001 city beautification euro 2000 soccer · news from the world of lighting 4 editor’s notes ......

ILR 001:CITY BEAUTIFICATION - EURO 2000 SOCCER

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Photo:Philips Lighting,Pierre Crouzet

Outdoor museum of light Grenoble, France

City BeautificationEuro 2000 Soccer

a.cover1-4 BC.txt 30-10-2000 13:46 Pagina B

Philips LightingBU Luminaires

c.contents a-b-1 30-10-2000 13:40 Pagina a

2 ForumNews from the world of lighting

4 Editor’s notes

City Beautification/Euro 2000 Soccer

Projects City Beautification in the New Millennium6 Capital Bridges

What better way for a city to herald the new millennium than to lightits bridges and bring a new perspective to the night-time riverside scene

The Seine by night Ð Paris France

Across the Liffey Ð Dublin Ireland Brian Callagy

Out of the Blue Ð Belfast Northern Ireland Paul Watson

A bridge to the past Ð Stockholm Sweden Lars H�gglund

18 Outdoor museum of light France Vincent Laganier

A riverside art gallery of projected images in the centre of Grenoble

20 A fairy-tale of light Monaco Vincent Laganier

Monte CarloÕs famous Casino Square is bathed in the soft light from more than a thousand hidden floodlights

24 Mystic Lighting Peru Tomas Sandoval

An ambitious city beautification project has made it possible to increase trade, tourism and safety well into the night-time hours

Euro 2000 Soccer32 Football Without Frontiers

Soccer stadiums in Belgium and in The Netherlands are being made ready for the first big sporting event of the new millennium Ð Euro 2000

44 Stadium perspectivesEveryone from the architect to the soccer supporter and tv camerman has an opinion regarding the modern-day soccer stadium

Design46 ArenaVision – New Generation

The unique ArenaVision floodlighting system launched by Philips has led to a new, even further improved floodlighting system

New concepts28 Exploring the future of urban lighting

A report on the recent City People Light conference and exhibition held in Paris

50 IndexQuick-reference index, listing the 8 latest issues of ILR

b Front cover: New generation ArenaVision (see p. 46),

I n t e r n a t i o n a l Lighting ReviewContents 001

http://www.lightingreview.com

International Lighting Review ISSN 0020-7853Internationale Licht Rundschau ISSN 0165-9863 Revue Internationale de l’Eclairage ISSN 0035-3388 Revista Internacional de Luminotecnia ISSN 0167-7608

51th year / issue 001

Founded in 1949, International Lighting Review is devoted to all aspects oflighting. Published three times a year, it reports extensively on developments andtrends in lighting, on actual problems encountered in lighting design andtechnology, and on outstanding projects from all over the world. ILR is richlyillustrated with colour photographs and drawings covering more than 50 pages.

Published by Philips Lighting, Luminaire GroupProduced by LiDAC, Lighting Design and Application Centre, Eindhoven, theNetherlands.

Editorial office Address: P.O. Box 721, 5600 AS Eindhoven, the Netherlands.Telephone: administration 31 40 275 5779; ediitors: 31 40 275 52 52 / 31 40 275 74 85.Telefax: 31 40 275 78 00.E-mail: [email protected]: http://www.lightingreview.com Bank: Postbank Amsterdam.VAT Reg.no. NL005476604B46.Chief Editor and Art Director: JF Caminada. Editors: Derek Parker and Marcel Janse.Photography: Rien Valk. Artwork: Jo van Hemert. Layout: Marie-Louise Mannaerts.Client services: Franka Heesterbeek. Translation: Philips Translation Services.Pre-publishing by Neroc, Eindhoven.Printed by Roto Smeets Services, Eindhoven.Subscriptions / Back Numbers: see at the end of the magazine.

CorrespondentsArgentina: Guillermo Spini, Casilla de Correo 3479, Buenos Aires. Australia: LyndenKirkness, 34 Waterloo Rd, North Ryde, N.S.W. 2113. België/Belgique: H Leclercq, 2Stationstraat 80, 1070 Bruxelles. Brasil: Isac Roizenblatt, Caixa Postal 8681, SaoPaulo. Canada: Jorge M Pereira, 9 Invergordon Ave., Toronto, Ontario M1S 2Y9. Chile:Carlos Seisdedos M, Casilla 2687, Santiago. Colombia: Luis Enrique Martinez S,Apartado Aereo 4282, Bogotá. Costa Rica: C Katsava, Apartado Postal 3214, San Jose.Denmark: H J Jacobsen, Sydhavnsgade 23 , DK-1780 Copenhagen. Deutschland: C HZieseniß, Lerchenweg 14a, 21244-Buchholz. Ecuador: Carlos Valencia, Casilla 343,Quito. España: Fernando Vila, Martinez Villergas 2, Madrid 28027. Finland: PetriPekola, P.O. Box 4, 04601 Mäntsäla. France: M Coupez, 9, rue Pierre Rigaud, 94200Ivry-sur-Seine. Greece: Ion Economopoulos, 7, Artemidos Str., 15125 ParadissosAmaroussion-Athens. Hong Kong: J Chu, G.P.O. Box 2108, Hong Kong. India: V KDivadkar, 29 Alipore Estate, 8/6/1 Alipore Road, Calcutta 700027. Indonesia: S Marino,Purwakarta – Jawa Barat. Ireland: N J Moran, Newstead, Clonskeagh, Dublin 14.Italia: Mariangela Speroni, Via G Casati 23, 20052 Monza. Japan: Dr K Narisada, 2-6-12 Asahi, Kuzuha Hirakata, Osaka 573. Kiyoshi Sugimoto, 2-13-37 Kohnan, Minato-ku,Tokyo 108. Kenya: Umakant Harish Pandit, P.O. Box 17756, Nairobi. Korea: Y C Hwang,C.P.O. Box 3680, Seoul. Malaysia: K.C. Wong, P.O. Box 12163, 50768 Kuala Lumpur.México: Javier Romer, Norte 45, No. 669, 02300 Mexico DF. Nederland: M Jacobs,Tooroplaan 6, 5591 AL Heeze. New Zealand: Chris Huff, P.O. Box 1041, Mt Albert,Auckland 1. Norge: Torgeir Sogge, Ropernveien 4, 1335 Snaroya. Österreich: WalterStefanik, Triesterstrasse 64, A-1100 Wien. Pakistan: M K Shabazker, P.O. Box 7101,Karachi-3. Paraguay: M Haber, Casilla de Correo 605, Asuncion. Perú: V Huiman,Apartado 1543, Lima 18. Philippines: Anastacio R Martirez, P.O. Box 911 MCC, Makati,Metro Manila. Poland: Marek Lasinski, Ul. Kossaka 150, 64-920 Pila. Portugal: VitorVajao, Philips Iluminaçao, Lda. Apartado 1331, 1000 Lisboa. Romania: Florin Pop, str. C.Daicoviciu 15, RO-3400 Cluj-Napoca. Schweiz/Suisse: Job Daams, Allmendstrasse140, Postfach, 8027 Zürich. Singapore: K Seshadri, P.O. Box 340, Toa Payoh CentralPost Office, Singapore 9131. Sverige: Leif Berggren, Estlandsgatan 140, S-122 37Enskede. Taiwan: Claudia Luo, P.O. Box 22978, Taipei. Thailand: N Panlop, P.O. Box961, 10500 Bangkok. Turkey: Dr Haldun Demirdes, Talatpasa Cad. no. 5, 80640Gültepe/Istanbul. United Kingdom: David Greaves, 420-430 London Road, CroydonCR9 3QR. Uruguay: Luis Jubin, Canelones 1367-305, Montevideo. USA: Mark Roush,Philips Square, 200, Franklin Square Drive, CN 6800 Somerset, NJ 08873. Venezuela:J J Quagliano, Apartado Aéreo 1167, Caracas 1010-A. Zimbabwe: Derek Warner, P.O.Box 994, Harare.

CopyrightNormally speaking, articles published in International Lighting Review may be reprinted,either completely or in part, with prior written authorisation from the publisher. However,in those cases where the artwork concerned is not the property of ILR, it is not in ourpower to grant permission to reproduce this.

The views expressed in this journal by third parties are not necessarily those heldby the publisher. The editor reserves the right to edit and abridge articles forpublication.

p.18 Philippe Mouillon

p.16 Lars Liwendahl

p.8 Brian Callagy

p.8 Duilio Passariellop.6 Benoit Lallozp.6 Pierre Arnaud

p.20 Alain Guilhot

p.16 Stefan Sjölund

p.12 Paul Watson

p.18 Jean-Paul Giraud

p.8 Michel Moloney p.12 Sean Curran

p.24 Tomas Sandoval p.32 Jac Slegers p.32 Bart Mertens p.32 Volmer Rosi

p.18, 20 Vincent Laganier

c.contents a-b-1 30-10-2000 13:41 Pagina b

lamps. The system allows the lamp’s lightoutput to be regulated between 35 and100 per cent with from 50 to 100 per centsystem performance. The system alsooffers continuous dimming and easyintegration with tele-control or tele-management systems.Manufacturer: Philips Lighting

LED RailThe LED Rail comprises a string of high-brightness red-coloured LEDs (lightemitting diodes) mounted on a patentedflexible rail system that allows for easyinstallation in standard channel letterhousings. The LEDs are so spaced as tobrightly and evenly illuminate the channelletters.Unlike with neon, there is no glass tubingto bend, so the LED Rail is easier to install.And since it operates on 24 volts asopposed to the much higher voltages ofneon, it is also much safer to install, and

building owners have the comfort ofknowing that their signs won’t be causingfires. Lastly, the LED Rail saves energy –up to 80 per cent over the same size neon-powered channel letters.Manufacturer: LumiLeds Lighting (a joint-venture of Philips Lighting and AgilentTechnologies)

Fortress laboratorySecurity lighting can be attractive as well as functional

When in Bangkok, the king resides at the Royal Palace, known locally as the Chitlada Villa.The palace is set in an area of slightly over one square kilometre behind a moat corneredby fountains. At the King's initiative and with his support, substantial portions of thegrounds have been turned into a green oasis in an intensely built-up Bangkok. Here areliving laboratories that work. Livestock is bred, grains are hybridised, and milk de-hydration practised on a model basis. And even techniques are studied for keeping beesto yield income for rural Thais.The whole palace is contained within a 3400-m-long security fence, which contains 25forts for security guards. The approach to the main entrance is guarded by a bridge. Thefence was formerly lighted by column-mounted decorative CFL luminaires. This wasprincipally security lighting, and did little to enhance the aesthetics of the architecture.The new lighting was designed with three main aims in mind: to increase the prestige ofthe palace without drawing attention to the light sources themselves, to increase palacesecurity, and to be as energy effective as possible.The buildings flanking the main entrance are lighted by a combination of ground-recessed and wall-mounted uplighters to provide a vertical illuminance of 100 lux.The lower part of the facades is lit by thirty narrow-beam Pompei units, each housing asingle 70 W (CDM-T) metal halide lamp. These rotationally-symmetrical units are buried

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FORUM FORUM

flush with the ground close to the wall at the corners of the buildings and in between thewindow openings.The low roof is lit by small, round-beam floodlights. Each of these Decoflood units housesa single 35 W metal halide lamp. The upper parts of the façade at each end of the buildingand the roof-mounted flag poles above are lit by compact QVF435 floodlights speciallymodified to accept the MHW-TD 70 W metal halide lamp.The bridge is lighted from the near bank of the moat by a cluster of small narrow andwide-beam Decoflood units fitted with the 70 W CDM-T lamp.The security fence with its manned forts is lighted in very much the same way as themain entrance, that is to say by unobtrusive ground-recessed and, in the case of the forts,wall-mounted units. These provide adequate lighting for security purposes (70 lux), whilstensuring that the fence will be seen attractively reflected in the dark waters of the moat.Lighting design: Mr Chalermpong Darongsuwan, Philips Lighting, ThailandInstallation: Metropolitan Electricity Authority of Thailand

The main entrance of the Royal

Palace in Bangkok.

The security fence seen

reflected in the dark waters of

the moat.

Pompeï recessed floodlights

Housing: Die-cast aluminiumBeam widths: Narrow, medium and wide Lamps: SDW/T 50 W/100 W, CDM/T 35W and70 W, MHN/T 70 W, and QL 55 W

Decoflood 606

Housing: Die-cast aluminiumBeam: Narrow, medium and wideLamps: CDM-T (35-150 W), SDW-T (35-100W), MHN-T (70-150 W),halogen (75-150 W),and the PAR 56 lamp.

QVF 435

Housing: High-pressure die-cast aluminium Beam: Wide Lamps: Double-ended halogen 300/500 W. Inthis case, modified to accept MHW-TD 70 W.

For the product catalogue, see: www.lighting.philips.com

ø 248

ø 358

ø 275

490

Ø 162

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Ø 2

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Light + Building Fair 2000A spotlight on three interesting lightingproducts

Among the many interesting lightingproducts on show at this year’s Light +Building 2000 (the new international fairfor light and electrical technology, airconditioning, and building services), thefollowing were particularly worthy of note.

