ILR 2002 - 022 by Luminous – International Lighting Magazine - ILR

International Lighting Review

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Sports

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Back Numbers An overview of the subjects dealt with in the last eight issues of ILR can be found in our Quick-Reference Index, which is included in the ILR web site mentioned below. Back numbers are available, while stocks last, in all four language versions, and can be purchased individually. Please contact the Reader Service person in your country. The charge (including postage) is €21per issue.

International Lighting Review ISSN 0020-7853 ILR web site and ILR index An online overview of the current issue of ILR and the Quick-Reference Index of the back numbers from 1998 onwards is available. These ILR online versions represent a key-selection of the contents of the printed versions of ILR. See www.lightingreview.com

Internationale Licht Rundschau ISSN 0165-9863 Revue Internationale de l'Eclairage ISSN 0035-3388 Revista Internacional de Luminotecnia ISSN 0167-7608 53rd year / issue 022

012 ILLUMINATIONS

Founded in 1949, International Lighting Review is devoted to all aspects of lighting. Published three times per year, it reports extensively on developments and trends in lighting, on actual problems encountered in lighting design and technology, and on outstanding projects from all over the world. ILR is richly illustrated with colour photographs and drawings covering more than 50 pages. Published by Philips Lighting, Luminaire Group

011 OFFICES Editorial office Address: P.O. Box 721, 5600 AS Eindhoven, the Netherlands Telephone: administration 31 40 275 5779 Telephone: editors 31 40 275 52 52 / 31 40 275 74 85 Telefax: 31 40 275 5730 E-mail: LIGHTING.ILR@ PHILIPS.COM Internet: http://www.lightingreview.com Bank: Postbank Amsterdam. VAT Reg.no. NL005476604B46. Chief Editor and Art Director: JF Caminada Editors: Mark Heuer, Marcel Janse and Derek Parker Photography: Rien Valk. Artwork: Jo van Hemert. Layout: Marie-Louise Mannaerts

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Client services: Franka Heesterbeek Translation: Philips Translation Services Pre-publishing by Neroc, Eindhoven. Printed by Roto Smeets Services, Eindhoven. Copyright Normally speaking, articles published in International Lighting Review may be reprinted, either completely or in part, with prior written authorisation from the publisher. However, in those cases where the artwork concerned is not the property of ILR, it is not in our power to grant permission to reproduce this. The views expressed in this journal by third

002 SHOPS

parties are not necessarily those held by the publisher. The editor reserves the right to edit and abridge articles for publication.

001 CITY BEAUTIFICATION EURO 2000 SOCCER Philips Lighting BU Luminaires b

ILR Reader-service Are you interested in receiving further information on a product or lighting theme featured in ILR? If so, simply mail your address and request to the Reader-Service person in your country. Argentina: mailto: alberto.fernandez.ripoll@philips.com fax 015467668 Australia: mailto: andrew.nagy@philips.com fax 029947 0319 Austria: mailto: petra.lawender@philips.com fax 0160101 79 1347 Belgium: mailto: roger.petitjean@philips.com fax 025257694 Brazil: mailto: antonio.yochiaki.sakaguti@philips.com fax 0115188 0735 Canada: mailto: sandra.weil@philips.com fax 04167546265 Central America: mailto: ricardo.chicas@philips.com fax 2941801 Chile: Valeria Sáez, fax 027371711 China: mailto: cindy.yw.ding@philips.com fax 021 63543949 Colombia: mailto: jannette.ballestas@philips.com fax 0161 94299 Czech Republic: mailto: jakub.wittlich@philips.com fax 02 33099326 Denmark: mailto: hans.jorgen.jacobsen@philips.com fax 033293931 Finland: mailto: petri.pekola@philips.com fax 096883230 France: mailto: pierre.launay@philips.com fax 0149876178 Germany: mailto: jeroen.rijswijk@philips.com fax 05041 75508 Greece: mailto: i.terzaki@philips.com fax 016845728 Hong Kong: mailto: pilva.p.kwan@philips.com fax 02 28610568 Hungary: mailto: laszlo.fabian@philips.com fax 013821851 India: mailto: sudeshna.mukhopadhyay@philips.com fax 033 4754318 Indonesia: mailto: shinta.marino@philips.com fax 0264 351666 Ireland: mailto: eoin.cooke@philips.com fax 017640121 Italy: mailto: mariangela.speroni@philips.com fax 0392036125 Japan: mailto: masako.manning@philips.com fax 0337405367 Korea: mailto: s.h.cho@philips.com fax 027091359 Malaysia: mailto: chee.hoong.ng@philips.com fax 037574368

Mexico: mailto: german villalobos@philips.com fax 052 5728 4844 New Zealand: mailto: brian.brandford@philips.com fax 098497812 Netherlands: mailto: Anneke.summerfield@philips.com fax 040 2786795 Norway: mailto: bjoern-inge.skipperud@philips.com Peru: mailto: fabian.ysla@philips.com fax 01 2136274 Pakistan: mailto: rao.salman@philips.com fax 021 2579514 Philippines: mailto: robert.m.victoriano@philips.com fax 028166340 Poland: mailto: joanna.stanuch@philips.com fax 067 3513104 Portugal: mailto: rui.santos@philips.com fax 014163222 Russia: mailto: vitaly.stepanov@philips.com fax 0959379357 Singapore: mailto: teh.eng.chuan@philips.com fax 02532343 Slovakia: mailto: zuzana.marekova@philips.com fax 075424213 Spain: mailto: susana.gallardo.fuentes@philips.com fax 0915669622 Sweden: mailto: per-ake.alm@philips.com fax 0859852760 Switzerland: mailto: jolanda.hagnauer@philips.com fax 014883249. Taiwan: mailto: sasha.lee@philips.com fax 03 3854917 Thailand: mailto: taweechai.kangwansurakry @philips.com - fax 02 323 0904 Turkey: mailto: haldun.demirdes@philips.com fax 02122804501 United Kingdom: mailto: andy.gowen@philips.com fax 01816898752 Uruguay: mailto: juan.fabra@philips.com fax 02 6287777 USA: mailto: mike.hewitt@philips.com fax 0732 5633740 Venezuela: mailto: alejandro.samour@philips.com fax 02 2378343

Other countries: mailto: franka.heesterbeek@philips.com fax 31 40 275 5730

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Front cover: AufSchalke Arena, Gelsenkirchen, Germany, see page 26

I n t e r n a t i o n a l Lighting Review 022 http://www.lightingreview.com

Letter from the Publisher and Forum News from the world of lighting

Editor’s notes

2002 FIFA World Cup Soccer South Korea

Sports Projects Single-sport facilities by YoungHo Baik

30 by René van Ratingen

40 by Ian Major

The lighting in a selection of the ten Korean stadiums

Economy in roof lighting Germany AOL Arena soccer stadium: fewer floodlights, lower costs and less spill light with lighting below the open roof

Lighting inside the lines England Christ’s Hospital School keeps hockey field lighting within bounds

Multi-sport sites 42 by Claude Cicala

46 by John Waite

50 by Fernando Vila

58 by René van Ratingen

Mediterranean Games port of call Tunisia This Tunis complex features an athletics stadium, two swimming pools and several practice fields

Uncommon venues England The City of Manchester’s new stadium and Aquatics Centre were sites for this year’s Commonwealth Games

Stadium with a view Spain Seville’s new Olympic Stadium blends well with the urban environment

Velodrome update Germany Newly-renovated Oderlandhalle has lighting up to CTV standards

Multifunctional facilities 26 by René van Ratingen

32 by René van Ratingen

54 by René van Ratingen

Soccer whatever the weather Germany With its roof closed, the AufSchalke Arena becomes an enormous sports and events hall

Lighting for all events Germany KölnArena–Europe’s largest indoor multi-purpose arena

Multi-purpose control Germany State-of-the-art lighting control in this versatile Campushalle

Design 38

OptiVision This new, compact floodlight minimises obtrusive light

Concepts 11 by Walter Gagg and Mike Gorman

36 by Mike Gorman

52 by Aldo Vitale and Fernand Pereira

Artificial lighting of football pitches A new lighting guide that is the result of close collaboration between FIFA and Philips Lighting

Unobtrusive sports lighting Avoiding obtrusive light by good planning and design

Better Lighting for Basketball The FIBA study centre draws on important contributions from Philips Lighting

Research Monuments and landmarks 6 by Francisco Gómez and Vicente Sifre

Considerations on Monument and Historical Site Lighting An analysis of current techniques, lighting philosophy, and the needs of cultural heritage

FORUM

Letter from the publisher

IIDA Award, 2002 Bangwha Grand Bridge, Seoul, Korea

The future of International Lighting Review Since its first edition in 1949, the ILR has evolved to match the changing nature of the lighting market. It has become established as a reference publication of international scope due to its detailed articles and illustrations. Today the ILR is ready to take a new direction. It will no longer be published three times a year in its current form, but will appear once a year in the form of an ILR Annual Edition. This special publication will deal with developments and trends in lighting that have emerged over the previous year and will allow us to look to the future without turning our back on the rich heritage provided by ILR over the last half-century. In this annual edition we will be able to celebrate the successes and highlights of the year, presenting new European and international projects and products. We will continue to show a global approach to developments and trends over time. This publication will give us more projects to choose from and more scope to create an interesting and informative resource. In keeping with the 53-year-old tradition of ILR we imagine you will want to continue to collect the Annual Editions and our articles will continue to show lighting applications in technical detail in order that our magazine remains a quality resource for you. Between publications, please check the latest news on our Internet site at www.lightingreview.com Your comments and feedback are always welcome. We look forward to hearing from you. The staff of ILR would like to thank you for your loyalty over the years.

Philips Lighting – BU Luminaires Peter van der Harst

The lighting design of the Bangwha Grand Bridge in Seoul, South Korea earned Philips Lighting Korea an IDA-Illuminating Engineering Design Award for 2002 from the Illuminating Engineering Society of North America (IESNA). Pictures of the project were displayed at the IESNA Annual Conference at Salt Lake City, Utah, USA in August 2002. The bridge connects Seoul city to the new Inchon International Airport, and at 2 559 m is the longest of the 27 bridges across the Han River in the city. Structured of steel box with 3-D arch trusses, its shape resembles an aeroplane in flight. The lighting concept is to create a three-dimensional effect on the red coloured structure of the arch truss. The combination of two HPI-T 400W Metal Halide and one Sodium SON-T 250W floodlight creates a modelling effect between the vertical and horizontal trusses. All the floodlights are aimed upward and inward to avoid glare for drivers. The overall effect is a bridge that appears to be an aeroplane on its way to the Inchon Airport. Lighting design: Reinier Hendriks, LiDAC Outdoor, Philips Lighting, and SookHee Jang, Philips Electronics Korea

Total comfort control European Patent Office, Rijswijk, The Netherlands Visitors to the European Patent Office in Rijswijk enter into a dynamic society of 2 500 engineers with 34 nationalities from 24 member states. The total complex covers a floor area of 184 000 sq m. All these people from so many different nationalities have their own tastes for controlling the light and climate. When one of the office towers was renovated and modernised to meet the latest standards for a modern work environment, a key question was how to fit these diverse desires into a central building management system, and do it with a system that would meet the specified one-and-a-half-year payback time. The answer was LON with Helio as lighting management system, which has the controls for heating, ventilation, security and lighting integrated on one system bus. The first indication is a saving of at least 33% on the five floors of one tower equipped with the control system. This includes a hefty saving in labour, as previously rewiring the lighting and climate systems required 16 working hours, and now this is done through software in only one hour. An important consideration because office layouts change regularly due to internal movements. Every office has a Helio multi-sensor; when movement is detected the lights are switched on, and the heating controller for that room is set from ‘stand-by’ to ‘comfort’ mode. A light sensor measures the amount of natural light and automatically dims the luminaires within the area concerned to maintain a constant light level. Programming in the Helio controllers switches the lights off as daylight takes over altogether. With the Philips

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FORUM

DongHo Bridge, South Korea

Shop lighting update based on MINI 300

Lighting design includes blue LED Linelights

Krefel store, Herstal, Belgium

In Seoul, the capital of South Korea, the DongHo Bridge is one of 27 bridges over the river Han, all of which were lighted in time for the World Cup Soccer finals. The 1.22 km long by 38.4 m wide bridge carries two two-lane carriageways separated by a railway line. The central railway line is illuminated by some 300 MVF 616 and MVF 617 Decoflood units, half fitted with SON-T lamps and the other half with HPI-T lamps. These have been strategically placed within the girder framework of the bridge so as not to form a hazard to river traffic. The adjacent carriageway lighting is furnished by low-power modular luminaires mounted atop columns placed in an opposite arrangement along the balustrades and each houses a single SON-T 250 W lamp. The finishing touch has been provided by picking out the blue arches on the central portion of the bridge with 218 blue LED Linelight units placed to form vertical stripes. This illumination extends over a distance of 480 m, while the corresponding bridge supports below are softly illuminated by more Decoflood units housing SON-T lamps. Lighting design: Reinier Hendriks, LiDAC Outdoor, Philips Lighting, Miribel, France

Krefel is a Belgium-based store chain, with 61 outlets in the Belgium/Luxembourg region, featuring white goods and consumer electronics. The company planned a complete remodeling of the 800 m2 store in Herstal and asked Philips for a new lighting design to replace the existing halogen spotlights and recessed fluorescent luminaires. Installed as general lighting and in the white goods area are the very efficient and compact MINI 300 luminaires with CDM-T 150W/830 lamps. These give a bright, clean, high-tech impression to the displays of large appliances. Mounting height is 3.8 m, with an illuminance of 550 Lux. The same lamps are also used in Scrabble downlighters for accent lighting in this area. The sound and vision zones have a warm, inviting ambiance created by White SON 100W lamps, also in recessed Scrabble luminaires. The lighting here is softer, with an illuminance of 350 Lux and ceiling height of 2.7 m. Circulation areas are lit by suspended Kristea luminaires housing CDM-T 70W/830 lamps and the illuminance is also 350 Lux. Krefel has been pleased with the result and plans to install the same lighting concept in at least two more of its stores. Lighting design: Sofie Vandenbussche, Philips Lighting Belgium Lighting installation: ‘VIRTUS shop in shape’, Mechelen, Belgium

remote control, employees can also individually adjust light intensity and room temperature.

