Urban Lighting by Luz Urbana Engenharia

Graduated in 1987 in electrical engineering with a focus on electrotechnique by Escola de Engenharia do Instituto Mauá de Tecnologia, Plínio Godoy started working in the lighting area in the wake of a training stage at Ilumatic and, in his sophomore year, he started working in public and industrial lighting. He was granted a second opportunity in his professional career by Projelétrica, a company that specializes in installation projects, which assigned him to develop a specific software application for lighting calculations. Seeking technical references on the subject, he requested regular assistance from engineer Adriano Genistretti, a product manager at Philips Lighting Project Department – DEPI, who would impact his career in the future as “O Mestre” (The Master). In 1987, Godoy applied for a position in that same multinational company and was admitted as a trainee at the same DEPI that was managed by Isac Roizenblat, a lighting icon in Brazil. In that period, he made contact with his technical and professional references. On concluding his training stage, he was assigned to work as an applications engineer, developing major lighting projects, as stadiums, factories and public lighting. After some time away from the lighting area, Godoy resumed his activities at General Electric, under the management of the late and memorable Horácio Olandin, working in the area of imports to the São Paulo – South -- market. In that company, he met one of his other masters, engineer Milton Martins Ferreira, who dignifies the profession as an extremely competent human being and by taking part in the history of lighting in Brazil. From 1993 on, Godoy became an independent consultant in the lighting project area, but his career took a significant leap in 2002 with the establishment of Godoy Luminotecnia, which joined forces with Luz Urbana, a company that was founded after a traveling period throughout France – at that time, he had a fleeting impression of the potential opportunities for growth in Brazil in the urban lighting field. He was able to further his knowledge in the area by means of a number of international experiences which led him technological centers in Belgium, Holland and France, where he made an important acquaintance with Roger Narboni, a French lighting designer. In 2006, he took on the coordination of Division 3 of the Brazilian International Commission on Illumination (CIE), which is headquartered in Austria and is the most relevant scientific reference in illumination and color. In addition to Division 03, he also works in Division 05 where he is in charge of studies in the urban lighting field. In Brazil, among the projects that gave him fame as a lighting designer are: the Brazilian Independence Museum, also known as Ipiranga Museum, located in the capital city of São Paulo; the São Paulo Municipal Theater, under the direction of architect Nelson Dupré whom Godoy has held in great respect and admiration; a public lighting project for the historical center of Salvador, Bahia, popularly known as “Pelourinho”; the facade lighting of the building that houses the Court of Justice of the State of São Paulo, and the well-known cable-stayed bridge, “Ponte Estaiada”, in São Paulo, among other projects. The author is of the opinion that an increased overall perception of qualitative issues in lighting brought forth by modern advances and associated to the comfort and the beauty of a city are relevant factors in urban lighting, mainly in view of the prominence of the Brazilian image in the worldwide scenario.

Paulo Candura A man of a technical vision, as this graduate in mechanical engineering through Escola Politécnica da Universidade de São Paulo (USP) puts it. Being specialized in heat exchange, its functioning and how it propagates, Paulo Candura attained a good spatial vision which was particularly important for his performance in the lighting area, when an opportunity to work in that area appeared in 1991, when he took civil service entrance exams for the Public Lighting Department of the City of São Paulo (ILUME) and took part in lighting fixture development and specification for sodium vapor lamps. In 1992, he was assigned to head of a group within the ILUME Materials Division and acquired an in-depth knowledge of the materials used in public lighting, how they are used and how the maintenance of the public lighting network is done. At that time, he was assigned to manage and control guarantee-covered materials and to try to improve their own specifications. In 1998, already in command of the ILUME Materials Division, he was accountable for the purchase of all the equipment the lighting service required, besides some groups that formulated materials stock room specifications. Among Candura’s first measures, were the creation of a supplier and equipment assessment and qualification model in addition to computerizing and reporting all specification-related data for use by one of the largest lighting network in the world, the city of São Paulo, which currently relies on 580 thousand lamps. At that time he had the opportunity to develop some joint work with ABNT, the Brazilian Association of Technical Standards and was assigned the task of coordinating two study commissions - Lighting Fixtures and Accessories and Photometric Measurements and Luminotechnical Applications -- of ABNT / COBEI (Brazilian Commission of Electricity, Electronics and Telecommunications). In 2002, Candura, left his Department and returned in early 2005 as ILUME provisional director, remaining in that position until September of the same year. After that period, he consolidated his partnership with Plínio Godoy of Luz Urbana, where he added his keen technical vision to the artistic and aesthetical aspect of lighting. After that, they could reap the fruits of their partnership in the form of important lighting projects for the city of São Paulo, as Rua Oscar Freire (an important street), Nova Radial Leste (a radial road), Complexo Viário Jurubatuba, Complexo Viário JacuPêssego (highway Networks), Nova Bandeirantes (a major Avenue), Odon Guedes Tunnel and Complexo Viário Real Parque (High-way network). Being assigned to the position of ILUME technical director in March 2009, Paulo Candura regards the lighting of the Cable-stayed bridge (Ponte Estaiada) as a milestone in the field of urban lighting in São Paulo.

Urban Lighting - Concepts and Case Analyses

Plínio Godoy

Urban Lighting Concepts and Case Analyses

Paulo Candura e Plinio Godoy

Urban Lighting Concepts and Case Analyses

Paulo Candura and Plinio Godoy

Acknowledgements

My deepest thanks go to my parents, Cleufe and Felippe, for the education and the knowledge they provided me. My children, Juliana and Felippe, the “lights” of my life and my wife Odette for her devoted support in our journey through life. My steadfast friend, Plínio Godoy, an Engineer and Light Designer for having shown me another key element of public lighting: ts artistic aspect. Isac Roizenblatt for the long and delightful talks about lighting over delicious breakfasts An broad and joyful learning experience. “Brother” Adilson Castelo, a first-rate fellow in the cause for a topnotch public lighting service. My ILUME workmates, whom I want to express my deepest thanks, especially to Ilume2 technical people, on behalf of Márcio Sacchi

I wish to thank my family for the strength they have given me and for whom I can carry the heaviest of burdens. My friends who have provided me with their usual and significant assistance in the course of these 20 years of lighting projects. To my masters, engineers Milton Martins Ferreira, Adriano Genistretti and Isac Roizenblatt, for their patience in my early professional years. To engineer Paulo Candura, for his friendship and steadfast professional and personal guidance.

Correa, for having assisted me in my technical development and

To those who endeavored to make this book come true,

helping me to become the person I am today.

To my friend Vitório Júnior and his team, and journalist

Mayor Gilberto Kassab and Secretary Alexandre de Moraes,

Andréa Espírito Santo, for her long hours of dedication.

who presented me with the opportunity to manage the largest public lighting asset in the world, the São Paulo City Public Lighting Department (ILUME).

To Impact Comunicação and staff, for achieving a fantastic visual work. To master Roger Narboni, an inspiration in life, who kindly

Last but not least, I want to thank Juliana Parise, alias “Pimenta”,

granted the use of some of his pieces to enrich our work.

light in its rawest state, a source of inspiration, an adviser, a safe

To all the sponsors who believed in the proposal of this book.

harbor and a strong hand who has lead me to a new path in life.

To God, my friend forever.

Paulo Candura

Plínio Godoy

Expedient Editor-in-Chief: Vitório Junior MTB/SP 52.635 Authors: Plinio Godoy and Paula Candura Text: Andréia Espirito Santo MTB/SP 030201 Proofreader: Giovanni Giocondo DRT/BA 3269 Special Participation: João Valente, Roger Narboni and Pietro Palladino Graphic Design and Layout: Impact! Comunicação Illustration: Dirceu Veiga Graphic Coordination: Grafplus Printing: Gráfica Santa Marta Photography: Rubens Campo and Ailton Tenório Communication and Press Consultant: VJMCE Institutional Sponsorship Coordination: Amarildo Leal de Souza Book Project General Coordination: VJMCE

Book Cataloguing: GODOY, Plinio; CANDURA, Paulo Urban Lighting Concepts and Case Analyses São Paulo, VJ Marketing Institucional Ltda, 2009. 176p.il. (Bibliography) Chap.1. Basic Concepts Chap2. Master Plan – Fields of Application Chap 3. Case Studies VJ Publishing House Av. João Paulo Ablas 327 rooms 1 and 4 Granja Viana – Cotia – São Paulo – CEP: 06711-250 Telephones (5511) 4617-5114 / 4777-0867 Website: www.vjmce.com.br Contact: luzurbana@luzurbana.com.br

PREFACES A well-succeeded encounter

As an urbanist, an architect is an urban space builder whose work includes the crossing of people and vehicles, focusing on the dynamics of a city, but related to constructing buildings and transforming that space into something functional to society. It is also art. But the key challenge to an urbanist is to fulfill the needs of a modern 20th century city, as it has created a wide array of activities that go beyond a day shift and compels those involved in its construction and management to rethink and adapt the urban space to nighttime use, after all, it is still regarded as architecture at nighttime. And on such occasion the science of illumination should take over. It is intended to rebuild the architecture and the urbanism for the nighttime, while life goes on relentlessly in urban arteries.

and intensity and by being a provocative and emotionally stirring intervention.

It is not about beating nighttime. Being just as complex as architecture, lighting involves a broad range of perspectives, reinventing architectural works to attain a diversity of types, scenic, visual and landscaping effects from their elements.

Fascinating and unostentatious, that bridge´s lighting project conveys an feeling of mystery, an element that is embedded in its framework but could only be emphasized with the help of its lighting design.

Artificial lighting has the purpose of transporting architecture to another dimension by resorting to modern equipment and excessive lighting

In addition to being modern, the bridge lighting portrays the energy of the largest Brazilian city. It came as a surprise when I realized that my initial

When I met Paulo Candura and Plínio Godoy on the occasion of cable-stayed bridge project in São Paulo, known as “Ponte Estaiada Octávio Frias de Oliveira”, the first impression that I was dealing with two highly qualified professionals became a certainty later on. Plínio’s art and Paulo’s technique were joined in that partnership whose main objective was to dazzle human eyes by emphasizing the cablestayed bridge structure. That outstanding bridge was lit from an inner angle to render a provocative feeling and show the geniality of lighting in architecture and urbanism

concern that using colors and effects would vulgarize that structure was totally unfounded: created a quite favorable impression. The enhancement of the bridge’s shape and design granted the city one of the loveliest postcard images in the whole world. It is an additional dimension of the same construction, the same idea, and the feeling one may experience at daytime and nighttime. After that project, I met Paulo and Plínio again in another bridge project: Pedestrian Cablestayed Miguel Reale Footbridge, a step further in a friendship that has a long and enlightening way to go, as getting acquainted with the artistic aspect of illumination was an enriching professional experience. And they are qualified professionals that master their work-subjects, complementing each other’s knowledge. Brazil deserves it. And also deserves works focused on illumination.

João Valente Filho, Valente Arquitetos, Brazil

The Future of Urban Lighting As from the last decade, cities in the entire world have discovered a new nighttime dimension. They have initiated their relevant urban construction works and integrated light into them as an important part of public space planning – suitable examples can be found in downtown or uptown revitalization, new policies for public areas, new district development, recovery of industrial areas in dormitory suburbs, new railroad lines, energysaving strategies and tourism development, among other initiatives. As a response to city politicians who intended to beautify their cities and landscapes, master and plan a clear night image and develop quality urban lighting, “Light Urbanism” was born in France in the middle 1980’s and made it possible to introduce new tools for urban and technical planners, such as the already famous Lighting Master Plan. Nevertheless, a large number of cities, especially in Brazil, still have a worn out appearance or overly functional street lighting that make nighttime environments unsuitable for people. They also provide insufficient illumination to their monuments, landmarks or nearly no architectural lighting. That negative situation could be changed

into an opportunity to think of what new urban lighting could be in the future and create a new night view and transform Brazilian cities into more beautiful and attractive sites. Such transformation should neither be carried out blindly nor based on improvisation. Qualified and suitable people should lead the change by creating a new urban form and structure and asking themselves what it is or what could be a new night identity for Brazilian cities. Therefore, the master illumination plan has become an interesting way to clearly express a municipal intent or to provide the city with a new landscape. Urbanism with illumination has slowly become indispensable for: • planning and making profitable all city investments in public lighting. • collecting the required private investments to drive a city’s embellishment (banks, hotels, industries, shopping centers). • setting a legal framework to implement lighting (public and private). • conveying a new city night image to local, nationwide or international media.

• developing nighttime tourism in a different way or to show the riches of a city to its inhabitants. • Provide all city dwellers located downtown, uptown, or in upper-class residential areas with a feeling of pride and belonging to a common territory: their city. An excessive development of urban illumination could pose a potential hazard, as artificial lighting would prevail to such an extent over the night conditions that the enhancement of a natural nighttime environment and the city landscape might be subdued. Thus, urban lighting should gradually become a significant issue to lighting designers. As a next step into the future, we could join forces to invent a new night landscape concept for large urban centers. And to secure a sustainable development, ecological concerns, night environment protection and reduction of light pollution should be systematically integrated into all our lighting projects! Roger Narboni, lighting designer, PLDA, ACE CONCEPTO studio, France

Lighting as a point of harmony with architecture

I have worked with Plínio Godoy for over 10 years and identify proactivity and an unwavering search for the best as his main traits. Those virtues contribute to his achieving a superior quality in the work he develops which is nearly always provided with innovating and creative technical solutions. When he is assigned to a “scenic” or “monument” illumination project, facade lighting, one of his keyconcerns, is to prevent the object to be lighted to be dissociated from the environment it is located, as it should be perfectly inserted into the urban context, without any prevalence of lighting over architecture. His concern with the city and with having lighting as an architectural counterpoint that enhances architectural daytime properties at night, make his work a must, almost an imposition. As far as general lighting is concerned, his reformulation of concepts and systems he adopts, now on a sustainable basis, has brought a new dynamic dimension that is suitable to the needs

of our times, with a strong focus on electric power saving without hindering lighting quality or affecting its aesthetical result as a constituent element of architecture of which is an indissociable part. On the contrary, to meet that requirement, he had to set new working parameters, and his accumulated experience made it possible to make a lemonade from the lemon he had for the benefit of this planet. His project care, search for new solutions, technical innovation, technological knowledge and work creativity are naturally instructive and -as it could not have been otherwise -- pervade this book, taking it beyond the presentation of some of his works to guide new professionals that intend to enter this activity; a path that is already illuminated by his talent.

Nelson Dupré, Architect Dupré Arquitetura, Brazil

U R B A N

Contents CHAPTER 1 BASIC CONCEPTS •••••••••••••••••••••••••••••••••••••• page 001 CHAPTER 2 - MASTER PLAN - AREAS OF ACTIVITY A - MASTER URBAN LIGHTING PLAN• ••••••••••••••••••• page 033 B - GREEN AREAS••••••••••••••••••••••••••••••••••• page 047 C - LIGHTING OUTDOOR AREAS• •••••••••••••••••••••• page 055 D - LIGHTING HISTORICAL SITES• •••••••••••••••••••••• page 067 E - PUBLIC LIGHTING • •••••••••••••••••••••••••••••• page 081 CHAPTER 3 - CASE STUDIES A - NARBONI CASES (FRANCE)• •••••••••••••••••••••••• page 106 B - PALADINO CASES (ITALY)••••••••••••••••••••••••••• page 136 C - COURT OF JUSTICE - SP / BRAZIL••••••••••••••••••••• page 144 D - IBIRAPUERA OBELISK - SP / BRAZIL• •••••••••••••••••• page 148 E - ARCADAS BUILDING - SP / BRAZIL •••••••••••••••••••• page 150 F - CABLE-STAYED BRIDGE - SP / BRAZIL• ••••••••••••••••• page 154 G - PELOURINHO - BA / BRAZIL •••••••••••••••••••••••• page 160 H - CIDADE JARDIM PEDESTRIAN FOOTBRIDGE - SP / BRAZIL •• page 164 Contents

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Introduction This book is aimed at supplying technical information to those who regard lighting as a means of communication and expression, a tool to improve the lives of people through upgrading the quality urban environments at nighttime. Thanks to a light, well illustrated and easily understandable approach, this book seeks to introduce students, architects and managers to a number of theoretical and practical concepts, many of which ongoing further discussion and development by the members of the International illumination Committee (CEI). Its main priority is to inform, bring up for discussion subjects that are often â&#x20AC;&#x153;disguisedâ&#x20AC;? in engineering courses or in the experienced minds of professionals with a long term career and, it goes without saying, to show current Brazilian-developed lighting projects. We take the opportunity to stress a few concepts employed in

international cases in different countries. To facilitate understanding, this text was divided into two parts. The first being technical, packed with updated information and widely used in project development â&#x20AC;&#x201C; the editorial content has been enriched with concepts from renowned sources in the area. In its second part, you should profit by getting further acquainted with what has been done to enhance the world with the aid of artificial lighting. As in the case of all work in progress, we welcome critical comments, suggestions and materials that can be used in future editions. Enjoy your reading! The authors

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CHAPTER 1 Basic Concepts LIGHT is defined as radiant energy that is capable of stimulating the retina of the human eye and consequently produce a visual sensation, triggering a visual perception process. A not only does a complete understanding of light require knowing the physical laws that rule its nature but also the human response to that phenomenon. In scientific history different theories were formulated to explain light. Isaac Newton submitted his first effort in the 15th century with the so-called Corpuscular Theory, that was based on three assumptions: 1- Luminous bodies emit radiant energy as a stream of particles; 2- Those particles travel in straight lines; 3- Those particles act over the retina, stimulating a response that produces a visual sensation. Already in the end of the 17th century, a Netherlander called Christian Huygens presented a Light Undulatory Theory based on the assumption that light is a result of molecular vibrations within a luminous element, and such vibrations are transmitted in a medium called “Ether” with an undulatory movement quite similar to water waves. And those vibrations transmitted that way act over the human retina stimulating a response that produces a visual sensation. Further on, in the 19th century, a Scotch physicist named James Clerk Maxwell establishes

an Electromagnetic Theory, based on the idea that luminous bodies emit light through radiant energy. That energy travels as electromagnetic waves, that act over the human eye stimulating a response that produces a visual sensation. The electromagnetic waves are parallel magnetic, and electric fields propagating in the space at a speed equal to C= If, (where C the speed of light, I its wave¬length or the distance between its peaks, and f is its frequency, the inverse of its oscillation period). Different oscillation frequencies are associated to different radiation types. For example, radio waves have smaller frequencies, visible light has intermediate frequencies and gamma radiation has the highest frequencies. The Electromagnetism Theory allowed the development of Albert Einstein’s Restricted (or Special) Theory of Relativity, in 1905, which describes the physics of motion in the absence of gravitational fields. The notion of variation of the laws of physics with respect to an observer gives its name to the theory, to which the qualification of special or restricted is added because it is only restricted to systems where gravitational fields are not taken into account. In the beginning of the 20th Century, Physicist Max Planck’s attention was drawn to what was, still an unsolved problem by physics of that century, which consisted in the distribution of thermal

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by cable wireless Inductive heat Capacitive heat infra-red radiation UV up to infra-red diathermy Phototherapy x-ray Gamma-ray Cosmic rays

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Cosmic radiation 1021 Fig.1 Visible Light

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energy waves irradiated by a heated body. Under certain conditions, energy is distributed in a unique way. Planck demonstrated that the phenomenon could be explained under the assumption that such electromagnetic radiation was emitted by a body in discrete packages, which he called “quanta”. Planck’s postulate is based on the assumption that energy is emitted and absorbed in definite amounts (photons) and the energetic value of each photon is determined by the product of:

hxv Where: h=6,26x10-34 (Planck’s Constant) and v= photon vibrating frequency (Hz).

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Scientists Louis de Broglie and Heisenberg unified the existing theories of light and assumed that each mass element in motion is associated to a wave whose longitude is defined by the following equation:

l=h/mv

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Where l is the longitude of the wave that is associated to the wave motion; h is Planck’s constant ; m is the mass of the particle; and v is its speed.

Visible Radiation Radiant energy in the visible portion of the spectrum is inserted between two wave longitudes, 380 and 770 nanometers (ESNA, 1993), which means that the human eye is able to see the radiation within these wave lengths, and that radiation is called light. (Fig.1-Visible Light).

Propagation of Light Light in a homogeneous medium travels along a straight line and at a slower speed than when traveling in vacuum, according to a factor called Index of Refraction of the medium. The closer the Index of Refraction is to the unit, the closer is its propagation speed in vacuum (speed of light). When light traverses the interface between two media of different Refraction Indices, a part of the radiation is reflected by one medium while the other part is transmitted by the second medium and is subject to a deviation from its original direction, which indicates that light has been refracted. (fig.2 – Refraction)

When in the same medium, incident and reflected light are equal, in other words, the angle of incidence is equal to the angle of emergence. Reflection on a polished surface is called specular. Concerning the refraction phenomenon, if incident light is in a medium 1 of refraction, and the refracted ray is in a medium 2, with a refraction index equal to n2, the relation between the two angles (incident and emergent) is expressed by the following equation:

n1 sen F1 = n2 sen F2 This expression is known as Snell’s Law

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Spectral sensitivity of the human eye The sensitivity of the human eye is not uniform within the visible spectrum, and the variation in connection to the wavelength may be observed in the following chart. (fig.4)

Fig. 3 - Specular Reflection

Photopic vision In areas that receive a high degree of lighting, generally at daytime, light perception is represented by the photopic vision curve, completely perceived by means of receptors called cones. The maximum response of those receptors occurs in the yellowishgreen portion of the spectrum, whose wavelength is 555 nanometers (nm).

Diffuse Reflection

Diffuse reflection and transmission Broadly speaking, the angular distribution of emitted and transmitted light depends on the angle of incidence of the ray of light in relation to the surface and the level of coarseness of that surface. (fig.3 – Reflection). Light sensitivity spectrum (L)

It should be stressed that when a surface of a specular reflection type is illuminated, the result is a reduced light perception; when a surface of diffuse reflection properties is illuminated, results are much more expressive with respect to that surface reflection index. Altogether, when a certain surface is to be lighted, it would be wise to use bright colors and opaque finishes (Diffuse Reflection).

Mixed Reflection

Violet blue green yellow 1,0 0,9 0,8 Curve value for 0,7 daytime 0,6 0,5 0,4 0,3 0,2 0,1 0,0 400 450 500 550 600 507 555

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Fig. 4 - Sensitivity Curves – CIE

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In areas that receive reduced lighting levels, generally at nighttime, and the human eye is given enough time to adapt to darkness (up to 30 minutes), we have the so-called scotopic vision which is perceived by rods, or rod like cells, a different category of receptors. The retinal rods show their peak response to the blue region of the spectrum, whose wavelength is around 507nm.

Mesopic Vision In the intermediate region between photopic and scotopic visions, we have an interesting type of vision that is known as mesopic vision, where retina cones and rods interact with each other to produce a weak vision in terms of color recognition, increasing red color perception as compared to blue colors (that is the reason a car brake light is red). Therefore, for each moment of the day and its corresponding amount of light, the sensitivity curve moves from photopic and scotopic visions, as illustrated in figure 4.

Luminous flux Fig. 6 - Illuminance

Apparent surface

ted

Li ea ar Luminous intensity

Fig. 7 - Luminance

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Luminous flux F is the portion of the radiant flux of a source that relates to human visual response, as explained in the CIE sensitivity curve of chart 3, between 380nm and 780nm, taking the photopic vision curve into account. It is expressed in lumens (lm).

“A lumen is the luminous flux of a monochromatic radiation characterized by a frequency rate of 540 x 1012Hz and a radiant flux of (1/683)W”

In a nutshell, 1W of radiant energy yields a maximum of 683 lm, when a monochromatic radiation of 555nm is used.

Efficiency of the source Actually, the luminous flux of a lamp is the sum of all the radiant energy that sensitizes the human eye in photopic vision, directly related with the capacity that each source has of transforming electric into luminous energy. Known as efficiency of the source, that capacity is expressed in lumens per Watt (lm/W) and is shown in figure 5.

Illuminance and luminance The concept of illuminance, formerly known as illumination, characterizes the result of a light source that falls on a certain illuminated area. It is denoted by E and expressed in Lux, which is calculated by the following lm/m2 ratio.

1 Lux = 1 lm/1m2 If the area is expressed in square feet, the result is expressed in fc (lm/ft2). According to the area ratio:

1 footcandle = 10.76391 lux Fig.6 - Illuminance

The luminance concept is based on an observer of a lighted surface, in other words, everything the human eye can see may be described by the luminance of a specific object. The luminance of a lighted object depends on the angle of vision between a surface and an

observer, thus it depends on the apparent surface of an object and its reflection index. The international system expresses luminance in candles per square meter (cd/m2). (Fig.7 â&#x20AC;&#x201C; Luminance) Assuming the existence of two lamps of different sizes but showing the same luminous flux, if we look at both luminous sources from the same distance, the larger lamp is perceived as less bright than the smaller lamp, that is, luminance may also be expressed in brightness. Or still, the brightness of dark surfaces is less intense than the brightness of bright surfaces. (Fig.8 â&#x20AC;&#x201C; Luminance and brightness)

Luminous Intensity

standpoint and color from an illumination point of view. The perceived color belonging to an object or light source is associated with an instant perception. It depends on the interaction of factors as the properties of an object and the light that falls on that object, from the surroundings, the direction of vision and capacities of an observer. The color of an object is defined by the color of the reflected light or transmitted by it when it is illuminated by a standard light source (sunlight, for example). Color may be characterized by:

Saturation: corresponds to the purity of the color that sets the shade. A spectral monochromatic color is more saturated. Consequently, as in illumination, white is expressed by the sum of several saturated colors.

By definition, luminous intensity (l) refers to the light that travels in a given direction, within a solid unitary angle, and is expressed in sphere radians or candles (cd). The solid angle is a measurement of a three-dimensional space just as the radian is for a two-dimensional space.

Bearing in mind that an additive concept exists in illumination, the sum of all sources of the monochromatic spectrum produces white, if you have the three basic colors, the RGB system can create light in any color. As far as less saturated colors, we add white light to obtain pastel colors. That system is known as RGBW.

(Fig.9 â&#x20AC;&#x201C; Esferoradiano)

Colorimetric measures With respect to color, we have two different situations: color from a printing and perception

100W Small Bulb

High Luminance The same luminous flux

100W large bulb

Low Luminance

Fig. 8 - Luminance and brightness

Shade: associated to basic colors as red, yellow, orange, green, blue or purple.

The definition of luminance employs a concept of luminous intensity (l), measured in candles (cd). The luminous intensity concept may be described by the unit of light, which is added to express the luminous intensity of a source. This way, the integral of all luminous intensities emitted by a source is equal to the luminous flux of that source.

The sphere radian is the unit of a solid angle, that is, an angle in a three-dimensional space.

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Clarity: refers to the amount of light and expresses the luminosity of luminance.

Fig. 9 - Sphere radian

Among the color-related light properties, two key aspects are required to understand and define the source of light: correlated light appearance or simply, color appearance. When there is a need to express a certain color of light emitted by a light source, this definition is often employed as

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INDIVIDUAL WELL-BEING Visual Output Visual Comfort Visual Adaptation to the Environment

ECONOMY Facilities Maintenance Operation Energy

QUALITY

it directly expresses the emitted color based on a comparison with a known standard. It is known that most bodies emit a reddish light when subjected to very high temperatures. And, as their temperature increases, the color of the emitted light tends to be bluish.

Color rendering index (Ra or IRC) ARCHITECTURE Form Composition Style Historical Value

Fig. 10 – Aspects that affect the quality of a lighting system

It is a measure of correspondence between the actual color of an object or surface and its appearance under a light source. As a rule, artificial light should allow the human eye to perceive colors correctly or as close as possible to natural light. Lamps of an Ra equal to 100 produce colors with full fidelity and precision. The lower the index, the more inadequate is color reproduction. Rates may vary according to the nature of light and are recommended according to the use of each environment.

Human factors in illumination Electric power was first used to produce artificial light over 100 years ago and from that time on a number of studies have been conducted to arrive at descriptions and recommendations of how light should be used in more efficient ways. Initially, research attempted to quantify light, in other words, to measure the various units that could be associated with a light source, as a luminous flux. This way, light underwent new quantitative approaches to which statistical research was conducted based on the observation of universes of statistically valid people. Those approaches were aimed at establishing the amount of light required

Basic Conceptions

for each type of activity. More recently, projectional techniques not only have sought the right amount of light, but also the development of solutions to improve the quality of a lighted area, i.e., to assess the psychological effects of light on human beings – a qualitative approach. The issue concerning illumination quality has been developed at Division 3 (which deals with interior and lighting design) of the International Commission on Illumination (ICI). Its Technical Commission TC334 has established that the quality of an illumination system is determined by the excellence degree attained in terms of human well-being and its integration with architectural and economic considerations. (Figure 10 – Aspects that affect the quality of an illumination system)

Visual comfort is actually reached when a number of requirements that may directly or indirectly affect the act of seeing objects and environments are fulfilled. A few factors may affect visual quality and comfort and be directly related to illumination or the task in itself.

Illumination-related problems The temporary wavering of artificial illumination also known as flickering is the quasi-perception by an individual of such illumination wavering that arises as a result of a fluctuation in the nominal voltage frequency of 50Hz or 60Hz. We use the term quasi-perception because in most cases there is no actual perception of flux oscillation, but it is suggested that constant headaches are associated to that fact. It is interesting to note that when high frequency electronic reactors (30 and 50KHz) are used headache-related ailments are markedly reduced, increasing an individual’s well-being.

When the use of electronic equipment is not economically viable, it is suggested that nearby lamps have their electric phases balanced.