Decorative AdanteAdante is the name of a new range ofindoor accent and decorative lightingproducts providing everything that isrequired to emphasise and enhance anyarchitectural design, making it perfect for a

variety of professional surroundings.Shown here are the Wall and Pendentversions of the luminaire intended for usein entrance areas, sales areas, offices andpublic buildings. Designed to house avariety of lamp types including fluorescentand Mastercolour CDM-TD, the luminaireis of aluminium with a mat-glass cover.Manufacturer: Philips Lighting

DynaVision controllerThe DynaVision controller is a lightregulating system for high-pressuresodium lamps (viz. SON) for use primarilyfor road and industrial lightingapplications. The controller uses aconventional electronic ballast with aseparate controller for 250/400 W SON

The English TowerA city beautification project in BuenosAires

‘Torre de los Ingleses’ (The English Tower)is a 58-m-high monument given by theBritish Community living in Argentina in1910 to celebrate the 100th anniversary ofthe May Revolution of 1810. The originaldesigners used to call it ‘Torre Reloj’ (TheClock Tower) because of the big clock ithas at its top. Below the clock there is abalcony offering a view of part of the cityand the Rio de la Plata.In 1998 the Government of Buenos Airesundertook a City Beautification Plan, whichincluded this Tower. Several monuments

and buildings have been lighted employingHNF 003/HPI-T 1000 W, ArenaVision/HID1800 W and Decoflood with MHN-TD 150W and 250 W. The GLS and blended-lightlamps formerly employed to light the fourinner sides of the clock have beenreplaced by TLD lamps.The new lighting can be enjoyed from thedifferent international hotels surroundingthe square.Lighting equipment: Philips LightingArgentina

Speicherstadt HamburgThe entire docks area bathed in light

The docks and warehouse area (‘dieSpeicherstadt’) of Hamburg as a theatrestage bathed in colourful light – this couldbecome a reality this year. The Hamburg-based author and literary adviser MichaelBatz, head of the ‘Hamburg Art Ensembles’that specialises in ‘event theatre’ andorganiser of the ‘Hamburger Jedermann’,has drawn up a plan for an extravagantillumination project that could be realisedfor a millennium show with the help ofsponsorship. On a smaller scale, the showhad its premiere from 10 to 26 Septemberof last year. It was a combination oftheatre, music, the docks and lighting.The central part of the show consisted ofthe narration of ‘Mozart America’ by Batz, astory about the Mozart librettist Lorenzo daPonte during his stay in Hamburg before1801. The story was read by actors incostumes and masks to 50 theatre-goersat a time, on launches that passed throughthe city, with in the background music byMozart. And the backdrop was the docksarea. For this purpose, thirteen bridges andthree main buildings in the area have beenilluminated using 2200 metres oftransparent tubing.The show could possibly form part ofHamburg’s contribution to the Expo 2000,and could provide an opportunity to brushup the image of the docks area as theentrance to the future harbour city.Lighting equipment: Philips LightingGermany

This is what the docks and warehouse area willlook like if the major event gets the go-ahead. Theillumination is provided by transparent tubing.

Hamburg Art Ensem

ble

Hamburg Art Ensem

blePhilips Lighting Argentina

Philips Lighting Thailand

Philips Lighting Thailand

LumiLeds

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Millennium highlights

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EditorÕs notes

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The start of the new millennium was celebratedin many different ways all over the world.While there were those who were quite contentto quietly catch the very first rays of the sun as itrose above the horizon in their particular timezone, others preferred to see the skyspectacularly illuminated by laser beams orfireworks. But not all celebrations in which lightplays such a prominent role are of such atransitory nature. Many city authorities havetaken the opportunity to mark the event bystaging special year-long light spectacles, suchas the giant illuminated Ferris wheel in theheart of Paris pictured on these pages. Others commissioned artists to have their worksprojected in public places for all to see. Andthen there are the numerous city authoritieswho have taken the opportunity to implementnew, imaginative city beautification projectsaimed at making their towns safer and moreattractive for those living there and moreappealing to visitors.

JF Caminada

A new, though temporary, Parismonument by Serge Dumontand Marcel Campion.The giant 60-m diameter Ferris wheel provides amagnificent panorama from thePlace de la Concorde, thelargest and most beautiful spotin Paris.

No. of lighting circuits: 130No. of lamps: 50 000 (110 V 10 W)Floodlights: 24 x ArenaVision Installed power: 500 kWSpecial feature: Dynamic switchingHolographic effects: Cyril VachezLighting equipment: Philips LightingCabling & installation: Amusement Lights Control Systems, The Netherlands

Jean-Marc Charles

e.ednotes 4-5 30-10-2000 09:35 Pagina 4

The Lighting

The Seine bridge-lighting master-plan has takenaccount of several important principles: Stone bridges Ð The materials and structuraldetails are accentuated by the lighting. Ironbridges Ð The structures have received accentlighting in cool colours to create an openatmosphere. Historic bridges Ð The lightingreveals the historical and cultural aspects.Central bridges Ð These short and importantlinks between prestigious sides of the river arestrongly lighted on every surface and detail.Bridges outside the centre Ð These are longer andform a liaison between less dense environments.The lighting of the balustrades is much softerand the lower parts are not lighted at all.

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Capital BridgesBridges in Paris, Dublin, Belfast, and Stockholm

A selection of river bridges, both ancient and modern, in fourEuropean capitals that are playing their part in welcoming in thenew millennium

What better way for a city toherald the new millennium thanto light its bridges and bring anew perspective to the night-timeriverside scene

iver bridges are amongst manÕs oldestarchitectural endeavours. And the factthat many ancient bridges are still in

daily use in cities all over the world is a sure signof the affection with which they are held. Butwhether old or new, it is only in recent years thatsuch bridges have received the attention oflighting designers in their campaigns toimplement city beautification projects. Oncesimply lighted roadways, with perhaps a fewornate lanterns to emphasise their charm, many

are now being floodlighted for all to see andadmire from a distance.In this article we draw attention to a number ofcapital bridges lighted to celebrate the start ofthe new millennium. Paris has put the spotlighton numerous bridges along the Seine, includingthe famous 16th century Pont Neuf, now themost famous bridge in the city. In Dublin, in theRepublic of Ireland, no fewer than elevenvehicular and two pedestrian bridges have beenlighted, eight of them dating from the late 18th

R and early 19th centuries. And in Belfast, inNorthern Ireland, where the city governmentintends to promote investment and tourism andto bring about economic regeneration, a numberof new bridges across the river Lagan have beenilluminated. And last but not least, there is thebeautiful city of Stockholm, with its ancientNorrbro, or North Bridge, dating back to the11th century. Its illumination marks the start of alighting master plan covering the decorativelighting of the whole of central Stockholm.

ilr 001 city beautification/new millennium projects 7

Pont NeufThe lighting of this the most famous bridgecomplements the modern image of the EiffelTower, the whiteness of the former contrastingwith the golden glow of the tower. One of themain characteristics is the linear lightingintegrated in the details of the architecture usinginnovative compact fluorescent lamps.Thus, each machicolation under the balustradesis lit with the asymmetrical beams from Nantes

and Roussillon fluorescent luminaires of 2700 K.A shield in the colour of the stones hides theluminaires from view and cuts out glare. Thebalustrades are lit by a continuous line of smallxenon lamps, their colour matching that of thestonework. The arches are lit from theirkeystones by Rennes HF graduated fluorescentluminaires of 3000 K.

1 The central bridges of Parisare strongly lighted on everysurface and detail.

2 Pont Neuf. The linear lightingis integrated in the details of thearchitecture using innovativecompact fluorescent lamps.

3 Viaduc d’Austerltz. Thelighting is dynamic: warmcolours during the rising andsetting of the sun, while inbetween these times the bridgeis seen in cool blues and greys.

The Seine by night - Paris

The bridges of Paris have been lighted accordingto their history, architecture and location in thecity

In recent years the cityÕs many illuminatedbridges along the Seine have formed an ever-more important part of the night-time scene. Thecompletion of the programme of variouslighting installations celebrated the start of thenew millennium.

Pont Neuf Lighting design: Pierre Arnaud, ECA, Jean-Fran�ois Arnaud, Cit�lum Lighting equipment:

Philips Lighting, Mazda, and AgabekovViaduc dÕAusterlitz Commissioner: RATP (R�gieAutonome des Transports Parisiens), project leader J CBerardo Lighting design: Benoit Lalloz, Durgu�Laigret, ACT Espace, Paris Lighting equipment:

Philips Lighting and Mazda

Austerlitz viaductThe lighting of this railway viaduct is dynamicin two ways. First, warm colours enhance thenatural effects seen during the rising and settingof the sun, while in between the bridge is seen incool blues and greys. Lamps having theappropriate colour rendering properties havebeen employed: high-pressure sodium, metalhalide, mastercolour and fluorescent. In standby mode, fluorescent luminaires Rennes4000 K integrated in the bridge structureunderline the balustrades, while the vertical tiebeams are lit by CDM 4200 K Decoflood 606. Forabout twenty minutes at sunset and sunrise, theupper arches are lit by SON Comfort 2200 KTempo 2 units, while the underside of the deck islit by SDW-T 2500 K Tempo 2 units fitted withlouvres. Secondly, to radiate movement, passingtrains are lit by rotationally symmetrical beamsfrom Decoflood 606 floodlights. ❑

Pont Neuf

Viaduc dÕAusterlitz

ÔIlluminating the bridges of Paris has finally linkedthe two halves of this, the City of LightÕ (Pierre Arnaud)

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Jean-Marc Charles

Vincent Laganier

Vincent Laganier

f.bridgesparis 6-7 30-10-2000 09:40 Pagina 6


The cityÕs lighted bridges are a reminder of itsancient heritage and a statement of itsconfidence in the future

Dublin, capital of the Republic of Ireland, isIreland's administrative, commercial, andtrading hub, as well as its main centre ofeducation and culture. Situated in eastern-central Ireland, on the coast facing the Irish Sea,this city of more than one million inhabitants issplit north to south by the River Liffey on its wayto the estuary. There are eleven vehicular and two pedestrianbridges in the central area catering for north-south traffic, eight of them dating from the late18th and early 19th centuries. These bridges andthe very structures themselves encapsulate thecityÕs history, whose origins date back to Vikingsettlements in the ninth century.

The Lighting

The night-time scene west of Grattan bridge,only 700 m west of the city centre, beyond whichstand six bridges, was dark and uninviting, a

black trough dividing the city north from south.There existed an overwhelming need to softenthis night landscape on the very axis wheremuch recent development had occurred Ð theriver and its bridges. It was against this background that DublinCorporation Engineers met to consider a jointdesign brief for the floodlighting of all the city-centre bridges.

Brian Callagy

Across the Liffey – Dublin

4 Heuston Bridge, 1828. Thebridge, designed by GeorgePapworth, is of iron constructionsupported by two granite piers.

5 Sherwin Bridge.

6 Grattan Bridge, 1874,between Capel and ParliamentStreets.

7 Rory O’More Bridge,previously known as QueenVictoria Bridge, 1859.

The objective was to create a permanent additionto the night-time aspect in contrast with othermillennium projects designed to be dramatic ortheatrical in nature and of temporary duration.The design was to be such as to preserve the

structural form in every case and maintain thetexture of weathered stone masonry underilluminated conditions. It was also required topreserve the individuality of the bridges, but atthe same time introduce a common themethroughout.No glare was to be permitted on any vehiculartraffic axis, and there was to be a minimum ofintrusive discomfort for pedestrians. Luminairedimensions were to be of such a scale that novisual obtrusiveness was created by day, ademanding requirement considering that theaverage bridge span was no more than 40metres. The installation was to be practical and capableof completion within a thirty week period fromits commencement on site. Energy consumptionwas to be minimised without compromising thedesign. Future ease of maintenance wasessential, and no permanent obstructions orhazards were to be created for river-craft traffic.

The design work commenced in the earlyautumn of 1998 and evolved to its final statethrough a series of tests involving trialilluminations for each type of bridge structure,steel, cast iron, limestone and Portland stone.

ÔI felt like a painter, and the bridges were to become my canvasÕ(Duilio Passariello)

ÔI dreamed of the Liffeybeing transformed from aribbon of darkness into an axis of lightÕ(Brian Callagy)

4 5 6 7

Philips Ireland,Barry Mason




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The final design features a dark-greenfluorescent illumination beneath the arches, agolden sunlight wash for the balustrades, andmetal halide low-power projectors for the bridgefaces and abutments. Utilising this theme

throughout did not create undue uniformity,because the bridges when illuminated assertedeven more powerfully their individualcharacteristics. A number of special projectors based on theDecoflood design, with its precise opticalsystem, together with the use of 700 m of linearlight-emitting diode strips were employed to

8 O'Connell Bridge, 1798.Widened in 1882, it is now aswide as it is long.

9 Wellington Bridge, 1816.Nicknamed Ha'penny Bridgefrom the toll, one old half penny,paid to cross the river.

10 Mellowes Bridge, 1768. Thisis the oldest standing bridgespanning the Liffey. The bridgereplaced an earlier structurenamed Bridewell Bridge built in1683.

11 O'Donovan Rossa Bridge,1816. The bridge featureskeystone heads in the mannerof the Custom House on each ofits three arches.

Sean Heuston

Rory OÕMore Mellowes

Father Matthew

OÕDonovan Rossa

Grattan

Wellington

(HaÕpenny)

OÕConnell

Butt

Loopline

Talbot

illuminate the balustrades. This kept the numberof luminaires needed to a minimum, thecompact design of these luminaires ensures thatglare is minimised and that there is littlephysical obtrusiveness by day. When the installation had been completed andthe formal switch-on had taken place on NewYearÕs Eve 1999, it became clear that there wasnow a new and subtle presence in the city,delineating by night the flow of the river fromwest to east. The achievement for the city ofDublin has been the resurrection of structures ofcharm and beauty during the hours of nightwhen all other visual distractions have beensubdued by darkness. Ironically, it is themoment of switch off that is the more dramatic,presently at midnight, when an ephemeral senseof loss prevails. ❑

Frank Sherwin

ÔThe challenge to createsomething differentrequired all the work to bedone from the water... a new experience for allinvolvedÕ(Michael Moloney)

Lighting design: Brian J Callagy, C. Eng. M.I.E.I.Divisional Engineer, Electricity and Public LightingDivision, Dublin Corporation in collaboration withDuilio Passariello, Philips Lighting, Miribel FranceLighting co-ordination: Michael Moloney, PhilipsLighting Ireland

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ilr 001 city beautification/new millennium projects 1312 ilr 001 city beautification/new millennium projects

It was decided that as the previous floodlightingof BelfastÕs river bridges was totally blue, weshould keep the blue theme running up the river

Belfast, capital of Northern Ireland, was foundedin 1177 and has been a city since 1888. It lies onthe river Lagan at the head of Belfast Lough,some 80 km from the riverÕs source in theMourne Mountains. The development of the river by the LagansideCorporation has seen major investments in thearea, such as the Waterfront Hall, a 2200-seatconference centre, the Belfast Hilton Hotel, andthe BT Tower, headquarters for 1200 staff, alllooking out over the river Lagan.