Equipment Type number LRC5048 LRI5133 IRT8079 LCU5315/10 LCN5225 LCN5245

Description 8 Way Lighting Controller (8LS) LON Multi-sensor IR Remote Controller Helio real time clock Helio bus power supply Helio Router

Used nodes 200 nodes each floor Associates Consultant: Contractor: Integrator and Building Management System: Lighting System: HVAC System:

Burgers, Verkaart, Merwestroom Imtech Johnson Controls Philips Lighting The Netherlands Existing installation (renovation)

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FORUM

Ramoji Film City, Hyderabad, India Luminaires developed specially for RFC

India is known to produce more movies each year than Hollywood! Ramoji Film City (RFC) near Hyderabad (South India) is possibly the largest comprehensive filmstudio complex in the world. Located about an hour’s drive from the airport of Hyderabad, RFC offers an entire range of movie production and postproduction facilities and services for filmmakers from all over the world. A movie producer or director can walk in with a script and walk out with a canned film or television programme! Professional designers, landscape artists and architects have worked on this vast 8.1 square km complex to ensure that movie makers can shoot in a picturesque Indian village, choreograph a song and dance in any of the gardens, or even recreate a street in Switzerland! Philips India has been a regular supplier of lamps and luminaires since the inception of this project in 1995. So when RFC subsequently decided to explore the possibility of employing decorative lighting for the various gardens, to allow their use after sunset, the LiDAC India Team was invited to submit lighting proposals. Almost all the lighting products employed were specially developed for this project, since

the customer was very concerned about price and logistics and did not favour imports. Outdoor luminaires were developed for 12 V dichroic lamps; PAR 120 W luminaires were provided with accessories such as hoods and barn-door attachments; decorative gardenlighting bollards housing 4xPLC 18 W, MHNTD 70 W, and CDMTD were also furnished. RFC looked not at the ‘price of product’ but at the ‘value’ of the system from Philips.

Customer: Ramoji Film City Electrical consultant: (Venkat Mahalingam &Associates, Hyderabad) Principal advisors: Mr K Seshadri, Vice President, Asia Pacific Mr V K Divadkar , Philips India ,BG Head Lighting design: B Joarder, Sudeshna Mukhopadhyay, Central LiDAC, Project commissioning: B Joarder (Central LiDAC) N Prashanth, Pon Kumaresh (Southern Region) P K Nandi and T K Saha (Product Quality) Sales: Regional Sales Management, Southern Region India and Ved Electricals, Luminaire Dealer, Hyderabad

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Road-lighting update, Hyderabad, India

CIE’s newly-elected president

More efficient lighting on 330 km of roadway

Wout van Bommel of Philips Lighting

The existing road lighting in the city of Hyderabad in India was 15 years old, resulting in poor lighting levels and high power consumption. This has now been replaced as part of a relighting project embracing the entire city. In February 2000, the Indian Government announced its intention to beautify the country’s most happening city, Hyderabad. The multi-phase project was awarded to Philips India in November 2000 in the face of stiff competition. The road lighting project was first selected for implementation and it involved the re-lighting of 330 km of main roads. The luminaire employed is the locally manufactured SRP501. This has a ribbed pot reflector and glass cover, ensuring IP65 protection, and is used with SON-T PLUS lamps of 150/250 W, depending on road width (lower photo). The road-lighting arrangements are the twin-central, single-sided, or opposite, according to the road width and layout. Pole height has been increased from the existing 8 m to 12.5 m. The higher poles help to reduce luminaire soiling from vehicle exhaust gases, and allow for a greater pole-to-pole spacing (fewer poles/km). Overall results are lower cost of ownership, lower kW/km, and lower maintenance costs. Further, pole positions were co-ordinated with tree positions to minimise shadows or to bring out the undulating terrain, and so create a feeling of enhanced security. Road junctions are lit by metal halide (HPI-T PLUS) luminaires mounted on 20-m-high winchable masts to create a distinct identification for motorists (upper photo). All products were manufactured locally for easy spares availability. Customer: Municipal Corporation of Hyderabad , Govt of Andhra Pradesh Lighting design: Sudeshna Mukhopadhyay, N Nagendra (LiDAC India), and S Tambe (Product Management) Photographs: B Joarder (LiDAC India)

Active for many years in the NSVV (The Netherlands National Lighting Organization) and the CIE (the International Commission on Illumination), Ir Wout van Bommel (56) will next year become the new CIE President. He currently heads the Central LiDAC department of Philips Lighting, and attended his first CIE meeting in 1972 as an invited expert for a street lighting subject. Eight years later he became chairman of two Technical Committees (for tunnel lighting and for glare in outdoor lighting). In 1986 he was appointed Director of Division 5: Outdoor Lighting, and in 1995 was elected vice-president of the Board of Management. In 2003 at the General Meeting in San Diego, he will take over as President. From the president-elect: ‘My main task will be to prepare the CIE for the future in a rapidly-changing world. Until last month the CIE got a very important part of its income from the sale of its publications – which were fairly expensive. And that is really contrary to our objective of increasing and spreading knowledge and understanding of light and lighting. We would really like to disseminate the results of our work for a small fee and ultimately via the Internet, ideally even free of charge. As a step in this process, in July of this year the prices of our publications were halved! To be able to continue this we will have to obtain funds from other sources. Accordingly, since recently it has also been possible for companies to join the organisation as supporting members, in exchange for a financial contribution. I think that especially the “basic supportive CIE membership” could be attractive for professional lighting consultancy bureaus to distinguish themselves as being fully up to date with the latest developments and achievements in light and lighting. ‘And there will be further changes. For a start, we are going to lower the admission threshold for countries that do not yet have a National Committee in the CIE. Organisations, as well as individual persons from these countries, will be able to join as an affiliated member for a relatively small fee. Everything will become a bit less elitist and remote. This is the only way to safeguard and even strengthen in the future the worldwide authority and recognition that we enjoy in our field. The CIE dates from 1900, but we would also like to survive the 21st century. I see my contribution to this as a fascinating task and a big challenge.’ For more information, contact: CIE (International Commission on Illumination) Kegelgasse 27, A-1030, Vienna, Austria Web site: www.cie.co.at

New categories of CIE supportive membership (description shortened)

Basic member (Euro 500): • right to use on letterhead “supportive member of CIE” • may appoint a representative to attend CIE meetings • may annually submit an article for CIE news on their technical achievements Silver member (Euro 3000): • + free copy of all new publications • + exploitation rights for internal use of CIE publications • + access to electronic CIE drafts Gold member: (Euro 8000): • + exploitation rights for external use of CIE publications

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Research

Francisco Gómez and Vicente Sifre

Considerations on Monument and Historical Site Lighting

Current techniques as well as lighting philosophy itself suggest a treatment of monuments which, in some aspects, seems in conflict with the consideration of the latter given by the restoration and conservation field. Therefore, it is essential to analyze the evolution of the tendencies in the interventions on the cultural heritage and historical cities, and deepen in its philosophical aspects, with special emphasis on the cultural considerations on shape we currently believe appropriate for monuments and historical sites. The conclusions will reveal the convenience of reorienting some conceptual aspects of lighting towards criteria more in keeping with the way in which currently the intervention on historical cities is conceived. 6

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works by the great masters of the modern movement. The Symposium of Quito (1977) defines that the historical sites, by themselves and by the monument heritage they contain, represent not only a cultural value, but also an important economic and social asset. The Charter of Restoration (1972) shows a definite interest for historical sites as a consequence of the uncontrolled urban development of cities during the sixties, influenced by the modern movement, which endangered, and in many cases made disappear these urban sites. The European Charter of Architectural Heritage (1975) shows the interest of the minister committee in promoting a common European policy, and an established action for heritage protection, based on “integral restoration”. The need to protect heritage is sometimes based on historical and aesthetic reasons and also on man’s psychological balance. “The structure of historical sites favors the harmonic balance of society”; “It has a determining educational value” for the people. This theory of “integral restoration” was reinforced during the International Year of the City Renaissance, as well as in the International Charter for Conservation of Historical Towns, drafted during the ICOMOS (International Council on Monuments and Sites) meeting, Toledo (1987). Finally, the Charter of Restoration (1987) devotes a section to “instructions for protection of historical sites”, which defines them as follows: “Habitable site whose meaning is irreplaceable in the history of a cultural area of mankind”. Especially interesting is the detailed analysis it provides on the intervention in these areas. It even insists on the continual control and maintenance of a microclimate around the building work, since this will be the only guarantee of its future preservation. In order to achieve this, it is necessary to use all technical and scientific means currently available. It defends interdisciplinary work and breaks the analysis down to details such as in the example we reproduce below on urban decoration: “the revision of urban decoration is about streets, squares and all existing free spaces (backyards, interiors, gardens, etc.), with the aim of establishing a homogeneous relationship between buildings and outside spaces. Such vision will take into account chromatic aspects of the construction of historical centres”. Finally, and according to these considerations, “the monument does not survive alone any more, like a painting or an object, because of its own aesthetic or historical strength. It also survives due to its own material existence, as a building, and its unavoidable connection with the physical structure of the location where it stands, which it configures with its presence.

Evolution of the concept of Restoration Throughout history, several criteria have been adopted in the field of preservation of monuments and works of art. From all of them, two positions have consolidated: curators and restorers, who have managed with difficulty and, in few cases, to converge towards integration concepts such as those generally accepted today. The different names given to restoration as its scientific content increased tried to define the various forms of action on cultural heritage; nowadays, all of them are comprised in only one term: “intervention”, with a wider content, although the procedure used is not specified. The interest in preservation of works of art comes from the antiquity; however, the concern for keeping its “essence” does not appear until the turn of the 19th century. From the beginning, two positions became more radical: curators and restorers, led by John Rusquin and EugèneEmmanuel Viollet-le-Duc. Since then, each country’s legislation has tried to unify positions and limit anarchy. However, in this field, doctrine has been richer than “regulations” and intervention on the architectural heritage was usually represented by “charters” and “international recommendations”, since these documents contain the theoretical formulations which, throughout the 20th century, have provided and developed the methodology of intervention on heritage. Some aspects of international recommendations Nowadays, it could be stated that the culture of preservation is starting to integrate with development strategies, similar to the organization of territory and environmental protection. Documents such as the Declaration of Amsterdam (1975) and the Convention of Granada (1985) or the Historical Towns Charter (1987) recognize that the preservation of architectural heritage is one of the main objectives of the economic policy and urban planning. The Charter of Venice (1964) expanded the concept of monument, extending it to the concept of “site”. That set, in reference to all types of constructions - which according to its architecture, its unit or its integration within the landscape is given a specific value - has achieved a larger dimension and conceptual complexity, until merging with the concept of “historical city”, although with some different features. The field of cultural heritage conceived from the concept of preserving the representative architectures of a period of history integrates the works of industrial, contemporary, and vernacular architecture and, of course, the

1, 3 Plaza Mayor, Valladolid, Spain. Striking a balance between monument lighting and lighting a public space.

ilr 022 monuments and landmarks/research

2, 5 Leon Cathedral (2) and Segovia Cathedral. The lighting of these Gothic churches creates many points of observation. 4 Murallas de Badajoz on the banks of the Guadiana River. Lighting emphasizes the magnitude and location of these centuries-old ramparts.

“In these cases, the wealth of monuments is not only composed of the best buildings, but especially by the urban structure that they configure and the way they occupy it” (Capitel, 1983). Lighting and intervention techniques in monuments and historical sites It is difficult to define beforehand how to resolve the lighting of a monument or historical site. However, it seems clear that it is something very different from the simple resolution of a merely technical project, among other things, because the main objective is clearly to facilitate the observation or experience of an artistic object or site. This suggests that the aesthetic condition essentially determines the result. On the other hand, a simply technical approach is useless, because there are human, spatial and psychological factors with the same relevance as the functional ones. We cannot forget that when a building is lighted, the most remarkable aspect of its architecture - its facade - is usually ennobled. In a way, this is part of the architectural creation. It seem obvious that such an approach to lighting is a way of ”intervention” in cultural heritage, even stronger than the possible effects of an action on its material aspects, because it emphasizes not only specific aspects, but the whole so deeply that it affects the essence of the monument's architecture itself, because it may be considered a formal recreation. In fact, it could be stated that light is one of the main tools to modify space. Light has been present in all architectural movements and its functionality can be achieved from different aspects: “as a need, as signs of space, as space modifier and as a tool to create effects and sensations. Therefore, it is about strengthening the value of lighting as a type of art which expresses sensations, changes features and helps to configure a total artistic space” (Camps, 1994). Obviously, we are dealing with “recreation”, that is, an authentic artistic task for which a minimum dose of artistic creativity may be essential, which should not necessarily be against the functionality of the building: “to integrate the artist’s wishes taking into account the fundamental rules of the physiology of sight, and without setting creativity against functionality” (Jousse, 1994). From these points of view, it seems logical to reconsider some of the criteria used to condition the forms of intervention, from practice as well as from the rules, inasmuch they should serve as guideline to the ways of performing the lighting of the site. The Charter of Venice, one of the documents with more impact on “doctrine” in terms of intervention, especially in architectural heritage, warns us that it is the new vision, by which society wishes to make use of heritage in everyday life, which has opened the path for a more dynamic reinterpretation of the monument. “In a way that, the evaluation of the degree in which the alterations of this new function affect the building and the permanent values to be transmitted to future generations is the main problem of current preservation.”

