ILR 2005

I nt e r na t i ona l L i g h t i n g R e v i e w

2005

Yea r book

P01_Titelpag_Contents_B

15-02-2006

12:03

Pagina 2

International Lighting Review

Retrospective

2005

Light experiences, Dorien van der Weele

2

Transitions/Light on the move, Ulrika Vis van Heemst

4

New contemporary building at OLAC, Vincent Laganier, Bernard Amiot 6

Art

Nathalie Junod Ponsard

Architecture

T-Online headquarters, Darmstadt, Germany

14

National power centre, Beijing, China

18

Grolsch brewery, Enschede, The Netherlands

20

Dinkelsbühl secondary school, Dinkelsbühl, Germany

22

Publicis Drugstore, Paris, France

24

Lagos Martianez, Tenerife, Spain

26

World of Jewellery, Pforzheim, Germany

28

Consorci Forum, Barcelona, Spain

32

ING Bank headquarters, Budapest, Hungary

34

Porsche showroom, Oirschot, The Netherlands

38

Sikkens ‘Color Reflections’, Utrecht, The Netherlands

42

Ipercoop, il Ducale shopping centre, Vigevano, Italy

44

Espai Gironès shopping centre, Salt, Spain

46

The Sarar Shop, Eskişehir, Turkey

48

Balenciaga shop, Paris, France

50

Vasagatan, Stockholm, Sweden

52

Mahalaxmi Temple, Kolkata, India

56

Colle San Giusto, Trieste, Italy

58

Dolmabahçe Palace, Istanbul, Turkey

60

Regents Place, London, United Kingdom

62

Viaduc de Barbin, Mortagne-sur-Sèvre, France

66

Jintang Bridge, Tianjin, China

68

Lalbagh Botanical Garden, Bangalore, India

70

The Historic Grotto, Hannover, Germany

72

Khalifa Olympic Stadium, Doha, Qatar

74

Estadio del Mediterráneo, Almería, Spain

78

RheinEnergieStadion, Cologne, Germany

80

Magna Racino racetrack, Ebreichsdorf, Austria

82

Palavela short track, Turin, Italy

84

Lighting design for healthcare, Sjef Cornelissen

86

Luminaires for daylight, Martine Knoop

90

Innovations

LEDline2, LEDflood, LEDuplight, Equinox, Origami

94

Publications

Books and CIE documents from the year

96

Retail

Urban planning

Sports

Concepts

8

3

P01_Titelpag_Contents_B

15-02-2006

12:03

Pagina 2

International Lighting Review

Retrospective

2005

Light experiences, Dorien van der Weele

2

Transitions/Light on the move, Ulrika Vis van Heemst

4

New contemporary building at OLAC, Vincent Laganier, Bernard Amiot 6

Art

Nathalie Junod Ponsard

Architecture

T-Online headquarters, Darmstadt, Germany

14

National power centre, Beijing, China

18

Grolsch brewery, Enschede, The Netherlands

20

Dinkelsbühl secondary school, Dinkelsbühl, Germany

22

Publicis Drugstore, Paris, France

24

Lagos Martianez, Tenerife, Spain

26

World of Jewellery, Pforzheim, Germany

28

Consorci Forum, Barcelona, Spain

32

ING Bank headquarters, Budapest, Hungary

34

Porsche showroom, Oirschot, The Netherlands

38

Sikkens ‘Color Reflections’, Utrecht, The Netherlands

42

Ipercoop, il Ducale shopping centre, Vigevano, Italy

44

Espai Gironès shopping centre, Salt, Spain

46

The Sarar Shop, Eskişehir, Turkey

48

Balenciaga shop, Paris, France

50

Vasagatan, Stockholm, Sweden

52

Mahalaxmi Temple, Kolkata, India

56

Colle San Giusto, Trieste, Italy

58

Dolmabahçe Palace, Istanbul, Turkey

60

Regents Place, London, United Kingdom

62

Viaduc de Barbin, Mortagne-sur-Sèvre, France

66

Jintang Bridge, Tianjin, China

68

Lalbagh Botanical Garden, Bangalore, India

70

The Historic Grotto, Hannover, Germany

72

Khalifa Olympic Stadium, Doha, Qatar

74

Estadio del Mediterráneo, Almería, Spain

78

RheinEnergieStadion, Cologne, Germany

80

Magna Racino racetrack, Ebreichsdorf, Austria

82

Palavela short track, Turin, Italy

84

Lighting design for healthcare, Sjef Cornelissen

86

Luminaires for daylight, Martine Knoop

90

Innovations

LEDline2, LEDflood, LEDuplight, Equinox, Origami

94

Publications

Books and CIE documents from the year

96

Retail

Urban planning

Sports

Concepts

8

3

P02_03_LichtExp

15-02-2006

12:07

Pagina 2

Rétrospective

Solid-state lighting design workshop May-June 2005

Light experiences

Experiences are personal, engaging and memorable. They are perceived using one or more of our senses, over time, while being influenced by the cultural context.

Provided it is designed beyond ‘seeing and being seen’, light can be a powerful driver of experiences, evoking and influencing emotions and drawing people in.

This ILR Yearbook 2005 shows numerous instances where the lighting toolbox has been used to its full extent. Light, beyond homogeneous white, beyond

ilr 2005 / Retrospective

static and beyond visual … used in different ways to express a vision, a thought, an idea.

Colour is one of the most powerful means of expression. Yann Kersalé and Michael Rohde have used it extensively in their project for the Sparkasse Pforzheim, as have Maurice Brill for Regents Place, Xavier de Richemond for the Viaduc de Barbin, and many others. And of course there is Nathalie Junod Ponsard’s visual art, where colour is an integral part of her vision.

In another initiative, architects from six European countries were invited to create a light experience

in a container. This produced exciting explorations, sometimes challenging the technical limits of the systems used.

We certainly went to town revamping the OLAC (Outdoor Lighting Application Centre) near Lyon, France, our own design playground for light and colour.

LED technology continues to develop rapidly, and this is opening up a wealth of possibilities, especially with regard to colour in combination with dynamics. Designers are now able to create

permanent installations that offer dynamic experiences, without being restricted by maintenance issues. This adds a new dimension to the lighting of urban spaces, hotels, sports facilities, shops, etc.

Who said that we only need light to see and be seen? Happy reading!

Dorien van der Weele Manager, International Lighting Design & Application Centre

ilr 2005 / Retrospective

P02_03_LichtExp

15-02-2006

12:07

Pagina 2

Rétrospective

Solid-state lighting design workshop May-June 2005

Light experiences

Experiences are personal, engaging and memorable. They are perceived using one or more of our senses, over time, while being influenced by the cultural context.

Provided it is designed beyond ‘seeing and being seen’, light can be a powerful driver of experiences, evoking and influencing emotions and drawing people in.

This ILR Yearbook 2005 shows numerous instances where the lighting toolbox has been used to its full extent. Light, beyond homogeneous white, beyond

ilr 2005 / Retrospective

static and beyond visual … used in different ways to express a vision, a thought, an idea.

Colour is one of the most powerful means of expression. Yann Kersalé and Michael Rohde have used it extensively in their project for the Sparkasse Pforzheim, as have Maurice Brill for Regents Place, Xavier de Richemond for the Viaduc de Barbin, and many others. And of course there is Nathalie Junod Ponsard’s visual art, where colour is an integral part of her vision.

In another initiative, architects from six European countries were invited to create a light experience

in a container. This produced exciting explorations, sometimes challenging the technical limits of the systems used.

We certainly went to town revamping the OLAC (Outdoor Lighting Application Centre) near Lyon, France, our own design playground for light and colour.

LED technology continues to develop rapidly, and this is opening up a wealth of possibilities, especially with regard to colour in combination with dynamics. Designers are now able to create

permanent installations that offer dynamic experiences, without being restricted by maintenance issues. This adds a new dimension to the lighting of urban spaces, hotels, sports facilities, shops, etc.

Who said that we only need light to see and be seen? Happy reading!

Dorien van der Weele Manager, International Lighting Design & Application Centre

ilr 2005 / Retrospective

P04_05_Transitions

15-02-2006

12:09

Pagina 4

Photography: Jan Pieter Kroon, The Netherlands Allan Toft, Denmark

Transitions / Light on the move

‘Light on the move’ represents the process and objective of a creative activity, the purpose of which is to enable us to travel together as we endeavour to discover new possibilities through a communicative environment that serves as a platform for new ideas and opinions.

together with some of the German designs.

Impressive spatial solutions and designs that show a high degree of sensitivity and creativity invite the visitor to experience first hand the complex, diverse effects of light.

For Philips Lighting, this event represents a transition, a move towards a clearer focus on innovative projects.

First created in Germany in 2003, ‘Light on the move’ is travelling to new destinations in Europe with new ideas – the containers of four new teams The designers explain their concepts in their of architects and lighting designers from the Netherlands, Spain, France, Denmark and Sweden – own words:

4

ilr 2005 / Retrospective

Knitting Light MVRDV with Fokke Moerel, Rotterdam, The Netherlands “In a fusion of contrast one flows on light in the endless space.

This container has mirrors on all sides and on the ceiling. The masterpiece is a hammock made out of fibres! The visitors are able to lie down on it. The lighting is controlled by a colour wheel and dimming wheel. The white light dims down and continues in three different blues.”

Colon-Scope Francisco Mangado (Mangado y Asociados) Anton Amann (ALS Lighting), Pamplona, Spain “The container is converted into an abstract tunnel space which evokes a primitive cave by means of an inner covering of simple laminar elements arranged perpendicularly to its walls, the overall appearance of which, in perspective, reconstructs a faceted surface with a complex shape, reminiscent of mineral environments.”

Milefiori al’Sol Frederic Druot (F. D. Architecture) Georges Berne (L’Observatoire 1), Paris, France “Here, everything vanishes, both luminaires and architecture, and consequently all architectural lighting vanishes. Off the subject: let’s talk instead about life, flowers and energy.”

Weightless Dorte Mandrup (D. M. Arkitekter ApS.), Copenhagen, Denmark “The container is designed to represent the experience of being weightless in open space. The dramatic and dynamic changes of daylight from sunrise to dawn as experienced from above ground.”

You make night-time so much fun Gösta Wessel and Mårten Wessel, Stockholm, Sweden “Our container demonstrates how the interaction between coloured surfaces and coloured light can alter our perception of space.”

Ulrika Vis van Heemst LiDAC International ilr 2005 / Retrospective

5

P04_05_Transitions

15-02-2006

12:09

Pagina 4

Photography: Jan Pieter Kroon, The Netherlands Allan Toft, Denmark

Transitions / Light on the move

‘Light on the move’ represents the process and objective of a creative activity, the purpose of which is to enable us to travel together as we endeavour to discover new possibilities through a communicative environment that serves as a platform for new ideas and opinions.

together with some of the German designs.

Impressive spatial solutions and designs that show a high degree of sensitivity and creativity invite the visitor to experience first hand the complex, diverse effects of light.

For Philips Lighting, this event represents a transition, a move towards a clearer focus on innovative projects.

First created in Germany in 2003, ‘Light on the move’ is travelling to new destinations in Europe with new ideas – the containers of four new teams The designers explain their concepts in their of architects and lighting designers from the Netherlands, Spain, France, Denmark and Sweden – own words:

4

ilr 2005 / Retrospective

Knitting Light MVRDV with Fokke Moerel, Rotterdam, The Netherlands “In a fusion of contrast one flows on light in the endless space.

This container has mirrors on all sides and on the ceiling. The masterpiece is a hammock made out of fibres! The visitors are able to lie down on it. The lighting is controlled by a colour wheel and dimming wheel. The white light dims down and continues in three different blues.”

Colon-Scope Francisco Mangado (Mangado y Asociados) Anton Amann (ALS Lighting), Pamplona, Spain “The container is converted into an abstract tunnel space which evokes a primitive cave by means of an inner covering of simple laminar elements arranged perpendicularly to its walls, the overall appearance of which, in perspective, reconstructs a faceted surface with a complex shape, reminiscent of mineral environments.”

Milefiori al’Sol Frederic Druot (F. D. Architecture) Georges Berne (L’Observatoire 1), Paris, France “Here, everything vanishes, both luminaires and architecture, and consequently all architectural lighting vanishes. Off the subject: let’s talk instead about life, flowers and energy.”

Weightless Dorte Mandrup (D. M. Arkitekter ApS.), Copenhagen, Denmark “The container is designed to represent the experience of being weightless in open space. The dramatic and dynamic changes of daylight from sunrise to dawn as experienced from above ground.”

You make night-time so much fun Gösta Wessel and Mårten Wessel, Stockholm, Sweden “Our container demonstrates how the interaction between coloured surfaces and coloured light can alter our perception of space.”

Ulrika Vis van Heemst LiDAC International ilr 2005 / Retrospective

5

P06_07_Olac

15-02-2006

12:11

Pagina 6

Photography: Pierre Crouzet Lyon, France

New contemporary building at OLAC

Innovation is the order of the day at the Outdoor Lighting Application Centre (OLAC).

This is underlined by the new building opened on September 1, 2005, which is located in the part of the site dedicated to urban lighting.

The objective was to construct a permanent contemporary facade to the right of the existing square, and to use the language of contemporary architects in order to engage this target group more effectively. The challenge was how to use as many different materials as possible without creating a

6

ilr 2005 / Retrospective

patchwork effect. The Espace Projet architectural agency created three magnificent spaces around a central entrance.

The lighting techniques used are based mainly on new-generation LEDs, which make it easy to adapt the intensity and colour of the light. They can change the appearance of a building according to its function, usage and architecture. The dynamic lighting put in place together with Martin Architectural and the decoration of the building with original images created by Skertzò provide an additional artistic

element. Over 70 specific lighting effects are applied to the facades, including grazing light, accent lighting, lighting graphics and gobo projection.

Every evening, the building takes on a different identity, appearing in different guises, sometimes subtle, sometimes brash. With more than 3000 visitors per year from over 30 countries, this lighting resource has a bright future ahead of it!

Vincent Laganier Contemporary building lighting design, LiDAC International Bernard Amiot OLAC Manager, Outdoor Lighting Application Centre

Architects: Francis Poirson, Yann Pampouille, Espace Projet architecture, Amberieuen-Bugey, France Technical management: Marc Reignier Director of the Miribel project: Jérôme Fourot CB marketing director: Fernand Pereira Head of purchasing: Sylvie Cloix Electricity design office: ITC Structural design office: RBS Building shell: Parutto SA Electrical installation: Casella Electricité Image creation: Hélène Richard, Jean-Michel Quesne, Skertzò, Paris, France Lighting programming: Richard Brousse, Martin Architectural, Savigny sur Orge Luminaires: Equinox, LEDline2, LEDflood, LEDmodule, Amazon LED, PROflood, optical fibre generator, Cormoran, Philips Lamps: LuxeonTM LEDs red, amber, white, green, blue, Lumileds; Master Colour short-arc, Focus metal-halide, halogen, fluorescent, Philips Controls: Light Jocket 2 software, DMX splitter, 1-10 V converter 516, Martin Architectural

ilr 2005 / Retrospective

7

P06_07_Olac

15-02-2006

12:11

Pagina 6

Photography: Pierre Crouzet Lyon, France

New contemporary building at OLAC

Innovation is the order of the day at the Outdoor Lighting Application Centre (OLAC).

This is underlined by the new building opened on September 1, 2005, which is located in the part of the site dedicated to urban lighting.

The objective was to construct a permanent contemporary facade to the right of the existing square, and to use the language of contemporary architects in order to engage this target group more effectively. The challenge was how to use as many different materials as possible without creating a

6

ilr 2005 / Retrospective

patchwork effect. The Espace Projet architectural agency created three magnificent spaces around a central entrance.

The lighting techniques used are based mainly on new-generation LEDs, which make it easy to adapt the intensity and colour of the light. They can change the appearance of a building according to its function, usage and architecture. The dynamic lighting put in place together with Martin Architectural and the decoration of the building with original images created by Skertzò provide an additional artistic

element. Over 70 specific lighting effects are applied to the facades, including grazing light, accent lighting, lighting graphics and gobo projection.

Every evening, the building takes on a different identity, appearing in different guises, sometimes subtle, sometimes brash. With more than 3000 visitors per year from over 30 countries, this lighting resource has a bright future ahead of it!

Vincent Laganier Contemporary building lighting design, LiDAC International Bernard Amiot OLAC Manager, Outdoor Lighting Application Centre

Architects: Francis Poirson, Yann Pampouille, Espace Projet architecture, Amberieuen-Bugey, France Technical management: Marc Reignier Director of the Miribel project: Jérôme Fourot CB marketing director: Fernand Pereira Head of purchasing: Sylvie Cloix Electricity design office: ITC Structural design office: RBS Building shell: Parutto SA Electrical installation: Casella Electricité Image creation: Hélène Richard, Jean-Michel Quesne, Skertzò, Paris, France Lighting programming: Richard Brousse, Martin Architectural, Savigny sur Orge Luminaires: Equinox, LEDline2, LEDflood, LEDmodule, Amazon LED, PROflood, optical fibre generator, Cormoran, Philips Lamps: LuxeonTM LEDs red, amber, white, green, blue, Lumileds; Master Colour short-arc, Focus metal-halide, halogen, fluorescent, Philips Controls: Light Jocket 2 software, DMX splitter, 1-10 V converter 516, Martin Architectural

ilr 2005 / Retrospective

7

P08-13_Nathalie Junod 3_1 (v.2)

15-02-2006

12:13

Pagina 8

Art

Nathalie Junod Ponsard Visual artist, Paris, France

Aristotle called colour ‘pharmakon’, i.e. drug In Barthes’ view, colour submerges

In an attempt to identify and propose new visual dimensions, I emphasise the major influence our environment has on us. I explore and choose real built sites, and transform them by means of artificial or natural light. My installations give rise to new visions, changing the way we look at these places. They affect the senses by immersing the visitors in coloured baths of light, created by certain wavelengths.

Visitors discover my aesthetic creation by entering – visually, physically and psychologically – the light structures, aware of the influence and exchanges with their own environment, but at the same time being engrossed by this light.

Deep Water, un espace sans sommeil (a sleepless space) Lighting installation 4 kW and 2.5 kW HMI spotlights, City Color, fluorescent tubes, gel filters Pontoise swimming pool 19 rue de Pontoise, Paris, France Nuit Blanche (Sleepless night), 5 October 2002

8

ilr 2005 / Art

Sleepless light My research led me to explore the influence of light on human biological systems, as in Deep Imminent Instant in Los Angeles in 2002.

As visitors went into the exhibition gallery, they were immersed in a bath of monochromatic colour, first red, then green. A red translucent tent containing a chandelier was suspended from the ceiling. This lit up the visitors and increased their cardiac rhythm. After three minutes, a green ambient light was projected into the space of the entrance to the gallery.

This intense green light suppresses the secretion of melatonin (a chemical substance in our body that helps us to sleep), keeping us awake.

The spatial revelation of a sleepless area is not subject to the limits of space. One of my most striking installations is Deep Water in the Pontoise swimming pool in Paris, which opened on the night of October 5, 2002 during the first

Nuit Blanche (Sleepless night). The visitors came to swim in blood-red water, and to be immersed in red light, which boosts sporting prowess.

The space seemed to expand and then contract.

Intermittently, the glass roof covering the swimming pool was bathed in green light, to prevent people from falling asleep.

P08-13_Nathalie Junod 3_1 (v.2)

15-02-2006

12:13

Pagina 8

Art

Nathalie Junod Ponsard Visual artist, Paris, France

Aristotle called colour ‘pharmakon’, i.e. drug In Barthes’ view, colour submerges

In an attempt to identify and propose new visual dimensions, I emphasise the major influence our environment has on us. I explore and choose real built sites, and transform them by means of artificial or natural light. My installations give rise to new visions, changing the way we look at these places. They affect the senses by immersing the visitors in coloured baths of light, created by certain wavelengths.

Visitors discover my aesthetic creation by entering – visually, physically and psychologically – the light structures, aware of the influence and exchanges with their own environment, but at the same time being engrossed by this light.

Deep Water, un espace sans sommeil (a sleepless space) Lighting installation 4 kW and 2.5 kW HMI spotlights, City Color, fluorescent tubes, gel filters Pontoise swimming pool 19 rue de Pontoise, Paris, France Nuit Blanche (Sleepless night), 5 October 2002

8

ilr 2005 / Art

Sleepless light My research led me to explore the influence of light on human biological systems, as in Deep Imminent Instant in Los Angeles in 2002.

As visitors went into the exhibition gallery, they were immersed in a bath of monochromatic colour, first red, then green. A red translucent tent containing a chandelier was suspended from the ceiling. This lit up the visitors and increased their cardiac rhythm. After three minutes, a green ambient light was projected into the space of the entrance to the gallery.

This intense green light suppresses the secretion of melatonin (a chemical substance in our body that helps us to sleep), keeping us awake.

The spatial revelation of a sleepless area is not subject to the limits of space. One of my most striking installations is Deep Water in the Pontoise swimming pool in Paris, which opened on the night of October 5, 2002 during the first

Nuit Blanche (Sleepless night). The visitors came to swim in blood-red water, and to be immersed in red light, which boosts sporting prowess.

The space seemed to expand and then contract.

Intermittently, the glass roof covering the swimming pool was bathed in green light, to prevent people from falling asleep.

P08-13_Nathalie Junod 3_1 (v.2)

15-02-2006

12:13

Pagina 10

Visual vertigo In some of my installations, sunlight is depicted as continually changing. It evolves over time and emphasises this temporal principle, which acts on us and on space. Artificial light then takes over.

New experiments with light give rise to visual vertigo, such as at the Bauhaus in Dessau (Germany, 2004). In Vertige en apesanteur

Deep Imminent Instant Lighting installation Metal structure + 100W bulbs, nylon, 150W spots, console Guggenheim Gallery Over Here (There) Chapman University, Orange, Los Angeles, California, United States January and February 2002

Phénoménologie de la lumière (Phenomenology of light) Permanent light work 36W fluorescent tubes, gel filters, switches Espace polyvalent - forum level 0 Georges Pompidou Centre, Paris, France May 2005

Vertigo Lighting installation 2 kW projectors, gel filters, console Gaîté Lyrique Theatre 3 rue Papin, Paris, France 31 December 2003 to 15 January 2004, from 5.00 p.m. to dawn

Phenomenology of experience Hypnotic light Phénoménologie de la lumière (Phenomenology of light) in the Atelier Polyvalent of the Georges Pompidou Centre in Paris is a permanent installation which was created this year.

Lines of light are installed in the depths of the heterogeneous ceiling. The light gives the impression that the sheaths and pipes are suspended in space. Each line of fluorescent tubes coloured by gel filters corresponds to specific wavelengths. Controlled separately by the users, all combinations are then possible.

Another process led me to create landscapes of purple light pulses, which transform our visual perception and hypnotise us. The first two creations in this series took place in France, in Paris and Brest, in 2003. Capsule Hypnotique (Hypnotic Capsule) and Voyage Hypnotique (Hypnotic Voyage) were experimental exploratory projects for the production of a hypnotic installation/device to develop the field of the subconscious.

Immersion Rotatoire (Rotary Immersion) Lighting installation B22 electric cables, B 22 Flasher bulbs, steel cables Jetée des Pâquis Festival of Trees and Light – City of Geneva Lake Geneva, Geneva, Switzerland 2 December 2004 – 9 January 2005

10

ilr 2005 / Art

In January 2004, the facade of the Gaîté Lyrique theatre in Paris (prefiguring the future digital arts centre) was bathed in purple light.

Vertigo came alive: the intensity of the light was increased and then gradually reduced, in infinite nocturnal sequences. The visitor’s body was absorbed by this purple facade, which propagated its coloured light waves into space.

(Weightless Vertigo), the facades were transformed into light in constant rotation.

Projections of intense light in complementary colours formed a ring rotating through the glass facades. One half of the ring was orange, the other indigo.

Inside the Bauhaus, the spectators’ bodies were immersed in the moving light. The body became a place of experimentation, and was made weightless by the light and its movements.

Architecture of light & flux of energy Lighting installation 1 kW PAR 64, 150W Halogen, 120W PAR 38, 36W fluorescent tubes, gel filters Alliance Française of Singapore 1 Sarkies Road, Singapore December 1999 / January 2000

This laboratory, like a game on a life-size scale, makes it possible to experiment with light and its effects, and to create micro-spaces within the location.

Adjacent to this area, the Atelier Multimédia contains another permanent installation: En Flottement (Floating). The artificial light creates an immaterial space and is diffused by fluorescent tubes which become alternately turquoise and scarlet. This light creates a sensation of floating. The ‘users’ of the room experience a sensation of weightlessness. ■

Nathalie Junod Ponsard Voyage Hypnotique (Hypnotic voyage) Lighting installation Vinyl films, 500W metal-halide projectors, flash lamps, painting Contemporary Art Centre Passerelle Ready-made colour 41 rue Charles Berthelot, Brest, France 27 June to 4 October 2003

Visual artist http://n.junod.ponsard.free.fr

ilr 2005 / Art

11

P08-13_Nathalie Junod 3_1 (v.2)

15-02-2006

12:13

Pagina 10

Visual vertigo In some of my installations, sunlight is depicted as continually changing. It evolves over time and emphasises this temporal principle, which acts on us and on space. Artificial light then takes over.

New experiments with light give rise to visual vertigo, such as at the Bauhaus in Dessau (Germany, 2004). In Vertige en apesanteur

Deep Imminent Instant Lighting installation Metal structure + 100W bulbs, nylon, 150W spots, console Guggenheim Gallery Over Here (There) Chapman University, Orange, Los Angeles, California, United States January and February 2002

Phénoménologie de la lumière (Phenomenology of light) Permanent light work 36W fluorescent tubes, gel filters, switches Espace polyvalent - forum level 0 Georges Pompidou Centre, Paris, France May 2005

Vertigo Lighting installation 2 kW projectors, gel filters, console Gaîté Lyrique Theatre 3 rue Papin, Paris, France 31 December 2003 to 15 January 2004, from 5.00 p.m. to dawn

Phenomenology of experience Hypnotic light Phénoménologie de la lumière (Phenomenology of light) in the Atelier Polyvalent of the Georges Pompidou Centre in Paris is a permanent installation which was created this year.

Lines of light are installed in the depths of the heterogeneous ceiling. The light gives the impression that the sheaths and pipes are suspended in space. Each line of fluorescent tubes coloured by gel filters corresponds to specific wavelengths. Controlled separately by the users, all combinations are then possible.

Another process led me to create landscapes of purple light pulses, which transform our visual perception and hypnotise us. The first two creations in this series took place in France, in Paris and Brest, in 2003. Capsule Hypnotique (Hypnotic Capsule) and Voyage Hypnotique (Hypnotic Voyage) were experimental exploratory projects for the production of a hypnotic installation/device to develop the field of the subconscious.

Immersion Rotatoire (Rotary Immersion) Lighting installation B22 electric cables, B 22 Flasher bulbs, steel cables Jetée des Pâquis Festival of Trees and Light – City of Geneva Lake Geneva, Geneva, Switzerland 2 December 2004 – 9 January 2005

10

ilr 2005 / Art

In January 2004, the facade of the Gaîté Lyrique theatre in Paris (prefiguring the future digital arts centre) was bathed in purple light.

Vertigo came alive: the intensity of the light was increased and then gradually reduced, in infinite nocturnal sequences. The visitor’s body was absorbed by this purple facade, which propagated its coloured light waves into space.

(Weightless Vertigo), the facades were transformed into light in constant rotation.

Projections of intense light in complementary colours formed a ring rotating through the glass facades. One half of the ring was orange, the other indigo.

Inside the Bauhaus, the spectators’ bodies were immersed in the moving light. The body became a place of experimentation, and was made weightless by the light and its movements.

Architecture of light & flux of energy Lighting installation 1 kW PAR 64, 150W Halogen, 120W PAR 38, 36W fluorescent tubes, gel filters Alliance Française of Singapore 1 Sarkies Road, Singapore December 1999 / January 2000

This laboratory, like a game on a life-size scale, makes it possible to experiment with light and its effects, and to create micro-spaces within the location.

Adjacent to this area, the Atelier Multimédia contains another permanent installation: En Flottement (Floating). The artificial light creates an immaterial space and is diffused by fluorescent tubes which become alternately turquoise and scarlet. This light creates a sensation of floating. The ‘users’ of the room experience a sensation of weightlessness. ■

Nathalie Junod Ponsard Voyage Hypnotique (Hypnotic voyage) Lighting installation Vinyl films, 500W metal-halide projectors, flash lamps, painting Contemporary Art Centre Passerelle Ready-made colour 41 rue Charles Berthelot, Brest, France 27 June to 4 October 2003

Visual artist http://n.junod.ponsard.free.fr

ilr 2005 / Art

11

P08-13_Nathalie Junod 3_1 (v.2)

15-02-2006

12:13

Pagina 12

Horizon Hallucinatoire (Hallucinatory Horizon) Lighting installation 1 kW cycloids, console, gel filters + frosted film AFAA – Association Française d’Action Artistique 1 bis Avenue de Villars, Paris, France February 2005

Biographical elements

Vertige en apesanteur (Weightless vertigo) Lighting installation 1 kW convex plane, gel filters, metal bridges, consoles Stiftung Bauhaus 7 Farbfest, Dessau, Germany August 2004

1980-1982:

Ecole des Beaux-Arts, Nantes (1st cycle) Diploma in Fine Arts

1986:

Degree from the Ecole Nationale Supérieure des Arts Décoratifs, Paris

1989-1990:

Period in India for research and creative work, in particular on the astronomical site of the Jantar Mantar at New Delhi and the Bharat Bhavan at Bhopal.

October 1989:

Creation of a lighting work on the Jantar Mantar as part of the Year of France in India.

Meeting with the astrophysicists Michel Cassé and Jean Audouze.

1990-1992:

Design for the creation of lighting installations along a 22 km section of the Titans motorway (A40), creating a relationship between the works of art and their environment, i.e. mountains, forests, lake, etc.

1997-1998:

Living in Hong Kong

July 1997:

Hong Kong handed back to China.

Exhibiting as part of the French “May in Hong Kong” and the Fringe Festival. Co-operation in various exhibition projects with artists from Hong Kong.

1998-2002:

Living in Singapore. Transition to the year 2000, a new millennium.

Participation in the Singapore Art Today visual art Biennial “Histories Identities Technologies spaces”, with an order for an installation at the Singapore Art Museum.

Trans>light>air Audio and video installation Film, video screens, sound, 36W fluorescent tubes, gel filters Espace polyvalent and Atelier Multimédia Georges Pompidou Centre, Paris, France May 2005 Museum Night

To share the landscape Artificial light Singapore Art Museum Biennial Visual art Translucid Vinyl film artificial light 2001-2002

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P08-13_Nathalie Junod 3_1 (v.2)

15-02-2006

12:13

Pagina 12

Horizon Hallucinatoire (Hallucinatory Horizon) Lighting installation 1 kW cycloids, console, gel filters + frosted film AFAA – Association Française d’Action Artistique 1 bis Avenue de Villars, Paris, France February 2005

Biographical elements

Vertige en apesanteur (Weightless vertigo) Lighting installation 1 kW convex plane, gel filters, metal bridges, consoles Stiftung Bauhaus 7 Farbfest, Dessau, Germany August 2004

1980-1982:

Ecole des Beaux-Arts, Nantes (1st cycle) Diploma in Fine Arts

1986:

Degree from the Ecole Nationale Supérieure des Arts Décoratifs, Paris

1989-1990:

Period in India for research and creative work, in particular on the astronomical site of the Jantar Mantar at New Delhi and the Bharat Bhavan at Bhopal.

October 1989:

Creation of a lighting work on the Jantar Mantar as part of the Year of France in India.

Meeting with the astrophysicists Michel Cassé and Jean Audouze.

1990-1992:

Design for the creation of lighting installations along a 22 km section of the Titans motorway (A40), creating a relationship between the works of art and their environment, i.e. mountains, forests, lake, etc.

1997-1998:

Living in Hong Kong

July 1997:

Hong Kong handed back to China.

