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    E Lichtbericht 92

    Published in April 2011

    LED light in useLast year will go down in the historyof architectural lighting as the year

    of the final breakthrough of the

    LED. The product range presented

    by ERCO at the Light+Building

    trade fair in Frankfurt in April 2010makes LED lighting tools available

    as a viable alternative for practicallyevery standard task of lighting. But

    how does the new technology fare

    in practical applications? This issue

    presents LED lighting projects from

    very different fields of architecture.

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    ERCO Lichtbericht 92 1

    With the technological change towards digitallight in full swing within the luminaire industry,it gives us great pleasure to present an editionof Lichtbericht that solely features LED-basedprojects. After many years of development workin the field of optoelectronics, it is now excitingfor us to see LED technology proving itself inactual projects.

    Following extensive examination of the tech-nological, curatorial and preservation aspects,two renowned museums at once have bothdecided to go for LED lighting: the Na tionalGallery and the National Portrait Gallery in

    London a step that is justified not least by the68%-saving in energy costs and by the reducedmaintenance costs due to the long life of LEDs.Many other advantages of LEDs, such as thefact that their light is free of IR and UV compo-nents, also provide good reason for the techno-logical change from the preservation point ofview.

    ERCOs core capabilities in the field of opto-electronics have laid the necessary technolog-ical foundation for this. On pages 16 and fol-lowing of this Lichtbericht, we reveal exactlywhat this field of competence known as opto-electronics actually entails. But for now, lets

    just say that optoelectronics is the mixture ofthe specialist areas of optical systems, elec-tronics and information technology. Opticalsystems are for directing light, electronics forproducing light and information technologyfor controlling light. The intersection of thesedisciplines indicates a companys profile ofcapabilities for innovative lighting solutionsin the age of digital lighting.

    Scenography and efficiency are broughttogether in the lighting solution of the newSieben Schwaben chemists in Laupheim. In theevenings, the entire salesroom functions as a

    massive scenically illuminated shop window. Anarray of different coloured light scenes is exe-cuted here in a certain sequence, attracting theobservers attention and controlled by the ERCOLight System DALI.

    Laying quietly in the winter snow amidst avast open landscape, Kalmar, a private residencein Sweden, appears rather still by comparison.Here, weve installed a hybrid lighting systemthat makes equal use of both digital LED lumi-naires and classic analogue luminaires. Overallit's a very coherent and pleasant lighting solu-tion, which tackles the presented task in anappropriate manner.

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

    1028756000 2011 ERCO

    Photographs (Page): Andreu Adrover (31), MarkusDlouhy (2223), Thomas Eicken (2), Julia Holtktter(1), Thomas Mayer (3, 45), Rudi Meisel (U1, 2, 3,611, 30, 33), Swapan Parekh/Das Fotoarchiv (3),Alexander Ring (2, 1819, U4), Tomas Sdergren(2, 2425), Mike St Maur Sheil (1215), Dirk Vogel(2, 3, 26, 27), Michael Wolf (2), Edgar Zippel (2829).

    Translation: Lanzillotta Translations, Dsseldorf

    Background

    Lighting art with LEDsExperts from the National Gallery andNational Portrait Gallery, London, spokewith ERCO lighting consultants abouttheir experiences and expectationsassociated with the conversion to LEDlighting in museums.

    Hosted and reported by Paul James,Editor-in-Chief of the technical publi-cation mondo*arc

    Projects

    16

    20

    21

    The facade of the Intercontinental Hotel in Parisis also resplendent in new LED light. Here, theLED luminaires are discreetly integrated into thehistorical facade. At such difficult-to-accessplaces, maintenance costs naturally play a cru-cial role and so the long life of LEDs is a decisiveplus here.

    The host of LED projects presented here isrounded off by the Starbucks Coffee House inDresden, a mast-mounted pathway lighting inBarcelona and installations at Bath Universityand the Bonnefanten Museum. In conclusion,it can be said that LED lighting is now suitable

    for a wide variety of projects of many differentkinds and that, in the practical applicationsshown, its capability is admirably demonstrated.

    Core capability: OptoelectronicsOptoelectronics is a crossover field whereelements of optical systems, electronicsand information technology, i.e. software,overlap. It is where ERCO sees its corecapability and a focus of its developmentwork.

    Focus

    Measuring and evaluating LED luminaires

    Double focusLED lighting technology in thelx/W analysis

    Introduction

    Report

    12 22

    24

    26

    27

    28

    30

    31

    Sieben Schwaben chemist, LaupheimLED light for salesrooms

    Private residence, KalmarLED light for garden and landscape

    Intercontinental Hotel, ParisLED light for facades

    Bonnefanten Museum, MaastrichtLED light in the museum

    Starbucks, DresdenLED light in the coffee house

    Students' Union, University of BathLED light for education and

    administration

    Vial UAB Bellaterra, BarcelonaLED light for pathways and open areas

    About this issue

    Keylights

    Bright prospects

    1

    2

    4

    Top London art galleries switch to

    LEDsBoth the National Gallery and theNational Portrait Gallery, two world-famous art collections, have afterintensive investigation arrived at thesame conclusion: ERCOs LED light isthe future for museum and gallerylighting.

    6

    32 Backlights

    Contents About this issue

    Light & Technology

    Tim Henrik Maack

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    ERCO Lichtbericht 92 3ERCO Lichtbericht 92

    eylights

    DuisburgOpened in 1964, this museum wasdedicated by Duisburg to one ofthe citys greatest sons sculptorWilhelm Lehmbruck. Here too,the museum owners have nowdecided to go for the lighting tech-nology of the future, equippingthe first galleries with Optec LEDspotlights.

    LehmbruckMuseum, DuisburgArchitect: Manfred Lehmbruck(1913-1992)www.lehmbruckmuseum.de

    WiesbadenThe Private Banking departmentof the Wiesbadener Volksbank hasfound its home in a historic villa which is scenically illuminated inprestigious fashion at night usingERCOs LED technology. The light-

    ing designer Arne Fiedler workedusing Kubus facade luminaires andMidipoll bollard luminaires.

    Wiesbadener Volksbank Private Banking,Wiesbaden.Lighting design: Arne Fiedler, Wiesbaden.www.wvb.de

    CopenhagenFantastic views! Swinging to andfro, the clientele of this sushi barcan enjoy the view of Copenhagenfrom the 12th floor of the TivoliHotel in the glare-free light ofOptec spotlights. The rest of the

    restaurant is kept in stage-likedarkness, with Quintessence direc-tional luminaires adding accentlighting to the tables.

    Stick'n'Sushi, Sky Bar Tivoli Hotel,Copenhagen.Architect: Terese Engaard, Diener&DienerArchitekten, BerlinLighting design: Licht Kunst Licht, Berlinwww.sushi.dk

    Castel GandolfoThe small town of Castel Gandolfooverlooking Albano Lake south-east of Rome is best known as thetraditional summer residence ofthe Pope. Yet the village also hasquite a lot to offer ordinary visi-tors. This includes the RistoranteQuintessa, which not only offersgood cuisine and a highly selectwine list, but also boasts an extra-ordinary interior and lightingdesign. Local architect and lightingdesigner Francesca Storaro usedOptec spotlights and Pollux pro-

    jector spotlights to underline the

    taverns atmosphere.

    Ristorante Quintessa, Castel GandolfoLighting design: Francesca Storaro,Castel Gandolfowww.laquintessa.it

    BarcelonaConcrete reliefs taking ethnologyas their subject matter adorn theentrance foyer of the EthnologicMuseum in Barcelona. This attrac-tive feature of the museum build-ing, from 1973, is now brought

    out at night by a new lightinginstallation, which uses cantilever-mounted Powercast floodlightsfitted with efficient metal halidelamps. Wallwash Spherolit reflec-tors create the asymmetric lightdistribution which illuminates thefacade surface.

    Museu Etnlogic, BarcelonaArchitect: ICUB (Institut de Culturade Barcelona)www.museuetnologic.bcn.es

    HamaryHonoured with a Nobel Prize forLiterature yet equally controversialfor his stance towards GermanNational Socialism, Knut Hamsun(18591952) is seen as Norwaysmost important author. It is to

    this complex figure that architectSteven Holl has dedicated anunwieldy yet equally multifacetedbuilding in the far north of Norway,which contains exhibition gal-leries and conference rooms. Themuseum tour is accompanied bya dramatic lighting concept withOptec spotlights and wallwashers.

