International Lighting Magazine
GRID STIFLES IMAGINATION
MARTIN LUPTON (BDP) Talking trends in Lighting design
LAS PALMAS Creating a landmark
Editorial With pride I would like to introduce you to the very first edition of Luminous, a new magazine published by Philips Lighting, concentrating on the world of architectural lighting. The world of lighting – whether you participate in that world as architect, lighting designer, or manufacturer – is about to move into a new era. We are together facing enormous and exciting challenges and opportunities. Lighting is no longer simply a means of illumination; instead, it is used to enrich people’s lives, to brighten the mood, enhance emotions, increase productivity, give a sense of pride and improve safety. Custom-built and fit-for-use are no longer the exceptions but the rule. And so too, increasingly, is stricter legislation and ever-higher expectations, not least in the field of environmental sustainability and responsibility. If we are to successfully grasp the opportunities facing us, we cannot continue to work from our own perspective. Co-creation is, I believe, the key to our success. It will help to fuel the dialogue between architects and lighting designers and the technical resources of a company with the experience of Philips so that together we can turn imagination into tangible new concepts. With this idea of co-creation, at the core of Luminous, we are hoping to create a platform for a mutually beneficial exchange of ideas. If we are able to inspire each other – architects and lighting designers inspiring us with new visions, new concepts, and Philips inspiring you with new technologies and market-driven prototypes – we can lay the foundations for creating a world that satisfies both the changing needs of society in general and our own efforts to create a business that is truly sustainable, improving people’s lives with lighting. The examples included in this first edition of Luminous demonstrate how creative vision and technical expertise can together achieve something which is more than the sum of its parts. Something that is, quite simply, creating Delight with Lighting. Rudy Provoost CEO Philips Lighting
colofon published by | Philips Lighting BV – Matildelaan 1, Eindhoven. 5611 BD, The Netherlands – www.Philips.com editor in chief | Vincent Laganier editorial department | Marga Janse, Jos van Gemert steering committee | Anissa Abbou, Afke Bokma, Peter Halmans, Dorien van de Weele copywriting | Jonathan Ellis translations | Philips Translation Services graphic design concept | Philips Design dtp studio | Relate4u printing | PCC more info | Marga.Janse@philips.com T: +31 (0)40 27 57956 ISSN nr | 1876-2972
Challenges in Lighting design
Development and Trends in Lighting
LIGHT SOURCE Piazza San Magno, Legnano, Italy
INTRODUCTION Grid stifles imagination?
Blue sky thinking Imaginative ideas
PLATFORM Martin Lupton, London, United Kingdom
PROJECT REPORT Science and Culture Art Center, Suzhou, China
SHOWROOM Hotel du LAC, Eindhoven, The Netherlands
SUSTAINABILITY Las Palmas building, Rotterdam, The Netherlands
PROJECT REPORT Westraven Office Complex, Utrecht, The Netherlands
Recessed lighting Recessed lighting, Lyon, France
SNAPSHOT PUB Department Store Stadium XXL Bugatti Showroom HSH Nordbank Tour Exaltis National Tourism Blvd.
PROJECT REPORT The Luxembourg Philharmonie, Luxembourg
GALLERY Seeing is believing, Indonesia and Asia Pacific
Perceptions The Grid: A tool for design
SPOTLIGHT Agenda, Books, Websites
DIALOGUE Massimiliano Negri
Piazza San Magno Talking with Jacopo Acciaro
“The inspiration for lighting the Piazza San Magno,” lighting designer Jacopo Acciaro told Luminous, “was born in living spaces, along the streets, even standing alone in special places. For me it was critical to capture and exploit with light all the different architectures, paths and open spaces that make the square so unique. My intent was to express, through the lighting project, all the architectural elements present in the area, thus creating a lively and pleasant feeling containing clear-rich shadow and different shades of light.” “For me, one of the factors that has helped create a link between the various surfaces illuminated was the decision to use different colour temperatures. The lighting has been carried out with a colour temperature of 3000K (pot, surfaces of buildings), while for some architectural accents, the choice was a cold temperature of 5500K. We believe that this choice is particularly appreciated because as one’s eyes travel through space, there are common reference points with warnings through colour temperature.” “In the Basilica site, the lighting in the elevated walking area with fountains, benches and vegetation is delivered by a system of little LED luminaires, placed under the wooden benches. The white light which has a colour temperature around 5000K (cold light) is arranged from the top to the bottom like a blade of light, making sure it provides enough illumination to the path itself (around 100 lux).” “There is also scenographic lighting for the trees which will be put to use whenever a special occasion takes place. This lighting will be provided by two recessed luminaries with metal halide lamp bulbs 35W 3000K arranged in the flower pots.” “For the buildings located all around the square, the lighting is provided by nonsymmetrical luminaries which contain metal halide lamps bulbs 70/150W which are placed under the water spots and which deliver precise and controlled flowing light.”
Client City of Legnano, Italy Architect Ermanno Ranzani
Lighting Design Jacopo Acciaro, Massimiliano Morace, Voltaire S.A.S, Milan, Italy Light sources 3000K: pot, surfaces of buildings Philips MASTERColour CDM 5000K: benches and architectural accents Philips SSL customized solutions, LED 0.4 W 4 lm
William Landell Mills: How does lighting get articulated in a project? We try to base everything we do on a strong conceptual foundation. I believe in going through the concept process to arrive at a solution rather than just instantly walking in and saying right this is the best thing to do in this space. It is not about generating a list of kit and locations to put it in; it’s about generating a reason for the kit being in a certain place and doing a certain thing. I think if you look at the work we do, our foundation, you will see that we’re trying to make projects, excuse the cliché: people centred. We want to make the lighting about the people in the space. It is not just about glorification of architecture or light and design; it’s about creating space for people or a place for people to be in. WLM: Why is that people centred? It reflects my personal philosophy on lighting which I developed when I very first got into design. I don’t think there is one correct approach to lighting design. The biological, the physical, the science, the art, the product, the architectural – these different approaches can all generate a really good lighting solution. But if you have people contributing from different backgrounds then you’re going to get an even better solution. WLM: How did your background influence your work? I think what happens is your background – mine is academic and science and engineering – may influence your approach. But ultimately it’s the passion for lighting and the love of lighting design that connects everything and becomes the common language. Then your training becomes a greater influence than the tools you actually use on the job.
Martin Lupton Lighting Designer BDP, London, United Kingdom
Martin Lupton is one of the industry’s leading lighting designers, eagerly sought after for projects and seminars. William Landell Mills and Jasmine van der Pol join him for a wide-ranging discussion of his profession, his views and his ideas.
