ILR 2003 - Yearbook

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

2003

Yearbook YEARBOOK 2003

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2003 I n t e r n a t i o n a l Lighting Review YEARBOOK

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Photo : Jean-marc CHARLES (France)

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Netherlands

4 Light and art Philips lamp factory, Eindhoven

Algeria

8 Taming the shadows Tunnel des Facultés, Algiers

Spain

10 Lighting the way Gran Vía, Madrid

United Kingdom

12 In with the new Queen Elizabeth II Bridge, London

Germany

14 Those first impressions Philips AEG automotive paint inspection solutions

Outdoor futures

18 Preserving the spectacle of the sky Gilles Adam, Centre de Recherche Astronomique de Lyon

Poland

20 Lighting ‘the big one’ Zakopane ski jump

United Kingdom

22 River of light Liverpool waterfront

Italy

26 Light, the vital force of architecture Ferrari factory, Maranello

Spain

28 Reaping the rewards ENDESA head office, Madrid

Petronas Towers, Kuala Lumpur At 452 metres high, the Petronas Towers in Kuala Lumpur are the tallest buildings in the world. Two years ago the Prime Minister of Malaysia commissioned a new lighting design for the towers. After a highly competitive tendering process, Alain Guilhot and his team (Architecture Lumière Citelum Group) were chosen to provide the new lighting design, based on the strong, innovative ideas they had submitted. The concept developed features permanent lighting on one side and dynamic lighting (on a few festive days per year, when needed) on the other, all tied together via electronics and lighting controls.

The installation, which comprises 626 floodlights (including 170 ArenaVision luminaires), is regulated via telemanagement software, allowing separate control of each individual light point. This control activity can be managed and maintained from France, where the technicians are located, via the Internet.

Architecture: Cesar Pelli, New Haven/New York, USA Lighting design: Alain Guilhot, Architecture Lumière, Lyon, France

Turkey

30 Mediterranean haven Cornelia Deluxe Resort, Antalya

Netherlands

32 Cocoon of light Shoebaloo, Amsterdam

Greece

34 The language of light Technopolis, Athens

Norway

40 Turning the tide Kabelvaag town square

Netherlands

42 Safety first Lelystad railway station

France

44 Flying high Airbus site, Toulouse

Indoor futures

46 Living light Markus Reisinger, Philips LiDAC Europe

Germany

48 Seeing the light Leipzig Institute of Humanities

Netherlands

50 Quality, style and elegance Bijenkorf store, Maastricht

Switzerland

54 Building for the future UCI World Cycling Centre, Aigle

Malaysia

56 Lighting on demand Approach highways, Kuala Lumpur International Airport

Spain

58 Visual vibrancy Parc dels Colors, Mollet del Vallés, Barcelona

Portugal

60 Setting the scene Almada Forum, Lisbon

66 Product news

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Netherlands

Light and art Philips lamp factory, Eindhoven

For a number of years Stichting Kunstlicht in de Kunst presented its art collection to the public in the form of a series of touring exhibitions around the Netherlands and abroad. But January 2002 marked the opening of a permanent art exhibition in the most apt setting imaginable: the original Philips lamp factory on the Emmasingel in Eindhoven.

Gerard Philips, one of the company’s founders, purchased the site on which the lamp factory stands for the princely sum of just over 12,000 Dutch guilders back in April 1891. Besides the 1,211 m2 site, the price included the factory building measuring 18 x 20 m, a 45 hp steam engine, and a boiler and chimney. Most of the following year was spent fitting out the factory, but then production started and the rest, as they say, is history.

Since its occupation by the Philips brothers, the old lamp factory has been renovated several times over to suit the requirements of each new occupant. For forty years the building served as

...Fibre-optic lighting has been used to illuminate the staircase...

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The works of art held by Stichting Kunstlicht in de Kunst (Artificial Lighting in Art Foundation) share a common central theme: artificial lighting. Each of the modern and classical works that make up this unique collection addresses in its own way the effect of artificial light on the surrounding architecture and its influence on society as a whole.

The exhibition traces the development of lighting engineering through the decades.

a Lighting Demonstration Centre for Philips customers. More recently it became home to the Company Archives, with the even more recent addition of the factory museum. Today, Stichting Kunstlicht in de Kunst shares the building with Stichting 1891, an organisation dedicated to showing visitors how lamps were made over a century ago. Kees Bos, the architect responsible for adapting the building in preparation for its new role, has succeeded in creating an excellent contemporary exhibition space (for both the permanent collection and temporary exhibitions) whilst maintaining the rich sense of history inherent in this exceptional industrial legacy.

Flexibility essential Kees Bos’ aim was to give expression to the building's original function as a factory wherever possible. He opted, for example, for rough wall surfaces reminiscent of the period, and pure lighting in the form of tracks suspended from or mounted on the ceiling. Only in those areas where new ceilings have been

installed is the lighting more prominent.

Given the nature of this exhibition, with such a tremendous diversity of works, flexibility was one of the foremost requirements in terms of lighting. Paintings, drawings, pastels, gouaches, etches, lithos, silk-screen prints and threedimensional light sculptures, their impact is largely determined by the essential quality of the light in which they are seen – its intensity, clarity, colour, movement and optical effects. This need for flexibility was compounded by the stipulation that the exhibition should be able to accommodate changes at any time in the future.

Past and present When he set to work, Kees Bos had all the architectural features that had not been part of the old factory removed (additional internal walls, artificial walls and several layers of modular ceilings), in order to reveal the original walls, floors and roof spaces. At those points where flat, even wall surfaces are not a requirement for exhibition purposes, the stripped down building has been left untreated.

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In the multifunctional rooms at the back of the building the rafters that had long been hidden behind old ceilings have been lovingly restored.

The overall support construction and those parts of the building more than 5.5 m above floor level have been left on view. The new museum space has been placed inside the old building, in such a way as a box might be placed inside a bigger box. The space between the inner ‘box’ and the old outside walls has been used to conceal existing and new piping and wiring networks. It has also been used as space in which to install upward lighting. The effect created is twofold: it makes the ‘box’ appear separate from the old building and it draws attention to the building itself without interfering with the presentation of the paintings. It is adjustable, so that a suitable balance can always be achieved between illumination of architecture on the one hand and art on the other.

The adjustable indirect lighting in the upper floor serves to underline the museum’s

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industrial roots, as well as making a visual distinction between the exhibition walls and the factory walls. The same cool colour has been used here as on the walls on the lower floor, creating an aesthetic unity between the two floors and a continuity in the industrial theme.

This cool lighting contrasts well with the warm

lighting used for most of the paintings. The contrast between coolness and warmth in the quality of light mirrors the contrast between the building's original and present functions.

Rooms The new internal walls have been placed in such a way as to create separate ‘rooms’. At the centre of the building is a wall that doubles as a light trap, so that a section of the museum space can be placed in complete darkness if required. In these rooms, all the walls, ceilings, luminaires, tracks and spots above a certain height have been painted black, to prevent the unwanted reflection of light and to make the piping and wiring as inconspicuous as possible.

A different level and type of lighting has therefore been used in each room, so that each artwork can be presented in the light ambience that suits it best. Visitors also appreciate the variety in lighting as they move from one room to the next.

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...The warm light patches on the ground serve to invite visitors to make the transition from a lighter to a darker space...

Daylight The founder of the Stichting Kunstlicht in de Kunst, Johan Jansen, requested that the museum be designed in such a way that no daylight could penetrate, as he did not want the quality of the internal lighting to be subject to chance variation. Natural daylight would actually provide far too much light for most exhibits. The advantage of artificially created daylight over natural daylight is the degree to which it can be controlled.

In the central museum space, the landing has been left empty. The skylight has been covered over on the outside and painted white on the inside. The impression of daylight entering through the skylight has been simulated using rows of fluorescent lamps installed in a cove.

Two groups of lamps on either side of the skylight emit a different colour temperature (cool and warm), so by mixing the light a range of colour temperatures and lighting levels can be created to suit the requirements of the exhibition in question.

In order to prevent the artificially created daylight from causing reflections in the paintings, louvers have been fitted to block out the indirect glare from the skylight.

Wall finishes A variety of shades of grey have been used to finish the wall surfaces. Many of the light objects on show are strikingly colourful, and the use of too much colour in the building itself would give an overall impression of turbulence. The building’s colour scheme should complement the artwork being displayed.

The spiral staircase and the lift doors form the only exception to the rule: these have been painted bright red.

Outside Very little alteration has been made to the outside of the building. Above the entrance, a single neon sign announces the building's dual function: the words KUNST (art) and LICHT (light) are switched on and off so that the words KUNSTLICHT (artificial light) and LICHTKUNST (light art) appear alternately, enticing and welcoming visitors to this building that has been such a central feature – technical, commercial and now artistic – of Eindhoven city life. ■

Architecture: Kees Bos, Eindhoven, The Netherlands Lighting design: Jolanda Tielens-Aarts, Philips LiDAC Europe

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Algeria

Taming the shadows Tunnel des Facultés, Algiers

For years, the flow of human traffic crossing Algiers has disappeared into the gloom of the Tunnel des Facultés, in the heart of the city, to re-emerge into the sunlight a few minutes later. Now, those descending into the Tunnel are entering light, and are totally immersed in it, as artists from around the world have created a ‘carving of light’ on the Tunnel’s wall. Each crossing is a unique experience as these visions of light, the artists’ recipes for taming the shadows, are constantly changing.

The first artworks in the Tunnel des Facultés comprised cocktails of shadows and light from Ammar Bouras, the dazzling epics of Rachid Koraïchi, genii from the Egyptian Adel El Siwi, cut-out figures of Gülsun Karamustapha, and silhouettes from Canada’s Daniel Laskarin.

The flow begins at the source. Since 1999, at nightfall, the banks of the River Isère in Grenoble have taken on a dream-like quality as frail, impalpable images made of shadows and light frame the river’s flow. These images were commissioned from artists from all over the world by Philippe Mouillon, one of the founders of Laboratoire sculpture urbaine. Laboratoire sculpture urbaine creates installations that bring together artists from the five continents in a process that allows each of them to share their own particular experience of the world with the inhabitants of the site where the event is taking place. Each event is unique since it originates from the particular urban quality of the site in question. It blends the local sensibilities

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accumulated over time with our contemporary reality, which is characterised by the swift transfer of people and information from one side of the globe to the other.

Visit to Algiers In January 2002, one such artist, Rachid Koraïchi, moved by the Grenoble experience, invited Philippe Mouillon to Algiers and asked him to consider an urban event there. Visiting the city, Philippe Mouillon felt stimulated by the powerful urban quality of the Tunnel des Facultés. Rachid Koraïchi explained to him the part it plays in the daily lives of Algiers’ inhabitants, and the project – répliques – was conceived, striking and paradoxical.

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From Philippe Mouillon’s initial concept, the circle of project participants widened. Gaz Electricité de Grenoble – the firm that produces and distributes electricity and natural gas in Grenoble, which conceived and realised the installation on the banks of the Isère – and Sonelgaz, the Algerian utilities provider, cooperated on the project realisation, based on the techniques developed in Grenoble with Philips Lighting and the artistic team of Laboratoire sculpture urbaine.

Shadows and light répliques opened in October 2003. It is a light installation that springs from the traditional play of light and shadows in North African and

Arabian architecture, enriched by the imagination of contemporary artists from all over the world. People entering the tunnel are surprised by a series of changing scenes illuminated by forty coordinated projectors specially designed for this project by Philips Lighting. The images are perfectly encased in the vaulted walls of the tunnel as the optical distortions caused by the curved surface of the tunnel are corrected by anamorphotic lenses.

The installation is connected to the public lighting network of Algiers and stages a new work of art every hour.

Back to the source And now the flow has returned once again to the source, on the River Isère: the images created in Algiers for the Tunnel des Facultés have been projected in Grenoble during 2003, in partnership with Djazaïr. ■

Lighting design: Philippe Mouillon, Laboratoire sculpture urbaine, Grenoble, France

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Spain

Lighting the way Gran Vía, Madrid

In 2002 Madrid City Council approached Philips with a view to renovating the lighting on the Gran Vía, one of the capital’s key thoroughfares. After preparing the initial lighting calculations to ensure compliance with the specifications and standards stipulated by the City Council, Philips proceeded to design and manufacture a combination of luminaires and masts: one luminaire for roadway lighting, another for the sidewalks, and a 10m-high mast to fulfil the criteria for exposed lighting. The installation was also expected to incorporate facilities for the Christmas lighting along this important avenue.

