Published in December 2009

Shopping – with eyes wide openMore and more consumers are see­ing conscious shopping as a possi­bility to exert influence. Likewise, store owners are equally conscious to design their retail concepts and environments such that the cus­tomer demands for sustainability are combined with attractive aes­thetics. Light with efficient visual

All Star Lanes Boutique Bowling, Brick Lane, London

Architect: Dan Evans, Londonwww.allstarlanes.co.uk

comfort is an integral part of this – as demonstrated by the National Geographic Store on London’s Oxford Street.

the capital’s younger generation. At Brick Lane in the East End, Optec wallwashers and spotlights pro­vide the bowling alleys with lively, brilliant light.

Seen as working­class and staid for long enough, bowling – the leisure sport from the stereotypical American suburbs – has now been re­invented as chic. As a pioneer of the new trend called “Boutique Bowling”, the London­based chain “All Star Lanes” presents a refresh­ing mix of modern design and retro­elements, making bowling fashionable once again amongst

E ERCO GmbHPostfach 246058505 LüdenscheidGermanyTel.: +49 2351 551 0Fax: +49 2351 551 300info@erco.comwww.erco.com

E Lichtbericht 89

ERCO Lichtbericht 89 1

Forbidden! The days of the good-old general service lamp, once the visible symbol of progress and innovation are numbered. For the European Union, it has now become an outright symbol of energy wastage. Although the general service lamp has not been used at ERCO for several years now, the final goodbye still makes one feel a lit-tle nostalgic. Given the prospect that in private areas everything will soon be illuminated with “energy-saving lamps”, some people’s enthusi-asm for such regulations is rather muted.

On the other hand, reason for optimism is given by the rapid development of LEDs, advanc - ing with leaps and bounds from one applica -tion area to the next within architectural light-ing. A brief overview of the great possibilities already offered by this light source for work in indoor and outdoor areas is presented by the “Innovation focus: LED” section on pages 16 to 19 – replete with luminaires that have been developed by ERCO under the design brief of efficient visual comfort. Another important contribution to efficient visual comfort is the addition of the Light Keeper module to the Light System DALI lighting system. This module supports the lighting installation in mainte-nance aspects and helps find and increase any potential for energy saving.

A key theme of this edition is the retail sector. The featured projects show, in many respects, that the efficient use of energy and light has been a particular concern of the retail branch for a long time now. The National Geographic Society feels particularly inclined to protect the environment and our cultural heritage. So it is no surprise to see this reflected in the scenic displays of articles and exhibits in the latest National Geographic Store in London. Energy-efficiency and lighting quality go hand in hand and demonstrate that the responsible use of resources can lead to exciting results.

With MPREIS supermarkets, the impressive feature of the corporate architecture is not repetition, but its use of individual solutions designed to suit the on-the-ground situation. This has resulted not only in countless archi-tectural prizes and publications but also in lasting economic success and a high degree

ERCO LichtberichtImprintPublisher: Tim H. MaackEditor in Chief: Martin KrautterDesign/Layout: Thomas Kotzur, Christoph SteinkePrinting: Mohn Media Mohndruck GmbH, Gütersloh

1028738000© 2009 ERCO

Photographs (Page): Andreu Adrover Esquena (2), Satoshi Asakawa (2), Frieder Blickle (2, 24-25), Charles Crowell (3), Bernd Hoff (U1, 2, 6-11), Thomas Mayer (3, 26-27), Rudi Meisel (4-5, 27, 30-31, 32, U4), Alexander Ring (2, 16-19), Dirk Vogel (1, 2, 3, 12-16, 28-29), Michael Wolf (3), Edgar Zippel (3).

Translation: Lanzillotta Translations, Düsseldorf

Tim Henrik Maack

Background

Lighting laboratory: theory and practice at the Mainz University of Applied SciencesLighting designer and university lecturer Prof. Clemens Tropp reports on how undergraduate interior designers learn to understand, apply and design with light – not only as a sensory quality in and of itself, but also in relation to space, technology and digital media.

Projects

16

18

20

22

23

of local acceptance. It almost goes without say-ing that the supermarket which describes itself as a “little different” should also require a dif-ferent lighting solution. “The entire light of the supermarkets comes from the merchandise” – that’s how the Austrian lighting design offices conceptlicht.at formulates its design approach.

ERCO’s basic raison d’être is to ensure the market is constantly provided with convincing lighting solutions in line with the “light not luminaires” concept. So what could be more natural than to mark the company’s 75th anni-versary by publishing a book about designing with light? “Light Perspectives” is a book on the aesthetic possibilities of light in architecture. Our aim was not only to give an exciting expo-sition on the conscious use of light to profes-sional designers, but also to make the subject of light and architecture accessible to the lay-man – a balancing act, but one that we hope to have completed successfully.

Innovation focus: LEDIndoor area

Innovation focus: LEDOutdoor area

For efficient visual comfortNew Light System DALI products

FocusEnergy efficiency classes for lamps Double focusLED luminaires as an efficient alternative

Introduction

Report

12 24

26

28

30

MPREIS supermarketsThe unconventional concepts of the Tirol-based retail chain MPREIS break with traditional forms of presentation.

Efficient visual comfort in the retail sectorLooking better, conserving resources and saving costs: it is precisely in the shop-fitting sector that lighting con-cepts using efficient visual comfort provide many advantages.

Epicure Store, BrusselsIt doesn’t always have to be chocolate. At Brussels Airport, pleasure-loving travellers can now also buy top wines, rare whiskies and cigars.

Victorinox flagship store, LondonIn ERCO light: an entire brand world has sprung up around the classic Swiss army penknife.

About this issue

Keylights

Bright prospects

1

2

4

National Geographic StoreAnd it was light – in the camera obscura. Against a completely black background, ERCO spotlights provide dramatic scenic lighting for articles and exhibits at the National Geographic Store, London.

”Sustainability was paramount“An interview with Gianni Baylo, Senior Vice President and Art Director of the National Geographic Stores.

6

10

32 Backlights

Contents About this issue

Light & Technology

2 ERCO Lichtbericht 89 ERCO Lichtbericht 89 3

Keylights

CologneThe new flagship store in Cologne is just as elegant and discerning as the actual clothing of the Tommy Hilfiger fashion label. At almost 1,000m2, it is the brand’s largest outlet in Europe. On three floors, individually designed and illumi-nated areas are dedicated to the gents’, ladies’, junior and denim collections. ERCO lighting tools are a permanent part of the brand’s image. Quadra and Lightcast recessed luminaires are inconspic-uous architectural details, while track-mounted Optec spotlights provide highly effective accent lighting. Optec wallwashers ensure uniform illumination of the prod-uct shelves along the walls.

Tommy Hilfiger flagship store, CologneInterior design: Tommy Hilfiger Europe, Retail Store Development, AmsterdamExecution planning: Tommy Hilfiger Europe, Amsterdam/RPA Vision, London; Schwitzke Project, Düsseldorfhttp://europe.tommy.com

Rheda-WiedenbrückThe sister brands COR and Inter-lübke converted an old factory building into showrooms and now display their furniture here under light provided by ERCO. The instal-lation uses 200 Cantax spotlights plus 400 Quadra recessed spot-lights, fitted with efficient metal halide lamps.

COR Interlübke Showroom, Rheda-WiedenbrückArchitect: kräling+lübke, HamburgLighting consultant: LDE Kober, Dortmundwww.cor-interluebke.de

DubaiGiordano might sound Italian, but the label for gents’ sports - wear is actually from Hong Kong and is highly successful in the Asiatic region. The shops in Dubai are fitted out with ERCO track, Optec spotlights and Lightcast and Gimbal recessed luminaires.

Giordano, Dubai Festival City Mall, Dubai Architect: Portfolio Media & Advertisingwww.giordano.com.hk

HamburgMövenpick Marché runs the res-taurant at the re-designed Airport Plaza. At several counters, the meals are freshly prepared right before the customers' eyes. Quadra direc-tional luminaires with HIT and HST lamps ensure the perfect mixture of light.

Airport Plaza, HamburgArchitect: Stephen Williams Architects, HamburgLighting design: Prof. Peter Andres, Hamburgwww.moevenpick.com

VichteThe Belgian company, Dutry & Co., presents ovens and fireplaces of all kinds in an elegant setting – with lighting accents from Optec spot-lights and several other ERCO light-ing tools.

Showroom Dutry & Co. fireplaces and ovens, Vichte Architect: Lecluyse Ontwerpbureau, Waregemwww.dutry.com

BangkokFuturistic and minimalistic: that’s the look of the “Pleats Please” store from the Japanese fashion designer Issey Miyake in the Thai capital. Compar spotlights add accent light-ing to the fashion displays, while Compact HIT downlights provide the ambient lighting of the shining white interior.

Pleats Please, BangkokInterior design: Keisuke FujiwaraDesign Office, Tokyowww.pleatsplease.com

BarcelonaStarpoint pendant luminaires trace out and illuminate the sales counter, while Compar and Gimbal recessed spotlights illuminate the vertical goods display on the rear wall of this leather goods store in a town near Barcelona.

Marroquinería Franquesa S.L. leather goods, Olesa de MontserratElectrical contractor: Antoni Canals

CologneThe second brand-name store from the DREIPUNKT furniture label has opened in Cologne’s newly fash-ionable suburb of Rheinauhafen. The scenic lighting is provided by Cantax spotlights with metal halide lamps, with projections by Emanon Goborotators.

DREIPUNKT Showroom, CologneArchitect: Bernd Schellenberg, DREIPUNKT InternationalLighting design: Stephan Haubner, Wesenlicht, Stuttgart www.dreipunkt.com

Hong KongChow Sang Sang, one of the larg-est jewellery chains in North Asia, lights its showrooms with ERCO. Lightcast IP65 downlights provide the outdoor lighting of the facade, while Lightcast directional lumi-naires ensure visual comfort and brilliant light in the interior.

