Englisch - TRILUX Simplify Your Light

3lux:letters The Architecture Magazine
2 | 2009
Light in the Exterior Space 2 | 2009
NEW LIGHT | ARCHITECTURE | TECHNOLOGY
New Light for greater energy efficiency.
TRILUX Lumega 600.
Light in the Exterior Space
More than Purely Lighting
Light as Designer
Designing Architecture with Light
Every luminaire from TRILUX is more than just light. For instance, the TRILUX Lumega 600: The newest member of the Lumega family
makes all streets shine like brand new. With its enormous savings potential, it is impressive especially with regard to refurbishment projects.
That alone is actually reason enough for the TRILUX Lumega 600 – were it not for the high degree of protection, the possibility of changing lamps
without tools and adjusting the luminaire‘s angle, its flexible installation, photometrically optimised system, and, and, and. In short: everything
that makes it New Light. www.trilux.co.uk
Light to Read
Practice of Exterior Lighting
02 | 03
EDITORIAL
3lux:letters 2 | 2009
4
11
24
Title page: Clear lines in the
architecture of façades demand a
clear design in the exterior space:
The TRILUX Lionda luminaire fits
excellently into the Barcelona
City of Justice planned by David
Chipperfield Architects.
Photo: Boris Golz, Arnsberg
Dear Readers,
we have come to the end of a turbulent year 2009 which has brought upheavals in many areas. Yet
we, the TRILUX employees, have simultaneously seen this year as a chance – a chance for a shining
future where much can be accomplished. We have been able to lay cornerstones for this in many
places. Thus we have, to give just one example, published a second edition of the TRILUX handbook
“Beleuchtungspraxis Außenbeleuchtung” (Practice of Exterior Lighting) and presented it in a road
show on the topic of “exterior lighting” all over Germany this autumn. You will get a first impression
of the voluminous work in the chapter lux:service. With this handbook, we are continuing a tradition
we have had since our beginnings and which will continue to be part of our company philosophy: We
gladly and substantially help with words and deeds in issues around the element of light.
You will also find numerous useful tips in the current issue of the 3lux:letters, this time – consistent with the dark season – we want to focus on the topic of “Light in the Exterior Space”. To
give you an introduction to the subject, we succeeded in winning the renowned art and architecture historian Professor Dietrich Neumann who contributed an article on the history of street
lighting in the 20th century. In the chapter lux:reflexion, in this issue again three light experts
answered our questions. You will learn something about the light planning in built architecture
in lux:architecure, with exemplary projects by David Chipperfield Architects and Störmer Murphy
Architects , amongst others. Did you ever ask yourself whether a white or a yellow light is better for
the outside space? Our lighting experts will provide you with answers to these and other questions.
Further exciting contributions from art and culture show how multifaceted urban lighting can be.
We wish you a pleasant read!
PS: Do you have questions or suggestions regarding our magazine? Please send an e-mail to:
3luxletters@trilux.de.
Yours sincerely
Dietmar Zembrot, Sales and Marketing Director
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LIGHT IN THE EXTERIOR SPACE
04
VIEWS
Incredible Bulb; Wonderlux; shop design “Snog Soho” in London;
Light Wind; Dark Sky Park; Light-Art Laboratory for Children;
Char No. 4 in Brooklyn; Cordula; Switch in Dubai; White Lounge
Mayrhofner on the Ahorn Plateau
06
STATEMENT
Transforming architecture. By Daniel Liewald, leucht-werk Kunstlichtprojektionen
08
HISTORY
TRILUX Linear luminaire street lighting system of 1953
09
READING
Three books recommended by the editorial board
10
SPOT
Light as Designer. By Prof. Dietrich Neumann
14
IMPRESSION
Nature’s Light and Man’s Light
18
REFLECTION
Answers from Prof. Matthias Kohler (Gramazio & Kohler, Zurich),
Daniel Klages (Dinnebier Licht, Wuppertal) and Jason Bruges (Jason
Bruges Studio, London)
22
ARCHITECTURE
law district in Barcelona, David Chipperfield Architects, London; DKV
Versicherung in Cologne, Störmer Murphy and Partners, Hamburg;
Friedrichstraße in Bonn, Town Planning Service, Public Services, Bonn
36
SERVICE
Practice of Exterior Lighting; LED conversion set; About Materials:
Intelligent reflector form; Planers ask, Manufacturers answer: white
or yellow lighting?
40
TRILUX
42
ART
TRILUX on Tour; Tree of Light
Life 01, Paul Cocksedge; Light Blubs, Pieke Bergmans; Monuments
of Switzerland, Gerry Hofstetter; Field of Light, Bruce Munro
46
CURIOSITY
Invasion of Technology in Sao Paulo
47
SOURCE
(Brief) History of Street Lighting
47
Imprint
VIEWS
3lux:letters 2 | 2009
The Incredible Bulb luminaire by
Ben Wirth pays tribute to the classic
light bulb with a filament thanks to a
clever reflection of light.
Incredible Bulb
2009
Ben Wirth
www.benwirth.de
Wonderlux
2009
Ingo Maurer
www.ingo-maurer.com
Photo: Tom Vack
Photo: Robert Pupeter
A true alternative: Wonderlux is
the name of the newly developed
illuminant by lighting designer
Ingo Maurer.
A forest of illuminated glass
spheres decorates the ceiling of the
yoghurt ice cream parlour.
Sensible or not: The EU regulation regarding the prohibition of the classic
light bulb is being above all emotionally
discussed since, according to designer Ben Wirth, the bulb with its glowing
filament substituted for the fire in our
rooms. Ingo Maurer even goes as far
as calling for civil disobedience and
protesting because so much life quality would be lost to man in the form of
the light bulb. But both already have a
smarter alternative to annoyance and
resistance: The Incredible Bulb halogen lamp by Ben Wirth is to be understood as an homage to the beloved
bulb, with light reflections producing
a fictional light source instead of the
former filament. Ingo Maurer, however, presents us with a real substitute
for the bulb: Wonderlux with a hidden
light-emitting diode in its base can be
screwed directly into the traditional
E27 sockets.
The healthy snack for the nutrition- and trend-conscious Londoner is
called Snog. The chain of the same name sells the frozen, low-fat organic
yoghurt, sweetened only with fructose, and courts its customers not last
with a sophisticated design concept. The London office Cinimodstudio
(interior architecture and lighting design) planned the lighting installation
in the meanwhile three branches. Particularly the store in Soho, London’s
traditional in-district, shines in changing colour moods: 700 glass spheres lit
by LEDs form the sky of the new Snog store. The small sales room with the
glass façade visible from afar is dominated by a white, back-lit counter and a
pink back wall and is furnished with the Moroso Shitake stools by the Dutch
designer Marcel Wanders.
The Snog in Soho sells organic
pure frozen yoghurt with various
sauces. Matching them is the
changing play of colours on the
suspended installation.
Photos: Cinimod Studio
04 | 05
shop design
“Snog Soho”
Cinimod Studio, London
www.cinimodstudio.com
Light Wind
Demakersvan
Dimensions (L x W x H):
215 x 38 x 240 cm
Materials: stainless steel, wood,
canvas
www.demakersvan.com
The Light Wind outdoor luminaire
uses exclusively the energy of the
wind to supply the electricity for the
integrated LEDs for the whole night.
Photo: Ingmar Cramers
Inspired by the windmills of their home country, the young trio of designers
Demakersvan from the Netherlands developed an innovative outdoor
luminaire. It succeeds in combining modern lighting technology with
Dutch design and the latest technology for using renewable energy. Like
a windmill, Light Wind also uses the energy of the wind. Onto the selfsupporting construction of stainless steel, wood and canvas, a propeller
is attached which has diameter of an impressive two metres. Every breeze
causes a turn of the rotor blades makes it possible to generate and store
energy for the luminaire’s autarkic power system. Atmospheric light and
the extraordinary appearance make the outdoor luminaire a striking eyecatcher in the landscape.
Photo: Craig Mayhew, Robert Simmon, NASA GSFC
Dark Sky Park
www.darksky.ch
www.lichtverschmutzung.de
Photo: Fotolia
Night on Earth: On the satellite
picture by the NASA, the large
agglomerations in Europe are easy
to discern. On the other hand, from
numerous cities only isolated stars
can still be seen.
The habitats of many animals and
plants are meanwhile endangered
– especially the family of the moths
which circle around the many artificial lights and burn to death instead
of foraging and reproducing.
“Light pollution” is the catchword
of an international movement of
stargazers and environmentalists.
