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E Light for museumsConceptsApplicationsTechnology


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ght for museumsntents

Situations in themuseumUsing light to guidethrough the museum

Pages 4-5

Two-dimensionalexhibitsAccent lighting for adramatic effect

Pages 6-7

ERCO headquartersERCO has its headquar-ters in Ldenscheid, anindustrial town steepedin tradition, right in theheart of Germany. TheERCO plant consists ofprize-winning industrialbuildings as a livingexpression of a corporateculture defined by inno-vation, communicationand quality awareness.

Three-dimensionalexhibitsModelling sculptures withlight and shadow

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TechnologyOptimal use of profes-sional lighting tools

Pages 12-14

Services and mediaExperiencing light, usingservices and accessinginformation worldwide.

Pages 16-17

municating andervingmakes culturals visible

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The Light FactoryERCO specialises in architecturallighting. First and foremost, we

see ourselves as selling light, notluminaires. This approach hasbeen the trademark of our work

for many years. Thats why we callourselves: ERCO, the Light Factory.ERCO's indoor luminaires, out-

door luminaires and lighting con-trol systems constitute an exten-

sive range of lighting equipmentfor general, comprehensive, archi-tectural lighting solutions. Devel-

opment and client support atERCO are guided by our vision of100% LED and all our efforts are

geared to producing innovativeoptoelectronic LED systems when

creating, directing and control-ling light. Innovation is the key toachieving efficient visual comfortand scenographic excellence at an

ever higher level. ERCO lightingtools encourage a transformationof technology into culture. This

approach results in lighting toolsfor the user that satisfy all thetechnical and economical require-

ments of lighting practice, whileat the same time opening up the

whole fascination and magic ofthat immaterial material knownas light.

100% LEDThe breakthrough of LEDtechnology is probablythe biggest developmentin lighting technologyfor decades. ERCO playsa leading role in imple-menting these advanceswith practical LED light-ing tools: Our vision of100% LED has alreadybeen implemented in ournew product range andis implemented in anever growing number ofERCOs projects.

Checklist for museumlightingThe way to an individuallighting concept

Page 15

Two-dimensionalexhibitsWallwashing for aharmonious impressionof the room

Pages 8-9


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diversity of the international museumscape is enormous museums cover ae variety of topics ranging from archaeol-all the way to contemporary art and

m literature through to modern technology.e account for just a few square metres,e others fill entire urban districts. Regard-of this, however, they all have a commonominator each sees its mission as col-ng, preserving and exploring their chosenect matter as much maybe more so asmunicating and presenting their topics.

cifically, institutions which preserve andbit important cultural assets underline theirus with representative architecture. In theseeums, whether they boast a long tradition

h as the Louvre in Paris or are as young asGuggenheim Museum in Bilbao, architects,ting and exhibition designers, and cura-

apply strict quality standards right downhe aspect of lighting. As a result, light inseum quality has become the benchmark,

n for other types of architecture. Goodeum lighting meets the requirements ofvisitors, but also of the curators and oper-s visual comfort, optimum perception

he exhibits, clear and safe orientation inbuilding, and a high quality experience,also conservation of the exhibits as well asnomic efficiency and sustainability. Light-concepts which meet these criteria con-ute to preserving the cultural heritage ofanity for future generations.

Museum Punta dellaDogana, Venice.Architect: Tadao Ando,Tokyo. Lighting design:Ferrara Palladino e Asso-ciati, Pietro Palladino(engineer), Cinzia Ferrara(architect), Milan.

Museo dellAra Pacis,Rome. Architect: RichardMeier, New York. Lightingdesign: Fisher MarantzStone, New York.

ommunicating and preservingght makes cultural values visible

Hermitage, St. Petersburg.

Lighting and exhibitiondesign: Alexander Lapko,St. Petersburg.

GoMA Gallery of ModernArt, Brisbane. Architect:Architectus, Sydney.Lighting design: VisionDesign Studio, Australia.

Koninklijk Museum voorNatuurwetenschappen(Museum of NaturalHistory), Brussels. Archi-tecture and lightingdesign: SumProject,Brussels. Gallery of Evo-lution scenography:Atelier de l'Ile, Paris.Exhibition lighting: Cosil,Paris.

Nagasaki Prefectural ArtMuseum, Nagasaki. Architect:Nihon Sekkei Inc., KengoKuma & Associates, Tokyo.Lighting design: TakeshiKonishi (EPK Corp.), Tokyo.

