LIGHT | ARCHITECTURE | TECHNOLOGY 1 | 2015

LIGHT | ARCHITECTURE | TECHNOLOGY 1 | 2015

Light and refurbishmentOffice and commercial buildings

Light and monumentsHistorical gaslights

Light and assisted measuresEuropean School in Schwerin

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02 | 03 3lux:letters 1 | 2015EDITORIAL

Dear Readers,

Front page: The striking Tour Esplanade decisively shapes Parisian quarter La Défense, considered Europe’s largest office district.

Photo: Guillaume Guerin

Altering existing buildings still accounts for over half the work done by architectural companies

and planning offices. The focus is on adapting buildings to altered needs. Converting and adding

to buildings, modernising and enhancing energy efficiency all offer potential. Rising energy

prices often spell considerable building operating costs. In this issue of 3lux:letters we focus on

modernisation through more energy-efficient lighting systems.

We delve deep into the history of lighting culture with the article by Bertold Kujath on gas street

lighting (page 10). In our interview, architect Pierre Wurmbauer (Architektur + Licht), light artist

Gerry Hofstetter (Hofstetter Marketing) and light planner Noemi Barbero (AXCT / Idom) air their

ideas on light for existing buildings (page 18).

We present successful examples of energy-efficient lighting: the buildings of logistics firm Taskin

in Sprockhövel (page 22), the Tour Esplanade in Europe’s largest office quarter La Défense in

Paris (page 28) and the Dutch post office’s mail-sorting centre in Nieuwegein (page 32).

In our question for planners (page 38), we explain how firms can borrow, lease or rent light in

future. And take a look at the John-Brinckman European School in Schwerin (page 40) – an

example of the projects promoted by the Federal Ministry of the Environment, Conservation,

Building and Reactor Safety (BMUB, previously BMU).

I hope you will very much enjoy reading the current issue of 3lux:letters!

Yours sincerely,

Thomas Kretzer, CEO TRILUX Vertrieb GmbH

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IMPRESSION

REFLECTION

ARCHITECTURE

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TRILUX

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LIGHT AND REFURBISHMENTDancing Traffic Lights, Lissabon/PT; Lamp “Jar“ Mejd Studio; Concert

Hall, Blaibach/DE; Lamp “Big Bubbles“, Alex de Witte; Van Gogh-Roose-

gaarde Bicycle Path, Eindhoven/NL; Installation „Constellaction“, Łódź/

PL; Installation Yokohama/JP 2014; Inter national Year of Light 2015

Saving energy with simple refurbishment

Assisted lighting refurbishment

By Uwe Graf

Three books recommended by the Editorial broad

The gaslight as world heritage?

By Bertold Kujath

Living in the past or short-lived

Pierre Wurmbauer (Architektur + Licht), Gerry Hofstetter (Hof stetter

Marketing), Noemi Barbero Zumalacárregui (ACXT / Idom)

Logistics Service Provider Taskin, Sprockhövel/DE; Office building Tour

Esplanade, Paris/FR; Distribution Centre PostNL, Nieuwegein/NL

Planners ask, manufacturers answer: How to finance light?

State-funded modernisation

New Sculpture, Keith Sonnier; Commendable, International Light

Art Award; Light space, Micha Jönke; Light Workshop, Valopaja

Mood Sweater - emotional

Heuer traffic lights

Imprint

04 | 05 3lux:letters 1 | 2015

HISTORY

VIEWS

A smart idea and a highly effective one that could make living in our cities more amusing and safer. Who likes waiting at a pedestrian crossing, sta-tistically the most dangerous place there? The “dancing little traffic-light man” makes waiting at a red light more entertaining. As soon as the light switches from green to red, the little red man starts dancing to music – and people stand still to watch him. An experiment in the centre of Lisbon which involved the movements of the waiting dancers being transferred to the pedestrian lights in real time was extremely successful – 81 percent more people started waiting at the red light. The advertising agency BBDO came up with the idea on behalf of smart, and it was implemented by the production companies Bigfish and Minivegas.

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The Dancing Traffic LightsInstallation in Lisbon, PTAdvertising agency BBDO

www.bbdo.de

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Considerably smaller diameter: The Inperla C2 HR-CAT 2 with

compact fluorescent lamps (above) in a direct comparison with the

current model, the recessed Inperla Ligra Plus LED (below).

Saving energy withsimple refurbishment

Conventional downlights fitted with compact fluorescent lamps generally had a diameter of around 200 millimetres, as with the Inperla C2 HR-CAT2 2TCT26/32 E 01 by TRILUX. These built-in downlights with a C2 structure and highly specular reflector (HR) made of aluminium required a ceiling cut-out of 210 millimetres. Given that this luminaire was suitable for computer work (CAT2) and was considered glare-free with its UGR of ≤19, it was often selected for office environments or conference rooms. Nowadays both planners and developers tend to choose smaller downlights and, from the energy viewpoint, prefer to opt for LEDs instead of the compact fluorescent lamps previously used. The ideal choice for state-of-the-art lighting solutions both visually and

technically is the recessed Ligra Plus LED from the Inperla range. Within a matter of minutes electri-cians can fit these luminaires, with their special cladding covers, into existing ceiling cut-outs that are too large. Since the holes do not need to be closed up with gypsum plas-terboard, filled and sanded down, there is no dust or noise pollution and thus no disruption to everyday life in the office. However, it is not only the short changeover time that saves money, for in comparison with conventional downlights with their luminous efficacy of around 40 lm/W (which corresponds to 2300 lm with a power input of 58 W) the Ligra Plus LED is almost three times as powerful at 112 lm/W (1800 lm with a power input of 16 W). Consequently, the relevant payback periods are very short.

This concert hall, which on account of its shape on the outside is also referred to as a meteorite, is the heart of the centre of Blaibach. The tilting, monolithic structure digs its way deep into the village square. Visitors descend a wide staircase to a space that divides into the foyer and cloakrooms, the bar area, and then the concert hall itself – where they find themselves in a different world. The walls are made up of wall panels tilted at varying angles, with the resulting slits making for lighting that is very natural. The transparent chairs appear to be hovering above the ground on the sloping floors. The stage is a place of calm, a homogenous, restful, soothing place on which the audience will be focusing its attention during the course of the concerts.

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Katarína Beličková and Štefan Nosko, the founders of the new design studio Mejd in Bratislava, have taken it upon themselves to discover new solutions for projects that go beyond meeting purely functional and aesthetic requirements. They create an additional value, in the sense of new ideas, stories, and links to other areas of social life. “Jar”, for example, is a suspended luminaire in the shape of a classic ceramic amphora. Detaching the lower section of the “ves-sel” makes for a hollow in its upper section, where the bulb can be housed. The lower section can be placed on the table under the luminaire to function as a bowl, unifying something that has been divided. What appears familiar at first glance thus becomes a unique luminaire whicht, as different shades of light hit its glazed interior surface, is transformed into something quite magical.

