ILR 2007

International Lighting Review Yearbook 2007

International Lighting Review Yearbook 2007

International Lighting Review 3222 635 48321 / ISSN 1871-3661 € 24.00

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.

58th year / Issue 2007 International Lighting Review 3222 635 48321 / ISSN 1871-3661 Internationale Licht Rundschau 3222 635 48331 / ISSN 1873-3417 Revue Internationale de l’Eclairage 3222 635 48341 / ISSN 1873-345X Revista International de Luminotecnia 3222 635 48351 / ISSN 1873-3433 International Lighting Review Mandarin 3222 635 48361 Published by: Philips Lighting, Marketing Communications, BG Luminaires Produced by: 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 Project content director: Dorien van der Weele Publishing/managing director: Afke Bokma Editor-in-chief: Vincent Laganier Editor: Yolanda Loos Outdoor picture editor: Cécile Davidovich Drawings: Ali Réda Mouhsine Art chapter editor: Heine Olsen Architecture chapter editor: Maria Carolina Wichert Retail chapter editor: Ulrika Vis van Heemst Sports chapter editor: Gilles Page Urban planning chapter editor: Vincent Laganier Concepts chapter editor: Martine Knoop Copywriting: Kenneth Gilbert German reviewers: Rainer Barth, Heike Höding French reviewer: Laurent Guillonneau Spanish reviewers: Fernando Vila, Susana Gallardo Fuentes Mandarin reviewers: Mengming Yao, Geraldine Tan Layout and pre-publishing: Bovil DDB, Eindhoven, The Netherlands Translation: Philips Translation Services, Eindhoven, The Netherlands Printing: Roto Smeets, Eindhoven, The Netherlands Special thanks: Anissa Abbou, Luc van der Poel, Marike de Kruiff, Peter van Diesen, Wout van Bommel

Front cover Museum of Contemporary Art, Niterói, Rio de Janeiro, Brazil Architect: Oscar Niemeyer Lighting design: Gasper Associados/Peter Gasper, Rio de Janeiro, Brazil Photographer: Magno Mesquita The Museum of Contemporary Art in Niterói is in every respect a landmark structure. Designed by the Brazilian architect, Oscar Niemeyer (born December 15, 1907), this project has been selected for the front cover in celebration of both its modern Le Corbusierinfluenced architectural design and the centenary of the architect’s birth.

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.

Photo: Magno Mesquita

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.

58th year / Issue 2007 International Lighting Review 3222 635 48321 / ISSN 1871-3661 Internationale Licht Rundschau 3222 635 48331 / ISSN 1873-3417 Revue Internationale de l’Eclairage 3222 635 48341 / ISSN 1873-345X Revista International de Luminotecnia 3222 635 48351 / ISSN 1873-3433 International Lighting Review Mandarin 3222 635 48361 Published by: Philips Lighting, Marketing Communications, BG Luminaires Produced by: 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 Project content director: Dorien van der Weele Publishing/managing director: Afke Bokma Editor-in-chief:Vincent Laganier Editor: Yolanda Loos Outdoor picture editor: Cécile Davidovich Drawings: Ali Réda Mouhsine Art chapter editor: Heine Olsen Architecture chapter editor: Maria Carolina Wichert Retail chapter editor: Ulrika Vis van Heemst Sports chapter editor: Gilles Page Urban planning chapter editor: Vincent Laganier Concepts chapter editor: Martine Knoop Copywriting: Kenneth Gilbert German reviewers: Rainer Barth, Heike Höding French reviewer: Laurent Guillonneau Spanish reviewers: Fernando Vila, Susana Gallardo Fuentes Mandarin reviewers: Mengming Yao, Geraldine Tan Layout and pre-publishing: Bovil DDB, Eindhoven,The Netherlands Translation: Philips Translation Services, Eindhoven,The Netherlands Printing: Roto Smeets, Eindhoven, The Netherlands Special thanks: Anissa Abbou, Luc van der Poel, Marike de Kruiff, Peter van Diesen,Wout van Bommel

Front cover Museum of Contemporary Art, Niterói, Rio de Janeiro, Brazil Architect: Oscar Niemeyer Lighting design: Gasper Associados/Peter Gasper, Rio de Janeiro, Brazil Photographer: Magno Mesquita The Museum of Contemporary Art in Niterói is in every respect a landmark structure. Designed by the Brazilian architect, Oscar Niemeyer (born December 15, 1907), this project has been selected for the front cover in celebration of both its modern Le Corbusierinfluenced architectural design and the centenary of the architect’s birth.

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.

Photo: Magno Mesquita

International Lighting Review 2007

Editorial

7

Sustainability… what’s in a name?

Dorien van der Weele

Art

8

Steven Scott – Hermetic light Heine Olsen

ilr 2007

Architecture Museum of Contemporary Art Niterói, Rio de Janeiro, Brazil Regina Caeli Church Jakarta, Indonesia Fabre Museum Montpellier, France Technopolis Oulu City Center Oulu, Finland The Cubical Masterpiece Tongji University Shanghai, China Mina El Edén silver mine Zacatecas, Mexico Corporate Office, BG India Mumbai, India Area 14, Dublin Airport Dublin, Ireland

14 16 20 22 26

28 32 34 38

Retail 40

Sports

Mooi store concept Leiderdorp, The Netherlands Garbarino shop Buenos Aires, Argentina Citroën showroom Bucharest, Romania Il Gigante Quattro Venti gallery Curtatone, Italy Don Gil Vienna, Austria Tegut supermarket Groß-Zimmern, Germany Vodafone store Utrecht, The Netherlands Auberge de l’ill Illhaeusern, France

Stade Yves Du Manoir Montpellier, France Sportpark Wörtherseestadion Klagenfurt, Austria Porsche Arena Stuttgart, Germany Multan Cricket Stadium Multan, Pakistan

42 46 48 50 52 54 56 60

Izmir Sirinyer Hippodrome Izmir, Turkey Snow Funpark Wittenburg Wittenburg, Germany

64 66 68 70 72 74 78

Urban planning Howrah Bridge Kolkata, India Spielberk Office Centre Brno, Czech Republic Plaza de Indautxu Bilbao, Spain Breskens Promenade Sluis, The Netherlands Lima Cathedral Lima, Peru Loulé Castle Walls Loulé, Portugal Tour des Archives Rouen, France Plaza Hotel New York, United States of America London Eye London, United Kingdom

80 82 86 88 92 94 98 100 102

Concepts

106

Exploring new horizons in Dynamic Lighting Anissa Abbou Future urban lighting visions Maximilian Venzke & Jasmine van der Pol

108

112

Life after the bulb Luc van der Poel & Martine Knoop Light out of the box Martine Knoop

Publications Books on lighting and CIE documents from the year

116 122

126 126

104

ilr 2007

International Lighting Review 2007

Editorial

7

Sustainability… what’s in a name?

Dorien van der Weele

Art

8

Steven Scott – Hermetic light Heine Olsen

ilr 2007

Architecture Museum of Contemporary Art Niterói, Rio de Janeiro, Brazil Regina Caeli Church Jakarta, Indonesia Fabre Museum Montpellier, France Technopolis Oulu City Center Oulu, Finland The Cubical Masterpiece Tongji University Shanghai, China Mina El Edén silver mine Zacatecas, Mexico Corporate Office, BG India Mumbai, India Area 14, Dublin Airport Dublin, Ireland

14 16 20 22 26

28 32 34 38

Retail 40

Sports

Mooi store concept Leiderdorp, The Netherlands Garbarino shop Buenos Aires, Argentina

Stade Yves Du Manoir Montpellier, France Sportpark Wörtherseestadion Klagenfurt, Austria

Citroën showroom Bucharest, Romania Il Gigante Quattro Venti gallery Curtatone, Italy Don Gil Vienna, Austria Tegut supermarket Groß-Zimmern, Germany Vodafone store Utrecht, The Netherlands Auberge de l’ill Illhaeusern, France

42 46 48 50 52 54 56 60

Porsche Arena Stuttgart, Germany Multan Cricket Stadium Multan, Pakistan Izmir Sirinyer Hippodrome Izmir, Turkey Snow Funpark Wittenburg Wittenburg, Germany

64 66 68 70 72 74 78

Urban planning Howrah Bridge Kolkata, India Spielberk Office Centre Brno, Czech Republic Plaza de Indautxu Bilbao, Spain Breskens Promenade Sluis, The Netherlands Lima Cathedral Lima, Peru Loulé Castle Walls Loulé, Portugal Tour des Archives Rouen, France Plaza Hotel New York, United States of America London Eye London, United Kingdom

80 82 86 88 92 94 98 100 102

Concepts

106

Exploring new horizons in Dynamic Lighting Anissa Abbou Future urban lighting visions

108

Maximilian Venzke & Jasmine van der Pol Life after the bulb Luc van der Poel & Martine Knoop Light out of the box Martine Knoop

Publications Books on lighting and CIE documents from the year

112 116 122

126 126

104

ilr 2007

Sustainability… what’s in a name?

CN Tower Toronto, Canada “It was paramount for us to achieve an energy-efficient, sustainable lighting installation for Canada’s

In 1987 the Brundlandt Commission defined sustainable development as “development that meets the needs of the present without compromising the ability of future generations to meet their own needs.”

National Tower, and Color Kinetics’ LED-based system proved the ideal choice.

Our landmark will have a visually striking, modern new look to serve as

Today, twenty years later, sustainability is a buzzword, used and abused in every conceivable way. Too often, it is only associated with ‘saving’ and ‘reducing’ – energy, hazardous substances, waste… and light.

a beacon of tourism and of our city.” Jack Robinson, Chief Operating Officer, CN Tower.

The entire LED installation will consume 60% less energy than the fully lit Tower of the 1990s, while providing more light output and dynamic effects.

So, what does sustainability mean for lighting? Does ‘sustainable lighting’ equate to ‘less light’ or ‘using compact fluorescent lamps’ or ‘switching off one out of two light points in the street’? No, it would be far too easy to settle at that. Saving without considering light quality – in the workplace, shop or city nightscape – is doomed to fail as it will not be accepted by the people actually experiencing the lighting installation, often leading to ineffective and surely unsustainable adaptations.

The directional nature of LED sources means that the output will not ‘spill’ or interfere with nearby hotels, office towers or residences.

Photo: George Fischer

ilr 2007 / Editorial

The International Association of Lighting Designers’ Sustainability Committee defines sustainable lighting design as “meeting the qualitative needs of the visual environment with the least impact on the physical environment”.

Indeed, the quality of the lighting is and should be the lighting designer’s first concern.A strong concept is the starting point. But sustainable lighting calls for cooperation, different methods and creativity to arrive at new and different solutions.

Cooperation with architects, for instance, to maximize the appropriate use of daylight and to apply dynamic lighting solutions and colours in a sensible way. Persuading engineers and installers to opt for solutions that are easy to maintain.

Challenging lighting manufacturers to make smart use of existing and new technology like LEDs, to optimize production processes and to come up with durable products (for more on this, see the article Life after the bulb in the Concepts section).

And last but not least, developing standards with the international lighting associations, for instance on obtrusive light.

All lighting disciplines are still on a learning curve in this regard. Only if all those involved in lighting work together can sustainable lighting design become an everyday reality. This by giving substance to the real meaning of the word ‘sustainability’: the root words sus– (under) + tenere (to hold); to keep in existence; to maintain or prolong… Let’s take up the challenge!

Dorien van der Weele LiDAC International, Philips Lighting

ilr 2007 / Editorial

Sustainability… what’s in a name?

CN Tower Toronto, Canada “It was paramount for us to achieve an energy-efficient, sustainable lighting installation for Canada’s

In 1987 the Brundlandt Commission defined sustainable development as “development that meets the needs of the present without compromising the ability of future generations to meet their own needs.”

National Tower, and Color Kinetics’ LED-based system proved the ideal choice.

Our landmark will have a visually striking, modern new look to serve as

Today, twenty years later, sustainability is a buzzword, used and abused in every conceivable way. Too often, it is only associated with ‘saving’ and ‘reducing’ – energy, hazardous substances, waste… and light.

a beacon of tourism and of our city.” Jack Robinson, Chief Operating Officer, CN Tower.

The entire LED installation will consume 60% less energy than the fully lit Tower of the 1990s, while providing more light output and dynamic effects.

So, what does sustainability mean for lighting? Does ‘sustainable lighting’ equate to ‘less light’ or ‘using compact fluorescent lamps’ or ‘switching off one out of two light points in the street’? No, it would be far too easy to settle at that. Saving without considering light quality – in the workplace, shop or city nightscape – is doomed to fail as it will not be accepted by the people actually experiencing the lighting installation, often leading to ineffective and surely unsustainable adaptations.

The directional nature of LED sources means that the output will not ‘spill’ or interfere with nearby hotels, office towers or residences.

Photo: George Fischer

ilr 2007 / Editorial

The International Association of Lighting Designers’ Sustainability Committee defines sustainable lighting design as “meeting the qualitative needs of the visual environment with the least impact on the physical environment”.

Indeed, the quality of the lighting is and should be the lighting designer’s first concern. A strong concept is the starting point. But sustainable lighting calls for cooperation, different methods and creativity to arrive at new and different solutions.

Cooperation with architects, for instance, to maximize the appropriate use of daylight and to apply dynamic lighting solutions and colours in a sensible way. Persuading engineers and installers to opt for solutions that are easy to maintain.

Challenging lighting manufacturers to make smart use of existing and new technology like LEDs, to optimize production processes and to come up with durable products (for more on this, see the article Life after the bulb in the Concepts section).

And last but not least, developing standards with the international lighting associations, for instance on obtrusive light.

All lighting disciplines are still on a learning curve in this regard. Only if all those involved in lighting work together can sustainable lighting design become an everyday reality. This by giving substance to the real meaning of the word ‘sustainability’: the root words sus– (under) + tenere (to hold); to keep in existence; to maintain or prolong… Let’s take up the challenge!

Dorien van der Weele LiDAC International, Philips Lighting

ilr 2007 / Editorial

Steven Scott – Hermetic light Heine Olsen Throughout his career, Steven Scott has worked with the conception and interplay of light, form and space, creating his own, distinctive artistic signature. In his light works he utilizes proportion and (changing) colours to create new spaces and new impressions – not paintings, not installations, but environments of light.

Steven Scott was born in London in 1955. Today, he lives and works in Copenhagen, Denmark.At the age of 17 he started working in experimental dance and theatre. In 1978 he joined Riverside Studios, before going on to work in Berlin, Amsterdam and Copenhagen – directing, producing and designing for the theatre.

In the early 1980s he became involved in the art world, e.g. assisting Anthony Caro on his first work of architectural proportions, The Childs Tower Room.

In parallel with his art projects, Scott continued to work in theatre and regularly designed for dance and opera. In 1994, for instance, he designed Peter Greenaway’s first theatre work, Rosa, a Horse Drama, at the Nederlandse Opera in Amsterdam.

Gradually, Scott’s primary focus shifted from theatre to art. A host of solo and group exhibitions followed, including a lasting association with Galleri Weinberger in Copenhagen, for which he has completed five major integrated art-in-architecture projects and an exterior light sculpture. Other

commissions include a four-part light work series for the ING-DiBa Bank in Frankfurt,Vienna, Hannover and Nuremburg. Recently, Steven Scott completed his largest light installation – entitled Seventy Seven – for Deloitte’s newly built headquarters in Copenhagen. A 350 m² labyrinthine light sculpture follows the progression of staircases and bridges in smooth, continuous diagonals crisscrossing up through a vast, open 6-storey atrium.

In September 2007, the ILR Yearbook/Heine Olsen met with Steven Scott to talk about his work, including – in a serendipitous echo of last year’s Art feature – his appreciation of the work of Dan Flavin.

ILR/Olsen You made the shift from being a stage lighting designer to a light artist doing architectural and art pieces. How did this move come about?

Scott Well, I think everything in my career has been a bit of an accident really. One thing has led to

another! I went off to New York in the midseventies for three consecutive summers and painted in a tiny studio in Alphabet City. Then I spent time at Riverside Studios, which was an artistic powerhouse in London. That was my first experience of the cross-fertilisation between visual arts, architecture and theatre. So, in my early days I didn’t have any blocks or barriers, I instinctively moved around between disciplines. Actually back then I didn’t deal very much with light, I dealt mainly with space. I carried out some stage designs.

I also created spaces for events to take place in; these were really scenographic studies in a sense.

The move came about when I was asked to take part in an exhibition in Munich some 20 years after Riverside Studios. By that time I really had specialised. My stage designs were not just light designs: the surfaces and textures of the designs were seemingly made of light, so it was a primary element in anything that I did. I was invited to a small group show at the Central Institute of Art History (ZI München). There, I worked on

2

2

1 Deloitte HQ, Copenhagen. Light Sculpture 2006 2 The theatre piece “Requiem” 2006 at the Royal Theatre Copenhagen, Opera Stage

1

ilr 2007 / Art

Steven Scott – Hermetic light Heine Olsen Throughout his career, Steven Scott has worked with the conception and interplay of light, form and space, creating his own, distinctive artistic signature. In his light works he utilizes proportion and (changing) colours to create new spaces and new impressions – not paintings, not installations, but environments of light.

Steven Scott was born in London in 1955. Today, he lives and works in Copenhagen, Denmark. At the age of 17 he started working in experimental dance and theatre. In 1978 he joined Riverside Studios, before going on to work in Berlin, Amsterdam and Copenhagen – directing, producing and designing for the theatre.

In the early 1980s he became involved in the art world, e.g. assisting Anthony Caro on his first work of architectural proportions, The Childs Tower Room.

In parallel with his art projects, Scott continued to work in theatre and regularly designed for dance and opera. In 1994, for instance, he designed Peter Greenaway’s first theatre work, Rosa, a Horse Drama, at the Nederlandse Opera in Amsterdam.

Gradually, Scott’s primary focus shifted from theatre to art. A host of solo and group exhibitions followed, including a lasting association with Galleri Weinberger in Copenhagen, for which he has completed five major integrated art-in-architecture projects and an exterior light sculpture. Other

commissions include a four-part light work series for the ING-DiBa Bank in Frankfurt,Vienna, Hannover and Nuremburg. Recently, Steven Scott completed his largest light installation – entitled Seventy Seven – for Deloitte’s newly built headquarters in Copenhagen. A 350 m² labyrinthine light sculpture follows the progression of staircases and bridges in smooth, continuous diagonals crisscrossing up through a vast, open 6-storey atrium.

In September 2007, the ILR Yearbook/Heine Olsen met with Steven Scott to talk about his work, including – in a serendipitous echo of last year’s Art feature – his appreciation of the work of Dan Flavin.

ILR/Olsen You made the shift from being a stage lighting designer to a light artist doing architectural and art pieces. How did this move come about?

Scott Well, I think everything in my career has been a bit of an accident really. One thing has led to

another! I went off to New York in the midseventies for three consecutive summers and painted in a tiny studio in Alphabet City. Then I spent time at Riverside Studios, which was an artistic powerhouse in London. That was my first experience of the cross-fertilisation between visual arts, architecture and theatre. So, in my early days I didn’t have any blocks or barriers, I instinctively moved around between disciplines. Actually back then I didn’t deal very much with light, I dealt mainly with space. I carried out some stage designs.

I also created spaces for events to take place in; these were really scenographic studies in a sense.

The move came about when I was asked to take part in an exhibition in Munich some 20 years after Riverside Studios. By that time I really had specialised. My stage designs were not just light designs: the surfaces and textures of the designs were seemingly made of light, so it was a primary element in anything that I did. I was invited to a small group show at the Central Institute of Art History (ZI München). There, I worked on

2

2

1 Deloitte HQ, Copenhagen. Light Sculpture 2006 2 The theatre piece “Requiem” 2006 at the Royal Theatre Copenhagen, Opera Stage

1

ilr 2007 / Art

3 Floor sculpture titled “Flood, a corner for Dan Flavin” 2006. Gallery Weinberger, Copenhagen and Gallery König, Hanau, Frankfurt 4 Floor sculpture titled “Flood, a corner for Dan Flavin” 2006 and Black Light # 5 on the wall from 2005. Gallery Weinberger, Copenhagen and Gallery König, Hanau, Frankfurt

3

creating white light out of two colours, in a rather

ILR/Olsen

beautiful building which was designed by Troost.

If we take the Deloitte building as an example, how

It was actually the former headquarters of the

do you arrive at the concept of how the art should

NSDAP on Königsplatz. So, there was a lot of

be applied to the structure?

history there. It has a double ceiling where the light is filtered into an atrium. I inserted two yellow spaces and two blue spaces in the ceiling and then poured light through colour filters from different directions and from two sources. The colour mix on the ground and on the sculptures was white, but in the shadows you could see the separation of the colour into yellow and blue. So, that was the beginning of my shift.

Then I moved to Copenhagen, where I had my first exhibition at Galleri Weinberger, a combination

Scott The architects – also 3XN – and the client, Deloitte, wanted an artwork that was totally integrated into the surface of the building, but at the same time would bring something to the building that went beyond the function of architecture. For me, the process is that when I look at drawings I find myself inside the space.

That’s a very fortunate thing, and it has very much to do with my theatre background. I’m quite used to being inside a space, so to speak.

of paintings and a large RGB neon light work.

From there on, combined with making light scenographies, I was invited by the architect Kim Herforth Nielsen of 3XN to work on the interior of the concert hall in the new Muziekgebouw in Amsterdam. I created, within the acoustic walls, a concept for an RGB system that provided an environment of colour that could surround the music.

10

ilr 2007 / Art

In the Deloitte case, my reaction was immediate.

The system of stairs and bridges was rather sculptural so I decided to work with those elements and create a piece made of light that really became the surface of the building and was inseparable from it. There were a number of influences, of course. The great painter, Barnett Newman, influenced me immensely with his series of paintings entitled Stations of the Cross. In a way, the definition of the spaces was a fairly random

process. I knew that I wanted to work with the black lines to shield the light source, because in my work I don’t like to see the source of light, just the result. I organised it by doing lots of freehand sketches. In the end, those sketches were transferred to a computer drawing. The most difficult thing with this piece is that it has rather a complicated program which moves light through the building constantly. That means, with my work, an imperceptible change of colour and movement.

Describing that in a presentation is quite complicated, because if it’s imperceptible, how can people perceive it? So, I took along a little model and that helped people understand what I wanted to do with light in the space.

ILR/Olsen Was the daylight coming in through the large skylight a big challenge?

Scott Yes. Fifty per cent of my original presentation involved something like a two-metre-high grid system above the skylight in a form of a sun screen.

In mid-summer, a week each side of the longest day of the year, it allowed something like 765 droplets of light to enter the building. On Midsummer’s day,

4

light would enter the atrium and then exit it within an hour. This was the only time that direct sunlight got into the atrium, and it merged ancient knowhow with the technology of the computerised LED stair installation.

At the same time, the north face of the grid box was mirrored. So, as you looked up to the sky you had this horizon line of the reflection of the sky behind you, meeting the sky that you were viewing ‘pure’, so to speak. It was quite a complex object and it broke the rules of height in buildings in that part of Copenhagen. In the end we settled for a miniature version, which still helps diffuse the direct light coming into the room and to an extent diffuses the natural light surrounding the light work.

ILR/Olsen In your work, the way colour is applied is very precise. And then you have something like this droplet coming in from a window. Is that to create an element of surprise or play?

Scott The biggest thing is that move away from the black box of theatre.Your experience of architectural places and natural light changing all the time

provides an awareness of your lack of control.

In the end, the program for Deloitte was about something that was always changing. When you view the piece on a given day, you will never see it in the same way ever again in your lifetime.

Connected to the ever-changing ambient light, this produces a work that is always different. I am embracing the experiences that I have gained and am embracing daylight more and more, making it an integral part of each piece that I am currently creating.

the time and provides a fresh start and end to each day. It is also silent and therefore has a meditative quality which somehow assists the focus of the space and has a subtle connection to the people who have to function in the building. It is also a metaphor for the organization.

ILR/Olsen How have the people who work in the building reacted to the art work?

Scott Yes. Deloitte is clearly a sculpture – you can move around it 360°, and the smaller wall works are more like paintings. But I also regard the smaller pieces I make for gallery spaces and private homes as sculptural, even though they are fairly flat light spaces. They are more like a canvas, but within the canvas colour creates different perceived depths.

I like having that almost endless space to go through the wall and beyond into the next space.

It is colour, time and change which provide that sculptural depth. From my early years of being interested in painting, the late Barnett Newman, Mark Rothko and Agnes Martin, along with contemporary painters like Sean Scully and Jon

Scott The Deloitte piece doesn’t point out of the building.

In fact, you can only really see it when you’re inside the building. I see it very much as a piece for the employees and guests of Deloitte. They’ve adopted their light installation – they’re proud of it. When we launched the book Seventy Seven, which is the title of that piece, I had to sign some 500 copies for the people who work in the building.They really have taken possession of the work and I like that very much. I think that’s because it’s changing all

ILR/Olsen That’s what comes back in the art pieces that you exhibit in galleries. There’s also the constant change of colour.

ilr 2007 / Art

11

3 Floor sculpture titled “Flood, a corner for Dan Flavin” 2006. Gallery Weinberger, Copenhagen and Gallery König, Hanau, Frankfurt 4 Floor sculpture titled “Flood, a corner for Dan Flavin” 2006 and Black Light # 5 on the wall from 2005. Gallery Weinberger, Copenhagen and Gallery König, Hanau, Frankfurt

3

creating white light out of two colours, in a rather

ILR/Olsen

beautiful building which was designed by Troost.

If we take the Deloitte building as an example, how

It was actually the former headquarters of the

do you arrive at the concept of how the art should

NSDAP on Königsplatz. So, there was a lot of

be applied to the structure?

history there. It has a double ceiling where the light is filtered into an atrium. I inserted two yellow spaces and two blue spaces in the ceiling and then poured light through colour filters from different directions and from two sources. The colour mix on the ground and on the sculptures was white, but in the shadows you could see the separation of the colour into yellow and blue. So, that was the beginning of my shift.

Then I moved to Copenhagen, where I had my first exhibition at Galleri Weinberger, a combination

Scott The architects – also 3XN – and the client, Deloitte, wanted an artwork that was totally integrated into the surface of the building, but at the same time would bring something to the building that went beyond the function of architecture. For me, the process is that when I look at drawings I find myself inside the space.

That’s a very fortunate thing, and it has very much to do with my theatre background. I’m quite used to being inside a space, so to speak.

of paintings and a large RGB neon light work.

From there on, combined with making light scenographies, I was invited by the architect Kim Herforth Nielsen of 3XN to work on the interior of the concert hall in the new Muziekgebouw in Amsterdam. I created, within the acoustic walls, a concept for an RGB system that provided an environment of colour that could surround the music.

10

ilr 2007 / Art

In the Deloitte case, my reaction was immediate.

The system of stairs and bridges was rather sculptural so I decided to work with those elements and create a piece made of light that really became the surface of the building and was inseparable from it. There were a number of influences, of course. The great painter, Barnett Newman, influenced me immensely with his series of paintings entitled Stations of the Cross. In a way, the definition of the spaces was a fairly random

process. I knew that I wanted to work with the black lines to shield the light source, because in my work I don’t like to see the source of light, just the result. I organised it by doing lots of freehand sketches. In the end, those sketches were transferred to a computer drawing. The most difficult thing with this piece is that it has rather a complicated program which moves light through the building constantly. That means, with my work, an imperceptible change of colour and movement.

Describing that in a presentation is quite complicated, because if it’s imperceptible, how can people perceive it? So, I took along a little model and that helped people understand what I wanted to do with light in the space.

ILR/Olsen Was the daylight coming in through the large skylight a big challenge?

Scott Yes. Fifty per cent of my original presentation involved something like a two-metre-high grid system above the skylight in a form of a sun screen.

In mid-summer, a week each side of the longest day of the year, it allowed something like 765 droplets of light to enter the building. On Midsummer’s day,

4

light would enter the atrium and then exit it within an hour. This was the only time that direct sunlight got into the atrium, and it merged ancient knowhow with the technology of the computerised LED stair installation.

At the same time, the north face of the grid box was mirrored. So, as you looked up to the sky you had this horizon line of the reflection of the sky behind you, meeting the sky that you were viewing ‘pure’, so to speak. It was quite a complex object and it broke the rules of height in buildings in that part of Copenhagen. In the end we settled for a miniature version, which still helps diffuse the direct light coming into the room and to an extent diffuses the natural light surrounding the light work.

ILR/Olsen In your work, the way colour is applied is very precise. And then you have something like this droplet coming in from a window. Is that to create an element of surprise or play?

Scott The biggest thing is that move away from the black box of theatre.Your experience of architectural places and natural light changing all the time

provides an awareness of your lack of control.

In the end, the program for Deloitte was about something that was always changing. When you view the piece on a given day, you will never see it in the same way ever again in your lifetime.

Connected to the ever-changing ambient light, this produces a work that is always different. I am embracing the experiences that I have gained and am embracing daylight more and more, making it an integral part of each piece that I am currently creating.

the time and provides a fresh start and end to each day. It is also silent and therefore has a meditative quality which somehow assists the focus of the space and has a subtle connection to the people who have to function in the building. It is also a metaphor for the organization.

ILR/Olsen How have the people who work in the building reacted to the art work?

Scott The Deloitte piece doesn’t point out of the building.

In fact, you can only really see it when you’re inside the building. I see it very much as a piece for the employees and guests of Deloitte. They’ve adopted

Scott Yes. Deloitte is clearly a sculpture – you can move around it 360°, and the smaller wall works are more like paintings. But I also regard the smaller pieces I make for gallery spaces and private homes as sculptural, even though they are fairly flat light spaces. They are more like a canvas, but within the canvas colour creates different perceived depths.

I like having that almost endless space to go

their light installation – they’re proud of it. When we launched the book Seventy Seven, which is the title of that piece, I had to sign some 500 copies for the people who work in the building. They really have taken possession of the work and I like that very much. I think that’s because it’s changing all

through the wall and beyond into the next space.

It is colour, time and change which provide that sculptural depth. From my early years of being interested in painting, the late Barnett Newman, Mark Rothko and Agnes Martin, along with contemporary painters like Sean Scully and Jon

ILR/Olsen That’s what comes back in the art pieces that you exhibit in galleries. There’s also the constant change of colour.

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5 Deloitte HQ, Copenhagen. Light Sculpture 2006, in Yellow 6 Deloitte in transition from white to yellow 7 Deloitte in transition from white to amber

5

Groom, have all been great influences on me. It’s about observation, in a sense. But it’s Robert Irwin, James Turrell and Dan Flavin who have probably been a stronger influence, because they work with light and space. More recently Olafur Eliasson has brought fresh momentum to this area of work.

Take the piece Flood, for example which is my homage to Dan Flavin, who died in 1996 and was featured in last year’s ILR. Flavin used the fluorescent tube as a sculptural element and you could always see the light source. He made some pieces called the Corner works. With these works you could have a yellow light pointing into the corner and a green light pointing into the room, and he was challenging your perception of colour and your relationship with the space. He created a number of corners in a number of different colours and sculptural forms. With Flood I made a corner in a tomb-like box with light pointing into the corner of the box; then, through a diffuse plate I had another source of light pointing out.You never see the source of the light. I was, though, experimenting with the same thing as Flavin: I was making colour comparisons and challenging one’s colour

6

perceptions. I concentrated on colours that I was aware of in Flavin’s work and I dedicated it to him.

ILR/Olsen Talking about light sources, does the move away from, say, cold cathode and fluorescent tubes to LEDs offer you greater design freedom?

Scott Absolutely, it’s like the introduction of acrylic paint in contrast to oils. The FIH Bank HQ in Copenhagen, which was conceived in 2000 and executed in 2001, is an argon neon RGB system.

We are talking about six years ago, but at the time LED was too expensive and maybe not powerful enough. But within a few years everything became possible and I can now move completely to LED. However, there are technical issues with LED – and I’m not very technical in a scientific sense. One of the obstacles, even in my argon neon pieces, was that I don’t like the engagement of another colour.

I don’t like clicks or jumps in the programs. The work has to be completely fluid, and with LED they don’t generate a lot of heat. They do therefore tend to click in, so getting a soft start was a very

7

important thing for me in introducing LED into my work. Of course, there’s a lot you can do with programming, but it gives you a lot more freedom if you can actually do it at source. Scenetek in Copenhagen came up with a wonderful little device that gives me a fairly soft start and makes everything much more fluid, which allows for long transitions of colour change. That’s how we did the Deloitte installation and all the recent gallery and museum pieces.

ILR/Olsen When I look at your art pieces, they are all very clean and individual expressions.When you apply that to buildings and architecture, does the texture of constructions add new possibilities?

Scott Yes, it does. I’ve got a number of projects at the moment where I’m working on facades. My light works are light spaces. They are boxes, light contained in an enclosed space and inside I have a texture, and there’s a texture on the face side as well.Texture is all-important. There’s a lot of illumination of facades going on, and I’m trying

to integrate light as a material within the surface.

In that way, I try to avoid illuminating facades in a decorative sense, so it becomes much more a part of the form of the building. So far, I’ve done that with interiors, and now the new challenge is to make it work on the facades of major buildings with the same degree of integration as achieved at Deloitte. Earlier argon/neon works exist as additions to facades and I have an outdoor sculpture in Aalborg in Denmark which works very well utilizing LED. It’s triggered by the setting sun and switched off by the rising sun, providing a dialogue with nature and – once again – time.

What I also find interesting now is that architects are looking towards scenographic spaces, and I am working on a couple of projects with Kim Herforth Nielsen that I regard almost like film/theatre sets.

It’s a good time to be working with light, and LED has made that so much more fluid. The drive is for more dynamic spaces within architecture.

ILR/Olsen Finally, is it difficult to work with colour and coloured lighting in the Nordic countries?

Sometimes you see in the more southern countries that they are more open to working with colour in buildings.

Scott One of the reasons why I live in Scandinavia is because I like the cool and the minimal style.

I also like colour and I’m not frightened of it. Even so, at Deloitte, the colours selected (white, violet, indigo, blue, green, yellow, amber plus red) are not what one would call ‘pure’ colours; they are slightly moving towards the pastel. For instance, there’s a red, but it’s a very dusty red.All of the seven colours that travel through white are not pure, they all have a slight mix of the three colours and are all towards the pastel.That is especially clear in summer. Maybe a Scandinavian consciousness is developing within me! Walking around the centre of London, near Piccadilly and Leicester Square, or Beijing or Tokyo, there’s so much coloured light around, flashing on and off. We should be careful with all this dynamic potential and not forget that things still need to be rather still and develop our sense of seeing and perception. So, maybe I am indeed better suited to the northern light!

References: Trine Holm, M.A. Art History All photographs: Adam Mørk

12

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13

5 Deloitte HQ, Copenhagen. Light Sculpture 2006, in Yellow 6 Deloitte in transition from white to yellow 7 Deloitte in transition from white to amber

5

Groom, have all been great influences on me. It’s about observation, in a sense. But it’s Robert Irwin, James Turrell and Dan Flavin who have probably been a stronger influence, because they work with light and space. More recently Olafur Eliasson has brought fresh momentum to this area of work.

6

perceptions. I concentrated on colours that I was aware of in Flavin’s work and I dedicated it to him.

ILR/Olsen Talking about light sources, does the move away from, say, cold cathode and fluorescent tubes to LEDs offer you greater design freedom?

Take the piece Flood, for example which is my homage to Dan Flavin, who died in 1996 and was featured in last year’s ILR. Flavin used the fluorescent tube as a sculptural element and you could always see the light source. He made some pieces called the Corner works. With these works you could have a yellow light pointing into the corner and a green light pointing into the room,

Scott Absolutely, it’s like the introduction of acrylic paint in contrast to oils. The FIH Bank HQ in Copenhagen, which was conceived in 2000 and executed in 2001, is an argon neon RGB system.

We are talking about six years ago, but at the time LED was too expensive and maybe not powerful

and he was challenging your perception of colour and your relationship with the space. He created a number of corners in a number of different colours and sculptural forms. With Flood I made a corner in a tomb-like box with light pointing into the corner of the box; then, through a diffuse plate I had another source of light pointing out.You never see the source of the light. I was, though, experimenting with the same thing as Flavin: I was making colour comparisons and challenging one’s colour

enough. But within a few years everything became possible and I can now move completely to LED. However, there are technical issues with LED – and I’m not very technical in a scientific sense. One of the obstacles, even in my argon neon pieces, was that I don’t like the engagement of another colour.

I don’t like clicks or jumps in the programs. The work has to be completely fluid, and with LED they don’t generate a lot of heat. They do therefore tend to click in, so getting a soft start was a very

7

important thing for me in introducing LED into my work. Of course, there’s a lot you can do with programming, but it gives you a lot more freedom if you can actually do it at source. Scenetek in Copenhagen came up with a wonderful little device that gives me a fairly soft start and makes everything much more fluid, which allows for long transitions of colour change. That’s how we did the Deloitte installation and all the recent gallery and museum pieces.

ILR/Olsen When I look at your art pieces, they are all very clean and individual expressions. When you apply that to buildings and architecture, does the texture of constructions add new possibilities?

Scott Yes, it does. I’ve got a number of projects at the moment where I’m working on facades. My light works are light spaces. They are boxes, light contained in an enclosed space and inside I have a texture, and there’s a texture on the face side as well. Texture is all-important. There’s a lot of illumination of facades going on, and I’m trying

to integrate light as a material within the surface.

In that way, I try to avoid illuminating facades in a decorative sense, so it becomes much more a part of the form of the building. So far, I’ve done that with interiors, and now the new challenge is to make it work on the facades of major buildings with the same degree of integration as achieved at Deloitte. Earlier argon/neon works exist as additions to facades and I have an outdoor sculpture in Aalborg in Denmark which works very well utilizing LED. It’s triggered by the setting sun and switched off by the rising sun, providing a dialogue with nature and – once again – time.

What I also find interesting now is that architects are looking towards scenographic spaces, and I am working on a couple of projects with Kim Herforth Nielsen that I regard almost like film/theatre sets.

It’s a good time to be working with light, and LED has made that so much more fluid. The drive is for more dynamic spaces within architecture.

ILR/Olsen Finally, is it difficult to work with colour and coloured lighting in the Nordic countries?

Sometimes you see in the more southern countries that they are more open to working with colour in buildings.

Scott One of the reasons why I live in Scandinavia is because I like the cool and the minimal style.

I also like colour and I’m not frightened of it. Even so, at Deloitte, the colours selected (white, violet, indigo, blue, green, yellow, amber plus red) are not what one would call ‘pure’ colours; they are slightly moving towards the pastel. For instance, there’s a red, but it’s a very dusty red. All of the seven colours that travel through white are not pure, they all have a slight mix of the three colours and are all towards the pastel. That is especially clear in summer. Maybe a Scandinavian consciousness is developing within me! Walking around the centre of London, near Piccadilly and Leicester Square, or Beijing or Tokyo, there’s so much coloured light around, flashing on and off. We should be careful with all this dynamic potential and not forget that things still need to be rather still and develop our sense of seeing and perception. So, maybe I am indeed better suited to the northern light!

