoph Kicherer

6

Bags and clothing displayed on the ledge are illuminated by a row of fluorescent luminaires.

Compact fluorescents are used under the shelves in the curtain room.

8

7

8 other thing which is very nice is the feeling of the changing volume of that part of the shop as the stairway turns and fills different parts of the space around it.’ This change carries through for those exiting on the upper level, as they will see a different part of the shop each time they step off. The dressing rooms on this floor also offer something special. They have no doors or windows, only an open space enclosed by a dense stand of glass fibre rods.

The Lighting

5

6

22

ilr 021 retail/concepts

The lighting of the corner shop maintains the same Spartan pattern as the rest of the design. Bare lamps or very basic luminaires are the norm, and are mainly placed around the perimeter. Fluorescent lamps are mounted in all the window recesses, and also at ceiling level along the two outer walls.

Individual halogens are spaced regularly along the ceiling near the longer interior wall to give it a lot of light and emphasise the depth of the shop for entering customers. On the upper level another line of fluorescents is suspended from the ceiling along one outer wall to illuminate the items displayed on the ledge below.

Several of the cocoons also have lighting of their own, but no visible wiring. Pieter Bannenberg: ‘We want to have the illusion that they are all pieces of furniture that you can take and put somewhere else, that they can be rearranged quickly. And we also don’t accept that you have this long wire, like a vacuum cleaner. When you go to a museum, if something needs electricity, you have to put this tape on the floor and that we don’t accept. The consequence is that things are fixed, that cables come up through the floor.’

The stainless steel cloche mentioned earlier has white neon above and blue neon below on its inside edges. Compact fluorescents sit underneath each of the circular shelves within the curtain room. For the fluo-cupboards the luminaires actually become the shelves, as the outer shell was fashioned

by joining together several TL luminaires. Light comes from three sides, making this one of the brightest parts of the shop.

Taken as a whole, the design is a light-hearted approach to the serious business of selling. The customer is exposed to some of the workings of the designer’s mind. Pieter Bannenberg: ‘To be able to take something simple and change it a little and come up with something completely new. This is something that appeals to Droog Design and part of why they chose us for the project.’ It is a bit the way a comedian works, shifting perspective slightly, changing moods, furniture and space by using light and thus producing a unique experience from the ordinary. ■ Clients: Droog Design, Amsterdam and Mandarina Duck, Bologna, Italy Architect: NL Architects, Amsterdam Executing architect in Paris: Antonio Virga Lighting consultant: Rasoc BV, Nijmegen, The Netherlands Interior design: NL Architects

Pieter Bannenberg, Walter van Dijk, Kamiel Klaasse and Mark Linnemann (clockwise from top right) of NL Architects. Often their projects focus on ordinary aspects of everyday life, including the unappreciated or negative, that are enhanced or twisted in order to bring to the fore the unexpected potential of the things that surround us.

Currently they are at work on a barrestaurant/basketball court to be built on the University of Utrecht campus.

ilr 021 retail/concepts

23

h.mandarinaDuck 20-23

19-04-2002

08:38

Pagina 22

Halogen lamps and fluorescents light the perimeter of the ‘shop without architecture.’

Items appear to be imbedded in the pin wall.

5

7

Floor plan: ground floor on right.

Photos Christoph Kicherer

6

Bags and clothing displayed on the ledge are illuminated by a row of fluorescent luminaires.

Compact fluorescents are used under the shelves in the curtain room.

8

7

8 other thing which is very nice is the feeling of the changing volume of that part of the shop as the stairway turns and fills different parts of the space around it.’ This change carries through for those exiting on the upper level, as they will see a different part of the shop each time they step off. The dressing rooms on this floor also offer something special. They have no doors or windows, only an open space enclosed by a dense stand of glass fibre rods.

The Lighting

5

6

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The lighting of the corner shop maintains the same Spartan pattern as the rest of the design. Bare lamps or very basic luminaires are the norm, and are mainly placed around the perimeter. Fluorescent lamps are mounted in all the window recesses, and also at ceiling level along the two outer walls.

Individual halogens are spaced regularly along the ceiling near the longer interior wall to give it a lot of light and emphasise the depth of the shop for entering customers. On the upper level another line of fluorescents is suspended from the ceiling along one outer wall to illuminate the items displayed on the ledge below.

Several of the cocoons also have lighting of their own, but no visible wiring. Pieter Bannenberg: ‘We want to have the illusion that they are all pieces of furniture that you can take and put somewhere else, that they can be rearranged quickly. And we also don’t accept that you have this long wire, like a vacuum cleaner. When you go to a museum, if something needs electricity, you have to put this tape on the floor and that we don’t accept. The consequence is that things are fixed, that cables come up through the floor.’

The stainless steel cloche mentioned earlier has white neon above and blue neon below on its inside edges. Compact fluorescents sit underneath each of the circular shelves within the curtain room. For the fluo-cupboards the luminaires actually become the shelves, as the outer shell was fashioned

by joining together several TL luminaires. Light comes from three sides, making this one of the brightest parts of the shop.

Taken as a whole, the design is a light-hearted approach to the serious business of selling. The customer is exposed to some of the workings of the designer’s mind. Pieter Bannenberg: ‘To be able to take something simple and change it a little and come up with something completely new. This is something that appeals to Droog Design and part of why they chose us for the project.’ It is a bit the way a comedian works, shifting perspective slightly, changing moods, furniture and space by using light and thus producing a unique experience from the ordinary. ■ Clients: Droog Design, Amsterdam and Mandarina Duck, Bologna, Italy Architect: NL Architects, Amsterdam Executing architect in Paris: Antonio Virga Lighting consultant: Rasoc BV, Nijmegen, The Netherlands Interior design: NL Architects

Pieter Bannenberg, Walter van Dijk, Kamiel Klaasse and Mark Linnemann (clockwise from top right) of NL Architects. Often their projects focus on ordinary aspects of everyday life, including the unappreciated or negative, that are enhanced or twisted in order to bring to the fore the unexpected potential of the things that surround us.

Currently they are at work on a barrestaurant/basketball court to be built on the University of Utrecht campus.

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Concepts Photos Prada

Ole Scheeren

After Prada’s tremendous growth in the 1990’s and the construction of more than 200 stores worldwide, Miuccia Prada and Patrizio Bertelli identified the need to re-conceptualize the company. The goal was to go beyond the limitations that Prada’s own success had created for the image of the brand

Epicentre Prada store, New York

T

The projects for the Italian fashion company Prada extend from research on shopping and new concepts for Prada as a brand to the creation of three new stores in the United States: New York, Los Angeles and San Francisco.

Beyond restructuring the physical reality of Prada, its virtual presence is simultaneously defined through extensive in-store technology and the creation of a web site. The combination of these aspects generates an integrated service structure that enables Prada to provide a new sense of exclusivity, but also to reinforce the diverse and intriguing aura of the brand.

Stores The new stores are conceived as specific insertions both in relation to the brand and the network of existing 'green' Prada stores, as well as the city and cultural context they are situated in. In contrast to the concept of a classical ‘flagship store’—the simple enlargement of a generic store, in other words more of the same—the new Prada ‘epicentres’ offer a diversification of the shopping experience.

The commercial function is overlaid with a series of experiential and spatial typologies… clinic: an environment for specialized personal care and service – archive: an inventory of current and past collections – trading floor: an accumulation of rapidly changing information, new technology applications and e-commerce – library: zones of content and knowledge dedicated to the evolution of the fashion system – street: a space for multiple activities, liberated from the pressure to buy.

At a time when commercial activity has invaded all public spaces and cultural institutions, this concept offers a redefinition of exclusivity: the possibility for public functions and programs to reclaim the territory of shopping.

First floor ceiling and wallpaper wall (left) and movable ‘hanging city.’

24

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25

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10:02

Pagina 24

Concepts Photos Prada

Ole Scheeren

After Prada’s tremendous growth in the 1990’s and the construction of more than 200 stores worldwide, Miuccia Prada and Patrizio Bertelli identified the need to re-conceptualize the company. The goal was to go beyond the limitations that Prada’s own success had created for the image of the brand

Epicentre Prada store, New York

T

The projects for the Italian fashion company Prada extend from research on shopping and new concepts for Prada as a brand to the creation of three new stores in the United States: New York, Los Angeles and San Francisco.

Beyond restructuring the physical reality of Prada, its virtual presence is simultaneously defined through extensive in-store technology and the creation of a web site. The combination of these aspects generates an integrated service structure that enables Prada to provide a new sense of exclusivity, but also to reinforce the diverse and intriguing aura of the brand.

Stores The new stores are conceived as specific insertions both in relation to the brand and the network of existing 'green' Prada stores, as well as the city and cultural context they are situated in. In contrast to the concept of a classical ‘flagship store’—the simple enlargement of a generic store, in other words more of the same—the new Prada ‘epicentres’ offer a diversification of the shopping experience.

The commercial function is overlaid with a series of experiential and spatial typologies… clinic: an environment for specialized personal care and service – archive: an inventory of current and past collections – trading floor: an accumulation of rapidly changing information, new technology applications and e-commerce – library: zones of content and knowledge dedicated to the evolution of the fashion system – street: a space for multiple activities, liberated from the pressure to buy.

At a time when commercial activity has invaded all public spaces and cultural institutions, this concept offers a redefinition of exclusivity: the possibility for public functions and programs to reclaim the territory of shopping.

First floor ceiling and wallpaper wall (left) and movable ‘hanging city.’

24

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25

i.prada 24-31

19-04-2002

10:03

Pagina 26

New York Prada New York, opened in mid December last year, is an interior conversion of the former Guggenheim store in SoHo, extending an entire block between Broadway and Mercer Street. Its 2100 square metres are distributed between the ground floor and basement of the building. As a means to naturally connect to the large basement area and guide customers to the less visible parts of the store, the floor descends in its entire width and rises again to rejoin the ground level, creating a concave shaped ‘wave’. On one slope an oversized stair made of zebrawood is used as an informal display space, where people can try on shoes and browse through bags and other accessories. At the push of a button, an event platform rotates out of the opposite slope, turning the stair into an auditorium for performances, film projections and lectures.

The main space and stairway are part of the 'street' philosophy—a place for shopping as well as other activities. It moves away from the perfectionist idea of display to a much more informal presentation of clothes. The relationship of product and customer is being rethought: Not a space of museum-like, minimalist installation, where any disturbance of the arrangement ultimately destroys the beauty of the setting, but rather an environment in which people are encouraged to interact with products in a social atmosphere.

Across the ceiling of the ground floor, large metal cages for merchandise and display are suspended from an overhead track system and create singular shopping addresses, like inverted buildings in a street—a ‘hanging city’. These display volumes can automatically contract at the back of the store into a solid volume and free the space for public events.

A translucent wall of polycarbonate covers the existing brick wall of the building and establishes a dialogue between old and new.

On the opposite wall a mural of wallpaper runs the entire length of the space and, with simple means, can transform the environment. It provides a fast and flexible way to renew the identity of the store and keep up with the fashion cycle.

Located at the Broadway entrance, a round 3.7 metre diameter fully glazed elevator displays bags and accessories and gives the customer the possibility to shop while travelling vertically. It descends into the lounge underneath the wave, where the main dressing rooms are located. Low

Dynamic shop elements (from top): track-mounted displays, wallpaper wall, event stage, archives and (right) the ‘wave’ as shopping area or theatre.

26

ilr 021 retail/concepts

display mattresses made from plywood and covered with techno-gel pads provide for seating and interaction with accessories and merchandize. The black-and-white marble floor is a reference to the first Prada store in Milan.

The northern part of the basement holds the archive, ‘movable walls’, an adapted system of compact shelving for display that allows the sequence and size of spaces to be altered according to need. These Prada-green shelves contrast with the unfinished gypsum board walls and the zebrawood ceiling. With a separate entrance from Mercer Street, the allwhite clinic area contains VIP rooms, tailors and catering facilities.

Lighting Not as a matter of design or architecture, but rather as a pragmatic element of performance and communication, the lighting is both explicitly visible and brutal, and sometimes non-identifiable and submerged into the spatial atmosphere.

At the Broadway entrance, exposed theatrical ellipsoidal projectors emphasize the stage-like quality of the window display. The play with visual presence and dominance of the light fixture supports the theatrical scenario. Some of those projectors are also mounted on two of the hanging city units to perform as back and front lighting for the event platform.

Behind the polycarbonate wall on the ground floor, fluorescent tubes are mounted invisibly to the back of the vertical aluminium channels. Due to the translucence of the polycarbonate, the brick and coloured construction marks behind read as an archeology of the building process.

Bare fluorescent strip lights in flush-mounted housings are used in the movable display archive and staff sections in the basement. The strong pattern has a functional expression and contrasts with the refinement of the movable shelves and the zebrawood ceiling.