National Museum, TheArt of Enlightenmentexhibition, Beijing.Architect: Von Gerkan,Marg und Partner (GMP),Hamburg.

onal Portrait Gallery,on. Architect: Ewantian (1814-1895).


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tuations in the museuming light to guide through the museum

The professional lighting of artwork is, with-

out a doubt, one of the central challengesof museum lighting. The light for exhibitionrooms, however, is only one aspect of its func-

tion in the museum. Lighting starts with thebuilding outside, to create striking signals forurban spaces at night, to emphasise exhib-

its in the outdoor area, and to guide visitorsinto the museum using inviting pathway light-ing. Inside, the bookshop and caf are part

of the extended programme of the museum,where attractive lighting for the sales areasand a pleasant atmosphere are relevant issues

in lighting design. In traffic zones such as foy-ers, halls or pathways outside, lighting can beparticularly effective in facilitating orienta-

tion by using brightness and narrow beamsto point out important elements. In the exhi-bition rooms, accent lighting is used to cre-

ate a hierarchy which sets off central items inthe collection from their spatial context and

emphasises their special significance.

ully guiding theto the museumpathway lighting

es the streams ofors and facilitatestation.

Using light to designwelcoming faadesIlluminated faades com-municate an open houseto the museum visitor.In conjunction withilluminated signage, itreaches a long way outand creates an invitinggesture whilst arousingthe interest of visitors.

Accentuating sculp-tures in the outdoorareaPowerful lighting tech-nology and durable,tough product designcreates an effective pres-entation of sculpturesin the outdoor area. Thisallows the museum toextend its exhibition intothe surrounding areaduring the hours of dark-ness.

ting light signals

urban spacesistic lighting con-that also considersxternal effect willform museum build-into nocturnal high-s of their situation.ed buildings that

from the inside outct attention in andeir environment.

Using light to modelsculpturesThe high-contrast changeof light and shadowemphasises the shapesof the sculptures andhighlights fine textures.Accent lighting usingbrilliant light createseffective points of inter-est on the way throughthe exhibition.

Art to buyThe almost automaticvisit to the museumshop at the end of a tourallows visitors to takehome mementoes of theexhibition. Differenti-ated salesroom lightingaccentuates books,objects and souvenirs toincrease their appeal asan incentive to buy.

Using the foyer topoint the way to theexhibitionFoyers help in the vis-itors transition from abright outdoors to thelower brightness of theexhibition rooms. Uni-form illumination in thefoyer creates a spaciousimpression and helps toidentify its various func-tions.

Effectively illuminatingpaintingsLight does not only makeart visible it also allowsart to shine out, forexample, by using narrowlight beams to drawattention to paintings.

Enjoying food in goodlightGood food, a stimulatingatmosphere and a pleas-ant ambience are factorscontributing to a success-ful restaurant concept.Good light on the prod-uct selection, visibilityof the diners at the tableand suitable lightingin the room create thepremises for it.


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wo-dimensional exhibitscent lighting for a dramatic effect

ng accent lighting to create anosphere rich in contrastvidual illumination of pictures in muse-using narrow beams of light creates a

matic atmosphere. The intense contrast

ween bright and dark regions assigns theof protagonists in the exhibition scenog-y to these exhibits. The narrow beams

ct the view of the visitors to concentratehe artwork. The interior and the architec-play but a secondary role.

ome exhibitions present stark contrastsght and dark scenes through the veryent of their pictures. In these cases,

nt lighting adds a special magic to thee, as the mood in these pictures harmo-

s with the atmosphere in the exhibition.ise adjustment of the beams of light for-s the exhibits and artwork and arouses a

ial fascination in that they appear to beilluminating.sing different levels of illuminance, the

nt lighting can also create hierarchies ofeption to give structure to the exhibition.

Perfecting the enjoyment of art throughvisual comfortLighting design is only one aspect to enhancethe quality of the exhibition experience;another is the level of visual comfort of the

lighting. A correct luminaire arrangementensures uniform illumination of the artworkwithout shadows being cast on the picture

as the observer stands in front of it. Narrowbeams of light and a shielded front lens min-imise direct glare on the way through the

exhibition. Appropriately arranged luminairesalso prevent disturbing reflected glare.

Correctly positioningluminairesWhen illuminating paint-ings and sculptures, theoptimum angle of inci-dence of the light is 30.Any larger distance tothe object would createa problem in that theobserver standing in frontof the object would casta shadow on it. A steepangle of incidence, on theother hand, would lead

Illuminating displaycabinets without glareGlass cabinets can beilluminated from the out-side if the spotlights arepositioned away from thereflection surfaces in theobservers field of vision.

