New Light for greater energy efficiency. TRILUX Lumega 600. · “Lichtkunst für Kinder” edited...

2 | 2009

3lux

:lett

ers

The

Arc

hite

ctur

e M

agaz

ine

NEW LIGHT | ARCHITECTURE | TECHNOLOGY

Light in the Exterior SpaceMore than Purely Lighting

Light as DesignerDesigning Architecture with Light

Light to ReadPractice of Exterior Lighting

Ligh

t in

the

Exte

rior

Spa

ce

2 | 2

009

New Light for greater energy efficiency. TRILUX Lumega 600.

Every luminaire from TRILUX is more than just light. For instance, the TRILUX Lumega 600: The newest member of the Lumega family makes all streets shine like brand new. With its enormous savings potential, it is impressive especially with regard to refurbishment projects. That alone is actually reason enough for the TRILUX Lumega 600 – were it not for the high degree of protection, the possibility of changing lamps without tools and adjusting the luminaire‘s angle, its flexible installation, photometrically optimised system, and, and, and. In short: everything that makes it New Light. www.trilux.co.uk

01_umschlag_4.indd 1 07.12.2009 15:23:58

02 | 03 3lux:letters 2 | 2009EDITORIAL

4 11 24

we have come to the end of a turbulent year 2009 which has brought upheavals in many areas. Yet

we, the TRILUX employees, have simultaneously seen this year as a chance – a chance for a shining

future where much can be accomplished. We have been able to lay cornerstones for this in many

places. Thus we have, to give just one example, published a second edition of the TRILUX handbook

“Beleuchtungspraxis Außenbeleuchtung” (Practice of Exterior Lighting) and presented it in a road

show on the topic of “exterior lighting” all over Germany this autumn. You will get a first impression

of the voluminous work in the chapter lux:service. With this handbook, we are continuing a tradition

we have had since our beginnings and which will continue to be part of our company philosophy: We

gladly and substantially help with words and deeds in issues around the element of light.

You will also find numerous useful tips in the current issue of the 3lux:letters, this time – con-

sistent with the dark season – we want to focus on the topic of “Light in the Exterior Space”. To

give you an introduction to the subject, we succeeded in winning the renowned art and architec-

ture historian Professor Dietrich Neumann who contributed an article on the history of street

lighting in the 20th century. In the chapter lux:reflexion, in this issue again three light experts

answered our questions. You will learn something about the light planning in built architecture

in lux:architecure, with exemplary projects by David Chipperfield Architects and Störmer Murphy

Architects , amongst others. Did you ever ask yourself whether a white or a yellow light is better for

the outside space? Our lighting experts will provide you with answers to these and other questions.

Further exciting contributions from art and culture show how multifaceted urban lighting can be.

We wish you a pleasant read!

PS: Do you have questions or suggestions regarding our magazine? Please send an e-mail to:

[email protected].

Yours sincerely

Dietmar Zembrot, Sales and Marketing Director

Dear Readers,

Title page: Clear lines in the architecture of façades demand a clear design in the exterior space: The TRILUX Lionda luminaire fits excellently into the Barcelona City of Justice planned by David Chipperfield Architects.Photo: Boris Golz, Arnsberg

02_ediinh.indd Abs1:2 08.12.2009 11:38:42

04

06

08

09

10

14

18

22

36

40

42

46

47

47

41 4331 33

TRILUX

VIEWS

STATEMENT

HISTORY

READING

SPOT

IMPRESSION

REFLECTION

ARCHITECTURE

SERVICE

ART

CURIOSITY

SOURCE

Incredible Bulb; Wonderlux; shop design “Snog Soho” in London;

Light Wind; Dark Sky Park; Light-Art Laboratory for Children;

Char No. 4 in Brooklyn; Cordula; Switch in Dubai; White Lounge

Mayrhofner on the Ahorn Plateau

Transforming architecture. By Daniel Liewald, leucht-werk Kunst-

licht projektionen

TRILUX Linear luminaire street lighting system of 1953

Three books recommended by the editorial board

Light as Designer. By Prof. Dietrich Neumann

Nature’s Light and Man’s Light

Answers from Prof. Matthias Kohler (Gramazio & Kohler, Zurich),

Daniel Klages (Dinnebier Licht, Wuppertal) and Jason Bruges (Jason

Bruges Studio, London)

law district in Barcelona, David Chipperfield Architects, London; DKV

Versicherung in Cologne, Störmer Murphy and Partners, Hamburg;

Friedrichstraße in Bonn, Town Planning Service, Public Services, Bonn

Practice of Exterior Lighting; LED conversion set; About Materials:

Intelligent reflector form; Planers ask, Manufacturers answer: white

or yellow lighting?

TRILUX on Tour; Tree of Light

Life 01, Paul Cocksedge; Light Blubs, Pieke Bergmans; Monu ments

of Switzerland, Gerry Hofstetter; Field of Light, Bruce Munro

Invasion of Technology in Sao Paulo

(Brief) History of Street Lighting

Imprint

LIGHT IN THE EXTERIOR SPACE

02_ediinh.indd Abs1:3 08.12.2009 11:38:47

04 | 05 VIEWS 3lux:letters 2 | 2009

Phot

o: T

om V

ack

The Incredible Bulb luminaire by Ben Wirth pays tribute to the classic light bulb with a filament thanks to a clever reflection of light.

Sensible or not: The EU regulation re -garding the prohibition of the classic light bulb is being above all emotionally discussed since, according to de sign -er Ben Wirth, the bulb with its glowing filament substituted for the fire in our rooms. Ingo Maurer even goes as far as calling for civil dis obedience and protesting because so much life qual-ity would be lost to man in the form of the light bulb. But both already have a smarter alternative to annoyance and re sist ance: The Incredible Bulb halo-gen lamp by Ben Wirth is to be under-stood as an homage to the beloved bulb, with light reflections producing a fictional light source instead of the former filament. Ingo Maurer, howev-er, pres ents us with a real substitute for the bulb: Wonderlux with a hidden light-emitting diode in its base can be screwed directly into the traditional E27 sockets.

A true alternative: Wonderlux is the name of the newly developed

illuminant by lighting designer Ingo Maurer.

Incredible Bulb2009Ben Wirthwww.benwirth.de

Wonderlux2009Ingo Maurerwww.ingo-maurer.com

The healthy snack for the nutrition- and trend-conscious Londoner is called Snog. The chain of the same name sells the frozen, low-fat organic yoghurt, sweetened only with fructose, and courts its customers not last with a sophisticated design concept. The London office Cinimodstudio (interior architecture and lighting design) planned the lighting installation in the meanwhile three branches. Particularly the store in Soho, London’s traditional in-district, shines in changing colour moods: 700 glass spheres lit by LEDs form the sky of the new Snog store. The small sales room with the glass façade visible from afar is dominated by a white, back-lit counter and a pink back wall and is furnished with the Moroso Shitake stools by the Dutch designer Marcel Wanders.

The Snog in Soho sells organic pure frozen yoghurt with various

sauces. Matching them is the changing play of colours on the

suspended installation.

shop design“Snog Soho”Cinimod Studio, Londonwww.cinimodstudio.com

Phot

os: C

inim

od S

tudi

o

A forest of illuminated glass spheres decorates the ceiling of the yoghurt ice cream parlour.

Phot

o: R

ober

t Pup

eter

03_blicke.indd Abs1:4 07.12.2009 15:29:04

“Light pollution” is the catchword of an international movement of stargazers and environmentalists. They advocate deliberate and effi-cient illumination of the exterior space in cities and want to make simple tips for environment-friendly lighting concepts available to plan-ners. Not only insects and migra-tory birds are threatened by the light, in many places it has not been possible to see the stars for a long time now. Some communities have already developed guidelines for the considerate use of outdoor lighting. The environmentalists also stand up for establishing so-called Dark Sky Parks, zones with no or very little nocturnal illumination. The UNESCO as well presently dis-cusses starlight reserves: In Tekapo in New Zealand, a pilot project for astronomers is being planned.

Dark Sky Parkwww.darksky.chwww.lichtverschmutzung.de

Night on Earth: On the satellite picture by the NASA, the large

agglomerations in Europe are easy to discern. On the other hand, from numerous cities only isolated stars

can still be seen.

Phot

o: C

raig

May

hew

, Rob

ert S

imm

on, N

ASA

GSFC

Right in time for the start of the dark season, the Art Museum in Celle again opens its light-art laboratory for children. Last winter, already more than 3,000 little explorers visited the museum where there is only one rule: Please touch! With the help of various experiments, the young museum visi-tors are playfully familiarized with the theme of light art and the scientific foundations of light. Different stations such as the fascinating light aquarium in the tent, the cryptic neon writing or the colourful light showers can be tested, touched and admired. All this is to make it possible to experience the important role light plays in our everyday life. With the publication “Lichtkunst für Kinder” edited by the museum (lux:READING page Seite 9) the experiments can then be continued at home.

The glittering forest of prisms con-sisting of numerous shiny CD blanks

and prisms playfully demonstrates the laws of optics.

Interactive experiment stations such as the colourful light showers fascinate the young visitors.