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In this sense, the legislations after these criteria have proven sensitive to these new concepts and promote the social dimension given to heritage. Thus, providing the framework to the citizens’ approach. It is about providing and accepting their understanding that this heritage is something that belongs to them, to a certain extent, therefore it is not excessive to demand its preservation and even claim its enjoyment and its correct maintenance and exhibition. Now it can be understood more clearly why heritage is framed within a context of revaluation and increased to a “universal” category that claims above all: preservation, respect, maintenance and authenticity. Due to these criteria, the term “lighting” is starting to be restrictive and it is being gradually left by specialists in lighting in favor of the concept “application of light” to the monument (Narboni, 1995). Lighting as a response to needs of the cultural heritage and historical city When the concept of lighting is taken to the urban space, to the historical city, to the city, new approaches appear. The urban space requires more of an overall vision, demanded, as stated above, by its own philosophy with which nowadays cultural heritage is seen. Within this context, it cannot be forgotten either that “each city has its own personality, mainly due to: its monuments, its history, its weather or environment, and why not, its lighting” (Mateos, 1994). For this reason, this same concept of lighting or the set of necessary processes to put light, if they are exclusively conceived, that is, outside the urban context, may lead to the destructuring of the urban space. Because, historically, monuments belong and conform to the urban structure, although heritage has gradually become sacred: “with time, it has acquired a cultural prestige, because it conveyed the testimony of a specific civilization, of a significant evolution or historic event”, as the first article of the Charter of Venice reminds us. These considerations towards the monument have led to the creation of different types of lightings, more associated to the character of the building itself and to its artistic style than to the urban environment that influenced it. In fact, there are now a great number of lighted monuments in our cities, as there is a great amount of criticism on them. Especially because of the difficulty in balancing the application of light to the monument and the night lighting of public spaces. It is particularly important to integrate the monument within the structure of contemporary cities at night. The idea is to avoid the appearance of monuments as phantasmagoric beings within an indefinite and obscure urban environment. Some unusual cases: The Alhambra is lighted but its surroundings are not, the accesses, the path to the Generalife; in Paris, Notre-Dame is lighted but Ile de la Cité is not; in Madrid, the Royal Palace is lighted but the Prince Gardens are not, etc. The concept of heritage has evolved towards the consideration of

References: Bonfanti, E. (1973) “Architectura per i centri historici”. Rev. Edilicia Populare. Florencia. Camps, C. (1994) “La luz: herramienta para modificar el espacio. Rev. Luces Cei. nº 4. Madrid. Capitel, A. (1983) “Metamorfosis de monumentos y teorias de la restauracion”. Alianza Editorial. Madrid. Culand P. (1990) “Architecture, Monuments, Lumière”. Les Cahiers de la Section Française de L’Icomos. Rouen. Di Estefano, R. (1987) “Le Monument pour L’Homme”. Icomos/Information, Juillet/Septembre nº 3. Forcolini, G. (1997) “Illuminazione di Esterni”. Hoepli. Milano. Jousse, F. (1994) “París: City of Light. Light or Illumination”. International Lighting Review. 1994/4. Lennos Moyer, J. (1992) “The Landscape Lighting Book”. Jonh Wiley & Sons, Inc. New York. Mateos, M. (1994) “Consideraciones generales sobre alumbrado exterior”. Rev. Luces Cei. nº 4. Madrid. Narboni, R. (1995) “La lumière Urbaine”. Le Moniteur. París.

monument sites inserted in the environmental landscape. Policies and the concept of application of light to monuments must also evolve, in order to not contribute to breaking or disfiguring the night composition of cities. This environmental application of light is starting to be perceived in some night performances of the cultural heritage, as a result of the application of “directing schemes of light arrangement”. The idea is to light simultaneously and complementarily the monument and the surrounding urban arrangement. In this way, the night image of the monument can be perceived with all its external environment: accesses, geographical space, magnitude, and above all, environment. These criteria will lead to “night productions on large sites, conceived globally and treated with circles of successive readings, from the urban structure scale to the slightest ornamental details. The lighting of the monument is not only studied in order to emphasize it from its background, but for the different planes which compose the 5 vision and the surrounding architectures. The image is worked from a pictorial point of view, with successive touches, with additions or subtractions of lighted urban elements, orchestrating the values of intensity and the tonalities of light on the complete site” (Narboni, 1995). Of course, this implies conceiving the project in a completely different way from the classical concept; then, there existed a point of observation, now it will exist as an experience space with a great number of points of observation; then, projectors were placed according to the point of observation, now, projectors have to be placed according to this spatial concept in such a way as to emphasize the different views of the monument and the surrounding spaces; then, one had to take into consideration a very limited scale of lights, now, one must resource to all lights possible to contribute to a better perception of space. In sum, from a lighting point of view the project is now freer because its conception allows more light tonalities, many more points of observation, and unlimited lighting directions to achieve a true play with intensities,

shadows and chiaroscuros. Globally this will allow a true spatial experience of the site, a global experience that must reach the lighting of the surrounding urban spaces and streets. ■

Authors: Dr Francisco Gómez, Professor, and Vicente Sifre, Lecturer, Architectonic Constructions Department, Polytechnic University of Valencia (School of Architecture). Tel.: +34 96 387 7450; Fax: +34 96 387 7459; Email: fgomez@csa.upv.es

Francisco Gómez

Vicente Sifre

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Sports as global showbiz Editor’s notes

From earliest times the nature of tribal groups has been with us, from the Native American Indians who roamed the vast continent of North America to the Incas of Peru and the native Australian Aborigines with their distinctive body painting. Today tribal groupings are somewhat freer, no longer do people go around in clearly identifiable groupings, except maybe in sport. Tribal groups, decorated their own distinct colours, recently travelled from all over the planet to Japan and Korea to support their teams: France, Brazil, Cameroon, and the like. Opposing tribes no longer fight for supremacy on open plains; they gather in luxurious stadiums, the cathedrals of our time, where they are richly entertained before and after the event with extravagant shows. Is this all sport? Many think that it is showbiz. It is not generally known that the closing firework displays after events such as the recent World Soccer Championship cost much more than the permanent lighting installation which made the event possible! And without this lighting there would also have been no worldwide tv coverage to bring it into our homes all over the planet. Showbiz it is, and the painted faces of the public are also part of the show – so much so that they now have their own lighting, just as do the players on the field. Sports have been generously represented in this magazine ever since it first appeared in 1949, when it was decided to create a magazine showing the important contribution made by lighting in virtually all fields of endeavour. Since the ILR current magazine format will change after this issue*, we will take this opportunity to look at some current developments that may become important for the future of lighting. We thank our readers, many of whom have been with us over these fifty years. And we wish lighting designers and architects, and all concerned with lighting, continued success in the future. On behalf of the ILR team JF Caminada Chief-editor

* See the letter from the publisher on page 2 in this issue.

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Artificial lighting of football pitches Walter Gagg and Mike Gorman

Two players, one goal Close collaboration between FIFA and Philips Lighting covers both non-televised events and televised competition right up to international level

Today, soccer is probably the most popular form of entertainment in the world. Events such as the recent FIFA World Cup, the Euro Championships, the Champions League, and Copa America capture the attention of millions throughout the world – thanks mainly to TV coverage. For evening matches, when televised soccer can take advantage of peak viewing, broadcasters require excellent lighting of the playing field for both players and spectators, but without at the same time producing environmental light pollution outside the stadium from the installation itself. Developments in the world of soccer The first ‘Guide to the artificial lighting of football pitches’, which covered both televised and non-televised events, was the result of joint cooperation between FIFA and Philips Lighting and was published in 1992. Since then, a number of important new developments in the world of soccer necessitated a revision of the contents of this Guide. First there is the

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1 South Korea’s Kim Tae Young battles with Miroslav Klose of Germany in semi-final.

wide variety of avant-garde architectural styles being adopted in an everincreasing number of new stadiums. And then there is the greater diversity of camera positions being demanded by the broadcasting companies, and the increased desire for slow-motion replays, all of which place greater demands on the lighting. This new illustrated Guide, which is once again the result of close collaboration between FIFA and Philips Lighting, includes a clear review of the basic lighting techniques designed to satisfy these new demands. It is not the intention here to examine the new Guide in detail (it is readily available free of charge, see page 13), but rather to call on it for some important background information for the stadium lighting featured in this issue of ILR.

Televised professional events Camera positions The television audience of today expects a full and exciting coverage of the match in progress, with shots from all possible angles and slow motion replays. It is common for ten or more camera positions to be used to create an exciting television experience. Some of those popular today are illustrated in the Guide.

New stadium designs The once familiar four-mast four-corner floodlighting arrangement widely adopted for soccer stadiums in the past is slowly disappearing. In order to fulfil new seating requirements and to increase spectator comfort by providing protection from the rain or excessive exposure to the sun, many new stadiums have an aesthetic architectural roof styling that is not suited to such a lighting arrangement. Therefore it is common practice to use roof structures as the support for the lighting system. In general, roof-mounted systems allow lighting to be brought closer to the pitch than is possible with four-mast systems, so making the lighting system more effective. Distributed side-lighting systems tend also not to create harsh or disturbing shadows, thereby creating a more pleasant visual environment for both spectators at an event and those watching it on television. The permitted longitudinal and transverse positions of the floodlights are specified in the Guide.

Slow-motion cameras As can be seen, slow-motion cameras, because of their shorter exposure times, require correspondingly higher lighting levels.

The lighting specification has to take account of the camera positions to be used, ensuring that each camera receives sufficient light to record good quality pictures. The illuminance level for each camera position and type is specified in the Guide (see the accompanying table).

Continuity of broadcasting For all matches at the top level played in the evening, power failures should not lead to the cancellation or postponement of a match or televised broadcast, due to an inoperable lighting system. To guard against this, a stadium should be equipped with two independent power sources, arranged to supply an uninterrupted flow of current to the lighting system in order to maintain a performance equal to that of “National Televised Events”. Non-televised events Good lighting also plays a key role in promoting recreational, nontelevised soccer matches played in the evening after work. Although the lighting level will be lower compared with televised games, the quality of the lighting in terms of uniformity, visual comfort and limitation of light

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pollution is just as important. In most cases, the lighting will be provided by either a four-corner or a side arrangement of floodlights mounted on masts. Side-lighting systems generally allow the use of lower columns than those of corner-column systems and will enable better control of light pollution effects when equipment is positioned and adjusted correctly. The Guide describes the positioning and minimum height of the lighting masts needed in each case to reach the lighting requirements laid down by FIFA.

Lighting specifications for non-televised events Activity level

Summary of lighting specifications for televised and non-televised events The following tables, taken from the Guide, provide a summary of the criteria to be considered for both sorts of events. They set out the recommendations for illuminance, illuminance uniformity, glare rating, and the colour properties of lamps, for each class of activity. ■

Horizontal

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Glare

Lamp properties

rating

col. temp.

col. rendering

Class

Eh ave (lux)

National games Class III

500

0.7

≤ 50

> 4000 K

≥ 80

Leagues & clubs Class II

200

0.6

≤ 50

> 4000 K

≥ 65

0.5

≤ 50

> 2000 K

≥ 20

Training/recreation 75 Class I

Uniformity

Illuminance

Guide to the artificial lighting of football pitches

Lighting specifications for televised events

Class

International Class V

VERTICAL ILLUMINANCE

HORIZONTALGLARE ILLUMINANCE

PROPERTIES OF LAMPS

Ev camera Average

Uniformity Average

Uniformity

Glare rating

Colour temp.

Colour rend.

Lux

Slow-motion Cameras

1800

0.5

0.7

1500

Fixed camera

1400

0.5

0.7

0.6

0.8

≤ 50

> 5500 K

≥ 80 pref. 90

Mobile 1000 cameras (at pitch level)

0.3

0.5

3000

0.4

0.6

1000 to 2000

0.6

0.8

≤ 50

> 4000 K

≥ 80

Calculation toward

National Class IV Fixed camera & continuity of broadcasting

1000

This Guide is the result of co-operation between FIFA – Fédération Internationale de Football Association and Philips Lighting. The publication is intended for the guidance of FIFA officials, Member Associations and football pitch proprietors generally. Full contents of 40-page guide: • User requirements • lighting requirements • lighting recommendations • installation planning • annexes with measuring equipment and glossary of terms. Colour photos, drawings and schemes. Copies can be ordered, free of charge, by email at: info.sportslighting@philips.com or via Internet: www.fifa.com

Notes: 1. Vertical illuminance refers to illuminance toward selected camera position 2. All illuminance values are maintained values. A maintenance value of 0.80 is recommended, therefore initial values will be 1.25 times those indicated.

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Authors: Walter Gagg, FIFA Director, and Mike Gorman, Lighting Application Engineer sports lighting, Philips Lighting, Miribel, France.

Walter Gagg

Mike Gorman

All photos from World Cup 2002 2, 3 Action from Group D match between South Korea and USA. 4 Jubilant South Korean players after penalty shootout win over Spain in the quarterfinal. 4

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Projects

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Ten of the twenty new soccer stadiums that provided the venue for the recent FIFA World Cup 2002 soccer championship are in South Korea. A selection is reviewed here

YoungHo Baik

2002 FIFA World Cup Soccer The venues provided spectators and television viewers with the very highest standard of lighting needed to ensure the enjoyment of an epic football event

On May 31, 2002, the largest sports competition on earth kicked off in South Korea, the World Cup soccer championship. This was the first time that two countries had jointly organised this event, and the first time too that it was held in Asia. Twenty cities, ten each in Korea and Japan, staged the 64 matches. All but one of the 20 World Cup stadiums were built from scratch solely for the World Cup, with the host nations investing an enormous amount of money to impress the billions of TV viewers in more than 215 countries around the world. Qualifying criteria General Today's football stadiums have to preserve the magical atmosphere of the big match while offering the modern spectator standards of comfort and safety that have become the norm. Thus FIFA (Fédération Internationale de Football Association) issues guidelines on stadium construction which cover aspects as diverse as

turf care, security services, media facilities and VIP suites. To qualify for the World Cup 2002, the stadiums had to meet certain general requirements, such as: have a security certificate issued by the proper authorities, provide a minimum number of seats under cover, provide space for extensive media facilities, and have adequate parking space . Lighting The lighting in all the stadiums, a selection of which are looked at here, had to be such as to ensure high-quality colour images, not only of the overall action, but also close-ups of the players and spectators. Close-up images are an important means of conveying the emotions and atmosphere in a stadium to viewers watching at home. The lighting specifications for lighting each of the stadiums in South Korea were based on the instructions of the Korean World Cup Organising Committee (KWOC).