    Knut Hamsun Center, HamaryArchitect: Steven Holl, New York.Lighting design: L'Observatoire Inter-national, New York; Vesa HonkonenArchitects, Helsinki/Stockholm.www.hamsunsenteret.no

    SandvikaThe administrative centre for theprospering municipality of Brumnear Oslo is located in the City ofSandvika. The outdoor groundsand the richly ornamented facadeof the city hall, built in the 1920s,

    are presented at night to greateffect using low energy, thanks toParscoop washlights and Midipollbollard luminaires.

    Brum Rdhus, SandvikaArchitecture: Magnus Poulsson(18811951)Lighting design: Linda Knoph Vigsns,Hvalstadwww.baerum.kommune.no

    FreiburgDramatic presentation of the origi-nals of the sandstone sculpturesfrom Freiburg Cathedral. Stella pro-

    jection spotlights illuminate theart treasures of the AugustinianMuseum, which was expandedby remodelling an old monasterychurch.

    Augustinian Museum, FreiburgArchitect: Prof. Christoph McklerArchitekten, Frankfurt am MainLighting design: Kress & Adams Atelierfr Tages- und Kunstlichtplanung,Colognewww.augustinermuseum.de

    ShanghaiThis ultra-modern public libraryalso provides Pudong, a rapidlygrowing new district of Shanghai,with a cultural centre that can beused by all residents. Tesis in-groundluminaires add scenic lighting to

    the entrance area, while, inside,the architecture is skilfully empha-sised with wallwashing.

    Pudong Library, ShanghaiArchitect: East China ArchitectureDesign InstituteLighting design: Shanghai ShenjinLighting Design Co., Ltd.

    PuneSuzlon, one of the worlds largestproducers of wind turbines, hasbuilt its new, campus-like head-quarters in the Indian industrialcity and service-provider metropo-lis of Pune. The project includesERCOs Midipoll bollard luminairesand Grasshopper projectors.

    Suzlon One Earth Campus, PuneArchitect: CCBA, Tao Architects, Ravi &Varsha GovandiLighting design: Satish Rana, LED Inc.www.suzlon.com

    CopenhagenAll giants together: the newelephant house at CopenhagenZoo was designed by no less thanFoster+Partners design office.Parscoop washlights illuminatethe inner area, while the infor-mation display in the buildingsperipheral area is scenically illumi-nated by Parscan spotlights.

    Elephant house, Copenhagen ZooArchitect: Foster+Partners, LondonLighting design: Rambll Lys,Copenhagenwww.zoo.dk

    MrrumIn the rural setting of southernSweden the concrete group ABFrdig Betong has built a confer-ence centre, complete with over-night accommodation facilities,demonstrating the creative use ofthis material. The differentiatedlighting of the workrooms, restau-rant and guest rooms was com-pleted using ERCO lighting toolsand Light System DALI.

    Frdig Betong Konferenscenter, MrrumArchitect: Anders Trnqvist Arkitekt-kontor AB, Karlshamnwww.fardigbetong.se

    KelsterbachThe way to a good education isthrough the stomach. With Germanschool reforms stipulating all-daychild care, the trend is for the con-struction of school canteens. Aprime example is in Kelsterbachnear Frankfurt. Compar recessedspotlights with HIT lamps addattractive scenic lighting to themeals.

    Canteen of the integrated comprehen-sive school, KelsterbachArchitect: Elmar Krebber & Partner,Wiesbadenwww.igskelsterbach.de

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    ERCO Lichtbericht 92 5ERCO Lichtbericht 92

    right prospects Architect: Gehry Partners, LLP, Santa MonicaLighting design: L'Observatoire International,New York

    Photographer: Thomas Mayer, Neuss

    Office building, Basel

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    ERCO Lichtbericht 92 7ERCO Lichtbericht 92

    king at 5 metres, museum technician Timht is once again on his high access platforming adjustments to the lighting. This timein Room 14 of the National Portrait Galleryng one of the Optec LED spotlights that illu-ate 18th century portraits from the heydayhe British Empire. This will presumably beast maintenance for quite a while though.

    h the introduction in this exhibition room of-life LED technology, regular lamp replace-t and the associated danger of disturbing astakingly positioned lighting arrangement,

    set to become problems of the past.

    he LEDs longevity, the related reductionaintenance costs and the reduced risk ofaging priceless exhibits when manoeuvringers and platforms are important arguments

    new lighting technology for museum andery operatives like Tim Knight and his col-ues. However, the focus of discussions cur-ly ongoing in museums and galleries aroundworld is regarding three fu rther questions.

    w much energy can LED lighting save, is theting quality equivalent and, above all, h owEDs fair in terms of the preservation ofbits? The museum and gallery community ising with baited breath to see how the largefamous establishments, which have thevant technical, curatorial and preservationertise, be answering these questions. Twonstitutions that are steeped in tradition, theonal Gallery on Trafalgar Square and theby National Portrait Gallery, are now mak-

    steps toward the future and are convertingr galleries one by one to LED light.ndings gleaned by experts at both galleriese in the course of their investigations and

    duct samplings of LED technology, ulti-ely leading to the decision to specify ERCOsighting tools, are also of the highest inter-

    o other museums and art galleries. The barmeasuring LED lighting quality was already

    igh since the existing systems were mainlym ERCO and, at the time of their planning,e state-of-the-art. They included computer-trolled regulation of daylight and artificialt, plus spotlights for low-voltage halogenps fitted with UV filters and occasionally colour correction filters to bring the warm-

    d light of incandescent lamps into line withight. In terms of energy-saving potential,figures returned by the National Portraitery are very clear and concise. Since chang-o LEDs, the lighting of the galleries now

    sumes 68% less electricity and thats with-the inclusion of savings made by a reducedmal load on the air-conditioning.

    op London art galleries switch to LEDsh the National Gallery and the Nationaltrait Gallery, two world-famous art col-ions, have after intensive investigationved at the same conclusion: ERCOs LEDt is the future for museum and galleryting.

    National Portrait Gallery, LondonArchitect: Ewan Christian (1814-1895)Photos: Rudi Meisel, Berlin

    www.npg.org.uk

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    ERCO Lichtbericht 92 9ERCO Lichtbericht 92

    ssue of exhibit preservation can also beressed because the light irradiation load onartworks can be quantified using the respec-spectral constitution of the light source. Toup: while daylight white LED spotlights are

    to be recommended for sensitive exhibitsto their stronger peak in the short-wavespectrum, the overall load of warm whitespotlights is less than that of low-voltagegen spotlights (for details see double-pagead overleaf). A big advantage of LEDs inrespect is that their light is inherently freee infrared and ultraviolet components

    are so undesirable in a museum or art gal-Halogen spotlights, however, require the

    ropriate filters and these always reduce theiency of a luminaire.ut what about the lighting quality, whichr all can only be measured subjectively?erts agree that, yes LED light has a differentct, but in many respects it is actually evener than that of its predecessor. The light ofm white LEDs, which is slightly cooler in col-than halogen light, is perceived positivelyoth brighter and fresher, allowing slightlyer illuminances. For the same reason, LEDt also mixes favourably with daylight. Redgold hues are no longer over-emphasisedoverall this kind of colour rendition is w elled for most exhibits. Well, thats what theerts say, but what about the visitors? Weed ourselves for the reactions, but nothinge! There were no complaints at all, statesn Tyrrell, Chief Engineer of the Nationalrait Gallery, adding, believe you me, theors do complain about just about everything One question remains, however, shouldeums and galleries now invest in LED light?next few years will see further developmentsD lighting, but even now the currently avail-

    technology offers big savings in mainte-ce and running costs without compromisinghe reliability and quality of the lighting. Iny museum where an update of the lightingder consideration, ERCO LED technologyld therefore also be included in the equation.

    op London art galleries switch to LEDs National Gallery, LondonArchitecture:Wilkins Building William Wilkins (1778-1839),Sainsbury Wing Robert Venturi & Denise ScottBrown, PhiladelphiaPhotos: Rudi Meisel, Berlin

    www.nationalgallery.org.uk

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    ERCO Lichtbericht 92 11ERCO Lichtbericht 92

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    and efficiencymprovement in the efficiency of the newlight lighting over and against the previousrings can be measured by the attained

    minance per watt. The National Gallery pre-sly illuminated the artworks using Eclipselights for 100W low-voltage halogen lampstted with flood reflectors. Due to the lownous efficacy of 22lm/W, the original accent

    ting performed at 5lx/W. Yet, for an almosttical beam angle, the new Optec LED spot-ts with Spherolit lenses achieve an efficiency3lx/W. This almost five-fold increase arisesresult of both the higher luminous efficacy

    he warm white LEDs at 62lm/W and the high-ormance of Spherolit technology. All this is

    out even considering the UV filter, whichcessary with low-voltage halogen lamps toect the exhibits but which impairs the effi-cy by an additional 8% due to transmissiones.

    op London art galleries switch to LEDs

    At 50,000 hours, thefunctional life of LEDsalso contributes, along-side the good luminousefficacy, to the economicefficiency of a lightingsolution. For about twodecades there will be nomaintenance costs forlamp replacement andthe associated hiring ofaccess equipment.

