ILR 2006

International Lighting Review 2006 Art

Architecture

Urban planning

Sports

Retail

Concepts

International Lighting Review 2006 Retrospective

Sports

Who’s afraid of ... LEDs?

Emirates Stadium, London, United Kingdom

58

Real Madrid Sports City, Madrid, Spain

62

Yunlin Baseball Stadium, Douliu, Yunlin, Taiwan

64

Art

Aspire Sports Hall, Doha, Qatar

66

Dan Flavin – Fluorescent light as art

SAP Arena, Mannheim, Germany

68

Shanghai Qizhong Sports Centre, Shanghai, China

70

Pragelato ski jumping facility, Pragelato, Italy

72

Dorien van der Weele

Isabelle Arnaud

4

10

Architecture New Jiangwan Cultural Centre, Shanghai, China

14

Retail

Chhatrapati Shivaji Airport, Mumbai, India

18

Forum Coimbra, Coimbra, Portugal

74

Asklepios Klinik Barmbek, Hamburg-Barmbek, Germany

20

Las Camaretas shopping centre, Soria, Spain

78

Green End Primary School, Burnage, United Kingdom

22

KUBO’ furniture store, Chieti, Italy

80

HSBC Tower, Mexico City, Mexico

24

Lexus car showrooms, Europe

82

Zaman newspaper head office, Istanbul, Turkey

26

Agis Electronics, Bekasi, Indonesia

84

Grand Palais, Paris, France

28

EDEKA supermarket Mülln, Dueren, Germany

86

Objet Mathématique, Eindhoven, Netherlands

30

The Huzur Shop, Altunizade, Turkey

88

Corporativo World Plaza, Mexico City, Mexico

32

Pimkie retail chain, Vienna, Austria

90

Vroom & Dreesman, Almere, Netherlands

92

Urban planning

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.

57th year / Issue 2006 International Lighting Review 3222 635 56201 / ISSN 1871-3661 Internationale Licht Rundschau 3222 635 56211 / ISSN 1873-3417 Revue Internationale de l’Eclairage 3222 635 56221 / ISSN 1873-345X Revista International de Luminotecnia 3222 635 56231 / ISSN 1873-3433

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.

Contacts and production Philips Lighting LiDAC International Lighting Design and Application Centre Mathildelaan 1, Building EDW6 5611 BD Eindhoven, The Netherlands To contact us by-email: dorien.v.d.weele@philips.com vincent.laganier@philips.com

Editorial team Publishing director: Dorien van der Weele Managing editor: Peter van Diesen Art director: Vincent Laganier Architecture chapter editor: Jolanda Tielens-Aarts Retail chapter editor: Marike de Kruiff Sports chapter editor: Gilles Page Urban planning, Retrospective and Art chapters editor: Vincent Laganier Concepts chapter editor: Martine Knoop Copywriting: Kenneth Gilbert Picture editors: Cécile Davidovich, Christelle Lefebure, Laurent Guillonneau, Yolanda Loos, Peter van Diesen German reviewer: Heinrich Hagemann, Heike Höding French reviewer: Laurent Guillonneau Spanish reviewer: Fernando Vila, Susana Gallardo Fuentes Layout: Creada, Veldhoven, The Netherlands Pre-publishing: NerocMediaWare, Veldhoven, The Netherlands Translation: Philips Translation Services, Eindhoven, The Netherlands Printing: Drukkerij Hendrix NV, Peer, Belgium

Arctura, Östersund, Sweden

36

Concepts

Shinkong Tower, Taipei, Taiwan

40

Made of Light™

Perret Tower, Amiens, France

42

Jonathan Speirs and Mark Major

Town Hall and St. Petri Dom, Bremen, Germany

44

Colour in indoor environments

Castle of San Felipe de Barajas, Cartagena de Indias, Colombia

46

Marike de Kruiff and Martine Knoop

Front cover Alta Vila Center Class, Brazil Architect: Humberto Gontijo, George Constantin and Cristine Boerge Lighting design: Adriano Genistreti, Sérgio Gama, Philips, Brazil Photographer: Leandro Nunes Web: www.arcoweb.com.br/arquitetura/arquitetura632.asp

Palazzo Vecchio, Florence, Italy

48

High Tech Campus, Eindhoven, Netherlands

50

Publications

Werkhuizenkaai, Laken, Belgium

52

Books and CIE documents from the year

S1 orbital motorway, Vienna, Austria

54

Alta Vila Center Class in Belo Horizonte is not just a shopping mall, but rather a leisure complex, in which visitors can really enjoy themselves. Comprising three distinct sections: a coffee shop, a restaurant and an attractive function suite; the 80-metre-high Piemonte Tower offers a panoramic view of the surrounding district. The tower is clad with polished stainless-steel panels, while the pillars are made of concrete.

Its beauty is highlighted by grazing blue light produced by state-of-the-art lighting technology.

Thus, it has become the city's landmark structure, and a reference point in the Brazilian nightscape.

Mdina Gate, Mdina, Malta

56

94 100

104

International Lighting Review 2006 Retrospective

Sports

Who’s afraid of ... LEDs?

Emirates Stadium, London, United Kingdom

58

Real Madrid Sports City, Madrid, Spain

62

Yunlin Baseball Stadium, Douliu, Yunlin, Taiwan

64

Art

Aspire Sports Hall, Doha, Qatar

66

Dan Flavin – Fluorescent light as art

SAP Arena, Mannheim, Germany

68

Shanghai Qizhong Sports Centre, Shanghai, China

70

Pragelato ski jumping facility, Pragelato, Italy

72

Dorien van der Weele

Isabelle Arnaud

4

10

Architecture New Jiangwan Cultural Centre, Shanghai, China

14

Retail

Chhatrapati Shivaji Airport, Mumbai, India

18

Forum Coimbra, Coimbra, Portugal

74

Asklepios Klinik Barmbek, Hamburg-Barmbek, Germany

20

Las Camaretas shopping centre, Soria, Spain

78

Green End Primary School, Burnage, United Kingdom

22

KUBO’ furniture store, Chieti, Italy

80

HSBC Tower, Mexico City, Mexico

24

Lexus car showrooms, Europe

82

Zaman newspaper head office, Istanbul, Turkey

26

Agis Electronics, Bekasi, Indonesia

84

Grand Palais, Paris, France

28

EDEKA supermarket Mülln, Dueren, Germany

86

Objet Mathématique, Eindhoven, Netherlands

30

The Huzur Shop, Altunizade, Turkey

88

Corporativo World Plaza, Mexico City, Mexico

32

Pimkie retail chain, Vienna, Austria

90

Vroom & Dreesman, Almere, Netherlands

92

Urban planning

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.

57th year / Issue 2006 International Lighting Review 3222 635 56201 / ISSN 1871-3661 Internationale Licht Rundschau 3222 635 56211 / ISSN 1873-3417 Revue Internationale de l’Eclairage 3222 635 56221 / ISSN 1873-345X Revista International de Luminotecnia 3222 635 56231 / ISSN 1873-3433

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.

Contacts and production Philips Lighting LiDAC International Lighting Design and Application Centre Mathildelaan 1, Building EDW6 5611 BD Eindhoven, The Netherlands To contact us by-email: dorien.v.d.weele@philips.com vincent.laganier@philips.com

Editorial team Publishing director: Dorien van der Weele Managing editor: Peter van Diesen Art director: Vincent Laganier Architecture chapter editor: Jolanda Tielens-Aarts Retail chapter editor: Marike de Kruiff Sports chapter editor: Gilles Page Urban planning, Retrospective and Art chapters editor: Vincent Laganier Concepts chapter editor: Martine Knoop Copywriting: Kenneth Gilbert Picture editors: Cécile Davidovich, Christelle Lefebure, Laurent Guillonneau, Yolanda Loos, Peter van Diesen German reviewer: Heinrich Hagemann, Heike Höding French reviewer: Laurent Guillonneau Spanish reviewer: Fernando Vila, Susana Gallardo Fuentes Layout: Creada, Veldhoven, The Netherlands Pre-publishing: NerocMediaWare, Veldhoven, The Netherlands Translation: Philips Translation Services, Eindhoven, The Netherlands Printing: Drukkerij Hendrix NV, Peer, Belgium

Arctura, Östersund, Sweden

36

Concepts

Shinkong Tower, Taipei, Taiwan

40

Made of Light™

Perret Tower, Amiens, France

42

Jonathan Speirs and Mark Major

Town Hall and St. Petri Dom, Bremen, Germany

44

Colour in indoor environments

Castle of San Felipe de Barajas, Cartagena de Indias, Colombia

46

Marike de Kruiff and Martine Knoop

Front cover Alta Vila Center Class, Brazil Architect: Humberto Gontijo, George Constantin and Cristine Boerge Lighting design: Adriano Genistreti, Sérgio Gama, Philips, Brazil Photographer: Leandro Nunes Web: www.arcoweb.com.br/arquitetura/arquitetura632.asp

Palazzo Vecchio, Florence, Italy

48

High Tech Campus, Eindhoven, Netherlands

50

Publications

Werkhuizenkaai, Laken, Belgium

52

Books and CIE documents from the year

S1 orbital motorway, Vienna, Austria

54

Alta Vila Center Class in Belo Horizonte is not just a shopping mall, but rather a leisure complex, in which visitors can really enjoy themselves. Comprising three distinct sections: a coffee shop, a restaurant and an attractive function suite; the 80-metre-high Piemonte Tower offers a panoramic view of the surrounding district. The tower is clad with polished stainless-steel panels, while the pillars are made of concrete.

Its beauty is highlighted by grazing blue light produced by state-of-the-art lighting technology.

Thus, it has become the city's landmark structure, and a reference point in the Brazilian nightscape.

Mdina Gate, Mdina, Malta

56

94 100

104

Altavila Center Class Nova Lima, Brazil

Retrospective

Light effect: concrete tower, grazing lighting Height: 80 m Luminaires: 32 x LEDline2, 120 cm, blue, 2 x 3°, Philips Lighting design: Adriano Genistreti, Sérgio Gama Photography: Vinicius Mattos Hardturm railway viaduct Zurich, Switzerland

Light effect: concrete pillars, grazing lighting Height: 8 to 12 m Luminaires: 2 x LEDline2, 120 cm, white, 2 x 3°, Philips Lighting design: D’Lite Lichtdesign Photography: Philips Lighting

Saint Sernin Roman church Toulouse, France

Light effect: bell tower windows, accent lighting Height: 3.60 m Luminaires: LEDline2, 60 cm, white, 2 x 27°, Philips Lighting design: Daragon Conseil SA Agence Concepto Contracting authority: Mairie de Toulouse Photography: Vincent Laganier

Who's afraid of ... LEDs? Over the past two decades, lighting design has seen a fusion of theatre lighting techniques, architectural aspects and lighting engineering, resulting in a clear move from quantitative ‘functional’ lighting to qualitative ‘emotional’ lighting. New technologies such as projections, displays, multimedia and LEDs are enabling lighting professionals to unite the physical, virtual and lighting domains.

Solid-State Lighting, or LEDs, offers unprecedented design freedom in terms of spectral composition, dynamics, visual communication and integration, both in space, architecture and building materials.

This retrospective shows examples of spectral compositions, ranging from mono-colour applications, via AWB (amber-white-blue) colour mixing (referencing natural light), to RGB (red-green-blue) colour mixing.

White LED applications are increasingly being explored, both indoors and outdoors, although they are still in the development phase in terms of colour characteristics and light output.

Colour consistency is a real challenge, but new developments like dynamic colour spots are on the way.

However, now that coloured light has become a commodity, accessible for all, it must be handled with care. Colours tend to have an iconic effect. A space or area can only cope with a limited number of icons. When overdone, icons become a nuisance and, in the extreme, a form of obtrusive light. The lighting community should assume responsibility not to let this happen, by thinking about the concept and meaning of coloured light in context.

More on that in the concepts section …

So, LEDs are not the ’one size fits all’ solution, but they are stimulating designers to re-think lighting in a way that offers people new experiences. And that can only be a good thing!

White, blue and red LED projects

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

Carroponte Sesto San Giovanni Milan, Italy

Light effect: structural lighting to recall fusion and filtering of the steel Length: 220 m Luminaires: LEDline2, 120 cm, red, 2 x 27°, Philips Lighting design: Luigi Cucinotta Photography: Philips Lighting

Patra's lighthouse Patras, Achaea, Greece

Light effect: stone tower, grazing lighting and indoor lighting Height: 17 m Luminaires: LEDline2, 30 cm, blue, red, 2 x 3°, Philips Lighting design: ARC Innovations Photography: Nikos Psathogiannagis

Zaman newspaper head office Istanbul, Turkey

Light effect: main entrance and water feature, accent lighting Luminaires: LEDline2, 30 cm, blue; LEDline, 100 cm, white; LED String, blue Architectural and lighting design: Zambak Architectural Office Photography: Kaan Verdioglu

Altavila Center Class Nova Lima, Brazil

Retrospective

Light effect: concrete tower, grazing lighting Height: 80 m Luminaires: 32 x LEDline2, 120 cm, blue, 2 x 3°, Philips Lighting design: Adriano Genistreti, Sérgio Gama Photography: Vinicius Mattos Hardturm railway viaduct Zurich, Switzerland

Light effect: concrete pillars, grazing lighting Height: 8 to 12 m Luminaires: 2 x LEDline2, 120 cm, white, 2 x 3°, Philips Lighting design: D’Lite Lichtdesign Photography: Philips Lighting

Saint Sernin Roman church Toulouse, France

Light effect: bell tower windows, accent lighting Height: 3.60 m Luminaires: LEDline2, 60 cm, white, 2 x 27°, Philips Lighting design: Daragon Conseil SA Agence Concepto Contracting authority: Mairie de Toulouse Photography: Vincent Laganier

Who's afraid of ... LEDs? Over the past two decades, lighting design has seen a fusion of theatre lighting techniques, architectural aspects and lighting engineering, resulting in a clear move from quantitative ‘functional’ lighting to qualitative ‘emotional’ lighting. New technologies such as projections, displays, multimedia and LEDs are enabling lighting professionals to unite the physical, virtual and lighting domains.

Solid-State Lighting, or LEDs, offers unprecedented design freedom in terms of spectral composition, dynamics, visual communication and integration, both in space, architecture and building materials.

This retrospective shows examples of spectral compositions, ranging from mono-colour applications, via AWB (amber-white-blue) colour mixing (referencing natural light), to RGB (red-green-blue) colour mixing.

White LED applications are increasingly being explored, both indoors and outdoors, although they are still in the development phase in terms of colour characteristics and light output.

Colour consistency is a real challenge, but new developments like dynamic colour spots are on the way.

However, now that coloured light has become a commodity, accessible for all, it must be handled with care. Colours tend to have an iconic effect. A space or area can only cope with a limited number of icons. When overdone, icons become a nuisance and, in the extreme, a form of obtrusive light. The lighting community should assume responsibility not to let this happen, by thinking about the concept and meaning of coloured light in context.

More on that in the concepts section …

So, LEDs are not the ’one size fits all’ solution, but they are stimulating designers to re-think lighting in a way that offers people new experiences. And that can only be a good thing!

White, blue and red LED projects

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

Carroponte Sesto San Giovanni Milan, Italy

Light effect: structural lighting to recall fusion and filtering of the steel Length: 220 m Luminaires: LEDline2, 120 cm, red, 2 x 27°, Philips Lighting design: Luigi Cucinotta Photography: Philips Lighting

Patra's lighthouse Patras, Achaea, Greece

Light effect: stone tower, grazing lighting and indoor lighting Height: 17 m Luminaires: LEDline2, 30 cm, blue, red, 2 x 3°, Philips Lighting design: ARC Innovations Photography: Nikos Psathogiannagis

Zaman newspaper head office Istanbul, Turkey

Light effect: main entrance and water feature, accent lighting Luminaires: LEDline2, 30 cm, blue; LEDline, 100 cm, white; LED String, blue Architectural and lighting design: Zambak Architectural Office Photography: Kaan Verdioglu

Palatul Mogosoaia Bucharest, Romania

Light effect: stone wall, small columns, cornices and entrance arcade, grazing and accent lighting Luminaires: LEDline2, 120 cm, white and amber, Philips Lighting design: during Digital Light Tour workshop Photography: Adrian Iacomi, Red Lemon Photo

Senate Building Paris, France

Juliana van Stolberglaan in front of the Central Court building, The Hague, Netherlands

Light effect: columns, background and tympanum, grazing lighting Luminaires: LEDline2, 60 cm, amber, blue, Philips Lighting design: Lightec Ingénierie Contracting authority: Le Senat Photography: Philips Lighting

Light effect: pedestrian lighting (with bicycle lane) Luminaires: CityWing, height 4 m, amber and white, Philips Lighting design, photography: Philips Design

Amber, white and blue LED projects Town Hall Rotterdam, Netherlands

Tasjeel Sharjah Auto Village Sharjah, UAE

Light effect: dormers, roofs and first-floor central windows,grazing lighting Luminaires: LEDline2, 120 cm, white, LED module, PROflood, Philips Lighting design: Primo Exposures Contracting authority: Ontwikkelings Bedrijf Rotterdam Photography: Vincent Laganier

Light effect: bas-relief window shape, grazing lighting Luminaires: LEDline2, 120 cm, white, Philips Lighting design: Timir Mohanty Photography: Philips Lighting

Palatul Mogosoaia Bucharest, Romania

Light effect: stone wall, small columns, cornices and entrance arcade, grazing and accent lighting Luminaires: LEDline2, 120 cm, white and amber, Philips Lighting design: during Digital Light Tour workshop Photography: Adrian Iacomi, Red Lemon Photo

Senate Building Paris, France

Juliana van Stolberglaan in front of the Central Court building, The Hague, Netherlands

Light effect: columns, background and tympanum, grazing lighting Luminaires: LEDline2, 60 cm, amber, blue, Philips Lighting design: Lightec Ingénierie Contracting authority: Le Senat Photography: Philips Lighting

Light effect: pedestrian lighting (with bicycle lane) Luminaires: CityWing, height 4 m, amber and white, Philips Lighting design, photography: Philips Design

Amber, white and blue LED projects Town Hall Rotterdam, Netherlands

Tasjeel Sharjah Auto Village Sharjah, UAE

Light effect: dormers, roofs and first-floor central windows,grazing lighting Luminaires: LEDline2, 120 cm, white, LED module, PROflood, Philips Lighting design: Primo Exposures Contracting authority: Ontwikkelings Bedrijf Rotterdam Photography: Vincent Laganier

Light effect: bas-relief window shape, grazing lighting Luminaires: LEDline2, 120 cm, white, Philips Lighting design: Timir Mohanty Photography: Philips Lighting

Wuhan shopping mall Wuhan, China

Light effect: Statue of Liberty and Eiffel Tower, display lighting Luminaires: LEDline2, red, green, blue, Philips Architect: Wuhan Architectural Design Institute Lighting design: International Space Concept Design Co. Photography: Philips Lighting

HK Coliseum Symphony of Light Hong Kong, China

Light effect: concrete sloping wall, grazing lighting Luminaires: LED Strip II, 30 cm, 120 cm, red, green, blue, Philips Lighting design, photography: LiDAC Hong Kong

Dubai Creek elevation Dubai, UAE

Light effect: building façade, front and accent lighting Luminaires: LEDflood, LEDline2, red, green, blue, Philips Lighting design: Duilio Passariello Photography: Philips Lighting

Kubal aluminium plant Sundsvall, Sweden

Colour-mixing LED projects

Light effect: sound translated into colour at the top of the chimneys Luminaires: LEDline2, 30 cm, 120 cm, white and red, red and blue, green and blue, amber and red, Philips Light artist: Lisa W. Carlsson, Janne Björkman Lighting design: Anders Winell, Svante Pettersson Photography: Philips Lighting

Inner Ring Road Bridge Bangkok Samutprakarn, Thailand

Light effect: pylons, side and accent lighting Luminaires: LED Strip II, LED Dynaflood, red, green, blue, Philips Lighting design: Akekawith Bunnuchit Photography: Philips Lighting

Wuhan shopping mall Wuhan, China

Light effect: Statue of Liberty and Eiffel Tower, display lighting Luminaires: LEDline2, red, green, blue, Philips Architect: Wuhan Architectural Design Institute Lighting design: International Space Concept Design Co. Photography: Philips Lighting

HK Coliseum Symphony of Light Hong Kong, China

Light effect: concrete sloping wall, grazing lighting Luminaires: LED Strip II, 30 cm, 120 cm, red, green, blue, Philips Lighting design, photography: LiDAC Hong Kong

Dubai Creek elevation Dubai, UAE

Light effect: building façade, front and accent lighting Luminaires: LEDflood, LEDline2, red, green, blue, Philips Lighting design: Duilio Passariello Photography: Philips Lighting

Kubal aluminium plant Sundsvall, Sweden

Colour-mixing LED projects

Light effect: sound translated into colour at the top of the chimneys Luminaires: LEDline2, 30 cm, 120 cm, white and red, red and blue, green and blue, amber and red, Philips Light artist: Lisa W. Carlsson, Janne Björkman Lighting design: Anders Winell, Svante Pettersson Photography: Philips Lighting

Inner Ring Road Bridge Bangkok Samutprakarn, Thailand

Light effect: pylons, side and accent lighting Luminaires: LED Strip II, LED Dynaflood, red, green, blue, Philips Lighting design: Akekawith Bunnuchit Photography: Philips Lighting

Art Even if Dan Flavin himself called his first works “icons” in 1961, he rejected any suggestion of a spiritual meaning hidden in his work.

By using a formally simple industrial item that could be bought in four standard lengths and nine colours, he worked in the spirit of Minimalism, of which he was one of the founders. That is one of the aspects of the exhibition. It is based on the simplicity of the assemblages of white tubes as seen in the nominal three (1963), a spaced progression of one, two and three vertical tubes on a wall, or in monuments for V. Tatlin (1964-81), an exercise in rigorous yet extremely diverse seriality that references the oeuvre of the Russian Constructivist.

3 untitled (to Janie Lee) one 1971, blue 75 W fluorescent tube, pink, yellow and green 20 W fluorescent tubes behind, 244 cm wide across a corner Photograph: Billy Jim, Courtesy Dia Art Foundation, © ADAGP, Paris 2006 4 the diagonal of May 25, 1963 (to Constantin Brancusi) 1963, yellow 75 W fluorescent tube, 244 cm long Photograph: Billy Jim, Courtesy Dia Art Foundation, © ADAGP, Paris 2006 5 untitled (to the “innovator” of Wheeling Peachblow) 1966-1968, daylight-white 60 W fluorescent tubes, yellow and pink fluorescent tubes behind, 244 cm square across a corner Photograph: Billy Jim, Courtesy Dia Art Foundation, © ADAGP, Paris 2006

1

Dan Flavin – Fluorescent light as art Isabelle Arnaud

More than just light, it was the fluorescent tube in particular that Dan Flavin chose as Dan Flavin 1969, Ottowa, Canada Photograph: Courtesy Stephen Flavin

his true mode of expression. From art to architecture, Flavin singled out the fluorescent tube, in four different lengths and a few colours such as white (different hues), blue, green, pink, yellow and red.

3

After London, and immediately before Munich (Pinakotheke der Moderne, Munich, November 2006 to March 2007), Paris has hosted the exhibition ‘Dan Flavin, A retrospective’* in the Musée d’Art moderne de la Ville de Paris. The assemblages presented in Paris were carefully chosen by Béatrice Parent, curator of the exhibition. “Since we could not possibly show all his works due to lack of space, it was essential to choose the oeuvres that fitted in with the architecture of our museum.

That is the reason why this retrospective is different from the ones in London or in Munich. We tried to bear in mind the close relationship with architecture that Flavin called ‘situational art’; his installations were intimately dependent on the architectural context in which they were shown. Furthermore, we wanted the public to be stunned, and to create a real dialogue between the artist and the visitors.” * Organised by the Dia Art Foundation, New York, in association with the National Gallery of Art, Washington 1 the nominal three (to William of Ockham) 1963, cool-white 60 W fluorescent tube, 244 cm high Photograph: Billy Jim, Courtesy Dia Art Foundation, © ADAGP, Paris 2006 2 “monument” 1 for V. Tatlin 1964, cool-white 60 W fluorescent tube, 244 cm high Photograph: Billy Jim, Courtesy Dia Art Foundation, © ADAGP, Paris 2006

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Art Even if Dan Flavin himself called his first works “icons” in 1961, he rejected any suggestion of a spiritual meaning hidden in his work.

By using a formally simple industrial item that could be bought in four standard lengths and nine colours, he worked in the spirit of Minimalism, of which he was one of the founders. That is one of the aspects of the exhibition. It is based on the simplicity of the assemblages of white tubes as seen in the nominal three (1963), a spaced progression of one, two and three vertical tubes on a wall, or in monuments for V. Tatlin (1964-81), an exercise in rigorous yet extremely diverse seriality that references the oeuvre of the Russian Constructivist.

3 untitled (to Janie Lee) one 1971, blue 75 W fluorescent tube, pink, yellow and green 20 W fluorescent tubes behind, 244 cm wide across a corner Photograph: Billy Jim, Courtesy Dia Art Foundation, © ADAGP, Paris 2006 4 the diagonal of May 25, 1963 (to Constantin Brancusi) 1963, yellow 75 W fluorescent tube, 244 cm long Photograph: Billy Jim, Courtesy Dia Art Foundation, © ADAGP, Paris 2006 5 untitled (to the “innovator” of Wheeling Peachblow) 1966-1968, daylight-white 60 W fluorescent tubes, yellow and pink fluorescent tubes behind, 244 cm square across a corner Photograph: Billy Jim, Courtesy Dia Art Foundation, © ADAGP, Paris 2006

1

Dan Flavin – Fluorescent light as art Isabelle Arnaud

More than just light, it was the fluorescent tube in particular that Dan Flavin chose as Dan Flavin 1969, Ottowa, Canada Photograph: Courtesy Stephen Flavin

his true mode of expression. From art to architecture, Flavin singled out the fluorescent tube, in four different lengths and a few colours such as white (different hues), blue, green, pink, yellow and red.

3

After London, and immediately before Munich (Pinakotheke der Moderne, Munich, November 2006 to March 2007), Paris has hosted the exhibition ‘Dan Flavin, A retrospective’* in the Musée d’Art moderne de la Ville de Paris. The assemblages presented in Paris were carefully chosen by Béatrice Parent, curator of the exhibition. “Since we could not possibly show all his works due to lack of space, it was essential to choose the oeuvres that fitted in with the architecture of our museum.

That is the reason why this retrospective is different from the ones in London or in Munich. We tried to bear in mind the close relationship with architecture that Flavin called ‘situational art’; his installations were intimately dependent on the architectural context in which they were shown. Furthermore, we wanted the public to be stunned, and to create a real dialogue between the artist and the visitors.” * Organised by the Dia Art Foundation, New York, in association with the National Gallery of Art, Washington 1 the nominal three (to William of Ockham) 1963, cool-white 60 W fluorescent tube, 244 cm high Photograph: Billy Jim, Courtesy Dia Art Foundation, © ADAGP, Paris 2006 2 “monument” 1 for V. Tatlin 1964, cool-white 60 W fluorescent tube, 244 cm high Photograph: Billy Jim, Courtesy Dia Art Foundation, © ADAGP, Paris 2006

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1933: Daniel Flavin is born in New York on April 1.

1961: First solo show of constructions and watercolours at the Judson Gallery, New York. While working as a guard at the American Museum of Natural History, New York, Flavin starts to make sketches for sculptures incorporating electric lights. Later that year, he makes his first light sculptures: the “icons”.

1964: Solo exhibition showing sculpture of fluorescent tubes at the Kaymar Gallery, New York.

1966: Receives an award from the National Foundation of Arts and Humanities, Washington, DC. First European solo exhibition in Cologne.

1969: A retrospective of Flavin’s work ‘Fluorescent light, etc. from Dan Flavin’ in the National Gallery of Canada, Ottawa.

1973: ‘Corners, barriers and corridors in fluorescent light from Dan Flavin’ opens at the St Louis Art Museum, Missouri.

1975: ‘Dan Flavin: installations of fluorescent light 1972-1975’ at the Fort Worth Art Museum, Texas.

1984: ‘Monuments for V. Tatlin from Dan Flavin, 1964-1982’ at MoCA Temporary Contemporary, Los Angeles. Flavin is hospitalised due to complications connected with diabetes.

Several exhibitions have been held in Europe and the United States since then.

1996: Flavin dies in November.

1 1 untitled (to you, Heiner, with admiration and affection) 1973, green 40 W fluorescent modules, 122 cm wide, total length variable Photograph: Florian Holzherr, Courtesy Dia Art Foundation, © ADAGP, Paris 2006 2 untitled (to Emily) 1973, daylight- and warm-white 60 W fluorescent tubes untitled (to Jan and Ron Greenberg) 1972-73, yellow and green 75 W fluorescent tubes, Musée d’Art moderne de la Ville de Paris Photograph: Marc Domage, Courtesy Dia Art Foundation, © ADAGP, Paris, 2006

Several installations were completed after the death of the artist, including Chiesa di Santa Maria Annunciata in Chiesa Rossa, Milan, in 1997. As Michael Govan, Director of LACMA (Los Angeles County Museum of Art) remarks: “Without intimate experience of the details of the building’s interior, Flavin stuck to the basic archetypal outlines of the church’s nave, transept and apse”. This makes us recognise the enchantment, if not the spiritual, and the magic of light and colour.

3 untitled (in honor of Harold Joachim) 3 1977, pink, yellow, blue and green fluorescent tubes, across a corner, 244 cm on each side Photograph: Billy Jim, Courtesy Dia Art Foundation, © ADAGP, Paris 2006

Other more dynamic works, like gold, pink and red, red (1964) (displayed on the floor) or a primary picture (displayed on the wall) show bright colours blended together in complex assemblages.

Even more striking is the last exhibit before you leave the exhibition: the fence of square, green tubular modules of untitled (to you Heiner, with admiration and affection) (1973) catches our attention with its sheer size, saturating the space with colour and interacting with natural light.

Far less well known are the artist’s permanent installations, which show the constant link he created between light and architecture. Starting with the illumination of the Guggenheim Museum in New York in 1971 for the Sixth Guggenheim International exhibition, which focused on the works of minimalist artists, Flavin (as the first lighting designer?) shows how light can be used as a material. “I like my use of light to be openly situational in the sense that there is no invitation to meditate, to contemplate. One might not think of light as a matter of fact, but I do.

And it is, as I said, as plain and open and direct an art as you will ever find.”

Combining his view of light as an art and ‘a matter of fact’, in 1983 he completed the installation of lights at 155 Mercer Street. This building had initially been purchased by the Dia Art Foundation as a centre for dance performances, but eventually it became a mosque. Flavin’s installation respected the various functions of the building nevertheless.

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3

1933: Daniel Flavin is born in New York on April 1.

1961: First solo show of constructions and watercolours at the Judson Gallery, New York. While working as a guard at the American Museum of Natural History, New York, Flavin starts to make sketches for sculptures incorporating electric lights. Later that year, he makes his first light sculptures: the “icons”.

1964: Solo exhibition showing sculpture of fluorescent tubes at the Kaymar Gallery, New York.

1966: Receives an award from the National Foundation of Arts and Humanities, Washington, DC. First European solo exhibition in Cologne.

1969: A retrospective of Flavin’s work ‘Fluorescent light, etc. from Dan Flavin’ in the National Gallery of Canada, Ottawa.

1973: ‘Corners, barriers and corridors in fluorescent light from Dan Flavin’ opens at the St Louis Art Museum, Missouri.

1975: ‘Dan Flavin: installations of fluorescent light 1972-1975’ at the Fort Worth Art Museum, Texas.

1984: ‘Monuments for V. Tatlin from Dan Flavin, 1964-1982’ at MoCA Temporary Contemporary, Los Angeles. Flavin is hospitalised due to complications connected with diabetes.

Several exhibitions have been held in Europe and the United States since then.

1996: Flavin dies in November.

1 1 untitled (to you, Heiner, with admiration and affection) 1973, green 40 W fluorescent modules, 122 cm wide, total length variable Photograph: Florian Holzherr, Courtesy Dia Art Foundation, © ADAGP, Paris 2006 2 untitled (to Emily) 1973, daylight- and warm-white 60 W fluorescent tubes untitled (to Jan and Ron Greenberg) 1972-73, yellow and green 75 W fluorescent tubes, Musée d’Art moderne de la Ville de Paris Photograph: Marc Domage, Courtesy Dia Art Foundation, © ADAGP, Paris, 2006

Several installations were completed after the death of the artist, including Chiesa di Santa Maria Annunciata in Chiesa Rossa, Milan, in 1997. As Michael Govan, Director of LACMA (Los Angeles County Museum of Art) remarks: “Without intimate experience of the details of the building’s interior, Flavin stuck to the basic archetypal outlines of the church’s nave, transept and apse”. This makes us recognise the enchantment, if not the spiritual, and the magic of light and colour.

3 untitled (in honor of Harold Joachim) 3 1977, pink, yellow, blue and green fluorescent tubes, across a corner, 244 cm on each side Photograph: Billy Jim, Courtesy Dia Art Foundation, © ADAGP, Paris 2006

Other more dynamic works, like gold, pink and red, red (1964) (displayed on the floor) or a primary picture (displayed on the wall) show bright colours blended together in complex assemblages.

Even more striking is the last exhibit before you leave the exhibition: the fence of square, green tubular modules of untitled (to you Heiner, with admiration and affection) (1973) catches our attention with its sheer size, saturating the space with colour and interacting with natural light.

Far less well known are the artist’s permanent installations, which show the constant link he created between light and architecture. Starting with the illumination of the Guggenheim Museum in New York in 1971 for the Sixth Guggenheim International exhibition, which focused on the works of minimalist artists, Flavin (as the first lighting designer?) shows how light can be used as a material. “I like my use of light to be openly situational in the sense that there is no invitation to meditate, to contemplate. One might not think of light as a matter of fact, but I do.

And it is, as I said, as plain and open and direct an art as you will ever find.”

Combining his view of light as an art and ‘a matter of fact’, in 1983 he completed the installation of lights at 155 Mercer Street. This building had initially been purchased by the Dia Art Foundation as a centre for dance performances, but eventually it became a mosque. Flavin’s installation respected the various functions of the building nevertheless.

