SUSTAINABILITYIs it only performance?

RENZO PIANOCloser to Nature

LIGHTING MASTER PLAN

International!Lighting!Magazine 2009/3 July

colofonpublished!by!| Philips Lighting BV – Mathildelaan 1, Eindhoven 5611 BD, The Netherlands – www.lighting.philips.comeditor!in!chief!| Vincent Laganier editorial!department/Marketing!Communications!| Marijn Damen, Nils Hansen steering!committee!| Peter Halmans, Fernand Pereira copywriting & editing!| Jonathan Ellistranslations!| Lion Bridge graphic!design!concept!| Philips Design dtp!| Relate4u printing!| Print Competence Center more!info!| marijn.damen@philips.com T: +31 (0)40 - 2755928 ISSN nr!| 1876-297212 NC!| 3222 635 59951

EDITORIALGood lighting design and sustainability

Today, sustainability is an issue which no company can ignore. At Philips, we havebeen investing in green technologies for quite some time and nowhere is thisinvestment better illustrated than in our dedication to new, energy-consciouslighting technologies.

Just as important, perhaps, is our dedication to providing our professional lightingpartners with assistance, support and guidance during the imminent phase-out ofincandescent lighting within the European Union, which will begin next year. Thiswill undoubtedly make a significant contribution to reducing both energy use andcarbon emissions.

Philips believes that by taking into consideration the application and specificcharacteristics of energy-efficient lighting technologies such as LED, CFLi andhalogen, it is possible to achieve levels of lighting quality equivalent withconventional light sources, but with reduced energy consumption.

To maximise the energy-saving potential of these technologies, Philipsrecommends the application of good lighting design, and the involvement ofprofessional lighting designers. We actively support organisations such as the PLDA(Professional Lighting Designer’s Association) and the IALD (InternationalAssociation of Lighting Designers), whose members can, through the designprocess, advise on optimum energy efficiency without compromising on lightingquality and prove important partners to architects and principals.

This issue of Luminous takes sustainability as a theme. We hope it provides youwith food for thought about this major social issue.

Rudy ProvoostCEO Philips Lighting

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DIALOGUEChallenges in lighting design

LIGHT SOURCE 4Astra Tower,Hamburg, Germany

PLATFORM 8Renzo PianoGenoa, Italy

SNAPSHOT 10Orquideorama, ColombiaMonumento del Libertad, SpainAl Zahra hospital, UAEAnandpur Sahib, IndiaCitizenM hotel, The Netherlands New Federation Tower, RussiaNeptune Fountain, ItalyMöbelhof Ingolstadt, Germany

INTRODUCTION 18Sustainability, is it onlyperformance?

PROJECT REPORT 20National Assembly of Wales, Cardiff, United Kingdom

PROJECT REPORT 24Odeon, Bavarian State Ministry ofthe Interior, Munich, Germany

PROJECT REPORT 28Octavio Frias de Oliveira BridgeSão Paulo, Brazil

PROJECT REPORT 3255 Baker streetLondon, United Kingdom

PERCEPTIONS 36Passive solar and natural lighting

BLUE SKY THINKING 38Luminance sensation of coloredLED lighting

SHOWROOM 40OLAC residential area, Bressolles, France

CONCEPT CORNER 42Lighting Master Plan

GALLERY 46Verdi innovative workplacesSurennes, France

SPOTLIGHT 50Agenda, Books

DOSSIERSustainability moods

FEEDBACKDevelopment and trends in lighting

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ASTRA TOWER, HAMBURG, GERMANY

“THE SHINEFROM WITHIN”Interview by Guido Diesing

The design of the Astra Tower in the port of Hamburg was a strokeof luck for Tobias Grau. As a lighting designer, interior designer andfurniture designer, he was able to develop a uniform form languagefor the office building.

If you ask anyone from anywhere in the world what they think of first when they hearthe word Hamburg, they’ll immediately say the port and the Reeperbahn. If you wantto stand out in this neighbourhood you have to have something to offer. Like the AstraTower. Located right on the Elbhang opposite huge docks and cranes and only a fewsteps from the amusement and red-light quarter around the Reeperbahn, this eighteen-storey office building has been attracting attention since 2008. With its rounded cornersand the red breastwork strips in the glass facade, the 60-metre-high building blendsstylishly into its surroundings during the day without thrusting itself into the foreground.At night, however, it develops a quite particular fascination. Because then the tower,which is topped by a concrete crown that seems to float over it, appears to light upmysteriously from within.

The office building’s attractive appearance after dark is the direct result of Grau’s skilfuluse of the architectural parameters. “Since the square ground plan of only around 630square metres per storey is very small, so that the depth of the offices and the corridorarea is also tiny, I decided to do without partition walls between the corridors andoffices,” he explains the underlying thinking. “The corridor area is only separated fromthe carpet in the office areas by the parquet floor. As a result, the white panelledbuilding core is just as visible from the office workstations as it is from outside. Inaddition, the use of glass partition walls rather than plasterboard walls for dividing theoffice area into single and shared offices makes for transparency.”

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It is this transparency that is the secret of the nocturnal shine. “The corridor area aroundthe building core is illuminated by a light band made of pendant fluorescent tubes thatshine a neutral white light upwards and downwards from the middle and also light upthe white laminated panelling.” In order to create a uniform impression, Grau also fittedthe standard and table lamps in the office areas with neutral white fluorescent lamps.“Since there is no colour difference with the ambient lighting, the desired effect ofmaking the core of the tower visible from outside like a white column is producedirrespective of the lighting situation.” A column that does not end at the top floor, butonly at the crown of the tower, which is illuminated by metal vapour lamps on theroof. An effect that was important to Tobias Grau: “We tried out several colours forthe concrete canvas so as to achieve an effect similar to the one in the building interiorwith indirect lighting. The white core is meant to seem to grow out of the building.”

For Grau the close relationship between inside and outside that characterises the AstraTower represents an ideal that is realised all too rarely. “The opportunity to implementa uniform form language here appealed to me. When everything comes from a singlesource, the result can also make a superior aesthetic impression. Unfortunately,architectural ideas in building interiors are often not extended consistently. In addition,the users see a building much more often and longer from the inside than fromthe outside.

“Modern technology makes for a uniform lighting level indoors. The amount of lightprovided at the workstations is adjusted locally according to the respective lightingconditions and requirements using motion detectors and daylight sensors. This saveson electricity consumption and is pleasantly comfortable. When it gets darker theartificial light portion is automatically increased without anybody having to do anything.”

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

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ClientNeunundzwanzigste VerwaltungsgesellschaftDWI Grundbesitz mbH

OwnerMorgan Stanley

ArchitectKSP Engel und Zimmermann Architekten,Frankfurt, German

Lighting DesignTobias Grau, Rellingen, Germany

Light sourcesPhilips MASTER PL-L 55W /840

LuminairesTobias Grau GmbH GO XT Floor,GO XT Ceiling, GO XT Wall

ControlSensor + ControlerHF-Regulator Touch&DAli 255 PL-L EII

Lighting controlsPhilips ActiLume

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

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RENZO PIANOArchitect, RPBW, Renzo Piano Building Workshop, Genoa, ItalyInterview by Luigi Prestinenza Puglisi

“The more I reduce the material, the closer I get to nature, and enter into a relationship with light and the wind”

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

Why did you decide to become an architect?It was the natural thing to do: I came from a family of builders.Perhaps I could have chosen to continue my father’s job andwork in the company, but being an architect seemed moreinteresting to me.

