International Lighting Magazine
2009/3
SUSTAINABILITY
Is it only performance?
RENZO PIANO
Closer to Nature
LIGHTING
MASTER PLAN
July
EDITORIAL
Good lighting design and sustainability
Today, sustainability is an issue which no company can ignore. At Philips, we have
been investing in green technologies for quite some time and nowhere is this
investment better illustrated than in our dedication to new, energy-conscious
lighting technologies.
Just as important, perhaps, is our dedication to providing our professional lighting
partners with assistance, support and guidance during the imminent phase-out of
incandescent lighting within the European Union, which will begin next year. This
will undoubtedly make a significant contribution to reducing both energy use and
carbon emissions.
Philips believes that by taking into consideration the application and specific
characteristics of energy-efficient lighting technologies such as LED, CFLi and
halogen, it is possible to achieve levels of lighting quality equivalent with
conventional light sources, but with reduced energy consumption.
To maximise the energy-saving potential of these technologies, Philips
recommends the application of good lighting design, and the involvement of
professional lighting designers. We actively support organisations such as the PLDA
(Professional Lighting Designer’s Association) and the IALD (International
Association of Lighting Designers), whose members can, through the design
process, advise on optimum energy efficiency without compromising on lighting
quality and prove important partners to architects and principals.
This issue of Luminous takes sustainability as a theme. We hope it provides you
with food for thought about this major social issue.
Rudy Provoost
CEO Philips Lighting
colofon
published by | Philips Lighting BV – Mathildelaan 1, Eindhoven 5611 BD, The Netherlands – www.lighting.philips.com
editor in chief | Vincent Laganier
editorial department/Marketing Communications | Marijn Damen,
Nils Hansen
steering committee | Peter Halmans, Fernand Pereira
copywriting & editing | Jonathan Ellis
translations | Lion Bridge
graphic design concept | Philips Design
dtp | Relate4u
printing | Print
Competence Center
more info | marijn.damen@philips.com T: +31 (0)40 - 2755928
ISSN nr | 1876-2972
12 NC | 3222 635 59951
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28
8
11
DIALOGUE
DOSSIER
FEEDBACK
Challenges in lighting design
Sustainability moods
Development and trends in lighting
LIGHT SOURCE
Astra Tower,
Hamburg, Germany
4
INTRODUCTION
Sustainability, is it only
performance?
18
BLUE SKY THINKING
Luminance sensation of colored
LED lighting
38
PLATFORM
Renzo Piano
Genoa, Italy
8
PROJECT REPORT
National Assembly of Wales,
Cardiff, United Kingdom
20
SHOWROOM
OLAC residential area,
Bressolles, France
40
SNAPSHOT
Orquideorama, Colombia
Monumento del Libertad, Spain
Al Zahra hospital, UAE
Anandpur Sahib, India
CitizenM hotel, The Netherlands
New Federation Tower, Russia
Neptune Fountain, Italy
Möbelhof Ingolstadt, Germany
10
24
PROJECT REPORT
Odeon, Bavarian State Ministry of
the Interior, Munich, Germany
CONCEPT CORNER
Lighting Master Plan
42
28
GALLERY
Verdi innovative workplaces
Surennes, France
46
PROJECT REPORT
Octavio Frias de Oliveira Bridge
São Paulo, Brazil
32
SPOTLIGHT
Agenda, Books
50
PROJECT REPORT
55 Baker street
London, United Kingdom
PERCEPTIONS
Passive solar and natural lighting
36
3
4 DIALOGUE
ASTRA TOWER, HAMBURG, GERMANY
“THE SHINE
FROM WITHIN”
Interview by Guido Diesing
The design of the Astra Tower in the port of Hamburg was a stroke
of luck for Tobias Grau. As a lighting designer, interior designer and
furniture designer, he was able to develop a uniform form language
for the office building.
If you ask anyone from anywhere in the world what they think of first when they hear
the word Hamburg, they’ll immediately say the port and the Reeperbahn. If you want
to stand out in this neighbourhood you have to have something to offer. Like the Astra
Tower. Located right on the Elbhang opposite huge docks and cranes and only a few
steps from the amusement and red-light quarter around the Reeperbahn, this eighteenstorey office building has been attracting attention since 2008. With its rounded corners
and the red breastwork strips in the glass facade, the 60-metre-high building blends
stylishly into its surroundings during the day without thrusting itself into the foreground.
At night, however, it develops a quite particular fascination. Because then the tower,
which is topped by a concrete crown that seems to float over it, appears to light up
mysteriously from within.
The office building’s attractive appearance after dark is the direct result of Grau’s skilful
use of the architectural parameters. “Since the square ground plan of only around 630
square metres per storey is very small, so that the depth of the offices and the corridor
area is also tiny, I decided to do without partition walls between the corridors and
offices,” he explains the underlying thinking. “The corridor area is only separated from
the carpet in the office areas by the parquet floor. As a result, the white panelled
building core is just as visible from the office workstations as it is from outside. In
addition, the use of glass partition walls rather than plasterboard walls for dividing the
office area into single and shared offices makes for transparency.”
5
6 DIALOGUE
Carsten Brügmann, Michael Wurzbach
“They are simply the most effective and most
economical lamps you can use at the moment.”
It is this transparency that is the secret of the nocturnal shine. “The corridor area around
the building core is illuminated by a light band made of pendant fluorescent tubes that
shine a neutral white light upwards and downwards from the middle and also light up
the white laminated panelling.” In order to create a uniform impression, Grau also fitted
the standard and table lamps in the office areas with neutral white fluorescent lamps.
“Since there is no colour difference with the ambient lighting, the desired effect of
making the core of the tower visible from outside like a white column is produced
irrespective of the lighting situation.” A column that does not end at the top floor, but
only at the crown of the tower, which is illuminated by metal vapour lamps on the
roof. An effect that was important to Tobias Grau: “We tried out several colours for
the concrete canvas so as to achieve an effect similar to the one in the building interior
with indirect lighting. The white core is meant to seem to grow out of the building.”
For Grau the close relationship between inside and outside that characterises the Astra
Tower represents an ideal that is realised all too rarely. “The opportunity to implement
a uniform form language here appealed to me. When everything comes from a single
source, the result can also make a superior aesthetic impression. Unfortunately,
architectural ideas in building interiors are often not extended consistently. In addition,
the users see a building much more often and longer from the inside than from
the outside.
“Modern technology makes for a uniform lighting level indoors. The amount of light
provided at the workstations is adjusted locally according to the respective lighting
conditions and requirements using motion detectors and daylight sensors. This saves
on electricity consumption and is pleasantly comfortable. When it gets darker the
artificial light portion is automatically increased without anybody having to do anything.”
Client
Neunundzwanzigste Verwaltungsgesellschaft
DWI Grundbesitz mbH
Owner
Morgan Stanley
Architect
KSP Engel und Zimmermann Architekten,
Frankfurt, German
Lighting Design
Tobias Grau, Rellingen, Germany
Light sources
Philips MASTER PL-L 55W /840
Luminaires
Tobias Grau GmbH GO XT Floor,
GO XT Ceiling, GO XT Wall
ControlSensor + Controler
HF-Regulator Touch&DAli 255 PL-L EII
Lighting controls
Philips ActiLume
Websites
www.ksp-architekten.de
www.tobias-grau.com
7
Stefano Goldberg
RENZO PIANO
Architect, RPBW, Renzo Piano Building Workshop, Genoa, Italy
Interview by Luigi Prestinenza Puglisi
“The more I reduce the material, the closer I get to nature,
and enter into a relationship with light and the wind”
As far as Renzo Piano is concerned, a successful architect
must be at the same time a good engineer, a good sociologist,
a good economist and a good geographer. But if he wants
to go further than this and create poetry, he needs to know
how to work with wind and light.
Why did you decide to become an architect?
It was the natural thing to do: I came from a family of builders.
Perhaps I could have chosen to continue my father’s job and
work in the company, but being an architect seemed more
interesting to me.