References: Trine Holm, M.A. Art History All photographs: Adam Mørk

12

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13

Architecture Museum of Contemporary Art Regina Caeli Church Fabre Museum Technopolis Oulu City Center The Cubical Masterpiece, Tongji University Mina del Edén silver mine Corporate Office, BG India Area 14, Dublin Airport

Lighting is an essential part of our built environment.

The counterpart of daylight, good artificial light enhances the functions organized by the architect and highlighted by the lighting designer. Indoors and outdoors, different light qualities come together to reveal the essence of the architecture. The case studies in this chapter show how light can be applied effectively to complement and enhance architecture.

Photo: Magno Mesquita

Architecture Museum of Contemporary Art Regina Caeli Church Fabre Museum Technopolis Oulu City Center The Cubical Masterpiece, Tongji University Mina del Edén silver mine Corporate Office, BG India Area 14, Dublin Airport

Lighting is an essential part of our built environment.

The counterpart of daylight, good artificial light enhances the functions organized by the architect and highlighted by the lighting designer. Indoors and outdoors, different light qualities come together to reveal the essence of the architecture. The case studies in this chapter show how light can be applied effectively to complement and enhance architecture.

Photo: Magno Mesquita

Museum of Contemporary Art Niterói, Rio de Janeiro, Brazil The Museum of Contemporary Art is a new landmark in the magnificent landscape of Rio de Janeiro’s Guanabara Bay. The creative lighting design shows off the building – and the works of art inside – to best effect.

The Museum of Contemporary Art has a surface area of 2,500 square metres and comprises three floors: reception and administration, an exhibition floor with an area of 1,000 square metres, and an auditorium with seating for 60 people. Measuring 16 metres high and 50 metres wide, its delicate cylindrical shape is completely integrated in the landscape, surrounded by a lake which has special significance for the lighting.

To resolve this dilemma, two separate lighting systems were installed, with simple lighting controls.

By day, the landscape of Guanabara Bay combines with the unique form of the museum to create a beautiful scene. The challenge was how to maintain this attractiveness at night.

In the hubcap-shaped recess, a circular skylight 20 cm deep and 1.50 m wide was inserted. In order to ensure uniformity of lighting, the skylight was screened off with a diffusing panel. The skylight faces the main room, and due to its geometry the area is illuminated without the light reaching the walls of the salon, avoiding undesired reflection or sparkling over the works of art. The general lighting creates the appearance of a cloudy sky and does not produce shadows, ensuring uniformity.

A number of unique effects stand out, such as the underwater luminaires projecting light tangentially onto the surface of the building, creating the impression that the museum is floating in the Rio de Janeiro night.

The technical and artistic lighting system had to be the most versatile, since it is used to illuminate the art works in exhibitions. In the main room the ceiling was lowered to form a large ‘hubcap’. Two lighting sub-systems were installed, one for general lighting and one for accent lighting.

The light of this sub-system has a similar effect to incandescent lamps (3,000 K), but for the sake of energy efficiency TL-D DeLuxe fluorescent lamps (930) were used, with colour rendering of over 90.

Three rails surrounding the skylight in concentric rings provide accent lighting for the sculptures and paintings, to enrich the details.These fixtures can accommodate mobile magnetic spheres with several types of halogen lamp. The spherical luminaires are able to rotate, facilitating guidance of the beam angle over the horizontal and vertical axis.

Besides the design, the biggest challenge was the aesthetics of the lighting installation. The technical and artistic lighting – with the need for accent lighting of the works of art on display – had to be in harmony with the ambient and monument lighting.

1 The lighting enhances the lines of the architecture, which follows the form of the surrounding landscape 2 Lighting scheme with positions of the underwater projectors (700 W), set 1 metre apart

1

2

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Museum of Contemporary Art Niterói, Rio de Janeiro, Brazil The Museum of Contemporary Art is a new landmark in the magnificent landscape of Rio de Janeiro’s Guanabara Bay. The creative lighting design shows off the building – and the works of art inside – to best effect.

The Museum of Contemporary Art has a surface area of 2,500 square metres and comprises three floors: reception and administration, an exhibition floor with an area of 1,000 square metres, and an auditorium with seating for 60 people. Measuring 16 metres high and 50 metres wide, its delicate cylindrical shape is completely integrated in the landscape, surrounded by a lake which has special significance for the lighting.

To resolve this dilemma, two separate lighting systems were installed, with simple lighting controls.

By day, the landscape of Guanabara Bay combines with the unique form of the museum to create a beautiful scene. The challenge was how to maintain this attractiveness at night.

In the hubcap-shaped recess, a circular skylight 20 cm deep and 1.50 m wide was inserted. In order to ensure uniformity of lighting, the skylight was screened off with a diffusing panel. The skylight faces the main room, and due to its geometry the area is illuminated without the light reaching the walls of the salon, avoiding undesired reflection or sparkling over the works of art. The general lighting creates the appearance of a cloudy sky and does not produce shadows, ensuring uniformity.

A number of unique effects stand out, such as the underwater luminaires projecting light tangentially onto the surface of the building, creating the impression that the museum is floating in the Rio de Janeiro night.

The technical and artistic lighting system had to be the most versatile, since it is used to illuminate the art works in exhibitions. In the main room the ceiling was lowered to form a large ‘hubcap’. Two lighting sub-systems were installed, one for general lighting and one for accent lighting.

The light of this sub-system has a similar effect to incandescent lamps (3,000 K), but for the sake of energy efficiency TL-D DeLuxe fluorescent lamps (930) were used, with colour rendering of over 90.

Three rails surrounding the skylight in concentric rings provide accent lighting for the sculptures and paintings, to enrich the details. These fixtures can accommodate mobile magnetic spheres with several types of halogen lamp. The spherical luminaires are able to rotate, facilitating guidance of the beam angle over the horizontal and vertical axis.

Besides the design, the biggest challenge was the aesthetics of the lighting installation. The technical and artistic lighting – with the need for accent lighting of the works of art on display – had to be in harmony with the ambient and monument lighting.

1 The lighting enhances the lines of the architecture, which follows the form of the surrounding landscape 2 Lighting scheme with positions of the underwater projectors (700 W), set 1 metre apart

1

2

ilr 2007 / Architecture

17

5 3

4

As the spots are fixed in position with magnets: they can be easily installed, focused, redirected and removed without the use of tools. Acting as directional light sources, they allow the use of colour correction filters and variation of the beam angle from 10 to 60º by changing the lens or lamp.

On the mezzanine an indirect lighting system is mounted in a special cove. In fact, the cove is created by the extension of the floor, which forms a curve, almost touching the ceiling. Two lines of fluorescent DeLuxe lamps – TL-D 36 W 930 and 965 – were used in the cove. The same magnetic fixtures as in the main room are used for the art pieces on the mezzanine.

Outside, 72 underwater projectors are used to illuminate the monument. They are installed in the lake, close to the museum’s foundations. This lighting system emphasises the attractive shape of the building, and the light beams pass on from its surface upwards toward the sky. On foggy nights, the light appears to ‘hold’ the museum, seemingly making it float on air.

As the light is tangential to the building, it reveals undulations on the surface of the construction.

Accordingly, a mechanism was installed in the lake that generates reflections on the museum.

These effects, despite being artificial, suggest a natural flowing of water on the museum’s

surface. Computer software creates additional shadow effects with lower intensity and random movements which are mixed with the ‘water effect’ to produce a powerful dynamic lighting effect.

The 72 projectors are connected to dimmers, which regulate this dynamic interplay of light, dark and shadow.

In Niterói, landscape, architecture, lighting and art combine to make the Museum of Contemporary Art a must-see for anyone living in or visiting the Rio de Janeiro area.

3 The new lighting allows better uniformity and even illumination of the white concrete structure 4 The lighting ring in the centre of the space brings diffuse light to the main exhibition hall, refreshing

5 Section of the building, showing the position and aiming of the lighting fixtures 6 Lighting design for the exhibition hall and peripheral terrace areas

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ilr 2007 / Architecture

6

and widening the space

Owner/Contracting authority: City of Niterói, Rio de Janeiro Architect: Oscar Niemeyer Lighting design: Gasper Associados/Peter Gasper, Rio de Janeiro, Brazil Light sources: TL-D 36 W 930 and 965, ALR111

50/75/100 W, Dichroic Brilliant Line 50 W, PAR 30 Halogen, Philips Photographer: Magno Mesquita Text: Sergio Binda and Sabine Kruck Web: www.petergasper.com.br

ilr 2007 / Architecture

19

5 3

4

As the spots are fixed in position with magnets: they can be easily installed, focused, redirected and removed without the use of tools. Acting as

Outside, 72 underwater projectors are used to illuminate the monument. They are installed in the lake, close to the museum’s foundations. This

surface. Computer software creates additional shadow effects with lower intensity and random movements which are mixed with the ‘water effect’

directional light sources, they allow the use of colour correction filters and variation of the beam angle from 10 to 60º by changing the lens or lamp.

lighting system emphasises the attractive shape of the building, and the light beams pass on from its surface upwards toward the sky. On foggy nights, the light appears to ‘hold’ the museum, seemingly making it float on air.

to produce a powerful dynamic lighting effect.

On the mezzanine an indirect lighting system is mounted in a special cove. In fact, the cove is created by the extension of the floor, which forms a curve, almost touching the ceiling. Two lines of fluorescent DeLuxe lamps – TL-D 36 W 930 and 965 – were used in the cove. The same magnetic fixtures as in the main room are used for the art pieces on the mezzanine.

As the light is tangential to the building, it reveals undulations on the surface of the construction.

Accordingly, a mechanism was installed in the lake that generates reflections on the museum.

These effects, despite being artificial, suggest a natural flowing of water on the museum’s

The 72 projectors are connected to dimmers, which regulate this dynamic interplay of light, dark and shadow.

In Niterói, landscape, architecture, lighting and art combine to make the Museum of Contemporary Art a must-see for anyone living in or visiting the Rio de Janeiro area.

3 The new lighting allows better uniformity and even illumination of the white concrete structure 4 The lighting ring in the centre of the space brings diffuse light to the main exhibition hall, refreshing

5 Section of the building, showing the position and aiming of the lighting fixtures 6 Lighting design for the exhibition hall and peripheral terrace areas

18

ilr 2007 / Architecture

6

and widening the space

Owner/Contracting authority: City of Niterói, Rio de Janeiro Architect: Oscar Niemeyer Lighting design: Gasper Associados/Peter Gasper, Rio de Janeiro, Brazil Light sources: TL-D 36 W 930 and 965, ALR111

50/75/100 W, Dichroic Brilliant Line 50 W, PAR 30 Halogen, Philips Photographer: Magno Mesquita Text: Sergio Binda and Sabine Kruck Web: www.petergasper.com.br

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Regina Caeli Church Jakarta, Indonesia Regina Caeli is a church with a modern design that plays on religious symbols. The new lighting system had to support the many activities that take place inside the church and enhance its distinctive architecture.

Regina Caeli Church is located in the Pantai Indah Kapuk residential district of Jakarta. The church has a strong identity due to its distinctive location close to the sea and rich vegetation. The building symbolizes a large ship. A large cross, something normally found inside a church, is placed outside to create a powerful landmark. The conviction that religion too must progress inspired the design of this church. Guiding lights, placed above, symbolise an exploration of faith.

openings reinforce the impression of simplicity and verticality, at the same time allowing light to enter the room in dramatic fashion.

The Stella Maris Foundation, a Catholic organisation, commissioned new lighting for the Regina Caeli Church. Lighting can be an effective means of enhancing church symbols to reinforce the religious atmosphere and experience inside and outside the church.

The architecture is very much characterised by an interplay of solid structures and voids. Narrow

The lighting solution basically consists of the use of yellowish halogen lamps for general lighting

(can be dimmed) and 3,000 K CDM-T lamps for accent lighting. The ‘floating’ ceiling produced with 2,700 K fluorescent lamps creates the effect of a cross on the aisle. Amber-coloured LEDs are used to light the stairway area, blending in with the halogen-based landscape lighting.

At night, the lighting installation in the Regina Caeli Church dramatically turns the building into an object whose solid composition is replaced by ‘lighting-shaped architecture’.

3 1

2

1 Lighting the edges of the floating ceiling enhances its cross shape 2 Lighting above and surrounding the entrance door invites people to go inside 3 Lighting design scheme

20

ilr 2007 / Architecture

Owner: Stella Maris Foundation Architect: Sardjono Sani, Bias Tekno Art, Jakarta, Indonesia Lighting design: LiDAC Community, Sahabat Abadi, Jakarta, Indonesia Philips support: Windyani, Project Coordinator, Indonesia; Bayu Ade Pramudia, LiDAC Manager, Indonesia Luminaires: Scrabble QBX500, QVF133, QVF135, FBH145-218/226, BGS066, BCS 450, Fugato MBS262-70/150, QBS105-05/06, QBS050-3 WH-SV,

Pentura TMS122-128, Simbat TMS012-118/136/236, Philips Light sources: Hal R-111, PLS 150-500 W, PLC 18-26 W/ 827, LUXEON® LED amber, Superflux amber, CDM-T 70-150 W/ 830, Halogen Dichroic MASTERLine 45 W, TL5 28 W/ 827,TL-D 18-36 W, Philips Lighting controls: local brand Photographer: James Studio Text: Ika Lestari Rahayu Web: www.sardjonosani.com/projects.html

ilr 2007 / Architecture

21

Regina Caeli Church Jakarta, Indonesia Regina Caeli is a church with a modern design that plays on religious symbols. The new lighting system had to support the many activities that take place inside the church and enhance its distinctive architecture.

Regina Caeli Church is located in the Pantai Indah Kapuk residential district of Jakarta. The church has a strong identity due to its distinctive location close to the sea and rich vegetation. The building symbolizes a large ship. A large cross, something normally found inside a church, is placed outside to create a powerful landmark. The conviction that religion too must progress inspired the design of this church. Guiding lights, placed above, symbolise an exploration of faith.

openings reinforce the impression of simplicity and verticality, at the same time allowing light to enter the room in dramatic fashion.

The Stella Maris Foundation, a Catholic organisation, commissioned new lighting for the Regina Caeli Church. Lighting can be an effective means of enhancing church symbols to reinforce the religious atmosphere and experience inside and outside the church.

The architecture is very much characterised by an interplay of solid structures and voids. Narrow

The lighting solution basically consists of the use of yellowish halogen lamps for general lighting

(can be dimmed) and 3,000 K CDM-T lamps for accent lighting. The ‘floating’ ceiling produced with 2,700 K fluorescent lamps creates the effect of a cross on the aisle. Amber-coloured LEDs are used to light the stairway area, blending in with the halogen-based landscape lighting.

At night, the lighting installation in the Regina Caeli Church dramatically turns the building into an object whose solid composition is replaced by ‘lighting-shaped architecture’.

3 1

2

1 Lighting the edges of the floating ceiling enhances its cross shape 2 Lighting above and surrounding the entrance door invites people to go inside 3 Lighting design scheme

20

ilr 2007 / Architecture

Owner: Stella Maris Foundation Architect: Sardjono Sani, Bias Tekno Art, Jakarta, Indonesia Lighting design: LiDAC Community, Sahabat Abadi, Jakarta, Indonesia Philips support: Windyani, Project Coordinator, Indonesia; Bayu Ade Pramudia, LiDAC Manager, Indonesia Luminaires: Scrabble QBX500, QVF133, QVF135, FBH145-218/226, BGS066, BCS 450, Fugato MBS262-70/150, QBS105-05/06, QBS050-3 WH-SV,

Pentura TMS122-128, Simbat TMS012-118/136/236, Philips Light sources: Hal R-111, PLS 150-500 W, PLC 18-26 W/ 827, LUXEON® LED amber, Superflux amber, CDM-T 70-150 W/ 830, Halogen Dichroic MASTERLine 45 W, TL5 28 W/ 827, TL-D 18-36 W, Philips Lighting controls: local brand Photographer: James Studio Text: Ika Lestari Rahayu Web: www.sardjonosani.com/projects.html

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Fabre Museum Montpellier, France A new building has been added to Montpellier’s Fabre Museum, which now consists of four separate buildings from different eras. The diversity of the locations called for different lighting solutions, though the overall objective was the same: to apply unobtrusive daylightlike artificial light to enhance the works on display and the rooms housing them.

The new Fabre Museum is an agglomeration of four separate buildings which were built over a period of three centuries: a 17th century former Jesuit college, a private home which was turned into a museum at the beginning of the 19th century, extensions built at the end of the 19th century, and a new building.

This architectural diversity resulted in the implementation of very different solutions for the lighting of the individual rooms. However, the general approach was consistent, i.e. using unobtrusive sources of artificial light to produce volumes of uniform, preferably controlled light, and also making subtle use of natural light. For instance,

it was decided to retain openings in the façade of the building. Mesh fabric holds back 80% of the incident light, but the openings provide views of the exterior which allow visitors to keep their bearings as they pass through the museum.They also mark the passage of time as the light varies according to the time of day and the season.The most successful expression of the seamless transition between natural light and concealed artificial light sources is probably in the new building, where, both by day and night, a glass façade lights the sombre canvases of the painter Pierre Soulages.

the Sébastien-Bourdon courtyard.This space of almost 1,000 square metres is covered by a sandblasted glass and white marble floor supported by nineteen combined concrete and steel beams 23 metres in length. On both sides of each of the transparent areas between the beams, two staff shells, one of them convex and the other concave, block direct radiation and diffuse throughout the room light softened by reverberation.At night, the lighting comes from the same source: fluorescent tubes concealed in the staff shells take over from the natural light and form strips of light on the ground of the Bourdon courtyard.

Shafts of light illuminate the entire length of the temporary exhibition room located beneath

2

3

1 The Courbet Room and the ceiling lighting pyramid 2 The glass facade of the new pavilion 3 A double-skin curtain wall illuminates the works of Pierre Soulages

1

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23

Fabre Museum Montpellier, France A new building has been added to Montpellier’s Fabre Museum, which now consists of four separate buildings from different eras. The diversity of the locations called for different lighting solutions, though the overall objective was the same: to apply unobtrusive daylightlike artificial light to enhance the works on display and the rooms housing them.

The new Fabre Museum is an agglomeration of four separate buildings which were built over a period of three centuries: a 17th century former Jesuit college, a private home which was turned into a museum at the beginning of the 19th century, extensions built at the end of the 19th century, and a new building.

This architectural diversity resulted in the implementation of very different solutions for the lighting of the individual rooms. However, the general approach was consistent, i.e. using unobtrusive sources of artificial light to produce volumes of uniform, preferably controlled light, and also making subtle use of natural light. For instance,

it was decided to retain openings in the façade of the building. Mesh fabric holds back 80% of the incident light, but the openings provide views of the exterior which allow visitors to keep their bearings as they pass through the museum. They also mark the passage of time as the light varies according to the time of day and the season. The most successful expression of the seamless transition between natural light and concealed artificial light sources is probably in the new building, where, both by day and night, a glass façade lights the sombre canvases of the painter Pierre Soulages.

the Sébastien-Bourdon courtyard. This space of almost 1,000 square metres is covered by a sandblasted glass and white marble floor supported by nineteen combined concrete and steel beams 23 metres in length. On both sides of each of the transparent areas between the beams, two staff shells, one of them convex and the other concave, block direct radiation and diffuse throughout the room light softened by reverberation. At night, the lighting comes from the same source: fluorescent tubes concealed in the staff shells take over from the natural light and form strips of light on the ground of the Bourdon courtyard.

Shafts of light illuminate the entire length of the temporary exhibition room located beneath

2

3

1 The Courbet Room and the ceiling lighting pyramid 2 The glass facade of the new pavilion 3 A double-skin curtain wall illuminates the works of Pierre Soulages

1

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7

4

The Columns gallery, built in the second half of the 19th century, retains its three original overhead openings, but these let through only controlled light, the intensity of which has been reduced from several tens of thousands of lux to 150 or 200 lux.

The device comprises a series of filters, consisting of an external awning with fixed slats, insulating glass with a high solar factor, a motorised blind, an expanse of fluorescent tubes, and then frosted glass, the diffusing effect of which is accentuated by the splayed form of the skylight. In this way, three effects are combined: filtering, regulation and diffusion. The same device has been put into use

4 The Fabre Room, one of

reverberation in the light

museum

shafts 8 The light shafts provide diffuse lighting for the

6 The temporary

exhibition hall

exhibition hall

24

in another wing of the building, to light a newly installed gallery.

In the Courbet room there is a skylight inspired by those in the Columns gallery, but with larger dimensions, which illuminates the room dedicated to the work of Gustave Courbet. Daylight, filtered by the overhead glass, reverberates off the pyramid-shaped walls of the skylight. The lighting is homogenised by artificial sources embedded in the ceiling and facing the walls, giving visitors the impression of a room bathed in daylight.

The only new building involved in the project, which closes the Bourdon courtyard opposite the Jesuit College, houses the contemporary collections, and in particular the works of Pierre Soulages.

It has a minimalist design style. On the road side, a large blind rough concrete wall overhangs a glass plinth which provides passers-by with a view of the interior of the museum. On the interior side, there is a 200 m2 glass façade which allows light to enter along the entire height of the building, and at night lights the Bourdon courtyard. This curtain wall is formed by a double skin. On the interior, extra-light sand-blasted glass has the appearance

6

of tracing paper. On the exterior, thermo-formed and sand-blasted glass panels have an irregular surface. This living, textured archaic glass evokes the singularity of the material and the imperfection of the windows of Norman churches. The two glass walls enclose a series of 3,000 fluorescent tubes, as well as a sun blind which combines fixed elements and roller blinds.This arrangement allows homogenous light to enter the exhibition rooms with an intensity close to 250 lux.

8

Visitors who discover the new Fabre Museum will have the mistaken impression of being bathed in daylight.The light from outdoors is strictly controlled, and the lighting comes essentially from artificial sources. However, the treatment applied to the light to foster this illusion denotes the two principles that guided the design, i.e. opening the museum up to the town, and introducing clarity and transparency into a complex and disparate assembly.

7 The light is diffused by

the main galleries in the

5 The Columns Gallery

5

ilr 2007 / Architecture

Contracting authority: Montpellier Agglomeration/SERM Architects: BLP Brochet Lajus Pueyot, in association with Atelier Emmanuel Nebout Architecture, Montpellier, France Lighting design: Grandeur Nature et L’Observatoire, Paris, France Electrical installer: Multitech, Peyrols, France

Philips support: Special projects department, Lamotte Beuvron factory, France Luminaires: Custom luminaires; Decoflood, Philips Light sources: T5 fluorescent tubes; MASTERLine 111, Philips Photographers: RK le Studio, Hervé Abadie Text: Francis Heitz

ilr 2007 / Architecture

25

7

4

The Columns gallery, built in the second half of the 19th century, retains its three original overhead openings, but these let through only controlled light, the intensity of which has been reduced from several tens of thousands of lux to 150 or 200 lux.

The device comprises a series of filters, consisting of an external awning with fixed slats, insulating glass with a high solar factor, a motorised blind, an expanse of fluorescent tubes, and then frosted glass, the diffusing effect of which is accentuated by the splayed form of the skylight. In this way, three effects are combined: filtering, regulation and diffusion. The same device has been put into use

4 The Fabre Room, one of

reverberation in the light

museum

shafts 8 The light shafts provide diffuse lighting for the

6 The temporary

exhibition hall

exhibition hall

24

in another wing of the building, to light a newly installed gallery.

In the Courbet room there is a skylight inspired by those in the Columns gallery, but with larger dimensions, which illuminates the room dedicated to the work of Gustave Courbet. Daylight, filtered by the overhead glass, reverberates off the pyramid-shaped walls of the skylight. The lighting is homogenised by artificial sources embedded in the ceiling and facing the walls, giving visitors the impression of a room bathed in daylight.

The only new building involved in the project, which closes the Bourdon courtyard opposite the Jesuit College, houses the contemporary collections, and in particular the works of Pierre Soulages.

It has a minimalist design style. On the road side, a large blind rough concrete wall overhangs a glass plinth which provides passers-by with a view of the interior of the museum. On the interior side, there is a 200 m2 glass façade which allows light to enter along the entire height of the building, and at night lights the Bourdon courtyard. This curtain wall is formed by a double skin. On the interior, extra-light sand-blasted glass has the appearance

6

of tracing paper. On the exterior, thermo-formed and sand-blasted glass panels have an irregular surface. This living, textured archaic glass evokes the singularity of the material and the imperfection of the windows of Norman churches. The two glass walls enclose a series of 3,000 fluorescent tubes, as well as a sun blind which combines fixed elements and roller blinds. This arrangement allows homogenous light to enter the exhibition rooms with an intensity close to 250 lux.

8

Visitors who discover the new Fabre Museum will have the mistaken impression of being bathed in daylight. The light from outdoors is strictly controlled, and the lighting comes essentially from artificial sources. However, the treatment applied to the light to foster this illusion denotes the two principles that guided the design, i.e. opening the museum up to the town, and introducing clarity and transparency into a complex and disparate assembly.

7 The light is diffused by

the main galleries in the

5 The Columns Gallery

5

ilr 2007 / Architecture

Contracting authority: Montpellier Agglomeration/SERM Architects: BLP Brochet Lajus Pueyot, in association with Atelier Emmanuel Nebout Architecture, Montpellier, France Lighting design: Grandeur Nature et L’Observatoire, Paris, France Electrical installer: Multitech, Peyrols, France

Philips support: Special projects department, Lamotte Beuvron factory, France Luminaires: Custom luminaires; Decoflood, Philips Light sources: T5 fluorescent tubes; MASTERLine 111, Philips Photographers: RK le Studio, Hervé Abadie Text: Francis Heitz

ilr 2007 / Architecture

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2

Technopolis Oulu City Center Oulu, Finland Technopolis Oulu City Center is an impressive office building located in the centre of Oulu. Movable walls, the glass facade and the Northern daylight presented a particular challenge for the lighting design. All the lighting and lighting controls had to be integrated in a flexible, energy-saving solution.

Technopolis is Finland’s largest firm specializing in providing services and operating environments for high-tech companies. As well as the City Center building, it has several other facilities in Oulu, including one on the university campus. Technopolis works closely with the community to find, screen and launch high-potential technology start-ups and operates the largest technology-based incubation programme in the Nordic region.

Measuring some 11,000 square metres in total, the Oulu City Center building offers all the Technopolis

services and provides parking in a public parking garage under the building.

The main entrance facade is lit with LEDs (LEDline2, 48 LEDs, white) which, though still fairly rare in Oulu, are an appropriate means of enhancing the tranquil and modern image of the building.

The narrow beam creates a strong and precise light column on the facade. The bracket-mounted fixtures are almost completely hidden from view.

The other side of the building features traditional

outdoor lighting (Vista), while the flagpoles are lit with MiniDecoflood luminaires. Movement detectors control the light in the parking garage. It is lit with Twigi fixtures, which provide a good light output with a wide beam.

This yields energy savings and makes it possible to control the light. On the upper floors the offices are lit with Triola luminaires with D6 optics. So, as on the other floors, there is a combination of direct and indirect lighting and high-quality D6 optics.The training premises and negotiating rooms are lit with Fugato downlights, as are the halls and corridors.

Two lighting concepts have been implemented in the offices. From the first to the third floor the offices have direct lighting from TBS318 luminaires with an OLC semi-high-gloss high-quality aluminium optic with 3D lamellae (D6). The luminaires are fitted with a pull switch and a movement detector.

2

1 Façade enhanced by grazing light with white LEDs 2 Downlights provide uniform lighting in the training rooms

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ilr 2007 / Architecture

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Contracting authority: Technopolis Oulu City Center Architects: Larkas & Laine, Helsinki, Finland Lighting design: Oiva Taipalus, Pöyry Building Services Ltd, Oulu, Finland Electrical installer: Tekmanni Ltd and Sortavalan Sähkö Ltd Philips support: Markku Kumpulainen, Lighting Finland

Luminaires: Twigi 321TSW WP P, Bruno 602TCW, Point 374FBS/379HBS, Triola 550TPS, TBS300, TBS318, Office Nova 240TCS,Vista 308HGP, MiniDecoflood DWP604, LEDline2 BCS722, Fugato, Philips Light sources: TL5, LUXEON® LED, Philips Photographer: Timo Heikkala Text: Jaana Haapamäki Web: www.technopolisventures.fi/index.php?562

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2

Technopolis Oulu City Center Oulu, Finland Technopolis Oulu City Center is an impressive office building located in the centre of Oulu. Movable walls, the glass facade and the Northern daylight presented a particular challenge for the lighting design. All the lighting and lighting controls had to be integrated in a flexible, energy-saving solution.

Technopolis is Finland’s largest firm specializing in providing services and operating environments for high-tech companies. As well as the City Center building, it has several other facilities in Oulu, including one on the university campus. Technopolis works closely with the community to find, screen and launch high-potential technology start-ups and operates the largest technology-based incubation programme in the Nordic region.

Measuring some 11,000 square metres in total, the Oulu City Center building offers all the Technopolis

services and provides parking in a public parking garage under the building.

The main entrance facade is lit with LEDs (LEDline2, 48 LEDs, white) which, though still fairly rare in Oulu, are an appropriate means of enhancing the tranquil and modern image of the building.

The narrow beam creates a strong and precise light column on the facade. The bracket-mounted fixtures are almost completely hidden from view.

The other side of the building features traditional

outdoor lighting (Vista), while the flagpoles are lit with MiniDecoflood luminaires. Movement detectors control the light in the parking garage. It is lit with Twigi fixtures, which provide a good light output with a wide beam.

This yields energy savings and makes it possible to control the light. On the upper floors the offices are lit with Triola luminaires with D6 optics. So, as on the other floors, there is a combination of direct and indirect lighting and high-quality D6 optics. The training premises and negotiating rooms are lit with Fugato downlights, as are the halls and corridors.

Two lighting concepts have been implemented in the offices. From the first to the third floor the offices have direct lighting from TBS318 luminaires with an OLC semi-high-gloss high-quality aluminium optic with 3D lamellae (D6). The luminaires are fitted with a pull switch and a movement detector.

2

1 Façade enhanced by grazing light with white LEDs 2 Downlights provide uniform lighting in the training rooms

26

ilr 2007 / Architecture

1

Contracting authority: Technopolis Oulu City Center Architects: Larkas & Laine, Helsinki, Finland Lighting design: Oiva Taipalus, Pöyry Building

Luminaires: Twigi 321TSW WP P, Bruno 602TCW, Point 374FBS/379HBS, Triola 550TPS, TBS300, TBS318, Office Nova 240TCS,Vista 308HGP, MiniDecoflood DWP604, LEDline2 BCS722,

Services Ltd, Oulu, Finland Electrical installer: Tekmanni Ltd and Sortavalan Sähkö Ltd Philips support: Markku Kumpulainen, Lighting Finland

Fugato, Philips Light sources: TL5, LUXEON® LED, Philips Photographer: Timo Heikkala Text: Jaana Haapamäki Web: www.technopolisventures.fi/index.php?562

ilr 2007 / Architecture

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The Cubical Masterpiece, Tongji University Shanghai, China The centenary of Tongji University has been marked by the construction of a highly innovative new building called The Cubical Masterpiece. As well as meeting functional requirements, the lighting design had to match the creativity of the architecture.

2

Located in the north-east of Shanghai, Tongji University is one of the most prestigious universities in China, renowned for its academy of architecture and its pioneering of new architectural concepts and trends. Entirely appropriate then, that this illustrious institution should mark its 100th anniversary with a new, ground-breaking structure.

The Cubical Masterpiece, with a height of 100 metres and 46,240 square metres of floor space, was completed in May 2007.

From the outside it appears as a simple cube, but this spartan exterior belies the visual masterpiece contained within.

The cube is made up of seven L-shaped blocks that create an amazing glass spiral. The L-shaped blocks each comprise three floors. From the seventh floor, for example, there is a block unit in the shape of an L lying on its side. On the tenth floor, the L-shaped

also includes seven unique geometric structures, which are used for lectures, meetings and social gatherings.

The Cubical Masterpiece and the unusual geometric features it contains called for a lighting solution that was equally outstanding in terms of both function and aesthetics. There were difficulties too. For example, a hall with a height of 10 meters and giant geometric structures protruding from it makes the ceiling inaccessible.

Overall, the aim was to create a sense of perpetual daylight inside the building while emphasising the purity and elegance of the façade by means of lighting from the inside only. It was also important to prevent light spill and to distinguish the various geometric structures while ensuring that the style of lighting remained consistent.

block is rotated 90 degrees, creating the next three-storey portion of the spiral. The building

1 View of the main hall 2 The 10 metre-high main hall and some geometric structures 3 Tongji University building

1

3

The Cubical Masterpiece, Tongji University Shanghai, China The centenary of Tongji University has been marked by the construction of a highly innovative new building called The Cubical Masterpiece. As well as meeting functional requirements, the lighting design had to match the creativity of the architecture.

2

Located in the north-east of Shanghai, Tongji University is one of the most prestigious universities in China, renowned for its academy of architecture and its pioneering of new architectural concepts and trends. Entirely appropriate then, that this illustrious institution should mark its 100th anniversary with a new, ground-breaking structure.

The Cubical Masterpiece, with a height of 100 metres and 46,240 square metres of floor space, was completed in May 2007.

From the outside it appears as a simple cube, but this spartan exterior belies the visual masterpiece contained within.

The cube is made up of seven L-shaped blocks that create an amazing glass spiral. The L-shaped blocks each comprise three floors. From the seventh floor, for example, there is a block unit in the shape of an L lying on its side. On the tenth floor, the L-shaped

also includes seven unique geometric structures, which are used for lectures, meetings and social gatherings.

The Cubical Masterpiece and the unusual geometric features it contains called for a lighting solution that was equally outstanding in terms of both function and aesthetics. There were difficulties too. For example, a hall with a height of 10 meters and giant geometric structures protruding from it makes the ceiling inaccessible.

Overall, the aim was to create a sense of perpetual daylight inside the building while emphasising the purity and elegance of the façade by means of lighting from the inside only. It was also important to prevent light spill and to distinguish the various geometric structures while ensuring that the style of lighting remained consistent.

block is rotated 90 degrees, creating the next three-storey portion of the spiral. The building

1 View of the main hall 2 The 10 metre-high main hall and some geometric structures 3 Tongji University building

1

3

4 Club House 5 Apollo meeting room 6 Multimedia classroom 7 Section showing the seven unique geometric structures

4

To create a comfortable lighting atmosphere, the luminaires had to be mounted inconspicuously and the light output minimized. For the lighting of the spiral, 35 and 75 W ceramic discharge metal-halide lamps were mainly used, with CDM 150 W lamps used for the corners.

To achieve the effect of a building suffused with pure and uniform light, a colour rendering index higher than 92 and a colour temperature of 4,200 K were the ideal choices. Ambient light is provided by MiniDecofloods and projectors fixed to columns, with recessed LEDs added for creative illumination.

This made it possible to simulate daylight inside without any additional façade lighting.

The seven internal geometric structures include the Club House, the Apollo meeting room and the multimedia classroom.

The Apollo meeting room was inspired by ancient Chinese architecture and is adorned with hundreds of yellow tiles. These glowing tiles are actually LED modules that incorporate decorative light into the architectural details.

The multimedia classroom, shaped like a peanut, is covered with leather from top to bottom. To ensure visibility on the irregular surface, projectors and LEDs are carefully placed to create an asymmetrical lighting pattern. This contrast of light and shade creates a sense of mystery appropriate to this dark and curious structure.

The synergy of architecture and lighting gives visitors to the Cubical Masterpiece the sensation of being both indoors and outdoors at the same time, creating a unique and welcoming environment.

As such it represents a truly innovative example of modern architecture.

5

Every detail of the Club House – the lawn, the chairs and the lighting – was deliberately positioned to create a relaxing atmosphere. Outlined in blue LEDs and suspended beneath a fibre-optic ‘starry night’ sky, the Club House is an ideal meeting-place for students and visitors alike.

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Contracting authority: Tongji University, Shanghai, China Architects: Hongwu Zhang, Tongji University Architecture Design Research Institution, Shanghai, China Lighting design: Coco Hu, LiDAC, Philips Lighting China Electrical installer: Guoguang Build Architectural Decoration Engineering Co. Ltd Philips support: Jinping Huo, Gongquan Qian, Yuman Sheng, Philips Lighting China Luminaires: Octopus fibre-optic lighting system

(End-light harnesses 1 & 2 mm / terminations VCG230,VCG240,VCG660,VCG670), MiniDecoflood, Megalux, LED Strip II white, LED LINE-BAR I, LED LINE-BAR II, Philips Light sources: CDM-R 35 W 4,200 K Ra 92, CDM-T 70 W 4,200 K Ra 92, CDM-T 150 W 4,200 K Ra 92, LUXEON® LED, white, Superflex LED, white, Philips Lighting controls: Dynalite China Photographer: Gong Zhang Text: Coco Hu, Michael A. Heinemeier

ilr 2007 / Architecture

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4 Club House 5 Apollo meeting room 6 Multimedia classroom 7 Section showing the seven unique geometric structures

4

To create a comfortable lighting atmosphere, the luminaires had to be mounted inconspicuously and the light output minimized. For the lighting of the spiral, 35 and 75 W ceramic discharge metal-halide lamps were mainly used, with CDM 150 W lamps

The Apollo meeting room was inspired by ancient Chinese architecture and is adorned with hundreds of yellow tiles. These glowing tiles are actually LED modules that incorporate decorative light into the architectural details.

used for the corners.

To achieve the effect of a building suffused with pure and uniform light, a colour rendering index higher than 92 and a colour temperature of 4,200 K were the ideal choices. Ambient light is provided by MiniDecofloods and projectors fixed to columns, with recessed LEDs added for creative illumination.

This made it possible to simulate daylight inside without any additional façade lighting.

The seven internal geometric structures include the Club House, the Apollo meeting room and the multimedia classroom.

The multimedia classroom, shaped like a peanut, is covered with leather from top to bottom. To ensure visibility on the irregular surface, projectors and LEDs are carefully placed to create an asymmetrical lighting pattern. This contrast of light and shade creates a sense of mystery appropriate to this dark and curious structure.

The synergy of architecture and lighting gives visitors to the Cubical Masterpiece the sensation of being both indoors and outdoors at the same time, creating a unique and welcoming environment.

As such it represents a truly innovative example of modern architecture.

5

Every detail of the Club House – the lawn, the chairs and the lighting – was deliberately positioned to create a relaxing atmosphere. Outlined in blue LEDs and suspended beneath a fibre-optic ‘starry night’ sky, the Club House is an ideal meeting-place for students and visitors alike.

