International Lighting Magazine
SUSTAINABILITY Is it only performance?
RENZO PIANO Closer to Nature
LIGHTING MASTER PLAN
EDITORIAL Good lighting design and sustainability Today, sustainability is an issue which no company can ignore. At Philips, we have been investing in green technologies for quite some time and nowhere is this investment better illustrated than in our dedication to new, energyconscious lighting technologies. This has, for example, resulted in our flagship product, the MasterLed, which provides a direct replacement for incandescent lighting, but with energy-savings of up to 80% and a lifetime of 45,000 hours. Similar progress has been made in the field of CFLi and Halogen. Just as important, perhaps, is our dedication to providing our professional lighting partners with assistance, support and guidance during the imminent phase-out of incandescent lighting within the European Union, which will begin next year. This will undoubtedly make a significant contribution to reducing both energy use and carbon emissions. Philips believes that by taking into consideration the application and specific characteristics of energy-efficient lighting technologies such as LED, CFLi and halogen, it is possible to achieve levels of lighting quality equivalent with conventional light sources, but with reduced energy consumption. To maximise the energy-saving potential of these technologies, Philips recommends the application of good lighting design, and the involvement of professional lighting designers. We actively support organisations such as the PLDA (Professional Lighting Designer’s Association) and the IALD (international Association of Lighting Designers), whose members can, through the design process, advise on optimum energy efficiency without compromising on lighting quality and prove important partners to architects and principals. This issue of Luminous takes sustainability as a theme. We hope it provides you with food for thought about this major social issue. Rudy Provoost CEO Philips Lighting
colofon published by | Philips Lighting BV – Mathildelaan 1, Eindhoven. 5611 BD, The Netherlands – www.lighting.philips.com editor in chief | Vincent Laganier editorial department/Marketing Communications | Marijn Damen, Nils Hansen steering committee | Peter Halmans, Fernand Pereira, Annemieke Korff-Prins copywriting & editing | Jonathan Ellis translations | Lion Bridge graphic design concept | Philips Design dtp | Relate4u printing | Print Competence Center more info | email@example.com T: +31 (0)40 - 2755928 ISSN nr | 1876-2972 12 NC : 3222 63559951
Challenges in lighting design
Development and trends in lighting
LIGHT SOURCE Astra Tower, Hamburg, Germany
INTRODUCTION Sustainability, is it only performance?
BLUE SKY THINKING Luminance sensation of colored LED lighting
PLATFORM Renzo Piano Genoa, Italy
PROJECT REPORT National Assembly of Wales, Cardiff, United Kingdom
SHOWROOM OLAC residential area, Bressolles, France
PROJECT REPORT Odeon, Bavarian State Ministry of the Interior, Munich, Germany
CONCEPT CORNER Lighting Master Plan
PROJECT REPORT Octavio Frias de Oliveira Bridge Sรฃo Paulo, Brazil
GALLERY Verdi innovative workplaces Surennes, France
PROJECT REPORT 55 Baker street London, United Kingdom
SPOTLIGHT Agenda, Books
PERCEPTIONS Passive solar and natural lighting
SNAPSHOT Orquideorama, Colombia Monumento del Libertad, Spain Al Zahra hospital, UAE Anandpur Sahib, India CitizenM hotel, The Netherlands New Federation Tower, Russia Neptune Fountain, Italy Mรถbelhof Ingolstadt, Germany
ASTRA TOWER, HAMBURG, GERMANY
“THE SHINE FROM WITHIN” Interview by Guido Diesing
The design of the Astra Tower in the port of Hamburg was a stroke of luck for Tobias Grau. As a lighting designer, interior designer and furniture designer, he was able to develop a uniform form language for the office building. If you ask anyone from anywhere in the world what they think of first when they hear the word Hamburg, they’ll immediately say the port and the Reeperbahn. As symbols of the city they attract tourists, offering spectacular and attractive views. If you want to stand out in this neighbourhood you have to have something to offer. Like the Astra Tower. Located right on the Elbhang opposite huge docks and cranes and only a few steps from the amusement and red-light quarter around the Reeperbahn, this eighteen-storey office building has been attracting attention since 2008. With its rounded corners and the red breastwork strips in the glass facade, the 60-metre-high building blends stylishly into its surroundings during the day without thrusting itself into the foreground. At night, however, it develops a quite particular fascination. Because then the tower, which is topped by a concrete crown that seems to float over it, appears to light up mysteriously from within. It is no coincidence that light plays a major part in the building’s appearance. Having Tobias Grau as the interior designer meant that a renowned lighting manufacturer and designer was decisively involved in the design. He was responsible not only for the lighting, but also for the office planning and furniture – areas in which he had gained plenty of experience before recently concentrating almost exclusively on the development and manufacture of lights. The office building’s attractive appearance after dark is the direct result of Grau’s skilful use of the architectural parameters. “Since the square ground plan of only around 630 square metres per storey is very small, so that the depth of the offices and the corridor area is also tiny, I decided to do without partition walls between the corridors and offices,” he explains the underlying thinking. “The corridor area is only separated from the carpet in the office areas by the parquet floor. As a result, the white panelled building core is just as visible from the office workstations as it is from outside. In addition, the use of glass partition walls rather than plasterboard walls for dividing the office area into single and shared offices makes for transparency.”
Carsten Br端gmann, Michael Wurzbach
“They are simply the most effective and most economical lamps you can use at the moment.”
It is this transparency that is the secret of the nocturnal shine. “The corridor area around the building core is illuminated by a light band made of pendant fluorescent tubes that shine a neutral white light upwards and downwards from the middle and also light up the white laminated panelling.” In order to create a uniform impression, Grau also fitted the standard and table lamps in the office areas with neutral white fluorescent lamps. “Since there is no colour difference with the ambient lighting, the desired effect of making the core of the tower visible from outside like a white column is produced irrespective of the lighting situation.” A column that does not end at the top floor, but only at the crown of the tower, which is illuminated by metal vapour lamps on the roof. An effect that was important to Tobias Grau: “We tried out several colours for the concrete canvas so as to achieve an effect similar to the one in the building interior with indirect lighting. The white core is meant to seem to grow out of the building.” For Grau the close relationship between inside and outside that characterises the Astra Tower represents an ideal that is realised all too rarely. “The opportunity to implement a uniform form language here appealed to me, of course. From in-house lights, via the interior design to the graphics of the lift markings with a joint idea of being able to form a bridge, this was a great commission. When everything comes from a single source, the result can also make a superior aesthetic impression. Unfortunately, architectural ideas in building interiors are often not extended consistently. In addition, the users see a building much more often and longer from the inside than from the outside. “Modern technology makes for a uniform lighting level indoors. The amount of light provided at the workstations is adjusted locally according to the respective lighting conditions and requirements using motion detectors and daylight sensors. This saves on electricity consumption and is pleasantly comfortable. When it gets darker the artificial light portion is automatically increased without anybody having to do anything.” That he opts for fluorescent lamps is for Grau a logical and pragmatic choice: “They are simply the most effective and most economical lamps you can use at the moment. If you take into account colour rendering, energy consumption and price, in the next two years we will be very heavily geared towards fluorescent lamps. Developments in the field of LEDs are moving very fast and it’s fun to get involved with them theoretically. It’s a hot topic, but for me, we’re not there yet.”