Phot

os: K

unst

mus

eum

Cel

le m

it Sa

mm

lung

Rob

ert S

imon

The habitats of many animals and plants are meanwhile endangered – especially the family of the moths which circle around the many artifi-cial lights and burn to death instead of foraging and reproducing.Ph

oto:

Fot

olia

Light-Art Laboratory for Childrenuntil 28th March 2010Art Museum Celle with Collection Robert SimonSchlossplatz 7, Cellewww.kunst.celle.de

Inspired by the windmills of their home country, the young trio of designers Demakersvan from the Netherlands developed an innovative outdoor luminaire. It succeeds in combining modern lighting technology with Dutch design and the latest technology for using renewable energy. Like a windmill, Light Wind also uses the energy of the wind. Onto the self-supporting construction of stainless steel, wood and canvas, a propeller is attached which has diameter of an impressive two metres. Every breeze causes a turn of the rotor blades makes it possible to generate and store energy for the luminaire’s autarkic power system. Atmospheric light and the extraordinary appearance make the outdoor luminaire a striking eye-catcher in the landscape.

Light WindDemakersvanDimensions (L x W x H): 215 x 38 x 240 cmMaterials: stainless steel, wood, canvaswww.demakersvan.com

The Light Wind outdoor luminaire uses exclusively the energy of the

wind to supply the electricity for the integrated LEDs for the whole night.

Phot

o: In

gmar

Cra

mer

s

03_blicke.indd Abs1:5 07.12.2009 15:29:08

STATEMENT


Char No. 4Restaurant, Whiskeybar, Brooklyn

Architects: Berman Horn Studiowww.charno4.com

Looking at this showcase makes the decision difficult. More than 200 different kinds of whiskey are on the list of the Char No 4.

Phot

os: A

lber

t Vec

erka

Daniel Liewaldleucht-werk KunstlichtprojektionenNina & Daniel LiewaldTübingenwww.leucht-werk.de

Photo: Kulturnacht Göppingen, 2009

Light in the outside space can of course be very useful so we don’t fall into a dark ditch in a pitch-black night. But light in the outside space can also offer the possibility to influ-ence and re-design the look of archi-tecture at a later date. The major part of the buildings in the inner-city exterior space was conceived and built for daylight. The construction is thereby “a child of its time” and, as a rule, static. At a later date, it can hardly be changed or only under protest of the builders. This is different once the sun has set. Then an inexhaustible playing field may open up which creates immense, almost endless possibili-ties of design. In the simplest case, one can use this leeway to stress and accentuate specific features which already exist and are also visible during the day. In Ph

oto:

leuc

ht-w

erk

Transforming architecturea further step, one can search with the help of light for further aspects of the architecture: those which were not intended or had not even become manifest before. If one intensifies this approach, one is given the freedom and has the chance to leave all the intentions originally linked with the structure behind and to newly invent the out-side appearance. With the help of light, at night the building undergoes a transformation into a completely new object. And yet I love walking down unlit roads which do not reveal them-selves at first glance and keep their secrets.

The light falls warm and friendly from the restaurant into the street.

This restaurant with a bar in the New York district of Brooklyn is wholly dedicated to whiskey. Even the name points to it: Char is used to burn out the whiskey casks and gives the drink its colour and its smoky taste. Brown to amber, like the whiskey itself, is the colour scheme of the bar, the language of forms of the lowered cylindrical luminous objects in the interior reminds of wooden vats. The luminaires lower the noise level, provide evenly warm light and structure the high rooms. The structure of the façade as well is modelled on studded oak vats.

03_blicke.indd Abs1:6 07.12.2009 15:29:11

The search for utensils which stand out due to their optimum function with minimum use of material led Stephanie Jasny to the construction site. The functional design of the tools and devices which can be found there and their high demand on durability and safety inspired the young designer for her Cordula concept. It was her goal to combine a cable drum and a construc-tion spotlight into a design object without denying their origin. With its ten-metre cord (hence the name Cordula), the luminaire can also be flexibly used far from the power source as a floor and table lamp. Alternatively, the cord is simply wound around the drum with the integrated ring of illuminants. As of January 2010, the luminaire will be commercially available.

Phot

os: K

arim

Ras

hid,

Inc.

The wall- and ceiling cladding of fibreglass surrounds the visitors like a wave. The varied play of colours is produced by luminaires installed behind the panels.

Upon entering the restaurant, the visitor seems to penetrate an organic cave in the house which

looks like a gorge.

SwitchRestaurant in Dubai by Karim RashidOpened in February 2009www.meswitch.comwww.karimrashid.com

Switch – the name of the restaurant by designer Karim Rashid in the Dubai Mall gives a hint: Several times in the course of a day, the appearance of the restaurant changes due to the colourfully shining wall covering which flowingly alternate from pink to purple to green and yellow and then to red. With the exception of the lounge area, Karim Rashid covered the walls and the ceiling of the 200-square-metre store with wavy fibreglass elements for whose shape he took his inspiration from the sand dunes in the desert. In addition, glass surfaces backlit with LEDs decorate the restaurant: While on the floor wild, coloured lines run through the restaurant like a data flow, on the wall element quotations from Karim Rashid’s design philosophy are reproduced in Arabic writing.

Phot

os: H

anne

s Ge

ipel

, And

reas

Vel

ten

Cordula W. and Cordula S.: The powder-coated steel frame

is also available in matt black with a cyan cord.

The joint makes it possible to pivot the luminaire 90 degrees and thus use it even more flexibly.

CordulaStephanie Jasny 2008Dimensions (L x W x H): 276 x 260 x 400 mmwww.stephaniejasny.com

03_blicke.indd Abs1:7 07.12.2009 15:29:16


In the Ahorn skiing region in Austria at 2,000 metres, one of the Alps’ most extraordinary accommodations and party locations was created: the White Lounge igloo hotel. The prestige object of the Mayrhofen mountain railway was to come completely into its own with a sophisticated lighting concept. To achieve this, extremely energy-saving LEDs were used whose clever positioning creates a cosy atmosphere and at the same time emphasizes the ice architecture. Accentuating stylistic features such as the bar or the light shining right through the bottles create the necessary tension. With a simple control of the luminaires, various colour gradients and light moods can be produced which makes a versatile utilization of the lounge possible.

White Lounge MayrhofenAhorn Plateau, AustriaPlanning lighting and electric engineering: BENSCHMIDT, Zell am Zillerwww.benschmidt.atwww.white-lounge.at

Architecture and works of art in ice are highlighted by the positioning of the luminaires, various colour gradi-ants provide the right mood.

Phot

os: W

hite

Lou

nge

Phot

os: T

RIL

UX

Despite the icy temperatures, the bar exudes warmth and cosiness.

“The TRILUX linear luminaire street-lighting system (patent pend-ing) follows new avenues”. Already in 1953, the Arnsberg manufacturer advertised innovative street lighting.

Already since the year 1950, shortly after the plant in Neheim-Hüsten had been rebuilt, TRILUX had been working on a product range for outside luminaires. It was the time when in the luminaire industry there were intense discussions about the right illumination of the streets: experts were fighting about whether the diagonal or longitudinal direc-tion of the linear luminaires was better. Until that time, street light-ing consisted mainly of a selective arrangement. The fluorescent lamps introduced in Germany at the end of the 1940s at first did not change anything either. Due to their still quite weak luminous density, they were installed in rectangular boxes with often up to five lamps so the light from all the lamps formed a large luminous area diagonally to the direction of traffic. An arrange-

ment in longitudinal direction was a completely new approach: With a cable system, they were arranged above the traffic lane. Thanks to specular reflectors, it was possible to equip each luminaire with only one fluorescent lamp and they could be placed like in a string of pearls one behind the other. The lower lumi-nance per luminaire also resulted in less glare and thus in more safety in traffic. The higher costs for the elaborate support system could be compensated by the larger distances between the masts than in the case of simple tension ropes diagonally to the lane. As the specialist for linear luminaires, already at the beginning of the 1950s TRILUX brought a sim-ple all-in-one system on the market which fitted the new street lighting.

TRILUX Linear luminaire street lighting system 1953

HISTORY

03_blicke.indd Abs1:8 07.12.2009 15:29:19

READING

In the context of its light art labo-ratory (see lux:VIEWS page 5), the Kunstmuseum Celle has published a light-art book for children which itself becomes a shimmering lu mi nous object once the reader assembles the foldable cover into a box. On 85 pages, the art his-torian Juliane Baumann tries to familiarize children with light art – with illustrations, experiments and handicraft instructions as well as a concluding quiz on all the newly learnt information. With numerous ideas, children and parents are to be animated to do their own experi-ments. However, the very lovingly compiled book focuses more on the physical phenomenon of “light” than on aesthetics.

Light is the construction material of the 21st century. Life rhythms span-ning several time zones demand an architecture of the night. New tech-nologies which respond to ecologi-cal challenges lead to a new dealing with light in the planned space. This volume presents architects, designers and artists who with their lighting concepts internationally determine the new trends. More than 100 projects are presented, each on a double-page spread, and the explanatory texts are exempli-fied with colour illustrations. The most important key data are clearly listed. The index at the end of the books makes it possible to quickly look up individual works and pro-vides links for additional informa-tion on the subject of light.