Minimising shadows

cast by the observerPositioning two spotlightsto the side to illumi-nate the pictures avoidsreflected glare on theexhibits and prevents theobserver casting shadowson the picture.

Avoiding reflected glare

Paintings protectedbehind glass can causeglare if the luminairesmounted on the ceilingare reflected in the glassas the observer stands infront of them. Reflectedglare is easy to avoidthrough proper arrange-ment of the luminairesusing narrow beams andshielded front covers.

Using light beams toaccentuate pictures inthe roomThe narrow-beam accentlighting on the exhibitsdirects the attentionof the museum visitoronto the artwork. Usingexchangeable lenses fordifferent beam diame-ters, the lighting can beadjusted to the individualsize of the pictures.

to a significant degree ofgrazing light with longshadows on the exhibit.

Restricting the lightbeam to the size of thepaintingPaintings appear to beself-illuminating if thebeam of light is restrictedprecisely to illuminatethe exhibit. The resultingconcentrated and myste-rious atmosphere standsin contrast to the darkerroom. The beams canbe adjusted to the pre-cise size using framingattachments on a projec-tor spotlight.


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wo-dimensional exhibitsallwashing for a harmonious impression of the room

ng wallwashing for a bright andcious impression of the roomorm wallwashing provides a neutral back-

for exhibitions and presents artwork onwalls in an o bjective manner. It is suitableicularly where the mood to be induced

viewing artwork is to be contemplativeer than dramatic. Uniform illuminationertical surfaces gives the impression of a

ht and spacious room, with even bright-levels creating a harmonious atmosphere

hich pictures and wall form an integratedle.

Combining wallwashing with accentlightingFor some exhibitions, using nothing but dra-matic accent lighting or uniform wallwash-ing is too extreme a presentation concept.

Combining both approaches, however, opensup further options. Wallwashing, on the onehand, generates a basic brightness in the

room and enables good perception of exhib-its on the wall. Accentuation, on the otherhand, differentiates individual works of art

using directed light of a higher illuminance orenhances the modelling effect on sculptures.

Using washlighting to emphasise largeareasWashlighting using a wide beam angle issuitable for emphasising larger artwork or a

group of objects. The oval flood characteristicis ideal, for instance, to emphasise a groupof pictures, a long table or wall shelving, as

it requires only one luminaire instead of twoor three spotlights with spot or flood distri-bution. This approach helps to minimise the

investment costs in exhibition design.Using wallwashingto iIluminate largepicturesUniform illuminationparticularly benefits art-work of a large format.Wallwashing creates auniform impression ofthe room.

Arranging luminairescorrectly for uniformwallwashingThe distance from thewall for wallwashersshould be one third ofthe room height toachieve a uniform lightdistribution on the wall.The luminaire spacingis the same as the walloffset.

Using vertical illumi-nance to emphasisearchitectureWashlighting largeareas of the wall createsa bright and spaciousimpression of the room.It provides a calm back-drop for artwork andgives the room theappearance of an inte-grated whole. As indirectlighting on the walls,wallwashing also ensuresa pleasant level of bright-ness in the centre of theroom.

Using coloured wallsfor harmonious con-trastsCurators like to use col-oured wall surfaces toproduce coordinated con-trasts between pictureand wall colour. Uniformwallwashing underlinesthe calm character of theexhibition concept.

Seeing pictures as partof the wallsThe uniform illuminationof vertical room surfacesgives artwork a promi-nence similar to the roomand creates a homoge-nous appearance.

Accentuating walls andexhibitsFor a balanced illumi-nation of the room andthe exhibition, uniformwallwashing for a brightimpression of the roomshould be combined withaccent lighting for goodmodelling of sculptures inthe room.

Oval beam character-isticThe oval light distribu-tion pattern is ideal forefficient illumination ofoblong exhibits.


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ree-dimensional exhibitsodelling sculptures with light and shadow

Defining shapes with shadowsDirected light, produced by spotlights, createshard-edged shadows for distinctive modelling

of three-dimensional objects. The positionof the light source is crucial for the shadowimage. A steep angle of incidence over a short

distance produces long and large shadows.Generally, an angle of incidence of 30 hasproven optimal for the modelling of sculptures.