To begin with you focussed on technology…I was fascinated by Jean Prouvé, and sometimes I used to goto Paris to hear his lectures. I was also very enthusiastic aboutthe work of Frei Otto; his structures seemed to defy the lawof gravity. In 1970 I started up a design company with RichardRogers, and the year after that we won the competition forthe Pompidou Centre in Paris.

Were you surprised about that?There were many competitors, and it was a prestigious job.We were young – I was 33 and Richard was 36 – and wehad little experience. The Jury consisted of Jean Prouvé,Oscar Niemeyer and Philip Johnson, who admired theinnovative nature of our proposal. This was a time whenpeople were receptive to innovation.

What does sustainability in architecture mean to you?I like to associate the word sustainability with elevation. Themore I remove whatever is excessive, the more I economisein materials. The more I reduce the material, the closer I getto nature, and enter into a relationship with light and thewind. The quality of a building depends to a large extent ongood lighting and the pleasant effects of the ventilation.

I am aware of the fact though that it is not always energyefficiency which provides lightness. Sometimes weight can beused to achieve good thermal inertia. At the recent CaliforniaAcademy of Sciences in San Francisco I tried to balanceweightiness and lightness. The roof was made heavier inorder to accommodate 2,000,000 different species of plantswhich guarantee that the building functions well from aclimatic point of view. Light is brought into play by means ofsome porthole-type windows: during the day natural lightenters, and by night artificial light is emitted.

Other factors which are less apparent also contributetowards guaranteeing the sustainability. For example, thethermal insulation of the walls was obtained by filling thecavity with the scrap from jeans salvaged from nearbyfactories. We also used recycled iron materials for themasonry and frameworks.

How do you relate to other lighting specialists when you areaiming for sustainability?I like working with them. For example, we have carried outnumerous projects with a lighting manufacturer, some ofwhich led to the development of lighting devices which werethen put into production. The objective is efficiency, long-life,and restriction of consumption, and modern technologieshelp us in this respect. Previously a halogen lamp would lastfor 1,000 hours, and a sodium and mercury vapour onewould last for about 10,000 hours; LEDs can now last for aslong as 60,000 hours. If the service life changes, you can alsovary the way in which you design the object, in relation tothe way in which it lasts over a period of time.

How do you alter the form of the building in relation tothe climate?Personally, I have a broad view of climate. I consider it as thecontext in which the building will be located, so this involvesboth the atmospheric and cultural climate. The worst mistakean architect can make is to create a building which is out ofplace and out of scale, which does not capture the light ortake into account the spirit of the location. However, and Iam thinking for example of Beaubourg, this does not meanbeing mimetic and imitating the forms of nature.

What are your plans for the future?They involve the students who come to my company thanksto a programme we are developing together with HarvardUniversity. You don’t need to worry about not givinganything to young people, they can take of themselves. If theexperiment is a success, you know from the light in their eyes.

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ORQUIDEORAMA, THE BOTANICALGARDEN OF MEDELLÍN, COLOMBIAAn astonishing forest of trees in the shape of flowers has sprung up in Medellin,“the city of eternal springtime”. Visitors walk beneath elevated foliage in subduedlighting, skirting around the gigantic trunks and discovering that they are hollowand the orchids are growing inside them.

Orquideorama is a project brimming with poetry and technical genius designedby the young Plan: b arquitectura architects (in association with the jprcarchitects) for the botanic gardens in Medellin. For this project they planted ten“flower-trees”, each with a metal trunk and six hexagonal petals made frominterlaced beams, to form a network through modular increase and treestructure. These ten flower trees have grown side by side creating an immensecanopy with a bee-hive motif snaking its way across the top of the botanicgardens. By bringing together structural biological forces, Orquideoramaproduces an elegant synthesis of cellular processes and sculptural shapes, acombination destined to continue to evolve and grow.

ClientJardín Botánico de Medellín

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

Lighting solutions Laszlo Yurko, Ecoluz S.A.

Light sourcesPhilips MASTERColour /830 , Philips Master TL 5 /830, CFL 42W

Websitewww.planbarquitectura.com

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MONUMENTO A LA LIBERTAD,PLAZA DEL SOL, MOSTOLES, SPAINOn 2 May 1808, the Mayor of Móstoles (a city 20 km from Madrid) signed theIndependence Proclamation following the uprising against Napoleon’s Frencharmy. To mark the bicentennial of this event, the city of Móstoles has created ahuge architectural monument, visible throughout the entire city, in the new “Plazadel Sol” square.

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

The lighting was a critical issue and had to be aligned in terms of efficiency, minimummaintenance, energy saving, colours and dynamics. A computer program has beendeveloped to change the dynamics so that the entire monument is dressed incolours reflecting the seasons: warm colours in summer and spring, and coldcolours in autumn and winter.

ClientCity of Móstoles

Architect Enrique Fombella, Madrid, Spain

Lighting solutionsEnriqueta Díaz, Miguel Ángel Álvarez, Jose Luis Pavón,Philips Spain

Light sourcesPhilips LED LUXEON®, red, green and blue

LuminairesPhilips LEDLine2 RGB

Lighting controlsPharos LPC 1 Controller

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AL ZAHRA HOSPITALSHARJAH, UNITED ARAB EMIRATESMedical procedures like magnetic resonance imaging (MRI) can often frightenpeople, especially children, who feel uneasy in a medical setting and are anxiousabout the outcome.

Al Zahra Hospital, which was established in 1980 by Gulf Medical ProjectsCompany and, with 100 beds, is the largest private general hospital in the UAE,has recently introduced Philips AmbiScene, an LED-based lighting concept withchanging light colours and light intensity, which creates a comforting and calmingatmosphere, reducing patient anxiety. Each patient can choose their favouritecolor. This has a positive effect on the patient during the MRI scan and, becausepatients are at ease, it can speed up procedures and improve the quality of testoutcomes. Light color variation can also be used as a communication tool, forexample for instructing hearing-impaired patients when to hold their breath.

ClientAl Zahra Hospital

Lighting solutionsNagendra Nagesh, Philips Lighting Middle East

Light sourcesPhilips LED LUXEON®, red, green and blue

LuminairesPhilips LEDLine2 RGB

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ANANDPUR SAHIB, BLISS, INDIAGurdwara is the sacred place of worship for the Sikhs. The architecture featuressome elements borrowed from the Mughal architecture and the Rajput palacesand forts, but also includes some original concepts reflecting the principles of thereligion and features a combination of square, rectangular, octagonal and cruciformshapes. There is a ‘gumbad’ (dome) on the top of the sanctum, which is usuallyfluted or ribbed and white in colour. The top is decorated with an inverted lotus-shaped structure and the base also reflects a floral theme.

The objective of the lighting concept is to portray figuratively the openness of theSikh religion which draws upon influences from around the world, while at thesame time preserving its central core belief. The topmost part of the structure isilluminated in static white with floodlights with ceramic discharge metal halidelamps symbolizing the purity of its core belief. The central dome is illuminated ina slightly warmer shade of white symbolizing the spirit of sacrifice.

