ILR 2004

International Lighting Review

2004

Yearbook

International Lighting Review

3222 635 50641

Internationale Licht Rundschau

3222 635 50651

Revue Internationale de l’Eclairage

3222 635 50661

Revista Internacional de Luminotecnia 3222 635 50671

55th year / Issue 2004

Founded in 1949, the International Lighting Review is devoted to all aspects of lighting. Published as a yearbook since 2003, it reports extensively on developments and trends in lighting, on actual problems encountered in lighting design and technology, and on outstanding projects from all over the world. Published by Philips Lighting, Luminaires Group Produced by LiDAC Europe, Lighting Design and Application Centre Contacts: Philips Lighting LiDAC Europe Mathildelaan 1, Building EDW6, 5611 BD Eindhoven, The Netherlands Rue des Brotteaux, 01708 Miribel Cedex, France Email: dorien.v.d.weele@philips.com

Editorial team Publishing Director: Dorien van der Weele Managing Editor: Laurent Guillonneau Art Director: Vincent Laganier Editor Indoor: Jolanda Tielens-Aarts Editor Outdoor: Vincent Laganier Copywriter: Kenneth Gilbert Assitant Editors: Christelle Lefebure, Matthew Cobham, Ton Akkermans, Jasmine van der Pol Artwork: Vincent Laganier Layout: Marie-Louise Mannaerts Translation: Philips Translation Services Pre-publishing: NerocMediaWare, Eindhoven Production Management: 2-fi, Villeurbanne Printing: Brailly, Saint-Genis Laval Special thanks: Wout van Bommel, Marian Kaper, Laurence Vitale, Alan Morestain, Susana Gallardo Fuentes, Fernando Vila Arroyo, Heike Höding, Heinrich Hagemann, Lin Pöpping, Markus Reisinger, Christine Venin, Gilles Page.

Copyright Normally, articles published in the International Lighting Review may be reprinted, either completely or in part, with prior written authorisation from the publisher. However, in those cases where the pictures or the artwork concerned are not the property of the ILR, it is not within our power to grant permission to reproduce these. The views expressed in this publication by third parties are not necessarily those of the publisher. The editors reserve the right to edit and abridge articles for publication.

Front cover: Athens Olympic Stadium, Olympic Sports Complex (OAKA), Greece Architect: Santiago Calatrava, Santiago Calatrava Sa, Zurich, Switzerland Lighting design: Mike Gorman, LiDAC Europe, Miribel, France Photographer: Getty Images Inside front cover: Kindergarten, Udenheim, Germany Architect: Marcus Hille, c/o Büro Hille Architekte BDA Photographer: Heike Rost Inside back cover: National and university library, Dresden, Germany Architect: Ortner+Ortner Lighting design:Zibel, Willner & Partner Photographer: Frank Rümmele

International Lighting Review

Retrospective

Sports

Urban planning

Architecture

Retail

Industry

Concepts

Innovations

Fascinating Light, Dorien van der Weele

Basics of Light Theatre, Ton Akkermans

Olympic Games overview, Gilles Page, Matthew Cobham

Athens Olympic Stadium, Athens, Greece

Olympic Velodrome, Athens, Greece

Guangzhou Olympic Stadium, Guangzhou, China

Yunus Goleti sports complex, Ankara, Turkey

Zonnebloem Park, Nieuwpoort-Bad, Belgium

Manzanares Park, south of Madrid, Spain

Market square of Swidnica, Swidnica, Poland

Aristide Briand Square, Valence, France

Saint Michael’s Quarter, Ghent, Belgium

The old city of Magdeburg, Magdeburg, Germany

Rion Antirion Bridge, Gulf of Corinth, Greece

Hannikaisen Street, Jyväskylvä, Finland

Baluarte Palace of Congress, Pamplona, Spain

The Acropolis, Athens, Greece

Trianon Tower conference floor, Frankfurt am Main, Germany

J P Morgan campus, Mumbai, India

Living Tomorrow, Amsterdam, The Netherlands

Parque Miramar, Fuengirola, Spain

Olympia Plzen shopping centre, Plzen, Czech Republic

Roches Stores, Dublin, Ireland

Sky Shops, Brussels airport, Zaventem, Belgium

Yeliseyevsky food store, Moscow, Russia

Unilever food plant, Oss, The Netherlands

Ford distribution centre, Daventry, United Kingdom

Waigaoqiao container port, Shanghai, China

PSA vehicle design showroom, Vélizy, France

Renault Trucks factory façade, Bourg-en-Bresse, France

LED wall of light, Vincent Laganier

Dynamic lighting, Jolanda Tielens-Aarts

Indoor, Mini 300 Stealth, Strato, Fugato, Fiorenza

Outdoor, LEDline , Equinox, Multipole, OptiFlood

Books and reviews, CIE documents from the year

Publications

2004

Retrospective

Fascinating Light Many fascinating things were happening in the world of lighting in 2004. The second LUCI City-People-Light competition revealed many outstanding examples of light in the urban environment, often created with the help of an independent lighting designer, as in the case of the winning city, Ghent. The lighting design profession is on its way to gaining a position on a par with the architectural and design communities. This is fostering a new élan and new ways of working in the lighting world, as well as spawning a growing number of cross-border projects, both inside Europe and outside, especially in Asia. Asia was well represented in the entries for the 19th Philips Lighting Contest – a tradition going back some 60 years – and was able to boast many winning projects. Another fascinating development that is turning the lighting world around is the rise of electronic light, or ‘solid-state lighting’. And, like children in a toy store, lighting professionals cannot wait to explore this new medium. Many examples were to be seen at the Light & Building Fair in Frankfurt. LEDs are still used mainly to provide luminance, although illumination is perhaps even more challenging and interesting. Especially exciting in Frankfurt was the Luminale event around the fair, in the city, where lighting designers and artists created a living light experience. On a smaller scale we are doing the same in introducing light to architects in workshops, where the emphasis is 2

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very much on ‘doing’ rather than ’talking’, and in the new Basics show in our Lighting Application Centre in Eindhoven. LEDs have become a byword for dynamics. But dynamic lighting is also to be found in many other lighting projects, such as those carried out with our new partner Martin Lighting. Dynamic lighting opens up a host of new opportunities for us as lighting professionals. But it is also a tool with which we can create, for example, a comfortable

working environment for people in offices or industry. Here, much more subtle effects – personal preferences, biorhythms, and so on – come into play. This is an area that merits further exploration and study. Athens, summer 2004. Where people from around the world came together to compete in sports arenas and celebrate the Olympic ideal. We at Philips Lighting and in our LiDAC group are proud to have been a link in the chain. Our light enabled the athletes to perform, the spectators to see, the

visitors to admire the monuments and landmarks, and the workers to return home safely after a day’s work on the Olympic sites. And, ultimately, that is what our job is all about. For that reason we have decided to dedicate part of this book to Athens. Happy reading!

Dorien van der Weele Manager, Lighting Design and Application Centre Europe

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Basics of Light Theatre

October 2004 saw the opening of the educational Basics of Light show in the Lighting Application Center’s 36-seat theatre in Eindhoven, The Netherlands. Appropriately, the dedicated state-of-the-art lighting installation is itself a stunning illustration of the positive impact of light and lighting. The Basics of Light show is intended to inform visitors about a number of fundamental principles and properties of light and lighting, so they are better placed to understand the application 4

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demonstrations that follow. In addition, the show is intended to give guests a convincing impression of Philips Lighting as a world-class supplier of professional indoor lighting solutions right at the start of their visit. Drawing upon situations from everyday life, the 30-minute show, an immersive multimedia light experience, addresses aspects such as the nature and behaviour of light, light sources, vision and perception, light qualities and light’s impact on health and well-being.

Almost all the luminaires can be controlled separately in terms of colour, colour temperature and lighting level, allowing the creation of an endless variety of scenes and ambiences. And thanks to the use of leading-edge technology such as LEDs, the room can be altered completely in an instant, merely by changing the light.

Architect: ir. Erik van Kuijk, DST Experience, Baarn, The Netherlands AV production: Wim Verbeek, Verbeek & van der Loo TV Productions B.V. Interior realisation: Jos Reijs, Van den Oever Design and technology: Louis van Krieken, Van Krieken VOF, Beek en Donk Programming final light show: Christiaan Ros, LD Design Electrical installer: Louis Vermeulen, Mansveld Luminaires: Cyclo, Alien, MiniMAC Maestro, Martin Architectural LED modules, Fugato, Zadora, Soprano, fibre-optic generators, Philips Lamps: Luxeon TM red, green, blue, amber, Lumileds Halogen, fluorescent, FOCUS metal-halide, Philips Photographer: Rens van Mierlo, Korff-van Mierlo Photographers

Ton Akkermans LiDAC Europe Basics Theatre lighting design and programming

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Olympic Games overview

Philips has an outstanding track record in the lighting of Olympic stadiums, stretching back to the 1952 Winter Olympics in Oslo. This wealth of experience was what was needed for the ambitious architectural designs that became a focal point of the highly successful XXVIII Olympiad held in Athens between 13 and 29 August 2004. In total, the facilities for the Olympic Games comprised 38 sites hosting 28 different sports. The main OAKA site included projects for the main 6

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stadium and the velodrome by the renowned Spanish architect Santiago Calatrava. The Philips team included Kostas Pezoulas and Dimitris Xintadekas in Athens, and Mike Gorman, Gilles Page and Fernand Pereira in Miribel, France. The team performed lighting studies and carried out the co-ordination and commissioning of 85% of all the Olympics sports lighting. Of the 33 Olympic sites requiring permanent lighting, 28 were

equipped by Philips. In all, more than 4000 Philips ArenaVision luminaires with Philips lamps were supplied to meet this demand. This combination provided a key element in what is generally acknowledged to have been one of the most successful Olympics ever.

Gilles Page, Matthew Cobham LiDAC Europe Sports lighting design

With its global presence, and following its success in Athens, Philips is already working towards the next Olympics, to be held in Beijing, China in 2008. Photographer: Getty images

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Sports

Athens Olympic Stadium Athens Olympic Sports Complex (OAKA), Greece

The graceful form of the main Olympic Stadium designed by the well-known Spanish architect Santiago Calatrava incorporates spectator seating for 72,000 and has a surface area of almost 130,000 square metres. The lighting had to provide optimum viewing conditions.

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The stadium’s impressive architecture demanded careful integration of the sports lighting. A minimum level of vertical illuminance for all parts of the track and field was set by the AOB (Athens Olympic Broadcasting) at 1400 lux, with high colour rendering and low levels of glare. This was to ensure the highest quality of pictures could be produced for the 3.9 billion people around the globe (effectively at least 50% of the world’s population) who watched the Games via television and the internet. Inevitably this meant the best technical solutions had to be employed, whilst respecting the architectural design. For this reason the Philips ArenaVision was chosen as the most suitable luminaire

1 Plan of the stadium with aiming of the lighting 2 Camera position at the bottom of the second tier of seats 3 Luminaires following the line of the roof structure

for the task in hand. High photometric performance combined with the Philips lamp gives colour quality with decreased light spill, creating a thrilling stadium atmosphere and television experience. Balancing the need for a glare-free sports area for athletes, spectators, judges and cameras with architectural design and the high light levels required for television coverage was a key challenge. Lighting studies started in 2001 and continued up to the start of the Games in 2004. For the track and field events 527 Philips ArenaVision MVF403 luminaires were installed by the Greek contractor Aktor Sa in combination

with Philips MHN-SA 2kW lamps. In the stands 52 ArenaVision MVF401 luminaires with MHN-LA 1kw lamps were installed. The studies included assumed positions for 30 television cameras situated all around the stadium. The majority of the ArenaVision luminaires were situated on the catwalks following the line of the stadium roof structure at a height of between 40 and 50 metres. These provided the principal vertical illuminance essential for television coverage. Additionally ArenaVision luminaires were situated at the back of the stadium at a height of between 32 and 39 metres to ensure the vertical 2

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illuminance level of the stadium at the edges. To augment this, clusters of ArenaVision were also situated in the four corners to provide the necessary light for cameras covering the track bends. The average horizontal illuminance on the track and field is 3000 lux, and the average vertical illuminance towards the cameras is around 2000 lux. The final result – well adapted to the size of the stadium – is truly impressive, creating a very pleasant environment for athletes and spectators and providing the best possible lighting conditions for TV cameras. ■

Contracting authority: General Secretary of Athletics, Greek Ministry of Culture Architect: Santiago Calatrava, Santiago Calatrava Sa, Zurich, Switzerland Lighting design: Mike Gorman, LiDAC Europe, Miribel, France Electrical installer: Aktor Sa Philips support: Kostas Pezoulas, Dimitris Xintadekas, Philips Greece, Gilles Page, LiDAC Europe Luminaires: MVF 403 (Cat A1 to A6), MVF 401 WB and MB, Philips Lamps: MHN-SA 2000W and MHN-LA 1000W, Philips Photographer: Getty Images Text: Gilles Page, Matthew Cobham Web: www.athens2004.com

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Olympic Velodrome Athens Olympic Sports Complex (OAKA), Greece

Many of the challenges presented by the main stadium were repeated in the Velodrome. There was a need to satisfy television, athletes, judges and spectators, while at the same time respecting the architectural design by Santiago Calatrava.

