Original thinking in lamps and gear Epicentre Prada Store … … · · 2011-01-25Original...

Vo

lum

e 5

Issu

e 3

Inte

l W

orl

d L

igh

t Fair

2003

the magazine for total lighting solutions

Original thinking in lamps and gearFind out how lighting systems are solving

projects around the world

Epicentre Prada StorePrada push the boundaries of

design innovation in retail

LEDsExpanding opportunities through LED innovation

Original thinking in lamps and gearFind out how lighting systems are solving

projects around the world

Epicentre Prada StorePrada push the boundaries of

design innovation in retail

LEDsExpanding opportunities through LED innovation

THE PHILIPS LAMPS & GEAR MAGAZINE V.5 IS.3

original thinking in lamps & gear

Welcome to this latest issue of the Philips Lamps & Gear Magazine – an issue

in which we start to unveil our new extension to the Philips brand promise,

summed up by the words ‘original thinking in lamps & gear.’ Although I

describe it as new, this promise has in fact been the driving force behind

Philips lighting for many years, fuelling major technology breakthroughs such

as MASTER TL5, Mini whiteSON and HF-P electronic gear.

Original thinking in lamps & gear is not a mere marketing slogan; it

is our unique way of working with luminaire manufacturers, and

how together we support lighting specifiers in their mission to

create original and inspiring lighting installations. Original

thinking is also the reason why we finance initiatives that

provide specifiers with added value information on subjects

such as office furniture and ceiling systems. And original

thinking was the stimulus behind this magazine – we are the

only lighting company to publish such a lamps and gear

magazine. In short, ‘original thinking’ is a true and accurate

description of how we serve the lighting community with new

ideas, product innovation, and new ways of working.

On a more practical basis, this brand promise means that our

communications to you will be more explicit – they will

highlight why and how our products and services are original.

You’ll be able to see at-a-glance which are truly original in the

lighting business, and how they offer you unique benefits.

We will be launching more original services such as the

www.TL5.philips.com which provides a valuable portal to

T5 luminaire manufacturers and lighting specifiers. And we

will constantly be surveying and listening to your needs, so

that we can co-develop original solutions with our business

partners. It all adds up to a new, revitalised era of original thinking.

One that celebrates our history, but more importantly focuses us on

future opportunities and original lighting solutions.

I hope you enjoy using them to create truly inspirational lighting

installation masterpieces.

In this issue of Lamps & Gear, you’ll see many examples of this

Original Thinking approach in action. You’ll see how it transforms

and updates Rome’s Termini Railway Station, while preserving the

original character and essence (page 3). And how DALI MultiDim is

providing dramatic new opportunities for lighting designers to

explore new concepts in lighting (page 11).

At the Prada ‘Epicentre’ store in New York, lighting is an essential

element in creating a tantalising, stylish ambience (page 32). LEDs

are a completely new approach to lighting – a hybrid of light and

semiconductor technology, offering dramatic benefits in terms of

compact size, long life and power consumption (page 19).

When Berlin’s Brandenburg Gate was built, the electric light was

years in the future. Now lighting helps to display it in all its original

glory. We take a look at how 3-D lighting is helping to improve

safety levels at a Dutch railway station. On a North Sea platform

where simple lighting maintenance can cost 125 Euros a time –

QL Lighting makes a dramatic contribution to both safety and costs.

It’s a thought provoking issue. I hope you enjoy it.

Hendrik van den Boogaard

Vice President, Philips Lighting OEM Lamps Europe

How does Original Thinking benefit you - the specifier?

w w w . l a m p s a n d g e a r . p h i l i p s . c o mwelcome

HEN

DR

IK V

AN

DEN

BO

OG

AA

RD

1


w w w . l a m p s a n d g e a r . p h i l i p s . c o m

Innovation

3-8 Lighting the new look at The TerminiStation, Rome

Philips metal halide lighting, used with ‘Braziers ofLight’, is playing a major part in the refurbishment ofthe Mazzoniana Wing of the Termini Station in Rome.

9-16 Original Thinking in colour with DALI MultiDimDALI - Digital Addressable Lighting Interface – has brought a new level of creativity and flexibilityto lighting.

17-28 Expanding opportunities through LED innovationLEDs are the meeting point of semiconductor andlighting technologies. They allow a completely differentapproach to lighting, set new rules and are creatingrevolutionary new opportunities in lighting design.

Accent & Decorative

29-38 Epicentre - Prada store, New York pushes the boundaries of theshopping experience

At Prada’s spectacular new store in New York,lighting is used as a pragmatic element ofperformance and communication.

Contents

Outdoor

39-41 The Brandenburg Gate shines again

Built in 1791 the Brandenburg Gate is a modernsymbol of the new, united Berlin. Now a newlighting scheme ensures that the world-famous‘Quadriga’ is shown in its full glory.

42-44 Safety through 3-D lighting at LeylstadRailway StationThe Philips 3-D lighting concept has helped to solvethe problem of safety and security at a Netherlandsrailway station.

45-48 Meeting the North Sea lightingchallenge

How MASTER QL lighting overcame the harshconditions in one of the world’s most demandingenvironments: providing illumination in the North Sea.

Indoor

49-50 Compact fluorescent lighting

MASTER PL-H fluorescent lamps and electronicballasts solve the problem for energy efficientlong life time lighting.

LED INNOVATION - PG17

Let’s hear from you - We welcome any comments you wantto make about this magazine, as well as suggestions for articles.Contact us at: PHILIPS Lighting BV.

The Philips Lamps & Gear Magazine, OEM Lamps Europe, P.O. Box 80020, 5600 JM Eindhoven, The Netherlands.

GRANDI STAZIONI PG3


w w w . l a m p s a n d g e a r . p h i l i p s . c o minnovation

1

Lighting the new look at the Termini Station, Rome

Railway stations have been the "new" city gateways

for at least a century; a location which takes on the

name and characteristics of similar places, but whose

new social function caused it to become a symbol:

these are the constraining boundaries, the beginning

and the end of their structure. They have been

transformed into the symbols of mobility for both

commuters and long distance travellers, and our

modern civilisation has devoted its greatest efforts

and economic resources to enable the design of new

archetypes. Much more than an airport, which is the

epitome of a large waiting room (with the exception

of the small and famous one in Casablanca and recent

projects carried out by Foster, Calatrava and others)

railway stations have been designed to function at

their best whilst maintaining a mélange of

expressions and languages, a long-lasting part of our

culture; a concept which has been brilliantly captured

by Tony Garnier, Virgilio Marchi, Antonio Sant’Elia,

Erich Mendelsohn, Eliel Saarinen.

A brilliant concept of renovation

The "Grandi Stazioni" company started up the initiative to

renovate all of the major Italian railway stations a few years

ago. The first to be approached was, of course, Station

Termini in Rome, an important work by Angiolo Mazzoni

dating back to the Fascist period, with its marvellous modern

façade in the Cinquecento square, a masterpiece by

Montuori, Calini, Vitellozzi. Thanks to this initiative the station

A daring new approach to lighting, including a ‘brazier of light’ concept, is helping

to transform the ambience and appearance of the Mazzoniana Wing of the famous

Termini Railway Station in Rome.

w w w . l a m p s a n d g e a r . p h i l i p s . c o m innovation

2


has been transformed: new services and greater comfort for

passengers, including the installation of state-of-the-art

equipment (escalators, conveyor belts for quicker transfers)

shops at basement level and new lighting.

The architectural renovation project regarding the Mazzoniana

Wing on Via Giolitti was awarded to Atelier Mendini of Milan,

whilst the lighting project was given to Studio Cannata &

Partners Lighting Design of Benevento.

The Mazzoniana Wing on Via Giolitti is made up of the

F-G-H-I-L buildings: starting at the extraordinary main gallery

and finishing beyond the underpass of San Bibiana over a

total of 800 metres. The wing is dominated by the archway

of roman inspiration, as is the other wing at the Via Marsala

entrance. The interior is made up of crossed or barrel vaults

together with lunettes. The exterior furbishing consists of

slabs of pink smooth travertine stone (1.00m x 0.5m)

originating from the San Quirico d’Orcia quarries, in the

province of Sienna, whilst the windowsills and decorations

are made of white Carrara marble blocks.