Jasmine van der Pol: Do you generally start with a team? This really depends on what we are asked to do. If we’re commissioned to do a lighting project and we are asked to do a presentational pitch, we’ll drag in four or five people from our group and we’ll all sit round the table and throw lots of ideas around. We always try to base our pitch on a concept or a series of concepts, just to demonstrate to people how we work. If we are invited to join we want to sit down with the design team and go through the process with them as well. In that way we find we can work with the architect and inform each other’s thinking and sometimes the lighting concept makes the space work better and the architecture changes to facilitate that. WLM: What do you think are the lighting trends? I think one of the big trends I see with lighting at the moment is media facades. You’re essentially turning facades into TV screens by putting lots of LED pixels on them. You are beginning to see them everywhere. It’s a technology-driven solution. The trouble is that
those things are so easy to plug into a DVD player and play adverts on. There is little intellectual content or justification for having them; the majority will just be advertising panels. It’s like that at the moment: if you go to a public square in Japan you’ll have three or four. Every square is like Piccadilly Circus! JvdP: Do you think that is the way of the future or do you think it’s maybe too much? Surely the planners have something to say about it. They do have something to say about it yes. I just think it is happening so quickly at the moment because the technology is new and there is still a novelty value to it. Actually we’ve got two schemes with that sort of technology happening at the moment. What tends to happen is that you have a few, and then everybody starts using them until they are everywhere.
WLM: The gherkin comes to mind I disagree that this is just decoration. In my opinion Foster & Partners are one architectural practise who use daylight well; a lot of their work revolves around daylight. But there are lots of other architects building lots of things that don’t acknowledge daylight as a light source. Our buildings are much denser, the space more deeply planned. We’re trying to pack more and more people into less space in the city so space is becoming a premium. But for me, the true sustainable lighting is daylight. And that’s the connection we’ve got to rediscover. 7th January 2007 Extract from the Light and Emotions Research on going by Synovate Qualitative Research and Philips Lighting
WLM: Do you think they can enhance or is it potentially doom-laden? I think it could potentially be doom laden, unless somebody realises that we could end up with City Squares with screens everywhere. You could end up with everybody living in Vegas, simply because the technology has become readily available and affordable. Well I would hope that actually we would have... WLM: Better taste? Yes, I would hope so. But we’re such a media driven society now. WLM: How does that fit with ecology? What’s happening in those terms? Well that’s a very bright area for what we do. I really think that the sustainability issue is a real opportunity for the lighting designer’s profession. I think we need to be more socially responsible about what we do. Every time I put a dot on a drawing it’s a bit of energy used on somebody else’s behalf. I’m ultimately responsible for the energy they use and it is something we have to address seriously. I see that as a key to promoting professional lighting and design. People have the skills and the qualifications and the moral responsibility to apply lighting sensitively and in the right context. But they also have the responsibility of minimising energy consumption and deciding responsibly not to light certain things. I think sustainability is also going to facilitate our reconnection to daylight. We are already seeing this. Over the last 30 years or so, architects seem to have lost the skill of daylight design. They don’t design buildings to be day lit any more. Windows aren’t considered as a means of getting light into buildings; they consider them as decoration on the side of the building. How can I do my window layout, how is it going to make my façade look? It is all about decoration...
Las Palmas– rOTTERDAM, THE NETHERLANDS
creating a landmark Interview by Jonathan Ellis
An interview with Marten Wassmann about the challenges he faced when redeveloping the Las Palmas building in Rotterdam. As you approach the redeveloped Las Palmas building at night, you are immediately struck by the ring of light – created by a chain of LED lights measuring 160 metres – which emphasises a modern structure on top of the original building that dates from the fifties. “Las Palmas is a symbol to many people in Rotterdam”, explained Marten Wassmann of Benthem Crouwel Architects.” It was built in the fifties as the work-place for the Holland America Line and we wanted it to become a landmark for the Kop van Zuid development. The original plans included the possibility of erecting two new storeys on top of the building, but interventions during the construction stage – such as the inclusion of light domes had made full use of the roof impossible. We had several ideas – a restaurant, penthouses, offices – but when OVG purchased the building from Rotterdam council they were so impressed with the design that they decided to use the penthouse for their head-office. The building is known now as Las Palmas Penthouse – and ships passing see the name spelt out on the side of the building in Morse code illuminated by Philips.
9 Jannes Linders
“Another possibility we were able to incorporate was a parking deck under the penthouse. The car fleet of OVG consists of 14 Mini Coopers, and these now reach the parking deck in a converted goods lift from the cellar. I understand OVG is now planning to allow visitors to use the lift and deck. During the ascent – which takes a minute and a half – they will be shown a film about OVG projects. “In May we are starting further redevelopment of the roof. We are turning it into a roof-top garden. The buildings surrounding Las Palmas will be able to look down on a patch of green. We initially had the idea of creating a city camping site on the roof, but that was considered too radical by the city council. We are now laying grass on the roof instead. This has not only an aesthetic role, but also a practical one. The grass layer will provide better insulation to the building and will also retain moisture before it enters the waste system. “ Is this part of an effort to introduce sustainability into the building? “I wish I knew what the word meant,” replied Marten Wassman. “If I asked you how your relationship was and you replied ‘sustainable’, that wouldn’t be very positive, would it? Obviously we must all do something to contribute to the concept of sustainability. After all, building and construction is responsible for 50% of waste in the world. But I think we all too often concentrate 10
on doing things less badly rather than on actually improving them. “In Las Palmas we obviously integrated as many energysaving features as possible – movement detectors to turn lights on and off, for example – but more importantly, we made very conscious decisions. We used light where it was necessary. Was the ring of lights around the penthouse necessary? I believe it was. It is a gesture towards the building’s past and to its future. Even in times of sustainability, our cities need landmarks.”
Client OVG Projectontwikkeling Architect Benthem en Crouwel; Marten Wassman Lighting Consultancy Wibeke Polle,Philips Installer Inteco / C2N / ETB VOS Light sources Philips TL5 and LED Luminaires Philips Ledline2, Origami, Fugato, TBS and Inteco
11 Jannes Linders
PUB - Department Store, Stockholm, Sweden The project was to re-design PUB, the oldest department store in Sweden. Formerly a rather anonymous city galleria, PUB is changing into a modern department store focused on fashion for a young, urban, internationally orientated target group. Lighting plays a significant role in the project, balancing the historical roots with a modern, constantly changing content.
The lighting design concept for the cupola aimed to emphasize its role as a natural centre point of the department store. The architectural design allowed for an interesting play with light, shape and movement. By changing the colours, the intensities and the speed of the dynamics of the 500 RGB LED light fittings that are hidden in the construction, the cupola transforms into a living element that breathes light.
