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E Lichtbericht 90

Published in April 2010

Neues Museum, Berlin

An exchange of glances bridgingthree millennia. The Egyptian

Queen Nefertiti looks surprisingly

up-to-date and modern beneathher new lighting. The ancient bust

has returned to the long-neglectedbut now intricately restored build-ing on Berlins Museum Island.

For researching and preserving,

presenting and scenically display-

ing, museums are the culturalarchive of humanity. Inside, light

serves as an indispensable medium

for interpreting both architecture

and exhibits alike.

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Nefertiti has found her place. After an exten-sive renovation by architect David Chipperfieldinvolving a good ten-year planning and con-struction period, the Neues Museum in Berlinhas now reopened its doors. During this period,the lighting design was under the supervision ofGabriele von Kardorff from Kardoff Ingenieurein Berlin. The result is a highly modern museumof great clarity that also takes its own past andtransforms it into an architectural experience.For Berlin and Berlins Museum Island, thismuseum is a cultural enrichment and, after over3,000 years, it is certainly an appropriate place

for Nefertiti.Over 40 years of experience in ceiling-

integrated lighting have been channelled intoour new recessed luminaire product range,Quintessence. This is the first downlight seriesto be designed throughout to meet the crite-ria of efficient visual comfort. Central to theproduct range are efficient, future-proof lightsources, as can be seen just by the high numberof 350 Quintessence articles fitted with LEDs.Spherolit lenses and collimating lenses providethe requisite lighting technology, while opto-electronics, taking a holistic approach to lenssystem, electronics and information technology,creates the innovative environment for beingat the cutting edge of LED-based products. Inaddition, Quintessences Light System DALIconnectivity allows the power potential of thisproduct range to be fully exploited in lightinginstallations.

LED technology is also gaining ground insituations were high demands are placed onthe quality of lighting design, such as in muse-ums. An impressive example of this can befound on page 24 in the form of the MuseumKunst Palast art gallery in Dsseldorf, where,for conservational and energy-saving reasons,

a graphics exhibition was illuminated withOptec LED spotlights. Here, the advantages ofdimmability, long service life and high energy-efficiency, combined with UV-free and IR-freelight are well received by conservationists.

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

1028744000 2010 ERCO

Photographs (Page): Andreu Adrover Esquena (3),Xu Bing (3), Jan Bitter (2), Ulf Bschleb (3), JuliaHoltktter (1), Aksel Karcher (16, 23), DavidKuntzsch (U3), Thomas Mayer (2, 3, 45, 24, 25,2629) Rudi Meisel (U1, 611, 25, U3), RogerioReis (25), Alexander Ring (2, 1718, 20-21, 26, U3),Dirk Vogel (2, 25, 26, 3031), Michael Wolf (U4).

Translation: Lanzillotta Translations, Dsseldorf

Tim Henrik Maack

Background

Punta della DoganaCentre for Contemporary ArtA design approach for lighting culturalbuildings

A report by Cinzia Ferrara and PietroPalladino, Milan

Projects

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18

20

22

23

Tadao Ando has transformed Venices formerport customs office into a museum for contem-porary art, where the art collection of FranoisPinault can be seen. From the outside, you canhardly tell the building has been renovated, butfrom the inside the building is resplendent withthe familiar minimalistic precision of TadaoAndo and as such, it provides a spacious frame-work for the collection. With the uni formlyfloodlit bare concrete surfaces and the brickwalls of the original building, it provides primeexample of vertical illuminance. Combinedwith a DALI control and the intelligent incorpo-

ration of daylight, the result is a highly energy-efficient building concept.

LEDs will also be central to our innovationspresented at the Light+Building trade fair inFrankfurt you can find u s at stand A11 inHall 3.0. We look forward to seeing you there!

QuintessenceRecessed luminaires

Quintessence recessed luminairesfor vertical illuminance

Quintessence recessed luminaireswith LEDs

FocusWhite LEDs: producing lightDouble focusWhite LEDs and RGBW colour mixing inpractice

Introduction

Report

12 24

26

30

Efficient visual comfort in themuseumExhibiting and conveying collecting,preserving and studying: lighting con-cepts with efficient visual comfort sus-tainably and economically support thetasks of museums.

Punta della Dogana, VeniceTadao Ando has transformed Venicesold customs building into a museum forcontemporary art, making it fit for thefuture thanks to sustainable lighting

technology.

Royal Belgian Institute of NaturalSciences, BrusselsThe recently renovated Belgian Instituteof Natural Sciences offers visitors, smalland large, not only dinosaurs, but alsocontemporary discoveries and insights,all presented in stunning detail.

About this issue

Keylights

Bright prospects

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2

4

Monumentally consistent:

the Neues Museum, BerlinAfter lying in ruins for decades, theNeues Museum has now been res-urrected and is resplendent in thebest light.

Eye to eye with NefertitiAn interview with the lighting designerof the Neues Museum, Gabriele vonKardorff (Kardorff Ingenieure, Berlin).

6

10

32 Backlights

Contents About this issue

Light & Technology

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eylights

TorontoMagnificent homecoming! In hisnative city of Toronto, Frank O.Gehry was given the opportunityto extend and redesign one ofCanadas most important art insti-tutions, the Art Gallery of Ontario.ERCO lighting tools scenicallyilluminate the exhibits in the out-door and indoor areas.

Art Gallery of Ontario, TorontoArchitect: Gehry Partners, LLP, Los AngelesLighting design: L'Observatoire Interna-tional, New Yorkwww.ago.net

BarcelonaThe Casa Garriga Nogus, a citypalace in the Barcelonan districtof Eixample, was built by Catalanarchitect Enric Sagnier between1899 and 1905. It has recentlybecome home to the FundacinFrancisco Godia. This foundationadministrates the estate of Fran-cisco Godia (19211990), an enig-matic entrepreneur who enjoyedsuccess both as a racing driver andas an art collector with exquisitetaste. The newly designed gallerypresents Godias collection andoffers an attractive setting for tour-ing exhibitions or events. Cantaxspotlights mounted on Hi-trac pro-vide flexible lighting. The terracein the inner courtyard, featuringa walk-round sculpture by artistCristina Iglesias, is illuminated byKubus floor washlights.

Fundacin Francisco Godia, BarcelonaArchitect and lighting design:

Jordi Garcs, Barcelonawww.fundacionfgodia.org

RomeThe Palazzo Massimo alle Termeis part of the Museo NazionaleRomano. One of the many exhib-its presented in the ground floorsAugustus Hall is the ancient Altarof Ostia, scenically illuminated by aclever contrast of the warm-whiteaccent light of Parscan spotlightsand cool indirect lighting.

Palazzo Massimo, RomeLighting design: Francesca Storaro,Castel Gandolfo (Rome)

BeijingThe art museum of the China Cen-tral Academy of Fine Art (abbrevi-ated as CAFA) has developed fromthe study gallery of the CAFA artacademy, which was founded backin 1958. Its extensive collection notonly contains historical and currentworks of Chinese artists, but alsoincludes European paintings. Forpermanent and special exhibitions,Japanese architect Arata Isozakihas now created a new buildingwith 4,150m of exhibition area. Thebuildings overall sculptured shapeis clad with grey natural stone on

the outside, while inside visitors arepresented with new spatial experi-ences and perspectives at everyturn. To suit the usage, the diffuselighting through luminous ceilingelements can be combined as nec-essary with accentuating lightingfrom track-mounted Stella, Optecand Parscan spotlights.

CAFA Art Museum, BeijingArchitect: Arata Isozaki & Associates,TokyoLighting design: Fisher Marantz StonePartners, New Yorkwww.cafamuseum.org

ZurichDefinitely not conservative! Thenational museums permanentexhibition was given a radicalmakeover in the course of the ren-ovation work, which also includedOptec spotlights on Hi-trac tracksystems.

National Museum, ZurichArchitect: Christ & Gantenbein, ZurichExhibition design and scenography:Holzer Kobler Architekturen, ZurichLighting design: d'lite, Zurichwww.nationalmuseum.ch

PiacenzaThe old abattoir with its attractiveindustrial architecture and naturalhistory collection now accommo-dates the university of this Italianprovincial capital. In addition tospotlight track systems, Parscoop

ceiling washlights provide indirectambient lighting.

Museo di Storia Naturale, Piacenzawww.piacenzamusei.it

HamburgThe conversion of the Zollmuseumin Hamburgs docklands has put theGerman Customs Authority back onthe map. The history of the Germancustoms is now presented in a mod-ern setting with over 1,000 exhib-

its, graphic artworks and items ofmedia. The flexible lighting systemis from ERCO, incorporating Hi-tractrack systems with Quinta andPollux spotlights.