In particular, the "F" building refurbished by Mendini and

Cannata is rectangular (314 x 23m) with a height of 27.50

metres above the ground and two floors below basement

level at -4.50 and -9.50 metres respectively. According to the

THE BRAZIERS EMIT A SOFT LIGHT AND CAN BE SUSPENDEDFROM THE CEILING OR ON POLES SUCH AS THE RESTAURANT AREA OPPOSITE


innovation

4


w w w . l a m p s a n d g e a r . p h i l i p s . c o m

The new project provided for a new ticket office, a state-of-

the-art baggage consignment and reclaim system, equipped

with a goods lift.

These spaces are set out primarily by lighting. It was

fundamental to find a solution that in no way interfered with

or touched the brick vaults and walls. Hence the idea of

using removable elements called "braziers of light" which,

similar to the seating, guaranteed maximum flexibility in

using all available spaces allowing also for future

developments of the architecture.

Choosing the right luminaire to work with

the architecture

The braziers emit a soft light, reflected by aluminium

parabolic structures that can be positioned in two directions

and have been studied to give both optimum diffusion of

light, and a soft visual comfort produced by special mirroring

used for obtaining a dark-light effect. Suspended from the

ceiling or on poles, these lights were conceived as a huge

reflection device which harmoniously distributes light

throughout the internal space, including the brick vaults. This

is an innovative system of hidden lighting, which illuminates

such a charming and impressive architecture in an

unobtrusive and sophisticated manner.

The refined design of these objects embodies the spirit of our

time, of functionality, of elegance and of ephemera; at the

same time, it stems from the awareness that the braziers

should be placed in a historical and traditional setting. They

are an interpretation of the "unbearable lightness of being"

applied to this discipline.

Light identifies and characterises architecture by projecting

and scanning spaces, enhancing and magnifying materials

1938 project, the ticket office and restaurant, the most

significant areas of the station, were to be situated at rail

level; they were designed instead to be placed in the main

body. This comprised the restaurant (furbished with

Breccia Medicea marble), ticket office, check-in desk for

luggage consignment and for passengers, waiting room,

season ticket and supplementary ticket office, storeroom

and baggage deposit at 7.20m, and an underground

walkthrough for passengers.

and exalting contrasts. Light, together with gravity (even

before stone, wood, iron and concrete) is the prime raw

material used in architecture, a "conditio sine qua non" (a

condition without which it could not exist), pure essence.

Without light, natural or artificial, architecture could not

exist, whether it be Egyptian, Greek, Roman or Gothic,

Renaissance or Modern. Over the last decades great

progress has been made, not only in the sophistication of

lighting techniques, but also in terms of a growing and

unprecedented awareness and command in design.

Museography, internal and external lighting works of art,

fitting out techniques and interior design have paved the

way of a new world. Thanks to Lighting Design, objects can

be enhanced by softening, contrasting, pinpointing,

distributing, elevating or lowering light beams, using direct

or indirect light and bright, harsh or soft tones.

Over the last ten years, the Cannata & Partners Lighting

Design Studio has been instrumental in achieving such

progress by offering rich portfolios and highly qualified

projects such as the Termini Railway Station in Rome.

The combination of highly professional credentials and great

authority makes them one of Italy’s most respected

companies in their field. Other prestigious examples of their

work include: Hortus Conclusus with Mimmo Paladino at the

Reggia di Caserta park, the S.Rosa e Cilea Underground

stations at Naples, Diners Club International in Rome, the

new headquarters of Abitare Casa Editrice Segesta in Milan,

Medusa Multicinema throughout Italy, "Basilica of S. Domenico

Maggiore" in Naples, the Municipal Villa in Naples.

"Fiat Lux" (let there be light) is written in the Scriptures. Light

accompanies us on our path of life; night and day. The art of

designing this light signifies the "broad-spectrum"

improvement of the quality of our lives.



6

36 projectors with high precision opticals, with

1000W metal halide lights for the lighting of the

central gallery, used together with parabolic

reflectors built to specific design;

40 projectors with 400W metal halide used for the

lighting of the vaults

200 adjustable recessed downlights with 70W metal

halide lights, for the lighting of the entrances

19 direct/indirect luminaires with 150W metal halide

lights for the lighting of the escalators and first floor

A R C H I T E C T U R A L P R O J E C T :

Atelier Mendini

P H O T O G R A P H S :

Sergio Riccio, Fi l ippo Cannata

C L I E N T :

Grandi Stazioni Spa, Rome

L I G H T I N G D E S I G N E R S :

Cannata & Partners Lighting

Design Studio

S P E C I F I C A T I O N S

Without light, natural or artificial, architecture

could not exist, whether it be Egyptian, Greek,

Roman or Gothic, Renaissance or Modern.

Lighting designers explore more andmore the possibilities of colour light in shop lighting, clubs and theatres

Originalthinking in colourT5 and DALI MultiDim


8

In this article we present one of a series of innovative

applications with the DALI MultiDim and "New

Generation Dimming" inspired by the latest trend in

interior lighting: colour tl-lighting.

Lighting designers are increasingly exploring the possibilities

of colour light in shop lighting, clubs and theatres. Even

private homes are equipped with DALI to control colour

tl-lamps and create the right atmosphere and ambience at

the right moment.

There’s colour in the air

It all started with the American Quaker artist James Turrell.

In the late sixties of the 20th century he introduced a new

perception of looking at light and colour and their influence on

our emotions. He was the very first lighting artist who

succeeded in rendering the intrinsic qualities of light, to make

light tactile. Thanks to his astonishing installations based on

tungsten light, people became aware of the role of light –

daylight as well as artificial light – and the emotional lift light

can bring to an interior. Twenty years ago, the Dutch lighting

artist Peter Struycken installed a light artwork based on

dimmable colour tl-lamps in the corridors of the Ministry of

Transport, Public Works and Water Management in The

Hague. Later on, he conceived a similar light artwork with

red, green and blue tl-lamps for the illumination of the ceiling

in the Concert Hall in Tilburg, also in the Netherlands.

A few years ago, the French designer Philippe Starck

introduced colour tl-light in "daily life" and in the refurbished

rooms of the St Martins Lane Hotel in London. Today, the

latest interior lighting designs such as the Verso2 complex in

Antwerp Belgium – the ultimate fashion experience with bar,

restaurant, make up corners – also makes intensive use of a

colour tl-light to create a unique atmosphere. Halogen accent

lighting seems to be passé. Over 450 CDMR lamps with

narrow beams are used with T5 lamps in a very particular

way to create this amazing atmosphere. Trendy people also

prefer the diffuse light of dimmed tl-lamps.



9

Original thinking in colour with DALI MultiDim

Offering new levels of creative expression and flexibility through lighting, DALI, the

Digital Addressable Lighting Interface, has met with enthusiastic acceptance from

in-touch lighting designers and architects eager to explore the new possibilities

Designed for the ultimate lighting flexibility

DALI MultiDim was designed to offer a flexible universal

control architecture enabling up to 64 different luminaires on

the same control circuit to be switched and adjusted

independently. More over, luminaires on one circuit can be

combined in up to 16 freely defined groups, enabling a

variety of lighting regimes to operate at the same time.

Because even individual HF-Regulator DALI ballasts can be

assigned, each single lamp can be adjusted separately.

Thanks to flexibility of the addressable lighting interface,

DALI MultiDim makes it possible to control each separate

light source of an existing light scheme.

One step further, the principle of using individually controlled

colour tl-lamps to create all shades of colour light including

numerous variations of white light, is obvious. The principle

of 3-band "rare earth" phosphors on itself is based on the

spectrums of red, blue and green. Because white light is

composed of red, blue and green… a perfect control over

these three colours offers the ultimate experience to the

lighting designer : colour theory… live.

No wonder then that creative lighting designers are avid for

experiment with the palette of limitless colour shades

generated by lighting control systems such as the DALI

MultiDim and the "New Generation Dimming".

Colour light is emotion

TEKNA, a Flanders based OEM, is renowned for its tailor-

made, innovative lighting concepts. As a lighting consultant,

manager Erik Huysmans collaborates with world famous

interior designers and architects on interior lighting projects.

In his latest projects, colour tl-lighting and DALI MultiDim

plays an important role.



12

"Before we talk about DALI MultiDim, we have to go back a few years to the introduction of the Philips TL5 lamp.

