Luminous 03 - Sustainable Development

8/2/2019 Luminous 03 - Sustainable Development

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SUSTAINABILITYIs it only performance?

RENZO PIANO

Closer to Nature

LIGHTINGMASTER PLAN

International Lighting Magazine July 2009


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DIALOGUEChallenges in lighting design

LIGHT SOURCE 4Astra Tower,

Hamburg, Germany

PLATFORM 8Renzo Piano

Genoa, Italy

SNAPSHOT 10Orquideorama, Colombia

Monumento del Libertad, SpainAl Zahra hospital, UAE

Anandpur Sahib, India

CitizenM hotel, The Netherlands

New Federation Tower, Russia

Neptune Fountain, Italy

Moebelhof Ingolstadt, Germany

INTRODUCTION 18Sustainability, is it only

performance?

PROJECT REPORT 20National Assembly of Wales,

Cardiff, United Kingdom

PROJECT REPORT 24Odeon, Bavarian State Ministry

of the Interior, Munich, Germany

PROJECT REPORT 28Octavio Frias de Oliveira Bridge

So Paulo, Brazil

PROJECT REPORT 3255 Baker street

London, United Kingdom

PERCEPTIONS 36Passive solar and natural lighting

BLUE SKY THINKING 38Luminance sensation of colored

LED lighting

SHOWROOM 40OLAC residential area,

Bressolles, France

CONCEPT CORNER 42Lighting Master Plan

GALLERY 46Verdi innovative workplaces

Surennes, France

SPOTLIGHT 50Agenda, Books, Websites

DOSSIERSustainability moods

FEEDBACKDevelopment and trends in lighting

28 8 11

24

colofon

published by | Philips Lighting BV Mathildelaan 1, Eindhoven. 5611 BD, The Netherlands www.lighting.philips.comeditor in chief | Vincent Laganier editorial department/Marketing Communications | Mar ijn Damen, Nils Hansensteering committee | Peter Halmans, Fernand Pereira, Annemieke Korff-Prins copywriting & editing | Jonathan Ellistranslations | Lion Bridge graphic design concept | Philips Design dtp | Relate4u printing | Print CompetenceCenter more info | [email protected] T: +31 (0)40 - 2755928 ISSN nr | 1876-2972 12 NC : 3222 63559951

EDITORIALGood lighting design and sustainability

Today, sustainability is an issue which no company can ignore. At Philips, we

have been investing in green technologies for quite some time and nowhere

is this investment better illustrated than in our dedication to new, energy-

conscious lighting technologies. This has, for example, resulted in our agship

product, the MasterLed, which provides a direct replacement for incandescent

lighting, but with energy-savings of up to 80% and a lifetime of 45,000 hours.

Similar progress has been made in the eld of CFLi and Halogen.

Just as important , perhaps, is our dedication to providing our professional

lighting partners with assistance, support and guidance during the imminent

phase-out of incandescent lighting within the European Union, which will begin

next year. This will undoubtedly make a signicant contribution to reducing

both energy use and carbon emissions.

Philips believes that by taking into consideration the application and specic

characteristics of energy-efcient lighting technologies such as LED, CFLi

and halogen, it is possible to achieve levels of lighting quality equivalent with

conventional light sources, but with reduced energy consumption.

To maximise the energy-saving potential of these technologies, Philips

recommends the application of good lighting design, and the involvement

of professional lighting designers. We actively support organisations such

as the PLDA (Professional Lighting Designers Association) and the IALD

(international Association of Lighting Designers), whose members can,

through the design process, advise on optimum energy efciency withou t

compromising on lighting quality and prove important partners to architects

and principals.

This issue of Luminous takes sustainability as a theme. We hope it provides

you with food for thought about this major social issue.

Rudy Provoost

CEO Philips Lighting


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DIALOGUE

ASTRA TOWER, HAMBURG, GERMANY

THE SHINEFROM WITHINInterview by Guido Diesing

The design of the Astra Tower in the port of Hamburg was a stroke

of luck for Tobias Grau. As a lighting designer, interior designer and

furniture designer, he was able to develop a uniform form language

for the ofce building.

If you ask anyone from anywhere in the world what they think of rst when theyhear the word Hamburg, theyll immediately say the port and the Reeperbahn. Assymbols of the city they attract tourists, offering spectacular and attractive views.If you want to stand out in this neighbourhood you have to have something tooffer. Like the Astra Tower. Located right on the Elbhang opposite huge docks andcranes and only a few steps from the amusement and red-light quarter around

the Reeperbahn, this eighteen-storey of ce building has been attracting attention

since 2008. With its rounded corners and the red breastwork strips in the glassfacade, the 60-metre-high building blends stylishly into its surroundings during theday without thrusting itself into the foreground. At night, however, it develops aquite particular fascination. Because then the tower, which is topped by a concretecrown that seems to oat over it, appears to light up mysteriously from within.

It is no coincidence that light plays a major part in the buildings appearance. HavingTobias Grau as the interior designer meant that a renowned lighting manufacturerand designer was decisively involved in the design. He was responsible not only for

the lighting, but also for the ofce planning and furniture areas in which he had

gained plenty of experience before recently concentrating almost exclusively onthe development and manufactu re of lights.

The ofce buildings attractive appearance after dark is the direct result of Graus

skilful use of the architectural parameters. Since the square ground plan of onlyaround 630 square metres per storey is very small, so that the depth of theofces and the corridor area is also tiny, I decided to do without partition walls

between the corridors and ofces, he explains the underlying thinking. The

corridor area is only separated from the carpet in the ofce areas by the parquet

oor. As a result, the white panelled building core is just as visible from the ofce

workstations as it is from outside. In addition, the use of glass partition walls ratherthan plasterboard walls for dividing the ofce area into single and shared ofces

makes for transparency.

ligSo


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It is this transparency that is the secret of the nocturnal shine. The corridor areaaround the building core is illuminated by a light band made of pendant uorescent

tubes that shine a neutr al white light upwards and downwards from the middleand also light up the white laminated panelling. In order to create a uniform

impression, Grau also tted the standard and table lamps in the ofce areas with

neutral white uorescent lamps. Since there is no colour difference with the

ambient lighting, the desired effect of making the core of the tower visible fromoutside like a white column is produced irrespective of the lighting situation.

A column that does not end at the top oor, but only at the crown of the tower,

which is illuminated by metal vapour lamps on the roof. An effect that wasimportant to Tobias Grau: We tried out several colours for the concrete canvasso as to achieve an effect similar to the one in the building interior with indirectlighting. The white core is meant to seem to grow out of the building.

For Grau the close relationship between inside and outside that characterises theAstra Tower represents an ideal that is realised all too rarely. The opportunity

to implement a uniform form language here appealed to me, of course. Fromin-house lights, via the interior design to the graphics of the lift markings witha joint idea of being able to form a bridge, this was a great commission. Wheneverything comes from a single source, the result can also make a superioraesthetic impression. Unfortunately, architectural ideas in building interiors areoften not extended consistently. In addition, the users see a building much moreoften and longer from the inside than from the outside.

Modern technology makes for a uniform lighting level indoors. The amount oflight provided at the workstations is adjusted locally according to the respectivelighting conditions and requirements using motion detectors and daylight sensors.This saves on electricity consumption and is pleasantly comfortable. When it getsdarker the articial light portion is automatically increased without anybody having

to do anything.

That he opts for uorescent lamps is for Grau a logical and pragmatic choice:

They are simply the most effective and most economical lamps you can use at the

moment. If you take into account colour rendering, energy consumption and price,in the next two years we will be very heavily geared towards uorescent lamps.

Developments in the eld of LEDs are moving very fast and its fun to get involved

with them theoretically. Its a hot topic, but for me, were not there yet.

They are simply the most effective and mosteconomical lamps you can use at the moment.

DIALOGUE

ClientNeunundzwanzigste VerwaltunDWI Grundbesitz mbH

OwnerMorgan Stanley

ArchitectKSP Engel und Zimmermann AFrankfurt, German

Lighting DesignTobias Grau, Rellingen, German

Light sourcesPhilips and Osram TC-L 55 W W /840

LuminairesTobias Grau GmbH GO XT FloCeiling, GO XT Wall

Lighting controlsPhilips ActiLume

Websiteswww.ksp-architekten.dewww.tobias-grau.com


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RENZO PIANOArchitect, RPBW, Renzo Piano Building Workshop, Genoa, Italy

Interview by Luigi Prestinenza Puglisi

Were you surprised about that?