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JarMejd Studio, Bratislava, SKwww.mejdstudio.com

Blaibach concert hallpeter haimerl . architekturwww.peterhaimerl.com

06 | 07 3lux:letters 1 | 2015VIEWS

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Van Gogh-Roosegaarde bicycle pathEindhoven, NL

Daan Roosegaardewww.studioroosegaarde.net

Big BubblesAlex de Witte, ‘s-Hertogenbosch, NLwww.alexdewitte.nl

The idea came to him when blowing bubbles with his little son, Alex de Witte says. The challenge was then to cast or to blow these wonderful, mimosa-like, fragile puffs of air out of glass. He wanted them to be large, unusually large and, at some point, brightly coloured, too. He wanted them to shine out in many colours, to shimmer, flicker, to cast transparent shadows, to be tan-gible and, at the same time, ethereal. De Witte is an industrial designer from Goes in the Netherlands, who studied at Artemis Academy in Amsterdam. He creates light objects that are not only large, indeed incredibly so, but also, in terms of details, highly complex, clever and well thought-through. Equipped with dimmable LEDs these Big Bubbles are enchanting, sometimes no more than light sources and sometimes they bring back childhood memories.

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Located in the province of North Brabant in the south of the Netherlands, Eindhoven is considered a technology centre. Innovation and design are the buzzwords here. In anticipation of the 125th anniversary of the death of Vincent van Gogh, the famous post-Impressionist in 2015, a cycle path named after the artist was inaugurated in mid-November 2014. It is part of the van Gogh bicycle route in Brabant. Together with designer Daan Roosegaarde who took his inspiration from the painting “Starry Night”, the Dutch construction company Heijmans developed a special technology to light up the 600-metre path with thousands of twinkling stars. Thus, when darkness falls, the path, which passes the artist’s former house is trans-formed into poetry for the senses by the play of light on the paving.

STATEMENT

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ConstellactionInstallation Łódź Design Festival, PL panGenerator designer collectivewww.pangenerator.com

This installation by panGenerator, a designer collective from Poland, consists of hundreds of shining tetrahedrons that form innumer-able wave-shaped loops of light. The idea behind this shining looping movement took its inspiration from natural phenomena such as shoals of fish or flocks of birds, as well as from the breakneck pace of the stock markets. Every Plexiglas en-tity conceals an electronic system driven by a tiny micro-controller, three photo-resistors, three LEDs and two batteries. The different tet-rahedron arrangements produce surprising light effects, and addi-tional audible signals are emitted by a small buzzer. So it is par-ticularly fascinating or everyone to interact with the installation, play with it, try it out, make discoveries and be surprised by it.

Assisted lighting refurbishment Uwe Graf, lawyerTRILUX, Arnsberg

Successful energy refurbishment: the “Realschule” in the town of Rees

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In the coming years, replacing out-of-date lighting systems will be-come increasingly important for the entire lighting industry. Not only are there considerable potential savings to be made in the field of lighting for both buildings and open spaces, but this market segment is also becom-ing increasingly important in terms of meeting the climate protection targets required by the German government. According to statis-tics published by the German Elec-trical and Electronic Manufacturers’ Association (ZVEI) three quarters of the lighting systems in German properties are more than 25 years old and not infrequently have been badly planned. As demonstrated by the fact that, according to the ZVEI, up to as much as 50 per cent of electricity used is accounted for by lighting, enormous savings can

be made and thus CO2 emissions cut by modernising existing sys-tems. TRILUX meets this challenge with its “TRILUX Light Services”. This new maintenance and financ-ing service provides customers with a comprehensive no-worries pack-age – from stock-taking to efficiency comparisons between existing and new lighting to financing options and the integration of subsidies. TRILUX Light Services coordinates projects to replace existing lighting, relieving its customers of the need to concern themselves with the sub-ject. This being the case, custom-ers are able to benefit from the sav-ings afforded by their new light-ing very quickly and with little in-convenience to themselves. In par-ticular the assistance offered our public sector clients in accessing subsidies (replacement of lighting

systems with grants from the Fed-eral Environment Ministry) is a good example of how the TRILUX com-prehensive service package reduc-es its customers’ workloads. From stock-taking to filling out the rele-vant applications and involvement in the approval process, TRILUX offers comprehensive assistance in inte-grating funding into replacing light-ing systems. To date TRILUX has as-sisted many hundreds of applicants throughout Germany. A number of the projects already implemented have now been posted as referenc-es on the TRILUX website. In the commercial sector, too, TRILUX of-fers companies assistance in gain-ing access to subsidies.

08 | 09 3lux:letters 1 | 2015VIEWS

In order to refocus people’s atten-tion on the importance of light as one of the fundamental conditions of life for both man and nature, the United Nations decided to declare 2015 the Year of Light. Throughout the world, topics such as light pol-lution, the development of energy-efficient lighting sources and the potential there is for making savings will be accompanied by exhibitions, lectures and workshops. The offi-cial opening was in Paris at the end of January. The Federal Republic of Germany recognised the start of the “light year” by awarding an inter-national light art prize, presented at Haus der Berliner Festspiele in Berlin on January 22. The first prize was awarded to Cologne-based artists Martin Hesselmeier and Andreas Muxel (see page 43). Ph

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GwaGwa, a group founded by Masamichi and Kozue Shimada, developed a very special wind lumi-naire for an art installation, “SMART ILLUMINATION YOKOHAMA 2014” in the docks of this Japanese city. The luminaire uses a generator and a sensor to convert the wind way into dynamic light and colours. 50 of these wind luminaires were set up along the wharf. In the daytime the blades of the installation produced electricity which was fed into a bat-tery. The electricity transferred to the luminaire via the micro-con-troller, the sensor and the coloured LEDs caused the object to start glowing. Depending on the strength of the wind, the luminaires shone out in five different colours, thus producing a fascinating play of light and colours and one not controlled by human hands.

Colors of the Wind Way Yokohama, JP

GwaGwawww.gwagwa.jp

International Year of Lightwww.light2015.org

READING

From March 30 to April 4, 2014, the entire city of Frankfurt was bathed in a new light. Luminale, the pro-gramme to accompany Light+Building, one of the world’s leading fairs, brought together artists and international light designers to or-chestrate both exteriors and interi-ors in this riverside metropolis. The photos in this illustrated book cast a spell over the reader. They have the power to work magic. Alongside the work of the three winners of the Luminale photo competition there are pictures of the Frankfurt skyline, the river Main, its bridges, its people and the squares. Here, readers can rediscover things they have seen before, admire illuminations that they might have missed and look forward to the next Luminale.

