luminous 3 en lr

7/30/2019 Luminous 3 en LR

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SSTANABTYs it only performance?

ENZ AN

Closer to ature

GTNGMASTE AN

nternational ighting Magazine 2009 ul



Until 18 October CIVA Exhibition

The Shops Time / Le Temps

des Boutiques

From the small workshop to

eBay / De l’échoppe à eBay

www.civa.be/sub/00.asp)RQGDWLRQIRU$UFKLWHFWXUHBrussels, Belgium

19 - 22 October LUCI Association Annual

Meeting

Lighting Urban Community

International 2009

orld hotonics xpowangju, outh orea

28 - 31 October VIA Publishing & co-organis

PLDA

Professional Lighting Desig

Convention 2009www.pld-c.comullman Berlin chweizerhof otBerlin, ermany

29 October -10 January, 2010

Exhibition

Frank Lloyd Wright

www.guggenheim-bilbao.esuggenheim MuseumBilbao, pain

15 - 17 November IES Association Annual

Conference

Illuminating Engineering

Society 2009

Realizing the Future –

Research to Application

www.iesna.orgheraton eattle oteleattle, nited tates of Americ

10 - 12 December CERMA International

symposium

Luminous architecture in th

20th century (1907-1977)

www.cerma.archi.fr cole nationale supérieuredarchitecture1DQWHV)UDQFH

WHERE TO GO

Copyright

© 2009 oninklijke hilips lectronics B..All rights reserved. eproduction in whole or in part is prohibitedwithout the prior writ ten consent of the copyright owner. Theinformation presented in this document does not form part of any quotation or contract, is believed to be accurate and reliable andmay be changed without notice . o liability will be accepted by thepublisher for any consequences of its use. ublication thereof doesnot convey nor imply any license under patent - or other industrial or intellectual property rights.

19 May - 6 September Exhibition

Andrea Palladio

500 anos de consciencia

arquitectonica

www.fundacio.lacaixa.esCaixaforum, Barcelona, pain

1 - 9 August Youth Architectural Festival

Towns: Construction of

Eco-Town

by your own hands

www.asadov.ru/goroda/2009_ greentown(eng.htmAltai, ussia

Until 9 August DDC Exhibition

See the Light

Light sources today and future

www.ddc.dk

'DQLVK'HVLJQ&HQWUH&RSHQKDJHQ'HQPDUN

Until 13 September MCA Exhibition

Olafur Eliasson

Take your time

www.mcachicago.orgMuseum Contemporary ArtChicago, nited tates of America

Until 4th October Exhibition

Green Architecture for the

Future

www.louisiana.dk ouisiana Museum of Modern$UW+XPOHEN'HQPDUN

6 October -17 January, 2010

Exhibition

Andrea Palladio

500 anos de consciencia

arquitectonica

www.fundacio.lacaixa.esCaixaforum, Madrid, pain



AChallenges in lighting design

GT SCE 4Astra Tower,amburg, ermany

ATM 8enzo ianoenoa, taly

SNAST 10rquideorama, Colombia

Monumento del ibertad, painAl ahra hospital, AAnandpur ahib, ndiaCitizenM hotel, The etherlandsew ederation Tower, ussiaeptune ountain, taly Möbelhof ngolstadt, ermany

NTCTN 18ustainability, is it only performance?

ECT ET 0ational Assembly of ales,Cardiff, nited ingdom

ECT ET 4deon, Bavarian tate Ministry

of the nterior, Munich, ermany

ECT ET 8ctavio rias de liveira Bridgeão aulo, Brazil

ECT ET 355 Baker streetondon, nited ingdom

ECETNS 36assive solar and natural lighting

BE SKY TNKNG 38uminance sensation of colored lighting

SM 40AC residential area,Bressolles, rance

CNCET CNE 4ighting Master lan

GAEY 46erdi innovative workplacesurennes, rance

STGT 50Agenda, Books

ustainability moods

BAC evelopment and trends in lighting

8 8 11

4


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“ASTA TE AMBG GEMANY

TE SNE

M TN”nterview by uido iesing

The design of the Astra Tower in the port of amburg was a stroke

of luck for Tobias rau. As a lighting designer, interior designer and

furniture designer, he was able to develop a uniform form language

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I\RXDVNDQ\RQHIURPDQ\ZKHUHLQWKHZRUOGZKDWWKH\WKLQNRIÀUVWZKHQWKH\

hear the word amburg, they’ll immediately say the port and the eeperbahn. Assymbols of the city they attract tourists, offering spectacular and attractive views.f you want to stand out in this neighbourhood you have to have something tooffer. ike the Astra Tower. ocated right on the lbhang opposite huge docks andcranes and only a few steps from the amusement and red-light quarter around WKHHHSHUEDKQWKLVHLJKWHHQV WRUH\RIÀFHEXLOGLQJKDVEHHQDWWUDFWLQJDWWHQWLRQsince 2008. ith its rounded corners and the red breas twork strips in the glassfacade, the 60-metre-high building blends stylishly into its surroundings during theday without thrusting i tself into the foreground. At night, however, it develops aquite particular fascination. Because then the tower, which is topped by a concreteFURZQWKDWVHHPVWRÁRDWRYHULWDSSHDUVWROLJKWXSP\VWHULRXVO\IURPZLWKLQ

t is no coincidence that light plays a major part in the building’s appearance. avingTobias rau as the interior designer meant that a renowned lighting manufacturer

and designer was decisively involved in the design. e was responsible not only for WKHOLJKWLQJEXWDOVRIRUWKHRIÀFHSODQQLQJDQGIXUQLWXUH²DUHDVLQZKLFKKHKDGgained plenty of exper ience before recently concentrating almost exclusively on the development and manufacture of lights.

7KHRIÀFHEXLOGLQJ·VDWWUDFWLYHDSSHDUDQFHDIWHUGDUNLVWKHGLUHFWUHVXOWRI*UDX·Vskilful use of the architectural parameters. “ince the square ground plan of only around 60 square metres per storey is very small, so that the depth of theRIÀFHVDQGWKHFRUULGRUDUHDLVDOVRWLQ\GHFLGHGWRGRZLWKRXWSDUWLWLRQZDOOVEHWZHHQWKHFRUULGRUVDQGRIÀFHVµKHH[SODLQVWKHXQGHUO\LQJWKLQNLQJ´7KHFRUULGRUDUHDLVRQO\VHSDUDWHGIURPWKHFDUSHWLQWKHRIÀFHDUHDVE\WKHSDUXHWÁRRU$VDUHVXOWWKHZKLWHSDQHOOHGEXLOGLQJFRUHLVXVWDVYLVLEOHIURPWKHRIÀFHworkstations as it is from outside. n addition, the use of glass partition walls rather

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t is this transparency that is the secret of the nocturnal shine. “The corridor areaDURXQGWKHEXLOGLQJFRUHLVLOOXPLQDWHGE\DOLJKWEDQGPDGHRISHQGDQWÁXRUHVFHQW tubes that shine a neutral whi te light upwards and downwards from the middleDQGDOVROLJKWXSWKHZKLWHODPLQDWHGSDQHOOLQJµQRUGHUWRFUHDWHDXQLIRUPLPSUHVVLRQ*UDXDOVRÀWWHGWKHVWDQGDUGDQGWDEOHODPSVLQWKHRIÀFHDUHDVZLWKQHXWUDOZKLWHÁXRUHVFHQWODPSV´LQFHWKHUHLVQRFRORXUGLIIHUHQFHZLWKWKH

ambient lighting, the desired effect of making the core of the tower visible fromRXWVLGHOLNHDZKLWHFROXPQLVSURGXFHGLUUHVSHFWLYHRIWKHOLJKWLQJVLWXDWLRQµ$FROXPQWKDWGRHVQRWHQGDWWKHWRSÁRRUEXWRQO\DWWKHFURZQRIWKHWRZHUwhich is illuminated by metal vapour lamps on the roof. An effect that wasimportant to Tobias rau: “e tried out several colours for the concrete canvasso as to achieve an effect similar to the one in the building interior with indirectOLJKWLQJ7KHZKLWHFRUHLVPHDQWWRVHHPWRJURZRXWRIWKHEXLOGLQJµ

or rau the close relationship between inside and outside that characterises theAstra Tower represents an ideal that is realised all too rarely. “The opportunity to implement a uniform form language here appealed to me, of course. romin-house lights, via the interior design to the graphics of the lift markings witha joint idea of being able to form a bridge, this was a great commission. heneverything comes from a single source, the result can also make a superior

aesthetic impression. nfortunately, architectural ideas in building interiors areoften not extended consistently. n addition, the users see a building much moreoften and longer from the inside than from the outside.

“Modern technology makes for a uniform lighting level indoors. The amount of light provided at the workstations is adjusted locally according to the respectivelighting conditions and requirements using motion detectors and daylight sensors.This saves on electricity consumption and is pleasantly comfortable. hen it getsGDUNHUWKHDUWLÀFLDOOLJKWSRUWLRQLVDXWRPDWLFDOO\LQFUHDVHGZLWKRXWDQ\ERG\KDYLQJ WRGRDQ\WKLQJµ

7KDWKHRSWVIRUÁXRUHVFHQWODPSVLVIRU*UDXDORJLFDODQGSUDJPDWLFFKRLFH“They are simply the most effective and most economical lamps you can use at the

moment. f you take into account colour rendering, energy consumption and price,LQWKHQH[WWZR\HDUVZHZLOOEHYHU\KHDYLO\JHDUHGWRZDUGVÁXRUHVFHQWODPSV'HYHORSPHQWVLQWKHÀHOGRI/('VDUHPRYLQJYHU\IDVWDQGLW·VIXQWRJHWLQYROYHGZLWKWKHPWKHRUHWLFDOO\W·VDKRWWRSLFEXWIRUPHZH·UHQRWWKHUH\HWµ

“They are simply the most effective and mostHFRQRPLFDOODPSV\RXFDQXVHDWWKHPRPHQWµ

Clienteunundzwanzigste erwaltungsgesellschaft rundbesitz mb

wner Morgan tanley

Architect ngel und immermann Architekten,rankfurt, erman

ighting esignTobias rau, ellingen, ermany

ight sourceshilips MAT - 55 840

uminairesTobias rau mb T loor, T Ceiling, T all

ControlSensor + Controler -egulator TouchAli 255 -

ighting controlshilips Actiume

ebsiteswww.ksp-architekten.dewww.tobias-grau.com



ENZ ANArchitect, B, enzo iano Building orkshop, enoa, talynterview by uigi restinenza uglisi

8 A

Closer to nature

As far as enzo iano is concerned, a successful architectmust be at the same time a good engineer, a goodsociologist, a good economist and a good geographer.But if he wants to go fur ther than this and create poetry,he needs to know how to work with wind and light.