In-store Technology A series of experiential and service-oriented features enhance both functioning and aura of the stores. The dressing rooms are equipped with ‘magic mirrors’: a plasma screen invisibly built into the large mirror surface that allows customers to see themselves both from the front and the back at the same time. An integrated time delay can even capture and replay movements. The doors are made of a special glass that the customer

Photo groups:

can switch from transparent to translucent and control the privacy of the dressing room. Equipped with RFID [radio frequency identity] antennas, the ‘garment closet’ is able to register merchandise brought into the dressing room and display an inventory of icons on a touch screen. Here, the customer can request more specific information on the clothes, and also browse through alternative items of the collection.

On the web site, the garment closet has its virtual counterpart, the ‘webcloset’, that contains a history of all pieces tried on. The customer can not only build up his personal history and selection of likes, but also order things he tried on but didn’t buy in the store.

A system of ‘ubiquitous screens’ performs a double function: submerged in the display systems of the store, the screens show aura-related content but can also be used as communication platforms for staff and customer.

Suspended from a hangbar between suits, or built into a horizontal display case, their imagery portrays the brand beyond the simple presence of fashion or catwalk shows. Clips from the Prada prototyping and production facilities in Italy, from their involvement in sports (America's Cup) and the arts (Fondazione Prada), are mixed with images from movies, scenes from world news, or the sales of Prada fakes across the world. When activated through a ‘staff device’—a control feature for the sales agents—the ubiquitous screens can become a tool to show specific information to the client, such as alternative outfits matching the piece just selected or real-time information about what is readily available in the store.

Future Epicentres Los Angeles - Opening expected summer 2003 The store on Rodeo Drive is a new construction of 2200 square metres with three storeys plus basement. While in New York the floor waves down towards the basement, in Los Angeles the same wooden plane folds up and creates a symmetrical ‘hill’ that supports a floating aluminium box.

The façade towards the street is literally non-existent—without the generic storefront and glass enclosures, the entire width of the store opens up to the street and merges public with commercial space. The climatic separation is achieved through an air-curtain system; view-cones are cut into the floor to form horizontal display windows into underground alcoves. At night, an aluminium panel rises from the ground and hermetically seals the building. Inside the aluminium box, the merchandize is displayed along the perimeter of the volume. A central

Hanging cages (top) and zebrawood stairway. page 28.

Backlighting for polycarbonate wall, elevator, garment closet, dressing room, and game/product space (top, clockwise from left).

Polycarbonate wall. page 29

Ubiquitous screen, archives, display niche and resin shelving (top, from left).

The crest of the ‘wave’ and gathering area for hanging city. page 30.

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Pagina 26

New York Prada New York, opened in mid December last year, is an interior conversion of the former Guggenheim store in SoHo, extending an entire block between Broadway and Mercer Street. Its 2100 square metres are distributed between the ground floor and basement of the building. As a means to naturally connect to the large basement area and guide customers to the less visible parts of the store, the floor descends in its entire width and rises again to rejoin the ground level, creating a concave shaped ‘wave’. On one slope an oversized stair made of zebrawood is used as an informal display space, where people can try on shoes and browse through bags and other accessories. At the push of a button, an event platform rotates out of the opposite slope, turning the stair into an auditorium for performances, film projections and lectures.

The main space and stairway are part of the 'street' philosophy—a place for shopping as well as other activities. It moves away from the perfectionist idea of display to a much more informal presentation of clothes. The relationship of product and customer is being rethought: Not a space of museum-like, minimalist installation, where any disturbance of the arrangement ultimately destroys the beauty of the setting, but rather an environment in which people are encouraged to interact with products in a social atmosphere.

Across the ceiling of the ground floor, large metal cages for merchandise and display are suspended from an overhead track system and create singular shopping addresses, like inverted buildings in a street—a ‘hanging city’. These display volumes can automatically contract at the back of the store into a solid volume and free the space for public events.

A translucent wall of polycarbonate covers the existing brick wall of the building and establishes a dialogue between old and new.

On the opposite wall a mural of wallpaper runs the entire length of the space and, with simple means, can transform the environment. It provides a fast and flexible way to renew the identity of the store and keep up with the fashion cycle.

Located at the Broadway entrance, a round 3.7 metre diameter fully glazed elevator displays bags and accessories and gives the customer the possibility to shop while travelling vertically. It descends into the lounge underneath the wave, where the main dressing rooms are located. Low

Dynamic shop elements (from top): track-mounted displays, wallpaper wall, event stage, archives and (right) the ‘wave’ as shopping area or theatre.

26

ilr 021 retail/concepts

display mattresses made from plywood and covered with techno-gel pads provide for seating and interaction with accessories and merchandize. The black-and-white marble floor is a reference to the first Prada store in Milan.

The northern part of the basement holds the archive, ‘movable walls’, an adapted system of compact shelving for display that allows the sequence and size of spaces to be altered according to need. These Prada-green shelves contrast with the unfinished gypsum board walls and the zebrawood ceiling. With a separate entrance from Mercer Street, the allwhite clinic area contains VIP rooms, tailors and catering facilities.

Lighting Not as a matter of design or architecture, but rather as a pragmatic element of performance and communication, the lighting is both explicitly visible and brutal, and sometimes non-identifiable and submerged into the spatial atmosphere.

At the Broadway entrance, exposed theatrical ellipsoidal projectors emphasize the stage-like quality of the window display. The play with visual presence and dominance of the light fixture supports the theatrical scenario. Some of those projectors are also mounted on two of the hanging city units to perform as back and front lighting for the event platform.

Behind the polycarbonate wall on the ground floor, fluorescent tubes are mounted invisibly to the back of the vertical aluminium channels. Due to the translucence of the polycarbonate, the brick and coloured construction marks behind read as an archeology of the building process.

Bare fluorescent strip lights in flush-mounted housings are used in the movable display archive and staff sections in the basement. The strong pattern has a functional expression and contrasts with the refinement of the movable shelves and the zebrawood ceiling.

In-store Technology A series of experiential and service-oriented features enhance both functioning and aura of the stores. The dressing rooms are equipped with ‘magic mirrors’: a plasma screen invisibly built into the large mirror surface that allows customers to see themselves both from the front and the back at the same time. An integrated time delay can even capture and replay movements. The doors are made of a special glass that the customer

Photo groups:

can switch from transparent to translucent and control the privacy of the dressing room. Equipped with RFID [radio frequency identity] antennas, the ‘garment closet’ is able to register merchandise brought into the dressing room and display an inventory of icons on a touch screen. Here, the customer can request more specific information on the clothes, and also browse through alternative items of the collection.

On the web site, the garment closet has its virtual counterpart, the ‘webcloset’, that contains a history of all pieces tried on. The customer can not only build up his personal history and selection of likes, but also order things he tried on but didn’t buy in the store.

A system of ‘ubiquitous screens’ performs a double function: submerged in the display systems of the store, the screens show aura-related content but can also be used as communication platforms for staff and customer.

Suspended from a hangbar between suits, or built into a horizontal display case, their imagery portrays the brand beyond the simple presence of fashion or catwalk shows. Clips from the Prada prototyping and production facilities in Italy, from their involvement in sports (America's Cup) and the arts (Fondazione Prada), are mixed with images from movies, scenes from world news, or the sales of Prada fakes across the world. When activated through a ‘staff device’—a control feature for the sales agents—the ubiquitous screens can become a tool to show specific information to the client, such as alternative outfits matching the piece just selected or real-time information about what is readily available in the store.

Future Epicentres Los Angeles - Opening expected summer 2003 The store on Rodeo Drive is a new construction of 2200 square metres with three storeys plus basement. While in New York the floor waves down towards the basement, in Los Angeles the same wooden plane folds up and creates a symmetrical ‘hill’ that supports a floating aluminium box.

The façade towards the street is literally non-existent—without the generic storefront and glass enclosures, the entire width of the store opens up to the street and merges public with commercial space. The climatic separation is achieved through an air-curtain system; view-cones are cut into the floor to form horizontal display windows into underground alcoves. At night, an aluminium panel rises from the ground and hermetically seals the building. Inside the aluminium box, the merchandize is displayed along the perimeter of the volume. A central

Hanging cages (top) and zebrawood stairway. page 28.

Backlighting for polycarbonate wall, elevator, garment closet, dressing room, and game/product space (top, clockwise from left).

Polycarbonate wall. page 29

Ubiquitous screen, archives, display niche and resin shelving (top, from left).

The crest of the ‘wave’ and gathering area for hanging city. page 30.

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Pagina 28

linic/archive/trading/library/street/clinic/archive/trading/library/street/clinic/archiv

28

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29

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Pagina 28

linic/archive/trading/library/street/clinic/archive/trading/library/street/clinic/archiv

28

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Pagina 30

Future epicentres (from left): Los Angeles and San Francisco.

glass box mirrors the presentation of real clothing with its virtual counterpart—projections of light that allow for wallpaper-like stills or moving imagery of clothes and runway shows. The third floor is dominated by the ‘scenario space’: An open floor plan that is used for changing display arrangements, like an extended idea of a display window, offering ways to present clothes beyond the presence of hangbars and shelves. A linear roof structure of alternating box-beams and fritted glass strips creates a field of daylight above the aluminium volume.

linic/archive/trading/library/street/clinic/

San Francisco - Opening expected 2004 The new 10-storey building in downtown San Francisco will be Prada’s Headquarters on the West Coast. Two floating cubes on top of each other contain on 3600 square metres both store program and offices, along with showrooms, gallery spaces and a VIP penthouse at the top. A public viewing terrace and coffee bar separates both cubes on the 6th floor level.

The building is a manifesto on the skyscraper: A series of floor plates with

Technical lighting data—Prada New York

Location First floor Ceiling

Walls

Hanging displays

Resin shelving

Lighting

Uplighting: Pendant-mounted T2 compact fluorescent and T8 fluorescent striplights, all on 0.9 m centres.

Downlighting:Track-mounted quartz halogen downlights in the ceiling slots.

Wallpaper: Custom wall-wash fixture with 75 W PAR lamps; Display niche: T8 fluorescent striplights behind flashed white opal glass.

Polycarbonate wall: T8 fluorescent striplights (4100 K) mounted to interior of vertical aluminium channels; also on 0.9 m centres.

Above: adjustable halogen downlights (65 W) on 0.3 m centres at the top of the unit.

Below: recessed Xenon ribbon lights with specially milled aluminium louvres.

T5 fluorescents placed behind the stainless steel edge profiles

unique characters are stacked on top of each other and wrapped with a mysterious and neutral skin that reveals a sense of the inner diversity without giving it all away. This facade is made out of stainless steel panels that are perforated with about 10 000 round holes, windows ranging between 6 to 23 cm in diameter. The size of the openings is designed according to the force flow in these structural steel plates, which are able to absorb the horizontal forces in earthquakes and guarantee the structural integrity of the building. What emerges is a quality totally new to the current condition of shopping: the presence of daylight. The façade is no longer blocking out all light, but filters and distributes it through various translucent materials inside the space: polycarbonate, coloured resin, exclusively developed porous-transparent polyurethane panels, etc.

Products are displayed against the light, in x-ray like conditions, or profit in a more classic arrangement from the evenly dispersed natural glow. In contrast to the notorious blindness of today’s malls and department stores, daylight re-enters the territory of shopping. ■

Owner: Prada, I.P.I. USA Corp., New York, NY Architect: Office for Metropolitan Architecture (OMA), Rotterdam - Principal: Rem Koolhaas - Project director and lead designer: Ole Scheeren - Project architects: Timothy Archambault and Eric Chang Architect of Record: Architecture Research Office (ARO) - Principals: Stephen Cassell, Adam Yarinsky - Project architects: Reid Freeman and Ben Fuqua In-store Technology: AMO, Rotterdam - Principal: Rem Koolhaas - Principal in charge: Dan Wood - Project director: Markus Schaefer Lighting Consultant: Kugler Tillotson Associates Lighting Design, New York, NY Structural Engineer: Leslie E. Robertson Associates (LERA) Consulting Engineers, New York, NY Mechanical Engineer: Ove Arup & Partners, New York, NY General contractor: Richter + Ratner Contracting Corporation, Maspeth, NY

Projects for Prada Part 1 Basement Ceiling Resin shelving & section

Dressing rooms

30

ilr 021 retail/concepts

T8 fluorescents in flush-mounted housings in the cash counter, movable display archive and staff sections.

T5 fluorescents behind stainless steel edge archive moulding and at the back wall wash and front cove lighting T8 fluorescents of two colour temperatures (3500 and 5000 K) on separate circuits to simulate various lighting scenarios; T5 fluorescents in wall coves and the mini-closet; T8 fluorescents in flush-mounted housings in the VIP dressing rooms

Dutch architect Rem Koolhaas, with his inimitable style and unique view of architecture and design in the international urban milieu, presents in this book his theories and designs for the Prada epicentre stores in New York, Los Angeles, and San Francisco.

