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E Lichtbericht 87

Published in December 2008

New York Times Building

Amongst the skyscrapers of Man-hattan, the office block of The New

York Times Newspaper is a 21st

century archetypal beacon in theworld of high rise development.

Transparent and bright, filigreeand light, technically innovative.

The lighting of the 250 metre highcurtain facade, made of white

ceramic tubes, transforms at night

the entire building into a shimmer-

ing New York landmark. Thanks to

modern lighting technology theskyscraper uses less power than it

takes to light the observatory at the

top of the Empire State Building.


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ERCO Lichtbericht 87 1

The New York Times joined with architectRenzo Piano to build a new domicile for itselfand another impressive landmark for the cityof New York. Its nocturnal appearance was toset high standards: lightness and transparencyare the leitmotif that runs throughout thedesign. This notion was transformed into lightby Jean Sundin and E nrique Peiniger of OVI,who used our lighting tools for the facade. Notan easy task in a project as complex as this, buttheir efforts were well worth it.

The new Powercast projector is just one suchtool that creates striking effects on a f acade

at night. Provided with cutting-edge Spherolitreflector technology, it is designed for a widerange of applications and as many lighting solu-tions. In LED version, its lens system, consistingof a specially developed collimator and a furtherlens plane for different light distribution charac-teristics, ensures optimal lighting control.

The main focus of this issue, however, is onthe possibilities of modern lighting control.

Various case studies introduce different appli-cations of Light System DALI. Whether lightingcontrol is used as easily and efficiently as by theresidents of a Mnsterland estate to create theright atmosphere, or applied at the entrance ofthe Emden Art Hall to produce a striking effect,the applications are virtually boundless.

Scenographic lighting effects turn the win-dow display of the LPP Reserved Shop in War-saw into an extraordinary eye-catcher. Dynamicdimming progressions change the plasticity ofthe mannequins such that they all but come tolife. The whole scenario is, of course, controlledusing Light System DALI.

Light and liturgy have always been closelyconnected. When carefully planned, a lightingsystem ensures that liturgy has a place even inmodern religious services and is augmented

by an appropriate dramaturgy of light. Onceneatly composed with appropriate light scenesand sequences that factor in the atmosphere,emphasis and spatial perception, the sceno-graphic concept is implemented on site, requir-ing great skill and finesse to produce the righteffect.

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

1028726000 2008 ERCO

Photographs (Page):Frieder Blickle (U1, 2, 6-15), Bernd Hoff (2, 3),Alexandra Lechner (2), Thomas Mayer (2, 3, 4-5, 24,26-27, 34-37, U4), Rudi Meisel (3, 28-29, 32-33),Alexander Ring (20-21), Dirk Vogel (30-31), EdgarZippel (1, 3).

Translation: Lanzillotta Translations, Dsseldorf

Tim Henrik Maack

Background

Prof. Dr. Markus Gehnen:Tune the light!From the first potentiometer dimmersto todays bus systems it has been along journey and the end of this devel-opment is still not in sight: a review ofthe progress of lighting control fromthe perspective of an expert in buildingtechnology.

Projects

20

24

25

DALI is also very much present, this time f orour own benefit within our new showrooms inOslo and Milan. If this has excited your curiosityabout lighting control for scenographic pur-poses, to save energy, or for pure convenience,why not come and visit us!

New Products 2009Powercast projectors and floodlightsLight System DALI

FocusLighting control systems with digitalinputs

Double focus

Lighting control systems with analogueinputs

Introduction

Report

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26

28

30

32

34

Light System DALIApplications

Mnsterland estateMise en scene with DALI

Emden Art HallNocturnal delight with DALI

Central Garage car museum,Bad Homburgtune the light with DALI

LPP Reserved Shop, WarsawDALI scenography for shop windows

St. Peters Church, StavangerLiturgy of light with DALI

About this issue

Keylights

Bright prospects

1

2

4

New York Times Building

Manhattan gains another nocturnallandmark in the form of a new sky-scraper, built for the well-establishednewspaper and featuring an illumi-nated facade. Architectural historianand lighting journalist Margaret Mailereports for us from New York.

Let the lighting technology decideMargaret Maile interviews Jean Sundinand Enrique Peiniger in OVIs offices

6

12

36 BacklightsNew ERCO showrooms in Oslo andMilan

Contents About this issue

Light & Technology


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ERCO Lichtbericht 87 ERCO Lichtbericht 87 3

eylights

Sandnes (Norway)As part of the regional museumof Sandnes near Stavanger, the

Vitenfabrikken is an interactivemuseum dedicated to the myster-ies of science and technology.Cutting-edge technology, however,also applies to its lighting design,from Focalflood facade luminairesin LED varychrome version to thecomprehensive Light System DALI.

Vitenfabrikken, SandnesArchitect: Askim & Lantto AS, OsloElectrical design: Cowi AS, Stavangerwww.jaermuseet.no/vitenfabrikken

Glashtte (Saxony)Precision horology matches preci-sion lighting. The venerable chrono-meter brand Tutima has returnedto Glashtte, where it was estab-lished in 1930. Its new domicile isthe former railway maintenancebuilding that was gutted and givena modern look with illumination,both inside and out, using lightingtools from ERCO.

Tutima watch and clock makingfactory, GlashtteArchitect: Kai Strehl Architekten,Dachsbergwww.tutima.com

Spreitenbach near ZurichAn eye-catcher en route to theCenter Spreitenbach, a large shop-ping mall. The new connectingbridge between the existing struc-ture and the extension was devisedby the architect and designer

Matteo Thun, who opted for col-oured light. The tools: Focalfloodvarychrome floodlights with DALIcontrol gear.

Center Spreitenbach,Spreitenbach near ZurichLighting design: Matteo Thunwww.centerspreitenbach.ch

Alaqus near ValenciaA small medieval castle becomesa place of culture and learning,contributing to and improving thelocal identity of the little town ofAlaqus outside Valencia. Trionceiling washlights illuminate themagnificent coffered ceiling, whileCylinder facade luminaires provideatmospheric lighting for the stair-case.

Espacio cultural Castell d'Alaqus,ValenciaLighting designer: Claude R. Engle(USA), Lighting Consultanthttp://castell.alaquas.org

Erice (Sicily)Stella spotlights and Trion uplightsfor metal halide lamps illuminatethe vault of the San Martino churchin an attractive and economicalfashion. Yet another reason for thetourist in Sicily to make a trip tothis little town with its ancientroots and medieval monuments.

Chiesa San Martino, Erice (Sicily)Lighting design: Adragna Illumina-zione, Alcamo

Kaltern (South Tyrol)The famous wine-growing regionon Lake Kaltern has a contempo-rary image with modern architec-ture. The new Winecenter offersformidable facilities for wine sell-ing and tasting, all presented in the

light of Optec spotlights, Quadrarecessed directional luminaires,Lightcast wallwashers and floorwashlights.

Winecenter KalternArchitect: feld72 Architekten,

Viennawww.winecenter.it

MunichThe Terminus Gallery features allthe big names of contemporaryart, from Baselitz to Warhol, fromKiefer to Uecker. We give art roomto breathe, as the gallery ownersdescribe their space concept. Theexhibitions presented on Parade-platz 1 in the heart of the Bavarianmetropolis have a format, designand technical equipment thatmatch the standard of a museum.The light is provided by ERCO:Optec spotlights and wallwasherson flush-mounted ceiling tracks,combined with Quadra wallwashersfor low-voltage halogen lamps.

Terminus Gallery, Munich.Architect: mocar architects,MunichLighting design: Licht & TechnikJrgen Ludwig, Munichwww.galerie-terminus.de

BerlinIn 1963, John F. Kennedy wonthe heart of Germany by declar-ing, Ich bin ein Berliner (I am aBerliner). The German capital hasnow dedicated a small museumlocated on Pariser Platz entirely tothis influential family, displaying awide range of pictures and docu-ments from the Kennedy collectionof the Camera Work Gallery. Thebright, elegant exhibition roomsare illuminated by lighting toolsfrom ERCO, including Quadra lenswallwashers.

Kennedy Museum The Kennedys,BerlinArchitect: Abcarius & Burns, Berlinwww.thekennedys.de

Glashtte (Saxony)Following a big revival of Saxonwatch and clock making in Glas-htte, the tradition has once againfound its proper place here. The newwatch and clock museum describesthe towns changing industrial his-tory in the Erzgebirge region by theuse of contemporary means. Polluxlow-voltage spotlights put theexhibits in the right light.

Watch and clock museum, GlashtteExhibition/lighting design:Atelier Brckner, Stuttgartwww.uhrenmuseum-glashuette.com

BarcelonaThe sister bar and restaurantof the eponymous Brasserie inParis captivates with an authenticambience, offering typical cuisinefocusing on seafood. Dimmedbulbs in original chandeliers hang-ing from unaltered beams providethe right atmosphere the actuallight comes from inconspicuouslymounted Pollux spotlights for low-voltage halogen lamps.