There were many competitors, and it was a prestigiousjob. We were young I was 33 and Richard was 36

and we had little experience. The Jury consisted of

Jean Prouv, Oscar Niemeyer and Philip Johnson, whoadmired the innovative nature of our proposal. This wasa time when people were receptive to innovation.It is thought that Ove Arup had put his trust in usby nancing our participation in the competition.

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

What does sustainability in architecture mean to you?

I like to associate the word sustainability with elevation.The more I remove whatever is excessive, the more Ieconomise in materials. The more I reduce the material,

the closer I get to nature, and enter into a relationshipwith light and the wind. The quality of a building depends

to a large extent on good lighting and the pleasanteffects of the ventilation. This is particularly apparentin museums. I am thinking for example of the Menil inHouston, where the roof allows sunlight to lter through,

or the Beyeler Foundation in Basle, where I worked onthe same concepts so as to obtain a building with reducedenergy consumption.

I am aware of the fact though that it is not always energyefciency which provides lightness. Sometimes weight

can be used to achieve good thermal inertia. At therecent California Academy of Sciences in San FranciscoI tried to balance weightiness and lightness. The roofwas made heavier in order to accommodate 2,000,000different species of plants which guarantee that thebuilding functions well from a climatic point of view. Lightis brought into play by means of some porthole-typewindows: during the day natural light enters, and by nightarticial light is emitted.

So the roof became an integral part of the museum?

In a period of six months the museum has welcomedover a million visitors, and they all go onto the roof to seea fragment of Californias vegetation. Other factors whichare less apparent also contribute towards guaranteeing

the sustainabilit y. For example, the thermal insulation ofthe walls was obtained by lling the cavity with the scrap

from jeans salvaged from nearby factories. We also usedrecycled iron materials for the masonry and frameworks.

Can you tell us about the J.M. Tjibaou Cultural Centre in Numea?

In New Caledonia I tried to create a building whichbreathes by coming into contact with the winds whichexist there. The wooden bars of the ten hut structureswe created vibrate when the trade-winds blow, andeach one of them produces a different sound. We tried

to interpret the spirit of th e place and the culture of theKanachi, a people who have always been in close contactwith nature. The light lters between the bars and casts

a landscape of shadows onto the ground which recallsthat of the forest.

How do you relate to other lighting specialists when you are

aiming for sustainability?

I like working with them. For example, we have carriedout numerous projects with a lighting manufacturer, someof which led to the development of lighting devices whichwere then put into production. The objective is efciency,

long-life, and restriction of consumption, and moderntechnologies help us in this respect . Previously a halogenlamp would last for 1,000 hours, and a sodium andmercury vapour one would last for about 10,000 hours;

LEDs can now last for as long as 60,000 hours. If theservice life changes, you can also vary the way in whichyou design the object, in relation to the way in which itlasts over a period of time.

How do you alter the form of the building in relation to the climate?

Personally, I have a broad view of climate. I consider itas the context in which the building will be located, so

this involves both the atmospheric and cult ural climate.The worst mistake an architect can make is to createa building which is out of place and out of scale, whichdoes not capture the light or take into account the spiritof the location. However, and I am thinking for exampleof Beaubourg, this does not mean being mimetic andimitating the forms of nature.

What are your plans for the future?

They involve the students who come to my companythanks to a programme we are developing togetherwith Harvard University. You dont need to worry aboutnot giving anything to young people, they can take of

themselves. If the experimen t is a success, you knowfrom the light in their eyes.

DIALOGUE

Closer to nature

As far as Renzo Piano is concerned, a successful architectmust be at the same time a good engineer, a goodsociologist, a good economist and a good geographer.But if he wants to go further than this and create poetry,he needs to know how to work with wind and light.

Why did you decide to become an architect?It was the natural thing to do: I came from a family ofbuilders. Perhaps I could have chosen to continue myfathers job and work in the company, but being anarchitect seemed more interesting to me. And, to tell the

truth, I did it to get away from home. In Genoa wher e Ilived, there was no School of Architecture, so I went toFlorence, which is a beautiful city. Perhaps too beautiful.But I preferred Milan: it attracted me because it wasmore lively and dynamic. While I was a student I trained

with Franco Albini. I still remember that I designed thedetails of the ooring next to the Rinascente building

in Rome, then some televisions for Brionvega.

To begin with you focussed on technology

I was fascinated by Jean Prouv, and sometimes I used

to go to Paris to hear his lectures. I was also veryenthusiastic about the work of Frei Otto; his structuresseemed to defy the law of gravity. I graduated in 1964with Giuseppe Ciribini, a professor who was responsiblefor modular co-ordination. In 1969, I had designeda building with a light reticulated cover for the OsakaExhibition which was inaugurated the following year.In 1970 I started up a design company with RichardRogers, and the year after that we won the competitionfor the Pompidou Centre in Paris.

PLATFORM

The more I reduce the material, the closer I get to nature,

and enter into a relationship with light and the wind

StefanoGoldberg


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MONUMENTO A LA LIBERTAD,PLAZA DEL SOL, MOSTOLES, SPAIN

On 2 May 1808, the Mayor of Mstoles (a city 20 km from Madrid) signed theIndependence Proclamation following the uprising against Napoleons Frencharmy. To mark the bicentennial of this event, the city of Mstoles has createda huge architectural monument, visible throughout the entire city, in the newPlaza del Sol square.

The monument is in the shape of a prismatic box and is made of Cor-Ten Steelsupported by four pillars. Its dimensions are related to the dates of both theoriginal event and the bicentennial: 1808 cm wide and 2008 cm long.

The lighting was a critical issue and had to be aligned in terms of efciency,

minimum maintenance, energy saving, colours and dynamics. A computerprogram has been developed to change the dynamics so that the entiremonument is dressed in colours reecting the seasons: warm colours in

summer and spring, and cold colours in autumn and winter.

ClientCity of Mstoles

ArchitectEnrique Fombella, Madrid, Spain

Lighting solutionsEnriqueta Daz, Miguel ngel lvarezPavn, Philips Spain

Light sourcesPhilips LED LUXEON, red, blue and

LuminairesPhilips LEDLine2 RGB

Lighting controlsPharos LPC 1 Controller

ORQUIDEORAMA, THE BOTANICALGARDEN OF MEDELLN, COLOMBIA

n astonishing forest of trees in the shape of owers has sprung up in Medellin,

the city of eternal s pringtime. Visitors walk beneath elevated foliage in subdued

ghting, skirting around the gigantic trunks and discovering that they are hollownd the orchids are growing inside them.

Orquideorama is a project brimming with poetry and technical genius designedy the young Plan: b arquitectura architects (in association with the jprcrchitects) for the botanic gardens in Medellin. For this project they planteden ower-trees, each with a metal trunk and six hexagonal petals made

om interlaced beams, to form a network through modular increase and tree

ructure. These ten ower trees have grown side by side creating an immenseanopy with a bee-hive motif snaking its way across the top of the botanicardens. By bringing together structural biological forces, Orquideoramaroduces an elegant synthesis of cellular processes and sculptural shapes,combination destined to continue to evolve and grow.

ClientJardn Botnico de Medelln

ArchitectsFelipe Mesa, Alejandro Bernal, Plan: b,Camilo Restrepo, J. Paul Restrepo, JPRCE

Lighting solutions

Laszlo Yurko, Ecoluz S. A.

Light sourcesPhilips MASTERcolour /830 , TL 5 /830, CFL 42W

Websitewww.planbarquitectura.com

0 DIALOGUE


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2 FOOTER

ANANDPUR SAHIB, BLISS, INDIA

Gurdwara is the sacred place of worship for the Sikhs. The architecturefeatures some elements borrowed from the Mughal architecture and theRajput palaces and forts, but also includes some original concepts reecting

the principles of the religion and features a combination of square, rec tangular,octagonal and cruciform shapes. There is a gumbad (dome) on the top of

the sanctum, which is usually uted or ribbed and white in colour. The top

is decorated with an inverted lotus-shaped structure and the base alsoreects a oral theme.

The objective of the lighting concept is to portray guratively the openness

of the Sikh religion which draws upon inuences from around the world,

while at the same time preserving its central core belief. The topmost part

of the structure is illuminated in static white with oodlights with ceramicdischarge metal halide lamps symbolizing the purity of its core belief. Thecentral dome is illuminated in a slightly warmer shade of white symbolizing

the spirit of sacrice.

