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E Lichtbericht 88

Published in July 2009

Sheikh Zayed Mosque

Outstanding achievements byartists, craftsmen and technicians

from around the world, combined

in a majestic act to provide an over-all view of fascinating opulence:

the Sheikh Zayed Mosque in Abu

Dhabi, the ultimate in religiousbuildings. Speirs and Major Associ-

ates, the lighting designers, opted

for vertical illuminance and con-

cealed light sources a conceptthat seems made for ERCO light-

ing tools.

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ERCO Lichtbericht 88 1

Over the past 75 years, ERCO has advancedfrom a supplier of individual luminaires forprivate use to a leading manufacturer of pro-fessional lighting systems for architecturalapplications. Based on our ongoing concept ofLight, not luminaires, we continue to occupya strong position that will actively enable usto help shape the changes taking place in theluminaire industry. Energy efficiency innova-tions for lighting installations introduced bycombining lighting control systems and LEDlight systems lead us to believe that there is stilla great deal more potential for us to continue

to make a relevant contribution to architecturallighting in the future.

Barely 75 years young, we are thus at thebeginning of an exciting development that isonce again set to change the company over thenext few years. At ERCO, we are all the moredelighted that we can present numerous newproducts and technologies relating to LEDs andother major lighting control developments inthe year of our anniversary. Under the motto ofefficient visual comfort, these developmentsexcellently complement each other in provid-ing a modern lighting system; both efficient inits use of energy and effective in ensuring visualcomfort and all based on cutting-edge lightingtechnology.

Our products are developed within theconflicting nature of culture and technology.It gets exciting whenever we are involved intechnical solutions to cultural challenges of aspecific nature. One such example is the SheikhZayed Mosque in Abu Dhabi. Even to experi-enced lighting professionals, the mosque mustappear like a dream from the Thousand andOne Nights. Speirs and Major Associates havemade this dream become a lighting design real-ity. We were privileged to be involved in both

indoor and outdoor aspects of this project.One of the success secrets of ERCOs founder,

Arnold Reininghaus, was his boundless trust inthe younger generation. Well trust is good, buteducation is better. In addition to our own in-house training and f urther education measures,ERCO has also offered lighting seminars for stu-dents and architects in the past few years. Onesuch student workshop of a very special naturewas held within the scope of the great AnnieLeibovitz Retrospective exhibition in Berlin.Guided by curator Felix Hoffmann and aided byERCO staff, students here had the opportunityto apply themselves and arrange the lightingfor the exhibition. No doubt, an intensive andenriching experience for all those involved.ERCO Lichtbericht

ImprintPublisher: Tim H. MaackEditor in Chief: Martin KrautterDesign/Layout: Simone Heinze, Christoph SteinkePrinting: Mohn Media Mohndruck GmbH, Gtersloh

1028732000 2009 ERCO

Tim Henrik Maack

Background

Background: Light follows thecurator not the reverseby Werner Lippert

Curatorial lightAn object study

Lighting LeibovitzWithin the setting of an ERCO LightingWorkshop, students place the greatAnnie Leibovitz Retrospective in Berlinin the right light.

Projects

History

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28

30

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In addition to many exciting projects, our anni-versary Lichtbericht also features an article onERCO itself. 75 light years describes the historyof change at ERCO: from the basic idea of theindustrial production of luminaires to the trans-formation into an architectural lighting pro-vider and onto a specialist in l ighting softwareand hardware. In the change from the analogueto the digital world of lighting, the chronicles ofERCO present a piece of retrospective industrialhistory, reflecting the culture of innovation atthe company. We have already progressed somedistance along this exciting path and we can-

not wait to see what is still ahead of us. At thispoint, I particularly want to thank our custom-ers without whom this development would nothave been possible; and a big thank you also toall our staff, who have dedicated themselves toour development with amazing creativity.

New Products 2009LED technology spotlights

Efficient visual comfort

FocusLighting design using lumen categories:Technology

Double focusLighting design using lumen categories:Design

Introduction

Report

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Museo Superior de Bellas ArtesPalacio Ferreyra, CrdobaThe redesigned Palacio Ferreyra featuresa Light System DALI installation to pro-vide optimal lighting conditions.

L'Almoina Archaeological Centre,ValenciaThe redesigned Archaeological Centresets the scene most effectively for awalk into the past.

Museo de Bellas Artes, GranadaNew light for the art collection inthe building complex of the famousAlhambra of Granada

Igreja da Santssima Trindade, FtimaThe sanctuary of this contemporary reli-gious building at the Portuguese placeof pilgrimage has some 8800 seats,

making it one of the largest churches inthe world.

75 light yearsA review of ERCOs company history onthe 75th anniversary of its foundation.

About this issue

Keylights

Bright prospects

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2

4

Sheikh Zayed Mosque, Abu Dhabi

The vision of a modern Islamic ruler hasbecome a reality with outstandingartistic and technical achievements fromall over the world.

6

60 Backlights

Contents About this issue

Light & Technology

Photographs (Page):Andreu Adrover (61), Frieder Blickle (3), CharlesCrowell (U1, 6-15), ERCO image archive (32-47),Andreas J. Focke (2, 3), Bernd Hoff (2, 58-59),Aksel Karcher (28), David Kuntzsch (22-25), JoshuaLieberman (3), Thomas Mayer (3, 52-55, 56-57 ),Rudi Meisel (2, 4-5), Thomas Pflaum (3), RogerioReis (49-51), Alexander Ring (20-21, 26-27), RupertSteiner (2), Kay-Chin Tay (61), Dirk Vogel (1, 60),Sabine Wenzel (U4).

Translation: Lanzillotta Translations, Dsseldorf

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ERCO Lichtbericht 88 ERCO Lichtbericht 88 3

eylights

BarcelonaThe Crculo de Lectores book

club foundation is an institutionin Spain and boasts famous honor-ary members such as King Juan

Carlos and Gnter Grass. Its cul-tural centre is a fitting testimonyto functional elegance. Black mar-

ble flooring and columns dictatethe appearance of the multifunc-tional rooms which are divided

into a library, exhibition gallery andauditorium. The premises are illu-minated by ERCO. Optec spotlights

add accents to the exhibits anddownlights provide the ambientlighting.

Centro Cultural FundacinCrculo de Lectores, Barcelona

Architect and lighting design:Jordi Garcs, Barcelona

DsseldorfThe face of the E.ON energy con-

cern is given a prestigious andmodern expression in the form ofthe new Corporate Centre. New

kinds of high-quality materials anda lighting system with glare-freedownlights and wallwashers creat-

ing an elegant unity between lightand the clean architectural lines.

E.ON Corporate Centre, DsseldorfArchitect: bsp archtitekten,Bochum

KarlsruheIn the modern, indoor water park,beneath the two roof halves that

span the baths like giant wings,Parscoop wallwashers, Paratecrecessed spotlights and Cylinder

downlights, all rated to IP65 pro-

tection, provide safe and variablelighting for the various pool areasand spatial zones.

Europabad, KarlsruheArchitect: Geier & Geier, Stuttgartwww.europabad-karlsruhe.de

MeranTrauttmansdorff Castle near Meranis home to the South Tirol M useum

of Tourism. Pollux and Jilly spot-lights and Starpoint pendant lumi-naires are used in the rooms. Prob-

ably the most famous former guest,the Empress Elisabeth or Sissi, ishonoured with a sculpture in the

entrance foyer, which is scenicallyilluminated with Beamer projec-tors.

Touriseum, MeranArchitect: Tacus & Didon, Bozen

www.touriseum.it

StuttgartThe lighting concept for the newcafeteria at WGV insurers wonan IALD Award of Merit in May

2009. The interplay of direct anddiffuse light is produced by theinteraction of Skim downlights,

the ceiling shape and suspendedreflective elements.

WGV Cafeteria, StuttgartInterior design: ippolito fleitzgroup, Stuttgart

Lighting design: Gerd Pfarr,Pfarr Lighting Design, Munich

Esch-sur-AlzetteThe lighting of the town-hallsquare in Luxembourgs secondlargest city concentrates purely on

what is essential. Tesis in-groundluminaires illuminate the trees,while Beamer spotlights provide

accent lighting on the square. Theyare mounted on three obelisks thatalso serve as flagpoles.

Place de lhtel de ville, Esch-sur-Alzette

Architect: cba Christian Bauer &Associs Architectures, LuxemburgLighting design: Gerd Pfarr,

Pfarr Lighting Design, Munich

ViennaOlafur Eliassons installation

provides a fascinating spectaclealong the facade of the Verbund"building. With the onset of dark-

ness, artificial fog, illuminated withyellow light by concealed vary-chrome Focalflood floodlights, rises

from the ground in an installationintended to symbolise the change

of the diurnal rhythm, the transi-tion from day to night.

Yellow Fog, Verbund AG, ViennaArtist: Olafur Eliasson, Berlin

BerlinFollowing an intensive makeover,

a former 1950s petrol stationhas been transformed into one ofcentral Berlins most exclusive gal-

leries. Optec spotlights, downlightsand Tesis in-ground luminaires

illuminate this unusual combina-tion of apartment, reception areaand gallery.

Galerie Jrg Judin, BerlinArchitect: bfs d architekten, Berlin

OsloThe museums inaugural exhibi-

tion was dedicated to Sverre Fehn,who passed away in February2009. Fehn was the architect who

added this glazed pavilion to thehistorical building of the formerNorwegian Bank. The rooms are

illuminated by Parscan spotlightsmounted on Hi-trac track.