Glare Glare results from directly or indirectly looking at light sources of an intensity that may interfere or prevent the execution of a certain task. The direct or indirect glare produced by a light source is related to the intensity of the observed light and the existing environment lighting. In that case, we are referring to observed luminance, and it is essential for a designer to consider an adequate balancing of that luminance. Glare depends on the luminance of the illuminated element or the source and, as luminance is related to the observed area, it is easier to lessen it when working with larger sized sources. That is why the glare caused by fluorescent lamps is less intense as compared to the glare resulting from small incandescent lamps. (Figure 11 – Glare)

Shadows A shadow is a product of the presence of a light source and an object, as there are no shadows in the absence of light. We may immediately infer that the larger the number of light sources, the larger the number of shadows – however of a lower contrast.

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We should be aware of the fact that shadows may be detrimental to the quality of a project due to the unsuitable visualization caused by an undesirable shadow. That problem is often caused by the spatial relation between the project, the observer and the light source or by undesirable shadows cast by other elements. It is important to consider the use of localized lighting to correct such inconvenience, as it is a quite effective and an easily implemented tool to supply the required lighting to the place in question.

Fig. 11 - Glare

On the other hand, it may be possible to interact with light sources and objects to create lighted spaces where the shadows being cast are desirable for special effects. That technique is called Shadow lighting (Figure 13 – Shadow lighting)

Veiling Reflection A light reflection on surfaces near an observer may be undesirable and are primarily due to the reflection properties relating to the angle of incidence of light coming from a source, or by the extent of reflection of a surface. It may be a diffuse, mixed or specular reflection. Usually, a reflection can be controlled from the light source, a shield or a change in the position of the object, as a book, for example.

Fig. 12 - Shadows

The smaller the light source, the better the definition of a shadow. Based on this relationship, we may call hard light all light that casts well defined shadows, and soft light the light that casts diffuse shadows. (Figure 12 – Shadows) Fig. 13- Shadow lighting

Basic Conceptions

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Light Sources Inert gas or vacuum content

Glass bulb Tungsten filament

Support wire

Contact pole (Nickel)

Drain tube

Contact

Screw thread contact Injected glass

Electric foot contact

Fig. 14 – Incandescent lamp elements

Fig. 15 – Light emission by crystal incandescent bulb

Nowadays, we no longer call lamps the sources of artificial light that are being used in illumination, as there are solid state electronic light sources called LEDs (light emitting diodes). Thus, to understand the evolution of those devices, let’s begin with lamps.

Incandescent lamps Incandescent lamps produce light by subjecting a filament made from transitional metals: tungsten and molybdenum to a voltage. Thomas Edison, an American inventor and enterpriser, the predecessor of the incandescent lamp, found that for a filament to produce light, it was enough to heat it up by means of electricity. However that alone could not produce light for long lengths of time because the filament would burn out. He found that by inserting that filament in an airless space, that is, in vacuum, the filament would last longer and produce light for longer. Technological developments made it possible to arrive at what we now call an incandescent lamp. (Figure 14 – Incandescent lamp elements)

For a more precise specification, we should be acquainted with certain properties of an incandescent lamp, as capacity or wattage (W); operating voltage (V); bulb and base. The capacity of a bulb in Watts (W) is equivalent to the wattage it consumes in one hour of operation. Thus a 100Watt lamp is equivalent to a piece of equipment that consumes 100 Watts an hour.

Fig. 16 - Isocandle curve

Basic Conceptions

Lamp capacity by itself is not sufficient to establish a safe specification parameter, because operating voltage is important for its perfect

operation. Thus, one should specify the operating voltage of a lamp having the operating voltage of the place it is going to be used as a basis. One should check whether the operating voltage is 110V, 115V, 120V, 127V, 208V or 220V. The bulb, a glass container where the filament is enclosed, varies from lamp to lamp, mainly as a result of the consumed capacity. The higher the lamp capacity, the hotter the filament gets and the more space such filament requires. The most popular bulb shape is the “pear”, nevertheless other shapes have been developed to facilitate the use in different lighting fixtures.

Basic photometry Just as any light source, an incandescent lamp produces light in a different way according to each type of bulb. For example, a crystal incandescent lamp whose glass is transparent, produces light as shown in the illustration on the right. (Figure 15) A way to describe how light is produced for use in a calculating software application is by transforming the emitted light into various different plans and different positions with respect to the geographic center of the lamps. (Figure 16 – Isocandle Curve) By joining different light intensities on that certain plan, we have a curve expressed in Candles (cd) which combines the intensities in several directions. This curve is known as Isocandle. Therefore, the sum of the planes that is equal to 360 degrees around the light source expresses the total emission of a lamp or a lighting fixture. (Figure 17 – Total Lamp Emission) It should be stressed that the above method of transforming the emission of a lamp into planes and

That is why reflecting lamps in general should be assessed in terms of photometric curves or practical simplifications, as shown in figure 18. The reading of that curve should take into account the maximum intensity in candles (cd) produced by the lamp in the center of the light beam. Two lines are

Polar curves of circular lamps or lighting fixtures, that is, whose photometry is symmetrical in relation to the central axis of the light source are shown according to the curve presented in chart 6. That curve shows, for each angle, the intensity in candles emitted by a lamp – that particular curve shows that the peak intensity at zero degree is approximately 8,700 cd. (Figure 21)

Half-peak intensity line

Axis

Beam angle

Fig. 18 – Photometric curve of a reflecting light lamp = R63, 60w

Distance in meters from lamp

Beam angle 30° 0.5

Figure 19 shows an example of the amounts of illumination and the distance: a lamp called R63 of 60W and a 30º angle of beam aperture produces, at a height of two meters, an illuminated circle of a diameter equal to 107 centimeters and illuminance equal to 240 lux. An option for a project to achieve an overall illuminated space of 240 lux, lamps should be placed two meters high and at each 1.07 meters in that space.

Fig. 17 – Total emission of lamp

d=54 cm

d=80 cm

d=107 cm

960 lux

1.0

The reflector lamp category may be divided into two subcategories: the first comprising reflector lamps of blown bulbs whose shape is obtained by means of a glass mold and the introduction of the reflecting material into the inside of the already formed bulb. The second category is represented by lamps usually known as PAR (Parabolic Aluminum Reflector), sturdier and more moist resistant than reflecting lamps, The main feature of that kind of lamp is a bulb made in pressed glass, which is more resistant than reflecting lamps of blown bulbs and is often suitable for systems without enclosed lighting fixtures. Belonging to the same category as reflecting lamps, PAR lamps focus the light flux produced by their filament according to the specific directions and intensities of each model. In those cases, the value of the luminous flux is no longer as important as the curve at which the flux is aimed.

A practical use of the curves supplied by manufacturers is the calculation of illuminance at a certain distance from a lamp in a plane that is perpendicular to the normal plane, calculated as zero degree, going through the peak intensity (cd). Trigonometric relationships allow the calculation of the diameter of a circle formed by the emission of a symmetric lamp, as for example a circular lamp. (Figure 19)

425 lux

240 lux

1.5

Reflector lamps is another important category of bulbs that differs from the other categories because they contain an internal layer of reflecting material that produces a specific photometric curve, focusing the light produced by a filament, regardless of the lighting fixture in which it is installed.

considered and show the location of the intensities expressed in candles that correspond to half of the maximum intensity – in chart 4 they are shown as lines of half-peak intensity. The opening width of the beam of that lamp is determined by the angle formed between those two lines.

2.0

curves (Isocandles) may be carried out with any light source or lighting fixture, and is regarded as the way to translate a physical effect into data for manual or computerized calculations.

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alpha = diameter

Fig. 19 - Levels of illumination and distance

Basic Conceptions

90°

80°

2000

70°

4000

Candles (cd)

6000

50°

40°

0°

10°

20°

30°

Angle

Fig. 21 – Aspect of polar curves

200

1500 1000 Percentage of life

Lumens

life

lm/w

700 500 400 300

Watts

Designed by Thomas Edison, the most commonly used base in low voltage situations has also taken the name of “Edison Base” (Figure 23), designed by E XX, it defines its diameter in millimeters, as seen below. (Figure 20)

180

TYPE

Percentage of Watts, lumens, amperes and 140 lm/w 120

âmperes

100

âmperes

Watts lm/w

Lumens

life

100

110

120

Percentage of life

10 130

Volts percentage

Fig. 22 – Input voltage fluctuation

Basic Conceptions

100 70 50 40 30

Base

An incandescent lamp produces light on the basis of the incandescence of a filament connected to a voltage (Volts, V) and consequently to a certain current (Ampere, A). That production of visible light is directly affected by fluctuations in the input voltage, as seen in the curves of figure 22 - Input voltage fluctuation.

160

200

Percentage of Watts, lumens, amperes and lm/w

Performance Variations

The figure is based on 100% of the nominal voltage in the X axis of the chart. Increasing the voltage (V) by 10%, that is, 110%, light production is about 40% higher, but having a useful life about 70% shorter, in other words, approximately 30% of its nominal life. That brutal variation in the useful life of the lamp in relation to the operating voltage is relevant and should be taken into account in facilities whose nominal voltage is different from the lamp nominal operating voltage. In rural areas it is quite common to use lamps of a nominal voltage equal to 220V on the outside in 127V outlets. Light production is far lower than the nominal production, but with a significantly longer useful life

60°

8000

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140

Fig. 20 Edison Basic Table

SIZE

E27 is the most common household low capacity lamp. The bayonet-mount lamp, shown in figure 24, is another type of base that is often used where vibration is always present. It may have a differentiated use with two or three pins when a specific voltage is required. Single-ended bases are fixed into sockets equipped with retention springs to ensure a proper electrical connection. A few dual pole lamps use those devices and are known as double-ended lamps.

Halogen Lamps A halogen lamp is, by definition, an incandescent lamp as it produces light based NAME

IEC

5 mm

Edison Liliput Screw (LES)

IEC 60061-1(7004-25)

E10

10 mm

Edison Miniature Screw (MES)

IEC 60061-1(7004-22)

E11

11 mm

Edison Miniature-Candelabra Screw

IEC 60061-1(7004-6-1)

E12

12 mm

Edison Candelabra Screw (CES)

IEC 60061-1(7004-28)

E14

14-17 mm

Edison Small Screw (SES)

IEC 60061-1(7004-23)

E17 (110v)

14-17 mm

Edison Small Screw – Intermediate (SES)

IEC 60061-1(7004-26)

E26 (110 v)

26-27 mm

Edison Screw – 1 inch – Medium (ES)

IEC 60061-1(7004-21A-2)

E27

26-27 mm

Edison Screw – Medium (ES)

IEC 60061-1(7004-21)

E39

39 mm

Edison Screw – 1 inch – Medium (ES)

E40

40 mm

Edison Screw – Medium (ES)

IEC 60061-1(7004-24)

on the incandescence of a filament. It is called halogen because it contains halogen gases such as iodine and bromine. Scientific research has shown that the use of such gases in the inside of the bulb minimizes the migration of particles from the filament to the lamp glass. The chemical reaction is known as an halogen cycle. (Figure 26) In the halogen cycle, the heated filament sets the gases in motion by convection or heat transfer. Tungsten is evaporated from the heated filament and deposits in the inside of the bulb, as in regular incandescent lamps. An atom of tungsten combines with a halogen atom to form a component called tungsten halide. That component does not deposit in the glass. When the new component approaches the filament it is decomposed and redeposits tungsten back onto the filament, as shown in figure 27. The halogen cycle requires high temperatures that can only be reached in small lamps. Quartz glass is employed, as common glass cannot withstand such temperatures. Halogen lamps are produced for low voltage operation (12V) or for mains voltages of (127, 220V). It should be stressed that filament size is an important issue. In the case of power supply voltages it is significantly higher. And because the low-voltage halogen technology has made available a number of different products, different solutions may be contemplated. (Figure 28)

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Dichroic lamps The introduction of halogen capsules into a glass reflector whose inside cover is made of dichroic filters that allow the passage of certain specific wavelengths and reflect the others, has created a lamp known as dichroic.

Fig. 23 â&#x20AC;&#x201C; Edison Base

Fig. 24 â&#x20AC;&#x201C; Bayonet mount base

Because of their light projection properties with a smaller number of infrared wavelengths, as exemplified by light with less heat, dichroic lamps are recommended to light sensitive objects as pictures because they do not affect, heat or age them. Lamps using a 12V operating voltage require an additional component known as a transformer. The transformer changes the mains voltage from 127 or 220V to 12V. A transformer may be electromagnetic or electronic.

Fig. 25 - Single contact base Extrusion end

Halogen gas

Filament

Housing

Filament contacts

Dimmerized circuits, that is, circuits that allow the adjustment of the luminous flux, require specific lamp models.

Solder Molybdenum blade Contacts

Halogen lamps for mains voltage Being compact and punctual light sources, they emit white brilliant light that can be used for dramatic illumination effects. They can be used in any position and connected directly to the power supply without a transformer. Halogen lamps for mains voltage are available in two formats: single-ended (dual pin) and doubleended lamps (bilateral) that are usually designed for operation at 120V, 230V or 240V. (Figures 29 and 30)

Bases A large number of lighting system manufacturers use the standard base (Figure 31)

Fig. 26 Halogen Cycle

Fig. 27 Halogen lamp components

Infrared rays go through the dichroic layer Dichroic applied on the inside surface of reflector

Visible light reflected by dichroic layer Some infrared leave the lamp directly

Cement Front lens

Fig. 28 â&#x20AC;&#x201C; Dichroic cover principle

Basic Conceptions

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Fluorescent Lamps

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What is fluorescence? It is the property that some minerals as fluorite have of transforming ultraviolet wavelengths into visible wavelengths. Fig. 29 – Single ended lamp models Filamento

Isolante cerâmico

Contato

Câmara Molibdenio

Fig. 30 – Double ended lamp models

6.35

Base GA used in HALOSTAR

Base GY used in HALOSTAR

53 Base G53 used in HALOSPOT 111

Base GY used in HALOSPOT 48

Base GU used in HALOSTAR 35

5.3

Base GU 5.3 used in DECOSTAR 51

The difference between fluorescence and phosphorescence lies in the fact that phosphorescent materials remain illuminant after some time away from ultraviolet radiation. The first fluorescent tubes were developed by Croatian inventor Nikola Tesla and date from 1938. At first, those tubes were linear. Light is produced by ionizing gases that contain a certain amount of mercury, a process that produces ultraviolet radiation (Figure 32) A glass tube that is lined on the inside with a fluorescent powder transforms ultraviolet radiation into visible light. Depending on that powder composition, the visible light produced may present different appearance, color properties and color reproduction rates. A fluorescent lamp whose discharge takes place in a gaseous atmosphere may carry a short circuit in the absence of a component that controls such discharge. In that case, the electric current that takes place in the inside of the gas rapidly tends towards the theoretical infinite condition. That condition is regarded as theoretical because the system may explode prior to reaching that condition.

Reactors 9 Base G9 used in HALOPIN and DECOPIN

10 Base GU10 used in HALOPAR 16

10 Base GZ10 used in HALOPAR 16

Fig. 31 – Base models to halogen lamps

Basic Conceptions

To control that impending short circuit situation, auxiliary devices may be used to prevent the electric current inside the gas tube from reaching dangerous levels.

Those devices are reactors. In their early technology, reactors were electromagnetic systems that literally responded to the increasing trend the current showed when traveling through an inductive circuit. Currently, the use of electronic reactors is an economic reality, as they provide benefits in the form of loss reduction, visible light emission in high frequency, no audible noise and the possibility of lamp dimmerization, that is, reducing the luminous flux emitted by specific fluorescent lamps for high frequency use. Electronic reactors are actually electronic circuits that, in addition to preventing the current to exceed optimum levels, provide the system with the appropriate voltage (V) and current (milliamperes – mA), ensuring maximum efficiency in light production. Those devices also filter out undesirable electric currents -- known as harmonic currents in circuits of buildings that interfere with the operation of computers or other electronic equipment. Nowadays we can rely on linear or tubular fluorescent lamps and compact fluorescent lamps with built-in electronic reactors, as shown in figure 33. We can also find fluorescent lamps with separate reactors that are installed in the lighting fixture, as in the case of tubular lamps. The main specifications of fluorescent lamps are: • Type • Capacity (wattage) • Color appearance • Color Rendering Index

The type of lamp may range from tubular, compact, compact long, circular (built-in or separate). Tubular lamps may be defined as TXX, where XX is the tube diameter in eighths of an inch; thus T12 is equivalent to 12 eighths of an inch and T8 eight eighths of an inch or one inch. (Figure 34)

Compact fluorescent lamps Compact fluorescent lamps are available with a built-in or a separate electronic reactor. In fact, those models are linear fluorescent lamps with coiled tubes for compactness. They may have single, double or triple tubes, depending on their capacity, which may range from 9, 11, 13, 15, 18, 26, 32, 36, 48, 55, 80W. A manufacture’s product catalog usually features the full range of compact fluorescent lamps. The bases for those lamps may vary according to the type of bulb, reactor used – if electromagnetic (two pins) or electronic (four pins) – and lamp capacity. The bases shown in figure 34 have a two-pin electromagnetic reactor while those in figure 35 have bases with four-pin electronic reactors. The difference from base to base and their corresponding sockets prevents reactors and lamps from being incorrectly interchanged, as they are quite similar. The advance of electronic technology has made possible to develop built-in lamps which are very similar to incandescent lamps, can easily replace old lamps and bring on a significant reduction in power consumption. Those lamps are so similar that an incandescent lamp may be mistaken for an electronic fluorescent lamp.

Power consume and lasting life A major advantage of compact fluorescent lamps is their energy saving levels, which may be as high as 80% when compared with an incandescent system of similar luminous flux properties. Useful life is another major aspect, as it is 10 times higher and does away with constant lamp replacement. See analysis on table 2. According to Table 2 below, if we compare an incandescent 100W lamp with a compact fluorescent 20W lamp, at a cost of 0.17 euros per KWh for a period of 15 thousand hours or about five years, energy savings will amount to 207 euros. The main obstacle is the initial investment that may be rather costly for most people – a fluorescent lamp in Brazil costs about 10 reais or 4.305 euros and that is why government programs encourage some Brazilian cities to substitute incandescent lamps for fluorescent lamps at subsidized costs.

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Electrode (filament)

Glass tube

Phosphorus

Electrons

UV Radiation

Atoms of mercury

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Visible light

Fig. 32 – Principle of operation of a fluorescent lamp

Fig. 33 – Compact fluorescent lamp

Unrecommended applications In view of the operating properties of compact fluorescent lamps, they are not recommended in the following applications: • Operation with a wall dimmer: most compact electronic fluorescent lamps cannot be dimmerized by voltage. For further information, refer to their manufacturer’s catalog. • Operation with presence sensors or temporizers: compact fluorescent lamps have not been designed to withstand frequent switching on and off. There are exceptions, but their manufacturer should be inquired for additional information.

Basic Conceptions

U R B A N

Another relevant piece of information on establishing a system and its useful life is obtained by assessing the luminous flux maintenance charts. For example, chart 9 shows that the T8 type lamp is available in a triphosphorus and a conventional phosphorescent powder versions. The depreciation difference in luminous flux is quite evident, and the triphosphorus powder model offers a more stable production of visible light throughout its entire useful life. Then, if we set the same 10 thousand hours of operation, the triphosphorus model should show a reduction of approximately 8% in light production.

• Operation in low utilization areas: the advantage of their economy and long life is attained in areas of frequent utilization. Low utilization areas do not have a good cost-benefit ratio.

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• Unprotected operation in open air or in moist areas: as with any other electronic system, they should be sheltered from intemperate weather T2 (7mm) introduced in 1993

T5 (16mm) introduced in 1998

Performance of fluorescent lamps The operating life of a fluorescent lamp may be determined on the basis of their project assumptions. Specific chart analyses of a lamp’s statistical useful life are a good way to find out when it should be replaced, regardless of its being “off” or “burned out”.

T8 (26mm) introduced in 1970

T12 (38mm) introduced in 1932

Fig. 34 – Tubular fluorescent lamps

Fig. 35 – Bases with electronic reactors (four pins)

This way, a designer should take into account that for 10 thousand hours of operation, a lamp mortality rate of 30% and a reduction of 8% in the luminous flux are likely to take place, and such figures should be used in their specific calculation process.

Thus, in the case of T8 type lamps with conventional reactors, after 10 thousand hours of operation, 70% of the system should remain operational, as shown on chart 8. Then, if a project estimates that a system with 30% of burned out lamps is able to reach the desired average luminance, after 10 thousand hours, the system should show unsatisfactory levels.

DULUX and LONGLIFE

INCANDESCENT LAMP

Capacity

20 W

100 W

Quantity

Operating Hours

15.000 hours

Useful Life

15.000 hours

1000 hours

Total power consumption

300 kWh

1500 kWh

Cost of Energy at 0.17 €/kWh

q 51,00

q 255,00

Lamp cost

q 9,99

15 x q 0,90 = q 13,50

Total cost

q 60,99

q 268,50

Savings per lamp

q 207,51 Table 2 : Energy consumption and useful life of compact fluorescent lamps

Basic Conceptions

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Base G23

Base G24d-1

Base GX24q-1

Base G24d-2

Base GX24q-2

Base G24d-3

Base GX24q-3

Base GX24d-1

Base GX24q-4

Bas GX24d-2

Base GX24q-5

Bas GX24d-3

Base G24q-1

Fig. 36 Base with two-pin electromagnetic reactors

Base G24q-2

Base G24q-3

Fig. 37 Base with four-pin electromagnetic reactors Base 2G8-1

Base 2G7

Base 2G11

Base 2G10 Basic Conceptions

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% of useful life 100 90 80 70 60 50 40

High-pressure discharge lamps Fluorescent lamps are also low-pressure discharge lamps, but they do not fall into the category above and are usually known as discharge lamps. Among the technologies available, two are being phased out from the market: mixed lamps and mercury-vapor lamps.

2000

4000

6000

Chart 8 – Useful life of type T8 lamps

8000

10000 12000 Hours of operation

Relative luminous flux 100 90 80 70 60 50 40 30 20 10 0

2000

4000

Mixed lamps are actually high-pressure mercury-vapor lamps, but with a tungsten filament – similar to incandescent lamps – surrounding the discharge tube and functioning as a reactor.

High-pressure sodium vapor lamps

6000

8000 10000 12000 14000 15000 16000 20000 Hours of operation

LUMILUX Chart 9 – Keeping lumens in tubular fluorescent lamps

Basic Conceptions

Having been developed in the 1930’s, those lamps have evolved from fluorescent lamps and use the same properties to create visible light by ionizing a gas containing mercury and generating ultraviolet radiation that is transformed into visible light by the action of fluorescent powders. The difference is that they consume more, about 400W, and are usually employed in open air operation as in public and industrial lighting, being installed at points over 6 meters high. Those lamp models require an electromagnetic reactor to operate. Such systems used to be quite important, however for current standards they show little efficiency, a rather short useful life and high operating costs. (Figure 36)

LUMILUX DE LUXE / BASIC

Ø 26mm

Known as high-pressure sodium vapor lamp, they use sodium and mercury to produce visible light. Mercury is only used to vaporize sodium as it requires higher temperatures. Thus, mercury vaporization is actually a means to vaporize sodium. (Figure 37)

Due to the high temperature required to vaporize sodium, the discharge tube is not similar to that of the mercury vapor lamp. It is made of oxidized aluminum ceramic, the same material used on the outside lining of spacecrafts, to withstand high temperatures. Differently from the mercury lamp, high-pressure sodium vapor lamps produce an orange-colored light, quite common in public lighting. Egg-shaped high-pressure sodium lamps with or without an internal diffusing layer are used as an adaptation to the lighting fixtures formerly used for mercury vapor lamps. More modern public lighting systems use tubular high-pressure sodium vapor lamps for capacities between 250W and 400W and tubular high-pressure sodium vapor lamps for 1,000W. As a result of the small diameter of the discharge tube, high-pressure sodium vapor lamps show a high lamp or projector output. Technological development brought about a new family of lamps especially designed for public lighting. They use new component fastening systems and a new technology in discharge tubes that is known as extended life (OSRAM markets its Super 4Y model, and Philips offers its PLUS PIA). Those new technologies have given rise to highly reliable illumination systems, of long useful life and low operating cost. (Figure 37)

Auxiliary equipment High-pressure sodium lamps, as mercury vapor lamps, use auxiliary equipment known as reactors. They may be internal or external and be installed

in lighting fixtures or lampposts; such reactors may be electromagnetic

L I G H T I N G

Arch-pipe

Electrode

Resistor and electrode to an auxiliary electrode

-- and operate together with another piece of auxiliary equipment called igniter – or electronic for capacities up to 150W, without the need for auxiliary igniters. They are usually employed in 220V applications.

Metal vapor lamps Metal vapor lamps comprise an array of quite different products and sometimes not interchangeable from a manufacturer to another, especially when reactors and igniters are specified. Metal vapor lamps may be divided in two categories: small and large-sized lamps. The smaller size type includes lamps that have undergone a great many changes within the last few years, the early types were marketed in capacities of 70 and 150W, but produced light of a rather unstable quality, and their light colors would change indiscriminately – when a system was in operation, some lamps would become pink and others greenish. As that older technology used a quartz discharge tube, the small variations in the metals inserted into the discharge tube caused color fluctuation. Later on, new technologies were developed for those lamps, and their discharge tubes started being made of ceramic –similar to the ceramic used in the high-pressure sodium vapor system. (Figure 38) Metal Vapor lamps are available in different colors of light, from the most yellowish to bright white of 4,000K.

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fluorescent cover Screw in noncorrosive nickel

holder

Fig. 36 – High pressure mercury lamp (mixed lamps)

Sodium lamp High pressure

Contact

Niobium Pipe

discharge Bulb

Sodium lamp High pressure

Linear Sodium lamp High pressure

aluminium oxide-ceramic amalgam Electrodus

Rceiver Discharge Arc

Driver wire

base

Xenon gas Welding Molibidenium blade Glass

Fig. 37 – Sodium steam lamp under high pressure

Basic Conceptions

U R B A N

To specify metal vapor lamps, you have to define:

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• Type

Tubular, oval shape, reflector

• Capacity

35, 70, 100, 150V

• Bulb

Ceramic or quartz

• Color appearance Fig 37b – Sodium steam lamp under high pressure

Light Emitting Diode – LEDs The LED lamps will be deeply studied in relation to the technology, structure and novelty, as follows:

3,000 or 4,000K

• Color Rendering Index

65% or 85%

Large-sized metal vapor lamps are available in capacities that range from 250, 400 and up to 2,000W. Lamps of a wattage equal to 250 and 400W are available in the tubular or oval shape type; however lamps of 1,000 and 2,000 are only available in the tubular form. (Figure 38.1) The various bases used in the metal vapor lamps may vary according to the type and capacity of a lamp. (Figure 38.2)

Fig. 38 – Small-sized metal vapor lamps

27 8.5 Fig. 38.1 – Large-sized metal vapor lamps

Basic Conceptions

Fig. 38.2 – Bases used in metal vapor lamps

E27 Edison thread

40 Golliath Edison thread

12 Fc2

G8.5

7 RX7 RX7s24

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LEDs The arrival of high-performance lighting

The LED technology concept is different from that which is found in lamps that use metal filaments, ultraviolet radiation or gas discharge; in the latter, the transformation of electric power into light is performed in matter and for that reason it is called solid state. A LED is a bipolar type component that contains a material treated to create an anode (positive electrode to where negative ions are directed) and a cathode (negative electrode from where electrons depart and to where positive ions are directed) junction. Electric current flows from the anode to the cathode, and electrons fall into an area of lower energy, from where the energy is emitted in the form of photons (light). Depending on the way it is polarized, it allows or blocks the flow of electric current, generating or not

generating light. (Figures 40 and 41) The versatility of LED lamps may be observed in the evolution of their application: initially they were only used in computer chips, small household appliances and electronic panels. In the last few years those devices have found more effective use in public illumination, exterior design of buildings, hotels, and have been introduced in household lighting. A number of installations in Brazil feature that modern technology in their lighting design, as the Octávio Frias de Oliveira Cable-Stayed Bridge, located in the city of São Paulo (see project details in the second part of this work that is dedicated to case studies).

Square 8x8 mm

Round ø 3 mm

Round ø 5 mm

Piranha-type LED

Fig.39 – A few LED models that are available in the market

Properties and Particulars LED have brought about a new dimension to modern lighting by offering a technology that fulfills two pressing needs of current times. The first refers to a more efficient use of electric power, ensuring more sustainable construction works: the dramatic growth of cities and the need to illuminate roads and streets, other urban areas and the interior of facilities requires considerably high amounts of electric power, a situation that LEDs are expected to solve, as LED lamps are able to convert up to 40% of electric power into light, while an incandescent lamp is only able to convert 5% of the electric power into light, releasing the remaining power in the form of heat.

Type-p

Type-n

Orifices

Electrons

Light Reorder

As we could see before, the LED lamp technology was mentioned as being used in one of the existing types of lamps. In this topic we will provide further detail on what is currently regarded as the third stage in the evolution of the electric light, despite the fact that the LED was created more than 30 years ago. Note: the first stage in the story of lamps is represented by the incandescent model that was developed by the American inventor Thomas Edison, a technology that underwent very little change in 128 years; the second stage which began in the 1930’s with the advent of fluorescent lamps – which produce light from a combination of gases in a phosphorus-lined tube.