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The Gran Vía project called for a complete solution, including the remodelling of the urban furniture in this busy main street in Madrid. The City Beautification approach was employed to modernise the street’s appearance and image, securing its status alongside similar streets in other European cities. Urban lighting and furniture were developed to create a consistent, integrated look.

Visual identity Madrid City Council set Philips the challenge of creating an aesthetic and functional lighting solution that would fulfil the following requirements: horizontal illuminance (Eav) = 100 lux on the roadway and illuminance uniformity (Uav) = Emin/Eav > 50% on the sidewalk.

In addition, the aesthetics of the installation – an integral part of the urban furniture – had to help create a new visual identity for the Gran Vía. The lighting installation was required to blend in harmoniously and subtly enhance the overall effect.

Prompt and precise The final solution included the design and supply of a lighting installation comprising an opposite distribution of double light points with a spacing of 24 metres in a line. Each individual lighting point was made up of one straight column, 10 m in height and 219 mm in diameter, made of 5 mm-thick steel plate galvanized and painted in the same neutral grey colour as the luminaires. Each column was fitted with one Milewide 400 luminaire (SRS 427) positioned at a height of 9.70 m. These luminaires were designed and manufactured by Philips specifically for this project in record time –

within the space of 6 months – and were fitted with a 400W mercury-free high-pressure sodium lamp. Each column also featured one Milewide 150 luminaire (SRS 421) fitted with a 250W highpressure sodium lamp positioned at a height of 5 m.

Significant improvements The final results exceeded the original specifications: Eav = 105 lux on the roadway and 110 lux on the sidewalk; Uav = Emin/Eav = 55%.

The Technical Services of the City Council, journalists and other interested parties were suitably impressed by the aesthetically pleasing solution created, both by day and by night. The ‘transparent’ appearance of the buildings has now been greatly enhanced and the overall solution was felt to be very ‘neutral’, since it did not interfere with the architecture of the surrounding buildings.

The system was put into operation towards the end of 2002, just in time for the Christmas lights to be switched on. The incorporation of the connection boxes for the chains of Christmas lights inside the masts proved to be a great success.

The 650W nominal power now required for the lamps in each of the new light points represents a 50% reduction in power consumption. Besides this substantial energy saving, the people using the Gran Vía in Madrid can now benefit from increased lighting levels, improved control of light pollution and more effective prevention of ‘intrusive light’ into houses in the vicinity. ■

Lighting design: Fernando Vila, Philips LiDAC Spain

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United Kingdom

In with the new Queen Elizabeth II Bridge, London

The Queen Elizabeth II Bridge, soaring over the River Thames to carry the southbound traffic on the A282 – a vital link in London’s M25 orbital motorway – into the toll plaza, has been completely re-lit with luminaires and lamps supplied by Philips Lighting. The Iridium luminaires selected, incorporating high-pressure sodium lamps, not only do a superb job of lighting, but set new standards of reliability in relatively harsh weather conditions, thus reducing maintenance costs.

What’s more, they cut the installed electrical load from 54 to 29 kW, resulting in a massive 40% reduction in energy costs.

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The bridge is the third crossing of the River Thames at this point, the other two being the northbound Dartford Tunnels, and all southbound traffic flows over it, except in very high winds.

The Queen Elizabeth II Bridge was opened on 30 October 1991 and is 450 metres long. It is Europe’s largest cable-supported bridge, and even the tallest liners can pass under its central span.

Staggering efficiency The bridge was originally lit by 196 luminaires at a mounting height of 12 metres, spaced in a 15-metre staggered arrangement and fitted with 250W SON lamps. Civil engineering operators Le Crossing Company Limited, who are responsible for maintenance of the bridge’s infrastructure, approached Marwood Electrical and commissioned proposals for replacing all the luminaires with new 250W designs on the existing brackets. In co-operation with Philips Lighting engineers, Marwood discovered that Philips’ Iridium road-lighting luminaires with high-efficiency XT-POT optics, fitted with 150W lamps, would reduce power consumption by no less than 100 lamp watts per luminaire!

Moreover, the Iridium luminaires are able to

withstand the vibrations encountered in bridge applications as all their internal structural features are secured in position with tool-free maintenance clips. The availability of louvers to reduce light spillage onto the navigable waterway was considered to be another plus.

The lamp used in this application is Philips’ unique Master SON-T PIA Plus 150W, which not only produces around 6% more light than alternative lamps in the market, but also features Philips’ integrated antenna (eliminating moving parts), fewer internal welds and state-of-the-art getter technology. The result is phenomenal reliability, with virtually zero premature failures in the first 6,000 hours’ burning.

Best of both worlds With the new lighting of the Queen Elizabeth II Bridge, Marwood and Philips have provided the client Le Crossing with the best of both worlds.

Not only is the new lighting better and more reliable, but power consumption has been cut

from 215,600 kWh/year to only 132,500 kWh/year.

Ron Broughton, Marwood’s sales engineer, says: “Philips and Marwood have co-operated on lighting the bridge environs for some years now, and Philips has become preferred supplier.

When we were asked to prepare proposals for replacing the carriageway lighting, I was originally attracted to the Iridium luminaire because of its light weight and low windage.

When we carried out our calculations, we were delighted to find that it would also do an extremely good lighting job. Contractors Colas Limited installed the new luminaires in April of this year, and indeed, there is no doubt that the new lighting is better than the old. Driving is more comfortable, and security staff report improved pictures on CCTV equipment. In a nutshell, everybody is very impressed with the new low-energy, high-tech lighting.” ■

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Germany Henry Ford once said "You’ll never have an attractive car if the paint isn’t perfect." Even if these days the paint quality tends to be assessed on rational criteria, such as improved rust proofing and greater resistance to scratches, the quality of the paintwork on a car is still of almost symbolic importance. The body finish – research has shown – plays an important role in determining the customer’s first impression of a car. And it is this initial impression that is often the determining factor in the decision to buy.

Those first impressions Philips AEG automotive paint inspection solutions

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Left: Coloured primer failure detection and repair Top-left: Hologram test area with sun-simulating light

The modern, environmentally-friendly, waterbased paint application systems now used by all of the major car manufacturers require more precise and faster inspection methods than were possible in the times when artificial resin paints based on polyester or cellulose lacquer were used.

There are a number of reasons for this: due to the rise in productivity the number of vehicles passing through the production line has increased and the painting process and structure of the paint coating have changed. Today, more layers of paint are applied, the layers are thinner and the paint has different reflective properties and a lower covering capacity than before.

Better inspection required The new multi-layer systems enable the creation of paint effects that previously could only be achieved by hand, e.g. special reflective finishes such as expensive metallic effects or, more recently, pearlescent effects, which make the colours change according to the light and the angle of view. The multi-layer structure gives the paint finish more depth, greater luminosity and a longer-lasting shine. This makes it essential that each coat of paint is applied as uniformly as possible and without any faults, because when the paint is made up of several thin layers it seems to make faults in the paintwork easier to see.

Paint is something that needs to be inspected by the human eye. That is why the quality control for paintwork in the car industry relies on the trained eye and appropriate lighting. Good lighting is essential if faults, such as icicles or streaks, and foreign bodies are to be detected and eliminated. In production lines with short lead times where the fault rate has to be kept as low as possible, faults in the paintwork can no longer be detected purely by using highintensity point sources of light or – as was the case twenty years ago – using hand-held lamps in a manual inspection process. As multi-layer, water-soluble systems started to be introduced, so the car industry began to look for a faster and above all more efficient paint inspection process.

Greater efficiency meant not only that personnel numbers could be reduced, but also that faults could be detected after each individual stage in the paint application process, so that any abnormalities could be eliminated before subsequent process stages.

Top-right: Final lacquer; note the reflection lines from clusters of three luminaires Bottom: Car body sprayed in uniform primer; error detection and repair

Research collaboration A joint research project was set up by Daimler Benz and AEG Lichttechnik in 1987 in order to address this problem. The specific lighting and ergonomic findings were initially translated into a system of coordinated inspections in the car production site in Sindelfingen. During the course of the joint research, which is still ongoing today, this inspection system has been further developed and perfected. This example is now followed not only for paint inspections at all DaimlerChrysler production sites, but also by almost all European car manufacturers as well.

High luminance for optimum results This highly successful paint inspection method is based on light reflections with especially stark contrasts on the paint layer as well as minimum glare for the personnel. It requires lighting with a high luminance that creates strong reflections of light on the illuminated surface. On-site tests have shown that the light emitted must have hard contours. Furthermore, it is extremely important that the luminaires are positioned at the correct distance from the vehicles and that the light from each luminaire is directed at the appropriate height for the operating personnel without creating any glare. The system also had to be designed to ensure a high level of efficiency and minimum stoppage time.

Fluorescent lamps with daylight white, warm white or neutral white colour temperature were

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Top-left: Buffer storage area Top-right: Cleanroom conditions Left: Hologram detection and repair by sunlight simulation

used as the light source. They are positioned in single or double rows parallel with and perpendicular to the conveyor belt at distances of approximately 2 metres from the paint surface on the vehicles, and can be regulated manually if required. The special reflectors used for guiding the light ensure there is no direct glare for the personnel, despite the high luminance levels.

A high luminance is required to inspect the very matt and low-reflection primary coat and undercoat. For this purpose, in some areas of the tunnel-type inspection stages parts of the walls and floor are painted white to further increase the ambient luminosity. To protect them from contact and damage, the luminaires are enclosed in metal housings with security glass. The light emitted creates sharp contoured double or triple reflection lines on the surface of the car bodies as they pass by. The light is reflected in this way over the entire vehicle, and to the trained naked eye it reveals any faults in the paintwork. Kinks, bulges or even hole-like reflections have proven to be an infallible indication of a particularly serious fault.

Sunlight simulation A special area of focus is the early detection of grinding and polishing faults in the lower paint layers, which, if left undetected, would become visible in the sunlight as three-dimensional holograms. As part of intensive development

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work with BMW in Regensburg, a lighting concept has been developed based on the principle of sunlight simulation. This enables faults of this nature to be detected in the manufacturing stage in which they occur so they can be eliminated immediately. Special attention was devoted to ensuring that the systems would also be approved by the company doctors on the basis of ergonomic and industrial health criteria.

This lighting concept has now been introduced in all BMW factories and it is also being tested by other car manufacturers.

This year new workshops have been fitted out with the system at the sites in Regensburg and Dingolfing, and the new plant in Leipzig has been fitted with paint inspection luminaires from Philips AEG. ■

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Top: Quality audit areas Bottom: Error detection on horizontal surfaces

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Outdoor futures In his urban environment, modern man is often unaware of the magnificence of the night sky. The changes in the constellation pattern according to the season, the dance of the planets and the successive phases of the moon are not things to which he pays attention. There are many reasons for this, but all of them are associated with a lifestyle that tends to dispense with the ascendancy of nature, in order to control the environment better. The extensiveness of night-time lighting has overshadowed the starry sky in the interests of safety, advertising and dramatic highlighting of buildings.

Preserving the spectacle of the sky Gilles Adam, Centre de Recherche Astronomique de Lyon

Artificial light pollution above Europe: today (left) and prediction for 2025 (right)

Astronomy involves the study of objects, some of which emit formidable quantities of energy. The sun, our star, emits approximately 4x1026 W (4 followed by 26 zeros), and a galaxy typically contains 100 billion stars.

However, the distances separating the stars in the universe are even more formidable than the quantities of energy that they emit. A large galaxy, observed at a (moderate) distance of three billion light years, appears to be a billion billion times weaker than the sun. As far as observation is concerned, astronomers are then the specialists in faint objects which are difficult to detect.

The ‘black’ sky We can all understand that the ‘blacker’ the sky, the easier it is to distinguish faint objects. However, the demands of modern astronomy are extreme, to the extent that there is nowhere left in Europe where leadingedge research into the distant universe can be carried out. Decades ago, urban sites fell victim to adverse lighting conditions, while the climate and pollution combine to make the atmosphere absorbent and diffusive.

