erco lichtbericht 93 · oriental carpets in vienna. mag-nificent antique items are set off to...

E ERCO GmbHPostfach 246058505 LüdenscheidGermanyTel.: +49 2351 551 0Fax: +49 2351 551 [email protected]

E Lichtbericht 93Viani Alimentari, Göttingen

Architect and lighting designer: AV Atelier Verführt Messe GmbH, HanoverPhotos: Frieder Blickle, Hamburg

www.viani-alimentari.de

In German university towns, such as Göttingen, a wide-spread fasci-nation with all things Italian can often be observed. The Viani family, importers of Italian specialities for many years, are now supplying Ital-ophiles with vino, pasta, espresso and focaccia sold in their own shop. Located on the ground floor of a timber-framed house in the historical town centre, the shop‘s

premises have been redesigned by the Hanover-based Atelier Verführt in a sober but elegant style. ERCO’s contribution is the efficient visual comfort provided by Quintessence wallwashers fitted with metal hal-ide lamps and Optec spotlights for flexible accentuation of objects.

Published in November 2011

Bodegas Portia A state-of-the-art winery, the Spanish Bodegas Portia in the wine country of Ribera del Duero oper-ates according to industrial stand-ards. This does not detract from the fascination inherent in wine as 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 have created a spectacular architecture starring an equally immaterial ele-ment: light.

ERCO Lichtbericht 93 1

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

An LED case study involving ERCO’s own Technical Centre is described in detail on page 20. The entire foyer section here has been updated to feature the latest state-of-the-art LED lighting system and the 75% savings in energy are a welcome side effect. As a further positive upshot, aside from reduced operating costs, CO2 emissions are cut by 68.13 tons a year.

100% LED lighting in retail: A successful example of this is the GANT Woman Store in Prague. Featuring Logotec LED spotlights and Quintessence LED wallwashers and directional luminaires, it shows through skilful integration of vertical illuminance components into the lighting design how to create a pleasant light atmosphere for customers.

Vertical illuminance – i.e., wallwashing – is also the topic of an extensive study conducted by architectural researchers Prof. Dr. Dr. Kai Schuster and Dr. Marc Kirschbaum, featured from page 12 in this Lichtbericht. The study examines and describes scientifically the influ-ence of systematic wall illumination on spatial perception and wellbeing of the users. It sen-sitises us to the importance of a more careful use of light in a design context and shows how the ratio of vertical to horizontal illuminance components allows statements to be made on the use and character of architecture.

LED technology is just as suitable for the hotel and gastronomy sectors. Ibis, a hotel chain operating in the highly price-sensitive economy sector, has opted for LEDs in its new design and lighting concept to stand out as a hotel from the ever increasing competition. Vertical illu-minance using Quintessence LED wallwashers as a central component of the perception-

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

1028762000© 2011 ERCO

Photographs (Page): Ian Barnes, Sydney (2, 3), Frieder Blickle (3, 36, U4), Julia Cawley (1), Aksel Gross, 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, Düsseldorf

Tim Henrik Maack

Background

Wallwashing and perceptionArchitectural researchers Prof. Dr. Dr. Kai Schuster and Dr. Marc Kirschbaum examine spatial perception and spatial effect as a function of lighting.

Projects

16

20

22

23

orientated lighting concept underlines the warm and cheerful atmosphere of Ibis’ new interior design.

The illumination of art in museums and gal-leries is, by nature, a classic case for wallwash-ing. The Fleming Collection in London picked ERCO’s Logotec LED wallwasher for its lighting system. With a connected load of 14W, it meets all the requirements of a modern and energy-efficient lighting solution for high-quality exhibits.

New products 2012ERCO innovations – a preview

ERCO Technical Centre: An LED case study

FocusWallwashing as perception-orientated light Double focusLED wallwasher technology

Introduction

Report

12

24

26

28

30

31

32

34

ZARA, Via del Corso, RomeOnce again, ZARA relies on ERCO’s light-ing expertise for what is currently its largest store.

GANT Woman Store, PragueA small revolution in lighting and the bearer of good news for the environ-ment: the first-ever store to be lit entirely by ERCO’s LED technology.

Vertical illuminance for hotels:Ibis opts for LEDsAt Ibis, everything hinges on optimum value for money. Its latest milestone: a new design and lighting concept.

Vertical illuminance for exterior lighting: Joslyn Art Museum, OmahaNew light for sculpture park and façade of the art deco building and its annex designed by Foster + Partners.

LED wallwashing for galleries:Fleming Collection, LondonThe illumination of paintings is a prime example of vertical visual tasks: solved in the Fleming Collection with Logotec LED wallwashers.

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

Wallwashing for museums:Museo de la Evolución Humana, BurgosThe museum and its adjoined institute showcase the many different uses for vertical illuminance.

About this issue

Keylights

Bright prospects

1

2

4

Bodegas Portia, Gumiel de IzánLighting designer Claude R. Engle IV illuminates the Spanish winery effec-tively using the methods applied in qualitative lighting design: accent lighting, zoning, vertical illuminance.

6

36 Backlights

Contents About this issue

Light & Technology

ERCO Lichtbericht 93 32 ERCO Lichtbericht 93

Keylights

Hobart (Tasmania)Modern light art – in a museum at the opposite end of the world from a European perspective. Here, collector David Walsh has set up a meeting place of old, modern and contemporary art that breaks many conventions. In terms of lighting, though, the MONA also opted to rely on ERCO’s museum expertise.

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

LondonThis is not just any cafeteria; it is the cafeteria of one of the best-known and most productive “architecture factories” in the world – the River-side Studios of Foster + Partners in London. Wall paintings show spec-tacular views of the partnership’s projects, uniformly illuminated by Optec wallwashers for halogen lamps.

Cafeteria, Foster + Partners Riverside Studios, LondonArchitect: Foster + Partners, Christopher Lam, Londonwww.fosterandpartners.com

Santiago de ChileMiele, the German manufacturer of high-quality electronic equip-ment, presents itself in a futuristic new building in Chile’s capital. At night, the glass façade transforms the building into light architecture; inside, Optec LED spotlights ensure efficient visual comfort and a bril-liant display of the products.

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

MainzAn elegant, two-storey pavilion from the 1960s in Mainz’ city cen-tre was redesigned by perfume and cosmetics chain Douglas into a trendy branch: with an interior design and a new, interactive pres-entation concept that hopes to address particularly a younger tar - get group. The store is lit almost exclusively with brilliant, directed light: from Quintessence directional luminaires for HIT mounted in the uniquely shaped ceiling elements and from black Logotec spotlights for HIT that discreetly form a secondary feature in the ceiling appearance.

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

Vila Nova de Foz CôaThe Vale do Côa in Northeastern Portugal is an important World Heritage site with prehistoric rock carvings. A new museum now brings together modern and stone-age artefacts – excitingly staged using TM spots mounted on tracks.

Museu do Côa, Vila Nova de Foz CôaArchitect: Camilo Rebelo, Tiago Pimentel, Sandra Barbosa, PortoLighting design: G.O.P. Gabinete de Organização de Projectos, Alexandre Martinswww.arte-coa.pt

ViennaThe stilwerk on Praterstraße now introduces the concept of com-bining diverse home design brands under one roof in Vienna: On a site measuring 220m2, upholstery manufacturer Bretz, for instance, presents its “cult sofas” – accentu-ated by Logotec spotlights – against a display wall uniformly lit by Optec wallwashers.

Bretz Möbel, stilwerk, ViennaArchitect: giftgrün design gmbH, Viennawww.bretz-austria.at

Weinstadt-Strümpfelbach“Pure” is more than just the label of the Dannenmann fashion store; it is as much the guiding theme for the new showroom in Weinstadt near Stuttgart. Walls and ceilings merge into each other seamlessly, the lighting using ERCO’s Quintessence luminaires blends into the interior design in a perfect finish.

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

LisbonThe Champalimaud Foundation has financed a state-of-the-art biomedical research centre whose avant-garde architecture reflects the standard of scientists working here. Quintessence downlights and wallwashers illuminate areas including the auditorium.

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

HamburgThe International Maritime Museum in Kaispeicher B, the oldest quay-side warehouse in the harbour city, displays exhibits from the seafar-ing world in an area measuring 10,000m2. Along with ERCO spot - lights, it is the Quintessence wall-washers in particular that ensure uniform illumination of the walls and backgrounds.

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

Perception-orientated lighting design: The light-ing of the high-rise foyer is focused on the bright wall surfaces, not the dark floors. The bright-ness level is improved as a result, while energy costs are reduced.

ViennaThe Rahimi family business is the prime address for high-quality oriental carpets in Vienna. Mag-nificent antique items are set off to produce an optimum scene in the redesigned store in Spiegelgasse 1 – effectively illuminated by Cantax spotlights and Quintessence wall-washers.

Rahimi & Rahimi oriental carpets, ViennaArchitecture and lighting design: Archvision, Sadegh Derakhshan, Martin Huber, Vienna www.rahimi.at

LondonBespoke tailor Douglas Hayward saw stars such as Clint Eastwood and Michael Caine stream in and out of his shop. When the founder died in 2008, the company on Mount Street, Mayfair, needed to reinvent itself: with an interior design concept that combines tradition with future – and light provided by ERCO.