Brasserie Fl, BarcelonaArchitect and lighting designer:Carlos Martnezwww.brasserieflobarcelona.com

Kaohsiung, TaiwanA truly international feel to thisfascinating work of public art. TheAmerican artist Lutz Haufschildcommissioned lighting designerArne Fiedler from Wiesbaden toilluminate his wall relief consistingof thousands of precisely shapedand laminated strips of glass. Fiedleropted for Light System DALI andOptec LED varychrome spotlightsto ensure dynamic backlighting forthe relief and making the wholework come to life.

Emerald Laminata, glass art at

Rapid Transit Station Kaohsiung,TaiwanArchitect: Charles C. ChenArchitects, Kaohsiung, TaiwanLighting design: Made by Light,Arne Fiedler, WiesbadenArtist: Lutz Haufschild, North

Vancouver, BC


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right prospects Indre Kai, Haugesund (Norway)Photo: Thomas Mayer, Neusswww.haugesund.no

Architect: Smedsvig Landskapsarkitekter AS, BergenElectrical design engineers: Multiconsult AS, Nesttun;Cowi AS, HaugesundInstallation engineers: Jatec AS, Haugesund


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As with many OVI

projects, exacting tech-nical performance is afundamental part of thelighting program of theNew York Times Building.

y in the 20th century, New York City setstandard for the modern metropolis withoaring skyscrapers and luminous skyline.he opening of the 21st century the citywitnessed a renaissance in tall buildinggn, with none more remarkable than The York Times Building designed by Renzoo Building Workshop/Fx Fowle and withting design by Jean Sundin and Enriqueiger of the Office for Visual Interaction). This monolithic tower of quiet beautyscends the frenetic energy of Times Squarepresents a technologically innovative, yet

eless icon for The New York Times and theitself.

hting concept exteriorzo Piano has said, The story of this build-s one of lightness a nd transparency andnotion of transparency and light runsughout the design of the New York Timesding from the ultra clear, low-iron glassceramic rods that compose the double-skinain wall to the carefully cal ibrated flood-ting that gives a delicate, warm glow to therior while allowing visual connection with

buildings interiors.t OVI, concept, innovation and technologyays work in tandem, therefore it is not sur-ng that OVIs remarkable lighting programhe exterior of the New York Times Buildingan with the concept of lightness as well asrequirements of properly and efficiently

minating the towers pioneering ceramicens the first of their kind in the Unitedes. According to Sundin, the setting outt for the exterior was the screens. With

goal of articulating the soaring, lace-likeity of the screens, OVI developed a schemere the floodlighting could be achieved

a single series of luminaires and a singlep type. ERCO fixtures equipped with 250Wal Halide lamps with an Fc2 base wereed with varying optical reflector systemseate the desired wallwash effect for there 260-meter elevation of the east andt facades. Narrow beam optics aimed totop of the building provide a long throw oft, while narrow beams with spread lenses

minate mid-levels and wide floods cast lighthe base of the building. OVI chose metalde lamps for their exceptionally long life of00hrs+ and specified a warm, neutral white0K color temperature to complement thedings signature off-white ceramic screens.ith many OVI projects, exacting technicalormance is a fundamental part of the New

k Times Buildings lighting program. For they calibrated floodlighting, luminaires with

For the finely calibratedfloodlighting, luminaireswith locking mechanismsallow the necessaryprecision adjustments;while the optical designand the integrated glarecontrol minimize the spilllight and the lightingpollution of the night sky.

New York Times BuildingManhattan gains another nocturnallandmark in the form of a new skyscraper,built for the well-established newspaperand featuring an illuminated facade.Architectural historian and lighting jour-nalist Margaret Maile reports for us fromNew York.

Dizzy heights: it is onlywhen peering down fromthe roof of the New YorkTimes Building into theurban canyons of Man-hattan over 260 metersbelow that the luminairesclustered on the roof ofthe ground floor buildingcome into view.

The cantilevers formounting the lumi-naires are spaced to takeup the rhythm of thefacade. The luminairesare painted in taxicabyellow in response tothe lighting regulationsthat apply in and aroundTimes Square more onthis on page 14.

The architect: Renzo PianoOften working together with designers suchas Richard Rogers and Peter Rice, Piano has

created key monuments of architecture andcivil engineering all around the globe. Hishead office named Renzo Piano BuildingWorkshop is still based in his hometownof Genoa to this day; plus he has branchesin Paris and project site offices throughoutthe world. In over 40 successful years inhis profession, he has not left any leaf ofarchitecture typology unturned. A host ofarchitectural prizes pay tribute to his specialblend of art, architecture and engineeringacumen, which always seeks to integratenature and social aspects. There is nothingthat can be described as typically RenzoPiano, but always a surprisingly new designborn out of the buildings function, theuser requirements and the constraints ofthe climate and energy resources. His forte

is tricky urban-development tasks such asthe reconstruction and redevelopment ofPotsdam Square in Berlin. The name Renzo

Piano is synonymous not only with func-tioning museums and cultural buildings,but also with overcoming the challenges ofutilitarian architecture, such as road-trafficinfrastructure and industrial plants. Teach-ing and further education are permanentlyanchored in Renzo Pianos business philoso-phy, while ecological engineering is takingon an ever-increasing place in his designs.These strands of exhibition, ecological oasis,training center and research institute allcome together in the worlds greenestnatural science museum: the CaliforniaAcademy of Sciences in San Francisco.

www.rpbw.com

locking mechanisms allowed the necessaryprecision adjustments; while the optical designand integrated glare control minimize lightpollution in the night sky.


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Laser direction finderswere used to preciselyaim the luminaires ontothe facade. Aided by thegreen dot of light on thefacade (right), the instal-lation engineers wereable to locate and fix thecorrect angle of adjust-ment (below).

Computer simulationswere used in advance ofthe installation work todetermine the positionand aim of the luminairesthat would give the bestbrightness progression(left).

Focusing the outdoor lightingTo illuminate extraordinarily large buildingsor surfaces, you can simply use extraordinarilylarge luminaires and power outputs or youcan distribute the required luminous flux over arelatively large number of more compact lumi-naires. The latter not only has the advantagethat you can fall back on standard, more eco-nomical lamps and luminaires, but it also allowsa greater uniformity of lighting to be achieved albeit only if you succeed i n precisely aimingeach luminaire such that the individual beamsoptimally overlap.

The lighting designers at OVI have alreadyused this principle in many projects including,for instance, the plenary chamber of the Scot-tish Parliament and the US Air Force Memorial inArlington. In the latter case, to achieve exactlythe desired illuminance levels, OVI used lasersights for the first time, temporarily mountingthem to the luminaires during focusing. Simi-larly, to achieve the desired uniform brightnessprogression of 1:3 between base and pinnacle,the projectors on the New York Times Buildingwere also precisely aimed using lasers to map

out the computer-calculated design and thenlocked in position.


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draft


The lighting concept takesa differentiated approachto each functional zone as can be seen here atthe security checkpoint.Lightscoop ceiling wash-lights mounted on specialbrackets give an ideaof scale to the spaciouslobby.

obby wall displaysa art by Ben RubinMark Hansen. Theireable Type piecests of 560 text

ays which a com-computer programs supplied with newsents from the cur-online edition of theYork Times and thers digital archives.

Foyer and garden lighting conceptThe story of transparency and lightness contin-ues in the public areas of the ground floor of theNew York Times Building. OVI translated thesemetaphoric qualities into three-dimensionalspace by finely composing light levels to visuallyactivate and connect several distinct areas thelobby, the central glass-walled enclosed garden,and the multi-use space of TheTimesCenter.

Describing OVIs design process Sundin says,We are composing an entire view and the chal-lenging thing about that is, based on the trans-parency of this project, everywhere you lookyou have views. It has to l ook good from everyvantage point. The central glass-enclosedgarden played a central role in anchoring these

changing vistas and roaming perspectives,serving to guide the eye through the intercon-nected architectural volumes of the groundfloor.

In order to achieve such a finely balancedcomposition for the public spaces, OVI simul-taneously addressed both aesthetic goals andtechnical requirements. Recognizing the spe-cific light levels necessary for such program-matic elements as lobby circulation, security,retail areas, displays and more, OVI began bymapping out a lighting master plan to deter-mine how these needs could be fulfilled whilepreserving and even enhancing views into thegarden. Peiniger says, We were careful not tolet one element dominate. We considered thespace and views in terms of foreground, middleground and background. OVI was conscious ofhighlighting the garden as a focal point with-

out pushing the lighting to an extreme in eitherdirection. For example, too little light in theadjacent areas would create a tunnel eff ect.However, a blanket of same l ight everywhereaccording to Peiniger, would greatly underminethe uniqueness of each element.