ClientGovernment of the State of Punjab,Chandigarh, India

Lighting designPavail Gill, Gilton Electricals, Chandigarh, India

Lighting solutionsIndranil Goswami, Philips India

Light sourcesPhilips LUXEON® LED, 1W, amber, white and bluePhilips LUXEON® LED, 1W, red, green and bluePhilips LUXEON® K2 LED, 4W, warm whitePhilips MASTERColour CDM-TT 150WPhilips SON-T 250W

LuminairesPhilips LEDLine2 RGB, Philips LEDLine2 AWB, Philips iColor Accent PowerCore SWF 330, RVP 339SNF 114 , TCW 097, DGP 652

Lighting controlsPhilips Color Chaser Touch DMX Controller

Websitewww.gilton.in

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CITIZENM HOTEL, SCHIPHOL,AMSTERDAM, THE NETHERLANDS Design award winning citizenM hotel in Amsterdam partnered with Philips tocreate a unique experience for their guests. With a combination of different lightingand multimedia solutions, called Integrated Hospitality Experience, the hotel chainis able to build a unique intimacy with their guests and remove the traditional feelingof anonymity from the hotel experience. The specially designed system not onlycombines a host of various ambient products, including dynamic LED lighting, VoIPphone, free Wi-Fi and Hospitality TV which contribute to a guest’s overallexperience, it also provides a unique back-end network design that interfaces withall the hotel’s software systems, allowing the hotel to operate at much lower costs.The “Mood Pad” controller allows guests to adjust the temperature, operate thecurtains, and even change the room’s colour thanks to two RGB LED strings abovethe translucent ceilings. As consumer choices are increasingly driven by emotionalfactors - beyond merely the functionality of a product – Integrated HospitalityExperience offers guests immersive experiences that go 'beyond the product' andengage all the senses.

ClientcitizenM hotel chain

Architect Concrete architectural associates, Amsterdam,The Netherlands

Lighting solutionsPhilips Netherlands

Light sourcesPhilips LED Superflux RGB red, green and blue

LuminairesPhilips LED string

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FEDERATION TOWER TUNNELMOSCOW, RUSSIAThe Federation business complex, featuring the tallest building in Europe (448 mtall with steeple), is being built on Krasnopresnenskaya Embankment, in the capital’sMoscow City international business neighborhood.

The objective was to deliver a total lighting solution for the tunnel area of theFederation Towers on level 01, translating the lighting effect envisioned by YabuPushelberg. This tunnel goes from the main entrance to the dispatcher room withhi-end monitoring system. Within this project the following aspects were takeninto consideration: possibility to re-programme visual effects, easy control,temperature management, air-conditioning and energy efficiency. Flexible LEDsolutions iColor Flex and iColor Cove were applied alongside the whole tunnel.Light weight and flexibility ensured freedom of content interaction for mostcomplex solutions.

Client Moscow City Business Complex, Moscow

DeveloperMIRAX Group, Moscow

Indoor Architect Yabu Pushelberg, New York

Lighting solutionsChia-Chun Liu, Bas Hoksbergen, Philips Netherlands,Egor Nilov, Philips Russia

Light sourcesPhilips LED SMD red, green and blue

LuminairesPhilips iColor Flex SLX, Philips iColor Cove QLX

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FONTANA DI NETTUNO, MESSINA, ITALYIn Messina, Italy, this wonderful monument stands in the middle of a square in thecity centre, which is crossed by major roads and marked by a forest of disorderlyarranged vertical elements (trees, shrubs, traffic lights, road signs and, last but notleast, the poles of public-lighting with 800W sodium lamps!). It was difficult tonotice the fountain among all these various forms of pollution (visual as well assound) and in the evening, the subject was batched with yellow-orange light thatdid more to hide its presence than to treat it as what it is: a jewel in thecity centre.

It was therefore necessary to extract the structure from its environment.This meant re-using the public lighting poles closest to the fountain: no less than30m away and with a height of 10/12m! This challenging geometric situation isaddressed with an alternative to the traditional way of lighting: thanks to sixteenBeamerLED luminaires, distributed in four groups of four and equipped with whiteLED light, the fountain is once again allowed to shine with colours and to show itsstructure. The biggest benefit isn’t immediately perceptible: the installation, withan expected life of 50,000 hours, uses in total only 48W, less than a light bulb!

ClientCitz of Messina

Lighting solutionsMassimiliano Negri, Philips Italy

Light sourcesPhilips LED LUXEON®, white

LuminairesPhilips BeamerLED

MÖBELHOF INGOLSTADT,INGOLSTADT, GERMANYThe Möbelhof in Ingolstadt is currently the largest furniture house in the region.The lighting concept sets new standards in lighting design for both the indoor andoutdoor areas. This was achieved by a detailed planning which took into accounteven the smallest exhibition spaces. Equally important were lowering energy costs,the brilliance and life-time of the light sources used.

The external façade and also the interior are almost completely illuminated withPhilips MASTERColour CDM-T lamps in warm white with varying beam anglesand electronic control gears. The result is a very comfortable and invitingatmosphere in the sales area. Additionally Lival fixtures in combination with CDM-Tm Mini 20W and 35W were used in smaller areas and for specific displayscombining high-quality, brilliant light and low power consumption. A literal ‘high-light’ is the installation of down lights with CDM-T 250W at a height of 22 meters:“The sun shines through the ceiling” was the comment from many clients.

ClientMöbelhof Ingolstadt

Lighting solutionsD. Lindner GmbH and D&L Lichtplanung

Light sourcesPhilips MASTERColour CDM-T, 150/830 and 250W/830Philips MASTERColour CDM-Tm Mini 20W and35W/930Philips MASTERColour CDM-T 70W/930 Elite

LuminairesLIVAL track and downlight fixtures

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Ever since human-beings have lived on Earth, daylight has beenimportant both for and in life. In architecture, sun orientationcontributes to the delight of working or living in a space. This notion ofcomfort created by light, emotions generated by light is essential for thehealth and well-being in a place.

Some people suffer from seasonal affective disorder as a result of thelack of daylight, both in quantity and quality. These winter blues cancause dramatic mood swings but can be treated by light therapy usinghigh quality light sources with a good spectrum. The Chamber of theWales National Assembly and the Baker Street offices in London alsoallow adjustment of task lighting. Sustainability in all senses – daylight,heating, water and controls – is taken seriously by the architectsconcerned.

Lighting is an actor of sustainability going beyond the implementationof environmental and human consumption parameters. Forarchitecture, sustainable lighting is a question of mood, brightness andcolour. Just as daylight differs in summer and winter, so flexible lightingadds meaning according to the use of the place or the moment ofthe night.

Sustainability has become a buzzword - but Architecture and Lighting,designers and manufactures cannot solve all the problems alone. It is along-term concern of society where each actor has his responsibilitytowards climate change. It is up to you to define tone, rhythm andsaturation that produce the play of light.

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NATIONAL ASSEMBLY OF WALES, CARDIFF, UNITED KINGDOM

TRANSPARENCYInterview by Jonathan Ellis

The new building for the National Assembly of Wales is a bold and modern statement,not only about the transparency of government but also about consideration for theenvironment. Daniel Wright was a member of the project team formed by RichardRogers Partnership (now Rogers Stirk Harbour & Partners) to design and create thisnew expression of democracy on the banks of Cardiff.