Exhibiting as part of the French “May in Hong Kong” and the Fringe Festival. Co-operation in various exhibition projects with artists from Hong Kong.

1998-2002:

Living in Singapore. Transition to the year 2000, a new millennium.

Participation in the Singapore Art Today visual art Biennial “Histories Identities Technologies spaces”, with an order for an installation at the Singapore Art Museum.

Trans>light>air Audio and video installation Film, video screens, sound, 36W fluorescent tubes, gel filters Espace polyvalent and Atelier Multimédia Georges Pompidou Centre, Paris, France May 2005 Museum Night

To share the landscape Artificial light Singapore Art Museum Biennial Visual art Translucid Vinyl film artificial light 2001-2002

12

ilr 2005 / Art

P14_17_Tel Darmstad 4_7

15-02-2006

12:15

Pagina 14

Architecture

T-Online headquarters Darmstadt, Germany

With its clean architectural lines, modern interior design and functional lighting, T-Online’s new headquarters provides flexible workspace for over 3000 employees. The lighting design helps to express the identity of this dynamic IT and Internet service provider and reflects the emphasis on ‘human capital’ in its corporate culture.

14

ilr 2005 / Architecture

T-Online’s new headquarters provides a flexible, spacious and inspiring working environment – including individual and open-plan offices – for its relatively young workforce. The complex, which is also home to T-Systems Darmstadt, has a total floor surface area of around 150,000 m2.

It houses a casino and extensive parking facilities as well. The impressive foyer – with brightly coloured walls and ceiling, transparent glass panels, limited decoration and specially designed floor with large areas of colour – is lit by a reflector system to convey an appealing and welcoming impression. A reflector system was chosen in order to create a daylight-like atmosphere in the entrance area. The aim was to use bright, diffuse light to make the transition

P14_17_Tel Darmstad 4_7

15-02-2006

12:15

Pagina 14

Architecture

T-Online headquarters Darmstadt, Germany

With its clean architectural lines, modern interior design and functional lighting, T-Online’s new headquarters provides flexible workspace for over 3000 employees. The lighting design helps to express the identity of this dynamic IT and Internet service provider and reflects the emphasis on ‘human capital’ in its corporate culture.

14

ilr 2005 / Architecture

T-Online’s new headquarters provides a flexible, spacious and inspiring working environment – including individual and open-plan offices – for its relatively young workforce. The complex, which is also home to T-Systems Darmstadt, has a total floor surface area of around 150,000 m2.

It houses a casino and extensive parking facilities as well. The impressive foyer – with brightly coloured walls and ceiling, transparent glass panels, limited decoration and specially designed floor with large areas of colour – is lit by a reflector system to convey an appealing and welcoming impression. A reflector system was chosen in order to create a daylight-like atmosphere in the entrance area. The aim was to use bright, diffuse light to make the transition

P14_17_Tel Darmstad 4_7

15-02-2006

1 Integrated lighting solutions provide the right atmosphere for the open communication areas 2 The corridors are lit by customised surfacemounted downlights 3 The cafeteria/restaurant, with its relaxed atmosphere

12:15

Pagina 16

from the bright exterior to the interior of the new building as smooth as possible. The corridors within the foyer area, which extends over two floors, are lit by customised downlights.

The individual, group and combination offices are illuminated by intelligent Linearis floorstanding uplights that are daylight-linked, thus improving energy efficiency and providing comfortable and uniform lighting for the individual workplaces. Free-standing uplights were chosen because they are ideal for the frequent changes in configurations necessitated by organisational changes. The ceiling design played an especially important part in the

lighting design. There are hardly any false ceilings in the entire building. The lighting design therefore had to be based on the bare ceiling, which has a height of 3 m in most cases.

Linearis uplights proved the ideal solution here because their special micro-pigment plate distributes a high proportion of direct light onto the workplace and thus fulfils the requirements of the DIN EN 12464 standard.

The open, relaxed atmosphere in the cafeteria and restaurant is enhanced by the bright lighting – 1500-2000 lux from CDM downlights in the area of the food bar. Elsewhere, recessed downlights, surface-mounted tube downlights

1

and custom-made Akcentolux light lines create an appealing lighting ambience.

The outdoor areas, courtyards and the path leading up to the main entrance feature approximately 100 decorative Vista Stelen and Vista Poller luminaires, which tie in well with the building’s simple, clean lines. Mini 300 Stealth floodlights positioned in rows increase safety on the open-air parking decks, whilst 1450 damp-proof Isolux PCF luminaires provide improved orientation in the multistorey car parks.

In the meeting and press rooms, approximately 100 Maxos light lines with specular optics have been installed above the metal mesh ceiling along with the technical equipment for conferences. The conference rooms (in the upper storeys) have been equipped with TBS635 custom-made luminaires with 3D louvers integrated into the modular ceiling to provide glare-free lighting for meetings and presentations.

The low average age of the employees in the new T-Online headquarters prompted the management to set up a crèche to make it easier for employees to combine family and work. Now parents can take their children to the ‘T-Pünktchen’, as the crèche is called, and then go to work knowing they are in safe hands.

The crèche rooms are illuminated by suspended luminaires from the Rotaris range.

In the open communication areas and pantries, coloured light is used to enhance the striking interior design and to further promote effective communication.

The exclusive nature of the management floor, with its designer furniture, glazed meeting cubicles, etc., is further highlighted by downlights and TBS635 luminaires recessed into the ceiling.■

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2 3

Owner: Telekom Center Darmstadt GbR Contractor: Tercon Immobilien Frankfurt, HOCHTIEF Construction AG Rhein-Main Architect: T-Online International AG: SIAT GmbH, Munich, Germany; T-System / GMG: Lengfeld + Wilisch BDA Darmstadt, Germany Lighting design: Alicja Dziedzic-Böttger, Philips AEG Licht, Germany Electrical installer: EPI Elektrotechnik GmbH Philips support: Ralf Nowack, Johannes Heuer, Germany Luminaires: Linearis, TBS635, TCW216, Akzentolux, Maxos, Astrolux Bowl, Trilogy, Vista Steelen, Pompeï, Philips Photographer: Robert Dieth, St. Johann Text: Ralf Nowack

ilr 2005 / Architecture

17

P14_17_Tel Darmstad 4_7

15-02-2006

1 Integrated lighting solutions provide the right atmosphere for the open communication areas 2 The corridors are lit by customised surfacemounted downlights 3 The cafeteria/restaurant, with its relaxed atmosphere

12:15

Pagina 16

from the bright exterior to the interior of the new building as smooth as possible. The corridors within the foyer area, which extends over two floors, are lit by customised downlights.

The individual, group and combination offices are illuminated by intelligent Linearis floorstanding uplights that are daylight-linked, thus improving energy efficiency and providing comfortable and uniform lighting for the individual workplaces. Free-standing uplights were chosen because they are ideal for the frequent changes in configurations necessitated by organisational changes. The ceiling design played an especially important part in the

lighting design. There are hardly any false ceilings in the entire building. The lighting design therefore had to be based on the bare ceiling, which has a height of 3 m in most cases.

Linearis uplights proved the ideal solution here because their special micro-pigment plate distributes a high proportion of direct light onto the workplace and thus fulfils the requirements of the DIN EN 12464 standard.

The open, relaxed atmosphere in the cafeteria and restaurant is enhanced by the bright lighting – 1500-2000 lux from CDM downlights in the area of the food bar. Elsewhere, recessed downlights, surface-mounted tube downlights

1

and custom-made Akcentolux light lines create an appealing lighting ambience.

The outdoor areas, courtyards and the path leading up to the main entrance feature approximately 100 decorative Vista Stelen and Vista Poller luminaires, which tie in well with the building’s simple, clean lines. Mini 300 Stealth floodlights positioned in rows increase safety on the open-air parking decks, whilst 1450 damp-proof Isolux PCF luminaires provide improved orientation in the multistorey car parks.

In the meeting and press rooms, approximately 100 Maxos light lines with specular optics have been installed above the metal mesh ceiling along with the technical equipment for conferences. The conference rooms (in the upper storeys) have been equipped with TBS635 custom-made luminaires with 3D louvers integrated into the modular ceiling to provide glare-free lighting for meetings and presentations.

The low average age of the employees in the new T-Online headquarters prompted the management to set up a crèche to make it easier for employees to combine family and work. Now parents can take their children to the ‘T-Pünktchen’, as the crèche is called, and then go to work knowing they are in safe hands.

The crèche rooms are illuminated by suspended luminaires from the Rotaris range.

In the open communication areas and pantries, coloured light is used to enhance the striking interior design and to further promote effective communication.

The exclusive nature of the management floor, with its designer furniture, glazed meeting cubicles, etc., is further highlighted by downlights and TBS635 luminaires recessed into the ceiling.■

16

ilr 2005 / Architecture

2 3

Owner: Telekom Center Darmstadt GbR Contractor: Tercon Immobilien Frankfurt, HOCHTIEF Construction AG Rhein-Main Architect: T-Online International AG: SIAT GmbH, Munich, Germany; T-System / GMG: Lengfeld + Wilisch BDA Darmstadt, Germany Lighting design: Alicja Dziedzic-Böttger, Philips AEG Licht, Germany Electrical installer: EPI Elektrotechnik GmbH Philips support: Ralf Nowack, Johannes Heuer, Germany Luminaires: Linearis, TBS635, TCW216, Akzentolux, Maxos, Astrolux Bowl, Trilogy, Vista Steelen, Pompeï, Philips Photographer: Robert Dieth, St. Johann Text: Ralf Nowack

ilr 2005 / Architecture

17

P18_19_Electrical Power 4_5

15-02-2006

12:17

Pagina 18

The CNEPDC is almost 50 metres high and has a total surface area of around 80,000 square metres. Its architectural design is based on the traditional Beijing residence yard, with its typical rooftop, the ‘siheyuan’. The challenge in this project was how to balance the building’s traditional architectural style and important governmental function with modern lighting technology, and how to make it fit in with Beijing’s flourishing commercial environment.

The solution adopted brings together traditional Chinese architecture and contemporary elegance to stunning effect.

The lighting design balances functional and decorative lighting. Lighting levels vary from 50 to 800 lux and colour temperature ranges from 4000 K in offices to 3000 K in public areas.

The functional lighting is based on people’s working requirements.

In the general cell offices, TBS168 luminaires with HF ballasts – and in some cases custommade louvers – were used to ensure visual performance (illuminance 500-800 lux) and energy efficiency. MBS145 downlights with an illuminance of 300 lux and a colour temperature of 3000 K were selected for the lobby, where atmosphere was considered the key factor.

For continuous, low-maintenance lighting of the dispatch hall, QL lamps were chosen because of their long life and attractive appearance.

To prevent glare at video display terminals, all ceiling luminaires are recessed.

In the reporting hall, MBS145 downlights provide an average illuminance of 300-800 lux and a colour temperature of 3000 K. As it was important to avoid glare in the tele- and video-conference room, TMS011 battens have been recessed in the ceiling to 1

National power centre West Changan Avenue, Beijing, China

The China National Electric Power Dispatching Centre (CNEPDC) is situated on the main avenue in downtown Beijing, one kilometre from Tiananmen Square. Combining traditional and contemporary architectural values with ultramodern lighting, this magnificent, luminous building is very much of its time while acknowledging the past.

18

ilr 2005 / Architecture

provide indirect lighting, while FBH145 downlights with glass are used for direct lighting. These luminaires are also used in the elevator waiting area.

Recessed luminaires and fluorescent battens provide an illuminance of 50-100 lux in the passage area. In the restaurant, MPH400 downlights with orange housings have been installed to enhance the atmosphere.

1 View – from the high lobby – of the offices, which use a TBS fluorescent system 2. Typical Chinese meeting room with FBH145 recessed luminaires 3. High-quality materials are used in the waiting and rest rooms

Outside, cool coloured light from MVF401, HNF003 and MVF616 floodlights emphasises the majestic grandeur of the building. Warm golden light accentuates architectural details such as the window frames and eaves. The outer edge of the eaves is floodlit, while the sloping Persian blind structure is illuminated from inside. The luminance at the top of the building is higher than on the facades.

Two TMS011 luminaires installed inside each window frame reveal the modern style of the building in silhouette, making it seem yet more transparent. ■

2

3

Contracting authority: State Electric Power Company Architect: Xu Weiping, East China Architectural Design & Research Institute (ECADI), Shanghai, China Lighting design: Xu Weiping, ECADI; Tianyu Chen, Philips China Electrical installer: CSCEC Philips support: David Guan, Yao Mengming, Shanghai, China Luminaires: TBS168, TMS011, MBS145, FBS145, MBN210, MVF606, HNF003, SVF616, Philips Lamps: TL-D, PL-L, SON-T, MHN-TD, Philips Photographer: Fu Xin Text: Yao Mengming, Vivian Zhang www.ecadi.com www.beijing.gov.cn

ilr 2005 / Architecture

19

P18_19_Electrical Power 4_5

15-02-2006

12:17

Pagina 18

The CNEPDC is almost 50 metres high and has a total surface area of around 80,000 square metres. Its architectural design is based on the traditional Beijing residence yard, with its typical rooftop, the ‘siheyuan’. The challenge in this project was how to balance the building’s traditional architectural style and important governmental function with modern lighting technology, and how to make it fit in with Beijing’s flourishing commercial environment.

The solution adopted brings together traditional Chinese architecture and contemporary elegance to stunning effect.

The lighting design balances functional and decorative lighting. Lighting levels vary from 50 to 800 lux and colour temperature ranges from 4000 K in offices to 3000 K in public areas.

The functional lighting is based on people’s working requirements.

In the general cell offices, TBS168 luminaires with HF ballasts – and in some cases custommade louvers – were used to ensure visual performance (illuminance 500-800 lux) and energy efficiency. MBS145 downlights with an illuminance of 300 lux and a colour temperature of 3000 K were selected for the lobby, where atmosphere was considered the key factor.

For continuous, low-maintenance lighting of the dispatch hall, QL lamps were chosen because of their long life and attractive appearance.

To prevent glare at video display terminals, all ceiling luminaires are recessed.

In the reporting hall, MBS145 downlights provide an average illuminance of 300-800 lux and a colour temperature of 3000 K. As it was important to avoid glare in the tele- and video-conference room, TMS011 battens have been recessed in the ceiling to 1

National power centre West Changan Avenue, Beijing, China

The China National Electric Power Dispatching Centre (CNEPDC) is situated on the main avenue in downtown Beijing, one kilometre from Tiananmen Square. Combining traditional and contemporary architectural values with ultramodern lighting, this magnificent, luminous building is very much of its time while acknowledging the past.

18

ilr 2005 / Architecture

provide indirect lighting, while FBH145 downlights with glass are used for direct lighting. These luminaires are also used in the elevator waiting area.

Recessed luminaires and fluorescent battens provide an illuminance of 50-100 lux in the passage area. In the restaurant, MPH400 downlights with orange housings have been installed to enhance the atmosphere.

1 View – from the high lobby – of the offices, which use a TBS fluorescent system 2. Typical Chinese meeting room with FBH145 recessed luminaires 3. High-quality materials are used in the waiting and rest rooms

Outside, cool coloured light from MVF401, HNF003 and MVF616 floodlights emphasises the majestic grandeur of the building. Warm golden light accentuates architectural details such as the window frames and eaves. The outer edge of the eaves is floodlit, while the sloping Persian blind structure is illuminated from inside. The luminance at the top of the building is higher than on the facades.

Two TMS011 luminaires installed inside each window frame reveal the modern style of the building in silhouette, making it seem yet more transparent. ■

2

3

Contracting authority: State Electric Power Company Architect: Xu Weiping, East China Architectural Design & Research Institute (ECADI), Shanghai, China Lighting design: Xu Weiping, ECADI; Tianyu Chen, Philips China Electrical installer: CSCEC Philips support: David Guan, Yao Mengming, Shanghai, China Luminaires: TBS168, TMS011, MBS145, FBS145, MBN210, MVF606, HNF003, SVF616, Philips Lamps: TL-D, PL-L, SON-T, MHN-TD, Philips Photographer: Fu Xin Text: Yao Mengming, Vivian Zhang www.ecadi.com www.beijing.gov.cn

ilr 2005 / Architecture

19

P20_21_Grolsh Factory 6_3

15-02-2006

12:18

Pagina 20

Grolsch brewery

1 Pendola luminaires with PL lamps enhance the industrial look of the management floor

Brouwerslaan 1, Enschede, The Netherlands

2 The light distribution of the surface- and recessmounted TL5 luminaires is the same as both use the same optic

Beer is highly sensitive to light. Too much light affects the taste.

Accordingly, special attention has been devoted to lighting in the design

3 TCW596 fittings deliver an adequate, uniform lighting level

of Grolsch’s newest brewery. This state-of-the-art facility combines the modern look and style of this leading brand with the authenticity of

4 HPK luminaires with SON 400W lamps were chosen because of beer’s sensitivity to light

traditional beer brewing.

Just outside the city of Enschede, the renowned Dutch brewery has built its latest plant, covering a total surface area of over 11 hectares. The new complex, which currently has a production capacity of over 3.2 million hectolitres per year – equivalent to 1.6 billion glasses of beer – was officially opened in April 2004, replacing two older premises dating from as far back as 1615 and 1895. As well as allowing immense logistical savings, the new site promotes environmental excellence and social responsibility. The plant is completely sound- and odour-proof and is one of the most environmentally friendly breweries in the world: energy released during the production process is re-used in other parts of the brewery and in the offices; cleaning processes are completely automated and heavy physical work is no longer necessary as new, extremely advanced robots have taken over the task. And to preserve the traditional flavour of the beer, a seven-kilometre pipeline has been laid to transport water from the original springs.

The new brewery’s eco-friendly status is also attributable in part to its lighting scheme.

Because of beer’s sensitivity to light, it is mainly bottled in brown or green glass. At the end of the production process, however, it is inevitably exposed to light at the bottling point. Dedicated SON lamps, which emit only the part of the light spectrum that does not have a degrading effect on beer, have been used in the areas where the beer is bottled. To keep the storage hall as dark as possible, it is fitted with motion detectors that only switch on the light when staff enter the area. The offices have also been equipped with motion detectors and daylight controls, and lighting controls have been installed in the warehouses. These measures have taken the overall energy efficiency of the brewery to an extremely high level. ■

3

Contracting authority: Grolsch Bierbrouwerij Nederland B.V. Architect: HMT Arkitekter ApS, Copenhagen, Denmark Lighting design: Fred Dorgelo, Philips Netherlands Electrical installer: E-Plooy V.O.F. Enschede Philips support: Cor van den Bosch, Eindhoven, The Netherlands Luminaires: TTX400/GMX465/GMX466, HPK100, TCW216, TCW596, TBS315, TCS398, MVF617, FBH170, FBH120, MPK450, ECQ620, Philips Lamps: TL-D827, SON-Plus45, TL5, Philips Lighting controls: LRL1220, LRM1050, Philips Photographer: Rens van Mierlo, Korff & Van Mierlo Text: Cor van den Bosch, Fred Dorgelo www.grolsch.nl 1

20

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2

4 ilr 2005 / Architecture

21

P20_21_Grolsh Factory 6_3

15-02-2006

12:18

Pagina 20

Grolsch brewery

1 Pendola luminaires with PL lamps enhance the industrial look of the management floor

Brouwerslaan 1, Enschede, The Netherlands

2 The light distribution of the surface- and recessmounted TL5 luminaires is the same as both use the same optic

Beer is highly sensitive to light. Too much light affects the taste.

Accordingly, special attention has been devoted to lighting in the design

3 TCW596 fittings deliver an adequate, uniform lighting level

of Grolsch’s newest brewery. This state-of-the-art facility combines the modern look and style of this leading brand with the authenticity of

4 HPK luminaires with SON 400W lamps were chosen because of beer’s sensitivity to light

traditional beer brewing.

Just outside the city of Enschede, the renowned Dutch brewery has built its latest plant, covering a total surface area of over 11 hectares. The new complex, which currently has a production capacity of over 3.2 million hectolitres per year – equivalent to 1.6 billion glasses of beer – was officially opened in April 2004, replacing two older premises dating from as far back as 1615 and 1895. As well as allowing immense logistical savings, the new site promotes environmental excellence and social responsibility. The plant is completely sound- and odour-proof and is one of the most environmentally friendly breweries in the world: energy released during the production process is re-used in other parts of the brewery and in the offices; cleaning processes are completely automated and heavy physical work is no longer necessary as new, extremely advanced robots have taken over the task. And to preserve the traditional flavour of the beer, a seven-kilometre pipeline has been laid to transport water from the original springs.

The new brewery’s eco-friendly status is also attributable in part to its lighting scheme.

Because of beer’s sensitivity to light, it is mainly bottled in brown or green glass. At the end of the production process, however, it is inevitably exposed to light at the bottling point. Dedicated SON lamps, which emit only the part of the light spectrum that does not have a degrading effect on beer, have been used in the areas where the beer is bottled. To keep the storage hall as dark as possible, it is fitted with motion detectors that only switch on the light when staff enter the area. The offices have also been equipped with motion detectors and daylight controls, and lighting controls have been installed in the warehouses. These measures have taken the overall energy efficiency of the brewery to an extremely high level. ■

3

Contracting authority: Grolsch Bierbrouwerij Nederland B.V. Architect: HMT Arkitekter ApS, Copenhagen, Denmark Lighting design: Fred Dorgelo, Philips Netherlands Electrical installer: E-Plooy V.O.F. Enschede Philips support: Cor van den Bosch, Eindhoven, The Netherlands Luminaires: TTX400/GMX465/GMX466, HPK100, TCW216, TCW596, TBS315, TCS398, MVF617, FBH170, FBH120, MPK450, ECQ620, Philips Lamps: TL-D827, SON-Plus45, TL5, Philips Lighting controls: LRL1220, LRM1050, Philips Photographer: Rens van Mierlo, Korff & Van Mierlo Text: Cor van den Bosch, Fred Dorgelo www.grolsch.nl 1

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2

4 ilr 2005 / Architecture

21

P22_23_Hauptschule 4_9

15-02-2006

12:19

Pagina 22

The new building for the Christoph-von-Schmid Hauptschule, which was inspired by the Markt Indersdorf grammar school, was completed in 2004 and is now fully operational. One of the main requirements of the clients (the local protestant church, the federal state government and the local municipality) was that the classrooms in this school should allow a flexible seating arrangement. It was also very important for the interior of the school to be designed in such a way as to have a positive influence on pupil motivation, and for the interior fittings and furnishings to be conducive to learning.

For this reason the school was designed to make maximum use of daylight – indeed on many days the amount of incident daylight is sufficient to provide the entire lighting requirement in the classrooms. Direct/indirect lighting was chosen because of its effective and uniform brightness.

design. The specific direct/indirect distribution of these luminaires (70% direct and 30% indirect light) makes it possible to achieve the brightness impression stipulated by the architect.

The corridors and other rooms feature recessmounted downlights that are suitable for use above computer workstations. Because the school building is only intended to be used during the day and not for evening classes as well, the designers worked on the basis of 300 lux for general classes and 500 lux for practical classes. It was important here not only to achieve the required illuminances, but also to choose a visually appealing luminaire that would fit in well with the architect’s design. Bright, colourful rooms based on the colours of the Olympic flag are a characteristic feature of this school, with the lighting enhancing the positive learning environment. ■

In the classrooms, Sharp-Edge suspended luminaires with TL5 49W fluorescent lamps have been installed, because of the excellent glare control they provide and their attractive 1

Dinkelsbühl secondary school Dinkelsbühl, Germany

Realising that good schooling is becoming a key location factor, the Franconian town of Dinkelsbühl decided it was time to erect a brand-new

1 The interior lighting highlights the characteristic colour feature based on the Olympic flag

Contracting authority: Stadt Dinkelsbühl Architect: Florian Fischer, Fischer Architecten, Munich, Germany Lighting design: Mr Doberstein, E-Tech, Dinkelsbühl, Germany Electrical installer: Elektro Graule Philips support: Jochen Ort, Dieter Herrmann, Stefan Lindner, Johannes Heuer, Martin Naskowiak, Heidi Vollmer-Toplis Luminaires: Alu-Sharp Edge, Astrolux Bowl, TBS600, Europa, Pentura, Philips Text: Jochen Ort

2 Sharp-Edge suspended luminaires with TL5 49W lamps provide the desired light distribution

building for its secondary school. The new building has been designed specifically to allow modern learning and teaching methods to be implemented effectively and to harness natural daylight.

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2

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23

P22_23_Hauptschule 4_9

15-02-2006

12:19

Pagina 22

The new building for the Christoph-von-Schmid Hauptschule, which was inspired by the Markt Indersdorf grammar school, was completed in 2004 and is now fully operational. One of the main requirements of the clients (the local protestant church, the federal state government and the local municipality) was that the classrooms in this school should allow a flexible seating arrangement. It was also very important for the interior of the school to be designed in such a way as to have a positive influence on pupil motivation, and for the interior fittings and furnishings to be conducive to learning.

For this reason the school was designed to make maximum use of daylight – indeed on many days the amount of incident daylight is sufficient to provide the entire lighting requirement in the classrooms. Direct/indirect lighting was chosen because of its effective and uniform brightness.

design. The specific direct/indirect distribution of these luminaires (70% direct and 30% indirect light) makes it possible to achieve the brightness impression stipulated by the architect.

The corridors and other rooms feature recessmounted downlights that are suitable for use above computer workstations. Because the school building is only intended to be used during the day and not for evening classes as well, the designers worked on the basis of 300 lux for general classes and 500 lux for practical classes. It was important here not only to achieve the required illuminances, but also to choose a visually appealing luminaire that would fit in well with the architect’s design. Bright, colourful rooms based on the colours of the Olympic flag are a characteristic feature of this school, with the lighting enhancing the positive learning environment. ■

In the classrooms, Sharp-Edge suspended luminaires with TL5 49W fluorescent lamps have been installed, because of the excellent glare control they provide and their attractive 1

Dinkelsbühl secondary school Dinkelsbühl, Germany

Realising that good schooling is becoming a key location factor, the Franconian town of Dinkelsbühl decided it was time to erect a brand-new

1 The interior lighting highlights the characteristic colour feature based on the Olympic flag

Contracting authority: Stadt Dinkelsbühl Architect: Florian Fischer, Fischer Architecten, Munich, Germany Lighting design: Mr Doberstein, E-Tech, Dinkelsbühl, Germany Electrical installer: Elektro Graule Philips support: Jochen Ort, Dieter Herrmann, Stefan Lindner, Johannes Heuer, Martin Naskowiak, Heidi Vollmer-Toplis Luminaires: Alu-Sharp Edge, Astrolux Bowl, TBS600, Europa, Pentura, Philips Text: Jochen Ort

2 Sharp-Edge suspended luminaires with TL5 49W lamps provide the desired light distribution

building for its secondary school. The new building has been designed specifically to allow modern learning and teaching methods to be implemented effectively and to harness natural daylight.

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2

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23

P24_25_Champs Elysées 4_10

15-02-2006

12:21

Pagina 24

3

4

Publicis Drugstore 133 Avenue Champs-Elysées, Paris, France

The frontage of the Publicis Drugstore has recently been revamped, injecting new life into the original drugstore concept. Now, the intricate mesh of glass panels that lines the facade is illuminated in spectacular fashion by fibre optics.

The Publicis Drugstore, located below the advertising agency of the same name, was a novelty when it first opened in 1958. The first drugstore to open in Europe, it was intended to give the successful agency a face – one that illustrated the creativity of the company.

The original building was destroyed by fire in 1972 and the next two years were spent redesigning and rebuilding the offices and drugstore. Quarter of a century later, in the year 2000, plans were made for a major regeneration project, the objective being to give the facade a more contemporary feel and remake it as a Paris landmark. In January 2002 the shopping and restaurant complex closed and work commenced. In the one-year construction period, an awe-inspiring new facade arose: made entirely of glass, it was built like a second skin over the original austere walls from the 1970s. The intricate mesh of glass panels lining both sides of this corner building culminates in a dazzling cyclone of glass panels above the

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entrance, reaching as high as the roof terrace.

The spectacular glass structure is illuminated by means of fibre optics, which delineate the metal ‘sabres’ that support the glass facade. For this purpose, forty-seven 100W Focus generators have been deployed, in combination with some 900 metres of 11 mm-diameter side-light fibre set in channels.

1. The vertical structure of the second-skin facade is underlined by the graphic use of light

Inside the drugstore, fibre optics are also used to create the desired atmosphere. Seven 50W Octopus generators and 2 mm-diameter endlight harnesses have been installed in the wine and cigar cellars to realize a starry-sky effect.

In the restaurant, six 150W Octopus generators, some 100 metres of 5 mm-diameter end-light fibre and 96 special terminations have been installed. The whole project – from initial discussion of the lighting concept to its official inauguration in February 2004 – took just under one year, with the actual installation work being completed in 3 months. ■

2. The spiral, 3 metres in diameter and 22 metres high, is made up of fibreoptic side-lights 3. Starry-sky effect in the wine and cigar cellars created with fibre-optic end-lights 4. Special terminations with mounting bracket installed in the restaurant

2

Contracting authority: SNC Drugstore Champs Elysées Architect: Michele Saee, Los Angeles/Paris, United States; Bruno Pingeot, Versailles, France Lighting design: Jacques Rouveyrollis, Courbevoie, France Electrical installer: SCIERP Philips support: Jean-Marc Dupont, Christian Petitimbert, Sylvie Ferrare, Ivry-sur-Seine, France Luminaires: Focus fibre-optic generator with sidelight harnesses, Octopus generator with end-light terminations Lamps: Focus 100W, CDM-SA/T 150W, Halogen 50W Photographer: Dominique Azambre Text: Sylvie Ferrare, Christian Petitimbert www.publicisdrugstore.com www.michelesaee.com ilr 2005 / Architecture

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P24_25_Champs Elysées 4_10

15-02-2006

12:21

Pagina 24

3

4

Publicis Drugstore 133 Avenue Champs-Elysées, Paris, France

The frontage of the Publicis Drugstore has recently been revamped, injecting new life into the original drugstore concept. Now, the intricate mesh of glass panels that lines the facade is illuminated in spectacular fashion by fibre optics.

The Publicis Drugstore, located below the advertising agency of the same name, was a novelty when it first opened in 1958. The first drugstore to open in Europe, it was intended to give the successful agency a face – one that illustrated the creativity of the company.

The original building was destroyed by fire in 1972 and the next two years were spent redesigning and rebuilding the offices and drugstore. Quarter of a century later, in the year 2000, plans were made for a major regeneration project, the objective being to give the facade a more contemporary feel and remake it as a Paris landmark. In January 2002 the shopping and restaurant complex closed and work commenced. In the one-year construction period, an awe-inspiring new facade arose: made entirely of glass, it was built like a second skin over the original austere walls from the 1970s. The intricate mesh of glass panels lining both sides of this corner building culminates in a dazzling cyclone of glass panels above the

1

24

ilr 2005 / Architecture

entrance, reaching as high as the roof terrace.

The spectacular glass structure is illuminated by means of fibre optics, which delineate the metal ‘sabres’ that support the glass facade. For this purpose, forty-seven 100W Focus generators have been deployed, in combination with some 900 metres of 11 mm-diameter side-light fibre set in channels.

1. The vertical structure of the second-skin facade is underlined by the graphic use of light

Inside the drugstore, fibre optics are also used to create the desired atmosphere. Seven 50W Octopus generators and 2 mm-diameter endlight harnesses have been installed in the wine and cigar cellars to realize a starry-sky effect.