Chow Sang Sang, jewellers, Hong KongDesigner: Axiom Oval, Hong Kongwww.chowsangsang.com

BerlinMAC is one of the world’s lead-ing cosmetic brands with is own branches and counters in large per - fumeries and department stores. The brilliant light of Pollux spot-lights adds scenic lighting to the counter in the Douglas flagship store at Berlin’s top address, “Unter den Linden”. A mix of low-voltage halogen lamps and metal halide lamps ensure optimum colour ren - dition with reduced energy con-sumption.

MAC counter at Douglas, Berlin Architecture: www.lewang.com LEWANG Architekten, Munich;CI MAC Storedesign, New York

www.maccosmetics.com

MilanExclusive Italian leather goods, optimally presented. At the Furla store at the corner of Corso Vittorio Emanuele II and Via S. Paolo, the lighting designers combined dif-fusely backlit shelves with the right amount of vertical illuminance from Optec wallwashers to show the articles’ colours and materials to their best advantage.

Furla Store, MilanArchitect and lighting designer: April, Milanwww.furla.com

LondonWolfgang Joop has been making exclusive ladies’ fashions under the “Wunderkind” label since 2004 and has now opened his first flag-ship store outside Germany – in the fashion capital of London. The décor: classicist-minimalist with bright walls, wooden floorboards and carefully executed details. The light is also a design classic: track-mounted TM spotlights adding pre-cise accent light to the showroom and shop window.

Wunderkind Store, LondonArchitect: Unternehmen Meier-Ewert Kurz, Berlinwww.wunderkind.de

MilanAt his “academy”, star hairdresser Aldo Coppola passes on the latest styling techniques to his fran-chisees. Optec spotlights illuminate the pristine white reception area; in the lecture theatre, a Light System DALI installation controls Emanon spotlights with Goborotators and Focalflood varychrome floodlights. Aldo Coppola Academy, MilanArchitect: Manuela Kovacs, Milanwww.aldocoppola.it

4 ERCO Lichtbericht 89 ERCO Lichtbericht 89 5

Bright prospects Architect: Retailpartners AG, Daniel Wettstein, Wetzikon (CH) Lighting designer: Neuco AG, Thomas Lack, Zurich

Victorinox flagship store, LondonPhoto: Rudi Meisel, Berlin

www.victorinox.ch

6 ERCO Lichtbericht 89 ERCO Lichtbericht 89 7

Some people, driven by an insatiable desire to wander, are always venturing off to remote destinations, backpack and sleeping bag in hand. Others prefer to complete world tours in the comfort of their own home, their fingers walk-ing the globe as they dream, unburdened, of places that even intrepid explorers only reach with difficulty. Hardly anyone remains indiffer-ent to the exciting world of tours, expeditions and explorations – which probably explains why the highly regarded institution of the National Geographic Society, founded in Washington in 1888 as a society for the promotion of geo-graphic research, is one of today’s largest and most popular non-profit organisations in the field of science and education. In the form of the National Geographic Magazine, the research society created a medium to widely publicise its agenda right from its early days. This agenda was to promote the research and preservation of both the environment and our cultural her-itage. The magazine now has a circulation of several million and is published in 31 languages. In addition to the traditional yellow-bordered cover page, the magazine’s most notable trade-mark are the top-class photo reports, which have a visual power that expels all the dry and academic stuffiness from the subject of geography.

The success of the National Geographic media brand now also includes television chan-nels and film productions. This, together with the constant demand for licensed products with the National Geographic label, which have been available in an online shop for several years now, has inspired a further step: to develop a concept for a retail outlet under the brand name “National Geographic Store”. This led to the National Geographic Society (NGS) teaming up with the Barcelona-based retail specialist “Worldwide Retail Stores”. The first fruits of this cooperation are the large “National Geographic Stores” in Singapore and London, which offer an authentic and unique shopping experience in prime locations.

The store on Regent Street in London opened in November 2008. In a setting that stands out from the neighbouring branches of interna-tional fashion labels, the store presents a range of goods and services aimed equally at those who are enthusiastic explorers themselves and at those who prefer to be “armchair tourists”. Outdoor clothing and equipment tested and approved by National Geographic are comple-mented by a travel agency specialising in long-distance tours and expeditions, while maps, globes and travel literature awake the travel bug. The store has an area called the “global marketplace” featuring furniture, handicrafts

National Geographic Store, LondonAnd it was light – in the camera obscura. Against a completely black background, ERCO spotlights provide dramatic scenic lighting for articles and exhibits at the National Geographic Store, London.

and other trinkets, both useful and decorative, from all around the globe. Presented on bare pallets, these items look for all the world as if they had just been unloaded from the cargo hold of an East India Company trading ship. In addition to the sale of items, the proceeds of which go to the work of the National Geo-graphic Society, the ground floor also provides space for exhibitions. This particularly includes photographs from the National Geographic Magazine. Plus the store also features an audi-torium for presentations and events.

The entire appearance of the shop concept is aimed at capturing the visual power of National Geographic’s photography. To use the words of the art director Gianni Baylo, the con-cept is presented as a “camera obscura”, that is, as a stage area with black walls and ceiling where the exhibits and products are dramati-cally displayed. In keeping with this, the spot-lights and the lighting track are also completely finished in black.

ERCO’s concept of efficient visual comfort made a convincing argument for the designers. This was because sustainability is one of the core values of NGS and should therefore also be expressed in the retail concept. Here, it pri-marily means attaching particular importance to glare protection. For this reason, some of the luminaires from the Cantax and TM spotlight product ranges, which are already excellently shielded ex-works, were additionally fitted with honeycomb anti-dazzle screens and barn doors. This not only resulted in optimum visual com-fort, but also created a virtually magical effect because the lighting effect, and not the light source, comes to the fore. Since our eyes can adapt to the dark surroundings, the concept can use lower illuminances than are usually neces-sary in retail design. Effective lighting technol-ogy, efficient lamps – predominantly metal halide – and the use of Light System DALI for lighting control in the auditorium add the fin-ishing touches. This fulfils National Geographic’s exacting requirements for sustainability, while perfectly implementing the shop design con-cept and, at the same time, also ensuring that the practical running of the store goes without a hitch.

Licensor: National Geographic Society, Washington (DC)Conception and operator: Worldwide Retail Stores, BarcelonaArchitecture: April Studio, MilanElectrical design engineering: Norman Disney Young, London Shop fitting: Interstore Italia/Schweitzer Project AG, Naturns; Styles & Wood, Manchester

www.shopnatgeo.co.uk

Products from all around the world, which fulfil the National Geographic Society’s criteria for sus-tainability, are presented on the ”global market-place" as if fresh out of the ship’s hold. Powerful accent lighting lifts the product arrangement out of the deliberately dark surroundings.

Cartography is tradi-tionally one of the key areas promoted by the National Geographic Society. Accordingly, the store has a massive selection ranging from atlases to wall charts and from street maps to globes.

8 ERCO Lichtbericht 89 ERCO Lichtbericht 89 9

Wavelike steps are a ubiquitous feature of the ground floor sales area. The terraced format also provides the ideal conditions for hosting events with the minimum of alteration work. The result is a highly flexible concept, which, according to the trade magazine Retail Week, is one of the

rare cases in shop design where the use of the word 'experimental' is actually justified.

The National Geographic Store continues the trend of “curated shop-ping”, where themed retail worlds go beyond the classic boundaries between the branches. It offers a wide range of goods and services that combine into a coher-ent, overall package sum mated under the National Geographic brand.

The tools for lighting the National Geographic Store: black Cantax spot-lights (above) and TM spotlights (below) with different light distribu-tions are mounted on ERCO track, also finished in black. Some of these spotlights also have additional anti-dazzle attachments such as

An area of the ground floor is dedicated to tem-porary exhibitions. The high flexibility of the ERCO spotlight/track system really pays off here. The spotlights can be repo-sitioned and re-aimed quickly and conveniently. With Cantax, which has Spherolit reflectors that are replaceable without tools, even the light distri-

honeycomb anti-dazzle screens or barn doors. The installation uses highly efficient metal halide lamps – supplemented by low-voltage halogen lamps in places where dimming is a must – and is controlled using Light System DALI.

butions can be adjusted to suit the lighting task – from narrow spot to wide flood or wallwash.

Virtuoso displays of lighting quality. While the luminous globes are shown to their best advantage in subdued ambient brightness, the glass, crockery and utensils sparkle under the brilliant light of the metal halide spotlights. The lighting concept for National Geographic relies almost exclusively on direct accent light-

ing on merchandise and exhibits, giving the shop an unusual, intensive atmosphere.

10 ERCO Lichtbericht 89 ERCO Lichtbericht 89 11

An interview with Gianni Baylo, Senior Vice President and Art Director of the National Geographic Stores. Interviewed by Martin Krautter, Lichtbericht Editor-in-chief.

Martin Krautter: When looking at the new National Geographic Store, the impression is very different to most other recent store designs. How would you describe the overall atmosphere of the store?

Gianni Baylo: National Geographic is a multi-faceted, varied and intriguing brand; to design the store to be anything else would have been misrepresentative. I wanted to create a store that was not just a retail space selling merchan-dise that bore the National Geographic logo like so many other flagship stores. I wanted to extend the brand, reflect their core principles and replicate the excitement that one feels when watching a program produced by, or read-ing an article outlining National Geographic’s field work. It was this photographic embodiment of the brand, one that people are very familiar with, that led me to my core creative idea, that of the ‘Camera Obscura’; a black theatrical envi-ronment where one is allowed to walk all the way through the space and gradually discover each area. The customer was to perceive the

GB: I have travelled throughout my lifetime to some very beautiful and interesting places, and I have always had a passion for art and literature. This project gave me so much scope to draw on my experience and my many life long inspira-tions. Wagner and Velazquez served as food for thought, as well as Shintoist Japanese Temples, central Italian cities and Balinese hieratic dance. The romantic, eccentric, visionary King Ludwig II von Wittelsbach von Bavaria, who engaged a set designer, rather than an architect in design-ing his castles, and T.W. Adorno’s fascination with the unfinished as opposed to the completed task. I wanted to create a project that was a work of art in its totality, and many, many influ-ences brought a wealth of experience to this venture. I believe that everything from the store design to the product selection reflects this.