8 DIALOGUE
To begin with you focussed on technology…
I was fascinated by Jean Prouvé, and sometimes I used to go
to Paris to hear his lectures. I was also very enthusiastic about
the work of Frei Otto; his structures seemed to defy the law
of gravity. In 1970 I started up a design company with Richard
Rogers, and the year after that we won the competition for
the Pompidou Centre in Paris.
What does sustainability in architecture mean to you?
I like to associate the word sustainability with elevation. The
more I remove whatever is excessive, the more I economise
in materials. The more I reduce the material, the closer I get
to nature, and enter into a relationship with light and the
wind. The quality of a building depends to a large extent on
good lighting and the pleasant effects of the ventilation.
I am aware of the fact though that it is not always energy
efficiency which provides lightness. Sometimes weight can be
used to achieve good thermal inertia. At the recent California
Academy of Sciences in San Francisco I tried to balance
weightiness and lightness. The roof was made heavier in
order to accommodate 2,000,000 different species of plants
which guarantee that the building functions well from a
climatic point of view. Light is brought into play by means of
some porthole-type windows: during the day natural light
enters, and by night artificial light is emitted.
Other factors which are less apparent also contribute
towards guaranteeing the sustainability. For example, the
thermal insulation of the walls was obtained by filling the
cavity with the scrap from jeans salvaged from nearby
factories. We also used recycled iron materials for the
masonry and frameworks.
How do you relate to other lighting specialists when you are
aiming for sustainability?
I like working with them. For example, we have carried out
numerous projects with a lighting manufacturer, some of
which led to the development of lighting devices which were
then put into production. The objective is efficiency, long-life,
and restriction of consumption, and modern technologies
help us in this respect. Previously a halogen lamp would last
for 1,000 hours, and a sodium and mercury vapour one
would last for about 10,000 hours; LEDs can now last for as
long as 60,000 hours. If the service life changes, you can also
vary the way in which you design the object, in relation to
the way in which it lasts over a period of time.
How do you alter the form of the building in relation to
the climate?
Personally, I have a broad view of climate. I consider it as the
context in which the building will be located, so this involves
both the atmospheric and cultural climate. The worst mistake
an architect can make is to create a building which is out of
place and out of scale, which does not capture the light or
take into account the spirit of the location. However, and I
am thinking for example of Beaubourg, this does not mean
being mimetic and imitating the forms of nature.
What are your plans for the future?
They involve the students who come to my company thanks
to a programme we are developing together with Harvard
University. You don’t need to worry about not giving
anything to young people, they can take of themselves. If the
experiment is a success, you know from the light in their eyes.
© Rpbw, Renzo Piano Building Workshop
Were you surprised about that?
There were many competitors, and it was a prestigious job.
We were young – I was 33 and Richard was 36 – and we
had little experience. The Jury consisted of Jean Prouvé,
Oscar Niemeyer and Philip Johnson, who admired the
innovative nature of our proposal. This was a time when
people were receptive to innovation.
9
ORQUIDEORAMA, THE BOTANICAL
GARDEN OF MEDELLÍN, COLOMBIA
An astonishing forest of trees in the shape of flowers has sprung up in Medellin,
“the city of eternal springtime”. Visitors walk beneath elevated foliage in subdued
lighting, skirting around the gigantic trunks and discovering that they are hollow
and the orchids are growing inside them.
Sergio Gomez
Orquideorama is a project brimming with poetry and technical genius designed
by the young Plan: b arquitectura architects (in association with the jprc
architects) for the botanic gardens in Medellin. For this project they planted ten
“flower-trees”, each with a metal trunk and six hexagonal petals made from
interlaced beams, to form a network through modular increase and tree
structure. These ten flower trees have grown side by side creating an immense
canopy with a bee-hive motif snaking its way across the top of the botanic
gardens. By bringing together structural biological forces, Orquideorama
produces an elegant synthesis of cellular processes and sculptural shapes, a
combination destined to continue to evolve and grow.
10 DIALOGUE
Client
Jardín Botánico de Medellín
Architects
Felipe Mesa, Alejandro Bernal, Plan: b,
Camilo Restrepo, J. Paul Restrepo, JPRCE
Lighting solutions
Laszlo Yurko, Ecoluz S.A.
Light sources
Philips MASTERColour /830 ,
Philips Master TL 5 /830, CFL 42W
Website
www.planbarquitectura.com
Luis de Pazos
MONUMENTO A LA LIBERTAD,
PLAZA DEL SOL, MOSTOLES, SPAIN
On 2 May 1808, the Mayor of Móstoles (a city 20 km from Madrid) signed the
Independence Proclamation following the uprising against Napoleon’s French
army. To mark the bicentennial of this event, the city of Móstoles has created a
huge architectural monument, visible throughout the entire city, in the new “Plaza
del Sol” square.
The monument is in the shape of a prismatic box and is made of Cor-Ten Steel
supported by four pillars. Its dimensions are related to the dates of both the original
event and the bicentennial: 1808 cm wide and 2008 cm long.
Client
City of Móstoles
Architect
Enrique Fombella, Madrid, Spain
Lighting solutions
Enriqueta Díaz, Miguel Ángel Álvarez, Jose Luis Pavón,
Philips Spain
Light sources
Philips LED LUXEON®, red, green and blue
Luminaires
Philips LEDLine2 RGB
Lighting controls
Pharos LPC 1 Controller
The lighting was a critical issue and had to be aligned in terms of efficiency, minimum
maintenance, energy saving, colours and dynamics. A computer program has been
developed to change the dynamics so that the entire monument is dressed in
colours reflecting the seasons: warm colours in summer and spring, and cold
colours in autumn and winter.
11
AL ZAHRA HOSPITAL
SHARJAH, UNITED ARAB EMIRATES
Medical procedures like magnetic resonance imaging (MRI) can often frighten
people, especially children, who feel uneasy in a medical setting and are anxious
about the outcome.
Al Zahra Hospital, which was established in 1980 by Gulf Medical Projects
Company and, with 100 beds, is the largest private general hospital in the UAE,
has recently introduced Philips AmbiScene, an LED-based lighting concept with
changing light colours and light intensity, which creates a comforting and calming
atmosphere, reducing patient anxiety. Each patient can choose their favourite
color. This has a positive effect on the patient during the MRI scan and, because
patients are at ease, it can speed up procedures and improve the quality of test
outcomes. Light color variation can also be used as a communication tool, for
example for instructing hearing-impaired patients when to hold their breath.
12 DIALOGUE
FOOTER
Client
Al Zahra Hospital
Lighting solutions
Nagendra Nagesh, Philips Lighting Middle East
Light sources
Philips LED LUXEON®, red, green and blue
Luminaires
Philips LEDLine2 RGB
Uttam Chand
ANANDPUR SAHIB, BLISS, INDIA
Gurdwara is the sacred place of worship for the Sikhs. The architecture features
some elements borrowed from the Mughal architecture and the Rajput palaces
and forts, but also includes some original concepts reflecting the principles of the
religion and features a combination of square, rectangular, octagonal and cruciform
shapes. There is a ‘gumbad’ (dome) on the top of the sanctum, which is usually
fluted or ribbed and white in colour. The top is decorated with an inverted lotusshaped structure and the base also reflects a floral theme.
The objective of the lighting concept is to portray figuratively the openness of the
Sikh religion which draws upon influences from around the world, while at the
same time preserving its central core belief. The topmost part of the structure is
illuminated in static white with floodlights with ceramic discharge metal halide
lamps symbolizing the purity of its core belief. The central dome is illuminated in
a slightly warmer shade of white symbolizing the spirit of sacrifice.