Why did you decide to become an architect?

t was the natural thing to do: came from a family of builders. erhaps could have chosen to continue my father’s job and work in the company, but being anarchitect seemed more interesting to me. And, to tell the truth, did i t to get away from home. n enoa where lived, there was no chool of Architecture, so went tolorence, which is a beautiful city. erhaps too beautiful.But preferred Milan: it attracted me because it wasmore lively and dynamic. hile was a student trained

with ranco Albini. still remember that designed theGHWDLOVRIWKHÁRRULQJQH[WWRWKHLQDVFHQWHEXLOGLQJin ome, then some televisions for Brionvega.

To begin with you focussed on technology…

was fascinated by ean rouvé, and sometimes used to go to aris to hear his lectures. was a lso very enthusiastic about the work of rei tto; his structuresseemed to defy the law of gravity. graduated in 964with iuseppe Ciribini, a professor who was responsiblefor modular co-ordination. n 969, had designeda building with a light reticulated cover for the sakaxhibition which was inaugurated the following year.n 90 started up a design company with ichardogers, and the year after that we won the competitionfor the ompidou Centre in aris.

“The more reduce the material, the closer get to nature,

and enter into a relationship with light and the wind”

S t e f a n o G o l d b e r g



Were you surprised about that?

There were many competitors, and it was a prestigious REHZHUH\RXQJ²ZDVDQGLFKDUGZDV ²DQGZHKDGOLW WOHH[SHULHQFH7KHXU\FRQVLV WHGRI ean rouvé, scar iemeyer and hilip ohnson, whoadmired the innovative nature of our proposal. This wasa time when people were receptive to innovation.t is thought that ve Arup had put his trust in usE\ÀQDQFLQJRXUSDUWLFLSDWLRQLQWKHFRPSHWLWLRQe considered us as youngsters with a certain talentwhich ought to be promoted.

What does sustainability in architecture mean to you?

like to associate the word sustainability wi th elevation.The more remove whatever is excessive, the more economise in materials. The more reduce the material, the closer get to nature, and enter into a relationshipwith light and the wind. The quality of a building depends to a large ex tent on good lighting and the pleasanteffects of the ventilation. This is particularly apparentin museums. am thinking for example of the Menil in+RXVWRQZKHUHWKHURRIDOORZVVXQOLJKWWRÀOWHUWKURXJK

or the Beyeler oundation in Basle, where worked on the same concepts so as to obtain a building wi th reducedenergy consumption.

am aware of the fact though that it is not always energy HIÀFLHQF\ZKLFKSURYLGHVOLJKWQHVVRPHWLPHVZHLJKWcan be used to achieve good thermal inertia. At therecent California Academy of ciences in an rancisco tried to balance weightiness and lightness. The roof was made heavier in order to accommodate 2,000,000different species of plants which guarantee that thebuilding functions well from a climatic point of view. ightis brought into play by means of some por thole-typewindows: during the day natural light enters, and by night

DUWLÀFLDOOLJKWLVHPLWWHG

So the roof became an integral part of the museum?

n a period of six months the museum has welcomedover a million visitors, and they all go onto the roof to seea fragment of California’s vegetation. ther factors whichare less apparent also contribute towards guaranteeing the sustainabili ty. or example, the thermal insulation of WKHZDOOVZDVREWDLQHGE\ÀOOLQJWKHFDYLW\ZL WKWKHVFUDSfrom jeans salvaged from nearby factories. e also usedrecycled iron materials for the masonry and frameworks.

Can you tell us about the J.M. Tjibaou Cultural Centre in Numea?

n ew Caledonia tried to create a building whichbreathes by coming into contact with the winds whichexist there. The wooden bars of the ten hut structureswe created vibrate when the trade-winds blow, andeach one of them produces a different sound. e tried to interpret the spirit of the place and the culture of theanachi, a people who have always been in close contactZLWKQDWXUH7KHOLJKWÀOWHUVEHWZHHQWKHEDUVDQGFDVWVa landscape of shadows onto the ground which recalls that of the fores t.

How do you relate to other lighting specialists when you are

aiming for sustainability?

like working with them. or example , we have carriedout numerous projects wi th a lighting manufacturer, someof which led to the development of lighting devices whichZHUHWKHQSXWLQWRSURGXFWLRQ7KHREHFWLYHLVHIÀFLHQF\long-life, and restriction of consumption, and modern technologies help us in this respect . reviously a halogenlamp would last for ,000 hours, and a sodium andmercury vapour one would last for about 0,000 hours;

s can now last for as long as 60,000 hours. f theservice life changes, you can also vary the way in whichyou design the object, in relation to the way in which itlasts over a period of time.

How do you alter the form of the building in relation to the climate?

ersonally, have a broad view of climate. consider itas the context in which the building will be located, so this involves both the atmospheric and cul tural climate.The worst mistake an architect can make is to createa building which is out of place and out of scale, whichdoes not capture the light or take into account the spiritof the location. owever, and am thinking for exampleof Beaubourg, this does not mean being mimetic and

imitating the forms of nature.

What are your plans for the future?

They involve the students who come to my company thanks to a programme we are developing together with arvard niversity. ou don’t need to worry aboutnot giving anything to young people, they can take of themselves. f the exper iment is a success , you knowfrom the light in their eyes.



EAMA TE BTANCAGAEN MEEÍN CMBA

$QDVWRQLVKLQJIRUHVWRIWUHHVLQWKHVKDSHRIÁRZHUVKDVVSUXQJXSLQHGHOOLQ´WKHFLW\RIHWHUQDOVSULQJWLPHµLVLWRUVZDONEHQHDWKHOHYDWHGIROLDJHLQVXEGXHGlighting, skirting around the gigantic trunks and discovering that they are hollowand the orchids are growing inside them.

rquideorama is a project br imming with poetry and technical genius designedby the young lan: b arquitectura architects in association with the jprcarchitects for the botanic gardens in Medellin. or this project they planted WHQ´ÁRZHUWUHHVµHDFKZLWKDPHWDOWUXQNDQGVL[KH[DJRQDOSHWDOVPDGHfrom interlaced beams, to form a network through modular increase and tree

VWUXFWXUH7KHVHWHQÁRZHUWUHHVKDYHJURZQVLGHE\VLGHFUHDWLQJDQLPPHQVHcanopy with a bee-hive motif snaking its way across the top of the botanicgardens. By bringing together structural biological forces, rquideoramaproduces an elegant synthesis of cellular processes and sculptural shapes,a combination destined to continue to evolve and grow.

Client ardín Botán ico de Mede llín

Architectselipe Mesa, Alejandro Ber nal, lan: b,Camilo estrepo, . aul estrepo, C

ighting solutionsaszlo urko, coluz . A.

ight sourceshilips MATColour 80 ,hilips Master T 5 80, C 42

ebsitewww.planbarquitectura.com

0 A



MNMENT A A BETAAZA E S MSTES SANn 2 May 808, the Mayor of Móstoles a city 20 km from Madrid signed thendependence roclamation following the upr ising against apoleon’s rencharmy. To mark the bicentennial of this event, the city of Móstoles has createda huge architectural monument, visible throughout the entire city, in the new´3OD]DGHOROµVXDUH

The monument is in the shape of a prismatic box and is made of Cor-Ten teelsupported by four pillars. ts dimensions are related to the dates of both theoriginal event and the bicentennial: 808 cm wide and 2008 cm long.

7KHOLJKWLQJZDVDFULWLFDOLVVXHDQGKDGWREHDOLJQHGLQWHUPVRIHIÀFLHQF\

minimum maintenance, energy saving, colours and dynamics. A computer program has been developed to change the dynamics so that the entirePRQXPHQWLVGUHVVHGLQFRORXUVUHÁHFWLQJWKHVHDVRQVZDUPFRORXUVLQsummer and spring, and cold colours in autumn and winter.

Client

City of Móstoles

Architectnrique ombella, Madrid, pain

ighting solutionsnriqueta íaz, Miguel ngel lvarez, ose uisavón, hilips pain

ight sourceshilips ®, red, green and blue

uminaireshilips ine2 B

ighting controlsharos C Controller


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A ZAA STASAA NTE AAB EMATES

Medical procedures like magnetic resonance imaging M can often frightenpeople, especially children, who feel uneasy in a medical setting and areanxious about the outcome.

Al ahra ospital, which was established in 980 by ulf Medical rojectsCompany and, with 00 beds, is the largest pr ivate general hospital in theA, has recently introduced hilips Ambicene, an -based lightingconcept with changing light colours and light intensity, which creates acomforting and calming atmosphere, reducing patient anxiety. ach patient

can choose their favourite color. This has a positive effect on the patient during the M scan and, because patients are at ease, i t can speed up proceduresand improve the quality of test outcomes. ight color variation can also beused as a communication tool, for example for instruc ting hearing-impairedpatients when to hold their breath.