MK: The National Geographic Brand comes from the publishing sector and is now being extended to cover many additional sectors. Can you tell me about your involvement into this brand extension strategy?

space on an individual level, in a similar fashion to the Society’s vision of how people might be inspired to think about the world around them.This creates an atmosphere of excitement, a curiosity and a thirst for knowledge in the cus-tomers that gives the store such an inspiring and unique energy.

MK: What was your inspiration when looking for images and materials and creating spaces for this store?

GB: Working with National Geographic has been a lifelong career aspiration of mine, and about 5 or 6 years ago we began to explore this as a retail possibility. We were lucky enough to get an opportunity to present our ideas to the Society’s board members and they were really enthusiastic. The project has escalated from there with some great input from the Italian Architecture firm, April Studio as well as other partners.

MK: How did the briefing look like that you got from National Geographic?GB: There was no briefing as such, we were keen to comply with all of the brand values and principles that are key to the Society’s work, but largely this was a project where we had creative autonomy and National Geographic had more of an overseeing role. They were fundamental to the process in an advisory fashion, ensuring that the store complemented its brand equity.

MK: Lets talk about the role of lighting in the store. How did you describe the quality of light-ing that you wanted to achieve to your partners in the design process?

GB: The lighting in the National Geographic Store was of a great deal of importance. My creative vision required much of the retail space to be painted black, and as such lighting the area to ensure it did not become overpowered, and ensuring the products remained well lit was paramount. ERCO provided a solution that really complemented the project, creating a perfect balance between preserving the integ-rity of the design and allowing the space to be practical and successful as a retail store.

MK: What was your personal experience of ERCO as supplier of lighting? At which point did ERCO enter the game and what turned the balance for choosing ERCO products?

GB: ERCO lighting solutions are dynamic and interesting, of all the suppliers that we spoke with during the project, they seemed to under-stand the concept best. We were aiming to cre-ate a space that was true to all of the National Geographic brand values but that was modern, interesting and unique and the ERCO solution really aided us in this process. Whilst the qual - ity of light and the dynamic look and feel of the proposal were all important to our decision, one of the really key factors that lead to the partnership with ERCO was the sustainability credentials of the energy saving technology that they use. Preserving National Geographic’s values regarding ecology and the environment was paramount, and ERCO lighting made a valuable contribution to our efforts in this area. ERCO lighting played a key part in realising the project as I had envisioned.

MK: What is your summary after having opened several National Geographic Stores at different places of the world? How would you describe the public reaction and echo to the store design?

GB: We have now launched both the London store and the Singapore store with another store opening in another Pan Asian location this year, and further openings across Europe in 2010. The response has been phenomenal,

and we are really very proud of the venture. Public reaction has been very complimentary, and people seem to appreciate the many ideas that we are trying to put across. The staff have told me that many people have made positive remarks about the design and the press reac-tion was really fantastic. This was an ambitious venture, and we were aware of this right from the beginning, but I think that the store is a true reflection of the brand, and that furthermore the National Geographic Store provides an ave-nue for reaching consumers who might other-wise not engage with National Geographic. It adds so much value to the brand, and offers something so far removed from your traditional merchandise store.

MK: Dear Gianni, thanks for your time and the insight you gave us and I wish you every success with the further development of Natio-nal Geographic Stores!

”Sustainability was paramount“

Gianni Baylo was born in 1949 in Castello Tesino, Italy, in the province of Trento. He studied philosophy in Padua and Frankfurt am Main, and has lived in Italy, Barcelona, London, and around the world looking for inspiration, products, ideas, and ”signs of change and visions.“ Baylo is the founder and creator of Think Pink, the 1980s eco and lifestyle brand, and the CEO of the family-run technical apparel business Bailo S.p.A. As the Co-founder and Senior Vice President of Worldwide Retail Stores (WRS) he is the Art Director for the vision and direction of the innovative National Geographic Store network. Baylo returns as often as he can to his Italian residence in the Umbria-Tuscany border, where he can tap into the joy and harmony that are inspired by medieval art, Italian Renais-sance landscapes, and architectural pro-portions.

12 ERCO Lichtbericht 89 ERCO Lichtbericht 89 13

Climate, energy, light, design and digital media – these highly diverse topics dictate the working day of today’s interior design-ers. The range of different tasks is far more complex than ten or even twenty years ago. As we see in everyday practice, only the right interaction of many individual details leads to the best possible solutions, something every building owner is ulti-mately striving for. Furthermore, although each profession always claims to be the most important, there is still the general consensus that all aspects, artistic as well as economic, technical and ecological, must be given equal consideration. The work of the lighting designer, the building engineer, the furniture designer, the communication designers and many other colleagues is ultimately measured by the overall result.

How are such tasks to be tackled and how do we best introduce this complex profile of requirements to budding interior designers? In the Department of Interior Design at the Mainz University of Applied Sciences, we take an in-depth look at these questions and in so doing, we take an integrative approach, i.e. we merge many individual subject areas into overarching projects, all depending on the specific task faced.

One thing is agreed: practical experience is an important factor in imparting knowl-edge and understanding. Only those things that we have learnt and experienced first-hand go into our long-term memory and can be quickly recalled at a later date when

a real-life situation calls for their applica-tion. Theory does not always have to be dull and grey. It is an important basis, but most practitioners want their younger col-leagues to have more practical knowledge and be less frightened of actual application. This approach is given a central position in our course of study and ensures that, right from an early stage, the students are being prepared for the requirements they will later face in design tasks.

No college of higher education will ever be able to teach everything that an interior designer will need to know for day-to-day design work. But what it can and must do is to motivate students, to awaken their curios-ity and to inspire creative thinking. This is precisely one of the core policies that we pur-sue in “Technology/Building Technology” with Prof. Alexa Hartig, in “Media Architec-ture” with Prof. Klaus Teltenkötter and in “Light”, taught by me. Learning by doing, not learning as a stand-alone discipline, but hand-in-hand with highly practical applica-tion opportunities, that’s the self-imposed mission that we all collectively ascribe to here. Specifically, each of the professors not only works in his or her own field of specialisa-tion, but also designs and implements other projects in association with other depart-ments. At the beginning of a semester, such “synthesis projects” are offered for comple-tion in a team as coursework. For the com-ing semester, these include the design of a retail outlet with complete furnishings and

fittings and a project for the Luminale 2010 in Frankfurt.

Competition entries for ideas for the uni-versity’s contribution to the Luminale are invited at the beginning of the semester. A project is selected from the submitted pro-posals and developed as an interdisciplinary task under the guidance of several profes-sors. As natural as this may sound, it is actu-ally a new approach within a university cur-riculum. Previously, the individual disciplines were more self-enclosed, but the boundaries should be increasingly more fluid in future.

If knowledge is to be imparted not only via formulas and descriptions, but also via direct experience, this will require the appropriate facilities. When dealing with the subject of light, this means that it is not only important what a luminaire which is visibly mounted in the room looks like, i.e. what is its design, but and moreover, what is the effect of its light in the room? How does its light change the actual room and the fitted materials: wood, carpets, wall décor and many other elements? Even the most vivid description is no match for that personal moment of revelation experienced when you hold the actual luminaire in your hands, aim it in dif-ferent directions or try it with various lamps. Light is perceived as a sensory experience and is therefore best and most impressively conveyed by seeing, sensing and experienc-ing it for ourselves. Such experiences remain etched in our memory for a long time.

The opening celebrations of the Synthesis Labora-tory on the 3rd of July 2009 were also used as an occasion to strengthen ties with institutions and the media. Guest speakers in Mainz were Burkhart Fröhlich, Editor-in-chief of DBZ Deutsche Bauzeitschrift (German Construction Journal) (standing) and Helmut M. Bien, Head of the Lumi-nale in Frankfurt (seated on far right).

Bringing more practical work into the courseThis method of imparting knowledge is not helped by the classic lecture theatre format. Many years ago, Alexa Hartig and Klaus Teltenkötter had expressed a need for a greater practical content to the course. With much foresight and persistence, they were able to convince the university admin - istration of their vision for a “Digital Syn-thesis Laboratory” and to secure the provi-sion of the appropriate funds. A combined concept for the implementation at the Mainz University of Applied Sciences was developed in cooperation with Arne Fiedler. The laboratory, conceived as a workshop and proving ground for diverse practical applications, was finally opened in July 2009. As a fully equipped interactive facil-ity, the Synthesis Laboratory of the Mainz University of Applied Sciences is currently in a unique position on the German higher-education landscape. For myself, as a dyed-in-the-wool practical person, the lab was an absolute godsend as I took the chair for the subject of Light in the 2009 summer term. The opportunity to demonstrate cause and effect with a high degree of realism and to combine the teaching with real market conditions, using equipment at the cutting edge of research and development, is one that I grasped with both hands. How do you teach or learn about “light”? It is best done by showing and experiencing.

In the laboratory, the students are able to experiment with excellent, state-of-the-art technology, working either under supervi-sion or independently. They can “play” with the interaction of very different factors, sound, light, space and much more besides. Although designed as a modular toolbox, making it excellently suited for interdiscipli-nary teamwork, the laboratory also provides each individual department with a work -shop where teaching and practical applica-tion can be ideally combined.

The laboratory has a large number of applications for the subject “Light and Sce-nography” alone, making it possible to set up specific scenarios and then to test and freely vary their effect. Design elements such as dimming, colour and dynamic progres-sions can be experienced first-hand using DALI-controlled luminaires that are inte-grated in a modular luminous ceiling pro-viding artificial lighting.