Client
Government of the State of Punjab,
Chandigarh, India
Lighting design
Pavail Gill, Gilton Electricals, Chandigarh, India
Lighting solutions
Indranil Goswami, Philips India
Light sources
Philips LUXEON® LED, 1W, amber, white and blue
Philips LUXEON® LED, 1W, red, green and blue
Philips LUXEON® K2 LED, 4W, warm white
Philips MASTERColour CDM-TT 150W
Philips SON-T 250W
Luminaires
Philips LEDLine2 RGB, Philips LEDLine2 AWB,
Philips iColor Accent PowerCore SWF 330, RVP 339
SNF 114 , TCW 097, DGP 652
Lighting controls
Philips Color Chaser Touch DMX Controller
Website
www.gilton.in
13
CITIZENM HOTEL, SCHIPHOL,
AMSTERDAM, THE NETHERLANDS
Design award winning citizenM hotel in Amsterdam partnered with Philips to
create a unique experience for their guests. With a combination of different lighting
and multimedia solutions, called Integrated Hospitality Experience, the hotel chain
is able to build a unique intimacy with their guests and remove the traditional feeling
of anonymity from the hotel experience. The specially designed system not only
combines a host of various ambient products, including dynamic LED lighting, VoIP
phone, free Wi-Fi and Hospitality TV which contribute to a guest’s overall
experience, it also provides a unique back-end network design that interfaces with
all the hotel’s software systems, allowing the hotel to operate at much lower costs.
The “Mood Pad” controller allows guests to adjust the temperature, operate the
curtains, and even change the room’s colour thanks to two RGB LED strings above
the translucent ceilings. As consumer choices are increasingly driven by emotional
factors - beyond merely the functionality of a product – Integrated Hospitality
Experience offers guests immersive experiences that go 'beyond the product' and
engage all the senses.
14 DIALOGUE
Client
citizenM hotel chain
Architect
Concrete architectural associates, Amsterdam,
The Netherlands
Lighting solutions
Philips Netherlands
Light sources
Philips LED Superflux RGB red, green and blue
Luminaires
Philips LED string
FEDERATION TOWER TUNNEL
MOSCOW, RUSSIA
The Federation business complex, featuring the tallest building in Europe (448 m
tall with steeple), is being built on Krasnopresnenskaya Embankment, in the capital’s
Moscow City international business neighborhood.
The objective was to deliver a total lighting solution for the tunnel area of the
Federation Towers on level 01, translating the lighting effect envisioned by Yabu
Pushelberg. This tunnel goes from the main entrance to the dispatcher room with
hi-end monitoring system. Within this project the following aspects were taken
into consideration: possibility to re-programme visual effects, easy control,
temperature management, air-conditioning and energy efficiency. Flexible LED
solutions iColor Flex and iColor Cove were applied alongside the whole tunnel.
Light weight and flexibility ensured freedom of content interaction for most
complex solutions.
Client
Moscow City Business Complex, Moscow
Developer
MIRAX Group, Moscow
Indoor Architect
Yabu Pushelberg, New York
Lighting solutions
Chia-Chun Liu, Bas Hoksbergen, Philips Netherlands,
Egor Nilov, Philips Russia
Light sources
Philips LED SMD red, green and blue
Luminaires
Philips iColor Flex SLX, Philips iColor Cove QLX
15
FONTANA DI NETTUNO,
MESSINA, ITALY
In Messina, Italy, this wonderful monument stands in the middle of a square in the
city centre, which is crossed by major roads and marked by a forest of disorderly
arranged vertical elements (trees, shrubs, traffic lights, road signs and, last but not
least, the poles of public-lighting with 800W sodium lamps!). It was difficult to
notice the fountain among all these various forms of pollution (visual as well as
sound) and in the evening, the subject was batched with yellow-orange light that
did more to hide its presence than to treat it as what it is: a jewel in the
city centre.
It was therefore necessary to extract the structure from its environment.
This meant re-using the public lighting poles closest to the fountain: no less than
30m away and with a height of 10/12m! This challenging geometric situation is
addressed with an alternative to the traditional way of lighting: thanks to sixteen
BeamerLED luminaires, distributed in four groups of four and equipped with white
LED light, the fountain is once again allowed to shine with colours and to show its
structure. The biggest benefit isn’t immediately perceptible: the installation, with
an expected life of 50,000 hours, uses in total only 48W, less than a light bulb!
16 DIALOGUE
Client
Citz of Messina
Lighting solutions
Massimiliano Negri, Philips Italy
Light sources
Philips LED LUXEON®, white
Luminaires
Philips BeamerLED
Corn é Clemens
MÖBELHOF INGOLSTADT,
INGOLSTADT, GERMANY
The Möbelhof in Ingolstadt is currently the largest furniture house in the region.
The lighting concept sets new standards in lighting design for both the indoor and
outdoor areas. This was achieved by a detailed planning which took into account
even the smallest exhibition spaces. Equally important were lowering energy costs,
the brilliance and life-time of the light sources used.
The external façade and also the interior are almost completely illuminated with
Philips MASTERColour CDM-T lamps in warm white with varying beam angles
and electronic control gears. The result is a very comfortable and inviting
atmosphere in the sales area. Additionally Lival fixtures in combination with CDMTm Mini 20W and 35W were used in smaller areas and for specific displays
combining high-quality, brilliant light and low power consumption. A literal ‘highlight’ is the installation of down lights with CDM-T 250W at a height of 22 meters:
“The sun shines through the ceiling” was the comment from many clients.
Client
Möbelhof Ingolstadt
Lighting solutions
D. Lindner GmbH and D&L Lichtplanung
Light sources
Philips MASTERColour CDM-T, 150/830 and 250W/
830
Philips MASTERColour CDM-Tm Mini 20W and
35W/930
Philips MASTERColour CDM-T 70W/930 Elite
Luminaires
LIVAL track and downlight fixtures
17
18 DOSSIER
Redshift Photography
Ever since human-beings have lived on Earth, daylight has been
important both for and in life. In architecture, sun orientation
contributes to the delight of working or living in a space. This notion of
comfort created by light, emotions generated by light is essential for the
health and well-being in a place.
Some people suffer from seasonal affective disorder as a result of the
lack of daylight, both in quantity and quality. These winter blues can
cause dramatic mood swings but can be treated by light therapy using
high quality light sources with a good spectrum. The Chamber of the
Wales National Assembly and the Baker Street offices in London also
allow adjustment of task lighting. Sustainability in all senses – daylight,
heating, water and controls – is taken seriously by the architects
concerned.
Lighting is an actor of sustainability going beyond the implementation
of environmental and human consumption parameters. For
architecture, sustainable lighting is a question of mood, brightness and
colour. Just as daylight differs in summer and winter, so flexible lighting
adds meaning according to the use of the place or the moment of
the night.
Sustainability has become a buzzword - but Architecture and Lighting,
designers and manufactures cannot solve all the problems alone. It is a
long-term concern of society where each actor has his responsibility
towards climate change. It is up to you to define tone, rhythm and
saturation that produce the play of light.
Vincent Laganier
19
20 DOSSIER
Fernando Baena
NATIONAL ASSEMBLY OF WALES, CARDIFF, UNITED KINGDOM
TRANSPARENCY
Interview by Jonathan Ellis
The new building for the National Assembly of Wales is a bold and modern statement,
not only about the transparency of government but also about consideration for the
environment. Daniel Wright was a member of the project team formed by Richard
Rogers Partnership (now Rogers Stirk Harbour & Partners) to design and create this
new expression of democracy on the banks of Cardiff.
“It was very clear from the start that the client wanted to make a strong statement
about transparency in the political process,” explains Daniel Wright. “Our
intention was to create a friendly, inviting building which would draw people into
the process. Visual connectivity between the private and public areas ensures
transparency while focusing the attention on the central Debating Chamber.
“The site on the edge of Cardiff Bay provided an important cue for our initial design
response. The bay provided a metaphor for our design: two ‘planes’ – the plane
of water and the plane of the sky – expressed by the building as a ‘floating’ roof
over a stepping plinth. We dubbed it the Democratic Roof, because it extends
over all the building’s activities. And the central Debating Chamber is formed by
the roof folding down to meet the plinth, suggesting that here all
opinions meet.”