In the restaurant, six 150W Octopus generators, some 100 metres of 5 mm-diameter end-light fibre and 96 special terminations have been installed. The whole project – from initial discussion of the lighting concept to its official inauguration in February 2004 – took just under one year, with the actual installation work being completed in 3 months. ■

2. The spiral, 3 metres in diameter and 22 metres high, is made up of fibreoptic side-lights 3. Starry-sky effect in the wine and cigar cellars created with fibre-optic end-lights 4. Special terminations with mounting bracket installed in the restaurant

2

Contracting authority: SNC Drugstore Champs Elysées Architect: Michele Saee, Los Angeles/Paris, United States; Bruno Pingeot, Versailles, France Lighting design: Jacques Rouveyrollis, Courbevoie, France Electrical installer: SCIERP Philips support: Jean-Marc Dupont, Christian Petitimbert, Sylvie Ferrare, Ivry-sur-Seine, France Luminaires: Focus fibre-optic generator with sidelight harnesses, Octopus generator with end-light terminations Lamps: Focus 100W, CDM-SA/T 150W, Halogen 50W Photographer: Dominique Azambre Text: Sylvie Ferrare, Christian Petitimbert www.publicisdrugstore.com www.michelesaee.com ilr 2005 / Architecture

25

Set into the black volcanic rocks along the shoreline and covering a total area of 90,000 m2, the Lagos Martianez recreational complex comprises a series of salt-water swimming pools of different shapes and sizes.

The effect created by the lighting design is somewhere between an optical illusion and visual reality – the islands look as if they are floating in the water, the pools appear to be filled with great quantities of light and there is a relaxing atmosphere that makes the area seem wonderfully spacious. There are some fantastical elements too, such as the fossilized, upended trees known as the ‘Roots in the Sky’.

The lighting solution chosen consists of fibre optics (in the water) and solid-state floodlighting. The fibre-optic cabling follows the external contours of the pools and the various islands. Not only do the optical fibres make the light appear to pour into the pool through the water spouts, the terminations have also been specially designed to be embedded into the walls of the pool to illuminate the bottom and

rim. A total of 1280 terminations have been used in the large pool along with 75 Octopus generators and 8 Focus generators with 150W metal-halide lamps. More than 30 km of fibreoptic cabling has been used and the total installed power amounts to some 12 kW, a mere 10% of the power required by the original lighting installation that was installed over 30 years ago.

The solid-state floodlights create mixed lighting for the children’s pool with its ingenious sculpture and are also used effectively to light up the ‘Roots in the Sky’ and the other trees.

Three types of solid-state floodlights are used: a 6 x 1W LED ring to illuminate the trees, a hermetically sealed 3W LED module to illuminate the rocks and other features around the pools, and a board of 4 x 3W LEDs to light up the ‘Roots in the Sky’ and the children’s pool.

The total number installed is 224, 18 and 88 respectively. ■

2

1

Lagos Martianez Puerto de la Cruz, Tenerife, Spain

Thanks to Tenerife’s gentle climate and reliably warm temperatures, it has always been a favourite destination for tourists. The Lagos Martianez swimming and leisure complex near Puerto de la Cruz on the north-western coast has recently been fully modernised with a new lighting installation incorporating environmentally friendly fibre optics

1 Fibre-optic end-light systems illuminate the walls of the pool 2 This tree sculpture appears to move in the wind thanks to grazing light from LED floodlights 3 Extract of the outdoor-pool lighting plan with subaquatic contours

3

Contracting authority: Municipality of Puerto de la Cruz Civil engineers: Juan A. Amigo, José L. Olcina Landscape architect: Cesar Manrique Lighting design: J.A. Hidalgo Electrical installer: CYMI Philips support: Fernando Vila, Enriqueta Diaz, Sonia Munuera, Madrid, Spain Luminaires: Focus fibre-optic generator with endlight terminations, special LED floodlights, Philips Lamps: Focus 100W, Philips; Luxeon™ LEDs, white, Lumileds Photographer: Manuel Falcón Text: Fernando Vila

and solid-state lighting.

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27

Set into the black volcanic rocks along the shoreline and covering a total area of 90,000 m2, the Lagos Martianez recreational complex comprises a series of salt-water swimming pools of different shapes and sizes.

The effect created by the lighting design is somewhere between an optical illusion and visual reality – the islands look as if they are floating in the water, the pools appear to be filled with great quantities of light and there is a relaxing atmosphere that makes the area seem wonderfully spacious. There are some fantastical elements too, such as the fossilized, upended trees known as the ‘Roots in the Sky’.

The lighting solution chosen consists of fibre optics (in the water) and solid-state floodlighting. The fibre-optic cabling follows the external contours of the pools and the various islands. Not only do the optical fibres make the light appear to pour into the pool through the water spouts, the terminations have also been specially designed to be embedded into the walls of the pool to illuminate the bottom and

rim. A total of 1280 terminations have been used in the large pool along with 75 Octopus generators and 8 Focus generators with 150W metal-halide lamps. More than 30 km of fibreoptic cabling has been used and the total installed power amounts to some 12 kW, a mere 10% of the power required by the original lighting installation that was installed over 30 years ago.

The solid-state floodlights create mixed lighting for the children’s pool with its ingenious sculpture and are also used effectively to light up the ‘Roots in the Sky’ and the other trees.

Three types of solid-state floodlights are used: a 6 x 1W LED ring to illuminate the trees, a hermetically sealed 3W LED module to illuminate the rocks and other features around the pools, and a board of 4 x 3W LEDs to light up the ‘Roots in the Sky’ and the children’s pool.

The total number installed is 224, 18 and 88 respectively. ■

2

1

Lagos Martianez Puerto de la Cruz, Tenerife, Spain

Thanks to Tenerife’s gentle climate and reliably warm temperatures, it has always been a favourite destination for tourists. The Lagos Martianez swimming and leisure complex near Puerto de la Cruz on the north-western coast has recently been fully modernised with a new lighting installation incorporating environmentally friendly fibre optics

1 Fibre-optic end-light systems illuminate the walls of the pool 2 This tree sculpture appears to move in the wind thanks to grazing light from LED floodlights 3 Extract of the outdoor-pool lighting plan with subaquatic contours

3

Contracting authority: Municipality of Puerto de la Cruz Civil engineers: Juan A. Amigo, José L. Olcina Landscape architect: Cesar Manrique Lighting design: J.A. Hidalgo Electrical installer: CYMI Philips support: Fernando Vila, Enriqueta Diaz, Sonia Munuera, Madrid, Spain Luminaires: Focus fibre-optic generator with endlight terminations, special LED floodlights, Philips Lamps: Focus 100W, Philips; Luxeon™ LEDs, white, Lumileds Photographer: Manuel Falcón Text: Fernando Vila

and solid-state lighting.

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27

P28_31_Pforzheim 0_4

15-02-2006

12:24

Pagina 28

Kiehnlestrasse

World of Jewellery

1– 2 Lichtwand Museumstrasse – exterior glass facade lit exclusively with LEDs

6 Neubau West Industriehaus 5 1 2 3 4 5 6 7

Museumstrasse

Revitalisation of the ‘Industriehaus’, Pforzheim, Germany

Located in the renovated ‘Industriehaus’ in the heart of Germany’s ‘gold

7

Schmuckwelten Backlit wall Lichtgalerie Designwelt/Schmuckgalerie Forum Lichtwand Museumstrasse Tower

3 Ground plan of the World of Jewellery complex 4 Different light colours and colour temperatures appear in loops

4

town’, the new ‘World of Jewellery’ represents both the historical and Poststrasse

3 2

modern centre of the country’s jewellery and watch industry. Visitors are enraptured by the unique atmosphere created by the visually unusual

1

5 Yann Kersalé´s approach is based on the use of highly reflective film on glass, visualising water motifs

and technically ambitious lighting design.

Leopoldplatz

3 5

To date, some 80% of the jewellery produced in Germany has come from Pforzheim. The ‘World of Jewellery/Industriehaus’ is situated in the centre of the city and comprises a museum, shopping arcade, commercial units and office space. A challenge in the renovation of the ‘Industriehaus’ was to link the architectures of the two buildings that make up the ensemble – the old ‘Industriehaus’ and the newly built ‘Neubau West’. The area incorporating the ‘Lichtgalerie’ and the ‘Designwelt/ Schmuckgalerie’, which connects the two, is used for exhibitions, cultural events and presentations. The 3500 m2 ‘World of Jewellery’ shopping arcade is situated on the ground floor of the ‘Industriehaus’. Offices are located on the upper floors.

The design approach was based on the creation of a lighting atmosphere that people would associate with a glistening expanse of water. This was inspired by Pforzheim’s location at the confluence of the rivers Nagold, Würm and Enz.

The lighting also ties in with the theme of jewellery, because the atmosphere created involves the reflection of light on metallic surfaces.

This lighting design was implemented by creating large luminous surfaces in ceilings and walls. Some 1000 m2 of glass panels backlit by red, green and blue LEDs, partly combined with fluorescent lamps, were installed throughout the building and also in some places on the exterior facade. These panels are made from film-coated safety glass. The shiny film specially developed by the light artists visualises water motifs, the shadows that occur on the surface of water.

This highly reflective film enables the light and reflections from the interior space to be captured and multiplied. The depth of the multiple interreflections suggests the coolness of the water, and visitors seem to lose themselves in the relaxing expanse of space, perhaps dreaming of finding some of the gems that glitter in the water.

4

The light thus complements and integrates with the architecture in a subtle way, allowing it to become an all-encompassing work of art.

The ‘world of jewellery’ is brought into the space and made tangible by the lighting, linking the architectural structure and the inner context of the building.

The system is based on individual glass modules that are fitted into a grid. The profile is such that it facilitates technical adjustments for corners and also allows the glass to shine, the light being distributed with perfect uniformity.

The lighting is based on a unique and innovative combination of fluorescent lamps and highpower LED lighting. The challenge was to achieve a balance between the quantity and the colour of light produced by these technologies.

This mix was chosen because of the design and technical opportunities offered by the two types of lighting. By using approximately 3000 T5 fluorescent lamps, the required 1

28

ilr 2005 / Architecture

2 ilr 2005 / Architecture

29

P28_31_Pforzheim 0_4

15-02-2006

12:24

Pagina 28

Kiehnlestrasse

World of Jewellery

1– 2 Lichtwand Museumstrasse – exterior glass facade lit exclusively with LEDs

6 Neubau West Industriehaus 5 1 2 3 4 5 6 7

Museumstrasse

Revitalisation of the ‘Industriehaus’, Pforzheim, Germany

Located in the renovated ‘Industriehaus’ in the heart of Germany’s ‘gold

7

Schmuckwelten Backlit wall Lichtgalerie Designwelt/Schmuckgalerie Forum Lichtwand Museumstrasse Tower

3 Ground plan of the World of Jewellery complex 4 Different light colours and colour temperatures appear in loops

4

town’, the new ‘World of Jewellery’ represents both the historical and Poststrasse

3 2

modern centre of the country’s jewellery and watch industry. Visitors are enraptured by the unique atmosphere created by the visually unusual

1

5 Yann Kersalé´s approach is based on the use of highly reflective film on glass, visualising water motifs

and technically ambitious lighting design.

Leopoldplatz

3 5

To date, some 80% of the jewellery produced in Germany has come from Pforzheim. The ‘World of Jewellery/Industriehaus’ is situated in the centre of the city and comprises a museum, shopping arcade, commercial units and office space. A challenge in the renovation of the ‘Industriehaus’ was to link the architectures of the two buildings that make up the ensemble – the old ‘Industriehaus’ and the newly built ‘Neubau West’. The area incorporating the ‘Lichtgalerie’ and the ‘Designwelt/ Schmuckgalerie’, which connects the two, is used for exhibitions, cultural events and presentations. The 3500 m2 ‘World of Jewellery’ shopping arcade is situated on the ground floor of the ‘Industriehaus’. Offices are located on the upper floors.

The design approach was based on the creation of a lighting atmosphere that people would associate with a glistening expanse of water. This was inspired by Pforzheim’s location at the confluence of the rivers Nagold, Würm and Enz.

The lighting also ties in with the theme of jewellery, because the atmosphere created involves the reflection of light on metallic surfaces.

This lighting design was implemented by creating large luminous surfaces in ceilings and walls. Some 1000 m2 of glass panels backlit by red, green and blue LEDs, partly combined with fluorescent lamps, were installed throughout the building and also in some places on the exterior facade. These panels are made from film-coated safety glass. The shiny film specially developed by the light artists visualises water motifs, the shadows that occur on the surface of water.

This highly reflective film enables the light and reflections from the interior space to be captured and multiplied. The depth of the multiple interreflections suggests the coolness of the water, and visitors seem to lose themselves in the relaxing expanse of space, perhaps dreaming of finding some of the gems that glitter in the water.

4

The light thus complements and integrates with the architecture in a subtle way, allowing it to become an all-encompassing work of art.

The ‘world of jewellery’ is brought into the space and made tangible by the lighting, linking the architectural structure and the inner context of the building.

The system is based on individual glass modules that are fitted into a grid. The profile is such that it facilitates technical adjustments for corners and also allows the glass to shine, the light being distributed with perfect uniformity.

The lighting is based on a unique and innovative combination of fluorescent lamps and highpower LED lighting. The challenge was to achieve a balance between the quantity and the colour of light produced by these technologies.

This mix was chosen because of the design and technical opportunities offered by the two types of lighting. By using approximately 3000 T5 fluorescent lamps, the required 1

28

ilr 2005 / Architecture

2 ilr 2005 / Architecture

29

P28_31_Pforzheim 0_4

15-02-2006

12:24

Pagina 30

1– 2 Schmuckwelten – the spatial impression is created by a mix of fluorescent tubes and red, green and blue LEDs 3 Like the play of sunlight on a river, dynamic vertical white LED light ‘sculpts’ the tower

1

minimum illuminance of 500 lux could be produced without any unwanted, additional luminaires. This can be increased to over 1000 lux if required. The key feature of the lighting design, however, is the 86,000 high-power LEDs used in RGB. Precisely adjusted and programmed for the required lighting scenarios, these solid-state light sources offer optimum flexibility in terms of atmosphere creation, colour temperature and light colour as well as dynamic zonal lighting.

In the ‘Lichtgalerie’ and the ‘Designwelt/ Schmuckgalerie’ – except on the ceiling – and on the exterior facade, only LED lights are used.

Here, the large film-coated panels have been

30

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2

fitted to the ceiling or walls on a base construction using point fixing devices. With each glass panel weighing up to 300 kg, this solution proved to be ideal. And thanks to the LEDs’ long life (approximately 50,000 hours), there is no need for the periodic maintenance otherwise required at regular, frequent intervals.

The lighting design can offer a particularly wide choice of colours. The narrow-band emission spectrum of the LEDs enables the light colour to be adjusted precisely – without any filtering – within the broad RGB light spectrum. The light can be dimmed, as required, between 0% and 100% without any fluctuation in colour, and it can be mixed with the light from the fluorescent lamps.

3

The spatial impression is redefined periodically in ‘loops’ with different light colours and colour temperatures. Sometimes the interior is bathed in fresh blue tones, recalling a river with flourishing shops and businesses along its banks. At other times the light becomes a golden current in the evening light, a reminder of the fact that Pforzheim is known as Germany’s historic ‘gold town’. By programming different light and colour atmospheres, a new experience of light and space is created each time.

Outdoors, in nature, the glowing splinters of light are captured by the river in constant motion and reflected. They form, as it were, ‘shining matter’. This ‘river of light’ forms the

basis for the lighting of the adjacent Sparkasse Pforzheim Calw tower, a solution with both dynamic and static visual components.

The cylindrical facade is bathed in dynamic white LED light, creating an impression similar to the play of light on the surface of a river as the sun rises. The static element is the tower’s exterior glass lift shaft, which is illuminated in a subtle red in keeping with the Sparkasse colours.

The tower is illuminated by a total of 13,312 LEDs fitted in 52 vertical axes of light, creating a new urban feature that is visible from far and wide. ■

Contracting authority: Sparkasse Pforzheim Architects: Herman Landgräber, Archis Architecten + Ingenieure GmbH, Karlsruhe, Germany; Peter W. Schmidt, Peter W. Schmidt Architect BDA, Pforzheim/Berlin, Germany Lighting design: Michael F. Rohde, L-Plan, Germany Artist: Yann Kersalé, AIK Vincennes, France Luminaires: Profillos, Spectral Lamps: Luxeon™ LEDs, red, green and blue, Lumileds; TL5 HE /860, Philips Lighting controls: Klaus Löhr KG Photographer: Dirk Altenkirch, Michael F. Rohde Text: Michael F. Rohde, Liane Langhans www.skpfcw.de www.archis.de www.kersale.com www.pwschmidt-architect.de www.l-plan.de

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P28_31_Pforzheim 0_4

15-02-2006

12:24

Pagina 30

1– 2 Schmuckwelten – the spatial impression is created by a mix of fluorescent tubes and red, green and blue LEDs 3 Like the play of sunlight on a river, dynamic vertical white LED light ‘sculpts’ the tower

1

minimum illuminance of 500 lux could be produced without any unwanted, additional luminaires. This can be increased to over 1000 lux if required. The key feature of the lighting design, however, is the 86,000 high-power LEDs used in RGB. Precisely adjusted and programmed for the required lighting scenarios, these solid-state light sources offer optimum flexibility in terms of atmosphere creation, colour temperature and light colour as well as dynamic zonal lighting.

In the ‘Lichtgalerie’ and the ‘Designwelt/ Schmuckgalerie’ – except on the ceiling – and on the exterior facade, only LED lights are used.

Here, the large film-coated panels have been

30

ilr 2005 / Architecture

2

fitted to the ceiling or walls on a base construction using point fixing devices. With each glass panel weighing up to 300 kg, this solution proved to be ideal. And thanks to the LEDs’ long life (approximately 50,000 hours), there is no need for the periodic maintenance otherwise required at regular, frequent intervals.

The lighting design can offer a particularly wide choice of colours. The narrow-band emission spectrum of the LEDs enables the light colour to be adjusted precisely – without any filtering – within the broad RGB light spectrum. The light can be dimmed, as required, between 0% and 100% without any fluctuation in colour, and it can be mixed with the light from the fluorescent lamps.

3

The spatial impression is redefined periodically in ‘loops’ with different light colours and colour temperatures. Sometimes the interior is bathed in fresh blue tones, recalling a river with flourishing shops and businesses along its banks. At other times the light becomes a golden current in the evening light, a reminder of the fact that Pforzheim is known as Germany’s historic ‘gold town’. By programming different light and colour atmospheres, a new experience of light and space is created each time.

Outdoors, in nature, the glowing splinters of light are captured by the river in constant motion and reflected. They form, as it were, ‘shining matter’. This ‘river of light’ forms the

basis for the lighting of the adjacent Sparkasse Pforzheim Calw tower, a solution with both dynamic and static visual components.

The cylindrical facade is bathed in dynamic white LED light, creating an impression similar to the play of light on the surface of a river as the sun rises. The static element is the tower’s exterior glass lift shaft, which is illuminated in a subtle red in keeping with the Sparkasse colours.

The tower is illuminated by a total of 13,312 LEDs fitted in 52 vertical axes of light, creating a new urban feature that is visible from far and wide. ■

Contracting authority: Sparkasse Pforzheim Architects: Herman Landgräber, Archis Architecten + Ingenieure GmbH, Karlsruhe, Germany; Peter W. Schmidt, Peter W. Schmidt Architect BDA, Pforzheim/Berlin, Germany Lighting design: Michael F. Rohde, L-Plan, Germany Artist: Yann Kersalé, AIK Vincennes, France Luminaires: Profillos, Spectral Lamps: Luxeon™ LEDs, red, green and blue, Lumileds; TL5 HE /860, Philips Lighting controls: Klaus Löhr KG Photographer: Dirk Altenkirch, Michael F. Rohde Text: Michael F. Rohde, Liane Langhans www.skpfcw.de www.archis.de www.kersale.com www.pwschmidt-architect.de www.l-plan.de

ilr 2005 / Architecture

31

P32_33_Offices Forum 4_3

15-02-2006

12:25

Pagina 32

Consorci Forum

1 LEDline2 luminaires provide red, amber, white, green and blue grazing light on the facade

Passeig de Taulat 176, Barcelona, Spain

2 Josep Lluis Mateo’s architecture in the Forum area of Barcelona

The Consorci Forum building rises above the city like a brand-new urban ‘lighthouse’. Its spectacular architecture and LED-based exterior

3 The offices feature TBS400P recessed luminaires with fluorescent lamps

illumination form a new point of reference in northern Barcelona, an area that has been revitalised by the Forum 2004 event.

2

Seeing Forum 2004 as a catalyst for urban regeneration, the local authorities and community and state governments agreed to realise a complete transformation of a former industrial zone that had been in decline for many years.

One of the projects was the Consorci de la Zona Franca office building in the Forum area, with its architectural form of stacked geometric bodies.

At over 90 m high, the 16,000 m2 building is visible from most of the northern part of the city.

This inspired the architect to install external illumination to create the appearance of a ‘lighthouse’ rising above the city.

LEDline2 luminaires incorporating Luxeon™ LED technology were selected to produce two very distinct effects. The facade facing towards the city is fitted with numerous coloured light sources inside narrow bays, up to 10 metres high, symbolising the multicultural spectrum of Forum 2004. On the upper part of the building, which is covered in a double layer of glass, LEDline2 luminaires with cool white light have been installed on all four sides to create the lighthouse effect.

3

Inside the building, TBS400P recessed luminaires equipped with GBS600 optics and fluorescent lamps were chosen for the office areas because of their compact size, excellent efficiency and good lighting control.

In other common areas – bathrooms, hallways, etc. – Trilogy downlights have been installed in combination with decorative Pentura battens concealed in various architectural recesses.

Pentura battens have been integrated in an interesting way into the lowered metal ceiling in the areas in front of the elevators.

The luminaires are semi-recessed and the GMS122P diffuser protrudes from the ceiling.

Special attention was devoted to the staircase.

Custom-made luminaires equipped with TL5 lamps and a translucent diffuser have been installed in unusual places: some at 30 cm above ground, bathing the wall in light, and others above the doors to the landings.

With its combination of striking architecture and advanced lighting solutions, the Consorci Forum building is a unique new feature on the skyline, which will help revitalise the area and make it, once again, an integral part of Barcelona city life. ■

Contracting authority: Consorci Zona Franca Architect: Josep Lluis Mateo, MAP Arquitectos, Barcelona, Spain Lighting design: Elias Gomez, ARUP, Madrid, Spain Electrical installer: Redex Philips support: Pedro Alfaye, Pedro Perez, Madrid, Spain Luminaires: TBS400, FBS145, TMS122, LEDline2, Decoflood, Philips Lamps: PL-C, TL5, Philips; Luxeon™ LEDs, red, amber, green and blue, Lumileds Photographer: Pedro Perez, Ricardo Rey Text: Ricardo Rey www.mateo-maparchitect.com www.elconsorci.net

1

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33

P32_33_Offices Forum 4_3

15-02-2006

12:25

Pagina 32

Consorci Forum

1 LEDline2 luminaires provide red, amber, white, green and blue grazing light on the facade

Passeig de Taulat 176, Barcelona, Spain

2 Josep Lluis Mateo’s architecture in the Forum area of Barcelona

The Consorci Forum building rises above the city like a brand-new urban ‘lighthouse’. Its spectacular architecture and LED-based exterior

3 The offices feature TBS400P recessed luminaires with fluorescent lamps

illumination form a new point of reference in northern Barcelona, an area that has been revitalised by the Forum 2004 event.

2

Seeing Forum 2004 as a catalyst for urban regeneration, the local authorities and community and state governments agreed to realise a complete transformation of a former industrial zone that had been in decline for many years.

One of the projects was the Consorci de la Zona Franca office building in the Forum area, with its architectural form of stacked geometric bodies.

At over 90 m high, the 16,000 m2 building is visible from most of the northern part of the city.

This inspired the architect to install external illumination to create the appearance of a ‘lighthouse’ rising above the city.

LEDline2 luminaires incorporating Luxeon™ LED technology were selected to produce two very distinct effects. The facade facing towards the city is fitted with numerous coloured light sources inside narrow bays, up to 10 metres high, symbolising the multicultural spectrum of Forum 2004. On the upper part of the building, which is covered in a double layer of glass, LEDline2 luminaires with cool white light have been installed on all four sides to create the lighthouse effect.

3

Inside the building, TBS400P recessed luminaires equipped with GBS600 optics and fluorescent lamps were chosen for the office areas because of their compact size, excellent efficiency and good lighting control.

In other common areas – bathrooms, hallways, etc. – Trilogy downlights have been installed in combination with decorative Pentura battens concealed in various architectural recesses.

Pentura battens have been integrated in an interesting way into the lowered metal ceiling in the areas in front of the elevators.

The luminaires are semi-recessed and the GMS122P diffuser protrudes from the ceiling.

Special attention was devoted to the staircase.

Custom-made luminaires equipped with TL5 lamps and a translucent diffuser have been installed in unusual places: some at 30 cm above ground, bathing the wall in light, and others above the doors to the landings.

With its combination of striking architecture and advanced lighting solutions, the Consorci Forum building is a unique new feature on the skyline, which will help revitalise the area and make it, once again, an integral part of Barcelona city life. ■

Contracting authority: Consorci Zona Franca Architect: Josep Lluis Mateo, MAP Arquitectos, Barcelona, Spain Lighting design: Elias Gomez, ARUP, Madrid, Spain Electrical installer: Redex Philips support: Pedro Alfaye, Pedro Perez, Madrid, Spain Luminaires: TBS400, FBS145, TMS122, LEDline2, Decoflood, Philips Lamps: PL-C, TL5, Philips; Luxeon™ LEDs, red, amber, green and blue, Lumileds Photographer: Pedro Perez, Ricardo Rey Text: Ricardo Rey www.mateo-maparchitect.com www.elconsorci.net

1

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1

ING Bank headquarters Budapest, Hungary

Situated in close proximity to the city’s most popular tourist sights, this remarkable building projects the strength and reassuring security of a global financial powerhouse. The lighting design complements the highly innovative architectural solutions chosen, contributing significantly to the building’s ergonomically sound interior.

2

1 Erick van Egeraat’s and János Tiba’s elevation architecture 2 Suspended lights in the entrance hall create an artificial ceiling 3 Visual effects made up of contrasts of brightness, reflection and transparency

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The architectural brief for the ING Bank’s new Hungarian headquarters near Hősök tere (Heroes’ Square) in Budapest was to design a high-quality office building that was both distinctive and functional. Also, the internal layout had to meet the needs of a modern, high-tech commercial organisation.

The plan was to soften the harsh rationalism of regimented office cells with a variety of slightly inclined windows that provide views to sun-lit atria. This spatial organisation fulfilled the commercial requirements of the bank, while providing an aesthetically pleasing experience in keeping with both the contemporary and traditional architecture of the city.

Reflecting the reality of today’s 24/7 world, the architect sought to create the impression of a building undergoing constant change.

The facade’s reflective steel and glass composition becomes an instrument of light, creating a continuously changing interplay of visual effects such as contrasts of brightness, reflection and transparency. This produces a constantly shifting image according to one’s position relative to the building.

outside of the building, and in some cases the internal height varies even within one space.

In the facade of the building the narrow windows are not quite vertical, and none of the rising contours of the building are vertical either.

The interior design boasts a host of bold and unconventional solutions, particularly in the customer area on the ground floor, which has a unique, decorative trellis ceiling with a number of panels in different colours.

The unusual architectural design, vast expanses of glass, large customer areas and enormous open-plan offices constituted a major interiordesign challenge. There are very few parallel or perpendicular lines either on the inside or the

The lighting had to be adapted to suit these innovative interior design solutions. In the office spaces, the aim was to maximise the visual effect of the suspended metal ceiling by using luminaires that are fitted completely flush – with

3

no visible rim. The luminaires had to be adapted to the custom-made false ceiling panels and the irregular shapes of many of the spaces. The special false ceiling, made up of metal strips, is covered with 600 mm x 1800 mm perforated anthracite-grey panels that required customdesigned T5 strip lights. Custom-sized TBS300 luminaires have been fitted to the false ceiling by means of a special fixture. These luminaires blend in perfectly with the false ceiling, and the harmony thus created is further enhanced by the use of D6 dual parabolic reflectors to satisfy the anti-glare requirements for computer workplaces and to match the anthracite grey of the false ceiling.

ilr 2005 / Architecture

35

P34_37_Headquarters 4_1

15-02-2006

12:26

Pagina 34

1

ING Bank headquarters Budapest, Hungary

Situated in close proximity to the city’s most popular tourist sights, this remarkable building projects the strength and reassuring security of a global financial powerhouse. The lighting design complements the highly innovative architectural solutions chosen, contributing significantly to the building’s ergonomically sound interior.

2

1 Erick van Egeraat’s and János Tiba’s elevation architecture 2 Suspended lights in the entrance hall create an artificial ceiling 3 Visual effects made up of contrasts of brightness, reflection and transparency

34

ilr 2005 / Architecture

The architectural brief for the ING Bank’s new Hungarian headquarters near Hősök tere (Heroes’ Square) in Budapest was to design a high-quality office building that was both distinctive and functional. Also, the internal layout had to meet the needs of a modern, high-tech commercial organisation.

The plan was to soften the harsh rationalism of regimented office cells with a variety of slightly inclined windows that provide views to sun-lit atria. This spatial organisation fulfilled the commercial requirements of the bank, while providing an aesthetically pleasing experience in keeping with both the contemporary and traditional architecture of the city.

Reflecting the reality of today’s 24/7 world, the architect sought to create the impression of a building undergoing constant change.

The facade’s reflective steel and glass composition becomes an instrument of light, creating a continuously changing interplay of visual effects such as contrasts of brightness, reflection and transparency. This produces a constantly shifting image according to one’s position relative to the building.

outside of the building, and in some cases the internal height varies even within one space.

In the facade of the building the narrow windows are not quite vertical, and none of the rising contours of the building are vertical either.

The interior design boasts a host of bold and unconventional solutions, particularly in the customer area on the ground floor, which has a unique, decorative trellis ceiling with a number of panels in different colours.

The unusual architectural design, vast expanses of glass, large customer areas and enormous open-plan offices constituted a major interiordesign challenge. There are very few parallel or perpendicular lines either on the inside or the

The lighting had to be adapted to suit these innovative interior design solutions. In the office spaces, the aim was to maximise the visual effect of the suspended metal ceiling by using luminaires that are fitted completely flush – with

3

no visible rim. The luminaires had to be adapted to the custom-made false ceiling panels and the irregular shapes of many of the spaces. The special false ceiling, made up of metal strips, is covered with 600 mm x 1800 mm perforated anthracite-grey panels that required customdesigned T5 strip lights. Custom-sized TBS300 luminaires have been fitted to the false ceiling by means of a special fixture. These luminaires blend in perfectly with the false ceiling, and the harmony thus created is further enhanced by the use of D6 dual parabolic reflectors to satisfy the anti-glare requirements for computer workplaces and to match the anthracite grey of the false ceiling.

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15-02-2006

12:26

Pagina 36

1 Kitchen or staircase ‘islands’ highlighted by wall-washing TMS122 luminaires 2 Custom-sized TBS300 luminaires and T5 strip lights on suspended metal ceiling 3 The facade’s reflective steel and glass composition becomes an instrument of light

1

In the customer area, a total of seventy-one TBS315 recessed fluorescent downlights and twenty-eight QBN110 recessed halogen downlights are used. For the purpose of decoration, the greenish OD optic was selected for use here.

In the offices and corridors on the ground floor, fifty-eight TBS330 recessed fluorescent luminaires have been installed. In the other office areas, some 4000 custom-sized TBS400 recessed fluorescent luminaires are used.

The ING Bank’s new Hungarian head office combines state-of-the-art lighting solutions with a unique, ergonomically sound architectural design that is aesthetically pleasing and fits in with both the contemporary and traditional architecture of Budapest. Flanked on one side by a building from the modernistic 1950s and on the other side by a building from the eclectic 19th century, the bank can be seen as making a bold architectural statement for the 21st century. ■

An interesting lighting solution highlights some of the kitchen or staircase ‘islands’: a group of narrow TL5 battens with an opal diffuser run around the edge of each ‘island’, diffusing the light onto the side wall. TMS122 luminaires in three different electrical ratings are used to create this striking wall-washing effect.

