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E Lichtbericht 93

Published in November 2011

Bodegas PortiaA state-of-the-art winery, the

Spanish Bodegas Portia in the winecountry of Ribera del Duero oper-

ates according to industrial stand-

ards. This does not detract from

the fascination inherent in wineas a complex result of natural pro-

cesses governed by the immaterial

ingredients of time, intuition and

experience. Celebrating the mys-

tery of wine, Foster + Partners havecreated a spectacular architecture

starring an equally immaterial ele-

ment: light.

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ERCO Lichtbericht 93 1

The technology change at ERCO towards LEDsystems is making huge strides. Once again,this Lichtbericht features a number of amazingprojects based on LED lighting systems. To fur-ther back and reinforce what we believe to bea positive trend by launching new products, allour new ranges for 2012 are based on LED tech-nology. Page 16 will give you a first impressionof the diverse and innovative LED products forindoor and outdoor applications.

An LED case study involving ERCOs ownTechnical Centre is described in detail onpage 20. The entire foyer section here has been

updated to feature the latest state-of-the-artLED lighting system and the 75% savings inenergy are a welcome side effect. As a f urtherpositive upshot, aside from reduced operatingcosts, CO2 emissions are cut by 68.13 tons ayear.

100% LED lighting in retail: A successfulexample of this is the GANT Woman Store inPrague. Featuring Logotec LED spotlights andQuintessence LED wallwashers and directionalluminaires, it shows through skilful integrationof vertical illuminance components into thelighting design how to create a pleasant lightatmosphere for customers.

Vertical illuminance i.e., wallwashing isalso the topic of an extensive study conductedby architectural researchers Prof. Dr. Dr. KaiSchuster and Dr. Marc Kirschbaum, featuredfrom page 12 in this Lichtbericht. The studyexamines and describes scientifically the influ-ence of systematic wall illumination on spatialperception and wellbeing of the users. It sen-sitises us to the importance of a more carefuluse of light in a design context and shows howthe ratio of vertical to horizontal illuminan cecomponents allows statements to be made onthe use and character of architecture.

LED technology is just as suitable for thehotel and gastronomy sectors. Ibis, a hotel chainoperating in the highly price-sensitive economysector, has opted for LEDs in its new design andlighting concept to stand out as a hotel fromthe ever increasing competition. Vertical illu-minance using Quintessence LED wallwashersas a central component of the perception-

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

1028762000 2011 ERCO

Photographs (Page): Ian Barnes, Sydney (2, 3),Frieder Blickle (3, 36, U4), Julia Cawley (1), AkselGross, electricgobo (13-14, 16), Stefan Hofmann,Lichtwerke (3), Tom Kessler Photography (30), Mar-tin Krautter (37), Iara Kremer (36), David Kuntzsch(37), Alexandra Lechner (2), Thomas Mayer (U1,4-5, 6-11, 12, 24-25, 34-35), Rudi Meisel (2, 3),Thomas Pflaum (3, 28-29), Alexander Ring (16-21),Lukas Roth (32-33), Nicolas Saieh (2), Dirk Vogel (2,3, 31), Edgar Zippel (2, 3, 26-27).

Translation: Lanzillotta Translations, Dsseldorf

Tim Henrik Maack

Background

Wallwashing and perceptionArchitectural researchers Prof. Dr. Dr.Kai Schuster and Dr. Marc Kirschbaumexamine spatial perception and spatialeffect as a function of lighting.

Projects

16

20

22

23

orientated lighting concept underlines thewarm and cheerful atmosphere of Ibis newinterior design.

The illumination of art in museums and gal-leries is, by nature, a classic case for wallwash-ing. The Fleming Collection in London pickedERCOs Logotec LED wallwasher for its lightingsystem. With a connected load of 14W, it meetsall the requirements of a modern and energy-efficient lighting solution for high-qualityexhibits.

New products 2012ERCO innovations a preview

ERCO Technical Centre:An LED case study

FocusWallwashing as perception-orientatedlightDouble focusLED wallwasher technology

Introduction

Report

12

24

26

28

30

31

32

34

ZARA, Via del Corso, RomeOnce again, ZARA relies on ERCOs light-ing expertise for what is currently itslargest store.

GANT Woman Store, PragueA small revolution in lighting and thebearer of good news for the environ-ment: the first-ever store to be lit

entirely by ERCOs LED technology.

Vertical illuminance for hotels:Ibis opts for LEDsAt Ibis, everything hinges on optimumvalue for money. Its latest milestone: anew design and lighting concept.

Vertical illuminance for exteriorlighting: Joslyn Art Museum, OmahaNew light for sculpture park and faadeof the art deco building and its annexdesigned by Foster + Partners.

LED wallwashing for galleries:Fleming Collection, LondonThe illumination of paintings is a primeexample of vertical visual tasks: solvedin the Fleming Collection with LogotecLED wallwashers.

Villa Vauban, LuxembourgExpressive spaces, clear surfaces, con-trasting materials: these are the stylisticdevices of the architectural design byDiane Heirend and Philippe Schmit illu-minated by the Licht Kunst Licht lightingdesigners using ERCO lighting tools.

Wallwashing for museums:Museo de la Evolucin Humana,BurgosThe museum and its adjoined instituteshowcase the many different uses forvertical illuminance.

About this issue

Keylights

Bright prospects

1

2

4

Bodegas Portia, Gumiel de Izn

Lighting designer Claude R. Engle IVilluminates the Spanish winery effec-tively using the methods applied inqualitative lighting design: accentlighting, zoning, vertical illuminance.

6

36 Backlights

Contents About this issue

Light & Technology

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ERCO Lichtbericht 93 3ERCO Lichtbericht 93

eylights

Hobart (Tasmania)Modern light art in a museumat the opposite end of the worldfrom a European perspective. Here,collector David Walsh has set up ameeting place of old, modern andcontemporary art that breaks manyconventions. In terms of lighting,though, the MONA also opted torely on ERCOs museum expertise.

MONA Museum of Old and New Art,HobartArchitect: Fender Katsalidis, MelbourneLighting design: Vision Design Studio,Sydneymona.net.au

LondonThis is not just any cafeteria; it is thecafeteria of one of the best-knownand most productive architecturefactories in the world the River-side Studios of Foster + Partners inLondon. Wall paintings show spec-

tacular views of the partnershipsprojects, uniformly illuminatedby Optec wallwashers for halogenlamps.

Cafeteria, Foster + Partners RiversideStudios, LondonArchitect: Foster + Partners, ChristopherLam, Londonwww.fosterandpartners.com

Santiago de ChileMiele, the German manufacturerof high-quality electronic equip-ment, presents itself in a futuristicnew building in Chiles capital. Atnight, the glass faade transformsthe building into light architecture;inside, Optec LED spotlights ensureefficient visual comfort and a bril-liant display of the products.

Miele Gallery, Santiago de ChileArchitect: Gonzalo Mardones Viviani,Santiago de ChileLighting design: Ikatu, Santiago de Chilewww.miele.cl

MainzAn elegant, two-storey pavilionfrom the 1960s in Mainz city cen-tre was redesigned by perfumeand cosmetics chain Douglas intoa trendy branch: with an interiordesign and a new, interactive pres-

entation concept that hopes toaddress particularly a younger tar-get group. The store is lit almostexclusively with brilliant, directedlight: from Quintessence directionalluminaires for HIT mounted in theuniquely shaped ceiling elementsand from black Logotec spotlightsfor HIT that discreetly form asecondary feature in the ceilingappearance.

Douglas trend store, MainzArchitecture and lighting design:Lewang Architekten, Munichwww.douglas.de

Vila Nova de Foz CaThe Vale do Ca in NortheasternPortugal is an important WorldHeritage site with prehistoric rockcarvings. A new museum nowbrings together modern and stone-age artefacts excitingly stagedusing TM spots mounted on tracks.

Museu do Ca, Vila Nova de Foz CaArchitect: Camilo Rebelo, Tiago Pimentel,Sandra Barbosa, PortoLighting design: G.O.P. Gabinete deOrganizao de Projectos, AlexandreMartinswww.arte-coa.pt

ViennaThe stilwerk on Praterstrae nowintroduces the concept of com-bining diverse home design brandsunder one roof in Vienna: On asite measuring 220m2, upholsterymanufacturer Bretz, for instance,

presents its cult sofas accentu-ated by Logotec spotlights againsta display wall uniformly lit by Optecwallwashers.

Bretz Mbel, stilwerk, ViennaArchitect: giftgrn design gmbH, Viennawww.bretz-austria.at

Weinstadt-StrmpfelbachPure is more than just the label ofthe Dannenmann fashion store; it isas much the guiding theme for thenew showroom in Weinstadt nearStuttgart. Walls and ceilings mergeinto each other seamlessly, thelighting using ERCOs Quintessenceluminaires blends into the interiordesign in a perfect finish.

Dannenmann Pure fashion store,Weinstadt-StrmpfelbachArchitect: w67 Architekten Schulz +Stoll, StuttgartLighting design: Stefan Hofmann,Lichtwerke, Colognewww.dannenmann-pure.com

LisbonThe Champalimaud Foundationhas financed a state-of-the-artbiomedical research centre whoseavant-garde architecture reflectsthe standard of scientists workinghere. Quintessence downlightsand wallwashers illuminate areasincluding the auditorium.