Manhattan has a newand architecturallydiscerning facility withultramodern furnishingsand fittings in the formof TheTimesCenter withinthe ground floor of theskyscraper. It regularlyfunctions as a venue notonly for talk shows butalso for chamber con-certs and film shows.

From the precisionaiming of the uplightingof trees in the garden tothe subtlety integratedtheatrical lighting arrayin TheTimesCentersauditorium, close atten-tion was given to themost minute details andtechnical performance,illustrating OVIs com-mitment to providingnot only the best light-ing, but also the most

Beamer projectorsFacade and pathwaylighting

List of ERCOluminaires used

Lightscoop washlightsFacade and indirectlighting

Stella spotlightsTheTimesCenterauditorium

Optec wallwashersConference rooms

LED orientationluminairesAtrium

comprehensive integra-tion of aesthetics andtechnology.


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Whether on paper or onthe screen, intelligentdesign processes hold thekey to OVIs success asexperts in architecturallighting.

Margaret Maile (MM):What were your pri-mary concerns about designing the exteriorlighting program for a building in the heart ofTimes Square?

Jean Sundin (JS):Generating a culturallighting icon on the Manhattan skyline is a bigresponsibility and there is no second chance tomake it right. In addition, we had to balance aclassic timeless lighting design for the buildingwhile responding to the lighting criteria ofthe Times Square district in a time of energyawareness.

Enrique Peiniger (EP):Many buildings inTimes Square have flashing colored lights, LEDscreens, etc. That was not a design approachthat anyone wanted for this building, so we hadto creatively invent different ways of solvingthese kinds of problems in terms of l ighting, inaddition to illuminating the monolithic ceramicfacade screens.

MM:So you were not just looking to the pastor present context, but actually to the futurecontext of the New York Times Building?

Two stops down fromthe New York TimesBuilding the subwayreaches OVIs officeson 25th Street thebirthplace for light-ing concepts for proj-ects as varied as theScottish Parliament inEdinburgh and the USAir Force Memorial nearWashington.

Let the lighting technology decideMargaret Maile interviews Jean Sundin andEnrique Peiniger in OVIs offices

www.oviinc.com

ite inspection onoof platform of theYork Times Building,st at eye-level withmpire State Building,

onstrates the excep-l commitment fromrties that projects ofcale demand.

EP:We think a lot about how our projects ageover time. We know that the Times Square dis-trict will continue to evolve and cha nge char-acter as time goes on and The New York Times

Building will anchor this new neighborhoodand business district.

JS:The lighting is really imbedded as partof the architectural design, it is locked intothe facade and it is part of the overall buildingmodule. This building is a new landmark forthe city as such the design has to be long last-ing. The taxicab yellow makes reference to theunique cultural context of New York City. Thelighting details are scaled, well-detailed andvisually appropriate. It takes a multi-disciplin-ary design dialog and collaboration with theclient, design team and the industry to makedesign ideas a reality.

MM:How does your design process translateinto selecting luminaires for this project? Whydid you choose ERCO luminaires? How did theybest realize your concept?

EP:Our approach is to reverse-engineer the

lighting design. At the beginning of a projectwe think about the end-user and how the lumi-naires will be maintained. The luminaire selec-tion is an evaluation of needs and technicalperformance. There are a lot of tools to choosefrom.

JS:We created a lighting design for theentire building exterior and all public areas ofthe project, which only requires 12 differentlamp types. We evaluated many manufacturerswho we know would be suited to the projectas well as the product numbers, handling andmaintenance features, technical features andother issues. Weve cross-referenced and evalu-ated all of them in great detail.

EP:Who has a locking device? Who has acaptive screw? Who has an integral glare con-trol? We compared all of their features andcapabilities. For example some fixtures requiretwo different lamps and wattages with twodifferent maintenance cycles due to lamp lif e.

JS:In the end, ERCO fixtures were selected.We could illuminate the entire facade utilizingthree different luminaire optical systems whichall take the same la mp. The fixtures are energyefficient and visually appropriate for the facade.

EP:We have very complex projects and we

have to step back and look at the facts. Thepoint is, what is the quality of the fixture andhow does it perform? Our evaluation processallows us to make a clear and rational deci-sion about what product is best suited f or theproject.

MM:What was the single biggest challengefor OVI over the course of the New York TimesBuilding project?

JS:Helping others realize that with only250 watts, we could illuminate a facade that ismore than 260 meters high! Typical floodlightsrequire 400w or 1000w to do the same job.

EP:Keeping the aim in sight. To not get dis-tracted by all the daily work. You have to i den-tify the big picture, stay focused and determinehow to implement it.


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context of the Times Square District onehe brightest and most iconic of such urbans in the world was central to the concept

elopment for the exterior lighting of the York Times Building. The timeless, classicity of RPBWs architecture is fundamentally

dds with the exploitation of media screensskins typical to Times Square. However,new building in the Times Square District,New York Times Building was required to

mate the facade to be in compliance withrict regulations. As Peiniger describes, Thet for us was to find the language that was

ropriate for The New York Times and forW.VI suggested that the pairings of ERCOres used along the pedestrian level of the

ew York Times Building

iew from the EmpireBuilding shows how

ew building sets theon the Manhattan

ne. The relationship

e red-lit, art decomount Building ons Square is interest-especially consider-s basement tempo-provided storage foreighboring printingof the New York

s.

Cleverly sidesteppingthe use of LED screensor other moving lightsor signage, now socommonplace on neigh-boring buildings, OVIsdesigners added a dashof color by specifyingluminaire housings intaxicab yellow.

ContributorsClient: The New York Times/Forest City RatnerCompanies

Architects: Renzo Piano Building Workshop(Genoa/Paris) in collaboration with FXFowleArchitects, P.C. (New York)

Competition (2000)Design Team: B. Plattner (senior partner incharge), E. Volz with G. Bianchi, J. Moolhuijzen(partners), S. Ishida, P. Vincent (senior partners),A. Eris, J. Knaak, T. Mikdashi, M. Pimmel, M. Prini,A. Symietz

Consultants: Ove Arup & Partners (structureand services)

Design Development, 2000-2007Design Team: B. Plattner (senior partner incharge), E. Volz (associate in charge) withJ. Carter, S. Drouin, B. Lenz, B. Nichol, R. Salceda,M. Seibold, J. Wagner and C. Orsega, J. Stant-

buildings podium be custom painted taxicabyellow. These ERCO fixtures were mounted asdirect extensions of the facades modular bays,providing visual punctuation to the rhythm ofthe building as well as illuminating the facadeand the walkway with a sense of excitementand energy. In this way OVI was able to visuallyanimate the facade (and satisfy local authori-ties) in a manner tha t has great resonancewith the culture and streets of New York Citywithout contradicting the character of thearchitecture.

eford, R. Stubbs, G. Tran, J. Zambrano; O. Aubert,C. Colson, Y. Kyrkos (models)

Consultants: Thornton Tomasetti (structure);

Flack & Kurtz (services); Jenkins & Huntington(vertical transportation); Heitman & Associates(facade consultant); Ludwig & Weiler (store-front); Office for Visual Interaction (lighting);Gensler Associates (interiors); H. M. White(landscape); AMEC (construction manager)


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Ring Star Fully Connected

Tree BusLine


une the light!rof. Dr. Markus Gehnen

he beginning there was light we are told,nowhere does it state that switches andmers were also supplied, yet otherwisere would have been no night or twilight.hting controls mimic the grand arche-e with ever increasing variety. From thet potentiometer dimmers to todays busems it has been a long journey and theof this development is still not in sight:e control thats the name of the game.

work topologiesbus system, manyes exchange infor-on via a shared data. In some bus sys-, a specific, fixed net-typology is already

n. The DALI protocolaccepts so-calledd topologies, whichlifies installation.

Light and darkWhether its a daylight-dependent lightingcontrol or a whirling show interlude, todayslighting control tasks would be unthink-able without dimmable light sources. Thesedays, the brightness of almost any type oflamp can be infinitely adjusted, but it isnot that long ago that such a thing couldbe so taken for granted.

For a long time, the light of an incan-descent lamp could only be adjusted usingpotentiometers. The big disadvantage ofthese was that they hold back energy fromthe lamp by converting it into heat. Lea dingedge technology dimmers now solve thisproblem much more elegantly by interrupt-ing the current for an adjusta ble period inevery oscillation of the 50Hz supply volt-age cycle. One could say the lamp is onfor less time. The filament keeps on glowinguniformly due to its thermal inertia, but ata lower temperature and brightness.