ClientAl ahra ospital

ighting solutions

agendra agesh, hilips ighting Middle ast

ight sourceshilips ®, red, green and blue

uminaireshilips ine2 B

2 A



ANAN SAB BSS NA

urdwara is the sacred place of worship for the ikhs. The architecturefeatures some elements borrowed from the Mughal architecture and theDSXWSDODFHVDQGIRUWVEXWDOVRLQFOXGHVVRPHRULJLQDOFRQFHSWVUHÁHFWLQJ the principles of the religion and features a combination of square, rec tangular,octagonal and cruciform shapes. There is a ‘gumbad’ dome on the top of WKHVDQFWXPZKLFKLVXVXDOO\ÁXWHGRUULEEHGDQGZKLWHLQFRORXU7KHWRSis decorated with an inverted lotus-shaped structure and the base alsoUHÁHFWVDÁRUDOWKHPH

7KHREHFWLYHRIWKHOLJKWLQJFRQFHSWLVWRSRUWUD\ÀJXUDWLYHO\WKHRSHQQHVVRIWKHLNKUHOLJLRQZKLFKGUDZVXSRQLQÁXHQFHVIURPDURXQGWKHZRUOGwhile at the same time preserving its central core belief. The topmost part

RIWKHVWUXFWXUHLVLOOXPLQDWHGLQVWDWLFZKLWHZLWKÁRRGOLJKWVZLWKFHUDPLFdischarge metal halide lamps symbolizing the purity of its core belief. Thecentral dome is illuminated in a slightly warmer shade of white symbolizing WKHVSLU LWRIVDFULÀFH

Client

overnment of the tate of unjab,Chandigarh, ndia

ighting designavail ill, ilton lectricals, Chandigarh, ndia

ighting solutionsndranil oswami, hilips ndia

ight sourceshilips ® , , amber, white and bluehilips ® , , red, green and bluehilips ® 2 , 4, warm whitehilips MATColour CM-TT 50hilips -T 250

uminaireshilips ine2 B, hilips ine2 AB,hilips iColor Accent owerCore 0 , 9 4 , TC 09, 652

ighting controlshilips Color Chaser Touch M Controller

ebsitewww.gilton.in



CTZENM TE SC

AMSTEAM TE NETEANSesign award winning citizenM hotel in Amsterdam partnered with hilips tocreate a unique experience for their guests. ith a combination of differentlighting and multimedia solutions, called ntegrated ospitality xperience, thehotel chain is able to build a unique intimacy with their guests and remove the traditional feeling of anonymity from the hotel experience. The specially designed system not only combines a host of various ambient products,including dynamic lighting, o phone, free i-i and ospitality T which contribute to a guest’s overall experience, it also provides aunique back-end network design that interfaces with all the hotel’s softwareV\VWHPVDOORZLQJWKHKRWHOWRRSHUDWHDWPXFKORZHUFRVWV7KH´RRG3DGµcontroller allows guests to adjust the temperature, operate the cur tains, andeven change the room’s colour thanks to two B strings above the translucent ceilings. As consumer choices are increasingly driven by emotionalIDFWRUVEH\RQGPHUHO\WKHIXQFWLRQDOLW\RIDSURGXFW²QWHJUDWHG+RVSLWDOLW\xperience offers guests immersive experiences that go beyond the productand engage all the senses.

ClientcitizenM hotel chain

ArchitectConcrete architectural associates, Amsterdam,The etherlands

ighting solutions

hilips etherlands

ight sources3KLOLSV/('XSHUÁX[*%UHGJUHHQDQGEOXH

uminaireshilips string

4 A



EEATN TE TNNEMSC SSAThe ederation business complex, featuring the tallest building in urope448 m tall with steeple, is being built on rasnopresnenskaya mbankment,in the capital’s Moscow City international business neighborhood.

The objective was to deliver a total lighting solution for the tunnel area of the ederation Towers on level 0, tr anslating the l ighting effec t envisionedby abu ushelberg. This tunnel goes from the main entrance to the dispatcher room with hi-end monitoring system. ithin this project the following aspectswere taken into consideration: possibility to re-programme visual effects, easy FRQWUROWHPSHUDWXUHPDQDJHPHQWDLUFRQGLWLRQLQJDQGHQHUJ\HIÀFLHQF\lexible solutions iColor lex and iColor Cove were applied alongside

WKHZKROHWXQQHO/LJKWZHLJKWDQGÁH[LEL OLW\HQVXUHGIUHHGRPRIFRQWHQWinteraction for most complex solutions.

Client

Moscow City Business Complex, Moscow

eveloper MA roup, Moscow

ndoor Architectabu ushelberg, ew ork

ighting solutionsChia-Chun iu, Bas oksbergen, hilipsetherlands, gor ilov, hilips ussia

ight sourceshilips M red, green and blue

uminaireshilips iColor lex , hilips iColor Cove



NTANA NETTNMESSNA TAY

n Messina, taly, this wonderful monument stands in the middle of a squarein the city centre, which is crossed by major roads and marked by a forest of GLVRUGHUO\DUUDQJHGYHUWLFDOHOHPHQWVWUHHVVKUXEVWUDIÀFOLJKWVURDGVLJQVand, last but not least , the poles of public-lighting with 800 sodium lamps!.WZDVGLIÀFXOWWRQRWLFHWKHIRXQWDLQDPRQJDOOWKHVHYDULRXVIRUPVRISROOXWLRQvisual as well as sound and in the evening, the subject was batched withyellow-orange light that did more to hide its presence than to treat it as whatit is: a jewel in the city centre.

t was therefore necessary to extract the structure from its environment.This meant re-using the public lighting poles closest to the fountain: no less than 0m away and with a height of 02m! This challenging geometr icsituation is addressed with an alternative to the traditional way of lighting: thanks to six teen Beamer luminaires, distr ibuted in four groups of four and equipped with white light, the fountain is once again allowed toVKLQHZLWKFRORXUVDQGWRVKRZLWVVWUXFWXUH7KHELJJHVWEHQHÀWLVQ·Wimmediately perceptible: the installation, with an expected life of 50,000hours, uses in total only 48, less than a light bulb!

ClientCitz of Messina

ighting solutions

Massimiliano egri, hilips taly

ight sourceshilips ®, white

uminaireshilips Beamer



MÖBE NGSTATNGSTAT GEMANYThe Möbelhof in ngolstadt is currently the largest furniture house in theregion. The lighting concept sets new standards in lighting design for both the indoor and outdoor areas. This was achieved by a detailed planning which took into account even the smallest exhibition spaces. qually important werelowering energy costs, the brilliance and life-time of the light sources used.

The external façade and also the interior are almost completely illuminatedwith hilips MATColour CM-T lamps in warm white with varying beamangles and electronic control gears. The result is a very comfortable andLQYLWLQJDWPRVSKHUHLQWKHVDOHVDUHD$GGLWLRQDOO\/LYDOÀ[WXUHVLQFRPELQDWLRQZLWK&'7PLQLDQGZHUHXVHGLQVPDOOHUDUHDVDQGIRUVSHFLÀF

displays combining high-quality, brilliant light and low power consumption.A literal ‘high-light’ is the installation of down lights with CM-T 250 atDKHLJKWRIPHWHUV´7KHVXQVKLQHVWKURXJKWKHFHLOLQJµZDVWKHFRPPHQWfrom many clients.

Client

Möebelhof ngolstadt

ighting solutions. indner mb and ichtplanung

ight sourceshilips MATColour CM-T, 5080 and25080hilips MATColour CM-Tm Mini 20 and590hilips MATColour CM-T 090 lite

uminaires/$/WUDFNDQGGRZQOLJKWÀ[WXUHV



TAABTS T NY EMANCE?



ver since human-beings have lived on arth, daylight has beenimportant both for and in life. n architecture, sun orientationcontributes to the delight of working or living in a space. This notionof comfort created by light, emotions generated by light is essentialfor the health and well-being in a place. ead Christian Cochy’serceptions article for a look at the architectural consequences.

ome people in nited ingdom, but even more in Alaska, ussian

and the ordic countries, suffer from seasonal affective disorder as a result of the lack of daylight, both in quantity and quality.These winter blues can cause dramatic mood swings but can be treated by light therapy using high quali ty light sources with a goodspectrum. The Chamber of the ales ational Assembly and the%DNHUWUHHWRIÀFHVLQ/RQGRQDOVRDOORZDGXVWPHQWRIWDVNOLJKWLQJXVWDLQDELOLW\LQDOOVHQVHV²GD\OLJKWKHDWLQJZDWHUDQGFRQWUROV²is taken seriously by the architects concerned. The former project isdiscussed in detail in ossier.

ighting is an actor of sustainability going beyond the implementationof environmental and human consumption parameters. f course,energy performance or recycling of lamps and luminaires is important,

but for architects and lighting designers the quality of light is a far greater issue since it makes a major contribution to the pleasure of the end-users. or archi tecture, sustainable lighting is a questionof mood, brightness and colour. ust as daylight differs in summer DQGZLQWHUVRÁH[LEOHOLJKWLQJDGGVPHDQLQJDFFRUGLQJWRWKHXVHof the place or the moment of the night. The deon and ctaviodossier projects both pay attention to energy saving but also allowcolour dynamics to play a major role.

ustainability has become a buzzword - but Architecture andighting, designers and manufactures cannot solve all the problemsalone. t is a long-term concern of society where each actor has hisUHVSRQVLELOLW\WRZDUGVFOLPDWHFKDQJHWLVXSWR\RXWRGHÀQHWRQHrhythm and saturation that produce the play of light.

incent aganier



NATNA ASSEMBY AES CA NTE KNGM

TANSAENCYnterview by onathan llis

The new building for the ational Assembly of ales is a bold and modern statement,

not only about the transparency of government but also about consideration for the

environment. aniel right was a member of the project team formed by ichard

ogers artnership now ogers tirk arbour & artners) to design and create this

new expression of democracy on the banks of Cardiff.