Conduction lane Fermi Level Space between lanes Valence lane

Fig.40 – Electric current flow in a LED

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Emitted light

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Transparent or color epoxy Connection wire (lead)

LED (chip) Leadframe

Anode (+ve)

Cathode (+ve)

Fig.41- Structure of a conventional LED and its components

Silicon encapsulation

Plastic lens

Semiconductor chip Cathode terminal

Solder connection

Gold wire Cooling fin

Silicon base mount with ESP protection

Fig.42 - High-power LED

Basic Conceptions

The second requirement that LEDs have met in the lighting or urban areas and internal spaces is mitigating the environmental impact, a consequence of their first benefit. Their ecological appeal is supported by confirmed manufacturers’ test data, namely: • Assuming that a lamp remains in operation 10 hours a day: an incandescent 40W lamp would produce 90Kg of CO2 each year in comparison to 28Kg of CO2 each year that would be produced by its LED equivalent in the same period; • The useful life of an incandescent lamp is 1,000 hours, while a LED lamp can produce light for over 50,000 hours, 50 times more than an incandescent lamp and at a lower maintenance cost; • LEDs are also constructed with nontoxic materials. They do not contain mercury, which is found in fluorescent lamps. Encouraged by new laws, energy escalating prices and concerns with greenhouse gases, major manufacturers in the lighting industry have invested aggressively to make the technology available in their portfolios and hastened their pace to take part in installations all over the world. A study conducted by NextGen Research, an American consulting company, reveals that the LED market is expected to show a significant growth within the next five years, driven by an offer of more powerful and economic lighting. Between 2009 and 2013, the segment should grow 22% a year and become a 33 billion dollar-market.

In spite of the advantages described and the enthusiasm about LEDs, the most relevant factor involving such devices is their energetic efficiency, as they provide the same efficiency as compact fluorescent lamps and consume considerably less energy.

Energetic efficiency LEDs may be divided in two categories: low and high capacity. Conventional or low capacity LEDs feature: • A 5mm encapsulation (in general); • Capacities around 0.1 Watt; • Low current (~20mA) and low voltage (3.2VDC); • Low luminous intensity (2 to 4 lumens). High capacity LEDs feature the following properties: • Their more usual capacities are 1 Watt or 3 Watts; • Higher electric current (typically 350mA); • Production of 40 to 100 lumens per Watt; • Excellent optical control; • Low luminous flux depreciation in the course of their useful life; • Instant ignition and reactivation; • Resistance to vibration and mechanical impact, as they use solid state technology or no filaments, glasses and other fragile components; • No mercury or other heavy metals in their composition; • Low heat transfer and no ultraviolet emission.

A high capacity LED has a more complex construction than the conventional model to ensure a proper performance in applications that require more reliability. Its main component is a semiconductor chip that is anchored to a silicon base by means of a solder connection and is silicon encapsulated. In addition to those components, it also has gold wires to conduct electric current, cooling fins and anode and cathode terminals. The whole set is surrounded by a plastic lens. (Figure 42) To preserve the lighting performance of LED devices, the junction temperature and the electric current fed to the lamps, as shown in figures 43 and 44, are viewed as key-factors. High temperature stability ensures a relatively reduced depreciation of the luminous output, even in the presence of fairly high junction (Tj) temperatures. As temperature has a destructive effect, LEDs must be very efficient to minimize heat emission and are usually mounted on a heat dissipator. (Figure 45)

Junction temperature (keeping it constant)

100% a 25°C

High capacity LEDs can produce 25-120lm with 350-1000 milliampere (mA). That current is controlled by an auxiliary device known as “driver”, which plays a double role in LED systems: it regulates LED capacity, controlling their brightness and intensity, and converts the alternate current from the power supply into direct current, producing an output direct current for the LEDs. (Figure 46)

The effectiveness of a LED system is defined by the luminous flux it produces, divided by the input capacity of that system (Watts) and is expressed in lm/W (lumens per Watt).

10% drop with a 30º C variation

Relative luminous flux

In terms of electrical properties, the energy generated in a LED is dissipated in the form of light and heat. Light is emitted by the semiconductor chip and irradiated in all directions, but it does not irradiates heat as a conventional lamp. The heat generated is eliminated by means of the heat dissipator, preventing failure in the device. LEDs do not emit infrared (IR) or ultraviolet (UV) radiation in visible light.

The electric current fed into a LED is the second aspect that deserves consideration. The amount of light emitted by a LED is known as luminous flux and is expressed in lumens (lm). The luminous flow depends on the color and the density of the electric current; the higher the current the LED semiconductor chip can supply, the greater the luminous flux emitted. A difference in luminous flux among LEDs may result in an uneven lighting and may cause spots on the lighted surface.

Junction temperature TJ Fig.43 – Junction temperature

Current

(keeping it constant) Drop

Efficiency

Relative luminous flux

As far as their optical properties, LEDs have a high spectral sensitivity, high optical stability and an array of available color temperatures: cold white (5,300K); neutral white (4,000K) and warm white (3,150K).

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Useful life LEDs are not too susceptible to aging when operated at low currents and low temperatures – a large number of the LEDs produced in the 1970’s and 1980’s are still in operation.

Fig.44 – Electric current

Lighting by means of LED devices requires high current density which is finally translated as high temperatures at the semiconductor junction. That junction has an operating temperature about 65º Celsius and, if exceeded it causes lumen depreciation and reduces the useful life (usually

Heat dissipator Fig.45 – Dissipator

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specified by LED lamp and lighting fixture manufacturers as between 25,000 and 100,000 hours). (Figure 46)

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In fact, balancing that temperature poses a major challenge to manufacturers of LED lamps and components. The light emitted is cold, as there is no UV or IV emission, and lighted objects are not exposed to heat, favoring the lighting of sensitive objects as works of art. However, the LEDs themselves (and thus their whole module) are heated by means of the same process by which light is produced. That heat has to be taken far away from the LEDs as the life of a module depends on the temperature at which it is operated. The colder the module, the longer its useful life and the brighter the LEDs. Curiously enough, LED devices can be used in refrigerators when suitably protected (silicon encapsulation, for example). As one may

Fig.46 â&#x20AC;&#x201C; Driver

Depreciation in the course of useful life (keeping it constant)

100 90

% Relative luminous flux

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80 70

65 55 45 35

60 5 1.000

10.000

100.000

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25 15

Room temperature

1.000.000

notice, LEDs are strong devices, vibration-proofed and do not shatter if used correctly. Moisture should not be a problem for the LED itself but for its various metal parts, connectors and sensitive electronic components in LED modules that may become corrode and cause a failure in a LED module. (Figure 47) In the course of time, all electric light sources suffer a decrease in the amount of light they emit, in a process that is known as lumen depreciation. Incandescent lamps, for example, lose between 10 and 15% of their initial lumen output in the course of one thousand hours of life. Compact fluorescent lamps lose up to 20% of their initial lumen output in the course of their 20,000 hours of life and highquality fluorescent lamps (T8 and T5) lose from 5 to 10%. LEDs may emit light for up to 100,000 hours, but their light output will not be enough for most applications. Nowadays high-capacity LEDs of a white light output efficiently preserve from 70 to 80% of their lumen output in the course of 50,000 hours of life, according to data supplied by the US Department of Energy (DOE). Due to the fact that under normal operating conditions, LEDs did not switch off completely, it became necessary to find a way of quantifying their length of useful life. The Alliance for SolidState Illumination Systems and Technologies (ASSIST), founded in 2002 by the US Lighting Research Center, set the threshold at 70% from which it is possible for the human eye to detect a reduction in luminous output. That is related to the logarithmic integration of the eye, which is less sensitive to variations at higher output levels. Thus, it was established that an actual decrease of

30% in luminous output in relation to the initial value defines the end of a LED’s useful life, but that only occurs in just 10% of the LEDs. In other words, when we say that a LED has reached the end of its useful life at 60,000 hours, we mean, in practical terms, that it still has at least 70% of its initial luminous output. It should be stressed that such level of depreciation only takes place under extreme conditions, typically characterized in terms of current and temperature at a LED junction. (Figure 48)

Colors The type of chip used in a LED determines the color of the luminous output. That chip produces monochromatic light in blue, green and red. A LED’s efficiency is also in that type of monochromatic production that differs from other light sources that produce colors by filtering white light. LEDs use the whole of the energy consumed to produce a single color. The semiconductive materials used to construct LEDs are gallium (Ga), arsenic (As), indium (In), phosphorus (P), Aluminum (Al) and Nitrogen (N). When combined, the produce light of different colors and efficiencies. The combination of materials are AlInGaP (aluminum gallium indium phosphide) that produce red and amber, and InGaN (Indium Gallium Nitride) that produce blue, green and cyan. The specific color output of a LED depends on the materials used to build the diode. Emitting vibrating and saturated colors without filters (they emit a monochromatic wave length, which means the light output has the right color, more lively and saturated), long life and flexible

installation, LED lighting is regarded as the best means to enhance urban landscapes. LEDs make it possible to have a dynamic color control, and their proper use enables a system to obtain a varied color spectrum that includes several shades of white. While LEDs currently offer a wide array of solutions and colors, when they were first introduced, they only emitted a red color of low luminous intensity (1 millicandle). A yellow LED was introduced in the late 1960’s and the first green LED appeared around 1975 – of a wavelength of approximately 550 nanometers (nm) which is quite close to the yellow wavelength, but of a slightly higher intensity (a few tenths of millicandles).

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Temperature Current

Decrease Useful life of up to 50,000 h

LED

Moisture

Chemistry Mechanical influence

While a LED has a long life, it depends on and is affected by a number of factors.

Fig.48 – Useful life of LED modules

In the 1980’s, the introduction of the Al In GaP technology made it possible for red and amber LEDs to reach levels of luminous output that enable them to accelerate the lamp replacement process, mainly in the automobile industry. Only in the early 1990’s, the introduction of the InGaN technology made it possible to produce a LED of smaller wavelengths, in blue, green and cyan. That technology has also brought about the white LED that is available in color temperatures as 2,700K, 3,300K, 4,700K, 5,400K and 6,500K. (Figure 49) White light is emitted by filtering blue light in a specific chip and through a layer of powder that is similar to that used in fluorescent lamps, which is added to neutral Epoxy. (Figure 50) A LED’s white light output can be produced in two ways: the first method uses individual LEDs that emit primary colors and mixes them; the second uses a lining material (phosphorus, for example) to convert the light of a blue monochromatic LED, or

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UV for a broader white light spectrum, the same way that is used for a fluorescent lamp.

Emitted light is a combination of LED and phosphorus Epoxy and phosphorus Regular Epoxy

Blue LED (chip)

Connecting wire

Fig. 49 â&#x20AC;&#x201C; White LED operation

In comparison with other light sources, LEDs are more efficient than incandescent and halogen lamps, but less efficient than fluorescent lamps with respect to white light. Besides producing more light per Watt than conventional light sources, LEDs are able to emit light in any spectral range. They are small and can be installed on a printed circuit board; they can be switched off and on and reactivated instantly; and are excellent for applications that require repeated switching on and off, as that does not affect them. They can also be dimmerized by PWM or by reducing the power input; they irradiate little heat and may be designed to focus and distribute light in any form.

GREEN V = VerdeGreen

Basic Conceptions

Fluorescent lamps are characterized by their high efficiency (lm/W); a narrow range of room temperatures; low heat generation; difficult optical control; long useful life; small depreciation of light output in the course of their useful life; instant

YELLOW

505nm

Y = Yellow (InGaAIP)

587nm

ORANGE

P = PureGreen (InGaAIP) 550nm

O = Orange (InGaAIP) 606nm

670nm

DARK ORANGE A = Oran.Red (InGaAIP) 617nm

BLUE

(Figure 51)

T = TrueGreen (InGaN) 525nm

G = Green (InGaAIP)

Fig. 50 Color temperatures

As regards the high efficiency of white light, that technology provides further advantages, but may be compared to the two existing ones: metal vapor and fluorescent lamps. Metal vapor lamps are outstandingly efficient (lmW); provide a broad range of room temperatures; high heat generation; good optical control; long useful life; significant depreciation of the light output in the course of their lives; ignition and reactivation times rather long; they contain mercury and emit UV radiation.

B = Blue (InGaN)

470nm

RED

B = Blue (InGaN)

496nm

S = SuperRed (InGaAIP) 630nm H = HiperRed (GaAIP) 645nm

No sooner had we grown accustomed to LED technology, OLEDs -- organic light emitting diodes that use carbon dioxide in their composition – have become the talk of the moment, as the future in a number of technological fields, as an alternative to LCD’s in television sets and monitors, or to incandescent and fluorescent lamps. They consume less energy and have better brightness than the inorganic LED. Among the advantages of OLEDs is the fact that they can be manufactured in flexible substrata and in dense and interconnected sets, which makes it possible to install them on uneven surfaces, in the shape of fully lighted ceilings or walls and even in semitransparent windows. The new technology employs a process known as epitaxial growth that produces LEDs up to 100 times smaller than it used to be possible. The excitement about OLEDs is also because they can be rapidly manufactured in large scale, and the deposition of the light emitting materials is done on a plastic material through a process that is similar to inkjet printing. However, the use of OLEDs poses two problems: high cost and equalization of the excessive purity of their light output, which lends lighted objects a cold and unnatural appearance and may cause discomfort and visual fatigue. Due to their high cost, no information is available about the introduction of products based on that technique in the market.

Economic feasibility In spite of what is advertised as a benefit and progress with respect to LED technology, its adoption poses more complex challenges than the old but popular Edison’s gadget, because of the high costs involved in its large scale implementation. A factor that has compelled manufacturers to invest heavily in LED lighting research lies in the high quality lighting they provide. Nevertheless, as the materials employed in their manufacturing process are quite expensive, before that process becomes less costly, those lamps will neither be made available to the public at large nor fulfill their promising urban lighting potential. Lamp manufacturers now face a new problem, as their business were built having customers replacing their lamps on a regular basis. The dilemma that presents itself is how to make a profit when the new means of lighting are expected to last from 50 to 100 times longer than a standard lamp. Compact fluorescent lamps that consume less than a third of an incandescent lamp and last up to 10 times longer replaced incandescent lamps in a large number of households and offices many years ago and, by an act of law, they are being installed in urban public areas. But the lighting sector seems to be convinced that, when LED lamps can be marketed at reasonable costs and produced in large scale, they will be the substitute of choice for incandescent lamps in those spaces and in households.

Efficiency Comparison in Lumens 40% of Lifetime 50.000 45.000

Lumens

ignition and reactivation; use mercury in their composition and give off UV radiation.

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40.000 35.000

400W Metal Vapor

30.000 320W Metal Vapor

25.000 20.000

400W Fluorescent

4.000

8.000

12.000

16.000

20.000

Hours of operation Fig. 51 – White Light Efficiency

Cathode Emitting Layer (organic molecules or polymers) Conducting Layer (organic molecules or polymers) Anode

Substratum

Fig. 52 – OLED Structure

(Figure 52)

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The primary objective of a Master Urban Lighting Plan is to identify all forms of existing lighting to foster a city dynamics and ensure an operation in harmony with a local image. To achieve that harmony, it is important to assess all visual, legal, administrative and economic aspects of a city, as lighting is a core issue and power consuming. A Master Urban Lighting Plan has the purpose of providing guidance to balance electric power consumption and the benefits of having an attractive city and:

between investments in high-quality lighting and the ability of a city to attract and retain visitors. Incrementing that aspect of urban areas and giving them a creative and proper use is a benefit to all citizens, local dwellers, visitors, owners of buildings, cultural and social entities, service supplying and retailing companies; politicians and environmentalists. Economic feasibility studies suggest that investing in lighting may have a positive impact over the increase of per capita expenses in a city.

• Providing security to individuals and property of urban spaces at nighttime;

For a broad Master Urban Lighting Plan to become a viable and long-term document, it requires:

• Emphasizing the structure and identity of a specific area and enhance its image; • Increment the attractiveness of the urban environment to its dwellers by means of functional and architectural lighting; • Transforming urban areas into a pleasant space at night by providing further opportunities of entertainment and enriching urban life quality through suitably lighting an area; • Help to add further dynamics to a city’s image; • Encourage owners of office buildings to keep the facades of their buildings clean and make the city more attractive. Lighting is closely related to the nighttime economy of a city, and so is the relationship

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CHAPTER 2 Master Urban Lighting Plan

• A comprehensive assessment of the existing urban area or the area to be created. That stage requires an in-depth research work involving a macro and micro analysis of the region, identifying buildings and structures according to their function, existing lighting conditions and a survey of potential future developments that may imply changes in points of viewing. That process is important because it enables the lighting designer to plan by “feeling” the city, its form and structure, visual properties and, most of all, its life. • A survey among eminent people in the private and public sector to guarantee the success of the planning effort, which should be one of the first steps conducted in association with the Master Plan. The objective is to secure commitment from all parties.

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• A close cooperation with the agency assigned to supply electric power and maintenance to public lighting and acquainting itself with local lighting regulations, as well as other compulsory codes, power criteria and environmental norms.

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• The establishment of a set of lighting policies that are viable to local government, as an extension of the management plan or an alternative to the regulating system. Master lighting plans are often under the command of lighting designers or urban administrators that are capable of identifying opportunities to make substantial improvement in presenting the city or an urban area at night. Motivation to improve the nighttime image of a city is often driven by civic pride, investment of additional funding or as a response to a particular event, as hosting a sporting event of local, national or worldwide relevance. Once a Master Lighting Plan is in course, after everything has been considered and lighting is fully operating, it would be appropriate for a lighting designer to keep his or her commitment and be a consultant while the plan is carried out.

Concepts, definitions and methodology The primary purpose of urban lighting is to supply sufficient illumination for a clear environment perception and to facilitate an individual’s direction, security and protection. That aspect of urban lighting is related to streets, tunnels, blocks, airports, bus and subway terminuses and parking areas. Another purpose of illumination is to emphasize aesthetic values as the architecture, parks and landscapes. A Master Light Plan for an urban area is a way of combining all those aspects and mutually

Master Urban Lighting Plan

complementing them, taking into account the basic functional lighting, the aesthetic and the emotional aspects created as a response to the lighting design. Such plan of nationwide importance is valuable to cities because it ensures its healthy and intelligent use of lighting in addition to preparing them to meet future needs of their own citizens. It should be born in mind that the nighttime image of the main cities of a nation may vary and be characterized by different types of lighting design. Among the issues that should be assessed to set forth a type of approach to a Master Plan, the following criteria should be taken into account: • Urban identity (whether it is a historical or a modern city); • Touristic vocation; • Commerce and entertainment; • Education, culture, arts. Lighting is closely related to the infrastructure of electric power distribution of a city, which formally approaches only its functional aspect, but nowadays it has been extended to architectural lighting, which fundamentally determines an urban environment. The overall urban lighting perspective may be divided in two groups: Lighting functionality: Lighting has to harmonize with the lighted environments to reflect the nature of an area. A list of lighting functionalities should include traffic and transport; pedestrian areas; sporting areas; business areas; industrial areas; interior lighting, advertising panels and lighting for festivals and entertainment.

• stle • H Religi s isto ous t rica emp les l si tes

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ional Lighting Funct

its

• Exhib g malls, etc. pin • Shop

Entertainm

ent

• Festival • Shows s • Amusemen t parks

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ing ro on li minent a g h and ted p ds open ane focu ls s pro

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empor

âneas

)

ments

ping Ele

•P

en F • Escontes tos ultura s, etc .

) ary por em t ont f ar nd c ks o al a

Landsca

• Parks • Gardens • Stones er surroundings, etc. • lake or riv

Obras (Histó de arte • M ricas e cont • onum

r c Wo istori umentss c. (H on ain , et • M Fount lptures • Scu •

ing

ght or li

s ing s uild ilding ings b u e d ffic trial b ve buil O s i t • ndu stra ngs • I dmini ildi gs • A ltural bu uildin u b C l a • cation u • Ed

itectural Lighting Arch

l areas

Commercia

Building (histori s cont cal and • P empora ry) • C alaces a

ransport

Industrial areas

Inte

T Traffic /, parks and tunnsnels • Streetsnd train statio • Bus as, airports, etc. • Port

• Reveal the beauty of a night scene and create new effects that may compare to daylight

•S

eas

• emphasize a city’s personality or identity and give more prominence to selected spots in the environment;

tadi g are um as o • G ccer s olf a prac reas tice , et area c. s •S

tc.

• lighting to landscapes and major traffic arteries to improve visibility throughout the city and facilitate perception and orientation in an urban scope;

rtin

s, e

• a feeling of safety and well-being to citizens and investors in urban environment;

ar ian estr Ped

A city reflects a community’s cultural activities, and people are part of those dynamics. That is the reason a Master Lighting Plan should be submitted to the relevant community. To fulfill subjective needs from a functional, economic and social standpoint and attract visitors, lighting is an essential provider of:

Spo

ts area tree • S arks rcial • P Comme •

Architectural lighting: A Master Plan should involve urban lighting under a three-dimensional perspective. Which type of lighting should be used in urban elements as civil engineering works; buildings of historical value, contemporaneous buildings (commercial, industrial, administrative, cultural and educational buildings); structures (bridges, viaducts and towers); natural sites or areas built as parks, gardens, green areas for pedestrians and landscape architecture, to ascribe a social and aesthetic meaning to them.

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Fig. 53 - Aspects included in urban lighting

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Stages of a Night Lighting Master Plan Analysis of towns or regions for the case of large cities

Objectives

Analysis

Analysis of existing lighting

Analysis of individual elements

District analysis

Decisions for the master lighting plan

Approvals

Inquiries

Master Plan Structure

Analysis

Master Lighting Plans should be managed by a focused professional with a holistic vision of the project. While Master Lighting Plans are also regarded as a frameworks that lack a variety of lighting elements, they can create a suitable environment in certain areas. Individual initiatives or lack of coordination should be discouraged, under penalty of hindering the feasibility of the Master Plan. As a starting point, it may be useful to introduce scale concepts as the total area of a city, districts and spaces in particular, among other concepts. The stages of a lighting plan are shown in figure 54.

On assessing a cityâ&#x20AC;&#x2122;s characteristics, factors as the size of new and old population nuclei should be reviewed first. For example, cities usually have two or more different characteristics as a result of their historical and contemporary differences. In that case master lighting plans have to be prepared for each separate region and stress their different characteristics.

Lighting Functionality On assessing a cityâ&#x20AC;&#x2122;s lighting, the functional and architectural aspects must be reviewed together. The essential components of lighting functionality are major traffic arteries, ring roads, secondary roads, crossings; parks; pedestrian and biker roads and footbridges; major means of access to the downtown area; commercial, industrial and sporting districts.

Design process

Layout of the lighting solution (power consumption and lighting design)

Environmental considerations

Planning the lighting implementation area

Creation of the luminosity concept (technical and aesthetical approach)

It is important to light the transport network of a city, not only for visibility at night, but also for traffic safety. Highway lighting involves an array of different factors as highway width, traffic capacity and icon structures or buildings. Bearing a cityâ&#x20AC;&#x2122;s characteristics in mind when lighting a city helps people to read the urban layout.

Capital cost

Finance, maintenance and implementation process City lighting operation, management and control system

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The most important components of architectural lighting are natural resources, buildings and structures as fountains and monuments, in addition to other different landscapes. Their function, architectural

Operating costs

Fig. 54 - Stages of a Night Lighting Master Plan

When a Master Plan is formulated, its first stage includes a data survey. That stage requires an accurate and detailed study of the entire urban area or of that part of the city where the project should concentrate. The data gathered in that process should become the work basis for the lighting designer.

Fig. 55 - Urban area analysis

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City image and identity The nighttime image of a city or a village is an important factor to construct its identity. Natural resources as mountains, valleys, hills and rivers,

among others, together with major local architectural structures, artistic landmarks and use of high tech, are aspects that contribute to construct the image and silhouette of a city. Lighting has to reflect and convey that identity at night, without any losses resulting from lack of planning and improper installation.

Total urban area analysis

(Utility and architectural lighting)

City users

Natural properties

Silhouette, landmarks and belvederes The silhouette effect of a city is formed by natural and built structures. The silhouettes of some cities are composed of elements that may have a landmarking or reference point effect, as Big Ben in London, the Eifel Tower in Paris or Christ the Redeemer Statue in Rio de Janeiro. Aided by light, they become appealing at nighttime as much as when seen at daytime. Distances affect the angle of vision and a silhouette’s elements: if the object is too far, lighted surfaces can be perceived

City image

Hierarchy (of buildings, streets, etc.)

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shape, historical and contemporary values further the symbolism of a city, and a large number of metropolises have a special character because of their relief and surface configuration, or natural areas that make them particularly appealing – in some cases they are the main factors that determine a city’s structure and its settling, as the city of Venice in Italy, Amsterdam in Holland, crisscrossed by channels or rivers, and the city of São Paulo. Those natural resources are important to create a city’s identity and must be thoroughly considered in any Master Plan for the urban environment (Figure 56)

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City identity

Silhouette effect of a city main architectural characteristics of the skyline

Observation points (belvederes)

Outstanding sites of a city

Observation distances

The best sights

Suburbs

Individual elements

Existing lighting

Objectives Fig. 57 - Urban area analysis

Fig. 56 Geographic and architectural elements of the city of Rio de Janeiro

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in their total illuminance. However too many structures may obstruct the viewing area. Nevertheless, when a an object is near, very few elements get in the way of the silhouette and when there is different lighting among them, more details can be exposed.

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In the case of belvederes or observation towers -located in high places to allow a wide view of a city â&#x20AC;&#x201C; when working to determine a silhouette it is important to choose the directions and the views that form an effective image of the region. The next procedure is to light the values of a city, which are determined according to the angle of vision, to construct the silhouette as seen from various angles and directions during the day. (Figure 58) Fig. 58: The Eifel Tower in Paris has become the worldwide symbol of the city

Regions The basic approach of a Master Lighting Plan comprises a study and an assessment of special characteristics and the different living and economic functions of a city. The main characteristic of a city, whether historical or modern, is determined by the combination of its regions. The physical features of the regions include different components, textures, space, forms, construction styles, symbols, activities, topography, and the uniformity of facades in built areas, materials, colors and ornaments. Names of regions also help to built the identity of a city, even when the theme is not intrinsically related or contrasts with other areas in the city.

Individual elements In addition to an analysis of a city and its regions, the study requires a detailed analysis of each of its elements. The criteria for that evaluation should be based on their functionality to the city: their historical relevance; appearance; architectural

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properties; artistic excellence, silhouette effects; perspectives; distances; properties of buildings (colors, shape, dimensions) and promotional effect.

Project-related procedures For economic reasons, the initial expenditures with the operation of the lighting related elements must be assessed and prioritized according to criteria as historical importance or architectural excellence. After concluding a detailed analysis of the city, gathering information on lighting and its functional and architectural aspects by assessing the existing lighting, submitting ideas about likely sceneries, a few choices concerning the lighting design should be introduced. To create the concept of viewing points of a city, both utility lighting and architectural lighting should be assessed as a whole. One cannot neglect the effect that both will have on car and pedestrian streets and in perceiving and using a city. Different luminances and shaded areas play an essential role in perceiving three-dimensional objects. In urban lighting, it is important to audit and establish suitable luminance values to provide visibility. If those factors are neglected, lighting levels are often increased and that increase may produce unfavorable results in the form of a higher electric power consumption and light pollution. Therefore, some lighting restrictions should be adopted within the scope of a Master Plan.

Surrounding neighborhoods The brightness issued forth by surrounding neighborhoods and the luminance of buildings in the background of the area to be lighted must be

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Lighting colors and applications Lighting colors play an important role in lighting quality. Different sources of light have different color outputs, and to compare sources of light and color output, we use a color measurement standard called Kelvin (K). In the case of temperature radiation, that is the accurate measurement: lamps with the same temperature have the same color output. That rule does not apply to gas discharge lamps due to differences in color reproduction, even when lamps have the same or slightly different color temperatures. Broadly speaking, some yellow materials have a natural appearance when lighted by regular or high-pressure sodium vapor lamps. However, under the same light, blue-colored materials seem quite unpleasant. The use of color lighting for architectural elements also relies on experience and on the influence of the local culture. Sometimes, different colors elicit different emotional responses in different parts of the world.

Light pollution Currently, it is important to assess subjects as aesthetics, electric power consumption, applicability, maintenance and economy from a sustainability standpoint in the Master Plan. The Master Plan should list both the advantages and the costs relating to lighting design, its applicability, operation and maintenance.

The costs of a maintenance system are primarily related to a proper design, which has to be achieved having the Master Plan as a basis, considering the number of elements that should be lighted and the rate of brightness that is needed for an attractive view of the urban area, keeping the same lighting levels at a minimum electric power consumption.

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assessed before being included in the Master Plan. If the surrounding neighborhoods and building in the background find themselves in the dark, some lighting should be required to illuminate some buildings a little more. If the surrounding neighborhoods are bright, it might be necessary to create a contrast among buildings and their surroundings, or it is also possible to use color instead of luminance contrast.

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In every architectural project of outdoor lighting, to prevent waste of energy or light pollution, it is important to bear ambient lighting in mind. The greatest motivation a Master Plan should have is to ensure that outdoor installations will not give rise to light pollution, intense brightness at nighttime or any other inconvenience. The negative effects resulting from such inconveniences may have an impact over many aspects of city dynamics, as jeopardizing the privacy and health of dwellers in their households, as a result of the invading light from the sources installed on the street. When the definition and the installation of outdoor lighting are improperly projected, the obtained brightness effect may also have a negative impact over peopleâ&#x20AC;&#x2122;s safety feeling in public areas. In the transport system, for example a consequence of excessive building illumination is that drivers may get distracted, compromise traffic safety or make it difficult to identify lighting at airports. Plants and animals may also resent excessive lighting when light sources are installed next to trees and affect the blossoming period of plants or the nighttime activity of animals.

Fig. 59,60,61: suburb and outskirts variety

To prevent such inconveniences, lighting design and installation should restrict the use of illumination to normal tasks, block the lighting cover so it does not go beyond the horizontal plan in any direction, Fig. 62: Obfuscating caused by the light

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distribute the lighting among lighting fixtures that do not emit excessive brightness, or use presence sensors that switch the light off when no people are around and take advantage of its benefits that way.