1 Calatrava transversal cross-section of the velodrome with aiming of the lighting 2 Lateral view during a competition on the track 3 Aerial view of the Calatrava architecture

The renovation of the existing Velodrome provided seating for 5,250 spectators with a 250 m track and banking up to 42º. A roof structure was also designed by Calatrava. In terms of the lighting specification, 1400 lux minimum vertical illuminance was required by the AOB for the track, with 1000 lux minimum vertical illuminance in the central area. Being an indoor venue with relatively low luminaire mounting possibilities, ArenaVision luminaires with 1kW lamps were used. 303 ArenaVision MVF 403 and 17 ArenaVision MVF 401 luminaires equipped with Philips MHN LA 1kW lamps were installed for the track, including 160 with ‘Hot Restrike’. This enables lamps to restart quickly in the event of a power loss. The initial concept was based on four rows of luminaires distributed along the main axis

of the Velodrome. Following this, detailed discussions with the contractor resulted in the lighting being situated on cable trays under the beams at heights of between 15 and 18 metres for the outer rows and between 21 and 27 metres for the other two rows. To ensure glare levels were minimised for cyclists and television cameras, aiming angles were kept below 60º. Considered one of the fastest tracks in the world, as was demonstrated during the Games with several Olympic records being broken, it is certainly one of the best-lit ever. The average vertical illuminance on the track is 1600 to 2000 lux towards the respective cameras, while the average horizontal illuminance is between 3000 and 3500 lux. ■

Contracting authority: General Secretary of Athletics, Greek Ministry of Culture Architect: Santiago Calatrava, Santiago Calatrava Sa, Zurich, Switzerland Lighting design: Gilles Page, LiDAC Europe, Miribel, France Electrical installer: Aktor Sa Philips support: Kostas Pezoulas, Dimitris Xintadekas, Philips Greece. Mike Gorman, LiDAC Europe Luminaires: MVF 403 Cat A2 to A7, MVF 401 WB, Philips Lamps: MHN-LA 1000W, Philips Photographer: Getty Images Text: Gilles Page, Matthew Cobham Web: www.athens2004.com

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Guangzhou Olympic Stadium Guangzhou, China

An architectural landmark in a region already characterised by a multitude of new structures, the stadium’s 'floating ribbons' steel roof is a sight to behold. The lighting solution is crucial in ensuring that all 80,000 spectators – as well as TV viewers worldwide – have a clear view of the action. With its proximity to the South China Sea, Hong Kong and Macao, Guangzhou is China’s ‘southern gateway’ to the world. It is also a national sporting hub, and its exceptional Olympic Stadium hosted the 9th Chinese National Games in 2001. The roof of the stadium, weighing 11,000 tons, looks like two giant steel ribbons floating gracefully in the wind. As the stadium is the largest in the country and one of the most modern, the lighting solution also had to be something special. Illuminance, uniformity and glare ratings had to be sufficient for HDTV broadcasts, for instance, with different levels required

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for other situations. The floodlighting consists of 396 ArenaVision luminaires, each housing a single MHN-SA 1800 W metal-halide lamp (5600 K - Ra 90). The luminaires are arranged in three rows running parallel to the sides of the pitch. To optimise the visual conditions for goalkeepers and other players in the penalty areas, there is no lighting within 15° of each goal line. The luminaires have 11 different modes, providing suitable illumination for everything from cleaning the pitch and training to emergency CTV broadcasts. A key challenge in designing the lighting system was light obstruction, due to the narrow

1 Night-time view from the esplanade 2 A cross-section of NEB Design’s architecture for the arena 3 Two giant steel ribbons floating gracefully in the wind 2

mounting slots and purlins in the roof. Calculations showed that light loss could be as high as 50%. However, a solution was devised whereby, if one floodlight’s light output was obstructed, it was possible to switch over to another floodlight. Thanks in part to the success of the Guangzhou stadium project, Philips has been chosen to supply the lighting for Qinghuangdao Stadium, the first new stadium built for the 2008 Beijing Olympics. ■

3 Contracting authority: Guangdong Olympic Sports Centre Architect: NEB Design Group Inc. Lighting design: Hudson Lee, Yao Mengming, LiDAC China Philips support: Tony Zhou, Philips China Luminaires: ArenaVision MVF 406 Cat. A3, Philips Lamps: MHN-SA 1800 W /956, Philips Photographs: Philips China Text: Hudson Lee, Tony Zhou

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Yunus Goleti sports complex Sincan, Ankara, Turkey

This complex was built in a new part of the Turkish capital of Ankara in 2003. Lighting was required for areas ranging from outdoor parks, gardens and sports fields to indoor sports halls, cafes and a library. The lighting solution had to be characterised by low energy consumption.

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2 1 Competition swimming pool with curving roof 2 Gelisim Architect Office’s plan of the complex 3 Football pitch

Contracting authority: Ankara Municipality Architect: Oner Tokcan, Gelisim Architect Office, Ankara, Turkey Lighting design: Sevim Kosem, LiDAC Turkey Electrical installer: Cebedag Engineering Philips support: Engin Kayaoglu, Philips Turkey Luminaires: DCP 300/150, MBN 210/070, MPK 630/150, FBH 147/226, Philips Lamps: CDM-TD 150W, CDM-T 70W, PL-C 26W, Philips Photographer: Kaan Verdioglu Text: Sevim Kosem, Engin Kayaoglu

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In total, 478 luminaires and 790 lamps were installed. The mounting height for the luminaires in the main halls and swimming pool ranged from 3.5 to 15 metres. CDM-T and CDM-TD lamps with high colour rendering were used, with illuminance levels varying from 300 lux for the lowest lamps to 500 lux for the highest, to even out the light distribution at floor level. These lamps were mounted in high-efficiency DCP 300 luminaires, whose 3-D shaping of light ensures a perfect balance between horizontal and vertical illuminance as well as minimal glare, providing maximum enjoyment for players and spectators alike, while the patented reflector coating enables significantly higher light output. The high-performance combination of lamp and luminaire reduces the total energy consumption of the site. Recessed lighting was used in areas with suspended ceilings. With its highly effective lighting helping to create a climate of active participation and involvement, Yunus Goleti is an extremely welcome development, because it is located in a new part of the city where no facilities of this type existed previously. ■

Yunus Goleti offers both indoor and outdoor facilities for leisure activities and sports such as football, basketball, table tennis and swimming. This vast complex has a total area in excess of 1,000,000 m2. One of the main lighting challenges was the curving roof of the giant indoor sports arena, which meant that lights were mounted at different heights above the floor, making it more difficult to achieve uniform light distribution with ceiling-mounted floodlighting. Other areas, such as the billiard room and table tennis room, have suspended ceilings, so floodlight illumination was not an option there.

Urban planning

Zonnebloem Park Along Albert I-laan, Nieuwpoort-Bad, Belgium

Zonnebloem Park in the seaside resort of Nieuwpoort-Bad is probably the most original park to be found along the entire Belgian coast. Especially in the evenings, when the LEDline lights are on, this square becomes a unique meeting place. It is hard to imagine now that this was once a dreary, drab and windswept space where nobody was inclined to linger. 18

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Zonnebloem Park, the product of cooperation between the town council and transport company De Lijn, is ample witness to the fact that truly remarkable results can be achieved even with a relatively limited space. The site used to serve as an alternative route for the tram that once ran along the Albert 1-laan. Leuven-based design agency Pauwels pulled out all the stops to transform this grey space into an attractive, multi-functional green zone. One of the greatest challenges lay in the severe westerly wind that so often goes with a coastal climate. The solution proved to be the laying out of ‘sub-gardens’, with a total of nine brightly coloured, four metre-high windbreaks placed

along the intersecting paths, comprising metal frames with open trelliswork. In the daytime these windbreaks provide comfortable protection, but after sundown in the evenings the park undergoes a veritable transformation. The windbreaks gradually change into blue curtains of light. What during the day is a warm, natural park becomes instead an artificial world of mystery. The blue grazing light gives the trelliswork, the intersecting paths and the plants a surreal ‘metallic’ look. Reflector points placed down the centre of the winding path enable nocturnal walkers to navigate their way safely through the park.

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In consultation with Philips Lighting account manager Pascal Beirens, it was decided to apply a completely new way of illuminating and embellishing striking constructions of this nature: LEDline. Zonnebloem Park is proof positive of how the combination of creativity and leading-edge technology can work magic, transforming the ambience of an entire space for the benefit of all who come there. ■

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1 The windbreaks gradually change into a wall of light. 2 Ontwerpbureau Pauwels’ plan of the park 3 The blue light gives the trelliswork a surreal ‘metallic’ look. 4 Metal frame detail with LEDline blue insert

Contracting authority: Nieuwpoort town council and transport company De Lijn Architect/Landscape architect/ Lighting design: Michel Pauwels, Ontwerpbureau Pauwels, Leuven, Belgium (in cooperation with Christian Vermander, Buro voor Vrije Ruimte, Gent, Belgium) Construction supervisor: NV Penninck Project leader, lighting/Light engineering: Davy De Jaegere, NV Verstraete Philips support: Pascal Beirens, Philips Benelux Luminaires: LEDline blue 1200 mm, Philips Lamps: LuxeonTM LED blue, Lumileds Photographer: Christian Verreydt, Visual news; Christophe Thomas Text: Michel Pauwels Web: www.pauwelsontwerp.be

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Manzanares Park

On the River Manzanares, south of Madrid, Spain

As one of Madrid’s ‘green lungs’, Manzanares Park allows people to leave the bustle and stress of the city behind. There are facilities for sport, recreation, and plenty of opportunity to relax in attractively landscaped surroundings. Lighting is one of the integral elements of the park, making it an eye-catching and safer proposition after dark.

Manzanares Park, situated south of Madrid, is an imaginative combination of water, landscape features and pathways, plus cultural and sports facilities. The city’s inhabitants can relax, rediscover nature, enjoy music and theatre performances, or take part in activities ranging from cycling and jogging to rowing.

gone down. A path around part of the park's perimeter and another pedestrian walkway that leads to a large wooden amphitheatre are lit by CDM-TT 70 W lamps in Milewide luminaires mounted on 5 metre-high posts. On other pedestrian walkways, 3.5 metre posts are topped with SP-801 luminaires (designed by Ricardo Boffil) with CDM-ET 70 W lamps.

There is one additional element that contributes to the appeal of the park – light. A number of lighting systems have been installed, some predominantly functional, others more aesthetic, but all combining to accentuate the surroundings and make the park attractive and welcoming long after the sun has

A fibre-optic end-light system is used to highlight the steps leading to the top of the amphitheatre and the vantage point. A Focus PCV 745 generator containing a 100 W lamp is connected via acrylic fibre cables to VFG510 CIR terminations embedded in the steps. 2

1 Aerial view of the park 2 Special luminaire designed by Boffil in front of the steps leading to the amphitheatre 3 Wooden stairs detail, with fibre-optic end-light termination 4 Pedestrian walkway with 5 metre-high Milewide luminaires

A 20 metre-high sculpture stands on a small hill. Made by Manuel Valdes, it represents a woman’s head with very special hair. The lighting of this sculpture is dynamic and changes colour by means of special software. The sports fields are lit by MVF 024 and MVF 617 floodlights, mounted on relatively low posts to prevent them projecting above other features of the park. Additional lighting systems include Pompei luminaires with 24 LEDs, embedded in the ground to indicate pathways and faintly illuminate trees. Tempo floodlights bathe the slopes of the vantage point in light that improves visibility without being too obtrusive.

the Madrileños can enjoy one of the loveliest spots in their city into the small hours. ■

Contracting authority: Empresa Municipal Del Suelo (EMS) Architect: Ricardo Bofill, Barcelona, Spain Lighting design: Enriqueta Diaz Campos, Fernando Vila Arroyo, Antonio Aurora Garcia, LiDAC Spain Electrical installer: Licuas Luminaires: Milewide, SP-801, PCV 745, VFG510 CIR terminations, MVF 024, MVF 617, Pompei, Tempo, Philips Lamps: CDM-TT 70 W, CDM-ET 70 W, Focus 100 W, LEDs, HPI-T 400-1000 W, Philips Photographer: Luis Olivas Text: Enriqueta Diaz Campos, Fernando Vila Arroyo, Antonio Aurora Garcia Web: www.bofill.com, www.munimadrid.es

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Market square of Swidnica Saint Trinity Column square, Swidnica, Poland

Swidnica is an attractive town with a well-preserved medieval centre. More than 400 buildings have been awarded monument status, and many different architectural styles are represented. As part of a major renovation project, the city authorities wanted a lighting masterplan that would accentuate the rich architectural heritage of the old town while beautifying newer parts of the city. 24

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1 Delicate highlighting of the architectural details with Decoflood and MiniDecoflood floodlights 2 The painted façade of the market square during the day 3 Saint Trinity column accent with recessed Pompei luminaires

Located in the Lower Silesia region of Poland, Swidnica, with its population of 61,000 and beautiful medieval centre, is a tableau of living history. Under the city’s lighting masterplan, developed by Philips Lighting Farel Mazury in conjunction with the municipal authorities, a number of different lighting configurations were implemented. The market square, for instance, has three different levels of decorative lighting: Pompei luminaires on ground level; Decoflood luminaires – either mounted on the top of posts or on the facades themselves – for the second storey; and Atria, Decoflood or Mini Decoflood luminaires for additional storeys and roofs. In general, luminaires are mounted on facades whenever possible to minimise light pollution inside the buildings while highlighting the valuable architectural details. Buildings of particular interest, such as the cathedral and the old theatre, are illuminated individually. White SON lamps are used inside the gas-style lanterns that adorn the old town's pavements. The main road running through Swidnica, a more modern thoroughfare, has SGS203 or Malaga luminaires mounted on masts. Other streets are lit by Malaga luminaires on posts. In total there are approximately 1200 lamps in 1000 luminaires throughout Swidnica.