Even today, houses known as “Siedlungshäuser” typify residential areas built from the 1930s to the 1960s in Germany. The first were built for poor families with lots of children, others for factory workers, others again for the “resettled” and, after the War, for people who had been bombed out and refugees. The houses in question were usually one-and-a-half storey, detached single-family structures on a plot designed for some degree of self-sufficiency. Starting to show their age, many of these houses needed to be reno-vated or adapted to current ideas of modern living. The examples de-scribed in this book are intended to offer practical suggestions and a source of inspiration for the renova-tion, conversion and modernisation of these “Siedlungshäuser”.

This book explores the basic prin-ciples of processes that are as-sociated with the perception of colour. It first describes the phys-ical characteristics of light and light sources, transparent and opaque materials before address-ing physio logical and psycho logical aspects of perception. The spec-trum it covers ranges from the anatomy of the eye to the way peo-ple experience light and the repro-duction of colours in photography, in printing and in digital media. On the basis of more than 700 pictures, diagrams and schemata, phenomena from all manner of dif-ferent fields of science are provid-ed with a straightforward context. This work gives readers a compact insight into the relative material, one that transcends the various in-dividual disciplines.

Frankfurt in neuem Licht –Luminale 2014Michael ForstPublished in2014by Societätsverlag160 pages, illustrated book24,4 x 16,8 cm, paperbackGerman€ 12,80 ISBN 978-3-95542-099-4 www.societaets-verlag.de

Siedlungshäuser der 1930er bis 1960er Jahre modernisierenJohannes KottjéPublished in 2014by Deutsche Verlags-Anstalt144 pages, 182 illustrations and 45 footprints17 x 24 cm, hardcover German€ 29,99 ISBN 978-3-421-03908-8www.dva.de

Licht und FarbeMoritz ZwimpferPublished in 2012by Niggli Verlag160 pages, 400 illustrations 30,5 x 25,5 cm, half-cloth bindingGerman€ 70,00ISBN 978-3-7212-0804-7www.niggli.ch

10 | 11 3lux:letters 1 | 2015SPOT

More than half of all the gaslights in the world line Berlin’s streets. The silent contemporary witnesses have shaped the image of what is today the German capital since the early 19th century. Now the city’s unofficial landmark, as an important industrial monument, could be designated as World Cultural Heritage. By Bertold Kujath

Anyone who looks into the topic of gas lighting will at some point be confronted with the question: “Gas lighting, does that even still exist?” The gaslight on Berlin’s streets is a silent companion, one that you often only notice when it has already gone. Even today, hundreds of thousands of people live in gas-lit streets. Districts like Charlottenburg and Zehlendorf in the German capital are still illuminated up to 80 percent by intact gas streetlamps. It seems as though in a city like Berlin, which until just recently still had over 44,000 gas lamps, the gaslight has become such a natural sight that it is hardly consciously perceived anymore. And yet, for some time now interest in the gaslight has been on the rise, which hardly seems coincidental given the Senate’s nascent efforts to abolish this type of light for good. The guided gaslight tours offered in Berlin are becoming ever more popular with German and international visitors as well as locals themselves. They all want to see the Berlin gas-light. The objection often brought against it, lumens per watt, barely plays a role. Rather it is the fascination of a lighting cul-ture that has been in existence for almost 200 years now, which

continues to this day to significantly shape the German capital by night. It is this typical lighting culture, a complementary com-bination of gaslight and electric light (which incidentally is not much younger than the gaslight and as such no less historically important). At present however, the topic of the gaslight exceed-ingly highlights the fact that many things that are considered everyday and run of the mill have not only an economic, but also a cultural and an aesthetic aspect. Berlin was only the third city in the world to have the then new lighting installed. The technology for mass-produced gas streetlamps came from Great Britain. In 1807 William Murdoch installed the first gas lamps in London. Hanover followed, but it wasn’t until 1826 that the first so-called Camberwell lamps were installed along the avenue Unter den Linden in Berlin. They still contained an open flame, which initially flickered and was weak. That did not change until 1885 onwards, when Carl Auer von Welsbach invented the gas mantle, a piece of gauze dipped in various substances that generated bright light when heated by the gas flame and now guaranteed even and much

THE GASLIGHT AS WORLD HERITAGE?

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such as the original from 1903 located near Charlottenburg Palace. Around 1906 a second model emerged, the pendant lamp, which was also able to illuminate busier streets owing to its higher light point above the road. The pendant lamp quickly proved to be a major export success and was even sold in Buenos Aires. It was followed in the 1920s by the U7 pole-top lamp, popularly known as the “Bishop’s Mitre” owing to its characteristic silver cover. It was primarily conceived for resi-dential streets and 32,000 of them can be found today across all of Berlin. The final major redevelopment of the gas streetlamp was the gas alignment lamp from the 1950s. At the time this development ensured the survival of gas lighting, as it was in strong competition with electric lighting. Additionally conceived for main roads, it was fitted with up to nine illuminants in a row. Untypically for a gaslight, here the lamp is attached to an arching lamp post, which is why it looks more like an electric light. In addition to these basic models there are numerous one-offs and special versions. Irrespective of the model, today all gaslights in Berlin are fitted with twilight switches, many of which even run on solar power. The days when someone went round lighting the gas lamps, still popularly associated with the devices today, are long since over. Over the last two years thousands of gaslights have been replaced with electric ones; they are disappearing very rapidly. In 2012 the umbrella association for all non-governmental cul-

greater light output. The Imperial Continental Gas Association (ICGA) in London supplied gas to cities throughout Europe. For almost a hundred years, until 1918, Berlin purchased both gas and the lampposts from Britain. There are still around 2,500 gas lampposts on the streets of Berlin today bearing the inscription ICGA. Some of them are 150 years old, impressive proof of the durability of gas lighting technology. Berlin had long since pro-gressed to become a European centre of the gas supply indus-try. Gas lighting today is a shining testimony to this epoch. In the 19th century gas illumination was accompanied by major social changes, indeed it enabled longer opening hours in the shops and street cafés. Major cities could now extend their outdoor activities late into the night. The spread of the gaslight saw the parallel evolution of the modern city with its nightlife, theatres and restaurants, as well as its businesses, where people could now work late into the evening or by night. The gaslight was one of the drivers of the Industrial Revolution.The various gas streetlamp models also have a long history; each redevelopment had its own specific purpose in terms of traffic management. In 1892 the first of the four models appeared that can still be found in Berlin today, namely the Schinkel lamp. The design of the lamp, with its characteristic glass cover, is indeed based on earlier designs by Carl Friedrich Schinkel. Around 1,200 of these lamps still exist atop compound pier posts, as a wall arm or as a five-armed gas candelabra,

Gaslights in Berlin: Candelabra from 1903 with Schinkel lamps, in

Schlossstrasse (previous page), alignment, pole-top and pendant

lamps (from left to right).