Champalimaud Centre for the Unknown,LisbonArchitect: Charles Correa, MumbaiLighting design: dpa Lighting Consultants,LondonElectrical design: Copreng, AntnioAlmeida Eng., Lisbonwww.fchampalimaud.org

HamburgThe International Maritime Museumin Kaispeicher B, the oldest quay-side warehouse in the harbour city,displays exhibits from the seafar-ing world in an area measuring10,000m2. Along with ERCO spot-lights, it is the Quintessence wall-washers in particular that ensureuniform illumination of the wallsand backgrounds.

IMM, HamburgArchitects: MRLV Architekten, HamburgExhibition architecture: Kwod Design,HamburgLighting design: Ulrike Brandi, Hamburgwww.internationales-maritimes-museum.de

Perception-orientatedlighting design: The light-ing of the high-rise foyeris focused on the brightwall surfaces, not thedark floors. The bright-ness level is improvedas a result, while energycosts are reduced.

ViennaThe Rahimi family business is theprime address for high-qualityoriental carpets in Vienna. Mag-nificent antique items are set off toproduce an optimum scene in theredesigned store in Spiegelgasse 1

effectively illuminated by Cantaxspotlights and Quintessence wall-washers.

Rahimi & Rahimi oriental carpets, ViennaArchitecture and lighting design:Archvision, Sadegh Derakhshan, MartinHuber, Viennawww.rahimi.at

LondonBespoke tailor Douglas Haywardsaw stars such as Clint Eastwoodand Michael Caine stream in andout of his shop. When the founderdied in 2008, the company onMount Street, Mayfair, needed toreinvent itself: with an interiordesign concept that combinestradition with future and lightprovided by ERCO.

Douglas Hayward Bespoke Taylors, LondonArchitect: Walters Consultancy, Londonwww.douglashayward.co.uk

LeipzigThe listed faade of a former,five-floor trade fair palace hidesa contemporary grand hotel thatcombines historic building fab-ric with a modern design at 5-starlevel. The clever lighting design

featuring recessed ceiling andfloor luminaires supplied by ERCOadds significantly to the specialatmosphere.

Steigenberger Hotel Handelshof, LeipzigInterior and lighting design:Markus-Diedenhofen, Reutlingenwww.steigenberger.com/Leipzig

SydneyGrosvenor Place, a 180m highoffice tower built in 1988, is one ofthe works of Austrian-born HarrySeidler (1923-2006). After hisemigration and periods in Englandand the USA, Seidler advanced to

become the leading exponent ofmodern architecture in Austra-lia. New lighting in the foyer nowemphasises the architecturaldesign even more favourably whileat the same time aff ording massivecuts in energy and maintenancecosts. The lighting tools chosen bythe designers include wallwashers,downlights and directional lumi-naires for metal halide lamps fromERCO.

Grosvenor Place Building, SydneyArchitecture and lighting design:Harry Seidler & Associates, Sydneywww.grosvenorplacesydney.com.au

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right prospects ZARA, Via del Corso, Rome Architect: Giulio de Angelis (18451906)Architecture (refurbishment) and lighting design:Duccio Grassi Architects, Milan/Reggio Emilia;Jos Frojn, Mabel Segui, Estudio ZARA, ArteixoPhotos: Thomas Mayer, Neuss

www.zara.com

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0 5 10mFaustinoWinery

-Sit e Pla n

cent years, the wine countries of Northernn have evolved into an Eldorado of extra-nary architecture. Wineries use architectsternational renown, such as Cala vatra,

neo, and Gehry, striving to beat their com-tors in the realm of spectacular design.dings such as the headquarters of Marqusiscal, whose style mimics that of the Gug-heim Museum of Bilbao, are highlights ofunofficial competition. The new bodegasstitute trademarks, attractions and uniqueacteristics, all essential in todays climate ofe competition for market shares and repu-

on. The most recent example of this trend isvided by the Gruppo Faustino: Its Bodegasia, newly designed by Foster + Partners andted in Ribera del Duero, combines efficiencyelegance, takes advantage of the naturalography of the surrounding landscape, andniously alludes to the functional processesinemaking all effectively accentuatedlaude R. Engle IV and his integral lightingcept.is the first time Lord Foster and h is team

e designed a winery. What they came up as an overall layout for the building looks

a stylised trefoil. Three wings reach out fromcentre like rays from a star. Each wing housesof the three phases of winemaking: the fer-tation in steel tanks, the maturing in oakels, and ultimately, the bottling and stock-The heart of the facilities beats in the centre

he complex. This is wh ere all the processesurring in the three wings are controlled. Intion, it comprises the light-flooded publicincluding a shop, a degustation lounge, andtaurant overlooking the large nearby ter-s and pools, and beyond, the wine country.sed-in galleries on a mezzanine level allowors to witness the production processes in

hree wings, thus making the enj oyment ofe well beyond its degustation a sensualerience embracing the long tradition ofnish wine culture.he lighting concept by the design firmde R. Engle follows the approach of trans-ncy. A mostly discreet illumination luresors into the world of wine. Carefully placednts will please both enthusiasts of state-he-art winemaking technology and wineonados seeking to explore the romantic

ects of winemaking. To achieve this, Engleed the focus of his design on the key ele-ts of wine production. Inspired by discus-s with the winemakers, he decided to usent lighting to illuminate only the tempera-readouts, the spouts and the tank openingsughout the wing dedicated to fermenta- Put to the practical test, it was soon con-

odegas Portia, Gumiel de Iznen Foster and Engle join forces, it issurprising that architecture and lightblended in new and unexpected ways.

make this Spanish winery shine, Claudele IV applied methods of qualitativeting design: accentuation, zoning, andical illuminance.

Architects: Foster + Partners, LondonLighting design: Claude R. Engle LightingConsultant, Chevy Chase MDPhotos: Thomas Mayer, Neuss

www.bodegasportia.com

Its three-winged layoutblends into the land-scape. Because of the hillytopography, the threewings are embedded inthe ground to differentdegrees, ensuring an idealclimate for each stageof the wine production;for example, in the Navede Botellas, where thewine matures in bottles.

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At Bodegas Portia,modern architectureand state-of-the-artwinemaking technologymeet a wine culture thatevolved over centuriesand is represented bylocal wine-growers. Thismakes for a promisingblend of tradition andavantgarde.

Parscan wallwashers for75W halogen lamps pro-vide vertical illuminancein the restaurant. A glassfront opens out onto theroof terrace, where oncemore, old barrel stavesmake for an attractivewall decoration.

Wine-inspired wall deco-ration: Everywhere in thebuilding, structures madefrom old barrel stavesare mounted and lit asdecorative elements. Ingiant stainless steel tanks,the grape juice undergoesfermentation. To natu-rally discharge the carbondioxide this produces, thetanks are located in theone wing entirely aboveground level. The light-

ing there is restricted toconnecting paths, operat-ing instruments and theweight-bearing concretecolumns accentuated byupward-facing Beamerprojectors for 50W halo-gen lamps (bottom).

ed that this minimum amount of light wascient even for the winemakers. They say

wine is sleeping. Hence, we provide only ash light as is n eeded for the wine produc- but take heed not to wake the wine, sayse. As a result, the industrial lighting instru-ts fitted with fluorescent lamps, concealed

ween the ceilings wooden blades, are sel- used.t Bodegas Portia, the sleeping wineures in the barrique, as tradition requires it.O Gimbal projectors fitted with 20W metalde lamps and Spherolit reflector steep the

barrels in a warm and subtle light. The pathsnecting the barrel storage areas are distin-hed through a zoned illumination of a coolert colour (5,000K) so that the winemakerscarry out all activities without having toify the lighting arrangement. The architectseved a fascinating effect by leaving a gap

ween the concrete walls located beneathund level and the wall construction out ofden girders, then fitting the gap with wine-

glass so that daylight seeps through in theetizing hue of a Reserva.he wing in which bottles are stored thee de Botellas is illuminated by ERCOcan projectors with flood reflectors fitted 100W low-voltage halogen lamps. Thisector type with outstanding anti-glareperties guarantees maximum visual comforta flexible, directed, yet discreet illumina- Mounted on the hall ceiling, they accen-e the impressive bottle walls of Bodegasia. The effect they produce by lighting indi-al bays is reminiscent of the atmosphere inthedral a cathedral of wine.

While the lighting concept in the productions calls for the greatest possible subtlety,

visitors' areas in the centre of the winery

ire more extensive, uniform lighting.-wood surfaces and low-key colours in theaurant, the bar, and the degustation loungee for an exclusive aesthetic. In this environ-t, downlights for 75W low-voltage halogen

ps achieve a particularly pleasing lightity. They are incorporated into the verticales of the louvre ceiling. In addition to piecesodern art, the wall decoration featureses of old wine barrels. They are lit by Parscanwashers. All in all, the concept of opennesstransparency is continued throughout theronomy and visitors areas. Rows of l arge

dows allow visitors to see both the wine bar-resting inside the Nave de Barricas and thescenery of Ribera del Duero.

odegas Portia

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entrance is the only part of the winery

re Foster + Partners departed from theiral concept of transparency. There, the archi-s concealed the central tank, which standsetres tall, behind blue-green frosted glass.ting designer Engle accentuated this giante of technology with colourful lights so

o make its shape vaguely an d mysteriouslyle through the large glass surfaces. In sum-y, the lighting concept builds on the archi-ure in all parts of Bodegas Portia, enhances

it, and adds individual accents. Architectureand lighting together have turned what was afunctional building into an adventure wherethe magic of winemaking becomes tangible for

the visitor.