    The comparison of therelative damage factorsof warm white LEDs andof low-voltage halogenlamps, including UV filter,shows that the modernLED lighting technologyalso gives an improvedprotection of the art-works.

    Flood Spherolit lensLED 3200K, 14WLuminous flux 870lmLuminous efficacy 62lm/WIlluminance at 3m 326lx

    Beam diameter 1.55m

    Efficiency 23lx/W

    Flood reflectorQT12-ax, 100WLuminous flux 2200lmLuminous efficacy 22lm/WIlluminance at 3m 754lx

    Beam diameter 1.39m

    Efficiency 5lx/W

    Colour rendition and photo spectrumColour rendition and preservation aspects areof crucial importance when illuminating paint-ings. Since warm white LEDs have a highercolour rendition index than daylight white LEDs(Ra85 and Ra70 respectively), warm white LEDsare therefore preferred for colour-sensitiveapplications such as in museums and art gal-leries.

    To avoid lighting-related damage, such asfading or drying out etc, three factors have tobe considered: the photo spectrum, the illumi-nance on the object and the duration of irradia-tion. To assess various light sources, both ontheir own and in combination with protectionfilters, a parameter known as the relative dam-

    age factor is used. This indicates the ratio ofthe damaging radiation intensity and the illu-minance. Short-wave components of light aremore harmful because they have higher energylevels. The higher blue component in the photospectrum of daylight white LEDs makes themunsuitable for sensitive exhibits. Warm whiteLEDs, on the other hand, have a relative damagefactor that is even lower than that of the pre-vious standard of low-voltage halogen lampswith UV filter. This means that LED lighting withwarm white LEDs represents the optimum solu-tion for museums and galleries today even interms of the preservation of artworks.

    With or without UVprotection filters, low-voltage halogen lampshave a higher relativedamage factor than warmwhite LEDs. For bothpreservation and energyefficiency reasons, it istherefore recommendedto use warm white LEDsto illuminate sensitive

    objects. Daylight whiteLEDs are unsuitable forlighting in museums dueto both their poor colourrendition and their higherrelative damage factor.

    LED ww LED dw QT

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    ERCO Lichtbericht 92 13ERCO Lichtbericht 92

    l James:

    d morning gentlemen. Could you startxplaining why and when you converted

    he Optec LED system at your galleries ?

    ve Spencer:ut two years ago Allan Tyrrell asked meee him about the tungsten lighting inery 13 at the National Portrait Galleryhe old four-circuit track was obsolete.ts when we looked at the LED solution.

    n Tyrrell:were spending so much money on repair-fittings. Id been looking at LEDs andught that the time was now right. So weed it in a small gallery room and I wasouraged enough to say yes, but it wasy a small room and there were questionsut the colour rendering and the reds.

    wson Carr:as that experiment that made us go for it!had been looking at the theory too much,once we saw your system we decided weto try it as well.

    ve Vandyke:

    started in gallery 62 in the Sainsburyg about a year ago. From that we wento galleries 6, 7 and 8 in the Wilkinsding.

    wson Carr:was done in conjunction with a reno-

    on of the rooms and the removal ofdropped ceilings dating back to 1953.opened the space up hugely, allowing

    ch more natural light to enter the space.relatively greater success with the LED

    gramme is down to the fact that ourponent of natural light is greater. There

    nly a small amount of natural light in theonal Portrait Gallery and some of theative reaction from your staff, Allan, wasause of the blue light in the green rooms.s was much easier to integrate.

    Allan Tyrrell:Six months after room 13 we proceededto room 12. Most recently we completedgallery 14 in November 2010. All of theserooms had little natural light, but the nexttwo rooms we are looking at, 11 and 4, areeast/west facing so inevitably there is morenatural light.

    Steve Vandyke:We are currently refurbishing rooms 5 and10, and that will be completed by the end of

    March. Then we move on to galleries 2, 4 andhopefully 12.

    Paul James:How successful has the changeover to LEDbeen?

    Dawson Carr:The people who are sensitive to what we do(and who know how the items should lookand what sort of light is appropriate forthat task) absolutely love this type of light.Getting the conservators on board is key

    because their sense of colour is truly morerefined than any of ours. We love LED light-ing because its slight cooler light is closerto natural light than tungsten.

    Steve Vandyke:This effect is highlighted in rooms 6 and 8.

    Dawson Carr:Yes, we have taken the light level down byover 20% in those rooms but it still looks

    very good to me.

    Steve Spencer:So the LED fixtures must be running at10 watts maximum!

    Steve Spencer:You have a certain amount of lux hours forall of your pictures?

    Steve Vandyke:We have a limit of about 12 kilolux hoursper picture.

    Steve Spencer:

    So if you can run lower lux levels it meansyou can display the pictures for longer.

    Dawson Carr:In crude terms, yes. Its interesting though

    because if I walked into the spaces and youasked me to guess the lux level I would guessthat they are much more.

    Steve Spencer:Yes, they feel brighter, dont they?

    Dawson Carr:Yes, theres something about the quality ofthe light, the crispness. The peak in the blue

    was a concern for our scientific departmentbut if you look at all the benefits they arevery excited about this as well. Plus theresthe ten-year life expectancy

    Steve Vandyke:Ive worked it out at between ten and twelve

    years based on about 3,800 hours a year.

    Dawson Carr:For us, in addition to the quality of thelight that we know will get even better, the

    part we love the most is the control factor.In particular, the basic physics of LEDs thatlets them be dimmed without changing thecolour temperature. That fits in with what

    were trying to do in conjunction with usingnatural light.

    Steve Vandyke:Different exhibits need different quantities oflight. We were only able to dim down to 80%

    with the old system (without changing thecolour temperature). Now we are able to dimdown to 20%. So the beauty of LED lightingis there is no degradation in the quality oflight, but it also means we can create morelighting for one exhibit and we can set scenesindividually through the ERCO lighting con-trol, which means we can satisfy the curatorsand conservators whilst using less energy!

    Steve Vandyke:Throughout the years weve used ERCO prod-ucts so most of the galleries already have thetrack installed, so with few modifications

    we can adapt the system to LED. This meansthere is little disruption with high gain and italso means we are future-proofing which is

    very important.

    Steve Vandyke:I have been entrusted with our carbon planand this means we are embarking on projectsthat are geared up to save carbon in the nextten years. This also includes the carbon taxthat comes into affect in 2012.

    Paul James:Can you explain a little more about the car-

    bon tax and how far it affects you?

    Steve Vandyke:This is a government tax of (currently) 12for every tonne of CO2 produced by a busi-ness in the UK. This will mean a payment ofroughly 100,000 a year from the National

    Gallery. Thats the equivalent of a couple ofexhibitions for us. Therefore it is even moreimportant to see how much money we cansave through initiatives like LED adoption as

    well as our obligation to CRC (Carbon Reduc-tion Commitment Energy Efficiency Scheme).

    We can save hundreds of thousands of sa year purely through energy saving projectinitiatives, so we look at this partnership

    with ERCO as an important part of that.

    Allan Tyrrell:The biggest compliment I could make aboutthe LEDs is that, in the two years since theinitiative, we have not had a comment fromthe public about the lighting system.

    Nigel Sylvester:Thats a powerful statement!

    Allan Tyrrell:Yes, that means that what we are doing isacceptable because no-one has complained.

    Believe me we get a lot of complaints aboutall sorts of things like the state of the toiletsetc, so people would complain if they didntlike the lighting.

    Paul James:Is there anything that you would say the LEDdoesnt quite work so well with?

    Steve Vandyke:We've been experimenting with the LEDlighting and it's been a learning curve. We'vegot to convince curators, our conservationdepartment and also our scientific depart-ment that this is the right direction to go in.

    People are warming to them, as Dawson hasmentioned, but we've got to be happy that

    we've got the optimum lighting arrangementand that means that we are not only exper i-menting with the number of fixtures but

    with light levels as well.

    Steve Spencer:So you are already using less than the origi-nal design of 150 lux that I initially did whenthe programme first started?

    Steve Vandyke:Yes we are. The original design had morefittings per room than what we installed.Im really happy with the energy efficiency that is the main driver for me. Obviouslythe other driver is the quality of light.

