20113929 lighting handbook erco light and scenography

7/29/2019 20113929 Lighting Handbook ERCO Light and Scenography

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Light and Scenography


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tune the light 1

The Light Factory

Tune the light:a new paradigm in lighting designFrom stage to architecture:light and scenographyScenographic light:planning technology applicationInfrastructure scenographyPlanning tool storyboardPlanning tool moodboard

Tune the light the practiceNature, vegetation, times and seasonsTownscape, urban space, landmarksSpace, surface, perception

Brand, identity, attractionEvent, drama, emotion

ERCO showrooms and officesERCO addresses

ERCO specialises in software and hardwarefor architectural lighting design. First andforemost, ERCO sells light and not luminaires.This approach, which places the immaterialsoftware of light above the l uminaire hard-ware, has characterised our work for manyyears: thats why we call ourselves ERCO, theLight Factory.

Light interprets spaces and helps us to per-ceive and experience them. In this sense, weunderstand light as the fourth dimension ofarchitecture.

Making good architecture even better byplacing it in the right light is our contribu-tion to culture and the senses and our mis-sion. Today, ERCO provides light in museums,

universities, shop windows, churches, air-ports, hotels, chain stores, exhibitions stands,administration buildings, private homes, andmuch more. Irrespective of whether the archi-tectural concept emphasises functionalityor presentation: our goal is, and has alwaysbeen, to find a solution that does justice tothe specific use and architectural featuresof each project.

ERCOs indoor luminaires, outdoor lumi-naires and lighting control systems make upa comprehensive range of lighting equipmentfor general, comprehensive, architecturallighting solutions. The luminaire is a lig htingtool, a piece of lighting equipment with aspecial practical purpose.

The fundamental change is currently expe-rienced in lighting technology due to newlamps, new optical systems, new digitally net-worked control gear and the appropriate soft-ware. This opens up undreamt-of possibilities,a concept which we have encapsulated in theterm Tune the light. This brochure introducesthese new scenographic dimensions of light-ing and hopes to provide inspiration for thesuccessful, creative use of our hardware andsoftware tools.

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ERCO Head Office,Ldenscheid: the highbay warehouse P3.

The Light FactoryContents

ERCO worldwide:Varychrome facade ofthe Naarden branch,Netherlands.

ERCO worldwide: meet-ing in the Stockholmshowroom.

ERCO Head Office,Ldenscheid: theTechnical Centre.


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Colourful lightingduring an exhibitioncompletely changedthe impression of theMACBA in Barcelonafrom the characterthat the building hadin daylight (architect:Richard Meier).

A new design dimen-sion: light can interpretarchitecture in manydifferent ways to createa genuine experience.

hitectural lighting has reached a tech-ogical turning point: after a phase ofreasing specialisation, differentiation andprovement of lighting equipment, we nowd new lamps, new optical systems andw digital control equipment at the thresh-of market maturit y. These changes resulthe design and construction of luminairest are increasingly and dynamically able to

ange their characteristics including bright-s or light colour and soon also be am direc-

n and light intensity distribution. Controltocols such as the DALI technology enablese luminaires to be connected to networkst allow individual addressability and group-independent of the power supply. The

ult: multiple architectural lighting optionsmultifunctional rooms.As a consequence, the lighting design tasks changed. Instead of creating a specifichting situation and implementing it basedthe installations in the room, it now setsstage for virtual architectural lighting:ms that can be transformed and repro-

ced in numerous ways with new effects;hitecture that can constantly be inter-ted in new ways. Software becomes anegral part of a lighting system. It providesuser interface for the variable luminairections and also creates a level of abstrac-

n to define groups of luminaires and spatialnes completely independent of the circuitangement. The software provides functionst enable lighting effects to be produced ine and space. The realisation of this vision

virtually unlimited, individual adaptabilityight is embodied in our catchphrase Tunelight.

With the ERCO Light System DALI, its inte-grated Light Studio software and the exten-sive range of Light Clients, i.e. DALI-compat-ible luminaires, the ERCO Program alreadycontains all the tools required to explore thepossibilities of this leap in technology and useit successfully in practical applications. Whenused as intended, these tools make sceno-graphic lighting design easier to plan, moreeconomical in implementation and more con-venient to use than ever before. All that isrequired is to question outmoded ways ofthinking and approaches to design and toembark on the adventure of using light todesign space, time and atmosphere in archi-tecture in new, creative ways. This brochure

hopes to inspire you and set you on your way.

Scenography makesgastronomy a trueexperience: architec-ture becomes the stage,light the medium that

adds effect.

w lamps and con-technologies make

ne the light pos-e: Optec spotlightsh LED varychromehnology and DALIpter.

Tune the lightA new paradigm in lighting design


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enography in its origin is closely linkedh the design of stage se ts. Recently, how-r, this term has also taken on othe r mean-s: defined as the design of the visual andtial dimension of scenic events, the strat-es and methods of scenography can beplied not only to the theatre but also tom, television, functions, exhibitions and,t least, to architecture from individualms to entire buildings and even effectivehlights for urban spaces. Light is the keyscenography, for the possibilities of stylingms with light are virtually endless. Light

ows architecture to be continually reinter-ted. Designing and controlling such trans-mations with the inclusion of the time

mension, we refer to as scenographic li ght.ese particular hardware and software toolsow light to interact with space and timeulting in the atmosphere being integratedo a coherent scenography.Architectural lighting has always bene-d from the transfer of ideas and technol-

y developed by scenographers and lightingigners for the stage as well as for movies,

p concerts or other events. There are, how-r, crucial differences between these twods of lighting design. Specifically in termstechnology, they both require differentls in order to produce seamless transitions.

tectural lighting does not separate actorsfrom audience or stage from auditorium. Aprofessional stage actor, for example, mayhave to put up with glare; whereas for usersof architecture, this would not be acceptable.

Whether on stage or in architecture, bothforms of scenographic light share one simi-larity: it follows a sequence or a plot, whichtogether with the impressions gained by theother senses, conveys a message both on arational and an emotional level.

Architectural lightinguses lighting effectstaken from stage light-ing, particularly forspecial events. Other

functions, however,require lighting equip-ment and systemsdesigned specificallyfor architecture.

In the case of lighting design for stage pro-ductions and events which can often t akeseveral hours and require continuous super-vision by a technician, architectural lightingis expected to work unsupervised, uninter-rupted and over much longer periods of time.Maintenance intervals and energy consump-tion are critical cost factors. Routinely, opera-tion is left to non-prof essionals who as usersinteract with the architecture. The key fund-amental difference in concept is that archi-

The variety of lightqualities coupled withspatial structure andtimed progression, canbe used to constantlyreinterpret rooms andobjects.