DALI for dynamics, convenience and flexibilityDALI control is perfectly suited to work-ing with dynamic processes. It enables new luminaires to be easily added to or deleted from existing scenes and the resultant effects to be tested. Because each individ-ual element can be controlled directly and without great effort by computer, entire “light films” can be generated and freely varied. This is important for real-life appli-cations where this kind of control is becom-ing increasingly used, e.g. for tasks such as keeping the energy consumption for

buildings as low as possible or for added convenience through automated sequences. Motion sensors can switch the light off when no-one is in the room, timer switches can control the transition from work-time lighting to night illumination and specific lighting scenarios can be specified for cer-tain situations.

In conjunction with the DALI control, which is programmable via ERCO’s extremely user-friendly Light Studio software, a wide range of luminaires is also available, equipped with different types of lamps. This enables differences in lighting quality to be directly demonstrated and made instantly tangible. The light of a compact fluorescent lamp has a different effect to that of a tungsten halo - gen lamp; a narrow-beam downlight pro-duces a different lighting situation than a wide-beam version, etc. There is a big differ-ence between simply describing these dif-ferences and demonstrating them with real examples. Another important aspect is the fact that the laboratory has several copies of each luminaire, both pre-installed and as loose components. This allows them to be studied in their entirety, they can be actually held and their construction assessed. The walls of the laboratory are made of individual panels that can be covered with different surface textures in order to demonstrate the effect of the lighting on different materials.

The use of daylightThe use of a solar simulator opens up a further field of activity, one that interior designers have previously paid little or no attention to, but one that is gaining increasing importance, especially in view of the efficient use of energy. We are talk-ing about daylight. Whereas, in applied architecture, it has naturally always been an elementary factor, in research and study it has long been “in the shadows”. Against the backdrop of climate change, however, it is now being massively re-evaluated. How can daylight be optimally used to save energy? How is it distributed in a room or area? What effect does it give there? How can it be controlled using equipment such as sun blinds or anti-dazzle protection to prevent unwanted effects?

It is not only the ecological aspects but also the lighting mood in rooms and the related spatial quality that are putting in -creasing focus on daylight, raising questions such as: With what means can I create a certain atmosphere in an interior? How can I precisely guide the daylight? What effect does the size, position or type of glazing in windows have on the lighting situation inside a building?

With the help of a solar simulator in the Digital Synthesis Laboratory, many such questions can be solved empirically. For instance, it is possible to simulate the posi-tion or motion of the sun anywhere in the world at any time of the day and year. In the laboratory, an endoscope-type camera, which is also provided, can be placed inside a model and an artificial sun connected to

The author of the Digital Synthesis Laboratory: Prof. Alexa Hartig conceived the project as a means to offer students an interdiscipli-nary and highly practical proving ground together with colleagues such as Klaus Teltenkötter (left), Professor for Digital Media and Design.

Variable space, variable light: the modular con-struction of the hardware and software of the Dig-ital Synthesis Laboratory provides wide scope for experimentation, while simultaneously ensuring that the facility is future-proof and expandable.

Lighting laboratory: theory and practice at the Mainz University of Applied Sciences

Professor Alexa Hartig instigated the establishment of a Digital Synthesis Labo­ratory for the Interior Design course at Mainz University of Applied Sciences. Her colleague, Prof. Clemens Tropp, gives the lighting designer’s point of view on how the students learn to understand, apply and design with light.

14 ERCO Lichtbericht 89 ERCO Lichtbericht 89 15

Practical work with the solar simulator: as part of their coursework, stu-dents built a model with windows that could be covered on the outside with different drapes and hangings. The artificial sun was then set at dif-ferent positions to shine onto the house and the effect was recorded on camera.

Light interprets spaces: visitors experienced the effect of scenographic lighting first-hand at the opening of the Digital Synthesis Laboratory at the Mainz University of Applied Sciences.

together, that it comes to life. Contact to the outside world is also important here, entering into partnerships and co operations with industrial firms, institutions and the media. The connection between the Mainz University of Applied Sciences and ERCO goes back a long way and has grown naturally. The company’s products are well proven in work-ing with light over a long period of time. The company always puts the emphasis on the architectural solution, the scenic presentation of the spatial setting and consciously avoids short-lived fashions. The university seeks to expand the cooperation with the industry further still in future, with the long-term aim of being able to demonstrate the widest pos-sible range of products from different manu-facturers. The opening celebrations were also used as an occasion to strengthen ties with institutions and the media. The manifesto and mandate of the Digital Synthesis Labora-tory is “Cooperation in many directions”. This will benefit not only the graduates, but also the industry and building owners in the long term.

About the authorProf. Clemens Tropp teaches Lighting Tech-nology in the Interior Design course at the Mainz University of Applied Sciences. His CV: 1987: graduated from the Darmstadt Techni-cal University, 1987-1992: development and marketing at Zumtobel Licht AG in Dornbirn/Austria, 1992-1998: lighting designer at HL-Technik AG in Munich, 1998 to date: free-lance lighting designer with TROPP LIGHTING DESIGN, a design office whose key focuses are daylight and artificial light in architectural lighting. Their area of activity covers architec-tural spaces of all kinds, including everything from high-rise buildings, outdoor complexes, parks and temporary constructions through to urban planning and infrastructural buildings. Numerous publications and awards have fol-lowed. For further information please go to:

www.tropp-lighting.comwww.fh-mainz.de/gestaltung/innenarchitektur

a mobile arm can be moved over the model following a specified course. The progres-sion of shadows can then be recorded by the camera and presented for all to see via a data projector. The findings thus gained can be evaluated for many different purposes.

New technological possibilities for creat-ing rooms and the related innovative design possibilities in viewing and experimentation can be extensively explored here. Space and spatial atmosphere can be altered and evalu-ated according to energy-related, thermal and acoustic criteria. Last, but not least, the central focus can also be placed on responsi-ble use of resources, materials and energy.

An additional dimension of communica-tion is being opened up in design work by media architecture. This new discipline within architecture deals with how the appear ance of a building is constantly changing. The rap-id development of LED technology is giving enormous impetus to this branch. The labora-tory has a media toolbox for experimental work in this field and here too, the individual components are cutting edge technology.

The full potential of the Synthesis Labora-tory is ideally utilised when several depart-ments get together to collectively tackle a given task, as is planned with the project for the Luminale 2010.

A stage on which to performThanks to its modular construction, the Digital Synthesis Laboratory is precisely the kind of test arena that the practitioner requires and one that is enthusiastically welcomed by both staff and students alike. It opens up many avenues of experimenta-tion throughout many subject areas. This cannot be appreciated enough, especially in view of the many technological innova-tions with which we constantly have to keep pace. Today’s rooms can be digitally varied and controlled, and surfaces can change their appearance. This creates an entirely new dimension of communication. It would be difficult to think of a better way to convey this new dimension, or to make it more tangible and controllable than to predominantly use first-hand experience.

For the students at the Mainz University of Applied Sciences, the laboratory pro-vides an exciting test arena which they used enthusiastically. In the few remaining weeks of the 2009 summer term, from the labora-tory’s opening to the end of the semester, it was already evident that a lively workshop had been created that inspires students to take the initiative and invites them to take a completely different look at the subject of space than is possible in the lecture room.

The fact that the enthusiasm quickly spread is apparent from a set exercise that was fulfilled way beyond the required level. The task was to create a video, suitable for a trade-fair stand, to present footwear designed for specific purposes such as walk-ing on the moon, deep-sea diving or tango dancing. This involved showing the shoes in their specific environment, which was to be created primarily by the use of light. It became apparent that the laboratory’s tech-nical facilities had a motivational effect on the implementation of the task. Taking highly creative approaches, the students came up with surprising solutions and created con-vincing images which were far above the level required. To effectively set the scene for a

diving flipper for instance, students built a water tank and illuminated it with different lighting scenarios: light above the water, in the water, reflections on the water surface, diffuse light for illuminating the diving flip-per, sunlight etc. The resultant effects were observed and recorded. On their own initia-tive, the students presented the coursework results at the opening in July, showing great commitment and taking a real joy in the work. Joy is certainly a factor that plays an immense role in imparting knowledge.

The joy of experimentationIf this approach succeeds in preparing the up-and-coming interior designers, making them sensitive to the quality of rooms and able to consider the many different aspects that are relevant today, it will ensure that they will continue to take an intensive look at these things later in their working lives and that is where innovative approaches are in demand. Industrial firms and design offices need graduates who are able to “think out of the box”, coping with a con-stant stream of new tasks. This requirement comes up again and again in everyday design work. It is also precisely what makes this profession so exciting.

The Digital Synthesis Laboratory will and must continually develop and be an open playing field where experimentation is possi-ble without targets or guidelines that are too narrowly defined. The market never stands still; new technologies are constantly open-ing up new possibilities. This will be reflected in the Digital Synthesis Laboratory. The labo-ratory is very fortunate with its current level of equipment, but this must be continually expanded if it is to fulfil its vision in the long term, something to which the Mainz Univer-sity of Applied Sciences is highly committed.

The Digital Synthesis Laboratory can be compared to a theatre stage which, without actors, is lifeless. It is only when it is per-formed on, when the props are used and preferably by different disciplines working

16 ERCO Lichtbericht 89 ERCO Lichtbericht 89 17

Innovation focus: LEDIndoor area

Quintessence LED recessed luminaires, roundAvailable in daylight white, warm white, 4-channel varychrome and with vary-chrome ring.Up to 2160lm (daylight white, size 5).

Emanon LED spotlightsAvailable in daylight white, warm white and varychrome.Up to 1080lm (daylight white).

Cantax LED spotlightsAvailable in daylight white, warm white and varychrome.Up to 1080lm (daylight white).

Optec LED spotlightsAvailable in daylight white, warm white and varychrome.Up to 1080lm (daylight white).

Quintessence LED recessed luminaires, squareAvailable in daylight white, warm white, 4-channel varychrome and with vary-chrome ring.Up to 2160lm (daylight white, size 5).

Quintessence LED recessed spotlightsAvailable in daylight white and warm white.Up to 1620lm (daylight white).