They advocate deliberate and efficient illumination of the exterior
space in cities and want to make
simple tips for environment-friendly
lighting concepts available to planners. Not only insects and migratory birds are threatened by the
light, in many places it has not
been possible to see the stars for a
long time now. Some communities
have already developed guidelines
for the considerate use of outdoor
lighting. The environmentalists also
stand up for establishing so-called
Dark Sky Parks, zones with no or
very little nocturnal illumination.
The UNESCO as well presently discusses starlight reserves: In Tekapo
in New Zealand, a pilot project for
astronomers is being planned.
Interactive experiment stations
such as the colourful light showers
fascinate the young visitors.
Right in time for the start of the dark season, the Art Museum in Celle
again opens its light-art laboratory for children. Last winter, already more
than 3,000 little explorers visited the museum where there is only one rule:
Please touch! With the help of various experiments, the young museum visitors are playfully familiarized with the theme of light art and the scientific
foundations of light. Different stations such as the fascinating light aquarium
in the tent, the cryptic neon writing or the colourful light showers can be
tested, touched and admired. All this is to make it possible to experience
the important role light plays in our everyday life. With the publication
“Lichtkunst für Kinder” edited by the museum (lux:READING page Seite 9)
the experiments can then be continued at home.
Light-Art Laboratory for Children
until 28th March 2010
Art Museum Celle with Collection
Robert Simon
Schlossplatz 7, Celle
www.kunst.celle.de
Photos: Kunstmuseum Celle mit Sammlung Robert Simon
The glittering forest of prisms consisting of numerous shiny CD blanks
and prisms playfully demonstrates
the laws of optics.
VIEWS
3lux:letters 2 | 2009
The light falls warm and friendly
from the restaurant into the street.
This restaurant with a bar in the New York district of Brooklyn is wholly
dedicated to whiskey. Even the name points to it: Char is used to burn out the
whiskey casks and gives the drink its colour and its smoky taste. Brown to
amber, like the whiskey itself, is the colour scheme of the bar, the language
of forms of the lowered cylindrical luminous objects in the interior reminds
of wooden vats. The luminaires lower the noise level, provide evenly warm
light and structure the high rooms. The structure of the façade as well is
modelled on studded oak vats.
Looking at this showcase makes
the decision difficult. More than 200
different kinds of whiskey are on the
list of the Char No 4.
Photos: Albert Vecerka
Char No. 4
Restaurant, Whiskeybar, Brooklyn
Architects: Berman Horn Studio
www.charno4.com
STATEMENT
Daniel Liewald
leucht-werk Kunstlichtprojektionen
Nina & Daniel Liewald
Tübingen
www.leucht-werk.de
Photo: Kulturnacht Göppingen, 2009
Light in the outside space can of
course be very useful so we don’t
fall into a dark ditch in a pitch-black
night. But light in the outside space
can also offer the possibility to influence and re-design the look of architecture at a later date.
The major part of the buildings in
the inner-city exterior space was
conceived and built for daylight. The
construction is thereby “a child of
its time” and, as a rule, static. At a
later date, it can hardly be changed
or only under protest of the builders.
This is different once the sun has
set. Then an inexhaustible playing
field may open up which creates
immense, almost endless possibilities of design.
In the simplest case, one can use
this leeway to stress and accentuate
specific features which already exist
and are also visible during the day. In
Transforming architecture
a further step, one can search with
the help of light for further aspects of
the architecture: those which were
not intended or had not even become
manifest before.
If one intensifies this approach, one
is given the freedom and has the
chance to leave all the intentions
originally linked with the structure
behind and to newly invent the outside appearance. With the help of
light, at night the building undergoes
a transformation into a completely
new object.
And yet I love walking down unlit
roads which do not reveal themselves at first glance and keep their
secrets.
Photo: leucht-werk
06 | 07
Photos: Hannes Geipel, Andreas Velten
The search for utensils which stand
out due to their optimum function
with minimum use of material led
Stephanie Jasny to the construction
site. The functional design of the
tools and devices which can be
found there and their high demand
on durability and safety inspired
the young designer for her Cordula
concept. It was her goal to combine
a cable drum and a construction spotlight into a design object
without denying their origin. With
its ten-metre cord (hence the name
Cordula), the luminaire can also be
flexibly used far from the power
source as a floor and table lamp.
Alternatively, the cord is simply
wound around the drum with the
integrated ring of illuminants. As of
January 2010, the luminaire will be
commercially available.
Cordula W. and Cordula S.:
The powder-coated steel frame
is also available in matt black
with a cyan cord.
The joint makes it possible to pivot
the luminaire 90 degrees and thus
use it even more flexibly.
Cordula
Stephanie Jasny
2008
Dimensions (L x W x H):
276 x 260 x 400 mm
www.stephaniejasny.com
The wall- and ceiling cladding of
fibreglass surrounds the visitors
like a wave. The varied play of
colours is produced by luminaires
installed behind the panels.
Upon entering the restaurant,
the visitor seems to penetrate an
organic cave in the house which
looks like a gorge.
Photos: Karim Rashid, Inc.
Switch
Restaurant in Dubai
by Karim Rashid
Opened in February 2009
www.meswitch.com
www.karimrashid.com
Switch – the name of the restaurant by designer Karim Rashid in the Dubai
Mall gives a hint: Several times in the course of a day, the appearance of
the restaurant changes due to the colourfully shining wall covering which
flowingly alternate from pink to purple to green and yellow and then to red.
With the exception of the lounge area, Karim Rashid covered the walls and
the ceiling of the 200-square-metre store with wavy fibreglass elements for
whose shape he took his inspiration from the sand dunes in the desert. In
addition, glass surfaces backlit with LEDs decorate the restaurant: While
on the floor wild, coloured lines run through the restaurant like a data flow,
on the wall element quotations from Karim Rashid’s design philosophy are
reproduced in Arabic writing.
VIEWS
3lux:letters 2 | 2009
Despite the icy temperatures, the
bar exudes warmth and cosiness.
Photos: White Lounge
White Lounge Mayrhofen
Ahorn Plateau, Austria
Planning lighting and electric
engineering: BENSCHMIDT,
Zell am Ziller
www.benschmidt.at
www.white-lounge.at
In the Ahorn skiing region in Austria at 2,000 metres, one of the Alps’ most
extraordinary accommodations and party locations was created: the White
Lounge igloo hotel. The prestige object of the Mayrhofen mountain railway
was to come completely into its own with a sophisticated lighting concept.
To achieve this, extremely energy-saving LEDs were used whose clever
positioning creates a cosy atmosphere and at the same time emphasizes the
ice architecture. Accentuating stylistic features such as the bar or the light
shining right through the bottles create the necessary tension. With a simple
control of the luminaires, various colour gradients and light moods can be
produced which makes a versatile utilization of the lounge possible.
Architecture and works of art in ice
are highlighted by the positioning of
the luminaires, various colour gradiants provide the right mood.
HISTORY
“The TRILUX linear luminaire
street-lighting system (patent pending) follows new avenues”. Already
in 1953, the Arnsberg manufacturer
advertised innovative street lighting.
TRILUX Linear luminaire street
lighting system 1953
Photos: TRILUX
08 | 09
Already since the year 1950, shortly
after the plant in Neheim-Hüsten
had been rebuilt, TRILUX had been
working on a product range for
outside luminaires. It was the time
when in the luminaire industry there
were intense discussions about the
right illumination of the streets:
experts were fighting about whether
the diagonal or longitudinal direction of the linear luminaires was
better. Until that time, street lighting consisted mainly of a selective
arrangement. The fluorescent lamps
introduced in Germany at the end
of the 1940s at first did not change
anything either. Due to their still
quite weak luminous density, they
were installed in rectangular boxes
with often up to five lamps so the
light from all the lamps formed a
large luminous area diagonally to
the direction of traffic. An arrange-
ment in longitudinal direction was
a completely new approach: With a
cable system, they were arranged
above the traffic lane. Thanks to
specular reflectors, it was possible
to equip each luminaire with only one
fluorescent lamp and they could be
placed like in a string of pearls one
behind the other. The lower luminance per luminaire also resulted
in less glare and thus in more safety
in traffic. The higher costs for the
elaborate support system could be
compensated by the larger distances
between the masts than in the case
of simple tension ropes diagonally to
the lane. As the specialist for linear
luminaires, already at the beginning
of the 1950s TRILUX brought a simple all-in-one system on the market
which fitted the new street lighting.
