Luminous 7

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International Lighting Magazine 2011/7 May

Customised solutionsBianca TresoldiCreativity needs rules

The language of lighting designFrits Philips Concert BuildingA east or the senses


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2 EDITORIAL

This issue o Luminous includes a project that is particularly dear to our hearts

at Philips. Just 18 years old, the Frits Philips concert building in Eindhoven has

built up a tremendous reputation or its music, but was let down by its ambience or rather lack o it. Central to a radical overhaul was the work o Philips Ambient

Experience team which managed, in just 17 weeks, to create an entirely dierent

and more welcoming eeling or the building.

This is an indication o just how rapidly the technology o lighting is changing,

as are peoples expectations, and the way that dierent disciplines can work

together. The Richard Kelly symposium (page 14) shows how much the feld has

developed since his pioneering work, and demonstrates the value o discussion

between people at the top o the proession. Our eature on lighting culture in

Spain (page 46) ocuses on a group o individuals who came together to share

knowledge and promote the value and excitement o good lighting design.

Equally important are the partnerships between Philips, architects, product

designers and client groups. Whether they are aimed at a specifc project as

at the Franois Mitterand library in Paris (page 22), or lead to the development o

a new streetlight (page 30), they enable all parties to work together to producemeaningul innovation that enhances lie or our customers and or people

in general.

Learning comes through sharing experience, and we are delighted to share

with you the thoughts o Bianca Tresoldi (page 10) one o Italys leading l ighting

designers. Even more exciting is the two-way conversation that can take place

virtually. Our eature Light Talk provides a taster o the conversations between

young designers on our website. This time we ocus on whether lighting should

portray reality or antasy (page 20 ). I hope this stimulates you to go online and join

the discussions. Such enlightened conversations help us all in our quest to develop

meaningul lighting solutions or people.

Rudy Provoost

CEO Philips Lighting

colophonpublished by|Philips Lighting BV Mathildelaan 1, Eindhoven 5611 BD, The Netherlands www.lighting.philips.comeditor in chief |Vincent Laganier managing editor | Paulina Dudkiewicz editorial department |Augustina del Baosteering committee | Nils Hansen, Fernand Pereira, Matthew Cobham copywriting & editing | Ruth Slavidtranslations | Lion Bridge graphic design concept | MediaPartners dtp | Relate4u printing | Print Competence Centermore info | [email protected] ISSN nr | 1876-2972 12 NC | 3222 635 68811 Cover | Frits Philips Concert Building,Eindhoven, The Netherlands Lighting Design | Pelle Herfst


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CONTENT

30

26

22

COVER STORY

A FEAST FOR THESENSESFrits Philips Concert Building, the Netherland

Dialogue

CREATiviTy NEEdSRulES 1Top designer Bianca Tresoldi talks

about her lie in lighting

THE lANGuAGE OF 1liGHTiNG dESiGNDebate with international lighting designers

EyES WidE ClOSEd? 2Does light show or create the reality?

DoSSieR

lEd vERSuS FibRE OpTiC 2Bibliothque Franois Mitterrand, France

bRAiNS AbOvETHE MOTORWAy 2High Tech Campus Bridge, The Netherlands

plATO liGHTS THE STREETS 3Germany

FeeDBaCK

liGHTS iN AliNGSS 3PLDC workshop

MOdElliNG WiTH liGHT 3How to light a sculpture

OuTdOOR 4ATMOSpHERESOLAC Road with LEDs

OpEN diAlOGuE 4ON RETAil FASHiONHow will shopping look in a ew years?

SpANiSH liGHTiNG 4dESiGN CulTuREEnhancing visual, emotionaland comort aspects

SNApSHOT 5A quick look at six projects rom

around the globe

SpOTliGHT 5Books

WHERE TO GO 5International lighting events


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A feastfor the senses

By Js Rkrs

Visitors are enjoying an exciting and surprising new ambience atFrits Philips Concert Building (Muziekgebouw Frits Philips) as the resulto an ambitious makeover. And it was all done within 17 weeks.

FRitS PhiliPS ConCeRt BuilDing, einDhoven, the netheRlanDS


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6 liGHT SOuRCE

During its relatively short lietime - barelyeighteen years - the Frits Philips ConcertBuilding has built up a national andinternational reputation thanks to excellentprogramming and highly praised acoustics.Were tremendously proud o that, saysAnastasia Rox, quality manager at theconcert hall. But it did seem as i at thesame time we were really doing our best to

conceal that pride. The buildings ambience- the entrance area, the bars and the oyers -no longer matched the quality one wouldexpect in a meeting place o this kind.Our conclusion was that the content wasas solid as a rock, but now the rock itsel hadto be dealt with. The city o Eindhoven andits region now project a prole that is verystrong internationally in the eld o design andtechnology. So the region also deserves tohave a building with big city allure: a buildingthat unmistakably says music.

Dening the experience

Philips Ambient Experience design team- which specialises in spatial experience -was appointed to map out the wishesand requirements or reurbishment.Menno Dieperink, creative director orinteriors, started by analysing how visitorsexperienced the concert hall, to get an insightinto the quality o visitor experience. Did itmeasure up to expectations? What was theinitial impression? How did visitors experiencethe spaces? These ndings led to a concreterecommendation or redesigning the concerthall as a meeting place, summarised inten key terms. Examples are Enjoying a

break rather than just hanging around andFacilitating social interaction. The key termClarity and intuitive orientation shows thata building only works well i visitors cannd their way around intuitively, renderingsigns superuous.

Design, technology and lightThe redesign was based on an integratedconcept in which design, technology andlight converge. Experts with expertise inthe various elds were appointed to giveshape to the new identity. In this waythe rameworks were also created or

the spectacular and complex lightingconcept in which sustainable LED solutionspredominate. In order to eliminate as ar aspossible any time-consuming and thereoreexpensive surprises during the renovationwork, lighting designer Pelle Herst oRapenburg Plaza provided, in the specication,a detailed description o all the wishes andrequirements that the light sources hadto comply with. Once the contract or thelighting solutions had been awarded toPhilips Lighting, Philips Turnkey Projects &Services (TP&S) came on board. This project-management team is the point o contact or

total solutions and consists o the accountmanager, a project manager and a salesengineer. The project manager is a membeo the construction team and liaises withthe other parties. He is in close contact witthe sales engineer, who is responsible orcoordination in the technical area.

Speed and exibility

The specication gave a very detaileddescription, with a great deal o attention begiven to the audiovisual part, remembers Bavan den Noort, sales engineer at Philips TP&One thing was clear to us right away: speedand fexibility were crucial. The renovationwork had to be carried out between 1st Mayimmediately ater the last concert o theseason, and 8th October, beore the newseason started. Exactly 17 weeks.The atmosphere in the construction team waexcellent and everybody collaborated well tomeet the tight deadline.

House crockeryThe respected design duo o Van Eijk &Van der Lubbe, o Geldrop, Netherlands, wapproached to develop the recommendatioor the redesign. The two were appointed todesign both the interior and the exterior. Tconcert hall did not exude any musical eel,says Niels van Eijk. We tried to recreate thaeel. What happens in the concert hall is noalso tangible in the building. The most strikthing is the prominent new entrance area,with a spectacular glass acade measuring20 metres wide by 13 metres high, with asingle central entrance. The cloakroom was

given a new unction as the City Foyer, whepeople can go not only or a bite to eat anda drink, but also - thanks to a harmoniouslyintegrated music shop - to listen to andbuy music. An interplay o light, imageand specially developed technology thenaccompanies the visitor rom the entrancearea to the concert hall. To make theexperience as tangible as possible, absoluteverything was examined and dealt with doto the smallest detail. From the multiunctioseats and tables to the house crockery,every element is customised and designedespecially or the concert hall.