AL ZAHRA HOSPITALSHARGAH, UNITED ARAB EMIRATES

Medical procedures like magnetic resonance imaging (MRI) can often frighteneople, especially children, who feel uneasy in a medical setting and arenxious about the outcome.

l Zahra Hospital, which was established in 1980 by Gulf Medical Projectsompany and, with 100 beds, is the largest private general hospital in theAE, has recently introduced Philips AmbiScene, an LED-based lighting

oncept with changing light colours and light intensity, which creates aomforting and calming atmosphere, reducing patient anxiety. Each patient

an choose their favourite color. This has a positive effect on the patient duringhe MRI scan and, becaus e patients are at ease, it can speed up proceduresnd improve the quality of test outcomes. Light color variation can also besed as a communication tool, for example for instructing hearing-impairedatients when to hold their breath.

ClientAl Zahra Hospital

Lighting designAl Ghandi Electronics

Lighting solutions

Philips Middle East

Light sourcesPhilips LED LUXEON, red, blue and green RGB

LuminairesPhilips LEDLine2 RGB

ClientGovernment of the State of Punjab,Chandigarh, India

Lighting designPavail Gill, Gilton Electricals, Chandig

Lighting solutionsIndranil Goswami, Philips India

Light sourcesPhilips LUXEON LED, 1W, amber, wPhilips LUXEON LED, 1W, red, grePhilips LUXEON K2 LED, 4W, warPhilips MASTERColour CDM-TT 150Philips SON-T 250W

LuminairesPhilips LedLine2 RGB, LED Line2 AWAccent PowerCore SWF 330, RVP 33TCW 097, DGP 652

Lighting controlsPhilips Color Chaser Touch DMX Co

Websitewww.gilton.in

2 DIALOGUE


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CITIZENM HOTEL, SCHIPHOL,AMSTERDAM, THE NETHERLANDS

esign award winning citizenM hotel in Amsterdam partnered with Philips toreate a unique experience for their guests. With a combination of differentghting and multimedia solutions, called Integrated Hospitality Experience, theotel chain is able to build a unique intimacy with their guests and removehe traditional feeling of anonymity f rom the hotel experience. The speciallyesigned system not only combines a host of various ambient products,cluding dynamic LED lighting, VoIP phone, free Wi-Fi and Hospita lityV which contribute to a guests overall experience, it also provides anique back-end network design that interfaces with all the hotels softwareystems, allowing the hotel to operate at much lower costs. The Mood Pad

ontroller allows guests to adjust the temperature, operate the curtains, and

ven change the rooms colour thanks to two RGB LED strings above theanslucent ceilings. As con sumer choices are increasingly driven by emotionalctors - beyond merely the functionality of a product Integrated Hospitality

xperience offers guests immersive experiences that go 'beyond the product'nd engage all the senses.

FEDERATION TOWER TUNNELMOSCOW, RUSSIA

The Federation business complex, featuring the tallest building in Europe(448 m tall with steeple), is being built on Krasnopresnenskaya Embankment,in the capitals Moscow City international business neighborhood.

The objective was to deliver a total lighting solution for the tunnel area ofthe Federation Towers on level 01, translating the lighting effect envision edby Yabu Pushelberg. This tunnel goes from the main entrance to the dispatcherroom with hi-end monitoring system. Within this project the following aspectswere taken into consideration: possibility to re-programme visual effects, easycontrol, temperature management, air-conditioning and energy efciency.

Flexible LED solutions iColor Flex and iColor Cove were applied alongside

the whole tunnel. Light weight and exibility ensured freedom of contentinteraction for most complex solutions.

Client:citizenM hotel chain

ArchitectConcrete architectural associates, Amsterdam,The Netherlands

Lighting solutions

Philips Netherlands

Light sourcesPhilips LED Superux RGB red, green and blue

LuminairesPhilips LED string

ClientMoscow City Business Complex, Mos

DeveloperMIRAX Group, Moscow

Indoor ArchitectYabu Pushelberg, New York

Lighting solutionsChia-Chun Liu, Bas Hoksbergen, PhilNetherlands, Egor Nilov, Philips Russ

Light sourcesPhilips LED SMD RGB red, green, blu

LuminairesPhilips iColor Flex SLX, iColor Cove

4 DIALOGUE


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MBELHOF INGOLSTADT,INGOLSTADT, GERMANY

The Mbelhof in Ingolstadt is currently the largest furniture house in theregion. The lighting concept sets new standards in lighting design for both

the indoor and outdoor areas. This was achieved by a detailed planning whichtook into account even the smallest exhibition spaces . Equally important werelowering energy costs, the brilliance and life-time of the light sources used.

The external faade and also the interior are almost completely illuminatedwith Philips MASTERColour CDM-T lamps in warm white with varying beamangles and electronic control gears. The result is a very comfortable andinviting atmosphere in the sales area. Additionally Lival xtures in combination

with CDM-Tm Mini 20W and 35W were used in smaller areas and for specic

displays combining high-quality, brilliant light and low power consumption.A literal high-light is the installation of down lights with CDM-T 250W ata height of 22 meters: The sun shines through the ceiling was the comment

from many clients.

ClientMebelhof Ingolstadt

Lighting solutionsD. Lindner GmbH and D&L Lichtplan

Light sourcesPhilips CDM-T, 150/830 and 250W/8Philips MASTERColour CDM-Tm Minand 35W /930, Philips MASTERColou70W/930 Elite

LuminairesLIVAL track and downlight xtures

6 DIALOGUE

FONTANA DI NETTUNO,MESSINA, ITALY

Messina, Italy, this wonderful monument stands in the middle of a squarethe city centre, which is crossed by major roads and marked by a forest ofsorderly arranged vertical elements (trees, shrubs, trafc lights, road signs

nd, last but not least, the poles of public-lighting with 800W sodium lamps!).was difcult to notice the fountain among all these various forms of pollution

visual as well as sound) and in the evening, the subject was batched withellow-orange light that did more to hide its presence than to treat it as whatis: a jewel in the city centre.

was therefore necessary to extract the structure from its environment.his meant re-using the public lighting poles closest to the fountain: no less

han 30m away and with a height of 10/12m! This challenging geometrictuation is addressed with an alternative to the traditional way of lighting:

hanks to sixtee n BeamerLED luminaires, dist ributed in four groups of fournd equipped with white LED light, the fountain is once again allowed tohine with colours and to show its structure. The biggest benet isnt

mmediately perceptible: the installation, with an expected life of 50,000ours, uses in total only 48W, less than a light bulb!

Client:Citz of Messina

Lighting solutions

Massimiliano Negri, Philips Italy

Light sourcesPhilips LED LUXEON, white

LuminairesBeamerLED


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SUSTAINABILITYS IT ONLY PERFORMANCE?

Ever since human-beings have lived on Earth, daylight has beenimportant both for and in life. In architecture, sun orientationcontributes to the delight of working or living in a space. This notionof comfort created by light, emotions generated by light is essentialfor the health and well-being in a place. Read Christian CochysPerceptions article for a look at the architectural consequences.

Some people in United Kingdom, but even more in Alaska, Russian

and the Nordic countries, suffer from seasonal affective disorderas a result of the lack of daylight, both in quantity and quality.These winter blues can cause dramatic mood swings but can be

treated by light therapy using high quality light sou rces with a goodspectrum. The Chamber of the Wales National Assembly and theBaker Street ofces in London also allow adjustment of task lighting.

Sustainability in all senses daylight, heating, water and controls is

taken seriously by the archit ects concerned. Th e former project isdiscussed in detail in Dossier.

Lighting is an actor of sustainability going beyond the implementationof environmental and human consumption parameters. Of course,energy performance or recycling of lamps and luminaires is import ant,

but for architects and lighting designers the quality of light greater issue since it makes a major contribution to the ple

the end-users . For architecture, s ustainable lighting is a qumood, brightness and colour. Just as daylight differs in sumwinter, so exible lighting adds meaning according to the u

place or the moment of the night. The Odeon and Octaviprojects both pay attention to energy saving but also allowdynamics to play a major role.

Sustainability has become a buzzword - but Architecture aLighting, designers and manufactures cannot solve all the palone. It is a long-term concern of society where each actoresponsibility towards climate change. It is up to you to de

rhythm and saturation that produce the play of light.