Throughout the building, extensive use is made of natural light.
“An environmental brief was developed with BDSP (the environmental and MEP
consultants for the project) to accompany the design brief and its primary aim was
to minimise the building’s energy demands. Lighting was a key issue and we felt it
essential to maximise the use of daylight. With BDSP we developed a large glazed
lantern for the Debating Chamber with an inverted reflector cone that brings
diffuse daylight down into the Debating Chamber. But it was impossible to depend
exclusively on natural light in the Chamber, because many of the plenary sessions
are televised and we had to create a delicate balance between natural-looking
lighting and even lighting which did not compromise the clarity of the chamber.”
21
The energy usage targets were very demanding, but BDSP were able to achieve
them thanks to the use of high efficiency lamps and luminaires in conjunction with
an automated building control system. This allows appropriate lighting scenes for
the various multi-functional areas to be selected at the touch of a button, ranging
from the lighting of informal meetings to the lighting of televised Assembly
plenary sessions.
ARCHITECTURAL CONTEXT
“Our design made considerable use of exposed concrete frame of the building as
thermal mass. We wanted it to be honest and unadorned,” says Daniel Wright.
“For this reason, we developed multi-purpose booms which were suspended
below the concrete soffit, and these contained not only the lighting luminaires for
both uplighting and downlighting but also other technical equipment which would
otherwise accumulate on the soffit such as loudspeakers, sounders, smoke
detectors and various sensors. There are also infra red sensors which shut down
the lighting when the room is not in use.”
A particular challenge was heating and ventilating the enormous public areas, which
represent two-thirds of the building.
“BDSP suggested that we could relax the temperature range conventionally
applicable to internal spaces by re-thinking the main hall more as a semi – internal
than fully enclosed space. Rather than maintaining a constant 21ºC throughout the
year, we allow a temperature variation between appx 14ºC and 26ºC, significantly
reducing heating and cooling demand. The public entering the building on a hot
summer day are likely to be in shirt-sleeves, while those entering in winter will be
wearing overcoats. Visitors psychologically adjust to the internal temperature
meaning that you feel as warm as you think you should be in that environment. In
fact, the total energy consumption figure the building was designed for was
75 kWh/m2, well below the best practice target of 130 kWh/m2.
“The Assembly now has an open environment which undoubtedly represents a
change in the political fabric of Wales but also Britain. Welsh people now have the
symbol of democracy they voted for and, judging by the many positive comments
from the public, they are delighted with it.
1
Debating Chamber
2
Foyer
3
Public Gallery
4
Upper Foyer
5
Milling space
6
Members tea room
22 DOSSIER
Client
National Assembly of Wales
Architect
Rogers Stirk Harbour + Partners
London, United Kingdom
Environmental Consultant
Matthew Winter, BDSP Partnership
Structural Engineer
Gabriel Hyde, ARUP
Lighting Consultants
Matthew Winter, BDSP Partnership
Barry Hannaford, DPA Lighting Consultant
Light sources
Philips MASTERColour CDM-T 70W /942
Debating Chamber Luminaires
iGuzzini, CDM recessed floodlight with CTB filters to
raise 5000K for television broadcasting on the first ring,
Wila, T5 circular recessed on the perimeter acoustic
panels
Lighting controls
DALI
Websites
www.rsh-p.com
www.bdsp.com
www.dpalighting.com
23
ODEON, BAVARIAN STATE MINISTRY OF THE INTERIOR,
MUNICH, GERMANY
A STAGE UNDER
THE STARS
Interview by Guido Diesing
24 DOSSIER
Andreas J. Focke
First it was a concert hall, then an unloved inner courtyard and now, thanks to the addition of glass
and light, it has been given a new lease of life as a splendid foyer to a Ministry building. The history
of the Munich Odeon is as varied as it is unusual.
Built in 1828 for the Bavarian king Ludwig I, on the basis of
a design by the master builder Leo von Klenze, the Odeon
in the Bavarian capital city served as a concert hall with
excellent acoustics. All but the outer walls of this classic
building were destroyed in the Second World War, and it
was not until 1951 that a decision was made about how to
use the part of the building that was still standing. It was
converted by the architect Josef Wiedemann into the head
office of the Bavarian Ministry of the Interior. For decades
there was not a lot to remind people of the building’s
original purpose.
“After the roof had been destroyed, what had once been a
concert hall became an interior courtyard that was never
used and gradually fell into disrepair,” said Peter Ackermann
as he described the situation he confronted when in 2004
the architect's office Ackermann und Partner was given the
assignment to redesign the 400 m2 interior courtyard. “There
had been repeated calls for the Odeon to be rebuilt so that
it could once again be used as a concert hall, but these
requests fell on deaf ears. In the end it was decided to put a
roof on the interior courtyard so that it could be used for
events at the Ministry. When we received the assignment to
continue building what had initially been built in 1828 and
1951, we felt an immense sense of respect for the important
architects who had been involved and for the history of the
building. We didn’t want to convert it, but wanted to
conserve what was left of it. The original Odeon no longer
exists, but by covering it with a glass dome we were able to
make the part of the interior courtyard that used to be a
concert hall into a useable space again.”
25
LIGHT VISION
The subtlety apparent in the criss-cross network of glass that
forms the roof, which now appears to float on small pillars
above the courtyard, is also evident in Ackermann’s ideas for
the lighting: “We wanted to bring out the play of light and
shadow of the pillars in order to give the space more depth,
but to do this in as subtle a way as possible, taking care not
to destroy the effect by using large luminaires. To enable us
to achieve this, we worked closely with the lighting designer
Erwin Döring.
“He knew exactly what we meant: ‘It is very important to
talk about light, and not about luminaires. A lighting designer
has a vision of light, not a vision of luminaires.’” When it came
to the Odeon, he saw a way to use lighting to link the space
with its past: “I had the idea to create a sort of stage lighting
and to make the entire space into the theatre set again. The
light needed to be a mellow light, but it also had to offer an
appropriate lighting solution for all kinds of events such as
state visits, presentations, concerts and lectures. The ideal
way to achieve this was to use LED-based luminaires.”
Alexander Weckmer, who had the job of managing the
project, explained the choice of luminaire: “Even using warmwhite light we could not manage to really bring out the light
ochre-coloured walls, so we decided to opt for colourchanging luminaires – a revolutionary solution for such an
historical building as this.”
When a reception is held here we can bathe the walls in a
saturated blue or in a dark orange. A good side-effect of the
upward light is that the light sources are reflected in the glass
roof. This creates the effect of a starry sky and, together with
the colour composition it creates a wonderful overall effect.
Light and colour set the scene in this space; they introduce
an element of suspense and create a theatrical atmosphere
in an architectural setting.”
And the solution is a success not just in terms of aesthetics
but also in terms of economy. “These days sustainability is an
important factor,” says Döring. “This solution is sustainable
not just because of the low energy consumption – a total of
only 1.5 kW – but also because of the lifetime of the
luminaires – no less than 50,000 operating hours. And
because we have nowhere near exhausted the potential of
these luminaires, there will be no need to replace them if
additional effects are required in the future. Now that is what
you call sustainability!”
Peter Ackermann was delighted with the positive response
to the design concept: “At first a lot of the staff at the Ministry
were sceptical, but now there is huge acceptance for the
solution. In the warmer months there isn’t a single week goes
by without the foyer being used for one or more events.”
ATMOSPHERE IS EMOTION
Special optics with a broader light distribution were made
for the floor-level lights, with the result that fewer luminaires
were required. The positioning of the luminaires, which on
the second and third levels are in some cases hidden behind
pillars and under panels, makes it possible to illuminate the
walls uniformly and in an unobtrusive way. “A DMX
controller is used so that the 120 luminaires can either be
controlled individually or combined to create lighting
scenarios,” explained Weckmer. “Pre-programmed
scenarios can be called up at the press of a button and offer
more or less endless possibilities. Here you need a careful
touch and a sensible approach or it could very easily turn a
bit kitschy.” Erwin Döring added: “Atmosphere is emotion,
and emotion is light. Today we can transform various
emotions into light and colour. We wanted to show just what
can be done using light, without ruining the effect of the
building. Now we have a stage again, even if it is only a
pleasant illusion.