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Use of electric power and maintenance considerations Any Master Plan implies costs to the country or the city it belongs, in spite of the advantages it should create. For that reason, this document should list all expenses and consider four lighting stages: project; application; operation and maintenance. At the design stage, the lighting system costs are based on determining the number of elements as buildings, artistic facilities or natural sites that should be lighted so no unnecessary lighting is produced. To supply an appealing vision of the urban environment, a proper luminance distribution design keeps the lighting level at a minimum and, if possible, makes use of renewable energy sources as solar energy. At the stage of application of a lighting system, equipment requirements may range from lamp selection and lighting fixture design. High luminosity lamps â&#x20AC;&#x201C; as defined by the ratio: luminous flux / energy required by the lamp â&#x20AC;&#x201C; should be prioritized, and we should not overlook factors as light color, lamp useful life, ease of operation and prices. Lighting fixtures require an adequate design to provide lamps and their surroundings with protection to prevent the light from interfering with the dynamics of the place where they are installed. Lighting operation is crucial for the life and use of an urban environment at nighttime, as it allows drivers of vehicles and pedestrians to circulate, and must play an essential role in the Master Plan

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of a city. City streets, for example, should not be assessed isolatedly in the Master Lighting Plan: parks, crossings, tunnels and major arteries are part of the environment men have built and differ from each other because of factors as capacity: encompassment; types of vehicles that circulate at a place; location in the city (downtown, historical areas, commercial, residential or entertainment areas); and environmental factors. Streets may be integrating elements with the environment to which they belong and, in that case and for further harmony, the lighting fixtures used to shelter the lamps must meet requirements as dimension, shape, height, anchoring, color and connection with the streets. Additionally, lighting fixtures and lamp posts should feature a design style that matches other urban furniture items as benches. Street width is another factor that may influence the choice of urban lighting equipment. It might not be adequate to use column-mounted lighting fixtures on narrow streets located in older areas where pedestrians circulate or containing parking lots. In that case, wall or catenary light types may be used. Furthermore, it is necessary to differentiate streets according to their properties to create a hierarchy among them. Such ranking may be indicated by light color differentiation and not only by the level of illumination or the lighting equipment models used, allowing the reading of the city plan and facilitating its understanding.

Urban spaces Urban area design has undergone significant changes with the advent of buildings as shopping malls, factories and human concentration areas that have been set apart by residential areas to create

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The prevailing visual elements in pedestrian areas are the pedestrians themselves and the furniture of the streets they frequent – benches and waste receptacles, plant arrangements and building facades. For those elements, vertical artificial lighting often lends them more relevance than horizontal lighting. As pedestrian have different visual needs from automobile drivers in many ways -- slower locomotion and more proximity to objects -- the surface pattern and the texture of objects on the street and sidewalks is also relevant. For that matter, urban lighting should allow pedestrians to discern obstacles and other hazards nearby, and be aware of other pedestrians. For that purpose, lighting a surface both vertically and horizontally and controlling brightness are key factors. And to ensure that pedestrians walk safely on the streets, horizontal lighting is most recommended; vertical lighting is recommended for face recognition.

Interior Lighting Many modern buildings were conceived with glass facades to show their fully lighted structure at both day and nighttime. That lighting gives rise to a different perception of the environment with respect to size and shape of a building, interior decoration color and color and type of lamps and lighting fixtures.

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safer and aesthetically more pleasant environments. In those areas the lighting equipment receives a design that gives it a unique identity that matches the aesthetics of the region.

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Lighting panels are an efficient way of advertising and may add something to the urban nighttime environment. That is particularly true in the case of shopping malls. In some cases, those panels should be attractive enough to deserve special lighting, not only because of their commercial vocation but to strengthen their amplitude in the urban environment.

Advertising elements Advertising elements are part of the urban furniture and require an assessment in the context of urban design. They have different properties and may be applied to: • Buildings (facades, roofs and sometimes as part of the buildings or as added parts); • Next to streets or public parks;

Parks

• Three-dimensional advertising totem poles;

Are areas used for leisure activities as strolls, open air games, having a meal-break from work, among other activities, and require attractive lighting. In the case of parks surrounded by buildings, lighted facades and lower floor windows in a building which emit light from their inside environments, more illumination should be added to such parks. Thus some larger sized parks may give off a feeling of larger than real with the help of lighting. However that lighting should not cause light pollution. (Figure 63)

• Places of urban infrastructure (for example bus stations); • Affixed to vehicles. The appearance of advertising elements varies according to changes in incident light during the day. However, many of them can be sighted. At nightfall, their visibility depends on internal lighting and on the lighting they receive from the outdoor environment. When properly managed, advertising elements may become appealing within the urban

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environment context. However, if the light they emit is not controlled, they may prevail over other landscaping elements and impart an unfavorable view of the city causing glare and light pollution as a result of excessive lighting.

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of the work size or scale, the following aspects should be taken into account: • Macro scale (the environment); • Environmental conditions; • Surroundings and outskirts;

Entertainment lights

Fig. 63: The night lighting of Ibirapuera Park in São Paulo is a good example of proper lighting.

“Shows of lights” in events and festivities are anxiously expected by people. Those performances that feature lights and animated color images contribute to increment the appeal of a city. Places where such performances are presented on a regular basis, as Las Vegas in the USA, visual effects establish a suitable interactivity with the image of the city. Programmed festive lighting to announce Christmas or New Year temporarily lights buildings and structures that in general are not lighted in a more effusive way. Such exceptions may be assessed in the scope of a Master Lighting Plan. The lighting equipment that has an impact on a city’s visual properties may be projected and installed on those occasions, according to the general properties of that city, as well as the urban context and energy consumption, as specified in the Master Plan.

Architectural lighting Lighting the main monuments, sculptures and infrastructure elements (towers, viaducts, tunnels) and buildings (commercial, educational, palaces, castles, hospitals and churches among others), whether they are historical, classical or contemporary, is relevant to the urban scenery. The lighting design concept enhances the features of a building. The installation design has to be in harmony with its surroundings, as such harmony will give a feeling of safety and protection, encouraging people to attend a place. Regardless 42

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• Arrangement of buildings; • Construction style (classical, contemporary, conventional); • Forms, volume and facades; • Colors; • Light reflection factors After the data gathering task and prior to carrying out any change or implementing any lighting technical solution, it is necessary to establish settings for the lighting design in terms of lighting level and intensity; luminance control; contrast and uniformity; modeling; lighting color; and brightness control.

Landscape lighting When developing the master plan, the landscape elements that make an important part in the city design, such as parks, gardens, green areas and fountains, need to be considered. Many of these areas can be better worked by the lighting design than buildings and it is important to plan the lighting to these areas according to the local they are placed, their functionality and use (shows, fairs, circles, etc). There is a need to pay attention to avoid unnecessary lighting levels, such as the lighting pollution; moreover when it is illuminated the building surroundings, green areas and trees one can not exceed those lighting of building surfaces.

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Public and Privately-Owned Green Areas Recent developments in lighting technology have encouraged more detailed studies of how the resources made available by artificial light may be used in larger design projects, both in households and gardens. A wider availability of lighting equipment, especially compact models that are quite efficient and consume less energy, has given sustainability to the practice of lighting green areas, and the expansion of public area lighting fixtures inspiring examples of how lighting may add value or completely change the appearance of buildings and structures.

Having larger volumes and areas, public green areas are part of the city context, such as preserved wild areas in natural parks, urban landscaping projects, whether protected or unprotected. They are resting areas, where people gather during the day.

Green areas may be classified into public and privately owned. Assessing their characteristics, we perceive that public areas use more voluminous arboreal elements, for maintenance and implementation cost considerations; on the other hand, privately-owned areas use more different and varied types, volumes, numbers and colors. While the lighting function of both privatelyowned and public green areas may be classified into: • Ornamental lighting; • Basic lighting; • Task lighting; • Access lighting; and • Safety lighting.

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Among the main decisions a lighting expert has to make is to act according to observers expectations or work up effects that should surprise users. As one can see, responses to bold lighting projects are related to the cultural level of observers.

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Lighting projects of public parks include a volumetric relationship: the volumetric definition is obtained by enhancing existing arboreal and architectural elements and seeking to minimize lamp observation in a park so the trees – and not only the lighting - may be seen from a distance. It is important to emphasize the landscaping to achieve an urban lighting that complies with a specific aesthetic alignment, creating a special moment in a city. Another aspect of a public park lighting project is that it regards a public park as a local ecosystem which shelters a number of animals. In that case, lighting has to have an adequate relation with their habitat to see that animals are not disturbed or abandon the area because of excessive lighting, for example. Privately-owned green areas comprise residential spaces or office buildings, have small and medium-sized arboreal elements, as trees, bushes and lawns. Such areas also have a larger number of details of the existing elements and in a smaller scale than public green areas. The lighting of a privately-owned green area seeks to enable nighttime perception of arboreal and landscaping elements that exist in private, semipublic and public locations; transform outdoor areas into an extension of indoor areas – called “external rooms” – and provide safety or environmental lighting with the ability to adjust to different moments and the type of use in that environment. Specific lighting of a privately-owned green area, in addition to modern landscaping concepts, includes the formulation of projects for areas that are an extension of the living-room of the corresponding households. Lighting is employed to create in that space all the life that one would like to enhance,

Master Urban Lighting Plan

developing an atmosphere that may range from lively, introspective, welcoming, among others. However one has to be aware of priorities and create a rank for those elements. And that applies to both public and privately-owned areas. Many project are developed in interior architecture taking natural lighting into account. An interior architect sets priorities based on how people will interpret that place. By nightfall, the artificial lighting of that interior space is able to follow those priorities or a different moment from the environment in terms of perception. External areas may also follow that trend, and lighting may be used as a tool to accomplish that purpose. The higher the cultural level of a project sponsor, the more open to new perceptions the individual should be. It is up to the lighting expert, the lighting designer, to perceive whether he is fulfilling a sponsor’s expectations or conflicting with them.

Project considerations Landscaping functions are a result of the interaction of a space, its surroundings and the corresponding people, as well as the purpose and the moments people may decide to have in it and their viewing points of the created landscape. Within the above context, a lighting development project for privately-owned green areas should include four environment assumptions: • Layout; • Functions; • Destination and moments; and • Viewing points that should mean how a person’s sees the space.

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Once that information has been gathered for the project, the lighting designer has to understand the functions of the area where his project will developed. When the landscaping of certain local areas is selected, in other words, ideal spots from where that landscaping can be observed. For example, some parks in the United States erect totem poles that are usually sponsored by camera manufacturers informing that that location is a “photography advantage point”, which means that from that spot one can take perfect pictures of the park landscape. That exact viewing spot is known as a “viewing point”. Transporting that situation to a lighting area, to make his landscaping, a project designer needs to assess all common points of view in that space. If the landscaping is already there, the place should be visited for project development purposes; if it is already being developed, the lighting designer should imagine he is visiting the place and put his imagination to work to have an idea of how the project should unfold. That is the trick of any lighting project – both internal and external --, because lighting is not the problem but the type of perception that lighting will elicit in its observers. Lighting experience allows a good causeand-effect relationship.

As far as the landscaping and lighting function is concerned, one may regard the contour elements as an initial function, the important volumes included in the lighted space as a second function and the adornment or decorative elements as a third function. That functional classification is applied in other outdoor lighting areas, as historical landmark lighting, which we will see later on.

Check list When producing outdoor nighttime lighting, you have to be cautious, because if an element is not perceived, it can give rise to hazardous situations to passersby. For that reason, the development of lighting system for outdoor areas has to be assessed and reviewed from the standpoint of potential hazards in their functions and objectives, as described under the title “Check List”, to Prevent Serious Safety Risks.

Lighting effects

CHECK LIST To Prevent Serious Safety Errors chapter

A landscaping project layout is a composition of arboreal volumes and elements, creating different spaces and settings in their volumes, colors and functions. It is necessary to consider the layout of the outdoor area and details of arboreal elements, as for example, if they are tall or short, voluminous or narrow. A landscaping project has to foresee how volumes are going to relate with each other and with the space to be lighted.

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Potentially hazardous situations

Place of danger

Changes in level

Stairs, ramps, decks not closed

Changes in direction

Way intersections

Entrances

Doors and accesses

Paths near water or above it

Bridges, stones, swimming pool borders or benches

Open areas used as walkways

Terraces, pavemented areas or grass

Obstacles

Trees close to ways, branches or high caulis

Pedestrian areas

Ways

Specific areas

Barbecue pits, equipments, playgrounds

Lighting effects are a consequence of the project process and, in fact, the elements we seek to achieve for a correct perception of the lighted space. Different results may be obtained by placing the equipment in different positions with respect to the lighted elements, as shown in the following pictures.

Down lighting Down lighting requires that pieces of equipment and light sources be placed in higher places and focusing on the ground. That effect produces safety lighting. The equipment used to obtain it may be controlled and used in situations of panic – they are also called light fences because they scare away intruders and ill-intentioned people. (Figure 64)

Fig. 64 - Down lighting

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Up lighting chapter

When lighting is directed towards higher places, the equipment used to produce that effect enhance voluminous arboreal elements, facades or vertical surfaces.

That effect is generally used with light sources of concentrated focus. Proper care should be exercised when using the cross-lighting effect to prevent disagreeable glare at common observation points. (Figure 68)

Today one can find equipment with different types of focus and a diversity of lamps to produce a broad spectrum of colors, intensities and angulations and attain that effect. (Figure 65)

Spotlighting

Grazing (Texture)

That effect is often used in situations where the object to be lighted is located at some distance from the spot where the light comes from, as for example, next to the roof edges of a building to light certain points or the different levels of a path where people walk. (Figure 69)

A variation of the Up lighting effect, because it angulates its focus towards the subject, usually by means of external lighting or spikes.

Fig. 65 - Up lighting

Is the positioning of projectors close to lighted rough surfaces, whose projection angle enhances surface textures and characterizes the grazing effect. That effect may be convenient when intentionally projected, but it may also be inconvenient when resulting from an incorrect positioning of light sources on supposedly smooth walls. Grazing may be joined together with Down lighting or Up lighting. (Figure 66) Fig. 66 - Grazing (Texture)

Wall Washing When a lighting piece of equipment is considerable far from a vertical surface, the result is an even lighting known as Wall Washing. It is widely used for architectural enhancement, but if applied incorrectly, it will produce an intermediate effect between Wall Washing and Grazing. The Wall Washing effect may be joined together with Down lighting or Up lighting. (Figure 67)

Cross lighting

Fig. 67 - Wall Washing

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Is an effect produced by projecting a beam of light that crosses an outdoor environment, aimed at a usually decorative and distant elements.

Mirroring Mirroring is one of the most beautiful and refined effects in lighting external areas. It uses the lighting of a decorative or arboreal element, prioritizing the observation from a specific viewing point through the reflection of a mirror on a water mirror or blade. A good result of that effect is the harmonious interaction of the equipment that cast light on the arboreal element, the element itself and its observation through a well chosen viewing point for reflection on a water mirror. The arboreal element in mirroring is indirectly prepared. (Figure 70)

Silhouette Is another effect that may fall into the highly sophisticated lighting category. When a volume, wall or other arboreal elements are lighted and a relevant element remains anonymous and appears as a silhouette. That light â&#x20AC;&#x201C; shadow relationship is

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so important that silhouetting is part of a process known as Shadow Light, in other words, lighting with shadow. The Wall Washing effect may be used to obtain better results, however the Grazing effect produces a more dramatic and theatrical effect. (Figure 71)

Floodlighting The Floodlighting effect is a Down lighting effect that has the purpose of lighting larger areas with equipment of wide beam aperture. Normally used for the security of areas as parks, soccer fields and gardens, it can be extremely aesthetic when used as a Moonlighting system. (Figure 72)

Fig. 68 - Cross light

Fig. 71 - Silhouette

Moonlighting Just like the name says, Moonlighting seeks to represent the light of a full moon, creating shadows of tree leaves on the ground. It is a sophisticated effect that is difficult to create, as it requires the installation of equipment in abundant large-leaved tree-tops, well defined and strong branches for the equipment to be installed on the branches and hidden in the foliage. It requires a thorough analysis and an acute common sense from a lighting designer. (Figure 73)

Fig. 69 - Spotlighting

Fig. 72 - Floodlighting

Fig. 70 - Mirroring

Fig. 73 - Moonlighting

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The social and economic changes humankind has undergone in the course of the years, especially in the 20th century, are forces that have had a drastic influence on the dynamics of the city and the environment where we live. The advent of lighting and the actual inclusion of the automobile in the everyday life of any large metropolis, an effect that is known as motorization that left behind older forms of locomotion, are regarded as worldwide important events. In the course of the excitement brought about by the automobile novelty, the American model of transporting cargo and people in cities using motor-driven vehicles as cars, trucks and light transport vehicles showed to be superior. In Brazil and in practically all Latin America, the automobile started being produced in series a short time before World War One: in 1919 the first automobile manufacturer, Ford Motor Company, whose first project was the assembly of the famous Ford Model T. President Getúlio Vargas encouraged the first steps towards industrialization and the establishment of an automobile industry. President Juscelino Kubitschek, with his motto “50 years in 5” in the 1950’s paved the way to investments in primary sectors as siderurgy, hydroelectric plants and highways, leaving the durables and the automobile industry in the hands foreign capital enterprises.

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Lighting Urban Areas A pedestrian’s city Only in the second half of the 20th century, Brazil became an urban country. At that time, more than 50% of its population started living in the city and, from that time on, the urbanization process in the country was increasingly accelerated. That happened especially after the industrialization process had been intensified as from 1956, as a result of the development-driven policy of Mr. Kubitschek’s government. According to the United Nations Organization (UNO), in 2005, Brazil had an urbanization rate of 84.2% and, according to some forecasts, until 2050, the amount of Brazilians who live in urban centers should leap to 93.6%. In absolute figures, there will be 237,751 million people dwelling in the cities of the country in the middle of this century. The development of the automobile industry and the resulting expansion of motorization in cities – a process that took place along the 1950’s, 1960’s and 1970’s --, brought forth a gradual loss of pedestrian space and favored the creation of specific areas called carriage ways for vehicle circulation. That new type of locomotion in cities, gave rise to concepts of marginal roads, perimetrals, viaducts, level and tunnel underpasses. On the other hand phenomena as traffic jams -- a common inconvenience in the daily lives of large centers in the world -- have a strong impact on the life quality of people because they increase traveling time and

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reduce the speed a fast car has to move on more and more crowded streets. Another consequence of motorization came in the form of a significant reduction of outdoor space for people to increment their personal relations, restricting them to their neighborhoods, or compelled the development of indoor leisure space as shopping malls, skating rings and gymnastic academies, among others for such relations to be able to develop in spite of adverse conditions.

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A recovery movement The quality of life in large cities began deteriorating as men accomplished technological achievements in the course of the 19th and 20th centuries. But a great step towards the achievements that changed labor relations and leaped towards transport and machines that have lasted until our current days was taken during the Industrial Revolution in England in the 18th century. If on the one hand, machines replaced men and brought forth thousands of unemployed people, on the other hand, it lowered the cost of merchandise and accelerated the pace of production. In the field of transport, steam locomotives were introduced and steam trains that could transport goods and people in a shorter time and at lower costs. As the years went by, the automobile became men’s greatest object of desire and, at the same time, a major source of inconvenience to the dynamics of cities, which began to coexist with the flow of motor-driven vehicles. And figures can give an idea of how big the challenge of reconciling vehicles and pedestrians in cities is, as vehicles and people grow at quite different rates. According to a study conducted by Brazilian Sindicato Nacional da Indústria

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de Componentes para Veículos Automotores (Sindipeças), published in early 2009, the fleet in circulation showed a 38% increase as compared to 2000, leaping to 27.8 million vehicles (cars, light commercial vehicles, trucks and buses); in the same period, the population showed a 12.7% increase, reaching the mark of 191.4 million people. These figures give rise to reflection about the quality of life in large centers, since the act of walking, one of its major pillars, ended up by being restricted because of the discovery and later automobile consumption explosion. Architect João Valente Filho, in charge of the architecture, urbanism and work site landscaping project, such as the highway network that comprises Avenida Água Espraiada, Avenida Roberto Marinho and Octávio Frias de Oliveira Cable-stayed bridge, in the capital city of São Paulo, points out that the movement to reclaim people’s life quality has follow each technological achievement that occurred in the course of centuries, and that is a continuous process. As a breadbasket of technologies, that quality recovery movement started in the European continent and progressed to the Americas to fulfill emerging requirements created by each invention. The truth is that we are still under the influence of technologies that appeared years ago -- as the plastic used in packaging, garments and parts, among other items, and lasts for over 100 years before deteriorating and impacts the environment where we live. Transporting that analogy to the realm of automobiles, after pedestrians’ rights of coming and going were restricted in favor of automobiles, and translated itself into an intense physical and psychological stress as it restricted the development of interpersonal relations, cities

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When light is shed on the debate of reclaiming life quality in Brazilian cities, the country’s initiatives to host major events -- of national and international scope such as as sporting events -- are perceived as positive and important because they allow pedestrians to use city areas on a regular basis. It may be perceived that renewing the architecture and making use of lighting in some city areas, not only encourages people to use them but brings fruits in the form of economic improvement. Requalifying urban areas according to an overall transformation process that includes quantitative and qualitative requirements in the field of lighting has been important to recover life quality. And the quantitative process brought forth the revitalization of downtown areas.

A pedestrian’s and a driver’s visions As far as outdoor lighting is concerned pedestrians and car drivers play the main roles when

the question is supplying lighting to spaces, bearing in mind that pedestrians are more vulnerable and require more assistance. In addition to the physiological differences between pedestrians and car drivers, because the latter conducts a robust and complex motor-driven piece of equipment, the sense of vision in terms of priorities represents a major difference on developing urban lighting. Pedestrians rely on a multiplicity of directions in a short period of time, and when the lighting of a place is projected, it is necessary to take into account the various possibilities that vision has. On the other hand, the vision of car drivers it completely different, or should be so, as their point of interest is well defined by the extension of the road or carriageway; Lighting has to consider two aspects if it is to provide adequate illumination to a car driver. The road in the forefront and the surroundings in the background, as the car itself supplies the lighting that fulfills a driver’s primary needs. In that case, public lighting has the purpose of allowing a better nighttime view of possible interferences coming from the sidewalk towards the street, in other words, people or animals that are invading the carriageway, so the driver is able to respond in time to prevent disaster.

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began to reinvigorate themselves under the aegis of creating spaces that belonged to citizens, allowing an improvement of social, cultural, touristic and economic activities and producing the yearned improvement in life quality. “Up to the present time, we have struggled to revitalize spaces in cities and complete the life quality recovery cycle. It is quite a challenge, because each new technology brings forth the need for adjustments to accommodate it so it can produce benefits to all people, but as long as its negative impacts have been reduced”, points out architect João Valente Filho.

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A new “perception” of the lighting aspect may be summarized in the following phrase: Non-motorized areas should be approached by means of an ergonomic vision of lighting with regard to space perception and its own purpose; an economic vision with regard to energetic efficiency; and a consistent vision with regard to visual pollution.

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Quantitative and qualitative approaches to lighting

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Quantitative approach The field of lighting has always sought increasingly efficient light sources, but according to the quantitative approach that has been translated into a higher light production at the least possible energy consumption. The lamps that appeared in the course of time increasingly produced more light at the same or at a lower capacity with respect to older lamps that used higher capacities to produce the same amount of light. The amount of light used to be measured by devices called lux meters that responded to light according to a spectral curve that is very close to the human eye. The quantitative approach defines something relating to lighting as the correct amount of lighting in a certain space that should allow the performance of a specific activity in that space, and it is developed in the field of exact sciences, observing standards, mathematical models and strict scientific criteria. That approach is based on the subject of illuminance (amount of light that arrives at a certain plane) and luminance (the amount of light that departs from that same plane and arrives at the human eye). The amount of light is expressed in units and measured by the following magnitudes: â&#x20AC;˘ Illuminance (Lux) â&#x20AC;˘ Luminance (Cd/m2) Statistic studies made it possible to assess the most pleasant type of lighting for people in the places they attended. The results of those studies

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made it possible to formulate models that dictated what was correct in terms of lighting quantity, and the sources had to produce as much lighting as possible. However, the quality of that lighting was not assessed. For example, one can say that the lamp that has the most luminous efficiency produces more light per unit of power (Watt), casts a yellow colored and monochromatic light. Everything that remains under that lighting will be influenced by that color. And it used to be regarded as the best type of lighting! The quantity of visible light was measured by a device and if the quantity were ideal for the performance of a certain activity its being yellow did not matter, as long as it was the ideal lighting.

Qualitative approach The qualitative approach to lighting differs from the quantitative approach with respect to the sense of seeing and perceiving, as it is a non-exact analysis pertinent to human sciences, the fruit of interpretation by observers, their sensitiveness and cultures; the fruit of experiences and tendencies of each city. The qualitative approach focus on aspects one cannot measure directly, as for example, the perception of space, a cause and effect relationship to each observer, that is, the same space may elicit different perceptions in different observers. It has to do with the cultural aspect, as when a human being has the opportunity of visiting and acquainting himself with those factors, he has a higher ability to analyze and accept different proposals and standards from what he usually sees in his day-to-day life. Today, in addition to developing lighting projects within suitable amounts of lighting, as required by

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The safety and protection domains Safety is a result of the presence of factors as lighting in a sufficient amount to allow the analysis of people and objects in an environment and with respect to an observer. Lighting has the purpose of providing safety for both pedestrians and vehicle drivers. The safety provided for a car driver is of a technical nature, to enable him to correctly see objects , people and animals; in that case the lighting approach is more quantitative. Pedestrian safety is related to the technical aspect of seeing and being seen by vehicle drivers, but also to their safety as citizens, a person’s safety in relation to other people and, within the scope of psychology where visible domain is a major factor. Of all the senses a human being has, vision is the sense that best provides a feeling of safety, domain and

protection. At this point it would be appropriate to draw our attention to proxemics, which is defined as the study of the cultural (architectural, urbanistic and linguistic) manifestations of the tendencies and the need people have of distributing themselves spatially in a certain way, establishing a distance from each other.

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norms based on the quantitative approach – and those norms, their assessment items and qualitative aspects are regularly updated. Lighting is projected according to a qualitative approach, that concern itself with aspects as color and observer perception. The quality of both the urban environment and lighting has become a more important aspect than the amount of lighting itself.

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The study of proxemics defines interpersonal spaces as domains and divides them into four major groups: • Intimacy zone; • Personal zone; • Personal interaction zone; • Public zone. The public zone in particular may be subdivided in two groups of environments according to distance limits: • From 3 to 10 meters far: neighborhood. This is an important area of study for outdoor (public) lighting to provide safety for a person. • Farther than 10 meters: non-neighborhood.

QUANTITATIVE APPROACH

QUALITATIVE APPROACH

It is expressed in the illuminance and luminance magnitudes;

It is the fruit of an observer’s perception, interpretation and sensitivity;

It falls within the scope of exact sciences

I It falls within the scope of human sciences;

Strict prescription;

It requires a cultural preparation that facilitates the assessing ability and acceptance of different proposal

Vision.

Experience

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A public lighting study occurs precisely within a range known as Public Zone, because evasive or defensive actions for the sake of personal safety fall in that range. Vision is the sense that helps human beings to analyze a nighttime environment because it supplies a higher amount of information and produces a notion of safety – people who have this privative sense develop other senses that will help them with that perception.

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Semicylindrical illuminance

Proxemics defines interpersonal spaces as domains

The luminotechnical magnitude that relates best to a person’s lighting is known as semicylindrical illuminance. As the name says, it is the average illuminance that is studied on a surface that is equivalent to half of a cylinder vertically positioned in relation to the place a person would stand (Figure 74). It is calculated according to the following expression: :

S I

E SC =

(1 + cos a n) sen bn rdn 2

n= 1

(1x)

where: In = incident luminous intensity of the umpteenth light source (cd)

an= azimuthal angle (°) P a R Fig. 74 - Semicylindrical Illuminance

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bn= zenithal angle

(°)

dn= distance (m) Semicylindrical illuminance is the most approximate mathematical model of how a person is lighted. For example, in an environment packed

with security cameras, the ideal lighting calculation with the semicylindrical illuminance model makes a difference, because it is that model that will best show a person, his shape and details when lighting is cast on him. Horizontal illuminance analyzes, as its name says, the horizontal planes in relation to an observer. It is used to analyze incident lighting, for example, on planes of work, as desks or even the floor. The vertical illuminance concept is employed in the analysis of vertical planes as, for example, the frontal incident illumination on a supermarket gondola. The chart in figure 75 shows the relation between the interpersonal distance and the corresponding semicylindrical illuminance at the point of analysis. It can be noticed that for a 4-meter distance, Esc = 0.8 Lux, and for a 10-meter distance, the equivalent semicylindrical illuminance is 2.7 Lux. The lines of the chart shown in figure 61 present a non-linear but an exponential relation that follows the luminotechnical relations of the square of the distances. Today, modern calculation software programs make it possible to calculate semicylindrical illuminances in a certain area of points previously defined as possible locations of people’s presence. Those calculations are particularly important to setup security systems in large areas. An important luminotechnical relation is the relation between vertical and semycilindrical illuminance at a certain point of study, as that relation gives rise to the modeling concept. Thus: Ml (modeling ratio) = Ev / Esc (Hm = 1.5m), where Ev is the vertical illuminance and Esc is the semycilindrical illuminance.

