landscaping with light

louis poulsen lighting

2
landscaping with light

Louis Poulsen Lighting has many years of

experience in external lighting experience, this
brochure is designed as a guide for people who
want to consider making the night a more com-
fortable and atmospheric setting. Our aim is to
lead you through the landscape lighting princip-
les, which can be easily applied to both urban
and residential projects.
Should you not feel confident in the area of
landscape lighting design, please contact Louis
Poulsen Lighting directly for a design advisory
service to optimize your project.
 3

function comfort ambience

page 4 page 18 page 24

the Louis Poulsen Lighting FCA™ philosophy

Good lighting design is achieved through a number of choices and considerations. Louis Poulsen Lighting develops its luminaries adhering to a lighting
philosophy of Function, Comfort and Ambience (FCA™). This FCA™ philosophy also applies to scheme design, which in turn strives to balance the technical
and human elements of any project.

A balanced FCA™ philosophy ensures the best lighting solution for your landscaped space.
Functional aspects are addressed by selecting a suitable light fixture, choosing a complimentary lamp package and positioning it for optimum performance.
Comfort aspects are addressed by considering the scenario and examining the lighting requirements. Ambience is addressed by thinking about the mood and
experience you wish to create.

This enables the designer (through choice of the most appropriate light fitting, weighing up intensity positioning and colour rendition) to create a unified
specification that is sensitive to requirements while enhancing the landscape form.
4
function

f
 5

During daylight hours the landscape is a play of colour, form

and texture. The smooth contours of the lawn, shapely trees
and brightly coloured flowers are all illuminated by the sun
with everything on show.

unction
By contrast, the night sky shrouds the landscape with an air
of mystery. With only the moon-light and selected artificial
lighting, the picture becomes a play of dramatic light and
shadow, revealing some objects and hiding others.

With this in mind, the first task is to define the parameters

for the project and what you wish to achieve. Remember,
simplicity is the key.
6
light source

light fixture Daylight

As designer you will need to select a suitable light fixture for each
application. The versatility and simplicity of the Louis Poulsen Lighting
product range will allow you to address issues of size, type, material
and finish/colour.
For example, recessed inground up-lighters are discreet and
invisible by day while spike mounted fixtures allow for repositioning
as required and also help prevent plant growth over the light source.
To help a lighting scheme to ‘flow’, many of our fixtures appear in
‘families’. For example, a wall fixture, bollard and post top. The
‘family’ concept allows a ‘common’ design theme across a scheme.
Colour spectrum
Incandescent and halogen light sources have a continuous
spectrum, representing all the colours of the rainbow, with a
smooth transition between each.
Fluorescent light sources have a linear spectrum. They do not
necessarily have all the colours of the rainbow and of those that do
are each, separated by a black area.

Colour Rendering Index (CRI)

CRI indicates how well a light source reproduces true colours.

light source The CRI is divided into values from 0-100.

Daylight CRI 100.

You must consider the appropriate light source. In particular, a Incandescent and low voltage lamps share a CRI of over 90.
complementary light source, suitable wattage intensity and beam High pressure sodium CRI 20-35.
angle. Other factors such as lamp life and surface temperature may Metal halide CRI 80-90.
also play a part depending on the project parameters. Compact fluorescent CRI 80-98.
Mercury CRI 40-65.
Remember, natural daylight is the ‘benchmark’ and it is therefore N.B. Light sources can hold the same CRI, but do not have the abi-
important to respect the colours of nature in your lamp choice. lity to render the same colour correctly. This depends on the colour
spectrum of the light source.

Daylight • higher than 6,000 K
8000K
Neutral • 3,000 - 4,000 K
Warm white • lower than 3,000 K
Colour temperature
The colour temperature of a light source is measured in degrees
Kelvin (K), and can be defined as warm, neutral or cool light.