International Lighting Design Index 2010Helmut M. Bien, Markus Helle (editors)Published in 2009 by avedition GmbH, Ludwigsburg256 pages, 236 colour illustrations20,5 x 20,5 cm, hardcoverEnglish€ 49,90 | CHF 81,00ISBN 978-3-89986-107-5www.avedition.de

“Whoever stops learning is old. No matter whether he is twenty or eighty.” In his foreword, editor Frank Lindemuth refers to this quotation of Henry Ford. Conceived for experts in operations and administrations, the Jahrbuch 2010 is, however, thanks to its numerous graphics and photos also interesting for laypersons as well and clearly laid-out. What, for instance, is behind mesopic seeing and which is the latest technology used for illuminating cities? The handy booklet each year makes an up-to-date contribution to the subject of street and exterior lighting. Twelve authors focus on the subjects of technology, development as well as guidelines and norms. Furthermore, the calendar in the middle part of the book provides the reader with information on exhibitions and events regarding this subject.

Lichtkunst für Kinder Juliane Baumann (author)Susanne McDowell, Robert Simon (editors)Published in 2009 by Kunstmuseum Celle85 pages, various photos22 x 22 cm, softcover, foldable coverGerman€ 20,00 ISBN 978-3-925902-70-3 www.kunst.celle.de

Jahrbuch Straßen- und Außenbeleuchtung 2010Frank Lindemuth (editor)Published in 2009 by EW Medien und Kongresse GmbH, Frankfurt am Main176 pages, numerous colour illustrations11 x 15 cm, hardcoverGerman€ 29,80ISBN 978-3-8022-0965-9www.ew-online.de

03_blicke.indd Abs1:9 07.12.2009 15:29:22

10 | 11 SPOT 3lux:letters 2 | 2009

In the history of architecture, new materials have again and again led to new construction possibilities and thereby mostly also to the formation of a new architectural language. Artificial light, however, originally invented to illuminate interiors, in the 20th century quickly became an element of design and style.By Prof. Dietrich Neumann

Light architecture initially took its first step in pure illumination such

as in the lighting designed by the Luckhardt brothers (left). For the

tower of the Chicago Tribune (right), light was already used for staging.

In an article for The Nation, the American critic Douglas

Haskell (1899–1979) in the midst of the Depression, in the

year 1932, noted down his thoughts on the architecture of the

future: “As long as anyone can remember, the architectural

styles have been changing, but in this century, electrical light

has been added. Far more than the well-known trio steel, glass

and concrete, it fundamentally changed the basis of our archi-

tecture.” Haskell’s observation paid tribute to the dynamic

developments of his time in the field of lighting architecture

and envisioned a future when Haskell expected a specifically

American, nocturnal modern age.

Seven years later, at the New York World Fair in 1939, the

introduction of the luminescent tube on a massive scale

together with the development of metal vapour lamps caused

far-reaching revolutions in the planning of architecture and

cities and enlivened the theoretical debates on architectural

lighting. Today, we are experiencing similarly radical changes

of architectural lighting in the urban space where the LED

luminaires gaining ground in all areas to date serviced by light

bulbs and luminescent tubes promises completely new possi-

bilities of planning and implementing lighting concepts.

This is a fitting occasion to look back on the relationship of

artificial light and architecture, and particularly on the influ-

ence which lighting planning has had on the development of

architectural forms. There are numerous cases where the

nocturnal illumination concept has influenced the appearance

of a building by day and sometimes becoming explainable only

by the latter. Since lighting solutions can be changed at any

time, or can even disappear without a trace, here the historians

are wanted to keep awake the memory of the important role of

such illumination concepts.

The illuminated building

The twenties brought the first decisive discussions about formu-

lating an architecture of light in Europe and the United States.

In Germany, Ludwig Mies van der Rohe, Erich Mendelsohn

and the Luckhardt brothers tried not to put advertising and

especially neon signs in front or on top of their buildings but

to integrate them. This suggested horizontally structured,

non-ornamented façades where lettering could be inserted

between the ribbon windows, or where shining areas of frosted

glass or glass blocks stood contrasted with dark letters in

front of them. This construction method certainly suited the

prevalent design models of the modern age, but thinking of the

appearance at night was an additional appeal.

In the USA, after initial attempts before the First World War,

the history begins with the illumination of the Wrigley Building

in Chicago in 1921 (Anderson Probst and White) which was

completely illuminated by white floodlights and thus became

one of the allegedly brightest spots on earth. In contrast to the

moving advertising neon signs in Times Square in New York

which many considered vulgar, this form of floodlights did

without words and was an elegant as well as effective alterna-

tive. The building was prepared by the architects for its noc-

LIGHT AS DESIGNER

04_punkt.indd Abs2:10 07.12.2009 15:32:13

turnal role with terracotta siding becoming increasingly lighter

towards the top to compensate for the weakening intensity of

the floodlight. When, shortly afterwards, the building of the

Chicago Tribune was to be constructed diagonally opposite, the

international competition was won by a plan whose architect

Raymond Hood emphasized that he had designed the filigree

gothic pinnacle in view of the nocturnal light effects. Together

with the lighting designer Bassett Jones, he rehearsed theatri-

cal light productions on the completed building, which went as

far as illuminated smoke bombs and rotating colour effects.

Even though the directors of the Chicago Tribune did not warm

to the concept of a nightly Twilight of the Gods, the contrast of

the two building regarding lighting technology is impressive. In

both cases, the architecture of the building had been modified

with regard to the nocturnal illumination.

At the same time, in the United States the offsets in the build-

ing cubature of the skyscrapers which, since the New York

Zoning Law, were to supply more daylight in the interiors, were

being used as locations for spotlights. An autonomous aesthet-

ics evolved with colourful cascades of light graded towards the

top which soon became the essence of a nocturnal, American

modern age, just as Douglas Haskell had foreseen it.

Architectural light

After the Second World War, a new architectural language

established itself where the offsets of the skyscrapers made

way for simpler, geometrical forms and new, industrially

produced materials, above all steel and glass, arrived in archi-

tecture. Since these materials only badly reflect light back

into the street, the floodlights were replaced by new lighting

ideas: At night, the large windows allowed deep views into the

interior and thus for instance ceiling lighting could become

a determining element of a nocturnal façade. It was visible

from the street and gave the passers-by an idea of the spatial

depth of the building. Examples of this are: Gordon Bunshaft’s

Manufacturer’s Hanover Trust on 5th Avenue and the Seagram

Building by Ludwig Mies van der Rohe (1958).

At that time, the profession of the lighting designer increas-

ingly established itself. Names such as Richard Kelly and

Abe Feder, for instance, became known to a broader public.

Especially Richard Kelly’s works created a new understanding

of the relationship of light and architecture. Kelly (1910–1977)

had studied architecture at Yale University and his probably

most important contribution was that he focussed attention

away from the actual luminaires to the parts of a building

which were to reflect the light, to the walls, floors and ceilings,

and the reflection of their materials, while the source of light

itself was made invisible. Like many lighting designers of his

generation, Richard Kelly had learned a lot from theatre. From

there, he brought the notion of precise light control, of colour

effects and changing moods created by lighting effects. Much

of what in the 1950s was given as advice to young American

homeowners when it came to interior lighting (of course with

active support by General Electric and Westinghouse), may

04_punkt.indd Abs2:11 07.12.2009 15:32:14

12 | 13 SPOT 3lux:letters 2 | 2009

becomes invisible since here as well luminaires light the floor

inside and outside from above. Light has become the decisive

feature of the building.

Urban lighting today

Young lighting designers, such as Jan and Tim Edler of

realities:united or the office Mader, Stublic Wiermann in

Berlin, to this day are using Kelly’s profoundly architectural

approach when developing a lighting concept. When Mader

Stublic Wiermann make the Uniqa Tower in Vienna glow with

dynamic sequences of light on the façade and at night make

it appear to expand and wind, they thereby comment on the

fetish of rationality of the modern age. Similar to Kelly, the

Edler brothers strive for a total integration of the lighting into

the three-dimensional building volume, beyond just an effect

on the façade. They mostly work with white light and care-

fully planned graphic and spatial effects. Whether it is Peter

Cook’s Kunsthaus (2005) in Graz, the visionary project for the

Venice Biennale in 2006 or the lighting design for the com-

petition plans by Norman Foster for the headquarters of the

Deutsche Bahn in Berlin (2008), their concept always deepens

and intensifies the understanding and the appearance of the

architecture itself.

Today, LEDs allow an unlimited range of colours and quick

colour changes, the illusion of movement and large-format

screens for stills and films. The moving picture of the cinema

is ideal for architecture in the urban space where brightly lit

today appear to us to be exaggerated and wasteful. But the

lighting strategy with which Richard Kelly for instance trans-

formed Philip Johnson’s famous glass house in New Canaan

(1949) at night into a shining jewel and, at the same time,

illuminated the interior completely reflection-free, will always

endure as a classic use of light. Spotlights at the outer edges of

the roof illuminated the ground around the building so the view

from inside to outside was not hindered and the large panes of

glass, which at night normally resemble black mirrors, were

made transparent again. In addition, the surrounding trees

were transformed into fairytale stage sets by sunken ground

luminaires and floodlights from the roof.