Norman FosterNorman Foster is one of the most impor-tant architects practising in the worldtoday. He is chairman and founder of

Foster + Partners, based in London, withproject offices worldwide. Over the pastfour decades the practice has pioneereda sustainable approach to architectureand ecology through a strikingly widerange of work, from urban masterplans,public infrastructure, airports, civic andcultural buildings, offices and workplacesto private houses and product design. Hebecame the 21st Pritzker Architecture Prizelaureate in 1999 and was awarded thePraemium Imperiale Award for Architec-ture in 2002. In 2009, he became the29th laureate of the prestigious Prince ofAsturias award for the Arts.

www.fosterandpartners.com

The top level of the cen-tral area with its bar andrestaurant overlooks theroof terraces with reflect-ing pools and, beyond,the vast scenery of Riberadel Duero.

Daylight seeps through ahorizontal gap betweenthe base and the hallconstruction, filtered bycoloured glass to radiatethe rich hue of heavy-bodied red wine. The bar-riques in which the winematures are illuminatedwith warm light fromGimbal projectors fittedwith metal halide lamps.

Vertical illuminance inthe restaurant of BodegasPortia: ERCO lens wall-washers for recessedceiling installation fitted

with 90W halogen lampsare mounted within thewooden blades of thelouvre ceiling. Their lightdefines the rooms dimen-sions, properly accen-tuates the paintings andmakes for a glare-freecomponent of ambientlighting.

aude R. Engle IV graduated from CollegefWooster with a BA in Theatre and Philos-phy and received an MFA in Creative Writ-g from New York University. In Barcelona

r six years, he worked as a freelanceghting designer as well as a translator ofchitectural papers and publications. Heceived numerous awards for his designsr theatre and dance companies. WhileSpain, he oversaw the installation ofe firms lighting design for the Palau de

ongresos in Valencia, the Kimmel Centerr the Performing Arts in Philadelphia

nd many other projects in Europe and theSA. He is currently Senior Designer foregent Tower, a multiuse tower in Sydney,ustralia, Freedom Tower at the Worldade Center in New York, and the Win-ear Opera House in Dallas, Texas.

ww.crengle.com

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earch really isnt required in order to workthat light, light colour and type of light-affect our impression of a room we seeday in and day out. Using different light-tools in different ways changes a spaceectively, our experience of it and our

ge pattern. In designing our own home,nstance, we make sure that furnishinglighting in a room or a room zone har-

nise to form a unit and fit its specific pur-e. A reading corner, therefore, tends to beminated differently from the workspacehe kitchen or the workbench in the base-

t.ghting research in the context of workronment and ergonomics has long sincen a recognised, interdisciplinary field thatuates just how much the lighting situa-influences the performance of individu-

n the industry, but also their cognitiveabilities. Less known are research effortshave gone so far as to prove a connec-between lighting and our taste of foodne connoisseurs may find the article byrfeld et al. (2009) of interest here.

n terms of the aspects of perception anduation of space as factors of vertical andzontal illuminance in rooms, however,chological research is still in its infancy.article gives a review on an empiricaly conducted in cooperation with ERCOhe subject of spatial perception and eval-on as a factor of lighting. The results ofstudy are presented after a brief synopsissychological perspectives of the humanhanisms of spatial perception and evalu-n.

tial perception from the perspectivenvironmental psychology

ironmental psychology is an academicd investigating peoples interactionsh the environment, their perception (cog-on), attitude (emotion) and action (e.g.bardo & Gerrig 2008). This simple modelckly expands under the assumption thate components are closely linked andonal variables determine the intensitypatial perception and the evaluation ofce. Examples of personal variables arevious experiences, current state, actionets, etc. Although psychology placesfocus on the person, environmentalchology acknowledges in the conceptffordance introduced by Gibson (1989)the room in itself affects the individual

ependently: because of the rooms equip-t and design and here especially theting the room situation affords con-

Wallwashing and perception

hitectural researchers Prof. Dr. Dr. Kaiuster and Dr. Marc Kirschbaum exam-

spatial perception and spatial effect asnction of lighting.

crete possibilities; the room invites users totake certain actions. In the ideal case, theindividual and room harmonise: the personsdesires and the rooms characteristics are inagreement.

From the viewpoint of evolution psychol-ogy, a number of fundamental mechanismsof spatial perception and evaluation haveprevailed in the course of mans evolution. Inthis way, people tend to prefer environmentsthat (a) involve a moderate level of complex-ity and (b) are legible without being bor-ing, and which possess a certain degree of (c)coherence, but at the same time (d) comprisemysterious components that stimulate theneed to explore and promise discoveries

(Kaplan & Kaplan 1995). Along with the needto explore, as humans we are also intrinsically

wired to avoid danger and predators (Apple-ton 1975; Orians & Heerwagen 1992). Inother words, we seek to analyse the struc-ture of new, unknown environments underaspects such as danger and escape options,scanning our surroundings, for instance,for spatial borders and reference points inorder to estimate distance. This evolution-ary perspective will, of course, need to betranslated into the current context. Spatialevaluation processes for us do not generallyoperate in the survival mode, but ratherfocus on experience. We can also assumethat the aforementioned evolutionary pat-terns apply to everyday situations and arereflected in spontaneous, emotional evalua-tions of space, i.e. in our experience of it.

Example of departmentstore: Image a (top)primarily with verticalilluminance; image b(bottom) primarily withhorizontal illuminance.

Lighting has a substantial effect on our abil-ity to recognise our environment, on ourevaluation and use of space. It was used inpsychological research studies as a parameterfor spatial evaluation. A key research study

was introduced by Flynn in 1977 (cf. Kebeck1997, p. 225). Flynns work allows deduc-tions to be made in terms of vertical and hori-zontal illuminance situations. Hence, rooms

with extensively illuminated walls appearbigger and help us perceive the room moreclearly. Non-uniform wall illumination, incontrast, enhances the feeling of relaxationand has a positive effect on the rooms per-ceived pleasant atmosphere. Low light inten-sities in the vicinity of the observer generallyconvey a feeling of privacy. At the same time,more recent studies (e.g. Fleischer 2001) haverevealed that the colours of light (neutral

white vs. warm white) impact our evaluationof the room. These research studies, however,

were not designed explicitly for a systematiccomparison of horizontal and vertical illu-minance, so that considerably more researchinto these aspects is needed.

Empirical study on spatial evaluation as afactor of lighting

ERCO commissioned an empirical study tobe conducted on the issue of spatial percep-tion and spatial effect as a factor of verticaland horizontal illuminance in different roomsituations. The focus here was on soft fac-tors in the evaluation of specific room andlighting situations. In other words, the study

was based strictly on surveys rather than onphysical measurements. The visual mate-rial which ERCO had made available for thesurvey showed nine different room situationseach with vertical and horizontal illuminance.The rooms depicted were both of a publicand a semi-public or private nature present-ing high-quality interior design, materialsand furnishing in the form of a rendering.The rooms were kept strictly abstract; individ-uals, details of appointments or personalitems were not depicted. The high quality ofthe renderings led most of the respondentsto believe that these were photographs. Theimages were projected onto a wall, while therespondents answered questions in a stand-ardised questionnaire on each image individ-ually and in the form of an image comparison.

The questionnaire had been devised spe-cifically for this study, drawing, where neces-sary, on existing scientific work (e.g. Custers2010, Ginthner 2002, Houser & Tiller 2003,

Loe, Mansfield & Rowlands 1994, 2000,Pellegrino 1999). Ultimately, the scope ofquestions included in the study focused on:

appearance of the room, subjective percep-tion of the room, privacy, orientation/safety,light attributes, assessment of the light. Wealso queried the respondents on the fit oflighting and use, and of lighting and archi-tecture.

The study was conducted in the winterterm of 2010/11 as part of seminars heldat the Darmstadt University of Applied Sci-ences and the University of Kassel. In total,

Wallwashing enhancesthe perception of archi-tectural spaces and isused to facilitate verti-cal visual tasks. As itsignificantly influencesthe impression of bright-ness in a room, verticalilluminance is also a keyfactor in ensuring effi-cient visual comfort. Thestudy by Schuster andKirschbaum shows howsubtly perception andevaluation depend on thelighting situation, butalso on the usage context.(Photo: Museum Puntadella Dogana, Venice.Architect: Tadao Ando,Tokyo.Lighting designer: FerraraPalladino e Associati,Milan.)

135 individuals rated 18 individual imagesand 9 image pairs. The surveys took an aver-age of around 70 minutes. The average ageof the respondents, who mostly studied inthe fourth term, was 24 years. The surveyinvolved 62% of women and 38% of men.In terms of subjects, the respondents pri-marily studied architecture (N=53), interiordesign (N=25) and town and regional plan-ning (N=11), i.e. 2/3 of the respondentsstudied a subject related to spatial design.The remainder covered a wide spectrum ofsubjects. The lighting situations were ratedin the form of a semantic differential, whichinvolves a bipolar response scale with con-trasting attributes, such as inviting unin-

viting. Calculations for each image pair andeach attribute were based on the statisticalmethod of the t-test.