The National Museum Architecture, Oslo

Architect: Prof. Arch. Sverre Fehnwww.nationalmuseum.no

TokyoThe NAC, one of Japans most

important museums, has a totalarea of 48,000m2 extending overseveral, spacious floors. The 600 or

so exhibits, predominantly fromthe 20th century, are highlighted by

Eclipse spotlights, while the floorareas are diffusely lit by a luminousceiling.

The National Art Center, TokyoArchitect: Kisho KurokawaArchitect & Associates, Tokyo;

Nihhon Sekkei, Tokyowww.nact.jp

LisbonJorge Welsh and Luis Vinhais areinternationally renowned experts

on antique porcelain from Asiaand Africa who run their own gal-leries in England and Portugal. In

their Lisbon branch exclusive use is

made of ERCO Pollux spotlights toadd accent lighting to the pr iceless,unique artworks.

Jorge Welsh Gallery, Lisbonwww.jorgewelsh.com

LisbonIn the redesigned premises of themuseum for Fado, the traditionalmelancholy singing of the Portu-

guese, the lighting design relies onthe intensive use of vertical illu-minance. The concept was imple-

mented using Quadra wallwashers,providing efficient visual comfort.

Museu do Fado, Lisbonwww.museudofado.egeac.pt

LondonThe Kings Place building complexnot only accommodates offices

such as the Guardians editorialHQ but also cultural facilities,including galleries, concert halls

and restaurants. Illuminated by a

combination of ERCO downlights,spotlights and natural daylight,

these venues provide an attrac-tive, uncluttered atmosphere thatinvites visitors to linger.

Kings Place, LondonArchitect: Dixon Jones, London

www.kingsplace.co.uk

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right prospects Saatchi Gallery, Duke of York's HQ, LondonArchitect: Allford Hall Monaghan Morris, LondonPhoto: Rudi Meisel, Berlin

www.saatchi-gallery.co.uk

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massive Sheikh Zayed Mosque is locatedween Abu Dhabi Airport and Abu Dhabi city

e east end of the island in the Persian Gulfforms the centre of the Abu Dhabi emirate.

house of God, named after Sheikh ZayedSultan Al Nahyan, the late ruler of Abu Dhabifounder of the United Arab Emirates, is ading of massive proportions. The complex,entirely in white marble, is the biggestque in the whole of the United Arab Emir-and the third-biggest one worldwide. At in height, it has the l argest cupola of anyque and features a total of 82 cupolas. Four

m-high minarets flank the 17,000sqm innerrtyard, which is also designed in marble withal decorations. The main prayer room housesargest hand-woven carpet in the world,suring over 5,500sqm; 200 Iranian weavers

d 25 different natural colours of New Zea-and Iranian wool to create a product weigh-

a total of 47 tons. The mosque has room for 40,000 believers. In 2004, the initiator ofambitious project, Sheikh Zayed, was laid

heikh Zayed bin Sultan Al Nahyan Mosque,bu Dhabi

The vision of a modern Islamic ruler hasbecome a reality with outstanding artisticand technical achievements from all overthe world: the Sheikh Zayed Mosque in AbuDhabi fascinates with a cleverly thought-outdramatury of daylight and artificial light.

Play of brilliants: A gigan-tic chandelier producedby Munich-based firmFaustig and measuring10m in diameter, shinesat a height of 15.5m andis fitted with 15,500 LEDs.Gold-plated stainlesssteel, gold-plated brass,coloured glass elementsand Swarovski crystalsadorn this luminaire that

Architects: Yusef Abdelki; Halcrow (ExecutiveArchitects); Spatium Architects, Milan (InteriorDesign)Lighting design: Speirs and Major Associates,EdinburghPhotographs: Charles Crowell, Black Star

to rest in a small mausoleum right next to theentrance of the mosque.

From his idea to build a mosque in 1989, ittook 13 years to complete the building fabric in

May 2002. Over the entire development phase,the project required of those involved the samevirtues that constitute its symbolic value: tradi-tion, hospitality and openness were character-istic of the intensive cooperation between thecommitted designers, suppliers and craftsmenfrom all over the world. Architecture and detailswere based on a traditionally oriental use offorms, but it was the hi-tech materials, cutting-edge production techniques and logistical effi-ciency that enabled a synthesis of the arts asbrilliant as this. Underneath its marble skin, thebuilding hides a reinforced concrete carcassproduced using efficient, CAD-aided formworktechnology. In excess of 1,000 columns wereclad with over 20,000 hand-crafted marble slabsdecorated by filigree inlays of gold and semipre-cious stones. The interior design was devised bythe Italian firm Spatium, whose previous work

was primarily designing luxury villas, hotelsand boutiques, for clients such as Versace. Theexterior was designed just as meticulously:the mosque is surrounded by artificial lakes

with dark tiling, which serve as reflection poolsto create interesting effects throughout theday and at night. The vegetation of the wholegrounds, spanning 550,000sqm with hundredsof palm trees, and promenades are due to becompleted by the end of the year and will pro-vide a place of excursion for families, schoolclasses and tourists from all over the world.

One of the key roles in this unusual projectis played by the artificial and day light drama-turgy. As a creative link, its task is to interpretthe complex outdoor and indoor continuum atany time of the day and to incorporate differentuses ensuring an atmospherically compact andharmonious experience of space.

weighs 12 tons. Inside, thechandelier is accessed viastairs to facilitate mainte-nance work.

For the interior of thenew mosque, the prin-cipal hired masters oftheir respective fieldsfrom all over the world.Visits to the mosque areopen to non-Muslimsoutside the prayer times subject to appropriateclothing. Information isavailable from the tour-ist office in Abu Dhabi(www.visitabudhabi.ae).

The lighting designers of British firm Speirsand Major Associates thus formulated a strin-gent concept based on vertical illuminance andaccentuated lighting using spotlights, wall-washers and in-ground luminaires. The lightingtools themselves are concealed in niches, ceilingslots or behind lattice ornaments in line withthe design maxim of light, not luminaires. Thelighting designers were recognised for their workwith a range of awards, including the MiddleEast Lighting Design Award 2008 as the bestlighting project in the whole of the Middle East,and the IALD Award of Merit 2009.

The basic lighting in the transition zonesfrom inside to outside is hidden in circumfer-ential ceiling offsets. The brilliant white lightof the Lightcast directional luminaires for 35Wmetal halide lamps puts a sparkle on the valu-able marble surfaces. Sculpture lenses spreadthe beam of the directional luminaires toproduce an effect similar to wallwashin g. Pro-vided with protection rating IP65 for dust andmoisture resistance, their light quality is equalto that found indoors. The illumination inside,for example in the main prayer hall, is basedon the same principle, namely concealed Stellaspotlights for 150W metal halide lamps and anarrow beam reflector characteristic. These a reused in combination with Stella wallwasherswith the same lamps providing dramatic light-ing effects composing accentuated lighting anduniform wallwashing. All lighting componentsshare the same claim of precise glare control toensure maximum visual comfort for all types ofuse.

The large number of lighting components andthe many requirements of use, necessitated acareful conception of the control technologythroughout the building. Speirs and Major pro-

jected a solution that is as user-friendly as it isflexible. It integrates the different positions ofboth sun and moon, the totality of indoor andoutdoor luminaires and, of course, the differenttypes of application, such as prayer times, publicvisits or television recordings. To maintain theexact illuminance required in the main hall at150lx, the lighting designers decided during theplanning phase to set up a mock-up room on a

scale of 1:1 in the theatre of their home town,Edinburgh.

Landscape designers and gardeners arecurrently working flat out to complete thegrounds, which will be equal in every way tothe magnificence of the building itself. Heretoo, an interesting and varied lighting scenariowill contribute to a characteristic look at night:several hundreds of spotlights, in-ground lumi-naires and over one thousand stair lights with

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ern, energy-saving LED technology haveady been shipped to the Emirates and areing to be used. The mammoth project willtly be officially opened; locals and visitors

m all over the world, regardless of nationalityreligion, are invited to admire the best inition and modern art in Abu Dhabi and tor into a respectful dialogue with each other.

The design of the 23m-high and 50m-wide Qiblawall in the central hall isa veritable treat of skilledcraftsmanship and lightingtechnology. The 99 namesof Allah and traditionalIslamic floral ornamentsare lavishly incorporatedinto the marble facing. Thebacklighting is provided bya fibre-optic system pro-duced by Fiberstars EFO.

Vertical illuminance alsodominates the transitionzones between insideand outside. Lightcastdirectional luminairesIP65 with sculpture lenseshave a light distributionsimilar to wallwashing.Fitted with metal halidelamps, the luminaires areconcealed in a circumfer-ential ceiling offset.

The main cupola risessome 70m above the innercourtyard the largestcupola of any mosquein the world. The wholeof the yard, an area of17,000sqm, is coveredwith floral marble orna-ments.

View into the maincupola of the mosque:An elaborate controlsystem and the combina-tion of architectural andstage lighting elementsallow light scenes to berecalled to suit the occa-sion. As coloured lightcomponents, the design-ers used shades of blueto which they ascribea spiritual character.Beamer spotlights for35W metal halide lampshidden from view on thecornices and capitalsaccentuate the orna-mental art.