“t was very clear from the star t that the client wanted to make a strongVWDWHPHQWDERXWWUDQVSDUHQF\LQWKHSROLWLFDOSURFHVVµH[SODLQV'DQLHOright. “ur intention was to create a friendly, inviting building which woulddraw people into the process. isual connectivity between the pr ivate andpublic areas ensures transparency while focusing the attention on the centralebating Chamber.

“The site on the edge of Cardiff Bay provided an important cue for our initialdesign response. The building’s primary address is the bay suggesting aninstitution that is outward-looking rather than introspective. The bay providedDPHWDSKRUIRURXUGHVLJQWZR¶SODQHV·²WKHSODQHRIZDWHUDQGWKHSODQHRI WKHVN\²H[SUHVVHGE\WKHEXLOGLQJDVD¶ÁRDWLQJ·URRIRYHUDVWHSSLQJSOLQWKe dubbed it the emocratic oof, because it extends over all the building’sactivities; everybody involved in the political process coming together under

one roof. And the central ebating Chamber is formed by the roof foldingGRZQWRPHHWWKHSOLQWKVXJJHVWLQJWKDWKHUHDOORSLQLRQVPHHWµ

Throughout the building, extensive use is made of natural light.

“An environmental brief was developed with B the environmental andM consultants for the project to accompany the design brief and its primary aim was to minimise the building’s energy demands and thereafter to pursue WKHPRVWHQHUJ\HIÀFLHQWEXLOGLQJV\VWHPVDVSRVVLEOH/LJKWLQJZDVDNH\issue in that environmental brief and we felt it essential to maximise the useof daylight. ith B we developed a large glazed lantern for the ebating&KDPEHUZLWKDQLQYHUWHGUHÁHFWRUFRQHWKDWEULQJVGLIIXVHGD\OLJKWGRZQinto the ebating Chamber. But it was impossible to depend exclusively on natural light in the Chamber, because many of the plenary sessions are televised and so with B we had to create a delicate balance betweennatural-looking lighting and even lighting which did not compromise theFODULW\RIWKHFKDPEHUµ



The energy usage targets were very demanding, but B were able to achieve WKHPWKDQNVWRWKHXVHRIKLJKHIÀFLHQF\ODPSVDQGOXPLQDLUHVLQFRQXQFWLRQwith an automated building control system. This allows appropriate lightingscenes for the various multi-functional areas to be selected at the touchof a button, ranging from the lighting of informal meetings to the lighting of televised Assembly plenary sessions.

ACTECTA CNTET“ur design made considerable use of exposed concrete frame of the buildingDVWKHUPDOPDVV:HZDQWHGLWWREHKRQHVWDQGXQDGRUQHGµVD\V'DQLHO:ULJKW

“or this reason, we developed multi-purpose booms which were suspendedEHORZWKHFRQFUHWHVRIÀWDQGWKHVHFRQWDLQHGQRWRQO\WKHOLJKWLQJOXPLQDLUHVfor both uplighting and downlighting but also other technical equipment whichZRXOGRWKHUZLVHDFFXPXODWHRQWKHVRIÀWVXFKDVORXGVSHDNHUVVRXQGHUVsmoke detectors and various sensors. There are also infra red sensors whichVKXWGRZQWKHOLJKWLQJZKHQWKHURRPLVQRWLQXVHµ

A particular challenge was heating and ventilating the enormous public areas,which represent two-thirds of the building.

“B suggested that we could relax the temperature range conventionally DSSOLFDEOHWRLQWHUQDOVSDFHVE\UHWKLQNLQJWKHPDLQKDOOPRUHDVDVHPL²internal than fully enclosed space. ather than maintaining a constant 2ºC

throughout the year, we allow a temperature variat ion between appx 4ºCDQG&VLJQLÀFDQWO\UHGXFLQJKHDWLQJDQGFRROLQJGHPDQG7KHSXEOLFentering the building on a hot summer day are likely to be in shirt-sleeves, while those enter ing in winter will be wear ing overcoats . isitors psychologically adjust to the internal temperature meaning that you feel as warm as you think \RXVKRXOGEHLQWKDWHQYLURQPHQWQIDFWWKHWRWDOHQHUJ\FRQVXPSWLRQÀJXUH the building was designed for was 5 khm2, well below the best practice target of 0 khm2.

“The Assembly now has an open environment which undoubtedly representsa change in the political fabric of ales but also Britain. elsh people nowhave the symbol of democracy they voted for and, judging by the many positive comments from the public, they are delighted with it.

1ebating Chamber

oyer 3ublic allery

4pper oyer

5Milling space

6Members tea room



Clientational Assembly of ales

Architectogers tirk arbour artnersondon, nited ingdom

Environmental ConsultantMatthew inter, B artnership

Structural Engineer abriel yde, A

ighting Consultants

Matthew inter, B artnershipBarry annaford, A ighting Consultant

ight sourceshilips MATColour CM-T 0 942

ebating Chamber uminairesL*X]]LQL&'UHFHVVHGÁRRGOLJKWZLWK&7%ÀOWHUVWRUDLVHIRUWHOHYLVLRQEURDGFDVWLQJRQWKHÀUVWULQJLOD7FLUFXODUUHFHVVHGRQWKHperimeter acoustic panels

ighting controlsA

ebsiteswww.rsh-p.comwww.bdsp.comwww.dpalighting.com



EN BAAAN STATE MNSTY TE NTEMNC GEMANY

A STAGE NETE STASnterview by uido iesing

24



ZKHQLQWKHDUFKLWHFWVRIÀFH$FNHUPDQQXQGartner was given the assignment to redesign the 400 m2

interior courtyard. “There had been repeated calls for thedeon to be rebuilt so that it could once again be usedas a concert hall, but these requests fell on deaf ears.n the end it was decided to put a roof on the interior courtyard so that it could be used for events at theMinistry. hen we received the assignment to continuebuilding what had initially been built in 828 and 95,we felt an immense sense of respect for the importantarchitects who had been involved and for the history of the building. e didn’t want to convert i t, but wanted to conserve what was lef t of it. The original deon nolonger exists, but by covering it with a glass dome wewere able to make the part of the interior courtyard thatXVHGWREHDFRQFHUWKDOOLQWRDXVHDEOHVSDFHDJDLQµ

Built in 828 for the Bavarian king udwig , on the basisof a design by the master builder eo von lenze, thedeon in the Bavarian capital city served as a concerthall with excellent acoustics. All but the outer walls of thisclassic building were destroyed in the econd orld ar,and it was not until 95 that a decision was made abouthow to use the part of the building that was still s tanding.t was converted by the architect osef iedemann into WKHKHDGRIÀFHRIWKH%DYDU LDQLQLVWU\RIWKHQWHU LRUor decades there was not a lot to remind people of thebuilding’s original purpose.

“After the roof had been des troyed, what had once beena concert hall became an interior courtyard that wasQHYHUXVHGDQGJUDGXDOO\IHOOLQWRGLVUHSDLUµVDLG3HWHUAckermann as he described the situation he confronted

irst it was a concert hall, then an unloved inner courtyard and now, thanks to the addition

of glass and light, it has been given a new lease of life as a splendid foyer to a Ministry building.

The history of the Munich deon is as varied as it is unusual.



ClientBayerisches taatsministerium des nnerenBavarian Ministry of the nterior

Architecteter Ackermann, Ackermann und artner

Architekten BA, Munich, ermany ighting esignrwin öring, -ightision, Munich, ermany

ighting solutionsAlexander eckmer icht und Mediensystememb, önigsbrunn, ermany Thorsten Cramer, hilips ermany

uminaireshilips ColorBlast 2 owercore, ColorCast

ighting controlshilips ilayer 2

ebsitewww.ackermann-partner.comwww.d-lightvision.de

GT SNThe subtlety apparent in the criss-cross network of glass WKDWIRUPVWKHURRIZKLFKQRZDSSHDUVWRÁRDWRQVPDOOpillars above the courtyard , is also evident in Ackermann’sideas for the lighting: “e wanted to bring out the play of light and shadow of the pillars in order to give thespace more depth, but to do this in as subtle a way aspossible, taking care not to destroy the effect by usinglarge luminaires. To enable us to achieve this, we workedclosely with the lighting designer rwin öring.