Dierent every timeThe new concert hall is ull o the latesttechnologies. But as a visitor you dontnotice much o it, says Eric Simon Thomascreative multimedia engineer at Hypsos,an international rm or (3D) design andconstruction, and responsible or themanagement and control o the lighting andother solutions. So an evening at the conchall is a succession o visual moments.For instance, the enormous living wall inthe bar o the City Foyer, on which not onconcert announcements but also artistic

Client

Anestaas Rox

Art directionMenno Dieperink

Philips Design

Interior designers

Van Eijk & Van der Lubbe

Geldrop, The Netherlands

Visual, light, and sound advice

Eric Simon Thomas, Hypsos

Soesterberg, The Netherlands

Lighting design

Pelle Herst, Rapenburg Plaza

Amsterdam, The Nether lands

Graphic identityGerard Hadders

Schiedam, The Netherlands

Lighting solutions

Saskia van der Wol

Lighting application specialist

Philips Netherlands

Turnkey projects

Bas van den Noort

Philips Benelux

Light sources

Philips LUXEON LED, Warm White

RGB Multi-dye LED

Luminaires

Mediawall and M Signage

Philips iColor Flex MX, RGB

Suspended ceiling panels

Philips Benelux, custom-made LED

module, RGB

Downlights in ceiling above bars

Ilti Luce Pix-T, 12W ; Lux 17, 3W;

Lux 03, 1W

Lighting behind the bars

Philips LEDline, RGB; Luxspace mini,3000K, 25W


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liGHT SOuRCE

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liGHT SOuRCE

Section including LED units

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Hadders designed a amily o nine dierentletter Ms, ve o which mark the building.Thanks to the exible wire system used in theLED solution, these very dierently designedletters can - depending on the concertor message - vary in colour and content.The production o these eye-catchers, withtheir high-gloss stainless-steel housing, wasentirely arranged by TP&S. They turn theconcert hall into an attractive beacon roma considerable distance.Bas van den Noort says All the partnersinvolved in the construction process

collaborated excellently with us and this canbe seen in the result. Wim Vringer, directoro the concert hall, agrees. We alreadyhad a high-quality concert programme, butnow we also have a building that radiatesa musical eel, he says. Literally in act,because without Philips splendid lightingsolutions this wouldnt have been possible.


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10 plATFORM

How did your career in lighting design start?I would say almost by chance. During my course in interiorarchitecture, I was assigned a project which involved renovating abuilding by extending it, using it as a library and lighting it. It was inthe 1980s, and while many extraordinary designer lamps existed,there was still no talk about light eects, and there certainlywerent the publications available that there are today. To tacklethe project, I went to a lighting shop, where I spent entire aternoonsexperimenting with eects and playing with light. This, perhaps,was where my passion or lighting was born.

I made my entry into the sector just a couple o years later, whenI started working as a designer or a lighting company. This markedthe beginning o my career in lighting, and I have never looked back.

What was your experience like at the ConsulineStudio, and what did you learn from it?In the 1990s, people started to talk about a lighting culture and aEuropean association o l ighting designers was set up (now the PLDA).Ater working as a consultant or Sames and Targetti, it was onlynatural that my next step was to become a member o the ConsulineStudio. It was an important ten years or me, tiring certainly, but alsovery engaging, rewarding and stimulating. I had the opportunity to bea part o various projects and work with individual people, and learntso much thanks to that old saying, many hands make light work.

When did you open your own lighting design agencAt the turn o the millennium, my desire to challenge mysel and rethmy approach was stronger than ever, so in the year 2000 I nallydecided to go my own way and open my own studio: Bianca TresolLighting Designer.

What do you mean when you say light isthe punctuation of a fundamental part of thevocabulary of architecture?Is there anyone who isnt in love with light? I stil l get emotional whenI see the ways in which light is able to pass around us - when natura

light enters and remains in a building, it becomes true poetry inmotion, one o the undamental aspects o our spaces, as thoughit were the punctuation o a sentence, vital or placing emphasis onour thoughts. Articial light, designed by mysel and my ellow lightindesigners, is less poetic than natural light, as there is a risk o losingthe very essence o the setting. For this reason we must know how ration it, so there is never too much.

What do you think about made-to-measureproduct design in lighting?Nowadays, there are lighting devices on the market to meet everyrequirement. At long last, we designers have a vast array o equipmat our ngertips with which to carry out our projects. However, madto-measure is something dierent.

BIANCA TRESOLDI, LIGHTING DESIGNER, STUDIO BIANCA TRESOLDI LIGHTING DESIGNER, MILAN, ITALY

Creativityneeds rulesBy Sara Pascucci

A member o the AIDI (Italian Lighting Association) and the

PLDA (Proessional Lighting Designers Association), Bianca

Tresoldi has been a consultant to two major Italian lighting

companies and was a partner in the Milan-based Consuline

Studio beore setting up her own studio. She speaks here to

Luminous about her lie in lighting.


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12 plATFORM

Like cooking a good risotto you needa list o ingredients

where people can gather in an environment that is pleasantly lit byunobtrusive light sources, where vertical planes are predominant,and where countless shades o light give the surroundings true visudepth. But above all else, places that give every city in the world,when the sun goes down and articial light rises in its place, its ownunique avour and allure.

Where do you see yourself in ten years time?Thats a difcult question! I think Ill still be a lighting designer - I woulike to think, though, that by then my proession will be recognized inan ofcial context, just as architecture and engineering are today.

Whats your greatest passion besides

lighting design?I have many - I like modern art, going to exhibitions and sailing. I alslove cooking with what Ive grown mysel - I have a small vegetablegarden and enjoy trying out new things in it.

What inspires you when youre designing?Creativity does not mean improvisation - a solid planning method isthe keystone o creative ability. You need rules; not to inhibit you, burather to encourage you to make new discoveries. Once you haveperormed all the necessary analysis and made all the necessaryconsiderations, then maybe the idea will come to you while yourelooking at a painting or sailing. In order to devise a beautiul chandemuch like cooking a good risotto, you need a list o ingredients, whiare dictated by your own experience and interspersed with your ow

personality, sensibilities and culture.

From an architectural perspective, there are places in which mass-produced products just do not t. They may produce the desiredlight eects perectly, but aesthetically they do not blend with theirsurroundings. Designers have thereore rethought how lighting devicescan be contained. In this sense, a special product is like a made-to-measure suit or a dened space, using the technologies that arecommercially available.

What have you learnt from the lighting projectyou carried out at the Chiesa San Pietro Apostoloin Bergamo?The project made me realize just how crucial the discussions betweeneveryone involved in a project can be, and how important it is to

always be ready to revise your own ideas.My rst chandelier project was in act rejected by the Sovrintendenza- the regional board o the Italian Ministry o Cultural Heritage - but Imust now thank the inspector. He gave me the opportunity to analysemy ideas and work things out in a dierent way, and eventuallyto come up with a project that was certainly more in tune withthe surroundings.

What do you think the future holds forurban lighting?Urban liestyles have changed dramatically, and we must adapt ourtowns and cities accordingly.Not only must urban trafc be taken into account, but also the peoplewho live there. I hope that in the uture Ill be living in a city with

piazzi-salotti, squares that eel like your own living room, places

Website: www.tresoldilight.com


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The languageof lightingdesign


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pERCEpTiONS

By Mrr M Py

From 23 August until 2 October 2010, the successul Richard Kellyexhibition and symposium held at the Yale Architecture School in

New Haven, US drew attention to the many contributions o thispioneering designer. Luminous opens the debate with ve internationallighting designers on the role and relevance o Kellys vocabulary today.

All languages expand and mature over time.

As a cultures needs and concerns shit,so do its words - both in meaning and use.This principle holds true or the language olighting design as well. For many the modernlanguage o architectural lighting designwas rst articulated in the early 1950s byAmerican lighting designer Richard Kelly(1910-1977). Over the last hal-century hisvocabulary has provided the principal buildingblocks or lighting design. From the light-washed walls o Renzo Pianos New YorkTimes Building lobby to the luminous whitevolumes o SANAAs New Museum in NewYork City to the elegant sparkle o Speirs +

Majors LED screen wrapping Armani FithAvenue, Kellys language lives on.

Demonstrating a keen knowledge o light,Kellys substantial project list includesnumerous masterworks o modernarchitecture. His many innovative andsuccessul lighting solutions reveal hisunderstanding o light as a primary orm-giver able to shape our experience o thebuilt environment. Given its critical role, Kellyrightully argued that light needed to beapproached on its own terms. In 1952 heintroduced a vocabulary or modern lighting

design comprising three principal lightconditions that he believed essential to thecomposition o any visual scene: ocal glow(ocused/direct light), ambient luminescence(indirect, diused light) and play o brilliants(patterned light or sparkle).

Reerencing commonly recognized visualscenes, Kelly drated an easily understoodvocabulary or lighting design. With colourulanalogies, he visualised each type o light andtheir potential interactions. Focal glow Kellylikened to the pool o light at your avoritereading chair and the shat o sunshine

that warms the end o the val ley. Ambient

luminescence he described as the twilighthaze on a wide river where shore and waterand sky are indistinguishable as well as whatone might nd in any art gallery with strip-lighted walls, translucent ceiling, and whiteoor. Play o brilliants he compared to TimesSquare at night and sunlight on a ountainor a rippling brook.

In addition to describing their basic visualcharacteristics, Kelly outlined the impacto these principal light conditions on ourperception. Focal glow, or example,draws attention, pulls together diverse

parts separates the important rom

the unimportant. Ambient luminescence

minimizes the importance o all things andpeople. It can suggest reedom o space acan suggest innity it quiets the nervesand is restul. Play o brilliants excites theoptic nerves, and in turn stimulates the bodand spirit, quickens the appetite, awakenscuriosity, sharpens the wit. In summary,he stressed: visual beauty is perceived byan interplay o all three kinds o light.