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

LeipzigThe listed façade of a former, five-floor trade fair palace hides a contemporary grand hotel that combines historic building fab - ric with a modern design at 5-star level. The clever lighting design featuring recessed ceiling and floor luminaires supplied by ERCO adds significantly to the special atmosphere.

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

SydneyGrosvenor Place, a 180m high office tower built in 1988, is one of the works of Austrian-born Harry Seidler (1923-2006). After his emigration and periods in England and the USA, Seidler advanced to become the leading exponent of modern architecture in Austra-lia. New lighting in the foyer now emphasises the architectural design even more favourably while at the same time affording massive cuts in energy and maintenance costs. The lighting tools chosen by the designers include wallwashers, downlights and directional lumi-naires for metal halide lamps from ERCO.

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


Bright prospects ZARA, Via del Corso, Rome Architect: Giulio de Angelis (1845–1906)Architecture (refurbishment) and lighting design:Duccio Grassi Architects, Milan/Reggio Emilia; José Froján, Mabel Segui, Estudio ZARA, ArteixoPhotos: Thomas Mayer, Neuss

www.zara.com


0 5 10m

Faustino Winery - Site Plan

In recent years, the wine countries of Northern Spain have evolved into an Eldorado of extraordinary architecture. Wineries use architects of international renown, such as Calavatra, Moneo, and Gehry, striving to beat their competitors in the realm of spectacular design. Buildings such as the headquarters of Marqués de Riscal, whose style mimics that of the Guggenheim Museum of Bilbao, are highlights of this unofficial competition. The new bodegas constitute trademarks, attractions and unique characteristics, all essential in today’s climate of fierce competition for market shares and reputation. The most recent example of this trend is provided by the Gruppo Faustino: Its Bodegas Portia, newly designed by Foster + Partners and located in Ribera del Duero, combines efficiency and elegance, takes advantage of the natural topography of the surrounding landscape, and ingeniously alludes to the functional processes of winemaking – all effectively accentuated by Claude R. Engle IV and his integral lighting concept.

It is the first time Lord Foster and his team have designed a winery. What they came up with as an overall layout for the building looks like a stylised trefoil. Three wings reach out from the centre like rays from a star. Each wing houses one of the three phases of winemaking: the fermentation in steel tanks, the maturing in oak barrels, and ultimately, the bottling and stocking. The heart of the facilities beats in the centre of the complex. This is where all the processes occurring in the three wings are controlled. In addition, it comprises the lightflooded public area including a shop, a degustation lounge, and a restaurant overlooking the large nearby terraces and pools, and beyond, the wine country. Glassedin galleries on a mezzanine level allow visitors to witness the production processes in all three wings, thus making the enjoyment of wine – well beyond its degustation – a sensual experience embracing the long tradition of Spanish wine culture.

The lighting concept by the design firm Claude R. Engle follows the approach of trans parency. A mostly discreet illumination lures visitors into the world of wine. Carefully placed accents will please both enthusiasts of stateoftheart winemaking technology and wine aficionados seeking to explore the romantic aspects of winemaking. To achieve this, Engle placed the focus of his design on the key ele ments of wine production. Inspired by discussions with the winemakers, he decided to use accent lighting to illuminate only the temperature readouts, the spouts and the tank openings throughout the wing dedicated to fermentation. Put to the practical test, it was soon con

Bodegas Portia, Gumiel de IzánWhen Foster and Engle join forces, it is not surprising that architecture and light are blended in new and unexpected ways. To make this Spanish winery shine, Claude Engle IV applied methods of qualitative lighting design: accentuation, zoning, and vertical illuminance.

Architects: Foster + Partners, LondonLighting design: Claude R. Engle Lighting Consultant, Chevy Chase MD Photos: Thomas Mayer, Neuss

www.bodegasportia.com

Its threewinged layout blends into the landscape. Because of the hilly topography, the three wings are embedded in the ground to different degrees, ensuring an ideal climate for each stage of the wine production; for example, in the Nave de Botellas, where the wine matures in bottles.


At Bodegas Portia, modern architecture and stateoftheart winemaking technology meet a wine culture that evolved over centuries and is represented by local winegrowers. This makes for a promising blend of tradition and avantgarde.

Parscan wallwashers for 75W halogen lamps provide vertical illuminance in the restaurant. A glass front opens out onto the roof terrace, where once more, old barrel staves make for an attractive wall decoration.

Wineinspired wall decoration: Everywhere in the building, structures made from old barrel staves are mounted and lit as decorative elements. In giant stainless steel tanks, the grape juice undergoes fermentation. To naturally discharge the carbon dioxide this produces, the tanks are located in the one wing entirely above ground level. The light

ing there is restricted to connecting paths, operating instruments and the weightbearing concrete columns accentuated by upwardfacing Beamer projectors for 50W halogen lamps (bottom).

firmed that this minimum amount of light was sufficient even for the winemakers. “They say the wine is sleeping. Hence, we provide only as much light as is needed for the wine production, but take heed not to wake the wine,” says Engle. As a result, the industrial lighting instruments fitted with fluorescent lamps, concealed between the ceiling’s wooden blades, are seldom used.

At Bodegas Portia, the “sleeping” wine matures in the barrique, as tradition requires it. ERCO Gimbal projectors fitted with 20W metal halide lamps and Spherolit reflector steep the oak barrels in a warm and subtle light. The paths connecting the barrel storage areas are distinguished through a zoned illumination of a cooler light colour (5,000K) so that the winemakers can carry out all activities without having to modify the lighting arrangement. The architects achieved a fascinating effect by leaving a gap between the concrete walls located beneath ground level and the wall construction out of wooden girders, then fitting the gap with winered glass so that daylight seeps through in the appetizing hue of a Reserva.

The wing in which bottles are stored – the Nave de Botellas – is illuminated by ERCO Parscan projectors with flood reflectors fitted with 100W lowvoltage halogen lamps. This projector type with outstanding antiglare properties guarantees maximum visual comfort and a flexible, directed, yet discreet illumination. Mounted on the hall ceiling, they accentuate the impressive bottle walls of Bodegas Portia. The effect they produce by lighting individual bays is reminiscent of the atmosphere in a cathedral – a cathedral of wine.

While the lighting concept in the production areas calls for the greatest possible subtlety, the visitors' areas in the centre of the winery require more extensive, uniform lighting. Finewood surfaces and lowkey colours in the restaurant, the bar, and the degustation lounge make for an exclusive aesthetic. In this environment, downlights for 75W lowvoltage halogen lamps achieve a particularly pleasing light quality. They are incorporated into the vertical blades of the louvre ceiling. In addition to pieces of modern art, the wall decoration features staves of old wine barrels. They are lit by Parscan wallwashers. All in all, the concept of openness and transparency is continued throughout the gastronomy and visitors’ areas. Rows of large windows allow visitors to see both the wine barrels resting inside the Nave de Barricas and the vast scenery of Ribera del Duero.

Bodegas Portia


The entrance is the only part of the winery where Foster + Partners departed from their global concept of transparency. There, the architects concealed the central tank, which stands 7 metres tall, behind bluegreen frosted glass. Lighting designer Engle accentuated this giant piece of technology with colourful lights so as to make its shape vaguely and mysteriously visible through the large glass surfaces. In summary, the lighting concept builds on the architecture in all parts of Bodegas Portia, enhances

it, and adds individual accents. Architecture and lighting together have turned what was a functional building into an adventure where the magic of winemaking becomes tangible for the visitor.

Norman FosterNorman Foster is one of the most important architects practising in the world today. He is chairman and founder of Foster + Partners, based in London, with project offices worldwide. Over the past four decades the practice has pioneered a sustainable approach to architecture and ecology through a strikingly wide range of work, from urban masterplans, public infrastructure, airports, civic and cultural buildings, offices and workplaces to private houses and product design. He became the 21st Pritzker Architecture Prize laureate in 1999 and was awarded the Praemium Imperiale Award for Architecture in 2002. In 2009, he became the 29th laureate of the prestigious Prince of Asturias award for the Arts.

www.fosterandpartners.com

The top level of the central area with its bar and restaurant overlooks the roof terraces with reflecting pools and, beyond, the vast scenery of Ribera del Duero.

Daylight seeps through a horizontal gap between the base and the hall construction, filtered by coloured glass to radiate the rich hue of heavybodied red wine. The barriques in which the wine matures are illuminated with warm light from Gimbal projectors fitted with metal halide lamps.

Vertical illuminance in the restaurant of Bodegas Portia: ERCO lens wallwashers for recessed ceiling installation fitted with 90W halogen lamps are mounted within the wooden blades of the louvre ceiling. Their light defines the room’s dimensions, properly accentuates the paintings and makes for a glarefree component of ambient lighting.