The ability to dim fluorescent lampsis, by contrast, a comparatively recentdevelopment because the physics of the arc

discharge is quite averse to any attemptsto control its brightness. The trick with thetemporary interruption of the current doesnot work here because, if the interval with-out current is too long, the gas becomestoo cold and the lamp goes out. A solutionhas now been found for this and teet hingproblems such as colour shifts or restlessflickering on the lowest brightness settinghave also been rectified. It is just t he dim-ming capability of high-pressure dischargelamps that lags a little behind. All the same,the currently achievable reduction in lumi-nous flux to about half its value is alreadysufficient for implementing energy savingsin the outdoor lighting.

With LEDs, dimming again becomes asimple matter. Their brightness depends onthe strength of the current flowing throughthem and can be easily adjusted with con-trol electronics.

Tasks and toolsIn many application areas, the humblelight switch has now seen it s day. It hasbeen superseded not by any one lightingcontrol system, the requirements are sim-

ply too diverse for this, but by a wholeplethora of different systems with capabili-ties depending less on the technical limitsthan on the particular task at hand. Thesame also applies for the systems operat-ing concepts that are designed to suit theusers experience (or even the lack of it).

Yet, despite all this diversity, three applica-tion areas can still be roughly discerned:

Firstly, in functional buildings, artificiallight is simply seen as cost factor, i.e. it isan energy consumer that is subordinate tothe energy management of the networkedbuilding technology. This perspective willgain even more weight in times of energysaving regulations and building energypassports both now and in the futu re. Thesedictate functions such as daylight-depend-ent lighting control and presence detectors

that ensure the lights are only on whenactually needed. In addition to the reducedenergy costs, further savings can arise dueto the fact that, instead of having to rewireeverything every time there is a change intenancy or usage, it is sufficient to repro-gram lighting system.

The bus systems from KNX to BACnetare at home here. They can cope with la rgenumbers of devices and high data through-puts; plus, providers from other trades suchas sun-blind technology or air-handlingare also familiar with these standards. Thesystems are well established and sincethere are many providers for componentsand software, it is reasonable to expectthat spare parts and equipment for systemexpansion will continue to be available inseveral years time.

The configuration and operation of thesecomplex systems are strictly segregated.

While the user is largely disinterested inthe internal workings, the expert will wantto get his hands on every parameter, wherenecessary and to pry into the most remote

corner of the operating data log.Quickly edited films, pushy television

commercials and gaudy computer games the threshold for visual stimulation isbeing pushed ever higher and those whowant their building, merchandise or eventto be noticed in todays world have got tokeep up. In every city centre a visual armsrace is now underway and the weapon iscoloured, dynamic light. This second use oflight is solely interested in its show valueand has many similarities with stage light-ing. It is not by chance that DMX, the con-trol system that is long established in stagetechnology, is often encountered in thiscontext. Its central controller can quicklygenerate rapid colour and brightness pro-gressions on up to 512 channels in paralleland in real-time.

Where the function concentrates onthe lighting effect, the user-interfaces ofthe configuration programs are notablygraphically orientated. Although it ispossible to adjust the behaviour of everysingle pixel, users tend to prefer workingwith the ready-made show effects thatcome with the software, modifying these

to suit their current project. Plus the effectcan be checked on the screen straightaway.

The third application area is the situ-ational use of light, whereby light is usedto emphasise the particular architecturalfeatures of a site, to make areas accessiblefor various uses and to give such areas asuitable atmosphere. The visibility in thepublic space is adjusted to suit the externalcircumstances.

From multipurpose halls to home cine-mas, the control systems must be easy touse in everyday operation, even for thosewith techno fear. As it is highly likely tha tusers will want to modify light scenesthemselves from time to time, the configu-ration must not require an engineeringdegree. DALI fits in perfectly here. Things

such as scene memories are already set u pin the components right from the outsetand there are now systems that have addedseveral comfort features, extensively auto-mating tedious operations such as allocat-ing addresses.

The borders between these three areasare flowing boundaries. Providers whoare well established in one segment canhappily roam into the other areas. Eventtechnology, complete with all the stageparaphernalia of moveable spotlights,scanners and projectors, is used in archi-tectural lighting. Conversely, experiencedproviders of architectural lighting systemsexpand their product portfolios by addingeffect spotlights and therefore become fitfor events. Then all these providers finallycome back together around the same pro-

jectors. This was the case recently at thenew BMW Welt, which several manufac-turers from different fields list as a curren treference project with some pride.

This panorama is just a momentary snap-shot. New developments are a daily occur-

rence and they sometimes seem to be drivenby the saying Appetite comes as you eat,constantly pushing the boundaries of theexisting systems.

KNX was originally a tool for simplify-ing the electrical installation of lightingsystems, but is now used for all othertrades as well. The Birds Nest Olympicstadium in Beijing is cited as a cu rrentreference project.

DALI started out as a system for a sim-ple addressing of fluorescent lamps on64 channels. It was deliberately designedto be less expensive and less work than afull-blown bus system. Today it controlsluminaires of all kinds and has foun d par-ticular usage for RGB applications withLEDs. However, if the three colours are tobe controlled individually and if a sepa-rate white channel is also added, then oneluminaire will need four addresses. The64 channels of a DALI world are soonexhausted here. The current solution forexpanding the address capacity is to net-work several control gear units together

via the Ethernet. Plans to standardise suchlarger structures are in the pipeline.

DMX, known from the field of stagetechnology, is also not the end point ofdevelopment. The typical application areafor DMX is fast-moving light. The limitsof video reproduction on LED panels havelong been reached, as was recently seenumpteen times to everyones amazement atthe Light&Building trade fair. This meansthat the limits of DMX technology ha vealso been reached, but there are not yetany standards for the performance rangebeyond DMX.

It could all be so easyAnyone even a little familiar with thematerial will soon come to the conclusionthat using an intelligent lighting controlwould be better, more elegant and improveperformance. The only thing is that, despite

all the splendid reference projects, ordi-nary, everyday office buildings and homescontinue to be wired in the same old, con-

ventional way. The control panel in thefunction room still looks like a display oflight switches at the local electric store.

Why is that?Well, it also has to do with money of

course: lighting controls are not two-a-penny and equipment, software, configu-ration and commissioning also have to bepaid for. Even if it does later translate intofantastic energy savings when the systemis running, this will not impress an inves-tor who will not be operating his officebuilding himself once it is complete. Hesimply wants to save costs and thereforeleaves out the lighting control.

Sometimes technology and user stillhave to find each other, as the followingtrue story illustrates. In a certain office,the artificial lighting was to be switchedon and off automatically depending onthe daylight. However, since the plannersthought they could do without dimmable

luminaires, the entire system was alwaysswitched either on or off and the jumps inbrightness were accordingly quite brutal.In the end, the staff that were blessedwith this situation finally resorted no, notto sabotage, but to chewing gum, whichthey neatly stuck over the light sensorsaperture. Peace was restored. The systemwas still in pristine technical condition;although, for the sensor, it was pitch-blacknight and the light remained on. The less onhas been learnt and daylight-dependentlighting systems are now only built in dim-mable versions.

In addition, several years ago, the (thenuntenable) promises of the Powerline Tech-nology had the same effect as a scorche dearth policy. Using frequency modulationto transport data along existing powercables was heralded as the cure-all for themodernisation of building systems. How-ever, household electrical wiring is notdesigned for transmitting high-frequencycontrol signals, which is why considerablyless data throughput is possible than witha system executed with separate bus lines.The initial claims were often overzealous,

frequently promising more than couldactually be delivered. Those users who suf-fered under the teething problems of thatsystem will think long and hard before giv-ing the topic a second chance.

Things did not always run smoothly onthe sales side either when dealing withlighting control systems. One or two light-ing companies liked to dabble in a bit ofoutsourced electronics on the side. Thecolleagues responsible were easily recog-nisable from their tired-out appearance,assuming they actually made it into theoffice in between any two site visits. Theworkload for project care and engineer-ing had quite simply been underestimated.Successful providers learnt this lessonand now allocate the necessary resourcesto this area. Sometimes even the outward

Illumination of the Pen-

tacon Tower in Dresden:the situational use oflight emphasises theparticular architecturalfeatures of a site, makesareas accessible for vari-ous uses and adds suita-ble atmosphere (Lightingdesigner: Jrgen Meier,Medien fr Alles).

BMW World in Munich:under the direction ofthe lighting designersfrom ag Licht, Bonn,luminaires and systems

from the fields of archi-tecture and stage lightingare combined here into acoherent scenography.

was originally afor simplifying therical installation ofng systems, but isused for all others as well, includingBirds Nest Olympicum in Beijing.