In naming and describing these threeexpressions o light, Richard Kelly mappedout a basic vocabulary or lighting design.However, in the ty-plus years since Kelly

presented his typology or lighting design,there has been relatively little eort madewithin the lighting community to consciousexpand or challenge this basic schema.While the universality o Kellys vocabularyguarantees its continued viability, somedesigners and lighting consultants todayare suggesting new ways o thinkingand talking about light and its role in thebuilt environment.

Mark Major, director o Speirs + Major,the award-winning and internationallydistinguished design consultancy, has

contributed signicantly to the continueddevelopment o a language or lightingdesign - both in his practice and with the2005 book, Made o Light: the Art o Lightand Architecture published by Birkhuser.In response to the question o the applicabo Kellys vocabulary today, Major agreesthat Kellys philosophy still has a vital roleto play, particularly as a reminder thatlighting design is not just about numbers,codes and tools. It is critical that designerstoday consider all the possibilities when itcomes to the look o the space includingthe subjective and aesthetic, or which Kelly

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approach is well suited, says Major. However,he suggests that Kellys vocabulary allsshort in consideration o the wider rangeo social and operational needs centralto good practice today. To build a moreaccommodating and resilient vocabulary ableto meet contemporary design challenges,Major returns to the Vitruvian maximsrmitatis (rmness), utilitatis (commodity)and venustatis (delight).

This classic triumvirate, says Major (lookingback to lessons he learnt as an architecturestudent), represents the philosophy that a

good building careully balances aestheticdemands with the need to be robust anduseul. This principle holds true or eachand every part o that building - includingthe manner in which it is lit, says Major.To be useul today, lighting must respondto a diversity o needs, including providing

legibility and accessibility, creating a senseo saety and security, and contributing topeoples well-being, as well as creatingidentity and character ater dark. In orderto ensure that a design is also robust saysMajor, it is paramount that any lightingsolution be environmentally sound - careullybalancing aesthetic and operational needswith the requirement to minimise energy use,waste and adverse impacts on bio-diversity.However, robust systems are not necessarilydriven by the latest technological advances.Cautioning designers acing todays array ostate-o-the-art technologies, Major suggests

keeping an open mind and not letting the(technology) tail wag the (schematic) dog isthe best way orward.

A perect example o the synthesis o theseaspects - useulness, robustness, andmeaning - is Speirs + Majors award-winning

lighting solution or the Innity Footbridge inStockton-on-Tees, UK. Using the naturallyreective properties o the river, Speirs +Major designed the lighting in such a waythat it orms the symbol or innity whenreected in the waters surace - providinga memorable and iconic nocturnal identityor the project. The lighting o the ootbridgalso provides pedestrians with a high levelo legibility without sacricing the naturaldarkness o the night-time environment.Low-energy, long-lie LED units were used the project to realize both the aesthetic andenvironmental aims o the project.

Jean Sundin and Enrique Peiniger, ounderand principals o the pioneering New York-based lighting design consultancy Ofceor Visual Interaction (OVI), have madecritical additions to the development oa contemporary vocabulary or lighting


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pERCEpTiONS

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design. In a recent orum held at the YaleArchitecture School, Sundin and Peinigercalled attention to the signicant shitswitnessed in architectural design over thelast hal-century. We need new terms to staycurrent with architecture and technology,said Peiniger. It is time to expand on Kel lysvocabulary. The duo also identied theconcepts o transparency, depth o space,gradation o illumination, and denedshadows as essential to architecturallighting design today. Sundin and Peinigerexplain that terms such as transparencyand depth o space highlight areas where

lighting design can support the kinds ospatial concepts that todays architects areseeking to achieve. Gradation o illuminationand dened shadows are undamental toolsor delivering the nuanced aesthetic thatcharacterizes world-class projects today,they add. Its good to remind ourselves that

although were lighting designers, its not theright thing to illuminate everything. Shadowis a very necessary space dening element,Sundin remarks. Its just as important to usedarkness and shadow as it is to use light.

In order to capture the need or a multi-levelocus and express the greater range o scaleswith which a lighting designer may be askedto work today, OVI has developed the simple,but highly exible shorthand Lighting Powerso 10 (reerencing the Eames ground-breaking lm). Providing a systematic orderingo the process o architectural lighting design

and its relationship to architecture, OVIsLighting Powers o 10 encapsulates a wayo thinking about lighting that moves rom thelargest environmental level to the smallestdetails. This approach considers scales thatrange rom the urban master plan, to the cityblock, to building suraces, interior materials

and nishes - and even down to the smalldetails including manipulating spectralwavelengths o light, says Sundin.

The rms sophisticated lighting or theScottish Parliament complex in Edinburgh,Scotland illustrates lighting that unctionson just such an expansive range o scales.On a site-plan level, lighting works to unitethe individual buildings o the complexinto a visually coherent master plan. Anintimate, village-like atmosphere is achievedby accentuating the light that individualbuildings emit rom within, and calibrating t

overall balance o brightness and contrast.To this end, the windows and skylights oeach building are articulated with nocturnalighting eects and silhouettes in mind. Forinstance, in the window seats providedin ofces or the Members o Parliament,tiny custom-designed luminaires are

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To be useul today lighting must respondto a diversity o needs


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18 pERCEpTiONS

There are many new challenges acingthe lighting community today

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integrated seamlessly within a handrail. Thisprovides a balanced play o light and shadow,as seen rom the outside at night in relationto adjacent buildings, as well as a burst oillumination inside - concentrated preciselyat reading height. According to Sundinand Peiniger, This kind o design requiresthinking at many scales simultaneously,and considering the role o lighting in newways. Lighting has become a critical elementthat helps us to read architecture and tellits story. A comprehensive outlook andextended lighting vocabulary are key inresponding to the magnitude o scope and

complexity o todays architecture.

Light Collective, the UK-based nextgeneration lighting consultancy oundedby Martin Lupton and Sharon Stammers,approaches Kellys vocabulary as aprovocation - one which may help us

better identiy what is missing rom thecontemporary language o light. Agreeingthat Kellys three qualities o light eectswould suitably orm the basis o a design,Light Collective argues that today lightingdesign must equip itsel urther in order toaddress a host o new concerns. In particularthey see great value in articulating thenon-visual benets o light recognizing thatthese are even more difcult to describeand qualiy than the visual benets. Acontemporary vocabulary o lighting designshould include the biological eects o light,the social value o light, and importantly,

a critical vocabulary... as there is witharchitecture and ar t, according to Luptonand Stammers. They suggest that much islost when we emphasize only the good inlighting design, and that this ultimately holdsthe discipline back. For the benet o theproession and to enable communication

between proessionals and non-proessionals it is necessary to have a wayo communicating as clearly about what isnot good - glare rom an exposed source obadly aimed spots, spill light ying aimlesslinto the sky, or poor colour rendering suckthe lie out o objects.

With the rapid evolution and inltration olighting technologies and light-based mediathroughout the built environment, LightCollective sees an increasing mash up olight and surace, light and inormation, lighand video - eects which are oten applied

as an added layer within a building or upona building skin. A language or addressingsuch hybrid orms o light is simply absentrom Kellys vocabulary, which doesnt alloor light as an inormation giver, Luptonsays. The growing role o media screens,responsive suraces, and more dynamic us


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pERCEpTiONS

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o light within the built environment ormsa vital part o lighting design today.

The innovative Berlin-based designconsultancy realities:united, ounded byJan and Tim Edler, explores this nexus onew media, inormation technologies andarchitecture. Their projects requently exploitarchitectures outward communicativecapacity, as or example with the NIXconcept, originally conceived or the45-storey European Central Bank project inFrankurt am Main, Germany (2007) designedby Coop Himmelb(l)au. The NIX (nothing)

concept harnesses the latent potential othe general lighting systems o a buildingin order to coordinate and orchestrate thisexisting technical system into an aestheticinstrument. Using a central control system,the building senses when workers havelet the building and activates a secondary

network. It orchestrates a unied lightingdisplay or luminous response through theexisting lighting systems. Explaining thetheory behind the NIX project, Tim Edlersays, Light has a communicative capacity...that explains what we can see at a largescale, or example on very large buildings.Technology used to be pretty stupid. Lightswere turned o or on. Now it is beingconnected to create intelligence. Witty andinnovative, NIX oers a cost-efcient strategyor turning large-scale buildings into mega-signs, transorming an under-utilized technicalinrastructure into a transmitter o artistic

expression. NIX illustrates the value o abuildings technical inrastructure as a meansor both communicating and reinorcing thearchitectural concept.As these leading individuals within the lightingcommunity have suggested, there are manynew challenges acing the discipline today;

challenges that require greater sel-reectioand criticism as well as a ner-grainedvocabulary than that set out by RichardKelly in the early 1950s. The notion ointelligent architecture, recognition o theneed or darkness and shadow, increasingour knowledge o the biological eectso lighting on humans, animals and theliving environment, and the urgent need tond more holistically sustainable lightingsolutions certainly were not part o Kellystheory. However, he recognized the needor adaptability and continual reassessmenwithin the young discipline. As he wrote in

1958, Im sure the best we can do todaywill be inadequate tomorrow. I can logicallyproject a great many techniques in lightingto improve peoples lives or to make a housmore beautiul, but its all theory until we hathe record o experience, which we are onlbeginning to write.