Claude R. Engle IV graduated from College of Wooster with a BA in Theatre and Philosophy and received an MFA in Creative Writing from New York University. In Barcelona for six years, he worked as a freelance lighting designer as well as a translator of architectural papers and publications. He received numerous awards for his designs for theatre and dance companies. While in Spain, he oversaw the installation of the firm’s lighting design for the Palau de Congresos in Valencia, the Kimmel Center for the Performing Arts in Philadelphia and many other projects in Europe and the USA. He is currently Senior Designer for Regent Tower, a multiuse tower in Sydney, Australia, Freedom Tower at the World Trade Center in New York, and the Winspear Opera House in Dallas, Texas.

www.crengle.com


Research really isn’t required in order to work out that light, light colour and type of lighting affect our impression of a room – we see this day in and day out. Using different lighting tools in different ways changes a space subjectively, our experience of it and our usage pattern. In designing our own home, for instance, we make sure that furnishing and lighting in a room or a room zone harmonise to form a unit and fit its specific purpose. A reading corner, therefore, tends to be illuminated differently from the workspace in the kitchen or the workbench in the basement.

Lighting research in the context of work environment and ergonomics has long since been a recognised, interdisciplinary field that evaluates just how much the lighting situation influences the performance of individuals in the industry, but also their cognitive capabilities. Less known are research efforts that have gone so far as to prove a connection between lighting and our taste of food – wine connoisseurs may find the article by Oberfeld et al. (2009) of interest here.

In terms of the aspects of perception and evaluation of space as factors of vertical and horizontal illuminance in rooms, however, psychological research is still in its infancy. This article gives a review on an empirical study conducted in cooperation with ERCO on the subject of spatial perception and evaluation as a factor of lighting. The results of this study are presented after a brief synopsis of psychological perspectives of the human mechanisms of spatial perception and evaluation.

Spatial perception from the perspective of environmental psychology Environmental psychology is an academic field investigating people’s interactions with the environment, their perception (cognition), attitude (emotion) and action (e.g. Zimbardo & Gerrig 2008). This simple model quickly expands under the assumption that these components are closely linked and personal variables determine the intensity of spatial perception and the evaluation of space. Examples of personal variables are previous experiences, current state, action targets, etc. Although psychology places the focus on the person, environmental psychology acknowledges in the concept of affordance introduced by Gibson (1989) that the room in itself affects the individual independently: because of the room’s equipment and design – and here especially the lighting – the room situation affords con

Wallwashing and perceptionArchitectural researchers Prof. Dr. Dr. Kai Schuster and Dr. Marc Kirschbaum exam-ine spatial perception and spatial effect as a function of lighting.

crete possibilities; the room invites users to take certain actions. In the ideal case, the individual and room harmonise: the person’s desires and the room’s characteristics are in agreement.

From the viewpoint of evolution psychology, a number of fundamental mechanisms of spatial perception and evaluation have prevailed in the course of man’s evolution. In this way, people tend to prefer environments that (a) involve a moderate level of complexity and (b) are “legible” without being boring, and which possess a certain degree of (c) coherence, but at the same time (d) comprise mysterious components that stimulate the need to explore and promise discoveries (Kaplan & Kaplan 1995). Along with the need to explore, as humans we are also intrinsically wired to avoid danger and predators (Appleton 1975; Orians & Heerwagen 1992). In other words, we seek to analyse the structure of new, unknown environments under aspects such as danger and escape options, scanning our surroundings, for instance, for spatial borders and reference points in order to estimate distance. This evolutionary perspective will, of course, need to be “translated” into the current context. Spatial evaluation processes for us do not generally operate in the “survival” mode, but rather focus on “experience”. We can also assume that the aforementioned evolutionary patterns apply to everyday situations and are reflected in spontaneous, emotional evaluations of space, i.e. in our experience of it.

Example of department store: Image a (top) primarily with vertical illuminance; image b (bottom) primarily with horizontal illuminance.

Lighting has a substantial effect on our ability to recognise our environment, on our evaluation and use of space. It was used in psychological research studies as a parameter for spatial evaluation. A key research study was introduced by Flynn in 1977 (cf. Kebeck 1997, p. 225). Flynn’s work allows deductions to be made in terms of vertical and horizontal illuminance situations. Hence, rooms with extensively illuminated walls appear bigger and help us perceive the room more clearly. Nonuniform wall illumination, in contrast, enhances the feeling of relaxation and has a positive effect on the room’s perceived pleasant atmosphere. Low light intensities in the vicinity of the observer generally convey a feeling of privacy. At the same time, more recent studies (e.g. Fleischer 2001) have revealed that the colours of light (neutral white vs. warm white) impact our evaluation of the room. These research studies, however, were not designed explicitly for a systematic comparison of horizontal and vertical illuminance, so that considerably more research into these aspects is needed.

Empirical study on spatial evaluation as a factor of lightingERCO commissioned an empirical study to be conducted on the issue of spatial perception and spatial effect as a factor of vertical and horizontal illuminance in different room situations. The focus here was on “soft” fac tors in the evaluation of specific room and lighting situations. In other words, the study

was based strictly on surveys rather than on physical measurements. The visual material which ERCO had made available for the survey showed nine different room situations each with vertical and horizontal illuminance. The rooms depicted were both of a public and a semipublic or private nature presenting highquality interior design, materials and furnishing in the form of a rendering. The rooms were kept strictly abstract; individuals, details of appointments or personal items were not depicted. The high quality of the renderings led most of the respondents to believe that these were photographs. The images were projected onto a wall, while the respondents answered questions in a standardised questionnaire on each image individually and in the form of an image comparison.

The questionnaire had been devised specifically for this study, drawing, where necessary, on existing scientific work (e.g. Custers 2010, Ginthner 2002, Houser & Tiller 2003, Loe, Mansfield & Rowlands 1994, 2000, Pellegrino 1999). Ultimately, the scope of questions included in the study focused on: appearance of the room, subjective perception of the room, privacy, orientation/safety, light attributes, assessment of the light. We also queried the respondents on the fit of lighting and use, and of lighting and architecture.

The study was conducted in the winter term of 2010/11 as part of seminars held at the Darmstadt University of Applied Sciences and the University of Kassel. In total,

Wallwashing enhances the perception of archi-tectural spaces and is used to facilitate verti-cal visual tasks. As it significantly influences the impression of bright-ness in a room, vertical illuminance is also a key factor in ensuring effi-cient visual comfort. The study by Schuster and Kirschbaum shows how subtly perception and evaluation depend on the lighting situation, but also on the usage context. (Photo: Museum Punta della Dogana, Venice. Architect: Tadao Ando, Tokyo. Lighting designer: Ferrara Palladino e Associati, Milan.)

135 individuals rated 18 individual images and 9 image pairs. The surveys took an average of around 70 minutes. The average age of the respondents, who mostly studied in the fourth term, was 24 years. The survey involved 62% of women and 38% of men. In terms of subjects, the respondents primarily studied architecture (N=53), interior design (N=25) and town and regional planning (N=11), i.e. 2/3 of the respondents studied a subject related to spatial design. The remainder covered a wide spectrum of subjects. The lighting situations were rated in the form of a semantic differential, which involves a bipolar response scale with contrasting attributes, such as “inviting – uninviting”. Calculations for each image pair and each attribute were based on the statistical method of the ttest.

Results of the studyTo illustrate the design of the study and the methods used, the images and charts on page 13 show the results of one of the nine image pairs before the central results of the overall study are presented. The images depict a room of a large department store for ladies’ wear. The sales areas are furnished with dark, mediumheight shelves arranged in parallel lines throughout the room and along the back and side walls. The aisle has a lightcoloured floor covering with a relatively high reflectance. The vertical room boundary has a light purple hue. The floor of the department store level is illuminated

The study result for the department store exam-ple, shown as a semantic differential. The statisti-cally significant differ-ences are indicated in two ways: (a) The term pairs are shown in bold print and (b) the average indi cator is filled in on the scale. The orange line refers to the image with vertical illuminance, the black line to the room with horizontal illumi-nance.

diverse

exciting

Rich in contrast

monotonous

Boring

Low in contrast

interesting uninteresting

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

comparison 5: image 9 and image 10

image 9: also vertical illuminance Significant image 10: primarily horizontal illuminance not significant

chart: Antje Renziehausen/pragmatopia

ORientAtiOn / SAfety

LiGht AttRiButeS

ROOm imPReSSiOn

PRiVAcy

ROOm PeRcePtiOn

eVALuAtiOn Of LiGhtinG


Authors:Prof. Dr. Dr. Kai Schuster studied psychol-ogy (Dipl.-Psych., Dr. phil.) and architecture (Dr.-Ing.). He worked as an environmental psychologist in different research insti-tutions and at the Institute of Psychology at the University of Kassel. Since 2010, he has been a professor at the Darmstadt University of Applied Sciences where he lectures in social psychology and sociol-ogy at faculties including the Department of Architecture. His work has focused on architec tural psychology and theory. Together with Marc Kirschbaum, he is a partner of the pragmatopia – architektur.stadt.leben office (www.pragmatopia.de).

Dr. Marc Kirschbaum (architect) studied architecture in Kassel (Dipl.-Ing.), Man-chester/GB and as a Fulbright scholar in Seattle/USA (Master of Architecture) receiving his doctorate in Kassel (Dr.-Ing.); Marc Kirschbaum does research and teaches architectural theory and design at the Institute of Design in Built Fabric at the University of Kassel. In 2009 and 2010, he was a visiting professor at the Clemson University, School of Architec-ture in South Carolina/USA. Together with Kai Schuster, he is a partner of the pragmatopia – architektur.stadt.leben office (www.pragmatopia.de).