READING
Lichtkunst für Kinder
Juliane Baumann (author)
Susanne McDowell, Robert Simon
(editors)
Published in 2009 by Kunstmuseum
Celle
85 pages, various photos
22 x 22 cm, softcover, foldable cover
German
€ 20,00
ISBN 978-3-925902-70-3
www.kunst.celle.de
Jahrbuch Straßen- und
Außenbeleuchtung 2010
Frank Lindemuth (editor)
Published in 2009 by EW Medien
und Kongresse GmbH, Frankfurt
am Main
176 pages, numerous colour
illustrations
11 x 15 cm, hardcover
German
€ 29,80
ISBN 978-3-8022-0965-9
www.ew-online.de
International Lighting Design Index
2010
Helmut M. Bien, Markus Helle
(editors)
Published in 2009 by avedition
GmbH, Ludwigsburg
256 pages, 236 colour illustrations
20,5 x 20,5 cm, hardcover
English
€ 49,90 | CHF 81,00
ISBN 978-3-89986-107-5
www.avedition.de
In the context of its light art laboratory (see lux:VIEWS page 5), the
Kunstmuseum Celle has published
a light-art book for children which
itself becomes a shimmering
luminous object once the reader
assembles the foldable cover into
a box. On 85 pages, the art historian Juliane Baumann tries to
familiarize children with light art –
with illustrations, experiments and
handicraft instructions as well as
a concluding quiz on all the newly
learnt information. With numerous
ideas, children and parents are to
be animated to do their own experiments. However, the very lovingly
compiled book focuses more on
the physical phenomenon of “light”
than on aesthetics.
“Whoever stops learning is old.
No matter whether he is twenty or
eighty.” In his foreword, editor Frank
Lindemuth refers to this quotation of
Henry Ford. Conceived for experts in
operations and administrations, the
Jahrbuch 2010 is, however, thanks
to its numerous graphics and photos
also interesting for laypersons as
well and clearly laid-out. What, for
instance, is behind mesopic seeing
and which is the latest technology
used for illuminating cities? The
handy booklet each year makes an
up-to-date contribution to the subject
of street and exterior lighting. Twelve
authors focus on the subjects of
technology, development as well as
guidelines and norms. Furthermore,
the calendar in the middle part of
the book provides the reader with
information on exhibitions and events
regarding this subject.
Light is the construction material of
the 21st century. Life rhythms spanning several time zones demand an
architecture of the night. New technologies which respond to ecological challenges lead to a new dealing
with light in the planned space.
This volume presents architects,
designers and artists who with their
lighting concepts internationally
determine the new trends. More
than 100 projects are presented,
each on a double-page spread, and
the explanatory texts are exemplified with colour illustrations. The
most important key data are clearly
listed. The index at the end of the
books makes it possible to quickly
look up individual works and provides links for additional information on the subject of light.
10 | 11
SPOT
3lux:letters 2 | 2009
Light architecture initially took its
first step in pure illumination such
as in the lighting designed by the
Luckhardt brothers (left). For the
tower of the Chicago Tribune (right),
light was already used for staging.
LIGHT AS DESIGNER
In the history of architecture, new materials have again and again led to new construction
possibilities and thereby mostly also to the formation of a new architectural language.
Artificial light, however, originally invented to illuminate interiors, in the 20th century
quickly became an element of design and style.
By Prof. Dietrich Neumann
In an article for The Nation, the American critic Douglas
by the latter. Since lighting solutions can be changed at any
Haskell (1899–1979) in the midst of the Depression, in the
time, or can even disappear without a trace, here the historians
year 1932, noted down his thoughts on the architecture of the
are wanted to keep awake the memory of the important role of
future: “As long as anyone can remember, the architectural
such illumination concepts.
styles have been changing, but in this century, electrical light
has been added. Far more than the well-known trio steel, glass
The illuminated building
and concrete, it fundamentally changed the basis of our archi-
The twenties brought the first decisive discussions about formu-
tecture.” Haskell’s observation paid tribute to the dynamic
lating an architecture of light in Europe and the United States.
developments of his time in the field of lighting architecture
In Germany, Ludwig Mies van der Rohe, Erich Mendelsohn
and envisioned a future when Haskell expected a specifically
and the Luckhardt brothers tried not to put advertising and
American, nocturnal modern age.
especially neon signs in front or on top of their buildings but
Seven years later, at the New York World Fair in 1939, the
to integrate them. This suggested horizontally structured,
introduction of the luminescent tube on a massive scale
non-ornamented façades where lettering could be inserted
together with the development of metal vapour lamps caused
between the ribbon windows, or where shining areas of frosted
far-reaching revolutions in the planning of architecture and
glass or glass blocks stood contrasted with dark letters in
cities and enlivened the theoretical debates on architectural
front of them. This construction method certainly suited the
lighting. Today, we are experiencing similarly radical changes
prevalent design models of the modern age, but thinking of the
of architectural lighting in the urban space where the LED
appearance at night was an additional appeal.
luminaires gaining ground in all areas to date serviced by light
In the USA, after initial attempts before the First World War,
bulbs and luminescent tubes promises completely new possi-
the history begins with the illumination of the Wrigley Building
bilities of planning and implementing lighting concepts.
in Chicago in 1921 (Anderson Probst and White) which was
This is a fitting occasion to look back on the relationship of
completely illuminated by white floodlights and thus became
artificial light and architecture, and particularly on the influ-
one of the allegedly brightest spots on earth. In contrast to the
ence which lighting planning has had on the development of
moving advertising neon signs in Times Square in New York
architectural forms. There are numerous cases where the
which many considered vulgar, this form of floodlights did
nocturnal illumination concept has influenced the appearance
without words and was an elegant as well as effective alterna-
of a building by day and sometimes becoming explainable only
tive. The building was prepared by the architects for its noc-
turnal role with terracotta siding becoming increasingly lighter
produced materials, above all steel and glass, arrived in archi-
towards the top to compensate for the weakening intensity of
tecture. Since these materials only badly reflect light back
the floodlight. When, shortly afterwards, the building of the
into the street, the floodlights were replaced by new lighting
Chicago Tribune was to be constructed diagonally opposite, the
ideas: At night, the large windows allowed deep views into the
international competition was won by a plan whose architect
interior and thus for instance ceiling lighting could become
Raymond Hood emphasized that he had designed the filigree
a determining element of a nocturnal façade. It was visible
gothic pinnacle in view of the nocturnal light effects. Together
from the street and gave the passers-by an idea of the spatial
with the lighting designer Bassett Jones, he rehearsed theatri-
depth of the building. Examples of this are: Gordon Bunshaft’s
cal light productions on the completed building, which went as
Manufacturer’s Hanover Trust on 5th Avenue and the Seagram
far as illuminated smoke bombs and rotating colour effects.
Building by Ludwig Mies van der Rohe (1958).
Even though the directors of the Chicago Tribune did not warm
At that time, the profession of the lighting designer increas-
to the concept of a nightly Twilight of the Gods, the contrast of
ingly established itself. Names such as Richard Kelly and
the two building regarding lighting technology is impressive. In
Abe Feder, for instance, became known to a broader public.
both cases, the architecture of the building had been modified
Especially Richard Kelly’s works created a new understanding
with regard to the nocturnal illumination.
of the relationship of light and architecture. Kelly (1910–1977)
At the same time, in the United States the offsets in the build-
had studied architecture at Yale University and his probably
ing cubature of the skyscrapers which, since the New York
most important contribution was that he focussed attention
Zoning Law, were to supply more daylight in the interiors, were
away from the actual luminaires to the parts of a building
being used as locations for spotlights. An autonomous aesthet-
which were to reflect the light, to the walls, floors and ceilings,
ics evolved with colourful cascades of light graded towards the
and the reflection of their materials, while the source of light
top which soon became the essence of a nocturnal, American
itself was made invisible. Like many lighting designers of his
modern age, just as Douglas Haskell had foreseen it.
generation, Richard Kelly had learned a lot from theatre. From
there, he brought the notion of precise light control, of colour
Architectural light
effects and changing moods created by lighting effects. Much
After the Second World War, a new architectural language
of what in the 1950s was given as advice to young American
established itself where the offsets of the skyscrapers made
homeowners when it came to interior lighting (of course with
way for simpler, geometrical forms and new, industrially
active support by General Electric and Westinghouse), may
Photo: Prof. Dietrich Neumann
3lux:letters 2 | 2009
Glass façades like the one of the
glass house designed by Philip
Johnson (1949) were not easy to
illuminate and thus the lighting
planner Richard Kelly came up with
a kind of indirect staging.
Since the middle of the 20th century,
during the night the interiors were
often illuminated by luminous ceilings which made a look deep into the
building possible and thus created
a strong spatial impression. Photo:
Gordon Bunshaft’s Manufacturer’s
Hanover Trust (1954, left) and
Seagram Building (1958, right), both
in in New York, USA.
today appear to us to be exaggerated and wasteful. But the
becomes invisible since here as well luminaires light the floor
lighting strategy with which Richard Kelly for instance trans-
inside and outside from above. Light has become the decisive
formed Philip Johnson’s famous glass house in New Canaan
feature of the building.