From stage to architectureLight and scenography

Pellas et Mlisande(Claude Debussy)Greek premiere,Athens Concert Hall(Megaron) 1998Set and lighting design:Uwe BelznerDirector:Georg RooteringPhoto: Eduard Straub


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cenographic lightanning technology application

The technology of theLight System DALI sim-plifies the planning andrealisation of sceno-

graphic architecturallighting systems. Tunethe light is possiblewhere lighting controlsystems previouslyproved too expensive,too space-consumingor too complex.

Digitally controlledluminaires such as theGrasshopper projectorswith LEDs in white orvarychrome are just thebeginning of a develop-ment that will lead to

lighting equipmentwith increasingly flex-ible functions.

nographic light provides architects andhting designers with the opportunity toome more critically and creativelyolved in the processes, i.e. spatial anded sequences, more than ever before. Thenographic approach requires a combina-n consisting of a control systems togetherh individually addressable luminaires. This

ows new possibilities of responding morenamically to both external and internaltors in the design of architecture, while

ways allowing reversibility. Now light canused to more easily interact with natured the environment, with urban features,h surfaces of structured space, to reveal

values and image of b rands as well as toate themes and portray sequential eventsd also to support the particular activitieshost and visitors.The interdisciplinary character of a sceno-phic approach to design also involvesnning methods that originate from relatedds such as film, advertising or stageign: Tune the light, in the final analysis,o means exploiting this new creative free-m and using it to full advantage.

As the Light Studiosoftware simplifies theoperation of the LightSystem DALI, designers

are able to concentrateon the creative chal-lenges and the newpossibilities of sceno-graphic design.

Tune the light isthe vision behind thisdevelopment: multi-functional lightingequipment for multiplearchitectural lightingoptions.


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Scenographic lightInfrastructure

e breakthrough of scenographic light ise predominantly to the emergence of newhnology. Scenographic concepts have beend in architectural lighting for some timeut always with considerable investmentsnstallation and material and with tech-ogy that has been defined primarily by itsts either in building management or stage

gineering.

ht System DALIe lighting control system ERCO Lighttem DALI, on the other hand, is specifically

veloped for scenographic architecturalhting and follows an innovative approach:elligently applied DALI (Digital Addressablehting Interface) technology for individu-y addressable luminaires combines with theCO Light Studio software to create an inte-ted package. Together with the extensivege of DALI-compatible ERCO luminaires

indoors and outdoors and the ERCO DALIck, scenographic light effects in architec-e can be implemented more easily and

onomically than ever before.New standards in terms of ease of oper-on, range of functions and creative con- are set by the consistent integration oftware and hardware. Thus, for example,colour location of DALI-compatible Vary-ome luminaires in the ERCO Light Studio

n now be set interactively and displayeda simple and straightforward format by

mere click of the mouse. Once a system isivated, both the Light Server and the soft-re automatically recognise DALI-compat-e ERCO luminaires known as Light Clientshrough their pre-programmed codes in theLI control gear, which are then clearly dis-yed. DALI-compatible luminaires of othernufacturers can also be integrated into a

Light ServerLight Studio Light Client

Light Client

ERCO trackwith DALI live end

Light Changer

Light Clients Light Clients

Light Studio Light Server

Light System DALI and can then be controlledjust as easily as ERCO Light Clients. The LightServer 64 for up to 64 DALI addresses enablesthe Light System to handle many typ ical light-ing control applications, as in multifunctionalrooms, shops and shop windows, restaurants,lobbies or company showrooms. The LightServer 64+ can be networked with other LightServers of the same type which allows thesystem to be expanded to virtually any size.

Light System DALI consists of the hardwarecomponents Light Server and Light Changerand the Light Studio software. The LightServer is a DALI controller that stores systemand scene data and provides the cont rol func-tions. The day-to-day operation is performedthrough the wall-mounted control panelERCO Light Changer or commercial push-buttons. To set up light scenes and for morecomplex operations, designers or users canuse the ERCO Light Studio software on a PC

connected to the Light Server or the LightChanger via a USB connection. The LightServer uses the DALI protocol to communi-cate with the Light Clients, i.e. the connectedDALI-compatible luminaires, via a two-corecontrol line. The bus technology and theswitch and dimming functions integratedinto the control gear make a permanent wir-ing of individual circuits and the installationof vast dimmer banks in switch cabinetsunnecessary. With DALI track accessories,the well-established and reliable ERCO trackis ideal for the operation of DALI-compatibleERCO spotlights via Light System DALI.

Light ClientsOutdoors


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2 The attraction of thelit entrance is furtherenhanced by the light-ing effect of the pan-

oramic window on the1st floor giving an indi-cation of what happensinside the building.

3 The magically litspiral staircase leadsvisitors from the semi-darkness of the foyer

up to the upper floor.

Unlike the design and development of staticlighting concepts, scenographic lightingdesign requires additional preliminary plan-ning. The tools "storyboard" and "moodboard"introduced in the following pages have beenused extensively to solve similar tasks in otherdisciplines including film, advertising, andstage setting.

StoryboardIf a scenographic lighting design is to be suc-cessful as an integral part of the overall archi-tectural project, designers must look at theintended dynamic lighting sequences inthe building at an early stage in the designprocess. These sequences result from aspects

such as the spatial progression encounteredas you walk through the building, but alsofrom the time dimension experienced in aroom throughout the course of a day. Changesin use and varying ambient conditions requiredifferent lighting effects at different times. Astoryboard is the correct tool helping design-

he lit entrance con-ts with the darkoundings at night.

5 The atmosphere inthe dining room itselfchanges throughoutthe evening.

5.1 The colour schemechanges along with thebrightness balance ofthe light components.

4 Intimate light at thebar forms a contrast witha uniformly lit side wall.The light of the diningroom appears as a focalpoint in the background.

6 For musical perform-ances, the house lightsare dimmed and a spotlight is used to illumi-nate the stage.

5.2 The layout of thedownlights allows forvariable accent light-ing on the individualtables.

ers with the design of scenographic lightingconcepts. Its rough sketches act as a creativescript for the spatial and perceptional pro-gression of the lighting effects. The meansof representation, the style and the depth ofdetail are, of course, left to the designer thesketches should, however, include the rele-vant properties of the light such as brightnessand colour contrasts.

The spatial progression can move fromthe facade through the entrance area andthe traffic zones to the various functionalrooms. The perceptional change in a restau-rant, for example, can be based on differentmoods, such as reception in daylight, dinnerwith accent lighting on the tables, and cock-

tail hour with subtle, yet atmospheric back-ground lighting.

The interaction of light, time and spaceprovides all the components through whichthe dynamics of light are directly linked withthe architecture resulting in spaces which canbe used with great flair.

Scenographic lightPlanning tool storyboard

The key frames forthe respective locationsand phases can be usedto create characteristiclight scenes, these canlater be stored and setup in the Light Studio.