Client Neunundzwanzigste Verwaltungsgesellschaft DWI Grundbesitz mbH Owner Morgan Stanley Architect KSP Engel und Zimmermann Architekten, Frankfurt, German Lighting Design Tobias Grau, Rellingen, Germany Light sources Philips and Osram TC-L 55 W /840, T5 39 W /840 Luminaires Tobias Grau GmbH GO XT Floor, GO XT Ceiling, GO XT Wall Lighting controls Philips ActiLume Websites www.ksp-architekten.de www.tobias-grau.com
RENZO PIANO Architect, RPBW, Renzo Piano Building Workshop, Genoa, Italy Interview by Luigi Prestinenza Puglisi
“The more I reduce the material, the closer I get to nature, and enter into a relationship with light and the wind” Closer to nature As far as Renzo Piano is concerned, a successful architect must be at the same time a good engineer, a good sociologist, a good economist and a good geographer. But if he wants to go further than this and create poetry, he needs to know how to work with wind and light. Why did you decide to become an architect? It was the natural thing to do: I came from a family of builders. Perhaps I could have chosen to continue my father’s job and work in the company, but being an architect seemed more interesting to me. And, to tell the truth, I did it to get away from home. In Genoa where I lived, there was no School of Architecture, so I went to Florence, which is a beautiful city. Perhaps too beautiful. But I preferred Milan: it attracted me because it was more lively and dynamic. While I was a student I trained
with Franco Albini. I still remember that I designed the details of the flooring next to the Rinascente building in Rome, then some televisions for Brionvega. To begin with you focussed on technology… I was fascinated by Jean Prouvé, and sometimes I used to go to Paris to hear his lectures. I was also very enthusiastic about the work of Frei Otto; his structures seemed to defy the law of gravity. I graduated in 1964 with Giuseppe Ciribini, a professor who was responsible for modular co-ordination. In 1969, I had designed a building with a light reticulated cover for the Osaka Exhibition which was inaugurated the following year. In 1970 I started up a design company with Richard Rogers, and the year after that we won the competition for the Pompidou Centre in Paris.
Were you surprised about that? There were many competitors, and it was a prestigious job. We were young – I was 33 and Richard was 36 – and we had little experience. The Jury consisted of Jean Prouvé, Oscar Niemeyer and Philip Johnson, who admired the innovative nature of our proposal. This was a time when people were receptive to innovation. It is thought that Ove Arup had put his trust in us by financing our participation in the competition. He considered us as youngsters with a certain talent which ought to be promoted.
Can you tell us about the J.M. Tjibaou Cultural Centre in Numea? In New Caledonia I tried to create a building which breathes by coming into contact with the winds which exist there. The wooden bars of the ten hut structures we created vibrate when the trade-winds blow, and each one of them produces a different sound. We tried to interpret the spirit of the place and the culture of the Kanachi, a people who have always been in close contact with nature. The light filters between the bars and casts a landscape of shadows onto the ground which recalls that of the forest.
What does sustainability in architecture mean to you? I like to associate the word sustainability with elevation. The more I remove whatever is excessive, the more I economise in materials. The more I reduce the material, the closer I get to nature, and enter into a relationship with light and the wind. The quality of a building depends to a large extent on good lighting and the pleasant effects of the ventilation. This is particularly apparent in museums. I am thinking for example of the Menil in Houston, where the roof allows sunlight to filter through, or the Beyeler Foundation in Basle, where I worked on the same concepts so as to obtain a building with reduced energy consumption.
How do you relate to other lighting specialists when you are aiming for sustainability? I like working with them. For example, we have carried out numerous projects with a lighting manufacturer, some of which led to the development of lighting devices which were then put into production. The objective is efficiency, long-life, and restriction of consumption, and modern technologies help us in this respect. Previously a halogen lamp would last for 1,000 hours, and a sodium and mercury vapour one would last for about 10,000 hours; LEDs can now last for as long as 60,000 hours. If the service life changes, you can also vary the way in which you design the object, in relation to the way in which it lasts over a period of time.
So the roof became an integral part of the museum? In a period of six months the museum has welcomed over a million visitors, and they all go onto the roof to see a fragment of California’s vegetation. Other factors which are less apparent also contribute towards guaranteeing the sustainability. For example, the thermal insulation of the walls was obtained by filling the cavity with the scrap from jeans salvaged from nearby factories. We also used recycled iron materials for the masonry and frameworks.
How do you alter the form of the building in relation to the climate? Personally, I have a broad view of climate. I consider it as the context in which the building will be located, so this involves both the atmospheric and cultural climate. The worst mistake an architect can make is to create a building which is out of place and out of scale, which does not capture the light or take into account the spirit of the location. However, and I am thinking for example of Beaubourg, this does not mean being mimetic and imitating the forms of nature. What are your plans for the future? They involve the students who come to my company thanks to a programme we are developing together with Harvard University. You don’t need to worry about not giving anything to young people, they can take of themselves. If the experiment is a success, you know from the light in their eyes.
© Rpbw, Renzo Piano Building Workshop
I am aware of the fact though that it is not always energy efficiency which provides lightness. Sometimes weight can be used to achieve good thermal inertia. At the recent California Academy of Sciences in San Francisco I tried to balance weightiness and lightness. The roof was made heavier in order to accommodate 2,000,000 different species of plants which guarantee that the building functions well from a climatic point of view. Light is brought into play by means of some porthole-type windows: during the day natural light enters, and by night artificial light is emitted.
ORQUIDEORAMA, THE BOTANICAL GARDEN OF MEDELLÍN, COLOMBIA An astonishing forest of trees in the shape of flowers has sprung up in Medellin, “the city of eternal springtime”. Visitors walk beneath elevated foliage in subdued lighting, skirting around the gigantic trunks and discovering that they are hollow and the orchids are growing inside them.
Orquideorama is a project brimming with poetry and technical genius designed by the young Plan: b arquitectura architects (in association with the jprc architects) for the botanic gardens in Medellin. For this project they planted ten “flower-trees”, each with a metal trunk and six hexagonal petals made from interlaced beams, to form a network through modular increase and tree structure. These ten flower trees have grown side by side creating an immense canopy with a bee-hive motif snaking its way across the top of the botanic gardens. By bringing together structural biological forces, Orquideorama produces an elegant synthesis of cellular processes and sculptural shapes, a combination destined to continue to evolve and grow.
Client Jardín Botánico de Medellín Architects Felipe Mesa, Alejandro Bernal, Plan: b, Camilo Restrepo, J. Paul Restrepo, JPRCE Lighting solutions Laszlo Yurko, Ecoluz S.A. Light sources Philips MASTERcolour /830 , TL 5 /830, CFL 42W Website www.planbarquitectura.com
Luis de Pazos
MONUMENTO A LA LIBERTAD, PLAZA DEL SOL, MOSTOLES, SPAIN On 2 May 1808, the Mayor of Móstoles (a city 20 km from Madrid) signed the Independence Proclamation following the uprising against Napoleon’s French army. To mark the bicentennial of this event, the city of Móstoles has created a huge architectural monument, visible throughout the entire city, in the new “Plaza del Sol” square. The monument is in the shape of a prismatic box and is made of Cor-Ten Steel supported by four pillars. Its dimensions are related to the dates of both the original event and the bicentennial: 1808 cm wide and 2008 cm long.
Client City of Móstoles Architect Enrique Fombella, Madrid, Spain Lighting solutions Enriqueta Díaz, Miguel Ángel Álvarez, Jose Luis Pavón, Philips Spain Light sources Philips LED LUXEON®, red, blue and green RGB Luminaires Philips LEDLine2 RGB Lighting controls Pharos LPC 1 Controller
The lighting was a critical issue and had to be aligned in terms of efficiency, minimum maintenance, energy saving, colours and dynamics. A computer program has been developed to change the dynamics so that the entire monument is dressed in colours reflecting the seasons: warm colours in summer and spring, and cold colours in autumn and winter.
AL ZAHRA HOSPITAL SHARJAH, UNITED ARAB EMIRATES Medical procedures like magnetic resonance imaging (MRI) can often frighten people, especially children, who feel uneasy in a medical setting and are anxious about the outcome.
Al Zahra Hospital, which was established in 1980 by Gulf Medical Projects Company and, with 100 beds, is the largest private general hospital in the UAE, has recently introduced Philips AmbiScene, an LED-based lighting concept with changing light colours and light intensity, which creates a comforting and calming atmosphere, reducing patient anxiety. Each patient can choose their favourite color. This has a positive effect on the patient during the MRI scan and, because patients are at ease, it can speed up procedures and improve the quality of test outcomes. Light color variation can also be used as a communication tool, for example for instructing hearing-impaired patients when to hold their breath.