Contracting authority: ING Real Estate Architects: Erick van Egeraat, EEA Architects, Rotterdam, The Netherlands; János Tiba, EEA Architects, Budapest, Hungary Lighting design: Lukács Gombás, Spányi & Jakab Kft., Budapest, Hungary Electrical installer: Tamás Rózsa, Elektro Profi Vállalkozási Kft Philips support: István Bodnár, Budapest, Hungary Luminaires: TBS315, QBN110, TBS330, TMS122, TBS400, TCW216, Philips Lamps: TL5, TL-D, HAL-C, Philips Text: Ildiko Meszaros Photographer: Christian Richters www.ingrealestate.com

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2

3

P34_37_Headquarters 4_1

15-02-2006

12:26

Pagina 36

1 Kitchen or staircase ‘islands’ highlighted by wall-washing TMS122 luminaires 2 Custom-sized TBS300 luminaires and T5 strip lights on suspended metal ceiling 3 The facade’s reflective steel and glass composition becomes an instrument of light

1

In the customer area, a total of seventy-one TBS315 recessed fluorescent downlights and twenty-eight QBN110 recessed halogen downlights are used. For the purpose of decoration, the greenish OD optic was selected for use here.

In the offices and corridors on the ground floor, fifty-eight TBS330 recessed fluorescent luminaires have been installed. In the other office areas, some 4000 custom-sized TBS400 recessed fluorescent luminaires are used.

The ING Bank’s new Hungarian head office combines state-of-the-art lighting solutions with a unique, ergonomically sound architectural design that is aesthetically pleasing and fits in with both the contemporary and traditional architecture of Budapest. Flanked on one side by a building from the modernistic 1950s and on the other side by a building from the eclectic 19th century, the bank can be seen as making a bold architectural statement for the 21st century. ■

An interesting lighting solution highlights some of the kitchen or staircase ‘islands’: a group of narrow TL5 battens with an opal diffuser run around the edge of each ‘island’, diffusing the light onto the side wall. TMS122 luminaires in three different electrical ratings are used to create this striking wall-washing effect.

Contracting authority: ING Real Estate Architects: Erick van Egeraat, EEA Architects, Rotterdam, The Netherlands; János Tiba, EEA Architects, Budapest, Hungary Lighting design: Lukács Gombás, Spányi & Jakab Kft., Budapest, Hungary Electrical installer: Tamás Rózsa, Elektro Profi Vállalkozási Kft Philips support: István Bodnár, Budapest, Hungary Luminaires: TBS315, QBN110, TBS330, TMS122, TBS400, TCW216, Philips Lamps: TL5, TL-D, HAL-C, Philips Text: Ildiko Meszaros Photographer: Christian Richters www.ingrealestate.com

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2

3

Retail

Porsche showroom De Scheper 305, Oirschot, The Netherlands

To many, a Porsche is more than just a car, it is a metaphor for speed and exclusivity. At the company’s new showroom in Oirschot, the dynamic ambience created by the flexible lighting literally set the scene for this automotive ‘theatre of dreams’.

The new Porsche showroom projects the image of speed and technical excellence for which the brand is famed. The building’s stainless-steel shell and red sign express design perfection.

Every line is clean, every form pure, in keeping with Porsche identity guidelines. When the existing building was transformed into a showroom, the aim was for the architecture to reflect Porsche’s dynamism and to create a space in which everyone can experience the power, the passion and the many other qualities associated with the Porsche brand.

The fact that lighting can respond to both people’s rational and emotional needs – and thus enhance the Porsche experience – was a key

38

ilr 2005 / Retail

Retail

Porsche showroom De Scheper 305, Oirschot, The Netherlands

To many, a Porsche is more than just a car, it is a metaphor for speed and exclusivity. At the company’s new showroom in Oirschot, the dynamic ambience created by the flexible lighting literally set the scene for this automotive ‘theatre of dreams’.

The new Porsche showroom projects the image of speed and technical excellence for which the brand is famed. The building’s stainless-steel shell and red sign express design perfection.

Every line is clean, every form pure, in keeping with Porsche identity guidelines. When the existing building was transformed into a showroom, the aim was for the architecture to reflect Porsche’s dynamism and to create a space in which everyone can experience the power, the passion and the many other qualities associated with the Porsche brand.

The fact that lighting can respond to both people’s rational and emotional needs – and thus enhance the Porsche experience – was a key

38

ilr 2005 / Retail

1

factor in the decision to implement this flexible lighting solution in the showroom.

The lighting in the main showroom is in keeping with Porsche’s aesthetic identity. Pendant Megalux luminaires with 150W Master Colour lamps provide adequate lighting to balance the high lighting levels outside and in the adjoining workshop, which is partitioned off by glass.

The closed bowl of this high-tech luminaire limits the amount of light radiated to the more intimate first floor. MiniDecoflood luminaires with 35W Master Colour reflector lamps illuminate the cars to make them visible from the adjacent A58 motorway, especially during the hours of darkness. To achieve a spatial effect, the ceiling on both sides of the showroom is lit indirectly by a line of fluorescent lamps. At ground-floor level, cove lighting runs along the side of the building, while Executive luminaires provide indirect lighting of the ceiling on the first floor. In the showroom, a series of tracks with Fiorenza spots with 70W Master Colour compact discharge lamps show the cars off to

best effect. The long reception desk is lit by an equally long Maxos Lunar light line, emphasising the length and design of the desk.

The luminance of this light line attracts customers, while the good vertical lighting level ensures soft modelling of people’s faces.

Porsche’s image of engineering excellence is underscored by the open view of the workshop, which is illuminated at 700 lux. The open offices are equipped with pendant Maxos Wing luminaires and accent lighting.

To capture the attention of customers entering the building, the indirect lighting of the suspended ceiling above the bar switches to a colourful dynamic mode as they walk in, reverting to a constant white light after 5 minutes. The changing colours of the ceiling are reflected in the paintwork of the cars on show, reinforcing the dynamic image that Porsche wants to convey.

2 1 Dynamic lighting on the first floor attracts visitors’ attention, inviting them to take a look at this floor as well 2

ilr 2005 / Retail

4

The sales offices are softly illuminated by Maxos Wing luminaires

3-4 The ambience for the hand-over – e.g. high-tech, mysterious blue or Porsche red – can be tailored to the occasion

40

3

In the mezzanine area where the cars are handed over, the RGB LEDline2 lighting of the 9-metre back wall can be set to any given colour to show the new car to best advantage. As the hand-over is the ‘moment of truth’, every effort is made to create the best possible ambience for this special occasion. A DMX controller enables easy adjustment of the colours. The mezzanine floor is fitted with Scrabble halogen Aluline Pro 75W narrow-beam spots to highlight the cars.

In the bar there is a dynamic ambience scenario controlled by Scenio 100. In the morning, the lighting level around the table and bar creates a businesslike ambience. In the early afternoon, when lighting levels outside are very high, the illuminance increases. As the afternoon progresses, the lighting level is lowered and contrast increased to create a warm, welcoming ambience in which Porsche owners can get together to enjoy a casual drink and share their passion for these kings of the road. ■

Owner: Porsche Centrum Eindhoven B.V. Architect: Chris Franken, Van de Ven, Franken, Onstenk, Eindhoven, The Netherlands Interior architect: Hans Schets, Smeulders Interieurgroep, Nuenen, The Netherlands Lighting design: Jolanda Tielens-Aarts, LiDAC International, Eindhoven, The Netherlands Electrical installer: Elektro W. van Santvoort Philips support: Stefan Verbrugh, Gerben Smid, Marike de Kruiff, Eindhoven, The Netherlands Luminaires: LEDline2, Maxos, Megalux, Fiorenza, Executive, Celino, Scrabble, Fugato, Philips Lamps: CDM, TL5, TL-D, Aluline PRO 111, Philips Controls: Scenio 100, Philips; DMX, Martin Architectural Photographer: Rens van Mierlo, Korff & Van Mierlo Text: Jolanda Tielens-Aarts

ilr 2005 / Retail

41

1

factor in the decision to implement this flexible lighting solution in the showroom.

The lighting in the main showroom is in keeping with Porsche’s aesthetic identity. Pendant Megalux luminaires with 150W Master Colour lamps provide adequate lighting to balance the high lighting levels outside and in the adjoining workshop, which is partitioned off by glass.

The closed bowl of this high-tech luminaire limits the amount of light radiated to the more intimate first floor. MiniDecoflood luminaires with 35W Master Colour reflector lamps illuminate the cars to make them visible from the adjacent A58 motorway, especially during the hours of darkness. To achieve a spatial effect, the ceiling on both sides of the showroom is lit indirectly by a line of fluorescent lamps. At ground-floor level, cove lighting runs along the side of the building, while Executive luminaires provide indirect lighting of the ceiling on the first floor. In the showroom, a series of tracks with Fiorenza spots with 70W Master Colour compact discharge lamps show the cars off to

best effect. The long reception desk is lit by an equally long Maxos Lunar light line, emphasising the length and design of the desk.

The luminance of this light line attracts customers, while the good vertical lighting level ensures soft modelling of people’s faces.

Porsche’s image of engineering excellence is underscored by the open view of the workshop, which is illuminated at 700 lux. The open offices are equipped with pendant Maxos Wing luminaires and accent lighting.

To capture the attention of customers entering the building, the indirect lighting of the suspended ceiling above the bar switches to a colourful dynamic mode as they walk in, reverting to a constant white light after 5 minutes. The changing colours of the ceiling are reflected in the paintwork of the cars on show, reinforcing the dynamic image that Porsche wants to convey.

2 1 Dynamic lighting on the first floor attracts visitors’ attention, inviting them to take a look at this floor as well 2

ilr 2005 / Retail

4

The sales offices are softly illuminated by Maxos Wing luminaires

3-4 The ambience for the hand-over – e.g. high-tech, mysterious blue or Porsche red – can be tailored to the occasion

40

3

In the mezzanine area where the cars are handed over, the RGB LEDline2 lighting of the 9-metre back wall can be set to any given colour to show the new car to best advantage. As the hand-over is the ‘moment of truth’, every effort is made to create the best possible ambience for this special occasion. A DMX controller enables easy adjustment of the colours. The mezzanine floor is fitted with Scrabble halogen Aluline Pro 75W narrow-beam spots to highlight the cars.

In the bar there is a dynamic ambience scenario controlled by Scenio 100. In the morning, the lighting level around the table and bar creates a businesslike ambience. In the early afternoon, when lighting levels outside are very high, the illuminance increases. As the afternoon progresses, the lighting level is lowered and contrast increased to create a warm, welcoming ambience in which Porsche owners can get together to enjoy a casual drink and share their passion for these kings of the road. ■

Owner: Porsche Centrum Eindhoven B.V. Architect: Chris Franken, Van de Ven, Franken, Onstenk, Eindhoven, The Netherlands Interior architect: Hans Schets, Smeulders Interieurgroep, Nuenen, The Netherlands Lighting design: Jolanda Tielens-Aarts, LiDAC International, Eindhoven, The Netherlands Electrical installer: Elektro W. van Santvoort Philips support: Stefan Verbrugh, Gerben Smid, Marike de Kruiff, Eindhoven, The Netherlands Luminaires: LEDline2, Maxos, Megalux, Fiorenza, Executive, Celino, Scrabble, Fugato, Philips Lamps: CDM, TL5, TL-D, Aluline PRO 111, Philips Controls: Scenio 100, Philips; DMX, Martin Architectural Photographer: Rens van Mierlo, Korff & Van Mierlo Text: Jolanda Tielens-Aarts

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41

P42_43_Sikkens 6_2

15-02-2006

12:29

Pagina 42

1 Richard Meier: “White intensifies our perception of all other colour nuances that occur in nature and in natural light”

Sikkens ‘Color Reflections’ 2005 International Construction Fair, Utrecht, The Netherlands

2 Herman Kuyer: “Colours need to be able to see each other, to reflect the light in each other”

Sikkens ‘Color Reflections’ was designed to give visitors to the 2005 International Construction Fair the opportunity to experience colour in a totally new and exciting way. A series of five rooms – now in

4 Form disappears in the dark, but is accentuated in the light 5 Colour is always a means to an end and never the end itself – it shapes space and determines our perception

3 Colours suggest a reality – colours do something to space, and they do something to us

permanent use in exhibitions, etc. – illustrated, in an appealing and innovative manner, how colour and light interact when different types of paints, coatings and lacquers are used.

4

The idea behind ‘Color Reflections’ was to offer visitors a truly original experience: one that would make them see things in a new light, both literally and figuratively. A stand comprising five rooms was built, each of which focused on a specific aspect of colour and light. Every room stimulated the senses in a different way, with something for the visitor to see, hear, feel and even taste.

1

dedicated to 30 shades of white by the renowned architect Richard Meier, the latest colour collection in the series New Colors for a new Century by leading architects (Mendini, Foster and Koolhaas preceding him). In this room, Strato luminaires were used to simulate the dynamic daylight sequence, while Fiorenza provided accent lighting.

On entering the second room, the visitor was drawn in by a moving text projected onto the floor. It read, quite simply, ‘REFLECTION’.

This room, which was equipped with LEDline2 luminaires, was designed to show how colours can affect white under the influence of reflected light.

The third room focused on colour illusion: the fact that colours can manipulate the human brain.

The purpose of all the rooms was to illustrate how colour and light interact in conjunction with various surfaces, paints, coatings and lacquers. Different types of luminaires were used to produce the best lighting effect in each room.

Visitors entering ‘Color Reflections’ proceeded from one room to the next. The first room was

2

3

5

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ilr 2005 / Retail

The fourth room was dedicated to the effect of light and colour on structures. In order to emphasise the contrast with the previous room, this room was kept very plain: only black and white, in matt and gloss.

With its eye-catching displays, the fifth and final room illustrated the powerful effect of light on colour. A dynamic ambience was created with Alien 02 luminaires in combination with Scenio and DMX lighting controls. As colours reflect only the spectrum of light falling onto the surface, the coloured surfaces were experienced differently as the colour of the lighting changed.

Mini Mac Maestro luminaires were used throughout to project theme-related texts onto the walls and floor. ■

Contracting authority: Akzo Nobel Consultant: Mistelli Belevingscommunicatie Lighting design: Wibeke Pollé, LiDAC, Eindhoven, The Netherlands Electrical installer: VHS Philips support: Ronald van de Wetering, Project Support Group, Eindhoven, The Netherlands Luminaires: Strato, Fiorenza, LEDline2, Philips; Alien02, Mini Mac Meastro, Martin Architectural Lamps: TL5, Masterline 111, CDM, Masterline ES, Philips; Luxeon™ LEDs, Lumileds Lighting controls: Scenio 100, Philips; DMX Photographer: Sikkens (Copyright) Text: Wibeke Pollé www.sikkens.com

ilr 2005 / Retail

43

P42_43_Sikkens 6_2

15-02-2006

12:29

Pagina 42

1 Richard Meier: “White intensifies our perception of all other colour nuances that occur in nature and in natural light”

Sikkens ‘Color Reflections’ 2005 International Construction Fair, Utrecht, The Netherlands

2 Herman Kuyer: “Colours need to be able to see each other, to reflect the light in each other”

Sikkens ‘Color Reflections’ was designed to give visitors to the 2005 International Construction Fair the opportunity to experience colour in a totally new and exciting way. A series of five rooms – now in

4 Form disappears in the dark, but is accentuated in the light 5 Colour is always a means to an end and never the end itself – it shapes space and determines our perception

3 Colours suggest a reality – colours do something to space, and they do something to us

permanent use in exhibitions, etc. – illustrated, in an appealing and innovative manner, how colour and light interact when different types of paints, coatings and lacquers are used.

4

The idea behind ‘Color Reflections’ was to offer visitors a truly original experience: one that would make them see things in a new light, both literally and figuratively. A stand comprising five rooms was built, each of which focused on a specific aspect of colour and light. Every room stimulated the senses in a different way, with something for the visitor to see, hear, feel and even taste.

1

dedicated to 30 shades of white by the renowned architect Richard Meier, the latest colour collection in the series New Colors for a new Century by leading architects (Mendini, Foster and Koolhaas preceding him). In this room, Strato luminaires were used to simulate the dynamic daylight sequence, while Fiorenza provided accent lighting.

On entering the second room, the visitor was drawn in by a moving text projected onto the floor. It read, quite simply, ‘REFLECTION’.

This room, which was equipped with LEDline2 luminaires, was designed to show how colours can affect white under the influence of reflected light.

The third room focused on colour illusion: the fact that colours can manipulate the human brain.

The purpose of all the rooms was to illustrate how colour and light interact in conjunction with various surfaces, paints, coatings and lacquers. Different types of luminaires were used to produce the best lighting effect in each room.

Visitors entering ‘Color Reflections’ proceeded from one room to the next. The first room was

2

3

5

42

ilr 2005 / Retail

The fourth room was dedicated to the effect of light and colour on structures. In order to emphasise the contrast with the previous room, this room was kept very plain: only black and white, in matt and gloss.

With its eye-catching displays, the fifth and final room illustrated the powerful effect of light on colour. A dynamic ambience was created with Alien 02 luminaires in combination with Scenio and DMX lighting controls. As colours reflect only the spectrum of light falling onto the surface, the coloured surfaces were experienced differently as the colour of the lighting changed.

Mini Mac Maestro luminaires were used throughout to project theme-related texts onto the walls and floor. ■

Contracting authority: Akzo Nobel Consultant: Mistelli Belevingscommunicatie Lighting design: Wibeke Pollé, LiDAC, Eindhoven, The Netherlands Electrical installer: VHS Philips support: Ronald van de Wetering, Project Support Group, Eindhoven, The Netherlands Luminaires: Strato, Fiorenza, LEDline2, Philips; Alien02, Mini Mac Meastro, Martin Architectural Lamps: TL5, Masterline 111, CDM, Masterline ES, Philips; Luxeon™ LEDs, Lumileds Lighting controls: Scenio 100, Philips; DMX Photographer: Sikkens (Copyright) Text: Wibeke Pollé www.sikkens.com

ilr 2005 / Retail

43

P44_45_Vigevano 5_3

15-02-2006

12:31

Pagina 44

Ipercoop Il Ducale shopping centre, Vigevano, Italy

The new Coop hypermarket is part of the Il Ducale shopping centre in Vigevano, a city that features prominently in the history of Renaissance Lombardy. Known for its commitment to consumer service and environmental protection, in this outlet the Coop is focusing on presenting its merchandise in the best possible light while taking into account the needs of its staff.

The rectangular form of the Il Ducale centre (10,000 m2) is reminiscent of the geometrical design of the famous Piazza Ducale. In addition to its many shops, cafés and the Coop hypermarket, the centre also features outdoor areas with fountains in the style of the old Italian squares.

The Coop’s plan was to add new lighting elements to the existing scheme to create a more open, appealing ambience, improve communication to customers, and highlight the quality of its products.

The general areas with gondolas are lit exclusively by surface-mounted fixtures, fitted with both energy-saving compact fluorescent and Master Colour lamps in order to optimise visual comfort and provide a bright, dynamic light without affecting the linear, minimalist architecture.

General lighting is provided by Cube 4 x 55W HFR fixtures, positioned at regular intervals at a height of 4.2 m and controlled by Trios to ensure optimum lighting levels and power consumption. Musa luminaires proved ideal for accent lighting as their cylindrical shape, metal finish and luminescent optical section match the existing aluminium structures.

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ilr 2005 / Retail

In the fresh-food section, Musa luminaires with 100W white sodium HID (high-intensity discharge) lamps installed at 3.6 m above the bakery and butchery areas highlight the product quality and create a welcoming atmosphere, whilst in the frozen-food section Master Colour 70W 830-colour lamps are used. The quality and freshness of the fish is highlighted by Master Colour 70W lamps with 830 and 942 colours in a ratio of 2 to 1. Garnea suspended luminaires with prismatic refractors, 36° internal optics and 100W HID lamps illuminate the fruit and vegetables. In the ‘wine cellar’ 100W HID lamps are also used, but at lower levels and in recessed Fugato luminaires.

In the check-out area it was important to comply with regulation lighting levels and to strike a balance with the quantity of light coming from the centre’s main passageway. Carpe Diem luminaires with two TL5 49W lamps proved ideal here, creating the illusion of an elegant luminous ceiling and ensuring the right amount of light and the necessary glare control for the till operators. ■

Contracting authority: Roberto Gianassi, I.N.R.E.S. Architect: Lino Rorato, I.N.R.E.S., Florence, Italy Lighting design: Mauro Cappelli, I.N.R.E.S., Florence, Italy Electrical installer: Elettroimpianti Italia Philips support: Cristiano Disclafani, Arezzo, Italy Luminaires: 3 F Cube, Musa, Soprano, Carpe Diem, Garnea, Fugato, Midi Musa, Philips Lamps: PL-L, CDM-T, SDW-TG, SDW-T, TL5, HAL-C, Philips Lighting controls: LRC1025, Philips Photographer: Marco Maggioni Text: Angela Mancuso

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45

P44_45_Vigevano 5_3

15-02-2006

12:31

Pagina 44

Ipercoop Il Ducale shopping centre, Vigevano, Italy

The new Coop hypermarket is part of the Il Ducale shopping centre in Vigevano, a city that features prominently in the history of Renaissance Lombardy. Known for its commitment to consumer service and environmental protection, in this outlet the Coop is focusing on presenting its merchandise in the best possible light while taking into account the needs of its staff.

The rectangular form of the Il Ducale centre (10,000 m2) is reminiscent of the geometrical design of the famous Piazza Ducale. In addition to its many shops, cafés and the Coop hypermarket, the centre also features outdoor areas with fountains in the style of the old Italian squares.

The Coop’s plan was to add new lighting elements to the existing scheme to create a more open, appealing ambience, improve communication to customers, and highlight the quality of its products.

The general areas with gondolas are lit exclusively by surface-mounted fixtures, fitted with both energy-saving compact fluorescent and Master Colour lamps in order to optimise visual comfort and provide a bright, dynamic light without affecting the linear, minimalist architecture.

General lighting is provided by Cube 4 x 55W HFR fixtures, positioned at regular intervals at a height of 4.2 m and controlled by Trios to ensure optimum lighting levels and power consumption. Musa luminaires proved ideal for accent lighting as their cylindrical shape, metal finish and luminescent optical section match the existing aluminium structures.

44

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In the fresh-food section, Musa luminaires with 100W white sodium HID (high-intensity discharge) lamps installed at 3.6 m above the bakery and butchery areas highlight the product quality and create a welcoming atmosphere, whilst in the frozen-food section Master Colour 70W 830-colour lamps are used. The quality and freshness of the fish is highlighted by Master Colour 70W lamps with 830 and 942 colours in a ratio of 2 to 1. Garnea suspended luminaires with prismatic refractors, 36° internal optics and 100W HID lamps illuminate the fruit and vegetables. In the ‘wine cellar’ 100W HID lamps are also used, but at lower levels and in recessed Fugato luminaires.

In the check-out area it was important to comply with regulation lighting levels and to strike a balance with the quantity of light coming from the centre’s main passageway. Carpe Diem luminaires with two TL5 49W lamps proved ideal here, creating the illusion of an elegant luminous ceiling and ensuring the right amount of light and the necessary glare control for the till operators. ■

Contracting authority: Roberto Gianassi, I.N.R.E.S. Architect: Lino Rorato, I.N.R.E.S., Florence, Italy Lighting design: Mauro Cappelli, I.N.R.E.S., Florence, Italy Electrical installer: Elettroimpianti Italia Philips support: Cristiano Disclafani, Arezzo, Italy Luminaires: 3 F Cube, Musa, Soprano, Carpe Diem, Garnea, Fugato, Midi Musa, Philips Lamps: PL-L, CDM-T, SDW-TG, SDW-T, TL5, HAL-C, Philips Lighting controls: LRC1025, Philips Photographer: Marco Maggioni Text: Angela Mancuso

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45

1 In the atrium of wind, the light from the overlapping ceiling panels is varied to simulate rotating blades 2 Fire effects are projected onto the ceiling in the atrium of fire 3 The ‘chimney’ is reminiscent of the region’s industrial architecture 4 Moving patterns of light make these trees look like they are in blossom or their leaves are wet or turning into autumn colours

3 2

1

4

Espai Gironès shopping centre Salt, Spain

Inaugurated in May 2005, Espai Gironès is the first centre of its kind in the province of Girona. The exterior lighting underlines the architectural elements that are reminiscent of Girona’s manufacturing industry. The interior lighting has been designed to create ‘outdoor’ public areas: ‘plazas’ in the atria, and ‘streets’ in the zones connecting the atria.

The 40,000 square meters of rentable space are distributed over two levels and include cinemas, a supermarket, a shopping area, a bowling centre, a gym, restaurants and 2500 car parking spaces.

The centre has three themed atria – wind, fire and water – connected by two-storey mall ‘streets’. Visitors feel like they are walking in a street or public place, and this is reinforced by the fact that many of the indoor spaces are roofed with glass – and thus bathe in natural light during the day – and by the presence of works of art, street furniture and public lighting fixtures.

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The lighting has three functions. Firstly, it reveals obstacles and potential dangers, generates a feeling of security and facilitates orientation, even at a low lighting level.

Secondly, it determines how materials, colours and textures are perceived, thereby modulating the architecture and landscape and underlining the characteristic features of the space. Since light gives each architectural element its brightness – and thus organizes the impression of the space – excessively bright light sources are hidden from direct view. In order to focus attention on the shop fronts and ensure that highlighted elements are still experienced as accents, the general lighting is kept relatively

low; the contrasts are such that the ‘signals’ are not lost in the visual ‘noise’.

Lastly, light is applied to reinforce the desired ambience. Here, the guiding principle is not the amount of light, but its colour and direction and the way it is projected.

To animate the environment, some dynamic lighting effects – based on the theme of the atrium – have been added to the static lighting.

These effects, which change slowly and continuously, are programmed according to the time of day, the week and the season. ■

Owner: AM Multi Development Corporation Spain, S.A. Architect: Chapman Taylor, Madrid, Spain Concept architect: T&T Design, Gouda, The Netherlands Lighting design: Har Hollands, Eindhoven, The Netherlands Luminaires: Fugato, Pentura, Philips; Projectors, Martin Architectural Lamps: TL5, CDM, C-FL, Philips Photographer: Hans van Stekelenburg Text: Har Hollands www.hollands.info

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47

1 In the atrium of wind, the light from the overlapping ceiling panels is varied to simulate rotating blades 2 Fire effects are projected onto the ceiling in the atrium of fire 3 The ‘chimney’ is reminiscent of the region’s industrial architecture 4 Moving patterns of light make these trees look like they are in blossom or their leaves are wet or turning into autumn colours

3 2

1

4

Espai Gironès shopping centre Salt, Spain

Inaugurated in May 2005, Espai Gironès is the first centre of its kind in the province of Girona. The exterior lighting underlines the architectural elements that are reminiscent of Girona’s manufacturing industry. The interior lighting has been designed to create ‘outdoor’ public areas: ‘plazas’ in the atria, and ‘streets’ in the zones connecting the atria.

The 40,000 square meters of rentable space are distributed over two levels and include cinemas, a supermarket, a shopping area, a bowling centre, a gym, restaurants and 2500 car parking spaces.

The centre has three themed atria – wind, fire and water – connected by two-storey mall ‘streets’. Visitors feel like they are walking in a street or public place, and this is reinforced by the fact that many of the indoor spaces are roofed with glass – and thus bathe in natural light during the day – and by the presence of works of art, street furniture and public lighting fixtures.

46

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The lighting has three functions. Firstly, it reveals obstacles and potential dangers, generates a feeling of security and facilitates orientation, even at a low lighting level.

Secondly, it determines how materials, colours and textures are perceived, thereby modulating the architecture and landscape and underlining the characteristic features of the space. Since light gives each architectural element its brightness – and thus organizes the impression of the space – excessively bright light sources are hidden from direct view. In order to focus attention on the shop fronts and ensure that highlighted elements are still experienced as accents, the general lighting is kept relatively

low; the contrasts are such that the ‘signals’ are not lost in the visual ‘noise’.

Lastly, light is applied to reinforce the desired ambience. Here, the guiding principle is not the amount of light, but its colour and direction and the way it is projected.

To animate the environment, some dynamic lighting effects – based on the theme of the atrium – have been added to the static lighting.

These effects, which change slowly and continuously, are programmed according to the time of day, the week and the season. ■

Owner: AM Multi Development Corporation Spain, S.A. Architect: Chapman Taylor, Madrid, Spain Concept architect: T&T Design, Gouda, The Netherlands Lighting design: Har Hollands, Eindhoven, The Netherlands Luminaires: Fugato, Pentura, Philips; Projectors, Martin Architectural Lamps: TL5, CDM, C-FL, Philips Photographer: Hans van Stekelenburg Text: Har Hollands www.hollands.info

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47

P48_49_Sarar shop 5_6

15-02-2006

12:36

Pagina 48

The Sarar Shop Eskişehir, Turkey

The famous Sarar Shop chain of men’s fashion stores was founded in Eskişehir, near Ankara, by Abdullah Sarar in 1944. There are now 45 Sarar Shops in Turkey and 16 others around the world. Complementing the chain’s new architectural concept, a new lighting design has been implemented in ten of these shops since April 2004.

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The Sarar Shop stores generally have one or two floors with a 60 x 60 cm modular suspended ceiling. A line of lights is installed in the ceiling close to the shelves and trio boxes. There are shelves and belt and tie stands along the walls, and trouser stands, circular stands, shirt counters and seating areas throughout the rest of the store.

The main purpose of the lighting is to provide basic orientation and to create an appealing atmosphere that will put customers at ease, encouraging them to browse. In the store, the general lighting is provided by Mezzo MBN210Y 36˚ adjustable recessed downlights (wide beam). Mezzo MBN210Y 12˚ adjustable recessed downlights (narrow beam) are used in the line of lights to create accent lighting for the shelves, belt stands, tie stands, etc., along the walls. Both luminaires are fitted with Master Colour 70W compact discharge lamps that create a warm colour impression and provide excellent colour rendering, thus displaying the merchandise to best effect.

In addition, local lighting for the shelves and trio boxes along the walls is provided by QBS560/020 recessed fixed downlights fitted with 20W halogen reflector lamps. Musa MRS612/070 EB 12˚ adjustable narrow-beam projectors with Master Colour 70W compact discharge lamps are deployed in the shop windows, producing a sparkling light designed to attract shoppers who are passing by.

The fitting rooms are illuminated using QBS560/020 recessed fixed downlights.

Besides highlighting specific areas of interest within the store, the new Sarar Shop lighting concept creates an overall ambience that makes shopping there a most enjoyable experience. ■

Contracting authority: SARAR A.Ş.

Architect: Nihat Keskin, SARAR A.Ş., Eskişehir, Turkey Lighting design: Sevim Kösem, Philips LiDAC, Istanbul, Turkey Philips support: Tuba Bostancı Baskan, Funda İğdir Ataylar, Oğuzhan Battal, Turkey Luminaires: Mezzo MBN210Y, MRS612/070, QBS560, Philips Lamps: CDM-T, CDM-TC, Halogen, Philips Photographer: Kaan Verdioğlu Text: Tuba Bostancı Baskan

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49

P48_49_Sarar shop 5_6

15-02-2006

12:36

Pagina 48

The Sarar Shop Eskişehir, Turkey

The famous Sarar Shop chain of men’s fashion stores was founded in Eskişehir, near Ankara, by Abdullah Sarar in 1944. There are now 45 Sarar Shops in Turkey and 16 others around the world. Complementing the chain’s new architectural concept, a new lighting design has been implemented in ten of these shops since April 2004.

48

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The Sarar Shop stores generally have one or two floors with a 60 x 60 cm modular suspended ceiling. A line of lights is installed in the ceiling close to the shelves and trio boxes. There are shelves and belt and tie stands along the walls, and trouser stands, circular stands, shirt counters and seating areas throughout the rest of the store.