From hopeful candidate to practical alternative: the use of LEDs as a light source in architectural lighting has arrived – and no longer just as a coloured effect light or orientation luminaire but as accent lighting and ambient lighting, right through to high-quality wallwashing. In ERCO’s established spotlight series, in various custom luminaires and, most notably, in the new Quintessence range of recessed luminaires (available from 2010), the LEDs take up their place alongside fluorescent, halogen or high-

Nadir LED recessed floor luminairesAvailable in daylight white, warm white and varychrome.Up to 135lm (daylight white).

LED floor washlightsAvailable in daylight white and warm white.Up to 135lm (daylight white).

pressure lamps and offer specific advantages such as extreme long life, maximum luminous efficacy and, due to their dimming capability, also flexibility. The powerful lighting technol-ogy systems consisting of lenses and reflectors are exclusive ERCO in-house developments for efficient visual comfort.

18 ERCO Lichtbericht 89 ERCO Lichtbericht 89 19

Innovation focus: LED Outdoor area

Powercast LED projectors and floodlightsAvailable in daylight white and warm white. Up to 3240lm (daylight white).

Grasshopper LED projectors Available in daylight white, warm white and varychrome.Up to 1080lm (daylight white).

Kubus LED facade luminairesAvailable in daylight white and warm white. Up to 300lm (daylight white).

LED Axis WalklightsAvailable in daylight white, warm white and varychrome.

Focalflood LED facade luminairesAvailable in daylight white, warm white and varychrome.Up to 900lm (daylight white).

Midipoll LED bollard luminairesAvailable in daylight white and warm white. Up to 420lm (daylight white).

LED orientation luminairesAvailable in daylight white, blue, amber, green and varychrome.

Cylinder LED surface-mounted downlightsAvailable in daylight white and warm white.Up to 2160lm (daylight white).

Lightcast LED recessed luminairesAvailable in daylight white and warm white.Up to 2160lm (daylight white).

Tesis LED in-ground luminaires, squareAvailable in daylight white, warm white and varychrome. Up to 2160lm (daylight white).

Tesis LED in-ground luminaires, roundAvailable in daylight white, warm white and varychrome. Up to 2160lm (daylight white).

Kubus LED bollard luminairesAvailable in daylight white and warm white. Up to 300lm (daylight white).

The rapid acceptance of LEDs in architectural lighting began with outdoor applications where their advantageous properties such as long maintenance cycles, compact design, robust construction and insensitivity to cold were seen to more than compensate for the LEDs’ earlier shortcomings in luminous flux or colour rendition. In terms of their lighting quality, cur-rent LEDs are on a par with conventional lamp types, while, in terms of efficiency, they are now already amongst the best light sources – and

there is still unlocked potential for future development. ERCO keeps pace with this brisk progress by regularly releasing new versions of LED products, ensuring that the best per-forming lighting tools are always available to lighting designers.

20 ERCO Lichtbericht 89 ERCO Lichtbericht 89 21

DALIPLUG+PLAY

For efficient visual comfort:new Light System DALI products

Sensor technology: daylight-dependent controlThe Light Server 64+ now has twelve inputs, six of which can also be configured as analogue inputs. A typical application for the ana-logue inputs is daylight-dependent lighting control, whereby an out-door sensor generates an analogue signal in response to the daylight conditions. The sensor can be set up with 12 switching thresholds in Light Studio. Depending on the analogue value measured, the sen-sor triggers the appropriate scene or sequence when a threshold value is exceeded.

Sensor technology: constant light regulation A further application of analogue inputs is constant light regulation. Here, an indoor sensor measures the illuminance at a pre-defined point in the room. By master dim-ming the relevant zone, it is held constant despite fluctuating day-light. This allows optimum usage of natural light and greatly reduces the energy used by artificial light-ing. The target illuminance is set individually for each light scene in the Light Studio software.

Indoor sensorOutdoor sensor

ERCO’s DALI technology makes lighting control energy-efficient, user-friendly and economical. Individual light scenes to suit each situation are selected and controlled by the user. This is in combination with automated light management using sensor systems and timer programs which have the potential for enormous energy savings. Typical scenarios here include the use of presence detec-tors to dim or switch off the light in unused rooms or the use of twi-light switches or analogue sensors.

Light KeeperThe functions in the new Light Keeper module support the Light System DALI operator to save energy reduce running costs and aid maintenance. For example, the running time of each Light Client is displayed in the Client List against the rated lamp life. This makes it easier to plan rational, advance lamp replacement as pre-ventative maintenance. The error messages in the DALI network, such as a faulty lamp, are logged and displayed. The energy-saving functions are based on projections and on the envisaged connected load of the light scenes.

The use of lighting control sys-tems for higher light quality and reduced consumption of resources is an important part of the ERCO concept of “Efficient visual com-fort”. The special functions in the Light Keeper module make it even easier for the user to realise the full potential of intelligent light - ing control. For example, the con - nected load of a light scene can

Easy installation, setup and ease of operation contribute to the high level of acceptance of these sys-tems among the users. The further development of Light System DALI for 2010 focuses on functions for efficient visual comfort.

User-dependent lighting controlThe lighting is adjusted to suit personal require-ments.

Event-driven lighting controlThe lighting is adjusted to suit the occasion and type of use.

Time-dependent lighting controlThe lighting is orientated around time progressions and calendar events.

Daylight-dependent lighting controlThe lighting is adjusted to suit the available day-light using an outdoor photo-sensor.

Brightness-dependent lighting regulationThe illuminance level is kept constant taking account of natural and artificial lighting.

Presence-dependent lighting controlThe lighting is dimmed or switched using a pres-ence detector or motion sensor.

Consumption- dependent lighting controlTo reduce peak loads, the lighting is dimmed dependent on total energy consumption.

Temperature-dependent lighting controlTo reduce the thermal input for the benefit of the air-conditioning, the dimming of the lighting is dependent on the tem-perature.

be calculated and displayed, while the software calculates the potential savings in energy and costs, if the scene is modified. The “ECO-mode” function enables each light scene to be dimmed, at the touch of a button, by a pre-defined percentage until the point where the visual impression and visual performance would become noticeably impaired. This function allows the user to reduce energy consumption quickly and easily.

In terms of lighting installations with con-trol systems such as Light System DALI, the connected load only indicates the theoretical maximum: the actual consumption will be determined through the use of the programmed scenic dimming.

Light KeeperThe Light Studio soft-ware’s new module helps save maintenance and energy costs when oper-ating a Light System DALI installation.

The running time of each Light Client is displayed in the Client List against the rated lamp life. This makes it easier to plan rational, advance lamp replacement as prevent-ative maintenance.

22 ERCO Lichtbericht 89 ERCO Lichtbericht 89 23

Elektrische Energie (W)

Lich

tstr

om (

lm)

1500

1200

900

600

300

0 10 20 30 40 50 60 70 80 90 100

A B C D E F G

LED tw, 14W HIT, 20W QT12, 50W

80

70

60

50

40

30

20

10

0

(lm/W)

(lx/W)

Lampe (lm/W)Leuchte (lm/W)Beleuchtungs-stärke bei 3m (lx/W)

While discharge lamps and LEDs easily attain energy efficiency class A, thermal radiators such as general service lamps and tungsten halogen lamps do not make the grade. The directive of the Euro­pean Union prescribes a gradual prohibition of the less efficient classes.

Focus Double focus

Energy efficiency classes for lampsAs a contribution to climate pro­tection, the European Union has also included lighting in its legis­lation on energy efficiency – this is comparable to the standards for domestic appliances. To provide a simple classification of lamps, energy efficiency classes were uti­lised. This classification also serves as a basis for banning light sources with poor energy efficiency, such as incandescent lamps with their low luminous efficacy. Similar reg­ulations are also planned for other countries such as Australia and the USA. The energy efficiency classes for lamps range from A for very good efficiency and low energy consumption through to G for the worst class with high energy con­sumption. They are defined using luminous efficacy in lumens per watt (lm/W).

The EU directive prescribes a gradual phasing out, whereby no more frosted lamps (except for energy class A) and no more incan­descent lamps above 80 watts may be sold as of the 1st of September 2009. Year by year, other lamps, even including some with low wattages, will also disappear from the shelves in retail outlets within the EU. Overall, the directive will affect private consumers more than professional lighting users. Products for general service lamps have been almost totally deleted from the ERCO product range since 2004. The majority of luminaires with the soon to be prohibited, inefficient tungsten halogen lamps, such as the QT18 or QT32, can be replaced by luminaires with high­ pressure discharge lamps, which have a considerably higher lumi­nous efficacy. Lamps inside dom­estic appliances such as cookers as well as all reflector lamps are initially exempt from this plan.

Other more efficient alternatives offered by the lamp industry along­side the well­known fluorescent and high­pressure discharge lamps include new technology such as LEDs and further highly developed halogen lamps. Examples include

LED luminaires as an efficient alternativeWhile the replacement of incan­descent lamps with compact fluorescent lamps is dominating the public discussion, in profes­sional architectural lighting, the LED has already established itself as a viable alternative. Current high­power LEDs can produce suf­ficiently high luminous flux with a luminous efficacy five times higher than that of incandescent lamps. The R&D departments of luminaire manufacturers are concentrating their efforts on making further significant improvements to colour rendition and luminous efficacy in the coming years. Yet, even now, a 14W LED module will already output the same lumen package as a 50W low­voltage halogen lamp. The average life of 50,000 hours quoted by manufacturers is many times above that of general service lamps.

Unlike the comparably efficient high­pressure discharge lamps, LEDs equipped with the appropri­ate control gear can be dimmed without any problem and are therefore suitable for applications requiring different illuminances. Warm white LEDs currently have a colour rendition index of Ra>85, putting them on a par with fluo­rescent lamps and high­pressure discharge lamps. Different colour temperatures, from warm white to daylight white, provide additional scope for design.

When designing LED luminaires, the manufacturer faces two cen­tral tasks: heat management and lighting technology. Even LEDs heat up due to the flow of current, although their optimum operating temperature is far below that of incandescent lamps. The luminous flux and the functional life both rapidly decrease above a critical temperature limit. The design of LED luminaires must therefore guarantee that the LED module always operates below the critical temperature range. This will ensure that maximum output is obtained throughout their entire life.

