International Lighting Magazine

2009/3

SUSTAINABILITY
Is it only performance?

RENZO PIANO
Closer to Nature

LIGHTING
MASTER PLAN

July

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
Eco-Town
by your own hands
www.asadov.ru/goroda/2009_
greentown(eng).htm
Altai, Russia

Until 9 August

Until 13 September

Until 4th October

6 October 17 January, 2010

DDC Exhibition
See the Light
Light sources today and future
www.ddc.dk
" " $ 
$#" 
MCA Exhibition
Olafur Eliasson
Take your time
www.mcachicago.org
Museum Contemporary Art
Chicago, United States of America
Exhibition
Green Architecture for the
Future
www.louisiana.dk
Louisiana Museum of Modern
& ;<#" 
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 lchoppe eBay
www.civa.be/sub/00.asp
%  &   
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 suprieure
d'architecture
7#% 

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

24

28

11

DIALOGUE

DOSSIER

FEEDBACK

Challenges in lighting design

Sustainability moods

Development and trends in lighting

LIGHT SOURCE
Astra Tower,
Hamburg, Germany

INTRODUCTION
Sustainability, is it only
performance?

18

BLUE SKY THINKING

Luminance sensation of colored
LED lighting

38

PLATFORM
Renzo Piano
Genoa, Italy

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
Mbelhof 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
So Paulo, Brazil

32

SPOTLIGHT
Agenda, Books

50

PROJECT REPORT
55 Baker street
London, United Kingdom
PERCEPTIONS
Passive solar and natural lighting

36

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

  
1      
hear the word Hamburg, theyll immediately say the port and the Reeperbahn. As
symbols of the city they attract tourists, offering spectacular and attractive views.
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
= #        
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
 @  #      

It is no coincidence that light plays a major part in the buildings appearance. Having
Tobias Grau as the interior designer meant that a renowned lighting manufacturer
and designer was decisively involved in the design. He was responsible not only for
  #     Q   
gained plenty of experience before recently concentrating almost exclusively on
the development and manufacture of lights.
  *        X *
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
     #1     
  #[     
\
          ]
@
& #     ^   
workstations as it is from outside. In addition, the use of glass partition walls rather
          
   
[

light

Source

DIALOGUE

Carsten Brgmann, Michael Wurzbach

They are simply the most effective and most

 
[

It is this transparency that is the secret of the nocturnal shine. The corridor area
        @ 
tubes that shine a neutral white light upwards and downwards from the middle
    
[1     
  #X     
  @ 
\`       
ambient lighting, the desired effect of making the core of the tower visible from
           
[
&@ #  #
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
  
      
[
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, of course. From
in-house lights, via the interior design to the graphics of the lift markings with
a joint idea of being able to form a bridge, this was a great commission. 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
              
 
[
 @   X     |
They are simply the most effective and most economical lamps you can use at the
moment. If you take into account colour rendering, energy consumption and price,
      @ 

" !"    * 
   
1* # #*  
[

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

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
Closer to nature
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
fathers job and work in the company, but being an
architect seemed more interesting to me. And, to tell the
truth, I did it to get away from home. In Genoa where I
lived, there was no School of Architecture, so I went to
Florence, which is a beautiful city. Perhaps too beautiful.
But I preferred Milan: it attracted me because it was
more lively and dynamic. While I was a student I trained

DIALOGUE

with Franco Albini. I still remember that I designed the

 @ =   
in Rome, then some televisions for Brionvega.
To begin with you focussed on technology
I was fascinated by Jean Prouv, 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. I graduated in 1964
with Giuseppe Ciribini, a professor who was responsible
for modular co-ordination. In 1969, I had designed
a building with a light reticulated cover for the Osaka
Exhibition which was inaugurated the following year.
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.

Were you surprised about that?

There were many competitors, and it was a prestigious
^
 Q1=  
Q  
  
Jean Prouv, Oscar Niemeyer and Philip Johnson, who
admired the innovative nature of our proposal. This was
a time when people were receptive to innovation.
It is thought that Ove Arup had put his trust in us
         

He considered us as youngsters with a certain talent
which ought to be promoted.

Can you tell us about the J.M. Tjibaou Cultural Centre in Numea?
In New Caledonia I tried to create a building which
breathes by coming into contact with the winds which
exist there. The wooden bars of the ten hut structures
we created vibrate when the trade-winds blow, and
each one of them produces a different sound. We tried
to interpret the spirit of the place and the culture of the
Kanachi, a people who have always been in close contact
  
   
a landscape of shadows onto the ground which recalls
that of the forest.