M

ichelDenanc


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Light Talk is a column that brings to readers some o the most interesting

conversations that are taking place between young designers in the eld o

lighting. These conversations, published in an entirely unmoderated orm,

originally took place on our social media platorm Light Community

(http://community.lighting.philips.com).

It is an excellent place or those interested in lighting to discuss topics,

unhindered by geographical distance and without the need to deend or

justiy their arguments to clients or employers.

2. Feb 18, 2011 11:44 AM in response to: Rogier van der Heide

Re: Eyes wide closed ?

Great topic !

The role of light and should it show or create realities? Aside from keeping the fauna&ora on earth alive & kick-

ing, light is key in allowing us to experience spaces. It can stir up emotions helping human beings to undergo

a change of mood. I believe that the lighting designer has the same powerful tool to play with, such as nature

does. Natural light can be ltered into a space in order to shape dynamic patterns of light and shadow, creating

space illusions and therefore creating new realities. So realities are created also without human intervention. A

sunrise and sunset on facades can bring a theatrical show of colour-changing lighting... creating an innite arrayof constantly changing realities...

Two pictures as illustration. The second picture I found online, no idea if it is extra photoshopped but i m sure

you ll have experienced such a breathtaking view in your life too...! (second picture: downtown-sunset-nyc by

upthebanner)

Attachments:

Celine.

Deceuninck

5 posts since

Feb 18, 2011

1. Feb 17, 2011 10:39 PM in response to: Paulina Dudkiewicz


Many thanks for your thoughtful post!

Light certainly creates... It is how Calatrava said a few years ago: Light is for comfort. Together with space,

light is the key to the future of architecture. What Calatrava meant, of course, is comfort as a result of quality

of the environment. Light creates this quality. Surely a big responsibility for the lighting designer! Or, as Jennifer

Tipton, LD for theatre and dance, said: my responsibility is very large, because everyone is looking through my

eyes...

Rogier

rogier

105 posts since

Apr 9, 2010

dahab 2009 contrast.jpg

(121.5 K)


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liGHTTAlK

3. Feb 18, 2011 1:57 PM in response to: Celine Deceuninck


I believe that actually light does both: creates a reality and shows the existing one and sometimes they are so

connected that is hard to distinguish the line between these two.

Light is able to create a reality, in many possible ways, as well as it may bring a reinterpretation or a manipula-

tion of the reality , if I may say. If we think simply of the natural phenomenon of day and night, natural light

is no doubt the key element that denes our own daily reality. As Celine mentioned, not only fauna & ora are

dependent or inuenced by this light, as well as we experience the light shifts throughout the day as a new

perspective of our environment. I live in Lisbon, it is a particular city where everyone talks about its light without

really knowing how to explain why they feel different. I would suggest that light in here is part of several vari-

ables: materials, textures, natural daylight & direct sunlight, geography, environment, architecture and people.

Light responds to and affects all these elements turning them into its reality.

As for the reinterpretation of a reality, I think as lighting designers we are very conscious of this powerful tool,

in here I totally agree with Rogier. Light can create and dene emotions, atmospheres, realities, and this is seen

in a quite extreme way on stage, where light and space are one. But we are having more and more examples of

how light can shows us a new way of seeing things either being light art, urban interventions or architecture and

what is interesting is that people are becoming more sensible and aware of the role of light.

Paula.Rainha5 pss scFb 18, 2011

5. Feb 19, 2011 11:17 AM in response to: Paula Rainha


Exactly Paula, I very much agree with you that light can both show and create reality. I believe that there are 3 major

parameters to consider this when designing a lighting scheme: the rst is the function of the building or space and its

environment; the second is its architectural characteristics; and the third is the clients vision or target. It is the role

of the lighting designer to integrate those with harmony in the lighting scheme. Speaking about articial lighting on

building facades, there are many ways of illuminating a facade, but I suggest we could group them into 3: The rst

option is a wash of light that will essentially present the building as seen during daytime showing reality. The second

option is adding focus to specic architectural characteristics by playing with various lamp sources and/or colours,

resulting in a lighting scheme that shows reality whilst also controlling it. And the third option is entertainment lighting

on facades using new technologies in order to create different realities such as 3D projections, interactive- and media

facades, light art. The rising number of cities in the world investing in Light Festivals proves this growing (public)

interest for these types of new technologies and its successful impact.

Besides that, I believe that people start to realize the potential of new lighting & control technologies in general,

thanks to the rising quality and well-designed applications. I agree with you Paula that it has been more obviousthat people start to be more sensible and aware of the role of light could it also be because of the increasing

demand for energy efcient solutions and the marketing actions around that subject?

can I share with you 2x fun projects as illustration to the articial lighting on building facades? See attached the results

of the MSR workshop project organized by the PLDA during the Rotterdam city of architecture 2007 and the CPL Forum

Philips. The purpose of this temporary lighting installation, that we developed with a great team of international light-

ing designers, was to surprise the viewer by creating a different day and night reality. A 7-minute play of white-to-blue

rays of light around the cylinder revealed the structure of the glazing facade and imposed the cylinder, both creating and

revealing a different reality to the outside world. The lighting scene also created nice reections on the river Maas.

Celine.

Deceuninck

5 posts sinceFeb 18, 2011

4. Feb 19, 2011 1:51 AM in response to: Celine Deceuninck


I spoke at TEDx about the need and desire of darkness in order to create light, and articulation of spaces.

For those who are interested: The Design of Darkness

Rogierrogier

105 posts since

Apr 9, 2010

Attachments:

WORKSHOP 2007 MSR R .pdf(256.9 K)

EGLISEUM event church 01.2010.pdf(306.4 K)


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CuSTOMiSEd SOluTiONS i

By Isabelle Arnaud

The reading rooms o the Bibliothque Franois Mitterrand, lit

the amous reading table lamp designed by Dominique Perraul

and Galle Lauriot-Prvost in 1995, are being upgraded with

a new lighting system using LEDs.

Users o the reading rooms, which provide 3,314 seats on two levelare experiencing a revolution without even knowing it: the originallighting system using bre optics is now being replaced with LEDsolutions. This is a real technological eat since the design o the tablamp has remained unchanged, as requested by the designers.

A sustainable development approach

The project started with a very simple idea: what improvements couthe National Library o France - BNF - make to save energy? In 200the BNF and the French Environment and Energy ManagementAgency - ADEME - worked together on a lighting renovation projectwith our major objectives: upgrading the reading table lighting andvisual comort, minimising the number o maintenance operations,reducing maintenance costs and, last but not least, participating in tcollective eort o the library in terms o sustainable development.

The lighting system consisted o 3336 generators equipped with 12halogen lamps. The energy impact was tremendous, because o theelectric consumption itsel, and also because o the demands madeon the air conditioning, to dissipate the heat created by the lamps.We worked with the book preservation laboratory, explains Gilles

Berda, the electrical network department chie at BNF, and we hadtake into account their specications: the colour rendering index hadto be close to 90, the power o the lamps had to be reduced, and wneeded two levels o lighting as beore.

Berda immediately thought o using LEDs. The BNF issued a call ortenders which Philips won again (the previous lighting system wasalready a Philips solution).

Beore carrying out a wholesale replacement, Berda asked Philips todevelop a module and tested two lamps in a reading room throughoa ull year: two types o LED were used with two dierent colourtemperatures, and two dierent illuminance levels. In order to knowhow the public reacted to the new lighting, we created a questionna

Client

Bibliothque Franois Mitterrand

National Library o France

BNF

Archi tect

Dominique Perrault and Galle

Lauriot-PrvostDPA, Paris, France

Custom solution manager

Nathalie Bozzi

Philips France

Key account manager

Fabrice Vende

Philips France, Surennes

LED engineering solution

Antonio Hernandez

Philips France, Lamotte-Beuvron

Engineering solution

Willy Eyraud


Customer service

Patricia Poulard


Sales assistant

Sandrine Gondouin

Philips France, Surennes

Light sources

LUXEON Rebel

Custom luminaires

BNF reading table lamp, 20W

Bbq Frs Mrrd - BnF, Prs, Frc

LED VERSUS OPTIC FIBRE:AN OUTSTANDING PERFORMANCE


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24 CuSTOMiSEd SOluTiONS i

t rd b leD sysm

prds rm srs.