4000K

1000K
 7

Compact fluorescent High pressure sodium

Compact fluorescent LED (Light Emitting Diode) High pressure sodium

Although many use this for its long
life quality in or around buildings,
compact fluorescent is not a light
source strongly recommended for
the landscape environment. It does
not possess the colour rendering
qualities of halogen or metal halide.
However, it is an alternative indicator in
recessed products when the budget
will not stretch to LEDs.
LEDs offer a wide choice of colours - standard white,
blue, red, green, amber and RGB colour change
versions (through DMX control). They
exceptionally long life, are cool to the touch and
have low running costs. However a word of warning,
in isolation standard white LEDs appear white but
when placed next to or near warmer sources, such as
halogen, they can appear more blue. This can feel
‘cold and ghostly’. It is therefore recommended that
a pale yellow filter is added to correct the colour.
Alternatively seek advice on using a ‘warm white’
LED.
Today high pressure sodium is often
perceived unfashionable, but it has
have its place and should not be ruled out.
It is particularly complimentary to
reds and yellows, for example copper
beech and prunus trees (both red leaf),
sandstone and traditional brickwork
can benefit from sodium lighting.
However, due to its colour spectrum,
sodium does not compliment blue
coloured surfaces.

Halogen Metal halide Mercury

Halogen Metal halide Mercury

This source creates a warm This is probably the best ‘all rounder’. With its Mercury compliments blue and
atmosphere and is associated most good lamp life and light spectrum resembling green coloured surfaces very well.
strongly with the natural environment. natural daylight, this light source favours the For example cedars and pine
Despite its lower life, it is the best commercial lighting scheme and is also a good trees. Stainless steel also illuminates
choice for illuminating domestic plants option to illuminate objects in their true colours. well.
and foliage in their true colours.

N.B. Discharge light sources (metal halide/sodium/mercury) are not suitable for security lighting linked to a movement sensor, as they take a period of time to reach
their optimal colour/intensity of light, can rarely be dimmed and offer no instant light.
8
positioning

Having chosen the fixture and light source, many designers underestimate the importance of positioning. Specifying
the position of a fixture will maximise the desired effect and avoid issues of unnecessary glare, cut-off shadows and
light pollution.

spacing

set back
At Jumeriah Beach Hotel in
Dubai, the gentle scalloping
effect of the light (pattern
of light/dark areas on the
wall) is governed by how
close the fixtures are placed
together.
 9

spotlight

spotlight
setback

When light is cast on statues and sculptures, it is important to position the light fixtures correctly to avoid shadowing and ‘cut-off’. The importance is displayed
above, where the statue of a man appears to float due to the lack of light on his lower legs.

Spacing and setback play a large role in accentuating texture to the finished picture. At Stirling Castle (above, left) just outside Edinburgh in Scotland, the
light fixtures have been placed close to the wall. This accentuates the architectural form with shadow. Had the fixtures been placed further from the wall the
building would have had less shadows and appeared flatter in contrast. Illuminating the subject in this way contributes to the myth and mystery associated
with a castle.
10
designing a lighting scheme

after

A good landscape lighting design can in general only really be

achieved through experience. When illuminating commercial areas or
public realm are light levels (lux) need to be adhered to. These are
recognised standards to create a safe environment. However, when
illuminating landscape features such as trees, foliage and focal points of
interest, there are no hard-line rules.

Without such recommendations, many designers shy away from landscape

lighting, and valuable design potential can be lost. With years of
experience, Louis Poulsen Lighting can help you achieve a safe and
‘complimentary’ lighting solution, drawing out the best features in the
scheme, whilst leaving the undesirable in the dark.

before

The difference in quality of light plays an important role in how the user
feels when moving within a space.

The small image below and on the left demonstrates how glare from
a light fixture can ‘hide’ a person. By minimising glare, as shown in
the image on the right, you can help the user feel safe and enjoy the
experience of the space after dark.
 11

Many aspects have to be considered when planning an outdoor lighting scheme.

Our aim is to guide you through the outdoor area and offer suggestions based
on our many years of experience. The products of Louis Poulsen Lighting are
designed as lighting tools to fit discretely into the surroundings and offer a
unique lighting experience.

Lighting urban spaces is not

solely a matter of decoration;
creating a safe environment
is as important. It has been
proven that the introduction
of lighting has contributed to
falling crime rates in many
urban spaces.
12
applications

Think hard to exhaust the lighting possibilities available in your scheme.

