landscaping with light louis poulsen lighting
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landscaping with light
Louis Poulsen Lighting has many years of experience in external lighting experience, this brochure is designed as a guide for people who want to consider making the night a more comfortable and atmospheric setting. Our aim is to lead you through the landscape lighting principles, which can be easily applied to both urban and residential projects. Should you not feel conďŹ dent in the area of landscape lighting design, please contact Louis Poulsen Lighting directly for a design advisory service to optimize your project.
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function page 4
comfort page 18
ambience page 24
the Louis Poulsen Lighting FCA™ philosophy Good lighting design is achieved through a number of choices and considerations. Louis Poulsen Lighting develops its luminaries adhering to a lighting philosophy of Function, Comfort and Ambience (FCA™). This FCA™ philosophy also applies to scheme design, which in turn strives to balance the technical and human elements of any project. A balanced FCA™ philosophy ensures the best lighting solution for your landscaped space. Functional aspects are addressed by selecting a suitable light fixture, choosing a complimentary lamp package and positioning it for optimum performance. Comfort aspects are addressed by considering the scenario and examining the lighting requirements. Ambience is addressed by thinking about the mood and experience you wish to create. This enables the designer (through choice of the most appropriate light fitting, weighing up intensity positioning and colour rendition) to create a unified specification that is sensitive to requirements while enhancing the landscape form.
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function
f
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During daylight hours the landscape is a play of colour, form and texture. The smooth contours of the lawn, shapely trees and brightly coloured flowers are all illuminated by the sun with everything on show.
unction
By contrast, the night sky shrouds the landscape with an air of mystery. With only the moon-light and selected artificial lighting, the picture becomes a play of dramatic light and shadow, revealing some objects and hiding others. With this in mind, the first task is to define the parameters for the project and what you wish to achieve. Remember, simplicity is the key.
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light source
light fixture
Daylight
As designer you will need to select a suitable light fixture for each application. The versatility and simplicity of the Louis Poulsen Lighting
Colour spectrum
product range will allow you to address issues of size, type, material
Incandescent and halogen light sources have a continuous
and finish/colour.
spectrum, representing all the colours of the rainbow, with a smooth transition between each.
For example, recessed inground up-lighters are discreet and invisible by day while spike mounted fixtures allow for repositioning
Fluorescent light sources have a linear spectrum. They do not
as required and also help prevent plant growth over the light source.
necessarily have all the colours of the rainbow and of those that do
To help a lighting scheme to ‘flow’, many of our fixtures appear in
are each, separated by a black area.
‘families’. For example, a wall fixture, bollard and post top. The ‘family’ concept allows a ‘common’ design theme across a scheme. Colour Rendering Index (CRI) CRI indicates how well a light source reproduces true colours.
light source
The CRI is divided into values from 0-100. Daylight CRI 100.
You must consider the appropriate light source. In particular, a
Incandescent and low voltage lamps share a CRI of over 90.
complementary light source, suitable wattage intensity and beam
High pressure sodium CRI 20-35.
angle. Other factors such as lamp life and surface temperature may
Metal halide CRI 80-90.
also play a part depending on the project parameters.
Compact fluorescent CRI 80-98. Mercury CRI 40-65.
Remember, natural daylight is the ‘benchmark’ and it is therefore
N.B. Light sources can hold the same CRI, but do not have the abi-
important to respect the colours of nature in your lamp choice.
lity to render the same colour correctly. This depends on the colour spectrum of the light source.
Colour temperature 8000K
Daylight • higher than 6,000 K Neutral • 3,000 - 4,000 K Warm white • lower than 3,000 K
4000K
1000K
The colour temperature of a light source is measured in degrees Kelvin (K), and can be defined as warm, neutral or cool light.