Paul Watson

Out of the Blue – Belfast

The Lighting

The Laganside Corporation also constructed thenew Lagan Weir at Donegall Quay. This, and anew rail and road link over the Lagan, wasalready illuminated with blue metal halidelamps. It was therefore decided that as theprevious floodlighting was totally blue, weshould keep the blue theme running up the river,but not for all bridges to appear the same. Wewere able to come up with a scheme for eightbridges, six of which are completed or near tocompletion, with the others to follow later onthis year.

For the new Lanyon Place Railway Bridge weused special, protected fluorescent luminaires(TCW596) with integral louvres mountedcontinuously to illuminate the walkway. Whenused with colour 965 lamps, these luminairesgive a perfect line of cool blue light across theriver while remaining glare free to anypedestrians. They are complemented byDecoflood 605 luminaires with 70 W CDM-Tlamps and blue filters, which are mounted to thesides of the piers and give lines of blue light thatsparkle on the ripples in the river. Smalltungsten halogen floodlights (QVF 415) havebeen positioned under the bridge to illuminatethe piers and make the whole bridge float.The new Lanyon Place Footbridge, a walkway

from the train station to the development, that issuspended six metres above the road below hasbeen totally illuminated with Focus fibre optics.The nine-metre-high fins that guard the entranceto the footbridge have been covered in copper

Govenors

KingsQueenÕs

Albert

OrmeauLanyon Place

FootbridgeQueen

Elisabeth

Railway Footbridge

12–14 The new Lanyon PlaceRailway Footbridge. Fluorescentluminaires fitted with colour 965lamps give a perfect line of coolblue light across the river.

15, 16 Queen’s Bridge. Thistraditional road bridge isilluminated by Decoflood unitsfitted with CDM-T lamps andyellow filters to enhance thestonework. Blue metal halidelamps produce a blue glow tothe underside of the arches.

ÔThe perception of theLagan is of a mirrorreflecting a colourful visionof its bridgesÕ (Duilio Passariello)

14

16

1512 13

Philips Ireland,Ashley Morrison




h.bridgesbelfast 12-15 30-10-2000 10:06 Pagina 12

ilr 001 city beautification/new millennium projects 1514 ilr 001

and have a grazing light produced by projectors(VCN 810) mounted to the fins. The footbridge itself has been illuminated fromlight points recessed into the deck (VFG 540CL)

and shining up onto the metal sides of thewalkway. Decoflood units also illuminate the other moretraditional road bridges constructed from stone

17–19 The new Lanyon PlaceFootbridge is totally illuminatedwith Focus fibre optics.

20, 21 Ormeau Bridge. Thelighting is the same as for theQueen’s Bridge.

Architect: Paul Shirley-Smith, Camlin LonsdaleLandscape Architects, Welshpool WalesLighting design: Duilio Passariello, Philips Lighting,Miribel France, and Paul Watson, Philips LightingIreland, in partnership with Sean Curran, KMMWaring Consulting Engineers, Belfast N. IrelandConsultants: Mike Clarke, Kirk McClure and Morton,Belfast N. Ireland

ÔAll of us felt the challengeto do something specialwith the lightingÕ(Paul Watson)

and metal, viz. the QueenÕs and the Ormeau.These use a mixture of CDM-T lamps withyellow filters to enhance the stonework, witheither CDM-T with blue filters or blue metalhalide lamps employed to produce a blue glowto the underside of the arches, whichexaggerates the reflection of the moonlight in theriver and give the bridges some depth. Theschemes have again produced a talking point forBelfast at night, just as it was back in 1994 whenthe Lagan Weir was first illuminated. ❏

18

19

2120

17






h.bridgesbelfast 12-15 30-10-2000 10:07 Pagina 14

16 ilr 001 city beautification/new millennium projects ilr 001 city beautification/new millennium projects 17

22 Only the arches of theNorrbro have been lighted. Thesource chosen is the SDW-TWhite SON lamp of 50 W,housed in compact, all-weatherSNF100 floodlights.

23 Norrbro with its threearches. On the left thegovernment building and on theright the ministry for foreignaffairs.

24 MVF 606 Decoflood unitswith SDW-T White SON lamps of50 W illuminate the statue infront of the governmentbuilding.

Lars H�gglund

A bridge to the past – Stockholm

The importance of StockholmÕs medieval citycentre has been emphasised by lighting thebridge that provides access to it

Stockholm, situated on about twenty islands andthe adjacent mainland, is a beautiful city withmany waterways and open spaces. The Norrbro,or North Bridge, leads from the north part of thetown to a small island namedHelgeandsholmen, whose history goes back tothe 11th century. This is where the House ofParliament is located, and it is the historicalcentre of the Kingdom of Sweden. The bridgecontinues south on the other side of the island tothe Old Town, where the Royal Palace (1754) issituated. The bridge was built during the reignof King Gustav III, 1786-1806, and was the firstplace in Sweden with pavements and a speedlimit (for horses) Ð nothing faster than a trot wasaloud.In front of the government building, close to thewater, is a famous statue named Solf�ngaren(The Sun Catcher), by Carl Milles, to the memoryof the writer Esias Tegn�r. The statue illustratesTegn�rÕs poem ÔSong to the SunÕ.

The Lighting

The Norrbro is not the largest bridge inStockholm, but it is certainly the most important,especially from an historical point of view. Itsillumination was therefore undertaken withgreat sensitivity to ensure that it wouldharmonise perfectly with the surroundings. Test illuminations were done on site to get the

very best result. Only the arches (three on thenorth side and one on the south) have beenlighted. The source chosen is the SDW-T WhiteSON lamp of 50 W. The lamps are housed incompact, all-weather floodlights (SNF100)chosen for their simple and easy maintenance.The same sources housed in MVF 606

Decofloods are employed to illuminate thestatue in front of the House of Parliament. Twoluminaires are used, one from the front right andone from the left rear to give the rightshadowing and volume to the statue.One of the aims with the newly-installedlighting, which was carried out in closecollaboration with the Street and EstateAdministration, has been to introduce a sense ofcontinuity between the centre of the city in thenorth and the Old Town, with its Royal Palace, inthe south. Also, the project is the start of alighting master plan covering the decorativelighting of the whole of central Stockholm. ■

ÔThe lighting introduces a sense of continuitybetween the city centre and the Old TownÕ(Stefan Sj�lund)

Norrbro

Statue

GAMLA STANRIDDARHOLMEN

22

24

23

Client: Street and Real Estate AdministrationLighting design: Lars Liwendahl, Philips Lighting,Outdoor, Sweden, and Stefan Sj�lund, Street and RealEstate AdministrationInstallation: Birka Service

Product survey – a selection

City Luminaire/lamp

Paris Rennes Fluorescent Nantes Fluorescent

Tempo 2 SON Comfort Decoflood 606 CDM-T

Dublin Decoflood 605 Metal halide Rennes Fluorescent

Belfast TCW 596 Fluorescent Decoflood 605 CDM-T

+ colour filters

QVF 415 Halogen Focus fibre optics

VCN 810 projector terminations

VFG 540CL light-point

terminations

Stockholm SNF100 SDW-T Decoflood 606 SDW-T

236

105

12˚-120˚ 12˚-120˚

153

70

197.5

201.

5

234.25

350

26.5

75.5 35

101.5

23.5

Ø 162

260

313

Ø 2

28

296

103

273

40

123 209

182

130

30 30

137

Ø 120

172

220

Ø 1

60

190

87

190

30

87 152

142

Ø 120

172

220

Ø 1

60

190

87

190

30

87 152

142

188

152

103

∅ 9

∅ 9

187

148

68∅ 9 25

130

275

QVF 416

75

2516

Ø 162

260

313

Ø 2

28

296

103

273

40

123 209

182

316

355

83

∅ 9 x 22

∅ 13

∅ 9 x 22

244

201

255

130

75

79

40

37

57.5

∅ 90

Philips Sweden,Nino M

onastra


onastra


onastra

HELGEANDSHOLMEN

i.bridgesstockholm 16-17 30-10-2000 10:11 Pagina 16

renoble, near the convergence of theDrac and Is�re rivers in a mountainousregion of south-east France, is the

capital of the French Alps. But the mayor sawthis famous city as Òa jewel case without apearlÓ. Gaz Electricit� Grenoble, the localoperator in charge of the public lighting,therefore developed an ambitious project thatmarries gigantic scales and frailty, poetry andtechnological innovations.The Berge 2000, created by LaboratoireSculpture-Urbaine, is to be found along the bankof the river where this flows through the centreof the town. The idea of plastic artist PhilippeMouillon, instigator of the project, was to makeuse of the 600-m-long retaining wall of the quaybuilt in 1850 to narrate something from thedomain of fresco and to create order. Fragile,impalpable images made up of shadows andlights are cast on the wall above the footpath,where they seem to drift along the river, like ahuge frieze framing the town.

G

18 ilr 001 city beautification/new millennium projects


Outdoor museum of light Berge 2000, France

At nightfall, the embankment ofthe Is�re river becomes an urbansculpture of shadows and lights

The Lighting

The twenty-seven images, each with a diameterof 3.5 m, are spaced 25 m apart along the wall,just above head height. Each image is producedby a fibre optics lighting system mounted on thewall above. The system comprises a waterproof100 W Focus generator (total installed load 3.78 kW), and a length of fibre optics cablesupported on a 2.5-m-long bracket, with thewaterproof (IP 54) projector termination at itsend aimed at the wall.The optical system is designed to obtain a sharpimage on the wall in spite of the anamorphicdistortion caused by the angle of projection of 35degrees to the perpendicular. This has been doneby calculating the distortion using a computer,then engraving the corrected image on the glassslide used in the projector, like pattern filters or

gobos in stage lighting.The discharge lamp used in the projector has acorrelated colour temperature of 8500 K. Thecolour is extremely stable during lamp life andcreates a pleasant contrast against the streetlighting of 2000 K. The first sixteen artists, from Egypt, USA, Braziland Japan, inspired by the cultures of theircountries, will be exhibiting their work untilOctober 2000, which can be viewed at weekendsand on public holidays between nightfall and00.30. Other works will follow in their placeduring the time of the Olympic Games ofSydney 2000. Then works from other artists willtake their place for a further six months. And soa unique heritage of contemporary works will bebuilt up through the coming years. ■

1, 2 The Berge 2000 project isto be found along the bank ofthe river where this flowsthrough the centre of the town.

3 Installation of the fibre-opticsprojectors.

Vincent Laganier

Grenoble, with a wealth ofexperience in high technology,opens up to the world

Commissioner: Jean-Paul Giraud, Gaz Electricit� deGrenoble (GEG)Exhibition designer: Philippe Mouillon, LaboratoireSculpture-Urbaine Technical support: Eric Bertot, Herv� Humez, LouisMontagne, R�mis Noirot, Fabienne Petitgas, PhilipsLighting

Author: Vincent Laganier is working as LightingDesigner with LiDAC Outdoor, Philips Lighting,France

1 2 3

Philips Lighting,Pierre Crouzet

Philippe Mouillon

Martin Stahl

GEG – Grenoble,lucy in de Sky

j.grenoble 18-19 31-10-2000 07:04 Pagina 18

20 ilr 001 ilr 001 21

Vincent Laganier

Monte CarloÕs legendary Casino Square attractsthe international players

A fairy-tale of lightCasino Square, Monte Carlo, Monaco

Cherubs, mouldings, cornices and balconies, all are lighted to reveal theartistry of the architecture

amous throughout the world for itsmany artistic and sporting events, thevitality of Monte Carlo developed

during the belle �poque. Dominating the bay ofMonaco is the famous Casino, a gaming houseestablished by the Societ� des Bains de Mer(SBM) in 1863. Under the enlightenedmanagement of the billionaire Fran�ois Blanc, itmade Monaco a synonym of fortune, gaming,holidays and travel. Today it is the mainbuilding in the square, having been increased insize and then embellished and rebuilt. In 1878 itgained a neo-classical frontage surmounted by

F two pinnacles designed by Charles Garnier,architect of the Op�ra de Paris.The H�tel de Paris was built in 1864 on themodel of the Grand Hotel in Paris. Opposite thehotel, on the other side of the square, is the Caf�de Paris, with magnificent windows again byGarnier. Renovated throughout, the new Caf� deParis was inaugurated on 21 July 1988. Theentrance hall, the drugstore and the huge bistro-style terrace pleasantly complement the rest ofthe building, permitting the Caf� de Paris toretain its place in the first rank of Monegasquetourist facilities.

