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Lichtbericht 87
Published in December 2008
New York Times Building Amongst the skyscrapers of Manhattan, the office block of The New York Times Newspaper is a 21st century archetypal beacon in the world of high rise development. Transparent and bright, filigree and light, technically innovative. The lighting of the 250 metre high curtain facade, made of white ceramic tubes, transforms at night
the entire building into a shimmering New York landmark. Thanks to modern lighting technology the skyscraper uses less power than it takes to light the obser vatory at the top of the Empire State Building.
Contents
About this issue
Introduction
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About this issue Keylights Bright prospects
Light & Technology
Report
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New Products 2009 Powercast projectors and floodlights Light System DALI Focus Lighting control systems with digital inputs Double focus Lighting control systems with analogue inputs Tim Henrik Maack
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New York Times Building Manhattan gains another nocturnal landmark in the form of a new skyscraper, built for the well-established newspaper and featuring an illuminated facade. Architectural historian and lighting journalist Margaret Maile reports for us from New York. Let the lighting technology decide Margaret Maile interviews Jean Sundin and Enrique Peiniger in OVIs offices
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Projects
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Background
26 28 16 Prof. Dr. Markus Gehnen: Tune the light! From the first potentiometer dimmers to todays bus systems it has been a long journey and the end of this development is still not in sight: a review of the progress of lighting control from the perspective of an expert in building technology. 30
Light System DALI Applications Mnsterland estate Mise en scene with DALI Emden Art Hall Nocturnal delight with DALI Central Garage car museum, Bad Homburg tune the light with DALI LPP Reserved Shop, Warsaw DALI scenography for shop windows St. Peters Church, Stavanger Liturgy of light with DALI
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Backlights New ERCO showrooms in Oslo and Milan
The New York Times joined with architect Renzo Piano to build a new domicile for itself and another impressive landmark for the city of New York. Its nocturnal appearance was to set high standards: lightness and transparency are the leitmotif that runs throughout the design. This notion was transformed into light by Jean Sundin and Enrique Peiniger of OVI, who used our lighting tools for the facade. Not an easy task in a project as complex as this, but their efforts were well worth it. The new Powercast projector is just one such tool that creates striking effects on a facade at night. Provided with cutting-edge Spherolit reflector technology, it is designed for a wide range of applications and as many lighting solutions. In LED version, its lens system, consisting of a specially developed collimator and a further lens plane for different light distribution characteristics, ensures optimal lighting control. The main focus of this issue, however, is on the possibilities of modern lighting control. Various case studies introduce different applications of Light System DALI. Whether lighting control is used as easily and efficiently as by the residents of a Mnsterland estate to create the right atmosphere, or applied at the entrance of the Emden Art Hall to produce a striking effect, the applications are virtually boundless. Scenographic lighting effects turn the window display of the LPP Reserved Shop in Warsaw into an extraordinary eye-catcher. Dynamic dimming progressions change the plasticity of the mannequins such that they all but come to life. The whole scenario is, of course, controlled using Light System DALI. Light and liturgy have always been closely connected. When carefully planned, a lighting system ensures that liturgy has a place even in modern religious services and is augmented by an appropriate dramaturgy of light. Once neatly composed with appropriate light scenes and sequences that factor in the atmosphere, emphasis and spatial perception, the scenographic concept is implemented on site, requiring great skill and finesse to produce the right effect.
DALI is also very much present, this time for our own benefit within our new showrooms in Oslo and Milan. If this has excited your curiosity about lighting control for scenographic purposes, to save energy, or for pure convenience, why not come and visit us!
ERCO Lichtbericht Imprint Publisher: Tim H. Maack Editor in Chief: Martin Krautter Design/Layout: Thomas Kotzur, Christoph Steinke Printing: Mohn Media Mohndruck GmbH, Gtersloh 1028726000 2008 ERCO
Photographs (Page): Frieder Blickle (U1, 2, 6-15), Bernd Hoff (2, 3), Alexandra Lechner (2), Thomas Mayer (2, 3, 4-5, 24, 26-27, 34-37, U4), Rudi Meisel (3, 28-29, 32-33), Alexander Ring (20-21), Dirk Vogel (30-31), Edgar Zippel (1, 3). Translation: Lanzillotta Translations, Dsseldorf ERCO Lichtbericht 87
Keylights
Sandnes (Norway) As part of the regional museum of Sandnes near Stavanger, the Vitenfabrikken is an interactive museum dedicated to the mysteries of science and technology. Cutting-edge technology, however, also applies to its lighting design, from Focalflood facade luminaires in LED varychrome version to the comprehensive Light System DALI. Vitenfabrikken, Sandnes Architect: Askim & Lantto AS, Oslo Electrical design: Cowi AS, Stavanger www.jaermuseet.no/vitenfabrikken
Kaltern (South Tyrol) The famous wine-growing region on Lake Kaltern has a contemporary image with modern architecture. The new Winecenter offers formidable facilities for wine selling and tasting, all presented in the light of Optec spotlights, Quadra recessed directional luminaires, Lightcast wallwashers and floor washlights. Winecenter Kaltern Architect: feld72 Architekten, Vienna www.winecenter.it
Munich The Terminus Gallery features all the big names of contemporary art, from Baselitz to Warhol, from Kiefer to Uecker. We give art room to breathe, as the gallery owners describe their space concept. The exhibitions presented on Paradeplatz 1 in the heart of the Bavarian metropolis have a format, design and technical equipment that match the standard of a museum. The light is provided by ERCO: Optec spotlights and wallwashers on flush-mounted ceiling tracks, combined with Quadra wallwashers for low-voltage halogen lamps. Terminus Gallery, Munich. Architect: mocar architects, Munich Lighting design: Licht & Technik Jrgen Ludwig, Munich www.galerie-terminus.de
Kaohsiung, Taiwan A truly international feel to this fascinating work of public art. The American artist Lutz Haufschild commissioned lighting designer Arne Fiedler from Wiesbaden to illuminate his wall relief consisting of thousands of precisely shaped and laminated strips of glass. Fiedler opted for Light System DALI and Optec LED varychrome spotlights to ensure dynamic backlighting for the relief and making the whole work come to life. Emerald Laminata, glass art at Rapid Transit Station Kaohsiung, Taiwan Architect: Charles C. Chen Architects, Kaohsiung, Taiwan Lighting design: Made by Light, Arne Fiedler, Wiesbaden Artist: Lutz Haufschild, North Vancouver, BC