Exhibition lighting based solely on directedlight further enables sharp contrasts of light

and dark. The localised beams of the accentlight evoke a magical atmosphere in whichindividual aspects can mysteriously stand out

against the dark.

Producing brillianceBrilliance is useful in drawing attention tospecific parts of an exhibition, as the high-lights produced on the surfaces appear to

wander when changing position in the room.The arrangement of these highlights alsosheds light on the shape of edges and forms

of the exhibits. Objects are enhanced byemphasising their shape and texture throughbrilliance effects. Such manifestations of

brilliance depend on the compression of thelight source, as the intensity of the light isof secondary importance. Point light sources

such as spotlights with LEDs, therefore, areideal as tools for brilliant accent lighting.

Luminaire arrangementfor large objectsLarge exhibits requiremultiple luminaires, eachwith narrow beams oflight, to prevent glare forthe observer.

orm light foriple exhibits

e areas with multi-xhibits are best illu-ted using a grid oflighting illuminationpresents the exhibitswhole.

Diffuse light producesvirtually no shadows fora calm atmosphere onobjects.

Directed light forms thebasis for good modellingof sculptures. A singlespotlight results in harshcontrasts.

For balanced contrasts onsculptures, the main illu-mination is supplementedwith a lower intensityfilling light provided by asecond spotlight.

Directed light for mod-elling and brillianceCompact light sourcessuch as spotlights allowfor highly contrastingshadow effects and high-lights. Brilliant sparkle,now also with LEDs, givesthe impression of value

and prestige on gloss sur-faces such as metal orglass.

Diffuse and directedlightDiffuse light comes fromflat light sources such asluminous ceilings. Similar

to an overcast sky, lightis emitted uniformly fromvarious directions pro-ducing virtually no shad-ows and leaving a flatimpression of the sculp-ture. Directed light, suchas natural sunlight oraccentuating spotlights,delivers the alternativeof high-contrast shad-ows that give a dramaticeffect, even to subtlecontours.

Diffuse light for a calmatmosphereSkylights with an inci-dence of indirect day-light or luminous ceilings,as the technical alterna-tive, provide diffuse lightin the room. The softshadows create a peace-ful impression. Comparedto high-contrast accentlighting, they give exhibitsan objective appearance.

Emphasising shapeswith shadowsCurves and contours areemphasised effectivelythrough the progressionof shadows.


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chnologyptimal use of professional lighting tools

ng efficient Spherolit technologybits of different sizes, luminaires posi-ed at varying distance from the objectspecific lighting concepts demand a widee of beam characteristics. Very narrow

t distributions are predestined for smallks of art and large distances to achieve

k contrasts and good visual comfort.ong sculptures, on the other hand, are

illuminated using an oval beam charac-tic to accentuate the exhibit with a sin-uminaire. Spherolit lenses are ideal f orable exhibitions, since their capacity tohanged easily makes delivering diff erentributions quick and uncomplicated.

ection effectsoptical imaging system of projector spot-ts enables sharp-edged beams of light orprecise projection of patterns. Adjustingens changes the edge definition of the

m for such aspects as high-contrast differ-ation of the surroundings. An additional

ming attachment illuminates the images a precision beam giving the artwork the

earance of glowing from within. Gobosructured lenses add graphic patterns for

enographic design.

Mounting location in listed buildingsThe positioning of luminaires can pose a chal-lenge in historic buildings that, for aestheticand conservational reasons, may be off limitsfor the installation of luminaires preciousold vaulted ceilings or ceiling decoration maybe too good to damage with lighting infra-structure. Projecting sections on walls, ceilingsand columns can help to mount luminairesin a concealed position thereby focussing per-ception onto the works of art.

Preventing spill lightThe soft progression of brightness at the beamedge ensures precise and neat accent light-ing on pictures. The Spherolit lenses of ERCOsLED spotlights enable a soft progression freeof spill light. Conventional technologies usedfor accent lighting, in contrast, can createring-shaped light patterns outside the centralbeam of light. This spill light detracts fromthe effective illumination of artwork and dis-

rupts the enjoyment of pictures. It is thereforeadvisable to use spotlights with precise beamsof light for professional exhibition lighting. Light beams with spill

lightReflections in the lumi-naire can cause spill lightdisrupting the beam andproducing ring-shapedlight patterns which drawattention away from theartwork.

Precise light beamswith Spherolit lensesThe LED optical systemsconcentrate the lightwith no losses and spilllight to the sides is min-imised. As a result, nocircular artefacts ariseeven outside the mainlight beam.