Client Al Zahra Hospital Lighting design Philips Middle East Light sources Philips LED LUXEON速, red, blue and green RGB Luminaires Philips LEDLine2 RGB
ANANDPUR SAHIB, BLISS, INDIA Gurdwara is the sacred place of worship for the Sikhs. The architecture features some elements borrowed from the Mughal architecture and the Rajput palaces and forts, but also includes some original concepts reflecting the principles of the religion and features a combination of square, rectangular, octagonal and cruciform shapes. There is a ‘gumbad’ (dome) on the top of the sanctum, which is usually fluted or ribbed and white in colour. The top is decorated with an inverted lotus-shaped structure and the base also reflects a floral theme. The objective of the lighting concept is to portray figuratively the openness of the Sikh religion which draws upon influences from around the world, while at the same time preserving its central core belief. The topmost part of the structure is illuminated in static white with floodlights with ceramic discharge metal halide lamps symbolizing the purity of its core belief. The central dome is illuminated in a slightly warmer shade of white symbolizing the spirit of sacrifice.
Client Government of the State of Punjab, Chandigarh, India Lighting design Pavail Gill, Gilton Electricals, Chandigarh, India Lighting solutions Indranil Goswami, Philips India Light sources Philips LUXEON® LED, 1W, amber, white and blue Philips LUXEON® LED, 1W, red, green and blue Philips LUXEON® K2 LED, 4W, warm white Philips MASTERColour CDM-TT 150W Philips SON-T 250W Luminaires Philips LedLine2 RGB, LED Line2 AWB, iColor Accent PowerCore SWF 330, RVP 339 SNF 114 , TCW 097, DGP 652 Lighting controls Philips Color Chaser Touch DMX Controller Website www.gilton.in
CITIZENM HOTEL, SCHIPHOL, AMSTERDAM, THE NETHERLANDS
Design award winning citizenM hotel in Amsterdam partnered with Philips to create a unique experience for their guests. With a combination of different lighting and multimedia solutions, called Integrated Hospitality Experience, the hotel chain is able to build a unique intimacy with their guests and remove the traditional feeling of anonymity from the hotel experience. The specially designed system not only combines a host of various ambient products, including dynamic LED lighting, VoIP phone, free Wi-Fi and Hospitality TV which contribute to a guest’s overall experience, it also provides a unique back-end network design that interfaces with all the hotel’s software systems, allowing the hotel to operate at much lower costs. The “Mood Pad” controller allows guests to adjust the temperature, operate the curtains, and even change the room’s colour thanks to two RGB LED strings above the translucent ceilings. As consumer choices are increasingly driven by emotional factors - beyond merely the functionality of a product – Integrated Hospitality Experience offers guests immersive experiences that go 'beyond the product' and engage all the senses.
Client: citizenM hotel chain Architect Concrete architectural associates, Amsterdam, The Netherlands Lighting solutions Philips Netherlands Light sources Philips LED Superflux RGB red, green and blue Luminaires Philips LED string
FEDERATION TOWER TUNNEL MOSCOW, RUSSIA The Federation business complex, featuring the tallest building in Europe (448 m tall with steeple), is being built on Krasnopresnenskaya Embankment, in the capitalâ€™s Moscow City international business neighborhood. The objective was to deliver a total lighting solution for the tunnel area of the Federation Towers on level 01, translating the lighting effect envisioned by Yabu Pushelberg. This tunnel goes from the main entrance to the dispatcher room with hi-end monitoring system. Within this project the following aspects were taken into consideration: possibility to re-programme visual effects, easy control, temperature management, air-conditioning and energy efficiency. Flexible LED solutions iColor Flex and iColor Cove were applied alongside the whole tunnel. Light weight and flexibility ensured freedom of content interaction for most complex solutions.
Client Moscow City Business Complex, Moscow Developer MIRAX Group, Moscow Indoor Architect Yabu Pushelberg, New York Lighting solutions Chia-Chun Liu, Bas Hoksbergen, Philips Netherlands, Egor Nilov, Philips Russia Light sources Philips LED SMD RGB red, green, blue Luminaires Philips iColor Flex SLX, iColor Cove QLX
FONTANA DI NETTUNO, MESSINA, ITALY In Messina, Italy, this wonderful monument stands in the middle of a square in the city centre, which is crossed by major roads and marked by a forest of disorderly arranged vertical elements (trees, shrubs, traffic lights, road signs and, last but not least, the poles of public-lighting with 800W sodium lamps!). It was difficult to notice the fountain among all these various forms of pollution (visual as well as sound) and in the evening, the subject was batched with yellow-orange light that did more to hide its presence than to treat it as what it is: a jewel in the city centre. It was therefore necessary to extract the structure from its environment. This meant re-using the public lighting poles closest to the fountain: no less than 30m away and with a height of 10/12m! This challenging geometric situation is addressed with an alternative to the traditional way of lighting: thanks to sixteen BeamerLED luminaires, distributed in four groups of four and equipped with white LED light, the fountain is once again allowed to shine with colours and to show its structure. The biggest benefit isnâ€™t immediately perceptible: the installation, with an expected life of 50,000 hours, uses in total only 48W, less than a light bulb!
Client: Citz of Messina Lighting solutions Massimiliano Negri, Philips Italy Light sources Philips LED LUXEONÂŽ, white Luminaires BeamerLED
MÖBELHOF INGOLSTADT, INGOLSTADT, GERMANY The Möbelhof in Ingolstadt is currently the largest furniture house in the region. The lighting concept sets new standards in lighting design for both the indoor and outdoor areas. This was achieved by a detailed planning which took into account even the smallest exhibition spaces. Equally important were lowering energy costs, the brilliance and life-time of the light sources used. The external façade and also the interior are almost completely illuminated with Philips MASTERColour CDM-T lamps in warm white with varying beam angles and electronic control gears. The result is a very comfortable and inviting atmosphere in the sales area. Additionally Lival fixtures in combination with CDM-Tm Mini 20W and 35W were used in smaller areas and for specific displays combining high-quality, brilliant light and low power consumption. A literal ‘high-light’ is the installation of down lights with CDM-T 250W at a height of 22 meters: “The sun shines through the ceiling” was the comment from many clients.
Client Möebelhof Ingolstadt Lighting solutions D. Lindner GmbH and D&L Lichtplanung Light sources Philips CDM-T, 150/830 and 250W/830 Philips MASTERColour CDM-Tm Mini 20W and 35W /930, Philips MASTERColour CDM-T 70W/930 Elite Luminaires LIVAL track and downlight fixtures
SUSTAINABILITY IS IT ONLY PERFORMANCE? 18
Ever since human-beings have lived on Earth, daylight has been important both for and in life. In architecture, sun orientation contributes to the delight of working or living in a space. This notion of comfort created by light, emotions generated by light is essential for the health and well-being in a place. Read Christian Cochyâ€™s Perceptions article for a look at the architectural consequences. Some people in United Kingdom, but even more in Alaska, Russian and the Nordic countries, suffer from seasonal affective disorder as a result of the lack of daylight, both in quantity and quality. These winter blues can cause dramatic mood swings but can be treated by light therapy using high quality light sources with a good spectrum. The Chamber of the Wales National Assembly and the Baker Street offices in London also allow adjustment of task lighting. Sustainability in all senses â€“ daylight, heating, water and controls â€“ is taken seriously by the architects concerned. The former project is discussed in detail in Dossier.