Glashtte (Saxony) Precision horology matches precision lighting. The venerable chrono meter brand Tutima has returned to Glashtte, where it was established in 1930. Its new domicile is the former railway maintenance building that was gutted and given a modern look with illumination, both inside and out, using lighting tools from ERCO. Tutima watch and clock making factory, Glashtte Architect: Kai Strehl Architekten, Dachsberg www.tutima.com
Spreitenbach near Zurich An eye-catcher en route to the Center Spreitenbach, a large shopping mall. The new connecting bridge between the existing structure and the extension was devised by the architect and designer Matteo Thun, who opted for coloured light. The tools: Focalflood varychrome floodlights with DALI control gear. Center Spreitenbach, Spreitenbach near Zurich Lighting design: Matteo Thun www.centerspreitenbach.ch
Berlin In 1963, John F. Kennedy won the heart of Germany by declaring, Ich bin ein Berliner (I am a Berliner). The German capital has now dedicated a small museum located on Pariser Platz entirely to this influential family, displaying a wide range of pictures and documents from the Kennedy collection of the Camera Work Gallery. The bright, elegant exhibition rooms are illuminated by lighting tools from ERCO, including Quadra lens wallwashers. Kennedy Museum The Kennedys, Berlin Architect: Abcarius & Burns, Berlin www.thekennedys.de
Barcelona The sister bar and restaurant of the eponymous Brasserie in Paris captivates with an authentic ambience, offering typical cuisine focusing on seafood. Dimmed bulbs in original chandeliers hanging from unaltered beams provide the right atmosphere the actual light comes from inconspicuously mounted Pollux spotlights for lowvoltage halogen lamps. Brasserie Fl, Barcelona Architect and lighting designer: Carlos Martnez www.brasserieflobarcelona.com 2 ERCO Lichtbericht 87
Glashtte (Saxony) Following a big revival of Saxon watch and clock making in Glas htte, the tradition has once again found its proper place here. The new watch and clock museum describes the towns changing industrial history in the Erzgebirge region by the use of contemporary means. Pollux low-voltage spotlights put the exhibits in the right light. Watch and clock museum, Glashtte Exhibition/lighting design: Atelier Brckner, Stuttgart www.uhrenmuseum-glashuette.com
Erice (Sicily) Stella spotlights and Trion uplights for metal halide lamps illuminate the vault of the San Martino church in an attractive and economical fashion. Yet another reason for the tourist in Sicily to make a trip to this little town with its ancient roots and medieval monuments. Chiesa San Martino, Erice (Sicily) Lighting design: Adragna Illuminazione, Alcamo
Alaqus near Valencia A small medieval castle becomes a place of culture and learning, contributing to and improving the local identity of the little town of Alaqus outside Valencia. Trion ceiling washlights illuminate the magnificent coffered ceiling, while Cylinder facade luminaires provide atmospheric lighting for the staircase. Espacio cultural Castell d'Alaqus, Valencia Lighting designer: Claude R. Engle (USA), Lighting Consultant http://castell.alaquas.org
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Bright prospects
Indre Kai, Haugesund (Norway) Photo: Thomas Mayer, Neuss www.haugesund.no
Architect: Smedsvig Landskapsarkitekter AS, Bergen Electrical design engineers: Multiconsult AS, Nesttun; Cowi AS, Haugesund Installation engineers: Jatec AS, Haugesund
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New York Times Building

Manhattan gains another nocturnal landmark in the form of a new skyscraper, built for the well-established newspaper and featuring an illuminated facade. Architectural historian and lighting jour nalist Margaret Maile reports for us from New York. Early in the 20th century, New York City set the standard for the modern metropolis with its soaring skyscrapers and luminous skyline. At the opening of the 21st century the city has witnessed a renaissance in tall building design, with none more remarkable than The New York Times Building designed by Renzo Piano Building Workshop/Fx Fowle and with lighting design by Jean Sundin and Enrique Peiniger of the Office for Visual Interaction (OVI). This monolithic tower of quiet beauty transcends the frenetic energy of Times Square and presents a technologically innovative, yet timeless icon for The New York Times and the city itself. Lighting concept exterior Renzo Piano has said, The story of this building is one of lightness and transparency and the notion of transparency and light runs throughout the design of the New York Times Building from the ultra clear, low-iron glass and ceramic rods that compose the double-skin curtain wall to the carefully calibrated floodlighting that gives a delicate, warm glow to the exterior while allowing visual connection with the buildings interiors. At OVI, concept, innovation and technology always work in tandem, therefore it is not surprising that OVIs remarkable lighting program for the exterior of the New York Times Building began with the concept of lightness as well as the requirements of properly and efficiently illuminating the towers pioneering ceramic screens the first of their kind in the United States. According to Sundin, the setting out point for the exterior was the screens. With the goal of articulating the soaring, lace-like quality of the screens, OVI developed a scheme where the floodlighting could be achieved with a single series of luminaires and a single lamp type. ERCO fixtures equipped with 250W Metal Halide lamps with an Fc2 base were paired with varying optical reflector systems to create the desired wallwash effect for the entire 260-meter elevation of the east and west facades. Narrow beam optics aimed to the top of the building provide a long throw of light, while narrow beams with spread lenses illuminate mid-levels and wide floods cast light on the base of the building. OVI chose metal halide lamps for their exceptionally long life of 10,000hrs+ and specified a warm, neutral white 3000K color temperature to complement the buildings signature off-white ceramic screens. As with many OVI projects, exacting technical performance is a fundamental part of the New York Times Buildings lighting program. For the finely calibrated floodlighting, luminaires with 6 ERCO Lichtbericht 87
The cantilevers for mounting the luminaires are spaced to take up the rhythm of the facade. The luminaires are painted in taxicab yellow in response to the lighting regulations that apply in and around Times Square more on this on page 14.
As with many OVI projects, exacting tech nical performance is a fundamental part of the lighting program of the New York Times Building.
For the finely calibrated floodlighting, luminaires with locking mechanisms allow the necessary precision adjustments; while the optical design and the integrated glare control minimize the spill light and the lighting pollution of the night sky.
locking mechanisms allowed the necessary precision adjustments; while the optical design and integrated glare control minimize light pollution in the night sky.
Dizzy heights: it is only when peering down from the roof of the New York Times Building into the urban canyons of Manhattan over 260 meters below that the luminaires clustered on the roof of the ground floor building come into view.