Reducing the damage factor with LEDs

The relative damage factor is used to assesssuitable light sources for conservation require-ments such as in museums. It specifies theratio of the damaging radiation intensity andthe illuminance. Warm white LED lightingis even better suited for delicate objects thanlow-voltage halogen lamps with or withoutUV filter.

Light source Relative damage

factor f (mW/lm)LED warm white, Ra 90 0.149QT12-RE with UV filter 0.159QT12-RE 0.169HIT 930 0.182

Narrow spotUsed to accentuatesmall objects with highlight intensity or toproject over greaterdistances between theluminaire and the tar-get object. Beam angle< 10.

SpotThis is the standardcharacteristic for accentlighting for objects ofall kinds, especially toreveal the three-dimen-sional shape. Beam angle1020.

FloodUsed for efficient accen-tuation of large objects orto uniformly emphasisea complete spatial zone.Beam angle 2535.

Oval floodThe oval flood Spherolitlens has an axially sym-metrical light intensitydistribution, producingan oval beam of approx.20 to 60.

Wide floodUsed for flexible, flood-ing illumination of sur-face areas and spatialzones, especially usefulfor the presentation ofgoods. Beam angle > 45.

WallwashThe light distribution ofthe lens wallwasher isdesigned to produce verygood uniformity.

FramingThe framing attachmentproduces a sharp-edgedbeam.

Gobo projectionGobos or structuredlenses are used to projectpatterns and images.


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ustment of illuminances

inaires in museums should be dimmablea number of reasons. At the most basic, it makes sense to adjust the illuminancevels which ensure maximum conservation

he works; equally, the demand is there tonce the brightness of luminaires mountedarying distances and use deliberate differ-es in brightness for effective light scenesto save energy. Motion sensors offer addi-al energy-saving and preservation optionswitching the lighting in alignment withor traffic. Local on-board dimming allowsvidual adjustment of the illuminance. LEDting represent a major step forward sincecolour temperature does not change overdimming range, unlike the low-voltagegen lamps characteristics of shiftingards the warmer white range.

rading existing systems to efficientting technologyany museums, track systems are used

he basis for variable and flexible lighting

gn. They ensure quick and easy replace-t of the luminaires for new exhibitions.to the consistent system design of thespotlights, luminaires with conventionalps are easy to replace. An LED luminairesnous efficacy, which is around four timeser than that of low-voltage halogen

ps, combined with a service life of 50,000hwo major benefits. In this way, both capi-nd operational expenditure can be reducede profiting from the absence of UV radi-n.

Creating lighting effects in exhibitionsThe curators decision in favour of a specificexhibition concept provides guidelines for thelighting concept. The scope of options rangesfrom uniform illumination all the way tosharp contrasts through accent lighting anddynamic light sequences. Use light to commu-nicate the topic of your exhibition!

Using vertical illuminanceWalls in museums are important presentationsurfaces and therefore deserve special consid-eration in the design. Uniform illumination ofthe walls using special wallwashers enhancesthe perception of art and also creates a brightand harmonious impression of the room.

Ensuring flexibilityTo ensure a quick response to changing formsof art and presentation in the long run, itis wise to opt for an adjustable infrastructurewith track. Exchangeable lenses for differentbeam angles, lamp dimming options and flex-ible lighting control ensure optimum lightingconditions for museums, also in the future.

Integrating the aspect of conservationThe requirements of conservation of the paint-ings are often a contradiction to the visitorsdemands for appropriate levels of brightness.In order to protect the exhibits, it is vital toshield them against damaging artificial light ordaylight spectra. Today, dimmable warm whiteLED lighting is considered the optimum forsensitive works of art.

Benefitting from efficiency and v isualcomfortEconomically efficient lighting technologyreduces the operating costs an d providesthe financial scope to invest in the collectionand presentation. Excellent luminous efficacy,a high light output ratio and long life have apositive effect on the operating costs. ERCOsmodern LED technology offers this and more.Well shielded luminaires and careful luminairearrangement ensure a high quality of lightand visual comfort in the exhibition.

Dimming on thespotlightSpotlights can be dimmedin various ways to ensureefficient visual comfort.The integrated potenti-ometer enables the lumi-nous flux to be adjustedindividually on the lumi-naire.