Casino Cafe Hotel

1

2 3

3 Hôtel de Paris.Floodlights ■ Condor C2 150 W metal halide

● Cordes 50 W low voltage halogen● HRM 70 W wide-beam metal halide 4000 K■ HRM 70 W rectangular wide-beam metal halide 3000 K▲ HRM 100 W round narrow-beam White SON 2500 K■ HRM 150 W rectangular wide-beam metal halide 3000 K ● HRM 150 W round wide-beam metal halide 3000 K

Fluorescent tube –– Rennes 36 WPower track –– Agabekov

Philips Lighting, Pierre Crouzet

2 The casino.Floodlights ■ Condor C2 150 W metal halide

● Condor C3 400 W metal halide (Blue)▲ Prenso 70 W metal halide▲ Prenso 100 W White SON▲ Calao 2 100 W White SON▲ Calao 2 150 W metal halide● Cordes 50 W low voltage halogen▲ HRM 70 W wide-beam metal halide 4000 K■ HRM 150 W narrow-beam metal halide 3000 K ▲ HRM 150 W narrow-beam metal halide 4000 K▲ HRM 150 W medium-beam metal halide 4000 K

Fluorescent tube –– Rennes 58 W–– High-voltage tube high discharge tube (neon)

Power track –– Agabekov

k.monaco 20-23 30-10-2000 12:41 Pagina 20

22 ilr 001 city beautification/new millennium projects

The Lighting

The SBM had been planning to illuminate theCasino Square for some time. The approach ofthe new millennium accelerated things, and in1998 the lighting contract was put out to tender.On the strength of his international referencesand computer-generated visualisations of theend result, the lighting designer Alain Guilhotwas engaged to carry out the work.A major task was that of ensuring that thenumerous luminaires employed in the variouslighting installations remained as unobtrusive aspossible. This work was carried out incollaboration with the technical-servicesdepartment of the SBM. Besides the traditionalsolutions adopted to this end, like the use ofsmall floodlights, many embedded in theground, a number of original solutions weredeveloped. For example, at the side entry, whichis reserved for the Monaco royals, two glass-

fibre pedestals have been introduced, identicalin appearance to the existing ones of stone, tohide from view the floodlights lighting thefa�ade. The power cables for the lighting of the hotelhave also been cleverly hidden. Some are fedthrough false rain-water pipes, while others aremasked behind glass-fibre cornices runningbetween the windows.Another major challenge was the completiondate. In two months of work, more than 1000floodlights and twenty-five kilometres of cablinghad to be installed. This called for both skilledtechnicians and careful planning, a team of fiftyworkers using ten mobile platforms dealingefficiently with any contingency. The lighting was switched on at midnight onDecember 31, 1999. And the effect is certainly noless spectacular than that predicted in thecomputer simulation. The whole of the frontageof the Casino is lit by floodlights hidden in

regularly-spaced diffusing pits one metre awayfrom the fa�ade. The symmetrical composition ofthe building is emphasised by the extrabrightness of the lighting on the central part.This is provided by ground-recessed Pompe�floodlights equipped with the CDM-T metalhalide lamp of 3000 K and having a symmetrical,narrow-beam light distribution. The windowson the first storey of the Casino are picked out bytwin floodlights fitted with the SDW-T WhiteSON lamp of 2500 K located at the inside ends ofeach balcony, while the windows on the secondstorey are underlined by small dichroic halogenlamps.

The third-storey columns of the H�tel de Parisare also underlined by small dichroic halogenlamps. Each span is surmounted by a pinnacle,which is accentuated by narrow-beamfloodlights of 3000 K while the piers of thefa�ade are lit by wide-beam units of 2500 K.The copper-clad and glazed-tile roof of theCasino and the zinc-clad roof of the H�tel deParis are both illuminated by a line offluorescents, which serve to give some depth tothe buildings. In both cases, the lighting revealsthe details of the architecture and adds anotherwise missing dimension when darknessfalls. ■

4, 6 Hôtel de Paris, built in1864 on the model of the GrandHotel in Paris.

5 Renovated throughout, thenew Café de Paris wasinaugurated on 21 July 1988.

7, 8 The famous Casino, agaming house established bythe Societé des Bains de Mer(SBM) in 1863.


Building owner: Societ� des Bains de Mer (SBM) Lighting design: Alain Guilhot, Architecture Lumi�reConseilProject management: Patrick Rainaut, Michel Borgio,Work and Technical Service Management of the SBM;Thierry Guilhot, Architecture Lumi�re ConseilInstallation: SEE, Square Electrique, Spie TrindelLighting equipment: Philips Lighting

Author: Vincent Laganier is working as LightingDesigner with LiDAC Outdoor, Philips Lighting,France

1 Casino Square, Monte Carlo.On the left the Café de Paris, inthe centre the Casino, and onthe right the Hôtel de Paris.

4

6

5 7

8






k.monaco 20-23 30-10-2000 12:44 Pagina 22

he city of Cusco, in the SouthernPeruvian Andes, was once the politicalcentre of the Inca Empire and is one of

the most extensively visited cities in SouthAmerica. The city still retains its traditionalpaved streets associated with the Inca culture,combined with Spanish colonial architecturewith its large churches and balconies, whichwere built on the foundations of Inca structures.


The ancient city of Cusco high in the SouthernPeruvian Andes has the potential to become oneof the most popular tourist spots in the world

Tomas Sandoval

Mystic LightingCusco city and fortress, Peru

An ambitious city beautificationproject, the first of this size carriedout in South America, has made itpossible to increase trade, tourismand safety, as well as prolongingthe activity of the city into the night-time hours

T

1, 2 The centre of Cusco. Thepark lighting is largely bydecorative street lamps in acolonial style (SON-T Plus 150 W). The Cathedral and theCompañía church arehighlighted with very intenselight, with low-pressure sodiumluminaires for the inner lightingof the bell towers.

3, 4 Corridors and facades. Theformer are lit by Tempo 2floodlights (SWD-T 100 W),while the outer facades are lit byasymmetrical units (SON-T Plus150 W).

5 Lighting scheme of thevarious parts of the square andthe adjacent streets.Philips Lighting Peru

The Lighting

Lighting has played an important part inhighlighting the architecture of CuscoÕsbuildings and in creating a safe and pleasantnight-time environment. In order for the lightingto be effective, it was necessary to co-ordinatethe luminous intensity of the floodlighting in thevarious parts of the square and the adjacentstreets so that the three different environments Ðarcades and facades, park, and the cathedral andchurch Ð could be integrated without clashingwith one another,

Arcades and facadesThe arcades and facades are enriched by colonialbalconies and a series of arches, which provideaccess to the inner corridors of the arcades.These corridors are lit by Tempo 2 floodlights,fitted with SDW-T 100 W white sodium lamps,positioned five metres apart, leaving thesilhouette of the arches and columns of thearcades framed by the outer semi-darkness. Forthe outer facades, asymmetrical floodlightsfitted with SON-T Plus 150 W lamps areemployed. The colonial balconies that surroundthe square benefit from the lighting of thefacades.

The central parkThis consists of eight gardens separated bypaths, with a lighted fountain in the centre.

Levels of lighting

250 Lux 250 Lux60 Lux

15 Lux 15 Lux

Facades Roadway Central park Roadway Facades

5

4

Philips Lighting Peru

321

Philip

s Lig

htin

g Pe

ru


l.cusco2 24-27 30-10-2000 12:49 Pagina 24

ilr 001 city beautification/new millennium projects 2726 ilr 001 city beautification/new millennium projects

The Lighting

As a result of recent archaeological discoverieson the perimeter of the site, the body responsiblefor its care and supervision expressed particularconcern for the size and ease of installation of theluminaires. Another requirement related to thetype of floodlights to be used. These had to besuch as to reveal the characteristic texture of thestones.The first of the three levels of stones are up totwo metres high, and are arranged to form wallsof up to five metres high. They are illuminatedby ground-recessed Pompei luminaires fittedwith MasterColour CDM-T 70 W lamps of 3000 K installed 2.5 m apart, 1 m away from thewall. The average illuminance obtained is 170lux, which decreases regularly upwards. The second level consists of smaller stones, some1 m high, forming a 3.5-m-high wall. Thelighting level here of 120 lux is provided byasymmetrical Tempo 2 floodlights, againembedded in the ground and spaced 3.5 m apart.The lamp used is the SDW-T 100 W.The third level consists of stones of a smaller sizethan on the two previous levels, forming a wallapproximately 2.5 m high. For this level, Tempo 3 symmetrical luminaires

fitted with the 400 W SON-T Plus lamp are used,spaced about 15 m apart. The level ofilluminance at this level was not important, butit was attempted to create a dramaticenvironment, contrasting with that obtained onthe first and second levels. The same Tempo 3floodlights are used to light the sloping groundsurrounding the fortress, so as to form acontinuous volume of lighting. This lighting isvery discreet, creating an environment that isboth mystical and dramatic. ■

Commissioner: City council of CuscoLighting design: Tomas Sandoval, Philips Lighting, Peru Special thanks to: Instituto Nacional de Cultura (INC)Electro Sur Este, Energy distributor of Cusco, and the Major of City of CuscoNomination: Cusco has been nominated by UNESCOas a part of the worldÕs Cultural Heritage

6 The 15th century fortress ofSaqsaywaman in the hills aboveCusco. The town can be seen inthe background to the left.

7, 8 The large stones in the firstof the three levels areilluminated by ground-recessedPompei luminaires(MasterColour CDM-T 70 W,3000 K). The averageilluminance is 170 lux.

800

6

7 8

9

11 12

10

Philips Lighting PeruPhilips Lighting Peru



The lighting design included the installation ofdecorative street lamps in a colonial style. Thestreet lamps, each containing a single SON-TPlus 150 W lamp, are mounted on ornamentalposts, on which are engraved some featuresspecific to the Inca culture, such as the puma andthe Cantu flower. The lighting levels werecalculated so that they did not clash with thelighting of the central fountain.

Cathedral and Compa�ia churchThe Cathedral and the Compa��a church arenoted for their exquisite colonial architecture,large bell towers, and finely-textured carvingson their facades.The most significant elements and the details ofthe architecture have been emphasised byhighlighting them with very intense light,punctuated lightly by shadows to define theprofiles and silhouettes. Narrow-beamluminaires emphasise the architectural volume.

Fortress of Saqsaywaman The 15th century fortress of Saqsaywaman in thehills above Cusco was one of the most incrediblebuildings made by mankind. It was constructedof enormous stones, some weighing over 140metric tons, that were shaped and fitted so

perfectly that no mortar was needed. Originallya temple for worshipping the Sun God, it wasbuilt in about 50 years by some 20 000 peopleworking at the same time. When the Spaniardsarrived, the temple was fully finished and in use.What we see today are just the foundations ofthe Inca temple that was destroyed over a periodof about four centuries.

9, 10 Detail showing siting andaiming of the Pompeiluminaires.

11, 12 The smaller stones inthe second level are illuminatedby Tempo 2 floodlights (SDW-T100 W). The lighting level hereis 120 lux.

l.cusco2 24-27 30-10-2000 12:54 Pagina 26

City People Light conference and exhibition in Paris

28 ilr 001 city beautification/new concepts

ver the last few years, Philips has been engaged in a process toexplore how lighting could develop and improve the quality ofcity life in the future, the objective being to stretch the

intellectual and creative boundaries towards more innovative and relevantsolutions. One of the first steps in this direction was taken in 1998 whenPhilips published the findings of a study entitled City People Light (seeILR 982). The aim of the present City People Light conference andexhibition, which was held in the Mus�e du Petit Palais in Paris in Octoberof last year, was twofold: firstly, to further stimulate discussion and toexplore ways in which lighting can help to improve the quality of city lifetoday, tomorrow, and further into the future, and secondly to put on showsome of the abstract lighting concepts and City Beautification productsthat have been developed so far. For three days, leading architects, city planners and lighting designersfrom Europe visited the exhibition and participated in the conference andworkshops . The conference was opened by Bart van der Cammen,director of Philips Outdoor Lighting Europe. Among the speakers heintroduced were Robert Wilson (international scenographer, New York),who talked about how to integrate lighting in architectural design andhow to use the integrative power of lighting to give cities their ownidentities, Ole Bouman (editor of Archis Magazine, The Netherlands), whoexplored the realm of digital lighting and on-line architecture, and IlanPivko (architect, Jerusalem), on how to use lighting to highlight antique ormodern architecture.Of particular relevance to the City Beautification products on display inthe exhibition was the talk given by Stefano Marzano of Philips Design.

His subject was ÔExploring the future of urban lightingÕ. Marzano: ÔThechallenge for us was to find ways of helping cities by looking into thecultural, emotional and aesthetic significance people attach to the outdoor-lighting stage. In the first step, we carried out an exploration of socio-cultural trends in the industrialised society in the West. We also conductedinterviews with city planners in a number of capitals in the world that aredealing with the subject. ÔIn the most recent phase of our research we explored ways in which theinherent quality of light itself can be exploited in the outdoor environment.There are many inherent qualities, some are especially familiar to us fromindoors, such as the warmth of the flickering light of an open fire, or aromantic candle-light dinner. These are settings we like at moments thatare emotionally and socially important. Suppose we move such emotionsout into the streets, with a fireplace, for instance, or an attractive lamp or acandle light, will this trigger the same emotional responses that aretriggered in an indoor environment? An important question that arises isdo people react as strongly or perhaps more strongly to the psychologicaleffect of lighting outdoors as they do in the home?ÔOn the basis of what we learned so far, we then developed a number oflighting concepts that in principle might be the sort of thing we could seein our streets in the coming decades. The first result of this work has begunto find its way to actual production, and in the exhibition you will see anumber of our latest luminaires. They reflect some of our thinking aboutthe options for urban lighting, about directions that urban lighting mighttake.Õ ■

New Concepts

Exploring the future of urban lighting

O

1 The expectant audience.

2, 3 The speakers. From left to right: Bart van derCammen, Stefano Marzano, Ole Bouman, IlanPivko, and Robert Wilson.

4 Musée du Petit Palais, Paris.

5 The illuminated object shown here functions asa landmark.

city

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m.cplparis 28-31 30-10-2000 13:04 Pagina 28

30 ilr 001 city beautification/new concepts

6 The striking illuminated entrance to theexhibition.

7 As a symbol of living-room cosiness, the iconicfireplace uses light to create a point around whichpeople can gather and mingle in the urban setting.

