ERCO Lichtbericht 93

Transcription

Viani Alimentari, Göttingen
Architect and lighting designer:
AV Atelier Verführt Messe GmbH,
Hanover
Photos: Frieder Blickle, Hamburg
www.viani-alimentari.de
In German university towns, such
as Göttingen, a wide-spread fasci
nation with all things Italian can
often be observed. The Viani family,
importers of Italian specialities for
many years, are now supplying Italophiles with vino, pasta, espresso
and focaccia sold in their own
shop. Located on the ground floor
of a timber-framed house in the
historical town centre, the shop‘s
premises have been redesigned by
the Hanover-based Atelier Verführt
in a sober but elegant style. ERCO’s
contribution is the efficient visual
comfort provided by Quintessence
wallwashers fitted with metal halide lamps and Optec spotlights for
flexible accentuation of objects.
E
Lichtbericht 93
Bodegas Portia
A state-of-the-art winery, the
Spanish Bodegas Portia in the wine
country of Ribera del Duero operates according to industrial standards. This does not detract from
the fascination inherent in wine
as a complex result of natural processes governed by the immaterial
ingredients of time, intuition and
experience. Celebrating the mystery of wine, Foster + Partners have
created a spectacular architecture
starring an equally immaterial element: light.
Published in November 2011
E
ERCO GmbH
Postfach 2460
58505 Lüdenscheid
Germany
Tel.: +49 2351 551 0
Fax:+49 2351 551 300
info@erco.com
www.erco.com
Contents
Introduction
1
About this issue
2
Keylights
4
Bright prospects
Report
6
Bodegas Portia, Gumiel de Izán
Lighting designer Claude R. Engle IV
illuminates the Spanish winery effectively using the methods applied in
qualitative lighting design: accent
lighting, zoning, vertical illuminance.
About this issue
Projects
24
ZARA, Via del Corso, Rome
Once again, ZARA relies on ERCO’s lighting expertise for what is currently its
largest store.
26
GANT Woman Store, Prague
A small revolution in lighting and the
bearer of good news for the environment: the first-ever store to be lit
entirely by ERCO’s LED technology.
28
Vertical illuminance for hotels:
Ibis opts for LEDs
At Ibis, everything hinges on optimum
value for money. Its latest milestone: a
new design and lighting concept.
30
Vertical illuminance for exterior
lighting: Joslyn Art Museum, Omaha
New light for sculpture park and façade
of the art deco building and its annex
designed by Foster + Partners.
31
LED wallwashing for galleries:
Fleming Collection, London
The illumination of paintings is a prime
example of vertical visual tasks: solved
in the Fleming Collection with Logotec
LED wallwashers.
32
Villa Vauban, Luxembourg
Expressive spaces, clear surfaces, contrasting materials: these are the stylistic
devices of the architectural design by
Diane Heirend and Philippe Schmit – illuminated by the Licht Kunst Licht lighting
designers using ERCO lighting tools.
34
Wallwashing for museums:
Museo de la Evolución Humana,
Burgos
The museum and its adjoined institute
showcase the many different uses for
vertical illuminance.
36
Backlights
Background
12
Wallwashing and perception
Architectural researchers Prof. Dr. Dr.
Kai Schuster and Dr. Marc Kirschbaum
examine spatial perception and spatial
effect as a function of lighting.
Light & Technology
16
New products 2012
ERCO innovations – a preview
20
ERCO Technical Centre:
An LED case study
22
Focus
Wallwashing as perception-orientated
light
23
Double focus
LED wallwasher technology
ERCO Lichtbericht
Imprint
Publisher: Tim H. Maack
Editor in Chief: Martin Krautter
Design/Layout: Thomas Kotzur, Christoph Steinke
Printing: Mohn Media Mohndruck GmbH, Gütersloh
1028762000
© 2011 ERCO
Tim Henrik Maack
The technology change at ERCO towards LED
systems is making huge strides. Once again,
this Lichtbericht features a number of amazing
projects based on LED lighting systems. To further back and reinforce what we believe to be
a positive trend by launching new products, all
our new ranges for 2012 are based on LED technology. Page 16 will give you a first impression
of the diverse and innovative LED products for
indoor and outdoor applications.
An LED case study involving ERCO’s own
Technical Centre is described in detail on
page 20. The entire foyer section here has been
updated to feature the latest state-of-the-art
LED lighting system and the 75% savings in
energy are a welcome side effect. As a further
positive upshot, aside from reduced operating
costs, CO2 emissions are cut by 68.13 tons a
year.
100% LED lighting in retail: A successful
example of this is the GANT Woman Store in
Prague. Featuring Logotec LED spotlights and
Quintessence LED wallwashers and directional
luminaires, it shows through skilful integration
of vertical illuminance components into the
lighting design how to create a pleasant light
atmosphere for customers.
Vertical illuminance – i.e., wallwashing – is
also the topic of an extensive study conducted
by architectural researchers Prof. Dr. Dr. Kai
Schuster and Dr. Marc Kirschbaum, featured
from page 12 in this Lichtbericht. The study
examines and describes scientifically the influence of systematic wall illumination on spatial
perception and wellbeing of the users. It sensitises us to the importance of a more careful
use of light in a design context and shows how
the ratio of vertical to horizontal illuminance
components allows statements to be made on
the use and character of architecture.
LED technology is just as suitable for the
hotel and gastronomy sectors. Ibis, a hotel chain
operating in the highly price-sensitive economy
sector, has opted for LEDs in its new design and
lighting concept to stand out as a hotel from
the ever increasing competition. Vertical illuminance using Quintessence LED wallwashers
as a central component of the perception-
orientated lighting concept underlines the
warm and cheerful atmosphere of Ibis’ new
interior design.
The illumination of art in museums and galleries is, by nature, a classic case for wallwashing. The Fleming Collection in London picked
ERCO’s Logotec LED wallwasher for its lighting
system. With a connected load of 14W, it meets
all the requirements of a modern and energyefficient lighting solution for high-quality
exhibits.
Photographs (Page): Ian Barnes, Sydney (2, 3),
Frieder Blickle (3, 36, U4), Julia Cawley (1), Aksel
Gross, electricgobo (13-14, 16), Stefan Hofmann,
Lichtwerke (3), Tom Kessler Photography (30), Martin Krautter (37), Iara Kremer (36), David Kuntzsch
(37), Alexandra Lechner (2), Thomas Mayer (U1,
4-5, 6-11, 12, 24-25, 34-35), Rudi Meisel (2, 3),
Thomas Pflaum (3, 28-29), Alexander Ring (16-21),
Lukas Roth (32-33), Nicolas Saieh (2), Dirk Vogel (2,
3, 31), Edgar Zippel (2, 3, 26-27).
Translation: Lanzillotta Translations, Düsseldorf
ERCO Lichtbericht 93 1
Keylights
London
Bespoke tailor Douglas Hayward
saw stars such as Clint Eastwood
and Michael Caine stream in and
out of his shop. When the founder
died in 2008, the company on
Mount Street, Mayfair, needed to
reinvent itself: with an interior
design concept that combines
tradition with future – and light
provided by ERCO.
Hobart (Tasmania)
Modern light art – in a museum
at the opposite end of the world
from a European perspective. Here,
collector David Walsh has set up a
meeting place of old, modern and
contemporary art that breaks many
conventions. In terms of lighting,
though, the MONA also opted to
rely on ERCO’s museum expertise.
Vienna
The Rahimi family business is the
prime address for high-quality
Douglas Hayward Bespoke Taylors, London
oriental carpets in Vienna. MagArchitect: Walters Consultancy, London
nificent antique items are set off to
www.douglashayward.co.uk
produce an optimum scene in the
redesigned store in Spiegelgasse 1
– effectively illuminated by Cantax
spotlights and Quintessence wall
washers.
Rahimi & Rahimi oriental carpets, Vienna
Architecture and lighting design:
Archvision, Sadegh Derakhshan, Martin
Huber, Vienna
www.rahimi.at
Leipzig
The listed façade of a former,
five-floor trade fair palace hides
a contemporary grand hotel that
combines historic building fabric with a modern design at 5-star
level. The clever lighting design
featuring recessed ceiling and
floor luminaires supplied by ERCO
adds significantly to the special
atmosphere.
Vienna
The stilwerk on Praterstraße now
introduces the concept of com
bining diverse home design brands
under one roof in Vienna: On a
site measuring 220m2, upholstery
manufacturer Bretz, for instance,
presents its “cult sofas” – accentuated by Logotec spotlights – against
a display wall uniformly lit by Optec
wallwashers.
Steigenberger Hotel Handelshof, Leipzig
Interior and lighting design:
Markus-Diedenhofen, Reutlingen
www.steigenberger.com/Leipzig
Bretz Möbel, stilwerk, Vienna
Architect: giftgrün design gmbH, Vienna
www.bretz-austria.at
Lisbon
The Champalimaud Foundation
has financed a state-of-the-art
biomedical research centre whose
avant-garde architecture reflects
the standard of scientists working
here. Quintessence downlights
and wallwashers illuminate areas
including the auditorium.
Champalimaud Centre for the Unknown,
Lisbon
Architect: Charles Correa, Mumbai
Lighting design: dpa Lighting Consultants,
London
Electrical design: Copreng, António
Almeida Eng., Lisbon
www.fchampalimaud.org
Weinstadt-Strümpfelbach
“Pure” is more than just the label of
the Dannenmann fashion store; it is
as much the guiding theme for the
new showroom in Weinstadt near
Stuttgart. Walls and ceilings merge
into each other seamlessly, the
lighting using ERCO’s Quintessence
luminaires blends into the interior
design in a perfect finish.
Dannenmann Pure fashion store,
Weinstadt-Strümpfelbach
Architect: w67 Architekten Schulz +
Stoll, Stuttgart
Lighting design: Stefan Hofmann,
Lichtwerke, Cologne
www.dannenmann-pure.com
MONA Museum of Old and New Art,
Hobart
Architect: Fender Katsalidis, Melbourne
Lighting design: Vision Design Studio,
Sydney
mona.net.au
Santiago de Chile
Miele, the German manufacturer
of high-quality electronic equipment, presents itself in a futuristic
new building in Chile’s capital. At
night, the glass façade transforms
the building into light architecture;
inside, Optec LED spotlights ensure
efficient visual comfort and a brilliant display of the products.