“It was very clear from the start that the client wanted to make a strong statementabout transparency in the political process,” explains Daniel Wright. “Ourintention was to create a friendly, inviting building which would draw people intothe process. Visual connectivity between the private and public areas ensurestransparency while focusing the attention on the central Debating Chamber.

“The site on the edge of Cardiff Bay provided an important cue for our initial designresponse. The bay provided a metaphor for our design: two ‘planes’ – the planeof water and the plane of the sky – expressed by the building as a ‘floating’ roofover a stepping plinth. We dubbed it the Democratic Roof, because it extendsover all the building’s activities. And the central Debating Chamber is formed bythe roof folding down to meet the plinth, suggesting that here allopinions meet.”

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

“An environmental brief was developed with BDSP (the environmental and MEPconsultants for the project) to accompany the design brief and its primary aim wasto minimise the building’s energy demands. Lighting was a key issue and we felt itessential to maximise the use of daylight. With BDSP we developed a large glazedlantern for the Debating Chamber with an inverted reflector cone that bringsdiffuse daylight down into the Debating Chamber. But it was impossible to dependexclusively on natural light in the Chamber, because many of the plenary sessionsare televised and we had to create a delicate balance between natural-lookinglighting and even lighting which did not compromise the clarity of the chamber.”

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The energy usage targets were very demanding, but BDSP were able to achievethem thanks to the use of high efficiency lamps and luminaires in conjunction withan automated building control system. This allows appropriate lighting scenes forthe various multi-functional areas to be selected at the touch of a button, rangingfrom the lighting of informal meetings to the lighting of televised Assemblyplenary sessions.

ARCHITECTURAL CONTEXT“Our design made considerable use of exposed concrete frame of the building asthermal mass. We wanted it to be honest and unadorned,” says Daniel Wright.“For this reason, we developed multi-purpose booms which were suspendedbelow the concrete soffit, and these contained not only the lighting luminaires forboth uplighting and downlighting but also other technical equipment which wouldotherwise accumulate on the soffit such as loudspeakers, sounders, smokedetectors and various sensors. There are also infra red sensors which shut downthe lighting when the room is not in use.”

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

“BDSP suggested that we could relax the temperature range conventionallyapplicable to internal spaces by re-thinking the main hall more as a semi – internalthan fully enclosed space. Rather than maintaining a constant 21ºC throughout theyear, we allow a temperature variation between appx 14ºC and 26ºC, significantlyreducing heating and cooling demand. The public entering the building on a hotsummer day are likely to be in shirt-sleeves, while those entering in winter will bewearing overcoats. Visitors psychologically adjust to the internal temperaturemeaning that you feel as warm as you think you should be in that environment. Infact, the total energy consumption figure the building was designed for was75 kWh/m2, well below the best practice target of 130 kWh/m2.

“The Assembly now has an open environment which undoubtedly represents achange in the political fabric of Wales but also Britain. Welsh people now have thesymbol of democracy they voted for and, judging by the many positive commentsfrom the public, they are delighted with it.

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5Milling space

6Members tea room

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ClientNational Assembly of Wales

ArchitectRogers Stirk Harbour + PartnersLondon, United Kingdom

Environmental ConsultantMatthew Winter, BDSP Partnership

Structural EngineerGabriel Hyde, ARUP

Lighting ConsultantsMatthew Winter, BDSP PartnershipBarry Hannaford, DPA Lighting Consultant

Light sourcesPhilips MASTERColour CDM-T 70W /942

Debating Chamber LuminairesiGuzzini, CDM recessed floodlight with CTB filters toraise 5000K for television broadcasting on the first ring,Wila, T5 circular recessed on the perimeter acousticpanels

Lighting controlsDALI

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

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

A STAGE UNDERTHE STARSInterview by Guido Diesing

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First it was a concert hall, then an unloved inner courtyard and now, thanks to the addition of glassand light, it has been given a new lease of life as a splendid foyer to a Ministry building. The historyof the Munich Odeon is as varied as it is unusual.

Built in 1828 for the Bavarian king Ludwig I, on the basis ofa design by the master builder Leo von Klenze, the Odeonin the Bavarian capital city served as a concert hall withexcellent acoustics. All but the outer walls of this classicbuilding were destroyed in the Second World War, and itwas not until 1951 that a decision was made about how touse the part of the building that was still standing. It wasconverted by the architect Josef Wiedemann into the headoffice of the Bavarian Ministry of the Interior. For decadesthere was not a lot to remind people of the building’soriginal purpose.

“After the roof had been destroyed, what had once been aconcert hall became an interior courtyard that was neverused and gradually fell into disrepair,” said Peter Ackermannas he described the situation he confronted when in 2004the architect's office Ackermann und Partner was given theassignment to redesign the 400 m2 interior courtyard. “Therehad been repeated calls for the Odeon to be rebuilt so thatit could once again be used as a concert hall, but theserequests fell on deaf ears. In the end it was decided to put aroof on the interior courtyard so that it could be used forevents at the Ministry. When we received the assignment tocontinue building what had initially been built in 1828 and1951, we felt an immense sense of respect for the importantarchitects who had been involved and for the history of thebuilding. We didn’t want to convert it, but wanted toconserve what was left of it. The original Odeon no longerexists, but by covering it with a glass dome we were able tomake the part of the interior courtyard that used to be aconcert hall into a useable space again.”

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ClientBayerisches Staatsministerium des Inneren(Bavarian Ministry of the Interior)

Architect Peter Ackermann, Ackermann und Partner ArchitektenBDA, Munich, Germany

Lighting DesignErwin Döring, D-LightVision, Munich, Germany

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

LuminairesPhilips ColorBlast 12 Powercore, ColorCast

Lighting controlsPhilips iPlayer 2

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

LIGHT VISIONThe subtlety apparent in the criss-cross network of glass thatforms the roof, which now appears to float on small pillarsabove the courtyard, is also evident in Ackermann’s ideas forthe lighting: “We wanted to bring out the play of light andshadow of the pillars in order to give the space more depth,but to do this in as subtle a way as possible, taking care notto destroy the effect by using large luminaires. To enable usto achieve this, we worked closely with the lighting designerErwin Döring.

“He knew exactly what we meant: ‘It is very important totalk about light, and not about luminaires. A lighting designerhas a vision of light, not a vision of luminaires.’” When it cameto the Odeon, he saw a way to use lighting to link the spacewith its past: “I had the idea to create a sort of stage lightingand to make the entire space into the theatre set again. Thelight needed to be a mellow light, but it also had to offer anappropriate lighting solution for all kinds of events such asstate visits, presentations, concerts and lectures. The idealway to achieve this was to use LED-based luminaires.”Alexander Weckmer, who had the job of managing theproject, explained the choice of luminaire: “Even using warm-white light we could not manage to really bring out the lightochre-coloured walls, so we decided to opt for colour-changing luminaires – a revolutionary solution for such anhistorical building as this.”

ATMOSPHERE IS EMOTIONSpecial optics with a broader light distribution were madefor the floor-level lights, with the result that fewer luminaireswere required. The positioning of the luminaires, which onthe second and third levels are in some cases hidden behindpillars and under panels, makes it possible to illuminate thewalls uniformly and in an unobtrusive way. “A DMXcontroller is used so that the 120 luminaires can either becontrolled individually or combined to create lightingscenarios,” explained Weckmer. “Pre-programmedscenarios can be called up at the press of a button and offermore or less endless possibilities. Here you need a carefultouch and a sensible approach or it could very easily turn abit kitschy.” Erwin Döring added: “Atmosphere is emotion,and emotion is light. Today we can transform variousemotions into light and colour. We wanted to show just whatcan be done using light, without ruining the effect of thebuilding. Now we have a stage again, even if it is only apleasant illusion.