8, 9 The Multipole provides light outputs at fourlevels: top, high, close, and foot.Luminaire Concept: JF Caminada and R Hendriks,LiDAC, Design: JF Caminada and Dido vanKlinken,Philips Design

10 These seats demonstrate how integrated lightcould add a new dimension to urban furniture.

11 Based on existing Philips streetlights, thesemodified City Beautification products demonstratethe virtually limitless possibilities for tailoringlighting solutions to the needs and wishes of theclient.

ilr 001 31

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m.cplparis 28-31 30-10-2000 13:06 Pagina 30

32 ilr 001 Euro 2000 soccer/projects

Soccer stadiums in Belgiumand in The Netherlands arebeing made ready for the firstbig sporting event of the newmillennium Ð Euro 2000

The venues chosen for Euro 2000are being lighted to provide fullvisual satisfaction for spectatorsand television viewers alike

Foot

ball

with

out f

ront

iers

t precisely 8:45 p.m. on the evening ofJune 10, the refereeÕs whistle will blow in

the King Baudouin soccer stadium in Brussels tosignal the start of Euro 2000, the first bigsporting event of the new millennium. A total of sixteen national teams will beparticipating in Euro 2000. Both host countries,Belgium and The Netherlands, qualifyautomatically. They, together with the otherfourteen participants, will be hoping to make itto the final, which will be held in the FeyenoordStadium in Rotterdam on July 2, twenty-twodays later. Euro 2000, the theme for which is ÔFootballwithout frontiersÕ, is a sporting event withenormous international charisma. And,remarkably, it is the first time in history that twocountries have organised such a prestigiouscompetition together. The third largest event inthe world, Euro 2000 is preceded only by theFootball World Championships and the OlympicGames.

Eight world-class stadiumsThe championships are expected to attract 1.2million ÔliveÕ spectators, with a further 7 billionfans watching the matches on television in morethan 200 countries throughout the world. All the thirty-one matches will be played in eighthost cities, four in Belgium and four in TheNetherlands. Five of the eight world-classstadiums involved will each be able to seat 30 000 spectators, and the other three will eachhave seating accommodation for 50 000. Sixteencameras in each stadium will ensure the bestpossible TV pictures.

Qualifying criteriaGeneral To qualify for the Euro 2000 stadium title, thestadiums had to meet the following generalrequirements:

¥ have a security certificate issued by the properauthorities

¥ a minimum capacity of 30 000 seats¥ numbered seats

¥ minimum of two-thirds of the seats must beunder cover

¥ exclusive space for commercial purposes forsponsors and suppliers

¥ parking space¥ space for extensive media facilities¥ unrestrictedly available, so free from

commercial obligations.

Lighting The lighting in all the stadiums, a selection ofwhich are looked at here (the Amsterdam ArenAstadium and the Feyenoord Stadium inRotterdam, both in The Netherlands, werefeatured in ILR 971), must be such as to ensurehigh-quality colour images, not only of theoverall action, but also close-ups of the playersand spectators. Close-up images are animportant means of conveying the emotions and

atmosphere in a stadium to viewers watching athome.The lighting requirements for Euro 2000 are laiddown by UEFA (Union of European FootballAssociations), which are in line with thosedrawn up by FIFA. ■

A

Lighting requirements UEFA/FIFA

Parameter Description ValueEv Vertical illuminance in direction 1400 lux

of main TV cameraEv2 Vertical illuminance in direction 1000 lux

of secondary TV camerasU1v Vertical illuminance Uniformity: Emin/Emax 0.4 U2v Vertical illuminance Uniformity: Emin/Eav 0.6U1h Horizontal illuminance Uniformity: Emin/Emax 0.6U2h Horizontal illuminance Uniformity: Emin/Eav 0.7GR Glare Rating < 50Ra General colour rendering index > 80 Tk Correlated colour temperature > 5000

ilr 001 Euro 2000 soccer/projects 33

n.euro2000 32-43 30-10-2000 13:08 Pagina 32

ilr 001 Euro 2000 soccer/projects 35

The Lighting

Along with the increase in seating capacity hascome an update of the floodlighting. Theoriginal symmetrical floodlighting consisting ofa combination of four-corner high-mast lightingand stand-edge lighting has been modified toprovide an asymmetrical lighting installation. The floodlight employed in the four 54-m-highlighting masts is the HNF 006. This is arotationally-symmetrical narrow-beam unithousing a 2 kW (HPI-T) metal halide lamp. Atotal of 346 of these units (in place of the former468) are employed: 117 per mast on the mainstand side and 56 per mast on the side opposite. At the same time, the number of original stand-mounted PowerVision (MVF 024) floodlightshas been increased (from 135 to 235), with morethan a third of these on the main stand. These arenarrow, medium and wide-beam floodlights

Brussels, Belgium

King Baudouin StadiumIt is in this, the largest stadium in Belgium, that the Opening Ceremony will take place

housing the 2 kW (MHN-TD) metal halide lamp,some of which are fitted with louvres toeliminate glare. The combination, employing atotal of 581 floodlights, provides a horizontalilluminance on the pitch of 2000 lux and avertical illuminance of 2000 lux in the directionof the primary TV camera in the main stand. ❏

1 The 50 000-seat KingBaudouin Stadium in Brussels,Belgium.

2 Floodlight aiming pattern. Theinstallation provides a horizontalilluminance on the pitch of 2000lux and a vertical illuminance of2000 lux in the direction of theprimary TV camera in the mainstand (bottom).

3 Aerial view showing thedistinctive lighting masts.

4 Cross-section of main stand.

5 Main stand.

34 ilr 001

Lighting the playersVertical illuminance is essential for viewing vertical objects, including players. The side of a playerthat can be seen can be approximated by a vertical plane at right angles to the viewer’s line ofview. A better approximation is the curved surface of a vertical half-cylinder, and although mostexperts agree that the corresponding ‘semi-cylindrical’ illuminance is therefore a better measurethan the usual vertical illuminance, there is still no detailed guidance on semi-cylindricalilluminance available (see also ILR 1984/2).To guarantee identification of players from all directions, the illuminance on four, mutuallyperpendicular, vertical planes should be adequate. But to get good modelling of the players, thelighting on the four vertical planes should not be identical. And to obtain a good brightnessharmony between the players and their background, there should be a suitable relation betweenthe horizontal and the vertical illuminances. Stands, spectators and advertising boards often formpart of the visual background for the players, so an adequate vertical illuminance is required heretoo.The degree to which the above criteria are fulfilled determines to a large extent how good alighting installation is appraised by all concerned.The photographs of players taken at the different Euro 2000 stadiums and shown on these pagesare a valuable illustration of this.

Note: The action photos of the players in this article were taken during recent soccer matches inthe various Euro 2000 stadiums under lighting approved by UEFA for Euro2000. At the time ofgoing to press, actual Euro 2000 championships soccer photos were not available.

3 54

2

Buissin /Reporters

Buissin /Reporters

Damanet /Reporters

The original stadium was opened in 1930 tocommemorate BelgiumÕs 100 years ofindependence Ð although only the fa�adedesigned by Jozef van Neck still remains. In 1995the stadium was re-opened after extensiverenovation work in which the seating capacitywas increased from 15 000 to 40 000. At the sametime the stadium was named after the countryÕsking, King Baudouin.

The present stadium, which like its predecessorhas facilities for both athletics and soccer, hasrecently had the seating capacity increased yetagain to 50 000 in preparation for Euro 2000.Now the largest stadium in Belgium, it is verysuitable for the staging of very large sportingand other events, and it is here that the OpeningCeremony will take place on June 10, followedby the first match of the tournament.

Architect: W J & M C van Campenhout, BrusselsConsultancy: Greisch, Liege and TractebelDevelopment, BrusselsLighting design: Bart Mertens, LiDAC, PhilipsLighting Belgium in co-operation with consultancyTractebel Electrical installation: VS&E, Brussels

n.euro2000 32-43 30-10-2000 13:10 Pagina 34

ilr 001 37

To the north-west of Brussels and about fifteenkilometres in from the North Sea coast is the cityof Bruges and the Jan Breydel Stadium. Thisformer Olympic stadium, built in 1975, has beenrenovated for Euro 2000. This involved, amongstother things, doubling the seating capacity to30000, two-thirds of the seats being covered, withmost of the new seating being located behind thegoals. To safeguard security within the stadium,there is free access at all four corners.The new stadium, opened in May of this year,besides being a world-class soccer venue, cannow play host to a wide variety of culturalfestivities.

6, 7 Floodlight aiming patterns.The installation provides ahorizontal illuminance on thepitch of 1700 lux and verticalilluminances in the direction ofthe main and secondary TVcameras of 1800 lux and 1600lux, respectively.

8 New ArenaVision floodlightingis installed in four angledclusters on top of the newstands behind the goals.

9 Aerial view of the new 30 000-seat Jan BreydelStadium in Bruges.

10 The existing rows ofPowerVision floodlights on topof the east and west standshave been retained.


Bruges, Belgium

Jan Breydel StadiumThis former Olympic stadium, built in 1975, has been thoroughly renovated for Euro 2000

The Lighting

The original four-corner floodlighting made useof 36-m-high lighting masts, each carryingtwelve 2 kW HPI-T metal halide units to providea horizontal illuminance on the field of play of360 lux. Then, in 1976, in preparation for theUEFA Cup, the lighting was improved by theaddition of two extra rows of stand-mounted 2 kW floodlights (61 in total) to increase thehorizontal illuminance to 800 lux, with a verticalilluminance of 700 lux. A further update followed in 1995 in the form ofan extra sixteen 2 kW stand-mounted floodlights

to improve TV picture quality. In order to meet UEFA requirements for Euro2000, the old lighting masts have been removedand new metal halide floodlighting installed infour angled clusters on top of the new standsbehind the goals. Each floodlight clustercontains twenty-five (narrow, medium andwide-beam) MVF 406 1.8 kW ArenaVision units.The existing rows of 2 kW MVF 024 PowerVisionfloodlights (109 in total) on top of the east andwest stands have been retained, although theroof on the main stands has been completelyrenewed.The new lighting provides a horizontalilluminance of 1700 lux. The vertical illuminancein the direction of the main and secondary TVcameras is 1800 lux and 1600 lux, respectively. ❏

6

7

8 9 10

Bernard DelentreeThys/Reporters

ANP

Architect: Ir Jonckheere, Bruges Consultancy: Jonckheere, Bruges and Ingenium NV, Bruges Lighting design: Volmer Rosi, LiDAC, PhilipsLighting Belgium in co-operation with Ingenium NVElectrical installation: Verstraete, Jabbeke

n.euro2000 32-43 30-10-2000 13:12 Pagina 36

former (86 in total), in a more or less equal mix ofbeam widths, are equipped with the MHD-TD2 kW lamp and are mounted in rows along thefront edges of the main stand (25 m) and thestand opposite (30 m). The ArenaVisionfloodlights (80 in total), mostly the narrow-beamversion, are equipped with the MHD 1800 Wlamp. These are mounted at two levels on 39-m-high lighting pylons, one at each corner of thestadium. The installation provides a horizontalilluminance of up to 1500 lux, with 1200 lux inthe direction of the main TV camera and 1060 luxin the direction of the secondary camera. ❏

11, 12 Floodlight aimingpatterns. The installationprovides a horizontalilluminance on the pitch of up to1500 lux, with 1200 lux in thedirection of the main TV cameraand 1060 lux in the direction ofthe secondary camera.

13, 15 The ArenaVisionfloodlights are mounted at twolevels on 39-m-high lightingpylons, one at each corner ofthe stadium.

14 Aerial view of the newly-renovated 30 000-seat StadeCommunal de Charleroistadium.


Some fifty kilometres south of Brussels is thesomewhat smaller Stade Communal deCharleroi. Built in 1939 and originally named theMambourg Stadium, it was renovated in 1987with the addition of business boxes. Five yearslater the terraces behind both goals werereplaced by seats. For Euro 2000 the capacity ofthe four stands has been increased further, sothat the total stadium capacity is now 30 000seats. The new stadium was opened on May 24of this year.

The Lighting

The original floodlighting employed a total ofsixty narrow and wide-beam 2 kW metal halideunits mounted atop four 32-m-high lightingmasts. This provided a horizontal illuminanceon the pitch of 550 lux. In the eighties this wasincreased to 800 lux, and an illuminance of 1000lux provided toward the main TV camera by theaddition of 38 PowerVision floodlights (2 kW)mounted along the edge of the stand roof.The new lighting installed in 1998 for Euro 2000employs a combination of PowerVision andArenaVision metal halide floodlights. The

Charleroi, Belgium

Stade Communal de CharleroiAn old stadium that has been brought in line with present-day requirements

11

13 14 15

Bernard Delentree

ANP

Architect: Paul Petit & Associes SA, CharleroiConsultancy: Igretec Charleroi and Pirnay, Charleroi Lighting design: Rosi Volmer, LiDAC, PhilipsLighting Belgium in co-operation with IgretecElectrical installation: Baltau, Li�ge

12

ilr 001 39

n.euro2000 32-43 30-10-2000 13:14 Pagina 38

The Philips Stadium in Eindhoven is one of themost modern in The Netherlands. There hasbeen a soccer stadium on the site since 1913, butseveral complete rebuilds over the years havechanged the original structure beyond allrecognition. The present stadium really dates from 1988,when the main South Stand with business roomsand seats was added. A new West Stand wascompleted in 1992, and the two open corners onthe north side have been closed to add furtherbusiness facilities and an extra 6000 seats. Thishas brought the seating capacity up to 30 000 intime for Euro 2000.