Residents protest the removal of gas streetlamps (right page, below).

tural organisations, Europa Nostra, wrote an appeal to the then governing mayor Klaus Wowereit to preserve Berlin’s gaslights. Alone the fact, it argued, that gas streetlamps were still in use in Berlin after the Second World War has outstanding historical significance. In autumn 2013 a photo of a Berlin gaslight went around the world when the World Monuments Fund (WMF) in New York put Berlin’s gas street lighting on the Red List of the world’s most endangered cultural assets, the only German entry. It listed a further 66 cultural sites, including Venice Old Town. In addition to the historical value of Berlin’s gaslights, it was also the great public interest that moved the WMF to make its decision. Ever more residents’ protests are being held in areas where gas lamps are being removed. Moreover, in his report British world heritage expert Dr Peter Burman describes the extraordinary value and fundamental potential of Berlin’s gas street lighting for world cultural heritage. With its lasting influence on social development in the mid-19th century and its exemplary role as an outstanding historical technological ensemble that still constitutes a functional system today, Berlin’s gas street lighting fulfils not one, but two of the UNESCO world heritage criteria. As such, it has good chances of being Berlin’s next world cultural heritage site. What will be decisive however is whether Berlin’s Senate continues its plans to remove the gaslights or develops an awareness of the consid-erable potential of this cultural heritage.

Bertold Kujath born in 1959, studied Engineering at FHTW Berlin and IT at the Uni-versity of Potsdam and today works in the field of medical radiation safety. He founded Gaslichtinitiative Berlin in 1985, known as Gaslicht-Kultur e.V. today, and has been First Chairman of the association since 2010. He was awarded the Berolina Medal in 2014 for his efforts for the preservation of historical Berlin. www.gaslicht-kultur.de

14 | 15 IMPRESSION 3lux:letters 1 | 2015

Stonehenge, the world-famous cultural heritage in England, still has many an enigma. What happened there? For centuries now, researchers from all over the world have been attempting to unlock its past. What can analogies and archaeological evidence tell us? Was it a prehistoric observatory, a kind of Stone Age computer for predicting lunar eclipses? Were sacrificial rituals conducted there or was it the sorcerer Merlin who established it as a place of worship? For the moment, what it still remains a mystery.

LIVING IN THE PAST

“The deed is past; monuments to it remain.”Ovid (43 B.C. – 17 A.D.), real name Publius Ovidius Naso, Roman epicist

Photo: ©iStockphoto.com/Chris Hepburn

16 | 17 IMPRESSION 3lux:letters 1 | 2015

Every year in October construction work begins once again on the ice hotel in Jukkasjärvi, Sweden, 200 kilometres north of the Arctic Circle. The origi-nal idea, almost 25 years ago, was for sculptures by Japanese artists to attract tourists and today an ice bar and an iced theatre tempt those visitors of robust health. At -5°C travellers try to keep warm in sleeping bags on reindeer pelts. As of April, the edifice follows the course of the seasons, and melts completely as temperatures rise – unique architecture playing out to the rhythm of transience.

SHORT-LIVED

“There’s magic in each beginning…” Hermann Hesse (1877-1962), German writer, poet and painter

Photo: Foto: Christopher Hauser / Icehotel Jukkasjärvi

18 | 19 3lux:letters 1 | 2015

What do you find most important in handling light?

LOOKED INTO3lux:letters asked three renowned lighting

experts three questions on the subject of

“Light and industry”.

REFLECTION

Pierre Wurmbauer: ... planning good light. Good light means

much more than just enough lux and lumen. For me it means

supporting and enhancing the existing spatial impression to

make living, working and leisure as pleasant as possible. The

difference between planning daylight and artificial light: the

one is only present in a certain rhythm and in differing quali-

ties, the other always when it is desired or required and has a

consistent quality. Most of my projects are with artificial light.

I always try to forge a link to daylight, through light sources

close to openings that let in daylight or artificial light sources

that suggest the entry of daylight.

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Lightinstallation in a formeracetylene factory near Munich, Germany

Pierre WurmbauerArchitect and Lighting designerArchitektur + Licht, Munich, DE

Noemi Barbero Zumalacárregui: I understand the light as an

art, capable of modifying visual and spatial perception, creating

and evoking emotions. The ability to combine art and technique

is the most important thing in achieving a good lighting design.

Light is creation, it is born as an art, but grows as a technique.

This means that artistic lighting concepts cannot be achieved

without good technological solutions, and vice versa. Technique

will always serve art by developing the lighting concepts devised

in the first stage of the lighting project (the artistic stage), but

must be borne in mind during the creative process in order for

realistic decisions to be made and an integrated, respectful,

and efficient lighting installation to be achieved.

Gerry Hofstetter: It’s crucial for me that light should seem

calm and convey a message. I use it temporarily and selec-

tively in my work. The result should give people pleasure or

provoke them.

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Tomb of Ramses IV in the Valley of the Kings, close to Luxor, EgyptGreenwich Royal Observatory in London, England

Noemi Barbero ZumalacárreguiLighting designer and Industrial EngineerACXT / Idom, Madrid, ES

Gerry HofstetterLight artistHofstetter Marketing, Zumikon, CH

20 | 21 3lux:letters 1 | 2015

What is the greatest challenge in developing a lighting concept for an existing build?

REFLECTION

Pierre Wurmbauer: It would be fascinating to illuminate the

Eglise Saint Pierre de Plougasnou in Departement Finistère

in France. The church in a village with 3,000 souls dates from

the 16thcentury. Perched on the village square at the village

centre it is framed by small buildings no more than two storeys

high. Where once an imposing cedar stood there is an empty

space, which sets off the church well. Parts of the church

would be visible from a distance thanks to its site on a small

elevation. Combining modern lighting technology with small

light sources the charm of the church could also be expressed

at night rather than just illuminating the facades. This would

improve the appeal of the village centre.

Pierre Wurmbauer,

born 1962 in Toronto, he was already interested in working with

light as a trainee carpenter. After studying Architecture at TU

Munich and stints in several offices he turned his attention to light-

ing planning and began to design, manufacture and market his own

luminaires. Since 2003 he has run his own architecture and light-

ing planning office in Munich. www.architekturundlicht.de

Pierre Wurmbauer: When existing buildings are converted they

are lent two characters, which ideally are linked through the

planner’s work. My task in lighting planning: identifying and find-

ing these two characters and reinforcing them with light. I must

not just create enough light but present these two characters,

i.e., produce mood, enhance and underline the architectural

expression. This requires an intensive before and after approach

to the building and close collaboration with future users.

If you were given free choice of which existing building to illuminate anew, which would you choose and why?

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(In)visible interstices for the Berchinale 2010 in Berching, Germany

Noemi Barbero Zumalacárregui,

born in 1977, is responsible for lighting design at ACXT / Idom, one

of the biggest architecture and engineering companies in Spain.