30

ilr 2007 / Architecture

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7

Contracting authority: Tongji University, Shanghai, China Architects: Hongwu Zhang, Tongji University Architecture Design Research Institution, Shanghai, China Lighting design: Coco Hu, LiDAC, Philips Lighting China Electrical installer: Guoguang Build Architectural Decoration Engineering Co. Ltd Philips support: Jinping Huo, Gongquan Qian, Yuman Sheng, Philips Lighting China Luminaires: Octopus fibre-optic lighting system

(End-light harnesses 1 & 2 mm / terminations VCG230,VCG240,VCG660,VCG670), MiniDecoflood, Megalux, LED Strip II white, LED LINE-BAR I, LED LINE-BAR II, Philips Light sources: CDM-R 35 W 4,200 K Ra 92, CDM-T 70 W 4,200 K Ra 92, CDM-T 150 W 4,200 K Ra 92, LUXEON® LED, white, Superflex LED, white, Philips Lighting controls: Dynalite China Photographer: Gong Zhang Text: Coco Hu, Michael A. Heinemeier

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Mina El Edén silver mine Zacatecas, Mexico The Mina El Edén is a former silver mine that is now a major tourist attraction. As well as illuminating the visitor areas in an attractive way, paramount aspects of the lighting design were visitor safety, low maintenance (in view of the difficulties involved in reaching the luminaires) and energy efficiency.

The Mina El Edén is a mine which produced silver, lead and zinc, as well as other minerals, starting from the era of Spanish colonisation in 1550 right up to 1965, the year in which it was closed because it was no longer viable. In 1972, it was opened for visits by tourists, but with a very poor infrastructure, and in 2004 ownership of the mine

The lighting project had two objectives: to ensure that visitors are able to see where they are going without any difficulty, and to highlight the various minerals that can be seen in the walls, such as silver, lead, zinc, copper and quartz, as well as mining equipment that is located along the route.

In order to highlight the veins of metal (silver and lead), Contempo luminaires were installed, with violet Art Colour metal-halide lamps ensuring that the metals stand out. In other places the aim was to create the impression of a ‘sky’, and so blue Art Colour lamps were installed.

was transferred to private investors, who decided to install suitable lighting.

The safety lighting had to be intense enough to demarcate the route, but without contaminating the upper part of the cave, so that the veins of minerals could be highlighted.

Blue-coloured LED String fixtures are used to emphasise certain zones, while blue MR-16 LEDs with presence sensors ensure that when visitors reach that particular area, the blue light lights up to reveal various rock formations. Both high-and low-pressure sodium lamps are used to give the impression of volume in places where the path has up to three levels upwards and two downwards.

The mine is divided into three sections: the entrance, consisting of a distance of 520 metres travelled in a small train, then a distance of 820 metres to be covered on foot, and finally a small minerals museum. Along the way visitors can see the types of equipment and machinery used in the mine in the various stages of its history.

In addition, the aim was to show the different heights of the caves, and this was achieved by changing the colours of the ceilings.

1

The new lighting project has totally changed people’s perception of the mine, and visitor numbers have increased from a few dozen per day to as many as 750 in a single day.

At the end of the path there is a waterfall, which ends in a fountain with a sculpted element resembling a mining pick and lit by CDM-T 35 W lamps in an MVF606 luminaire. Below there is a PAR56 incandescent lamp in an Mca SIMON IEP underwater luminaire. The waterfall is lit from the back by blue Art Colour metal-halide lamps in a Tempo 3 luminaire, and from above by a Dedo de Oro luminaire with a SOX 55 W lamp.

2 1 A cold atmosphere in the

3

lounge, contrasting with the warm lighting in the circulation areas 2 Combining cold blue light with warm incandescent light creates a surprising colour contrast; white neutral light accentuates the sculpture 3 Violet Art Colour metalhalide lamps make the veins of silver and quartz stand out clearly from the stone

Contracting authority: Grupo Corporativo Fresnillo Architect: Alfonso López Monreal, Zacatecas, Mexico Lighting design: Álvaro Nieva, Nieva Iluminación, Aguascalientes, Mexico Electrical installer: Héctor Dávalos Philips support: Germán Villalobos, projects, Mexico; Christian Sauza, LED Product Manager, Mexico Luminaires: PR-40, FO-14, BD-7, SIMON IEP;

Fragata, Philips Construlita; Dedo de Oro, MVF606, Philips Light sources: Art Colour metal-halide 400 W blue and violet, CDM-T 35 W, CDM PAR30, PL-C Genie 14 W, PL-C 26 W,VSAP 150, SOX 55 W, LED String, blue, LUXEON® LED MR-16, blue, Philips Lighting controls: Hubbell presence sensor Photographer: Ernesto García Campos Text: Álvaro Nieva Web: www.nieva-iluminacion.com; www.minaeleden.com.mx

ilr 2007 / Architecture

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Mina El Edén silver mine Zacatecas, Mexico The Mina El Edén is a former silver mine that is now a major tourist attraction. As well as illuminating the visitor areas in an attractive way, paramount aspects of the lighting design were visitor safety, low maintenance (in view of the difficulties involved in reaching the luminaires) and energy efficiency.

The Mina El Edén is a mine which produced silver, lead and zinc, as well as other minerals, starting from the era of Spanish colonisation in 1550 right up to 1965, the year in which it was closed because it was no longer viable. In 1972, it was opened for visits by tourists, but with a very poor infrastructure, and in 2004 ownership of the mine was transferred to private investors, who decided to install suitable lighting.

The mine is divided into three sections: the entrance, consisting of a distance of 520 metres travelled in a small train, then a distance of 820 metres to be covered on foot, and finally a small minerals museum. Along the way visitors can see the types of equipment and machinery used in the mine in the various stages of its history.

The lighting project had two objectives: to ensure that visitors are able to see where they are going without any difficulty, and to highlight the various

In order to highlight the veins of metal (silver and lead), Contempo luminaires were installed, with violet Art Colour metal-halide lamps ensuring that

minerals that can be seen in the walls, such as silver, lead, zinc, copper and quartz, as well as mining equipment that is located along the route.

the metals stand out. In other places the aim was to create the impression of a ‘sky’, and so blue Art Colour lamps were installed.

The safety lighting had to be intense enough to demarcate the route, but without contaminating the upper part of the cave, so that the veins of minerals could be highlighted.

Blue-coloured LED String fixtures are used to emphasise certain zones, while blue MR-16 LEDs with presence sensors ensure that when visitors reach that particular area, the blue light lights up to reveal various rock formations. Both high-and low-pressure sodium lamps are used to give the impression of volume in places where the path has up to three levels upwards and two downwards.

In addition, the aim was to show the different heights of the caves, and this was achieved by changing the colours of the ceilings.

1

The new lighting project has totally changed people’s perception of the mine, and visitor numbers have increased from a few dozen per day to as many as 750 in a single day.

At the end of the path there is a waterfall, which ends in a fountain with a sculpted element resembling a mining pick and lit by CDM-T 35 W lamps in an MVF606 luminaire. Below there is a PAR56 incandescent lamp in an Mca SIMON IEP underwater luminaire. The waterfall is lit from the back by blue Art Colour metal-halide lamps in a Tempo 3 luminaire, and from above by a Dedo de Oro luminaire with a SOX 55 W lamp.

2 1 A cold atmosphere in the

3

lounge, contrasting with the warm lighting in the circulation areas 2 Combining cold blue light with warm incandescent light creates a surprising colour contrast; white neutral light accentuates the sculpture 3 Violet Art Colour metalhalide lamps make the veins of silver and quartz stand out clearly from the stone

Contracting authority: Grupo Corporativo Fresnillo Architect: Alfonso López Monreal, Zacatecas, Mexico Lighting design: Álvaro Nieva, Nieva Iluminación, Aguascalientes, Mexico Electrical installer: Héctor Dávalos Philips support: Germán Villalobos, projects, Mexico; Christian Sauza, LED Product Manager, Mexico Luminaires: PR-40, FO-14, BD-7, SIMON IEP;

Fragata, Philips Construlita; Dedo de Oro, MVF606, Philips Light sources: Art Colour metal-halide 400 W blue and violet, CDM-T 35 W, CDM PAR30, PL-C Genie 14 W, PL-C 26 W,VSAP 150, SOX 55 W, LED String, blue, LUXEON® LED MR-16, blue, Philips Lighting controls: Hubbell presence sensor Photographer: Ernesto García Campos Text: Álvaro Nieva Web: www.nieva-iluminacion.com; www.minaeleden.com.mx

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Corporate Office, BG India Mumbai, India BG Exploration & Production India Ltd (BG India) has created one of India’s first “green buildings” as its corporate office in the city of Mumbai. The lighting had to meet the same high standards of eco-friendliness as the building, as well as fulfilling all functional requirements.

2

1 25 metre-high atrium

2

BG India is part of the BG group, a leading international energy company that has expertise across the spectrum of the natural gas chain. Its corporate office in the Mumbai suburb of Powai reflects a new trend: ‘green building’. The building project had to meet design and construction standards aimed at minimising environmental impact, maximising energy efficiency and creating a cleaner, healthier interior space, as laid down

by LEED USA (Leadership in Energy and Environmental Design).

and the impressive backlit orange onyx 2 ‘Lighting for celebrations’ marks the building in the landscape

1

The brief for the lighting designers, therefore, was not only to create something exclusive and aesthetic, though not too ostentatious, for this corporate office, but also to measure up to the LEED rating system and provide the most energy-

2

efficient lighting system possible, with a lighting load no higher than 1 W per square foot.

The façade lighting was the biggest challenge, and the concept chosen for it was ‘lighting for celebrations’. It was decided to use light-emitting diodes (LEDs) because they are the most efficient light source, reduce spill and offer considerable choice. Colour-changing LED lighting was used for the logo, while LED spots provide general accent lighting. A scintillating effect has been created, making the building a veritable landmark.

The building’s 25 metre-high atrium is beautifully decorated with onyx marble backlit in orange, the colour of the company’s logo, by floodlights with CDM-T 150 W lamps.

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35

Corporate Office, BG India Mumbai, India BG Exploration & Production India Ltd (BG India) has created one of India’s first “green buildings” as its corporate office in the city of Mumbai. The lighting had to meet the same high standards of eco-friendliness as the building, as well as fulfilling all functional requirements.

2

1 25 metre-high atrium

2

BG India is part of the BG group, a leading international energy company that has expertise across the spectrum of the natural gas chain. Its corporate office in the Mumbai suburb of Powai reflects a new trend: ‘green building’. The building project had to meet design and construction standards aimed at minimising environmental impact, maximising energy efficiency and creating a cleaner, healthier interior space, as laid down

by LEED USA (Leadership in Energy and Environmental Design).

and the impressive backlit orange onyx 2 ‘Lighting for celebrations’ marks the building in the landscape

1

The brief for the lighting designers, therefore, was not only to create something exclusive and aesthetic, though not too ostentatious, for this corporate office, but also to measure up to the LEED rating system and provide the most energy-

2

efficient lighting system possible, with a lighting load no higher than 1 W per square foot.

The façade lighting was the biggest challenge, and the concept chosen for it was ‘lighting for celebrations’. It was decided to use light-emitting diodes (LEDs) because they are the most efficient light source, reduce spill and offer considerable choice. Colour-changing LED lighting was used for the logo, while LED spots provide general accent lighting. A scintillating effect has been created, making the building a veritable landmark.

The building’s 25 metre-high atrium is beautifully decorated with onyx marble backlit in orange, the colour of the company’s logo, by floodlights with CDM-T 150 W lamps.

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35

3 High-efficiency luminaires and lighting controls for the offices 4 Indirect architectural lighting creates a pleasant ambience 5 In the cafeteria, downlights and indirect blue cove lighting create atmosphere 6 Position of lighting fixtures

In order to achieve maximum energy efficiency in the open-plan offices, the lighting project team used luminaires with the highest-efficiency optics (Wing Dx with D6 optics) and with TL5 14 W lamps. This combination gave the highest possible efficiency in mirror optics for office lighting and met the architect’s visual design criteria. FBH145 downlights were used for the passage and general circulation areas in combination with Adreno TL5 28 W battens for cove lighting.

To maximise savings, lighting control solutions were implemented throughout the BG India office building. The building has an atrium at the front and in the centre and a glass façade all along the periphery, so there is an abundance of daylight.

Hence Omnisense luminaire-based light sensors were used in the small offices along the periphery, while the open-plan offices feature state-of-theart Wing-c Dx luminaires with Occulux lighting

3

4

controls, which offer daylight linking and movement detection.

In the cafeteria a combination of downlights and indirect blue cove lighting creates a fun atmosphere.

All the toilets are equipped with FBH145 downlights and feature controls with occupancy sensors in order to maximise energy savings.

A combination of direct and indirect cove lighting with Adreno TL5 28 W battens was used for the meeting rooms and conference room.

All the managers’ offices are equipped with remote-controlled Omnisense lighting controls.

The switching circuit and the light sensorbased dimming circuit grouping have been kept independent of each other to optimise energy efficiency. All the mini discussion rooms have FBH148/218 HF downlights and are equipped with occupancy sensors to maximise energy savings.

The boardroom and the conference rooms required various lighting levels and ambiences and so are fitted with a two-stage Trios lighting control system supplemented with a movement detector.

5

The occupants of the BG India corporate office in Mumbai not only enjoy spectacular views of the suburb of Powai, but also benefit from the use of low-emitting materials, superior ventilation, ample daylight and state-of-the art, high-efficiency lighting. In other words, they have a workspace that is healthy, comfortable, greener and more costeffective. Indeed, this project has been so successful that the BG corporate office has been designated a ‘Platinum-rated Green Building’ by the US Green Building Council.

6

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Owner: M/s. BG Exploration & Production India Ltd Architect(s): Sunil Gambani & Mavjin Patel, M/s.

Hafeez Contractor, Mumbai, India Lighting design: Nehal Shah, Bhagwan Shirsekar, Philips LiDAC India Electrical consultant: Birju Patel,M/s. MEP consultants, Mumbai, India Electrical installer: M/s. Roshan Electricals Luminaires: LED Strip II, LED Spot, LM 200, PS 300, Wing-c Dx, X-tend TPS498, FBH145,Vector, Megapolis, Philips Light sources: TL5 PLC/ PLT, CDM-T, LUXEON® LED, LED Strip II, RGB- Activemix, LED Spot, white, Philips Lighting controls: Omnisense, Occulux, Occuswitch,Trios, DALI, Philips Photographer: Vinesh Gandhi Text: Nehal Shah Web: www.bg-india.com

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37

3 High-efficiency luminaires and lighting controls for the offices 4 Indirect architectural lighting creates a pleasant ambience 5 In the cafeteria, downlights and indirect blue cove lighting create atmosphere 6 Position of lighting fixtures

In order to achieve maximum energy efficiency in the open-plan offices, the lighting project team used luminaires with the highest-efficiency optics (Wing Dx with D6 optics) and with TL5 14 W lamps. This combination gave the highest possible efficiency in mirror optics for office lighting and met the architect’s visual design criteria. FBH145 downlights were used for the passage and general circulation areas in combination with Adreno TL5 28 W battens for cove lighting.

To maximise savings, lighting control solutions were implemented throughout the BG India office building. The building has an atrium at the front and in the centre and a glass façade all along the periphery, so there is an abundance of daylight.

Hence Omnisense luminaire-based light sensors were used in the small offices along the periphery, while the open-plan offices feature state-of-theart Wing-c Dx luminaires with Occulux lighting

3

4

controls, which offer daylight linking and movement detection.

In the cafeteria a combination of downlights and indirect blue cove lighting creates a fun atmosphere.

All the toilets are equipped with FBH145 downlights and feature controls with occupancy sensors in order to maximise energy savings.

A combination of direct and indirect cove lighting with Adreno TL5 28 W battens was used for the meeting rooms and conference room.

All the managers’ offices are equipped with remote-controlled Omnisense lighting controls.

The switching circuit and the light sensorbased dimming circuit grouping have been kept independent of each other to optimise energy efficiency. All the mini discussion rooms have FBH148/218 HF downlights and are equipped with occupancy sensors to maximise energy savings.

The boardroom and the conference rooms required various lighting levels and ambiences and so are fitted with a two-stage Trios lighting control system supplemented with a movement detector.

5

The occupants of the BG India corporate office in Mumbai not only enjoy spectacular views of the suburb of Powai, but also benefit from the use of low-emitting materials, superior ventilation, ample daylight and state-of-the art, high-efficiency lighting. In other words, they have a workspace that is healthy, comfortable, greener and more costeffective. Indeed, this project has been so successful that the BG corporate office has been designated a ‘Platinum-rated Green Building’ by the US Green Building Council.

6

36

ilr 2007 / Architecture

Owner: M/s. BG Exploration & Production India Ltd Architect(s): Sunil Gambani & Mavjin Patel, M/s.

Hafeez Contractor, Mumbai, India Lighting design: Nehal Shah, Bhagwan Shirsekar, Philips LiDAC India Electrical consultant: Birju Patel,M/s. MEP consultants, Mumbai, India Electrical installer: M/s. Roshan Electricals Luminaires: LED Strip II, LED Spot, LM 200, PS 300, Wing-c Dx, X-tend TPS498, FBH145,Vector, Megapolis, Philips Light sources: TL5 PLC/ PLT, CDM-T, LUXEON® LED, LED Strip II, RGB- Activemix, LED Spot, white, Philips Lighting controls: Omnisense, Occulux, Occuswitch, Trios, DALI, Philips Photographer: Vinesh Gandhi Text: Nehal Shah Web: www.bg-india.com

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Area 14, Dublin Airport Dublin, Ireland In April 2007 Dublin Airport Authority unveiled a new, state-of-the-art check-in facility, called Area 14, at Dublin Airport. The space is expected to accommodate approximately two million Aer Lingus passengers per year and counts intelligent LED lighting among its high-tech design touches.

Dublin Airport manages an average of 60,000 passengers per day, rising to 80,000 during the peak season, and more than 600 aircraft movements every day. It is now engaged in a massive capital development programme that will see the construction of a new second terminal by 2009, in addition to a variety of new piers and major improvements to the existing terminal.

Given its location in the airport’s basement, Area 14 required a lighting scheme that would

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be both functional and aesthetically pleasing. The design team conceptualised a series of illuminated discs that measure approximately 3 metres in diameter and hang from the ceiling. The interior rim of each disc is lit by iColor Cove® QL – a low-profile, low-maintenance fixture that is well suited to the tight and difficult-to-access niches.

Approximately 610 metres of iColor Cove QL was installed across the 58 discs. Each 30 cm length is individually controllable via DMX, allowing the discs to change colour in unison or independently.

ColorPlay® authoring software was used to create various light shows, which include the corporate colours of Aer Lingus as well as gradual colour changes that correspond to the typical amount of time required for passenger check-in. As such, passengers are treated to a colourfully transforming environment while they go through the check-in process. The light shows are stored on an iPlayer® device and easily triggered with a Controller Keypad.

Owner/Contracting authority: Dublin Airport Authority Architectural and lighting design: Moloney O’Beirne, Atkins, Capita Ruddle Wilkinson, Pinniger & Partners Lighting supply and commissioning: ECI Lighting Philips/Color Kinetics support: Neil Gamble, Phil Cross, Sales, UK

Luminaires: iColor Cove QL, Color Kinetics/Philips Light sources: Kingbright LEDs Lighting controls: ColorPlay, iPlayer 2, Controller Keypad, Color Kinetics/Philips Photographer: DAA Text: Felicia Spagnoli Web: www.colorkinetics.com/showcase/installs/ dublinair/

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Area 14, Dublin Airport Dublin, Ireland In April 2007 Dublin Airport Authority unveiled a new, state-of-the-art check-in facility, called Area 14, at Dublin Airport. The space is expected to accommodate approximately two million Aer Lingus passengers per year and counts intelligent LED lighting among its high-tech design touches.

Dublin Airport manages an average of 60,000 passengers per day, rising to 80,000 during the peak season, and more than 600 aircraft movements every day. It is now engaged in a massive capital development programme that will see the construction of a new second terminal by 2009, in addition to a variety of new piers and major improvements to the existing terminal.

Given its location in the airport’s basement, Area 14 required a lighting scheme that would

38

ilr 2007 / Architecture

be both functional and aesthetically pleasing. The design team conceptualised a series of illuminated discs that measure approximately 3 metres in diameter and hang from the ceiling. The interior rim of each disc is lit by iColor Cove® QL – a low-profile, low-maintenance fixture that is well suited to the tight and difficult-to-access niches.

Approximately 610 metres of iColor Cove QL was installed across the 58 discs. Each 30 cm length is individually controllable via DMX, allowing the discs to change colour in unison or independently.

ColorPlay® authoring software was used to create various light shows, which include the corporate colours of Aer Lingus as well as gradual colour changes that correspond to the typical amount of time required for passenger check-in. As such, passengers are treated to a colourfully transforming environment while they go through the check-in process. The light shows are stored on an iPlayer® device and easily triggered with a Controller Keypad.

Owner/Contracting authority: Dublin Airport Authority Architectural and lighting design: Moloney O’Beirne, Atkins, Capita Ruddle Wilkinson, Pinniger & Partners Lighting supply and commissioning: ECI Lighting Philips/Color Kinetics support: Neil Gamble, Phil Cross, Sales, UK

Luminaires: iColor Cove QL, Color Kinetics/Philips Light sources: Kingbright LEDs Lighting controls: ColorPlay, iPlayer 2, Controller Keypad, Color Kinetics/Philips Photographer: DAA Text: Felicia Spagnoli Web: www.colorkinetics.com/showcase/installs/ dublinair/

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Retail Mooi store concept Garbarino shop Citroën showroom Il Gigante Quattro Venti gallery Don Gil flagship store tegut supermarket Vodafone restyle Auberge de l’Ill

Deployed imaginatively, lighting can create a fresh and appealing in-store ambience. One that draws consumers in, inspires them and – with inviting displays of merchandise – puts them in the mood to buy. Flexible and dynamic – e.g. through the use of lighting controls – it can enhance any retail space or concept while also helping to keep energy costs under control.

Photo: Korff & Van Mierlo

Retail Mooi store concept Garbarino shop Citroën showroom Il Gigante Quattro Venti gallery Don Gil flagship store tegut supermarket Vodafone restyle Auberge de l’Ill

Deployed imaginatively, lighting can create a fresh and appealing in-store ambience. One that draws consumers in, inspires them and – with inviting displays of merchandise – puts them in the mood to buy. Flexible and dynamic – e.g. through the use of lighting controls – it can enhance any retail space or concept while also helping to keep energy costs under control.

Photo: Korff & Van Mierlo

Mooi store concept Leiderdorp, Netherlands Mooi (‘beautiful’ in English) is the new store concept of Etos, the Dutch personal care retailer. The use of dynamic lighting effects and different light colours sets this concept apart and creates an ambience in which consumers will feel tempted to purchase the products on sale.

1 Hanging lamps provide extra brightness 2 An overview of the store with, on the left-hand side, the cove with warm and cool fluorescent light

In the Mooi concept, the store layout comprises three zones, with fragrances along one wall, makeup and skin-care products along the opposite wall and a central aisle between the two, where consumers can try out the products and enjoy make-up demonstrations.

The lighting design is based on this three-zone layout. It features two light sources in a white Scrabble gridlight, which is more or less invisible against the white ceiling. Narrow light beams alternate with medium-sized ones to create a playful, high-contrast arrangement of different areas of light.

The luminaires project the light at unusual angles.

Light beams projected onto a wall at right angles have little impact. This lighting design, with playfully criss-crossing beams, creates a far more exciting ambience in keeping with the desired image for the store.

The beams projected onto the make-up and skincare products do not cross one another to the same extent. Here, the lighting is more subdued, focusing on the individual brands, though again the beams are projected obliquely onto the wall for greater impact. The recessed luminaires are arranged in a single line, about 500 mm from the wall, creating a sense of visual calm.

2

1

ilr 2007 / Retail

43

Mooi store concept Leiderdorp, Netherlands Mooi (‘beautiful’ in English) is the new store concept of Etos, the Dutch personal care retailer. The use of dynamic lighting effects and different light colours sets this concept apart and creates an ambience in which consumers will feel tempted to purchase the products on sale.

1 Hanging lamps provide extra brightness 2 An overview of the store with, on the left-hand side, the cove with warm and cool fluorescent light

In the Mooi concept, the store layout comprises three zones, with fragrances along one wall, makeup and skin-care products along the opposite wall and a central aisle between the two, where consumers can try out the products and enjoy make-up demonstrations.

The lighting design is based on this three-zone layout. It features two light sources in a white Scrabble gridlight, which is more or less invisible against the white ceiling. Narrow light beams alternate with medium-sized ones to create a playful, high-contrast arrangement of different areas of light.

The luminaires project the light at unusual angles.

Light beams projected onto a wall at right angles have little impact. This lighting design, with playfully criss-crossing beams, creates a far more exciting ambience in keeping with the desired image for the store.

The beams projected onto the make-up and skincare products do not cross one another to the same extent. Here, the lighting is more subdued, focusing on the individual brands, though again the beams are projected obliquely onto the wall for greater impact. The recessed luminaires are arranged in a single line, about 500 mm from the wall, creating a sense of visual calm.

2

1

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43

4

LEGENDE 5 LEGENDE LEGENDE LEGENDE LEGENDE Scrabble 1xCDM-T 3535W W 3,000 K Scrabble 1xCDM-T 3000K Scrabble 1xCDM-T 35W 3000K 3000K Scrabble 1xCDM-T 35W Scrabble 1xCDM-T 35W 35W 3000K 3000K LEGENDE Scrabble 1xCDM-T Scrabble 2xCDM-T 35W 3000K Scrabble 2xCDM-T 3535W W 3,000 K Scrabble 2xCDM-T 3000K Scrabble 2xCDM-T 35W 3000K Scrabble 2xCDM-T 35W 3000K Scrabble 1xCDM-T 35W 3000K Scrabble Scrabble2xCDM-T 3xCDM-T35W 35W3000K 3000K Scrabble 3xCDM-T 35W 3000K Scrabble 3xCDM-T 3535W W 3,000K Scrabble 3xCDM-T 3000K Scrabble 3xCDM-T 35W 3000K Scrabble 2xCDM-T 35W 3000K Scrabble 3xCDM-T 35W 3000K Pentura 2xTL-D 2xTL-D 54W 2700/6500K Pentura 54W 2700/6500K Pentura 2xTL-D 54W 2700/6500K Hanging 2xTL-D incandescent Pentura 54Wlamp 2700/6500K Scrabble 3xCDM-T 35W 3000K Pentura 54W 2700/6500K Hanging2xTL-D incandescent lamp Hanging incandescent lamp Hanging incandescent lamp Hanging incandescent lamp Pentura 2xTL-D 2700/6500K Pentura 2xTL-D 54W54W 2,700/6,500 K Hanging incandescent lamp

3

Dimmable fluorescent lamps above and below the fragrance display ensure sufficient visibility while producing a clear contrast with the opposite wall.

Two different light colours – 827 and 865 – can be used to add an extra warm or cool dimension, e.g. to enhance the morning or evening atmosphere.

The different light colours can also be used to focus attention on special offers or reinforce specific retail concepts such as a late opening.

A simple green colour filter in front of the shelf section indicates the special offer of the week.

Hanging lamps with transparent shades in different tones of green suspended at different heights along the central aisle provide extra brightness, while an incandescent lamp ensures perfect colour rendering in the make-up area. The MASTERColour lamps in the ceiling are the main source of light above the central aisle and also illuminate the cash desk.

solution creates more contrast, adding an extra dimension to the store

This lighting concept has helped create a shop ambience that is playful, powerful, exciting, open and above all inspiring for the target group of this new chain.

4 Sketch by the lighting designer showing the beam angles 5 Layout of the store including the lighting design

44

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Hanging incandescent lamp

3 To the left, the lighting

Owner: Etos Architects: Claessens Erdmann, Bart van Ham Lighting design: Ruud Bagen, Philips Lighting LiDAC, Eindhoven,The Netherlands Electrical installer: Frimex Philips support: Joost Flanagan,Account Manager, Eindhoven, The Netherlands Luminaires: Scrabble MBX510,

Pentura TMS122 154 W/ 865/827, Philips Light sources: CDM-T 35 W 12°, 24°, TL5 54 W, Philips Lighting controls: Martin CLS DMX Photographer: Korff & Van Mierlo Text: Ruud Bagen and Joost Flanagan Web: www.etos.nl

ilr 2007 / Retail

45

4

LEGENDE 5 LEGENDE LEGENDE LEGENDE LEGENDE Scrabble 1xCDM-T 3535W W 3,000 K Scrabble 1xCDM-T 3000K Scrabble 1xCDM-T 35W 3000K 3000K Scrabble 1xCDM-T 35W Scrabble 1xCDM-T 35W 35W 3000K 3000K LEGENDE Scrabble 1xCDM-T Scrabble 2xCDM-T 35W 3000K Scrabble 2xCDM-T 3535W W 3,000 K Scrabble 2xCDM-T 3000K Scrabble 2xCDM-T 35W 3000K Scrabble 2xCDM-T 35W 3000K Scrabble 1xCDM-T 35W 3000K Scrabble Scrabble2xCDM-T 3xCDM-T35W 35W3000K 3000K Scrabble 3xCDM-T 35W 3000K Scrabble 3xCDM-T 3535W W 3,000K Scrabble 3xCDM-T 3000K Scrabble 3xCDM-T 35W 3000K Scrabble 2xCDM-T 35W 3000K Scrabble 3xCDM-T 35W 3000K Pentura 2xTL-D 2xTL-D 54W 2700/6500K Pentura 54W 2700/6500K Pentura 2xTL-D 54W 2700/6500K Hanging 2xTL-D incandescent Pentura 54Wlamp 2700/6500K Scrabble 3xCDM-T 35W 3000K Pentura 54W 2700/6500K Hanging2xTL-D incandescent lamp Hanging incandescent lamp Hanging incandescent lamp Hanging incandescent lamp Pentura 2xTL-D 2700/6500K Pentura 2xTL-D 54W54W 2,700/6,500 K Hanging incandescent lamp

3

Dimmable fluorescent lamps above and below the fragrance display ensure sufficient visibility while producing a clear contrast with the opposite wall.

Two different light colours – 827 and 865 – can be used to add an extra warm or cool dimension, e.g. to enhance the morning or evening atmosphere.

The different light colours can also be used to focus attention on special offers or reinforce specific retail concepts such as a late opening.

A simple green colour filter in front of the shelf section indicates the special offer of the week.

Hanging lamps with transparent shades in different tones of green suspended at different heights along the central aisle provide extra brightness, while an incandescent lamp ensures perfect colour rendering in the make-up area. The MASTERColour lamps in the ceiling are the main source of light above the central aisle and also illuminate the cash desk.

solution creates more contrast, adding an extra dimension to the store

This lighting concept has helped create a shop ambience that is playful, powerful, exciting, open and above all inspiring for the target group of this new chain.

4 Sketch by the lighting designer showing the beam angles 5 Layout of the store including the lighting design

44

ilr 2007 / Retail

Hanging incandescent lamp

3 To the left, the lighting

Owner: Etos Architects: Claessens Erdmann, Bart van Ham Lighting design: Ruud Bagen, Philips Lighting LiDAC, Eindhoven, The Netherlands Electrical installer: Frimex Philips support: Joost Flanagan, Account Manager, Eindhoven, The Netherlands Luminaires: Scrabble MBX510,

Pentura TMS122 154 W/ 865/827, Philips Light sources: CDM-T 35 W 12°, 24°, TL5 54 W, Philips Lighting controls: Martin CLS DMX Photographer: Korff & Van Mierlo Text: Ruud Bagen and Joost Flanagan Web: www.etos.nl

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45

Garbarino shop Buenos Aires, Argentina The Argentine retail chain Garbarino joined forces with Philips to devise a new store concept exclusively dedicated to the sale of high-end consumer electronics products.

The objective was to develop a shop that conveys a sense of high-tech and dynamism, with a lighting system that allows a constantly changing ambience.

2

Garbarino has been selling household appliances in Argentina since 1951 and has 50 stores throughout the country. The outlet where the new store concept was being rolled out is located in the exclusive Unicenter Shopping Mall in northern Buenos Aires, the country’s most popular shopping mall. It has 300 stores offering the best domestic and foreign brands, a supermarket, a food court and 14 cinemas.

The surface area of the Garbarino shop is only 180 square metres, so the first challenge was to give the premises a more spacious feel, while creating a strong focal point for customer interest amidst the extreme visual competition in the mall.

The lighting design focused on illuminating the vertical planes to create greater depth and visual appeal. This effect is emphasized by making the ceiling ‘disappear’ and by using dark colours on the floor with just a few lighting details.

4

5

In the ‘living-room’ area of the store, RGB LEDline luminaires mounted in a continuous line on the upper cornice create a colour-mixing effect on the white wall, complementing and reinforcing the Ambilight TV experience that customers can enjoy there.

It was decided to install LED-based dynamic lighting, which is integrated into the architecture and the interior design. For the product display wall, LEDline2 AWB luminaires embedded in the base of the back-lit wall allow the colour temperature to be changed from cool white to warm white.

Changes in colour temperature around the gorgerin on the ceiling reinforce the colour changes on the display wall; in this case, AWB LED Strings mounted in the round cornices enable the change of tonality.

3

At the entrance to the shop, a marquise back-lit with white LED String follows the dynamic of the diagonal wall, while a line of downlights with MASTERColour CDM-R 111 lamps boosts the lighting level.

The result is an interesting combination of effects, a new symbiosis between light and architecture which has opened up new horizons in retail lighting design.

Owner: Garbarino Project design and direction: Maria Laura D´Agostino, Alberto Romarís, RyA Design, Buenos Aires, Argentina Lighting design: Gladys Mabel Gatti, Guillermo Pasina, Romina Forciniti, LEDline2 AWB WB 60º Lighting Application Center, Philips Argentina LEDline² AWB WB 60° Luxeon 1 W Luxeon 1 W Construction and Electrical installer: LEDline² RGB WB 60° Luxeon 1 W RyA S.A. LEDline² AWB WB 60° Luxeon 1 W LEDline2 RGB WB 60º 35 W 40°Philips Downlight MASTERColour 3000K support: Gladys Mabel Gatti, Guillermo LEDline² RGB WB 60° Luxeon 1 W LEDline² LuxeonAWB 1 WWB 60° Luxeon 1 W Pasina, Romina Forciniti, Lighting Application Center, LED String 2700K and 6500K Downlight MASTERColour 35 W 40°Philips 3000K Argentina; Juan Pablo Pasture, SSL Products LEDline² RGB WB 60° Luxeon 1 W LEDline² AWB WB 60° Luxeon 1 W LED String amber 579, blue 476 Downlight MASTERColour Luminaires: LEDline2 BCS722 48xLED RGB LED String 2700K and 6500K Downlight MASTERColour 35 W 40° 3000K LEDline² RGB WB 60° Luxeon 1 W 35 W 40º 3,000 K Luxeon 1 W MB30, 48xLED AWB MB30, Philips LEDline² AWB WB 60° LED String amber 579, blue 476 LED String 2700K and 6500K Downlight MASTERColour 35 W 40°Light 3000K sources: LED String amber 579, LEDline² RGB WB 60° Luxeon 1 W LED String 2,700 K LED String blue 476, LED String white, LED String amber 579, blue 476 LED String 2700K and 6500K Downlight MASTERColour 35 W 40° 3000K and 6,500 K MASTERColour CDM-R 111 35 W 40° 830, Philips LED String amber 579, blue 476 Photographer: Nicolas Gercovich LED String 2700K and 6500K LED String amber 579, Text: Gladys Mabel Gatti LED String amber 579, blue 476 blue 476 Web: www.garbarino.com; www.ryadesign.com

1 1 The illuminated vertical planes in the walls 2 The RGB LEDline creates a bluish colourmixing effect 3 The dark ceiling together with the dark floor creates a high contrast 4 The RGB LEDline creates an orange colourmixing effect 5 Layout of the store including the positioning of the lighting solutions

LEDline² AWB WB 60° Luxeon 1 W LEDline² RGB WB 60° Luxeon 1 W

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Garbarino shop Buenos Aires, Argentina The Argentine retail chain Garbarino joined forces with Philips to devise a new store concept exclusively dedicated to the sale of high-end consumer electronics products.

The objective was to develop a shop that conveys a sense of high-tech and dynamism, with a lighting system that allows a constantly changing ambience.

2

Garbarino has been selling household appliances in Argentina since 1951 and has 50 stores throughout the country. The outlet where the new store

The lighting design focused on illuminating the vertical planes to create greater depth and visual appeal. This effect is emphasized by making the

In the ‘living-room’ area of the store, RGB LEDline luminaires mounted in a continuous line on the upper cornice create a colour-mixing effect on

concept was being rolled out is located in the exclusive Unicenter Shopping Mall in northern Buenos Aires, the country’s most popular shopping mall. It has 300 stores offering the best domestic and foreign brands, a supermarket, a food court and 14 cinemas.

ceiling ‘disappear’ and by using dark colours on the floor with just a few lighting details.

the white wall, complementing and reinforcing the Ambilight TV experience that customers can enjoy there.

The surface area of the Garbarino shop is only 180 square metres, so the first challenge was to give the premises a more spacious feel, while creating a strong focal point for customer interest amidst the extreme visual competition in the mall.

It was decided to install LED-based dynamic lighting, which is integrated into the architecture and the interior design. For the product display wall, LEDline2 AWB luminaires embedded in the base of the back-lit wall allow the colour temperature to be changed from cool white to warm white.

Changes in colour temperature around the gorgerin on the ceiling reinforce the colour changes on the display wall; in this case, AWB LED Strings mounted in the round cornices enable the change of tonality.

3

4

5

At the entrance to the shop, a marquise back-lit with white LED String follows the dynamic of the diagonal wall, while a line of downlights with MASTERColour CDM-R 111 lamps boosts the lighting level.

The result is an interesting combination of effects, a new symbiosis between light and architecture which has opened up new horizons in retail lighting design.