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. This is particularly apparent
in museums. I am thinking for example of the Menil in
;#     #
or the Beyeler Foundation in Basle, where I worked on
the same concepts so as to obtain a building with reduced
energy consumption.

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
    
^   #
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.

So the roof became an integral part of the museum?

In a period of six months the museum has welcomed
over a million visitors, and they all go onto the roof to see
a fragment of Californias vegetation. Other factors which
are less apparent also contribute towards guaranteeing
the sustainability. For example, the thermal insulation of
     
from jeans salvaged from nearby factories. We also used
recycled iron materials for the masonry and frameworks.

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 dont 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

I am aware of the fact though that it is not always energy

     
`  
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
      

ORQUIDEORAMA, THE BOTANICAL

GARDEN OF MEDELLN, COLOMBIA
&     @    #
\    [
     
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
\@  [#   
from interlaced beams, to form a network through modular increase and tree
  
@        
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
Jardn Botnico de Medelln
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 Mstoles (a city 20 km from Madrid) signed the
Independence Proclamation following the uprising against Napoleons French
army. To mark the bicentennial of this event, the city of Mstoles has created
a huge architectural monument, visible throughout the entire city, in the new
\`[] 

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 Mstoles
Architect
Enrique Fombella, Madrid, Spain
Lighting solutions
Enriqueta Daz, Miguel ngel lvarez, Jose Luis
Pavn, Philips Spain
Light sources
Philips LED LUXEON , red, green and blue
Luminaires
Philips LEDLine2 RGB
Lighting controls
Pharos LPC 1 Controller

         #

minimum maintenance, energy saving, colours and dynamics. A computer
program has been developed to change the dynamics so that the entire
     @ |   
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

FOOTER
DIALOGUE

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
=^ #    @ 
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
#  @    

is decorated with an inverted lotus-shaped structure and the base also
@@ 

^        
`       @   #
while at the same time preserving its central core belief. The topmost part
         @    
discharge metal halide lamps symbolizing the purity of its core belief. The
central dome is illuminated in a slightly warmer shade of white symbolizing
  

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 guests overall experience, it also provides a
unique back-end network design that interfaces with all the hotels software
#   
\[
controller allows guests to adjust the temperature, operate the curtains, and
even change the rooms colour thanks to two RGB LED strings above the
translucent ceilings. As consumer choices are increasingly driven by emotional
     Q1 ;  
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
  !"` @=X # 
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 capitals 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
 #  #      

Flexible LED solutions iColor Flex and iColor Cove were applied alongside

  @     
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
      ' # #  #  
and, last but not least, the poles of public-lighting with 800W sodium lamps!).
1      
(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
      
  *
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 Clemens

MBELHOF INGOLSTADT,
INGOLSTADT, GERMANY
The Mbelhof 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 faade 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
     
&       
 $"        
displays combining high-quality, brilliant light and low power consumption.
A literal high-light is the installation of down lights with CDM-T 250W at
  |\    [
from many clients.

Client
Mebelhof 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
1&   

17

SUSTAINABILITY
IS IT ONLY PERFORMANCE?
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. Read Christian Cochys
Perceptions article for a look at the architectural consequences.
Some people in United Kingdom, but even more in Alaska, Russian
and the Nordic countries, 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
 `  ^  

`    Q # #  Q
is taken seriously by the architects concerned. The former project is
discussed in detail in Dossier.

but for architects and lighting designers the quality of light is a far
greater issue since it makes a major contribution to the pleasure of
the end-users. For architecture, sustainable lighting is a question
of mood, brightness and colour. Just as daylight differs in summer
  #@      
of the place or the moment of the night. The Odeon and Octavio
dossier projects both pay attention to energy saving but also allow
colour dynamics to play a major role.
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
     
1 #
rhythm and saturation that produce the play of light.
Vincent Laganier

Lighting is an actor of sustainability going beyond the implementation

of environmental and human consumption parameters. Of course,
energy performance or recycling of lamps and luminaires is important,
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
      #[ " 
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 buildings primary address is the bay suggesting an
institution that is outward-looking rather than introspective. The bay provided
    |*Q 
Q   @ *    

We dubbed it the Democratic Roof, because it extends over all the buildings
activities; everybody involved in the political process coming together under
one roof. And the central Debating Chamber is formed by the roof folding
 #    
[
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 buildings energy demands and thereafter to pursue
     
  
issue in that environmental brief and we felt it essential to maximise the use
of daylight. With BDSP we developed a large glazed lantern for the Debating
$     @    
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 so with BDSP we had to create a delicate balance between
natural-looking lighting and even lighting which did not compromise the
 