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Scenographic lightPlanning tool moodboard

a tool for the visualisation and communi-ion of moods, moodboards take on a keye in the creative process. They are used topture impressions, describe emotions, formains of association and stimulate the imag-tion.A free collage on a pin board, for example,ased on a central theme in the fo rm of ature or a concept and made up of pictures,tches, materials, colours and buzzwords.create different moods as special effects room, the motifs can be systematicallyuped in themes to concentrate on inter-ing contrasts. In this way, the lightingigner can underline the conceptual state-nt with a moodboard for each different

ht scene.

Example: a fresh morn-ing. The moodboardproduces a light sceneusing diffuse, cool lightwith sparing, highlyfocused warm whiteaccents.

While the moodboard initially focuses on thestraightforward collection of pictures andthe free flow of thoughts to collate themes,the process of evaluation and concentrationis more analytical. The pictures provide infor-mation on the required light properties andeffects: the advantage of diffuse light asopposed to transitions full of contrast andshadows, the tendency toward specific lightcolours with pastel or saturated tones, andideas for specific light effects. Silhouetteson photos, for example, can be prod uced inthe lighting design through projected light-ing effects.

Light moods depicted and outlined as lightscenes using moodboards can be integrated

seamlessly into the sequence and spatialorganisation of the storyboard.

Example: a Mediter-ranean autumn after-noon. The moodboardproduces a light scenewith warm, directed,but soft-edged lightand red backgroundlighting.

Ice BlueNight Blue

Honey GoldForest GreenCool White

Warm WhiteSunset Pink

Sunny OrangeSky BlueGlowing Red

Colour tones can bederived directly fromthe impressions on themoodboard and definedin the list of colours ofLight Studio.


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ighting concepts for gardens, parks oren areas specifically, but not exclusively,cenographic approach must allow for theeraction of artificial light and environmen-factors such as the weather and naturalht. The appearance of vegetation changesntinuously throughout the day and thesons. Sunlight gives trees great liveliness,wind in the leaves creates moving shadow

tures on the ground, while moonlight onother hand reveals trees in silhouettes.

winter, the picture is of a web of twigs andnches, while in summer, the thick foliage

anges their crowns into compact volumes.ow with high reflection reacts to lightmpletely differently to a meadow in sum-r. The type and frequency of use o f parksd public places also changes continuouslyoughout the night.Accent lighting of vegetation at nightrks through the tension created betweenspecial effects and nature. Instead of illu-

nating the entire garden or park uniformly,tdoor lighting concepts focus on identify-the paths using a storyb oard as an out-

e and specifically emphasising individualments while maintaining the character ofdarkness. Low levels of illuminance here

egrate harmoniously into the night scene

and help the eyes adapt through the reducedluminance contrasts.

The direction of light greatly influenceshow the shape of illuminated trees is per-ceived and should therefore be consistentwith their anticipated growth. Carefullyarranged luminaires with high cut-off anglesprotect passers-by from glare at night. Theprevention of spill light and glare is a pre-

requisite in the interests of meeting effectivelighting solutions for Dark Sky requirements.The natural spectacle in the sky is then leastaffected and can form the background to thedisplayed vegetation on the ground.

Coloured light can be used to enhance thecolour effect of leaves and flowers. Subtleshifts in the colour temperature can changethe atmosphere, yet maintain a naturalimpression. Strong-coloured light, on theother hand, creates an artificial mood pro-duced, for example, for special occasions.Colour-mixing luminaires such as theGrasshopper varychrome projectors enhancecreativity, as they allow smooth, dynamiccolour transitions to take place. In this way,the drama of light can provide a narrativetheme for a park.

The compactGrasshopper projectoris available with high-power LEDs in white orvarychrome. With LEDvarychrome technology,it provides colourfulhighlights for main fea-tures in scenographicoutdoor concepts.

The more discreet alight source, the morefascinating is the effectof the object illumi-nated. Recessed floorluminaires are availablewith different lightdistributions.

Penetrating the sur-roundings: uplightsilluminate the treetops.The bollard luminairesproject light down-wards to prevent glareand provide reliablepath lighting.

The Timer Module inthe Light Studio soft-ware allows lightscenes to be recalled atpre-determined times.The time and calendarfunctions provide greatflexibility to automatescenographic lighting.

Dramatising the sur-roundings: the narrow-beam accentuationproduced by recessedfloor luminaires andspotlights highlightsindividual trees in theenvironment.

In lighting conceptsfor green spaces, thedraft design drawingallows focal points tobe selected for accen-

tuation, to create spa-tial differentiation.

Tune the light the practiceNature, vegetation, times and seasons


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The fading time is theduration set for thescene change.

In peaceful surround-ings, short fading timescan be a nuisance andmay be seen as a dis-traction.

Long transition timesare ideal if scenechanges need to beimperceptible.

hange from onet scene to another

olves a change indimmer settings orlight colour of the

ht Client.

Light from below pro-duces a more dramatic,unnatural effect dueto it being the oppositeof daylight.

Lateral light createsmaximum contrastsof light and shadow,producing a strongthree-dimensionality.

Lighting from diagon-ally above produces apleasant distributionof light and shadow.

ht Studio: Light Timeranges in use and ambient conditionsuire a timed differentiation of lightingect. Light scenes selected on the basis ofsituation provide the right setting, noty functionally but also in terms of atmos-ere, in order for the surroundings to ben in the best possible light. In addition,ed light scenes provide the possibility ofng the same lighting system to add dif-ent effects to outdoor spaces and archi-ture which may depend on the season ornt and thus increase the quality of the

perience of spaces or interpret the themesa spatial concept. The Light Timer softwaredule allows events to be defined in a struc-

e similar to that of a calendar and allocateht scenes to set times.

High-power LEDs have a power consumptionfrom approx. 1W. Their extremely long life,compact design and excellent luminous effi-cacy in connection with narrow-beam spotreflector lens systems make these LEDs a pow-erful light source for accent lighting. Hous-ings with optimised heat dissipation ensurethat the advantages of LEDs are ensured dur-ing use and are maintained throughout thelife of the luminaire. Due to their high colourdensity, coloured high-power LEDs are idealfor RGB colour mixing. To facilitate the seam-less integration of dynamic, coloured LEDlighting into a scenography, ERCO producesthe appropriate varychrome luminaires as

Light Clients with DALI interface.

A scene list providesthe option of settingindividual fading timesfor each scene. Fadingtimes can be secondsor even span severalhours.

Modelling objectsAlong with the angle of incidence, one ofthe key factors in modelling is the directionof the light. Light from the front has thesame direction as the line of vision of theviewer and consequently has little model-ling effect. It produces hardly any shadow,and the objects appear flat. Lateral light, onthe other hand, leads to maximum contrasts

of light and shadow resulting in a strongthree-dimensionality. Light from above shin-ing directly onto the object can over accen-tuate the top while often causing the sidesto appear excessively dark and leaving a lightbeam on the ground. Back light, where thelight source is placed behind the object, castsa long shadow in the direction of the viewerand reveals the object as a dark silhouettesurrounded by a halo of light. Lig ht shiningonto areas and objects from below producesan unnatural effect due to it being in theopposite direction to daylight. At the sametime, however, the reverse direction of theshadows can create dramatic effects.