Edited by Rem Koolhaas, Jens Hommert and Michael Kubo. Introduction by Rem Koolhaas. Foreword by Miuccia Prada and Patrizio Bertelli.

This volume is chock full of images: photographs, drawings, graphs, charts—all of the visual information that Koolhaas is known for. It is an in-depth presentation of the working methods and thought processes for this unique design job.

Published by: Fondazione Prada Format: Paperback, 6.5 x 8.25 in./574 pgs/530 colour ill. ISBN: 88-87029-18-0 Price US$80.00 For more information see www.fondazioneprada.org

ilr 021 retail/concepts

31

i.prada 24-31

19-04-2002

10:03

Pagina 30

Future epicentres (from left): Los Angeles and San Francisco.

glass box mirrors the presentation of real clothing with its virtual counterpart—projections of light that allow for wallpaper-like stills or moving imagery of clothes and runway shows. The third floor is dominated by the ‘scenario space’: An open floor plan that is used for changing display arrangements, like an extended idea of a display window, offering ways to present clothes beyond the presence of hangbars and shelves. A linear roof structure of alternating box-beams and fritted glass strips creates a field of daylight above the aluminium volume.

linic/archive/trading/library/street/clinic/

San Francisco - Opening expected 2004 The new 10-storey building in downtown San Francisco will be Prada’s Headquarters on the West Coast. Two floating cubes on top of each other contain on 3600 square metres both store program and offices, along with showrooms, gallery spaces and a VIP penthouse at the top. A public viewing terrace and coffee bar separates both cubes on the 6th floor level.

The building is a manifesto on the skyscraper: A series of floor plates with

Technical lighting data—Prada New York

Location First floor Ceiling

Walls

Hanging displays

Resin shelving

Lighting

Uplighting: Pendant-mounted T2 compact fluorescent and T8 fluorescent striplights, all on 0.9 m centres.

Downlighting:Track-mounted quartz halogen downlights in the ceiling slots.

Wallpaper: Custom wall-wash fixture with 75 W PAR lamps; Display niche: T8 fluorescent striplights behind flashed white opal glass.

Polycarbonate wall: T8 fluorescent striplights (4100 K) mounted to interior of vertical aluminium channels; also on 0.9 m centres.

Above: adjustable halogen downlights (65 W) on 0.3 m centres at the top of the unit.

Below: recessed Xenon ribbon lights with specially milled aluminium louvres.

T5 fluorescents placed behind the stainless steel edge profiles

unique characters are stacked on top of each other and wrapped with a mysterious and neutral skin that reveals a sense of the inner diversity without giving it all away. This facade is made out of stainless steel panels that are perforated with about 10 000 round holes, windows ranging between 6 to 23 cm in diameter. The size of the openings is designed according to the force flow in these structural steel plates, which are able to absorb the horizontal forces in earthquakes and guarantee the structural integrity of the building. What emerges is a quality totally new to the current condition of shopping: the presence of daylight. The façade is no longer blocking out all light, but filters and distributes it through various translucent materials inside the space: polycarbonate, coloured resin, exclusively developed porous-transparent polyurethane panels, etc.

Products are displayed against the light, in x-ray like conditions, or profit in a more classic arrangement from the evenly dispersed natural glow. In contrast to the notorious blindness of today’s malls and department stores, daylight re-enters the territory of shopping. ■

Owner: Prada, I.P.I. USA Corp., New York, NY Architect: Office for Metropolitan Architecture (OMA), Rotterdam - Principal: Rem Koolhaas - Project director and lead designer: Ole Scheeren - Project architects: Timothy Archambault and Eric Chang Architect of Record: Architecture Research Office (ARO) - Principals: Stephen Cassell, Adam Yarinsky - Project architects: Reid Freeman and Ben Fuqua In-store Technology: AMO, Rotterdam - Principal: Rem Koolhaas - Principal in charge: Dan Wood - Project director: Markus Schaefer Lighting Consultant: Kugler Tillotson Associates Lighting Design, New York, NY Structural Engineer: Leslie E. Robertson Associates (LERA) Consulting Engineers, New York, NY Mechanical Engineer: Ove Arup & Partners, New York, NY General contractor: Richter + Ratner Contracting Corporation, Maspeth, NY

Projects for Prada Part 1 Basement Ceiling Resin shelving & section

Dressing rooms

30

ilr 021 retail/concepts

T8 fluorescents in flush-mounted housings in the cash counter, movable display archive and staff sections.

T5 fluorescents behind stainless steel edge archive moulding and at the back wall wash and front cove lighting T8 fluorescents of two colour temperatures (3500 and 5000 K) on separate circuits to simulate various lighting scenarios; T5 fluorescents in wall coves and the mini-closet; T8 fluorescents in flush-mounted housings in the VIP dressing rooms

Dutch architect Rem Koolhaas, with his inimitable style and unique view of architecture and design in the international urban milieu, presents in this book his theories and designs for the Prada epicentre stores in New York, Los Angeles, and San Francisco.

Edited by Rem Koolhaas, Jens Hommert and Michael Kubo. Introduction by Rem Koolhaas. Foreword by Miuccia Prada and Patrizio Bertelli.

This volume is chock full of images: photographs, drawings, graphs, charts—all of the visual information that Koolhaas is known for. It is an in-depth presentation of the working methods and thought processes for this unique design job.

Published by: Fondazione Prada Format: Paperback, 6.5 x 8.25 in./574 pgs/530 colour ill. ISBN: 88-87029-18-0 Price US$80.00 For more information see www.fondazioneprada.org

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19-04-2002

10:13

Pagina 32

Concepts

Light is also design The design is created on the basis of light, and with light. Its direction, intensity, colour and form are all means of identification to which the designer systematically resorts. We use it to sculpt spaces, to organise ourselves and express ourselves. It attracts and guides our gaze.

As soon as the natural light becomes insufficient on facades, the artificial lighting takes things in hand. During the day, store signs have their specific shapes and colours, but when night comes, they can be transformed to express new designs and movements. In the dark also the point of sale is identified first of all by light.

In the town and around the stores, light is magnetic and fascinating, a source of energy. Not to mention it gives reassurance and security. As soon as we enter the store, it helps us to become detached from the street atmosphere and concentrate our attention on the store.

Light creates a sociocultural dimension. It provides materiality and sensation, and we are no more than consumers of sensation. Everywhere we go, light accompanies our desires and needs and also makes them exist.

In the store it directs us, it tells us where we should look. Light organises the space and goods, and participates in the creation of the image.

Both on the stage and behind the scenes, the luminaire distributing the light represents all sociocultural development. Under the auspices of technique or action, the luminaire becomes a starring actor, and its design shows that it belongs to a period, culture or elite.

Under the auspices of luxury, the luminaire becomes self-effacing; it retreats into the chinks of the space available, and raises the status of this space to the level of sculpture and a work of art, so leaving the architecture in the limelight.

The language of light Light is a language that articulates the propositions of the design.

Everything communicates, deliberately or by default, everything has a meaning; the language of light is a common denominator in all architectural, design, commercial and marketing propositions.

In our professional practice, the light is also very close to the product. Its use is clinical, fanatical. We systematically eliminate spot and strip lights that dazzle the clients. We seek the best contrast, the most balanced rhythm, the visible detail that creates the quality desired.

Light is our first merchandising proposition. Each product or sign must be provided with museographic lighting. It makes our sales areas efficient.

Light accompanies socio-psychological developments. Each period of crisis and each period of euphoria have given rise to a different light.

When we are in difficulty light reassures us, and in pleasurable times it exalts us. The more unsettled a period is, the greater the intensity of the light in the stores. The colour becomes pure and neutral, dark corners disappear, and the facades are brilliantly lit. If, on the other hand, the period is more settled, positive and easy-going, the light becomes subtler, warmer and more sensitive. Light is the very image, the symbol par excellence, of life.

In the future, light will further accompany us, allowing us to convey messages, move, play, and develop as we wish…■

Gérard Barrau, French architect and designer, is chairman of the retail design group, Interbrand/Architral Création Design. He sees retail design as the tangible expression of a client's marketing strategy. His firm received two awards for the design of the Citadium megastore pictured here.

1

Light’s many roles Gérard Barrau

Eldorauto, Paris: Light sculpts the space. Scrabble and fluorescent luminaires create sparkling displays, floodlights focus on the ceiling and fibre optics give guidance in the traffic area between levels.

1, 2

2 32

'Without light, the space simply does not exist.'

photos: Robert César

I

In commercial areas, light reveals the design, and the design exists only by virtue of light. Artificial lighting creates and organises space. It imbues the space with life and substance simultaneously. It provides the rhythm.

It is at the same time a component of the architecture and the architecture itself.

ilr 021 retail/concepts

3

Light always plays a leading role in commercial areas. It is a source of energy that attracts and guides us

Citadium, Paris: Light creates rhythm. Halogen lamps accent the curves of the interior design. Downlights reveal the architecture’s functionality in the entrance hall.

3, 4

4 ilr 021 retail/concepts

33

j.Barrau 32-33

19-04-2002

10:13

Pagina 32

Concepts

Light is also design The design is created on the basis of light, and with light. Its direction, intensity, colour and form are all means of identification to which the designer systematically resorts. We use it to sculpt spaces, to organise ourselves and express ourselves. It attracts and guides our gaze.

As soon as the natural light becomes insufficient on facades, the artificial lighting takes things in hand. During the day, store signs have their specific shapes and colours, but when night comes, they can be transformed to express new designs and movements. In the dark also the point of sale is identified first of all by light.

In the town and around the stores, light is magnetic and fascinating, a source of energy. Not to mention it gives reassurance and security. As soon as we enter the store, it helps us to become detached from the street atmosphere and concentrate our attention on the store.

Light creates a sociocultural dimension. It provides materiality and sensation, and we are no more than consumers of sensation. Everywhere we go, light accompanies our desires and needs and also makes them exist.

In the store it directs us, it tells us where we should look. Light organises the space and goods, and participates in the creation of the image.

Both on the stage and behind the scenes, the luminaire distributing the light represents all sociocultural development. Under the auspices of technique or action, the luminaire becomes a starring actor, and its design shows that it belongs to a period, culture or elite.

Under the auspices of luxury, the luminaire becomes self-effacing; it retreats into the chinks of the space available, and raises the status of this space to the level of sculpture and a work of art, so leaving the architecture in the limelight.

The language of light Light is a language that articulates the propositions of the design.

Everything communicates, deliberately or by default, everything has a meaning; the language of light is a common denominator in all architectural, design, commercial and marketing propositions.

In our professional practice, the light is also very close to the product. Its use is clinical, fanatical. We systematically eliminate spot and strip lights that dazzle the clients. We seek the best contrast, the most balanced rhythm, the visible detail that creates the quality desired.

Light is our first merchandising proposition. Each product or sign must be provided with museographic lighting. It makes our sales areas efficient.

Light accompanies socio-psychological developments. Each period of crisis and each period of euphoria have given rise to a different light.

When we are in difficulty light reassures us, and in pleasurable times it exalts us. The more unsettled a period is, the greater the intensity of the light in the stores. The colour becomes pure and neutral, dark corners disappear, and the facades are brilliantly lit. If, on the other hand, the period is more settled, positive and easy-going, the light becomes subtler, warmer and more sensitive. Light is the very image, the symbol par excellence, of life.

In the future, light will further accompany us, allowing us to convey messages, move, play, and develop as we wish…■

Gérard Barrau, French architect and designer, is chairman of the retail design group, Interbrand/Architral Création Design. He sees retail design as the tangible expression of a client's marketing strategy. His firm received two awards for the design of the Citadium megastore pictured here.

1

Light’s many roles Gérard Barrau

Eldorauto, Paris: Light sculpts the space. Scrabble and fluorescent luminaires create sparkling displays, floodlights focus on the ceiling and fibre optics give guidance in the traffic area between levels.

1, 2

2 32

'Without light, the space simply does not exist.'

photos: Robert César

I

In commercial areas, light reveals the design, and the design exists only by virtue of light. Artificial lighting creates and organises space. It imbues the space with life and substance simultaneously. It provides the rhythm.

It is at the same time a component of the architecture and the architecture itself.

ilr 021 retail/concepts

3

Light always plays a leading role in commercial areas. It is a source of energy that attracts and guides us

Citadium, Paris: Light creates rhythm. Halogen lamps accent the curves of the interior design. Downlights reveal the architecture’s functionality in the entrance hall.

3, 4

4 ilr 021 retail/concepts

33

k.light and co 34-35

19-04-2002

10:16

Pagina 34

The composition of ‘white’ artificial light and the use of colour changing light both influence shopping behaviour.

Applying these effects may help retailers to increase customer interest and at the same time reduce costs

Katie Langner,TCU

or coloured light). In this example, colour changing increased both the look and browse factors by about 25% and, more significantly, the purchase factor by 6%.