Concealed light sources

bring the lighting effectsinside to the fore andcreate a virtually magicalatmosphere. Hundredsof Stella spotlights andwashlights are mountedin ceiling offsets, nichesand behind ornamentallattices in the main prayerroom.

Speirs and Major AssociatesSpeirs and Major Associates is a UK-baseddesign practice that uses light to enhance

he experience of the visual environment.Their work is wide-ranging in terms ofype and scale and includes architecture,trategic projects and innovative product

design. Projects include Barajas Interna-ional Airport, the Sackler Crossing at Kew,

Copenhagen Opera House and the interiorof St. Pauls Cathedral, London. They ha vealso developed strategic lighting masterplans for several cities and developmentsncluding Cambridge, Coventry, Durham,Al Raha, Abu Dhabi and Burj Dubai. Thepractice has been credited with helpingo raise awareness of the lighting design

profession in the UK. Today it employs30 people drawn from disciplines including

architecture, art, lighting, interior, graphics andtheatre. Its offices are based in London andEdinburgh, UK.

www.lightarch.com

From left to right:Keith Bradshaw, MarkMajor and JonathanSpeirs, the executive

trio at Speirs andMajor Associates.

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ht in an exhibition: today, what we oftensider purely the result of architectural andnical possibilities of lighting is in reality

ed primarily on a curatorial decision. Thatsion takes shape by exploring and ana-

ng the artwork and thus becomes an aes-ic rather than an architectural decision.east that is how it should be!he aesthetics of contemplation is basedhe trends and developments of our cul-l life and is partly determined by thent of that which we are prepared to s ub-e under an ever broader concept of cul-

. After all, the museum itself is no longercated merely to art, but, now that thebetween high and low has been drawn,added a range of other artefacts to itsbitions (and collections). In addition to

ntings and sculptures, we now also exhibityday items, automobiles, fashion, videos,t sculptures and much more. This addshe demands made on lighting. A furthertributing factor are modern concepts ofentation; after all, we use terms such as

maturgy, scenography or even mythicalce when talking about exhibitions.nterestingly enough, light has alwayscuratorial" significance, the lighting"g seen as part of the picture! This evenied to frescos in the Renaissance periodre the constant lighting of the emptyneeded to be transferred onto the pic-

. A law devised by the painter Cenninonini, which later was also applied by Gio-ni Paolo Lomazzo to paintings. Lomazzoulated that light in the exhibition roomuld continue in the picture.his example alone shows that the light-of artwork is also a product of the respec-era. Until the early 19 th century, artificial

t meant light from candles or oil lampsh poor luminous efficacy. Painters, as

as exhibitors, therefore, were forced toon daylight and swore by the unchang-ight of the north. It was not until thecentury that a technology developed

ch produced light from gas or petroleum,using an incandescent mantle or throughtricity.nly much later however, was artificialt accepted as lighting for artworks. In thehalf of the 19th century, public muse-still worked exclusively with daylight.

n some time later, every new buildingtinued to be a daylight museum despiteavailable artificial light. Even at the Parisn exhibition in 1879, the artists pro-ed when their works were subjected toing arc light. It was not until the 50s

ght follows the curatornot the reverse

Werner Lippert

and 60s of the 20 th century that museumarchitecture focussed primarily on window-less galleries.

The White Cube and the consequences

It was at this time t hat Irish-American artcritic Brian O'Doherty produced an eman-cipated fable of the picture in his legendaryWhite Cube" essays in the magazine Art-forum, based on the Exhibition Salon of the19th century as the first public gallery space.In his essays, he pointed to the correlation

between the history of modern art and that

of the gallery space.His Inside the White Cube The Origin

and Development of the White Cell" is proba-bly the most influential writing on the devel-opment of the museum. His fourth essay,The Gallery as a Gesture" (which was pub-lished much later than the first three e ssays)finally deals with the question as to whetherit is not the empty gallery space as such thatis the actual accomplishment of modern-ism. In terms of its function, ODoherty says:The ideal gallery subtracts from the artworkall facts that interfere with the fact that itis art. The work is isolated from everythingthat would detract from its own evaluationof itself. This gives the space a pres ence pos-sessed by other spaces where conventions arepreserved through the repetition of a closedsystem of values."

Such a presentation, which includesappropriate lighting, was sought by thepainters of the colour-field school, amongothers. Today, this requirement is met in newmuseum buildings. The lighting designer for

what is known as the Color Field Gallery"in the Smithsonian American Art Museum in

Washington, Scott Rosenfeld, comments as

follows on his work:Our objective when lighting our mod-

ern galleries, especially the one dedicatedto Color Field painting, is to help artworksappear as a natural extension of the white

wall. The lighting should subtly pop worksoff the wall without making them look spotlit. If the relationship between the wall andthe work is perfect, it will appear almost tofloat on the wall."

But then he adds, This is opposite from theway we light installations in our nineteenth-century galleries where paintings are hungon deeply coloured walls."

O'Dohertys contemplations, however, wereprimarily congruent with the ideas of mini-mal art. The artists here take their work andmake them a function of space, light andthe viewers' field of vision, as Robert Morris

remarked in his essay, Notes on Sculpture"(1966). The viewers find themselves in a spa-tial structure with the artwork and have theopportunity to establish different relation-ships with the work itself. This is aided bytaking different positions in the space andthe related change of lighting conditions.

Donald Judd, an influential artist and criticin those days, continued to flesh out theseideas. From 1977 he primarily lived in Marfa,Texas, where he had acquired land and sev-eral buildings to install his work in an exem-plary manner away from all cultural activities.

It is, therefore, in Marfa that the imme nseimportance Judd attached to light and spacein his art becomes most obvious. Light heremeans incident daylight from both sides. Thisarrangement changes the lighting of the art-

work when ambling past it as much as theprogression of the s uns position throughoutthe day or the change in the weather. Juddthus created what he deemed the ideal"museum.

No artificial light in the biscuit factory

The lighting concept chosen for the Ameri-can museum project Dia:Beacon was a dif-ferent one. The worlds largest museum ofcontemporary art was opened in 2003 inan abandoned factory that had producedcracker boxes until 1991. This gigantic exhi-

bition area, four times as large as that in theWhitney Museum of American Art in NewYork, allows a permanent presentation oflarge-format artwork in an optimal space.The facility can be compared to Europeanexhibitions such as the Art Nouveau Hallsin the Swiss town of Schaffhausen.

We wanted to exhibit art as it was to bebeheld, in an environment as that intended

by the artist, Director Michael Govan explainsthe concept on which the museum is based.In the new pilgrims destinations for glo-

bal art lovers, as the New York Times calledit, the designers opted to do entirely withoutelectric light; apart that is from emergencylighting. Instead, more than 3000sqm ofskylight provide uniform indirect light thatis not too glaring. Consequently, in winter,the Dia:Beacon closes at 4 pm, in summer itstays open until 6 pm.

Galleries, collections, exhibitions and muse-ums reacted to this lighting concept by usingtheir own daylight lighting, or, as an alter-native, a lighting installation that met therequirements of the artists in some other way.They, for example, installed rows of industriallyproduced neon lights that bathe the room ina uniform, impersonal and even glaring light.

What was particularly appropriate for theobjects of minimal art (How else was oneto illuminate a sculpture by Carl Andre thatis spread out on the floor other t han withuniform light from above?) also proved suit-able for a new mode of ar t that began toreinvent itself, namely photography. It waseminently Bernd and Hilla Becher (eagerlyreceived and supported by minimal artistssuch as Carl Andre) who developed docu-mentary photography into an art form. Theypreferred to take photos of their objects:

winding towers, gas tanks and suchlike. All

from a slightly elevated observers position,in diffuse light, so that the objects were infront of a neutral background.

To achieve timelessness, there could notbe a single cloud to spoil the time expo-sure. The sky is not blue," commented Hilla

Becher. It only seemed that way. Conse-quently, colour must never mar the path to acertain objective truth". This correlated withthe well-known analysis by Roland Barthes inhis Myths of Everyday Life": Things appearto mean something by themselves." Preciselythis was one of the premises of minimal art.

Neutral versus drama

Even an artist from the successor" gen-eration of Bernd and Hilla Becher, Thomas

Demand, laconically answers the questionof lighting his own pictures in exhibitions:I only work by artificial light." From this hethen derives his requirement of adequatelighting" as that which must also be artificiallight and flat, and which does not establish ahierarchy or dramatise. Looking at the studioof his colleague, Thomas Struth, in Dssel-dorf, one is firstly impressed by a seeminglyendless battery of neon lights that create a

thick carpet of light.The installation of such pictures, which

practically negate the light in themselvesor at least any form of light dramatisation,requires adequate lighting and this meansthat it must be as neutral, undramatic andreduced as the light situation in the pic-tures. This is also plausible against the back-ground of (art) history, for it shows that thelighting in the studio has also always beenthe prevailing lighting in the museum. Forcenturies, painters had to rely on naturaldaylight for their work, which reflected inthe museum lighting. However, under thenew circumstances, such as those created

by the loft, artists started to use differentlighting technology such as neon tubes orilluminated ceilings. Those who used thisnon-dramatising or hierarchicial light in their

Its about light in the museum, or ratherlight in an exhibition, because the museumis no longer the sole venue of art exhibi-tions. Over the last few decades it has beenjoined by art clubs, art halls, exhibitionhouses and galleries.

Photos by Mario Testino atthe NRW-Forum, Dssel-dorf: Heavily accentuatinglight brings the motifs tolife as intended by theartist.