Results of the studyTo illustrate the design of the study and themethods used, the images and charts onpage 13 show the results of one of the nineimage pairs before the central results of

the overall study are presented. The imagesdepict a room of a large department st orefor ladies wear. The sales areas are furnished

with dark, medium-height shelves arrangedin parallel lines throughout the room andalong the back and side walls. The aisle hasa light-coloured floor covering with a rela-tively high reflectance. The vertical room

boundary has a light purple hue. The floorof the department store level is illuminated

The study result for thedepartment store exam-ple, shown as a semanticdifferential. The statisti-cally significant differ-ences are indicated intwo ways: (a) The termpairs are shown in boldprint and (b) the averageindicator is filled in onthe scale. The orange linerefers to the image withvertical illuminance, theblack line to the roomwith horizontal illumi-nance.

dvrs

exg

R oras

moooos

Borg

Low oras

irsg ursg

Lighting does not aid task

completion

Lighting aids task

completion

Spacious

Comprehensible

Public

Clear

Formal

Pleasant

Cosy

Bright

Reassuring

Safe

Stimulating

Nice

Inviting

Lighting enhances

architecture

Lighting situation

appeals

Cramped

Incomprehensible

Private

Complex

Informal

Unpleasant

Uncomfortable

Dark

Ominous

Unsafe

Relaxing

Ugly

Uninviting

Lighting does not

enhance architecture

Lighting situation does

not appeal

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Authors:Prof. Dr. Dr. Kai Schuster studied psychol-ogy (Dipl.-Psych., Dr. phil.) and architecture(Dr.-Ing.). He worked as an environmentalpsychologist in different research insti-tutions and at the Institute of Psychologyat the University of Kassel. Since 2010,he has been a professor at the DarmstadtUniversity of Applied Sciences where helectures in social psychology and sociol-ogy at faculties including the Departmentof Architecture. His work has focusedon architectural psychology and theory.Together with Marc Kirschbaum, he is apartner of the pragmatopia architektur.stadt.leben office (www.pragmatopia.de).

Dr. Marc Kirschbaum (architect) studiedarchitecture in Kassel (Dipl.-Ing.), Man-chester/GB and as a Fulbright scholarin Seattle/USA (Master of Architecture)receiving his doctorate in Kassel (Dr.-Ing.);

Marc Kirschbaum does research andteaches architectural theory and designat the Institute of Design in Built Fabricat the University of Kassel. In 2009 and2010, he was a visiting professor at theClemson University, School of Architec-ture in South Carolina/USA. Togetherwith Kai Schuster, he is a partner of thepragmatopia architektur.stadt.lebenoffice (www.pragmatopia.de).

Literature

Appleton, J. (1975): The experience of landscape.London: Wiley & Sons

Berlyne, D.E. (1974): Novelty, complexity, and inter-estingness. In: Berlyne, D.E. (Ed.). Studies in the newexperimental aesthetics: Steps toward an objectivepsychology of aesthetic appreciation. New York. Wiley,pp. 170-180

Custers, P. (2010): Lighting in retail environments:Atmosphere perception in the real world. In: LightingResearch and Technology. September 2010 Vol. 42.No. 3, pp. 331-343

Fleischer, S. E. (2001): Die psychologische Wirkungvernderlicher Kunstlichtsituationen auf den Men-schen. Dissertation ETH Zurich 14 0 33

Flynn, J. E. (1977): A study of subjective responses tolow energy and nonuninform lighting systems. In:Lighting Design & Application, Vol. 7, pp. 6-15

Gibson, J.J. (1989): Wahrnehmung und Umwelt. Derkologische Ansatz in der visuellen Wahrnehmung.Weinheim: BeltzPVU

Ginthner, D. (2002): Lighting: Its Effect on People andSpaces. In: Implications. Vol. 2, Issue 2. www.informe-design.umn.edu

Houser, Kevin W.; Tiller, Dale K. (2003): Measuring the

subjective response to interior lighting: paired com-parisons and semantic differential scaling. In: LightingResearch and Technology. September 2003 Vol. 35No. 3, pp. 183-195

Kebeck, G. (1997): Wahrnehmung: Theorien, Methodenund Forschungsergebnisse der Wahrnehmungspsycho-logie. Weinheim: Juventa

Kaplan, R. & Kaplan, S. (2005): Preference, Restora-tion, and Meaningful Action in the Context of NearbyNature. In: Barlett, P. F. (Ed.). Urban Place. Reconnect-ing with the natural world. Cambridge: MIT Press,pp. 271-319

Kaplan, R. & Kaplan, S. (1989): The experience ofnature: A psychological perspective. New York:Cambridge University Press

Loe, L.; Mansfield, K.P.; Rowlands, E. (1994): Appear-ance of lit environment and its relevance in lightingdesign: Experimental study. In: Lighting Research andTechnology. September 1994 Vol. 26 No. 3, pp. 119-133

Loe, D.L.; Mansfield, K.P.; Rowlands, E. (2000): A step inquantifying the appearance of a lit scene. In: LightingResearch and Technology. Dezember 2000 Vol. 32.No. 4, pp. 213-222

Maack, T.H. & Pawlik, K. (2009/Ed.): Lichtpositionenzwischen Kultur und Technik. Ldenscheid: ERCO

Oberfeld, D., Hecht, H., Allendorf, U., & Wickelmaier, F.(2009): Ambient lighting modifies the flavor of wine.Journal of Sensory Studies, 24(6), 797-832

Orians, G. H. & Heerwagen, J. H. (1992): Evolvedresponses to landscapes. In: Barkow, J. H.; Cosmides,L. & Tooby J. (Eds.). The adapted mind. Evolutionarypsychology and the creation of culture. New York:Oxford University Press, pp. 555-579

Pellegrino, A. (1999): Assessment of artificial lightingparameters in a visual comfort perspective. In: Light-ing Research and Technology. September 1999 Vol. 31.No. 3, pp. 107-115

Zimbardo, P.G. & Gerrig, R.J. (2008): Psychologie.Munich: Pearson Studium

heterogeneously using horizontal illumi-nance, the light beams are clearly visible.The wall illumination is different: the roomin image a features vertical illuminance, theroom in image b, horizontal illuminance.

Whereas the room in image b with hori-zontal illuminance (black line in the seman-tic differential) appears rather more dark,the room with vertical illuminance (image a;orange line) gives the impression of being

brighter and more spacious. This room wasgenerally felt to be more public and formal.The vertical illuminance here was said toincrease the ability to find ones bearingsand the feeling of safety (easier to discern,clearer, safer and more reassuring). On the

whole, the room with vertical illuminancewas perceived to be more pleasant, cosier,more stimulating and inviting and, ulti-mately, nicer.

The detailed results for the departmentstore example are shown as a semantic dif-ferential. The statistically significant differ-ences are indicated in two ways here: (a) Theterm pairs are shown in bold print and (b)

the average indicator is filled in on the scale.The orange line refers to the image with ver-tical illuminance, the black line to the room

with horizontal illuminance.The aforementioned example was only

one pair of the altogether nine image com-parisons. Across all room situations, therespondents showed the following results:1. Irrespective of the appeal, vertical illumi-nance gave the impression of a more spa-cious, public and less informal room and

was felt to be easier to discern and clearer.2. In regard to three of the image pairs, therespondents explicitly preferred the verticalilluminance situation: a company lobby, aclothing store, a flight of stairs.3. In the other room situations, the horizon-tal illuminance received more positive andemotional reactions. They were felt to bemore inviting, cosier, suggesting a higherlevel of privacy and seemed more interestingand richer in contrast.

On closer inspection of the study resultstaking into consideration the room types,usage aspects and the public room privateroom dimension, the following conclu-sions can be drawn: Vertical illuminance is

preferred in situations where the room isclearly used for public purposes and whereit is necessary to find ones bearings. Thisis qualified when the room use is geared toemphasise objects in the room (exhibitionsituation). In these cases, it is this very argu-ment of focusing on a central element in theroom that had respondents prefer largelyaccentuating illumination. Horizontal illu-minance was preferred for any room that

was interpreted to be private, being associ-ated with such attributes as cosier, morecomfortable, but also darker and less stimu-lating than vertical illuminance.

Private versus public rooms

On the whole, the research results fit intothe theoretically derived spatial perceptionpatterns described above. Obviously public

ple of company

y: In rooms clearlyeived as publics, the respondentsrred the lightingept focused on verti-luminance. Associ-attributes include:spacious, easier

mprehend, clearermore reassuring.

rooms are felt to be more pleasant with ver-tical illuminance in that they appear safer,easier to discern, clearer and more reas-suring. Unknown, public room situationsrequire us to find our bearings, so that weinstinctively look for security anchorssuch as comprehension, brightness, clearstructure, room boundaries. At the sametime in semi-public and private rooms, we

would sooner see focused lighting ratherthan uniform illumination, precisely withthe aim of underlining the private characterof the room. If the room setting is designedto focus on individual items, such as inexhibition situations, point source lighting

becomes the preferred concept of choiceeven for public rooms. In this sense, the ter-minology coined by Richard Kelly (based on

Maack & Pawlik 2009) lets us deduce thatin environments which require orientationand comprehension, visibility (ambientluminescence) is a priority, and that verticalilluminance increases the information in aroom. If the attention of users of the roomis to be drawn to something, if they are to

recognise it (focal glow), vertical surfaceilluminance is usually more distracting andconsidered less suitable. Of course andpsychology is well aware of this architec-ture and spatial illumination are also aboutcreating positive tension (cf. soft fascina-tion based on Kaplan & Kaplan 2005). Inthis respect, the optimal fit does not nec-essarily achieve the best spatial impression,as do slight variations and disruptions(cf. Berlyne 1974). Hence, it is likely, forinstance, that again in agreement with

Kelly a cleverly interrelated mix of focusedlight in exhibition situations using focalglow and vertical illuminance as play of

brilliants adds to the experience of theroom and the artwork.