- colour changing can decrease the required illuminance level. In one study, the average accent illuminance required to attract the visual attention of 50% of the shoppers decreased by about 40% with the use of one colour; with colour changing the accent lighting could be reduced by over 60% and still produce the same response.

Interrelationships The ability of the retailer to understand colour acceptance as it relates to a specific customer base can be significant in positively altering consumer patterns. However, the interrelationship between the use of coloured light and its effect is neither singular nor simple. What is needed is close cooperation between the retailer, the lighting consultant, and the retail researcher to determine the best lighting package. ■

Colour Acceptance and Coloured Light

In-store research: Merchant Mechanics, Lawrence, Massachusetts, USA

T

Colour constancy A common green apple can in reality have several different intensities (chroma)—all under a single light source, the sun. Will an apple appear the same colour in different locations in Europe on different days of the year or different times of day? The correct answer is ‘yes’. The colour of the daylight will change, thus changing the colour of the apple; however, due to a brain function called ‘colour constancy’ we perceive the colour as constant—as we typically do with sunlight. Thus, fairly significant colour shifts will be interpreted as the same colour. We ‘accept’ these differences, and in many cases, are not even aware of them.

As we move into interior environments lighted with electric light, we now add the possibility that the light source may possess more or less of the colour that we expect to see in the object. Consequently, a green apple will be dulled by an incandescent light source that is weak in green, but enhanced by a fluorescent light source that is strong in green. Our colour constancy will see both apples as ‘green’, but potentially, the apple illuminated by the fluorescent source may appear more appealing— be accepted as ‘better’—and therefore sell more frequently. This possible difference in appeal is related to the concept of colour acceptance.

Colour acceptance Simply stated, colour acceptance is the range within any colour that customers will accept—with the high end of the range suggesting preference and the lower part of the range suggesting rejection. Given that electric light sources dull and enhance colours and that consumers tend not to be directly aware of these colour changes, how is the retailer to proceed? The difficulty is that, up until very recent times, there has been

Merchant Mechanics

1 There is no such thing as ‘white’ light, and objects do not possess colour.

These two radical statements form the basis for understanding the role that colour and light play in the retail environment.

little actual research into why shoppers make the colour selections that they do. The retail industry has good information about colour temperature and colour rendering, but little on the effects of coloured light. More research is needed on the relation between coloured light and customer shopping patterns.

The customer and coloured light Two national (US) retailers wanted to test the effects of colour changing light on their customers prior to approving new displays for all their stores. Colour changing displays were installed in the front section of two retail stores in mall locations. One display featured durable personal health products and the other personal communication devices. A retail consulting firm then combined extensive videotaping with point-of-sale interviews, which involved over 1400 shoppers in separate 7-day and 9day periods, to develop the following set of results:

ilr 021 retail/research

3

Daylight. Top: overcast midmorning. Bottom: sunny midafternoon. 'Colour constancy' causes us to perceive both situations as being the same when viewed over the course of a day.

1

Research-video images (2) and display photos. Displays fitted with colour changing light have been shown to attract more customers than traditional displays and also to reduce the need for accent illuminance.

2, 3

- coloured light slows customer circulation, thereby increasing the exposure time to a particular display. In a distance of approximately 3 to 4 meters, exposure might increase by 10 to 15 seconds.

- colour changing displays can direct traffic, helping to increase the number of shoppers in one area of a store. Such a display placed near the front of the store helped increase the traffic flow on that side of the store by about 25% upon entry and about 13% upon exit. The ability to impact consumer traffic patterns is one of the major goals of merchandising.

- displays with changing colours were shown not only to attract more visual attention to a product, but to also encourage the customer to actually handle the product. In one situation, the increase in product handling was 7%—not large, but quite significant.

- by using colour changing the customers' preference to look, browse or buy can be increased over their response to a single colour (either white

Electric light. Top: Cool colour temperature and poor colour rendering. Bottom: Warm colour temperature and good colour rendering.

4

2 34

Fred Oberkircher, Director of the TCU Center for Lighting Education and Associate Professor in the Department of Design, Merchandising and Textiles at Texas Christian University, Fort Worth, Texas, USA.

Philips LightingApplication Centre

Fred Oberkircher

Merchant Mechanics

Research

4 ilr 021 retail/research

35

k.light and co 34-35

19-04-2002

10:16

Pagina 34

The composition of ‘white’ artificial light and the use of colour changing light both influence shopping behaviour.

Applying these effects may help retailers to increase customer interest and at the same time reduce costs

Katie Langner,TCU

or coloured light). In this example, colour changing increased both the look and browse factors by about 25% and, more significantly, the purchase factor by 6%.

- colour changing can decrease the required illuminance level. In one study, the average accent illuminance required to attract the visual attention of 50% of the shoppers decreased by about 40% with the use of one colour; with colour changing the accent lighting could be reduced by over 60% and still produce the same response.

Interrelationships The ability of the retailer to understand colour acceptance as it relates to a specific customer base can be significant in positively altering consumer patterns. However, the interrelationship between the use of coloured light and its effect is neither singular nor simple. What is needed is close cooperation between the retailer, the lighting consultant, and the retail researcher to determine the best lighting package. ■

Colour Acceptance and Coloured Light

In-store research: Merchant Mechanics, Lawrence, Massachusetts, USA

T

Colour constancy A common green apple can in reality have several different intensities (chroma)—all under a single light source, the sun. Will an apple appear the same colour in different locations in Europe on different days of the year or different times of day? The correct answer is ‘yes’. The colour of the daylight will change, thus changing the colour of the apple; however, due to a brain function called ‘colour constancy’ we perceive the colour as constant—as we typically do with sunlight. Thus, fairly significant colour shifts will be interpreted as the same colour. We ‘accept’ these differences, and in many cases, are not even aware of them.

As we move into interior environments lighted with electric light, we now add the possibility that the light source may possess more or less of the colour that we expect to see in the object. Consequently, a green apple will be dulled by an incandescent light source that is weak in green, but enhanced by a fluorescent light source that is strong in green. Our colour constancy will see both apples as ‘green’, but potentially, the apple illuminated by the fluorescent source may appear more appealing— be accepted as ‘better’—and therefore sell more frequently. This possible difference in appeal is related to the concept of colour acceptance.

Colour acceptance Simply stated, colour acceptance is the range within any colour that customers will accept—with the high end of the range suggesting preference and the lower part of the range suggesting rejection. Given that electric light sources dull and enhance colours and that consumers tend not to be directly aware of these colour changes, how is the retailer to proceed? The difficulty is that, up until very recent times, there has been

Merchant Mechanics

1 There is no such thing as ‘white’ light, and objects do not possess colour.

These two radical statements form the basis for understanding the role that colour and light play in the retail environment.

little actual research into why shoppers make the colour selections that they do. The retail industry has good information about colour temperature and colour rendering, but little on the effects of coloured light. More research is needed on the relation between coloured light and customer shopping patterns.

The customer and coloured light Two national (US) retailers wanted to test the effects of colour changing light on their customers prior to approving new displays for all their stores. Colour changing displays were installed in the front section of two retail stores in mall locations. One display featured durable personal health products and the other personal communication devices. A retail consulting firm then combined extensive videotaping with point-of-sale interviews, which involved over 1400 shoppers in separate 7-day and 9day periods, to develop the following set of results:

ilr 021 retail/research

3

Daylight. Top: overcast midmorning. Bottom: sunny midafternoon. 'Colour constancy' causes us to perceive both situations as being the same when viewed over the course of a day.

1

Research-video images (2) and display photos. Displays fitted with colour changing light have been shown to attract more customers than traditional displays and also to reduce the need for accent illuminance.

2, 3

- coloured light slows customer circulation, thereby increasing the exposure time to a particular display. In a distance of approximately 3 to 4 meters, exposure might increase by 10 to 15 seconds.

- colour changing displays can direct traffic, helping to increase the number of shoppers in one area of a store. Such a display placed near the front of the store helped increase the traffic flow on that side of the store by about 25% upon entry and about 13% upon exit. The ability to impact consumer traffic patterns is one of the major goals of merchandising.

- displays with changing colours were shown not only to attract more visual attention to a product, but to also encourage the customer to actually handle the product. In one situation, the increase in product handling was 7%—not large, but quite significant.

- by using colour changing the customers' preference to look, browse or buy can be increased over their response to a single colour (either white

Electric light. Top: Cool colour temperature and poor colour rendering. Bottom: Warm colour temperature and good colour rendering.

4

2 34

Fred Oberkircher, Director of the TCU Center for Lighting Education and Associate Professor in the Department of Design, Merchandising and Textiles at Texas Christian University, Fort Worth, Texas, USA.

Philips LightingApplication Centre

Fred Oberkircher

Merchant Mechanics

Research

4 ilr 021 retail/research

35

l.gortz 36-37

19-04-2002

10:20

Pagina 36

Projects

1 Ralf Knorrenschild

A new shop with an open, inviting ambience

A shop made to fit Görtz 17, Berlin, Germany

The lighting design keeps pace with young shoppers and their preferences

A

As a family firm with more than 240 branches in Germany, Ludwig Görtz GMBH has 125 years of successful shoe sales behind it. The company opened its first Görtz 17 shop, specialising in shoes for young people, in 1970 and now has over 90 such stores. The present shop is a new construction and opened November 2000 in ‘Neues Kranzler Eck’, Berlin.

This fashionable city-centre location, opposite

the legendary Kaffee Kranzler, is reflected in the shop exterior’s stylish steel-glass architectural design. Glass-effect floor tiles decorate the interior walls of the 85-square-metre shop, and various shades of lilac are used in the shop’s colour scheme. Accents are created by light and music installed in the specially developed suspended aluminium carrier panels.

2

4

Steel and glass exterior of the Görtz 17 shop in Berlin.

1

Suspended aluminium carrier panels with integrated Scrabble luminaires help lower the ceiling and emphasize the horizontal aspects of the design.

2

Backlighting of this sign is provided by 'TL'D 840 lamps, giving a colourful accent to the shop interior.

3

3 36

ilr 021 retail/projects

Ralf Knorrenschild

Walls and multi-tiered displays are lit by halogen and Mastercolour CDM-T. 4

Fullygimballed Scrabble luminaires allow maximum aiming flexibility.

5

The Lighting The lighting design emphasises the overall youthful style of the shop and produces a very inviting atmosphere. The illuminance ranges between 450 and 650 lux and these differences lend a dynamic effect to the multi-tiered displays.

The previously mentioned aluminium panels, finished in grey, are fitted with square recessed Scrabble luminaires and suspended 3.6 m above the shop floor. To provide the desired lighting level, lamps used are two halogen reflectors (QR111 100 W) and two Mastercolour (CDM-T 70W, 36deg). Spacing between Scrabble units is 2.5 metres in each of the three carrier sections.

In the shop window, individual square Scrabble luminaires with compact halogen lamps (4 QR111 50 W, 8˚ and 24˚) create an eye-catching scene for passing shoppers. The rear wall is welllit by adjustable-angle Mini-Mezzo spotlights using Mastercolour CDM-TC 35 W metal halide lamps to give the interior greater depth.

HF batten luminaires of the Master ‘TL’D 840

5 generation furnish backlighting for the Görtz sign at the rear of the shop.

The lamp types used combine to give excellent colour rendering and a pleasant, trendy interior ambience, as well as a high level of efficiency. ■ Client: Ludwig Görtz GMBH, Hamburg Design: Architektur und Design Atelier (ADA), Hamburg; Project leaders - Ulrich Volp and Ursula Eckmann Lighting design: Hübner & Lorenzen, in cooperation with Ralf Knorrenschild, Philips AEG Licht, Germany Installation engineers: Hübner & Lorenzen, Norderstedt

ilr 021 retail/projects

37

l.gortz 36-37

19-04-2002

10:20

Pagina 36

Projects

1 Ralf Knorrenschild

A new shop with an open, inviting ambience

A shop made to fit Görtz 17, Berlin, Germany

The lighting design keeps pace with young shoppers and their preferences

A

As a family firm with more than 240 branches in Germany, Ludwig Görtz GMBH has 125 years of successful shoe sales behind it. The company opened its first Görtz 17 shop, specialising in shoes for young people, in 1970 and now has over 90 such stores. The present shop is a new construction and opened November 2000 in ‘Neues Kranzler Eck’, Berlin.

This fashionable city-centre location, opposite

the legendary Kaffee Kranzler, is reflected in the shop exterior’s stylish steel-glass architectural design. Glass-effect floor tiles decorate the interior walls of the 85-square-metre shop, and various shades of lilac are used in the shop’s colour scheme. Accents are created by light and music installed in the specially developed suspended aluminium carrier panels.

2

4

Steel and glass exterior of the Görtz 17 shop in Berlin.

1

Suspended aluminium carrier panels with integrated Scrabble luminaires help lower the ceiling and emphasize the horizontal aspects of the design.

2

Backlighting of this sign is provided by 'TL'D 840 lamps, giving a colourful accent to the shop interior.