The project marked the first time a lighting master plan had been put together for the entire historical centre of a Polish town. The key to success was treating the city as a single entity; a collection of districts, neighbourhoods and structures whose individual characteristics were emphasised as part of an overall, co-ordinated plan. The success of this approach was recognised when Swidnica was named as the ‘best-lit municipality in Poland, 2002’. ■

Contracting authority: Swidnica Municipal Office City planner: Maria Kasprowicz-Gladysz, Director of Infrastructure departmant in Swidnica’s Municipal Office Architect: Andrzej Grzybowski, Author’s Architecture Workshop, Swidnica, Poland Philips support: Andrzej Wiorek, Philips Poland Luminaires: Decoflood, Mini Decoflood, Pompei, Atria, ArenaVision, Malaga, Philips Lamps: CDM-T 35-70-100 W, HPI-T 70W, SON-T 70-150 W, MHN-LA 1000 W, Philips Photographer: Black&White Andrzej Pawlowicz-night, Tomasz Pietrzyk, Poland Text: Andrzej Wiorek

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Aristide Briand Square Avenues Pierre Sémard and Championnet, Valence, France

Adjoining the Champ de Mars, which was redeveloped in 2001, the square is located right in the heart of the town. At night, Pierre Nègre’s original and playful lighting enhances the landscapers’ development concept.

Facing straight to the south, and very warm in summer, the square contains café terraces, a bank and a private hotel. At the intersection of two main avenues, the agence APS project reinforces the historic east to west route that goes from Valence station to the Crussol château, and provides a view of the mountains of the Ardèche. In this space, which was previously used exclusively for parking, the landscapers have now created a large pedestrian platform which sets the tone of a summer holiday resort in the square. In the first, wooden area, there are 26 Chinese palm trees, which give the square its daytime identity. A second space, which is adjacent to the public space, contains a small car park.

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Since Roland Jéol’s lighting plan was created in 1996, in addition to the major project piloted by the Urban Development Department, the town has put into effect three lighting projects per year, as well as many works to modernise the public lighting. Laetetia Cataldi, who is in charge of Valence’s Public Lighting Department, says “Our lighting programmes address environmental factors such as obtrusive light and energy consumption, in particular by applying new lighting technology and new street-lighting furniture”. As far as the square is concerned, the requirement was based on Roland Jéol’s computer graphics sketch (since at the time the area was still a car park), and also on the wish to light the facades.

Pierre Nègre’s lighting, which acts as a subtle accompaniment to the landscaping project, tells a poetic tale of the sun and the sea. On the wooden platform side, like rays of sun, lateral top-down light reveals the palm trees, casting strong shadows on the ground. On the car park side, trapeziums of light are projected onto the ground. The blue colour, which refers to the sea, attenuates the different colours of the cars, and is a surprising feature for drivers when they arrive. As in a stage setting, the lighting designer has created an elevated backdrop by projection of a scatter of light points on the facades. Pierre Nègre: “The aim is to create a playful aspect which does not detract from the land-

1 Pierre Nègre’s lighting of the facades creates a dreamy, uniform background. 3 Custom-made ‘palm-tree’ poles from Technilum 2+4 PROflood image projections: dots of light on the facades and blue trapeziums on the car park 5 Cross section of light beams on the square 5

scaping part. My idea is for the light that strikes the wooden floor and palm trees to be reflected back onto the facades”. Taking into account the diverse frontage of the buildings, this lighting makes it possible to avoid giving priority to a particular facade, by harmonising the way they are all perceived. This gives the square its specific character at night. Both for the facades and the car park, Pierre Nègre chose 15 Philips PROflood gobo projectors. “The challenge consisted of integrating the volume of the luminaires in the three 14 metre-high masts, in such a way as to make them as discreet as possible.” The result reflects the lighting designer’s

intentions: the ‘palm tree’ masts have inclined brackets and side-entry-mounted floodlights, which can be adjusted in all directions. ■

Contracting authority: town of Valence Landscaping: Jean-Louis Knidel, Gilles Ottou, agence APS, Valence, France Technical design: Cap vert ingénierie Lighting design: Pierre Nègre, l’Atelier Lumière, Grenoble, France Electrical installer: ETDE, Valence Philips support: Patrick Boyer, Marc Reignier Luminaires: PROflood, Philips; narrow-beam floodlights, Sill; fibre optics, Flux Lamps: CDM-SA 150W /842, CDM-T 35-70W, Philips Posts: special, Technilum Photographer: Pierre Nègre, Vincent Laganier Text: Vincent Laganier Web: www.ville-valence.fr; www.agenceaps.com

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Saint Michael’s Quarter Sint-Michielskerk, Graslei, Korenlei, Ghent, Belgium

One of the most striking features of Ghent’s rich architectural heritage is the site of the Sint-Michielskerk. Part of an overall lighting masterplan, the illumination of this site reveals the full beauty of this remarkable part of the city.

1 Glimpse of Ghent’s architectural heritage 2 Roland Jéol, Ghent Lighting Masterplan document 3 Peaceful scenography of the canal. White MASTER Colour light on the Graslei and Korenlei façades on the right, the bridge and the Sint-Michielskerk in the background 4 Sint-Michielskerk lighting-design drawing by Roland Jéol

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Rising majestically above the area between the Predikherenlei and the Graslei and Korenlei, the Sint-Michielskerk looks particularly impressive at night, when the lighting emphasises its imposing contours and sheer magnitude. Both the main façades and the roof expanses are illuminated. The intensity and colour temperature of the light complements the hues and textures of the materials on which it is focused. As well as the church’s larger surfaces, special thought was given to the illumination of the architectural details, adding depth to the building and ensuring that the lighting effects never fail to captivate, whether viewed from a distance or nearby.

To achieve an impression of varying degrees of depth, relatively low levels of soft light were applied to the façades on the Graslei and Korenlei. Atmospheric lighting draws attention to the unusual spatial features of the setting by illuminating the historic façades with ground-level floodlights.

it came to choosing reflectors and the colour temperature and wattage of the lamps. Wherever possible, high-pressure lamps with a ceramic burner were applied, for maximum energy efficiency and lifetime. For white light, MASTER Colour lamps were mainly used. In 2004 Ghent won the First Prize of the International City-People-Light Award for the illumination of the St Michael’s quarter. This award – created by Philips Lighting and the Lighting Urban Community International (LUCI) – recognises towns that demonstrate the value that lighting can add to an area’s cultural and architectural heritage and nocturnal identity, while respecting environmental regulations. ■

The Sint-Michielsbrug is another important feature. Compact floodlights placed under the spans of the bridge create an attractive shell-shaped reflection on the surface of the river, bringing an intimate feel to the whole scene. The materials and architecture of the object being lit were the deciding factors when

Contracting authority: Ghent City Council Project leader, Ghent Lighting Masterplan: Philip De Roo, Ghent Municipal Works Lighting designer: Roland Jéol, Atelier Roland Jéol, Lyon, France Urban planner: Filip Vanhaverbeke, WVI, Bruges, Belgium Electrical installer: Martin de Vos, Imewo Luc D’Hoore, Netmanagement Philips support: Patrick Van Der Veken, Pascal Beirens, Philips Benelux Luminaires: MVF 616, SNF 240, Philips; floodlights, Meyer, Shreder, Samode Lamps: CDM-T 70-150 W /830 /942, Philips Photographer: Niels Donckers, Stad Ghent Web: www.gent.be 4 ilr 2004 / Urban planning

The old city of Magdeburg On the River Elbe, Magdeburg, Germany

At Magdeburg the view across the Elbe to the west bank with the Cathedral, Convent of Our Lady, St. John’s Church and Castle Gardens is pretty impressive in the daytime, but it is at night that the true magic of these historical buildings really becomes apparent, thanks to a well-conceived lighting plan. Back in 1997 Magdeburg city council decided to implement a lighting plan to make city features such as the Cathedral visible at night as well. The plan was finally realised in 2003 with the completion of the last two of some 20 individual projects. State-of-the-art technology has been deployed, and the light colours have been matched precisely with the colours of the buildings. The Convent of Our Lady, which used to be illuminated flatly and uniformly by six 1,000 W floodlights, is now lit by 43 Decoflood floodlights and Pompei ground-recessed floodlights, installed close to the building, giving the Convent a character all of its own while contributing to the harmonious night-time impression. An added benefit is that these floodlights consume only 80% of the energy previously required. Another highlight of the lighting plan is the northern crossing of the Elbe, where two parallel arched bridges span the river. Here, Focus fibre-optic systems were used.

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Two hundred metres of fibre-optic cable and seven generators, each with a power of 100 W, have been used to highlight the bridge arches with a bluish hue, making the bridges look more abstract at night. The reflection of the arcs of light in the water of the Elbe further enhances the effect. In 2003 the success of Magdeburg’s lighting plan received official recognition. Out of 16 competitors from all over the world, Magdeburg was chosen to receive the City People Light Award for the night-time illumination of the west bank of the Elbe. Once every year, the Lighting Urban Community International (LUCI) organisation awards this prize for projects that use light to improve the beauty of cities and the quality of life there – something this project clearly succeeded in. ■

1 Accent lighting in concave niches gives this garden an intimate character. 2 Fibre-optic systems making the bridges look more abstract at night 3 Accentuating the depth with Pompei luminaires and MASTER Colour and fluocompact lamps 4 Colour temperature contrast on the bell towers of the Convent of Our Lady

Contracting authority: Magdeburg City Council Concept: Professor Fahrenholz, Germany Lighting design: Wolfgang Flamme, Ingenieurbüro Flamme, Barleben, Germany Philips support: Klaus-Peter Krüger, Philips AEG Germany Luminaires: Decoflood, Pompei, fibre-optic side-light generator, Philips Lamps: CDM /830 /942, PL-T, Focus 100 W, Philips Photographer: Frank A. Rümmele, Alfter, Germany Text: Jens Groh Web: www.magdeburg.de

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Rion Antirion Bridge Strait of the Gulf of Corinth, Greece

The concept underlying Roger Narboni’s lighting design is that of a thin golden thread woven through four large blue-tinted needles. Joining the towns of Rion and Antirion, it runs 2,252 metres along the length of this bold architectural project, between the sky and the sea.

Construction of this work of art, which began in 1998, was a perpetual technical challenge in the most seismically unstable region of Greece. It consists of a metalled four-lane roadway supported by four reinforced concrete pylons spaced 560 metres apart. Displaying its white fan-shaped stays by day, each pylon consists of four inclined reinforced concrete legs with a square cross-section and a height of 110 metres. The legs start in the form of a square base 38 metres in length on each side, and converge at the head of the pylon in a monolithic structure with a highest point of 165 metres. Having won a consultancy tender, the Concepto agency designed a true nightscape extending

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over the entire site. A thin golden thread which connects the Peloponnese to the mainland seems to hold together the two fragments of coast which are moving apart inexorably at a rate of 8 mm per year. The lighting of the yellow roadway is designed as a superimposition of directed shadows, which provide this line suspended between the sky and the sea with relief, texture and animation. The pylons, which are lit from below in a deep blue light, gradually disappear into the dark sky. Like needles in the night, the intense blue-tinted grazing light, which can be seen from far away, highlights the facades. The piles and the sea are left in darkness, and the light of the structure is reflected on them.

1 Roger Narboni lighting seen from the coast 2 The characteristic shape of the bridge during the day 3 Concrete pylons with a highest point of 165 metres 4 Crossing the bridge on the road deck 5 Pylon emerging behind the Antirion fort wall 6 Dichroic blue filter on ArenaVision at the bottom of one leg 4

In the heart of the Gulf of Corinth, climatic conditions are severe: there are winds of over 200 km/h, marine corrosion and substantial vibrations to contend with. Roger Narboni, the lighting designer, therefore selected tried and tested floodlights. Philips Lighting was chosen to light the pylons from the level of the roadway upwards. Only three surfaces of the four legs are lit, with differing luminous intensity in order to emphasise their form. On the sea side, the outer surface of each leg supports five extremely narrow-beam floodlights; on the stays side four floodlights are used, and on the inner side two floodlights are installed. Altogether there are 176 ArenaVision MVF 403 luminaires equipped

with a specific filter holder and dichroic blue glass. They have been aimed accurately on site, so that light is distributed along the entire height of the concrete, avoiding the stays as far as possible. The lighting installation at the foot of each leg is easily accessible for maintenance. The lighting was inaugurated on 8 August 2004 and functions daily from dusk to midnight, in other words 2,000 hours of lighting per year. Thanks to the economical service life of the 1,800 W MHN-SA lamps, the light sources will need to be changed only once every two years. ■

Contracting authority: Gefyra Construction: Kinopraxia Gefyra Architect: Berdj Mikaelian, Paris, France Lighting design: Roger Narboni, agence Concepto, Bagneux, France Heads of lighting project: Sara Castagné, Frédérique Parent, agence Concepto Electrical installer: Vinci Energies Philips support: Claude Deldevez Luminaires: ArenaVision MVF 403 A1 UP, Philips; Contrast R1, Thorn Lamps: MHN-SA 1800 W, CDM-T 150 W /830, Philips Photographs: agence Concepto Text: Roger Narboni Web: www.gefyra.gr

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Hannikaisen Street Hannikaisenkatu, Jyväskylvä, Finland

The Hannikaisenkatu is a busy main thoroughfare in Jyväskylä, a city of over 83,000 inhabitants in South Central Finland. The illumination of this 4-6 lane road is based on a lighting masterplan, under which each downtown area is defined and brought to life by its distinctive street lighting. 1 Valoa lighting plan of the street

As the hometown of Alvar Aalto, the world-renowned architect and designer responsible for such masterpieces as the Paimio sanatorium, the Sunila factory community and the pavilion for the New York World’s Fair, Jyväskylä certainly has a pedigree to live up to. In the year 2000 the city authorities instigated a lighting masterplan as part of their drive to create a pleasant, uplifting urban environment. This masterplan was developed by Valoa Architectural Lighting Design Ltd and provides for harmonious, distinctive lighting in each downtown area, in order to vary and thus enliven the urban fabric.