The gradual departure of the incandescent lamp: due to its poor luminous efficacy, it has become a symbol of energy wast­age. The first sales bans in the European Union came into force in 2009.

In the European Union, the luminaire efficiency classes are defined using the luminous efficacy (lm/W).

Due to their high lumi­nous efficacy, long life and good dimmability, luminaires with LEDs present a highly promis­ing alternative to less efficient light sources.

In comparison: three spotlights with similar light distribution and illuminance on the target surface. Thanks to opti­mum lighting technol­ogy, ERCO LED spotlights already reach more with less even today. With a lamp of comparable lumi­nous efficacy, the light output ratio is signifi­cantly higher than for an equivalent spotlight for high­pressure discharge lamps.

Conventional point light sources emit their light in a solid angle of virtu­ally 360°, whereas LEDs, which are directional by design, emit light in a solid angle below 180° – without losses due to spill light or light emitted towards the lampholder (shown red in the draw­ing).

The conventional 150W tungsten halogen lamp, QT­DE12, can be replaced by the energy­saving 120W version, QT­DE12­RE, which will be available for years to come. The ERCO Program catalogue already lists suitable products with the photometric data of the new lamp as of 2010.

QT­DE12­RE

museum kunst palast, Düsseldorf: the first LED­based applications dem­onstrate the potential for exhibition lighting. The warm white LEDs have

versions of the doubled­ended tungsten halogen lamp, QT­DE12, with infrared reflective coating. These require about 30% less elec­tricity, are rated as efficiency class C and will therefore remain avail­able for years to come.

As with the lamps, control gear will also be classified into energy efficiency classes. Together with the luminous efficacy, the respec­tive lighting requirements and the lamp’s manufacturing and recy­cling processes, the energy effi­ciency classes should also enter into the equation when judging the various lighting tools. In addi­tion, efficient use of the lamp lumens requires lighting technol­ogy that is specifically designed for the lamp and precise light control inside the luminaire.

The combination of lamps and lighting technology systems such as reflectors and lenses results in further advantages for LEDs, which are already inherently highly effi­cient, over conventional ‘point’ light sources. This concerns the fact that the LED’s light emission is directed from the outset, being at a solid angle of below 180°. This allows new methods of light distribution, such as using low­loss lens systems. This advantage becomes clear if not only the luminous flux of the lamp but also the light output ratio and the illuminance on a target surface is compared for LED spotlights and conventional spotlights and set in relation to the power consumption.

Thomas Schielke

excellent properties in terms of luminous flux, dimmability and preser­vation of exhibits.

Lamp AGen. ser­vice lamp

QTHalogen lamp

HITHigh­pres­sure dis­charge lamp

T/TCFluorescent lamp

LEDLight emit­ting diode

Luminous efficacy lm/W

15 22­25 92 87­94 62­77

Energy effi­ciency class

E B­D A A A

Electrical energy

Lamp (lm/W)Luminaire (lm/W)Illuminance at 3m (lx/W)

Lum

inou

s flu

x

24 ERCO Lichtbericht 89 ERCO Lichtbericht 89 25

The Austrian company MPREIS calls usual brand philosophies into question. Instead of built uni­formity, its policy is to have a variety of architec­tural styles. The starting point for any design is always the specific location.

The company’s success story began in the early 1920s. Founded by Therese Mölk as a little food store in Innsbruck, today’s highly success­ful retail chain is still in family hands, being owned by the fourth generation. Every day the 130,000 customers can expect a varied and variable assortment offering convincing value for money and competent, friendly staff. But MPREIS is more than just a snazzy foodstuffs supplier. “Sustainability” and “networking” are themes that percolate down to all aspects of the company. Employees are appreciated. The in­house training scheme has won awards. Manufacturers and suppliers from the region are given precedence, both when sourcing goods and when awarding contracts for build­ing the supermarkets. Such investments safe­guard local jobs and purchasing power. The local microstructures of agriculture, commerce and skilled trade are retained; transport routes and the consumption of resources are considerably reduced.

This corporate culture successfully permeates all areas of the company and is impressively evi­dent in the corporate architecture. The 30­plus architectural design offices that have been used to date, together with countless publications, architectural prizes and client prizes, have all shown that high­quality building culture pays off in the long term.

The Austrian lighting design offices con­ceptlicht.at has now developed a master plan for MPREIS which specifies the essential design elements and is individually adjusted to suit the different store geometries and daylight situ­ations. The most important design feature for the lighting designer is that “the entire light of the supermarkets comes from the merchandise”. Track­mounted spotlights are directed at the shelves according to the fixed zoning. The light­ing designers opted for ERCO’s Optec spotlights and these are now used in the refurbished stores

MPREIS supermarkets

The red MPREIS cube is a constant feature at all supermarkets, but the architecture is individu­ally designed taking the respective location into account. In this way, the company makes a sustain­able contribution to the regional building culture.

Fresh and regional – these attributes determine the produce range at MPREIS. As with the design of the supermarkets, this is an important factor for the company’s lasting success.

Professional lighting adjusts the spectral com­position of the light to suit the various product groups. Meat and sau­sages, for instance, look more attractive when a special “food filter” is used. Food filters are available as accessories for many ERCO spotlights. Bakery products, on the other hand, are shown to their best advantage in the warm­hued light of spotlights with high­pressure sodium vapour lamps (HST).

Direct/indirect T16 light structures emphasise the checkouts area as a zone with higher illuminance. As well as being excep­tionally efficient, they also provide high visual com­fort and therefore offer pleasant working condi­tions for the staff.

In Manfred Draxl’s light­ing concept, Optec spot­lights with metal halide lamps in the colour of warm white 830 add bril­liant accent light to the goods.

Lighting design: Manfred Draxl, conceptlicht.at, Mils near Innsbruck

www.mpreis.at

in Lans and Inzing in Tirol and also in Sinich in South Tirol. This range of luminaires is noted for its sophisticated lighting technology and mas­terful design. The latest generation of highly efficient metal halide lamps with an optimised colour rendition of Ra>90 are used in the stores. The food and the packaging look good in this light, as do the customers. The Optec spotlights are distinguished by their compact design and precise reflector technology, available in spot, flood and wide­flood characteristics. High­quality Spherolite reflectors based on reflective spherical segments ensure defined light inten­sity distribution, combined with efficiency and high visual comfort. The economical operation of the luminaires is optimally assisted by elec­tronic control gear. The adaptation to 3­circuit track means that the lighting will still be flexible even if the stores are renovated in future. The discreet, silver colouration of the luminaires and track underlines the technical character of these lighting tools.

In the checkouts area of the new super­markets, this accentuating, direct lighting concept is supplemented by direct/indirect T16 light structures. These emphasise this spatial zone with a uniformly brightened ceil­ing, discreetly differentiating it from the shop floor. Like the lamps in the spotlights, the T16 fluo rescent lamps used here produce the warm white light colour 830. Energy­efficient lamp technology is combined with modern warm­start ECGs to enable an average lamp life of up to 24,000 hours for low maintenance and run­ning costs.

The external effect of the artificial lighting is not to be underestimated. This is because the preferred design for MPREIS supermar­kets is an open architecture with large glass panoramas of an alpine landscape. The defined interior lighting therefore plays an important role in ensuring the corporate architecture is always instantly recognisable. The interaction of direct and indirect components of light is exactly defined, as are the colours of light by the lamps used. With all these aspects, the profes­

sional lighting design makes an important contribution to the brand profile of MPREIS as the supermarket which is a “little different”.

The unconventional concepts of the Tirol-based retail chain MPREIS break with tradi-tional forms of presentation, making food shopping a special experience.

26 ERCO Lichtbericht 89 ERCO Lichtbericht 89 27

Back in the 88th edition of the Lichtbericht, we introduced the concept of efficient visual com-fort together with its five factors: vertical illu-minance, qualitative lighting design, effective lighting technology, intelligent lighting control and efficient lamps. In their interaction, these factors enhance each other, releasing massive potential to conserve resources and save costs in architectural lighting.

Total cost of ownershipEfficient visual comfort is a concept borne of lighting practice. It is no empty theory or pseudo-ecological front, but an approach that has been developed and tested under the harsh economic conditions of the retail branch. In talks with designers and building owners, ERCO’s lighting consultants are able to show time and again how the investment in high-quality, specialised lighting tools makes long-term economic sense and why seemingly good-value lighting solutions can prove to be expensive in the long-run. It is crucial to look not just at the procurement costs but also at the entire lifecycle of the lighting system. This “total cost of ownership” not only includes the purchase and installation of the luminaires, especially the costs for energy, spare lamps and maintenance, but also the hidden ongoing costs such as additional expenditure for the air-conditioning required to compensate for the thermal load of the lighting. Due to relentlessly spiralling energy costs, both the users and the environment benefit from energy efficiency, because saving energy also means saving costs.

Efficient visual comfort in the retail sector

Efficient lighting technologyCase study: Chicco shop, Monza Architecture and lighting design: Arch. Paolo Lucchetta Retaildesign Srl, VeniceProducts: Optec spotlights with Spherolit reflectors, narrow spot and wide flood, equipped with 35W HIT-CE metal halide lamps.

At Chicco, an Italian provider of baby and toddler products, the efficient visual comfort approach has proven itself admirably, achiev-ing a rapid amortisation of the investment in high-quality lighting.

Qualitative lighting designCase study: LPP Reserved, Bydgoszcz Lighting design: Studio 1:1, GdanskProducts: downlights, lens wallwashers and recessed spotlights from the Quadra range of recessed luminaires, equipped with metal halide lamps.

Vertical illuminanceCase study: UPIM depart-ment store, MilanArchitecture: UPIM/Maria Grazia Travo, MilanProducts: Compar Spherolit wallwashers with HIT-CE metal halide lamps.