3

3 36

ilr 021 retail/projects

Ralf Knorrenschild

Walls and multi-tiered displays are lit by halogen and Mastercolour CDM-T. 4

Fullygimballed Scrabble luminaires allow maximum aiming flexibility.

5

The Lighting The lighting design emphasises the overall youthful style of the shop and produces a very inviting atmosphere. The illuminance ranges between 450 and 650 lux and these differences lend a dynamic effect to the multi-tiered displays.

The previously mentioned aluminium panels, finished in grey, are fitted with square recessed Scrabble luminaires and suspended 3.6 m above the shop floor. To provide the desired lighting level, lamps used are two halogen reflectors (QR111 100 W) and two Mastercolour (CDM-T 70W, 36deg). Spacing between Scrabble units is 2.5 metres in each of the three carrier sections.

In the shop window, individual square Scrabble luminaires with compact halogen lamps (4 QR111 50 W, 8˚ and 24˚) create an eye-catching scene for passing shoppers. The rear wall is welllit by adjustable-angle Mini-Mezzo spotlights using Mastercolour CDM-TC 35 W metal halide lamps to give the interior greater depth.

HF batten luminaires of the Master ‘TL’D 840

5 generation furnish backlighting for the Görtz sign at the rear of the shop.

The lamp types used combine to give excellent colour rendering and a pleasant, trendy interior ambience, as well as a high level of efficiency. ■ Client: Ludwig Görtz GMBH, Hamburg Design: Architektur und Design Atelier (ADA), Hamburg; Project leaders - Ulrich Volp and Ursula Eckmann Lighting design: Hübner & Lorenzen, in cooperation with Ralf Knorrenschild, Philips AEG Licht, Germany Installation engineers: Hübner & Lorenzen, Norderstedt

ilr 021 retail/projects

37

m.carsho 38-39

19-04-2002

10:29

Pagina 38

Concepts Ton Akkermans

Sales area The farther customers are from the cars, the more they see only their vertical planes, so lighting these planes is very important. Also, the reflections of the illuminated ceiling in the cars’ lacquer serve to accentuate the contours and shapes of the cars.

But customers look not only at the exterior, but also to the interior of a car.

Here the penetrating power of diffuse indirect general lighting comes into its own. This is provided by high-intensity discharge lamps (Mastercolour) of 150 W with a cool colour temperature of 4200 K and a perfect colour rendering of Ra=96.

By adding warm accents, the cars will be surrounded by a friendly and inviting ambience suggesting the special touch of the sun. This accent lighting, from 150 W Mastercolour lamps (3000 K), contrasts with the cool general lighting to lift the cars from their surroundings.

Volkswagen architects and Philips Lighting worked in close cooperation to create the ideal car showroom at the company’s Corporate Design Center in Wolfsburg. Dealers worldwide are being encouraged to incorporate the ideas presented here in their own retail outlets

Volkswagen on display

Car hand-over area The actual hand-over is an important occasion for the customer, and this area receives special attention to ensure a personal atmosphere.

The lighting here is designed to show off the car’s lacquer to the best effect.

In the case of second-hand cars, any scratches or other surface blemishes will be only too evident under spotlighting, so only diffuse indirect general lighting is employed—an uplighter fitted with a Mastercolour lamp of 150 W having a cool colour temperature is ideal. For new cars, accent lighting from Mastercolour spots gives a certain degree of sparkle with pleasing contrasts.

The Corporate Design Center, Wolfsburg, Germany

G

Good lighting is a very effective sales tool. It will contribute enormously to a car’s showroom appeal, influencing the mood or aura surrounding a particular model. Lighting also has the ability to direct the attention of interested buyers towards specific parts of the showroom where, for example, new models or special offers are displayed. And the showroom itself will benefit from lighting that advertises its presence and makes it stand out from its competitors.

Shop Adequate general lighting for the car-accessories shop and customerservice counter is provided by compact-fluorescent downlights (2xPL-C 26W), while accessory displays are lit by adjustable spots (CDM-T 35 W/24°/3000 K) aimed at the gondolas.

Because the back wall of the shop is visible from outside, it has been well illuminated by adjustable, low-voltage halogen spots (MASTERline ES 12V/45 W/24°). ■

Volkswagen dealership market square Volkswagen’s car-display area draws on the universal principle of the market square, the place where people meet and communicate, and where goods are exchanged. The functional structure follows a clear and logical principle: the more intensely a customer becomes absorbed in the Volkswagen world, the farther he or she moves away from the open centre into the quieter recesses of the building.

Display window and back wall That a showroom is attractive and inviting must be clearly evident from the street. This calls for generously-dimensioned display windows.

Reflections are avoided by inclining the top of the window glass forward by 10 degrees. Cars adjacent to the display window are illuminated by the showroom’s general and accent lighting, making them clearly visible from outside.

The vertical planes seen from outside should also have good illumination.

These include the light-coloured back walls, which are evenly illuminated by asymmetrical, wide-beam Odyssey luminaires recessed in the floor.

Lamps employed are Mastercolour 70 W having a warm colour temperature of 3000 K.

1

ca

2

ilr 021 retail/concepts

1

Strato light ceiling luminaire (right) brings the feeling of daylight indoors.

5

Lighting designs (from left) for the shop, car hand-over and display areas.

2

Uplighting highlights architecture, creates ceiling reflections and makes backwalls visible from outside.

3, 4

3 38

r

Large display windows ensure daylight has maximum effect in the sales area.

Torben Eskerod

The lighting character Daylight in combination with artificial lighting creates an open and natural atmosphere, provides guidance and gives a continuous feel-good factor. Use of the new skylight-like luminaire ‘Strato’ (see article on page 40) helps to bring the natural diffuse daylight feeling into the showroom space. Both day and night, additional artificial lighting softly illuminates the showroom and highlights the vehicles on display. By illuminating the cars with warm lighting, complete with contrasts, it appears as if the sun never stops shining. This helps create a warm and inviting atmosphere.

Architect: Siegfried Kaupa, Volkswagen AG, Braunschweig, Germany Lighting design: Ton Akkermans, Philips Lighting, The Netherlands

4

Ton Akkermans

5 ilr 021 retail/concepts

39

m.carsho 38-39

19-04-2002

10:29

Pagina 38

Concepts Ton Akkermans

Sales area The farther customers are from the cars, the more they see only their vertical planes, so lighting these planes is very important. Also, the reflections of the illuminated ceiling in the cars’ lacquer serve to accentuate the contours and shapes of the cars.

But customers look not only at the exterior, but also to the interior of a car.

Here the penetrating power of diffuse indirect general lighting comes into its own. This is provided by high-intensity discharge lamps (Mastercolour) of 150 W with a cool colour temperature of 4200 K and a perfect colour rendering of Ra=96.

By adding warm accents, the cars will be surrounded by a friendly and inviting ambience suggesting the special touch of the sun. This accent lighting, from 150 W Mastercolour lamps (3000 K), contrasts with the cool general lighting to lift the cars from their surroundings.

Volkswagen architects and Philips Lighting worked in close cooperation to create the ideal car showroom at the company’s Corporate Design Center in Wolfsburg. Dealers worldwide are being encouraged to incorporate the ideas presented here in their own retail outlets

Volkswagen on display

Car hand-over area The actual hand-over is an important occasion for the customer, and this area receives special attention to ensure a personal atmosphere.

The lighting here is designed to show off the car’s lacquer to the best effect.

In the case of second-hand cars, any scratches or other surface blemishes will be only too evident under spotlighting, so only diffuse indirect general lighting is employed—an uplighter fitted with a Mastercolour lamp of 150 W having a cool colour temperature is ideal. For new cars, accent lighting from Mastercolour spots gives a certain degree of sparkle with pleasing contrasts.

The Corporate Design Center, Wolfsburg, Germany

G

Good lighting is a very effective sales tool. It will contribute enormously to a car’s showroom appeal, influencing the mood or aura surrounding a particular model. Lighting also has the ability to direct the attention of interested buyers towards specific parts of the showroom where, for example, new models or special offers are displayed. And the showroom itself will benefit from lighting that advertises its presence and makes it stand out from its competitors.

Shop Adequate general lighting for the car-accessories shop and customerservice counter is provided by compact-fluorescent downlights (2xPL-C 26W), while accessory displays are lit by adjustable spots (CDM-T 35 W/24°/3000 K) aimed at the gondolas.

Because the back wall of the shop is visible from outside, it has been well illuminated by adjustable, low-voltage halogen spots (MASTERline ES 12V/45 W/24°). ■

Volkswagen dealership market square Volkswagen’s car-display area draws on the universal principle of the market square, the place where people meet and communicate, and where goods are exchanged. The functional structure follows a clear and logical principle: the more intensely a customer becomes absorbed in the Volkswagen world, the farther he or she moves away from the open centre into the quieter recesses of the building.

Display window and back wall That a showroom is attractive and inviting must be clearly evident from the street. This calls for generously-dimensioned display windows.

Reflections are avoided by inclining the top of the window glass forward by 10 degrees. Cars adjacent to the display window are illuminated by the showroom’s general and accent lighting, making them clearly visible from outside.

The vertical planes seen from outside should also have good illumination.

These include the light-coloured back walls, which are evenly illuminated by asymmetrical, wide-beam Odyssey luminaires recessed in the floor.

Lamps employed are Mastercolour 70 W having a warm colour temperature of 3000 K.

1

ca

2

ilr 021 retail/concepts

1

Strato light ceiling luminaire (right) brings the feeling of daylight indoors.

5

Lighting designs (from left) for the shop, car hand-over and display areas.

2

Uplighting highlights architecture, creates ceiling reflections and makes backwalls visible from outside.

3, 4

3 38

r

Large display windows ensure daylight has maximum effect in the sales area.

Torben Eskerod

The lighting character Daylight in combination with artificial lighting creates an open and natural atmosphere, provides guidance and gives a continuous feel-good factor. Use of the new skylight-like luminaire ‘Strato’ (see article on page 40) helps to bring the natural diffuse daylight feeling into the showroom space. Both day and night, additional artificial lighting softly illuminates the showroom and highlights the vehicles on display. By illuminating the cars with warm lighting, complete with contrasts, it appears as if the sun never stops shining. This helps create a warm and inviting atmosphere.

Architect: Siegfried Kaupa, Volkswagen AG, Braunschweig, Germany Lighting design: Ton Akkermans, Philips Lighting, The Netherlands

4

Ton Akkermans

5 ilr 021 retail/concepts

39

n.strato 40-41

19-04-2002

10:32

Pagina 40

Design Strato interior, impression of the two- lamp system and HF- ballasts.

1

A modular artificial skylight system that brings the impression of daylight indoors, complete with programmable variations in both light intensity and light colour 1

Strato 'Daylight' on demand

2

M

Many reasons can be put forward to justify using daylight as a light source in a building: the quality of the light, the importance of daylight as a design element, the desire to have natural light in a room or space, and perhaps most important of all, the dynamic nature of daylight.

But there are extra architectural costs involved in getting daylight into our buildings, and the openings that admit ‘free’ daylight may also lose expensive heat during winter or admit excessive heat in summer.

Norbert Dicken, designer, Philips Lighting: 'The solution would seem to be some kind of artificial skylight. But until now attempts to mimic daylight in buildings have been largely unsuccessful. Problems include: the relatively low light output of these artificial ‘skylights’, their lack of homogeneity as regards surface brightness, and the difficulty of joining a number of such lights to create large luminous areas without producing ugly dark lines where the panels meet. And the dynamism of true daylight has been totally lacking.'

Strato The Strato modular artificial skylight system, a product of the Shop Lighting Vision project of Philips Lighting (see ILR 002), provides an elegant solution to all the difficulties outlined above. Strato integrates properties of the light ceiling and the luminaire and therefore can be called the first industrialized light ceiling

40

ilr 021 retail/design

luminaire. It was officially introduced at the recent Euroshop 2002 in Düsseldorf.

The system can be recessed in the ceiling, mounted on the ceiling surface, or suspended from it. Wall mounting is also possible.

Strato combines a number of design properties, including: - modular concept, variable geometry - homogeneous brightness - high-level dimmable light output - colour variation - advanced light controls for ‘dynamics’ - easy installation and maintenance

a homogeneity level of 95%, compared to 80% for other luminaires of this type. Homogeneity across panels has been achieved by rounding the cover edges, so there are no sharp lines to be seen where the panels meet.’

Modular concept, variable geometry Every geometry based on the skylight-module dimensions of 1200 x 1200 mm is possible, from single modules on up. Strato's height of only 165 mm requires less space in recessed applications than other skylight systems.