It was a real breakthrough for all OEM people" says Erik Huysmans, lighting consultant and manager of TEKNA.

"To my opinion, the miniaturized TL5 lamp has revolutionized the lighting world in many more ways than we can imagine.

Not only because of its perfectly equilibrated luminous efficacy, superior performance or energy efficiency but merely

because of the freedom of design it offered from the start. The slimline design of the T5 makes it possible to mount

three T5 lamps on a strip of barely 7 cm width, the performance of the 21W T5 is unequalled. No other lamp

offers such a high and constant efficacy per cm. Since the MASTER TL5, the T5 concept and the control gear

perfectly tuned to the lamp, we can really rely on a complete lighting system. Suddenly we were offered a brilliant

lamp combined with a superior lighting system. Every day OEM people are discovering new possibilities and marvels

with the T5 concept, for example colour tl-lighting." "Light and more precisely colour light is more than a decorative

footnote in an interior. Colour tl-light fills an interior with colour shades. with pure emotion. It may sound trivial, but we

experience it every day. Designing with colour tl-lighting is still based on trial-and-error because there are

innumerable parameters involved. Reflections, transparencies, materials, structures, paint,… all have an influence

on the final result. When colour shades get involved it becomes even more difficult, even with monochrome colour

light. We sometimes spend hours with colour filters, reduction filters, masks, etc… to obtain the precise colour

match. When we succeed to reproduce a precise colour shade, it’s like magic. Shadows, transparencies… they all

breathe this same diffuse colour. The whole interior is affected by the saturated coloured light, as if the whole



13

environment looks a different shade.Thanks to systems

such as DALI MultiDim we are now able to evoke this spell

with all the colours in the spectrum because we can adjust

the luminosity of each of the three colour tl-lamps needed

up to a single stop." "When I look at colour tl-light, I want

to feel the gas in the lamp filling the room. More or less

dense, but always tangible, almost physically present."

The lamps were installed behind the sandblasted glass wall

of the reception to take advantage of the transparencies

and reflections of the glass wall that functions as a

oversized colour screen. The consecutive lighting arrays

were programmed in a continuous loop. When a visitor

enters, Human Capital Management is bathed in pale azurro

blue. When he leaves it may be pink, red or even white.

During the overview of the latest TEKNA projects with DALI

MultiDim, Erik Huysmans noticed something odd, although

interesting. Since the introduction of the DALI MultiDim

system, 50% of the MultiDim systems designed by TEKNA

were installed in the design kitchens of private homes. As if

food, taste, smell, aromas… appeal to our senses and

emotions much the same way as colour light does. Colour

tl-light is more than a whim, it is a trend in interior lighting.

And the use of DALI MultiDim now makes it affordable.

3. 8.30PM

IN THE OCTOBER ISSUE OF LAMPS & GEAR WE PRESENT INDETAIL OTHER RECENT PROJECTS BY LEADING BELGIAN OEM,LIGHTING DESIGNERS AND ARCHITECTS WITH DALI MULTIDIM



14

C L I E N T : Human Capital

Management - Antwerp (Belgium)

L I G H T I N G C O N S U L T A N T :

Erik Huysmans, TEKNA – Lokeren

(Belgium)

A R C H I T E C T : Peter Baeck &

Partners – Antwerp (Belgium)


KINEPOLIS THEATRE ,GHENT (BELGIUM)

CLIENT: KINEPOLIS GROUP, BRUSSELS (BELGIUM)

ARCHITECT: PETER FLAMAND, ES˚TE, BRUSSELS (BELGIUM)

LIGHTING CONCEPT: DARK NV., ADEGEM (BELGIUM)

ALIPAST TRAINING CENTRE, LOKEREN (BELGIUM)

CLIENT: ALIPLAST, LOKEREN (BELGIUM)

ARCHITECT: ARCHITECTENBUREAU A. VERBEKE, GHENT (BELGIUM)

Could a lighting designer really wish for anything more?

Originalthinking with LEDs


16

LEDs are perhaps the most radical departure from conventional lighting technologies we have ever seen – not

only in their appearance but their application and performance as well. Indeed if you were given a Lumileds

Luxeon lamp five years ago you probably wouldn’t even identify it as being a light source! Lacking the glass

envelope which other lamps share in common, LEDs look different and perform with a completely new set of

ground rules, so it’s no surprise that they are creating revolutionary new opportunities in lighting design.

LED Progress

Semiconductor lamps have been with us since the 1960’s, but for the first thirty years their diminutive output and restriction to

red, yellow and green colours saw them confined to the tiny indicator lamps on the front of electronic equipment. The second

era in LED technology followed a breakthrough in 1990 when the first blue device was offered, and at this point people started

to wake up and take note of LEDs far more seriously. For by mixing together its light with a red and a green semiconductor,

white light could be created for the first time. Present day white LEDs still employ this blue chip, but the other colours are now

contributed by a phosphor coating which fills in some of the gaps in the spectrum to create an overall white appearance.

Unquestionably though, the third era in LED technology is the one which has led to the surge in its current market

presence and will continue to drive it into the future. Luminous flux, the total amount of light created by each package, is

of course the key topic here. When this breakthrough came it resulted in the semiconductor industry ominously treading

on the lamp industry’s toes, and as always the ensuing fierce competition results in greatly accelerated technological

progress. This has created a perfect state of affairs for the end user, as brighter and brighter products are flowing from

the research labs at record speed and of course the products also become more affordable.

Luminous Flux

LEDs have now famously reached the point of encroaching on the home turf of miniature incandescent lamps and

indeed in many applications the days of that technology are numbered. You can now put an array of three white

Luxeon devices into the footprint of a 20W MR16 halogen display lamp and come close to matching its peak intensity –

although it remains to be seen whether the colour properties are adequate in such applications. Where a long strip of diodes

is acceptable, they can now match the output of cold cathode "neon" style tubing. As luminous flux continues to

escalate, the number of LED units required to generate a given light level will fall, and higher power lamps could

come under threat.

Expanding OpportunitiesIn this second article in a series considering new opportunities arising from

lamp & gear innovations, James Hooker focuses on the outstanding progress

presently underway in LED technology.



17

HO

TEL

AN

NA

,K

AR

OL

PLA

TZ,

MU

NIC

H,

REA

LISE

D B

Y B

OC

OM

through LED Innovation



18

STRIP MODULE 36 FROM TRYKA L.E.D. INSTALLED BY PSD ELECTRONICS IN M CLUB, BELFAST

But this article is not just concerned with semiconductors

superseding the filament or the electric arc in the same

kind of fields. Far more exciting is how they are opening

up new applications. At the beginning of the high flux

LED era, it was immediately speculated that they would

make conventional lamps obsolete within a decade or two.

It should not be forgotten however that the same was said

of the fluorescent tube, the metal halide lamp and countless

other light sources at the time of their inception! In all previous

cases these statements have not held true, and the speed of

actual realisation was overly optimistic. Of course there will be

some penetration into existing applications, but history shows

that the creation of every new light source, each every bit as

significant as the LED in its own way, accounts only partially for

superseding older lamps and predominantly for creating new

applications. This leads us on to our next subject – what you

can do with LEDs that you can’t achieve with any other lamp

and how new applications are growing around them. Dynamic

colour lighting, sealed for life systems and the ultimate in

design possibilities for discrete lighting will all be explored.

Colour & Colour Mixing

When people think of LEDs, the first thing that generally

comes to mind is the subject of coloured lighting.

Illuminating with colour has been practised for a century, but

until the advent of the LED there was no light source

available in small sizes which naturally produced coloured

light – it always had to be filtered, and this is inherently

inefficient and leads to expensive systems. Of course

certain high power discharge lamps or great lengths of cold

cathode tubing can produce various hues, but the colours are

weaker and the light output rather high.

LEDs are outstanding generators of coloured light, and

because of their near-monochromatic output the colours have

a richness and saturation with which nothing can compete.

The semiconductor lamp has given the designer a new toy to

play with, if a splash of deep colour is desired to accent a

particular area it can now be installed with complete

freedom. Modern electronic controls, particularly since the

inception of the Digital Addressable Lighting Interface, now

make it easier than ever to employ multiple LEDs to vary the

colour of the scheme. Coupled with the small dimensions of

the LED and its excellent beam control, this dynamic colour

capability has led to striking accent lighting effects in the

retail sector.