(1949) at night into a shining jewel and, at the same time,
illuminated the interior completely reflection-free, will always
Urban lighting today
endure as a classic use of light. Spotlights at the outer edges of
Young lighting designers, such as Jan and Tim Edler of
the roof illuminated the ground around the building so the view
realities:united or the office Mader, Stublic Wiermann in
from inside to outside was not hindered and the large panes of
Berlin, to this day are using Kelly’s profoundly architectural
glass, which at night normally resemble black mirrors, were
approach when developing a lighting concept. When Mader
made transparent again. In addition, the surrounding trees
Stublic Wiermann make the Uniqa Tower in Vienna glow with
were transformed into fairytale stage sets by sunken ground
dynamic sequences of light on the façade and at night make
luminaires and floodlights from the roof.
it appear to expand and wind, they thereby comment on the
Mies van der Rohe’s Seagram Building in New York in any case
fetish of rationality of the modern age. Similar to Kelly, the
has an exceptional position in the street scenery of Park Avenue
Edler brothers strive for a total integration of the lighting into
in New York since, as the only office skyscraper, it allows itself
the three-dimensional building volume, beyond just an effect
a spacious forecourt and is elegantly and self-confidently set
on the façade. They mostly work with white light and care-
back from the curb. At night, however, the whole façade glows
fully planned graphic and spatial effects. Whether it is Peter
thanks to the shining ceiling luminaires which direct the glance
Cook’s Kunsthaus (2005) in Graz, the visionary project for the
into the depth on every floor and make it possible to experience
Venice Biennale in 2006 or the lighting design for the com-
the building as a three-dimensional structure. The large lobby
petition plans by Norman Foster for the headquarters of the
on the ground floor is perhaps the most amazing result of the
Deutsche Bahn in Berlin (2008), their concept always deepens
cooperation of Richard Kelly, Ludwig Mies van der Rohe and
and intensifies the understanding and the appearance of the
Philip Johnson. Mi es had planned green, polished marble for
architecture itself.
the walls of the elevator shafts but Richard Kelly persuaded
Today, LEDs allow an unlimited range of colours and quick
him to use travertine. The floodlights set into the ceiling now
colour changes, the illusion of movement and large-format
make these light wall surfaces glow without a source of light
screens for stills and films. The moving picture of the cinema
becoming visible. The glass shell of the entrance hall almost
is ideal for architecture in the urban space where brightly lit
Photo: Arts of the United States Collection, University of Georgia (right)
SPOT
12 | 13
“urban screens” make new utilizations of the public space
possible at night as well as during the day. Critics have repeatedly stressed that the overwhelming impact of large, colourful
and moving pictures on a façade may also be endangering our
view of the architecture. Thus William Mitchell, media theorist
at the Massachusetts Institute of Technology, recently rightly
asked whether we do not need a new theoretical set of tool
to help us clearly differentiate between the building and what
is depicted on its skin. And Robert Campbell, architectural
critic of the Boston Globe, thought aloud about whether the
day might come when we can no longer distinguish between a
façade and its digital simulation – or want to do so.
When, in 1900, the art historian Julius Meier-Graefe was
strolling at night in the grounds of the Paris World Fair, he
made an astonishing discovery: after dark, the architectural
lighting (which mainly consisted of long rows of light bulbs and
occasional floodlights) reduced the buildings to their essential,
linear elements and thus allowed a look at the architecture of
Prof. Dietrich Neumann
the future whose most important characteristics, he hoped,
born in Göttingen in 1956, studied art history in Würzburg and then architecture at
would be “concentration and size”. Since then, architectural
the TU Munich as well as at the Architectural Association School of Architecture
lighting has again and again been an important – but often
in London. In 1988, he graduated with a Ph.D. in the history of architecture at the
overlooked – factor in the design of buildings. Leaps in tech-
TU in Munich. Since 1989, he has been teaching at Brown University, Providence/
nology such as the one we are experiencing at present have
USA, and today is Professor in the Department of Architecture and Art History.
given particularly strong new impulses to the relationship of
His work is focussed on the architecture of the late 19th and early 20th century
light and architecture. The last 110 years have indeed turned
and he conceived numerous exhibitions on this period such as the one shown
electrical light into one of the most important design element
in Stuttgart and Rotterdam under the title “Luminous Buildings: Architecture of
in modern architecture.
the Night” and published essays on it.
www.brown.edu
14 | 15
IMPRESSION
3lux:letters 2 | 2009
NATURE’S LIGHT
Polar lights (northern lights, aurora borealis and southern lights, aurora
australis) are effects which solar activity has on the earth. These light
phenomena mostly occur in the polar region and for centuries have in most
cultures been taken for activities of the gods or their messages to humans.
Not until the year 1959 with the discovery of the solar wind and its movement
along the magnetic field lines could the phenomenon be explained: At the
geomagnetic poles, the solar wind penetrates the atmosphere and makes air
molecules glow in colours.
Photo: Olgier Andresson, Reykjavík/Iceland
“The sun teaches all living beings the longing for light.
But it is the night which raises us all to the stars.”
Khalil Gibran (1883–1931), Lebanese-American poet, philosopher and painter
16 | 17
IMPRESSION
3lux:letters 2 | 2009
MAN’S LIGHT
Let there be light! And there was light. Until a few centuries ago, night was
the scene of the dealings of outlaws or mystical creatures, dangers were
lurking everywhere. Night filled people with deep fear and only the fire in
their home gave them a feeling of security. With the invention of artificial
light, man extended his activities into the night and there is no longer any
trace of the original fear. Today, the cities are shining brightly into the night
which sometimes is felt to be too much and too bright. Thus what is wanted
now is therefore efficiency instead of quantity.
Photo: Urs Guggisberg, Hermrigen/Switzerland
“The light bulb in a room which has become free of
shadows has healed the attacks of nocturnal horrors far
more thoroughly than for instance Voltaire.”
Ernst Bloch (1885–1977), German neo-Marxist philosopher
REFLECTION
3lux:letters 2 | 2009
LOOKED INTO
3lux:letters has asked three renowned
lighting experts three questions on the
topic of “Light in the Exterior”.
Prof. Matthias Kohler
Architect and town planner
Gramazio & Kohler, Zurich
The illumination of the streets and alleys significantly
determines our image of a city. This makes the task of
the lighting experts all the more of a challenge when
they have to make the right choice regarding the light
quality or the luminaire design. Which criteria are
crucial for you in your planning?
Matthias Kohler: As architects, we are interested in artificial light
as a large-scale efficient, dynamically controllable “construction
material” whose integration in an urban or landscape overall
concept is becoming increasingly more important. The co-action
of modern lighting technology with digital controls and sensor
systems make it possible to design the performance of light in
the course of time and to make light react to external, changing
influences. We are interested in using this contemporary means
to create nocturnal habitats.
Photo: Roman Keller
18 | 19
Lightline, polychrome light installation, 2000–2008, Uster
Daniel Klages
Lighting designer
Dinnebier Licht, Wuppertal
Jason Bruges
Light artist
Jason Bruges Studio, London
Daniel Klages: Careful lighting planning puts targeted light
Jason Bruges: The background and neighbouring areas are
accents and avoids scattered light or blooming in squares and on
always important when we are looking at interventions in the
buildings. The efficiency of the planned illuminants today plays a
city realm. We look at continuity or something that will stand out
central role in our lighting concepts. The design of the intended
against the background at the same time. The criterion for suc-
luminaires is orientated on the maxim of being “timeless”.
cess I think is looking at the bigger picture, looking for opportunities to join projects together and also not getting overwhelmed by
regulations and what you cannot do, as this results in “design by
Photo: Dinnebier Licht
Photo: Jason Bruges Studio
Regulation“, which is a trap that seems to be easy to fall into.
St. Mary’s Cathedral, Neviges
Litmus, London
REFLECTION
3lux:letters 2 | 2009
Much as nocturnal illumination in the city has
become natural for us today, just as much is the call
for darkness currently becoming louder. Concepts
such as light pollution or global dimming are heatedly discussed. How do you see the future of exterior
electric lighting?
Matthias Kohler: Controlling light electronically means that,
beside the question where which kind of light is needed, the
question of when how much light is used also becomes centrally important. Temporally variable, dynamic light which can
be adjusted continuously to the functional and atmospheric
demands, offers additional possibilities for the design of the
nocturnal quality of public spaces and has the potential to make
a decisive contribution to reduce light pollution. Should for
instance the illumination of a square be switched on and off at a
given time? Or can it softly wake up and go out just when people
walk across the square?
Photo: Roman Keller
20 | 21
Christmas illumination on Bahnhofstraße, 2003–2005, Zurich
Nightly illumination often enormously changes the
character of the public space. It seems as if the city
has a second face at night. Please tell us which place
has made a lasting impression on you in this respect.