Variation in Colours Cold and warm white light Norbert Dicken: ‘Natural daylight is dynamic,

Homogeneous brightness Creating a panel of uniform brightness has long been a challenge confronting designers. Norbert Dicken: ‘You have two homogeneous aspects: within one panel, and across a number of panels joined to form one large panel. Homogeneity in the first case has been achieved by means of a special coating applied to the inside of the lamp cover that is thicker directly below each of the four pairs of lamps, thus avoiding an extra high light output at these points. The light output has

changing in both colour and in level. This is quite the opposite to what we have in, say, an office lit by TLs. With Strato's ability to provide light of different levels and colour temperatures, we have the possibility to imitate daylight, with colour temperature changing during the day or even in the space of an hour.’

The Strato system is based on the use of four pairs of high-frequency fluorescent lamps. The lamps in each pair are mounted one above the other, warm-white 2700 K on top and cold-white 6500 K below.

For dimming purposes the lamps are divided into two groups of four (viz. 4 x 2700 K + 4 x 6500 K), with one dimmer unit per group.

Alternatively, where colour variation is not required, Strato can be fitted with four or eight lamps of the same colour temperature.

Scheme: colour temperature changes by dimming one set of lamps in relation to another.

Dimming both groups simultaneously reduces light output at a given temperature.

2

lowering system for the optic box. The lamp cover has been carefully engineered to prevent entry of insects and dust, so it is not necessary to open the luminaire for periodic cleaning.

Rounded cover edges create panel-to-panel homogeneity.

Restaurant cash area: six modules are regulated with Scenio 100 controls. Luminaire output changes from cold-white (5) to warm-white and back over a 3-hour period.

3

5, 6

Chromaticity diagram. Colour temperature range of Strato lies between the two points on the curve.

4

Specifications for Strato Dimensions Weight Lamps

1200x1200x165 mm (with electrical connections) 30 kg 8 ‘TL’5 28 W: 4 of 2700 K, 4 of 6500 K, with HF ballasts 0.6 150 W/m2

True colours Currently in development is a version of Strato with stacks of three fluorescents, one each of the primary colours red, green and blue. Its output

Applications In shops, artificial skylights can be used for dynamic daylight simulation, to emphasise certain areas or become islands of interest in their own right. Volkswagen, for instance, is offering Strato to its larger dealers as part of new showroom designs (see article on page 38), as are Daimler-Chrysler, BMW and Audi. They want to give their customers the look of true daylight when they first come into the showroom, to bring the outside ambience inside. In a building with a glass façade the lighting minimizes the division between outside and inside. The extra amount of diffuse light also makes cars look more realistic and gives their contours a smoother look. Light ceilings spread light horizontally and vertically, and in a conference room this means that people across the table are

4

5

6

of truly coloured light could give a special mood to an entire room or shop.

as visible as the papers in front of them. A suspended light ceiling will give an area a visually higher appearance and is used in meeting rooms, offices and restaurants for this purpose. It also creates areas of interest and helps structure the interior by adding a third level between floor and ceiling.

Circadian lighting, in which light colour and light output are regulated to follow the natural daylight pattern, is used in crucial areas such as control centers of airports or power plants.

Exposing workers to this pattern maintains their alertness and productivity over their shift. ■

Development team: -Product marketing management: Marc Benninga, - Industrial design and project management: Norbert Dicken

Light output ratio Installed load

High-level dimmable light output Dimming can be done with different devices: • 0-10 V capable wall-dimmers for TL ballasts • Scenio controls • Scenio 100 controls The light output is continuously dimmable down to 5 per cent.

Advanced light controls Philips-ECS Scenio 100 controls with timedependent light scenes, which are freely programmable and step-free dimmable in colour and light output. Access is via touch screen, switch plate, remote control or notebook.

Cover Radius makes seams between modules ‘invisible’

3

Easy to install and maintain, insect-proof Single mounting point per module, with electrical connections based on the Wieland plug-in system. Frame-integrated coupling facilitates the linking of modules.

Easy lamp access for maintenance using a

Norbert Dicken In the background: four Strato modules

ilr 021 retail/design

41

n.strato 40-41

19-04-2002

10:32

Pagina 40

Design Strato interior, impression of the two- lamp system and HF- ballasts.

1

A modular artificial skylight system that brings the impression of daylight indoors, complete with programmable variations in both light intensity and light colour 1

Strato 'Daylight' on demand

2

M

Many reasons can be put forward to justify using daylight as a light source in a building: the quality of the light, the importance of daylight as a design element, the desire to have natural light in a room or space, and perhaps most important of all, the dynamic nature of daylight.

But there are extra architectural costs involved in getting daylight into our buildings, and the openings that admit ‘free’ daylight may also lose expensive heat during winter or admit excessive heat in summer.

Norbert Dicken, designer, Philips Lighting: 'The solution would seem to be some kind of artificial skylight. But until now attempts to mimic daylight in buildings have been largely unsuccessful. Problems include: the relatively low light output of these artificial ‘skylights’, their lack of homogeneity as regards surface brightness, and the difficulty of joining a number of such lights to create large luminous areas without producing ugly dark lines where the panels meet. And the dynamism of true daylight has been totally lacking.'

Strato The Strato modular artificial skylight system, a product of the Shop Lighting Vision project of Philips Lighting (see ILR 002), provides an elegant solution to all the difficulties outlined above. Strato integrates properties of the light ceiling and the luminaire and therefore can be called the first industrialized light ceiling

40

ilr 021 retail/design

luminaire. It was officially introduced at the recent Euroshop 2002 in Düsseldorf.

The system can be recessed in the ceiling, mounted on the ceiling surface, or suspended from it. Wall mounting is also possible.

Strato combines a number of design properties, including: - modular concept, variable geometry - homogeneous brightness - high-level dimmable light output - colour variation - advanced light controls for ‘dynamics’ - easy installation and maintenance

a homogeneity level of 95%, compared to 80% for other luminaires of this type. Homogeneity across panels has been achieved by rounding the cover edges, so there are no sharp lines to be seen where the panels meet.’

Modular concept, variable geometry Every geometry based on the skylight-module dimensions of 1200 x 1200 mm is possible, from single modules on up. Strato's height of only 165 mm requires less space in recessed applications than other skylight systems.

Variation in Colours Cold and warm white light Norbert Dicken: ‘Natural daylight is dynamic,

Homogeneous brightness Creating a panel of uniform brightness has long been a challenge confronting designers. Norbert Dicken: ‘You have two homogeneous aspects: within one panel, and across a number of panels joined to form one large panel. Homogeneity in the first case has been achieved by means of a special coating applied to the inside of the lamp cover that is thicker directly below each of the four pairs of lamps, thus avoiding an extra high light output at these points. The light output has

changing in both colour and in level. This is quite the opposite to what we have in, say, an office lit by TLs. With Strato's ability to provide light of different levels and colour temperatures, we have the possibility to imitate daylight, with colour temperature changing during the day or even in the space of an hour.’

The Strato system is based on the use of four pairs of high-frequency fluorescent lamps. The lamps in each pair are mounted one above the other, warm-white 2700 K on top and cold-white 6500 K below.

For dimming purposes the lamps are divided into two groups of four (viz. 4 x 2700 K + 4 x 6500 K), with one dimmer unit per group.

Alternatively, where colour variation is not required, Strato can be fitted with four or eight lamps of the same colour temperature.

Scheme: colour temperature changes by dimming one set of lamps in relation to another.

Dimming both groups simultaneously reduces light output at a given temperature.

2

lowering system for the optic box. The lamp cover has been carefully engineered to prevent entry of insects and dust, so it is not necessary to open the luminaire for periodic cleaning.

Rounded cover edges create panel-to-panel homogeneity.

Restaurant cash area: six modules are regulated with Scenio 100 controls. Luminaire output changes from cold-white (5) to warm-white and back over a 3-hour period.

3

5, 6

Chromaticity diagram. Colour temperature range of Strato lies between the two points on the curve.

4

Specifications for Strato Dimensions Weight Lamps

1200x1200x165 mm (with electrical connections) 30 kg 8 ‘TL’5 28 W: 4 of 2700 K, 4 of 6500 K, with HF ballasts 0.6 150 W/m2

True colours Currently in development is a version of Strato with stacks of three fluorescents, one each of the primary colours red, green and blue. Its output

Applications In shops, artificial skylights can be used for dynamic daylight simulation, to emphasise certain areas or become islands of interest in their own right. Volkswagen, for instance, is offering Strato to its larger dealers as part of new showroom designs (see article on page 38), as are Daimler-Chrysler, BMW and Audi. They want to give their customers the look of true daylight when they first come into the showroom, to bring the outside ambience inside. In a building with a glass façade the lighting minimizes the division between outside and inside. The extra amount of diffuse light also makes cars look more realistic and gives their contours a smoother look. Light ceilings spread light horizontally and vertically, and in a conference room this means that people across the table are

4

5

6

of truly coloured light could give a special mood to an entire room or shop.

as visible as the papers in front of them. A suspended light ceiling will give an area a visually higher appearance and is used in meeting rooms, offices and restaurants for this purpose. It also creates areas of interest and helps structure the interior by adding a third level between floor and ceiling.

Circadian lighting, in which light colour and light output are regulated to follow the natural daylight pattern, is used in crucial areas such as control centers of airports or power plants.

Exposing workers to this pattern maintains their alertness and productivity over their shift. ■

Development team: -Product marketing management: Marc Benninga, - Industrial design and project management: Norbert Dicken

Light output ratio Installed load

High-level dimmable light output Dimming can be done with different devices: • 0-10 V capable wall-dimmers for TL ballasts • Scenio controls • Scenio 100 controls The light output is continuously dimmable down to 5 per cent.

Advanced light controls Philips-ECS Scenio 100 controls with timedependent light scenes, which are freely programmable and step-free dimmable in colour and light output. Access is via touch screen, switch plate, remote control or notebook.

Cover Radius makes seams between modules ‘invisible’

3

Easy to install and maintain, insect-proof Single mounting point per module, with electrical connections based on the Wieland plug-in system. Frame-integrated coupling facilitates the linking of modules.

Easy lamp access for maintenance using a

Norbert Dicken In the background: four Strato modules

ilr 021 retail/design

41

o.daruma 42-43

19-04-2002

10:36

Pagina 42

Design

spot

Daruma Multiple Light System

pin-hole

2

3

This system combines accent lighting and ambient or diffuse lighting effects in one installation. Its recessed grid allows it to blend seamlessly into any architectural design, and two module sizes make it applicable for a wide range of shop dimensions and lighting requirements cardanic

T

The challenge of shop lighting for the future will be to adapt to the ever changing desires of the customer. The ideal lighting system should offer several types of lighting in a single installation, blend into any architectural setting, and add to the ambience of the shop. On top of all this, the system must also be easy to install and maintain.

The shopping experience Daruma meets all of these expectations. Jos Stuyfzand of Philips Design: ‘Daruma is linked especially to the humanising light concept that we think will be important to the shopping experience in the next 3-5 years. We see the ambience of the shop becoming as important as the product itself, and that’s why more and more lighting is being integrated into the architecture.’

Recessed grid The recessed grid is the key element of the system. Nuria Perez of Philips Design: ‘The simplest mounting option is to place the panels

in a line or square in a standard grid. Modules may also be mounted into the ceiling after the plaster is applied. Both of these options require a rim. For a rimless application, the frame is set into the ceiling before doing the plaster work.

This is architecturally the “cleanest” solution.’

The larger of the two module sizes measures 30 by 30 cm (M30) and is intended for department stores and larger areas with false ceilings. The 20 by 20 cm version (M20) is meant for smaller, more intimate spaces. Group size cannot exceed 40 by 40 cm for the M20 and 60 by 120 cm for the M30. For both models the limit for in-line length is 180 cm.

Lighting effects The system can integrate accent lighting and ambient or diffuse lighting by employing a full range of existing lamp and optic combinations, including fluorescents (TL5 and PL), spotlights, down lights and gridlights. Nuria Perez: 'Daruma lets you merge all lighting effects that

4

enhance the shopping experience into one architectural format. It is not a luminaire, but a horizontal concept that combines all types of lighting into one system. ’The module configuration is left completely to the architect or lighting designer— there are no standard configurations. Various types of decorative panels can also be added to give a shop a unique look.

supplied complete with Wieland connector, lamp and gear. For maintenance, the area above the ceiling is accessible by simply dropping out a module. No need for additional access points.

Additional features A swing-out spotlight for the M30 that makes a full 90 degree angle and rotates 360 degrees. ■ wallwash

Flexibility Jos Stuyfzand: ‘Because of the simple mounting system it is easy to shift or replace tiles as shop needs require. This dynamic aspect is a must when a shop can change its collection every fortnight. And as shop function changes through the day, you can switch on different lighting units to create specific effects.’ This is made possible by the wide range of optics, electronic gear and lighting controls available. Modules can also be updated to track improvements in lamp and luminaire technology. Each module is

ilr 021 retail/design

Multiple light system provides accent lighting and general lighting in one installation.

3

Tiles can be grouped (left) or used in single file.

4

Modules slip into and out of grid by tilting slightly, making for easy connection and maintenance.