Client Atrium Ljungberg Stockholm, Sweden Architect BAU Arkitektur, Hans Birkholz, Ulrika Lundgren, Stockholm, Sweden Lighting Design Kai Piippo, Clara Fraenkel, Paul Ehlert Ljusarkitektur, Stockholm, Sweden Light sources Inside the circular niches created in the ceiling: Philips iColor Cove, ColorBlast 12 Powercore, linear high intensity LED luminaire RGB
Stadium XXL, Gothenburg, Sweden The new Stadium XXL is more than a store: it contains not only an exceptional range of sports products and brands, but also a sports café, a cycling station, putting green and a runner’s lab. The architect wanted comfortable retail lighting that would help create an interesting shopping environment and so a special fixture was developed and designed according to the demands of the customer. New techniques and fixtures with an appropriate design and light output were used to create a combination of well lit and tuned down retail areas.
Client Stadium XXL Architect Josefine Larsson and Tomas Eriksson TEA, Stockholm, Sweden Lighting Consultancy Lars Gärdebäck, Fagerhult Retail Lighting controls DALI, DSI system Accent lighting for display Fixed on aluminium rail: Marathon, wide, medium and narrow spotlights Fagerhult, Philips MASTERColour
Client Brinkmann Group Interior architecture Paul Gielissen Gielissen Interiors & Exhibitions, Netherlands and Germany
Bugatti Showroom, Düsseldorf, Germany The assignment was to turn factory Hall 29 into a showroom for fashion house Brinkman Gruppe where retailers could buy in their new collections while still retaining the building’s original industrial atmosphere. The enormous space breaths peace and openness. The architecture is largely implemented in light colours and much of the original metal has been left exposed. The floor, high panels and furniture, all made of the same materials, provide a contrast to the light colours.
Gielissen Interiors & Exhibitions
The lighting design concentrates on bright white light and results in a crisp colour reproduction, providing retailers with an accurate view of what they are buying in.
Architect Jeroen van Alphen Lighting Design Nicolò Brambilla, Marike de Kruiff, Philips LiDAC International Light sources General lighting for people Fixed on the aluminium ceiling cladding: Philips MINI300, surface mounted. CDM- TD Customers’ room Recessed in the lower ceiling: Philips Fugato functional downlight and Fugato compact adjustable, projector downlight, 36° beam with Philips MASTERColour CDM-T Accent lighting for display Fixed on aluminium rail: Musa, track mounted projector, 12° beam, Philips MASTERColour CDM-T
HSH Nordbank Private Banking, Hamburg, Germany HSH Nordbank wanted to offer a special ambiance for their customers with the possibility of changing the atmosphere with lighting to reflect the events taking place in the building. The space is also used for cultural events, such as piano recitals and literature readings. During office hours, the lighting system is used to create a dynamic ambiance and stress the time of the day for clients and staff. Cove Lighting is used in an AWB, Amber, White, Blue programming mode. RGB will only be used for events. The highlight of the interior design is the High Grade Steel Stairs; although it is possible to change the colour of this stairway, HSH Nordbank has decided to keep it blue in the colour of the company.
Client HSH Nordbank private Banking Architect Nugent Heitmann Montufar NHM architects, Hamburg, Germany Planner Pinck Ingenieure, Hamburg Lighting Design Carlos Montufar, NHM architects Lighting Consultancy Myla Stรถrtebek Light sources Cove lighting Inside the niche created in the architecture: Philips Cove lighting AWB, low power LEDs High Grade Steel Stair lighting Behind the translucent glass: Philips LEDline2, Philips High Power LED Controls: Philips ColourChaser DMX and Colour Wheel
Tour Exaltis, Paris La Défense, France This office building of fifteen levels and 23 000 m2 appears to be a “small building” compared to the surrounding skyscrapers. Its daring architecture features a clear green glass façade, which gives the impression of a luminous transparent prism.
At night the building’s ceilings are a constellation of small lighting points, created by the interior lighting of the open-plan offices. Breaking with traditional grid of embedded fluorescent square 600x600cm, the architects chose to fix round metal perforated cases in the ceiling with circulars downlights. These tailor made luminaires (210 mm diameter) were created with decorative glass using fluorescent compact.
Client La Mondiale Architect Bruno Willerval, Bridot-Willerval, France Bernardo Fort-Brescia, Arquitectonica, United States of America Technical Research Department COTEBA, SFICA Light sources Office lighting Philips tailor made luminaires, circular downlight 18 and 26 Watt
Luis Guillermo Gomez Duran; Paulina Alamo
National Tourism Boulevard, Santiago, Chile Santiago’s most important bus station is the Central District Station. Jotabeche Street has been transformed into a 120 meters long and 19 meters wide boulevard. The station’s 35 meter tower has become a new landmark in the city. This is especially due to its dynamic lighting system which represents the motion of traveling. At night, this space turns into an amazing exhibition of life, and it has become something of which Santiago’s inhabitants are very proud.
Client Inmobiliaria Pullman Bus Costa Central S.A. Architect Felipe Banda M. & Arquitectos Asociados Lighting Design Paulina Alamo, Philips LiDAC Chile Light sources Tower lighting Fixed on the steel beams Philips LEDline2 RGB Building lighting Fixed on the steel beams Philips ConTempo RVP350, symmetric and asymmetric with Philips MASTERColour Lighting controls Philips ColourChaser DMX144
Gong Zhang, Huge Shape Vision Art studio
The Grid is like a skeleton, underlying the structure, composing and sequencing the elements. The Grid is one of the oldest mediums of construction.
ways of employing ceiling luminaire arrangements to create a proper ambience: Westraven in Netherlands and Philarmonique in Luxembourg.
From urban planning to architecture, from the ancient Greeks to the American city plans it is the background design for organizing the space. Piet Mondrian in art or Frank Lloyd Wright in architecture created their aesthetics using a predictable Cartesian grid. More recently, Renzo Piano and Bernard Tschumi superimposed different grids in their architecture design. And Jean-Claude Bignon is demonstrating that the Grid is far from passé.
In lighting, the Grid provides a set of points in a two dimensional plane, at which the lighting calculations will be carried out: illuminance and luminance values. The grid here is predefined by the architecture dimension itself. It can be measured in any plane: floor, wall or ceiling. But it must always be rectangular, whereas in architecture the grid could be hexagonal like the Suzhou Science and Cultural Centre façade in China reviewed here.