LiteratureAppleton, 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 new experimental aesthetics: Steps toward an objective psychology of aesthetic appreciation. New York. Wiley, pp. 170-180

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

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

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

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

Ginthner, D. (2002): Lighting: Its Effect on People and Spaces. 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: Lighting Research and Technology. September 2003 Vol. 35 No. 3, pp. 183-195

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

Kaplan, R. & Kaplan, S. (2005): “Preference, Restora-tion, and Meaningful Action in the Context of Nearby Nature”. 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 of nature: 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 lighting design: Experimental study. In: Lighting Research and Technology. September 1994 Vol. 26 No. 3, pp. 119-133

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

Maack, T.H. & Pawlik, K. (2009/Ed.): Lichtpositionen zwischen Kultur und Technik. Lüdenscheid: 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): “Evolved responses to landscapes”. In: Barkow, J. H.; Cosmides, L. & Tooby J. (Eds.). The adapted mind. Evolutionary psychology and the creation of culture. New York: Oxford University Press, pp. 555-579

Pellegrino, A. (1999): Assessment of artificial lighting parameters 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 illuminance, the light beams are clearly visible. The wall illumination is different: the room in image a features vertical illuminance, the room in image b, horizontal illuminance.

Whereas the room in image b with horizontal illuminance (black line in the semantic 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 was generally felt to be more public and formal. The vertical illuminance here was said to increase the ability to find one’s bearings and the feeling of safety (easier to discern, clearer, safer and more reassuring). On the whole, the room with vertical illuminance was perceived to be more pleasant, cosier, more stimulating and inviting and, ultimately, nicer.

The detailed results for the department store example are shown as a semantic differential. The statistically significant differences are indicated in two ways here: (a) The term 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 vertical illuminance, the black line to the room with horizontal illuminance.

The aforementioned example was only one pair of the altogether nine image comparisons. Across all room situations, the respondents showed the following results:1. Irrespective of the appeal, vertical illuminance gave the impression of a more spacious, public and less informal room and was felt to be easier to discern and clearer. 2. In regard to three of the image pairs, the respondents explicitly preferred the vertical illuminance situation: a company lobby, a clothing store, a flight of stairs. 3. In the other room situations, the horizontal illuminance received more positive and emotional reactions. They were felt to be more inviting, cosier, suggesting a higher level of privacy and seemed more interesting and richer in contrast.

On closer inspection of the study results taking into consideration the room types, usage aspects and the “public room – private room” dimension, the following conclusions can be drawn: Vertical illuminance is preferred in situations where the room is clearly used for public purposes and where it is necessary to find one’s bearings. This is qualified when the room use is geared to emphasise objects in the room (exhibition situation). In these cases, it is this very argument of focusing on a central element in the room that had respondents prefer largely accentuating illumination. Horizontal illuminance was preferred for any room that was interpreted to be private, being associated with such attributes as cosier, more comfortable, but also darker and less stimulating than vertical illuminance.

Private versus public roomsOn the whole, the research results fit into the theoretically derived spatial perception patterns described above. Obviously public

Example of company lobby: In rooms clearly perceived as public places, the respondents pre ferred the lighting concept focused on verti-cal illuminance. Associ-ated attributes include: more spacious, easier to comprehend, clearer and more reassuring.

rooms are felt to be more pleasant with vertical illuminance in that they appear safer, easier to discern, clearer and more reassuring. Unknown, public room situations require us to find our bearings, so that we “instinctively” look for security anchors such as comprehension, brightness, clear structure, room boundaries. At the same time in semipublic and private rooms, we would sooner see focused lighting rather than uniform illumination, precisely with the aim of underlining the private character of the room. If the room setting is designed to focus on individual items, such as in exhibition situations, point source lighting becomes the preferred concept of choice even for public rooms. In this sense, the terminology coined by Richard Kelly (based on Maack & Pawlik 2009) lets us deduce that in environments which require orientation and comprehension, “visibility” (ambient luminescence) is a priority, and that vertical illuminance increases the information in a room. If the attention of users of the room is to be drawn to something, if they are to “recognise” it (focal glow), vertical surface illuminance is usually more distracting and considered less suitable. Of course – and psychology is well aware of this – architecture and spatial illumination are also about creating positive tension (cf. “soft fascination” based on Kaplan & Kaplan 2005). In this respect, the optimal fit does not necessarily achieve the best spatial impression, as do slight variations and “disruptions” (cf. Berlyne 1974). Hence, it is likely, for instance, that – again in agreement with Kelly – a cleverly interrelated mix of focused light in exhibition situations using “focal glow” and vertical illuminance as “play of brilliants” adds to the experience of the room and the artwork.

In this respect, our analysis is but an initial explorative study. In the interest of optimising its reallife validity, for instance, a series of research projects in true environments is required as a next step, in which the same room comparing vertical and horizontal illuminance is rated by room users based on standardised empirical methods using a technically and physically comparable light intensity. A field of research that is as challenging to environmental psychologists as it is fascinating and which ultimately can only be conducted as an interdisciplinary project in cooperation with innovative research partners.

Example of living space: Here, the majority of the respondents interpreted the concept with zoned, horizontal illuminance as private and so, more appropriate for the situa-tion. Conversely, the same room can suggest various usage contexts through use of different or chang-ing illumination.


New products 2012

Cantax spotlights, floodlights and wallwashers with LEDs- Cantax with LEDs has advanced

to a new generation: same hous-ing size, yet with a higher lumi-nous flux, or smaller housing with the same luminous flux

- Highly efficient ERCO LED light-ing technology with collimators and Spherolit lenses

- Spherolit lenses replaceable without tools for different light distribution patterns

- New narrow spot characteristic

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

Floodlights13W - 27W870lm - 2160lm

Lens wallwashers13W - 27W870lm - 2160lm

LED

Light Board spotlights- For exhibition and presentation

lighting- Interchangeable Spherolit lenses

for different light distribution patterns

- Low to high lumen categories- Hinge technology adapted

from the computer industry for smooth, precise adjustment

- Integrated control gear, hidden cables

- Directly dimmable via poten-tiometer

Spotlights5.4W - 54W290lm - 4320lmNarrow spot, spot, flood, wide flood



LED

Light Board recessed luminaires- System design with Spherolit

lenses for different light distribu-tion patterns

- For ceiling-integrated exhibition and presentation lighting

- Integrated control gear- Directly dimmable via poten-

tiometer

Recessed wallwashers27W1740lm

Recessed lens wallwashers27W1740lm

LED

Opton spotlights with LEDs- For economical and flexible

lighting of sales rooms and shop windows

- Highly efficient ERCO LED light-ing technology with collimators and Spherolit lenses

- Spherolit lenses replaceable without tools for different light distribution patterns

- Low height for use in rooms with low ceilings

- Directly dimmable via poten-tiometer


LED Floodlights13W - 27W870lm - 2160lm

Lens wallwashers13W-27W870lm-2160lm

Opton spotlights for HIT- For economical and flexible

lighting of sales rooms and shop windows

- Highly efficient ERCO lighting technology with Spherolit reflec-tors

- Spherolit reflectors replaceable without tools for different light distribution patterns

- Horizontal position of the control gear results in a low luminaire height

- Thermal separation of luminaire head and control gear

Metal halide lamps



Spherolit wallwashers20W - 70W1800lm - 7750lm

Logotec with LEDs- Optimised for the requirements

of sales room lighting- ERCO LED lighting technology

with collimators and Spherolit lenses for exceptionally high effi-ciency and light quality

- Interchangeable Spherolit lenses for a wide range of light distribu-tion patterns

- Integrated control gear, directly dimmable via potentiometer

- Also available as recessed spot-lights

Spotlights4.5W - 14W290lm - 1080lmNarrow spot, spot, flood, wide flood

Floodlights14W870lm - 1080lm

Lens wallwashers14W870lm - 1080lm

LED

A fusion of optics, electronics and information technology, opto electronics combines all the dimensions of our guiding prin-ciple, “tune the light”: producing light, guiding light, controlling light. As a result, ERCO has focused its innovative capabilities on opto-electronics as a core competence. Virtually all new products use LEDs as light sources; in many product areas ERCO uses highly efficient LED optical systems developed and produced in-house with Spherolit lenses – side by side with custom-ised electronic control gear. The following pages give an overview of ERCO’s new products. More from 1 January 2012 at: www.erco.com/products

Light Board spotlights have a compact design with a striking appearance.

The compact design enables a low recess depth in the ceiling.

The horizontal position of the control gear and the flat luminaire head result in a low luminaire height.

Opton is also available for the new HIT-CE 50W metal halide lamps.

Cantax with LED: New lumen categories, two housing sizes.

The compact, flat housing is specially designed and built for the use of LEDs.