2

Development team members: - Project leader: Fokke Jongsma - Product marketing management: Marc Benninga, Philips Lighting - Design: Ricard Planas Bonet, Philips (La Garriga), Jos Stuyfzand, Nuria Perez, Don Waslander, Philips Design

downlight

linear light

42

Luminaire options for the modular Daruma system.

Maximum design freedom in terms of lamps, functional and decorative accessories, and non-lighting elements.

1

From left: Nuria Perez, Don Waslander, Jos Stuyfzand and Fokke Jongsma

ilr 021 retail/design

43

o.daruma 42-43

19-04-2002

10:36

Pagina 42

Design

spot

Daruma Multiple Light System

pin-hole

2

3

This system combines accent lighting and ambient or diffuse lighting effects in one installation. Its recessed grid allows it to blend seamlessly into any architectural design, and two module sizes make it applicable for a wide range of shop dimensions and lighting requirements cardanic

T

The challenge of shop lighting for the future will be to adapt to the ever changing desires of the customer. The ideal lighting system should offer several types of lighting in a single installation, blend into any architectural setting, and add to the ambience of the shop. On top of all this, the system must also be easy to install and maintain.

The shopping experience Daruma meets all of these expectations. Jos Stuyfzand of Philips Design: ‘Daruma is linked especially to the humanising light concept that we think will be important to the shopping experience in the next 3-5 years. We see the ambience of the shop becoming as important as the product itself, and that’s why more and more lighting is being integrated into the architecture.’

Recessed grid The recessed grid is the key element of the system. Nuria Perez of Philips Design: ‘The simplest mounting option is to place the panels

in a line or square in a standard grid. Modules may also be mounted into the ceiling after the plaster is applied. Both of these options require a rim. For a rimless application, the frame is set into the ceiling before doing the plaster work.

This is architecturally the “cleanest” solution.’

The larger of the two module sizes measures 30 by 30 cm (M30) and is intended for department stores and larger areas with false ceilings. The 20 by 20 cm version (M20) is meant for smaller, more intimate spaces. Group size cannot exceed 40 by 40 cm for the M20 and 60 by 120 cm for the M30. For both models the limit for in-line length is 180 cm.

Lighting effects The system can integrate accent lighting and ambient or diffuse lighting by employing a full range of existing lamp and optic combinations, including fluorescents (TL5 and PL), spotlights, down lights and gridlights. Nuria Perez: 'Daruma lets you merge all lighting effects that

4

enhance the shopping experience into one architectural format. It is not a luminaire, but a horizontal concept that combines all types of lighting into one system. ’The module configuration is left completely to the architect or lighting designer— there are no standard configurations. Various types of decorative panels can also be added to give a shop a unique look.

supplied complete with Wieland connector, lamp and gear. For maintenance, the area above the ceiling is accessible by simply dropping out a module. No need for additional access points.

Additional features A swing-out spotlight for the M30 that makes a full 90 degree angle and rotates 360 degrees. ■ wallwash

Flexibility Jos Stuyfzand: ‘Because of the simple mounting system it is easy to shift or replace tiles as shop needs require. This dynamic aspect is a must when a shop can change its collection every fortnight. And as shop function changes through the day, you can switch on different lighting units to create specific effects.’ This is made possible by the wide range of optics, electronic gear and lighting controls available. Modules can also be updated to track improvements in lamp and luminaire technology. Each module is

ilr 021 retail/design

Multiple light system provides accent lighting and general lighting in one installation.

3

Tiles can be grouped (left) or used in single file.

4

Modules slip into and out of grid by tilting slightly, making for easy connection and maintenance.

2

Development team members: - Project leader: Fokke Jongsma - Product marketing management: Marc Benninga, Philips Lighting - Design: Ricard Planas Bonet, Philips (La Garriga), Jos Stuyfzand, Nuria Perez, Don Waslander, Philips Design

downlight

linear light

42

Luminaire options for the modular Daruma system.

Maximum design freedom in terms of lamps, functional and decorative accessories, and non-lighting elements.

1

From left: Nuria Perez, Don Waslander, Jos Stuyfzand and Fokke Jongsma

ilr 021 retail/design

43

p.euroshop2 44-45

19-04-2002

10:44

Pagina 44

Trends

1

2

3

6

Lighting the shopping experience Philips Lighting, EuroShop exhibition, Düsseldorf, Germany

7

T

The EuroShop 2002 exhibition, held last February in Düsseldorf, is the largest international retail exhibition in the world. In conjunction with the many displays, special events taking place included: the Architects and Designers Congress, the Innovation conference for Trade, and the POSMarketing Congress, whose topic was 'Survival at point of Sale.' This year the show attracted around 100 000 visitors, eager to see firsthand the latest developments in creative lighting solutions for retail environments.

One definite trend in evidence was toward using diffuse lighting panels coupled with lighting control systems to create a dynamic illuminance, which can range from warm- to cool-white, for applications such as artificial daylight ceilings, walls or displays. Similar systems are also available that provide light in full colour to add to the ambience of a shop and to attract the customers' attention. Multiple lighting systems were presented that allow for the integration of accent and general lighting, with further possibilities of incorporating non-lighting systems. Also on show were the special effects that could be created for displays and architectural elements using LED-Lines and fibre-optic technology.

These new techniques will be key elements for those involved in designing store concepts for the ultimate shopping experience. Architects, in particular, should have come away with a host of possibilities for enhancing their new designs through the creative use of lighting.

Dynamic experiences with Strato. Inside the display: wallmounted RGB module (1).

Outside: Twelve 'white' light panels are joined to form the ceiling.

1, 2

The Retail Ambience area emphasized how lighting could shape the entire mood of a retail space with imaginative design and effects. Lighting can also become an intrinsic part of shop architecture, while still offering the flexibility to adapt to changing shop interiors after installation. This approach is especially useful in fashionable boutiques and department stores, as illustrated by the new Daruma multiple lighting system (see article on page 42).

Featured in Functional Lighting Solutions were realistic and inviting product displays showcasing a range of innovative products. These included easy to install and flexible MAXOS lightlines, Musa powerspots (see page 5) and the new generation of recessed luminaires, which are ideal for super/hypermarkets, car showrooms, do-it-yourself shops and general stores.

As a whole, Euroshop showed a creative use of lighting throughout and reflected well the new trends in retailing. ■

Street lighting: Verona (foreground) and Metronomis Torino.

3

4

Island of light.

Retail ambience: Daruma (5). Functional lighting: Musa and MAXOS.

5, 6

7

Euroshop melange.

Those stopping at the Philips presentation area, in particular, were treated to demonstrations of how lighting can transform the image and ambience of a retail outlet. The contents of the 300 square metre stand focused on three visual experiences reflecting current retail challenges: Dynamic Experience, Retail Ambience and Functional Lighting Solutions.

In the Dynamic Experience area, visitors saw how lighting itself becomes a living element through changing colours and rhythms. This was achieved in one respect with Philips’ Strato artificial skylight panels that simulated the progression of daylight from dawn to dusk (see article on page 40).

4 44

ilr 021 retail/trends

5 ilr 021 retail/trends

45

p.euroshop2 44-45

19-04-2002

10:44

Pagina 44

Trends

1

2

3

6

Lighting the shopping experience Philips Lighting, EuroShop exhibition, Düsseldorf, Germany

7

T

The EuroShop 2002 exhibition, held last February in Düsseldorf, is the largest international retail exhibition in the world. In conjunction with the many displays, special events taking place included: the Architects and Designers Congress, the Innovation conference for Trade, and the POSMarketing Congress, whose topic was 'Survival at point of Sale.' This year the show attracted around 100 000 visitors, eager to see firsthand the latest developments in creative lighting solutions for retail environments.

One definite trend in evidence was toward using diffuse lighting panels coupled with lighting control systems to create a dynamic illuminance, which can range from warm- to cool-white, for applications such as artificial daylight ceilings, walls or displays. Similar systems are also available that provide light in full colour to add to the ambience of a shop and to attract the customers' attention. Multiple lighting systems were presented that allow for the integration of accent and general lighting, with further possibilities of incorporating non-lighting systems. Also on show were the special effects that could be created for displays and architectural elements using LED-Lines and fibre-optic technology.

These new techniques will be key elements for those involved in designing store concepts for the ultimate shopping experience. Architects, in particular, should have come away with a host of possibilities for enhancing their new designs through the creative use of lighting.

Dynamic experiences with Strato. Inside the display: wallmounted RGB module (1).

Outside: Twelve 'white' light panels are joined to form the ceiling.

1, 2

The Retail Ambience area emphasized how lighting could shape the entire mood of a retail space with imaginative design and effects. Lighting can also become an intrinsic part of shop architecture, while still offering the flexibility to adapt to changing shop interiors after installation. This approach is especially useful in fashionable boutiques and department stores, as illustrated by the new Daruma multiple lighting system (see article on page 42).

Featured in Functional Lighting Solutions were realistic and inviting product displays showcasing a range of innovative products. These included easy to install and flexible MAXOS lightlines, Musa powerspots (see page 5) and the new generation of recessed luminaires, which are ideal for super/hypermarkets, car showrooms, do-it-yourself shops and general stores.

As a whole, Euroshop showed a creative use of lighting throughout and reflected well the new trends in retailing. ■

Street lighting: Verona (foreground) and Metronomis Torino.

3

4

Island of light.

Retail ambience: Daruma (5). Functional lighting: Musa and MAXOS.

5, 6

7

Euroshop melange.

Those stopping at the Philips presentation area, in particular, were treated to demonstrations of how lighting can transform the image and ambience of a retail outlet. The contents of the 300 square metre stand focused on three visual experiences reflecting current retail challenges: Dynamic Experience, Retail Ambience and Functional Lighting Solutions.

In the Dynamic Experience area, visitors saw how lighting itself becomes a living element through changing colours and rhythms. This was achieved in one respect with Philips’ Strato artificial skylight panels that simulated the progression of daylight from dawn to dusk (see article on page 40).

4 44

ilr 021 retail/trends

5 ilr 021 retail/trends

45

q.asda 46-49

19-04-2002

10:48

Pagina 46

Projects 1 Mix of daylight, general lighting and plug-in lightingtrack units for accents in the dry-foods area.

2, 3 The ASDA entryway has an open, airy appearance inside and out.

A

ASDA, the chain of food and clothing superstores, was formed in 1965 by a group of farmers from Yorkshire, and now has 250 stores and 19 depots across the UK. In July of 1999 the company became part of the Wal-Mart family (whose first general store opened in America in 1962 and that now has more than 1000 stores internationally). Over the past six years, the majority of new and rebuilt stores have been located on previously developed (brownfield) sites. Three ASDA stores were chosen to debut the ‘value engineering’ (cost effective) approach, and the store in Dunstable is featured here.

2

4 4 Vivid colours in the fresh produce section under White SON accent lighting.

Two systems in one

ASDA has recently been analysing where cost savings can be made, the aim being to channel any savings back into the business for the benefit of the customer

ASDA, Dunstable, England Clive Baily

As an important part of ASDA's ‘Value Engineering’ process, the same fluorescent line lighting system incorporates plug-in accent lighting so reducing capital and installation costs 3

The Lighting

1

46

ilr 021 retail/projects

To be able to offer its shoppers the value they demand plus the quality in areas such as clothing, ASDA always analyses where savings can be gained. The aim is to channel any savings back into the business for the benefit of the customer, and to invest for the future. As a retailer committed to every day low cost, expenditures associated with store construction and refurbishment are always under review.

Lighting has not been immune from this process, and ASDA in partnership with Philips Lighting has been working closely over the last few years to help ‘Value Engineer’ its lighting systems, the goal always being to provide the best possible lit environment.

Up to the end of the summer of 2000, ASDA had been employing two separate lighting systems within its stores to provide ambient and accent lighting on the main sales floor. Through the Value Engineering process, ASDA was now looking to combine both elements

(ambient/accent) into one system, with a view to making capital and installation cost savings.

New Design Concept After a successful design meeting between ASDA, key consulting engineers and Philips, in close cooperation with key installers in the autumn of 2000, a new design concept for the lighting was proposed. This is based on the TTX 400 Pre-wired trunking system for line lighting (see ILR 993), but now also incorporates plug-in lighting-track units on which Spot Projectors can be mounted to provide accent lighting.

Trial stores After succesful trials at two English stores, Liscard and Pudsey, it was decided to introduce the new lighting system into all stores starting with Dumbarton in Scotland, and Bodmin and Dunstable in England. The completely refurbished ASDA outlet in Dunstable reopened in April of 2001. Located 50 km northwest of London, it is a 4 000 m2 superstore.

Ambient lighting The ambient lighting comes from continuous lines of fluorescents mounted 4.5 m above the sales floor. Lines are set 4.3 m apart and run parallel with the merchandise displays. A general lighting level of 900 lux at the floor is supplied by 58 W ‘TL’D 840 lamps.