Owner: Garbarino Project design and direction: Maria Laura D´Agostino, Alberto Romarís, RyA Design, Buenos Aires, Argentina Lighting design: Gladys Mabel Gatti, Guillermo Pasina, Romina Forciniti, LEDline2 AWB WB 60º Lighting Application Center, Philips Argentina LEDline² AWB WB 60° Luxeon 1 W Luxeon 1 W Construction and Electrical installer: LEDline² RGB WB 60° Luxeon 1 W RyA S.A. LEDline² AWB WB 60° Luxeon 1 W LEDline2 RGB WB 60º 35 W 40°Philips Downlight MASTERColour 3000K support: Gladys Mabel Gatti, Guillermo LEDline² RGB WB 60° Luxeon 1 W LEDline² LuxeonAWB 1 WWB 60° Luxeon 1 W Pasina, Romina Forciniti, Lighting Application Center, LED String 2700K and 6500K Downlight MASTERColour 35 W 40°Philips 3000K Argentina; Juan Pablo Pasture, SSL Products LEDline² RGB WB 60° Luxeon 1 W LEDline² AWB WB 60° Luxeon 1 W LED String amber 579, blue 476 Downlight MASTERColour Luminaires: LEDline2 BCS722 48xLED RGB LED String 2700K and 6500K Downlight MASTERColour 35 W 40° 3000K LEDline² RGB WB 60° Luxeon 1 W 35 W 40º 3,000 K Luxeon 1 W MB30, 48xLED AWB MB30, Philips LEDline² AWB WB 60° LED String amber 579, blue 476 LED String 2700K and 6500K Downlight MASTERColour 35 W 40°Light 3000K sources: LED String amber 579, LEDline² RGB WB 60° Luxeon 1 W LED String 2,700 K LED String blue 476, LED String white, LED String amber 579, blue 476 LED String 2700K and 6500K Downlight MASTERColour 35 W 40° 3000K and 6,500 K MASTERColour CDM-R 111 35 W 40° 830, Philips LED String amber 579, blue 476 Photographer: Nicolas Gercovich LED String 2700K and 6500K LED String amber 579, Text: Gladys Mabel Gatti LED String amber 579, blue 476 blue 476 Web: www.garbarino.com; www.ryadesign.com

1 1 The illuminated vertical planes in the walls 2 The RGB LEDline creates a bluish colourmixing effect 3 The dark ceiling together with the dark floor creates a high contrast 4 The RGB LEDline creates an orange colourmixing effect 5 Layout of the store including the positioning of the lighting solutions

LEDline² AWB WB 60° Luxeon 1 W LEDline² RGB WB 60° Luxeon 1 W

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Citroën showroom

2 A view from the outside showing the attractive interior lighting

Bucharest, Romania

3 A warm atmosphere is created with Scrabble

The Citroën showroom in the recently developed Baneasa commercial area of Bucharest is the flagship location for the whole Citroën network in Romania. It had to distinguish itself from the rest of their showrooms as well as stand out among other buildings in the area. Accordingly, the lighting solution had to be functional but original at the same time.

2

Located in a commercial area that enjoyed the fastest development ever recorded in Romania, the Citroën showroom is surrounded by several hypermarkets, a shopping mall, office buildings and residential compounds totalling over 1 million square metres of built surface on roughly 220 hectares of land.

The lighting design called for an original solution that would entice passers-by to enter and spend some time inside. Furthermore, it was intended to set an example that might serve as a future standard for Citroën dealerships nationwide.

Upon entering the showroom, the visitor first had to notice and discover the vehicles on display, which are lit by soft general lighting combined with accent lighting to create a sparkling effect.

1 On the left-hand side the innovative solution with Rotaris

48

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The reception desk was to be eye-catching so as to direct all visitors and facilitate the work of the sales staff.

For the general lighting of the showroom area it was decided to use suspended Rotaris luminaires, an original solution for this type of application.

The luminaires not only provide the soft indirect light desired but also enhance the attractiveness of the showroom. Additionally, to make the cars’ paint shine and sparkle, two rows of Musa projectors with MASTERColour CDM-T lamps were installed, one close to the window and the other following the contours of the first floor.

Lamps in colour 830 were used for all the luminaires in the showroom in order to enhance the appearance of the wooden panels.

3

An exception was made, though, for the roundshaped space in the middle, intended as a relaxation and waiting area, which was fitted with 12 recessed Scrabble luminaires, all equipped with MASTER SDW-T lamps giving off a warm light.

In the reception desk area, suspended Celino luminaires with combined direct and indirect light distribution were installed above the desk, while the wood-panelled back wall was fitted with three Celino wall-mounted luminaires.

The lighting solution chosen transforms a cold, technical environment, as car showrooms generally tend to be, into a pleasant and welcoming space designed to entice visitors inside.

1

Contracting authority: Automotive Trading Services SRL Romania Architect: Gheorghe Dima, Atelier 3, Bucharest, Romania Lighting design: Nicoleta Tutoveanu, Mircea Gusa, Philips Romania Electrical installer: Comnord Bucharest Philips support: Mircea Gusa, Luminaires Romania

Luminaires: Rotaris TPS740, Musa MRS610, Celino TPS682 and TWS680, FBH146 downlights Light sources: TL5 Circular 60 W/ 830, MASTERColour CDM-T 70 and 150 W/ 830, MASTER PL-C 26 W/ 830, MASTER SDW-T 50 W, MASTER TL5 28 W/ 830, Philips Photographer: Mircea Gusa Text: Mircea Gusa Web: www.citroen.com

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49

Citroën showroom

2 A view from the outside showing the attractive interior lighting

Bucharest, Romania

3 A warm atmosphere is created with Scrabble

The Citroën showroom in the recently developed Baneasa commercial area of Bucharest is the flagship location for the whole Citroën network in Romania. It had to distinguish itself from the rest of their showrooms as well as stand out among other buildings in the area. Accordingly, the lighting solution had to be functional but original at the same time.

2

Located in a commercial area that enjoyed the fastest development ever recorded in Romania, the Citroën showroom is surrounded by several hypermarkets, a shopping mall, office buildings and residential compounds totalling over 1 million square metres of built surface on roughly 220 hectares of land.

The lighting design called for an original solution that would entice passers-by to enter and spend some time inside. Furthermore, it was intended to set an example that might serve as a future standard for Citroën dealerships nationwide.

Upon entering the showroom, the visitor first had to notice and discover the vehicles on display, which are lit by soft general lighting combined with accent lighting to create a sparkling effect.

1 On the left-hand side the innovative solution with Rotaris

48

ilr 2007 / Retail

The reception desk was to be eye-catching so as to direct all visitors and facilitate the work of the sales staff.

For the general lighting of the showroom area it was decided to use suspended Rotaris luminaires, an original solution for this type of application.

The luminaires not only provide the soft indirect light desired but also enhance the attractiveness of the showroom. Additionally, to make the cars’ paint shine and sparkle, two rows of Musa projectors with MASTERColour CDM-T lamps were installed, one close to the window and the other following the contours of the first floor.

Lamps in colour 830 were used for all the luminaires in the showroom in order to enhance the appearance of the wooden panels.

3

An exception was made, though, for the roundshaped space in the middle, intended as a relaxation and waiting area, which was fitted with 12 recessed Scrabble luminaires, all equipped with MASTER SDW-T lamps giving off a warm light.

In the reception desk area, suspended Celino luminaires with combined direct and indirect light distribution were installed above the desk, while the wood-panelled back wall was fitted with three Celino wall-mounted luminaires.

The lighting solution chosen transforms a cold, technical environment, as car showrooms generally tend to be, into a pleasant and welcoming space designed to entice visitors inside.

1

Contracting authority: Automotive Trading Services SRL Romania Architect: Gheorghe Dima, Atelier 3, Bucharest, Romania Lighting design: Nicoleta Tutoveanu, Mircea Gusa, Philips Romania Electrical installer: Comnord Bucharest Philips support: Mircea Gusa, Luminaires Romania

Luminaires: Rotaris TPS740, Musa MRS610, Celino TPS682 and TWS680, FBH146 downlights Light sources: TL5 Circular 60 W/ 830, MASTERColour CDM-T 70 and 150 W/ 830, MASTER PL-C 26 W/ 830, MASTER SDW-T 50 W, MASTER TL5 28 W/ 830, Philips Photographer: Mircea Gusa Text: Mircea Gusa Web: www.citroen.com

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Il Gigante Quattro Venti gallery Curtatone, Italy The Il Gigante retail chain has opened one of its most modern shopping centres in the small town of Curtatone, near Mantua in the Lombardy region, commissioning a contemporary building featuring a 14-metre-high gallery as well as appropriate lighting.

1 The entrance to the gallery lit with blue LEDlines and Decoflood 2 The long pedestrian avenue with the unique ceiling solution

Having chosen Curtatone as a location for its new shopping centre, Il Gigante opted for a contemporary architectural concept that is highly innovative, both as regards the design and the use of sophisticated, high-quality materials.

The centre comprises a very large gallery featuring a 250-metre-long pedestrian avenue, from which various different-sized lanes branch off. The largest of these lanes leads to other areas containing shops, restaurants, bars and recreational facilities.

Architecturally speaking, the most interesting part of the centre is the 14-metre-high main gallery featuring a dome with a number of overlapping canopies that create a unique optical pattern.

The gallery constituted the main challenge for the lighting project.While there were no particular problems as regards the central backbone, with its linear shape and fairly conventional dimensions (4 to 5 metres high), the gallery required a lighting system that was not monotonous and would therefore break up the large vertical and horizontal distances. The lighting installation met the architectural requirements of the structure by highlighting details and shapes whilst illuminating the entire length and height of the gallery

in a uniform and diffuse way, all of this with the lighting fixtures concealed.Thanks to the various vertical drops, it was possible to interrupt the architectural rhythm and mount all the systems (electrical, heating, audio, etc.) internally, so as to be unobtrusive and not detract from the structure as a whole.

For the general lighting of the gallery, Decoflood luminaires were pointed towards the canopies to create glare-free indirect illumination. Xtreme fluorescent tubes with a lifetime of approximately 40,000 hours were used under the canopies in order to reduce maintenance costs. Outdoors, the points where the gallery meets the side of the building were highlighted by blue LEDline floodlights, marking the entrance in an original way.

Concealed, non-invasive quality lighting thus enhances the contemporary architecture chosen

by Il Gigante for the Quattro Venti gallery in Curtatone.

2

Owner: Il Gigante Architects: Stefano Galasso and Claudio Roncalli, Studio Roncalli, Milan, Italy Lighting design: Lorella Primavera, Philips LiDAC Monza, Italy Philips support: Emanuele Carone, Philips Monza

1

Luminaires: LEDline BCS713, BCS716, Decoflood MVF616, Philips Light sources: TL-D Xtreme 58 W/ 830, Philips Photographer: Marco Maggioni Text: Lorella Primavera Web: www.curtatone.it

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Il Gigante Quattro Venti gallery Curtatone, Italy The Il Gigante retail chain has opened one of its most modern shopping centres in the small town of Curtatone, near Mantua in the Lombardy region, commissioning a contemporary building featuring a 14-metre-high gallery as well as appropriate lighting.

1 The entrance to the gallery lit with blue LEDlines and Decoflood 2 The long pedestrian avenue with the unique ceiling solution

Having chosen Curtatone as a location for its new shopping centre, Il Gigante opted for a contemporary architectural concept that is highly innovative, both as regards the design and the use of sophisticated, high-quality materials.

The centre comprises a very large gallery featuring a 250-metre-long pedestrian avenue, from which various different-sized lanes branch off. The largest of these lanes leads to other areas containing shops, restaurants, bars and recreational facilities.

Architecturally speaking, the most interesting part of the centre is the 14-metre-high main gallery featuring a dome with a number of overlapping canopies that create a unique optical pattern.

The gallery constituted the main challenge for the lighting project. While there were no particular problems as regards the central backbone, with its linear shape and fairly conventional dimensions (4 to 5 metres high), the gallery required a lighting system that was not monotonous and would therefore break up the large vertical and horizontal distances. The lighting installation met the architectural requirements of the structure by highlighting details and shapes whilst illuminating the entire length and height of the gallery

in a uniform and diffuse way, all of this with the lighting fixtures concealed. Thanks to the various vertical drops, it was possible to interrupt the architectural rhythm and mount all the systems (electrical, heating, audio, etc.) internally, so as to be unobtrusive and not detract from the structure as a whole.

For the general lighting of the gallery, Decoflood luminaires were pointed towards the canopies to create glare-free indirect illumination. Xtreme fluorescent tubes with a lifetime of approximately 40,000 hours were used under the canopies in order to reduce maintenance costs. Outdoors, the points where the gallery meets the side of the building were highlighted by blue LEDline floodlights, marking the entrance in an original way.

Concealed, non-invasive quality lighting thus enhances the contemporary architecture chosen

by Il Gigante for the Quattro Venti gallery in Curtatone.

2

Owner: Il Gigante Architects: Stefano Galasso and Claudio Roncalli, Studio Roncalli, Milan, Italy Lighting design: Lorella Primavera, Philips LiDAC Monza, Italy Philips support: Emanuele Carone, Philips Monza

1

Luminaires: LEDline BCS713, BCS716, Decoflood MVF616, Philips Light sources: TL-D Xtreme 58 W/ 830, Philips Photographer: Marco Maggioni Text: Lorella Primavera Web: www.curtatone.it

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Don Gil Vienna, Austria The flagship store of the Don Gil fashion chain in Vienna’s Kärntner Straße was recently redesigned and refurbished. The lighting design utilises an innovative new luminaire range to stage and accentuate the items on sale.

2

3

For more than 30 years Don Gil has set the standard for high-end male fashion in Austria.

Twenty stores throughout the country offer business and casual wear for men, with labels ranging from Armani through to Z Zegna. Don Gil’s philosophy is that shopping is not simply the act of buying, it is an event, an experience. As a creator of atmosphere, lighting is a key enabler in this regard.

The lighting solution chosen utilised a single product, UnicOne, which is characterised by pure geometrical shapes and sophisticated detailing.With its choice of mounting options, UnicOne could be easily installed in the preset slots. Designed around the most efficient and compact HID and halogen lamps, UnicOne delivers both energy savings and outstanding lighting performance.

For the redesign of the flagship store in Kärntner Straße, the management of Don Gil opted not only for a modern interior design, but also for completely new lighting.

On September 6, celebrities, fashionistas and VIPs celebrated the re-opening of the store with a huge party – a night to remember for the Viennese fashion and lighting worlds.

4

1 An overview of the store showing the modern lighting design 2 The entrance to the store with the attractive back wall 1

3 The back wall invites shoppers to enter the store 4 Shelves and displays attractively lit with CDM lamps

52

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Owner: Don Gil Architect: Atelier Kaltenbacher Lighting design: Helmut Wiltschko, Luce 1 Electrical installer: Konrad K.E.M. Montagen Philips support: Eduard Mischak Luminaires: UnicOne, Philips

Light sources: CDM-TC 35-70 W, CDM-Tm 20 W, Philips Photographer: Michael Sazel Text: Ingun Metelko Web: www.dongil.at

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Don Gil Vienna, Austria The flagship store of the Don Gil fashion chain in Vienna’s Kärntner Straße was recently redesigned and refurbished. The lighting design utilises an innovative new luminaire range to stage and accentuate the items on sale.

2

3

For more than 30 years Don Gil has set the standard for high-end male fashion in Austria.

Twenty stores throughout the country offer business and casual wear for men, with labels ranging from Armani through to Z Zegna. Don Gil’s philosophy is that shopping is not simply the act of buying, it is an event, an experience. As a creator of atmosphere, lighting is a key enabler in this regard.

The lighting solution chosen utilised a single product, UnicOne, which is characterised by pure geometrical shapes and sophisticated detailing. With its choice of mounting options, UnicOne could be easily installed in the preset slots. Designed around the most efficient and compact HID and halogen lamps, UnicOne delivers both energy savings and outstanding lighting performance.

For the redesign of the flagship store in Kärntner Straße, the management of Don Gil opted not only for a modern interior design, but also for completely new lighting.

On September 6, celebrities, fashionistas and VIPs celebrated the re-opening of the store with a huge party – a night to remember for the Viennese fashion and lighting worlds.

4

1 An overview of the store showing the modern lighting design 2 The entrance to the store with the attractive back wall 1

3 The back wall invites shoppers to enter the store 4 Shelves and displays attractively lit with CDM lamps

52

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Owner: Don Gil Architect: Atelier Kaltenbacher Lighting design: Helmut Wiltschko, Luce 1 Electrical installer: Konrad K.E.M. Montagen Philips support: Eduard Mischak Luminaires: UnicOne, Philips

Light sources: CDM-TC 35-70 W, CDM-Tm 20 W, Philips Photographer: Michael Sazel Text: Ingun Metelko Web: www.dongil.at

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Tegut supermarket Groß-Zimmern, Germany The tegut supermarket chain has 300 shops in Germany, with a turnover in excess of € 1 billion. At the end of April 2007 tegut opened a pilot store featuring Philips’ Dynamic Lighting, adding a new dimension to its philosophy of providing ‘food for life’

1 2

Good food is the basis for quality of life and well-being. The tegut chain firmly believes that buying good-quality food should also be a pleasure. In its spacious supermarkets, daylight and integrated overhead lighting combine to create the atmosphere of a cocoon, providing a general feeling of well-being.

A new store in Groß-Zimmern was selected as a pilot project for the integration of Philips’ Dynamic Lighting. Dynamic Lighting – with its changes in the brightness and tones of white light – is modelled on daylight, producing a natural lighting atmosphere that can be tailored to the daily rhythm of human activity. Customers enjoy shopping in daylight conditions, and staff too benefit from the increased sense of well-being engendered

by Dynamic Lighting.

A total of 145 Maxos light-line trunking units were used for the pilot installation. Although each section

1 The entrance, with

of trunking is equipped with two fluorescent lamps – MASTER TL-5 HO, 49 and 80 W – the Maxos system maintains its filigree airiness.

Two different lamp light colours (865 and 827) are used to reproduce the nuances of daylight. Specially developed, doubleasymmetrical reflectors direct the light towards the items at the front of the shelves. The supermarket manager can select the desired rhythm of light with an infrared remote control. Four dynamic scenarios have been custom-made for tegut: activate, natural, wave and oscillating.

3

4

Between the main part of the supermarket and the check-out area the lighting changes to ‘carpets’ of light in a two-dimensional arrangement (Savio luminaires suspended in blocks of four).

This envelops the check-out area in a peaceful atmosphere.

The Groß-Zimmern pilot has successfully demonstrated how a modular lighting system with colour temperature variation can combine effective presentation of quality foodstuffs with increased well-being for customers and staff.

Fiorenza projectors with White SON lamps illuminate the fruit, vegetables and fresh meat.

Further individual points of interest have been accentuated at strategic points, e.g. in the pharmaceutical, cosmetics and wine departments.

In the shelf area, Fiorenza projectors – this time with CDM-TC lamps – focus the customers’ attention via a variety of beam angles.

Owner: Tegut Fulda Good Food, Rainer Fischer

Bernd Weiß, Philips Germany

and Otto Hagemann

Luminaires: Maxos colour variation, Fiorenza,

Architects: Ingenieur-und Planungsbüro Finzel,

Fugato, Savio, Philips

Savio Dynamic Lighting

Claus Finzel and Michaela Lang, Würzburg, Germany

Light sources: TL-5 49 W (827 and 865),

luminaires

Lighting design: Helga Tritt, Key Account

TL-5 24 W, CDM-T, SDW-T, Philips

Manager Shop. Alicja Dziedzic-Böttger, Philips

Lighting controls:

LiDAC Germany

Dynamic Ambience system, Philips

Electrical installer:

Photographer: Korff & Van Mierlo

Euler Elektroinstallation GmbH Dieburg

Text: Helga Tritt, Alicja Dziedzic-Böttger

Philips support: Olaf Kühne, Sascha Müller,

Web: www.jpb-finzel.de; www.tegut.com

2 The fresh meat area

3 Maxos solution

is enhanced by crisp white light from Fugato luminaires

4 Fiorenza spots show off the fruit and vegetables

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Tegut supermarket Groß-Zimmern, Germany The tegut supermarket chain has 300 shops in Germany, with a turnover in excess of € 1 billion. At the end of April 2007 tegut opened a pilot store featuring Philips’ Dynamic Lighting, adding a new dimension to its philosophy of providing ‘food for life’

1 2

Good food is the basis for quality of life and well-being. The tegut chain firmly believes that buying good-quality food should also be a pleasure. In its spacious supermarkets, daylight and integrated overhead lighting combine to create the atmosphere of a cocoon, providing a general feeling of well-being.

A new store in Groß-Zimmern was selected as a pilot project for the integration of Philips’ Dynamic Lighting. Dynamic Lighting – with its changes in the brightness and tones of white light – is modelled on daylight, producing a natural lighting atmosphere that can be tailored to the daily rhythm of human activity. Customers enjoy shopping in daylight conditions, and staff too benefit from the increased sense of well-being engendered

by Dynamic Lighting.

A total of 145 Maxos light-line trunking units were used for the pilot installation. Although each section

1 The entrance, with

of trunking is equipped with two fluorescent lamps – MASTER TL-5 HO, 49 and 80 W – the Maxos system maintains its filigree airiness.

Two different lamp light colours (865 and 827) are used to reproduce the nuances of daylight. Specially developed, doubleasymmetrical reflectors direct the light towards the items at the front of the shelves. The supermarket manager can select the desired rhythm of light with an infrared remote control. Four dynamic scenarios have been custom-made for tegut: activate, natural, wave and oscillating.

3

4

Between the main part of the supermarket and the check-out area the lighting changes to ‘carpets’ of light in a two-dimensional arrangement (Savio luminaires suspended in blocks of four).

This envelops the check-out area in a peaceful atmosphere.

The Groß-Zimmern pilot has successfully demonstrated how a modular lighting system with colour temperature variation can combine effective presentation of quality foodstuffs with increased well-being for customers and staff.

Fiorenza projectors with White SON lamps illuminate the fruit, vegetables and fresh meat.

Further individual points of interest have been accentuated at strategic points, e.g. in the pharmaceutical, cosmetics and wine departments.

In the shelf area, Fiorenza projectors – this time with CDM-TC lamps – focus the customers’ attention via a variety of beam angles.

Owner: Tegut Fulda Good Food, Rainer Fischer

Bernd Weiß, Philips Germany

and Otto Hagemann

Luminaires: Maxos colour variation, Fiorenza,

Architects: Ingenieur-und Planungsbüro Finzel,

Fugato, Savio, Philips

Savio Dynamic Lighting

Claus Finzel and Michaela Lang, Würzburg, Germany

Light sources: TL-5 49 W (827 and 865),

luminaires

Lighting design: Helga Tritt, Key Account

TL-5 24 W, CDM-T, SDW-T, Philips

Manager Shop. Alicja Dziedzic-Böttger, Philips

Lighting controls:

LiDAC Germany

Dynamic Ambience system, Philips

Electrical installer:

Photographer: Korff & Van Mierlo

Euler Elektroinstallation GmbH Dieburg

Text: Helga Tritt, Alicja Dziedzic-Böttger

Philips support: Olaf Kühne, Sascha Müller,

Web: www.jpb-finzel.de; www.tegut.com

2 The fresh meat area

3 Maxos solution

is enhanced by crisp white light from Fugato luminaires

4 Fiorenza spots show off the fruit and vegetables

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Vodafone store Utrecht, Netherlands Vodafone Group Plc is the world’s leading mobile telecommunications company. As part of a new branding campaign, Vodafone has completely restyled its stores, with a lighting scheme designed to enhance the branding and to entice customers to enter the shop and to guide them once inside.

The mobile phone business is growing and competition is fierce. In the battle for sales, mobile phone suppliers have to work really hard to get the customer on their side. In order to strengthen its position in the highly competitive marketplace, Vodafone decided to launch a new branding campaign and sought to create a new shop concept – projecting an image of a retailer of new and ‘hot’ products – with a fresh and stylish interior design and lighting that would help customers

experience the world of Vodafone. The main store concept was developed by the Fitch retail design company in London, cooperating with Philips for the lighting design. Retail design firm Benschop will arrange the roll-out for the shops in the Netherlands in conjunction with Philips.

The shop windows are designed to show the latest mobile phones to the best possible effect. During the daytime, narrow-beam Fugato Mini downlights with MASTERColour lamps draw maximum attention to the products.At night, the shop windows are illuminated with Spot LED projectors.

The Dutch pilot was a 70 m2 Vodafone outlet

The store lighting is designed to attract customers and to make them feel part of Vodafone’s ‘red hot’ world. Lighting (Fugato Micro) integrated into a red

in a shopping centre in Utrecht, with no fewer than four competitor shops in the immediate vicinity.

1 The red ribbon guides visitors through the store 2 The lounge, with a different atmosphere from the rest of the store – a moment to relax 2

1

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57

Vodafone store Utrecht, Netherlands Vodafone Group Plc is the world’s leading mobile telecommunications company. As part of a new branding campaign, Vodafone has completely restyled its stores, with a lighting scheme designed to enhance the branding and to entice customers to enter the shop and to guide them once inside.

The mobile phone business is growing and competition is fierce. In the battle for sales, mobile phone suppliers have to work really hard to get

experience the world of Vodafone. The main store concept was developed by the Fitch retail design company in London, cooperating with Philips for

The shop windows are designed to show the latest mobile phones to the best possible effect. During the daytime, narrow-beam Fugato Mini downlights

the customer on their side. In order to strengthen its position in the highly competitive marketplace, Vodafone decided to launch a new branding campaign and sought to create a new shop concept – projecting an image of a retailer of new and ‘hot’ products – with a fresh and stylish interior design and lighting that would help customers

the lighting design. Retail design firm Benschop will arrange the roll-out for the shops in the Netherlands in conjunction with Philips.

with MASTERColour lamps draw maximum attention to the products. At night, the shop windows are illuminated with Spot LED projectors.

The Dutch pilot was a 70 m2 Vodafone outlet in a shopping centre in Utrecht, with no fewer than four competitor shops in the immediate vicinity.

The store lighting is designed to attract customers and to make them feel part of Vodafone’s ‘red hot’ world. Lighting (Fugato Micro) integrated into a red

1 The red ribbon guides visitors through the store 2 The lounge, with a different atmosphere from the rest of the store – a moment to relax 2

1

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57

3

ribbon guides them to the latest mobile phones in the centre of the shop. High contrast and high lighting levels really make the products stand out.

The lighting of the wall displays is integrated into the cabinets. This has many advantages. As well as providing flexibility in the store design, energy consumption can be reduced enormously, contrast and illumination levels on the merchandise are high, and there is no glare on the ceiling. To enhance the 3-dimensional design of the shop and to create an open ambience, Pentura battens have been integrated in a cove and skirting above and below the display cabinets.

4

A small ‘business lounge’ has been created in the back of the shop where customers can go for further information or to discuss certain issues.

A cosy lighting ambience has been created here.

The business lounge features a display case with special lighting effects produced by the integration of LED spots. In combination with a mirror, this creates a sparkling effect.

To strike the right balance between architectural and accent lighting, some additional general lighting has been installed (Fugato Mini). This makes all parts of the shop visible. Good vertical illuminance is

5

also important. For this reason, the large walls with graphics are illuminated by TBS315 luminaires with an asymmetrical light distribution. Narrow-beam Fugato Mini downlights provide accent lighting on the store’s posters.

In summary, the concept is based on creating high lighting levels and contrasts in a very efficient way by using very-low-wattage luminaires and placing them close to the products. This helps create a dedicated Vodafone lighting ambience and ensures that the latest products really do catch the customer’s eye.

3 Mobile phones illuminated by Fugato luminaires 4 Innovative Spot LEDs in the business lounge 5 The lighting design with its high contrasts, high lighting levels and integrated lighting solutions

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Owner/Contracting authority: Vodafone/Stephen Poulin Architects: Alasdair Lennox, Fitch, London; Erik Heeg, Benschop, Zoetermeer, Netherlands Lighting concept: Ton Akkermans, Philips Lighting, LiDAC International Electrical installer: Kersten gebouwen techniek, Elst, Smit & van der Linden,Visser Philips support: Mirjam van der Kaay, Joan McGrath,Ton Akkermans

Luminaires: Fugato MBS244, MBS250, MBS254, Spot LED BBG410, Flexible Tube LED BCG200, Pentura TMS122, TBS315, Philips Light sources: MASTERColour CDM-Tm 20 W and CDM-TC 35 W, LUXEON® K2 cool white, TL5 14/28/35 W, Philips Photographer: Vodafone Text: Ton Akkermans Web: www.vodafone.com; www.fitch.com; www.benschop.nl

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3

ribbon guides them to the latest mobile phones in the centre of the shop. High contrast and high lighting levels really make the products stand out.

The lighting of the wall displays is integrated into the cabinets. This has many advantages. As well as providing flexibility in the store design, energy consumption can be reduced enormously, contrast and illumination levels on the merchandise are high, and there is no glare on the ceiling. To enhance the 3-dimensional design of the shop and to create an open ambience, Pentura battens have been integrated in a cove and skirting above and below the display cabinets.

4

A small ‘business lounge’ has been created in the back of the shop where customers can go for further information or to discuss certain issues.

A cosy lighting ambience has been created here.

The business lounge features a display case with special lighting effects produced by the integration of LED spots. In combination with a mirror, this creates a sparkling effect.

To strike the right balance between architectural and accent lighting, some additional general lighting has been installed (Fugato Mini). This makes all parts of the shop visible. Good vertical illuminance is

5

also important. For this reason, the large walls with graphics are illuminated by TBS315 luminaires with an asymmetrical light distribution. Narrow-beam Fugato Mini downlights provide accent lighting on the store’s posters.

In summary, the concept is based on creating high lighting levels and contrasts in a very efficient way by using very-low-wattage luminaires and placing them close to the products. This helps create a dedicated Vodafone lighting ambience and ensures that the latest products really do catch the customer’s eye.

3 Mobile phones illuminated by Fugato luminaires 4 Innovative Spot LEDs in the business lounge 5 The lighting design with its high contrasts, high lighting levels and integrated lighting solutions

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Owner/Contracting authority: Vodafone/Stephen Poulin Architects: Alasdair Lennox, Fitch, London; Erik Heeg, Benschop, Zoetermeer, Netherlands Lighting concept: Ton Akkermans, Philips Lighting, LiDAC International Electrical installer: Kersten gebouwen techniek, Elst, Smit & van der Linden,Visser Philips support: Mirjam van der Kaay, Joan McGrath, Ton Akkermans

Luminaires: Fugato MBS244, MBS250, MBS254, Spot LED BBG410, Flexible Tube LED BCG200, Pentura TMS122, TBS315, Philips Light sources: MASTERColour CDM-Tm 20 W and CDM-TC 35 W, LUXEON® K2 cool white, TL5 14/28/35 W, Philips Photographer: Vodafone Text: Ton Akkermans Web: www.vodafone.com; www.fitch.com; www.benschop.nl

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Auberge de l’Ill Illhaeusern, France Located between Strasbourg and Colmar, l’Auberge de l’Ill has been offering gourmet dining since 1879. This year the restaurant has been beautifully refurbished by Patrick Jouin.

Along with the subtle interior design, LED lighting – featuring daylight colours – plays an important role in creating an ambience to accompany the haute cuisine.

Located close to the Ill river that flows across Alsace in the far east of France, l’Auberge de l’Ill is owned by the Haeberlin family. The current generation is the fifth to cook in the restaurant’s kitchens and serve in its four dining rooms.The brothers Paul and Jean-Pierre Haeberlin raised the standard of the restaurant in the fifties and in 1967 gained three Michelin stars, which have been retained to this day, a feat matched only

by Paul Bocuse.

Both the restaurant and the food served have a profound connection with the region, something that is reflected in Patrick Jouin’s design. The river Ill, the Vosges mountains with their vineyards, and a strong family spirit have a major influence on chef Marc Haeberlin’s recipes.

When the refurbishment began, the architect first wrapped the front of the restaurant in horizontal wood blades.Above and behind this double skin, amber, white and blue LEDs create a backlighting effect which emphasises the architecture. Like the local traditional tobacco drying sheds, this highlights the entrance, where cove-mounted linear LEDline2 AWB luminaires illuminate the entrance lobby.

The room between the reception desk and the dining rooms is a warm, deep red lounge featuring sofas, armchairs and ottomans designed by Patrick Jouin for Cassina. Here, clients can enjoy a drink before or after lunch. This room is decorated with pictures collected by the family and with photos showing the evolution of the restaurant and the Haeberlin family over the years.

Above, the recessed window, LED downlights with RGB color mixing reveal the rich colors of the various drinks.

The veranda and main dining rooms are lit by hand-blown glass reeds, which ‘grow’ on polishedstainless-steel ‘pools of water’ – it is as if the river had flowed right into the restaurant. The famous Murano Due glass from Venice conducts the cool-white light from the bottom to the top like a fibre-optic system. LED module 3 W 36° fixtures are fully embedded in the floor. Each one can be dimmed independently (DMX control protocol).

In the cove above the glass reeds, recessed dichroic halogen lamps – giving off a warm-white light – are installed in zigzag format.

2

6

1 The beautiful Italian crystals create a sparkling effect 2 The entrance and lobby

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1

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Auberge de l’Ill Illhaeusern, France Located between Strasbourg and Colmar, l’Auberge de l’Ill has been offering gourmet dining since 1879. This year the restaurant has been beautifully refurbished by Patrick Jouin.

Along with the subtle interior design, LED lighting – featuring daylight colours – plays an important role in creating an ambience to accompany the haute cuisine.

Located close to the Ill river that flows across Alsace in the far east of France, l’Auberge de l’Ill is owned by the Haeberlin family. The current generation is the fifth to cook in the restaurant’s kitchens and serve in its four dining rooms. The brothers Paul and Jean-Pierre Haeberlin raised the standard of the restaurant in the fifties and in 1967 gained three Michelin stars, which have been retained to this day, a feat matched only

by Paul Bocuse.

Both the restaurant and the food served have a profound connection with the region, something that is reflected in Patrick Jouin’s design. The river Ill, the Vosges mountains with their vineyards, and a strong family spirit have a major influence on chef Marc Haeberlin’s recipes.

When the refurbishment began, the architect first wrapped the front of the restaurant in horizontal wood blades. Above and behind this double skin, amber, white and blue LEDs create a backlighting effect which emphasises the architecture. Like the local traditional tobacco drying sheds, this highlights the entrance, where cove-mounted linear LEDline2 AWB luminaires illuminate the entrance lobby.

The room between the reception desk and the dining rooms is a warm, deep red lounge featuring sofas, armchairs and ottomans designed by Patrick Jouin for Cassina. Here, clients can enjoy a drink before or after lunch. This room is decorated with pictures collected by the family and with photos showing the evolution of the restaurant and the Haeberlin family over the years.

Above, the recessed window, LED downlights with RGB color mixing reveal the rich colors of the various drinks.

The veranda and main dining rooms are lit by hand-blown glass reeds, which ‘grow’ on polishedstainless-steel ‘pools of water’ – it is as if the river had flowed right into the restaurant. The famous Murano Due glass from Venice conducts the cool-white light from the bottom to the top like a fibre-optic system. LED module 3 W 36° fixtures are fully embedded in the floor. Each one can be dimmed independently (DMX control protocol).

In the cove above the glass reeds, recessed dichroic halogen lamps – giving off a warm-white light – are installed in zigzag format.

2

6

1 The beautiful Italian crystals create a sparkling effect 2 The entrance and lobby

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3 3 The attractively designed exterior of the restaurant 4 The famous Murano Due glass conducts the LED white light 5 A warm welcome in the last area of the restaurant 6 Layout of the restaurant with its different areas

3 4

The deeper you go into the restaurant, the more rustic the rooms become. In the next rooms the floor changes and (untreated) wood becomes more prominent. The walls and underside of the roof are fully wood-cladded, with light holes fitted with LEDline2 AWB. A sliding fence of nut and chestnut branches allows ‘le pigeonnier’ to be separated

from ’la pièce alsacienne’, thus giving intimacy to, or opening up, these two rooms.

Lighting is also an important part of the restaurant’s transformation, with the intensity and colour of the light changing in accordance with the sequence of the meal and the time. Emblematic of life and living, daylight colors are used extensively.

5

When clients arrive in the restaurant, amber tones are used on the outside. These colors from dusk suggest ‘appetite’. Inside the restaurant, warm tones – from a combination of fluorescent cove and dichroic accent lighting – welcome the guests.

Every quarter of an hour during dinner, a gradual variation in light intensity takes place inside the Murano columns over a three-minute period. The trees in the garden, floodlit with LEDflood RGB and

Decoflood 619, change color, to blue and mauve tints, creating a magical landscape and expressing the emotion and pleasure associated with good food.

At the end of dinner, AWB luminaires turn from amber to a calming, theatre-like cool blue light in one hour. This synthesis – mixing colors in a subtle way – makes it possible to create all lavender tone variations.

The full installation is managed in DMX by Martin Lightjockey software via PC and features a straightforward touchscreen user interface. Each room can be switched on and off independently without changing the programmed sequence. The new lighting certainly offers the Haeberlin family greater flexibility in the use of their restaurant.

And who knows, perhaps it adds a final special ingredient to a wonderful dining experience for the guests.

Owner: Haeberlin family Architectural designers: Patrick Jouin, Laurent Janvier, Agence Patrick Jouin, Paris, France Architects of record: Silvio Rauseo, Guebwiller, France Lighting design: Richard Brousse Electrical installer: Electricité Charles Husser Philips support: Francis Heitz, Philippe Regnier, Nathalie Bozzi, Denis Carcagne, Luminaires France Custom Floor Lamps: Les Héritiers, Lyon Luminaires: LEDline2 AWB and RGB, LEDflood RGB, LED module white,

TMX204 HFR-TD, Scrabble, Decoflood MVF619 with Solgel filters, Philips Light sources: LUXEON® LED 1 W amber, white, blue, red, green; LUXEON® LED 3 W white; T5 14, 28 and 35 W / 827, CDM-T 70 W / 830, Philips Lighting controls: Lightjockey, touchscreen, Martin Photographer: Eric Laignel, Philippe Regnier Text: Vincent Laganier Web: www.auberge-de-l-ill.com; www.patrickjouin.com

Plan scale 1/200 Agence Patrick Jouin 1 entrance lobby 2 greeting 3 lounge 4 kitchen 5 main dining room 6 veranda dining room 7 kitchens 8 pigeonnier dining room 9 pigeonnier lounge 10 fire place 11 garden/terrace/river 6

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3 3 The attractively designed exterior of the restaurant 4 The famous Murano Due glass conducts the LED white light 5 A warm welcome in the last area of the restaurant 6 Layout of the restaurant with its different areas

3 4

The deeper you go into the restaurant, the more rustic the rooms become. In the next rooms the floor changes and (untreated) wood becomes more prominent. The walls and underside of the roof are fully wood-cladded, with light holes fitted with LEDline2 AWB. A sliding fence of nut and chestnut branches allows ‘le pigeonnier’ to be separated

from ’la pièce alsacienne’, thus giving intimacy to, or opening up, these two rooms.

Lighting is also an important part of the restaurant’s transformation, with the intensity and colour of the light changing in accordance with the sequence of the meal and the time. Emblematic of life and living, daylight colors are used extensively.

5

When clients arrive in the restaurant, amber tones are used on the outside. These colors from dusk suggest ‘appetite’. Inside the restaurant, warm tones – from a combination of fluorescent cove and dichroic accent lighting – welcome the guests.

Every quarter of an hour during dinner, a gradual variation in light intensity takes place inside the Murano columns over a three-minute period. The trees in the garden, floodlit with LEDflood RGB and

Decoflood 619, change color, to blue and mauve tints, creating a magical landscape and expressing the emotion and pleasure associated with good food.

At the end of dinner, AWB luminaires turn from amber to a calming, theatre-like cool blue light in one hour. This synthesis – mixing colors in a subtle way – makes it possible to create all lavender tone variations.

The full installation is managed in DMX by Martin Lightjockey software via PC and features a straightforward touchscreen user interface. Each room can be switched on and off independently without changing the programmed sequence. The new lighting certainly offers the Haeberlin family greater flexibility in the use of their restaurant.

And who knows, perhaps it adds a final special ingredient to a wonderful dining experience for the guests.