She also lectures in Lighting Design at the Polytechnic School of

Architecture in Madrid. Projects include lighting conceptsfor

places of cultural interest in Spainandthe most important archaeo-

logical sites in Egypt, such as the three pyramids of Gizehor the

Pharaonictemples in Luxor. www.acxt.es

Noemi Barbero Zumalacárregui: Existing buildings present

difficulties that force the designer in certain directions with

regard to the technical solutions available for creating a new

installation that is well integrated with the existing architec-

ture, forcing other possibilities that cannot be integrated to be

rejected. This means studying the difficulties on the ground and

the state of the current installations, and studying those techni-

cal solutions that can be integrated, as well as how they can be

added to the existing ones. The first stage is the creative stage

(as is the case with every lighting project), but we bear in mind

the technical options (lighting systems and electric installation)

that will allow us to achieve our goal of respecting the existing

architecture and making it one with the concept.

Noemi Barbero Zumalacárregui: Illuminating some of the most

important archaeological sites in Egypt has been an unique expe-

rience for me. I had the honour of illuminating the Pharaoh´s

temples and tombs of ancient Thebes (in Luxor) and the three

pyramids at the Giza Plateau (in Cairo). Most of these temples

were not illuminated beforehand, but in the case of Luxor Temple

and the Pharaoh´s tombs, for example, the old lighting failed to

do justice to the grandeur and magnificence of such architectural

masterpieces, impairing them and the artworks inside (sculp-

tures, paintings) with light stains, bad effects, and poor chromatic

reproduction. If I could decide, I would choose another UNESCO

World Heritage site, namely “Petra” in Jordan, to create a unique

night-time view of a special place that impressed me in the past.

Gerry Hofstetter: The challenge for me: exploring back-

grounds and the environs of the building and place then trying

to adapt the lighting to convey the client’s message. My works

only last a short while and then other factors apply than for

permanent lighting.

Gerry Hofstetter,

born 1962 in Aesch near Birmensdorf, Switzerland, since 1999 he

has used light projections to convert buildings, monuments, land-

scapes and mountains into temporary art objects. Since 1995 the

former banker has run his own internationally active marketing,

event and design agency. Since 2009 he has also produced docu-

mentations, cinema films, image and promotional films in his

own company. www.hofstetter-marketing.com

Gerry Hofstetter: Apart from glass buildings I would tackle

anything because I‘m fascinated by the contrasts between a

building’s nature and its location. I love castles and cathedrals,

but also find monuments in nature at unreal places a chal-

lenge. The more dramatic the physical conditions – weather,

icebergs, sea, cold or heat, the more I am at my best.

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Luxor Temple in EgyptThe Rome Colosseum illuminated for the150th anniversary of Italy’s unification

22 | 23 3lux:letters 1 | 2015ARCHITECTURE

Photos:Christoph Meinschäfer, Arnsberg, DE

Location:Sprockhövel, DE

Client:Gebr. Taskin Logistics GmbH,

Sprockhövel, DE

Light planner:TRILUX

Luminaire:E-Line LED,

Lightgateplus, light management system

The existing strip lighting and grid lamps, fitted with T5 and T8 lightbulbs, were taken down and

replaced with E-Line LEDs.

In industrial complexes and commercial properties the greatest potential energy savings are to be made in the area of technical equipment. For logistics service provider Taskin in Sprockhövel it turned out that alongside heating and air-con-ditioning factors, modernising the lighting would play a key role in boosting effi-ciency and saving operating costs.Ulrich Büttner

ENERGY-EFFICIENT MODERNISATION

Easy to fit – it took only two weeks to retrofit the lighting in all the buildings belonging to this logistics provider.


Investing in up-to-date lighting systems always pays off. However, it is important to aim for good collaboration between the energy efficiency consultant and the lighting specialist from the outset. The reason: Individual lighting solutions should ideally be integrated into an overall energy concept. For the upcoming lighting modernisation over what was, ultimately, some 4,800 square metres spread over four storage buildings, a delivery area and an office, the company responsible for the energy concept for Gebr. Taskin Logistics GmbH, one AVU Serviceplus GmbH, contacted TRILUX. The luminaire manufacturer boasts various systems in its range that are eminently suitable for modernisation. One line appeared particularly suitable for this project – the E-Line LED. The practical lighting strip with its intelligent details can be used to retrofit existing T5/T8 lighting systems with highly efficient LED technology easily and, more importantly, very quickly. The whole process took only two weeks, including removal of the old lighting system. The storage buildings were subsequently

seen in a completely new light. In order to boost efficiency even further a special light control system was introduced, Light-gateplus; a presence detector now ensures that only those areas of the buildings actually in use are illuminated. The savings and the efficiency are demonstrated most convincingly by the figures. And for Taskin these definitely are impressive – the use of this LED technology in fact cuts power consumption from a good 242,000 to less than 97,000 kilowatt-hours per year. This makes for a payback period of under two and a half years, although the financial benefits do not include the improvement in lighting quality. Additionally, this project reaped the benefits of a service and financing model offered by TRILUX. This model minimises the financial strain on the customer and with TRILUX taking charge of the overall coordination of the project it was able to offer a “comprehensive service package”. Accord ingly, the monthly costs, made up of financing, power and services, in fact amount to considerably less than the old system as well as offering fabulous lighting quality.

With the Lightgateplus light management system the aisles in the high-rack warehouse can be controlled and illuminated separately and the lights are only on where there is traffic

TECHNOLOGY

Predestined for refurbishment: An E-Line LED luminaire can be

replaced in less than a minute.

Strip lighting system E-Line LED offers up to 148 lm/W and is accordingly recom-mended for use at the kind of heights typical in industrial buildings. With their low procurement and operating costs, E-Line LED systems can be written off very quickly. An added advantage is the fact that fitting them does not require great effort, particularly in the case of retrofitting measures for existing T5/T8 lighting systems: it takes only 45 seconds to replace an individual light. Because of their smooth surface, these robust luminaires, which can be surface-mounted or pendant, remain efficient even in environments where much dirt is produced. They allow for low-contrast light and come in different finishes. Moreover, customers can choose between luminous flux values between 4,000 and 20,000 lumens. The lamp insert is suitable for temperatures between -15°C and +35°C.

Luminous intensity distribution

E-Line LED


Photos:Guillaume Guerin, Paris, FR

Location:La Défense, Paris, FR

Client:Tishman Speyer France,

Paris, FR

Architects:SRA, Pierre-Yves De Bernardi,

Châtillon, FR

Light planner:EGIS, Saint-Quentin-en-Yvelines, FR

Luminaire:Athenik LED

Inviso LED

The sail-shaped Tour Esplanade on the central Place de la Défense

stands directly opposite the Centre des nouvelles industries et

technologies built in 1958.