The Dia:Beacon: the

former biscuit factory inthe Hudson Valley nowhouses an all-daylightmuseum with plenty ofspace to include monu-mental works (DonaldJudd, untitled, 1975. Donald Judd Founda-tion/Licensed by VAGA.Photo: Bill Jacobson)

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studios now also demand the same type oflight in the museum.

Consequently, the classic museum" for theprince of artists, Markus Lpertz, is built asfollows: four walls, light from above, twodoors, one for those entering, the other forthose leaving." Thus, the new museum build-ings meeting Lpertz' (and to some degreealso Brian O'Doherty's) requirements are back buildings such as the Kirchner Museum in

Davos or the Art House in Bregenz, both ofwhich work with daylight, or the buildings byarchitects such as Herzog & de Meuron (Tate

Modern) or Stephan Braunfels (Art Gallery ofModern Art), which operate with an illumi-nated ceiling. But once again, artists are (re-)acting against them, such as most recentlyGerhard Richter in the Ludwig Museum inCologne, who had the diffusing ceiling cov-ering removed to promptly multiply the lumi-nous efficacy many times over.

From Rembrandt to Gursky

For example, we can see that the curatorialconcepts change along with the aesthetic

developments, or also with the emergenceof new artistic views, such as the following:My first all-digitally photographed picture;the light had be identical on all the shots.

Before, I had often worked with plate cam-eras, with heavy equipment. This shot iscomposed of many detailed scenes and it isa melange of the track at the Nrburgringand in Shanghai. I have eliminated the vari-ous perspectives, this is how Andreas Gurskydescribes one of his new Formula 1 pictures.

Gursky is now compared with Rembrant,on account of the fascinating Chiaroscuro,and also with Caravaggio, the master of lightand dark of exaggerated realism. It is uncer-tain whether this means we resort to a newmode of lighting. So far, however, AndreasGursky resolutely sticks to a uniform illumi-nation of his pictures, as effectively achievedin his major exhibition in the Munich Houseof Art. Here, the existing lighting installationhad been completely removed and the archedceilings illuminated with powerful spotlightsto ensure that everything in the exhibitionrooms was uniformly illuminated by bright,indirect light. In a conversation, he favoureduniform neon light. In reality, however, he

adapts to the local conditions. For example,in his exhibition at the National Gallery of

Victoria in Melbourne, it was halogen lumi-naires that dominated the overall impression.Andreas Gursky then had the light some-

what dimmed and, similar to what we hadsuggested, accentuated aspects such as thepit-stop work using guided light.

Day and night at the museumArtists such as Jeff Wall make even more dis-tinctions when specifying their demands onlighting. He postulates, The word museumseems associated with daylight, while thecinema requires a dark room. Right from thestart, the museum claimed to be a universalmuseum. If that is true, however, it mustinclude the night as well as the day and thenthe museum must also have darkrooms.

Maybe we should divide it into a sun wingand a moon tract."

With this, Wall has opened a wide field ofdiscussion: What is worth exhibiting? Whatis exhibited? How does our canon of whatcan and should be exhibited widen? After all,it has been widened by including ephemeralaspects, models, projections, light boxes, eve-ryday objects, printed and electronic mediaor textiles. Objects, though, that are part ofcommodity aesthetics, such as fashion pho-tography or the works of fashion designersthemselves, require lighting that is closer tothat of the retail field in shopping malls thana conventionally illuminated museum. Thisagain creates new points of reference. Whilemany artists focus on daylight, others usethe media as a reference system, such as thephotographer Mario Testino, who takes hiscue for the presentation of his pictures in themuseum from their representation in printedmagazines and who then also draws on thepatterns of reception of the visitors: Beamsof light concentrate the eyes of the beholderon the image which is the same that maga-

zines do due to the nature of their sizes anddistance between the viewer and the maga-zine. As most of the images shown wereshot for magazines, these lights made sense.On another note, in general when lookingat pictures on a wall they tend to los e someof the light that actually exists whilst I takean image. I like life and these lights seem to

bring the images to life."The curatorial reaction to Testino's view

is to use powerful projectors with a narrowbeam light distribution, so that only the pic-ture is illuminated in a relatively dark room.The effect is enormous the photo takes onthe quality of a slide shining from inside andmagically captivates the viewer.

That artists specify the lighting requiredfor their works in so m uch detail is quite atradition. An exception here is Constantin

Brancusi, who has left to posterity a photo-graphic documentation of how his sculp-tures should be presented and illuminated.The photographs are kept in the Muse d'Art

Moderne in Paris, but the Zurich Art Galleryalso has a selection of these photos in itspossession. Of tremendous significance for

Brancusi was the effect of his sculptures on

the pedestal and in the space. He believedindirect light to be indispensable for the def-inition of this spatial effect. This is one idea

which we will draw on for the lighting of ourupcoming exhibition U.F.O. Walking theline between art and design" to accentuatethe space-filling effect of sculptures (be itartwork or design objects) using light. A firsttest shows views of the Box in four move-ments" by Ron Arad.

All too often, restorers produce abstractsand guides on the subject of museumlighting based on the basic assumption thatlight is damaging to the exhibited artwork;or they are authored by architects who havetheir own particular views. One such col-league lamented, The problem in so manymuseums of contemporary art is that thearchitects still think in categories of pictures

on walls that should be illuminated indi-vidually."

A question of curatorial conceptAlong with careful conservation, lightingdesign in museums is, I believe, a questionof curatorial concept which should always

be based on the ideas the artists have inmind. A concept where, over time, the fea-tured objects change so significantly, fromthe individual artwork needing to be illumi-nated to a non-hierarchical arrangement ofobject groups and pictures by a single artist.This example can be found within the roomcontaining Rothko pictures in Londons TateGallery. Retrospectively, a design that alsois in itself subject to constant change, notonly because the conditions of producing artchange, but also the social requirements asto its presentation. The aim of this concept,however, is always to use light for the sake ofart, as lighting designer Christopher Cuttleput it so aptly in his book entitled Light forArt's Sake".

The author is grateful for the insight gainedin the conversations and correspondence

with Dr. Julian Heynen (K21 KunstsammlungNordrhein-Westfalen), Thomas Demand,Andreas Gursky, the photographers MarioTestino and Albert Watson and in work-ing with the photographers, designers andartists exhibited at the NRW-Forum.

About the author: Werner LippertFor the past 10 years, Werner Lippert has beenin charge of exhibition management at Ds-

seldorfs NRW-Forum Kultur und Wirtschaft,along with Petra Wenzel. The NRW-ForumKultur und Wirtschaft gained an independentstanding among museums and has set popular,high-profile standards for the effective pres-entation of photography, video, fashion, designand architecture. Megatrends identified in theart, media and economics theories since thelate 1990s such as fashion photography orthe convergence of fashion and art, video andart, and advertising and art were recognisedat an early stage and consequently used in thein-house exhibition programme.

Hardly any other institution has managedan alliance between art, fashion, design, archi-tecture, new media, discourse and economy insuch elegant fashion, writes Vogue, adding:

The NRW-Forum leads fashion, art andphotography into a mutual dialogue.

Werner Lippert also works as a corporate

culture consultant. As the managing share-holder of Projects Corporate Culture Con-sultants GmbH (Dsseldorf), he is responsiblefor projects relating to corporate culture andcorporate communication for companiessuch as Mnchener Rck AG, StadtsparkasseDsseldorf, Daimler AG, etc., and has sup-ported the sponsoring of the GuggenheimMuseum for Hugo Boss.

He is the author of publications such asCorporate Collecting and Future Officeas well as numerous pieces on contempo-rary art.

www.nrw-forum.de

ral, virtually shadow-

ight for an instal-n by Bruce Naumane Konrad Fischerry, Dsseldorf.

ure by Alexanderueen at the NRW-m, Dsseldorf: Highlysed light producedojection spotlights

the exhibits standn the dark.

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Floodlights with fluo-rescent lamps from twosidesTwo lateral floodlightsprovide low-contrastillumination with paleshadows. The homogene-ous light causes objectsof the same colour asthe background, such asthe pedestal, to almostdisappear.

Spotlights with spot

reflector from two sidesThe classic form of lightingusing two narrow beamdirected light sourcesshows off the materialityand form of the object,but also produces hard,dramatic shadow.

Spotlights with flood

reflector from two sidesDirected light sourceswith a wider beam havea similar effect with lessshadows and greaterillumination of the sur-roundings.

dlight with fluo-ent lamp from thetlighting from one

creates soft shadow.object itself is lessous and vivid due tok of brilliance.

Ron Arad: Box in Four Movements, 1994, polishedstainless steel and patinated steel, 42x42x42cm(closed), edition of 20.Courtesy of Designer's Gallery/Gabriele Ammann,Cologne.

Diffuse light fromaboveZenithal, diffuse light,such as that of a skylightceiling, does not differen-tiate objects in the room.Contrasts are faint, thematerial nature and col-our of the object are hardto see.

Floodlight with fluores-cent lamp from the leftThe same situation butilluminated from theopposite side: the appear-ance of the object changesdepending on the directionof the light. Generally useddirections, such as diago-nally from the front andabove, seem more natural.

Spotlight from the left,

diffuse light from therightThe combination of anarrow beam point lightsource with diffuse lightalso produces pleasantlymild contrasts in the sur-roundings with sufficientbrilliant and vivid illumi-nation of the object.