Where should architect and lighting designer work more together? It is on the luminaire arrangement grid – the luminaire spacing, position and orientation in the architecture design. In that respect, a lot still can be done! How often in offices does the light from downlights concentrate too much on the wall, creating distracting hot spots in the visual field? Two examples presented here illustrate alternative
Does the Grid stifle imagination? If you look at the original way designers are using the grid for lighting their architecture, you will probably say no. And perhaps in your next project, your imagination will release the flexibility of the Grid. Vincent Laganier 19
THE SUZHOU SCIENCE AND culture art CENTER, CHINA
A BRILLIANT SKIN Interview by Diana Y. Lu
Few cities have stood the test of time better than Suzhou. It is said to be more than 2500 years old and its beauty has become a legend. Today it boasts the magnificent East Gardens and typical “white wall, black roof” houses along the river.
It is also a city that is undergoing radical change, as new buildings – many in the new Singapore Industrial Area to the east of the city – spring up. The latest building to grace Suzhou is the Science and Culture Art Center, a stunning example of modern architecture based on a concept by the French-based architect Paul Andreu and executed under the supervision of Cui ZhongFang of East China Architectural Design & Research Institute in Shanghai.
Perhaps we could have achieved a greater integration between all aspects, by combining different sources of light. Architectural design is only part of the life of a building. As time passes, it is the users who decide how successful we have been.”
“A piece of façade, a piece of peel and a garden”, explains executive architect Cui ZhongFang. “These are the elements of the final design. The façade of the main architecture, the peel of the commercial centre in the middle and the garden inspiring the landscaping.”
“It is essential that we convey the imagination of the architect,” said Mrs. Jin. “That is the starting point for our design. We focused on the peel and the façade, trying to bring to life the original concept of the ‘Brilliant Peel’.
Undoubtedly, it is the metal mesh of the façade that provides the building with its unique identity. Searching for the right decorative element for the metal mesh occupied much of the architect’s time. “I wanted to create something that is familiar, but something with new technology. It was like searching for an elusive memory. I wanted it to be linked to the rich tradition of Suzhou, but at the same time unique. And it had to be repetitive for easy production and construction. It is traditional design, absorbed and reborn in a new form. “The façade itself is constructed of nearly 2,500 repetitive hexagones. The architecture we created is not simply a reappraisal of the past; it is modern to the core. When we discuss modern architecture, we are not talking about the use of modern materials and technology, but about a modern approach to the concept of space. Architecture is designed for people. It is a dialogue between the architect and the users. Lighting concept
“As architect, I concentrate on the soul of the building. The lighting design was included at the concept stage and we concentrated very much of the final lighting effect. But I believe we could have achieved something even better. For me, architecture must be an integrated whole. 20
The lighting concept was in the hands of Mrs. Peipei Jin, local cooperation designer for the Suzhou Science Culture Art Center. How did she approach the design?
During the day, the façade changes as daylight moves across it; in the evening, the lighting incorporated in it encapsulates the building in a coloured skin. Each hexagon embedded eight LED low profile fixtures, each fixture containing 6 Red, 6 Green and 6 Blue 1 Watt high-power electroluminescent diodes. “In the evening,” explains Cui ZhongFang, “the mesh is not only emphasised by the LED lighting, but also by the interior lighting penetrating the façade. It provides a total view of the architecture.” Mrs. Jin concluding: “Using a dynamic lighting method, we tried to create an emotional and living concept, echoing the theme of the architecture. By carefully balancing façade lighting, roof lighting and interior space lighting, the whole building becomes both brilliant and mysterious.”
Client Suzhou Science and Culture Art Center Architect Paul Andreu; Paul Andreu architect; Paris, France (Concept design) Mr. Zhongfang Cui, East China Architectural Design & Research Institute Co., Ltd., Shanghai, China (Executive architect)
Gong Zhang, Huge Shape Vision Art studio
Lighting Design Mr. Y.Nakamura, Tokyo Shomei Consultant Co.,Ltd., Tokyo, Japan (Concept design) Mr. Junwei Xie, Ms. Peipei Jin,; Shanghai Lighting Landscape Engineering Co.,Ltd; (Detail design and on-site support) Electrical installer Ningbo Municiple company, China Project coordinator Gongquan Qian and Diana Liu Philips APR Light sources Philips Lumileds LUXEON 速 Led IW Red Green Blue Luminaires Philips Low profile Strip II BCS780-18 RGB SP Controls Philips Activemix systems i_BUS, ABB
23 Gong Zhang, Huge Shape Vision Art studio
jewel of light Written by Isabelle Arnaud
The Luxembourg Philharmonie:
stage of the chamber music hall dressing room for solists
Backstage void of the rehearsal rooms dressing rooms for solists void of the rehearsal rooms
stage of the auditorium Backstage the ticket booth 0m
5 m 10 m
musicians’ dressing rooms
French architect, Christian de Portzamparc, created a real harmony of shapes, colour and lighting that envelops and at the same time, comes from the building of the Luxembourg Philharmonie. Georges Berne, French lighting designer, L’Observatoire 1, took part in the project from an early stage.