11/21


with control technology, would be the bestfor what I am doing? This applies for theoffice with its alternation between desk-work, meetings and presentations and it isalso true for ambitiously designed privateareas. In the lounge, imagine the lightingsystem has gone beyond mastering thebasics, such as Switch on TV light scenewhen television is switched on. It noticeswho is in the room, where they are stand-ing or sitting, what mood they are in andwhat they are doing (or want to do), andadjusts itself accordingly. Big Brother iswatching you? Yes, it might seem that wayto some. But when I imagine that on oneevening I have guests round for a cocktailparty, on the next I get into a good book inmy armchair and on the third I have cardnight and the light always quietly adjustsitself so its just right, well, if I ha d such alight, I would never want to be without i t!

Whatevers then left to adjust would be nomore technically demanding than, andhow much colour would Sir like?

Most of the technology needed for such

scenarios is already available today and atleast its already small enough. The switchcabinet is history and accommodating theelectronics no longer causes any problemsand whatever remains, seems in reach.

In an age of all-embracing networking,the technology of lighting control systemswill become more like computer networks.In the end, each luminaire will get its ownIP address, as once just computers had.

With scant regard for their origin, thecommands of DALI and its consorts willmutate into data packets with Internet pro-tocol. The boundaries between the varioussystems will become more blurred. Evennow there is an utterly insurmountablemyriad of translator modules and inter-faces available for translating one protocolinto another or enabling their inclusion innetworked building technology. Your PCalready shows how its done; have a lookhow many different file formats your textediting program can deal with.

Computer technology also shows theway ahead in other respects. The Inter-net can now be accessed via computernetworks, public WLAN access terminals

and high-speed mobile phone networks;new possibilities are constantly being cre-ated. Even lighting control systems willno longer trust their data to the classictwo-wire cable in future. Wireless solu-tions already exist and others based onthe ZigBee radio standard are already inthe starting blocks. Even a resurrectionof Powerline transmission seems tangibleonce youve experienced how robustlyPCs now perform their frantic data com-munication via plug adapters and powercables.

The more complex the technology, themore invisible it is for the user. Powerfulsoftware and the miniaturisation of elec-tronics have of course made this easie r. Atthe same time, the look of the devices a s awhole has come away from their technical

origins. The engine bay of a modern car,full of smooth covered panels, looks morelike a stack of shoe boxes than a machine,and mobile phones have long been seenmore as lifestyle accessories than as tech-nical equipment. The less the technologyis visible, the more significant the outwardappearance presented to the user becomes.Of course it is important that the operatingbuttons on a device are logically arrangedand the softwares menu structure is clear,but a product only becomes successfulwhen it has a further, tactile quality: it hasto feel good to the touch, to operate and tohold in your hand. Operation not only hasto be plainly understandable, it also hasto be fun. The company with the litt le fruitbadge has been demonstrating this for yearswith massive success, but if you look at theoperating concepts of todays lighting con-trol systems, you will be soberly remindedthat there is often a lot st ill to do. Yet, whoknows, perhaps mobile phones will prevailas the remote control for our lives, so thatwhen you buy a lighting control you will

just have to download the suitable softwarepacket onto it. That is also within reach:the last Light&Building trade fair featuredcorresponding studies for iPods for all tomarvel at.

Perhaps not only the technical possi-bilities will develop further but also themarkets that receive them. The automotivebranch has already shown this: new tech-nology always makes its debut in the topprice bracket and spreads down to the massmarket in the course of time. This was th ecase with air conditioning and ABS andwill not be any different with driver assist -ance systems. By contrast, in the lightingindustry there has always been a clearseparation between the large-scale projectbusiness and the end consumer market.The sector for high-quality lighting solu-tions concentrates on prestigious buildingsand is worked by the well-known namesof the architecture and lighting designercommunities. There are prime exampleshere for successful lighting control con-cepts, yet hardly any part of them finds itsway into other market segments. Walkingthrough a lighting shop or the luminaire

department of a high-quality furniturestore, you will soon get the impression thattechnical progress stopped shortly afterthe invention of the light bulb and then,without warning, jumped right across togaudy, coloured LEDs. There are not reallyany serious control systems or even justsome usable suggestions for dealing withcoloured light. Well, Im not expecting tobe able to buy an EIB system in the furni -ture shop, but a stripped down plug n playDALI beginners set for the light show inmy home cinema wouldnt go amiss andIm sure I wouldnt be the only customer.It may be that this area ha s not been veryimportant to date, but, in the wake of homenetworking driven by computer and mediatechnology, this too will change. After all,the omnipresent PC technology of today

also started out as the exclusive preserveof specialists over twenty years ago.

Even if the technical development takesa different course than the one predicted,one thing is for sure, every power increasewill be completely absorbed sooner or lateras the hunger for resources of increasinglycomplex applications catches up. The drivespring of progress remains tensioned.

Prof. Dr. Markus GehnenBorn in 1963, Markus Gehnen has beena professor at the Bochum Universityof Applied Sciences for over ten years

now. He studied electronics and electri-cal engineering at the RWTH college inAachen. After graduation, he designedfor AEG Lichttechnik helping them maketheir first steps in lighting control sys-tems.

The subject of lighting and buildingautomation continues to fascinate himto this day. He is a published writer intechnical journals and takes part instandardisation processes. At the uni-versity he runs a laboratory for buildingssystems technology, while at his designoffices he advises manufacturers andusers alike on current technology andits possible applications.

appearance of a device can decide on itschances of finding widespread acceptance.In spite of all the international standards,there are still national preferences for themounting of devices. In many countries itis usual to mount the cont rol gear inside aswitch cabinet or to fit it insi de a false ceil-ing. In such cases, the shape of the housingis immaterial. In Europe and particularlyin Germany however, people prefer devicesthat clip onto DIN rails which are not Ger-man standard by chance. Providers whocannot offer that facility will possibly havea difficult time.

Looking aheadWhat does the future of lighting controlsystems look like? Buildings and theirtechnical fixtures and fittings are a long-term commodity and progress tends tocome at a leisurely pace. Faster-changingindustries such as the automotive or tele-communications branches are more onthe look out for new technologies. Watch-ing them gives an idea of the contours of

future development trends.Automation increases the utility of a

system by removing any tedium involvedin using it. This is nothing new. In teleph-ony for instance, automated switchboardsreplaced the operator lady many years ago.

What is new is the speed and complexity ofsuch change. Both are growing at the samerate that software did whe n it broke thebonds of mechanics and electronics. Twoexamples from recent times: can anyonestill remember having to fiddle around withthe choke to get an engine to start i n thewinter? This is now done without fuss bythe engine management system, which alsoensures that the engine runs efficiently andeconomically in all other situations as well.Or consider connecting up PC networks: itused to be a secret science, but it is now alargely automatic and incidental matter attodays LAN parties.

If such trends are transposed into theworld of lighting controls, one forgets fora minute todays excessive configurationsetups and thinks of other things:

Just supposing the power consump-tion of a lighting system was designed to

reduce as daylight was used. You attachlight sensitive luminaires to the ceiling,configure them and then absolutely noth-ing. No calibration, no setting the target

values, nothing. Each luminaire independ-ently recognises the lighting situation inits own spatial zone and adjusts itself; theyall automatically communicate with eachother and agree on a uniform brightnessprogression. There is no nervous flickeringof luminaires as they brighten an d dim onchangeable, cloudy days and no problemscaused by rearranging the furniture. Inshort, it just works without being a nnoying.

Or thinking even further: I can put upwith searching for the light switch, but Idont want to keep having to stop and think,Which of the twenty seven possible light-ing moods, in this room fully equipped

rent designs for

ng control compo-s: a DALI switchingator for mountingN rails (above) andRCO Light Serverits housing the sizecigar box (below).atter mounts inh cabinets, but canbe installed in falsegs. Despite all thenational standards,are still national

About 20 years of lighting

control at ERCO separatethese two pictures. Thefirst system, an EOS type,was programmed by awired remote control unitand controlled a handfulof circuits in the audito-rium of ERCOs TechnicalCentre in Ldenscheid(above). Today, a LightSystem DALI operatesover 160 luminaires withmore than 375 individ-

ual addresses easily

accessed with the LightStudio PC software(below).

preferences for equip-

ment mounting.

ing control in: if todays tech-

gy looked like this, of the more power-

ghting control solu-would need their

machine room andnerously dimen-d air-con system

ell.


12/21


ew: Powercast projectors and floodlights

ercast is a universal range ofnomic lighting tools for out-r applications. The projectorsfloodlights feature cutting-e technologies including LEDsSpherolit reflectors for effi-t visual comfort. Their systemgn with a uniform housingpe produces a symmetricalt distribution from narrow spotide flood accent lighting andvarious wide beam distribu-patterns. Powercast is a highlyatile, cost-effective and flex-range of luminaires used, asxample, for the illumination ofde details, signs or vegetation.