Miele Gallery, Santiago de Chile
Architect: Gonzalo Mardones Viviani,
Santiago de Chile
Lighting design: Ikatu, Santiago de Chile
www.miele.cl
2 ERCO Lichtbericht 93
Vila Nova de Foz Côa
The Vale do Côa in Northeastern
Portugal is an important World
Heritage site with prehistoric rock
carvings. A new museum now
brings together modern and stoneage artefacts – excitingly staged
using TM spots mounted on tracks.
Museu do Côa, Vila Nova de Foz Côa
Architect: Camilo Rebelo, Tiago Pimentel,
Sandra Barbosa, Porto
Lighting design: G.O.P. Gabinete de
Organização de Projectos, Alexandre
Martins
www.arte-coa.pt
Mainz
An elegant, two-storey pavilion
from the 1960s in Mainz’ city cen
tre was redesigned by perfume
and cosmetics chain Douglas into
a trendy branch: with an interior
design and a new, interactive pres
entation concept that hopes to
address particularly a younger target group. The store is lit almost
exclusively with brilliant, directed
light: from Quintessence directional
luminaires for HIT mounted in the
uniquely shaped ceiling elements
and from black Logotec spotlights
for HIT that discreetly form a
secondary feature in the ceiling
appearance.
Douglas trend store, Mainz
Lewang Architekten, Munich
www.douglas.de
London
This is not just any cafeteria; it is the
cafeteria of one of the best-known
and most productive “architecture
factories” in the world – the Riverside Studios of Foster + Partners in
London. Wall paintings show spectacular views of the partnership’s
projects, uniformly illuminated
Perception-orientated
Hamburg
by Optec wallwashers for halogen
lighting design: The lightThe International Maritime Museum lamps.
ing of the high-rise foyer
in Kaispeicher B, the oldest quayis focused on the bright
Cafeteria,
Foster
+
Partners
Riverside
side warehouse in the harbour city,
wall surfaces, not the
Studios, London
dark floors. The brightdisplays exhibits from the seafarArchitect: Foster + Partners, Christopher ness level is improved
ing world in an area measuring
Lam, London
as a result, while energy
www.fosterandpartners.com
10,000m2. Along with ERCO spotcosts are reduced.
lights, it is the Quintessence wall
washers in particular that ensure
uniform illumination of the walls
and backgrounds.
IMM, Hamburg
Architects: MRLV Architekten, Hamburg
Exhibition architecture: Kwod Design,
Hamburg
Lighting design: Ulrike Brandi, Hamburg
www.internationales-maritimesmuseum.de
Sydney
Grosvenor Place, a 180m high
office tower built in 1988, is one of
the works of Austrian-born Harry
Seidler (1923-2006). After his
emigration and periods in England
and the USA, Seidler advanced to
become the leading exponent of
modern architecture in Austra
lia. New lighting in the foyer now
emphasises the architectural
design even more favourably while
at the same time affording massive
cuts in energy and maintenance
costs. The lighting tools chosen by
the designers include wallwashers,
downlights and directional luminaires for metal halide lamps from
ERCO.
Grosvenor Place Building, Sydney
Harry Seidler & Associates, Sydney
www.grosvenorplacesydney.com.au
Bright prospects
Architect: Giulio de Angelis (1845–1906)
Architecture (refurbishment) and lighting design:
Duccio Grassi Architects, Milan/Reggio Emilia;
José Froján, Mabel Segui, Estudio ZARA, Arteixo
Photos: Thomas Mayer, Neuss
www.zara.com
Bodegas Portia, Gumiel de Izán
When Foster and Engle join forces, it is
not surprising that architecture and light
are blended in new and unexpected ways.
To make this Spanish winery shine, Claude
Engle IV applied methods of qualitative
lighting design: accentuation, zoning, and
vertical illuminance.
In recent years, the wine countries of Northern
Spain have evolved into an Eldorado of extra
ordinary architecture. Wineries use architects
of international renown, such as Calavatra,
Moneo, and Gehry, striving to beat their com
petitors in the realm of spectacular design.
Buildings such as the headquarters of Marqués
de Riscal, whose style mimics that of the Gug
genheim Museum of Bilbao, are highlights of
this unofficial competition. The new bodegas
constitute trademarks, attractions and unique
characteristics, all essential in today’s climate of
fierce competition for market shares and repu
tation. The most recent example of this trend is
provided by the Gruppo Faustino: Its Bodegas
Portia, newly designed by Foster + Partners and
located in Ribera del Duero, combines efficiency
and elegance, takes advantage of the natural
topography of the surrounding landscape, and
ingeniously alludes to the functional processes
of winemaking – all effectively accentuated
by Claude R. Engle IV and his integral lighting
concept.
It is the first time Lord Foster and his team
have designed a winery. What they came up
with as an overall layout for the building looks
like a stylised trefoil. Three wings reach out from
the centre like rays from a star. Each wing houses
one of the three phases of winemaking: the fer
mentation in steel tanks, the maturing in oak
barrels, and ultimately, the bottling and stock
ing. The heart of the facilities beats in the centre
of the complex. This is where all the processes
occurring in the three wings are controlled. In
addition, it comprises the light-flooded public
area including a shop, a degustation lounge, and
a restaurant overlooking the large nearby ter
races and pools, and beyond, the wine country.
Glassed-in galleries on a mezzanine level allow
visitors to witness the production processes in
all three wings, thus making the enjoyment of
wine – well beyond its degustation – a sensual
experience embracing the long tradition of
Spanish wine culture.
The lighting concept by the design firm
Claude R. Engle follows the approach of transparency. A mostly discreet illumination lures
visitors into the world of wine. Carefully placed
accents will please both enthusiasts of stateof-the-art winemaking technology and wine
aficionados seeking to explore the romantic
aspects of winemaking. To achieve this, Engle
placed the focus of his design on the key elements of wine production. Inspired by discus
sions with the winemakers, he decided to use
accent lighting to illuminate only the tempera
ture readouts, the spouts and the tank openings
throughout the wing dedicated to fermenta
tion. Put to the practical test, it was soon con
Architects: Foster + Partners, London
Lighting design: Claude R. Engle Lighting
Consultant, Chevy Chase MD
www.bodegasportia.com
Its three-winged layout
blends into the land
scape. Because of the hilly
topography, the three
wings are embedded in
the ground to different
degrees, ensuring an ideal
climate for each stage
of the wine production;
for example, in the Nave
de Botellas, where the
wine matures in bottles.
Faustino Winery - Site Plan
0
5
10m
Bodegas Portia
firmed that this minimum amount of light was
sufficient even for the winemakers. “They say
the wine is sleeping. Hence, we provide only as
much light as is needed for the wine produc
tion, but take heed not to wake the wine,” says
Engle. As a result, the industrial lighting instru
ments fitted with fluorescent lamps, concealed
between the ceiling’s wooden blades, are sel
dom used.
At Bodegas Portia, the “sleeping” wine
matures in the barrique, as tradition requires it.
ERCO Gimbal projectors fitted with 20W metal
halide lamps and Spherolit reflector steep the
oak barrels in a warm and subtle light. The paths
connecting the barrel storage areas are distin
guished through a zoned illumination of a cooler
light colour (5,000K) so that the winemakers
can carry out all activities without having to
modify the lighting arrangement. The architects
achieved a fascinating effect by leaving a gap
between the concrete walls located beneath
ground level and the wall construction out of
wooden girders, then fitting the gap with winered glass so that daylight seeps through in the
appetizing hue of a Reserva.
The wing in which bottles are stored – the
Nave de Botellas – is illuminated by ERCO
Parscan projectors with flood reflectors fitted
with 100W low-voltage halogen lamps. This
projector type with outstanding anti-glare
properties guarantees maximum visual comfort
and a flexible, directed, yet discreet illumina
tion. Mounted on the hall ceiling, they accen
tuate the impressive bottle walls of Bodegas
Portia. The effect they produce by lighting indi
vidual bays is reminiscent of the atmosphere in
a cathedral – a cathedral of wine.
While the lighting concept in the production
areas calls for the greatest possible subtlety,
the visitors' areas in the centre of the winery
require more extensive, uniform lighting.
Fine-wood surfaces and low-key colours in the
restaurant, the bar, and the degustation lounge
make for an exclusive aesthetic. In this environ
ment, downlights for 75W low-voltage halogen
lamps achieve a particularly pleasing light
quality. They are incorporated into the vertical
blades of the louvre ceiling. In addition to pieces
of modern art, the wall decoration features
staves of old wine barrels. They are lit by Parscan
wallwashers. All in all, the concept of openness
and transparency is continued throughout the
gastronomy and visitors’ areas. Rows of large
windows allow visitors to see both the wine bar
rels resting inside the Nave de Barricas and the
vast scenery of Ribera del Duero.
Wine-inspired wall deco
ration: Everywhere in the
building, structures made
from old barrel staves
are mounted and lit as
decorative elements. In
giant stainless steel tanks,
the grape juice undergoes
fermentation. To natu
rally discharge the carbon
dioxide this produces, the
tanks are located in the
one wing entirely above
ground level. The light
ing there is restricted to
connecting paths, operat
ing instruments and the
weight-bearing concrete
columns accentuated by
upward-facing Beamer
projectors for 50W halo
gen lamps (bottom).
Parscan wallwashers for
75W halogen lamps pro
vide vertical illuminance
in the restaurant. A glass
front opens out onto the
roof terrace, where once
more, old barrel staves
make for an attractive
wall decoration.
At Bodegas Portia,
modern architecture
and state-of-the-art
winemaking technology
meet a wine culture that
evolved over centuries
and is represented by
local wine-growers. This
makes for a promising
blend of tradition and
avantgarde.
The top level of the cen
tral area with its bar and
restaurant overlooks the
roof terraces with reflect
ing pools and, beyond,
the vast scenery of Ribera
del Duero.
The entrance is the only part of the winery
where Foster + Partners departed from their
global concept of transparency. There, the archi
tects concealed the central tank, which stands
7 metres tall, behind blue-green frosted glass.
Lighting designer Engle accentuated this giant
piece of technology with colourful lights so
as to make its shape vaguely and mysteriously
visible through the large glass surfaces. In sum
mary, the lighting concept builds on the archi
tecture in all parts of Bodegas Portia, enhances
Daylight seeps through a
horizontal gap between
the base and the hall
construction, filtered by
coloured glass to radiate
the rich hue of heavybodied red wine. The bar
riques in which the wine
matures are illuminated
with warm light from
Gimbal projectors fitted
with metal halide lamps.