World-ranking astronomical sites can be counted on the fingers of one hand, and are all situated in high-altitude desert areas. The most famous and best of these are in Hawaii and in Northern Chile.

Yet even in these preferential locations, the sky is never completely dark.

Four phenomena contribute towards lighting it, i.e.: a. The molecules which constitute the atmosphere emit light naturally.

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b. The light from all the stars in the sky is diffused uniformly by these same molecules. c. The dust from the solar system diffuses the light of the sun, and this socalled zodiacal light is visible at night. d. Finally, urban lighting lights up the atmosphere. This parasitic light is redirected towards observers on the ground, by retro-diffusion. Only this last form of light pollution can be partially controlled.

The limitation imposed on astronomers by the brightness of the night sky is caused by the fact that this brightness is not uniform but ‘noisy’ (granular, in everyday parlance); otherwise, a straightforward subtraction would do the job. According to the laws of physics, the brighter the sky, the more ‘granular’ it is: on images, faint stars are consequently easy to miss in this sea of grains.

The worldwide urban lighting maps obtained in the last few years by means of various satellites reveal the catastrophic situation that exists in technologically ‘advanced’ regions. The predictions for twenty years from now are clear: our children will be familiar only with the sun and the moon. What’s more, surveys carried out in classrooms in urban areas already show that children are ignorant about the spectacle of the sky.

Astronomy? What for?

We are therefore in a situation where the so-called natural development of

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The four mechanisms of night-sky pollution: star light (shown in pink), zodiacal light (shown in red), atmospheric emissions (shown in green) and artificial light (shown in white)

Finding a faint star in a noisy dark sky (simulation). Left: ideal star in black sky; right: noisy empty ‘dark’ sky.

Left: same star in sky with such a brightness that noise = star; right: same star in a brighter sky (or fainter star in the same sky), where noise = 5 times star

our planet is leading us towards ever-increasing consumption of energy, which has the detrimental short- or long-term effects with which we are all familiar.

such a way that vertical diffusion is as low as possible, and to provide light only when it is needed.

Here is an example to make clear the levels of electromagnetic pollution with which astronomers have to contend. Let us imagine that astronauts who go to the moon accidentally leave behind an ordinary (2W) mobile phone which is switched on, and also forget to switch off the 100W lamp which lights the entrance door of the base unit; back on Earth, astronomers can observe these new sources. The bulb looks as bright to them as a galaxy situated five billion light years away, which is not very far in the universe. The mobile phone will be fifty times brighter than the brightest natural radio source in the sky.

Another problem facing astronomers is the replacement of incandescent public lighting lamps by discharge lamps of various types, in particular high-pressure sodium lamps, for the good reason of much better efficiency: these lamps have a spectrum that is characterised by the presence of intense bright lines, which complicate spectroscopic studies enormously.

It is clear what will happen in the distant future: one day all astronomical telescopes will have to be put into orbit, or on the dark side of the moon.

However, the cost of this would be colossal. At the moment it is impossible, and indeed not necessary: there are still some quality sites left on our planet.

Sooner or later, society must decide what the function of astronomers is, and to what extent their possibilities of observing the sky should be preserved. Like other scientists, they carry out fundamental research: their motivation is knowledge rather than immediate application. Yet they lay the firm ground on which applied research can flourish and develop the applications that continually transform our lives. ■

As far as the quality of the night sky is concerned, the medium-term future therefore seems to be quite bleak for astronomers. However, it is undoubtedly possible, and highly desirable, to design urban lighting in

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Poland

Lighting ‘the big one’ Zakopane ski jump

At the ski-jumping world championships held in Poland in January 2003, judges, on-the-spot spectators and TV audiences alike were able to follow every move with ease, thanks to the top-quality floodlighting installed by Philips. The 133 ArenaVision floodlights also ensured that the competitors themselves were not troubled by glare. K-120, the biggest take-off in Poland, was acknowledged to be the best-lit World Cup event location ever, and received high acclaim from officials of the FIS (Fédération Internationale de Ski).

The task facing Philips was to supply lighting that was not only of excellent quality but also took into account the various TV transmission requirements and was equal to the challenge of contests being held in failing light or even in the dark. Since the take-off is located close to Tatrzański National Park, it was also important to keep spill light to a minimum in order not to disturb the natural rhythms of hibernating animals. In addition, environmental constraints meant that the ideal solution would require as little power and electrical equipment as possible and the smallest possible number of masts.

The project briefing specified four different lighting levels, to be selected according to the needs of the users: 100 lux for service and maintenance; 300 lux for training; 600 lux for national competition (no TV transmission); and 1,000 lux vertical for TV transmission.

It was decided to use ArenaVision New Generation MVF 403/2 kW floodlights equipped with 2 kW metal-halide MHN SA 2000 lamps.

This combination would allow the lighting specialists to aim the light very precisely at the take-off areas whilst providing a quality of light indistinguishable from natural light, offering the full colour spectrum thanks to the excellent colour rendering of the lamps used.

To illuminate the take-off, 133 ArenaVision floodlights were mounted on 6 masts and on the roof of the new judges’ tower. Special TCW luminaires for fluorescent lamps were added to

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provide supplementary lighting for the ski run.

Their special construction ensures that they function at low temperatures (down to -300C).

The total amount of power installed amounted to 287 kW. Luminaires were installed along the run in such a way that the ski-jumpers’ profiles would be clearly visible, without their own ability to see the jumping pit being impaired by the effects of glare. This entailed the use of strategically positioned and carefully aimed floodlighting (reducing glare and spill light to a minimum) combined with well-selected optics.

The precise aiming of the light was perhaps the single most crucial factor. Following installation, local Philips Lighting specialists fine-tuned the

direction of each floodlight in turn using a special aiming device fitted with a laser indicator.

The ArenaVision system used to such good effect in Poland has also been used at other wellknown ski-jumping locations, including Ramsau in Austria and Holmenkollen in Norway. ■

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United Kingdom

River of light Liverpool waterfront

Located in North-West England, Liverpool began as a tiny fishing village and grew to become the gateway to the New World. This was the port from which, a century ago, no fewer than 9 million emigrants sailed off to the United States, Canada, Australia and New Zealand.

Liverpool’s focus was very much on the sea, and its main raison d'être was moving things around – cotton, sugar and, later, paperwork for the insurance companies established locally.

In the Second World War, Liverpool’s blitz was second only to London’s, and its docks were damaged beyond recognition. Once the war was over, Liverpool’s heyday had also passed.

Transatlantic shipping was in decline, and there was little reason to rebuild the docks. Car factories were built in an attempt to bring employment to the former dock workers, but by the early 1990s mass redundancy and severe depopulation plagued the city.

On 4 June 2003, Liverpool succeeded in its bid to become European Capital of Culture 2008. A major lighting project made a significant contribution to this success, underscoring once again the medium’s value as a means of redefining the urban nightscape – and of boosting the local economy.

Culture. The Liverpool Architecture & Design Trust (LADT) – acting on behalf of Liverpool Vision, a venture formed and supported by Liverpool City Council, English Partnerships and the North West Development Agency – commissioned Philips to plan and design the lighting used along Liverpool’s waterfront, the symbol of the city’s rich maritime history.

Along the waterfront, innovative lighting techniques have been used to bring out the architectural quality of a number of selected key buildings and to emphasise the important role once played by certain entry points and gateways. The result is nothing less than a

spectacular ‘river of light’. An attractive setting for an evening out, the new-look waterfront is set to make its own unique contribution to the overall upturn in Liverpool’s economic fortunes.

Liver Building and Albert Dock The seventeen-storey Royal Liver Building draws many tourists to the city. Philips therefore used Decoflood luminaires with Mastercolour CDM-T lamps to emphasise the building's architectural features. Larger, narrow-beam Decoflood fittings were projected upwards onto the outer wall, drawing the eye up from the base of the building to the towers and roofline lighting. Visual contrast was achieved by using

New beginnings Time, then, for Liverpool to reinvent itself. Its new status as European Capital of Culture has come as a welcome boost. The rest of the country is suddenly seeing Merseyside in a positive light, and investors are showing a keen interest in the area. The hotels are also full of tourists wanting to visit the home of The Beatles and see the city their ancestors left behind (it is not without reason that Liverpool's twin town is New York).

UK’s City of Light One of the key contributors to Liverpool’s successful bid was the project – part of the drive to become the UK's City of Light – to illuminate all Liverpool’s key buildings, public spaces and landmarks to a standard befitting the city's (then hoped-for) status as a European Capital of

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Wallesey Town Hall and Royal Liver Building

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...innovative lighting has been instrumental in contributing to Liverpool’s nomination as the European Capital of Culture 2008...

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St. George’s Hall

CDM-T Mastercolour lamps on the walls while applying orange-tinted SON lamps to the windows to reveal the details hidden in the wall's recesses.

being directed at the first floor and the warmer 83 lamp at the second floor. At the main entrance, fibre optics were installed to add an extra visual emphasis.

In the Albert Dock area, Liverpool’s number one tourist attraction, the most important task was to improve the overall appearance of the area at night. This was done by uplighting many of the outer walls and trees along the quayside.

Ground-recessed Pompei uplighters with metalhalide lamps were used to uplight each dominant steel column around the Dock basin.

The same type of luminaire was also used to illuminate the brick vaults in the colonnades.

The Liverpool City Council building has long been an integral part of the city’s infrastructure.

Over time, air pollution has blackened its stonework. Philips decided that high-pressure sodium lamps projecting a warm, reddish tone onto the exterior would help to soften the building’s somewhat austere appearance and disguise the effects of the pollution. Here, too, Mastercolour lamps were used to highlight key features such as the clock tower.

It was also important to provide pleasant and distinctive lighting for pedestrians. Luminaires mounted at a height of 4 to 5 metres were selected to mark pedestrian routes along the riverside and the main footpaths linking the riverside to the city centre. Mastercolour lamps mounted in indirect fittings were used to produce a soft, diffuse ambience.

Wallesey Town Hall and Perch Rock Wallesey Town Hall does not officially belong to the city of Liverpool, since it falls under Wirral Borough Council. In theory, therefore, it need not have been included in the River of Light project.

However, in view of the fact that the Hall is one of the most spectacular buildings located on the banks of the River Mersey its exclusion would have resulted in a glaring visual imbalance. The same lighting approach was adopted here as for many of the other buildings – a combination of Decoflood and Mini Decoflood luminaires plus SON lamps and Mastercolour lamps for added contrast.

St. George’s Hall and Liverpool City Council St George’s Hall has been described as the finest neo-classical building in Europe. The building has undergone a major redevelopment funded by the Heritage Lottery Fund. The challenge facing Philips was to produce a lighting plan that would highlight the many fine architectural details. More than ninety recessed Philips Pompei luminaires fitted with CMD-T lamps were used to uplight the walls and pillars. The first and second floors were illuminated using Decoflood luminaires. Here, the various colour temperature options that can be achieved with Mastercolour were employed to introduce subtle contrasts in the brickwork, the cooler 942 lamp

just a part of a larger-scale renovation programme. Fibre optics were used to illuminate the top of the lighthouse, whilst low-pressure sodium lamps were selected to give the lamp room a warmer, reddish glow. Further contrast was provided by Mastercolour 942 lamps directed at the balcony outside the lamp room.

The main body of the lighthouse was washed with CDM-T 83 lamps in Decoflood luminaires.

Looking ahead Tony Woof, Chief Executive of LADT, expressed his organisation’s satisfaction with the deployment of the lighting plan for the waterfront: “Liverpool is an historic city, rich in culture and architecture. This enterprising and extensive redevelopment programme will ensure that it continues to look to the future with a sense of pride. The innovative lighting approach put forward by Philips Lighting has been instrumental in contributing to Liverpool’s nomination as the European Capital of Culture 2008. We are delighted with the results to date.” ■

Situated on the North side of the Wirral Peninsula, Fort Perch Rock was built by the merchants of Liverpool at a time when Great Britain was the most powerful nation in the world. The merchants financed the building of a fortress to protect the town and its inhabitants from attacks from the sea. Fort Perch Rock no longer functions as a lighthouse, but is a Grade 2 listed building. The new lighting scheme was

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Italy Just outside the small town of Maranello, Modena, lies the Ferrari factory, to many ‘tifosi’ the very heart of Formula 1 racing. Ferrari has embarked upon a project to rebuild the whole of the Maranello site.