Vincent Laganier

8 DOSSIER


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0 DOSSIER

NATIONAL ASSEMBLY OF WALES, CARDIFF, UNITED KINGDOM

TRANSPARENCYInterview by Jonathan Ellis

The new building for the National Assembly of Wales is a bold and modern statement,

not only about the transparency of government but also about consideration for the

environment. Daniel Wright was a member of the project team formed by Richard

Rogers Partnership (now Rogers Stirk Harbour & Partners) to design and create this

new expression of democracy on the banks of Cardiff.

It was very clear from the start that the client wanted to make a strongstatement about transparency in the political process, explains Daniel Wright.Our intention was to create a friendly, inviting building which would drawpeople into the process. Visual connectivity between the private and publicareas ensures transparency while focusing the attention on the centralDebating Chamber.

The site on the edge of Cardiff Bay provided an important cue for our initialdesign response. The buildings primary address is the bay suggesting aninstitution that is outward-looking rather than introspective. The bay provideda metaphor for our design: two planes the plane of water and the plane of

the sky expressed by the building as a oating roof over a stepping plinth.

We dubbed it the Democratic Roof, because it extends over all the buildingsactivities; everybody involved in the political process coming together underone roof. And the central Debating Chamber is formed by the roof foldingdown to meet the plinth, suggesting that here all opinions meet.

Throughout the building, extensive use is made of natural light.

An environmental brief was developed with BDSP (the environmental andMEP consultants for the project) to accompany the design brief and its primaryaim was to minimise the buildings energy demands and thereafter to pursue

the most energy efcient building systems as pos sible. Lighting was a key

issue in that environmental brief and we felt it essential to maximise the useof daylight. With BDSP we developed a large glazed lantern for the DebatingChamber with an inverted reector cone that brings diffuse daylight down

into the Debating Chamber. But it was impossible to depend exclusivelyon natural light in the Chamber, because many of the plenary sessions are

televised and so with BDSP we had to create a delicate balance betweennatural-looking lighting and even lighting which did not compromise theclarity of the chamber.


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2 DOSSIER

The energy usage targets were very demanding, but BDSP were able to achievethem thanks to the use of high efciency lamps and luminaires in conjunction

with an automated building control system. This allows appropriate lightingscenes for the various multi-functional areas to be selected at the touchof a button, ranging from the lighting of informal meetings to the lighting of

televised Assembly plenary ses sions.

ARCHITECTURAL CONTEXTOur design made considerable use of exposed concrete frame of the buildingas thermal mass. We wanted it to be honest and unadorned, says Daniel

Wright. For this reason, we developed multi-purpose booms which weresuspended below the concrete soft, and these contained not only the

lighting luminaires for both uplighting and downlighting but also othertechnical equipment which would otherwise accumulate on the soft such as

loudspeakers, sounders, smoke detectors and various sensors. There are alsoinfra red sensors which shut down the lighting when the room is not in use.

A particular challenge was heating and ventilating the enormous public areas,which represent two-thirds of the building.

BDSP suggested that we could relax the temperature range conventionallyapplicable to internal spaces by re-thinking the main hall more as a semi

internal than fully enclosed space. Rather than maintaining a constant 21C

throughout the year, we allow a temperature variation between appx 14Cand 26C, signicantly reducing heating and cooling demand. The public

entering the building on a hot summer day are likely to be in shirt-sleeves, whilethose entering in winter will be wearing overcoats. Visitors psyc hologicallyadjust to the internal temperature meaning that you feel as warm as you thinkyou should be in that environment. In fact, the total energy consumption gure

the building was designed for was 75 kWh/m2, well below the best practicetarget of 130 kWh/m2.

The Assembly now has an open environment which undoubtedly representsa change in the political fabric of Wales but also Britain. Welsh people nowhave the symbol of democracy they voted for and, judging by the manypositive comments from the public, they are delighted with it.

ClientNational Assembly of Wales

ArchitectRogers Stirk Harbour + PartneLondon, United Kingdom

Environmental ConsultantMatthew Winter, BDSP Partne

Structural EngineerGabriel Hyde, ARUP

Lighting ConsultantsMatthew Winter, BDSP PartneBarry Hannaford, DPA Lighting

Light sourcesPhilips MASTERColour CDM-T

Debating Chamber LuminiGuzzini, CDM recessed oodlilters to raise 5000K for televison the rst ring, Wila, T5 circulaperimeter acoustic panels

Lighting controlsDALI

Websiteswww.rsh-p.comwww.bdsp.comwww.dpalighting.com

1Debating Chamber

2

Foyer

3Public Gallery

4Upper Foyer

5Milling space

6Members tea room


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First it was a concert hall, then an unloved inner courtyard and now, thanks to the additio

of glass and light, it has been given a new lease of life as a splendid foyer to a Ministry build

The history of the Munich Odeon is as varied as it is unusual.

ODEON, BAVARIAN STATE MINISTRY OF THE INTERIOR,MUNICH, GERMANY

A STAGE UNDERTHE STARS

terviews by Guido Diesing

4 DOSSIER

when in 2004 the architect's ofce Ackermann

Partner was given the assignment to redesign thinterior courtyard. There had been repeated caOdeon to be rebuilt so that it could once again as a concert hall, but these requests fell on deaf In the end it was decided to put a roof on the icourtyard so that it could be used for events at Ministry. When we received the assignment to building what had initially been built in 1828 andwe felt an immense sense of respect for the imparchitects who had been involved and for the h

the building. We didnt want to convert it, but wto conserve what was left of it . The original Odlonger exists, but by covering it with a glass domwere able to make the part of the interior courtused to be a concert hall into a useable space ag

Built in 1828 for the Bavarian king Ludwig I, on the basisof a design by the master builder Leo von Klenze, theOdeon in the Bavarian capital city served as a concerthall with excellent acoustics. All but the outer walls of thisclassic building were destroyed in the Second World War,and it was not until 1951 that a decision was made abouthow to use the part of the building that was still standing.It was converted by the architect Josef Wiedemann into

the head ofce of the Bavarian Ministry of the Interior.

For decades there was not a lot to remind people of thebuildings original purpose.

After the roof had been destroyed, what had once beena concert hall became an interior courtyard that wasnever used and gradually fell into disrepair, said Peter

Ackermann as he described the situation he confronted


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6 DOSSIER

ClientBayerisches Staatsministerium des Inneren(Bavarian Ministry of the Interior)

ArchitectPeter Ackermann, Ackermann und PartnerArchitekten BDA, Munich, Germany

Lighting DesignErwin Dring, D-LightVision, Munich, Germany

Lighting solutionsAlexander Weckmer Licht und MediensystemeGmbH, Knigsbrunn, GermanyThorsten Cramer, Philips Germany

LuminairesPhilips ColorBlast 12 Powercore, ColorCast

Lighting controlsPhilips iPlayer 2

Websitewww.ackermann-partner.comwww.d-lightvision.de

IGHT VISIONhe subtlety apparent in the criss-cross network of glasshat forms the roof, which now appears to oat on small

llars above the courtyard, is also evident in Ackermannseas for the lighting: We wanted to bring out the playf light and shadow of the pillars in order to give thepace more depth, but to do this in as subtle a way asossible, taking care not to destroy the effect by usingrge luminaires. To enable us to achieve this, we workedosely with the lighting designer Erwin Dring.

He knew exactly what we meant: It is very importanto talk about light, and not about luminaires . A lightingesigner has a vision of light, not a vision of luminaires.

When it came to the Odeon, he saw a way to useghting to link the space with its past: I had the ideao create a sort of stage lighting and to make the entir epace into the theatre set again. The light needed to bemellow light, but it also had to offer an appropriate

ghting solution for all kinds of events such as statesits, presentations, concerts and lectures. The ideal

way to achieve this was to use LED-based luminaires.

lexander Weckmer, who had the job of managing the

roject, explained the choice of luminaire: Even usingwarm-white light we could not manage to really bring outhe light ochre-coloured walls, so we decided to opt forolour-changing luminaires a revolutionary solution

or such an historical building as this.