Owner: Haeberlin family Architectural designers: Patrick Jouin, Laurent Janvier, Agence Patrick Jouin, Paris, France Architects of record: Silvio Rauseo, Guebwiller, France Lighting design: Richard Brousse Electrical installer: Electricité Charles Husser Philips support: Francis Heitz, Philippe Regnier, Nathalie Bozzi, Denis Carcagne, Luminaires France Custom Floor Lamps: Les Héritiers, Lyon Luminaires: LEDline2 AWB and RGB, LEDflood RGB, LED module white,

TMX204 HFR-TD, Scrabble, Decoflood MVF619 with Solgel filters, Philips Light sources: LUXEON® LED 1 W amber, white, blue, red, green; LUXEON® LED 3 W white; T5 14, 28 and 35 W / 827, CDM-T 70 W / 830, Philips Lighting controls: Lightjockey, touchscreen, Martin Photographer: Eric Laignel, Philippe Regnier Text: Vincent Laganier Web: www.auberge-de-l-ill.com; www.patrickjouin.com

Plan scale 1/200 Agence Patrick Jouin 1 entrance lobby 2 greeting 3 lounge 4 kitchen 5 main dining room 6 veranda dining room 7 kitchens 8 pigeonnier dining room 9 pigeonnier lounge 10 fire place 11 garden/terrace/river 6

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Sports Stade Yves du Manoir Sportpark Wörtherseestadion Porsche Arena Multan Cricket Stadium Izmir Sirinyer Hippodrome Snow Funpark Wittenburg

Sports lighting is first and foremost functional. Its purpose is to provide good visibility for players and spectators and sufficient good-quality light for image acquisition for broadcasters and photographers. However, the indoor and outdoor spaces and structures created by the architect to enhance the night-time identity of the venue also demand the very best in lighting design.

Photo: Alexis Lautier

Sports Stade Yves du Manoir Sportpark Wörtherseestadion Porsche Arena Multan Cricket Stadium Izmir Sirinyer Hippodrome Snow Funpark Wittenburg

Sports lighting is first and foremost functional. Its purpose is to provide good visibility for players and spectators and sufficient good-quality light for image acquisition for broadcasters and photographers. However, the indoor and outdoor spaces and structures created by the architect to enhance the night-time identity of the venue also demand the very best in lighting design.

Photo: Alexis Lautier

Stade Yves du Manoir Montpellier, France Stade Yves du Manoir is the first rugby complex built in France since the dawn of the professional era. State-of-the-art floodlighting provides ideal visual conditions for players

c

b

and spectators alike.

The Yves du Manoir rugby complex is located in Ovalie, a district of Montpellier that is in full development. It is the first rugby ground built in France since the game turned professional. Its unique architecture is inspired by the English model, placing the spectators as close as possible to the action on the pitch, fuelling the outpouring of emotion during the match.

The main stadium, with a capacity of over 12,700, is part of a complex which also includes a stadium for regional competition and two training areas for rugby schools. The new complex will help make Montpellier a rugby stronghold and will boost the development of this great sport.

The lighting is provided by 100 ArenaVision floodlights, each equipped with a 2,000 W metalhalide lamp (5,600 K; Ra 90). Following the curves of the architecture, the luminaires are secured to the roof of the stands, which varies in height from 21-26 metres, in the form of waves.Vertical illuminance is 1,200 lux in the direction of the main camera and 1,000 lux on the opposite side.

Horizontal illuminance is 1,100 lux. Scaling the lighting back to 50 floodlights provides 550 lux for training or lower-level competitions.

the other two 250 lux (training and local competitions). A total of 72 OptiVision luminaires, each incorporating a 2,000 W metal-halide lamp (4,200 K; Ra 80), have been installed on these three

a

c

sites.

2 1 Luminaires mounted on the stand roof 2 Stade Yves du Manoir (a)

The OptiVision luminaire was the obvious choice to light the other three pitches, one of which requires 400 lux (for regional competitions) and

3 The main stadium entrance 4 The stadium, with its

is the main element of a

unique architecture

complex including

placing the spectators as

a stadium for regional

close as possible to the

competitions (b) and

action on the pitch

two training fields (c)

1

Author: Philippe Cervantes and Philippe Bonon, Cabinet A+ architecte

3

Contracting authority: Montpellier Municipal Authority Architect: A+ Architecture, Montpellier, France Consultancy high & low currents: Jean-Claude Chauvin Deputy building owner: SERM Electrical installer: Pascal Giordano, Multitec Lighting design: Richard Blaise, Philips LiDAC France Philips support: Jean-François Beynel, Philips France Luminaires: ArenaVision MVF403, OptiVision MVP507, Philips Lamps: MHN-SA 2,000 W/ 956, MHN-LA 2,000 W/ 842, Philips Photographs: Pierre Crouzet, Alexis Lautier Text: Richard Blaise

4

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Stade Yves du Manoir Montpellier, France Stade Yves du Manoir is the first rugby complex built in France since the dawn of the professional era. State-of-the-art floodlighting provides ideal visual conditions for players

c

b

and spectators alike.

The Yves du Manoir rugby complex is located in Ovalie, a district of Montpellier that is in full development. It is the first rugby ground built in France since the game turned professional. Its unique architecture is inspired by the English model, placing the spectators as close as possible to the action on the pitch, fuelling the outpouring of emotion during the match.

The main stadium, with a capacity of over 12,700, is part of a complex which also includes a stadium for regional competition and two training areas for rugby schools. The new complex will help make Montpellier a rugby stronghold and will boost the development of this great sport.

The lighting is provided by 100 ArenaVision floodlights, each equipped with a 2,000 W metalhalide lamp (5,600 K; Ra 90). Following the curves of the architecture, the luminaires are secured to the roof of the stands, which varies in height from 21-26 metres, in the form of waves.Vertical illuminance is 1,200 lux in the direction of the main camera and 1,000 lux on the opposite side.

Horizontal illuminance is 1,100 lux. Scaling the lighting back to 50 floodlights provides 550 lux for training or lower-level competitions.

a

c

the other two 250 lux (training and local competitions). A total of 72 OptiVision luminaires, each incorporating a 2,000 W metal-halide lamp (4,200 K; Ra 80), have been installed on these three sites.

2 1 Luminaires mounted on the stand roof 2 Stade Yves du Manoir (a)

The OptiVision luminaire was the obvious choice to light the other three pitches, one of which requires 400 lux (for regional competitions) and

3 The main stadium entrance 4 The stadium, with its

is the main element of a

unique architecture

complex including

placing the spectators as

a stadium for regional

close as possible to the

competitions (b) and

action on the pitch

two training fields (c)

1

Author: Philippe Cervantes and Philippe Bonon, Cabinet A+ architecte

3

Contracting authority: Montpellier Municipal Authority Architect: A+ Architecture, Montpellier, France Consultancy high & low currents: Jean-Claude Chauvin Deputy building owner: SERM Electrical installer: Pascal Giordano, Multitec Lighting design: Richard Blaise, Philips LiDAC France Philips support: Jean-François Beynel, Philips France Luminaires: ArenaVision MVF403, OptiVision MVP507, Philips Lamps: MHN-SA 2,000 W/ 956, MHN-LA 2,000 W/ 842, Philips Photographs: Pierre Crouzet, Alexis Lautier Text: Richard Blaise

4

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Sportpark Wörtherseestadion Klagenfurt, Austria Klagenfurt is the southernmost of the four Austrian venues for next year’s UEFA European football championship, Euro 2008. The Wörtherseestadion, which is harmoniously integrated into the landscape close to Lake Wörthersee, is easily accessible from the centre of Klagenfurt.

3

The UEFA European football championship will be held in 2008 in Austria and Switzerland. Klagenfurt has been chosen as one of the Austrian venues, together with Salzburg, Innsbruck and Vienna.

The stadium site in Klagenfurt can be divided into several sections. The central component is the oval-shaped stadium with the integrated west building, which will seat about 32,000 spectators during Euro 2008.All the seats are covered by a transparent roof. The seating area is divided into an upper and a lower tier separated by the access level. The integrated west building contains the players’ changing rooms, offices, restaurants, media facilities and a VIP area.

A football academy and an indoor sports hall are built onto the stadium. The stadium capacity will be reduced to about 12,000 seats after Euro 2008 by lowering the roof, so that the stadium will retain its characteristic shape and function.

4

A notable feature of the stadium lighting is that it is integrated into the roof structure and so does not require any masts. In this way the lighting does not detract from the sweeping lines of the roof and does not impinge on the surrounding landscape.

For the stadium and stand lighting the lighting design team opted for ArenaVision, a proven, integrated system that ensures perfect lighting conditions for players and spectators.

The stadium has been equipped with 170 ArenaVision floodlights with special metal-halide lamps which, in combination with the extremely precise optics, create up to 15% more light on the playing surface. The faceted oval mirror optical system contributes, together with the short arc, to excellent optical efficiency.

The stadium lighting has to provide optimum visibility both for players and TV viewers.

5

For television transmissions the floodlights have to be positioned so that there is accurate light distribution over the playing surface and minimum spill light. Under UEFA guidelines for a European championship stadium that means a uniform illuminance of 1,400 lux vertically and horizontally.

The Wörtherseestadion will be a worthy venue for three matches in the European football championship, but will also serve as a dynamic stadium as part of a larger sports and recreational area long after Euro 2008.

1 The luminaires are integrated in the roof optimal visibility for both players and spectators as

ilr 2007 / Sports

4 Stadium inauguration, Austria-Japan

well as TV viewers 5 The Wörtherseestadion 2 A total of 170 luminaires,

68

shaped stadium

structure, providing

1

2

3 Aerial view of the oval-

Contracting authority: Landeshauptstadt Klagenfurt, Porr AG/Alpine-Mayreder Bau Architect: Architekturbüro Wimmer, Wimmer Albert ZT – GmbH,Vienna, Austria Lighting design: is Industrial Services GmbH, Salzburg, Austria Electrical installer: Gottwald GmbH & Co KG

will be one of the venues

precisely distributed, have

for the UEFA European

been installed to achieve

football championship

the lighting specifications

Euro 2008, organized

defined in the UEFA

jointly by Switzerland and

guidelines

Austria

Philips support: Thomas Fotakakis, Philips GmbH, Germany Luminaires: ArenaVision MVF403, Philips Light sources: MHN-SA 2,000 W, Philips Photographer: GEPA pictures GmbH Text: Ingun Metelko Web: www.woertherseestadion.at

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Sportpark Wörtherseestadion Klagenfurt, Austria Klagenfurt is the southernmost of the four Austrian venues for next year’s UEFA European football championship, Euro 2008. The Wörtherseestadion, which is harmoniously integrated into the landscape close to Lake Wörthersee, is easily accessible from the centre of Klagenfurt.

3

The UEFA European football championship will be held in 2008 in Austria and Switzerland. Klagenfurt has been chosen as one of the Austrian venues, together with Salzburg, Innsbruck and Vienna.

The stadium site in Klagenfurt can be divided into several sections. The central component is the oval-shaped stadium with the integrated west building, which will seat about 32,000 spectators during Euro 2008. All the seats are covered by a transparent roof. The seating area is divided into an upper and a lower tier separated by the access level. The integrated west building contains the players’ changing rooms, offices, restaurants, media facilities and a VIP area.

A football academy and an indoor sports hall are built onto the stadium. The stadium capacity will be reduced to about 12,000 seats after Euro 2008 by lowering the roof, so that the stadium will retain its characteristic shape and function.

4

A notable feature of the stadium lighting is that it is integrated into the roof structure and so does not require any masts. In this way the lighting does not detract from the sweeping lines of the roof and does not impinge on the surrounding landscape.

For the stadium and stand lighting the lighting design team opted for ArenaVision, a proven, integrated system that ensures perfect lighting conditions for players and spectators.

The stadium has been equipped with 170 ArenaVision floodlights with special metal-halide lamps which, in combination with the extremely precise optics, create up to 15% more light on the playing surface. The faceted oval mirror optical system contributes, together with the short arc, to excellent optical efficiency.

The stadium lighting has to provide optimum visibility both for players and TV viewers.

5

For television transmissions the floodlights have to be positioned so that there is accurate light distribution over the playing surface and minimum spill light. Under UEFA guidelines for a European championship stadium that means a uniform illuminance of 1,400 lux vertically and horizontally.

The Wörtherseestadion will be a worthy venue for three matches in the European football championship, but will also serve as a dynamic stadium as part of a larger sports and recreational area long after Euro 2008.

1 The luminaires are integrated in the roof optimal visibility for both players and spectators as

ilr 2007 / Sports

4 Stadium inauguration, Austria-Japan

well as TV viewers 5 The Wörtherseestadion 2 A total of 170 luminaires,

68

shaped stadium

structure, providing

1

2

3 Aerial view of the oval-

Contracting authority: Landeshauptstadt Klagenfurt, Porr AG/Alpine-Mayreder Bau Architect: Architekturbüro Wimmer, Wimmer Albert ZT – GmbH,Vienna, Austria Lighting design: is Industrial Services GmbH, Salzburg, Austria Electrical installer: Gottwald GmbH & Co KG

will be one of the venues

precisely distributed, have

for the UEFA European

been installed to achieve

football championship

the lighting specifications

Euro 2008, organized

defined in the UEFA

jointly by Switzerland and

guidelines

Austria

Philips support: Thomas Fotakakis, Philips GmbH, Germany Luminaires: ArenaVision MVF403, Philips Light sources: MHN-SA 2,000 W, Philips Photographer: GEPA pictures GmbH Text: Ingun Metelko Web: www.woertherseestadion.at

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Porsche Arena

used in a flexible manner. DMX control technology allows the luminaires to be controlled separately, which makes it possible to access pre-set lighting scenarios in a vast range of different combinations.

Stuttgart, Germany

The outdoor lighting adds the finishing touch.

Custom luminaires with TL5 lamps have been integrated into the banisters, an elegant solution that illuminates the steps in a uniform manner.

The general lighting in the arena is largely provided by over 1,000 Astrolux suspended luminaires.

Brightness levels range from 200 lux in the changing rooms, which are fitted with custom-made, dampproof, recessed luminaires, to 300 lux in the foyer and 500 lux in the events halls with dimmable suspended downlights.

The Porsche-Arena opened in May 2006. It forms part of the NeckarPark, which hosts a wide variety of sporting and cultural events. As a multi-purpose sports hall that is also used for concerts, conferences and product presentations, the Porsche-Arena had to incorporate a very diverse range of lighting scenarios, combining daylight with artificial light.

1

1

2

3

The Porsche-Arena is eminently suited to fastaction sports like tennis, ice hockey and handball.

It boasts a seating capacity of 7,500 and a playing surface that covers almost 2,000 square metres and can rapidly be adapted for a wide range of uses. The steep stands give spectators the feeling that they are experiencing matches and concerts at close quarters, thus creating a really exciting atmosphere.

The lighting for the sports hall had to meet the fundamentally different requirements of the various uses of the Porsche-Arena. These requirements

were particularly stringent for the floodlighting, which has to ensure razor-sharp images when sporting events are being broadcast. Television transmission of fast-action sports relies very much on high-quality lighting to reproduce the dynamics of the game effectively. New standards like high-definition television (HDTV) and the use of modern camera technology, which enables images in super-slow motion, make extremely strict demands on the uniformity of light. In addition, the lighting must be capable of creating an appropriate atmosphere for concerts and other events.

For the lighting in the interior of the sports hall 34 tonnes of floodlights were installed on an aluminium rig, including some 300 ArenaVision floodlights, as well as OptiVision floodlights and 3SC270 halogen floodlights. To enhance the atmosphere in the sports hall and the televised images, luminaires which enable the light colour to be regulated continuously between 2,700 and 6,500 K were installed above the stands. In addition, dimmable 3SC270 halogen floodlights that are particularly suitable for generating the lighting for concerts and other events enable the light to be

1 The Porsche Arena hosted a number of matches at the World Men’s Handball Championship in January 2007 2 Entrance to the Porsche Arena 3 Custom luminaire with TL5 lamp integrated in the banister

70

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Contracting authority: Objektgesellschaft Schleyer-Halle und Neue Arena GmbH & Co. KG Architect: asp - Arat, Siegel und Partner, Stuttgart, Germany Lighting design: Ebert-Ingenieure, Leipzig, Germany Electrical installer: Sinus, Chemnitz u.a.

Philips support: Thomas Fotakakis,Andreas Kauf (Sales), Rene van Ratingen (LiDAC), Germany Luminaires: ArenaVision, Optivision,

Optiflood, 3SC270, Isolux,Astrolux, Savio, banister luminaires, custom luminaires, Mini 300, Philips Light sources: MHN-LA 1,000 W, HPI-T 400 W, Halogen, TL-D, PL-L, CDM-T, Philips Lighting controls: DMX 512 control, EIB interface Photographer: in.Stuttgart Veranstaltungsgesellschaft mbH & Co. KG Text: Guido Diesing Web: www.porsche-arena.de

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71

Porsche Arena

used in a flexible manner. DMX control technology allows the luminaires to be controlled separately, which makes it possible to access pre-set lighting scenarios in a vast range of different combinations.

Stuttgart, Germany

The outdoor lighting adds the finishing touch.

Custom luminaires with TL5 lamps have been integrated into the banisters, an elegant solution that illuminates the steps in a uniform manner.

The general lighting in the arena is largely provided by over 1,000 Astrolux suspended luminaires.

Brightness levels range from 200 lux in the changing rooms, which are fitted with custom-made, dampproof, recessed luminaires, to 300 lux in the foyer and 500 lux in the events halls with dimmable suspended downlights.

The Porsche-Arena opened in May 2006. It forms part of the NeckarPark, which hosts a wide variety of sporting and cultural events. As a multi-purpose sports hall that is also used for concerts, conferences and product presentations, the Porsche-Arena had to incorporate a very diverse range of lighting scenarios, combining daylight with artificial light.

1

1

2

3

The Porsche-Arena is eminently suited to fastaction sports like tennis, ice hockey and handball.

It boasts a seating capacity of 7,500 and a playing surface that covers almost 2,000 square metres and can rapidly be adapted for a wide range of uses. The steep stands give spectators the feeling that they are experiencing matches and concerts at close quarters, thus creating a really exciting atmosphere.

The lighting for the sports hall had to meet the fundamentally different requirements of the various uses of the Porsche-Arena. These requirements

were particularly stringent for the floodlighting, which has to ensure razor-sharp images when sporting events are being broadcast. Television transmission of fast-action sports relies very much on high-quality lighting to reproduce the dynamics of the game effectively. New standards like high-definition television (HDTV) and the use of modern camera technology, which enables images in super-slow motion, make extremely strict demands on the uniformity of light. In addition, the lighting must be capable of creating an appropriate atmosphere for concerts and other events.

For the lighting in the interior of the sports hall 34 tonnes of floodlights were installed on an aluminium rig, including some 300 ArenaVision floodlights, as well as OptiVision floodlights and 3SC270 halogen floodlights. To enhance the atmosphere in the sports hall and the televised images, luminaires which enable the light colour to be regulated continuously between 2,700 and 6,500 K were installed above the stands. In addition, dimmable 3SC270 halogen floodlights that are particularly suitable for generating the lighting for concerts and other events enable the light to be

1 The Porsche Arena hosted a number of matches at the World Men’s Handball Championship in January 2007 2 Entrance to the Porsche Arena 3 Custom luminaire with TL5 lamp integrated in the banister

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Contracting authority: Objektgesellschaft Schleyer-Halle und Neue Arena GmbH & Co. KG Architect: asp - Arat, Siegel und Partner, Stuttgart, Germany Lighting design: Ebert-Ingenieure, Leipzig, Germany Electrical installer: Sinus, Chemnitz u.a.

Philips support: Thomas Fotakakis, Andreas Kauf (Sales), Rene van Ratingen (LiDAC), Germany Luminaires: ArenaVision, Optivision,

Optiflood, 3SC270, Isolux, Astrolux, Savio, banister luminaires, custom luminaires, Mini 300, Philips Light sources: MHN-LA 1,000 W, HPI-T 400 W, Halogen, TL-D, PL-L, CDM-T, Philips Lighting controls: DMX 512 control, EIB interface Photographer: in.Stuttgart Veranstaltungsgesellschaft mbH & Co. KG Text: Guido Diesing Web: www.porsche-arena.de

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Multan Cricket Stadium Multan, Pakistan Opened in 2001, Multan Cricket Stadium is widely regarded as the most beautiful stadium in the country. In preparation for the Cricket World Cup in 2011, the Pakistan Cricket Board decided to install state-of-the-art floodlighting at the stadium.

Multan Cricket Stadium has a lush green outfield and playing area with a total surface area of 27,000 m2 and capacity for over 30,000 spectators.

The stadium was relocated from the old Qasim Bagh Stadium to its new location in 2001, and hosted its first match between Pakistan and Bangladesh for the Asian Test Championship. The stadium hosts both forms of international cricket: test cricket and one-day internationals.

of night-time matches being played in the country.

The aim was to enable spectators to enjoy the cricket spectacle at night as well.

The inaugural match under floodlights at this stadium was played between Pakistan and India in February 2006. With the 2011 Cricket World Cup scheduled to be played in the Indo-Pak subcontinent, the Pakistan Cricket Board had decided to install floodlighting at the stadium ahead of this major event. Floodlighting was also necessary due to the increasing number

The luminaire selected for the floodlighting was the state-of-the-art ArenaVision, with 2000 W metal-halide lamps. Thanks to its unique oval optics and built-in reflector, this luminaire guarantees the highest light output and lighting efficiency, while minimizing spill light and glare.

A total of 576 luminaires – mounted on six 54-metre-high masts – were required to meet the

The lighting design took account of the international standards for television broadcasting and was implemented in three steps: for practice/training, national competition and international competition.

international broadcasting standards.

Twenty-four are hot-restrike versions, which can be instantly switched on, using a power generator, in an emergency. Twenty-four 1,000 W halogen-lamp luminaires were installed for emergency lighting.

An overall horizontal illuminance of 1,900 lux and vertical illuminance of 1,600 lux was achieved for international colour television broadcasting.

Last but not least, infrared aiming devices ensure that precision lighting creates an optimum visual environment in Multan Cricket Stadium.

2

1

1 Drawing showing the position of the luminaires on the head frame; each

3

mast accommodates 96 ArenaVision floodlights 2 General view of the stadium 3 Drawing of the stadium, showing the luminaire aiming

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Contracting authority: Pakistan Cricket Board (PCB) Lighting design: LiDAC Pakistan, LiDAC India Electrical installer: Light-O-Power Philips support: Abdul-Fattah and Sabir Ahmed,

Light Projects, Pakistan Luminaires: ArenaVision MVF403, Philips Light sources: MHN-SA 2,000 W, Philips Photographer: Philips Text: Irfan Mahmood Abbasi

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Multan Cricket Stadium Multan, Pakistan Opened in 2001, Multan Cricket Stadium is widely regarded as the most beautiful stadium in the country. In preparation for the Cricket World Cup in 2011, the Pakistan Cricket Board decided to install state-of-the-art floodlighting at the stadium.

Multan Cricket Stadium has a lush green outfield and playing area with a total surface area of 27,000 m2 and capacity for over 30,000 spectators.

The stadium was relocated from the old Qasim Bagh Stadium to its new location in 2001, and hosted its first match between Pakistan and Bangladesh for the Asian Test Championship. The stadium hosts both forms of international cricket: test cricket and one-day internationals.

of night-time matches being played in the country.

The aim was to enable spectators to enjoy the cricket spectacle at night as well.

The inaugural match under floodlights at this stadium was played between Pakistan and India in February 2006. With the 2011 Cricket World Cup scheduled to be played in the Indo-Pak subcontinent, the Pakistan Cricket Board had decided to install floodlighting at the stadium ahead of this major event. Floodlighting was also necessary due to the increasing number

The luminaire selected for the floodlighting was the state-of-the-art ArenaVision, with 2000 W metal-halide lamps. Thanks to its unique oval optics and built-in reflector, this luminaire guarantees the highest light output and lighting efficiency, while minimizing spill light and glare.

A total of 576 luminaires – mounted on six 54-metre-high masts – were required to meet the

The lighting design took account of the international standards for television broadcasting and was implemented in three steps: for practice/training, national competition and international competition.

international broadcasting standards.

Twenty-four are hot-restrike versions, which can be instantly switched on, using a power generator, in an emergency. Twenty-four 1,000 W halogen-lamp luminaires were installed for emergency lighting.

An overall horizontal illuminance of 1,900 lux and vertical illuminance of 1,600 lux was achieved for international colour television broadcasting.

Last but not least, infrared aiming devices ensure that precision lighting creates an optimum visual environment in Multan Cricket Stadium.

2

1

1 Drawing showing the position of the luminaires on the head frame; each

3

mast accommodates 96 ArenaVision floodlights 2 General view of the stadium 3 Drawing of the stadium, showing the luminaire aiming

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Contracting authority: Pakistan Cricket Board (PCB) Lighting design: LiDAC Pakistan, LiDAC India Electrical installer: Light-O-Power Philips support: Abdul-Fattah and Sabir Ahmed,

Light Projects, Pakistan Luminaires: ArenaVision MVF403, Philips Light sources: MHN-SA 2,000 W, Philips Photographer: Philips Text: Irfan Mahmood Abbasi

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Izmir Sirinyer Hippodrome Izmir, Turkey 1 A total of 1,384

The Jockey Club of Turkey operates 5 racecourses, including the Izmir Sirinyer

luminaires positioned on

Hippodrome, where a new state-of-the-art lighting installation has been commissioned to

21 masts –25, 30 and 40 metres high – and on the

allow night-time racing for the very first time.

grandstand building are used to illuminate the 1

The Izmir Sirinyer Hippodrome is a venue of historic significance, as Turkey’s first official horse race was held there on 23 September 1956.

Located at the centre of a populous area, it covers an area of 323,674 square metres. The new lighting installation, which includes the 1,756-metre sand track, the 1,572-metre grass track, the paddock and the approach to the paddock, will allow thoroughbred racing at night for the first time.

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The lighting installation had to satisfy the requirements of the riders and horses, spectators and officials, as well as the track announcer and TV broadcasters. Control of light spill onto neighbouring properties was also essential.

A total of 1,539 ArenaVision floodlights have been installed in the Hippodrome. 1,384 floodlights are positioned on 21 masts – 25, 30 and 40 metres

1

track

high – and on the grandstand building in front of the main track. Masts are positioned along the outside of the home straight, while on the back straight they are placed inside the track.

155 floodlights were used for the paddock and the approach to the paddock, mounted on 16 metre-high masts.

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Izmir Sirinyer Hippodrome Izmir, Turkey 1 A total of 1,384

The Jockey Club of Turkey operates 5 racecourses, including the Izmir Sirinyer

luminaires positioned on

Hippodrome, where a new state-of-the-art lighting installation has been commissioned to

21 masts –25, 30 and 40 metres high – and on the

allow night-time racing for the very first time.

grandstand building are used to illuminate the 1

The Izmir Sirinyer Hippodrome is a venue of historic significance, as Turkey’s first official horse race was held there on 23 September 1956.

Located at the centre of a populous area, it covers an area of 323,674 square metres. The new lighting installation, which includes the 1,756-metre sand track, the 1,572-metre grass track, the paddock and the approach to the paddock, will allow thoroughbred racing at night for the first time.

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The lighting installation had to satisfy the requirements of the riders and horses, spectators and officials, as well as the track announcer and TV broadcasters. Control of light spill onto neighbouring properties was also essential.

A total of 1,539 ArenaVision floodlights have been installed in the Hippodrome. 1,384 floodlights are positioned on 21 masts – 25, 30 and 40 metres

1

track

high – and on the grandstand building in front of the main track. Masts are positioned along the outside of the home straight, while on the back straight they are placed inside the track.

155 floodlights were used for the paddock and the approach to the paddock, mounted on 16 metre-high masts.

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2 View of the home straight from the stand roof 3 General overview of the lighting plan

2

The Hippodrome’s lighting installation has three switching modes – for training, competition and broadcasting. It provides horizontal illuminance of 1,500-3,000 lux and vertical illuminance of 1,000-1,400 lux towards the main TV broadcast camera. The four secondary cameras required 700-1,000 lux. The vertical and the horizontal illuminance toward the photo-finish camera is 4,000 and 5,000 lux respectively.

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The uniformity of the TV mode U1 (Emin/Eave) is ≥ 0.7, for both vertical and horizontal illuminance.

The horizontal uniformity of the training and competition modes is U1 ≥ 0.6 and U1 ≥ 0.7 respectively.

Four cameras cover the paddock and the paddock way. Here, the horizontal illuminance is 1,500 lux and the vertical illuminance 1,000 lux.

The new lighting installation lights up Izmir Hippodrome at night, creating the best possible visual conditions for all participants without disturbing those living in neighbouring properties with obtrusive light.

3

Contracting authority: Jockey Club of Turkey Lighting design: Matthew Cobham, Mathieu Sergent, Philips LiDAC International, Miribel, France Electrical installer: Anel Group Philips support: Sevim Kösem (LiDAC), Oğuzhan Battal (Sales), Istanbul, Turkey

Luminaires: ArenaVision MVF403, Philips Light sources: MHN-SA 2,000 W/400 V/ 956, MHN-LA 1,000 W/230 V/ 956, Philips Photographer: Kaan Verdioğlu Text: Sevim Kösem Web: www.tjk.org.tr

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2 View of the home straight from the stand roof 3 General overview of the lighting plan

2

The Hippodrome’s lighting installation has three switching modes – for training, competition and broadcasting. It provides horizontal illuminance of 1,500-3,000 lux and vertical illuminance of 1,000-1,400 lux towards the main TV broadcast camera. The four secondary cameras required 700-1,000 lux. The vertical and the horizontal illuminance toward the photo-finish camera is 4,000 and 5,000 lux respectively.

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The uniformity of the TV mode U1 (Emin/Eave) is ≥ 0.7, for both vertical and horizontal illuminance.

The horizontal uniformity of the training and competition modes is U1 ≥ 0.6 and U1 ≥ 0.7 respectively.

Four cameras cover the paddock and the paddock way. Here, the horizontal illuminance is 1,500 lux and the vertical illuminance 1,000 lux.

The new lighting installation lights up Izmir Hippodrome at night, creating the best possible visual conditions for all participants without disturbing those living in neighbouring properties with obtrusive light.

3

Contracting authority: Jockey Club of Turkey Lighting design: Matthew Cobham, Mathieu Sergent, Philips LiDAC International, Miribel, France Electrical installer: Anel Group Philips support: Sevim Kösem (LiDAC), Oğuzhan Battal (Sales), Istanbul, Turkey

Luminaires: ArenaVision MVF403, Philips Light sources: MHN-SA 2,000 W/400 V/ 956, MHN-LA 1,000 W/230 V/ 956, Philips Photographer: Kaan Verdioğlu Text: Sevim Kösem Web: www.tjk.org.tr

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Snow Funpark Wittenburg Wittenburg, Germany 2

Since December 2006, Europe’s largest indoor ski centre has been enabling people to ski in the flat countryside of northern Germany without having to make a long journey to the mountains. The lighting for this indoor ski centre was particularly difficult to install and had to meet stringent energy consumption requirements.

Snow Funpark Wittenburg, the largest winter sports centre in Europe, is situated in a small town strategically located between Hamburg, Berlin and Schwerin and with outstanding motorway connections. It offers winter sports enthusiasts 30,000 square metres of indoor snow slopes.

There are two pistes with gradients of 10 to 31%, a nursery slope, and a slope for snowboarders, as well as the world’s first indoor half-pipe that meets international competition standards. The main piste is an impressive 330 metres long and 80 metres wide.

Because the centre is open 365 days a year but has to make do without any daylight, the floodlighting for the piste has a crucial role to play. To ensure maximum enjoyment and safety for visitors, it is

essential to have good visibility at all points on the piste.

2

However, whereas sports halls and stadiums are generally on ground level, the area to be lit here varied in height by 57 metres and the geometry of the terrain was unusual. In order to install the floodlights under the roof, specialist climbers had to be called in from Austria to work using ropes and harnesses.

Energy efficiency was another important consideration in the lighting design. It was essential to keep energy consumption to an absolute minimum because any excess heat generated would have an adverse effect on the centre’s extensive cooling system.

3

The ArenaVision floodlight with high-performance optic and 1,000 W lamp was chosen to illuminate the centre. Thanks to ArenaVision’s excellent performance in terms of horizontal and vertical illuminance, some 150 luminaires provide uniform light in all areas.The ArenaVision floodlights have been supplemented with Megalux luminaires for emergency lighting. Other requirements included the installation of lighting for a go-cart track and the parking area. Here, 86 special masts 10 metres high were fitted with Stradasole 530 streetlighting luminaires.These masts were equipped with additional apertures to allow the installation

of video surveillance systems and additional floodlights.

Contracting authority: Snow Funpark Wittenburg GmbH & Co. Betriebs KG Architect: Massumi, Lüneburg, Germany Lighting design: IGN – Ingenieur Gruppe Nord, Hamburg, Germany Electrical installer: HA-GE-HA, Hamburg Philips support: Reinhold Gerhard, Germany; Rene van Ratingen, LiDAC

Luminaires: ArenaVision MVF401, Megalux, Stradasole 530, Philips Light sources: Master MHN-LA 1,000 W, QL 165 W, CDM-T 150 W, Philips Photographer: Snow Funpark Wittenburg GmbH & Co. Betriebs KG Text: Guido Diesing Web: www.snowfunpark.com

Following an eight-month construction period, Snow Funpark Wittenburg got off to a successful start: a mere one month after it had opened, the operators celebrated their 100,000th visitor!

1

1 Snow Funpark is the largest indoor winter sports facility in Europe; it includes 2 skiing slopes …

2 …a nursery slope …

3 …a half-pipe meeting international competition standards, and a slope for snowboarders

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Snow Funpark Wittenburg Wittenburg, Germany 2

Since December 2006, Europe’s largest indoor ski centre has been enabling people to ski in the flat countryside of northern Germany without having to make a long journey to the mountains. The lighting for this indoor ski centre was particularly difficult to install and had to meet stringent energy consumption requirements.

Snow Funpark Wittenburg, the largest winter sports centre in Europe, is situated in a small town strategically located between Hamburg, Berlin and Schwerin and with outstanding motorway connections. It offers winter sports enthusiasts 30,000 square metres of indoor snow slopes.

There are two pistes with gradients of 10 to 31%, a nursery slope, and a slope for snowboarders, as well as the world’s first indoor half-pipe that meets international competition standards. The main piste is an impressive 330 metres long and 80 metres wide.

Because the centre is open 365 days a year but has to make do without any daylight, the floodlighting for the piste has a crucial role to play. To ensure maximum enjoyment and safety for visitors, it is

essential to have good visibility at all points on the piste.

2

However, whereas sports halls and stadiums are generally on ground level, the area to be lit here varied in height by 57 metres and the geometry of the terrain was unusual. In order to install the floodlights under the roof, specialist climbers had to be called in from Austria to work using ropes and harnesses.

Energy efficiency was another important consideration in the lighting design. It was essential to keep energy consumption to an absolute minimum because any excess heat generated would have an adverse effect on the centre’s extensive cooling system.

3

The ArenaVision floodlight with high-performance optic and 1,000 W lamp was chosen to illuminate the centre. Thanks to ArenaVision’s excellent performance in terms of horizontal and vertical illuminance, some 150 luminaires provide uniform light in all areas. The ArenaVision floodlights have been supplemented with Megalux luminaires for emergency lighting. Other requirements included the installation of lighting for a go-cart track and the parking area. Here, 86 special masts 10 metres high were fitted with Stradasole 530 streetlighting luminaires. These masts were equipped with additional apertures to allow the installation

of video surveillance systems and additional floodlights.

Contracting authority: Snow Funpark Wittenburg GmbH & Co. Betriebs KG Architect: Massumi, Lüneburg, Germany Lighting design: IGN – Ingenieur Gruppe Nord, Hamburg, Germany Electrical installer: HA-GE-HA, Hamburg Philips support: Reinhold Gerhard, Germany; Rene van Ratingen, LiDAC

Luminaires: ArenaVision MVF401, Megalux, Stradasole 530, Philips Light sources: Master MHN-LA 1,000 W, QL 165 W, CDM-T 150 W, Philips Photographer: Snow Funpark Wittenburg GmbH & Co. Betriebs KG Text: Guido Diesing Web: www.snowfunpark.com

Following an eight-month construction period, Snow Funpark Wittenburg got off to a successful start: a mere one month after it had opened, the operators celebrated their 100,000th visitor!

1

1 Snow Funpark is the largest indoor winter sports facility in Europe; it includes 2 skiing slopes …

2 …a nursery slope …

3 …a half-pipe meeting international competition standards, and a slope for snowboarders

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Urban Planning Howrah Bridge Spielberk Office Centre Plaza de Indautxu Breskens Promenade Lima Cathedral Loulé Castle Walls Tour des Archives Plaza Hotel London Eye

In urban areas, lighting adds new value to public places.

Why? Because it facilitates people’s night-time activities by providing visibility, safety and ambience. The following pages contain examples of projects carried out by lighting designers in a variety of social, economical and architectural contexts.

Photo: Vijoy Pandey

Urban Planning Howrah Bridge Spielberk Office Centre Plaza de Indautxu Breskens Promenade Lima Cathedral Loulé Castle Walls Tour des Archives Plaza Hotel London Eye

In urban areas, lighting adds new value to public places.

Why? Because it facilitates people’s night-time activities by providing visibility, safety and ambience. The following pages contain examples of projects carried out by lighting designers in a variety of social, economical and architectural contexts.

Photo: Vijoy Pandey

Howrah Bridge Kolkata, India Located in Kolkata, the largest city in Eastern India, Rabindra Setu (Howrah Bridge) serves as a link over the sacred Ganges river between the twin cities of Howrah and Kolkata.

The stunning new lighting concept is innovative in that the internal lattice steel structure is illuminated rather than the external surface.

Rabindra Setu, or Howrah Bridge as it is commonly called, was built in 1874. This suspension-type balanced steel structural cantilever bridge is considered an engineering marvel, as it was built without any nuts and bolts. It has four monolith pylons with anchor arms on either side.

The central span is 500 metres between the centres of the main towers.The total bridge span is 920 metres.The main towers are 85 metres high above the monoliths and 23 metres apart at the top. The bridge deck is 22 metres wide with two footpaths of 4.5 metres on either side. Its two sections are disconnected every day, especially at night, to let steamers, boats and even small ships pass through.

The bridge is an icon of the city of Kolkata and is a lifeline for its 14 million inhabitants.

Kolkata Port Trust, the owner of the bridge, appointed the renowned theatre lighting exponent Shri Tapas Sen as the aesthetic consultant for the project.Apart from the artistic concept which has now made the bridge an attractive spectacle at night, a number of constraints had to be addressed and the execution demanded a high degree of engineering expertise.

It was vitally important not to compromise the daytime view, so luminaires were carefully positioned in the inner structures of the bridge.

No riveting was allowed directly on the bridge for safety reasons.All luminaires had specially designed brackets with vibration dampers.This was important to prevent early lamp failures and reinforce luminaire safety. Finally, glare control was crucial for motorists and pedestrians.