New products 2012

Beamer with LEDs- Established outdoor projectors

feature elegant cast aluminium housings with multiple powder coatings and extensive mounting accessories

- Versions with LEDs in various housing sizes and lumen cate-gories

- ERCO LED lighting technology with collimators and Spherolit lenses for exceptionally high effi-ciency and light quality

Powercast with LEDs- Universal, effective lighting tools

for the outdoor area - New, additional light distribution

patterns and lumen categories with LEDs

- Spherolit lens technology for efficient visual comfort

- With double cable entries for through-wiring and efficient installation

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



Projectors4.5W - 54W290lm - 4320lmNarrow spot, spot, flood, wide flood


LED

LED

Cylinder façade luminaires with LEDs- Highly efficient ERCO LED tech-

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

- Various combinations of light emitted upwards and downwards

- Easy-to-install and robust alu-minium housings with multiple powder 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 lens system

- New, external control gear in uni-form housings

Floor washlights0.3W - 0.8W1lm - 24lm

Orientation luminaires0.6W17lm - 24lm

LED

LED

Compar with LEDs- Rotatable and tiltable recessed

spotlights- For ceiling-integrated illumina-

tion of sales rooms- Addition to the existing range for

metal halide lamps- ERCO LED lighting technology

with collimators and Spherolit lenses for exceptionally high effi-ciency and light quality

- Different Spherolit lenses for a wide range of light distribution patterns

Recessed spotlights9W - 20W580lm - 1620lmNarrow spot, spot, flood, wide flood

Recessed floodlights20W1305lm - 1620lm

Recessed lens wallwashers20W1305lm - 1620lm

LED

Quintessence double-focus downlights with LEDs- For ambient lighting in rooms

with high ceilings- Inconspicuous ceiling aperture,

excellent visual comfort thanks to a high level of glare control and double focus

- Highly efficient ERCO LED light-ing technology with collimator and Spherolit lens emits no spill light

- Different sizes and lumen categories

Double-focus downlights6.7W - 27W435lm - 2160lmSize 3, 5, 7Flood, wide flood

LED

Cylinder surface-mounted and pendant luminaires- Simple form as an inconspicuous,

high-quality architectural detail- Maximum efficiency through

perfect matching of LED lamp, lens and control gear

- High level of visual comfort through Darklight technology

- Appropriate accessories trans-form Cylinder into a pendant luminaire

- Light distribution patterns for ambient lighting and wallwashing

Cylinder pendant luminaires Using appropriate accessories such as pendant tubes or cable suspensions, Cylinder lumi-naires can also be suspended as pen-dant luminaires.

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

Double washlights20W - 34W1305lm - 2700lmSize 4, 5, 7

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

LED

Compar uses the modular mounting ring of the Quintessence system.

Double-focus downlights with LEDs: the lower reflector is replaced by a matt black anti-glare cone.

Powercast with LEDs is now avail-able in narrow spot and oval flood character-istics.

All light distribu-tion patters avail-able, from narrow spot and wide flood all the way to oval flood.

Versions for pathway lighting feature Spherolit lenses with a spe-cial light distribu-tion pattern.

Floor washlights are suitable for the efficient light-ing of stairs and corridors.

Façade luminaires13W - 20W870lm - 1620lm

Floor washlights6.7W - 13W435lm - 1080lmWide beam


ERCO Technical Centre: An LED case study

Proven concept, around 75% less energy: Using its own innovative LED lighting tools, ERCO – the Light Factory – has now upgraded the entrance foyer of its Technical Centre at the Lüdenscheid headquarters to feature the latest state-of-the-art systems. Optimised in energy usage, the lighting update is expected to pay off in as little as five years through increased efficiency.

The transparent foyer has served as the visit-ing card of the company since 1989. Harmo-nised with the building’s architecture and with a significant component of vertical illuminance, its previous lighting concept still met the requirements of perception-oriented lighting design. The new implementation of this proven concept demonstrates the enormous potential of LED technology. It communicates both to staff and visitors the latest standard required to experience, appreciate and explain ERCO’s light-ing philosophy.

Wallwashing and LED technology: two factors of efficient visual com-fort that reinforce each other. In combination with lighting control as a further factor in ERCO’s concept, the foyer is all set for energy-efficient, daylight-dependent illumination and sceno-graphic design.

Through uniform wallwashing of the walls, some over 12m in height, the pleasant impres-sion of brightness achieved through vertical illuminance alone is such that conventional ambient lighting of the floor area is largely unnecessary. Floor-to-ceiling glass façades allow intensive utilisation of daylight – the brightness contrasts and reflexes softened by wallwashing. Lighting accents are produced by ERCO’s Logotec LED spotlights with “narrow spot” characteristic; installed on track, these are found in such places as the communication area of the foyer lighting up the chrysanthe-mum decorations on the tables. A Light System DALI includes sensors for energy-saving, daylight-dependent lighting control, but also ensures attractive, scenographic effects. The connected load of the updated system has reduced the original power consumption by 75%, down to 6.48W/m²; the LEDs have an average life of 50,000 hours, compared to between 3,000 and 5,000 hours for halogen lamps. The investment costs therefore must be seen against significant savings in energy and maintenance.

Old New(Halogen) (LED)

26.09W/m² 6.48W/m²

100% 25%

100% 21%

68.13t

Lighting concept

Connected load per m² (W/m²)

Comparison con-nected load (%)

Comparison operat-ing costs

CO2 savings per year

Equals a reduction to 25%


Wallwashing as perception-orientated lightVertical illuminance is an effective concept to enhance the effect of a room and promote perception. More still, it can play a significant role in energy-efficient lighting design. The diversity of illuminated vertical surfaces in architecture extends from smooth, plastered walls to textile hangings all the way to stone-clad façades or walls made of vegetation.

It is not only the architectural design task that falls to vertical illuminance but also that of enabling users of architecture to perform classic visual tasks. This includes recognising the environ-ment and reading information on walls, ranging from information signs and text plaques, posters, paintings in museums, books and files on shelves through to mer-chandise in stores.

In contrast to horizontally focused lighting concepts with the same connected load, vertical illuminance is important from an energetic aspect for a brighter spa-tial impression. Walls become more noticeable and are often brighter than the floor. Since the field of vision of the human eye is sooner drawn horizontally than vertically and the gaze is generally directed ahead, walls tend to draw more attention than the floor or ceiling. The practice of reflecting light off walls using vertical illuminance produces a diffuse component of light in the room which adds to the ambient lighting. These factors lend special relevance to vertical illuminance in the discussion of sustainable lighting design.

LED wallwasher technologyWallwashers with an asymmetrical light distribution are well suited to produce uniform vertical illu-minance. Combined with the high luminous efficacy of the LEDs and ERCO’s effective lighting technol-ogy, wallwashing is a key factor in ensuring efficient visual comfort.

The lighting technology of wallwashers is identified by a wide beam light distribution for uniform vertical and horizontal illumina-tion of the wall. These luminaires therefore need an asymmetrical light distribution which extends up to the base of the wall but also ensures sufficient illumination in the upper area of the wall. A prefer-ably homogeneous level of illumi-nance gives the impression of uniform brightness. Conventional rotationally symmetrical light dis-tributions do not lend themselves to uniform wallwashing, as their beam directed from the ceiling dia-gonally onto the wall produces a focal point (hot spot) in the upper area.

Singling out just two possibili -ties of using LEDs to produce suit-able light distribution patterns for uniform wallwashing would be as follows: firstly, LED lens wall-washers with Spherolit lenses – a particularly economical technology because of its high light output ratio. It is based on dividing a large lens into many individual, three-dimensionally domed facets, each of which directs the light through refraction. The asymmetrical shape of the spherolites produces the par-ticular light distribution required for wallwashing. The transmission of light using a primary LED lens, collimator and Spherolit lens has fundamentally lower losses than with reflectors. The Spherolit lens technology also allows for shallow recess depths. ERCO’s Program fea-tures this wallwasher technology primarily in product ranges derived from spotlights.

The recessed luminaires in ERCO’s Quintessence range addi-tionally feature combinations of Spherolit reflector technology with Darklight technology for excep-

Energy efficiencyDirecting the light spe-cifically onto surfaces relevant to perception and use is the key to high-quality design and economically advanta-geous lighting solutions.

ArchitectureVertical illuminance high-lights architecture as a whole, increases its spatial effect and results in the creation of a high-quality environment.

PerceptionDue to the natural orien-tation of our visual field, the vertical planes of an environment constitute a large part of our percep-tion and thus determine our impression of bright-ness.

LED technologyBased on the LED, ERCO was able to devise wall-washers with a consider-ably much higher light output ratio than lens wallwashers with conven-tional lamps, lenses and reflectors.

Focus Double focus

tionally high visual comfort. The illuminated plane of the diffuser is hidden from the view of the observer due to the Darklight reflector in the cut-off angle. In washlights or double washlights, the diffuser disperses the high point-source luminance of the LEDs to produce a soft-edged beam. The special Spherolit wall-washer segment in the reflector illuminates the upper wall area achieving uniform light distribu-tion over the whole wall. The two LED wallwashing technologies introduced here are found in a wide variety of ERCO’s products and open up an entirely new, crea-tive scope for designers in devel-oping efficient and sustainable lighting solutions.

Thomas Schielke

Lens wallwasher with Spherolit lensThe wallwash Spherolit lens produces an asym-metrical light distribution for uniform and energy-efficient wallwashing.

Washlight with Spherolit reflectorRecessed luminaires such as washlights combine Spherolit reflector tech-nology with Darklight technology for good vis-ual comfort.