Rdrs c cs bw w s

: 500 r 300 x.

l ss: Pps lm. D

ominiquePerraultArchitecture

with six items (quality o light, visual comort, glare, colours contrastilluminance level, heat emitted by the lamp, illuminance quality whenworking on computer screen) that people had to rate rom verysatisying to very insufcient with satisying and insufcient inbetween. Once the answers were collected, we started the wholeprocess o validation, consulting the conservation service to makesure that the LED lighting solution would not aect the quality odocuments in any way.

From renovation to revolution

The second step could then take place: the delicate integration o thLED module in the lamp itsel without modiying its design.It was quite a challenge and a very interesting one, says NathalieBozzi, LED customised product manager at Philips Lighting, We ha

to design a module that was small enough to get into the existing laand o course with all the required eatures to meet the expectationso the BNF, and in a very short time. The team at our production unLamotte-Beuvron did an incredible job: they created a Luxeon RebeLED module evacuating the heat properly, using mini-components amini-connectors as well, made up o warm white LED (3,100 K) withcolour rendering index o 85. Once the module had been developedthe team rom Lamotte-Beuvron worked over 15 days in Septembewhen the library was closed and on several Monday mornings, whethe library was also closed, to install the LED modules on site andmake the needed adjustments: a true work o art.The underside o the module, in aluminium, which allows good heattransmission, and 70 % o the luminous ux is guaranteed or upto 50 000 hours o unctioning, and with no inrared or ultraviolet

radiation. Two levels o lighting are available: 500 or 300 lux; its up tthe reader to choose!The extent o the works was such that the whole operation had beeplanned or several years. The rst parts were carried out in 2009 a2010, and the renovation o the other reading rooms will proceed ro2011 until 2014.

Websites

www.bn.r

www.perraultarchitecte.com


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CuSTOMiSEd SOluTiONS i

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sysm d m-cmps. t mm drsd mp ws d dssp.

G e o r g e s F e s s y


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CuSTOMiSEd SOluTiONS ii

By Vibeke Gieskes

A light sculpture by Har Hollands marks the motorway exit tothe Brainport o the Netherlands. The picture o brain cells

constantly changing colour, on the yover represents the

activities perormed on the High Tech Campus.

The High Tech Campus (HTC), where all Philips Research &Development activities are brought together, was set up in 1998 onthe site o the companys ormer Nat Lab (Research Laboratories).This concentration o knowledge soon gave rise to a great deal ointeraction between researchers. To intensiy this process, in 2003it was decided to open up the campus to other technology rms aswell. This proved to be an eective move: in 2004 the governmentofcially designated the Eindhoven region as the most important utknowledge region, the Brainport o the Netherlands. And now that

is being ullled: 80% o all Dutch patents are led in Eindhoven andthe surrounding area. More than 8,000 researchers, developers andentrepreneurs are now collaborating on technological developmentsand products on the HTC.

To accommodate them all and create a strong identity, thesurrounding area and the new buildings on the HTC were spatiallydesigned by top designers. The campus was given its own motorwaexit. It was decided that the exit yover had to unction both literallyand metaphorically as a link between the campus and the motorwaa sculpture would make the campus visible rom the motorway. Theowner o the yover, the Department o Public Works and WaterManagement, gave its permission, but it laid down a number oconditions. For instance, the sculpture must not be an advertisemen

in disguise; it must not distract drivers; i it was a lighting project thelight must not move too quickly and the gures must not be legible;they must also not reect.

To get some ideas or the work o art on and around the yover, theHTC arranged an inormal competition or which several designerswere approached. One o them was Har Hollands, who had alreadydone the lighting design or the campus. Luc van der Poel, seniorlighting application expert at Philips Lighting, has co-developed thelighting solution with the lighting architect Hollands: Hars original idwas to project a printed circuit boardusing LEDs. Hollands adds: make the link between the nature o the work on the campus and thpeople who work there, I did indeed want to cover the yover on onside with a printed circuit board representing an electronic network

Owner

Rijkswaterstaat

Client

City o Eindhoven

Developer

Nagel Eric Smith

Philips HTC Operating Company

Lighting design

Har Hollands

Eindhoven, The Netherlands

Lighting solutions

Luc van der Poel

Philips Lighting

Engineering consultant

DHV, Eindhoven

The Nether lands

Installer

Guus van Woesik

Vught, The Netherlands

h c cmps dc, ed, t nrds

BRAINS ABOVE THE MOTORWAY


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28 CuSTOMiSEd SOluTiONS ii

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rspr srrpc p.

and on the other side with a panel that would present a biologicalnetwork. When my ideas crystallised a little more I realised thatby showing brains youre displaying both biological and electronicnetworks, networks that moreover are timeless. As a result o thisidea there is in act a direct link between the people who are occupon the campus with electronic networks and the same people whoare networking with one another. Brains are both or thinking withand or working with. The gure on the yover shows a network o

neurons rom the cerebral cortex that has been magnied around50,000 times.

Implementing Hollands ideas turned out not to be simple. Van derPoel explained: The idea was put orward o making a panel withholes in it, behind which lines o light would move. Hollands thensuggested making a semitransparent panel, one section o whichreected more light and one section less light. In the nal designwe opted or a dual lighting system rom above, Hollands said.One series o LEDs now illuminates the back o the panel, showingthe outline o the brain cells, and another series illuminates theront, which at night colours the space between the brain cells.Both series change colour: rom red to green to blue to purple, etc.In this way almost all the required colour combinations can be made

Covers have been tted at the bottom o the panels to prevent lightalling on car windscreens.

In 2009 Hollands light yover won the Pride o Eindhoven awardthat is presented annually by the people o Eindhoven or the objectevent or organisation o which they are proudest. Van der Poel thinkthat the light sculpture on one o the busiest sections o motorway inthe Netherlands is very impressive: The eect that this yover hason the wider area provides tremendous cachet or all o Eindhoven.And thats important, says Hollands. Over time towns have becomless and less recognisable rom the motorway: you hardly knownowadays what youre driving past. Because o the light sculptureon the yover near the HTC everyone now knows that theyre drivingthrough the Brainport o the Netherlands: the place is clearly marke

and has again acquired its own identity.


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CuSTOMiSEd SOluTiONS iii

By Ruth Slavid

Philips is collaborating with podpod design to develop

LED streetlights that should appeal to more than just the

immediate client.

PLATO is the working name or a amily o luminaires that Austrianstudio podpod design is developing in association with Philips.

Intended initially or use in Stuttgart, Germany, where in some areasstreetlights are suspended above the centre o the road rather thanmounted on poles, PLATO uses Philips LEDGINE modular LEDlighting solution, which was introduced in spring 2010 specicallyor use in outdoor lighting applications. Philips approached podpoddesign under its new co-development arrangement, where it workswith a designer to develop a product or a specic client, but with thintention o then making that product available commercially. podpodesign is a respected lighting and product design studio, whose woincludes the lighting masterplan or its home city o Vienna, as well asome luminaires.

Michael Podgorschek, hal o the brother and sister team that setup podpod design, explained that the team developed a number o

design approaches and presented them to Stuttgart. PLATO wasthe one that was best liked, and so he continued to develop it. Ithas a clear shape, he said. It starts with a sphere cut by a pyramidand then cut by a cube. Then we manipulated the dimensions o thesphere. I this sounds complex, the result isnt. The luminaire has aclear simple shape, a gentle curve with a at base which marries theround shape o the luminaire well with the rectangular orm o theLEDGINE array. Cutaways o twenty ve degrees at the base add tothe elegance o the appearance and are also important unctionally.

We didnt want it to just be at at the bottom, said Podgorschek.We wanted it to have some long-distance visibility. It is very importato see the line o the street as continuous. The designer experimenwith a range o cutaway angles, beore settling on twenty ve degre

This solution considerably reduces the upward light spill, the subjeco increasingly stringent legislation.

PLATO has been designed or a LEDGINE array o maximum sixtyour LEDs - eight rows o eight. Damien Rolland, the project manageor the development at Philips Outdoor Lighting, says that the lightemitted by sixty our LEDs is today already sufcient to have theright amount on the streets - and that in the uture it wil l be toomuch. LEDs efciency, compared to standard lamps, is constantlyincreasing he says.

Gerd Wiesemann, Philips Germany outdoor market manager explaiLEDGINE modules are simple to update. For example, ater ve yeathe customer can replace the modules by even more efcient ones.

Sr, grmy

PLATO LIGHTS THE STREETS

Client

City o Stuttgart, Germany

Lighting designers

Iris & Michael Podgorschek

podpod design, Vienna

Energy supplier interace

EnBW, Vienna

Custom solution manager

Damien Rolland

Philips Lighting, France

Speciers key account

Rene Siemer

Philips Germany, Hamburg

Stuttgart key account

Peter Zela


Outdoor market manager

Gerd Wiesemann


Light sources

LEDGINE 4000 K

Custom luminaires

PLATO I & II

Websites

www.podpod.at


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32 CuSTOMiSEd SOluTiONS iii

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By this means the body o the luminaires stays in place and the morefcient LEDs will save another 30% o energy. The customer canbenet rom the ast development in LED-technology.