    Dawson Carr:Theres another driver though and thatsfor the conservators and scientists. The factthat we can run at a lower lux level meansthat less energy is hitting the works of art.I understand that measuring lux is a crudedevice but its still useful.

    ghting art with LEDs:alking to the experts

    ted and reported by Paul James,ckporttos: Mike St. Maur Sheil, London

    How well does ERCO LED light acquit itselfin museum applications? Paul James, Editor-in-Chief of the English technical publica-tion mondo*arc" discussed this issue withAllan Tyrrell, Engineering Manager of the

    National Portrait Gallery, Dawson Car, Curatorof Spanish and Later Italian Paintings at the

    National Gallery, Steve Vandyke, Head ofTechnical Services at the National Gallery and

    ERCO lighting consultants Nigel Sylvesterand Steve Spencer.

    Dawson Carr:The only thing that Ive noticed is that

    LED lighting does not complement three-dimensional objects like works of sculptureso well at least with the flood lenses onthem. I dont know if its the six points oflight as opposed to one but it does some-thing to sculpture that evens out some of theplasticity. It wipes out the three-dimensionalquality of sculpture. Conversely, one of thereasons why we do like its affect on paint-ings is that it doesnt over-emphasise frames,

    which incandescent light can do when thegold jumps out and overwhelms the picture.The LEDs dont do this yet, they emphasisethe surface texture of the painting.

    Nigel Sylvester:This relates to the set of tools you have to dodifferent tasks. In the LED spotlights a speciallens determines the beam distribution. Thenarrow spot characteristics are perfect forthe play of light and shadow on a sculpture.At the moment youve got a great selectionof LED characteristics, but there are more

    options that will become available to you.As it stands, from the same fitt ing, you canhave five different beam distributions just

    by changing the lens.

    Allan Tyrrell:In our gallery people say that they can pickout different elements like quartz in themarble now, when using LED.

    Nigel Sylvester:Yes, what I saw was something that was bet-ter than when the halogen was used becauseit picked out all the content of the sculpture

    material. The detail came alive.

    Paul James:Is that because of the different colour tem-perature, though?

    Steve Spencer:Its more about the different mix of coloursin the beam. Tungsten has got a massiveemphasis on red, whereas LED has a moreeven distribution between the blues and thereds. There is a spike in the blue that weretrying to flatten out, but you havent got lotsof red beam thrown onto every object thatmakes it look dirty and yellow.

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    ERCO Lichtbericht 92 15ERCO Lichtbericht 92

    wson Carr:of the problems that youre facing with

    acceptance of LED lighting is that wee made people accustomed to seeingks of art blasted with warm spotlights.simply what they are used to.

    ve Vandyke:ple dont like change.

    n Tyrrell:biggest criticism Ive heard is regardingcolour rendering the fact that its nothe 90s and losing the warm effe ct.

    el Sylvester:re are two points to consider with theour Rendering Index. The first is that anumber cannot guarantee what yougoing to see and the second is there is apromise to be had in terms of luminous

    cacy. We want you to have a performingduct with a very good illuminance on

    articles you are illuminating with a goodur rendering. If you try to increase theur rendering any more, you inevitably

    uce the light output.

    ve Vandyke:of course colour rendering is importantits only as good as your eyes. Its allut human perception. Can you distin-h between an LED fitting with a CRI8 and something with a CRI of 95? Myss is no.

    wson Carr:for the vast majority of people youregoing to see the difference. Just seeing

    quality of light in Room 13 made up ourds about that.

    l James:other issue is peoples perception oft colour rendering is. They may be actu-thinking about colour appearance, dif-nt colour temperature for instance.

    ve Vandyke:ctly. LEDs are not comparative to tung-so therefore its questionable whethershould use CRI as a measuring device oflity.

    el Sylvester:nk LED lighting is a major chapter changeits galleries like yours that are at thefront of this change. We are so used to

    Steve Spencer:Even if LEDs do become even more power-ful, the development and design of theluminaires will still be geared towards theuser requirements. Future luminaires willprobably have the same lumen output butfrom less power, so it could advance from12W to 10W, say. So it shouldnt affect youtoo much.

    Nigel Sylvester:

    The Logotec LED is the first product devel-oped by ERCO purely around the LED,

    whereas the Optec, prior to its LED adoption,was based on conventional technology. Sowhere youve got trailing edge dimming ontrack you can set the Logotec LED spotlightsto 60% for instance. In the past you couldnot dim it externally, but now, with the newelectronics, you can set an upper limit toeach individual spotlight and then dim the

    whole system.

    Dawson Carr:I like the sound of these! I think we shouldlook at those next!

    warm light but the cooler light of the LED isa better representation of daylight and thatis the optimum environment for viewingpaintings.

    Steve Vandyke:In fact, when you move from a tungsten-litgallery to an LED-lit one the perception isthat the LED gallery is brighter. This isnt thecase its the perception. This means youcan dim the LED lighting even further to getthe same perceived illuminances thus savingmore energy.

    Allan Tyrrell:Im also using less air conditioning, basedupon our figures, because there is less heat.Ive actually downsized our chillers becausethe electric load has gone down so much.

    Steve Vandyke:LEDs are also great for our budget becausewe dont have to lamp change.

    Allan Tyrrell:Oh yes, if we had LED fittings over two floors,

    which is my aim, I could reduce our mainte-nance levels enormously because were notemploying the maintenance contractor to doso much.

    Steve Spencer:Dont you currently change all your tungstenlamps every time you have a new exhibition?

    Dawson Carr:In a special exhibition you dont want anylamps blowing so you just change them allevery time.

    Steve Spencer:Thats a massive wastage!

    Steve Vandyke:Youre talking 2-3,000 hours for tungsten to50,000 hours for LED so it makes a massivedifference to our exhibitions.

    Nigel Sylvester:And the 50,000 hours represents the time

    when it gets down to 70% of output and asthe degradation is slow you wont even notice.

    Allan Tyrrell:Wont the problem be that within that, say,twelve-year period, ERCO will be developingnew, brighter versions and were going to be

    buying them to supplement the Mark 1 ver-sions we already have?

    concerned about what its going to do tofugitive blues over a long period of time. But

    we assume youre going to even that outeventually.

    Nigel Sylvester:The LED starts in the blue spectrum and youput phosphor coatings over it. So the LEDs

    with the better colour rendering will have alot more coatings on it, thus killing the lightlevels.

    Steve Spencer:This also means you cant direct the beamso well. ERCO, of course, specialises in dif-ferent types of light distribution, but if you

    add too many coatings youre just goingto get a splodge of light. You cant do any-thing clever with it like pick out detail insculpture. When weve slightly reduced the

    blue to the red side and the colour renderingwill be slightly higher, we think thats goingto end the argument.

    Dawson Carr:Another advantage is the size of the fittingand the reduction of visual clutter in the ceil-ing, especially in the small gallery rooms.

    Steve Spencer:The new Logotec LED range has an evenslimmer profile because we design our ownelectronic circuit boards and control gearthat dont require a separate housing.

    Steve Vandyke:

    One other thing is the lack of UV in LED, sothere is no need for filters. We wor ked out wegot a 50% reduction in light output throughthe UV filters and lenses of the tungstenlamp.

    Steve Spencer:The thermal tests that the NPG has done arestaggering

    Allan Tyrrell:Yes, we used a thermal camera and foundthat the heat output from the halogen fit-tings was between 300 350C, whereas it

    was 30C from the LED ones. In other words,ten times less heat.

    Steve Vandyke:Thats when I can factor in the reduction ofour air-conditioning load.

    Paul James:So you are confident that LED lighting ishere to stay for museums?

    Dawson Carr:I ask our scientists all the time if there isany possibility that we are going to r ue theday that we used LEDs in twenty years fromnow. They think that, looking at the dataoverall, were not dealing with something

    were going to regret in the future. The spikein the blue has the conservationist scientists

    Taking part in Talking tothe experts were (fromleft to right): Allan Tyrrell,Engineering Manager,National Portrait Gallery,Dawson Carr, Curator ofSpanish and Later ItalianPaintings, National Gal-lery, Steve Vandyke, Headof Technical Services,National Gallery, NigelSylvester, ERCO, PaulJames, editor mondo*arcmagazine and SteveSpencer, ERCO.

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    ERCO Lichtbericht 92 17ERCO Lichtbericht 92

    RCO core capability: Optoelectronics

    ptical systemsectronicsformation technology

    The rise of LED technology currently beingexperienced in architectural lighting probablyrepresents the greatest upheaval in lightingengineering for decades. It is comparable withboth the transition from analogue vinyl recordsto digital music on CDs and memory sticks andthe move from analogue to digital photography.Designers and users of lighting systems expectanswers from manufacturers in order to ena-ble the potential of LED technology to be fullyreleased. Optoelectronics is a field where ele-ments of optical systems overlap with electron-ics and inf ormation technology, i.e. software. As

    once before in lighting technology, ERCO nowsees a core capability and a focus of its develop-ment work as being in the field of optoelectron-ics. The slogan tune the light brings togetherERCOs capabilities in producing, directing andcontrolling light.