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2 4

Gwangju World Cup Stadium Its two-piece shell-like roof was inspired by the nearby Mudeung mountain Located in the south-western part of the Korean peninsula and the centre of the Honam region, Gwangju is the country’s fifth largest city. With its long history and tradition, it is also an important cultural and artistic centre, boasting extensive remains from the prehistoric period and the Baekche dynasty, as well as artistic and scholarly accomplishments of the Yi dynasty. Today Gwangju strives to develop as an advanced international city, in which Korean tradition is in harmony with the future. The gently-curved architecture of the 42 880-seat Gwangju soccer stadium, with its two-piece shell-like roof covering 60 per cent of the public seating area, was inspired by Mt. Mudeung, a 1187-m-high mountain within view north of the site. The stadium was completed in September 2001.

1, 2 The gently-curved architecture of the 42 880-seat Gwangju soccer stadium was inspired by 1187-m-high Mt. Mudeung, which is close to the city.

4-7 Computer simulations showing aiming directions of the external floodlighting.

3 The floodlighting installation is mounted on the space-frame of the 49-m-high stadium roof, which is provided with a closed catwalk for easy maintenance.

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The Lighting The Gwangju stadium was originally designed to be provided with a complex lighting installation that would include illumination of the athletics track. However, this was never installed, the lighting being confined to that needed for high-class soccer matches. The floodlighting installation is mounted on the space-frame of the 49-m-high stadium roof, which is provided with a closed catwalk for easy maintenance. The sports lighting comprises 280 MVF 403 ArenaVision floodlights (MHD 2 kW metal halide), 136 of which are of the hot-restrike type. In addition, the middle and top parts of the stands are lighted by 30 MVF 024 PowerVision floodlights (MHN-TD 2 kW metal halide lamp of 220 000 lumen). The emergency lighting is provided by 60 QVF 417 wide-beam halogen floodlights of 1.5 kW mounted on the catwalk.

Architect: Beyond Space Group(Consortium) Consultancy: Hyundai Engineering & Construction Co (Consortium) Lighting design: Kay Lee, Philips Electronics Korea Electrical installation: Namyang Engineering & Construction Co Author: YoungHo Baik, lighting coordination World Cup Soccer, Philips Electronics Korea

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Seoul World Cup Stadium The stadium roof is in the shape of a traditional Korean kite As the capital of Korea for over 600 years, Seoul is a fascinating city with a breathtaking landscape provided by the surrounding mountains. With a population of 10.3 million (one of the largest cities in the world), Seoul has grown into a true cosmopolitan city, with over 300 theatres, art galleries and museums. Hosting a world event was nothing new to the people of Seoul. The city hosted the Asian Games in 1986 and the Olympic Games in 1988, and was especially proud to host the 2002 FIFA World Cup, the first ever to be held jointly with another country, in its newly-completed stadium. The stadium, in the north-western part of the city, has emerged as a new tourist attraction. The construction was started in 1998 and its opening took place in December of 2001. Seen from above, the teflon roof of this 64 677seat stadium, which covers 90 per cent of the seating area, is shaped like a gigantic rectangular shield – the shape of a traditional Korean kite. The pillars supporting the roof resemble the masts of the traditional sailing craft that used to ply the Hangang river. It was in this stadium that the colourful opening ceremony followed by the opening match between France and Senegal took place.

8 The Teflon roof of the 64 677seat Seoul stadium, Asia's largest soccer-only stadium, covers 90 per cent of the seating.

9 The floodlighting installation is mounted on a 48-m-high catwalk that follows the slightly elliptical shape of the roof opening. The translucent roof itself is illuminated from below by a circle of wide-beam halogen floodlights. 10-12 Plan and elevations

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The Lighting The principal floodlighting installation is mounted on a 48-m-high catwalk that follows the slightly elliptical shape of the stadium’s roof opening. The translucent roof itself is illuminated from below by a circle of eighteen equally-spaced QVF 417 wide-beam halogen floodlights of 1.5 kW mounted on this catwalk. As with all the stadiums reviewed here, the sports-lighting installation has four switching modes, from soccer training to full HDTV (highdefinition colour TV) competition, plus a hotrestrike mode for immediate use after a power failure, and an emergency lighting mode. The HDTV lighting employed for the World Cup competition employed all of the 318 floodlights mounted on the elliptical catwalk. The installation provided symmetrical lighting on the field of play with illuminance levels, uniformities and glare ratings that were well within the specification stipulated for the World Cup soccer matches (see table). The principal floodlight employed (264 in total, including 140 hot-restrike units) was the MVF 403 ArenaVision, in categories A1 to A5 (see ilr 001: ArenaVision – New Generation). This houses a single MHD 2 kW metal halide lamp delivering 180 000 lumen, and was accompanied by the MVF 024 PowerVision (36 in total) with the MHN-TD 2 kW metal halide lamp of 220 000 lumen. The total installed power for the HDTV lighting was ca 670 kW.

Architect: Beyond Space Group (Consortium) Consultancy: Hanmi Parsons Co (Consortium) Lighting design: Kay Lee, Philips Electronics Korea Electrical installation: Samsung Engineering Co

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Jeju World Cup Stadium The dynamic sweep of the roof captures the graceful shape of the traditional Korean fishing net Seogwipo is South Korea’s chief South Coast City and is located on the country’s largest island, Jeju-do, at the southern tip of the Korean Peninsula. Jeju-do remains a unique locale with an island culture full of mystery and folk tales. The numerous tourist attractions range from mountainous landscapes with valleys and waterfalls to beaches with small islands and emerald waters. This naturally beautiful region also benefits from year-round mild temperatures, which makes it a popular destination for tourists from the mainland as well as from abroad. It is claimed that the 42 256-seat Jeju World Cup Stadium, completed in December 2001, is one of the most beautiful football stadiums in the world. With its open design and sunken pitch – designed to reduce the effects of the wind, whilst also improving access and cutting the costs of construction – it is designed to symbolise an Oreum, or volcano, which are found all over the island. At the same time, the dynamic sweep of the roof captures the graceful shape of the traditional Korean fishing net, which is still employed on the small local fishing boats.

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13 The stadium’s entrance represents the L- or S-shaped entrance of a traditional home, whose shape was originally designed to block gusty winds.

14 A combination of a side arrangement and high-mast floodlighting. The former is mounted on a semicircular catwalk that follows the underside of the roof. 15, 16 Plan and elevation.

The Lighting Here the designers opted for an unusual approach to the lighting: a combination of a side arrangement and high-mast floodlighting. The former, comprising an arc of MVF 403 ArenaVision floodlights (MHD 2 kW metal halide), is mounted on a semicircular catwalk that follows the underside of the roof. This increases in height from some 50 m at its ends, to some 60 m in the centre. The two lighting masts adjacent to the stand opposite this roofed seating area are each 50 m high, and carry the same ArenaVision floodlights, of which there are 248 in total (118 standard and 130 hot restrike) employed in the HDTV switching arrangement.

Architect: Ilkun Architects & Engineering Co (Consortium) Consultancy: Hyundai Engineering & Construction Co (Consortium) Lighting design: Kay Lee, Philips Electronics Korea, together with Reinier Hendriks, Philips Sports Lighting Competence Centre, Miribel, France Electrical installation: Poonglim Industrial Co

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World Cup Soccer Lighting Design

Vertical illuminance towards main camera HDTV

Horizontal illuminance HDTV

FIFA main lighting requirements Parameter Ev

Stadiums’ actual lighting (HDTV)

Description Vertical illuminance in direction of main TV camera

Value > 2000 lux

U2(vert)

Vertical illuminance Uniformity: Emin/Eav

> 0.70

Horizontal illuminance

> 2000 lux

U2(hor)

Horizontal illuminance Uniformity: Emin/Eav

> 0.80

Emergency TV in direction of main TV camera

> 1000 lux

U2(cam)

Illuminance uniformity: Emin/Eav

> 0.5

Max. Glare Rating

General colour rendering index

> 90

Correlated colour temperature

min. 5000 K max. 5800 K

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Parameter

Stadium Seoul

Ulsan

Jeju

Gwangju

Ev(av)

2326 lux

2005 lux

2003 lux

2004 lux

U2(vert)

0.75

0.72

Eh(av)

2471 lux

1991 lux

2227 lux

2623 lux

U2(hor)

0.89

0.84

0.83

1187 lux

1024 lux

1178 lux

1002 lux

39.4

31.7

27.7

24.9

5600 K

Installed power

671.47 kW

501.82 kW

536.42 kW

750.96 kW

Horizontal illuminance Training

Kay Lee

SookHee Jang

Reinier Hendriks

Horizontal illuminance Emergency

Lighting Design – a selection 17 Vertical illuminance towards main camera HDTV Average: 2005 lux. Ulsan stadium 18 Horizontal illuminance HDTV Average 2471 lux. Seoul stadium 19 Horizontal illuminance Training: Measurement grid of average 364 lux. Gwangju stadium 20 Horizontal illuminance Emergency: Anti-panic grid spectator main stand of average 46 lux. Gwangju stadium

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Ulsan Munsu World Cup Stadium A striking stadium with two levels below ground and three above The South Gyeongsang Province where Ulsan is located, bordered by the sea to the east and by high mountains to the west, contains some of Korea’s most spectacular scenery. Since the establishment here of the first and largest industrial complex in the 1960s, Ulsan has been the engine for Korea’s economic growth, accounting for twelve per cent of the nation’s entire industrial production output and making it the industrial capital of Korea. Construction work on the striking Ulsan Munsu World Cup Stadium, with its environment of natural ponds and thick forests, began in 1997 and was completed in the spring of 2001. The stadium is built on an area of some 900 000 square metres, and has two levels below ground and three above. The roof covers 87 per cent of the 43 549-seat tribune.

The Lighting The floodlighting of the soccer pitch is based on the side arrangement, in which two lines of floodlights are mounted on two 36-m-high catwalks suspended from the roof above the tribunes. Each catwalk carries a total of 116 MVF 403 ArenaVision floodlights (MHD 2 kW metal halide), in categories A1 to A4 (half of which are of the hot-restrike type). All 232 units are employed in the fully symmetrical HDTV switching arrangement to give a total installed power of ca 500 kW. Again, the lighting was well within the specification stipulated for the World Cup soccer matches (see table). ■

Architect and consultancy: Posco-Architects & Consultants Lighting design: Kay Lee and SookHee Jang, Philips Electronics Korea Electrical installation: Hyundai Engineering & Construction Co (Consortium)

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21 The design of the 43 549seat Ulsan Munsu stadium is patterned after the royal crown of the Silla Dynasty (57 BC–AD 935), thus its nickname the 'Big Crown'. 22 The floodlighting is based on the side arrangement, in which two lines of floodlights are mounted on two 36-m-high catwalks suspended from the roof above the tribunes. 24

ALP Studio / Woon-Yeol,Baek

23 Plan view of stadium.

26 24 Daegu Main Stadium in Daegu, 330 km southeast of Seoul. 25 Busan Sports Complex in Busan, 430 km southeast of Seoul. 26 Incheon Sports Complex in Incheon, 30 km west of Seoul.

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Projects

With its closable roof, this new world-class stadium feels like an enormous sports hall 1 René van Ratingen

Soccer whatever the weather AufSchalke Arena, Gelsenkirchen, Germany

The opening celebrations for the AufSchalke Arena on 15 August 2001 marked the beginning of a new era for Schalke 04, its fans and its members. Soccer is traditionally played in the open air, but this has always held the risk that a match may have to be postponed due to bad weather. This will no longer be the case in future, because this new 62 000-seat stadium, in Gelsenkirchen, in the heart of the Ruhr district, has 8000 m2 of sliding roof that can be opened or closed within 30 minutes. Immediately above the pitch, the stadium is open, with spectators safely under cover whatever the weather. Of course, the sliding roof offers complete independence from the weather for more than soccer matches. It makes the planning of events large and small, be they congresses, trade shows or concerts, so much easier. To this end, the pitch itself can be shifted outside to reveal an enormous concreted area for special events. A further eye-catching feature of the new stadium is the rigid steel structure that supports the translucent, Teflon-coated fibreglass roof. This holds the stadium lighting, the floodlights, the loudspeakers and the scoreboard.

The lighting installation adjusts for all levels of competition, and can provide sophisticated event lighting as well

The Lighting Main floodlighting At both sides along the length of the pitch are two catwalks, one almost directly above the sideline and the second slightly farther back, that carry the main floodlighting. The floodlight employed is the new MVF403ArenaVision unit (See ILR 001, page 46), each of which houses a single MHN-SA 2000 W/956 metal halide lamp (5600 K, Ra > 90). The floodlights, ranging from narrow to wide-beam units, are arranged in groups, with each unit directed at a specific point on the playing field, as calculated by computer. This ensures that it is not only the turf that is uniformly lit (horizontal illuminance of 2

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1 The AufSchalke Arena boasts one of the world’s first videocube scoreboards in a soccer stadium. 2 The new 62 000-seat stadium, with the pitch shifted outside. 3 Cross-section and plan. 4 The arena features a sliding roof weighing 560 tonnes that can be opened or closed within 30 minutes.