Philips already has optical lenses suitable or putting in ront o theLED array. Because these luminaires will be suspended in the centreo the road, the lenses light distribution needs to be symmetrical.Pole-mounted luminaires, in contrast, need an asymmetric lightdistribution because o their situation on the edge o the pavement.Should any o these luminaires need to be mounted o centre, it wilbe possible simply to swap the symmetric lenses light distribution oan asymmetric one.

Beyond the area o the LEGDINE array, there is a border o rosted

glass, through which there will be some deliberate leakage o light.This, says, Podgorschek, is because he doesnt want street users texperience a violent contrast between the dark sky and the bright lio the LEDGINE and this approach will also reduce glare. He is alsoconsidering the possibility o using some coloured LEDs in this margThe luminaires need to be adjustable in both the vertical and thehorizontal plane. Horizontally, they need to be ully rotatable totake account o bends in the road. Vertically, it will be necessary tocompensate or cables that are at an angle. To allow this to happenthe designer has developed a ball and socket tting in associationwith Philips.

Podpod design was eager to develop a suspension xing that couldbe secured without special tools. This is a good goal, said Rolland

but unortunately it is not easible because o security regulations olarge extra investments. In this case, he says, our contribution is tobe a pain in the neck.

Nevertheless, podpod design is ull o praise or the ease o workingwith Philips and the technical support. This is not an easy project,because o the technical constraints and o the need to satisy notonly the immediate client but also potential clients in other citiesand countries. By the time PLATO launches commercially, probablytowards the end o this year, it will have a new name and haveundergone rigorous prototyping and testing. Philips expertise willensure that it is unctionally appropriate and reliable. The collaboratwith Podpod means it should also be a new design classic.


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By i hrb

For more than eleven years the town o Alingss in Sweden has hosted thePLDA workshop. Every September six proessional lighting designers romaround the world are invited here to head a workshop team.

Lights in

Alingss


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36 WORKSHOp

To provide practical training as a back-upto theoretical university courses, Kai Piippo,a lighting designer rom Stockholm, stageda small-scale practical workshop in Alingssin 1998 with 22 students rom GothenburgUniversity. Kai was introduced to Alingssby PLDA (Proessional Lighting DesignersAssociation) colleague Torbjrn Eliasson,who lives in the town.

Pippo then went on to develop the workshopwith Alison Ritter and Joachim Ritter in 1999,and this led to the rst one-week practicallighting workshop in Alingss in 2000.Since that year, six experienced internationallighting designers have been invited annuallyto head a workshop team, guiding participantsthrough the complete lighting design process,starting with the analysis o the site,development o the lighting design conceptand nally the installation o lighting equipment.The workshops are an excellent opportunityor the promotion o the proession since they

raise awareness o the value o designedlighting at local-government level and amongthe residents and visitors to the host city.

The PLDA workshop ormat is built arounda ve-day training programme, whichincludes an accompanying conerence ona topic related to the theme o the workshop.There are other speakers in addition to theheads o the workshop, and this gives theman opportunity to share their approachesand design philosophies with the audience.At the end o the conerence, the workshopparticipants are asked to present the

concepts they have developed duringthe week.

Education, education!Participants enjoy learning rom anexperienced lighting designer and workingon a real-lie situation. They are predominantlyyoung designers studying lighting design,

architecture or related proessions, but alsoinclude qualied lighting designers, architectsand landscape architects and sometimesurban planners.

The client group (the town, electricalsuppliers and the partners o the workshop)learns about alternative lighting solutionsor architectural projects in the urban

nightscape and has an opportunity to inviterepresentatives rom other towns and citiesto visit the lighting installations.

Some o the workshop heads alreadyhave teaching experience, some run anofce team, and some have never workedwith a team beore. One way or another,the workshop situation provides excellentleadership/teacher training. The workshophead is not only expected to communicatelighting content, but also to be aware o groupdynamics and discussion management, andto address the human elements that arise

during intense phases o work.

The lighting schemes that are developedduring the workshop week are temporaryinstallations. Residents and visitors experiencealternative lighting solutions and learn aboutthe possible ways in which light can enhanceurban nightscapes and improve their social lie.

The workshops are supported by the PLDAcircle o sponsors, additional manuacturersand partners who sponsor the event. Thegenerous supply o equipment oers theparticipants the opportunity to work and

experiment with cutting-edge technologies,programming systems, state-o-the-artxtures and colour lters. Manuacturersdonating DMX-controlled equipmentalso provide technical support during theworkshop. Trained technicians rom thecompanies support the groups with theprogramming o the desired sequence.

Lights in Alingss has embarked on a newera. In addition to the one-week workshopevery autumn, VIA Publishing will be oerinurther educational events, seminars andcourses in the eld o lighting, as well associal events.

In particular the upcoming advancedseminars and master classes or

proessionals will contribute towardsdeveloping Alingss as a centre or lightingProessionals, young designers and studenwill visit the city to undergo structured skillsenhancement and continue to acquireknow-how to ensure all-round competencein lighting design, daylight design, light andhealth, leadership qualities, and much mor

The town o Alingss has benetedimmensely rom the lighting workshop overthe past years. Residents enjoy the lightingschemes and are proud to show o theirtown to amily, riends, visitors and guests.

It is good or businesses here, becauseit brings additional people to Alingsswho shop and go or a coee, saysMonica Fageiberg in a lm by theMedieprogrammet 2009 Alstrmergymnas(Daniel Svensson, Filip Njd, RebeckaOlosson, Maria Wallmann, Mimoza BeristaAnnaMaria Kar levid).

I think that Lights in Alingss is antastic.I just eel so happy when the whole townis crowded with people and ull o lie andactivity everywhere, says a resident o

Alingss in a lm by Patrik Gunnar Helin orLights in Alingss 2009.

In 2011, the workshop groups will again beheaded by proessional lighting designers.Their names wil l be announced soon.

Project/year

Cathedral o Light, Lights in Alingss 2006

Workshop Head

Paul Gregory, PLDA/USA

Inormation website

www.via-verlag.com/events

2011 Registration

www.lightsinalingsas.com


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WORKSHOp

The lighting schemes that are developed during the workshop week are temporary installations. Residents and visitors experience alternative lighting solutions and

learn how to improve their social lie.

Top: Project: The underpass (2010), Workshop Head: Karen van Creveld, PLDA/UK

Middle: Project: The canal and bridges (2010), Workshop Head: Deike Canzler/S

Bottom: Project: The playground (2010), Workshop Head: Malcolm Innes, PLDA/UK


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38 CONCEpT CORNER

Estimating the actual size o a light patch (a) rom a oodlight at agiven distance is difcult. The typical denition o beam spread reerto the hal-intensity, indicated in intensity diagrams (b). This means tspread o the beam within which the intensity is more than 50% o t

maximum value. The related beam width does not correspond to thsize o the lit area on the surace but merely to the theoretical angle the beam. Estimating the true width o the beam can be done basedon the visual beam angle (VBA).

Visual beam angle = strongest gradient o lightThis value can be read rom the graphs shown here. The rst curve(c) is an illuminance distribution, at a given distance, derived rom thphotometrical data o a oodlight. The one below (d) gives the derivechange in illuminance gradient, rom which the visual beam size caneasily be deduced. The steeper the gradient in the illuminance curvethe higher the peak in the second curve. This peak corresponds tothe most strongly perceivable brightness dierence and thus to thevisual beam.

The visual beam angle cannot be read directly rom an intensitycurve. For this reason, these values are calculated by using dedicatesotware developed or lighting.

By Natacha Lameyre, Christian Ferouelle,

Jasmine van der Pol

What is the size o the spot on my wall?

At what distance should I put the product?

Which beam angle should I choose? These

are questions we may ask ourselves when

making a lighting proposal.

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Modelling with light


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CONCEpT CORNER

SETTING 1

Lighting a sculpture requires us to know the size o the light patch thatwill be applied to it. In this way, the light will ocus on the object to belit. The visual beam angle should be adapted to the desired eect oeither accentuation or diuse lighting.

SETTING 2

Two oodlights are used: one to create a sot eect over the wholestatue, and the second to highlight a specic element such as theront. The angle between the two luminaire locations depends mainon the shape o the statue.

is:

B sds bjc

Qy:

tw ds

efc:

Bcd

Modelling with light

A combination o beams is useto balance the scene: a narrowbeam highlights the interestingpart and a wide beam underlinthe volume.