Client
Bayerisches Staatsministerium des Inneren
(Bavarian Ministry of the Interior)
Architect
Peter Ackermann, Ackermann und Partner Architekten
BDA, Munich, Germany
Lighting Design
Erwin Döring, D-LightVision, Munich, Germany
Lighting solutions
Alexander Weckmer Licht und Mediensysteme
GmbH, Königsbrunn, Germany
Thorsten Cramer, Philips Germany
Luminaires
Philips ColorBlast 12 Powercore, ColorCast
Lighting controls
Philips iPlayer 2
Website
www.ackermann-partner.com
www.d-lightvision.de
26 DOSSIER
27
Andreas J. Focke
OCTÁVIO FRIAS DE OLIVEIRA BRIDGE, SÃO PAULO, BRAZIL
COLORED ACCENTS
ON THE RIVER
Written by Evelise Grunow
The lighting of the Octávio Frias de Oliveira Bridge in São Paulo, contrasts white
and coloured light in order to emphasise the innovative nature of the curved, stayed
structural system. Paulo Candura and Plinio Godoy, of Luz Urbana, created the
lighting design.
28 DOSSIER
The bridge aims to improve the traffic conditions in what is one of Brazil’s largest
metropolises by creating new links between strategic districts and the commercial
pole of the port of Santos. Known as the Estaiada bridge (the “Stayed bridge”),
and opened in May 2008, the bridge has quickly become an icon of São Paulo’s
landscape. Its dense mesh of stays and the single elevated support tower, 138
metres high, stand out between the banks of the Pinheiros river, which form one
of the structural routes for metropolitan road traffic.
The aim of the lighting technology was to emphasise the innovative nature of the
bridge’s engineering and architecture, designed by the architect João Valente, of
Valente Valente Arquitetos. It is designed in such a way as to create a clear
distinction between the daytime and night-time views of the bridge. Consequently,
starting with the assumption that the many yellow stays (144 of them altogether)
take priority over natural light, it was decided that the artificial lighting would serve
the purpose of emphasising the form and dimensions of the concrete tower.
29
LUMINANCE AS A DESIGN RESOURCE
“We opted for primary, volumetric lighting of the tower,” commented
Plinio Godoy.
For this reason, use was made of ArenaVision floodlights, 1,000 W, installed in the
vicinity of the bridge so as to focus in parallel on the main surfaces of the volume
of concrete. “We used luminance as a design element,” Godoy added.
However, whilst the tower was still being built, it was found that the surrounding
light would interfere negatively with the mesh of stays. In order to ensure that the
concept of emphasising the view of the tower remained intact, additional
ArenaVision floodlights were added, for directional focus on strategic points of the
stays. The lighting designers were aware that public lighting makes a statement,
hence the decision to focus each floodlight individually, so as to cancel out any
interference by lighting from the city.
In addition, this equipment was oriented in such a way as to create an area of
shadow on the inner surfaces of the tower, with homogeneous parallel lighting of
the inner surface, in parallel to the Pinheiros River.
The aim was to separate the lit areas from other, dark areas, on which the coloured
light would be projected. In this respect Godoy pointed out that the coloured
lighting of the bridge is discreet and homogeneous, in line with the particular
relationship which the residents of São Paulo have with regard to the colour
applied to public monuments. “This is a very sensitive relationship, timid even, and
different from the situation in other major cities in the country, such as in the North
West, for example”. Use was therefore made of 146 ColorBlast LED floodlights,
with varied beam angles so that surfaces with different heights would be
lit homogeneously.
LIGHT ON THE DECK
The lighting of the two traffic lanes was based on two main criteria. Firstly, since
the bridge is located in a relatively dark area of the banks of the Pinheiros, the aim
was to create lighting of approximately 70 lux on the traffic lanes, compared with
20 lux required in the surrounding environment. Godoy said: “People feel safe in
these conditions”.
In addition, the interface of the lighting equipment with the line of stays dictated
a maximum height of 6 metres for the lighting posts. These use Milewide street
luminaires with CosmoPolis lamps, and they are arranged bilaterally and
asymmetrically, interposed every 15 metres on both sides of the lane. The lighting
of the Octávio Frias de Oliveira Bridge uses efficient, modern technology which is
representative of the state of the art in Brazilian lighting design.
Client
Prefeituw Municipal da Cidade de São Paulo
Construtora OAS
Architect
João Valente, Valente Valente Arquitetos,
São Paulo, Brazil
Lighting design
Plinio Godoy, Paulo Candura, São Paulo, Brazil
Lighting solutions
Alexandre Ferrari, Philips Latin America
Light sources
Philips Cosmopolis CPO-TW 140W /728
MHN-LA 1000W /956
Cree LED-HB red, green and blue
Luminaires
Philips Milewide, SRS421, road optic,
Philips ArenaVision, MVF403, Cat A1 to A5
reflectors,
Philips ColorBlast 12, BCP470, 8° and 23° beams
Lighting controls
Philips iPlayer
Websites
www.valentearquitetos.com.br
www.luzurbana.com.br
30 DOSSIER
31
32 DOSSIER
Zanser Olsen, Make
55 BAKER STREET, LONDON, UNITED KINGDOM
THE ART
OF LIGHTING
Written by Paul Haddlesey
A major refurbishment of 55 Baker Street in central London, creating a modern,
dynamic building complex, includes the use of LED lighting fixtures, a bespoke
lighting solution for workspaces and an integrated lighting management system.
Now owned by London and Regional Properties, the site was formerly the
headquarters of Marks and Spencer and a well known London landmark. Thanks
to an innovative lighting scheme by Make Architects and light artists Jason Bruges
Studio, the building has been transformed at street level to create visually dynamic
public spaces that combine innovative lighting with public art.
“From the very beginning of the project we considered light to be just as important
as any other element of the building,” recalls Make’s Ian Lomas. “We were also
keen to make the exterior lighting part of the public art component rather than
simply using ‘trophy’ art. To that end, we involved Jason Bruges at an early stage
so that his design would inform the way the whole building is lit,” he adds.
COLOUR CHANGING CONCEPT
The transformation of the building’s exterior features three glass infills or 'masks'
spanning the voids between the existing blocks. Constructed from a glazed lattice
of stainless steel, these masks create a distinctive sculpture that changes with both
the viewer’s perspective and the times of day and year. Red, green and blue lighting
using LED fixtures integrated into the cladding are key to creating the colour
changes at the heart of the concept.
“The emphasis is very much on focusing attention on surfaces and textures, rather
than the lighting fixtures themselves, so it was important that the luminaries were
positioned discreetly,” notes Ian Lomas.
“The combination of the structures and the lighting help to create moods that
reflect the seasons and the activity in the space,” Jason Bruges explains. “We have
used very tight angles and narrow beams to achieve this and went through a
number of iterations on a full scale mock-up to create the desired effect.
33
“All of the lighting in these areas is controlled from a single point to produce preset scenes of different colours and patterns in relation to the time of day and the
season, and can also be programmed to produce scenes tailored to special events,”
he continues.
SMOOTH TRANSITION OF LIGHT
As well as being visually striking in its own right, the lighting within the masks creates
a series of thresholds between the exterior and the interior, so there is a smooth
transition of light rather than an abrupt change.
Within the workspaces, the design team was faced with another challenge: the
client wanted to maximise the floor to ceiling height and create a light and spacious
ambience with high levels of comfort. Consulting engineers Blyth and Blyth
identified a multi service chilled beam (MSCB) system that combines uplighting,
downlighting and comfort cooling as offering the best solution. Philips worked
closely with chilled beam supplier Frenger to ensure that the systems were fully
integrated in the beam structures.