Our aim at Louis Poulsen Lighting is to make you aware of the potential pitfalls and to help
you see all the possible design options.

The garage or carport - you may use different types of light fixture for this purpose, but the
avoidance of glare to the driver is very important.
A path from the parking point to the main entrance door requires ample light for frequent
use. It is important to suggest the direction one should take.

garage
driveway
13

driveway
driveway

It is important to illuminate the route from the main entrance to the main door
of the house or building, both for car and pedestrian access. For driveways,
bollards or small post tops/lanterns seem the obvious solution. However,
should the drive be tree lined, ‘moonlighting’ is an option. This will offer a
beautiful picture by night and an uncluttered landscape by day.
14
applications

entrance

doorway

A wall fixture is the obvious solution by a doorway, however

concealing the light source in the eaves may be another option,
particularly on an existing building where concealing cable may
be difficult.
 15

steps Special care should be

given to illuminating
steps and level
changes, as undefined
edges could make
dangerous trip hazards.

path Path lighting is designed

to provide orientation
and make the user feel
safe and comfortable
when moving around
within a space after dark.

The entrance point to a building should be obvious at night. If the building itself is up-lit, we suggest the entrance
has a form of downward light, delineating it as the entrance. If there is neither a porch nor overhead canopy to
mount an overhead fixture, wall fixtures mounted at ¾ of the height of the door or above the door will frame
the entrance. House names and numbers should be clearly illuminated for visitors, taxis and in some cases the
emergency services.
16
application map

The following plans highlight stereo typical features found within urban and residential schemes.
The matrix below offers suggested product groups for the key areas marked.

urban

Road

Sitting
area Trees/
General planting

Walkway

Parking

Steps

Building fascia

Sculpture

Main entrance

Plan by Akers Coyle

Driveway/ Forecourt/ Garage Main Building Terrace/ Pool area General Trees Sculpture Paths/ Steps
Road Parking entrance fascia Sitting area planting Walkways

Product section

Inground/Recessed
• • • • • • • • • • • •
Onground
• • • • •
Surface mounted
• • • • • • • • •
Wall
• • • • • • •
Bollard
• • • • • •
Post tops
• • • • • •
 17

residential

Wood Trees

Pool area Grass verge

Forecourt/ Driveway
Path Parking
way Swimming pool
Lawn Steps Main entrance

Garage
House

West
terrace Conser-
vatory

South terrace
Lake

Dry
garden
Wood General
planting

Lawn

Hornbeam Walk

Wood Path
way

Trees
Sculpture

Plan by Timothy Garden Design

Driveway/ Forecourt/ Garage Main Building Terrace/ Pool area General Trees Sculpture Paths/ Steps
Road Parking entrance fascia Sitting area planting Walkways

Product section

Onground/Recessed
• • • • • • • • • • •
Onground
• • • • •
Surface mounted
• • • • • • • • • •
Wall
• • • • • • •
Bollard

Post tops
• • • • • •
18
comfort

c
 19

It is important to consider the lighting requirements for

the space and scenario you are designing. For example, a
greater intensity of light is required to feel safe in a park,

omfort
than in the confines of your own garden. Once the gene-
ral lighting requirements have been decided, you can then
look to create a sense of depth to the scheme by drawing
out focal points of interest. Avoid ‘over lighting’, which
can lead to the final picture appearing flat and lacking
contrast. Remember, the darkness is as important as the
light.
20
the purpose of light

When designing a lighting scheme, both functional and decorative elements have to be considered. Urban and residential schemes both require a level of
functional light to navigate by. However, gardens play more on aesthetics, while urban spaces are generally more about experiencing the architecture.