2 Dedicated lighting columns in conjunction with suspended Metronomis 2 luminaires

Along a 600-metre stretch of the 1.6 km Hannikaisenkatu, a starring role is played by 52 dedicated lighting columns and their specially designed A1-compliant light fittings, in conjunction with Porto CDS504 suspended luminaires with T-POT reflector and Ambient Lighting Effect (A.L.E.). A.L.E. provides guidance while adding an extra dimension to the surrounding architecture. A key element of the lighting column is the illuminated area in between the frames of the column. This usually features coloured banners, which are designed to impart a sense of light and joy during the long, bleak period of winter darkness. However, they can also be adapted to specific events (e.g. the WRC Neste Rally Finland) and the changing seasons. This simple but highly effective method has been used to create a welcoming street scene on the Hannikaisenkatu. And during the daytime, the attractive appearance of the glossily painted columns changes continuously as the sun makes its way across the beautiful Northern sky. ■

Contracting authority: City of Jyväskylä Lighting design: Valoa - Architectural lighting design Ltd Electrical installer: JE-Urakointi Ltd Philips support: Mika Saari, Philips Idman Finland Luminaires: Metronomis 2 Porto CDS 504 / FG, T-pot A.L.E., Philips Lamps: SON-T Comfort 250W, Philips Lighting controls: by darkness sensor Photographer: Voitto Niemelä Text: Roope Siiroinen, Lighting designer ELDA Web: www.valoa.com

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Architecture

Baluarte Palace of Congress Plaza del Baluarte, Pamplona, Spain

This massive auditorium, congress hall and exhibition centre brings together science, education, art and culture. Located between the limits of the historic old town and the new developments, it blends in naturally with its urban environment. The lighting was designed to complement the discreet serenity of the building while adding a sense of strength and structure. 36

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The challenge facing the architect was to create an atmosphere that blended more formal congressional functions with creative cultural functions in one of the largest auditoriums and palaces of congress in Spain. Outside, its L-shaped structure creates a meeting square, and its interior is organised on the basis of a ‘box in a box’, with large, imposing walls playing with light and colour. The prime requirement of the lighting was to maintain the architecture’s tranquillity and convey this serenity to visitors – while providing the illumination needed to celebrate this magnificent structure. Each luminaire and lighting effect has been carefully selected

to reinforce coherence throughout the complex. Customised lighting solutions – often a combination of accent lighting and general lighting – have been applied in all areas. This includes the use of accent uplighters to create spectacular rhythms on the vertical sheets, intelligent use of daylight, the use of special lightlines to enhance integration, and theatrical simulations in the halls and auditorium. At the same time various reflections support the interplay of colours, textures and materials, highlighting the functions of the spaces. When entering the building one goes into a high, spacious lobby area. Descending from the high ceiling and positioned 3 metres above the floor,

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1 1 Baluarte auditorium with light on wall and ceiling 2 Special street luminaire designed by Mangado in front of the Baluarte 3 Light as architecture – public spaces at the Baluarte 4 Drawing by Francisco J. Mangado Beloqui 5 Lya special luminaire

a rack of luminaires with dedicated optics and 35W MASTER Colour CDM-TC lamps (3000 K) emphasises the linearity of the corridors leading to the auditorium and chamber, and redefines their scale. Externally mounted spotlights with rotation-symmetrical optics illuminate the skylights. Reflections produced by refractory lenses transmit the light to the interior. As a counterpoint, the linear Lya luminaire – designed by the architect himself – bathes the walls and ceiling in light. The box structures housing the auditoriums are clad in reddish wood and dominate the space. Here, Philips MBF505 uplights

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with 70W MASTER Colour CDM-T lamps (3000 K) produce an effect similar to that achieved with candles in baroque tableaux. The bastion area – the baluarte – contains the remains of the Bastion of San Antón. Ground-embedded uplights bathe the stone and concrete walls, highlighting their texture and colour and creating strong shadows that generate a sense of drama. It was decided at the outset to light the auditoriums from above. The aesthetic imperative to maintain the integrity of the ceiling led to the design of a very special luminaire, which could convey light from

the source situated in the technical area above to the interior of the room. The solution develops the P-RSL (Philips Remote Source Lighting) concept for interiors, and consists of three parts, i.e. a light source, a photoconductive element and a dispersing lens. The polycarbonate cylinder conducts light from the 250 W halogen lamp to the dispersion lens by means of an internal covering with special optical features. Part of the light is refracted to the exterior of this conductive element, which, from the room, gives it an appearance similar to that of a solid body with its own light source. The dedicated lens element is made of very pure methacrylate. The result is

a regular, golden light, which is very easy on the eye. In the spectacular and beautifully lit Baluarte, the university town of Pamplona now has a Palace of Congress and Auditorium commensurate with its emerging status as a major regional centre. ■

Contracting authority: Government of Navarra Architect: Francisco Mangado Beloqui, Pamplona, Spain Lighting design: Anton Amann, Architectural Lighting Solutions ALS Electrical installer: UTE Baluarte-Bat Vol, Noi, Alba & Ingeman Philips support: Mikel Juarrero and Javier Pueyo, Philips Spain Luminaires: Megalux, Decoflood, Pompei, Point, Lya (Special), Balta (Special), Philips Lamps: TL5, PL-C, MASTER Colour, Philips Lighting controls: Scenio 100, Philips Photographer: Roland Halbe and Proyectar Navarra Text: Mikel Juarrero – Philips Lighting Spain Web: www.fmangado.com, www.alslighting.com

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The Acropolis The Parthenon, the Erechtheion, the Propylaea, Athens, Greece

Classified as a World Heritage Site by UNESCO, the hill of the Acropolis is a limestone plateau which overlooks the city of Athens at a height of 156 metres. On the occasion of the 2004 Athens Olympic Games, Pierre Bideau proposed new lighting for its architecture.

300 metres long and 85 metres wide, the site contains the most famous monuments of the classical Greek period, i.e. the Parthenon, the Erechtheion, the Propylaea and the temple of Athena Nike. The temples, which are the work of the architects Callicrates, Ictinos and Mnesicles, under the supervision of Phidias, are built of white marble in the Doric and Ionic styles. After Pierre Arnaud’s Son et Lumière (1959-1999) was stopped, the temporary lighting was aesthetically unattractive. In 2001, on the initiative of the Greek director Michaelis Cacoyannis, the association The Friends of Athens wanted to create a cultural accompaniment to the Olympic Games. After consultation, it entrusted Pierre Bideau with the projects for lighting the main monuments of the capital.

to respect these ancient monuments and avoid any spectacular effects. The second was to suggest by means of warm light radiating from the interior of the monuments the presence of the illustrious learned men who formed the basis of our present knowledge of mathematics, philosophy and architecture. The final principle consisted of harmonising the night-time images of the monuments in order to create unity in perception of the site. The lighting of the columns of the Parthenon and the Erechtheion was given special treatment. Two colour temperatures were used, i.e. warm white and intermediate white (2500 K

For the Acropolis, the lighting designer decided on three main principles. The first of them was

2-3

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4 1 The Erechtheion is one of the rare Greek temples constructed in the form of a cross.

4 Decoflood with a glass refractor widens the beam linearly on columns. 5 Pierre Bideau’s lighting plan for the Parthenon.

2 Amber light from Diamant floodlights radiating from the interior of the marble caryatid statues. 3 On the Parthenon, two colour temperatures are used, in opposite directions. 5

and 3000 K) in opposite directions. These colour temperatures provide the volume with relief according to the direction of observation. In order to draw out the light along the entire height of the columns, the Decoflood 606 floodlights are equipped with a glass refractor which widens the beam vertically. In addition, horizontal glass refractors have been used to light the entablature of the Parthenon, to soften the light on the pediment. The installation of the floodlights was guided by the need to avoid disrupting the daytime view as far as possible. For this purpose, all the luminaires are installed on the ground, painted white, and fitted onto small concrete

pillars which are a concession to the nature of the site. If necessary for archaeological purposes, they can then be removed at any time. Altogether, 665 Decoflood floodlights and 140 SNF300 floodlights were needed. The lighting of the Acropolis, which was inaugurated on 19 July 2004, can be seen from the Aeropagitou promenade, the Monasteraki district, or the Pnyx in the case of the Erechtheion. The lighting is switched on by a timer switch and photoelectric cell at dusk. ■

Sponsors of the design: The Friends of Athens association Contracting authority: Ministry of Culture, Mrs Koremi Lighting design: Pierre Bideau, CIEL, La Riche, France Philips support: Vassilis Exarchou, Philips Greece Luminaires: Decoflood MVF606, SNF300, Philips Accessories: ZVF606 HLPSP, ZVF606 VLBSP, Philips Lamps: CDM-T 35-70-150 W /830, SDW-T 100W, SON-T-C 150-250W, Philips Photographer: Getty images Text: Pierre Bideau

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Trianon Tower conference floor Mainzer Landstrasse 16, Frankfurt am Main, Germany

With its foyer of colour and light, the conference floor of the law firm and tax consultancy Linklater, Oppenhoff & Rädler defies conventional thinking on the design of such offices. Providing illumination from the bottom, rather than the top, the lighting design contributes strongly to the exciting impression.

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1 Glass-floor lighting plan with TL-D fluorescent lamps 2 Triangular backlit matt-glass panels 3 In front of the elevators 4 ‘Light joints’ between the walls and floor in the lobby

The conference floor is located on the 8th floor of the 186 m-high Trianon Tower. Rather than the stereotypical image of lawyers’ offices – drab, uninspiring, mildly oppressive – what you encounter here when you come out of the lift is incredible. It’s like stepping into another world. A foyer of colour and light, right in the very heart of the building. 4

The design of the Trianon Tower is based around the triangle. The ground plan of each 1450 m2 floor forms an equilateral triangle, and the three core areas in the centre are triangular too. On the 8th floor these core areas are highlighted in accordance with the firm’s corporate design colour concept: the walls are lined with high-gloss aluminium panels in blue, green and orange, the different colours also serving as orientation points for clients and employees. The brief called for unconventional lighting that would help create an exciting environment, with light brought from the bottom, not the top. One of the main challenges was the public area in front of the elevators, which has a glass floor consisting of triangular matt glass panels. The space between the floor and the underside of the glass panels is only 90 mm. However, thanks to the use of some 150 specially adapted, extra-flat TMX000 battens (only 43 mm in height) with TL-D/865 lamps, a stunning backlighting solution was realised, providing

very uniform illumination of the glass floor. Illuminance can be adapted with HF-R ballasts. Another major challenge was the 10 cm wide spaces at the interface of the walls and floor in the lobby. Here, it was decided to install backlighting with some 300 TMS122 battens with TL5/865 lamps. The effect is mesmerising. Interacting with the metal ceiling and the aluminium wall panels, these ‘light joints’ generate a constantly changing interplay of colour and reflections. Having won several architectural prizes and an honourable mention at the femb’s annual Office of the Year award, the conference floor has clearly succeeded in challenging preconceptions on facilities such as these – and their lighting! ■

Owner: Linklater, Oppenhoff & Rädler, Frankfurt/Main, Germany Architect: OX2architekten, Aachen, Germany Lighting design and electrical installation: Lindner AG Arnstorf, Germany Philips support: Johannes Heuer, Walter Huber, Philips AEG Germany Luminaires: TMS122, TMX000, Philips Lamps: TL5/865, TL-D/865, Philips Lighting controls: Luxsense, Occulux, Occuswitch, Trios, Philips Photographer: AIT Text: Rainer Barth and Walter Huber

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J P Morgan campus Andheri and Mallad, Mumbai, India