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Compact fluorescent
High pressure sodium
Compact fluorescent
LED (Light Emitting Diode)
High pressure sodium
Although many use this for its long
LEDs offer a wide choice of colours - standard white,
Today high pressure sodium is often
life quality in or around buildings,
blue, red, green, amber and RGB colour change
perceived unfashionable, but it has
compact fluorescent is not a light
versions
have
its place and should not be ruled out.
source strongly recommended for
exceptionally long life, are cool to the touch and
It is particularly complimentary to
the landscape environment. It does
have low running costs. However a word of warning,
reds and yellows, for example copper
not possess the colour rendering
in isolation standard white LEDs appear white but
beech and prunus trees (both red leaf),
qualities of halogen or metal halide.
when placed next to or near warmer sources, such as
sandstone and traditional brickwork
However, it is an alternative indicator in
halogen, they can appear more blue. This can feel
can benefit from sodium lighting.
recessed products when the budget
‘cold and ghostly’. It is therefore recommended that
However, due to its colour spectrum,
will not stretch to LEDs.
a pale yellow filter is added to correct the colour.
sodium does not compliment blue
Alternatively seek advice on using a ‘warm white’
coloured surfaces.
(through
DMX
control).
They
LED.
Halogen
Metal halide
Mercury
Metal halide
Mercury
warm
This is probably the best ‘all rounder’. With its
Mercury
atmosphere and is associated most
good lamp life and light spectrum resembling
green coloured surfaces very well.
strongly with the natural environment.
natural daylight, this light source favours the
For
Despite its lower life, it is the best
commercial lighting scheme and is also a good
trees. Stainless steel also illuminates
choice for illuminating domestic plants
option to illuminate objects in their true colours.
well.
Halogen This
source
creates
a
compliments
example
cedars
blue and
and pine
and foliage in their true colours.
N.B. Discharge light sources (metal halide/sodium/mercury) are not suitable for security lighting linked to a movement sensor, as they take a period of time to reach their optimal colour/intensity of light, can rarely be dimmed and offer no instant light.
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positioning
Having chosen the fixture and light source, many designers underestimate the importance of positioning. Specifying the position of a fixture will maximise the desired effect and avoid issues of unnecessary glare, cut-off shadows and light pollution.
spacing
set back At Jumeriah Beach Hotel in Dubai, the gentle scalloping effect of the light (pattern of light/dark areas on the wall) is governed by how close the fixtures are placed together.
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spotlight
spotlight setback
When light is cast on statues and sculptures, it is important to position the light fixtures correctly to avoid shadowing and ‘cut-off’. The importance is displayed above, where the statue of a man appears to float due to the lack of light on his lower legs. Spacing and setback play a large role in accentuating texture to the finished picture. At Stirling Castle (above, left) just outside Edinburgh in Scotland, the light fixtures have been placed close to the wall. This accentuates the architectural form with shadow. Had the fixtures been placed further from the wall the building would have had less shadows and appeared flatter in contrast. Illuminating the subject in this way contributes to the myth and mystery associated with a castle.
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designing a lighting scheme after A good landscape lighting design can in general only really be achieved through experience. When illuminating commercial areas or public realm are light levels (lux) need to be adhered to. These are recognised standards to create a safe environment. However, when illuminating landscape features such as trees, foliage and focal points of interest, there are no hard-line rules. Without such recommendations, many designers shy away from landscape lighting, and valuable design potential can be lost. With years of experience, Louis Poulsen Lighting can help you achieve a safe and ‘complimentary’ lighting solution, drawing out the best features in the scheme, whilst leaving the undesirable in the dark.
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The difference in quality of light plays an important role in how the user feels when moving within a space. The small image below and on the left demonstrates how glare from a light fixture can ‘hide’ a person. By minimising glare, as shown in the image on the right, you can help the user feel safe and enjoy the experience of the space after dark.
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Many aspects have to be considered when planning an outdoor lighting scheme. Our aim is to guide you through the outdoor area and offer suggestions based on our many years of experience. The products of Louis Poulsen Lighting are designed as lighting tools to ďŹ t discretely into the surroundings and offer a unique lighting experience.