To explain the difference the plans have been separated into two colours.
The functional zones are illustrated in blue, while the more decorative and ambient areas appear in red.

urbanap

Road

Sitting
area Trees/
General planting

Walkway

Parking

Steps

Building fascia

Sculpture

Main entrance

Plan by Akers Coyle

 21

residentialp

Wood Trees

Pool area Grass verge

Forecourt/ Driveway
Path
Parking
way Swimming pool
Lawn Steps Main entrance
Garage

House
West
terrace Conser-
vatory
South terrace
Lake

Dry
garden
Wood General
planting

Lawn

Hornbeam Walk

Wood Path
way

Trees
Sculpture

Plan by Timothy Garden Design

22
lighting consideration

lighting consideration
It is important to remember that good lighting design will not only provide safety and aesthetical value, but also give the daily user an experience to
remember.

Although some people would rather see the night remain night, i.e. dark, Louis Poulsen Lighting products are designed and tested to perform in a precise
manor. Getting the light to where it is needed, avoiding spill and unnecessary light pollution are of utmost importance to us.

In order to respect both the user and the environment, Louis Poulsen Lighting bases its lighting solutions on the philosophy of: function, comfort and ambience
- FCA™. We consider it paramount that our fixtures unite with the architecture and the surroundings. The light has to become a natural element.
We recommend where possible a lighting scheme that combines fixtures at varying heights. The highest fixtures set the upper limit against the night sky
while the lower fixtures secure the best recognition and navigation for people in the dark.
 23

dark sky
Organisations like Dark Sky participate in the lighting debate, casting stringent views on what they consider light pollution and how
to avoid it.
Dark Sky works with the terms full cut-off, cut-off and semi cut-off. These terms are defined by the values indicated below. During
the planning and design stages, the character of an area determines which fixture will be the most suitable. Note: a full cut-off is not
particularly appropriate in an area where parameters like ambience or comfort are important.

Full cut-off Cut-off Semi cut-off

Max. 0% light above 90° Max. 2.5% light above 90° Max. 5% light above 90°
Max. 10% light above 80° Max. 10% light above 80° Max. 20% light above 80°

Internal honeycomb louver Internal concentric louvre External crossblade louvre

45° prismatic wash lens Cowl visor Barn-doors

Anti-glare/Pollution
Landscape lighting is about ‘painting’ the finished picture, the
emphasis being on the effect and not where it is coming from.
Louis Poulsen Lighting fixtures offer a wide range of accessories
for optimizing light performance and minimising light pollution.
24
ambience

am
 25

It is important to think carefully about the mood you

intend to create and how you wish the user to feel within
the space. Through your choice of light source, you have the
ability to affect the user both emotionally and physically i.e.
making them feel warm or cold, excited or relaxed, secure or

bience
uncomfortable.
Lighting is not just a question of placing a few light fixtures
in a space to see by. It is about creating an ambience with
deep respect for the darkness and the surroundings.
When designing, think of your self as an artist painting with
light. As far as possible, you want to see the effect and not
where it is coming from.
26
lighting technique

Light fixtures can be used in different ways to create mood. This is often suggested by the contours of the
landscape. Here are a few common techniques:

Down-lighting
Although a general term encompassing many of the lighting techniques,
down-lighting is the most natural technique as this is the way we perceive light
i.e. sunlight. Good examples of down-lighting include security and path lighting
which cover functional aspects, while moonlighting and spotlighting offer a more
aesthetic approach. Aesthetical down-lighting is especially effective in structures such
as pergolas, gazebos or recreational areas.

Up-lighting
Up-lighting is a very simple yet dramatic lighting form where a fixture is placed under
an object such as tree or sculpture.
Being a manmade distribution of light and therefore unnatural to the human visual
perception, it attracts immediate attention.
Recessed up-light fixtures are discreet and invisible by day, while spike-mounted
fixtures although visible in daylight, can be repositioned easily and prevent plant
growth over the light source.