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Architecture

New Jiangwan Cultural Centre Shanghai, China

New Jiangwan City represents an attempt to realize a new ‘ecological’ urban concept that combines architecture and art with the natural environment. This is exemplified by the city’s Cultural Centre.

Situated in the north-eastern part of Shanghai and covering a total area of 9.45 square kilometres, New Jiangwan City gives expression to the architectural design philosophy – “imaginative places challenge the mind and elevate the soul”.

With its natural, flowing lines and organic spatial distribution, the architecture of the Cultural Centre gives the impression of having been born from nature – a landmark structure carefully and completely integrated into its environment.

The timeless lighting design reinforces the sense of a return to nature.

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Architecture

New Jiangwan Cultural Centre Shanghai, China

New Jiangwan City represents an attempt to realize a new ‘ecological’ urban concept that combines architecture and art with the natural environment. This is exemplified by the city’s Cultural Centre.

Situated in the north-eastern part of Shanghai and covering a total area of 9.45 square kilometres, New Jiangwan City gives expression to the architectural design philosophy – “imaginative places challenge the mind and elevate the soul”.

With its natural, flowing lines and organic spatial distribution, the architecture of the Cultural Centre gives the impression of having been born from nature – a landmark structure carefully and completely integrated into its environment.

The timeless lighting design reinforces the sense of a return to nature.

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The Centre’s façade incorporates a lot of natural materials such as wood and glass, each piece of which forms a ‘cell’. All the other materials display a similar pattern, one that symbolises trees in growth, and by extension life itself.

In the interior, the symbolism is subtly altered and different elements of ‘trees’ can be detected: trunks, branches, leaves.

Design – and specifically lighting design, with its balancing of critical technical lighting requirements and artistic creativity – is one of the key factors that define how we experience space. This is certainly the case in the New Jiangwan City Cultural Centre. During the daytime, natural light plays a prominent role, interacting with the interior elements and materials to create an interplay of light and shade. When night falls, artificial light brings out the magical qualities of the architectural concept.

At the main entrance, the aim was to create star effects. The average height of the entrance is about 6 metres. Recessed halogen downlights were installed on the ceiling to produce an average illuminance of 150-200 lux.

MASTER Line 50 W halogen lamps with a lifetime of 4,000 hours were selected on account of their dimming capability, compact size, high colour rendering index, warm ambience and cost efficiency. These fixtures provided the required sense of radiance, the impression of a shining star.

In the area in front of the elevators, the ceiling has been carefully designed to look as if it is falling down. While light from MiniDecoflood luminaires passes through the apertures, shadows play on the walls. This creates the sense one has when walking through a forest with sunlight shining through the branches and leaves.

2

As well as giving expression to the natural elements suggested by the architectural design – pure light, trees, nests, the forest – the lighting design also sought to highlight the texture of the different materials used.

1

3

In the archives room, Celino luminaires with T5 35 W lamps 1.5 m in length extend from the column, creating the impression of a tree composed of light. Special MLO micro-lens optics were chosen to conceal the lamp from direct view and to create a space of pure light.

The same optics were selected for the Savio luminaires in the meeting room and offices.

‘Tree branches’ adorn the ceiling of the cinema.

Dimmable PAR lights are used for the general lighting of this section of the building. Because of the specific materials used, the acoustics of this space had to be specially designed.

1 Cinema: ‘tree branches’ adorn the ceiling 2 Façades symbolising trees in growth

The key design focus is on the atrium, where the visual impact underlines the whole concept of the project. The central area features suspended ‘leaves’ illuminated with LEDs which slowly change colour, while the background consists of a huge LED video wall, which continuously displays images of falling leaves and the changing colours of the seasons. A powerful visual impression is created, suggesting to the visitor the world of nature that is so easily lost in the bustle of city life. ■

Contracting authority: Shanghai Urban Construction Investment & Development Company Architect(s): Xiaoguang Liu, RTKL Co. Ltd; Qizhong Shen, Jian’ersi Decoration Co. Ltd, Shanghai, China Landscape architect: Xiaoguang Liu, Yan Ma, RTKL Co. Ltd; Shanghai Urban Construction Investment & Development Company, Shanghai, China Lighting design: Diana Lu, Philips China; JianHong Hu, Shanghai Urban Construction Investment & Development Company; ZhiHao Chen, Shanghai Jiayuan Mechanical & Equipment Co.; Pengfei Li, FuDan University Artist: Yugang Ou, Hoasi Co. Ltd, Hong Kong, China Electrical installer: Jian’ersi Decoration Co. Ltd Philips support: Jianggang Gu, Lighting, China Luminaires: Celino, LED Batten, TBS168, MBS145, FBH145, QBS105, Scrabble, MiniDecoflood, MBN200, Philips; Light rope, Neo-neon; IP54 downlight, Elute; spot KSL-120, KOOP; curved track spot HM-936-PT-C, WAC Light sources: MASTER Line, CDM, Aluline PRO 111, TL5, Philips Photographer: Fang Jia, Interior design + construction magazine Text: Diana Lu, Yan Ma, Jianhong Hu

3 Archives room: luminaires extending from the column create the impression of a tree

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The Centre’s façade incorporates a lot of natural materials such as wood and glass, each piece of which forms a ‘cell’. All the other materials display a similar pattern, one that symbolises trees in growth, and by extension life itself.

In the interior, the symbolism is subtly altered and different elements of ‘trees’ can be detected: trunks, branches, leaves.

Design – and specifically lighting design, with its balancing of critical technical lighting requirements and artistic creativity – is one of the key factors that define how we experience space. This is certainly the case in the New Jiangwan City Cultural Centre. During the daytime, natural light plays a prominent role, interacting with the interior elements and materials to create an interplay of light and shade. When night falls, artificial light brings out the magical qualities of the architectural concept.

At the main entrance, the aim was to create star effects. The average height of the entrance is about 6 metres. Recessed halogen downlights were installed on the ceiling to produce an average illuminance of 150-200 lux.

MASTER Line 50 W halogen lamps with a lifetime of 4,000 hours were selected on account of their dimming capability, compact size, high colour rendering index, warm ambience and cost efficiency. These fixtures provided the required sense of radiance, the impression of a shining star.

In the area in front of the elevators, the ceiling has been carefully designed to look as if it is falling down. While light from MiniDecoflood luminaires passes through the apertures, shadows play on the walls. This creates the sense one has when walking through a forest with sunlight shining through the branches and leaves.

2

As well as giving expression to the natural elements suggested by the architectural design – pure light, trees, nests, the forest – the lighting design also sought to highlight the texture of the different materials used.

1

3

In the archives room, Celino luminaires with T5 35 W lamps 1.5 m in length extend from the column, creating the impression of a tree composed of light. Special MLO micro-lens optics were chosen to conceal the lamp from direct view and to create a space of pure light.

The same optics were selected for the Savio luminaires in the meeting room and offices.

‘Tree branches’ adorn the ceiling of the cinema.

Dimmable PAR lights are used for the general lighting of this section of the building. Because of the specific materials used, the acoustics of this space had to be specially designed.

1 Cinema: ‘tree branches’ adorn the ceiling 2 Façades symbolising trees in growth

The key design focus is on the atrium, where the visual impact underlines the whole concept of the project. The central area features suspended ‘leaves’ illuminated with LEDs which slowly change colour, while the background consists of a huge LED video wall, which continuously displays images of falling leaves and the changing colours of the seasons. A powerful visual impression is created, suggesting to the visitor the world of nature that is so easily lost in the bustle of city life. ■

Contracting authority: Shanghai Urban Construction Investment & Development Company Architect(s): Xiaoguang Liu, RTKL Co. Ltd; Qizhong Shen, Jian’ersi Decoration Co. Ltd, Shanghai, China Landscape architect: Xiaoguang Liu, Yan Ma, RTKL Co. Ltd; Shanghai Urban Construction Investment & Development Company, Shanghai, China Lighting design: Diana Lu, Philips China; JianHong Hu, Shanghai Urban Construction Investment & Development Company; ZhiHao Chen, Shanghai Jiayuan Mechanical & Equipment Co.; Pengfei Li, FuDan University Artist: Yugang Ou, Hoasi Co. Ltd, Hong Kong, China Electrical installer: Jian’ersi Decoration Co. Ltd Philips support: Jianggang Gu, Lighting, China Luminaires: Celino, LED Batten, TBS168, MBS145, FBH145, QBS105, Scrabble, MiniDecoflood, MBN200, Philips; Light rope, Neo-neon; IP54 downlight, Elute; spot KSL-120, KOOP; curved track spot HM-936-PT-C, WAC Light sources: MASTER Line, CDM, Aluline PRO 111, TL5, Philips Photographer: Fang Jia, Interior design + construction magazine Text: Diana Lu, Yan Ma, Jianhong Hu

3 Archives room: luminaires extending from the column create the impression of a tree

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Commissioned in 1958, Chhatrapati Shivaji International Airport is the busiest airport in India, with some 45 airlines operating around 300 flights a day. Currently, 12 million passengers and 150,000 tons of international cargo are handled each year. The airport comprises two locations, 4 km apart: the domestic airport (Terminal I) at Santa Cruz and the international airport (Terminal II) at Sahar.

The architecture of the main concourse was inspired by the open wing of a bird and varies from 7-12 m in height. The lighting has been designed to complement the architectural beauty of the structure, enhancing the impression of space and volume.

In order to achieve a well-balanced distribution of light across the 210 m x 20 m floor, the lighting design had to address the height variation. Freestanding columns were designed to house Mini 300 Cube luminaires with asymmetric optics and 150 W ceramic discharge metal-halide (CDM) lamps, forming the primary lighting system.

Mini 300 Cube luminaires offer a high 85% light output ratio and good distribution, minimising the number of columns required. Aesthetically, they also complement the architectural design of the building. CDM lamps were chosen because of their energy efficiency and excellent colourrendering properties (Ra 96).

At selected points, indirect lighting from ceiling coves and wall-recessed luminaires adds to the horizontal illuminance on the floor.

Chhatrapati Shivaji Airport Mumbai, India

With investment in infrastructure a high priority for the Indian government, it was decided to upgrade Terminal 1B to accommodate the growing volume of domestic air travel. Artificial lighting was conceived as an integral architectural element, creating an elegant and dynamic night-time presence and ensuring safety and security.

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The combination of five Mini 300 luminaires per column (four direct, plus one with a symmetric optic on top of the column) delivers 350 lux on the floor of the Departures lobby, while the check-in counters are designed for 400 lux.

Mounted in the canopy above the check-in counters, Space downlights further emphasize the unique overhead design.

Towards the glass façade, Odyssey luminaires are recess-mounted in the wall at a very low level as floor washers.

Terminal 1-B is now an experience in itself.

The sparkling lighting has created a stylish, inviting environment, in which passengers feel comfortable. For the airport authorities, this installation is a benchmark for other upcoming modernisation projects. ■

Contracting authority: Airport Authority of India Architect: Jayant Joshi, D.V. Joshi & Co, Mumbai, India; Hafeez Contractor, Mumbai, India Lighting design: Nehal Shah, LiDAC Philips India, Mumbai, India Electrical installer: Unity InfraProjects Limited Philips support: Girish Chaubey, Lighting, India Luminaires: Mini 300, Tempo-3, Space, Odyssey, Philips Light sources: CDM, HPIT, PL-C, Philips Photographer: Vinesh Gandhi Text: Sudeshna Mukhopadhyay

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Commissioned in 1958, Chhatrapati Shivaji International Airport is the busiest airport in India, with some 45 airlines operating around 300 flights a day. Currently, 12 million passengers and 150,000 tons of international cargo are handled each year. The airport comprises two locations, 4 km apart: the domestic airport (Terminal I) at Santa Cruz and the international airport (Terminal II) at Sahar.

The architecture of the main concourse was inspired by the open wing of a bird and varies from 7-12 m in height. The lighting has been designed to complement the architectural beauty of the structure, enhancing the impression of space and volume.

In order to achieve a well-balanced distribution of light across the 210 m x 20 m floor, the lighting design had to address the height variation. Freestanding columns were designed to house Mini 300 Cube luminaires with asymmetric optics and 150 W ceramic discharge metal-halide (CDM) lamps, forming the primary lighting system.

Mini 300 Cube luminaires offer a high 85% light output ratio and good distribution, minimising the number of columns required. Aesthetically, they also complement the architectural design of the building. CDM lamps were chosen because of their energy efficiency and excellent colourrendering properties (Ra 96).

At selected points, indirect lighting from ceiling coves and wall-recessed luminaires adds to the horizontal illuminance on the floor.

Chhatrapati Shivaji Airport Mumbai, India

With investment in infrastructure a high priority for the Indian government, it was decided to upgrade Terminal 1B to accommodate the growing volume of domestic air travel. Artificial lighting was conceived as an integral architectural element, creating an elegant and dynamic night-time presence and ensuring safety and security.

18

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The combination of five Mini 300 luminaires per column (four direct, plus one with a symmetric optic on top of the column) delivers 350 lux on the floor of the Departures lobby, while the check-in counters are designed for 400 lux.

Mounted in the canopy above the check-in counters, Space downlights further emphasize the unique overhead design.

Towards the glass façade, Odyssey luminaires are recess-mounted in the wall at a very low level as floor washers.

Terminal 1-B is now an experience in itself.

The sparkling lighting has created a stylish, inviting environment, in which passengers feel comfortable. For the airport authorities, this installation is a benchmark for other upcoming modernisation projects. ■

Contracting authority: Airport Authority of India Architect: Jayant Joshi, D.V. Joshi & Co, Mumbai, India; Hafeez Contractor, Mumbai, India Lighting design: Nehal Shah, LiDAC Philips India, Mumbai, India Electrical installer: Unity InfraProjects Limited Philips support: Girish Chaubey, Lighting, India Luminaires: Mini 300, Tempo-3, Space, Odyssey, Philips Light sources: CDM, HPIT, PL-C, Philips Photographer: Vinesh Gandhi Text: Sudeshna Mukhopadhyay

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Manchester City Council’s long-term commitment to early years and adult education is all about giving children the best possible start and making lifelong learning readily available to those of all ages who live and work in the area.

Nowhere is this more evident than at Green End Primary School.

The Council was committed to creating a stimulating learning environment. This meant addressing every aspect of the building, including the lighting. The Council was keen to adopt the latest advances in lighting technology while at the same time promoting sustainability.

Green End Primary has successfully combined these criteria, becoming Manchester’s first school to be built with sustainable resources.

Accommodating 420 pupils and 60 nursery children, the main two-storey teaching and administration blocks have been designed around a central atrium, allowing daylight to flood in and energy savings to be harnessed.

To supplement this natural lighting, Rotaris luminaires have been installed throughout this area.

2

1

In the classrooms, the concept of Dynamic Lighting has been applied, with surfacemounted Carpe Diem luminaires and Dynamic Ambience controls. Green End is the first school in England to benefit from this new technology.

Dynamic Lighting takes its lead from nature.

The rhythm of the day and night, together with the seasons, creates ever-changing light patterns.

With Dynamic Lighting, the variable character of light – with its seamless changes in brightness and warmth – can be brought indoors. Dynamic Lighting can be applied in the school environment through lighting scenarios that change the light automatically during the course of the day. Thus, the Dynamic Ambience controls system has been programmed to adapt the lighting level and colour temperature of the Carpe Diem luminaires, changing the very nature of the ambient lighting within the classrooms. The use of energy-efficient TL5 fluorescent lamps ensures that while the colour temperature varies, the overall colour rendering remains above 80 for all colours set.

These dynamic scenarios can improve pupils’ sense of well-being and thus help them to concentrate better and learn more easily. ■

Contracting authority: Manchester City Council Architect: Mark Dean, Robinsons Architects, Shipley, West Yorkshire, UK Property developer: Wilmott Dixon, UK Lighting design: Barry Laws, LiDAC Philips, UK Electrical installer: EMCOR Philips support: Tim Higgs, UK Luminaires: Rotaris, Carpe Diem, X-tend, Philips Light sources: TL5, Philips Lighting controls: LightMaster Modular, Philips Photographer: Keith Miller, Millers Photography Text: Barbara Neate Web: www.wilmottdixon.com; www.manchester.gov.uk

1-2 Dynamic lighting scenarios can improve pupils’ sense of well-being and thus help them to concentrate better and learn more easily 3

The artificial lighting supplements daylight in the main hall

3

Green End Primary School Burnage, United Kingdom

Green End Primary School is located in Burnage, five miles south-east of Manchester. The lighting design had to embrace the school’s desire to create a facility using sustainable resources and to provide an inspiring environment for children to develop and learn in.

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Manchester City Council’s long-term commitment to early years and adult education is all about giving children the best possible start and making lifelong learning readily available to those of all ages who live and work in the area.

Nowhere is this more evident than at Green End Primary School.

The Council was committed to creating a stimulating learning environment. This meant addressing every aspect of the building, including the lighting. The Council was keen to adopt the latest advances in lighting technology while at the same time promoting sustainability.

Green End Primary has successfully combined these criteria, becoming Manchester’s first school to be built with sustainable resources.

Accommodating 420 pupils and 60 nursery children, the main two-storey teaching and administration blocks have been designed around a central atrium, allowing daylight to flood in and energy savings to be harnessed.

To supplement this natural lighting, Rotaris luminaires have been installed throughout this area.

2

1

In the classrooms, the concept of Dynamic Lighting has been applied, with surfacemounted Carpe Diem luminaires and Dynamic Ambience controls. Green End is the first school in England to benefit from this new technology.

Dynamic Lighting takes its lead from nature.

The rhythm of the day and night, together with the seasons, creates ever-changing light patterns.

With Dynamic Lighting, the variable character of light – with its seamless changes in brightness and warmth – can be brought indoors. Dynamic Lighting can be applied in the school environment through lighting scenarios that change the light automatically during the course of the day. Thus, the Dynamic Ambience controls system has been programmed to adapt the lighting level and colour temperature of the Carpe Diem luminaires, changing the very nature of the ambient lighting within the classrooms. The use of energy-efficient TL5 fluorescent lamps ensures that while the colour temperature varies, the overall colour rendering remains above 80 for all colours set.

These dynamic scenarios can improve pupils’ sense of well-being and thus help them to concentrate better and learn more easily. ■

Contracting authority: Manchester City Council Architect: Mark Dean, Robinsons Architects, Shipley, West Yorkshire, UK Property developer: Wilmott Dixon, UK Lighting design: Barry Laws, LiDAC Philips, UK Electrical installer: EMCOR Philips support: Tim Higgs, UK Luminaires: Rotaris, Carpe Diem, X-tend, Philips Light sources: TL5, Philips Lighting controls: LightMaster Modular, Philips Photographer: Keith Miller, Millers Photography Text: Barbara Neate Web: www.wilmottdixon.com; www.manchester.gov.uk

1-2 Dynamic lighting scenarios can improve pupils’ sense of well-being and thus help them to concentrate better and learn more easily 3

The artificial lighting supplements daylight in the main hall

3

Green End Primary School Burnage, United Kingdom

Green End Primary School is located in Burnage, five miles south-east of Manchester. The lighting design had to embrace the school’s desire to create a facility using sustainable resources and to provide an inspiring environment for children to develop and learn in.

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Asklepios Klinik Barmbek Hamburg-Barmbek, Germany

The new clinic building, which was opened in December 2005, has been specially designed to make patients feel comfortable and to make it easier for doctors and nurses to carry out their work, enabling them to provide better treatment. Light plays an important part in this design.

1

2

The architecture of the six-storey Asklepios Klinik is unlike that of a traditional hospital.

Stepping into the entrance hall, with its red upholstered chairs and flat-screen TVs recessed into the wall, you feel more like you are in a well-lit hotel lobby. The layout of the clinic promotes cooperation across departmental boundaries. A central diagnostic and treatment section is surrounded by a u-shaped section with 676 patient beds and seven glass-covered courtyards. This minimises the distances inside the clinic.

1 In the corridors, glare is avoided for patients being moved on trolleys 2 The entrance hall has a comfortable, calm atmosphere, making the hospital more welcoming 3 Mediva bed-head unit

Just how diverse the lighting requirements in a clinic can be is illustrated by the enormous differences in the brightness required in each case – as little as 5 lux for night lighting in maternity wards, and as much as 1,000 lux in treatment rooms and neonatology wards.

Security and efficiency also had to be taken into account in the lighting design, as did the fact that light has a marked effect on people’s sense of well-being. Where could this aspect be more important than in a hospital, where people come to get better?

A total of 6,300 luminaires have been installed to suit a wide range of different applications.

All the one- and two-bed wards in the clinic have been equipped with Mediva bed-head units.

The lighting solutions integrated in these units help to create a ‘private space’, offering patients visual comfort, e.g. for reading, and an important sense of control over their immediate environment.

Brightly lit nursing stations promote effective communication. In the other working areas, the lighting can be adjusted to suit the task in hand and according to personal preference. The fact that staff can adjust the light to suit their own requirements leads to greater job satisfaction and better performance.

In the corridors, it was important to avoid glare for patients being moved on trolleys: recessmounted Indolight luminaires with opal covers and high-gloss optics were chosen. The stairwells are lit by functional Isolux WDL wallmounted luminaires. Decorative Sekolux wallmounted luminaires provide additional light above visitors’ tables in the patient rooms.

A Maxos trunking system with a total length of 570 m delivers the requisite high-quality lighting in the clinic’s large records office.

Contracting authority: LBK/Asklepios-Kliniken Architects: APB, Wilkens, Grossmann-Hensel, Schneider, Hamburg, Germany Lighting design: HL-Technik, Hamburg, Germany Electrical installer: Arge Strabag/Imtech (Sub: SSM-Brockmeyer-Gruppe) Philips support: Reinhold Gerhardt, Hans-Joachim Zöllner, Sonja Küttler, Matthias Fassian, Lighting Germany Luminaires: TBS331, Maxos, TCW216, WDL318, Domina 118, Sekolux, Philips Light sources: TL-D, PL-L, Philips Photographer: Horst-Dieter Zinn Text: Guido Diesing, Heike Höding Web: www.asklepios.com

In the Asklepios Klinik, excellent lighting conditions help doctors and nurses to concentrate on their principal task – aiding the sick and injured. ■

3

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Asklepios Klinik Barmbek Hamburg-Barmbek, Germany

The new clinic building, which was opened in December 2005, has been specially designed to make patients feel comfortable and to make it easier for doctors and nurses to carry out their work, enabling them to provide better treatment. Light plays an important part in this design.

1

2

The architecture of the six-storey Asklepios Klinik is unlike that of a traditional hospital.

Stepping into the entrance hall, with its red upholstered chairs and flat-screen TVs recessed into the wall, you feel more like you are in a well-lit hotel lobby. The layout of the clinic promotes cooperation across departmental boundaries. A central diagnostic and treatment section is surrounded by a u-shaped section with 676 patient beds and seven glass-covered courtyards. This minimises the distances inside the clinic.

1 In the corridors, glare is avoided for patients being moved on trolleys 2 The entrance hall has a comfortable, calm atmosphere, making the hospital more welcoming 3 Mediva bed-head unit

Just how diverse the lighting requirements in a clinic can be is illustrated by the enormous differences in the brightness required in each case – as little as 5 lux for night lighting in maternity wards, and as much as 1,000 lux in treatment rooms and neonatology wards.

Security and efficiency also had to be taken into account in the lighting design, as did the fact that light has a marked effect on people’s sense of well-being. Where could this aspect be more important than in a hospital, where people come to get better?

A total of 6,300 luminaires have been installed to suit a wide range of different applications.

All the one- and two-bed wards in the clinic have been equipped with Mediva bed-head units.

The lighting solutions integrated in these units help to create a ‘private space’, offering patients visual comfort, e.g. for reading, and an important sense of control over their immediate environment.

Brightly lit nursing stations promote effective communication. In the other working areas, the lighting can be adjusted to suit the task in hand and according to personal preference. The fact that staff can adjust the light to suit their own requirements leads to greater job satisfaction and better performance.

In the corridors, it was important to avoid glare for patients being moved on trolleys: recessmounted Indolight luminaires with opal covers and high-gloss optics were chosen. The stairwells are lit by functional Isolux WDL wallmounted luminaires. Decorative Sekolux wallmounted luminaires provide additional light above visitors’ tables in the patient rooms.

A Maxos trunking system with a total length of 570 m delivers the requisite high-quality lighting in the clinic’s large records office.

Contracting authority: LBK/Asklepios-Kliniken Architects: APB, Wilkens, Grossmann-Hensel, Schneider, Hamburg, Germany Lighting design: HL-Technik, Hamburg, Germany Electrical installer: Arge Strabag/Imtech (Sub: SSM-Brockmeyer-Gruppe) Philips support: Reinhold Gerhardt, Hans-Joachim Zöllner, Sonja Küttler, Matthias Fassian, Lighting Germany Luminaires: TBS331, Maxos, TCW216, WDL318, Domina 118, Sekolux, Philips Light sources: TL-D, PL-L, Philips Photographer: Horst-Dieter Zinn Text: Guido Diesing, Heike Höding Web: www.asklepios.com

In the Asklepios Klinik, excellent lighting conditions help doctors and nurses to concentrate on their principal task – aiding the sick and injured. ■

3

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HSBC Tower Mexico City, Mexico

HSBC – “the world’s local bank” – opened its new head office in front of the grandiose Independence Column in April 2006. Thanks in part to its advanced lighting, this intelligent, environmentally friendly office building is set to be the first to obtain the LEED certification issued by the U.S. Green Building Council.

12 parking levels, 23 office levels, and 2,800 workstations. It also has a 150-seater auditorium, banking facilities, indoor gardens, a cafeteria, gym, an executive dining room, meeting rooms, and a 660 m2 IT facility.

The HSBC Tower is located in the heart of Mexico City’s financial and hotel district. In order to engage with its surroundings, the building’s architectural style is contemporary classical; the elegant design is, to an extent, a function of its impressive height – 136 metres.

The main façade is in the form of a sophisticated aluminium curve, which serves as a backdrop to the Independence Monument.

As part of the interior design and a key driver of energy efficiency, the lighting required integration of the most advanced lighting and control systems in order to obtain the credits needed for LEED (Leadership in Energy and Environmental Design) certification in the

The sober, modern look continues inside the building, which has 40,000 m2 of usable space,

1 Lighting levels comply with the Mexican Standard NOM 007 for energy efficiency, and with the international IESNA recommendations; the electrical load density of this project is 10.42 W/m2 2 Main entrance hall 3 The Winter Garden has a welcoming atmosphere thanks to downlights providing high-contrast general lighting

3

categories Sustainable Sites, Energy and Atmosphere, and Indoor Environment Quality.

The general lighting in the main entrance hall is provided by embedded downlights with compact high-intensity discharge lamps, whose high colour rendering creates a subtle lighting ambience.

The 3.15 x 21.30 m mural ‘Credit transforms Mexico’ – painted by the famous Mexican artist Juan O’Gorman in 1964 – is lit in accordance with museum gallery specifications based on incandescent 250 W Flood lamps in wall-washer luminaires. To preserve the fresco, it may only be lit for 8 hours per day.

The photometric curve of the luminaires mounted at the top of the columns was selected so as to ensure that its centre does not extend beyond the building: this is a requirement for obtaining LEED credit 8 (Light Pollution Reduction).

The elevator lobby is lit by asymmetrical T8 fluorescent luminaires in housings at the side and T5 fluorescent light from a light box in the floor.

1

24

ilr 2006 / Architecture

2

The standard office floors are open-plan, with most of the workstations having natural light.

Some 3,000 luminaires with specially designed M51 optics and T8 4100 K lamps provide a comfortable, uniform level of lighting. Taking advantage of the natural light, these luminaires include electronic ballasts which allow the light to be dimmed and directed. This system enables a 54% saving on energy consumption, since the lighting level of each luminaire can be controlled individually. It responds to signals from daylight sensors, presence sensors and infrared controls, regulating the light automatically to an average of 450 lux in the working areas.

The colour in the cafeteria is enriched by a very simple lighting design based on downlights with 32 W compact fluorescent lamps.

Situated in penthouse 1, the Winter Garden is a double-height space with a spectacular view of the city. It includes two meeting rooms, a bar and executive relaxation areas. A small number of light sources, including LEDs, provide a welcoming, comfortable atmosphere.

All the luminaires in the building are connected to intelligent lighting panels located on each floor, which in turn are controlled by a central processor. This makes it possible to programme, operate and monitor the building’s entire lighting system. ■

Contracting authority: GIA+A Architects: Juan Carlos Jimenez, Hok Mexico, Mexico City, Mexico; Enrica Rosellini, Estudio Rosellini, Buenos Aires, Argentina Lighting consultancy: Maria A. Escobedo, Unicorp Lighting + Design, Mexico City, Mexico; Sabino Escobedo, Ivan Felipe Ortega,LiDAC, Mexico City, Mexico Electrical installer: GIA+A Philips support: Jorge Avila, Lighting Mexico Luminaires: Silueta, Philips; Downlight, Lightolier; Regleta, Elmsa; Downlight, Juno; Led Neon, Brilliant Light sources: TL5, TL-D, PL-T, CDM-TC, Philips Lighting controls: EcoSystem, Grafik 7000 XP, Lutron Photographer: Juan Jose Diaz Infante Text: Maria A. Escobedo Web: www.hok.com.mx; www.rosellini.com.ar; www.unicorplighting.com.mx; www.giaa.com.mx

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25

HSBC Tower Mexico City, Mexico

HSBC – “the world’s local bank” – opened its new head office in front of the grandiose Independence Column in April 2006. Thanks in part to its advanced lighting, this intelligent, environmentally friendly office building is set to be the first to obtain the LEED certification issued by the U.S. Green Building Council.

12 parking levels, 23 office levels, and 2,800 workstations. It also has a 150-seater auditorium, banking facilities, indoor gardens, a cafeteria, gym, an executive dining room, meeting rooms, and a 660 m2 IT facility.

The HSBC Tower is located in the heart of Mexico City’s financial and hotel district. In order to engage with its surroundings, the building’s architectural style is contemporary classical; the elegant design is, to an extent, a function of its impressive height – 136 metres.

The main façade is in the form of a sophisticated aluminium curve, which serves as a backdrop to the Independence Monument.

As part of the interior design and a key driver of energy efficiency, the lighting required integration of the most advanced lighting and control systems in order to obtain the credits needed for LEED (Leadership in Energy and Environmental Design) certification in the

The sober, modern look continues inside the building, which has 40,000 m2 of usable space,

1 Lighting levels comply with the Mexican Standard NOM 007 for energy efficiency, and with the international IESNA recommendations; the electrical load density of this project is 10.42 W/m2 2 Main entrance hall 3 The Winter Garden has a welcoming atmosphere thanks to downlights providing high-contrast general lighting

3

categories Sustainable Sites, Energy and Atmosphere, and Indoor Environment Quality.

The general lighting in the main entrance hall is provided by embedded downlights with compact high-intensity discharge lamps, whose high colour rendering creates a subtle lighting ambience.

The 3.15 x 21.30 m mural ‘Credit transforms Mexico’ – painted by the famous Mexican artist Juan O’Gorman in 1964 – is lit in accordance with museum gallery specifications based on incandescent 250 W Flood lamps in wall-washer luminaires. To preserve the fresco, it may only be lit for 8 hours per day.

The photometric curve of the luminaires mounted at the top of the columns was selected so as to ensure that its centre does not extend beyond the building: this is a requirement for obtaining LEED credit 8 (Light Pollution Reduction).

The elevator lobby is lit by asymmetrical T8 fluorescent luminaires in housings at the side and T5 fluorescent light from a light box in the floor.

1

24

ilr 2006 / Architecture

2

The standard office floors are open-plan, with most of the workstations having natural light.

Some 3,000 luminaires with specially designed M51 optics and T8 4100 K lamps provide a comfortable, uniform level of lighting. Taking advantage of the natural light, these luminaires include electronic ballasts which allow the light to be dimmed and directed. This system enables a 54% saving on energy consumption, since the lighting level of each luminaire can be controlled individually. It responds to signals from daylight sensors, presence sensors and infrared controls, regulating the light automatically to an average of 450 lux in the working areas.

The colour in the cafeteria is enriched by a very simple lighting design based on downlights with 32 W compact fluorescent lamps.

Situated in penthouse 1, the Winter Garden is a double-height space with a spectacular view of the city. It includes two meeting rooms, a bar and executive relaxation areas. A small number of light sources, including LEDs, provide a welcoming, comfortable atmosphere.

All the luminaires in the building are connected to intelligent lighting panels located on each floor, which in turn are controlled by a central processor. This makes it possible to programme, operate and monitor the building’s entire lighting system. ■

Contracting authority: GIA+A Architects: Juan Carlos Jimenez, Hok Mexico, Mexico City, Mexico; Enrica Rosellini, Estudio Rosellini, Buenos Aires, Argentina Lighting consultancy: Maria A. Escobedo, Unicorp Lighting + Design, Mexico City, Mexico; Sabino Escobedo, Ivan Felipe Ortega,LiDAC, Mexico City, Mexico Electrical installer: GIA+A Philips support: Jorge Avila, Lighting Mexico Luminaires: Silueta, Philips; Downlight, Lightolier; Regleta, Elmsa; Downlight, Juno; Led Neon, Brilliant Light sources: TL5, TL-D, PL-T, CDM-TC, Philips Lighting controls: EcoSystem, Grafik 7000 XP, Lutron Photographer: Juan Jose Diaz Infante Text: Maria A. Escobedo Web: www.hok.com.mx; www.rosellini.com.ar; www.unicorplighting.com.mx; www.giaa.com.mx

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25

Zaman (literally ‘time’ or ‘era’ in Turkish) is an authoritative independent voice in Turkish life.

It was founded in 1986 and was the first Turkish daily newspaper to go online, in 1995. It has an English edition, plus special international editions for other countries, and contains international, national (Turkish), business and other news.

The main entrance hall, general offices and open-plan offices are lit by TBS631/154 luminaires with a D7-60 reflector, as specified by the customer. In the small meeting rooms, suspended Rotaris luminaires provide functional and decorative general lighting.

In the large meeting rooms, general lighting is delivered by TBS631/154 luminaires with a D7-60 reflector, while suspended Rotaris luminaires are used for local lighting above the meeting table.