Deutsches Zollmuseum, HamburgExhibition design and lighting design:Triad, Berlinwww.zoll.de

HagenEmil Schumacher (19121999),pioneer of abstract painting inGermany, has been given his ownmuseum. Situated in the directneighbourhood of the Karl ErnstOsthaus Museum, the new buildingaccommodates, over three levels,the extensive collection and specialexhibitions.

Emil Schumacher Museum, HagenArchitect: Lindemann Architekten,MannheimLighting design: Licht Kunst Licht,Bonn/Berlinwww.esmh.de

GranadaKnown as an abstract expressionistpainter, Jos Guerrero (19141991)has now been honoured by hisnative city of Granada with a cen-tre for contemporary art dedicatedto him. The centres clear, modernarchitecture makes an attractivecontrast to the surrounding oldtown with its Moorish influences.The lighting concept is based onthe use of vertical illuminance.

Centro Jos Guerrero, GranadaArchitecture and lighting design:Antonio Jimnez Torrecillas, Granadawww.centroguerrero.org

UlmFor his extraordinary collection ofcontemporary art, factory ownerDr. Friedrich E. Rentschler has setup his own gallery in an industrialloft. The high-quality technicalfurnishings and fittings includeCantax spotlights mounted onHi-trac track systems, convenientlycontrolled by Light System DALI.

FER Collection, Stadtregal, UlmArchitect: PEG Projektentwicklungs-gesellschaft Ulm mbH; Ott IngenieureLangenauwww.fer-collection.de

MadridOn its campus-like headquartersin Boadilla del Monte near Madrid,Spains largest bank maintains anart gallery dedicated to the exten-sive collection of the banks owncultural foundation. Vertical illu-

minance with Optec wallwashersbrings out the best of the exhibitssuch as the splendid tapestriesfrom the 17th century.

Fundacin Banco SantanderArchitecture and lighting design: KevinRoche John Dinkeloo and Associates,DublinMuseology: Juan Ario, Madridwww.fundacionbancosantander.com

EssenTo mark the beginning ofRUHR.2010, Essens year as theEuropean Capital of Culture, theRuhr Museum was opened in theZollverein Colliery World HeritageSite a must visit for friends of

industrial culture.

Ruhr Museum, EssenArchitect: OMA, Rem Koolhaas,Rotterdam; Bll & Krabel, EssenLighting design: Licht Kunst Licht, Bonn/BerlinExhibition design: HG Merz, Stuttgartwww.ruhrmuseum.de

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right prospects Church of San Giovanni Evangelista, ParmaDome fresco Visione di San Giovanni by Correggio,circa 1520Lighting design: Francesca Storaro, Castel Gandolfo(Rome)

Photographer: Thomas Mayer, Neuss

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en the Berlin Wall fell a good 20 years ago,Neues Museum, built by Friedrich Auguster between 1841 and 1855, seemed like acause. Bombed and burned out, the mag-ent building had been in ruins since theof the war, standing as a darkly beautiful

morial. For many years, both the will and thens were lacking in the then GDR to restorerass and trees sprung up in the ravagedrcase Hall. It was only in 1985 when safetyk was undertaken on the foundations thatgroundwork was laid for restoration. Thiswas put out to tender in 1993/94 and the

sh architect David Chipperfield submittedid to transform the ruin in to a modern,tional museum, promising to take thetest care in working with the original fab-f the building. Having been awarded thetract in 1997, Chipperfield, working withpreservation expert Julian Harrap, kept hismise with unparalleled consistency, simul-ously creating an intellectual challenge for

hose who think that preservation primarilyns retaining a cosy ambience and any bulls-glasswork.he museum mainly focuses on prehistory,y history and ancient Egypt. In this spirit,perfield practised architectural archaeol-A painstaking inventory and preservation

he existing building took up a large por-of the ten-year planning and constructionod. Chipperfield integrated the preservedments of Stlers technical and highlyplex architectural design into a frameworkructural enhancements which exude anost Prussian austerity. Instead of speculatingchieving the maximum contrast between

and new, Copperfield preferred to developers concepts further in an abstract manner.result is a structure that does not deny its

ory but presents it demonstratively; a build-hat is not afraid of complexity, but makesngible to our senses.any superb specialist designers accom-ed this mammoth project over the years,

uding lighting designer Gabriele vonorff from Kardorff Ingenieure in Berlinrview on pages 1011). On concluding themission, despite the enormously elaborate

cess involved, Chipperfield succeeded inercutting the forecast construction costs byral million euros, assisting the financing ofher projects on Museum Island.

MK

onumentally consistent: the Neues Museum, Berlinh five buildings and world-famousections, Berlins Museum Island haseved UNESCO World Heritage status.

er lying in ruins for decades, the Neuesseum has now been resurrected. As acal statement on building preservationolarises opinion, yet barely anyone ismune to the fascination of this building.

Architect: David Chipperfield, London/BerlinLighting design: Kardorff Ingenieure, BerlinPreservation management: Julian HarrapArchitects, LondonConstruction management: Lubic & Woehrlin,BerlinRestoration design: Pro Denkmal GmbH,BambergPhotos: Rudi Meisel, Berlin

www.neues-museum.de

In the Staircase Hall:wallwashers enhance thenatural sidelight providedby the large windows inthe end walls. With theaid of light simulations,the designers determinedthe type of reflector andthe arrangement of lumi-

naires required to ensureoptimum uniformity. Thewallwashers with long-lasting, neutral-whitemetal halide lamps aremounted 25m above theground on a flat frame-work in the roof structure.

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nterview with the lighting designer ofNeues Museum, Gabriele von Kardorff,aking to Martin Krautter, editor-in-chiefchtbericht.

Martin Krautter (MK): Ms. von Kardorff, theNeues Museum in Berlin is an architectural andlighting project of extraordinary magnitude andimpact, but the designers also needed a greatdeal of stamina. How long did you spend on thisproject overall?

Gabriele von Kardorff (GvK): Ten years going through all the project phases to lightingthe exhibits on the day before the official open-ing.

MK: What was actually known about themuseums original lighting, and what role did itplay in your design?

GvK: In the mid-19th century August Stlerdesigned the building for daytime use, in otherwords, with large windows and additional lightcoming from inner courtyards. So for us, theparticular challenge lay in developing a conceptfor a historic building that originally had no arti-ficial lighting. We therefore started our lightingdesign with an intensive analysis of the qualityof daylight in the building. On the basis of our 3Dmodel, we then also produced a simulation filmwhich moved through the museum and allowedus to see exactly where the sunlight entered thebuilding at any given time of the day or year.

We decided to preserve the basic concept ofusing daylight. Naturally, it is easier and usual toexclude all effects of natural light on the exhib-its and only permit fixed, controllable lightingconditions. However, this would have been outof keeping with the building itself. We were alsoof the opinion that the exhibits in the three col-lections would benefit from a changing atmos-phere of light. We also wanted to demonstratethat daylight and artificial light can be won-derfully combined in a museum. However, thiscould only succeed if, during every phase of theproject, the artificial lighting design took thedaylight aspects into account and vice versa. We

therefore also needed a smart solar protectionand anti-glare concept. This would allow ade-quate daylight and views looking outside, whileensuring that the exhibits were still protectedand the artificial lighting components could stilldefine the contours and accents.

The route through the building now offers avariety of naturally lit harmonious room atmos-pheres. Artificial light is also a major element ofthe buildings lighting, used for optimally pre-senting the exhibits and allowing the buildingto be used independently of daylight.

We started working on our lighting con-cept in 2000 without any real idea of how therooms would work once they were completed.Many parts of the building were still in ruins.The difference in surfaces, the coexistence ofhistoric and new elements and the future solarprotection and anti-glare protection in front

naires. The exhibits, ranging from large sculp-tures to the tiniest gold objects, are mainly litby the ambient lighting with hardly any addi-tional lighting from the showcase spotlights.The result is a generous lighting atmospherethat blends in harmoniously with the changingdaylight conditions.

MK:The star of the museum is, withoutdoubt, Nefertiti. How did you approach thislighting challenge, and how would you describethe result?

GvK:Nefertiti is indeed the crowning gloryof the Egyptian collection. First we had to estab-lish how sensitively her beauty reacted to light.Fortunately, we were able to study the bust closeup over an extensive period of time in severaldifferent locations and we also benefited f romthe experience of the then museum director,Professor Wildung. We discovered for example,that we could influence Nefertitis age throughthe direction and intensity of light al one. Inprevious locations she had been placed in a flat-ter light, thus appearing more youthful. Today,

of the windows would lend the building a newcharacter.

MK: The Neues Museum represents anextremely consistent approach to dealing withhistoric fabric. What effect did the preservationobjectives have on your design work?