but for architects and lighting designers the quality of light is a far greater issue since it makes a major contribution to the pleasure of the end-users. For architecture, sustainable lighting is a question of mood, brightness and colour. Just as daylight differs in summer and winter, so flexible lighting adds meaning according to the use of the place or the moment of the night. The Odeon and Octavio dossier projects both pay attention to energy saving but also allow colour dynamics to play a major role. Sustainability has become a buzzword - but Architecture and Lighting, designers and manufactures cannot solve all the problems alone. It is a long-term concern of society where each actor has his responsibility towards climate change. It is up to you to define tone, rhythm and saturation that produce the play of light. Vincent Laganier
Lighting is an actor of sustainability going beyond the implementation of environmental and human consumption parameters. Of course, energy performance or recycling of lamps and luminaires is important, 19
NATIONAL ASSEMBLY OF WALES, CARDIFF, UNITED KINGDOM
TRANSPARENCY Interview by Jonathan Ellis
The new building for the National Assembly of Wales is a bold and modern statement, not only about the transparency of government but also about consideration for the environment. Daniel Wright was a member of the project team formed by Richard Rogers Partnership (now Rogers Stirk Harbour & Partners) to design and create this new expression of democracy on the banks of Cardiff. “It was very clear from the start that the client wanted to make a strong statement about transparency in the political process,” explains Daniel Wright. “Our intention was to create a friendly, inviting building which would draw people into the process. Visual connectivity between the private and public areas ensures transparency while focusing the attention on the central Debating Chamber. “The site on the edge of Cardiff Bay provided an important cue for our initial design response. The building’s primary address is the bay suggesting an institution that is outward-looking rather than introspective. The bay provided a metaphor for our design: two ‘planes’ – the plane of water and the plane of the sky – expressed by the building as a ‘floating’ roof over a stepping plinth. We dubbed it the Democratic Roof, because it extends over all the building’s activities; everybody involved in the political process coming together under one roof. And the central Debating Chamber is formed by the roof folding down to meet the plinth, suggesting that here all opinions meet.” Throughout the building, extensive use is made of natural light. “An environmental brief was developed with BDSP (the environmental and MEP consultants for the project) to accompany the design brief and its primary aim was to minimise the building’s energy demands and thereafter to pursue the most energy efficient building systems as possible. Lighting was a key issue in that environmental brief and we felt it essential to maximise the use of daylight. With BDSP we developed a large glazed lantern for the Debating Chamber with an inverted reflector cone that brings diffuse daylight down into the Debating Chamber. But it was impossible to depend exclusively on natural light in the Chamber, because many of the plenary sessions are televised and so with BDSP we had to create a delicate balance between natural-looking lighting and even lighting which did not compromise the clarity of the chamber.”
The energy usage targets were very demanding, but BDSP were able to achieve them thanks to the use of high efficiency lamps and luminaires in conjunction with an automated building control system. This allows appropriate lighting scenes for the various multi-functional areas to be selected at the touch of a button, ranging from the lighting of informal meetings to the lighting of televised Assembly plenary sessions. ARCHITECTURAL CONTEXT
“Our design made considerable use of exposed concrete frame of the building as thermal mass. We wanted it to be honest and unadorned,” says Daniel Wright. “For this reason, we developed multi-purpose booms which were suspended below the concrete soffit, and these contained not only the lighting luminaires for both uplighting and downlighting but also other technical equipment which would otherwise accumulate on the soffit such as loudspeakers, sounders, smoke detectors and various sensors. There are also infra red sensors which shut down the lighting when the room is not in use.” A particular challenge was heating and ventilating the enormous public areas, which represent two-thirds of the building. “BDSP suggested that we could relax the temperature range conventionally applicable to internal spaces by re-thinking the main hall more as a semi – internal than fully enclosed space. Rather than maintaining a constant 21ºC throughout the year, we allow a temperature variation between appx 14ºC and 26ºC, significantly reducing heating and cooling demand. The public entering the building on a hot summer day are likely to be in shirt-sleeves, while those entering in winter will be wearing overcoats. Visitors psychologically adjust to the internal temperature meaning that you feel as warm as you think you should be in that environment. In fact, the total energy consumption figure the building was designed for was 75 kWh/m2, well below the best practice target of 130 kWh/m2. “The Assembly now has an open environment which undoubtedly represents a change in the political fabric of Wales but also Britain. Welsh people now have the symbol of democracy they voted for and, judging by the many positive comments from the public, they are delighted with it.
1 Debating Chamber 2 Foyer 3 Public Gallery 4 Upper Foyer 5 Milling space 6 Members tea room
Missing Missing Client National Assembly of Wales Architect Rogers Stirk Harbour + Partners London, United Kingdom Environmental Consultant Matthew Winter, BDSP Partnership Structural Engineer Gabriel Hyde, ARUP Lighting Consultants Matthew Winter, BDSP Partnership Barry Hannaford, DPA Lighting Consultant Light sources Philips MASTERColour CDM-T 70W /942 Debating Chamber Luminaires iGuzzini, CDM recessed floodlight with CTB filters to raise 5000K for television broadcasting on the first ring, Wila, T5 circular recessed on the perimeter acoustic panels Lighting controls DALI Websites www.rsh-p.com www.bdsp.com www.dpalighting.com
ODEON, BAVARIAN STATE MINISTRY OF THE INTERIOR, MUNICH, GERMANY
A STAGE UNDER THE STARS Interview by Guido Diesing
Andreas J. Focke
First it was a concert hall, then an unloved inner courtyard and now, thanks to the addition of glass and light, it has been given a new lease of life as a splendid foyer to a Ministry building. The history of the Munich Odeon is as varied as it is unusual. Built in 1828 for the Bavarian king Ludwig I, on the basis of a design by the master builder Leo von Klenze, the Odeon in the Bavarian capital city served as a concert hall with excellent acoustics. All but the outer walls of this classic building were destroyed in the Second World War, and it was not until 1951 that a decision was made about how to use the part of the building that was still standing. It was converted by the architect Josef Wiedemann into the head office of the Bavarian Ministry of the Interior. For decades there was not a lot to remind people of the building’s original purpose. “After the roof had been destroyed, what had once been a concert hall became an interior courtyard that was never used and gradually fell into disrepair,” said Peter Ackermann as he described the situation he confronted
when in 2004 the architect's office Ackermann und Partner was given the assignment to redesign the 400 m2 interior courtyard. “There had been repeated calls for the Odeon to be rebuilt so that it could once again be used as a concert hall, but these requests fell on deaf ears. In the end it was decided to put a roof on the interior courtyard so that it could be used for events at the Ministry. When we received the assignment to continue building what had initially been built in 1828 and 1951, we felt an immense sense of respect for the important architects who had been involved and for the history of the building. We didn’t want to convert it, but wanted to conserve what was left of it. The original Odeon no longer exists, but by covering it with a glass dome we were able to make the part of the interior courtyard that used to be a concert hall into a useable space again.”
The subtlety apparent in the criss-cross network of glass that forms the roof, which now appears to float on small pillars above the courtyard, is also evident in Ackermann’s ideas for the lighting: “We wanted to bring out the play of light and shadow of the pillars in order to give the space more depth, but to do this in as subtle a way as possible, taking care not to destroy the effect by using large luminaires. To enable us to achieve this, we worked closely with the lighting designer Erwin Döring. “He knew exactly what we meant: ‘It is very important to talk about light, and not about luminaires. A lighting designer has a vision of light, not a vision of luminaires.’” When it came to the Odeon, he saw a way to use lighting to link the space with its past: “I had the idea to create a sort of stage lighting and to make the entire space into the theatre set again. The light needed to be a mellow light, but it also had to offer an appropriate lighting solution for all kinds of events such as state visits, presentations, concerts and lectures. The ideal way to achieve this was to use LED-based luminaires.” Alexander Weckmer, who had the job of managing the project, explained the choice of luminaire: “Even using warm-white light we could not manage to really bring out the light ochre-coloured walls, so we decided to opt for colour-changing luminaires – a revolutionary solution for such an historical building as this.”
When a reception is held here we can bathe the walls in a saturated blue or in a dark orange. A good side-effect of the upward light is that the light sources are reflected in the glass roof. This creates the effect of a starry sky and, together with the colour composition it creates a wonderful overall effect. Light and colour set the scene in this space; they introduce an element of suspense and create a theatrical atmosphere in an architectural setting.” And the solution is a success not just in terms of aesthetics but also in terms of economy. “These days sustainability is an important factor,” says Döring. “This solution is sustainable not just because of the low energy consumption – a total of only 1.5 kW – but also because of the lifetime of the luminaires – no less than 50,000 operating hours. And because we have nowhere near exhausted the potential of these luminaires, there will be no need to replace them if additional effects are required in the future. Now that is what you call sustainability!” Peter Ackermann was delighted with the positive response to the design concept: “At first a lot of the staff at the Ministry were sceptical, but now there is huge acceptance for the solution. In the warmer months there isn’t a single week goes by without the foyer being used for one or more events.”