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Perception and requalification of urban areas

Critical values of the modeling ratio

The following sequence of pictures of outdoor environments which adopt a qualitative approach, the objective is an aesthetical effect instead of uniformity or lighting quantity; Some projects do not have to be strictly correct as mathematical models, one may use an artistic approach in outdoor lighting. It is important to keep in mind that light has the power of stirring emotions. Experts in this area must have a technical vision, but must use their imagination and creative sensitivity.

MI < 0,8 - Too much contrast That ratio expresses a semicylindrical lighting scheme far more intense than the vertical lighting. The area or the environment will present itself in excessive contrast, with marked differences in lighting at different angles.

Esc 4

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That calculation is useful, for example, to devise lighting projects for statues or monuments erected in a park.

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3 2,7

0,8 < MI < 1,3 – Realistic plastic 1 0,8

In this case the lighting cast on the statue, for example, will have a proper plastic reality, its forms will be well defined in a nighttime analysis. That is a sign that the lighting of that element is suitable.

dviso 0

MI > 1,3 – Too little contrast

4 5

15 m

Fig. 75 - Semicylindrical Illuminance

The semicylindrical ratio is defined as being 1.5m in height, which is regarded as an individual’s center of importance. A modeling ratio that is too high, indicates an intense frontal lighting and it is difficult to distinguish properly the volumes of what is being lighted.

Types of illuminance Ev

Esc

Eh Eh = Horizontal illuminance. It is determined by the luminous flux on a flat vertical surface.

Esc = Semicylindrical Illuminance. It is determined by the luminous flux over the curved surface of a vertical semicylinder

Ev = Vertical Illuminance. It is determined by the luminous flux over a flat vertical surface

Ehs = Hemispherical Illuminance. It is determined by the luminous flux over the surface of a hemisphere

Ez = Cylindrical Illuminance. It is determined by the luminous flux over the entire curved surface of a vertical cylinder

Vertical and semicylindrical illuminance depend on the flux direction

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Fig. 76 - Plaza de los Fueros, located in the city of Estella, in the Spanish community of Navarra. Architect Francisco Mangado was in charge of the last project for that park between 1992-1993, as part of a revitalization effort of the main historical center of the city.

Fig. 78 - Le Jardin Chromatique Parc de Gerland, Lyon, France. Lighting Design: Laurent Fachard, 1999 – 2001

Fig. 77 - Place des Terraux, located in downtown Lyon, France. Daniel Buren was in charge of the revitalization of that lively place in Lyon, in 1994.

Fig. 79 - Hauptplatz, Graz – Austria. Lighting Design – Bartenbach Lichlabor, 2001 - 2002

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“A technique that lacks artistic talent is useless; being artistically gifted without a technique may be dangerous, because projects may have disastrous outcomes and require intense rework.”

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Lighting has been used for a long time as a form of expression, creating symbolism and stirring emotions. A dictionary defines light as something that makes things visible or the act or power of perceiving things. Illumination refers to the act of lighting and has the purpose of providing perception and acuity to individuals, in addition to safety at the correct luminance level or being based on technical parameters. But there is a different approach from lighting, which is aimed at a personâ&#x20AC;&#x2122;s â&#x20AC;&#x153;feelingsâ&#x20AC;? in response to lighting and associated to the aspects of an image, mood, symbolism, prominence, the emotion to elicit from an audience. Ancient cathedrals already used natural light going through stained-glass windows, whose magnificence we can see at the Notre Dame church in Paris, France.

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Lighting Historical Landmarks Lighting to support historical enhancement Lighting styles Lighting styles are actually the result of a broad debate on intervening or not in a landmarked site and in their farther boundaries. They may be classified into actions that call or do not call for a more significant deployment of equipment and physical interventions in the site. There are different schools or lines of style through which one may identify interventions in buildings. The Italian style of lighting, for example, prioritizes landmark illumination with the least possible intervention, carrying them out at a certain distance from world historical landmarked sites, expressing a strong sense of preservation. In spite the methodological line of that school, one can observe that the Coliseum shows a few instances of interventionism. However, that intervention is done by means of equipment that provide lighting, such as visible tubes that prevent interventions as drilling holes in the building: projects lay hands on separately made concrete bases to prevent damage to that historical site. It is worth remembering that despite such preciosities, there is equipment that allow the enhancement of a landmarked site from a distance, with the help of projectors

Fig. 80 - Building located in the city of Lyon, it stands as an example of the Italian lighting style

On the other hand, the French lighting style, a result of the prevailing expression in Paris, excels by providing a lighting style more integrated to buildings, because they are more modern as

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compared to Italian buildings, not only having the lighting to enhance them but taking part directly in the composition of their nighttime image. (Figure 80)

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The city of Lyon bears a more interventionist lighting in the palace-seat of the city government. equipment is installed in the architectural details. (Figure 81)

Fig. 81 - Palace-seat of the Lyon city government – A more interventionist lighting style.

Understanding the subtleties of lighting, as well as the properties of some of the most important styles that are present in historical and cultural landmarks becomes a valuable tool in urban enhancement. The lighting of such buildings does not require inclusion into a Master Plan or an intervention in the entire city lighting, because it belongs to the solutions that grant the highest exposure of public government work to the population – often associated to private sponsorship as they translate themselves into highly regarded actions by citizens. However, in terms of approach, it is wiser to consider historical and cultural landmarks to be part of the urban system. Every city should have a

Master Plan as its first choice to determine which buildings should be lighted and, at a second stage, a specific project development for each historical landmark and include it in the Master Plan. Lighting design analysis should decide on the aspects to be enhanced in a building. The development of a lighting plan for a historical building relies on an assessment of a number of technical and artistic aspects, which may be grouped together in areas as Human and Social Sciences; referentials; luminotechnical and electrical. “Lighting historical landmarks is a good artistic and technical component, and it requires a search for balance, because sometimes one wishes to achieve an art show effect, but there will be technical difficulties to fix equipment that makes it feasible. However, one should seek other solutions, because of the availability of equipment that makes it possible to enhance building elements and to overcome technical difficulties”

“Lighting historical landmarks is a good artistic and technical component, and it requires a search for balance, because sometimes one wishes to achieve an art show effect, but there will be technical difficulties to fix equipment that makes it feasible. However, one should seek other solutions, because of the availability of equipment that makes it possible to enhance building elements and to overcome technical difficulties.”

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The technical-artistic project process is a logical sequence of analyses and studies aimed at specifying technical and economic resources in a rational manner, and most of all safeguard the landmarked asset instead of using it to create a lighting show.

Historical and architectural analyses Developed within the scope of human and social sciences, historical and architectural analyses are the first step of the technical-artistic project process and its first visualization and contact with the object an expert is dealing with. Then, It is time to know the history of that landmark, in which context it would fit into the urban environment and to understand the reasons why it was made possible: Ibirapuera Obelisk, also called São Paulo obelisk, is a mausoleum-monument, a symbol of the Constitutionalist Revolution of 1932, where the bodies of students Martins, Miragaia, Dráusio and Camargo (MMDC) are buried and the memory of other 713 ex-combatants in that conflict is preserved. The Obelisco case is mentioned as an alert that the enhancement of an urban monument should not have the sole and poor objective of making it architecturally prominent, but it is necessary to make a reference to the fact that it is a tribute. That fact should be taken into account in the development of a lighting project. Still in the field of human and social sciences, it is also necessary to carry out an architectural analysis of a historical building. An assessment of its symbolism, the way of thinking of the architect who projected it: for example, Museu Paulista da

Universidade de São Paulo, also known as Museu do Ipiranga (Brazilian Independence Museum), was projected by Italian architect and engineer Tommaso Gaudenzio Bezzi in 1884 according to a style known as eclectic, which was based on a renaissant palace, very abundant in ornaments and decoration, blending national elements that represented Brazilian values, as Brazilian plants. The task of analyzing a building may be carried out by a lighting designer, but, ideally, it should be conducted by a multidisciplinary team of experts in history of architecture, history, among others, to obtain an exact idea of what the building in question is, and the intention of its project designers.

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Technical-artistic project process

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Technical – Artistic Project Process Historical Assessment Architectural Assessment

Human and Social Sciences

Physical Assessment Volumetric Perception Visual efficiency of volumes

Referential

System definition Primary Secondary (Complementary) Specific (Details)

Luminotechnique

Specifying light sources (Energetic efficiency) Specifying equipment Specifying controls

Luminotechnique

Specifying installation points Profiling assessment

Electrical

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Referential Assessment chapter

The referential assessment is a second phase of the technical-artistic project process and it is subdivided into a number of aspects as physical, volumetric and perception of a building, as well as its visual efficiency. Physical assessment is a referential assessment conducted in respect of the observers of the building in question, that is, from the locations where the observers of that building will be. It is more than a three-dimensional analysis of the building as it requires an assessment of the viewing points of that element from a number of places in the city: it should be noted that when a lighting project is developed for people who are close to a monument, it is possible to enhance certain elements that would disappear or appear very discreetly and would not justify an investment to enhance them. That assessment is also concerned with volumetric analysis, which is fundamental to the lighting task, as it is based on the perception of a building with respect to its volumes and how they interact with the environment. Pelourinho, a suburb of Salvador, the capital city of the Brazilian state of Bahia, concentrates a preserved colonial architectural collection (Portuguese baroque) that has been declared a World Heritage Sight by Unesco (United Nations Scientific and Cultural Organization). It is made up of various churches – some of them are only visible from the highest locations in the city and some can be sighted from cidade baixa (lower town) and a few others can only be seen when a visitor walks past them, as its streets are narrow and prevent those buildings from being seen from a distance. For that reason, when developing a lighting project for a historical monument, a lighting designer should go

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to a number of city locations in an effort to sight the building in question and see how it can be perceived from different distances to develop a lighting project that will truly enhance such building. In some instances an observer can only have a good view of a building from a short distance, as in the case of the building that houses the Court of Justice of the State of São Paulo, located near the Metropolitan Cathedral (Sé Cathedral), whose steeples can be seen better from a distance, as compared with the Court of Justice building. Both buildings provide a different perception to a nearby observer. If the observer is far from Sé Park where both buildings are located, he will be able to see the Cathedral but not the Court of Justice. In view of these differences, we should stress that when developing a lighting project one needs to rely on the observation references of a building, from different locations in a city. That volumetric analysis evaluates how a building’s volumes will be perceived. That is how one can pinpoint which volumes of a building would be enhanced having such references and a designer’s common sense as a basis. In that case, the visual efficiency concept is an assessment of the importance of an effect produced by lighting a certain volume, the result of the technical and physical efforts to create it and how that effect will impact overall observation. In a nutshell, one can think of volume visual efficiency as the extent to which a lighted volume can contribute to the final perception of a building. Without that analysis, the lighting project is taking the risk of lighting everything instead of having lighted and unlighted spots. As little lighting can also create a more dramatic effect, we would not recommend it to a lighting designer.

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System definition The moment relevant points to be lighted in a building have been selected, assessed and reviewed, the next step is the luminotechnical project itself within the technical-artistic project process. The luminotechnical project may be split in two parts, beginning with the description of the parts that are to be lighted: selection of the lighting systems and light sources. The lighting of a building requires three systems: basic or primary; specific or emphasizing; and complementary or secondary, namely: • The basic or primary lighting system has the purpose of showing a building as it actually presents itself, even without details, lending it volumetric prominence. It should be stressed that

a lighting project should neither mask nor distort properties as height, boundaries or depth of a building when viewed at night in connection with daytime viewing – a project is allowed to give artistic enhancement to a building. We may exemplify the situation of the Pyramids of ancient Egypt; if the lighting is focused on the middle part of their sides instead of their edges, the pyramids will be distorted at nighttime and should present themselves as cones, when the correct thing would be to enhance their vertices to achieve the intended effect without distortion. Having pinpointed the basic elements of a building, a lighting designer should select the elements that are to be enhanced, or the detail lighting system.

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After conducting the volumetric assessment and pinpointing the places that should be lighted to effectively increase the building enhancement, the next step is an analysis of the budget to give feasibility to the project. At that point the equipment to be used should be included, as well as its corresponding labor. It is essential to know how to apportion resources and the labor required to further the effectiveness of a project in terms of expected results. You should keep in mind that in some cases, lighting a small element is fundamental to have an understanding of a monument, but the task would probably require too many efforts and be so overbudget that it would render the project unfeasible, and the result could fail to meet observers’ expectations. If a project is executed without exhaustive assessments and perception reviews to determine how it can fit into the urban scope, it may be subject to gross errors.

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• According to the specific or emphasizing system, details of the building are lighted as archs, balconies, coats of arms, among other decorative elements or architectural points of importance, creating “motion” in their perception. That system is more related to the feelings it should convey to its observers. • The complementary or secondary system is a type of lighting that corrects shadows or distortions that would change the way a building is perceived when lighted by the primary system. The secondary system complements the image of the building. It is up to a designer to decide on selecting systems in a project and assess whether a building can hold the three types of luminotechnical systems – in some cases it is possible to use emphasizing lighting when buildings are too close together. It is important to achieve the best possible result by means of the three lighting system tools.

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Surroundings (lux)

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Little lighting

Intense Lighting

Stucco Light

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Light

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Soft Stone

Concrete

Granite

Light Source Selection Only after having identified the properties of a building and having decided on the intended lighting effects for nighttime viewing, the light sources can be selected. Not only lamps, but also lighting fixtures and, currently, modern LEDs (light emitting diode), always seeking energetic efficiency. One should never decide first on the equipment then assess the intended effect on a building thereafter. This way, the lighting designer will leave no room for errors and losses for having purchased needless equipment. You should also bear in mind that a single supplier is not able to provide all the required tools for a project. However, there is a trend for some global suppliers to become what is known as “one-stop shop”, in other words, to gather in their portfolio all the required solutions for a lighting project.

Light

200

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500

Light

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Light sources should be selected according to the following criteria:

Light

120

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900

• Luminotechnical: based on the luminous flux and focus aperture;

Bricks

Marble

• Aesthetical: related to the color appearance and colors. Pieces of equipment as lighting fixtures, controls and lamps are selected to meet the photometrical requirements that the intended effect needs to be feasible. In lighting, there is an adequate piece of equipment for each type of function; for example, a projector may be used in basic and secondary lighting. It cannot be overstated that the exact photometry of each piece of equipment should be entered in the calculation programs to check results. Equipment selection is directly related to the intended effects and, consequently, the required illuminance for each physical situation of a building. The luminance that should be achieved in a building can provide more correct analysis, while the table shown in figure XX shows, in a simplified manner, luminance rates for some specific cases, because that measurement is easier to obtain with a lux meter.

Fig. 82 – Illuminance Rates Source: Talk delivered by João Gabriel (CEMIG) – X SIMPOLUX

Secondary or complementary lighting. Smaller projectors than those used in primary lighting correct possible distortions as shadows created by primary lighting. Linear equipment may also be used in specific cases as fluorescent lamps or LEDs.

3. Emphasizing lighting: as a rule, small spots are

used, punctual, demarking, built-in in the ground in small sizes (they are projectors, but built-in the ground and even linear equipment. There are also punctual elements that do not project, but cast light for the facade, as in the case of LEDs: the element is not being lighted, but takes part in lighting as an observed discrete element. The difference between a projector and a spot is that the latter meets minor lighting requirements, while a projector supplies more encompassing solutions, and spots are used to light a certain point while projectors are employed in facades.

Primary or basic lighting: often employs external projectors or projectors built-in the ground to provide uniform lighting along the facade.

Fig. 67 – Function of Lighting Equipment Museu Paulista lighting project - Senzi & Godoy

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For each type of lighting system (primary, detail or secondary), there are a few options of most commonly used equipment, as shown in figures 67a, b, and c. When specifying equipment, attention should be given to lighting equipment sizes, as they should enhance and not interfere with the viewing of a building. When lighting is carried out with ground built in equipment, usually employed in lighting historical and cultural landmarks, it should be stressed that the resultant of a lighted spot next to a wall, projected by built-in equipment on the ground, depends of the focus aperture. The variant that provides the result of the relationship between a projector and the ground and a building wall is called hot spot. Broadly speaking, that is the most lighted spot visible on that wall.

Technical aspects: focus aperture Each focus aperture of a projector creates a completely different situation, reason for which the correct specification of each aperture is a crucial factor to achieve the aesthetical objectives in a lighting project.

lighting in the surroundings. The best use of opened focus projectors in the wall washing effect, once if the light that goes out of the projector is directed only to the face of a building, there will be a light washing at that point. The best use of opened focus projectors happens when the photometry is asymmetrical and it is used the wall washing effect. Open focus projects are best employed to produce a wall washing effect, as if the light cast by a projector is only directed to the facade of a building, a light wash will occur at that point. Open focus projectors are best employed when photometry is asymmetric and a wall washing effect is produced.

Technical aspects – Focus aperture Hot Spot Lighting employed on the object Does not reach considerable height Open focus

Lighting of surroundings Glare

Open focus – over 30 degrees The hot spot concept which is, in sum, the projection of light on the vertical surface next to where the lighting equipment is positioned, it creates a very clear spot, in the case of open focus. The main characteristic of an open focus projector is a hot spot too close to the ground or to the projector: light will not be fully used on that element, because of the strong lighting on one spot, to the detriment of the rest; as lighting will not be able to go very high, it can produce glare and intense

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Function of equipment

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General lighting of upper perpendicular planes Open focus lighting can be better employed with asymmetric photometry for a “wall washer” effect

3600 3200

cd/klm

2800 2400 2000 1600 1200 800 400 0

90°

70°

50°

30°

10°

30°

50°

70°

90°

Fig. 83 - Lighting systems

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Medium focus – up to 30 degrees

Concentrated focus – under 10 degrees

In the case of a focus of up to 30 degrees, suitably applied in secondary lighting ou in the lighting of vertical elements of limited width, the hot spot is no longer a point and appears as a vertically more lighted area. It is possible to define good textures, for example on a brick wall where medium focus lighting produces a grazing effect.

IIn a situation of focus smaller than 10 degrees, the hot spot works as a light beam and is well employed to light narrow vertical elements as pilasters and the upper architectural details of a building. It provides a good texture definition, reaches tall heights in the building it is applied and lights surroundings very little, in other words, it does not produce glare.

That type of focus can also reach high points in the building that is to receive the lighting project.

Based on the selection of switching on zones and often in different switching on sequences, the control system, electric panel that controls the illumination and the effects that should be produced should be defined based on switching on zone principles; capacity per zone switched on; analysis of the type of load and equipment; positioning and setting command in motion; backup (device / system that replaces the main system in case of failure; automation level and integration with other systems. As a rule, the technical definition of those commands should be developed by an electrotechnical installations engineer with the assistance of the control manufacturer.

Technical aspects – Focus aperture Hot Spot Good definition of textures and limited vertical planes Can reach considerable heights Low lighting of surroundings Low glare

Medium focus Localized lighting of upper perpendicular planes 12000

Medium focus lighting is well employed in secondary or base lighting in vertical elements of limited width

cd/klm

10000 8000 6000 4000 2000

Fig. 83b - Lighting systems

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90°

70°

Control definition

50°

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10°

30°

50°

70°

90°

The selection of installation points and profilings is conducted together with the architectural team in the electrical project, as in the case of historical buildings, the positioning of tubes and their profilings should often be based on criteria approved by agencies in charge of the city, state and federal historical heritage, depending on the landmarking level. Prior to any interventions, it is always advisable to approve the luminotechnical and electrical projects and obtain the required documentation.

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In a single action, it would not be possible for the electrical current to rise beyond a certain value, as if all the lights of that building were switched on simultaneously, the starting current (expressed in amperes) would be too high and the system would be switched off by the current overload. The solution was to divide the circuit lighting fixtures into groups and, then, the automation system, activated by natural light illumination sensors at nightfall, manages the activation of groups of lighting fixtures until each group is stabilized. That system was programmed to switch on the groups of lighting fixtures every five minutes, preventing the starting current from being switched off by the existing protection circuit. Another interesting resource, from an artistic point of view, of the automation system of the lighting control of a building is the fact that you can program different light sets for different days, an effect that is also employed in the Museu do Ipiranga project. Seven lighting-produced scenes were programmed for that building, one for each day of the week, The purpose was, in addition to saving energy, to preserve the system. A set of lighting fixtures is switched on each day of the week; on Sundays all lights are on . The Independence Museum follows an eclectic classical architectural style that is characterized by

its symmetry. In the central part of that building, the lighting team has given prominence to elements as a pediment, a low gable, typically triangular with a horizontal cornice and raking cornices, surmounting a colonnade; main facade pillars, enhanced the volumes of balconies with secondary lighting, as they are retreated with respect to the balustrade, requiring correction to prevent shadows in the image as a whole.

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Again, we refer to the lighting project executed by Luz Urbana at Museu do Ipiranga (Brazilian Independence Museum), developed between 1999 and 2000, as a good example of use of lighting control of a historical landmark, developed by Philips (manufacturer) and switched on in seven stages.

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Technical aspects – Focus aperture Hot Spot Good definition of textures and narrow vertical planes Can reach considerable heights Very low lighting of surroundings No glare

Concentrated focus Punctual lighting of upper perpendicular planes cd/klm 32000

Prominence lighting of narrow vertical elements and upper architectural details

28000 24000 20000 16000 12000 8000 4000 0

Fig. 83c - Lighting systems

90°

70°

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30°

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Still on the facade prominence lighting was employed on coats of arms and other ornamental elements of the building archs. Primary lighting was used at the belvedere.

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A particular of that museum is that its lighting ends exactly on the boundaries of the building â&#x20AC;&#x201C; the gardens do not belong to it, but to the city government â&#x20AC;&#x201C; this way, the project team was not able to carry out further interventions than in the building itself. Entrance lighting was concluded using the candle-guards available in that place instead of floor projectors. That project employed metal vapor lamps to enhance pillars and building ornaments; projectors with small and large capacity sodium vapor lamps, 100 and 250 Watts, (to light pillars and corridors) and 400 Watts (to illuminate the towers) Pillar details could be shown by sodium vapor lamps of 150 Watts, and on smaller pillars and archs, 70 Watts. The palms and ornaments on the upper part of the building received metal vapor lamps of 35Watts

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Public lighting seeks to accomplish three main goals: to provide safety to drivers of cars and other vehicles; to allow pedestrians to perceive hazards and enable them to get their bearings, to recognize other pedestrians; to have a feeling of safety; and to improve the appearance of urban space. Early concepts of public lighting were concerned with developing systems that allowed people to see objects at night. The current concept expands that standpoint by pursuing the following objectives: • To ensure that people and objects are seen; • To assure safety to transport and the traffic of different types of vehicles; • To facilitate traffic orientation; • To grant more prominence to festive, scenographic and symbolic effects; • To emphasize a city’s economic and cultural magnitude; • To give added value to urban historical landmarks; • To provide a specific design to add visual comfort and aesthetical quality; • To discourage crime and vandalism. Broadly speaking, when we refer to urban lighting as compared to indoor lighting projects, we are talking about significantly lower lighting levels. Available normative instructions are absolutely

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Public Lighting Lighting as a city transforming agent specific, and take dynamic factors of observers into account. Another important issue is that artificial lighting is very likely to cause light pollution – which is very uncomfortable and aggressive toward the urban environment. Behind calculations and recommendations about public lighting, there has been relevant theoretical advances in a number of subjects involved in an installation (stories, glare and visual comfort, among others). Fortunately these subjects can be calculated by means of computer applications. It is important to rely on exact knowledge about photometric relations to better understand the calculation mechanics. Let’s review a few key lighting concepts that should be applied to a public lighting installation, recommended lighting levels, efficiency concepts and service quality.

90°

180°

Illuminance Illuminance indicates the amount of light that arrives at a surface and is defined as received luminous flux by surface unit:

I g

E = dU ds

Sidewalk side

180° 90°

270° 0°

Fig. 84 - Luminance calculation in urban lighting

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Expressed as a function of luminous intensity, it is:

EH =

I (C , c) .cos 3 c h2

Where “l” is the intensity received by point P in the direction defined by the pair of angles (C,γ) and h is the height of the lighting fixture. If the point is lighted by more than one lamp, the total received illuminance is:

(C i, ci) 3 E H = / I 2 .cos ci hi i=1 n

The streets assessed according to the luminance criterion should be lighted at the minimum expressed values, both in terms of average punctual horizontal illuminances in the assessed area and in terms of lighting with an adequate uniformity. The uniformities through which a system quality is assessed are: G1 = ratio between minimum and maximum luminance, and the average value in the area in question.

I g

I P

a Observer Fig. 85 - Luminance calculation in urban lighting

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G2 = On the other hand, luminance is a measurement of the object light that reaches the eyes and excites the eye retina producing vision. That light is caused by the luminance reflex when light is cast on a body.

Luminance The luminance, on the contrary, is a light measure that gets to the eyes originary from the objects and is the responsible to excite the eye retina provoking the vision. This light comes from

the reflex suffered by the illuminance when incites upon the bodies. It may be defined as a portion of luminous intensity per surface unit reflected by the sidewalk toward the eye of an observer. It is expressed by the equation:

L = q (b, c) .E Where q is the luminance coefficient at point P, which depends on the incidence angle γ and the angle between the incidence plane and β observation angle. The effect of observation angle is insignificant for most vehicle drivers (drivers whose field of view is between 60 and 160 meters ahead and at 1.50 meter above the ground).

I (C, c) .cos 3 c .q (b, c) h2

For calculation convenience, the term is defined as:

r (b, c) = q (b, c) .cos 3 c Finally presenting itself as:

I (C, c) .r (b, c) h2

And if the point is lighted by more than one lamp: n

L=/ i=1

I (C i, ci) .r (bi, ci) h i2

The r values (b,γ) are embedded in the calculation programs and depend on the properties of the

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Regardless of the method employed in a public lighting installation, it should meet the minimum quality standards. In the case of highways, streets and accessways, to determine whether an installation is adequate and fulfills all safety and visibility requirements, the standards that should be used as quality criteria are: average luminance (Lm, LAV), the uniformity coefficients (Uo, UL), glare (TI and G) and the lighting coefficient of the surroundings (SR).

Uniformity coefficients To measure the quality and the uniformity of a way, the following criteria are adopted: viewing output, the overall uniformity coefficient Uo and the visual comfort as measured by the longitudinal uniformity coefficient UL (measured along the center line). Uo = Lmin/ Lm UL = Lmin / Lmax The feeling of uniformity is primary determined by the longitudinal uniformity of luminance on a driverâ&#x20AC;&#x2122;s way . That uniformity is determined by the ratio between minimum and maximum luminance on the center line of that way in the assessed area. To ensure that no low punctual luminance take place, the overall uniformity coefficient is determined as the ratio between the lowest luminance in the assessment area and the average luminance value. That uniformity should not be lower than 0.40.

Glare The glare produced by lighting fixtures or reflections on the sidewalk is a significant issue because of its repercussions. On approaching glare

in the context of public lighting, we must distinguish between physiological and psychological glare. chapter

pavement used on the carriageway.

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Physiological glare reduces direct vision functions: it is the resulting effect of inadequate luminous distribution, existence of excessive contrast in the field of vision or the presence of quite different luminances at the same time or not, reducing the basic functions of the eye. On the other hand, while psychological glare bothers vision, it does not hinder the viewing of obstacles. Physiological glare may be determined by Holladayâ&#x20AC;&#x2122;s formula to calculate Equivalent Occultation Luminance, namely: Lv = K * (Eg l / en) Where: Lv is the equivalent occultation luminance; K is a constant that depends on the observerâ&#x20AC;&#x2122;s age; Eg l is the luminance in the eye caused by a source on a perpendicular plane to the lines of vision; en is the angle between the glare line and the line of vision. Physiological glare is assessed in practice by introducing the TI relative occultation concept in percentage, which depends on the equivalent occultation average luminance of the road surface, according to: Ti = 65 Lv / Lmed This value is valid in the range of average luminances between 0.5 and 5, and the Ti value range is 7% for strictly controlled lighting fixtures and up to 30% of less controlled lighting fixtures. The scale used to determine the ratio and to evaluate psychological glare is expressed according

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to the table below:

Rotating axis of C=180° semiplane C E

CENT =180° =90° Inclination axis of lighting fixture

V C=270°

=0° Semiplanes C NADIR

C=0° sidewalk side

Fig. 86 – Photometric reference system of lighting fixture

Glare

Lighting evaluation

Unbearable

Bad

Annoying

Unsuitable

Admissible

Regular

Satisfactory

Good

Insensitive

Excellent

G is calculated by means of lighting fixture and installation properties, and is tabulated for a broad variety of routes, lighting arrangements and lamps employed. If there is glare, you should first determine the limit for physiologic glare to the detriment of psychological glare. It is assumed that an acceptable ratio for physiological glare should be also accepted for psychological glare. The surrounding lighting ratio (SR) measures lighting in bordering areas of the sidewalk. That way, you can ensure that objects, vehicles or pedestrians are visible. SR is obtained by calculating the average luminance of a five-meter segment from a starting to and ending point of the pavement.

Lamps and lighting fixtures

Counterclockwise direction

C=180° C=270°

C=90° Sidewalk side C=0° Fig. 87 – Planes C direction

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Actually, public lighting uses mercury vapor, metal vapor and high-pressure sodium vapor lamps (see further details under the lamp heading in chapter 1). While lighting fixtures come in several shapes, asymmetric flux lighting fixtures prevail in public lighting for a proper distribution of the lighted surface on the sidewalk.