FC Schalke 04

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Technical data Main floodlighting Floodlight and lamp type (quantity) Switching levels Event lighting Training Competition TV Emergency TV

ArenaVision MVF403, Cat. A2-A4, with MHN-SA 2 kW/956 metal halide (5600 K, Ra > 90) (212 units, of which 108 are hot re-strike) – approximately 100 lux – E-horizontal 200 lux – E-horizontal 500 lux – E-main camera > 1500 lux, E-subsidiary cameras > 1000 lux – E-main camera > 800 lux, E-subsidiary cameras > 600 lux

Stand lighting Floodlights and lamp types (quantities)

Front of the catwalk: PowerVision MVF024 with MHN-LA 2 kW/956 (20 units) Back of the catwalk: SNF210 with HQI-BT 400W (72 units) Isolux PCI T PC 1 with 1 x TL-D58W/840 as continuous band of light (450 units) Emergency lighting: TCW216 with 2 x TL-D58/840 (132 units)

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FC Schalke 04

5 Isolux plots of the stand lighting. 6 The new MVF403 ArenaVision floodlights employed provide a uniformly lighted pitch plus uniform illuminance in the direction of all the television cameras. 7 A view at the Arena used for an event. Here Lionel Richie at the openings ceremony

500 lux for competition), but also that there is a high and uniform illuminance in the direction of all the television cameras – at least 1500 lux in the direction of the main camera and 1000 lux in the direction of the subsidiary cameras. Even if there is a power outage it must be possible for the match and the television broadcast to continue. The power for part of the lighting installation is therefore supplied by an on-site generator. Because the highly efficient 2 kW discharge lamps normally have to cool down for approximately 15 minutes after a brief power cut before they can be switched on again, the 108 floodlights providing this emergency TV lighting are fitted with a special hot re-strike facility. Stand lighting It is most important, of course, that the spectators feel happy and comfortable in their immediate surroundings. But the stand lighting also has an effect on the atmosphere in the stadium, and spectators and cameras should also be able to see what is going on around them. This means that there must be not only adequate horizontal illuminance on the stands but also vertical illuminance in the direction of the playing field. Lower stand For the lower stand, a total of 20 wide-beam MVF 024 PowerVision floodlights fitted with the MHN-LA 2000 W metal halide lamp are employed. These are mounted on the rectangular catwalk suspended above the pitch. The reflector skirt above the lamp ensures that glare is limited and that spill-light is kept to a minimum. During the soccer match the lower rows of the stand are also lit by diffuse light from the

playing field. This effect diminishes significantly, however, higher up in the stand.

below the catwalks, which also serve as emergency lighting.

Upper stand The upper stand is illuminated by 72 asymmetrical SNF 210 floodlights, each carrying a 400 W metal halide lamp. This floodlight has the anti-spill-light concept (Imax at 57°) to project the entire luminous flux generated by the lamp downward onto the horizontal surface without any upward spill-light and to limit glare at the same time. An additional 450 or more damp-proof diffuser luminaires, type Isolux PCI T PC, each housing a single dimmable TL-D 58 W/840 fluorescent lamp, are attached to the wall above the upper rows of the stands. Together with the lighting for the upper row of the stand, this band of downward-facing light creates a very pleasant visual boundary to the stadium. In addition, 132 damp-proof diffuser luminaires, type TCW 216 and housing two TL-D 58 W/840 fluorescent lamps, are fitted to the catwalks, with the trough facing downwards. These luminaires can be dimmed continuously.

Emergency lighting The emergency lighting is produced by the 132 units of TCW216 luminaires mounted on the catwalks, which are switched immediately to 100% mode in case of an emergency. The system will illuminate the entire interior of the stadium (in accordance with VDE 0108) to a minimum of 15 lux on the sports/activity area (playing field) and at least 1 lux on the stands. The maximum delay before this emergency lighting is switched on is one second. These TCW 216 fluorescent luminaires are controlled by electronic ballasts. ■

Special-event lighting Some of the events held in this gigantic multifunctional arena, such as concerts, do not call for a playing field, but do require special lighting. In such cases the field is removed and the concrete area remaining can then be used and illuminated in the same way as a stand area. A variety of different lighting scenarios can be created using the stand lighting. Without floodlighting this generates approximately 100 lux, and can be reduced in stages to 50 lux and 20 lux. The 20 lux setting is generated by the continuous band of light that surrounds the stadium and the additional fluorescent lights

Architect: Becker und Köpcke AIG, Düsseldorf Consultancy: Tebodin GmbH Lighting design: René van Ratingen, Philips AEG Licht, Germany Lighting installation: Lichttechnik Hessling, Düsseldorf

René van Ratingen

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Projects

A premier soccer venue that has undergone a complete renovation

>■

René van Ratingen

Economy in roof lighting >■

AOL Arena, Hamburg, Germany

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camera

All floodlights are now below the roofline rather than on masts, thus helping to lower costs and manage obtrusive light

1 All 204 MVF406 ArenaVision floodlights are mounted on a catwalk just below the roofline at a height of 40.5 m above the playing field.

The football stadium of the Hamburg ‘Bundesliga’ team HSV, first erected in 1953, used to be called just ‘Volksparkstadion’ because of its location in the park. Over a period of two and a half years, beginning in 1998, the old stadium was demolished in stages and rebuilt. Most significantly, the layout of the field was rotated 90°, so the goals that were at the east and west ends of the playing field are now situated at the north and south ends. Play continued as usual during the construction, and the completed stadium now seats 45 000, with standing room for another 10 000.

René van Ratingen

The Lighting

2, 3 Computer plots showing vertical illuminance in direction of main tv camera and line camera, respectively. Key: light green = max, blue = minimum. 4, 5 Floodlight aiming directions in both perspective and plan views.

Revamping the floodlighting was also part of the stadium refurbishment. The original installation consisted of four masts, each fitted with 60 HNF006 floodlights and 2 kW HPI-T lamps. Average mounting height was 55m. These floodlights were also replaced in stages by the ArenaVision MVF406 unit (Category A1-A4) fitted with MHD-TD 1.8kW lamps, and mounted on temporary supports on the upper level of the new stands. The final phase of the construction work involved putting the synthetic film roof in position. Once in place, the floodlights were removed from their temporary positions and attached to a catwalk hung below the roofline. This is the only catwalk that fully encircles the pitch and it supports all 204 floodlights at a height of 40.5 m above the playing field. The illuminance is 1400 lux in the direction of the main camera, with a 20% allowance for aging

(1750 lux when new). The ballasts and associated equipment are housed in an area under the stands, thus removing considerable weight from the roof and allowing for a more economical roof construction. The emergency TV settings required by FIFA/UEFA to ensure that television broadcasting can continue during a power interruption are supplied with power from an on-site diesel generator and furnish 800 lux in the direction of the main camera. ■

Architect: Manfred O. Steuerwald, Hamburg Consultancy: - Stadium: VIP Consult GmbH, Hamburg, - Electrical: Falcke & Korff, Hamburg Lighting design: René van Ratingen, Philips AEG Licht, Germany Electrical installation: Fritsche, Gesellschaft für Elektrotechnik, Pinneberg

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Projects This the largest indoor multipurpose arena in Europe, is fully equipped to cater to all the needs of its visitors, year-round

Kölnarena

René van Ratingen

Lighting for all events

Kölnarena

KölnArena, Germany

A combination of lighting systems ensures that all manner of events from top-class sports to concerts are lighted to the highest standards

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Lukas Roth, Köln

1 Lighting the events floor area are MNF307 and QVF416 floodlights.

2 Steel arch of the KölnArena glows against the night sky. 3 Cross section and floor plan. 4 The network of stairs, bridges and columns underneath the tribunes.

The KölnArena, within sight of the famous cathedral on other side of Rhine, is the largest indoor multipurpose hall in Europe. It opened its doors to the public in September 1998, and hosts 140 to 160 events per year. This 18 500-seat hall, with its sixty private boxes with up to twelve seats and 100 four- or six-seat boxes, provides the perfect venue for all kinds of meetings such as sporting events, concerts, shows, party congresses, and conferences. There are no fewer than 60 concession stands, plus a 450-seat restaurant, and several bistros, bars and shops. The arena façade is totally of glass and thus the interior network of stairs, bridges and columns is visible to all who pass by or approach the arena. Overhead, most of the weight of the roof is borne by a 78-m-high steel arch, a distinctive addition to Cologne’s skyline.

The Lighting The permanent lighting for the 83 700 square metre interior of the arena comprises the sports lighting, the stand lighting, the special-event lighting, the safety lighting, and the work and safety lighting in the catwalk area. In addition, mobile lighting systems can be installed for concerts and other events where special lighting effects are required to create the appropriate atmosphere. The lighting design team was involved at an early stage in this project. This made it possible to have some influence on the how the luminaires were be mounted, and the power supply to be made available. A large proportion of the luminaires have been installed on catwalks below the 48-m-high roof. The position of these catwalks, and therefore the points at which the luminaires could be positioned in relation to the playing field, is of crucial importance for the CTV-standard sports lighting in particular. There are three catwalks that run along the length of the playing field, following the contours of the roof. One is above the centre of the playing field, and the other two are each positioned above the ice hockey rink edges. Farther away from the rink are two more catwalks that run across the front of the boxes. Sports lighting This lighting installation forms the core of the

hall lighting. It is crucial in providing the image quality for television broadcasting and for creating good visual conditions for the players, referees and spectators. The maximum sports area at full spectator capacity (18 000 spectators) is 60 x 30 m for ice hockey. For this, and for the smaller areas for handball, football, tennis and basketball, the vertical illuminances in all four directions exceeds 1000 lux. If larger sports/activity areas are required (as for show jumping and motocross), the lower rows of stands can be pushed back. The arena is then practically bordered by walls. Because these have the effect of shielding the light, a vertical illuminance at the edge towards this wall is not feasible. For these areas, the illuminances and the uniformity have therefore been optimised towards the cameras at the side and the front. The sports lighting installation employs a total of 172 floodlights of the ArenaVision type (MVF406). These are fitted with MHD 1800 W lamps (5600 K, Ra > 90). Thanks to the seven possible configurations of the optics with reflector skirts, outstanding glare reduction and beam control have been achieved. The different areas that are available for the various types of sports are illuminated by means of six switching modes. In addition, there are two basic switching modes available with a horizontal illuminance of 500 lux.

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horse dressage

ANP

horse jumping

ANP

basketball

ice hockey

5 Horizontal illuminances for various sports.

7 Sports lighting, ice hockey match

6 Mulptipurpose hall in transition

8 Luminaire positions for tribune, sport and event lighting (from top).

Lukas Roth, Köln

Kölnarena

Luminaires and applications sports

events

tribunes

●

MNF 210

MNF 307

MVF 406

QVF 416

SVF 617

TCW 196 7

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The various switching levels ensure that the lighting can be tailored to suit the special requirements of the relevant sport. This has made it possible to prevent floodlight reflections across the ice or across a high-gloss floor towards the main camera. The creation of shadows on the ice hockey rink edges has also been minimised as far as possible. In the event of a power cut, half of the luminaires can be switched over to an in-house diesel-run electrical power supply. These ensure that the television broadcasting can continue – with half the normal lighting level but with good, uniform images. For this reason, these floodlights are equipped with the hot-restrike facility for instant re-ignition. Stand lighting The stands for the spectators are illuminated to a level of 100 lux. There are two distinct areas, the upper and the lower stand area. If there are not many spectators, the upper area (above the boxes) can be darkened by means of a curtain. The lighting can then be switched separately for the two areas. The lower area is illuminated by 40 MVF617 floodlights fitted with HPI-T 400 W lamps. These are installed on the outer catwalks. The upper area is illuminated by 38 MNF210 floodlights mounted on the outer catwalks and fitted with the same lamps. In addition, 79 damp-proof fluorescent luminaires, type TCW196 (2 x TL-D 58 W), are attached to the walls. Lighting for special events This installation illuminates the events floor area of either 60 x 30m or 80 x 50 m. Twenty MNF307 floodlights (2000 W metal halide) and 122 QVF416 floodlights (750 W halogen) provide the

ANP

tennis

motocross

maximum horizontal illuminance of 300 lux, which can be dimmed continuously. A variety of effects can be achieved by separately dimming different groups of luminaires to suit the needs of the moment. Safety lighting Safety lighting is provided in the event that all sources of mains power should fail. This is supplied with power from a storage battery and illuminates the complete interior of the hall (in accordance with VDE 108) to a minimum of 15 lux with a maximum delay of one second before switch-on. In order to limit the battery power required, the luminaires have been fitted with fluorescent lamps and are controlled by electronic rapid-start ballasts. One hundred damp-proof diffuser luminaires TCW196 HF-B were used. Fifty-nine of these were fitted with 2 x TL-D 58 W, and 41 were fitted with 1 x TL-D 58 W. Catwalk lighting The catwalks below the roof are provided with work and safety lighting. This comes from 80 damp-proof diffuser luminaires, type TCW196HF-B, each housing a single TL-D 36 W fluorescent lamp. ■

Architect: Peter Böhm, Cologne Lighting design: René van Ratingen of LiDAC Outdoor, Philips Lighting, Springe Lighting installation: Siemens with Oertel & Pruemm, Cologne (Arge Elektro KölnArena) 8 ilr 022 sports/projects

Concepts

Unobtrusive sports lighting

Mike Gorman

There is no need for sports-lighting systems to cause disturbance to local residents, provided the right measures are taken during the planning and design stages

Dealing with the problem of obtrusive light from a sports-lighting installation involves identifying sensitive areas around the facility and limiting the light intrusion in these directions, while ensuring the lighting on the field of play continues to meet the recommended performance. Finding a suitable solution involves a chain of responsibility including local planning departments, local residents, owners, lighting designers and installers. Obtrusive light The past 20 years have seen a dramatic increase in the number of sports facilities in our communities. This was accelerated by the booming health and fitness sector and the fact that many people like to participate in their favourite sport on week-day evenings, after work. Lighting systems have become a normal feature of outdoor sports facilities, and therefore our neighbourhoods. Artificial lighting systems have greatly benefited the users of sports facilities, but in some cases have caused disturbance and even distress to people living nearby. It is usually the light straying onto a person’s property or entering via living-room or bedroom windows that causes the most frustration. The amount of obtrusive light needed to cause annoyance will depend upon the external ambient lighting conditions. Obtrusive light falls into three categories: sky glow, stray light, and installation luminance or brightness. Sky glow The well-known halo effect seen above our towns and cities. What we see is the light that is directed upwards being reflected from moisture or dirt particles in the air. Upward light makes air-borne pollution visible, which reduces the visibility of stars in the night sky. Needless to say, this represents a considerable waste of energy and obscures natural beauty. Stray light Light that enters our homes or falls on vertical surfaces outside the sports facility. The result is increased lighting levels, both indoors and out.