“e knew exactly what we meant: ‘t is very important to talk about light, and not about luminaires . A lightingGHVLJQHUKDVDYLVLRQRIOLJKWQRWDYLVLRQRIOXPLQDLUHV·µhen it came to the deon, he saw a way to uselighting to link the space with its past: “ had the idea to create a sor t of stage lighting and to make the entirespace into the theatre set again. The light needed to bea mellow light, but it also had to offer an appropriatelighting solution for all kinds of events such as statevisits, presentations, concerts and lectures. The idealZD\WRDFKLHYHWKLVZDVWRXVH/('EDVHGOXPLQDLUHVµAlexander eckmer, who had the job of managing the

project, explained the choice of luminaire: “ven usingwarm-white light we could not manage to really bring out the light ochre-coloured walls, so we decided to opt for FRORXUFKDQJLQJOXPLQDLUHV²DUHYROXWLRQDU\VROXWLRQIRUVXFKDQKLVWRULFDOEXLOGLQJDVWKLVµ

ATMSEE S EMTNpecial optics with a broader light distribution werePDGHIRUWKHÁRRUOHYHOOLJKWVZLWKWKHUHVXOWWKDWfewer luminaires were required. The positioning of theluminaires, which on the second and third levels arein some cases hidden behind pillars and under panels,makes it possible to illuminate the walls uniformly and inan unobtrusive way. “A M controller is used so that

the 20 luminaires can either be controlled individually RUFRPELQHGWRFUHDWHOLJKWLQJVFHQDULRVµH[SODLQHGeckmer. “re-programmed scenarios can be called upat the press of a button and offer more or less endlesspossibilities. ere you need a careful touch and a sensibleDSSURDFKRULWFRXOGYHU\HDVLO\WXUQDELWNLWVFK\µ(UZLQöring added: “Atmosphere is emotion, and emotion islight. Today we can transform various emotions into lightand colour. e wanted to show just what can be doneusing light, without ruining the effect of the building. owwe have a stage again, even if it is only a pleasant illusion.

hen a reception is held here we can bathe the walls ina saturated blue or in a dark orange. A good side-effectRIWKHXSZDUGOLJKWLVWKDWWKHOLJKWVRXUFHVDUHUHÁHFWHGin the glass roof. This creates the effect of a starr y sky and, together with the colour composition it creates awonderful overall effect. ight and colour set the scenein this space; they introduce an element of suspense andFUHDWHDWKHDWULFDODWPRVSKHUHLQDQDUFKLWHFWXUDOVHWWLQJµ

And the solution is a success not just in terms of aesthetics but also in terms of economy. “These daysVXVWDLQDELOLW\LVDQLPSRUWDQWIDFWRUµVD\V'|ULQJ´7KLVsolution is sustainable not just because of the low energy FRQVXPSWLRQ²DWRWDORIRQO\N²EXWDOVREHFDXVHRIWKHOLIHWLPHRIWKHOXPLQDLUHV²QROHVVWKDQoperating hours. And because we have nowhere near exhausted the potential of these luminaires, there will beno need to replace them if additional effects are requiredLQWKHIXWXUH1RZWKDWLVZKDW\RXFDOOVXVWDLQDELOLW\µ

eter Ackermann was delighted with the positiveUHVSRQVHWRWKHGHVLJQFRQFHSW´$WÀUVWDORWRIWKHVWDII

at the Ministry were sceptical, but now there is hugeacceptance for the solution. n the warmer months thereisn’t a single week goes by without the foyer being usedIRURQHRUPRUHHYHQWVµ



CTÁ AS E EA BGE SÃ A BAZ

CE ACCENTS

N TE Eritten by velise runow

The lighting of the ctávio rias de liveira Bridge in ão aulo, contrasts white

and coloured light in order to emphasise the innovative nature of the curved,

stayed structural system. aulo Candura and linio odoy, of uz rbana,

created the lighting design.



The lighting of the ctávio rias de liveira Bridge in ão aulo, contrastswhite and coloured light in order to emphasise the innovative nature of thecurved, stayed struc tural system. aulo Candura and linio odoy, of uzrbana, created the lighting design.

7KHEULGJHDLPVWRLPSURYHWKHWUDIÀFFRQGLWLRQVLQZKDWLVRQHRI%UD]LO·Vlargest metropolises by creating new links between strategic district s and thecommercial pole of the port of antos. nown as the staiada bridge the´WD\HGEULGJHµDQGRSHQHGLQD\WKHEULGJHKDVXLFNO\EHFRPHDQicon of ão aulo’s landscape. ts dense mesh of stays and the single elevatedsupport tower, 8 metres high, s tand out between the banks of the inheirosULYHUZKLFKIRUPRQHRIWKHVWUXFWXUDOURXWHVIRUPHWURSROLWDQURDGWUDIÀF

The aim of the lighting technology was to emphasise the innovative natureof the bridge’s engineering and architecture, designed by the architect oãoalente, of alente alente Arquitetos. t is designed in such a way as tocreate a clear distinction between the daytime and night-time views of thebridge. Consequently, starting with the assumption that the many yellow stays44 of them altogether take priority over natural light, it was decided that WKHDU WLÀFLDOOLJKWLQJZRXOGVHU YHWKHSXUSRVHRIHPSKDVLVLQJWKHIRUPDQGdimensions of the concrete tower.



Clientrefeituw Municipal da Cidade de ão auloConstrutora A

Architect oão alente, alen te alente Arquite tos,ão aulo, Brazil

ighting designlinio odoy, aulo Candura, ão aulo, Brazil

ighting solutions

Alexandre errari, hilips atin Americaight sourceshilips Cosmopolis C-T 40 28M-A 000 956Cree -B red, green and blue

uminaireshilips Milewide, 42, road optic,hilips Arenaision, M40, Cat A to A5UHÁHFWRUVhilips ColorBlast 2, BC40, 8° and 2° beams

ighting controlshilips ilayer

ebsiteswww.valentearquitetos.com.br www.luzurbana.com.br

MNANCE AS A ESGN ESCE

´HRSWHGIRUSULPDU\YROXPHWULFOLJKWLQJRIWKHWRZHUµFRPPHQWHG3OLQLRodoy with reference to the decision not to allow the night-time lighting effects to distor t the perception of the real dimensions of the concrete structure.

)RUWKLVUHDVRQXVHZDVPDGHRI$UHQDLVLRQÁRRGOLJKWVLQVWDOOHGLQ the vicinity of the br idge so as to focus in parallel on the main sur faces of theYROXPHRIFRQFUHWH´HXVHGOXPLQDQFHDVDGHVLJQHOHPHQWµ*RGR\DGGHGowever, whilst the tower was still being built, it was found that the surroundinglight would interfere negatively with the mesh of stays, due to the constantpresence of an unintentional and undesirable linear beam of light. n order to ensure that the concept of emphasising the view of the tower remainedLQWDFWDGGLWLRQDO$UHQDLVLRQÁRRGOLJKWVZHUHDGGHGIRUGLUHFWLRQDOIRFXVon strategic points of the stays. The lighting designers were aware that

SXEOLFOLJKWLQJPDNHVDVWDWHPHQWKHQFHWKHGHFLVLRQWRIRFXVHDFKÁRRGOLJKWindividually, so as to cancel out any interference by lighting from the city.

n addition, this equipment was oriented in such a way as to create an area of shadow on the inner surfaces of the tower, with homogeneous parallel lightingof the inner sur face, in parallel to the inheiros iver.The aim was to separate the lit areas from other, dark areas, on which theFRORXUHGOLJKWZRXOGEHSURHFWHGDVVSHFLÀHGE\WKHOLJKWLQJGHVLJQn this respect odoy pointed out that the coloured lighting of the br idgeis discreet and homogeneous, in line with the particular relationship which the residents of ão aulo have with regard to the colour applied to publicmonuments. The lighting designer explained: “This is a very sensitiverelationship, timid even, and different from the situation in other major citiesLQWKHFRXQWU\VXFKDVLQWKH1RUWKHVWIRUH[DPSOHµVHZDVWKHUHIRUH

PDGHRI&RORU%ODVW/('ÁRRGOLJKWVZLWKYDULHGEHDPDQJOHVVRWKDWsurfaces with different heights would be lit homogeneously.

GT N TE ECK 7KHOLJKWLQJRIWKHWZRWUDIÀFODQHVZDVEDVHGRQWZRPDLQFULWHULD)LUVWO\since the bridge is located in a relatively dark area of the banks of the inheiros, WKHDLPZDVWRFUHDWHOLJKWLQJRIDSSUR[LPDWHO\OX[RQWKHWUDIÀFODQHVcompared with 20 lux required in the surrounding environment. odoy said:´3HRSOHIHHOVDIHLQWKHVHFRQGLWLRQVµn addition, the interface of the lighting equipment with the line of s taysdictated a maximum height of 6 metres for the lighting posts. These useMilewide street luminaires wi th Cosmoolis lamps, and in view of their limited height they are arranged bilaterally and asymmetr ically, in other

words interposed every 5 metres on both sides of the lane. The lightingRIWKHFWYLR)ULDVGHOLYHLUD%ULGJHXVHVHIÀFLHQWPRGHUQWHFKQRORJ\which is representative of the state of the ar t in Brazilian lighting design.



55 BAKE STEET NN NTE KNGM

TE AT

GTNG ritten by aul addlesey

A major refurbishment of 55 Baker treet in central ondon, creating a modern,

G\QDPLFEXLOGLQJFRPSOH[LQFOXGHVWKHXVHRI/('OLJKWLQJÀ[WXUHVDEHVSRNH

lighting solution for workspaces and an integrated lighting management system.

ow owned by ondon and egional roperties, the site was former ly theheadquarters of Marks and pencer and a well known ondon landmark.Thanks to an innovative lighting scheme by Make Architects and light ar tists ason Bruges tudio, the building has been transformed at street level to createvisually dynamic public spaces that combine innovative lighting with public ar t.

“rom the very beginning of the project we considered light to be just asLPSRUWDQWDVDQ\RWKHUHOHPHQWRIWKHEXLOGLQJµUHFDOOVDNH·VDQ/RPDV“e were also keen to make the exter ior lighting part of the public ar tcomponent rather than simply using ‘ trophy’ art . To that end, we involved ason Bruges at an ear ly stage so that his design would inform the way theZKROHEXLOGLQJLVOLWµKHDGGV

C CANGNG CNCET7KHWUDQVIRUPDWLRQRIWKHEXLOGLQJ·VH[WHULRUIHDWXUHVWKUHHJODVVLQÀOOVRUmasks spanning the voids between the existing blocks. Constructed froma glazed lattice of stainless steel, these masks create a distinctive sculpture that changes with both the v iewer’s perspective and the times of day and year.HGJUHHQDQGEOXHOLJKWLQJXVLQJ/('À[WXUHVLQWHJUDWHGLQWRWKHFODGGLQJare key to creating the colour changes at the heart of the concept.