ATMOSPHERE IS EMOTION
Special optics with a broader light distribution were made for the floor-level lights, with the result that fewer luminaires were required. The positioning of the luminaires, which on the second and third levels are in some cases hidden behind pillars and under panels, makes it possible to illuminate the walls uniformly and in an unobtrusive way. “A DMX controller is used so that the 120 luminaires can either be controlled individually or combined to create lighting scenarios,” explained Weckmer. “Pre-programmed scenarios can be called up at the press of a button and offer more or less endless possibilities. Here you need a careful touch and a sensible approach or it could very easily turn a bit kitschy.” Erwin Döring added: “Atmosphere is emotion, and emotion is light. Today we can transform various emotions into light and colour. We wanted to show just what can be done using light, without ruining the effect of the building. Now we have a stage again, even if it is only a pleasant illusion.
Client Bayerisches Staatsministerium des Inneren (Bavarian Ministry of the Interior) Architect Peter Ackermann, Ackermann und Partner Architekten BDA, Munich, Germany Lighting Design Erwin Döring, D-LightVision, Munich, Germany Lighting solutions Alexander Weckmer Licht und Mediensysteme GmbH, Königsbrunn, Germany Thorsten Cramer, Philips Germany Luminaires Philips ColorBlast 12 Powercore, ColorCast Lighting controls Philips iPlayer 2 Website www.ackermann-partner.com www.d-lightvision.de
27 Andreas J. Focke
OCTÁVIO FRIAS DE OLIVEIRA BRIDGE, SÃO PAULO, BRAZIL
COLORED ACCENTS ON THE RIVER Written by Evelise Grunow
The lighting of the Octávio Frias de Oliveira Bridge in São Paulo, contrasts white and coloured light in order to emphasise the innovative nature of the curved, stayed structural system. Paulo Candura and Plinio Godoy, of Luz Urbana, created the lighting design.
The lighting of the Octávio Frias de Oliveira Bridge in São Paulo, contrasts white and coloured light in order to emphasise the innovative nature of the curved, stayed structural system. Paulo Candura and Plinio Godoy, of Luz Urbana, created the lighting design. The bridge aims to improve the traffic conditions in what is one of Brazil’s largest metropolises by creating new links between strategic districts and the commercial pole of the port of Santos. Known as the Estaiada bridge (the “Stayed bridge”), and opened in May 2008, the bridge has quickly become an icon of São Paulo’s landscape. Its dense mesh of stays and the single elevated support tower, 138 metres high, stand out between the banks of the Pinheiros river, which form one of the structural routes for metropolitan road traffic. The aim of the lighting technology was to emphasise the innovative nature of the bridge’s engineering and architecture, designed by the architect João Valente, of Valente Valente Arquitetos. It is designed in such a way as to create a clear distinction between the daytime and night-time views of the bridge. Consequently, starting with the assumption that the many yellow stays (144 of them altogether) take priority over natural light, it was decided that the artificial lighting would serve the purpose of emphasising the form and dimensions of the concrete tower.
LUMINANCE AS A DESIGN RESOURCE
“We opted for primary, volumetric lighting of the tower,” commented Plinio Godoy with reference to the decision not to allow the night-time lighting effects to distort the perception of the real dimensions of the concrete structure. For this reason, use was made of ArenaVision floodlights, 1,000 W, installed in the vicinity of the bridge so as to focus in parallel on the main surfaces of the volume of concrete. “We used luminance as a design element,” Godoy added. However, whilst the tower was still being built, it was found that the surrounding light would interfere negatively with the mesh of stays, due to the constant presence of an unintentional and undesirable linear beam of light. In order to ensure that the concept of emphasising the view of the tower remained intact, additional ArenaVision floodlights were added, for directional focus on strategic points of the stays. The lighting designers were aware that public lighting makes a statement, hence the decision to focus each floodlight individually, so as to cancel out any interference by lighting from the city. In addition, this equipment was oriented in such a way as to create an area of shadow on the inner surfaces of the tower, with homogeneous parallel lighting of the inner surface, in parallel to the Pinheiros River. The aim was to separate the lit areas from other, dark areas, on which the coloured light would be projected, as specified by the lighting design. In this respect Godoy pointed out that the coloured lighting of the bridge is discreet and homogeneous, in line with the particular relationship which the residents of São Paulo have with regard to the colour applied to public monuments. The lighting designer explained: “This is a very sensitive relationship, timid even, and different from the situation in other major cities in the country, such as in the North West, for example”. Use was therefore made of 146 Colorblast LED floodlights, with varied beam angles so that surfaces with different heights would be lit homogeneously. LIGHT ON THE DECK
The lighting of the two traffic lanes was based on two main criteria. Firstly, since the bridge is located in a relatively dark area of the banks of the Pinheiros, the aim was to create lighting of approximately 70 lux on the traffic lanes, compared with 20 lux required in the surrounding environment. Godoy said: “People feel safe in these conditions”. In addition, the interface of the lighting equipment with the line of stays dictated a maximum height of 6 metres for the lighting posts. These use Milewide street luminaires with CosmoPolis lamps, and in view of their limited height they are arranged bilaterally and asymmetrically, in other words interposed every 15 metres on both sides of the lane. The lighting of the Octávio Frias de Oliveira Bridge uses efficient, modern technology which is representative of the state of the art in Brazilian lighting design.
Client Prefeituw Municipal da Cidade de São Paulo Construtora OAS Architect João Valente, Valente Valente Arquitetos, São Paulo, Brazil Lighting design Plinio Godoy, Paulo Candura, São Paulo, Brazil Lighting solutions Alexandre Ferrari, Philips Latin America Light sources Philips Cosmopolis CPO-TW 140W /728 MHN-LA 1000W /956 Cree LED-HB red, blue and green RGB Luminaires Philips Milewide, SRS421, road optic, ArenaVision, MVF403, Cat A1 to A5 reflectors, Colorblast 12, BCP470, 8° and 23° beams Lighting controls Philips iPlayer Websites www.valentearquitetos.com.br www.luzurbana.com.br
Zanser Olsen, Make.
55 BAKER STREET, LONDON, UNITED KINGDOM
THE ART OF LIGHTING Written by Paul Haddlesey
A major refurbishment of 55 Baker Street in central London, creating a modern, dynamic building complex, includes the use of LED lighting fixtures, a bespoke lighting solution for workspaces and an integrated lighting management system. Now owned by London and Regional Properties, the site was formerly the headquarters of Marks and Spencer and a well known London landmark. Thanks to an innovative lighting scheme by Make Architects and light artists Jason Bruges Studio, the building has been transformed at street level to create visually dynamic public spaces that combine innovative lighting with public art. “From the very beginning of the project we considered light to be just as important as any other element of the building,” recalls Make’s Ian Lomas. “We were also keen to make the exterior lighting part of the public art component rather than simply using ‘trophy’ art. To that end, we involved Jason Bruges at an early stage so that his design would inform the way the whole building is lit,” he adds. COLOUR CHANGING CONCEPT
The transformation of the building’s exterior features three glass infills or 'masks' spanning the voids between the existing blocks. Constructed from a glazed lattice of stainless steel, these masks create a distinctive sculpture that changes with both the viewer’s perspective and the times of day and year. Red, green and blue lighting using LED fixtures integrated into the cladding are key to creating the colour changes at the heart of the concept. “The emphasis is very much on focusing attention on surfaces and textures, rather than the lighting fixtures themselves, so it was important that the luminaries were positioned discreetly,” notes Ian Lomas. “The combination of the structures and the lighting help to create moods that reflect the seasons and the activity in the space,” Jason Bruges explains. “We have used very tight angles and narrow beams to achieve this and went through a number of iterations on a full scale mock-up to create the desired effect. “All of the lighting in these areas is controlled from a single point to produce pre-set scenes of different colours and patterns in relation to the time of day and the season, and can also be programmed to produce scenes tailored to special events,” he continues.