The architect: Renzo Piano Often working together with designers such as Richard Rogers and Peter Rice, Piano has created key monuments of architecture and civil engineering all around the globe. His head office named Renzo Piano Building Workshop is still based in his hometown of Genoa to this day; plus he has branches in Paris and project site offices throughout the world. In over 40 successful years in his profession, he has not left any leaf of architecture typology unturned. A host of architectural prizes pay tribute to his special blend of art, architecture and engineering acumen, which always seeks to integrate nature and social aspects. There is nothing that can be described as typically Renzo Piano, but always a surprisingly new design born out of the buildings function, the user requirements and the constraints of the climate and energy resources. His forte
is tricky urban-development tasks such as the reconstruction and redevelopment of Potsdam Square in Berlin. The name Renzo Piano is synonymous not only with functioning museums and cultural buildings, but also with overcoming the challenges of utilitarian architecture, such as road-traffic infrastructure and industrial plants. Teaching and further education are permanently anchored in Renzo Pianos business philosophy, while ecological engineering is taking on an ever-increasing place in his designs. These strands of exhibition, ecological oasis, training center and research institute all come together in the worlds greenest natural science museum: the California Academy of Sciences in San Francisco. www.rpbw.com
Laser direction finders were used to precisely aim the luminaires onto the facade. Aided by the green dot of light on the facade (right), the instal lation engineers were able to locate and fix the correct angle of adjustment (below).
Focusing the outdoor lighting To illuminate extraordinarily large buildings or surfaces, you can simply use extraordinarily large luminaires and power outputs or you can distribute the required luminous flux over a relatively large number of more compact luminaires. The latter not only has the advantage that you can fall back on standard, more economical lamps and luminaires, but it also allows a greater uniformity of lighting to be achieved albeit only if you succeed in precisely aiming each luminaire such that the individual beams optimally overlap. The lighting designers at OVI have already used this principle in many projects including, for instance, the plenary chamber of the Scottish Parliament and the US Air Force Memorial in Arlington. In the latter case, to achieve exactly the desired illuminance levels, OVI used laser sights for the first time, temporarily mounting them to the luminaires during focusing. Similarly, to achieve the desired uniform brightness progression of 1:3 between base and pinnacle, the projectors on the New York Times Building were also precisely aimed using lasers to map out the computer-calculated design and then locked in position.
Computer simulations were used in advance of the installation work to determine the position and aim of the luminaires that would give the best brightness progression (left).
The lighting concept takes a differentiated approach to each functional zone as can be seen here at the security checkpoint. Lightscoop ceiling washlights mounted on special brackets give an idea of scale to the spacious lobby.
Manhattan has a new and architecturally discerning facility with ultramodern furnishings and fittings in the form of TheTimesCenter within the ground floor of the skyscraper. It regularly functions as a venue not only for talk shows but also for chamber concerts and film shows.
draft
Foyer and garden lighting concept The story of transparency and lightness continues in the public areas of the ground floor of the New York Times Building. OVI translated these metaphoric qualities into three-dimensional space by finely composing light levels to visually activate and connect several distinct areas the lobby, the central glass-walled enclosed garden, and the multi-use space of TheTimesCenter. Describing OVIs design process Sundin says, We are composing an entire view and the challenging thing about that is, based on the transparency of this project, everywhere you look you have views. It has to look good from every vantage point. The central glass-enclosed garden played a central role in anchoring these changing vistas and roaming perspectives, serving to guide the eye through the interconnected architectural volumes of the ground floor. In order to achieve such a finely balanced composition for the public spaces, OVI simultaneously addressed both aesthetic goals and technical requirements. Recognizing the specific light levels necessary for such programmatic elements as lobby circulation, security, retail areas, displays and more, OVI began by mapping out a lighting master plan to determine how these needs could be fulfilled while preserving and even enhancing views into the garden. Peiniger says, We were careful not to let one element dominate. We considered the space and views in terms of foreground, middle ground and background. OVI was conscious of highlighting the garden as a focal point without pushing the lighting to an extreme in either direction. For example, too little light in the adjacent areas would create a tunnel effect. However, a blanket of same light everywhere according to Peiniger, would greatly undermine the uniqueness of each element.
From the precision aiming of the uplighting of trees in the garden to the subtlety integrated theatrical lighting array in TheTimesCenters auditorium, close attention was given to the most minute details and technical performance, illustrating OVIs commitment to providing not only the best lighting, but also the most comprehensive integration of aesthetics and technology.
The lobby wall displays media art by Ben Rubin and Mark Hansen. Their Moveable Type piece consists of 560 text displays which a complex computer program keeps supplied with news contents from the current online edition of the New York Times and the papers digital archives.
List of ERCO luminaires used
Beamer projectors Facade and pathway lighting
Lightscoop washlights Facade and indirect lighting
Stella spotlights TheTimesCenter auditorium
Optec wallwashers Conference rooms
LED orientation luminaires Atrium
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Let the lighting technology decide

Margaret Maile interviews Jean Sundin and Enrique Peiniger in OVIs offices www.oviinc.com
Two stops down from the New York Times Building the subway reaches OVIs offices on 25th Street the birthplace for lighting concepts for projects as varied as the Scottish Parliament in Edinburgh and the US Air Force Memorial near Washington.
The site inspection on the roof platform of the New York Times Building, almost at eye-level with the Empire State Building, demonstrates the exceptional commitment from all parties that projects of this scale demand.
Margaret Maile (MM): What were your primary concerns about designing the exterior lighting program for a building in the heart of Times Square? Jean Sundin (JS): Generating a cultural lighting icon on the Manhattan skyline is a big responsibility and there is no second chance to make it right. In addition, we had to balance a classic timeless lighting design for the building while responding to the lighting criteria of the Times Square district in a time of energy awareness. Enrique Peiniger (EP): Many buildings in Times Square have flashing colored lights, LED screens, etc. That was not a design approach that anyone wanted for this building, so we had to creatively invent different ways of solving these kinds of problems in terms of lighting, in addition to illuminating the monolithic ceramic facade screens. MM: So you were not just looking to the past or present context, but actually to the future context of the New York Times Building?
EP: We think a lot about how our projects age over time. We know that the Times Square district will continue to evolve and change character as time goes on and The New York Times Building will anchor this new neighborhood and business district. JS: The lighting is really imbedded as part of the architectural design, it is locked into the facade and it is part of the overall building module. This building is a new landmark for the city as such the design has to be long lasting. The taxicab yellow makes reference to the unique cultural context of New York City. The lighting details are scaled, well-detailed and visually appropriate. It takes a multi-disciplinary design dialog and collaboration with the client, design team and the industry to make design ideas a reality. MM: How does your design process translate into selecting luminaires for this project? Why did you choose ERCO luminaires? How did they best realize your concept?