GvK: The artificial lighting concept requiredvery careful and customised detailed solutions,drawn up in conjunction with the architect. Noone historic room is like another. The preservedand restored elements were largely taboo forinstallations, so that many compromises hadto be sought with regard to the positioning of

modern luminaires and lighting effects. Becauseof the great spatial diversity and the restrictionsimposed by the preservation order, more thanone hundred individual lamp types had to bedeveloped, all of which, however, still formedpart of an overall concept.

MK: The monumental Staircase Hall is surelya key room for the entire museum. What criteriadid you apply here for the various lighting ele-ments and, in particular, for the vertical lightingof the wall surfaces?

GvK: The 6-metre-high windows at both endsprovide the Staircase Hall with intensive day-light. This impressive room, which now containsa new staircase designed by David Chipperfield,has a highly representative character. At thesame time, it displays the ravages of the past,laying its wounds bare in the retained historicbrick walls. Because the Staircase Hall is shownto best effect in daylight, we therefore saw thetask of the artificial light as being to enhancethe daylight. All the artificial light comes fromthe 25-metre-high roof construction. There areno wall installations. We wanted to bathe thestaircase and the walls in a uniform light, with-out shadows or beams of light. As a daylightenhancer, this solution has the most natural

effect and underlines the rooms spaciousdimensions. To match this solution, we chosemetal halide lamps with neutral white light.

MK: What were your guiding principles inlighting the various galleries and what lightingelements are used?

GvK: All the exhibition rooms contain the twoelements of object lighting and general lighting.Security and guard lights are integrated intothe general lighting, enabling us to dispensewith additional luminaires. Since the luminairesserve a technical and functional purpose, theirdesign is kept deliberately discreet. The specialluminaires in the historic rooms for example,have a clear, box-shaped form in bronze. In allthe new ceilings the lumin aires are integratedinto the precast ceiling slabs. In many casestechnical equipment such as a loudspeaker isalso built into the housing slabs for the lumi-

the steeper lighting shows that she is a maturewoman whose wrinkles and life experienceare clearly visible, with a lively gaze that onlybecomes apparent when the reflection in her

pupil is lit.MK: Against the background of cultural

and preservation considerations, what role didenergy saving play? How did you make allow-ance for it?

GvK: If you consider that our planningstarted 10 years ago, our maximum energy con-sumption of 20W/m2 for operating the museumis very good. We mainly achieved this throughthe consistent optimisation of the lamps used.As such, the ambient lighting is almost entirelyproduced by energy efficient metal halide andfluorescent lamps. In the Staircase Hall andthe two great courtyards, for example, energyconsumption is 10W/m2. All the lamps are in thebest energy class for their type. The intensiveuse of natural daylight also contributes to amore efficient use of energy. Luckily, many ofthe exhibits are not sensitive to daylight. Where

ye to eye with Nefertiti

Kardorff Ingenieure Lichtplanung

Kardorff Ingenieure is an internationallyactive firm with outstanding referencesin all areas of artificial and daylight light-ing design. First understand, then illu-minate is the firms guiding philosophy,leading to an intensive engagement withthe environment, the architecture and therespective use. Founded in 1997, KardorffIngenieure Lichtplanung is run by Gabrieleand Volker von Kardorff. Their experiencedteam is made up of 16 architects and engi-neers from a variety of disciplines and fromeight different countries. The firm is repre-sented in Berlin, Dubai and Jeddah.

www.kardorff.de

The exhibits, ranging

from large sculptures tothe tiniest of gold objects,are mainly lit by ambi-ent light with hardly anyadditional lighting fromthe showcase spotlights.The Parscan spotlights arefitted with low-voltagehalogen lamps.

Niobid Hall is act example of theony between arti-light and daylight.al window drapes

d a view outside allowing carefullyated daylight in, sothe exhibits are stilluately protected.ccent lighting withights lends texturee exhibits.

The lighting of the Nefer-titi bust was calculatedusing computer simula-tions which defined themost favourable placesfor mounting the Parscanspotlights. (Images:Kardorff Ingenieure)

The installation unitsin the Staircase Hall aremounted at a height of25m and can be loweredon wire ropes for servic-ing.

this is not the case, as with the papyri for exam-ple, illuminance is restricted to below 50 lux.

MK: Ms. von Kardorff, many thanks for takingthe time to answer our questions.

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unta della Dogana Centre for Contemporary Artesign approach for lighting culturaldings

Cinzia Ferrara and Pietro Palladino

The cross section throughthe Punta della Doganamuseum clearly showshow the building is madeup of several former ware-houses arranged in parallelwith timber framed roofstructures. The skylightsare shown in blue; the

added elements relatingto building services andlighting technology aregreen. Clearly recognis-able in the centre of thebuilding is the insertedconcrete cube followingTadao Andos signatureTatami grid-pattern.

The architects vision:a freehand sketch ofthe Punta della Doganamuseum by Tadao Ando.

project to convert the old warehousesenices customs building into the larg-exhibition centre of the Pinault founda-is just one part of a long-established co-

ration between the building owner anddesign team which began in 2005 withrestoration of the Palazzo Grassi. Thistionship has made it possible to developrticularly effective modus operandi forning and attaining project objectiveshin the shortest of timeframes. This hasw been adopted as standard practice byFerrara Palladino e Associati design stu-

for all work on cultural buildings. Thehod is based on a long, introductory dia-ue between the main players of any givenect, i.e. the architect, the artist and theding owner.armony with the architects ideas ished when the complex yet equallydamental investigations have overcometechnical obstacles and a clear idea isained of how the light will fit in with the

architecture and be integrated into the entirebuilding technology. The lighting designeroften has to act both as a reliable aid fortechnical issues and as an advisor on moodsand impressions. The main aim of architectTadao Ando was to bring out the originalcharacter of the premises using clear incur-sions into the architecture, which can always

be reversed later, and to place the artworksat such locations. This runs contrary to thewhite box concept that tends to homoge-nise all exhibition galleries for contemporaryart as neutral containers with subdued hues.

Although the Punta della Dogana borrowsthe use of diffuse ambient lighting fromsuch museums, it then directs this light ontounplastered brickwork and wooden beamsand, where possible, also makes use of nat-ural light. The preference of both buildingowner and architect for natural light gave thelighting designer a big incentive to design aninstallation for the flexible artificial lightingthat harmonised both with skylights and with

large windows while also being able to sat-isfy the curators requirements for differentexhibitions.

Flexible lighting installations

Flexibility is actually the one property thatartists, curators and technicians in themuseum field tend to demand most. Everyartist creates his or her work under a certainlight and has a clear vision of the momentof presentation, it is then the curator of theexhibition who takes this vision into accountand the lighting designer who decides on

how expedient the vision is. The designapproach for lighting a contemporary alu-minium sculpture may be the same as for apainting by Rothko, but the priorities of theindividual steps are completely different.

With exhibitions for contemporary art, it isnot infrequent for the artists themselves topropose the general lighting ambience.

Museums for contemporary art that regularlyput on rotating exhibitions require flexiblelighting installations that support differentlighting tools and offer a variety of mount-ing locations. At the Punta della Doganathe subject of flexibility was broached bothfrom the mounting location point of viewand from the perspective of the differentlight distributions of the luminaires. Asalready mentioned, the concept for the arti-ficial lighting is based on natural light withits two main constituent components: sun-light (direct and targeted) and normal day-

light (softer and diffuse). By varying the ratioof the two components direct and diffuse, aninfinite number of graduations in the moodcan be produced. These may range from dra-matic with highlights on the artworks to a

wide, spacious impression using soft light forthe entire ambience, all conveniently control-led with electronic lighting management.

Digital lighting control is a subject par-ticularly close to the building owners heart,especially since he is also responsible forthe management of the exhibition galleries.

Because, apart from offering flexibility forthe lighting installation and a simpler powersupply, digitalisation also makes it possibleto integrate technical systems. The scope ofthe project often goes beyond pure lightingtechnology and includes not just the lightingtools but increasingly also involves electro-acoustics, video surveillance or smoke detec-tors. The new technologies offer numerousadvantages from the building managementperspective. This primarily includes greatersecurity and control of the galleries, energysaving by opting to integrate natural light,constant monitoring of the installation withpositive effects for the maintenance work or,

quite simply, shorter dismantling and set-uptimes between exhibitions.

In the Punta della Dogana, the long pre-paratory phase between the architect, build-ing sponsor, curators and lighting designerhas allowed the on-site implementation to

be tackled within a very short timeframe,with decisions having already been takencollectively.