SMOOTH TRANSITION OF LIGHT
As well as being visually striking in its own right, the lighting within the masks creates a series of thresholds between the exterior and the interior, so there is a smooth transition of light rather than an abrupt change. Within the workspaces, the design team was faced with another challenge: the client wanted to maximise the floor to ceiling height and create a light and spacious ambience with high levels of comfort. Consulting engineers Blyth and Blyth identified a multi service chilled beam (MSCB) system that combines uplighting, downlighting and comfort cooling as offering the best solution. Philips worked closely with chilled beam supplier Frenger to ensure that the systems were fully integrated in the beam structures. “The MSCB enabled us to keep the ceiling height to a maximum while delivering the required specification for high quality offices,” explains Mike Pile of Blyth and Blyth. “However, because the beams are a fixed shape across the office, getting the right profile was vital to achieving uniform light distribution, particularly between the beams. The system also needed to be very flexible to enable tenants to install partitioning if required.” Architectural lighting designer Light Bureau and Blyth and Blyth worked closely together to achieve the best solution. The lighting on the beams is divided into groups of four on the outside edges and two groups of two on the inside edges so that a partition can be placed across the beam. Each beam also includes two multi-sensors with a photocell and passive infra-red (PIR) presence detector so that the lighting can be demand-controlled in relation to both occupancy and daylight levels. MAXIMUM FLEXIBILITY
Fully addressable for maximum flexibility, the DALI network interfaces to a Light Master Modular lighting management system, creating what is believed to be the largest LON DALI control project in the UK so far. Each lighting control module was commissioned to link four chilled beams per unit. In turn, each of the chilled beams housed six light fittings representing in total some 22,000 luminaires across 16 floors within the building complex. “We know that we have got not only an advanced lighting management system but one that can accommodate any changes in the future, while minimising any reconfiguration of the system,” Mike Pile concludes.
Client London & Regional Architect Make Architects, London, United Kingdom Façade lighting design Jason Bruges Studio, London, United Kingdom Services Engineers Blyth & Blyth, London, United Kingdom Lighting design Light Bureau, London, United Kingdom Lighting solutions Craig Stead, Mike Simpson, Philips United Kingdom Light sources Philips MASTER TL5 14-28W /840, Philips MASTER PL-L 26W /840, LUXEON K2 red, blue and green Cree LED-HB red, blue and green Multi Service Chilled Beam Frenger MSCB including air-conditioning, control sensors and lighting in offices Luminaires Mike Stoane Lighting LED floodlight for façade Philips LEDline2 RGB in the hall, Fugato, Celino, Savio in offices Lighting controls Philips LMM, Light Master Modular LON DALI Websites www.makearchitects.com www.blythandblyth.co.uk www.jasonbruges.com www.lightbureau.com
PASSIVE SOLAR AND NATURAL LIGHTING: ARCHITECTURAL ATMOSPHERES Christian Cochy, Architect in Saint Nazaire, Loire Estuary, France
Since he discovered the concept of solar architecture, in both summer and winter, in the United States in the 1970s, Christian Cochy has been expounding the essential part played by the sun in architecture and its teachings.
“I was immediately beguiled by the thermal form-function suitability of this pueblo village, Cliff Palace, built in a cave in Colorado. Sensitive too to the compatibility between the seasonal cycles of vegetation and the solar trajectories and to that between the thermal inertia capacity of a building and the day-night cycle of the solar inputs.”
LA BOSSE COLLECTIVE ACCOMMODATION – 1980
“When I finished my first building using passive solar design in grouped housing, my interest in bioclimatic architecture was initially sparked by research into the economics of energy and heating. At the end of the first winter several occupants told me that they had found that the winter had seemed shorter to them. They benefited more from the sun indoors and on the huge terraces than in their previous dwellings, relegating the expected economies of 50% of heating to a secondary level. This was a revelation to me and the realisation of a new compatibility between bioclimatic architecture and natural lighting.” ELISA LEMONNIER INFANT SCHOOL – 1984
“The order for a bioclimatic infant school with three classes was the opportunity to deepen, more consciously this time, those complementary qualities. I imagined a building in which the sun would provide heat and light in winter without bothering its occupants. The classes have windows facing south. They are low down at the children’s level. The window in the central passageway is fitted with mobile insulating panels to give protection from the north in winter and to provide shade and coolness in summer. The need for transparency between classrooms is combined naturally with indirect lighting in them. Light wells facing south and north and oculi let the children feel the different atmospheres and the movements of the sun during the year.” ANNE FRANCK LIBRARY – 1987
“In order to comply with the request to protect the façades in a “sensitive” area, I decided to light the round book room using a transparent pyramid on the roof. Each section of the pyramid is protected by independent outdoor sun-breaks. This enables the users to manage the protection of the sides exposed to the sun as it moves during the day, while keeping good natural brightness and excellent summer comfort.” 36
Christian Cochy South façade with passive sun light Individual residence from M. Foucré, Architect: Christian Cochy
LES PINS LONG-TERM CARE UNIT – 1990
“Invited to design hospice accommodation for elderly poly-dependent people, I attempted to respect their extreme sensitivity to light and to heat in summer without depriving them of the contribution that is essential for their morale during that phase of revival in the summer cycle. In the “Les Pins” living unit I suggested living-rooms broadly glazed and looking onto the nature outside. In summer they are protected by very wide canopies, while the existing trees protect the rooms to the west. It was possible to combine the important requirements of air renewal, due to incontinence, with the building’s strong inertia, thus making for nocturnal refreshment. Linked to a central patio garden, the need for transparency between areas so as to facilitate surveillance has helped to enrich the natural lighting of all the living-rooms.”
facing south. Pergolas with vegetation or mobile fabrics protect outdoor terraces and south-facing windows in summer. The night lighting is largely provided by energysaving lamps, also positioned according to daylight entry. For their occupants this suggests living in harmony with the sun, adapting to its constraints. For example, accepting the day-night brightness and temperature variations in winter. Accepting that the sun, the winds and the location’s characteristics are finally recovering their place in the organisation of the rooms in a building. “My last few projects resulted in my optimising the full and glazed surfaces and fitting my buildings with solar panels to produce electricity and sanitary hot water. Aim: to move towards energy-saving structures and in the long term towards positive energy, in which the night lighting would be provided by the solar energy stored during the day.”
Individual residences – 1982 to 2009
Traditional European rural housing used to perform a bioclimatic function of sheltering people who mostly spent their days doing outdoor physical activities. Today’s shelters are mainly aimed at urban sedentary people who have become more sensitive to the cold and are often insulated from the natural cycles. “In my individual housing projects I attempted to make passive use of the sun’s direct inputs in most of the spaces, both during the day and at night. I link them to their indispensable complements, such as compactness, inertia, protection against the cold from the north, natural and mobile protection against the heat of summer and now the use of healthy materials.” The resulting spaces are therefore very directional and full of contrasts. Inundated with light in winter and open to the south, they are shaded to the north, with views and “emotional” lights to the east and west. Windows or zenithal light wells punctually provide the more “spiritual” atmospheric complements during the day in the areas 37
THE LUMINANCE SENSATION OF COLOURED LED LIGHTING Written by Peter Kort, Luc van der Poel
Coloured LED lighting is becoming increasingly important in lighting concepts. It is used not only in the theatre and for city beautification, but also in shops, reception areas and even in office environments. The luminance effects of spotlighting using white light are well known and are described in terms of the accent factor; coloured lighting is not yet described in this way. The attraction value of coloured light is expected to be higher than that of white light due to the colour contrast. The following experiments shed some light on the behaviour of coloured lighting in relation to white lighting.
Finally, two primary colours were combined to create yellow, magenta and cyan. The outcome showed that the relative luminance of secondary colours could be found by adding together the relative luminance of two primary colours. In this way we can predict for every colour the relative luminance compared to white light.