Known as Project ‘Formula Uomo’ it will cover every aspect of Ferrari’s activities and aims to create a pleasant modern working environment for its employees, making maximum use of ‘eco-friendly’ concepts throughout.

Light, the vital force of architecture Ferrari factory, Maranello

Renovation work began in 1997. Right from the outset, function was not the designers’ sole priority. The architecture acknowledges both poles of Ferrari’s identity – tradition and innovation. The architectural identity of Maranello has also been incorporated: the long low red brick building around the old west entrance, and the new part – the high-tech glasshouses of the Nuova Meccanica and the aluminium cylinder that is the Wind Tunnel – around the east entrance.

Nuova Meccanica The start of 2001 saw the completion of the second part of the project, the Nuova Meccanica, designed by the architect Marco Visconti (Fiat Engineering). The entire building, which covers an area of 15,000 m2, is where all essential Ferrari (and Maserati) engine parts are made and is based on 15 workstations. The design called for several bio-architectural elements, which had to meet a number of high-performance criteria, such as a high level of natural lighting, temperature control, acoustic comfort, and maximum natural ventilation.

Innovative language Light – an essential element of all human activity – is also an innovative language in contemporary architecture. Technological development is tending to produce light sources which are ever more efficient, whilst tending to

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reduce their dimensions. The future of artificial light is therefore oriented increasingly towards pure sources of light – intangible elements designed to create genuine architectural spaces defined by different lighting intensities. At the Nuova Meccanica we can see how lighting supplied by Philips has been deployed to articulate the various spaces’ distinctive identities.

The offices are lit by recessed TBS 600 luminaires equipped with 28W TL5 fluorescent lamps. With their slim 16 mm diameter, these lamps offer considerable freedom of design.

For the visitor reception area, Garnea luminaires have been used with 70W Mastercolour compact gas-discharge lamps. This is a highly efficient solution, ensuring a substantial reduction in running costs and excellent long-term colour stability.

The outdoor part of the Nuova Meccanica comprises the eastern bio-climatic wall, which is lit from below by Pompei MBF 505 groundrecessed floodlights with 70W Mastercolour CDM-T lamps. The northern and southern walls have vertical lighting from above, from compact MiniDecoflood luminaires equipped with 35W Mastercolour CDM-R lamps in order to guarantee a precise, regular beam. The lawn on the southern side is also lit from below by

Pompei luminaires with 70W CDM-T Mastercolour lamps. Decorative Verona MPP 140/70 luminaires have been used to light the parking area.

Continued success The year 2003 has seen another major triumph on the track for Ferrari, with Michael Schumacher racking up his sixth world title, breaking Juan Fangio’s long-standing record. By the time the ‘Formula Uomo’ project at Maranello is completed in 2005, Ferrari hopes to have a complex that will itself be a world beater. ■

Architecture: Mario Visconti, Fiat Engineering, Italy Source: L’Arca No.175

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Spain

Reaping the rewards ENDESA head office, Madrid

The Madrid head office of ENDESA, Spain’s largest electricity company, is located in a spectacular building that projects a very strong corporate image. Now, the company has decided to install state-of-the-art lighting control and management systems, enhancing its progressive image still further.

One of the main design objectives for this building was to ensure effective energy management based on the dual criteria of comfort and efficiency. It was decided, therefore, to install a lighting control and management system that would maintain adequate levels of light for each specific area and task, whilst also providing sufficient flexibility to allow for any future changes in office layout.

Adaptable The headquarters building is made up of two modules and a central hallway, with the hallway forming the main axis of movement. It offers a total of 34,200 m2 of office space divided up over

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5 levels and has two underground parking levels with enough space to accommodate 1,070 cars.

The aim was to equip the building with a system that would allow the light output to be adjusted according to the amount of natural daylight available (via the windows and hallway), so that energy savings could be combined with user comfort, whilst at the same time affording total flexibility to allow for any changes in the office layout.

The system had to be compatible with other systems in the building and be based on one of the communications protocol standards available on the market. There also had to be

manual switches, especially in the offices, to allow users to dim the lighting and switch the circuits on and off. In some of the communal areas, movement sensors could be used to switch on the lighting. The entire lighting installation had to be controlled by a timer system.

Powerful and flexible ENDESA opted for the Philips Helio system. As one of the most powerful and flexible lighting management systems on the market, it fitted the bill perfectly. The system controls the electrical circuits, sensors and network managers that are connected to a single bus to allow the flow of

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information. This bus is connected to a computer that sets up and activates the system and also controls the luminaires and the settings that define how the luminaires and sensors operate.

The entire system is based on the LonWorks distributed intelligence technology, which was developed by Echelon and is used extensively in building management systems and other fields, e.g. telemanagement, aircraft and railway control, lifts, etc.

Philips supplied the TBS 160 2x36W luminaire with M6 optics and the Triolita 1x58W prismatic diffuser. The TBS was selected because of its energy-saving capacity, and the Triolita provided good vertical illuminances in the video conferencing room.

Over 400 controllers with 8 outputs were used, together with some 100 or more controllers with 2 outputs. Each output allows the dimmable electronic ballasts to be switched and controlled.

The sensors serve as the inputs to the system and can be presence detectors, light sensors, IR receivers or conventional switches. Here, over

200 light sensors were used to achieve adequate lighting levels in each of the areas defined and to enable the system to compensate for any changes in the environment that affect the level of light required.

Growing demand The rapid growth in the market for lighting controls is now being further fuelled by interest in factors such as energy saving, flexibility of working spaces, environmental aspects, safety and comfort. With the advent of the 24/7 economy and the growing need for more flexible infrastructures, this growth is set to continue in the years to come. In the meantime, early adopters like ENDESA are already reaping the rewards of their investment. ■

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Turkey

Mediterranean haven Cornelia Deluxe Resort, Antalya

Antalya, situated on Turkey's Mediterranean coast, is a popular tourist destination. There is a wide choice of accommodation to cater for the considerable influx of visitors. One of the most prestigious places to stay in the area is the Cornelia Deluxe Resort, a modern, eye-catching complex with approximately 380 rooms. This luxurious resort, a haven by day for tourists and business people alike, is also a spectacular sight at night thanks to the imaginative illumination supplied by Philips Lighting Turkey.

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“One reason the effect is so impressive is that we sat down together with the architects during the planning phase to determine the best way of emphasising the architectural features of the resort using light,” says S. Funda Igdir, one of the lighting designers involved in the project.

Striking impression Each area of the Cornelia Deluxe was considered separately. To start with, the resort owners wanted the main entrance to create a striking impression, even from a distance. Normally, this is achieved by floodlighting the facades and lighting the immediate surrounding areas such as approach roads, gardens and car parks. In the case of the Cornelia Deluxe, however, the attractive lighting inside the main entrance can already be seen when approaching the building, so no facade lighting is required. Bollards are used to guide visitors toward the building.

The next area the visitor encounters is the lobby, where higher levels of illumination draw attention to the reception desk. The coloured glass used in the construction of this desk is emphasised by fluorescent lamps. Given that the lobby is situated in a high atrium, atmospheric ceiling lighting is impractical, so decorative wall-mounted luminaires are used to create a relaxing, informal ambience. In view of the different lighting requirements at night and during the day, lighting controls which allow

adjustments by switching and dimming are applied.

Careful choice Illumination levels have also been chosen carefully throughout the Cornelia Deluxe.

“Brighter environments encourage activity, whereas softer lighting is more conducive to relaxation and romance,” says M. Tuba Baskan, another Philips lighting designer. “Cafeterias and other food outlets with a greater throughput of people therefore have higher illumination levels than restaurants and bars, where the atmosphere should be more intimate.”

Full control The conference hall uses projectors with halogen lamps for its ambient lighting. This avoids the possibility of interference with the infrared distribution system that is part of the conference hall's simultaneous interpretation facilities (something that can occur with fluorescent lamps controlled by dimmable ballasts). Indirect lighting is deployed to emphasise the ceiling structure, and adjustable spots create decorative effects on the walls. The entire lighting system in

the hall is controllable to accommodate presentations, slide shows, video conferencing and other situations where the lighting level is important.

Energy efficiency In the corridors, energy efficiency is the primary objective, hence the choice of spots with compact fluorescent lamps and night-time dimming. In service areas, the quantity of light is generally more important than the quality. Low-energy fluorescent lamps are used in the toilets to minimise energy use, with halogen minispotlights providing extra illumination for the mirrors. In the car parks, general service areas, kitchens and stores, surface-mounted waterproof luminaires or recessed luminaires with prismatic louvers supply the required brightness without being affected by dust or moisture.

Good for business The successful implementation of such a wideranging and fully integrated lighting solution at the Cornelia Deluxe Resort has been good news for everyone involved. “The resort owners are extremely pleased with the result,” says S. Funda Igdir, “and we have used the project as a reference to help win many more hotel lighting contracts, the majority of which have also been in Turkey’s Mediterranean region.”■

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Netherlands

Cocoon of light Shoebaloo, Amsterdam

All you see from the street is a façade of dark glass, which hides the shop interior from view.

The illuminated items in the shop window appear to float in their own mirror image. Your curiosity is aroused. You take a few steps closer.

The dark glass sliding doors open and your eyes are drawn inside into a transparent, uniformly lit interior. A cocoon is perhaps the best way to describe it. Your gaze is drawn by the bright white display lighting at the end of the room.

The light given off from the walls, ceiling and floor changes according to the time of day. There are no decorations, no distracting ornaments; there’s nothing on the shop floor but two chairs and a counter. Their oval shape and white shiny exterior add to the feeling that you have been

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‘Amazing!’ and ‘Never seen anything like it before.’ These are just two of the reactions from people at the opening of the fully renovated Shoebaloo.

The exclusive shoe shop in P.C. Hooftstraat in Amsterdam has had a complete refit, in which lighting plays a prominent role.

transported to a different time and space.

Another world Roberto Meyer from the Amsterdam architects’ office Meyer en Van Schooten explains: “For Shoebaloo we wanted to create a space with an atmosphere that could change. The idea was that when you come into the shop you feel as if you have entered a different world. To achieve this we fitted the ceiling, walls and floor with plastic elements. The floor is laid with glass so it is good to walk on. Behind the plastic elements there is dimmable fluorescent lighting at the interface between the ceiling and the wall and between the floor and the wall. We can use this to mix uniform light of any colour across the entire

surface area. The ambience changes according to the time of day. It can also be tailored to suit a specific event or a theme-based presentation of a collection, for example. From warm evening red to icy blue, anything is possible. Space, light and music are all used to create a different and unique experience.”

From idea to technical implementation It is a challenge for any designer to implement a daring idea. You have to bear in mind what technical solutions are available to help you realise the design. Meyer en Van Schooten contacted Philips and explained the idea. The lighting design had to create a surprising colour effect, but at the same time good basic lighting

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was also required to ensure the colours of the collection were reproduced effectively. “There were a lot of tests before the lighting plan was decided on,” explains Philips lighting designer Ruud Bagen. “As a visitor to the shop you had to be able to walk in light, as it were. If you are using a large quantity of lamps, the temperature becomes a critical factor.” Indirect lighting with dimmable fluorescent lamps proved the best solution. The Philips TL5 Pentura luminaire was chosen. Fitted with plastic covers in red, green, blue and yellow, the TL5 lamps gave the best performance in terms of coloured light. In the colourless form they also provided optimum basic lighting.

Indirect lighting The shop space at Shoebaloo is made up of thirteen interlinked segments. Along the length of the shop the coloured tubes were fitted behind the plastic, at the interfaces between the ceiling, walls and floor. In between the segments, colourless tubes were fitted vertically to provide the basic lighting. Cees Veerman from the Veerman installation company installed a total of 522 luminaires. “In consultation with the architect and Philips Lighting, a system was developed to ensure optimum indirect lighting with coloured light. In the corners we fitted panels with a reflector. These are suspended at an angle of 45 degrees and are fitted on both sides with four TL-5 lamps with coloured covers.