Matthias Kohler: The time I had a view of the city of Los Angeles
when landing there on Christmas Eve impressed me – a look into
a seemingly endless sparkling sea of lights from which one could
only with difficulty tear oneself away and which despite its magic
beauty makes us think about the high energy consumption.
Prof. Matthias Kohler
born in Uster/Switzerland in1973, studied architecture at the ETH in Zurich,
where during the subsequent years he also worked as an academic employee
and assistant. In 2000, together with Fabio Gramarzio he founded the office for
architecture and urban planning Gramazio & Kohler in Zurich. The research
activities of Professor Matthias Kohler and Professor Fabio Gramazio at
the ETH focus on the development of production processes for the additive
manufacture of highly-informed, non-standardized architectural products.
www.gramaziokohler.com
Daniel Klages: In addition to the already mentioned aspects, the
Jason Bruges: I see the future of exterior electric lighting as
intelligent control of lighting will have major significance in the
being intelligent. That it is more considered; that the negative is
future. New efficient illuminants (LEDs) and carefully directed
as important as the positive, the ground is as important as the
luminaires and spotlights make electric light in the outside
figure i.e. the unlit is really important and the dark in between
space indispensable in the future as well.
is really important. Also intelligent is when the environment is
scheduled to be lit – the city does not need to be lit the entire
time. What should happen if people are not present? Obviously
one protest against this is that it‘s not safe. An artistic project
that we created recently contained a mixture of utilitarian
lighting and artwork – the artwork could sense proximity so
therefore would react as people walked through the park. My
ideal would have been that the entire environment would react
Photo: Dinnebier Licht
Photos: Jason Bruges Studio
to the presence and proximity of its residents.
Station forecourt, Euskirchen
Normand Park, London
Daniel Klages: Near here, in Düsseldorf, on Graf Adolf Straße,
Jason Bruges: I think the previous project I mentioned, Normand
Worringer Platz with its palm trees is staged in a differenti-
Park in London, has a second face at night. In collaboration with
ated way with narrow-beam HQI spotlights – the difference
Kinnear Landscape Architects we created a landscape of light
between the day and the night look is therefore enormous! With
that transformed the space from one which was forbidding
the illumination of the new Ripshorster Brücke in Oberhausen
during the night and now into one which is consistently used
(together with professor Dr.-Ing. Polonyi), we ourselves have
after darkness. It does this through creating a performance that
created a nocturnal sculpture which can best be seen from the
is unique to each visitor to the park. It is playful and interactive
Oberhausen gas meter.
and stretches the useful visiting hours of the park giving it a
second use.
Daniel Klages
Jason Bruges
born in Duisburg in 1962, studied sports science and medicine in Cologne.
born in Rochford in 1972, studied architecture at Brookes University in Oxford
Starting in 1990, he has been working at Dinnebier-Licht GmbH in Wuppertal,
and at the Bartlett School, University College London. After completion
the company of the lighting planner Johannes Dinnebier with its own factory. In
of his studies, he worked at Foster and Partners Architects in Hong Kong
1993, he took on the development of the planning department Light in the Space
and London. In addition, he worked as Senior Interaction Designer at the
in Düsseldorf, where he was made general manager in 2001. In the year 2004,
Imagination agency for communication in London. In 2001, he founded Jason
he also became managing director at Dinnebier Licht. This close connection with
Bruges Studio in London, where he has since being combining his fields of
joint leadership makes Dinnebier Licht and Light in Space an overall provider in
activity architectural lighting, interactive design and art in the public space.
the field of lighting planning.
www.licht-im-raum.de, www.dinnebier-licht.de
www.jasonbruges.com
22 | 23
ARCHITECTURE
3lux:letters 2 | 2009
At night, the impressive law buildings fade into the background and
the glass connecting structure
becomes the shining eye-catcher.
LEGAL MATTERS
City of Justice. What sounds like the title of a brilliant blockbuster is the new law district of the two cities of Barcelona and L’Hospitalet de Llobregat. On more than 240,000
square metres, the British architectural office David Chipperfield Architects and the
Spanish 720 Arquitectos designed a simple and at the same time impressive-looking
district of justice.
By Marina Schiemenz
Client:
GISA, Departament de Justícia (Generalitat de Catalunya)
Architects:
David Chipperfield Architects, London
www.davidchipperfield.co.uk
b720 Arquitectos, Barcelona
www.b720.com
Lighting engineer:
Artecluminotecnia, Barcelona / Arup
Location:
Barcelona und L’Hospitalet de Llobregat, Spain
Luminaires:
Lionda
Photos:
Christian Richters, Münster; Boris Golz, Arnsberg
24 | 25
ARCHITECTURE
Despite the uniformly shaped buildings, the differing colours of the
façades make it possible to get one’s
bearings in the street canyons.
Views into the interior, which the
law buildings block, are allowed
by the glass entrance hall which
at the same time is the connecting
structure.
3lux:letters 2 | 2009
Alternating with (still) delicate trees,
the slender Lionda luminaires
by TRILUX determine the central
square of the law district.
TECHNOLOGY
The Lionda luminaire owes its
red dot award 2008 not last to
its simple design.
Lionda
In a dynamic dialogue between the
architect David Chipperfield and the
TRILUX design team, the Lionda
luminaire was born. It satifies not
only with its unobtrusive design but
also with high reliability and a large
range. In addition to bollard- and
wall luminaires, there are also pole
top luminaires which were installed
in the City of Justice. The luminaire
casing consists of highly weatherproof cast aluminium with a metal
effect finish. Planar tempered safety
glass with black screen printing was
sealed as a cover into the casing. The
optical system consists of thermally
high-strength material with topquality surface coating and makes an
asymmetrical wide-beam luminaire
distribution possible. The simple
maintenance is also effective: After
a sash lock has been turned and the
luminaire roof has been raised, the
lamp can easily be changed.
Distribution of luminous intensity
26 | 27
ARCHITECTURE
3lux:letters 2 | 2009
Access to the four central buildings
of the City of Justice is at both sides
of the connecting structure (on the
right in the photo).
The large entrance hall in the
central connecting structure welcomes visitors as well as employees and at the same time serves
as the waiting area.
Ground plan ground floor and site plan
Until now, the various legal departments of Barcelona und
L’Hospitalet de Llobregat had been located in 17 buildings distributed over the two cities – a somewhat unfortunate situation
for visitors as much as for the employees. To avoid long routes
and thus save time, on the site of former barracks at the city
limits of Barcelona and L’Hospitalet an enormous complex was
to be built which unites all the law business from dog license
fees to criminal law. In February 2002, David Chipperfield
Architects won the competition with their plan: Instead of a
single building, they designed a small city district which was to
consist of 11 individual blocks – the so-called City of Justice. By
taking apart the law complex originally planned as a compact
construction, Chipperfield wanted to break through the rigid
and monumental image of justice. After a change in government in 2004, however, the design had to be reduced to nine
blocks. Four of the newly created law buildings are linked with
a four-storey construction which at the same time serves as
the central entrance hall and the lobby. Together with three
detached buildings, they form the tree-lined square in the new
city district. There are two more buildings north and west of
the square. In addition to legal services and forensic medicine, there are also some stores and council flats in these five
structures. Depending on the utilization, the law buildings not
only differ in size but also in their colouring. Yet they all share
the massive character and the consistent perforated façades.
A contrast is the low connecting structure which, with its glass
façade and the non-bearing mesh cover, not only opens up
to the central square but also to the visitors. Matching the
impressive complex of buildings, Lionda luminaires were used
for the outside space: They follow the building canyons and are
markers directing the pedestrians through the City of Justice.
28 | 29
ARCHITECTURE
3lux:letters 2 | 2009
The outside space of the new building of the DKV insurance company is
characterized by curved forms. The
TRILUX Palme luminaire fits exceedingly well into this ambiance.
PALMS IN COLOGNE
Planning in the immediate vicinity of famous buildings beyond the city limits is not
always an easy task for architects. In the case of the DKV headquarters, Störmer
Murphy and Partners managed to do so with a new building which relates to its neighbour as part of the urban planning and at the same time preserves its autonomy with
a successful language of form.
By Thomas Geuder
Client:
DKV Deutsche Krankenversicherung AG
www.dkv.com
Architects:
Störmer Murphy and Partners, Hamburg
www.stoermer-partner.de
Construction supervision and project management:
H&P Bauingenieure, Hannover
www.hp-bauingenieure.de
Location:
Scheidtweiler Straße 2-8 / Melatengürtel 17
Köln-Braunsfeld, Germany
Luminaire:
Palme
Photos:
Boris Golz, Arnsberg; Stefan Schilling, Cologne
30 | 31
ARCHITECTURE
3lux:letters 2 | 2009
Site plan
TECHNOLOGY
The characteristic shape of the
TRILUX luminaire “Palme” stands
out with its elegance yet does not
look obtrusive.