The experiment defines the relative luminance sensation generated by the primary colours of a LED spot. The method uses a pattern created by two LED spots on a highly reflective wall. The wall is divided into two equal parts. On one half you see a spot in one of the primary colours, on the other a white LED spot with a preset intensity. The test patterns are red-white, green-white, and blue-white. The observer changes the intensity of the coloured spot until they feel the luminance sensation generated by the two spots is equal. This test is performed for each combination, once in complete darkness and once with 350 lux on the wall.
The results reflect the luminosity function: green light contributes the most to the intensity perceived by the human eye, and blue light contributes the least. When the white light was set at 100, we found the ratio for red to be 33, for green 50, and for blue 17. Another, secondary outcome of the test shows that the sum of the red/green/blue ratios found (additive colour mixing of RGB gives white light) is equal to the intensity of the white spot.
Test scene The observer changes the intensity of the coloured spot until they feel the luminance sensation generated by the two spots is equal. This test is performed for each of the three combinations, red-white, green-white, blue-white, once in complete darkness and with 350 lux on the wall.
RELATIVE LUMINANCE 100% 83%
Additive colour mixing: Light is perceived as white if all the three types of receptors in our eye are stimulated simultaneously. The colours red, green and blue (RGB) all activate one type of receptor
Relative luminance: The graph shows the different relative luminance for all colours with the same luminance sensation as white light. One can see, for example, that green light (525 nm) generates the same visual attraction with only 50 per cent of the luminance of white light. The relative luminance for cyan (490 nm) is 70 per cent.
NEW OLAC RESIDENTIAL DEMONSTRATION AREA City streets now have to be lit with greater subtlety than ever, taking into account the often conflicting needs of residents, motorists, pedestrians and even cyclists. Lighting in such areas is no longer purely functional; it has to adapt to the needs of people, providing not only safety and visibility, but also ambiance and orientation. In addition, lighting schemes must be energy-conscious and prevent light nuisance and pollution. With this in mind, the Outdoor Lighting Application Center – OLAC – has completely transformed its demonstration area. The original street with family homes has been replaced by a modern, contemporary urban street, with residential buildings on two floors, a restaurant, nursery school and private houses. The new area also illustrates the increasing urbanisation and densification of urban areas – apartments instead of individual houses. This provides the backdrop for showing how lighting can be improved with modern technology, while at the same time taking into account the changing demands people and urban authorities make on residential environments. The demonstration starts with an “old” installation and then shows a number of different scenarios. It is an “eye-opener” to explain and
visualise how to improve lighting of public spaces in terms of energy consumption and beam control, but also in terms of atmosphere and safety by the creative application of decorative lighting. The lighting solutions chosen are state-of-the-art, and concentrate on a variety of light sources, luminaires, optics, design, power, lighting control and dimming mode. Particular attention is given to the fast growing penetration of LEDs into residential areas with UrbanLine, CitySpirit Street Color, CitySoul and LEDline² asymmetric, as well as tailor-made and dedicated solutions such as LightTube or Multipole. The installation includes HID lighting solutions such as Cosmopolis lamps with perfect energy saving and high quality white light. This new residential demonstration area once again underlines Philips commitment to lighting professionals and the architectural community. It provides a unique opportunity to view the latest application trends in urban lighting in a customised, modern environment and offers professionals the opportunity to assess lighting plans in terms of sustainability, creativity, and, most importantly, the needs of the people who live in and make use of residential areas.
Architect Frédéric Agnesa, SAA, Lyon, France Lighting solutions Isabelle Huaman Gontard, Christian Ferouelle, Philips Lighting Electrical installer ACEA Light sources Philips Cosmopolis 45-60W, LUXEON I red, green and blue, LUXEON K2 warm white Luminaires Philips CitySoul, UrbanLine, Milewide, CitySpirit Street Color, Metronomis, Marker LED, LEDline² asymmetric, LEDflood, Multipole, LightTube, Underwater LED, Decoflood, PROflood Lighting controls Martin LightJokey
STAGE 1: research
–– City users –– History –– Architecture –– Landmarks –– Atmosphere –– Nature –– Special events
structure of the city
–– Topography –– Districts analysis –– Traffic analysis (network grading plan) –– Viewing points and distances
–– Functional lighting –– Architectural lighting –– Luminaires –– Light sources
–– Functional lighting –– Inventory of light nuisances (sky glow, glare) 42
Lighting Master Plan By Mujgan Serefhanoglu Sozen
Mujgan Serefhanoglu Sozen (Prof., M.Arch) lectures at the Yildiz Technical University, Faculty of Architecture, in Istanbul, Turkey. She is chairwoman of CIE (Commission Internationale de Lâ€™Eclairage) Division 5, TC 21 Master Planning of Urban Lighting and TC 24 Guide for Architectural and Decorative Lighting. Mujgan Serefhanoglu Sozen (Prof., M.Arch) lectures at the Yildiz Technical University, Faculty of Architecture, in Istanbul, Turkey. She is chairwoman of CIE (Commission Internationale de Lâ€™Eclairage) Division 5, TC 21 Master Planning of Urban Lighting and TC 24 Guide for Architectural and Decorative Lighting. Today, it is inevitable for cities to be alive at night as well as during the day. People working during the day are deprived of social, artistic, sports and entertainment activities. By facilitating these activities at night, using urban spaces with safety and security, and by carefully selecting historical, artistic and architectural elements that have social value, you make cities more attractive and promote life quality. But if you are to do this positively and with an efficient use of energy you require a comprehensive planning. A Lighting Master Plan can provide direct and indirect advantages by bringing a new point of view and identity to the city. It can introduce basic principles with an overall approach to both utility and architectural lighting, control of night life and the night image of the city. The development of a Lighting Master Plan will typically pass through three stages. During the research stage, a detailed analysis of the city is performed. This will include usage, users, natural characteristics, existing utility and architectural lighting, and light coming from buildings. It will also deal with the cityâ€™s image, identity, silhouette, road characteristics, the hierarchy between roads and between buildings and elements symbolizing the city. Then a lighting strategy is developed, taking into account light pollution, energy usage, sustainability and environmental factors. And third, the implementation stage should include planning and capital costs, operating costs, budget and maintenance systems. Urban lighting gets old after about ten years, and changes to lamps and lighting elements become necessary. New products become available with continuously improving technologies and subjects such as energy efficient usage also play a role in such changes. In this renewal process, in the renovation of old cities or in urban transformation plans, lighting master plans must be made with respect for the overall approach. The CIE guide Master Planning of Urban Lighting (D5 TC 21), which is yet unpublished, shows the need of undertaking utility and architectural lighting objects with an overall systematic planning.
STAGE 2: Lighting strategy
–– Unique identity –– Connecting people –– Safety –– Orientation –– Atmosphere
Light linked to activities and time: –– Working day –– Shopping –– Going out –– Special events
24:00am-07:00am DETAILED MAPS AND ILLUSTRATIONS
–– Illuminations –– Tonality (colours of lamps) –– Typology (scale) –– Composition (typical configurations) –– Lighting specifications
Stage 3: implementation
–– Recommendations for lighting solutions and alternatives –– Standard implantation in cross section –– Visualisations and sketches
–– Planning of implementation –– Definition of phases –– Timing REFERENCE PROJECTS: SUZHOU SCIENCE AND CULTURE ART CENTER, CHINA
Architect: Paul Andreu; Paris, France Lighting design: Mr. Y. Nakamura; Tokyo Shomei Consultant Co., Ltd., Tokyo Japan Magazine : Luminous 2008/1, page 20-23
PLAZA DE INDAUTXU, BILBAO, SPAIN
Architect: Ander Marquet Ryan, JAAM architecture partnership Review: ILR 2007, page 88-91
VERDI INNOVATIVE WORKPLACES By Carine Legoux
Verdi’s site represents a veritable technological and wellness showcase, bringing together all the operations of the Philips France group since last year. What was the objective? To apply its know-how to improve everyone’s lives. Selected partners, such as AXA, COGEDIM, the firm of architects BoissesonDumas-Vilmorin & Associés (BDVA) and the engineering firm SETEC, got together to study and construct this ambitious project. “It’s this respect for integration with the environment, this relationship between humanity and quality of life that we have favoured since the conception of the project,” says Jean-Michel Dumas, associate architect at BDVA, in charge of the Verdi project, and Gilles Engelmann, architect for the construction phase.