High-power LEDs

Tune the light the practiceNature, vegetation, times and seasons

Conventional 3mm /5mm LED

High Power LED (> 1W)SMD LED (< 1W)


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ce civilisation began to conquer the dark-s by using artificial light, the dazzling pic-e of a metropolis at nig ht has had a magi-effect on people. After a long phase ofling with light in outdoor situations on

ational and purely functional level, citiesnow revived with special effects. Light-master plans ensure a consistent appear-

ce of a metropolis at night. Buildings with

ferentiated illumination signify the nighte urban identity. Light in the city is used

mark out paths and routes, light up spacesd highlight landmarks both over greattances in terms of the cit ys skyline and in

more local context in the city itself.The design options range from the subtle,form illumination of facades to defineces and make tangible their spatial con-

es even in the dark, to expressive, tempo-y lighting concepts for festive occasions.e principle frequently applied here is thatess is more, because only subdued basic

ht in the background can create contrastsough light that bring squares or build-s to prominence. Scenographic elements

ould concentrate on prominent buildingsspecific situations in public spaces: as amponent of special effects used for events

and particular occasions, but also in responseto the different usages which relate to thetime of day, the season and the weat her. Thelighting concept can be varied in terms of itsdesign including light colour, brightness ordirection of light, within the scope of a lightdramaturgy, to allow an urban space to becontinuously reinterpreted.

Different types of buildings require differ-

ent lighting design approaches. In principle,solid facades require different methods thantransparent facades. As an alternative to theextensive lighting of massive facades, spe-cific building elements can be accentuatedthrough their contours. Glass architecturelit from within, on the other hand, appearsto glow. At night, glass facades which reflectdaylight are given the effect of depth due tothe dimension of visibility within. The faadestructure here appears to be a silhouettearound the core of the building. The lightingconcept inside is effectively carried to theoutside and a lighting concept on the out-side must ensure cohesion. The more theboundaries between interior and exterior dis-solve through the transparency of the shell ofthe building, the more strongly the lightingdesign requires a holistic approach.

Lens wallwashers accen-tuate the columns. Thewall surfaces are illumi-nated by floodlightsmounted on the ceilingsof the gateways.

Large brick facadesare bathed in strikinggrazing light to empha-sise the texture of thehistoric faade throughthe rich contrasts pro-duced by the play oflight and shadow.

Focalflood LED facadeluminaires are mountedclose to the faade toproduce striking graz-ing light in white orcolour with varychrometechnology. The mainte-nance-free LED tech-nology gives more free-dom in the choice ofmounting locations.

Tune the light the practiceTownscape, urban space, landmarks

Scenographic lightingelements increase theimpact of landmarksand other prominentspaces in urban areas:as a permanent part

Software such as LightStudio forms an integralpart of lighting systemsfor scenographic con-cepts. The software pro-vides easy-to-use toolsto produce quality lightwith structure and atimed sequence.

The silhouette of acity at night is charac-terised by illuminatedlandmark buildings.

of the nightly silhou-ette of a city or in thecontext of temporaryeffects.


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For this bathing pier,the Tesis recessed in-ground wallwasherswere intentionallywidely spaced so as toproduce a rhythmicaleffect to reveal theback wall.

Lightmark facade lumi-naires are used for uni-form illumination offacades. The preciselight direction of theseefficient optical sys-tems minimises theproportion of spill light.

Overhanging buildingsurfaces or roofs are idealfor mounting Paratecwallwashers. Due to theiruniform, vertical distri-bution, these luminairesnot only emphasise thewall in its function as aroom boundary, but alsoreveal the structure ofthe surface.

Focalflood: one name, different charac-teristicsSeveral product ranges in the ERCO Programare called Focalflood. These are all for use

outdoors and share a characteristic housingdesign with a rectangular light aperture anda parabolic profile, but have different sizes,lighting technologies, and thus, also, differentfields of application.

ht Master: Stagee stage in the Light Master helps designersproviding a spatial diagram of all lumi-res. The Clients can be arranged by dragd drop to produce a clear display of thehting situation. The stage can be used botha horizontal and a vertical proje ction suchfor a faade. Where a Client has severaldresses (varychrome luminaires), these arembined in one symbol.

Individually controllable luminairesIndividual controllability is a primary advan-tage of the DALI t echnology, which is useful,for example, when a scenographic lightingconcept requires changing patterns on afacade. These installations are clearly moreeconomical and easier to implement withLight System DALI than with common, bus-based lighting control systems and allowgreater creative freedom.

Focalflood facadeluminaireThese compact LEDluminaires produce anarrow-beam light dis-

tribution for grazinglight. Longitudinally,the light is spread wideto ensure soft transi-tions when light beamsare arranged side byside. In the varychrome

cal plane, depending onthe actual project.

As a visual record, theLight Client symbols ofa DALI system can befreely placed anywhereon the stage for eithera horizontal or a verti-

Tune the light the practiceTownscape, urban space, landmarks

Vertical lighting outdoors

Focalflood floodlightsFocalflood floodlightshave a wide light inten-sity distribution with afocal point and a cut-

off angle of over 50.An exception to this isthe varychrome flood-light with T16 lamps inred, green, and blue:a diffuser and a Softeclens here ensure com-

plete mixing of thebasic colours at thelight aperture to pro-duce lighting withoutcolour shadows or

perimeters.

version, the systemconsists of reflectorand spread lens ensur-ing complete colourmixing.


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Complex Clients such asvarychrome luminaireswhich, technically, havethree DALI addresses,are shown in Light

Studio as an easy-to-operate unit with inter-active control panels.

Equipped with colouredT16 fluorescent lamps,TFL varychrome wall-washers are an efficientmethod of displayingwalls with colouredlight dynamicallycontrolled via DALI.

ht plays a central and multifaceted role inhitectural design. It is light that allows ussee space and structure in the first place;

d it is lighting that makes architecture andpeople, objects and materials in it becomeble. Yet more than making things visible,

ht also determines the way we perceive ourvironment. It influences our well-being and

aesthetic effect and emotional atmos-ere of a room. Contrasts in brightness andferent light colours can establish hierar-es of perception and focal points i n a room.Lighting design must start with the ele-nts that define a room , such as the walls,or, ceiling, and openings. Placed in theht light, they emphasise the shape andaracter of the architecture and provide ackground for the objects illuminated in thece.