40 ilr 001 Euro 2000 soccer/projects ilr 001 41

Eindhoven, The Netherlands

Philips StadiumAdvances in floodlight design have seen the number of units needed reduced in number

The Lighting

Over the past ten years the stadium hasundergone many changes, and the lighting hasbeen constantly updated to keep up with them.For instance, with the building of the new SouthStand a number of the mast-mountedArenaVision floodlights were rehoused in thestand roof. And when the new north stand wasrebuilt, all the mast-mounted floodlights on thisside were moved to the stand. The last of thefour lighting masts, so long a landmark inEindhoven, was removed last year and thelighting has now become an integral part of the

architectural design. Advances in floodlight design have also seen thenumber of units needed reduced in number,despite the increased demands in terms of leveland uniformity being placed on the lighting. Inthe new lighting installation installed to meetEuro 2000 requirements, 248 ArenaVision MVF403 floodlights with the special MHD 2 kWmetal halide lamp provide a vertical illuminanceof more than 2000 lux in the direction of the mainTV camera (horizontal 2700 lux). These newfloodlights are mounted in specially-designedframes along the edges of the north and southstands and on mounting rails under the north-east and west stands. The result is the mostmodern stadium lighting in The Netherlands,and one that can measure up to the best inEurope. ❏

16, 17 Floodlight aimingpatterns. The installationprovides a horizontalilluminance on the pitch of 2700 lux and a verticalilluminance of more than 2000 lux in the direction of themain TV camera.

16

17

18 19 20

18, 19 Artist’s impression andscale model of the new 30 000-seat Philips Stadium inEindhoven.

20 Philips Stadium. Work is stillin progress to add furtherbusiness facilities and extraseats, and to finalise the newlighting for Euro 2000.

Toon van Aken Architectuur

Toon van Aken Architectuur

John ClaessensANP

Architect: Henri Wijenbergh, Toon van AkenArchitectuur, EindhovenLighting design: Jac Slegers, Philips Lighting, TheNetherlands, Eindhoven Project management: Arnold Severens, PhilipsProjecten, EindhovenElectrical installation: ERGON BV, Eindhoven

n.euro2000 32-43 30-10-2000 13:17 Pagina 40

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Arnhem, The Netherlands

GelredomeThe first stadium to have not only a sliding roofbut also a retractable playing surface

The first foundation stone of this multi-purpose26 600-seat stadium was laid on 1 July 1996. InMarch 1998, the stadium was declared open forbusiness. The Gelredome is the first to have notonly a sliding roof but also a unique retractableplaying surface. Natural grass does not growwell indoors, and rather than resort to artificialsurfaces the designers decided to keep the pitchoutside in the open air, only moving it into thearena when needed, a process that takes onlytwo hours. The Gelredome accommodates the audienceaccording to modern standards. No gates orcanals, no police but stewards, fully heated inthe winter, fully air conditioned in the summer.The stadium offers a perfect view of the field andan attractive promenade with dozens of cateringoutlets, shops and luxurious businessaccommodations. It takes only one day totransform the Gelredome into a huge andcomfortable theatre, or into a hall for concerts,exhibitions, conferences, arena sports, and soforth.

The Lighting

Intended primarily to satisfy the internationalguidelines and recommendations pertaining tosoccer, the lighting has been so designed that itcan be used wholly or in part for all the otheractivities taking place in the stadium. Since thismeant that the number of burning hours wouldbe far greater than for soccer alone, it wasdecided to employ the MVF 024 PowerVisionfloodlight, which is fitted with the efficient,long-life MHN-TD 2 kW metal halide lamp.A total of 192 of these floodlights, in wide (20),medium (124) and narrow-beam (48) versions,light the arena from all four sides and from twomounting heights (27 and 21 m). This provideseven, shadow-free lighting with a verticalilluminance in the direction of the main TVcamera of 1400 lux. ■

Architect: Alynia Architecten, HarlingenConsultant: Tebodin Engineers, Hengelo Lighting design: Jac Slegers, Philips Lighting, TheNetherlands Electrical installation: Ergon BV, Apeldoorn

21

22

23 24 25

21, 22 Floodlight aimingpatterns. The installationprovides a vertical illuminancein the direction of the main TVcamera of 1400 lux.

23, 24 The 30 000-seatGelredome stadium in Arnhemwith its roof closed and open.

25 Wide, medium and narrow-beam floodlights light theGelredome arena from all foursides and from two mountingheights.

Gerth van Roden

ANP

ANP

n.euro2000 32-43 30-10-2000 13:19 Pagina 42

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Stadium architect

Henri WijenberghProject architect at Toon van Aken Architectuur, Eindhoven,for the rebuilding of the Philips Stadium, Eindhoven,The Netherlands.

International soccer matches are nowadaysreally huge events and are broadcast worldwide. Stadiums are getting more and moreprofessional, as are the spectators and,regrettably, the vandals as well. So safety andcomfort are essential at Euro 2000, which is whymany of the chosen stadiums are being rebuilt.Henri Wijenbergh: ÔThe streams of rivalsupporters must be kept apart, and comfortmust be improved. Seats now replace terraces,often supplemented by Òsky boxesÓ.Õ Stadiums are becoming larger and more massivethan ever before. The Philips Stadium has newcovered stands and two newly-rebuilt corners.This Ôroofing inÕ, however, often means that thepitch is starved of life-giving sun, wind and rain,and the ground staff have to work overtime tokeep it playable. Henri: ÔWe have opted for aventilation system. The corners of the stands areprovided with louvres that remain open whilethe stadium is not in use. These allow the pitchto breathe, and the roof is transparent to allowthe sunÕs rays to reach it. And there is also anunderground watering, drainage and feedingsystem to ensure that the pitch remains in topcondition.Õ The floodlighting, too, has been brought right upto date during the rebuilding programme. Thefour lighting masts have been removed andextra floodlights mounted on the edge of thestand roofs. These new ArenaVision units havebeen so positioned as to provide a better,shadow-free light coverage, and light scatteroutside the stadium has been virtuallyeliminated. Henri again: ÔAs far as the playersand spectators are concerned, there must be aslittle shadow as possible, for with todayÕs highlighting levels needed for TV coverage, shadowsmean contrasts, and contrasts create glare. Andequally important, the local residents must behappy with the lighting, too.Õ

Stadium manager

Antoine VanhoveManager of Jan Breydel Stadium,Bruges, Belgium.

TodayÕs soccer stadiums bear little relation tothose of twenty years ago. For a start, themodern stadium is far better lighted. This isbecause the lighting must satisfy the verystringent demands of colour TV. Levels haverisen to the 1400 lux being demanded for Euro2000. Antoine Vanhove: ÔAs Chairman of theDisciplinary Committee of the Royal BelgianFootball Association I am responsible forapproving the lighting of our national stadiums,and am fully aware of this. And it is all to thegood, for a brighter stadium is also a saferstadium. There is a totally different atmospherecreated when the floodlighting is switched onduring an afternoon match with dark weather. Itis just as if the sun had risen.Õ But lighting levels apart, have there been anyother noticeable changes in the ways stadiumsare lighted? What about the relative merits offour corner versus line lighting? There are manystadiums where the masts are placed behind thestands to leave the four corners free for seating.But this means using more powerful floodlightsto achieve the same lighting levels as with linelighting, and hence higher running costs.Antoine Vanhove: ÔThe ideal, of course, wouldbe to make the floodlights completely invisible,fully integrated in the stadiumÕs architecture,with only the light on the field giving a clue totheir presence. That would be wonderful.Õ

Supporter

Vancaeneghem Jean-ClaudeChairman of the Supporters Federation Club Brugge KV,affiliated with the National Supporters Federation inBelgium.

The Jan Breydel Stadium in Bruges has recentlybeen modernised in preparation for Euro 2000.This included removing the four lighting mastsin favour of roof-mounted floodlighting, and theprovision of extra seating in place of terraces.How are these changes viewed by the public?Jean-Claude: ÔOf course, as far as comfort isconcerned, the seating is a great improvement.But what I miss, personally, is the atmospherefound in the old ground, where 22 000supporters could huddle together on theterraces. And then there are the new securityarrangements taken by the police: no morefireworks or flags, everything is banned. And asregards the new lighting, in my opinion the oldlighting was already very good, except duringan afternoon game. The higher lighting levelsare then certainly more evident. Before, on a dullday, it was difficult to see the ball, even with thefloodlighting.ÕAnd what about the difference between adaytime game and one played underfloodlighting? Jean-Claude: ÔI am not aware ofany great difference between day and night-timesoccer. I know that in the beginning I was veryimpressed by the night-time atmosphere in theground, although the atmosphere in theafternoon is also very enjoyable, in spite of theglare caused by the low, afternoon sun. Theartificial lighting in the evening is well planned,with good light coverage and no glare.Õ

Soccer player

Luc NilisStriker for PSV in Eindhoven and nominated for theBelgium national soccer team.

The Philips PSV Stadium in Eindhoven is oneof the most modern in The Netherlands, andspectators are effusive in their praise of the newlighting. But what do the players think about it?For example, what does it feel like to play hereunder the new roof-lighting compared with theformer four-mast lighting? Luc: ÔFor mepersonally, as a player, there is no greatdifference, but I can imagine that the goalkeeperwill prefer the new lighting. With the rooflighting he is now less likely to be dazzled whendealing with a corner or a difficult cross.ÕThe trend nowadays with stadium lighting is totreat a soccer match as if it were being staged in atheatre, which in effect it is. An importantfunction of the lighting is to help concentrate theattention of the spectators on the action takingplace before them. Luc: ÔThe artificial lighting inthis stadium is perfect from goal to goal andfrom corner to corner. There are no weak points.ItÕs just as if you were playing in the full light ofday, but without disturbing shadows and glarefrom the sun. During a daytime match in goodweather, artificial lighting is not needed, but ongrey days the lighting is always switched on.This also helps create a more excitingatmosphere.Õ

Sports photographer

Robert ColletteWorking (for more than 30 years) for magazines VoetbalInternational and Sport International, The Netherlands.

Apart from those selected for Euro 2000, thereare not many stadiums in The Netherlands thatsatisfy the lighting requirements laid down byUEFA for international matches. These lightingrequirements are, in the opinion of sportsphotographer Robert Collette, a must, forwithout them it is often impossible forphotographers to Ôdeliver the goodsÕ. He findsthe present situation unworthy of the game.Robert: ÔToday, we are often obliged to shootfrom a distance with a 600 mm lens. With goodlighting, you then have a depth of focus of a fewcentimetres. But with poor lighting you willhave problems with the exposure time, and evena well-printed photograph will appear with avery dark background. Many stadiums,primarily those in the football league, have oldlighting installations dating back twenty years.There is thus plenty of justification for drawingup a new joint plan for the whole of professionalsoccer in The Netherlands.ÕAnother important point concerns the relativeimpact of the still photograph compared withvideo coverage. Experience has shown that theformer is three times more effective than thelatter. Robert: ÔIt is the still photographs thateasily stay in the memory. So, the sponsors getimportant "free" advertising. How? By means ofthe advertising boards forming the backgroundof the pictures we make, provided these are welllighted.ÕRobert is of the opinion that it must be possiblefor soccer clubs to secure a long-term low-interest loan in order to update their lightinginstallations: ÔAll the stadiums would then havelighting up to UEFA requirements. This wouldsatisfy both the TV companies and the sponsors.

TV cameraman

Eric MenganFree-lance working for international broadcastingcorporations such as Eurosport, RTL, Canal+, and TF1.

As far as the cameraman is concerned, the maindifference between filming in a stadium duringthe day and in the evening is that in the formercase he usually has unpredictable sunlight andharsh shadows to contend with, althoughswitching on the floodlighting does help tosoften the shadows. Another advantage offloodlighting is that it helps reveal the facialdetails of the players, their eyes in particular,which is so important to the creation ofexcitement and atmosphere. Eric: ÔAs acameraman, I like to have the same conditionsall around the stadium, so I prefer filming atnight. It is, of course, cold and it is more difficultbecause we are tired, but it is much better forpictures. I never find bad light. In all the largestadiums where I have been you find goodlighting, even in the rain. We now have highly-sensitive cameras with very good lenses, so wedo not have technical problems. Yesterday I wasin a stadium with a very special camera, a Loop,for slow-motion work. This costs FF two million,although the normal price of a camera isbetween FF 5000 and FF 500 000. But what about when the cameraman is forced toshoot more or less in the direction of thefloodlights? Is this more of a problem with four-mast lighting or with stand lighting? Eric:ÔSometimes, depending on the position of thecamera, it is disturbing, although I like aÒstarlightÓ shot at night. I occasionally find moredifficulties when there are no lights behind thegoals, for example, and there is light on thecorners. Then there is too much difference; youhave to constantly adjust the lens opening, andthat is disturbing. I prefer lights on the roof. A lotof light, with many floodlights spread out allover the stadium.Õ

Stadium perspectives The modern soccer stadium is designed to suit the lighting needs of various parties. So how does it measure up?

Magazine Club Brugge M

ichael Kooren

Pics United/Bob van den Cruijsem

o.interv1 44-45 30-10-2000 13:24 Pagina 44

An innovative optical system in a new aerodynamic housing gives increased

light output, uniformity and flexibility in lighting design

ilr 001 city beautification/design 4746 ilr 001 city beautification/design

he unique ArenaVision floodlighting system was launched byPhilips in 1988. It made possible an entirely new approach to thelighting of a whole range of outdoor sporting events. For the first

time, here was a truly flexible floodlight system that combined colourquality and brilliance with decreased spill light and glare and a choice ofbeam widths to create a more thrilling stadium atmosphere and televisionexperience.

Ever since its introduction, the ArenaVision system has been put to the testin all conceivable types of sports lighting applications in stadiums, largeand small, all over the world. But lighting designers are constantly lookingfor ways of improving the quality of the end result by adopting newfindings and the latest technology. Consequently, a special multi-disciplinary team was formed to develop a new, even further improvedfloodlighting system. We talked to some of the key persons involved inthis continuing development process.