Spot-lighting
This is a very direct technique used to illuminate important features and focal points
e.g. statuary.
The use of narrow-beam light sources often allows the fixture to be placed some
distance from the subject. This technique is essentially for aesthetical purposes and
directing attention in a particular direction. However, it should be used in moderation
as overuse may be confusing to the eye, drawing it in many directions.
 27

Low-level wash/Path lighting

Predominantly, this entails illuminating of a horizontal plain along which we walk. It gives direction, providing ample
illumination to see level changes and avoid hazards such as steps or water. This light can come from a number of different
light fixtures depending on the environment.
1. Post top fixtures where light is projected downwards from approximately 3m or more.
2. Bollards available in various heights traditionally providing illumination from a lower height.
3. Wall mounted light fixtures, mounted at varying heights.
4. Inground, semi-recessed light fixtures casting local but limited light.
N.B. This technique is designed to make the user feel safe and comfortable moving around within a space.

Silhouetting and wall washing

This is most commonly seen in nature at sunset when an object is caught between the viewer and the setting sun, creating
a dramatic silhouette.
This effect can be reproduced after dark using wide-beam light sources placed behind planting or objects. Doing this will
often mean washing a vertical surface behind the chosen subject, for example a fence or wall. While this is generally seen
as purely adding aesthetical interest, throwing light on the area behind adds a sense of depth to the area.

Moon-lighting
An ally to down-light, this is one of the most effective and natural looking lighting techniques simulating the soft diffuse
light of the moon. For best results, it relies on suitably mature trees. With light fixtures positioned correctly, light passes
through the canopy casting graceful shadows at ground level. The fixtures must be located high up (15m approx), to prevent
glare. Fixtures mounted too low generally need to be angled out, often creating glare. Moon-lighting is often used as infill
light between two brighter areas.

Mirror-lighting
Mirror-lighting utilises the reflective quality of a pool, pond or a lake’s surface. By leaving the water in darkness and
illuminating objects such as trees, planting or structures on the far side of the water, a magical mirrored reflection can be
achieved. Viewing it in situ really is like looking into an underworld!
N.B. Small ponds and water features lack the surface area for reflection; however, many gardens and parcs have moving
water that can be illuminated. Here we suggest that you position the fixtures just under the surface, allowing the water to
fall directly onto them, creating moving shadows that ‘dance’ on the neighbouring surfaces.
28
ambience concept & lighting tools

The following plans give an indication of where the lighting technique may be best used.
The matrix to the right indicates suitable products for specific areas.

urbanap

Raod

Sitting
area Trees/
General planting

Walkway

Parking

Steps

Building fascia

Plan by Akers Coyle

Sculpture

Main entrance

Down-lighting Silhouetting Up-lighting Path lighting Spot-lighting

 29

Products Driveway/ Forecourt/ Garage Main Building Terrace/ Pool General Trees Sculpture Paths/ Steps
Road Parking entrance Fascia Sitting area area planting Walkways
Inground/recessed
IPR10
IPR12
IPR14
Nimbus
Nimbus LED
WeeBee LED
LytLed
Dex
Onground
Dome
Tripos
Tripos Mini
Pagoda
Volcano
LP Knap
Surface
SPR10
SPR12
SPR14
WeeBee Spot
Wall
Toldbod Wall
Nyhavn Wall
Homann M2
Orbiter Wall
PH Wall
PH 3- 2½ Wall
Kipp Wall
Dex
Nimbus Wall
Dock Wall
Skot Wall
Skot Maxi Wall
WeeBee Wall
Bollards
Bysted
Toldbod Ø 155 Bollard
Kipp Bollard
Orbiter Bollard
Sentry
Skot Bollard
Dock Bollard
PH 3 - 2½ Bollard
Waterfront
Planet Bollard
Poles
Nyhavn Boulevard Post
Patina
Kastrup
Kipp Post
Orbiter Post
Terminal
Toldbod Post
30
ambience concept & lighting tools

The wide range of Louis Poulsen Lighting products make it possible to create a unique project. The plan below shows examples where the lighting
techniques can be applied, the matrix explains which product may be most suitable.

residentialp

Wood Trees

Pool area Grass verge

Forecourt/ Driveway
Path
Parking
way Swimming pool
Lawn Steps Main entrance
Garage

House
West
terrace Conser-
vatory
South terrace
Lake

Dry
garden
Wood General
planting

Lawn

Plan by Timothy Garden Design

Hornbeam Walk

Path
Wood way

Trees
Sculpture

Mirror-lighting Down-lighting Path lighting Silhouetting Spot-lighting Up-lighting Moon-lighting