The core of the installation Eight Scenio 100 architectural lighting controls form the heart of the lighting installation. These dim racks control all the lamps: seven racks primarily for the coloured tubes, one rack for the colourless tubes and the halogen lighting in the shop window. The Scenio controller system has a dimming program for every day of the week.

The colours and therefore also the ambience change automatically depending on the time of day. A control panel in the shop makes it possible for a static scene to be selected for a short while. This interrupts the programmed sequence temporarily. Following this, the system switches back to a programmed scene. “It is this dynamic setting that makes the design so unique,” says Philips project engineer Ronald van de Wetering. “And it will always be unique because the settings can be changed completely.

Some fine-tuning had to be carried out, but the result we have achieved has set an entirely new point of reference for shop lighting in P.C. Hooftstraat.” ■

They generate perfect indirect light. They are mounted using plug-in connectors to ensure that maintenance or lamp changes can be carried out easily. The shell, the mounting material and all fittings had to be sprayed white to ensure a good light output. The effect created had to be absolute.”

Architecture: Meyer en Van Schooten, Amsterdam, The Netherlands Lighting design: Ruud Bagen, Philips LiDAC Benelux

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Greece

The language of light Technopolis, Athens

Hail a taxi in Athens, and you will soon discover that it is the taxi driver who decides if he is interested in going where you are heading. Ask him to stop, and he will at best slow down a little to listen to you shout where you want to go. In this case, images are more meaningful than words. Whether we are trying to locate a particular building or navigating our way across a city, we need points of reference to help us make sense of our surroundings. In Athens, the innovative use of light has transformed the once overlooked chimneys of Technopolis (a cultural centre housed in a former gas factory) into a spectacular landmark.

Technopolis, originally built in 1857 as a gasproducing factory and located in the Gazi district of Athens (named after the industrial complex built there), was recently renovated to form part of the cultural centre of the capital. In the 19th century, cities were dependent on factories like this for gas to light their homes, factories, theatres, offices, shops and streets.

Such factories were invariably located on the city outskirts, where coal was burned and the resulting fumes purified and stored in huge metal tanks, from where it was conveyed to the city via a complex network of piping.

Challenge As a form of communication, lighting has its

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limitations; its language is incomplete. But what it can do is to speak in metaphors and create illusions. The challenge facing Samantha Fanou, head of Athens’ Department of Municipal Engineering, and Philips lighting designer Duilio Passariello was to use the language of light to breathe new life into this old gas plant.

A new era Today, we have entered a new phase of lighting evolution, as we witness the rapid emergence of the solid-state lamp: the light-emitting diode (LED). For the first time, lighting is electronics, and vice versa. The change is significant, not least in terms of the drastic reduction it brings with it in the amount of energy needed to

produce light. LEDs will eventually replace fluorescent and halogen lighting in many applications. One of their most welcome qualities, particularly in stage lighting and city beautification contexts, is their capacity to produce monochromatic light in a range spanning almost the entire colour spectrum. The efficiency of most LEDs is low (30 lm/W), but they still represent a substantial advance compared to conventional sources filtered to obtain deep saturated primary colours.

Derivatives of the basic hues (blue, red and green) can be acquired using tri-chromic LED sources.

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Duilio Passariello: “Colours were selected to serve as a metaphor of the various structures’ original use. For the chimneys, red LEDlines were used to produce a glow reminiscent of burning coal to create the illusion of fire and heat.”

Colour as metaphor With the Technopolis project, Greece is one of the first European countries to have used this new and powerful light source to illuminate a whole building complex. The decision to use LEDs for the Gazi project was born of the desire to build a symbolic bridge between past and present – between gas state and solid state. It was decided that phase one of the project would comprise the illumination of a number of especially selected elements: three chimneys, a gas storage tank (now in use as a radio station), a cooling unit and two former office buildings (now used for exhibitions and other cultural events). For each component, a colour was selected that would serve as a metaphor for that component's

original use, whilst at the same time bringing out the architectural features of the complex as a whole. For the chimneys, for example, red LEDlines were used to produce a red glow reminiscent of burning coal to create the illusion of fire and heat. For the gas storage the colour blue – associated in our minds with the bluish tinge of a gas flame – was selected. The office buildings were illuminated with yellow to match the colour of the existing stonework. For all the remaining facilities green was used, as a means of bringing a sense of completion to the colour scheme.

Solutions A night-time on-site test was carried out to

assess the feasibility of the proposed plan. The challenges presented by the project were not inconsiderable, and it was highly ambitious to use minute LEDs to illuminate such a massive structure. The three chimneys are almost 25 metres high, with a diameter of 2.5 metres at the bottom tapering to 1 metre at the top. They are built of red brick, mortar and rusted steel frames. The results obtained even exceeded the expectations of Philips lighting designer Duilio Passariello: “The greatest surprise was the phenomenal degree of luminosity achieved with the red BCS 703 LEDlines. The light distribution from the narrow-beam collimators allowed a smooth gradient of light to be created in the luminance that helped bridge the difference in

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Samantha Fanou: “Lighting has helped the citizens of Athens to rediscover the aesthetic value of the 19th size between the top and the bottom of the object when the luminaires where placed 1 metre away from the chimney. The 60W red Luxeon II LED delivered sufficient luminosity to make the chimneys visible from a distance of approximately 1 kilometre.”

The gas storage tank was painted black – a nocturnal lighting challenge if ever there was one. Like any other gas reservoir it is surrounded by steel-frame columns that served as fixing mechanisms allowing the tank to move up or down according to the volume of gas inside. Rather than illuminating the flat surfaces, it was decided to direct the lights, at an angle, not onto the tank itself but onto its metal support structure. To this end, four blue LEDline luminaires were placed both inside and outside each of the 12 steel-frame columns, mounted on the concrete plinths supporting the columns in order to reduce the visual impact and increase the magical effect. The bluish glow produced by these luminaires revealed the fine interlacing of the metal structure plates, bringing a lightness

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and clarity of form to an otherwise heavy, dark cylinder and giving visual expression to the ‘gas’ inside. The spheres capping the top were illuminated with traditional sodium lamps to create a contrast with the columns.

After the storage tank, the cooling unit presented less of a problem, thanks to the white paint covering the swirling tubes. It was lit with the same blue LED light, the white surface giving rise to a more saturated, solid impression.

Rediscovering the past, discovering the future The creative use of lighting in the Technopolis project has brought to the factory a dream-like quality, perfectly in keeping with the almost otherworldly beauty of the historic heart of Athens. Samantha Fanou: “One of lighting’s main roles in the city is to redeem those elements of the architectural heritage that have, for whatever reason, come to be considered of little value. The experience in Gazi has proven that creative architectural lighting is a tool with which to create awareness of urban objects of

century industrial architecture of Gazi.”

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historical value. Lighting has helped the citizens of Athens to rediscover the aesthetic value of the 19th century industrial architecture of Gazi. The municipality has acknowledged the success of this project by requesting the implementation of a second phase that is scheduled to start next winter.”

Duilio Passariello concurs with his colleague, adding “I was thrilled by the realisation that what we were doing was truly groundbreaking – with solid-state lighting we were, in effect, ushering in a whole new era in outdoor lighting.

But there’s something else, something that has to do with the unique characteristics of the light produced by a solid-state chip, a visual quality that distinguishes it from any other source of lighting; after all it is electronic light. The ‘fluid’ that comes out of these luminaires causes the illuminated surfaces to ‘materialise’, as if they are transparent objects producing light themselves. In the case of the brick chimneys they looked like they were burning coals. The metaphor had been achieved.” ■

Lighting design: Duilio Passariello, Philips LiDAC Europe

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Norway

Turning the tide Kabelvaag town square

All towns have their own history, but not all have such a diverse and unique past as Kabelvaag. A thousand years ago, Kabelvaag became the first urban settlement in the north of Norway. Why? Because it happened to be situated conveniently close to good cod fishing waters, had a natural, sheltered harbour, and its beaches were ideal locations for pulling fishing vessels ashore. Kabelvaag developed as a harbour town and trading post, and gradually gained the status of a cultural and political centre of national importance.

By 1900 much larger fishing boats were being built, and Kabelvaag’s harbours were no longer considered suitable for use. The town lost its central status, and its strong links with the sea were weakened. The main square sank into neglect, and two major fires destroyed much of the town centre. This series of misfortunes drove the citizens of Kabelvaag to rally together in a concerted bid to create a new and better town.

Their dream was to build a new town square – a square that would serve as a symbol of hope and renewal for the entire town.

From trial to transformation The Norwegian National Design Forum invited three teams to submit lighting designs for the town square. The winning team comprised the artist, the town planner CUBUS A/S responsible for the overall plans for the town square, and Philips. It was felt that this team's modern lighting design would contrast well with the more historically-based elements already selected.

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Prototypes were built and approved.

Construction commenced in June 1999, and was completed by November of that year. The last of the fibre-optic lights were flown in on the day of the official opening ceremonies and installed during the mayor's speech.

Sailboat masts Whilst modern in design, the lights running from the town to the harbour reflect something of the town’s past. Their tall, slender masts are reminiscent of sailboat masts, and the luminaires owe their inspiration to the old lanterns used on traditional wooden sailing boats. Each luminaire – a special version of the Torino luminaire from Philips’ renowned Metronomis range with polycarbonate bowl, PMMI refractor and diffuser and 55W QL lamp – is fitted with a little sail that serves to shield and reflect the light, but is also perforated with small holes, allowing some light to shine through. Standing on the town square, it is easy to imagine oneself on deck, looking out to sea.

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A millennium gift The artificial lighting placed in the town square does not seek to compete with the unique, aweinspiring quality of the natural light in this part of the world, but rather to complement it, drawing the eye upwards from the square towards the stars and the magical Northern lights.

Kabelvaag now has a town square quite unlike any other, intimately linked to its unique history.

A town square that blends in with and enhances the natural beauty of its surroundings. A millennium gift to Kabelvaag from itself – and a dream come true! ■

Innovative form Bollards have been used to mark the boundary between the town square and the surrounding streets. Rather than using traditional bollards, the designer opted for an innovative sculptural form based on a mast and sail. He fitted the stone surrounding each bollard with fibre-optic

cables emitting three soft strips of light delivered from a Philips Focus PCV 745 generator (100W) via 3 and 5 mm end-light harnesses. The result is an intimate, mystical, night-time glow that brings out the form of the mast and sail in the darkness.

Architecture: Arkitektgruppen Cubus, Norway

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Netherlands

Safety first Lelystad railway station

Many travellers, particularly women, are concerned for their well-being when they have to use a railway station at night. Light alone cannot solve the problem, but recent experience has shown that the 3-D concept, which places particular emphasis on vertical lighting – making people and the surroundings easily recognisable, regardless of the time of day – can play an important role in increasing travellers’ safety.

In September 2003 the original lighting installation at the railway station in Lelystad was converted to Philips’ 3-D concept with the aim of increasing the safety of a station rated as one of the most unsafe in the country.

of lighting for the average person in the average situation, the lighting design team wanted to light for the extreme situation: an older traveller with poor eyesight in a busy station. Comfort for the traveller was also an important consideration: the lighting should smooth the flow of passengers through the station and prevent unnecessary delays.

Dark zone The Dutch national railways invited Philips Lighting to submit a proposal for the application of the 3-D concept to the central station in Lelystad. This building is a distinctive construction, modern and with many clear surfaces, but it is also a problem case as far as public safety is concerned. Indeed, in 2001 it was rated as one of the ten least safe stations in the Netherlands. Located between a decoratively lit city square and a tastefully illuminated court building in the centre of Lelystad, the station had – because of this contrast with its neighbours – become a dark zone favoured by criminals.

Effective solutions For the platforms the desired horizontal illuminance was set at 250 lux, with a uniformity greater than 0.5. It was also specified that the vertical illuminance should be at least 75% of the horizontal illuminance. The MINI 300 luminaire was selected for this installation. This luminaire combines high vertical illuminance with a good cut-off in the direction of the approaching trains, so that glare would not be a problem for the train drivers. CDM-TD 150W lamps were chosen, an efficient light source with a long life, outstanding colour rendering properties (Ra 86) and a warm impression of 3000K. The halogenlike character of this lamp, in combination with the white coated reflectors, produces a pleasing lighting contrast.