Claude R. Engle IV graduated from College
of Wooster with a BA in Theatre and Philos
ophy and received an MFA in Creative Writ
ing from New York University. In Barcelona
for six years, he worked as a freelance
lighting designer as well as a translator of
architectural papers and publications. He
received numerous awards for his designs
for theatre and dance companies. While
in Spain, he oversaw the installation of
the firm’s lighting design for the Palau de
Congresos in Valencia, the Kimmel Center
for the Performing Arts in Philadelphia
and many other projects in Europe and the
USA. He is currently Senior Designer for
Regent Tower, a multiuse tower in Sydney,
Australia, Freedom Tower at the World
Trade Center in New York, and the Win
spear Opera House in Dallas, Texas.
www.crengle.com
it, and adds individual accents. Architecture
and lighting together have turned what was a
functional building into an adventure where
the magic of winemaking becomes tangible for
the visitor.
Vertical illuminance in
the restaurant of Bodegas
Portia: ERCO lens wall
washers for recessed
ceiling installation fitted
with 90W halogen lamps
are mounted within the
wooden blades of the
louvre ceiling. Their light
defines the room’s dimen
sions, properly accen
tuates the paintings and
makes for a glare-free
component of ambient
lighting.
Norman Foster
Norman Foster is one of the most impor
tant architects practising in the world
today. He is chairman and founder of
Foster + Partners, based in London, with
project offices worldwide. Over the past
four decades the practice has pioneered
a sustainable approach to architecture
and ecology through a strikingly wide
range of work, from urban masterplans,
public infrastructure, airports, civic and
cultural buildings, offices and workplaces
to private houses and product design. He
became the 21st Pritzker Architecture Prize
laureate in 1999 and was awarded the
Praemium Imperiale Award for Architec
ture in 2002. In 2009, he became the
29th laureate of the prestigious Prince of
Asturias award for the Arts.
www.fosterandpartners.com
Wallwashing and perception
Lighting has a substantial effect on our abil
ity to recognise our environment, on our
evaluation and use of space. It was used in
psychological research studies as a parameter
for spatial evaluation. A key research study
was introduced by Flynn in 1977 (cf. Kebeck
1997, p. 225). Flynn’s work allows deduc
tions to be made in terms of vertical and hori
zontal illuminance situations. Hence, rooms
with extensively illuminated walls appear
bigger and help us perceive the room more
clearly. Non-uniform wall illumination, in
contrast, enhances the feeling of relaxation
and has a positive effect on the room’s per
ceived pleasant atmosphere. Low light inten
sities in the vicinity of the observer generally
convey a feeling of privacy. At the same time,
more recent studies (e.g. Fleischer 2001) have
revealed that the colours of light (neutral
white vs. warm white) impact our evaluation
of the room. These research studies, however,
were not designed explicitly for a systematic
comparison of horizontal and vertical illu
minance, so that considerably more research
into these aspects is needed.
Architectural researchers Prof. Dr. Dr. Kai
Schuster and Dr. Marc Kirschbaum examine spatial perception and spatial effect as
a function of lighting.
Research really isn’t required in order to work
out that light, light colour and type of light
ing affect our impression of a room – we see
this day in and day out. Using different light
ing tools in different ways changes a space
subjectively, our experience of it and our
usage pattern. In designing our own home,
for instance, we make sure that f urnishing
and lighting in a room or a room zone har
monise to form a unit and fit its specific pur
pose. A reading corner, therefore, tends to be
illuminated differently from the workspace
in the kitchen or the workbench in the base
ment.
Lighting research in the context of work
environment and ergonomics has long since
been a recognised, interdisciplinary field that
evaluates just how much the lighting situa
tion influences the performance of individu
als in the industry, but also their cognitive
capabilities. Less known are research efforts
that have gone so far as to prove a connec
tion between lighting and our taste of food
– wine connoisseurs may find the article by
Oberfeld et al. (2009) of interest here.
In terms of the aspects of perception and
evaluation of space as factors of vertical and
horizontal illuminance in rooms, however,
psychological research is still in its infancy.
This article gives a review on an empirical
study conducted in cooperation with ERCO
on the subject of spatial perception and eval
uation as a factor of lighting. The results of
this study are presented after a brief synopsis
of psychological perspectives of the human
mechanisms of spatial perception and evalu
ation.
Spatial perception from the perspective
of environmental psychology
Environmental psychology is an academic
field investigating people’s interactions
with the environment, their perception (cog
nition), attitude (emotion) and action (e.g.
Zimbardo & Gerrig 2008). This simple model
quickly expands under the assumption that
these components are closely linked and
personal variables determine the intensity
of spatial perception and the evaluation of
space. Examples of personal variables are
previous experiences, current state, action
targets, etc. Although psychology places
the focus on the person, environmental
psychology acknowledges in the concept
of affordance introduced by Gibson (1989)
that the room in itself affects the individual
independently: because of the room’s equip
ment and design – and here especially the
lighting – the room situation affords con
Empirical study on spatial evaluation as a
factor of lighting
ERCO commissioned an empirical study to
be conducted on the issue of spatial percep
tion and spatial effect as a factor of vertical
and horizontal illuminance in different room
situations. The focus here was on “soft” factors in the evaluation of specific room and
lighting situations. In other words, the study
crete possibilities; the room invites users to
take certain actions. In the ideal case, the
individual and room harmonise: the person’s
desires and the room’s characteristics are in
agreement.
From the viewpoint of evolution psychol
ogy, a number of fundamental mechanisms
of spatial perception and evaluation have
prevailed in the course of man’s evolution. In
this way, people tend to prefer environments
that (a) involve a moderate level of complex
ity and (b) are “legible” without being bor
ing, and which possess a certain degree of (c)
coherence, but at the same time (d) c omprise
mysterious components that stimulate the
need to explore and promise discoveries
(Kaplan & Kaplan 1995). Along with the need
to explore, as humans we are also intrinsically
wired to avoid danger and predators (Apple
ton 1975; Orians & H
eerwagen 1992). In
other words, we seek to analyse the struc
ture of new, unknown environments under
aspects such as danger and escape options,
scanning our surroundings, for instance,
for spatial borders and r eference points in
order to estimate distance. This evolution
ary perspective will, of course, need to be
“translated” into the current context. Spatial
evaluation processes for us do not g
enerally
operate in the “survival” mode, but rather
focus on “experience”. We can also assume
that the aforementioned evolutionary pat
terns apply to everyday situations and are
reflected in spontaneous, emotional evalua
tions of space, i.e. in our experience of it.
Wallwashing enhances
the perception of architectural spaces and is
used to facilitate vertical visual tasks. As it
significantly influences
the impression of brightness in a room, vertical
illuminance is also a key
factor in ensuring efficient visual comfort. The
study by Schuster and
Kirschbaum shows how
subtly perception and
evaluation depend on the
lighting situation, but
also on the usage context.
(Photo: Museum Punta
della Dogana, Venice.
Architect: Tadao Ando,
Tokyo.
Lighting designer: Ferrara
Palladino e Associati,
Milan.)
LiGht AttRiButeS
Bright
Rich in contrast
was based strictly on surveys rather than on
physical measurements. The visual mate
rial which ERCO had made available for the
survey showed nine different room situations
each with vertical and horizontal illuminance.
The rooms depicted were both of a public
and a semi-public or private nature present
ing high-quality interior design, materials
and furnishing in the form of a rendering.
The rooms were kept strictly abstract; individ
uals, details of appointments or personal
items were not depicted. The high quality of
the renderings led most of the respondents
to believe that these were photographs. The
images were projected onto a wall, while the
respondents answered questions in a stand
ardised questionnaire on each image individ
ually and in the form of an image comparison.
The questionnaire had been devised spe
cifically for this study, drawing, where neces
sary, on existing scientific work (e.g. Custers
2010, Ginthner 2002, Houser & Tiller 2003,
Loe, Mansfield & Rowlands 1994, 2000,
Pellegrino 1999). Ultimately, the scope of
questions included in the study focused on:
appearance of the room, subjective percep
tion of the room, privacy, orientation/safety,
light attributes, assessment of the light. We
also queried the respondents on the fit of
lighting and use, and of lighting and archi
tecture.
The study was conducted in the winter
term of 2010/11 as part of seminars held
at the Darmstadt University of Applied Sci
ences and the University of Kassel. In total,
Dark
Low in contrast
Lighting enhances
architecture
Lighting does not
enhance architecture
Lighting aids task
completion
Lighting does not aid task
completion
ROOm imPReSSiOn
Spacious
PRiVAcy
Public
Cramped
Private
Formal
Informal
ORientAtiOn / SAfety
Comprehensible
Clear
Results of the study
To illustrate the design of the study and the
methods used, the images and charts on
page 13 show the results of one of the nine
image pairs before the central results of
the overall study are presented. The images
depict a room of a large department store
for ladies’ wear. The sales areas are furnished
with dark, medium-height shelves arranged
in parallel lines throughout the room and
along the back and side walls. The aisle has
a light-coloured floor covering with a rela
tively high reflectance. The vertical room
boundary has a light purple hue. The floor
of the department store level is illuminated
The study result for the
department store example, shown as a semantic
differential. The statistically significant differences are indicated in
two ways: (a) The term
pairs are shown in bold
print and (b) the average
indicator is filled in on
the scale. The orange line
refers to the image with
vertical illuminance, the
black line to the room
with horizontal illuminance.
Incomprehensible
Complex
Safe
Unsafe
Ominous
Reassuring
ROOm PeRcePtiOn
interesting
uninteresting
diverse
monotonous
Pleasant
Unpleasant
Cosy
Uncomfortable
exciting
Boring
Stimulating
Relaxing
Inviting
Nice
135 individuals rated 18 individual images
and 9 image pairs. The surveys took an aver
age of around 70 minutes. The average age
of the respondents, who mostly studied in
the fourth term, was 24 years. The survey
involved 62% of women and 38% of men.
In terms of subjects, the respondents pri
marily studied architecture (N=53), interior
design (N=25) and town and regional plan
ning (N=11), i.e. 2/3 of the respondents
studied a subject related to spatial design.
The remainder covered a wide spectrum of
subjects. The lighting situations were rated
in the form of a semantic differential, which
involves a bipolar response scale with con
trasting attributes, such as “inviting – unin
viting”. Calculations for each image pair and
each attribute were based on the statistical
method of the t-test.