Mies van der Rohe’s Seagram Building in New York in any case

has an exceptional position in the street scenery of Park Avenue

in New York since, as the only office skyscraper, it allows itself

a spacious forecourt and is elegantly and self-confidently set

back from the curb. At night, however, the whole façade glows

thanks to the shining ceiling luminaires which direct the glance

into the depth on every floor and make it possible to experience

the building as a three-dimensional structure. The large lobby

on the ground floor is perhaps the most amazing result of the

cooperation of Richard Kelly, Ludwig Mies van der Rohe and

Philip Johnson. Mi es had planned green, polished marble for

the walls of the elevator shafts but Richard Kelly persuaded

him to use travertine. The floodlights set into the ceiling now

make these light wall surfaces glow without a source of light

becoming visible. The glass shell of the entrance hall almost

Glass façades like the one of the glass house designed by Philip Johnson (1949) were not easy to illuminate and thus the lighting planner Richard Kelly came up with a kind of indirect staging.

Since the middle of the 20th century, during the night the interiors were often illuminated by luminous ceil-

ings which made a look deep into the building possible and thus created

a strong spatial impression. Photo: Gordon Bunshaft’s Manufacturer’s

Hanover Trust (1954, left) and Seagram Building (1958, right), both

in in New York, USA.

Phot

o: A

rts

of th

e U

nite

d St

ates

Col

lect

ion,

Uni

vers

ity o

f Geo

rgia

(rig

ht)

Phot

o: P

rof.

Die

tric

h N

eum

ann

04_punkt.indd Abs1:12 07.12.2009 15:32:16

“urban screens” make new utilizations of the public space

possible at night as well as during the day. Critics have repeat-

edly stressed that the overwhelming impact of large, colourful

and moving pictures on a façade may also be endangering our

view of the architecture. Thus William Mitchell, media theorist

at the Massachusetts Institute of Technology, recently rightly

asked whether we do not need a new theoretical set of tool

to help us clearly differentiate between the building and what

is depicted on its skin. And Robert Campbell, architectural

critic of the Boston Globe, thought aloud about whether the

day might come when we can no longer distinguish between a

façade and its digital simulation – or want to do so.

When, in 1900, the art historian Julius Meier-Graefe was

strolling at night in the grounds of the Paris World Fair, he

made an astonishing discovery: after dark, the architectural

lighting (which mainly consisted of long rows of light bulbs and

occasional floodlights) reduced the buildings to their essential,

linear elements and thus allowed a look at the architecture of

the future whose most important characteristics, he hoped,

would be “concentration and size”. Since then, architectural

lighting has again and again been an important – but often

overlooked – factor in the design of buildings. Leaps in tech-

nology such as the one we are experiencing at present have

given particularly strong new impulses to the relationship of

light and architecture. The last 110 years have indeed turned

electrical light into one of the most important design element

in modern architecture.

Prof. Dietrich Neumann

born in Göttingen in 1956, studied art history in Würzburg and then architecture at

the TU Munich as well as at the Architectural Association School of Architecture

in London. In 1988, he graduated with a Ph.D. in the history of architecture at the

TU in Munich. Since 1989, he has been teaching at Brown Uni versity, Providence/

USA, and today is Professor in the Department of Architecture and Art History.

His work is focussed on the architecture of the late 19th and early 20th century

and he conceived numerous exhibitions on this period such as the one shown

in Stuttgart and Rotterdam under the title “Luminous Buildings: Architecture of

the Night” and published essays on it. www.brown.edu

04_punkt.indd Abs1:13 07.12.2009 15:32:18

14 | 15 IMPRESSION 3lux:letters 2 | 2009

Polar lights (northern lights, aurora borealis and southern lights, aurora australis) are effects which solar activity has on the earth. These light phenomena mostly occur in the polar region and for centuries have in most cultures been taken for activities of the gods or their messages to humans. Not until the year 1959 with the discovery of the solar wind and its movement along the magnetic field lines could the phenomenon be explained: At the geomagnetic poles, the solar wind penetrates the atmosphere and makes air molecules glow in colours.

NATURE’S LIGHT

05_impression.indd 14 07.12.2009 15:39:10

Photo: Olgier Andresson, Reykjavík/Iceland

“The sun teaches all living beings the longing for light. But it is the night which raises us all to the stars.”Khalil Gibran (1883–1931), Lebanese-American poet, philosopher and painter

05_impression.indd 15 07.12.2009 15:39:14

16 | 17 IMPRESSION 3lux:letters 2 | 2009

Let there be light! And there was light. Until a few centuries ago, night was the scene of the dealings of outlaws or mystical creatures, dangers were lurking everywhere. Night filled people with deep fear and only the fire in their home gave them a feeling of security. With the invention of artificial light, man extended his activities into the night and there is no longer any trace of the original fear. Today, the cities are shining brightly into the night which sometimes is felt to be too much and too bright. Thus what is wanted now is therefore efficiency instead of quantity.

MAN’S LIGHT

05_impression.indd 16 07.12.2009 15:39:17

“The light bulb in a room which has become free of shadows has healed the attacks of nocturnal horrors far more thoroughly than for instance Voltaire.”

Photo: Urs Guggisberg, Hermrigen/Switzerland

Ernst Bloch (1885–1977), German neo-Marxist philosopher

05_impression.indd 17 07.12.2009 15:39:21

18 | 19 REFLECTION 3lux:letters 2 | 2009

Prof. Matthias KohlerArchitect and town plannerGramazio & Kohler, Zurich

Matthias Kohler: As architects, we are interested in artificial light

as a large-scale efficient, dynamically controllable “construction

material” whose integration in an urban or landscape overall

concept is becoming increasingly more important. The co-action

of modern lighting technology with digital controls and sensor

systems make it possible to design the performance of light in

the course of time and to make light react to external, changing

influences. We are interested in using this contemporary means

to create nocturnal habitats.

The illumination of the streets and alleys significantly determines our image of a city. This makes the task of the lighting experts all the more of a challenge when they have to make the right choice regarding the light quality or the luminaire design. Which criteria are crucial for you in your planning?

LOOKED INTO3lux:letters has asked three renowned lighting experts three questions on the topic of “Light in the Exterior”.

Phot

o: R

oman

Kel

ler

Lightline, polychrome light installation, 2000–2008, Uster

06_reflexion.indd Abs1:18 07.12.2009 15:42:08

Jason BrugesLight artistJason Bruges Studio, London

Jason Bruges: The background and neighbouring areas are

always important when we are looking at interventions in the

city realm. We look at continuity or something that will stand out

against the background at the same time. The criterion for suc-

cess I think is looking at the bigger picture, looking for opportuni-

ties to join projects together and also not getting overwhelmed by

regulations and what you cannot do, as this results in “design by

Regulation“, which is a trap that seems to be easy to fall into.

Daniel Klages Lighting designerDinnebier Licht, Wuppertal

Daniel Klages: Careful lighting planning puts targeted light

accents and avoids scattered light or blooming in squares and on

buildings. The efficiency of the planned illuminants today plays a

central role in our lighting concepts. The design of the intended

luminaires is orientated on the maxim of being “timeless”.

Phot

o: D

inne

bier

Lic

ht

St. Mary’s Cathedral, Neviges Litmus, London

Phot

o: J

ason

Bru

ges

Stud

io


20 | 21 REFLECTION 3lux:letters 2 | 2009

Christmas illumination on Bahnhofstraße, 2003–2005, Zurich

Nightly illumination often enormously changes the character of the public space. It seems as if the city has a second face at night. Please tell us which place has made a lasting impression on you in this respect.

Prof. Matthias Kohler

born in Uster/Switzerland in1973, studied architecture at the ETH in Zurich,

where during the subsequent years he also worked as an academic employee

and assistant. In 2000, together with Fabio Gramarzio he founded the office for

architecture and urban planning Gramazio & Kohler in Zurich. The research

activities of Professor Matthias Kohler and Professor Fabio Gramazio at

the ETH focus on the development of production processes for the additive

manufacture of highly-informed, non-standardized architectural products.

www.gramaziokohler.com

Much as nocturnal illumination in the city has become natural for us today, just as much is the call for darkness currently becoming louder. Concepts such as light pollution or global dimming are heat-edly discussed. How do you see the future of exterior electric lighting?

Phot

o: R

oman

Kel

ler

Matthias Kohler: Controlling light electronically means that,

beside the question where which kind of light is needed, the

question of when how much light is used also becomes cen-

trally important. Temporally variable, dynamic light which can

be adjusted continuously to the functional and atmospheric

demands, offers additional possibilities for the design of the

nocturnal quality of public spaces and has the potential to make

a decisive contribution to reduce light pollution. Should for

instance the illumination of a square be switched on and off at a

given time? Or can it softly wake up and go out just when people

walk across the square?

Matthias Kohler: The time I had a view of the city of Los Angeles

when landing there on Christmas Eve impressed me – a look into

a seemingly endless sparkling sea of lights from which one could

only with difficulty tear oneself away and which despite its magic

beauty makes us think about the high energy consumption.