The main purpose of the lighting is to provide basic orientation and to create an appealing atmosphere that will put customers at ease, encouraging them to browse. In the store, the general lighting is provided by Mezzo MBN210Y 36˚ adjustable recessed downlights (wide beam). Mezzo MBN210Y 12˚ adjustable recessed downlights (narrow beam) are used in the line of lights to create accent lighting for the shelves, belt stands, tie stands, etc., along the walls. Both luminaires are fitted with Master Colour 70W compact discharge lamps that create a warm colour impression and provide excellent colour rendering, thus displaying the merchandise to best effect.

In addition, local lighting for the shelves and trio boxes along the walls is provided by QBS560/020 recessed fixed downlights fitted with 20W halogen reflector lamps. Musa MRS612/070 EB 12˚ adjustable narrow-beam projectors with Master Colour 70W compact discharge lamps are deployed in the shop windows, producing a sparkling light designed to attract shoppers who are passing by.

The fitting rooms are illuminated using QBS560/020 recessed fixed downlights.

Besides highlighting specific areas of interest within the store, the new Sarar Shop lighting concept creates an overall ambience that makes shopping there a most enjoyable experience. ■

Contracting authority: SARAR A.Ş.

Architect: Nihat Keskin, SARAR A.Ş., Eskişehir, Turkey Lighting design: Sevim Kösem, Philips LiDAC, Istanbul, Turkey Philips support: Tuba Bostancı Baskan, Funda İğdir Ataylar, Oğuzhan Battal, Turkey Luminaires: Mezzo MBN210Y, MRS612/070, QBS560, Philips Lamps: CDM-T, CDM-TC, Halogen, Philips Photographer: Kaan Verdioğlu Text: Tuba Bostancı Baskan

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49

P50_51_Balenciaga 5_2

15-02-2006

12:37

Pagina 50

Balenciaga shop 10 Avenue George V, Paris, France

When you go into the Balenciaga store in Paris, you feel like you are entering a futuristic landscape. In this space devoid of right angles, programmed lighting simulates climatic changes under natural light.

The new interior of the famous Balenciaga store, which comprises two shops side by side with a total surface area of about 280 m2, was designed to reflect the cutting-edge image of the collections. It features black natural stone and artificial lava, exotic plants in small beds and white walls with projecting geometric faces resembling geological reliefs. This semi-natural, semi-artificial landscape brings the outdoors inside.

The lighting has been designed to reinforce the feel of an outdoor landscape by generating ‘climatic’ effects. To this end, the ceiling is covered with a 220 m2 polycarbonate ‘sky’; behind this surface there are hundreds of fluorescent tubes which are individually and simultaneously computer-controlled to produce dynamic visual effects. Two types of T8 lamps have been used for the artificial sky: one warm lamp of 2700 K and one cool lamp of 6500 K. In certain stable areas, these are mixed at 50% and 40% respectively, resulting in an overall colour temperature of 3200 K and an average horizontal lighting level of 650 lux.

The lighting programme, which is updated every 8 months, starts at 8 a.m. and ends at midnight. In the first shop, fourteen different sequences reproduce climatic variants – e.g. sunlight, cyclones, the Northern lights – throughout the day. From 8 to 10 a.m., the ‘daybreak’ effect creates an uplifting atmosphere, with the colour temperature

gradually rising to 3200 K. At 10 a.m., opening time, the dynamic scenarios start up, and these can each last from a few seconds to a few minutes. When the shop closes at 8 p.m., the dynamic effects stop; the light gradually turns to cool bluish white until a level of 6500 K and 1300 lux is reached, and then dims to 35 lux.

At 10.00 p.m. ‘violent storms’ arise.

In the ‘grotto’ that houses the changing cubicles, the lighting consists of a multitude of sparkling coloured sources (LED and dichroic) and, in the ceiling, a sort of polychrome screen that creates a play of admixed colours.

Visitors can go through to the second, adjoining shop via an underground passage with a bluetinted lighting ambience. The effect, on emerging from the passageway, is like coming up from the bottom of a swimming pool.

The second store radiates a completely different atmosphere to the first. The effects are more aesthetic and graphic, and there are only eight sequences. Here, the changes in the light are very subtle. The cash desk and the changing area are lit constantly with the same light. ■

Contracting authority: Balenciaga Visual art and design: Dominique Gonzalez-Foerster, Paris, France Lighting design: Benoît Lalloz, ACT Espace, Paris, France Philips support: Nathalie Bozzi, Ivry, France Lamps: Master TL-D Super 80, Philips Lighting controls: DMX, Martin Architectural Photographer: Luc Boegly Text: Benoît Lalloz www.balenciaga.com www.dgf5.com www.act-espace.com

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51

P50_51_Balenciaga 5_2

15-02-2006

12:37

Pagina 50

Balenciaga shop 10 Avenue George V, Paris, France

When you go into the Balenciaga store in Paris, you feel like you are entering a futuristic landscape. In this space devoid of right angles, programmed lighting simulates climatic changes under natural light.

The new interior of the famous Balenciaga store, which comprises two shops side by side with a total surface area of about 280 m2, was designed to reflect the cutting-edge image of the collections. It features black natural stone and artificial lava, exotic plants in small beds and white walls with projecting geometric faces resembling geological reliefs. This semi-natural, semi-artificial landscape brings the outdoors inside.

The lighting has been designed to reinforce the feel of an outdoor landscape by generating ‘climatic’ effects. To this end, the ceiling is covered with a 220 m2 polycarbonate ‘sky’; behind this surface there are hundreds of fluorescent tubes which are individually and simultaneously computer-controlled to produce dynamic visual effects. Two types of T8 lamps have been used for the artificial sky: one warm lamp of 2700 K and one cool lamp of 6500 K. In certain stable areas, these are mixed at 50% and 40% respectively, resulting in an overall colour temperature of 3200 K and an average horizontal lighting level of 650 lux.

The lighting programme, which is updated every 8 months, starts at 8 a.m. and ends at midnight. In the first shop, fourteen different sequences reproduce climatic variants – e.g. sunlight, cyclones, the Northern lights – throughout the day. From 8 to 10 a.m., the ‘daybreak’ effect creates an uplifting atmosphere, with the colour temperature

gradually rising to 3200 K. At 10 a.m., opening time, the dynamic scenarios start up, and these can each last from a few seconds to a few minutes. When the shop closes at 8 p.m., the dynamic effects stop; the light gradually turns to cool bluish white until a level of 6500 K and 1300 lux is reached, and then dims to 35 lux.

At 10.00 p.m. ‘violent storms’ arise.

In the ‘grotto’ that houses the changing cubicles, the lighting consists of a multitude of sparkling coloured sources (LED and dichroic) and, in the ceiling, a sort of polychrome screen that creates a play of admixed colours.

Visitors can go through to the second, adjoining shop via an underground passage with a bluetinted lighting ambience. The effect, on emerging from the passageway, is like coming up from the bottom of a swimming pool.

The second store radiates a completely different atmosphere to the first. The effects are more aesthetic and graphic, and there are only eight sequences. Here, the changes in the light are very subtle. The cash desk and the changing area are lit constantly with the same light. ■

Contracting authority: Balenciaga Visual art and design: Dominique Gonzalez-Foerster, Paris, France Lighting design: Benoît Lalloz, ACT Espace, Paris, France Philips support: Nathalie Bozzi, Ivry, France Lamps: Master TL-D Super 80, Philips Lighting controls: DMX, Martin Architectural Photographer: Luc Boegly Text: Benoît Lalloz www.balenciaga.com www.dgf5.com www.act-espace.com

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51

P52_55_Vasagatan 6_5

15-02-2006

12:39

Pagina 52

Urban planning

Vasagatan Stockholm, Sweden

Vasagatan, in the centre of Stockholm, is one of the capital’s main thoroughfares. Integrated into the lighting furniture that enhances the urban landscape, ‘top lights’ shine out each day like the jewels in the Queen of Sweden’s crown.

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This busy avenue, with the main railway station and its square, the post office, a variety of hotels, shops, fast-food outlets and restaurants, has a welcoming feel to it. The buildings are set back at different distances and there are wide pavements on either side of the road, which varies in width from two to three lanes. Three concrete road bridges cross the 1 km-long Vasagatan.

Punctuating both the daytime and nighttime street scene, road lighting luminaires installed on 15 m masts stand out along the main carriageway. At the point where the road is narrowest, two luminaires have been suspended on cables across the street from facade to facade.

Trees dotted along Vasagatan give it a pleasant, ‘human’ feel during the short summer months.

The purpose of the project was to inject new life into this area at the very heart of the city, where the pedestrian zones had become run down and undesirable. The buildings did not require illumination: urban lighting was all that was needed to improve the poor image of this area.

The inspiration for the lighting design came from the literal meaning of ‘Vasagatan’ – the Queen’s street – and this was reflected in the lighting solutions chosen. It was decided to install lighting masts opposite each other on both sides of the street. In order to fit in with the scale of the street – in which the buildings are between four and five storeys high – it was decided to mount the luminaires at a height of 10 m.

P52_55_Vasagatan 6_5

15-02-2006

12:39

Pagina 52

Urban planning

Vasagatan Stockholm, Sweden

Vasagatan, in the centre of Stockholm, is one of the capital’s main thoroughfares. Integrated into the lighting furniture that enhances the urban landscape, ‘top lights’ shine out each day like the jewels in the Queen of Sweden’s crown.

52

ilr 2005 / Urban planning

This busy avenue, with the main railway station and its square, the post office, a variety of hotels, shops, fast-food outlets and restaurants, has a welcoming feel to it. The buildings are set back at different distances and there are wide pavements on either side of the road, which varies in width from two to three lanes. Three concrete road bridges cross the 1 km-long Vasagatan.

Punctuating both the daytime and nighttime street scene, road lighting luminaires installed on 15 m masts stand out along the main carriageway. At the point where the road is narrowest, two luminaires have been suspended on cables across the street from facade to facade.

Trees dotted along Vasagatan give it a pleasant, ‘human’ feel during the short summer months.

The purpose of the project was to inject new life into this area at the very heart of the city, where the pedestrian zones had become run down and undesirable. The buildings did not require illumination: urban lighting was all that was needed to improve the poor image of this area.

The inspiration for the lighting design came from the literal meaning of ‘Vasagatan’ – the Queen’s street – and this was reflected in the lighting solutions chosen. It was decided to install lighting masts opposite each other on both sides of the street. In order to fit in with the scale of the street – in which the buildings are between four and five storeys high – it was decided to mount the luminaires at a height of 10 m.

P52_55_Vasagatan 6_5

15-02-2006

12:39

Pagina 54

2

1 1 Metronomis 2 luminaires mounted at a height of 10 m 2 The colour of the ‘top light’ varies according to the day of the week 3 The range of poles, brackets and luminaires used on Vasagatan 4 Soft light on the post office facade from compact fluorescent lamps 5 LEDline2 luminaires deliver blue grazing light under the bridge

5

6 Cross-section of the avenue in front of the post office

6 3

The smart grey conic columns feature a bracket at this height for the attachment of urban luminaires: Metronomis 2. The luminaire in question produces two lighting effects: direct lighting from the asymmetrical metal optic for traffic on the road, and indirect lighting from the curved umbrella-like ‘hat’ for the pedestrians.

This secondary effect is similar to the traditional luminaires installed on cables along the streets in Stockholm, but has a contemporary design.

To improve the appearance of the street, metalhalide lamps with ceramic burners are used.

The medium-white shade of light (3000 K) produced by Master Colour CDM lamps brings out the colours in this busy avenue to great effect.

The lighting calculations made provision for two configurations that would be suitable for the whole of Vasagatan: the part between Vasagatan and Gamla Brogatan with a dual carriageway, central reservation and a total width of approximately 20 m, and the part between Gamla Brogatan and Olof Palmes Gata with a

single carriageway and a width of around 17 m.

The Metronomis 2 luminaire Oslo is equipped with flat glass and a CDM-TT 150W lamp.

A depreciation factor of 0.80 was taken into account to obtain 25 lux with 0.40 overall uniformity, as specified. The spacing between the poles is no more than 22 m in the widest part of the street and 26 m elsewhere. Because of the geometry of the street (crossings, trees,…) the spacing between the poles does vary in places.

To create a soft lighting effect on the post office facade, pedestrian luminaires have been installed at a height of 3.5 m. Torch-like, the Metronomis luminaire Torino with compact fluorescent lamps (42 W, 3000 K) was used.

They are only installed along the front of the main entrance to emphasise the symmetry of the red-brick building.

A light point has been added at the top of the 12 m column. The colour of the light from this ‘top light’ varies according to the day of the

week. Here the RGB (red/green/blue) additive colour synthesis principle is used. Only six low-power LEDs are required to achieve this.

Three secondary colours (magenta, cyan and yellow) are created by combining two colours at a time, and a kind of white light is created by combining all three. A custom-made luminaire with a long lifetime was developed for this purpose.

The special toric optical design with reverse angle reflector gives light below the horizontal with a maximum intensity angle of 64°. The light point is visible through 360° so that it can be seen from all around. The respective colours are controlled separately by three drivers, each tap being switched on and off individually. A total of 68 units have been installed on the top of masts.

These modern light points set Vasagatan apart from other cities. They create something original, something that changes each day, and they symbolise the jewels in the Queen of Sweden’s crown. ■

Contracting authority: City of Stockholm Lighting design: Vincent Laganier, Christine Venin, LiDAC International, Miribel, France; Svante Pettersson, Per-Åke Alm, Philips Sweden; Reinier Hendriks, Hendriks Lighting consultants, Congny, France Philips support: Lars Liwendahl, Lars-Ake Nygren, Philips Sweden; Claude Deldevez, Louis Montagne, Philips France Luminaires: CDS505, CDS530, Point top light RGB, BCS300 and BCS1200 Blue, MVF616 TP-S Mini T-POT 35W, Philips Lamps: CDM-TT, CDM-T, PL-T, Philips; LuxeonTM LEDs, blue, Lumileds; LEDs, red, green, blue, Tridonic Photographer: Nino Monastra Text: Vincent Laganier

4

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55

P52_55_Vasagatan 6_5

15-02-2006

12:39

Pagina 54

2

1 1 Metronomis 2 luminaires mounted at a height of 10 m 2 The colour of the ‘top light’ varies according to the day of the week 3 The range of poles, brackets and luminaires used on Vasagatan 4 Soft light on the post office facade from compact fluorescent lamps 5 LEDline2 luminaires deliver blue grazing light under the bridge

5

6 Cross-section of the avenue in front of the post office

6 3

The smart grey conic columns feature a bracket at this height for the attachment of urban luminaires: Metronomis 2. The luminaire in question produces two lighting effects: direct lighting from the asymmetrical metal optic for traffic on the road, and indirect lighting from the curved umbrella-like ‘hat’ for the pedestrians.

This secondary effect is similar to the traditional luminaires installed on cables along the streets in Stockholm, but has a contemporary design.

To improve the appearance of the street, metalhalide lamps with ceramic burners are used.

The medium-white shade of light (3000 K) produced by Master Colour CDM lamps brings out the colours in this busy avenue to great effect.

The lighting calculations made provision for two configurations that would be suitable for the whole of Vasagatan: the part between Vasagatan and Gamla Brogatan with a dual carriageway, central reservation and a total width of approximately 20 m, and the part between Gamla Brogatan and Olof Palmes Gata with a

single carriageway and a width of around 17 m.

The Metronomis 2 luminaire Oslo is equipped with flat glass and a CDM-TT 150W lamp.

A depreciation factor of 0.80 was taken into account to obtain 25 lux with 0.40 overall uniformity, as specified. The spacing between the poles is no more than 22 m in the widest part of the street and 26 m elsewhere. Because of the geometry of the street (crossings, trees,…) the spacing between the poles does vary in places.

To create a soft lighting effect on the post office facade, pedestrian luminaires have been installed at a height of 3.5 m. Torch-like, the Metronomis luminaire Torino with compact fluorescent lamps (42 W, 3000 K) was used.

They are only installed along the front of the main entrance to emphasise the symmetry of the red-brick building.

A light point has been added at the top of the 12 m column. The colour of the light from this ‘top light’ varies according to the day of the

week. Here the RGB (red/green/blue) additive colour synthesis principle is used. Only six low-power LEDs are required to achieve this.

Three secondary colours (magenta, cyan and yellow) are created by combining two colours at a time, and a kind of white light is created by combining all three. A custom-made luminaire with a long lifetime was developed for this purpose.

The special toric optical design with reverse angle reflector gives light below the horizontal with a maximum intensity angle of 64°. The light point is visible through 360° so that it can be seen from all around. The respective colours are controlled separately by three drivers, each tap being switched on and off individually. A total of 68 units have been installed on the top of masts.

These modern light points set Vasagatan apart from other cities. They create something original, something that changes each day, and they symbolise the jewels in the Queen of Sweden’s crown. ■

Contracting authority: City of Stockholm Lighting design: Vincent Laganier, Christine Venin, LiDAC International, Miribel, France; Svante Pettersson, Per-Åke Alm, Philips Sweden; Reinier Hendriks, Hendriks Lighting consultants, Congny, France Philips support: Lars Liwendahl, Lars-Ake Nygren, Philips Sweden; Claude Deldevez, Louis Montagne, Philips France Luminaires: CDS505, CDS530, Point top light RGB, BCS300 and BCS1200 Blue, MVF616 TP-S Mini T-POT 35W, Philips Lamps: CDM-TT, CDM-T, PL-T, Philips; LuxeonTM LEDs, blue, Lumileds; LEDs, red, green, blue, Tridonic Photographer: Nino Monastra Text: Vincent Laganier

4

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55

P56_57_Mahalaxmi Temple 4_4

15-02-2006

12:41

Pagina 56

Mahalaxmi Temple 70 Diamond Harbour Road, Kolkata, India

Mahalaxmi Temple is a new and welcoming place for Hindus to gather and worship. Decorative floodlighting of the external facades and

The wall wash in front of the Garvagriha – the inner sanctum – is created with DN 585A luminaires, and a row of MBS205 downlights has been used at its entrance. The two side niches with idols are illuminated by dichroic halogen lamps. To highlight the idols, MCN810 projectors have been used in combination with wide-beam MVC503 mini floodlights for backlighting.

Around the periphery, wall-mounted Lumos luminaires are used for the pathways and for security lighting. The basement assembly hall is illuminated by FBH150 luminaires.■

interior areas enhances the grandeur of this majestic shrine.

3

Mahalaxmi is a new Hindu temple in the city of Kolkata, formerly known as Calcutta, in Eastern India. The sections of the temple reflect a blend of medieval Indian architectural styles: the upper part, the Shikharas, is built in Northern Indian style, while the gateways, or Gopurams, are Southern Indian.

As Mahalaxmi Temple is situated in a densely populated area, it was important to limit spill light. In the lighting design, two aspects weighed heavily: the lighting infrastructure should be concealed so as not to impair the daytime appearance of the temple, and it should be robust enough to withstand the elements.

4

A two-tier lighting concept was developed, consisting of general illumination – Radiance luminaires with asymmetric optics mounted on sleek 30 m masts providing glare-free lighting for low-level background illumination and security lighting at night – and accent lighting of selected features with MVC503 mini floodlights and DGP651 MiniDecofloods.

With regard to the accent lighting, a choice of colour temperatures and beam widths created contrast and variation in intensity.

1

The main pillars of the temple entrance and the side walls are lit by ground-recessed MBF205 luminaires with Master Colour 70W discharge lamps. The balustrades on the upper deck are lit by DGP651 MiniDecofloods. On top of each balustrade, 20W SLED lamps have been used.

The entrance portico is lit with FBH225 downlights; TMC501 luminaires are installed inside the cove.

In the Prayer Hall, with its decorative pillars adorned with intricate architectural features, there is a lot of movement as well as people sitting on the floor praying, so it was important to keep the floor space as free as possible.

The columns are lit by a combination of QKF101 mini floodlights and DGP651 MiniDecofloods. A mixture of cove lighting and downlighters has been used for the ceiling.

1 The main pillars and side walls are lit by groundrecessed luminaires 2 In the Prayer Hall, the idols are illuminated by a combination of narrow-beam front-lighting and wide-beam backlighting 3 Downlights and cove lighting in the entrance portico 4 MiniDecoflood luminaires are used outdoors for accent lighting

Contracting authority: RPG Enterprises Ltd Architects: Subhash Bhoite Kolkata, India; Sanon Sen & Associates, Kolkata, India Lighting design: Biswajyoti Joarder, Kolkata, India Electrical installer: Classic Enterprises Philips support: Arnab Chandra, A.M. Sinha, Kolkata, India Luminaires: RVP501, HPS360, HWS370, DGP651, MVC502, MBF502, MWF230 AK, QKF101, Philips Lamps: HPI-T, CDM-TD, PL-C, Philips Photographer: Biswajyoti Joarder Text: Sudeshna Mukhopadhyay www.rpggroup.com

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57

P56_57_Mahalaxmi Temple 4_4

15-02-2006

12:41

Pagina 56

Mahalaxmi Temple 70 Diamond Harbour Road, Kolkata, India

Mahalaxmi Temple is a new and welcoming place for Hindus to gather and worship. Decorative floodlighting of the external facades and

The wall wash in front of the Garvagriha – the inner sanctum – is created with DN 585A luminaires, and a row of MBS205 downlights has been used at its entrance. The two side niches with idols are illuminated by dichroic halogen lamps. To highlight the idols, MCN810 projectors have been used in combination with wide-beam MVC503 mini floodlights for backlighting.

Around the periphery, wall-mounted Lumos luminaires are used for the pathways and for security lighting. The basement assembly hall is illuminated by FBH150 luminaires.■

interior areas enhances the grandeur of this majestic shrine.

3

Mahalaxmi is a new Hindu temple in the city of Kolkata, formerly known as Calcutta, in Eastern India. The sections of the temple reflect a blend of medieval Indian architectural styles: the upper part, the Shikharas, is built in Northern Indian style, while the gateways, or Gopurams, are Southern Indian.

As Mahalaxmi Temple is situated in a densely populated area, it was important to limit spill light. In the lighting design, two aspects weighed heavily: the lighting infrastructure should be concealed so as not to impair the daytime appearance of the temple, and it should be robust enough to withstand the elements.

4

A two-tier lighting concept was developed, consisting of general illumination – Radiance luminaires with asymmetric optics mounted on sleek 30 m masts providing glare-free lighting for low-level background illumination and security lighting at night – and accent lighting of selected features with MVC503 mini floodlights and DGP651 MiniDecofloods.

With regard to the accent lighting, a choice of colour temperatures and beam widths created contrast and variation in intensity.

1

The main pillars of the temple entrance and the side walls are lit by ground-recessed MBF205 luminaires with Master Colour 70W discharge lamps. The balustrades on the upper deck are lit by DGP651 MiniDecofloods. On top of each balustrade, 20W SLED lamps have been used.

The entrance portico is lit with FBH225 downlights; TMC501 luminaires are installed inside the cove.

In the Prayer Hall, with its decorative pillars adorned with intricate architectural features, there is a lot of movement as well as people sitting on the floor praying, so it was important to keep the floor space as free as possible.

The columns are lit by a combination of QKF101 mini floodlights and DGP651 MiniDecofloods. A mixture of cove lighting and downlighters has been used for the ceiling.

1 The main pillars and side walls are lit by groundrecessed luminaires 2 In the Prayer Hall, the idols are illuminated by a combination of narrow-beam front-lighting and wide-beam backlighting 3 Downlights and cove lighting in the entrance portico 4 MiniDecoflood luminaires are used outdoors for accent lighting

Contracting authority: RPG Enterprises Ltd Architects: Subhash Bhoite Kolkata, India; Sanon Sen & Associates, Kolkata, India Lighting design: Biswajyoti Joarder, Kolkata, India Electrical installer: Classic Enterprises Philips support: Arnab Chandra, A.M. Sinha, Kolkata, India Luminaires: RVP501, HPS360, HWS370, DGP651, MVC502, MBF502, MWF230 AK, QKF101, Philips Lamps: HPI-T, CDM-TD, PL-C, Philips Photographer: Biswajyoti Joarder Text: Sudeshna Mukhopadhyay www.rpggroup.com

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57

P58_59_Trieste 6_11

15-02-2006

12:42

Pagina 58

3

1 Overview of Colle San Giusto, with simple lateral lighting of the Roman forum 2 Bilateral floodlighting of the memorial sculpture emphasises the form of the bodies 3 The 14th-century rose window front-lit with Decoflood luminaires and Master Colour lamps 1 2

Colle San Giusto Trieste, Italy

On the hill that dominates the ancient Italian city of Trieste there is a wealth of beautiful architecture, including the castle, the medieval cathedral and the ruins of civic buildings dating from Roman times. To enhance the beauty of this oldest part of the city, it was decided to illuminate the main architectural monuments using different shades of white light.

The oldest part of Trieste, the area around the Colle San Giusto (the Hill of St Just), was once the site of a Roman forum and law court, the remains of which can still be seen. Its main architectural landmarks are the San Giusto Castle, which now houses one of the city’s museums, the medieval San Giusto Cathedral, which was originally two early Christian basilicas that were joined together in the fourteenth century and the oldest part of which dates from the 1st century A.D., and the sixteenth-century Halberd Column with its halberd-and-melon city crest. Another notable building, of more recent origin, is the memorial to the dead of the First World War.

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A comprehensive lighting project was developed to enhance the atmosphere and architectural beauty of the Colle San Giusto area and make Trieste’s historic centre an even more attractive urban space.

While it was important to bring out the colour and contours of the architectural monuments, it was felt that the lighting should not be overintrusive. For this reason it was decided to use 62 Decoflood floodlights with optics and accessories of various widths and types, positioned on poles already in use for lighting purposes, so as to direct the light only where necessary and not affect spaces that did not form part of the project.

The facade and keep of the San Giusto Castle have been illuminated with the warm white light (3000 K) of metal-halide lamps from the Master Colour series. Glass and screens have been used to shape and control the beam of light precisely, in order to prevent glare and light pollution.

For the San Giusto Cathedral, Master Colour lamps with a colour temperature of 4200 K have been used, highlighting in particular the facade’s beautiful 14th-century rose window and affording a spectacular view to visitors ascending the steps from the city below.

The floodlighting of the pillars of the nearby Roman forum and law court, as well as that of the Halberd Column, creates chiaroscuro effects to accentuate their three-dimensionality. ■

Contracting authority: Commune de Trieste Lighting design: Flavio Sabini, ACEGAS-APS, Trieste, Italy Electrical installer: Elettrica Gover Philips support: Lorella Primavera, Milan, Italy Luminaires: MVF606, MVF616, Philips Lamps: CDM-T, CDM-TD, Philips Photographer: Marco Maggioni Text: Lorella Primavera www.triesteturismo.com

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P58_59_Trieste 6_11

15-02-2006

12:42

Pagina 58

3

1 Overview of Colle San Giusto, with simple lateral lighting of the Roman forum 2 Bilateral floodlighting of the memorial sculpture emphasises the form of the bodies 3 The 14th-century rose window front-lit with Decoflood luminaires and Master Colour lamps 1 2

Colle San Giusto Trieste, Italy

On the hill that dominates the ancient Italian city of Trieste there is a wealth of beautiful architecture, including the castle, the medieval cathedral and the ruins of civic buildings dating from Roman times. To enhance the beauty of this oldest part of the city, it was decided to illuminate the main architectural monuments using different shades of white light.

The oldest part of Trieste, the area around the Colle San Giusto (the Hill of St Just), was once the site of a Roman forum and law court, the remains of which can still be seen. Its main architectural landmarks are the San Giusto Castle, which now houses one of the city’s museums, the medieval San Giusto Cathedral, which was originally two early Christian basilicas that were joined together in the fourteenth century and the oldest part of which dates from the 1st century A.D., and the sixteenth-century Halberd Column with its halberd-and-melon city crest. Another notable building, of more recent origin, is the memorial to the dead of the First World War.

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A comprehensive lighting project was developed to enhance the atmosphere and architectural beauty of the Colle San Giusto area and make Trieste’s historic centre an even more attractive urban space.

While it was important to bring out the colour and contours of the architectural monuments, it was felt that the lighting should not be overintrusive. For this reason it was decided to use 62 Decoflood floodlights with optics and accessories of various widths and types, positioned on poles already in use for lighting purposes, so as to direct the light only where necessary and not affect spaces that did not form part of the project.

The facade and keep of the San Giusto Castle have been illuminated with the warm white light (3000 K) of metal-halide lamps from the Master Colour series. Glass and screens have been used to shape and control the beam of light precisely, in order to prevent glare and light pollution.

For the San Giusto Cathedral, Master Colour lamps with a colour temperature of 4200 K have been used, highlighting in particular the facade’s beautiful 14th-century rose window and affording a spectacular view to visitors ascending the steps from the city below.

The floodlighting of the pillars of the nearby Roman forum and law court, as well as that of the Halberd Column, creates chiaroscuro effects to accentuate their three-dimensionality. ■

Contracting authority: Commune de Trieste Lighting design: Flavio Sabini, ACEGAS-APS, Trieste, Italy Electrical installer: Elettrica Gover Philips support: Lorella Primavera, Milan, Italy Luminaires: MVF606, MVF616, Philips Lamps: CDM-T, CDM-TD, Philips Photographer: Marco Maggioni Text: Lorella Primavera www.triesteturismo.com

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59

P60_61_Dolmabahce 4_6

15-02-2006

12:43

Pagina 60

1 LEDline2 luminaires illuminate the Turkish Prime Minister’s new office

Dolmabahçe Palace Prime Minister’s office, Istanbul, Turkey

2 Pillars and windows are accented by amber light 3 Different light and volume layers along the Bosphorus facade

The impressive Dolmabahçe Palace stands on the European side of the Bosphorus in Istanbul, Turkey’s largest and most important city.

The objective of this lighting project was to illuminate the facade of this remarkable building, highlighting its exceptional wealth and magnificence.

2

A blend of various European architectural styles, Dolmabahçe Palace was built between 1843 and 1856 by Karabet Balyan, the court architect of Sultan Abdulmecit. The Ottoman Sultans had many official residences, and Dolmabahçe Palace is undoubtedly one of the finest of them.

A fitting symbol of the grandeur of the 19thcentury Ottoman Empire, the Palace and its original decorations, furniture, silk carpets and curtains have all been beautifully preserved.

The lighting installation was designed to illuminate and enhance the facade of this wonderful building.

In February 2005 it was decided that Turkey’s Prime Minister should have his main office in Istanbul in a part of Dolmabahçe Palace.

The proposal to highlight the building’s architectural features with decorative and attractive facade lighting, thus contributing to the city beautification of Istanbul, was approved by the authorities and given the go-ahead from the Prime Minister and his advisors.

Extensive trials were carried out to determine the most effective way to illuminate the building. It was decided to use LEDline2 luminaires, because of their high efficiency, energy-saving potential and long lifetime.

LEDlines have been installed at various points on the building to create a most attractive facade lighting. The architectural ornamentation has been accentuated by positioning the luminaires in front of the windows. This gives the palace

facade added depth and a striking appearance, especially when viewed from the water side.

Amber light was chosen for the LEDlines in order to blend in with the colour of the building.

The same type of luminaire was used both for the arches at the entrance, creating a distinctive and attractive impression, and for the pillars along the extensive Bosphorus facade.

The luminaire housings are painted the same colour as the facade to ensure that they are in harmony with the daytime appearance of the building. ■

3 Contracting authority: Prime Minister’s Office Architect: Karabet Balyan Lighting design: Ebru Guner Ozlu, Philips LiDAC Turkey Electrical installer: Hayrettin Calbaz, Nur Electric Philips support: Ebru Guner Ozlu, Olcay Karamusaoglu, Engin Cebeci, Erkan Akturk, Istanbul, Turkey Luminaires: LEDline2, Philips Lamps: LuxeonTM LEDs, amber, Lumileds Photographer: Kaan Verdioglu Text: Ebru Guner Ozlu www.tbmm.gov.tr/saraylar/dbahce1.htm

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61

P60_61_Dolmabahce 4_6

15-02-2006

12:43

Pagina 60

1 LEDline2 luminaires illuminate the Turkish Prime Minister’s new office

Dolmabahçe Palace Prime Minister’s office, Istanbul, Turkey

2 Pillars and windows are accented by amber light 3 Different light and volume layers along the Bosphorus facade

The impressive Dolmabahçe Palace stands on the European side of the Bosphorus in Istanbul, Turkey’s largest and most important city.