Powercast with LEDAs a particularly low-maintenanceand energy-efficient version,Powercast projectors are also avail-able with LED technology in warmwhite and daylight white lightcolour. Optimal lighting control isensured by lens systems consistingof a specially developed collimatorand different lenses for spot, floodand wide flood characteristics. Theresulting beam angle is based onthe usual spotlight characteristicsfor conventional ERCO spotlights.

Powercast produces a

wide range of light dis-tribution patterns for awide variety of lightingtasks.

ow spotccentuate smallerts with high illumi-e or to cover consid-e distances betweennaire and object.

m angle < 10.

SpotThe standard charac-teristic to accentuateall kinds of objects,specifically to model thethree-dimensional shape.Beam angle 1020.

FloodFor efficient accent lighton larger objects or forwider spread lightingthroughout specific areasin a room. Beam angle2535.

Wide floodTo provide flexible flood-lighting for surfaces andspecific areas in a room.Beam angle > 45.

For greater flexibility inpractical applications,the Spherolit reflectoroval flood can be rotatedthrough 360 and fixedat 90 positions. Similarto the use of a sculpturelens, the oval-shapedbeam can be aligned foroptimal illumination ofthe object.

To provide a soft gradi-ent, the floodlight withSpherolit reflector ovalflood up to 150W isavailable with a Softeclens as an accessory.

Floodlights with Spherolitreflector washlight up to70W are equipped with aSoftec lens.

Oval floodTo provide floodlightingfor surfaces and objects.The oval-shaped beamcan be swivelled for ver-tical or horizontal lightdistribution.

WashlightWide-beam, asymmetri-cal light distribution forfloodlighting verticalsurfaces such as facades,walls or hedges.

Daylight whitePowercast spotlightsin daylight white of5500K ensure superiorefficiency with accept-able colour rendition.The light colour is similarto daylight.

Warm whiteIn warm white, Powercastspotlights have a some-what lower light outputratio than in daylightwhite, but better colourrendition. The light col-our of 3500K closelyapproximates the light

of halogen lamps.

Lighting controlThe plastic collimatinglens designed and pro-duced by ERCO createsa parallel beam, while afurther special lens pro-duces the precise beamangle required.

The housing swings openfor easy lamp or reflectorchange. The Spherolitreflector can be replacedwithout tools.

The Powercast projectorsfor low-voltage halogenlamps or metal halidelamps feature replace-able Spherolit reflectors.


13/21


Licht

Quellenwahl

Projektor

VCRBedienfeld

DVDBedienfeld

Audio Foyer

ENDE MIC muteAudio Controls

zustzlicheFunktionen

1 2

2

1

ew DALI products

Light Server

Hub/SwitchWLAN

Light Studio

Media technologycontrol

Zone A Zone B Zone C

Zone A + B Zone C

Zone A Zone B + C

nection of Light System

I and PC via networkddition to USB cables, the PC the Light Studio software

now be connected to the Lighter 64+ via Ethernet, eitherctly by cable with a singlet Server 64+ or via a hub orch. The PC and hub can alsoonnected by cable or wirelesslyAN). This option provides thebility needed to set up systemsore than one room, on a wire-notebook PC. Scenes can thusrogrammed where they areally needed.

AMX, a leading manu-facturer of media con-trols, has prepared itsproducts for integrationinto ERCOs Light System

Connection of media technology

Ethernet may also be used to con-nect the Light System DALI withstandard controls for media tech-nology. Many functions of LightSystem DALI can be controlledusing a documented programminginterface. Media controls from themanufacturer AMX are alreadycompatible with Light Studio.

DALI and provides appro-priate models.

Documenting projectsTo document lighting controlprojects using Light SystemDALI, the Light Studio software

now makes use of a dialoguewhich provides a range of adapt-able options. The resulting pagenumber of the documentation isautomatically identified and dis-played. The project documentationcan then be printed or, depend-ing on the PC configuration, canbe produced in a digital format(e.g. .XPS, .PDF).

Partition interconnector

Scenic light seems indispensableparticularly in multifunctionalrooms such as conference roomsor banquet halls. There are onlya few lighting control systemsthat can manage rooms whichare separated by movable parti-tion walls in a truly intelligentand user-friendly sort of way. Thecurrent generation of the LightServer 64+ and the Light Studiosoftware provide just such apractical solution.

The limit switches of up to4 partition walls in the systemsignal their states via the digital/

switch inputs on the Light Server.

The operating devices in the roomsegment concerned, such as push-buttons or Light Changers, thenrespond as was previously pro-grammed in the Light Studio soft-ware and control the combinedrooms as shared zones.

In Light Studio, attributesand scene lists for poten-tial room configurationsare shown as zones andare controlled automati-

cally depending on thestatus of the partitionwalls.

Master dimming actionThe master dimming function isused to increase or decrease theoverall brightness of a zone using

push-buttons or the Light Changer.To master special lighting tasks andtake account of differences in thedimming function of the lamps,the master dimming action of eachLight Client can now be controlledindividually. The Light Book mod-ule of the Light Studio softwareprovides the relevant tool.

Dimmable Light Clients withLEDs, low-voltage halogen lampsor fluorescent lamps for example,provide a choice of linear func-tion and operation that preventsthe Light Client from falling belowa pre-defined limit or in turn,switches it off. Switchable Light

As an additional featureeach Light Client can now,depending on its dim-ming features, be definedindividually in relation tothe master dimmer.

Clients (DALI switching actua-tors, HIT luminaires) can be givenindividual switching thresholds.


14/21


ocus Double focus

Lighting control systems withanalogue inputsContrary to digital inputs, analogue

inputs also register intermediatevalues. This makes it possible, forexample, to connect a brightness

sensor which, in contrast to thetwilight switch, sends an analoguerather than a digital signal with a

voltage proportionate to the bright-ness level measured.

As an outdoor device, the bright-

ness sensor can adjust the artificiallighting to the daylight conditions.When using Light System DALI, the

switching thresholds are prede-fined in the Light Studio software,with light scenes assigned to the

value intervals. A typical applica-

tion is gradually supplementingdaylight with artificial light whenthe intensity of the daylight is nolonger sufficient for the lighting

tasks required. At workplaces, forexample, natural light can thusbe used more easily and saves a

considerable amount of energy.In museums, brightness sensorscontrol the ratio of daylight to

artificial light, but also shadingsystems preventing damage toartwork due to excessive exposure

to light. A suitable delay switch inthe logic of the analogue inputsprevents undesired toggling if the

analogue input value fluctuatesaround a switching threshold.

In other situations, such as in

restaurants, shops or shop windows,artificial light is often used to cre-ate a certain contrast. Full daylight

requires higher illuminances thanovercast conditions, in twilight orlater at night, i.e. high brightness

values are assigned bright lightscenes.

Thomas Schielke

ting control systems withtal inputsting control systems such

ght System DALI allow thep of complex light scenes andences to match the functional

ct of lighting with flexiblegn to the architecture. Thet scene to be called up in a spe-

situation is determined eitheromatically by way of sensors orually using appropriate control

els. In addition to comfortable,em-specific input devices, theting control system should

allow integration of standardh-buttons, switches and sen-For this, the central controller,

d for purposes such as storing

data of various light scenes andding them to the luminaires,ires programmable inputscan be flexibly assigned the

ired functions. Light System provides two basic types oft Server inputs: digital and

ogue.igital inputs only know theand on settings and can-

process intermediate values.ches and push-buttons sendopriate signals. These alone

w a wide range of differentating scenarios: a switch can

nge between two light scenes

etween a light scene and theious scene. A push-button canll a predefined light scene or,

epeated operation, run offe lists of up to 30 scenes. Mul-keypads are used to recall sev-

ight scenes directly: the Lighter provides a maximum of

gital inputs here. To provide the

e functionality in several placese room, if the room has more

one access point, for example,push-buttons are connected inllel. terms of output signal, twi-

t switches or motion sensorsimilar to a switch and can be

nected to a digital input. The

ching threshold, the meas- value at which the sensoral changes its status, is set at

sensor itself. The change ofus activates the function pre-rammed in the lighting control

em.he functions to be activatedgnals to the digital inputs are

ned and customised in thet Studio software. In addition

calling light scenes, sequences

Standard switches andpush-buttons used tooperate lighting controlsystems are a familiar,uncomplicated andeconomical alternativeor addition to system-specific, more conven-ient control panels suchas the Light Changer.

Brightness sensors sendanalogue values andallow a more differenti-ated assignment of lightscenes to the ambientbrightness than twilightswitches.

To ensure a constantcontrast throughout theday when using accentlighting, an analoguebrightness sensor canrecall light scenes withappropriate illuminancesto suit the daylight viaan analogue input in thelighting control system.

In the lighting controlsoftware, differentbrightness values areassigned different lightscenes.