1 Golden-yellow backlighting effect inside the structure 2 Luminaire layout above the road deck 1

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Howrah Bridge Kolkata, India Located in Kolkata, the largest city in Eastern India, Rabindra Setu (Howrah Bridge) serves as a link over the sacred Ganges river between the twin cities of Howrah and Kolkata.

The stunning new lighting concept is innovative in that the internal lattice steel structure is illuminated rather than the external surface.

Rabindra Setu, or Howrah Bridge as it is commonly called, was built in 1874. This suspension-type balanced steel structural cantilever bridge is considered an engineering marvel, as it was built without any nuts and bolts. It has four monolith pylons with anchor arms on either side.

The central span is 500 metres between the centres of the main towers. The total bridge span is 920 metres. The main towers are 85 metres high above the monoliths and 23 metres apart at the top. The bridge deck is 22 metres wide with two footpaths of 4.5 metres on either side. Its two sections are disconnected every day, especially at night, to let steamers, boats and even small ships pass through.

The bridge is an icon of the city of Kolkata and is a lifeline for its 14 million inhabitants.

Kolkata Port Trust, the owner of the bridge, appointed the renowned theatre lighting exponent Shri Tapas Sen as the aesthetic consultant for the project. Apart from the artistic concept which has now made the bridge an attractive spectacle at night, a number of constraints had to be addressed and the execution demanded a high degree of engineering expertise.

It was vitally important not to compromise the daytime view, so luminaires were carefully positioned in the inner structures of the bridge.

No riveting was allowed directly on the bridge for safety reasons. All luminaires had specially designed brackets with vibration dampers. This was important to prevent early lamp failures and reinforce luminaire safety. Finally, glare control was crucial for motorists and pedestrians.

1 Golden-yellow backlighting effect inside the structure 2 Luminaire layout above the road deck 1

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3 During the night: energysaving mode 4 Later part of the evening: festive/decorative lighting 5 Early part of the evening: yellow standard lighting 6 Extract from lighting layout plan: level above the bridge 3

deck around the pylons

4 Spot LED Nocturne 2xHPI-T Art Colour Magenta 400 W Nocturne 2xSON-T PIA 400 W Sonora CDM-T 70 W Arena Vision Cat 2, Cat 3, 5

There are three lighting modes, i.e. energy-saving mode, standard lighting mode and festive/decorative lighting mode. In energy-saving mode, only the bridge pylons, profile, underdeck and pedestrian pathway are lit, consuming about 112 kW. In standard lighting mode the internal structure is lit with a bright golden-yellow from high-pressure sodium-vapour lamps. The connected load is about 436 kW. In festive/decorative lighting mode, the bridge glows with a soft magenta colour consuming about 344 kW. All the options can be programmed according to the client’s wishes.

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The whole project evolved around ‘simplicity’.

The colours were selected as advised by the aesthetic consultant: yellow – symbolising boldness – for the early part of the evening, and magenta – symbolising softness – for the latter part of the evening.

Sadly, Shri Tapas Sen passed away in June 2006.

His son Shri Joy Sen was appointed by Kolkata Port Trust to complete his father’s unfinished work.

The new installation was inaugurated on 23 November 2006. A cultural extravaganza in

the form of a dance drama and a dazzling fireworks display from vessels in the river made the occasion a memorable one. Howrah Bridge now sparkles in the night and has joined the league of London’s Tower Bridge and San Francisco’s Golden Gate Bridge.

MHN-SA 1,800 W

Owner: Kolkata Port Trust, Chairman Dr A. Chandra Aesthetic consultant: Shri Tapas Sen (dec.), Shri Joy Sen Lighting design: Biswajyoti Joarder, B. Joarder & Associates; Sudeshna Mukhopadhyay, Saumen Bhaumik, Philips LiDAC India; Sukanto Kundu, Philips India Luminaire Innovation Electrical installer: Phinix Ltd Philips support: Sales: D. Das, Subrata Sen, K.M. Premsundar, A.M. Sinha,Asesh Dasgupta, Kalyan Raychaudhuri,

6

Philips Lighting Installation: Saumen Bhaumik and D.P. Damle, Philips Lighting Luminaires: ArenaVision, Cat A1,A3, Spot LED, Nocturne, Sonora, Philips Light sources: MHN-SA 1800 W, SON PIA 400 W, HPIT Art Colour Magenta, CDM-T 70W, Philips Photographer: Biswajyoti Joarder, B. Joarder & Associates Text: Sudeshna Mukhopadhyay Web: www.howrahbridgekolkata.nic.in

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3 During the night: energysaving mode 4 Later part of the evening: festive/decorative lighting 5 Early part of the evening: yellow standard lighting 6 Extract from lighting layout plan: level above the bridge 3

deck around the pylons

4 Spot LED Nocturne 2xHPI-T Art Colour Magenta 400 W Nocturne 2xSON-T PIA 400 W Sonora CDM-T 70 W Arena Vision Cat 2, Cat 3, 5

There are three lighting modes, i.e. energy-saving mode, standard lighting mode and festive/decorative lighting mode. In energy-saving mode, only the bridge pylons, profile, underdeck and pedestrian pathway are lit, consuming about 112 kW. In standard lighting mode the internal structure is lit with a bright golden-yellow from high-pressure sodium-vapour lamps. The connected load is about 436 kW. In festive/decorative lighting mode, the bridge glows with a soft magenta colour consuming about 344 kW. All the options can be programmed according to the client’s wishes.

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The whole project evolved around ‘simplicity’.

The colours were selected as advised by the aesthetic consultant: yellow – symbolising boldness – for the early part of the evening, and magenta – symbolising softness – for the latter part of the evening.

Sadly, Shri Tapas Sen passed away in June 2006.

His son Shri Joy Sen was appointed by Kolkata Port Trust to complete his father’s unfinished work.

The new installation was inaugurated on 23 November 2006. A cultural extravaganza in

the form of a dance drama and a dazzling fireworks display from vessels in the river made the occasion a memorable one. Howrah Bridge now sparkles in the night and has joined the league of London’s Tower Bridge and San Francisco’s Golden Gate Bridge.

MHN-SA 1,800 W

Owner: Kolkata Port Trust, Chairman Dr A. Chandra Aesthetic consultant: Shri Tapas Sen (dec.), Shri Joy Sen Lighting design: Biswajyoti Joarder, B. Joarder & Associates; Sudeshna Mukhopadhyay, Saumen Bhaumik, Philips LiDAC India; Sukanto Kundu, Philips India Luminaire Innovation Electrical installer: Phinix Ltd Philips support: Sales: D. Das, Subrata Sen, K.M. Premsundar, A.M. Sinha, Asesh Dasgupta, Kalyan Raychaudhuri,

6

Philips Lighting Installation: Saumen Bhaumik and D.P. Damle, Philips Lighting Luminaires: ArenaVision, Cat A1, A3, Spot LED, Nocturne, Sonora, Philips Light sources: MHN-SA 1800 W, SON PIA 400 W, HPIT Art Colour Magenta, CDM-T 70W, Philips Photographer: Biswajyoti Joarder, B. Joarder & Associates Text: Sudeshna Mukhopadhyay Web: www.howrahbridgekolkata.nic.in

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Spielberk Office Centre Brno, Czech Republic Spielberk Office Centre is a new development at walking distance from the city centre.

The outdoor lighting had to create an appealing night-time atmosphere, underlining the natural character of the landscape.

2

With 400,000 inhabitants, Brno is the secondlargest town in the Czech Republic. It is situated in a strategic position midway between Vienna, Budapest, Bratislava and Prague. With its universities and modern transport infrastructure, Brno is fast becoming a favoured location for high-tech, engineering and administrative activities of leading international companies.

Offering more than 55,000 m2 of office space, the Centre combines different types of buildings and landscape elements to create an engaging, peoplefriendly work environment. The area between the two sets of buildings is designed as a natural landscape with alternating shapes and spaces interacting with the water features. One of the key characteristics of this development is the use of high-quality natural materials, such as brick, wood and cobblestone, and natural elements, such as green lawns, water and hedges.

1 Multipole: intimacy and harmony 2 Plan with position of luminaires

1

The basic concept of the outdoor lighting was to give the area a character of intimacy and harmony similar to a natural environment, combining light and shadows, bright and dark spots. Another important objective was to enhance the colour and structure of the materials used.

The main luminaire used is the Philips Multipole, a stand-alone, discreet pole with all lighting devices included.This luminaire features ten MASTERColour warm-white reflector lamps with a 10°or 30° beam. Individual lamps create a pattern of bright and dark spots on pathways and accentuate different landscape elements such as trees, stone walls and benches. In addition, four amber 1 W LEDs at the top of each Multipole provide guidance.

Contracting authority: CTP Invest, spol. s r.o.

Architects: Václav Hlaváček, Studio Acht Architects, Prague, Czech Republic; Ben Hoek, Studio Acht Architects, Rotterdam, The Netherlands Landscape architect: Lodewijk Baljon, Amsterdam, The Netherlands Lighting design: Jakub Wittlich, Filip Tomek, LiDAC Prague, Czech Republic Electrical installer: Lumen a.s.

The wooden pier on the lakeside is lit by wallrecessed, glare-free Bega 2039 luminaires with compact fluorescent lamps.These luminaires create relaxing, low-intensity lighting in keeping with the recreational character of this area. Philips MiniDecoflood floodlights with MASTERColour reflector lamps are installed under the pier, creating accents on the stone embankments on the other side of the lake.

The next step in the development is the construction of a footbridge across the Svratka river, which will eventually connect this area with the city centre. The footbridge will be illuminated with state-of-the-art lighting technologies such as Philips CitySoul luminaires with Cosmopolis 140 W lamps and LEDline2 floodlights.

Philips support: Radek Matějíček, Lighting, Czech Republic Luminaires: Multipole, MiniDecoflood, Philips; 2039, 2192, 2197, Bega Light sources: CDM-R 35 W/830 PAR20, LUXEON® LED 1 W amber, PL-L 24 W/830, PL-S 11 W/830, Philips Photographer: Jakub Wittlich Text: Jakub Wittlich Web: www.spielberk.cz

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Spielberk Office Centre Brno, Czech Republic Spielberk Office Centre is a new development at walking distance from the city centre.

The outdoor lighting had to create an appealing night-time atmosphere, underlining the natural character of the landscape.

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With 400,000 inhabitants, Brno is the secondlargest town in the Czech Republic. It is situated in a strategic position midway between Vienna, Budapest, Bratislava and Prague. With its universities and modern transport infrastructure, Brno is fast becoming a favoured location for high-tech, engineering and administrative activities of leading international companies.

Offering more than 55,000 m2 of office space, the Centre combines different types of buildings and landscape elements to create an engaging, peoplefriendly work environment. The area between the two sets of buildings is designed as a natural landscape with alternating shapes and spaces interacting with the water features. One of the key characteristics of this development is the use of high-quality natural materials, such as brick, wood and cobblestone, and natural elements, such as green lawns, water and hedges.

1 Multipole: intimacy and harmony 2 Plan with position of luminaires

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The basic concept of the outdoor lighting was to give the area a character of intimacy and harmony similar to a natural environment, combining light and shadows, bright and dark spots. Another important objective was to enhance the colour and structure of the materials used.

The main luminaire used is the Philips Multipole, a stand-alone, discreet pole with all lighting devices included. This luminaire features ten MASTERColour warm-white reflector lamps with a 10°or 30° beam. Individual lamps create a pattern of bright and dark spots on pathways and accentuate different landscape elements such as trees, stone walls and benches. In addition, four amber 1 W LEDs at the top of each Multipole provide guidance.

Contracting authority: CTP Invest, spol. s r.o.

Architects: Václav Hlaváček, Studio Acht Architects, Prague, Czech Republic; Ben Hoek, Studio Acht Architects, Rotterdam, The Netherlands Landscape architect: Lodewijk Baljon, Amsterdam, The Netherlands Lighting design: Jakub Wittlich, Filip Tomek, LiDAC Prague, Czech Republic Electrical installer: Lumen a.s.

The wooden pier on the lakeside is lit by wallrecessed, glare-free Bega 2039 luminaires with compact fluorescent lamps. These luminaires create relaxing, low-intensity lighting in keeping with the recreational character of this area. Philips MiniDecoflood floodlights with MASTERColour reflector lamps are installed under the pier, creating accents on the stone embankments on the other side of the lake.

The next step in the development is the construction of a footbridge across the Svratka river, which will eventually connect this area with the city centre. The footbridge will be illuminated with state-of-the-art lighting technologies such as Philips CitySoul luminaires with Cosmopolis 140 W lamps and LEDline2 floodlights.

Philips support: Radek Matějíček, Lighting, Czech Republic Luminaires: Multipole, MiniDecoflood, Philips; 2039, 2192, 2197, Bega Light sources: CDM-R 35 W/830 PAR20, LUXEON® LED 1 W amber, PL-L 24 W/830, PL-S 11 W/830, Philips Photographer: Jakub Wittlich Text: Jakub Wittlich Web: www.spielberk.cz

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Plaza de Indautxu Bilbao, Spain Integrating and modernising Plaza de Indautxu, one of Bilbao’s best-known squares, was a tremendous challenge. A harmonious combination of paving, trees, greenery and lighting columns now blends in perfectly with the surrounding buildings, bringing the square to life.

1

Over the past decade Bilbao has projected an image of a city characterised by innovative urban architecture. For the citizens of Bilbao, one of the major achievements has been the development of the city’s squares, with special emphasis on

the lighting. The local authorities commissioned a number of renowned architects and town planners to design and carry out projects in some of the city’s most emblematic squares, including Plaza de Indautxu.

1 The square by day 2 Hand sketch by Ander Marquet Ryan

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Plaza de Indautxu Bilbao, Spain Integrating and modernising Plaza de Indautxu, one of Bilbao’s best-known squares, was a tremendous challenge. A harmonious combination of paving, trees, greenery and lighting columns now blends in perfectly with the surrounding buildings, bringing the square to life.

1

Over the past decade Bilbao has projected an image of a city characterised by innovative urban architecture. For the citizens of Bilbao, one of the major achievements has been the development of the city’s squares, with special emphasis on

the lighting. The local authorities commissioned a number of renowned architects and town planners to design and carry out projects in some of the city’s most emblematic squares, including Plaza de Indautxu.

1 The square by day 2 Hand sketch by Ander Marquet Ryan

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3 Night-time overview 4 Columns make the square appear circular 5 JAAM architecture partnership 3D simulations 6 Sculptural lighting creates a focal point on the square

3

This project was intended to tailor Plaza de Indautxu to its intended use. Several streets run into the square, and below it there is an underground car park, which plays a key role in easing traffic congestion in the city. The chosen solution consists of a number of sculptural lighting elements combining shafts sloping forwards or backwards depending on the type of column used, crowned with slender, graceful arches. These columns are 6, 8 and 10 metres high, aligned in concentric circles, their height increasing towards the centre of the square. Besides the radial arrangement, the geometric effect obtained by the arches and the angles of the columns ensures that the square appears circular from whatever vantage point.

At night, lighting effects are combined with more functional lighting based on the use of ceramic metal-halide lamps. LED-based lighting inside the

arches allows a very low installed load and a highly uniform lighting effect, without detracting from the column. The beams of light are cut off cleanly to avoid any light pollution. Sections along the length or outside of the square are lit by luminaires incorporating road-lighting optics, contrasting with other types of lighting. The centre of the square is lit with floodlight reflectors that deliver a higher light output and a brighter effect.Where necessary, a system has been incorporated to reduce the light output of some of the ceramic metal-halide lamps, a pioneering technique in this field.

The streets bordering the square have been pedestrianised in order to allow pavement cafés, exhibitions, street theatre, sports and craft markets. This reinforces the human face of the city, strengthening the bond with the people of Bilbao.

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Contracting authority: Bilbao City Council Architect: Ander Marquet Ryan, JAAM architecture partnership, Bilbao, Spain Electrical installer: Tecuni Philips support: Sales department, Iberica Post and luminaire: Indau 6000, 8000, 10000, symmetric and road-lighting reflectors, Philips

Light sources: MASTERColour CDO-TT/830 70 W and CDM-T 150 W, LUXEON® LED, 3 W, cool white, Philips Photographer: Fernando Gómez Larrea Text: Fernando Vila Web: www.jaam.es; www.bilbao.net

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3 Night-time overview 4 Columns make the square appear circular 5 JAAM architecture partnership 3D simulations 6 Sculptural lighting creates a focal point on the square

3

This project was intended to tailor Plaza de Indautxu to its intended use. Several streets run into the square, and below it there is an underground car park, which plays a key role in easing traffic congestion in the city. The chosen solution consists of a number of sculptural lighting elements combining shafts sloping forwards or backwards depending on the type of column used, crowned with slender, graceful arches. These columns are 6, 8 and 10 metres high, aligned in concentric circles, their height increasing towards the centre of the square. Besides the radial arrangement, the geometric effect obtained by the arches and the angles of the columns ensures that the square appears circular from whatever vantage point.

At night, lighting effects are combined with more functional lighting based on the use of ceramic metal-halide lamps. LED-based lighting inside the

arches allows a very low installed load and a highly uniform lighting effect, without detracting from the column. The beams of light are cut off cleanly to avoid any light pollution. Sections along the length or outside of the square are lit by luminaires incorporating road-lighting optics, contrasting with other types of lighting. The centre of the square is lit with floodlight reflectors that deliver a higher light output and a brighter effect.Where necessary, a system has been incorporated to reduce the light output of some of the ceramic metal-halide lamps, a pioneering technique in this field.

The streets bordering the square have been pedestrianised in order to allow pavement cafés, exhibitions, street theatre, sports and craft markets. This reinforces the human face of the city, strengthening the bond with the people of Bilbao.

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Contracting authority: Bilbao City Council Architect: Ander Marquet Ryan, JAAM architecture partnership, Bilbao, Spain Electrical installer: Tecuni Philips support: Sales department, Iberica Post and luminaire: Indau 6000, 8000, 10000, symmetric and road-lighting reflectors, Philips

Light sources: MASTERColour CDO-TT/830 70 W and CDM-T 150 W, LUXEON® LED, 3 W, cool white, Philips Photographer: Fernando Gómez Larrea Text: Fernando Vila Web: www.jaam.es; www.bilbao.net

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Breskens Promenade Sluis, The Netherlands The promenade is about 1 kilometre in length and is situated between the beach and the town of Breskens. Road safety, energy efficiency, respect for the environment and aesthetics were key considerations for the new lighting scheme.

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The municipality of Sluis is a rural area in the Dutch region of Zeeuws Vlaanderen, situated between the Westerschelde estuary and the border with Belgium. Breskens is a harbour town and one of several villages and townships that make up the municipality. The North Sea coast is the main source of income and employment in this region.

The lighthouse of Breskens is the oldest remaining cast-iron lighthouse in the Netherlands. It was built in 1867 and was designated as a listed building in 1982.

For many tourists the promenade is their first point of contact with Breskens. The old street lighting on the promenade used SON 70 W lamps and conventional ballasts, which did not have a particularly appealing effect.

The combination of CitySoul posts and CosmoPolis light sources has been used for the first time in the installation on Breskens’ promenade. The Sweep posts, which are shaped like a wave, give the promenade a stylish and aesthetic appearance.

With its ‘new’ promenade, the town of Breskens is making a clear statement: city beautification can be realized while continuing to respect the environment.

The new lighting installation comprises a total of 33 CitySoul luminaires with a Sweep post/bracket and a CosmoPolis 60 W lamp.

The energy-saving CosmoPolis lamps have a very high light output (6,900 lumen), a long lifespan (12,000 hours) and give off bright white light which closely resembles daylight.The aluminium luminaires are wear-resistant, waterproof and easy to maintain.

The bright white light of CosmoPolis increases safety on the street, and the CitySoul luminaires provide excellent optical performance, directing the light precisely where it is needed and so minimizing light spill.

3

1 Good rendering of greens and reds with

4

CosmoPolis 2 CitySoul luminaires with a Sweep post 3 School class being educated on sustainable lighting 4 Promenade along the North Sea coast

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Contracting authority: Municipality of Sluis Lighting design: Paopanga Suksomboon, Philips Lighting LiDAC, Eindhoven,The Netherlands Electrical installer: Delta N.V. Philips support: Ronnie Koster, Account Manager, The Netherlands

Luminaires: CitySoul mini cgp 430 Light sources: CosmoPolis White 60 W Photographer: Korff & van Mierlo Text: Ronnie Koster Web: www.gemeentesluis.nl

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Breskens Promenade Sluis, The Netherlands The promenade is about 1 kilometre in length and is situated between the beach and the town of Breskens. Road safety, energy efficiency, respect for the environment and aesthetics were key considerations for the new lighting scheme.

2

The municipality of Sluis is a rural area in the Dutch region of Zeeuws Vlaanderen, situated between the Westerschelde estuary and the border with Belgium. Breskens is a harbour town and one of several villages and townships that make up the municipality. The North Sea coast is the main source of income and employment in this region.

The lighthouse of Breskens is the oldest remaining cast-iron lighthouse in the Netherlands. It was built in 1867 and was designated as a listed building in 1982.

For many tourists the promenade is their first point of contact with Breskens. The old street lighting on the promenade used SON 70 W lamps and conventional ballasts, which did not have a particularly appealing effect.

The combination of CitySoul posts and CosmoPolis light sources has been used for the first time in the installation on Breskens’ promenade. The Sweep posts, which are shaped like a wave, give the promenade a stylish and aesthetic appearance.

With its ‘new’ promenade, the town of Breskens is making a clear statement: city beautification can be realized while continuing to respect the environment.

The new lighting installation comprises a total of 33 CitySoul luminaires with a Sweep post/bracket and a CosmoPolis 60 W lamp.

The energy-saving CosmoPolis lamps have a very high light output (6,900 lumen), a long lifespan (12,000 hours) and give off bright white light which closely resembles daylight. The aluminium luminaires are wear-resistant, waterproof and easy to maintain.

The bright white light of CosmoPolis increases safety on the street, and the CitySoul luminaires provide excellent optical performance, directing the light precisely where it is needed and so minimizing light spill.

3

1 Good rendering of greens and reds with

4

CosmoPolis 2 CitySoul luminaires with a Sweep post 3 School class being educated on sustainable lighting 4 Promenade along the North Sea coast

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Contracting authority: Municipality of Sluis Lighting design: Paopanga Suksomboon, Philips Lighting LiDAC, Eindhoven, The Netherlands Electrical installer: Delta N.V. Philips support: Ronnie Koster, Account Manager, The Netherlands

Luminaires: CitySoul mini cgp 430 Light sources: CosmoPolis White 60 W Photographer: Korff & van Mierlo Text: Ronnie Koster Web: www.gemeentesluis.nl

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Lima Cathedral Lima, Peru Lima Cathedral is a beautiful Catholic temple situated on the Plaza Mayor in downtown 1 Façade lighting plan with

Lima. The lighting of the Cathedral is part of an integral lighting project called ‘The Lighting

luminaire positions

Circuit’ that includes the Plaza Mayor and its surroundings. The lighting design emphasizes the volume and composition of the Cathedral’s façade through different levels

2 Front view of the Cathedral from the Plaza

and tones of light.

1 Sym. HPI-T 400 W 4,500 K

NB LUXEON Amber

MB CDM-T 70 W 4,200 K

Asy. SON-T Plus 400 W 2,000 K

Asy. TL-D 36 W 4,000 K

Sym. SON-T Plus 400 W 2,000 K

Asy. TL-D 36 W 3,000 K

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2

Lima is the cultural and economic hub of Peru.

Downtown is the oldest district, and vestiges of the city’s colonial past are still visible today in its historic centre, which was declared a UNESCO World Heritage Site in 1988.

The historic centre of Lima is one of Peru’s most important tourist destinations. Here, we find the Plaza Mayor, the cathedral and the city’s most important monuments.

The Cathedral is a Roman Catholic temple originally devoted to Our Lady of the Assumption and one of the major colonial architectural masterpieces in Lima. lts design was modelled on that of Seville Cathedral in Spain. Construction started in 1535, and the design was modified on many occasions without compromising the original look of the Cathedral.

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Lima Cathedral Lima, Peru Lima Cathedral is a beautiful Catholic temple situated on the Plaza Mayor in downtown 1 Façade lighting plan with

Lima. The lighting of the Cathedral is part of an integral lighting project called ‘The Lighting

luminaire positions

Circuit’ that includes the Plaza Mayor and its surroundings. The lighting design emphasizes the volume and composition of the Cathedral’s façade through different levels

2 Front view of the Cathedral from the Plaza

and tones of light.

1 Sym. HPI-T 400 W 4,500 K

NB LUXEON Amber

MB CDM-T 70 W 4,200 K

Asy. SON-T Plus 400 W 2,000 K

Asy. TL-D 36 W 4,000 K

Sym. SON-T Plus 400 W 2,000 K

Asy. TL-D 36 W 3,000 K

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2

Lima is the cultural and economic hub of Peru.

Downtown is the oldest district, and vestiges of the city’s colonial past are still visible today in its historic centre, which was declared a UNESCO World Heritage Site in 1988.

The historic centre of Lima is one of Peru’s most important tourist destinations. Here, we find the Plaza Mayor, the cathedral and the city’s most important monuments.

The Cathedral is a Roman Catholic temple originally devoted to Our Lady of the Assumption and one of the major colonial architectural masterpieces in Lima. lts design was modelled on that of Seville Cathedral in Spain. Construction started in 1535, and the design was modified on many occasions without compromising the original look of the Cathedral.

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3 Lighting plan 4 Columns and arches beautifully lit with CDM 5 LEDline amber luminaires enhance the pillars

Artificial lighting plays an important role in bringing the urban environment to life. The lighting design of the Cathedral was intended to enhance the beauty of the architecture while ensuring visual harmony with the other buildings on the Plaza Mayor. To this end, the level of light projected onto the Cathedral was higher than that on the square and the other buildings on the Plaza. The towers are now lit on all four surfaces, making them an essential landmark.

The lighting design provided for two forms of illumination: general lighting from floor-mounted fixtures and accent lighting from LEDline luminaires and compact projectors for halogen and CDM discharge lamps.

The lighting design also combined two different colour temperatures: 3,000 K for the entire façade and 4,200 K for the central part only, enhancing the white stone of that section.

This project delivered a lighting scheme with great visual impact and low maintenance costs – a powerful illustration of what can be achieved when creativity and technology are allied to a strong commitment to local architecture.

3 CDM-R PAR 30 35 W 10° 3,000 K

Sym. SON-T Plus 150 W 2,000 K

Asy. TL-D 36 W 4,200 K

Asy. SDW-TG 100 W 2,500 K

Asy. CDM-TD 70 W 4,200 K NB CDM-T 70 W 3,000 K

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Contracting authority: Edelnor/Endesa Lighting design: Claudia Paz, Cam Peru, Lima, Peru Electrical installer: Cam Peru Philips support: Silvia Gutiérrez, Cyntia Yon Luminaires: DHF, Soprano, Atlantis, Rotobeam, LEDline, Philips Light sources: CDM-R 35 and 70 W 10°

and 40° 3,000 K, SDW-TG 100 W, TL-D NG 18 and 36 W 3,000 K and 4,000 K, MASTERLine 111 45 and 60 W 8° and 24°, LUXEON® LED amber Photographer: Brian Miller/Gianonni Text: Silvia Gutiérrez Web: www.en.wikipedia.org/wiki/Lima_Cathedral; www.sacred-destinations.com/peru/lima-cathedral.htm

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3 Lighting plan 4 Columns and arches beautifully lit with CDM 5 LEDline amber luminaires enhance the pillars

Artificial lighting plays an important role in bringing the urban environment to life. The lighting design of the Cathedral was intended to enhance the beauty of the architecture while ensuring visual harmony with the other buildings on the Plaza Mayor. To this end, the level of light projected onto the Cathedral was higher than that on the square and the other buildings on the Plaza. The towers are now lit on all four surfaces, making them an essential landmark.

The lighting design provided for two forms of illumination: general lighting from floor-mounted fixtures and accent lighting from LEDline luminaires and compact projectors for halogen and CDM discharge lamps.

The lighting design also combined two different colour temperatures: 3,000 K for the entire façade and 4,200 K for the central part only, enhancing the white stone of that section.

This project delivered a lighting scheme with great visual impact and low maintenance costs – a powerful illustration of what can be achieved when creativity and technology are allied to a strong commitment to local architecture.

3 CDM-R PAR 30 35 W 10° 3,000 K

Sym. SON-T Plus 150 W 2,000 K

Asy. TL-D 36 W 4,200 K

Asy. SDW-TG 100 W 2,500 K

Asy. CDM-TD 70 W 4,200 K NB CDM-T 70 W 3,000 K

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Contracting authority: Edelnor/Endesa Lighting design: Claudia Paz, Cam Peru, Lima, Peru Electrical installer: Cam Peru Philips support: Silvia Gutiérrez, Cyntia Yon Luminaires: DHF, Soprano, Atlantis, Rotobeam, LEDline, Philips Light sources: CDM-R 35 and 70 W 10°

and 40° 3,000 K, SDW-TG 100 W, TL-D NG 18 and 36 W 3,000 K and 4,000 K, MASTERLine 111 45 and 60 W 8° and 24°, LUXEON® LED amber Photographer: Brian Miller/Gianonni Text: Silvia Gutiérrez Web: www.en.wikipedia.org/wiki/Lima_Cathedral; www.sacred-destinations.com/peru/lima-cathedral.htm

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Loulé Castle Walls Loulé, Portugal Of Arabic origin, the Loulé Castle Walls were reconstructed in the 13th century. By night, the Castle is also an attraction thanks to its dynamic lighting. A number of different lighting schemes have been developed for a variety of town festivals and events, presenting the Castle in a truly unique light each time.

4 1

The small town of Loulé in the southernmost part of Portugal was originally enclosed by the castle walls. In due course, population growth forced the village to expand beyond the walls. Nowadays, the castle walls – some 50 metres long – are located in a small square surrounded by traffic.

In the past, a small section of the walls was lit using floodlights. In terms of power consumption and creativity the result was not ideal. Therefore, a new uplighting system was adopted, emphasizing the texture of the walls. The grazing effect of the uplighting accentuates the contrasts between light and shadow, enhancing the materials and singularities of the castle walls.

The dynamic lighting concept chosen enables the castle to communicate with the city in a simple,

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yet extraordinary way. It uses a control system (ColourChaser) with DMX to DALI protocol converters whereby each luminaire is controlled independently, making it possible to create different scenes and transitions between them. These scene sequences create dynamic effects on the walls, breaking with the traditional static lighting concept and giving the spectators a sensation of movement.

It is possible to: emphasize the towers only; create a light wave effect on the walls; and play with the volume of the castle (by changing it with light).

wastes no light. Ninety LEDline2 luminaires have been installed, each one consuming about 15 W.

2

3

1 A grazing effect accentuates the texture of the stone

Thanks to the simplicity of the system, the Loulé Castle Walls now feature dynamic lighting effects, creating several different sensations for various festivals during the year. This offers the local authorities new possibilities for marketing the town.

2 LEDline2 luminaires recessed in stone 3 Dynamic lighting sculpts the structure 4 City plan with location of castle walls

The lighting utilises LED technology, minimising both energy consumption and light pollution. The recessed version of the LEDline2 luminaire with wide-beam optics concentrates the light in the perpendicular axis and diffuses it in the parallel axis (2x27º). This is ideal for façade lighting because it

Contracting authority: Loulé City Council Architects: Manuel Renda,Andre Deltell,Tiago Vitória, Sergio Rego, Loulé City Council, Portugal Lighting design: Nuno Felgueiras, Lisbon, Philips Electrical installer: Specitron Philips support: Rui Reis, Luminaires, Portugal Luminaire: LEDline2, Philips

Light source: LUXEON® LED, type I, 6,200 K, Philips Lighting controls: ColourChaser, Philips; DMX-DALI converters, Specitron Photographer: Eduardo Neves Text: Nuno Felgueiras Web video: www.philips.com/loule

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Loulé Castle Walls Loulé, Portugal Of Arabic origin, the Loulé Castle Walls were reconstructed in the 13th century. By night, the Castle is also an attraction thanks to its dynamic lighting. A number of different lighting schemes have been developed for a variety of town festivals and events, presenting the Castle in a truly unique light each time.

4 1

The small town of Loulé in the southernmost part of Portugal was originally enclosed by the castle walls. In due course, population growth forced the village to expand beyond the walls. Nowadays, the castle walls – some 50 metres long – are located in a small square surrounded by traffic.

In the past, a small section of the walls was lit using floodlights. In terms of power consumption and creativity the result was not ideal. Therefore, a new uplighting system was adopted, emphasizing the texture of the walls. The grazing effect of the uplighting accentuates the contrasts between light and shadow, enhancing the materials and singularities of the castle walls.

The dynamic lighting concept chosen enables the castle to communicate with the city in a simple,

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yet extraordinary way. It uses a control system (ColourChaser) with DMX to DALI protocol converters whereby each luminaire is controlled independently, making it possible to create different scenes and transitions between them. These scene sequences create dynamic effects on the walls, breaking with the traditional static lighting concept and giving the spectators a sensation of movement.

It is possible to: emphasize the towers only; create a light wave effect on the walls; and play with the volume of the castle (by changing it with light).

wastes no light. Ninety LEDline2 luminaires have been installed, each one consuming about 15 W.

2

3

1 A grazing effect accentuates the texture of the stone

Thanks to the simplicity of the system, the Loulé Castle Walls now feature dynamic lighting effects, creating several different sensations for various festivals during the year. This offers the local authorities new possibilities for marketing the town.

2 LEDline2 luminaires recessed in stone 3 Dynamic lighting sculpts the structure 4 City plan with location of castle walls

The lighting utilises LED technology, minimising both energy consumption and light pollution. The recessed version of the LEDline2 luminaire with wide-beam optics concentrates the light in the perpendicular axis and diffuses it in the parallel axis (2x27º). This is ideal for façade lighting because it

Contracting authority: Loulé City Council Architects: Manuel Renda, Andre Deltell, Tiago Vitória, Sergio Rego, Loulé City Council, Portugal Lighting design: Nuno Felgueiras, Lisbon, Philips Electrical installer: Specitron Philips support: Rui Reis, Luminaires, Portugal Luminaire: LEDline2, Philips

Light source: LUXEON® LED, type I, 6,200 K, Philips Lighting controls: ColourChaser, Philips; DMX-DALI converters, Specitron Photographer: Eduardo Neves Text: Nuno Felgueiras Web video: www.philips.com/loule

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Tour des Archives Rouen, France The Tour des Archives (‘Archives Tower’) can be seen from miles away. Together with the Cathedral it constitutes a focal point for the town. The lighting of the tower had to take into account a number of fundamental principles, while contributing to the sustainable development of the region.

3

The Tour des Archives is located near Rouen town centre on the left bank of the Seine. It is a massive building, 90 m high, 11 m wide, has 31 floors and houses the regional archives. As part of the municipal urban lighting plan, the tower was included in the ‘Blue loop’ theme, which featured blue as the main colour in the various scenarios.

The lighting design for the tower reflects its context. The archives represent knowledge, classification and history. Thus, the lighting had to be dynamic in order to contrast with the conventional, ‘rigid’ character of the tower’s function.The Seine flows past the foot of the building, and the lighting had to recall the reflections of light in the water.

The architecture of the tower is severe and massive, so the lighting needed to ‘lighten up’ the building, creating a new attraction. Lastly, the nighttime view of the tower could have competed with the Cathedral, which had to remain the main point of interest.Therefore, discretion was required in the effects.

4

Two scenarios were conceived, the first for use during the week entitled ‘The cliffs and seascapes of Seine Maritime’, and the second for the weekend entitled ‘Reflection of light in the Seine’. The staging of these scenarios was realized by means of different colour codes.

A further eleven scenarios were then created, with a different theme for each month (e.g. music, sustainable development, back to school, autumn in Normandy, etc).Vast images related to the respective themes were projected onto the western façade.

The lighting of the tower combines innovation, aesthetics and energy efficiency. When lit up, the appearance of the tower is very poetic, unusual and impressive. The technology for controlling the floodlights (DMX, Martin) functions like video software, allowing an infinite number of scenarios featuring images and/or 2- or 3-dimensional effects.At the same time, the lighting is compatible with Seine Maritime’s sustainable development commitments, as energy consumption is kept as low as approximately 10 kW.

Three types of luminaires were used: linear RGB additive LED luminaires (LEDline2), CMJ subtractive metal-halide floodlights (Exterior 200) and a large image projector. The 663 light points illuminate a total surface area of 3,600 m².

2

1 The lighting design reflects the context of the building 2 Night-time appearance combines innovation and poetry 3 LEDline2 RGB layout inside the tower 4 Concrete window frames by day

Owner/Contracting authority: Conseil Général de Seine Maritime Architect: Artéfact Architecture, Chinon, France Lighting design: Sylvain Bigot, Neo Light, Joué Les Tours, France Electrical consultant: Sogéti Electrical installer: Forclum Philips support: Loic Boissavy, Philippe Regnier, Luminaires, France

Luminaires: LEDline2 surface RGB 300 mm, Philips; Exterior 200, Martin; large image projector, Hardware Xenon Light sources: LUXEON® LED 1 W, RGB; CDM-SAT 150 W, Philips; Xénon OLS 7000 W, Xénon Lighting controls: Maxédia, Martin Photographer: Sylvain Bigot Text: Sylvain Bigot Web: www.cg76.fr; www.neolight.fr

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Tour des Archives Rouen, France The Tour des Archives (‘Archives Tower’) can be seen from miles away. Together with the Cathedral it constitutes a focal point for the town. The lighting of the tower had to take into account a number of fundamental principles, while contributing to the sustainable development of the region.

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The Tour des Archives is located near Rouen town centre on the left bank of the Seine. It is a massive building, 90 m high, 11 m wide, has 31 floors and houses the regional archives. As part of the municipal urban lighting plan, the tower was included in the ‘Blue loop’ theme, which featured blue as the main colour in the various scenarios.

The lighting design for the tower reflects its context. The archives represent knowledge, classification and history. Thus, the lighting had to be dynamic in order to contrast with the conventional, ‘rigid’ character of the tower’s function. The Seine flows past the foot of the building, and the lighting had to recall the reflections of light in the water.

The architecture of the tower is severe and massive, so the lighting needed to ‘lighten up’ the building, creating a new attraction. Lastly, the nighttime view of the tower could have competed with the Cathedral, which had to remain the main point of interest. Therefore, discretion was required in the effects.

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Two scenarios were conceived, the first for use during the week entitled ‘The cliffs and seascapes of Seine Maritime’, and the second for the weekend entitled ‘Reflection of light in the Seine’. The staging of these scenarios was realized by means of different colour codes.

A further eleven scenarios were then created, with a different theme for each month (e.g. music, sustainable development, back to school, autumn in Normandy, etc).Vast images related to the respective themes were projected onto the western façade.