JP Morgan Chase, the leading investment bank and financial services corporation, has set up operations in two campus sites in Mumbai, the business capital of India. The lighting was designed to provide visual comfort and to help create a stimulating and productive working environment, with energy efficiency a key consideration. The operations of JP Morgan Chase in Mumbai are currently spread over three suburban office blocks – Technopolis Park (2 floors measuring 640 m2 on Andheri Campus), Magnus Towers (3 floors measuring 640 m2 on Malad Campus) and Paradigm Towers (1 floor measuring 320 m2, also on Malad). These are largely 24/7 facilities, providing back-office data-warehousing support for US operations. Recognising the contribution that lighting and architecture can make to image creation and enhancement, the brief for the lighting design was “exclusive, but not ostentatious”. The lighting installation was to create a visually comfortable environment in which employees would feel at ease and be able to perform to the best of their ability. With all facilities operating continuously, energy costs were of paramount importance. The lighting concept followed the modern concept of creating differentiated solutions

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for hive, cell, meet, club and lobby areas. The chosen solution – compliant with the revised LG3: 2001 guidelines and European Norm EN 12464 – provides lighting levels of 500 lux in working spaces and around 200 lux in corridors. Effective use has been made of daylight in almost all premises, which vary in height from 2.7 m - 2.9 m. In the hive area, which covers almost 70% of the floor space, general lighting is done with TBS669/ 2x28W TL5 840. This ensures good visual conditions, no reflected glare on the many computer screens, and low W/m2. To enliven the space, workzones are visually segregated by rows of downlighters. Luminaires adjacent to the windows are fitted with HF-R and daylight sensors. The facilities have some 20 discussion rooms and 8 conference rooms. To create differentiation in lighting, the smaller discussion rooms are lit with CFL downlights using two PLC 18W

2 1 In the hive area, luminaires are grouped and fitted with Occulux controls 2 Praveen Thampi campus lighting plan 3 The architect opted for a well-lit corridor and indirect lighting to reassure night-time users. 4-5 Cafetaria with a good balance of indirect lighting, downlighting and custom-made luminaires

lamps. Larger rooms use a combination of TL5 luminaires and 42W PL T lamps. In the formal conference and board rooms, combination lighting has been used to facilitate scene setting. In the club area, the décor is brought to life with creative lighting solutions comprising a combination of compact fluorescent lamps, 12V/50 W halogen dichroic lamps, fibre-optic starry sky kits and designer lights. These areas provide much-needed relief to the office workers, especially during the night shift. The cafeteria ceiling has a painted sky effect, with scattered fibre-optic light points, while judicious use of downlighters (mostly dimmed) enhances the general circulation lighting. With energy management a key driver of the lighting design, the application of simple lighting controls that make maximum use of daylight represents an extremely cost-effective solution. ■

Owner: JP Morgan Chase, India Architect: Karim Noorani and Associates Lighting design: Praveen Thampi, Illumania Designs Nehal Shah, LiDAC India Electrical consultant: H.K. Parajape, Project Engineering Services Philips support: Regional Sales Philips India Luminaires: TBS669, FBH145 Aqua Reversible attachments, Space FBH225, Pentura, Philips Lamps: TL5, PLC/PLT, Philips Lighting controls: Luxsense, Occulux, Occuswitch, Trios, Philips Photographer: Praveen Thampi Text: Sudeshna Mukhopadhyay

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Living Tomorrow Amsterdam Zuid-Oost, The Netherlands

Living Tomorrow is a place where innovative companies can show visitors products and services that have the potential to improve the quality of life at work and at home. Philips was invited to develop creative scenarios and lighting solutions for this groundbreaking project.

1 High-power LED Mezzo spots on the Eventhall ceiling 2 The rounded walls with an extremely intense blue light from LEDline luminaires 3-4 The Eventhall emphasises the sense of living architecture with dynamically lit stretch ceilings leading from the windows.

The Living Tomorrow project in Amsterdam, which opened its doors at the end of 2003, follows on from two previous projects in Belgium. With its fluid combination of pavilion-like and tower design typologies and extensive use of advanced construction technology and environmentally friendly materials, the Living Tomorrow complex is itself an example of visionary architecture. The building has five floors: a House of the Future, an Office of the Future, an Auditorium, Conference rooms and an Eventhall. The distinct sculptural architecture marks the complex out as both a landmark and an icon. Locals and visitors alike refer to it with affection as ‘the dust buster’. Plans are already in place to demolish the project five years from the opening date, in the knowledge that the technology it embodies will, by then, have been superseded. Living Tomorrow is a prime example of human-focused innovation. Here, in an integrated demonstration environment, pioneers

like Philips show how technological innovations could impact our everyday lives in the areas of lifestyle, work and the home. At Living Tomorrow, social, economic and technological developments are observed and translated into realistic and recognisable applications (80% of the solutions on display are ready for marketing; 20% are ideas still being worked on). The project and its participants actively seek to generate lively discussion with consumers and companies, in order to find out what their priorities are for the future.

a large audience. The result is a seemingly endless sequence of state-of-the-art lighting solutions. Particularly striking are the innovations in the field of LED lighting.

Lighting solutions featuring innovative products and ideas were required for all internal and external applications. The building complex itself measures some 2,700 m2, while the grounds cover about 4,900 m2. Philips was given carte blanche to develop creative scenarios and lighting solutions, and was given a year to deliver. Never before had Philips Lighting been offered a platform as enticing as Living Tomorrow to present its vision on light to such

In the Eventhall three dynamically lit stretch ceilings leading from the three sets of windows provide atmospheric images and ambience in a varying range of colours. The coloured surfaces extend from the window via the wall right up and onto the ceiling, emphasising the sense of living architecture. The atmosphere can be changed from one moment to the next, by means of a number of pre-programmed scenarios. Any or all of three parts of the

For instance, in the ‘Tunnel of sense’, the eye is drawn inwards by contrasts of cool white light and cool blue light. The rounded walls to the right of the entrance are illuminated well into the building with an extremely intense blue light from the LEDline – the first professional high-power LED luminaire.

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Eventhall can be brightly lit as required, using high-power LED Midi Mezzo spots.

5 Suspended Carpe Diem luminaires adjust the level and colour temperature of the light to the activity.

The high-tech wall on level 3 is also fitted with LED lighting, tailored precisely to follow the contours of the wall and provide architectural emphasis. Two indirect cove luminaires illuminate the plexiglass plate above the wall, creating a distinctive eye catcher.

6-7 The Surround Light concept creates different atmospheres in the bedroom and living room. 8 Multipole luminaires surround the Ben van Berkel-designed building.

Owner: Living Tomorrow, Amsterdam Design Architect: Ben van Berkel, UN Studio Executive Architect: Bart Thijs, Living Tomorrow Lighting design: Wibeke Pollé, LiDAC Benelux Philips support: Leon van der Vorst, Jan de Haan Luminaires: Daruma, Carpediem, Mezzo, Rotaris, Specials, Multipole, Scrabble, Executive, Odyssee, Pompei, Trilogy, Pentura, Strato, Zadora, TBS 300 family, FiberKit, fiber-optic generator, LEDline, Gondola, Musa, Europa 2, Philips Lamps: TL5, LEDs, Luxbeam, Focus 100, Halogen, CDM-T, SDW-T, Pro 111, Philips Lighting controls: Scenio 100, Philips Photographer: Michael van Oosten, Philips Benelux Text: Wibeke Pollé Web: www.livingtomorrow.nl

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In the ‘Office of the Future’, 28 suspended Carpe Diem luminaires are used to display the full range of possible applications of this revolutionary lighting concept. With Carpe Diem, the wishes and needs of the user come first. The user is able to adjust the level and colour temperature of the light to suit, for example, the time of day or a particular activity. The light can be adjusted gradually via a remote control from extra warm white to daylight white. Carpe Diem adds a dynamic dimension, providing a pleasant, natural lighting rhythm that helps to stimulate and inspire its users.

In the living room, the unique Surround Light concept can be experienced first-hand. Different atmospheres are created via a combination of light and music. Lively music and plenty of rapidly changing colours (red tones) are used to create a cheerful atmosphere, whilst a more subdued atmosphere is suggested by the use of calm music and just a few colours (blue tones) with gradual transitions. Living Tomorrow does much more than provide a glimpse of the future: it puts state-of-the-art technology – as incorporated in the advanced lighting solutions outlined above – into context, imbuing innovation with meaning and articulating the human benefits of progress. ■

Retail

Parque Miramar Avenida de la Encarnación, Fuengirola, Spain

This massive new shopping and leisure centre is located just off the motorway, next to the emblematic Sohail Castle, on Spain’s Costa del Sol. From the very start the lighting was conceived as a key and integral architectural element, helping to give the complex a powerful and dynamic night-time presence.

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The new Parque Miramar shopping and leisure centre has been developed on a 32,150 m2 plot of urban land situated to the north-west of the CN-340 motorway, along the course of the Fuengirola River. The complex extends over three levels and is home to 150 stores, an Eroski supermarket and 12 cinemas. It has a total built-up surface area of 111,819 m2, as well as two underground car parks and a ground-level car park with some 2,000 parking spaces. The centre is designed as a cluster of voluminous structures that express different styles on the building’s four facades and roof. During the design process, particular attention was devoted to the centre’s impact on the surrounding landscape.

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In view of its location near the fast-moving motorway, this building required carefully planned outdoor lighting. From the outset the architecture was reliant upon the lighting to strengthen the complex’s night-time presence. The angle of exposure of the building was calculated along the field of vision, and the main façade was designed as a panel; the light radiated from this panel forms the background for the imposing, specially designed name sign. Visually, this brings the façade of the building closer, and gives off a powerful night-time signal. Since people who are looking at the façade do so whilst they are in motion on a fast road, this design gives them a flash glimpse of the building at night, and of what’s

going on inside, where the light is warmer. At the sides, the facades are made up of curved or rectangular voluminous elements, each with its own dedicated lighting. This divides the building into distinct portions, on a human scale. A dynamic presence in the Fuengirola nightscape, the initial concept of this building – a single element with vast proportions broken down into voluminous structures that fulfil its commercial and architectural purpose by means of appropriate indoor and outdoor lighting – has clearly been realised. ■

3 1 Secondary facade with Decoflood dichroic magenta filters creating a nice colour shift 2 The complex extends over three levels. 3 The main façade was designed as a panel that radiates light.

4 LEDline at the bottom of the panel 5 Arquintec’s cross-section drawing Contracting authority: Group Miramar Architect: José Moreno Velez, Arquintec, Madrid, Spain Lighting design: Arquintec and LiDAC Ibérica Electrical installer: Elecnor Philips support: Sonia Salán, Francisco Manuel González, Philips Ibérica Luminaires: LEDline, MVF606, MVF616, MVF617, MBF504, CDS560 T, MBS145, MBS170, FBH145, Scrabble MBX500/60, MCS420, QBS570, NLD100 TMS020, TBS160, TCS198, TCW215-216, Philips Lamps: LuxeonTM LEDs, blue, Lumileds; CDM-TD, CDM-T /830, CDM-TP, Master HPI-T Plus, PL-C, TL-D, Philips Photographer: Jerónimo Alba Text: Arquintec - Web: www.arquintec.com

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Olympia Plzen shopping centre Plzen, Czech Republic

This modern shopping centre is located in Plzen, the most important city in the West Bohemia region of the Czech Republic. Easily accessible by road, the centre is expected to attract large numbers of (increasingly affluent) shoppers. The lighting design makes reference to Plzen’s industrial heritage and local rural buildings, while optimising the way shoppers experience the architecture of the centre. Located on the main route from Prague to Nürnberg (Germany), Plzen is the cultural, educational, business, transport and industrial centre of the Plzen region. The city has a population of 170,000, with a further 250,000 people living in the surrounding area. The Plzen region is a popular tourist destination, thanks to its history and its natural beauty. The decision to invest in an exclusive shopping

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centre is based on the expectation that the level of disposable income in the Czech Republic will soon match that of Greece and Portugal. The Olympia Plzen comprises a 33,000 m2 shopping precinct, including a 14,500 m2 Ahold Hypernova hypermarket, 2,500 m2 of restaurants and a car park for 1,600 cars. The centre is situated alongside the new Plzen ring road and is linked to the town centre by the E 49 road.

1 Concealed lines of fluorescent lamps illuminate the ceiling to make the mall streets more spacious. Wall-mounted Helios luminaires reinforce the idea that this is an outdoor space. 2 Adjusting the output of coloured fluorescent lamps slowly changes the colour of the interior of the ‘oven’. 3 In the hypermarket hall, hot glowing steel is simulated by moving red light from suspended neon tubes. 4 ‘Smoke’ – simulated by neon – moves from the machine into the entrance hall. 3

From a distance the eye is caught by the huge steel tower that alludes to the traditional strong presence of industry in the city; the architecture makes references to the limekilns and factory buildings in Plzen. On the other hand, one also sees warm colours such as lilac, ochre and terra, which have been used to denote the surrounding rural buildings and countryside. The starting point for the lighting was to keep the general lighting level relatively low and to avoid light sources being directly visible,

wherever possible. This is achieved by means of their aiming angles, their integration in the architecture, and the use of screening devices. In this way it is possible to illuminate the façade and ceiling in such a way that they can compete, in terms of brightness, with the shop windows. This approach offers a better experience of the whole space; and the ceiling is not reduced to just a structure from which the lighting fixtures have to be suspended to light the floor. ■

4 Contracting authority: AM Development Ahold Real Estate Europe Architect: T+T Design, Gouda, The Netherlands Lighting design: Har Hollands Lichtarchitect, Eindhoven, The Netherlands Philips support: Jakub Wittlich Luminaires: Downlights, fluorescent lighting fixtures, wall-mounted fixtures and neon tubes Lamps: CDM, TL5, QL, Philips Lighting controls: Scenio 100, Philips Photographer: Martin Malý Text: Har Hollands

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Roches Stores Henry Street, Dublin, Ireland

A radical redevelopment programme has transformed Roches Stores from a traditional department store into a distinctive new shopping experience, offering an extensive selection of leading high-street and international brands in a stylish retail environment. The lighting renovation scheme played a vital role in bringing the overall image of the store into the 21st century.