EP: Our approach is to reverse-engineer the lighting design. At the beginning of a project we think about the end-user and how the luminaires will be maintained. The luminaire selection is an evaluation of needs and technical performance. There are a lot of tools to choose from. JS: We created a lighting design for the entire building exterior and all public areas of the project, which only requires 12 different lamp types. We evaluated many manufacturers who we know would be suited to the project as well as the product numbers, handling and maintenance features, technical features and other issues. Weve cross-referenced and evaluated all of them in great detail. EP: Who has a locking device? Who has a captive screw? Who has an integral glare control? We compared all of their features and capabilities. For example some fixtures require two different lamps and wattages with two different maintenance cycles due to lamp life. JS: In the end, ERCO fixtures were selected. We could illuminate the entire facade utilizing three different luminaire optical systems which all take the same lamp. The fixtures are energy efficient and visually appropriate for the facade. EP: We have very complex projects and we have to step back and look at the facts. The point is, what is the quality of the fixture and how does it perform? Our evaluation process allows us to make a clear and rational decision about what product is best suited for the project. MM: What was the single biggest challenge for OVI over the course of the New York Times Building project? JS: Helping others realize that with only 250 watts, we could illuminate a facade that is more than 260 meters high! Typical floodlights require 400w or 1000w to do the same job. EP: Keeping the aim in sight. To not get distracted by all the daily work. You have to identify the big picture, stay focused and determine how to implement it.
Whether on paper or on the screen, intelligent design processes hold the key to OVIs success as experts in architectural lighting.
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New York Times Building

The context of the Times Square District one of the brightest and most iconic of such urban areas in the world was central to the concept development for the exterior lighting of the New York Times Building. The timeless, classic quality of RPBWs architecture is fundamentally at odds with the exploitation of media screens and skins typical to Times Square. However, as a new building in the Times Square District, the New York Times Building was required to animate the facade to be in compliance with district regulations. As Peiniger describes, The point for us was to find the language that was appropriate for The New York Times and for RPBW. OVI suggested that the pairings of ERCO fixtures used along the pedestrian level of the buildings podium be custom painted taxicab yellow. These ERCO fixtures were mounted as direct extensions of the facades modular bays, providing visual punctuation to the rhythm of the building as well as illuminating the facade and the walkway with a sense of excitement and energy. In this way OVI was able to visually animate the facade (and satisfy local authorities) in a manner that has great resonance with the culture and streets of New York City without contradicting the character of the architecture.
Cleverly sidestepping the use of LED screens or other moving lights or signage, now so commonplace on neigh boring buildings, OVIs designers added a dash of color by specifying luminaire housings in taxicab yellow.
The view from the Empire State Building shows how the new building sets the tone on the Manhattan skyline. The relationship to the red-lit, art deco Paramount Building on Times Square is interesting especially considering its basement temporarily provided storage for the neighboring printing plant of the New York Times.
Contributors Client: The New York Times/Forest City Ratner Companies Architects: Renzo Piano Building Workshop (Genoa/Paris) in collaboration with FXFowle Architects, P.C. (New York) Competition (2000) Design Team: B. Plattner (senior partner in charge), E. Volz with G. Bianchi, J. Moolhuijzen (partners), S. Ishida, P. Vincent (senior partners), A. Eris, J. Knaak, T. Mikdashi, M. Pimmel, M. Prini, A. Symietz Consultants: Ove Arup & Partners (structure and services) Design Development, 2000-2007 Design Team: B. Plattner (senior partner in charge), E. Volz (associate in charge) with J. Carter, S. Drouin, B. Lenz, B. Nichol, R. Salceda, M. Seibold, J. Wagner and C. Orsega, J. Stant-
eford, R. Stubbs, G. Tran, J. Zambrano; O. Aubert, C. Colson, Y. Kyrkos (models) Consultants: Thornton Tomasetti (structure); Flack & Kurtz (services); Jenkins & Huntington (vertical transportation); Heitman & Associates (facade consultant); Ludwig & Weiler (storefront); Office for Visual Interaction (lighting); Gensler Associates (interiors); H. M. White (landscape); AMEC (construction manager)
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Tune the light!

By Prof. Dr. Markus Gehnen In the beginning there was light we are told, but nowhere does it state that switches and dimmers were also supplied, yet otherwise there would have been no night or twilight. Lighting controls mimic the grand archetype with ever increasing variety. From the first potentiometer dimmers to todays bus systems it has been a long journey and the end of this development is still not in sight: Take control thats the name of the game.
Ring
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Fully Connected
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Bus
Network topologies In a bus system, many devices exchange information via a shared data work. In some bus systems, a specific, fixed network typology is already given. The DALI protocol also accepts so-called mixed topologies, which simplifies installation.
Light and dark Whether its a daylight-dependent lighting control or a whirling show interlude, todays lighting control tasks would be unthinkable without dimmable light sources. These days, the brightness of almost any type of lamp can be infinitely adjusted, but it is not that long ago that such a thing could be so taken for granted. For a long time, the light of an incandescent lamp could only be adjusted using potentiometers. The big disadvantage of these was that they hold back energy from the lamp by converting it into heat. Leading edge technology dimmers now solve this problem much more elegantly by interrupting the current for an adjustable period in every oscillation of the 50Hz supply voltage cycle. One could say the lamp is on for less time. The filament keeps on glowing uniformly due to its thermal inertia, but at a lower temperature and brightness. The ability to dim fluorescent lamps is, by contrast, a comparatively recent development because the physics of the arc discharge is quite averse to any attempts to control its brightness. The trick with the temporary interruption of the current does not work here because, if the interval without current is too long, the gas becomes too cold and the lamp goes out. A solution has now been found for this and teething problems such as colour shifts or restless flickering on the lowest brightness setting have also been rectified. It is just the dimming capability of high-pressure discharge lamps that lags a little behind. All the same, the currently achievable reduction in luminous flux to about half its value is already sufficient for implementing energy savings in the outdoor lighting. With LEDs, dimming again becomes a simple matter. Their brightness depends on the strength of the current flowing through them and can be easily adjusted with control electronics. Tasks and tools In many application areas, the humble light switch has now seen its day. It has been superseded not by any one lighting control system, the requirements are simply too diverse for this, but by a whole plethora of different systems with capabilities depending less on the technical limits than on the particular task at hand. The same also applies for the systems operating concepts that are designed to suit the users experience (or even the lack of it). Yet, despite all this diversity, three application areas can still be roughly discerned: Firstly, in functional buildings, artificial light is simply seen as cost factor, i.e. it is an energy consumer that is subordinate to the energy management of the networked building technology. This perspective will gain even more weight in times of energy saving regulations and building energy passports both now and in the future. These dictate functions such as daylight-dependent lighting control and presence detectors
KNX was originally a tool for simplifying the electrical installation of lighting systems, but is now used for all other areas as well, including the Birds Nest Olympic stadium in Beijing.