When a reception is held here we can bathe the walls in asaturated blue or in a dark orange. A good side-effect of theupward light is that the light sources are reflected in the glassroof. This creates the effect of a starry sky and, together withthe colour composition it creates a wonderful overall effect.Light and colour set the scene in this space; they introducean element of suspense and create a theatrical atmospherein an architectural setting.”

And the solution is a success not just in terms of aestheticsbut also in terms of economy. “These days sustainability is animportant factor,” says Döring. “This solution is sustainablenot just because of the low energy consumption – a total ofonly 1.5 kW – but also because of the lifetime of theluminaires – no less than 50,000 operating hours. Andbecause we have nowhere near exhausted the potential ofthese luminaires, there will be no need to replace them ifadditional effects are required in the future. Now that is whatyou call sustainability!”

Peter Ackermann was delighted with the positive responseto the design concept: “At first a lot of the staff at the Ministrywere sceptical, but now there is huge acceptance for thesolution. In the warmer months there isn’t a single week goesby without the foyer being used for one or more events.”

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OCTÁVIO FRIAS DE OLIVEIRA BRIDGE, SÃO PAULO, BRAZIL

COLORED ACCENTSON THE RIVERWritten by Evelise Grunow

The lighting of the Octávio Frias de Oliveira Bridge in São Paulo, contrasts whiteand coloured light in order to emphasise the innovative nature of the curved, stayedstructural system. Paulo Candura and Plinio Godoy, of Luz Urbana, created thelighting design.

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The bridge aims to improve the traffic conditions in what is one of Brazil’s largestmetropolises by creating new links between strategic districts and the commercialpole of the port of Santos. Known as the Estaiada bridge (the “Stayed bridge”),and opened in May 2008, the bridge has quickly become an icon of São Paulo’slandscape. Its dense mesh of stays and the single elevated support tower, 138metres high, stand out between the banks of the Pinheiros river, which form oneof the structural routes for metropolitan road traffic.

The aim of the lighting technology was to emphasise the innovative nature of thebridge’s engineering and architecture, designed by the architect João Valente, ofValente Valente Arquitetos. It is designed in such a way as to create a cleardistinction between the daytime and night-time views of the bridge. Consequently,starting with the assumption that the many yellow stays (144 of them altogether)take priority over natural light, it was decided that the artificial lighting would servethe purpose of emphasising the form and dimensions of the concrete tower.

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ClientPrefeituw Municipal da Cidade de São PauloConstrutora OAS

Architect João Valente, Valente Valente Arquitetos,São Paulo, Brazil

Lighting designPlinio Godoy, Paulo Candura, São Paulo, Brazil

Lighting solutionsAlexandre Ferrari, Philips Latin America

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

LuminairesPhilips Milewide, SRS421, road optic,Philips ArenaVision, MVF403, Cat A1 to A5reflectors,Philips ColorBlast 12, BCP470, 8° and 23° beams

Lighting controlsPhilips iPlayer

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

LUMINANCE AS A DESIGN RESOURCE “We opted for primary, volumetric lighting of the tower,” commentedPlinio Godoy.

For this reason, use was made of ArenaVision floodlights, 1,000 W, installed in thevicinity of the bridge so as to focus in parallel on the main surfaces of the volumeof concrete. “We used luminance as a design element,” Godoy added. However, whilst the tower was still being built, it was found that the surroundinglight would interfere negatively with the mesh of stays. In order to ensure that theconcept of emphasising the view of the tower remained intact, additionalArenaVision floodlights were added, for directional focus on strategic points of thestays. The lighting designers were aware that public lighting makes a statement,hence the decision to focus each floodlight individually, so as to cancel out anyinterference by lighting from the city.

In addition, this equipment was oriented in such a way as to create an area ofshadow on the inner surfaces of the tower, with homogeneous parallel lighting ofthe inner surface, in parallel to the Pinheiros River.The aim was to separate the lit areas from other, dark areas, on which the colouredlight would be projected. In this respect Godoy pointed out that the colouredlighting of the bridge is discreet and homogeneous, in line with the particularrelationship which the residents of São Paulo have with regard to the colourapplied to public monuments. “This is a very sensitive relationship, timid even, anddifferent from the situation in other major cities in the country, such as in the NorthWest, for example”. Use was therefore made of 146 ColorBlast LED floodlights,with varied beam angles so that surfaces with different heights would belit homogeneously.

LIGHT ON THE DECKThe lighting of the two traffic lanes was based on two main criteria. Firstly, sincethe bridge is located in a relatively dark area of the banks of the Pinheiros, the aimwas to create lighting of approximately 70 lux on the traffic lanes, compared with20 lux required in the surrounding environment. Godoy said: “People feel safe inthese conditions”. In addition, the interface of the lighting equipment with the line of stays dictateda maximum height of 6 metres for the lighting posts. These use Milewide streetluminaires with CosmoPolis lamps, and they are arranged bilaterally andasymmetrically, interposed every 15 metres on both sides of the lane. The lightingof the Octávio Frias de Oliveira Bridge uses efficient, modern technology which isrepresentative of the state of the art in Brazilian lighting design.

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55 BAKER STREET, LONDON, UNITED KINGDOM

THE ARTOF LIGHTINGWritten by Paul Haddlesey

A major refurbishment of 55 Baker Street in central London, creating a modern,dynamic building complex, includes the use of LED lighting fixtures, a bespokelighting solution for workspaces and an integrated lighting management system.

Now owned by London and Regional Properties, the site was formerly theheadquarters of Marks and Spencer and a well known London landmark. Thanksto an innovative lighting scheme by Make Architects and light artists Jason BrugesStudio, the building has been transformed at street level to create visually dynamicpublic spaces that combine innovative lighting with public art.

“From the very beginning of the project we considered light to be just as importantas any other element of the building,” recalls Make’s Ian Lomas. “We were alsokeen to make the exterior lighting part of the public art component rather thansimply using ‘trophy’ art. To that end, we involved Jason Bruges at an early stageso that his design would inform the way the whole building is lit,” he adds.

COLOUR CHANGING CONCEPTThe transformation of the building’s exterior features three glass infills or 'masks'spanning the voids between the existing blocks. Constructed from a glazed latticeof stainless steel, these masks create a distinctive sculpture that changes with boththe viewer’s perspective and the times of day and year. Red, green and blue lightingusing LED fixtures integrated into the cladding are key to creating the colourchanges at the heart of the concept.

“The emphasis is very much on focusing attention on surfaces and textures, ratherthan the lighting fixtures themselves, so it was important that the luminaries werepositioned discreetly,” notes Ian Lomas.

“The combination of the structures and the lighting help to create moods thatreflect the seasons and the activity in the space,” Jason Bruges explains. “We haveused very tight angles and narrow beams to achieve this and went through anumber of iterations on a full scale mock-up to create the desired effect.