Roches started out as a family-owned business founded in Cork in 1900 by William Roche. The Dublin store opened in 1927 in Henry Street, north of the River Liffey. Newenham Mulligan, the architects responsible for the redevelopment, made far-reaching external and internal changes to this 6-floor

store, which has a total surface area of over 20,000 m2. The white stone façade makes for a striking contrast with the surrounding red brick buildings, and on the second floor a glass and stone box is cantilevered over the street. Inside, the central spine wall was removed, stairs and service ducts were relocated to perimeter walls, an additional floor was added 1

1–2 The upmarket lighting solution used recessed circular low-energy downlighters from Idman, plus high levels of accent lighting provided by Scrabble multi-directional gimble luminaires. 2

and the stockrooms were relocated to an adjacent building, creating extra retail space and improving customer circulation. The upmarket lighting solution put forward by Philips Lighting Ireland entailed replacing the traditional grid of recessed 600 x 600 luminaires with low-level (450 lux) background illuminance delivered by recessed circular low-energy downlighters from Idman, plus high levels of accent lighting provided by Scrabble multi-directional gimble luminaires with various beams and lamp sizes. The Scrabble luminaires were supplied in RAL 9012 – charcoal gray – so they would stand out against the white ceiling. Most of the other fixtures were recessed

into the ceilings, a total of over 4000 luminaires and more than 8000 lamps being used in all. The resulting installed load exceeded 500 kW, lifting the overall average illuminance to over 1200 lux. Twin Scrabble luminaires with CDM-T 70W lamps and 36º reflectors placed around the perimeter provided higher vertical illuminance levels, making the store appear larger. The new image has placed Roches firmly at the forefront of retailing in Ireland, and plans are afoot to roll this scheme out through all its flagship stores. Roches’ founder, William Roche, would surely be delighted by this state-of-the-art interpretation of his commitment to ‘more value, more choice, more service’. ■

Owner: Roches Stores Group Architect: Michael Byron, Newenham Mulligan Associates, Dublin, Ireland Lighting design: Paul Watson, Philips Ireland Electrical consultant: Joe Lee, J V Tierney, Dublin, Ireland Electrical contractor: Noel Dodd, Matrix Electrical Luminaires: Scrabble, Mezzo, Pacific, Pentura, Decoflood, Philips Lamps: PL-C 26W /830, PL-T 32W /830, TL5 28W /840, TL-D 58W TL5 28W /840 /865, CDMTC 35-70W /830, CDM-TC 35W 830, CDM-T 150W /830, SON-T Plus 400W, Philips Text: Paul Watson Web: www.roches-stores.ie ; www.nma.ie ; www.jvtierney.ie ; www.matrix.ie

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Sky Shops Brussels Airport, Zaventem, Belgium

For many travellers, a visit to the shops before boarding has become an integral part of flying. Combining functionality and ambience, the attractive lighting design of the Belgian Sky Shops in the new Pier A terminal at Brussels Airport has helped make these an essential last-minute stop.

This extensive retail development comprises 13 shops covering a total surface area of 2,500 m2. In 2001, Philips was approached by Interbrand Architral, the Paris-based interior design company, about the lighting for the Belgian Sky Shop stores. Once the project had been launched, product development was carried out in close cooperation with Philips’ factory at Lamotte-Beuvron in France, which specialises in decorative lighting. Since the Sky Shops include both food and non-food stores, light sources with good colour rendering and long service life were essential. Principally, CDM-R 35W - 70W and MASTER Line ES 35W lamps were selected; these lamps

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also made it possible to restrict glare. For the luminaires, Philips took into account the types of light source, the need for easy lamp replacement, and the design imperative – the luminaires had to blend harmoniously with the shop interiors. Applying its expertise in creating specially adapted products, the Lamotte-Beuvron factory reduced the dimensions of the Scrabble luminaire and adapted it to the choice of lamps. Various recessed and suspended prototypes were produced and presented to the design company and contractor for approval. In addition, it was decided to fit all the luminaires with electronic gear in order to increase the service life of the lamps, eliminate sparkle effects

and lower energy consumption. This solution, comprising over 800 luminaires and more than 1400 lamps, made it possible to combine general lighting with accent lighting (illuminances varying from 250 to 1300 lux), thus highlighting the clients’ products and promotions, whilst taking into account the lighting already installed in the furnishings. The completion of this project to the high standard of the Belgian Sky Shops quality hallmark was followed in May 2002 by the inauguration of the installations by King Albert II. For Philips, the successful co-operation with Belgian Sky Shops and Architral

in this project helped the company to win the contract to light the stores for Terminal B in 2005. ■

Contracting authority: Sky Shops, Brussels Airport, Belgium Architect: Architral, Paris, France Lighting design: Nicolas Fedorenko, Patrick van den Berg, Philips Benelux, Eddy Calvados, Philips France Electrical installer: Cegelec Philips support: Agnès Mehu, Alain Denis Luminaires: Scrabble, Zadora, Trilogy, Philips Lamps: CDM-R PAR30 35W 30º /830, CDM-R PAR 30 70W 40º /830, MASTER Line ES 35W 60º, SDW-T 35-100W, PL-C 26W /830, Philips Photographer: Guy David Text: Nicolas Fedorenko Web: www.skyshops.be ; www.architral.com

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Yeliseyevsky food store 14 Tverskaya, Moscow, Russia

Dating back more than a century, the Yeliseyevsky food store in the heart of fast-changing Moscow is considered to be the city’s finest. The renovation of the lighting – a stunning combination of the old and the new – was designed to bring out the best in a recently restored building brimming with potential. A historic building in a historic setting. Yeliseyevsky food store, opened in 1901 by a St. Petersburg merchant, is housed in a late 18th century classical mansion close to Pushkin Square, glittering with chandeliers, stained glass and gilt wall decorations. The products sold here are as fine as the surroundings – it is reputed to be one of the best places in town to buy caviar. Owner/contracting authority: Yakov Yakubov, OAO Yeliseyevsky Gastonom, Moscow, Russia Civil engineer: G. Baranovskiy Lighting design: Vitaly Stepanov, Philips Russia Electrical installer: Select Light Ltd Philips support: Vadim Pekarev, Philips Russia Luminaires: MVF415 WB, Philips Lamps: CDM-R 35W/830, CDM-TD 70W/830, Philips Photographer: Victor Zotov Text: Vitaly Stepanov

Part of an extensive renovation project, the challenge facing Philips Lighting was to increase the average lighting level in the main food hall (a space measuring 30 x 21 x 12 m) from 50 lux to 700 lux without increasing the power consumption – power supply is limited in the centre of Moscow – and in such a way that the fixtures did not mar the beauty of this historical monument. Everything in the luxurious interior was to be kept unchanged, including the two grand chandeliers. A total of 140 reflector lamps (CDM-R 35 W/830) are installed as ‘mini-floodlights’ in the upper clusters

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of each chandelier, and 110 incandescent lamps in the lower clusters. The reflector lamps offer high efficiency, good colour rendering and a compact, lightweight light source. The incandescent lamps mask the reflector lamps and make the completely rewired chandeliers glitter. Twenty visually less appealing MVF415 floodlights are well concealed behind the decorative wall panels. Thus, with a combination of direct and indirect lighting skilfully distributed within the space, the lighting design produced more than a 10-fold rise in lighting level without increasing power consumption, thus transforming the somewhat dark patina of over 100 years into a bright, sunny and inspiring shopping area. ■

Industry

Unilever food plant Oss, The Netherlands

During the summer of 2004 this processing plant was renovated with the aim of achieving industry-leading levels of food safety. An innovative lighting installation contributes to the clean and bright atmosphere inside the plant.

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The HACCP (Hazard Analysis Critical Control Point) and GMP (Good Manufacturing Practice) systems in use in the food industry mean that every risk has to be eliminated or reduced. If visibility is optimal in the production area, with its different levels and complex machinery, hygiene conditions automatically improve. For that reason, the 3-D light-modelling concept, which places particular emphasis on vertical lighting, making people and surroundings easily recognisable, can play an important role in industrial interiors.

and a tidy environment. Mounting recessed MINI300/150 luminaires with a plastic cover in a smooth metal ceiling promotes hygiene and meets HACCP requirements. The symmetrical optic applied is designed for areas between 5 and 8 metres high. The batwing light distribution produces high vertical illuminances, helping to create a pleasant and inspiring working environment. ■

Contracting authority: Unilever Philips support: Twan Aaldering Luminaires: MINI 300, Philips Lamps: CDM-TD 150W /942, Philips Photographer: Rens van Mierlo Text: Marius Wouters

In the drive to avoid any risk of contamination or breaking glass, every horizontal or sloping surface eliminated contributes to easy cleaning

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Ford distribution centre Roay Oak Way South, Daventry, United Kingdom

Four interconnecting warehouses covering approx. 140,000 m2 with storage rack aisles, open areas for sorting / packing, and lorry loading docks. The new lighting installation provides the benefits of substantial operational improvements and enhanced employee comfort, utilising leasing schemes that are self-funding through energy and maintenance savings.

At its Daventry Parts Distribution Centre, Ford had a lighting installation that was proving increasingly inefficient and producing average illuminance of only 150 lux. The company turned to Philips Lighting to rectify this situation, stipulating that, in the new installation, energy consumption per fixture should not exceed 133 W. Philips‘ proposal was to replace the existing luminaires with modern HF twin 70 W T8 (26 mm) battens fitted with superior high-rack specular reflectors. The new luminaires would be fitted on the existing Carrey trunking at a height of 7.2 metres, but mounted at 90º to it by means of a specially designed fixing bracket.

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This meant that the luminaires could be positioned to achieve optimal illumination of the vertical plane of the picking faces, increasing average illuminance levels between the aisles to 200 lux. The new installation would also sharply reduce running and maintenance costs. Ford wanted to realise these savings whilst avoiding substantial capital expenditure. Philips Lighting therefore suggested a leasing agreement between Ford and Philips Leasing Services, enabling the proposed new lighting – 6,000 luminaires and over 12,000 lamps – to be supplied, installed and maintained over a five-year lease period.

Ford gets the best of both worlds – enjoying the immediate productivity benefits of the new lighting with no capital outlay, while achieving substantial savings on energy and maintenance costs. ■

Contracting authority: Ford Engineer: Lloyd Evans, Ford Land, Basildon, Essex, UK Electrical installer: Parkersell (L&E) Services, Staffordshire, UK Philips support: Jeff Rose, Les England, Cyril Grundel Luminaires: Twin battens 70 W HF, Philips Lamps: TL 70W tri-phospher /840, Philips Photographer: Philips UK Text: Barbara Neate

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Waigaoqiao container port Shanghai, China

In 2003 Shanghai was the world’s third-largest container harbour, handling over 11 million containers annually, and this was set to rise to 14 million in 2004. The lighting for this new development had to improve work efficiency for night-time handling of cargo while contributing to the image of the container terminal as one of the most advanced in the entire Asia Pacific region.

The lighting installation had to meet strict requirements, e.g. in terms of illuminance in both horizontal and vertical planes and uniformity. It had to be sufficiently bright to enable good CCTV images at all times, without glare that could distract vehicle drivers or other workers. Long-life, high-output and energy-efficient products that caused minimum light pollution were obligatory. Because of the proximity to the sea, the luminaires had to be water- and corrosion-proof. Space is at a premium at container terminals, so the optimum illumination had to be achieved using the minimum number of masts. There were three main areas requiring lighting;

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the container storage area, the docks where the ships berth, and the roads. For the container area, Comfortvision SNF111 and DVP311 luminaires with SON-T 1 kW lamps were installed on 32 or 25 m masts. The masts are spaced between 180 and 240 m apart, a considerable distance that has minimal impact on the storage space available for containers. In the end, an excellent visual effect was created with light levels in excess of 30 lux horizontally and 20 lux vertically at a height of 15 m. In addition, the uniformity of light in areas bounded by four poles is more than 0.4, meeting the standard set by the Port authority. For the dock areas, asymmetrical Tempo luminaires with SON-T Plus 400 W lamps were

mounted on 15 m poles, spaced 20 m apart. In this configuration, high light levels – over 60 lux – go hand-in-hand with minimal glare, creating the ideal working environment for loading and unloading containers from ships and trucks at night. The roads in the terminal are mainly used by trucks transporting containers. As these trucks are large and the roads busy, even light distribution and high luminance levels of more than 2 cd/m2 were required for safety purposes. To achieve this, SRP826/SGP338 luminaires with SON-T Plus 400 W lamps were mounted on 12 m poles, spaced every 20 or 30 m. ■

Contracting authority: Shanghai Waigaoqiao International Container Port Ltd Architect: Institute of Coastal Transport Planning and Design, Ministry of Communications Lighting design: Yao Mengming, LiDAC China Philips support: Tony Zhou, Philips China Luminaires: SNF111, DVP311, MWF330A, SRP826, SGP338, Philips Lamps: SON-T 400-1000 W, MHN-SA 1800 W /956, Philips Photographs: Philips China Text: Hudson Lee, Tony Zhou

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PSA vehicle design showroom Automotive Design Network,

eugeot Citroën, Vélizy, France

Future models of cars or accessories are displayed in this showroom. The vast luminous bay creates a perfect illusion of natural light. The lighting was designed by Roger Narboni.