De Portzamparc conceived the building in the shape of an oval, with an external appearance provided by a colonnade screen formed by 823 closely spaced steel columns at the perimeter supporting a thin, radius-edged roof. At the front prow of the ellipse, de Portzamparc widens the spacing between columns to accommodate the entrance that runs parallel to Avenue Kennedy. Two shells clad in metal panels rise on either side of the main structure. The tangential curve of one appears to launch visitors arriving from underground parking into the peristyle. The other arcs up as the carapace of the chamber-music hall. Stretching 126 meters at maximum length, and 109 m at maximum width, the building dominates the Place de l’Europe situated in the Kirchberg quarter on the north-east side of Luxembourg. Along with acoustic excellence for concerts ranging from symphonic music to amplified jazz, the tacit expectation was that the structure rise to its ceremonial function as a crowning symbol of the new, sophisticated Luxembourg City. The concert hall also had to address the plateau’s main thoroughfare and ceremonial boulevard, Avenue John F. Kennedy A dialogue of transparencies
“I believe”, says Christian de Portzamparc, “that space can be considered as a phenomenon that one discovers throughout time, movement, with all its surprises and its
sequences. When sound and light fill in this wonderful emptiness which opens between the built shapes, then space and music reveal each other. “Seen from inside, the play of light here is very particular. The observer discovers a continuous dialogue of transparencies. Even before I visited the site, looking at the pictures of this neighbourhood, I thought of guiding the public towards the future building through a forest ring of high trees, but then, once I saw the site, I thought of a façade filter, neither completely opaque nor totally transparent, but rather an envelope of light, with the auditorium in the centre. A foyer-gallery encircles the central kernel of the hall. The façade of this peripheral foyer is a vast filigree of fine columns mathematically organized in curves. The rhythms affirm the outer shape of the hall and offer a wealth of varying views deep into the building, depending on where you stand. “I like the contrast between the brightness of the illuminated foyer-gallery and the darkness of the concert hall. In between, the wall looks like a prismatic cliff, from which colour springs up. These colourful crevices achieve a particular chromatic subtlety, making the geometric façades decompose the colours at a height of 20 metres.” A partition of light
Outside, the building works as a “lamp” in the night, as indeed was Christian de Portzamparc intention. 25
Coming from the asymmetrical downlights (Odyssey) recessed in the ceiling of the foyer-gallery and through the glass façade between the steel columns, a white light bathes the Place de l’Europe. Outside, recessed ground projectors complete the lighting. To meet the architect’s requirement, the place has been freed of all the lighting poles in order to offer a full view of the new building at night. The illuminance levels go from 5 to 10 lux, depending on the program chosen for the lighting (all lamps on or half of them). “Our reflection on the lighting concept of the Philharmonie building”, explains Georges Berne, “concerned both the interior and the exterior of the building. We were in charge of the urban lighting, and we took the opportunity to create lighting effects that reveal the architecture of the building from the inside and illuminate at the same time the Place de l’Europe, created by Riccardo Bofill in 1996.” Inside, the colonnade of the foyer-gallery is lighted by a white light emanating from the downlights Odyssey, designed previously by Georges Berne for another Philips installation, equipped with two metal halide lamps, one of 70 W and one of 150 W. “Two rows of fixtures are disposed in the ceiling, evoking notes of music on a stave”, adds Georges Berne. 260 downlights have been installed, offering a level of 50 lux obtained when the 70 W luminaires are on, 100 lux when the 150 W luminaires are on and 150 lux when all the downlights are lit. Furthermore, the homogeneous and powerful light of this system allows the hollow prismatic crevices of the “high cliff” to provide a changing, coloured lighting experience. From far away, by night, the public can tell if there is a concert or not: if there is a concert, this dimming coloured vertical light illuminates the crevices, otherwise the monument shines only in a white light, letting the architecture be a silent but luminous spectacle.
Client Ministère des travaux Publics, Administration des Travaux Publics, Grand Duché du Luxembourg Architect Christian de Portzamparc, Paris, France Lighting Design Georges Berne, François Migeon, Remy Cimadevilla, L’Observatoire 1, Paris, France Consultant engineers: Felgen & Associés Electrical installer Cegelec Luxembourg Light sources Philips MASTERColour CDM Luminaires Philips Odyssey 310 Artemide; Bega; Erco, iGuzzini, LEC, Le néon de la Capitale, Martini, Panavision, Targetti, Z-Lighting,
27 Nicolas Borel
Office Complex Westraven – Utrecht, The Netherlands:
two years on Interview by Jonathan Ellis
An interview with Ronald Schleurholts, architect of the Westraven Office Building for RWS, the Dutch Directorate of Public Works and Water Management
The former Westraven Tower in Utrecht held few charms for the people working in it. Sombre, small rooms shut off from contact with others, depressing. It was a challenge for Ronald Schleurholts, architect with the Dutch design agency Cepezed, to radically change the building. “There was initially a lot of resistance from the people who worked there,” said Ronald Schleurholts. “Few were eager to return, not just because of the memories of how things used to be, but also because they were uneasy about the high level of transparency we had introduced into the building. Before, people were able to hide themselves away in their cubby-holes; now everybody can see everybody else. You can see who is sitting in the director’s office. You know if your colleague is available. And this has had a positive effect. The transparency, I am told, is also reflected in the management style. People are now involved. And the views from the building are fantastic. You can now look out over the canals and motorways for which the people working in the building are responsible.” The building that was formerly so dark and oppressive is now bathed in light. In fact, the Westraven Office Complex won the coveted Daylight Award in 2008. This award is presented every two years to a building that demonstrates an optimum combination of daylight, artificial lighting and architectural excellence. “Introducing as much daylight as possible was our first priority. People function better in daylight. They feel more comfortable, more in tune with the natural rhythm of life. Daylight is constantly changing, and this is far more stimulating than a bland, constant light level often found with traditional uses of artificial lighting. By introducing so much glass and allowing natural light to enter the building, people are happier doing their work. What’s more, they can orientate themselves better in a building which offers both a view and daylight.
DOSSIER Korff en Van Mierlo
Korff en van Mierlo
“Of course, artificial lighting is also essential. We were able to combine the benefits of both by introducing daylight-controlled artificial lighting. The system of dynamic lighting we used actually ensures that the artificial lighting mirrors daylight. Constantly changing in subtle ways. In this way, we create an ambiance that is pleasant for work. You know, a building only really comes to life when it is lit. It is light that makes a building interesting. Yet it mustn’t be intrusive. A building should not suddenly change when the lights are switched on. This is disturbing. One project we undertook was a car showroom. Now cars are designed to look their best out of doors. So the challenge was to create an environment in which we brought the outdoors inside. A careful combination of natural and artificial light plus a well chosen finishing made this possible. “ The Westraven Tower leans heavily on the use of the grid. Did Schleurholts find this restrictive? “I think it is important to include the grid as early in the design stage as possible. By using it, you design in flexibility – it gives you enormous freedom for designing the interior space and adapting it at a later date. After all, a building needs to be able to change. By using a grid you make it possible to change the building as the need arises. “Another advantage of using the grid was that we were able to design high-quality ceiling units. Thanks to the high repetition of these elements, standardised high-end elements could be used within the strict budget parameters. In these, we incorporated lighting, air conditioning, loudspeakers – all the modern technologies that are essential in an office building today. But we were able to make them unobtrusive. People shouldn’t be bothered by technique. It is there to serve them, not to take centre stage. “In our design, we made use of two different ceiling elements – one for the office space, the other for the corridors. The grid provided structure, yet gave us the opportunity of designing in deviations to the grid which makes the building fascinating. When you drive past the building in the evening, you see the grid clearly. The lighting accentuates it. But you are also aware of the deviations. It is much more interesting. “ Now that the office building is in use, Ronald Schleurholts is still satisfied with the results he achieved in Westraven Tower.
Client Rijksgebouwendienst (Dutch Ministry of Housing and Construction)
“I certainly believe we produced the best design possible within the parameters set. But more importantly, the reactions from the people who work there – and they are, after all, the most important critics – have been uniformly positive. The initial resistance – the idea that everybody would be subjected to social control in such an open and transparent environment – has disappeared. People now feel comfortable, relaxed. And I am convinced that much of this is due to the use of light. It certainly provides a stimulus to continue along the same road in the future.”