Uninviting
eVALuAtiOn Of LiGhtinG
Ugly
Lighting situation does
not appeal
Lighting situation
appeals
Example of department
store: Image a (top)
primarily with vertical
illuminance; image b
(bottom) primarily with
horizontal illuminance.
comparison 5: image 9 and image 10
image 9: also vertical illuminance
image 10: primarily horizontal illuminance
Significant
not significant
chart: Antje Renziehausen/pragmatopia
Example of company
lobby: In rooms clearly
perceived as public
places, the respondents
preferred the lighting
concept focused on vertical illuminance. Associated attributes include:
more spacious, easier
to comprehend, clearer
and more reassuring.
Example of living space:
Here, the majority of the
respondents interpreted
the concept with zoned,
horizontal illuminance
as private and so, more
appropriate for the situation. Conversely, the same
room can suggest various
usage contexts through
use of different or changing illumination.
eterogeneously using horizontal illumi
h
nance, the light beams are clearly visible.
The wall illumination is different: the room
in image a features vertical illuminance, the
room in image b, horizontal illuminance.
Whereas the room in image b with hori
zontal illuminance (black line in the seman
tic differential) appears rather more dark,
the room with vertical illuminance (image a;
orange line) gives the impression of being
brighter and more spacious. This room was
generally felt to be more public and formal.
The vertical illuminance here was said to
increase the ability to find one’s bearings
and the feeling of safety (easier to discern,
clearer, safer and more reassuring). On the
whole, the room with vertical illuminance
was perceived to be more pleasant, cosier,
more stimulating and inviting and, ulti
mately, nicer.
The detailed results for the department
store example are shown as a semantic dif
ferential. The statistically significant differ
ences are indicated in two ways here: (a) The
term pairs are shown in bold print and (b)
the average indicator is filled in on the scale.
The orange line refers to the image with ver
tical illuminance, the black line to the room
with horizontal illuminance.
The aforementioned example was only
one pair of the altogether nine image com
parisons. Across all room situations, the
respondents showed the following results:
1. Irrespective of the appeal, vertical illumi
nance gave the impression of a more spa
cious, public and less informal room and
was felt to be easier to discern and clearer.
2. In regard to three of the image pairs, the
respondents explicitly preferred the vertical
illuminance situation: a company lobby, a
clothing store, a flight of stairs.
3. In the other room situations, the horizon
tal illuminance received more positive and
emotional reactions. They were felt to be
more inviting, cosier, suggesting a higher
level of privacy and seemed more interesting
and richer in contrast.
On closer inspection of the study results
taking into consideration the room types,
usage aspects and the “public room – private
room” dimension, the following conclu
sions can be drawn: Vertical illuminance is
preferred in situations where the room is
clearly used for public purposes and where
it is necessary to find one’s bearings. This
is qualified when the room use is geared to
emphasise objects in the room (exhibition
situation). In these cases, it is this very argu
ment of focusing on a central element in the
room that had respondents prefer largely
accentuating illumination. Horizontal illu
minance was preferred for any room that
was interpreted to be private, being associ
ated with such attributes as cosier, more
comfortable, but also darker and less stimu
lating than vertical illuminance.
rooms are felt to be more pleasant with ver
tical illuminance in that they appear safer,
easier to discern, clearer and more reas
suring. Unknown, public room situations
require us to find our bearings, so that we
“instinctively” look for security anchors
such as comprehension, brightness, clear
structure, room boundaries. At the same
time in semi-public and private rooms, we
would sooner see focused lighting rather
than uniform illumination, precisely with
the aim of underlining the private character
of the room. If the room setting is designed
to focus on individual items, such as in
exhibition situations, point source lighting
becomes the preferred concept of choice
even for public rooms. In this sense, the ter
minology coined by Richard Kelly (based on
Maack & Pawlik 2009) lets us deduce that
in environments which require orientation
and comprehension, “visibility” (ambient
luminescence) is a priority, and that vertical
illuminance increases the information in a
room. If the attention of users of the room
is to be drawn to something, if they are to
“recognise” it (focal glow), vertical surface
illuminance is usually more distracting and
considered less suitable. Of course – and
psychology is well aware of this – architec
ture and spatial illumination are also about
creating positive tension (cf. “soft fascina
tion” based on Kaplan & Kaplan 2005). In
this respect, the optimal fit does not nec
essarily achieve the best spatial impression,
as do slight variations and “disruptions”
(cf. Berlyne 1974). Hence, it is likely, for
instance, that – again in agreement with
Kelly – a cleverly interrelated mix of focused
light in exhibition situations using “focal
glow” and vertical illuminance as “play of
brilliants” adds to the experience of the
room and the artwork.
In this respect, our analysis is but an
initial explorative study. In the interest of
optimising its real-life validity, for instance,
a series of research projects in true environ
ments is required as a next step, in which
the same room comparing vertical and hori
zontal illuminance is rated by room users
based on standardised empirical methods
using a technically and physically compara
ble light intensity. A field of research that is
as challenging to environmental psycholo
gists as it is fascinating and which ultimately
can only be conducted as an interdiscipli
nary project in cooperation with innovative
research partners.
Literature
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Custers, P. (2010): Lighting in retail environments:
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Fleischer, S. E. (2001): Die psychologische Wirkung
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Flynn, J. E. (1977): A study of subjective responses to
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Gibson, J.J. (1989): Wahrnehmung und Umwelt. Der
ökologische Ansatz in der visuellen Wahrnehmung.
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Ginthner, D. (2002): Lighting: Its Effect on People and
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Houser, Kevin W.; Tiller, Dale K. (2003): Measuring the
subjective response to interior lighting: paired comparisons and semantic differential scaling. In: Lighting
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Loe, D.L.; Mansfield, K.P.; Rowlands, E. (2000): A step in
quantifying the appearance of a lit scene. In: Lighting
Research and Technology. Dezember 2000 Vol. 32.
No. 4, pp. 213-222
Maack, T.H. & Pawlik, K. (2009/Ed.): Lichtpositionen
zwischen Kultur und Technik. Lüdenscheid: ERCO
Oberfeld, D., Hecht, H., Allendorf, U., & Wickelmaier, F.
(2009): Ambient lighting modifies the flavor of wine.
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Orians, G. H. & Heerwagen, J. H. (1992): “Evolved
responses to landscapes”. In: Barkow, J. H.; Cosmides,
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Pellegrino, A. (1999): Assessment of artificial lighting
parameters in a visual comfort perspective. In: Lighting Research and Technology. September 1999 Vol. 31.
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Zimbardo, P.G. & Gerrig, R.J. (2008): Psychologie.
Munich: Pearson Studium
Authors:
Prof. Dr. Dr. Kai Schuster studied psychology (Dipl.-Psych., Dr. phil.) and architecture
(Dr.-Ing.). He worked as an environmental
psychologist in different research insti
tutions and at the Institute of Psychology
at the University of Kassel. Since 2010,
he has been a professor at the Darmstadt
University of Applied Sciences where he
lectures in social psychology and sociology at faculties including the Department
of Architecture. His work has focused
on architectural psychology and theory.
Together with Marc Kirschbaum, he is a
partner of the pragmatopia – architektur.
stadt.leben office (www.pragmatopia.de).
Dr. Marc Kirschbaum (architect) studied
architecture in Kassel (Dipl.-Ing.), Manchester/GB and as a Fulbright scholar
in Seattle/USA (Master of Architecture)
receiving his doctorate in Kassel (Dr.-Ing.);
Marc Kirschbaum does research and
teaches architectural theory and design
at the Institute of Design in Built Fabric
at the University of Kassel. In 2009 and
2010, he was a visiting professor at the
Clemson University, School of Architec
ture in South Carolina/USA. Together
with Kai Schuster, he is a partner of the
pragmatopia – architektur.stadt.leben
office (www.pragmatopia.de).
Private versus public rooms
On the whole, the research results fit into
the theoretically derived spatial perception
patterns described above. Obviously public
New products
2012
Opton spotlights with LEDs
-For economical and flexible
lighting of sales rooms and shop
windows
-Highly efficient ERCO LED lighting technology with collimators
and Spherolit lenses
-Spherolit lenses replaceable
without tools for different light
distribution patterns
-Low height for use in rooms with
low ceilings
-Directly dimmable via poten
tiometer
A fusion of optics, electronics
and information technology,
optoelectronics combines all the
dimensions of our guiding principle, “tune the light”: producing
light, guiding light, controlling
light. As a result, ERCO has focused
its innovative capabilities on optoelectronics as a core competence.
Virtually all new products use LEDs
as light sources; in many product
areas ERCO uses highly efficient
LED optical systems developed and
produced in-house with Spherolit
lenses – side by side with customised electronic control gear. The
following pages give an overview
of ERCO’s new products. More from
1 January 2012 at:
www.erco.com/products
Light Board spotlights
-For exhibition and presentation
lighting
-Interchangeable Spherolit lenses
for different light distribution
patterns
-Low to high lumen categories
-Hinge technology adapted
from the computer industry for
smooth, precise adjustment
-Integrated control gear, hidden
cables
tiometer
Opton spotlights for HIT
-For economical and flexible
lighting of sales rooms and shop
windows
-Highly efficient ERCO lighting
technology with Spherolit reflectors
-Spherolit reflectors replaceable
-Horizontal position of the control
gear results in a low luminaire
height
-Thermal separation of luminaire
head and control gear
LED
Floodlights
13W - 54W
870lm - 4320lm
Light Board
spotlights have a
compact design
with a striking
appearance.
Light Board recessed luminaires
-System design with Spherolit
lenses for different light distribution patterns
-For ceiling-integrated exhibition
and presentation lighting
-Integrated control gear
tiometer
LED
The compact
design enables a
low recess depth
in the ceiling.
Spotlights
5.4W - 54W
290lm - 4320lm
Narrow spot, spot,
flood, wide flood
Recessed
wallwashers
27W
1740lm
Recessed lens
wallwashers
27W
1740lm
Lens wallwashers
13W - 54W
870lm - 4320lm
Cantax spotlights, floodlights
and wallwashers with LEDs
-Cantax with LEDs has advanced
to a new generation: same housing size, yet with a higher luminous flux, or smaller housing with
the same luminous flux
-Highly efficient ERCO LED lighting technology with collimators
and Spherolit lenses
-Spherolit lenses replaceable
-New narrow spot characteristic
Logotec with LEDs
-Optimised for the requirements
of sales room lighting
- ERCO LED lighting technology
with collimators and Spherolit
lenses for exceptionally high efficiency and light quality
- Interchangeable Spherolit lenses
for a wide range of light distribution patterns
-Integrated control gear, directly
dimmable via potentiometer
-Also available as recessed spotlights
LED
Spotlights
9W - 27W
580lm - 2160lm
Narrow spot, spot,
flood, wide flood
Floodlights
13W - 27W
870lm - 2160lm
Lens wallwashers
13W-27W
870lm-2160lm
Metal halide
lamps
Spotlights
20W - 70W
1800lm - 7750lm
Narrow spot, spot,
flood, wide flood
Floodlights
20W - 70W
1800lm - 7750lm
Spherolit
wallwashers
20W - 70W
1800lm - 7750lm
LED
Spotlights
9W - 27W
580lm - 2160lm
Narrow spot, spot,
flood, wide flood
Floodlights
13W - 27W
870lm - 2160lm
Lens wallwashers
13W - 27W
870lm - 2160lm
LED
Spotlights
4.5W - 14W
290lm - 1080lm
Narrow spot, spot,
flood, wide flood
Floodlights
14W
870lm - 1080lm
Lens wallwashers
14W
870lm - 1080lm
The horizontal
position of the
control gear and
the flat luminaire
head result in a low
luminaire height.