Palme
The Italians Michele de Lucchi
and the German-born Gerhard
Reichert designed the Palme
TRILUX luminaire – a productive
cooperation recognised by the If
Product Design Award 2001, the
North Rhine-Westphalia Award
2001 and the nomination for the
Designpreis 2002. Elegant as a
palm leaf, the luminaire of powdercoated, highly weatherproof cast
aluminium curves upwards and
catches the light. The especially
coated reflector area produces a
pleasant, indirect light at night.
The luminaire unit, available with
a halogen metal vapour lamp or
a sodium vapour lamp, is hidden
within the pole, which makes it
difficult to identify the Palme by
day as a luminaire since it seems
to be a design object blending into
the surrounding architecture. The
Palme is also available as a bollard
Distribution of luminous intensity
luminaire with a height of 120 millimetres and as a wall luminaire,
making it a lighting medium of
versatile application particularly
suited for prestigious areas.
On the east side of the forecourt,
which is orientated towards the
nearby old building, the building
wing forms the spatial edge, on the
west side opposite, the high luminaires optically border the space.
Since the year 1970, the Deutsche Krankenversicherung DKV
health insurance has had its headquarters in Köln-Braunsfeld,
a former residential area mainly for the workers in a brickyard
located there in the middle of the 19th century. The building on
the corner Scheidtweiler Straße / Aachener Straße, an ensemble designed in the square-edged and ponderous architectural
style of the 1970s consisting of seven polygonal towers, had
been designed by the architectural office of Professor KraemerPfenning-Sieverts Architekten, from which the renowned architectural office KSP was later to evolve. Over the course of the
years, however, the building had to be extended due to shortage
of space, for instance between 1998 and 2001 an additional
level was added to the highest tower. In the meantime, several
departments had been distributed over the city and thus, in the
new millennium, the decision was finally made to plan a new
building on the site north of the existing one in order to put the
scattered sections in one place again. The plans were made by
the renowned architectural office Störmer Murphy and Partners
from Hamburg, who responded to the polygonal form of the
buildings with more polygonal shapes but as elongated wings
creating a variety of spatial relationships. Between the buildings, three interior courtyards are arranged alternating with
diagonal wings containing the reception, the cafeteria and
conference rooms. The design of this whole area is orientated
on the axis between the 14-storey tower at the northern end
of the ensemble and the 19-storey tower of the old building and this continues – with a slight, elegant curve – to the
forecourt, thus relating to the old building. This square is
characterized above all by flagstones in various colour tones,
only interrupted by hedges with inset benches standing in the
direction of movement. The square is illuminated by TRILUX
Palm luminaires which, thanks to their arrangement in a row,
form a spatial border in the west and, with their round shape
are perfectly integrated into the architecture by Störmer
Murphy and Partners.
32 | 33
ARCHITECTURE
3lux:letters 2 | 2009
The slender pillar luminaire of the
street lighting are a special design by
TRILUX (right).
Friedrichstraße around 1970 (bottom).
BACKYARD ALLEY IN NEW SPLENDOUR
For a long time, Friedrichstraße in Bonn led an inconspicuous life in the shadow of the
bustling pedestrian zone and was only known as a delivery area and an tip for looking for a parking space for those with insider knowledge. In the year 1992, the street
became a pedestrian zone and finally, last year, was given a new look which today
makes it a very attractive window-shopping address in the city on the Rhine.
By Franziska Bettac
Client:
City of Bonn
www.bonn.de
Planers:
Bonn Town Planning Service
SWB Bonn Public Services
Location:
Friedrichstraße, Bonn, Germany
www.friedrichstrasse-bonn.de
Luminaires:
Special design of the
RL··· construction series
Photos:
Boris Golz, Arnsberg
P. Kersten, Bonn Town Archive and Library of Municipal History
34 | 35
ARCHITECTURE
3lux:letters 2 | 2009
Plan for the conversion of
Friedrichstraße with individual construction stages.
TECHNOLOGY
RL··· construction series
The versatile RL series by TRILUX
was the starting point for developing a special design of luminaires
for Friedrichstraße in Bonn. The
anthracite, powder-coated aluminium pillar has in its cylinder
of high-impact PMMA an optical
system with an axially symmetrical
wide-angle light distribution. The
luminaires of the RL construction
series are designed for extensive
path lighting whilst simultaneously
highlighting trees. The simple form
also sets the stage for museums or
parks. On Friedrichstraße, the opal
lighting cylinder makes it possible
to experience the luminaire as a
continuous pillar during the day
while, at night, effective illumination transforms the clear part of
the cylinder. As a matching family,
TRILUX offers a wide range of bollard and wall luminaires, as well as
a decorative special solution with
Distribution of luminous intensity
colour LEDs. The luminaires of
Friedrichstraße can be individually
controlled and the pillars contain
additional sockets and data cables
so they can easily supply infrastructure to the street during events.
The slender RL series is enormously flexible: as a pillar, bollard
or wall luminaire, it can be used in a
variety of ways thanks to differently
arranged reflectors.
The different, partly elaborate
façades in the historic style were
harmoniously complemented by the
slender luminaires with their minimalist geometrical shape.
Friedrichstraße in Bonn looked back on an eventful history
before it was turned into the most beautiful shopping mile
of the city. Originally a lane for the tramway, starting in 1967
Friedrichstraße became a kind of delivery lane for the shopping streets running parallel to it. In 1992, the street was first
blocked for through traffic but then in 1997 the 10-year elaborate
renovation of the whole pedestrian zone in Bonn was started,
during which Friedrichstraße was fundamentally redesigned.
The renovation of the sewage network and the service pipes
turned out to be urgently necessary. In the meantime, however,
Friedrichstraße has blossomed into a popular window-shopping
mile, thanks to long-established owners of stores and restaurants who, with seating and their offers, have succeeded
in giving the street an unusual atmosphere instead of only
repeating branches of well-known chains, as frequently happens in other places. The “Walk of Famous Personalities” with
portraits of Bonn citizens set into the ground, was continued on
Friedrichstraße and attracts tourists and residents alike to this
part of the pedestrian zone. The most important aspect, however,
is definitely the tasteful conversion of the paving, lighting and
greenery. The 19 exterior luminaires have had a longer history of development: In 2006, the Town Planning Service had
commissioned the Public Services to create a lighting concept
for Friedrichstraße. While some residents of the syndicate
would have liked to have traditional street lights, the planners
agreed that to contrast the historic façades a contemporary
solution had to be found. The process and the acceptance,
however, turned out to be difficult and so, in November 2006,
the designers in charge had several metal pipes of different
heights put up for two weeks as examples where the luminaire
cylinder was improvised with a paper cuff. The effort has paid
off. Together with TRILUX and the ideas of the planners, the
pillar luminaire was developed which has established itself in
Bonn and has now been used in the government district and
in further locations.
36 | 37
SERVICE
3lux:letters 2 | 2009
BELEUCHTUNGSPRAXIS
AUSSENBELEUCHTUNG
Lighting planning in the exterior space is an important task, particularly for the
dark season. Those who are well advised have a reliable partner from the luminaire
industry at hand. Light planners can now update and expand their know-how with
the “Beleuchtungspraxis Außenbeleuchtung” (Practice of Exterior Lighting) – a
body of work no planning office should be without.
Technical information on light- and electric engineering is
a 50-year tradition at TRILUX: Back in the year 1956, the
“TRILUX-Lichtratgeber” was published with basic information
on lighting and illumination technology. In the subsequent
years, it was updated and expanded in two further editions
and thus became one of the most important standard works
for light planners, architects, electricians, electrical retail
as well as for newcomers in the field. With the handbook
“Beleuchtungsplanung – Lichttechnik – Elektrotechnik” in
1996 (2nd edition 1997) a comprehensive planning aid was
published which represented further sensible support for
practical work.
Particularly over the past 10 years, a lot has happened in the
lighting market and that is why the “Beleuchtungsplanung” of
1996 has now been updated and subdivided into two sections:
In March 2007, the “Beleuchtungspraxis Innenbeleuchtung”
[Practice of Interior Lighting] was published in which many central questions of lighting planning in the interior are answered on
more than 400 pages. Now the published “Beleuchtungspraxis
Außenbeleuchtung” focuses in a similar length on the central
questions arising when planning exterior light. After a brief
historical summary, illumination for different areas are run
through: starting with normal street lighting through the lighting of pedestrian zones, bicycle paths and sports facilities to the
lighting of workplaces and waterways.The reader learns a considerable amount about ecological as well as economic aspects
of lighting systems as well as about luminaires and lamps in
general, always presented in a graphically appealing way as a
successful mix of texts, photographs, tables and diagrams. Also
very helpful is the extensive index in the appendix where terms
relevant to light planning are again explained in detail and there
is also a list of the Standards Institutes and the Societies of light
engineering in Europe, which saves internationally active planners a lot of time, and a list of additional literature.