Diffuse light from therightDiffuse lateral light pre-vents hard shadows, butleaves volumes to standout due to its direction.Without brilliance andcontrasts, the materialityof the object is hardlyprominent.

Spotlights with spot

reflector from twosides, wallwashingAdditional, uniform wall-washing reduces the con-trasts and creates a neu-tral, calm background forthe object, which is clearlydefined by the spotlights.

m various aspects, light lends itself as a toolhe curator to use. As the most basic of prin-es, light draws attention and influences theeption. Illuminating an object changes itserial effect and its appearance in space.nographic qualities can be modulated toe from dramatic and theatrical to neutralsober, vividly illustrated in this case studyg a design object by Ron Arad, taken for thebition U.F.O. Walking the line between artdesign (23 May 5 July 2009) at the NRW-m Kultur und Wirtschaft.

uratorial light:n object study

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staged portrait. It is these photos that make herexhibition spectacular interspersed with pri-vate images of family, friends and personal lifethat jar the viewer back to reality. The exhibition,derived from the book A Photographers Life,presents portraits of the famous, intensivelymixed with intimate moments such as the deathof her own father, the birth of her children andthe death of Susan Sontag, the famous Ameri-can intellectual and Leibovitzs partner for over15 years until she passed away.

Criticised on many fronts for publishingthese images, even Leibovitz herself, talkingto journalists, concedes that she would neveragain reveal her private life in such depth,though she is happy to have done so once. Itis the private images that divide the public:respect and approval are met with shock andrejection. However, from an artistic point ofview, it does seem plausible that a photographerwould use the camera to filter and overcomethe world and life from the mundane to highlyemotional situations. Ultimately, opinions onlydiffer on the issue of publication.

In this context it is particularly interesting

that it was Susan Sontag of all people longbefore she ever became involved in a relation-ship with Leibovitz and before the latter was topublish the photographs of her illness and death who analysed this conflict in her now canoni-cal work On Photography. In that book, Sontagwrites that photographs can only depict theworld, but can never convey its processes andbackground. The emotional significance of theimages only transfers from the photographerto the observer to a limited extent, which is whysome images may leave the viewer bewildered.

The visitor in Berlin sees a rich yet polarisingexhibition that fittingly represents the personal-ity of Annie Leibovitz with all her rough edges.

David Kuntzsch

Further information:Annie Leibovitz: A Photographers Life,1990-2005Random House, New York (2006)ISBN-10: 0375505091ISBN-13: 978-0375505096

Annie Leibovitz: At WorkSchirmer/Mosel (2009)

ISBN-10: 3829603827ISBN-13: 978-3829603829

Annie Leibovitz Life through a Lens (DVD)Director: Barbara LeibovitzKinowelt Home Entertainment (2008)

fact that the Berlinale had already rolled itscarpet back up just the weekend before wase a distant memory by the events of Friday,

20th of February 2009. What transpiredhe entrance steps and in the foyer of thefuhramt was equal in every way to all the

e of the film festival. Judging by the throngress and public, one would have thoughtat least some of the stars portrayed in the

tographs were actually present. But no, thejournalists, selected from 300 applicants,e in fact all here just for one person: Annieovitz usually the eye behind the camera,now in the limelight and herself the star.nce the beginning of her professionaler as a photographer for Rolling Stone

azine in 1970, Leibovitzs photographicrest has always centred on people. Her usualects, photographed for various magazinesreporters style reminiscent of Henri Cartier-son or Robert Frank, were mostly fa mousple; others were on their way to fame, ande were even made famous by her photos. Her

nt portfolio, which alongside Rolling Stoneazine also includes Vanity Fair and Vogue, isched by an equally glamorous list of those int of the lens: Johnny Depp, Nicole Kidman,rge Clooney and every American presidente Nixon. She often has the uncanny ability,by f ate, to simply be doing journalistic worke right place at the right time like whenrecorded a moment of contemporary history the photo of John L ennon and Yoko Onoa few hours before Lennons murder. Yetther people she is also the inventor of the

Homogenous wallwashing

emphasises the exhibitson the display partitionsthat stand apart from thearchitecture, while imageshanging directly on theoriginal building walls areeach bathed in an individ-ual, gentle pool of lightby spotlights with sculp-ture lenses.

A star holds court: havingarrived appropriately late,Annie Leibovitz commandseveryones attention. Over160 representatives ofthe press clamour aroundthe photographer as sheexplains the backgroundbehind the unusual con-figuration of images usingsignificant events of herbiography.

The lighting of the wall

areas creates a clearhierarchy of perception,separating the importantfrom the unimportant.A defined strip of lightalong the floor directsthe visitors into the largegymnasium where thelargest pictures of theexhibition are displayed.

ng been initially

ioned blind, alluminaires are thenly focussed the

nd time around.

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DALI

PLUG+

PLAY

ew Products 2009: LED technology spotlights

new spotlights benefit from the greatlyroved features of the latest generation ofe LEDs specifically in terms of luminousand colour rendition. As professional light-ools, they can now be used for many moreications in architectural lighting and areuable alternative to conventional lightces.

he spotlights with LED technology providehe advantages inherent to the operatingciple of these lamps. These advantagesude an exceptionally long service life andIR and UV radiation, while the luminousacy of the LEDs is comparable to metal

de lamps. Additionally, they are dimmablecan be re-started when hot just as with

-voltage halogen lamps. Optimised for effi-t visual comfort, these new lighting toolsgrate seamlessly into the system design ofERCO Program and match other spotlightsch range through uniform product design.

Thermally optimisedhigh-quality housingsprovide ideal operatingconditions for all com-ponents to ensure thatthe long life advantageof LEDs is achieved.

FloodThe flood lens system(beam angle of 25-35)features a Spherolit lensmade of clear plastic.

SpotThe spot lens system(beam angle of 10-20)features a Softec lensmade of clear glass.

Daylight whiteLED spotlights in daylightwhite of 5500K ensuresuperior efficiency withacceptable colour rendi-

tion. The light colour issimilar to daylight.

Warm whiteIn warm white, LED spot-lights have a somewhatlower luminous efficacythan in daylight white,

but better colour rendi-tion. The light colour of3200K comes close to thelight of halogen lamps.

Lighting controlThe plastic collimatinglens designed and pro-duced by ERCO createsa parallel beam, while afurther special lens pro-duces the precise beamangle required.

In terms of luminousflux, spotlights withwhite LEDs are now auseful alternative tospotlights with 50W low-voltage halogen lamps.While the LEDs do notyet match the perfectcolour rendition qualityof the latter, they pro-vide exceptionally longlife and superior energyefficiency.

As they emit no UV or IRradiation, they are highlysuitable for sensitiveexhibits.

Potentiometertune the light: TheLED spotlights for ERCOs3-circuit track feature apotentiometer for indi-vidual adjustment of thedimmer output, similar tomany spotlights with low-voltage halogen lamps.

Light System DALITo ensure smooth integra-tion into Light SystemDALI installations, the LEDspotlights are also avail-able as DALI-compatibleLight Clients.

Plug and playDue to their factory-setdigital code with lumi-naire ID in the controlgear, ERCOs Light Clientsand the Light System DALIensure true plug and playflexibility.

LED modulesThe LED characteristicsrequire new approachesin lighting technology.ERCO has developedappropriate lens systemsfor accent lighting usingLED spotlights. Theseconsist of collimators andlenses. The beam anglesof the resulting spot andflood characteristics arebased on the familiarspotlight characteristicsof conventional ERCOspotlights.

Os Cantax, Emanon and Optec spot-t ranges already include varychromeions with LED technology. These rangese now been extended to include LEDtlights with either daylight white orm white lamps.

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80%

fficient visual comfort

New: Light in the outdoor area brochureFind information and inspiration on lightin the outdoor area on over 60 pages with focus on efficient visual comfort.Contact us:

www.erco.com/contact

ting requires energy. Everyone involvedn aspect of lighting from the manufac-r to the designer and the user should u seimited resources responsibly. Against the

kground of rising energy costs, architecturalting has made enormous progress overpast few years and has already achieved aificant level of efficiency. Efficient visualfort as promoted by ERCO means steadilyroving both the energy efficiency and the

t quality through innovative technical andgn-oriented approaches.

ciency through visual comfort and his perception determines whether

ting is efficient. Irrespective of any tech-l measure of efficiency, if light producese, it will impair vision and diminish peoplesfort, resulting in wasted energy. The eyerced to adapt and the pupils contract. Thelt is that even zones of high illuminanceappear relatively dark in comparison withzzling source of l ight. Glare-free, comfort-light, by contrast, creates optimum view-

conditions for the human eye. From theet, it allows the designer to use an energyient solution with lower illuminance levelssubtle contrasts.

Qualitative lighting designCareful, perception-oriented light-ing design uses light specificallyto meet the requirements of the

user: vertical lighting, for example, provides asubjectively high impression of brightness ina room. The same applies to controlled accentlighting which is invariably more effective thanblanket high levels of lighting. Lighting toolswhich provide good visual comfort preventglare and inherently allow the designer to pro-duce an energy efficient solution with lowerilluminance levels and subtle contrasts. The

variety of efficient and differentiated lightingtools, indeed the scope and structure of ERCOsentire Program, is orientated towards qualita-tive lighting design.