Architect Ronald Schleurholts, Jan Pesman CEPEZED Architects Delft, The Netherlands Lighting consultants Het Lichtatelier - Grontmij Technisch Management Amersfoort, The Netherlands Philips LiDAC Benelux Light sources Philips TL5 2700 and 6500K Luminaires Philips TBS 375, Lightmaster Modular system Lighting scenario’s Dynamic lighting; summer and winter scenario, temperature limiting 25 ºC, minimum lighting intensity, EN-12464
The grid: a tool for design By Jean-Claude Bignon Architect, Professor Ecole Nationale Supérieure d’Architecture de Nancy CRAI-MAP (Centre for Research into Architecture and Engineering)
Architectural and engineering design is, by nature, very complex. It requires the use of graphic interventions to assist with the formulation and solving of problems. Among the various instruments for representation, the grid is a particularly fruitful device, which makes it possible to guide research into forms, while reducing the field of possible solutions and showing what the products, works or spaces are capable of.
A grid can be defined as an ordered network of axes in one or more directions, and with one or more pitches (fixed or variable spacing). A grid is therefore a graphic tool in the same way as a line, a full stop, a symbol or a mark. However, it is also a scalar system, the variables of which (and their values) assist design operations. Each of the axes of the grid can be assimilated to discrete units which have no meaning, but which combine into complex units (or modules) which do have meaning. Some examples of grids will illustrate this text.
to unlimited combinations, it assures unity in diversity, which is an incalculable advantage, a miracle derived from numbers2”. The construction of a “harmonic grid” from a modular unit acts for Le Corbusier as a measurement system which makes it possible to reduce the almost infinite number of dimensions of an open work by means of the metric system, by replacing this number by a proportioning device which is more limited, but is based on the human scale.
13th century: wall and floor tiles
In 1978, the Association Construction et Composants (Building and Components Association - ACC) proposed a document concerning the general conventions for dimensional co-ordination. By defining a co-ordination grid with vertical steps of 100 mm and horizontal steps of 300 mm, the ACC proposed a reference system for “those who create ranges of components, or structural systems, who participate in the development of particular conventions for assembly, tolerance and quality, or who conceive projects with concern for architectural and technological openness3”. According to the authors “the use of a dimensional discipline based on modulation represents an element of simplification”. The simplification provided by this ACC grid went hand in hand with anticipation of problems relating to compatibility of components and implementation, in terms of both definition and positioning of the products. It co-ordinated not only the dimensions, but also the technical devices, and even the implementation operations. This is what gave it its operative character for technical design within the context of logic which is known as “open industrialisation”.
Towards the end of the 13th century, “Parisian tilers had the idea of forming small mosaic elements from tiles which were surface-etched before being fired. Although the technique was already known for dividing a tile into two triangles or rectangles by means of a simple incision, this workshop produced several incisions in order to create as many as sixteen or even thirty two multiple small elements from a single square. […] It therefore became possible to create remarkably complex mosaic panels1”. In this example, the idea of forming a grid for the products and surfaces to be covered is based on the search for a practical combinatory system for their creation. The grid acted as a calibration tool, at a time when measurement units were not homogeneous, and when graphic documents, when they existed, never contained dimensions. However, the module was also used to guide the design work. Grids based on modules provided a mathematical or even spiritual essence, by assisting with the proportioning and positioning of the parts of a building. 1940:the Modulor
In the forties, Le Corbusier developed a measuring system which he intended to be universal, and was designed to proportion spaces, works and objects: “The Modulor controls lengths, surfaces and volumes. It maintains the human scale everywhere, and lends itself 32
1978:the ACC grid
The effectiveness of the grid
These examples emphasise the dual efficiency of the grid. Firstly, it provides designers with a genuine measurement system which reduces the field of possibilities to dimensions which are considered to be relevant from
UMR CNRS MAP - ENSAL
a point of view which is simply technical, or one which is more “philosophical”. While analysing the principle of regularity more generally, the historian Jacques Guillerme saw graphic reticulation as a “network which generates a limited number of spatial operations by means of a law of continuous co-ordination4”.
Location Cité internationale, Lyon, France Architect Renzo Piano Building Workshop, Genova, Italy
It also makes it possible to anticipate the object (the product or component), proportion it and position it so as to facilitate its execution. The grid therefore acts in two ways, i.e. as a means of simplification of the possible solutions, and as a heuristic projection of the problems of measurement and position. The grid is an instrument which acts in the complex system of design. Against the random, it proposes the rule; against the uncertain, it proposes the premise; against the infinite number of measurements, it proposes the informed dimension. The grid therefore plays a particularly fruitful part in assisting design. It constitutes a system of “operative lines” which regulates graphically the space of the representation, and semantically the space of the design. It is a simulated figure which makes it possible to measure and position, and therefore to plan.
. Norton, Carreaux de pavement du Moyen Age et de la Renaissance [Floor tiles C in the Middle Ages and Renaissance] art and history catalogue of the Musée Carnavalet, Paris, Editions Paris-Musées, 1992.
L e Corbusier, Le Modulor, Essais sur une mesure harmonique à l’échelle humaine applicable universellement à l’architecture et à la mécanique [The Modulor, Essays on harmonic measurement on a human scale, which is universally applicable to architecture and mechanics] , Paris, Editions de l’Architecture d’aujourd’hui, 1983.
A CC, La Pratique de la coordination dimensionnelle, les conventions… Pourquoi ? Comment ?, [Dimensional co-ordination in practice, the conventions … Why? How?] Paris, Editions du Moniteur, 1979.
“ Notes pour l’histoire de la régularité” [Notes on the history of regularity], Revue d’esthétique, Paris, n°3, 1970.
IMAGINATIvE CONCEPTS Philips Research
Imagination is at its best when it knows no restrictions. When the mind is allowed to range freely, exploring new paths that could lead to solutions that make a practical contribution to a specific sector.
Philips thinks it can. And to assess imaginative ideas, it uses a retail-dedicated ShopLab which allows fully operational value propositions to be tested in a realistic shop environment. Based on a deep understanding of shoppers and retailers, innovative concepts are being developed and tested with these stakeholders.
Take retail, for example. Feedback shows that customers constantly demand fresh experiences. That atmosphere is vital. But often atmosphere change goes hand-in-hand with high investments. Can some way be found to allow change at the flick of a switch?