Accent lighting The new lighting-track units are of the same size as the twin 58 W ‘TL’D gear tray used for the ambient lighting, and can be plugged into the pre-wired ribbon running along inside this. Thus these units will provide accent lighting anywhere along a row.

In addition, blank trunking sections with flanged track can be connected perpendicular to the main lighting rows at any chosen point to provide accent lighting coverage between rows.

All trunking and track sections are also mounted 4.5 m above the sales floor.

In the clothing department, projectors with

ilr 021 retail/projects

47

q.asda 46-49

19-04-2002

10:48

Pagina 46

Projects 1 Mix of daylight, general lighting and plug-in lightingtrack units for accents in the dry-foods area.

2, 3 The ASDA entryway has an open, airy appearance inside and out.

A

ASDA, the chain of food and clothing superstores, was formed in 1965 by a group of farmers from Yorkshire, and now has 250 stores and 19 depots across the UK. In July of 1999 the company became part of the Wal-Mart family (whose first general store opened in America in 1962 and that now has more than 1000 stores internationally). Over the past six years, the majority of new and rebuilt stores have been located on previously developed (brownfield) sites. Three ASDA stores were chosen to debut the ‘value engineering’ (cost effective) approach, and the store in Dunstable is featured here.

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4 4 Vivid colours in the fresh produce section under White SON accent lighting.

Two systems in one

ASDA has recently been analysing where cost savings can be made, the aim being to channel any savings back into the business for the benefit of the customer

ASDA, Dunstable, England Clive Baily

As an important part of ASDA's ‘Value Engineering’ process, the same fluorescent line lighting system incorporates plug-in accent lighting so reducing capital and installation costs 3

The Lighting

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To be able to offer its shoppers the value they demand plus the quality in areas such as clothing, ASDA always analyses where savings can be gained. The aim is to channel any savings back into the business for the benefit of the customer, and to invest for the future. As a retailer committed to every day low cost, expenditures associated with store construction and refurbishment are always under review.

Lighting has not been immune from this process, and ASDA in partnership with Philips Lighting has been working closely over the last few years to help ‘Value Engineer’ its lighting systems, the goal always being to provide the best possible lit environment.

Up to the end of the summer of 2000, ASDA had been employing two separate lighting systems within its stores to provide ambient and accent lighting on the main sales floor. Through the Value Engineering process, ASDA was now looking to combine both elements

(ambient/accent) into one system, with a view to making capital and installation cost savings.

New Design Concept After a successful design meeting between ASDA, key consulting engineers and Philips, in close cooperation with key installers in the autumn of 2000, a new design concept for the lighting was proposed. This is based on the TTX 400 Pre-wired trunking system for line lighting (see ILR 993), but now also incorporates plug-in lighting-track units on which Spot Projectors can be mounted to provide accent lighting.

Trial stores After succesful trials at two English stores, Liscard and Pudsey, it was decided to introduce the new lighting system into all stores starting with Dumbarton in Scotland, and Bodmin and Dunstable in England. The completely refurbished ASDA outlet in Dunstable reopened in April of 2001. Located 50 km northwest of London, it is a 4 000 m2 superstore.

Ambient lighting The ambient lighting comes from continuous lines of fluorescents mounted 4.5 m above the sales floor. Lines are set 4.3 m apart and run parallel with the merchandise displays. A general lighting level of 900 lux at the floor is supplied by 58 W ‘TL’D 840 lamps.

Accent lighting The new lighting-track units are of the same size as the twin 58 W ‘TL’D gear tray used for the ambient lighting, and can be plugged into the pre-wired ribbon running along inside this. Thus these units will provide accent lighting anywhere along a row.

In addition, blank trunking sections with flanged track can be connected perpendicular to the main lighting rows at any chosen point to provide accent lighting coverage between rows.

All trunking and track sections are also mounted 4.5 m above the sales floor.

In the clothing department, projectors with

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Ground plan for all zones of the 4 000 m2 superstore.

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Deli counter: warm look is achieved with a combination of White SON and compact fluorescents.

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Checkout aisles are brightly lit by the general lighting: TTX400 trunk lines housing 58 W ‘TL’D 840 lamps.

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The two-in-one system: spot projectors with Mastercolour lamps on blank trunking sections mounted perpendicular to the ambient system.

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5 Mastercolour CDM-T 830 lamps are used, while Mambo floodlights fitted with the same Mastercolour lamps light the perimeter of the area. Clothing will appear in natural colour under the warm-white light of these lamps with their colour rendering of Ra>80.

In the deli and bakery the White SON 100 W and compact fluorescents (55 W PL-L) highlight the products and counter with warm light.

For the graphics in the deli area, the Mastercolour CDM-T 70 W /830 was chosen.

The fresh produce sections are lit also by White SON. All lamps have a warm-white appearance and a colour rendering of Ra>80.

Significant cost savings Overall, the new concept measured within ASDA’s Model Store cost model presented ASDA with a nearly 6.5 per cent saving on capital costs. Further savings should also be realised on installation costs, as the TTX system takes less time to install than a traditional system. In addition, ambient and accent lighting can be quickly repositioned to accommodate changes in sales floor layout without the need for extensive re-wiring.

The successful trial phase concluded in mid2001, and the new concept is now currently in a roll-out program to all new stores and major refurbishments. ■

7 Lighting: Concept - Richard England, ASDA Stores Ltd, and Clive Baily, Philips Lighting UK Design - Richard England, ASDA Stores Ltd, Clive Baily, Philips Lighting UK, Paul Guest, Dave Dickinsons Associates, Tony May, WSP Bradford, Paul Chalice, Wallace Whittle & Partners, Havey Stevens, E1-WHS Project management - Paul Johnson, Philips Lighting UK

Clive Baily

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Ground plan for all zones of the 4 000 m2 superstore.

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Deli counter: warm look is achieved with a combination of White SON and compact fluorescents.

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Checkout aisles are brightly lit by the general lighting: TTX400 trunk lines housing 58 W ‘TL’D 840 lamps.

7

The two-in-one system: spot projectors with Mastercolour lamps on blank trunking sections mounted perpendicular to the ambient system.

8

5 Mastercolour CDM-T 830 lamps are used, while Mambo floodlights fitted with the same Mastercolour lamps light the perimeter of the area. Clothing will appear in natural colour under the warm-white light of these lamps with their colour rendering of Ra>80.

In the deli and bakery the White SON 100 W and compact fluorescents (55 W PL-L) highlight the products and counter with warm light.

For the graphics in the deli area, the Mastercolour CDM-T 70 W /830 was chosen.

The fresh produce sections are lit also by White SON. All lamps have a warm-white appearance and a colour rendering of Ra>80.

Significant cost savings Overall, the new concept measured within ASDA’s Model Store cost model presented ASDA with a nearly 6.5 per cent saving on capital costs. Further savings should also be realised on installation costs, as the TTX system takes less time to install than a traditional system. In addition, ambient and accent lighting can be quickly repositioned to accommodate changes in sales floor layout without the need for extensive re-wiring.

The successful trial phase concluded in mid2001, and the new concept is now currently in a roll-out program to all new stores and major refurbishments. ■

7 Lighting: Concept - Richard England, ASDA Stores Ltd, and Clive Baily, Philips Lighting UK Design - Richard England, ASDA Stores Ltd, Clive Baily, Philips Lighting UK, Paul Guest, Dave Dickinsons Associates, Tony May, WSP Bradford, Paul Chalice, Wallace Whittle & Partners, Havey Stevens, E1-WHS Project management - Paul Johnson, Philips Lighting UK

Clive Baily

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Projects Helga Tritt

This new generation DIY superstore in Oberhausen appeals to the customers’ emotional response in every way

A

Affiliated to the Hagebau group, the Ziesakplaza superstore in Oberhausen covers a sales area of 18 600 square metres and sells a range of over 100 000 home decoration, gardening and DIY products. With the goods arranged according to subject themes, the superstore is an exciting place in which to shop. In the ‘soft’ section of the interior furnishings area, a consistent effort is made to appeal to the customers’ emotional response, using both carefully thought out display techniques and lighting. The ‘hard’ section, where you can find building materials, sanitary items, paint, and so forth, is more down to earth in nature.

The new world of Hagebau Ziesakplaza, Oberhausen, Germany

A pleasing combination of display and architectural lighting

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Extensive glass façade of the Hagebau garden centre.

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Single and twin-lamp X-tend luminaires supplement daylight in these glasshouse sections.

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Spotlights mounted on fluorescent lines give good vertical illuminance on adjacent aisles and display walls.

Additional highlights provided by Garnea luminaires with transparent reflectors.

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The Lighting

illuminate the glass, enhancing the design and thus creating the desired external effect. The general lighting in the area below is provided by Garnea luminaires (1 x CDM-T 150W) suspended from the roof trusses, while walkways are illuminated by Megalux ED 400 reflector luminaires (1 x SON C 250 W).

Other display areas in the garden centre are lit by industrial-type metal halide downlights in combination with tubular fluorescent X-tend type luminaires, the latter being replaced by Pacific damp-proof luminaires (2x36 W/2x58 W TL) on supporting rail systems in humid areas.

This ensures a uniform appearance all round. ■

In the soft sections, which include the furnishing fabrics, prints and carpet sections, the general lighting is provided by single and twin-lamp tubular fluorescent X-tend luminaires (TCS 398/36 W and 58 W/94) in anthracite grey suspended from the ceiling. These have mounting points for a number of individuallyaimed CDM-T 150 W spotlights, some of which create the vertical illuminance needed on the rear display walls while others produce highlights on goods displayed adjacent to the aisles. Selected areas, especially near the cash desks, are highlighted using suspended Garnea luminaires (MPK 640, 1 x CDM-T 150 W) with transparent acrylic glass reflectors.

The highlight of the superstore is the garden centre, with its central domed daylight entry.

The architectural lines of the dome are emphasised by 150 W CDM-T spots (MCN 820) at its periphery. These upward-facing spotlights

Lighting design: Helga Tritt and Christian Schneider, Philips AEG Licht Germany

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deze pagina niet printen zit in de vorm van cover 2 en 3 heeft een andere bladspiegel

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Illumination for garden centre walkways with Megalux reflector luminaires housing SON 250 W lamps. Dust and jetproof prismatic Pacific luminaires are used in humid areas (5).

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Helga Tritt

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A natural light feels great

Affiliated to the Hagebau group, the Ziesakplaza superstore in Oberhausen covers a sales area of 18 600 square metres and sells a range of over 100 000 home decoration, gardening and DIY products. With the goods arranged according to subject themes, the superstore is an exciting place in which to shop. In the ‘soft’ section of the interior furnishings area, a consistent effort is made to appeal to the customers’ emotional response, using both carefully thought out display techniques and lighting. The ‘hard’ section, where you can find building materials, sanitary items, paint, and so forth, is more down to earth in nature.

Create lighting concepts that make a strong impact on people by using Strato.

This unique modular luminaire system truly simulates daylight. And actually determines how people feel. Calm and relaxed, active and energetic. Create a new mood with your lighting design.

Explore different creative approaches for retail outlets, car show rooms, offices and public buildings. Make interior spaces feel more spacious and stimulating with natural homogeneous lighting. Strato panels have a grid size of 120 x 120 cm and are only 165 mm thick.They can be built up in a variety of sizes and shapes.

4

The Lighting In the soft sections, which include the furnishing fabrics, prints and carpet sections, the general lighting is provided by single and twin-lamp tubular fluorescent X-tend luminaires (TCS 398/36 W and 58 W/94) in anthracite grey suspended from the ceiling. These have mounting points for a number of individuallyaimed CDM-T 150 W spotlights, some of which create the vertical illuminance needed on the rear display walls while others produce highlights on goods displayed adjacent to the aisles. Selected areas, especially near the cash desks, are highlighted using suspended Garnea luminaires (MPK 640, 1 x CDM-T 150 W) with transparent acrylic glass reflectors.

The highlight of the superstore is the garden centre, with its central domed daylight entry.

The architectural lines of the dome are emphasised by 150 W CDM-T spots (MCN 820) at its periphery. These upward-facing spotlights

5

illuminate the glass, enhancing the design and thus creating the desired external effect. The general lighting in the area below is provided by Garnea luminaires (1 x CDM-T 150W) suspended from the roof trusses, while walkways are illuminated by Megalux ED 400 reflector luminaires (1 x SON C 250 W).

Other display areas in the garden centre are lit by industrial-type metal halide downlights in combination with tubular fluorescent X-tend type luminaires, the latter being replaced by Pacific damp-proof luminaires (2x36 W/2x58 W TL) on supporting rail systems in humid areas.

This ensures a uniform appearance all round. ■

Lighting design: Helga Tritt and Christian Schneider, Philips AEG Licht Germany

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making light work for you

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Pagina B 12:11 18-04-2002 a.cover1-4 BC

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