Distance

D1

= 1.5m

D2

= 3m

H = 3m

Luminaires eW Burst 14 and 23

eW Burs

14

eW Burs

23

Diamete

visual sp

Diamete

visual sp

is:

i r bjc

Qy:

o d

efc:

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Diuse light

A wide beam creates a sot anduniorm wash o light. The lightcovers the complete object

and increases its readability.The image is attened due tothe positioning o the luminaireand the width o the beam.

Distance

D = 3m

H = 3m

Luminaire eW Burst 23

Accent lighting

A narrow beam placed closeby produces a strong accent.The illuminated area dependson the visual beam angle andthus on the lens choice. It canalso be used at a bigger distanceto soten the eect.

Distance

D = 1.5m

H = 3m

Luminaire eW Burst 14

Visual beam width

Diameters o the visual patchat a distance D are given inthe diagrams on the right.

The visual beam angle is 28 orthe eW Burst with the 14 lensand 44 or the eW Burst withthe 23 one. The maximumilluminance Emax is given onthe right-hand scale. However,the average illuminance over thevisual spot can be calculatedor a better appreciation o thegradient o light over the lit area.


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SHOWROOM

By Maria Carolina Wichert

The road-lighting application area in thePhilips Outdoor Lighting Application Centrein Lyon, France - OLAC - has recently beenupdated with new products and concepts,including an observation room that givesvisitors the eeling o being in the drivers seat.Particular attention has been given to the

ast growth and penetration o LED systems.Luminaires using the latest technology,such as SpeedStar and CitySoul, have beenintroduced, and LED technology is used inmore than 70% o the road scenes. With LEDproducts now being designed specicallyor this application, we can now have roadlighting that is sae, exible and sustainable.

LED road solutions come in three colourtemperatures: warm white, neutral whiteand cool white and at OLAC visitors canexperience or themselves the dierencesbetween them. In dierent scenes, visitors

can enjoy the comortable atmospherecreated by the warm white 3000K source.I the neutral white solution (4000K) ischosen, perormance and energy savingsare optimised, giving customers the bestTotal Cost o Ownership - TCO - inrenovations where the spacing o the polesis not changed. Visitors can also comparethese with the most economical system,which uses cool white LEDs (5600K).They provide a dierent atmosphere withlower initial costs o installation. The choiceo LED sources will then be based not onlyon the energy consumption but also on the

preerred atmosphere created by a speciccolour temperature and by the budgets ocustomers. Preerences vary greatly betwecultures and countries.

The potential savings o up to 60% in poweconsumption, when comparing these newLED solutions to outdated sources, suchas mercury lamps, is also demonstrated

at OLAC. All Philips LED road lightingluminaires are now upgradeable. This meathat the LEDGINE can be updated ater aperiod o 5 to 7 years on-site, in the samestraightorward way that a lamp is changedtoday. This should be a major actor inhelping cities achieve their ambitions orenergy efciency over the next 20 years.

Please contact your Philips

representative i you want to visit OLA

We will be delighted to welcome you.

Lighting solutions

Corinne Lac, Christian Ferouelle

Philips Lighting

Electrical installation

Ernesto Dias, Sbastien Villemont

Philips France

Light sources

Philips LEDGINE

Luminaires

Philips SpeedStar, Philips CitySoul

LED, Philips DecoScene LED

Lighting controls

Philips DynaDimmer, Philips

StarSense

Outdooratmospheres


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retail ashionOpen dialogue on

By Nina Rosenthal

The retail industry and its brands are constantly reinventing

themselves. Creating strong brands and experiences is essen-

tial in order to have a positive impact on shoppers, who are

becoming ever more demanding. They expect something newand surprising each time they go shopping. They are looking

or engagement and they want to be addressed individually.

How will shopping look in a ew years? Howcan retailers increase revenues, and howshould they design their stores? How willshoppers interact with brands? How willthe rise in smart shopping and social mediachange retail? The virtual world will be anincreasingly serious uture competitor whichwill make the store even more important asthe only personal point o contact with the

brand. The retail sector is already eeling theimpact o virtual and smart shopping andthe retail lighting industry is also undergoing

a remarkable transormation. Conventionallighting is becoming obsolete and LEDlighting is taking over, with many newpossibilities thanks to its tremendous exiband better perormance.

The need to understand the new market,retail trends and the individual shopper isdriving innovation at Philips. In order to des

the right solutions, it is crucial that we haveproound understanding o retail. In the eldo ashion, we aim to do this partly by work


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bluE SKy THiNKiNG

with an expert retail panel to create a vision oashion retailing that can evolve over time. Inorder to understand new cultural trends andnew store ormats, we are working closelywith trend-watchers, architects, lighting

designers and retailers. Joint innovation willbe the driving orce that will enable us toexplore the new possibilities that LEDs canoer. We also want to cooperate with industrypartners such as ceiling manuacturers, theooring industry, and coating companies.

This dialogue started with a global workshopseries called Open dialogue on FashionRetail. Philips organised workshops in HongKong, New York and London, at which anexpert panel o international architects andlighting designers was invited to discuss thetrends and challenges or the retail business

o the uture. With the new possibilities oLEDs in mind, the role o light was denedby addressing the ollowing questions:

How can lighting supportengagement with the shopper?How can light help to personalisethe shopping experience? How canlighting provide service? Which are

the right tools to enable the brandexperience to start on the street? How canthe world o online shopping be interwovenwith the real world to orm a single entity?

The design challenge o the uture will be tocreate a changeable, multi-unctional spacethat transorms the store interior into a uniquestage or encountering and experiencing thebrand. The visionary results o this expertpanel already show that LED technology inthe ashion retail sector has an extremelypromising uture. The ollowing pages showsome o the concepts developed during

these workshops.


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44 bluE SKy THiNKiNG

Reinvent the brand

Lighting ceilings, walls and oors couldcreate specic pre-programmed moodsor dierent occasions. Consumers

would re-experience the store and beattracted by new colour ambiences that

would coincide with dierent culturalsettings or special occasions suchas the winter or summer sales. The

ully controllable lighting system wouldcreate a tailor-made environment that

could be adjusted easily.

Moods - adaptable lightingThe wellbeing o consumers depends on many

actors that change according to the time o day.With dynamic lighting moods, the store interior

can stimulate natural biorhythms. The adaptablecolours o LED panels in the ceiling and walls

are controlled by sotware that creates dierent

moods at dierent times. In order to createa healthy ambience, the colours and atmosphere

change rom morning to aternoon and againinto the evening.

Shoppers expect

something newand surprisingeach time theygo shopping

Seasonal conceptsTo create the right context or ashion, the

shop interior reects dierent seasonalatmospheres. So or the summer collections,

dynamic lighting projections on the walls

and the ceiling could simulate beach lie withbrilliant sunshine, whereas or the winter

collections the system could create a coolambience that includes wind and snow.

Bring the weather insideImagine a thunderstorm or a

sunny day - each kind o weathercorresponds to a dierent

ashion collection. A computer-aided lighting system couldsimulate those meteorologicalconditions, so that the ceiling

and the walls o the store changeaccordingly. The interior would

reinorce the eect o a particularashion collection with matching

weather simulations.


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Discovery lightingTemporary special lighting or single shelves wouldarouse consumers curiosity and interactive lightingsystems would enhance the shopping adventure.These special lighting controls could turn the shopinterior into a place o discovery.

How canlighting supportengagement with

the shopper?

Augmented-reality shop windowWhat about awakening consumers curiosity whenthe store is closed? When they stand outside thewindow, an integrated touch screen would enablethem to highlight individual areas o the interiorcreating a virtual store experience. Augmented-realityshop windows would expand the consumers brandexperience ater hours.

Rating displayComputer-aided LED displays wouldprovide real-time eedback on thepopularity o individual ashion items,revealing the number sold. Displayedalongside temporary special oers, thiswould expand the customers choice:Should I buy the less popular or the

more popular shirt, or the one beingsold at a special price?

Individual shop guidanceOnline and real shops would combine to providecoherent individual experiences: a smartphoneapp will guide consumers through the shop. Theywould nd their chosen items easily by ollowing

the guiding LED lines, integrated into the oorand activated individually. The system would setup a continuously updated dialogue to mergeonline and real-time experience through smarttechnologies and LEDs.


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GAllERy

Spanish

lightingdesignculture

Pz d trc, tr, Sp

arcc: b720 arqcs

l ds: Mrc gs, arc3

By Esther Torell

A group o designers rom dierent

backgrounds have used their experience

both within Spain and overseas to inuse

lighting design in Spain with the creativity

that was previously lacking. The results o

their eorts can be seen in exciting projects

rom around the country.