Dimming via circuitor DALISpotlights with potenti-ometer can also be con-trolled using externaltrailing-edge dimmers.This makes them idealfor an energy-efficientrenovation of existinglighting installationswhich are equipped withthis widely used dimmer

technology. Alternatively,spotlights are also avail-able as DALI-compatibleLight Clients.

chnologychnology for efficient visual comfort

Checklist for museum lightingThe way to an individual lighting concept

imal light quality through visualfortding glare is a primary mission in museum

ting. Precise optical systems are the keyreventing spill light. Other accessories areable to optimise the visual comfort foranding visual tasks. Black anti-glare ringspotlights or wallwashers, for example,rict the view into the luminaire to mini-e direct glare and direct the focus onto thework.

Accessories for improvedvisual comfortERCO products offer awide variety of acces-sories to achieve highlyspecialised effects andsatisfy complex photo-metric demands. The anti-glare ring, for example,enhances the standardhigh level of visual com-fort of the luminaires.

Using the flexibility oftrackInnovative LED spotlightsare easy to integrate withexisting installations usingERCO track.


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To provide designers with optimum supportat every stage of their work, ERCO offers amultitude of both classic and digital media.Our extensive range of material is divided intoinformation on products, reference projectsand didactic subjects.

All ERCO documents have been designedto perfectly complement the design of coher-ent and uniform lighting concepts. The layout,structure and terminology of the various areasof the product range have been harmonised tomake orientation as easy as possible for users.

DidacticsInteractive knowledge-based modules in theGuide area of the LightScout cover the funda-mentals of designing withlight and provide userinformation on lightingtools. Various specialistbrochures provide infor-mation on topics such asLED technology or lightin the outdoor area.

www.erco.comThe ERCO Light Scout onthe Internet is the leadingmedium in terms of up-to-date product informa-tion. The product sectionof the Light Scout andthe PDF product specifi-cation sheets are all regu-larly updated. Light Scoutmeets the requirementsof a globalised marketplace with product infor-mation in 10 versions fordifferent languages andregions and with Internetnavigation in 5 languages.

ProductsOur extensive range oflighting solutions forarchitectural applica-tions is divided into the

three product ranges:lighting controls, indoorluminaires and outdoorluminaires. This struc-ture is repeated in boththe Light Scout and theprinted catalogue.

ERCO ProgramThe printed cataloguecontains all the impor-tant information anddesign data in black

and white, compactand always accessible.

Digital design dataIn the Light Scout, infor-mation on each ERCOarticle is available fordownload with compre-hensive digital designdata for use in CAD, lightcalculation and light sim-ulation software. The datacan be used, for exam-ple, to create impressivevisualisations in DIALuxor Autodesk 3ds Max.

ERCO Media

ProjectsMuch space in ERCOcommunications isdevoted to fascinatinglight in architecturalapplications examplesinclude the Projectsarea of the ERCO LightScout and our magazineERCO Lichtbericht.

CO showroomsperiencing light and using services worldwide

O is a cosmopolitan, globally activepany. ERCO showrooms and offices canound in all major markets. Here, our well-cated, specially trained employees workghting advisors. This worldwide networkures reliable service and competent, on-siteport especially on international projects:m providing advice during the planninge, tendering, sample supply, project plan- and supply logistics to customer servicetraining.

Consultant to the consultant this is howO lighting advisors see their role in theding process: they provide professionalport to designers in all matters relating toting technology and in each individual pro-phase. With case-related specialist infor-on and customised product documenta-they help customers to make the correct

sion when selecting lighting equipment.he showrooms and offices provide idealities for meetings during the project phase.

h facility has a mock-up section for sampleother product demonstrations, and quiten, the showrooms outside show examplesse for ERCOs lighting tools.owever, our ERCO service does not end the punctual delivery of the products:r switching on, our lighting advisors sup-customers with communication or site

ices and also with recommendations, adviceassistance in such aspects as maintenance,stment or extension of a lighting system.

Events and seminarsThese turn ERCO show-rooms into meeting placesfor the local light andarchitecture scene. Theshowroom is designedto make it possible toexplain tune the light:to design the qualitiesof light in terms of timeand space.

On siteMany issues only emergeduring the building pro-cess and require sitemeetings. ERCO employ-ees help to organisesample products, provideassistance on lightingtechnology issues andsolve logistical problems.

Light qualitiesExperiencing the prod-uct variety and scope fordesign of ERCOs range ofluminaires up close andpersonal: ERCOs show-rooms provide vivid exam-ples from the exteriordesign to the mock-upsection inside.

Product specificationsheetsThese documents areavailable online in PDFformat and contain

detailed information ona specific product.

www.erco.com/contact


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