Thus the “Beleuchtungspraxis” duo is an extraordinarily useful
tool for the everyday work of every light planner, architect or
interior designer.
CONVERTING TO LED
For more than 20 years, the TRILUX 935··· construction series has been on the market. With its clear and unostentatious shape, it has become the design classic per se
found in many streets and squares. Reason enough to make the luminaire fit for a
future where LEDs will be playing a central role in lighting.
Photos: TRILUX
The optical system of the LED conversion set for the TRILUX post-top
luminaire of the 932··· and 935···
construction series consists of three
or four segments, each with 18 or
24 white high-performance LEDs
1W, with a total luminous flux of up
to 2,400 lm.
In the new millennium, much has already happened in the
matter of lighting. Above all the small LEDs have caused a
furore on the market as they come with a whole series of
advantages compared to traditional lamps. They are not only
considerably smaller and consume less energy, with about
60,000 hours they also have a service life which makes the
term “maintenance” quickly fade away. Of additional interest
for exterior lighting: Light from LEDs does not attract insects
which means less dirt. TRILUX has taken an important step in
making use of these enormous advantages with the application
of LED technology in one of its design classics: For the 932···
construction series, there is now an LED post-top luminaire
available, for the large 935··· model also a conversion set. With
the latter, existing systems can easily and within a few minutes
be converted. For lowered night-time lighting, some of the
LEDs can even be switched off which saves up to an additional
50 per cent of energy.
Two of the four LED segments of
the 935··· construction series (one of
three modules of the 932··· series)
can be switched off separately
for the energy-efficient lowered
night-time lighting.
With a few, simple touches, the
necessary components for the LED
conversion are exchanged – ideal
for a quick and low-cost renovation
of existing systems.
SERVICE
3lux:letters 2 | 2009
MATERIALS:
INTELLIGENT REFLECTOR FORM
Particularly concerning illumination of the outside space, terms such as “light
pollution” or “global dimming” are again and again making headlines. As a manufacturer of luminaires, TRILUX is aware of its responsibility. An important question to
ask oneself when designing luminaires is therefore: Where is the light directed to and
what is being illuminated by it?
Illustrations from: “Beleuchtungspraxis
Außenbeleuchtung”, Trilux
38 | 39
Without the appropriate reflector
form, the light is symmetrically distributed (left), an internal semi-reflector, on the other hand, ensures
directed asymmetrical illumination.
With a special camera, the vertical
luminance distribution on the façade
can be shown for the non-shielded
(left) and the shielded (right) poletop luminaire.
Three-dimensional construction
model and basic form of the reflector (top) as well as polyhedral
reflector and luminous intensity distribution of the luminaire (bottom)
as the result of the optimising.
Behind the term “light pollution” is the excessive load on the
atmosphere due to the distribution of artificial sources of light,
which can become a problem especially in settlement areas.
People as well as animals are negatively affected by improper
exterior lighting. TRILUX became aware of this a long time ago
and supplied a solution with intelligent forms of reflectors.
The optical features of the luminaire are developed with a
special software and optimised thanks to extensive calculations. In this way, TRILUX not only determines the maximum
distances between light points, to give an evenness of the
illumination level or restrict the brightness to the traffic lane,
but at the same time calculated the three-dimensional form of
the reflector. For this purpose, the form is divided into a very
large number of surface elements whose alignment to the
light source, equally divided into partial areas, is optimised.
The result is a reflector which shields the light in a specific
radiation zone and intensifies it in another direction.
PLANNERS ASK,
MANUFACTURERS ANSWER
In the everyday work of a planner, many a question comes up which cannot be found in
any handbook. Answers to such questions are given here by the experts from TRILUX
who also gladly tell you one or more tricks.
More and more often, white instead of
yellow lighting is seen in the streets.
Why is that?
Thomas Kretzer
General Manager
TRILUX Vertrieb GmbH
At the same lighting level, white light seems brighter and
more comfortable than yellow light because the colour
rendering is considerably better, which makes it easier to
discern objects and people. On the eye’s retina, we have
receptors with different sensitivities: cones (for brightness
and colour information) in the centre and rods (exclusively
for light-dark information) located nearer the edge. In our
outer, peripheral visual field, the eye uses a combination of
cones and rods, the so-called mesopic seeing, which works
best with white and blue light. Thus the peripheral visual field
of a motorist is particularly important in cities and driving
at low speed when pedestrians need to be seen. Here white
light increases safety. On motorways, on the other hand, it is
rather the central visual field which is needed and that is why
lighting with the yellow light of, for example, high-performance sodium-vapour lamps can be found here.
Photo: TRILUX
White light such as from a halide
lamp is found above all where the
road space has to be represented as
exactly as possible.
TRILUX
3lux:letters 2 | 2009
ROADSHOW EXTERIOR LUMINAIRES
TRILUX on Tour: Right in time for the publication of the new standard work
“Beleuchtungspraxis Außenbeleuchtung” (Practice of Exterior Lighting), TRILUX
toured Germany and provided much practical know-how with lectures and discussions. Not surprisingly the show was heavily frequented by architects, light planners
and consultants with an interest in light.
Participants as well as organisers enjoyed
not only the numerous lectures but also the
little show interludes and the informal talks
afterwards.
The visitors of the road show follow
the informative lectures on the subject of exterior lighting with interest.
Photos: TRILUX
40 | 41
Right on time for the publication of the new handbook “Beleuchtungspraxis Außenbeleuchtung”, in autumn 2009 TRILUX
organized the “Exterior Luminaires” road show. The lecture
series stopped at Berlin, Leipzig, Magdeburg, Lüneburg,
Cologne, Fulda, Stuttgart and Ingolstadt. There not only the
TRILUX handbook was presented but also information in the
form of interesting lectures on the current developments in
exterior lighting. The topics covered were the effects of the
European legislation, intelligent systems of light control for
street lighting or legal foundations and technical approaches
regarding energy-efficient exterior lighting. The Lumega 600
renovation highlight was also presented and there were talks
about LEDs as the lighting of the future. Afterwards, the participants were able to exchange experiences with colleagues
and lecturers at the buffet and further deepen what they had
learned from the lectures they had attended. The supporting
programme of the well-visited road show was complemented
with a visit to the city landmarks.
TREE OF LIGHT
From 3 November 2009, Arnsberg has had an additional attraction: the Tree of Light,
a design by the trainees at TRILUX, immerses the new roundabout right in front
of the main plant in Arnsberg in a “New Light” – a masterpiece of collaboration
between lighting design, tool making, construction and training workshop.
“It stands in the public space, is therefore an artwork for the
whole city and, at the same time, a thank-you to Arnsberg for
many years of good cooperation.” With these words, Michael
Huber, Chief Representative at TRILUX, on 3 November 2009
presented the Tree of Light to Arnsberg Mayor Josef Vogel. The
Tree of Light gives the new roundabout in front of the Arnsberg
main plant a new face visible from afar. The idea for the artwork originated in 2007 when, on the occasion of the Arnsberg
Summer of Art, trainees at TRILUX built a temporary forerunner
which found its place at the nearby River Ruhr. In spring 2009,
it was decided to do a new version of the design. An intense
three-month planning phase followed and, after only four weeks
of manufacturing time, the Tree of Light was finally installed. It
is a work of light art which is not only art for art’s sake but also
serves the practical purpose of illumination. For Michael Huber,
the tree symbolizes growth and life and, at the same time, offers
a view into the shining future of the company.
Photo: TRILUX
Photo: Boris Golz, Arnsberg
The Tree of Light consists completely of aluminium and weighs
about a ton. Its branches reach up to
a height of 6.70 metres with a diameter of 6.20 metres. The heart of
the tree is a large round light which
illuminates the tree from the inside
as well as the roundabout.
Out of the main pipe with a diameter
of 500 millimetres and a height of
2.30 metres, 62 individual curved
aluminium pipes are “growing”
which form the branches of the Tree
of Light. Each branch is especially
made, which was a major challenge
for all who participated.
ART
3lux:letters 2 | 2009
When a flower is put in the Life 01
vase, the latter comes to life and
starts to shine as if by magic.
Photos: Courtesy of Flos
42 | 43
As soon as the flower starts to wilt,
however, the light is also slowly
going out.
LIGHT IS LIFE
At first glance, the luminaire presented
by Paul Cocksedge at the Euroluce 2009
in Milan looks like an ordinary vase.