1 The General Manager’s room is illuminated by Savio, which has the capability to change colour temperature; the same luminaire is applied as a wall-mounted version on the VIP floor 2 In the small meeting rooms, general lighting is provided by a decorative circular luminaire – Rotaris 3 Offices are lit with TBS631/154 luminaires

Contracting authority: Zaman Newspaper Architects/Lighting design: Alper Tüzün, Zambak Architectural Office, Istanbul, Turkey Electrical installer: Optimal Engineering Philips support: Canan Baba, Engin Cebeci, LiDAC, Lighting, Turkey Luminaires: Savio, Rotaris, TBS631, LEDline, Carpe Diem, LED String, DWP333, Philips Light sources: TL5, TL5C, LUXEON® LEDs, blue/white, Philips Photographer: Kaan Verdioglu Text: Tuba Baskan Web: www.zaman.com.tr

2

In the lobby, stairways and galleries, recessed Rotaris luminaires provide decorative lighting.

General lighting of circulation areas is delivered

by TBS631/154 luminaires with a D7-60 reflector.

The restaurant is lit by TBS631/154 luminaires with an MD optic.

1

Zaman newspaper head office Istanbul, Turkey

Zaman is one of Turkey’s leading daily newspapers, with a circulation of around 600,000. Its new headquarters is a multi-storey office building in Samandra, Istanbul. This prime example of modern functional architecture houses offices, meeting rooms, a restaurant and a gallery. The lighting design was implemented in October 2005.

On the VIP floor, Savio and Carpe Diem luminaires are used to make the rooms more decorative and appealing. The General Manager’s room is illuminated by Savio, which has the capability to change colour temperature.

The Savio system offers the flexibility to adapt the lighting level and temperature of the light to the mood of the moment or the task in hand.

In the meeting rooms, general lighting is provided by Carpe Diem luminaires with a stylish, ultra-flat fresnel reflector. The corridors on this floor are lit by wall-mounted Savio luminaires.

Outside, the main entrance and decorative water feature in front of the building are illuminated

by LEDline. The colour blue was chosen in keeping with the modern architecture of the building (see page 5, retrospective).

Today, working conditions and staff well-being are becoming more and more important.

Longer working hours and the increasing pace and variety of work require flexibility in the workplace. The functional and decorative lighting in this office building addresses this imperative, helping people to work comfortably and efficiently. ■

3

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ilr 2006 / Architecture

ilr 2006 / Architecture

27

Zaman (literally ‘time’ or ‘era’ in Turkish) is an authoritative independent voice in Turkish life.

It was founded in 1986 and was the first Turkish daily newspaper to go online, in 1995. It has an English edition, plus special international editions for other countries, and contains international, national (Turkish), business and other news.

The main entrance hall, general offices and open-plan offices are lit by TBS631/154 luminaires with a D7-60 reflector, as specified by the customer. In the small meeting rooms, suspended Rotaris luminaires provide functional and decorative general lighting.

In the large meeting rooms, general lighting is delivered by TBS631/154 luminaires with a D7-60 reflector, while suspended Rotaris luminaires are used for local lighting above the meeting table.

1 The General Manager’s room is illuminated by Savio, which has the capability to change colour temperature; the same luminaire is applied as a wall-mounted version on the VIP floor 2 In the small meeting rooms, general lighting is provided by a decorative circular luminaire – Rotaris 3 Offices are lit with TBS631/154 luminaires

Contracting authority: Zaman Newspaper Architects/Lighting design: Alper Tüzün, Zambak Architectural Office, Istanbul, Turkey Electrical installer: Optimal Engineering Philips support: Canan Baba, Engin Cebeci, LiDAC, Lighting, Turkey Luminaires: Savio, Rotaris, TBS631, LEDline, Carpe Diem, LED String, DWP333, Philips Light sources: TL5, TL5C, LUXEON® LEDs, blue/white, Philips Photographer: Kaan Verdioglu Text: Tuba Baskan Web: www.zaman.com.tr

2

In the lobby, stairways and galleries, recessed Rotaris luminaires provide decorative lighting.

General lighting of circulation areas is delivered

by TBS631/154 luminaires with a D7-60 reflector.

The restaurant is lit by TBS631/154 luminaires with an MD optic.

1

Zaman newspaper head office Istanbul, Turkey

Zaman is one of Turkey’s leading daily newspapers, with a circulation of around 600,000. Its new headquarters is a multi-storey office building in Samandra, Istanbul. This prime example of modern functional architecture houses offices, meeting rooms, a restaurant and a gallery. The lighting design was implemented in October 2005.

On the VIP floor, Savio and Carpe Diem luminaires are used to make the rooms more decorative and appealing. The General Manager’s room is illuminated by Savio, which has the capability to change colour temperature.

The Savio system offers the flexibility to adapt the lighting level and temperature of the light to the mood of the moment or the task in hand.

In the meeting rooms, general lighting is provided by Carpe Diem luminaires with a stylish, ultra-flat fresnel reflector. The corridors on this floor are lit by wall-mounted Savio luminaires.

Outside, the main entrance and decorative water feature in front of the building are illuminated

by LEDline. The colour blue was chosen in keeping with the modern architecture of the building (see page 5, retrospective).

Today, working conditions and staff well-being are becoming more and more important.

Longer working hours and the increasing pace and variety of work require flexibility in the workplace. The functional and decorative lighting in this office building addresses this imperative, helping people to work comfortably and efficiently. ■

3

26

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ilr 2006 / Architecture

27

1-2 The Art Nouveau-style Grand Palais

Grand Palais

3

Paris, France

Layout of Astrolux luminaires, providing sober functional lighting

After being closed for a period of 12 years, which included several years’ restoration work, the Grand Palais opened its doors to the public once more in September 2005. The lighting has been infused with new life, and the Grand Palais has resumed its original function as a venue for exceptional cultural displays and events.

Officially designated as a historic monument in 2000, the Art Nouveau-style Grand Palais was originally built for the World Exhibition in 1900, as a building for the fine arts. After the Exhibition, various displays, salons and competitions took place there.

Structural problems soon arose, however, probably as a result of a drop in the level of the Parisian water table. The effects of prolonged subsidence and movement of the building ultimately led to its closure in 1993. After several years of studies, a first stage of restoration works from 2001 to 2004 involved the foundations, the metal framework of the nave, the roof, 1

Contracting authority: Ministry of Culture and Communications Delegated client: EMOC (Public Establishment for Implementation of Cultural Works) Architect: Alain-Charles Perrot Electrical installer: Entreprise Bainée Technical design office: Trouvin-Lavalin, Montreuil Philips support: Jean-François Yeme, Sylvie Ferrare, Didier Chafaux, Alain Minet, Valérie Rambault, Lighting, Ivry sur Seine Luminaires: Fugato, Rotaris, Monza, Philips; Astrolux ED 700 HID, Park Choc, RBP Club, Mazda Light sources: HQI E 1000 W, Osram; circular TL5 60 W, PLC- 26 W 4P, halogen 30 W, Philips Photographer: Patrick Tourneboeuf, EMOC, Tendance Floue Text: Delphine Olivier, Jean-François Yeme Web: www.emoc.fr

the glass roof and the outdoor statues, the Récipon Quadriga. The second stage of the works involves the restoration of the façades, the sculpted elements and the mosaics, and will be completed in 2007.

With regard to the lighting, the aim was to reproduce the original installation, which consisted essentially of suspended metal fixtures fitted with incandescent lamps. It was not to be accent lighting, but sober functional lighting for the glass roof, in order to recreate an ambience without attempting to achieve particular effects.

Since the location is used for many cultural displays and events, all of which are different, the lighting requirements vary per event; dedicated lighting has therefore been designed and is put into place temporarily, as required.

2

3

Astrolux suspended aluminium luminaires with a semi-narrow-beam circular reflector were chosen, firstly because of their aesthetic value, and above all because they resemble the fixtures of the period. 1000 W metal-halide lamps were selected so as to limit the number of light points in the nave. Eighty Astrolux luminaires were installed, at heights between 24 and 35 m, for the aisle and central nave. In parallel, some 50 Fugato (recessed) and Rotaris (recessed) decorative luminaires and around 100 RBP Club battens were installed to illuminate the side rooms and ensure the lighting harmony of the renovated space.

This unique building has been brought back to life, and can once more fulfil its emblematic function as a venue for Parisian cultural events. ■

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ilr 2006 / Architecture

ilr 2006 / Architecture

29

1-2 The Art Nouveau-style Grand Palais

Grand Palais

3

Paris, France

Layout of Astrolux luminaires, providing sober functional lighting

After being closed for a period of 12 years, which included several years’ restoration work, the Grand Palais opened its doors to the public once more in September 2005. The lighting has been infused with new life, and the Grand Palais has resumed its original function as a venue for exceptional cultural displays and events.

Officially designated as a historic monument in 2000, the Art Nouveau-style Grand Palais was originally built for the World Exhibition in 1900, as a building for the fine arts. After the Exhibition, various displays, salons and competitions took place there.

Structural problems soon arose, however, probably as a result of a drop in the level of the Parisian water table. The effects of prolonged subsidence and movement of the building ultimately led to its closure in 1993. After several years of studies, a first stage of restoration works from 2001 to 2004 involved the foundations, the metal framework of the nave, the roof, 1

Contracting authority: Ministry of Culture and Communications Delegated client: EMOC (Public Establishment for Implementation of Cultural Works) Architect: Alain-Charles Perrot Electrical installer: Entreprise Bainée Technical design office: Trouvin-Lavalin, Montreuil Philips support: Jean-François Yeme, Sylvie Ferrare, Didier Chafaux, Alain Minet, Valérie Rambault, Lighting, Ivry sur Seine Luminaires: Fugato, Rotaris, Monza, Philips; Astrolux ED 700 HID, Park Choc, RBP Club, Mazda Light sources: HQI E 1000 W, Osram; circular TL5 60 W, PLC- 26 W 4P, halogen 30 W, Philips Photographer: Patrick Tourneboeuf, EMOC, Tendance Floue Text: Delphine Olivier, Jean-François Yeme Web: www.emoc.fr

the glass roof and the outdoor statues, the Récipon Quadriga. The second stage of the works involves the restoration of the façades, the sculpted elements and the mosaics, and will be completed in 2007.

With regard to the lighting, the aim was to reproduce the original installation, which consisted essentially of suspended metal fixtures fitted with incandescent lamps. It was not to be accent lighting, but sober functional lighting for the glass roof, in order to recreate an ambience without attempting to achieve particular effects.

Since the location is used for many cultural displays and events, all of which are different, the lighting requirements vary per event; dedicated lighting has therefore been designed and is put into place temporarily, as required.

2

3

Astrolux suspended aluminium luminaires with a semi-narrow-beam circular reflector were chosen, firstly because of their aesthetic value, and above all because they resemble the fixtures of the period. 1000 W metal-halide lamps were selected so as to limit the number of light points in the nave. Eighty Astrolux luminaires were installed, at heights between 24 and 35 m, for the aisle and central nave. In parallel, some 50 Fugato (recessed) and Rotaris (recessed) decorative luminaires and around 100 RBP Club battens were installed to illuminate the side rooms and ensure the lighting harmony of the renovated space.

This unique building has been brought back to life, and can once more fulfil its emblematic function as a venue for Parisian cultural events. ■

28

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ilr 2006 / Architecture

29

The 1958 Philips Pavilion was a spectacular expression as a building, but even more so as a spatial experience. Le Corbusier employed colour, light, form, images and sound to create what would now be termed a multimedia event – the ‘Poème électronique’. Two other artists also played a large part in shaping the Pavilion and the ‘Poème électronique’.

Yannis Xenakis worked in Le Corbusier’s office and designed the outer shape of the Pavilion.

Edgar Varèse, who had already been experimenting with electronic music and non-instrumental sounds, was responsible for the acoustic dimension.

The ‘Objet Mathématique’ was placed at the entrance to the Pavilion to welcome visitors.

It shows the words ‘poème électronique’ running through a yellow, tubular geometric structure framed by three coloured triangles.

The ‘Objet Mathématique’ was moved to its current location in 2000; LED lighting installed in 2006 lends it new presence. Where once the onset of darkness would cause colours to fade, leaving just the luminous words ‘poème électronique’, now we can take in the sculpture in its entirety, even at night. Le Corbusier’s choice was for strong primary colours, an aspect tailor-made for LEDs, with their capacity to provide highly saturated colours.

1

Three LED luminaires mounted on two buildings light the ‘Objet Mathématique’ from distances of more than 50 m. Each light beam – red, yellow and blue – is aimed at the triangle of the corresponding colour. The light effect provided is one of a vibrant, colourful glow that seems to radiate from the structure’s materials. The exceptional optical precision that can be achieved with LED sources means that, even at these distances, the light falls on the surfaces with almost no spill. As a result, this striking light effect is achieved with an incredibly low power consumption – a mere 10 W in total.

In hazy weather, the dialogue between the piece of art and the surrounding buildings really comes to life: the beams become visible, revealing where the light is coming from.

LED lighting has given this unique piece of art an aura that reflects Le Corbusier’s artistic and human vision, successfully placing art in relation to architecture and stretching people’s imagination in terms of the potential of modern lighting. ■

2 1 – 2 Where once the onset of darkness would cause colours to fade, leaving just the luminous words 'poeme électronique', now we can take in the sculpture in its entirety, even at night 3

4

Position of the LED projectors indicated on the ground plan of Eindhoven University of Technology

The ‘Objet Mathématique’, the property of Stichting Kunstlicht in de Kunst, on the campus

3

4

Objet Mathématique Eindhoven, Netherlands

Originally standing at the entrance to the Philips Pavilion at the 1958 World Exhibition in Brussels, Le Corbusier’s tubular geometric sculpture ‘Objet Mathématique’ is today located on the campus of Eindhoven University of Technology. Pioneering LED-based illumination gives new expression to one of the very few remaining original pieces of the famed ‘Poème électronique’.

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ilr 2006 / Architecture

Contracting authority: Stichting Kunstlicht in de Kunst and Eindhoven University of Technology Architect: Le Corbusier Lighting design: Markus Reisinger, LiDAC International, Philips Lighting Philips support: Arthur Koopman, Netherlands Luminaires: Beamer LED, Philips Light sources: LUXEON® LEDs, Philips Photographer: Maarten Quaadvliet, Korff & van Mierlo Text: Markus Reisinger

ilr 2006 / Architecture

31

The 1958 Philips Pavilion was a spectacular expression as a building, but even more so as a spatial experience. Le Corbusier employed colour, light, form, images and sound to create what would now be termed a multimedia event – the ‘Poème électronique’. Two other artists also played a large part in shaping the Pavilion and the ‘Poème électronique’.

Yannis Xenakis worked in Le Corbusier’s office and designed the outer shape of the Pavilion.

Edgar Varèse, who had already been experimenting with electronic music and non-instrumental sounds, was responsible for the acoustic dimension.

The ‘Objet Mathématique’ was placed at the entrance to the Pavilion to welcome visitors.

It shows the words ‘poème électronique’ running through a yellow, tubular geometric structure framed by three coloured triangles.

The ‘Objet Mathématique’ was moved to its current location in 2000; LED lighting installed in 2006 lends it new presence. Where once the onset of darkness would cause colours to fade, leaving just the luminous words ‘poème électronique’, now we can take in the sculpture in its entirety, even at night. Le Corbusier’s choice was for strong primary colours, an aspect tailor-made for LEDs, with their capacity to provide highly saturated colours.

1

Three LED luminaires mounted on two buildings light the ‘Objet Mathématique’ from distances of more than 50 m. Each light beam – red, yellow and blue – is aimed at the triangle of the corresponding colour. The light effect provided is one of a vibrant, colourful glow that seems to radiate from the structure’s materials. The exceptional optical precision that can be achieved with LED sources means that, even at these distances, the light falls on the surfaces with almost no spill. As a result, this striking light effect is achieved with an incredibly low power consumption – a mere 10 W in total.

In hazy weather, the dialogue between the piece of art and the surrounding buildings really comes to life: the beams become visible, revealing where the light is coming from.

LED lighting has given this unique piece of art an aura that reflects Le Corbusier’s artistic and human vision, successfully placing art in relation to architecture and stretching people’s imagination in terms of the potential of modern lighting. ■

2 1 – 2 Where once the onset of darkness would cause colours to fade, leaving just the luminous words 'poeme électronique', now we can take in the sculpture in its entirety, even at night 3

4

Position of the LED projectors indicated on the ground plan of Eindhoven University of Technology

The ‘Objet Mathématique’, the property of Stichting Kunstlicht in de Kunst, on the campus

3

4

Objet Mathématique Eindhoven, Netherlands

Originally standing at the entrance to the Philips Pavilion at the 1958 World Exhibition in Brussels, Le Corbusier’s tubular geometric sculpture ‘Objet Mathématique’ is today located on the campus of Eindhoven University of Technology. Pioneering LED-based illumination gives new expression to one of the very few remaining original pieces of the famed ‘Poème électronique’.

30

ilr 2006 / Architecture

Contracting authority: Stichting Kunstlicht in de Kunst and Eindhoven University of Technology Architect: Le Corbusier Lighting design: Markus Reisinger, LiDAC International, Philips Lighting Philips support: Arthur Koopman, Netherlands Luminaires: Beamer LED, Philips Light sources: LUXEON® LEDs, Philips Photographer: Maarten Quaadvliet, Korff & van Mierlo Text: Markus Reisinger

ilr 2006 / Architecture

31

2

Corporativo World Plaza Mexico City, Mexico

The Corporativo World Plaza is a sleek skyscraper in Mexico City’s Santa Fe area and an instantly recognisable feature of this vibrant new commercial district. The lighting had to differentiate the building, underline the corporate identity and enhance the architecture.

The World Plaza building is situated on a hilltop overlooking Mexico City, in the Santa Fe district, a new development area for corporate as well as residential construction. The site of the building was formerly little more than a garbage dump, but in the mid-1970s resources were made available to arrest urban decay and make this district a development hub for the city. It has now emerged as a business district that has set new standards for quality and style.

Architectural competition has grown as

companies have sought to create corporate icons that are instantly recognisable by the general public and are differentiated from other buildings.

1 The lobby as a series of overlapping layers, viewed from the outside

A bold lighting statement was required for this high-rise structure, with its façade of steel and glass. The colour of choice was blue, to contrast with the surrounding buildings. The site was approached as layers wrapped around a central core, which corresponded to the building’s

2 View of the entrance of the Corporativo World Plaza 3 Corporativo World Plaza 4 Corporativo World Plaza lighting plan 1

3

4 ilr 2006 / Architecture

33

2

Corporativo World Plaza Mexico City, Mexico

The Corporativo World Plaza is a sleek skyscraper in Mexico City’s Santa Fe area and an instantly recognisable feature of this vibrant new commercial district. The lighting had to differentiate the building, underline the corporate identity and enhance the architecture.

The World Plaza building is situated on a hilltop overlooking Mexico City, in the Santa Fe district, a new development area for corporate as well as residential construction. The site of the building was formerly little more than a garbage dump, but in the mid-1970s resources were made available to arrest urban decay and make this district a development hub for the city. It has now emerged as a business district that has set new standards for quality and style.

Architectural competition has grown as

companies have sought to create corporate icons that are instantly recognisable by the general public and are differentiated from other buildings.

1 The lobby as a series of overlapping layers, viewed from the outside

A bold lighting statement was required for this high-rise structure, with its façade of steel and glass. The colour of choice was blue, to contrast with the surrounding buildings. The site was approached as layers wrapped around a central core, which corresponded to the building’s

2 View of the entrance of the Corporativo World Plaza 3 Corporativo World Plaza 4 Corporativo World Plaza lighting plan 1

3

4 ilr 2006 / Architecture

33

5

5 The lobby as a series of overlapping layers, viewed form the inside 6 400 W metal-halide uplights create a blue haze that washes over the entire facade Contracting authority: ALHEL Architect: Michael Edmonds, John Grimshaw, Edmonds International S.A. de C.V., Mexico City, Mexico Lighting design: Luis Lozoya, Light+Form, Mexico City, Mexico Electrical installer: Rodrigo López Philips support: Javier Villaseñor, Cecilia Huesca, German Villalobos, Lighting, Mexico City Luminaires: Façade uplight, PMM; Fragata, Channel, Philips Light sources: Metal-halide 400 W, Venture; CDM PAR30 70 W, T5 28 W, AR111 50 W, Philips Photographer: Paul Citrom, Hector Velasco Facio Text: Luis Lozoya Web: www.lf.com.mx

lobby. The basic concept was to give each layer a distinct colour temperature. Outside, a different light source, sodium, was selected to produce the desired dramatic effect on the wall, creating the impression of a green moat between the building and the street.

The vehicular access to the lobby features LEDs embedded in the ground to indicate the circulation routes. A translucent glass ‘curtain’ was erected to shield the lobby entrance from the wind and rain. It is designed as a floating veil that extends from the entrance canopy to a water-filled opening in the ground. Underwater halogen uplights in the fountain project a shimmering halo onto the translucent wall, so that constantly changing patterns of light welcome visitors to the building.

The lobby was conceived as a series of overlapping layers, with different colour temperatures and with the direction of the lighting alternating from ceiling to floor.

The first layer is established by the aluminiumclad columns, which mark the entrance. Each one is lit with compact high-intensity discharge lamps with a colour temperature of 3000 K, providing a contrast with the downlights at the lobby’s glass wall. This element was lit with compact high-intensity discharge lamps with

a colour temperature of 4100 K, creating a pool of light dividing the exterior and the interior of the entrance hall.

The reception features a transparent floating glass element illuminated by high-luminance LEDs recessed in the floor.

Access to the elevators was defined within slits of light in the internal façade, separating the materials composing the vertical elements from each other.

The facade lighting, which is mounted on top of the entrance canopy, consists of ten 400 W metal-halide uplights. These create a blue haze that washes over the entire façade. As the visitor approaches the building, the colour wash increases in intensity as the viewing angle becomes smaller.

The lighting design chosen has helped to make the Corporativo World Plaza instantly recognisable and one of Mexico City’s most prized corporate locations. ■

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5

5 The lobby as a series of overlapping layers, viewed form the inside 6 400 W metal-halide uplights create a blue haze that washes over the entire facade Contracting authority: ALHEL Architect: Michael Edmonds, John Grimshaw, Edmonds International S.A. de C.V., Mexico City, Mexico Lighting design: Luis Lozoya, Light+Form, Mexico City, Mexico Electrical installer: Rodrigo López Philips support: Javier Villaseñor, Cecilia Huesca, German Villalobos, Lighting, Mexico City Luminaires: Façade uplight, PMM; Fragata, Channel, Philips Light sources: Metal-halide 400 W, Venture; CDM PAR30 70 W, T5 28 W, AR111 50 W, Philips Photographer: Paul Citrom, Hector Velasco Facio Text: Luis Lozoya Web: www.lf.com.mx

lobby. The basic concept was to give each layer a distinct colour temperature. Outside, a different light source, sodium, was selected to produce the desired dramatic effect on the wall, creating the impression of a green moat between the building and the street.

The vehicular access to the lobby features LEDs embedded in the ground to indicate the circulation routes. A translucent glass ‘curtain’ was erected to shield the lobby entrance from the wind and rain. It is designed as a floating veil that extends from the entrance canopy to a water-filled opening in the ground. Underwater halogen uplights in the fountain project a shimmering halo onto the translucent wall, so that constantly changing patterns of light welcome visitors to the building.

The lobby was conceived as a series of overlapping layers, with different colour temperatures and with the direction of the lighting alternating from ceiling to floor.

The first layer is established by the aluminiumclad columns, which mark the entrance. Each one is lit with compact high-intensity discharge lamps with a colour temperature of 3000 K, providing a contrast with the downlights at the lobby’s glass wall. This element was lit with compact high-intensity discharge lamps with

a colour temperature of 4100 K, creating a pool of light dividing the exterior and the interior of the entrance hall.

The reception features a transparent floating glass element illuminated by high-luminance LEDs recessed in the floor.

Access to the elevators was defined within slits of light in the internal façade, separating the materials composing the vertical elements from each other.

The facade lighting, which is mounted on top of the entrance canopy, consists of ten 400 W metal-halide uplights. These create a blue haze that washes over the entire façade. As the visitor approaches the building, the colour wash increases in intensity as the viewing angle becomes smaller.

The lighting design chosen has helped to make the Corporativo World Plaza instantly recognisable and one of Mexico City’s most prized corporate locations. ■

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Urban planning

Arctura Östersund, Sweden

Arctura, a giant hot-water tank topped by a stylish restaurant and recreational facility, has been provided with LED lighting that makes

Perched on a hill above the town of Östersund, Arctura is a huge accumulator tank measuring 65 metres in height and 26 metres in diameter.

It is used for supplying hot water for household heating to the surrounding district. It has a total storage volume of 26,000,000 litres of water, varying in temperature from 40°C to almost boiling point. It takes its name from Arcturus, the ‘provincial star’ of Jämtland and the brightest star in the northern hemisphere.

it a spectacular nocturnal landmark, recreating the effect of the Northern Lights.

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Urban planning

Arctura Östersund, Sweden

Arctura, a giant hot-water tank topped by a stylish restaurant and recreational facility, has been provided with LED lighting that makes

Perched on a hill above the town of Östersund, Arctura is a huge accumulator tank measuring 65 metres in height and 26 metres in diameter.

It is used for supplying hot water for household heating to the surrounding district. It has a total storage volume of 26,000,000 litres of water, varying in temperature from 40°C to almost boiling point. It takes its name from Arcturus, the ‘provincial star’ of Jämtland and the brightest star in the northern hemisphere.

it a spectacular nocturnal landmark, recreating the effect of the Northern Lights.

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Contracting authority: Jämtkraft AB Project leader: Franz Birkl, Birco Konsult Architect: SWECO FFNS Project team: Hans Aldefelt, Mats Aldefelt, Lennart Henriksson, Anna Leonsson, PG Hillinge Lighting design: Stefan Wiktorsson, LjusDesign AB Electrical consultant: Jämtbygdens Elkonsult (JBEL) AB Electrical installer: El-Kontakt AB Philips support: Svante Pettersson, Hans Kjellberg, Lighting, Stockholm Luminaires: LEDline2, LEDflood, Philips Light sources: LUXEON® LED 1 and 3 W, red, green, blue, white, Philips Lighting control: MediaEngine, control panels, E:Cue; DMX Decoders, Soundlight Text: Stefan Wiktorsson Photography: Stefan Gemzell; Mats Aldefelt, SWECO FFNS Web: www.sweco.se; www.ljusdesign.se; www.arctura.se

1 Stainless-steel mesh applied outside the building structure 2 LEDflood provides indirect lighting on the sloping roof 3 At restaurant level, the shape of the building shape looks like an open eye 4 White LEDline2 installed at the bottom of the tank façade; red, blue and green LEDline2 behind the mesh creates the Northern Lights effect 5 Grazing flickering lighting effect on the mesh

2

3

4

5

1

The tank is surrounded, at a distance of 2 metres, by a stainless-steel mesh that gives depth and shape to the architecture.

The concept behind the lighting was to replicate the effect of the Northern Lights. The lighting designers opted for LED luminaires which, together with a control system (1-10 V converted to DMX via simple standard interfaces), create spectacular lighting effects. LEDline2 (linear beam 2 x 3°) projects grazing light onto the façade and the mesh, while LEDflood (round beam 2 x 15°) provides indirect lighting on the sloping roof. RGB colour mixing is applied to create the changing colours on the tank.

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The main scenario is fully automated and based on the seasons. During the winter nights, for instance, an illusion of aurora borealis is created on the construction, followed by a more restful light about one hour before sunrise. The ‘sunrise’ lighting effect that is then created lasts until about one hour after the real sun has risen.

In December, the façade is made to look red-hot, while the mesh flickers white. And New Year is celebrated with a 20-minute ‘fireworks’ sequence.

The total installed load is 9,800 W. By contrast, a halogen-lamp solution would have had to consume nearly four times as much energy to achieve an equivalent luminous efficacy, so the LED solution provides a considerable energy/CO2 saving. ■

Contracting authority: Jämtkraft AB Project leader: Franz Birkl, Birco Konsult Architect: SWECO FFNS Project team: Hans Aldefelt, Mats Aldefelt, Lennart Henriksson, Anna Leonsson, PG Hillinge Lighting design: Stefan Wiktorsson, LjusDesign AB Electrical consultant: Jämtbygdens Elkonsult (JBEL) AB Electrical installer: El-Kontakt AB Philips support: Svante Pettersson, Hans Kjellberg, Lighting, Stockholm Luminaires: LEDline2, LEDflood, Philips Light sources: LUXEON® LED 1 and 3 W, red, green, blue, white, Philips Lighting control: MediaEngine, control panels, E:Cue; DMX Decoders, Soundlight Text: Stefan Wiktorsson Photography: Stefan Gemzell; Mats Aldefelt, SWECO FFNS Web: www.sweco.se; www.ljusdesign.se; www.arctura.se

1 Stainless-steel mesh applied outside the building structure 2 LEDflood provides indirect lighting on the sloping roof 3 At restaurant level, the shape of the building shape looks like an open eye 4 White LEDline2 installed at the bottom of the tank façade; red, blue and green LEDline2 behind the mesh creates the Northern Lights effect 5 Grazing flickering lighting effect on the mesh

2

3

4

5

1

The tank is surrounded, at a distance of 2 metres, by a stainless-steel mesh that gives depth and shape to the architecture.

The concept behind the lighting was to replicate the effect of the Northern Lights. The lighting designers opted for LED luminaires which, together with a control system (1-10 V converted to DMX via simple standard interfaces), create spectacular lighting effects. LEDline2 (linear beam 2 x 3°) projects grazing light onto the façade and the mesh, while LEDflood (round beam 2 x 15°) provides indirect lighting on the sloping roof. RGB colour mixing is applied to create the changing colours on the tank.

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The main scenario is fully automated and based on the seasons. During the winter nights, for instance, an illusion of aurora borealis is created on the construction, followed by a more restful light about one hour before sunrise. The ‘sunrise’ lighting effect that is then created lasts until about one hour after the real sun has risen.

In December, the façade is made to look red-hot, while the mesh flickers white. And New Year is celebrated with a 20-minute ‘fireworks’ sequence.

The total installed load is 9,800 W. By contrast, a halogen-lamp solution would have had to consume nearly four times as much energy to achieve an equivalent luminous efficacy, so the LED solution provides a considerable energy/CO2 saving. ■

Shinkong Tower Taipei, Taiwan

Completed in 1994, Shinkong Tower immediately became a key feature of the Taipei skyline. It houses, among other things, a department store, offices, restaurants and an observatory at the top of the building.

Now, some 12 years later, this impressive structure has been remodelled with LED light.

To many people, skyscrapers like the 244.15 m-high Shinkong Tower have a dark, almost forbidding presence. As colour can be a highly effective means of changing and revitalizing the urban landscape, it was decided to illuminate Shinkong Tower with RGB (red, green, blue) LED lighting – the first tower in Asia to be lit with this technology.

While the height of Shinkong Tower makes it an eye-catching landmark, it also presents major challenges in terms of lighting design.

After being filtered through the dirty, dusty atmosphere of a city, the lights at the top of a skyscraper lose about 70% of their illuminating strength. Without proper cleaning and maintenance, their effectiveness will continue to decline. Over time, therefore, the power of the lighting has to be increased to compensate, if lighting levels are to be maintained. With their high efficiency and long lifetime, LEDs proved an ideal solution.

Contracting authority: Xu-Zhuang Ltd. Architect: Kaku Morin, Tokyo, Japan Lighting design: J.K. Yao, Chroma 33 Architectural Lighting Design, Taipei City, Taiwan Philips support: Kuan Kuan, Sabrina Pan, LiDAC, Taiwan Luminaires: LEDstrip 1 RGB, Philips Light sources: LUXEON® LED 1 W, red, green, blue, Philips Photographer: Jeffrey Cheng Text: Kuan Kuan

The lighting design was inspired by the Empire State Building in New York, where, in the evening, neon lights are turned on and colours changed to match the themes for various holidays. For example, for Independence Day, the red, white and blue of the American flag are used. For Thanksgiving, the orange of a pumpkin is used. And honouring US ties with Asia and New York’s Asian communities, the Empire State Building is now also illuminated in red and gold to commemorate the Lunar New Year holidays.

At present, there are 41 Western and Eastern holidays during which Shinkong Tower’s lights are on display. Most people can tell from the arrangement of the lights what the particular holiday is. For example, a red heart accented by pink lights, white chocolate and a gold ribbon could only mean Valentine’s Day. Valentine’s Day and Mother’s Day both use a three-dimensional floral design. Thanks to such realistic light displays, the building truly becomes the vivid centrepiece of city life.

In the future, people may even be able to request specific designs. Via a website, others will be able to find out details about the event. Thus, the building and the people will become more closely linked. ■

Some of the 41 Western and Eastern holidays on which special lighting is on display; LEDstrip 1 RGB luminance luminaires create a framework at the top of the tower

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Shinkong Tower Taipei, Taiwan

Completed in 1994, Shinkong Tower immediately became a key feature of the Taipei skyline. It houses, among other things, a department store, offices, restaurants and an observatory at the top of the building.

Now, some 12 years later, this impressive structure has been remodelled with LED light.

To many people, skyscrapers like the 244.15 m-high Shinkong Tower have a dark, almost forbidding presence. As colour can be a highly effective means of changing and revitalizing the urban landscape, it was decided to illuminate Shinkong Tower with RGB (red, green, blue) LED lighting – the first tower in Asia to be lit with this technology.

While the height of Shinkong Tower makes it an eye-catching landmark, it also presents major challenges in terms of lighting design.

After being filtered through the dirty, dusty atmosphere of a city, the lights at the top of a skyscraper lose about 70% of their illuminating strength. Without proper cleaning and maintenance, their effectiveness will continue to decline. Over time, therefore, the power of the lighting has to be increased to compensate, if lighting levels are to be maintained. With their high efficiency and long lifetime, LEDs proved an ideal solution.