Opton is also
available for
the new HIT-CE
50W metal halide
lamps.
Cantax with LED:
New lumen
categories, two
housing sizes.
The compact,
flat housing is
specially designed
and built for the
use of LEDs.
New products
2012
Compar with LEDs
-Rotatable and tiltable recessed
spotlights
-For ceiling-integrated illumination of sales rooms
-Addition to the existing range for
metal halide lamps
-ERCO LED lighting technology
-Different Spherolit lenses for a
wide range of light distribution
patterns
Quintessence double-focus
downlights with LEDs
-For ambient lighting in rooms
with high ceilings
-Inconspicuous ceiling aperture,
excellent visual comfort thanks
to a high level of glare control
and double focus
-Highly efficient ERCO LED lighting technology with collimator
and Spherolit lens emits no spill
light
-Different sizes and lumen
categories
Cylinder surface-mounted and
pendant luminaires
-Simple form as an inconspicuous,
high-quality architectural detail
-Maximum efficiency through
perfect matching of LED lamp,
lens and control gear
-High level of visual comfort
through Darklight technology
-Appropriate accessories transform Cylinder into a pendant
luminaire
-Light distribution patterns for
ambient lighting and wallwashing
Powercast with LEDs
-Universal, effective lighting tools
for the outdoor area
- New, additional light distribution
patterns and lumen categories
with LEDs
- Spherolit lens technology for
efficient visual comfort
- With double cable entries for
through-wiring and efficient
installation
LED
Projectors
13W - 54W
870lm - 4320lm
Narrow spot, spot,
flood, wide flood
Floodlights
27W - 54W
1740lm - 4320lm
LED
Projectors
4.5W - 54W
290lm - 4320lm
Narrow spot, spot,
flood, wide flood
Floodlights
13W - 54W
870lm - 4320lm
LED
Floor washlights
6.7W - 13W
435lm - 1080lm
Wide beam
Façade
l uminaires
13W - 20W
870lm - 1620lm
LED
Floor washlights
0.3W - 0.8W
1lm - 24lm
Orientation
luminaires
0.6W
17lm - 24lm
Lens wallwashers
27W - 54W
1740lm - 4320lm
Powercast with
LEDs is now available in narrow
spot and oval
flood characteristics.
LED
Recessed
spotlights
9W - 20W
580lm - 1620lm
Narrow spot, spot,
flood, wide flood
Recessed
floodlights
20W
1305lm - 1620lm
Recessed lens
wallwashers
20W
1305lm - 1620lm
Compar uses
the modular
mounting ring of
the Quintessence
system.
LED
Beamer with LEDs
-Established outdoor projectors
feature elegant cast aluminium
housings with multiple powder
coatings and extensive mounting
accessories
-Versions with LEDs in various
housing sizes and lumen cate
gories
-ERCO LED lighting technology
All light distribution patters available, from narrow
spot and wide
flood all the way
to oval flood.
Cylinder façade luminaires with
LEDs
-Highly efficient ERCO LED technology with Spherolit lenses for a
wide range of new light distribution patterns
-Various combinations of light
emitted upwards and downwards
-Easy-to-install and robust aluminium housings with multiple
powder coatings
Double-focus
downlights
6.7W - 27W
435lm - 2160lm
Size 3, 5, 7
Flood, wide flood
Double-focus
downlights with
LEDs: the lower
reflector is replaced
by a matt black
anti-glare cone.
Versions for
pathway lighting
feature Spherolit
lenses with a special light distribution pattern.
LED
Cylinder pendant
luminaires
Using appropriate
accessories such as
pendant tubes or
cable suspensions,
Cylinder luminaires can also be
suspended as pendant luminaires.
Downlights
13W - 34W
870lm - 2700lm
Size 3, 4, 5, 7
Wide diffuser
Double
washlights
20W - 34W
1305lm - 2700lm
Size 4, 5, 7
Lens wallwashers
20W - 34W
1305lm - 2700lm
Size 4, 5, 7
LED orientation luminaires IP68
-Unchanged outer shape and
mounting
-New warm white light colour
-Higher luminous flux for LED
floor washlights through cuttingedge LEDs and a modified lens
system
-New, external control gear in uniform housings
Floor washlights
are suitable for
the efficient lighting of stairs and
corridors.
ERCO Technical Centre:
An LED case study
Wallwashing and LED
technology: two factors
of efficient visual comfort that reinforce each
other. In combination
with lighting control as a
further factor in ERCO’s
concept, the foyer is all
set for energy-efficient,
daylight-dependent
illumination and scenographic design.
Proven concept, around 75% less energy: Using
its own innovative LED lighting tools, ERCO
– the Light Factory – has now upgraded the
entrance foyer of its Technical Centre at the
Lüdenscheid headquarters to feature the latest
state-of-the-art systems. Optimised in energy
usage, the lighting update is expected to pay
off in as little as five years through increased
efficiency.
The transparent foyer has served as the visiting card of the company since 1989. Harmonised with the building’s architecture and with
a significant component of vertical illuminance,
its previous lighting concept still met the
requirements of perception-oriented lighting
design. The new implementation of this proven
concept demonstrates the enormous potential
of LED technology. It communicates both to
staff and visitors the latest standard required to
experience, appreciate and explain ERCO’s lighting philosophy.
Through uniform wallwashing of the walls,
some over 12m in height, the pleasant impression of brightness achieved through vertical
illuminance alone is such that conventional
ambient lighting of the floor area is largely
unnecessary. Floor-to-ceiling glass façades
allow intensive utilisation of daylight – the
brightness contrasts and reflexes softened by
wallwashing. Lighting accents are produced
by ERCO’s Logotec LED spotlights with “narrow
spot” characteristic; installed on track, these
are found in such places as the communication
area of the foyer lighting up the chrysanthemum decorations on the tables. A Light System
DALI includes sensors for energy-saving,
daylight-dependent lighting control, but also
ensures attractive, scenographic effects. The
connected load of the updated system has
reduced the original power consumption by
75%, down to 6.48W/m²; the LEDs have an
average life of 50,000 hours, compared to
between 3,000 and 5,000 hours for halogen
lamps. The investment costs therefore must
be seen against significant savings in energy
and maintenance.
Lighting concept
Connected load per
m² (W/m²)
Old
New
(Halogen)(LED)
26.09W/m² 6.48W/m²
Comparison connected load (%)
100% 25%
Comparison operating costs
100% 21%
CO2 savings per year
68.13t
Equals a reduction
to 25%
Focus
Wallwashing as perceptionorientated light
Vertical illuminance is an effective
concept to enhance the effect of
a room and promote perception.
More still, it can play a significant
role in energy-efficient lighting
design. The diversity of illuminated
vertical surfaces in architecture
extends from smooth, plastered
walls to textile hangings all the
way to stone-clad façades or walls
made of vegetation.
It is not only the architectural
design task that falls to vertical
illuminance but also that of
enabling users of architecture to
perform classic visual tasks. This
includes recognising the environment and reading information on
walls, ranging from information
signs and text plaques, posters,
paintings in museums, books and
files on shelves through to merchandise in stores.
In contrast to horizontally
focused lighting concepts with
the same connected load, vertical
illuminance is important from an
energetic aspect for a brighter spatial impression. Walls become more
noticeable and are often brighter
than the floor. Since the field of
vision of the human eye is sooner
drawn horizontally than vertically
and the gaze is generally directed
ahead, walls tend to draw more
attention than the floor or ceiling.
The practice of reflecting light off
walls using vertical illuminance
produces a diffuse component of
light in the room which adds to
the ambient lighting. These factors
lend special relevance to vertical
illuminance in the discussion of
sustainable lighting design.
Double focus
Architecture
Vertical illuminance highlights architecture as a
whole, increases its spatial
effect and results in the
creation of a high-quality
environment.
Illuminated walls appear
almost intangible giving
the feeling of clear, distant
space. This aids orientation in architecture and
reflects glare-free, diffuse
light into the room.
Perception
Due to the natural orientation of our visual field,
the vertical planes of an
environment constitute a
large part of our perception and thus determine
our impression of brightness.
Energy efficiency
Directing the light specifically onto surfaces
relevant to perception
and use is the key to
high-quality design and
economically advantageous lighting solutions.
LED wallwasher technology
Wallwashers with an asymmetrical
light distribution are well suited
to produce uniform vertical illuminance. Combined with the high
luminous efficacy of the LEDs and
ERCO’s effective lighting technology, wallwashing is a key factor in
ensuring efficient visual comfort.
The lighting technology of
wallwashers is identified by a wide
beam light distribution for uniform
vertical and horizontal illumination of the wall. These luminaires
therefore need an asymmetrical
light distribution which extends
up to the base of the wall but also
ensures sufficient illumination in
the upper area of the wall. A prefer
ably homogeneous level of illumi
nance gives the impression of
uniform brightness. Conventional
rotationally symmetrical light distributions do not lend themselves
to uniform wallwashing, as their
beam directed from the ceiling dia
gonally onto the wall produces a
focal point (hot spot) in the upper
area.
Singling out just two possibilities of using LEDs to produce suitable light distribution patterns
for uniform wallwashing would be
as follows: firstly, LED lens wall
washers with Spherolit lenses – a
particularly economical technology
because of its high light output
ratio. It is based on dividing a large
lens into many individual, threedimensionally domed facets, each
of which directs the light through
refraction. The asymmetrical shape
of the spherolites produces the particular light distribution required
for wallwashing. The transmission
of light using a primary LED lens,
collimator and Spherolit lens has
fundamentally lower losses than
with reflectors. The Spherolit lens
technology also allows for shallow
recess depths. ERCO’s Program features this wallwasher technology
primarily in product ranges derived
from spotlights.