Once a flower is put in it, however, it
begins to glow.
By Christina Dragoi
The British product designer Paul Cocksedge looks at light with
the curiosity of a child. He questions universal facts and experiments with everyday objects such as non-returnable cups or
pencils as well as with exquisite, hand-made glass. Light itself is
never in the foreground in his designs but is combined with the
objects into sophisticated metaphors. In Life 01, the combination
of light, water and organic life materializes as a glass vase which
starts to glow as soon as a flower is put into the water. The stem
of the flower plays an important role in this: By inserting the
flower and leaning it against the metal-covered rim, an invisible
electric circuit is closed which causes an LED in the base of the
vase to light up. When the flower starts to wilt, the light slowly
goes out again. The unique luminaire is more than a purely
decorative object: Life 01 links traditional symbolism with the
vital elements of light and water and thus becomes an allegory
of the transience of life.
www.paulcocksedge.co.uk
It seems that things which are
getting on in years such as the
old office lamp are particularly
vulnerable to infections.
DESIGN
INFECTION
The Light Blubs by Pieke Bergmans exude
something ominous. What has happened
when suddenly such a reliable product as
a light bulb gets out of line, gives itself up
and surrenders to gravity?
By Julia Zürn
Light bulbs which seem to flow out of their lampshade, take
on new forms and sizes, are melting in order to then become
manifest in a new shape – the dreaded “design virus” has
infected the light bulbs! Already since 2008, the Dutch product
designer Pieke Bergmans has suspended mutated light bulbs
from the ceiling. In her twelve-part series Light Blubs Special
Editions a year later, the mass has still not set. Far from it: The
forms seem even more grotesque, the symptoms are intensified. They are oozing out of old and tired desk lamps, flow over
disused office furniture such as chairs and filing cabinets. To
tell the truth, however, they are not light bulbs but glass bodies
consisting of white, mouth-blown crystal glass with integrated
LEDs. Each Light Blub is one of a kind. And it is on precisely this
theme that Pieke Bergmans focuses in her conceptual studies
with the title “Design Virus”. She interferes in the standardized mass production and creates individualized products by
changing their form.
www.piekebergmans.com
Photos: Studio Design Virus
The young product designer Pieke
Bergmans says about herself:
“I am a virus.” And with this virus,
she also infects her objects.
ART
3lux:letters 2 | 2009
Photos: ©Gerry Hofstetter
44 | 45
On the occasion of the re-opening
of the newly renovated Federal
Parliament Building in Bern, Gerry
Hofstetter performed magic with a
Helvetian light installation on the
façade of the Swiss parliament.
When the Bernina railroad with
the famous circular viaduct near
Brusio was taken onto the list of the
UNESCO World Heritage Sites, an
elaborate light show was staged.
CONFEDERATE
LIGHT ART
The event manager and light artist Gerry
Hofstetter is a master of stage production. With his series “Monuments of
Switzerland” he shows monuments and
other well-known buildings of the alpine
country shining in a new light.
By Franziska Bettac
An investment banker and helicopter pilot in an earlier life and today
exclusively a light artist, Gerry Hofstetter has already immersed
numerous famous monuments worldwide in an unusual light: In
2006, in the Year of the Desert, he illuminated the pyramids of Giza
and in 2008 he put the Washington National Cathedral into the
focus with a light show on the occasion of its 100th anniversary.
With his spectacular installations, the artist wants to create images
able to transport a message around the world. With his projections
in the Arctic, he reminded of the climate change on icebergs by
projecting images of the endangered polar bears on the (still) cold
rocks. Yet despite all the international projects, Hofstetter is also
a patriotic Swiss. Not without pride, he makes the UNESCO World
Cultural Heritage Site Rhaetian Railway shine in a typically Swiss
light or decorates the Matterhorn with the national emblem from
swaying helicopters. His choice of objects alone is remarkable.
Thus in the series of the “national monuments” there is also the
cooling tower of the Gösgen nuclear power plant which due to this
illumination could probably for the first time be recognized as a
national monument.
www.gerryhofstetter.ch
The acrylic blossoms cover the
sloping roof of the visitors’ centre
between the glass cupolas of the
rainforest- and the Mediterranean
biosphere.
Photos: Mark Pickthall
Eleven external projects supply
the acrylic luminaires with light
– fibreglass cables serve as the
transmission medium.
BLOSSOMS
OF THE NIGHT
The wonders of nature are the models for
the light installations by the artist Bruce
Munro. Thus also for his work “Field of
Light”: Thousands of acrylic lamps appear
to overgrow like plants the exterior surfaces of the Eden Project botanical garden.
By Annika Dammann
Hast makes waste: For 15 years, the British light artist Bruce
Munro carried the idea for his “Field of Light” light installation
around in a sketchbook. An excursion into the Australian
desert had inspired him: Fascinated by the spectacle where
a rain shower revives dormant plant seeds and turns the arid
desert into a green landscape, he had sketched the idea in his
book. Years later he finally realized it: From November 2008 to
March 2009, visitors were able to admire the “Field of Light”
near St. Austell in the south of Cornwall. Between the striking
biosphere cupolas of the Eden Project by Nicolas Grimshaw,
Munro installed 6,000 small acrylic lamps which – similar to in
the desert at rainfall – only begin to glow in changing colours
when darkness falls. The narrow, long acrylic tubes with “blossoms” of glass spheres look like a meadow of strange plants.
Fibreglass cables conduct the light into the luminaires – altogether 24,000 metres of cable were used for the art installation
measuring 60 by 20 metres which turns the nocturnal garden
into a fantastic dream scenery.
www.fieldoflight.co.uk
CURIOSITY
3lux:letters 2 | 2009
Photos: Romulo Fialdini
46 | 47
INVASION OF
TECHNOLOGY
By Thomas Geuder
Although created as light art, the installation “Pipe Light”
by the French-Brazilian quartet of architects Triptyque for
Micasa, a manufacturer of interiors in São Paulo, looks more
like an occupation of the architecture. Metal cable conduits
run along the ceilings and the walls seemingly without ending anywhere, no obstacle can stop them. Technology and its
cables take over the architecture like a steadily growing climbing plant. It quickly becomes clear: This installation draws
attention to the technological change which more and more
determines the building of the present. Although invisibly, the
house has meanwhile turned into a machine which, similar to
an organism, acts and reacts independently. We can only hope
that, despite all this, the future development will remain at
least an interaction of man and machine.
SOURCE
sources have been used since 1867,
initially in the form of arc lamps
which were soon replaced by the
more economical carbon filament
incandescent lamp invented in 1879.
In the thirties, with the development
of the high-pressure mercury lamp,
a further step was taken in luminaire
technology and as of 1969 sodium
high-pressure lamps were increasingly used because of their high
luminous efficiency. They are standard in many countries to this day, but
for high-quality systems, halogen
metal vapour lamps are often preferred because of their good colour
rendering. LEDs are more and more
used in the exterior space, to date
mostly for decorative purposes. Yet
first solutions for street lighting are
already available.
With the development of the illuminants, the demand on the illumination of the outside space has also
grown: Light no longer has to ensure
safety in darkness alone but also
fulfil its new function as a means of
design in the public space.
“Eclairage”, from Nouveau Larousse
Illustré. Whether fire or electricity:
At all times, man has tried to bring
light into the darkness of the night.
On the occasion of the 300th
anniversary of the Berlin street
lighting, the series of stamps
“Historic Street Lights” appeared
in 1979: gas-powered model lamp,
carbon arc lamp, pending luminaire
and five-arm candelabra.
Photos: Deutsche Post AG
Since his beginnings, man has tried
to overcome darkness. Thus we for
instance have reports on street lighting in antique towns; in the Middle
Ages a fireplace in the middle of the
village provided light and warmth.
For a long time, the open fire
remained the only source of light:
as a pitch pan or with chips of pinewood, as a torch, or later as an oil
lamp. With its wick, the latter for the
first time made it possible to control the light intensity. In 1662, the
first oil lamp was put up in London,
Paris and Berlin followed shortly
afterwards. At about the same time,
Paris developed a municipal standard street lamp which was to replace
private street lighting. In Germany,
Hamburg took on the role of pioneer
with 400 municipal oil lanterns. In
1808, for the first time in London a
street, a part of Pall Mall, is illuminated with gas; on the Continent the
first gaslight was already burning
in Freiberg in Saxony in 1811. As
an open gas flame and later as an
incandescent light, for more than a
century gas lamps determined the
nocturnal image of European cities. In many cities they can even
still be found today. Electric light
Photo: Illustrations by Maurice Dessertenne, circa 1900
(BRIEF) HISTORY
OF STREET LIGHTING
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