Switches are used tochange between twoscenes. If operatedrepeatedly, push-buttonscan activate a sequenceof assigned scenes. Whenusing sensors, the twilightswitch sends a digitalsignal to the digital inputof the Light Server whena predefined switchingthreshold is reached, toinitiate a change between

two light scenes.

A possible application ofoutdoor sensors is thedaylight-dependent con-trol of facade lighting.

and scene lists, further options

available are special functionssuch as master dimming usingrocker switches for operating con-

trol. Other such special featuresinclude the timer function forpush-buttons, e. g. for timed stair-

case lighting, or the All Clientsfunction, which switches all lumi-naires in a system to 0% or 100%.

S1

SwitchScene change

S2

Time

S1

Push-button Scene change

Time

S3S2 S4

0 %

Scene change

Twilight switch

100

S1

S2

Time

0 %

Scene change

Brightness sensor

100

S1

S3

S2

Time


15/21


Built in 1702, light floodsthrough the glass wall ofthis otherwise authenti-cally restored estate. Theaesthetics and comfort oftoday join with century-old traditions.

Many city dwellers dream of living in the coun-try, but only a few turn their dream into realitywith such dedication as the owner of this resi-

dence. An entrepreneur in the creative industry,he had this listed estate in the Mnsterlandconverted into a refuge for himself and his

family, combining historical elements with thelatest mod cons and minimalist aesthetics.

The design approach chosen assists the resi-

dential architectural integration of 21st centurylighting technology and lighting controls asdiscreetly and compacted as never before. The

combination of low-voltage recessed spotlightsand wallwashers from the Quadra range, withtheir own Light System DALI control, typifies

in pure unadulterated form ERCOs concept of

light, not luminaires. Freely programmableand easily recalled light scenes allow the resi-

dents to set the right mood with ever changingeffects for their ambience and their life, whileeffectively controlling and reducing their

energy consumption.

nsterland estate

ise en scene with DALI

ng space, with everging effects createdfferent light scenes.lly neutral, butwith a significantortion of verticalinance added.

A scene with sparselyused and specificallydirected accent lightingemphasises furnitureand objects in individualzones of the room, creat-ing a feeling of intimacy.

Scenic light is alsoideal for the kitchen.The first light scene pro-vides brilliant light forthe workspaces and setsthe mood for cooking.

The second light scenewith floodlighting on theopposite wall creates amore neutral atmospherein the room.

In the third light scene,the vertical componentsare dimmed in favour ofthe pendant luminaire,the table becoming thecentre of attention.

As control panels, ERCOchose Light Changerswith their easy-to-usetouch screen display. Thelight scenes are shownwith plain text namesand numerous additionalfunctions provide furtheroptions.

Architect: Andreas Heupel, MnsterPhotos: Thomas Mayer, Neuss

Combining both typesof lighting lends a bright,inviting and festiveatmosphere.


16/21


ight System DALIin Emdens Art Hallrates a multitudefferent luminairesas indoor and out-luminaires, DALI-

patible Light Clientsstandard luminaires DALI dimmers and

ators.

mden Art Hall

octurnal delight with DALI

The Light Timer modulein the Light Studio soft-ware is used to recallscenes at predefinedtimes.

Where public buildingsand cultural facilities areof functional use duringthe day, at night theirpurpose is to provide astriking appearance inthe urban environment:Light System DALI andthe Light Studio softwarewith its Light Timer andLight Sequencer modulessolve this task both con-veniently and economi-cally.

Which temple of art has ever had its own jetty?The Art Hall in Emden owned by the Henri andEske Nannen Foundation is situated on thepicturesque Emden moat. In 1983, the formereditor-in-chief of the Stern magazine, HenriNannen, decided to donate his extensive artcollection to his home town of Emden for dis-play in its own museum. The delightful brickbuilding ensemble designed by the architectsIngeborg and Prof. Friedrich Spengelin washanded over to the public in 1986. A gift fromMunich-based gallery owner and collectorOtto van de Loo increased the collection to the

point that the Art Hall needed an extension. Inan international competition, the architecturalfirm of Venneberg & Zech working togetherwith Prof. Friedrich Spengelin won first prizeand commenced with their extensive buildingwork in 2006. They developed an energeticallyoptimised concept for the old and extensionbuildings using intelligent heating and ventila-tion control systems along with a heat recoveryfacility. Special focus was placed on the coordi-nation of daylight and artificial light. Woodencomponents in the old building were paintedwhite, the new part was provided with light-coloured materials to improve the reflectionfactor for higher illuminances with lower lampwattages. The venetian blind controller reactsto sunlight and daylight; artificial light is addedin appropriate doses and dimmed accordingly.

The reopened Art Hall is not merely one ofthe main cultural attractions in Emden. Nowmore so than ever it also takes on the role ofan urban-like visiting card. Inside, ERCOs lumi-naires place the art in the right light, whilenew outside lighting lends the entire buildingensemble a special nocturnal appearance. TheLight System DALI facilitates different light-ing scenarios which, where required, can also

project coloured light onto the white plasterof the vestibule and foyer walls to bring outeffectively the contrast between traditionalbrick building architecture and the invitingtransparency of the glass-encased entrance.

Architects: Friedrich and Ingeborg Spengelin,Hanover; Venneberg & Zech, Hanover.Photos: Rudi Meisel, Berlin

http://kunsthalle-emden.de


17/21

DALI

PLUG+

PLAY


In the Optec varychromeLED spotlights with DALIadapters, 12 high-powerLEDs produce coloured

light. The colour focus ofthe light can be control-led with the Light Studiosoftware of the LightSystem DALI. The Softeclens ensures that the pri-mary colour componentsare uniformly and softlyblended.

utiful old cars are fascinating. As a success-ombination of aesthetics and function, vin -vehicles reflect the design of their period

the corresponding technological develop-

ts. This fascination comes into its ownin the Central Garage car museum in Bad

mburg, Germany. Since 2007, the former carwrooms have provided an exciting backdrophe original painted and chromed beauties.

e not only include models such as thecedes SL, the DKW Monza or the Grantura

m the British TVR stables, but also Horex

orbikes, the East German Trabant and theon 2CV. addition to the permanent collection

rotating exhibitions on the history of theomobile, the car museum also provides atigious venue for various events. For private

ies, conferences or company presentations,s can make use of a big entre with a multi-ia projection screen, rooms extending over

floors with variable partitioning and anllently equipped catering facility.

entral Garage car museumne the light with DALI

Variable colour accen tson the columns imple-mented by Optec vary-chrome LED spotlights.The Light System DALIlighting control instal-lation, integrates suchscenographic effects withgeneral and exhibitionlighting together underone user interface.

The aesthetics of vintagecars is brought out in theroom of light producedfrom a balanced combi-nation of both ambient

and accent lighting. Herea Mercedes Benz Type370S Mannheim from1931 gleams under thelighting.

The required lightingscenarios in the CentralGarage car museum canbe set up and recalledquickly and easily withthe software integratedin the ERCO Light SystemDALI installed on a port-able PC or laptop. Witha few mouse clicks theuser can enter dynamicdimming progressionsand colour progressionsfor the DALI-controlled

Photos: Dirk Vogel, Dortmund

www.central-garage.de

ERCOs flexible lighting concept is perfect for

such multifunctional uses. The lighting controlof the luminaires with the Light System DALIcan create highly varied room atmospheres.

Usage scenarios with lighting characters vary-ing between neutral and expressive are easyto set up for the indoo r area to suit the clients

wishes. The ambient lighting is provided byOptec spotlights fitted with economical HITlamps. In the evening, brilliant accent lighting

from Optec low-voltage halogen spotlightshighlights the exhibits. The dimmable halogenlight also provides the ambient and accent

lighting for parties and celebrations. Optecspotlights and Focalflood facade luminaireswith varychrome technology and high-power

LEDs can additionally illuminate walls andcolumns with coloured light.

luminaires and candirectly check the resultof the lighting effects.


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Quinta1 Quinta2

100

10 s 15 s5s

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As a fashion label, Reserved is the flagship ofthe Polish textile corporation LPP an d presentsa grandiose success story for the young mar-ket economies in Central and Eastern Europe.Founded as early as 1990 and operating as astock corporation since 1995, the companyhas grown rapidly over the past few years. Itsstores have expanded far beyond the bordersof Poland into neighbouring Baltic countries,the Czech Republic, Slovakia and Hungary andon to Russia and the Ukraine. For the first timein 2007, LPP netted profit in excess of one bil-lion Zloty, about 265 million euros.