Zone E1 Intrinsically dark areas – national parks and protected sites Zone E2 Low brightness areas – industrial and residential rural areas Zone E3 Medium brightness areas – industrial and residential suburban areas Zone E4 High brightness areas – city / town centres and commercial developments The ambient lighting found in city centres is higher than that in rural areas or national parks. Therefore the limits placed on obtrusive light are higher for the former (E4) than for the latter (E1), while maintaining the same overall lighting appearance. The consequence of using environmental zones as part of an obtrusive light concept is that local planning departments must consider in which zone an affected property should be placed. There should be a consistent method for doing this, such as: 1. Choice based on preserving the existing environment. 2. Classify whole municipal area by zones E1 to E4. 3. Define a future master plan for the use of light in the municipal area. This creates an umbrella under which planning requests can be considered and monitored against clear performance criteria. It is this aspect that will produce one of the greatest challenges for local planning authorities, who are faced with integrating this new thinking with existing regulations and dealing with the contradictions it brings. Other considerations Time restrictions Another aspect to be considered is that of time restrictions in order that local residents are not disturbed at all hours of the night. Curfew hours can be set, for example between 2300 and 0600, a common sleep period, during which lower permitted levels of spill light come into force.

Installation brightness The overall brightness appearance when looking in the direction of the installation.

Daytime appearance And finally, the daytime appearance of the lighting system can be disturbing. This can be the case where large floodlight arrangements are involved, especially if the installation calls for large-diameter columns able to withstand static and wind loads. Or where mast heights are far greater than those of the houses and buildings around them.

Environmental zones Simply identifying the nature of the light obtrusion does not provide a solution. This must be followed by advice on limiting levels according to the sensitivity of the environment, and clear proposals for implementation. Four main environmental zones are considered:

National recommendations During the past ten years, many countries have developed recommendations for dealing with obtrusive light. While these are all largely in agreement as to how to tackle the problem, the actual values recommended do differ according to local expectations of what is

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1 Spill light and upward light must be minimised. Key: ❍ useful light on pitch ● boundary of property ● spill light to local community ● upward light creating sky glow

2, 3 Sports lighting. Excessive stray light (left) can be eliminated by the proper choice of floodlight (see OptiVision article in this issue). 4 Sky glow is the well-known halo effect seen above our towns and cities.

tolerable. The CIE recommendation of TC 5.12, now in the final-draft stage, uses the above framework to provide the incentive for the widespread adoption of this subject in lighting engineering and practice. Possible solutions Some solutions to the problem of obtrusive light adopted in past years have been to employ louvres, to reduce column height, and to employ special floodlight types. Louvres Louvres, or light cut-off devices, can be employed to exclude light from adjacent properties. When adding louvres to an existing installation, they will increase the weight and projected area of the floodlight arrangement. It is important from a safety point of view to ensure that columns are not overloaded. This should be verified with the column manufacturer before considering the use of louvres. In some cases louvres will cause a reduction in the lighting level and uniformity on the field of play. A lighting designer will be able to verify if the lighting system will still meet the sports Federation’s recommended performance after installation of the louvres. Where new installations are concerned, other solutions are usually available before considering the use of floodlights fitted with louvres. Reduced column height Keeping the height of the lighting columns in scale with the size of adjacent properties is one way of improving the daytime appearance of an installation. It will certainly reduce the cost of the installation, provided the lighting specifications for the sport can be met. But it will usually result in increased spill light and upward light, and create an even greater brightness appearance of the installation. This is because the lighting designer is obliged to tilt the floodlights more to produce the required lighting level and uniformity to meet the specified illuminance and uniformity criteria of the sport. Special floodlight types In recent years, the term asymmetrical flat glass floodlight (peak intensity at 65° to the downward vertical) has been used to describe the only type of floodlight capable of dealing with obtrusive light. But in fact any type of floodlight can be employed, provided it produces the required performance against the stated specifications.

appropriate requirements of each type of person who experiences the lighting. The lighting designer will consider the most appropriate location and height for the floodlights in order to distribute light over the playing surface and to limit the amount of obtrusive light. In general, the fewer columns or structures used, the greater the required mounting height. There are many types of floodlights available from many different sources. In general, the floodlights that will produce the more efficient lighting systems (viz. minimum number of luminaries) for a given specification will also be those that effectively control spill or stray light as they concentrate a higher percentage of their light directly onto the target area – the sports field. These types of lighting systems tend to be specifically designed for sports use, where the performance of the lamp, optical system and floodlight are matched to produce far higher performance than general-purpose floodlights. The lighting designer will require the following information in addition to the general specification for the sports field: 1. Obtrusive light parameters to be used: Sky glow Spill light on vertical plane Brightness or intensity of installation 2. Location, orientation and height of building windows to be considered for obtrusive light. 3. Environmental zone to be used. 4. Curfew times. The lighting designer’s job is to define the best performance possible to balance all needs and to verify by measurement that the installed system is adjusted (aimed) and delivers the intended results. A professional design bureau will be able to provide all the above services. In some cases, properties to be considered in connection with obtrusive light requirements may be so close to the lighting installation that a suitable solution cannot be found from any lighting equipment. In these cases, combinations of screens, walls and fences can also be considered. Solutions for dealing with or avoiding obtrusive light concern more than just the proper choice of lighting equipment. All those involved, from town planners to the final users, have a part to play, and always with the sensitivities of the local community in mind. ■

Author: Mike Gorman is Lighting Application Engineer for Philips Lighting at the Outdoor Lighting Europe Competence Centre in Miribel, France.

Lighting design A lighting design will only serve the needs of the users if it meets the

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Design Introducing a floodlight that minimizes obtrusive light and has a compact, aerodynamic form for increased efficiency and decreased weight

OptiVision Keeping light inbounds

Floodlighting of recreational sports areas and commercial and public locations is coming under increased scrutiny in terms of the obtrusive light generated (see article on page 36). The CIE (International Commission on Illumination) has formulated a set of recommendations regarding obtrusive light, and laws have been enacted in parts of both Europe and the United States to reduce the amount of such light. For this reason, the designers of the asymmetric OptiVision MVP 507 floodlight concentrated on minimising obtrusive light. OptiVision is intended for lighting of sports facilities such as football and hockey fields, and is also suitable for car parks and industrial sites. Spill light reduction Emile van Dijk, former product manager in Miribel: ‘Many recreational sports pitches are in urban environments, meaning that you will potentially have many people travelling by and living close to the surroundings of the pitch, so limiting the amount of light hindrance becomes very important. Since obtrusive light, which comprises spill light to the upper hemisphere, light falling on nearby buildings, and glare, is now an issue throughout Europe and the world, we wanted to have a luminaire that complied with the recommendations of CIE technical commission 5.12, dated August 2000. In the end we have a system that produces three times less spill light than other asymmetric floodlights.’

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Optical system The challenges to be met by the optical designers for creating an improved asymmetric floodlight were: increased field efficacy (the percentage of lamp flux that falls on the field), different beam widths for a broader application range, and a reduction in overall size for less weight and better aerodynamics. Remi Noirot, optical designer in Miribel: ‘The reflector material is smooth, enhanced layered aluminium with a reflection factor of nearly 95%, which minimises flux losses and increases the light output ratio. And the cylindrical, rigid reflector shape of the main mirror gives good beam control with the metal halide lamps used in this luminaire, enabling us to focus the light more completely on the field. The main reflector surrounds as much as possible the lamp and reflected rays are thus sent in front of the floodlight, so that the rear flux arises only from reflection off the front glass.’ The rear part of the main mirror is a parabola tilted at 60 degrees, which corresponds to Imax, the angle of maximum intensity. This is lower than the 65 degrees or more generally thought necessary for the best performance of asymmetric luminaires. The lower Imax angle of OptiVision and the sharp cut-off characteristics of the beam mean that with the front glass set horizontally (or tilted up to 10 degrees), almost no light is directed above 80 degrees. Another advantage of a continuous, smooth mirror shape is that the housing can be more

easily moulded to follow the contour of the reflector. This means a smaller, lighter housing and more efficient heat transfer between mirror and housing. Even so, thermal analysis showed that cooling fins had to be added to the outside of the housing to ensure adequate thermal exchange when using 2kW lamps. To offer flexibility in use, three different sets of side mirrors provide narrow, medium and wide beam widths. Housing design Mat Bembridge of Philips Design: ‘Weight reduction was emphasized for every component of the system, and the result is a unit that weighs less than any other comparable asymmetric floodlight. The height of the luminaire has also been reduced by over 30% compared to its predecessor, the MNF 307, so it is much more compact and easy to handle. Many of the technical components were redesigned to make the luminaire look less technical and more aesthetic. This translated to smooth outlines and rounded corners, but functionality also remained very important.’ The overall design of the aluminium housing incorporates two basic shapes–the cylinder that carries through to the luminaire aiming system and the wing shape of the optics. The cooling fins follow the curve of the housing to enhance the flowing appearance, and the aerodynamic shape and reduced volume mean a smaller vertical projected area and low

wind resistance (drag coefficient=0.447). Therefore OptiVision can be mounted on slimmer poles than other luminaries of similar lighting power. Emile van Dijk: ‘The project began with the development of the optical system, so by the time the exterior designers became involved the shape of the housing was largely determined by the optics. In spite of this limitation, they did an excellent job of producing a stylish, functional package.’ Because of its shape and construction, the luminaire is serviced from below rather than from the rear. The front glass is thinner than that used in the 307, which means additional weight reduction. Hinged at the front, the glass swings down by releasing four stainless steel clips. Special printing around the border of the glass gives the outline of the optics a smooth look, and the printing colour matches the housing for a uniform appearance.

1 A good illustration of the sharp cut-off characteristics of OptiVision. 2 Horizontal positioning of luminaire with reversible mounting bracket. Possible lamp types are MHN-LA 1kW and 2kW and SON-T 600 W and 1000W.

Added features The reversible mounting bracket bolts to the housing from either above or below. To quickly set each unit at the proper angle, a simple aiming device snaps on the side of the luminaire. Remote or attachable ballast boxes are available. The attachable box mounts to the luminaire bracket and aligns perfectly with the housing for a streamlined presentation. In luminaires fitted with the MHN-LA 2kW lamps, the narrow and medium beam models have hinged side mirrors for good access when changing lamps. ■

-15°

70° 3c

60° 3b

3 a-c Internal reflection paths and illuminance for Imax (b) and selected emission angles. Multi-disciplinary development team: Product management - E van Dijk, Optics - R Noirot, Lidac - M Gorman , Design - M Bembridge, C Murray, Development - S Ballester, J Brown, P Fleche, P Mazet, J Paterson, J Sormani, Purchasing - J Chalmers, P Collange

4 Luminous intensity diagram (vertical plane) of the narrowbeam MHN-LA OptiVision luminaire. Letters on graph mark illuminance values for illustrations in 3. Remi Noirot

Mat Bembridge

Emile van Dijk

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Christ’s Hospital School

Projects

Ian Major

An all-weather sports pitch lit for hockey by a new range of asymmetric floodlights that eliminate wasted upward light and have excellent light cut-off outside the playing area

Lighting inside the lines Christ’s Hospital School, Horsham, England

With only 24 floodlights, and 13metre-high poles, the system is energy efficient and visibly less obtrusive 1

Christ’s Hospital School is a boarding school and charitable foundation in Horsham, West Sussex, for boys and girls aged 11-18. The school began 450 years ago in London as a school for needy children; today it provides free and assisted places for children from all backgrounds. To update its sports facilities the school commissioned a new all-weather playing surface, of which the provision of floodlighting formed an integral part. The installation was completed in September 2001.

3 Christ’s Hospital School

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1, 2 All 24 OptiVision floodlights fitted with specially developed optics are aimed inwards to eliminate spill light.

5, 6 Whilst the pitch itself is extremely well lighted, the ground adjacent to it is in virtual darkness.

3 Christ’s Hospital School in rural site, showing location of sports pitch.

7 The almost complete absence of back light ensures minimal spill light into the surroundings.

4 Each 13-m-high lighting column carries three MVP 507 OptiVision floodlights.

6 Ian Major

The Lighting Because the sports field is in an area of low ambient light, the designer wanted to limit the amount of spill light into both the surrounding area and the night sky. Energy efficiency was also a major concern. In addition, local planning issues called for the final height of the floodlights to be as low as practically possible to minimize daytime visual intrusion. As for light level, the design brief specified that the installation meet International Hockey Federation standards of 350 lux maintained average horizontal illuminance. The final design achieved the necessary illuminance on the 6000-square-metre field using 24 medium beam-width luminaires from Philips’ new OptiVision MVP507 range of floodlights (see OptiVision article on page 38). Each incorporates a 2 kW double ended metal halide lamp (installed load 50.8 kW). Previously such a project would have required 28-30

floodlights to produce the same illumination, but OptiVision’s highly efficient reflector system (LOR>80%) and precise optical control allowed the design to be met with fewer floodlights, thus saving energy and installation costs. The smaller size, lower weight and reduced wind drag of the luminaire compared to similar asymmetric floodlights can also lead to savings on column structures and a lower visual obtrusiveness. The floodlights are mounted on eight 13-m-high columns, four on each side of the pitch. With the bracket arrangement the resulting actual working height is 13.5m. Per the guidelines of the International Hockey Federation, the corner floodlight columns are set two metres past the goal lines. This ensures that all floodlights are aimed into the playing area, again curbing the amount of spill light. The main mirror’s asymmetric shape directs the light such that the luminaire can be mounted with the front glass horizontal. This minimises the over spill into the surrounds and gives no direct upward light.