[

21

The energy usage targets were very demanding, but BDSP were able to achieve
     ^ 
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
 
  #["  

For this reason, we developed multi-purpose booms which were suspended
 #     
for both uplighting and downlighting but also other technical equipment which
   # #
smoke detectors and various sensors. There are also infra red sensors which
     
[
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
         Q
internal than fully enclosed space. Rather than maintaining a constant 21C
throughout the year, we allow a temperature variation between appx 14C
$#      
 
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
  
1#   
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
X  #$" @  $
        
  # #   
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
    1 

For decades there was not a lot to remind people of the
buildings original purpose.
After the roof had been destroyed, what had once been
a concert hall became an interior courtyard that was
      #[  
Ackermann as he described the situation he confronted

   & 

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 didnt 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
   
[

25

LIGHT VISION

The subtlety apparent in the criss-cross network of glass

  #  @
pillars above the courtyard, is also evident in Ackermanns
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 Dring.
He knew exactly what we meant: It is very important
to talk about light, and not about luminaires. A lighting
     #    
*[
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
  !"  
[
Alexander Weckmer, who had the job of managing the
project, explained the choice of luminaire: Even using
warm-white light we could not manage to really bring out
the light ochre-coloured walls, so we decided to opt for
    Q    
      
[

When a reception is held here we can bathe the walls in

a saturated blue or in a dark orange. A good side-effect
       @
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
        
[
And the solution is a success not just in terms of
aesthetics but also in terms of economy. These days
       #[" 
\ 
solution is sustainable not just because of the low energy
 Q
Q
    Q#
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
 
7    [
Peter Ackermann was delighted with the positive
 |\& 
at the Ministry were sceptical, but now there is huge
acceptance for the solution. In the warmer months there
isnt a single week goes by without the foyer being used
   
[

ATMOSPHERE IS EMOTION

Special optics with a broader light distribution were

 @  #  
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
      #[ 
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
        
[!  
Dring 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 Dring, D-LightVision, Munich, Germany
Lighting solutions
Alexander Weckmer Licht und Mediensysteme
GmbH, Knigsbrunn, 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

OCTVIO FRIAS DE OLIVEIRA BRIDGE, SO PAULO, BRAZIL

COLORED ACCENTS
ON THE RIVER
Written by Evelise Grunow

The lighting of the Octvio Frias de Oliveira Bridge in So 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 lighting of the Octvio Frias de Oliveira Bridge in So 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.
           *
largest metropolises by creating new links between strategic districts and the
commercial pole of the port of Santos. Known as the Estaiada bridge (the
\` [+# # ] 
icon of So Paulos landscape. Its dense mesh of stays and the single elevated
support tower, 138 metres high, stand out between the banks of the Pinheiros
 #          

The aim of the lighting technology was to emphasise the innovative nature
of the bridges engineering and architecture, designed by the architect Joo
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
          
dimensions of the concrete tower.

29

LUMINANCE AS A DESIGN RESOURCE

\   #    #[  

Godoy with reference to the decision not to allow the night-time lighting effects
to distort the perception of the real dimensions of the concrete structure.
%   #&   @ ###  
the vicinity of the bridge so as to focus in parallel on the main surfaces of the
 
\  #[X

However, whilst the tower was still being built, it was found that the surrounding
light would interfere negatively with the mesh of stays, due to the constant
presence of an unintentional and undesirable linear beam of light. In order
to ensure that the concept of emphasising the view of the tower remained
#  &   @  #   
on strategic points of the stays. The lighting designers were aware that
   #  @ 
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
   ^#    

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 So Paulo have with regard to the colour applied to public
monuments. The lighting designer explained: This is a very sensitive
relationship, timid even, and different from the situation in other major cities
 # 7 # [
  
$ !"@ #  
surfaces with different heights would be lit homogeneously.
LIGHT ON THE DECK

      

% #
since the bridge is located in a relatively dark area of the banks of the Pinheiros,
       #
compared with 20 lux required in the surrounding environment. Godoy said:
\   [

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 in view of their
limited height they are arranged bilaterally and asymmetrically, in other
words interposed every 15 metres on both sides of the lane. The lighting
 %     # 
which is representative of the state of the art in Brazilian lighting design.