With the five factors of efficient visual comfort, ERCO gives both lighting designers and users alike starting points for sustainable lighting concepts. In the long-term, their low running costs more than compensate for the higher initial investment in high-quality lighting tech-nology and design.

The example of Chicco The cooperation between Chicco, a retail chain for baby and toddler products and ERCO, is a prime example of the implementation of the “efficient visual comfort” principle. Chicco’s planners were considering an attractive, appar-ently inexpensive quote for the lighting in their chain stores when ERCO’s lighting consultants pointed out to them the weaknesses and hidden costs of the intended solution. They then sup-ported the planners in redesigning the lighting in the sense of efficient visual comfort. Thanks to the superior reflector technology and the excellent glare protection of the ERCO products, the samples provided confirmed by just how much the number of luminaires and therefore the connected load could be reduced, all while maintaining the same lighting quality. The pre-cise reflectors guide the light effectively and with little or no spill light to the required target surface. The high visual comfort of the spotlights creates the best conditions of perception for the human eye, making lower illuminances neces-sary for a comparable impression of brightness. There are also advantages when it comes to maintenance: the thermally optimised housing and electronic control gear of the ERCO spot-

Equipment:Downlights, HIT 150WDirectional luminaires with flood distribution in the wall area, HIT 70W

Number of luminaires: 223

Illuminances:Floor: 1750lxMerchandise: 1880lxWall surface: non-uniform, up to 1000lx

Connected load: 26.23kW (58.33W/m2)

Initial conceptCriticism:- Poorly shielded downlights, exces-sive illuminances- No clear hierarchy of perception, insufficient contrast between mer-chandise and surroundings- Tightly packed downlight grid pattern, no zoning- Unevenly illuminated walls due to luminaires with unspecific, rotation-ally symmetric light distribution

Concept with efficient visual comfortStrategies:- Visual comfort: glare protection, reduction of illuminances- Light quality: perception-orientated design concept with specialised light-ing tools- Wallwashing

Detailed solutions:- Additional downlight grid, zoning- Uniform wall lighting with wallwashers, giving higher uniformity of lighting for a simultaneous reduction in the number of luminaires and con-nected load of 1/3- Directional luminaires with display lenses for optimum presentation of goods for the lowest possible number of luminaires

Equipment:Downlights, Compact HIT 70W and 35WCompar wallwasher with Spherolit reflector, wallwash, HIT 70WCompar recessed spotlight with display lens, HIT 70W

Number of luminaires: 198

Illuminances:Floor: 450lxMerchandise: 1300lxWall surface: uniform 300lx

Connected load: 13.51kW (30.02W/m2)

Energy saving: 49%

lights are gentle on the efficient metal halide lamps, leading to a longer lamp life in compari-son to cheaper luminaires.

The thermal-load factorHaving a lower connected load and more effi-cient lighting simultaneously reduces the ther-mal load. The result is that air-conditioning sys-tems use less energy or they can be downsized right from the start, giving further potential for making big savings. For Chicco in any case, the higher investment made in good lighting was recovered in around three years and, for its remaining life, the lighting system will con-tinue to save costs every single day; an advan-tage that no businessman should ignore.

Looking better, conserving resources and saving costs: it is precisely in the shop- fitting sector that lighting concepts using efficient visual comfort provide many advantages – for the environment, cus-tomers and shop owners.

Department store (plan view, schematic)

28 ERCO Lichtbericht 89 ERCO Lichtbericht 89 29

There’s a joke going around the business lounges of the world that many airports these days are more like shopping malls with runways. With a 10-20% share in revenues, the retail activities certainly now make a substantial contribution to the sales of large airports – and all because travelling by plane means: waiting, waiting and more waiting. Consequently, the air-side shopping facilities, to use the technical term for the shops beyond the security checkpoint, are a welcome distraction. Most popular with passengers are high-quality products, prefer-ably with a regional theme. That’s according to Belgian Sky Shops’ customer surveys at least. The company massively extended its floor space at Pier A of Brussels Airport in 2008. Belgian specialities naturally include chocolate, of which over 850 tonnes were sold at Brussels Airport in 2007 – more than in any other single retail location in the world. However, the Belgians, renowned for their epicurean tastes, are also seen as competent connoisseurs of other luxury products too – which lends the necessary cre-dence to the modern and refined appearance of the wine, whisky and cigar store named “Epi-cure”. On the specialist website “Moodie Report” (www.moodiereport.com), Marc Leemans, Com - mercial Manager of Belgian Sky Shops, praises the selection at his new flagship store, which culminates in a glass cabinet for rare and exclu-sive brands. “From a Pétrus 1879 and a Roth-schild 1985 and 1990 to a Château d'Yquem 1986, 1998 and 1999. We don’t feature any bad years here,” explains Leemans, which he then immediately qualifies, “though of course in the rest of the store we feature other, very good wines starting at €25. This is all about personal service, tasting and experience.”

Epicure Store, BrusselsIt doesn’t always have to be chocolate. At Brussels Airport, pleasure-loving travellers can now also buy top wines, rare whiskies and cigars – in a cleverly illuminated ambi-ence, which is both tasteful and modern.

Grazing light for the ashlar-look rear wall and brilliant frontal high-lights for the fine wines: the intricate lighting uses two rows of spotlights to produce an aesthetically and functionally pleasing, high-quality appearance.

Efficient visual comfort: modern lighting technol-ogy, such as Spherolit reflectors and metal halide lamps, is combined with intelligent lighting design to keep energy consump-tion and running costs within limits.

For connoisseurs, Epicure keeps the best vintage wines and rarities in an air-conditioned, glass cabinet. Directional lumi-naires with low-voltage halogen lamps in the ceiling module create a carpet of light, empha-sising the shelving in this enclosed area.

Architect: Atelier d'Architecture Pierre Vanden Broeck, La HulpePhotos: Dirk Vogel, Dortmund

www.skyshops.be

The whisky department: accent light from Cantax spotlights in a ceiling channel, augmented by the discreet effects of the integral lighting built into the shelving.

30 ERCO Lichtbericht 89 ERCO Lichtbericht 89 31

Everyone knows the penknife with the distinct Swiss cross on its characteristic red handle, and everyone can tell at least one story where the army knife has helped them out of a tricky situ-ation. Whether it came to the rescue under the most extreme conditions on a mountain tour of the eight-thousand-metre peaks of the Hima-layas or whether it saved lunch by opening a tin of beans on a camping trip, the stories about its uses are as varied as the knife itself. Further-more, just as the knife’s range of functions have expanded in recent years with the constant addition of new tools, so too the product assort-ment of the Victorinox brand has also increased. Founded in 1894, the knife manufacturer now offers all you need to survive in the urban jungle – from functional clothing, watches, luggage and perfume through to domestic and profes-sional knives.

The brand logo gracing the facade of the corner building on London’s New Bond Street is clearly recognisable even from afar and con-veys familiarity and reliability to the onlooker. Although this is already the world’s fourth flag - ship store, it is the first of its kind in Europe. Once inside, the shopper is able to discover the diverse world of Victorinox products which extends over several floors. Three floors are architecturally linked by a 10-meter high glass display column and by a stone facade which covers the entire height of the store and is scenically lit with grazing light. The brand expe-rience is supported by a varied use of digital media, such as film, videos and computer touch-screens.

A particular highlight is the “Tool Finder” located on the store’s basement level. This is an interactive penknife configurator which allows the customers to become product designers by entering specific user requirements to configure their own penknife for any situation.

MP

Victorinox flagship store, London

The grazing light from Grasshopper projectors invitingly lifts the facades of the historic corner building on New Bond Street out of their sur-roundings (above). The natural stone wall, sceni-cally illuminated with Tesis Uplights, acts as an adjoining element link-ing the different floors (right).

Whereas the designers opted for track-mounted Cantax spotlights in the storefront, in the show-rooms they selected Compar recessed spot-lights for metal halide lamps mounted in ceil-ing channels. Their light provides a tidy, business-like atmosphere and sets clear accents on the product presentation.

The efficient and power - ful light heads of the Compar recessed spot-lights can be quickly and flexibly aimed, allowing rapid adjustment to suit different situations.

Architect: Retailpartners AG, Daniel Wettstein, Wetzikon (CH) Lighting designer: Neuco AG, Thomas Lack, ZurichPhotos: Rudi Meisel, Berlin

www.victorinox.ch

32 ERCO Lichtbericht 89 ERCO Lichtbericht 89 33

E Light Perspectivesbetween culture and technology

58 59

Brilliance and glarePerception

BrillianceA source of light in the room, be it a point of light such as candle flame or a small halogen lamp, can be considered to be brilliant. However, brilliance occurs on surfaces due to the reflection of the light source or, with transparent materials, due to the refrac-tion of light.

Brilliance can be used to attract attention and intensify a lively ambience, especially because the high-contrast sparkle on surfaces seems to move as the observer moves around the room. The layout of highlights on an object can reveal the form of edges and curves. Using brilliance effects to emphasise the shape and surface structure also enhances the value of objects. This aspect is highly relevant especially for show rooms or other prestigious areas.

However, if surfaces of low interest have high luminance or if reflections impair visibility, any highlights on them will then be seen as glare. When sunlight reflects on the water at the seafront, however, the resulting dance of sparkling light, like the brilliant sparkle on chandeliers, is appreciated. Conversely, reflections of light sources on glossy printed paper are disturbing even at con-siderably less intensity and are interpreted as glare.

Highlights on shiny surfaces add a brilliant lustre to glass, ceramics, paint-work and metal, enhancing the value of the objects. The more the highlights are reflected, the more dazzling the impression. Chandeliers with their light-refracting crystals give the luminaire its brilliance.

Glare arises in various forms in every-day situations. Physiological glare is caused when direct light or reflection superimposes what appears to be a very brightly shining surface on top of the visual task, which impairs perception. Psychological glare refers to the sub-jective disturbance when the view is distracted by high luminance levels in the peripheral area of the field of vision. Reflective surfaces, in particular, can easily cause glare by reflecting daylight or lamps.