Lighting urban spaces is not solely a matter of decoration; creating a safe environment is as important. It has been proven that the introduction of lighting has contributed to falling crime rates in many urban spaces.
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applications
Think hard to exhaust the lighting possibilities available in your scheme. Our aim at Louis Poulsen Lighting is to make you aware of the potential pitfalls and to help you see all the possible design options.
The garage or carport - you may use different types of light ďŹ xture for this purpose, but the avoidance of glare to the driver is very important. A path from the parking point to the main entrance door requires ample light for frequent use. It is important to suggest the direction one should take.
garage
driveway 13
driveway
driveway
It is important to illuminate the route from the main entrance to the main door of the house or building, both for car and pedestrian access. For driveways, bollards or small post tops/lanterns seem the obvious solution. However, should the drive be tree lined, ‘moonlighting’ is an option. This will offer a beautiful picture by night and an uncluttered landscape by day.
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applications
entrance
doorway
A wall ďŹ xture is the obvious solution by a doorway, however concealing the light source in the eaves may be another option, particularly on an existing building where concealing cable may be difďŹ cult.
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steps
Special care should be given to illuminating steps and level changes, as undefined edges could make dangerous trip hazards.
path
Path lighting is designed to provide orientation and make the user feel safe and comfortable when moving around within a space after dark.
The entrance point to a building should be obvious at night. If the building itself is up-lit, we suggest the entrance has a form of downward light, delineating it as the entrance. If there is neither a porch nor overhead canopy to mount an overhead fixture, wall fixtures mounted at ¾ of the height of the door or above the door will frame the entrance. House names and numbers should be clearly illuminated for visitors, taxis and in some cases the emergency services.
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application map The following plans highlight stereo typical features found within urban and residential schemes. The matrix below offers suggested product groups for the key areas marked.
urban
Road
Sitting area
Trees/ General planting
Walkway Parking Steps Building fascia
Sculpture
Main entrance
Plan by Akers Coyle
Driveway/ Road
Forecourt/ Garage Main Parking entrance
Building fascia
Terrace/ Pool area Sitting area
General Trees planting
Sculpture
Paths/ Walkways
Steps
Product section Inground/Recessed Onground Surface mounted Wall Bollard Post tops
• • • • • • • • • • • • • • • • • • •
• • • • • •
• • • • • • • • • • • • • • • • • • • •
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residential Wood
Trees
Grass verge
Pool area Path way
Forecourt/ Parking
Swimming pool Steps
Main entrance Garage
Lawn
Driveway
House
West terrace
Conservatory South terrace
Lake Dry garden Wood
General planting
Lawn
Hornbeam Walk Path way
Wood Trees
Sculpture
Plan by Timothy Garden Design
Driveway/ Road
Forecourt/ Garage Main Parking entrance
Building fascia
Terrace/ Pool area Sitting area
General Trees planting
Sculpture
Paths/ Walkways
Steps
Product section Onground/Recessed Onground Surface mounted Wall Bollard Post tops
• • • •
• • • • • • • • • • • • • •
• • • • •
• • • • • • • • • • • • • • • •
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comfort
c
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It is important to consider the lighting requirements for the space and scenario you are designing. For example, a
omfort
greater intensity of light is required to feel safe in a park, than in the confines of your own garden. Once the general lighting requirements have been decided, you can then look to create a sense of depth to the scheme by drawing out focal points of interest. Avoid ‘over lighting’, which can lead to the final picture appearing flat and lacking contrast. Remember, the darkness is as important as the light.