A breathtaking example of a new application which simply

would not have been attempted before the advent of the

semiconductor lamp is portrayed in the dynamic new façade

of Belfast’s M Club, designed by Tryka LED. Flanking either

side of a video screen, a mirrored glass wall which has aBAR BLUE, FELIXSTOWE, U.K. (TRYKA L.E.D.)

LEDs are outstanding generators of coloured

light, and because of their near-monochromatic

output the colours have a richness and

saturation with which nothing can compete



20


DO

NA

TOS,

MU

NIC

H.

DES

IGN

ER:

MU

RA

T C

AP,

REA

LISE

D B

Y B

OC

OM

sleek modern appearance by day is transformed into a spectacular blaze of moving colour

at night. Words cannot begin to do justice to this creation which has to be seen to be

appreciated, and impressive as our snapshot photographs might seem, even they cannot

portray the living dynamism which only LEDs can achieve here.

Even indoors the unique variable colour effects that Luxeon can achieve are beginning to

be explored in a tasteful and highly elegant fashion. German firm Bocom has created a

unique ambience at the new Anna Hotel, whose restaurant is bathed in a living flux of

saturated colours with spectacular effect. Another Tryka LED project at Bar Blue in

Felixstowe, UK, leads the way in strong saturated colours where a dynamic blend draws

instant attention to the bar area as illustrated.

Moving from these saturated colour extremes over to a slightly more subtle

adaptation of colour with time, the hue of the natural sky can even be replicated with

striking accuracy. Light therapy and the well-being of office workers is increasingly

being considered for applications where a bright cool-white

aura of morning illumination gradually falls in colour

temperature as the natural sunset approaches. Again, the

colour control attainable with modern LEDs and digital drivers

fits the bill to perfection.

Sealed for Life

In any lighting system the maintenance cost is always many

times greater than the initial installation expenditure, being

made up of the cost of replacement lamps and the time /

equipment involved in changing them. Luminaires must take

this into account and key design consideration must always be

given to making the unit easy to open up so that the lamp can

be changed. The addition of movable parts, the inclusion of an

often expensive lampholder and the extra space taken up as a

result naturally adds to the hardware cost. But when most LED

systems have a service lifetime in excess of 50,000 hours

(more than 5 years of continuous operation) such provisions can

be excluded at once. The exceptional durability has led to some

very creative designs by placing LEDs in totally inaccessible

locations which simply could not be lit before. The eyecatching

work of Artemide’s underfloor illumination is a prime example,

while Bocom’s innovations in lighted furniture and sealed

orientation lighting built into steps and bollards are a perfect

match with long-lived semiconductor lamps. What other light

source could permit a creation as ingenious as that company’s

"Light Carpet". DNA Lighting & Design offers another example,

having worked in partnership with Ideal Standard to create a

radically different bathroom environment. A cool aqua-blue

glow radiates from translucent panelled furniture with

spectacular effect, and there is no source other than the

LED which could have met the long life, low temperature

and low voltage demands in this humid environment.

The low voltage, cool operation and totally sealed nature of

semiconductor lamps further makes them a perfect choice for

outdoor illumination in simple luminaires.

LEDs WILL BE USED IN HOMEAPPLICATIONS SUCH AS GARDEN LIGHTING



22

INGENIOUS CREATIONS FROMBOCOM, ‘THE LIGHT CARPET’.

DNA LIGHTING DESIGN AND IDEAL STANDARDUSE LEDs TO BRING A NEW CONCEPT TO

BATHROOM LIGHTING DESIGN

Residential garden lighting is a high-value market having

tremendous potential, and here LED’s are also beginning to

prove themselves. A razor-sharp green spotlight from a

single unit can highlight a small shrub with the most vivid

colouration, and other garden features which disappear at

night can be brought to life in the evenings with subtle

placement of coloured light points.

Unique Design Possibilities

Although products already exist to supersede certain existing

lamps with LEDs, attention should be given to the more

creative solutions. LEDs are fundamentally different light

sources and there is no need to create products which look

the same as earlier luminaires. The traditional approach has

always been to take a lamp and build a luminaire around it,

thus the final appearance of the unit is largely determined by

the lamp at its heart. However the compact dimensions,

precise beam control, low temperature and long life of the

LED means that many of the earlier constraints become

immaterial. Some of the most successful new systems

instead start life as a concept for how the luminaire can be

made as attractive as possible, and then work backwards to fit

the light points into it. A first-class example is the suspended

glass downlight unit pictured here which comes across more

as a work of art than a lighting fixture. Ideal for the

illumination of any flat surface, perhaps a boardroom table, the

light points themselves deliver a stunning starlight effect

while the luminaire remains totally unobtrusive.

Critics of the LED frequently like to dwell on the presently-

achievable light output which is of course rather small by

comparison with other general lighting lamps. Far from

being a hindrance, this is actually of key importance to their

success in the most innovative applications. Indeed while

men like Sir Joseph Swan and Thomas Edison succeeded in



24

ALEDS ALLOW PREVIOUSLYINCONCEIVABLE DESIGN POSSIBILITIES

"subdividing the light" 125 years ago, such that the glaring

intensity of the carbon arc could be partitioned into smaller

units and brought indoors, it is something very similar that the

LED is doing to change the face of lighting today. Because

the individual unit of luminous flux is small and the beam

control exceptionally tight, what could be more valuable than

now being provided with small fundamental building blocks of

light like this? By creative arrangement of LEDs you can build

up any shape of light source, having any luminous flux,

displaying any colour, and achieving any light distribution!

Other than the obvious requirement for ever-decreasing

costs, could a lighting designer really wish for anything more?

In short LED fittings are smaller, cheaper and can be made

very much more attractive or discrete than what we are used

to. Smaller luminaires can fit into the tiniest of gaps and the

light sources can become much less obtrusive – for instance,

totally hidden uplighting can easily be effected with LEDs

hidden behind ceiling coving units. This miniaturisation trend

is a key aspect of where LEDs will excel and they have an

assured market in such sectors. It remains to be seen

whether or not the price of the LED can fall enough and if its

white light quality will increase sufficiently to truly render

other lamps obsolete. But even if it does not, then the

tiny luminaires which can be built around miniature sealed-

for-life LEDs will sell themselves into new applications

regardless of the higher installation expense as they will

with LEDsthinking



25

SPHERE 1 BY BOCOM

Original

pay for themselves rapidly over time. Consequently, don’t

expect to see halogen lamps disappear overnight, but do

expect to see their light significantly augmented by LEDs in

new applications such as this!

Future Possibilities

In terms of what new applications will be born in the

future, this will depend completely on our ingenuity in

learning how to build with these new small packets of light,

how far the performance of the LED itself can be

advanced, and of course the trends of its pricing. But the

total lack of maintenance will always mean that relatively

more can be invested in LED system at the outset than can

be afforded with conventional lamps.

Perhaps the subject of white lighting will depend most of

all on the future technological breakthroughs. Present

white LEDs are more akin to the fluorescent lamp than

might be realised, since they operate with a fluorescent

phosphor converting the light of a blue chip into white.

Colour rendering is adequate, but colour temperature

remains high. However just like with fluorescent

technology, breakthroughs are expected which will realise

much better colour properties. Currently Lumileds and

Japan’s Nichia Chemical Corporation are unveiling high flux

3000k white LEDS.

Developments such as this are sure to further extend the

boundaries of LED lighting - perhaps even into the domestic

sector where lower colour temperature will create an

ambience that is crucial to win part of that market!

LEDS IN THE HOME: AN IDEA FROM ACDC LIGHTING SYSTEMS



26

t h i s c o n c e p t o f f e r s a r e d e f i n i t i o n o f

e x c l u s i v i t y

Originalthinking in retail

Prada

w w w . l a m p s a n d g e a r . p h i l i p s . c o m accent & decorative

28

PRADA EPICENTRE, NEW YORK, OPENED DECEMBER2002 BRINGS NEW DESIGN INNOVATIONS TO THE

RETAIL WORLD

OLE SC

HEER

EN : PR

OJEC

T DIR

ECTO

R A

ND

LEAD

DESIG

NER

118.423 The projects for the Italian fashion company

Prada extend from research on shopping and new

concepts for Prada as a brand to the creation of three

new stores in the United States: New York, Los

Angeles and San Francisco. Beyond restructuring the

physical reality of Prada, its virtual presence is

simultaneously defined through extensive in-store

technology and the creation of a web site. The

combination of these aspects generates an integrated

service structure that enables Prada to provide a new

sense of exclusivity, but also to reinforce the diverse and

intriguing aura of the brand.