PSA P

Built in the Paris region along national road 118, Automotive Design Network provides the PSA Group with a most useful instrument. The vehicle showroom, the nerve centre of the building, where vehicles are inspected and meetings are held, allows an effective response to the competition in design that is ongoing in the automotive industry. With an area of 900 square metres, the showroom can hold nine cars for presentation, three of which are on a turntable. Light plays a particularly important part in car design. In order to control it perfectly and to do away with the hourly and climatic variations of natural light, the presentation area is blind,

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and is lit by artificial lighting. The elliptical curve of the space makes it possible to optimise the distribution of the lighting for positioning of the vehicles at the level of the second geometric source of the ellipse, while the first source corresponds to the position of the luminaires. The vault has a strong reflection coefficient so as to diffuse the light, whereas the dark grey carpeted floor is absorbent. To recreate the brightness of daylight, the artificial light is mostly projected into the showroom from a backlit translucent bay. An array of 130 ArenaVision luminaires are positioned on a metal frame. 1000 W metalhalide lamps (5600 K – Ra 90) are used.

The photometric results after adjustment, with the linear fluorescent luminaires dimmed to 60%, are highly satisfactory. Average illuminance at floor level: 2,270 lux, with general uniformity of 0.87 Vertical illuminance: 2,500 lux

on the lateral turntables, 3,300 lux on the central turntable Average luminance at ground level: 122.5 cd/m2 with general uniformity of 0.84 Contrast of luminance between the background of the vault and the car: 0.338

The light from the floodlights is directed towards the matt white surfaces of the showroom ceiling in order to obtain indirect lighting. The opalescence of the bay helps to redistribute some of the light laterally and downwards. Following the periphery of the showroom, another, dimmable lighting system is integrated in a frosted-glass-covered luminous trench. This system makes it possible to constitute – in the background – a uniform hazy sky using 450 58 W fluorescent tubes (6500 K – Ra 85). Thus, a whole range of lighting effects can be controlled and mixed, as required, from the control room.

In accordance with the programme, the photometric measures implemented are highly satisfactory, and the quality of light obtained is equal to the visual task to be accomplished. The lighting is very homogeneous and uniform. The balance of contrasts of luminance between the background and the objects displayed allows excellent visual comfort. The lamps do not cause any visual impact on the bodywork of the cars or on the perforated surfaces of the vaulted ceiling. During the inauguration on 7 October 2004, after a brief period of adaptation, many observers thought that the room was lit by natural light. ■

Contracting authority: PSA Architect: Jacques Ripault, atelier d’Architecture Ripault-Duhart, Paris, France Design office: SETEC Bâtiment Lighting design: Roger Narboni, Sara Castagné, agence Concepto, Bagneux, France Acoustics: LASA Electrical installer: INEO Philips support: Jean Denost Luminaires: ArenaVision MVF 401, Philips; fluorescent devices, Thorn Lamps: MHD-TD 1000W, TL 58W /865, Philips Total power installed in the showroom: 148 kW Photographs and drawings: agence Concepto Text: Roger Narboni Web: www.psa-peugeot-citroen.com/modules/adn/

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Renault Trucks factory façade Bourg-en-Bresse, France

The architect Pierre Barillot explains that defining a concept for an industrial façade, identifying a specific feature and translating a brand image are at one and the same time simple and complex. He and the lighting designer Philippe Hutinet received a special commendation for this project at the Concours Lumières 2004.

and the exhaust is for drainage of rainwater. At night, a strong lighting theme representative of the brand image of the Renault Trucks group is created. Several innovative sources and luminaires are used, which provide a high level of lighting performance combined with long service life. The aim is to limit the operating costs as far as possible. For instance, the high-power LuxeonTM LEDs of the red LEDline luminaires are installed on the upper part of the openings, behind the metal canopies which open. The lighting, grazing from top to bottom, highlights the translucent polycarbonate sheets situated inside the openings.

Contracting authority: Renault Trucks Architects: Franck Tabouret, Patrick Tavernier, Architectures Barillot, Bourg-en-Bresse, France Lighting design: Philippe Hutinet, Agence Hutinet, Pisieu, France Electrical installer: Soteb Luminaires: 885 mm red LEDline, PROflood, Philips; wall lights, We-ef; LED marker lights, LEC Lamps: Luxeon TM LEDs, red, Lumileds; CDM-T 70-150W /830, Philips Photographer: Thierry Kuntz Text: Pierre Barillot, Philippe Hutinet Concours Lumières 2004: SERCE Web: www.renault-trucks.com; www.architectures-barillot.com; www.hutinet-concept.com; www.serce.fr

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Located on the way into Bourg-en-Bresse in the Ain Département on national highway 79, the Renault Trucks factory was built in 1964. Its truck production is focused on vehicles for professional use, i.e. haulage, military and top-of-the-range vehicles. The façade, which is 156 metres long and 14 metres high, reveals to motorists the industrial activity on the site. At the request of the management of Renault Trucks, a renovation project has been undertaken. The composition of the new façades of Renault Trucks is clearly distinctive. From afar, it ensures that the group is identified immediately, and within the site it makes the various functions visible and apparent. In the immediate vicinity of the buildings, it is the quality and use of the materials that count. The radiator grill becomes a canopy, the headlights are for pinpointing and identification, the fairing denotes hollow joints or riveted assemblies,

The light is strictly limited to the locations and surfaces required. PROflood shutter projectors are installed perpendicular to the canopies at the top of the façade. The shutters fitted on these luminaires permit precise delimitation of the light output to the upper surface of the canopies. Installed beneath the canopies, OLV 340 wall lights create security lighting at the approaches to the entrance doors. Finally, at regular intervals corresponding to the high openings, red LED marker lights (type 1822) punctuate and follow the architectural composition of the façade. ■

Concepts

LED wall of light Vincent Laganier

Over the past twelve or so years, high-power LEDs have been improving rapidly, in terms of both luminous efficacy and colour. In 2002 Philips introduced LEDline, its first luminaire based on this new technology featuring Lumileds diodes. This was a revolutionary ‘wall of light’ concept, and the original creative vision has now been expanded with the launch of LEDline2.

Light-emitting diodes, more commonly known as LEDs, are the direct conversion of electrical energy into light, i.e. electroluminescence. There are two types of architecture for electroluminescent diodes. ‘5 mm’ LEDs are low-power, often 0.1 W. Typically, their luminous flux is approximately 2 lm. These LEDs are used for indicator lights for computers and household appliances, mobile phone screens, or marker lights embedded in the ground. High-power LEDs can be used for higher power levels, which are now 1 W and 3 W. The typical luminous flux is 25 lm for a 1 W white diode,

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and goes up to 50 lm for red and amber diodes. These LEDs are used for traffic lights, LCD screens, car brakelights and outdoor lighting luminaires. Lighting concept In 1998 Philips established a design team for the development of a new luminaire suitable for high-power LEDs. At the time, Lumileds’ amber LEDs offered a luminous flux that was sufficient to envisage them being used in lighting applications. The idea quickly arose of creating a wall of light, a new effect which until then had been impossible. At best, fluorescent tubes such as miniature

xenon lamps combined with a small reflector made it possible to obtain a medium-wide beam of light. At the end of 2000, a compact luminaire was ready in prototype form, in several lengths ranging from 300 to 1200 mm. In tests at OLAC, the very narrow linear beam was impressive in its perfect control of 2 x 3º, without stray light. A very narrow-beam PMMA optic known as a collimator was placed in front of each LuxeonTM high-power LED. This optic was based on the principle of refraction, utilising over 90% of the source’s luminous flux. The luminaire therefore made it possible to highlight facades with grazing light. The lighting consequently

Light perfectly adapted to architecture from 1 m to 9 m

revealed the textures of materials such as brick, stone or wood. It also emphasised the horizontal lines of the cornices, or accentuated window ledges and lintels. However, the only colour available was rejected. The project was put on the back burner for over a year, and was then started up again with a new team. Colours and effects In April 2002 the LEDline floodlight was introduced into the Philips catalogue. By then, five colours were available, i.e. blue, green, white, amber and red. The lighting effect created was striking because of the monochromatic colours specific to this new technology. The purity and saturation of the colours were

often surprising in comparison with others obtained conventionally. Applying a flat plane of colour as the background made it possible to pick out a statue or colonnade. When the planes met, for instance at the corner of a building, the opposition of two shades created an effect of contrast (blue-white, amberwhite), or a complementary effect (blue-amber, red-green). Colour harmony could also be obtained, i.e. blue-green, red-amber. When the planes of illuminance were spaced in relation to one another, an entire range of volume effects could be created, including raising of bases or canopies, positive or negative contrast, light-shadow or shadow-light.

Luminous flux and mounting In November 2004 a complete range was introduced – LEDline2. At an application level, the scope of the initial luminaire has been greatly expanded. Firstly, the designer can tailor the flux and photometry of the beam of light to the lighting effect required. In order to retain all the value of the LEDs, the luminaire has been optimised for four grazing-light applications at different heights: for a balustrade or dividing wall (1 to 2 m), up to first-floor level or the height of a column (4 to 5 m), up to three floors high (9 m), or the height of a chimney (20 m). The number of LEDs can be 10 or 40 per metre, depending on the project. A secondary optic has made it possible to open up the beam to 2 x 27º

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Dynamic lighting on the colonnade wall. Intensity change 0 to 100%: 1. Colour steps 2. Colour fade 3. Colour wash

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along the longitudinal plane of the luminaire. Dimming is also possible, based on two control protocols: DALI and 1-10 V DC. Although already discreet, the installation has been simplified even further. The transformer is now integrated into each of the three modules: 300, 600 and 1200 mm. In order to produce uniform grazing light, a fixing bracket positions the optical axis accurately at the correct distance from the wall. In the floodlight version, the distance from the wall of the three 300 mm modules can be varied by means of a bracket which is adjustable from 400 to 700 mm. Finally, two ground-recessed versions are available, i.e. 300 and 600 mm.

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With the use of a secondary optic, continuous linear recessed lighting becomes unnecessary. For example, for a wall 4 m high, only one 600 mm module out of two is necessary. Over short and long distances, other linear lighting effects are possible, such as lighting of a metal or concrete post or girder. The LED wall of light has opened up a new door to creativity in architectural lighting – now it is up to the creators of light to apply it in their projects. ■

Project team LEDline2 Project manager: Marc-Olivier Flaissier

Product manager: Raphaëlle Laval Rechagneux Architect, lighting designer: Vincent Laganier Optical designer: Rémi Noirot Product designers: Jean-Pierre Lemoine, Ramon Janssen, Taeke Halma Engineering developer: Patrick Larent, Franck Perin Prototyping: Alain Pierre, Jean Plançon Purchasing: Jean Léa, Roger-Mickael Goodall Laboratory test: Cécile Delorme, Claude Fêve Production organisation: Fréderic Leredde, Claude Julien Communication: Laurent Guillonneau, Olga Romanillos Senior product manager: Jürgen Leffers ITM manager: Marcel van Hugten Plant manager: Vincent de Drouas

Dynamic lighting Jolanda Tielens-Aarts

People's lives are characterised by continual change, as are the indoor and outdoor spaces in which they unfold. With the dynamic of change having such a stimulating, beneficial effect on our sense of well-being, why is lighting so often static and constant? Lighting has vast potential to make our lives more comfortable, enjoyable and productive, by reintroducing the natural rhythm of light into our living and working spaces.

Daylight – the form of light with which we are most comfortable – is never constant. It changes throughout the day and over the seasons, influencing our emotions, moods, perception and performance. Obviously, we can’t control daylight. However, and this is important in our contemporary society, where so much of what we do takes place indoors, we can control artificial light, and we are learning to do so more and more effectively. As the examples on the following pages show, adding a dynamic component to our artificial lighting can help to enhance our sense of well-being, create ambience and offer better, more immersive experiences. Emotional trigger In the competitive world of retailing, effective lighting is crucial, helping retailers to present their merchandise in the most inviting way imaginable. A bright, dynamic in-store ambience draws consumers in, inspires them, and induces them to buy. The combination of bright light and dynamic lighting effects opens up a

wealth of opportunities for inspiring product presentations. Our eyes are drawn towards the areas in our field of vision with the highest brightness. And this ‘attraction’ can be intensified by changing the light of these bright areas. The larger and more abrupt the changes, the more our attention is drawn; the smaller the change, the more subtle its effect on our subconscious. Using advanced lighting controls, retailers can exploit this fact to the benefit of their bottom line. For example, in one and the same retail space a sparkling, fresh white light with warm, sunny accents can be used to sell bathing costumes in spring, while a lower level of ambient light with extra-warm accents can create an intimate ambience for the sale of lingerie during autumn. Image-builder Dynamic lighting of landmarks can add a dramatic extra dimension to the city nightscape. The Eiffel Tower in Paris is a good example. Since the year 2000 it has been illuminated by an attractive sparkling effect that comes on

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1 A Telemanagement system switches these luminaires to a different mode three times every evening and night: when it is busy the lampsburn at 80%, when it is less busy at 60%, and during the night at 40%.