Client
Prefeituw Municipal da Cidade de So Paulo
Construtora OAS
Architect
Joo Valente, Valente Valente Arquitetos,
So Paulo, Brazil
Lighting design
Plinio Godoy, Paulo Candura, So 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
@ #
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,


  
 
   
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
    #[ *1

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
    #[

COLOUR CHANGING CONCEPT

     *      
'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 viewers perspective and the times of day and year.
=#    !"     
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,
    #   
       #[1

The combination of the structures and the lighting help to create moods
 @   #[  

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.
All of the lighting in these areas is controlled from a single point to produce
pre-set 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
 #[ 

33

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:
   @      
and spacious ambience with high levels of comfort. Consulting engineers Blyth
      '`$+ 
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
   ]     ] #[   

\; #  
#            #
   
 @ 
       ] 
[
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

%   @   #"&1   

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
 
1 #       
#   @     

We know that we have got not only an advanced lighting management
system but one that can accommodate any changes in the future, while
       #[  

Client
London & Regional
Architect
Make Architects, London, United Kingdom
Faade 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
    
Luminaires
`  !"@  
Philips LEDLine2 RGB in the hall, Philips Fugato,
  $ #  `  
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
  
[

LA BOSSE COLLECTIVE
ACCOMMODATION 1980

\1        

in grouped housing, my interest in bioclimatic architecture
was initially sparked by research into the economics of
  
&    
occupants told me that they had found that the winter
  
  
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
         
[
ELISA LEMONNIER INFANT SCHOOL 1984

The order for a bioclimatic infant school with three

classes was the opportunity to deepen, more consciously
this time, 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
childrens level. The window in the central passageway
       
from the north in winter and to provide shade and
coolness in summer. The need for transparency between
classrooms is combined naturally with indirect lighting
in them. Light wells facing south and north and oculi
let the children feel the different atmospheres and the
 
[
ANNE FRANCK LIBRARY 1987

In order to comply with the request to protect the

 \  [ #1   
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
  
[
36

DOSSIER

Christian Cochy
South faade with passive sun light Individual residence from M. Foucr, Architect: Christian Cochy

LES PINS LONG-TERM CARE UNIT 1990

Invited to design hospice accommodation for elderly

poly-dependent 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
 
1\ [   1
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. It was possible to combine the important
requirements of air renewal, due to incontinence, with
the buildings strong inertia, thus making for nocturnal
refreshment. Linked to a central patio garden, the
need for transparency between areas so as to facilitate
surveillance has helped to enrich the natural lighting of
   
[

facing south. Pergolas with vegetation or mobile fabrics

protect outdoor terraces and south-facing windows in
summer. The night lighting is largely provided by energysaving lamps, also positioned according to daylight entry.
For their occupants this suggests living in harmony
with the sun, adapting to its constraints. For example,
accepting the day-night brightness and temperature
variations in winter. Accepting that the sun, the winds and
 *       
place in the organisation of the rooms in a building.
My last few projects resulted in my optimising the full and
      
produce electricity and sanitary hot water. Aim: to move
towards energy-saving structures and in the long term
towards positive energy, in which the night lighting would
      
[

INDIVIDUAL RESIDENCES 1982 TO 2009

Traditional European rural housing used to perform a

bioclimatic function of sheltering people who mostly
spent their days doing outdoor physical activities. Todays
shelters are mainly aimed at urban sedentary people who
have become more sensitive to the cold and are often
insulated from the natural cycles.
In my individual housing projects I attempted to make
passive use of the suns 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
 
[
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
\ [ 
  
     \ [
atmospheric complements during the day in the areas
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
    # #  
   
 
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 EXPERIMENT

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.

     

generated by the primary colours of a LED spot. The
method uses a pattern created by two LED spots on a
  @ 
    ]
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.

  @   |  

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.

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

100%
83%

67%
50%

50%

33%

17%

0%

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
@  
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 energy-conscious
and prevent light nuisance and
pollution.
With this in mind, the Outdoor
  &  $ Q&$
Q  
its demonstration area. The
original street with family homes
has been replaced by a modern,
contemporary urban street, with
    @ #
a restaurant, nursery school and
private houses. The new area also
illustrates the increasing urbanisation
    
Q     
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
\[  
a number of different scenarios. It
\ [ 

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-of-the-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 LEDLine asymmetric, as well as
tailor-made 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
Frdric 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 LEDLine asymmetric, Philips
!"@#   #   #
    !"#  "@#
  =@
Lighting controls
Martin LightJokey

41

STAGE 1: RESEARCH

IDENTITY

Q
Q
Q
Q
Q
Q
Q

City users
History
Architecture
Landmarks
Atmosphere
Nature
Special events

STRUCTURE OF THE CITY

Q
Q
Q
Q

Topography
Districts analysis
Traffic analysis (network grading plan)
Viewing points and distances

EXISTING LIGHTING

Q
Q
Q
Q

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 LEclairage) Division 5, TC 21 Master Planning of
Urban Lighting and TC 24 Guide for Architectural and Decorative Lighting.