“The emphasis is very much on focusing attention on surfaces and textures,UDWKHUWKDQWKHOLJKWLQJÀ[WXUHVWKHPVHOYHVVRLWZDVLPSRUWDQWWKDWWKHOXPLQDULHVZHUHSRVLWLRQHGGLVFUHHWO\µQRWHVDQ/RPDV

“The combination of the structures and the lighting help to create moods

WKDWUHÁHFWWKHVHDVRQVDQGWKHDFWLYL W\LQWKHVSDFHµDVRQ%UXJHVH[SODLQV“e have used very tight angles and narrow beams to achieve this andwent through a number of iterations on a full scale mock-up to create the desired effect.

“All of the lighting in these areas is controlled from a single point to producepre-set scenes of different colours and patterns in relation to the time of day and the season, and can also be programmed to produce scenes tailored toVSHFLDOHYHQWVµKHFRQWLQXHV



Clientondon egional

ArchitectMake Architects, ondon, nited ingdom

açade lighting design ason Bruges tudio, ondon, ni ted ingdom

Services EngineersBlyth Blyth, ondon, nited ingdom

ighting designight Bureau, ondon, nited ingdom

ighting solutionsCraig tead, Mike impson, hilips nited ingdom

ight sourceshilips MAT T5 4-28 840,hilips MAT - 26 840,® 2 red, green and blueCree -B red, green and blue

Multi Service Chilled Beamrenger MCB including air-conditioning, controlVHQVRUVDQGOLJKWLQJLQRIÀFHV

uminairesLNHWRDQH/LJKWLQJ/('ÁRRGOLJKWIRUIDDGHhilips ine2 B in the hall, hilips ugato,3KLOLSV&HOLQR3KLOLSVDYLRLQRIÀFHV

ighting controlshilips MM, ight Master Modular A

ebsiteswww.makearchitects.comwww.blythandblyth.co.uk www.jasonbruges.comwww.lightbureau.com

SMT TANSTN GTAs well as being visually striking in its own r ight, the lighting within the maskscreates a series of thresholds between the exter ior and the interior, so thereis a smooth transition of light rather than an abrupt change.

ithin the workspaces, the design team was faced wi th another challenge: WKHFOLHQWZDQWHGWRPD[LPLVHWKHÁRRUWRFHLOLQJKHLJKWDQGFUHDWHDOLJKWand spacious ambience with high levels of comfort. Consulting engineers Bly thDQG%O\WKLGHQWLÀHGDPXOWLVHUYLFHFKLOOHGEHDP&%V\VWHPWKDWFRPELQHVuplighting, downlighting and comfort cooling as offering the bes t solution.hilips worked closely with chilled beam supplier renger to ensure that thesystems were fully integrated in the beam structures.

“The MCB enabled us to keep the ceiling height to a maximum whileGHOLYHULQJWKHUHXLUHGVSHFLÀFDWLRQIRUKLJKXDOLW\RIÀFHVµH[SODLQVLNH3LOHRI%O\WKDQG%O\WK´+RZHYHUEHFDXVHWKHEHDPVDUHDÀ[HGVKDSHDFURVVWKHRIÀFHJHWWLQJWKHULJKWSURÀOHZDVYLWDOWRDFKLHYLQJXQLIRUPOLJKWGLVWULEXWLRQSDUWLFXODUO\EHWZHHQWKHEHDPV7KHV\VWHPDOVRQHHGHGWREHYHU\ÁH[LEOH WRHQDEOHWHQDQWVWRLQVWDOOSDU WLWLRQLQJL IUHXLUHGµ

Architectural lighting designer ight Bureau and Blyth and Blyth workedclosely together to achieve the best solution. The lighting on the beams isdivided into groups of four on the outside edges and two groups of two

on the inside edges so that a partition can be placed across the beam. achbeam also includes two multi-sensors with a photocell and passive infra-red presence detector so that the lighting can be demand-controlled inrelation to both occupancy and daylight levels.

MAMM EBTY)XOO\DGGUHVVDEOHIRUPD[LPXPÁH[LELOLW\WKH'$/QHWZRUNLQWHUIDFHVWRDight Master Modular lighting management system, creating what is believed to be the largest A control project in the so far.

ach lighting control module was commissioned to link four chilled beams per XQLWQWXUQHDFKRIWKHFKLOOHGEHDPVKRXVHGVL[OLJKWÀWWLQJVUHSUHVHQWLQJLQWRWDOVRPHOXPLQDLUHVDFURVVÁRRUVZLWKLQWKHEXLOGLQJFRPSOH[“e know that we have got not only an advanced lighting management

system but one that can accommodate any changes in the future, whilePLQLPLVLQJDQ\UHFRQÀJXUDWLRQRIWKHV\VWHPµLNH3LOHFRQFOXGHV



A BSSE CECTEACCMMATN – 180´KHQÀQLVKHGP\ÀUVWEXLOGLQJXVLQJSDVVLYHVRODUGHVLJQin grouped housing, my interest in bioclimatic architecturewas initially sparked by research into the economics of HQHUJ\DQGKHDWLQJ$WWKHHQGRIWKHÀUVWZLQWHUVHYHUDOoccupants told me that they had found that the winter KDGVHHPHGVKRUWHUWRWKHP7KH\EHQHÀWHGPRUHIURP the sun indoors and on the huge terraces than in their previous dwellings, relegating the expected economies of 50 of heating to a secondary level. This was a revelation to me and the realisation of a new compatibility betweenELRFOLPDWLFDUFKLWHFWXUHDQGQDWXUDOOLJKWLQJµ

ESA EMNNE NANT SC – 184“The order for a bioclimatic infant school with threeclasses was the opportunity to deepen, more consciously this time, those complementar y qualit ies. imagined abuilding in which the sun would provide heat and lightin winter without bothering its occupants. The classeshave windows facing south. They are low down at thechildren’s level. The window in the central passageway LVÀWWHGZLWKPRELOHLQVXODWLQJSDQHOVWRJLYHSURWHFWLRQfrom the north in winter and to provide shade andcoolness in summer. The need for transparency betweenclassrooms is combined naturally with indirect lighting

in them. ight wells facing south and north and oculilet the children feel the different atmospheres and thePRYHPHQWVRIWKHVXQGXULQJWKH\HDUµ

ANNE ANCK BAY – 187“n order to comply with the request to protect theIDDGHVLQD´VHQVLWLYHµDUHDGHFLGHGWROLJKWWKHURXQGbook room using a transparent pyramid on the roof.ach section of the pyramid is protected by independentoutdoor sun-breaks. This enables the users to manage theprotection of the sides exposed to the sun as it movesduring the day, while keeping good natural brightness andH[FHOOHQWVXPPHUFRPIRUWµ

ASSE SA AN NATA GTNG:ACTECTA ATMSEESChristian Cochy, Architect in aint azaire, oire stuary, rance

ince he discovered the concept of solar architecture, in both summer and winter, in the nited

tates in the 1970s, Christian Cochy has been expounding the essential part played by the sun in

architecture and its teachings.

“ was immediately beguiledby the thermal form-functionsuitability of this pueblovillage, Cliff alace, built in acave in Colorado. ensitive

too to the compatibility

between the seasonal cyclesof vegetation and the solar

trajectories and to thatbetween the thermal inertiacapacity of a building and

the day-night cycle of theVRODULQSXWVµ



ES NS NG-TEM CAE NT – 10“nvited to design hospice accommodation for elderly poly-dependent people, attempted to respect their extreme sensitivity to light and to heat in summer without depriving them of the contribution that isessential for their morale during that phase of revival in WKHVXPPHUF\FOHQWKH´/HV3LQVµOLYLQJXQLWVXJJHV WHGliving-rooms broadly glazed and looking onto the natureoutside. n summer they are protected by very widecanopies, while the existing trees protect the rooms to the west . t was possible to combine the importantrequirements of air renewal, due to incontinence, with the building’s strong inert ia, thus making for nocturnal

refreshment. inked to a central patio garden, theneed for transparency between areas so as to facilitatesurveillance has helped to enrich the natural lighting of DOOWKHOLYLQJURRPVµ

NA ESENCES – 18 T 00Traditional uropean rural housing used to perform abioclimatic function of sheltering people who mostly spent their days doing outdoor physical activities. Today’sshelters are mainly aimed at urban sedentary people whohave become more sensitive to the cold and are ofteninsulated from the natural cycles.“n my individual housing projects attempted to make

passive use of the sun’s direct inputs in most of thespaces, both during the day and at night. link them to their indispensable complements, such as compactness,inertia, protection against the cold from the north, naturaland mobile protection against the heat of summer andQRZWKHXVHRIKHDOWK\PDWHULDOVµ

The resulting spaces are therefore very directional andfull of contrasts. nundated with light in winter and open to the south, they are shaded to the nor th, with viewsDQG´HPRWLRQDOµOLJKWVWRWKHHDVWDQGZHVWLQGRZVRU]HQLWKDOOLJKWZHOOVSXQFWXDOO\SURYLGHWKHPRUH´VSLULWXDOµatmospheric complements during the day in the areas

facing south. ergolas with vegetation or mobile fabricsprotect outdoor terraces and south-facing windows insummer. The night lighting is largely provided by energy-saving lamps, also positioned according to daylight entry.or their occupants this suggests living in harmony with the sun, adapting to its constraints. or example,accepting the day-night brightness and temperaturevariations in winter. Accepting that the sun, the winds and WKHORFDWLRQ·VFKDUDFWHU LVWLFVDUHÀQDOO\UHFRYHULQJWKHLUplace in the organisation of the rooms in a building.