Contracting authority: Xu-Zhuang Ltd. Architect: Kaku Morin, Tokyo, Japan Lighting design: J.K. Yao, Chroma 33 Architectural Lighting Design, Taipei City, Taiwan Philips support: Kuan Kuan, Sabrina Pan, LiDAC, Taiwan Luminaires: LEDstrip 1 RGB, Philips Light sources: LUXEON® LED 1 W, red, green, blue, Philips Photographer: Jeffrey Cheng Text: Kuan Kuan

The lighting design was inspired by the Empire State Building in New York, where, in the evening, neon lights are turned on and colours changed to match the themes for various holidays. For example, for Independence Day, the red, white and blue of the American flag are used. For Thanksgiving, the orange of a pumpkin is used. And honouring US ties with Asia and New York’s Asian communities, the Empire State Building is now also illuminated in red and gold to commemorate the Lunar New Year holidays.

At present, there are 41 Western and Eastern holidays during which Shinkong Tower’s lights are on display. Most people can tell from the arrangement of the lights what the particular holiday is. For example, a red heart accented by pink lights, white chocolate and a gold ribbon could only mean Valentine’s Day. Valentine’s Day and Mother’s Day both use a three-dimensional floral design. Thanks to such realistic light displays, the building truly becomes the vivid centrepiece of city life.

In the future, people may even be able to request specific designs. Via a website, others will be able to find out details about the event. Thus, the building and the people will become more closely linked. ■

Some of the 41 Western and Eastern holidays on which special lighting is on display; LEDstrip 1 RGB luminance luminaires create a framework at the top of the tower

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1 Plan of the twenty-sixth floor, with LEDline2 at the corners and tri-neon inside

At midnight, pure white light akin to moonlight cuts through the darkness, and the glass loses its transparency altogether. A change in the light heralds the transition to the new day, and the glass cube shines. From midnight to 1 a.m., there is calm, the top of the tower is presented with absolute simplicity, and a cube of bluish-white glass suspends time, watching over the city.

2 Auguste Perret’s elevation, with the linear lighting positions 3 Glass cube with controlled opacity at the top of the tower 4 Amber and red-amber grazing lighting

3

As morning breaks, the hourglass comes to life again, and reveals its structure once more.

As the hours go by, the light of the dawn combines with the blue, which gradually becomes a hazy blue-green morning light, until the artificial light fades to give way to the natural light. Thus, the march of time brings new life to the Amiens cityscape, over and again. ■

1

Perret Tower

Architect: Thierry Van de Wyngaert, Agence Van de Wyngaert, Paris, France Light artist: François Migeon, Rozenn Le Couillard, Grandeur Nature, Paris, France Electrical installer: Mention Entreprise Philips support: Gilles Lemoine, Lighting, France Luminaires: LEDline2, Philips; circular floodlights Erco; Special tubular diffusing/narrow-beam optic – neon, Féérique Light sources: Luxeon® LED, 1 W, amber, mixed red and amber, Philips; metal-halide 150 and 400 W, Osram; cold-cathode discharge, red, green, blue, mediumhigh voltage, Féérique Control glass panel: Privalite glass system, Saint Gobain Lighting and glass control: MediaEngine, E:Cue Photographer: Grandeur Nature, Jacques Colon Text: François Migeon Web: www.tvdwarchi.com; www.ace-fr.org

Amiens, France

This spectacular tower, which is over 100 metres high, was one of the first skyscrapers built in Europe. Following a major facelift completed in 2005, it is now topped by a 7 m ‘hourglass’, which marks out the time by means of a coloured light display.

The Perret Tower is located opposite Amiens’ Gare du Nord railway station. The relit structure is now illuminated with LED-based grazing light, while metal-halide floodlights provide general lighting. The top of the tower features an illuminated glass cube consisting of 12 glass elements with controlled opacity. At its centre, 12 tri-neon lines fill the diffusing glass with changing coloured light.

Warm coloured light rises up from the base of the tower and goes up as far as the first terraces.

The outlines are emphasised by very warm light, which encourages people passing by to look up, and draws attention to the new architectural level.

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The movement of the hourglass begins as soon as night falls, and the rising light makes the tower appear to soar against the night-time sky.

At twilight, the light begins to shine softly, with a red glow, at the top. When the sun disappears completely, blue combines with the red, and the glass becomes less and less transparent and then increasingly opaque as the hours go by, thus marking the time and interpreting the night.

On the quarter hour, half hour and hour, the tower comes to life like a peal of bells striking out the time. Light rises up the tower, and the hourglass shines in a flood of light.

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1 Plan of the twenty-sixth floor, with LEDline2 at the corners and tri-neon inside

At midnight, pure white light akin to moonlight cuts through the darkness, and the glass loses its transparency altogether. A change in the light heralds the transition to the new day, and the glass cube shines. From midnight to 1 a.m., there is calm, the top of the tower is presented with absolute simplicity, and a cube of bluish-white glass suspends time, watching over the city.

2 Auguste Perret’s elevation, with the linear lighting positions 3 Glass cube with controlled opacity at the top of the tower 4 Amber and red-amber grazing lighting

3

As morning breaks, the hourglass comes to life again, and reveals its structure once more.

As the hours go by, the light of the dawn combines with the blue, which gradually becomes a hazy blue-green morning light, until the artificial light fades to give way to the natural light. Thus, the march of time brings new life to the Amiens cityscape, over and again. ■

1

Perret Tower

Architect: Thierry Van de Wyngaert, Agence Van de Wyngaert, Paris, France Light artist: François Migeon, Rozenn Le Couillard, Grandeur Nature, Paris, France Electrical installer: Mention Entreprise Philips support: Gilles Lemoine, Lighting, France Luminaires: LEDline2, Philips; circular floodlights Erco; Special tubular diffusing/narrow-beam optic – neon, Féérique Light sources: Luxeon® LED, 1 W, amber, mixed red and amber, Philips; metal-halide 150 and 400 W, Osram; cold-cathode discharge, red, green, blue, mediumhigh voltage, Féérique Control glass panel: Privalite glass system, Saint Gobain Lighting and glass control: MediaEngine, E:Cue Photographer: Grandeur Nature, Jacques Colon Text: François Migeon Web: www.tvdwarchi.com; www.ace-fr.org

Amiens, France

This spectacular tower, which is over 100 metres high, was one of the first skyscrapers built in Europe. Following a major facelift completed in 2005, it is now topped by a 7 m ‘hourglass’, which marks out the time by means of a coloured light display.

The Perret Tower is located opposite Amiens’ Gare du Nord railway station. The relit structure is now illuminated with LED-based grazing light, while metal-halide floodlights provide general lighting. The top of the tower features an illuminated glass cube consisting of 12 glass elements with controlled opacity. At its centre, 12 tri-neon lines fill the diffusing glass with changing coloured light.

Warm coloured light rises up from the base of the tower and goes up as far as the first terraces.

The outlines are emphasised by very warm light, which encourages people passing by to look up, and draws attention to the new architectural level.

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The movement of the hourglass begins as soon as night falls, and the rising light makes the tower appear to soar against the night-time sky.

At twilight, the light begins to shine softly, with a red glow, at the top. When the sun disappears completely, blue combines with the red, and the glass becomes less and less transparent and then increasingly opaque as the hours go by, thus marking the time and interpreting the night.

On the quarter hour, half hour and hour, the tower comes to life like a peal of bells striking out the time. Light rises up the tower, and the hourglass shines in a flood of light.

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1 Grazing lighting on the façade and roof – from fluorescent Norka luminaires

Town Hall and St. Petri Dom Bremen, Germany

2 LEDline2 accent lighting on the windows; Decoflood lighting on the roof 3 Ulrike Brandi’s lighting masterplan for Bremen city centre

Among the many historic buildings in the centre of Bremen, two really stand out – the Town Hall and St. Petri Dom, with its towers that can

4 Town Musicians – the famous statue behind the Town Hall

be seen from afar. A combination of floodlighting and accent lighting creates a spacious impression that is both three-dimensional

3

and well-structured.

Built between 1405 and 1408, Bremen Town Hall was declared a World Heritage site in 2004.

Its architecture and sculptures symbolise the town’s imperial and episcopal roots, as well as the power of the citizenry.

Based on old church buildings dating back to the 8th century, the St. Petri Dom was built in Romanesque style in the 11th and 12th century.

It was then renovated in Gothic style between the 13th and 16th century and extended in the 19th century.

In 2002, Bremen City Council commissioned a lighting masterplan for the city centre, which has since been implemented step by step. Besides the town hall and Dom, a number of other façades, squares and streets can now also be seen in a new light.

As the centrepiece of the city, the town hall side facing the market is illuminated by floodlighting, close-up lighting on the façade for ornaments and figures, light on the gable and light for the archways.

4

2 1

The lighting on the gable facing the Obernstrasse is designed to make the building stand out from a distance: a large area of brightness complements the relatively bright shopping street.

The Dom, with its extensive area of copper roof and two tall towers, is a characteristic feature of the urban skyline. Floodlights on the buildings opposite illuminate the tops of the towers.

On the side facing the Schoppensteel the lighting is geared to the smaller spaces: it is more subtle and makes a once gloomy area homely and welcoming. Direct light makes the stairway tower and the Bremen Town Musicians – the main feature on this side of the town hall – really stand out.

Particularly impressive is the backlit stainedglass rosette on the front of the Dom. The red and blue tones, which are otherwise only visible from the inside of the Dom on a sunny day, can now also be seen from the outside in the evening.

Illuminated windows and the emphasis on various figures give structure to the façade facing the Domshof and create the appropriate atmosphere. Thanks to the floodlighting and the illumination of the gable, this side of the town hall can be seen from a distance.

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The floodlighting of the front façade makes the Dom look even more majestic. The entrance portal is lit by direct light to make the goldplating above the doors glisten and shine.

Batten luminaires in the arches of the windows in the towers and in the lower part of the front of the Dom emphasise the three-dimensional nature of the building and break up the large expanse of façade that towers above. ■

Contracting authority: SWB Bremen Architect: Stadtplanung Bremen Masterplan and lighting design: Ulrike Brandi, Beatrice Seidt, Heike Siemers, Ulrike Brandi Licht, Hamburg, Germany Electrical installation and detailed design: SWB Bremen Philips support: Werner Litschke, Kolja Abendrot, Karl-Adolf Ebner, Klaus-Peter Krüger, Lighting, Germany Luminaires: Abele; Altstadt, Bega; Hahn; Meyer; Fulda, Spica, Norka; MiniDecoflood, Decoflood, LEDline2, Aimled, Philips; Sill; Siteco Lamps: CDM-R 35 W, CDM-T 35/70/150/250 W, Luxeon® LED, 1 W, white, Philips Photographer: Jörn Hustedt, Klaus-Peter Krüger Text: Beatrice Seidt Web: www.bremen.de; www.ulrike-brandi.de

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1 Grazing lighting on the façade and roof – from fluorescent Norka luminaires

Town Hall and St. Petri Dom Bremen, Germany

2 LEDline2 accent lighting on the windows; Decoflood lighting on the roof 3 Ulrike Brandi’s lighting masterplan for Bremen city centre

Among the many historic buildings in the centre of Bremen, two really stand out – the Town Hall and St. Petri Dom, with its towers that can

4 Town Musicians – the famous statue behind the Town Hall

be seen from afar. A combination of floodlighting and accent lighting creates a spacious impression that is both three-dimensional

3

and well-structured.

Built between 1405 and 1408, Bremen Town Hall was declared a World Heritage site in 2004.

Its architecture and sculptures symbolise the town’s imperial and episcopal roots, as well as the power of the citizenry.

Based on old church buildings dating back to the 8th century, the St. Petri Dom was built in Romanesque style in the 11th and 12th century.

It was then renovated in Gothic style between the 13th and 16th century and extended in the 19th century.

In 2002, Bremen City Council commissioned a lighting masterplan for the city centre, which has since been implemented step by step. Besides the town hall and Dom, a number of other façades, squares and streets can now also be seen in a new light.

As the centrepiece of the city, the town hall side facing the market is illuminated by floodlighting, close-up lighting on the façade for ornaments and figures, light on the gable and light for the archways.

4

2 1

The lighting on the gable facing the Obernstrasse is designed to make the building stand out from a distance: a large area of brightness complements the relatively bright shopping street.

The Dom, with its extensive area of copper roof and two tall towers, is a characteristic feature of the urban skyline. Floodlights on the buildings opposite illuminate the tops of the towers.

On the side facing the Schoppensteel the lighting is geared to the smaller spaces: it is more subtle and makes a once gloomy area homely and welcoming. Direct light makes the stairway tower and the Bremen Town Musicians – the main feature on this side of the town hall – really stand out.

Particularly impressive is the backlit stainedglass rosette on the front of the Dom. The red and blue tones, which are otherwise only visible from the inside of the Dom on a sunny day, can now also be seen from the outside in the evening.

Illuminated windows and the emphasis on various figures give structure to the façade facing the Domshof and create the appropriate atmosphere. Thanks to the floodlighting and the illumination of the gable, this side of the town hall can be seen from a distance.

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The floodlighting of the front façade makes the Dom look even more majestic. The entrance portal is lit by direct light to make the goldplating above the doors glisten and shine.

Batten luminaires in the arches of the windows in the towers and in the lower part of the front of the Dom emphasise the three-dimensional nature of the building and break up the large expanse of façade that towers above. ■

Contracting authority: SWB Bremen Architect: Stadtplanung Bremen Masterplan and lighting design: Ulrike Brandi, Beatrice Seidt, Heike Siemers, Ulrike Brandi Licht, Hamburg, Germany Electrical installation and detailed design: SWB Bremen Philips support: Werner Litschke, Kolja Abendrot, Karl-Adolf Ebner, Klaus-Peter Krüger, Lighting, Germany Luminaires: Abele; Altstadt, Bega; Hahn; Meyer; Fulda, Spica, Norka; MiniDecoflood, Decoflood, LEDline2, Aimled, Philips; Sill; Siteco Lamps: CDM-R 35 W, CDM-T 35/70/150/250 W, Luxeon® LED, 1 W, white, Philips Photographer: Jörn Hustedt, Klaus-Peter Krüger Text: Beatrice Seidt Web: www.bremen.de; www.ulrike-brandi.de

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Built on the Hill of San Lázaro, outside the fortified city of Cartagena, the Castle of San Felipe de Barajas was one of the most formidable defensive structures created by Spain’s military engineers in the New World. It defied all attempted invasions of the city by land or sea.

Its construction dates back to 1656.

The creation of new lighting for this fortress was an ambitious and complex project, given the historical importance of this building to the city and country. Politicians, restoration architects, lighting designers and lighting engineers worked together to establish the lighting guidelines for the project.

The lighting design had to create a nocturnal lighting effect complementary to the effect produced by daylight and highlight the imposing nature of the edifice, while at the same time respecting the antiquity and historical importance of the fortress. Furthermore, the lighting fixtures used were not to stand out or detract from the architecture.

It was decided to install the luminaires on the ground in order to emphasise the geometry and texture of the walls that encircle the castle.

The existing design had been based on 150 W and 250 W sodium reflector lamps, which

were mounted in housings with grilles, elements that reduced the light output and thus prevented the fortress from staying open after dark.

Contracting authority: Sociedad de Mejoras Públicas de Cartagena Lighting design: Rafael Garcia, Lighting, Philips Colombia Lighting design auditor: Carmenza Henao, Bogotá, Colombia Electrical installer: Electrocosta Philips support: Rafael García, Mauricio Villegas, Lighting, Colombia Luminaires: Olodum Maxi, Side; Fragata, Tempo 2, Tempo 3, Philips Light sources: SON-T 250W, SON-T PIA Plus 70/150 W, CDM-TD 70/150 W/942, Brilliant 50 W-12 V, Philips Photographer: Edgar Collá Text: Jannette Ballestas

Based on the design guidelines and various constraints, the walls and fortifications of the castle were bathed in warm (2000 K) high-pressure sodium light from 70 W and 150 W lamps, accentuating all of the vertices and creating an effect of light and shade.

Ground-recessed Olodum luminaires, with a mix of symmetrical and asymmetrical beams, were used for this.

Appropriate emphasis also had to be given to the castle’s intricate network of tunnels, galleries, uneven floors and traps that were designed for easy evacuation and distribution of provisions, and also as hiding places.

These architectural features were highlighted by Fragata ground-recessed luminaires with 50 W Brilliant halogen lamps.

The newly lit Castle of San Felipe de Barajas was re-opened to the public in November 2004, and formed an impressive sight on the nocturnal skyline of Cartagena during the local independence celebrations. ■

1

Castle of San Felipe de Barajas Cartagena de Indias, Colombia

3 1 Grazing lighting emphasises the geometry and texture of the castle

Cartagena is one of the world’s most beautiful cities and has been a World Heritage site since 1984. The Castle of San Felipe de Barajas is

2 General plan of the illumination, with luminaires along the walls

one of the largest and most extraordinary Spanish forts in the whole of the American continent. The castle lighting recently underwent a

3 Daytime view of the construction, which dates back to 1656

complete transformation.

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Built on the Hill of San Lázaro, outside the fortified city of Cartagena, the Castle of San Felipe de Barajas was one of the most formidable defensive structures created by Spain’s military engineers in the New World. It defied all attempted invasions of the city by land or sea.

Its construction dates back to 1656.

The creation of new lighting for this fortress was an ambitious and complex project, given the historical importance of this building to the city and country. Politicians, restoration architects, lighting designers and lighting engineers worked together to establish the lighting guidelines for the project.

The lighting design had to create a nocturnal lighting effect complementary to the effect produced by daylight and highlight the imposing nature of the edifice, while at the same time respecting the antiquity and historical importance of the fortress. Furthermore, the lighting fixtures used were not to stand out or detract from the architecture.

It was decided to install the luminaires on the ground in order to emphasise the geometry and texture of the walls that encircle the castle.

The existing design had been based on 150 W and 250 W sodium reflector lamps, which

were mounted in housings with grilles, elements that reduced the light output and thus prevented the fortress from staying open after dark.

Contracting authority: Sociedad de Mejoras Públicas de Cartagena Lighting design: Rafael Garcia, Lighting, Philips Colombia Lighting design auditor: Carmenza Henao, Bogotá, Colombia Electrical installer: Electrocosta Philips support: Rafael García, Mauricio Villegas, Lighting, Colombia Luminaires: Olodum Maxi, Side; Fragata, Tempo 2, Tempo 3, Philips Light sources: SON-T 250W, SON-T PIA Plus 70/150 W, CDM-TD 70/150 W/942, Brilliant 50 W-12 V, Philips Photographer: Edgar Collá Text: Jannette Ballestas

Based on the design guidelines and various constraints, the walls and fortifications of the castle were bathed in warm (2000 K) high-pressure sodium light from 70 W and 150 W lamps, accentuating all of the vertices and creating an effect of light and shade.

Ground-recessed Olodum luminaires, with a mix of symmetrical and asymmetrical beams, were used for this.

Appropriate emphasis also had to be given to the castle’s intricate network of tunnels, galleries, uneven floors and traps that were designed for easy evacuation and distribution of provisions, and also as hiding places.

These architectural features were highlighted by Fragata ground-recessed luminaires with 50 W Brilliant halogen lamps.

The newly lit Castle of San Felipe de Barajas was re-opened to the public in November 2004, and formed an impressive sight on the nocturnal skyline of Cartagena during the local independence celebrations. ■

1

Castle of San Felipe de Barajas Cartagena de Indias, Colombia

3 1 Grazing lighting emphasises the geometry and texture of the castle

Cartagena is one of the world’s most beautiful cities and has been a World Heritage site since 1984. The Castle of San Felipe de Barajas is

2 General plan of the illumination, with luminaires along the walls

one of the largest and most extraordinary Spanish forts in the whole of the American continent. The castle lighting recently underwent a

3 Daytime view of the construction, which dates back to 1656

complete transformation.

2

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Palazzo Vecchio Florence, Italy

The Palazzo Vecchio, famous for its frescoes and masterpieces of Renaissance art, has served for centuries as the political centre and the symbol of Florence. The city authorities decided to upgrade the lighting of this historic building, both in the interior and in the immediate surroundings.

1 The famous Piazza della Signoria in Florence 2 Decoflood luminaires with horizontal louvers and refractive glass 3 Warm light highlights the amber colour of the bricks of the Palazzo Vecchio 4 Lighting plan of the square, with luminaires on brackets to illuminate façades 5 Tower of the Palazzo Vecchio, viewed from the Piazza degli Uffizi

5

4

Palazzo Vecchio, a monument of exceptional artistic and historical importance, overlooks the Piazza della Signoria in Florence. This fortresspalace, with its distinctive rectangular tower and projecting crenellated battlement, was built between the thirteenth and sixteenth centuries.

In the sixteenth century it was converted into a sumptuous palace that was the residence of the Grand Duke of Tuscany, Cosimo I dé Medici.

It has always served as a seat of government and today houses the offices of the Mayor and city council of Florence.

Among the building’s many artistic treasures are its famous frescoes and masterpieces of Renaissance sculpture such as Michelangelo’s The Genius of Victory and Donatello’s Judith and Holofernes.

1

The local authorities decided to upgrade the lighting which dated from the 1970s and 1980s.

The project involved not only the exterior of the palace but also the clock tower and internal walkways, as well as the outdoor part of Piazza della Signoria.

This meant a solution with uniform unaccentuated lighting capable of highlighting the colours and the geometry of the building as naturally as possible.

For the outside of the palace the entire range of Decoflood floodlights was used, fitted with various optics that limit glare for people in the square. The floodlights were fitted with MASTER Colour lamps which, thanks to their warm light (3000 K), highlight the amber colour of the bricks on the façade. Decoflood floodlights were also used for the tower, with different optics depending on their position, together with an innovative CDO MASTER Colour Outdoor light adjustment system, specially developed to guarantee excellent colour rendering even at intermediate power levels. This solution satisfied the requirement for energy-saving and for different intensities of light during the day.

For walkways, where it was not necessary to have efficient colour rendering, fluorescent tubes, fitted into wrought-iron fixtures, were used so as not to affect the appearance of the architecture. ■

Contracting authority: Municipality of Florence Architect (piazza, palazzo): Ugo Scotti, Technical Office Palazzo Vecchio, Florence, Italy Architect (clock tower): Claudio Mastrodicasa, Technical Office Palazzo Vecchio, Florence, Italy Lighting design: Lorella Primavera, Marco Dipilato, LiDAC, Philips Italy Electrical installer (piazza, palazzo): SILFI SPA, Electrical installer (clock tower): Fanfani e Bandinelli SRL Philips support: Mauro Mori, Lighting, Italy Luminaires: Decoflood, Pacific, Philips Light sources: CDM-T, CDM-TD, Philips Photographer: Marco Maggioni Text: Lorella Primavera Web: www.comune.firenze.it

There was a clear need for improved colour rendering and a greater amount of light in Piazza della Signoria. However, in view of the historical and architectural importance of Florence, the lighting had to be fairly discreet.

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Palazzo Vecchio Florence, Italy

The Palazzo Vecchio, famous for its frescoes and masterpieces of Renaissance art, has served for centuries as the political centre and the symbol of Florence. The city authorities decided to upgrade the lighting of this historic building, both in the interior and in the immediate surroundings.

1 The famous Piazza della Signoria in Florence 2 Decoflood luminaires with horizontal louvers and refractive glass 3 Warm light highlights the amber colour of the bricks of the Palazzo Vecchio 4 Lighting plan of the square, with luminaires on brackets to illuminate façades 5 Tower of the Palazzo Vecchio, viewed from the Piazza degli Uffizi

5

4

Palazzo Vecchio, a monument of exceptional artistic and historical importance, overlooks the Piazza della Signoria in Florence. This fortresspalace, with its distinctive rectangular tower and projecting crenellated battlement, was built between the thirteenth and sixteenth centuries.

In the sixteenth century it was converted into a sumptuous palace that was the residence of the Grand Duke of Tuscany, Cosimo I dé Medici.

It has always served as a seat of government and today houses the offices of the Mayor and city council of Florence.

Among the building’s many artistic treasures are its famous frescoes and masterpieces of Renaissance sculpture such as Michelangelo’s The Genius of Victory and Donatello’s Judith and Holofernes.

1

The local authorities decided to upgrade the lighting which dated from the 1970s and 1980s.

The project involved not only the exterior of the palace but also the clock tower and internal walkways, as well as the outdoor part of Piazza della Signoria.

This meant a solution with uniform unaccentuated lighting capable of highlighting the colours and the geometry of the building as naturally as possible.

For the outside of the palace the entire range of Decoflood floodlights was used, fitted with various optics that limit glare for people in the square. The floodlights were fitted with MASTER Colour lamps which, thanks to their warm light (3000 K), highlight the amber colour of the bricks on the façade. Decoflood floodlights were also used for the tower, with different optics depending on their position, together with an innovative CDO MASTER Colour Outdoor light adjustment system, specially developed to guarantee excellent colour rendering even at intermediate power levels. This solution satisfied the requirement for energy-saving and for different intensities of light during the day.

For walkways, where it was not necessary to have efficient colour rendering, fluorescent tubes, fitted into wrought-iron fixtures, were used so as not to affect the appearance of the architecture. ■

Contracting authority: Municipality of Florence Architect (piazza, palazzo): Ugo Scotti, Technical Office Palazzo Vecchio, Florence, Italy Architect (clock tower): Claudio Mastrodicasa, Technical Office Palazzo Vecchio, Florence, Italy Lighting design: Lorella Primavera, Marco Dipilato, LiDAC, Philips Italy Electrical installer (piazza, palazzo): SILFI SPA, Electrical installer (clock tower): Fanfani e Bandinelli SRL Philips support: Mauro Mori, Lighting, Italy Luminaires: Decoflood, Pacific, Philips Light sources: CDM-T, CDM-TD, Philips Photographer: Marco Maggioni Text: Lorella Primavera Web: www.comune.firenze.it

There was a clear need for improved colour rendering and a greater amount of light in Piazza della Signoria. However, in view of the historical and architectural importance of Florence, the lighting had to be fairly discreet.

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The High Tech Campus Eindhoven covers an area of roughly one square kilometre.

Some 5,000 people of more than 75 different nationalities are employed on the site by various companies. There is extensive greenery and a low level of motorised traffic. It will soon be like a town in its own right.

Teamwork and interaction, as well as joint ventures and partnerships, are encouraged by the shared use of equipment, know-how and facilities on the site. Many of the shared facilities are housed in the Strip, an elongated building that forms the heart of the Campus, and an excellent place to hold a meeting or to sit and relax and have a bite to eat. Situated next to the Strip is the central lake that links the north and south sides of the Campus.

1 1 Juurlink + Geluk landscape masterplan for the Campus

4 ‘Mushroom’ stainless-steel bollard; cross section

2 Customised LED bollards along footpaths and cycle tracks

5 Aiming of the lighting (cross section) in the stainless-steel handrail

3 Custom-built LED lighting fixture in the bridge’s two handrails

6 Twelve white 1 W LEDs integrated per 1.66 metre segment

The lighting concept aims to create a hierarchy of light and dark zones on the Campus, rather than a uniform ‘blanket’ of light. Brighter lighting has been created in the car parks and on the footpaths that connect the buildings, while the adjacent greenery is only softly illuminated; the roads used by (low-speed) motorised traffic are not lit at all and instead employ retroreflectors.

2

High Tech Campus Eindhoven, Netherlands

The High Tech Campus Eindhoven has an international reputation for ground-breaking research and the development of innovative products and technologies. Appropriately for a facility renowned for being at the cutting edge, LEDs are a prominent feature of the lighting design.

Two bridges have been built across the lake to link the two parts of the site. One bridge is 75 metres long, the other is 105 metres in length. 3 A custom-built lighting fixture has been developed that illuminates the side of the bridge and the synthetic layer covering the walkway, producing a very special effect.

Twelve white 1 W LEDs per 1.66 metre segment have been integrated along the entire length of the stainless-steel handrail on each side of the bridge.

Lighting for orientation has been installed along the footpaths and cycle tracks. Tubular stainlesssteel luminaires with a flat cap, referred to as ‘mushrooms’, have been developed. Each ‘mushroom’ is 30 cm in height and incorporates ten cool-white 1 W LEDs. Light reflected off the underside of the cap shines downwards at an angle, thus creating a pool of light approximately 10 metres in diameter. In the long term, over 400 ‘mushrooms’ are to be installed.

4

The High Tech Campus Eindhoven has not yet been completed, but it is already clear that stateof-the-art LED technology will play an important part in the lighting of this high-tech environment. ■

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Contracting authority: Exploitatiemaatschappij High Tech Campus Landscape and urban design: Juurlink + Geluk, Rotterdam, Netherlands Lighting design: Har Hollands Lichtarchitect, Eindhoven, Netherlands Electrical installer: Rasenberg BV, v/d Linden BV Philips support: Arthur Koopman, Rob Tromp, Lighting, Netherlands SSL customised luminaires: Bridge handrail, LED mushroom, Philips Light sources: LUXEON® LED, 1 W, white, Philips Photographer: Hans van Stekelenburg Text: Har Hollands Web: www.jeng.nl; www.hollands.info

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The High Tech Campus Eindhoven covers an area of roughly one square kilometre.

Some 5,000 people of more than 75 different nationalities are employed on the site by various companies. There is extensive greenery and a low level of motorised traffic. It will soon be like a town in its own right.

Teamwork and interaction, as well as joint ventures and partnerships, are encouraged by the shared use of equipment, know-how and facilities on the site. Many of the shared facilities are housed in the Strip, an elongated building that forms the heart of the Campus, and an excellent place to hold a meeting or to sit and relax and have a bite to eat. Situated next to the Strip is the central lake that links the north and south sides of the Campus.

1 1 Juurlink + Geluk landscape masterplan for the Campus

4 ‘Mushroom’ stainless-steel bollard; cross section

2 Customised LED bollards along footpaths and cycle tracks

5 Aiming of the lighting (cross section) in the stainless-steel handrail

3 Custom-built LED lighting fixture in the bridge’s two handrails

6 Twelve white 1 W LEDs integrated per 1.66 metre segment

The lighting concept aims to create a hierarchy of light and dark zones on the Campus, rather than a uniform ‘blanket’ of light. Brighter lighting has been created in the car parks and on the footpaths that connect the buildings, while the adjacent greenery is only softly illuminated; the roads used by (low-speed) motorised traffic are not lit at all and instead employ retroreflectors.

2

High Tech Campus Eindhoven, Netherlands

The High Tech Campus Eindhoven has an international reputation for ground-breaking research and the development of innovative products and technologies. Appropriately for a facility renowned for being at the cutting edge, LEDs are a prominent feature of the lighting design.

Two bridges have been built across the lake to link the two parts of the site. One bridge is 75 metres long, the other is 105 metres in length. 3 A custom-built lighting fixture has been developed that illuminates the side of the bridge and the synthetic layer covering the walkway, producing a very special effect.

Twelve white 1 W LEDs per 1.66 metre segment have been integrated along the entire length of the stainless-steel handrail on each side of the bridge.

Lighting for orientation has been installed along the footpaths and cycle tracks. Tubular stainlesssteel luminaires with a flat cap, referred to as ‘mushrooms’, have been developed. Each ‘mushroom’ is 30 cm in height and incorporates ten cool-white 1 W LEDs. Light reflected off the underside of the cap shines downwards at an angle, thus creating a pool of light approximately 10 metres in diameter. In the long term, over 400 ‘mushrooms’ are to be installed.

4

The High Tech Campus Eindhoven has not yet been completed, but it is already clear that stateof-the-art LED technology will play an important part in the lighting of this high-tech environment. ■

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Contracting authority: Exploitatiemaatschappij High Tech Campus Landscape and urban design: Juurlink + Geluk, Rotterdam, Netherlands Lighting design: Har Hollands Lichtarchitect, Eindhoven, Netherlands Electrical installer: Rasenberg BV, v/d Linden BV Philips support: Arthur Koopman, Rob Tromp, Lighting, Netherlands SSL customised luminaires: Bridge handrail, LED mushroom, Philips Light sources: LUXEON® LED, 1 W, white, Philips Photographer: Hans van Stekelenburg Text: Har Hollands Web: www.jeng.nl; www.hollands.info

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Werkhuizenkaai Laken, Belgium

Werkhuizenkaai is a port district situated north-west of the centre of Brussels. A grey industrial zone housing several construction commodities plants, the area required dramatic relighting.

1

2 1 Luminaires installed opposite each other at a height of 9 metres, providing 2.20 cd/m2 average luminance

Werkhuizenkaai is located in Laken, which became part of Brussels in 1921, alongside the canal between Charleroi and Willebroek.

The industrialised zone contrasts sharply with the Belgian royal family’s green, walled estate on the opposite bank.

There is a fruit and vegetable market, customs facilities and a number of industrial plants on Werkhuizenkaai, the latter principally producing construction commodities such as concrete and cement. Many of these operate around the clock. The area was in urgent need of relighting, both to ensure 24-hour road safety for those driving to and from the plants and generally to improve conditions on this important access route to Brussels.

driven by the latest generation of electronic gear and incorporated in a miniaturised optic: the CosmoR. The CosmoR optic allows optimal spacing and provides light exactly where it is needed, thereby reducing light pollution.

On Werkhuizenkaai, the result is an energysaving installation that creates optimum visual conditions for those using the roads to and from the various plants in the area. The high uniformity and low levels of glare produced ensure maximum visual comfort, and so help to reduce driver fatigue. ■

2 CosmoWhite 60 W lamp (warm white) in the MiniMilewide luminaires for pedestrians

3 Milewide luminaire with 1.20 m overhang and SON-T Comfort 150 W lamp

Contracting authority: Marc Baeten, Brussels Hoofdstedelijk Gewest Electrical installer: V.S.E. Philips support: Patrick Van Der Veken, Lighting, Belgium Luminaires: Milewide, MiniMilewide, Philips Light sources: CosmoWhite 60 W, SON-T Comfort 150 W, Philips Photographer: Rens van Mierlo, Korff & van Mierlo Text: Patrick Van Der Veken Web: www.bruxelles.irisnet.be/nl/region.shtml

It was decided to install 185 Milewide luminaires with 150 W high-pressure sodium lamps, as well as 65 MiniMilewide luminaires featuring the CosmoWhite 60 W lamp.

The bright natural white light of this CosmoPolis lamp does not just help to create an attractive night-time ambience – it boosts road safety by improving off-axis/peripheral visibility, allowing earlier detection of objects at off-axis angles.