Jason Bruges: I think the previous project I mentioned, Normand

Park in London, has a second face at night. In collaboration with

Kinnear Landscape Architects we created a landscape of light

that transformed the space from one which was forbidding

during the night and now into one which is consistently used

after darkness. It does this through creating a performance that

is unique to each visitor to the park. It is playful and interactive

and stretches the useful visiting hours of the park giving it a

second use.

Jason Bruges: I see the future of exterior electric lighting as

being intelligent. That it is more considered; that the negative is

as important as the positive, the ground is as important as the

figure i.e. the unlit is really important and the dark in between

is really important. Also intelligent is when the environment is

scheduled to be lit – the city does not need to be lit the entire

time. What should happen if people are not present? Obviously

one protest against this is that it‘s not safe. An artistic project

that we created recently contained a mixture of utilitarian

lighting and artwork – the artwork could sense proximity so

therefore would react as people walked through the park. My

ideal would have been that the entire environment would react

to the presence and proximity of its residents.

Station forecourt, Euskirchen

Daniel Klages

born in Duisburg in 1962, studied sports science and medicine in Cologne.

Starting in 1990, he has been working at Dinnebier-Licht GmbH in Wuppertal,

the company of the lighting planner Johannes Dinnebier with its own factory. In

1993, he took on the development of the planning department Light in the Space

in Düsseldorf, where he was made general manager in 2001. In the year 2004,

he also became managing director at Dinnebier Licht. This close connection with

joint leadership makes Dinnebier Licht and Light in Space an overall provider in

the field of lighting planning. www.licht-im-raum.de, www.dinnebier-licht.de

Daniel Klages: In addition to the already mentioned aspects, the

intelligent control of lighting will have major significance in the

future. New efficient illuminants (LEDs) and carefully directed

luminaires and spotlights make electric light in the outside

space indispensable in the future as well.

Daniel Klages: Near here, in Düsseldorf, on Graf Adolf Straße,

Worringer Platz with its palm trees is staged in a differenti-

ated way with narrow-beam HQI spotlights – the difference

between the day and the night look is therefore enormous! With

the illumination of the new Ripshorster Brücke in Oberhausen

(together with professor Dr.-Ing. Polonyi), we ourselves have

created a nocturnal sculpture which can best be seen from the

Oberhausen gas meter.

Phot

o: D

inne

bier

Lic

ht

Jason Bruges

born in Rochford in 1972, studied architecture at Brookes University in Oxford

and at the Bartlett School, University College London. After completion

of his studies, he worked at Foster and Partners Architects in Hong Kong

and London. In addition, he worked as Senior Interaction Designer at the

Imagination agency for communication in London. In 2001, he founded Jason

Bruges Studio in London, where he has since being combining his fields of

activity architectural lighting, interactive design and art in the public space.

www.jasonbruges.com

Normand Park, London

Phot

os: J

ason

Bru

ges

Stud

io


22 | 23 ARCHITECTURE 3lux:letters 2 | 2009

City of Justice. What sounds like the title of a brilliant blockbuster is the new law dis-trict of the two cities of Barcelona and L’Hospitalet de Llobregat. On more than 240,000 square metres, the British architectural office David Chipperfield Architects and the Spanish 720 Arquitectos designed a simple and at the same time impressive-looking district of justice.By Marina Schiemenz

LEGAL MATTERS

At night, the impressive law build-ings fade into the background and

the glass connecting structure becomes the shining eye-catcher.

Client:GISA, Departament de Justícia (Generalitat de Catalunya)

Architects:David Chipperfield Architects, London

www.davidchipperfield.co.ukb720 Arquitectos, Barcelona

www.b720.com

Lighting engineer:Artecluminotecnia, Barcelona / Arup

Location:Barcelona und L’Hospitalet de Llobregat, Spain

Luminaires:Lionda

Photos:Christian Richters, Münster; Boris Golz, Arnsberg

07a_1_architektur_city_of_justice.indd Abs1:22 07.12.2009 15:45:29


Views into the interior, which the law buildings block, are allowed by the glass entrance hall which at the same time is the connecting structure.

Despite the uniformly shaped build-ings, the differing colours of the

façades make it possible to get one’s bearings in the street canyons.


Alternating with (still) delicate trees, the slender Lionda luminaires

by TRILUX determine the central square of the law district.

TECHNOLOGY

The Lionda luminaire owes its red dot award 2008 not last to

its simple design.Lionda

effect finish. Planar tempered safety glass with black screen printing was sealed as a cover into the casing. The optical system consists of thermally high-strength material with top-quality surface coating and makes an asymmetrical wide-beam luminaire distribution possible. The simple maintenance is also effective: After a sash lock has been turned and the luminaire roof has been raised, the lamp can easily be changed.

In a dynamic dialogue between the architect David Chipperfield and the TRILUX design team, the Lionda luminaire was born. It satifies not only with its unobtrusive design but also with high reliability and a large range. In addition to bollard- and wall luminaires, there are also pole top luminaires which were installed in the City of Justice. The luminaire casing consists of highly weather-proof cast aluminium with a metal

Distribution of luminous intensity



Access to the four central buildings of the City of Justice is at both sides of the connecting structure (on the right in the photo).

The large entrance hall in the central connecting structure wel-comes visitors as well as employ-

ees and at the same time serves as the waiting area.


Until now, the various legal departments of Barcelona und L’Hospitalet de Llobregat had been located in 17 buildings dis-tributed over the two cities – a somewhat unfortunate situation for visitors as much as for the employees. To avoid long routes and thus save time, on the site of former barracks at the city limits of Barcelona and L’Hospitalet an enormous complex was to be built which unites all the law business from dog license fees to criminal law. In February 2002, David Chipperfield Architects won the competition with their plan: Instead of a single building, they designed a small city district which was to consist of 11 individual blocks – the so-called City of Justice. By taking apart the law complex originally planned as a compact construction, Chipperfield wanted to break through the rigid and monumental image of justice. After a change in govern-ment in 2004, however, the design had to be reduced to nine blocks. Four of the newly created law buildings are linked with a four-storey construction which at the same time serves as the central entrance hall and the lobby. Together with three

detached buildings, they form the tree-lined square in the new city district. There are two more buildings north and west of the square. In addition to legal services and forensic medi-cine, there are also some stores and council flats in these five structures. Depending on the utilization, the law buildings not only differ in size but also in their colouring. Yet they all share the massive character and the consistent perforated façades. A contrast is the low connecting structure which, with its glass façade and the non-bearing mesh cover, not only opens up to the central square but also to the visitors. Matching the impressive complex of buildings, Lionda luminaires were used for the outside space: They follow the building canyons and are markers directing the pedestrians through the City of Justice.

Ground plan ground floor and site plan



Planning in the immediate vicinity of famous buildings beyond the city limits is not always an easy task for architects. In the case of the DKV headquarters, Störmer Murphy and Partners managed to do so with a new building which relates to its neigh-bour as part of the urban planning and at the same time preserves its autonomy with a successful language of form.By Thomas Geuder

PALMS IN COLOGNE

The outside space of the new build-ing of the DKV insurance company is

characterized by curved forms. The TRILUX Palme luminaire fits exceed-

ingly well into this ambiance.

Client:DKV Deutsche Krankenversicherung AG

www.dkv.com

Architects:Störmer Murphy and Partners, Hamburg

www.stoermer-partner.de

Construction supervision and project management:H&P Bauingenieure, Hannover

www.hp-bauingenieure.de

Location:Scheidtweiler Straße 2-8 / Melatengürtel 17

Köln-Braunsfeld, GermanyLuminaire:

Palme

Photos:Boris Golz, Arnsberg; Stefan Schilling, Cologne

07c_2_architektur_DKV.indd Abs1:28 08.12.2009 11:41:03


The characteristic shape of the TRILUX luminaire “Palme” stands out with its elegance yet does not

look obtrusive.PalmeThe Italians Michele de Lucchi and the German-born Gerhard Reichert designed the Palme TRILUX luminaire – a productive cooperation recognised by the If Product Design Award 2001, the North Rhine-Westphalia Award 2001 and the nomination for the Designpreis 2002. Elegant as a palm leaf, the luminaire of powder-coated, highly weatherproof cast aluminium curves upwards and catches the light. The es pecially coated reflector area produces a pleasant, indirect light at night. The luminaire unit, available with a halogen metal vapour lamp or a sodium vapour lamp, is hidden within the pole, which makes it difficult to identify the Palme by day as a luminaire since it seems to be a design object blending into the surrounding architecture. The Palme is also available as a bollard


TECHNOLOGY

Site plan

luminaire with a height of 120 mil-limetres and as a wall luminaire, making it a lighting medium of versatile application particularly suited for prestigious areas.


On the east side of the forecourt, which is orientated towards the

nearby old building, the building wing forms the spatial edge, on the

west side opposite, the high lumi-naires optically border the space.