“The MSCB enabled us to keep the ceiling height to a maximum while delivering
the required specification for high quality offices,” explains Mike Pile of Blyth and
Blyth. “However, because the beams are a fixed shape across the office, getting
the right profile was vital to achieving uniform light distribution, particularly
between the beams. The system also needed to be very flexible to enable tenants
to install partitioning if required.”
Architectural lighting designer Light Bureau and Blyth and Blyth worked closely
together to achieve the best solution. The lighting on the beams is divided into
groups of four on the outside edges and two groups of two on the inside edges
so that a partition can be placed across the beam. Each beam also includes two
multi-sensors with a photocell and passive infra-red (PIR) presence detector so
that the lighting can be demand-controlled in relation to both occupancy and
daylight levels.
MAXIMUM FLEXIBILITY
Fully addressable for maximum flexibility, the DALI network interfaces to a Light
Master Modular lighting management system, creating what is believed to be the
largest LON DALI control project in the UK so far.
Each lighting control module was commissioned to link four chilled beams per unit.
In turn, each of the chilled beams housed six light fittings representing in total some
22,000 luminaires across 16 floors within the building complex. “We know that
we have got not only an advanced lighting management system but one that can
accommodate any changes in the future, while minimising any reconfiguration of
the system,” Mike Pile concludes.
Client
London & Regional
Architect
Make Architects, London, United Kingdom
Façade lighting design
Jason Bruges Studio, London, United Kingdom
Services Engineers
Blyth & Blyth, London, United Kingdom
Lighting design
Light Bureau, London, United Kingdom
Lighting solutions
Craig Stead, Mike Simpson, Philips United Kingdom
Light sources
Philips MASTER TL5 14-28W /840,
Philips MASTER PL-L 26W /840,
LUXEON® K2 red, green and blue
Cree LED-HB red, green and blue
Multi Service Chilled Beam
Frenger MSCB including air-conditioning, control
sensors and lighting in offices
Luminaires
Mike Stoane Lighting LED floodlight for façade
Philips LEDLine2 RGB in the hall, Philips Fugato, Philips
Celino, Philips Savio in offices
Lighting controls
Philips LMM, Light Master Modular
LON DALI
Websites
www.makearchitects.com
www.blythandblyth.co.uk
www.jasonbruges.com
www.lightbureau.com
34 DOSSIER
35
PASSIVE SOLAR AND NATURAL LIGHTING:
ARCHITECTURAL ATMOSPHERES
Christian Cochy, Architect in Saint Nazaire, Loire Estuary, France
Since he discovered the concept of solar architecture, in both summer and winter, in the United
States in the 1970s, Christian Cochy has been expounding the essential part played by the sun in
architecture and its teachings.
“I was immediately beguiled by
the thermal form-function
suitability of this pueblo village,
Cliff Palace, built in a cave in
Colorado. Sensitive too to the
compatibility between the
seasonal cycles of vegetation
and the solar trajectories and
to that between the thermal
inertia capacity of a building
and the day-night cycle of the
solar inputs.”
36 DOSSIER
LA BOSSE COLLECTIVE
ACCOMMODATION – 1980
“When I finished my first building using passive solar design
in grouped housing, my interest in bioclimatic architecture
was initially sparked by research into the economics of
energy and heating. At the end of the first winter several
occupants told me that they had found that the winter had
seemed shorter to them. They benefited more from the sun
indoors and on the huge terraces than in their previous
dwellings, relegating the expected economies of 50% of
heating to a secondary level. This was a revelation to me and
the realisation of a new compatibility between bioclimatic
architecture and natural lighting.”
ELISA LEMONNIER INFANT SCHOOL – 1984
“The order for a bioclimatic infant school was the
opportunity to deepen those complementary qualities. I
imagined a building in which the sun would provide heat and
light in winter without bothering its occupants. The classes
have windows facing south. They are low down at the
children’s level. The window in the central passageway is
fitted with mobile insulating panels to give protection from
the north in winter and to provide shade and coolness in
summer. Light wells facing south and north and oculi let the
children feel the different atmospheres and the movements
of the sun during the year.”
Christian Cochy
South façade with passive sun light Individual residence from M. Foucré, Architect: Christian Cochy
ANNE FRANCK LIBRARY – 1987
INDIVIDUAL RESIDENCES – 1982 TO 2009
“I decided to light the round book room using a transparent
pyramid on the roof. Each section of the pyramid is protected
by independent outdoor sun-breaks. This enables the users
to manage the protection of the sides exposed to the sun as
it moves during the day, while keeping good natural
brightness and excellent summer comfort.”
“In my individual housing projects I attempted to make
passive use of the sun’s direct inputs in most of the spaces,
both during the day and at night. I link them to their
indispensable complements, such as compactness, inertia,
protection against the cold from the north, natural and
mobile protection against the heat of summer and now the
use of healthy materials.”
LES PINS LONG-TERM CARE UNIT – 1990
“Invited to design hospice accommodation for elderly polydependent people, I attempted to respect their extreme
sensitivity to light and to heat in summer without depriving
them of the contribution that is essential for their morale
during that phase of revival in the summer cycle. In the “Les
Pins” living unit I suggested living-rooms broadly glazed and
looking onto the nature outside. In summer they are
protected by very wide canopies, while the existing trees
protect the rooms to the west.”
The resulting spaces are therefore very directional and full of
contrasts. Inundated with light in winter and open to the
south, they are shaded to the north, with views and
“emotional” lights to the east and west. Windows or zenithal
light wells punctually provide the more “spiritual”
atmospheric complements during the day in the areas facing
south. Pergolas with vegetation or mobile fabrics protect
outdoor terraces and south-facing windows in summer. The
night lighting is largely provided by energy-saving lamps, also
positioned according to daylight entry.
37
THE LUMINANCE SENSATION
OF COLOURED LED LIGHTING
Written by Peter Kort, Luc van der Poel
Coloured LED lighting is becoming increasingly important in
lighting concepts. It is used not only in the theatre and for
city beautification, but also in shops, reception areas and even
in office environments. The luminance effects of spotlighting
using white light are well known and are described in terms
of the accent factor; coloured lighting is not yet described in
this way. The attraction value of coloured light is expected
to be higher than that of white light due to the colour
contrast. The following experiments shed some light on the
behaviour of coloured lighting in relation to white lighting.
RESULT
The results reflect the luminosity function: green light
contributes the most to the intensity perceived by the human
eye, and blue light contributes the least. When the white light
was set at 100, we found the ratio for red to be 33, for green
50, and for blue 17.
Another, secondary outcome of the test shows that the sum
of the red/green/blue ratios found (additive colour mixing of
RGB gives white light) is equal to the intensity of the
white spot.
THE EXPERIMENT
The experiment defines the relative luminance sensation
generated by the primary colours of a LED spot. The method
uses a pattern created by two LED spots on a highly reflective
wall. The wall is divided into two equal parts. On one half
you see a spot in one of the primary colours, on the other a
white LED spot with a preset intensity. The test patterns are
red-white, green-white, and blue-white. The observer
changes the intensity of the coloured spot until they feel the
luminance sensation generated by the two spots is equal. This
test is performed for each combination, once in complete
darkness and once with 350 lux on the wall.
Finally, two primary colours were combined to create yellow,
magenta and cyan. The outcome showed that the relative
luminance of secondary colours could be found by adding
together the relative luminance of two primary colours. In
this way we can predict for every colour the relative
luminance compared to white light.
Test scene
The observer changes the intensity of the coloured spot until they feel the luminance
sensation generated by the two spots is equal. This test is performed for each of the
three combinations, red-white, green-white, blue-white, once in complete darkness
and with 350 lux on the wall.
38 FEEDBACK
RELATIVE LUMINANCE
Additive colour mixing:
Light is perceived as white if all the three types of receptors in our eye are stimulated
simultaneously. The colours red, green and blue (RGB) all activate one type of receptor
Relative luminance:
The graph shows the different relative luminance for all colours with the same luminance sensation as white light.