The objective of this lighting project was to illuminate the facade of this remarkable building, highlighting its exceptional wealth and magnificence.

2

A blend of various European architectural styles, Dolmabahçe Palace was built between 1843 and 1856 by Karabet Balyan, the court architect of Sultan Abdulmecit. The Ottoman Sultans had many official residences, and Dolmabahçe Palace is undoubtedly one of the finest of them.

A fitting symbol of the grandeur of the 19thcentury Ottoman Empire, the Palace and its original decorations, furniture, silk carpets and curtains have all been beautifully preserved.

The lighting installation was designed to illuminate and enhance the facade of this wonderful building.

In February 2005 it was decided that Turkey’s Prime Minister should have his main office in Istanbul in a part of Dolmabahçe Palace.

The proposal to highlight the building’s architectural features with decorative and attractive facade lighting, thus contributing to the city beautification of Istanbul, was approved by the authorities and given the go-ahead from the Prime Minister and his advisors.

Extensive trials were carried out to determine the most effective way to illuminate the building. It was decided to use LEDline2 luminaires, because of their high efficiency, energy-saving potential and long lifetime.

LEDlines have been installed at various points on the building to create a most attractive facade lighting. The architectural ornamentation has been accentuated by positioning the luminaires in front of the windows. This gives the palace

facade added depth and a striking appearance, especially when viewed from the water side.

Amber light was chosen for the LEDlines in order to blend in with the colour of the building.

The same type of luminaire was used both for the arches at the entrance, creating a distinctive and attractive impression, and for the pillars along the extensive Bosphorus facade.

The luminaire housings are painted the same colour as the facade to ensure that they are in harmony with the daytime appearance of the building. ■

3 Contracting authority: Prime Minister’s Office Architect: Karabet Balyan Lighting design: Ebru Guner Ozlu, Philips LiDAC Turkey Electrical installer: Hayrettin Calbaz, Nur Electric Philips support: Ebru Guner Ozlu, Olcay Karamusaoglu, Engin Cebeci, Erkan Akturk, Istanbul, Turkey Luminaires: LEDline2, Philips Lamps: LuxeonTM LEDs, amber, Lumileds Photographer: Kaan Verdioglu Text: Ebru Guner Ozlu www.tbmm.gov.tr/saraylar/dbahce1.htm

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61

P62_65_Triton Square 6_9

15-02-2006

12:44

Pagina 62

1

Regents Place London, United Kingdom

Located near Euston railway station, Regents Place has been ‘re-imagined’, the aim being not only to attract more businesses into the area, but also to reflect contemporary urban lifestyles. The square’s lighting design represents the fault lines that bisect the Earth’s tectonic plates and varies – to delightful effect – during the course of the evening.

2

3

Today’s offices provide more than just a place to work – they also offer opportunities for networking, as such acting as a catalyst for ideas and social interaction. Increasingly, the places and buildings in which people work reflect this dynamic. The use of glass and open spaces epitomises this sense of accessibility, ease of communication, and transparency. Regents Place combines the social and the commercial in a contemporary setting. Impressive glass towers stand proud around the perimeter of the piazza, which is adjacent to one of the main arteries leading into the heart of the city.

The square is an open, hard space surrounded by soft landscaping (including ‘folding lawns’ –

sculptural areas of grass – and a floating tree planter), which provides an enclosure and places to sit.

The space is modulated by a grid of sideemitting colour fibre-optic cables embedded in the paving slabs, representing the fault lines in the Earth’s tectonic plates. This central feature, designed in five-metre sections, passes almost unnoticed by day, but at night comes alive with a display of kinetic light.

Fibre optics proved to be the ideal solution for this project. One of the key requirements was to minimise the need for post-installation maintenance, with no disruption to the paving.

During the day, the system had to be discreet and the surface area clean and uncluttered. The Focus fibre-optic system fulfilled these criteria.

Custom stainless-steel 25 mm channels were flush-recessed within the flooring and sealed with resin for protection against weather conditions and vandalism. Ninety-two Focus generators were installed remotely in the basement car park, thereby giving engineers freedom of access, should any maintenance or lamp replacement be required. Each generator comes with a colour wheel that interacts with the DMX control device to create an exciting array of lighting scenarios. Thus, as darkness falls, pedestrians enjoy a vibrant theatre of

changing light and colour, encouraging them to linger and extending the life of the square from a daytime place of work to a meeting point as evening approaches. Also, the main diagonal line acts as a guide for people as they head across the square towards the tube station.

1 Plan of side-emitting fibre-optic lighting 2 Light and benches intersect 3 Aerial view of Maurice Brill Lighting Design’s dynamic artwork

An additional concept, designed-in at an early stage, was to allow the kinetic nature of the floor feature to be influenced by the public. This was to be achieved by low-level infrared beams linked to a control device that monitors the pedestrian flow across the square. Any increase or decrease in pedestrian activity creates alternative lighting sequences, the colour of the gridlines changing at varying intervals to reflect

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63

P62_65_Triton Square 6_9

15-02-2006

12:44

Pagina 62

1

Regents Place London, United Kingdom

Located near Euston railway station, Regents Place has been ‘re-imagined’, the aim being not only to attract more businesses into the area, but also to reflect contemporary urban lifestyles. The square’s lighting design represents the fault lines that bisect the Earth’s tectonic plates and varies – to delightful effect – during the course of the evening.

2

3

Today’s offices provide more than just a place to work – they also offer opportunities for networking, as such acting as a catalyst for ideas and social interaction. Increasingly, the places and buildings in which people work reflect this dynamic. The use of glass and open spaces epitomises this sense of accessibility, ease of communication, and transparency. Regents Place combines the social and the commercial in a contemporary setting. Impressive glass towers stand proud around the perimeter of the piazza, which is adjacent to one of the main arteries leading into the heart of the city.

The square is an open, hard space surrounded by soft landscaping (including ‘folding lawns’ –

sculptural areas of grass – and a floating tree planter), which provides an enclosure and places to sit.

The space is modulated by a grid of sideemitting colour fibre-optic cables embedded in the paving slabs, representing the fault lines in the Earth’s tectonic plates. This central feature, designed in five-metre sections, passes almost unnoticed by day, but at night comes alive with a display of kinetic light.

Fibre optics proved to be the ideal solution for this project. One of the key requirements was to minimise the need for post-installation maintenance, with no disruption to the paving.

During the day, the system had to be discreet and the surface area clean and uncluttered. The Focus fibre-optic system fulfilled these criteria.

Custom stainless-steel 25 mm channels were flush-recessed within the flooring and sealed with resin for protection against weather conditions and vandalism. Ninety-two Focus generators were installed remotely in the basement car park, thereby giving engineers freedom of access, should any maintenance or lamp replacement be required. Each generator comes with a colour wheel that interacts with the DMX control device to create an exciting array of lighting scenarios. Thus, as darkness falls, pedestrians enjoy a vibrant theatre of

changing light and colour, encouraging them to linger and extending the life of the square from a daytime place of work to a meeting point as evening approaches. Also, the main diagonal line acts as a guide for people as they head across the square towards the tube station.

1 Plan of side-emitting fibre-optic lighting 2 Light and benches intersect 3 Aerial view of Maurice Brill Lighting Design’s dynamic artwork

An additional concept, designed-in at an early stage, was to allow the kinetic nature of the floor feature to be influenced by the public. This was to be achieved by low-level infrared beams linked to a control device that monitors the pedestrian flow across the square. Any increase or decrease in pedestrian activity creates alternative lighting sequences, the colour of the gridlines changing at varying intervals to reflect

ilr 2005 / Urban planning

63

P62_65_Triton Square 6_9

15-02-2006

12:44

Pagina 64

a

1

5

3

2 1 Detail drawing of the fibreoptic side-light system 2 The ‘floating’ impression is enhanced by DMX-controlled uplighters buried in the paving 3 In between the pillars of the two glass towers there is accent lighting on the street 4 The colours of the gridlines change, whereas the static amber light columns create a site signature 5 The main diagonal line acts as a guide for people heading towards the tube station

the ebb and flow of pedestrians within the square.

The open side of the square facing the Euston underpass is fronted by a row of 8.2 m lighting totems. Each totem features an outer polycarbonate shell lined with a 3M microreplicated prism structure, creating an evenly lit surface. This construction allows a single CDM-T 150W lamp and reflector to be positioned lower down within the column.

The six light columns glowing orange-red create a site signature and act as beacons to signal the main approaches to the space.

Alongside, next to the main entrance of the Abbey National HQ, is a huge floating planter,

mounted on stilts and planted with substantial young trees. The ‘floating’ impression is enhanced at night by a series of uplighters buried in the paving, which gently wash the planter’s underside. During the winter, the tree body is lit with 250W wide-beam floodlights, and in the summer light from corner-mounted Master Colour CDM-R 35W lamps grazes the foliage.

The combination of landscape architecture and fibre-optic-based lighting design has taken Regents Place beyond the merely functional, creating an engaging space for pedestrians while at the same time integrating with the surrounding buildings. The paving itself has

become a piece of dynamic artwork, and the square now beats to its own rhythm as people pass through, inviting them to interact within the space. ■

Contracting authority: British Land Architect: Sheppard Robson, London, UK Landscape architect: Paul Robertson, EDCO, London Lighting design: Maurice Brill Lighting Design Ltd. (MBLD), London Electrical installer: Skanska, O’Keefe Philips support: Andy Clark, Alistair Aiken, UK Luminaires: Focus fibre-optic generator with sidelight harnesses, Philips; Geo Lightstack columns, Se’Lux Woodhouse; recessed floodlights, Sill; corner floodlight, Louis Poulsen Lamps: Focus, CDM-T, CDM-R, Philips; HIT, Osram Lighting controls: DMX, iLight Text: Rob Honeywill, Barbara Neate www.mbld.co.uk

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P62_65_Triton Square 6_9

15-02-2006

12:44

Pagina 64

a

1

5

3

2 1 Detail drawing of the fibreoptic side-light system 2 The ‘floating’ impression is enhanced by DMX-controlled uplighters buried in the paving 3 In between the pillars of the two glass towers there is accent lighting on the street 4 The colours of the gridlines change, whereas the static amber light columns create a site signature 5 The main diagonal line acts as a guide for people heading towards the tube station

the ebb and flow of pedestrians within the square.

The open side of the square facing the Euston underpass is fronted by a row of 8.2 m lighting totems. Each totem features an outer polycarbonate shell lined with a 3M microreplicated prism structure, creating an evenly lit surface. This construction allows a single CDM-T 150W lamp and reflector to be positioned lower down within the column.

The six light columns glowing orange-red create a site signature and act as beacons to signal the main approaches to the space.

Alongside, next to the main entrance of the Abbey National HQ, is a huge floating planter,

mounted on stilts and planted with substantial young trees. The ‘floating’ impression is enhanced at night by a series of uplighters buried in the paving, which gently wash the planter’s underside. During the winter, the tree body is lit with 250W wide-beam floodlights, and in the summer light from corner-mounted Master Colour CDM-R 35W lamps grazes the foliage.

The combination of landscape architecture and fibre-optic-based lighting design has taken Regents Place beyond the merely functional, creating an engaging space for pedestrians while at the same time integrating with the surrounding buildings. The paving itself has

become a piece of dynamic artwork, and the square now beats to its own rhythm as people pass through, inviting them to interact within the space. ■

Contracting authority: British Land Architect: Sheppard Robson, London, UK Landscape architect: Paul Robertson, EDCO, London Lighting design: Maurice Brill Lighting Design Ltd. (MBLD), London Electrical installer: Skanska, O’Keefe Philips support: Andy Clark, Alistair Aiken, UK Luminaires: Focus fibre-optic generator with sidelight harnesses, Philips; Geo Lightstack columns, Se’Lux Woodhouse; recessed floodlights, Sill; corner floodlight, Louis Poulsen Lamps: Focus, CDM-T, CDM-R, Philips; HIT, Osram Lighting controls: DMX, iLight Text: Rob Honeywill, Barbara Neate www.mbld.co.uk

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65

P66_67_Viaduct de Barbin 6_10

15-02-2006

12:46

Pagina 66

1 Dynamic lighting effects from LEDline2 luminaires simulate a locomotive crossing the viaduct

Viaduc de Barbin Mortagne-sur-Sèvre, France

When it was built in 1907, the Viaduc de Barbin enabled Parisiens to escape to the western Atlantic coast for a weekend break. Today this

2 Attachment supports were adjusted to allow easy positioning on site 3 Bi-colour mixing is used to soften the pure colour of the LEDs

beautiful crossing, with its fourteen slender arches, is still in use and has been illuminated in a most striking and modern way.

3

1

The Viaduc de Barbin links the two administrative regions of Anjou and Vendée.

Well maintained and still used by a small tourist train, this eye-catching structure is over 300 m long and 30 m high. A lighting installation commissioned in 2001 highlights the engines as they cross the viaduct at night, shows off the viaduct’s beautiful architecture and represents the link between the two regions.

The final design shows the direction of travel, from west to east, and makes the viaduct a landmark for drivers on the A87 motorway.

Three lighting scenarios have been programmed: just the locomotive crossing

the viaduct, the full-length train as it speeds by, and the entire scene, i.e. the locomotive or the full train together with the outline of the viaduct, punctuated by varying periods of darkness.

Each 76-second program generates different sequences of these elements.

The lighting design was based on dynamic stage lighting, using dimmable fluorescent and halogen tubes. Coloured gel filters and glass enabled original colouring in a warm-cool light.

LEDline luminaires, featuring 24V monochrome LEDs, were used. In order to obtain a duochrome solution, different circuits of 12 LEDs per luminaire were combined so the

viaduct can be lit up in different shades of light.

More subtle colours were then created by juxtaposing amber and white, and blue and white. The river below the viaduct is symbolised by the blue colour under the arches.

The photometric quality of the LEDline2 optics allows the beams of light to be aligned. From a distance, the impression is that of an interesting, homogeneous mixture of light. The LEDline2 attachment supports were adjusted to allow easy positioning on site and to enable precision beam control. The long service life of LEDline2 was a crucial factor, not only with regard to cost, but also because trained climbers are required to

gain access to the installation for maintenance, etc. The lighting is switched on and off by a programmable controller in accordance with pre-defined sequences.

The most prominent part of the installation, on the Vendée side, was switched on in June 2005, offering those passing by an artistic vision of this region’s architectural heritage. ■

Contracting authority: Conseil Général de Vendée, Syndicat Départemental d’Energie et d’Equipement de la Vendée (SyDEV) Lighting design: Xavier de Richemont, XR Scénographie, Chartres, France Electrical installer: Mainguy Philips support: Alain Papillon, Nantes; Philippe Renault, Lamotte Beuvron, France Luminaires: LEDline2, Philips Lamps: Luxeon™ LEDs, white, blue, amber, Lumileds Lighting controls: SFAI Photographer: Jean-Marc Charles Text: Xavier de Richemont www.vendee.fr www.sydev-vendee.fr www.xrscenographie.com

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67

P66_67_Viaduct de Barbin 6_10

15-02-2006

12:46

Pagina 66

1 Dynamic lighting effects from LEDline2 luminaires simulate a locomotive crossing the viaduct

Viaduc de Barbin Mortagne-sur-Sèvre, France

When it was built in 1907, the Viaduc de Barbin enabled Parisiens to escape to the western Atlantic coast for a weekend break. Today this

2 Attachment supports were adjusted to allow easy positioning on site 3 Bi-colour mixing is used to soften the pure colour of the LEDs

beautiful crossing, with its fourteen slender arches, is still in use and has been illuminated in a most striking and modern way.

3

1

The Viaduc de Barbin links the two administrative regions of Anjou and Vendée.

Well maintained and still used by a small tourist train, this eye-catching structure is over 300 m long and 30 m high. A lighting installation commissioned in 2001 highlights the engines as they cross the viaduct at night, shows off the viaduct’s beautiful architecture and represents the link between the two regions.

The final design shows the direction of travel, from west to east, and makes the viaduct a landmark for drivers on the A87 motorway.

Three lighting scenarios have been programmed: just the locomotive crossing

the viaduct, the full-length train as it speeds by, and the entire scene, i.e. the locomotive or the full train together with the outline of the viaduct, punctuated by varying periods of darkness.

Each 76-second program generates different sequences of these elements.

The lighting design was based on dynamic stage lighting, using dimmable fluorescent and halogen tubes. Coloured gel filters and glass enabled original colouring in a warm-cool light.

LEDline luminaires, featuring 24V monochrome LEDs, were used. In order to obtain a duochrome solution, different circuits of 12 LEDs per luminaire were combined so the

viaduct can be lit up in different shades of light.

More subtle colours were then created by juxtaposing amber and white, and blue and white. The river below the viaduct is symbolised by the blue colour under the arches.

The photometric quality of the LEDline2 optics allows the beams of light to be aligned. From a distance, the impression is that of an interesting, homogeneous mixture of light. The LEDline2 attachment supports were adjusted to allow easy positioning on site and to enable precision beam control. The long service life of LEDline2 was a crucial factor, not only with regard to cost, but also because trained climbers are required to

gain access to the installation for maintenance, etc. The lighting is switched on and off by a programmable controller in accordance with pre-defined sequences.

The most prominent part of the installation, on the Vendée side, was switched on in June 2005, offering those passing by an artistic vision of this region’s architectural heritage. ■

Contracting authority: Conseil Général de Vendée, Syndicat Départemental d’Energie et d’Equipement de la Vendée (SyDEV) Lighting design: Xavier de Richemont, XR Scénographie, Chartres, France Electrical installer: Mainguy Philips support: Alain Papillon, Nantes; Philippe Renault, Lamotte Beuvron, France Luminaires: LEDline2, Philips Lamps: Luxeon™ LEDs, white, blue, amber, Lumileds Lighting controls: SFAI Photographer: Jean-Marc Charles Text: Xavier de Richemont www.vendee.fr www.sydev-vendee.fr www.xrscenographie.com

2

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67

P68_69_Tianjing Bridge 6_8

15-02-2006

12:47

Pagina 68

1

Jintang Bridge Haihe River, Tianjin, China

Built in 1906, Jintang Bridge has witnessed many significant events in the history of Tianjin, the third-largest city in China. As part of the Haihe River renovation project ahead of the 2008 Olympic Games, the bridge’s classic steel structure has been combined with modern lighting technology to honour its past while placing it firmly in the 21st century.

The rapidly developing city of Tianjin lies in the economic heart of the Bohai Bay area. A massive project is under way to renovate the Haihe River waterfront in time for the 2008 Olympic Games.

One of the key works in this project, the steel Jintang Bridge has a long history which takes in many major events in Tianjin history, including the city’s liberation.

The bridge consists of two elements: a moving and a fixed part. The moving part swings to the right to let large ships pass. The central lanes of the bridge are for cyclists only, while the side walkways are for pedestrians.

The Tianjin authorities opted for an innovative LED-based lighting system. LED Strip II luminaires have been installed under the

sidewalks of the bridge, illuminating its steel structure with dynamic coloured light.

In conjunction with a set of DMX512 controllers, the LED Strip II with dimming 0.1W RGB LEDs can switch between eight colours – red, pink, yellow, green, cyan, blue, purple and white.

The controllers have two switch modes: one with blue light for regular operation, and one with dynamic colour changes to enhance the atmosphere during festivities.

LED Strip I luminaires have been positioned along the outside of the bridge, the white light from the 1W LEDs complementing the white light of the custom-made lighting columns.

The latter consist of two parts. The lower part is made of steel, the upper part of PVC. A 70W metal-halide lamp is installed halfway up

2

1 DMX-controlled LED Strip II luminaires positioned along the outside of the bridge illuminate its steel structure 2 Elevation drawing showing the position of the lit columns

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the column, and LED rings have been mounted at the top.

LEDflood luminaires have been installed on top of the rectangular arches to illuminate the fountains of water that spout from the top of the arches on special occasions. They change colours in synchronization with the LED Strip II luminaires under the bridge. When the fountains are switched on, the whole bridge changes colour, spanning the Haihe River like a beautiful rainbow. ■

Contracting authority: Hua deng design Lighting design: Ted Ferreira, City Group Design, Atlanta, United States Philips support: Liu Qiang, Alvin Tse, Haidman Peng, Scott Li, Shanghai, China Luminaires: BCS612, BCS750, BCS712, Philips; Lit column, Schreder Lamps: Luxeon™ LEDs, red, green and blue, Lumileds Lighting controls: LED Master 200, PS-320, CDM-T, Philips Photographer: Tony Wei Text: Tony Wei, Yao Mengming www.tianjin.gov.cn www.citydesigngroup.net

ilr 2005 / Urban planning

69

P68_69_Tianjing Bridge 6_8

15-02-2006

12:47

Pagina 68

1

Jintang Bridge Haihe River, Tianjin, China

Built in 1906, Jintang Bridge has witnessed many significant events in the history of Tianjin, the third-largest city in China. As part of the Haihe River renovation project ahead of the 2008 Olympic Games, the bridge’s classic steel structure has been combined with modern lighting technology to honour its past while placing it firmly in the 21st century.

The rapidly developing city of Tianjin lies in the economic heart of the Bohai Bay area. A massive project is under way to renovate the Haihe River waterfront in time for the 2008 Olympic Games.

One of the key works in this project, the steel Jintang Bridge has a long history which takes in many major events in Tianjin history, including the city’s liberation.

The bridge consists of two elements: a moving and a fixed part. The moving part swings to the right to let large ships pass. The central lanes of the bridge are for cyclists only, while the side walkways are for pedestrians.

The Tianjin authorities opted for an innovative LED-based lighting system. LED Strip II luminaires have been installed under the

sidewalks of the bridge, illuminating its steel structure with dynamic coloured light.

In conjunction with a set of DMX512 controllers, the LED Strip II with dimming 0.1W RGB LEDs can switch between eight colours – red, pink, yellow, green, cyan, blue, purple and white.

The controllers have two switch modes: one with blue light for regular operation, and one with dynamic colour changes to enhance the atmosphere during festivities.

LED Strip I luminaires have been positioned along the outside of the bridge, the white light from the 1W LEDs complementing the white light of the custom-made lighting columns.

The latter consist of two parts. The lower part is made of steel, the upper part of PVC. A 70W metal-halide lamp is installed halfway up

2

1 DMX-controlled LED Strip II luminaires positioned along the outside of the bridge illuminate its steel structure 2 Elevation drawing showing the position of the lit columns

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the column, and LED rings have been mounted at the top.

LEDflood luminaires have been installed on top of the rectangular arches to illuminate the fountains of water that spout from the top of the arches on special occasions. They change colours in synchronization with the LED Strip II luminaires under the bridge. When the fountains are switched on, the whole bridge changes colour, spanning the Haihe River like a beautiful rainbow. ■

Contracting authority: Hua deng design Lighting design: Ted Ferreira, City Group Design, Atlanta, United States Philips support: Liu Qiang, Alvin Tse, Haidman Peng, Scott Li, Shanghai, China Luminaires: BCS612, BCS750, BCS712, Philips; Lit column, Schreder Lamps: Luxeon™ LEDs, red, green and blue, Lumileds Lighting controls: LED Master 200, PS-320, CDM-T, Philips Photographer: Tony Wei Text: Tony Wei, Yao Mengming www.tianjin.gov.cn www.citydesigngroup.net

ilr 2005 / Urban planning

69

P70_71_Glass House 6_6

15-02-2006

12:48

Pagina 70

Lalbagh Botanical Garden Lalbagh Road, Bangalore, India

Lalbagh Botanical Garden, home to no fewer than 1854 species of plants, has been described as a pendant in the ‘necklace’ of parks that cross Bangalore, the Garden City of India. This lighting project was intended to enhance the night-time appeal of its pathways, flora and

1 Glass House with steel-pipe structure measuring approximately 200 m x 200 m 2 Accent floodlighting inside with custom-made luminaires and Master Colour lamps 3 Built along the lines of London’s Crystal Palace, the Glass House provides a sequestered locale for flower shows

spectacular Glass House.

2

The inside was lit with Master Colour 70W reflector lamps in custom-made luminaires, which were mounted in the small cornices and directed upwards. For the central columns, MiniDecoflood luminaires with Master Colour 70W compact discharge lamps were used for a wider light distribution.

The external steel columns were lit with specially designed luminaires featuring incandescent PAR lamps. This source was selected to create contrast in colour appearance and because of the limited mounting space for the luminaires (which required control gear).

The pathways were lit with bollards and post-top lanterns.

Lalbagh Garden is set to sparkle for generations to come. The lighting project made the front page of India’s leading newspaper, The Times of India, which announced “What a sight!

The Jewel in the Bangalore Crown Glows”, while another said “The Jewel of Bangalore has been given back its sparkle!” ■

3

1

Bangalore, in India’s ‘Silicon Valley’, is dotted with beautiful gardens. Most famous of all is Lalbagh Garden, which has also been called the ‘lungs’ of this teeming metropolis. The floral wealth of Lalbagh covers an area of 97 hectares.

The Glass House, built in 1889 to commemorate the visit of Prince Albert of Wales during the reign of Chamaraja Wodeyar, was designed along the lines of the Crystal Palace in London and built to provide a sequestered locale for flower shows.

Bangalore Development Authority decided to illuminate selected landmarks as part of the beautification of the city. Lalbagh Garden

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is a community garden which attracts many visitors – both local and from further afield – with the Glass House as its centrepiece.

The project included illuminating the pathways and the Glass House.

The objective was to enhance the Garden’s nocturnal appearance without the lighting installation impeding people’s movement around the grounds. The preferred lamp colour temperature was in the neutral to white range.

The greatest challenge was how to light the Glass House, an enormous structure of glass and steel pipes measuring approximately 200 m x 200 m.

Contracting authority: Bangalore Development Authority Lighting design: Biswajyoti Joarder, Deepa Lobo, Partha Mukhopadhyay, Philips India Electrical installer: Kumar Vasanth, Kumar Electricals Philips support: Sridhar, Prashanth Pai, Kolkata, India Luminaires: MVC503, HPS360, Philips Lamps: CDM-R, PAR 38, CDM-TD, PL-C, Philips Photographer: Whizz Text: Sudeshna Mukhopadhyay, Philips, India www.bangalorenet.com/abtblr/lalbagh/

ilr 2005 / Urban planning

71

P70_71_Glass House 6_6

15-02-2006

12:48

Pagina 70

Lalbagh Botanical Garden Lalbagh Road, Bangalore, India

Lalbagh Botanical Garden, home to no fewer than 1854 species of plants, has been described as a pendant in the ‘necklace’ of parks that cross Bangalore, the Garden City of India. This lighting project was intended to enhance the night-time appeal of its pathways, flora and

1 Glass House with steel-pipe structure measuring approximately 200 m x 200 m 2 Accent floodlighting inside with custom-made luminaires and Master Colour lamps 3 Built along the lines of London’s Crystal Palace, the Glass House provides a sequestered locale for flower shows

spectacular Glass House.

2

The inside was lit with Master Colour 70W reflector lamps in custom-made luminaires, which were mounted in the small cornices and directed upwards. For the central columns, MiniDecoflood luminaires with Master Colour 70W compact discharge lamps were used for a wider light distribution.

The external steel columns were lit with specially designed luminaires featuring incandescent PAR lamps. This source was selected to create contrast in colour appearance and because of the limited mounting space for the luminaires (which required control gear).

The pathways were lit with bollards and post-top lanterns.

Lalbagh Garden is set to sparkle for generations to come. The lighting project made the front page of India’s leading newspaper, The Times of India, which announced “What a sight!

The Jewel in the Bangalore Crown Glows”, while another said “The Jewel of Bangalore has been given back its sparkle!” ■

3

1

Bangalore, in India’s ‘Silicon Valley’, is dotted with beautiful gardens. Most famous of all is Lalbagh Garden, which has also been called the ‘lungs’ of this teeming metropolis. The floral wealth of Lalbagh covers an area of 97 hectares.

The Glass House, built in 1889 to commemorate the visit of Prince Albert of Wales during the reign of Chamaraja Wodeyar, was designed along the lines of the Crystal Palace in London and built to provide a sequestered locale for flower shows.

Bangalore Development Authority decided to illuminate selected landmarks as part of the beautification of the city. Lalbagh Garden

70

ilr 2005 / Urban planning

is a community garden which attracts many visitors – both local and from further afield – with the Glass House as its centrepiece.

The project included illuminating the pathways and the Glass House.

The objective was to enhance the Garden’s nocturnal appearance without the lighting installation impeding people’s movement around the grounds. The preferred lamp colour temperature was in the neutral to white range.

The greatest challenge was how to light the Glass House, an enormous structure of glass and steel pipes measuring approximately 200 m x 200 m.

Contracting authority: Bangalore Development Authority Lighting design: Biswajyoti Joarder, Deepa Lobo, Partha Mukhopadhyay, Philips India Electrical installer: Kumar Vasanth, Kumar Electricals Philips support: Sridhar, Prashanth Pai, Kolkata, India Luminaires: MVC503, HPS360, Philips Lamps: CDM-R, PAR 38, CDM-TD, PL-C, Philips Photographer: Whizz Text: Sudeshna Mukhopadhyay, Philips, India www.bangalorenet.com/abtblr/lalbagh/

ilr 2005 / Urban planning

71

P72_73_Saint Phalle 6_12

15-02-2006

12:51

Pagina 72

1

The Historic Grotto Herrenhäuser Gärten, Hannover, Germany

Set in Hannover’s 50-hectare Große Garten – one of Europe’s most important baroque gardens – the Historic Grotto has been fully restored and equipped with a lighting installation that respects Niki de Saint Phalle’s original vision.

When the son of the Duke of Calenberg came to power in 1655, he built a castle with a pleasance and a grotto. Covering 135 m2, the rustic grotto was like a gateway to a fairy-tale world, with a main octagonal room, flanked on either side by a drawing room. The interior was decorated with sea shells and stones, and also had water features. The facade and roof-top viewing area were restored for EXPO 2000, and the interior was later restyled by Niki de Saint Phalle – the French artist famous for her Tarrot Garden.

She made the entrance hall (also called the Spirituality Room), the Silver Room and Blue Room sparkle with sunlight from specially designed windows, creating a kaleidoscope of endless reflections. After her death, it was

Colour CDM lamp in warm white enhances the cool appearance of the mosaics and shows off the colours of the Nanas.

In the Blue Room, light shines up on the shiny blue mosaics on the ceiling, creating the effect of a glistening, starry sky. At first, all one sees is light, but after a while, once the eyes have adjusted, a figure emerges from the darkness.

This figure on the fountain in the vault is backlit by one single-source cool-white LED module, which also brings out the three different shades of blue in the mosaics. Outside, on the facade, two vertical columns of amber LED light border the illuminated windows. ■

decided to install artificial lighting using concealed light sources. The warm light from the white high-pressure sodium lamps bring out the warm hues in the sparkling gold, silver and red materials used on the ceiling and walls in the Spirituality Room. Precision alignment of the Decoflood floodlights ensures the light is strong enough to create a 100-m carpet of light out in the gardens.

In the Silver Room, light shines up from the floor onto the ceiling so the many reflections light up both the floor and Niki de Saint Phalle’s colourful Nanas. At the back of the room, a wide-beam floodlight illuminates the ornaments in the second window. Here a Master

1 Vertical columns of amber light from LEDline2 border the illuminated windows

Contracting authority: Landeshauptstadt Hannover, Herrenhäuser Gärten Architect: Maass, Landeshauptstadt Hannover, Herrenhäuser Gärten, Hannover, Germany Lighting design: Uwe Rabenstein, Philips LiDAC, Springe, Germany Philips support: Friedel Nicol, Springe, Germany Luminaires: BCS713, MVF606, DWP603, Philips Lamps: CDM-T, SDW-T, LED Module, Philips; LuxeonTM LEDs, amber, Lumileds www.herrenhaeuser-gaerten.de

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2 – 3 In the Silver Room, light shines up from the floor onto the ceiling, the reflections lighting up Niki de Saint Phalle’s colourful Nanas

2

3

P72_73_Saint Phalle 6_12

15-02-2006

12:51

Pagina 72

1

The Historic Grotto Herrenhäuser Gärten, Hannover, Germany

Set in Hannover’s 50-hectare Große Garten – one of Europe’s most important baroque gardens – the Historic Grotto has been fully restored and equipped with a lighting installation that respects Niki de Saint Phalle’s original vision.