The lighting of the tower combines innovation, aesthetics and energy efficiency. When lit up, the appearance of the tower is very poetic, unusual and impressive. The technology for controlling the floodlights (DMX, Martin) functions like video software, allowing an infinite number of scenarios featuring images and/or 2- or 3-dimensional effects. At the same time, the lighting is compatible with Seine Maritime’s sustainable development commitments, as energy consumption is kept as low as approximately 10 kW.

Three types of luminaires were used: linear RGB additive LED luminaires (LEDline2), CMJ subtractive metal-halide floodlights (Exterior 200) and a large image projector. The 663 light points illuminate a total surface area of 3,600 m².

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1 The lighting design reflects the context of the building 2 Night-time appearance combines innovation and poetry 3 LEDline2 RGB layout inside the tower 4 Concrete window frames by day

Owner/Contracting authority: Conseil Général de Seine Maritime Architect: Artéfact Architecture, Chinon, France Lighting design: Sylvain Bigot, Neo Light, Joué Les Tours, France Electrical consultant: Sogéti Electrical installer: Forclum Philips support: Loic Boissavy, Philippe Regnier, Luminaires, France

Luminaires: LEDline2 surface RGB 300 mm, Philips; Exterior 200, Martin; large image projector, Hardware Xenon Light sources: LUXEON® LED 1 W, RGB; CDM-SAT 150 W, Philips; Xénon OLS 7000 W, Xénon Lighting controls: Maxédia, Martin Photographer: Sylvain Bigot Text: Sylvain Bigot Web: www.cg76.fr; www.neolight.fr

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Plaza Hotel New York, United States of America The Plaza Hotel is a world-renowned hotel bordering 5th Avenue and overlooking

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Central Park. It was recently renovated and transformed to comprise luxury condominiums as well as guest rooms. The extensive renovation includes new lighting for the façade and the glamorous ornamented lobby, with cutting-edge technology being used to enhance this turn-of-the-century New York icon’s architecture and details.

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The Plaza Hotel, known for its elegant French Renaissance Château-style design, is a symbol of New York’s history and sophistication. The 19-storey building was granted landmark status in the 1950s.

The two main façades face 5th Avenue and Central Park respectively, making the building’s majesty highly visible to New Yorkers, tourists and shoppers alike.

When the renovation is complete, the Plaza is expected to offer 282 hotel rooms, including 152 condo hotel units, as well as retail stores.

The intention for the overall lighting scheme was to create visual appeal and retain the splendour of the site, while providing a lighting system that is easy to maintain and operationally cost-effective.

On the exterior of the building a solid-state lighting system was selected to underline the main features of the façade and provide subtle warm-white touches emphasizing the architectural lines of the building. The slim profile of the luminaires and the ability to mount the fixtures on the existing ledges made LED technology a prime choice. The very long life of LEDs was an additional benefit that made solid-state lighting the only viable option.

Two rows of moon-like round, glowing LED luminaires form delicate necklace lighting along the lower edge and top of the main roof, allowing for gradual and subtle colour-changing scenes. The punctuation of the necklace lighting is noticeable from a distance, creating a recognizable beacon within the Manhattan skyline.

Decorative wall sconces and canopy lights were refurbished to match the original lighting at the main entrance, providing a welcoming glow.

The façade lighting uses LEDline2 balustrade luminaires with LUXEON® K2 warm-white LEDs (four per 30 cm) to create a grazing effect.Warmwhite light sources, reminiscent of the incandescent original lighting, were prescribed to enhance the beautiful colour of the limestone. The 2x15° beam distribution allowed smooth grazing, while the luminaires could be mounted as close as 10 cm from the wall.

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The necklace lighting uses 18 accent-lighting luminaires (Colorburst 6) with high-power LEDs in RGB configuration and a frosted glass lens to provide a soft glow. A DMX control system was installed and can be controlled with a simple keypad from within the hotel, varying the colour and intensity of the lighting.

2 1 Hotel facade 5th Avenue elevation, Cosentini Lighting Design 2 Detail of LED lighting effects 3 Night-time view from Central Park

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Owner: ELAD Properties Architect: Costas Kondylis & Partners, LLP Architects, New York, United States of America Lighting design: Fernando Soler and Stephen Margulies, Cosentini Associates, New York, United States of America Electrical installer: Five Star Electric Philips support: Philip Warner, Clara Powell and Jim Anderson, SSL Luminaires, North America

Luminaires: LEDline2, Philips; Colorburst 6, Color Kinetics Light source: LUXEON® K2, warm white 3,000 K, Philips Photographer: Jay Rosenblatt Text: Clara Powell Web: www.fairmont.com/thePlaza; www.cosentini.com

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Plaza Hotel New York, United States of America The Plaza Hotel is a world-renowned hotel bordering 5th Avenue and overlooking

2

Central Park. It was recently renovated and transformed to comprise luxury condominiums as well as guest rooms.The extensive renovation includes new lighting for the façade and the glamorous ornamented lobby, with cutting-edge technology being used to enhance this turn-of-the-century New York icon’s architecture and details.

1

The Plaza Hotel, known for its elegant French Renaissance Château-style design, is a symbol of New York’s history and sophistication. The 19-storey building was granted landmark status in the 1950s.

The two main façades face 5th Avenue and Central Park respectively, making the building’s majesty highly visible to New Yorkers, tourists and shoppers alike.

When the renovation is complete, the Plaza is expected to offer 282 hotel rooms, including 152 condo hotel units, as well as retail stores.

The intention for the overall lighting scheme was to create visual appeal and retain the splendour of the site, while providing a lighting system that is easy to maintain and operationally cost-effective.

On the exterior of the building a solid-state lighting system was selected to underline the main features of the façade and provide subtle warm-white touches emphasizing the architectural lines of the building. The slim profile of the luminaires and the ability to mount the fixtures on the existing ledges made LED technology a prime choice. The very long life of LEDs was an additional benefit that made solid-state lighting the only viable option.

Two rows of moon-like round, glowing LED luminaires form delicate necklace lighting along the lower edge and top of the main roof, allowing for gradual and subtle colour-changing scenes. The punctuation of the necklace lighting is noticeable from a distance, creating a recognizable beacon within the Manhattan skyline.

Decorative wall sconces and canopy lights were refurbished to match the original lighting at the main entrance, providing a welcoming glow.

The façade lighting uses LEDline2 balustrade luminaires with LUXEON® K2 warm-white LEDs (four per 30 cm) to create a grazing effect. Warmwhite light sources, reminiscent of the incandescent original lighting, were prescribed to enhance the beautiful colour of the limestone. The 2x15° beam distribution allowed smooth grazing, while the luminaires could be mounted as close as 10 cm from the wall.

3

The necklace lighting uses 18 accent-lighting luminaires (Colorburst 6) with high-power LEDs in RGB configuration and a frosted glass lens to provide a soft glow. A DMX control system was installed and can be controlled with a simple keypad from within the hotel, varying the colour and intensity of the lighting.

2 1 Hotel facade 5th Avenue elevation, Cosentini Lighting Design 2 Detail of LED lighting effects 3 Night-time view from Central Park

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Owner: ELAD Properties Architect: Costas Kondylis & Partners, LLP Architects, New York, United States of America Lighting design: Fernando Soler and Stephen Margulies, Cosentini Associates, New York, United States of America Electrical installer: Five Star Electric Philips support: Philip Warner, Clara Powell and Jim Anderson, SSL Luminaires, North America

Luminaires: LEDline2, Philips; Colorburst 6, Color Kinetics Light source: LUXEON® K2, warm white 3,000 K, Philips Photographer: Jay Rosenblatt Text: Clara Powell Web: www.fairmont.com/thePlaza; www.cosentini.com

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London Eye London, United Kingdom The London Eye is the world’s largest observation wheel at nearly 135 metres high.

A new LED-based lighting system brings dynamic, visually appealing colour to the structure while at the same time alleviating the maintenance costs and requirements of the previous fluorescent system.

Visited by more than 10,000 people daily, the London Eye has become an iconic symbol of 21st century Britain. It was previously lit by fluorescent tubes that proved costly to maintain, and required the manual installation of gels to produce coloured light for special events. In December 2006 this system was replaced with a LED-based alternative from Color Kinetics®.

Approximately 640 ColorCast® 14 units were supplied, installed and programmed. Each unit can be individually programmed to generate millions

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of colours that are seamlessly produced by Chromacore® technology, as opposed to the use of coloured gels. This technology gives the London Eye the cost-effective ability to display precise colours for corporate clients and special occasions, while predominantly displaying white light.

The Color Kinetics-illuminated London Eye is visible from more than a mile away. Compatible with the industry-standard DMX protocol, the ColorCast 14 units integrate seamlessly with two Pharos LPC2 controllers, enabling the creation

of dynamic light shows on demand. The rugged, exterior-grade units incorporate Powercore® technology to directly accept line voltage, eliminating the need for external power supplies and easing installation.

Londoners and visitors alike can testify to the success of the relighting of this global landmark.

Owner/Contracting authority: British Airways London Eye; Kevin Dyer, Head of Technical Operations Lighting supply, installation and programming: Architainment Lighting Ltd. and Lighting Technology Projects Philips/Color Kinetics support: Neil Gamble, Phil Cross, Sales, UK

Luminaires: ColorCast 14, Color Kinetics/Philips Light sources: Cree XLamp 7090XR LEDs Lighting controls: DMX, Pharos Photographer: David Morrell, courtesy Lighting Technology Projects Text: Felicia Spagnoli Web: www.colorkinetics.com/showcase/installs/ londoneye/

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London Eye London, United Kingdom The London Eye is the world’s largest observation wheel at nearly 135 metres high.

A new LED-based lighting system brings dynamic, visually appealing colour to the structure while at the same time alleviating the maintenance costs and requirements of the previous fluorescent system.

Visited by more than 10,000 people daily, the London Eye has become an iconic symbol of 21st century Britain. It was previously lit by fluorescent tubes that proved costly to maintain, and required the manual installation of gels to produce coloured light for special events. In December 2006 this system was replaced with a LED-based alternative from Color Kinetics®.

Approximately 640 ColorCast® 14 units were supplied, installed and programmed. Each unit can be individually programmed to generate millions

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of colours that are seamlessly produced by Chromacore® technology, as opposed to the use of coloured gels. This technology gives the London Eye the cost-effective ability to display precise colours for corporate clients and special occasions, while predominantly displaying white light.

The Color Kinetics-illuminated London Eye is visible from more than a mile away. Compatible with the industry-standard DMX protocol, the ColorCast 14 units integrate seamlessly with two Pharos LPC2 controllers, enabling the creation

of dynamic light shows on demand. The rugged, exterior-grade units incorporate Powercore® technology to directly accept line voltage, eliminating the need for external power supplies and easing installation.

Londoners and visitors alike can testify to the success of the relighting of this global landmark.

Owner/Contracting authority: British Airways London Eye; Kevin Dyer, Head of Technical Operations Lighting supply, installation and programming: Architainment Lighting Ltd. and Lighting Technology Projects Philips/Color Kinetics support: Neil Gamble, Phil Cross, Sales, UK

Luminaires: ColorCast 14, Color Kinetics/Philips Light sources: Cree XLamp 7090XR LEDs Lighting controls: DMX, Pharos Photographer: David Morrell, courtesy Lighting Technology Projects Text: Felicia Spagnoli Web: www.colorkinetics.com/showcase/installs/ londoneye/

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Concepts Exploring new horizons in Dynamic Lighting Future urban lighting visions Life after the bulb Light out of the box

Light and lighting hold an endless fascination for Man – and always have done. The articles in this section are intended to provide food for thought, to stimulate debate and, above all, to inspire new ideas.

Photo:Vincent Laganier

Concepts Exploring new horizons in Dynamic Lighting Future urban lighting visions Life after the bulb Light out of the box

Light and lighting hold an endless fascination for Man – and always have done. The articles in this section are intended to provide food for thought, to stimulate debate and, above all, to inspire new ideas.

Photo:Vincent Laganier

Exploring new horizons in Dynamic Lighting Anissa Abbou Architects have always used the effects of light and shadow in their designs because architecture is static and static forms are transformed by the influence of light and shadow.

That is why it is so important to work with architects and to share their vision, ideas and knowledge in relation to the subject of Dynamic Lighting. An interdisciplinary workshop has been held with students to draw up new concepts for Dynamic Lighting.

light is one of the factors that contribute to making the working environment as pleasant and appealing as possible.

moving more towards flexible working hours, more open-plan office design and shared use of office space.

Dynamic Lighting offers personal control, making lighting more flexible and adjustable to suit people’s own preferences.

Results

Individual lighting is going to become more important because research shows trends in offices Dynamic Lighting considers the human aspect of light from a visual, non-visual and emotional point of view. We know that natural daylight changes constantly in brightness and colour temperature and that it can affect our sense of well-being.

Dynamic Lighting can help to replicate these effects by mimicking the positive effects of natural light.

The concept is based on natural light and takes into consideration the fact that we all have different needs and preferences when it comes to adjusting the environmental factors that influence our living and working spaces.

In June 2005 Philips organised a workshop in Marrakesh. The idea was to explore the possibilities of Dynamic Lighting in offices through the participation of lecturers in architecture and future professionals currently studying architecture. The results of the workshop confirmed that Dynamic Lighting opens up a variety of new horizons, from lighting whole cities to individualised personal light.

To elaborate on the subject, a programme was initiated in 2006 by iaap – the institute for architecture and architectural products.

By bringing together partners from industry and an interdisciplinary team of students from two universities, TU Darmstadt (architecture) and HBK Saar (industrial design), a highly effective creative atmosphere was created.

‘Light landscapes’ concept According to Maria Busch, Christian Rösner and Eva Zellmann, an office can be divided into three different areas with three different atmospheres:

• ‘team’: an open-plan office with no fixed working places to allow people to work alone or in a group and to be able to choose a different place to work each day. What is required is light that is controllable in intensity per individual luminaire, with smooth changes and minimal contrast.

• ‘park’: an area where the office worker can relax because it offers totally different surroundings with an non-office atmosphere. This is an area which gives employees a chance to free their

Students from the TU Darmstadt and HBK Saar participating in a workshop on Dynamic Lighting

The idea was to generate new concepts for luminaires that would meet end users’ needs for Dynamic Lighting in offices. Research indicates that a major change is under way within the office environment across Europe. Companies are realising that employees are valuable assets and that

‘Light landscapes’ concept

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Exploring new horizons in Dynamic Lighting Anissa Abbou Architects have always used the effects of light and shadow in their designs because architecture is static and static forms are transformed by the influence of light and shadow.

That is why it is so important to work with architects and to share their vision, ideas and knowledge in relation to the subject of Dynamic Lighting. An interdisciplinary workshop has been held with students to draw up new concepts for Dynamic Lighting.

light is one of the factors that contribute to making the working environment as pleasant and appealing as possible.

moving more towards flexible working hours, more open-plan office design and shared use of office space.

Dynamic Lighting offers personal control, making lighting more flexible and adjustable to suit people’s own preferences.

Results

Individual lighting is going to become more important because research shows trends in offices Dynamic Lighting considers the human aspect of light from a visual, non-visual and emotional point of view. We know that natural daylight changes constantly in brightness and colour temperature and that it can affect our sense of well-being.

Dynamic Lighting can help to replicate these effects by mimicking the positive effects of natural light.

The concept is based on natural light and takes into consideration the fact that we all have different needs and preferences when it comes to adjusting the environmental factors that influence our living and working spaces.

In June 2005 Philips organised a workshop in Marrakesh. The idea was to explore the possibilities of Dynamic Lighting in offices through the participation of lecturers in architecture and future professionals currently studying architecture. The results of the workshop confirmed that Dynamic Lighting opens up a variety of new horizons, from lighting whole cities to individualised personal light.

To elaborate on the subject, a programme was initiated in 2006 by iaap – the institute for architecture and architectural products.

By bringing together partners from industry and an interdisciplinary team of students from two universities, TU Darmstadt (architecture) and HBK Saar (industrial design), a highly effective creative atmosphere was created.

‘Light landscapes’ concept According to Maria Busch, Christian Rösner and Eva Zellmann, an office can be divided into three different areas with three different atmospheres:

• ‘team’: an open-plan office with no fixed working places to allow people to work alone or in a group and to be able to choose a different place to work each day. What is required is light that is controllable in intensity per individual luminaire, with smooth changes and minimal contrast.

• ‘park’: an area where the office worker can relax because it offers totally different surroundings with an non-office atmosphere. This is an area which gives employees a chance to free their

Students from the TU Darmstadt and HBK Saar participating in a workshop on Dynamic Lighting

The idea was to generate new concepts for luminaires that would meet end users’ needs for Dynamic Lighting in offices. Research indicates that a major change is under way within the office environment across Europe. Companies are realising that employees are valuable assets and that

‘Light landscapes’ concept

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mind, forget about work, start dreaming or communicate with other workers. The lighting should be heterogeneous, creating plays of light and strong contrasts.

• ‘intensive’: a space where people can work independently within a group or perform concentrated tasks on their own without acoustic interruption, a place where they are screened from view (team). Homogeneous, strong light is required to increase alertness and concentration.

This resulted in the development of a luminaire that can either be used as a single element or in an array of objects, with three different ‘layers’ of LEDs providing the lighting solutions for the ‘park’, ‘team’ and ‘intensive’ zones. Depending on the tasks, different layers can be switched on, creating sensitive Dynamic Lighting through the combination of luminaires, topography and light intensity.

‘Dynamic reflection’ concept Theresia Nake and Esther Götz defined two different zones within offices: public and private islands, with a smooth transition from one to the other. Light is used to support the division of the space by means of different lighting levels. Colour temperature and lighting level are adjusted to suit the human circadian rhythm.

What is most important in this concept is the fact that the lighting solution should recognize the beneficial effects of sunlight, creating a stimulating, inspiring atmosphere without monotony or uniformity.

Because the changes in daylight are so gradual that they are often barely perceptible to the human eye, a luminaire that makes almost imperceptible dynamic changes to the light by means of unexpected reflection effects was created. It is

not only the lighting effect that is linked to nature, but also the shape of the luminaire – the design is based on a leaf.

‘Skylight’ concept The lighting solution by Maria Christa Stich, Peiyu Li and David Grüner focuses on the generation of a variety of atmospheres for different activities, such as meeting, relaxing and working. The luminaire makes it possible to achieve different general lighting scenes as well as to create the different room dimensions required for the specific activities.

A free-standing luminaire with self-illuminating cloth can change in colour, colour temperature and light intensity. In addition, the size can be changed because the umbrella can be opened (to enclose the space) or closed (to open the space).

This makes it possible, for example, to use warmwhite light to create an open, communicative

environment for meetings and to use cool-white light to create an isolated, private area where people can concentrate in silence. Colour plays an important role in the relaxing atmosphere, enabling people to take a break, select their own favourite colour and regenerate in silence so they feel fresh and ready to start work again afterwards.

Conclusion The combination of the free-thinking minds of architects and the cooperation with universities on this project is only the beginning of a working partnership between the academic world and Philips.

The results so far indicate that the way forward is surely to continue developing the new qualities of personal and flexible lighting, building on the theme of Dynamic Lighting.

‘Skylight’ concept

‘Dynamic reflection’

Participating students: TU Darmstadt – Maria Busch, Evrim Erim, Esther Götz, Julia Hartl, Theresia Nake, Nikolay Nazarov, Moritz Profitlich, Stefan Schäfer, Paloma Pérez Ugalde, Eva Zellmann, Chaan Ah Bahk; HBK Saar – Maria Crista Stich, David Grüner, Daniel Bühler, Pei Yu Li, Moritz Federlein, Christian Rösner, Jan Hilt

concept Participating staff: Prof.Andreas Brandolini, Dipl. Ing. LB Volker Auch-Schwelk, Dipl. Ing. LB Andreas Winkler; Fachgebiet Entwerfen und Gebäudelehre, Prof. D. Gatermann

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mind, forget about work, start dreaming or communicate with other workers. The lighting should be heterogeneous, creating plays of light and strong contrasts.

• ‘intensive’: a space where people can work independently within a group or perform concentrated tasks on their own without acoustic interruption, a place where they are screened from view (team). Homogeneous, strong light is required to increase alertness and concentration.

This resulted in the development of a luminaire that can either be used as a single element or in an array of objects, with three different ‘layers’ of LEDs providing the lighting solutions for the ‘park’, ‘team’ and ‘intensive’ zones. Depending on the tasks, different layers can be switched on, creating sensitive Dynamic Lighting through the combination of luminaires, topography and light intensity.

‘Dynamic reflection’ concept Theresia Nake and Esther Götz defined two different zones within offices: public and private islands, with a smooth transition from one to the other. Light is used to support the division of the space by means of different lighting levels. Colour temperature and lighting level are adjusted to suit the human circadian rhythm.

What is most important in this concept is the fact that the lighting solution should recognize the beneficial effects of sunlight, creating a stimulating, inspiring atmosphere without monotony or uniformity.

Because the changes in daylight are so gradual that they are often barely perceptible to the human eye, a luminaire that makes almost imperceptible dynamic changes to the light by means of unexpected reflection effects was created. It is

not only the lighting effect that is linked to nature, but also the shape of the luminaire – the design is based on a leaf.

‘Skylight’ concept The lighting solution by Maria Christa Stich, Peiyu Li and David Grüner focuses on the generation of a variety of atmospheres for different activities, such as meeting, relaxing and working. The luminaire makes it possible to achieve different general lighting scenes as well as to create the different room dimensions required for the specific activities.

A free-standing luminaire with self-illuminating cloth can change in colour, colour temperature and light intensity. In addition, the size can be changed because the umbrella can be opened (to enclose the space) or closed (to open the space).

This makes it possible, for example, to use warmwhite light to create an open, communicative

environment for meetings and to use cool-white light to create an isolated, private area where people can concentrate in silence. Colour plays an important role in the relaxing atmosphere, enabling people to take a break, select their own favourite colour and regenerate in silence so they feel fresh and ready to start work again afterwards.

Conclusion The combination of the free-thinking minds of architects and the cooperation with universities on this project is only the beginning of a working partnership between the academic world and Philips.

The results so far indicate that the way forward is surely to continue developing the new qualities of personal and flexible lighting, building on the theme of Dynamic Lighting.

‘Skylight’ concept

‘Dynamic reflection’

Participating students: TU Darmstadt – Maria Busch, Evrim Erim, Esther Götz, Julia Hartl, Theresia Nake, Nikolay Nazarov, Moritz Profitlich, Stefan Schäfer, Paloma Pérez Ugalde, Eva Zellmann, Chaan Ah Bahk; HBK Saar – Maria Crista Stich, David Grüner, Daniel Bühler, Pei Yu Li, Moritz Federlein, Christian Rösner, Jan Hilt

concept Participating staff: Prof. Andreas Brandolini, Dipl. Ing. LB Volker Auch-Schwelk, Dipl. Ing. LB Andreas Winkler; Fachgebiet Entwerfen und Gebäudelehre, Prof. D. Gatermann

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Future urban lighting visions Maximilian Venzke, Jasmine van der Pol The challenge of unprecedented urbanization The quality of life in cities is an issue of unprecedented significance. A century ago less than 10% of the world’s population lived in cities.

At the start of the 21st century this figure had risen to over 50% and by the middle of the century the proportion will be over 75%.

Faced with this urban expansion, city authorities worldwide have recognized the urgent need to rehumanize urban environments. They see a pressing need to tackle crime and vandalism, promote tourism, develop local business and foster local identity and pride.

Creating a program to address people’s needs The need to re-humanize the urban environment resonates strongly with Philips’ mission to improve the quality of people’s lives. Design elements, technology and lighting effects are vital ingredients

in safety and security, but also in personalizing and humanizing cities, and so improving the quality of urban life.

Over the past decade, Philips has been engaged in a process of exploring how light can be developed and used to achieve these aims. This is city.people. light. It brings together the three notions of ‘city’, ‘people’ and ‘light’ in one integrated approach.

Through this, we aim to enrich and simplify the human experience of the urban setting by means of advanced lighting solutions.

City.people.light aims to stretch creative and intellectual boundaries towards more innovative and relevant solutions. To do this, we enrich our own thinking through extensive dialog. We share ideas and network with partners such as the Professional Lighting Designers Association (PLDA) and the LUCI association (the Lighting Urban Community International).

“The city.people.light2007 platform was created as a permanent forum. Its success will be largely substantiated by the quality and quantity of future discussions yet to come.” city.people.light2007 Sustainability – the key theme in 2007 By its very nature, the city.people.light research is wide-ranging and visionary. Above all, it reveals that sustainability, both environmental and social, is a major theme for the thought leaders who took part. Their understanding of ‘sustainability’ encompasses ideas of society, community, mobility, commerce, architecture, design and aesthetics.

Within this some specific issues stand out: • The need for energy management • Contrasting challenges in advanced and emerging economies • Digitalization • Visions of wireless, personalized lighting solutions • New approaches to design in sustainable cities

Bringing nature back into our city centres – the city moves underground to function on the radiance of naturally filtered light

Energy management Energy management is seen as an urgent priority.

Many of the workshop concepts focus on energy management, possibilities for ‘energy recycling’ and the different types of energy source (solar, gas versus electricity).They also note the potential tension between energy management and the increasing use of light for identity and communication.

Against this background, issues of lighting design and energy management will become increasingly interlinked and convergent in the decade ahead.

Light pollution will also be an important issue, with innovative design solutions required to respond to complex regulations in this domain.

Transformation of

In response to the question “what will a sustainable city of 2020 look like?” a vision emerges of a compact and multi-centred city with good public transport. It is a well-designed, socially mixed environment where communities live and work.

Here people are encouraged to walk and cycle, to care for their environment and to minimize pollution.

Contrasting challenges in advanced and emerging economies The research notes that many cities in advanced economies are no longer growing, while cities in emerging markets are highly dynamic and expanding at an unprecedented rate. Indeed, there is no precedent for a city of 18 million people, a city that is bigger than most countries in Europe.

In discussing the strategies that cities may adopt, the research proposes four alternatives. Some cities may become fast-paced hubs of communication, supporting accelerated modern lifestyles (accelerator), while others will cherish their role as stores of memories and homes to iconic buildings (memory and iconic). Yet others may enable the creation and multiplication of people’s networks, both physical and virtual.

These mega-cities may leapfrog advanced economies, inventing new approaches and new standards. Consequently, they may offer more scope for innovative approaches to urban lighting, as they consider artistic use of light as a sign of progress in their development.

On the other hand, cities in Europe and North America may choose to limit their creative and expressive use of light. Indeed, the general response from contributors suggests that the strategy of ‘landmark’ buildings has no further development potential for such cities.

automotive traffic into a source of clean energy by means of a mechatronic integrated energygeneration system

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Future urban lighting visions Maximilian Venzke, Jasmine van der Pol The challenge of unprecedented urbanization The quality of life in cities is an issue of unprecedented significance. A century ago less than 10% of the world’s population lived in cities.

At the start of the 21st century this figure had risen to over 50% and by the middle of the century the proportion will be over 75%.

Faced with this urban expansion, city authorities worldwide have recognized the urgent need to rehumanize urban environments. They see a pressing need to tackle crime and vandalism, promote tourism, develop local business and foster local identity and pride.

Creating a program to address people’s needs The need to re-humanize the urban environment resonates strongly with Philips’ mission to improve the quality of people’s lives. Design elements, technology and lighting effects are vital ingredients

in safety and security, but also in personalizing and humanizing cities, and so improving the quality of urban life.

Over the past decade, Philips has been engaged in a process of exploring how light can be developed and used to achieve these aims. This is city.people. light. It brings together the three notions of ‘city’, ‘people’ and ‘light’ in one integrated approach.

Through this, we aim to enrich and simplify the human experience of the urban setting by means of advanced lighting solutions.

City.people.light aims to stretch creative and intellectual boundaries towards more innovative and relevant solutions. To do this, we enrich our own thinking through extensive dialog. We share ideas and network with partners such as the Professional Lighting Designers Association (PLDA) and the LUCI association (the Lighting Urban Community International).

“The city.people.light2007 platform was created as a permanent forum. Its success will be largely substantiated by the quality and quantity of future discussions yet to come.” city.people.light2007 Sustainability – the key theme in 2007 By its very nature, the city.people.light research is wide-ranging and visionary. Above all, it reveals that sustainability, both environmental and social, is a major theme for the thought leaders who took part. Their understanding of ‘sustainability’ encompasses ideas of society, community, mobility, commerce, architecture, design and aesthetics.

Within this some specific issues stand out: • The need for energy management • Contrasting challenges in advanced and emerging economies • Digitalization • Visions of wireless, personalized lighting solutions • New approaches to design in sustainable cities

Bringing nature back into our city centres – the city moves underground to function on the radiance of naturally filtered light

Energy management Energy management is seen as an urgent priority.

Many of the workshop concepts focus on energy management, possibilities for ‘energy recycling’ and the different types of energy source (solar, gas versus electricity). They also note the potential tension between energy management and the increasing use of light for identity and communication.

Against this background, issues of lighting design and energy management will become increasingly interlinked and convergent in the decade ahead.

Light pollution will also be an important issue, with innovative design solutions required to respond to complex regulations in this domain.

Transformation of

In response to the question “what will a sustainable city of 2020 look like?” a vision emerges of a compact and multi-centred city with good public transport. It is a well-designed, socially mixed environment where communities live and work.

Here people are encouraged to walk and cycle, to care for their environment and to minimize pollution.

Contrasting challenges in advanced and emerging economies The research notes that many cities in advanced economies are no longer growing, while cities in emerging markets are highly dynamic and expanding at an unprecedented rate. Indeed, there is no precedent for a city of 18 million people, a city that is bigger than most countries in Europe.

In discussing the strategies that cities may adopt, the research proposes four alternatives. Some cities may become fast-paced hubs of communication, supporting accelerated modern lifestyles (accelerator), while others will cherish their role as stores of memories and homes to iconic buildings (memory and iconic). Yet others may enable the creation and multiplication of people’s networks, both physical and virtual.

These mega-cities may leapfrog advanced economies, inventing new approaches and new standards. Consequently, they may offer more scope for innovative approaches to urban lighting, as they consider artistic use of light as a sign of progress in their development.

On the other hand, cities in Europe and North America may choose to limit their creative and expressive use of light. Indeed, the general response from contributors suggests that the strategy of ‘landmark’ buildings has no further development potential for such cities.

automotive traffic into a source of clean energy by means of a mechatronic integrated energygeneration system

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Digitalization Digitalization was another theme that appeared repeatedly. How will cities reflect our increasingly connected society? There is a view that the next big technology step will see the convergence of information technology and society. One concept suggests: “The … illumination grid … will be rethought as part of internet-based knowledge and relationship management systems.”

This technological convergence is balanced by the need for social sustainability. For instance, in this comment: “The more time you spend at a computer, the more you need to meet friends.This is encouraging people to return to sustainable, vital cities that are well designed.”

Rethinking the sources for a highly customised outdoor ambience lighting. Here, our own ‘individual aura’ will constantly follow us everywhere. Lighting will be

Visions of wireless, personalized lighting Throughout city.people.light there is a strong emphasis on the use of light to create a sense of belonging and community. However, the concepts for future lighting are not confined to traditional forms. Some express truly visionary aspirations such as personalized light. They explore imaginative possibilities such as ‘forests of light’, lights that people can pick up and put down as they need them, or lighting in the form of firefly-like clouds that follow you as you walk.

Naturally, such solutions imply wireless technology.

Although it isn’t the purpose of city.people.light to predict new technology or products, it is within its scope to explore possible visions that may result from potential future technologies. For instance, it speaks of easier management; adaptable, dynamic lighting; and more revolutionary concepts such as lighting that memorizes the experience of light in different locations.

New approaches to design in sustainable cities Sustainability extends to a desire for lighting that is more in tune with nature. One contributor says: “We have lost contact with natural rhythms.We can give nature back its voice through lighting in the night”.

Lighting is seen as a way to enhance atmosphere and mood. It becomes gentler, more attuned to the natural rhythms and features of the cityscape, such as trees, as well as to the built environment.There is a focus on luminaire design as architectural and lighting aesthetics merge; there are interplays of artificial and natural light. Interior lighting design, shop windows and automotive lighting are assessed as integral elements of urban aesthetics.

Solid-state lighting based on LEDs is considered to have great potential.The contributors see it as a way to accentuate facades and detail. It paves the way for the use of embedded light and ‘smart materials’. It also allows new chromatic effects, although there are also warnings against ‘kitsch’ and excessive use of colour.

Nonetheless, innovative and dynamic lighting technologies are seen as a way to create more subtle lighting that improves the quality of life and enables city dwellers to re-connect with the darkness.

miniaturized in the form of very mobile, truly intelligent,

Integration of urban

artificial ‘light flies’. This high-tech cloud of personal comfort

architecture with nature

might enlighten us and show us the way in the dark

– telescopic luminaires would have the flexibility to grow with the plants and trees surrounding them

Participants: city.people.light workshop Hamburg Jeppe Andersen, Helsingo, Denmark; Michael Batz, Hamburg, Germany; Anke Deeken, Bremen, Germany; Zdravko Genchev, Sofia, Bulgaria; Kristina Hulterström, Gothenburg, Sweden; Florian Köhler, Hamburg, Germany; Martin Lupton, London, UK; Susan Parham, London, UK; Linda Struengmann, Hamburg, Germany; Carola Wingren, Gothenburg, Sweden city.people.light workshop Lyon: Anton Amann, Pamplona, Spain; Susanna Antico, Milan, Italy;Antoine Bouchet, Lyon, France; Matteo Bagnasco, Turin, Italy;Anne Bureau, Bordeaux, France; Giulio Ceppi, Milan, Italy; Philip De Roo, Gent, Belgium; Rik van Stiphout, Eindhoven, Netherlands

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city.people.light workshop Philadelphia: Gustavo Aviles, San Luis Potosi, Mexico;Al Borden, Philadelphia, USA; Pedro Garza, Mexico City, Mexico; Paul Levy, Philadelphia, USA; Denis Cullen McGlade, Philadelphia, USA; Enrique Peiniger, New York, USA; Nathalie Rozot, New York, USA; Denise Scott Brown, Philadelphia, USA; Leni Schwendinger, New York, USA; Sylvie Tremblay, Montreal, Canada city.people.light workshop Shanghai: Ma Bing, Shanghai, China;Yang Gongxia, Beijing, China; Rong Haolei, Beijing, China; Zhang Haicong, Shanghai, China; Zheng Heping,Tianjing, China; Xiao Lianwang, Tianjing, China; Zhan Qingxuan, Beijing, China; Rita Soh, Singapore; James Wallace, Perth, Australia; Lu Xiaozheng, Shanghai, China; Kyung-Jin Zoh, Seoul, Korea

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Digitalization Digitalization was another theme that appeared repeatedly. How will cities reflect our increasingly connected society? There is a view that the next big technology step will see the convergence of information technology and society. One concept suggests: “The … illumination grid … will be rethought as part of internet-based knowledge and relationship management systems.”

This technological convergence is balanced by the need for social sustainability. For instance, in this comment: “The more time you spend at a computer, the more you need to meet friends.This is encouraging people to return to sustainable, vital cities that are well designed.”

Rethinking the sources for a highly customised outdoor ambience lighting. Here, our own ‘individual aura’ will constantly follow us everywhere. Lighting will be

Visions of wireless, personalized lighting Throughout city.people.light there is a strong emphasis on the use of light to create a sense of belonging and community. However, the concepts for future lighting are not confined to traditional forms. Some express truly visionary aspirations such as personalized light. They explore imaginative possibilities such as ‘forests of light’, lights that people can pick up and put down as they need them, or lighting in the form of firefly-like clouds that follow you as you walk.

Naturally, such solutions imply wireless technology.

Although it isn’t the purpose of city.people.light to predict new technology or products, it is within its scope to explore possible visions that may result from potential future technologies. For instance, it speaks of easier management; adaptable, dynamic lighting; and more revolutionary concepts such as lighting that memorizes the experience of light in different locations.

New approaches to design in sustainable cities Sustainability extends to a desire for lighting that is more in tune with nature. One contributor says: “We have lost contact with natural rhythms.We can give nature back its voice through lighting in the night”.

Lighting is seen as a way to enhance atmosphere and mood. It becomes gentler, more attuned to the natural rhythms and features of the cityscape, such as trees, as well as to the built environment. There is a focus on luminaire design as architectural and lighting aesthetics merge; there are interplays of artificial and natural light. Interior lighting design, shop windows and automotive lighting are assessed as integral elements of urban aesthetics.

Solid-state lighting based on LEDs is considered to have great potential. The contributors see it as a way to accentuate facades and detail. It paves the way for the use of embedded light and ‘smart materials’. It also allows new chromatic effects, although there are also warnings against ‘kitsch’ and excessive use of colour.

Nonetheless, innovative and dynamic lighting technologies are seen as a way to create more subtle lighting that improves the quality of life and enables city dwellers to re-connect with the darkness.

miniaturized in the form of very mobile, truly intelligent,

Integration of urban

artificial ‘light flies’. This high-tech cloud of personal comfort

architecture with nature

might enlighten us and show us the way in the dark

– telescopic luminaires would have the flexibility to grow with the plants and trees surrounding them

Participants: city.people.light workshop Hamburg Jeppe Andersen, Helsingo, Denmark; Michael Batz, Hamburg, Germany; Anke Deeken, Bremen, Germany; Zdravko Genchev, Sofia, Bulgaria; Kristina Hulterström, Gothenburg, Sweden; Florian Köhler, Hamburg, Germany; Martin Lupton, London, UK; Susan Parham, London, UK; Linda Struengmann, Hamburg, Germany; Carola Wingren, Gothenburg, Sweden city.people.light workshop Lyon: Anton Amann, Pamplona, Spain; Susanna Antico, Milan, Italy; Antoine Bouchet, Lyon, France; Matteo Bagnasco, Turin, Italy; Anne Bureau, Bordeaux, France; Giulio Ceppi, Milan, Italy; Philip De Roo, Gent, Belgium; Rik van Stiphout, Eindhoven, Netherlands

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city.people.light workshop Philadelphia: Gustavo Aviles, San Luis Potosi, Mexico; Al Borden, Philadelphia, USA; Pedro Garza, Mexico City, Mexico; Paul Levy, Philadelphia, USA; Denis Cullen McGlade, Philadelphia, USA; Enrique Peiniger, New York, USA; Nathalie Rozot, New York, USA; Denise Scott Brown, Philadelphia, USA; Leni Schwendinger, New York, USA; Sylvie Tremblay, Montreal, Canada city.people.light workshop Shanghai: Ma Bing, Shanghai, China;Yang Gongxia, Beijing, China; Rong Haolei, Beijing, China; Zhang Haicong, Shanghai, China; Zheng Heping, Tianjing, China; Xiao Lianwang, Tianjing, China; Zhan Qingxuan, Beijing, China; Rita Soh, Singapore; James Wallace, Perth, Australia; Lu Xiaozheng, Shanghai, China; Kyung-Jin Zoh, Seoul, Korea

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Life after the bulb Luc van der Poel, Martine Knoop

Sustainable lighting solutions without inefficient incandescent lamps

Introduction Since the Live Earth concerts and with the growing discussion on climate change, alert energy saving is really on the agenda now. Governments are putting in place energy regulations and urging industry to come up with innovative solutions.