In this respect, our analysis is but aninitial explorative study. In the interest ofoptimising its real-life validity, for instance,a series of research projects in true environ-ments is required as a next ste p, in whichthe same room comparing vertical and hori-zontal illuminance is rated by room users

based on standardised empirical methodsusing a technically and physically compara-

ble light intensity. A field of research that is

as challenging to environmental psycholo-gists as it is fascinating and which ultimatelycan only be conducted as an interdiscipli-nary project in cooperation with innovativeresearch partners.

ple of living space:the majority of the

ondents interpretedoncept with zoned,ontal illuminanceivate and so, moreopriate for the situa-Conversely, the same can suggest various

e contexts throughf different or chang-lumination.

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ew products012

Cantax spotlights, floodlightsand wallwashers with LEDs- Cantax with LEDs has advanced

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Spotlights9W - 27W580lm - 2160lmNarrow spot, spot,flood, wide flood

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ht Board spotlightsr exhibition and presentationhtingerchangeable Spherolit lensesr different light distributiontternsw to high lumen categoriesnge technology adaptedm the computer industry forooth, precise adjustmentegrated control gear, hiddenblesectly dimmable via poten-meter

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sion of optics, electronicsinformation technology,electronics combines all the

ensions of our guiding prin-e, tune the light: producingt, guiding light, controllingt. As a result, ERCO has focusednovative capabilities on opto-tronics as a core competence.ually all new products use LEDsght sources; in many products ERCO uses highly efficientoptical systems developed andduced in-house with Spherolites side by side with custom-electronic control gear. The

owing pages give an overviewRCOs new products. More fromnuary 2012 at:w.erco.com/products

Light Boardspotlights have acompact designwith a strikingappearance.

The compactdesign enables alow recess depthin the ceiling.

The horizontalposition of thecontrol gear andthe flat luminairehead result in a lowluminaire height.

Opton is alsoavailable forthe new HIT-CE50W metal halidelamps.

Cantax with LED:New lumencategories, twohousing sizes.

The compact,flat housing isspecially designedand built for theuse of LEDs.

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ew products012

Beamer with LEDs- Established outdoor projectors

feature elegant cast aluminiumhousings with multiple powdercoatings and extensive mountingaccessories

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Powercast with LEDs- Universal, effective lighting tools

for the outdoor area- New, additional light distribution

patterns and lumen categorieswith LEDs

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- With double cable entries forthrough-wiring and efficientinstallation

Projectors13W - 54W870lm - 4320lmNarrow spot, spot,flood, wide flood



Projectors

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LED

Cylinder faade luminaires withLEDs- Highly efficient ERCO LED tech-

nology with Spherolit lenses for awide range of new light distribu-tion patterns

- Various combinations of lightemitted upwards and downwards

- Easy-to-install and robust alu-minium housings with multiplepowder coatings

LED orientation luminaires IP68- Unchanged outer shape and

mounting- New warm white light colour- Higher luminous flux for LED

floor washlights through cutting-edge LEDs and a modified lenssystem

- New, external control gear in uni-form housings

Floor washlights0.3W - 0.8W1lm - 24lm

Orientationluminaires0.6W17lm - 24lm

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mpar with LEDstatable and tiltable recessedotlightsr ceiling-integrated illumina-n of sales roomsdition to the existing range for

etal halide lampsCO LED lighting technologyth collimators and Spherolitses for exceptionally high effi-ncy and light qualityferent Spherolit lenses for ade range of light distribution

tterns

Recessedspotlights9W - 20W580lm - 1620lmNarrow spot, spot,flood, wide flood

Recessedfloodlights20W1305lm - 1620lm

Recessed lenswallwashers20W1305lm - 1620lm

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ntessence double-focuswnlights with LEDsr ambient lighting in roomsth high ceilingsonspicuous ceiling aperture,

cellent visual comfort thanksa high level of glare controld double focusghly efficient ERCO LED light-g technology with collimatord Spherolit lens emits no spillhtferent sizes and lumentegories

Double-focusdownlights6.7W - 27W435lm - 2160lmSize 3, 5, 7Flood, wide flood

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nder surface-mounted anddant luminaires

mple form as an inconspicuous,gh-quality architectural detail

ximum efficiency throughrfect matching of LED lamp,s and control gear

gh level of visual comfortrough Darklight technologypropriate accessories trans-rm Cylinder into a pendantminaireht distribution patterns for

mbient lighting and wallwashing

Cylinder pendantluminairesUsing appropriateaccessories such aspendant tubes orcable suspensions,Cylinder lumi-naires can also besuspended as pen-dant luminaires.

Downlights13W - 34W870lm - 2700lmSize 3, 4, 5, 7Wide diffuser

Doublewashlights20W - 34W1305lm - 2700lmSize 4, 5, 7

Lens wallwashers20W - 34W1305lm - 2700lmSize 4, 5, 7

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Compar uses

the modularmounting ring ofthe Quintessencesystem.

Double-focusdownlights withLEDs: the lowerreflector is replacedby a matt blackanti-glare cone.

Powercast withLEDs is now avail-able in narrowspot and ovalflood character-istics.

All light distribu-tion patters avail-able, from narrowspot and wideflood all the wayto oval flood.

Versions forpathway lightingfeature Spherolitlenses with a spe-cial light distribu-

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Floor washlightsare suitable forthe efficient light-ing of stairs andcorridors.

Faadeluminaires13W - 20W870lm - 1620lm

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RCO Technical Centre:n LED case study

Proven concept, around 75% less energy: Usingits own innovative LED lighting tools, ERCO the Light Factory has now upgraded theentrance foyer of its Technical Centre at theLdenscheid headquarters to feature the lateststate-of-the-art systems. Optimised in energyusage, the lighting update is expected to payoff in as li ttle as five years through increasedefficiency.

The transparent foyer has served as the visit-ing card of the company since 1989. Harmo-nised with the buildings architecture and witha significant component of vertical illuminance,its previous lighting concept still met therequirements of perception-oriented lightingdesign. The new implementation of this provenconcept demonstrates the enormous potentialof LED technology. It communicates both tostaff and visitors the latest standard required toexperience, appreciate and explain ERCOs light-ing philosophy.

Wallwashing and LEDtechnology: two factorsof efficient visual com-fort that reinforce eachother. In combinationwith lighting control as afurther factor in ERCOsconcept, the foyer is allset for energy-efficient,daylight-dependentillumination and sceno-graphic design.

Through uniform wallwashing of the walls,

some over 12m in height, the pleasant impres-sion of brightness achieved through verticalilluminance alone is such that conventionalambient lighting of the floor area i s largelyunnecessary. Floor-to-ceiling glass faadesallow intensive utilisation of daylight thebrightness contrasts and reflexes softened bywallwashing. Lighting accents are producedby ERCOs Logotec LED spotlights with narrowspot characteristic; installed on track, theseare found in such places as the communicationarea of the foyer lighting up the chrysanthe-mum decorations on the tables. A Light SystemDALI includes sensors for energy-saving,daylight-dependent lighting control, but alsoensures attractive, scenographic effects. Theconnected load of the updated system hasreduced the original power consumption by75%, down to 6.48W/m; the LEDs have anaverage life of 50,000 hours, compared tobetween 3,000 and 5,000 hours for halogenlamps. The investment costs therefore mustbe seen against significant savings in energyand maintenance.

Old New(Halogen) (LED)

26.09W/m 6.48W/m

100% 25%

100% 21%

68.13t

Lighting concept

Connected load perm (W/m)

Comparison con-nected load (%)

Comparison operat-ing costs

CO2 savings per year

Equals a reductionto 25%

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lwashing as perception-ntated lightical illuminance is an effectivecept to enhance the effect ofom and promote perception.e still, it can play a significantin energy-efficient lightinggn. The diversity of illuminatedical surfaces in architecturends from smooth, plastereds to textile hangings all theto stone-clad faades or wallse of vegetation.

is not only the architecturalgn task that falls to vertical

minance but also that ofbling users of architecture toorm classic visual tasks. Thisudes recognising the environ-t and reading information ons, ranging from informations and text plaques, posters,tings in museums, books andon shelves through to mer-

ndise in stores. contrast to horizontallysed lighting concepts with

same connected load, verticalminance is important from an

getic aspect for a brighter spa-mpression. Walls become moreceable and are often brighter

n the floor. Since the field ofn of the human eye is sooner

wn horizontally than verticallythe gaze is generally directedad, walls tend to draw morention than the floor or ceiling.practice of reflecting light offs using vertical illuminance

duces a diffuse component oft in the room which adds toambient lighting. These factorsspecial relevance to vertical

minance in the discussion ofainable lighting design.

LED wallwasher technologyWallwashers with an asymmetricallight distribution are well suitedto produce uniform vertical illu-minance. Combined with the highluminous efficacy of the LEDs andERCOs effective lighting technol-ogy, wallwashing is a key factor inensuring efficient visual comfort.