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ClientLondon & Regional

ArchitectMake Architects, London, United Kingdom

Façade lighting designJason Bruges Studio, London, United Kingdom

Services Engineers Blyth & Blyth, London, United Kingdom

Lighting designLight Bureau, London, United Kingdom

Lighting solutionsCraig Stead, Mike Simpson, Philips United Kingdom

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

Multi Service Chilled Beam Frenger MSCB including air-conditioning, controlsensors and lighting in offices

LuminairesMike Stoane Lighting LED floodlight for façadePhilips LEDLine2 RGB in the hall, Philips Fugato, PhilipsCelino, Philips Savio in offices

Lighting controls Philips LMM, Light Master ModularLON DALI

Websites www.makearchitects.comwww.blythandblyth.co.uk www.jasonbruges.comwww.lightbureau.com

“All of the lighting in these areas is controlled from a single point to produce pre-set scenes of different colours and patterns in relation to the time of day and theseason, and can also be programmed to produce scenes tailored to special events,”he continues.

SMOOTH TRANSITION OF LIGHTAs well as being visually striking in its own right, the lighting within the masks createsa series of thresholds between the exterior and the interior, so there is a smoothtransition of light rather than an abrupt change.

Within the workspaces, the design team was faced with another challenge: theclient wanted to maximise the floor to ceiling height and create a light and spaciousambience with high levels of comfort. Consulting engineers Blyth and Blythidentified a multi service chilled beam (MSCB) system that combines uplighting,downlighting and comfort cooling as offering the best solution. Philips workedclosely with chilled beam supplier Frenger to ensure that the systems were fullyintegrated in the beam structures.

“The MSCB enabled us to keep the ceiling height to a maximum while deliveringthe required specification for high quality offices,” explains Mike Pile of Blyth andBlyth. “However, because the beams are a fixed shape across the office, gettingthe right profile was vital to achieving uniform light distribution, particularlybetween the beams. The system also needed to be very flexible to enable tenantsto install partitioning if required.”

Architectural lighting designer Light Bureau and Blyth and Blyth worked closelytogether to achieve the best solution. The lighting on the beams is divided intogroups of four on the outside edges and two groups of two on the inside edgesso that a partition can be placed across the beam. Each beam also includes twomulti-sensors with a photocell and passive infra-red (PIR) presence detector sothat the lighting can be demand-controlled in relation to both occupancy anddaylight levels.

MAXIMUM FLEXIBILITYFully addressable for maximum flexibility, the DALI network interfaces to a LightMaster Modular lighting management system, creating what is believed to be thelargest LON DALI control project in the UK so far.

Each lighting control module was commissioned to link four chilled beams per unit.In turn, each of the chilled beams housed six light fittings representing in total some22,000 luminaires across 16 floors within the building complex. “We know thatwe have got not only an advanced lighting management system but one that canaccommodate any changes in the future, while minimising any reconfiguration ofthe system,” Mike Pile concludes.

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LA BOSSE COLLECTIVE ACCOMMODATION – 1980“When I finished my first building using passive solar designin grouped housing, my interest in bioclimatic architecturewas initially sparked by research into the economics ofenergy and heating. At the end of the first winter severaloccupants told me that they had found that the winter hadseemed shorter to them. They benefited more from the sunindoors and on the huge terraces than in their previousdwellings, relegating the expected economies of 50% ofheating to a secondary level. This was a revelation to me andthe realisation of a new compatibility between bioclimaticarchitecture and natural lighting.”

ELISA LEMONNIER INFANT SCHOOL – 1984“The order for a bioclimatic infant school was theopportunity to deepen those complementary qualities. Iimagined a building in which the sun would provide heat andlight in winter without bothering its occupants. The classeshave windows facing south. They are low down at thechildren’s level. The window in the central passageway isfitted with mobile insulating panels to give protection fromthe north in winter and to provide shade and coolness insummer. Light wells facing south and north and oculi let thechildren feel the different atmospheres and the movementsof the sun during the year.”

PASSIVE SOLAR AND NATURAL LIGHTING:ARCHITECTURAL ATMOSPHERESChristian Cochy, Architect in Saint Nazaire, Loire Estuary, France

Since he discovered the concept of solar architecture, in both summer and winter, in the UnitedStates in the 1970s, Christian Cochy has been expounding the essential part played by the sun inarchitecture and its teachings.

“I was immediately beguiled bythe thermal form-functionsuitability of this pueblo village,Cliff Palace, built in a cave inColorado. Sensitive too to thecompatibility between theseasonal cycles of vegetationand the solar trajectories andto that between the thermalinertia capacity of a buildingand the day-night cycle of thesolar inputs.”

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ANNE FRANCK LIBRARY – 1987“I decided to light the round book room using a transparentpyramid on the roof. Each section of the pyramid is protectedby independent outdoor sun-breaks. This enables the usersto manage the protection of the sides exposed to the sun asit moves during the day, while keeping good naturalbrightness and excellent summer comfort.”

LES PINS LONG-TERM CARE UNIT – 1990“Invited to design hospice accommodation for elderly poly-dependent people, I attempted to respect their extremesensitivity to light and to heat in summer without deprivingthem of the contribution that is essential for their moraleduring that phase of revival in the summer cycle. In the “LesPins” living unit I suggested living-rooms broadly glazed andlooking onto the nature outside. In summer they areprotected by very wide canopies, while the existing treesprotect the rooms to the west.”

INDIVIDUAL RESIDENCES – 1982 TO 2009“In my individual housing projects I attempted to makepassive use of the sun’s direct inputs in most of the spaces,both during the day and at night. I link them to theirindispensable complements, such as compactness, inertia,protection against the cold from the north, natural andmobile protection against the heat of summer and now theuse of healthy materials.”

The resulting spaces are therefore very directional and full ofcontrasts. Inundated with light in winter and open to thesouth, they are shaded to the north, with views and“emotional” lights to the east and west. Windows or zenithallight wells punctually provide the more “spiritual”atmospheric complements during the day in the areas facingsouth. Pergolas with vegetation or mobile fabrics protectoutdoor terraces and south-facing windows in summer. Thenight lighting is largely provided by energy-saving lamps, alsopositioned according to daylight entry.

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South façade with passive sun light Individual residence from M. Foucré, Architect: Christian Cochy

THE LUMINANCE SENSATIONOF COLOURED LED LIGHTINGWritten by Peter Kort, Luc van der Poel

Coloured LED lighting is becoming increasingly important inlighting concepts. It is used not only in the theatre and forcity beautification, but also in shops, reception areas and evenin office environments. The luminance effects of spotlightingusing white light are well known and are described in termsof the accent factor; coloured lighting is not yet described inthis way. The attraction value of coloured light is expectedto be higher than that of white light due to the colourcontrast. The following experiments shed some light on thebehaviour of coloured lighting in relation to white lighting.

THE EXPERIMENT The experiment defines the relative luminance sensationgenerated by the primary colours of a LED spot. The methoduses a pattern created by two LED spots on a highly reflectivewall. The wall is divided into two equal parts. On one halfyou see a spot in one of the primary colours, on the other awhite LED spot with a preset intensity. The test patterns arered-white, green-white, and blue-white. The observerchanges the intensity of the coloured spot until they feel theluminance sensation generated by the two spots is equal. Thistest is performed for each combination, once in completedarkness and once with 350 lux on the wall.

Test sceneThe observer changes the intensity of the coloured spot until they feel the luminancesensation generated by the two spots is equal. This test is performed for each of thethree combinations, red-white, green-white, blue-white, once in complete darknessand with 350 lux on the wall.