Stores

The new stores are conceived as specific insertions both in

relation to the brand and the network of existing 'green' Prada

stores, as well as the city and cultural context they are

situated in. In contrast to the concept of a classical ‘flagship

store’ – the simple enlargement of a generic store, in other

words more of the same – the new Prada ‘epicentres’ offer a

diversification of the shopping experience.

The commercial function is overlaid with a series of

experiential and spatial typologies… clinic: an environment

for specialized personal care and service – archive: an

inventory of current and past collections – trading floor: an

accumulation of rapidly changing information, new technology

applications and e-commerce – library: zones of content

and knowledge dedicated to the evolution of the fashion

system – street: a space for multiple activities, liberated

from the pressure to buy.

At a time when commercial activity has invaded all public

spaces and cultural institutions, this concept offers a

redefinition of exclusivity: the possibility for public functions

and programs to reclaim the territory of shopping.

After Prada’s tremendous growth in the 1990’s and the construction of more than

200 stores worldwide, Miuccia Prada and Patrizio Bertelli identified the need to

re-conceptualize the company. The goal was to go beyond the limitations that Prada’s

own success had created for the image of the brand



30

EPICENTRE - PRADA store, New York pushes the boundaries of the shopping experience


Prada New York

Prada New York, opened in mid December last year, and is an

interior conversion of the former Guggenheim store in

SoHo, extending an entire block between Broadway and

Mercer Street. Its 2100 square metres are distributed

between the ground floor and basement of the building.

As a means to naturally connect to the large basement area

and guide customers to the less visible parts of the store,

the floor descends in its entire width and rises again to

rejoin the ground level, creating a concave shaped ‘wave’.

On one slope an oversized stair made of zebrawood is

used as an informal display space, where people can try

on shoes and browse through bags and other accessories.

At the push of a button, an event platform rotates out of

the opposite slope, turning the stair into an auditorium for

performances, film projections and lectures.

The main space and stairway are part of the 'street'

philosophy - a place for shopping as well as other activities.

It moves away from the perfectionist idea of display to a

much more informal presentation of clothes. The relationship

of product and customer is being rethought: Not a space of

museum-like, minimalist installation, where any disturbance

of the arrangement ultimately destroys the beauty of the

setting, but rather an environment in which people are

encouraged to interact with products in a social atmosphere.

TRACK-MOUNTED DISPLAYS ATTRACT CUSTOMERS TOEXPLORE THE MERCHANDISE LIT WITH

QUARTZ HALOGEN DOWNLIGHTS



32

Across the ceiling of the ground floor, large metal cages for

merchandise and display are suspended from an overhead

track system and create singular shopping addresses, like

inverted buildings in a street - a ‘hanging city’. These display

volumes can automatically contract at the back of the store

into a solid volume and free the space for public events.

A translucent wall of polycarbonate covers the existing brick

wall of the building and establishes a dialogue between old

and new. On the opposite wall a mural of wallpaper runs the

entire length of the space and, with simple means, can

transform the environment. It provides a fast and flexible way

to renew the identity of the store and keep up with the

fashion cycle.

Located at the Broadway entrance, a round 3.7 metre

diameter fully glazed elevator displays bags and accessories

and gives the customer the possibility to shop while travelling

vertically. It descends into the lounge underneath the wave,

where the main dressing rooms are located. Low display

mattresses made from plywood and covered with techno-gel

pads provide for seating and interaction with accessories and

merchandise. The black-and-white marble floor is a reference

to the first Prada store in Milan.

The northern part of the basement holds the archive,

‘movable walls’, an adapted system of compact shelving for

display that allows the sequence and size of spaces to be

altered according to need. These Prada-green shelves contrast

with the unfinished gypsum board walls and the zebrawood

ceiling. With a separate entrance from Mercer Street, the all

white clinic area contains VIP rooms, tailors and catering

facilities.

Lighting

Not as a matter of design or architecture, but rather as a

pragmatic element of performance and communication, the

lighting is both explicitly visible and brutal, and sometimes

non-identifiable and submerged into the spatial atmosphere.

At the Broadway entrance, exposed theatrical ellipsoidal

projectors emphasize the stage-like quality of the window

display. The play with visual presence and dominance of the

light fixture supports the theatrical scenario. Some of those

projectors are also mounted on two of the hanging city units

to perform as back and front lighting for the event platform.

Behind the polycarbonate wall on the ground floor, fluorescent

tubes are mounted invisibly to the back of the vertical

aluminium channels. Due to the translucence of the

w w w . l a m p s a n d g e a r . p h i l i p s . c o maccent & decorative

33

polycarbonate, the brick and coloured construction marks

behind read as an archaeology of the building process.

Bare fluorescent strip lights in flush-mounted housings are

used in the movable display archive and staff sections in

the basement. The strong pattern has a functional

expression and contrasts with the refinement of the

movable shelves and the zebrawood ceiling.

In-store technology

A series of experiential and service-orientated features enhance

both functioning and aura of the stores. The dressing rooms are

equipped with ‘magic mirrors’: a plasma screen invisibly built

into the large mirror surface that allows customers to see

themselves both from the front and the back at the same

time. An integrated time delay can even capture and replay

movements. The doors are made of a special glass that

Not as a matter of design or architecture, but rather as a

pragmatic element of performance and communication, the

lighting is both explicitly visible and brutal, and sometimes

non-identifiable and submerged into the spatial atmosphere.



34

the customer can switch from transparent to

translucent and control the privacy of the dressing

room. Equipped with RFID [radio frequency identity]

antennas, the ‘garment closet’ is able to register

merchandise brought into the dressing room and display

an inventory of icons on a touch screen. Here, the

customer can request more specific information on the

clothes, and also browse through alternative items of

the collection.

On the web site, the garment closet has its virtual counterpart,

the ‘webcloset’, that contains a history of all pieces tried on.

The customer can not only build up their personal history and

selection of likes, but also order things they tried on but didn’t

buy in the store.

A system of ‘ubiquitous screens’ performs a double function:

submerged in the display systems of the store, the screens

show aura-related content but can also be used as

communication platforms for staff and customer. Suspended

from a hangbar between suits, or built into a horizontal display

case, their imagery portrays the brand beyond the simple

presence of fashion or catwalk shows. Clips from the Prada

prototyping and production facilities in Italy, from their

involvement in sports (America's Cup) and the arts (Fondazione

Prada), are mixed with images from movies, scenes from world

news, or the sales of Prada fakes across the world. When

activated through a ‘staff device’—a control feature for the sales

agents—the ubiquitous screens can become a tool to show

specific information to the client, such as alternative outfits

matching the piece just selected or real-time information about

what is readily available in the store.

Future Epicentres

Los Angeles - Opening expected summer 2003

The store on Rodeo Drive is a new construction of 2200m2

with three storeys plus basement. While in New York the floor

waves down towards the basement, in Los Angeles the same

wooden plane folds up and creates a symmetrical ‘hill’ that

supports a floating aluminium box. The façade towards the

street is literally non-existent without the generic storefront and

glass enclosures, the entire width of the store opens up to the

street and merges public with commercial space.

LIGHTING IS USED TOENHANCE THECOLOURS ANDTEXTURES OFMERCHANDISE

PRA

DA

: SA

N F

RA

NC

ISC

O O

PEN

ING

EXPE

CTE

D IN

20

04


w w w . l a m p s a n d g e a r . p h i l i p s . c o maccent & decorative

35

San Francisco - Opening Expected 2004

The new 10-storey building in downtown San Francisco will

be Prada’s Headquarters in the West Coast. Two floating

cubes on top of each other contain in 3600 square metres

both store program and offices, along with showrooms,

gallery spaces and a VIP penthouse at the top. A public

viewing terrace and coffee bar separates both cubes on the

6th floor level. The building is a manifesto on the skyscraper:

A series of floor plates with unique characters are stacked

on top of each other and wrapped with a mysterious and

neutral skin that reveals a sense of the inner diversity

without giving it all away. This façade is made out of

stainless steel panels that are perforated with about 10000

round holes, windows ranging between 6 to 23 cm in

diameter. The size of the openings is designed according to

PRA

DA

: LO

S A

NG

ELES

OPE

NIN

G E

XPE

CTE

DIN

TH

E SU

MM

ER O

F 20

03

The climatic separation is achieved through an air-curtain

system; view-cones are cut into the floor to form horizontal

display windows into underground alcoves. At night, an

aluminium panel rises from the ground and hermetically

seals the building. Inside the aluminium box, the

merchandise is displayed along the perimeter of the volume.