Energy is even saved in the museumThe decision-making phase when the techni-cal engineers and the curators responsible forthe Pinault collection jointly set the objec-tives led to interesting results. In fact, someof these results related to energy saving,

which had previously only been of secondaryimportance for the technical equipment of amuseum. This led to the proposal to use metal

halide lamps with good colour renditionand a colour temperature of about 4,200Kthroughout the entire exhibition centre sincethese can augment the colour of naturallight for a large part of the day. It is interest-ing to note that during the product samplingin an appropriately equipped test gallery, the

building owner and the entire design teamwere virtually unanimous in tending towardsthe new light sources. This resulted in con-siderably lower energy consumption than isusual for museums. For illuminances of up to300lx, a connected load of 25W/m2 can be

taken as the norm, but at the inaugural exhi-bition the load never exceeded 10W/m2. Theentire exhibition area measured 3,000 squaremetres. Another factor that contributed toattaining this target is the use of a DALI light-ing control linked to the building manage-ment system.

Coloured light and the use of metal h alidelamps

Museum galleries and exhibits are illumi-nated using techniques that have beenhanded down over decades and successfullyexported all around the world. The parame-ters that laid down the basic constraints formuseum lighting were based on the convic-tion that every artwork should be presentedfor viewing in the best possible way. Con-sequently, both a good overall view of theexhibit and the ability to study details must

be ensured. The lighting must also offer thegreatest possible protection of the materi-als from which the artwork is made, provideoptimum rendition of the colours and restrictdirect or indirect glare.

Regardless of its architectural charac-ter and geometry, every museum location

dictates its own profile of requirements,which is why different museums have differ-ent lighting typologies. Yet even though thetype and method of lighting varies from onemuseum to the next, especially for perma-nent exhibitions, the most common type oflight source to date still remains the incan-descent lamp. These lamps have set t he tonefor the lighting of artworks, especially theOld Masters, for such a long time now that

we have become used to seeing them in dig-nified surroundings, in atmospheres thatevoke feelings of intimacy. These are charac-terised by a pleasant, elegant ambiance witha warm light typical for interiors and offeringoptimal colour rendition.

However, with modern art and in par-ticular with contemporary art everythingis different, from the visual, sensual expe-

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lculate the illumi-e and simulate theplay of daylight andcial light, the design-sed computer pro-s for lighting simula-Suitable photometricin various formats isable on the Internetl the lighting tools inRCO product range.

.erco.com/download

Ferrara Palladino e AssociatiFerrara Palladino e Associati studios havebeen active in the field of lighting design forover twenty years now, during which timetheir design work has covered a wide rangeof application areas. Right from the outset,architect Cinzia Ferrara and engineer PietroPalladino decided to take a comprehen-sive, all-embracing approach to the subjectof light. Their complementary skills such ascreativity, technical expertise and attentionto detail all converge to produce innovativesolutions and unique designs. As partners,Cesare Copped and Paolo Spotti supportthe two founding members in managing the

studio and, by bringing additional skills tothe table in the areas of industrial design anddynamic light, they further expand the teamscapabilities. The usual design and planningactivities are augmented by an unwaveringand dedicated commitment to spreading theculture of light. As a result, the Milan studiois not just a workshop where concepts, prod-ucts and systems for the lighting are devel-oped, but it has also become a training cen-tre and point of reference for those who wantto deepen their understanding in the field oflight.

www.ferrara-palladino.it

Departure from thewhite cube: the historicpremises of the Punta dellaDogana boldly hold theirown against the highlyexpressive contemporaryartwork of the Pinault col-lection. Daylight and artifi-cial light are harmoniouslybalanced. Using modernlighting simulation soft-ware, the effect of bothdirect and diffuse naturallight over the course of

Construction team

Building owner: Palazzo Grassi s.p.a.

Design teamArchitect (conversion restoration): Tadao AndoPlanning coordination: Eugenio Tranquilli Eng. Equilibri, MestreExecution planning: Luigi Cocco Eng. TecnobrevettiBuilding services: LagrecacolonnaInstallation: P.I. Sergio RigatoLighting design: Ferrara Palladino e AssociatiProject team: Paolo Spotti and Cesare Copped

SuppliersMain contractor: Dottor GroupElectrical systems: FielLuminaires: ERCOBuilding management systems: Siemens

ce that this type of art off ers. The dif-nce to the Old Masters is mass ive. Con-porary artists express with great clarityw way of life whereby the clear s epara-from the surroundings and between the

de and outside is simply cast aside; thework becomes an integral part of the sur-ndings. Now in vogue is a preference forcious, non-partitioned exhibition galler-n constant connection with the outsided. Diffuse, natural light floods into theeries and brings out the entire volume ofroom, without emphasising certain indi-al details.pplying these concepts to artificial light-we soon arrive at the new, cautious typespproach that have lead us to implementuse light and subtle atmosphere in muse-; using light sources with colour temper-es equivalent to daylight. The result is aarture from the contemplative, individual

wing of each artwork from the great Oldters, towards a kind of job sharing along-the contemporary artists, who do nott their works put on a pedestal (which is

even possible with many contemporaryes due to their size) but instead expectnteraction with the artwork or an involve-t in the actual creative activity. The roomthe walls surrounding the contempo-artwork no longer have the often highlyrated colours they had in the past, but

hange their livery for the rawness of neu-hues (if not total white) that are repro-ed by a cold, harsh daylight.

The Punta della Dogana museum takes theseprinciples and makes them its own. It is fromthis point of departure that the project andits implementation were tackled. Only fluo-rescent lamps and metal halide lamps areused in this museum today.

The construction of the lighting system

The system is designed and built according tothe BUS principle, whereby the power supplyis separate from the control or data line. Everyluminaire is connected directly or indirectly toa central control unit which, for its part, can

be reconfigured and expanded. DALI (DigitalAddressable Lighting Interface) is the namegiven to the interface for the electronic con-trol gear and switching actuators. The DALIcontrol gear has an internal memory for stor-ing light scene data and group allocations.

When a light scene is recalled, all the partici-pating control gear will receive the same dim-mer setting at the same moment.

The lighting installation in the Puntadella Dogana principally follows the samesystem in all the galleries, both in terms of

its physical construction and regarding thelighting control. This means that the param-eters for one gallery can be transferred toanother where, assuming compatibility withthe lighting equipment, they can produce ananalogous lighting effect. Every exhibitiongallery features two components of light:direct, diffuse light and direct, targeted light.

Whether one lighting type dominates or whatcombination of the two is used will dependon the requirements placed on the presenta-tion of the individual artwork, which is whythe lighting installation is designed as a sys-tem that can be reconfigured and expandedat any time. The flexibility of the installa-tion is based on two different concepts whichrelate to the components of light and theirrespective lighting tools. The targeted light-ing using spotlights with 3-circuit adaptersowes its flexibility to the f act that a spot-light and therefore its lighting effect, can bephysically added to or removed from, a light-ing scene. With the diffuse lighting usingrecessed luminaires, the flexibility is given

by the ability to switch each individual lightsource on or off or, if the light source per-mits, to dim it.

Controlling the lighting systemOnce positioned, the luminaires are con-trolled by the user via a digital system. Thecentral control unit is located in the controlroom in the first gallery, but data network

access ports in every gallery facilitate con-nection with the control unit to illuminatethe artworks. The software programmingis performed either in the control room orin the exhibition galleries using a portableterminal. Using terminal and software, thelighting tools can be controlled either indi-

vidually or in groups. In the transitionalphases setting up for new exhibitions, thelighting system can be reconfigured to meetthe photometric requirements of the newartworks.

The spotlights are fitted with the highlyefficient, though not dimmable, metal halidelamps. They feature a standard adapter fortrack and are mounted on singlets to con-nect to the power supply. The DALI interfacesare not integral to the luminaires but areimplemented using switching actuators per-manently installed in the room. This ena-

bles a central digital control for the systemand also ensures flexibility when selectingthe lighting tools for the 3-circuit track.The actual spotlights do not therefore haveany DALI control gear and, when rearrang-ing the exhibitions, can therefore be movedfrom one gallery to another without having

to be readdressed. Each switching actuatorhas two 16-amp outputs that control up to12 metres of track or groups of about 15 sin-glets. The maximum number of luminairesper circuit is dictated by the maximum powerrating of the switching actuator. Each switch-ing actuator is represented in the DALI system

by its own address, using which the softwarecan control the switching actuators circuitand all connected devices. The switchingactuator can switch its circuit on or off. Thespotlights are connected without the use oftools apart from the ladders and s caffoldsneeded to get up to the mounting height,

which in the exhibition galleries with doubleroom height is about 7-metres high.

the day and year can beprecisely investigated inadvance and visualised ina 3D model, providing abig gain in terms of designsafety.