When light hits a window pane, the rays are not split but, depending on the angle of incidence, are either reflected or transmitted. On a diamond, however, the light is incident on all facets and reflected and sep arated into the spectral colours as in a prism. On the surfaces, this not only results in

white sparkling light, as on a pane of glass, but the characteristic iridescence, as the colours of the rainbow start to dance when the diamond is turned.

Critical zones to avoid glare from luminaires or windows are easily calculated. Starting from the position of the observer, the reflection of the visual rays can be drawn on the diagram indicating the ceiling and wall surfaces where reflected light will cause glare. Vertical visual tasks, such as those relat-ing to glass display cabinets, require the surface behind the observer to be taken into consideration.

For horizontal visual tasks on shiny surfaces, luminaires in the ceiling area become critical because they can cause reflected glare.

Any luminaires or windows reflected in a screen produce high luminance levels. The resulting glare reduces the legibility of information. Conversely, luminaires that are not in the critical zone will not cause any reflected glare.

GlareA characteristic of high-quality lighting design is the absence of glare or its reduction to a minimum. Because glare decreases our visual capability, it runs contrary to the quest for well-lit rooms and visual comfort.

The causes of glare can be physiological, such as when sun-light or any other light source interferes with the visual task and perception is impaired. Alternatively, psychological, as when there is a subjective disturbance in the field of vision due to distract-ing high luminance levels in the peripheral areas. In the case of this relative glare, the observer’s gaze is repeatedly drawn from the visual task towards the much brighter source. This presents an annoying distraction for the objects of perception, whether it is a computer screen or an object in a display case in a store. The repeated change between the very different luminance levels stresses our visual system. At computer workstations, for instance, this will result in productivity dropping. High contrasts which are experienced when we look out of a window are invariably toler-ated. This all goes to show that glare should not be considered in isolation from the point of view of information content.

A distinction is made between two forms of glare: direct glare and reflected glare. Both types can be causes of physio logical or psychological glare. With direct glare, the disturbance is caused directly by the high luminance of the light source. The degree of glare in this case primarily depends on the luminance of the daz-zling light source, and particularly its luminance contrast with respect to the visual task, how close it is to that task and how bright it is.

Reflected glare, by contrast, is that which is produced on reflec-tive surfaces. Objects in glass display cabinets or information on computer screens can sometimes only be seen with difficulty because bright luminaires or windows are reflected on the glass surface and vision beyond the reflection is impaired. Reflected glare from luminaires can be avoided by them being suitably positioned.

216 217

Architecture and theatreLighting concepts

Both architectural aspects and elements of stage lighting effects are frequently used in exhibitions. The foyer of a company head-quarters provides a perfect illustration, simultaneously serving as a prestigious entrance and an area for exhibits. Textile cylinders are suspended from the roof beams to emphasise the individual plinths. Classical architectural lighting consisting of daylight and ambient lighting is the opposite of the dramatic lighting con-cepts used on the stage. Natural light enters the room through the glass roof. The luminaires for wallwashing, accent lighting and projection are mounted on the roof beams and on the circu -lar rails from which the curtains are suspended.

Architecture using daylightDaylight provides the foyer with ambi-ent light, while added wallwashing optically enhances the room, making it look more spacious. Due to the uniform level of brightness on the walls and the floor, the room appears plain and neutral. In order to draw even more attention to the exhibits on the plinths and enhance their modelling effect, they are subtly accentuated using directed, narrow-beam light produced by spotlights.

Highlighting the exhibitionConcentrating the light on the exhibits on their plinths results in the room losing significance. The light on the curtains draws attention to the exhibi-tion by using grazing light from spot-lights to make the fabric opaque. The stripped light on the steps looks like an unrolled carpet and attracts the visitor towards the rear area. The soft glow of light in the background subtly indicates that the room continues in depth.

Emphasising the roomLighting the walls alone draws the attention to the room and the periph-eral surfaces. The darkened exhibits are played down and become secondary. The contours of the objects can be recognised as a silhouette against the bright rear wall; however, no further details of the shapes are discernable.

StageAt night, the foyer is transformed into a black stage whose spatial borders almost completely disappear into the darkness. Only the exhibits are in the spotlight. The narrow beams of light reveal the shape clearly and produce brilliant reflections from the glossy surfaces. The glow of light at the end of the side wall adds spatial depth to the scenic display.

Lighting effectsBy projecting patterns of light, an independent motif is superimposed over the exhibition. The curved lines reinforce the circular theme of the curtains and create symbolic waves. The patterns of light, which can be set in motion, draw attention to the lighting effects and create a play of brilliants. With this dominance of highly contrasting shapes of light, both the exhibits and the room itself recede into the background and by comparison are far less apparent.

White and colouredBy accentuating the curtains, the high-contrast scene using white light is able to reveal the full height of the room. In comparison with the exclu-sive illumination of the round plinths that simply concentrates on the floor area, this lighting con cept has a more all-embracing effect encompassing

the entire room. The illumination of the steps and the rear area uses light to establish continuity throughout the depth of the room. Coloured scenic lighting is restricted to the wall surfaces to ensure that the colour rendition of the exhibits remains unimpaired. The soft colour progression on the right wall enhances the overall perspective.

Warm and cold

The twin terms “warm–cold” convey the perceived tem-perature of light and colour. Misunderstandings can arise because the scale used for colour temperature contradicts what common sense would suggest. Bluish daylight white has a higher colour temperature than reddish warm white. However, with terms and definitions defined, adding con-trasts in colour temperature proves to be a simple design concept in architectural lighting.

Backlights

Fortnum & Mason, LondonIn the run-up to Christmas, the traditional department store Fortnum & Mason is resplend-ent in particularly festive finery. Original and lovingly made decorations make the store on Piccadilly a central attraction both for the locals and for the tourists who flock to the British cap-ital to do their Christmas shopping. The flexible lighting with Optec spotlights for low-voltage halogen lamps can be quickly and easily adjust-ed to suit the seasonal requirements, ensuring that the Christmas decorations and gift ideas are shown in their best light.

Architect: Jestico & Whiles Architects, LondonLighting designer: DPA Lighting Inc., Campbell Design, London

www.fortnumandmason.com

museum kunst palast, Düsseldorf ERCO LED spotlights were premiered at Düssel-dorf’s “museum kunst palast”, where they pre-sented priceless hand-drawn sketches from five centuries in the “Auf Papier” (On Paper) exhibition from the 30th of April to the 9th of August 2009. In the wing of the palace, the museum displayed works from Italian, German and Dutch artists from the 15th to the 20th cen-turies. These are extremely sensitive exhibits since the centuries-old pigments and materi-als, such as paper and parchment, are adverse to light, handling and humidity. Special con-servational precautions were therefore taken in all areas right through to the lighting. Con-sequently, the new Optec LED spotlights now provide attractive lighting that is gentle on the exhibits. Their high-power LEDs in warm white produce a light that appears very natural and is free of harmful IR and UV components. The spotlights also provide long life for low energy consumption and can be individually dimmed using the integral potentiometers.

www.museum-kunst-palast.de

Light Perspectivesbetween culture and technologyThe wide variety of modern lighting concepts – all in one publication. With the release of the reference book “Light Perspectives – between culture and technology” at the end of October, ERCO will be contributing to promoting com-munication and dialogue between designers and engineers, building owners and planners, professionals and laymen. What are the intrin-sic qualities of light? How are the techniques and design approaches implemented in archi-tecture? And, how are abstract concepts con-veyed with the help of lighting qualities? These are all questions that the book answers. The 21 chapters – divided into the three sections Light, Space and Perspectives – cover the actual qual-

In the run-up towards Christmas last year, customers at Fortnum & Mason were greeted by this impressive display. In 2009, Optec spotlights will again be placing the new and original decora-tions in the right light.

The illuminance for illustrations on paper and parchment usu-ally has to be less than 50lx. Here, an ERCO lighting consultant uses a photometer to check the spotlight’s dimmer setting.

The didactic part of each chapter explains the subject area more com-prehensively with regards to perception, lighting technology and lighting design. Texts, photos, dia-grams and drawings are used in combination to optimally put across com-plex facts and concepts.

Each chapter is headed by an opposite pair of terms, such as “Light and dark", “Square and round” or “Static and dynamic", each exploring a new design dimension. A large-format photograph of a lighting application is presented by way of an introduction.

The concluding simu-lation section uses a virtual architectural situation, simulated in photographic quality, to present different varia-tions in the lighting in respect of the previously explored paired termi-nology.

ities of light, the relationship between light and space and, finally, the dimension of light as it relates to culture and content.

The reference book “Light Perspectives – between culture and technology” will be avail able via the on-line mail-order company Amazon and in selected specialist stores, priced 39 euros. A preview chapter is available for downloading from the following link:

www.erco.com/light-perspectives

Published in December 2009

Shopping – with eyes wide openMore and more consumers are see­ing conscious shopping as a possi­bility to exert influence. Likewise, store owners are equally conscious to design their retail concepts and environments such that the cus­tomer demands for sustainability are combined with attractive aes­thetics. Light with efficient visual

All Star Lanes Boutique Bowling, Brick Lane, London

Architect: Dan Evans, Londonwww.allstarlanes.co.uk

comfort is an integral part of this – as demonstrated by the National Geographic Store on London’s Oxford Street.

the capital’s younger generation. At Brick Lane in the East End, Optec wallwashers and spotlights pro­vide the bowling alleys with lively, brilliant light.

Seen as working­class and staid for long enough, bowling – the leisure sport from the stereotypical American suburbs – has now been re­invented as chic. As a pioneer of the new trend called “Boutique Bowling”, the London­based chain “All Star Lanes” presents a refresh­ing mix of modern design and retro­elements, making bowling fashionable once again amongst

E ERCO GmbHPostfach 246058505 LüdenscheidGermanyTel.: +49 2351 551 0Fax: +49 2351 551 300info@erco.comwww.erco.com

E Lichtbericht 89