“My last few projects resulted in my optimising the full andJOD]HGVXUIDFHVDQGÀWWLQJP\EXLOGLQJVZLWKVRODUSDQHOVWR

produce electricity and sanitary hot water. Aim: to move towards energy-saving structures and in the long term towards positive energy, in which the night lighting wouldEHSURYLGHGE\WKHVRODUHQHUJ\VWRUHGGXULQJWKHGD\µ

outh façade with passive sun light ndividual residence from M. oucré, Architect: Chris tian Cochy



TE MNANCE SENSATN CE E GTNGritten by eter ort, uc van der oel

EST7KHUHVXOWVUHÁHFWWKHOXPLQRVLW\IXQFWLRQJUHHQOLJKWcontributes the most to the intensity perceived by thehuman eye, and blue light contributes the least. hen thewhite light was set at 00, we found the ratio for red tobe , for green 50, and for blue .

Another, secondary outcome of the test shows that the

sum of the redgreenblue ratios found additive colour mixing of B gives white light is equal to the intensity of the white spot.

inally, two pr imary colours were combined to createyellow, magenta and cyan. The outcome showed that therelative luminance of secondary colours could be foundby adding together the relative luminance of two primary colours. n this way we can predict for every colour therelative luminance compared to white light.

Coloured lighting is becoming increasingly importantin lighting concepts. t is used not only in the theatreDQGIRUFLW\EHDXWLÀFDWLRQEXWDOVRLQVKRSVUHFHSWLRQDUHDVDQGHYHQLQRIÀFHHQYLURQPHQWV7KHOXPLQDQFHeffects of spotlighting using white light are well knownand are described in terms of the accent factor; colouredlighting is not yet described in this way. The attr actionvalue of coloured light is expected to be higher than that

of white light due to the colour contrast. The followingexperiments shed some light on the behaviour of coloured lighting in relation to white lighting.

TE EEMENT7KHH[SHULPHQWGHÀQHVWKHUHODWLYHOXPLQDQFHVHQVDWLRQgenerated by the primary colours of a spot. Themethod uses a pattern created by two spots on aKLJKO\UHÁHFWLYHZDOO7KHZDOOLVGLYLGHGLQWRWZRHXDOparts. n one half you see a spot in one of the primary colours, on the other a white spot with a presetintensity. The test patterns are red-white, green-white,and blue-white. The observer changes the intensity of the coloured spot until they feel the luminance

sensation generated by the two spots is equal. This testis performed for each combination, once in completedarkness and once with 50 lux on the wall.

Test sceneThe observer changes the intensity of the coloured spot until they feel theluminance sensation generated by the two spots is equal. This test is performedfor each of the three combinations, red-white, green-white, blue-white, once incomplete darkness and with 50 lux on the wall.

8 BAC



100%

33%

50%

17%

50%

67%

83%

0%

EATE MNANCE

Additive colour mixing:ight is perceived as white if all the three types of receptors in our eye arestimulated simultaneously. The colours red, green and blue B all activateone type of receptor

elative luminance:The graph shows the different relative luminance for all colours with the s ame luminance sensation as whitelight. ne can see, for example, that green light 525 nm generates the same visual attraction with only 50per cent of the luminance of white light. The relative luminance for c yan 490 nm is 0 per cent.


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Architectrédéric Agnesa, AA, yon, rance

ighting solutionssabelle uaman ontard,Christian erouelle, hilips ighting

Electrical installer ACA

ight sourceshilips Cosmopolis 45-60,hilips ® red, green and blue,hilips ® 2 warm white

uminaireshilips Cityoul, hilips rbanine,hilips Milewide, hilips Citypirit treetColor, hilips Metronomis, hilips Marker , hilips ine asymmetric, hilips/('ÁRRG3KLOLSVXOWLSROH3KLOLSV/LJKW7XEH3KLOLSVQGHUZDWHU/('3KLOLSV'HFRÁRRG3KLOLSV3ÁRRG

ighting controlsMartin ightokey

City streets now have to be lit withgreater subtlety than ever, taking intoDFFRXQWWKHRIWHQFRQÁLFWLQJQHHGVof residents, motorists, pedestriansand even cyclists. ighting in suchareas is no longer purely functional;it has to adapt to the needs of people, providing not only safety and visibility, but also ambianceand orientation. n addition, lightingschemes must be energy-consciousand prevent light nuisance andpollution.

ith this in mind, the utdoor /LJKWLQJ$SSOLFDWLRQ&HQWHU²/$& ²KDVFRPSOHWHO\WUDQVIRUPHGits demonstration area. Theoriginal street with family homeshas been replaced by a modern,contemporary urban street, withUHVLGHQWLDOEXLOGLQJVRQWZRÁRRUVa restaurant, nursery school andprivate houses. The new area alsoillustrates the increasing urbanisationDQGGHQVLÀFDWLRQRIXUEDQDUHDV

²DSDUWPHQWVLQVWHDGRILQGLYLGXDOhouses. This provides the backdropfor showing how lighting can beimproved with modern technology,while at the same time taking intoaccount the changing demandspeople and urban authorities makeon residential environments.

The demonstration starts with an´ROGµLQVWDOODWLRQDQGWKHQVKRZVa number of different scenarios. tLVDQ´H\HRSHQHUµWRH[SODLQDQG

visualise how to improve lightingof public spaces in terms of energy consumption and beam control, butalso in terms of atmosphere andsafety by the creative applicationof decorative lighting. The lightingsolutions chosen are state-of-the-art ,and concentrate on a variety of lightsources, luminaires, optics, design,power, lighting control and dimmingmode. articular attention is given to the fast growing penetrat ion of sinto residential areas with rbanine,

Citypirit treet Color, Cityouland ine asymmetric, as well as tailor-made and dedicated solutionssuch as ightTube or Multipole. Theinstallation includes lightingsolutions such as Cosmopolis lampswith perfect energy saving and highquality white light.

This new residential demonstrationarea once again underlines hilipscommitment to lighting professionalsand the architectural community. t

provides a unique opportunity toview the latest application trendsin urban lighting in a customised,modern environment and offersprofessionals the opportunity toassess lighting plans in terms of sustainability, creativity, and, mostimportantly, the needs of thepeople who live in and make use of residential areas.

NE AC ESENTAEMNSTATN AEA



STAGE 1: ESEAC

42 BAC

ENTTY ² City users ² istory ² Architecture ² andmarks ² Atmosphere ² ature ² pecial events

ESTNG GTNG ² unctional lighting ² Architectural lighting ² uminaires ² ight sources

STCTE TE CTY ² Topography ² istr icts ana lysis ² Traffic analysis network grading plan ² iewing points and dis tances



GTNG MASTE ANBy Mujgan erefhanoglu ozen

Mujgan erefhanoglu ozen rof., M.Arch) lectures at the Yildiz Technical

niversity, aculty of Architecture, in stanbul, Turkey. he is chairwoman of C

Commission nternationale de ’clairage) ivision 5, TC 21 Master lanning of

rban ighting and TC 24 uide for Architectural and ecorative ighting.

Mujgan erefhanoglu ozen rof., M.Arch lectures at the ildiz Technical niversity, aculty of Architecture, in stanbul, Turkey. he is chairwoman of C Commission nternationale de’clairage ivision 5, TC 2 Master lanning of rban ighting and TC 24 uide for Architecturaland ecorative ighting.

Today, it is inevitable for cities to be alive at night as well as during the day. eople working during the day are deprived of social, ar tistic, sports and entertainment activi ties. By facilitating theseactivities at night, using urban spaces with safety and security, and by carefully selecting historical,artistic and architectural elements that have social value, you make cities more attractive andSURPRWHOLIHXDOLW\%XWLI\RXDUHWRGRWKLVSRVLWLYHO\DQGZLWKDQHIÀFLHQWXVHRIHQHUJ\\RXrequire a comprehensive planning.

A ighting Master lan can provide direct and indirect advantages by bringing a new point of viewand identity to the city. t can introduce basic principles with an overall approach to both utility andarchitectural lighting, control of night life and the night image of the city.

The development of a ighting Master lan will typically pass through three stages. ur ing theresearch stage, a detailed analysis of the city is per formed. This will include usage, users, naturalcharacteristics, existing utility and architectural lighting, and light coming from buildings. t will also

deal with the city’s image, identity, silhouette, road characteristics, the hierarchy between roadsand between buildings and elements symbolizing the city. Then a lighting strategy is developed, taking into account light pollution, energy usage, sustainabil ity and environmental fac tors. And third, the implementation stage should include planning and capital costs, operating costs, budgetand maintenance systems.

rban lighting gets old after about ten years, and changes to lamps and lighting elements becomenecessary. ew products become available with continuously improving technologies and subjectsVXFKDVHQHUJ\HIÀFLHQWXVDJHDOVRSOD\DUROHLQVXFKFKDQJHVQWKLVUHQHZDOSURFHVVLQWKHrenovation of old cities or in urban transformation plans, lighting master plans must be made withrespect for the overall approach. The C guide Master lanning of rban ighting 5 TC 2,which is yet unpublished, shows the need of undertaking utilit y and architectural lighting objectswith an overall sys tematic planning.

concept corner



6

12

39

6

12

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18:00-4:00 4:00-07:00

STAGE : GTNG STATEGY

44 BAC

TEMES ² nique identity ² Connect ing people ² afety ² rientation ² Atmosphere

ETAE MASAN STATNS ² lluminations ² Tonality colours of lamps ² Typology scale

² Composition typicalFRQÀJXUDWLRQV ² /LJKWLQJVSHFLÀFDWLRQV

SCENASight linked to activities and time: ² orking day ² hopping ² oing out ² pecial events



TYCA NSTAATNS ² ecommendations for lightingsolutions and alternatives

² tandard implantation in crosssection

² isualisations and sketches

ANNNG ² lanning of implementation ² 'HÀQLWLRQRISKDVHV ² Timing

EEENCE ECTS:SZ SCENCE ANCTE AT CENTE CNA

Architect: aul Andreu; aris, ranceighting design: Mr. . akamura;Tokyo homeiConsultant Co., td., Tokyo apanMagazine : uminous 2008,page 20-2

STAGE 3: MEMENTATN

AZA E NATBBA SANArchitect: Ander Marquet yan, AAM architecture partnershipeview: 200, page 88-9



E NNATE KACESBy Carine egoux

erdi’s site represents a veritable technological and wellness showcase,bringing together all the operations of the hilips rance group since last year.hat was the objective? To apply its know-how to improve everyone’s lives.HOHFWHGSDUWQHUVVXFKDV$$&*('WKHÀUPRIDUFKLWHFWV%RLVVHVRQ'XPDVLOPRULQ$VVRFLV%'$DQGWKHHQJLQHHULQJÀUP(7(&JRW together to study and construct this ambitious project.