Vertical illuminanceVertical illuminance is a character-istic feature of well-designed, eco-nomical lighting concepts. For this

reason, ERCO offers a particularly wide range ofappropriate lighting tools. Vertical illuminanceusing special wallwashers is far more importantto the subjective perception of brightness thanthe light on horizontal surfaces. This is takeninto account in perception-oriented lightingdesign as an optimal solution tha t contributessignificantly to meeting the requirements of theusers of architecture and can help save energy if

used in an appropriate lighting concept. So, forexample, the impression of brightness in a roomis created more efficiently using a differentiatedlighting concept which involves wallwashingthan a uniform level of brightness resulting onlyfrom direct ambient lighting. The average illu-minance can be decreased accordingly, reducingthe required number of luminaires.

Effective lighting technologyEfficient, precise optical systemslower the energy requirement forlighting. A comprehensive toolbox

of lighting equipment ensures optimal and thusefficient light distribution for specific lightingtasks. This extends from the asymmetric wall-washer and various spotlight characteristicsto the reflector lens system for illuminationof product displays in shops. Innovations suchas the ERCO Spherolit reflectors provide bothhigh light output ratios and visual comfort.New light sources such as high-power LEDs

with their directed beam require entirely differ-ent light guidance systems than conventionallamps, which creates new lighting technologychallenges. The result is lighting tools whichgive the user complete control and allow effec-tive planning.

Intelligent lighting controlERCOs DALI technology simplifiesscenic lighting and makes it eco-nomical. Individual light scenes to

suit each situation are selected and controlledby the user. This is in combination with auto-mated light management using sensor systemsand timer programs which have the potentialfor enormous energy savings. Typical scenarioshere include the use of presence detectors todim or switch off the light in unused rooms orelse, twilight switches or analogue daylightsensors to call up light scenes depending onthe amount of available daylight. Easy installa-tion, setup and ease of operation contribute tothe high level of acceptance of these systemsamong users.

Efficient lampsERCO is heavily involved in thedevelopment of LED lightingequipment to make practical use

of the many advantages of LEDs in terms ofluminous efficacy and functional life. ERCOalso continues to provide an exceptionally widerange of products for use with economical,long-lasting metal halide lamps and compactfluorescent lamps.

Less can be moreThe investment in light quality is beneficialfrom both an economical and an ecologicalpoint of view. A carefully planned and imple-mented lighting concept using high-qualityproducts effectively is more attractive to theclient and user. In the long run, it will producesavings in both operating and maintenancecosts. Specialised, professional lighting toolsare highly efficient in achieving a specific light

effect in a differentiated lighting concept. Theyinvariably replace several non-specific, cheapproducts, which compensates for their higherprice. Modern, efficient lamps reduce the con-nected load of the lighting system and thethermal load with additional positive effects,such as the size and operating costs of air con-ditioning and ventilation systems. Intelligentdesigns and high-quality lighting tools ensurelighting solutions that reduce the operatingcosts while meeting all the aesthetic, func-tional and ecological requirements.

Vertical illuminance

Qualitative lighting design

Effective lighting technology

Intelligent lighting control

Efficient lamps

5 factors for efficient visual comfort

ptimise efficient visual comfort inting concepts, ERCO has cooperated

h designers and users to formulate fiveors which reinforce each other and inctice result in significant increases int quality, resource savings and eco-

mic efficiency.

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h(lm/W)10080604020

LED

LED

LED

A

QT-NV

QT, QPAR

TC

T

HIT-CE

HST

100W 150W

3.6W

3.6W 14W 42W28W

10W W41 W82 W241.7W

1.7W 10W

10W 20W

W001 W051W57W05W02

3 5W 7 0W W051 W052 W004

60W100W 150W 300W 500W 1000W

9W 18W 26W 32W 42W

W85W53W42 W82

50W 100W

55W

20W

29

47

62

15

25

22

87

94

92

49

10 50 100 500 1000 2000 5000 10000 50000

cus Double focus

Type of lighting

Orientation lighting in dark sur-roundings, identification of archi-tectural lines, directive lighting

Accent lighting for smaller objectswith minimal lighting distances,grazing light, orientation lighting

Accent lighting for medium-sizedobjects with medium lightingdistances, wallwashing up to 3 m,grazing light, projection

Accent lighting for larger objects,wallwashing up to 4 m, washlight-ing, grazing light, projection

Ambient lighting, washlightingand accent lighting for largeobjects or great distances, wall-washing up to 6 m, grazing light,projection

Ambient lighting and wallwash-ing of very high ceilinged rooms,washlighting and accent lightingof very large objects at great dis-tances

Lumen category< 50 lm

< 500 lm

< 2,000 lm

< 5,000 lm

< 10,000 lm

> 10,000 lm

Examples of application

Stairs, pathways, marker systems

Homes, gardens, pathway lighting,display cabinets, marker systems

Art galleries, homes, gardens,pathway lighting

Museums, shops, wide pathways,trees, parks

Shops, exhibition rooms, museums,atriums, facades

Halls, industrial buildings, airports,facades, monuments, towers

nology Luminous effi-cacy (lm/W)

Luminous flux (lm)

hting design using lumenegoriesgning a lighting system usingen categories simplifies thecess by providing an initialction of suitable lamps andtages. Irrespective of the typeefficiency of the lamp, thenous flux value indicates theable light output. Havingtified the lighting task, the

Luminous efficacyThe relation of the lumi-nous flux emitted to thewattage of a lamp.

Unit: lumen/watt (lm/W)

Luminous fluxThe luminous fluxdescribes the total lightemitted by a source. Itis calculated using thespectral radiant powerrelative to the spectralsensitivity of the eye.

Unit: lumen (lm)

required luminous flux can bederived using criteria such as objectsize, lighting distance and ambientbrightness. The lumen table showsthe lamps available in each lumencategory. Due to different luminousefficacies, the lamps may producethe same luminous flux but fromdifferent wattages.

ient lampsO is highly committed to the devel-ent of LED lighting tools, ensuringreat advantages of LEDs in termsminous efficacy and service life aree practically available. In addition,O also offers a wide product rangemetal halide lamps and compact

escent lamps.

LED varychromeLED warm whiteLED daylight whiteIncandescent lampsLow-voltage halogen lampsHalogen lampsCompact fluorescent lampsFluorescent lampsMetal halide lampsHigh-pressure sodium lamps

LED varychrome

LED warm white

LED daylight white

Incandescent lamps

Low-voltagehalogen lamps

Halogen lamps

Compact fluorescent lamps

Fluorescent lamps

Metal halide lamps

High-pressuresodium lamps

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Today, Reininghaus & Co. has beenregistered in our Commercial RegisterA under the no. 1048 as a general part-nership with registered offices in Lden-scheid, specifying as its general partner1. The merchant Arnold Reininghausfrom Bruges, 2. The tool mechanic KarlReeber from Ldenscheid, 3. The presserPaul Buschhaus from Ldenscheid. Thecompany commenced operations on the1stof July, 1934.

Ldenscheid, 11th of August, 1934

The District Court

Light years are actually used to measure cosmic distances, not time.But when a light factory celebrates its 75th anniversary, this pun maybe excused. After all, it has been a long journey through these years per aspera ad astra", from the vision of an ambitious young man to thecompany today. ERCO has become a global player and technologicalleader in the field of architectural lighting, where innovative power,design competence and all the virtues of a family-owned business setthe standards for an exciting and successful future.

1934: The beginningReininghaus & Co. was registered in the Commercial Register on 1 July1934 laying the foundations for the success of the Light Factory fromLdenscheid that continues to this day. Founded by Arnold Reininghaus(19072003) with Paul Buschhaus and Karl Reeber, who would later with-draw as partners, the company faced economically difficult times char-acterised by recession and unemployment. The three partners had raised6,000 reichsmarks each, allowing the company a working capital startof 18,000 reichsmarks. All three had previously worked in the electricalindustry and had experience in commercial and technical fields.

The company initially produced parts for luminaires such as pendulumlight fittings and spring balancers for height-adjustable pendant lumi-naires. At the Leipzig trade fair in 1935 these products were offered tothe electronics wholesale sector which promptly placed orders to com-plement their own lampshades and sell finished luminaires.

The balance sheet of 1934 showed an inventory of 11,056 reichsmarks.The original company name of Reininghaus & Co. was changed to thephonetic abbreviation ERCO, which was then i ntroduced as the com-panys trademark. It was not long before the company offered completeluminaire models to the market. Sales grew satisfactorily with revenuestotalling 1.5m reichsmarks by the time war broke out. After only a fewshort years, the humble 6-man operation had thus developed into a suc-cessful mid-sized company that industrially produced luminaires for thehome and sold through wholesalers and retailers. With the outbreak ofWorld Word II in 1939, the company changed its production to militarysupplies. Unfortunately in the very last weeks of the war, in March 1945,the business was badly damaged by two direct bomb hits.

5 light years

ounder: Arnold

nghaus (1907-2003),young man in thes. His lifes mottocant live on fears"

acterised the culturenovation at ERCOfrom the start.

ERCO provided thewholesale market withpre-assembled springbalancers, which werethen completed withlampshades from out-side suppliers.

In the very last weeks ofthe war, in March 1945,the production facilitieswere destroyed by airraids.

Early luminaire models ina pre-war catalogue.

Os presentation ofnaires at the Leipzig fair in 1937.

A cornerstone of ERCOssuccess: the universalbalancer, a device usedfor height adjustmentof pendant luminaires.

Modern concept in acontemporary style: apendant luminaire fromthe 1930s, which simul-taneously produces bothdirect and indirect light.