ATMOSPHERE IS EMOTIONpecial optics with a broader light distribution were

made for the oor-level lights, with the result that

wer luminaires were required. The positioning of theminaires, which on the second and third levels aresome cases hidden behind pillars and under panels,

makes it possible to illuminate the walls uniformly and inn unobtrusive way. A DMX controller is used so thathe 120 luminaires can either be controlled individuallyr combined to create lighting scenarios, explained

Weckmer. Pre-programmed scenarios can be called upt the press of a button and offer more or less endlessossibilities. Here you need a careful touch and a sensiblepproach or it could very easily turn a bit kitschy. Erwin

ring added: Atmosphere is emotion, and emotion isght. Today we can transform various emotions into lightnd colour. We wanted to show just what can be donesing light, without ruining the effect of the building. Now

we have a stage again, even if it is only a pleasant illusion.

When a reception is held here we can bathe the walls ina saturated blue or in a dark orange. A good side-effectof the upward light is that the light sources are reected

in the glass roof. This creates the effect of a starry skyand, together with the colour composition it creates awonderful overall effect. Light and colour set the scenein this space; they introduce an element of suspense andcreate a theatrical atmosphere in an architectural setting.

And the solution is a success not just in terms ofaesthetics but also in terms of economy. These dayssustainability is an important factor, says Dring. This

solution is sustainable not just because of the low energyconsumption a total of only 1.5 kW but also because

of the lifetime of the luminaires no less than 50,000

operating hours. And because we have nowhere nearexhausted the potential of these luminaires, there will beno need to replace them if additional effects are requiredin the future. Now that is what you call sustainability!

Peter Ackermann was delighted with the positiveresponse to the design concept: At rst a lot of the staff

at the Ministry were sceptical, but now there is hugeacceptance for the solution. In the warmer months thereisnt a single week goes by without the foyer being usedfor one or more events.


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8 DOSSIER

The lighting of the Octvio Frias de Oliveira Bridge in So Paulo, conwhite and coloured light in order to emphasise the innovative naturecurved, stayed structural system. Paulo Candura and Plinio Godoy, oUrbana, created the lighting design.

The bridge aims to improve the trafc conditions in what is one of Br

largest metropolises by creating new links between strategic districtscommercial pole of the port of Santos. Known as the Estaiada bridgeStayed bridge), and opened in May 2008, the bridge has quickly be

icon of So Paulos landscape. Its dense mesh of stays and the single esupport tower, 138 metres high, stand out between the banks of theriver, which form one of the structural routes for metropolitan road

The aim of the lighting technology was to emphasise the innovative nof the bridges engineering and architecture, designed by the architecValente, of Valente Valente Arquitetos. It is designed in such a way ascreate a clear distinction between the daytime and night-time views obridge. Consequently, starting with the assumption that the many ye(144 of them altogether) take priority over natural light, it was decide

the articial lighting would serve the purpose of emphasising the form

dimensions of the concrete tower.

The lighting of the Octvio Frias de Oliveira Bridge in So Paulo, contrasts white

nd coloured light in order to emphasise the innovative nature of the curved,

tayed structural system. Paulo Candura and Plinio Godoy, of Luz Urbana,

reated the lighting design.

OCTVIO FRIAS DE OLIVEIRA BRIDGE, SO PAULO, BRAZIL

COLORED ACCENTSON THE RIVERWritten by Evelise Grunow


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0 DOSSIER

ClientPrefeitura Municipal da Cidade de So PauloConstrutora OAS

ArchitectJoo Valente, Valente Valente Arquitetos,So Paulo, Brazil

Lighting designPlinio Godoy, Paulo Candura, So Paulo, Brazil

Lighting solutionsAlexandre Ferrari, Philips Latin America

Light sourcesPhilips Cosmopolis CPO-TW 140W /728MHN-LA 1000W /956Cree LED-HB red, blue and green RGB

LuminairesPhilips Milewide, SRS421, road optic,ArenaVision, MVF403, Cat A1 to A5 reectors,Colorblast 12, BCP470, 8 and 23 beams

Lighting controlsPhilips iPlayer

Websiteswww.valentearquitetos.com.brwww.luzurbana.com.br

UMINANCE AS A DESIGN RESOURCEWe opted for primary, volumetric lighting of the tower, commented Plinio

odoy with reference to the decision not to allow the night-time lighting effectso distort the percept ion of the real dimensions of the concrete struc ture.

or this reason, use was made of ArenaVision oodlights, 1,000 W, installed in

he vicinity of the bridge so as to focus in parallel on the main sur faces of theolume of concrete. We used luminance as a design element, Godoy added.

owever, whilst the tower was s till being built, it was found that the surroundingght would interfere negatively with the mesh of stays, due to the constantresence of an unintentional and undesirable linear beam of light. In ordero ensure that the concept of emphasising th e view of the tower remainedtact, additional ArenaVision oodlights were added, for directional focus

n strategic points of the stays. The lighting designers were aware thatublic lighting makes a statement, hence the decision to focus each oodlightdividually, so as to cancel out any interference by lighting from the city.

addition, this equipment was oriented in such a way as to create an area ofhadow on the inner surfaces of the tower, with homogeneous parallel lightingf the inner surface, in parallel to the Pinheiros River.he aim was to separate the lit areas from other, dark areas, on which theoloured light would be projected, as specied by the lighting design.

this respect Godoy pointed out that the coloured lighting of the bridgediscreet and homogeneous, in line with the particular relationship which

he residents of So Paulo have with regard to the colour applied to publicmonuments. The lighting designer explained: This is a very sensitiveelationship, timid even, and different from the situation in other major cities

the country, such as in the North West, for example. Use was therefore

made of 146 Colorblast LED oodlights, with varied beam angles so that

urfaces with different heights would be lit homogeneously.

IGHT ON THE DECKhe lighting of the two trafc lanes was based on two main criteria. Firstly,

nce the bridge is located in a relatively dark area of the banks of the Pinheiros,he aim was to create lighting of approximately 70 lux on the trafc lanes,

ompared with 20 lux required in the surrounding environment. Godoy said:People feel safe in these conditions.

addition, the interface of the lighting equipment with the line of staysctated a maximum height of 6 metres for the lighting posts. These use

Milewide street luminaires with CosmoPolis lamps, and in view of theirmited height they are arranged bilaterally and asymmetrically, in other

words interposed every 15 metres on both sides of the lane. The lightingf the Octvio Frias de Oliveira Bridge uses efcient, modern technology

which is representative of the state of the art in Brazilian lighting design.


17/27

2 DOSSIER

55 BAKER STREET, LONDON, UNITED KINGDOM

THE ARTOF LIGHTINGWritten by Paul Haddlesey

A major refurbishment of 55 Baker Street in central London, creating a modern,

dynamic building complex, includes the use of LED lighting xtures, a bespoke

lighting solution for workspaces and an integrated lighting management system.

Now owned by London and Regional Properties, the site was formerly theheadquarters of Marks and Spencer and a well known London landmark.Thanks to an innovative lighting scheme by Make Architects and light artists

Jason Bruges Studio, t he building has been transformed at st reet level to createvisually dynamic public spaces that combine innovative lighting with public art.

From the very beginning of the project we considered light to be just asimportant as any other element of the building, recalls Makes Ian Lomas.

We were also keen to make the exterior lighting part of the public artcomponent rather than simply using trophy art. To that end, we involved

Jason Bruges at an early s tage so that his design would inform the way thewhole building is lit, he adds.

COLOUR CHANGING CONCEPTThe transformation of the buildings exterior features three glass inlls or

'masks' spanning the voids between the existing blocks. Constructed froma glazed lattice of stainless steel, these masks create a distinctive sculpture

that changes with both the viewers perspective and the times of day and year.Red, green and blue lighting using LED xtures integrated into the cladding

are key to creating the colour changes at the heart of the concept.

The emphasis is very much on focusing attention on surfaces and textures,rather than the lighting xtures themselves, so it was important that the

luminaries were positioned discreetly, notes Ian Lomas.

The combination of the structures and the lighting help to create moodsthat reect the seasons and the activity in the space, Jason Bruges explains .

We have used very tight angles and narrow beams to achieve this andwent through a number of iterations on a full scale mock-up to create

the desired effect .

All of the lighting in these areas is controlled from a single point to producepre-set scenes of different colours and patterns in relation to the time of dayand the season, and can also be programmed to produce scenes tailored tospecial events, he continues.