New starting points Together with Arjen Marees of NS Stations Facility Management, the team from Philips Lighting undertook an extensive study of the location and its lighting.

With the new lighting design, public safety was the prime consideration. Consequently, the goal was not to meet the prevailing lighting norms, but to satisfy the railways’ customers. The current specifications were replaced with lighting standards that allowed travellers to feel safe when getting on and off the train and to easily find their way through the station. Instead

Inventive use was made of the various optical reflectors from the MINI 300 range, and so the new luminaires could be installed in the same locations as the former lighting without modifying the existing architecture, significantly reducing mounting costs.

All the fluorescent luminaires on the masts outside the platform and not under the roof were also replaced with the MINI 300, but with a lower-wattage lamp: the CDM-TD 70W. The installer designed a special bracket so that two MINI 300s could be mounted directly onto the original masts, resulting in another cost saving.

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The night-time situation prior to the changeover to the 3-D concept

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At the front of the station an alternative had to be found for the existing downlights. The luminaires here are very visible and so form an important aesthetic element of the station’s architecture. The modern-looking Triangle luminaire from the Philips-AEG range was chosen. The Triangle houses two PLC 26 W lamps, which create a warm, pleasant atmosphere and give good vertical lighting.

Striking result Viewed from a distance, the station has regained its place in the city. Striking, but not overdone, it now stands as an equal between the city square and the court building. The high-contrast lighting reveals the innermost parts of the station, such as the elevators. These were designed to resemble the style found in 18th century railway stations. Through the glass roof passengers waiting for their trains can now be seen, and the reflection of the light from the platform highlights the coloured steel construction of the roof. In short, the station has

come alive!

On the platform the changes are also clearly noticeable. The vivid colours of the station stand out, even from a distance. It is now possible to sit on the benches and read a newspaper, and the good vertical lighting also makes everything else on the platform clearly visible. The horizontal illuminance on the platform averages 270 lux and displays outstanding uniformity. Around the platform the vertical illuminance is 180 lux.

Step in the right direction The new installation in Lelystad can be seen as the prototype of a safe station. It is commonly recognised that the factors contributing to people’s sense of anxiety in public spaces are many and complex. Light alone cannot guarantee public safety, but it is hoped that this lighting design represents a step in the right direction. ■ Lighting design: Paul Entrop and Jos Hoens, Philips Lighting

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France

Flying high Airbus site, Toulouse

The aeronautics development zone in Toulouse includes 100,000 m2 of halls, 800,000 m2 of useful floor space, 23 hectares of aircraft parking space, 36 hectares of taxiways, and 3 km of underground tunnels. The project management was entrusted to ADP (Aéroports de Paris), to the Toulouse architects Cardete et Huet, and to the Technip design company.

Unique project, specific demands This unique project involves the construction of buildings with very specific constraints to a very tight schedule, i.e. approval of the urban development zone in 2001, start of works in the first quarter of 2002 for completion of the main buildings by the end of 2003, first test flight in 2004, and marketing of the A380 in 2006.

As part of the project, Airbus wants to harmonise the lighting equipment throughout the site, with specific constraints in terms of cost, lead times for delivery, and after-sales service.

For the general lighting of the assembly halls, luminaires installed at a height of 32.5 metres,

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After a long period of contemplation and deliberation, Toulouse was chosen as the location for the assembly halls for the Airbus A380, the world’s only two-deck four-aisle airliner. This gave rise to the STAR construction project on a 260 hectare site, the largest European urban development zone devoted to aeronautics. The lighting part of the project presented several major challenges, but now everything’s set for take-off.

for an illuminance level of 450 lux on the ground, must function at an ambient temperature of 45ºC. For the offices, the contractor requires the use of lighting equipment that meets the constraints in terms of flexibility, efficiency and interfacing with the special false ceiling.

Effective solutions The Philips team – including Daniel Hautesserres and Frédéric Uthurralt, supported

by Daniel Lecomte – put forward particularly suitable technical solutions.

For the assembly halls, the HDK 100 industrial luminaires met the contractor’s demands, and installation in groups of 2, 3 or 4 units makes it possible, taking into account the maintenance problems associated with the virtually constant occupation of the premises, to maintain satisfactory uniformity if one luminaire is faulty.

Also, the compatibility of the sodium and metalhalide lamps on the sodium ballasts allowed adaptation to the contractor’s choice of lighting

ambience.

In part of the halls, in order to adapt to the specific features of the ceiling, the lighting will be provided by MWF 330 asymmetrical projectors with remote power supply. For all of the offices, a special luminaire equipped with two TL5 28 W lamps and C6 optics, has been developed by product marketing to meet the requirements of the architects.

As Frédéric Uthurralt explains, “… the adoption of the effective solutions proposed by Philips led to the company supplying, among other things,

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over 2,000 high-bay HDK 100 luminaires equipped with HPI Plus 400W lamps, over 400 Tempo floodlights, some 1,500 Trilogy recessed downlights for transit areas, almost 2,000 TBS 450 recessed luminaires for office lighting and 1,600 sealed Pacific luminaires.”

For the external approaches of the buildings and taxiways, asymmetrical SNF 111s and Tempo floodlights have been used to fulfil the requirements regarding visual comfort and glare, imposed by the almost immediate proximity of the airport runways.

Closer ties According to Daniel Hautesserres, one of the most pleasing aspects of this project was that it brought Philips closer to its customer: “This operation has allowed us to strengthen our technical and commercial ties with the people responsible for the finance, new buildings and maintenance of the Airbus site, and to define standards in terms of lighting sources and equipment on the entire Toulouse Airbus site.” ■

Architecture: Cardete et Huet, Toulouse, France

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Indoor futures

Living light Markus Reisinger, Philips LiDAC Europe

Artificial light, or ‘electric light’ to be more precise, has traditionally been the preserve of the electrical engineers. Down the years it has been treated as a true technical discipline based on figures and formulas. Less attention was paid to its aesthetic dimension and its potential to enhance people’s sense of well-being.

Daylight, on the other hand, has always been considered a major influencer, and therefore has very much had its place in the architectural and design creation process. Unfortunately, electric light has not yet attained that status. But close cooperation on the integration of daylight and electric light can ensure the quality of a lighting installation – and of the total space. And that’s something that everyone notices!

Back when mankind was not yet able to measure time in hours, minutes or seconds, the sun’s advance across the sky indicated the passage of time. By careful observation of the sun’s movement, Man was able to divide the day. Light is, in effect, a natural clock, its intensity and colour appearance changing over the course of the day, from a cooler bluish ambient colour in the morning to a warm impression in the evening. There is also a sensual aspect to this, as the temperature is directly related to the sun’s path: highest in the early afternoon and lowest in the deep of the night.

Key enabler Light and dark – the rhythm of day and night – are fundamental to our lives. Consider, for instance, what happens in the morning, as night turns into day: vital body functions, including heart rate and blood pressure, speed up in anticipation of increased physical activity. The advent of electric light was the main factor enabling us to deviate, in our activities, from the cycle of light and dark. For the first time it was easy to shift the day, to extend daytime activities into the evening and night. Until fairly recently the visual qualities of electric light have tended to predominate.

However, that is about to change. Lighting design already explores and utilizes psychological effects; and the biological effects of light may soon lead to a fundamental reappraisal of lighting design.

design’. These are the ‘ordinary’ rooms and spaces, spaces where we spend a considerable amount of time engaged in the more mundane dayto-day activities. And yet, though we may not be aware of it, these rooms have a remarkable psychological influence on how we perceive our buildings as a whole.

Why should such spaces have static lighting? Variation is the key to creating an atmosphere of warmth, vitality and comfort. After all, the rhythmic changes in light in the course of a day and the shifting patterns of our daily activities feel natural and reassuringly familiar to us. There is simply no reason not to have dynamic lighting in the spaces we use every day.

To say that light alone can change whole rooms would be an overstatement. But together with the architecture, lighting design can play a substantial role in influencing the ambience of a space and imbuing it with dynamics. At a time when we are already identifying possibilities to use the biological effects of electric light to influence our bodies, we should design lighting that is emotional, that serves our moods, not only our visual needs. Today, we have a broader understanding of our bodies and our psyche than ever before. Now, this just has to find expression in the design of our built environment – to enhance our sense of well-being. ■

Creating ‘living light’ * The average European citizen spends 70% of his time indoors, be it at work, at home or engaged in leisure activities. In these indoor spaces – our daily spaces – light often plays the same role as music does in films. It is there, but we do not realize how much it contributes to setting the atmosphere, unlocking emotions from its subliminal position. It is not a question of what we see, but rather how we see it.

Unfortunately, and inadvisedly, a number of our daily spaces are not recognized as meriting ‘lighting

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* ‘living light’: a term used by Adolphe Appia, the 19th century Swiss theorist of stage lighting and décor, to describe the light of a candle

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Germany

Seeing the light Leipzig Institute of Humanities

In October 2002 the teaching staff and students of the Leipzig Institute of Humanities (Institut für Geisteswissenschaften) moved into their new premises on the site of the old ‘Gewandhaus’, bringing to an end a protracted quest for suitable accommodation. Fittingly, the lighting installation chosen for the building demonstrates creativity and imagination, the very values the Institute of Humanities was founded to develop.

Long ago universities used to be housed in intimidating, prestigious buildings, which stood in all their glory in the centre of the town and represented the desire of the bourgeoisie to get on in the world by means of education and knowledge. The speculative thinkers of the philosophical faculties in particular felt very at home there.

During the course of the 20th century, a more down-to-earth approach to all this developed.

The focus shifted to practical training for chemists, physicists, engineers and doctors, empirical measurement became the only credible method to use, and the architecture of the new universities became similarly practical and devoid of imagination.

The humanities scholars, with their diverse historical viewpoints, usually felt quite out of place in the modern environment.

Since the 1970s the humanities scholars in Leipzig have had their offices and seminar rooms in the highest building in the town, the 144-metre high ‘Uni-Riesen’. At the time it was

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built it was supposed to be a symbol of modernity, but it was badly designed for its purpose and was heavily criticised right from the start. In May 1998 the university decided to move out and spread the various faculties over a number of buildings in the town – a temporary solution until the new premises on the site of the old ‘Gewandhaus’ were ready. The professors and students moved into the new premises, built

by Dietrich und Dietrich (Stuttgart), in October 2002. The building is made up of 5 almost cuboid elements with a surface area of 9,000 m2, outer walls of bright red clinker brick and simple concrete halls inside.

A framework of steel supports surrounds the loggia and courtyards, creating a spacious entrance hall that suggests an ‘imaginary airspace’. Apart from this, the building boasts no other prestigious effects. Uniformity is the fundamental principle on which it is based. Just as the building does not favour the Humanities over the other faculties, the various subjects – Philosophy, Social Sciences, History, Languages

and African Studies – are also given equal prominence.

The electrics for the building were designed by the Schöbel engineering office, as were the telecommunications and data network and the building management system.

The lighting solution was designed specifically to suit the building and the different types of rooms and was prepared in conjunction with Philips AEG Licht. The TL5 surface-mounted luminaires of type TCS 600 with OLC (Omnidirectional Luminance Control) optic were used in the offices. This optic – patented by Philips – has parabolic side reflectors and 3-dimensional lamellae that distribute the light optimally within the room and ensure extremely uniform all-round glare prevention.

This three-dimensional optical system is used to even more striking effect at the PC workstations in the PC pools. The engineering office worked together with Philips to develop a special luminaire with minimalist aesthetics for these rooms. It shows most impressively how the architecture and atmosphere in a room can be

enhanced to great effect by putting the right luminaire in the right place. As Uli Köhler of Philips-AEG explains: “The basis for the new luminaire already existed: the Executive-TPX 700 Freedom of Design, a lighting system that provides a massive range of possibilities to help architects and lighting designers to implement their own lighting ideas. In this case we stripped the luminaire right down to its core – the 3-D control optic and the TL5 fluorescent lamp. This solution is as simple as it is effective. The result emphasises what we mean by proximity to the client, i.e. flexibility and constructive cooperation.”