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the purpose of light
When designing a lighting scheme, both functional and decorative elements have to be considered. Urban and residential schemes both require a level of functional light to navigate by. However, gardens play more on aesthetics, while urban spaces are generally more about experiencing the architecture. To explain the difference the plans have been separated into two colours. The functional zones are illustrated in blue, while the more decorative and ambient areas appear in red.
urbanap
Road
Sitting area
Trees/ General planting
Walkway Parking Steps Building fascia
Sculpture
Main entrance
Plan by Akers Coyle
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residentialp Wood
Trees
Grass verge
Pool area Path way
Forecourt/ Parking
Swimming pool Steps
Main entrance Garage
Lawn
Driveway
West terrace
House Conservatory South terrace
Lake Dry garden Wood
General planting
Lawn
Hornbeam Walk Path way
Wood Trees
Sculpture
Plan by Timothy Garden Design
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lighting consideration
lighting consideration It is important to remember that good lighting design will not only provide safety and aesthetical value, but also give the daily user an experience to remember. Although some people would rather see the night remain night, i.e. dark, Louis Poulsen Lighting products are designed and tested to perform in a precise manor. Getting the light to where it is needed, avoiding spill and unnecessary light pollution are of utmost importance to us. In order to respect both the user and the environment, Louis Poulsen Lighting bases its lighting solutions on the philosophy of: function, comfort and ambience - FCA™. We consider it paramount that our fixtures unite with the architecture and the surroundings. The light has to become a natural element. We recommend where possible a lighting scheme that combines fixtures at varying heights. The highest fixtures set the upper limit against the night sky while the lower fixtures secure the best recognition and navigation for people in the dark.
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dark sky Organisations like Dark Sky participate in the lighting debate, casting stringent views on what they consider light pollution and how to avoid it. Dark Sky works with the terms full cut-off, cut-off and semi cut-off. These terms are defined by the values indicated below. During the planning and design stages, the character of an area determines which fixture will be the most suitable. Note: a full cut-off is not particularly appropriate in an area where parameters like ambience or comfort are important.
Full cut-off
Cut-off
Max. 2.5% light above 90° Max. 10% light above 80°
Max. 0% light above 90° Max. 10% light above 80°
Internal honeycomb louver
Internal concentric louvre
External crossblade louvre
Cowl visor
Barn-doors
45° prismatic wash lens
Anti-glare/Pollution Landscape lighting is about ‘painting’ the finished picture, the emphasis being on the effect and not where it is coming from. Louis Poulsen Lighting fixtures offer a wide range of accessories for optimizing light performance and minimising light pollution.
Semi cut-off
Max. 5% light above 90° Max. 20% light above 80°
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ambience
am
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It is important to think carefully about the mood you intend to create and how you wish the user to feel within the space. Through your choice of light source, you have the ability to affect the user both emotionally and physically i.e. making them feel warm or cold, excited or relaxed, secure or
bience
uncomfortable. Lighting is not just a question of placing a few light ďŹ xtures in a space to see by. It is about creating an ambience with deep respect for the darkness and the surroundings. When designing, think of your self as an artist painting with light. As far as possible, you want to see the effect and not where it is coming from.
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lighting technique
Light fixtures can be used in different ways to create mood. This is often suggested by the contours of the landscape. Here are a few common techniques:
Down-lighting Although a general term encompassing many of the lighting techniques, down-lighting is the most natural technique as this is the way we perceive light i.e. sunlight. Good examples of down-lighting include security and path lighting which cover functional aspects, while moonlighting and spotlighting offer a more aesthetic approach. Aesthetical down-lighting is especially effective in structures such as pergolas, gazebos or recreational areas.
Up-lighting Up-lighting is a very simple yet dramatic lighting form where a fixture is placed under an object such as tree or sculpture. Being a manmade distribution of light and therefore unnatural to the human visual perception, it attracts immediate attention. Recessed up-light fixtures are discreet and invisible by day, while spike-mounted fixtures although visible in daylight, can be repositioned easily and prevent plant growth over the light source.
Spot-lighting This is a very direct technique used to illuminate important features and focal points e.g. statuary. The use of narrow-beam light sources often allows the fixture to be placed some distance from the subject. This technique is essentially for aesthetical purposes and directing attention in a particular direction. However, it should be used in moderation as overuse may be confusing to the eye, drawing it in many directions.