25 years after the tower was built, the infrastructure of Tour Esplanade was no longer up to the latest standards. Within one year the stylistic vocabulary of this once model skyscraper in the Parisian service industry and banking district La Défense was brought back up to scratch. By paying particular attention to flexible interior concepts and sustainable resources, it was even able to attract the French Ministry of Ecology as one of its tenants.Stefan Staehle

(LIGHT) PIONEER IN LA DÉFENSE


Looking out from the Louvre and the Tuileries Garden, the silhouettes of the skyscrapers in La Défense stand delineated on the horizon far beyond the Arc de Triomphe – a visible sign that the pulsing business heart of France has now moved out of the capital city centre and into the periphery. The Tour Esplanade, designed by French architects Andrault & Parat, rises up in the direct vicinity of the Centre des nouvelles industries et techno-logies (CNIT) co-designed by Jean Prouvé, the Grande Arche and the Place de la Défense, in a central location in the city’s financial and service industry district. Standing 36 storeys high, this office tower was erected in 1990, around the same time as the Grande Arche – the abstract equivalent of the city’s Arc de Triomphe. The emblematic architecture of this tower has become a symbol of the transition between the third and fourth generations of office skyscrapers in La Défense. Its construction method set the standard for a whole series of other buildings in the same district, even if nowadays, with its height of “only” 105 metres, it is towered over by many next-generation edifices. The curving,

southeast-facing façade allows for natural lighting in the interior of the building and permits the gaze to roam as far afield as Paris city centre, which is located a full ten kilometres away. The 53,600 square metres of floor space in the Tour Esplanade ac-com modate not only office space and the relevant utilities, but also a sports centre, a restaurant, several conference halls and an adjoining auditorium. What tipped the scales in favour of these renovations were the expectations that modern office infra-structures have to live up to and a desire to replace the rigid internal spatial arrangement with more flexible office concepts. As well as replacing the existing heating and air-conditioning technology, what was particularly important to the architects was to substitute the entire lighting technology with contemporary LEDs. Tour Esplanade is thus the first building in the district completely equipped with LEDs – the lighting planners at EGIS arranged nearly 9,000 luminaires from the TRILUX ranges Athe-nik and Inviso on the premise of creating a working atmosphere that is as pleasant and motivating as possible for its users.

The renovations included the replace-ment of the light installations in all

the offices and corridors with modern LED technology.

TECHNOLOGY

Clear, pared-down design combined with soft lighting:

Athenik Ligra Plus LED make working in offices

easier with their pleasant, glare-free light.

The clear and pared-down design of the Athenik Ligra Plus LED lighting range is particularly suitable for sophisticated interior design requirements. Par-ticularly where integrated lighting system solutions can only be implemented with difficulty or in part, the strengths of its flexible and modular structure are brought to bear. The choice of colours and designs allows the planners to respond flexibly to and underscore existing design concepts or highlight contrasts with them by means of specific visual or tactile qualities. At the same time, all the different versions meet the highest standards in visual comfort for the user and are energy efficient. Various types of space can be illuminated ideally and without glare using the Athenik Ligra plus LEDs thanks to their customised beam characteristics and three different luminous flux packages.


Athenik Ligra Plus LED


Location:Nieuwegein, NL

Client:PostNL, Nieuwegein, NL

Light planner:TRILUX

Luminaire:X-Line LED

The right-hand side of the hall has already been converted to

LED technology (right).

Close-up of a letter-sorting machine (bottom).

In 2014 PostNL performed an energy audit of the six distribution centres in the coun-try with a view to reducing carbon dioxide emissions. As a result, the old lighting at the sorting office in Nieuwegein was replaced in its entirety by LED technology. The much brighter light was also needed for the new machinery to be installed.Cornelia Krause

UP AND RUNNING

Photos:Christoph Meinschäfer, Arnsberg, DE


The high-technology machinery still cannot completely replace

human labour (top).

View of the hall from a bridge suspended from the roof struct ure

(right).


As in Germany, every letter and postcard arrives in the Netherlands first in sorting offices distributed around the country before continuing to its final destination. There are six sorting offices of different sizes there. One is in the large industrial park in Nieuwegein, Utrecht province. The service industry is the most important economic factor for the 60,000 inhabitants of the city. The office built back in the late 1990s close to the Lek Canal is a functional industrial building with classic metal panelling. The administrative offices are in a reinforced concrete front building. The sorting halls are deliberately deprived of daylight to ensure uniform lighting. Until a few months ago the conventional T8 fluorescent tubes from TRILUX provided permanent illumination of 300 lux. Due to the fact that new machines requiring more light were to be procured and because the system had remained unchanged since it was installed eighteen years previously, an energy audit was carried out. The original idea of upgrading only the area

above the new machines was quickly discarded in favour of a complete solution. The X Line was TRILUX’s early response to the new energy requirements of large industrial companies. The new LED modules can be quickly and easily integrated into existing lines. This made a new electrical installation unnecessary, a clear advantage for PostNL. The refitting took place without any interruption to the work and quickly demonstrated its worth. The lighting for the distribution centre alone accounted hitherto for 17 per cent of the entire energy consumption. Today the company saves 22 per cent with a much greater luminance of 500 lux.

Parallel industrial light strips provide uniform lighting for the high-roofed hall.

TECHNOLOGY

Delivery and office building of the letter-sorting centre in Nieuwegein, Netherlands.

The specially developed X-Line LED fitting meant that the existing

X-Line T8 system could be upgrad-ed without tools.

The demand for upgrading in industry continues apace. It is not so much the halls, which are often still sturdy enough, but the introduction of new technologies that place greater demands on the infrastructure. The X-Line (today E-Line) from TRILUX has been serving the demand for high-quality lighting since 1993. The company also responded quickly to the introduction and widespread use of LEDs. An LED fitting has been developed for existing light strips, which can be quickly and easily installed in existing lines without tools and with no interruption to ongoing business. In this way, customers with T8 lighting systems installed between 1993 and 2000 can easily upgrade to LED.


X-Line LED

38 | 39 SERVICE 3lux:letters 1 | 2015

PLANNERS ASK,MANUFACTURERS ANSWERIn 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 of TRILUX who also tell you one or more tricks.

Thomas KretzerManaging directorTRILUX Vertrieb GmbH

How to finance light?

The financing of mobile investment goods by leasing is common practice today. Even though the interest in renting lighting sys-tems is increasing, many businesses are still unaware that light can also be leased. Already used extensively for municipal light-ing, in some cases outsourcing the operation to external part-ners, this financing system is now being used more and more for indoor lighting, too. In this area, energy-efficient LED sys-tems can achieve savings in consumption of over 50 per cent. Depending on the age of the existing lighting, the investment can be repaid in two to four years. In fact, the savings might even be sufficient to pay for the low cost LED lighting and financing.

The main financing instruments are contracting, leasing and hire purchase.