Just over a a decade ago, a group o young entrepreneurs decided

to revolutionise the conventional approach to lighting projects in Spawhich had hitherto been the sphere o engineers, manuacturers andistributors. Inspired by the innite possibilities on oer i creativedesign techniques were to be applied to light in architectural spacesand red by the boom in construction, they put their eorts intodeveloping a vision ocused more on enhancing visual, emotionaland comort aspects. They are achieving their objective by dint oeort, motivation and an intensive promotional campaign amongSpains architects.

Maurici Gins has stood out and is a key player in establishingthe proession. Back in 1990, walking along Barcelonas streets,it occurred to me that the vast majority o public realm had poorquality lighting, some o it dazzlingly bright ocal points, and either

an excess or absence o light., he tells us, when describing howhe started out. Intent on changing the role o light, he decamped toArgentina to broaden the training he had acquired as a commercialelectrical appliance technician and to gain sufcient experience beoreturning to Spain to set up his own consultancy. I came back withthe intention o establishing the proession, o continuing to learnthrough experimentation, and by continuously presenting lighting asa creative, communicative element, not just something unctional,and as an aspect o design capable o coexisting alongside newtechnologies, Gins explains. His endeavours have been rewardedwith international recognition or projects by his design studio artec3including IALD awards or his lighting projects or the Plaza del Ovaland in the Plaza del Torico, in Teruel, at the Torre del Agua in Zaragoand or the acade o the Barcelona Roca Gallery building.


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48 GAllERy

h W Brc, Brc

arcc: Rcrd B, tr d arqcrl ds: Br Wr, BMlD

expsc Dmks tkps, 1900,

e grc, Mxc CyScrpr: oMB Ds grc

l ds: R g y lr ebz

C o r t e s a d e S t a r w o o d H o t e l a n d R e s o r t s

F

rdricFraeys/OMBDiseoGrfco

Birgit Walter was working as an interior designer in an architectsstudio when she discovered the importance o natural light. Shewas seduced by the subject and decided to sign up or the trainingprogramme at Parsons University in New York. While I was studyinI did work placements or various rms beore I was taken on atHorton Lees Lighting Design, and then at Brandston Partnership,where I stayed or nearly ve years, she recalls. Later, missing

the Mediterranean light, she returned to Barcelona to set up herown studio, BM Lighting Design, and has since collaborated withsuch amous architects as Ricardo Boll, Enric Miralles, BenedettaTagliabue and Oscar Tusquets. My time in New York has denitelyinuenced me proessionally in the way in which I run the studioand set up projects, Walter said. BMLD combines efciency andknow-how rom the U.S. with the European creativity I get rom mycultural baggage, which is a mix o German and Spanish culture.

Antn Amann, Proessor o Architecture at Navarra University,came rom a dierent background - that o education. Light, as aphenomenon, is something that all architects are passionate about,he said. However, as a proession we are sadly lacking in knowledgo this area as its not a discipline taught at university.. In conjunctio

with the academic side o the discipline, he is working intensively ouo his architectural lighting design studio, to which he has imparteda clear-sighted architectural and technical ocus: We dont wantto ocus on projects simply rom an artistic standpoint, like otherproessional colleagues might do, he explained. Our objective is oour work to be integrated into architecture.

Lighting enables me to express mysel ully, Raael Gallego, theourth member o this pioneering group, tells me when speaking aba proession that is also his passion. A passion demands creativity,a high level o technical knowledge, risk and the desire to learn, andhe devotes all his time and energy to just that. His designs seeka balance between the physical and the biological properties o lighand the creative and visual aspects o light, evoking an emotional


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Ps d o d srrds, tr, Sp

arcc: Dd Cpprd arccs d b720 arqcs

l ds: Mrc gs / rc3


50/56

50 GAllERy

Jyr D, Pmp, Sp

arcc: v & irry

l ds: a am, alS

J M

C u t i l l a s

response in users: Light is a language that connects peopleseelings, he explained. In 2004, together with a partner, he set upMadrids rst independent lighting-design studio and is currently sodirector o Aureolighting.

The proession is indeed expanding, and it is receiving ever morerecognition. Increasing social awareness o the need to reduce eneconsumption has encouraged these lighting designers to becomepart o the architectural process as proessionals capable o creatin

inspiring, emotional environments in a sustainable and responsibleway. The eorts o these pioneers and also o Ignacio Valero, thedriving orce behind the Masters degree in architectural lightingat Madrids Polytechnic University (MASTERDIA), Carlos Sierraand Alred Sa have culminated in APDI - the Proessional LightingDesigners Association. The Associations 30 members are now animportant group. Through its work and involvement in educationand training, APDI is successully generating a higher prole or lightin Spain, a country that, perhaps owing to its ever-abundant andexcellent natural light, so ull o rich and intense colours and strongcontrasts o light and shade, has been less aware than others o thebenecial eects o good articial lighting on peoples physical andemotional well-being.

Maurici Gins

www.rc3.cm

Birgit Walter

www.bmd.s

Antn Amann

www.s.cm

Raael Gallego

www.r.cm

APDI

Sps Prss

l Dsrs assc

www.-pd.r


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GAllERy

h W Brc, Brc, Sp

arcc: Rcrd B / tr d arqcr

l ds: Br Wr / BMlD


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ard

in&Mazzoli

52 pROJECTS ONliNE

The Direzionale Homes centre going upon the edge o an industrial area at the ooto the Pieve di Soligo hills, ty kilometres

rom Venice, brings together ve companiesin the property sector. The building, designedby architect Mario Mazzer, comprises twoparallelepipeds that intersect in a non-orthogonal manner. The character o theproject comes rom the texture o aluminium,overlaid on the acades in a pattern ointerconnecting extrusions.

Client

hoMeS S.p.a.

Architect

Mr Mzzr

Lighting design

Sd eta pr

Amsterdams Heineken The City is a uniquestore which allows visitors to do everythingrom booking tickets or events, to buying

exclusive clothing, to designing their ownbeer bottles. The LED lighting design useslower lighting levels in combination withcooler light to underline Heinekens ice-related image.

Client

ovg Prjc

Architect

Frk tjpkm tjp

Interior production

t lm, erc Sm tms hypss

In 2010, the 25,000 m2 Nuestra Seora deFtima hospital in Vigo, Spain implementeda reurbishment programme or its wards,

including new lighting. In the clinical areas specially-designed bed-head unit with Celiluminaires and Zadora LEDs meets bothclinical and patient needs. Rotaris recessedand suspended circular luminaires inthe waiting rooms areas create a warm,riendly and calming atmosphere. Ofcesand administrative areas are equippedwith state-o-the-art low-glare, high-efciency luminaires.

Client

hsp nsr Sr d Fm,

Architect

icds

Complesso Homesofce complex,Pieve di Soligo, Italy

Heineken Brandstore, Amsterdam,The Netherlands

Hospital NuestraSeora de Ftima,Spain


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ewberySmith

pROJECTS ONliNE

Sunset mixeddevelopment,Dubai, UAE

Radiohead tour,multiple locations

Hotel Renaissance,Amsterdam,The Netherlands

Halway between Dubai city centre andthe Palm Jumeirah islands, the Sunsetmixed development combines a shopping

centre, commercial ofces and residentialapartments. The crown o the glazedshopping mall is uplit with blue LEDline LEDlighting, which is designed to complementthe interior lighting, visible rom outside.Above the main entrance hall, the corniceis highlighted with two lines o iColorAccent Powercore.

Client

DiP (Db ism Prprs)

Architect

abd Mm

arkkk ir Cs ers

Lighting design

Jms Pr, Mry Rs-Bsl Ds hs

British rock band Radiohead is alwayslooking or ways to reduce the carbonemissions associated with touring. It comes

as no surprise, thereore, that it chose LEDtechnology or its lighting.

Lighting solution

arcm

up l

Spcz d

The reurbished Renaissance AmsterdamHotel in the city centre is connected to theunique 17th century Koepelkerk Church, wh

can host events or up to 700 attendees.The church, a protected monument, hasbeen equipped with a dynamic RGB PhilipsLighting installation that gives customersthe opportunity to tailor their events.Lighting designer Livingprojects was notallowed to drill any holes in the abric, so itused its proprietary non-aggressive pasteto x lighting xtures and cabling.

Client

Rssc h

Lighting design

lprjcs

There are many examples o how light can enhance peoples lives. Here we

have selected six projects rom across the globe, ranging rom the sets or

a rock concert to a hospital. To read more about these and other projects,

please go to our website http://www.lighting.philips.com/main/projects


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54 SpOTliGHT

Twenty BuildingsEvery Architect ShouldUnderstand

Author: Simon UnwinPublisher: Routledge; 1st edition(1 Mar 2010)ISBN-13: 978-0415552516

240 pages, duotone illustrations,hardcoverLanguage: English

Have you ever wondered howthe ideas behind the worldsgreatest architectural designscame about? What process doesan architect go through to designbuildings which become world-renowned or their excellence?This book reveals the secretsbehind these buildings.The author asks you to read

the bui

Documents

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