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Low-level wash/Path lighting Predominantly, this entails illuminating of a horizontal plain along which we walk. It gives direction, providing ample illumination to see level changes and avoid hazards such as steps or water. This light can come from a number of different light fixtures depending on the environment. 1. Post top fixtures where light is projected downwards from approximately 3m or more. 2. Bollards available in various heights traditionally providing illumination from a lower height. 3. Wall mounted light fixtures, mounted at varying heights. 4. Inground, semi-recessed light fixtures casting local but limited light. N.B. This technique is designed to make the user feel safe and comfortable moving around within a space.
Silhouetting and wall washing This is most commonly seen in nature at sunset when an object is caught between the viewer and the setting sun, creating a dramatic silhouette. This effect can be reproduced after dark using wide-beam light sources placed behind planting or objects. Doing this will often mean washing a vertical surface behind the chosen subject, for example a fence or wall. While this is generally seen as purely adding aesthetical interest, throwing light on the area behind adds a sense of depth to the area.
Moon-lighting An ally to down-light, this is one of the most effective and natural looking lighting techniques simulating the soft diffuse light of the moon. For best results, it relies on suitably mature trees. With light fixtures positioned correctly, light passes through the canopy casting graceful shadows at ground level. The fixtures must be located high up (15m approx), to prevent glare. Fixtures mounted too low generally need to be angled out, often creating glare. Moon-lighting is often used as infill light between two brighter areas.
Mirror-lighting Mirror-lighting utilises the reflective quality of a pool, pond or a lake’s surface. By leaving the water in darkness and illuminating objects such as trees, planting or structures on the far side of the water, a magical mirrored reflection can be achieved. Viewing it in situ really is like looking into an underworld! N.B. Small ponds and water features lack the surface area for reflection; however, many gardens and parcs have moving water that can be illuminated. Here we suggest that you position the fixtures just under the surface, allowing the water to fall directly onto them, creating moving shadows that ‘dance’ on the neighbouring surfaces.
ambience concept & lighting tools
The following plans give an indication of where the lighting technique may be best used. The matrix to the right indicates suitable products for speciďŹ c areas.
urbanap
Raod
Sitting area
Trees/ General planting
Walkway Parking Steps Building fascia
Sculpture
Main entrance
Down-lighting
Silhouetting
Up-lighting
Path lighting
Spot-lighting
Plan by Akers Coyle
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Products Inground/recessed IPR10 IPR12 IPR14 Nimbus Nimbus LED WeeBee LED LytLed Dex Onground Dome Tripos Tripos Mini Pagoda Volcano LP Knap Surface SPR10 SPR12 SPR14 WeeBee Spot Wall Toldbod Wall Nyhavn Wall Homann M2 Orbiter Wall PH Wall PH 3- 2½ Wall Kipp Wall Dex Nimbus Wall Dock Wall Skot Wall Skot Maxi Wall WeeBee Wall Bollards Bysted Toldbod Ø 155 Bollard Kipp Bollard Orbiter Bollard Sentry Skot Bollard Dock Bollard PH 3 - 2½ Bollard Waterfront Planet Bollard Poles Nyhavn Boulevard Post Patina Kastrup Kipp Post Orbiter Post Terminal Toldbod Post
Driveway/ Road
Forecourt/ Garage Parking
Main entrance
Building Fascia
Terrace/ Pool Sitting area area
General planting
Trees
Sculpture Paths/ Steps Walkways
ambience concept & lighting tools
The wide range of Louis Poulsen Lighting products make it possible to create a unique project. The plan below shows examples where the lighting techniques can be applied, the matrix explains which product may be most suitable.