Clockwise from top left:Cinzia Ferrara, PietroPalladino, Paolo Spotti,Cesare Copped

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ERCO Lichtbericht 90 ERCO Lichtbericht 90 17

uintessence recessed luminaires

0 new lighting tools forcient visual comfortphilosophers of the ancientd referred to the omnipres-

energy of life as the fifth ele-t or quinta essentia. Today,

term quintessence is under-d as the synopsis of the essen-

the end result. ERCOs newntessence product range is lit-y the quintessence of 40 years

xperience in ceiling-integratedting; yet, at the same time, itlooks forward, formulating a

re-proof system frameworkhe further development ofssed luminaires. The vigorous

irements of the architectureomorrow were a primary fac-

n determining the develop-t of Quintessence, the firstssed luminaire product range

e uncompromisingly designed

around the aspect of efficient

visual comfort. The result is thatQuintessence includes a partic-ularly large variety of differenti-

ated tools for vertical illuminance,the crucial factor for the impres-sion of brightness in a room. The

emphasis of this product range isplaced on efficient, future-prooflight sources. This is also appar-

ent from the high proportion ofarticles with LEDs around 300 intotal. Innovative lighting engineer-

ing elements developed by ERCOsuch as Spherolit lenses and reflec-tors direct the luminous flux of the

modern light sources effectivelyto the target surface. Thermallyoptimised components help ensure

that well-established and newlydeveloped light sources all work

to their optimum for maximumefficiency and functional life. Elec-

System design for lightingtasks both general andspecific: the differentiatedtoolbox of Quintessenceenables convincing light-ing solutions providingefficient visual comfortto both user and operatoralike.

tronic control gear contribute to

energy-efficiency and allow forother digital interfaces. This optionenables Quintessence luminaires

to be connected, via plug and play,to intelligent control systems,providing additional potential for

even greater efficiency. Ceiling-integrated lighting concepts, inwhich the light sources are simply

inconspicuous details in the ceil-ing, are the epitome of ERCOs phi-losophy of Lig ht, not luminaires.

The Quintessence product range isable to cover all the essential sub-tasks of a lighting concept from

vertical illuminance and ambi-ent lighting to highlighting andscenographic effects. The consist-

ent system design and the logi-cal structure of the product range

simplify planning and designingwith Quintessence. Consequently,

installation and maintenance of

the luminaires are easier and morelogical than ever before.

Design and inherent qualityConsistent system design is a char-

acteristic feature of Quintessence.Modular design allows many dif-

ferent variations to be made withidentical mounting details. Simi-larly, accessories such as lenses andfilters are common and digitally

controllable Light Clients can beconnected to Light System DALI. AllQuintessence recessed luminaires

use the same design principle formounting rings, meaning that thedifferent lamp types and charac-

teristics are not only easy to com-bine but also to interchange.

With high-quality designand perfect lighting tech-nology, Quintessence setsnew standards for recessedluminaires. Whether roundor square or fitted with aspecial mounting detail,Quintessence suits all situ-ations which relate to ceil-ing mounting details.

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ERCO Lichtbericht 90 ERCO Lichtbericht 90 19

1m

2m

3m

50 100 E (%)

1m

2m

3m

50 100 E (%)

ugh Quintessence, ERCOrs a versatile range of lumi-es for vertical illuminance.

spectrum extends from lumi-es for highly homogenous wall-hing as required for museums

xhibitions, through function-ashlights to washlighting withcal emphasis. The latter is used

rovide an additional accent

pplications such as retail dis-s. Vertical illuminance is far

e important for the subjectiveression of brightness than lightorizontal surfaces. For this rea-

ERCO offers a wide range ofting solutions for wall illumi-on, all of which are designed to

energy.

shlights and doublehlightsntessence washlights com-

horizontal and vertical illu-

ance for the peripheral areaoms. The lighting technologysed on three components:

Spherolit upper reflector, theuser and the darklight reflec-

uintessence recessed luminaires for verticaluminance

tor with Spherolit wallwasher seg-

ment. The Spherolit-technologyupper reflector efficiently directsthe light towards the diffuser. The

diffuser and the darklight technol-ogy ensure good visual comfort.To enable the full power of a l amp

emitting light in all directions to beutilised, mirror-finish spherolitesin the upper reflector redirect the

light down towards the diff user. Toenhance the visual comfort, trans-lucent diffusers reduce the high

luminance of the lamp distribut-ing it over the entire surface of thediffuser. The darklight reflector

beneath the diffuser prevents theobserver from experiencing glareas long as the diffuser is shield ed

by the reflector. This optical systemresults in a wide rotationally sym-metrical light intensity distribution

ideal for ambient lighting in rooms.To achieve uniform brightness onthe vertical plane as required for

wallwashing, one segment of thedarklight reflector has spherolites.

This patented reflector technologyguides the beam so that it strikes

Spherolit wallwasherreflector

Spherolit wallwashersegment

Spherolit upperreflector

Darklight reflector

Darklight reflector

Lens

Diffuser

the wall beginning just beneaththe ceiling. In contrast to stand-

ard washlights, double washlightshave two Spherolit wallwashersegments positioned opposite each

other. This enables parallel wallsin corridors to be illuminated uni-formly and efficiently.

Lens wallwashersLens wallwashers provide exclu-

sively vertical illuminance. The com-bination of two different Spherolit

reflectors and the wallwasher lenshas enabled the development oftwo efficient lighting tools for ver-

tical illuminance: a lens wallwasherfor the uniform illumination ofwalls and, as an alternative, a lens

wallwasher for a focal emphasis.The mirror-finish Spherolit reflec-tor, which directs the beam exclu-

sively towards the wall, creates anasymmetric light intensity distri-bution. Depending on the distribu-

tion and curvature of the sphero-lites, it is possible to obtain a veryhomogenous wallwashing, e.g.

for lighting pictures in museums.The alternative is to produce focalemphasis on the upper third of the

wall, as with lens wallwashers. Thiswould be used, for instance, to illu-minate displays above shelves in

retail outlets. The specially designedwallwasher lens spreads the beamso that a high uniformity is vis-

ible over the breadth of the wallfrom lens wallwashers arrangedin a row. The darklight reflector

beneath the wallwasher lens inhib-its glare provided the lens is notvisible through the reflector aper-

ture. This detail makes an impor-tant contribution to visual comfort.ERCOs lighting engineers have

calculated the Spherolit reflectorso that the upper part of the beammeets the wall just beneath the

ceiling and the beam extends allthe way down to the floor. For opti-mum light distribution on the ver-

tical surface, it is recommendedthat the distance between the walland the luminaire is set at one third

of the room height. This distancecan generally also be used for thespacing between the individual

Quintessence lens wallwashers.

With washlights and dou-ble washlights, Spherolittechnology is appliedtwice, once in the upperreflector and once in thewallwasher segment ofthe darklight reflector.The diffuser that usuallycovers the upper reflectorfor greater visual com-fort has been removed inthe upper photo for thepurposes of better illus-tration.

Efficient visual comfortERCO developed the Quintessencerecessed luminaires especially forefficient visual comfort. As a result,

this product range features a par-ticularly wide selection of articlesfor vertical illuminance. The false

colour diagram depicts the uni-formity of vertical lighting. Theefficiency and quality of uniform-

ity depend on the design of the

wallwashers, their offset from the

wall and their spacing.

WashlightWashlights combine hori-zontal and vertical illumi-nance for the peripheralarea of rooms. Lookinginto the room, a classicdownlight effect can beseen, while the wall itselfis given a uniform lightdistribution extending upto the ceiling.

Double washlightIn double washlightsthere are two opposingSpherolit reflector seg-ments to produce uni-form light on the wallsof corridors.

Lens wallwashersWith its uniform bright-ness gradients, the lenswallwasher achievesa very high degree ofuniformity on the verti-cal plane. This makes itideal for applicationswhere the wall is to bepresented as an entity,e.g. in entrance areas, orwhere good homogeneityis demanded, e.g. for pic-tures in an exhibition.

Focal lens wallwashersIn contrast to the lenswallwashers with theircontinuous brightnessgradient, the lenswallwashers with focalemphasis produce ahighlight in the upperthird. This focal highlightcan be used very effec-tively to emphasise dis-plays above shelves inretail outlets for instance this is a valuable detailof vertical illuminance.

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ERCO Lichtbericht 90 ERCO Lichtbericht 90 21

00

dw

500 700600 nm

00

ww

500 700600 nm

Quintessence product range

rally includes both conven-al lamps and LEDs thus offeringatters specific benefits such

xtremely long functional life,imum luminous efficacy, andbility through dimmability. The

-performance optoelectronicems of LED modules, lenses andctors are exclusive ERCO in-

se developments for efficiental comfort. The Quintessenceproduct range comprises both

d and square luminaires withing light characteristics fromwallwashers, washlights, dou-

washlights, downlights andctional luminaires to recessedlights. All other features such

e diverse variants of luminaireng and the mounting details,

availability of Light Client withory-encoded DALI control gear,

uintessence recessedminaires with LEDs

ur temperaturecolour renditiontessence recessednaires are availableylight white and

m white and also asannel varychromeRGBW colour mixing

nology. The warme version produces aer colour renditionty than the daylighte model.