For ease of maintenance and lamp replacement, the columns are hinged at the base. All floodlight control gear fits into the base compartment of the column, so no need for extra cubicles to hold this equipment. Ian Major, Philips Lighting, recently received the Dark Skies award from the British Astronomical Association’s Campaign for Dark Skies (CfDS) for his efforts to minimise light pollution from sports installations. ■

Client: Christ’s Hospital School, Horsham, UK Lighting Design: Brian Blunden, Lorne Stewart PLC, UK, in cooperation with Ian Major, Philips Lighting UK Consulting Engineer: John Cadman, John Cadman Associates. Electrical Installation: Lorne Stewart PLC, UK

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Projects

Claude Cicala

Recently added to the Tunisian landscape are several outstanding athletic sites, all built in preparation for the 14th edition of the Mediterranean Games in late summer 2001

Mediterranean Games port of call Tunis, Tunisia

A soccer stadium, two Olympic-sized swimming pools and three practice fields will continue to serve as training and competition sites after the games

For the 2001 Games, which attracted participants from 21 Mediterranean countries and two invited nations, a 60 000-seat main stadium was built in the Tunis suburb of Rades. This was part of a larger project that included the nearby indoor and outdoor swimming venues and practice fields mentioned above, as well as an Olympic village with accommodations for over 3 500 athletes. Stadium construction began in July1997 and finished in early 2001, and was a true engineering challenge because of the earthquake risk in the area. The stadium roof, which is covered with 30 000 square metres of semi-transparent synthetic cloth, is suspended by 20 cm-thick steel cables from eight 75-metrehigh pylons. The roof floats on its moorings, but

ilr 022 sports/projects

is attached to the stadium superstructure at a few strategically chosen points by hinge-like plates designed to control its movement in the wind. The colour scheme throughout uses varying hues of white, blue and yellow ochre, predominant colours of the North African culture and landscape. The village constructed for the athletes is now used for residential housing.

1 Stadium cross section with roof suspension pylon and cabling.

2 Aerial view of the 60 000seat main stadium 3 Blue and yellow ochre colour scheme of stands and infield. Athletics field and track lit by ArenaVision MVF 403 floodlights.

Photo Atrium

4 Ground-level plan view

The Lighting Olympic stadium For the main Olympic stadium, which includes a football field and athletics track, 234 ArenaVision MVF 403 CAT A3 and A4 floodlights were used (MHN-SA 2000 W). All luminaires (half of the hot re-strike variety) are mounted on a gantry hung from the roof supports. Mounting height is 34.8m, which puts them 8 metres below and 11 metres back from the edge of the elliptical roof opening, thus minimising spill light. Approximately 75 luminaires on each side lie on a 60-m-long line centred on the athletics field. The remaining number are distributed at the four corners to

light the ends of the infield and far sections of the running track curves. Average vertical illuminance is 1500 lux. Swimming venues The lighting of the two Olympic swimming pools also employed ArenaVision (70 indoors and 74 outdoors of MVF 401, medium and wide beam). Indoors the luminaires are mounted in pairs at approximately four-metre intervals on both sides of the pool at heights of 6.2 to 8.3m. The outdoor pool is directly adjacent the indoor facility, and the roof of the indoor facility extends outward to cover the spectator seating of the outdoor pool. Over half of the luminaires are mounted 10-m high on a track sandwiched

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5, 6 Main stadium. Floodlights are mounted 8 m below roof edge and give average vertical illuminance of 1500 lux.

8, 10 Practice fields. Average horizontal illuminance of 815 lux from 66 Aquila luminaires on six 18-m-high poles.

7, 9, 12 Outdoor pool. Luminaires are placed on 25m-high masts at corners of swimming complex and to track in roof above spectator seating.

11, 13 Indoor pool. Lighting design uses 70 MVF401 ArenaVision units equipped with MHN-LA 1000W/956 lamps.

between the two scalloped layers of the roof, while on the opposite side of the pool two 25-m high masts each hold 16 medium beam luminaires. Lamps used in these venues are MHN-LA 1000 W and average vertical illuminance of both is again 1500 lux toward the main camera.

on 18-m-high masts, 11 per mast. Each luminaire houses a single 2000 W metal halide lamp. ■

Practice fields One practice field includes a running track and an infield and is lit by 82 Aquila luminaires on six masts. The four outer masts hold 15 luminaires each, with 11 apiece on the centre columns. Mounting height is 20 metres. The other two fields have no running track and their lighting uses 66 of the same Aquila luminaires

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11 Claude Cicala

Commissioning agent: Ministere de l’Equipement et de l’Habitat, Ministere de la Jeunesse et de l’Enfance Partners: Ferrovial Agroman SA, Madrid, Hyundai Construction, Korea, Bouzgeunda Frères, Chaufroud, Tunisia and V.S.O., France Architects: - Main stadium: Rob Schuurman, ARCADIS, The Netherlands and R Bahri, Atrium Design, Tunisia - Swimming venues: Riadh Bahri, Atrium Design, Tunisia and Joaquin Simon Pujol, Spain Lighting Design: Claude Cicala and Antoine Hasbani, Philips Lighting France Project management, lighting: - Ezzeddine Boubekeri and Yakhlef Zied Philips Tunisienne d’Eclairage - JeanYves Duterne, commercial team, International Sales France

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Projects

Jefferson Air Photography

The City of Manchester’s new stadium and nearby Manchester Aquatics Centre, both built for this year’s Commonwealth Games, have been designed with athletes, spectators, television and sponsors in mind

Millers Photography

John Waite

Uncommon venues Millers Photography

Manchester, United Kingdom

After the Games the stadium will be converted for soccer and reopen as the home of Manchester City Football Club in 2003

2 Millers Photography

The 17th Commonwealth Games, the second largest sporting event in the world after the Olympics, were staged in Manchester, UK in July 2002. Eligible to participate were athletes from 72 nations and dependencies of the British Commonwealth, in a competition that is held every four years and began in 1930 in Ontario, Canada. The Stadium The centrepiece 38 000-seat City of Manchester athletics stadium hosted the opening and closing ceremonies and also provided a spectacular backdrop for the Games. The innovative design of the new stadium allows for its conversion to a 48 500-seat soccer stadium immediately following the Games.

Millers Photography

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The Lighting The lighting design for the City of Manchester Stadium had to satisfy clients, competitors, spectators and television by providing each with the best possible visual conditions. These objectives were complicated by the fact that the lighting solution had to reconcile the demands to illuminate two very different areas and sporting activities of 175 x 92m for the oval athletics track and then in 2003 and beyond for a much smaller area of 115 x 75m for the soccer pitch. And all of this within the same budget and with minimum disruption to the architectural roof between each phase of occupation. Both applications needed to satisfy exacting standards of illumination set by world athletic organisations, FIFA and television broadcasting companies, in particular the BBC, who partnered with the lighting design team. To meet these criteria, ArenaVision MVF403 floodlights were chosen for all of the field lighting, and equipped with MHD 2 kW metal halide lamps. The luminaries cover a range of

Millers Photography

6 1 Manchester's new 38 000seat athletics stadium. 2, 3 Spectator entrances/exits.

5, 6 The lighting was called to illuminate two very different areas: the oval athletics track and later, a much smaller area for the soccer pitch.

7, 8 Aiming directions of the 216 ArenaVision MVF403 floodlights, showing ‘no-go’ zones around the goals.

4 A view from under the south stand.

beam widths (Cat.A1-Cat.A7) and a total of 216 (of which 102 are hot re-strike) are mounted in the stadium roof, most at either 30 m or 40 m height. The average vertical illuminance in the direction of the main tv camera in the west stand is 1400 lux, while the horizontal illuminance on the field averages 2400 lux. The stadium roof design incorporates a specially designed ‘kick-up’ line, eliminating the need for masts, so that no floodlights are visible from outside the stadium. Considered by the architect to be the key to the stadium’s elegance, this designed kick-up also assists in the control of sky glow and light spill. The house lights and public address speakers attach to the kick up as well. Daylight analysis greatly influenced the design of the stadium roof, because the stadium’s orientation and roof profile play a significant role in allowing as much penetration of daylight to the playing surface and stands. At the same time great care was given to obstructing direct sunlight at low azimuth angles, which can be particularly frustrating for

events held late in the afternoon. In addition, parts of the stadium stands and roof can obstruct direct sunlight at other periods of the day and therefore hinder competitors’ and spectators’ viewing, and the varying levels of brightness can also impair television images. Standby power systems guarantee a minimum vertical illuminance of 800 lux for TV coverage in the event of normal supply failure, and aid the safe movement of spectators at all times, in particular when vacating the sports facility.

John Waite

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Millers Photography

9, 10, 17 The 19-m-high pool hall, complete with an eightlane 50 metre competition pool and 25 metre diving pool. 11-13 The luminaires for lighting the main pool hall are suspended from a central gantry at 17 metres above the water level and directly below the curved skylight sections. 14 A total of 64 floodlights (24 SVF617 Decoflood and 40 ArenaVision MVF401) are mounted on the main pool gantry, in two rows of 32 to give a fully symmetrical lighting pattern (1000 lux). 11

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Millers Photography Millers Photography

17 15 The 50 metre training pool is lit by lines of recessed fluorescent luminaires (2x58 W) and tilted uplighters (1x75 W) along each side (600 lux).

16 Cross-section of swimmingpool complex.

The Manchester Aquatics Centre The Commonwealth Games swimming and diving events were held in a state-of–the-art swimming pool complex comprising a 19-m-high pool hall, complete with an eight lane 50 metre competition pool and 25 metre diving pool. Also, at the request of the Amateur Swimming Federation of Great Britain, a high performance 50 metre training pool was built for use by the best UK young swimmers. The complex is located on the All Saints Campus, 2 km from the Stad

The Lighting Avoiding reflection is of paramount importance to the safe operation of the pool, ensuring good visibility to all areas of the pool floor by lifeguards and optimising spectator viewing. Main pool The event and general floodlight luminaires for lighting the main pool hall are suspended from a central gantry at 17 metres above the water level

and directly below the curved skylight sections. This is the most technically viable and cost effective solution. A total of 64 floodlights are mounted on the gantry, in two rows of 32. Luminaires used are 24 SVF617 Decoflood with 400 W SON-T lamps and 40 ArenaVision MVF401 wide-beam units using a 1000W metal halide. This design avoids unacceptable levels of specular reflection off the water. The horizontal illuminance in the 50 m pool averages over 1000 lux, and the highest values are at either end of the pool, which gives good illumination of swimmers as they turn and for starts and finishes. Training pool Lighting for the training pool poses two challenges: to combat the effects of a low sinuous wave form suspended ceiling and to provide a higher level of illumination than the normal International Swimming Federation (FINA) requirements because of the specialised underwater technique photography being used. Lines of recessed fluorescent luminaires

(2x58 W) set at right angles to the pool's length and uplighters along each side (1x75W) tilted at 45 degrees below the horizontal provide the desired horizontal illuminance of 600 lux. ■

Client: Sport England and Manchester City Council Architects: - City of Manchester Stadium: Arup Associates - Aquatics Centre: Faulknerbrowns Main contractor: Laing Construction Limited Consulting engineers: Arup Lighting Design: - The City of Manchester Stadium: Mike Gorman, Philips Lighting, Miribel, John Waite, Arup, and BBC - Manchester Aquatics Centre: Russell Ford, Philips Lighting, UK; Project management - Tim Higgs, Philips Lighting, UK

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Duccio Malagamba

Estadio Olimpico de Sevilla

Projects

Fernando Vila

This stadium has a distinctive architectural design that blends well with the urban environment

Stadium with a view Seville Olympic Stadium, Seville, Spain

Used for soccer and also athletic competitions, the lighting design accommodates both functions and their individual illumination needs

In 1999, Seville hosted the World Athletics Championships, and for that occasion the 60 000-seat Olympic Stadium was built on the northern part of the Cartuja peninsula. Nearby features include a theme park, a large city park (Alamillo) and a science and technology business park. Concrete lattice-works framed by red-tinted concrete panels give the stadium exterior an open appearance. On the south façade the lattice is aluminium rather than concrete, and glassenclosed. This opening provides a view for those inside and outside the stadium and the entering sunlight brightens the stands and field. At the stadium corners, the four triangular additions are used for hotels, as the base for the Municipal Sports Institute and sports federations and for leisure centres, among other things. Access roads and parking areas, with space for 15 000 cars, surround the stadium and facilitate movement of both vehicles and pedestrians.

1 The Seville Olympic Stadium is easily reached by high-speed train and the SE-30 ring road. 2 The aluminium and glass south façade. 3 Cross-section of the stadium.