    Optical systemsRegardless of how light is created in a luminaire,it is its optical elements that dictate how effi-ciently and exactly it produces the desired lightintensity distribution in the space without glare.It is this capability that qualifies a luminaire tobe an instrument of lighting design. Whereaswith conventional lamps, the emphasis was onthe reflector technology, LEDs are optimallysuited for optical lens systems because theirlight is inherently emitted forwards. In ERCOslaboratories, LED lens systems are developedwhich ensure that the fundamental efficiency

    advantage of projected light, as opposed toreflected light, can actually be put to practicaluse. It is especially for accent light and verticalilluminance that the patented Spherolit lenstechnology has proven to be the ideal systemto produce very efficiently a wide variety ofcharacteristics, whether standard or new andabstract.

    Spherolit lensesThe principle of guidingthe light with collima-tors and Spherolit lenseshas proven itself so wellat ERCO in terms of effi-ciency and lighting qualitythat it is now used in anumber of products forindoor and outdoor areas.With Spherolit lenses,a large lens surface isdivided into individual,three-dimensionally

    Light guidanceERCOs LED spotlight lenssystem consists of threecomponents: a primarylens, which is part of theLED sub-assembly, thecollimator (drawing) asa secondary lens to alignthe light into a parallelbeam and the Spherolitlens as the tertiary lensto control the light inten-sity distribution.

    DevelopmentTechnical innovations likethe LED spotlights withSpherolit lens not onlyhave to prove their worthagainst conventionalluminaires in terms oftheir metrological speci-fication, they also needto be seen to be better,since the trained eye ofan experienced technicianis decisive when judgingthe lighting quality.

    domed facets that directthe light by refraction.The computer-calculatedcurvature of the individ-ual facets, or spherolites,determines the beamcharacteristics of theluminaire.

    ElectronicsLEDs, the light sources ofthe future, are themselveselectronic componentsand, as with current con-

    ventional lamp types,require electronics in theform of control gear. Thedevelopment of electronicmodules in-house givesERCO freedom in design-ing the form and functionof innovative lightingtools.

    cal systemsing tools specificallyned for their respec-pplication areas areey for fascinating

    ng concepts in archi-re. ERCO designsbuilds optical ele-s that efficiently andsely shape the lightth LEDs and conven-l light sources, mak-

    hat light predictableusable.

    Information technologyThe networking of infor-mation technology onthe software level turnsindividual luminaires into

    an intelligent lightingnetwork. It was only thehardware and softwareof a digital lighting con-trol installation such asLight System DALI thathas made it possible tofully unlock the energy-saving potential of LED

    Tool-makingThe production of mouldsfor optical elementsmade of polymer materi-als requires an extremelyhigh level of technicalexpertise, experience andprecision. ERCO has itsown state-of-the-art tool-making shop to ensurethat the ideas of thedesigners are translatedinto production-readyproducts.

    Injection-mouldedpolymerState-of-the-art injec-tion moulding machines,qualified employees,

    high-quality raw materialsand careful controls allcontribute to the perfectquality of the collimatorsand Spherolit lenses.

    technology. And it wasonly with their depictionas a control element inthe Light Studio softwarethat the development of

    multifunctional lumi-naires was made com-plete.

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    ERCO Lichtbericht 92 19ERCO Lichtbericht 92

    tronicswith the LED, which is itself a semiconduc-lectronics component, that the focus in the

    struction of luminaires has finally turnedards electronics. A combination of standardponents for control gear and LED modulesin turn, only result in standard solutions. Toe products that are exceptional in terms ofr design, function and lighting quality, how-, having in-house capabilities in the field oftronics becomes indispensable. ERCO hasady been designing electronic componentsghting control for many years, and this

    erience now forms the basis for the develop-t of the companys own LED modules a nd

    trol gear. This guarantees that all the com-ents are optimally tuned towards each otherensures product characteristics that are farve average.

    Information technologyERCO consciously describes itself as a producerof hardware and software for architecturallighting. In one respect, the immaterial productlight can be seen to represent the softwareof architectural lighting. In another, actual soft-ware tools themselves are gaining increasingsignificance in the entire process of productdevelopment and lighting design. In fact, manyof the innovative solutions for ERCO opticalsystems would not be possible at all without theuse of highly specialised CAD software. ERCOprogrammers and software developers not only

    write the firmware for the digital controllers inthe control gear and lighting control compo-nents but also the Light Studio PC software andthe user interface of the Light Changer+. Theycreate the data Plug-Ins for design softwaresuch as DIALux and program the web applica-tions for ERCO Light Scout at www.erco.com.

    RCO core capability: Optoelectronics

    CAD toolsIn lighting laboratorieshighly specialised soft-ware tools assist theERCO lighting engineersin the development ofinnovative solutions forlight guidance. Usingintricate computer simu-lations, they were ableto translate the principleof Spherolit lenses intomass-produced products.

    modulesED semiconductorents themselves areced by ERCO fromng providers on the

    al market. Since then of the PCBs formodules will dictateurther possibilitiesht guidance and

    mal management,O therefore designsdevelops theseitself, following

    Thermal managementElectronic components,whether LED modulesor control gears, requiredefined ambient condi-

    tions for reliable opera-tion. Constructional meas-ures in the housings aredesigned to promote goodthermal management,ensuring that the elec-tronics in ERCO luminairesoperate under optimumworking conditions.

    Control gearFor ERCO, the abilityto develop control gearand control hardware in-house means more free -dom in the design of theform and function ofinnovative lighting toolsand less dependency onsuppliers.

    EMCExperiments are con-ducted in the ERCO testlaboratory to measurethe electromagnetic com-

    patibility (EMC). Theseensure that the influenceof the luminaires elec-tronic components onany other nearby compo-nents or devices throughelectromagnetic radiationdoes not exceed a certainstandard level.

    Light StudioThe user-friendly LightStudio PC software isan integral part of theLight System DALI light-

    ing control. It enablesan easy configurationof Light System DALIinstallations and theinteractive creation oflight scenes.

    www.erco.comNetworked softwareis shaping the world ofarchitectural lighting,from product develop-ment and lighting designthrough to communica-tion via the Internet.

    FirmwareThe control gear units ofluminaires and lightingcontrol components areincreasingly being fittedwith their own micropro-cessors. This is to enableinnovative functions tobe implemented using thecorresponding programs,known as firmware. Thisis why ERCOs R&D teamalso includes programmers.

    modular principles, andthen has them manu-factured by experiencedquality producers.

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    ERCO Lichtbericht 92 21ERCO Lichtbericht 92

    30 30

    60 60

    2000 cd

    h (m)

    1/3 h

    1/3 h

    h (m)

    E (lx)

    D (m)

    ocus Double focus

    LED lighting technology in thelx/W analysisThe efficiency of specific lumi-naires can only be meaningfullyconsidered in connection with theirpurpose of use. The criterion foraccent light is the illuminance onthe target surface. For wallwashingand for horizontal general light-ing arranged in a grid formation,there is the additional criterion ofuniformity. The calculated or meas-ured lx/W values are not absolute

    values, but only apply to luminaireswith a similar light intensity distri-bution in a defined spatial situa-tion. In this context they allow thedirect comparison between differ-ent technologies of light produc-tion and beam control.

    For a comparison betweenLED spotlights and spotlights forHIT lamps, two spotlights withthe spot characteristic would beselected. Illuminance levels andbeam diameters dependent onthe distance can be obtained fromthe product documentation, suchas the relevant tables in the ERCOcatalogue. For a given lightingdistance, the spotlights can nowbe compared by way of their lx/Wvalues.

    When it comes to wallwashing,the average illuminance on thewall, assuming good uniformity, isof interest. The prerequisite for anymeaningful comparison is to have aregular luminaire arrangement. Thevalues for a 3m-high wall and for

    a wall offset and luminaire spacingof 1m are obtained by consultingthe product documentation andthen the lx/W value is derived. Thecomparison made on the basisof the documented product datacan be better understood using asimulation program (DIALux) or bymeasurement in a mock-up sce-nario. This comparison also verifiesthe inherent advantages of pro-

    jected LED light over and againstthe reflected light of conventionalluminaires.