CosmoPolis is a complete, energy-efficient system featuring new lamp technology specially developed for outdoor lighting, 3

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Werkhuizenkaai Laken, Belgium

Werkhuizenkaai is a port district situated north-west of the centre of Brussels. A grey industrial zone housing several construction commodities plants, the area required dramatic relighting.

1

2 1 Luminaires installed opposite each other at a height of 9 metres, providing 2.20 cd/m2 average luminance

Werkhuizenkaai is located in Laken, which became part of Brussels in 1921, alongside the canal between Charleroi and Willebroek.

The industrialised zone contrasts sharply with the Belgian royal family’s green, walled estate on the opposite bank.

There is a fruit and vegetable market, customs facilities and a number of industrial plants on Werkhuizenkaai, the latter principally producing construction commodities such as concrete and cement. Many of these operate around the clock. The area was in urgent need of relighting, both to ensure 24-hour road safety for those driving to and from the plants and generally to improve conditions on this important access route to Brussels.

driven by the latest generation of electronic gear and incorporated in a miniaturised optic: the CosmoR. The CosmoR optic allows optimal spacing and provides light exactly where it is needed, thereby reducing light pollution.

On Werkhuizenkaai, the result is an energysaving installation that creates optimum visual conditions for those using the roads to and from the various plants in the area. The high uniformity and low levels of glare produced ensure maximum visual comfort, and so help to reduce driver fatigue. ■

2 CosmoWhite 60 W lamp (warm white) in the MiniMilewide luminaires for pedestrians

3 Milewide luminaire with 1.20 m overhang and SON-T Comfort 150 W lamp

Contracting authority: Marc Baeten, Brussels Hoofdstedelijk Gewest Electrical installer: V.S.E. Philips support: Patrick Van Der Veken, Lighting, Belgium Luminaires: Milewide, MiniMilewide, Philips Light sources: CosmoWhite 60 W, SON-T Comfort 150 W, Philips Photographer: Rens van Mierlo, Korff & van Mierlo Text: Patrick Van Der Veken Web: www.bruxelles.irisnet.be/nl/region.shtml

It was decided to install 185 Milewide luminaires with 150 W high-pressure sodium lamps, as well as 65 MiniMilewide luminaires featuring the CosmoWhite 60 W lamp.

The bright natural white light of this CosmoPolis lamp does not just help to create an attractive night-time ambience – it boosts road safety by improving off-axis/peripheral visibility, allowing earlier detection of objects at off-axis angles.

CosmoPolis is a complete, energy-efficient system featuring new lamp technology specially developed for outdoor lighting, 3

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4 1 1 - 2 Custom-built Nirosta tunnel luminaires with SON-T lamps

S1 orbital motorway

3

Iridium road luminaires, mounting height 12 metres, central twin bracket

4

Folded aluminium sheet hung over bridge railing, alternately floodlit red and blue

Vienna, Austria

The S1, the new four-lane section of orbital motorway linking the A4 motorway east of Vienna and the A2 motorway to the south, was opened to traffic at the end of April 2006. A complete lighting installation had to be provided for the road, including its five tunnels.

3

The S1 section of orbital motorway was built to relieve congestion on Vienna’s south-east tangent and the road network in the south of the Austrian capital. A lot of long-distance traffic will now be able to by-pass the city.

The whole of this 16.2-km-long section of road has been illuminated by 1,050 Iridium roadlighting luminaires, which offer state-of-the-art lighting technology, contemporary design and future-proof modularity. Optimised for mounting at heights between 4 and 12 metres, they are suitable for efficient illumination of main thoroughfares and minor roads as well as street lighting in residential areas.

About a quarter of the road is made up of five tunnels, for which 2,400 luminaires were installed, providing uniformly high lighting quality, without glare, both inside the tunnels and on the approaches to them. The luminaires used are Nirosta high-grade steel luminaires that were custom-built for the project and had to meet the special safety requirements and construction regulations for tunnel lighting in Austria. The tunnel lighting also includes orientation lighting for the hard shoulder.

The lamps used on the whole section of the motorway are high-pressure sodium discharge lamps.

An interesting new feature of the S1 motorway is the design of the bridge structures, with the use of ‘kinetic fields’ – a folded aluminium sheet construction hung in front of the bridge railing.

Depending on the position of the sun, the surfaces of this railing create an interplay of light and shade, changing constantly during the hours of daylight and continuing at night when artificial light shines on them. The artificial lighting is provided by 750 Isolux luminaires with oval reflector incorporating, alternately, red and blue fluorescent lamps. ■

Contracting authority: ASFINAG Lighting design: Ingenieurbüro Demetz, Tyrol, Austria Lighting calculation: Ingenieurbüro Hopferwieser, Salzburg, Austria Electrical installer: ATG Thalgau Philips support: Günter Sedlacek, Dieter Schlüter, Günter Epp, Michael Smith, Lighting DACH Luminaires: Iridium SGS253, SRX-V4A-DD-3421, Pacific/Isolux HFK, FWOL 224, Philips Light sources: SON-T 400/250/150/70 W, MASTER PL-L 240 W/830, 58 W HFR, Philips Photographer: Erwin Sattler Text: Alexander Tarzi Web: www.philips.at/leuchten

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4 1 1 - 2 Custom-built Nirosta tunnel luminaires with SON-T lamps

S1 orbital motorway

3

Iridium road luminaires, mounting height 12 metres, central twin bracket

4

Folded aluminium sheet hung over bridge railing, alternately floodlit red and blue

Vienna, Austria

The S1, the new four-lane section of orbital motorway linking the A4 motorway east of Vienna and the A2 motorway to the south, was opened to traffic at the end of April 2006. A complete lighting installation had to be provided for the road, including its five tunnels.

3

The S1 section of orbital motorway was built to relieve congestion on Vienna’s south-east tangent and the road network in the south of the Austrian capital. A lot of long-distance traffic will now be able to by-pass the city.

The whole of this 16.2-km-long section of road has been illuminated by 1,050 Iridium roadlighting luminaires, which offer state-of-the-art lighting technology, contemporary design and future-proof modularity. Optimised for mounting at heights between 4 and 12 metres, they are suitable for efficient illumination of main thoroughfares and minor roads as well as street lighting in residential areas.

About a quarter of the road is made up of five tunnels, for which 2,400 luminaires were installed, providing uniformly high lighting quality, without glare, both inside the tunnels and on the approaches to them. The luminaires used are Nirosta high-grade steel luminaires that were custom-built for the project and had to meet the special safety requirements and construction regulations for tunnel lighting in Austria. The tunnel lighting also includes orientation lighting for the hard shoulder.

The lamps used on the whole section of the motorway are high-pressure sodium discharge lamps.

An interesting new feature of the S1 motorway is the design of the bridge structures, with the use of ‘kinetic fields’ – a folded aluminium sheet construction hung in front of the bridge railing.

Depending on the position of the sun, the surfaces of this railing create an interplay of light and shade, changing constantly during the hours of daylight and continuing at night when artificial light shines on them. The artificial lighting is provided by 750 Isolux luminaires with oval reflector incorporating, alternately, red and blue fluorescent lamps. ■

Contracting authority: ASFINAG Lighting design: Ingenieurbüro Demetz, Tyrol, Austria Lighting calculation: Ingenieurbüro Hopferwieser, Salzburg, Austria Electrical installer: ATG Thalgau Philips support: Günter Sedlacek, Dieter Schlüter, Günter Epp, Michael Smith, Lighting DACH Luminaires: Iridium SGS253, SRX-V4A-DD-3421, Pacific/Isolux HFK, FWOL 224, Philips Light sources: SON-T 400/250/150/70 W, MASTER PL-L 240 W/830, 58 W HFR, Philips Photographer: Erwin Sattler Text: Alexander Tarzi Web: www.philips.at/leuchten

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Mdina Gate Mdina, Malta

The Mdina Gate, the entrance to the medieval capital of Malta, is one of the oldest city gates still standing in full splendour in Europe.

LED-based grazing light has been used to highlight the beauty of this historic monument – a case of the modern enhancing the old.

Mdina rises above central Malta, its bastions and cathedral dome dominating the skyline. The Mdina Gate was erected in 1724. Several years ago the Maltese government embarked on a city beautification project, which included a lighting plan. The Mdina Gate was one façade which merited particular attention.

The gate is predominantly lit with warm light that very much suits the sandy-coloured Maltese limestone. This was achieved with ceramic metal-halide sources (3200 K) recessed in the ground and placed between the columns, and with linear Xenon sources placed on the cornices in the two tiers. LEDline2 was chosen for the protruding columns and upper coat of arms.

Client: Mdina Rehabilitation Project Malta Contracting authority: Ministry for Resources and Infrastructure, Malta Lighting design: Stephen Buttigieg, SB lighting concepts, Malta Electrical installer: Central Power Installations, Malta Distributor and technical support: Patrick Wirth, Aplan Ltd, Malta Philips support: Timir Mohanty, Patricia Beks, Dennis Maas, Lighting, Middle East Luminaires: LEDline2, Philips; Icare compact, Exterior Vert; Xenon fittings, Agabekov Light sources: LUXEON® LED, 1 W, white, CDM-TC, Philips Photographer: Kurt Arrigo Text: Stephen Buttigieg, Patrick Wirth Web: www.sblightingconcepts.com

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LEDline proved very effective at highlighting the ribbed column structure and the intricacies within the ribs. The main columns are 90 cm wide. Each was lit with two 30 cm LEDlines (2 x3°, white), rather than one 60 cm model.

This solution was preferred as the 30 cm luminaires were each set at a slightly different angle to cover different parts of the 7 m-high column.

The LEDlines are controlled with a 1-10 V dimmer and set to 50% light output, toning down the contrast between the luminaire’s cold colour temperature (5000 K) and high lumen output and the rest of the warmly lit façade.

Site constraints also influenced the choice of luminaires. In particular, the sensitivity of the historical stone structure called for minimal intervention and for luminaires with little or no visual impact. In this respect the slim lightweight profile of LEDline was ideal.

The luminaires were also camouflaged by applying a stone-colour paint to their housing.

Since the columns overlook a 15 m ditch, the luminaires could only be installed using a crane placed on the bridge leading to the main entrance. This involved closing the main entrance to the city and suspending workmen in a cage from the crane, a cumbersome and costly process. Thus it was imperative that the luminaires should be maintenance-free. Again, LEDline’s 50,000 hours lifetime proved ideal. ■

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Mdina Gate Mdina, Malta

The Mdina Gate, the entrance to the medieval capital of Malta, is one of the oldest city gates still standing in full splendour in Europe.

LED-based grazing light has been used to highlight the beauty of this historic monument – a case of the modern enhancing the old.

Mdina rises above central Malta, its bastions and cathedral dome dominating the skyline. The Mdina Gate was erected in 1724. Several years ago the Maltese government embarked on a city beautification project, which included a lighting plan. The Mdina Gate was one façade which merited particular attention.

The gate is predominantly lit with warm light that very much suits the sandy-coloured Maltese limestone. This was achieved with ceramic metal-halide sources (3200 K) recessed in the ground and placed between the columns, and with linear Xenon sources placed on the cornices in the two tiers. LEDline2 was chosen for the protruding columns and upper coat of arms.

Client: Mdina Rehabilitation Project Malta Contracting authority: Ministry for Resources and Infrastructure, Malta Lighting design: Stephen Buttigieg, SB lighting concepts, Malta Electrical installer: Central Power Installations, Malta Distributor and technical support: Patrick Wirth, Aplan Ltd, Malta Philips support: Timir Mohanty, Patricia Beks, Dennis Maas, Lighting, Middle East Luminaires: LEDline2, Philips; Icare compact, Exterior Vert; Xenon fittings, Agabekov Light sources: LUXEON® LED, 1 W, white, CDM-TC, Philips Photographer: Kurt Arrigo Text: Stephen Buttigieg, Patrick Wirth Web: www.sblightingconcepts.com

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LEDline proved very effective at highlighting the ribbed column structure and the intricacies within the ribs. The main columns are 90 cm wide. Each was lit with two 30 cm LEDlines (2 x3°, white), rather than one 60 cm model.

This solution was preferred as the 30 cm luminaires were each set at a slightly different angle to cover different parts of the 7 m-high column.

The LEDlines are controlled with a 1-10 V dimmer and set to 50% light output, toning down the contrast between the luminaire’s cold colour temperature (5000 K) and high lumen output and the rest of the warmly lit façade.

Site constraints also influenced the choice of luminaires. In particular, the sensitivity of the historical stone structure called for minimal intervention and for luminaires with little or no visual impact. In this respect the slim lightweight profile of LEDline was ideal.

The luminaires were also camouflaged by applying a stone-colour paint to their housing.

Since the columns overlook a 15 m ditch, the luminaires could only be installed using a crane placed on the bridge leading to the main entrance. This involved closing the main entrance to the city and suspending workmen in a cage from the crane, a cumbersome and costly process. Thus it was imperative that the luminaires should be maintenance-free. Again, LEDline’s 50,000 hours lifetime proved ideal. ■

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Sports

Emirates Stadium London, United Kingdom

The strikingly designed Emirates Stadium, the new home of Arsenal Football Club, is situated in north London less than 500 metres from the club’s former ground. A noteworthy feature of the stadium lighting is that it is incorporated into the roof structure, thus avoiding the need for masts.

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Arsenal Football Club was formed in 1888 as Woolwich Arsenal. It moved from its original home in south-east London to Highbury in north London in 1913. The recent relocation to the world-class, 60,000-seat Emirates Stadium was prompted by the desire to take this renowned football club into a new era of even greater success. Architecturally, the aim was not to design the biggest stadium, but “the most beautiful” one.

The shape of the stadium is an ellipse rather than the traditional rectangle. The four-tiered seating bowl has a dramatic curved shape rather like a double saddle, with the compass points (N, S, E and W) rising higher than its corners.

The roof has been designed to accentuate the sweeping curves of the bowl by offsetting it with an exact horizontal eaves line. This is enhanced by the lighting of the roof and cores, providing added drama to the architectural form. The elliptical roof takes the form of a dish suspended above the seating bowl. Its underside is clad with metallic panels, producing a seamless finish that gives the roof a monolithic appearance. The design, incorporating skylights and polycarbonate sheeting, also maximises the amount of sunlight reaching the pitch.

The roof is supported by two large trusses, triangular in section and constructed of welded tubular steel. In addition to the main trusses,

two secondary trusses, more modest in scale, span in an east-west direction between the remaining four cores. As well as accentuating the curves of the bowl, the horizontal eaves reduce the visual impact of these trusses.

The stadium has been designed to incorporate passive environmental systems such as mixedmode ventilation. By using the inherent mass of the structure combined with natural ventilation, the stadium can be passively heated or cooled.

Other passive systems, such as the use of solar glass to reduce solar gain while maximising the incidence of natural daylight, have been incorporated to keep energy usage to a minimum.

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Sports

Emirates Stadium London, United Kingdom

The strikingly designed Emirates Stadium, the new home of Arsenal Football Club, is situated in north London less than 500 metres from the club’s former ground. A noteworthy feature of the stadium lighting is that it is incorporated into the roof structure, thus avoiding the need for masts.

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Arsenal Football Club was formed in 1888 as Woolwich Arsenal. It moved from its original home in south-east London to Highbury in north London in 1913. The recent relocation to the world-class, 60,000-seat Emirates Stadium was prompted by the desire to take this renowned football club into a new era of even greater success. Architecturally, the aim was not to design the biggest stadium, but “the most beautiful” one.

The shape of the stadium is an ellipse rather than the traditional rectangle. The four-tiered seating bowl has a dramatic curved shape rather like a double saddle, with the compass points (N, S, E and W) rising higher than its corners.

The roof has been designed to accentuate the sweeping curves of the bowl by offsetting it with an exact horizontal eaves line. This is enhanced by the lighting of the roof and cores, providing added drama to the architectural form. The elliptical roof takes the form of a dish suspended above the seating bowl. Its underside is clad with metallic panels, producing a seamless finish that gives the roof a monolithic appearance. The design, incorporating skylights and polycarbonate sheeting, also maximises the amount of sunlight reaching the pitch.

The roof is supported by two large trusses, triangular in section and constructed of welded tubular steel. In addition to the main trusses,

two secondary trusses, more modest in scale, span in an east-west direction between the remaining four cores. As well as accentuating the curves of the bowl, the horizontal eaves reduce the visual impact of these trusses.

The stadium has been designed to incorporate passive environmental systems such as mixedmode ventilation. By using the inherent mass of the structure combined with natural ventilation, the stadium can be passively heated or cooled.

Other passive systems, such as the use of solar glass to reduce solar gain while maximising the incidence of natural daylight, have been incorporated to keep energy usage to a minimum.

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The stadium floodlights, designed to meet UEFA standards and provide optimum viewing conditions both for spectators and for those watching on television, are incorporated into the roof structure, along the leading edge, thus avoiding the need for masts.

The efficient design uses 188 ArenaVision 2000 W luminaires – a single continuous row of 64 luminaires mounted on each of the stand roofs parallel to the main touchlines, together with 15 at each corner of the goal-end stands – to achieve 1,400 lux towards main and secondary cameras. With this symmetrical lighting configuration, a very uniform level of illumination is achieved horizontally on the pitch as well as vertically for players and TV cameras.

The length and hardness of shadows is also reduced with this lighting method.

Great care was taken to ensure that not only was the right light level achieved, but also other lighting quality factors which are key to achieving a good result. For example, FIFA’s 15° ‘no go zone’ requirement has been observed in the positioning of all floodlights. This allows optimum visual conditions for the goalkeeper and attacking players at corner kicks, as floodlights will not be in their direct field of view.

1

As well as the above-mentioned high levels of uniformity, the use of lamps with excellent colour rendering and consistent colour temperature control was essential to obtain smooth, high-quality television images.

3

To ensure continuity of play and for television coverage, a hot re-strike system was incorporated.

This enables the HID lamps to be re-started quickly and thus avoids the need to wait up to 15 minutes for the lamps to cool before continuing. Back-up generators can provide power to more than 50 per cent of the floodlights in the event of a power failure.

The floodlit glass and steel construction enhances the Emirates Stadium as a landmark piece of architecture and an impressive feature of the north London skyline. The Ashburton Grove site, which apart from the stadium will see considerable regeneration, including new housing, not only reflects the aspirations of Arsenal Football Club, but forms an essential part of the developing urban fabric. ■

4 Contracting authority: Arsenal Football Club Architect: HOK sport architecture, London, UK Main contractor: Sir Robert McAlpine Lighting design: Anthony Collett, LiDAC, Philips, UK Electrical installer: Goodmarriot & Hursthouse Ltd Philips support: Tim Higgs, Andrew Poplett, Lighting Solutions, UK Luminaires: MVF403, Philips Light sources: MHN-SA 2 kW, Philips Photographer: HOK sport architecture; David Goddard, Getty Images, AFP; Arsenal Football Club, Stuart McFarlane, David Price Text: Barry Lowe, Matthew Cobham Web: www.arsenal.com; www.hoksve.com

2

1 The elliptical roof takes the form of a dish suspended above the seating bowl 2 The floodlights are incorporated into the roof structure, along the leading edge, at a height of 25 m 3 The Emirates Stadium has seats for 60,000 spectators 4 Night view of the Emirates Stadium during the UEFA Champions League qualifier between Arsenal and Dinamo Zagreb on August 23, 2006

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The stadium floodlights, designed to meet UEFA standards and provide optimum viewing conditions both for spectators and for those watching on television, are incorporated into the roof structure, along the leading edge, thus avoiding the need for masts.

The efficient design uses 188 ArenaVision 2000 W luminaires – a single continuous row of 64 luminaires mounted on each of the stand roofs parallel to the main touchlines, together with 15 at each corner of the goal-end stands – to achieve 1,400 lux towards main and secondary cameras. With this symmetrical lighting configuration, a very uniform level of illumination is achieved horizontally on the pitch as well as vertically for players and TV cameras.

The length and hardness of shadows is also reduced with this lighting method.

Great care was taken to ensure that not only was the right light level achieved, but also other lighting quality factors which are key to achieving a good result. For example, FIFA’s 15° ‘no go zone’ requirement has been observed in the positioning of all floodlights. This allows optimum visual conditions for the goalkeeper and attacking players at corner kicks, as floodlights will not be in their direct field of view.

1

As well as the above-mentioned high levels of uniformity, the use of lamps with excellent colour rendering and consistent colour temperature control was essential to obtain smooth, high-quality television images.

3

To ensure continuity of play and for television coverage, a hot re-strike system was incorporated.

This enables the HID lamps to be re-started quickly and thus avoids the need to wait up to 15 minutes for the lamps to cool before continuing. Back-up generators can provide power to more than 50 per cent of the floodlights in the event of a power failure.

The floodlit glass and steel construction enhances the Emirates Stadium as a landmark piece of architecture and an impressive feature of the north London skyline. The Ashburton Grove site, which apart from the stadium will see considerable regeneration, including new housing, not only reflects the aspirations of Arsenal Football Club, but forms an essential part of the developing urban fabric. ■

4 Contracting authority: Arsenal Football Club Architect: HOK sport architecture, London, UK Main contractor: Sir Robert McAlpine Lighting design: Anthony Collett, LiDAC, Philips, UK Electrical installer: Goodmarriot & Hursthouse Ltd Philips support: Tim Higgs, Andrew Poplett, Lighting Solutions, UK Luminaires: MVF403, Philips Light sources: MHN-SA 2 kW, Philips Photographer: HOK sport architecture; David Goddard, Getty Images, AFP; Arsenal Football Club, Stuart McFarlane, David Price Text: Barry Lowe, Matthew Cobham Web: www.arsenal.com; www.hoksve.com

2

1 The elliptical roof takes the form of a dish suspended above the seating bowl 2 The floodlights are incorporated into the roof structure, along the leading edge, at a height of 25 m 3 The Emirates Stadium has seats for 60,000 spectators 4 Night view of the Emirates Stadium during the UEFA Champions League qualifier between Arsenal and Dinamo Zagreb on August 23, 2006

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competition level of Eh 1,200 lux and Ev 1,400 lux.

Lighting for colour TV transmission is required to produce the same levels and uniformity in all vertical planes facing the camera. In addition, the colour rendering criteria are met through the use of lamps with an index of 90.

The new Real Madrid Sports City is the most advanced development project ever undertaken by the club, a fitting tribute to its first 100 years and the perfect foundation for a second century of sporting excellence. ■

Of the remaining pitches, three have lighting designed to provide a competition level of Eh 500 lux, while six others have lighting that delivers a training level of Eh 200 lux.

Real Madrid Sports City Madrid, Spain

This state-of-the-art sports and leisure facility on the outskirts of the Spanish capital pays homage to Real Madrid’s illustrious past, including its centenary in 2002. The impressive lighting installation allows the players, club partners and fans to follow the action in ideal visual conditions.

The 1,200,000 m2 Real Madrid Sports City has areas dedicated to professional football and basketball. There is also a small stadium with a capacity for 7,500 spectators. The sports area has a total playing surface of 326,498 m2 and a built-up area of 21,578 m2. A colossal T-form building has 9,000 m2 of space, which contains cloakrooms, gymnasiums, lecture theatres, conference rooms, offices, a hydrotherapy and medical centre, media facilities, etc. There are ten natural and artificial grass football pitches surrounded by stands with capacity for over 11,000 spectators.

Because of its location close to Madrid airport, the lighting factor is particularly relevant, not only for participants and spectators, but also for the neighbourhood. The lighting project involved installing 358 ArenaVision floodlights distributed over the ten pitches. In the ‘Alfredo Diestefano’ mini-stadium, 152 ArenaVision floodlights have been mounted on four posts 19 m high, and in a 13 m canopy. This provides the three levels of lighting required, i.e. a training level of Eh 250 lux, a national competition level of Eh 550 lux, and a broadcast-grade, international

2

3

1 1 Aerial view of the Sports City 2 Luminaires mounted on 19 m-high masts in the ‘Alfredo Diestefano’ mini-stadium 3 The average horizontal lighting for the training fields is 200 and 500 lux respectively

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Contracting authority: Real Madrid Club de Futbol Architect: Antonio Lamela, Madrid, Spain Lighting design: J. Luis Segundo, Proteico, Madrid, Spain Electrical installer: Espelsa Tecnocontrol Philips support: Miguel A. Alvarez, Mauricio De Ramon, Alfonso Saiz, Lighting, Spain Luminaires: MVF403 HR, FBW501, Philips Light sources: MHN-SA 2 kW, MHN-LA 1 kW, PL-C 18 W, Philips Photographer: Miguelez FotoSports Text: Francisco G. Aguilar Web: www.realmadrid.com

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competition level of Eh 1,200 lux and Ev 1,400 lux.

Lighting for colour TV transmission is required to produce the same levels and uniformity in all vertical planes facing the camera. In addition, the colour rendering criteria are met through the use of lamps with an index of 90.

The new Real Madrid Sports City is the most advanced development project ever undertaken by the club, a fitting tribute to its first 100 years and the perfect foundation for a second century of sporting excellence. ■

Of the remaining pitches, three have lighting designed to provide a competition level of Eh 500 lux, while six others have lighting that delivers a training level of Eh 200 lux.

Real Madrid Sports City Madrid, Spain

This state-of-the-art sports and leisure facility on the outskirts of the Spanish capital pays homage to Real Madrid’s illustrious past, including its centenary in 2002. The impressive lighting installation allows the players, club partners and fans to follow the action in ideal visual conditions.

The 1,200,000 m2 Real Madrid Sports City has areas dedicated to professional football and basketball. There is also a small stadium with a capacity for 7,500 spectators. The sports area has a total playing surface of 326,498 m2 and a built-up area of 21,578 m2. A colossal T-form building has 9,000 m2 of space, which contains cloakrooms, gymnasiums, lecture theatres, conference rooms, offices, a hydrotherapy and medical centre, media facilities, etc. There are ten natural and artificial grass football pitches surrounded by stands with capacity for over 11,000 spectators.

Because of its location close to Madrid airport, the lighting factor is particularly relevant, not only for participants and spectators, but also for the neighbourhood. The lighting project involved installing 358 ArenaVision floodlights distributed over the ten pitches. In the ‘Alfredo Diestefano’ mini-stadium, 152 ArenaVision floodlights have been mounted on four posts 19 m high, and in a 13 m canopy. This provides the three levels of lighting required, i.e. a training level of Eh 250 lux, a national competition level of Eh 550 lux, and a broadcast-grade, international

2

3

1 1 Aerial view of the Sports City 2 Luminaires mounted on 19 m-high masts in the ‘Alfredo Diestefano’ mini-stadium 3 The average horizontal lighting for the training fields is 200 and 500 lux respectively

62

Contracting authority: Real Madrid Club de Futbol Architect: Antonio Lamela, Madrid, Spain Lighting design: J. Luis Segundo, Proteico, Madrid, Spain Electrical installer: Espelsa Tecnocontrol Philips support: Miguel A. Alvarez, Mauricio De Ramon, Alfonso Saiz, Lighting, Spain Luminaires: MVF403 HR, FBW501, Philips Light sources: MHN-SA 2 kW, MHN-LA 1 kW, PL-C 18 W, Philips Photographer: Miguelez FotoSports Text: Francisco G. Aguilar Web: www.realmadrid.com

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Yunlin Baseball Stadium is eventually to be developed into a multifunctional venue for competitive and recreational sport and for cultural events. The area under the spectator seating is to be utilised for shops to promote the region’s agricultural products, while the spaces around the stadium will be used to stage various events.

The lighting project for the stadium, from design and planning to actual commissioning, covered a period of two years. Not the least of the problems was having to install and align the floodlights during a typhoon. Providing appropriate lighting for the stadium also meant meeting the highest requirements of television broadcasting. Factors that had to be taken into account therefore included the standard horizontal and vertical illuminance, beam control, uniformity of light distribution, and colour rendering.

1

ArenaVision luminaires proved to be a very efficient solution. The initial design provided for eight masts with 360 luminaires containing 2000 W metal-halide lamps. Calculations showed, however, that only 288 luminaires were needed to meet international standards, using four 40-metre-high masts and 120 luminaires mounted on the 25-metre-high stand roof.

Various configurations can be used for the different requirements of regular matches and practice sessions, as well as TV broadcasting.

More than 10% of the luminaires are hot-restrike versions that are connected to a power generator to guarantee minimum illuminance in an emergency situation.

Finally, infrared precision-aiming devices ensured that optimum lighting conditions were created in Yunlin Stadium, which will host about sixty professional baseball games a year. ■

1 Some of the luminaires are installed on the 25 m-high stand roof…

2

2 … while the rest are mounted on four poles 40 m high 3 The lighting installation meets the highest requirements of TV broadcasting …

Yunlin Baseball Stadium

4 … while limiting light nuisance, thanks to the ArenaVision luminaire

Douliu, Yunlin, Taiwan

Yunlin Baseball Stadium, opened in September 2005, has a spectator

3 Contracting authority: Yunlin County Hall Architect: H.C. Chen, H.C. Chen Architects & Associates, Taipei City, Taiwan Lighting design: Kuan Kuan, LiDAC, Philips Taiwan Electrical installer: H.C. Chen Architects & Associates Philips support: Lawrence Huang, Lighting, Taiwan Luminaires: MVF403, Philips Light sources: MHN-SA 2 kW, Philips Photographer: Michael Lin, RGB BOX Co. Ltd Text: Kuan Kuan

capacity of 15,000 and is the only international-class stadium in the central region of Taiwan. Accordingly, the stadium lighting had to meet international standards, also in terms of television broadcasting.

4

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Yunlin Baseball Stadium is eventually to be developed into a multifunctional venue for competitive and recreational sport and for cultural events. The area under the spectator seating is to be utilised for shops to promote the region’s agricultural products, while the spaces around the stadium will be used to stage various events.

The lighting project for the stadium, from design and planning to actual commissioning, covered a period of two years. Not the least of the problems was having to install and align the floodlights during a typhoon. Providing appropriate lighting for the stadium also meant meeting the highest requirements of television broadcasting. Factors that had to be taken into account therefore included the standard horizontal and vertical illuminance, beam control, uniformity of light distribution, and colour rendering.

1

ArenaVision luminaires proved to be a very efficient solution. The initial design provided for eight masts with 360 luminaires containing 2000 W metal-halide lamps. Calculations showed, however, that only 288 luminaires were needed to meet international standards, using four 40-metre-high masts and 120 luminaires mounted on the 25-metre-high stand roof.

Various configurations can be used for the different requirements of regular matches and practice sessions, as well as TV broadcasting.

More than 10% of the luminaires are hot-restrike versions that are connected to a power generator to guarantee minimum illuminance in an emergency situation.

Finally, infrared precision-aiming devices ensured that optimum lighting conditions were created in Yunlin Stadium, which will host about sixty professional baseball games a year. ■

1 Some of the luminaires are installed on the 25 m-high stand roof…

2

2 … while the rest are mounted on four poles 40 m high 3 The lighting installation meets the highest requirements of TV broadcasting …

Yunlin Baseball Stadium

4 … while limiting light nuisance, thanks to the ArenaVision luminaire

Douliu, Yunlin, Taiwan

Yunlin Baseball Stadium, opened in September 2005, has a spectator

3 Contracting authority: Yunlin County Hall Architect: H.C. Chen, H.C. Chen Architects & Associates, Taipei City, Taiwan Lighting design: Kuan Kuan, LiDAC, Philips Taiwan Electrical installer: H.C. Chen Architects & Associates Philips support: Lawrence Huang, Lighting, Taiwan Luminaires: MVF403, Philips Light sources: MHN-SA 2 kW, Philips Photographer: Michael Lin, RGB BOX Co. Ltd Text: Kuan Kuan

capacity of 15,000 and is the only international-class stadium in the central region of Taiwan. Accordingly, the stadium lighting had to meet international standards, also in terms of television broadcasting.

4

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Aspire Sports Hall

All the major facilities are provided with hotrestrike luminaires to ensure television broadcast lighting in the event of a mains power failure. The lighting system for each facility can be switched to training level in order to enable energy consumption to be reduced during training, when of course TV broadcast standards are not required.

Doha, Qatar

Located in the prestigious Doha sports city, the new cutting-edge sports hall opened at the end of 2005 – Aspire (Academy for Sports

The installation uses no fewer than 848 ArenaVision luminaires. These are fitted with metal-halide lamps with a colour temperature of 5600 K and a colour rendering index Ra > 90.

A further 72 ArenaVision luminaires are used to light the roof from within.

Excellence in Doha) – is one of the largest venues of its kind in the world. State-of-the-art lighting had to be installed for each of the individual facilities.

As well as highlighting the architectural features, this allows a reduction in contrast between the luminaires and their background, resulting in more even illumination and minimised glare.

The final set-up and commissioning of the project proved to be a major challenge as some of the luminaires had to be swapped to avoid obstructions to the light from the roof structure, which could not have been envisaged at the design stage. A team of four engineers spent almost a month aiming all the luminaires and commissioning the project, ensuring that these world-class sports facilities have lighting to match. ■ 3

This new sports centre, which will be an important venue for Doha 2006 (the 15th edition of the Asian Games), has separate facilities for twelve disciplines, including football, athletics, volleyball, gymnastics, judo and fencing, as well as a multipurpose sports hall and a swimming and diving pool. It is also home to Aspire Academy, which trains the region’s sporting talent. The entire facility covers a total area of 290,000 square metres.

The lighting design produced a broadcast-grade solution that was tailored to each individual sporting event. The majority of the luminaires are mounted on catwalks below the roof.

Careful consideration was given to the positioning of the luminaires on the catwalks to ensure sufficient vertical illuminance for each camera in the different sports facilities and also to prevent glare for the players.