The recessed luminaires in
ERCO’s Quintessence range additionally feature combinations of
Spherolit reflector technology with
Darklight technology for excep-
tionally high visual comfort. The
illuminated plane of the diffuser
is hidden from the view of the
observer due to the Darklight
reflector in the cut-off angle. In
washlights or double washlights,
the diffuser disperses the high
point-source luminance of the
LEDs to produce a soft-edged
beam. The special Spherolit wallwasher segment in the reflector
illuminates the upper wall area
achieving uniform light distribution over the whole wall. The two
LED wallwashing technologies
introduced here are found in a
wide variety of ERCO’s products
and open up an entirely new, creative scope for designers in developing efficient and sustainable
lighting solutions.
LED module
Collimator
Spherolit lens,
wallwash
Thomas Schielke
LED technology
Based on the LED, ERCO
was able to devise wall
washers with a considerably much higher light
output ratio than lens
wallwashers with conventional lamps, lenses and
reflectors.
Lens wallwasher with
Spherolit lens
The wallwash Spherolit
lens produces an asymmetrical light distribution
for uniform and energyefficient wallwashing.
Asymmetrical light
distribution
Uniform wallwashing
requires an asymmetrical
light distribution to produce the impression of
homogeneous brightness
from ceiling to floor.
Washlight with
Spherolit reflector
Recessed luminaires such
as washlights combine
Spherolit reflector technology with Darklight
technology for good vis
ual comfort.
Light mixer
Diffuser
Spherolit
wallwasher segment
Darklight reflector
5,000 stores in 77 countries: ZARA, the
fashion chain owned by Spanish textile
giant Inditex, is continuing its strategy of
international expansion. For many years
now, ZARA has worked closely with ERCO
for optimal lighting concepts – most
recently in Rome for currently its largest
store worldwide.
The new store on Via del Corso, however, catches
the eye not only for the sheer size of its sales
area – more than 3,000m2 over five levels. Even
from an architectural perspective, the refurbishment of the Palazzo Bocconi, which dates back
to 1887 and was previously occupied by the La
Rinascente department store, holds tremendous
appeal. In the Inditex group, it also sets the
global standard for sustainability and efficiency
in shopfitting. “Environmental protection is a
key component of our global strategy,” Inditex
CEO Pablo Isla announced at the group’s annual
general meeting in 2010. Fittingly, then, the
whole building was refurbished with the aim of
meeting the standards required to obtain a LEED
platinum certificate.
Not without a certain amount of pride, the
company reports that its new eco flagship store
on average uses 70% less water and 30% less
energy per year than a conventional store, not to
mention saving the environment over 200 tons
of CO2 emissions a year. The integral approach
of the LEED certificate takes account of such
factors as choice of materials and recycling of
the construction waste, but also heating, air
conditioning and, of course, the building’s lighting system.
It is therefore no mean feat of ZARA’s designers working with the architectural firm Duccio
Grassi that in spite of the efficiency parameters,
the store does not at any point give the impression of asceticism or starkness – quite the contrary. The sense of space inside the renovated
Palazzo is overwhelming: three upper levels
designed as open galleries encompass an enor-
Architect: Giulio de Angelis (1845–1906)
Architecture (refurbishment) and lighting design:
Duccio Grassi Architects, Milan/Reggio Emilia;
José Froján, Mabel Segui, Estudio ZARA, Arteixo
www.zara.com
mous void in the centre, carried by the delicately
embellished, original cast iron columns of the
neo-Renaissance Palazzo. Cream wall and ceiling surfaces along with a light, natural stone
floor contribute as much to a bright atmosphere
as do wall screens made of slats and perforated
metal sheets which filter the daylight coming in
through large window sections.
In line with the principle of efficient visual
comfort, the store’s artificial light concept
largely dispenses with general lighting on horizontal surfaces – except for such key functional
zones as pay desks, landings and access points;
these are highlighted by square Quintessence
downlights elegantly mounted flush into the
ceiling. The most important light component is
lighting for vertical product presentation areas
provided by Optec spotlights and floodlights for
metal halide lamps. The spotlights are mounted
on tracks, which in some places are installed in
suspended elements. These elements are fitted
with inserts at the top for fluorescent lamps to
brighten ceiling areas. A further aspect of ZARA’s
sustainability programme is using 35W metal
halide lamps as standard lamp types instead of
70W versions. Even with lower lamp wattages,
the Optec spotlights with efficient Spherolit
reflector technology produce a defined, uniform beam of light which is sufficient to accentuate the presentation areas by creating rich
contrasts even from large heights.
Efficient visual comfort as a component
of ZARA’s eco strategy:
The new store in Rome
is dominated by accent
lighting from Optec HIT
35W spotlights. The diffuse reflection of bright
surfaces in the room and
daylight filtered by wall
screens provide sufficient
general lighting. This
results in a lively, stimulating spatial experience
not far removed from
the natural lighting conditions.
GANT Woman Store, Prague
At first glance: a boutique for women’s
fashion, in the classy design customers have
come to expect from GANT, an international
lifestyle brand. At second glance, it is a
small revolution in lighting, and the bearer
of good news for the environment: the firstever store to be lit entirely by ERCO’s LED
technology.
The roots of GANT are in the USA, where, in 1949,
Bernard Gant started supplying Ivy League stu
dents with shirts from his store in New Haven,
Connecticut. Today, GANT is an international
brand combining traditional American style with
a European flair. The brand is also expanding in
Central and Eastern Europe, where it collabo
rates closely with the lighting consultants of
ERCO’s Vienna and Prague offices when it comes
to equipping the stores with GANT's charac
teristic corporate lighting. It was especially the
Logotec LED spotlight system, launched at the
EuroShop fair in 2011, that intrigued GANT’s
interior designers and decision-makers. The out
come could be admired just a few months later
in the GANT Woman Store located in Prague's
shopping centre Myslbek, where GANT opened
the first store lit entirely by ERCO’s LED tech
nology.
All concerned are extremely happy with the
result. The store is a consistent step forward
in the development of GANT’s interior design:
The lighting tools’ reduced power usage and
longer lifespan fulfil today’s standards of
sustainability while the light quality was once
more refined compared to the conventional
concept of relying on HIT light sources. Based
on the concept of efficient visual comfort, the
store is lit in keeping with human perception.
Wallwashers light the rooms evenly with verti
cal illuminance, while flexible spots accentuate
certain areas and products.
The store's special atmosphere carries to the
outside through the shop windows. To accentu
ate the shop window decoration flexibly, the
store uses Logotec LED spotlights, floodlights
and wallwashers mounted on ERCO’s 3-circuit
track. Their exchangeable Spherolit lenses offer
a variety of light distribution patterns ranging
from narrow spot to wide flood, as well as more
uniform illumination such as provided by oval
flood and wallwash. Hence, the backgrounds
can be lit evenly using vertical illuminance while
special areas are precisely accentuated. One
special characteristic of ERCO’s LED spots man
aged to surprise even the seasoned experts of
the GANT store design department. The Spherolit
lens technology prevents any diffuse spill light,
which makes the shop windows' colours appear
in better contrast, yielding a crisp, attractive look
and feel.
Shop windows that
catch the eye: This is a
crucial success factor
in the hustle and bustle
of a shopping centre.
Logotec LED spots fitted
with Spherolit lenses
make sure no ray goes to
waste, yielding excellent
contrasts despite a lower
connected load.
LED lighting tools inte
grated in a natural light
ing concept that com
bines vertical illuminance
with spill-free accent
lighting: This helps GANT
cut its energy usage for
lighting by approximately
30% compared to the
previous concept using
HIT lamps. By reducing
heat emission, another
30% can be saved in
air conditioning. These
GANT Store Design Dept.
Photos: Edgar Zippel, Berlin
www.gant.com
factors, along with
eliminating the need for
expensive lamp replace
ments, guarantee that
the investment pays off
quickly in terms of total
cost of ownership.
The lighting concept’s
qualities such as good
visual comfort, a pleasant
warm-white hue, good
colour rendition and low
heat emission not only
serve to make the store
more appealing to cus
tomers but also ensure
good working conditions
for GANT staff in Prague.
Opting for efficient LED
lighting tools, GANT uses
Logotec LED spotlights
(left), as well as square
35W LED wallwashers
and 21W LED directional
luminaires from the
Quintessence range.
At a value of Ra > 85
on the colour rendering
index, the performance of
warm-white LEDs ranks at
the level of the halogen
metal halide lamp com
mon in the retail sector,
thus fulfilling the high
standard needed for viewing coloured textiles.
Vertical illuminance for hotels:
Ibis opts for LEDs
www.ibishotel.com
At Ibis, the Accor Group’s economy hotel
brand, everything hinges on optimum value
for money. The ever-increasing competition
in the sector is addressed with a new design
and lighting concept.
Since 2009, Ibis has gradually opened hotels
of a new generation in Germany in answer
to the increasing requirements of the hotel’s
guests. Emanating an attractive, yet natural
atmosphere, the design language developed by
Düsseldorf-based interior design office Dreesen
und Partner for Ibis includes elements such as
clarity, concentration on essential aspects and
a straightforward approach. In working out the
details of their lighting concept, the designers drew from the expertise of the hotel and
g astronomy sector specialists at ERCO’s German
sales organisation. The result: attractive lighting and efficient visual comfort – a sustainable
investment based on reliable calculations.
Executives at Accor are well aware of the
effects that light in this context can achieve.
“We wanted it to highlight the atmosphere of
our new design, signal a true 'welcome feeling'
among guests,” Klaus Rohrbeck, Technical
Director at Accor Germany, explains. Setting
out to accomplish these objectives, the designers examined and optimised all five factors of
efficient visual comfort: qualitative lighting
design, vertical illuminance, efficient lamps,
effective lighting technology and intelligent
lighting control. This took them away from
their original lighting concept involving a grid
of downlights for extensively uniform lighting
to a more differentiated design in which wall
washing and accent light are the dominant
features.