    Thomas Schielke

    asuring and evaluatingluminaires

    understandable if, duringods of technological upheaval,e is a desire for succinct meas-

    ments enabling the comparisonoducts or technologies. How-, new technologies can also

    e questions about establishedsurement values and measur-

    processes. This can be appliedminaires with LEDs. Advancedmodules or better heat man-

    ment will lead to increasednous flux for the same power

    sumption. Furthermore, thet output ratio and precision ofoptical systems have a greatence on overall efficiency. Thises it recommendable to have an

    ervation method that not onlyents the general photometricifications, but also relates thect of the lighting in a space topower consumption.he luminous flux is a measuree emitted radiant power. Whens related to the expended elec-l power, it gives the luminousacy (lm/W), a value that makesssible to compare the efficiencymps.quantity that is often usedcriterion for the comparisonghting technology is the lightput ratio (abbreviated as LOR).gh LOR, however, only allowsted conclusions to be drawnut the suitability of a luminaire,e it does not consider either

    al comfort or the matter ofeffectively a luminaire directs

    ght onto a target surface. Ity describes what proportion

    he lamp lumens actually exitsugh the light aperture of anaire. For instance, a lightingre with an open lamp may

    e an extremely high LOR, butcause unacceptable glare. Oneroach to quantifying the visualfort of say, downlights, is to

    the UGR (Unified Glare Rating). for a specific luminaire appli-

    on, it is required to comparenaires of the same character- then the illuminance on theet surface can be related toelectric power consumption

    Lamp

    Luminaire

    Application

    47812.000Cut-off angle: 40

    LOR 0.70UGR 16.055 < 200cd/m2

    Spot Spherolit lens

    LED 5500K, 14WLuminous flux 1080lmLuminous efficacy 77lm/WIlluminance 3m 1025lxBeam diameter 0.84m

    Efficiency 73lx/W

    Spot Spherolit reflector

    HIT, 20WLuminous flux 1650lmLuminous efficacy 83lm/WIlluminance 3m 1088lxBeam diameter 0.79m

    Efficiency 54lx/W

    LED lens wallwasherLED 5500K, 14WLuminous flux 1080lmLuminous efficacy 77lm/WIlluminance 227lx

    Efficiency 16lx/W

    Lens wallwasher with reflectorHIT, 20WLuminous flux 1650lmLuminous efficacy 83lm/WIlluminance 142lx

    Efficiency 7lx/W

    Average illuminances En (lx)Angle of tilt 35Wall height (m) 3.00Offset from wall (m) 1.00 1.25 1.50Luminaire spacing (m) 1.00 1.25 1.50Illuminance En (lx) 227 154 108

    h(m) E(lx) D(m)16

    1 9226 0.282 2307 0.563 1025 0.844 577 1.125 369 1.41

    Accent lighting

    Because transmissionwith lenses is more effi-cient than reflection withreflectors, LED luminaireswith Spherolit lensesdeliver a better light out-put ratio.

    WallwashingIn the example, an LEDwallwasher with Spherolitlens delivers an lx/W valuethat is more than double

    that of the HIT version.The average illuminanceof the LED solution ishigher, despite the nomi-nally lower luminous fluxof the LED module.

    Three aspects essentiallydetermine the efficiencyof lighting. Firstly and sec-ondly, on the quantitativeside are the luminous effi-cacy of the lamp and thelight output ratio. Thirdly,on the qualitative side,there is the issue of howeffectively a luminairefulfils its lighting task.

    General lightingWith downlights, a higherLOR value indicates a bet-ter operating efficiency.A lower UGR value meansless glare. Luminaires witha cut-off angle of 40 will,in principle, always havea better UGR value thanluminaires with 30.

    and quantified in lx/W. In thisway, both the efficiency and theeffectiveness of luminaires withdifferent lamps can be compared.This can therefore be used as anexample to test which wallwasheris the most economical.

    Thomas Schielke

    Accent lighting

    Meaningful comparisonsbetween spotlights canonly be made when thebeam angles are thesame. If one of the spot-lights has a narrowerbeam, the luminous fluxwill be concentrated ona smaller area, resultingin a higher illuminance.

    The tables in the

    catalogue give the illu-minance E(lx) and theresultant beam diameterD(m) dependent on thedistance h(m). The illu-minance readings aretaken at the centre ofthe beam.

    WandflutungFor a valid comparison ofwallwashers, it is impor-tant that the mountingconditions are the same,

    i.e. the same wall offsetsand luminaire spacings.

    In the catalogue, the tab-ular data for wallwasherspresents practical walloffsets and luminairespacings dependent on

    the luminous flux.

    The higher efficiency oftransmission with lensesmeans that LED luminaireswith Spherolit lensesdeliver a better light out -put ratio than those rely-ing on reflection withreflector systems. ERCOSpherolit lenses are madeof optical polymer with aspecial surface structure(shown here: wallwashSpherolit lens).

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    ERCO Lichtbericht 92 23ERCO Lichtbericht 92

    Sieben Schwaben (Seven Swabians) chemiste town of Laupheim near Ulm is a chemist

    no other. Established in 1872, it became theeus of todays Rentschler Biotechnologie

    bH, a pharmaceutical business with an inter-onal reputation. To this day it is still ownedhe Rentschler family and this means that requirements are also placed on aestheticsdesign; understandable when you get tow Dr. Friedrich E. Rentschler, long-term heade business and an avid art collector. His FER

    ection containing important works by con-porary artists is exhibited in a private gallerym and illuminated by ERCO.though the chemist store was given aeover with clean-lined modern furnishingsong ago, the lighting installed at that

    e, featuring a stretch ceiling backlit with col-ed light, proved to be high-maintenance andeloped too much heat when switched on.e context of a corrective conversion, ERCO

    sted the designers in developing a lightingcept with the latest LED and control technol-

    ogy. The recommendation was a hybrid combi-nation of LED light for both the general lightingand colour effects while high-pressure dischargelamps were incorporated for economical accent

    lighting and wallwashing; a concept completelyin keeping with the principle of efficient visualcomfort. Light System DALI controls the entireinstallation. The ceiling-integrated luminairesare from the Quintessence range. The result wasa unified lighting system whose hardware andsoftware components work together f lawlessly.During the day, glare-free and attractive lightsuited to human perception, is provided forcustomers, staff and product displays; while atnight, the intensively coloured, dynamic sceniclighting of the rear wall and dispensary convertsthe chemist into an a rchitectural eye-catcher.

    ED light for salesrooms:eben Schwaben chemist, Laupheim

    Quintessence

    ERCOs system of recessedluminaires covers light-ing tools with highlyvaried light distributionsand a wide selection oflight sources. The varioussizes, shapes and mount-ing details form a highlyversatile toolbox for therational implementationof integrated lightingconcepts.

    The lighting conceptcombines lighting toolswith LEDs and metalhalide lamps. LED down-lights in warm white withvarychrome rings providevertical general lighting,while recessed spotlightswith 35W high-pressuredischarge lamps add high-contrast accents. The ver-tical illuminance so crucialfor spatial perception isshared by wallwashers for

    Architect: Braunger Wrtz Architekten, Ulm;Project team Rentschler Biotechnologie GmbH,LaupheimLighting design: Braunger Wrtz Architekten,UlmElectrical installation: Endlichhofer, AchstettenPhotos: Markus Dlouhy, Munich

    www.7-schwaben-apotheke.de

    high-pressure dischargelamps and by LED-based,4-chanel varychromewallwashers in LED tech-nology. Respectively, theseprovide neutral lightingduring the day and col-oured light scenes in theevening hours. All com-ponents are connectedto the Light System DALIeither directly or viaswitching actuators.

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    ERCO Lichtbericht 92 25ERCO Lichtbericht 92

    ral house like this on a beautiful, park-likeof land in the Swedish coastal town of

    mar does of course offer many particularlyactive possibilities for the use of lightings from ERCOs range of outdoor luminaires.

    wever, when we talk about the lightinggn of outdoor parks, gardens and land-es, fundamental possibilities arise for the

    of LED luminaires, regardless of project sizewith special benefits for private buildingers. First of all, how LEDs react to tempera-is itself a valid argument, because u nlikerescent lamps, for instance, the luminous

    of LEDs does not decrease at low tempera-s, like those that are often experienced att in outdoor areas. Quite the opposite ina cool environment has an additional posi-effect on the already long functional life

    EDs. This brings us to another, importantantage. The enormous functional life ofrox. 50,000 operating hours makes lampacement redundant. Paired with the savingsnergy costs due to the high effici ency ofuminaires, this enables the amortisatione higher initial investment in future-proofnology. A f requent request in the privateis to link outdoor luminaires with devices

    h as timers, twilight switches or motion sen- Once again, the LED excels here too withptimum switching behaviour delivering fullimmediate luminous flux. ERCOs powerfulting technology ensures that the lightingity and lighting design capabilities of LEDnaires are no different from that of con-ional luminaires and in some cases, such as the Axis Walklight, they are the only real

    rnative.