Illuminated walls appear almost intangible giving the feeling of clear, distant space. This aids orienta-tion in architecture and reflects glare-free, diffuse light into the room.

Asymmetrical light distributionUniform wallwashing requires an asymmetrical light distribution to pro-duce the impression of homogeneous brightness from ceiling to floor.

Spherolit lens, wallwash

Light mixer

Collimator

Darklight reflector

LED module

Spherolit wallwasher segment

Diffuser


The new store on Via del Corso, however, catches the eye not only for the sheer size of its sales area – more than 3,000m2 over five levels. Even from an architectural perspective, the refurbish-ment of the Palazzo Bocconi, which dates back to 1887 and was previously occupied by the La Rinascente department store, holds tremendous appeal. In the Inditex group, it also sets the global standard for sustainability and efficiency in shopfitting. “Environmental protection is a key component of our global strategy,” Inditex CEO Pablo Isla announced at the group’s annual general meeting in 2010. Fittingly, then, the whole building was refurbished with the aim of meeting the standards required to obtain a LEED platinum certificate.

Not without a certain amount of pride, the company reports that its new eco flagship store on average uses 70% less water and 30% less energy per year than a conventional store, not to mention saving the environment over 200 tons of CO2 emissions a year. The integral approach of the LEED certificate takes account of such factors as choice of materials and recycling of the construction waste, but also heating, air conditioning and, of course, the building’s light-ing system.

It is therefore no mean feat of ZARA’s design-ers working with the architectural firm Duccio Grassi that in spite of the efficiency parameters, the store does not at any point give the impres-sion of asceticism or starkness – quite the con-trary. The sense of space inside the renovated Palazzo is overwhelming: three upper levels designed as open galleries encompass an enor-

ZARA, Via del Corso, Rome

Efficient visual com-fort as a component of ZARA’s eco strategy: The new store in Rome is dominated by accent lighting from Optec HIT 35W spotlights. The dif-fuse reflection of bright surfaces in the room and daylight filtered by wall screens provide sufficient general lighting. This results in a lively, stimu-lating spatial experience not far removed from the natural lighting con-ditions.

Architect: Giulio de Angelis (1845–1906)Architecture (refurbishment) and lighting design:Duccio Grassi Architects, Milan/Reggio Emilia; José Froján, Mabel Segui, Estudio ZARA, ArteixoPhotos: Thomas Mayer, Neuss

www.zara.com

mous void in the centre, carried by the delicately embellished, original cast iron columns of the neo-Renaissance Palazzo. Cream wall and ceil-ing surfaces along with a light, natural stone floor contribute as much to a bright atmosphere as do wall screens made of slats and perforated metal sheets which filter the daylight coming in through large window sections.

In line with the principle of efficient visual comfort, the store’s artificial light concept largely dispenses with general lighting on hori-zontal surfaces – except for such key functional zones as pay desks, landings and access points; these are highlighted by square Quintessence downlights elegantly mounted flush into the ceiling. The most important light component is lighting for vertical product presentation areas provided by Optec spotlights and floodlights for metal halide lamps. The spotlights are mounted on tracks, which in some places are installed in suspended elements. These elements are fitted with inserts at the top for fluorescent lamps to brighten ceiling areas. A further aspect of ZARA’s sustainability programme is using 35W metal

halide lamps as standard lamp types instead of 70W versions. Even with lower lamp wattages, the Optec spotlights with efficient Spherolit reflector technology produce a defined, uni-form beam of light which is sufficient to accen-tuate the presentation areas by creating rich contrasts even from large heights.

5,000 stores in 77 countries: ZARA, the fashion chain owned by Spanish textile giant Inditex, is continuing its strategy of international expansion. For many years now, ZARA has worked closely with ERCO for optimal lighting concepts – most recently in Rome for currently its largest store worldwide.


The roots of GANT are in the USA, where, in 1949, Bernard Gant started supplying Ivy League students with shirts from his store in New Haven, Connecticut. Today, GANT is an international brand combining traditional American style with a European flair. The brand is also expanding in Central and Eastern Europe, where it collaborates closely with the lighting consultants of ERCO’s Vienna and Prague offices when it comes to equipping the stores with GANT's characteristic corporate lighting. It was especially the Logotec LED spotlight system, launched at the EuroShop fair in 2011, that intrigued GANT’s interior designers and decisionmakers. The outcome could be admired just a few months later in the GANT Woman Store located in Prague's shopping centre Myslbek, where GANT opened the first store lit entirely by ERCO’s LED technology.

All concerned are extremely happy with the result. The store is a consistent step forward in the development of GANT’s interior design: The lighting tools’ reduced power usage and longer lifespan fulfil today’s standards of sustainability while the light quality was once more refined compared to the conventional concept of relying on HIT light sources. Based on the concept of efficient visual comfort, the store is lit in keeping with human perception. Wallwashers light the rooms evenly with vertical illuminance, while flexible spots accentuate certain areas and products.

The store's special atmosphere carries to the outside through the shop windows. To accentuate the shop window decoration flexibly, the store uses Logotec LED spotlights, floodlights and wallwashers mounted on ERCO’s 3circuit track. Their exchangeable Spherolit lenses offer a variety of light distribution patterns ranging from narrow spot to wide flood, as well as more uniform illumination such as provided by oval flood and wallwash. Hence, the backgrounds can be lit evenly using vertical illuminance while special areas are precisely accentuated. One special characteristic of ERCO’s LED spots managed to surprise even the seasoned experts of the GANT store design department. The Spherolit lens technology prevents any diffuse spill light, which makes the shop windows' colours appear in better contrast, yielding a crisp, attractive look and feel.

GANT Woman Store, Prague LED lighting tools integrated in a natural lighting concept that combines vertical illuminance with spillfree accent lighting: This helps GANT cut its energy usage for lighting by approximately 30% compared to the previous concept using HIT lamps. By reducing heat emission, another 30% can be saved in air conditioning. These

Opting for efficient LED lighting tools, GANT uses Logotec LED spotlights (left), as well as square 35W LED wallwashers and 21W LED directional luminaires from the Quintessence range.

Shop windows that catch the eye: This is a crucial success factor in the hustle and bustle of a shopping centre. Logotec LED spots fitted with Spherolit lenses make sure no ray goes to waste, yielding excellent contrasts despite a lower connected load.

The lighting concept’s qualities such as good visual comfort, a pleasant warmwhite hue, good colour rendition and low heat emission not only serve to make the store more appealing to customers but also ensure good working conditions for GANT staff in Prague.

At a value of Ra > 85 on the colour rendering index, the performance of warmwhite LEDs ranks at the level of the halogen metal halide lamp common in the retail sector, thus fulfilling the high standard needed for view ing coloured textiles.

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

www.gant.comAt first glance: a boutique for women’s fashion, in the classy design customers have come to expect from GANT, an international lifestyle brand. At second glance, it is a small revolution in lighting, and the bearer of good news for the environment: the first-ever store to be lit entirely by ERCO’s LED technology.

factors, along with eliminating the need for expensive lamp replacements, guarantee that the investment pays off quickly in terms of total cost of ownership.


Since 2009, Ibis has gradually opened hotels of a new generation in Germany in answer to the increasing requirements of the hotel’s guests. Emanating an attractive, yet natural atmosphere, the design language developed by Düsseldorf-based interior design office Dreesen und Partner for Ibis includes elements such as clarity, concentration on essential aspects and a straightforward approach. In working out the details of their lighting concept, the design-ers drew from the expertise of the hotel and

Vertical illuminance for hotels:Ibis opts for LEDs

The restaurant also features Quintessence wallwashers and direc-tional luminaires with LEDs. The vertical illu-minance on the wall in the back defines the room, adds width and gives the impression of adequate brightness. Ceiling-integrated LED directional luminaires are added as a second light component. Their

Differentiated lighting highlights the modern, fresh image of the new Ibis hotels: The combina-tion of wallwashing and accent lighting is both attractive and of a high standard while reducing the number of luminaires required along with the energy usage. LEDs, the light sources of the future, ensure even more economical operation.

Interior and lighting design: Dreesen und Partner, DüsseldorfPhotos: Thomas Pflaum, Castrop-Rauxel

www.ibishotel.com

gastronomy sector specialists at ERCO’s German sales organisation. The result: attractive light-ing and efficient visual comfort – a sustainable investment based on reliable calculations.

Executives at Accor are well aware of the effects that light in this context can achieve. “We wanted it to highlight the atmosphere of our new design, signal a true 'welcome feeling' among guests,” Klaus Rohrbeck, Technical Director at Accor Germany, explains. Setting out to accomplish these objectives, the design-ers examined and optimised all five factors of efficient visual comfort: qualitative lighting design, vertical illuminance, efficient lamps, effective lighting technology and intelligent lighting control. This took them away from their original lighting concept involving a grid of downlights for extensively uniform lighting to a more differentiated design in which wall-washing and accent light are the dominant features.