The first Reserved shop opened in 2000.Today, the chain has over 190 stores with fur-ther prospect of growth. The stores are foundin city centres, but also in shopping mal ls suchas the Galeria Mokotow in Warsaw. Here espe-cially, amongst the dense competition of inter-national brands, the architectural appearanceand the lighting design are crucial. Part of theReserved concept as devised by the officeof Studio 1:1 in Gdansk are dynamic lightingeffects using Light System DALI within its shopwindows. The designers were banking on theattention factor created by changing lightqualities such as contrasts, the direction of thelight itself and modelling. DALI-compatibleQuinta spotlights for QT12 100W low-voltagehalogen lamps are mounted on DALI tracks andconnected with the Light Server. For individualcontrol of the spotlights, the designers optedfor dynamic progression an option availablein the Light Studio software for all dimmableLight Clients. The lighting now attracts theattention of customers and, depending on thedecoration, directs their eyes toward the man-nequins, the displays or other items within theshop window.

PP Reserved Shop, WarsawALI scenography for shop windows

Start the dynamicprogress of the dimmer:with the accent light-ing dimmed, the generalmood is set by a diffuseambient light. The con-trasts are soft.

5 seconds later the accentlighting increases to100%. Sharp display con-trasts are produced fromspotlighting the manne-quin. For eye-catchingand light-changing per-ception, dynamic progres-sions can be set at shortcycles: LPP chose approx.10 seconds.

Architect and lighting designer:Studio 1:1, , Dariusz Brunka,

Photos: Rudi Meisel, Berlin

www.lpp.com.pl

DALI track

When using spotlightswith DALI adapters,ERCOs classic track pro-file is connected differ-ently from the standard3-circuit track. Insteadof supplying power, twoof the copper conductorsare used to transmit theDALI signal (DA).

It doesnt have to becoloured light! In thetypical environs of ashopping mall with itshigh brightness level,dynamic lighting is aneffective means ofalerting the interestof customers.

In the Light Mastermodule of the LightStudio software, dim-mable Light Clients alsoprovide the option ofdynamic progression,used here by Reservedfor shop window effects.


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The nave can accommo-date up to 1,500 visitors.Standing in the centreof focus is a copy figureof Christ by Danish art-ist Bertel Thorvaldsen.Lighting is providedby discreetly mountedOptec spotlights andwallwashers on MonopollDALI tack.

h a population of over 120,000, Stavangerorways fourth largest city. Together withrpool, it co-bears the title for the Europeantal of Culture 2008. The 19th century St.rs Church is one of the citys architectural

els, and following elaborate restoration, nowes as a venue for cultural events during theval year.

he authorities of Stavanger commissionedbuilding of St. Peters Church in 1861 whenmedieval cathedral became too smallause of population growth. The Norwegianitect Conrad Fredrik von der Lippe (1833-

1) built the neo-Romanesque sacred build-between 1864 and 1866. His design wasvily influenced by Karl Friedrich Schinkelsrch of St. John in Berlins Moabit district, anitect with whom he had become acquaintedng his studies in Germany. the years from 2004 to 2008 the churchgiven a thorough restoration in line withstrict standards for listed buildings. In par-ar the naves unusual hammer-beam roofto be extensively secured. Under the guid-e of architect Helge Schjelderup, the churchding was restored to its former glory in allolemn, sombre beauty and, in addition, wascarefully modified and extended in order

nable flexible, contemporary usage. Thus,ell as providing regular church services,eters also serves as an attractive concertwith excellent acoustics and as a drop-inre for people living on the fringes of society.

ven the original gas lanterns, now con -ed to use modern lamps, are once againace within the church, albeit solely asdecorative component of light, known asy of Brilliants, within a state-of-the-art,ble lighting system a system that can bested to suit all usage scenarios and fully

oits the artistic possibilities of controllingighting with Light System DALI.

. Peters Church, Stavanger

turgy of light with DALI

The DALI installationwith numerous indi-vidually controllableOptec spotlights andwallwashers providesextreme flexibility andoptimum visual comfort.The luminaires featurehigh cut-off angles andare also mounted farabove the field of visionon Monopoll DALI track.

Religion and ritual are inseparable. Since

time immemorial religious services havefollowed a fixed dramaturgy or ratherliturgy, to use Christian parlance. Noth-ing could be more fitting than to aug-ment the sequential order of service withthe appropriate scenographic light. Forsuch liturgical purposes and also for theincreasing practice of using sacred build-ings for cultural events, the Light SystemDALI lighting control system is an idealtool. The large number of individuallyaddressable DALI Light Clients provides avariable and flexible matrix of luminairesthat enables atmosphere, emphasis andspatial perception to be controlled overa wide range, while pre-defined lightscenes can be easily and efficiently set up,saved and recalled either individually, insequences or on a timer-controlled basis.

St. Peters was one of thefirst brick buildings inStavanger, a city whosetraditional woodenhouses had often fallenvictim to devastatingblazes in the course ofhistory.

The Light Studio softwareenables the Light SystemDALI installation to beset up and programmedon site. Once the scenesand sequences have beendetermined the laptopis no longer needed foreveryday operation andthe installation can becontrolled solely by theLight Changers wall unit(see grey column above)or off-the-shelf switchesand push-buttons.

Architects: Conrad Fredrik von der Lippe(1833-1901), Helge Schjelderup, Stavanger(Restoration)Lighting design: Erik Selmer (ELDA), Trondheim

Photos: Thomas Mayer, Neuss

The ELDA lightingdesigner Erik Selmerfrom Trondheim devel-oped the scenographiclighting concept in closecooperation with ERCO,the architects and monu-ment preservationists.

This sequence of imagesdemonstrates how muchthe spatial perceptioncan be influenced by dif-ferent lighting scenes.


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acklights

o showroom openinghe 14th of August 2008,new ERCO showroom in thewegian capital of Oslo ceremo-sly opened its gates. Behind

historical, prestigiously illumi-d facade on the Kirkegata road,itects and lighting designersfind modern premises. Here

Norwegian ERCO team offers aange of architectural lightingices ranging from lighting con-ation and provision of samplesugh to seminars and events.

tactO Lighting ASegata 53 Oslo

boks 771 Sentrum4 Osloway

+47 2414 8200+47 2414 8201il: [email protected]

Milan showroom openingIn the Italian design capital ofMilan, ERCO puts the accent onlighting design with a new, spa-cious showroom. Offices, confer-ence rooms and a mock-up area,complete with all the facilitiesfor presenting luminaire samples,are nicely accommodated on twolevels in a former industrial build-ing. Even the outdoor area of theEdificio Sedici in North Milanhas been extensively redesigned.Scenically illuminated with ERCOoutdoor luminaires, it now providesan attractive environment for com-panies from the creative branch.Together with clientele and otherfriends, ERCO Italy celebrated theopening on the 18th of September2008 here are some impressionsof the celebrations and the newpremises.

Contact

ERCO Illuminazione S.r.l.Viale Sarca 336 F20126 MilanItaly

Tel: +39 02 365 872 84Fax: +39 02 643 7831Email: [email protected]

new showrooms all the require-s for continuing

Os successful salesin Norway. The largeows afford a deepght into the officese and alert the inter-f passers-by.

The richly ornamentedWilhelminian facade isscenically illuminatedby Cylinder facade lumi-naires and GrasshopperLED projectors.

ERCO clientele and staff,together with friendsand relatives, celebratedthe showroom openingin a relaxed and casualatmosphere so typical ofScandinavia.

Mediterranean esprit setthe tone for the openingcelebrations. The eventalso extended into thespacious inner courtyard,scenically illuminated byERCO outdoor luminaires.Staff from neighbouringworkshops and studiosalso joined in the party(left). In the mock-up areaof the new showroom,scenographic lightingeffects can be presentedwhenever needed (right).

The organisation ofthe new offices is com-pletely geared towardsthe requirements of theItalian market, but thelook is typically ERCO as ERCO directors BrittaSchreiter and Tim HenrikMaack were able to see

for themselves (above).


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EERCO GmbH

Postfach 246058505 Ldenscheid

Germany

Tel.: +49 2351 551 0Fax: +49 2351 551 300

[email protected]

Maritim Utescene, Haugesund

With its attractive surroundings

and open-air stage, the smallNorwegian harbour town of

Haugesund regularly attracts up

to 10,000 visitors to the open-airevents. This is no fictional figure.

The Sildajazz festival alone, held

in Haugesund since 1987, recorded50,000 visitors in 2008. The neigh-

bouring Rica Maritim Hotel runs

the facility. When there is no sched-uled evening event and to ensure

that the striking white-clad stage-

towers, located directly on the quaywall, are a spectacular sight, the

designers combined ERCOs Light

System DALI with 16 Grasshoppervarychrome LED projectors. The

lighting produced enables a fasci-nating scenic display for the mini-mum power con sumption.

Architect: Opus Arkitekter,

HaugesundElectrical design engineers:

Cowi AS, Haugesund

www.hotelmaritim.no

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