    ED light for garden and landscape:ivate residence, Kalmar (Sweden)

    Further ERCO outdoorluminaires are usedaround the spaciousgrounds. These includeTesis in-ground lumi-naires for adding sceniclighting to the trees andmast-mounted Beamerprojectors for illuminat-ing the driveways andplayground equipment.

    The contrast of thecolours of light was adeliberate choice. TheCylinder facade lumi-naires with low-voltage

    halogen lamps empha-sise the natural-colouredwood of the facade. TheMidipoll LED bollard lumi-naires in daylight whiteset the surroundings apartfrom the building, whilealso providing even higherenergy efficiency than thewarm white version.

    Safety on steps andpaths: two types of LEDlighting tool, Axis Walk-light and Midipoll, areused around the grounds

    of this rural house. Asa step luminaire, AxisWalklight provides glare-free and energy-efficientlighting on stairs andsteps. The use of Midipollpresents itself in all situ-ations where not only areareas or pathways to beeffectively illuminated,but also the bollardsthemselves are to func-tion as objects definingthe area.

    Carefully illuminatedinside and out, this ruralhouse radiates warmthand refuge in the harshScandinavian winter.The facade lighting withCylinder Facade lumi-naires emphasises thetraditional timber con-struction material with itsgrazing light, while alsomarking out the entranceand creating an illumi-nated transitional zone

    around the edge of thehouse. The latter is a trickdesigned to reduce thereflections in the pano-ramic windows of thisbungalow and enables aview outside at night.

    Lighting design: Input Interior, VxjLandscaping: Sweco, Anna Svensson, Vxj

    Photos: Tomas Sdergren, Stockholm

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    ERCO Lichtbericht 92 27ERCO Lichtbericht 92

    cade is the public face of a hotel. Whetheroric or modern, it allows the owner anortunity to express the establishments style

    image. It is precisely for this reason that in

    y's major cities, which are pulsating wi th24-7, illuminated facades ensure a hotel

    ents an impressive image at night time as The recently renovated "Intercontinental

    s Avenue Marceau" is self-styled as a 5-star

    tique hotel. Situated in a prestigious quarteraris near to the Arc de Triomp he, the hotel

    sts the attractive historic facade of a 19 th-

    ury townhouse. Working together withO Paris, the hotel management designed aitive yet dramatic concept for the facade

    ting. The lighting approach fuses historicndour with a high-tech look, creating a

    tion that is environmentally friendly andces the running and maintenance costs.

    ED light for facades:tercontinental Hotel, Paris

    The lighting conceptuses the latest energy-efficient ERCO LED light-ing tools for the outdoorarea: Kubus, Focalfloodfacade luminaires andGrasshopper. The lightingdesigners made deliber-ate use of the contrastbetween warm-whiteand daylight-white LEDsin different zones of thefacade.

    tos: Dirk Vogel, Dortmund

    w.ic-marceau.com

    Outside post-modern, inside classic. In 1995, theBonnefanten Museum in Maastricht relocatedinto a new building designed by architect Aldo

    Rossi. This striking building leaves an indelible

    mark on the cityscape. The galleries inside are astimeless and neutral as the outside is contem-

    porary and impressive. White walls, a skylightfor diffuse general lighting, an all-round trackat the correct wall offset for accent lighting or

    wallwashing, this is what curators want a s theideal spatial framework for scenically present-

    ing artworks old and new. ERCO lighting trackshave been used in the Maastricht museum for15 years. Today, another advantage of their ver-

    satility has become apparent. Retrofitting thetracks with state-of-the-art LED spotlights fromthe Optec range has allowed the lighting system

    to be simply and economically updated to thelatest technical standard of efficiency. This wasundertaken in the context of restyling the p er-

    manent collection under the title Augenspiel,curated by Alexander van Grevenstein. Themuseum management in Maastricht was won

    over by the advantages of LED light. Namely theconservation of resources and reduced running

    costs due to lower energy consumption, o pti-mum preservation of the exhibits thanks to low

    UV and IR components. What particularly stoodout in favour of the ERCO spotlights was theexcellent colour rendition of their warm-whiteLED modules and the ability to regu late the

    luminous flux of each individual spotlight sepa-rately using the integrated dimmers.

    LED light in the museum:Bonnefanten Museum, Maastricht

    The BonnefantenMuseums exhibitsinclude excellent piecesof Flemish ecclesias-tical art. The new pres-entation concept of thepermanent collectioncontrasts such ancientmasterpieces over andagainst modern and con-temporary art. Whetherfigurines in the targetedbeam of an Optec LEDspot or large-format

    Lighting design: John van Tongeren,

    Bonnefanten Museum, MaastrichtPhotos: Dirk Vogel, Dortmund

    www.bonnefanten.nl

    paintings discreetlyaccentuated with "flood"characteristics, the newlight underscores thefreshness of the presen-tation.

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    ERCO Lichtbericht 92 29ERCO Lichtbericht 92

    ED light in the coffee house:arbucks at the Altmarkt, Dresden

    Architecture: Starbucks Coffee InternationalDesign, Erin MeyerDesign and implementation: Starbucks CoffeeDeutschland, Construction Management,Hanko GeisslerPhotos: Edgar Zippel, Berlin

    www.starbucks.de

    Background: LEED certificationLEED (Leadership in Energy and Environ-mental Design) is a certification systemfor sustainable buildings that was drawn

    up in 1988 by the American "U.S. GreenBuilding Council". Initially intended forindividual buildings, it developed, notleast at Starbucks establishments, intothe so-called "LEED Volume Program",which enables a simpler certification ofarchitectural concepts for retail and res-taurant chains. The requirements remainas high as before, but the acceptanceof the branches is conducted though thequality management of the owner him-self, compliant with the official certifica-tion of the prototype shop.

    www.usgbc.org/LEED/

    Starbucks, the global brand for the laid-backAmerican way to enjoy coffee, gets serious withthe subject of sustainability. Not just f or thecontents poured into the coffee cup, which arenow largely brewed from fairly traded raw prod-ucts, but also for the worldwide design of thecoffee houses. The first of these new and envi-ronmentally conscious coffee bars in Germanywas established last summer at the Altmarktin Dresden, on the ground floor of a new hotelbuilding designed by the Dresden design officesPfau Architekten for the Spanish NH group. Wechose the city as a location for this special cof-fee house because of the regions rich culturalheritage. As of 2011, all our new coffee houseswill be built according to the same environmen-

    tal and design standards that we are presentingto our guests for the first time here, states RossShadix, Managing Director of Starbucks CoffeeDeutschland, explaining the new design con-cept, which takes up the colours of the coffeeworld and makes liberal use of wood to createa pleasant and quiet atmosphere for enjoyingcoffee. Modern elements are combined withvintage pieces such as recycled barstools or oldoak beams preferably using local sources andmaterials.

    Important elements in the new strategyare energy efficiency and environmental com-patibility. It is not just in the producer coun-tries, but also here in Germany that we go forsustainability. The Dresden outlet is the firstcoffee house in Germany to be registered forLEED certification, comments Ross Shadix.LEED (Leadership in Energy and Environmental

    Design) was developed by the U.S. Green Build-ing Council and stands for ecological construc-tion. It is within this framework that Starbucksuses environmentally friendly materials that arekind to resources as well as local materials andalso reduces the sites consumption of energyand water. In Dresden for instance, the coffeedregs are composted and the employees have adedicated parking space for their bicycles.

    When it comes to the lighting, ERCOs LED-technology and its lighting concept followingthe principles of efficient visual comfort bothcontribute to meeting the criteria for sustain-ability. In addition to the longevity and highluminous efficacy of the LEDs themselves, thereis the precision and effectiveness of the light-

    ing tools that direct the light exactly onto thedesired target surfaces, avoiding any wastedenergy. Quintessence LED wallwashers illu-minate the wall surfaces and vertical goodsdisplays. The serving bar receives brilliant yetglare-free light from Cantax LED spotlightsmounted on a track suspended above this coun-ter. The pleasant lighting quality of the warm-white LEDs underlines the relaxed atmospherethat is so typical of Starbucks.

    ng steam, creamyfroth, fragrantsso and flashingless steel: makinge la Starbucksexperience for allenses. The brilliantof the Cantax LEDights in the counteroptimally bringshe visual side of thisng.

    Wallwashing is a crucialfactor of efficient visualcomfort because it is theilluminance on the verti-cal surfaces delineatingan area that determinesthe subjective impressionof brightness. Especiallywhen combined with LEDtechnology, wallwashingis a key element of sus-tainable lighting design.