 31

Products Driveway/ Forecourt/ Garage Main Building Terrace/ Pool General Trees Sculpture Paths/ Steps
Road Parking entrance Fascia Sitting area area planting Walkways
Inground/recessed
IPR10
IPR12
IPR14
Nimbus
Nimbus LED
WeeBee LED
LytLed
Dex
Onground
Dome
Tripos
Tripos Mini
Pagoda
Volcano
LP Knap
Surface
SPR10
SPR12
SPR14
WeeBee Spot
Wall
Toldbod Wall
Nyhavn Wall
Homann M2
Orbiter Wall
PH Wall
PH 3- 2½ Wall
Kipp Wall
Dex
Nimbus Wall
Dock Wall
Skot Wall
Skot Maxi Wall
WeeBee Wall
Bollards
Bysted
Toldbod Ø 155 Bollard
Kipp Bollard
Orbiter Bollard
Sentry
Skot Bollard
Dock Bollard
PH 3 - 2½ Bollard
Waterfront
Planet Bollard
Poles
Nyhavn Boulevard Post
Patina
Kastrup
Kipp Post
Orbiter Post
Terminal
Toldbod Post
32
ambience
Photo: Kaslov Studio, Image Design, Hugh Palmer, Steve Hinds, Frank Domin, Terry A. Renna Photography, Peter Grant, Mandy Reynolds Photoforum, Günther Lehnert, Anders Sune Berg, Chelsea Garden/Garden designer: Fiona Lawren-
son. Chelsea Garden/Architect: Marcus Barnett & Philip Nixon. Chelsea Garden/Architect: Scape Design. Harrods Place/Architect: Macfarlane Wilder. ABC Holiday Extras/Architect: Walker & Martin (WAM). Stirling Castle/Lighting designer:
Northern Light. GlaxoSmithKline/Architect: Swanke Hayden Connell Architects. Jumeriah Beach Hotel/Lighting designer: SAMA. Palm Desert Visitor Centre/Architect: Interactive Design Corporation. Downham Market/Architect: Sheils
Flynn Architects. The Ministry of Defence/Architect: Wohlert Architects. Garden/Garden designer: Cherry Mills. 82 Ringford Road/Designer: Tony Craddock. Van Wall House/Architect: Christodoulou Marshall Architects. PF Chang’s China
Bistro/Architect: MBH Architects. Old House Farm/Garden designer: Knoble Landscapes. Fulwood Walk/Architect: Bowles & Wyer. Bar XV Ranch/Architect: Barber Architecture. Campbell Square, Liverpool/architect: Andy Thomson BCA
Landscape.
33
34
product families

The Louis Poulsen Lighting product programme includes a trademark design concept called product families. This unique concept is based on our close
relationship with architects and their desire to equip an entire building using the same family of products, both on the outside and the inside. For example,
Toldbod Pendant, Toldbod Wall, Toldbod Bollard and Toldbod Post.
Designing in this way allows architectural adaptability while creating a common ideom between buildings and landscape.

Toldbod

Toldbod Wall Toldbod Ø 155 Toldbod Ø 155 Toldbod Post Toldbod 155/220 Toldbod 120
Wall Bollard Glass Pendant Metal Pendant

Kipp

Kipp Wall Kipp Bollard Kipp Post

Nyhavn

Nyhavn Wall Nyhavn Maxi Wall Nyhavn Boulevard Nyhavn Pendant Nyhavn Maxi
Pendant

Orbiter

Orbiter Wall Orbiter Bollard Orbiter Mini Post Orbiter Maxi Post Orbiter Micro Orbiter Pendant
Pendant
35
 products

inground/recessed IPR10 & IPR12 available spring 2007

LytLED WeeBee LED Nimbus Nimbus LED IPR10 IPR12 IPR14

onground

Tripos Mini Tripos LP Knap Dome Volcano Pagoda

surface

WeeBee Spot SPR10 SPR12 SPR14

wall

Toldbod Wall Toldbod Ø 155 Wall Kipp Wall Orbiter Wall Nyhavn Wall Skot Wall Skot Maxi Wall

bollards

Toldbod 155 Bollard Waterfront Kipp Bollard Orbiter Bollard Sentry Skot Bollard Bysted

poles

Toldbod Post Terminal Kipp Post Orbiter Post Nyhavn Boulevard Patina Kastrup
Post
inground/recessed