“t’s this respect for integration with the environment, this relationshipbetween humanity and quality of life that we have favoured since theFRQFHSWLRQRIWKHSURHFWµVD\VHDQLFKHO'XPDVDVVRFLDWHDUFKLWHFWDWBA, in charge of the erdi project, and illes ngelmann, architect for theconstruction phase.

$VWKHOHDGHULQWKHÀHOGRIOLJKWLQJ3KLOLSVLVFRQVWDQWO\HQGHDYRXULQJWRLPSURYHDUWLÀFLDOOLJKWVRXUFHV7KH'\QDPLF/LJKWLQJFRQFHSWPDUNVDQimportant step that allows all the richness of natural light to be introduced into WKHZRUN LQJHQYLURQPHQW WLVYHU\ORJLFDOWKDW3KLOLSVKDVRSWHGWRÀWm with this lighting concept. This operation, on an unprecedented scale,illustrates perfectly what the lighting in a modern building should be like, takinginto account the users’ needs and the concern wi th saving energy.

As the day progresses, the 2200 luminaires are per fectly integrated into theIDOVHFHLOLQJ7KH\DUHÀWWHGZLWKWZR7ÁXRUHVFHQWWXEHVXVLQJ and 6500 colour temperatures. They vary the luminous intensity and thelight colour temperature, recreating the dynamic thatis peculiar to natural light.

The use of M micro-lens optics makes it possible to achieve ahomogeneous and very comfortable light distribution. n addition, ynamicighting is linked to a centralised management system that takes into account WKHLQFLGHQFHRIGD\OLJKWDQGWKHSUHVHQFHRIVWDIILQWKHRIÀFHVWKXVHQDEO LQJelectricity consumption to be optimised.

46 BAC

roject+HDGRIÀFHRI3KLOLSV)UDQFH('uresnes, rance

nvestor AA

elegated project owner CM

ArchitectBoisseson-umas-ilmorin Associés, aris,rance

(QJLQHHULQJÀUPTC

Architect-decorator uan Trindade

ighting designer hilippe Almon, A

Space planning

Civil engineeringTT

Electrical installer 3(²3+%LQFL(QHUJLHV

hilips ighting solutionsAlexia emonnier, aurent oitevin, ierreBonduelle, adine avarini, hilips rance

amps

hilips MAT T5 28 82 and 865,hilips MAT -C4 8 80, hilipsMATColour CM-Tm 20 80, hilips® 2 white

uminaireshilips avio TB60 2x28 with ballast+)'LQRIÀFHVIRU'\QDPLF$PELHQFHhilips ugato B26 2x8 in circulationareas, hilips ugato MB244 with black cone hilips MATColour CM-Tm 20LQWKHKDOOZD\DQGÁRRUVVSHFLDOO\GHVLJQHGhilips ine2 for lift areas

ighting controlshilips ight Master Modular

ebsiteswww.bdva.com


http://slidepdf.com/reader/full/luminous-3-en-lr 48/5248 BAC

M e r e W o r d s P h o t o g r a p h y



BKSGreen architecture Author: ames ines, hilip odidioPublisher: Taschen, C ermany,August 2008, 25th Anniversary editionISBN-13: 98-86502240 pages, colour illustrations,hardcover Language: nglish, rench, ermanwww.taschen.com

ines dean of architecture, niv. of ennsylvaniaproposes to steer the architecture profession away from the "vacuous shape-making" of "academic Modernism" towards an ecology-centered aesthetic. This generously illustrated alternative history spotlights an eclecticassortment of lesser-known architects including ineshimself who in widely varying degrees incorporateecological awareness into their designs.

ighting esign:2IÀFHIRU9LVXDO,QWHUDFWLRQ Author: nrique einiger, ean M. udinPublisher: Birkhäuser witzerland, uly 2009ISBN-13: 98-64995, 44 pages,255 colour illustrations, softcover Language: nglishwww.spinger.com/birkhauser/

RUHWKDQDQ\EXLOGLQJPDWHULDOOLJKWLQÁXHQFHVRXU

well being, effects architectural qualities and s tagesarchitectural designs and sur faces. The ew ork-basedIÀFHIRULVXDOQWHUDFWLRQJRHVEH\RQGVLPSO\LOOXPLQDWLQJEXLOGLQJV²WKHÀUPVHHVOLJKWLQJDVDZD\WRactively shape space, complement architecture, integrate technology and save energy. eatured projects includeillumination for contemporary landmarks such as enzoiano’s ew ork Times skyscraper, aha adid’sosenthal Center for Contemporary Ar t, a prototype streetlight for ew ork City, and the lighting designfor nric Miralles’ cottish arliament complex.

50 BAC

ight & Communication- Nature as a reference inlighting design Author : enrik Clausen Publisher: Meldorf: ansen,enmark, anuary 2009ISBN-13: 9889254026 20 pages,colour illustrations, hardcover Language: nglishwww.meldorfhansen.dk

“ight Communication - ature as a reference inlighting design" solves. After reading it, you will be able tocommunicate about lighting design in a way everybody understands, using nature as a common reference.

Green Architecture Now!

Author : hilip odidioPublisher: TaschenISBN-13: 98--865-02-, 46 pages&RORXULPDJHVÁH[LFRYHUZLWKÁDSVLanguage: nglish, rench, ermanwww.taschen.com

The ecological impact of new construction, once asecondary concern, has become a crucial issue. Badly designed buildings guzzle natural resources and pollute their surroundings ; in an era of rocket ing energy costs andenvironmental degradation, the need for a sustainable,HQHUJ\HIÀFLHQWDUFKLWHFWXUHLVSDUDPRXQW7KLVERRN

IHDWXUHVWKHDUFKLWHFWVDUWLVWVDQGÀUPVSLRQHHULQJDQHZgreen architecture, and examines the emergent esthetics.

Yann Kersalé Authors: ann ersalé, ean-ouisradel, enri-rançois ebailleux,Anne de andièrePublisher: ditions allimard rancectober 2008ISBN-13: 98-2002280625 pages, colour illustrations,hardcover

Language: renchwww.gallimard.fr

ann ersalé graduated from the uimper chool of ine Arts in 98 with the iplôme ational upérieur d’xpression lastique. sing light as others may use clay RUSDLQWKHFKRRVHVQLJKWWLPH²WKHPRVWVHQVLWLYHRIDOObackgrounds -as his area of experimentation.



ntil 18 ctober CA Exhibition The Shops Time / e Tempsdes Boutiquesrom the small workshop toeBay / e l’échoppe à eBaywww.civa.besub00.asp)RQGDWLRQIRU$UFKLWHFWXUHBrussels, Belgium

19 - 22 ctober C Association AnnualMeetingighting rban Communitynternational 00orld hotonics xpowangju, outh orea

28 - 31 ctober A ublishing & co-organisArofessional ighting esign

Convention 00www.pld-c.comullman Berlin chweizerhof otBerlin, ermany

29 ctober -10 anuary, 2010

Exhibitionrank loyd rightwww.guggenheim-bilbao.esuggenheim MuseumBilbao, pain

15 - 17 ovember ES Association AnnualConferencelluminating EngineeringSociety 00ealizing the uture – esearch to Applicationwww.iesna.orgheraton eattle oteleattle, nited tates of Americ

10 - 12 ecember CEMA nternationalsymposium uminous architecture in th0th century 107-177)www.cerma.archi.fr cole nationale supérieuredarchitecture1DQWHV)UDQFH

EE T G

Copyright

© 2009 oninklijke hilips lectronics B..All rights reserved. eproduction in whole or in part is prohibitedwithout the prior written consent of the copyright owner. Theinformation presented in this document does not form part of any quotation or contract, is believed to be accurate and reliable andmay be changed without notice . o liability will be accepted by thepublisher for any consequences of its use. ublication thereof doesnot convey nor imply any license under patent - or other industrial or intellectual property rights.

19 May - 6 eptember ExhibitionAndrea alladio500 anos de conscienciaarquitectonicawww.fundacio.lacaixa.esCaixaforum, Barcelona, pain

1 - 9 August Youth Architectural estivalTowns: Construction of Eco-Townby your own handswww.asadov.rugoroda2009_ greentowneng.htmAltai, ussia

ntil 9 August C ExhibitionSee the ightight sources today and futurewww.ddc.dk

'DQLVK'HVLJQ&HQWUH&RSHQKDJHQ'HQPDUN

ntil 13 eptember MCA Exhibition lafur EliassonTake your timewww.mcachicago.orgMuseum Contemporary ArtChicago, nited tates of America

ntil 4th ctober ExhibitionGreen Architecture for theuture

www.louisiana.dk ouisiana Museum of Modern$UW+XPOHEN'HQPDUN

6 ctober -17 anuary, 2010

ExhibitionAndrea alladio500 anos de conscienciaarquitectonica

www.fundacio.lacaixa.esCaixaforum, Madrid, pain



1ST ZE 008

SE ST KEAighting design

o, yung-u, a, Mee-jung, woon yung oon, ee eon o eoul ung-gu Cheonggyelaza to eongdong-gu indapcheolgyo ailroad Bridge 5 84 km

city.people.light

award 2009

luminous 3 en lr

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