that ensure the lights are only on when actually needed. In addition to the reduced energy costs, further savings can arise due to the fact that, instead of having to rewire everything every time there is a change in tenancy or usage, it is sufficient to reprogram lighting system. The bus systems from KNX to BACnet are at home here. They can cope with large numbers of devices and high data throughputs; plus, providers from other trades such as sun-blind technology or air-handling are also familiar with these standards. The systems are well established and since there are many providers for components and software, it is reasonable to expect that spare parts and equipment for system expansion will continue to be available in several years time. The configuration and operation of these complex systems are strictly segregated. While the user is largely disinterested in the internal workings, the expert will want to get his hands on every parameter, where necessary and to pry into the most remote corner of the operating data log. Quickly edited films, pushy television commercials and gaudy computer games the threshold for visual stimulation is being pushed ever higher and those who want their building, merchandise or event to be noticed in todays world have got to keep up. In every city centre a visual arms race is now underway and the weapon is coloured, dynamic light. This second use of light is solely interested in its show value and has many similarities with stage lighting. It is not by chance that DMX, the control system that is long established in stage technology, is often encountered in this context. Its central controller can quickly generate rapid colour and brightness progressions on up to 512 channels in parallel and in real-time. Where the function concentrates on the lighting effect, the user-interfaces of the configuration programs are notably graphically orientated. Although it is possible to adjust the behaviour of every single pixel, users tend to prefer working with the ready-made show effects that come with the software, modifying these to suit their current project. Plus the effect can be checked on the screen straight away. The third application area is the situational use of light, whereby light is used to emphasise the particular architectural features of a site, to make areas accessible for various uses and to give such areas a suitable atmosphere. The visibility in the public space is adjusted to suit the external circumstances. From multipurpose halls to home cine mas, the control systems must be easy to use in everyday operation, even for those with techno fear. As it is highly likely that users will want to modify light scenes themselves from time to time, the configuration must not require an engineering degree. DALI fits in perfectly here. Things
such as scene memories are already set up in the components right from the outset and there are now systems that have added several comfort features, extensively automating tedious operations such as allocating addresses. The borders between these three areas are flowing boundaries. Providers who are well established in one segment can happily roam into the other areas. Event technology, complete with all the stage paraphernalia of moveable spotlights, scanners and projectors, is used in architectural lighting. Conversely, experienced providers of architectural lighting systems expand their product portfolios by adding effect spotlights and therefore become fit for events. Then all these providers finally come back together around the same projectors. This was the case recently at the new BMW Welt, which several manufacturers from different fields list as a current reference project with some pride. This panorama is just a momentary snapshot. New developments are a daily occurrence and they sometimes seem to be driven by the saying Appetite comes as you eat, constantly pushing the boundaries of the existing systems. KNX was originally a tool for simplifying the electrical installation of lighting systems, but is now used for all other trades as well. The Birds Nest Olympic stadium in Beijing is cited as a current reference project. DALI started out as a system for a simple addressing of fluorescent lamps on 64 channels. It was deliberately designed to be less expensive and less work than a full-blown bus system. Today it controls luminaires of all kinds and has found particular usage for RGB applications with LEDs. However, if the three colours are to be controlled individually and if a separate white channel is also added, then one luminaire will need four addresses. The 64 channels of a DALI world are soon exhausted here. The current solution for expanding the address capacity is to network several control gear units together via the Ethernet. Plans to standardise such larger structures are in the pipeline. DMX, known from the field of stage technology, is also not the end point of development. The typical application area for DMX is fast-moving light. The limits of video reproduction on LED panels have long been reached, as was recently seen umpteen times to everyones amazement at the Light&Building trade fair. This means that the limits of DMX technology have also been reached, but there are not yet any standards for the performance range beyond DMX. It could all be so easy Anyone even a little familiar with the material will soon come to the conclusion that using an intelligent lighting control would be better, more elegant and improve performance. The only thing is that, despite
all the splendid reference projects, ordinary, everyday office buildings and homes continue to be wired in the same old, conventional way. The control panel in the function room still looks like a display of light switches at the local electric store. Why is that? Well, it also has to do with money of course: lighting controls are not two-apenny and equipment, software, configuration and commissioning also have to be paid for. Even if it does later translate into fantastic energy savings when the system is running, this will not impress an investor who will not be operating his office building himself once it is complete. He simply wants to save costs and therefore leaves out the lighting control. Sometimes technology and user still have to find each other, as the following true story illustrates. In a certain office, the artificial lighting was to be switched on and off automatically depending on the daylight. However, since the planners thought they could do without dimmable luminaires, the entire system was always switched either on or off and the jumps in brightness were accordingly quite brutal. In the end, the staff that were blessed with this situation finally resorted no, not to sabotage, but to chewing gum, which they neatly stuck over the light sensors aperture. Peace was restored. The system was still in pristine technical condition; although, for the sensor, it was pitch-black night and the light remained on. The lesson has been learnt and daylight-dependent lighting systems are now only built in dimmable versions. In addition, several years ago, the (then untenable) promises of the Powerline Technology had the same effect as a scorched earth policy. Using frequency modulation to transport data along existing power cables was heralded as the cure-all for the modernisation of building systems. However, household electrical wiring is not designed for transmitting high-frequency control signals, which is why considerably less data throughput is possible than with a system executed with separate bus lines. The initial claims were often overzealous, frequently promising more than could actually be delivered. Those users who suffered under the teething problems of that system will think long and hard before giving the topic a second chance. Things did not always run smoothly on the sales side either when dealing with lighting control systems. One or two lighting companies liked to dabble in a bit of outsourced electronics on the side. The colleagues responsible were easily recognisable from their tired-out appearance, assuming they actually made it into the office in between any two site visits. The workload for project care and engineering had quite simply been underestimated. Successful providers learnt this lesson and now allocate the necessary resources to this area. Sometimes even the outward
Illumination of the Pentacon Tower in Dresden: the situational use of light emphasises the particular architectural features of a site, makes areas accessible for various uses and adds suitable atmosphere (Lighting designer: Jrgen Meier, Medien fr Alles).