2 How to present the new summer fashions in the most effective way possible

every ten minutes. Dynamic lighting also means that it can be lit for a specific theme, e.g. as was the case in January 2004 when the entire tower was illuminated in red to mark the establishment of formal ties between France and China. Increasing safety and reducing costs Most public lighting cannot be controlled beyond a simple on/off. However, the installation of a dynamic control system can offer significant benefits in terms of increased road safety and reduced energy consumption. Many roads are only busy during the rush hour, which is a relatively short part of the day. With a dynamic control system, a high level of light can be applied when the roads are busy or in bad weather, whereas a lower level of light will suffice when visibility is normal and during the bulk of the day when

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3 Inspired by the constant variation of daylight, dynamic lighting – with its changes in brightness and colour temperature – creates a pleasing, natural lighting rhythm that stimulates and inspires office users.

traffic volumes are low. The resulting energy savings would quickly recoup the initial cost of investment. Enhancing our sense of well-being Lighting has a significant influence on our performance and well-being at work. On a functional level, it has an effect on our visual task performance. And on a personal level, it affects our general sense of well-being. Both affect productivity. Most people work indoors, in workspaces with static lighting, which tends to be perceived as passive and dull. By bringing the familiar, natural dynamics of daylight – with its changes in brightness and colour temperature over time – into indoor workspaces we can create dynamic lighting that stimulates and inspires those working there. Utilising the potential of dynamic lighting, Philips enables the creation of ‘personal light’ and ‘dynamic ambience’ in the workplace.

Here we see – in the same room – four different activities, each with its own dedicated lighting ambience.

1. Technical and professional: a high level of cool light, with minimal shadow effect 2. Active and dynamic: a high level of light, with a neutral colour temperature 3. Cosy and intimate: high-contrast warm light, with a lot of shadow effect 4. Romantic and sensual: extra-warm light, with bright, eye-catching accents

Personal light lets individuals control the lighting according to their personal preference. Dynamic ambience controls the ambient lighting in an entire room, animating the workspace by changing the lighting level and colour temperature of the light according to a chosen rhythm. The lighting ambience can also be altered to create a different ‘feel’ in the room, or to revive flagging spirits as energy levels drop.

meetings at yet another time. Each situation calls for its own specific ambience, which means that the lighting has to be flexible. That, in turn, calls for effective lighting controls. Increasingly, such controls allow us to change the very character of the light in order to create the ideal atmosphere for what we are doing, e.g. by varying the colour temperature or mixing light colours to mimic the dynamic aspects of daylight.

In this way, dynamic lighting gives those working indoors greater freedom and control in how they light up their day, creating an inspiring environment that enables everyone to function to the best of their ability.

In the years to come our growing ability to change and control light creatively will enable us to offer people better and more inspiring lighting experiences. Whatever the application, though, the lighting solution cannot be seen in isolation: to achieve the optimum result it must always be considered in context, as an integral part of the interplay of architecture, objects, materials and colours. ■

Creating the right ambience With urban populations growing and real estate at a premium, we are – by necessity – seeing a trend towards multifunctional spaces. A company restaurant, for example, can be used as a staff canteen at one point in the day, as a display space at another time, and as a venue for plenary

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Indoor

Innovations

Fugato Style and performance in a new light

Strato Modular light ceiling The dynamics of daylight – with its changing colour temperatures and brightness – feel natural and familiar to us. This has a considerable effect on our moods, emotions and sense of well-being. Strato brings dynamic by daylight simulation. With its discreet design, high-quality materials and its depth of only 16.5 cm Strato integrates harmoniously with the architecture. It comes in two versions. With Strato Sky, the colour of the light can be adjusted continuously between cool daylight white and warm white. With Strato Rainbow a wide spectrum of colours can be used for staging effects in shops, bars, exhibition spaces, etc.

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In the field of architectural indoor lighting, the potential benefits of downlighting have not yet been fully exploited. With Philips Fugato that is about to change. Philips adds to the convenience, performance and reliability of standard downlights a host of innovative features designed to create an array of appealing effects and ambiences. Ideally dimensioned for its different applications and mounting heights, the Fugato range offers complete design freedom in retail outlets, offices and public areas.

300 Stealth

Fiorenza

Performance in a new design

Making the stars shine

Featuring a new, timeless design, the MINI 300 Stealth offers all the benefits of the successful Mini 300 series – high light output (based on Philips’ patented white coated reflector technology), 3D modeling of light and substantial energy savings (up to 35%). The 300 Stealth is available in three forms – column/post-top mounted, wall-mounted (up/down) and as a floodlight – and is ideal for public areas such as atriums, railway stations and airport terminals as well as sports facilities and shopping malls.

Drawing upon our understanding of the effect lighting has on people and its potential to generate a dynamic, welcoming atmosphere, we work together with our clients to create an ambience that will encourage visitors to retail spaces and other public areas to linger that little bit longer. Philips has developed Fiorenza, a range of stylish new spotlights designed to create a dynamic in-store ambience by casting the products on display in the most attractive light imaginable.

Outdoor LEDline2 Composing with light LEDline2 range represents a perfect combination of high-power LuxeonTM LEDs, new dedicated optics, high-quality materials and lighting electronics. The LEDline2 range comprises three original models for the widest possible coverage of lighting applications. Featuring high-power LuxeonTM LEDs, this linear floodlight, with its precise light distribution and uniform illuminance, is ideal for scene setting. With five clearly defined colour bands, it can create a controlled, soft light, opening

up a wide range of creative options and effects. Thanks to the different lengths of the LEDline2 modules, the luminaire installation can be tailored exactly to the architectural structure. The linearity of LEDline2 complements the geometry of the architecture, transforming surfaces into ‘curtains’ of light, and transforming light into objects. LEDline2 features the latest technical innovations to facilitate installation (integrated power supply).

A quiet power Replacing the well-known SNF210 floodlight, the OptiFlood range offers improved optical performance and a visually appealing new design comprising a single-piece die-cast aluminium housing with integrated control gear. As with all Philips Lighting asymmetric floodlights, OptiFlood provides excellent control of spill light, glare limitation and control of wasted upward light. OptiFlood is suitable for both high-pressure sodium and metal-halide lamps between 150 W and 600 W.

Multipole

Equinox

Multi-functional lighting concept

Paving the way forward Philips Lighting is proud to introduce a new concept in architectural street lighting: Equinox, which incorporates leading-edge technologies such as high-power LEDs. High-power LEDs combine increased energy efficiency with reduced environmental impact, maintenance costs and relamping expense. Miniaturization and elegance are the main characteristics of this

OptiFlood

state-of-the-art solution. The uniform illuminance on the ground is provided by the new high-efficiency collimating optics called ‘meniscus’, combined with a mix of 18 white and amber Luxeon / Luxeon IIITM LEDs, which ensures a perfect warm-white colour temperature from 2700 K up to 4000 K. In this way, a welcoming ambience is created, promoting social interaction in the urban environment.

In order to re-humanise our urban environment, the concepts of City, People and Light have to be brought together. That's how the idea for Multipole was first developed. Multipole is a multi-functional lighting concept that integrates state-of-the-art technologies, such as LEDs, fibre optics and intelligent, dynamic lighting control systems (HELIO). This modular and fully integrated lighting system offers, within one neutrally designed pole, five different but controlled lighting modules: – Top Light provides dynamic and coloured guidance light – Road Lighting provides dimmable and uniform functional light – Pedestrian Lighting provides sensor-activated and localised light – Reading Light provides personal and focused interactive light – Foot Light provides dynamic and coloured decorative light Multipole is therefore ideal for custom-made lighting solutions. One Multipole product fulfils the multiple application requirements that arise in everyday city life.

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Publications

Books

Reviews

Lighting the Landscape Art, Design, Technologies - ISBN: 3 7643 7079 3 La Lumière et le Paysage Créer des paysages nocturnes - ISBN: 2 281 19173 7 Author: Roger Narboni Publisher: Birkhäuser (Switzerland) - October 2004 Le Moniteur (France) - February 2003 232 pages with colour illustrations, paperback Language: English, French Web: www.birkhauser.ch, www.editionsdumoniteur.fr

Licht in der Stadt – Urban light Topos 2004/46 - ISBN: 3 7667 1611 5 Authors: Robert Schäfer, Michael Batz, Ulrike Brandi, Mario Bloem, Florian Köhler, Laurent Fachard, Joachim Ritter, Heike Müller, Reinhard Rupf, Roland Wück, Karin Hirdina, Christian Waldner, Bjarne Schläger, Eelco Hooftman, Roger Narboni, Anette Kolkau, Erik Selmer, Stefanie Reuter, Gerhard Auer, Doris Gstach Publisher: Callwey (Germany) - June 2004 112 pages with colour and black-and-white illustrations Language: German and English Web: www.topos.de

Lumières architecturales en France ISBN: 2 912017 25 4 Author: Vincent Laganier Publisher: Editions AS (France) - June 2004 304 pages, 430 colour illustrations, paperback Language: French Web: www.as-editions.fr

Brilliant: Lights and Lighting V&A Contemporary - ISBN: 1 85177 408 4 Author: Jane Pavitt Publisher: Victoria & Albert Museum (UK) - February 2004 128 pages with 85 colour illustrations, 10 black and white, paperback Language: English Web: www.vandashop.co.uk

Creative Photoshop Lighting Techniques ISBN: 1 57990 538 2 Author: Barry Huggins Publisher: Lark Books (North Carolina) - May 2004 192 pages with colour illustrations, paperback Language: English Web: www.larkbooks.com

Gent Lichtplan, Gent Illuminated The Light Plan: Stepping stone to an enchanting city Authors: Reginald Claeys, Carina Degeest, Philip De Roo, Martin De Vos, Peggy Goetgeluck, Luc Janssen, Jacky Klune & Rogé Verstraete, Geert Van Doorne, Filip Van Haverbeke Publisher: City of Gent (Belgium) - December 2004 96 pages with colour illustrations, paperback Language: Dutch and English Web: www.gent.be

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Sales Spaces Professional Lighting Design - PLD No. 39 Authors: Joachim Ritter, Petra Steiner, Nanci Corbioli, Meyer and van Schooten, studio 63 Publisher: VIA - Verlag für Innovationen in der Architektur (Germany) - October 2004 70 pages with colour illustrations Language: English, German, French, Chinese, Greek and Russian Web: www.pldplus.com

Technical reports Control of Damage to Museum Objects by Optical Radiation CIE 157:2004 - ISBN 3 901 906 27 4 Technical Committee 3-22: Museum Lighting Chairman: Eliyahu Ne’eman, Israel Editor: Christopher (Kit) Cuttle, New Zealand Secretary: Jean-Jacques Ezrati, France 35 pages with 6 figures and 8 tables Language: English. Short summary in French and German Web: www.cie.co.at/publ/abst/157-04.html Ocular Lighting Effects on Human Physiology and Behaviour CIE 158:2004 - ISBN 3 901 906 28 2 Technical Committee 6-11: Systemic effects of optical radiation on the human Chairwoman: Jennifer A. Veitch, Canada 59 pages with 9 figures Language: English. Short summary in French and German Web: www.cie.co.at/publ/abst/158-04.html Guide for the Lighting of Road Tunnels and Underpasses CIE 88:2004 (2nd edition) ISBN 3 901 906 31 2 This publication replaces CIE 88-1990 Technical Committee 4-35: Tunnel Lighting Chairman: Werner Riemenschneider, Switzerland (until September 2001)

Marc Gillet, Belgium (from September 2001) 40 pages with 10 figures and 10 tables Language: English. Short summary in French and German Web: www.cie.co.at/publ/abst/88_2.html

Standards Photometry - The CIE System of Physical Photometry CIE S 010/E:2004 Technical Committee 2-35: CIE Standard for V(lambda) and V’(lambda) Chairman: K. D. Mielenz, USA 19 pages with 3 tables Language: English. French and German versions are being prepared Web: www.cie.co.at/publ/abst/s010.html Spatial Distribution of Daylight CIE Standard General Sky ISO 15469:2004 (E) / CIE S 011/E:2003 Joint ISO/CIE Standard This standard replaces CIE S003 - 1996 and ISO 15469:1997 Technical Committee 3-15: Sky Luminance Models Chairman: Y. Uetani, Japan 8 pages with 4 figures and 1 table Language: English. French and German versions are being prepared Web: www.cie.co.at/publ/abst/s011.html

Proceedings CIE expert symposium on Lighting and Health September 30 – October 2, 2004 Vienna 2004, Austria This symposium represented an outstanding example of true interdisciplinary collaboration between the worlds of medicine, biology, physiology, psychology and the world of “lighting practice”. It provided an excellent opportunity to explore and exchange knowledge about the biological effects of light (including ultraviolet radiation). New research findings point to improved, future applications of light and daylighting for a healthier indoor environment. This first, highly successful symposium had slightly more than 100 participants from 19 different countries; about 65% had a medical/biological background and 35% a lighting background. Language: English Web: www.cie.co.at/symp/prel04.pdf