ArenaVision is bornThe ArenaVision floodlighting system first made its appearance in 1988 tolight the PSV soccer stadium in Eindhoven. But the idea for thisrevolutionary system in fact came some twelve years earlier, when PaulEntrop was busy designing the lighting for the Olympic sites in Montreal.Paul: ÔWe were constantly striving to get the light onto the flexible target ofthe various sports areas, whilst keeping stray light outside these sites to aminimum. We were anxious not to create a Òvisual barrierÓ, whereeverything is lighted and yet nothing in particular is focused on. Like in atheatre, the lighting has to focus on the ÒstageÓ, bringing the players closerto the audience and so stimulating interaction between them. Indeed, theInternational Olympic Committee was behind us in this, so we renewedour efforts to come up with a powerful, compact light source coupled withan improved optical system. This would enable us to put much more lightinto the beam and reduce the amount of stray light, which is the primarykey to good lighting control.ÕThe result was the very compact double-ended MHD metal halide lampwithout outer bulb and having an electrode spacing of only 25 mmcompared to the 85 to 135 mm discharge tube of the formerly-used HPI-Tlamps. The lamp is positioned transversely rather than in the conventional

axial orientation, at the focus of the parabolic reflector. Paul: ÔWe did this tocreate a rather broader, asymmetrical light distribution Ð not entirelyconical Ð to provide better uniformity on the horizontal target area. Also,we incorporated an internal ÒskirtÓ, or baffle, in the top of the luminaire toredirect back down what would otherwise be stray upward light.ÕHence the first-generation ArenaVision, the MVF 406, was born. Smallerthan any other floodlight of comparable power, it was the first to offer the

lighting designer a choice of five differentoptical systems.

New oval optics Further development work on the ArenaVisionsystem was prompted by the desire to broadenthe light distribution in the horizontal plane stillfurther. This has been achieved by the adoptionof a system of so-called Ôoval opticsÕ. A precisely-engineered oval reflector shape provides a betterdefined light gathering capacity whileminimising double reflections.

But how do oval optics serve to increase beam width? Henk Wybenga,optical designer: ÔThe oval optical system in fact consists of a number offlat surfaces joined to form a parabola in both the horizontal and thevertical planes. By varying the size and number of these surfaces, and byadopting a somewhat different shape of parabola, you can alter the shapeof the beam. For example, if you increase the width of the surfaces, you caninfluence the outrun capacity and thus the width of the beam in thehorizontal direction.Õ With this flatter beam, beam overlap is easier toachieve, and providing good lighting uniformity is no longer a problem.Paul: ÔAs you can imagine, if you are trying to light, say, a horse-race trackwith conventional narrow beams, getting the right beam overlap can bevery difficult. But if you can employ somewhat flatter beams, the problemis greatly simplified.Õ As before, the new system incorporates an inner skirt to redirect strayupward light effectively back down and a choice of seven mirror reflectorsto optimise performance in any application.

New Generation ArenaVisionNew, tailor-made lampsThe lamp employed during the development phase was the very compact

MHD 1800 W, with magnificent colour properties.Emile van Dijk, co-ordinator of the multi-disciplinarydevelopment team at Miribel: ÔWhat was needed toextend the field of application of the newArenaVision system to indoor lighting and small-scale outdoor lighting was a 1 kW lamp. At the sametime, a 2 kW version would be invaluable inproviding the increased lumen output needed forlonger throws outdoors. This new 2 kW lamp gives

Design

ArenaVision Ð New Generation

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1, 2 The PSV Stadium inEindhoven before (left) and afterinstallation of the newArenaVision floodlighting in1988.

3 Emile van Dijk

4 The New GenerationArenaVision floodlight.

5 The rather broader,asymmetrical light distribution(horizontal ellipses) providesbetter uniformity on thehorizontal target area.

6 Paul Entrop.

7 Henk Wybenga.

8 The new, very compactdouble-ended MHD metal halidelamp without outer bulb andhaving an electrode spacing ofonly 25 mm.

9 Ray diagram showing cut-offproduced by the internal baffleor ‘skirt’.

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Technical data

Feature MVF 401 MVF 403

Lamp MHN-TD 1 kW MHD-TD 1 kW MHD 1.8 kW MHD 2 kW/956 MHD 2 kW/856

Mains voltage 220-240 V 50 Hz 220-240 V 50 Hz 220-240 V 50 Hz 380-415 50 Hz 380-415 50 Hz

Optics medium medium Cat. A1–Cat. A7 Cat. A1–Cat. A7 Cat. A1–Cat. A7

wide wide

Version downlighting downlighting downlighting downlighting downlighting

uplighting uplighting uplighting

Luminous flux 100 000 lm 90 000 lm 155 000 lm 180 000 lm 200 000 lm

Colour temp. 4200 K 5600 K 5600 K 5600 K 5600 K

Colour rend. Ra 80 Ra 90 Ra 90 Ra 90 Ra 85

ArenaVision International Reference

Country City/Province Stadium Club/Event Application

Austria Ramsau Olympic Stadium World Championships 1999 SKI JUMP

Australia Sydney Homebush Aquatic Centre Olympics 2000 SWIMMING

Australia Sydney Sydney Superdome Olympics 2000 GYMNASTICS/BASKETBALL

Belgium Bruges Club Brugge EURO 2000 SOCCER

China Shenshen Shenzhen Stadium National Championships SOCCER

France Marseilles Stade Vélodrome World Cup 1998 SOCCER

France Lyon Gerland World Cup 1998 SOCCER

Germany Cologne Köln Arena Multi-use INDOOR/ARENA

Germany Leverkusen Bayer Leverkusen National Championships SOCCER/ATHLETICS

Hong-Kong Shatin Shatin Racecourse Weekly racing HORSE RACING

Japan Osaka Osaka Expo’70 Stadium World Cup 2002 SOCCER

Italy Rome Olympic Stadium World Cup 1990 SOCCER/ATHLETICS

Italy Turin Stadio delle Alpi World Cup 1990 SOCCER

Netherlands Amsterdam AmsterdamArenA Euro 2000 SOCCER

Norway Oslo Holmenkollen Lillehammer Winter Olympics 1994 SKI JUMP

Oman Ibri Youth Complex at Ibri National Championships ATHLETICS

Pakistan Lahore Gaddafi Stadium Cricket World Cup 1997 CRICKET

Singapore Singapore Orchid Country Club International and national opens GOLF

Spain Barcelona Nou Camp Champions League Final 1998/1999 SOCCER

Spain Sierra Nevada Nevarros World Alpine Ski Championships 1995 DOWNHILL SKI

South Africa Cape Town Newlands Cricket ground Day/Night series CRICKET

South Africa Cape Town Newlands Rugby Stadium World Cup 1995 RUGBY

Thailand Bangkok Thammasat University Stadium 13th Asian Games ATHLETICS & SOCCER

UK Glasgow Hampden Park National Stadium Scotland RUGBY/SOCCER

USA Chicago Soldier Field World Cup 1990 SOCCER/GRID IRON

USA Atlanta Turner Field Olympics 1996/Atlanta Braves ATHLETICS/BASEBALL

10 -12 Stages in thedevelopment of the newfloodlight.

13 Dido van Klinken and JosStuyfzand of Philips Design.

14 Computer-aided simulationof wind-tunnel test of the newArenaVision floodlight.

12

Award: ArenaVision received for its design the IFIndustry Forum Design Hannover 1999 prize

up to 15% more light output and enables us to increase the lighting levelby 15% when using the same number of luminaires, or to maintain thesame lighting level with up to 15% fewer luminaires. ÔIn the event, four new metal halide lamps were developed, making five inall, with lumen outputs ranging from 90 000 to 200 000 lumen Ð see box. These are the 1 kW and 2 kW lamps, respectively. The former has a longer discharge tubeto give the broader beams (medium and wide) needed to deal with lowermounting heights, the type of the beam created being suited for linemounting at the sides of a sports-pitch. ÔThe two new floodlight systems, the MVF 401 and the MVF 403, offer achoice of nine different optical systems, four lamp types, and five levels oflight output to suit all possible uses, both indoors and out.Õ

New housing design The greatest challenge in the development of this extended range of newgeneration ArenaVision sports lighting systems was that the 2 kW lampcreated an extra heat-load inside the luminaire. To solve the problem ofhow this extra heat could be dissipated, a working group consisting ofthermal expert, material technologists, mechanical engineers and severalpartner-suppliers embarked on an extensive study.Emile van Dijk: ÔThe goal here has been to evacuate the heat generated bythe lamp via the rear housing of the luminaire (to do it via the front would

have called for a special front glass, making the luminaire too expensive). ÔTo facilitate heat transfer from the reflector to the outside we did twothings: the first was to improve the contact and contact surface betweenthe reflector and the rear of the housing (die-cast alumium part), and thesecond was to paint the rear of the rear reflector (inside the luminaire)black so as to promote heat radiation towards the aluminium housing.Before coming to these conclusions, a Òthermal modelÓ was built in acomputer to simulate all kinds of possible solutions. Prototypes were thenmade to validate these solutions by means of thermal measurements in ourlab. This revealed that there was no need to resort to drastic measures likeincreasing the size and thus volume of the luminaire.Õ

Dido van Klinken of Philips Design: ÔThe two primary considerations asregards the shape of the new housing were the need to draw attention tothe redesigned optical system, and the importance of keeping windloading to a minimum. Both these aims have been achieved by the simpleexpedient of making the housing oval in shape. There were two primaryconsiderations, the actual shape of the housing that would be needed todraw attention to the redesigned optical system, the problem of how todissipate the increased heat loading, and the importance of keeping wind

loading to a minimum. Both theseaims have been achieved by thesimple expedient of making thehousing oval in shape. Not onlydoes this make the new technologyÒvisibleÓ, it also happens to be avery aerodynamic shape, whichmeans less windage and drag

compared to conventional floodlights. Jos Stuyfzand of Philips Design: ÔWe adopted an integral approach to thedesign in which marketing managers, engineers, lighting designers, andalso people with project experience representing the market wereinvolved. Later we approached the customers direct, with questions suchas Òwhat do you think of this?Ó and Òhow can we improve it?Ó We evenvisited mast manufacturers and installers to see just what their problemswere. ÔWe performed a wind-tunnel test of the new design, which showed thatwe had achieved a reduction in the drag factor (a measure of the windforce on the floodlight) of between 40 and 50 per cent. This allowsarchitects to use slimmer masts for better architectural integration in anystructure or stadium. It is also a shape that is more in harmony with thenew ÒorganicÓ style of stadium architecture. It is a new shape, with a sortof soft touch given to a high-tech product.Õ

More functional than ÒtechnicalÓ But in what other ways does the new generation ArenaVision differ fromits predecessor? Dido: ÔOne thing, is that the floodlight is far lessÒtechnicalÓ in appearance; there are few technical extras such as coolingfins. We have optimised the product, with the emphasis on ease ofinstallation and maintenance. For example, we have incorporated anaiming memory. Once aimed and locked, the unit can be swung up for

14

10 11

13

cleaning and then simply clicked back into its original position. And thedouble-clip lamp holders ensure more accurate beam control and a firm,permanent focus because of the constant and reliable positioning they giveto the lamp.Õ

A whole new family of floodlightsThe idea was to come up with a whole new family of floodlights thatwould offer a total sports-lighting solution. That was not possible with theexisting ArenaVision, which was purely high-end, and only intended forlarge stadiums. The two new floodlight systems, the MVF 401 and the MVF 403, offer achoice of nine different optical systems, four lamp types, and five levels oflight output to suit all possible uses, both indoors and out. The systemshave been designed to appeal to architect, lighting designer andinstallation engineer alike: the first will go for their aesthetic appeal, thesecond will benefit from the wide range of application possibilities offered,while the third will appreciate their functional, no-nonsense technicalfeatures. ■

ArenaVision system development team:

POLE (Philips Outdoor Lighting Europe): Product Management - Emile van Dijk,luminaire development - Patrick Fl�che, Optics and technology - Jean MichelMiquel, Remi Noirot, Laboratory - Olivier Girard, Design - Jos Stuyfzand, Dido vanKlinken, Lamp development - Thijs Loomans, Purchasing - Philippe Collange

p.arenavision3 46-49 30-10-2000 13:27 Pagina 48

coming eventsindex 972- 993

For back issues of ILR, please use ordering card.

❉ Stands for short article in our column ‘Forum’ (formerlynamed ‘Flashes’. ▲ Stands for outdoor only.