BMW World in Munich: under the direction of the lighting designers from ag Licht, Bonn, luminaires and systems from the fields of archi tecture and stage lighting are combined here into a coherent scenography.
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appearance of a device can decide on its chances of finding widespread acceptance. In spite of all the international standards, there are still national preferences for the mounting of devices. In many countries it is usual to mount the control gear inside a switch cabinet or to fit it inside a false ceiling. In such cases, the shape of the housing is immaterial. In Europe and particularly in Germany however, people prefer devices that clip onto DIN rails which are not German standard by chance. Providers who cannot offer that facility will possibly have a difficult time. Looking ahead What does the future of lighting control systems look like? Buildings and their technical fixtures and fittings are a longterm commodity and progress tends to come at a leisurely pace. Faster-changing industries such as the automotive or tele communications branches are more on the look out for new technologies. Watching them gives an idea of the contours of future development trends. Automation increases the utility of a system by removing any tedium involved in using it. This is nothing new. In telephony for instance, automated switchboards replaced the operator lady many years ago. What is new is the speed and complexity of such change. Both are growing at the same rate that software did when it broke the bonds of mechanics and electronics. Two examples from recent times: can anyone still remember having to fiddle around with the choke to get an engine to start in the winter? This is now done without fuss by the engine management system, which also ensures that the engine runs efficiently and economically in all other situations as well. Or consider connecting up PC networks: it used to be a secret science, but it is now a largely automatic and incidental matter at todays LAN parties. If such trends are transposed into the world of lighting controls, one forgets for a minute todays excessive configuration setups and thinks of other things: Just supposing the power consumption of a lighting system was designed to reduce as daylight was used. You attach light sensitive luminaires to the ceiling, configure them and then absolutely noth ing. No calibration, no setting the target values, nothing. Each luminaire independently recognises the lighting situation in its own spatial zone and adjusts itself; they all automatically communicate with each other and agree on a uniform brightness progression. There is no nervous flickering of luminaires as they brighten and dim on changeable, cloudy days and no problems caused by rearranging the furniture. In short, it just works without being annoying. Or thinking even further: I can put up with searching for the light switch, but I dont want to keep having to stop and think, Which of the twenty seven possible lighting moods, in this room fully equipped
Different designs for lighting control components: a DALI switching actuator for mounting on DIN rails (above) and the ERCO Light Server with its housing the size of a cigar box (below). The latter mounts in switch cabinets, but can also be installed in false ceilings. Despite all the international standards, there are still national
preferences for equipment mounting.
Lighting control in 1987: if todays tech nology looked like this, some of the more powerful lighting control solutions would need their own machine room and a generously dimensioned air-con system as well.
with control technology, would be the best for what I am doing? This applies for the office with its alternation between deskwork, meetings and presentations and it is also true for ambitiously designed private areas. In the lounge, imagine the lighting system has gone beyond mastering the basics, such as Switch on TV light scene when television is switched on. It notices who is in the room, where they are standing or sitting, what mood they are in and what they are doing (or want to do), and adjusts itself accordingly. Big Brother is watching you? Yes, it might seem that way to some. But when I imagine that on one evening I have guests round for a cocktail party, on the next I get into a good book in my armchair and on the third I have card night and the light always quietly adjusts itself so its just right, well, if I had such a light, I would never want to be without it! Whatevers then left to adjust would be no more technically demanding than, and how much colour would Sir like? Most of the technology needed for such scenarios is already available today and at least its already small enough. The switch cabinet is history and accommodating the electronics no longer causes any problems and whatever remains, seems in reach. In an age of all-embracing networking, the technology of lighting control systems will become more like computer networks. In the end, each luminaire will get its own IP address, as once just computers had. With scant regard for their origin, the commands of DALI and its consorts will mutate into data packets with Internet protocol. The boundaries between the various systems will become more blurred. Even now there is an utterly insurmountable myriad of translator modules and interfaces available for translating one protocol into another or enabling their inclusion in networked building technology. Your PC already shows how its done; have a look how many different file formats your text editing program can deal with. Computer technology also shows the way ahead in other respects. The Internet can now be accessed via computer networks, public WLAN access terminals and high-speed mobile phone networks; new possibilities are constantly being created. Even lighting control systems will no longer trust their data to the classic two-wire cable in future. Wireless solutions already exist and others based on the ZigBee radio standard are already in the starting blocks. Even a resurrection of Powerline trans mission seems tangible once youve experienced how robustly PCs now perform their frantic data com mu nication via plug adapters and power cables. The more complex the technology, the more invisible it is for the user. Powerful software and the miniaturisation of electronics have of course made this easier. At the same time, the look of the devices as a whole has come away from their technical
origins. The engine bay of a modern car, full of smooth covered panels, looks more like a stack of shoe boxes than a machine, and mobile phones have long been seen more as lifestyle accessories than as technical equipment. The less the technology is visible, the more significant the outward appearance presented to the user becomes. Of course it is important that the operating buttons on a device are logically arranged and the softwares menu structure is clear, but a product only becomes successful when it has a further, tactile quality: it has to feel good to the touch, to operate and to hold in your hand. Operation not only has to be plainly understandable, it also has to be fun. The company with the little fruit badge has been demonstrating this for years with massive success, but if you look at the operating concepts of todays lighting control systems, you will be soberly reminded that there is often a lot still to do. Yet, who knows, perhaps mobile phones will prevail as the remote control for our lives, so that when you buy a lighting control you will just have to download the suitable software packet onto it. That is also within reach: the last Light&Building trade fair featured corresponding studies for iPods for all to marvel at. Perhaps not only the technical possi bilities will develop further but also the markets that receive them. The automotive branch has already shown this: new technology always makes its debut in the top price bracket and spreads down to the mass market in the course of time. This was the case with air conditioning and ABS and will not be any different with driver assistance systems. By contrast, in the lighting industry there has always been a clear separation between the large-scale project business and the end consumer market. The sector for high-quality lighting solutions concentrates on prestigious buildings and is worked by the well-known names of the architecture and lighting designer communities. There are prime examples here for successful lighting control concepts, yet hardly any part of them finds its way into other market segments. Walking through a lighting shop or the luminaire department of a high-quality furniture store, you will soon get the impression that technical progress stopped shortly after the invention of the light bulb and then, without warning, jumped right across to gaudy, coloured LEDs. There are not really any serious control systems or even just some usable suggestions for dealing with coloured light. Well, Im not expecting to be able to buy an EIB system in the furni ture shop, but a stripped down plug n play DALI beginners set for the light show in my home cinema wouldnt go amiss and Im sure I wouldnt be the only customer. It may be that this area has not been very important to date, but, in the wake of home networking driven by computer and media technology, this too will change. After all, the omnipresent PC technology of today
also started out as the exclusive preserve of specialists over twenty years ago. Even if the technical development takes a different course than the one predicted, one thing is for sure, every power increase will be completely absorbed sooner or later as the hunger for resources of increasingly complex applications catches up. The drive spring of progress remains tensioned.