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4 DOSSIER

ClientLondon & Regional

ArchitectMake Architects, London, United Kingdom

Faade lighting designJason Bruges Studio, London, United Kingdom

Services EngineersBlyth & Blyth, London, United Kingdom

Lighting designLight Bureau, London, United Kingdom

Lighting solutionsCraig Stead, Mike Simpson, Philips United Kingdom

Light sourcesPhilips MASTER TL5 14-28W /840,Philips MASTER PL-L 26W /840,LUXEON K2 red, blue and greenCree LED-HB red, blue and green

Multi Service Chilled BeamFrenger MSCB including air-conditioning, controlsensors and lighting in ofces

LuminairesMike Stoane Lighting LED oodlight for faadePhilips LEDline2 RGB in the hall, Fugato, Celino,Savio in ofces

Lighting controlsPhilips LMM, Light Master ModularLON DALI

Websiteswww.makearchitects.comwww.blythandblyth.co.ukwww.jasonbruges.comwww.lightbureau.com

SMOOTH TRANSITION OF LIGHT

As well as being visually striking in its own right, the lighting within the masks

creates a series of thresholds between the exterior and the interior, so there

is a smooth transition of light rather than an abrupt change.

Within the workspaces, the design team was faced with another challenge:

the client wanted to maximise the oor to ceiling height and create a light

and spacious ambience with high levels of comfort. Consulting engineers Blyth

and Blyth identied a multi service chilled beam (MSCB) system that combines

uplighting, downlighting and comfort cooling as offering the best solution.

Philips worked closely with chilled beam supplier Frenger to ensure that the

systems were fully integrated in the beam structures.

The MSCB enabled us to keep the ceiling height to a maximum while

delivering the required specication for high quality ofces, explains Mike Pile

of Blyth and Blyth. However, because the beams are a xed shape across the

ofce, getting the right prole was vital to achieving uniform light distribution,

particularly between the beams. The system also needed to be very exible

to enable tenants to install partitioning if required.

Architectural lighting designer Light Bureau and Blyth and Blyth worked

closely together to achieve the best solution. The lighting on the beams is

divided into groups of four on the outside edges and two groups of two

on the inside edges so that a partition can be placed across the beam. Eachbeam also includes two multi-sensors with a photocell and passive infra-red

(PIR) presence detector so that the lighting can be demand-controlled in

relation to both occupancy and daylight levels.

MAxIMUM FLExIBILITY

Fully addressable for maximum exibility, the DALI network interfaces to a

Light Master Modular lighting management system, creating what is believed

to be the largest LON DALI control project in the UK so far.

Each lighting control module was commissioned to link four chilled beams per

unit. In turn, each of the chilled beams housed six light ttings representing

in total some 22,000 luminaires across 16 oors within the building complex.

We know that we have got not only an advanced lighting management

system but one that can accommodate any changes in the future, while

minimising any reconguration of the system, Mike Pile concludes.


19/27

6 DOSSIER

LES PINS LONG-TERM CARE UNIT 1990

Invited to design hospice accommodation for elderly

poly-dependent people, I attempted to respect their

extreme sensitivity to light and to heat in summer

without depriving them of the contribution that is

essential for their morale during that phase of revival in

the summer cycle. In the Les Pins living unit I suggested

living-rooms broadly glazed and looking onto the nature

outside. In summer they are protected by very wide

canopies, while the existing trees protect the rooms

to the west. It was possible to combine the important

requirements of air renewal, due to incontinence, with

the buildings strong inertia, thus making for nocturn al

refreshment. Linked to a central patio garden, the

need for transparency between areas so as to facilitate

surveillance has helped to enrich the natural lighting of

all the living-rooms.

INDIVIDUAL RESIDENCES 1982 TO 2009

Traditional European rural housing used to perform a

bioclimatic function of sheltering people who mostly

spent their days doing outdoor physical activities. Todays

shelters are mainly aimed at urban sedentary people who

have become more sensitive to the cold and are often

insulated from the natural cycles.

In my individual housing projects I attempted to make

passive use of the suns direct inputs in most of thespaces, both during the day and at night. I link them to

their indispensable complements, such as compactness,

inertia, protection against the cold from the north, natural

and mobile protection against the heat of summer and

now the use of healthy materials.

The resulting spaces are therefore very directional and

full of contrasts. Inundated with light in winter and open

to the south, they are shaded to the north, with views

and emotional lights to the east and west. Windows or

zenithal light wells punctually provide the more spiritual

atmospheric complements during the day in the areas

LA BOSSE COLLECTIVE

ACCOMMODATION 1980

When I nished my rst building using passive solar design

in grouped housing, my interest in bioclimatic architecture

was initially sparked by research into the economics of

energy and heating. At the end of the rst winter several

occupants told me that they had found that the winter

had seemed shorter to them. They beneted more from

the sun indoors and on the huge terraces than in their

previous dwellings, relegating the expected economies of

50% of heating to a secondary level. This was a revelation

to me and the realisation of a new compatibility between

bioclimatic architecture and natural lighting.

ELISA LEMONNIER INFANT SCHOOL 1984

The order for a bioclimatic infant school with three

classes was the opportunity to deepen, more consciously

this time, those complementary qualities. I imagined a

building in which the sun would provide heat and light

in winter without bothering its occupants. The classes

have windows facing south. They are low down at the

childrens level. The window in the central passageway

is tted with mobile insulating panels to give protection

from the north in winter and to provide shade and

coolness in summer. The need for transparency between

classrooms is combined naturally with indirect lighting

in them. Light wells facing south and north and oculilet the children feel the different atmospheres and the

movements of the sun during the year.

ANNE FRANCK LIBRARY 1987

In order to comply with the request to protect the

faades in a sensitive area, I decided to light the round

book room using a transparent pyramid on the roof.

Each section of the pyramid is protected by independent

outdoor sun-breaks. This enables the users to manage the

protection of the sides exposed to the sun as it moves

during the day, while keeping good natural brightness and

excellent summer comfort.

PASSIVE SOLAR AND NATURAL LIGHTING:ARCHITECTURAL ATMOSPHERES

hristian Cochy, Architect in Saint Nazaire, Loire Estuary, France

Since he discovered the concept of solar architecture, in both summer and winter, in the United

States in the 1970s, Christian Cochy has been expounding the essential part played by the sun in

architecture and its teachings.

facing south. Pergolas with vegetation or mobile fabrics

protect outdoor terraces and south-facing windows in

summer. The night lighting is largely provided by energy-

saving lamps, also positioned according to daylight entry.

For their occupants this suggests living in harmony

with the sun, adapting to its constraints. For example,

accepting the day-night brightness and temperature

variations in winter. Accepting that the sun, the winds and

the locations characteristics are nally recovering their

place in the organisation of the rooms in a building.

My last few projects resulted in my optimising the full and

glazed surfaces and tting my buildings with solar panels to

produce electricity and sanitary hot water. Aim: to move

towards energy-saving structures and in the long term

towards positive energy, in which the night lighting would

be provided by the solar energy stored during the day.

I was immediately beguiled

by the thermal form-function

suitability of this pueblo

village, Cliff Palace, built in a

cave in Colorado. Sensitive

too to the compatibility

between the seasonal cycles

of vegetation and the solar

trajectories and to that

between the thermal inertia

capacity of a building and

the day-night cycle of the

solar inputs.

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


20/27

THE LUMINANCE SENSATIONOF COLOURED LED LIGHTINGeter Kort, Luc van der Poel

RESULTThe results reect the luminosity function: green light

contributes the most to the intensity perceived by thehuman eye, and blue light contributes the least. When thewhite light was set at 100, we found the ratio for red tobe 33, for green 50, and for blue 17.

Another, secondary outcome of the test shows that the

sum of the red/green/blue ratios found (additive colourmixing of RGB gives white light) is equal to the intensity ofthe white spot.

Finally, two primary colours were combined to createyellow, magenta and cyan. The outcome showed that therelative luminance of secondary colours could be foundby adding together the relative luminance of two primarycolours. In this way we can predict for every colour therelative luminance compared to white light.

Coloured LED lighting is becoming increasingly importantin lighting concepts. It is used not only in the theatreand for city beautication, but also in shops, reception

areas and even in ofce environments. The luminance

effects of spotlighting using white light are well knownand are described in terms of the accent factor; colouredlighting is not yet described in this way. The attractionvalue of coloured light is expected to be higher than that

of white light due to the colour contrast. The followingexperiments shed some light on the behaviour ofcoloured lighting in relation to white lighting.