Walls and other vertical elements in partic-r are important for the perception of archi-ture. Illuminated walls give the impressiona light, open space, they str ucture the archi-

tecture and make the room proportions andsurfaces easier to appreciate. A uniform lightdistribution from ceiling to floor presents the

wall as an entity.Accents on the ceiling result in a different

impression, a changed room character. Lightcan draw attention to the ceili ng which isuseful for features such as historic frescos orstucco work where the attention of the occu-pants is to be directed upward, o r it can serveas indirect lighting for the room. Fitted witha lighting control system for separate con-trol of the luminance levels of individual roomsurfaces, the appearance of a room can bechanged within broad limits simply by usingdifferent light scenes.

While extensive areas on a wall are usuallyilluminated by wallwashers, ceilings are fre-quently illuminated with ceiling washlightsor as luminous ceilings. The diffuse, overheadlight of the latter is often combined with day-light entering through rooflights to look likethe diffuse light of an ov ercast sky.

Furthermore, the lighting should underlinethe theme of the sequence of spaces. Con-trasts can visually divide rooms, while uni-

form illuminance creates continuity. Theestablishment of spatial correlations withlight is not limited merely to the connec-tion of interior spaces. It also provides thetransition between exterior and interio r, asin entrance areas, for example, or in a homelooking out into the garden.

The Client list in LightStudio contains all theLight Clients (DALI-compatible luminaires)of the DALI system.Light Clients can begrouped and allocatedto zones and controlgear.

Tune the light the practiceSpace, surface, perception

Washlights illuminatingthe canopy act as a sec-ondary reflector for anindirect lighting effectand define the appear-ance of the space.

Quadra varychromelens wallwashers pro-duce colourful, totallysaturated light basedon LED varychrometechnology.

Uniform lightingstrongly emphasisesthe volume of thestructure.

Coloured washlightsfor the back wall of thefoyer create an emo-tionally stimulatingatmosphere and attractattention to the back ofthe room.

RGB colour mixingluminaires are basedon additive combina-tions of red, green andblue light.


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Light used to differentiate spacesLight conveys information, for brightly litareas automatically attract attention. Differ-ent levels of brightness ensure improved ori-entation in the room and can e mphasise areassuch as the foreground, the centre or the back-ground. A suitable light intensity distributiondirects the attention and structures the wealthof information in a space: areas with key infor-mation are highlighted, secondary or irrele-vant information, on the other hand, is keptin the background through lower lighting lev-els. The significance of the effect depends onthe brightness contrast between surfaces, i.e.between the object and the surroundings.

Lamps and colour spaceAll the colours perceptible to the human eyecan be represented as a structure using thestandard valency system of the CIE (chroma-ticity diagram). The brightness dimension isdisregarded and only the shade and satura-tion of the colours are depicted in this dia-gram. The saturation increases from the whitezone in the centre toward the edges. Whenthe colour loci of the red, green and blue lightsources used are connected, the resulting tri-angle shows all the colours that can be pro-duced with a RGB colour mixing luminaire.

This symbol identifiesvarychrome luminaireswith RGB colour mixingtechnology that canbe electronically con-trolled to produce aninfinite variety of lightcolours.

Light Studio: chromatic circleColoured luminaires and other installationswith RGB technology, if used effectively,require a lighting control system that controlsthe dimmer settings of the individual colourlight sources allowing a reproduction of spe-cific light colours. These can subsequentlybe integrated into meaningful scenes andsequences. Light colours are easy to set using

software with a chromatic circle, as the col-our, such as orange, can be selected withoutthe need to use the three individual dimmersettings of red, green and blue. The choice ofcolours is facilitated by a range of predefinedcolours. The colour attribute in Light Studio isset interactively, either via the HSB/chromaticcircle or the RGB settings. The HSB colourmodel defines each colour in terms of hue,saturation and brightness. The brightness isalways defined separately, while hue and sat-uration can be set either in the chromatic cir-cle or by means of two slider controls. RGBhues are entered numerically between 0 and255 for each basic colour.

appearance of am is influencedmuch by different

htness levels as ity colour contrastshe surfaces.

Tune the light the practiceSpace, surface, perception

tle differentiationults from differentdes of white suchwarm white andtral white.

Low saturation col-oured illuminance ofvertical surfaces has anotable effect on theatmosphere.

Due to the lower sat-uration of colouredfluorescent lamps,the light colours ofthe TFL varychromewallwashers, for exam-ple, produce more of apastel character (left).

Since coloured LEDshave a higher satura-tion than fluorescentlamps, the colour tri-angle of the Quadralens washlights is largerand as such includesa greater number ofcolours (right).

When combined withwhite light directed ontothe work surfaces, therequirements of bothdesign and ergonomicsare fulfilled.

T16 fluorescent lampsRGB

High performance LED

The monochrome dim-mable attribute in theLight Studio softwareidentifies infinitely

dimmable luminaires,

such as spotlights ordownlights for halogenlamps.


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Scenographic lightin the shop: a designmedium that interpretsthe themes and motifsof a fashion or seasoninto a scene fromsubtle to expressive.The timed progressionof coloured light is aneffective eye-catcher.

Enhanced experienceand emotion are themain reasons for usingscenographic methodsin designing shop win-dows or retail interiors.

The coloured light ofthis Optec spotlight iscreated by twelve high-power LEDs. The Softeclens ensures a soft-edged, uniform beambalancing the basiccolour componentsred, green and blue.

Shop design requiresbrilliant, compact andhighly efficient lightsources such as theminiaturised metalhalide lamps HIT 20W,integrated into LightSystem DALI by DALIactuators.

sector are intended to address the customeron a deeply emotional level. These changesrequire the use of lighting equipment thatprovides light not merely as a static medium,but as a dynamic means used to expressspace, time and atmosphere. In a LightSystem DALI environment, the zoning ofshop floor, for example, can be displayed bydifferent brightness levels and rearranged

as required in the Light Studio sof tware.Coloured light can be subtle, such as pasteltones used to illuminate the back of a win-dow with wallwashers, or striking in theform of richly coloured accent lighting.

Effects such as dynamic colour sequencesattract the viewers attention as an excep-tional eye-catcher and reveal the atmospherein the shop to be in a state of flux. Varychromeluminaires, individually controlled via DALI,enable lighting designers and window dress-ers to set up and change these effects inter-actively with the easy-to-use tools in LightStudio without constantly having to adaptthe lighting hardware through a long andlaborious process. Specific light qualities orlight scenes can be reproduced precisely andsubsequently be realised simultaneously incases such as chain stores. Light scenes canbe organised in timed sequences using the

calendar-like Light Timer software module.In this way, different times of the day, week-days and holidays and even entire periodssuch as the sales or the pre-Christmas seasoncan be differentiated by means of lighting.The advantages of a lighting control systemsuch as Light System DALI, which integratesthe functions even of complex lightingequipment like RGB colour changing lumi-

naires and controls them through the LightStudio software, are self-evident here.

signing sales areas today primarily meansigning an event to create a shopping

perience, a brand experience for the cus-mer. Professional shop designers worknographically in order to create themeso a coherent sequence of events. One ofir tools used in the process is li ght as anangible medium that allows space to bentinuously reinterpreted.