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RESULT The results reflect the luminosity function: green lightcontributes the most to the intensity perceived by the humaneye, and blue light contributes the least. When the white lightwas set at 100, we found the ratio for red to be 33, for green50, and for blue 17.

Another, secondary outcome of the test shows that the sumof the red/green/blue ratios found (additive colour mixing ofRGB gives white light) is equal to the intensity of thewhite spot.

Finally, two primary colours were combined to create yellow,magenta and cyan. The outcome showed that the relativeluminance of secondary colours could be found by addingtogether the relative luminance of two primary colours. Inthis way we can predict for every colour the relativeluminance compared to white light.

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RELATIVE LUMINANCE

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

Relative luminance:The graph shows the different relative luminance for all colours with the same luminance sensation as white light.One can see, for example, that green light (525 nm) generates the same visual attraction with only 50 per cent ofthe luminance of white light. The relative luminance for cyan (490 nm) is 70 per cent.

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City streets now have to be lit withgreater subtlety than ever, taking intoaccount the often conflicting needs ofresidents, motorists, pedestrians andeven cyclists. Lighting in such areas is nolonger purely functional; it has to adaptto the needs of people, providing notonly safety and visibility, but alsoambiance and orientation. In addition,lighting schemes must be energy-conscious and prevent light nuisanceand pollution.

With this in mind, the OutdoorLighting Application Center – OLAC –has completely transformed itsdemonstration area. The original streetwith family homes has been replacedby a modern, contemporary urbanstreet, with residential buildings on twofloors, a restaurant, nursery school andprivate houses. The new area alsoillustrates the increasing urbanisationand densification of urban areas –apartments instead of individualhouses. This provides the backdrop forshowing how lighting can be improvedwith modern technology, while at thesame time taking into account thechanging demands people and urbanauthorities make onresidential environments.

The demonstration starts with an “old”installation and then shows a numberof different scenarios. It is an “eye-opener” to explain and visualise howto improve lighting of public spaces interms of energy consumption andbeam control, but also in terms ofatmosphere and safety by the creativeapplication of decorative lighting. Thelighting solutions chosen are state-of-the-art, and concentrate on a variety oflight sources, luminaires, optics, design,power, lighting control and dimmingmode. Particular attention is given tothe fast growing penetration of LEDsinto residential areas with UrbanLine,CitySpirit Street Color, CitySoul andLEDLine! asymmetric, as well as tailor-made and dedicated solutions such asLightTube or Multipole. Theinstallation includes HID lightingsolutions such as Cosmopolis lampswith perfect energy saving and highquality white light.

This new residential demonstrationarea once again underlines Philipscommitment to lighting professionalsand the architectural community.

It provides a unique opportunity toview the latest application trends inurban lighting in a customised, modernenvironment and offers professionalsthe opportunity to assess lighting plansin terms of sustainability, creativity, and,most importantly, the needs of thepeople who live in and make use ofresidential areas.

NEW OLAC RESIDENTIALDEMONSTRATION AREA

Architect Frédéric Agnesa, SAA, Lyon, France

Lighting solutions Isabelle Huaman Gontard, Christian Ferouelle, Philips Lighting

Electrical installerACEA

Light sourcesPhilips Cosmopolis 45-60W,Philips LUXEON®

1 red, green and blue, Philips LUXEON® K2 warm white

Luminaires Philips CitySoul, Philips UrbanLine,Philips Milewide, Philips CitySpirit Street Color,Philips Metronomis, Philips Marker LED, PhilipsLEDLine! asymmetric, Philips LEDflood, PhilipsMultipole, Philips LightTube, Philips UnderwaterLED, Philips Decoflood, Philips PROflood

Lighting controlsMartin LightJokey

STAGE 1: RESEARCH

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IDENTITY - City users- History- Architecture- Landmarks- Atmosphere- Nature- Special events

EXISTING LIGHTING - Functional lighting- Architectural lighting- Luminaires- Light sources

STRUCTURE OF THE CITY - Topography- Districts analysis- Traffic analysis (network grading plan)- Viewing points and distances

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LIGHTING MASTER PLANBy Mujgan Serefhanoglu Sozen

Mujgan Serefhanoglu Sozen (Prof., M.Arch) lectures at the Yildiz TechnicalUniversity, Faculty of Architecture, in Istanbul, Turkey. She is chairwoman of CIE(Commission Internationale de L’Eclairage) Division 5, TC 21 Master Planning ofUrban Lighting and TC 24 Guide for Architectural and Decorative Lighting.

Today, it is inevitable for cities to be alive at night as well as during the day. People working during theday are deprived of social, artistic, sports and entertainment activities. By facilitating these activities atnight, using urban spaces with safety and security, and by carefully selecting historical, artistic andarchitectural elements that have social value, you make cities more attractive and promote life quality.But if you are to do this positively and with an efficient use of energy you require acomprehensive planning.

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

The development of a Lighting Master Plan will typically pass through three stages. During the researchstage , a detailed analysis of the city is performed. This will include usage, users, natural characteristics,existing utility and architectural lighting, and light coming from buildings. It will also deal with the city’simage, identity, silhouette, road characteristics, the hierarchy between roads and between buildings andelements symbolizing the city. Then a lighting strategy is developed, taking into account light pollution,energy usage, sustainability and environmental factors. And third, the implementation stage shouldinclude planning and capital costs, operating costs, budget and maintenance systems.

Urban lighting gets old after about ten years, and changes to lamps and lighting elements becomenecessary. New products become available with continuously improving technologies and subjects suchas energy efficient usage also play a role in such changes. In this renewal process, in the renovation ofold cities or in urban transformation plans, lighting master plans must be made with respect for theoverall approach. The CIE guide Master Planning of Urban Lighting (D5 TC 21), which is yet unpublished,shows the need of undertaking utility and architectural lighting objects with an overallsystematic planning.

concept corner

18:00-24:00 24:00-07:00

STAGE 2: LIGHTING STRATEGY

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THEMES - Unique identity- Connecting people- Safety- Orientation- Atmosphere

DETAILED MAPSAND ILLUSTRATIONS - Illuminations- Tonality (colours of lamps)- Typology (scale)- Composition (typical configurations)- Lighting specifications

SCENARIOS Light linked to activities and time: - Working day- Shopping- Going out- Special events

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TYPICAL INSTALLATIONS - Recommendations for lighting

solutions and alternatives- Standard implantation in cross section- Visualisations and sketches

PLANNING - Planning of implementation- Definition of phases- Timing

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

STAGE 3: IMPLEMENTATION

PLAZA DE INDAUTXU,BILBAO, SPAIN Architect: Ander Marquet Ryan,JAAM architecture partnershipReview: ILR 2007, page 88-91

VERDI INNOVATIVE WORKPLACESBy Carine Legoux

Verdi’s site represents a veritable technological and wellness showcase, bringingtogether all the operations of the Philips France group since last year. Selectedpartners, such as AXA, COGEDIM, the firm of architects Boisseson-Dumas-Vilmorin & Associés (BDVA) and the engineering firm SETEC, got together tostudy and construct this ambitious project.

“It’s this respect for integration with the environment, this relationship betweenhumanity and quality of life that we have favoured since the conception of theproject,” says Jean-Michel Dumas, associate architect at BDVA, in charge of theVerdi project, and Gilles Engelmann, architect for the construction phase.