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4 2

6 7 9 8

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11 21 41 01

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2

1-2 General view of one of the main facilities: the athletics track and the swimming pool 3

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3 1

The Aspire Sports Hall accommodates nine different facilities

Contracting authority: Projacs International Architect: Talibert, Paris, France Lighting design: Kuldeep Vali, Philips, Dubai, Reinier Hendriks, LiDAC International, Philips Lighting Electrical installer: Consolidated contractors company Philips support: Ravi Koul, Matthew Cobham, Gilles Page, Lighting; DK Subramanian, Darwish Trading, Doha, Qatar Luminaires: MVF403, MWF330, Philips Light sources: MHN-SA 2 kW, MHN-LA 1 kW, HPI-T, Philips Photographer: Souheil Semaann, Contract Professionals Text: Ravi Koul Web: www.agencetaillibert.com; www.aspire.qa

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Aspire Sports Hall

All the major facilities are provided with hotrestrike luminaires to ensure television broadcast lighting in the event of a mains power failure. The lighting system for each facility can be switched to training level in order to enable energy consumption to be reduced during training, when of course TV broadcast standards are not required.

Doha, Qatar

Located in the prestigious Doha sports city, the new cutting-edge sports hall opened at the end of 2005 – Aspire (Academy for Sports

The installation uses no fewer than 848 ArenaVision luminaires. These are fitted with metal-halide lamps with a colour temperature of 5600 K and a colour rendering index Ra > 90.

A further 72 ArenaVision luminaires are used to light the roof from within.

Excellence in Doha) – is one of the largest venues of its kind in the world. State-of-the-art lighting had to be installed for each of the individual facilities.

As well as highlighting the architectural features, this allows a reduction in contrast between the luminaires and their background, resulting in more even illumination and minimised glare.

The final set-up and commissioning of the project proved to be a major challenge as some of the luminaires had to be swapped to avoid obstructions to the light from the roof structure, which could not have been envisaged at the design stage. A team of four engineers spent almost a month aiming all the luminaires and commissioning the project, ensuring that these world-class sports facilities have lighting to match. ■ 3

This new sports centre, which will be an important venue for Doha 2006 (the 15th edition of the Asian Games), has separate facilities for twelve disciplines, including football, athletics, volleyball, gymnastics, judo and fencing, as well as a multipurpose sports hall and a swimming and diving pool. It is also home to Aspire Academy, which trains the region’s sporting talent. The entire facility covers a total area of 290,000 square metres.

The lighting design produced a broadcast-grade solution that was tailored to each individual sporting event. The majority of the luminaires are mounted on catwalks below the roof.

Careful consideration was given to the positioning of the luminaires on the catwalks to ensure sufficient vertical illuminance for each camera in the different sports facilities and also to prevent glare for the players.

1

4 2

6 7 9 8

51

11 21 41 01

31

2

1-2 General view of one of the main facilities: the athletics track and the swimming pool 3

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5

3 1

The Aspire Sports Hall accommodates nine different facilities

Contracting authority: Projacs International Architect: Talibert, Paris, France Lighting design: Kuldeep Vali, Philips, Dubai, Reinier Hendriks, LiDAC International, Philips Lighting Electrical installer: Consolidated contractors company Philips support: Ravi Koul, Matthew Cobham, Gilles Page, Lighting; DK Subramanian, Darwish Trading, Doha, Qatar Luminaires: MVF403, MWF330, Philips Light sources: MHN-SA 2 kW, MHN-LA 1 kW, HPI-T, Philips Photographer: Souheil Semaann, Contract Professionals Text: Ravi Koul Web: www.agencetaillibert.com; www.aspire.qa

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1 A dynamic coloured lighting effect has been created on the roof using Exterior 200 luminaires 2 The ArenaVision luminaires are mounted on two main lines at a height of 23.5 m 3 The speed of the puck, reflections from the ice and shadows from the advertising banners make ice-hockey particularly demanding in terms of lighting

Contracting authority: Dietmar Hopp Architect: HPP, Stuttgart, Germany General constructor: HBM, Neuss, Germany Lighting planning: IB Karnash, Essen, Germany Lighting design: René van Ratingen, LiDAC, Thomas Fotakakis, Philips Germany Electrical installer: Imtech Mannheim, LT Hessling Düsseldorf Philips support: Rainer Barth, Uwe Messner, Diana Grothe, Petra Sauter, Thomas Roberts, Jörg Nolte, Jens Kühne, Olaf Kühne, Heiko Gloza, Richard Verklej, Lighting, Germany Luminaires: ArenaVision, 3SC270, OptiFlood, OptiVision, X-tendolight, Indolight, Isolux, Astrolux, Megalux, Maxos, Pentura, Philips; Exterior 200, Martin Architectural Lighting controls: LON, DMX512 Photographer: Thomas Fotakakis; SAP Arena Text: Thomas Fotakakis Web: www.saparena.de

1

2

SAP Arena Mannheim, Germany

The SAP Arena is not only home to the highly successful Adler Mannheim ice-hockey team, but also offers a prime location for concerts, shows and large gatherings. The many different events for which the stadium is used called for a lighting concept that can provide the right light for every occasion.

With the capacity to hold up to 15,000 spectators, the SAP Arena is one of the largest and most modern multi-purpose stadiums in Germany.

The stadium, which includes two ice-sport training rinks that can be converted into banqueting halls for special events, can be reconfigured in next to no time to make it suitable for a variety of uses.

The main challenge in the design of the lighting for the stadium was that the various uses require completely different types of lighting.

The floodlighting had to meet especially high standards because it had to guarantee razorsharp close-up and slow-motion images of the ice-hockey games for television coverage.

The speed at which the puck flies around the rink, reflections from the ice and shadows from advertising banners make ice-hockey particularly demanding in terms of lighting.

On the other hand, the lighting also had to be dimmable, e.g. to create the appropriate atmosphere for concerts, etc.

ArenaVision floodlights are used for sporting events in the SAP Arena. This highly efficient luminaire ensures maximum lighting performance while minimising glare.

Although the floodlights had to be positioned above two rigs that are required for attaching equipment for events, and therefore have to shine through a framework construction and past a video cube, they nevertheless fulfil all the requirements for television coverage.

They ensure that the faces of the players are equally well lit at all points on the rink.

High-quality television coverage also requires that the spectator stands are illuminated in stages so that they create a uniform background for the images broadcast on television.

In addition, dimmable halogen floodlights were fitted to provide the lighting for concerts.

Because it is possible to control both the floodlights (via LON-Bus) and the event lighting (via DMX) and because pre-set lighting scenarios can be used, a host of different combinations are possible. This lighting system makes it as easy to create striking light effects as it is to create fine gradations, illustrating the exceptional quality of the installation. ■

3

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1 A dynamic coloured lighting effect has been created on the roof using Exterior 200 luminaires 2 The ArenaVision luminaires are mounted on two main lines at a height of 23.5 m 3 The speed of the puck, reflections from the ice and shadows from the advertising banners make ice-hockey particularly demanding in terms of lighting

Contracting authority: Dietmar Hopp Architect: HPP, Stuttgart, Germany General constructor: HBM, Neuss, Germany Lighting planning: IB Karnash, Essen, Germany Lighting design: René van Ratingen, LiDAC, Thomas Fotakakis, Philips Germany Electrical installer: Imtech Mannheim, LT Hessling Düsseldorf Philips support: Rainer Barth, Uwe Messner, Diana Grothe, Petra Sauter, Thomas Roberts, Jörg Nolte, Jens Kühne, Olaf Kühne, Heiko Gloza, Richard Verklej, Lighting, Germany Luminaires: ArenaVision, 3SC270, OptiFlood, OptiVision, X-tendolight, Indolight, Isolux, Astrolux, Megalux, Maxos, Pentura, Philips; Exterior 200, Martin Architectural Lighting controls: LON, DMX512 Photographer: Thomas Fotakakis; SAP Arena Text: Thomas Fotakakis Web: www.saparena.de

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SAP Arena Mannheim, Germany

The SAP Arena is not only home to the highly successful Adler Mannheim ice-hockey team, but also offers a prime location for concerts, shows and large gatherings. The many different events for which the stadium is used called for a lighting concept that can provide the right light for every occasion.

With the capacity to hold up to 15,000 spectators, the SAP Arena is one of the largest and most modern multi-purpose stadiums in Germany.

The stadium, which includes two ice-sport training rinks that can be converted into banqueting halls for special events, can be reconfigured in next to no time to make it suitable for a variety of uses.

The main challenge in the design of the lighting for the stadium was that the various uses require completely different types of lighting.

The floodlighting had to meet especially high standards because it had to guarantee razorsharp close-up and slow-motion images of the ice-hockey games for television coverage.

The speed at which the puck flies around the rink, reflections from the ice and shadows from advertising banners make ice-hockey particularly demanding in terms of lighting.

On the other hand, the lighting also had to be dimmable, e.g. to create the appropriate atmosphere for concerts, etc.

ArenaVision floodlights are used for sporting events in the SAP Arena. This highly efficient luminaire ensures maximum lighting performance while minimising glare.

Although the floodlights had to be positioned above two rigs that are required for attaching equipment for events, and therefore have to shine through a framework construction and past a video cube, they nevertheless fulfil all the requirements for television coverage.

They ensure that the faces of the players are equally well lit at all points on the rink.

High-quality television coverage also requires that the spectator stands are illuminated in stages so that they create a uniform background for the images broadcast on television.

In addition, dimmable halogen floodlights were fitted to provide the lighting for concerts.

Because it is possible to control both the floodlights (via LON-Bus) and the event lighting (via DMX) and because pre-set lighting scenarios can be used, a host of different combinations are possible. This lighting system makes it as easy to create striking light effects as it is to create fine gradations, illustrating the exceptional quality of the installation. ■

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1-2 The Shanghai Qizhong indoor hall is a multi-functional facility that can be used for different sports activities such as international tennis or swimming competitions

Shanghai Qizhong Sports Centre Shanghai, China

The state-of-the-art Shanghai Qizhong stadium has been described by

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Brad Drewett, executive vice-president of the ATP (the organising body of men’s professional tennis), as “one of the world’s great sports

The lighting design fulfils the requirements for various sports activities

4-5 The retractable roof comprises eight petals, representing the white magnolia

arenas”. It is a multi-functional sports stadium for which top-quality lighting had to be installed to meet differing requirements.

Eighty Tango luminaires were installed for general lighting of the spectator seating areas, while 24 QVF137 luminaires with 1000 W halogen lamps provide emergency lighting for these areas.

For an ATP tennis match, a total of 152 ArenaVision luminaires with 1000 W metalhalide lamps are used to illuminate the main tennis court. On the PPA (Principal Playing Area), the lighting provides an average vertical illuminance of 1500 lux in all four vertical planes, an average vertical illuminance of 1800 lux for the main camera and 1700 lux for the secondary camera. The uniformity is not less than 0.7.

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Thanks to careful design and adjustment, the maximum glare is less than 36.6. This ensures high-quality images even for slow-motion replays and close-up shots of the players.

Following the successful 2005 ATP Masters Cup and the 2006 FINA World Swimming Championships, more and more people will be able to enjoy watching top players perform in this unique architectural setting with its excellent lighting. ■

Contracting authority: Guoliang Yu, Shanghai Qizhong Sports City Architect: Zhao Cheng, Shanghai Institute of Architecture Design and Research Co. Ltd, Shanghai, China Lighting design: Mengming Yao, Yunru Ni, LiDAC Philips, China Philips support: Yunru Ni, Lighting China Luminaires: MVF403, MMF383 S, QVF137, Philips Light sources: MHN-LA 1 kW/956, HPI-T 400, HAL-TDL 1 kW, Philips Photographer: Yunru Ni Text: Yunru Ni

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The Shanghai Qizhong Sports City tennis centre, situated on the outskirts of Shanghai, consists of a main stadium with a capacity of 15,000 spectators, a secondary stadium with a capacity of 6,000 spectators, 20 indoor tennis courts and 20 outdoor courts with grass, clay and hard court surfaces. It has hosted the ATP Masters Cup since 2005 and will continue to do so until 2008.

It is also a multi-functional stadium and, with the removal of some of the seats, can be used for handball, table tennis, basketball and even swimming events (25-metre pool).

The main stadium is Colosseum-shaped, to give a sense of closeness between spectators and players. It has a unique retractable roof that consists of eight petals, representing the white magnolia that is the symbol of Shanghai.

A total of 172 ArenaVision 1000 W luminaires (of which 8 are hot-restrike versions) are installed on the round catwalk (32 m above the ground, 95 m in diameter) to illuminate the field of play.

Lighting controls have been installed to meet the demands of this multi-functional facility.

Eighteen units have been preset to create a high-quality lighting ambience.

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1-2 The Shanghai Qizhong indoor hall is a multi-functional facility that can be used for different sports activities such as international tennis or swimming competitions

Shanghai Qizhong Sports Centre Shanghai, China

The state-of-the-art Shanghai Qizhong stadium has been described by

3

Brad Drewett, executive vice-president of the ATP (the organising body of men’s professional tennis), as “one of the world’s great sports

The lighting design fulfils the requirements for various sports activities

4-5 The retractable roof comprises eight petals, representing the white magnolia

arenas”. It is a multi-functional sports stadium for which top-quality lighting had to be installed to meet differing requirements.

Eighty Tango luminaires were installed for general lighting of the spectator seating areas, while 24 QVF137 luminaires with 1000 W halogen lamps provide emergency lighting for these areas.

For an ATP tennis match, a total of 152 ArenaVision luminaires with 1000 W metalhalide lamps are used to illuminate the main tennis court. On the PPA (Principal Playing Area), the lighting provides an average vertical illuminance of 1500 lux in all four vertical planes, an average vertical illuminance of 1800 lux for the main camera and 1700 lux for the secondary camera. The uniformity is not less than 0.7.

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Thanks to careful design and adjustment, the maximum glare is less than 36.6. This ensures high-quality images even for slow-motion replays and close-up shots of the players.

Following the successful 2005 ATP Masters Cup and the 2006 FINA World Swimming Championships, more and more people will be able to enjoy watching top players perform in this unique architectural setting with its excellent lighting. ■

Contracting authority: Guoliang Yu, Shanghai Qizhong Sports City Architect: Zhao Cheng, Shanghai Institute of Architecture Design and Research Co. Ltd, Shanghai, China Lighting design: Mengming Yao, Yunru Ni, LiDAC Philips, China Philips support: Yunru Ni, Lighting China Luminaires: MVF403, MMF383 S, QVF137, Philips Light sources: MHN-LA 1 kW/956, HPI-T 400, HAL-TDL 1 kW, Philips Photographer: Yunru Ni Text: Yunru Ni

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The Shanghai Qizhong Sports City tennis centre, situated on the outskirts of Shanghai, consists of a main stadium with a capacity of 15,000 spectators, a secondary stadium with a capacity of 6,000 spectators, 20 indoor tennis courts and 20 outdoor courts with grass, clay and hard court surfaces. It has hosted the ATP Masters Cup since 2005 and will continue to do so until 2008.

It is also a multi-functional stadium and, with the removal of some of the seats, can be used for handball, table tennis, basketball and even swimming events (25-metre pool).

The main stadium is Colosseum-shaped, to give a sense of closeness between spectators and players. It has a unique retractable roof that consists of eight petals, representing the white magnolia that is the symbol of Shanghai.

A total of 172 ArenaVision 1000 W luminaires (of which 8 are hot-restrike versions) are installed on the round catwalk (32 m above the ground, 95 m in diameter) to illuminate the field of play.

Lighting controls have been installed to meet the demands of this multi-functional facility.

Eighteen units have been preset to create a high-quality lighting ambience.

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Pragelato ski jumping facility N

Pragelato, Italy

The ski jumping facility in Pragelato in the province of Torino comprises two adjacent jumps with the same arrival area. With the installation of a state-of-the-art floodlighting system, events can now be held after dark.

And with TV coverage offering outstanding picture quality, viewers at home can enjoy all the thrills and excitement as well.

Pragelato is situated at the foot of Mount Albergian in the Chisone valley at an altitude of 1,528 metres. The ski jumping facility – with its K120 and K95 jumps – is located on the right bank of the river Chisone, opposite the village of Rivets. Right from the start, the lighting engineering project proved to be very demanding, due to the irregular terrain – the ski jumps are built on a mountain – and environmental constraints, as well as the very strict project requirements. Additionally, the river at the end of the arrival area made it difficult to position the towers illuminating the final part of the jump.

Contracting authority: Agenzia Torino 2006 Project director: Andrea Piani Project team: Pietro Vanzo, Giorgio Marè, Stefano Seita, Marco Zocco, Paolo Napoli, Wolfgang Happle TV lighting consultant: Antonio De Lella, David Lewis, TOBO Lighting consultant: Giacomo Longoni, LiDAC, Philips Italy Philips support: Antonio Zanetti, Lighting, Italy Luminaires: MVF403, Philips Light sources: MHN-SA 2 kW, Philips Photographer: Pietro Vanzo Text: Giacomo Longoni Web: www.torino2006.org

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The project involved the installation of 11 towers, each over 30 m high and fitted with frames holding from 4 to 43 floodlights.

The technical lighting specifications were drawn up by TOBO, the Torino Olympic Broadcasting Organisation. These extremely demanding requirements consider various parameters, including vertical illuminance, horizontal illuminance, minimum/maximum and minimum/average uniformity ratios, gradients, glare control for the ski-jumpers and lens flare for TV cameras. The above parameters were tested on 13 TV cameras. A grid was also built to simulate the trajectory of ski-jumpers in the air in order to calculate the required vertical illuminance.

Each floodlight beam points in a different direction from all the others in order to assure capillary coverage and high uniformity in all vertical and horizontal planes. To satisfy these strict requirements, ArenaVision floodlights were chosen. Two of the seven different optical systems available for this luminaire were used, ensuring extremely accurate beam control.

Each floodlight is fitted with a 2000 W doubleended double-pinch metal-halide lamp.

With a colour temperature of 5600 K and a colour rendering index of 90, this lamp helps to deliver optimum visual conditions for jumpers and spectators alike, as well as razor-sharp images in true colours for the viewers at home. ■

Pragelato ski jumping facility N

Pragelato, Italy

The ski jumping facility in Pragelato in the province of Torino comprises two adjacent jumps with the same arrival area. With the installation of a state-of-the-art floodlighting system, events can now be held after dark.

And with TV coverage offering outstanding picture quality, viewers at home can enjoy all the thrills and excitement as well.

Pragelato is situated at the foot of Mount Albergian in the Chisone valley at an altitude of 1,528 metres. The ski jumping facility – with its K120 and K95 jumps – is located on the right bank of the river Chisone, opposite the village of Rivets. Right from the start, the lighting engineering project proved to be very demanding, due to the irregular terrain – the ski jumps are built on a mountain – and environmental constraints, as well as the very strict project requirements. Additionally, the river at the end of the arrival area made it difficult to position the towers illuminating the final part of the jump.

Contracting authority: Agenzia Torino 2006 Project director: Andrea Piani Project team: Pietro Vanzo, Giorgio Marè, Stefano Seita, Marco Zocco, Paolo Napoli, Wolfgang Happle TV lighting consultant: Antonio De Lella, David Lewis, TOBO Lighting consultant: Giacomo Longoni, LiDAC, Philips Italy Philips support: Antonio Zanetti, Lighting, Italy Luminaires: MVF403, Philips Light sources: MHN-SA 2 kW, Philips Photographer: Pietro Vanzo Text: Giacomo Longoni Web: www.torino2006.org

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The project involved the installation of 11 towers, each over 30 m high and fitted with frames holding from 4 to 43 floodlights.

The technical lighting specifications were drawn up by TOBO, the Torino Olympic Broadcasting Organisation. These extremely demanding requirements consider various parameters, including vertical illuminance, horizontal illuminance, minimum/maximum and minimum/average uniformity ratios, gradients, glare control for the ski-jumpers and lens flare for TV cameras. The above parameters were tested on 13 TV cameras. A grid was also built to simulate the trajectory of ski-jumpers in the air in order to calculate the required vertical illuminance.

Each floodlight beam points in a different direction from all the others in order to assure capillary coverage and high uniformity in all vertical and horizontal planes. To satisfy these strict requirements, ArenaVision floodlights were chosen. Two of the seven different optical systems available for this luminaire were used, ensuring extremely accurate beam control.

Each floodlight is fitted with a 2000 W doubleended double-pinch metal-halide lamp.

With a colour temperature of 5600 K and a colour rendering index of 90, this lamp helps to deliver optimum visual conditions for jumpers and spectators alike, as well as razor-sharp images in true colours for the viewers at home. ■

Retail

Forum Coimbra Coimbra, Portugal

Forum Coimbra is a large, modern shopping complex in the historic city of Coimbra. The indoor lighting had to match the character of each individual space, while the outdoor lighting has been designed to make

Coimbra, the seat of one of Europe’s oldest universities, dating from 1290, is a historic city that has undergone considerable expansion over the past decade. Its catchment area of 350,000 inhabitants, who have above-average purchasing power, previously lacked modern retail facilities offering quality and diversity.

Forum Coimbra, situated on the south bank of the Mondego River, opposite the city centre, has been designed to meet the needs of its prosperous population.

the night-time view of the site more inviting.

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Retail

Forum Coimbra Coimbra, Portugal

Forum Coimbra is a large, modern shopping complex in the historic city of Coimbra. The indoor lighting had to match the character of each individual space, while the outdoor lighting has been designed to make

Coimbra, the seat of one of Europe’s oldest universities, dating from 1290, is a historic city that has undergone considerable expansion over the past decade. Its catchment area of 350,000 inhabitants, who have above-average purchasing power, previously lacked modern retail facilities offering quality and diversity.

Forum Coimbra, situated on the south bank of the Mondego River, opposite the city centre, has been designed to meet the needs of its prosperous population.

the night-time view of the site more inviting.

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The shopping centre, with a gross lettable area of approximately 42,000 square metres, contains a hypermarket, five other anchor stores, around 100 shops, a food court with 28 restaurants and a cinema with six screens. There is also underground parking for 2,250 cars and outdoor parking for 250.

Forum Coimbra goes extremely well with the historic buildings of the city centre: although, the complex appears modern, it has the same articulation of its volume and façades and also uses a variety of materials, textures and colours.

The landscaping reinforces the idea that the complex has grown organically in the past.

The indoor spaces are treated as ‘outdoor’ areas, giving the atria and the connecting corridors the feel of squares and streets respectively. As with the exterior, the design creates distinctive spaces which differ in dimensions, shape, the use of daylight and the application of materials and colours for the floors, ‘façades’ and ceiling.

1 From the terraces of the food court, one can look out onto the town of Coimbra; the huge lampshades in the food court can be seen from the town centre and attract attention to the new shopping centre

Inside, the general lighting level has been kept relatively low. With a basic level of 150 lux, attention is still drawn to the shop fronts, and there are additional accent lighting effects as well. The disturbing effect of bright light sources is avoided by screening off these sources for normal viewing directions. The ratio of diffuse light to directed light – which very much determines the modelling of the illuminated elements – is more important than the total amount of light. The colour of the light is a major tool for setting the scene.

2 In the atrium of water, cold bluish light is predominant; the colours of the floor are designed to evoke the feeling of being submerged in water

In the atria of fire, water and earth, warm reddish, cold bluish and white-yellowish light respectively is used. In the centre of the atrium of fire, a suspended sculpture made of red and yellow fabric ribbons is illuminated to simulate a flame. In the water atrium, plates on the wall and suspended cubes are backlit with white and blue light. In the atrium of earth and the food court, giant lamp shades – lit from inside in a variety of colours – are suspended.

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3 Artist’s impression of the food court, made by the architect, with sketches of the lamp shades 4 View of the atrium of earth and tower with interior lighting; the tower is reminiscent of the university tower in the centre of the old town, opposite the Mondego River

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The design of the three atria is based on a theme: earth, water or fire.

The main purposes of the lighting are to convey a sense of safety and security, facilitate orientation, emphasise the main features of the architecture and landscape, and create an inviting and pleasant environment for relaxed shopping.

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For the mall streets without any incident daylight, translucent plates on the ceiling are lit from behind in such a way as to simulate ‘sky windows’.

The night-time illumination of the exterior of Forum Coimbra is mainly based on the interior lighting that is still visible from the outside.

Instead of floodlighting large parts of the structure, only small details of the façade are illuminated, with only fragmentary lighting of the surrounding areas. On the huge tower, which is reminiscent of the tower that dominates the town’s university complex, Coimbra’s coat of arms is lit up, fostering civic pride. ■

Contracting authority: Multi Development Corporation Concept architect: T&T design, Gouda, Netherlands Project architect: Broadway Malyan Architects & Designers, London, UK Lighting design: Har Hollands Lichtarchitect, Eindhoven, Netherlands Luminaires: Fugato Micro MBS254, Fugato Compact MBS260 & 264, Fugato Performance FBS270, LEDline2, Pentura TMS122, Philips Light sources: CDM-T 70 W, CDM-TC 70 W, PL-C 26 W, TL5, Philips Photographer: Hélder Ferreira Text: Har Hollands Web: www.hollands.info; www.broadwaymalyan.com

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The shopping centre, with a gross lettable area of approximately 42,000 square metres, contains a hypermarket, five other anchor stores, around 100 shops, a food court with 28 restaurants and a cinema with six screens. There is also underground parking for 2,250 cars and outdoor parking for 250.

Forum Coimbra goes extremely well with the historic buildings of the city centre: although, the complex appears modern, it has the same articulation of its volume and façades and also uses a variety of materials, textures and colours.

The landscaping reinforces the idea that the complex has grown organically in the past.

The indoor spaces are treated as ‘outdoor’ areas, giving the atria and the connecting corridors the feel of squares and streets respectively. As with the exterior, the design creates distinctive spaces which differ in dimensions, shape, the use of daylight and the application of materials and colours for the floors, ‘façades’ and ceiling.

1 From the terraces of the food court, one can look out onto the town of Coimbra; the huge lampshades in the food court can be seen from the town centre and attract attention to the new shopping centre

Inside, the general lighting level has been kept relatively low. With a basic level of 150 lux, attention is still drawn to the shop fronts, and there are additional accent lighting effects as well. The disturbing effect of bright light sources is avoided by screening off these sources for normal viewing directions. The ratio of diffuse light to directed light – which very much determines the modelling of the illuminated elements – is more important than the total amount of light. The colour of the light is a major tool for setting the scene.

2 In the atrium of water, cold bluish light is predominant; the colours of the floor are designed to evoke the feeling of being submerged in water

In the atria of fire, water and earth, warm reddish, cold bluish and white-yellowish light respectively is used. In the centre of the atrium of fire, a suspended sculpture made of red and yellow fabric ribbons is illuminated to simulate a flame. In the water atrium, plates on the wall and suspended cubes are backlit with white and blue light. In the atrium of earth and the food court, giant lamp shades – lit from inside in a variety of colours – are suspended.

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3 Artist’s impression of the food court, made by the architect, with sketches of the lamp shades 4 View of the atrium of earth and tower with interior lighting; the tower is reminiscent of the university tower in the centre of the old town, opposite the Mondego River

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The design of the three atria is based on a theme: earth, water or fire.

The main purposes of the lighting are to convey a sense of safety and security, facilitate orientation, emphasise the main features of the architecture and landscape, and create an inviting and pleasant environment for relaxed shopping.

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For the mall streets without any incident daylight, translucent plates on the ceiling are lit from behind in such a way as to simulate ‘sky windows’.

The night-time illumination of the exterior of Forum Coimbra is mainly based on the interior lighting that is still visible from the outside.

Instead of floodlighting large parts of the structure, only small details of the façade are illuminated, with only fragmentary lighting of the surrounding areas. On the huge tower, which is reminiscent of the tower that dominates the town’s university complex, Coimbra’s coat of arms is lit up, fostering civic pride. ■

Contracting authority: Multi Development Corporation Concept architect: T&T design, Gouda, Netherlands Project architect: Broadway Malyan Architects & Designers, London, UK Lighting design: Har Hollands Lichtarchitect, Eindhoven, Netherlands Luminaires: Fugato Micro MBS254, Fugato Compact MBS260 & 264, Fugato Performance FBS270, LEDline2, Pentura TMS122, Philips Light sources: CDM-T 70 W, CDM-TC 70 W, PL-C 26 W, TL5, Philips Photographer: Hélder Ferreira Text: Har Hollands Web: www.hollands.info; www.broadwaymalyan.com

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1 A blue-lit box indicating the ramp leading from the parking lot to the mall

The diversity in architecture and function of the various spaces in Las Camaretas meant that the lighting had to provide different solutions, though always based on shared design criteria, namely: visual consistency, through the choice of luminaires and the smallest possible number of light points; identification and characterisation of spaces by means of coloured or guidance lighting; arrangement of the lighting fixtures in accordance with the criteria of the project – a sense of order and the use of modules; maximum energy savings, without jeopardising the quality of the desired solution.

2 The façade is covered with screen-printed silk fabric to make it look like a stone wall 3 PROflood luminaires equipped with gobos create a playful effect, projecting colourful drawings derived from Leonardo da Vinci’s codes 4 Rotaris with coloured inlay supports guidance through the mall

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Because of Daruma’s versatility and system integration, different types from this modular family are used throughout the centre, thus linking each space. Similarly, Rotaris and Decoflood luminaires characterise both halls through the use of colour. Their positioning and arrangement reinforce the modularity established by the architectural design.

The two halls take the form of ‘courtyards’.

Although they are aesthetically different, their importance and the criterion of visual consistency justify the use of the same lighting plan for both. The particular nature of the architecture meant that there was a key role for coloured lighting. This is provided by special suspended Rotaris luminaires, which combine general lighting, red-coloured identification lighting and 35 W spotlights.

Whilst the ceiling of the upper hall is flooded with intense green light, clearly visible through the metal grid, the ceiling of the main floor takes the form of a large protruding ‘skylight’ bathed in blue, which can be seen from the outside.

Both effects are achieved by using concealed rectangular and round Decoflood projectors equipped with high-power lamps, a variety of optics and carefully selected dichroic filters.

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Las Camaretas shopping centre Soria, Spain

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For the façades, the concept was to cover the upper part of the building with screen-printed silk fabric made to look like a stone wall.

Ornamental playfulness is achieved by means of gobo projection of coloured images (drawings derived from Leonardo Da Vinci’s codes), which take the form of light graffiti. ■

Contracting authority: Miguel Lázaro, MR Inmobiliaria Architect: Toni Vaillo, SAS Arquitectura, Spain Lighting design: Antón Amann, ALS-Architectural Lighting Solutions, Pamplona, Spain Electrical installer: ALBA Philips support: Mikel Juarrero, Javier Pueyo Romero, Spain Luminaires: Daruma CBX520/CBX530, Rotaris TPS740, Midi-Musa MRS612, Decoflood MVF606,MVF616,MVF617, Pompeï MBF504, PROflood DCP608 with gobo, Amazon LED BBC204 YE, Philips Light sources: CDM-TC 35 W & 70 W/830, CDM-T 70 W/830, CDM-TD 150 W, CDM-SA/T 150 W/942, HPI-T 250 W, Philips Photographer: Pedro Pegenaute Text: Jose Luis Tobalina Web: www.alslighting.com

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Architecturally, this shopping centre has involved taking a considerable risk by adopting a playful style that, traditionally, has tended to avoid subtlety. In this respect, the lighting design has struck an excellent balance, achieving visual integration, a sense of order and energy efficiency, together with masterful use of colour.

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1 A blue-lit box indicating the ramp leading from the parking lot to the mall

The diversity in architecture and function of the various spaces in Las Camaretas meant that the lighting had to provide different solutions, though always based on shared design criteria, namely: visual consistency, through the choice of luminaires and the smallest possible number of light points; identification and characterisation of spaces by means of coloured or guidance lighting; arrangement of the lighting fixtures in accordance with the criteria of the project – a sense of order and the use of modules; maximum energy savings, without jeopardising the quality of the desired solution.

2 The façade is covered with screen-printed silk fabric to make it look like a stone wall 3 PROflood luminaires equipped with gobos create a playful effect, projecting colourful drawings derived from Leonardo da Vinci’s codes 4 Rotaris with coloured inlay supports guidance through the mall

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Because of Daruma’s versatility and system integration, different types from this modular family are used throughout the centre, thus linking each space. Similarly, Rotaris and Decoflood luminaires characterise both halls through the use of colour. Their positioning and arrangement reinforce the modularity established by the architectural design.

The two halls take the form of ‘courtyards’.

Although they are aesthetically different, their importance and the criterion of visual consistency justify the use of the same lighting plan for both. The particular nature of the architecture meant that there was a key role for coloured lighting. This is provided by special suspended Rotaris luminaires, which combine general lighting, red-coloured identification lighting and 35 W spotlights.

Whilst the ceiling of the upper hall is flooded with intense green light, clearly visible through the metal grid, the ceiling of the main floor takes the form of a large protruding ‘skylight’ bathed in blue, which can be seen from the outside.

Both effects are achieved by using concealed rectangular and round Decoflood projectors equipped with high-power lamps, a variety of optics and carefully selected dichroic filters.

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Las Camaretas shopping centre Soria, Spain

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For the façades, the concept was to cover the upper part of the building with screen-printed silk fabric made to look like a stone wall.

Ornamental playfulness is achieved by means of gobo projection of coloured images (drawings derived from Leonardo Da Vinci’s codes), which take the form of light graffiti. ■

Contracting authority: Miguel Lázaro, MR Inmobiliaria Architect: Toni Vaillo, SAS Arquitectura, Spain Lighting design: Antón Amann, ALS-Architectural Lighting Solutions, Pamplona, Spain Electrical installer: ALBA Philips support: Mikel Juarrero, Javier Pueyo Romero, Spain Luminaires: Daruma CBX520/CBX530, Rotaris TPS740, Midi-Musa MRS612, Decoflood MVF606,MVF616,MVF617, Pompeï MBF504, PROflood DCP608 with gobo, Amazon LED BBC204 YE, Philips Light sources: CDM-TC 35 W & 70 W/830, CDM-T 70 W/830, CDM-TD 150 W, CDM-SA/T 150 W/942, HPI-T 250 W, Philips Photographer: Pedro Pegenaute Text: Jose Luis Tobalina Web: www.alslighting.com

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Architecturally, this shopping centre has involved taking a considerable risk by adopting a playful style that, traditionally, has tended to avoid subtlety. In this respect, the lighting design has struck an excellent balance, achieving visual integration, a sense of order and energy efficiency, together with masterful use of colour.