THE EXPERIMENTThe experiment denes the relative luminance sensation

generated by the primary colours of a LED spot. Themethod uses a pattern created by two LED spots on ahighly reective wall. The wall is divided into two equal

parts. On one half you see a spot in one of the primarycolours, on the other a white LED spot with a presetintensity. The test patterns are red-white, green-white,and blue-white. The observer changes the intensityof the coloured spot until they feel the luminancesensation generated by the two spots is equal. This testis performed for each combination, once in completedarkness and once with 350 lux on the wall.

8 FEEDBACK

100%

33%

50%

17%

50%

67%

83%

0%

RELATIVE LUMINANCE

Additive colour mixing:Light is perceived as white if all the three types of receptors in our eye arestimulated simultaneously. The colours red, green and blue (RGB) all activateone type of receptor

Relative luminance:The graph shows the different relative luminance for all colours with the same luminance sensatilight. One can see, for example, that green light (525 nm) generates the same visual attraction wper cent of the luminance of white light. The relative luminance for cyan (490 nm) is 70 per cent

Test sceneThe observer changes the intensity of the coloured spot until they feel theluminance sensation generated by the two spots is equal. This test is performedfor each of the three combinations, red-white, green-white, blue-white, once incomplete darkness and with 350 lux on the wall.


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0 FEEDBACK

ArchitectFrdric Agnesa, SAA, Lyon, Fr

Lighting solutionsIsabelle Huaman Gontard,Christian Ferouelle, Philips Ligh

Electrical installerACEA

Light sourcesPhilips Cosmopolis 45-60W,LUXEON I red, green and blueLUXEON K2 warm white

LuminairesPhilips CitySoul, UrbanLine,Milewide, CitySpirit Street ColoMetronomis, Marker LED, LEDasymmetric, LEDood, MultipoUnderwater LED, Decoood, P

Lighting controlsMartin LightJokey

City streets now have to be lit withgreater subtlety than ever, taking intoaccount the often conicting needs

of residents, motorists, pedestriansand even cyclists. Lighting in suchareas is no longer purely functional;it has to adapt to the needs ofpeople, providing not only safetyand visibility, but also ambianceand orientation. In addition, lightingschemes must be energy-consciousand prevent light nuisance andpollution.

With this in mind, the OutdoorLighting Application Center OLAC

has completely transformed its

demonstration area. The originalintimate street with family homeshas been replaced by a modern,contemporary urban street, withresidential buildings on two oors,

a restaurant, nursery school andprivate houses. The new area alsoillustrates the increasing urbanisationand densication of urban areas

apartments instead of individualhouses. This provides the backdropfor showing how lighting can beimproved with modern technology,while at the same time taking intoaccount the changing demandspeople and urban authorities makeon residential environments.

The demonstration starts with anold installation and then shows

a number of different scenarios. Itis an eye-opener to explain and

visualise how to improve lightingof public spaces in terms of energyconsumption and beam control, butalso in terms of atmosphere andsafety by the creative applicationof decorative lighting. The lightingsolutions chosen are state-of-the-art,and concentrate on a variety of lightsources, luminaires, optics, design,power, lighting control and dimmingmode. Particular attention is given to

the fast growing penetrat ion of LEDsinto residential areas with UrbanLine,CitySpirit Street Color, CitySoul,Multipole, LightTube and LED,LEDline asymmetric, as well as to

tailor-made and dedicated solutionssuch as LightTube or Multipole.Whats more, the installationincludes HID lighting solutions suchas Cosmopolis lamps with perfectenergy saving and high quality whitelight.

This new residential demonstrationarea once again underlines Philips

commitment to lighting professionalsand the architectural community. Itprovides a unique opportunity toview the latest application trendsin urban lighting in a customised,modern environment and offersprofessionals the opportunity toassess lighting plans in terms ofsustainability, creativity, and, mostimportantly, the needs of thepeople who live in and make use ofresidential areas.

NEW OLAC RESIDENTIALDEMONSTRATION AREASustainability, creativity and human needs central

SHOWROOM


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STAGE 1: RESEARCH

2 FEEDBACK

LIGHTING MASTER PLANBy Mujgan Serefhanoglu Sozen

Mujgan Serefhanoglu Sozen (Prof., M. Arch) lectures at the Yildiz Technica

University, Faculty of Architecture, in Istanbul, Turkey. She is chairwoman

(Commission Internationale de LEclairage) Division 5, TC 21 M aster Plan

Urban Lighting and TC 24 Guide for Architectural and Decorative Lightin

Mujgan Serefhanoglu Sozen (Prof., M.Arch) lectures at the Yildiz Technical University, Facof Architecture, in Istanbul, Turkey. She is chairwoman of CIE (Commission InternationaleLEclairage) Division 5, TC 21 Master Planning of Urban Lighting and TC 24 Guide for Arcand Decorative Lighting.

Today, it is inevitable for cities to be alive at night as well as during the day. People workingthe day are deprived of social, artist ic, sports and ent ertainment ac tivities. By fac ilitating tactivities at night, using urban spaces with safety and security, and by carefully selecting hisartistic and architectural elements that have social value, you make cities more attractive apromote life quality. But if you are to do this positively and with an efcient use of energy

require a comprehensive planning.

A Lighting Master Plan can provide direct and indirect advantages by bringing a new pointand identity to the city. It can introduce basic principles with an overall approach to both uarchitectural lighting, control of night life and the night image of the city.

The development of a Lighting Master Plan will typically pass through three stages. Duringresearch stage, a detailed analysis of the city is performed. This will include usage, users, ncharacteristics, existing utility and architectural lighting, and light coming from buildings. It wdeal with the citys image, identity, silhouette, road characteristics, the hierarchy between and between buildings and elements symbolizing the city. Then a lighting strategy is deve

taking into account light pollution, en ergy usage, sust ainability and environmental fac tors. third, the implementation stage should include planning and capital costs, operating costsand maintenance systems.

Urban lighting gets old after about ten years, and changes to lamps and lighting elements bnecessary. New products become available with continuously improving technologies andsuch as energy efcient usage also play a role in such changes. In this renewal process, in t

renovation of old cities or in urban transformation plans, lighting master plans must be marespect for the overall approach. The CIE guide Master Planning of Urban Lighting (D5 TCwhich is yet unpublished, shows the need of undertaking utility and architectural lighting owith an overall systematic planning.

.

concept cor

IDENTITY City users

History

Architecture

Landmarks

Atmosphere

Nature

Special events

EXISTING LIGHTING Functional lighting

Architectural lighting

Luminaires

Light sources

SUSTAINABLE CITY Functional lighting

Inventory of light nuisances

(sky glow, glare)

STRUCTURE OF THE CITY Topography

Districts analysis

Traffic analysis (network grading plan)

Viewing points and distances


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STAGE 2: LIGHTING STRATEGY

4 FEEDBACK

THEMES Unique identity

Connecting people

Safety

Orientation

Atmosphere

TYPICAL INSTALLATIONS Recommendations for lighting

solutions and alternatives Standard implantation in cross section

Visualisations and sketches

DETAILED MAPSAND ILLUSTRATIONS Illuminations

Tonality (colours of lamps)Typology (scale)

Composition (typical configurations)Lighting specifications

SCENARIOSLight linked to activities and time: Working day

Shopping

Going out

Special events

PLANNING Planning of implementation

Denition of phases

Timing

STAGE 3: IMPLEMENTATION

PLAZA DE INDAUTXU,BILBAO, SPAINArchitect: Ander Marquet Ryan,

JAAM architec ture partners hipReview: ILR 2007, page 88-91

REFERENCE PROJECTS:SUZHOU SCIENCE ANDCULTURE ART CENTER, CHINAArchitect: Paul Andreu; Paris, FranceLighting design: Mr. Y. Nakamura;Tokyo ShomeiConsultant Co., Ltd., Tokyo JapanMagazine : Luminous 2008/1,page 20-23

18:00PM-24:00AM 24:00AM-07:00AM

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VERDI INNOVATIVE WORKPLACESBy Carine Legoux

Verdis site represents a veritable technological and wellness showcase,bringing together all the operations of the Philips France group since last year.What was the objective? To apply its know-how to improve everyones lives.Selected partners, such as AXA, COGEDIM, the rm of architects Boisseson-

Dumas-Vilmorin & Associs (BDVA) and the engineering rm SETEC, got

together to study and cons truct this ambit ious project.