residentialp Wood
Trees
Grass verge
Pool area Path way
Forecourt/ Parking
Swimming pool Steps
Lawn
Driveway
Main entrance Garage
West terrace
House Conservatory South terrace
Lake Dry garden General planting
Wood
Lawn
Plan by Timothy Garden Design
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Hornbeam Walk Path way
Wood Trees
Sculpture
Mirror-lighting
Down-lighting
Path lighting
Silhouetting
Spot-lighting
Up-lighting
Moon-lighting
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Products Inground/recessed IPR10 IPR12 IPR14 Nimbus Nimbus LED WeeBee LED LytLed Dex Onground Dome Tripos Tripos Mini Pagoda Volcano LP Knap Surface SPR10 SPR12 SPR14 WeeBee Spot Wall Toldbod Wall Nyhavn Wall Homann M2 Orbiter Wall PH Wall PH 3- 2½ Wall Kipp Wall Dex Nimbus Wall Dock Wall Skot Wall Skot Maxi Wall WeeBee Wall Bollards Bysted Toldbod Ø 155 Bollard Kipp Bollard Orbiter Bollard Sentry Skot Bollard Dock Bollard PH 3 - 2½ Bollard Waterfront Planet Bollard Poles Nyhavn Boulevard Post Patina Kastrup Kipp Post Orbiter Post Terminal Toldbod Post
Driveway/ Road
Forecourt/ Garage Parking
Main entrance
Building Fascia
Terrace/ Pool Sitting area area
General planting
Trees
Sculpture Paths/ Steps Walkways
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ambience
Photo: Kaslov Studio, Image Design, Hugh Palmer, Steve Hinds, Frank Domin, Terry A. Renna Photography, Peter Grant, Mandy Reynolds Photoforum, Gßnther Lehnert, Anders Sune Berg, Chelsea Garden/Garden designer: Fiona Lawrenson. Chelsea Garden/Architect: Marcus Barnett & Philip Nixon. Chelsea Garden/Architect: Scape Design. Harrods Place/Architect: Macfarlane Wilder. ABC Holiday Extras/Architect: Walker & Martin (WAM). Stirling Castle/Lighting designer: Northern Light. GlaxoSmithKline/Architect: Swanke Hayden Connell Architects. Jumeriah Beach Hotel/Lighting designer: SAMA. Palm Desert Visitor Centre/Architect: Interactive Design Corporation. Downham Market/Architect: Sheils Flynn Architects. The Ministry of Defence/Architect: Wohlert Architects. Garden/Garden designer: Cherry Mills. 82 Ringford Road/Designer: Tony Craddock. Van Wall House/Architect: Christodoulou Marshall Architects. PF Chang’s China Bistro/Architect: MBH Architects. Old House Farm/Garden designer: Knoble Landscapes. Fulwood Walk/Architect: Bowles & Wyer. Bar XV Ranch/Architect: Barber Architecture. Campbell Square, Liverpool/architect: Andy Thomson BCA Landscape.
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product families The Louis Poulsen Lighting product programme includes a trademark design concept called product families. This unique concept is based on our close relationship with architects and their desire to equip an entire building using the same family of products, both on the outside and the inside. For example, Toldbod Pendant, Toldbod Wall, Toldbod Bollard and Toldbod Post. Designing in this way allows architectural adaptability while creating a common ideom between buildings and landscape.