The humanities scholars in Leipzig now have a new building, and new light. Now they can apply their minds, without distraction, to the task of education – to cast a new light on established thinking, add to the sum of Man’s knowledge and find new ways to take humanity forward. ■ Architecture: Dietrich und Dietrich, Stuttgart, Germany

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Netherlands

Quality, style and elegance Bijenkorf store, Maastricht

27 August 2003 marked the grand opening of a new Bijenkorf outlet – the twelfth in the Netherlands. Visitors approaching the historic city of Maastricht from the St. Servaas Bridge can hardly fail to notice the new department store's striking frontage. On entering the building, shoppers find themselves in a land of plenty, where lavish and skilful use has been made of both light and glass to show the store's many special features off to best effect.

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The new store in Maastricht underlines the Bijenkorf's image as an inspiring, trend-setting and dynamic concern. Its fashion department offers customers of all ages designer clothing from around the world, as well as a selection of private labels. The finishing touches to a quality wardrobe can be found among the shoes, jewellery and accessories on sale. Those in search of household commodities can enjoy poring over the generous range of tasteful lifestyle products. A gift shop, sports department, travel items, books, CDs and new media complete the product range. In short, the Bijenkorf aims to be a constant source of inspiration to its customers – customers to whom quality, style and elegance matter.

The plan involved the use of a variety of luminaires – all fitted with the same sparkling lamp, the Mastercolour CDM-T 35W, and offering a choice of beam widths. In each case the lighting was chosen to suit the type of department, the nature of the products and to complement the design and lighting of the interior and rear wall. Depending on the product, department and architectural lighting, either a soft effect (e.g. for ladies’ clothing) or a contrasting effect (e.g. for men’s clothing) was chosen. In addition, the luminaires were positioned to allow shadow to be used to further highlight the illuminated areas. The aisles are a good example of this: they are purposely not illuminated.

Stylish ambience Philips developed a lighting plan for the store that would show each of its special features to full advantage, creating a stylish ambience that sets the right mood. A good balance between general lighting, specific product lighting and architectural lighting was paramount here.

Depending on the ambience required, in some departments and in the ‘Café B’ it was decided to use warmer White SON light with luminaires fitted with the SDW-T 50W lamp. In order to maintain a calm ceiling architecture, a distinction was made between the use of round luminaires in the departments and the use of

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square luminaires, primarily in the special lowered areas above the aisles, in the ‘Meester Banket Bakker’ (‘Master Bakers’) and in the café.

Unique solution A unique solution was required for the cosmetics department, since the lighting already built into the furniture supplied by cosmetics manufacturers had to be taken into account.

Interior design architects Merkx+Girod provided an eye-catching design for the back walls of the shelves, with fluorescent lamps bringing the coloured glass to life. For optimal effect, the distance between the luminaires on the back wall was altered, and the general lighting adjusted accordingly.

Functional and fashionable In the space between the various floors, opposite the tastefully illuminated escalator walls, Daruma luminaires with an adjustable spot fitted with anti-glare glass were used. Scrabble luminaires were placed in the lowered ceilings on all four floors, the cardanic suspension system making it possible to illuminate the areas next to the aisles to good effect. Wide-beam Trilogy downlights were used for all the general lighting. Different beam widths were applied in certain ‘problem’ areas, creating a pleasing tension. In the menswear department, for example, where dark suits predominate, Mezzo luminaires were attached to the walls. These

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adjustable downlights are usually fitted with a 24-degree beam, but an exception was made in the case of the wall of the menswear department on the ground floor, where a mix of two beams was applied.

Setting the tone More than 130 years of experience have been combined with the very latest in furnishing, lighting and presentation technology to present visitors to Maastricht with the chance to sample the department store of the future. ‘The Bijenkorf sets the tone’ – an apt slogan if ever there was one. ■

Architecture: Merkx+Girod (interior) / de Architectengroep (exterior), Amsterdam, The Netherlands Lighting design: Marike de Kruiff, Philips LiDAC Europe / Ruud Bagen, Philips LiDAC Benelux

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Switzerland The new World Cycling Centre at Aigle in the canton of Vaud was officially inaugurated on 14 April 2002. Since then, this state-of-the-art complex has already welcomed a great many visitors, trainees and competitors (primarily cyclists, but also athletes, gymnasts and other sports enthusiasts).

Five-times Tour de France winner Lance Armstrong has also visited the centre and was said to be extremely impressed with what it has to offer. No higher praise, indeed.

Building for the future UCI World Cycling Centre, Aigle

coaches from all countries can come here to train, and the centre also helps national federations to develop the structures necessary to advance the sport in their own countries.

The centre provides excellent training facilities for cycling – including a velodrome with a 200-metre wood-covered track and seats for 800 spectators – and for other sporting disciplines.

There is, for example, a 1,700 m2 multi-purpose area for athletics and team sports, as well as facilities for gymnastics and body building. The centre also offers excellent restaurant and conference facilities for up to 100 guests and can host exhibitions, concerts, banquets and other large events.

Boasting a prime geographical location at the foot of the Alps, close to many of the main European transport routes, the new multidisciplinary and multi-purpose UCI World Cycling Centre is an ideal location for national and international sports federations and sportrelated organisations to base their administrative headquarters and training and education centre.

The UCI (Union Cycliste Internationale) – the body that regulates and manages all the disciplines of world cycling and organises the calendar of international competitions – decided to build this centre of excellence in order to safeguard the future of all cycling specialities, in particular the Olympic disciplines. Riders and

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Velodrome The key element in the architectural design of the velodrome is the roof, which is based on the shape of the disc wheel of a racing bike. The advantages of this are: • a light load-bearing structure, consisting of a three-dimensional steel framework that supports a double, inflatable membrane; • it is translucent, allowing valuable natural light to enter the velodrome; • the interior space is free of any bearing points.

Lighting specification The lighting in the velodrome had to be tailored to the nature of the activities being carried out there and the level at which they are performed.

Although the velodrome requires high-quality

lighting, the lighting did not have to meet the standards needed for television broadcasting or international competition.

To ensure adequate lighting for training and competitions at national level, the average track illuminances had to be 300 and 600 lux (maintained values) respectively. The central area, which is dedicated to training and regional competitions (gymnastics, volleyball, basketball, handball), required an average horizontal illuminance of 300 lux (maintained).

Lighting solution The lighting solution chosen consisted of the ArenaVision MVF 401 luminaire equipped with MHN-LA 1kW/842 lamps (100,000 lm, 4200 K, Ra 80). A total of 42 luminaires with a widebeam reflector were installed to provide the required lighting levels. These luminaires are fixed to the load-bearing structure of the roof at heights of between 13 and 16 metres.

The total installed power, including gear consumption, is 46.5 kW. Tomorrow’s stars The World Cycling Centre in Vaud has a state-ofthe-art infrastructure and facilities. Now the UCI – and the other sports federations to which the Centre is home – can push ahead, in stimulating surroundings, with their quest to produce the next Lance Armstrong. ■

Lighting design: Gilles Page, Philips LiDAC Europe

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The roof construction of the velodrome is based on the shape of the disc wheel of a racing bike.

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Malaysia

Lighting on demand Approach highways, Kuala Lumpur International Airport

Highways leading to Kuala Lumpur International Airport are now illuminated by an extremely advanced lighting system. More than 3,000 road-lighting luminaires, covering 66 kilometres of dual carriageway, are controlled using telemanagement in what is probably the most ambitious project of its kind anywhere in the world.

Light levels are automatically altered to cater for ambient conditions such as rain, as well as traffic density. This 'lighting on demand' enables a substantial reduction in both power consumption and maintenance requirements.

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One of the main requirements when drawing up the specifications for the project was that each individual lamp along the entire 66 km stretch of highway should be independently dimmable.

This called for a network linking all 3,300 positions to a central control facility. As this was a state-funded project, a local company had to be involved to ensure compliance with government regulations. There was also considerable time pressure, with only 12 months allotted to complete the entire project.

Telemanagement gives total control Philips set up a joint venture with the Malaysian company Zeta Electric to develop the solution.

The result was an intelligent lighting system that uses Philips’ STAR*Sense telemanagement control. Telemanagement makes it possible to switch or control every individual light point in the system from a central PC. It also enables specific dimming profiles for different lamps, instant reception of failure messages, and the creation of a database where all system data is stored.

Each lighting position in the system is equipped with a Dynavision DVC and SON-T 400 W dimmable lamp, outdoor lighting controller and associated control gear. Segment controllers are situated in feeder pillar cabinets to facilitate communication with the outdoor lighting controllers. Each feeder pillar is equipped with a

fibre-optic router that allows data to be sent to and from a central control point, thus enabling control of each lamp separately. VeloCity street lanterns, manufactured by Philips Luminaires Malaysia, are positioned approximately 45 metres apart, mounted on 12-m-high octagonal poles. These lanterns have an attractive aerodynamic design that reduces wind load on the poles.

For the Kuala Lumpur International Airport project, telemanagement allows the output level of each individual lamp to be adjusted to suit conditions on the road. For instance, data generated by sensors that measure ambient light levels are used to automatically increase or decrease lamp output as required. Reduced visibility caused by rain or low cloud is compensated for by higher illumination levels, without the need for any operator intervention.

Traffic density is monitored 24 hours a day, so lamps can be dimmed during quiet periods for additional energy savings.

Having system-wide diagnostics reduces the cost of ownership. Luminaires last longer because dimming reduces the heat build-up and associated performance degradation. The system’s overvoltage protection extends lamp lifetime by more than 30%, and the ballast is switched off automatically upon lamp failure, thus extending the life of the ballast and ignitor.

And by enabling virtual lamp power, the same illumination levels can be achieved using less electricity.

Greater maintenance efficiency Telemanagement also leads to more costeffective maintenance, with savings approaching 50%. The central PC stores precise information on the burning hours of each individual lamp, and can therefore monitor lamp life performance, predict lamp failure, and work out an optimum maintenance schedule. This makes both group and spot replacement of lamps much more efficient. ■

Safer and more pleasant driving This extensive management of the lighting system makes driving on the roads a safer and more pleasant experience, because the lighting always matches the conditions. It also allows a significant reduction in energy consumption. In addition to the 45% savings as a result of dimming, there are other advantages.

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Spain

Visual vibrancy Parc dels Colors, Mollet del Vallés, Barcelona

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The Parc dels Colors is a park covering an area of more than 25,000 m2 in the municipality of Mollet del Valles, a district on the outskirts of Barcelona.

With its vividly coloured three-dimensional artistic features and rows of spectacular plants alternating with pergolas, the park reflects the lively character of the city. The vibrant, upbeat ambience of the park has been further enhanced with the installation of a stunning aerial lighting system.

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The project was launched by the municipal authorities following the installation of pillarmounted screens to mark the park’s limits. The challenge facing the architects and lighting designers was to come up with an aerial lighting system that would produce continuous lines of light above the park.

joints designed to absorb shock and expansion of the structural parts of the system.

The most obvious solution was to use the principle of phototransport, or RSL (Remote Source Lighting) in Philips terminology. A highly innovative structure made up of modular 4-metre-long tubes, with a lamp at each end, was then developed. Suspended from steel cables, this structure, which is based on the original Philips RSL system, produces continuous lines of constant luminance along the entire length of the tubes.

OLF film from 3M was used to transmit the light from the lamps down the tubes, while extractors specially designed by Philips in Miribel, France, project a portion of the light towards the surface immediately beneath the tube.

The lighting tubes are made of impact-resistant PMMA and are suspended by means of adjustable stainless steel clasps set on a stainless steel profile along the length of the tube. The tubes are connected by special elastic silicone

The lamps used are CMD-T 70W ceramic metalhalide lamps, and the electrical equipment/gear is housed in the supports of the cables from which the tubes are suspended.

Calculations were carried out to determine the optimum lighting levels with respect to the playful artistic features of the Parc dels Colors.

In the area beneath the lighting structure an average illuminance level (Eav) of 20 lux was required, with an average illuminance uniformity (Uav) of more than more than 0.35.

The final results achieved are Eav = 25 lux maintained, and Uav = Emin/Eav = 0.40.

Widespread approval This innovative lighting structure, with its aerial light lines reflecting the park’s striking features, now ensures that the design of the park can be admired both during the day and at night.