“We used a third less luminaires than for the
general lighting, yet managed to improve the
impression of brightness through perceptionorientated lighting design,” Martin Weiser,
Segment Manager for Hotel and Gastronomy at
ERCO Leuchten GmbH, emphasised. The positive
effects of this are reflected in the investment
involved and the operating costs; and, of course,
it meant compliance with the trade association’s requirements and the DIN standards. The
design gave attention to areas such as the foyer,
reception, bar and restaurant based on their
respective functions; each, however, featuring
vertical illuminance to define architecture as
Differentiated lighting
highlights the modern,
fresh image of the new
Ibis hotels: The combination of wallwashing and
accent lighting is both
attractive and of a high
standard while reducing
the number of luminaires
required along with
the energy usage. LEDs,
the light sources of the
future, ensure even more
economical operation.
Dreesen und Partner, Düsseldorf
Photos: Thomas Pflaum, Castrop-Rauxel
“ambient luminescence” and to provide orien
tation as appropriate. Accent lighting is added
as “focal glow” to emphasise functional areas
through brightness contrasts; this includes the
reception desk, the lifts, but also the table areas
in the restaurant and the few, high-quality
decorative objects found in the hotel, such as
plants and fruit bowls. The third component of
the “language of light” – “play of brilliants” – is
used just as sparingly, e.g. in the form of decorative pendant luminaires above the reception
area or the high tables in the restaurant section, which firstly serve as design elements in
the room.
The tools for these lighting design components combine effective lighting technology
with efficient lamps: vertical illuminance
is provided by Quintessence LED lens wall
washers 28W, whereas accent light is added by
Quintessence LED directional luminaires 21W
with different light distribution patterns, harmonised with the dimensions of the zones and
objects to be illuminated. The warm white LEDs
with their high levels of luminous efficacy
save energy by definition – their colour temperature resembling that of halogen lamps, while
their excellent colour rendering presents meals
and drinks in the most appetising light. Add
to that the fundamental efficiency advantage
of LED lighting technology with its projected,
directly emitted light over the reflected light of
conventional lamps. Where the designers originally calculated a connected load of around
10,000W for lighting on the ground floor, the
figure reduced to 5,800W as early as in the
first step in 2009 thanks to ERCO’s concept of
using low-voltage halogen lamps and metal
halide lamps, and right down to a mere 2,300W
in the hotels in Frankfurt, Bonn and Aachen
Normaluhr, which all now feature LED technology. One advantage of the LEDs, specifically
over the similarly efficient metal halide lamps,
is their dimmable lighting. This was one of the
criteria in the set of requirements stipulated by
Ibis to ensure lighting in the individual areas
matched the situation. The energy consumption of LED luminaires is linear with regard to
the dimmer setting resulting in further savings
during operation.
The new lighting therefore optimally brings
to bear the modern, attractive interior concept
while it also stands up to close review under
economic aspects. The initial extra investment
of Ibis in LED technology will pay off in a little
over four years – with an assumed period of
depreciation of around ten years taken from
the expected 50,000 operating hours of the
LED luminaires and an average burn time of
15 hours per day. In a nutshell: a sustainable
solution benefitting the environment, the
guests and the operators.
The restaurant also
features Quintessence
wallwashers and direc
tional luminaires with
LEDs. The vertical illu
minance on the wall
in the back defines the
room, adds width and
gives the impression of
adequate brightness.
Ceiling-integrated LED
directional luminaires
are added as a second
light component. Their
darklight reflector
ensures optimum glare
control. The oval beam
of the “oval flood” characteristic fits well with
the rectangular shape
of the tables and can
easily be readjusted for
repositioned tables.
Vertical illuminance for exterior lighting:
Joslyn Art Museum, Omaha
Architects:
John and Alan McDonald, Omaha (core building
from 1931), Foster + Partners, London (annex
from 1994)
Lighting design:
HDR, Randy Niehaus, Trevor Hollins, Omaha
Photos: Tom Kessler, Omaha
LED wallwashing for galleries:
Fleming Collection, London
Architects: Trehearne Architects, London
Lighting design: GIA Equation, London
Photos: Dirk Vogel, Dortmund
www.flemingcollection.com
www.joslyn.org
The history of the Joslyn Art Museum, a mono
lithic structure of art-deco style with a modern
annex by Foster + Partners, is a perfect illustra
tion of the American Dream. George A. Joslyn
(1848–1916), born in New England to a family
of little affluence, went west to seek his for
tune, made his way to the top of the newspaper
business, and later becsame the wealthiest man
of Nebraska when he founded the “Western
Newspaper Union”, a printing empire. Apart
from donating to many other charitable causes
for his adopted home town of Omaha, his wife
Sarah endowed a number of cultural institu
tions, including the Joslyn Art Museum, after
his death. Its collection comprises works from
antiquity to contemporary art. However, the
focus rests on European and American works
of the 19th and 20th century.
The most recent addition to the museum was
the creation of a sculpture garden in 2009, in
the context of which the surrounding grounds
and the exterior lighting of the new and old
building were re-designed. The result earned the
Beamer HIT 70W
Focalflood HIT150W
lighting designer of HDR Architecture an IES
Illumination Award of Merit in 2010: It is a
concept that gives adequate individual con
sideration to the contrasting elements, yet
brings them together in a common context.
The designers made a point of broadly deploy
ing consistent, efficient lamp types such as
metal halide lamps, only in varying wattages.
The lighting concept in the sculpture garden
eschews uniform, overall illumination; instead,
the trees are lit with Tesis Uplights, while the
sculptures are accentuated by Grasshopper
projectors. In contrast to the garden, the pink
marble façades of the old and new building
are lit uniformly by Focalflood floodlights to
emphasise their monumental character. The
large reliefs by sculptor John David Brcin
(1899–1983) featured on the corners of the
old building receive additional prominence
through Beamer projectors.
This award-winning new
lighting concept created
the atmospheric back
ground for the Jazz on
the Green festival, whose
2009 edition took place
in the sculpture park of
the Joslyn Art Museum.
A glazed atrium joins the
old to the new building.
Lightmark bollard lumi
naires HIT 39W illuminate
the entrance area in front
of the main entry.
The Fleming Collection has long enjoyed its
place within London’s cultural scene as a col
lection and gallery for Scottish art. It goes back
to the collection of the Fleming Bank, founded
by Robert Fleming in Dundee, Scotland, in 1873.
When the Fleming Bank was acquired by the
Chase Manhattan Bank in 2000, its art collec
tion was transferred to the Fleming Wyfold Art
Foundation, which, in 2002, started running a
gallery on the first floor of 13 Berkeley Street in
Mayfair. It has met with such recognition, both
on the part of critics and the public, that its
curators jumped on the occasion when the sec
ond floor became available for rent in 2010.
The additional gallery was opened on 10 June
2011 and houses a permanent exhibit based
on the collection, whereas the first floor now
displays temporary exhibits featuring contem
porary Scottish art. The upper floor of the build
ing, which dates back to 1890, provides an area
of 140m2 with an attractively adorned stucco
ceiling and columns. While the historical walls
are painted white, a square of partition walls
was installed inside and serves as the display
surface; its medium shade of grey achieves a
certain contrast while providing a neutral back
ground for the works of art. Whether it was the
thriftiness often attributed to the Scots or the
collection's roots in financial business, the fact
is, the curators calculated very wisely when it
came to choosing their lighting instruments,
which had them opt for an ERCO track system
with Logotec LED wallwashers and projectors in
warm white. They not only provide high-quality
illumination while protecting the exhibits, but
also pay off within just a few years through sub
stantially reducing the power usage by compari
son to, for example, low-voltage halogen lamps,
and cutting down on maintenance cost: Lamp
changes are now a thing of the past.
Galleries with their
presentation of art on
wall surfaces constitute
the standard situation
that calls for uniform
vertical illuminance. In
the Fleming Collection,
Logotec LED lens wall
washers are combined
with LED projectors of
the same style so that
individual objects can
be accentuated.
Wallwashers mounted
on tracks are particularly
good examples of the
efficiency benefits offered
by LED lens wallwashers
with Spherolit technology.
The light output ratio is
approximately twice that
of a conventional lens
wallwasher.
Villa Vauban, Luxembourg
Architects: Diane Heirend & Philippe Schmit
architectes, Luxembourg; Philippe Schmit,
Luxembourg.
Lighting design: Licht Kunst Licht AG, Bonn/
Berlin
Project management: Alexander Rotsch
(engineer)
Photos: Lukas Roth, Cologne
A futuristic annex triples the exhibition
space for the Ancient Art Museum in the
city of Luxembourg. The new architecture
engages the historical urban villa from 1873
in an effective dialogue. Space, material and
light make up that dialogue’s language.
The modern annex with
its shell made from perforated brass sheets is
joined to the historical
Villa Vauban from two
sides. In the galleries of
the annex, lighting components of the luminous
ceiling are framed by
tracks. Parscan spotlights
subtly make the paintings
stand out from within
their more diffusely lit
environment.
www.villavauban.lu
The villa’s name goes back to its ancient foundations, artfully exposed after the renovation.
The building rests on the ruins of a former fortress built by Sébastien Le Prestre de Vauban, a
Baroque master builder. Featuring rugged, prismatic outer surfaces and an underground section, the annex, joined to the neo-classicist villa
from two sides, alludes to the former casemates.
The façade shell with its warm, earthy metal
hue consists of perforated red brass sheets. The
inside is also characterised by clear, expressive
surfaces of various contrasting materials: light
wooden floors, white stucco surfaces, walls and
ceilings out of bush-hammered concrete with
sparkling quartz elements, all brought to life
through carefully arranged lighting.
As soon as visitors approach the building,
they can gain an idea of how light architecture
creates eye-catching imagery. For an attractive
effect, even from a distance, wallwashers were
chosen to illuminate the vertical surfaces of the
entrance and the glassed-in foyer. The annex's
lighting in passages and general spaces consists
chiefly of edgeless downlights incorporated
in the concrete ceilings, a feature that requires
extraordinary craftsmanship. Double-focus
downlights, directional luminaires and wall
washers from the ERCO Program give structure
to the complex sequence in which the visitor
discovers and explores the rooms. Thanks to its
outstanding colour rendition, the brilliant light
of the low-voltage halogen lamps brings out
the properties and textures of the various materials. Efficient power usage has been ensured by
designing the lighting concept in accordance
with human perception and using modern IRC
lamps.
The annex’s exhibition rooms have luminous ceilings, which, on the upper floor, mix
daylight and artificial light, while they use
only artificial light on the lower floor. A groove
running all around these ceiling lights contains
ventilation devices and an ERCO track. In tune
with each exhibition, Parscan spotlights and
wallwashers are used to properly accentuate
the exhibits, creating a perfect, flexible “white
cube”. This allows the visitor to experience
a stimulating sequence of rooms, each with
a distinct character and each illuminated
skilfully by the Licht Kunst Licht designers to
achieve maximum dramatic effect.