ContractingWith this instrument the entire operation is outsourced to an external company, the contractor. The customer purchases only

the light, while the lighting systems remains initially the prop-erty of the contractor, which also bears the entire investment cost and, with outdoor lighting, is responsible for the power sup-ply. A large-scale service of this type functions for indoor light-ing only if the contracting company also operates other energy-relevant installations, such as heating or solar energy. In such cases TRILUX cooperates with established partners and takes responsibility for the entire provision of lighting. Where only the lighting is concerned, TRILUX also offers contracting solutions itself. After the contract has expired, the lighting system nor-mally becomes the property of the customer.

LeasingTRILUX leasing services together with an extensive service package are suitable financing solutions for customers wishing to preserve their liquidity or use it elsewhere. The customer is able to benefit from the considerable energy-saving potential of LED technology from the very first day, long before the lighting

The costs of replacing a lighting sys-tem with modern LED technology are repaid within four or five years.

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system becomes its property. We offer highly economical opera-tion, allowing the customer to concentrate on its core business while the lighting management is left to TRILUX. Contracts nor-mally run from five to seven years and are thus easily manage-able. Here, too, title is transferred to the customer as a rule on expiry of the contract. A further advantage is that the financing has no impact on the balance sheet.

Hire purchaseWith hire purchase the transfer of title to the customer is regu-lated from the outset. The customer pays monthly instalments in return for a modern lighting system that automatically be-comes its property. As the impact of this form of financing on the tax and balance sheet situation is not desired by all customers, it is rarely used.

TRILUX offers individual consultancy to ensure that the cus-tomer has a lighting and financing system tailored to its needs.

3lux:letters 1 | 201540 | 41 TRILUX

vation, supported by the Federal Ministry for the Environment, Nature Conservation, Building and Nuclear Safety (BMUB), led to considerable energy savings, lower CO2 emissions and ensured balanced and even illumination in the hall. The refur-bishment reduced the number of lights in use, and moreover the new LEDs demonstrate a higher system performance than the fluorescent lights used hitherto. Thanks to the lighting management system, which also enables daylight and pres-ence control, the effective operating time of the lighting could be cut by more than half. With the installation of the new sys-tem the project heads expect electricity consumption to drop by 54 percent in future. With the reopening of the sports hall the children are happy to have a state-of-the-art gymnasium that is optimally illuminated from morning till evening. The school management is very pleased with the end result, given that the new sports hall immensely upgrades the primary school and the refurbishment has noticeably lowered operating costs.

Primary school John-Brinckman is located in the west of Schwerin, close to the famous lakes surrounding the city. More than 200 pupils are taught here in the state capital of Mecklenburg-Western Pomerania by 11 teachers. Last year they together celebrated the 200th anniversary of the birth of the school’s namesake, Low-German poet John Brinckman. Since 2003 the European School has focussed its teaching on international understanding. The intention is for all the children who are taught here to learn about European cultures and gain a sense of the diversity of the manners and customs of differ-ent nations. In addition to the learning workshops, which offer additional space for targeted teaching activities, the school also has a sports hall on its grounds, which underwent extensive refurbishment in 2014. The makeover also included the instal-lation of a new lighting system. Those in charge of the project opted for solutions from TRILUX: the Lightgateplus lighting management system and the Actison LED luminaire. The reno-

Thanks to a state-supported modernisation project, the sports hall belonging to primary school John-Brinckman in Schwerin could be extensively refurbished. The project included the installation of new lighting technology by TRILUX. Controlled by a lighting management system, now LED luminaires ensure balanced illumina-tion and considerably lower energy costs.

SPORTING SPIRIT

The children at primary school John-Brinckman are delighted with their modernised sports hall. In combination with a lighting management system, the LED luminaires by TRILUX guarantee considerable energy savings.

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42 | 43 3lux:letters 1 | 2015ART

Light artist Keith Sonnier is one of the most important exponents of 1960s post-Minimal art. Häusler Contemporary in Lustenau, Austria, will now be showing his work until September 2015.Heidemarie Roth

At the end of the 1960s, a new meaning for the term sculpture arose when artists started using materials not associated with art at that time such as neon, glass, lead, fat, latex, wire and aluminium. Getting to grips with the sensory and emotional content of substances was, for Keith Sonnier, Richard Tuttle, Richard Serra and Eva Hesse, particularly important. Keith Sonnier, however, distanced himself from the radical idiom of the Minimalists. For him, what was important was for the art-work to interact not only with the whole room but also with the viewer. As with the temple in Madras, where the gods boast a surprisingly human appearance and can be touched, art, as he sees it, should “be used”. When he attached phones to his work he sought to force the viewer into an active role. Something less direct and yet irresistible are entire sequences of light rooms that threaten to engulf people. Colourful frontage installations such as the one at Kunsthaus Bregenz, lighting designs for pub-lic passageways and squares, and the 1,000-metre-long pedes-trian strip at Munich airport are further fascinating, essentially emotional spatial experiences. www.sonnierstudio.com

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Keith Sonnier uses neon and argon tubes both for his work “Ballroom

Chandelier” (left) and for “Ba-O-Ba Circle Diptych” (below).

COMMENDABLEFounded in 2001, this museum in the cold storage rooms and warehouses of a former brewery focuses exclusively on Light Art. The accompanying “The Future of Light Art” will be presenting the ILAA winners’ work up until June 28, 2015. First prize went to the duo of Martin Hesselmeier and Andreas Muxel – with their installation “The Weight of Light” they give their own personal answer to the question of what it might be like if light were subject to the laws of gravity. A metres-long light sculpture bores its way through the darkness. Points of light on its LED tracks race downwards. On their way up they slow, even come to a standstill and “roll” back. Winner of the second prize, Chilean born Ivan Navarro, created “Traffic”, a mobile made of glaring traffic lights. Robbed of their usual function, they now bathe the room alternately in red, yellow and green light; suspended from the ceiling, they are set in motion by touch. In Dirk Vollenbroich’s “Erleuchtung” the visi-tors become part of the exhibition with a headset measuring their brain waves and translating these neuronal impulses into light. www.lichtkunst-unna.de

Unna’s Centre for International Light Art bestowed the first International Light Art Award (ILAA) on three artists. The inspiration was the fact that UNESCO has declared 2015 a Year of Light. Nathalie Martin

In addition to the permanent exhibition, visitors can view the award-winning works of light art “The Weight of Light” (right) and “Traffic” (above).