A central glass box mirrors the presentation of real clothing

with its virtual counterpart -projections of light that allow for

wallpaper-like stills or moving imagery of clothes and runway

shows. The third floor is dominated by the ‘scenario space’:

An open floor plan that is used for changing display

arrangements, like an extended idea of a display window,

offering ways to present clothes beyond the presence of

hangbars and shelves. A linear roof structure of

alternating box-beams and fritted glass strips creates a

field of daylight above the aluminium volume.

the force flow in these structural steel plates, which are able to absorb the horizontal

forces in earthquakes and guarantee the structural integrity of the building. What emerges

is a quality totally new to the current condition of shopping: the presence of daylight. The

façade is no longer blocking out all light, but filters and distributes it through various

translucent materials inside the space: polycarbonate, coloured resin, exclusively developed

porous-transparent polyurethane panels, etc. Products are displayed against the light, in

x-ray like conditions, or profit in a more classic arrangement from the evenly dispersed

natural glow. In contrast to the notorious blindness of today’s malls and department stores,

daylight re-enters the territory of shopping.



36


O W N E R : I.P.I. USA Corp., New York, NY

A R C H I T E C T : Office for Metropolitan Architecture (OMA)

R O T T E R D A M - P R I N C I P A L : Rem Koolhaas - Project

director and lead designer: Ole Scheeren - Project architects:

Timothy Archambault and Eric Chang

A R C H I T E C T O F R E C O R D : Architecture Research Office

(ARO) - Principals: Stephen Cassell, Adam Yarinsky - Project

architects: Reid Freeman and Ben Fuqua

I N - S T O R E T E C H N O L O G Y : AMO, Rotterdam - Principal:

Rem Koolhaas - Principal in charge: Dan Wood - Project director:

Markus Schaefer

L I G H T I N G C O N S U L T A N T : Kugler Tillotson Associates

Lighting Design, New York, NY

S T R U C T U R A L E N G I N E E R : Leslie E. Robertson Associates

(LERA) Consulting Engineers, New York, NY

M E C H A N I C A L E N G I N E E R : Ove Arup & Partners,

New York, NY

G E N E R A L C O N T R A C T O R : Richter + Ratner

Contracting Corporation, Maspeth, NY


Location Lighting

1ST FLOOR

CEIL ING : Uplighting: Pendant-mounted T2 compact

fluorescent and T8 fluorescent striplights,

all on 0.9 m centres.

Downlighting:Track-mounted quartz

halogen downlights in the ceiling slots.

WALLS : Wallpaper: Custom wall-wash fixture

with 75 W PAR lamps; Display niche: T8

fluorescent striplights behind flashed

white opal glass.

Polycarbonate wall: T8 fluorescent

striplights (4100 K) mounted to interior

of vertical aluminium channels; also on

0.9 m centres.

H A N G I N G D I S P L A Y S :Above: adjustable halogen downlights

(65 W) on 0.3 m centres at the top of

the unit.

Below: recessed Xenon ribbon lights

with specially milled aluminium louvres.

R E S I N S H E L V I N G :T5 fluorescents placed behind the

stainless steel edge profiles

B A S E M E N T

CEIL ING: T8 fluorescents in flush-mounted

housings in the cash counter, movable

display archive and staff sections.

RESIN SHELVING & T5 FLUORESCENTS: behind stainless steel edge archive

moulding and section at the back wall

wash and front cove lighting

DRESS ING ROOMS: T8 fluorescents of two colour

temperatures (3500 and 5000 K) on

separate circuits to simulate various

lighting scenarios;

T5 fluorescents in wall coves and the mini-

closet; T8 fluorescents in flush-mounted

housings in the VIP dressing rooms

The Brandenburg Gate is now shining in a new light. This famous landmark of the formerly divided and now

united city of Berlin has been extensively renovated over the past two years and been enhanced by a new

illumination design by the Berlin architects Volker van Kardoff. The lighting is provided by Philips MASTER Colour

lamps with ceramic burners; the Quadriga (four-horse chariot) is illuminated by Decoflood floodlights from

Philips AEG Licht.

Over recent years this legendary construction was starting to look its age. The fabric of the building showed numerous

faults and damage. From a technical point of view it was therefore paramount to strengthen the building. At the same time

numerous cleaning tasks on the façade and a new illumination concept were required which did justice to this more than

200-year-old landmark.

In recent years the world famous ‘Peace Gate’ had started to look dowdy.

Now a renovation and lighting project has turned the Brandenburg Gate into an

elegant and impressive eye-catcher at the centre of Paris Square.

The Brandenburg Gate shines again


Dating from 1971

The Brandenburg Gate was completed in 1791. Inspired by

the Propylaeum on the Acropolis in Athens, the sandstone

building was planned by architect Carl Gotthard Langhans.

It originated from an unremarkable gate in Berlin’s city wall.

The Quadriga built on top depicts a peace-bringing Victory

Queen with four horses – the reason incidentally why the

landmark was originally named Peace Gate. The Iron Cross

and Prussian Eagle were added after the independence

wars by order of King Friedrich Wilhelm II.

The Brandenburg Gate is one of the most famous landmarks

in the world. Because of the division of Berlin after the

second world war the Gate became a symbolically charged

monument, a locked and walled point of division of two parts

of the city separated by force. The moving pictures went all

over the world, as did the liberating opening at the time of

the reunification. Nowadays official guests of the state of

Germany enter through the Brandenburg Gate.

Elegant and impressive

Lighting’s role in highlighting architectural accents and

points of special interest is well known. After the building

refurbishment the distinguished Berlin-based architects

Volker van Kardoff suggested a tailor-made illumination plan.

It turns the Brandenburg Gate, in a not over dominant way,

into an elegant and impressive lighting eye-catcher in the

centre of Paris Square.


w w w . l a m p s a n d g e a r . p h i l i p s . c o m outdoor

38


All the lighting is provided by high-pressure metal halide

lamps from the MASTER Colour series. Shining, warm-white

light with a high colour stability are the characteristics of

these lamps which were especially designed for high profile

illumination inside and outside. They enable attractive

illumination solutions with compact light sources of a high

efficiency with very good colour rendering capacities.

Especially decisive is the very limited loss of colour of the

lamps during the complete lifetime. This was an important

condition for the illumination planning which required a natural

and uniform colour rendering of the light beige sandstone.

The demanding task of illuminating the Quadriga is achieved

through Decoflood floodlights. This series of spots was

especially designed for city beautification through lighting and

is characterised by a high diversity and attractive design. The

symmetrical reflectors which deliver precise light cones are

especially suited for highlighting architectural detail.

P R O J E C T : Brandenburg Gate, Berlin

A R C H I T E C T : Volker van Kardoft

O E M : Phil ips AEG Licht

L I G H T I N G : Decoflood floodlights with

MASTER Colour lamps


For years Philips has been the trendsetter in lighting for petrol stations. The latest development in this market, the 3-D

lighting concept, arose from the desire of the oil companies to have petrol stations that were more pleasant, safer and more

economical to operate. A feeling of security is important to all travellers, particularly women, when they must stop at a

petrol station late at night. Because the 3-D concept pays special attention to vertical lighting, people and the station

surroundings are easily recognized regardless of the time of day.

Even though the step from petrol station to train station may seem very large, Jos Hoens and Paul Entrop, the creators of the 3-D concept,

found several similarities: both locations are meant as short stopovers for travellers, both have money handling areas in the open, and both

are often in isolated locations causing patrons to be concerned for their well-being. In this instance, the purpose of introducing the 3-D

lighting concept in railway stations turned mainly on the problem of safety.