Crucially, the installation also met with the approval of the municipal authorities and local residents at the celebrations held to mark its entry into use. ■

Architecture: Enric Miralles, Embt Arquitectes Associats SL, Barcelona, Spain

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Portugal

Setting the scene Almada Forum, Lisbon

In September 2002 the Prime Minister of Portugal, José Manuel Durão Barrose, opened the Almada Forum, the second-largest shopping centre in Portugal. Since then the Forum has been named ‘Shopping centre of the year’ at the last MIPIM (Marché International des Professionels de l'Immobilier), Europe’s largest real-estate show in Cannes. The jury, consisting of international experts, considered the Almada Forum to be a reference project for the European real-estate market because of its attractive mix of shopping and leisure facilities. The centre was also nominated for an ICSC Award 2003 by the International Council of Shopping Centres. Time, then, for a closer look at this striking development.

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Because of the huge glass facade in front of the main entrance, the illuminated walls, spots of green light on the ceiling (representing the greenery of trees) and the neon display create an attractive and inviting ambience for visitors approaching the shopping centre (seen above in artist’s impression) at night. Spotlights mounted at various heights on the wooden ‘trunks’ project a

spotted pattern of light onto the floor of the triangular atrium, creating the impression of sunlight shining through the foliage. The dominant colour in the central meeting space is green, because coves with fluorescent lamps radiating green light have been installed beneath the escalators.

Located in Almada, part of greater Lisbon, and with a lettable area of 74,500 m2 on three floors, the Forum comprises 260 retail outlets, including a hypermarket, a food court with 35 restaurants, a cinema complex with 12 screens, and two underground levels offering parking for 5,000 cars. The shopping centre has three themed atria – one triangular (‘meeting place’), one round (‘the dome of nature’) and one square (‘the temple of technology’) – connected by one, two or three-storey corridors.

Community hub For the developer, Multi Development Corporation International, and the designers involved, the guiding principle behind the project was to provide Almada with a new centre, where shopping would be a main attraction, but which would also function as a leisure and social hub for the local population.

For this reason the Forum is not a ‘box’ with one uniform skin. From the exterior one can more or less identify the elements the complex is made of, due to its articulated structure, facades and application of various materials, textures and colours. It appears to have grown organically in the past, although in actual fact everything is recently planned and built. Special attention has been devoted to the landscaping and accessibility in order to give the centre the most natural setting possible Bringing outdoors indoors All the public indoor areas are designed as outdoor spaces: squares and streets. Here too the aim was to give each area a distinctive appearance. The triangular central atrium, with its tall wooden columns (which look like trunks of trees) and abundant natural light, is the main entrance and functions as a meeting place. One

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Blue light dominates the round atrium: ‘the dome of nature’.

The water falling from the top of the huge rock to the base at parking level is lit at night by blue or red light, simulating a waterfall or stream of lava respectively. Before each eruption of the ‘volcano’, smoke and ‘fire’ come out of the ‘crater’ at the very top of the ‘mountain’. At the same time as the ‘lava’ drips down, ‘rocks’ ejected by the erupting volcano – seating elements made of translucent polyester – start to glow red, and heat-radiating lamps create a warm

environment at several places. If the ‘water’ is moving, the amount of blue light in the circular coves at all levels in the interior and on each ring of sun screens around the exterior of the dome changes in such a way as to simulate cascading water; this changing light is clearly visible from the outside.

The same ‘rocks’ that have fallen around the ‘mountain’ are also scattered around the pedestrian exterior areas along the main façade; the intensity of the red glow of these stones appears to depend on the velocity of the wind.

The interior circulation areas, the ‘streets’ that connect all the atria, are lit by a combination of indirect lighting from coves and lighting generated by streetlighting luminaires mounted on the ‘facades’ or suspended from the ceiling. In addition to this general lighting, spotlights and downlights emphasise a number of sculptures, trees and seating places.

side of this space is totally open thanks to the giant glass facade, allowing visitors to enjoy the splendid view of the 25 April Bridge over the River Tagus and the statue of Christ.

The western square has a circular atrium dedicated to nature – featuring an enormous rock decorated with plants and a waterfall emerging organically from the car parking floors – culminating in a huge glass dome.

The eastern square, which is characterised by a lower level of daylight incidence, has a square atrium with science and technology as its theme.

The design of the food court is based on a local theme – an old fishing village, reminding visitors of the time when Almada was situated on the bank of the river and of the beaches on the nearby Caparica coastline.

The ‘outside’ character of the indoor circulation zones and their distinctiveness from other public spaces is enhanced by the placement of permanent art exhibits, ranging from standalone sculptures to works of art which are fully integrated in the architecture. Most of the public area within the complex is covered with a glass roof, bathing the shopping centre in daylight and giving visitors the impression that they are walking along a street or across a public square.

Multi-purpose lighting The lighting for the shopping centre had to fulfil various – interrelated – needs: functional, aesthetic and emotional. Har Hollands, the lighting architect responsible for the lighting design, explains: “Light should generate a feeling of safety and security and facilitate orientation. As an intangible ‘building material’ it should emphasise the characteristics of the complex to reveal the identity of the architecture and landscape. At Almada, light had to create a

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In the square atrium, the ‘temple of technology’, the twelve sloping walls of the spiral-shaped roof structure, which features a massive painting, are used for numerous lighting effects. Each of these walls can be lit in various colours by regulating the light output of three rows of fluorescent lamps separately; each row of lamps is equipped with red, blue or green filters.

Furthermore, projectors can display moving pictures, and lasers enable the projection of graphical animations. By

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connecting all the rows of fluorescent lamps, projectors and lasers to one central control unit, the effects generated by these lighting systems can be combined and synchronised with sound (effects). In the programmed scenes, effects that evoke associations with the domain of technology and science are generated. From the exterior, the spiral-shaped tower structure looks like a ‘scattering’ crystal because the intensity of light of each of the facades is constantly changing.

certain ambience in order to become a subtle, and yet highly effective, means of promotion. In short, it had to generate security, form and atmosphere.”

More than a tool Light is, however, more than a mere tool of architecture: the application of light creates architecture itself. Har Hollands again: “Artificial light creates the impression of a space; it determines how the colours and textures of materials and the dimensions of the space will be experienced. Because of the fact that the lighting gives the architectural elements their brightness – and thus organises the perception of space – we tried to ensure, for normal viewing directions, that excessively bright light sources were not directly visible. We only used bright spots or strips of light if they contributed to a desired effect. Luminaires whose appearance would distract visitors also had to be integrated in the architecture or be installed as unobtrusively as possible.”

To create an appropriate lighting climate for the

various parts of the centre – which vary in form and function – various lighting solutions from different application fields had to be applied, ranging from methods used in street lighting to state-of-the-art theatre lighting techniques.

Common to almost all areas was the stipulation of a low level of general lighting – mostly generated by indirect lighting by means of coves or by light radiating from the interior of the shops – in order to keep attention focused on the shops and to ensure that additional lighting effects would not be lost in a maelstrom of visual noise.

Tomorrow’s shopping experience Strolling around the Almada Forum, watching shoppers and other visitors linger to enjoy this light, spacious, airy retail and leisure environment, it is difficult to escape the conclusion that this complex – with its seamless integration of architecture and lighting – represents the shopping experience of the future. ■

For videos see: www.hollands.info

Lighting design: Har Hollands Lichtarchitect, Eindhoven, The Netherlands Architecture: T+T Design, The Netherlands (concept), Quirino & Viana, Portugal (execution) Artworks: Carlá Rutgers (reflective mermaid), Vasco Filipe (neon installation), Joanna Vasconcelos (sculpture of wind), Javier Barba (rock), Cristina Valades (coloured glass ceiling), Nunes Petisca (photographs)

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PRODUCT NEWS

Decoflood

Milewide Milewide is a pure, contemporary luminaire for lateral mounting applications, designed in collaboration with Knud Holsher (Denmark). It offers outstanding optical performance thanks to the adjustable road-lighting reflector and inclination angle and is optimised for different street configurations. The Milewide range (Milewide 150W and Milewide 400W) is intended for urban collector roads, roads for mixed traffic, residential areas, main streets and boulevards.

Decoflood is a family of floodlight projectors custom-designed for city beautification. Key to the Decoflood range is the wide choice of floodlights, optics and lamps, which enables all kinds of buildings and structures to be illuminated. Now, Philips has extended the range with the introduction of five new optics, making Decoflood the ideal solution for virtually every urban floodlighting application. At the same time, visual harmony is maintained thanks to the measured and consistent design language of the luminaire housings. And Decoflood’s advanced lighting performance ensures visual comfort for both pedestrians and motorists.

PROflood PROflood, the IP65 waterproof gobo and shutter projector, is a powerful tool for display lighting designers. A gobo enables the projection of text, logos, patterns and other images, making it possible to create appealing and eye-catching effects on many different types of surface. Adjustable shutters enable accurate framing of monochrome or colour beams. The PROflood architectural floodlighting system brings a new dimension to the

Modena The Modena is a road-lighting luminaire with a strong, distinctive visual character, which combines elegance and photometric performance. The Modena comes in two sizes (Modena P and Modena G) which are suitable for different application heights and offer a coherent family look.

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illumination of buildings, footpaths, public areas and other urban features. As darkness descends, it transforms the cityscape into a mesmerising interplay of light, shadow and images.

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PRODUCT NEWS

Carpe Diem The light outside the office is constantly changing throughout the day and by the season, and Carpe Diem brings the same dynamics into the office. Carpe Diem also addresses users’ differing preferences by giving them a choice of lighting level and colour temperature – from warm white to cool white – under their personal control.

The range includes suspended, surfacemounted and semi-recessed versions.

Maxos The layouts of indoor spaces are all very different and change regularly. This calls for a highly versatile lighting solution. The Maxos TL5 lightline adds quality, elegance and efficiency to architectural indoor lighting applications. Its compact and modular design enables attractive and efficient lighting designs for complex floorplans in shops, offices and public areas.

Rotaris

Executive

Rotaris’s defining visual characteristic is its concentric circles. Its shape and materials combine to convey an impression of transparency and purity.

Thanks to Rotaris’s round form, the lighting design can follow the layout in contemporary office environments as it imposes no additional grid or orientation

With the Executive range, based on the slim and efficient TL5 lamp, architects and lighting designers now have the freedom to create their own luminaires to provide lighting that reflects or enhances the aesthetic and technical qualities of architectural spaces. Many suspended luminaire designs have already been developed by architects, each with its own unique characteristics. The highly efficient Executive range offers maximum scope in terms of the use of materials, shapes, colours and lighting effects.

Residium The Residium range brings a new light to residential areas, cycle paths, local roads and industrial areas. With its attractive design, compact size and high-quality materials, Residium makes a significant contribution to a safer and more comfortable environment. Residium has been designed around the PL-L lamps; used in conjunction with the new PL-L80W lamp it delivers a very high light output.

High-frequency electronic ballasts can further increase energy efficiency and prolong the lifetime of the lamp.

on the space. The possibility to integrate a spotlight– thus combining general and accent lighting in a single luminaire – makes Rotaris ideal for retail applications.

The Rotaris product family consists of suspended, surface-mounted and recessed versions.

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A special word of thanks to our contributors (in alphabetical order) : Gilles Adam, Tuba Baskan, Heather Burgess, Engin Cebeci, Detlef Fritsch, Susana Gallardo Fuentes, Conny Grotenhuis, Aleksandra Grotha, Funda Igdir, Heinrich Hagemann, Jos Hoens, Har Hollands, Tay Hooi Seng, Soren Kolding, Marike de Kruiff, Vincent Laganier, Franco Laneri, Philippe Mouillon, Gilles Page, Duilio Passariello, Markus Reisinger, Ester Roijackers, Laurence di Russo, Isabella Terzaki, Fernando Vila.

3222 635 46 111

© Philips Lighting 2003

To Sylvain Exartier, Kenneth Gilbert, Marie-Louise Mannaerts, Ted van der Put, Jolanda Tielens-Aarts: your belief in this project made the ILR Yearbook 2003 possible. Thank you very much.

Dorien van der Weele Manager LiDAC Europe Philips Lighting - BU Luminaires dorien.v.d.weele@philips.com

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

YEARBOOK 2003