“We used a third less luminaires than for the general lighting, yet managed to improve the impression of brightness through perception-orientated lighting design,” Martin Weiser, Segment Manager for Hotel and Gastronomy at ERCO Leuchten GmbH, emphasised. The positive effects of this are reflected in the investment involved and the operating costs; and, of course, it meant compliance with the trade associa-tion’s requirements and the DIN standards. The design gave attention to areas such as the foyer, reception, bar and restaurant based on their respective functions; each, however, featuring vertical illuminance to define architecture as

“ambient luminescence” and to provide orien-tation as appropriate. Accent lighting is added as “focal glow” to emphasise functional areas through brightness contrasts; this includes the reception desk, the lifts, but also the table areas in the restaurant and the few, high-quality decorative objects found in the hotel, such as plants and fruit bowls. The third component of the “language of light” – “play of brilliants” – is used just as sparingly, e.g. in the form of deco-rative pendant luminaires above the reception area 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 technology with efficient lamps: vertical illuminance is provided by Quintessence LED lens wall-washers 28W, whereas accent light is added by Quintessence LED directional luminaires 21W with different light distribution patterns, har-monised with the dimensions of the zones and objects to be illuminated. The warm white LEDs

At Ibis, the Accor Group’s economy hotel brand, everything hinges on optimum value for money. The ever-increasing competition in the sector is addressed with a new design and lighting concept.

darklight reflector ensures optimum glare control. The oval beam of the “oval flood” char-acteristic fits well with the rectangular shape of the tables and can easily be readjusted for repositioned tables.

with their high levels of luminous efficacy save energy by definition – their colour temper-ature resembling that of halogen lamps, while their excellent colour rendering presents meals and drinks in the most appetising light. Add to that the fundamental efficiency advantage of LED lighting technology with its projected, directly emitted light over the reflected light of conventional lamps. Where the designers origi-nally calculated a connected load of around 10,000W for lighting on the ground floor, the

figure reduced to 5,800W as early as in the first step in 2009 thanks to ERCO’s concept of using low-voltage halogen lamps and metal halide lamps, and right down to a mere 2,300W in the hotels in Frankfurt, Bonn and Aachen Normaluhr, 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 the criteria 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 to the dimmer setting resulting in further savings during operation.

The new lighting therefore optimally brings to bear the modern, attractive interior concept while it also stands up to close review under economic aspects. The initial extra investment of Ibis in LED technology will pay off in a little over four years – with an assumed period of depreciation of around ten years taken from the expected 50,000 operating hours of the LED luminaires and an average burn time of 15 hours per day. In a nutshell: a sustainable solution benefitting the environment, the guests and the operators.


The history of the Joslyn Art Museum, a monolithic structure of artdeco style with a modern annex by Foster + Partners, is a perfect illustration of the American Dream. George A. Joslyn (1848–1916), born in New England to a family of little affluence, went west to seek his fortune, made his way to the top of the newspaper business, and later becsame the wealthiest man of Nebraska when he founded the “Western Newspaper Union”, a printing empire. Apart from donating to many other charitable causes for his adopted home town of Omaha, his wife Sarah endowed a number of cultural institutions, including the Joslyn Art Museum, after his death. Its collection comprises works from antiquity to contemporary art. However, the focus rests on European and American works of the 19th and 20th century.

The most recent addition to the museum was the creation of a sculpture garden in 2009, in the context of which the surrounding grounds and the exterior lighting of the new and old building were redesigned. The result earned the

The Fleming Collection has long enjoyed its place within London’s cultural scene as a collection and gallery for Scottish art. It goes back to the collection of the Fleming Bank, founded by Robert Fleming in Dundee, Scotland, in 1873. When the Fleming Bank was acquired by the Chase Manhattan Bank in 2000, its art collection was transferred to the Fleming Wyfold Art Foundation, which, in 2002, started running a gallery on the first floor of 13 Berkeley Street in Mayfair. It has met with such recognition, both on the part of critics and the public, that its curators jumped on the occasion when the second floor became available for rent in 2010.

The additional gallery was opened on 10 June 2011 and houses a permanent exhibit based on the collection, whereas the first floor now displays temporary exhibits featuring contemporary Scottish art. The upper floor of the building, which dates back to 1890, provides an area of 140m2 with an attractively adorned stucco ceiling and columns. While the historical walls are painted white, a square of partition walls was installed inside and serves as the display surface; its medium shade of grey achieves a certain contrast while providing a neutral background for the works of art. Whether it was the thriftiness often attributed to the Scots or the collection's roots in financial business, the fact is, the curators calculated very wisely when it came to choosing their lighting instruments, which had them opt for an ERCO track system with Logotec LED wallwashers and projectors in warm white. They not only provide highquality illumination while protecting the exhibits, but also pay off within just a few years through substantially reducing the power usage by comparison to, for example, lowvoltage halogen lamps, and cutting down on maintenance cost: Lamp changes are now a thing of the past.

Vertical illuminance for exterior lighting:Joslyn Art Museum, Omaha

LED wallwashing for galleries:Fleming Collection, London

A glazed atrium joins the old to the new building. Lightmark bollard luminaires HIT 39W illuminate the entrance area in front of the main entry.

Galleries with their presentation of art on wall surfaces constitute the standard situation that calls for uniform vertical illuminance. In the Fleming Collection, Logotec LED lens wallwashers are combined with LED projectors of the same style so that individual objects can be accentuated.

Wallwashers mounted on tracks are particularly good examples of the efficiency benefits offered by LED lens wallwashers with Spherolit technology. The light output ratio is approximately twice that of a conventional lens wallwasher.

Architects: John and Alan McDonald, Omaha (core building from 1931), Foster + Partners, London (annex from 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 IES Illumination Award of Merit in 2010: It is a concept that gives adequate individual consideration to the contrasting elements, yet brings them together in a common context. The designers made a point of broadly deploying consistent, efficient lamp types such as metal halide lamps, only in varying wattages. The lighting concept in the sculpture garden eschews uniform, overall illumination; instead, the trees are lit with Tesis Uplights, while the sculptures are accentuated by Grasshopper projectors. In contrast to the garden, the pink marble façades of the old and new building are lit uniformly by Focalflood floodlights to emphasise their monumental character. The large reliefs by sculptor John David Brcin (1899–1983) featured on the corners of the old building receive additional prominence through Beamer projectors.

This awardwinning new lighting concept created the atmospheric background for the Jazz on the Green festival, whose 2009 edition took place in the sculpture park of the Joslyn Art Museum.

Beamer HIT 70W

Focalflood HIT150W


The villa’s name goes back to its ancient foun-dations, artfully exposed after the renovation. The building rests on the ruins of a former for-tress built by Sébastien Le Prestre de Vauban, a Baroque master builder. Featuring rugged, pris-matic outer surfaces and an underground sec-tion, the annex, joined to the neo-classicist villa from two sides, alludes to the former casemates. The façade shell with its warm, earthy metal hue consists of perforated red brass sheets. The inside is also characterised by clear, expressive surfaces of various contrasting materials: light wooden floors, white stucco surfaces, walls and ceilings out of bush-hammered concrete with sparkling quartz elements, all brought to life through carefully arranged lighting.

As soon as visitors approach the building, they can gain an idea of how light architecture creates eye-catching imagery. For an attractive effect, even from a distance, wallwashers were chosen to illuminate the vertical surfaces of the entrance and the glassed-in foyer. The annex's lighting in passages and general spaces consists chiefly of edgeless downlights incorporated in the concrete ceilings, a feature that requires extraordinary craftsmanship. Double-focus downlights, directional lumi naires and wall-washers from the ERCO Program give structure to the complex sequence in which the visitor

Villa Vauban, Luxembourg

Expressive spaces, clear surfaces, contrasting materials: These are the stylistic devices of the architectural design by Diane Heirend and Philippe Schmit.

The modern annex with its shell made from per-forated brass sheets is joined to the historical Villa Vauban from two sides. In the galleries of the annex, lighting com-ponents of the luminous ceiling are framed by tracks. Parscan spotlights subtly make the paintings stand out from within their more diffusely lit environment.

Light gives structure to the visitor’s tour through the building. Wallwashers are used to accentuate certain walls for additional effect. General spaces such as the foyer as well as halls and stairways are fitted with high-pressure lights directed onto the floor. By contrast, the exhibi-tion rooms of the annex are characterised by a

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

www.villavauban.lu

discovers and explores the rooms. Thanks to its outstanding colour rendition, the brilliant light of the low-voltage halogen lamps brings out the properties and textures of the various mate-rials. Efficient power usage has been ensured by designing the lighting concept in accordance with human perception and using modern IRC lamps.

The annex’s exhibition rooms have lumi-nous ceilings, which, on the upper floor, mix daylight and artificial light, while they use only artificial light on the lower floor. A groove running all around these ceiling lights contains ventilation devices and an ERCO track. In tune with each exhibition, Parscan spotlights and wallwashers are used to properly accentuate the exhibits, creating a perfect, flexible “white cube”. This allows the visitor to experience a stimulating sequence of rooms, each with a distinct character and each illuminated skilfully by the Licht Kunst Licht designers to achieve maximum dramatic effect.

A futuristic annex triples the exhibition space for the Ancient Art Museum in the city of Luxembourg. The new architecture engages the historical urban villa from 1873 in an effective dialogue. Space, material and light make up that dialogue’s language.