The Dynamic Lighting concept marks an important step that allows all the richnessof natural light to be introduced into the working environment. It is very logicalthat Philips has opted to fit 23,000 m! with this lighting concept. This operationillustrates perfectly what the lighting in a modern building should be like, takinginto account the users’ needs and the concern with saving energy.

2200 luminaires are perfectly integrated into the false ceiling. They are fitted withtwo T5 28 W fluorescent tubes using 2700 K and 6500 K colour temperatures.They vary the luminous intensity and the light colour temperature, recreating thedynamic that is peculiar to natural light.

The use of MLO micro-lens optics makes it possible to achieve a homogeneousand very comfortable light distribution. In addition, Dynamic Lighting is linked to acentralised management system that takes into account the incidence of daylightand the presence of staff in the offices, thus enabling electricity consumption tobe optimised.

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ProjectHead office of Philips France, VERDI,Suresnes, France

InvestorAXA

Delegated project ownerCOGEDIM

ArchitectBoisseson-Dumas-Vilmorin & Associés,Paris, France

Engineering firmSETEC

Architect-decoratorJuan Trindade

Lighting designerPhilippe Almon, PHA

Space planning DEGW

Civil engineeringPETIT

Electrical installerSPIE – PHIBOR (Vinci Energies)

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

LampsPhilips MASTER TL5 28W 827 and 865, Philips MASTER PL-C/4P 18W /830, PhilipsMASTERColour CDM-Tm 20W /830, PhilipsLUXEON® K2 white

LuminairesPhilips Savio TBS760 2x28W with ballast HFD inoffices for Dynamic Ambience, Philips FugatoFBS261 2x18W in circulation areas, Philips FugatoMBS244 with black cone Philips MASTERColourCDM-Tm 20W in the hallway and floors, speciallydesigned Philips LEDLine2 for lift areas

Lighting controlsPhilips Light Master Modular

Websiteswww.bdva.com

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BOOKSGreen architectureAuthor: James Wines, Philip Jodidio Publisher: Taschen, LLC (Germany),August 2008, 25th AnniversaryeditionISBN-13: 978-3836503211240 pages, colour illustrations,hardcover Language: English, French, Germanwww.taschen.com

Wines (dean of architecture, Univ. of Pennsylvania)proposes to steer the architecture profession away from the"vacuous shape-making" of "academic Modernism" towardsan ecology-centered aesthetic. This generously illustratedalternative history spotlights an eclectic assortment of lesser-known architects (including Wines himself) who in widelyvarying degrees incorporate ecological awareness intotheir designs.

Lighting Design:Office for Visual InteractionAuthor: Enrique Peiniger,Jean M. Sudin Publisher: Birkhäuser (Switzerland),July 2009ISBN-13: 978-3764399573, 144 pages, 255 colour illustrations,softcover Language: Englishwww.spinger.com/birkhauser/

More than any building material, light influences our wellbeing, effects architectural qualities and stages architecturaldesigns and surfaces. The New York-based Office for VisualInteraction (OVI) goes beyond simply illuminating buildings– the firm sees lighting as a way to actively shape space,complement architecture, integrate technology and saveenergy. Featured projects include illumination forcontemporary landmarks such as Renzo Piano’s New YorkTimes skyscraper, Zaha Hadid’s Rosenthal Center forContemporary Art, a prototype LED streetlight for NewYork City, and the lighting design for Enric Miralles’ ScottishParliament complex.

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Light & Communication -Nature as a reference in lightingdesignAuthor: Henrik ClausenPublisher: Meldorf: Hansen, (Denmark),January 2009ISBN-13: 9788792154026 120 pages,colour illustrations, hardcover Language: Englishwww.meldorfhansen.dk

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

Green Architecture Now!Author: Philip JodidioPublisher: Taschen ISBN-13: 978-3-8365-0372-3,416 pages Colour images, flexicoverwith flapsLanguage: English, French, Germanwww.taschen.com

The ecological impact of new construction, once a secondaryconcern, has become a crucial issue. Badly designed buildingsguzzle natural resources and pollute their surroundings; in anera of rocketing energy costs and environmentaldegradation, the need for a sustainable, energy-efficientarchitecture is paramount. This book features the architects,artists and firms pioneering a new green architecture, andexamines the emergent esthetics.

Yann Kersalé Authors: Yann Kersalé, Jean-LouisPradel, Henri-François Debailleux,Anne de VandièrePublisher: Editions Gallimard (France)October 2008 ISBN-13: 978-2070122806215 pages, colour illustrations,hardcover Language: French www.gallimard.fr

Yann Kersalé graduated from the Quimper School of FineArts in 1978 with the Diplôme National Supérieurd’Expression Plastique. Using light as others may use clay orpaint, he chooses night time – the most sensitive of allbackgrounds -as his area of experimentation.

Until 18 October CIVA Exhibition The Shops Time / Le Temps desBoutiquesFrom the small workshop toeBay / De l’échoppe à eBay www.civa.be/sub/00.aspFondation for ArchitectureBrussels, Belgium

19 - 22 October LUCI Association AnnualMeeting Lighting Urban CommunityInternational 2009 World Photonics ExpoGwangju, South Korea

28 - 31 October VIA Publishing & co-organiserPLDA Professional Lighting DesignConvention 2009 www.pld-c.comPullman Berlin Schweizerhof HotelBerlin, Germany

29 October -10 January, 2010

Exhibition Frank Lloyd Wright www.guggenheim-bilbao.esGuggenheim MuseumBilbao, Spain

15 - 17 November IES Association AnnualConference Illuminating EngineeringSociety 2009Realizing the Future – Researchto Application www.iesna.orgSheraton Seattle Hotel Seattle, United States of America

10 - 12 December CERMA Internationalsymposium Luminous architecture in the20th century (1907-1977) www.cerma.archi.frEcole nationale supérieured'architectureNantes, France

WHERE TO GO

Copyright

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

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19 May - 6 September Exhibition Andrea Palladio500 anos de conscienciaarquitectonica www.fundacio.lacaixa.esCaixaforum, Barcelona, Spain

1 - 9 August Youth Architectural Festival Towns: Construction of Eco-Town by your own hands www.asadov.ru/goroda/2009_greentown(eng).htmAltai, Russia

Until 9 August DDC Exhibition See the LightLight sources today and future www.ddc.dkDanish Design CentreCopenhagen, Denmark

Until 13 September MCA Exhibition Olafur EliassonTake your time www.mcachicago.orgMuseum Contemporary ArtChicago, United States of America

Until 4th October ExhibitionGreen Architecture for theFuture www.louisiana.dkLouisiana Museum of ModernArtHumlebæk, Denmark

6 October - 17 January, 2010

Exhibition Andrea Palladio500 anos de conscienciaarquitectonica www.fundacio.lacaixa.esCaixaforum, Madrid, Spain

1ST PRIZE 2008SEOUL, SOUTH KOREA

Lighting design

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

“This is an impressive project to rehumanize this urban area. This effort to bring nature backto the city combined with an harmonious and almost entertaining landscape design gives thispreviously lost and forgotten place an almost fairytale night-time image. The lighting designplays with light and dark as well as with the transparency of the water. The subtle use of coloradds to the overall quality of this relaxing and recreational urban environment, thus clearlyimproving the quality of life for those living here.”