One can see, for example, that green light (525 nm) generates the same visual attraction with only 50 per cent of
the luminance of white light. The relative luminance for cyan (490 nm) is 70 per cent.
39
40 FEEDBACK
Pierre Crouzet
NEW OLAC RESIDENTIAL
DEMONSTRATION AREA
City streets now have to be lit with
greater subtlety than ever, taking into
account the often conflicting needs of
residents, motorists, pedestrians and
even cyclists. Lighting in such areas is no
longer purely functional; it has to adapt
to the needs of people, providing not
only safety and visibility, but also
ambiance and orientation. In addition,
lighting schemes must be energyconscious and prevent light nuisance
and pollution.
With this in mind, the Outdoor
Lighting Application Center – OLAC –
has completely transformed its
demonstration area. The original street
with family homes has been replaced
by a modern, contemporary urban
street, with residential buildings on two
floors, a restaurant, nursery school and
private houses. The new area also
illustrates the increasing urbanisation
and densification of urban areas –
apartments instead of individual
houses. This provides the backdrop for
showing how lighting can be improved
with modern technology, while at the
same time taking into account the
changing demands people and urban
authorities make on
residential environments.
The demonstration starts with an “old”
installation and then shows a number
of different scenarios. It is an “eyeopener” to explain and visualise how
to improve lighting of public spaces in
terms of energy consumption and
beam control, but also in terms of
atmosphere and safety by the creative
application of decorative lighting. The
lighting solutions chosen are state-ofthe-art, and concentrate on a variety of
light sources, luminaires, optics, design,
power, lighting control and dimming
mode. Particular attention is given to
the fast growing penetration of LEDs
into residential areas with UrbanLine,
CitySpirit Street Color, CitySoul and
LEDLine² asymmetric, as well as tailormade and dedicated solutions such as
LightTube or Multipole. The
installation includes HID lighting
solutions such as Cosmopolis lamps
with perfect energy saving and high
quality white light.
This new residential demonstration
area once again underlines Philips
commitment to lighting professionals
and the architectural community.
It provides a unique opportunity to
view the latest application trends in
urban lighting in a customised, modern
environment and offers professionals
the opportunity to assess lighting plans
in terms of sustainability, creativity, and,
most importantly, the needs of the
people who live in and make use of
residential areas.
Architect
Frédéric Agnesa, SAA, Lyon, France
Lighting solutions
Isabelle Huaman Gontard,
Christian Ferouelle, Philips Lighting
Electrical installer
ACEA
Light sources
Philips Cosmopolis 45-60W,
Philips LUXEON®
1
red, green and blue,
Philips LUXEON® K2 warm white
Luminaires
Philips CitySoul, Philips UrbanLine,
Philips Milewide, Philips CitySpirit Street Color,
Philips Metronomis, Philips Marker LED, Philips
LEDLine² asymmetric, Philips LEDflood, Philips
Multipole, Philips LightTube, Philips Underwater
LED, Philips Decoflood, Philips PROflood
Lighting controls
Martin LightJokey
41
STAGE 1: RESEARCH
IDENTITY
-
City users
History
Architecture
Landmarks
Atmosphere
Nature
Special events
STRUCTURE OF THE CITY
-
Topography
Districts analysis
Traffic analysis (network grading plan)
Viewing points and distances
EXISTING LIGHTING
-
42 FEEDBACK
Functional lighting
Architectural lighting
Luminaires
Light sources
concept corner
LIGHTING MASTER PLAN
By Mujgan Serefhanoglu Sozen
Mujgan Serefhanoglu Sozen (Prof., M.Arch) lectures at the Yildiz Technical
University, Faculty of Architecture, in Istanbul, Turkey. She is chairwoman of CIE
(Commission Internationale de L’Eclairage) Division 5, TC 21 Master Planning of
Urban Lighting and TC 24 Guide for Architectural and Decorative Lighting.
Today, it is inevitable for cities to be alive at night as well as during the day. People working during the
day are deprived of social, artistic, sports and entertainment activities. By facilitating these activities at
night, using urban spaces with safety and security, and by carefully selecting historical, artistic and
architectural elements that have social value, you make cities more attractive and promote life quality.
But if you are to do this positively and with an efficient use of energy you require a
comprehensive planning.
A Lighting Master Plan can provide direct and indirect advantages by bringing a new point of view and
identity to the city. It can introduce basic principles with an overall approach to both utility and
architectural lighting, control of night life and the night image of the city.
The development of a Lighting Master Plan will typically pass through three stages. During the research
stage , a detailed analysis of the city is performed. This will include usage, users, natural characteristics,
existing utility and architectural lighting, and light coming from buildings. It will also deal with the city’s
image, identity, silhouette, road characteristics, the hierarchy between roads and between buildings and
elements symbolizing the city. Then a lighting strategy is developed, taking into account light pollution,
energy usage, sustainability and environmental factors. And third, the implementation stage should
include planning and capital costs, operating costs, budget and maintenance systems.
Urban lighting gets old after about ten years, and changes to lamps and lighting elements become
necessary. New products become available with continuously improving technologies and subjects such
as energy efficient usage also play a role in such changes. In this renewal process, in the renovation of
old cities or in urban transformation plans, lighting master plans must be made with respect for the
overall approach. The CIE guide Master Planning of Urban Lighting (D5 TC 21), which is yet unpublished,
shows the need of undertaking utility and architectural lighting objects with an overall
systematic planning.
43
STAGE 2: LIGHTING STRATEGY
THEMES
-
Unique identity
Connecting people
Safety
Orientation
Atmosphere
SCENARIOS
Light linked to activities and time:
- Working day
- Shopping
- Going out
- Special events
18:00-24:00
24:00-07:00
DETAILED MAPS
AND ILLUSTRATIONS
-
44 FEEDBACK
Illuminations
Tonality (colours of lamps)
Typology (scale)
Composition (typical configurations)
Lighting specifications
STAGE 3: IMPLEMENTATION
TYPICAL INSTALLATIONS
- Recommendations for lighting
solutions and alternatives
- Standard implantation in cross section
- Visualisations and sketches
PLANNING
- Planning of implementation
- Definition of phases
- Timing
REFERENCE PROJECTS:
SUZHOU SCIENCE AND
CULTURE ART CENTER, CHINA
Architect: Paul Andreu; Paris, France
Lighting design: Mr. Y. Nakamura;
Tokyo Shomei
Consultant Co., Ltd., Tokyo Japan
Magazine : Luminous 2008/1,
page 20-23
PLAZA DE INDAUTXU,
BILBAO, SPAIN
Architect: Ander Marquet Ryan,
JAAM architecture partnership
Review: ILR 2007, page 88-91
45
VERDI INNOVATIVE WORKPLACES
By Carine Legoux
Verdi’s site represents a veritable technological and wellness showcase, bringing
together all the operations of the Philips France group since last year. Selected
partners, such as AXA, COGEDIM, the firm of architects Boisseson-DumasVilmorin & Associés (BDVA) and the engineering firm SETEC, got together to
study and construct this ambitious project.
“It’s this respect for integration with the environment, this relationship between
humanity and quality of life that we have favoured since the conception of the
project,” says Jean-Michel Dumas, associate architect at BDVA, in charge of the
Verdi project, and Gilles Engelmann, architect for the construction phase.
The Dynamic Lighting concept marks an important step that allows all the richness
of natural light to be introduced into the working environment. It is very logical
that Philips has opted to fit 23,000 m² with this lighting concept. This operation
illustrates perfectly what the lighting in a modern building should be like, taking
into account the users’ needs and the concern with saving energy.
2200 luminaires are perfectly integrated into the false ceiling. They are fitted with
two T5 28 W fluorescent tubes using 2700 K and 6500 K colour temperatures.
They vary the luminous intensity and the light colour temperature, recreating the
dynamic that is peculiar to natural light.