Light in a shop takes on a wide variety ofctions: it attracts attention through the

ual effect of neon signs, windows andrance areas. It structures the sales areao functional zones, creates perceptionrarchies and highlights routes. It ensuresimum product presentations and createscial effects for particular displays or dec-tions. It helps customers feel comfort-e and specifically in the extensive fieldfashion and cosmetics look good. Lightally also serves as a medium to express theage and values of a brand in an identifiabley within the scope of a corporate light- concept. It is also used to express sea-al themes such as a change of collectionshe fashion industry by producing the

propriate atmosphere.Cyclical changes from refurbishments tojor renovations as occur within the retail

International brandsinsist on reproduciblelighting concepts witha high recognitionfactor.

Window-dressing workspowerfully with stage-like effects.

Tune the light the practiceBrand, identity, attraction


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shopwindow

wall

shelf

cash point

DALI dimmers and DALI actuatorsDALI dimmers and DALI switch actuatorsgreatly increase the application options ofLight System DALI. They allow a wide rangeof conventional luminaires such as those inERCOs previous range to be integrated intoa Light System DALI installation. This is par-ticularly useful for luminaires without con-trol gear or for lamps for which DALI controlgear is not yet available, including most of thehigh-intensity discharge lamps.

Light System DALI is an open system:DALI-compatible luminaires or actuatorsfrom other manufacturers can also be incor-porated into the system. Conversely, ERCOLight Clients, i.e. DALI-compatible luminaires,

are suitable for operation with DALI controlsof other manufacturers. However, only whenthe Light System DALI, the Light Studio soft-ware and the ERCO Light Clients are combineddoes the full potential and advantage of thisdesign system such as automatic setup andautomatic recognition become available.

Light BookThis software moduleis used for the spatialstructuring of a project.

Light Studio: Light BookThe Light Book is used for the spatial struc-turing of Light System DALI installations. Itsmain function is to create zones and assignLight Clients or Light Changers to zones. Floo rplans can be created in the stage template ofthe Light Book. A zone can consist of a room,functional areas or several rooms. The flexiblestructure of Light System DALI allows zonesto overlap this means that a Light Client canbelong to several zones. Shop design epito-mises the purpose of defining zones: if, forexample, the shop facade, the windows andthe sales area are defined as individual zones,the light scenes in these zones can be set upand recalled irrespective of what is happen-ing around them. The light scenes and lig ht-

The DALI actuator,DALI dimmer and DALItransformer accessoriesallow virtually all non-DALI-compatible lumi-naires to be controlledwith the Light SystemDALI.Light Changer

Touch screen controlpanel for daily oper-ation of the LightSystem.

One of the trends inshop lighting is topresent products inthe same manner asmuseums exhibits. Theappropriate profes-

Typical vertical illumi-nation in shop design:Lightscan wallwashersfocus the light on theupper third of the wall.Brilliant accent light-

Integrating luminaires from othermanufacturersIndividually dimmed fluorescent lamps in red,

green and blue behind the frosted glass wallallow all light colours to be dynamically con-trolled. The coloured light display is a fasci-nating sight through which the atmospherein the room is in a constant state of flux.

The Client Editor in the Light Book moduleof the Light Studio software allows light ceil-ings or light walls with control gear featuringDALI interfaces to be easily combined into asingle varychrome luminaire. This simplifiesthe selection of the exact colour locus: theuser can now interactively select coloursusing the colour wheel, instead of having toenter the numerical RGB value. The ClientEditor allows all types of DALI luminaires tobe integrated into the system, this evenincludes specially manufactured factorycoded ERCO Light Clients.

The Client Editor of theLight Studio software isused to integrate DALI-compatible luminairesfrom other manufactur-ers into Light SystemDALI or process thefactory coding of theERCO Light Clients.

rtical illumination Accentuating objects

Tune the light the practiceBrand, identity, attraction

ing effects in the shop windows can then bechanged according to the season, withouthaving to modify the internal lighting. Eachzone can have its own, independently settimer program. A global zone that includesall the Clients in a project al lows scenes suchas All on or All out, to be created e.g. forroom cleaning.

sional accent lightingis achieved through keylight, fill light and backlight.

ing for the products isprovided by spotlightsmounted on tracks.


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Events largely rely on the creative use of lightand on the interaction with and between peo-ple. The lighting communicates the themesand motifs of the event and supports itsproduction with a progressive sequence ofscenes. Versatile, dynamic lighting can bothconjure up details out of the magical dark-ness or veil rooms in light of changing coloursto create an experience that evokes a state of

fluidity. Individual lighting effects contrastwith the surroundings and attract attention.This is light to observe" , light which has nopractical application, e.g. creating a grandentrance as an aesthetic spectacle, an emo-tional impact, able to captivate and aston-ish its audience. Atmosphere, traditionallycreated by means of chandeliers and candle-light, can now be produced by more modernmeans such as through the projection of pat -terns and pictures using gobos and stencilsmade of sheet metal or glass.

With the introduction of varychrome lumi-naires and other individually addressableLight Clients in a Light System DALI installa-tion, the transition between everyday andevent lighting now becomes fluid. This is dueto the change from the laborious setup oftemporary show lighting to the establishmentof different light scenes and light programs

in the Light Studio software. Compared tostandard lighting, event lighting works with amore intense dramaturgy and colour mood toproduce the desired effect and get it to unfoldover a specific period of time.

To create memorable experiences at eventsor at restaurants, the light must create theright atmosphere at the right time. Each ele-ment throughout the evening has its own

light scenes to correspond with the activitiesof the occupants, i.e. the hosts and t he guests:from light suitable for welcoming and becom-ing acquainted to light for listening, light forcocktails, light for the meal, and light for danc-ing and celebrating. Tune the light invitesyou to exercise this new, creative freedomusing light to create constantly new, strikinglight sequences from a single technical infra-structure.

Light Clients on theDALI trackFlexible lighting withspotlights on track isindispensable for eventlighting. With DALI liveends, the ERCO trackbecomes a DALI trackthat allows ERCO LightClients to be operatedwith DALI adapters.

The combination ofcoloured light andprojection producesinteresting and variedlighting effects. Oneapproach is colouredbackground lightingwith an overlay ofwhite gobo patterns.

Light at events is sim-ilar to stage lighting except that it doesnot separate the actorsfrom the audience. Theexpression here is to eeand be seen.

With filters, the pro-jections can also bein colour. By dimmingthe projectors, the lightpatterns can be madeto appear or disappear.

The Light Studio soft-ware spatially struc-tures the quality oflight in a timed pro-gression.