Since the year 1970, the Deutsche Krankenversicherung DKV health insurance has had its headquarters in Köln-Braunsfeld, a former residential area mainly for the workers in a brickyard located there in the middle of the 19th century. The building on the corner Scheidtweiler Straße / Aachener Straße, an ensem-ble designed in the square-edged and ponderous architectural style of the 1970s consisting of seven polygonal towers, had been designed by the architectural office of Professor Kraemer-Pfenning-Sieverts Architekten, from which the renowned archi-tectural office KSP was later to evolve. Over the course of the years, however, the building had to be extended due to shortage of space, for instance between 1998 and 2001 an additional level was added to the highest tower. In the meantime, several departments had been distributed over the city and thus, in the new millennium, the decision was finally made to plan a new building on the site north of the existing one in order to put the scattered sections in one place again. The plans were made by the renowned architectural office Störmer Murphy and Partners from Hamburg, who responded to the polygonal form of the

buildings with more polygonal shapes but as elongated wings creating a variety of spatial relationships. Between the build-ings, three interior courtyards are arranged alternating with diagonal wings containing the reception, the cafeteria and conference rooms. The design of this whole area is orientated on the axis between the 14-storey tower at the northern end of the ensemble and the 19-storey tower of the old build-ing and this continues – with a slight, elegant curve – to the forecourt, thus relating to the old building. This square is characterized above all by flagstones in various colour tones, only interrupted by hedges with inset benches standing in the direction of movement. The square is illuminated by TRILUX Palm luminaires which, thanks to their arrangement in a row, form a spatial border in the west and, with their round shape are perfectly integrated into the architecture by Störmer Murphy and Partners.



Client:City of Bonn

www.bonn.de

Planers:Bonn Town Planning Service

SWB Bonn Public Services

Location:Friedrichstraße, Bonn, Germany

www.friedrichstrasse-bonn.de

Luminaires:Special design of the

RL··· construction series

For a long time, Friedrichstraße in Bonn led an inconspicuous life in the shadow of the bustling pedestrian zone and was only known as a delivery area and an tip for look-ing for a parking space for those with insider knowledge. In the year 1992, the street became a pedestrian zone and finally, last year, was given a new look which today makes it a very attractive window-shopping address in the city on the Rhine.By Franziska Bettac

BACKYARD ALLEY IN NEW SPLENDOUR

The slender pillar luminaire of the street lighting are a special design by

TRILUX (right).Friedrichstraße around 1970 (bottom).

Photos:Boris Golz, Arnsberg

P. Kersten, Bonn Town Archive and Library of Municipal History

07b_3_architektur_bonn.indd Abs1:32 08.12.2009 11:42:34


TECHNOLOGY

The slender RL series is enor-mously flexible: as a pillar, bollard

or wall luminaire, it can be used in a variety of ways thanks to differently

arranged reflectors. RL··· construction seriesThe versatile RL series by TRILUX was the starting point for develop-ing a special design of luminaires for Friedrichstraße in Bonn. The anthracite, powder-coated alu-minium pillar has in its cylinder of high-impact PMMA an optical system with an axially symmetrical wide-angle light distribution. The luminaires of the RL construction series are designed for extensive path lighting whilst simultaneously highlighting trees. The simple form also sets the stage for museums or parks. On Friedrichstraße, the opal lighting cylinder makes it possible to experience the luminaire as a continuous pillar during the day while, at night, effective illumina-tion transforms the clear part of the cylinder. As a matching family, TRILUX offers a wide range of bol-lard and wall luminaires, as well as a decorative special solution with


colour LEDs. The luminaires of Friedrichstraße can be individually controlled and the pillars contain additional sockets and data cables so they can easily supply infrastruc-ture to the street during events.

Plan for the conversion of Friedrichstraße with individual con-struction stages.


The different, partly elaborate façades in the historic style were

harmoniously complemented by the slender luminaires with their mini-

malist geometrical shape.

Friedrichstraße in Bonn looked back on an eventful history before it was turned into the most beautiful shopping mile of the city. Originally a lane for the tramway, starting in 1967 Friedrichstraße became a kind of delivery lane for the shop-ping streets running parallel to it. In 1992, the street was first blocked for through traffic but then in 1997 the 10-year elaborate renovation of the whole pedestrian zone in Bonn was started, during which Friedrichstraße was fundamentally redesigned. The renovation of the sewage network and the service pipes turned out to be urgently necessary. In the meantime, however, Friedrichstraße has blossomed into a popular window-shopping mile, thanks to long-established owners of stores and res-taurants who, with seating and their offers, have succeeded in giving the street an unusual atmosphere instead of only repeating branches of well-known chains, as frequently hap-pens in other places. The “Walk of Famous Personalities” with portraits of Bonn citizens set into the ground, was continued on Friedrichstraße and attracts tourists and residents alike to this part of the pedestrian zone. The most important aspect, however,

is definitely the tasteful conversion of the paving, lighting and greenery. The 19 exterior luminaires have had a longer his-tory of development: In 2006, the Town Planning Service had commissioned the Public Services to create a lighting concept for Friedrichstraße. While some residents of the syndicate would have liked to have traditional street lights, the planners agreed that to contrast the historic façades a contemporary solution had to be found. The process and the acceptance, however, turned out to be difficult and so, in November 2006, the designers in charge had several metal pipes of different heights put up for two weeks as examples where the luminaire cylinder was improvised with a paper cuff. The effort has paid off. Together with TRILUX and the ideas of the planners, the pillar luminaire was developed which has established itself in Bonn and has now been used in the government district and in further locations.


36 | 37 SERVICE 3lux:letters 2 | 2009

Technical information on light- and electric engineering is a 50-year tradition at TRILUX: Back in the year 1956, the “TRILUX-Lichtratgeber” was published with basic information on lighting and illumination technology. In the subsequent years, it was updated and expanded in two further editions and thus became one of the most important standard works for light planners, architects, electricians, electrical retail as well as for newcomers in the field. With the handbook “Beleuchtungsplanung – Lichttechnik – Elektrotechnik” in 1996 (2nd edition 1997) a comprehensive planning aid was published which represented further sensible support for practical work. Particularly over the past 10 years, a lot has happened in the lighting market and that is why the “Beleuchtungsplanung” of 1996 has now been updated and subdivided into two sections: In March 2007, the “Beleuchtungspraxis Innenbeleuchtung” [Practice of Interior Lighting] was published in which many cen-tral questions of lighting planning in the interior are answered on more than 400 pages. Now the published “Beleuchtungspraxis

Lighting planning in the exterior space is an important task, particularly for the dark season. Those who are well advised have a reliable partner from the luminaire industry at hand. Light planners can now update and expand their know-how with the “Beleuchtungspraxis Außenbeleuchtung” (Practice of Exterior Lighting) – a body of work no planning office should be without.

BELEUCHTUNGSPRAXISAUSSENBELEUCHTUNG

Außenbeleuchtung” focuses in a similar length on the central questions arising when planning exterior light. After a brief historical summary, illumination for different areas are run through: starting with normal street lighting through the light-ing of pedestrian zones, bicycle paths and sports facilities to the lighting of workplaces and waterways.The reader learns a con-siderable amount about ecological as well as economic aspects of lighting systems as well as about luminaires and lamps in general, always presented in a graphically appealing way as a successful mix of texts, photographs, tables and diagrams. Also very helpful is the extensive index in the appendix where terms relevant to light planning are again explained in detail and there is also a list of the Standards Institutes and the Societies of light engineering in Europe, which saves internationally active plan-ners a lot of time, and a list of additional literature. Thus the “Beleuchtungspraxis” duo is an extraordinarily useful tool for the everyday work of every light planner, architect or interior designer.

08_service.indd Abs1:36 08.12.2009 11:44:31

Phot

os: T

RIL

UX

In the new millennium, much has already happened in the matter of lighting. Above all the small LEDs have caused a furore on the market as they come with a whole series of advantages compared to traditional lamps. They are not only considerably smaller and consume less energy, with about 60,000 hours they also have a service life which makes the term “maintenance” quickly fade away. Of additional interest for exterior lighting: Light from LEDs does not attract insects which means less dirt. TRILUX has taken an important step in making use of these enormous advantages with the application of LED technology in one of its design classics: For the 932··· construction series, there is now an LED post-top luminaire available, for the large 935··· model also a conversion set. With the latter, existing systems can easily and within a few minutes be converted. For lowered night-time lighting, some of the LEDs can even be switched off which saves up to an additional 50 per cent of energy.

For more than 20 years, the TRILUX 935··· construction series has been on the mar-ket. With its clear and unostentatious shape, it has become the design classic per se found in many streets and squares. Reason enough to make the luminaire fit for a future where LEDs will be playing a central role in lighting.

CONVERTING TO LED

Two of the four LED segments of the 935··· construction series (one of

three modules of the 932··· series) can be switched off separately

for the energy-efficient lowered night-time lighting.

With a few, simple touches, the necessary components for the LED

conversion are exchanged – ideal for a quick and low-cost renovation

of existing systems.

The optical system of the LED con-version set for the TRILUX post-top luminaire of the 932··· and 935··· construction series consists of three or four segments, each with 18 or 24 white high-performance LEDs 1W, with a total luminous flux of up to 2,400 lm.