The lighting technology ofwallwashers is identified by a widebeam light distribution for uniformvertical and horizontal illumina-

tion of the wall. These luminairestherefore need an asymmetricallight distribution which extendsup to the base of the wall but alsoensures sufficient illumination inthe upper area of the wall. A prefer-ably homogeneous level of illumi-nance gives the impression ofuniform brightness. Conventionalrotationally symmetrical light dis-tributions do not lend themselvesto uniform wallwashing, as theirbeam directed from the ceiling dia-gonally onto the wall produces afocal point (hot spot) in the u pperarea.

Singling out just two possibili-ties of using LEDs to produce suit-able light distribution patternsfor uniform wallwashing would beas follows: firstly, LED lens wall-washers with Spherolit lenses aparticularly economical technologybecause of its high light outputratio. It is based on dividing a largelens into many individual, three-dimensionally domed facets, each

of which directs the light throughrefraction. The asymmetrical shapeof the spherolites produces the par-ticular light distribution requiredfor wallwashing. The transmissionof light using a primary LED lens,collimator and Spherolit lens hasfundamentally lower losses thanwith reflectors. The Spherolit lenstechnology also allows for shallowrecess depths. ERCOs Program fea-tures this wallwasher technologyprimarily in product ranges derivedfrom spotlights.

The recessed luminaires inERCOs Quintessence range addi-tionally feature combinations ofSpherolit reflector technology withDarklight technology for excep-

Energy efficiencyDirecting the light spe-cifically onto surfacesrelevant to perceptionand use is the key tohigh-quality design andeconomically advanta-geous lighting solutions.

ArchitectureVertical illuminance high-lights architecture as awhole, increases its spatialeffect and results in thecreation of a high-qualityenvironment.

PerceptionDue to the natural orien-tation of our visual field,the vertical planes of anenvironment constitute a

large part of our percep-tion and thus determineour impression of bright-ness.

LED technologyBased on the LED, ERCOwas able to devise wall-washers with a consider-ably much higher lightoutput ratio than lenswallwashers with conven-tional lamps, lenses andreflectors.

ocus Double focus

tionally high visual comfort. Theilluminated plane of the diffuseris hidden from the view of theobserver due to the Darklightreflector in the cut-off angle. Inwashlights or double washlights,the diffuser disperses the highpoint-source luminance of theLEDs to produce a soft-edgedbeam. The special Spherolit wall-washer segment in the reflectorilluminates the upper wall areaachieving uniform light distribu-

tion over the whole wall. The twoLED wallwashing technologiesintroduced here are found in awide variety of ERCOs productsand open up an entirely new, crea-tive scope for designers in devel-oping efficient and sustainablelighting solutions.

Thomas Schielke

Lens wallwasher withSpherolit lensThe wallwash Spherolitlens produces an asym-metrical light distributionfor uniform and energy-efficient wallwashing.

Washlight withSpherolit reflectorRecessed luminaires suchas washlights combineSpherolit reflector tech-nology with Darklighttechnology for good vis-ual comfort.

Illuminated walls appearalmost intangible givingthe feeling of clear, distantspace. This aids orienta-tion in architecture andreflects glare-free, diffuselight into the room.

Asymmetrical lightdistributionUniform wallwashingrequires an asymmetricallight distribution to pro-duce the impression ofhomogeneous brightnessfrom ceiling to floor.

Spherolit lens,wallwash

Light mixer

Collimator

Darklight reflector

LED module

Spherolitwallwasher segment

Diffuser

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new store on Via del Corso, however, catcheseye not only for the sheer size of its sales more than 3,000m2 over five levels. Even

m an architectural perspective, the refurbish-t of the Palazzo Bocconi, which dates back

887 and was previously occupied by the Lascente department store, holds tremendous

eal. In the Inditex group, it also sets theal standard for sustainability and efficiencyopfitting. Environmental protection is a

component of our global strategy, InditexPablo Isla announced at the groups annualeral meeting in 2010. Fittingly, then, the

le building was refurbished with the aim ofting the standards required to obtain a LEEDnum certificate.ot without a certain amount of pride, thepany reports that its new eco flagship storeverage uses 70% less water and 30% lessgy per year than a conventional store, not totion saving the environment over 200 tonsO2 emissions a year. The integral approachhe LEED certificate takes account of suchors as choice of materials and recycling ofconstruction waste, but also heating, airditioning and, of course, the buildings light-system.is therefore no mean feat of ZARAs design-

working with the architectural firm Ducciossi that in spite of the efficiency parameters,store does not at any point give the impres-of asceticism or starkness quite the con-

y. The sense of space inside the renovatedzzo is overwhelming: three upper levelsgned as open galleries encompass an enor-

ARA, Via del Corso, Rome

Efficient visual com-fort as a componentof ZARAs eco strategy:The new store in Romeis dominated by accentlighting from Optec HIT35W spotlights. The dif-fuse reflection of brightsurfaces in the room anddaylight filtered by wallscreens provide sufficientgeneral lighting. Thisresults in a lively, stimu-lating spatial experiencenot far removed fromthe natural lighting con-ditions.

Architect: Giulio de Angelis (18451906)Architecture (refurbishment) and lighting design:Duccio Grassi Architects, Milan/Reggio Emilia;Jos Frojn, Mabel Segui, Estudio ZARA, ArteixoPhotos: Thomas Mayer, Neuss

www.zara.com

mous void in the centre, carried by the delicatelyembellished, original cast iron columns of theneo-Renaissance Palazzo. Cream wall and ceil-ing surfaces along with a light, natural stonefloor contribute as much to a bright atmosphereas do wall screens made of slats and perforatedmetal sheets which filter the daylight coming inthrough large window sections.

In line with the principle of efficient visualcomfort, the stores artificial light conceptlargely dispenses with general lighting on hori-zontal surfaces except for such key functionalzones as pay desks, landings and access points;these are highlighted by square Quintessence

downlights elegantly mounted flush into theceiling. The most important light component islighting for vertical product presentation areasprovided by Optec spotlights and floodlights formetal halide lamps. The spotlights are mountedon tracks, which in some places are in stalled insuspended elements. These elements are fittedwith inserts at the top f or fluorescent lamps tobrighten ceiling areas. A f urther aspect of ZARAssustainability programme is using 35W metal

halide lamps as standard lamp types instead of70W versions. Even with lower lamp wattages,the Optec spotlights with efficient Spherolitreflector technology produce a defined, uni-

form beam of light which is sufficient to accen-tuate the presentation areas by creating richcontrasts even from large heights.

00 stores in 77 countries: ZARA, thehion chain owned by Spanish textilent Inditex, is continuing its strategy ofrnational expansion. For many years

w, ZARA has worked closely with ERCOoptimal lighting concepts mostently in Rome for currently its largeste worldwide.

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roots of GANT are in the USA, where, in 1949,nard Gant started supplying Ivy League stu-ts with shirts from his store in New Haven,necticut. Today, GANT is an internationald combining traditional American style withropean flair. The brand is also expanding i ntral and Eastern Europe, where it collabo-s closely with the lighting consultants ofOs Vienna and Prague offices when it comesquipping the stores with GANT's charac-tic corporate lighting. It was especially the

otec LED spotlight system, launched at theoShop fair in 2011, that intrigued GANTs

rior designers and decision-makers. The out-e could be admired just a few months latere GANT Woman Store located in Prague's

pping centre Myslbek, where GANT openedfirst store lit entirely by ERCOs LED tech-gy.l concerned are extremely happy with thelt. The store is a consistent step forwarde development of GANTs interior design:ighting tools reduced power usage ander lifespan fulfil todays standards ofainability while the light quality was oncee refined compared to the conventionalcept of relying on HIT light sources. Basedhe concept of efficient visual comfort, thee is lit in keeping with hu man perception.washers light the rooms evenly with verti-luminance, while flexible spots accentuateain areas and products.he store's special atmosphere carries to theide through the shop windows. To accentu-he shop window decoration flexibly, thee uses Logotec LED spotlights, floodlightswallwashers mounted on ERCOs 3-circuitk. Their exchangeable Spherolit lenses offerriety of light distribution patterns ranging

m narrow spot to wide flood, as well as more

orm illumination such as provided by ovald and wallwash. Hence, the backgroundsbe lit evenly using vertical illuminance whileial areas are precisely accentuated. Oneial characteristic of ERCOs LED spots man-

d to surprise even the seasoned experts ofGANT store design department. The Spherolittechnology prevents any diffuse spill light,

ch makes the shop windows' colours appeartter contrast, yielding a crisp, attractive lookfeel.

ANT Woman Store, Prague LED lighting tools inte-grated in a natural light-ing concept that com-bines vertical illuminancewith spill-free accentlighting: This helps GANTcut its energy usage forlighting by approximately30% compared to theprevious concept usingHIT lamps. By reducingheat emission, another30% can be saved inair conditioning. These

Opting for efficient LEDlighting tools, GANT usesLogotec LED spotlights(left), as well as square35W LED wallwashersand 21W LED directionalluminaires from theQuintessence range.

Shop windows thatcatch the eye: This is acrucial success factorin the hustle and bustleof a shopping centre.Logotec LED spots fittedwith Spherolit lensesmake sure no ray goes towaste, yielding excellentcontrasts despite a lowerconnected load.

The lighting conceptsqualities such as goodvisual comfort, a pleasantwarm-white hue, goodcolour rendition and low

heat emission not onlyserve to make the storemore appealing to cus-tomers but also ensuregood working conditionsfor GANT staff in Prague.