Tune the light the practiceEvent, drama, emotion

ERCO track for DALIinstallation

DA DALI data cableDA DALI data cable1 CircuitN Neutral conductorPE Protected earth

conductor


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1

2

Colour filtersThe classic method of creating coloured lightis by using colour filters as attachments.Interference colour filters feature a relativelyhigh transmission factor and a high colourdensity, due to the clear separation of thereflecting and transmitting spectral ranges.ERCO provides four standard colour filters asnatural light colours for architectural light-

ing. These are derived from the colours oflight found in nature: Amber for the sunrise,Sky Blue as the sky by d ay, Magenta for thesunset, and Night Blue for t he night sky. Otherfilter colours can be custom-made on request.

nts require differentt scenes throughoutevening. During

peech, the focus isced on the speaker,background is dark-d for the video pres-ation.

Light Studio: Light TimerThe Light Timer allows numerous lightscenes to be recalled automatically at pre-determined times. The light scenes areassigned to specific sections of the event.These sections can be interpreted using manydifferent light scenes for a short sequenceor for a longer period. Cyclical events suchas festive lighting at weekends or on specificweekdays can also ideally be controlled usingthe Light Timer.

Projection effects with contour spotlightsStella contour spotlights with a projectionlens produce a sharp-edged beam. The con-tour attachment (1) ensures a sharp projec-

tion of freely adjustable triangular and squareshapes. The lens is focused by turning t he lensholder ring (2). The version for QT12 100Wlow-voltage halogen lamps is also available asa Light Client with DALI adapter and can inte-grate dimmable projection effects into a LightSystem DALI environment.

Light Studio: scene listA light scene defines the colour or dimmersettings of each light source in the room. Forevent lighting, the light scenes are designedto match the sequence of the event. Thescene list in the Light Studio is used to organ-ise light scenes. With appropriate names, thescenes can be sorted and arranged using t hesearch function.

Dynamic effects withprojectors: if severalprojectors are dimmedalternately, the appear-ance and disappearanceof the patterns createsthe impression ofmovement.

Subdued lighting withlighting effects in thebackground creates theright atmosphere formeetings and conver-sations and creates asuitable backdrop foran intimate setting.

The holder for aperturemasks and gobos is inte-grated into the contourattachment of the lumi-naire to avoid lateral

spill light. Depending onthe aperture masks sup-plied, the Stella contourspotlights have emis-sion angles of 16, 22and 26.

The sharp-edged illu-mination of the picturesurface makes the pic-tures appear to radiatefrom within, while thebackground remainsdark. The distortion inthe perspective whichis due to the angle

of incidence of lightcan be corrected bythe four blades in theframing attachmentsto achieve the preciseshape required.

During dinner, the col-oured lighting of thewalls creates an emo-tive atmosphere, whileaccent lighting on thetables accentuates thegastronomic delights.

Tune the light the practiceEvent, drama, emotion

se 1:e pattern

Phase 2:Blue pattern+ Magenta pattern

Phase 3:Blue pattern+ Magenta pattern+ text


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Project managementThe offices provideideal facilities for pro-ject meetings: con fer-ence at ERCO Dubai.

Experiencing scenographic light worldwideERCO showrooms and offices

CO is a cosmopolitan, globally active com-ny. ERCO showrooms and offices can bend in all major markets. Here, our well-

ucated, specially trained employees workighting advisors. This worldwide networkures reliable service and competent,

-site support especially on internationaljects: from providing advice during thenning stage, tendering, sample supply

d project planning to customer serviced training.Consultant to the consultant this is

w ERCO lighting advisors see their rolehe building process: they provide profes-nal support to designers in all mattersating to lighting technology and in eachividual project phase. With case-relatedcialist information and customised prod-documentation they help customers to

ke the correct decision when selectinghting equipment.The showrooms and offices provide idealilities for meetings during the projectase. Each has a mock-up section for sampled other product demonstrations.However, our ERCO service does not endh the on-schedule delivery of the requiredducts: after switching on, our lighting

visors support customers both verbally

and actively or with recommendations, adviceand assistance in focusing luminaires.

All our addresses are found at:www.erco.com/contact

DidacticsDesigner seminarsprovide informationon the right use ofour highly developedlighting equipment.

Mock-up sectionThe ERCO showroomshave the necessaryinfrastructure toexplain the meaningof Tune the light:using all the qualitiesof light in time andspace (ERCO GreatBritain, London).

Events and seminarsThese turn ERCO show-rooms into a meetingplace for the local lightand architecture scene:such as here at ERCOPoland in Warsaw.

Lighting qualitiesOur wide range of lumi-naires addressable vialighting control equip-ment are ready for

operation to allow thedemonstration of subtlelighting qualities: suchas a direct comparisonbetween different typesof wallwashers.

Light in spaceThe effect of light inspace is difficult toput into words or pic-tures it needs to beexperienced. For this,the ERCO showroomsprovide ideal, flexi-ble conditions (ERCONetherlands, Naarden).


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ERCO Head OfficeERCO Leuchten GmbHPostfach 246058505 LdenscheidBrockhauser Weg 808258507 LdenscheidGermany

Tel.: +49 2351 551 0Fax: +49 2351 551 [email protected]

For our up-to-date address list,please visit www.erco.com

Southeast Asia:

SingaporeERCO LightingERCO Leuchten GmbHRepresentative Office (S.E.A.)63a Club StreetSingapore 069437SingaporeTel.: +65 6 227 3768Fax: +65 6 227 [email protected]

BruneiIndonesiaPhilippines

Vietnamsee Singapore

MalaysiaERCO LightingERCO Leuchten GmbHRepresentative Office (K.L.)Level 40, Tower 2Petronas Twin TowerKuala Lumpur City Centre50088 Kuala LumpurMalaysiaTel.: +60 3 2168 4479Fax: +60 3 4257 [email protected]

ThailandPalicon Pro-Art Lighting Ltd.58/3 Soi Prompak,Sukhumvit RoadKlongton-Nua, VadhanaBangkok 10110ThailandTel.: +662 382 1851Fax: +662 382 [email protected]

East Asia:

ChinaERCO LightingERCO Leuchten GmbHRepresentative Office ShanghaiRm 2015, Civil Aviation Center18, Xin Jinqiao Road PudongShanghai 201206P.R. ChinaTel.: +86 21 5030 5979Fax: +86 21 5030 [email protected]

Architectural Lighting (HK) Ltd.3/F. Shing Dao Industrial Building232 Aberdeen Main RoadAberdeen, Hong KongP.R. ChinaTel.: +85 2 287 022 88Fax: +85 2 255 227 87

[email protected] TOTO Ltd.Shibakoen ND Bldg.2-5-10 ShibaMinato-kuTokyo 105-0014JapanTel.: +81 3 5418 8230Fax: +81 3 5418 [email protected]

KoreaAltek LightingJungjin B/D, 619-2Sinsa-Dong, Gangnam-GuSeoulKoreaTel.: +82 2 512 7779Fax: +82 2 512 [email protected]