Station Lelystad

Philips Lighting was invited to make a proposal to the Netherlands National

Railway to introduce the 3-D concept at the central station in Lelystad. It is a

distinctive construction, modern and with many clear surfaces, but it is also a problem

case as far as public safety is concerned. In late 2001 the station was rated as one of

the ten lowest in safety in the Netherlands. In their regular client satisfaction surveys,

the National Railway found that travellers in the Lelystad station rated the daytime

safety at 7, and gave the evening a rating of 5,4. This evening rating is half a point lower

than the average for the rest of the stations in the country. In the last quarter of 2001,

this rating dropped to 5,2. Obviously there was something wrong with the station

environment. Together with Arjen Marees of the Netherlands Railway, the team from

Philips Lighting began with an extensive study of the location and its lighting.

When client satisfaction surveys rated Leylstad Station low for safety,

the proven Philips 3-D lighting concept was deployed to help change the public view


3-D light brings outstanding safetyimprovements at Leylstad Railway Station


40


The original lighting consisted of mostly narrow-beam

downlights fitted with HPL-N lamps. The combination of the

cool light from these lamps (4100K) and their low colour

rendering of Ra=45 created an unpleasant atmosphere on

the station platform. The lamps could not bring out the

bright red, green and blue colours of the station, and the

average illuminance was only 15 lux, compared to the

40 lux norm established by the railway. In addition, no

consideration had been given to vertical lighting, so

people's features were not recognizable.

Around the front of the station the same downlights were

used, and because of their low mounting height the lighting

lacked uniformity. It consisted mostly of patches of light here

and there with large dark spaces in-between.

Fluorescent luminaires mounted on masts lit the parts of the

platform that were not under the roof. Here also the

illuminance was far below the specified normal values.

The architecture also suffered under this lighting installation.

The application of narrow-beam downlights, where only the

station itself was lit, meant that from the outside the building

looked completely dark, in spite of its glass roof. The qualities

of the transparent design of the station were then completely

lost. Above all, the station is located between a decoratively

lit city square and a tastefully lit court building in the centre of

Lelystad. Because of this contrast with its neighbours the

station had become a dark zone favoured by criminals.

New starting points

With the new lighting design public safety was considered

above everything else. That had the consequence that the

goal was not to achieve the current lighting norms, but to

satisfy the railway customers. The current specifications

were replaced with lighting standards that allowed

travellers to be safe when getting on and off the train and

to easily find their way through the station. Instead of lighting

for the average person in the average situation, the lighting

design team wanted to light for the extreme situation: an

older traveller with bad eyesight in a busy station. Comfort

for the traveller also became an important point. The lighting

should smooth the flow of passengers through the station

and prevent unnecessary delays.

In petrol stations the illumination values range from 400

to 600 lux. For the railway platform the desired horizontal

illuminance was set at 250 lux, with a uniformity greater

than 0,5. Also specified was that the vertical illuminance

should be at least 75% of the horizontal illuminance. Just

as with the 3-D concept in petrol stations, the MINI 300

luminaire was chosen for this installation. This luminaire

combines the possibility of high vertical illuminance with

a good cutoff in the direction of the trains, so that glare

would not be a problem for the train engineers. Lamps

used were the CDM-TD 150 W, an efficient light source

with a long life and outstanding colour rendering

properties (Ra>80). In petrol stations, cool lamps of

4200K are used, but here the choice is for lamps with a

warmer impression of 3000K. The halogen-like character

of this lamp is better for lower illuminances and produces

a pleasing lighting contrast.

Developer Cor Schreurs of Philips Netherlands made

smart use of available optical mirrors from the MINI 300

range and thus the new luminaires could be placed in the

same locations as the former lighting. This reduced the

mounting costs considerably because the luminaires were

installed without modifying the existing architecture.

All the fluorescent luminaires on the masts outside the

platform and not under the roof were also replaced with

the MINI 300, but with a lower wattage lamp: CDM-TD 70W.

The installer designed a special bracket so that two MINI

300s could be mounted directly to the original masts,

resulting in another cost saving.

On the front of the station an alternative had to be found

for the existing downlights. The luminaires here are very

visible and so form an important aesthetic element of the

architecture of the station. Chosen was the modern-looking

Triangel, a luminaire from the Philips AEG range. The

Triangel houses two PLC 26 W lamps, which create a

warm, pleasant atmosphere and give good vertical lighting.

The result

From a distance the station has regained its place in the city.

Striking, but not overdone, it stands now as an equal between

the city square and the court building. The contrast-rich

lighting lets the innermost parts of the station be easily seen,

such as the elevators. These were designed to resemble the

style found in the 18th century railway stations. Through the

glass roof the people who are waiting for their trains can now

be seen and the reflection of the light from the platform

highlights the coloured steel construction of the roof. In short,

the station has come alive!

On the platform the changes are definitely noticeable. The vivid

colours of the station standout even from a distance. It is now

possible to sit on the benches and read a newspaper, and this

good vertical lighting also makes everything else on the

platform clearly visible.

The horizontal illuminance on the platform averages 270 lux and

has an outstanding uniformity. Around the platform the vertical

illuminance is 180 lux. This new installation is the prototype for

a safe station. As stated earlier, light alone cannot guarantee

public safety, but it is hoped that this design is a step in the

right direction.



42

THE FOLLOWING COOPERATED IN THE REALIZATION

OF THE NEW LIGHTING AT THE LELYSTAD STATION:

ARJEN MAREES - NS Stations Facility Management

PETER CLEMENT AND HARRIE TENNEKES - Koldijk

Elektrotechniek BV Lelystad

JOS HOENS AND PAUL ENTROP - Philips Lighting

Cor Schreurs, Gerben Smid, Elly van Happen and

Richard Boerop - Philips Netherlands

CLIENT - Netherlands National Railway

OEM - Philips AEG

LIGHTING - Mini 300 - CDM-TD 150W


Since 1993 Wintershall Noordzee bv, the energy company which provides the gas requirements for the

BASF Group, has used QL induction lamps in Eex luminaires from Dutch specialists in explosion proof

lighting IMT, in all of their off-shore platforms. Advantages in terms of safety and cost of ownership have

led to this on-going decision. Wintershall were the first company to use QL in this way, working with IMT

in developing their dedicated "IQL" system. L&G Magazine spoke to Jan Buys, head of maintenance for the

22 platforms in the Dutch North Sea, and Jan Geluk, Managing Director of IMT, to understand the

background to this specification.

The Dutch arm of Wintershall was established in 1975, and since 1976 has been in operation in the North Sea. It was one

of the first companies to do so. Having obtained a licence to look for gas in an area or "block" of sea, then having found

gas via 3D seismic technology and exploration drilling, Wintershall applied for a production licence. If the government

approves the licence, then Wintershall will erect platforms where the gas is dried, refined and measured. These platforms

are typically 1125m2, with 4 or 5 levels, and exist for 10 – 15 years, during which time up to 20 billion m

3of gas could be produced.

Any equipment used on these platforms has to be robust enough to withstand the constant vibration, the salt atmosphere,

the 98% humidity and the danger of explosion in the hazardous areas (which constitute up to 85% of a platform), for as

long as possible, and preferably for the life of the platform. For the lighting equipment for example, on average it costs


In the hazardous conditions of the North Sea we take a look at how QL leads the way as a reliable,

safe and maintenance free lighting solution

HEL

IDEC

K L

IGH

TIN

G S

YST

EM K

I3A

PLA

TFO

RM



44

Euro 125 to replace a lamp or maintain a luminaire. But

more important still are the safety considerations.

In 1993, responding to a government initiative, Wintershall

commissioned an electrical consultancy to investigate

safety aspects of work on off-shore platforms, and

highlight the most dangerous activities – the critical tasks.

The critical task analysis segregated tasks into different

grades from 0 (most safe) to 6 (most dangerous) as

defined by the DNV (Danske Norske Veritas) scale.

Maintenance of lighting was classed as being in the most

dangerous category, in fact an extra point was added giving a

7 score in areas like the 100m towers which house safety

vents and telephone / radio transmitters. A score of zero

would only be possible by eliminating the maintenance

requirements, and this has proved possible by using IQL

obstruction lights (red coloured for aviation control) at the top

and half way up these towers (and on cranes), instead of the

traditional fluorescent solutions. They have been installed on

all the platforms in these application areas.