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Contracting authority: Nicolo D’Ippolito, COSMETAL Store manager (opening): Sandra Cofani, Chieti, Italy Architect: Ivan Palmini, Italy Lighting design: Lorella Primavera, LiDAC, Philips Italy Philips support: Emanuele Carone, Lighting, Italy Luminaires: Fiorenza MRS700, MRS702, LRS700, Rotaris TPS740, TPS745, Carpe Diem TPX795 with manual control IRT7090, MiniMilewide, Odyssey MBR600, Philips Light sources: CDM-TC 70 W, SDW-TG 100 W, MASTER Line HAL-R 111 60 W, TL5-C 60 W HF, CosmoPolis CDO-T White 60 W/728, Philips Photographer: Marco Maggioni Text: Lorella Primavera

KUBO’ furniture store Chieti, Italy

KUBO’ sells design, rather than furniture. Visiting KUBO’ means becoming part of a theatrical performance in which space expands and the products become the leading actors in a play written for people wishing to share emotions. Lighting is a central element of this concept.

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KUBO’ has been designed as a place where people can come together, socialise and interact.

The store does not just display objects for sale: instead, it is a venue for sharing emotions, experiences and information connected with the world of design. Various areas have been defined, including spaces for socialising, such as the Bar, and spaces for information, such as the Bookshop.

The lighting plays a pivotal role, playing with colours and intensity to set the scene, creating a pleasant and comfortable atmosphere, and displaying the objects in a dynamic and entertaining way.

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Lighting should show objects as they truly are, highlighting their colour and brilliance and respecting their three-dimensional nature.

Thanks to the blend of several types of light source, such as MiniMASTER Colour, MiniWhite SON and MASTER Line ES111 halogens, the various materials are rendered in their true colours, and lighting levels are perfectly balanced. The 36°, 24° and 8° optics of the Fiorenza projector accentuate the shape and enhance the 3D perception of the objects. The combination of different colours of light and the varying width of the beams made it possible to characterise each area perfectly, e.g. highlighting a golden chandelier above a white table.

The same thoughtful approach was taken to the outdoor lighting, which, besides its functional sales role, must also comply with the regional laws of Abruzzo requiring the use of yellow sodium lamps with a low colour-rendering index.

Until now, it would not have been possible to use the garden at night to display products. Today, thanks to the high-efficiency CosmoPolis system, with its attractive light and superior optical performance, it is a place where visitors can spend time and enjoy the objects on show.

The car park is illuminated with white light from a small number of high-efficiency MiniMilewide luminaires. ■

1

5 The KUBO’ store offers an environment for socialising

2 - 3 The combination of a dark ceiling and narrow-beam Fiorenza MASTER Colour spotlighting creates variation in ambience 4 - 5 The ceiling architecture, containing troughs with track, offers freedom to create the ideal ambience for spaces and objects using Fiorenza halogen, MASTER Colour and White SON spotlights

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Contracting authority: Nicolo D’Ippolito, COSMETAL Store manager (opening): Sandra Cofani, Chieti, Italy Architect: Ivan Palmini, Italy Lighting design: Lorella Primavera, LiDAC, Philips Italy Philips support: Emanuele Carone, Lighting, Italy Luminaires: Fiorenza MRS700, MRS702, LRS700, Rotaris TPS740, TPS745, Carpe Diem TPX795 with manual control IRT7090, MiniMilewide, Odyssey MBR600, Philips Light sources: CDM-TC 70 W, SDW-TG 100 W, MASTER Line HAL-R 111 60 W, TL5-C 60 W HF, CosmoPolis CDO-T White 60 W/728, Philips Photographer: Marco Maggioni Text: Lorella Primavera

KUBO’ furniture store Chieti, Italy

KUBO’ sells design, rather than furniture. Visiting KUBO’ means becoming part of a theatrical performance in which space expands and the products become the leading actors in a play written for people wishing to share emotions. Lighting is a central element of this concept.

3 1

2

4

KUBO’ has been designed as a place where people can come together, socialise and interact.

The store does not just display objects for sale: instead, it is a venue for sharing emotions, experiences and information connected with the world of design. Various areas have been defined, including spaces for socialising, such as the Bar, and spaces for information, such as the Bookshop.

The lighting plays a pivotal role, playing with colours and intensity to set the scene, creating a pleasant and comfortable atmosphere, and displaying the objects in a dynamic and entertaining way.

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Lighting should show objects as they truly are, highlighting their colour and brilliance and respecting their three-dimensional nature.

Thanks to the blend of several types of light source, such as MiniMASTER Colour, MiniWhite SON and MASTER Line ES111 halogens, the various materials are rendered in their true colours, and lighting levels are perfectly balanced. The 36°, 24° and 8° optics of the Fiorenza projector accentuate the shape and enhance the 3D perception of the objects. The combination of different colours of light and the varying width of the beams made it possible to characterise each area perfectly, e.g. highlighting a golden chandelier above a white table.

The same thoughtful approach was taken to the outdoor lighting, which, besides its functional sales role, must also comply with the regional laws of Abruzzo requiring the use of yellow sodium lamps with a low colour-rendering index.

Until now, it would not have been possible to use the garden at night to display products. Today, thanks to the high-efficiency CosmoPolis system, with its attractive light and superior optical performance, it is a place where visitors can spend time and enjoy the objects on show.

The car park is illuminated with white light from a small number of high-efficiency MiniMilewide luminaires. ■

1

5 The KUBO’ store offers an environment for socialising

2 - 3 The combination of a dark ceiling and narrow-beam Fiorenza MASTER Colour spotlighting creates variation in ambience 4 - 5 The ceiling architecture, containing troughs with track, offers freedom to create the ideal ambience for spaces and objects using Fiorenza halogen, MASTER Colour and White SON spotlights

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81

The Lexus brand stands for quality, luxury and customer satisfaction. This is reflected in the interior design of the Lexus showrooms, and the lighting has to match the exclusivity that they project.

From this room, the customer can see his car through a window. After welcoming the customer, six Fugato Compact Cardanic 70 W spots are switched on, presenting the car in the most striking and attractive light imaginable.

A key feature of the lighting concept is the use of accent lighting only on the vehicles. Each car is highlighted by four or five Fugato Compact Cardanic spots, featuring a 150 W cool (/942) high-intensity discharge lamp and a beam angle of 24°. Warm light accents on the walls and columns of the showroom create a friendly and inviting ambience. The contrast between warm and cool light makes the cars stand out from their surroundings.

A control system is used in the showroom to produce four dynamic lighting scenes, thus creating a default daytime setting and a dedicated night-time ambience as well as reinforcing the corporate identity and saving energy. Different light zones are programmed to change over a predefined period of time or at specific times of day.

During the evening, Fugato Cardanic spots illuminate the graphics in front of the showroom window.

1

Lexus car showrooms

3–4

1

The interior of the large showroom, with a central role for the lounge area

2

The lighting scheme of the Lexus showroom in Bègles, France

3 - 4 The more intimate area where customers select the colour of their new Lexus car

Europe

Lexus is part of the global Toyota group, the world’s second-largest

5

automobile manufacturer. As part of an extensive building and

The round entrance to the showroom

refurbishment programme, a new lighting design is being implemented in more than 300 Lexus showrooms in Europe, including Russia and other countries in Eastern Europe.

5

K

The showroom lighting also helps to guide customers to the lounge, which is delimited by cove- and skirting-mounted Pentura fluorescent battens. Here, they can consider their choice in a warm, relaxing atmosphere created by halogen light. A dedicated area has been created for customers to decide on the colour and interior of their car. Perfect colour rendering is crucial here: this is provided by Zadora spotlights with lowvoltage halogen lamps.

E E R

E

2

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The customers take their place in a separate room for the moment of truth – the hand-over of their new car. Here too, halogen spots create a pleasant, warm ambience.

Outside, the entrance is warmly lit by the Pompeï ground-recessed floodlight. All in all, the lighting used in the Lexus car showrooms helps to create the 5-star-hotel atmosphere that matches the Lexus brand image. n

Contracting authority: Gary Southerton, Lexus Retail concept: Ria Dakin-Potts, Lloyd-Northover, Oxford, UK Lighting design: Ton F. Akkermans, Philips LiDAC, Netherlands Philips support: Emile van Dijk, Netherlands; Antoine Sanchez, Pierrette Pouyol, Philippe Regnier, Frederic Uthurralt, France; Alieja Dziedzic-Böyyger, Uwe Wertgen, Germany Luminaires: Fugato Mini MBS254, Fugato Compact MBS260, MBS264, Fugato Performance FBS270, FBS271, Zadora QBS570, QBD570, Scrabble QBX500, Philips Light sources: CDM-TC, CDM-T, PL-C, HAL-MR50, HAL-R 111, TL5 HE, Philips Lighting controls: Scenio 100, Occuswitch Photographer: Lexus Text: Ton F. Akkermans Web: www.lexus.com; www.lloydnorthover.com

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83

The Lexus brand stands for quality, luxury and customer satisfaction. This is reflected in the interior design of the Lexus showrooms, and the lighting has to match the exclusivity that they project.

From this room, the customer can see his car through a window. After welcoming the customer, six Fugato Compact Cardanic 70 W spots are switched on, presenting the car in the most striking and attractive light imaginable.

A key feature of the lighting concept is the use of accent lighting only on the vehicles. Each car is highlighted by four or five Fugato Compact Cardanic spots, featuring a 150 W cool (/942) high-intensity discharge lamp and a beam angle of 24°. Warm light accents on the walls and columns of the showroom create a friendly and inviting ambience. The contrast between warm and cool light makes the cars stand out from their surroundings.

A control system is used in the showroom to produce four dynamic lighting scenes, thus creating a default daytime setting and a dedicated night-time ambience as well as reinforcing the corporate identity and saving energy. Different light zones are programmed to change over a predefined period of time or at specific times of day.

During the evening, Fugato Cardanic spots illuminate the graphics in front of the showroom window.

1

Lexus car showrooms

3–4

1

The interior of the large showroom, with a central role for the lounge area

2

The lighting scheme of the Lexus showroom in Bègles, France

3 - 4 The more intimate area where customers select the colour of their new Lexus car

Europe

Lexus is part of the global Toyota group, the world’s second-largest

5

automobile manufacturer. As part of an extensive building and

The round entrance to the showroom

refurbishment programme, a new lighting design is being implemented in more than 300 Lexus showrooms in Europe, including Russia and other countries in Eastern Europe.

5

K

The showroom lighting also helps to guide customers to the lounge, which is delimited by cove- and skirting-mounted Pentura fluorescent battens. Here, they can consider their choice in a warm, relaxing atmosphere created by halogen light. A dedicated area has been created for customers to decide on the colour and interior of their car. Perfect colour rendering is crucial here: this is provided by Zadora spotlights with lowvoltage halogen lamps.

E E R

E

2

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The customers take their place in a separate room for the moment of truth – the hand-over of their new car. Here too, halogen spots create a pleasant, warm ambience.

Outside, the entrance is warmly lit by the Pompeï ground-recessed floodlight. All in all, the lighting used in the Lexus car showrooms helps to create the 5-star-hotel atmosphere that matches the Lexus brand image. n

Contracting authority: Gary Southerton, Lexus Retail concept: Ria Dakin-Potts, Lloyd-Northover, Oxford, UK Lighting design: Ton F. Akkermans, Philips LiDAC, Netherlands Philips support: Emile van Dijk, Netherlands; Antoine Sanchez, Pierrette Pouyol, Philippe Regnier, Frederic Uthurralt, France; Alieja Dziedzic-Böyyger, Uwe Wertgen, Germany Luminaires: Fugato Mini MBS254, Fugato Compact MBS260, MBS264, Fugato Performance FBS270, FBS271, Zadora QBS570, QBD570, Scrabble QBX500, Philips Light sources: CDM-TC, CDM-T, PL-C, HAL-MR50, HAL-R 111, TL5 HE, Philips Lighting controls: Scenio 100, Occuswitch Photographer: Lexus Text: Ton F. Akkermans Web: www.lexus.com; www.lloydnorthover.com

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1 Mini 300 luminaires provide a sparkling retail lighting ambience with a high vertical lighting level

Agis Electronics

2 With a small number of highly efficient light points, all areas and products are well lit

Bekasi, Indonesia

Agis is a multi-brand retailer selling high-end electronic products and domestic appliances to Indonesian consumers. Its store lighting has been redesigned to make the retail environment visually interesting to prospective buyers and also to meet the need for energy efficiency.

2 1

In its drive to attract urban consumers, Agis Electronics’ starting point was that its high-quality lifestyle products should be supported by appropriate retail facilities.

One of the requirements for a prestigious retail space is good lighting. The main considerations here were to have visual comfort and sufficient luminous intensity to be able to stimulate the interest of prospective buyers. Efficient energy consumption was another factor to be considered in the lighting design.

The solution chosen was to get away from the usual ‘fluorescent-style’ concept and instead create a fresh ‘metal-halide style’. So the old concept that relied on 2 x 36 W TL-D lamps was replaced with the Mini 300 Cube incorporating compact high-intensity discharge lamps.

Thanks to the extremely high light output of its white-coated reflector (97% reflectivity), the Mini 300 allows lighting solutions to be created with a 150 W lamp instead of a 250 W, or a 250 W lamp instead of a 400 W, without increasing the number of light points.

Responding to the need to save energy, the new design concept has reduced the number of light points by 35% and cut power consumption to 69% of the previous level.

With this new design, Agis has proved that creating a more inviting retail lighting ambience does not necessarily mean high operating costs. ■

The Mini 300’s patented reflector models the light in 3D by directing it not only to horizontal surfaces, but also to vertical ones, revealing the form and texture of the merchandise and enhancing contrast.

The colour temperature and outstanding colour rendering of the CDM-TD 150 W lamps chosen create a daylight impression, putting customers at ease and encouraging them to browse.

With close to perfect colour rendering – vital for brand and product presentation – and with the added value of a high light-output ratio, the design resulted in a qualitatively improved ‘clean and bright’ environment, with illuminance of about 500-600 lux for the general lighting.

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Contracting authority: PT Agis Electronics Owner: Bintoro Tjitrowirjo Lighting design: LiDAC Philips Indonesia; Anton Hadiyanto and Cen Cen PT Hikari Indo Sarana Philips support: Lighting, Indonesian project team Luminaires: Mini 300 DBP300, Philips Light sources: MASTER Colour CDM-TD 150 W, Philips Photographer: James Studio Text: LiDAC Indonesia

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85

1 Mini 300 luminaires provide a sparkling retail lighting ambience with a high vertical lighting level

Agis Electronics

2 With a small number of highly efficient light points, all areas and products are well lit

Bekasi, Indonesia

Agis is a multi-brand retailer selling high-end electronic products and domestic appliances to Indonesian consumers. Its store lighting has been redesigned to make the retail environment visually interesting to prospective buyers and also to meet the need for energy efficiency.

2 1

In its drive to attract urban consumers, Agis Electronics’ starting point was that its high-quality lifestyle products should be supported by appropriate retail facilities.

One of the requirements for a prestigious retail space is good lighting. The main considerations here were to have visual comfort and sufficient luminous intensity to be able to stimulate the interest of prospective buyers. Efficient energy consumption was another factor to be considered in the lighting design.

The solution chosen was to get away from the usual ‘fluorescent-style’ concept and instead create a fresh ‘metal-halide style’. So the old concept that relied on 2 x 36 W TL-D lamps was replaced with the Mini 300 Cube incorporating compact high-intensity discharge lamps.

Thanks to the extremely high light output of its white-coated reflector (97% reflectivity), the Mini 300 allows lighting solutions to be created with a 150 W lamp instead of a 250 W, or a 250 W lamp instead of a 400 W, without increasing the number of light points.

Responding to the need to save energy, the new design concept has reduced the number of light points by 35% and cut power consumption to 69% of the previous level.

With this new design, Agis has proved that creating a more inviting retail lighting ambience does not necessarily mean high operating costs. ■

The Mini 300’s patented reflector models the light in 3D by directing it not only to horizontal surfaces, but also to vertical ones, revealing the form and texture of the merchandise and enhancing contrast.

The colour temperature and outstanding colour rendering of the CDM-TD 150 W lamps chosen create a daylight impression, putting customers at ease and encouraging them to browse.

With close to perfect colour rendering – vital for brand and product presentation – and with the added value of a high light-output ratio, the design resulted in a qualitatively improved ‘clean and bright’ environment, with illuminance of about 500-600 lux for the general lighting.

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Contracting authority: PT Agis Electronics Owner: Bintoro Tjitrowirjo Lighting design: LiDAC Philips Indonesia; Anton Hadiyanto and Cen Cen PT Hikari Indo Sarana Philips support: Lighting, Indonesian project team Luminaires: Mini 300 DBP300, Philips Light sources: MASTER Colour CDM-TD 150 W, Philips Photographer: James Studio Text: LiDAC Indonesia

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85

EDEKA holds the No. 1 position in the German foodstuffs market. The new supermarket in Dueren covers a floor space of 1,600 m2.

The lighting solution was designed to make the shop pleasant and inviting, and to encourage customers to spend time browsing.

The general lighting had to bring out the warm, Mediterranean colours of the store decor.

Another requirement was that different light colours should be used to distinguish different products. At the same time, the number of luminaires had to be kept to a minimum.

To create the atmosphere of a market hall, Garnea suspended luminaires were used for the general lighting. Warm-white MASTER Colour CDM-T 150 W lamps were chosen because they offer good colour stability and, in combination with the built-in electronic gear, long life. To encourage shoppers to buy, the illuminance on the shelves was to be increased, whereas on the floor it was to be reduced.

1

As the optic of the Soprano projector used in the wine section is focusable from 24° to 36°, different light effects can be achieved.

The serving counter area is lit by recess-mounted Fugato downlights. In the fresh-meat and cheese/cold-meat sections, the luminaires have been fitted with special filters.

The fresh-fish section is also illuminated by Fugato downlights. Here too, the lamps are MASTER Colour CDM-T 70 W, this time in colour 942. In order to distinguish the frozenfood section from the standard range, the same lamp is also used in the Megalux S-Light suspended luminaires (with silver mirror reflectors) above the freezers.

Contracting authority: Anja Mülln, Wilfried Franke, Edeka Rhein-Ruhr Architect & investor: Dederichs Projektbau, Bornheim, Germany Electrical installer: Elektro Mellis GmbH Lighting design: Jochen Nuese, LiDAC, Philips, Germany Philips support: Alexandra Stapel, Eric Bertot, Martina Krause Luminaires: Garnea Fridolin MPK632, Soprano, Megalux S-Light, Fugato MBS264, Maxos TL5 Wing Optic, Philips Light sources: general lighting: CDM-T 150 W/830; fruit & vegetable, winery and meat section: SDW-T 100 W; fish & frozen: CDM-T 70 W/942, Philips Photographer: Korff & van Mierlo Text: Jochen Nuese Web: www.edeka.de

2

3

EDEKA supermarket Mülln Dueren, Germany

In May 2006, EDEKA Rhein-Ruhr opened an Andalusianstyled store in Dueren, close to the border with the Netherlands and Belgium. The lighting design uses the play of light and shadow to display the merchandise to best effect and to promote the current brand campaign – ‘Wir lieben Lebensmittel’ (‘We love food’).

A special anti-glare double-asymmetric optic was developed for this purpose. The display shelves at the end of the aisles are lit by Soprano projectors with CDM-T 70W lamps and a 24° light emission angle, making them a real eye-catcher.

The fresh-produce sections are lit exclusively with White SON SDW-T 100 W lamps.

In the fruit and vegetable section, Megalux SLight suspended luminaires with prismatic reflectors are used. The perforated reflector has a gold anodised mirror surface in order to promote sales and is fitted with an additional UV disc to protect the merchandise.

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In the cash desk area, it was decided to use the Maxos TL5 trunking system to mark the edge of the sales floor. The reflector with winged optic and the two 49 W lamps fulfil the specific requirements in terms of lighting level and glare control.

The successful combination of architecture, shop design and lighting delivers a special and enjoyable shopping experience. ■

1 The Garnea pendant with batwing reflector produces high vertical lighting levels on the racks 2 The circular shape of the fruit & vegetable area is supported by the bright Megalux pendant with prismatic reflector 3 All fresh food is lit with White SON; in the meat and cheese department extra filters are used

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EDEKA holds the No. 1 position in the German foodstuffs market. The new supermarket in Dueren covers a floor space of 1,600 m2.

The lighting solution was designed to make the shop pleasant and inviting, and to encourage customers to spend time browsing.

The general lighting had to bring out the warm, Mediterranean colours of the store decor.

Another requirement was that different light colours should be used to distinguish different products. At the same time, the number of luminaires had to be kept to a minimum.

To create the atmosphere of a market hall, Garnea suspended luminaires were used for the general lighting. Warm-white MASTER Colour CDM-T 150 W lamps were chosen because they offer good colour stability and, in combination with the built-in electronic gear, long life. To encourage shoppers to buy, the illuminance on the shelves was to be increased, whereas on the floor it was to be reduced.

1

As the optic of the Soprano projector used in the wine section is focusable from 24° to 36°, different light effects can be achieved.

The serving counter area is lit by recess-mounted Fugato downlights. In the fresh-meat and cheese/cold-meat sections, the luminaires have been fitted with special filters.

The fresh-fish section is also illuminated by Fugato downlights. Here too, the lamps are MASTER Colour CDM-T 70 W, this time in colour 942. In order to distinguish the frozenfood section from the standard range, the same lamp is also used in the Megalux S-Light suspended luminaires (with silver mirror reflectors) above the freezers.

Contracting authority: Anja Mülln, Wilfried Franke, Edeka Rhein-Ruhr Architect & investor: Dederichs Projektbau, Bornheim, Germany Electrical installer: Elektro Mellis GmbH Lighting design: Jochen Nuese, LiDAC, Philips, Germany Philips support: Alexandra Stapel, Eric Bertot, Martina Krause Luminaires: Garnea Fridolin MPK632, Soprano, Megalux S-Light, Fugato MBS264, Maxos TL5 Wing Optic, Philips Light sources: general lighting: CDM-T 150 W/830; fruit & vegetable, winery and meat section: SDW-T 100 W; fish & frozen: CDM-T 70 W/942, Philips Photographer: Korff & van Mierlo Text: Jochen Nuese Web: www.edeka.de

2

3

EDEKA supermarket Mülln Dueren, Germany

In May 2006, EDEKA Rhein-Ruhr opened an Andalusianstyled store in Dueren, close to the border with the Netherlands and Belgium. The lighting design uses the play of light and shadow to display the merchandise to best effect and to promote the current brand campaign – ‘Wir lieben Lebensmittel’ (‘We love food’).

A special anti-glare double-asymmetric optic was developed for this purpose. The display shelves at the end of the aisles are lit by Soprano projectors with CDM-T 70W lamps and a 24° light emission angle, making them a real eye-catcher.

The fresh-produce sections are lit exclusively with White SON SDW-T 100 W lamps.

In the fruit and vegetable section, Megalux SLight suspended luminaires with prismatic reflectors are used. The perforated reflector has a gold anodised mirror surface in order to promote sales and is fitted with an additional UV disc to protect the merchandise.

86

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In the cash desk area, it was decided to use the Maxos TL5 trunking system to mark the edge of the sales floor. The reflector with winged optic and the two 49 W lamps fulfil the specific requirements in terms of lighting level and glare control.

The successful combination of architecture, shop design and lighting delivers a special and enjoyable shopping experience. ■

1 The Garnea pendant with batwing reflector produces high vertical lighting levels on the racks 2 The circular shape of the fruit & vegetable area is supported by the bright Megalux pendant with prismatic reflector 3 All fresh food is lit with White SON; in the meat and cheese department extra filters are used

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1 A combination of TBS631 with opal cover and Fugato downlights provides guidance

The Huzur Shop

3 - 4 The AmbiScene installation allows the retailer to adapt the lighting and set the scene for promotional themes

2 Scrabble luminaires follow the shape of the cosmetics counter

Altunizade, Turkey

3

The Huzur Shop is a retail chain selling clothing, cosmetics, glassware, domestic appliances, electronic products, etc. The lighting design for the outlet in Altunizade was intended to provide basic orientation amongst the departments and to create an attractive atmosphere that encourages customers to browse.

Contracting authority: Hulusi Gencal, Huzur Shop Architect: Haluk Baydar, Form Mimarlik, Istanbul, Turkey Lighting design: Tuba Baskan, LiDAC, Philips, Turkey Electrical installer: Mehmet Tekin, EKS Electric Philips support: Engin Cebeci, Canan Baba, Lighting Philips, Turkey Luminaires: Scrabble MBX500, TMS023, TBS631/128 O, Philips Light sources: CDM-T 70 W, RGB-installation with TL5 HO 54 W and 28 W/ 150 red /170 green /180 blue, Philips Lighting controls: MultiDim, Philips Photographer: Kaan Verdioglu Text: Tuba Baskan Web: www.huzurgiyim.com

4 1

The shop has three storeys with suspended ceilings. The products are displayed in separate departments on the three floors.

Circulation axes are defined by FBH146/226 downlights with 26 W compact fluorescent lamps.

General lighting is provided by TBS631/128 recessed luminaires with an opal cover. These luminaires incorporate 28 W TL-5 fluorescent lamps.

The shop windows are illuminated by Scrabble with MASTER Colour 70 W compact discharge lamps to attract people who are passing by.

In addition, RGB fluorescent lighting is used to create a dynamic effect, making the window displays more eye-catching.

Scrabble adjustable recessed downlights (narrow-beam) are used to create accent lighting for the shelves and stands. They are fitted with MASTER Colour 70 W compact discharge lamps that create a warm colour and provide excellent colour rendering.

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2

In addition to the pleasant ambience and visual comfort afforded by the general ligthing, the successful use of accent lighting in the Huzur Shop has enhanced the attractiveness of the store by highlighting particular areas, thus giving customers an extra impetus to buy. ■

The local lighting is controlled by the digital MultiDim control system.

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1 A combination of TBS631 with opal cover and Fugato downlights provides guidance

The Huzur Shop

3 - 4 The AmbiScene installation allows the retailer to adapt the lighting and set the scene for promotional themes

2 Scrabble luminaires follow the shape of the cosmetics counter

Altunizade, Turkey

3

The Huzur Shop is a retail chain selling clothing, cosmetics, glassware, domestic appliances, electronic products, etc. The lighting design for the outlet in Altunizade was intended to provide basic orientation amongst the departments and to create an attractive atmosphere that encourages customers to browse.

Contracting authority: Hulusi Gencal, Huzur Shop Architect: Haluk Baydar, Form Mimarlik, Istanbul, Turkey Lighting design: Tuba Baskan, LiDAC, Philips, Turkey Electrical installer: Mehmet Tekin, EKS Electric Philips support: Engin Cebeci, Canan Baba, Lighting Philips, Turkey Luminaires: Scrabble MBX500, TMS023, TBS631/128 O, Philips Light sources: CDM-T 70 W, RGB-installation with TL5 HO 54 W and 28 W/ 150 red /170 green /180 blue, Philips Lighting controls: MultiDim, Philips Photographer: Kaan Verdioglu Text: Tuba Baskan Web: www.huzurgiyim.com

4 1

The shop has three storeys with suspended ceilings. The products are displayed in separate departments on the three floors.

Circulation axes are defined by FBH146/226 downlights with 26 W compact fluorescent lamps.

General lighting is provided by TBS631/128 recessed luminaires with an opal cover. These luminaires incorporate 28 W TL-5 fluorescent lamps.

The shop windows are illuminated by Scrabble with MASTER Colour 70 W compact discharge lamps to attract people who are passing by.

In addition, RGB fluorescent lighting is used to create a dynamic effect, making the window displays more eye-catching.

Scrabble adjustable recessed downlights (narrow-beam) are used to create accent lighting for the shelves and stands. They are fitted with MASTER Colour 70 W compact discharge lamps that create a warm colour and provide excellent colour rendering.

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2

In addition to the pleasant ambience and visual comfort afforded by the general ligthing, the successful use of accent lighting in the Huzur Shop has enhanced the attractiveness of the store by highlighting particular areas, thus giving customers an extra impetus to buy. ■

The local lighting is controlled by the digital MultiDim control system.

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The new retail branding concept – with the slogan ‘Feel Pimkie’ – projects an authentic image of Pimkie as a retailer of hot, in-your-face fashion for 15 to 25 year-old females. In appearance, the new stores combine emotion with functionality.

Quality materials and powerful communicative statements transport the customer into a fascinating new world, in which everything revolves around fashion and beauty.

Carefully selected store music, tactile elements and the colour and design language all contribute to the expressive image and create a sensuous and holistic ‘Feel Pimkie’ experience, in which the customer can ‘take centre-stage’ and experiment with the latest fashions.

The store lighting is designed to make Pimkie’s young customers feel part of the ritzy world of fashion. It can also be used to create a mood in a particular part of the store, or to draw attention to specific features, such as special promotions or new collections that have just arrived in the store.

2

The Pimkie shop windows are designed to attract young consumers and to communicate the ambience of the store. As customers enter the shop, sparkling pink light from the Disco Gobo instantly creates a fashion atmosphere and puts them in the Pimkie mood.

Inside the store, accent lighting above the catwalk and mannequins highlights the latest collections, for example, while accent lighting on the walls picks out the very newest trends in accessories and clothing, as well as enhancing the make-up area.

1

Pimkie retail chain

Last but not least, the changing rooms are specially lit with incandescent lamps set all around the mirrors, just like the dressing-room mirrors the young ladies’ pop or film idols would use backstage. Here, the Pimkie clientele are really made to feel glamorous, as they have fun trying on their new clothing, accessories and make-up. ■

Vienna, Austria 1 The ‘Feel Pimkie’ experience, with pink elements in both the furniture and the lighting

The Pimkie fashion brand has rolled out a new store concept in 35 retail outlets and 12 flagship stores throughout Europe in the course of 2006. The store lighting is designed to reinforce

2 A central catwalk showing the latest fashions 3 In the fitting room, the lighting refers to backstage theatre dressing-rooms

the chic, trendy atmosphere that Pimkie wants to create for its young female clientele.

Contracting authority: Detlef Purwin, Reiner Aydt, PMD Moden und Handels GmbH Pimkie, Germany Concept architect: Nicole Srock-Stanley, dan pearlman, Berlin, Germany Lighting design: Helga Overath-Tritt, LiDAC, Philips, Germany Philips support: Kai Nitschke, Joan Mcgrath, Ton F. Akkermans Luminaires: Fugato MBS262 and MBS264, MRN810, Spot 60800, Philips Light sources: CDM-T 35/70 W, Philips Photographer: Pimkie Text: Helga Overath-Tritt Web: www.pimkie.com, www.danpearlman.com

3

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The new retail branding concept – with the slogan ‘Feel Pimkie’ – projects an authentic image of Pimkie as a retailer of hot, in-your-face fashion for 15 to 25 year-old females. In appearance, the new stores combine emotion with functionality.

Quality materials and powerful communicative statements transport the customer into a fascinating new world, in which everything revolves around fashion and beauty.

Carefully selected store music, tactile elements and the colour and design language all contribute to the expressive image and create a sensuous and holistic ‘Feel Pimkie’ experience, in which the customer can ‘take centre-stage’ and experiment with the latest fashions.

The store lighting is designed to make Pimkie’s young customers feel part of the ritzy world of fashion. It can also be used to create a mood in a particular part of the store, or to draw attention to specific features, such as special promotions or new collections that have just arrived in the store.

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The Pimkie shop windows are designed to attract young consumers and to communicate the ambience of the store. As customers enter the shop, sparkling pink light from the Disco Gobo instantly creates a fashion atmosphere and puts them in the Pimkie mood.

Inside the store, accent lighting above the catwalk and mannequins highlights the latest collections, for example, while accent lighting on the walls picks out the very newest trends in accessories and clothing, as well as enhancing the make-up area.

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Pimkie retail chain

Last but not least, the changing rooms are specially lit with incandescent lamps set all around the mirrors, just like the dressing-room mirrors the young ladies’ pop or film idols would use backstage. Here, the Pimkie clientele are really made to feel glamorous, as they have fun trying on their new clothing, accessories and make-up. ■

Vienna, Austria 1 The ‘Feel Pimkie’ experience, with pink elements in both the furniture and the lighting

The Pimkie fashion brand has rolled out a new store concept in 35 retail outlets and 12 flagship stores throughout Europe in the course of 2006. The store lighting is designed to reinforce

2 A central catwalk showing the latest fashions 3 In the fitting room, the lighting refers to backstage theatre dressing-rooms

the chic, trendy atmosphere that Pimkie wants to create for its young female clientele.

Contracting authority: Detlef Purwin, Reiner Aydt, PMD Moden und Handels GmbH Pimkie, Germany Concept architect: Nicole Srock-Stanley, dan pearlman, Berlin, Germany Lighting design: Helga Overath-Tritt, LiDAC, Philips, Germany Philips support: Kai Nitschke, Joan Mcgrath, Ton F. Akkermans Luminaires: Fugato MBS262 and MBS264, MRN810, Spot 60800, Philips Light sources: CDM-T 35/70 W, Philips Photographer: Pimkie Text: Helga Overath-Tritt Web: www.pimkie.com, www.danpearlman.com

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Vroom & Dreesman Almere, Netherlands

The Vroom & Dreesman (V&D) store is a striking presence in Almere’s new town centre. The lighting design features a world premiere – the first large-scale application of Origami LED lighting tiles in a retail environment.

V&D in Almere is the first retail location in the world to install Origami lighting. Origami incorporates LED lighting in RGB (red, green and blue), which can be used to create almost the entire colour spectrum. The square luminaires have been suspended horizontally as well as vertically and at different heights. This gives rise to a playful mosaic pattern that is perfectly coordinated in terms of colour and intensity.

Origami’s ultra-flat form meant greater design freedom. Thanks to a computer-controlled lighting control system, it is possible to create lots of different and exciting effects, with the lighting changing from one colour to another or even changing in a wave. It also makes it possible to gear the lighting to specific events such as Easter or the World Cup, for example.

This decorative function helps to make shopping a more enjoyable experience.