When the son of the Duke of Calenberg came to power in 1655, he built a castle with a pleasance and a grotto. Covering 135 m2, the rustic grotto was like a gateway to a fairy-tale world, with a main octagonal room, flanked on either side by a drawing room. The interior was decorated with sea shells and stones, and also had water features. The facade and roof-top viewing area were restored for EXPO 2000, and the interior was later restyled by Niki de Saint Phalle – the French artist famous for her Tarrot Garden.

She made the entrance hall (also called the Spirituality Room), the Silver Room and Blue Room sparkle with sunlight from specially designed windows, creating a kaleidoscope of endless reflections. After her death, it was

Colour CDM lamp in warm white enhances the cool appearance of the mosaics and shows off the colours of the Nanas.

In the Blue Room, light shines up on the shiny blue mosaics on the ceiling, creating the effect of a glistening, starry sky. At first, all one sees is light, but after a while, once the eyes have adjusted, a figure emerges from the darkness.

This figure on the fountain in the vault is backlit by one single-source cool-white LED module, which also brings out the three different shades of blue in the mosaics. Outside, on the facade, two vertical columns of amber LED light border the illuminated windows. ■

decided to install artificial lighting using concealed light sources. The warm light from the white high-pressure sodium lamps bring out the warm hues in the sparkling gold, silver and red materials used on the ceiling and walls in the Spirituality Room. Precision alignment of the Decoflood floodlights ensures the light is strong enough to create a 100-m carpet of light out in the gardens.

In the Silver Room, light shines up from the floor onto the ceiling so the many reflections light up both the floor and Niki de Saint Phalle’s colourful Nanas. At the back of the room, a wide-beam floodlight illuminates the ornaments in the second window. Here a Master

1 Vertical columns of amber light from LEDline2 border the illuminated windows

Contracting authority: Landeshauptstadt Hannover, Herrenhäuser Gärten Architect: Maass, Landeshauptstadt Hannover, Herrenhäuser Gärten, Hannover, Germany Lighting design: Uwe Rabenstein, Philips LiDAC, Springe, Germany Philips support: Friedel Nicol, Springe, Germany Luminaires: BCS713, MVF606, DWP603, Philips Lamps: CDM-T, SDW-T, LED Module, Philips; LuxeonTM LEDs, amber, Lumileds www.herrenhaeuser-gaerten.de

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2 – 3 In the Silver Room, light shines up from the floor onto the ceiling, the reflections lighting up Niki de Saint Phalle’s colourful Nanas

2

3

P74_77_Khalifa 7_1

15-02-2006

12:52

Pagina 74

Sports

Khalifa Olympic Stadium Doha, Qatar

The 15th edition of the Asian Games, Asiad 2006, is to be held in Doha, the capital of Qatar, from 1-15 December 2006. The lighting for the Khalifa Olympic Stadium – the main stadium for Asiad 2006 – has been designed to meet the most stringent Olympic standards.

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Although a relatively small country (11,437 km2), Qatar has a proven track record as an ideal location for a wide range of international conferences, events and tournaments. Doha is the first city in the region to host the prestigious Asiad – and only the second in the whole of West Asia since the Games were held in Tehran in 1974. In terms of the number of events and participants, the Asian Games is the second-largest sporting event in the world. The very first Asiad was held in New Delhi in 1951, when 11 countries took part in 6 sports and there were a total of 489 competitors, only 8 of whom were women.

In 2006 there will be 403 events in 40 different sports (squash and softball being among the

P74_77_Khalifa 7_1

15-02-2006

12:52

Pagina 74

Sports

Khalifa Olympic Stadium Doha, Qatar

The 15th edition of the Asian Games, Asiad 2006, is to be held in Doha, the capital of Qatar, from 1-15 December 2006. The lighting for the Khalifa Olympic Stadium – the main stadium for Asiad 2006 – has been designed to meet the most stringent Olympic standards.

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Although a relatively small country (11,437 km2), Qatar has a proven track record as an ideal location for a wide range of international conferences, events and tournaments. Doha is the first city in the region to host the prestigious Asiad – and only the second in the whole of West Asia since the Games were held in Tehran in 1974. In terms of the number of events and participants, the Asian Games is the second-largest sporting event in the world. The very first Asiad was held in New Delhi in 1951, when 11 countries took part in 6 sports and there were a total of 489 competitors, only 8 of whom were women.

In 2006 there will be 403 events in 40 different sports (squash and softball being among the

P74_77_Khalifa 7_1

15-02-2006

12:52

Pagina 76

1 Aiming of the lighting in the stadium 2– 3 The positioning of the luminaires preserves the integrity of the architectural structure 4 ArenaVision luminaires provide daylight-quality light after sunset

1

latest sports to be included in the Games).

Doha will welcome more than 10,000 competitors (2000 women) from some 45 countries.

The Asian Games will be broadcast live across Asia, and therefore the lighting systems in all the venues have been designed in accordance with the latest international norms and stringent colour TV broadcasting requirements. Philips has supplied the lighting for 14 of the 16 venues finalized so far, installing a total of some 4000 ArenaVision luminaires. The Khalifa Olympic Stadium will be used for the closing ceremony as well as for the football and athletics finals.

The lighting design was developed in close consultation with the stadium architect/consultant. In this concept, 80% of the sports lighting luminaires are positioned on the lighting arch, the roof support arch and the roof structure itself.

In order to develop the best possible sports lighting solution for this state-of-the-art stadium, careful consideration was given to the positioning of luminaires on the canopy.

This was essential in order to prevent disturbing glare for goalkeepers and also to preserve the aesthetic integrity of the sophisticated 2

architectural structure during the daytime. The lighting solution uses ArenaVision luminaires, providing daylight-quality light after sunset while creating the optimum conditions for both players and spectators as well as for top-quality television viewing. The field of play covers the sports field (football pitch plus athletics track and field) and extends to include the first row of the spectator seating.

On the field of play, the lighting provides an average vertical illuminance of 1400 lux in all four vertical planes (+/- X, +/-Y) and an average vertical illuminance of 1800 lux for the main 3 4

camera and over 1600 lux for other secondary cameras. This ensures high-quality colour images, not only of the overall action, but also of the slow-motion replays and close-up shots of the players, which are all essential in conveying the emotion and atmosphere in the stadium to the millions of viewers watching at home.

A total of 600 ArenaVision MVF403/2000W luminaires (of which 160 are hot-restrike versions) have been used to illuminate the field of play to Olympic standard, and a further 78 of the uplighting version of ArenaVision (MVF403/1800W UP) have been used for the architectural lighting of the main lighting arch, the roof support arch and other steel structures.

Twenty-four PowerVision MVF024/2000W

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luminaires have been used for uplighting of the roof canopy above the grandstand. The entry and exit gates and stands are illuminated by 58 PowerVision MVF024/2000W luminaires.

The standby and anti-panic lighting is provided by 90 QVF417/1500W luminaires. In total, some 1.6 megawatts of power are required for the sports and architectural lighting for this state-of-the-art stadium. ■

Contracting authority: Midmac Sixco Architect: COX PTW, Sydney, Australia Consultant: Frank Palermo, GHD, Sydney, Australia Lighting design: Kuldeep Vali, Philips Dubai; Andrew Nagy, Philips Australia Electrical installer: Midmac Contracting Aiming commissioning: Reinier Hendriks, Hendriks Lighting consultants, Congny, France; Ravi Koul, Philips Dubai Operational support: D.K. Subramanya, Darwish Trading, Doha, Qatar Luminaires: MVF403, MVF024, QVF417, Philips Lamps: MHN-SA, MHN-LA, Philips Photographer: Souheil Seeman, Contrast Professionals Text: Kuldeep Vali www.doha-2006.com

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P74_77_Khalifa 7_1

15-02-2006

12:52

Pagina 76

1 Aiming of the lighting in the stadium 2– 3 The positioning of the luminaires preserves the integrity of the architectural structure 4 ArenaVision luminaires provide daylight-quality light after sunset

1

latest sports to be included in the Games).

Doha will welcome more than 10,000 competitors (2000 women) from some 45 countries.

The Asian Games will be broadcast live across Asia, and therefore the lighting systems in all the venues have been designed in accordance with the latest international norms and stringent colour TV broadcasting requirements. Philips has supplied the lighting for 14 of the 16 venues finalized so far, installing a total of some 4000 ArenaVision luminaires. The Khalifa Olympic Stadium will be used for the closing ceremony as well as for the football and athletics finals.

The lighting design was developed in close consultation with the stadium architect/consultant. In this concept, 80% of the sports lighting luminaires are positioned on the lighting arch, the roof support arch and the roof structure itself.

In order to develop the best possible sports lighting solution for this state-of-the-art stadium, careful consideration was given to the positioning of luminaires on the canopy.

This was essential in order to prevent disturbing glare for goalkeepers and also to preserve the aesthetic integrity of the sophisticated 2

architectural structure during the daytime. The lighting solution uses ArenaVision luminaires, providing daylight-quality light after sunset while creating the optimum conditions for both players and spectators as well as for top-quality television viewing. The field of play covers the sports field (football pitch plus athletics track and field) and extends to include the first row of the spectator seating.

On the field of play, the lighting provides an average vertical illuminance of 1400 lux in all four vertical planes (+/- X, +/-Y) and an average vertical illuminance of 1800 lux for the main 3 4

camera and over 1600 lux for other secondary cameras. This ensures high-quality colour images, not only of the overall action, but also of the slow-motion replays and close-up shots of the players, which are all essential in conveying the emotion and atmosphere in the stadium to the millions of viewers watching at home.

A total of 600 ArenaVision MVF403/2000W luminaires (of which 160 are hot-restrike versions) have been used to illuminate the field of play to Olympic standard, and a further 78 of the uplighting version of ArenaVision (MVF403/1800W UP) have been used for the architectural lighting of the main lighting arch, the roof support arch and other steel structures.

Twenty-four PowerVision MVF024/2000W

76

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luminaires have been used for uplighting of the roof canopy above the grandstand. The entry and exit gates and stands are illuminated by 58 PowerVision MVF024/2000W luminaires.

The standby and anti-panic lighting is provided by 90 QVF417/1500W luminaires. In total, some 1.6 megawatts of power are required for the sports and architectural lighting for this state-of-the-art stadium. ■

Contracting authority: Midmac Sixco Architect: COX PTW, Sydney, Australia Consultant: Frank Palermo, GHD, Sydney, Australia Lighting design: Kuldeep Vali, Philips Dubai; Andrew Nagy, Philips Australia Electrical installer: Midmac Contracting Aiming commissioning: Reinier Hendriks, Hendriks Lighting consultants, Congny, France; Ravi Koul, Philips Dubai Operational support: D.K. Subramanya, Darwish Trading, Doha, Qatar Luminaires: MVF403, MVF024, QVF417, Philips Lamps: MHN-SA, MHN-LA, Philips Photographer: Souheil Seeman, Contrast Professionals Text: Kuldeep Vali www.doha-2006.com

ilr 2005 / Sports

77

The Mediterranean Games were first held in Alexandria in 1951 and have taken place every four years since then. The latest event, the 15th in the series, was held in Almería, a province in southern Spain, and featured 25 different sports.

Among the many notable venues built specially for this festival of sporting prowess (including the 8500-capacity El Ejido Stadium, Mediterráneo Pavilion and Roquetas Stadium, each of which can house 5000 spectators, the 2500-capacity Juventud Stadium and the Almadrabillas swimming complex), the 25,000-seater Estadio del Mediterráneo is considered to be the gem. The opening and closing ceremonies were held there, as were the athletics events, athletics for the disabled and

football. It has a warming-up track and special areas for VIPs, the media, doping controls, etc.

Designed as a multi-purpose venue, the stadium will also serve as a conference and exhibition centre and will be home to the future Mediterranean Museum.

After the stadium’s inauguration, the Organising Committee of the Almería Mediterranean Games carried out a series of tests in order to guarantee that the Games would be a complete success in every respect. The lighting amply fulfilled the Organising Committee’s stringent requirements: the floodlights were positioned correctly, the beams directed accurately, and the photometric criteria met in full.

The stadium is lit by 444 ArenaVision MVF403 floodlights (equipped with 2000W metal-halide lamps) distributed over four 39 metre-high posts and the 20 metre-high glass roof. The floodlights provide adequate illumination for the varying requirements of training, national and international competition and colour TV broadcasting, both for the athletics track and the football pitch. The lighting provides vertical illuminance in excess of 1700 lux and horizontal illuminance of more than 2000 lux, ensuring optimum levels for TV coverage regardless of the position of the cameras. ■

1– 2 Floodlights are distributed over four 39 metre-high posts and the 20 metre-high roof 3 Drawing showing the aiming of the luminaires 4 Lateral view during a competition on the track 3 1

2

4

Estadio del Mediterráneo Barrio de los Molinos, Almería, Spain

The 15th Mediterranean Games held in June 2005 brought together 4000 sportsmen and women from 21 countries. For this event, 25 new sports facilities were constructed, the most significant being the Estadio del Mediterráneo. Featuring ArenaVision floodlights, the stadium lighting excels in every respect.

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Contracting authority: Organising Committee of the Mediterranean Games Almería 2005 Architects: Luis Millet, Millet Biosca & Asociados, Barcelona, Spain; Joaquín Blanco, JBF Ingenieros y Arquitectos, Barcelona, Spain Landscape architect: José Miguel Pérez de Arenaza, Barcelona, Spain Lighting design: Rocio Fernandez, Alfonso Saiz, Philips Spain Electrical installer: Pablo Riesco, Ferrovial Agroman Philips support: Mauricio de Ramón, Madrid, Spain Luminaires: MVF403, Philips Lamps: MHN-SA, Philips Photographer: Jose Antonio Miguelez Text: Francisco García Aguilar www.almeria2005.es

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The Mediterranean Games were first held in Alexandria in 1951 and have taken place every four years since then. The latest event, the 15th in the series, was held in Almería, a province in southern Spain, and featured 25 different sports.

Among the many notable venues built specially for this festival of sporting prowess (including the 8500-capacity El Ejido Stadium, Mediterráneo Pavilion and Roquetas Stadium, each of which can house 5000 spectators, the 2500-capacity Juventud Stadium and the Almadrabillas swimming complex), the 25,000-seater Estadio del Mediterráneo is considered to be the gem. The opening and closing ceremonies were held there, as were the athletics events, athletics for the disabled and

football. It has a warming-up track and special areas for VIPs, the media, doping controls, etc.

Designed as a multi-purpose venue, the stadium will also serve as a conference and exhibition centre and will be home to the future Mediterranean Museum.

After the stadium’s inauguration, the Organising Committee of the Almería Mediterranean Games carried out a series of tests in order to guarantee that the Games would be a complete success in every respect. The lighting amply fulfilled the Organising Committee’s stringent requirements: the floodlights were positioned correctly, the beams directed accurately, and the photometric criteria met in full.

The stadium is lit by 444 ArenaVision MVF403 floodlights (equipped with 2000W metal-halide lamps) distributed over four 39 metre-high posts and the 20 metre-high glass roof. The floodlights provide adequate illumination for the varying requirements of training, national and international competition and colour TV broadcasting, both for the athletics track and the football pitch. The lighting provides vertical illuminance in excess of 1700 lux and horizontal illuminance of more than 2000 lux, ensuring optimum levels for TV coverage regardless of the position of the cameras. ■

1– 2 Floodlights are distributed over four 39 metre-high posts and the 20 metre-high roof 3 Drawing showing the aiming of the luminaires 4 Lateral view during a competition on the track 3 1

2

4

Estadio del Mediterráneo Barrio de los Molinos, Almería, Spain

The 15th Mediterranean Games held in June 2005 brought together 4000 sportsmen and women from 21 countries. For this event, 25 new sports facilities were constructed, the most significant being the Estadio del Mediterráneo. Featuring ArenaVision floodlights, the stadium lighting excels in every respect.

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Contracting authority: Organising Committee of the Mediterranean Games Almería 2005 Architects: Luis Millet, Millet Biosca & Asociados, Barcelona, Spain; Joaquín Blanco, JBF Ingenieros y Arquitectos, Barcelona, Spain Landscape architect: José Miguel Pérez de Arenaza, Barcelona, Spain Lighting design: Rocio Fernandez, Alfonso Saiz, Philips Spain Electrical installer: Pablo Riesco, Ferrovial Agroman Philips support: Mauricio de Ramón, Madrid, Spain Luminaires: MVF403, Philips Lamps: MHN-SA, Philips Photographer: Jose Antonio Miguelez Text: Francisco García Aguilar www.almeria2005.es

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in the stadium. The floodlights used for this purpose include 228 Combilux HQI-TS 250W with hot re-ignition, 28 Decoflood MVF606 150W and 60 Decoflood MVF617 150W with hot re-ignition. Walkway/emergency lighting is provided by 320 Decoflood MVF617 and 54 Ritmo 3R1330 HPI-T AS luminaires.

In the stairways, approximately 1000 Isolux HKF 58W luminaires and around 170 Astrolux Bowl-A 26W luminaires with electronic ballast and elevation ring are used.

1 Aerial view of the stadium

With state-of-the-art lighting in place at all venues, the World Cup 2006 promises to provide unparalleled enjoyment and viewing quality for spectators both in the stadium and at home. ■

2 High vertical illuminances ensure optimum visual conditions all over the pitch

1 2

RheinEnergieStadion Cologne, Germany

The 2006 World Cup football tournament in Germany is set to provide top sporting enjoyment under excellent visual conditions for spectators, television broadcasting companies and photographers alike.

The lighting installed in Cologne’s RheinEnergieStadion will ensure outstanding viewing for a global audience.

The RheinEnergieStadion has been integrated into its surroundings, preserving the historic buildings around it. The roof of the stadium is supported by steel cables attached to columns at the four corners of the ground. Encased in translucent opal material and illuminated from the inside by some 960 Isolux HKF 58W luminaires, these ‘light towers’ are visible for miles around, forming a new landmark in the western part of Cologne.

The lighting installation had to comply with the stringent requirements of FIFA and the World Cup 2006 Organising Committee. The floodlights are fitted on a catwalk below the roof at the back of the stand and illuminate the pitch at a low angle to produce the vertical illuminances necessary for television cameras and photographers, especially in the foreground of the pitch. There is a second row of floodlights

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mounted under the roof at the front of the stand which provide uniform vertical illumination in the back part of the pitch. The illuminance realised (towards main cameras) can be expressed as E = 1700 lux; E min/ave = 0.72; E min/max = 0.6.

A total of 210 ArenaVision MVF403 floodlights are distributed around the stadium in groups of seven. The MHN-SA 2000W/956 metal-halide lamps used have a lumen output of 200,000, colour temperature of 5600 K and a very high colour-rendering index. All these floodlights are equipped with a hot re-ignition device to ensure continuous lighting and uninterrupted TV broadcasting.

FIFA’s World Cup specifications also demand sufficient illumination of the lower part of the stand, to ensure that cameras can capture the spectators’ emotions and the atmosphere

Contracting authority: Max Bögl Bauunternehmung GmbH & Co KG Architect: gmp - von Gerkan, Marg und Partner, Hamburg, Germany Lighting design: Rene van Ratingen, Thomas Fotakakis, Springe, Philips Germany Electrical installer: Cegelec AT GmbH & Co.KG; Lichttechnik Hessling Philips support: Rainer Welter, Jürgen Kah, Cologne, Germany Luminaires: MVF403, MVF606, MVF617, MVF617, TBS162, TBS331, TBS319, Philips Lamps: MHN-SA, CDM-T, MHN-TD, TL-D, HPI-T, Philips Text: Rainer Barth www.stadion-koeln.de www.fifaworldcup.com

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in the stadium. The floodlights used for this purpose include 228 Combilux HQI-TS 250W with hot re-ignition, 28 Decoflood MVF606 150W and 60 Decoflood MVF617 150W with hot re-ignition. Walkway/emergency lighting is provided by 320 Decoflood MVF617 and 54 Ritmo 3R1330 HPI-T AS luminaires.

In the stairways, approximately 1000 Isolux HKF 58W luminaires and around 170 Astrolux Bowl-A 26W luminaires with electronic ballast and elevation ring are used.

1 Aerial view of the stadium

With state-of-the-art lighting in place at all venues, the World Cup 2006 promises to provide unparalleled enjoyment and viewing quality for spectators both in the stadium and at home. ■

2 High vertical illuminances ensure optimum visual conditions all over the pitch

1 2

RheinEnergieStadion Cologne, Germany

The 2006 World Cup football tournament in Germany is set to provide top sporting enjoyment under excellent visual conditions for spectators, television broadcasting companies and photographers alike.

The lighting installed in Cologne’s RheinEnergieStadion will ensure outstanding viewing for a global audience.

The RheinEnergieStadion has been integrated into its surroundings, preserving the historic buildings around it. The roof of the stadium is supported by steel cables attached to columns at the four corners of the ground. Encased in translucent opal material and illuminated from the inside by some 960 Isolux HKF 58W luminaires, these ‘light towers’ are visible for miles around, forming a new landmark in the western part of Cologne.

The lighting installation had to comply with the stringent requirements of FIFA and the World Cup 2006 Organising Committee. The floodlights are fitted on a catwalk below the roof at the back of the stand and illuminate the pitch at a low angle to produce the vertical illuminances necessary for television cameras and photographers, especially in the foreground of the pitch. There is a second row of floodlights

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mounted under the roof at the front of the stand which provide uniform vertical illumination in the back part of the pitch. The illuminance realised (towards main cameras) can be expressed as E = 1700 lux; E min/ave = 0.72; E min/max = 0.6.

A total of 210 ArenaVision MVF403 floodlights are distributed around the stadium in groups of seven. The MHN-SA 2000W/956 metal-halide lamps used have a lumen output of 200,000, colour temperature of 5600 K and a very high colour-rendering index. All these floodlights are equipped with a hot re-ignition device to ensure continuous lighting and uninterrupted TV broadcasting.

FIFA’s World Cup specifications also demand sufficient illumination of the lower part of the stand, to ensure that cameras can capture the spectators’ emotions and the atmosphere

Contracting authority: Max Bögl Bauunternehmung GmbH & Co KG Architect: gmp - von Gerkan, Marg und Partner, Hamburg, Germany Lighting design: Rene van Ratingen, Thomas Fotakakis, Springe, Philips Germany Electrical installer: Cegelec AT GmbH & Co.KG; Lichttechnik Hessling Philips support: Rainer Welter, Jürgen Kah, Cologne, Germany Luminaires: MVF403, MVF606, MVF617, MVF617, TBS162, TBS331, TBS319, Philips Lamps: MHN-SA, CDM-T, MHN-TD, TL-D, HPI-T, Philips Text: Rainer Barth www.stadion-koeln.de www.fifaworldcup.com

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P82_83_Horsetrack 7_2

15-02-2006

13:56

Pagina 82

Magna Racino racetrack

1 Uniform glare-free lighting of the trotting course 2 ArenaVision floodlights with a range of beam characteristics

Ebreichsdorf, Austria

Situated just south of Vienna, Magna Racino, Europe’s most modern

3 Special grille mast

equestrian sporting complex, has a great deal to offer for competitors

4 Plan of the Magna Racino complex

and visitors alike. This unique centre boasts not only a trotting course and two horse-racing tracks suitable for top-level competition, but all other necessary facilities, including excellent lighting.

Since the 2.7 km2 complex opened in April 2004, tens of thousands of visitors have enjoyed a combination of sport and entertainment – live horse racing, sports betting, outstanding cuisine and a host of other events. In front of the grandstand, which offers up to 1000 spectators an excellent view of the home straight, there is also a 100 m2 videowall that shows multimedia coverage of the entire race.

The horse racing and trotting courses are designed to guarantee optimum racing and training conditions irrespective of the weather.

The floodlight system fulfils the latest technical standards and, thanks to the special grille masts (24, 42 and 45 m high) and highperformance ArenaVision floodlights, guarantees fewer areas of shadow.

In equestrian sport, the highest levels of concentration and cooperation between rider and horse are paramount, and the sportsmen and women have to know they can rely fully on the lighting system. The ArenaVision system was developed especially for large sporting venues such as this and ensures uniform and, above all, glare-free lighting of the trotting course and race tracks. In terms of colour quality and illuminance, it also provides first-rate conditions for global television broadcasting, as well as for photographers. The ArenaVision floodlights at Magna Racino feature a 2000W metal-halide lamp in a housing offering a choice of seven modular optical systems, thus allowing a range of beam characteristics to ensure that the light only shines on the required zones.

The optic incorporates an additional louver to prevent unwanted spill light.

The lighting installation has also been designed to help safeguard an environmentally important area of marshland on the site that is under EU Natura 2000 protection. And an energysaving switching stage has been installed to provide lighting specifically for training purposes.

This only produces approximately 30 to 40% of the full lighting performance, but nevertheless provides uniform lighting that ensures excellent training conditions. ■

1 3

2

4

Contracting authority: MEC Magna Racino Veranstaltungs GmbH Lighting design: Michael Fritthum, Philips Austria Electrical installer: MCE Philips support: Günter Epp, Robert Linzmayer, Vienna, Austria Luminaires: MVF403, Philips Lamps: MHN-SA, Philips Photographer: Manfred Seidel Text: Michael Fritthum www.magnaracino.at

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P82_83_Horsetrack 7_2

15-02-2006

13:56

Pagina 82

Magna Racino racetrack

1 Uniform glare-free lighting of the trotting course 2 ArenaVision floodlights with a range of beam characteristics

Ebreichsdorf, Austria

Situated just south of Vienna, Magna Racino, Europe’s most modern

3 Special grille mast

equestrian sporting complex, has a great deal to offer for competitors

4 Plan of the Magna Racino complex

and visitors alike. This unique centre boasts not only a trotting course and two horse-racing tracks suitable for top-level competition, but all other necessary facilities, including excellent lighting.

Since the 2.7 km2 complex opened in April 2004, tens of thousands of visitors have enjoyed a combination of sport and entertainment – live horse racing, sports betting, outstanding cuisine and a host of other events. In front of the grandstand, which offers up to 1000 spectators an excellent view of the home straight, there is also a 100 m2 videowall that shows multimedia coverage of the entire race.

The horse racing and trotting courses are designed to guarantee optimum racing and training conditions irrespective of the weather.

The floodlight system fulfils the latest technical standards and, thanks to the special grille masts (24, 42 and 45 m high) and highperformance ArenaVision floodlights, guarantees fewer areas of shadow.

In equestrian sport, the highest levels of concentration and cooperation between rider and horse are paramount, and the sportsmen and women have to know they can rely fully on the lighting system. The ArenaVision system was developed especially for large sporting venues such as this and ensures uniform and, above all, glare-free lighting of the trotting course and race tracks. In terms of colour quality and illuminance, it also provides first-rate conditions for global television broadcasting, as well as for photographers. The ArenaVision floodlights at Magna Racino feature a 2000W metal-halide lamp in a housing offering a choice of seven modular optical systems, thus allowing a range of beam characteristics to ensure that the light only shines on the required zones.

The optic incorporates an additional louver to prevent unwanted spill light.

The lighting installation has also been designed to help safeguard an environmentally important area of marshland on the site that is under EU Natura 2000 protection. And an energysaving switching stage has been installed to provide lighting specifically for training purposes.

This only produces approximately 30 to 40% of the full lighting performance, but nevertheless provides uniform lighting that ensures excellent training conditions. ■

1 3

2

4

Contracting authority: MEC Magna Racino Veranstaltungs GmbH Lighting design: Michael Fritthum, Philips Austria Electrical installer: MCE Philips support: Günter Epp, Robert Linzmayer, Vienna, Austria Luminaires: MVF403, Philips Lamps: MHN-SA, Philips Photographer: Manfred Seidel Text: Michael Fritthum www.magnaracino.at

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Palavela short track Winter Olympics 2006 Turin, Italy

The Palavela building, with its sail-like frame that rests on only three points, is located in the south east of Turin, on the left bank of the river Po. This spectacular venue is equipped with lighting that fully meets the Olympic standards for TV sports broadcasts.

Contracting authority: Agenzia Torino 2006 Sole contractor: Giorgio Fassinotti, Andrea Conci, Agenzia Torino 2006, Turin, Italy Project team: Arnaldo de Bernardi, Turin, Italy; Gae Aulenti, Cesare Roluti, Silvio Basso, Matteo Filippi, Gian Carlo Gramoni, Francesca Quadri, Walter Peisino, Giuseppe Forte, Intek s.r.l., Giorgio Nicola Siniscalco (SI.ME.TE. s.n.c.)

Architectural design: Gae Aulenti, Turin, Italy; Marco Buffoni, Vittoria Massa, Marco Zaccarini, Uri Yeger, Aldo Moia, Roberto Scotta Lighting design: Piero Castiglioni, Nicoletta Rossi, Milan, Italy; Giacomo Longoni, Monza, Philips Italy Philips support: Marco Dipilato, Franco Laneri, Monza, Italy Luminaires: MVF401, MNF300, Philips Lamps: MHN-LA/956, MAIH/2 250W, Philips Photographer: Roland Halbe Text: Giacomo Longoni www.agenziatorino2006.it www.pierocastiglioni.com

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Palavela is a particularly eye-catching building because of its unusual design and dimensions.

It has a hexagonal base within a circle 130 m in diameter and is covered by a sail-like structure of reinforced concrete that is made up of three arches, each rotated by 120 degrees; the arches are anchored to the ground on three of the six vertices of the hexagon. This wonderful piece of architecture was originally designed for the ‘Italia 61’ exhibition to celebrate the first centenary of the unity of Italy. The building below the sail was designed and rebuilt by the architect Gae Aulenti and the engineer Arnaldo de Bernardi. The lighting design – which has to meet exacting television broadcasting requirements – was developed specifically for figure skating and short track.

The technical requirements were defined by TOBO, the Torino Olympic Broadcast Organization. These are particularly stringent and define very high quality levels, taking into account a number of parameters such as vertical

lighting level, horizontal lighting level, minimum/maximum and minimum/average ratios, UVP (uniformity on vertical planes at every point of the grid), glare control for the athletes and lens flare for the cameras.

A total of 13 cameras were tested for the above requirements. Five skywalks with ArenaVision MVF401 luminaires – featuring two different types of optics (medium and wide beam) and compact double-ended 1000W lamps with excellent colour rendering – were required in order to meet the very high quality criteria for TV filming. With this solution, the average vertical illuminance towards the main camera is 3600 lux, uniformity min/ave 0.8, min/max 0.7; the average vertical illuminance towards secondary cameras is 2400 lux, uniformity min/ave 0.7, min/max 0.5. One of the major design challenges was how to achieve optimum uniformity in the vertical plane at all points on the ice, avoiding any shadows from the rink barriers and thus maintaining excellent uniformity in the horizontal plane. ■

Palavela short track Winter Olympics 2006 Turin, Italy

The Palavela building, with its sail-like frame that rests on only three points, is located in the south east of Turin, on the left bank of the river Po. This spectacular venue is equipped with lighting that fully meets the Olympic standards for TV sports broadcasts.

Contracting authority: Agenzia Torino 2006 Sole contractor: Giorgio Fassinotti, Andrea Conci, Agenzia Torino 2006, Turin, Italy Project team: Arnaldo de Bernardi, Turin, Italy; Gae Aulenti, Cesare Roluti, Silvio Basso, Matteo Filippi, Gian Carlo Gramoni, Francesca Quadri, Walter Peisino, Giuseppe Forte, Intek s.r.l., Giorgio Nicola Siniscalco (SI.ME.TE. s.n.c.)