LED light mixerFor the different down-light characteristics andthe lens wallwashers, thelight is directed by an8-segment, mirror-finishreflector. The interreflec-tions within the lightmixer, especially in theRGBW LED modules,result in the best possiblecolour mixing beginningdirectly beneath theluminaire.

Spherolit lenses andcollimating lensesLighting technology isone of ERCOs key com-petences which includeLED light sources. TheQuintessence directionalluminaires and recessedluminaires with LEDsfeature lens systemsdesigned and built byERCO. The collimatinglens creates a parallelbeam, while a Spherolitlens produces the precisebeam angle required.

or the rational and simple mount-ing all correspond with the prevail-

ing standard of the Quintessenceproduct range as a whole. In thisway the future-proof LED lamp

fits seamlessly into ERCO systemdesign.

Heat managementGood heat management in theluminaire is crucial for continuousoperation, allowing the lamps to

emit their full power throughouttheir entire life. It is the design,construction and material of the

housing that all contribute tooptimal heat management. Exten-sive simulations and tests during

the development phase ensure thesuccess of all the products in therange. Two aspects make a major

contribution to the per-formance of QuintessenceLED luminaires: the con-tact surfaces between theLEDs printed circuit boardand the housing ensuregood heat dissipation. Thecooling fins on the hous-ing further dissipate theheat to achieve optimumconditions for continuousoperation.

CharacteristicsThe spectrum oflight distributions forQuintessence recessedluminaires with LEDincludes downlights,washlights, double wash-lights, lens wallwashersand directional luminaires.Furthermore the LED-fittedQuintessence recessedspotlights are also part ofthe Quintessence system.

Downlight Washlight Doublewashlight

Lenswallwasher

Directionalluminaire

Light mixer

Spherolit wallwashersegment

Light mixer

Darklight reflectorDarklight reflector

Lens

Diffuser

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ERCO Lichtbericht 90 ERCO Lichtbericht 90 23

V (

)

%100

80

60

20

0

40

800400 500 700600 nm300

V ()

%100

80

60

20

0

40

800400 500 700600 nm300

0.0

0.0 0.20. 1 0 .3 0. 4 0 .5 0 . 6 0. 7 0 .8

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

y

x

527

380

490

500

510

555

575

600

780

Green

Red

White

530

622

Blue

465

480

0.0

0.0 0.20. 1 0 .3 0. 4 0 .5 0 . 6 0. 7 0 .8

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

y

x

527

380

490

500

510

555

575

600

780

warmwhite

530

daylightwhite 622

465

ocus Double focus

With luminaires basedon RGBW colour mixing,the colour temperaturecan be adjusted over awide range using the4-channel varychromeattribute in the lightingcontrol software.

White LEDs and RGBW colourmixing in practiceIn architectural lighting practiceLEDs are increasingly taking overcoloured scenic lighting and alsoreplacing conventional lamps ingeneral lighting. White high-powerLEDs based on luminescence con-version combine advantages suchas the ability to dim and the avail-ability of different colour tempera-tures with extremely long life. Inaddition, their light is restricted to

the visible spectrum without ultra-violet and infrared radiation, whichis especially important for avoidingdamage to exhibits in museums forinstance.

Their optimised colour renditionalso makes such white LEDs suit-able for other lighting situationswhere high demands are placed oncolour quality, such as in restau-rants, offices, conference rooms orin the retail trade. With luminousflux values of 1740lm (warm white)or 2160lm (daylight white), thecurrent 28W LED modules are idealfor similar applications to 100Wlow-voltage halogen lamps or 20Wmetal halide lamps, ranging fromwall washing in rooms with ceilingheights of up to 4m an d generalambient lighting to accent lightingover medium distances.

The combination of lumines-cence conversion and RGB mixingwith RGBW-LED modules opens upadditional design possibilities. Cor-rectly controlled, such a luminaire

can produce both white light withinfinitely variable colour tempera-ture with good colour renditionand also highly saturated colouredlight. The full potential of RGBWluminaires for lighting design isreleased when combined with theappropriate lighting control sys-tems and control gear or with PCsoftware such as ERCO Light Studio.This software includes various con-trol panels such as the RGB colourcircle or a slider control for adjust-ing the colour temperature alongthe Planckian locus. All designed toallow quick and simple integrationof the luminaire's functions intolight scenes. Application scenariosfor RGBW luminaires include multi-

te LEDs: producing lighte are two prerequisites for theof LEDs for ambient lighting.ly, the availability of white,-power LEDs with sufficiently luminous flux and secondly,mprovement of colour rendi- LEDs can produce white lightfferent ways: by RGB colourng, by luminescence conver-or even by a combination of

h these processes in the formGBW mixing.

With RGB colour mixing, threet emitting diodes in the coloursgreen and blue (RGB) producede range of saturated coloursght but, if required can alsoduce white light. This is done byng the brightness of the indi-al coloured LEDs to the required with the control electronics.

price for this high variability,ever, is a white light with poorur rendition, due to the veryl spectra of each of the threeur components. This method of

ducing white light is thereforeuitable for applications where demands are placed on colourition.

With luminescence conversion,ight of a single-colour LED is

verted wholly or partially intoer spectral ranges by fluorescentings so that the resulting spec-

m will achieve better luminousacy and a better colour rendi-than with RGB-LEDs. The com-tion of blue LEDs with yellow

sphors is standard today; moreom, because more complicatedanufacture, are UV-LEDs withphosphors. This process isrently fixed at a constant col-of light, such as warm white approx. 3200K or daylighte with approx. 5500K. Warme LEDs currently produce bet-olour rendition (about Ra85)

n daylight white LEDs (Ra70),ough the luminous efficacy ofatter is slightly higher.ne possibility for uniting theantages of both these processesroducing white light with LEDsuse RGBW colour mixing sys-s that combine white LEDs of astant light colour with digitally

controllable LEDs in red, green andblue. Such systems retain the highcolour rendition index of Ra85 inthe white range while simultane-ously allowing an infinite varia-tion of colour temperature and ifneeded, also coloured accents forscenographic lighting.

ClE-triangle with the col-

our locations for RGBW-LED modules. Within theCIE chromaticity diagram,the Planckian locus showsthe white hues of differentcolour temperatures thatcan be produced by colourmixing from bluish, coldwhite to reddish warmwhite.

CIE-triangle showing thecolour locations of whiteLEDs with luminescenceconversion.

Relative spectral distribu-tion: RGB-LED. The whitelight mixture obtainedfrom red, green and blueLEDs produces insuffi-cient colour renditionquality for lighting taskswhere colour qualitiesare important.

Relative spectral distri-bution: warm white LEDswith luminescence con-version in combinationwith the relative bright-

ness sensitivity of thecone cells in the eye.

functional rooms, galleries, confer-ence halls or foyers. Depending onthe room usage, light scenes canbe set up so that a wall surface or aspatial zone can be lit in white andwith good rendition to present anobject or alternatively, can be styledwith coloured light for an atmos-pheric effect.

Thomas Schielke

Operating devices allowthe user to set and recalllight scenes with differ-ent colour temperaturesquickly and simply.

Today's white high-powerLED modules producesufficient luminous fluxfor architectural lighting,whether for vertical illu-minance, for horizontal,ambient lighting or foraccent lighting.

The special optoelectronic

modules ensure the LEDluminaires attain maxi-mum efficiency and con-sequently, high luminousefficacy.

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ERCO Lichtbericht 90 ERCO Lichtbericht 90 25

e issue 89 of the L ichtbericht looked atconcept of efficient visual comfort relat-o the retail sector, this article will highlightthe five factors of efficient visual comfort,ely vertical illuminance, qualitative light-

design, effective lighting technology, intelli-t lighting control and efficient lamps, canpplied just as effectively to the broad fielduseum lighting. Each individual factors potentials that help save resources and

er costs; but it is only in their combinationthey develop additional synergy effectsreinforce each other.

eria for museum lightingdiversity of the museum landscape makes

fficult to specify uniform characteristicsts lighting: museums deal with a vast rangefferent themes, from archaeology to con-porary art, from literature to technology.r dimensions vary from a few square metreshe way to huge cultural and museum com-es. Irrespective of this, however, most ofe institutions see it as their task not only

ollect, preserve and explore their respectiveects, but also to communicate and presentr themes. In places where objects of greatural value are kept and exhibited, museumitecture plays an especially representativeIn these museums, whether with such longitions as the Louvre in Paris or as recent asGuggenheim Museum in Bilbao, architects,ting and exhibition designers and conserva-are usually in a position to implement theest standards of quality even in regard to

ficient visual comfort in the museum

Vertical illuminance

Efficiently creating theimpression of a pleasantlevel of brightness andproviding ideal conditionsfor perception to presentthe paintings (SaatchiGallery, London).