    The lighting conceptfor the serving counterin the coffee house canbe transferred to manysimilar situations in the

    catering and retail trades:narrow-beam light fromspotlights accentuates thecounter surface, where itcreates the optimum vis-ual conditions for guestsand staff without causingglare. The rear wall behindthe counter is illuminated

    with vertical light fromwallwashers and togetherwith its product displays,acts as a beacon, assistingorientation in the coffee

    bar and intensifying thebrand experience.

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    ERCO Lichtbericht 92 31ERCO Lichtbericht 92

    An unusual lighting task was presented to thestaff of the Spanish ERCO subsidiary in Molinsdel Rey near Barcelona. It came in the formof this pedestrian road at the new ResearchPark, which is adjoined to the campus of theUniversitat Autnoma de Barcelona (UAB). Theuniversity site lies in Bellaterra, a suburb onthe northern city limits of the Catalan capital.In the framework of its Agenda 21 UAB, thelarge university with its 30,000-plus students isstriving for sustainability in many areas. These

    Casual lounge furniture, plasma info-screensand a ubiquitous WiFi network set the tonefor the Students' Union in Bath and are allsimply taken for granted. The students at thisSouth West of England university belong to ageneration for whom digital technology andnetworking are everyday matters. So they prob-ably also take it for granted that the recentlyopened Students' Union building is fitted withinnovative LED lighting technology to helpcombine high visual comfort with efficient useof energy. Outwardly, the Quintessence LEDdownlights installed in the corridors and foyershardly appear any different from the pendantswith conventional lamps. With their precisemounting detail, glare-free Darklight reflector

    and a frosted-glass diffuser, they have thesame features as all Quintessence downlightsand also deliver a similarly high lighting quality.The size-3 downlights have 14W LED modulesin the colour warm white. The output illumi-nances are comparable with downlights for50W low-voltage halogen lamps or 14W com-pact fluorescent lamps. In addition, they arealso compact, maintenance-free, offer highstability under switching and using the appro-priate control gear, are dimmable via DALI. Inthis respect, Quintessence LED downlights andwireless LAN both have something in common:true advance in technology is not always imme-diately apparent.

    range from the reduction of laboratory wasteand the conservation of biotopes on the cam-pus to the conscious consideration of energyaspects when planning construction projects.Consequently, the use of LEDs as energy-savinglight sources was rightly included in the specifi-cation sheets for the new lighting of the pedes-trian road. At almost 100m-long, this road runsbetween two new buildings in which instituteand technology companies are resident. ThePowercast range of projectors with their sleekprofiles, demonstrate a universal versatility hereeven when mast-mounted. Fourteen PowercastLED projectors with wide f lood Spherolitlenses and 28W warm-white LED modules illu-minate the road surface from a height of about

    4.50m. The contribution towards sustainabilityis obvious: safe, low-maintenance lighting withminimum energy consumption, high visualcomfort for the pedestrians and in the interestof Dark Sky, no spill light whatsoever above thehorizontal plane.

    ED light for education and administration:udents' Union, University of Bath

    LED light for pathways and open areas:Vial UAB Bellaterra, Barcelona

    Powercast projectors withSpherolit lenses wideflood are a very attractiveoption as mast luminaires.Their beams of light aredirected in a deliberatelyirregular pattern, creatinga lively impression.

    Efficient visual comfort:Quintessence LED down-lights as general lightingare supplemented byOptec LED spotlights in

    warm white with floodSpherolit lenses as flexiblecomponents for accentlighting. The entire instal-lation is DALI controlled tosuit the level of demand.

    ersity as both a learn-nd living space: theents also spend muchtime in the lounges,and bars of the

    ents' Union. Materi-urniture and techni-quipment have to be,e all, robust, durableuncomplicated.

    5.5-million-pounding was built withinonths and in closeeration with the stu-s. A declared planningtive for the projecto have a minimum

    on footprint. At Britishersities, the Students'n is a self-managedy that represents the

    Architects: Stubbs Rich, BathLighting designer: Hoare Lea Lighting, BristolPhotos: Rudi Meisel, Berlin

    www.bathstudent.com

    Architects: Bru Lacomba Setoain, BarcelonaPhotos: Andreu Adrover, Barcelona

    http://parc.uab.es

    With their minimalist,clean lines, Powercast pro-jectors are a high-qualitydetail and combine wellwith modern architecture,irrespective of which ofmany different mountingtypes is selected for thisuniversal luminaire group.

    interests of the studentbody and looks after anumber of their concerns:from study groups andthe mediation of accom-modation and jobs to theorganisation of parties.

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    ERCO Lichtbericht 92 33ERCO Lichtbericht 92

    acklights

    Matildelunds Frskola, KumlaThe Swedish Lighting Award (Svenska Ljuspriset)for building projects from 2009 was presentedto the Matildelunds Nursery School in Kumla in

    October 2010. The jury particularly praised theefficiency of the lighting and the successful useof light in creating a stimulating visual environ-ment for the children. In addition to decorativeluminaires, Optec spotlights and wallwashersmounted on 3-circuit track were used for accentlighting and vertical illuminance.

    Architecture and lighting design:Jonas Kjellander, Sweco Architects AB, rebroPhotos: Ulf Celander, Gothenburg

    National Portrait Gallery, CanberraThe International Association of LightingDesigners (IALD) presented 23 projects fromtwelve countries with an IALD award on the

    13th

    of May 2010. Lighting designer MirjamRoos, IALD Associate, received an IALD Awa rdof Merit for the National Portrait Gallery inthe Australian capital of Canberra. Optec spot-lights and wallwashers are also used here tohighlight exhibits and architectural elements.

    Architecture: Johnson Pilton Walker, SydneyLighting design: Mirjam Roos, Steensen VarmingAustralia, Sydney/Canberra

    www.portrait.gov.au

    Award-winning ERCO projectsOnce again in 2010, lighting projects with ER COlighting tools have won important awards. Ourwarmest thanks go to all those involved the

    jury, lighting designers and building owners. Wewould like to briefly p resent three, interesting,award-winning projects here.

    Original Levi's Store, Regent Street, LondonAt the renowned Interiors Awards 2010 ofthe English technical publication Retail Week,the inventors of blue jeans scooped up three

    awards, including the award for Best Use ofLighting. Optec HIT spotlights and wallwashersare the tools in a concept that takes the factorsof efficient visual comfort into consideration.

    Architecture: Checkland Kindleysides RetailDesign, LondonPhotos: Rudi Meisel, Berlin

    oShop 2011, Dsseldorfrnational experts from the world of retaile met in Dsseldorf from the 26 th of Febru-o the 2nd of March 2011, at the EuroShop,worlds largest trade fair for capital goods

    m the retail sector. Amongst the providersghting solutions who were concentratedall 11, LED light was the central theme andO was one of the main attractions. On thesqm-trade-fair stand, the relevant light-ools were available for inspection and also

    wn in use in typical shop situations. Thed was scenically illuminated solely by LED

    ting tools, allowing the connected load ofighting to be reduced by 80%, compared our last EuroShop stand three years ago.

    w.euroshop.de

    Even the experts wereamazed! The entire standwas illuminated solely byERCO LED lighting tools.Five different light scenesilluminated typical shopsituations, thereby illus-trating the five factors ofefficient visual comfort controlled by a LightSystem DALI installation.

    Material samplesinvited visitors to testthe brilliance and colourrendition. ERCO lightingconsultants explainedthe workings of the inno-vative LED optical sys-tems with collimators andSpherolit lenses.

    esting guests,ng conversations:ould like to thanksitors and staff forng to make theShop 2011 such auccess!

    Logotec LED: with itsstriking design, this newrelease at the trade fairis omnipresent, not onlyfeaturing in the graphicartwork, but also actingas the backbone of theentire stand lighting. Theunrivalled narrow spotversion of the LED spot-light met with particularinterest.

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    EERCO GmbH

    Postfach 246058505 Ldenscheid

    Germany

    Tel.: +49 2351 551 0

    Fax: +49 2351 551 300

    [email protected]

    Centre for International LightArt, Unna:Light 21 exhibition

    Lighting design:LDE Kober, Dortmund

    Photos: Alexander Ring

    www.lichtkunst-unna.de

    The Light 21 exhibition from

    04.12.2010 to 27.03.2011 presented

    three exceptional perspectivesof contemporary light art. In the

    context of historical, industrial

    architecture, which gives the exhi-bition galleries of the Centre for

    International Light Art Unna their

    unmistakeable framework, theworks of HC Berg, Brigitte Kowanz

    and Christina Benz were pooled

    together to create an energy-

    charged tour through imaginary

    spaces of light and shadow. Wherenecessary, ERCO spotlights added

    precise accents to the exhibits

    perfectly measured and without

    glare.