AustraliaERCO LightingERCO Leuchten GmbHRepresentative Office Australia349 Pacific HighwayNorth Sydney NSW 2060AustraliaTel.: +61 2 9004 8801Fax: +61 2 9004 [email protected]

New Zealandsee Australia

North America:

USAERCO Lighting Inc.160 Raritan Center ParkwaySuite 10Edison, NJ 08837USATel.: +1 732 225 8856Fax: +1 732 225 [email protected]

CanadaMexicosee USA

South America:

ArgentinaERCO Leuchten GmbHOficina de RepresentacinAv. Alicia M. de Justo 2030, Of.2021106 Buenos AiresArgentinaTel.: +54 11 431 314 00Fax: +54 11 431 254 [email protected]

BoliviaBrazilChileColombiaEcuadorParaguayPeruUruguay

Venezuelasee Argentina

FranceERCO Lumires Eurl6ter, rue des Saints-Pres75007 ParisFrance

Groupe Paris-IIe de FranceTel.: +33 1 44 77 84 71Fax: +33 1 47 03 96 68Groupe RgionsTel.: +33 1 44 77 84 75Fax: +33 1 49 27 06 48Groupe Architecture CommercialeTel.: +33 1 44 77 84 70Fax: +33 1 44 77 84 [email protected]

GermanyERCO Leuchten GmbHPostfach 246058505 Ldenscheid

Brockhauser Weg 808258507 LdenscheidGermanyTel.: +49 2351 551 100Fax: +49 2351 551 [email protected]

Great BritainERCO Lighting Ltd.38 Dover StreetLondon W1S 4NLGreat BritainTel.: +44 20 7408 0320Fax: +44 20 7409 [email protected]

GreeceExpo Ltd.Nimfeou Str. 20 & 2411528 AthensGreeceTel.: +30 210 748 5560Fax: +30 210 770 [email protected]

HungaryERCO FnytechnikaERCO Leuchten GmbHKereskedelmi KpviseletBudapestIrnyi u. 1. mfsz. 2.1056HungaryTel.: +36 1 266 0006Fax: +36 1 266 [email protected] Sweden

IrelandDesignLight Ireland Ltd.289 Harolds Cross RoadDublin 6WIrelandTel.: +353 1 496 6177Fax: +353 1 496 [email protected]

ItalyERCO Illuminazione S.r.l.Via Viv aldiResidenza dell Orione 3420080 Basiglio (Milano)ItalyTel.: +39 02 904 5031Fax: +39 02 904 503 51/[email protected]

LatviaXcelsior stila grupaMuksalas Iela 42Riga LV 1004LatviaTel.: +37 1 780 5233Fax: +37 1 780 [email protected]

NetherlandsERCO Lighting Nederland B.V.Gooimeer 131411 DE NaardenNetherlandsTel.: +31 35 699 1710Fax: +31 35 694 [email protected]

NorwayERCO Belysning A.S.Industriveien 8 B

1473 LrenskogPostboks 83 Ellingsrudsen1006 OsloNorwayTel.: +47 67 973 240Fax: +47 67 973 [email protected]

PolandERCO Leuchten GmbH. Sp. z o. o.Przedstawicielstwo w Polsceul. Bialy Kamien 702-593 WarszawaPolandTel.: +48 22 898 7845Fax: +48 22 898 [email protected]

PortugalOmnicelTcnicas de Iluminao, S.A.Rua Castilho, 57-5. Dto.1250-068 LisboaPortugalTel.: +351 21 381 3080Fax: +351 21 381 [email protected]

RomaniaSC. ProEnerg SRLStr. M. Kogalniceanu nr. 60/A.410094 OradeaRomaniaTel.: +40 259 447 163Fax: +40 259 413 [email protected]

SpainERCO Iluminacin, S.A.

c/ El Pl n 4708750 Molins de Rei, BarcelonaSpainTel.: +34 93 680 1110Fax: +34 93 680 [email protected]

Delegacin Cataluac/ El Pl n 4708750 Molins de Rei, BarcelonaSpainTel: +34 93 680 1244Fax: +34 93 680 [email protected]

Delegacin Centroc/ Buen Suceso n 1328008 MadridSpainTel.: +34 91 542 6954Fax: +34 91 559 [email protected]

SwedenERCO LightingBirger Jarlsgatan 4611429 StockholmSwedenTel.: + 46 8 545 044 30Fax: + 46 8 545 044 [email protected]

SwitzerlandNeuco AGWrzgrabenstrasse 58048 ZurichSwitzerlandTel.: +41 44 437 3737Fax: +41 44 437 [email protected]

Neuco SA100, route de Cossonay1008 Prilly

SwitzerlandTel.: +41 21 637 3000Fax: +41 21 637 [email protected]

The Middle East:

DubaiERCO LightingERCO Leuchten GmbHRepresentative Office DubaiP.O. Box 62221DubaiUnited Arab EmiratesTel.: +971 4 336 9798Fax: +971 4 337 [email protected]

BahrainEgyptIndiaJordanKuwaitOmanQatarsee Dubai

LebanonLa GiraldaMme Curie StreetBeirut-LebanonP.O. Box 13-5554LebanonTel.: +961 1 864 641Fax: +961 1 867 [email protected]

Saudi Arabia

TechnolightP.O. Box 12679Jeddah 21483Saudi ArabiaTel.: +966 2 669 3241Fax: +966 2 665 9664jeddahbran [email protected]

United Arab EmiratesM/S ScientechnicP.O. Box 325DubaiUnited Arab EmiratesTel.: +971 4 66 6000Fax: +971 4 66 [email protected]

ope:

striaCO Leuchten GmbHeigniederlassung Wiendecenter Str. 14/4.OG/BC0 Wientria: +43 1 798 8494 0: +43 1 798 [email protected]

giumCO Lighting Belgium Bvba/sprlvensesteenweg 369 bus 72 Zaventem

gium: +32 2 340 7220: +32 2 347 [email protected]

prus. Christofides Trading Ltd.Box 21093

Kennedy Avenue01, Nicosia

rus+357 22 813 043

: +357 22 764 [email protected]

ch RepublicCO Lightinganizacni slozkaa Masaryka 3/45600 Praha 2

ch Republic+420 2 225 111 16 +420 2 225 217 12

[email protected]

gariaatia

huaniavakiaveniaCzech Republic

nmarkCO Lightingterbroga de 136 C , st.0 Kbenhavn V

nmark+45 33 21 80 60

+45 33 21 80 [email protected]

oniaFinland

landHedTec Abttasaarentie 50200 Helsinkitilokero 110201 Helsinkiand+358 9 682 881

+358 9 673 [email protected]

xperiencing light worldwideRCO Addresses

Our ERCO lightingexperts in regionalcentres, offices and atpartner companies are

available in all majormarkets around theworld.


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