At a value of Ra > 85

on the colour renderingindex, the performance ofwarm-white LEDs ranks atthe level of the halogenmetal halide lamp com-mon in the retail sector,thus fulfilling the highstandard needed for view-ing coloured textiles.

Interior and lighting design:GANT Store Design Dept.Photos: Edgar Zippel, Berlin

www.gant.comrst glance: a boutique for womens

hion, in the classy design customers havee to expect from G ANT, an international

style brand. At second glance, it is all revolution in lighting, and the bearerood news for the environment: the first-r store to be lit entirely by ERCOs LEDhnology.

factors, along witheliminating the need forexpensive lamp replace-ments, guarantee thatthe investment pays offquickly in terms of totalcost of ownership.

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e 2009, Ibis has gradually opened hotels

new generation in Germany in answerhe increasing requirements of the hotelssts. Emanating an attractive, yet natural

osphere, the design language developed byseldorf-based interior design office DreesenPartner for Ibis includes elements such as

ty, concentration on essential aspects andaightforward approach. In working out the

ils of their lighting concept, the design-rew from the expertise of the hotel and

ertical illuminance for hotels:is opts for LEDs

The restaurant alsofeatures Quintessencewallwashers and direc-tional luminaires withLEDs. The vertical illu-minance on the wallin the back defines theroom, adds width andgives the impression ofadequate brightness.Ceiling-integrated LEDdirectional luminairesare added as a secondlight component. Their

Differentiated lightinghighlights the modern,fresh image of the newIbis hotels: The combina-tion of wallwashing andaccent lighting is bothattractive and of a highstandard while reducingthe number of luminairesrequired along withthe energy usage. LEDs,the light sources of thefuture, ensure even moreeconomical operation.

Interior and lighting design:Dreesen und Partner, Dsseldorf

Photos: Thomas Pflaum, Castrop-Rauxel

www.ibishotel.com

ronomy sector specialists at ERCOs German

s organisation. The result: attractive light-and efficient visual comfort a sustainablestment based on reliable calculations.

xecutives at Accor are well aware of thects that light in this context can achieve.wanted it to highlight the atmosphere of

new design, signal a true 'welcome feeling'ng guests, Klaus Rohrbeck, Technicalctor at Accor Germany, explains. Setting

to accomplish these objectives, the design-xamined and optimised all five factors ofient visual comfort: qualitative lighting

gn, vertical illuminance, efficient lamps,ctive lighting technology and intelligent

ting control. This took them away from

r original lighting concept involving a gridownlights for extensively uniform lighting

more differentiated design in which wall-hing and accent light are the dominantures.

We used a third less luminaires than for theeral lighting, yet managed to improve theression of brightness through perception-

ntated lighting design, Martin Weiser,ment Manager for Hotel and Gastronomy atO Leuchten GmbH, emphasised. The positive

cts of this are reflected in the investmentlved and the operating costs; and, of course,eant compliance with the trade associa-

s requirements and the DIN standards. Thegn gave attention to areas such as the f oyer,ption, bar and restaurant based on their

ective functions; each, however, featuringcal illuminance to define architecture as

ambient luminescence and to provide orien-

tation as appropriate. Accent lighting is addedas focal glow to emphasise functional areasthrough brightness contrasts; this includes the

reception desk, the lifts, but also the table areasin the restaurant and the few, high-qualitydecorative objects found in the ho tel, such as

plants and fruit bowls. The third component ofthe language of light play of brilliants isused just as sparingly, e.g. in the for m of deco-

rative pendant luminaires above the receptionarea or the high tables in the restaurant sec-

tion, which firstly serve as design elements in

the room.The tools for these lighting design compo-

nents combine effective lighting technologywith efficient lamps: vertical illuminanceis provided by Quintessence LED lens wall-

washers 28W, whereas accent light is added byQuintessence LED directional luminaires 21Wwith different light distribution patterns, har-

monised with the dimensions of the zon es andobjects to be illuminated. The warm white LEDs

bis, the Accor Groups economy hotelnd, everything hinges on optimum valuemoney. The ever-increasing competitionhe sector is addressed with a new designlighting concept.

darklight reflectorensures optimum glarecontrol. The oval beamof the oval flood char-acteristic fits well withthe rectangular shapeof the tables and caneasily be readjusted forrepositioned tables.

with their high levels of luminous efficacy

save energy by definition their colour temper-ature resembling that of halogen lamps, whiletheir excellent colour rendering presents meals

and drinks in the most appetising light. Addto that the fundamental efficiency advantageof LED lighting technology with its projected,

directly emitted light over the reflected light ofconventional lamps. Where the designers origi-

nally calculated a connected load of around10,000W for lighting on the ground floor, the

figure reduced to 5,800W as early as in thefirst step in 2009 thanks to E RCOs concept of

using low-voltage halogen lamps and metalhalide lamps, and right down to a mere 2,300W

in the hotels in Frankfurt, Bonn and AachenNormaluhr, which all now feature LED technol-ogy. One advantage of the LEDs, specifically

over the similarly efficient metal halide lamps,is their dimmable lighting. This was one of thecriteria in the set of requirements stipulated by

Ibis to ensure lighting in the individual areas

matched the situation. The energy consump-

tion of LED luminaires is linear with regard tothe dimmer setting resulting in further savingsduring operation.

The new lighting therefore optimally bringsto bear the modern, attractive interior concept

while it also stands up to close review undereconomic aspects. The initial extra investmentof Ibis in LED technology will pay off in a little

over four years with an assumed period ofdepreciation of around ten years taken fromthe expected 50,000 operating hours of the

LED luminaires and an average burn time of15 hours per day. In a nutshell: a sustainablesolution benefitting the environment, the

guests and the operators.

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history of the Joslyn Art Museum, a mono-c structure of art-deco style with a modernex by Foster + Partners, is a perfect illustra-of the American Dream. George A. Joslyn

481916), born in New England to a familyttle affluence, went west to seek his for-e, made his way to the top of the newspaperness, and later becsame the wealthiest manebraska when he founded the Westernspaper Union, a printing empire. Apart

m donating to many other charitable causeshis adopted home town of Omaha, his wifeh endowed a number of cultural institu-s, including the Joslyn Art Museum, aftereath. Its collection comprises works fromquity to contemporary art. However, the

s rests on European and American workshe 19th and 20th century.he most recent addition to the museum wascreation of a sculpture garden in 2009, incontext of which the su rrounding groundsthe exterior lighting of the new and oldding were re-designed. The result earned the

The Fleming Collection has long enjoyed itsplace within Londons cultural scene as a col-lection and gallery for Scottish art. It goes backto the collection of the Fleming Bank, foundedby Robert Fleming in Dundee, Scotland, in 1873.When the Fleming Bank was acquired by theChase Manhattan Bank in 2000, its art collec-tion was transferred to the Fleming Wyfold ArtFoundation, which, in 2002, started running agallery on the first floor of 13 Berkeley Street inMayfair. It has met with such recognition, bothon the part of critics and the public, that itscurators jumped on the occasion when the sec-

ond floor became available for rent in 2010.The additional gallery was opened on 10 June

2011 and houses a permanent exhibit basedon the collection, whereas the first floor nowdisplays temporary exhibits featuring contem-porary Scottish art. The upper floor of the build-ing, which dates back to 1890, provides an areaof 140m2 with an attractively adorned stuccoceiling and columns. While the historical wallsare painted white, a square of partition wa llswas installed inside and serves as the displaysurface; its medium shade of grey achieves acertain contrast while providing a neutral back-ground for the works of art. Whether it was thethriftiness often attributed to the Scots or thecollection's roots in financial business, the factis, the curators calculated very wisely when itcame to choosing their lighting instruments,which had them opt for an ERCO track systemwith Logotec LED wallwashers and projectors inwarm white. They not only provide high-qualityillumination while protecting the exhibits, butalso pay off within just a few years through sub-stantially reducing the power usage by compari-son to, for example, low-voltage halogen lamps,and cutting down on maintenance cost: Lampchanges are now a thing of the past.

ertical illuminance for exterior lighting:oslyn Art Museum, Omaha

LED wallwashing for galleries:Fleming Collection, London

A glazed atrium joins theold to the new building.Lightmark bollard lumi-naires HIT 39W illuminatethe entrance area in frontof the main entry.

Galleries with theirpresentation of art onwall surfaces constitutethe standard situationthat calls for uniformvertical illuminance. Inthe Fleming Collection,Logotec LED lens wall-washers are combinedwith LED projectors ofthe same style so thatindividual objects canbe accentuated.

Wallwashers mountedon tracks are particularlygood examples of theefficiency benefits offeredby LED lens wallwasherswith Spherolit technology.The light output ratio isapproximately twice thatof a conventional lenswallwasher.