Toldbod
Toldbod Wall
Toldbod Ă˜ 155 Wall
Toldbod Ă˜ 155 Bollard
Kipp Bollard
Kipp Post
Toldbod Post
Toldbod 155/220 Glass Pendant
Toldbod 120 Metal Pendant
Kipp
Kipp Wall
Nyhavn
Nyhavn Wall
Nyhavn Maxi Wall Nyhavn Boulevard Nyhavn Pendant
Nyhavn Maxi Pendant
Orbiter
Orbiter Wall
Orbiter Bollard
Orbiter Mini Post
Orbiter Maxi Post
Orbiter Micro Pendant
Orbiter Pendant
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products inground/recessed
LytLED
IPR10 & IPR12 available spring 2007
WeeBee LED
Nimbus
Nimbus LED
IPR10
IPR12
IPR14
Tripos
LP Knap
Dome
Volcano
Pagoda
SPR10
SPR12
SPR14
Orbiter Wall
Nyhavn Wall
Skot Wall
Skot Maxi Wall
Kipp Bollard
Orbiter Bollard
Sentry
Skot Bollard
Bysted
Kipp Post
Orbiter Post
Nyhavn Boulevard Patina Post
onground
Tripos Mini
surface
WeeBee Spot
wall
Toldbod Wall
Toldbod Ă˜ 155 Wall Kipp Wall
bollards
Toldbod 155 Bollard Waterfront
poles
Toldbod Post
Terminal
Kastrup
inground/recessed
Dex
wall
PH 3-2½ Wall
PH Wall
bollards
PH 3-2½ Bollard
Dock Bollard
Homann M2
Dock Wall
Dex
WeeBee Wall
Nimbus Wall
International Louis Poulsen Lighting A/S Gammel Strand 28 DK-1202 Copenhagen K Tel. +45 70 33 14 14 Fax +45 33 29 86 46 lpl_international@lpmail.com www.louis-poulsen.com Finland Louis Poulsen Lighting Oy Hämeentie 135 A FIN-00560 Helsinki Tel. +358 9 6226 760 Fax +358 9 6226 7650 info.fi@louis-poulsen.fi www.louis-poulsen.fi France Louis Poulsen & Cie. S.A.R.L Parc Mure Module 2.8 128 bis, avenue Jean Jaurès F-94851 Ivry Sur Seine Cedex Tel. +33 1 49 59 68 68 Fax +33 1 49 59 68 69 louis.poulsen@wanadoo.fr www.louis-poulsen.fr
Germany Louis Poulsen & Co. GmbH Westring 13 D-40721 Hilden Postfach 10 07 50 D-40707 Hilden Tel. +49 2103 940 0 Fax +49 2103 940 290 + 291 lp-germany@lpmail.com www.louis-poulsen.de Japan Louis Poulsen Japan Co. Ltd. AXIS Building 3 Fl 5-17-1 Roppongi Minato-ku Tokyo 106-0032 Tel. +81 3 3586 5341 Fax +81 3 3586 0478 lys@louis-poulsen.co.jp www.louis-poulsen.com Netherlands Louis Poulsen Lighting B.V. Parellaan 26 NL-2132 WS Hoofddorp Tel. +31 23 56 50 030 Fax +31 23 56 52 284 info@louis-poulsen.nl www.louis-poulsen.nl Norway Louis Poulsen Lighting AS Lilleakerveien 2, Bygn. E2 N-0283 Oslo Tel. +47 22 50 20 20 Fax +47 22 52 47 05 louis-poulsen-no@lpmail.com www.louis-poulsen.no
Sweden Louis Poulsen Lighting AB Gävlegatan 12 A, 7tr Box 23013 S-104 35 Stockholm Tel. +46 8 446 48 00 Fax +46 8 446 48 28 louis.poulsen.se@lpmail.com www.louis-poulsen.se Switzerland Louis Poulsen AG Haldenstrasse 5 CH-6340 Baar Tel. +41 41 768 5252 Fax +41 41 768 5253 louis-poulsen-ch@lpmail.com www.louis-poulsen.ch United Kingdom Louis Poulsen UK Ltd. Unit C 44 Barwell Business Park Leatherhead Road Chessington Surrey KT9 2NY Tel. +44 208 397 4400 Fax +44 208 397 4455 louis.poulsen.uk@lpmail.com www.louis-poulsen.co.uk USA Louis Poulsen Lighting, Inc. 3260 Meridian Parkway Fort Lauderdale, FL 33331 Tel. +1 954 349 2525 Fax +1 954 349 2550
Design: Louis Poulsen Lighting A/S - IMD 2007.01. Lithography: Garn Grafisk ApS. Print: Rosendahls Bogtrykkeri AS. Item no.: 57 01 024 500.
Louis Poulsen Lighting Louis Poulsen Lighting A/S Gammel Strand 28 DK-1202 Copenhagen K Tel. +45 70 33 14 14 Fax +45 33 29 86 36 info@lpmail.com www.louis-poulsen.dk