THEMES ISSUESPORTS 971OLAC / PLAZAS & SQUARES 972CAR-PARKS 973FIBRE OPTICS 974OFFICES / SPORTS 981CITY/PEOPLE/LIGHT 982SHOPS AND STORES 991LANDMARKS 992INDUSTRY 993

Art (Light art, Light performances)A sculptured tree of steel, roundabout Weert, Netherlands ❉ 972Graduation ‘97, the Design Academy, Eindhoven, theNetherlands ❉ 974Lightforms ‘98 - Satori ❉ 981Sculptures Exhibition, The Haque H. Hollands 982 Exhibition Light and Sculpture, The Haque ❉The city as a matrix, Graduation ‘99, the Design Academy,Eindhoven, the Netherlands ❉ 992Sculptured gateway, Spijkenisse, Netherlands ❉ 992Roundabout Åbenrå, Denmark 992Roundabout, Århus, Denmark 992Roundabout "La Coquille", Reims, France 992

Books / publicationsLighting Historic Buildings, author Derek Phillips 9721997 VIA-Light Year Book (VIA-Verlag) 972Creation of Lightscape, author Motoko Ishii (Libroport Co. Ltd) 972Les Couleurs de l’Europe, authors J-P and D Lenclos 973La lumière urbaine, author R Narboni 973The Outdoor Lighting Pattern Book, authorsR P Leslie and P A Rodgers 973The 1997 Interior Design Handbook (The Interior DesignHandbook, London) 973Discharge lamps and the environment (European Lighting Companies Federation) 974The Demise of the Office, authors E Veldhoen &B Piepers (1010 Publishers) 981Stage Lighting Controls, author Ulf Sandström(Focla Press) 981Lighting Detectives, authors Kaoru Mende/ Reiko Kasai (Shomei Tanteidan) 982Lamps and Lighting, (John Wiley & Sons) 982CIE guide "Guide to the lighting of exterior working areas" 982CIE guide* Update "Guide to the lighting of exteriorworking areas" 992Light and Design, Developments in artificial light sources 992"Faszination Licht:", author Max Keller 993"A-Z of Lighting Terms", author Brian Fitt 993

BridgesCity of Bridges, Cleveland, USA ❉ 973Hohenzollern bridge, Cologne, Germany 992Akashi Kaikyo Bridge, Japan 992Tsing Ma Bridge, Hong Kong 992

Churches, Places of WorshipBasilica San Lorenzo, Italy ❉ 972Church of St Nectaire, France ❉ ▲ 974Sri Mariamman Temple, Singapore M Klaasen 974Cathedral of Gniezno, Poland ❉ 974Cologne Cathedral, Cologne, Germany 992

Cities / Town planning of light- On the waterfront, Utrecht, the NetherlandsPlanet OLAC / Plazas & Squares 972- Roads and streets G Giesbers- Light and the city H Hollands- Plaza de España Spain F Alcón Enriquez & V Nishnik- Leaping dolphins Japan K Suima- 1st of May Square Uruguay C A Galante & F Comerci- Hongqiao Square China S SoonQuartier 206, Berlin ❉ 972Upstairs / Downstairs 973- Lyon’s car-parks France- Nijmegen’s hospital parking The NetherlandsW J Idema et al.No parking, no business G Giesbers 973Vitré City Centre, France 982Tournai City Centre, Belgium B Josz 982Veurne City Centre, Belgium V Rosi 982Light Square, Eindhoven, The NetherlandsD. v.d. Weele & H Hollands 982Light in de City, Copenhagen, DenmarkS Frandsen & E Christensen 982Jyväskylä city centre, Finland ❉ 982Symposium "City/people/light", Amsterdam,the Netherlands 992

Dynamic road marking, Papendrecht, The Netherlands ❉ 993

DesignersPim van den Berg, Amstelveen, The Netherlands 991

Exhibitions / Fairs1 m2 of landscape, Rezé, France ❉ 972Hannover Fair ‘97: ‘TL’D SECURA, ‘TL’5,Mastercolour CDM ❉ 972Light Festival, Gothenburg ❉ 972Graphic fibres 974- IFA fair, Berlin, Germany ❉ 991LIGHTfair International 1999, San Francisco USA ❉ 991Light + Buklding Fair, Hannover, Germany * 993

IndustryCikampek Luminaire Center, Indonesia 993Amica Wronki, Poland 993TVS Suzuki, India 993Melamo B.V., Helmond, The Netherlands 993Printing Works Goldmann, Tulln, Austria 993Good lighting.... better work Sjaak Dekker 993Light and Productivity P R Boyce 993Peugeot’s Mulhouse factory, France 993TCG, Transport Centrale Gelderland, Veenendaal, TheNetherlands 993Archicom Building Services, Eindhoven, The Netherlands interview R vd Water 993The Boots Company Warehouse, England 993Rio de la Plata port terminal, Argentina 993Control Room, Refining company, New Zealand ❉ 993

Lamps and light technologyFibre-optics Lighting Systems 974- Product review G Deraedt- Application considerations L vd Poel & D vd WeeleLighting controls 981Unified Glare Rating (UGR) W van Bommel,A de Visser, M Wouters 981Architectural fibres ❉ 991Decorative floodlighting R Hendriks 992Brødrende A & O Johansen A/S, Denmark 993

Landscaping (Light-)Focus on Buildings- Mercedes - Euro Tower ❉ 971Arcos 1, Mexico ❉ 971Fiber Wave, Tokyo, Japan ❉ 973Do not X-Ray, Dordrecht, the Netherlands ❉ 974Aquatic fibres 974- Chamalière fountain France ❉- Wilsonplein Ghent, Belgium ❉- Montgomeryplein fountain Brussel, Belgium ❉- Association Liégoise du Gaz, Liège, Belgium ❉Lively Squares H Hollands & D v.d. Weele 982

Monuments and landmarksEvoluon Eindhoven, The Netherlands ❉ 971Roman Forum, Rome, Italy ❉ 982Riegersburg fortress, Austria 982Skywalk*, pedestrian walkway, Hannover, Germany 992Twin Tower , Berlin, Germany 992Calakmul building, Mexico City, Mexico 992"Die Pyramide", office building, Berlin, Germany 992UFA Multiplex-Kino, Dresden, Germany 992Forte de Nossa Senhora dos Remedios, Brazil ❉ 993

Museums and themed buildingsSingapore Art Museum ❉ 973Museums 974- Musée de la Musique, France- Patio de la Infanta, Spain- The Egyptian Museum Cairo, Egypt S Cornelissen& T AkkermansCongress Hall in Villach, Austria ❉ 974Bibliothèque Nationale de France, Paris 974American Air Museum, Duxford, U.K. 992Palais des Beaux-Arts, Lille, France 992Van Gogh Museum, Amsterdam, new wing: Symbyosis ❉ 993

OfficesFifth floor Philips Nederland, Eindhoven, the Netherlands 981Interpolis Head Office, Tilburg, the Netherlands 981Twijnstra Gudde Consultancy, Amersfoort, theNetherlands R B S Tan 981WDR, Cologne, Germany 981Building Research Establishment, Garston, England 981M & C Saatchi’s building, London, England N Kelso 981The many faces of the office M Wouters &W van Bommel 981Office lighting M Wouters 981Philips Design, Eindhoven 982

ProductsFibre Stone, Japan ❉ 974Metsys 981

Hannover Messe ‘98 ❉ 981- Mastercolour CDM-TT- Ecotone Ambiance- ArenaVision for indoor- TL5 Circular- SON for outdoorMetronomis, city-friendly luminaires 982Soprano 991ACS/2 spots ❉ 991Europa 2 downlighter ❉ 991Under a starry sky ❉ 991Starry Sky Kits ❉ 991Metropol, park luminaire 992Milewide project, Denmark 992HPI Plus range of lamps ❉ 993TTX 400 line-lighting system 993TLD Reflex 993TLD Secura 993

Public / Institutional buildingsColossal Tokyo Forum, Japan ❉ 973Justus Lipsius building, Belgium ❉ 973

Shops, stores and showroomsVirgin Megastore The Netherlands L vd Poel 971Lighting Application Centre in Istanbul ❉ 972Espace Lumière, Paris, EDF ❉ 972Swarovski Kristallwelten Austria H Weingärtner 973Perry Sport ❉ 973Fibre-shop, Vught, the Netherlands 974Graphic fibres 974- Kurfürstenpassage, Mannheim, Germany ❉- La Rinascente Duomo, Milan, Italy ❉Bijenkorf store, Amstelveen, The Netherlands R bagen 991C & A stores M de kruiff 991C & A Clockhouse, Manchester, U.K. Karen Owens 991Siegert, Gentlemen’s outfitter, Regensburg, Germany W Huber 991Superquinn Supermarket, Ireland L vd poel 991Wellworths-SuperValu store, Ireland 991Sainsbury Supermarket, U.K. 991Burger King Restaurant, Amsterdam, The Netherlands P rijnders 991Praxis Megastore, Amsterdam, The Netherlands 991Petrol-station shops P Entrop 991Volvo Car showroom J Tielens-Aarts 991Yeasu Book Center, Tokyo, Japan Motoko Ishii 991Shoplighting, "Keeping pace with the times" S Cornelissen 991WalMart supermarkets, Brazil ❉ 991New shops in Italy ❉ 991Bruna Retail chain ❉ 991INNO department store, Brussels/Belgium ❉ 991

Sports buildings and installationsSkiing on television 973- Neveros piste Spain J A Sánchez- Kandahar piste Italy R de Marco- The Planai downhill Austria M Schmutzler- Holmenkollen Norway T SoggeSoccer stadiums at the French ‘98 World Cup inToulouse, Lyon and Marseille JF Caminada 981Gelredome arena, Arnhem, the Netherlands ❉ 981Morumbi Stadium, Sao Paulo, Brazil ❉ 993

Theatres, concert hallsTheater de Harmonie, the Netherlands ❉ 973

General//www.Lighting 972Fibre-optics lighting, schemes 974Not only for your eyes 981Urban Lighting, Research study 982World Lighting Index 991

3222 635 23551

54 ilr 001 index / coming events

AMERICASUSA, Los Angeles, 22-25 September 2000, AES. Las Vegas, 13-15 October, 2000, LDI.

ASIA/PACIFIC/AFRICACHINA: Hong Kong, 11-14 October, 2000 Hong KongInternational Lighting Fair. Hong Kong, November 2000,HEIMTEXTIL ASIA ASIAFLOR, International Trade Fair forHometextiles, Floor Coverings, and Interior Furnishings. HongKong, 15-18 October, 2000 ,CELF2000 ShenzhenInternational Exhibition Center, export oriented lighting fair .Shanghai, 13-16 September, 2000, ILE CHINA, ChinaInternational Lighting Exhibition. INDONESIA, Jakarta, 22-25November 2000 (26-29 September 2001 ) BUILDING &CONSTRUCTION INDONESIA SERIES, International Building andConstruction, Equipment and Materials Exhibition. SAUDIARABIA, Jeddah, 01-05 October 2000, Saudi BuildingIndustries Exhibition. SINGAPORE, Singapore, 01-03November, 2000, LUMINAIRE ASIA, The World Light Show in Asia.SOUTH AFRICA, Johannesburg INTERBUILD AFRICA, AfricanInternational Building and Construction, Plumbing and PropertyExhibition. TAIWAN, Taipei 20-23 September, 2000 TaiwanInternational Furniture, Interior Decoration, Kitchen Furniture andBuilding Materials Fair. VIETNAM, Ho Chi Minh City, 25-28October, 2000, Lighting and Electrical Appliances Expo.

EUROPEAUSTRIA: Vienna, 19-22 October 2000 (18-20/10 2001),WOHNDESIGN, Domestic Design Exhibition. CZECH REPUBLIC,Pilsen, 19-22 October 2000, VIA CREATIVA, Exhibition for Glass,Lighting, Ceramics, Gifts and Handicrafts. Prague, September2000, HIT PRAHA, International Trade Fair for ConsumerElectronics and Domestic Appliances . FRANCE: Paris, 8-12September, 2000, ELEC International Exhibition, Electricity,Automation, Lighting, HVAC – A world of Communications,Services and Maintenance. Paris, 08-12 September 2000,LUMIERE PARIS, International Lighting Exhibition. GERMANY:Bad Salzuflen, 20-24 September 2000, M.O.W. Herbst,Furniture Trade Fair. Barntrup, 20-24 September, 2000 , M.O.W.Herbst, Furniture Trade Fair. Frankfurt/Main, 25-29 August,2000 (24-28 August, 2001), Tendence Internationale FrankfurterMesse, Tavola & Cucina, Präsent & Carat, Domus & Lumina.Goslar, 20-22 September, 2000, LiTG Germany – Licht 2000.Hamburg, 13-15 September, 2000 (11-13 September, 2001)NORD ELEKTRO, Fair for Electrical and building Technology,Electronics and Building Automation. Lemgo, 20-24 September,2000, M.O.W. Herbst, Furniture Trade Fair. Schieder, 20-24September, 2000, M.O.W. Herbst, Furniture Trade Fair. ITALY:Verona, 14-18 September, 2000 MONDOLUCE , LightingExhibition. POLAND, Lotz, 24-26 November, 2000 , LightingEquipment, Materials, Devices and Technology Exhibition.Warsaw, 06-09 November, 2000, ElektroExpo, InternationalElectrical Fittings and Lighting Exhibition. PORTUGAL, Lisbon,16-19 September, 2000, INTERHOME, Furniture and LightingFair. Lisbon, 10-15 October, 2000 (09-14 October, 2001)INTERCASA, International Furniture and Lighting Exhibition. .RUSSIA: Moscow, 12-15 October, 2000 (15-19 October, 2001)MUSIC, International Exhibition on Musical Equipment andLighting Technology. Moscow, 13-16 December, 2000,InterLight, International Trade Fair for Lighting and LightTechnology. Novosibirsk, 03-05 October, 2000, SIBDOMOTECH,International House Technology. SPAIN: Valencia, 25-30September, 2000, FIM, International Furniture Fair. Valencia, 25-30 September, 2000 FIAM, International Fair of Lighting Fixtures,Accessories and Components. UNITED KINGDOM: London, 10-13 September, 2000 Light and Sound Trade Show.

q.index 50 30-10-2000 13:32 Pagina 50

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PRINCIPAL BUSINESS PRINCIPAL LIGHTING INTERESTS1 Architecture/interior design A Commercial/industrial2 Consulting engineering B Institutional/social environment3 Lighting design C Indoor sports4 Government/Municipality Electrical utility D Outdoor sports5 Electrical contractor E Public lighting6 Manufacturer of lighting accessories F Floodlighting

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001

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ILR 001:CITY BEAUTIFICATION - EURO 2000 SOCCER

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Photo:Philips Lighting,Pierre Crouzet

Outdoor museum of light Grenoble, France

City BeautificationEuro 2000 Soccer

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001 city beautification euro 2000 soccer · news from the world of lighting 4 editor’s notes ......

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