The use of MLO micro-lens optics makes it possible to achieve a homogeneous
and very comfortable light distribution. In addition, Dynamic Lighting is linked to a
centralised management system that takes into account the incidence of daylight
and the presence of staff in the offices, thus enabling electricity consumption to
be optimised.
Project
Head office of Philips France, VERDI,
Suresnes, France
Investor
AXA
Delegated project owner
COGEDIM
Architect
Boisseson-Dumas-Vilmorin & Associés,
Paris, France
Engineering firm
SETEC
Architect-decorator
Juan Trindade
Lighting designer
Philippe Almon, PHA
Space planning
DEGW
Civil engineering
PETIT
Electrical installer
SPIE – PHIBOR (Vinci Energies)
Philips Lighting solutions
Alexia Lemonnier, Laurent Poitevin, Pierre
Bonduelle, Nadine Ravarini, Philips France
Lamps
Philips MASTER TL5 28W 827 and 865,
Philips MASTER PL-C/4P 18W /830, Philips
MASTERColour CDM-Tm 20W /830, Philips
LUXEON® K2 white
Luminaires
Philips Savio TBS760 2x28W with ballast HFD in
offices for Dynamic Ambience, Philips Fugato
FBS261 2x18W in circulation areas, Philips Fugato
MBS244 with black cone Philips MASTERColour
CDM-Tm 20W in the hallway and floors, specially
designed Philips LEDLine2 for lift areas
Lighting controls
Philips Light Master Modular
Websites
www.bdva.com
46 FEEDBACK
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48 FEEDBACK
Mere Words Photography
49
BOOKS
Light & Communication Nature as a reference in lighting
design
Author: Henrik Clausen
Publisher: Meldorf: Hansen, (Denmark),
January 2009
ISBN-13: 9788792154026 120 pages,
colour illustrations, hardcover
Language: English
www.meldorfhansen.dk
“Light & Communication - Nature as a reference in lighting
design" solves. After reading it, you will be able to
communicate about lighting design in a way everybody
understands, using nature as a common reference.
Green Architecture Now!
Author: Philip Jodidio
Publisher: Taschen
ISBN-13: 978-3-8365-0372-3,
416 pages Colour images, flexicover
with flaps
Language: English, French, German
www.taschen.com
The ecological impact of new construction, once a secondary
concern, has become a crucial issue. Badly designed buildings
guzzle natural resources and pollute their surroundings; in an
era of rocketing energy costs and environmental
degradation, the need for a sustainable, energy-efficient
architecture is paramount. This book features the architects,
artists and firms pioneering a new green architecture, and
examines the emergent esthetics.
Yann Kersalé
Authors: Yann Kersalé, Jean-Louis
Pradel, Henri-François Debailleux,
Anne de Vandière
Publisher: Editions Gallimard (France)
October 2008
ISBN-13: 978-2070122806
215 pages, colour illustrations,
hardcover
Language: French
www.gallimard.fr
Yann Kersalé graduated from the Quimper School of Fine
Arts in 1978 with the Diplôme National Supérieur
d’Expression Plastique. Using light as others may use clay or
paint, he chooses night time – the most sensitive of all
backgrounds -as his area of experimentation.
50 FEEDBACK
Green architecture
Author: James Wines, Philip Jodidio
Publisher: Taschen, LLC (Germany),
August 2008, 25th Anniversary
edition
ISBN-13: 978-3836503211
240 pages, colour illustrations,
hardcover
Language: English, French, German
www.taschen.com
Wines (dean of architecture, Univ. of Pennsylvania)
proposes to steer the architecture profession away from the
"vacuous shape-making" of "academic Modernism" towards
an ecology-centered aesthetic. This generously illustrated
alternative history spotlights an eclectic assortment of lesserknown architects (including Wines himself) who in widely
varying degrees incorporate ecological awareness into
their designs.
Lighting Design:
Office for Visual Interaction
Author: Enrique Peiniger,
Jean M. Sudin
Publisher: Birkhäuser (Switzerland),
July 2009
ISBN-13: 978-3764399573,
144 pages, 255 colour illustrations,
softcover
Language: English
www.spinger.com/birkhauser/
More than any building material, light influences our well
being, effects architectural qualities and stages architectural
designs and surfaces. The New York-based Office for Visual
Interaction (OVI) goes beyond simply illuminating buildings
– the firm sees lighting as a way to actively shape space,
complement architecture, integrate technology and save
energy. Featured projects include illumination for
contemporary landmarks such as Renzo Piano’s New York
Times skyscraper, Zaha Hadid’s Rosenthal Center for
Contemporary Art, a prototype LED streetlight for New
York City, and the lighting design for Enric Miralles’ Scottish
Parliament complex.
WHERE TO GO
19 May - 6 September
Exhibition
Andrea Palladio
500 anos de consciencia
arquitectonica
www.fundacio.lacaixa.es
Caixaforum, Barcelona, Spain
1 - 9 August
Youth Architectural Festival
Towns: Construction of EcoTown
by your own hands
www.asadov.ru/goroda/
2009_greentown(eng).htm
Altai, Russia
Until 9 August
DDC Exhibition
See the Light
Light sources today and future
www.ddc.dk
Danish Design Centre
Copenhagen, Denmark
Until 13 September
MCA Exhibition
Olafur Eliasson
Take your time
www.mcachicago.org
Museum Contemporary Art
Chicago, United States of America
Until 4th October
Exhibition
Green Architecture for the
Future
www.louisiana.dk
Louisiana Museum of Modern
ArtHumlebæk, Denmark
6 October 17 January, 2010
Exhibition
Andrea Palladio
500 anos de consciencia
arquitectonica
www.fundacio.lacaixa.es
Caixaforum, Madrid, Spain
Until 18 October
CIVA Exhibition
The Shops Time / Le Temps des
Boutiques
From the small workshop to
eBay / De l’échoppe à eBay
www.civa.be/sub/00.asp
Fondation for Architecture
Brussels, Belgium
19 - 22 October
LUCI Association Annual
Meeting
Lighting Urban Community
International 2009
World Photonics Expo
Gwangju, South Korea
28 - 31 October
VIA Publishing & co-organiser
PLDA
Professional Lighting Design
Convention 2009
www.pld-c.com
Pullman Berlin Schweizerhof Hotel
Berlin, Germany
29 October 10 January, 2010
Exhibition
Frank Lloyd Wright
www.guggenheim-bilbao.es
Guggenheim Museum
Bilbao, Spain
15 - 17 November
IES Association Annual
Conference
Illuminating Engineering
Society 2009
Realizing the Future – Research
to Application
www.iesna.org
Sheraton Seattle Hotel
Seattle, United States of America
10 - 12 December
CERMA International
symposium
Luminous architecture in the
20th century (1907-1977)
www.cerma.archi.fr
Ecole nationale supérieure
d'architecture
Nantes, France
Copyright
© 2009 Koninklijke Philips Electronics B.V.
All rights reserved. Reproduction in whole or in part is prohibited
without the prior written consent of the copyright owner. The
information presented in this document does not form part of any
quotation or contract, is believed to be accurate and reliable and
may be changed without notice. No liability will be accepted by the
publisher for any consequences of its use. Publication thereof does
not convey nor imply any license under patent - or other industrial
or intellectual property rights.
51
1ST PRIZE 2008
SEOUL, SOUTH KOREA
Lighting design
Ko, Kyung-Ju, Ha, Mee-jung, Kwoon Hyung Joon, Lee Yeon So Seoul Jung-gu Cheonggye Plaza
to Seongdong-gu Sindapcheolgyo Railroad Bridge (5.84 km)
“This is an impressive project to rehumanize this urban area. This effort to bring nature back
to the city combined with an harmonious and almost entertaining landscape design gives this
previously lost and forgotten place an almost fairytale night-time image. The lighting design
plays with light and dark as well as with the transparency of the water. The subtle use of color
adds to the overall quality of this relaxing and recreational urban environment, thus clearly
improving the quality of life for those living here.”