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44 | 45 3lux:letters 1 | 2015ART

Micha Ernst Sören Jönke has a great affin-ity with interdisciplinary vocabularies. A student of architecture, he takes humans and the interrelationship between us and space as his starting point.Heidemarie Roth

LIGHT SPACEThe work of this young artist is always idiosyncratic, pared down and committed to the perception of space, independent of whether this means in architecture or art. Artificial light has always fascinated Micha Jönke, and not only in the building context. His light installations in Düsseldorf, Amares in Portugal and Gargonza in Italy represent a personal exploration of spatial phenomena. Almost three metres in height, his light sculpture constructed in a circle with a diameter of over ten metres dates back to a three-month stay in Castello di Gargonza. With the idea for the Gargonza Arts Award, the aim of Cologne-based solo flautist, Michael Faust, was to create a project for young artists which would include architecture, fine art, composition and literature. In a Tuscan castle village on a mountain top where it is the light that accounts for a large percentage of the landscape’s charm – even if it is not the famous kind in Arles – the objective is to look into the question of just how we perceive art and light in our heads. Micha Jönke has found his very own personal, location-specific and concrete answer to this question, one that shines not only at night-time. www.michajoenke.de

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Fluorescent tubes are the focus of Micha Jönke’s work, as in this one in

Gargonza (left) or in a joint project with Pawel Matweew (right).

“Making Light Art is a human right for everybody. Kids can make Light Art in kindergarten and be very creative when growing up. Another big step would be light art therapy,” says Jukka Laine. With their work and publications Janne Parviainen and Hannu Huhtamo reach out to a broad audience. Markus Lohikoski is (still) unknown; mentally disabled himself, he has mastered light painting and now teaches at the Vekkari project. Jukka Laine used to work in a lighting design office and looked after an mentally disabled man in his free time; this got him interested in the world of social work. He was soon organising light workshops for the autistic, children with ADHS, the visually impaired and senior citizens with memory problems. He brings his experience to bear at Valopaja which currently concentrates on real-time light painting and light art workshops, with a special focus on marginal groups. A very unconventional approach is also adopted by the Myrsky project. With Guerrilla Lighting at an indoor skate park they pick up young people wherever they happen to be and open their eyes to the miracle of “light”. www.valopaja.com

Making Light Art available to everybody and not making it an elitist preserve is the principle guiding Jukka Laine, cofounder of Valopaja Light Art Collective, a light art group from Helsinki. Nathalie Martin

LIGHT WORKSHOP

Adolescents at Guerilla Lighting – in collaboration with Lighting Design

Collective – (top left), light painting at kindergarten (bottom left) or with a

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46 | 47 3lux:letters 1 | 2015CURIOSITY

The GER Mood Sweater looks like a lightweight, casually fall-

ing, wired sweater with a colourful illuminated collar. Its spe-

cial feature is that the illumination reflects the body’s level of

excitement. It is a bizarre, whimsical, cheeky approach to new

forms of communication between the human body, clothing

and the outside world. An elastic sensor, the GER (Galvanic

Extimacy Responder), is a new invention that transmits emo-

tions to the outside. Sensors attached to the hands measure

the body’s level of excitement and translate the data into an

attractive range of bright colours. The high, trough-like col-

lar contains LEDs that emit the wearer’s inner emotions into

the day, or night, as biofeedback. The new form of a language

visualized via clothing is fascinating. www.sensoree.com

EMOTIONAL Heidemarie Roth

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IMPRINTIssued by:TRILUX GmbH + Co. KGHeidestraßeD–59759 Arnsbergwww.trilux.eu

Editorial Staff:Vivian Hollmann (TRILUX)Anika Wagner (TRILUX)Thomas Kretzer (TRILUX)Nathalie Martin (GKT)Cornelia Krause (GKT, Leitung)

Publisher:Gesellschaft für Knowhow-Transfer in Architektur und Bauwesen mbHFasanenweg 18D-70771 Leinfelden-EchterdingenPublisher: Kristina Bacht www.gkt-publishing.de

This magazine and all its con-tributions and pictures are protected by copyright. The publishers and editors accept no responsibility for unsolicit-ed pictures and manuscripts. Colour and dimensional devia-tions correcpond to the usual tolerances. Subject to colour and model changes. In charge of address data processing: the publisher.

Printed in Germany

Free subscription: Please send a short email including your postal address to: [email protected]

Contacts for architects:

Sabine MadausNorth GermanyPhone +49 (0) 151.17 11 02 [email protected]

Martin WestermannCentral GermanyPhone +49 (0) 151.17 11 03 [email protected]

Martin RohdeSouth GermanyPhone +49 (0) 151.17 11 02 [email protected]

Richard HoltGreat BritainPhone +44 (0) 12 45.46 34 [email protected]

Chris SkinnerGreat BritainPhone +44 (0) 12 45.23 63 [email protected]

Lorenzo ClericiItalyPhone +39 02.36 63 42 [email protected]

Hetty Rümke-de GierThe NetherlandsPhone +31 (0) 33.4 50 71 12 [email protected]

Olivia LaufferSchweizPhone +41 (0) 56.419 66 [email protected]

Pavel BoucekCzech RepublicPhone +420 235.524 [email protected]

HEUER TRAFFIC LIGHTS

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The traffic lights are named af-ter their inventor, Josef Heuer. The family-owned company of Heuer-Hammer was originally founded in 1893 in Iserlohn as blacksmiths. The second generation decided to concentrate on precision engineer-ing, and in 1928-9 Josef Heuer-developed his traffic lights. One of the reasons for designing them was to enable his two sons (they were colour-blind) to drive around: What counted was viewing the hand of the dial, the colours were only sec-ondary. The lights were accord-ingly designated in the 1937 Ger-man Highway Coe as “dial lights” as opposed to “colour lights”. On the four sides of the cube-like con-struction, which was illuminated from within and had sides of up to 1.2 metres, there were two juxta-posed sets of red and green cir-cular segments. Above them a so-called “diametrical hand” rotated clockwise. Analogue to the silhou-ette of the traffic policeman, the vertical hand showed the direction that was free, and when horizon-tal it barred the way. In its heyday the Heuer lights were used in the

Netherlands, Belgium, France and Austria. Growing traffic volumes and complex intersections spelled new challenges. In the early 1950s, a new generation of Heuer lights were devised, the “Polyp”, with up to six hands and thus able to con-trol up to six different roads at one junction.This change did not suf-fice to halt the triumph of three-coloured traffic lights as of the late 1950s, as the disadvantages of the Heuer were simply too great: they cost a lot to make and to maintain, and were very inflexible. The Heuer system could not regulate individ-ual traffic flows, but only an en-tire intersection; including pedes-trians and cyclists was too risky as they might be confused with the dial hands for cars. 1972 saw the official end of all Heuer lights in Germany, with the last of its kind regulating traffic at the Lange Straße/Wolde-marstraße intersection in Detmold in North Rhine Westphalia.

Until 1955 this Heuer traffic light hung at the Römerstraße/Königsberger-

straße intersection in Moers Asberg.

LIGHT | ARCHITECTURE | TECHNOLOGY

SIMPLY REFURBISHED. SIMPLY INSTALLED. SIMPLY LIGHT.

www.trilux.com/industry

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Light and refurbishmentOffice and commercial buildings

Light and monumentsHistorical gaslights

Light and assisted measuresEuropean School in Schwerin

LIGHT | ARCHITECTURE | TECHNOLOGY 1 | 2015

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