A Lighting Fixture Photometric Reference System has been established to facilitate the calculation of the luminous distribution of a lighting fixture, which is shown in figure 86. Vertical semiplanes coordinated by C horizontal angles. All semiplanes have vertical axis EV as a common axis that goes through the photometric center of a lighting fixture. Over each C semiplane --originating in the photometric center of a lighting fixture – different directions are fixed and coordinated by gamma (γ) vertical angles. Reference C semiplanes are semiplanes C 0º and C 180º and semiplanes C 90º and C270º. To locate the reference C semiplanes with respect to a lighting fixture, let’s consider two main directions perpendicular to each other on the street to be lighted. The longitudinal and transversal directions have two directions toward the sidewalk. In other words, forward and backward with respect to the photometric center of that lighting fixture. Toward the center of the street direction, you should make a corresponding semiplane C90º and for the sidewalk semiplane center, semiplane C=270º. Then the direction of semiplane C=0º is determined, assuming that the rotation direction is counterclockwise, semiplane C=0º positioned in delay with respect to semiplane C=90º.

Lighting fixtures An outdoor lighting fixture is an optical, electrical and mechanical device that is designed for one or more lamps. It comprises an optical set, a body and electrical equipment that are often built-in the lighting fixture.

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• To distribute the luminous flux produced by a light source to achieve adequate lighting, allow its lamps to preserve their nominal properties (luminous flux, useful life and electrical properties) as close as those informed by their manufacturers; • To control the luminous flux to eliminate unpleasant viewing effects on observers or users; • To have electrical and mechanical properties that are safe for people in general; • To provide the best possible protection to lamps, optical and electrical devices from the environment, which may reduce their efficiency, ensuring that they preserve their initial properties in the course of time. • lighting fixtures for outdoor lighting should be sealed and are usually mounted on posts, catenaries hanging over streets or as projectors in parks and crossways; built-in or overlapping; as lamp-holders; in the form of pedestals or hanging. In terms of outdoor lighting, they may fall into the following categories: • Functional lighting fixtures for public lighting of highways, urban, industrial, public and private roads; • Specific functional lighting fixtures for urban lighting and creating an enhanced aspect at the place they are installed;

roundabouts, crossings and highway accessways and sporting facilities; chapter

Its basic functions should be:

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• Specific projectors and lighting fixtures to light historical landmarks and urban entertainment areas; • Optical fiber lighting systems or lighting conductors; • LED equipped lighting fixtures for indication. signage or enhancement of architectural value, in addition to the explanations formerly given. In terms of light emission, lighting fixtures are available to provide direct; indirect lighting; up lighting; down lighting and up and down lighting.

Lighting fixture construction and properties Outdoor lighting fixtures are ruled by specific norms relating to their own construction, mechanical and electrical properties and that of their components, conditions to use and install and other aspects that contribute to their efficient use. The following lighting equipment norms should be reviewed: • NBR IEC 60598-1: Lighting fixtures – Part 1: general REQUIREMENTS and tests; • IEC 60598 2– 3: Luminaires _ Parts 2-3: Especial requirements: lighting fixtures for road and street lighting; • NBR 15129: Lighting fixtures for public lighting

• Lighting fixtures to light areas as parks, gardens, canals, meeting and recreational spaces;

• IEC 60598-2-5: Luminaires – Part 2-5: Especial requirements: Floodlights;

• Lighting fixtures developed to light bridges, tunnels and underpasses;

Note: the norms above only refer to lighting fixture construction and not their performance.

• Projectors used to light specific traffic areas as

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Lighting fixture constitution Optical systems

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Optical systems have the purpose of changing the luminous flux direction of the lighting fixture. That distribution can be carried out by a number of devices -- separate or combined with each other --, namely: Reflectors – devices used to produce specular and diffuse reflection. They are produced in the following materials: aluminum treated with electrochemical polishing and anodic sealing; painted metal or pigmented plastic, generally white; glass, metal or reflexive plastic manufactured with a percentage of aluminum through metallization. Reflectors can be manufactured by means of mechanical procedures as injection, stamping, folding, spinning and hydromolding. It is necessary to assess the quality of the metals involved in the process, a lighting fixture efficiency is directly related to metal quality, which, in the case of aluminum, the higher its purity, the higher its efficiency, and its reflectance index. The aluminum used should be more than 99.5% pure. Refractors – are devices used to refract light, produced in transparent materials as glass or plastic. Those materials should resist mechanical and thermal shock and their properties should be preserved in the course of time. The plastics mentioned are known as “engineering plastics” (polycarbonate, acrylic and methacrylate) which should be treated against UV. Refractors can be combined with reflectors to attain a desired lighting distribution. Diffusers – The flow emitted by diffusers is cast in various directions and diffusers are used for viewing

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comfort and forming luminous sources or volumes when a special appearance is desired. They may combined with one or more former devices. An Optical body not a built in lamp – in some cases of environment lighting, a diffuser or specular optical system usually distributes the lighting cast by a lamp in an imperceptible manner to a user. Known as “indirect lighting”, those devices help to prevent light-produced disturbance in a certain environment. A typical case of light bouncers. Lighting guides and conductors - different lighting systems for optical fibers or empty light conductors – “light tubes”, are an outdoor lighting option. They are reserved to create luminous punctual or continuous effects, except for story lighting. Materials or conducting systems convey the generator-supplied luminous energy from a miniaturized light source. A single generator is able to feed a significant number of luminous points or extensions located at different distances.

Lampholders Known as sockets, lampholders are designed to ensure lamp fixation, proper electrical contacts under different operating conditions, especially in the case of vibration sustaining equipment. Sometimes a socket is not enough to keep a lamp in the intended position and needs additional fixation, especially in the case of large lamps. In many cases, the socket is fixed to optical adjustment devices that make it possible to change the lighting cast by a lighting fixture. They should be designed and constructed to provide more safety to people. The most common types of sockets are: E-27, E-40, PG-12, G-12, RX7S, etc.

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The bodies of lighting fixtures may be produced in a single piece or composed from a number of separate or joined elements, regardless of the optical system. They have to withstand mechanical shock, high resistance to deforming and vibrations. In certain lighting fixtures for public use, the body is aluminum cast or injected, usually in a single piece. The shape and size of those bodies, the nature of their components should correspond to the nature of work and the lamps specified to achieve the conditions of operational functionality and intended aesthetical criteria. Furthermore, the elements that make up the bodies should make it possible to carry out lamp replacements and eventual adjustments; protect the lamp and electrical elements; protect the device against electrical shock; be highly resistant to corrosion, thermal variations and solar radiation.

Fastening lighting fixtures to bracket Lighting fixtures can be fastened to a side, vertical or top bracket. The fastening elements are an integral part of lighting fixtures or attached devices and should provide a permanent and firm position to a lighting fixture. As a rule, fastening elements are made in steel or stainless steel, being the latter more recommended. Lighting fixture fastening norms should be observed, especially with respect to â&#x20AC;&#x153;wind strengthâ&#x20AC;?.

Adjusting devices Using a lighting fixture with different lamp capacities and types, may require a change in lighting distribution, and the lighting fixture must have an adjustment system to position the reflector

or the lamps. That system should indicate the attained rating according to the position selected. Its main purpose is to adapt lighting distribution to the lighted surface. Most often, the selected adjustment is set by the lighting project. In all cases, maintenance should be simple, quick and safe. An eventual adjustment may be made after some time, if the installation characteristics change. The adjustment system has to be firm and unyielding to keep the intended position while the lighting fixture remains installed.

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Bodies

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Auxiliary equipment housing When the electrical devices are installed inside a lighting fixture body, they should be housed in a different compartment from the optical elements. The size of that housing should be sufficient to allow an easy, quick and safe access to the equipment and contribute to preserve their useful life for at least 10 years.

Sealed lighting fixtures Sealed lighting fixtures ensure effective protection to main components against any kind of corrosion or dirt and preserve photometric performance and efficiency. In that case reflectors should not need maintenance, and their cleaning is primarily restricted to the outside area of the refractor or diffuser. Glass refractors or diffusers completely recover their performance levels and transparency after cleaning. Sealed lighting fixtures are not to be used if they cannot prevent water or dirt from entering their housing. They are necessary for technical reasons; to protect lamps and optical systems against shock, dirt and water; for efficiency considerations, when an optical system is to be permanent, it is given a minimum protection level equal to IP65 and IP33 for

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auxiliary electrical equipment, if available; to achieve ideal temperature levels for a correct lamp operation. The dimensions of a lighting fixture should take into account the internal temperatures and the required electrical properties to maximize the “life” and the efficiency of a set. In addition, any type of maintenance operation should be performed in a quick and safe manner, preferably without tools. Aesthetical features should be taken into account when establishing the final shape or the appearance of a lighting fixture. The most common materials used to seal the optical system are methyl methacrylate, UV-treated polycarbonate, molded glass, hardened poly curved glass and hardened flat glass. That sealing and the reflector have increasingly become a single piece. So maintenance is not done by opening it, but by using another system that is able to do the maintenance of the internal optical properties and preserve performance for a long time. The seal between the parts should be waterproof and that is achieved by means of water, corrosion and temperature-resistant preformed silicone joints that should last for over 15 years.

Electrical and mechanical properties Electrical properties Protection against electrical shock: construction norms NBR IEC 60598-1, IEC 60598-2-3, IEC 605982-5, NBR 15129 rule the use of class I protection devices, lighting fixtures, used in most existing installations in class II equipment and lighting fixtures. Class I lighting fixtures are those whose protection

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against indirect electrical shock is achieved by at least one functional isolation in all its parts and components by connecting all accessible metal parts to a grounding connection (ground). Those devices are located next to a grounding terminal. All parts connected to a single borne with a “grounding” symbol (show symbol). Class II lighting fixtures are those in which protection is not only carried out by primary isolation and should have additional protection measures as double or reinforced isolation, having no other means of protection than grounding or installation conditions. lighting fixtures in this class show the symbol (show symbol).

Protection levels The IP identification system is used to classify luminances according to their protection level against the penetration of foreign matter, dust and moisture. The term foreign matter includes elements as objects, tools or parts of the human body that may come into contact the live parts of a lighting fixture. The designation used to indicate the levels of protection uses the letters IP followed by two numerals: the first numeral shows the level of protection of people against contact or proximity to live parts and against contact with moving parts inside the lighting fixture housing, and equipment protection against the penetration of solid matter from the outside. The second numeral indicates the level of equipment protection against water penetration inside the equipment. The specifications for light fixtures in terms of protection levels IP2 for IP6X, IPX1, IPX3, IPX4, IPX5, IPX7 and IPX8 are described in norm NBR IEC 60598-1 and NBR IEC 60529.

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Mechanical resistance Broadly speaking, the mechanical resistance of light fixtures in public lighting is set forth by norm NBR IEC 60598-1 that establishes different degrees of resistance to shock: 0.5 joule, for fragile parts (refractor or diffuser) 0.7 joule, for other parts (bodies). IEC 50102 sets forth the acquired protection levels for electrical material cases against external mechanical impact (code IK).

Aesthetics and maintenance Aesthetical concerns are often assessed in lighting fixtures and their mounting brackets. The daytime aspect of installations is carefully assessed, especially in an urban environment, as lamp posts take part in the architecture of the places they have been installed, and become a part of the urban furniture. The aesthetical aspects of both the lamp fixture and its mounting bracket. Selecting the two elements separately seldom produces harmonious results. Thus, urbanists, lighting designers, architects and engineers should contribute to that task. That cooperation, should bring about a more adequate use of techniques and lighting materials, in addition to more suitable installations, in addition a better aesthetical aspect and a lower cost.

Wind force â&#x20AC;&#x201C; to determine the stress conveyed by a lamp fixture to its mounting brackets, it is necessary to know the drag coefficient: Cx

To preserve the photometric performance of installations and further user safety, it is essential to perform maintenance on lighting fixtures on a regular basis. Maintenance has the purpose of preserving and ensuring an adequate useful life to optical, mechanic and electrical properties.

As a rule, manufacturers show in their technical catalog the product value S.Cx (m2); where S is the area in m2 of the light fixture projection in a normal plane in the path of the wind.

NBR 5101 establishes that lighting fixture maintenance should be performed when the average luminance of an installation falls to 70% of its initial level.

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The use and control of IP protection levels as applied to lamp fixtures have the purpose of protecting against direct electrical shock and setting criteria to ensure proper maintenance and efficiency of the electrical and photometrical performance of light fixtures.

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Stress calculations should be done in three directions: parallel to the axis of the lighting fixture, transverse to the axis of the lighting fixture and according to the ascending vertical. IK Code IK Code

IK01

IK02

IK03

IK04

IK05

IK06

IK07

IK08

IK09

IK10

Impact energy (joules)

0,15

0,20

0,35

0,50

0,70

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Determining factors when choosing lighting fixtures The determining factors for a correct choice of a lighting fixture should meet the following criteria: • IP protection level; • Optical systems: nature and lamp capacity; luminous flux distribution for maximum effect; rate of use of installation; nature and performance of optical devices; preservation of photometric properties; photometric adjustment device; • thermal and electrical performances: ambient temperature (air circulation available or unavailable); contact quality and safety; protection against excess overheating; electrical isolation and equipment quality; cabling and connector quality; joint quality; level of electrical protection; quality of connections; • Mechanical properties: dimensions; product S.Cx; weight; material nature quality; strength of parts; connection to mounting bracket; simplicity and safety of adjustment and fixation devices; resistance to corrosion and vibration, among others.

Lighting fixture arrangement Calculations alone are not sufficient to obtain adequate lighting. Additional information should be provided to orient and warn drivers in time about the characteristics of the road. Thus, in the case of curves on roads, lighting fixtures should be positioned on the outside of the curve and on highways, place them on the center divider grass strip and change lamp color on exits and entrances. Straight stretches with a single street may have

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three types of lighting fixture arrangements: unilateral, bilateral, alternate bilateral and front to front bilateral. It is also possible to hang the lighting fixtures on a transverse cable (catenary), but it should only be used on narrow streets or streets having a significant number of trees. (figure 88) Unilateral distribution should be the choice if the street width is smaller than the height of the lighting fixture arrangement. Yet, the alternate bilateral lighting fixture arrangement should be between 1 and 1.5 time the height of the arrangement, and the front to front bilateral arrangement should apply at a height greater than 1.5 time. In the case of straight stretches of roads with traffic going both ways and a center divider grass strip, lighting fixtures can be installed on the center divider grass strip or consider each one of the two ways as an single road. If the divider grass strip is too narrow, double arm columns can be used to provide good visual orientation, besides having a great deal of construction and installation advantages because of their simplicity. It the divider grass strip is too wide, each one of the two roads should be treated as a single road. Double arm posts can be positioned in an alternate arrangement or unilateral lighting can be applied on each road. In that case, the lighting fixtures should be positioned on the opposite side of the divider grass strip to encourage users to use the road of the right (figure 89)

Visual guide On a road, the points of light cast by lighting fixtures are an important means to anticipate the sidewalk contour in dark places, and an efficient guide to a vehicle driver. The transition of luminances in the field

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â&#x20AC;˘ When a luminance equal to or higher than 1cd/ m2 in a stretch without lighting; â&#x20AC;˘ When luminance differences between two concurrent roads have a relationship equal to or higher than 1/10. The accommodation time cannot exceed 10 seconds, as the speed allowed determines the size

Unilateral

of the accommodation distance. In the course of the accommodation distance, it is advisable to strictly observe the arrangement of columns, spacing and lighting fixtures, changing lamp flux to reduce or increase the luminance level. Regarding curves, the following rules will provide an adequate visual orientation and reduce the space between lighting fixtures if the radius of the curve is smaller.

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of vision requires a certain distance to allow the human eye retina to accommodate. The accommodation time depends on the difference between luminance levels and the magnitude of the highest level. A certain distance is required for the eye to adjust at a maximum speed of 50 kilometers an hour, in case one of the following events take place:

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If a curve is long (R>300 meters) it should be regarded as a straight stretch. If a curve is small with a width smaller than 1.5 times de height of the lighting fixtures, the arrangement should be unilateral on the outside area of the curve. Otherwise, the arrangement can be bilateral front to front and never arranged by degrees, as it does not inform the layout of a road.

Alternate bilateral

Front to Front Bilateral

Transverse Hanging

Fig. 88 - Lighting fixture Arrangement

On grass strip center â&#x20AC;&#x201C; Double arms

Combination of double arms & arrangement by degrees

Unilateral on different sidewalks

Fig. 89 - Lighting fixture Arrangement

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To improve visibility at a road crossing, lighting should be brighter than along the roads that run into each other at that crossing. Lighting fixtures should be positioned on the right side of the road and past the crossing point. In the case of a “T” crossing, lighting fixtures should be placed at the end of the merging road. Highway exits should be lighted in a different color from the main road for more prominence. Lighting at road crossings and forks should be done with the help of projectors located on high posts, and should be over 20 meters high, to prevent car drivers from being disoriented and produce a pleasant and even lighting.

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L I G H T I N G

One way double armed

Correct disposition of luminaries in corners

Two way alternated

Fig. 90 - Visual guidance

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At roundabouts and multiple crossings, lighting fixtures can be installed on the outermost side to light entrances and exits. Lamp post height and lighting levels should be at least equivalent to those of the most important road that run into the roundabouts. Additionally, accessways should have enough lighting for vehicle drivers to see pedestrians. In the case of minor roads with a small traffic circle that has no trees, lighting should be done by means of a tall multiple arm post. In other cases, the lighting fixtures should be positioned at the edges of a traffic circle and at street prolongations running into the crossings.

At pedestrian crossings, lighting fixtures should be positioned along the circulation route to be seen by both vehicle drivers and pedestrians. (Figure 91)

Lighting levels Luminance levels may vary after some time, as, among other things, they depend on the luminous flux of the lamp (expressed in lumens). When a lamp nominal emission goes down to 80%, it is deemed to have come to the end of its useful life and should be replaced. The weather and air pollution soil optical surfaces (reflectors, bowls and sealings) and may decrease lighting levels significantly – that pollution depends on the type of sidewalk and the extent of traffic flow. In the case of acrylic or polycarbonate bowls deterioration is aggravated further by material UV aging caused by lamps and the sun. All such cases should be taken into account when calculating to determine a maintenance coefficient.

Efficiency of public lighting installations In theory, the objective of ideal efficiency is that in public lighting installations, each Watt consumed corresponds to a lighting point of an adequately

U R B A N

As far as the energetic efficiency concept is concerned, an assessment should comprise the following factors: applied technology and design; installation power source system; control elements; initial cost and operating cost; maintenance. A lighting project should choose components based on needs and qualities, lamp models and capacities according to system requirements and quality of results in lighting surroundings, checks on the behavior of auxiliary equipment (own powering, lamp voltage, useful life of a set) and an

adequate choice of lighting fixtures. There should be an operating control of the power network to enable precise activation whose maintenance may be performed at a lower initial cost.

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planned installation under city government control or positioned in a lighting fixture-equipment set and compatible with each other, with a lamp that would provide the best lumen/watt ratio to meet project requirements and with an independent power supply control. That way, the efficiency of a public lighting installation would be the result of energetic and visual efficiency and economic effectiveness.

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With respect to visual efficiency, strictly associated to lighting quality and its application, lighting projects need to look at the properties of the area to be lighted to prevent light pollution, and supply adequate lighting to each place. Glare, brightness and an undue emphasis to public lighting are characteristics of a project of low visual efficiency. In urban lighting, economic effectiveness is associated with hi-tech systems of high initial cost, which is diluted in the course of operating time, i.e., low-maintenance equipment, highly reliable auxiliary equipment and controlled power supply networks.

One way-street with a single sidewalk

Two way-street with a single sidewalk Fig. 91 - Arrangement at roundabouts and multiple crossings

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Norms chapter

Lighting standardization is based on an official document issued in Brazil by the Brazilian Association of Technical Standards (ABNT), which establishes the basis for procedures and measurements to carry out or assess something. Essentially it represents a concept that has been accepted by the committee that establishes it. “Norms are a collection of precepts/principles resulting from the accumulated experience of various experts. They are meant to be used by society in general, and require a minimum level of quality and safety within a certain context.” After being published, a norm becomes law and demands compulsory compliance. The application of a normative instruction should be technically certified by a qualified expert who becomes technically accountable (ART) by such application. The objectives of standardization may be divided into four major groups: • Economic: to allow a reduction in an increasing variety of products and procedures; • Safety: to protect human life and health; • Consumer protection: to provide society with effective means to check product quality; • Removal of technical and commercial barriers: to prevent the existence of conflicting regulations for products and services in different countries and facilitate business interchange. Among norms that apply to public lighting, two are worth mentioning: NBR 15129, of 8/2004, which deals with lighting fixtures; and NBR 5101, of 4/1992, which sets forth public lighting procedures.

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The latter stipulates requirements that should be regarded as a minimum for road public lighting, which are intended to offer some degree of safety to pedestrians and vehicles. Reviewing that norm, its new goal is to serve as a basis for the luminotechnical project of public places, including roads for vehicles and pedestrians to provide visibility for a safer, quicker, more precise and comfortable traffic of vehicles and pedestrians.

Calculation of public lighting installations On account of a large number of factors that may affect public road lighting, calculating that complex variable can be a trying experience. A project has to take both traffic requirements and photometric properties of lighting fixtures into account. Different lighting evaluation methods available are based on similar concepts. Those methods can be grouped into: 1.

Illuminance calculations

A simple manual project method; a lighting coefficient method; calculations by chart points and analytical calculation. 2.

Luminance calculations

Luminance method; semicylindrical illuminance. The simple manual method may be useful when only applied to public lighting installation projects on street and access avenues of a unilateral or coupled geometry. Let’s begin by calculating the data in a unilateral distribution:

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Maintenance factor

I = XX meters I Lo is divided in two areas circumscribed by the perpendicular line of the lighting fixtures. L’ = street side = XX meters L” = sidewalk side = XX meters Lighting fixture height According to this method, lighting fixture height is directly related to sidewalk width Unilateral

h = l = XX meters

Bilateral

h = L/2 = XX meters

Lighting source selection Lamps and capacities are determined according to the properties of the street to be lighted and the height at which the lighting fixtures are assembled. After lamps and capacities have been selected, their nominal flux are ascertained. F (flux) = xxx lumens Utilization factor It represents the relation between the flux emitted by a lamp and what actually reaches the street. For each lighting fixture, that relation is a function of street width and lighting fixture height.

K(ul) = l/h K(u2) = l/h K(u) – Kul + Ku2

Is the sum of the coefficient established for the lighting fixture class and by the depreciation in lamp flux, as shown in the tables below

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Sidewalk width

L I G H T I N G

V Factor (u) Atmosphere - Class

IP44 IP55 IP65

Contaminated atmosphere

0,7

Uncontaminated atmosphere

0,85 0,9

0,8

Lamp Type

0,9 0,95

Factor (f)

Mercury vapor lamp

0,85

Diffused sodium vapor lamp

0,88

Clear sodium vapor lamp

0,90

Plus sodium vapor lamp

0,95

Halogenated mercury vapor lamp

0,85

V = V (u) + V (f) Column distance According to this method, the distance between columns is related to the height and the type of lighting fixture used (coefficient k). h Lighting fixture type

Lamp type

(k)

Cut-off

Fluorescent bulb

2,8

Clear bulb Semi cut-off No cut-off

Fluorescent bulb

3,2

Clear bulb

3,5

Fluorescent bulb

3,7

Clear bulb

e I1

I2 I

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U R B A N

L I G H T I N G

Average illuminance calculation chapter

Made on the basis of the previously seen illuminance concept: Unilateral assembly:

Emed = (F x K x V) / (l x e)= ....Lux Bilateral assembly:

Emed = (2F x K x V) / (l x e)= ....Lux Average luminance calculation Average luminance is determined on the basis of Emed’s value related to a coefficient produced by the type of story (R). Luminance L = E / R Utilization factor The utilization factor measures the output of the lamp-lighting fixture set and is defined as the useful flux quotient – that reaches the street – and flux produced by the lamp.

η=

φ útil φL

That factor is often represented by curves supplied by a manufacturer together with the lighting fixtures. Those curves are determined as a function of the quotient street width / height (A/H), the most common, or of angles γ1, γ2 on the street and sidewalk side respectively. (Figure 92) The charts show that there are two possible values, one for the sidewalk side and the other for the street side, as obtained from curves. (Figure 93) To attain the total utilization factor of the cross

Master Urban Lighting Plan

section of the street, it is necessary to add the sidewalk side and street side coefficients. On calculating the utilization coefficient to enter the utilization or longitudinal output curve and determine the percentage value of the luminous flux cast on a street in the project, first, calculate the b / h relation for the sidewalk side, and the relation b / h for the side of the street, where a corresponds to the width of the sidewalk; b to the distance from the edge of the nearest sidewalk to its column and the projection of the photometric center of the lighting fixture over the sidewalk; and h is the height of the lighting fixture assembly over the sidewalk; and h is the height of the lighting fixture assembly over the street level. The axis of the abscissa of the curve at each point can be calculated by means of b / h & (a-b) / h, and at each point a normal line is drawn until it intersects the utilization curve on the sidewalk side and on the side of the street, respectively. At those points parallels to the axis of the abscissa are drawn and at the point they intersect the ordinate axis there is a uv coefficient on the sidewalk side and a uc coefficient on the sidewalk side. The formula by which average illuminance is calculated is shown in figure below, together with the corresponding charts. In the beginning of a project, the available data are nearly always average illuminance, street or road width, maintenance coefficient, sometimes the luminous flux and/or height of assembly. Using that information and the average illuminance equation, calculate the distance between consecutive columns:

d= U*u*m a * E med

U R B A N

Calculating point by point

L I G H T I N G

Where:

To make that type of calculation, it is necessary to divide the calculation zone and the street between two consecutive columns in a number of as many points as the evaluation may require.

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Ei is the illuminance of a lighting fixture at the calculation point, according to the Isolux curve. Ep is the luminance at calculation point Epl is the luminance at the intersecting point of the Isolux curve

Graphic Calculation Similarly to the Isolux curves of lighting fixtures, it is necessary to divide the distance from each point relating to each lighting fixture in the calculation area by the height of the assembly and enter the resulting value into a curve chart to determine the value of the luminance that the lighting fixture casts at that point. In Isolux curves of absolute values, curves are drawn for a certain height and a luminous flux; it would be necessary to correct the calculated value to obtain an actual value that is suitable for the project. That correction may be expressed by the formulas:

φ is the lamp luminous flux used in the calculation φl is the lamp luminous flux at the Isolux curve h is the assembly height of the lighting fixture used in the calculation hl is the assembly height of the lighting fixture at the Isolux curve

Epl = Σ Ei

g1 H

Ep = Epl *φ / φl * h2 / hl2 A1

A2 A

0,5

Street side

0,4 0,3

sidewalk side

0,4 Street side

sidewalk side

0,3

0,2

0,1

-h

3h A/H

0 90° 60° 30°

0°

30° 60° 90°

0,5

0,4

0,3

0,5

sidewalk side

0,4 0,3

Street side

sidewalk side

Street side

0,25

h2 0

Fig. 92 – Curves of the using factor

-h

A2 0 H

A1 h H

Fig. 93 – Possible values gotten from the curves

Master Urban Lighting Plan

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Analytical Calculation

Y chapter

Xp d

Calçada b

Calculation area

yp - d xp - b C p = arc tg C p (y p - d) 2 + (x p - b) 2 Tg cp = h y p = arc tg cp tg C p =

yp c

This method calculates the incident luminance of each lighting fixture in the points of the area as previously determined in angles Cp yp

Where: Via Calçada

Yp is the longitudinal distance between that point and the origin of coordinates Xp is the transverse distance between that point and the origin of coordinates Cp is the incident vertical angle at that point

γp is the incident vertical angle at that point b is the transverse distance of the origin of the coordinates of the projection from the photometric center of the lighting fixture onto the sidewalk h is the lighting fixture assembly height over the sidewalk level d is the longitudinal distance from a column to the origin of coordinates Having determined the angles by means of equations 1 and 2 expressed in the previous figure, it is necessary to find intensity values to calculate the luminous intensity that reaches the point at hand. The formula below determines incident illuminance:

Master Urban Lighting Plan

I p (C p, cp) * cos 3 cp Ei = h2 The luminance of the calculated point is expressed by the sum of the incident luminance at those points.

Ep = / Ei The average luminance in the calculation area is:

E med =

Being Ep the horizontal illuminance at that point; “Emed” the average illuminance in the calculation area; and N the number of calculation points in the area. The nine-point method is used to calculate and verify an operating installation. For example, a street length whose lighting fixtures are unilaterally arranged and separated by a distance d. As a result of the existing symmetries, as shown in the explanatory figure of this method, it is enough to calculate the illuminances in the area pointed out. Those values should repeat themselves regularly for the remainder of the street. For calculation purposes, the area is divided into nine parts with as many more points. 9 E m = E 1 .S 1 + E 2 .S 2 + f + E 9 .S 9 = / E i .S i S1 + S2 + f + S9 i=1

In that case, the average luminance value is:

E 1 + 2E 2 + E 3 + 2E 4 + 4E 5 + 2E 6 + E 7 + 2E 8 + E 9 16

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S 1 = S 3 = S 7 = S 9 = A . d = A.d = S 1 32 4 8 A d A.d S2 = S8 = . = = 2S 1 2 8 16 S 4 = S 6 = A . d = A.d = 2S 1 16 4 4 A d A.d = 4S 1 S5 = . = 2 4 8 The previous expression may also apply to bilateral and positioning arranged by degrees. To calculate the luminances over each point, it is enough to consider the contribution of the nearest lighting fixtures. Luminance at each point is:

Ei = Eia + Eib + Eic E m = E 1 + 2E 2 + E 3 + 2E 4 + 4E 5 + 2E 6 + E 7 + 2E 8 + E 9 16 In addition to Em, it is possible to calculate the average and extreme uniformity coefficients of illuminances. G1 = Average uniformity = Emin / Em G2 = Extreme uniformity = Emin / Emax Illuminances can be calculated in two ways. The first way uses the formula below:

I (C, c) .cos 3 Ei = H2 With l we may obtain polar charts or an intensity matrix in candles per kilolumen, which is delivered

together with the tests of the lighting fixture employed. You can also resort to a graphic method in which the illuminance values may be obtained by a direct reading of the Isolux curves, and that requires the Isolux curves of the lighting fixtures; the architectural drawings of the street in the same scale as that of the Isolux curve; a table to make a note of the values obtained.