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Light above the kidney-shaped table: shapes andcolours typical of the1950s from an ERCOcatalogue of the period.

1950s: Reconstruction and economic miracleve years after its foundation, the company had to practically re-start

m scratch. With annual sales of 288,500 reichsmarks, it was difficultelieve in a possible reconstruction. Co-founder Paul Buschhaus hadn killed in the war, his heirs askin g to be paid out after the currencyrm. Arnold Reininghaus and Karl Reeber continued to run the busi -on their own. The f irst post-war trade fair in Hannover in 1947 wasin tents. ERCO presented old catalogue pages from pre-war timesattempted to reconnect with former customers who had been scat-d to the four corners of the globe during the chaos of the war.he currency reform rang in a time of reconstruction for the company.nted factory facilities, ERCO initially produced the same luminai reels as before the war. As the economic miracle took its course, fresh

ers came in, and ERCO was able to continue its pre-war successes.

The following passages of a letter tocustomers in 1949 testify to the excep-tional conditions of post-war times:

Due to a welcome change in procure-ment options with more relaxed condi-tions in regard to various raw materials,we have been able to relaunch articleswhich we were temporarily forced totake out of our range because of amaterial shortage. At the same time,this means that our frequent produc-tion changeovers as a result of this

shortage of raw materials have nowlargely found an end, which allowsus in some cases to reduce our prices,applicable with immediate effect.(...)One final, brief remark: As in pre-wartimes, we have always upheld our prin-ciples of selling our value for money,high-quality ERCO LUMINAIRES ONLYTHROUGH SPECIALIST DEALERS even inthe difficult period during and after thewar. We are proud to be one of a fewfactories to have seen through this sac-rifice. Based on our principle of SERVICETO THE CUSTOMER AND FAITHFULNESSTOWARDS OUR BUSINESS PARTNERS,we will continue to make every effortto ensure your full satisfaction.

Industrial serial produc-tion the credo of ArnoldReininghaus. An anony-mous industrial photogra-pher has captured, in blackand white, production inthe 1950s.

Around 1950 and facingthe economic miraclewith optimism: ArnoldReininghaus with staff.

Reception area at ERCOsheadquarters in the 1950s.

Scenes of ERCOs pro-duction: Despite indus-trial processes and serialproduction, the manualpart of work remainssignificant. The companybecomes an importantand popular employer inLdenscheid.

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In the era of plastic lamp -

shades, artist Fred Back-hove was a key figure inthe company where heworked as a model maker;it was his gifted handsthat created the plastermoulds for later produc-tion.

irst designer with

m ERCO works is Aloiskofner. Originallypert in glass design,so began in 1963 toop for ERCO modernproportioned plasticnaires appropriate for

material involved.Photography in theNew Objectivity style.Contemporary designobjects such as vases orthe Braun hand blendercreate an ambience typi-cal of the 1960s.

This trade fair presenta-tion from the 1960s isequally tidy, clear and ina spirit of internationalstyle.

The choice of colours inthis photo already pointsto the pop aesthetics ofthe late 1960s. The designmay have become moretechnoid and the lightingtechnology more sophis-ticated, but the luminaireis still appreciated mostlyas a decorative object.

The range of luminaires increased to include rise-and-fallpendants for the kitchen, bedside lamps and wall luminaires.The biggest revenue drivers, however, were bathroom lumi-naires. In July 1959, ERCO celebrated its 25th anniversary. Ithad been 25 long and hard years in which survival had onlybeen possible through intensive work; noted by the foundersin their addresses. Export sales began to grow with businessrelations developed in Sweden, Norway, Belgium and Holland.ERCO was a thriving company that now conceived plans fora spacious new building to combine its production facilitiesscattered throughout the municipal area of Ldenscheid.

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A familiar picture: Theseor similar types of mir-ror lamp could be foundin almost every Germanhousehold. Accessoriessuch as the Braun Sixtantrazor lend an authenticflair to the advertisingshots.

3: Beginning of the Maack erae mid 1960s, Reininghaus appointed his son-in-law Klaus Jrgenck to the ranks of management and put him in charge of marketarch, product development and communication. Right from thet, the spirited father-in-law also entrusted Maack with the planningimplementation of the new factory building, which was designedrawings by the architect Ernst Kuhlmann from Hagen and con-cted on Brockhauser Ebene north of the city. In the open country-, with optimal connections to the brand-new A45 motorway, theerland route that links the north of Germany and the eastern Ruhrwith Frankfurt am Main, the factory was completed in 1969. The

duction and administrative facilities now available to the companysured some 30,000m2.arallel to the change of location and despite an already boomingness, Maack set about analysing and rethinking the companys strat-to reinvent a completely new business model for ERCO. The result of

hought process led to a radical change in the production program,ch initially shocked the professional world: ERCO chan ged from anaire factory to todays Light Factory.

Glass and bathroom lumi-naires were the "cash cows"of the 1960s. Their reliablesuccess ultimately pro-vided the necessary scopefor Klaus Jrgen Maack tocompletely reinvent thecompany on a solid basis.

Op art: ERCO designawareness increaseswith typographicallydesigned cataloguesand through coopera-tion with designers inproduct development.

Linestra lamp fixtures formirror lighting a classicof superior light quality;once a standard, today aphased-out model facinga ban due to poor energyefficiency.

Smart planning forthe future: the amplenew company groundson Brockhauser Ebeneaccommodate modernproduction and admin-istrative buildings.

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Dieter Witte designed thelegendary die-cast spot-light with its strikinglyribbed cast aluminiumhousing that gives it itsname (above). Materialand appearance of thisspotlight were to charac-terise the ERCO design formany years. The arche-typical TM spotlight of1973 (left) with continu-ously updated lightingtechnology is still part ofthe range today.

Double focus downlights:a sensation in the early1970s and still a specialtyof ERCO today. Their light-ing technology alloweda minimalist reflectoropening.

From very early on,ERCO used low-voltagereflector lamps in spot-lights with integratedtransformers for highlyfocused accent lighting.

Discussion at top level inthe late 1960s: Gettingthe responsible parties atERCO to support his newconcept took some con-vincing by Klaus JrgenMaack.

Clear signal to theusers: ERCO uses dia-grams established onthe laboratory scale,known as light intensitydistribution curves, toprove the efficiency ofits lighting tools andchallenge the technicalunderstanding of its

catalogue readers.

Spherical spotlights madeit possible to integratedirected light inconspicu-ously into the ceiling.

This advertising motiffrom the early 1970salready shows manyfeatures of orientation,system and structureof lighting that havecharacterised the ERCOProgram ever since: fromspotlights and downlightsto electronic control gear.

, not luminaires:ocus at the tradetand in 1968 is onnterplay of light,tecture and objectes, with the toolseetly remaining inbackground.

1968: Light, not luminairesBased on his analysis of the market and its trend in the luminaire sector,Klaus Jrgen Maack was rather sceptical about the prospects of ERCOsexisting orientation. For two reasons: firstly, it seemed that the habits ofthe Germans and their European neighbours were changing. The i ncreas-ing options of leisure activities, the growing need for a functional andindividual design of ones living space, the rise in income and the result-ing prosperity all pointed to a discriminating luminaire market. Secondly,like most of its competitors, ERCO suffered from rather short productcycles that were at the whim of fashion trends. Due to their short lif e inthe market, new models often did not even fetch their development costs.

His suggested strategy responded to this analysis with five points:firstly, light had to become the central business of the company and thefocal point in the development of luminaires. Secondly, individual prod-ucts needed to be replaced by product systems. Thirdly, the findings oflighting technology were to be intensively considered and implementedin the development work. Fourthly, fashion trends needed to be replacedby a new use of forms that remained current potentially for a minimumof ten years. And fifthly, the company was to commission designers ofinternational standing with the design of its products.

After some serious convincing, Maacks suggestions were finallyaccepted within the company, then the sales system, followed by theretail sector, and finally also by the customers. The program structurewhich has remained in u se to this day took shape with tracks, spotlightsand recessed ceiling luminaires. ERCO conquered the new and growing

market for architectural lighting and significantly helped to shape it.

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Eers 65 Un iv ers 55 Un iv ers 45

At the EuroShop inDsseldorf: the Confer-ence of the White Men,a witty presentation ofERCOs lighting system.

Downlight with glare-free Darklight reflector:for the first time ERCOuses a computer programto calculate the reflectorcontour. Lighting tech-nology and visual comfortbecome central issues inthe product development.

Light, not luminaires:The square stele withsphere, reminiscent ofthe Stone of Good For-tune in Goethes gardenin Weimar, becomes anobject of demonstrationand a key image for ERCO.

The 1970s see the begin-ning of cooperation withOtl Aicher as well asnumerous designers ofinternational standing,including Terence Con-ran, Ettore Sottsass andRoger Tallon. The Tallonspotlight(right) with itscharacteristic basket pro-tector becomes a designicon of its time.

A cooperation that wentfar beyond a mere client/service provider relation-ship: Klaus Jrgen Maack(left) and Otl Aicher at ameeting in 1990.