Project Head office of Philips France, VERDI, Suresnes, France Investor AXA Delegated project owner COGEDIM Architect Boisseson-Dumas-Vilmorin & Associés, Paris, France
As the leader in the field of lighting, Philips is constantly endeavouring to improve artificial light sources. The Dynamic Lighting concept marks an important step that allows all the richness of natural light to be introduced into the working environment. It is very logical that Philips has opted to fit 23,000 m² with this lighting concept. This operation, on an unprecedented scale, illustrates perfectly what the lighting in a modern building should be like, taking into account the users’ needs and the concern with saving energy.
Engineering firm SETEC
As the day progresses, the 2200 luminaires are perfectly integrated into the false ceiling. They are fitted with two T5 28 W fluorescent tubes using 2700 K and 6500 K colour temperatures. They vary the luminous intensity and the light colour temperature, recreating the dynamic that is peculiar to natural light.
Civil engineering PETIT
The use of MLO micro-lens optics makes it possible to achieve a homogeneous and very comfortable light distribution. In addition, Dynamic Lighting is linked to a centralised management system that takes into account the incidence of daylight and the presence of staff in the offices, thus enabling electricity consumption to be optimised.
Architect-decorator Juan Trindade Lighting designer Philippe Almon, PHA Space planning DEGW
Electrical installer SPIE – PHIBOR (Vinci Energies) Philips Lighting solutions Alexia Lemonnier, Laurent Poitevin, Pierre Bonduelle, Nadine Ravarini, Philips France Lamps Philips TL5 28W 827/ and 865, PL-C/4P 18W /830, Philips MASTERColor CDM-Tm 20W /830, LUXEON K2 white Luminaires Philips Savio TBS760 2x28W with ballast HFD in offices for Dynamic Ambience, Fugato FBS261 2x18W in circulation areas, Fugato MBS244 with black cone MASTERColor CDM-Tm 20W in the hallway and floors, specially designed LEDline2 for lift areas Lighting controls Philips Light Master Modular Websites www.bdva.com
FEEDBACK Mere Words Photography
BOOKS Light & Communication - Nature as a reference in lighting design Author: Henrik Clausen Publisher: Meldorf: Hansen, (Denmark), January 2009 ISBN-13: 9788792154026 120 pages, colour illustrations, hardcover Language: English www.meldorfhansen.dk “Light & Communication - Nature as a reference in lighting design" solves. After reading it, you will be able to communicate about lighting design in a way everybody understands, using nature as a common reference. Green Architecture Now! Author: Philip Jodidio Publisher: Taschen ISBN-13: 978-3-8365-0372-3, 416 pages Colour images, flexicover with flaps Language: English, French, German www.taschen.com The ecological impact of new construction, once a secondary concern, has become a crucial issue. Badly designed buildings guzzle natural resources and pollute their surroundings; in an era of rocketing energy costs and environmental degradation, the need for a sustainable, energy-efficient architecture is paramount. This book features the architects, artists and firms pioneering a new green architecture, and examines the emergent esthetics. Yann Kersalé Authors: Yann Kersalé, Jean-Louis Pradel, Henri-François Debailleux, Anne de Vandière Publisher: Editions Gallimard (France) October 2008 ISBN-13: 978-2070122806 215 pages, colour illustrations, hardcover Language: French www.gallimard.fr Yann Kersalé graduated from the Quimper School of Fine Arts in 1978 with the Diplôme National Supérieur d’Expression Plastique. Using light as others may use clay or paint, he chooses night time – the most sensitive of all backgrounds -as his area of experimentation.
Green architecture Author: James Wines, Philip Jodidio Publisher: Taschen, LLC (Germany), August 2008, 25th Anniversary edition ISBN-13: 978-3836503211 240 pages, colour illustrations, hardcover Language: English, French, German www.taschen.com Wines (dean of architecture, Univ. of Pennsylvania) proposes to steer the architecture profession away from the "vacuous shape-making" of "academic Modernism" towards an ecology-centered aesthetic. This generously illustrated alternative history spotlights an eclectic assortment of lesser-known architects (including Wines himself) who in widely varying degrees incorporate ecological awareness into their designs. Lighting Design: Office for Visual Interaction Author: Enrique Peiniger, Jean M. Sudin Publisher: Birkhäuser (Switzerland), July 2009 ISBN-13: 978-3764399573, 144 pages, 255 colour illustrations, softcover Language: English www.spinger.com/birkhauser/ More than any building material, light influences our well being, effects architectural qualities and stages architectural designs and surfaces. The New York-based Office for Visual Interaction (OVI) goes beyond simply illuminating buildings – the firm sees lighting as a way to actively shape space, complement architecture, integrate technology and save energy. Featured projects include illumination for contemporary landmarks such as Renzo Piano’s New York Times skyscraper, Zaha Hadid’s Rosenthal Center for Contemporary Art, a prototype LED streetlight for New York City, and the lighting design for Enric Miralles’ Scottish Parliament complex.
WHERE TO GO 19 May - 6 September
Exhibition Andrea Palladio 500 anos de consciencia arquitectonica www.fundacio.lacaixa.es Caixaforum, Barcelona, Spain
1 - 9 August
Youth Architectural Festival Towns: Construction of Eco-Town by your own hands www.asadov.ru/goroda/2009_ greentown(eng).htm Altai, Russia
Until 9 August
DDC Exhibition See the Light Light sources today and future www.ddc.dk Danish Design Centre Copenhagen, Denmark
Until 13 September
MCA Exhibition Olafur Eliasson Take your time www.mcachicago.org Museum Contemporary Art Chicago, United States of America
Until 4th October
Exhibition Green Architecture for the Future www.louisiana.dk Louisiana Museum of Modern ArtHumlebæk, Denmark
6 October - 17 January, 2010
Exhibition Andrea Palladio 500 anos de consciencia arquitectonica www.fundacio.lacaixa.es Caixaforum, Madrid, Spain
Until 18 October
CIVA Exhibition The Shops Time / Le Temps des Boutiques From the small workshop to eBay / De l’échoppe à eBay www.civa.be/sub/00.asp Fondation for Architecture Brussels, Belgium
19 - 22 October
LUCI Association Annual Meeting Lighting Urban Community International 2009 World Photonics Expo Gwangju, South Korea
28 - 31 October
VIA Publishing & co-organiser PLDA Professional Lighting Design Convention 2009 www.pld-c.com Pullman Berlin Schweizerhof Hotel Berlin, Germany
29 October 10 January, 2010
Exhibition Frank Lloyd Wright www.guggenheim-bilbao.es Guggenheim Museum Bilbao, Spain
15 - 17 November
IES Association Annual Conference Illuminating Engineering Society 2009 Realizing the Future – Research to Application www.iesna.org Sheraton Seattle Hotel Seattle, United States of America
10 - 12 December
CERMA International symposium Luminous architecture in the 20th century (1907-1977) www.cerma.archi.fr Ecole nationale supérieure d'architecture Nantes, France
Copyright © 2009 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.
1st prize 2008 Seoul, South Korea
Ko, Kyung-Ju, Ha, Mee-jung, Kwoon Hyung Joon, Lee Yeon So Seoul Jung-gu Cheonggye Plaza to Seongdong-gu Sindapcheolgyo Railroad Bridge (5.84 km) â€œThis is an impressive project to rehumanize this urban area. This effort to bring nature back to the city combined with an harmonious and almost entertaining landscape design gives this previously lost and forgotten place an almost fairytale night-time image. The lighting design plays with light and dark as well as with the transparency of the water. The subtle use of color adds to the overall quality of this relaxing and recreational urban environment, thus clearly improving the quality of life for those living here.â€?