Philips Atmosphere Flipbook contains illustrations reflecting atmospheres, all pre-programmed in the shop’s master lighting design. The shop owner – who does not need to be a lighting designer – simply browses through the book and chooses the atmosphere required. Each page has a unique ID associated with the lighting scheme in the book and opening the chosen page instantly gives the store the chosen atmosphere. And new atmospheres can be added at will. Instant change at minimum costs.
x SpotLED LEDsurface surface mounted 3 x3Spot mounted x Haloshelf 3 x3Haloshelf
Another important area of retail is display. The HaloShelf uses light to create a decorative ring of light around a product. It can be given any colour in the spectrum so that each product is given its own halo of light. A big advantage is that this colour can be changed easily and that it is not necessary to repaint display elements when new products arrive.
Another innovation is the Reactive Spotlight. It provides accent lighting on a product such as a fashion accessory or luxury item, but when a customer approaches the display, the beam narrows and helps to focus the attention of the shopper on the product. It is a response to the customerâ&#x20AC;&#x2122;s interest and the effect is almost as if a shop assistant presents the product to the shopper for inspection. Imagination is being stimulated in the ShopLab with very interesting results. Drawings by: dâ&#x20AC;&#x2122;Art Design, Neuss Germany
HOTEL DU LAC Lighting applications are becoming increasingly specialised, clearly focused on responding to specific requests from clients in particular areas.
Lighting applications are becoming increasingly specialised, clearly focused on responding to specific requests from clients in particular areas. Philips Lighting Application Centre (LAC) is a unique showroom where lighting speaks louder than words. Here, we present our expertise in a practical way, demonstrating in an actual setting the effects that can be achieved with imaginative use of sophisticated lighting technologies. For this allows such ideas to be assessed in their proper environment. And provides both knowledge and inspiration to lighting designers and architects. A recent challenge came from the hospitality industry. It is important that guests should immediately feel comfortable in a hotel, for example, because this ensures repeat business. Careful and imaginative use of lighting can make an important contribution to this. And so Philips Lighting created the Hotel du Lac. Using over 500 lighting sources, creating 35 different ‘scenes’ the Hotel du Lac demonstrates how lighting can be used to create exactly the right mood in reception, guest rooms, bars, restaurants and other public areas.
But demonstrating the very latest lighting technologies – such as LEDs – is only part of the solution. Because Philips Lighting is concentrating much of its efforts on developing environmentally friendly technologies that lower the total cost of ownership. It allows clients to upgrade to more effective lighting solutions in the knowledge that these will be more environmentally friendly and, in the long-run, considerably lower the costs of operation. Hotel du Lac is very much a tool being made available to clients, lighting designers and architects working in the hospitality sector. Being able to see solutions in practice places them in a unique position to leverage new technologies that are at once complementary to their design aims while keeping operating costs down to a more than acceptable level. Please contact your local Philips office for a LAC visit.
Project Hotel du LAC Location Lighting Application Centre, Eindhoven, The Netherlands Interior architecture and lighting design: Ulrika Vis van Heemst, Lin Pöpping, Philips LiDAC International. Interior Design Van den Oever Tentoonstellingsbouw. Light sources Philips LED’s, MasterColour, Halogen, Compact Fluorescent Luminaires Philips Fugato, Savio, Spot LED’s, Celino, Fiorenza, Scrabble, Origami, Amazon LED, LEDflood, LEDline²
Philippe Soetaert, CNSMD de Lyon
RECESSED LIGHTING by Natacha Lameyre, Christian Ferouelle
The use of recessed luminaires in an architectural setting is growing due to their discretion and their on-site integration. They allow uplighting effects that completely change the identity of an architectural structure from its day appearance
Different architectural structures can be illuminated using fixtures for recess mounting. A number of tests have been undertaken to study both heritage and contemporary sites: a classical pillar gallery and a contemporary arch gate at CNSMD, Conservatoire National SupĂŠrieur de Musique et de Danse in Lyon, France. The aim was to illustrate the effect of a given beam shape from aÂ recessed luminaire on a specific architectural volume.
Two kinds of recessed LED luminaires were used in different shapes: square and linear. The sites were illuminated with a wide range of optics: asymmetrical, rotational, linear and rectangular shapes with narrow, medium or wide beams. For the on-site photographic sessions, rough lighting schemes were prepared indicating the positioning of the luminaires in relation to the architecture. 1500
Each lighting design scheme photograph was taken from a different shooting angle: front, lateral and side views. We began by shooting the basic individual lighting effects and then combined these basic effects, two at a time. Viewing the illumination from these various angles gives rise to a different perception of volume, contrast and layers.
These tests show what kind of basic effects can be obtained with different light beams and how compositions of effects can be achieved. More complex effects can be created using several kinds of light beams or colour temperatures. This makes it possible to emphasize one structure more than another to highlight the architecture, to suggest specific details and so on. Incidentally, it is possible to change completely the identity of a classical or contemporary building from its daytime appearance. This is why such effects should be used with caution. In most cases, combining more than two different effects can overload the architecture and this does not enhance itsÂ appearance. 39
200 Asymmetrical beam Philips LEDflood recessed
Wide beam Philips LEDlineÂ˛ recessed Narrow beam Philips LEDflood recessed Rectangular linear beam Philips LEDflood recessed
Asymmetrical beams produce a soft and uniform wash of light on the ceiling. This illumination reinforces the volume of the vault.
The light follows the pillars perfectly, creating a high level of contrast. Light and dark spaces give rhythm to the gallery.
General lighting is created with warm white asymmetrical beams. This gives volume to the gallery. The door is emphasized by linear narrow beams. The two different colours make the entrance door more visible.
Underlining the arch with two linear wide beams seems to cut off the background pillars. The light follows arch inner side perfectly, revealing the corners of the architecture.
Another way to underline this architecture is to light it with two rectangular beams (2x4째/2x27째). The light follows the top of the arch more effectively.
The linear beams on the pillars in the foreground reveal the corners of the architecture. If we also highlight the pillars in the background, our perception of the architecture changes: we now perceive the arch as a three dimensional object. Moreover, the contrast between the two colors add to the perception of depth.
Seeing is believing By Matthew Cobham, Bayu ade Pramudia
Today’s lighting designer has a wide range of tools which can be used to assess lighting designs. Software simulation in particular is playing an important role, yet nothing can fully replace the actual experience of seeing a lighting design translated into reality. With this in mind, lighting specialists at Philips in the South East Asia Nation the so called ASEAN region recently organized the “Seeing is believing” events in Singapore, Thailand and in Bandung Indonesia. The event in Bandung focused on SSL – Solid State Lighting. Not simply as a concept, but also in a tangible form. For recently, SSL has been used in the Plaza Dago, one of Bandung’s main centres. The aim of the event was to create awareness of what can be done using SSL and also to demonstrate the artistic results that can be achieved. An important feature of the event in Bandung was a photographic competition for young, amateur and college photographers. Their brief: to show the artistic results of SSL lighting. The photographs were all taken on one evening and had to be submitted to the jury by the next morning. No electronic manipulation of the photographs, using computer software, was allowed. A selection of the entries is included here. The photographs were later sent to all customers and the owners of buildings and the comments were very positive. Many commented that the use of façade lighting increased not only the attractiveness of the buildings, but also their image and value.