Intelligent lightingcontrolLighting control systemssuch as Light SystemDALI are used for sceno-graphic purposes and tosave energy, e.g. by link-ing light scenes to motionsensors or using daylight-dependent controls(Museo Emilio Caraffa,Crdoba, Argentina)

Optimal tools for conven-ient, efficient and correctlighting to protect theexhibits in a graphic artsexhibition: Optec spot-lights with LED, mountedon ERCO track. (MuseumKunst Palast, Dsseldorf)

Qualitative lighting

designMuseums generallyprovide a wide rangeof approaches to workwith hierarchies of per-ception. Contrastinglighting levels enhancethe dramatic effect of acircular gallery (Puntadella Dogana, Venice).

Efficient lampsThe choice of lampdirectly affects the energyconsumption. LEDs arethe perfect option, as arefluorescent lamps andmetal halide lamps, whichare suited for specificapplications (Optec spot-lights with LEDs in theBrothers Grimm House,Steinau an der Strasse).

Effective lighting

technologyPowerful reflectors andlens systems effectivelytransport the light ontothe target surface. Spe-cialised, differentiatedlighting tools ensureoptimum efficiency forthe appropriate applica-tion (Optec spotlightswith LEDs in the Museumof Ethnology, Berlin-Dahlem).

lighting. It is because of this that the conceptof light in museum quality now has the over-tone of a standard that applies a lso to othergenres of architecture. Criteria for museumlighting depend both on the needs of the vis-itors and on the requirements of the exhibits.

Visitors primarily expect high visual comfort,optimal perceptibility of the exhibits and clear,safe orientation within the building. This isadded by increasing expectations of an effec-tive presentation of the rooms and objectsusing light, determined by the changing visualrequirements for events, films, concerts andsuchlike.

Careful treatment of exhibits, comfort and

convenience for visitorsWithin the museum as an institution, interestsalso differ in regard to lighting. While conser-vators place emphasis on the preservation ofthe exhibits and their protection from harmfulamounts of light and glare, curators prefer flex-ible lighting systems with as wide a scope foreffective presentations as possible. From an eco-nomical point of view, the cost of i nvestmentand operation are primary factors. Efficient vis-ual comfort provides approaches and technol-ogies that combine what initially seem to beincompatible requests in a synergetic manner.An example: where maximum visual comfortand excellent glare protection are key aspects inthe choice of lighting tools, visitors are providedwith optimum conditions for perception; theireyes can easily adapt to different lighting situ-ations. Illuminances can generally be kept at a

lower level, which not only protects the exhib-its, but also reduces the operating costs.

In many types of museum, such as typicalpicture galleries, vertical illuminance is alreadya factor simply because the visual task involvesobserving objects on walls. Using wallwashinginstead of, or to supplement, zenithal lighting,where museums feature luminous ceilings,uniform illuminances on vertical presentationsurfaces can be achieved with low levels ofenergy. Foyers and passages are further exam-ples of wallwashing as the right means to effi-ciently produce the impression of pleasantlevels of brightness.

Advance of LED technology

When working out a lighting concept for amuseum based on qualitative aspects, Kelly'sprinciples of perception-oriented lightingdesign prove helpful: once lighting situationsare structured into ambient luminescence,focal glow and play of brilliants, the hierarchiesof perception often arise automatically. Thisanswers the question as to which areas actu-ally need a high level of lighting. Manufactur-ers such as ERCO, which draw on many years ofexperience in museum lighting, are faced withthe responsibility of providing the right toolsto enable such qualitative, perception-orienteddesign. LED technology is of particular interesthere among museum lighting designers as itcombines the qualities of the a lready widelyused low-voltage halogen lamps, such as dim-mability and excellent colour rendition, with anenergy efficiency previously only known from

ibiting and communicating on thehand, collecting, preserving and explor-on the other: these are the tasks of aseum. Lighting concepts with efficiental comfort support a museum in these

ks both effectively and economically.

fluorescent lamps or high-pressure lamps. Butit also outperforms these in terms of life andcaters to the conservators wishes of UV and IR-free light. ERCOs standards applied to light-ing tools such as spotlights or recessed ceilingluminaires with LEDs are high as their systemdesign must make the planning and use of thenew technologies as easy as possible, while alsoensuring additional efficiency through proprie-tary lighting technology.

Many museums today are faced with a cutin public funding and need to budget rathercost-effectively. Within the context of energyimprovements, a one-off investment in lightingensuring efficient visual comfort makes it pos-sible to reduce operating costs in the long run.

This creates additional scope to concentrateon the actual tasks of the museum: to preserveand communicate the store of knowledge of aculture.

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ERCO Lichtbericht 90 ERCO Lichtbericht 90 27

ua alta, high water in winter this is all buty news for residents and visitors in Venice.y year, the city on stilts built on a lagoons several millimetres deeper into the water,

e climate changes threaten a rise in sea lev-The Venetians anyway agree: high water daysncreasingly frequent. Anyone keen to buildis city is bound to face the issue of high

er protection, not only for foundation andng, but also in a global sense with regard

ustainability and energy efficiency of theding and its technical equipment.xposed at the tip of the spit of land rightosite San Marco, the Punta della Dogana,former port customs authority of Venice, isated right next to the church Santa Mariaa Salute. Originally built in 1677 by Giuseppeoni, the customs authority underwent sev-transformations until it eventually lost itstion during the course of the 20 th centuryconsequently sunk into oblivion. For overears the building was closed to the public, during a search for a second site for his art

unta della Dogana, Venice

What a site! The newmuseum on a spit of landat the Canal Grande con-solidates the reputationof Venice as a centre for

both modern and con-temporary art. This repu-tation has been gainedprimarily by the biannualart festival, the PeggyGuggenheim Collectionand not least, the PalazzoGrassi, the sister site ofthe Franois PinaultFoundation.

Unmistakably Tadao Ando:it is only after enteringthe building that theidentity of the designerbecomes clear. A concrete

cube with the typical pat-tern of the formwork pan-els positioned in the cen-tre of the old warehousesand a spacious room isfilled with daylight as themost efficient light sourceof all. The work of art isdiscreetly emphasised byaccent lighting (RudolfStingel, Untitled, 2008).

Architect: Tadao Ando, TokyoLighting design: Ferrara Palladinoe Associati, MilanPhotos: Thomas Mayer, Neuss

www.puntadelladogana.it

foundation, the art collector Franois Pinaultjoined with the Mayor of Venice, MassimoCacciari and devised plans to use the earlyindustrial architecture for a different purpose

this time.At the first site of the Franois Pinault Foun-

dation in Venice, the Palazzo Grassi, Tadao Andohad realised a remarkable museum architec-ture as early as 2005 through interventionsthat proved as precise as they were unobtrusive.On the outside, the Punta della Dogana barelyshows any trace of structural alterations. Inside,Ando accentuated the original structure of thebuilding with its division into five halls. Markedby history, their rough brick walls and impos-ing trusses made of larch wood were carefullypreserved. Right in the centre of the building,where parts of the halls partition walls hadalready been replaced by pillars in earlier alter-ations, Ando implanted a concrete cube in amanner typical of him: minimalist, clear linesand polished surfaces, structured by the patternof the formwork panels in the format of the

centuries, the warehouses at the Canalnde have stored dutiable goods. Past,ent and future: Tadao Ando has trans-

med the historic building into a museumcontemporary art, making it fit fororrow thanks to sustainable lighting

hnology.

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ERCO Lichtbericht 90 ERCO Lichtbericht 90 29

nese tatamis. This building in a buildingnnected to paths, galleries and stairs which

vide access and structure to two levels ofbition space.he lighting concept ensures efficiency andal comfort on several levels: it comprisescomponents daylight, artificial ambientting and accent lighting. Automated shad-curtains dose the daylight coming throughskylights and the side windows. A DALI sys-controls downlights and wallwashers withrescent lamps. Spotlights with highly effi-t metal halide lamps accentuate individual

bits. They are included in the control systemeans of DALI actuators. The lighting and air

ditioning technology, integrated by Andoin dark-painted, square-section installation

ts, are all blended discreetly into the historicses.

unta della Dogana, Venice

Plenty of space for art ofgreat presence: Ratherthan providing a neutralbackground la whitecube, the halls of thePunta della Dogana pro-mote a strong environ-ment of ample proportionsin which the items fromthe Pinault collection canunfold their full effect.

Along with the halls wherethe original ceiling heightwas kept, Ando also cre-ated additional exhibitionspace on a second level

in the wider part of themuseum. This enables thecurators to use gallerieswith a more intimatecharacter.

Ando combined air-conditioning technology,lighting and other instal-lations in dark-paintedmetal ducts that integrateinconspicuously into thelarch wood roof structure.

The colour of the arti-ficial light provided bythe Lightcast downlightswith compact fluores-cent lamps for ambientlighting and the Parscanspotlights with metalhalide lamps for accentlighting matches thedaylight. A DALI controlsystem dims the down-lights and switches thespotlights as groups usingDALI switching actuators.