The best strategy for reducing CO2 emissions is quite simply to use less energy. This is why the incandescent lamp is going to be banned in Australia, and other countries seem to be about to follow suit. Incidentally, the first country to ban the incandescent lamp was Cuba. Two years ago, in an effort to reduce imports of expensive (fossil) fuels, Fidel Castro himself decided that in Cuba all incandescent lamps should be replaced by more efficient fluorescent lamps. Inefficient incandescent lamps need to be phased out and substituted with existing (or new) energy-efficient alternatives, including compact fluorescent lamps (CFLs), energy-saving halogen lamps and LED lamps.

The proposal to ban incandescent lamps, which is supported by Philips, has led to serious discussions, particularly because this is a political decision that is very visible to the public. It is a decision that will bring about direct change in people’s own homes.

The purpose of this article is not, however, to reopen the debate about banning the incandescent lamp, but rather to examine what consequences such a decision would have for lighting design and the quality of lighting in general. Is it possible to

design lighting solutions without incandescent lamps that can offer a higher level of energy efficiency and the same or an even better lighting quality?

Typically incandescent …

In order to compete with a light source like the incandescent lamp, a number of conditions need to be fulfilled. Because its light is so similar to daylight, the incandescent lamp is accepted as a ‘near perfect’ light source, except for its energy efficiency. It has good colour rendering, a warmto-neutral colour temperature, it is produced without using hazardous materials, and it can be put into operation right away at a range of ambient temperatures. Besides this, it is cheap, dimmable, small and has a good shape. These are all very good qualities, but in the end the lamp technology is let down by the lamp’s energy consumption. The 10 lumens or so of light generated per watt is simply not enough.

If we look at typical applications for the incandescent lamp, we see the requirements that a replacement for this classic bulb will have to fulfil.

Two thirds of incandescent lamps are used at home and the rest are used in commercial applications such as shops, restaurants, cafes, hotels and offices.

In the majority of these applications light is used to create a comfortable, ‘homely’ atmosphere.

Impressions of the Live Earth concert

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Life after the bulb Luc van der Poel, Martine Knoop

Sustainable lighting solutions without inefficient incandescent lamps

Introduction Since the Live Earth concerts and with the growing discussion on climate change, alert energy saving is really on the agenda now. Governments are putting in place energy regulations and urging industry to come up with innovative solutions.

The best strategy for reducing CO2 emissions is quite simply to use less energy. This is why the incandescent lamp is going to be banned in Australia, and other countries seem to be about to follow suit. Incidentally, the first country to ban the incandescent lamp was Cuba. Two years ago, in an effort to reduce imports of expensive (fossil) fuels, Fidel Castro himself decided that in Cuba all incandescent lamps should be replaced by more efficient fluorescent lamps. Inefficient incandescent lamps need to be phased out and substituted with existing (or new) energy-efficient alternatives, including compact fluorescent lamps (CFLs), energy-saving halogen lamps and LED lamps.

The proposal to ban incandescent lamps, which is supported by Philips, has led to serious discussions, particularly because this is a political decision that is very visible to the public. It is a decision that will bring about direct change in people’s own homes.

The purpose of this article is not, however, to reopen the debate about banning the incandescent lamp, but rather to examine what consequences such a decision would have for lighting design and the quality of lighting in general. Is it possible to

design lighting solutions without incandescent lamps that can offer a higher level of energy efficiency and the same or an even better lighting quality?

Typically incandescent …

In order to compete with a light source like the incandescent lamp, a number of conditions need to be fulfilled. Because its light is so similar to daylight, the incandescent lamp is accepted as a ‘near perfect’ light source, except for its energy efficiency. It has good colour rendering, a warmto-neutral colour temperature, it is produced without using hazardous materials, and it can be put into operation right away at a range of ambient temperatures. Besides this, it is cheap, dimmable, small and has a good shape. These are all very good qualities, but in the end the lamp technology is let down by the lamp’s energy consumption. The 10 lumens or so of light generated per watt is simply not enough.

If we look at typical applications for the incandescent lamp, we see the requirements that a replacement for this classic bulb will have to fulfil.

Two thirds of incandescent lamps are used at home and the rest are used in commercial applications such as shops, restaurants, cafes, hotels and offices.

In the majority of these applications light is used to create a comfortable, ‘homely’ atmosphere.

Impressions of the Live Earth concert

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Is the end near for stylish yet inefficient lighting solutions like these?

Compact fluorescent lamps are getting better In most cases the number-one suggested replacement for the incandescent lamp is the compact fluorescent lamp. Unfortunately, this light source is not a suitable replacement in all applications. Although the compact fluorescent lamp has evolved from an ugly industrial product into a smaller and more traditional bulb form with warmer colour temperatures that does not flicker or hum, it is not yet fully accepted by some users.

It also has a number of practical drawbacks. The compact fluorescent lamp still requires a start-up time, although this is becoming ever shorter, and is therefore not an ideal solution in spaces where the visit time is short and light is required instantly.

There are also dimmable versions, but these cannot be used in existing lighting installations that were designed for incandescent lamps. However, there are ‘automatic switching’ compact fluorescent lamps available, which switch on when no daylight is available and switch off when the sensors detect daylight.

The issue of recycling is also often raised: fluorescent lamps contain mercury and require careful disposal. A significant reduction in hazardous substances has been achieved in linear fluorescent and compact fluorescent lamps. The mercury content has been reduced to all-time low levels for the industry, and lead and radioactive substances are being eliminated. Nonetheless, compact fluorescent lamps cannot be disposed of with normal household waste. Manufacturers are responsible for collecting the products at the end of their life, for recovering any re-usable materials and for processing any waste to ensure safe disposal. This means that the manufacturers not only have to ensure the recyclability of products, they also have to make provision for them to be dismantled and recycled at the end of their useful life. Consumers have to return their compact

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fluorescent lamps either to the municipal depot or to a shop; the lamps are then taken from there to facilities where their components can be treated, recovered or recycled. It must also be pointed out, however, that although incandescent lamps do not contain mercury they do indirectly lead to the release of mercury into the atmosphere because of the high demands they make on fossil-fuel power stations.

All this is intended to show that although the CFLs offer the greatest energy savings today and represent an important replacement for the incandescent lamp, they are only part of the solution. We also need to consider the case for compact energy-efficient halogen lamps and LEDs, which can also offer many benefits.

Halogen: new technology means energy efficiency Halogen lamps are also incandescent lamps and are sometimes downgraded to energy-inefficient light sources as a result. Nonetheless, a new technology that is being applied in halogen light sources, known as the EcoBoost energy-saving technology, enables a 50% reduction in energy consumption as compared with standard incandescent lamps.

This makes the halogen lamp a suitable option for replacing incandescent lamps. The fact that it is integrated means it can be inserted directly into a standard light fitting. It can be used in dimmable installations, even with an existing incandescent dimmer. And this therefore means it can be used for retrofit as well as new projects. This light source offers a high quality of lighting – comparable to that of the incandescent lamp – with reduced energy consumption. In the short-to-medium term new halogen technologies can offer significant energy savings of up to 50% and should enable a faster switch-over from incandescent lamps.

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Is the end near for stylish yet inefficient lighting solutions like these?

Compact fluorescent lamps are getting better In most cases the number-one suggested replacement for the incandescent lamp is the compact fluorescent lamp. Unfortunately, this light source is not a suitable replacement in all applications. Although the compact fluorescent lamp has evolved from an ugly industrial product into a smaller and more traditional bulb form with warmer colour temperatures that does not flicker or hum, it is not yet fully accepted by some users.

It also has a number of practical drawbacks. The compact fluorescent lamp still requires a start-up time, although this is becoming ever shorter, and is therefore not an ideal solution in spaces where the visit time is short and light is required instantly.

There are also dimmable versions, but these cannot be used in existing lighting installations that were designed for incandescent lamps. However, there are ‘automatic switching’ compact fluorescent lamps available, which switch on when no daylight is available and switch off when the sensors detect daylight.

The issue of recycling is also often raised: fluorescent lamps contain mercury and require careful disposal. A significant reduction in hazardous substances has been achieved in linear fluorescent and compact fluorescent lamps. The mercury content has been reduced to all-time low levels for the industry, and lead and radioactive substances are being eliminated. Nonetheless, compact fluorescent lamps cannot be disposed of with normal household waste. Manufacturers are responsible for collecting the products at the end of their life, for recovering any re-usable materials and for processing any waste to ensure safe disposal. This means that the manufacturers not only have to ensure the recyclability of products, they also have to make provision for them to be dismantled and recycled at the end of their useful life. Consumers have to return their compact

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fluorescent lamps either to the municipal depot or to a shop; the lamps are then taken from there to facilities where their components can be treated, recovered or recycled. It must also be pointed out, however, that although incandescent lamps do not contain mercury they do indirectly lead to the release of mercury into the atmosphere because of the high demands they make on fossil-fuel power stations.

All this is intended to show that although the CFLs offer the greatest energy savings today and represent an important replacement for the incandescent lamp, they are only part of the solution. We also need to consider the case for compact energy-efficient halogen lamps and LEDs, which can also offer many benefits.

Halogen: new technology means energy efficiency Halogen lamps are also incandescent lamps and are sometimes downgraded to energy-inefficient light sources as a result. Nonetheless, a new technology that is being applied in halogen light sources, known as the EcoBoost energy-saving technology, enables a 50% reduction in energy consumption as compared with standard incandescent lamps.

This makes the halogen lamp a suitable option for replacing incandescent lamps. The fact that it is integrated means it can be inserted directly into a standard light fitting. It can be used in dimmable installations, even with an existing incandescent dimmer. And this therefore means it can be used for retrofit as well as new projects. This light source offers a high quality of lighting – comparable to that of the incandescent lamp – with reduced energy consumption. In the short-to-medium term new halogen technologies can offer significant energy savings of up to 50% and should enable a faster switch-over from incandescent lamps.

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to promote products, and this will lead to more sustainable solutions, but the customer’s role and responsibility in creating a sustainable environment will also need to be addressed.

Sustainable lighting solutions – now and in the future At the moment, compact energy-efficient halogen lamps, compact fluorescent lamps and LEDs can replace the incandescent lamp. The latter two options will still come with some restrictions in either price, lighting quality or comfort for the

users in some applications, so the choice should be geared to the specific application. In the near future it may be possible to solve these issues with LED solutions. Depending on the application, there are therefore a number of light sources that can match the characteristics of the incandescent lamp. If this is taken into consideration in the lighting design, it is possible to achieve the same level of lighting quality with reduced energy consumption. This means there is life after the bulb.

LEDs are already replacing incandescent lamps in a number of applications

LED: the perfect solution… but when?

All of the qualities of incandescent lamps described here can be achieved using existing and future LED lighting technologies. LEDs are energy-efficient and give instant light, but they are also dimmable and even allow the colour temperature of the light to be adjusted. By using the right combination of LEDs in a system – amber, white and blue – it is possible to vary the colour temperature of the light from cool to warm white, after which the lighting can be set independently to the desired level.

The current issue for LEDs is their colour rendering properties.Very good colour rendering (CRI of 92) can be achieved, but this results in a lower efficacy. The same applies to the colour temperature; warmer LEDs have a lower efficacy than cool LEDs. In addition to this, there is the issue of colour consistency, which has yet to be improved. It is still difficult to produce LEDs with exactly the same light colour. This is now being solved by selecting LEDs with the same colour properties after production (binning). But in addition to the initial colour problems, LEDs

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can also exhibit changes in colour over time. This makes it more difficult to use LEDs in situations where many light sources are placed next to each other, for example.Visible shifts in colour would be undesirable here.

And then there is the energy efficacy. CFL lamps have an efficacy of about 70 lm/W. This is the efficacy of the lamp, however. When a CFL is placed in a downlight or spot, for example, the system efficacy drops. This is because a CFL lamp has a diffuse light distribution and light gets lost in the optical system if the light has to be directed.

LEDs have the advantage, however, that the light is directional and can be taken to where it is needed without any loss. This means that the most efficient LEDs, which now produce about 40 lm/W, can compete with CFL lamps in these kinds of applications.

Looking ahead to the future, it is expected that in the coming years efficacies of 100 lm/W will be achieved, which means that LEDs will be able

to compete with CFL lamps in terms of energy consumption in other applications as well. The other drawbacks with LEDs mentioned above will also be overcome in due course. In the meantime it is important that the image of LED lighting is not tarnished by the lower-quality LEDs which are currently on the market. In the long term, energyefficient LEDs which produce instant light and offer good colour rendering properties would be the ideal solution for replacing incandescent lamps.

This would leave only one issue to be solved – price. LEDs are still much more expensive than CFL lamps. In the future, consumers will have to make a purchase and the choice will be between CFLs, halogen lamps and LEDs. We know from experience that initial cost is a decisive factor and that although LEDs are much more energy-efficient and will last for about 30 years in normal consumer applications (thus saving the user a lot of money in electricity costs over the lamp lifetime), the initial purchase price will continue to play an important role. Manufacturers and lighting designers can help

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121

to promote products, and this will lead to more sustainable solutions, but the customer’s role and responsibility in creating a sustainable environment will also need to be addressed.

Sustainable lighting solutions – now and in the future At the moment, compact energy-efficient halogen lamps, compact fluorescent lamps and LEDs can replace the incandescent lamp. The latter two options will still come with some restrictions in either price, lighting quality or comfort for the

users in some applications, so the choice should be geared to the specific application. In the near future it may be possible to solve these issues with LED solutions. Depending on the application, there are therefore a number of light sources that can match the characteristics of the incandescent lamp. If this is taken into consideration in the lighting design, it is possible to achieve the same level of lighting quality with reduced energy consumption. This means there is life after the bulb.

LEDs are already replacing incandescent lamps in a number of applications

LED: the perfect solution… but when?

All of the qualities of incandescent lamps described here can be achieved using existing and future LED lighting technologies. LEDs are energy-efficient and give instant light, but they are also dimmable and even allow the colour temperature of the light to be adjusted. By using the right combination of LEDs in a system – amber, white and blue – it is possible to vary the colour temperature of the light from cool to warm white, after which the lighting can be set independently to the desired level.

The current issue for LEDs is their colour rendering properties.Very good colour rendering (CRI of 92) can be achieved, but this results in a lower efficacy. The same applies to the colour

can also exhibit changes in colour over time. This makes it more difficult to use LEDs in situations where many light sources are placed next to each other, for example.Visible shifts in colour would be undesirable here.

temperature; warmer LEDs have a lower efficacy than cool LEDs. In addition to this, there is the issue of colour consistency, which has yet to be improved. It is still difficult to produce LEDs with exactly the same light colour. This is now being solved by selecting LEDs with the same colour properties after production (binning). But in addition to the initial colour problems, LEDs

needed without any loss. This means that the most efficient LEDs, which now produce about 40 lm/W, can compete with CFL lamps in these kinds of applications.

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And then there is the energy efficacy. CFL lamps have an efficacy of about 70 lm/W. This is the efficacy of the lamp, however. When a CFL is placed in a downlight or spot, for example, the system efficacy drops. This is because a CFL lamp has a diffuse light distribution and light gets lost in the optical system if the light has to be directed.

LEDs have the advantage, however, that the light is directional and can be taken to where it is

Looking ahead to the future, it is expected that in the coming years efficacies of 100 lm/W will be achieved, which means that LEDs will be able

to compete with CFL lamps in terms of energy consumption in other applications as well. The other drawbacks with LEDs mentioned above will also be overcome in due course. In the meantime it is important that the image of LED lighting is not tarnished by the lower-quality LEDs which are currently on the market. In the long term, energyefficient LEDs which produce instant light and offer good colour rendering properties would be the ideal solution for replacing incandescent lamps.

This would leave only one issue to be solved – price. LEDs are still much more expensive than CFL lamps. In the future, consumers will have to make a purchase and the choice will be between CFLs, halogen lamps and LEDs. We know from experience that initial cost is a decisive factor and that although LEDs are much more energy-efficient and will last for about 30 years in normal consumer applications (thus saving the user a lot of money in electricity costs over the lamp lifetime), the initial purchase price will continue to play an important role. Manufacturers and lighting designers can help

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Light out of the box Martine Knoop

The need for us to save energy has given rise to a great many discussions within the lighting community about whether or not it is possible to capture daylight during the day, store it and then have it ready to be used whenever it is needed.This would be the most sustainable lighting solution.

One such discussion took place early in 2007 at an LED promotion event for lighting designers and specialists in South America. Once again the question was asked as to whether we can expect the next light source after the development of LED and OLED technology to be a light-collecting device that can release the stored light at a later point in time. The LiDAC employee who was taking part in this discussion was pleasantly surprised on his return to the Netherlands to find the science section of a Dutch newspaper he was reading in the aeroplane was featuring a full-page article on research into the storage of light in a “box”.

This research is being conducted at a number of institutes in the Netherlands. That was a good

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reason to go and talk to a researcher at one of these institutes: Professor Kobus Kuipers at the Center for Nanophotonics at the FOM Institute for Atomic and Molecular Physics. It was an interesting and inspiring interview, in which “photonic crystals” and “nanoscreens” were discussed, shedding light on the possible applications of recent findings in the field of nanophysics.

Photonic crystals, which are special nanostructures, are made up of two regularly ordered materials.

These materials have widely differing refractive indexes, which means that a large proportion of the light is scattered by the interfaces between the materials. As a result of interference from the many light waves that are scattered by the successive surfaces of the photonic crystals, some colours of light are no longer propagated in any direction at all. They cannot escape from the crystal, whereas other colours can.

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Light out of the box Martine Knoop

The need for us to save energy has given rise to a great many discussions within the lighting community about whether or not it is possible to capture daylight during the day, store it and then have it ready to be used whenever it is needed. This would be the most sustainable lighting solution.

One such discussion took place early in 2007 at an LED promotion event for lighting designers and specialists in South America. Once again the question was asked as to whether we can expect the next light source after the development of LED and OLED technology to be a light-collecting device that can release the stored light at a later point in time. The LiDAC employee who was taking part in this discussion was pleasantly surprised on his return to the Netherlands to find the science section of a Dutch newspaper he was reading in the aeroplane was featuring a full-page article on research into the storage of light in a “box”.

This research is being conducted at a number of institutes in the Netherlands. That was a good

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reason to go and talk to a researcher at one of these institutes: Professor Kobus Kuipers at the Center for Nanophotonics at the FOM Institute for Atomic and Molecular Physics. It was an interesting and inspiring interview, in which “photonic crystals” and “nanoscreens” were discussed, shedding light on the possible applications of recent findings in the field of nanophysics.

Photonic crystals, which are special nanostructures, are made up of two regularly ordered materials.

These materials have widely differing refractive indexes, which means that a large proportion of the light is scattered by the interfaces between the materials. As a result of interference from the many light waves that are scattered by the successive surfaces of the photonic crystals, some colours of light are no longer propagated in any direction at all. They cannot escape from the crystal, whereas other colours can.

ilr 2007 / Concepts

123

Photonic crystals made up of air bubbles in titania dioxide, prepared by the ‘Photonic Bandgaps’ group led by Willem Vos. The crystals in photographs (a) and (c) have been exposed to white light. The colours red in (a) and blue in (c) are caused by light of these colours being reflected by interference and therefore being excluded from the crystals. The electron microscope photographs (b) and (d) show in close-up the structure of the air bubbles in the crystals in (a) and (c) respectively. The air bubbles in (d) are smaller than in (b) (radius 0.12 micrometres instead of 0.18 micrometres), which explains why the crystal in (a) reflects red light and in (c) blue light. The scale gradations are 0.5 millimetres in (a) and (c) and 0.5 micrometres in (b) and (d)

Propagation of a pulse delayed in time. After it has

Nanoscreen. Image of the nanoscreens used by the

disintegrated, the ‘normal’ light pulse disappears from sight

researchers, taken using an electron microscope.

again after 2 picoseconds, while the light pulse that has

The researchers varied the length and width of the holes

been slowed down by the photonic crystal remains in the

(x and y) whilst keeping the surface area of the holes

waveguide, and is travelling at a speed that is at least a

precisely the same

thousand times slower than the speed of light

Photonic crystals can also slow down or even stop light that is passed through an optical waveguide.

A very advanced microscope, which can show on an ultra-fast time scale how light is propagated inside a structure, is used to follow light pulses. In the structures mentioned earlier most light pulses disintegrate. The photonic crystal slows most of these light pulses down to less than 10 per cent of the original speed, and in some cases even causes them to stop for 3 picoseconds (3 x 10-12 seconds).

Great progress has been made in the research, but at the same time it is still only at a very early stage. Nevertheless, the prospects are good for

the application of this fundamental research. It is expected that the selective characteristic of photonic crystals can be applied, for example, to make the colour of LEDs more true. The fact that light can be brought to a standstill, i.e. light pulses can be timed, can be used in the field of data communications as well as, for example, in the development of optical chips and bio sensors. The same applies for the ultra-fast optical switching of photonic crystals. The femto-, pico- and nanoseconds that are of relevance in these applications, are less so on the scale of a building, which means that, by and large, the direct application of daylight at night is still no more than a topic of discussion.

Another area of research in the institute focuses on a screen with nanometre holes. Research has shown that these nanoscreens let a large quantity of light through – more than could be expected on the basis of the overall surface area of all holes.

In addition to the fact that extra light is ‘pressed’ through the screen, the colour of the light also changes when light of a very high intensity is shone onto the screen.Two photons ‘melt’, as it were, into one photon with twice the amount of energy.

As a result, infrared light can change to blue light (second harmonic generation). The shape of the holes in the nanoscreen on the nanometre scale matters: the slower the light is passed through

the nanoscreen, the greater the level of efficiency.

Rectangular holes slow down the light more and allow ten times more light through than a screen with round holes, even if the latter have a larger resultant open surface area. At the same time, more infrared light is converted into light in the visible part of the spectrum. Despite the fact that so far only a fraction of the infrared light is converted into blue light, in due course this technology will be used, amongst other things, to improve the efficiency of solar cells and (pico) beamers with lasers, as well as to develop bio sensors.

Lighting designers and architects do not generally think of nanophysics giving rise to applications for daily use. The discussion with Kobus Kuipers showed that the applications really can be practical, even if we cannot expect any great changes at building level in the near future.

Photo: Image courtesy Stichting FOM

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125

Photonic crystals made up of air bubbles in titania dioxide, prepared by the ‘Photonic Bandgaps’ group led by Willem Vos.The crystals in photographs (a) and (c) have been exposed to white light. The colours red in (a) and blue in (c) are caused by light of these colours being reflected by interference and therefore being excluded from the crystals. The electron microscope photographs (b) and (d) show in close-up the structure of the air bubbles in the crystals in (a) and (c) respectively. The air bubbles in (d) are smaller than in (b) (radius 0.12 micrometres instead of 0.18 micrometres), which explains why the crystal in (a) reflects red light and in (c) blue light.The scale gradations are 0.5 millimetres in (a) and (c) and 0.5 micrometres in (b) and (d)

Propagation of a pulse delayed in time. After it has

Nanoscreen. Image of the nanoscreens used by the

disintegrated, the ‘normal’ light pulse disappears from sight

researchers, taken using an electron microscope.

again after 2 picoseconds, while the light pulse that has

The researchers varied the length and width of the holes

been slowed down by the photonic crystal remains in the

(x and y) whilst keeping the surface area of the holes

waveguide, and is travelling at a speed that is at least a

precisely the same

thousand times slower than the speed of light

Photonic crystals can also slow down or even stop light that is passed through an optical waveguide.

A very advanced microscope, which can show on an ultra-fast time scale how light is propagated inside a structure, is used to follow light pulses. In the structures mentioned earlier most light pulses disintegrate. The photonic crystal slows most of these light pulses down to less than 10 per cent of the original speed, and in some cases even causes them to stop for 3 picoseconds (3 x 10-12 seconds).

Great progress has been made in the research, but at the same time it is still only at a very early stage. Nevertheless, the prospects are good for

the application of this fundamental research. It is expected that the selective characteristic of photonic crystals can be applied, for example, to make the colour of LEDs more true. The fact that light can be brought to a standstill, i.e. light pulses can be timed, can be used in the field of data communications as well as, for example, in the development of optical chips and bio sensors. The same applies for the ultra-fast optical switching of photonic crystals. The femto-, pico- and nanoseconds that are of relevance in these applications, are less so on the scale of a building, which means that, by and large, the direct application of daylight at night is still no more than a topic of discussion.

Another area of research in the institute focuses on a screen with nanometre holes. Research has shown that these nanoscreens let a large quantity of light through – more than could be expected on the basis of the overall surface area of all holes.

In addition to the fact that extra light is ‘pressed’ through the screen, the colour of the light also changes when light of a very high intensity is shone onto the screen. Two photons ‘melt’, as it were, into one photon with twice the amount of energy.

As a result, infrared light can change to blue light (second harmonic generation). The shape of the holes in the nanoscreen on the nanometre scale matters: the slower the light is passed through

the nanoscreen, the greater the level of efficiency.

Rectangular holes slow down the light more and allow ten times more light through than a screen with round holes, even if the latter have a larger resultant open surface area. At the same time, more infrared light is converted into light in the visible part of the spectrum. Despite the fact that so far only a fraction of the infrared light is converted into blue light, in due course this technology will be used, amongst other things, to improve the efficiency of solar cells and (pico) beamers with lasers, as well as to develop bio sensors.

Lighting designers and architects do not generally think of nanophysics giving rise to applications for daily use. The discussion with Kobus Kuipers showed that the applications really can be practical, even if we cannot expect any great changes at building level in the near future.

Photo: Image courtesy Stichting FOM

124

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125

Publications Books Light in Architecture Author: Mireia Vergés ISBN-13: 978-9-076-88645-9 Publisher: Tectum Publishers (Belgium), October 2007 512 pages, 400 colour illustrations, paperback Language: English www.tectum.be

Light is the element that reveals architecture. It renders texture and materials, illuminates surfaces and spaces, it creates atmospheres. Light in Architecture is a suggestive and useful guide for those who are conscious of the main role natural light and artificial lighting play in architecture, landscape and interior design. Text, pictures, figures and drawings will guide them through this essential aspect of contemporary design and architecture.

Lighting Spaces

The keys to creating exceptional luminous environments are revealed in this book as 25 of the world’s top lighting designers and consultants showcase their finest work.

Beautifully reproduced photographs illustrate how light can establish moods and manipulate attitudes, reinforce feelings and heighten excitement. Project examples shown include hotels, restaurants, retail, corporate, public, residential, exteriors, houses of worship, performing arts and entertainment facilities, museums and landscapes.

The Art & Science of Architectural Lighting Author: Roger Yee ISBN-13: 978-1-584-71116-2 Publisher:Visual Reference Publications (USA), June 2007 264 pages, 500 colour illustrations, hard cover Language: English www.visualreference.com

Light is life Author: Alain Guilhot ISBN-13: 978-2-953-08030-8 Publisher: Les chemins de lumière (France), December 2007 250 pages, 220 colour illustrations, hard cover Languages: English, French www.architecture-lumiere.com

Des plans Eco-lumière pour les campus Authors: Isabelle Arnaud, Catherine Chauffray Publisher: Ministère de l’enseignement supérieur et de la recherche, Direction générale de l’enseignement supérieur, service du pilotage et des contrats (France), December 2006 72 pages, 49 colour illustrations, 7 drawings, soft cover Language: French To download on the web site: www.education.gouv.fr/cid4710/des-plans-eco-lumierepour-les-campus.html

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Founded in 1977 by Alain Guilhot in Lyon, Architecture Lumière celebrates its 30th anniversary this year.

The world-renowned lighting design agency is specialized in heritage and contemporary illuminations. This art book is an anthology of light, illustrated with outstanding photographs taken in over 30 countries.

France’s higher education authorities have been working since 2004 on an experimental program entitled ’Sustainable development and public lighting: Eco lighting plans on campuses’. This book describes the total or partial renovation of the public lighting on five pilot sites in France and one in Guyana. The experimental program has been conducted in partnership with EDF (Electricité de France) and the AFE (Association Française de l’Eclairage).

Light: Science and Magic An Introduction to Photographic Lighting Authors: Fil Hunter, Steven Biver, Paul Fuqua ISBN-13: 978-0-240-80819-2 Publisher: Focal Press (United Kingdom), March 2007 320 pages, 230 pictures and sketches, paperback Language: English www.focalpress.com

This book provides photographers with a comprehensive theory of the nature and principles of light to allow them to use lighting to express their own creativity. By introducing a logical theory of photographic lighting, readers will learn how to predict results before setting up lights. Unique to this third edition are expanded chapters on available light in portraiture, as well as new information on digital equipment and terminology.

City.people.light Future urban lighting concepts ISSN: 1874-7027 Authors: Marco Bevolo, Fernand Pereira, Maximilian Venzke Publisher: Philips Lighting (Netherlands), May 2007 164 pages, 120 colour sketches, hard cover Language: English www.philips.com

In the early 1990s, Philips Lighting initiated a research programme to explore the future of urban lighting.

A decade on, this book revisited the approach with 40 lighting experts and thought leaders on urban life.

Richly illustrated with the concepts drawn from the City Foresights Workshops in Lyon, Shanghai, Philadelphia and Hamburg, this is a unique source to be shared by all lighting and urban planning experts.

Light art from artificial light Lichtkunst aus Kunstlicht Light as a Medium in 20th and 21st Century Art Authors: Peter Weibel, Gregor Jansen Publisher: Hatje Cantz (Germany), November 2006 ISBN-13: 978-3-7757-1774-8

There is almost no other medium that has revolutionized our world in the way electric light has. We live in cities

716 pages, 750 colour illustrations, 230 black-and-white illustrations, hard cover Languages: English, German www.hatjecantz.com

Report Colour Rendering of White LED Light Sources CIE 177:2007 Authors: P. Bodrogi Chair (HU); P. J.Alessi (US); I. Ashdown (CA); P. Csuti (HU);W. Davis (US); L. Halonen (FI); G. Heidel (DE); R. Hirschler (HU); F. Ch. Hwang (TW); A. D. Jackson (US); Ch. S. Kim (KO); K. Kohmoto (JP); B. Kránicz (HU); Y. Kwak (KO); Li Cheng (CN); M. R. Luo (UK); K. Muray (US);Y. Nakano (JP);Y. Ohno (US); K. Oshima (JP); M. Pointer (UK); E. Radkov (US); D. Rich (US); N. Sándor (HU); J. Schanda (HU); R. Stolyarevskaya (RU); F. Szabó (HU); J. van Kemenade (NL); F.Viénot (FR); S. Weintraub (US); H.Yaguchi (JP);T.Yano (JP); R.Young (US)

ISBN: 978-3-901-90657-2 Publisher: International Lighting Commission (Austria), February 2007 14 pages, 1 figure, black-and-white, soft cover and PDF; Languages: English, short summary in French and German www.cie.co.at

Proceedings CIE Expert Symposium on Visual Appearance 19-20 October 2006, Paris, France CIE x032:2007 ISBN: 978-3-901-90656-5 263 pages, 273 figures and 23 tables, soft cover Publisher: International Lighting Commission

and gardens of light. For almost a century, artists have been working with light bulbs, fluorescent and neon light, glowing LEDs or spotlights.This splendidly produced publication offers an encyclopaedic overview of the development of this genre, from the pioneers of light art in the 1920s and the immersing and interactive environments of ZERO, GRAV, Gruppo T and Gruppo N, to the early light artists from Europe, North and South America, and contemporary productions. Philosophical, art historical and scientific essays complete this spectrum of explorations of artificial light.

(Austria), June 2007; Language: English www.cie.co.at

Standards Emergency Lighting CIE Standard S020/E:2007 Authors: B.Weis, Chair (DE); J.Audestad (NO); J. Breaden (AU); M. C. Crawford (US); H. Finke (DE); J. Horváth (HU); H. Juslén (FI); J. Lecocq (FR); T. Lemons (US); J. L. Pimenta (BR); P. Rombauts (BE); A. Stockmar (DE);A. Tanaka (JP); G.Vandermeersch (BE); C. Watts (UK) Publisher: International Lighting Commission (Austria), February 2007 12 pages, 3 figures and 1 table, brochure and PDF Languages: English, French and German to come www.cie.co.at

ilr 2007 / Publications

127

Publications Books Light in Architecture Author: Mireia Vergés ISBN-13: 978-9-076-88645-9 Publisher: Tectum Publishers (Belgium), October 2007 512 pages, 400 colour illustrations, paperback Language: English www.tectum.be

Light is the element that reveals architecture. It renders texture and materials, illuminates surfaces and spaces, it creates atmospheres. Light in Architecture is a suggestive and useful guide for those who are conscious of the main role natural light and artificial lighting play in architecture, landscape and interior design.Text, pictures, figures and drawings will guide them through this essential aspect of contemporary design and architecture.

Lighting Spaces

The keys to creating exceptional luminous environments are revealed in this book as 25 of the world’s top lighting designers and consultants showcase their finest work.

Beautifully reproduced photographs illustrate how light can establish moods and manipulate attitudes, reinforce feelings and heighten excitement. Project examples shown include hotels, restaurants, retail, corporate, public, residential, exteriors, houses of worship, performing arts and entertainment facilities, museums and landscapes.

The Art & Science of Architectural Lighting Author: Roger Yee ISBN-13: 978-1-584-71116-2 Publisher:Visual Reference Publications (USA), June 2007 264 pages, 500 colour illustrations, hard cover Language: English www.visualreference.com

Light is life Author: Alain Guilhot ISBN-13: 978-2-953-08030-8 Publisher: Les chemins de lumière (France), December 2007 250 pages, 220 colour illustrations, hard cover Languages: English, French www.architecture-lumiere.com

Des plans Eco-lumière pour les campus Authors: Isabelle Arnaud, Catherine Chauffray Publisher: Ministère de l’enseignement supérieur et de la recherche, Direction générale de l’enseignement supérieur, service du pilotage et des contrats (France), December 2006 72 pages, 49 colour illustrations, 7 drawings, soft cover Language: French To download on the web site: www.education.gouv.fr/cid4710/des-plans-eco-lumierepour-les-campus.html

126

ilr 2007 / Publications

Founded in 1977 by Alain Guilhot in Lyon,Architecture Lumière celebrates its 30th anniversary this year.

The world-renowned lighting design agency is specialized in heritage and contemporary illuminations. This art book is an anthology of light, illustrated with outstanding photographs taken in over 30 countries.

France’s higher education authorities have been working since 2004 on an experimental program entitled ’Sustainable development and public lighting: Eco lighting plans on campuses’. This book describes the total or partial renovation of the public lighting on five pilot sites in France and one in Guyana. The experimental program has been conducted in partnership with EDF (Electricité de France) and the AFE (Association Française de l’Eclairage).

Light: Science and Magic An Introduction to Photographic Lighting Authors: Fil Hunter, Steven Biver, Paul Fuqua ISBN-13: 978-0-240-80819-2 Publisher: Focal Press (United Kingdom), March 2007 320 pages, 230 pictures and sketches, paperback Language: English www.focalpress.com

This book provides photographers with a comprehensive theory of the nature and principles of light to allow them to use lighting to express their own creativity. By introducing a logical theory of photographic lighting, readers will learn how to predict results before setting up lights. Unique to this third edition are expanded chapters on available light in portraiture, as well as new information on digital equipment and terminology.

City.people.light Future urban lighting concepts ISSN: 1874-7027 Authors: Marco Bevolo, Fernand Pereira, Maximilian Venzke Publisher: Philips Lighting (Netherlands), May 2007 164 pages, 120 colour sketches, hard cover Language: English www.philips.com

In the early 1990s, Philips Lighting initiated a research programme to explore the future of urban lighting.

A decade on, this book revisited the approach with 40 lighting experts and thought leaders on urban life.

Richly illustrated with the concepts drawn from the City Foresights Workshops in Lyon, Shanghai, Philadelphia and Hamburg, this is a unique source to be shared by all lighting and urban planning experts.

Light art from artificial light Lichtkunst aus Kunstlicht Light as a Medium in 20th and 21st Century Art Authors: Peter Weibel, Gregor Jansen Publisher: Hatje Cantz (Germany), November 2006 ISBN-13: 978-3-7757-1774-8

There is almost no other medium that has revolutionized our world in the way electric light has. We live in cities

716 pages, 750 colour illustrations, 230 black-and-white illustrations, hard cover Languages: English, German www.hatjecantz.com

Report Colour Rendering of White LED Light Sources CIE 177:2007 Authors: P. Bodrogi Chair (HU); P. J. Alessi (US); I. Ashdown (CA); P. Csuti (HU); W. Davis (US); L. Halonen (FI); G. Heidel (DE); R. Hirschler (HU); F. Ch. Hwang (TW); A. D. Jackson (US); Ch. S. Kim (KO); K. Kohmoto (JP); B. Kránicz (HU); Y. Kwak (KO); Li Cheng (CN); M. R. Luo (UK); K. Muray (US);Y. Nakano (JP);Y. Ohno (US); K. Oshima (JP); M. Pointer (UK); E. Radkov (US); D. Rich (US); N. Sándor (HU); J. Schanda (HU); R. Stolyarevskaya (RU); F. Szabó (HU); J. van Kemenade (NL); F.Viénot (FR); S. Weintraub (US); H.Yaguchi (JP); T.Yano (JP); R.Young (US)

ISBN: 978-3-901-90657-2 Publisher: International Lighting Commission (Austria), February 2007 14 pages, 1 figure, black-and-white, soft cover and PDF; Languages: English, short summary in French and German www.cie.co.at

Proceedings CIE Expert Symposium on Visual Appearance 19-20 October 2006, Paris, France CIE x032:2007 ISBN: 978-3-901-90656-5 263 pages, 273 figures and 23 tables, soft cover Publisher: International Lighting Commission

and gardens of light. For almost a century, artists have been working with light bulbs, fluorescent and neon light, glowing LEDs or spotlights. This splendidly produced publication offers an encyclopaedic overview of the development of this genre, from the pioneers of light art in the 1920s and the immersing and interactive environments of ZERO, GRAV, Gruppo T and Gruppo N, to the early light artists from Europe, North and South America, and contemporary productions. Philosophical, art historical and scientific essays complete this spectrum of explorations of artificial light.

(Austria), June 2007; Language: English www.cie.co.at

Standards Emergency Lighting CIE Standard S020/E:2007 Authors: B. Weis, Chair (DE); J. Audestad (NO); J. Breaden (AU); M. C. Crawford (US); H. Finke (DE); J. Horváth (HU); H. Juslén (FI); J. Lecocq (FR); T. Lemons (US); J. L. Pimenta (BR); P. Rombauts (BE); A. Stockmar (DE); A. Tanaka (JP); G.Vandermeersch (BE); C. Watts (UK) Publisher: International Lighting Commission (Austria), February 2007 12 pages, 3 figures and 1 table, brochure and PDF Languages: English, French and German to come www.cie.co.at

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International Lighting Review Yearbook 2007

International Lighting Review Yearbook 2007

International Lighting Review 3222 635 48321 / ISSN 1871-3661 € 24.00