Its this respect for integration with the environment, this relationshipbetween humanity and quality of life that we have favoured since theconception of the project, says Jean-Michel Dumas, associate architect at

BDVA, in charge of the Verdi project, and Gilles Engelmann, architect for theconstruction phase.

As the leader in the eld of lighting, Philips is constantly endeavouring to

improve articial light sources. The Dynamic Lighting concept marks an

important step that allows all the richness of natural light to be introduced intothe working environment. It is very logical that Philips has opted to t 23,000

m with this lighting concept. This operation, on an unprecedented scale,illustrates perfectly what the lighting in a modern building should be like, takinginto account the users needs and the concern with saving energy.

As the day progresses, the 2200 luminaires are perfectly integrated into thefalse ceiling. They are tted with two T5 28 W uorescent tubes using 2700

K and 6500 K colour temperatures. They vary the luminous intensity and thelight colour temperature, recreating the dynamic thatis peculiar to natural light.

The use of MLO micro-lens optics makes it possible to achieve ahomogeneous and very comfortable light distribution. In addition, DynamicLighting is linked to a centralised management system that takes into account

the incidence of daylight and the presence of staff in the ofces, thus enabling

electricity consumption to be optimised.

6 FEEDBACK

ProjectHead ofce of Philips France, VERDI,Suresnes, France

InvestorAXA

Delegated project ownerCOGEDIM

ArchitectBoisseson-Dumas-Vilmorin & Associs, Paris,France

Engineering rmSETEC

Architect-decoratorJuan Trindade

Lighting designerPhilippe Almon, PHA

Space planningDEGW

Civil engineeringPETIT

Electrical installerSPIE PHIBOR (Vinci Energies)

Philips Lighting solutionsAlexia Lemonnier, Laurent Poitevin, PierreBonduelle, Nadine Ravarini, Philips France

LampsPhilips TL5 28W 827/ and 865, PL-C/4P 18W/830, Philips MASTERColor CDM-Tm 20W /830,LUXEON K2 white

LuminairesPhilips Savio TBS760 2 x28W with ballast HFDin ofces for Dynamic Ambience, Fugato FBS2612x18W in circulation areas, Fugato MBS244 withblack cone MASTERColor CDM-Tm 20W in thehallway and oors, specially designed LEDline2 forlift areas

Lighting controlsPhilips Light Master Modular

Websiteswww.bdva.com


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8 FEEDBACK

MereWordsPhotography


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Until 18 October CIVA ExhibitionThe Shops Time / des BoutiquesFrom the small woeBay / De lchoppwww.civa.be/sub/00.aFondation for ArchiteBrussels, Belgium

19 - 22 October LUCI Association MeetingLighting Urban CoInternational 2009World Photonics ExpGwangju, South Kore

29 - 31 October VIA & PLDA CongProfessional LightConvention 2009

www.pld-c.comPullman Berlin SchweBerlin, Germany

29 October -10 January, 2010

ExhibitionFrank Lloyd Wrighwww.guggenheim-bilbGuggenheim MuseumBilbao, Spain

15 - 17 November IES Association AConferenceIlluminating EnginSociety 2009Realizing the FutuResearch to Applicwww.iesna.orgSheraton Seattle HotSeattle, United States

10 - 12 December CERMA InternatiosymposiumLuminous architec20th century (1907www.cerma.archi.frEcole nationale suprd'architectureNantes, France

BOOKS WHERE TO GOGreen architecture

Author: James Wines, Philip JodidioPublisher: Taschen, LLC (Germany),August 2008, 25th Anniversary editionISBN-13: 978-3836503211240 pages, colour illustrations,hardcoverLanguage:English, French, Germanwww.taschen.com

Wines (dean of architecture, Univ. of Pennsylvania)proposes to steer the architecture profession away from

the "vacuous shape-mak ing" of "academic Modernism"towards an ecology-centered aes thetic. This generouslyillustrated alternative history spotlights an eclecticassortment of lesser-known architects (including Wineshimself) who in widely varying degrees incorporateecological awareness into their designs.

Lighting Design:Ofce for Visual Interaction

Author: Enrique Peiniger,Jean M. SudinPublisher: Birkhuser (Switzerland),

July 2009ISBN-13: 978-3764399573, 144 pages,255 colour illustrations, softcoverLanguage: Englishwww.spinger.com/birkhauser/

More than any building material, light inuences our

well being, effects architectural qualities and stagesarchitectural designs and surfaces. The New York-basedOfce for Visual Interaction (OVI) goes beyond simply

illuminating buildings the rm sees lighting as a way to

actively shape space, complement architecture, integratetechnology and save energy. Featur ed projects includeillumination for contemporary landmarks such as RenzoPianos New York Times skyscraper, Zaha HadidsRosenthal Center for Contemporary Art, a prototypeLED streetlight for New York City, and the lighting designfor Enric Miralles Scottish Parliament complex.

Copyright

2009 Koninklijke Philips Electronics B.V.All rights reserved. Reproduction in whole or in part is prohibitedwithout the prior written consent of the copyright owner. Theinformation presented in this document does not form part of anyquotation or contract, is believed to be accurate and reliable andmay be changed without notice . No liability will be accepted by thepublisher for any consequences of its use. Publication thereof doesnot convey nor imply any license under patent - or other industrial orintellectual property rights.

0 FEEDBACK

Light & Communication- Nature as a reference inlighting design

Author: Henrik ClausenPublisher: Meldorf:Hansen,(Denmark), January 2009ISBN-13: 9788792154026 120 pages,colour illustrations, hardcoverLanguage:Englishwww.meldorfhansen.dk

Light & Communication - Nature as a reference inlighting design" solves. After reading it, you will be able tocommunicate about lighting design in a way everybodyunderstands, using nature as a common reference.

Green Architecture Now!Philip JodidioFlexicover with aps,

Publisher: TaschenISBN-13: 978-3-8365-0372-3, 416 pagesColour imagesLanguage: English, French, Germanwww.taschen.com

The ecological impact of new construction, once asecondary concern, has become a crucial issue. Badlydesigned buildings guzzle natural resources and pollute

their surroundings; in an era of rocketing energ y costs andenvironmental degradation, the need for a sustainable,energy-efcient architecture is paramount. This book

features the architects, artists and rms pioneering a new

green architecture, and examines the emergent esthetics.

Yann KersalAuthors: Yann Kersal, Jean-LouisPradel, Henri-Franois Debailleux,Anne de VandirePublisher: Editions Gallimard (France)October 2008ISBN-13: 978-2070122806215 pages, colour illustrations,

hardcoverLanguage:Frenchwww.gallimard.fr

Yann Kersal graduated from the Quimper School ofFine Arts in 1978 with the Diplme National SuprieurdExpression Plastique. Using light as others may use clayor paint, he chooses night time the most sensitive of all

backgrounds -as his area of experimentation.

19 May - 6 September ExhibitionAndrea Palladio500 anos de conscienciaarquitectonicawww.fundacio.lacaixa.esCaixaforum, Barcelona, Spain

1 - 9 August Youth Architectural FestivalTowns: Construction ofEco-Townby your own handswww.asadov.ru/goroda/2009_greentown(eng).htmAltai, Russia

Until 9 August DDC ExhibitionSee the LightLight sources today and futurewww.ddc.dk

Danish Design CentreCopenhagen, Denmark

Until 13 September MCA ExhibitionOlafur EliassonTake your timewww.mcachicago.orgMuseum Contemporary ArtChicago, United States of America

Until 4th October ExhibitionGreen Architecture for theFuturewww.louisiana.dkLouisiana Museum of ModernArtHumlebk, Denmark

6 October - 17 January,2010

ExhibitionAndrea Palladio500 anos de conscienciaarquitectonicawww.fundacio.lacaixa.esCaixaforum, Madrid, Spain


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1ST PRIZE 2008

SEOUL, SOUTH KOREALighting design

Ko, Kyung-Ju, Ha, Mee-jung, Kwoon Hyung Joon, Lee Yeon So Seoul Jung-gu CheonggyePlaza to Seongdong-gu Sindapcheolgyo Railroad Bridge (5.84 km)

This is an impressive project to rehumanize this urban area . This effort to br ing natureback to the city combined with an harmonious and almost entertaining landscape designgives this previously lost and forgotten place an almost fairytale night-time image. Theli hti d i l ith li ht d d k ll ith th t f th t

city.people.light

award 2009

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Luminous 03 - Sustainable Development

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