Architecture as anexhibit: opting for Quadrawallwashers, the lightingdesigners used uniformvertical illuminance toemphasise the uniformityand aesthetics of the wallsurface as a structuralelement.

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k in the 90s, following the release oflbergs blockbuster movie, Jurassic Park,dinosaur craze swept through both mediachildrens bedrooms alike. Natural scienceeums, often only dignified by the dust andess of the decades, found themselves in theic limelight once again. This time, however,are confronted with the changed require-ts and viewing habits of a new generationsitors. Which is good if a museum happensave a collection of significant and spec-lar artefacts, as is the case with the "Royalian Institute of Natural Sciences. Founded

846 and showing spectacular 19th centurys such as its iguanodons of Bernissart, thisian museum also has the added attractionriking historic architecture, for too longen away behind disjointed extensions and

cealing facades. After years of renovationk, this architecture now provides a fittingkdrop for presentations that, in terms ofr scientific content and media technology,e well and truly arrived in the 21st century.

oyal Belgian Institute of Natural Sciences, Brussels

When science is fun! Strik-ing a pose in front of thestuffed grizzly bear standsa young Asian visitor possibly from Korea, wherebears are seen as mansmythological ancestors.

Optec spotlights accentu-ate the exhibits. Parscoopceiling washlights can beswitched on to providesupplementary lighting.

The daylight situationin the Gallery of Evolu-tion: diffuse natural lightstreams in through theglass sections in the roof,while track-mounted

Parscoop ceiling wash-lights for metal halidelamps are ideally suitedto providing uniform,wide and efficient illu-

mination for the vaultedhall ceiling. As the nightfalls, their glare-free lightsupplements and thenreplaces the natural light-ing entering through theglass roof panels.

The lure of colour: Optecspotlights fitted with theappropriate filters make itpossible to change fromthe neutral lighting of thereconstructed dinosaurskeleton to dramatic sce-nic lighting.

Using light distributionsfrom narrow spot to wideflood as well as extremelyefficient metal halidelamps or dimmable low-voltage halogen lamps,the Optec range of spot-lights provides a superiorsolution to the tasks pre-sented by scenic lightingas here in the museum.Spherolit reflectors ensurethat the lighting quality isalways optimum.

Unique fossilised dino-

saur skeletons as exhibits,presented in a gallerywithin an Early IndustrialAge steel-skeleton con-struction: a highlight fordinosaur fans and archi-tecture lovers alike.

It is the hope of theexhibition designers thatthe aesthetics of thepresentation will increasepublic sensitivity towardsthe fragile, endangeredbeauty of our ecosystems.Parscoop ceiling wash-lights with highly efficientmetal halide lamps playtheir part in conservingresources.

Architect (renovation) and lighting design:SumProject, BrusselsGallery of Evolution Scenography: Atelier del'lle, Paris. Exhibition lighting: Cosil, ParisPhotos: Dirk Vogel, Dortmund

www.naturalsciences.be

The conversion of the Janlet Wing, named afterits builder Charles-mile Janlet (18391919),was delivered in two phases, culminatingrespectively in the opening of the new dinosaurgallery in 2007 and the Gallery of Evolutionin 2009. The architects of the Br ussels-baseddesign offices SumProject re-established thebuildings opulent dimensions and completelyre-organised layout and visitor routing, layingbare the technological details of the attractive,yet previously concealed, steelwork. The resultis that the historic character of the new ro omsmakes an interesting contrast to the emphati-cally progressive design of the furnishings,fittings, exhibits and glass display cabinets nowcomplete with upgraded media. Consequently,

no-one feels short-changed, neither kids of thePlaystation generation nor their parents whoappreciate the aesthetics of the Early IndustrialAge.

osaurs are always a big attraction for tak-kids on a museum visit as an alternativeomputer games. The recently renovatedgian Institute of Natural Sciences offerstors, small and large, not only dinosaurs,also contemporary discoveries andghts, all presented in stunning detail.

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acklights

Exhibition: Bauhaus. A Conceptual ModelMartin-Gropius-Bau, Berlin22 July 4 October 2009A series of exhibitions and events were held in

2009 to mark the foundation of the Bauhaus inWeimar 90 years before. During the 14 years ofits existence, the Bauhaus became one of themost important schools of the Modern move-ment. Today, it is internationally considered tobe Germanys most successful contribution toModern art and culture in the early 20th century.The exhibition, Bauhaus. A Conceptual Modelfocused on the huge influence of the Bauhauson the development and internationalisation ofthe Modern movement. Working from this basis,the exhibition also thematically explored theglobal and lasting effect of Bauhaus on architec-ture and design.

www.modell-bauhaus.de

Consultant training with new productsIn 2010 ERCO launched the biggest productoffensive in its corporate history, with over1,600 new products including around 1,200new Quintessence recessed luminaires andrecessed spotlights. In light of this broad spec-trum of products, to ensure that all existingand potential clients can be provided withthe best possible customer care, lighting con-sultants from across ERCOs worldwide salesnetwork completed intensive product trainingat the beginning of the year. The ERCO light-ing experts now look forward to sharing theirknowledge with you. You will find your regionalERCO contact at:

www.erco.com/contact

International Furnishing Show, Cologne

19 24 January 2010The imm cologne successfully launched a newpresentation format this year with Pure Villagein Hall 3.2. As part of an integrated architec-tural concept, illustrious brands from the fur-niture, textile, lighting and bathroom branchespresented both individual exclusive designerobjects and complete creative furnishing con-cepts. ERCO was there too, both on a presen-tation surface for scenographic effects withhighly efficient lighting tools and as the deco-rator of the special area, The Stage, where vis-itors were able to participate in an interestinglecture programme.

www.purevillage.de

her Pictogramshe 1972 Olympic Games in Munich,gner Otl Aicher (19221991) created a pic-am system that revolutionised visual com-ication. His pictograms became design

sics and icons of everyday culture. Aichersphic symbols accompany our mobile soci-nd facilitate international understandingfitting perfectly into our modern, globally-

nted world. Following on from many yearsooperation with Aicher, ERCO has takenhe job of licensing a nd developing his pic-am system. A new brochure showing the

st state of play is out now. Details of howrder and other information are availablene at:

w.aicher-piktogramme.de

ction systemshical signpost sys-in public buildingsas airports or tradealls are the typicalcation area for pic-m systems. Aicherstional and trans-tion pictograms arely understood onand correctly inter-d without specificledge of the localre or language. Inter-

national guests get theirbearings without diffi-culty (Stuttgart Trade Fair,direction system by BroUebele design studio).

System design, ease ofassembly, superior light-ing effect and efficiency:consultants from the glo-bal ERCO lighting networkwere able to see the ben-efits of the new productsfor themselves at the mainfactory in Ldenscheid.

Pictograms find applica-tion in almost every areaof life. These pictorialsymbols are the perfectcommunication mediaespecially in the area ofsport and leisure and alsowhen it comes to health-care, transport, serviceand safety.

DevelopmentBecause the pictogramdesign is based on a syn-tactic system, the picto-gram programme can becontinually expanded.An ERCO team of experi-enced and creative expertsis developing new picto-grams precisely in accord-ance with the originalspecifications.

Memorabilia andmerchandisingOn textiles, accessoriesand fan memorabiliafrom the sport and lei -sure branch, Aicher picto-grams serve as a striking,eye-catching feature.Documents and medalsare given a prestigiousappearance with thesports symbols.

The Bauhaus as rolemodel: the fascinationof this interdisciplinaryschool of architecture,design, fine and visualarts, which moved toDessau in 1925, retainsits hold throughout theworld more than 75years after it was closedin Berlin.

Light System DALI makesit possible: easily pro-grammed light scenes atthe ERCO stand (above)and in The Stage lectureroom at Pure Village. TheERCO motto tune thelight was the launch padfor numerous conversa-tions about efficient visualcomfort.

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EERCO GmbHPostfach 246058505 LdenscheidGermanyTel.: +49 2351 551 0Fax: +49 2351 551 300

info@erco.comwww.erco.com

Shenzhen Museum of HistoryArchitect: Li Mingyi, ShenzhenPhoto: Michael Wolf, Hong Kong

www.shenzhenmuseum.com.cn

As a special economic area near toHong Kong, the Southern Chinesecity of Shenzhen has enjoyedenormous growth in recent years.On a floor area of 12,500m2, thecitys new history museum presents6,000 years of regional history. Thelighting tools used include Optecspotlights, with Quinta wallwashersproviding vertical illumination onthe dioramas that are so popular in

Chinese museums. Seen here isa display showing Party LeaderDeng Xiaoping (19041997) plant-ing a tree, symbolic of his policyof reform and openness, the foun-dation of Shenzhens economicboom.