4: Cooperation with Otl Aichercrucial marketing idea conceived by Klaus Jrgen Maack can be sum-sed in a single sentence: ERCO sells light, not luminaires. Maacksghtenment sprang while he was leafing through a magazine. When

marketing clubs were still called sales manager clubs, I once read inof their publications, 'If the oven builders of old had understood that

y were selling warmth, not ovens, they would still be in business today.'

ck read this and realised that ERCO as a brand would in future h aveymbolise high-quality light. This not only meant a break with a prod-ange that had been passed on over the years, but also a new way ofking: a perception of light, in a medium that makes objects visibleout being visible itself. 1974, with this concept in min d, Maack met one of the most distin-hed graphic designers of post-war Germany, Otl Aicher (19221991).nitial meeting was only to negotiate the licensing of Aichers well-

wn pictogram system for a series of directive sign luminaires. Butt began as discussions of a more tangential nature revolving around

ography and design, soon developed into a mutual respect and appre-on and led to joint projects: a new logo, printed material, a companyhure, catalogues, all of which and after f urther adaptation, help to

pe ERCOs corporate image today. An image that has won many prizes.ntensive exchange between Maack and Aicher also defined a designude that still pervades every area of the company: communicationia, products, trade fair presence and corporate architecture becameand parcel and an expression of the corporate identity, the corporate

ure.

drawn

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E

Lighting expertise as thedeciding factor: ERCOtechnicians test the ceilingwashlight for LondonsStansted airport, a designby Norman Foster.

The Technical Centre in

Ldenscheid is completedin 1988. The design byProf. Uwe Kiessler causeda stir among architects.The briefing containedonly one sentence: Thebuilding was to be like anoverall for engineers.

Specialised lightingtools for increasinglycomplex lighting tasks:the Eclipse projectionspotlight, designed in1987 by Mario Bellini.

For many years, Swissproduct designer FrancoClivio made contributionsto ERCOs design, e.g.Lucy (above), Stella (left)and Lightcast (below).

High-tech of the early90s: the highly efficientEmanon projector,designed by Roy Fleet-wood.

ate lightweightn: the Axis lightture was designedoy Fleetwood in

0s.

System design by MarioBellini (Eclipse, above)and the ERCO work designteam (Pollux, left): light-ing accessories such asfilters and projectionlenses add to the appli-cation spectrum of thespotlights. In the 1980s,the low-voltage halogenlamps led to a miniatur-isation of luminaires.

Oseris low-voltage spot-lights with system acces-sories: the aesthetics ofthis advertising motif,devised in cooperationwith photographer HansHansen and advertisingexpert Thomas Rempen,

set standards.

The 80s and 90s: A global brand for light is bornWinning the German marketing award in 1980, the Light, not Luminairesconcept gained official recognition and acclaim. In practice, the successwas obvious: the company was expanding, sales and exports boomedand ERCO was developing into a global brand for light. The cooperationwith outstanding personalities in all areas of design, including the pho-tographer Hans Hansen, the advertising expert Thomas Rempen and thedesigners Mario Bellini and Franco Clivio, to name but a few, inspired andstrengthened the company. Many awards for product design, graphicdesign and corporate identity testified to the companys achievementsin those years. The lighting know-how grew with the requirements ofthe first major international projects in which ERCO was involved, suchas the Hong Kong and Shanghai Bank in Hong Kong by Norman Fosteror the Louvre glass pyramid by I.M. Pei in Paris.

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Edigital agehe Internet began to gain popularity, the first website was launched996 at www.erco.com. Following the accidental death of Otl Aicher in1, however, the development of a presence in digital media became thedesign challenge the company had to tackle on its own. Since 1999,r the reconstruction of the Reichstag in Berlin by N orman Foster, ERCOting tools have illuminated the new parliament.he worldwide sales network already covered some 40 countries andtinued to expand. The USA joined in 2000 and China was added in6. Digital electronics found their way not only into communicationogistics, but also into the lighting tools themselves. Electronic con-

gear with digital interfaces become a standard, while LEDs as semi-ductor light sources have continued to find ever new applicationse the turn of the millennium.

What does the future hold?In 2003, Tim Henrik Maack took over from his father as spokesman for thefour-strong management team. He has set new priorities in ERCOs prod-uct policy without abandoning the old principles, because ERCOs claim ofLight, not Luminaires continues to apply. The introduction of the dig -ital lighting control system Light System DALI under the motto tune thelight, which signifies scenographic lighting and efficient visual comfort,is one of the key i nnovations of recent years. Sustainability takes on anever increasing role in ERCOs company policy. The company focuses onnew technologies such as LEDs as a maintenance-free and energy-savingalternative to conventional lamps, heavily investing in the appropriatenew developments. ERCO looks forward to the next quarter of a centurywith an optimism forged from 75 years of lighting experience.

tune the light: With thisinternationally under-standable appeal, ERCOhopes to inspire lightingdesigners to exhaust thecreative options of mod-ern, progressive lightingtools available to themand to achieve optimalefficiency and visualcomfort in architecturallighting.

In addition to indoor andoutdoor luminaires, light-ing control systems suchas Light System DALI playan ever increasing role inERCOs Program.

al electronics findway into luminaire

truction to affectontrol gear, but alsohape of the LED asht source.

ight Factorymes a softwareucer: lighting sys-with an increasing

e of options requireopriately conven-user interfaces suchght Studio for theguration of Lightm DALI.

The heart and symbol ofthe computer-aided com-modity and informationlogistics at ERCO: the P3Automated Warehousestarted its operation in2002, its architecturedesigned by Schneider +Schumacher, the lighting

effects added by Prof. UweBelzner.

Since late 2001, ERCOhas offered a growingrange of luminaires forthe outdoor area withgreat success thanks toefficient lighting technol-ogy and robust housings.

ERCO has used LEDs fororientation luminairesfrom as early as 2000.Today, experts agree:LEDs are the light sourceof the future.

ERCOs web presence, theLight Scout, has becomethe hub of informationlogistics: all informationis available anywhere atany time.

www.erco.com

The four managing direc-tors of ERCO (from leftto right): Dr. Dirk Stahl-schmidt, Kay Pawlik, TimHenrik Maack, Mark OliverSchreiter.

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DALI

PLUG+

PLAY

German football fans in particular, will remem-ber Crdoba as a venue in the 1978 World Cupheld in Argentina. Second only to Buenos Aires,the Argentine metropolis is located a round700km northwest of the capital at the hi storicCamino Real in the direction of Peru and has apopulation of some 1.3m. As an economic cen-tre with a huge catchment a rea, Crdoba hasgrown rapidly over the past decades, but muchto the delight of the tourists ha s managed toretain its colonial charm in the city centre. Oldand new Crdoba merge in the Nueva Cr-doba district. Here, at the major roundaboutof the Plaza Espaa, close to Sarmiento Park,we find the green lung of Crdoba, a culturaland museum district whose development takes

account of the increasing demands of bothpopulation and visitors.

Thus in 2004, the regional governmentacquired the Palacio Ferreyra, a magnificentneoclassical palace which the patrician fam-ily Ferreyra had built in 1916 based on thencontemporary French fashion. The MuseoSuperior de Bellas Artes, which now bears theaddition of Evita in dedication to Eva Peron(1919-1952), the enigmatic wife of the formerPresident, was opened in the elaborately reno-vated palace in late 2007. Diagonally across itlies the Museo Provincial de Bellas Artes EmilioCaraffa, a further museum building whose mainwing dating back to 1915 was modernised andextended over the past few years. With thesetwo art institutions Crdoba, which has alwaysbeen a cultural centre in South America, nowhas galleries and exhibition halls whose design

useo Superior de Bellas Artesalacio Ferreyra, Crdoba

On the catwalk: In theentrance foyer of themuseum, visitors becomeparticipants in a dramaticscenography of light andspace.

Architects: GGMPU Arquitectos, Crdoba.Lighting design: Maestre Iluminacin, Crdoba.Photos: Rogerio Reis, Rio de Janeiro

and technology hold up well in comparison withleading museums around the world.

In the Palacio Ferreyra, the local architecturalfirm GGMPU effectively devised the fusion oftradition and future drawing heavily on theintangible material of light: only the colouredglow behind the windows of the main facadepoints from afar to the new use of the palace.But before visitors enter the carefully restoredsplendour of the main hall and the galleries,they will cross a new futuristic entrance andaccess zone: black, sculptural stairs and rampscut through the void connecting the differentlevels; transparent wall covering gleaming likemetal or ornamented with screen prints all buthint at the historical substance. Coloured light

from Focalflood LED varychrome facade lumi-naires controlled by a DALI system turns visitorsinto participants in a dramatic scenographythat deliberately transports them from everydaylife into the sphere of art.

From the outside, onlythe colourful glow behindthe windows of the mainfacade bears witness tothe experience of spaceinside. DALI-controlledFocalflood LED varychromefacade luminaires back-light the semitransparentsurfaces and establish anatmosphere of constantflux.

ntire museum isd with Light Systemfor lighting control.ite the unusual com-ty of this system, itbe conveniently con-ed using a notebookith Light Studio soft-

As an Argentine metropolis, Crdobaarticulates its high standard of culture withambitious museum projects. Design andtechnology fare well in international com-parison. The redesigned Palacio Ferreyra,for example, features a Light System DALIinstallation to provide optimal lightingconditions.

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Lighting solutions in theexhibition rooms of themuseum: SuspendedHi-trac track with uplightsfor illumination of theceilings carry Optec spot-lights for low-voltagehalogen lamps withDALI-compatible controlgear. Due to individuallyaddressable Light Clientsin Light System DALI,the illuminances can beconveniently and pre-cisely adjusted to suit theexhibits.

The central hall with itslavishly decorated stairsreminds of the glory dayso

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