Contracting authority: Vroom & Dreesman Project leader: Wilco Korving, Vroom & Dreesman Lighting design: Ruud Bagen, Philips LiDAC, Netherlands Electrical installation: Stork Philips support: Joost Flanagan, Lighting, Netherlands Luminaires: Origami, Scrabble QPX500-4 pendant, Fugato MBS262, MBS260, Philips Light sources: LUXEON® RGB LEDs, CDM-T 70 W, Philips Lighting controls: BTP LED 230 24 V, Fairlight Photographer: Korff & van Mierlo Text: Ruud Bagen Web: www.vroomendreesman.nl; www.stork.nl

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It is impossible to miss the V&D department store in the modern town centre, not just because of its tall, glass façade, but also because of the coloured Origami lighting that can be seen from afar through the glass. The entrance hall opens out onto an enormous empty space.

From here, shoppers have a wonderful view of the floors behind, each one set back above the next. Particularly with so much daylight, care has to be taken to ensure that the lighting does not just blend in. That is why it was decided to install conspicuous lighting that people would be able to see from far away on the street.

And indeed, the Origamis really do stand out from the daylight.

The primary, functional lighting is provided by another custom-made luminaire, the square 4-lamp Scrabble, which ties in well with the Origami. Stylish Fugato downlights were chosen to illuminate the merchandise. Like the Scrabble, these luminaires have been fitted with MASTER Colour lamps. These are energy-saving thanks to their high efficiency, and offer fresh and true-tolife colour rendering, which is essential to attract shoppers. ■

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Vroom & Dreesman Almere, Netherlands

The Vroom & Dreesman (V&D) store is a striking presence in Almere’s new town centre. The lighting design features a world premiere – the first large-scale application of Origami LED lighting tiles in a retail environment.

V&D in Almere is the first retail location in the world to install Origami lighting. Origami incorporates LED lighting in RGB (red, green and blue), which can be used to create almost the entire colour spectrum. The square luminaires have been suspended horizontally as well as vertically and at different heights. This gives rise to a playful mosaic pattern that is perfectly coordinated in terms of colour and intensity.

Origami’s ultra-flat form meant greater design freedom. Thanks to a computer-controlled lighting control system, it is possible to create lots of different and exciting effects, with the lighting changing from one colour to another or even changing in a wave. It also makes it possible to gear the lighting to specific events such as Easter or the World Cup, for example.

This decorative function helps to make shopping a more enjoyable experience.

Contracting authority: Vroom & Dreesman Project leader: Wilco Korving, Vroom & Dreesman Lighting design: Ruud Bagen, Philips LiDAC, Netherlands Electrical installation: Stork Philips support: Joost Flanagan, Lighting, Netherlands Luminaires: Origami, Scrabble QPX500-4 pendant, Fugato MBS262, MBS260, Philips Light sources: LUXEON® RGB LEDs, CDM-T 70 W, Philips Lighting controls: BTP LED 230 24 V, Fairlight Photographer: Korff & van Mierlo Text: Ruud Bagen Web: www.vroomendreesman.nl; www.stork.nl

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It is impossible to miss the V&D department store in the modern town centre, not just because of its tall, glass façade, but also because of the coloured Origami lighting that can be seen from afar through the glass. The entrance hall opens out onto an enormous empty space.

From here, shoppers have a wonderful view of the floors behind, each one set back above the next. Particularly with so much daylight, care has to be taken to ensure that the lighting does not just blend in. That is why it was decided to install conspicuous lighting that people would be able to see from far away on the street.

And indeed, the Origamis really do stand out from the daylight.

The primary, functional lighting is provided by another custom-made luminaire, the square 4-lamp Scrabble, which ties in well with the Origami. Stylish Fugato downlights were chosen to illuminate the merchandise. Like the Scrabble, these luminaires have been fitted with MASTER Colour lamps. These are energy-saving thanks to their high efficiency, and offer fresh and true-tolife colour rendering, which is essential to attract shoppers. ■

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Concepts 1 Images of the Made of Light™ exhibition created by Speirs and Major Associates.

Images by James Newton

2 National Opera House, Copenhagen

by Henning Larsen.

Lighting by Speirs and Major Associates.

Image by Adam Mørk

2 1

Made of Light™ Jonathan Speirs and Mark Major

In 2002 we decided to develop an in-house project about light – one that was designed to challenge, provoke, inspire and delight.

This article explains the ideas behind this special initiative, which became known as ‘Made of Light™’.

A workshop in late 2002 revealed a strong desire within our practice to create a ‘dialogue’ about light – a discussion of what it is that fuels our enthusiasm and passion for working with light. Taking our shared spoken language as our starting point, we established a series of themes related to concepts that we frequently employ and which share a common usage with architecture. These themes were defined as: Source; Contrast; Surface; Colour; Movement; Function; Form; Space; Boundary; Scale; Image; Magic.

A number of them are discussed below.

These titles provided a framework for the next part of the project, which was to develop a ‘visual language’ through the careful selection of images from the natural world, art, architecture, etc.

From the outset, we were determined to ensure that the exhibition was truly ‘made of light’. We also wanted it to be able to travel, so that its shelf-life

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would not be limited. We created an original, looping, 12-minute visual experience about light and architecture based on selected images on the above themes. There is a clear relationship between the words and images used, stimulating the viewer to ask questions and to explore light further.

The accompanying book consists not only of a series of essays on the main themes, but also over 400 coloured illustrations and a series of illuminating spreads created by members of the Speirs and Major Associates team. The following summary of the main themes, together with their supporting images, gives the reader a little of the spirit of ‘Made of Light™’.

Natural light is provided by the sun. It is unpredictable. We cannot easily control it. We must build our environment around it. Artificial light has evolved as a technological response to the need to illuminate our world after dark. We can both create and control it. We can design both the source and the subject. Throughout civilisation, the form of our architecture has responded to the sun. Until the industrialisation of artificial lighting, the limits of technology resulted in these light sources being limited to function and utility. We now live in an age where artificial sources offer as many possibilities for expression and the creation of architecture as the light of the sun itself.

Source “Just think, that man can claim a slice of the sun.”

Louis I Kahn There are two sources of light in architecture: ‘natural’ and ‘artificial’.

Contrast “We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates.”

Jun`ichiro Tanizaki

Contrast is the story of light and its counterpart, darkness. The absence of light is as critical to architecture as its presence. Through the relationship between light and dark, we are able to determine the form of architecture by the manner in which space and surface is revealed. The degree of light and shade not only informs the way we see, but also the mood and expression of our environment. The act of working with light requires an understanding of how to maintain darkness. This can be through the elimination of light or the casting of shadows. Shadow, like light, has quality, quantity, direction and focus. In natural light it changes in perfect harmony with the movement of the sun. In an artificially illuminated world, whilst the contrast between light and shade can be predicted and controlled, it is often subject to the effect of multiple sources.

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Concepts 1 Images of the Made of Light™ exhibition created by Speirs and Major Associates.

Images by James Newton

2 National Opera House, Copenhagen

by Henning Larsen.

Lighting by Speirs and Major Associates.

Image by Adam Mørk

2 1

Made of Light™ Jonathan Speirs and Mark Major

In 2002 we decided to develop an in-house project about light – one that was designed to challenge, provoke, inspire and delight.

This article explains the ideas behind this special initiative, which became known as ‘Made of Light™’.

A workshop in late 2002 revealed a strong desire within our practice to create a ‘dialogue’ about light – a discussion of what it is that fuels our enthusiasm and passion for working with light. Taking our shared spoken language as our starting point, we established a series of themes related to concepts that we frequently employ and which share a common usage with architecture. These themes were defined as: Source; Contrast; Surface; Colour; Movement; Function; Form; Space; Boundary; Scale; Image; Magic.

A number of them are discussed below.

These titles provided a framework for the next part of the project, which was to develop a ‘visual language’ through the careful selection of images from the natural world, art, architecture, etc.

From the outset, we were determined to ensure that the exhibition was truly ‘made of light’. We also wanted it to be able to travel, so that its shelf-life

94

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would not be limited. We created an original, looping, 12-minute visual experience about light and architecture based on selected images on the above themes. There is a clear relationship between the words and images used, stimulating the viewer to ask questions and to explore light further.

The accompanying book consists not only of a series of essays on the main themes, but also over 400 coloured illustrations and a series of illuminating spreads created by members of the Speirs and Major Associates team. The following summary of the main themes, together with their supporting images, gives the reader a little of the spirit of ‘Made of Light™’.

Natural light is provided by the sun. It is unpredictable. We cannot easily control it. We must build our environment around it. Artificial light has evolved as a technological response to the need to illuminate our world after dark. We can both create and control it. We can design both the source and the subject. Throughout civilisation, the form of our architecture has responded to the sun. Until the industrialisation of artificial lighting, the limits of technology resulted in these light sources being limited to function and utility. We now live in an age where artificial sources offer as many possibilities for expression and the creation of architecture as the light of the sun itself.

Source “Just think, that man can claim a slice of the sun.”

Louis I Kahn There are two sources of light in architecture: ‘natural’ and ‘artificial’.

Contrast “We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates.”

Jun`ichiro Tanizaki

Contrast is the story of light and its counterpart, darkness. The absence of light is as critical to architecture as its presence. Through the relationship between light and dark, we are able to determine the form of architecture by the manner in which space and surface is revealed. The degree of light and shade not only informs the way we see, but also the mood and expression of our environment. The act of working with light requires an understanding of how to maintain darkness. This can be through the elimination of light or the casting of shadows. Shadow, like light, has quality, quantity, direction and focus. In natural light it changes in perfect harmony with the movement of the sun. In an artificially illuminated world, whilst the contrast between light and shade can be predicted and controlled, it is often subject to the effect of multiple sources.

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3 Light and Words Image by Keith Bradshaw 4 Vierzehnheiligen, Bad Staffelstein Image courtesy of Promedia / Bad Staffelstein

5 Buchanan Street, Glasgow Lighting by Speirs and Major Associates Image by Paul Bock

7 Priory Cloister, Coventry Lighting by Speirs and Major Associates Artist Chris Brown Image by Mandy Reynolds

6 Weather Project by Olafur Eliasson Image by James Newton courtesy Tate Modern, London

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Surface “Light has not just intensity, but also a vibration, which is capable of roughening a smooth material, of giving a three-dimensional quality to a flat surface.”

Renzo Piano The manner in which surfaces are rendered by light reveals their very nature. Appearance is governed by the angle and direction of the light as well as the nature of the surface. We can refer to the appearance of a surface as its texture. All materials have texture; whether polished and lightreflective or roughly hewn and light-scattering. Light can control texture to varying degrees – where a material transmits light its internal structure reveals texture, or its absence. Materials can be illuminated to show degrees of smoothness, coarseness, grain, consistency, weave or elasticity. They can also be transparent, translucent, refractive or reflective. Light itself has no texture. It can appear to have texture by hitting particles in the air or manipulating surfaces. Light can also create a pattern or dissolve it.

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8 Sunset over Boston Image by Jonathan Speirs 9 Illinois State Office Building Image by Mark Major

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The relationship between light, surface and texture is not only substantial, it can be implied, simulated or hidden.

Colour “In order to use colour effectively it is necessary to recognise that colour deceives continually.”

Joseph Albers Light is made of spectral colour. White light and coloured light therefore come in many different hues. The constantly changing colour of natural light is part of our existence. From the yellow glow of dawn to the cool white brilliance of midday – from the blue cast of twilight to the spectacular red-orange shift of sunset. Light can both reveal and provide colour.

Light liberates the use of colour in architecture through our ability to create coloured light. It can be used as a signifier, create atmosphere, control image and provide expression. This can be from white light passing through a

coloured medium, reflecting from a coloured surface or the use of coloured sources. Form and space may be coloured by light. Even the absence of light can influence our perception of form and space through the presence of coloured shadows. Colour gives meaning to what we see.

searchlights tracking across the sky. Artificial light moves. It also promotes movement. This movement does not necessarily imply physical redirection of light, but our ability to vary it, thereby changing our perception of space over time.

Movement “Nothing is more revealing than movement.”

Martha Graham The movement of light is a linear process, where time and space meet in dialogue. We have evolved to respond to daily and seasonal change brought about by the movement of the sun, the moon and the stars.

Through the passage of light we track not only the change of day into night but also form and surfaces moving in light. This may be people moving in and out of a beam of light or the sunlight catching on the ripples of a lake.

It may be headlights winding through the streets of the city or the fingers of

Function “Art is not what you see, but what you make others see.”

Edgar Degas Whilst light is a creative medium, its most basic function is to enable us to see. Our visual acuity is not only reliant on the quantity of light, but also its spectral distribution. Seeing is therefore not only about distinguishing light and shade, but also colour. The healthy eye can see in a wide range of levels of light – from dim candlelight to bright sunlight. What is critical to visual function, however, is controlling adaptation from one condition to another.

Whilst natural light allows the proper legibility of detail and colour,

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3 Light and Words Image by Keith Bradshaw 4 Vierzehnheiligen, Bad Staffelstein Image courtesy of Promedia / Bad Staffelstein

5 Buchanan Street, Glasgow Lighting by Speirs and Major Associates Image by Paul Bock

7 Priory Cloister, Coventry Lighting by Speirs and Major Associates Artist Chris Brown Image by Mandy Reynolds

6 Weather Project by Olafur Eliasson Image by James Newton courtesy Tate Modern, London

3

Surface “Light has not just intensity, but also a vibration, which is capable of roughening a smooth material, of giving a three-dimensional quality to a flat surface.”

Renzo Piano The manner in which surfaces are rendered by light reveals their very nature. Appearance is governed by the angle and direction of the light as well as the nature of the surface. We can refer to the appearance of a surface as its texture. All materials have texture; whether polished and lightreflective or roughly hewn and light-scattering. Light can control texture to varying degrees – where a material transmits light its internal structure reveals texture, or its absence. Materials can be illuminated to show degrees of smoothness, coarseness, grain, consistency, weave or elasticity. They can also be transparent, translucent, refractive or reflective. Light itself has no texture. It can appear to have texture by hitting particles in the air or manipulating surfaces. Light can also create a pattern or dissolve it.

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8 Sunset over Boston Image by Jonathan Speirs 9 Illinois State Office Building Image by Mark Major

4

5

6

7

8

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The relationship between light, surface and texture is not only substantial, it can be implied, simulated or hidden.

Colour “In order to use colour effectively it is necessary to recognise that colour deceives continually.”

Joseph Albers Light is made of spectral colour. White light and coloured light therefore come in many different hues. The constantly changing colour of natural light is part of our existence. From the yellow glow of dawn to the cool white brilliance of midday – from the blue cast of twilight to the spectacular red-orange shift of sunset. Light can both reveal and provide colour.

Light liberates the use of colour in architecture through our ability to create coloured light. It can be used as a signifier, create atmosphere, control image and provide expression. This can be from white light passing through a

coloured medium, reflecting from a coloured surface or the use of coloured sources. Form and space may be coloured by light. Even the absence of light can influence our perception of form and space through the presence of coloured shadows. Colour gives meaning to what we see.

searchlights tracking across the sky. Artificial light moves. It also promotes movement. This movement does not necessarily imply physical redirection of light, but our ability to vary it, thereby changing our perception of space over time.

Movement “Nothing is more revealing than movement.”

Martha Graham The movement of light is a linear process, where time and space meet in dialogue. We have evolved to respond to daily and seasonal change brought about by the movement of the sun, the moon and the stars.

Through the passage of light we track not only the change of day into night but also form and surfaces moving in light. This may be people moving in and out of a beam of light or the sunlight catching on the ripples of a lake.

It may be headlights winding through the streets of the city or the fingers of

Function “Art is not what you see, but what you make others see.”

Edgar Degas Whilst light is a creative medium, its most basic function is to enable us to see. Our visual acuity is not only reliant on the quantity of light, but also its spectral distribution. Seeing is therefore not only about distinguishing light and shade, but also colour. The healthy eye can see in a wide range of levels of light – from dim candlelight to bright sunlight. What is critical to visual function, however, is controlling adaptation from one condition to another.

Whilst natural light allows the proper legibility of detail and colour,

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10 Thermae, Bath Spa by Grimshaw Lighting design by Speirs and Major Associates Image by Edmund Sumner

11 Zollverein Kokerei, Essen Lighting design by Speirs and Major Associates Image by Werner J Hannappel.

12 Gateshead Millennium Bridge, Gateshead Lighting design by Speirs and Major Associates Image by Graham Peacock

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artificial light can also be controlled to meet the majority of our needs. Our built environment can therefore be illuminated to reinforce the function of any given space through responding to the visual task. In this way, the form of light follows the function of architecture.

Form “Architecture which enters into a symbiosis with light does not merely create form in light, by day and at night, but allows light to become form.”

Richard Meier Form is the visual shape of mass and volume. Light makes form legible.

There is no form without light. The manner in which light renders mass defines the essential relationship between architecture and light. The appearance of form is interpreted through the direction and intensity of light. By altering the light we can not only re-define the shape of an object but also re-interpret its character and meaning. The form of architecture is

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13 Shadow play Image courtesy Promedia / Bad Staffelstein

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therefore entirely reliant not only on the presence of light but also its quality.

The changing nature of natural light means that architecture is therefore constantly being visually transformed. Light itself can have form but without mass. The shape of light can be defined through the manner in which it is defined by the presence of mass.

Space “Light is a powerful substance. We have a primal connection to it. But, for something so powerful, situations for its felt presence are fragile… I like to work with it so that you feel it physically, so you feel the presence of light inhabiting a space.”

James Turrell Space is the absence of mass. Light influences space through the manner in which it defines mass as form. The lighting of form to reveal shape, surface texture and colour generates the ambience of a space.

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The relationship between light and space therefore dictates not only our visual perception of the world around us, but also the way we feel. Light can make space feel warm or cool. It can make it feel open or closed – airy or intimate. Space is regulated by light. In nature, the sky is space composed of light. Within a building, that same space is captured, its shape defined and its light drawn from outside. After dark, that same space is re-defined by man-made light that comes from within to shine out into infinite darkness.

Boundary “The simple ideas we receive from sensation and reflection are the boundaries of our thoughts.”

John Locke A boundary serves to indicate a limit. When working with light, the limit of our vision may be referred to as a ‘visual boundary’. In the natural world this is often the horizon where the sky meets the sea, the earth or

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topographical forms. In the built environment, the visual boundary of our space is often a vertical form, or a series of forms. A lit boundary may be created by contrast or continuity. It may be passive, through the use of static light, or made dynamic through the use of moving light. A boundary in light may serve to either unify or separate space. Boundaries may be formed by light itself as the threshold between a dark space and a light space. The ‘permeability’ of any boundary to light dictates the degree of transparency or solidity and dictates the limit of the visual field. Light helps to define our understanding of the limits of space and form through the lighting of boundaries. ■

Made of Light™ was designed and conceived by Speirs and Major Associates.

For the full team listing, please visit www.madeoflight.com.

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10 Thermae, Bath Spa by Grimshaw Lighting design by Speirs and Major Associates Image by Edmund Sumner

11 Zollverein Kokerei, Essen Lighting design by Speirs and Major Associates Image by Werner J Hannappel.

12 Gateshead Millennium Bridge, Gateshead Lighting design by Speirs and Major Associates Image by Graham Peacock

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artificial light can also be controlled to meet the majority of our needs. Our built environment can therefore be illuminated to reinforce the function of any given space through responding to the visual task. In this way, the form of light follows the function of architecture.

Form “Architecture which enters into a symbiosis with light does not merely create form in light, by day and at night, but allows light to become form.”

Richard Meier Form is the visual shape of mass and volume. Light makes form legible.

There is no form without light. The manner in which light renders mass defines the essential relationship between architecture and light. The appearance of form is interpreted through the direction and intensity of light. By altering the light we can not only re-define the shape of an object but also re-interpret its character and meaning. The form of architecture is

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13 Shadow play Image courtesy Promedia / Bad Staffelstein

11

therefore entirely reliant not only on the presence of light but also its quality.

The changing nature of natural light means that architecture is therefore constantly being visually transformed. Light itself can have form but without mass. The shape of light can be defined through the manner in which it is defined by the presence of mass.

Space “Light is a powerful substance. We have a primal connection to it. But, for something so powerful, situations for its felt presence are fragile… I like to work with it so that you feel it physically, so you feel the presence of light inhabiting a space.”

James Turrell Space is the absence of mass. Light influences space through the manner in which it defines mass as form. The lighting of form to reveal shape, surface texture and colour generates the ambience of a space.

12

The relationship between light and space therefore dictates not only our visual perception of the world around us, but also the way we feel. Light can make space feel warm or cool. It can make it feel open or closed – airy or intimate. Space is regulated by light. In nature, the sky is space composed of light. Within a building, that same space is captured, its shape defined and its light drawn from outside. After dark, that same space is re-defined by man-made light that comes from within to shine out into infinite darkness.

Boundary “The simple ideas we receive from sensation and reflection are the boundaries of our thoughts.”

John Locke A boundary serves to indicate a limit. When working with light, the limit of our vision may be referred to as a ‘visual boundary’. In the natural world this is often the horizon where the sky meets the sea, the earth or

13

topographical forms. In the built environment, the visual boundary of our space is often a vertical form, or a series of forms. A lit boundary may be created by contrast or continuity. It may be passive, through the use of static light, or made dynamic through the use of moving light. A boundary in light may serve to either unify or separate space. Boundaries may be formed by light itself as the threshold between a dark space and a light space. The ‘permeability’ of any boundary to light dictates the degree of transparency or solidity and dictates the limit of the visual field. Light helps to define our understanding of the limits of space and form through the lighting of boundaries. ■

Made of Light™ was designed and conceived by Speirs and Major Associates.

For the full team listing, please visit www.madeoflight.com.

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Colour in indoor environments Marike de Kruiff and Martine Knoop

With the advent of efficient saturated LED sources, we are seeing a rise in the application of coloured lighting as a provider of ambience.

To perceive colour means to ‘experience’ it. The factors that influence this process, on a conscious but also to some extent on a subconscious level, are discussed below.

These have been inspired by Frank H. Mahnke’s categorisation in his ‘colour experience’ pyramid, which describes the effects of coloured lighting on mood and well-being. These effects range from conscious, personal and temporary ones to more subconscious, biological and long-term effects.

A. Aesthetic impressions Our personal relationship with colour shows a predilection for specific hues, mostly based on non-objective preferences. As these preferences are not associated with any object or prior experience, they have little effect on the creation of a lighting ambience.

C. Cultural influences and associations We tend to associate certain colours with certain things. Warm colours, such as red, orange and yellow, are associated with sun and fire. Cool colours, such as blue and violet, are associated with air, sky and water, whilst green tends to be associated with nature.

An association, which is a cognitive response, can also be taught.

When repetition of a colour or a colour combination in a certain context is associated with a company, ‘branding’ has been successful. For example, IBM is known as ‘Big Blue’, while Coca Cola and Ferrari are associated with red.

B. The influence of trends, fashions, styles New colour trends emerge in fashion and consumer goods every year.

In interior design and architecture, colour changes more slowly, as the application of subtractive colours in a building environment in the form of paint needs to outlive momentary trends. With a modern lighting installation it is easier to adapt the colour of the interior to the colour that is in fashion at the time. Using LEDs or a combination of RGB(A) fluorescent tubes, it is possible to create all hues so that, for example, the colour of the store interior can be adapted to support the colours of the new season’s collection.

Colour associations are often influenced by our cultural value system or the climate in which we live. For example, Orange is the ‘national’ colour for the Dutch and relates to the name of their royal family – van Oranje.

Scandinavians like bright yellows, whites and blues, quite the opposite of their long, dark winters. In Miami, USA, however, where the sun shines almost constantly, grey is very popular.

Lighting is often used to induce associative responses, but it is also used to support the induced association, i.e. branding.

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Every colour has specific properties that can evoke specific emotions by association. How an emotional value is linked to a particular colour depends very much on the context in which the colour is offered.

Furthermore, any affective influence will be determined in part by our own individual experiences.

From the conscious to the subconscious The above-mentioned factors A to C, which determine how we experience colour, are responses that are triggered immediately. But colour has a ‘long-term’ effect as well. It is a form of energy, a bandwidth of wavelengths. When it is experienced for a longer period of time – minutes, hours or days – this energy affects bodily functions, like brain activity and hormone production, just as it influences our mood and emotions.

D. Subconscious (emotional) response Studies indicate that colours have an effect on the way we perceive temperature, weight, smell, sound and even taste. These are subconscious responses to colour. A red room is perceived to be three to four degrees warmer than a blue one. Weight appears to increase under the influence of red. People also experience a rise in appetite in red and yellow surroundings.

Studies also indicate that colour can be used to promote learning in school children and to improve social behaviour. Other studies have shown that the productivity of office workers is influenced by the colour of the room.

Rooms in bright, warm colours tend to have a stimulating effect on people.

In a study investigating the emotions triggered by the colour of stores, colour choice was found to have an impact on consumer behaviour. In terms of increasing the sensation of pleasure, greenish-yellows and reds were found to be least effective while blue proved most effective of all.

And when it came to generating an increase in tension, reds and yellowyreds gave rise to the largest increase, then blues, while greens created the least tension.

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Colour in indoor environments Marike de Kruiff and Martine Knoop

With the advent of efficient saturated LED sources, we are seeing a rise in the application of coloured lighting as a provider of ambience.

To perceive colour means to ‘experience’ it. The factors that influence this process, on a conscious but also to some extent on a subconscious level, are discussed below.

These have been inspired by Frank H. Mahnke’s categorisation in his ‘colour experience’ pyramid, which describes the effects of coloured lighting on mood and well-being. These effects range from conscious, personal and temporary ones to more subconscious, biological and long-term effects.

A. Aesthetic impressions Our personal relationship with colour shows a predilection for specific hues, mostly based on non-objective preferences. As these preferences are not associated with any object or prior experience, they have little effect on the creation of a lighting ambience.

C. Cultural influences and associations We tend to associate certain colours with certain things. Warm colours, such as red, orange and yellow, are associated with sun and fire. Cool colours, such as blue and violet, are associated with air, sky and water, whilst green tends to be associated with nature.

An association, which is a cognitive response, can also be taught.

When repetition of a colour or a colour combination in a certain context is associated with a company, ‘branding’ has been successful. For example, IBM is known as ‘Big Blue’, while Coca Cola and Ferrari are associated with red.

B. The influence of trends, fashions, styles New colour trends emerge in fashion and consumer goods every year.

In interior design and architecture, colour changes more slowly, as the application of subtractive colours in a building environment in the form of paint needs to outlive momentary trends. With a modern lighting installation it is easier to adapt the colour of the interior to the colour that is in fashion at the time. Using LEDs or a combination of RGB(A) fluorescent tubes, it is possible to create all hues so that, for example, the colour of the store interior can be adapted to support the colours of the new season’s collection.

Colour associations are often influenced by our cultural value system or the climate in which we live. For example, Orange is the ‘national’ colour for the Dutch and relates to the name of their royal family – van Oranje.

Scandinavians like bright yellows, whites and blues, quite the opposite of their long, dark winters. In Miami, USA, however, where the sun shines almost constantly, grey is very popular.

Lighting is often used to induce associative responses, but it is also used to support the induced association, i.e. branding.

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Every colour has specific properties that can evoke specific emotions by association. How an emotional value is linked to a particular colour depends very much on the context in which the colour is offered.

Furthermore, any affective influence will be determined in part by our own individual experiences.

From the conscious to the subconscious The above-mentioned factors A to C, which determine how we experience colour, are responses that are triggered immediately. But colour has a ‘long-term’ effect as well. It is a form of energy, a bandwidth of wavelengths. When it is experienced for a longer period of time – minutes, hours or days – this energy affects bodily functions, like brain activity and hormone production, just as it influences our mood and emotions.

D. Subconscious (emotional) response Studies indicate that colours have an effect on the way we perceive temperature, weight, smell, sound and even taste. These are subconscious responses to colour. A red room is perceived to be three to four degrees warmer than a blue one. Weight appears to increase under the influence of red. People also experience a rise in appetite in red and yellow surroundings.

Studies also indicate that colour can be used to promote learning in school children and to improve social behaviour. Other studies have shown that the productivity of office workers is influenced by the colour of the room.

Rooms in bright, warm colours tend to have a stimulating effect on people.

In a study investigating the emotions triggered by the colour of stores, colour choice was found to have an impact on consumer behaviour. In terms of increasing the sensation of pleasure, greenish-yellows and reds were found to be least effective while blue proved most effective of all.

And when it came to generating an increase in tension, reds and yellowyreds gave rise to the largest increase, then blues, while greens created the least tension.

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Visually discernible

Aesthetic/design Psychological/emotional

Aesthetic impressions, personal relationship with colour

Influences of trends, fashion and styles

Cultural influences

Associations, symbolic content

Physiological/biological

Emotional response (collective unconscious)

Visually indiscernible Biological reaction

E. Biological response Our biological responses to colour are beyond our control and are not affected by our personal emotional response to a given colour. In red light, for example, blood pressure rises and pulse quickens, while research has shown that in blue rooms people calm down, and the ability to concentrate rises. Green relieves tension in the blood vessels, and promotes muscle and tissue growth.

What colour is good for you ? … Personality As with the psychological response, personality plays an important role in our biological and subconscious emotional reactions to colour.

Extroverts can cope with or may even require brighter colours, engaging shapes, and other sources of stimulation in order to maintain a balance.

However, an environment that over-stimulates the senses can lead to intense nervousness in introverted persons.

The consequences of using colour over time In a US Marine correctional facility in Seattle, USA, the walls of a lock-up for (often aggressive) arrested men were painted a precise hue of pink,

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supposedly the colour that would be perceived by a baby in the womb.

After the colour change, disturbances in the cell virtually ceased. Since then, the use of Baker-Miller pink, as it has come to be known, has become relatively widespread throughout North America as a means of calming aggressive or agitated inmates in prisons and institutions. Despite these powerful effects, however, there is considerable evidence that these reactions are short-term. Once the body returns to a state of equilibrium, a prisoner may regress to an even more agitated state. The way an individual responds to a colour can change over time. When exposed to colour, the body first recognises the colour, absorbs it and moves towards saturation.

Prolonged exposure will result in over-saturation. The body will then attempt to re-balance, and the opposite effect will be achieved, in most cases with increased intensity.

Use of colour in lighting design Associative responses and trends are used in coloured lighting designs.

The use of colour in indoor applications is rising, also in areas where people spend longer periods of time, e.g. in conference halls or break rooms.

This trend increases the need for lighting philosophies that address the use of colour. Taking into consideration personal responses and sensory deprivation, the desired effects can only be achieved through variation – the basis of Philips strategies like Dynamic Lighting and AmbiScene.

Sources Frank H. Mahnke: Color, Environment and Human Response, 1996 Henner Ertel: Blue is beautiful, Time, 1973 Nancy Kwallek: Color Me Productive: Research Gauges Impact of Color In the Workplace, 2004 Frank Vodvarka: Aspects of Color, 1999 Hiroshi Sasaki: Color psychology, 1991 Kathie Engelbrecht: The impact of color on learning, 2003 Jan Zerbe: Farbe bekennen. Möglichkeiten farbiger Raumgestaltung im Alten- und Plegeheim, 2003 Malaika Brengman: The impact of color in the store environment, 2002 Alexander Schauss, Diet, Crime and Delinquency, 1980

Although a colour will trigger an immediate reaction, the required effect does not last. The absence of a changing stimulus will lead to understimulation or sensory deprivation. An environment must, therefore, be neither too dull nor too stimulating. When colours are used, the levels of brightness, colour temperature, hue and/or saturation need to be varied.

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Visually discernible

Aesthetic/design Psychological/emotional

Aesthetic impressions, personal relationship with colour

Influences of trends, fashion and styles

Cultural influences

Associations, symbolic content

Physiological/biological

Emotional response (collective unconscious)

Visually indiscernible Biological reaction

E. Biological response Our biological responses to colour are beyond our control and are not affected by our personal emotional response to a given colour. In red light, for example, blood pressure rises and pulse quickens, while research has shown that in blue rooms people calm down, and the ability to concentrate rises. Green relieves tension in the blood vessels, and promotes muscle and tissue growth.

What colour is good for you ? … Personality As with the psychological response, personality plays an important role in our biological and subconscious emotional reactions to colour.

Extroverts can cope with or may even require brighter colours, engaging shapes, and other sources of stimulation in order to maintain a balance.

However, an environment that over-stimulates the senses can lead to intense nervousness in introverted persons.

The consequences of using colour over time In a US Marine correctional facility in Seattle, USA, the walls of a lock-up for (often aggressive) arrested men were painted a precise hue of pink,

102

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supposedly the colour that would be perceived by a baby in the womb.

After the colour change, disturbances in the cell virtually ceased. Since then, the use of Baker-Miller pink, as it has come to be known, has become relatively widespread throughout North America as a means of calming aggressive or agitated inmates in prisons and institutions. Despite these powerful effects, however, there is considerable evidence that these reactions are short-term. Once the body returns to a state of equilibrium, a prisoner may regress to an even more agitated state. The way an individual responds to a colour can change over time. When exposed to colour, the body first recognises the colour, absorbs it and moves towards saturation.

Prolonged exposure will result in over-saturation. The body will then attempt to re-balance, and the opposite effect will be achieved, in most cases with increased intensity.

Use of colour in lighting design Associative responses and trends are used in coloured lighting designs.

The use of colour in indoor applications is rising, also in areas where people spend longer periods of time, e.g. in conference halls or break rooms.

This trend increases the need for lighting philosophies that address the use of colour. Taking into consideration personal responses and sensory deprivation, the desired effects can only be achieved through variation – the basis of Philips strategies like Dynamic Lighting and AmbiScene.

Sources Frank H. Mahnke: Color, Environment and Human Response, 1996 Henner Ertel: Blue is beautiful, Time, 1973 Nancy Kwallek: Color Me Productive: Research Gauges Impact of Color In the Workplace, 2004 Frank Vodvarka: Aspects of Color, 1999 Hiroshi Sasaki: Color psychology, 1991 Kathie Engelbrecht: The impact of color on learning, 2003 Jan Zerbe: Farbe bekennen. Möglichkeiten farbiger Raumgestaltung im Alten- und Plegeheim, 2003 Malaika Brengman: The impact of color in the store environment, 2002 Alexander Schauss, Diet, Crime and Delinquency, 1980

Although a colour will trigger an immediate reaction, the required effect does not last. The absence of a changing stimulus will lead to understimulation or sensory deprivation. An environment must, therefore, be neither too dull nor too stimulating. When colours are used, the levels of brightness, colour temperature, hue and/or saturation need to be varied.

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