JAN BUYS, WINTERSHALL NOORDZEE BV


w w w . l a m p s a n d g e a r . p h i l i p s . c o moutdoor

45

L8P4 PLATFORMThe next area to use IQL luminaries were the helidecks. Here

QL solutions replaced CFL solutions in lighting systems in

accordance with ICAO (International Civil Aviation Organization)

standards. Helideck lighting systems – this time coloured yellow

- have been installed in all platforms; 32 units on each deck.

As failure rates since 1993 when QL was first used by

Wintershall have been below 0.2% the next step was to

consider using QL in all hazardous areas in new platforms. The

last 5 to be constructed therefore each have between 100 and

200 IQL luminaries installed (as will the next 2 which are under

construction now). A payback time of under 1 year has been

shown where the lamps are operating continuously.

This takes into account:

• Lower initial installation costs as two QL 85W luminaires can

replace 3 no. twin TLD 36W luminaries where design is based

on maintained illumination after one year

• Lower maintenance costs due to the long life of the QL lamp.

This means the IQL luminaries can genuinely be sealed for life

and no lamp changing or cleaning is necessary. Also the

luminaires themselves, with their well glass covers, do not

suffer the degradation effects which can occur to

polycarbonate diffusers as a result of static attracting dust,

similarly cracks, and the possible yellowing. Sealing for life is

made possible in the IQL luminaire range via a special gasket

which IMT claim allows the luminaire to "breathe", ie. air does

AERONAUTICAL OBSTRUCTION LIGHT

not expand out of the seals whilst the lamp is operating, to be

sucked back in again – moist – when the lamp cools down.

(Condensation of the moist air sucked in at switch off can of

course effect lamp and luminaire lifetimes).

• Lower inspection costs. Standard health and safety practice

normally calls for close and detailed inspection of luminaries in

hazardous areas (gaskets, circuitry etc), but with this sealed for

life design visual inspection only is necessary (see EN 60079

pt 17 for descriptions). This follows acceptance by the Health

and Safety Executive in the UK, the first to review guidelines in

the light of sealed for life lighting.

IMT’s IQL range of luminaries further take advantage of QL’s

unique specification in being operable from -40 to +40degoC

(advantage taken of amalgam technology, and attention to heat

sinking in luminaire design), immediate ignition and reignition,

power factor >0.9 and no stroboscopic effects.



46

IMT are based in Herwijnen in the Netherlands, with

centres in Germany, Belgium, UK and Singapore. The

company designs and manufactures explosion proof

and vibration resistant lighting equipment for

applications including off-shore platforms, the

chemical industry, airports, high rise buildings,

transmission towers and ships. Users other than

Wintershall include Shell, ExxonMobil, Dow, BP, British

Gas, DuPont and Kuwait Petroleum.

I M T P R O F I L EHELIDECK LIGHTING SYSTEM A6A PLATFORM

HELIDECK LIGHTING SYSTEM L8H

IQL 85 FROSTED WALKWAYS L8P4

SUN

LUX

LU

MIN

AIR

E W

ITH

MA

STER

PL-

H 8

5W

w w w . l a m p s a n d g e a r . p h i l i p s . c o mindoor

47

The MASTER PL-H range was first shown at the

Frankfurt Light + Building Fair 2002, launching an

exciting new era in compact lighting. The new range of

very high output compact fluorescent lamps provides

up to 9000 lumens of high quality light, offering

maximum lighting design freedom in outdoor and high

ceiling indoor applications.

Responding to new trends, new demands

The trend is towards more flexible, creative lighting solutions,

towards comfortable and aesthetically pleasing luminaires,

which also provide higher general lighting levels. At the same

time, end users are increasingly aware of the need for efficient,

economical lighting, They look for solutions that allow faster

installation, combined with longer lamp life, to offer lower

labour and running costs with less maintenance.

The answer – MASTER PL-H

This was the background to the development and launch of

the very high output MASTER PL-H family. It uses CFI-NI

technology, based on the familiar PL-L technology, to deliver

superior lifetime and higher lumen maintenance throughout the

lamp lifetime. The lamp is made up of 6 parallel T5 tubes

welded together using Philips' acclaimed bridging technology.

With its four-pin base, MASTER PL-H is optimised for use in

combination with electronic control gear, providing maximum

system efficacy and high comfort lighting quality, together with

HF operation and independence from the supply system.

Philips Lighting Electronics has developed a uniform, multi-watt

ballast that can operate across the whole range. A special 2G8

lampholder and lampbase combination, a dedicated mechanical

lock is a joint development of BJB and Philips Lighting.

Compact fluorescent lighting reaches new heights!

MASTER PL-H, a new range of very high light output compact fluorescent lamps and

multi watt ballast, provides improved light levels and creative freedom.

Sunlux and EURDEKIAN LUMIERES where the first

manufacturers to incorporate the new MASTER PL-H lamp

system into luminaires in December 2002. In February 2003

shops of the Planet Saturn Group, selling hi-fi, videos and

other electronic domestic appliances, were fitted with the

new MASTER PL-H EURDEKIAN LUMIERES as part of a

lighting project. SUNLUX also equipped a large electrical

retail group using MASTER PL-H 85W lamps In the

meantime close to 150 European and 70 US manufacturers

are now active with first project realisations, luminaire

designs and verification testing.

Meeting a need

MASTER PL-H will fulfil a wide spread of application

requirements. One of the main areas will be for general and

decorative lighting in professional medium and high bay

environments – including public buildings, shopping centres, DIY

stores, industry, transport, compact uplighting and in residential

areas and parks. The MASTER PL-H range is gaining new

markets in Europe, the USA and Japan.


Case s tory

"However, during the project planning we came up against a

big problem, as the Glacier pendant 5515/5516 was only

available with a maximum light source of 57-watt/4300 lumen.

Since the physical conditions required a light source of at least

5200 lumen at a minimum, we had a problem. After having had

a brief conversation with Viggo Bremmer of Philips in Denmark

we were able to procure 12 electronic ballasts and 12 light

sources of 85 watt / 6000 lumen in record time. The problem

was solved!

"The lamps specified were part of the new Philips MASTER PL-H

family, which also delivers superior lifetime and higher lumen

maintenance throughout the lamp lifetime.

An energy efficient solution

"The Marievangsskolen” in Slagelse is a good example of the

requirements set by the municipality of Slagelse that all

schools should be energy conscious. At Thorn-Jakobsson we

have worked on many projects at the Marievangskolen, and

each time the condition was that the solution should be energy

efficient. The school uses only luminaires fitted with electronic

ballasts, providing a long lifetime for the light source and low

energy consumption of the ballast.

"Consequently the choice of the PL-H lamp from Philips was

well received by the school. As the principal commented, both

pupils and teachers would benefit from the beautiful pendant

for many years to come.

High Luminance, low glare

"Despite the relatively large lumen-package of 6000 lumen,

the glare/luminance from the light source is surprisingly

small. It seems certain that the PL-H lamp has a great future

on the Danish lighting market."


"When the lighting project for the school hall at the

Marievangskolen in the city of Slagelse, Denmark was

put to tender, an important condition laid down by

the architect and contractors was that the pendant

style luminaire should blend with the distinctive

architecture of the school. The choice fell on

Thorn-Jakobsson’s Glacier pendant, which has

an aluminium reflector and deco bracket with an

external diameter of 38.4 cm. The architect thought

this pendant was very stylish, reflecting the rough look

that would fit well into the style of building and

architecture of the room.

MASTER PL-H

indoor

More lightfrom less

48

o r i g i n a l t h i n k i n g i n L a m p s & G e a r

o r i g i n a l

And all these radical advances were the result of originalthinking in lamps and gear. With this commitment to originalthinking, Philips continues to realise its vision and ensuresustainable business success for itself and its businesspartners. And to improve the quality of life for peopleeverywhere, through lighting.

Philips Lighting is the world's leading company in lightingsolutions. A company renowned for innovation andtechnology breakthroughs. For example, MASTER TL5,MASTER Colour, and the HF-P electronic gear have all beenradical advances that soon became industry standards.

Dat

a Su

bjec

t to

cha

nge

05/0

3 -

3222

635

434

11Pr

inte

d in

the

Uni

ted

Kin

gdom

Date post:	27-Mar-2018
Category:	Documents
Upload:	lamnhan
View:	214 times
Download:	1 times

Original thinking in lamps and gear Epicentre Prada Store … … · · 2011-01-25Original...

Documents