08_service.indd Abs1:37 08.12.2009 11:44:33

38 | 39 SERVICE 3lux:letters 2 | 2009

Illus

trat

ions

from

: “B

eleu

chtu

ngsp

raxi

sAu

ßenb

eleu

chtu

ng”,

Tri

lux

MATERIALS:INTELLIGENT REFLECTOR FORMParticularly concerning illumination of the outside space, terms such as “light pollution” or “global dimming” are again and again making headlines. As a manu-facturer of luminaires, TRILUX is aware of its responsibility. An important question to ask oneself when designing luminaires is therefore: Where is the light directed to and what is being illuminated by it?

Behind the term “light pollution” is the excessive load on the atmosphere due to the distribution of artificial sources of light, which can become a problem especially in settlement areas. People as well as animals are negatively affected by improper exterior lighting. TRILUX became aware of this a long time ago and supplied a solution with intelligent forms of reflectors. The optical features of the luminaire are developed with a special software and optimised thanks to extensive calcula-tions. In this way, TRILUX not only determines the maximum distances between light points, to give an evenness of the illumination level or restrict the brightness to the traffic lane, but at the same time calculated the three-dimensional form of the reflector. For this purpose, the form is divided into a very large number of surface elements whose alignment to the light source, equally divided into partial areas, is optimised. The result is a reflector which shields the light in a specific radiation zone and intensifies it in another direction.

Three-dimensional construction model and basic form of the reflec-tor (top) as well as polyhedral reflector and luminous intensity dis-tribution of the luminaire (bottom) as the result of the optimising.

With a special camera, the vertical luminance distribution on the façade

can be shown for the non-shielded (left) and the shielded (right) pole-

top luminaire.

Without the appropriate reflector form, the light is symmetrically dis-tributed (left), an internal semi-re-flector, on the other hand, ensures directed asymmetrical illumination.

08_service.indd Abs1:38 08.12.2009 11:44:35

PLANNERS ASK, MANUFACTURERS ANSWERIn the everyday work of a planner, many a question comes up which cannot be found in any handbook. Answers to such questions are given here by the experts from TRILUX who also gladly tell you one or more tricks.

Thomas KretzerGeneral ManagerTRILUX Vertrieb GmbH

More and more often, white instead of yellow lighting is seen in the streets. Why is that?

At the same lighting level, white light seems brighter and more comfortable than yellow light because the colour rendering is considerably better, which makes it easier to discern objects and people. On the eye’s retina, we have receptors with different sensitivities: cones (for brightness and colour information) in the centre and rods (exclusively for light-dark information) located nearer the edge. In our outer, peripheral visual field, the eye uses a combination of cones and rods, the so-called mesopic seeing, which works best with white and blue light. Thus the peripheral visual field of a motorist is particularly important in cities and driving at low speed when pedestrians need to be seen. Here white light increases safety. On motorways, on the other hand, it is rather the central visual field which is needed and that is why lighting with the yellow light of, for example, high-perform-ance sodium-vapour lamps can be found here.

White light such as from a halide lamp is found above all where the

road space has to be represented as exactly as possible.

Phot

o: T

RIL

UX

08_service.indd Abs1:39 08.12.2009 11:44:37

3lux:letters 2 | 2009TRILUX40 | 41

Phot

os: T

RIL

UX

ROADSHOW EXTERIOR LUMINAIRESTRILUX on Tour: Right in time for the publication of the new standard work “Beleuchtungspraxis Außenbeleuchtung” (Practice of Exterior Lighting), TRILUX toured Germany and provided much practical know-how with lectures and discus-sions. Not surprisingly the show was heavily frequented by architects, light planners and consultants with an interest in light.

Right on time for the publication of the new handbook “Beleuch-tungspraxis Außenbeleuchtung”, in autumn 2009 TRILUX organized the “Exterior Luminaires” road show. The lecture series stopped at Berlin, Leipzig, Magdeburg, Lüneburg, Cologne, Fulda, Stuttgart and Ingolstadt. There not only the TRILUX handbook was presented but also information in the form of interesting lectures on the current developments in exterior lighting. The topics covered were the effects of the European legislation, intelligent systems of light control for street lighting or legal foundations and technical approaches regarding energy-efficient exterior lighting. The Lumega 600 renovation highlight was also presented and there were talks about LEDs as the lighting of the future. Afterwards, the par-ticipants were able to exchange experiences with colleagues and lecturers at the buffet and further deepen what they had learned from the lectures they had attended. The supporting programme of the well-visited road show was complemented with a visit to the city landmarks.

The visitors of the road show follow the informative lectures on the sub-ject of exterior lighting with interest.

Participants as well as organisers enjoyed not only the numerous lectures but also the little show interludes and the informal talks afterwards.

09_trilux.indd Abs1:40 08.12.2009 11:45:03

The Tree of Light consists com-pletely of aluminium and weighs about a ton. Its branches reach up to a height of 6.70 metres with a diam-eter of 6.20 metres. The heart of the tree is a large round light which illuminates the tree from the inside as well as the roundabout.

Out of the main pipe with a diameter of 500 millimetres and a height of 2.30 metres, 62 individual curved

aluminium pipes are “growing” which form the branches of the Tree

of Light. Each branch is especially made, which was a major challenge

for all who participated.

TREE OF LIGHTFrom 3 November 2009, Arnsberg has had an additional attraction: the Tree of Light, a design by the trainees at TRILUX, immerses the new roundabout right in front of the main plant in Arnsberg in a “New Light” – a masterpiece of collaboration between lighting design, tool making, construction and training workshop.

“It stands in the public space, is therefore an artwork for the whole city and, at the same time, a thank-you to Arnsberg for many years of good cooperation.” With these words, Michael Huber, Chief Representative at TRILUX, on 3 November 2009 pre sented the Tree of Light to Arnsberg Mayor Josef Vogel. TheTree of Light gives the new roundabout in front of the Arnsberg main plant a new face visible from afar. The idea for the art-work originated in 2007 when, on the occasion of the Arnsberg Summer of Art, trainees at TRILUX built a temporary fore runner which found its place at the nearby River Ruhr. In spring 2009, it was decided to do a new version of the design. An intense three-month planning phase followed and, after only four weeks of manufacturing time, the Tree of Light was finally in stalled. It is a work of light art which is not only art for art’s sake but also serves the practical purpose of illumination. For Michael Huber, the tree symbolizes growth and life and, at the same time, offers a view into the shining future of the company.

Phot

o: T

RIL

UX

Phot

o: B

oris

Gol

z, A

rnsb

erg

09_trilux.indd Abs1:41 08.12.2009 11:45:07

42 | 43 ART 3lux:letters 2 | 2009

As soon as the flower starts to wilt, however, the light is also slowly

going out.

When a flower is put in the Life 01 vase, the latter comes to life and

starts to shine as if by magic.

At first glance, the luminaire presented by Paul Cocksedge at the Euroluce 2009 in Milan looks like an ordinary vase. Once a flower is put in it, however, it be gins to glow.By Christina Dragoi

The British product designer Paul Cocksedge looks at light with the curiosity of a child. He questions universal facts and experi-ments with everyday objects such as non-returnable cups or pencils as well as with exquisite, hand-made glass. Light itself is never in the foreground in his designs but is combined with the objects into sophisticated metaphors. In Life 01, the combination of light, water and organic life materializes as a glass vase which starts to glow as soon as a flower is put into the water. The stem of the flower plays an important role in this: By inserting the flower and leaning it against the metal-covered rim, an invisible electric circuit is closed which causes an LED in the base of the vase to light up. When the flower starts to wilt, the light slowly goes out again. The unique luminaire is more than a purely decorative object: Life 01 links traditional symbolism with the vital elements of light and water and thus becomes an allegory of the transience of life. www.paulcocksedge.co.uk

LIGHT IS LIFEPh

otos

: Cou

rtes

y of

Flo

s

10_kunst.indd Abs1:42 07.12.2009 16:10:47

Light bulbs which seem to flow out of their lampshade, take on new forms and sizes, are melting in order to then become manifest in a new shape – the dreaded “design virus” has infected the light bulbs! Already since 2008, the Dutch product designer Pieke Bergmans has suspended mutated light bulbs from the ceiling. In her twelve-part series Light Blubs Special Editions a year later, the mass has still not set. Far from it: The forms seem even more grotesque, the symptoms are intensi-fied. They are oozing out of old and tired desk lamps, flow over disused office furniture such as chairs and filing cabinets. To tell the truth, however, they are not light bulbs but glass bodies consisting of white, mouth-blown crystal glass with integrated LEDs. Each Light Blub is one of a kind. And it is on precisely this theme that Pieke Bergmans focuses in her conceptual studies with the title “Design Virus”. She interferes in the standard-ized mass production and creates individualized products by changing their form. www.piekebergmans.com

The Light Blubs by Pieke Bergmans exude something ominous. What has happened when suddenly such a reliable product as a light bulb gets out of line, gives itself up and surrenders to gravity?By Julia Zürn

DESIGN INFECTION

It seems that things which are getting on in years such as the old office lamp are particularly

vulnerable to infections.