Dex

wall

PH 3-2½ Wall PH Wall Homann M2 Dock Wall Dex WeeBee Wall Nimbus Wall

bollards

PH 3-2½ Bollard Dock Bollard

Louis Poulsen Lighting
Louis Poulsen Lighting A/S
Gammel Strand 28
DK-1202 Copenhagen K
Tel. +45 70 33 14 14
Fax +45 33 29 86 36
info@lpmail.com
www.louis-poulsen.dk
International
Louis Poulsen Lighting A/S
Gammel Strand 28
DK-1202 Copenhagen K
Tel. +45 70 33 14 14
Fax +45 33 29 86 46
lpl_international@lpmail.com
www.louis-poulsen.com
Finland
Louis Poulsen Lighting Oy
Hämeentie 135 A
FIN-00560 Helsinki
Tel. +358 9 6226 760
Fax +358 9 6226 7650
info.fi@louis-poulsen.fi
www.louis-poulsen.fi
France
Louis Poulsen & Cie. S.A.R.L
Parc Mure
Module 2.8
128 bis, avenue Jean Jaurès
F-94851 Ivry Sur Seine Cedex
Tel. +33 1 49 59 68 68
Fax +33 1 49 59 68 69
louis.poulsen@wanadoo.fr
www.louis-poulsen.fr
Germany
Louis Poulsen & Co. GmbH
Westring 13
D-40721 Hilden
Postfach 10 07 50
D-40707 Hilden
Tel. +49 2103 940 0
Fax +49 2103 940 290 + 291
lp-germany@lpmail.com
www.louis-poulsen.de
Japan
Louis Poulsen Japan Co. Ltd.
AXIS Building 3 Fl
5-17-1 Roppongi
Minato-ku
Tokyo 106-0032
Tel. +81 3 3586 5341
Fax +81 3 3586 0478
lys@louis-poulsen.co.jp
www.louis-poulsen.com
Netherlands
Louis Poulsen Lighting B.V.
Parellaan 26
NL-2132 WS Hoofddorp
Tel. +31 23 56 50 030
Fax +31 23 56 52 284
info@louis-poulsen.nl
www.louis-poulsen.nl
Norway
Louis Poulsen Lighting AS
Lilleakerveien 2, Bygn. E2
N-0283 Oslo
Tel. +47 22 50 20 20
Fax +47 22 52 47 05
louis-poulsen-no@lpmail.com
www.louis-poulsen.no
Sweden
Design: Louis Poulsen Lighting A/S - IMD 2007.01. Lithography: Garn Grafisk ApS. Print: Rosendahls Bogtrykkeri AS. Item no.: 57 01 024 500.
Louis Poulsen Lighting AB
Gävlegatan 12 A, 7tr
Box 23013
S-104 35 Stockholm
Tel. +46 8 446 48 00
Fax +46 8 446 48 28
louis.poulsen.se@lpmail.com
www.louis-poulsen.se
Switzerland
Louis Poulsen AG
Haldenstrasse 5
CH-6340 Baar
Tel. +41 41 768 5252
Fax +41 41 768 5253
louis-poulsen-ch@lpmail.com
www.louis-poulsen.ch
United Kingdom
Louis Poulsen UK Ltd.
Unit C 44
Barwell Business Park
Leatherhead Road
Chessington
Surrey KT9 2NY
Tel. +44 208 397 4400
Fax +44 208 397 4455
louis.poulsen.uk@lpmail.com
www.louis-poulsen.co.uk
USA
Louis Poulsen Lighting, Inc.
3260 Meridian Parkway
Fort Lauderdale, FL 33331
Tel. +1 954 349 2525
Fax +1 954 349 2550