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
LEclairage) 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
  ] 
        
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 citys 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
    
1   # 
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

Q
Q
Q
Q
Q

Unique identity
Connecting people
Safety
Orientation
Atmosphere

SCENARIOS

12

Light linked to activities and time:

Q Working day
Q Shopping
Q Going out
Q Special events

12

18:00-24:00

24:00-07:00
DETAILED MAPS
AND ILLUSTRATIONS

Q
Q
Q
Q

Illuminations
Tonality (colours of lamps)
Typology (scale)
Composition (typical
  +
Q     

44

FEEDBACK

STAGE 3: IMPLEMENTATION

TYPICAL INSTALLATIONS

Q Recommendations for lighting

solutions and alternatives
Q Standard implantation in cross
section
Q Visualisations and sketches

PLANNING

Q Planning of implementation
Q "  
Q 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

Verdis site represents a veritable technological and wellness showcase,

bringing together all the operations of the Philips France group since last year.
What was the objective? To apply its know-how to improve everyones lives.
`  #&&#$X!"1#    
"  & '"&+   `!!$#
together to study and construct this ambitious project.
Its this respect for integration with the environment, this relationship
between humanity and quality of life that we have favoured since the
  ^#[ "#   
BDVA, in charge of the Verdi project, and Gilles Engelmann, architect for the
construction phase.
&    #    
      
"    
important step that allows all the richness of natural light to be introduced into
   
1     #
m with this lighting concept. This operation, on an unprecedented scale,
illustrates perfectly what the lighting in a modern building should be like, taking
into account the users needs and the concern with saving energy.
As the day progresses, the 2200 luminaires are perfectly integrated into the
  
  @  
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
     # 
electricity consumption to be optimised.

Project
;  % #!="1#
Suresnes, France
Investor
AXA
Delegated project owner
COGEDIM
Architect
Boisseson-Dumas-Vilmorin & Associs, Paris,
France
 

SETEC
Architect-decorator
Juan Trindade
Lighting designer
Philippe Almon, PHA
Space planning
DEGW
Civil engineering
PETIT
Electrical installer
`1!Q;1='  !  +
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
;%"  " & #
Philips Fugato FBS261 2x18W in circulation
areas, Philips Fugato MBS244 with black
cone Philips MASTERColour CDM-Tm 20W
@ #  
Philips LEDLine2 for lift areas
Lighting controls
Philips Light Master Modular
Websites
www.bdva.com

46

FEEDBACK

47

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
$  #@   @
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,
       
 
   #     
green architecture, and examines the emergent esthetics.

Yann Kersal
Authors: Yann Kersal, Jean-Louis
Pradel, Henri-Franois Debailleux,
Anne de Vandire
Publisher: Editions Gallimard (France)
October 2008
ISBN-13: 978-2070122806
215 pages, colour illustrations,
hardcover
Language: French
www.gallimard.fr
Yann Kersal graduated from the Quimper School of
Fine Arts in 1978 with the Diplme National Suprieur
dExpression Plastique. Using light as others may use clay
  #  Q  
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 lesser-known architects (including Wines
himself) who in widely varying degrees incorporate
ecological awareness into their designs.

Lighting Design:
  
Author: Enrique Peiniger,
Jean M. Sudin
Publisher: Birkhuser (Switzerland),
July 2009
ISBN-13: 978-3764399573, 144 pages,
255 colour illustrations, softcover
Language: English
www.spinger.com/birkhauser/
    #  @ 
well being, effects architectural qualities and stages
architectural designs and surfaces. The New York-based
  1  '1+ 
    Q   
actively shape space, complement architecture, integrate
technology and save energy. Featured projects include
illumination for contemporary landmarks such as Renzo
Pianos New York Times skyscraper, Zaha Hadids
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
Eco-Town
by your own hands
www.asadov.ru/goroda/2009_
greentown(eng).htm
Altai, Russia

Until 9 August

Until 13 September

Until 4th October

6 October 17 January, 2010

DDC Exhibition
See the Light
Light sources today and future
www.ddc.dk
" " $ 
$#" 
MCA Exhibition
Olafur Eliasson
Take your time
www.mcachicago.org
Museum Contemporary Art
Chicago, United States of America
Exhibition
Green Architecture for the
Future
www.louisiana.dk
Louisiana Museum of Modern
& ;<#" 
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 lchoppe eBay
www.civa.be/sub/00.asp
%  &   
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 suprieure
d'architecture
7#% 

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

city.people.light

award 2009

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.