About 20 years of lighting control at ERCO separate these two pictures. The first system, an EOS type, was programmed by a wired remote control unit and controlled a handful of circuits in the auditorium of ERCOs Technical Centre in Ldenscheid (above). Today, a Light System DALI operates over 160 luminaires with more than 375 individ
ual addresses easily accessed with the Light Studio PC software (below).
Prof. Dr. Markus Gehnen Born in 1963, Markus Gehnen has been a professor at the Bochum University of Applied Sciences for over ten years now. He studied electronics and electrical engineering at the RWTH college in Aachen. After graduation, he designed for AEG Lichttechnik helping them make their first steps in lighting control systems. The subject of lighting and building automation continues to fascinate him to this day. He is a published writer in technical journals and takes part in standardisation processes. At the university he runs a laboratory for buildings systems technology, while at his design offices he advises manufacturers and users alike on current technology and its possible applications.
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New: Powercast projectors and floodlights

Powercast is a universal range of economic lighting tools for outdoor applications. The projectors and floodlights feature cuttingedge technologies including LEDs and Spherolit reflectors for efficient visual comfort. Their system design with a uniform housing shape produces a symmetrical light distribution from narrow spot to wide flood accent lighting and also various wide beam distribution patterns. Powercast is a highly versatile, cost-effective and flexible range of luminaires used, as an example, for the illumination of facade details, signs or vegetation.
Powercast produces a wide range of light distribution patterns for a wide variety of lighting tasks.
Powercast with LED As a particularly low-maintenance and energy-efficient version, Powercast projectors are also available with LED technology in warm white and daylight white light colour. Optimal lighting control is ensured by lens systems consisting of a specially developed collimator and different lenses for spot, flood and wide flood characteristics. The resulting beam angle is based on the usual spotlight characteristics for conventional ERCO spotlights.
Lighting control The plastic collimating lens designed and produced by ERCO creates a parallel beam, while a further special lens produces the precise beam angle required.
Daylight white Powercast spotlights in daylight white of 5500K ensure superior efficiency with acceptable colour rendition. The light colour is similar to daylight.
Warm white In warm white, Powercast spotlights have a somewhat lower light output ratio than in daylight white, but better colour rendition. The light col our of 3500K closely approximates the light of halogen lamps.
The Powercast projectors for low-voltage halogen lamps or metal halide lamps feature replaceable Spherolit reflectors.
Narrow spot To accentuate smaller objects with high illuminance or to cover considerable distances between luminaire and object. Beam angle < 10.
Spot The standard characteristic to accentuate all kinds of objects, specifically to model the three-dimensional shape. Beam angle 1020.
Flood For efficient accent light on larger objects or for wider spread lighting throughout specific areas in a room. Beam angle 2535.
Wide flood To provide flexible floodlighting for surfaces and specific areas in a room. Beam angle > 45.
Oval flood To provide floodlighting for surfaces and objects. The oval-shaped beam can be swivelled for vertical or horizontal light distribution.
To provide a soft gradient, the floodlight with Spherolit reflector oval flood up to 150W is available with a Softec lens as an accessory.
For greater flexibility in practical applications, the Spherolit reflector oval flood can be rotated through 360 and fixed at 90 positions. Similar to the use of a sculpture lens, the oval-shaped beam can be aligned for optimal illumination of the object.
Washlight Wide-beam, asymmetrical light distribution for floodlighting vertical surfaces such as facades, walls or hedges.
Floodlights with Spherolit reflector washlight up to 70W are equipped with a Softec lens.
The housing swings open for easy lamp or reflector change. The Spherolit reflector can be replaced without tools.
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New DALI products
WLAN
Hub/Switch
1 Zone A Zone B
2 Zone C
Light Studio Light Server Media technology control
Zone A + B
Connection of Light System DALI and PC via network In addition to USB cables, the PC with the Light Studio software can now be connected to the Light Server 64+ via Ethernet, either directly by cable with a single Light Server 64+ or via a hub or switch. The PC and hub can also be connected by cable or wirelessly (WLAN). This option provides the flexibility needed to set up systems in more than one room, on a wireless notebook PC. Scenes can thus be programmed where they are actually needed. Connection of media technology Ethernet may also be used to connect the Light System DALI with standard controls for media technology. Many functions of Light System DALI can be controlled using a documented programming interface. Media controls from the manufacturer AMX are already compatible with Light Studio. Partition interconnector Scenic light seems indispensable particularly in multifunctional rooms such as conference rooms or banquet halls. There are only a few lighting control systems that can manage rooms which are separated by movable partition walls in a truly intelligent and user-friendly sort of way. The current generation of the Light Server 64+ and the Light Studio software provide just such a practical solution. The limit switches of up to 4 partition walls in the system signal their states via the digital/ switch inputs on the Light Server. The operating devices in the room segment concerned, such as pushbuttons or Light Changers, then respond as was previously programmed in the Light Studio software and control the combined rooms as shared zones.
2 Zone C
Licht Quellenwahl Projektor
zustzliche Funktionen VCR Bedienfeld DVD Bedienfeld Audio Foyer
ENDE
Audio Controls
MIC
mute
1 Zone A Zone B + C
AMX, a leading manu facturer of media controls, has prepared its products for integration into ERCOs Light System
DALI and provides appropriate models.
In Light Studio, attributes and scene lists for potential room configurations are shown as zones and are controlled automati-
cally depending on the status of the partition walls.
Documenting projects To document lighting control projects using Light System DALI, the Light Studio software now makes use of a dialogue which provides a range of adaptable options. The resulting page number of the documentation is automatically identified and displayed. The project documentation can then be printed or, depending on the PC configuration, can be produced in a digital format (e.g. .XPS, .PDF).
Master dimming action The master dimming function is used to increase or decrease the overall brightness of a zone using push-buttons or the Light Changer. To master special lighting tasks and take account of differences in the dimming function of the lamps, the master dimming action of each Light Client can now be controlled individually. The Light Book module of the Light Studio software provides the relevant tool. Dimmable Light Clients with LEDs, low-voltage halogen lamps or fluorescent lamps for example, provide a choice of linear func tion and operation that prevents the Light Client from falling below a pre-defined limit or in turn, switches it off. Switchable Light
Clients (DALI switching actuators, HIT luminaires) can be given individual switching thresholds.