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With:

L I G H T I N G

On the corresponding blue print, we locate the nine points and the projections of the photometric centers of the lighting fixtures over the street. Then the Isolux curve is successively superimposed on that plan so that its origin is over the lighting fixture and the axes are correctly oriented (0-180o parallel to the street axis and 90o- 270o perpendicular to it). Now, the luminance values at each point may be read and written on the table. The values with respect to each point are added, and the actual values are calculated. Finally, the average illuminance and the average and extreme uniformity factors may be calculated. Other reliable and powerful calculation methods are available, but the principles on which they are based are just the same. (Figure 95)

d/2

Sidewalk

characteristic zone

axis

Via

Sidewalk

Remote management systems More and more, the entities in charge of managing public lighting seek suitable means of supporting them in managing their network, reducing costs keeping in mind service quality to citizens. For an adequate response to such demands, technology has gone into operation to develop innovating mechanisms to manage public lighting remotely â&#x20AC;&#x201C; in the 1990â&#x20AC;&#x2122;s those mechanisms made it possible for public lighting to take a qualitative leap in the management of public lighting as a whole.

Sidewalk A

C axis

A Via

A/4 d/2

6 3 d/8

Sidewalk

d Fig. 94 â&#x20AC;&#x201C; Nine-point calculation method

Master Urban Lighting Plan

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Sidewalk

A 5

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C axis

A Via

A/4 6 3 d/8

d/2

Sidewalk Point distribution in a unilateral arrangement

Ei = Eia + Eib + Eic

Sidewalk

A 8

axis

Via

B A/4 d/2

6 3 d/8

Sidewalk Point distribution in a positioning arranged by degrees

Ei = Eia + Eib + Eic

7 B A

Sidewalk

4 1

6 3

E A/4

d/2

d/8 d

C axis Via

F Sidewalk Point distribution in a bilateral arrangement

Ei = Eia + Eib + Eic + Eid + Eie + Eif Fig. 95 - Graphic method representation to calculate illuminance values

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Master Urban Lighting Plan

Those systems have been developed in response to public lighting objectives, operating on four pillars centralized and controlled management; component efficiency; safety and power economy. In addition, they provide a quick response to problems. Centralized and controlled management of the public lighting network may be performed with the help of a single computer and adequate software installed in an office. The information gathered helps to improve equipment maintenance and reduce costs; it allows comparisons among the various brands of elements, controlling their useful life; and determine the best cost-benefit ratio of each component. Those systems can serve as an interface with other different systems, as electric panels or lighting columns, checking their conditions and controlling the activation of a network from any location in the territory. On a day-to-day basis those systems make it possible to check eventual anomalies in electric panels and lamps, reduce energy consumption, put together a repair schedule, program the luminance level in different areas and times of the year. Those systems can assess the correct efficiency of the components of an installation with the purpose of eliminating possible sources of damage; operating randomness; low voltage; auxiliary equipment deterioration and abnormal electrical power consumption by lamps. Among the parameters controlled by remote public lighting management systems are: capacitor malfunction; status of lamp; lighting column fuse, power supply line, protection circuit-breakers,

electric panel access door, among other items; lamp aging control; and various activations. Moreover, recognizing and commanding the voltage of the electrical power network, helps to minimize risks and increase peopleâ&#x20AC;&#x2122;s safety in the case of accidents caused by cable ruptures or unfastening. The data generated by the remote management systems make it possible to detect electric leakage and proceed to cut the defective cable immediately.

Components of remote management systems Different components make up remote management systems, among them modern software programs; data transmission modem; Power Line Communication (PLC) to control panels and lamps; lamp control and command module; and circuit output control module. Software programs have the main purpose of controlling and viewing events in the entire lighting system, among them, the power-on system, group or individual lamp programming, data generation and printing, and serving as a data base for the system of panels, lamps and consumption. The PLC controller of panels and lamps commands the activation of the lighting system and all panel elements, in addition to network communication. It also works as a type of data bank because it saves the information received and transmits it to the control center, besides playing the role of a patroller because it carries out input, output voltage, subvoltage and low voltage checks. The lamp control and command module is

U R B A N

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chapter

encapsulated in resin and controls the operation of a light source, reporting failures to the PLC system and making it possible to program each lighting fixture individually. Finally, the main functions of the circuit output control module are: controlling the voltage in each phase of each output circuit; check four triphasic output circuits per module; and assess up to sixteen triphasic output circuits, coupling up to four modules.

PC PC

Telephone Communication Network

ne ion ho at lep ic k Te muntwor m e Co N

Carrier line MODEM

PLC

Fig. 96 â&#x20AC;&#x201C; General schematics of a remote public lighting management system

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Standard discharge lamp controller Lamps in line

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Fuse

Current controller Capacitor

1 2 3 4

Neuter

Lamp

Starter

Phase

Double capacity current controller

Controller

8 7 6 5 Lamps in line

Neuter

Current controller Capacitor

1 2 3 4

lamp

Starter SĂŠrie

phase

Standard controller with a dedicated communication line

phase

Controller 6 5 LD Lamps in line 1 2 3 4

Neuter

102

Current controller Capacitor

Starter SĂŠrie

LD=Dedicated line, exclusively for signals: telephone wiring pair or similar 2 x 0.22mmÂş (minimum)

Master Urban Lighting Plan

lamp

Case Studies

Grand Canal Ying Yue, Hangzhou, China Roger Narboni

The history of the city of Hangzhou is closely linked to its geography and hydrology. The first settlement was established beside the Qian Tang River but the town grew when the construction of the Grand Canal started in 610 A.D. to connect Hangzhou to Suzhou. This completed the incredible man-made construction undertaken between 722 and 481 B.C. to link Beijing in the North of China with Hangzhou 1,794 kilometers away. After major initial development in the 10th century, the city became in the 12th century the Song dynastyâ&#x20AC;&#x2122;s diplomatic and cultural capital of Southern China. The Grand Canal then became part of a large waterway network that created the current layout of the city of Hangzhou and helped the

city to gradually increase its prosperity. And the natural beauty of the famous West Lake gave strong added interest to the water city. The city of Hangzhou is currently undergoing major development around the Qian Tang River, the Grand Canal and the Xixi wetland to enhance its potential and its attraction for tourists. The government of Hangzhou decided in 2007 to transform the image of the Grand Canal and develop tourism by renewing the canal bank promenades and launching the construction of a fleet of fifty boats for daytime and nighttime trips. He decided as well to create beautiful lighting that would enhance the Grand Canal along a length of 10 kilometers in the inner centre of the city, attracting both Chinese visitors and foreign tourists at night.

At the end of 2007, Zhongtai Lighting Group, the most professional lighting total solution provider based in Hangzhou (China) was asked by local government to study the lighting master plan for the 10 kilometers long site of the Grand Canal and to realize the final effect. With its wide range of international resources, Zhongtai invited Roger Narboni, from Concepto lighting design studio, famous worldwide for its ability to work with monumental water landscapes. The merging of Chinese and European lighting cultures started at the beginning of January 2008 and ended with the successful presentation of the Ying Yue nightscape to the Governor and the people of Hangzhou in September 2008. The aim of the joint lighting proposal was to reveal the existing beauty of the site, its monumentality, its identity, its layout and the richness of its architecture and landscape. The lighting designers did not want to decorate the site with lights; on the contrary they wanted light to express the inner qualities

and great potential of the Grand Canal nightscape. And of course, the use of the last technologies of Leds, mainly produced and made in China, was obvious. The Lighting Master Plan for the Grand Canal could become the start of a wider lighting strategy for Hangzhou, revealing the special atmosphere of its unique and large water network at night. The little canals play an important role for the population. They are a place for a walk and they create a nice, peaceful impression set against the background of large avenues. The lighting will gradually add beauty, firstly to the Grand Canal then to the canal network. It will help to highlight its unique layout and indicate the promenades at the rear of the avenues, which are almost invisible. The expectation of the client was a colorful, dynamic lighting effect with strong rhythms. After exploring the historical and cultural context of Hangzhou and examined and visited the site numerous times, Roger

Narboni and Zhongtai team proposed a completely different concept to him. The bankâ&#x20AC;&#x2122;s landscape is unified and enhanced by a blue green light coming from Led projectors (18x3W blue Leds and 18x3W green Leds) that can vary from an ice blue color in wintertime to a warm green color in summertime, and 400W metal halide floodlight projectors equipped with colored filters. The blue green lighting creates a mysterious and tranquil environment that matches the personality of the Grand Canal. This lighting creates a wonderful misty impression on both sides, emphasizing the beautiful curved trajectory of the Grand Canal in the nocturnal scenery. The colored light also reveals the different depths and forms of the banks, showing all the monumentality of the site. The natural humidity present on the site and the real fog that very often rises from the Grand Canal at nightfall amplifies the manmade lighting effect and produces strong emotions for tourists. At dusk, this mist of light is conveyed like luminous waves from South to North following the flow of the Grand Canal. During the night, the mist of light becomes static and then slowly fades out around midnight. In addition, some major trees on the banks, mainly located near the water, are enhanced with a static warm white light (ceramic metal halide lamps, 3000K) and in a natural manner to increase the contrast with the colored surroundings.

The paths and promenades are lit continuously by luminous Chinese columns set out at regular intervals on the banks and near the river in order to create luminous reflections on the water. These translucent light fittings equipped with white light fluorescent lamps (3000K) look golden white in comparison with the bluegreen colored mist in the background. A large section of the railing is already lit on both riversides using small recessed ground fittings. This delicate lighting gives a good visual scale to the bank. These fittings have been kept but modified to take long-life Leds (3x1W, 3000K) There are many parallelepiped modern buildings near and around the Grand Canal site. They are strongly present in the dayto-day urban landscape. Colored luminous vertical frames are installed on the higher sections of these buildings (visible from very far away) especially on the facades overlooking and parallel to the canal. These vertical frames stand in the Hangzhou skyline as virtual paintings and give structure to the nighttime views. They create a poetic and geometric landscape that seems to float above the water and, from far away, indicate the invisible presence of the Grand Canal. The traditional architecture is part of the Grand Canal landscape and history and very obvious in various vistas. It is all illuminated with a gold white light that enhances and

I L U M I N A Ç Ã O

highlights in particular the beautiful pagodashaped roofs in nighttime views. The pillars or walls are also illuminated to give the structures a sense of material being in the nighttime landscape. Each corner of the roof has a traditional red lantern equipped with a fluorescent lamp. The Grand Canal is crossed and linked to numerous smaller canals that have little water cascades, lapping water and old footbridges at the intersections. The lighting project emphasizes and signals the presence of these beautiful views with lighting. The footbridges and cascades are systematically illuminated. Luminous poles equipped with Leds (6x3W blue and 6x3W amber) are installed in the water to draw attention to the complex canal system. They shed light down onto the turgid water, creating beautiful reflections on the black surface. The translucent cylinder, encased in a metal frame, floats and moves with the wash created by the boats, depending on the level of water. The luminous cylinder changes color according to the seasons. The Grand Canal section in Hangzhou is crossed by more than 20 bridges of different periods, sizes, heights, materials and colors. They are a varied part of sightseeing especially during a boat trip and they cut the canal perspectives into very different sequences. All the various existing lightings are changed to white lighting to harmonize the canal

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landscape on a large scale. This white illumination beautifies the shapes and the structures of the bridges in a way that is totally natural and devoid of artifice. The lighting is focused on the two sides of the bridges, leaving the under parts and vaulting completely in the dark. This darkness will preserve the nocturnal views over some distance. Eleven-meter metal poles, consisting of profiled stainless steel and colored Leds, are installed on the North bank. At night, they indicate alternately the distance to the Tang Qian River in Hangzhou and the distance to Beijing. These distances are shown in kilometers in green then in red in the ancient Chinese “Shi” measure system (1 Li = 0.500 km) developed by the Qin dynasty. These milestones provide tourist information and a sense of rhythm for evening cruises. They act like notes and measures in a musical composition. The colored lighting system installed on the banks can be dimmed and controlled by a computer in order to modify the intensity of light or change the colors of the mist of light. At the beginning of the night, the level of light is higher and waves of light run along the banks, simulating the flow of the river. Around 10.00 pm, the level of light is dimmed and the lighting effects become static. After midnight, the mist of light can be shut off to preserve the tranquility of the neighborhood. The colored nightscape can change in accordance

índice

with the seasons, offering tourists different colored night scenes. The pedestrian and tree lighting is static as a security measure for the promenades on the banks after dark.

some traditional Chinese pavilions that were recently renewed by the authorities and that are very much appreciated by the local people at nighttime.

Boat trips on the Grand Canal from the two farthest wharves are 10 kilometers long.

To examine the feasibility of the 10 km lighting master plan, to ensure the details in the design and the right selection of the lighting fixtures, lighting up a mock-up area is generally the most effective way. This mock up method is rare in China, but with the help of Zhongtai Team, the client accepted the idea. From the first design of the mock up to its realization, it took only 2 months. During this period, the Zhongtai team have come to the site for hundreds of times, in order to confirm the lighting position, to design the right products, to find manufactures, to make and test samples, to adjust and set up fixtures on site.

Along the way, tourists and visitors will be able to discover and admire a nighttime view of illuminated features of different sizes e.g. pavilions, pagodas, traditional teahouse, old factories, modern wharf, bridges, piles, canal intersections, trees, statues etc. In addition, the Grand Canal nightscape will be highlighted and animated in particular places where all these features come together to create complete beautiful night scenes and where the banks are linked to the nearby urban environment in terms of tourist attractions, commercial premises and places to visit. The special use of these highlights gives density and balance to the long boat trip. One of these highlights, a 300 meter long site called Ying Yue (â&#x20AC;&#x153;reflections of the moonâ&#x20AC;? in Chinese), located on the North Bank of the Grand Canal in the inner centre of the city, has been chosen as the first concrete example of the Grand Canal Lighting Master Plan. Located on one of the intersections with a smaller canal, crossed by a beautiful old bridge surmounted by a stunning pagoda, the site hosts a delightful park and

The whole realization (10 kms long) has then been conducted and was totally finished on February 2009, just in time for the Famous Chinese Lantern Day.

Technical information Lighting Master Plan for the Grand Canal (10 kilometres long) in Hangzhou: From January to February 2008. Design and construction of Ying Yue nightscape (300 meter long site): 2 months. End of construction of the 10kms long nightscape: February 2009. Project owner: City of Hangzhou. Lighting design in France: Roger Narboni, CONCEPTO studio – Frédérique parent and Mélina Votadoro, project leaders. Lighting design in China: Wan Hong, Zhongtai Lighting Group – project leader.

Technical design office: Zhongtaï Lighting Group, Hangzhou. Ying yue lighting devices: Philips Lighting 36x1W blue and green Leds projectors Floodlight projectors with 400W metal halide lamp and colored filter on 9 meters high steel poles – Partly ground recessed projectors 70W ceramic metal halide lamp, 3000K – Architectural projector 6x3W warm white Leds, 3000K – Micro projector 1W warm white Led, 3000K – Ground recessed projector 3xW warm white Leds, 3000K – 4 meters high underwater mast with 6x3W blue and 6x3W amber Leds – Linear Led fittings 48x3W Cyan color – Linear Led fitting 54x1W warm white Leds, 3000K – DMX control system. Power consumption of the Ying Yue installation: 49.6 kW for 300 metres long and 30 meters large site.

Photos and renderings: copyright Concepto & Zhongtai

Parc Clichy-Batignolles, Paris, France Roger Narboni

The lighting in Clichy Batignolles Park has been designed with the following aims: to create various, attractive, nocturnal atmospheres; to increase the safety and security of the main paths; to provide a visual limit to the park, which lies adjacent to large railway yards; to improve the park’s night-time image since it is visible in urban landscapes and from neighbouring blocks of flats. Because the site was initially looked at as the location of the Olympic village when Paris was still a candidate city, the lighting was purposefully designed on the basis of sustainable development and high environmental quality. Other parameters included care not to disturb the animal and plant life and a determination not to increase light pollution in Paris. Given the very unusual position of the park, bordered on the west side by a large rail yard, it was important, indeed vital, to provide a visual boundary, separating the park from the inaccessible areas beyond it. Along the western side, the ends of the network of secondary paths are indicated by small white lights equipped with 20 x 1W white, low-consumption LEDs mounted on top of

cylindrical metal masts 5 metres high visible from some distance away. In accordance with the Lighting Master Plan for the Paris “Crown”, and for the first time, the small “circle” rail line that runs in a wide curve past the basins at the northern end of the park has been underlined by lighting. It was highlighted by blue lights mounted on wooden posts six metres high and powered by independent photovoltaic cells. The posts have been set up along the bank at a regulation distance from the railway tracks but are increasingly widelyspaced. They culminate in the centre of the basin to accentuate the curve effect. Each light is equipped with a photovoltaic panel and a battery built into the post, making it completely independent as regards power supply. This means that it does not require any civil engineering work (trenches, sheathes and cabling) other than its concrete foundation. Because of this, the lights are very easy to move, if required in later modifications and future layouts scheduled for this area. The themes of the body, the seasons and plants developed by the landscaper in the centre of

the park each include a night-time image. The observation platforms overlooking the park are lit with button lights consisting of 1 x 1W LED. These carefully-positioned night-time displays add depth to the views and make the view and image of the park more attractive after dark. It is the manmade landscaping and volumes that are emphasised by the small button lights integrated into the amenities, turning them into new, virtual sketches. The fountains, steps, pontoon and biotope basin in the north of the Park in front of the railway line are the subjects of another display, enhancing the theme of water at night. Small spots (devices with white LEDs) are randomly dotted around and in the fountains. Set into the ground, they are deployed up the steps and, finally, submerged in the water. This light “tableau”, which is visible from the old Forge that will be turned into a restaurant during a future phase of the development, adds a delightful touch to the aquatic layout at night. The two main longitudinal paths that are extensions of the surrounding streets, and the two main transversal paths are lit using pairs of adjustable lights mounted

on 5-metre posts on one side of the paths, in line with the trees. Minimum levels of lighting have been installed (an average of 10 lux is maintained) but the lights used on the ground nevertheless provide a sense of safety along the footpaths at night. The architectural lights (IP 65) are equipped with ceramic metal halide lamp 70W (3000K, CRI >80). They can be fitted on site with a whole range of accessories (refractory glass to alter the distribution of light, coloured glass filter etc.). The use of lights on posts is an excellent way of overcoming the problem of light pollution because the light is directed downwards, towards the ground. The principle of centralised power connected to the grid has been used for the public lighting in the park and the peripheral lighting. Energy production from the photovoltaic panels mounted on the roof of the old Forge is injected into the grid and sold to the national power supply company before being bought back as conventional power, at low cost, as and when the need arises. The lighting along the circle railway line, on the other hand, has been designed with a totally independent power supply (photovoltaic cells and an integrated storage battery). The average duration of light available for these devices is approximately 4 to 5 hours depending on

the sunshine. To further minimise the energy costs of providing the lighting, which are already very low for a 4.4 hectare park (9 kW on full power), a number of different lighting programmes have been developed.

Technical information Client: Paris City Council, Parks Department. Jacqueline Osty agency, landscape architect - François Grether, architect. Light design: Roger Narboni, CONCEPTO agency, Frédérique Parent, project manager Electrical studies : O.G.I. Installer: CEGEX Area of park: 4.4 hectares Total power consumption: 9 kW Materials used: Aubrilam Volta 1 independent poles with photovoltaic cells and 10 x 1W blue LEDs - Comatelec Phylos LED light columns with 20 x 1W white LEDs, 3000K Sermeto Carène mast with 2 Thorn Contrast projectors, IMC lamp 70W, 3000K – devices embedded in the ground and into water: LEC with 1 x 1W LED, 8000K.

The façade of the incineration plant in Carrières-sur-Seine, Ile de France, France Roger Narboni

The incineration plant is currently the subject of an architectural integration project and a complete refurbishment. As part of the project, there is a proposal to enhance the façade at night in a way that would be visible from some distance as part of the night-time urban landscape. The façade has now been totally clad with a wall of profiled glass. The proposal was approved by the client which, for its part, wanted to change the negative perception generally associated with domestic refuse incineration plants. Although they are essential for reasons of environmental conservation, these huge plants are still considered an eyesore by local people. The design team’s aim was, therefore, to create a totally different perception of this massive façade at night by using the special optical qualities of the glass covering i.e. its lightreflective potential and its ability to diffuse light into the interior of the shell of the building. The lighting display creates moving images reminiscent of rainfall, echoing and opposing the element of “fire” present in the incineration

kilns. The graphics are a representation of water and wind. They are blue-green in colour in an apparent attempt to “soothe” and “cool” the energy inside the building. The budget allocated to the night-time lighting display was relatively low for such a large façade and we quickly decided to use neon tubes because of their low cost, good lighting qualities, low electricity consumption (approximately 45W per linear metre) and excellent colour gradation. Simple graphics were then created using vertical elements that were all 75 centimetres in length. The repetition of these elements across the entire façade of the building generated an unusual fresco of light that, at night, could overlay the large rectangle of glass. 311 vertical lines of light consisting of 75 cm neon tubes have been laid out in a strict geometric pattern, forming a homogeneous composition that comes alive thanks to a complex, dynamic program which varies their intensity and colour saturation. The lines of light, and their reflections, are visible from in front and from the side

because they have been mounted outside the wall of glass. This project required very careful, complex coordination between the firm responsible for installing the glass and the company installing the lights. The cabling for the neon tubes had to be provided first and left against the concrete wall before the cladding was mounted on the façade. The cable then ran through the upper joints of the profiled glass to power each strip of light. Each neon tube was finally mounted vertically, using brackets fixed with adhesive directly onto the glass. The tubes were systematically tested because work would be impossible on the cables concealed behind the glass cladding after this stage. The layout of the 311 strips of light in 24 groups of 13 neon tubes also required careful positioning and permanent monitoring of the electricity supply. Again for reasons of cost, it was not possible to control each of the 311 tubes individually. Only a 24-channel control system was feasible. The façade was therefore symbolically divided into two sections vertically then each of these halves was further divided

horizontally into three areas that were more or less equal in size. This meant that each area contained 52 lights. They were again divided into 4 groups of 13 and a check was carried out to ensure that each of these groups formed a pleasant, independent design covering an area equal to one-sixth of the façade in a balanced manner. Using this design method, the dynamic display appears very complex in visual terms, even though it functions using only 24 gradation channels. The 24 groups of 13 lights can be modified from 0 to 100% and the light sequences follow each other in such a way as to simulate an undulating or flashing design, at various speeds. Depending on the level of gradation, the neon tubes may be scarcely visible or, on the contrary, very intense. The light emitted is then diffused through the profiled glass onto the light concrete wall in the background, creating an amazing halo effect. The theme of rainfall, suggested after dark by vertical strips of light repeated at various speeds depending on the strength of the shower and the wind direction, was taken as the basis for the design of the programme from the outset.

Various time lapses between raindrops were studied using sound recordings of different types of rainfall from all over the world. Some of the lapses were then selected by the lighting designers and translated into animation software to give visual form to the different rhythms of light that could be created on the night-time images of the façade. These studies made it possible to programme very detailed sequence durations and schedule the short gaps required between each sequence in order to generate visually interesting scenarios. On-site tests were carried out to refine the scenarios and sequences and the most impressive showers of light were then selected for the façade as a whole. These showers of light were visually as close as possible to real rainfall. Throughout the night, the façade becomes an ever-changing screen on which various types of rain fall, spread and form patterns. The computer program lasts for one hour and is repeated in an endless loop throughout the first half of the night, recreating different rhythms of rainfall i.e. light or heavy rain, showers or misty rain, gusts of wind or the gradual end of a storm.

Technical information Client: SITRU Light design: Roger Narboni, CONCEPTO agency, Sara Castagné, project manager (design), Virginie Nicolas, project manager (installation).

Cost of lighting work: 120K Euros excluding VAT (2006 value). Length of façade: 100 metres Total energy consumption: 10.7 kW

Architects: Quirot & Vichard agency

Lighting equipment: 311 high-voltage neon tubes, 75 cm TLB, Avab dynamic control, DMX protocol with 24 circuits.

Design office: A.I.C. Ingénierie

Installer: Citeos Lesens

Nighttime Riverscape - the Garonne in Toulouse, France Roger Narboni

The River Garonne, which flows through Toulouse city centre in a long graceful curve, was one of the main themes given prominence in the Lighting Master Plan for the city, discussed and approved in February 2004. The lower and upper quaysides along the banks, the riverside trees, the bridges, the “Prairie des Filtres” Park, the tip of the Ramier island, and the buildings and churches overlooking the waterway were all gradually floodlit, creating an extensive nighttime riverscape over a distance of more than 1.5 kilometres. The lighting of the Garonne itself, with the lights set into the river bed and stretching from one bank to the other at the causeway known as Chaussée du Bazacle, is the most outstanding feature of this innovative project designed to give Toulouse an enchanting point of interest after dark.

company (EDF), zigzags between an hydroelectrical plant and the front of the La Grave hospice. The causeway consists of two, stepped sections, one gently-sloping and only lightly-structured and the other tall and vertical, and it takes on a very different appearance depending on the season and the rate of flow.

The ford called Le Bazacle, a shallow passage over hard rock in the river bed, was for many years the only crossing-point on the Garonne and this undoubtedly explains why Toulouse was founded here. The dykes built in the 12th century to hold back floods were interconnected in 1248, forming the causeway. Today’s concrete construction, which belongs to the French electricity

Because of the characteristics of the installation and the very strong constraints inherent to this submersible site, special lighting equipment was developed by Roger Narboni, working jointly with Targetti Extérieur Vert, a manufacturer specialising in products with a high protection grading. Given the requirement for low voltage electricity passing through an underwater

This “brocken line” connecting the two river banks, though a symbol of Toulouse, is scarcely visible at night. It was decided to enhance it using a partially dotted, coloured pathway of light. The 247-metre track of light is created by a discontinuous row of 265 identical lights 80 cm long (with a protection grading of IP 68), set into a concrete construction built on site to follow the line of the existing causeway.

construction, LED technology was the obvious choice but in this instance the diodes were used to produce high-output optical conduction, a system that is particularly innovative. Each device includes a translucent bar with lateral emission and an aluminium reflector. It is lit at the ends by two 1W cyan LEDs (wavelength between 495 and 510 nanometres) that produce very intense light. The LEDs are long-lasting, with a life of more than 50,000 hours. The visible area of light from the devices is 10 cm in width and 80 cm in length. The lights are set in line edgeto-edge and side-by-side in groups of six at 80 cm intervals. They consist of a stainless steel profile capable of withstanding difficult external conditions (prolonged submersion in fresh water), covered with thick, totally flat polymer resin (60-joule shock resistance). The low voltage electricity supply cables are sheathed and pass under the lighting inside the concrete construction built on site. The transformers are 200 metres away. If any faults or breakdowns occur at a later date, the disposable lighting equipment can be removed and replaced with identical

equipment without any need for further work on the concrete construction. In the darkness, the lights create a dotted line that is clearly visible in the nighttime riverscape. The coloured line changes naturally depending on the Garonne’s rate of flow. It is sharp in summer but becomes more and more blurred during the winter as the current and flow rate of the river changes. The site was accessible only in the summer months when the water level was at its lowest, and the project required complex work in the river and appropriate safety measures, as floating pontoon to access the work site, cofferdams to protect the construction work, a sensor to monitor any rise in the water level, a hooter to warn of impending danger, with a boat always on hand etc. The light display is part of an overall ecological approach to projects. The extensive nighttime display uses approximately 900W. The equipment does not produce any heat and does not disturb the river’s natural environment, affecting neither plant life nor animals. The concrete construction was built with particular care to ensure that no building materials were lost in the river bed.

Technical information Project owner: Toulouse City Council. Lighting design: Roger Narboni, CONCEPTO agency - Sara Castagné, Mélina Votadoro, project leaders. Technical design office: Beture Infrastructure, Jean François Glière, Project Leader, Georges Toussaint, Assistant. PR: MC3, Mireille Cerboni. Lighting devices: Targetti Extérieur Vert. Installation: AMEC SPIE. Civil engineering: SPIE Batignolles. Cost of the lighting work: 500,000 euros plus VAT (2004 value). Power consumption of the installation: 900W for 247 linear metres of lighting. Photos : copyright Concepto Illustrations : copyright Concepto, Frédérique Parent, Mélina Votadoro.

Matera, the city of Sassi, Italy Pietro Palladino

Matera or city of Sassi (stones) is located in Italy, 400 meters above the sea level and 45 kilometers from the beach. Humanity historic patrimony, Sassi is a a system composed by habitations sculpted in the abrupt hillside of a deep valley, with surprising and incommon characteristics called â&#x20AC;&#x153;Gravinaâ&#x20AC;?. Fancy buildings multi-faced are intercalate with subterranean labyrinth and cave, forming an awesome landscape. By the centuries, the city knew to maintain a permanent dialogue between the predominant stone in its landscape and the architecture of incomparable and distinct beauty. Matera is an outdoor monument, where illuminating is more than making buildings and pieces visible, it is sophisticating the style, it is enriching architectonic elements, it is delineating the light and shadow games. A monument with these proportions and equivalent necessities, requires a careful lighting plan. The project developed by the Studio Ferrara- Palladino, from Milan, first classified in the selection of Comuna di Matera happened in 2.007, suggests the lighting of the main places not as simple entities, but as parts of a great context: the extension of a lighting

journey that ends inside the city. Each choice increases the desire to illuminate the nine selected areas the best possible way, faithfully respecting their architectonic identity. It was done a detailed survey on solutions that better adjusted to the need of positive perceptions of the buildings, added to the lighting comfort, avoiding any possible obfuscating effect. Especial care was dedicated to the select lighting equipments of low amount, to hide them as much as possible. Every lighting system was invented to reduce the energetic impact to the least. Over five hundred luminaries were used, equipped with 150 Watts metallic steam to illuminate large surfaces. The LEDs technology was used in this project to emphasyze the architectonic details.