Phot

os: S

tudi

o D

esig

n Vi

rus

The young product designer Pieke Bergmans says about herself: “I am a virus.” And with this virus, she also infects her objects.

10_kunst.indd Abs1:43 07.12.2009 16:10:51

44 | 45 ART 3lux:letters 2 | 2009

The event manager and light artist Gerry Hofstetter is a master of stage produc-tion. With his series “Monuments of Switzerland” he shows monuments and other well-known buildings of the alpine country shining in a new light. By Franziska Bettac

An investment banker and helicopter pilot in an earlier life and today exclusively a light artist, Gerry Hofstetter has already immersed numerous famous monuments worldwide in an unusual light: In 2006, in the Year of the Desert, he illuminated the pyramids of Giza and in 2008 he put the Washington National Cathedral into the focus with a light show on the occasion of its 100th anniversary. With his spectacular installations, the artist wants to create images able to transport a message around the world. With his projections in the Arctic, he reminded of the climate change on icebergs by projecting images of the endangered polar bears on the (still) cold rocks. Yet despite all the international projects, Hofstetter is also a patriotic Swiss. Not without pride, he makes the UNESCO World Cultural Heritage Site Rhaetian Railway shine in a typically Swiss light or decorates the Matterhorn with the national emblem from swaying helicopters. His choice of objects alone is remarkable. Thus in the series of the “national monuments” there is also the cooling tower of the Gösgen nuclear power plant which due to this illumination could probably for the first time be recognized as a national monument. www.gerryhofstetter.ch

CONFEDERATE LIGHT ART

On the occasion of the re-opening of the newly renovated Federal Parliament Building in Bern, Gerry Hofstetter performed magic with a Helvetian light installation on the façade of the Swiss parliament.

When the Bernina railroad with the famous circular viaduct near

Brusio was taken onto the list of the UNESCO World Heritage Sites, an elaborate light show was staged. Ph

otos

: ©Ge

rry

Hof

stet

ter

10_kunst.indd Abs1:44 07.12.2009 16:10:54

The acrylic blossoms cover the sloping roof of the visitors’ centre between the glass cupolas of the rainforest- and the Mediterranean biosphere.

Eleven external projects supply the acrylic luminaires with light – fibreglass cables serve as the

transmission medium.

Hast makes waste: For 15 years, the British light artist Bruce Munro carried the idea for his “Field of Light” light installation around in a sketchbook. An excursion into the Australian desert had inspired him: Fascinated by the spectacle where a rain shower revives dormant plant seeds and turns the arid desert into a green landscape, he had sketched the idea in his book. Years later he finally realized it: From November 2008 to March 2009, visitors were able to admire the “Field of Light” near St. Austell in the south of Cornwall. Between the striking biosphere cupolas of the Eden Project by Nicolas Grimshaw, Munro installed 6,000 small acrylic lamps which – similar to in the desert at rainfall – only begin to glow in changing colours when darkness falls. The narrow, long acrylic tubes with “blos-soms” of glass spheres look like a meadow of strange plants. Fibreglass cables conduct the light into the luminaires – alto-gether 24,000 metres of cable were used for the art installation measuring 60 by 20 metres which turns the nocturnal garden into a fantastic dream scenery. www.fieldoflight.co.uk

The wonders of nature are the models for the light installations by the artist Bruce Munro. Thus also for his work “Field of Light”: Thousands of acrylic lamps appear to overgrow like plants the exterior surfac-es of the Eden Project botanical garden.By Annika Dammann

BLOSSOMS OF THE NIGHT

Phot

os: M

ark

Pick

thal

l

10_kunst.indd Abs1:45 07.12.2009 16:10:57

46 | 47 CURIOSITY 3lux:letters 2 | 2009

Although created as light art, the installation “Pipe Light”

by the French-Brazilian quartet of architects Triptyque for

Micasa, a manufacturer of interiors in São Paulo, looks more

like an occupation of the architecture. Metal cable conduits

run along the ceilings and the walls seemingly without end-

ing anywhere, no obstacle can stop them. Technology and its

cables take over the architecture like a steadily growing climb-

ing plant. It quickly becomes clear: This installation draws

attention to the technological change which more and more

determines the building of the present. Although invisibly, the

house has meanwhile turned into a machine which, similar to

an organism, acts and reacts independently. We can only hope

that, despite all this, the future development will remain at

least an interaction of man and machine.

INVASION OF TECHNOLOGYBy Thomas Geuder

Phot

os: R

omul

o Fi

aldi

ni

11_kuriosum.indd Abs1:46 07.12.2009 16:14:30

Issued by:

TRILUX GmbH + Co. KGHeidestraßeD–59759 Arnsbergwww.trilux.eu

Editorial Staff:Vivian Hollmann (TRILUX)Dietmar Zembrot (TRILUX)Thomas Kretzer (TRILUX)Thomas Geuder (GKT)Marina Schiemenz (GKT)

Publisher:Gesellschaft für Knowhow-Transfer in Architektur und Bauwesen mbHFasanenweg 18D-70771 Leinfelden-Echterdingenwww.ait-online.dewww.gkt-publishing.de

IMPRINT

This magazine and all its contri-butions and pictures are protected by copyright.The publishers and editors accept no responsibility for unsolicited pictures and manu-scripts. Colour and dimensional deviations correspond to the usual tolerances. Subject to colour and model changes. In charge of address data processing: the publisher.

Printed in Germany

Translation:Dr. Ingrid Bell, Steinen

Free subscription:Please send a short email inclu-ding your postal address to 3lux-letters @ trilux.de

Contacts for architects:

Martin WestermannGermany WestTel. +49 (0) 151.17 11 03 [email protected]

Martin RohdeGermany South-WestTel. +49 (0) 151.17 11 02 [email protected]

Birgit RichterGermany SouthTel. +49 (0) 151.17 11 02 [email protected]

Sabine MadausGermany NordTel. +49 (0) 151.17 11 02 [email protected]

Richard HoltGreat BritainTel. +44 (0) 12 45.46 34 [email protected]

Chris SkinnerGreat BritainTel. +44 (0) 12 45.23 63 [email protected]

Lorenzo ClericiItalyTel. +39 02.36 63 42 [email protected]

Hetty Rümke-de GierThe NetherlandsTel. +31 (0) 33.4 50 71 12 [email protected]

Pierre ThinesBelgiumTel. +32 (0) 497.43 58 [email protected]

Pål FrigstadNorwayTel. +47 67.10 92 [email protected]

Pavel BoucekCzech RepublicTel. +420 235.524 [email protected]

Markus BuccoSwitzerlandTel. +41 (0) 56.419 66 [email protected]

SOURCE

Since his beginnings, man has tried to overcome darkness. Thus we for instance have reports on street light-ing in antique towns; in the Middle Ages a fireplace in the middle of the village provided light and warmth. For a long time, the open fire remained the only source of light: as a pitch pan or with chips of pine-wood, as a torch, or later as an oil lamp. With its wick, the latter for the first time made it possible to con-trol the light intensity. In 1662, the first oil lamp was put up in London, Paris and Berlin followed shortly afterwards. At about the same time, Paris developed a municipal stand-ard street lamp which was to replace private street lighting. In Germany, Hamburg took on the role of pioneer with 400 municipal oil lanterns. In 1808, for the first time in London a street, a part of Pall Mall, is illumi-nated with gas; on the Continent the first gaslight was already burning in Freiberg in Saxony in 1811. As an open gas flame and later as an incandescent light, for more than a century gas lamps determined the nocturnal image of European cit-ies. In many cities they can even still be found today. Electric light

(BRIEF) HISTORY OF STREET LIGHTING

sources have been used since 1867, initially in the form of arc lamps which were soon replaced by the more economical carbon filament incandescent lamp invented in 1879. In the thirties, with the development of the high-pressure mercury lamp, a further step was taken in luminaire technology and as of 1969 sodium high-pressure lamps were increas-ingly used because of their high luminous efficiency. They are stand-ard in many countries to this day, but for high-quality systems, halogen metal vapour lamps are often pre-ferred because of their good colour rendering. LEDs are more and more used in the exterior space, to date mostly for decorative purposes. Yet first solutions for street lighting are already available. With the development of the illumi-nants, the demand on the illumina-tion of the outside space has also grown: Light no longer has to ensure safety in darkness alone but also fulfil its new function as a means of design in the public space.

Phot

o: Il

lust

ratio

ns b

y M

auri

ce D

esse

rten

ne, c

irca

190

0

On the occasion of the 300th anniversary of the Berlin street

lighting, the series of stamps “Historic Street Lights” appeared

in 1979: gas-powered model lamp, carbon arc lamp, pending luminaire

and five-arm candelabra.

“Eclairage”, from Nouveau Larousse Illustré. Whether fire or electricity: At all times, man has tried to bring light into the darkness of the night.

Phot

os: D

euts

che

Post

AG

11_kuriosum.indd Abs1:47 07.12.2009 16:14:35

New Light for greater energy efficiency. TRILUX Lumega 600. · “Lichtkunst für Kinder” edited...

Documents

Transcript of New Light for greater energy efficiency. TRILUX Lumega 600. · “Lichtkunst für Kinder” edited...