Architects:John and Alan McDonald, Omaha (core buildingfrom 1931), Foster + Partners, London (annexfrom 1994)Lighting design:HDR, Randy Niehaus, Trevor Hollins, OmahaPhotos: Tom Kessler, Omaha

www.joslyn.org

Architects: Trehearne Architects, LondonLighting design: GIA Equation, LondonPhotos: Dirk Vogel, Dortmund

www.flemingcollection.com

lighting designer of HDR Architecture an IESIllumination Award of Merit in 2010: It is aconcept that gives adequate individual con-sideration to the contrasting elements, yetbrings them together in a common context.The designers made a point of broadly deploy-ing consistent, efficient lamp types such asmetal halide lamps, only in varying wattages.The lighting concept in the sculpture gardeneschews uniform, overall illumination; instead,the trees are lit with Tesis Uplights, while thesculptures are accentuated by Grasshopperprojectors. In contrast to the garden, the pinkmarble faades of the old and new buildingare lit uniformly by Focalflood floodlights toemphasise their monumental character. The

large reliefs by sculptor John David Brcin(18991983) featured on the corners of theold building receive additional prominencethrough Beamer projectors.

This award-winning newlighting concept createdthe atmospheric back-ground for the Jazz onthe Green festival, whose2009 edition took placein the sculpture park ofthe Joslyn Art Museum.

Beamer HIT 70W

Focalflood HIT150W

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villas name goes back to its ancient foun-ons, artfully exposed after the renovation.building rests on the ruins of a former for-s built by Sbastien Le Prestre de Vauban, aoque master builder. Featuring rugged, pris-c outer surfaces and an un derground sec- the annex, joined to the neo-classicist villa

m two sides, alludes to the former casemates.faade shell with its warm, earthy metalconsists of perforated red brass sheets. The

de is also characterised by clear, expressiveaces of various contrasting materials: lightden floors, white stucco surfaces, walls andngs out of bush-hammered concrete withkling quartz elements, all brought to lifeugh carefully arranged lighting.s soon as visitors approach the building,

y can gain an idea of how light architecturetes eye-catching imagery. For an attractivect, even from a distance, wallwashers weresen to illuminate the vertical surfaces of theance and the glassed-in foyer. The annex'sting in passages and general spaces consistsfly of edgeless downlights incorporatede concrete ceilings, a feature that requiresaordinary craftsmanship. Double-focusnlights, directional luminaires and wall-hers from the ERCO Program give structurehe complex sequence in which the visitor

lla Vauban, Luxembourg

Expressive spaces, clearsurfaces, contrastingmaterials: These are thestylistic devices of thearchitectural designby Diane Heirend andPhilippe Schmit.

The modern annex withits shell made from per-forated brass sheets isjoined to the historicalVilla Vauban from twosides. In the galleries ofthe annex, lighting com-ponents of the luminousceiling are framed bytracks. Parscan spotlightssubtly make the paintingsstand out from withintheir more diffusely litenvironment.

Light gives structureto the visitors tourthrough the building.Wallwashers are used toaccentuate certain wallsfor additional effect.General spaces such asthe foyer as well as hallsand stairways are fittedwith high-pressure lightsdirected onto the floor.By contrast, the exhibi-tion rooms of the annexare characterised by a

Architects: Diane Heirend & Philippe Schmitarchitectes, Luxembourg; Philippe Schmit,Luxembourg.Lighting design: Licht Kunst Licht AG, Bonn/BerlinProject management: Alexander Rotsch(engineer)Photos: Lukas Roth, Cologne

www.villavauban.lu

discovers and explores the rooms. Thanks to itsoutstanding colour rendition, the brilliant lightof the low-voltage halogen lamps brings outthe properties and textures of the various mate-rials. Efficient power usage has been ensured bydesigning the lighting concept in accordancewith human perception and using modern IRClamps.

The annexs exhibition rooms have lumi-nous ceilings, which, on the upper floor, mix

daylight and artificial light, while they useonly artificial light on the lower floor. A grooverunning all around these ceiling lights containsventilation devices and an ERCO track. In tunewith each exhibition, Parscan spotlights andwallwashers are used to properly accentuatethe exhibits, creating a perfect, flexible whitecube. This allows the visitor to experiencea stimulating sequence of rooms, each witha distinct character and each illuminatedskilfully by the Licht Kunst Licht designers toachieve maximum dramatic effect.

turistic annex triples the exhibitionce for the Ancient Art Museum in theof Luxembourg. The new architectureages the historical urban villa from 1873n effective dialogue. Space, material andt make up that dialogues language.

Licht Kunst Licht:Lighting designer of the year 2011An excellent year for Prof. Andreas Schulz

and his firm Licht Kunst Licht, based inBerlin and Bonn: He and his team won thetitle Lighting Designer of the Year" at theDeutscher Lichtdesign-Preis (German light-ing design awards) ceremony held in Cologneon May 5. Overall, they had earned the mostpoints in the various categories evaluated forthe award. The firms continuous supremeperformance is also gaining internationalrecognition: For the Telekom Bridge in Bonn,it won the IALD Radiance Award 2011, a spe-cial prize this renowned association awardsto the project with the highest jury pointranking among all the winners. Congratula-tions!

Photo: Christoph Meinschfer

Further information:www.lichtkunstlicht.dewww.lichtdesign-preis.dewww.iald.org

concentrated, space-filling light that allowsthe art to take centrestage.

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gos in Northern Spain has long been a his-c place considering its location at the Cami-e Santiago and the tomb of El Cid, theonal hero, in the town's Gothic cathedral.

wever, it wasn't until the 1980s that it wassed just how far back its historical roots go.

hat time, archaeologists made sensationalngs from primeval times in the Sierra de

puerca, about 20 kilometres from Burgos:relics of human settlements that, by now,e come to comprise a time period of aboutmillion years. This fact and the enormousndance of finds in the caves of the Sierra

mpted the excavation sites to become listedart of the UNCESCO World Heritage as earlyhe year 2000: Of all hominid fossils in thed, 60% come from these sites; nowhere in

world are there more researchers at work ingle excavation area. light of this, it is not surprising that thet of Burgos was chosen as the location modern, majestic complex comprising aeum, a research institute and a congressre. The new environment provides amplee and yet immediate proximity for the

ects of research, communication and dis-ion of human evolution to interact. It wasgned by the award-winning Spanish archi-Juan Navarro Baldeweg, who, havinggned the museum and institute buildingstamira, had already been involved in aar project. The museum's central building,

gantic hall, is flanked by the institute andcongress centre. To allow the hall to remainof posts or pillars, Baldeweg came up with

allwashing for museums:useo de la Evolucin Humana, Burgos

Wallwashing in its purelyfunctional form: Smooth,vertical illuminance lendsitself to all visual taskswhere information ismade available on a verti-cal surface, as is the casewith charts and signs inan exhibition.

For evolution researchers,the name Lucy bringsto mind the body of afemale Australopithecusdiscovered in Ethiopia in1974, a replica of which isdisplayed in the museum;lighting designers, on theother hand, are remindedof the desktop luminaireLucy, used here to accen-tuate exhibits.

Juan Navarro Baldeweg,

an award-winning Span-ish architect, does not shyaway from aestheticallystriking design features.In the corridor betweenthe building componentsstands a steel frameworkvarnished in bright red;the emerald-green siding,broken up only by errati-cally spaced, diamond-shaped windows, envel-ops an entire wing.

pecial design of theO TFL Wallwashersres a highly uniformillumination. Forerrupted verticalinance, the lumi-s can be mountedto each other with-aps. Modern T16escent lamps withronic control geara high quality ofand extreme effi-y.

The above photo ofthe hallway exemplifieshow vertical illuminancecan make walls appearlight and almost immate-rial, in this case turninga rather prosaic roomsituation into an archi-tectural experience. Withglass fronts, illuminatedwalls allow buildingsto radiate towards theoutside.

Architect: Juan Navarro Baldeweg, MadridPhotos: Thomas Mayer, Neuss

www.museoevolucionhumana.com

an exterior framework of crossed beams whichwas painted in bright red and dominates thespaces between the hall and the two otherbuildings. Glass fronts and skylights let plentyof daylight in. As you can see, Baldeweg didnot shy away from aesthetically striking designfeatures such as the above-mentioned bright-red framework or the emerald-green siding,enveloping one entire wing, broken up only byerratically spaced, diamond-shaped windows.The lighting concept both in the exhibitionareas and in circulation zones (aisles, etc.) servesto accentuate the architecture; smooth vertical

illuminance brings out the rooms structure.Wallwashing is used in many quite distinct partsof the building, as i t defines the rooms, pro-vides glare-free ambient luminescence and,most notably, helps to dampen any excess ofcontrasts which can result from the abundantnatural light. By applying light in a mannercompatible with human perception and com-bining it with the energy-saving technologyof ERCO wallwashers with f luorescent lamps,the concept has achieved a harmonious light-ing solution which deserves the label efficientvisual comfort.

ew building complex combines botharch and communication of findingsut human evolution. The museum anddjoined institute showcase the manyerent uses for vertical illuminance.

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acklights

w showroom in Buenos AiresO has been present in Argentinas capitalnos Aires with its own showroom and teamtotal of 13 years now. The team has come toblish itself as a f irm partner of architects andting designers in South Americas dynamicket. Edgardo Cappiello and his team havemoved to new premises in Puerto Madero.

endy new quarter, built here on the formerks, sees modern high-rises next to convertedehouses such as Hotel Faena designed byppe Starck an attractive address for archi-s, lighting designers and all creative custom-of ERCO Argentina.

O Iluminacin, S.A.

na de Representacinuana Manso 112407CBX Buenos Airesentina

+54 11 431 314 00+54 11 431 254 65il: [email protected]

w.erco.com/contact

ng reception for the Internationaletenschau 2013 in the IMM, Hamburgnternational Garden Show requires yearsreparation. Hamburg is currently gearingo

en erco lb93

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