Architectural design: Gae Aulenti, Turin, Italy; Marco Buffoni, Vittoria Massa, Marco Zaccarini, Uri Yeger, Aldo Moia, Roberto Scotta Lighting design: Piero Castiglioni, Nicoletta Rossi, Milan, Italy; Giacomo Longoni, Monza, Philips Italy Philips support: Marco Dipilato, Franco Laneri, Monza, Italy Luminaires: MVF401, MNF300, Philips Lamps: MHN-LA/956, MAIH/2 250W, Philips Photographer: Roland Halbe Text: Giacomo Longoni www.agenziatorino2006.it www.pierocastiglioni.com

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Palavela is a particularly eye-catching building because of its unusual design and dimensions.

It has a hexagonal base within a circle 130 m in diameter and is covered by a sail-like structure of reinforced concrete that is made up of three arches, each rotated by 120 degrees; the arches are anchored to the ground on three of the six vertices of the hexagon. This wonderful piece of architecture was originally designed for the ‘Italia 61’ exhibition to celebrate the first centenary of the unity of Italy. The building below the sail was designed and rebuilt by the architect Gae Aulenti and the engineer Arnaldo de Bernardi. The lighting design – which has to meet exacting television broadcasting requirements – was developed specifically for figure skating and short track.

The technical requirements were defined by TOBO, the Torino Olympic Broadcast Organization. These are particularly stringent and define very high quality levels, taking into account a number of parameters such as vertical

lighting level, horizontal lighting level, minimum/maximum and minimum/average ratios, UVP (uniformity on vertical planes at every point of the grid), glare control for the athletes and lens flare for the cameras.

A total of 13 cameras were tested for the above requirements. Five skywalks with ArenaVision MVF401 luminaires – featuring two different types of optics (medium and wide beam) and compact double-ended 1000W lamps with excellent colour rendering – were required in order to meet the very high quality criteria for TV filming. With this solution, the average vertical illuminance towards the main camera is 3600 lux, uniformity min/ave 0.8, min/max 0.7; the average vertical illuminance towards secondary cameras is 2400 lux, uniformity min/ave 0.7, min/max 0.5. One of the major design challenges was how to achieve optimum uniformity in the vertical plane at all points on the ice, avoiding any shadows from the rink barriers and thus maintaining excellent uniformity in the horizontal plane. ■

P86_89_Healthe Care 8_1

15-02-2006

13:00

Pagina 86

Concepts 1. The neonatology unit of the ‘butterfly’ section at Jeroen Bosch Hospital is equipped with a Dynamic Lighting installation

2. Lighting plays a key role in making hospital spaces less intimidating

1

Lighting design for healthcare Sjef Cornelissen - LiDAC International

In the design of healthcare facilities, medical professionals and architects are increasingly realizing the importance of creating ‘healing environments’ that address the totality of patient and staff needs.

This more holistic approach is driven by the recognition that a patient’s perception of the physical environment in a hospital can affect his or her sense of well-being and, potentially, health. Accordingly, healthcare lighting design is currently undergoing an exciting transformation that will dramatically change the face of hospitals in the future.

2

In modern hospitals, considerable attention is paid to detail, colour, form, light and shade in an effort to create a ‘healing environment’. Factors such as fresh air, light and peaceful surroundings are key design drivers.

Daylight roofs and large window facades serve to bring in daylight and, at the same time, to establish the all-important visual link with the world outside.

The advances in the way care is provided in hospitals are most apparent in the patient room. Room decor is becoming more friendly and welcoming, whilst advanced technology at the bedside enables clinicians to monitor patients more effectively and gives patients greater control over their surroundings. Innovative lighting solutions that can be controlled easily by both patients and staff will make patients and visitors more comfortable whilst also enabling staff to work more efficiently.

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The influence of light Light affects us on three levels – visual, emotional and biological.

The visual aspects of light, e.g. brightness and colour appearance, have a significant effect on our performance in a given environment. Light must be bright enough to facilitate the performance of visual tasks, but not so bright that it produces glare. The colour quality of the light is also vitally important, e.g. for the purpose of examining patients. Better visual performance therefore enhances work performance.

Light also has an emotional dimension, affecting how a person feels.

Consequently, artificial lighting can play a significant role in improving the healthcare experience by creating a relaxed or uplifiting ambience that improves our sense of well-being.

Given that light has substantial non-visual (biological) relevance, it is also important to consider the biological impact of light in ‘healing environments’. Specific lighting levels in a particular colour temperature at a certain time of day stimulate the biological clock, helping to combat the ‘morning blues’ or the ‘after-lunch dip’, for example. The bluish coolwhite light in the morning stimulates us, while the warm-white sky in the early evening makes us feel relaxed. (see diagram, page 88).

Natural lighting Innovative new lighting solutions utilise certain characteristics of natural light to recreate the dynamics of daylight in the hospital, thus putting patients and visitors at ease and helping healthcare professionals to perform in a more relaxed and effective way.

In the past, lighting designs focused primarily on the visual aspects of light. The main purpose of lighting was to enable people to see. In the early 1980s, designers started to realise the importance of the emotional component of light, and this became apparent in lighting applications in shops and offices as well as in healthcare premises. Designers began to look more at the architectural side of lighting. Recent research has shown that the biological effect of lighting on the human body needs to be considered as well.

Lighting installations – and lighting for healing environments in particular – should take account of all three aspects of light – visual, emotional and biological. It is important to strike a balance between these to suit the function of the space and the activities that are performed there.

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P86_89_Healthe Care 8_1

15-02-2006

13:00

Pagina 86

Concepts 1. The neonatology unit of the ‘butterfly’ section at Jeroen Bosch Hospital is equipped with a Dynamic Lighting installation

2. Lighting plays a key role in making hospital spaces less intimidating

1

Lighting design for healthcare Sjef Cornelissen - LiDAC International

In the design of healthcare facilities, medical professionals and architects are increasingly realizing the importance of creating ‘healing environments’ that address the totality of patient and staff needs.

This more holistic approach is driven by the recognition that a patient’s perception of the physical environment in a hospital can affect his or her sense of well-being and, potentially, health. Accordingly, healthcare lighting design is currently undergoing an exciting transformation that will dramatically change the face of hospitals in the future.

2

In modern hospitals, considerable attention is paid to detail, colour, form, light and shade in an effort to create a ‘healing environment’. Factors such as fresh air, light and peaceful surroundings are key design drivers.

Daylight roofs and large window facades serve to bring in daylight and, at the same time, to establish the all-important visual link with the world outside.

The advances in the way care is provided in hospitals are most apparent in the patient room. Room decor is becoming more friendly and welcoming, whilst advanced technology at the bedside enables clinicians to monitor patients more effectively and gives patients greater control over their surroundings. Innovative lighting solutions that can be controlled easily by both patients and staff will make patients and visitors more comfortable whilst also enabling staff to work more efficiently.

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The influence of light Light affects us on three levels – visual, emotional and biological.

The visual aspects of light, e.g. brightness and colour appearance, have a significant effect on our performance in a given environment. Light must be bright enough to facilitate the performance of visual tasks, but not so bright that it produces glare. The colour quality of the light is also vitally important, e.g. for the purpose of examining patients. Better visual performance therefore enhances work performance.

Light also has an emotional dimension, affecting how a person feels.

Consequently, artificial lighting can play a significant role in improving the healthcare experience by creating a relaxed or uplifiting ambience that improves our sense of well-being.

Given that light has substantial non-visual (biological) relevance, it is also important to consider the biological impact of light in ‘healing environments’. Specific lighting levels in a particular colour temperature at a certain time of day stimulate the biological clock, helping to combat the ‘morning blues’ or the ‘after-lunch dip’, for example. The bluish coolwhite light in the morning stimulates us, while the warm-white sky in the early evening makes us feel relaxed. (see diagram, page 88).

Natural lighting Innovative new lighting solutions utilise certain characteristics of natural light to recreate the dynamics of daylight in the hospital, thus putting patients and visitors at ease and helping healthcare professionals to perform in a more relaxed and effective way.

In the past, lighting designs focused primarily on the visual aspects of light. The main purpose of lighting was to enable people to see. In the early 1980s, designers started to realise the importance of the emotional component of light, and this became apparent in lighting applications in shops and offices as well as in healthcare premises. Designers began to look more at the architectural side of lighting. Recent research has shown that the biological effect of lighting on the human body needs to be considered as well.

Lighting installations – and lighting for healing environments in particular – should take account of all three aspects of light – visual, emotional and biological. It is important to strike a balance between these to suit the function of the space and the activities that are performed there.

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P86_89_Healthe Care 8_1

15-02-2006

13:00

Pagina 88

The influence of daylight on the human body

3 a.m.

The absence of natural light raises the level of the hormone melatonin in the human body. This causes those working the nightshift to feel sleepy, and their concentration level drops to a minimum at around 3 o’clock in the morning.

1. At The Strip on the High Tech Campus in Eindhoven, lighting scenes can be manually or computercontrolled, mixing timing, blend and intensity to create the desired effect

9 a.m.

Daylight tells the brain to boost the production of cortisol, the hormone responsible for activating the body. At this time of the day we feel active and can concentrate well. During the bright part of the day the level of cortisol remains high enough to keep us alert and energetic.

2. The scanner room at the university hospital in Linköping, Sweden Contracting authority: University Hospital of Linköping Lighting design: Svante Pettersson, Philips, Sweden Luminaires: Octopus Master Colour technology, MCV535 8C S Lamps: CDM-SA/T 150W (4200 K)

Cortisol level Melatonin level

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New lighting concepts Traditionally, ambience has been created by balancing lighting variables, such as brightness, illuminance, contrast, modelling, colour tone, etc., but there are also new techniques that are ideal for healthcare premises.

Personal light ‘Personal light’ is a solution that allows the patient to control the tone of whiteness and the lighting level in several preset steps, from warm white light to cool white light, without compromising the high quality or colour rendering of the light. The patient can control the lighting above his/her own bed and instead of just being able to switch it on, off or dim it, he or she can now also control the colour temperature of the light as well.

Dynamic ambience Automatic control of the ambient lighting in the entire space (patient room, examination room, treatment room, etc.) is another new possibility.

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With ‘dynamic ambience’ solutions the lighting in the room is varied continuously over time. The luminaires are connected and all change together according to a pre-programmed rhythm. In hospitals in particular many people work in spaces where there is no incident daylight. Installation of a ‘dynamic ambience’ lighting system brings the dynamics of natural daylight into the room and can reduce tiredness and increase productivity.

Coloured (RGB) light Thanks to the advent of LEDs, coloured light is now much easier to use, and coloured lighting solutions – fluorescent or LED – are becoming increasingly popular (see picture 1 above). New, more sophisticated lighting control systems have made it easier to use dynamic coloured lighting. Although easy to use for decorative purposes, it is more complex to incorporate coloured light into a design for functional purposes. If designed well, coloured light can be used very effectively to influence emotion, mood and well-being.

Ambient Experience DesignTM Philips has developed a design vision – called ‘Ambient Experience Design’ – to help healthcare authorities break down the barriers that can make a visit to a hospital an intimidating experience. Ambient Experience Design extends far beyond the design of a product: it is the creation of an entire environment that is sensitive to people’s needs and personalized to their requirements. It merges technology with architectural qualities and the senses into an interactive ambient experience designed to deliver better, more efficient healthcare.

The Ambient Experience Design solution recently implemented in the scanner room at the University Hospital in Linköping, Sweden, illustrates how lighting can enhance a hospital environment. After extensive discussions with hospital staff and engineers, an environmentally friendly fibre-optic solution was designed, comprising two Octopus generators, 32 terminations, 32 projectors and two Octopus end-light fibre harnesses.

Fibre optics was chosen because a magnetic resonance scanner is essentially a huge magnet. The main objective was to reduce the visual coldness for patients when confronted with the medical equipment. The project has proved a great success and should help the hospital to remain highly effective, efficient and competitive as it goes forward. ■

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P86_89_Healthe Care 8_1

15-02-2006

13:00

Pagina 88

The influence of daylight on the human body

3 a.m.

The absence of natural light raises the level of the hormone melatonin in the human body. This causes those working the nightshift to feel sleepy, and their concentration level drops to a minimum at around 3 o’clock in the morning.

1. At The Strip on the High Tech Campus in Eindhoven, lighting scenes can be manually or computercontrolled, mixing timing, blend and intensity to create the desired effect

9 a.m.

Daylight tells the brain to boost the production of cortisol, the hormone responsible for activating the body. At this time of the day we feel active and can concentrate well. During the bright part of the day the level of cortisol remains high enough to keep us alert and energetic.

2. The scanner room at the university hospital in Linköping, Sweden Contracting authority: University Hospital of Linköping Lighting design: Svante Pettersson, Philips, Sweden Luminaires: Octopus Master Colour technology, MCV535 8C S Lamps: CDM-SA/T 150W (4200 K)

Cortisol level Melatonin level

6:00

12:0

18:0

24:0

06:0

12:0

18:0

24:0

6:00

2

1

New lighting concepts Traditionally, ambience has been created by balancing lighting variables, such as brightness, illuminance, contrast, modelling, colour tone, etc., but there are also new techniques that are ideal for healthcare premises.

Personal light ‘Personal light’ is a solution that allows the patient to control the tone of whiteness and the lighting level in several preset steps, from warm white light to cool white light, without compromising the high quality or colour rendering of the light. The patient can control the lighting above his/her own bed and instead of just being able to switch it on, off or dim it, he or she can now also control the colour temperature of the light as well.

Dynamic ambience Automatic control of the ambient lighting in the entire space (patient room, examination room, treatment room, etc.) is another new possibility.

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With ‘dynamic ambience’ solutions the lighting in the room is varied continuously over time. The luminaires are connected and all change together according to a pre-programmed rhythm. In hospitals in particular many people work in spaces where there is no incident daylight. Installation of a ‘dynamic ambience’ lighting system brings the dynamics of natural daylight into the room and can reduce tiredness and increase productivity.

Coloured (RGB) light Thanks to the advent of LEDs, coloured light is now much easier to use, and coloured lighting solutions – fluorescent or LED – are becoming increasingly popular (see picture 1 above). New, more sophisticated lighting control systems have made it easier to use dynamic coloured lighting. Although easy to use for decorative purposes, it is more complex to incorporate coloured light into a design for functional purposes. If designed well, coloured light can be used very effectively to influence emotion, mood and well-being.

Ambient Experience DesignTM Philips has developed a design vision – called ‘Ambient Experience Design’ – to help healthcare authorities break down the barriers that can make a visit to a hospital an intimidating experience. Ambient Experience Design extends far beyond the design of a product: it is the creation of an entire environment that is sensitive to people’s needs and personalized to their requirements. It merges technology with architectural qualities and the senses into an interactive ambient experience designed to deliver better, more efficient healthcare.

The Ambient Experience Design solution recently implemented in the scanner room at the University Hospital in Linköping, Sweden, illustrates how lighting can enhance a hospital environment. After extensive discussions with hospital staff and engineers, an environmentally friendly fibre-optic solution was designed, comprising two Octopus generators, 32 terminations, 32 projectors and two Octopus end-light fibre harnesses.

Fibre optics was chosen because a magnetic resonance scanner is essentially a huge magnet. The main objective was to reduce the visual coldness for patients when confronted with the medical equipment. The project has proved a great success and should help the hospital to remain highly effective, efficient and competitive as it goes forward. ■

ilr 2005 / Concepts

89

P90_93_Daylight Lighting 8_4

15-02-2006

13:01

Pagina 90

1 Notre Dame du Haut in Ronchamp by Le Corbusier 2 UFA - Kino, Dresden, Germany

by Coop Himmelb(l)au

Luminaires for daylight Martine Knoop - LiDAC International

Daylight and artificial light are two fundamentally different light sources. Daylight is constantly changing. It is dynamic in colour temperature, quantity, direction, ratio of diffuse and direct components, and intensity. These variations are determined by the position of the sun and the weather conditions. Being a point source, the sun produces direct accent lighting with an ever-changing direction, intensity and colour temperature because its position changes throughout the day.

1

When there are clouds in the sky, the direct sunlight is scattered and a large-area source is formed, creating indirect diffuse lighting. With artificial light, we can only imitate these dynamics using a combination of lamps, luminaires and lighting control systems, without having the surprising random effects that occur under daylight conditions.

By contrast, with artificial lighting we can control the dynamics ourselves to create any required lighting conditions.

Because daylight is dynamic in all of the respects outlined above, it is hard for us to control and redirect it exactly as we want to. A window can determine the luminous distribution of daylight in a room in a restrictive sense. We can influence the direction, the direct and diffuse components and the intensity of daylight within the window plane, but we cannot control the actual light source. Nonetheless, a window can be considered as a luminaire for daylight. Architects, lighting designers and researchers

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have tried to redirect light by means of facade constructions, window design or daylighting systems. This article looks at the areas on which daylight design has focused in recent decades and concludes with the latest developments in architecture, which call for a fresh approach.

Facade constructions and window design In the past, low load-carrying capacity and high heat loss through window planes were restricting factors for the design of the facade and window openings. Window openings offered a limited means of influencing or controlling the light. The most important facade parameters for regulating the amount of daylight that enters a room were window size, depth, position and orientation.

Although the main aim was to maximise the amount of (diffuse) daylight in a room, a number of architects manipulated these parameters to create an aesthetic effect. If we are looking from the outside, it is direct sunlight

that has the greatest impact; it gives shape to a building. If seen as a luminaire for indoor lighting, a window represents the source of direct and diffuse daylight. Windows in facades that face the sun are kept small to prevent glare and overheating. Small windows, deep window frames and thick wall construction restrict the direct sunlight coming in and diffuse the light even more, as can be seen, for example, in Notre Dame du Haut in Ronchamp (Le Corbusier, picture 1).

By limiting the amount of direct sunlight that enters a building, it is possible to create a moving pattern of rays of light, as can be seen, for example, in the Pantheon in Rome (see top right, page 90). Thanks to the use of steel constructions, building envelopes have become thinner and – as a result of the improved insulation capacity of glazing materials – window openings have become larger. This has led to large energy-saving glass facades (picture 2).

2

Daylighting systems Traditional windows positioned in the facade illuminate rooms unevenly, even when these windows are large. The illuminance levels are high near the window opening and decrease fairly rapidly as one moves deeper into the room. A window typically brings light into the room from the side.

In the early 1990s, research into daylight design focused on the best possible use of natural light, i.e. how to redirect the light, creating lower levels near the facade and increasing the illumination levels elsewhere.

A comparison can be made here with the development of luminaires for artificial light sources, where new technologies such as reflectors with OLC (Omnidirectional Luminance Control) and micro-prismatic structures have led to new luminaire designs. Modifications have been made to the window plane, and innovative materials – some the same as for luminaires – have been used to take daylight deeper into the room,

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91

P90_93_Daylight Lighting 8_4

15-02-2006

13:01

Pagina 90

1 Notre Dame du Haut in Ronchamp by Le Corbusier 2 UFA - Kino, Dresden, Germany

by Coop Himmelb(l)au

Luminaires for daylight Martine Knoop - LiDAC International

Daylight and artificial light are two fundamentally different light sources. Daylight is constantly changing. It is dynamic in colour temperature, quantity, direction, ratio of diffuse and direct components, and intensity. These variations are determined by the position of the sun and the weather conditions. Being a point source, the sun produces direct accent lighting with an ever-changing direction, intensity and colour temperature because its position changes throughout the day.

1

When there are clouds in the sky, the direct sunlight is scattered and a large-area source is formed, creating indirect diffuse lighting. With artificial light, we can only imitate these dynamics using a combination of lamps, luminaires and lighting control systems, without having the surprising random effects that occur under daylight conditions.

By contrast, with artificial lighting we can control the dynamics ourselves to create any required lighting conditions.

Because daylight is dynamic in all of the respects outlined above, it is hard for us to control and redirect it exactly as we want to. A window can determine the luminous distribution of daylight in a room in a restrictive sense. We can influence the direction, the direct and diffuse components and the intensity of daylight within the window plane, but we cannot control the actual light source. Nonetheless, a window can be considered as a luminaire for daylight. Architects, lighting designers and researchers

90

ilr 2005 / Concepts

have tried to redirect light by means of facade constructions, window design or daylighting systems. This article looks at the areas on which daylight design has focused in recent decades and concludes with the latest developments in architecture, which call for a fresh approach.

Facade constructions and window design In the past, low load-carrying capacity and high heat loss through window planes were restricting factors for the design of the facade and window openings. Window openings offered a limited means of influencing or controlling the light. The most important facade parameters for regulating the amount of daylight that enters a room were window size, depth, position and orientation.

Although the main aim was to maximise the amount of (diffuse) daylight in a room, a number of architects manipulated these parameters to create an aesthetic effect. If we are looking from the outside, it is direct sunlight

that has the greatest impact; it gives shape to a building. If seen as a luminaire for indoor lighting, a window represents the source of direct and diffuse daylight. Windows in facades that face the sun are kept small to prevent glare and overheating. Small windows, deep window frames and thick wall construction restrict the direct sunlight coming in and diffuse the light even more, as can be seen, for example, in Notre Dame du Haut in Ronchamp (Le Corbusier, picture 1).

By limiting the amount of direct sunlight that enters a building, it is possible to create a moving pattern of rays of light, as can be seen, for example, in the Pantheon in Rome (see top right, page 90). Thanks to the use of steel constructions, building envelopes have become thinner and – as a result of the improved insulation capacity of glazing materials – window openings have become larger. This has led to large energy-saving glass facades (picture 2).

2

Daylighting systems Traditional windows positioned in the facade illuminate rooms unevenly, even when these windows are large. The illuminance levels are high near the window opening and decrease fairly rapidly as one moves deeper into the room. A window typically brings light into the room from the side.

In the early 1990s, research into daylight design focused on the best possible use of natural light, i.e. how to redirect the light, creating lower levels near the facade and increasing the illumination levels elsewhere.

A comparison can be made here with the development of luminaires for artificial light sources, where new technologies such as reflectors with OLC (Omnidirectional Luminance Control) and micro-prismatic structures have led to new luminaire designs. Modifications have been made to the window plane, and innovative materials – some the same as for luminaires – have been used to take daylight deeper into the room,

ilr 2005 / Concepts

91

P90_93_Daylight Lighting 8_4

15-02-2006

13:01

Pagina 92

1 Use of membranes in the National Space Centre in Leicester by Nicholas Grimshaw and Partners 2 London City Hall by Sir Norman Foster

As research has shown, just how effective daylighting systems are depends very much on climatic conditions. In milder climates, flexible systems such as moveable blinds are recommended because they use the direct sunlight when it is there but do not obstruct the window plane when conditions are cloudy. In sunny climates one can be sure that there will be sunlight, and fixed systems such as mirrors and light shelves can be used.

Research and development work on daylighting systems is still ongoing, but developments in architecture mean there is a need for new approaches to openings in the building skin.

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4 Window detail of l’Institut du Monde Arabe in Paris

by Jean Nouvel

2

1

to control and distribute direct sunlight and to minimise the abovementioned differences. Examples of these ‘daylighting systems’ are holographic optical elements, mirrored louvers, heliostats and prismatic glazing (see top left and centre, page 90).

3 Kunsthaus in Graz by Peter Cook and Colin Fournier

Lighting in blob architecture New materials have been developed that offer greater design freedom for the facade. In particular, better insulation values, improvements in the properties of glass materials and the possibilities to deform glass panels have created opportunities for new types of window openings. In addition, semi-transparent and translucent materials that transmit daylight to some extent have been developed, e.g. light-transmitting concrete, sandblasted glass surfaces, plastics and membranes (picture 1).

By far the most interesting challenge is presented by liquid design or blob architecture (blob = binary large objects), an architectural style with free-form, fluidly curved surfaces made possible by new technologies and software modelling (pictures 2 and 3). This opens up completely new ways of looking at luminaires for daylight. Now, the position and orientation of

3

all the window openings in the facade can be different, and the windows do not necessarily have to be in a vertical facade or a flat plane in a roof.

They can be placed wherever they are needed.

This makes it possible to develop completely new daylighting strategies.

4

a good indication of possible future developments in daylighting strategies (picture 4). The main focus should be on technology-based solutions, reinforcing the principles on which blob architecture is based. ■

New daylighting luminaires for the facade have to be developed to ‘control’ the daylight contribution in blob architecture. Since the building skin is one of the areas of focus in blob architecture, in many cases the application of daylighting systems might be dismissed. In order not to conflict with the architecture, solutions have to be found within the facade, or at the inner side of the facade. It is not only the lack of flatness of the surface that presents a challenge: it may also no longer be possible to assume a certain thickness of a construction plane. The modification parameters that applied in the past are less relevant now. Although it was built back in 1988, l’institut du Monde Arabe in Paris by Jean Nouvel gives

ilr 2005 / Concepts

93

P90_93_Daylight Lighting 8_4

15-02-2006

13:01

Pagina 92

1 Use of membranes in the National Space Centre in Leicester by Nicholas Grimshaw and Partners 2 London City Hall by Sir Norman Foster

As research has shown, just how effective daylighting systems are depends very much on climatic conditions. In milder climates, flexible systems such as moveable blinds are recommended because they use the direct sunlight when it is there but do not obstruct the window plane when conditions are cloudy. In sunny climates one can be sure that there will be sunlight, and fixed systems such as mirrors and light shelves can be used.

Research and development work on daylighting systems is still ongoing, but developments in architecture mean there is a need for new approaches to openings in the building skin.

92

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4 Window detail of l’Institut du Monde Arabe in Paris

by Jean Nouvel

2

1

to control and distribute direct sunlight and to minimise the abovementioned differences. Examples of these ‘daylighting systems’ are holographic optical elements, mirrored louvers, heliostats and prismatic glazing (see top left and centre, page 90).

3 Kunsthaus in Graz by Peter Cook and Colin Fournier

Lighting in blob architecture New materials have been developed that offer greater design freedom for the facade. In particular, better insulation values, improvements in the properties of glass materials and the possibilities to deform glass panels have created opportunities for new types of window openings. In addition, semi-transparent and translucent materials that transmit daylight to some extent have been developed, e.g. light-transmitting concrete, sandblasted glass surfaces, plastics and membranes (picture 1).

By far the most interesting challenge is presented by liquid design or blob architecture (blob = binary large objects), an architectural style with free-form, fluidly curved surfaces made possible by new technologies and software modelling (pictures 2 and 3). This opens up completely new ways of looking at luminaires for daylight. Now, the position and orientation of

3

all the window openings in the facade can be different, and the windows do not necessarily have to be in a vertical facade or a flat plane in a roof.

They can be placed wherever they are needed.

This makes it possible to develop completely new daylighting strategies.

4

a good indication of possible future developments in daylighting strategies (picture 4). The main focus should be on technology-based solutions, reinforcing the principles on which blob architecture is based. ■

New daylighting luminaires for the facade have to be developed to ‘control’ the daylight contribution in blob architecture. Since the building skin is one of the areas of focus in blob architecture, in many cases the application of daylighting systems might be dismissed. In order not to conflict with the architecture, solutions have to be found within the facade, or at the inner side of the facade. It is not only the lack of flatness of the surface that presents a challenge: it may also no longer be possible to assume a certain thickness of a construction plane. The modification parameters that applied in the past are less relevant now. Although it was built back in 1988, l’institut du Monde Arabe in Paris by Jean Nouvel gives

ilr 2005 / Concepts

93

Publications

Books

Technical reports

Light Pollution Handbook ISBN: 1 4020 2665 X Authors: Kohei Narisada, Duco Schreuder Publisher: Springer (Germany), June 2004 Astrophysics and Space Science Library, Vol. 322 936 pages, hard cover www.spinger.com

Lighting Design Methods for Obstructed Interiors CIE 161:2004 ISBN 3 901 906 32 0 Technical Committee 3-31: Electrical Lighting for Real Spaces Chairman: D. Carter, United Kingdom 32 pages with 8 figures and 7 tables Language: English. Short summary in French and German www.cie.co.at/publ/abst/161-04.html

Luzboa, a arte da luz em Lisboa Project: extra]muros[ and Institut Franco Portugais, Lisbon Publisher: extra]muros[ (Portugal), June 2004 240 pages with 200 colour illustrations, paperback Language: Portuguese www.luzboa.com

Made of Light The Art of Light and Architecture ISBN: 3 7643 6860 8 Authors: Jonathan Speirs, Mark Major, Anthony Tischhauser Publisher: Birkhäuser (Switzerland), September 2005 208 pages with 500 colour illustrations, paperback www.birkhauser.ch

Hollow Light Guide Technology and Applications CIE 164:2005 ISBN 3 901 906 38 X Technical Committee 3-30: Hollow Light Guides Chairman: J. Aizenberg (until 1998), Russia; L. Whitehead (from 1998), Canada 37 pages with 13 figures and 6 tables.

Language: English. Short summary in French and German www.cie.co.at/publ/abst/164-05.html

Standards Lighting for Outdoor Work Places CIE S 015/E:2005 Technical Committee CIE Division 5 and CEN/TC 169 ‘Light and Lighting” www.cie.co.at/publ/abst/s015.html

Proceedings Ultimate Lighting Design ISBN: 3 8327 9016 0 Author: Hervé Descottes, L'Observatoire International Publisher: TeNeues (Germany), October 2005 528 pages with 730 colour illustrations, hard cover Language: English, German, French, Spanish and Italian www.teneues.de

Les couleurs de la lumière ISBN: 2 9160 7303 5 Author: Robert Miquel Photographer: Jean-Marc Charles Publisher: Le Bec en l’Air (France), October 2005 144 pages with 90 colour illustrations, hard cover Language: French www.becair.com

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Symposium '04 on LED Light Sources CIE x026:2005 Physical Measurement and Visual and Photobiological Assessment, 2nd ed. (including CD-ROM) ISBN: 3 9019 0636 3 Publisher: Commission Internationale de L'Eclairage (Austria), January 2005 Language: English 155 pages www.cie.co.at/publ/abst/ x026-04.html

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

3222 635 56201 3222 635 56211 3222 635 56221 3222 635 56231

56th year / Issue 2005 Founded in 1949, the International Lighting Review is devoted to all aspects of lighting. Published as a yearbook since 2003, it reports extensively on developments and trends in lighting, on actual problems encountered in lighting design and technology, and on outstanding projects from all over the world.

Published by Philips Lighting, Luminaires Group Produced by LiDAC International, Lighting Design and Application Centre Contacts: Philips Lighting, LiDAC International, Mathildelaan 1, Building EDW6, 5611 BD Eindhoven, The Netherlands To contact us by e-mail: first name.family name@philips.com Editorial team Publishing director: Dorien van der Weele Project manager: Peter van Diesen Art director: Vincent Laganier Indoor editor: Jolanda Tielens-Aarts Outdoor editor: Vincent Laganier Copywriting: Kenneth Gilbert Picture editors: Christelle Lefebure, Laurent Guillonneau, Peter van Diesen, Cécile Davidovich Publication editors: Wout van Bommel, Vincent Laganier Assistant editors: Jasmine van der Pol, Chia-Chun Liu, Matthew Cobham German reviewer: Heinrich Hagemann, Heike Höding French reviewer: Laurent Guillonneau Spanish reviewer: Fernando Vila, Susana Gallardo Fuentes Artwork: Vincent Laganier, Gilles Page Layout and pre-publishing: Neroc’MediaWare b.v., Veldhoven, The Netherlands Translation: Philips Translation Services, Eindhoven, The Netherlands Printing: Drukkerij Hendrix NV, Peer, Belgium Copyright Normally, articles published in the International Lighting Review may be reprinted, either completely or in part, with prior written authorisation from the publisher. However, in those cases where the pictures or the artwork concerned is not the property of the ILR, it is not within our power to grant permission to reproduce these.

The views expressed in this publication by third parties are not necessarily those of the publisher. The editors reserve the right to edit and abridge articles for publication.

Front cover: Philips VB, Eindhoven, Netherlands Architect: Stephen Lewis X Associates, Rotterdam, Netherlands; LIAG, Den Haag, Netherlands Lighting design: Ulrika Vis van Heemst, Philips LiDAC International Photograph: Rens van Mierlo, Korff & Van Mierlo