Riva Latifah Refleksi di bebatuan
Doni Afriyanto Riva Latifah
Handy Pranoto lampu Fajar Cahyaardi
BOOkS Ingo Maurer: Designing with Light Author: Bernhard Dessecker Publisher: Prestel Publishing (Germany), December 2007 ISBN-13: 978-3-7913-3829-3 288 pages, 600 colour illustrations, Half-Linen Language: German and English prestel.txt.de Ingo Maurer has been illuminating lives since 1966, when he designed his first light fixture for an installation at the Herman Miller showroom in Munich. His creation was entitled Bulb and featured a light bulb within a light bulb. The design was so successful that Maurer had to produce more to match the demand. Since then, his fascination with lighting, his pursuit of simplicity of form, and his talents as a graphic designer and typographer have brought him to the forefront of his field. Iluminacion/ Lighting Authors: Fernando de Haro, Omar Fuentes Publisher: Arquitectos Editores Mexicanos (Mexico), Novembre 2007 ISBN-13: 978-9-7097-2655-8 64 pages Language: Espagnol and English Designing With Light: An Introduction to Stage Lighting Author: J. Michael Gillette Publisher: McGraw-Hill Humanities/ Social Sciences/Langua (United States), February 2007, 5th Edition ISBN-13: 978-0-0735-1415-4 384 pages, colour illustrations, Softcover Language: English www.mhhe.com This comprehensive survey of the practical and aesthetic aspects of basic stage lighting design treats its subject as an art closely integrated with that of the director, actor, and playwright, and as a craft that provides practical solutions for the manipulation of stage space.
Light, Luz, Lumière, Licht Author: Fernando de Haro, Omar Fuentes Publisher: AM Editores (country), January 2008 ISBN-13: 978-9-7097-2664-0 272 pages, 429 colour illustrations, hard cover Language: English, Spanish, French, German www.ameditores.com The volume, useful for individuals and professionals, presents the most excellent ideas in home lighting, including a great diversity of possibilities as much of lights as of types of illumination in the different spaces from a house. The solutions that are simple to make and they adapt to all type of budgets. Provoking Magic: Lighting of Ingo Maurer Authors: Kim Hastreiter, Julie V. Lovine, Claude Maurer, Ingo Maurer Publisher: Editions Assouline (France), February 2008 ISBN-13: 978-0-9105-0394-5 144 pages, 150 colour illustrations, Paperback Language: English www.assouline.com Published in conjunction with a major exhibition at the Smithsonian’s Cooper-Hewitt, National Design Museum, Provoking Magic: Lighting of Ingo Maurer presents a broad array of Maurer’s iconic works, remounted and reconceived specifically for this project. The Electric Light: Thomas Edison’s Illuminating Invention Author: Liz Sonneborn Publisher: Chelsea House Publications (United States), June 2007 ISBN-13: 978-0-7910-9350-4 128 pages, colour and black-andwhite illustrations, hard cover Language: English chelseahouse.infobasepublishing.com In 1879, Thomas Alva Edison invented the first practical incandescent electric light in his Menlo Park, New Jersey, laboratory, ushering in an era driven by electricity. The Electric Light is an enlightening look at this monumental achievement, examining how the lightbulb was partly responsible for transforming the country’s agrarian economy into the modern industrial economy it is today.
Where to go
15 March - 13 July
Exhibition China Design Now www.vam.ac.uk Victoria and Albert Museum London, United Kingdom
24 April - 10 August
Exhibition Richard Roger www.designmuseum.org Design Museum London, UK
29 June - 3 July
UIA Congress Transmitting Architecture Trasmettere l’Architettura www.uia-architectes.org Turin, Italy
30 June deadline
LUCI Call for Entry city.people.light award 2008 www.city-people-light.com/award International urban lighting competition in conjunction with Philips
7- 8 July
CIE expert symposium Advances in Photometry and Colorimetry www.cie.co.at Turin, Italy Venue: Hotel Concord
18 - 23 August
PLDA Workshops Light and music www.lightandmusic.no Stavanger, Norway
till 31 December
Exhibition La peau, entre texture et ossature www.citechaillot.fr Cité du Patrimoine et de l’Architecture Paris, France
29 September - 4 October
PLDA Workshop Lighting design practice www.alingsas.se Alingsås, Sweden
27 October - 1 November
PLDA workshop Baltic Triangle and Mersey www.pld-a.org Liverpool, United Kingdom
voltairedesign.it ovg.nl; benthemcrouwel.nl bdp.co.uk
nhm-architekten.de ljusarkitektur.se gielissen.com tea.se bridot-willerval.com; arquitectonica.com
sscac.com.cn/en/a-1.asp chdeportzamparc.com cepezed.nl; grontmijmt.nl; hetlichatelier.nl
archi-europe.com iald.org pld-a.org uia-architectes.org
via-internet.com mondiale.co.uk arplus.com/broch/broch.htm innovapresse.com/architecture.lasso
Copyright © 2008 Koninklijke Philips Electronics B.V. All rights reserved. Reproduction in whole or in part is prohibited without the prior written consent of the copyright owner. The information presented in this document does not form part of any quotation or contract, is believed to be accurate and reliable and may be changed without notice . No liability will be accepted by the publisher for any consequences of its use. Publication thereof does not convey nor imply any license under patent - or other industrial or intellectual property rights.
city.people.light award is YOUR city a potential winner?
Urban lighting is now regarded as an essential component of town planning and a major part of any townâ&#x20AC;&#x2122;s cultural identity. The international city.people.light award was set up jointly in 2003 by Philips Lighting and the lighting urban community international association (LUCI) to reward the towns or cities that best demonstrate the added value that lighting can give to an areaâ&#x20AC;&#x2122;s cultural and architectural heritage and night-time identity whilst at the same time respecting the environment. Is your town or city a potential winner? See if you meet the criteria and register your project for the 2008 award, more information on www.citypeoplelight.com/award or www.luciassociation.org The award ceremony will take place in San Luis Potosi (Mexico) during the LUCI annual general meeting this autumn.
city.people.light Your entry must be received by 30th June, and must be in English. award 2008 Entries will be judged by a jury of independent experts.