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Floodlights attach to the canopy that rings the entire inner perimeter of the stadium and light the field on one of six switching modes, depending upon the type of competition or nonsporting event. These are ArenaVision (30 MVF 406), with 1800W metal-halide MHD lamps and hot re-strike for the colour TV emergency lighting, and PowerVision (246 MVF 024), housing 2000W metal-halide MHN TD lamps. Mounting height is 36m throughout. For some athletic events an additional 31 MVF 406 floodlights (1.8 kW MHD) supplement the general lighting to brighten critical areas, such as

the finish line for the track events. These are placed 40m back from the inside roof edge and hang from the roof superstructure at heights of 32.5 or 36m. Total installed power is 616 kW.

luminaires, 320 total, light the parking areas, and these are mounted on 10-m-high steel poles sporting a gold-coloured finish. ■

In the stadium proper the lighting of steps, galleries, changing rooms and other areas permits comfortable, safe transit of spectators, maintenance staff and the athletes who are taking part in competitions. Installed in these areas are Pacific luminaires of the closed type for ‘TL’D or ‘TL’5’ fluorescent lamps. The urban lighting in the car park and walkways leading to the stadium integrates attractively the columns and luminaires. TrafficVision

Architects: Antonio Cruz & Antonio Ortiz, Seville Engineering: AYESA – Mr José Luis Manzanares Japón, Seville Lighting Design: Philips Lighting Team, Spain Lighting Installation: MONCOBRA Author: Fernando Vila, LIDAC manager, lighting design, Philips Lighting, Spain

6 Duccio Malagamba

The Lighting

4 The main floodlights are attached to the edge of the canopy roof. 5 Plan view. 6 The concourse with daylight entry. Fernando Vila

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ANP

Concepts

Better Lighting for Basketball Aldo Vitale and Fernand Pereira

The FIBA Study Centre was founded in 1994 to help improve the sport for players and fans alike. Philips Lighting has contributed to the definition of the recommended lighting levels for the different levels of competition, for Basketball Facilities for High-Level Competitions and Small Basketball Facilities

Basketball has more than 350 million players worldwide. From the youngest players in the schoolyards of New York City and New Delhi-to the growing number of professional basketball players from countries in Asia, Africa and South America, the game is growing in popularity as a participation and spectator sport. The International Basketball Federation (FIBA) Study Centre was founded in 1994 to help improve the sport for amateur and professional players and millions of fans. It is instrumental in equipping and increasing the number of sports facilities throughout the world, and is encouraging the construction of basic facilities and the refurbishment of older ones. It also co-ordinates research initiatives and offers consulting services for materials, equipment design and construction. Its technical advisory body, together with a consortium of Partners, is working towards the standardisation of rules and specifications for basketball-related equipment as well as towards the uniformity of basketball halls for the safety of players and public. The FIBA Research and Study Centre has also initiated a programme, in cooperation with other international Sports Federations, National Olympic Committees, clubs and sports associations, aimed at improving the safety and technical standards of indoor sports facilities. The Centre collaborates with entities such as the European Committee for Standardisation (CEN), the International Organisation for Standardisation (ISO) and the German Institute for Normalisation (DIN) for the normalisation of equipment and structures, and with research institutes such as the Instituto de Biomecanica de Valencia (IBV) and the Technical Inspection Bureau (TUV). The main aim of the Study Centre is to supply the world with the best sports facilities and, in this way, to contribute to a higher quality game. The Guides Part of the FIBA Study Centre knowledge has been collected within two ‘Guides’, the ‘Guide to Basketball Facilities for High-Level Competitions’

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and the ‘Guide to Small Basketball Facilities’. Both outline solutions to many problems associated with the building and management of sports facilities. The FBP News The FBP News provides information on the latest events, on the developments in the world of basketball halls and arenas, on the progress made in marketing and on technical innovations, as well as on research in the field of biomechanics. Lighting Philips Lighting has contributed to the definition of the recommended levels for the different levels of competition. For all FIBA competitions levels 1 and 2, the lighting over the playing court shall be no less than 1500 lux. This level shall be measured 1500 mm above the playing court. For all FIBA competitions level 1, there shall also be a strobe light system for the photographers. Individual flash photography is not permitted. In addition, all lighting installations shall provide antiglare light, be free of shadows, and be in compliance with the national safety requirements for electrical equipment in the respective country. Where televised competition is concerned, the lighting shall meet the television requirements set out in the accompanying table. The table defines the lighting performances to be present during televised events organised by FIBA. A pre-tournament inspection will be arranged as part of bid preparations and will include the recording of lighting performance. ■

For more information see: www.fiba.com. or email: info.sportslighting@Philips.com

Lighting for televised events Competitions

Illuminance – E (lux) Description

Level 1

Uniformity

Lamps / colour

Eave. UG % / 2m

U1 Emin. / Emax.

U2 Emin. / Eave.

Colour3 Temperature Tk

Colour Rendering CRI / Ra

3000 - 6000

≥90

3000 - 6000

≥90

3000 - 6000

≥80

As comp. court

Slo-mo1 Ecam.FOV

1800

0.5

0.7

SDTV2 Ecam.FOV

1400

0.5

0.7

HORIZONTAL

1500 - 3000

0.6

0.7

SDTV2 Ecam.FOV

1400

0.5

0.7

HORIZONTAL

1500 - 2500

0.6

0.7

Level 34

Ecam.FOV

1000

0.5

0.6

All other national games & tournaments

HORIZONTAL

1000 -2000

0.6

0.7

Practice courts

Horizontal

1000

N/A

0.6

0.7

Level 2

Notes : 1 Slo-mo refers to triple-frame rate slow-motion cameras. 2 SDTV refers to Standard Definition Television cameras. 3 Photographers using reversal film (5500 K ) will prefer light sources having a colour temperature between 5500 K and 6000 K. 4 In the event of a power failure, the lighting system should provide 'Level 3' conditions. 5 Care must be taken to reduce reflected glare from the court surface.

Glossary • Ecam. • FOV • Eave. • UG • Grid

The light in the direction of a specific camera location. The intended field of view of a camera Ecam. The average illuminance either horizontal or toward a camera Ecam. Uniformity Gradient: the percentage difference of illuminance between adjacent grid points. The basic layout of measuring and calculation points for FIBA basketball events.

Authors: Aldo Vitale is Chairman of FIBA Basketball Promotion GmbH and Director of the Study Centre, Vernier/Geneva Switzerland . Fernand Pereira is manager sports lighting Philips Lighting, Miribel, France

Fernand Pereira

ANP

Aldo Vitale

1 Lighting installations shall provide good horizontal light and be antiglare and free of shadows. 2

2 Good vertical light is highly important for TV cameras and players in action.

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Prof Bernhard Winking Architecten BDA

Projects René van Ratingen

Finished in 2001, this versatile hall is suitable for university functions and sporting events

Multi-purpose control Campushalle, Flensburg, Germany

Lighting controls and diaphragm shutters expand the applications of the ArenaVision floodlight

The new multifunctional hall at the University of Applied Science in Flensburg, on the border of Denmark, is also the home ground for Flensburg’s premier league handball team. It offers seating for up to 4 000 spectators and standing room for an additional 2 000. To use the court area for training by different groups, a sliding curtain divides the floor down the centre. For events other than handball, the area can be increased by pushing back 14 rows of the 16 rows of retractable seating to create a 46 x 68 m floor. The exterior combines brick, steel, glass and concrete to give the building three distinct levels. Brick of dark red to black in colour was used for the building’s foundation; clear glass and dark grey I-beams dominate the centre, main-entry level. On the top 9 metres of the hall is a 70 cm deep space created by mounting sheets of translucent glass over the vertical beams. These steel beams break up this level into sections that are each lit by two spotlights mounted to the Ibeam on either side. At night the cool white light from the lamps used creates a striking x-pattern around the entire exterior.

1, 15 The exterior combines brick, steel, glass and concrete to give the building three distinct levels. 2 The Campushalle offers seating for up to 4000 spectators and standing room for an additional 2000. The area can be increased by pushing back rows of retractable seating (see figs 8 and 9) to create a 46 x 68 m floor. 2

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The lighting The type of floodlight used is the ArenaVision MVF403 (56 total, Category A6 and A7), housing 1kW metal halide lamps (Ra>80, 4200 K), and they have been installed on the roof supports at a height of 14.4 m. The two switching settings for event lighting of the overall area, which measures more than 3000 square metres, give horizontal illuminances of 200 and 400 lux and use 24 and 32 floodlights, respectively. For the handball court, an area of about 800 square metres, up to 36 floodlights are used, and for televised matches they provide an illuminance toward the main camera of 700 lux, with a horizontal value of approximately 1100 lux.

A new feature is that the 36 floodlights used for the handball lighting are fitted with blackout diaphragms (VCS403), which are meant only for the MVF403. Operating on the roller blind shutter principle, the diaphragms consist of a basic frame with two winding spindles for the special film. They are regulated with the DMX control commonly used in theatres. Using these shutters allows the lighting for a handball event to be ‘switched off’ completely in the space of 2 seconds and switched back on again just as quickly. This feature could be used for player introductions, as an example. The shutters can also be closed slowly or only partially, to create a range of lighting scenarios for other events as well as handball. When the diaphragm dims the luminaire output

3, 4 Computer plot showing aiming pattern of the floodlights, which are mounted on the roof supports at a height of 14.4 m.

5, 6 The floodlight used is the ArenaVision MVF403 (56 in total), housing 1 kW metal halide lamps (Ra>80, 4200 K). Thirty-six of these are fitted with blackout diaphragms, which allow the lighting to be ‘switched off’ completely in the space of 2 seconds and switched back on again just as quickly. 6 ilr 022 sports/projects

7 The shutters can also be closed slowly or only partially, to create a range of lighting scenarios for events other than handball. 8, 9 The retractable seating. 10 Plan and cross section of the hall. 7

by approximately 40% or more, a cross-current ventilator switches on to ensure adequate cooling of the floodlight and diaphragm material. And the fan has a speed monitoring feature – if the fan stops for any reason, the diaphragm opens automatically. Shutter mounting angle can be from horizontal to vertical, but a sideways tilt greater than 20 degrees should be avoided. ■

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Prof Bernhard Winking Architecten BDA

11 14 11-13 Isolux plots showing lighting levels for training, competition, and televised competition, respectively.

14-15 Clear glass and dark grey I-beams dominate the centre, main-entry level.

12 15

Prof Bernhard Winking Architecten BDA

Architect: Prof Bernhard Winking Architecten BDA, Hamburg Lighting design – exterior : Prof Bernhard Winking Architecten BDA, Lighting design – interior : René van Ratingen, Philips AEG Licht, Germany Acquisition: Frank Caspari Blackout diaphragms: Arnold Lichttechnik, Kohren (Leipzig) Electrical installation: Elektro Giebelstein Construction company: GOLDBECK Bau GmbH, Bielefeld 13 ilr 022 sports/projects

Projects

René van Ratingen

This indoor sports facility in the former GDR has been completely renovated

1 The Oderlandhalle is a topclass velodrome, with infield facilities for handball and volleyball. 1

2 Computer plot showing floodlight aiming.

Velodrome update Oderlandhalle, Germany

A new lighting installation up to CTV standards was an important part of the project 2

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3, 4 The track and infield are lighted by 155 MVF401 ArenaVision floodlights, each fitted with a single MHD-TD 1000 W metal halide lamp. 5-7 Isolux plots for track (curve), track (straight), and infield, respectively.

The Oderlandhalle in Frankfurt an der Oder, on the border with Poland, was originally a multipurpose sports hall when it first opened in 1988. In those days of the GDR it saw the emergence into the world spotlight of many sporting stars in athletics, boxing and cycling. Today, after a much-needed period of renovation, the hall has become a top-class velodrome, with infield facilities for handball and volleyball.

The Lighting An important part of the renovation work involved the lighting, which had to be suitable for television coverage of cycling events. The playing area in the middle has also been relighted, but not up to CTV standards. The requirement of the customer was that only one type of lamp be used throughout, and that the original 9.5 m and 10.5-m-high floodlight mounting positions in the roof above the upper and lower edges of the track be employed in the new installation. The solution was to install a total of 155 of the

new MVF401 ArenaVision floodlights, which offer a choice of two lamp types and two different optical systems. The lamp chosen here is the MHN-LA 1000W/956 metal halide (90 000 lm, 5600 K, Ra 90). This represents an installed load, including ballasts, of 162 kW. Both wide-beam (138) and medium-beam (17) versions of this luminaire are employed. The new installation provides the handball and volleyball fields in the centre of the arena with 500 lux for training and competition (but not for CTV). For the banked 285,714-m-long cycle track (3,5 laps = 1km) there is a choice of three levels of illumination. ■

Levels of illumination Training No. of floodlights/load Competition No. of floodlights/load Competition CTV towards main tv camera No. of floodlights/load

300 lux 37/(38.5 kW) 700 lux 85/(88.8 kW) 800 lux 118/(123.3 kW)

Consultancy: AEP Ingenieurbüro, Frankfurt/Oder Engineering: AEP Ingenieurgesellschaft mbH, Frankfurt/Oder Lighting design: René van Ratingen, Philips AEG Licht, Germany Lighting installation: Elektroanlagenbau Staar, Eisenhüttenstadt 6

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‘At the introduction of this first issue of ILR, the INTERNATIONAL LIGHTING REVIEW, it is useful to explain the purpose and contents of this periodical.

Briefly it may be said that its object is to stimulate the most extensive and most efficient use of artificial light for everybody’s benefit, and in order to fulfill this purpose the subject will have to cover various fields. ILR will therefore deal with every aspect of light and lighting. Articles will be published about 97

spo rts

ola c/p laz as& squ are s

car pa rks

industrial and residential and office lighting or any other part of the lighting field.

fib re op tic s

ILR will give detailed information about lighting sources and equipment, their properties and applications; it will give illustrated descriptions of interesting projects that have been carried out. It will also contain practical hints and recommendations.

off ice s/s po rts

cit y/p eo ple /lig ht

sho ps an ds tor es

lan dm Those who are engaged in, or in any way connected with the field of lighting, will also find some more a rks

simple theoretical articles, clearly explained and written in such a form as to be quite comprehensible, even for readers with only little technical training.

Special attention will be paid to architectural and decorative aspects of lighting, so that in this respect this periodical should also APPEAL to architects. Space will also be reserved for advertising signs, road 0

01 93 03 2 lighting, and other applications which will undoubtedly be welcomed 0by cit ind sho advertising experts, managers roa y u d p str y

be au tifi ca

tio n of public utility services and local government bodies.

That this magazine is being published just NOW is no mere chance, for although in many cases the incandescent lamp will continue to be the only proper light source, in countless ways the fluorescent lamp is about to constitute a veritable REVOLUTION in lighting technique. ILR will keep its readers fully informed of the progress in development. With the co-operation and support of many lighting experts 01 International Lighting01Review will be placed on02an international basis, so that 02 all over the world, the 1 2 1 2 o i r s ffic es

llum ina tio ns

eta il

po rts

readers will be given an idea of what is being achieved in other countries concerning lighting. May this magazine serve to promote the rational application of efficient lighting everywhere, for the benefit of mankind.’ Background text from the introduction in the International Lighting Review’s first issue in 1949