Technical information Lighting project if Matera Period: 2007 to 2009 Client: Comuna di Matera Lighting designs: Studio Ferrara – Palladino. Lighting equipments: Projectors and accessories Philips model Linealed. Philips model Decoflood; Martini model Bicudo and F.Sill model 030 Total energy consume: 47 kW Installation: Socoma S.n.c. – Impel S.r.l. Pictures and credits: Giácomo Rossi and Giuseppe Iacobino

Cathedral of Milan, Italy Pietro Palladino

The lighting outside the Duomo, symbol of the excellence of the city of Milan, was trusted to Studio LED from AEM and was a cultural and technic challenge of great depth and satisfaction. The intervention is the culminating point of the lighting project developed by AEM and the city of Milan. The Cathedral is a complex and spectacular building marked by a far off historical context, and owes part of its fame to their exceptional dimensions (lenght158 meters, width 66 meters) and the richness in statuary art and decoration (more than 3.400 statues in its patrimony). Reproductions always portrait the image most known of all: its façade, resulting of intense debate more than three centuries ago. To make the best of the main landscapes of the city and point out them with the light support was the main goal of the lighting project. And soon it was evident how complicated was dealing with drawing an building that needed to be illuminated in a uniform and soft way, carefully avoiding the effects grotesquely dramatic.

Practically, in first instance was treated to go ahead with the effects of light and shadow compensation on the relation between light and, consecutively, the cathedral square. In the planning phase, it was mentioned the “effect of a cake on a tray”. The light produced makes a projection in all the church perimeter, but in a more dramatic way to the upper part, composed by statues, gargoyles and pinnacles. The projects used were chosen by controlling the lighting flux emitted and limiting any obfuscating. A great number of projectors were divided in three different heights: in the back they made good use of lighting posts existing, crowning a great part of the building. Higher, the lights were positioned over the superior edges of surrounding buildings and, to illuminate the needles, it was chosen bases stations from the same ones. The entire project was made with the help of the LEDs technology, that attended the lighting needs, architecture, maintenance and especially, conservation. For example, to illuminate the façade it was used a luminary

beam imbedded up on the buildings next. To some, the projection distance is of about 130 meters. The total power is nearly 53 kiloWatts, from which 20 are used to feed the 106 projectors that illuminate the perimeter, 33 with 312 luminaries to the pinnacles and statues found in the upper part.

Technical information Lighting project of the Duomo of the Cathedral of Milan. Italy Period: December 2000 – April 2001 Client: AEM S.p.a.

The luminância values don’t alter the equilibrium of the square lighting project: It wasn’t exceed the average of 50 lux. Fundamental to develop the project was the light sources choice, projecting a suitable light shadow in the marble surface of the dome. As for the “Madonna” lighting, placed in the central tower and symbol of the city of Milan, it was maintained original, but it was opted to give the tower a more outstanding effectusing the help of lighting from down to upside: the statue doesn’t look to be suspended in a vacuum anymore.

Lighting designs: Studio Ferrara Palladino (exStudio LED) Lighting equipments: Projectors and accessories F.Sill model 490; F.Still model030 and Philips model Decoflood Pictures and credits: pictures by AEM S.p.a. and credits by Studio Bellman Installation energy consume: 53 kW Installation: AEM S.p.a.

Courthouse Palace of the State of São Paulo, Brazil Plinio Godoy

The year of 2008 designated a new phase, more brilliant and most valuable in the history of the Courthouse Palace of the State of São Paulo building (prédio do Palácio do Tribunal de Justiça do Estado de São Paulo) situated in Sé Square, a public fixed in the central area of the city and where it is found the down at zero mark of the municipal district. The building gained a new lighting project, outstanding its frontal façades and side beginnings, part of a strategy of the city hall that aims to implant a philosophy of lighting the historical buildings of the capital, pointing out its esthetic and architectonic beauty. Inaugurated on January 2nd 1933, the Courthouse Palace of the State of São Paulo arose with the Constitution promulgation in 1891. It was inspired in “Palazzo di Giustizia” in Rome, Italy. The Francisco de Paula Ramos de Azevedo’s architect project pointed out caryatid figures, justice symbols and low relieves of figures of Brazilian law, as ornamental elements and building façade valorization of Renaissant style, and discreet Barroco tendency. The eclect is part of Ramos’ architect projects by the mixing of tendencies, added to remarkable trace of academic

neoclassicism, especially influenced by the Italian master Giacomo Vignola (1507 – 1573), Michelangelo Buonarroti’s pupil, and by its formation in Belgium. The Palace, which starting project foresaw the building in three pavements, received one fourth floor and one fifth floor, besides a mezzanine, because of the high judiciary demand, and it was inaugurated on January 2nd 1933. Even before the end of the work, part of the criminal services already functioned in the place. In a second date, on January 25th 1942, after the total conclusion of the workmanship, the building was inaugurated again with the opening of the noble room installed on the fifth floor, a present to São Paulo city for its 388º anniversary. The building was felled in 1981 by the Historic, Archaeologic, Artistic and Touristic Patrimony Defense Council (Condephaat), been considered as historical monument of architectonic value and cultural interest, linked to the most noble ideals of Law and Justice. Analysing the architectonic proposals, the team responsible for the luminotecnico project made a reading of the volumetric context of the building, pointing out the main portal (entrance), with the

presence of pillars supporting two frontal images, concluding the upper vision with architectonic details. During the analysis, it was realized the use og differentiated material in the building base, as rosen granite; majority of color dark beige in the façades, and details marked by medallions, images and light crownings. An important aspect in reading the volumetric perception of the building is the presence of significant arboreal elements, which valorization should be considered to the night visual complement of the building. Two of the most challenges of the team was developing a project with low energetic consume, that is, low operational cost, due to the complexity of palace façades. The goal was gotten with the use of lamps type metallic steam of low power and fluorescent T5. The second challenge was illuminating the building in a less invading possible way, searching solutions in last generation equipments to be installed in specific places, and minimize its presence and physical interference, valorizing differently the architectonic moments characteristics of the architecture of Ramos de Azevedo.

In order to reveal the frontal portico, the volumes that make the stairs in rosaceous granite were pointed out with the use of projectors type focal, built-in the floor and equipped with metallic steam lamps, presenting soft white light in asymmetric light beams, and reproduction level increased to point out the colors naturally. The portico front pillars got projectors of concentrated focus, from the base to the upper images, gifted with the anti-obfuscating system with 70 Watts metallic steam lamps with ceramics bulb. To illuminate the floor, it was used impervious projectors, built-in in soil with reflectors semi-cylinders, parabolic metalized and asymetric vith 70 Watts multisteam lamps, with color temperature 3.000k. Making an oppositioned point to white lighting, the little pillars close to the main entrance received lighting with projectors that use amber filters, outstanding the upper part of this entrance. The lighting of amber base had as goal the general valorization of the architecture, contrasting with the soft white light, that focused on the details and building ornaments. The upper elements of the building and architecture details, as statues and volumes of esthetic importance were illuminated by projectors with 35 Watts powered lamps. All the luminaries were installed in the building details, according to determination of the Historic Patrimony Council.

The first marquises, linear luminaries, weather-proof with inter built-in to reactor, are gifted with T5 fluorescent lamps in 24 Watts and 54 Watts power, color temperature 3.000k and amber filters, creating a lighting since the window bases, separated by vertical details, illuminating them also with white focus. This composition of white and amber lights produces a mixed breeze, that is well visualized in the marquises lower regions. The beam was directed in a way to avoid invasion of light in the rooms. The façades lateral to the portico were illuminated, since the base, with projectors build-in the floor, also equipped with amber light. In the façades lateral to the portico, asymmetric projectors illuminate only the rosaceous marble, without prejudice the amber color as illumination base of the building; The project contemplated the installation of lighting systems in the proper building and others in distance, situated in the existing

public lighting poles This was possible due to the fact that the region of main entrance couldn’t be used to install the equipments. In the many building levels, it was installed projectors with 28 Watts and 54 Watts fluorescent tubular lamps, color appearance 3.000K, some with amber filter, creating a soft differentiation in the upper result. To point out the ornamental elements of the palace, it was employed focal-type projectors with variable focus opening adjustable to every situation. On the total, 416 projectors and a total charge of 16 kilowatts were installed in the Courthouse Palace of São Paulo. Besides representing a mark in valorizing and revitalizing downtown, the Courthouse Palace lighting stimulated the residents and tourists to know more about the building history. The new illumination system benefits also the squares Clóvis Bevilacqua and João Mendes, both of them situated in its contour.

Technical information Courthouse Palace of the state of São Paulo Client: City hall of São Paulo city and Service Secretary, intermediated by the Public Lighting Department (Ilume) Project period: November 2008 Luminotechnic project: Plínio Godoy Lighting equipments: Soil projectors (Schréder do Brasil; metallic steam and fluorescent lamps (Philips and Osram), reactors and auxiliary equipments (Transvoltec) Installation: Consladel Pictures and credits: Ailton Tenório.

Ibirapuera Obelisk, São Paulo, Brazil Plinio Godoy

The Ibirapuera Obelisk, also known as São Paulo Obelisk, is a Brazilian funerary monument situated in Ibirapuera Park, in the city of São Paulo. Symbol of the Constitutionalist Revolution of 1932, the Obelisk mausoleum keeps the corpses of students Martins, Miragaia, Dráusio and Camargo (the MMDCs), dyed during the Revolution, and others 713 ex-combatants was projected by the ItalianBrazilian sculptor Galileo Ugo Emendabili. Felled by the municipal and state councils of historic patrimony preservation, the building of this mark, one of the highest city monuments, 72 meters high (from the heroes sepulture graves in the basement up to the top, there are 81 meters), was started in 1947, been officially inaugurated on July 9th 1955 one year after the Ibirapuera Park inauguration. In 2008, after having a period of architectonic devaluation for having the subway lighting

system around it depredated, the Obelisk was reconducted to the condition of one of the main touristic attractions of the city thanks to an action of revitalization of its lighting project, conducted by the Public Lighting Department (Ilume) of the city, joined with the Luz Urbana enterprise, specialized in the conceit called Lighting for City Embeautification. The focus was point out the monument details from a readaptation of lighting equipments, minimizing the light emission towards the sky, also known as lighting pollution, and apply light sources of last generation to get the lighting efficiency, besides the aimed valorization of biblic scenes and passages of São Paulo history, made with Venetian mosaic pastilles.

and 150Watts tubular metallic steam lamps and lighting flux of 14.000 lumens, replacing 1.000 Watts projectors. It was a work of constructing the monument lighting, the Luz Urbana found each one of the projectors, minimizing the light losses to the sky. The projectors with ultra-centered beam allowed, by the small dimension of the metallic steam lamps, the lighting of every part of the side faces of the monument, as one can verify in the simulated pictures here illustrated.

Built in pure travertine marble, the Obelisk received fifty-four projectors focal type, with reflectors that possibility ultra-centered long reaching photometry, equipped with reactors

With the new lighting project, the city rediscovered the Obelisk, in all its meaning and plenitude.

The least lighting pollution proportioned by the use of centered beam also had positive impact in the energy consume, once reduced it from 20.000 Watts to nearly 9.000 Watts.

Technical information Obelisk of São Paulo Client: Public Lighting Department of São Paulo (Ilume) Project period: November 2008 Lighting design Office: Luz Urbana Lighting equipments: focal-type equipped with reactors and 150 Watts tubular metallic steam lamps donated by the enterprise Schréder bo Brasil Installation: FM RodriguesConsladel Pictures: Cláudio Carassini

Arcades House Building - São Paulo - Brazil Plinio Godoy

The Arcades House Building in the heart of the historic center of São Pualo, built in the second half of the decade of 1920 and that, nowadays is property of Fundação Armando Alvares Penteado (Faap), had its façade completely restored with the arrival of the implantation of the “lei cidade limpa” (rule city clean) in the year of 2006. From a commercial vocation the eight-floor- building and basement projected in neoclassic style became hidden from the public by decades, for having its façade covered by adds. The Arcades House, which name has two explanations – one referred to the arches that form the ornament of the outer façade, on the two first floors, and in allusion to the formation of the Law School of São Francisco Plaza, known as “Arcadas” (Arcades), of the lawyers that kept their offices at that place – had restituted its life and its historical value thanks a series of interventions that rescued its architectonic typology, stylistic elements, ornaments and final touch, after detailed inspection in the façade to detect structures different from the original drawing. One of the interventions, of sum importance to avoid the reappeared elements, was a

lighting system design, signed by Plinio Godoy, engineer and lighting design. The change pointed out shapes and structures, outstanding the presence of sumptuous building in the region where it is situated. A volumetric analysis towards night valorization realized the no-existance of recoiling in relation to the sidewalks, what defines in itself, the stylization of lighting systems installed in the building itself. Through the simulation of the Building in specific software of luminotécnica, the solutions were developed based on the real volumetrias, studying the points of view of passers-by and observers situated in close buildings. The solution valorized architectonic details using the French technique, resulting in a vertical lighting, contrasted, of great power to point out volumes and textures. Special attention was dedicated to the arcades. The systems were installed per levels. In the first, situated on the ground floor of the building, focused the vertical lighting by the lamp holders and the arches illuminating.

With the vertical lighting by lamp holders, the goal was to use the lights through the vertical beams with opening that could proportionate the pillars valorization creating at the same time a lighting region on the frontal building sidewalks. The lamp holders were installed in superior position, in the proper pillars. Luminaries built in the ground could create such an effect, but couldn’t be suitable front te constant and historic tendency, in the city of São Paulo, of depredations in similar installations. The viabilization of the use of lamp holders also became possible thanks to the expected work of restoring the façades, what brought energy points in the necessary places, avoiding installation of undesirable tubulations. In the arches, the lighting coming from the lamp holders created a vertical valorization, that must be complemented to valorize the arcades. Privileging the pedestrians’ point of view, it was valorized the inner face of the arcades, using a fluorescent linear luminary with centered beam installed in a detail of the building. This luminary presents lighting beam open towards longitudinal and narrow

towards transversal, allowing a lighting in the arcades and superior architectonic details. In the second level, in the cimália from the second pavement of the building, there were used projectors of ultra-centralized focus, to valorize the decorative pillars of the façades, creating a dramatic lighting, reaching the superior cimália and getting an important horizontal valorization to the construction of the lighting building image. The installation of these projectors was done in the wall through metallic arms with French hand, distancing the projector 40 centimeters from the wall, avoiding the perforation of the cimália and infiltration points. To illuminate the superior portico, third and last level of the luminotécnico project, the valorization of this horizontal element of the building façade coming back to the street Quintino Bocaiuva, it is gotten the adoption of the solution that privileges the longitudinal opened distribution, the same solution adopted to the arcades. To avoid infiltrating problems, it was suggested the using of luminary fixing plates fixed in the nearby vertical surfaces, distant 20 centimeters from the edge of the building.

The valorization of the base of the central dome created a space that crowns the result of artificial light in the building, marking the architectonic presence of the volume. Through four PR2 projectors fixed in each one of the pillars, elevated 20 centimeters in relation to the ground, it was gotten the lighting with important and clever outstanding, compatible to the architectonic neoclassic style of the building. Complementing the dome visualization, there was added two projectors to a superior dome valorization, once, without it, the architectonic perception would be twisted, because when a determined element is not illuminated, it won’t be visualized due to the contrast between light and shadow.

Technical information House of Arcades Building Client: Fundação Armando Álvares Penteado Period: 2007 Luminotécnico Project: Plínio Godoy Façade restoration project: Escritório de Engenharia Cláudio Helú Lighting equipments: projectors type focal 1576 and 1691 with visors supplied by Schréder; lamp holders model Especial supplied by Lumini; lamp holders model Corus 1645 supplied by Schréder. Lamps: pillar lamp holders Vmet HCI-T 70W 830; arch luminaries: Fluor T5 28W 830;Façade pillar projectors: Vmet HCI-T 150W 830; Superior projectors: Vmet HCI-T 70W 830; Superior big front: Flour T5 28W 830. Pictures and credits: Ailton Tenório and Acervo FAAP.FAAP

Otavio Frias de Oliveira Bridge - São Paulo - Brazil Plinio Godoy

Enchanting, imponent and daring. These are some of the adjectives used to define the Ponte Estaiada Octávio Frias de Oliveira, built over the edge of Pinheiros river, in the city of São Paulo, to interconnect the traffic coming from the west and northwest regions of the state until the transport complex AnchietaImigrantes, where it is situated the Santos Harbor, the most harboring complex in South America. Doubtless edified to the postal card category after its inauguration, on May 2008, it helped to confirm the modernity of the city of São Paulo, introducing lights, effects and colors in its night scenery. Projected by the architect João Valente Filho, from Valente, Valente Associados, is a bridge which form covers the Luiz Carlos Berrini avenue, big enterprising axle, contiguous to the axle of Nova Faria Lima avenue , both characterized for modern office buildings, besides malls and big thematic stores, commerce, restaurants and luxury condominiums. To project a structure with such an impact in the urban landscape, it was used the most advanced technology in terms of techniques to calculate and, despites Brazil’s tardiness in building these type od edification, the best examples were

inspiration, technology and material. Built in reinforced concrete, the bridge is made of steel stays covered in polyethylene manufactured in yellow . Its main tower reaches 138 meters and its total length is almost three kilometers, with all its handlers.

projected with architectonic typology original in the history of estaiada bridges and its shape results from the behavior and the structural function performed to support the two interlaced bridges, composed in two tangent columns and opened on top.

Some challenges permeated the conception of the structure, the only one in the world with two curved bridges separated by a 290 meters span and supported by a mainmast. The most important of these challenges was reaching the equilibrium among the stays in the same way that is observed in straight works – occurs that, in this case, the cables provide a strength component that must be absorbed by the roadway (space where the vehicles transit). Nevertheless, in the curved bridge, the stays don’t equilibrate, generating additional efforts to be combated internally by the structure.

The technologic innovation of the tower project “X-shaped” to support the 144 cables, all the distinct lengths, gifted the city with the image of a great crossed stays web , forming a species of veil around the bridge, allowing a reading different from the structure. If the grandiosity of the bridge was ineffable to day light, the project luminotécnico of the new architectonic mark of the city of São Paulo ended by valorizing more its drawings and shapes. With premises, the lighting should valorize the architecture with originality, contributing to a good reading of the work, and assure elevated energetic efficiency of traffic and tower lighting.

Besides presenting a ray of very closed curve and contemplate in its project a work over the other, it was needed to solve the problem of cable interlacing, what geometrically presented a certain degree of difficulty , because they couldn’t touch each other under the wind action. Long-lined and slender, the tower was

Developed by the lighting design Plínio Godoy associated to the engineer Paulo Candura, the luminotécnico project adopted a tool from the counterpoint, pointing out during the day the yellow stays against the gray of the asphalt and, many times, the sky

of the city. At night, situation is inverted, with greater valorization of the tower instead of the stays, using the white light in the tower and colors to detail surfaces internal to the “X” structural of the tower. This subtleness revealed certain air of mistery that bloomed from the structure, surprising local residents, visitors, tourists and even the professionals of the architecture area. Each space received equipments, colors and proper specifications, in a way that during the day the lighting allows visualizing the bridge to the ones who circulate among its three access roads, while at night, it provides a scenographic vision to the ones who pass by Marginal Pinheiros. According to the urban laws of the city of São Paulo, the bridge is considered a secondary road, demanding lighting proportional to the vehicle traffic flux and speed. By this reason, the luminotécnico project contemplated the installation of 6 meters high poles with Lilewide luminaries equipped with Cosmópolis lamps, adopted for the first time in Brazil, in running tracks and in the bridge access handlers. The lamps are of high efficiency , 140 Watts against the 250 Watts necessary to the sodium steam lamps in the same appliance, besides offer low operational cost and elevated middle life. They produce a white light close to the incandescent appearance, ideal to the human eye perception in the night period and, what is more, the new technology uses

electronic reactor, that has the advantage of guaranteeing that the lamp keeps stable for longer, amplifying its durability. Considering the high efficiency of the color lighting system of the tower in “X” format, the energetic consume is equal to an electric shower. This result was possible with the use of LED technology: each one of the 146 projectors installed consumes the equivalent to one 60 Watts lamp. The projectors of closed focus were used in the highest part of the tower, while the open focus equipments are installed in the 30 meter tunnel under it. As the tunnel presents low right foot, the conductor of a vehicle has the sensation of crossing a blue area. The focusing of the LED projectors is a specific chapter. It occurs that it is necessary to individually use each one of the 146 projectors used and, as the project was developed counting on the brightness that each projector provides, the adjustment involves a composition of each one of the focus in specific positions, creating uniform lighting surfaces to the passers-by of the marginal roads. To the volumetric lighting, there were put 20 projectors Arenavision, distributed in six poles, two of them sided to the tower, edging the Pinheiros River, two in Chucri Zaidan Avenue, situated near the structure.

Technical information Estaiada Bridge Octávio Frias de Oliveira Client: Municipal City Hall of São Paulo Architecture: João Valente Filho, architect of Valente e Valente Arquitetos The other poles were installed on the other side of the Pinheiros River, near the access rings of the bridge. They illuminate the tower and, secondarily, the stays. Each projector has a 1000 Watts lamp which color temperature close to 5.000k, substituting the traditional ones with a third part of energetic economy. They were positioned to create in the inner parts of the tower, two surfaces in the dark, that would be stage of the colors produced by the Leds. To complete, metallic collimators hide the light source in such a way that who passes does not realize the protector brightness, fundamental element to the valorization of the project, bringing more contrast. Each one of the 20 projectors use specific reflector system, totalizing five different

photometry – from the CAT 1, more concentrated, up to the CAT 5, of focus opening. These differences of focus opening were defined to the uniformity of the volumetric lighting, because each protector points to one of the tower parts. By the existing distance, these points received lighting in a distinct way, resulting in a surface equally illuminated. Known as “Cidade da garôa (drizzle city), where the concrete is rose to give mass to a great metropolis, São Paulo gained a structure which project utilized the art state in architecture and lighting. The structure, as its unique colors and shapes provided refinement and valorization to the region in which it is installed, with unique architectonic effect in the history of bridges architecture.

Building: OAS Engenharia Period: November 2008 Luminotécnico Project: Paulo Candura and Plínio Godoy Lighting equipments: luminaries /milewide (Philips); lamps Cosmópolis – 140W(Philips); System electronic reactors Cosmópolis (Philips); Leds Color Kinetics (Philips); Projectors ArenaVision 1.000 Watts(Philips) and projectors Tempo (Philips). Execution: Luz Urbana Engenharia Electric project: M.Mauser Engenharia Pictures: Rubens Campo

Pelourinho (Pillory) Salvador - Bahia - Brazil Plinio Godoy

The Pelourinho, districted situated in the historic center of the Brazilian state of Bahia, once was eminently residential and sheltered the richest ones of the Bahia society until the beginning of the Century XX, when the place started in gradual decadence, more specifically from the decade of 1960. Its process of degradation came with the modernization of cities and transference of economic activities to other regions of the Baiana capital, what transformed the region of the historic center into a prostitution and marginality zone. Only from the 1980’s by recognizing the Casario as humanity patrimony by the UNESCO (Unite Nations Educational, Scientific and Cultural Organization), and the 1990’s, with a project of revitalizing the region, that the Pellory changed into what it is today: a center of cultural and touristic “effervescency”, giving shelter to the best culinary taste of Bahia, handicraft, religion, cultural centers and the legitimate Olodum drumming. In an initiative to develop the self-esteem and security to the colonial architectonic set (baroque Portuguese) which name refers to a stone column, normally situated in the center of a square, where criminals and, in Brazil-colony period, slaves, were exposed and punished, the

city hall of Salvador maped points of the Pellory, mainly around it, where lighting practically didn’t exist or was deficient. The revitalizing process was made in two fronts: the restoration of some monuments and a new public lighting.

the existing luminaries permit the entrance of insects, diminishing the operational life of the set.

The luminotécnico project, developed by the office Luz Urbana from São Paulo, had as target to increase the sensation of security and facilitate the circulation of residents and visitors, pointing out the place and its architectonic elements. The premises followed were to better the light quality, traduced in questions as appearance of the light, photometry and impermeability.

Due to luminotécnicos studies, there were simulated in 3D the outer ambiences of the Pellory using the same electric points available at the beginning, to minimize the needs of civil work in the houses felled by the historic patrimony. So, it was gotten to the necessary values to make inviting spaces, adequate and suitable to night tourism, using last generation luminaries, but, with a compatible design in relation the the esthetics of the region.

The previous lighting used lamps type sodium steam, that produces a yellowish light of low color reproduction, propitiating a darken appearance to the region, prejudicing the notability of the building colors. The lampions existing used lamps with stocks type base down, that is, stocks installed in the inferior part of the luminary with the lamp facing up, without a reflector set, emitting light to the sides, mainly to the walls, illuminating excessively the close areas and creating an ambience of few light in the street level. Another problem to be solved was linked to the impermeability, because

Metallic steam lamps lamps with 150 Watts bulb pottery and color appearance 3.000K were installed, providing a satisfactory result related to the light quantity and the color reproduction of quality . The new equipments are about 46% more efficient than the old sodium steam lamps, presenting even lower maintenance index and more durability. Besides saving energy, the new system light promises to reach a 25 meters ray, against the previous 10 meters. On the total, there were replaced more than 200 luminaries, with reinforcement of the equipment in the more critical points.

With more light at night, the tourists can now walk with more tranquility by the toutuous slopes of the “Pellô”, as it is caressingly called the Pellory by the residents, enjoying this that is a great outdoors mall because it offers touristic attractions, musicals and pub options, restaurants, stores, handicraft and jewels, museums, theatres and churches, among others. Besides providing life to the place, the new lighting also allows to admire and take pictures at night of landscapes visited during the day under different points of view.

Technical information Public lighting of Pellory – Salvador - Bahia Client: Companhia de Energia do Estado da Bahia (Coelba) Architecture: João Valente Filho, architect of Valente e Valente Arquitetos Year of the project: 2008 Year of execution: 2009 Luminotécnico Project: Luz Urbana Engenharia Lighting equipments: lamps type metallic steam with 150 Watts potttery bulb. Suppliers Schréder, Transvoltec; Osram. Pictures: Ivan ErickFotos: Ivan Erick

Footbridge Cidade Jardim, São Paulo, Brazil Plinio Godoy

Inaugurated on July / 2007, the Passarela Estaiada Miguel Reale is a project of the architect João Valente Filho, the same one that projected the Ponte Estaiada Octavio Frias de Oliveira, and is situated between the Footbridge Cidade Jardim and the confluence of streets Brigadeiro Haroldo Veloso and Franz Schubert, linked to Parque do Povo in the capital of São Paulo. The structure is used for more than 5.000 people daily and facilitates the access to Cidade Jardim station from the Companhia Paulista de Trens Metropolitanos (CPTM) and to the Parque do Povo. Equipped with all the items of accessibility as two heights handrails, tactile floor and elevator, the footbridge has a modern design, elegant and insinuating. It is supported by 21 stays (metallic rods), that go out of a steel tower self-rolling designed in inverted “Y” format, gaining an ornament in its extremity. The structure has a span of 6,10 meters, 36 meters high and 84,4 meters length.

Its shapes and finishing in steel type “corten”, a material that is self-protecting against time actions, delineate the urban presence in a differentiated way because it provides a rustreddish color, mainly under the sunset. And the lighting of this mark followed the project daring. The luminotécnico project considered three distinct situations: the security lighting, the items of accessibility and the structure support tower, it was used the public poles distributed near the roads, in consonance to these poles, providing security light to the passers-by. In the elevator region, used for people who lacks motion coordination, it was projected lighting of this part using projectors of asymmetric photometry, providing safe access to everybody. The third situation was the lighting of the supporting tower body: illuminated since the basis, the structure

received projectors of centered focus equipped with 400 Watts tubular sodium steam lamps, and there were focused to the upper sides of the tower and the upper ornament. The high spot of the base of the tower inverted “Y” shaped was done wiwth the support of rectangular asymmetric projectors, equipped with 250 Watts sodium steam lamps, creating an effect of mixing the yellow color of the sodium with the orange of steel corten, The night lighting was complemented with reflectors directed to the structure, eight of them with 1.000 Watts lamps, directed to the mainmast. The project of the Footbridge Miguel Reale explored the association among the structural, architectonic and urbanist conception, resulting on a coherent set, also composed by the new street paving and landscape, that remodeled the local landscape.

Technical information Passarela Estaiada Miguel Reale da Estação Cidade Jardim Client: Companhia Paulista de Trens Metropolitanos (CPTM) and Municipal City Hall of the state of São Paulo Year of the project: 2007 Architecture office: João Valente Filho, from Valente, Valente Arquitetos Luminotécnico Project: Luz Urbana Lighting equipments: central focus projectors, rectangular asymmetric projectors, 250 Watts and 400 Watts tubular sodium steam lamps, Tecnowatt and Philips. Pictures: Rubens Campo.

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Urban Lighting - Concepts and Case Analyses

Plínio Godoy

Urban Lighting Concepts and Case Analyses

Paulo Candura e Plinio Godoy