Licht Kunst Licht: Lighting designer of the year 2011An excellent year for Prof. Andreas Schulz and his firm Licht Kunst Licht, based in Berlin and Bonn: He and his team won the title “Lighting Designer of the Year" at the Deutscher Lichtdesign-Preis (German light-ing design awards) ceremony held in Cologne on May 5. Overall, they had earned the most points in the various categories evaluated for the award. The firm’s continuous supreme performance is also gaining international recognition: For the Telekom Bridge in Bonn, it won the IALD Radiance Award 2011, a spe-cial prize this renowned association awards to the project with the highest jury point ranking among all the winners. Congratula-tions!

Photo: Christoph Meinschäfer

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

concentrated, space- filling light that allows the art to take centre stage.


Burgos in Northern Spain has long been a historic place considering its location at the Camino de Santiago and the tomb of “El Cid”, the national hero, in the town's Gothic cathedral. However, it wasn't until the 1980s that it was realised just how far back its historical roots go. At that time, archaeologists made sensational findings from primeval times in the Sierra de Atapuerca, about 20 kilometres from Burgos: the relics of human settlements that, by now, have come to comprise a time period of about one million years. This fact and the enormous abundance of finds in the caves of the Sierra prompted the excavation sites to become listed as part of the UNCESCO World Heritage as early as the year 2000: Of all hominid fossils in the world, 60% come from these sites; nowhere in the world are there more researchers at work in a single excavation area.

In light of this, it is not surprising that the heart of Burgos was chosen as the location for a modern, majestic complex comprising a museum, a research institute and a congress centre. The new environment provides ample space and yet immediate proximity for the aspects of research, communication and discussion of human evolution to interact. It was designed by the awardwinning Spanish architect Juan Navarro Baldeweg, who, having designed the museum and institute buildings in Altamira, had already been involved in a similar project. The museum's central building, a gigantic hall, is flanked by the institute and the congress centre. To allow the hall to remain free of posts or pillars, Baldeweg came up with

Wallwashing for museums: Museo de la Evolución Humana, Burgos

Wallwashing in its purely functional form: Smooth, vertical illuminance lends itself to all visual tasks where information is made available on a vertical surface, as is the case with charts and signs in an exhibition.

For evolution researchers, the name “Lucy” brings to mind the body of a female Australopithecus discovered in Ethiopia in 1974, a replica of which is displayed in the museum; lighting designers, on the other hand, are reminded of the desktop luminaire “Lucy”, used here to accen tuate exhibits.

Juan Navarro Baldeweg, an awardwinning Spanish architect, does not shy away from aesthetically striking design features. In the corridor between the building components stands a steel framework varnished in bright red; the emeraldgreen siding, broken up only by erratically spaced, diamondshaped windows, envelops an entire wing.

The special design of the ERCO TFL Wallwashers ensures a highly uniform wall illumination. For uninterrupted vertical illuminance, the luminaires can be mounted next to each other without gaps. Modern T16 fluorescent lamps with electronic control gear offer a high quality of light and extreme efficiency.

The above photo of the hallway exemplifies how vertical illuminance can make walls appear light and almost immaterial, in this case turning a rather prosaic room situation into an architectural experience. With glass fronts, illuminated walls allow buildings to radiate towards the outside.

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

www.museoevolucionhumana.com

an exterior framework of crossed beams which was painted in bright red and dominates the spaces between the hall and the two other buildings. Glass fronts and skylights let plenty of daylight in. As you can see, Baldeweg did not shy away from aesthetically striking design features such as the abovementioned brightred framework or the emeraldgreen siding, enveloping one entire wing, broken up only by erratically spaced, diamondshaped windows. The lighting concept both in the exhibition areas and in circulation zones (aisles, etc.) serves to accentuate the architecture; smooth vertical illuminance brings out the rooms’ structure. Wallwashing is used in many quite distinct parts of the building, as it defines the rooms, provides glarefree “ambient luminescence” and, most notably, helps to dampen any excess of contrasts which can result from the abundant natural light. By applying light in a manner compatible with human perception and combining it with the energysaving technology of ERCO wallwashers with fluorescent lamps, the concept has achieved a harmonious lighting solution which deserves the label “efficient visual comfort”.

A new building complex combines both research and communication of findings about human evolution. The museum and its adjoined institute showcase the many different uses for vertical illuminance.


Backlights

New showroom in Buenos AiresERCO has been present in Argentina’s capital Buenos Aires with its own showroom and team for a total of 13 years now. The team has come to establish itself as a firm partner of architects and lighting designers in South America’s dynamic market. Edgardo Cappiello and his team have now moved to new premises in Puerto Madero. A trendy new quarter, built here on the former docks, sees modern high- rises next to converted warehouses such as Hotel Faena designed by Philippe Starck – an attractive address for archi-tects, lighting designers and all creative custom-ers of ERCO Argentina.

ERCO Iluminación, S.A.Oficina de RepresentaciónAv. Juana Manso 1124C1107CBX Buenos Aires Argentina

Tel: +54 11 431 314 00Fax: +54 11 431 254 65Email: [email protected]/contact

Spring reception for the Internationale Gartenschau 2013 in the IMM, HamburgAn International Garden Show requires years of preparation. Hamburg is currently gearing up for 2013 and at an annual spring reception, friends and sponsors from politics and business were brought up to date about the progress made. This year’s event on 21 March was held under the motto “bridges to new shores”, aptly chosen for the venue in the HafenCity: The spe-cial setting in and at the International Maritime Museum (IMM) was further enhanced by a tem-porary light installation devised by Hamburg-based lighting designers Team Licht in coopera-tion with ERCO.

www.hafencity.comwww.igs-hamburg.de

International Summer Light Workshop for studentsThe International Summer Light Workshop at ERCO in Lüdenscheid was held for the fourth time from 23 – 26 August 2011. The successful event involved students in the fields of archi-tecture, interior design and lighting design who are keen to sample practical planning and use of architectural lighting tools in a professional setting. The experience of intensive cooperation with fellow-students from all over the world is an added bonus that the 14 participants from such countries as Indonesia, Hungary, Croatia or Spain do not want to miss. To all participants and the workshop leaders a big thank you and good luck with future projects!

www.erco.com/seminars

ERCO on FacebookERCO now has its own page on Facebook, the world’s largest social networking site. Set up ear-lier in the year, it not only provides ERCO with a new, quick and uncomplicated news, image and video channel – those who are involved in archi-tectural lighting will also find here a platform to communicate with ERCO and dialogue or exchange ideas across any distance. We warmly invite you to join as a “follower” of ERCO on Facebook:

www.facebook.com/erco.lighting

Film: Lighting with LEDsYou will now find a new, 18-minute film about lighting with LEDs on our website, the ERCO Light Scout. The film documents how ERCO introduces the latest LED technology in archi-tecture and gives insight into the design, devel-opment and production of the LED lighting tools. We hear from people who contribute to a successful technology change at ERCO. The film can be downloaded in the Download sec-tion of our website (www.erco.com/download) in different formats or embedded in your own website using an HTML code.

www.erco.com/led

Shop talk in an atmos-pheric setting (right): Martiniano Leguizamón (ERCO) and Laura Buc-cellato, Director of the

Grand opening ceremony at ERCO in Buenos Aires on 11 May 2011: an event that brought together the light and architecture scene of the metropolis.

Green light for the garden show: The temporary lighting effects originate from Hauke Giesecke/Team Licht (left) aided by

Students learn design theory in their courses. ERCO’s workshop pro-vides the opportunity to experience lighting effects and the use of lighting tools in a practical setting.

ERCO recognises opto-electronics as a core com-petence and has devel-oped its own efficient concepts and approaches for architectural lighting with LEDs. The new film provides broad insight into the various divisions that deal with LED light-ing tools, all the way from research to production.

Kai Petersen (centre) and Ingo Dahl (right) from ERCO Hamburg.

MAMBA (Museo de Arte Moderno de Buenos Aires).

E ERCO GmbHPostfach 246058505 LüdenscheidGermanyTel.: +49 2351 551 0Fax: +49 2351 551 [email protected]

E Lichtbericht 93Viani Alimentari, Göttingen

Architect and lighting designer: AV Atelier Verführt Messe GmbH, HanoverPhotos: Frieder Blickle, Hamburg

www.viani-alimentari.de

In German university towns, such as Göttingen, a wide-spread fasci-nation with all things Italian can often be observed. The Viani family, importers of Italian specialities for many years, are now supplying Ital-ophiles with vino, pasta, espresso and focaccia sold in their own shop. Located on the ground floor of a timber-framed house in the historical town centre, the shop‘s

premises have been redesigned by the Hanover-based Atelier Verführt in a sober but elegant style. ERCO’s contribution is the efficient visual comfort provided by Quintessence wallwashers fitted with metal hal-ide lamps and Optec spotlights for flexible accentuation of objects.

Published in November 2011

Bodegas Portia A state-of-the-art winery, the Spanish Bodegas Portia in the wine country of Ribera del Duero oper-ates according to industrial stand-ards. This does not detract from the fascination inherent in wine as 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 have created a spectacular architecture starring an equally immaterial ele-ment: light.

erco lichtbericht 93 · oriental carpets in vienna. mag-nificent antique items are set off to...

Documents