Expressive spaces, clear
surfaces, contrasting
materials: These are the
stylistic devices of the
architectural design
by Diane Heirend and
Philippe Schmit.
Light gives structure
to the visitor’s tour
through the building.
Wallwashers are used to
accentuate certain walls
for additional effect.
General spaces such as
the foyer as well as halls
and stairways are fitted
with high-pressure lights
directed onto the floor.
By contrast, the exhibition rooms of the annex
are characterised by a
concentrated, space-
filling light that allows
the art to take centre
stage.
Photo: Christoph Meinschäfer
Further information:
www.lichtkunstlicht.de
www.lichtdesign-preis.de
www.iald.org
Licht Kunst Licht:
Lighting designer of the year 2011
An excellent year for Prof. Andreas Schulz
and his firm Licht Kunst Licht, based in
Berlin and Bonn: He and his team won the
title “Lighting Designer of the Year" at the
Deutscher Lichtdesign-Preis (German lighting design awards) ceremony held in Cologne
on May 5. Overall, they had earned the most
points in the various categories evaluated for
the award. The firm’s continuous supreme
performance is also gaining international
recognition: For the Telekom Bridge in Bonn,
it won the IALD Radiance Award 2011, a special prize this renowned association awards
to the project with the highest jury point
ranking among all the winners. Congratulations!
Wallwashing for museums:
Museo de la Evolución Humana, Burgos
Architect: Juan Navarro Baldeweg, Madrid
www.museoevolucionhumana.com
A new building complex combines both
research and communication of findings
about human evolution. The museum and
its adjoined institute showcase the many
different uses for vertical illuminance.
Burgos in Northern Spain has long been a his
toric place considering its location at the Cami
no de Santiago and the tomb of “El Cid”, the
national hero, in the town's Gothic cathedral.
However, it wasn't until the 1980s that it was
realised just how far back its historical roots go.
At that time, archaeologists made sensational
findings from primeval times in the Sierra de
Atapuerca, about 20 kilometres from Burgos:
the relics of human settlements that, by now,
have come to comprise a time period of about
one million years. This fact and the enormous
abundance of finds in the caves of the Sierra
prompted the excavation sites to become listed
as part of the UNCESCO World Heritage as early
as the year 2000: Of all hominid fossils in the
world, 60% come from these sites; nowhere in
the world are there more researchers at work in
a single excavation area.
In light of this, it is not surprising that the
heart of Burgos was chosen as the location
for a modern, majestic complex comprising a
museum, a research institute and a congress
centre. The new environment provides ample
space and yet immediate proximity for the
aspects of research, communication and dis
cussion of human evolution to interact. It was
designed by the award-winning Spanish archi
tect Juan Navarro Baldeweg, who, having
designed the museum and institute buildings
in Altamira, had already been involved in a
similar project. The museum's central building,
a gigantic hall, is flanked by the institute and
the congress centre. To allow the hall to remain
free of posts or pillars, Baldeweg came up with
The special design of the
ERCO TFL Wallwashers
ensures a highly uniform
wall illumination. For
uninterrupted vertical
illuminance, the lumi
naires can be mounted
next to each other with
out gaps. Modern T16
fluorescent lamps with
electronic control gear
offer a high quality of
light and extreme effi
ciency.
an exterior framework of crossed beams which
was painted in bright red and dominates the
spaces between the hall and the two other
buildings. Glass fronts and skylights let plenty
of daylight in. As you can see, Baldeweg did
not shy away from aesthetically striking design
features such as the above-mentioned brightred framework or the emerald-green siding,
enveloping one entire wing, broken up only by
erratically spaced, diamond-shaped windows.
The lighting concept both in the exhibition
areas and in circulation zones (aisles, etc.) serves
to accentuate the architecture; smooth vertical
illuminance brings out the rooms’ structure.
Wallwashing is used in many quite distinct parts
of the building, as it defines the rooms, pro
vides glare-free “ambient luminescence” and,
most notably, helps to dampen any excess of
contrasts which can result from the abundant
natural light. By applying light in a manner
compatible with human perception and com
bining it with the energy-saving technology
of ERCO wallwashers with fluorescent lamps,
the concept has achieved a harmonious light
ing solution which deserves the label “efficient
visual comfort”.
Juan Navarro Baldeweg,
an award-winning Span
ish architect, does not shy
away from aesthetically
striking design features.
In the corridor between
the building components
stands a steel framework
varnished in bright red;
the emerald-green siding,
broken up only by errati
cally spaced, diamondshaped windows, envel
ops an entire wing.
For evolution researchers,
the name “Lucy” brings
to mind the body of a
female Australopithecus
discovered in Ethiopia in
1974, a replica of which is
displayed in the museum;
lighting designers, on the
other hand, are reminded
of the desktop luminaire
“Lucy”, used here to accentuate exhibits.
Wallwashing in its purely
functional form: Smooth,
vertical illuminance lends
itself to all visual tasks
where information is
made available on a verti
cal surface, as is the case
with charts and signs in
an exhibition.
The above photo of
the hallway exemplifies
how vertical illuminance
can make walls appear
light and almost immate
rial, in this case turning
a rather prosaic room
situation into an archi
tectural experience. With
glass fronts, illuminated
walls allow buildings
to radiate towards the
outside.
Backlights
International Summer Light Workshop for
students
The International Summer Light Workshop at
ERCO in Lüdenscheid was held for the fourth
time from 23 – 26 August 2011. The successful
event involved students in the fields of architecture, interior design and lighting design who
are keen to sample practical planning and use
of architectural lighting tools in a professional
setting. The experience of intensive cooperation
with fellow-students from all over the world is
an added bonus that the 14 participants from
such countries as Indonesia, Hungary, Croatia
or Spain do not want to miss. To all participants
and the workshop leaders a big thank you and
good luck with future projects!
Spring reception for the Internationale
Gartenschau 2013 in the IMM, Hamburg
An International Garden Show requires years
of preparation. Hamburg is currently gearing
up for 2013 and at an annual spring reception,
friends and sponsors from politics and business
were brought up to date about the progress
made. This year’s event on 21 March was held
under the motto “bridges to new shores”, aptly
chosen for the venue in the HafenCity: The special setting in and at the International Maritime
Museum (IMM) was further enhanced by a temporary light installation devised by Hamburgbased lighting designers Team Licht in cooperation with ERCO.
www.erco.com/seminars
Students learn design
theory in their courses.
ERCO’s workshop provides the opportunity to
experience lighting effects
and the use of lighting
tools in a practical setting.
www.hafencity.com
www.igs-hamburg.de
Green light for the garden
show: The temporary
lighting effects originate
from Hauke Giesecke/
Team Licht (left) aided by
New showroom in Buenos Aires
ERCO has been present in Argentina’s capital
Buenos Aires with its own showroom and team
for a total of 13 years now. The team has come to
establish itself as a firm partner of architects and
lighting designers in South America’s dynamic
market. Edgardo Cappiello and his team have
now moved to new premises in Puerto Madero.
A trendy new quarter, built here on the former
docks, sees modern high-rises next to converted
warehouses such as Hotel Faena designed by
Philippe Starck – an attractive address for architects, lighting designers and all creative customers of ERCO Argentina.
Kai Petersen (centre) and
Ingo Dahl (right) from
ERCO Hamburg.
ERCO on Facebook
ERCO now has its own page on Facebook, the
world’s largest social networking site. Set up earlier in the year, it not only provides ERCO with a
new, quick and uncomplicated news, image and
video channel – those who are involved in architectural lighting will also find here a platform
to communicate with ERCO and dialogue or
exchange ideas across any distance. We warmly
invite you to join as a “follower” of ERCO on
Facebook:
www.facebook.com/erco.lighting
ERCO Iluminación, S.A.
Oficina de Representación
Av. Juana Manso 1124
C1107CBX Buenos Aires
Argentina
Grand opening ceremony
at ERCO in Buenos Aires
on 11 May 2011: an event
that brought together
the light and architecture
scene of the metropolis.
Tel: +54 11 431 314 00
Fax: +54 11 431 254 65
Email: info.ar@erco.com
www.erco.com/contact
Film: Lighting with LEDs
You will now find a new, 18-minute film about
lighting with LEDs on our website, the ERCO
Light Scout. The film documents how ERCO
introduces the latest LED technology in architecture and gives insight into the design, devel
opment and production of the LED lighting
tools. We hear from people who contribute to
a successful technology change at ERCO. The
film can be downloaded in the Download section of our website (www.erco.com/download)
in different formats or embedded in your own
website using an HTML code.
ERCO recognises optoelectronics as a core competence and has developed its own efficient
concepts and approaches
for architectural lighting
with LEDs. The new film
provides broad insight
into the various divisions
that deal with LED lighting tools, all the way from
research to production.
www.erco.com/led
Shop talk in an atmospheric setting (right):
Martiniano Leguizamón
(ERCO) and Laura Buc
cellato, Director of the
MAMBA (Museo de Arte
Moderno de Buenos Aires).
Viani Alimentari, Göttingen
Architect and lighting designer:
AV Atelier Verführt Messe GmbH,
Hanover
Photos: Frieder Blickle, Hamburg
www.viani-alimentari.de
In German university towns, such
as Göttingen, a wide-spread fasci
nation with all things Italian can
often be observed. The Viani family,
importers of Italian specialities for
many years, are now supplying Italophiles with vino, pasta, espresso
and focaccia sold in their own
shop. Located on the ground floor
of a timber-framed house in the
historical town centre, the shop‘s
premises have been redesigned by
the Hanover-based Atelier Verführt
in a sober but elegant style. ERCO’s
contribution is the efficient visual
comfort provided by Quintessence
wallwashers fitted with metal halide lamps and Optec spotlights for
flexible accentuation of objects.
E
Lichtbericht 93
Bodegas Portia
A state-of-the-art winery, the
Spanish Bodegas Portia in the wine
country of Ribera del Duero operates according to industrial standards. This does not detract from
the fascination inherent in wine
as a complex result of natural processes governed by the immaterial
ingredients of time, intuition and
experience. Celebrating the mystery of wine, Foster + Partners have
created a spectacular architecture
starring an equally immaterial element: light.
Published in November 2011
E
ERCO GmbH
Postfach 2460
58505 Lüdenscheid
Germany
Tel.: +49 2351 551 0
Fax:+49 2351 551 300
info@erco.com
www.erco.com

ERCO Lichtbericht 93

Transcription

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