As an additional feature each Light Client can now, depending on its dimming features, be defined individually in relation to the master dimmer.
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Focus
Lighting control systems with digital inputs Lighting control systems such as Light System DALI allow the setup of complex light scenes and sequences to match the functional aspect of lighting with flexible design to the architecture. The light scene to be called up in a specific situation is determined either automatically by way of sensors or manually using appropriate control panels. In addition to comfortable, system-specific input devices, the lighting control system should also allow integration of standard push-buttons, switches and sensors. For this, the central controller, used for purposes such as storing the data of various light scenes and sending them to the luminaires, requires programmable inputs that can be flexibly assigned the required functions. Light System DALI provides two basic types of Light Server inputs: digital and analogue. Digital inputs only know the off and on settings and cannot process intermediate values. Switches and push-buttons send appropriate signals. These alone allow a wide range of different operating scenarios: a switch can change between two light scenes or between a light scene and the previous scene. A push-button can recall a predefined light scene or, on repeated operation, run off scene lists of up to 30 scenes. Mul tiple keypads are used to recall sev eral light scenes directly: the Light Server provides a maximum of 8 digital inputs here. To provide the same functionality in several places in the room, if the room has more than one access point, for example, the push-buttons are connected in parallel. In terms of output signal, twilight switches or motion sensors are similar to a switch and can be connected to a digital input. The switching threshold, the measured value at which the sensor signal changes its status, is set at the sensor itself. The change of status activates the function preprogrammed in the lighting control system. The functions to be activated by signals to the digital inputs are defined and customised in the Light Studio software. In addition to recalling light scenes, sequences 24 ERCO Lichtbericht 87 Lighting control systems with analogue inputs Contrary to digital inputs, analogue inputs also register intermediate values. This makes it possible, for example, to connect a brightness sensor which, in contrast to the twilight switch, sends an analogue rather than a digital signal with a voltage proportionate to the brightness level measured. As an outdoor device, the brightness sensor can adjust the artificial lighting to the daylight conditions. When using Light System DALI, the switching thresholds are predefined in the Light Studio software, with light scenes assigned to the value intervals. A typical application is gradually supplementing daylight with artificial light when the intensity of the daylight is no longer sufficient for the lighting tasks required. At workplaces, for example, natural light can thus be used more easily and saves a considerable amount of energy. In museums, brightness sensors control the ratio of daylight to artificial light, but also shading systems preventing damage to artwork due to excessive exposure to light. A suitable delay switch in the logic of the analogue inputs prevents undesired toggling if the analogue input value fluctuates around a switching threshold. In other situations, such as in restaurants, shops or shop windows, artificial light is often used to create a certain contrast. Full daylight requires higher illuminances than overcast conditions, in twilight or later at night, i.e. high brightness values are assigned bright light scenes. Thomas Schielke
Double focus
and scene lists, further options available are special functions such as master dimming using rocker switches for operating con trol. Other such special features include the timer function for push-buttons, e. g. for timed staircase lighting, or the All Clients function, which switches all luminaires in a system to 0% or 100%.
Switch Scene change S2
Push-button Scene change S2 S3 S4
Brightness sensors send analogue values and allow a more differentiated assignment of light scenes to the ambient brightness than twilight switches.
A possible application of outdoor sensors is the daylight-dependent control of facade lighting.
S1 Time
S1 Time
Switches are used to change between two scenes. If operated repeatedly, push-buttons can activate a sequence of assigned scenes. When using sensors, the twilight switch sends a digital signal to the digital input of the Light Server when a predefined switching threshold is reached, to initiate a change between two light scenes.
Twilight switch 100
Brightness sensor 100 Scene change S1 S2 S3 0% Time
In the lighting control software, different brightness values are assigned different light scenes.
Scene change 0% Time
S2 S1
Standard switches and push-buttons used to operate lighting control systems are a familiar, uncomplicated and economical alternative or addition to systemspecific, more convenient control panels such as the Light Changer.
To ensure a constant contrast throughout the day when using accent lighting, an analogue brightness sensor can recall light scenes with appropriate illuminances to suit the daylight via an analogue input in the lighting control system.
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Mnsterland estate Mise en scene with DALI
Architect: Andreas Heupel, Mnster Photos: Thomas Mayer, Neuss
Built in 1702, light floods through the glass wall of this otherwise authentically restored estate. The aesthetics and comfort of today join with centuryold traditions.
A living space, with ever changing effects created by different light scenes. Initially neutral, but then with a significant proportion of vertical illuminance added. Scenic light is also ideal for the kitchen. The first light scene provides brilliant light for the workspaces and sets the mood for cooking.
A scene with sparsely used and specifically directed accent lighting emphasises furniture and objects in individual zones of the room, creating a feeling of intimacy. In the third light scene, the vertical components are dimmed in favour of the pendant luminaire, the table becoming the centre of attention.
The second light scene with floodlighting on the opposite wall creates a more neutral atmosphere in the room.
Many city dwellers dream of living in the country, but only a few turn their dream into reality with such dedication as the owner of this residence. An entrepreneur in the creative industry, he had this listed estate in the Mnsterland converted into a refuge for himself and his family, combining historical elements with the latest mod cons and minimalist aesthetics. The design approach chosen assists the residential architectural integration of 21st century lighting technology and lighting controls as discreetly and compacted as never before. The combination of low-voltage recessed spotlights and wallwashers from the Quadra range, with their own Light System DALI control, typifies in pure unadulterated form ERCOs concept of light, not luminaires. Freely programmable and easily recalled light scenes allow the residents to set the right mood with ever changing effects for their ambience and their life, while effectively controlling and reducing their energy consumption.
Combining both types of lighting lends a bright, inviting and festive atmosphere. As control panels, ERCO chose Light Changers with their easy-to-use touch screen display. The light scenes are shown with plain text names and numerous additional functions provide further options.
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Emden Art Hall Nocturnal delight with DALI
Where public buildings and cultural facilities are of functional use during the day, at night their purpose is to provide a striking appearance in the urban environment: Light System DALI and the Light Studio software with its Light Timer and Light Sequencer modules solve this task both conveniently and economically.
Architects: Friedrich and Ingeborg Spengelin, Hanover; Venneberg & Zech, Hanover. Photos: Rudi Meisel, Berlin http://kunsthalle-emden.de
Which temple of art has ever had its own jetty? The Art Hall in Emden owned by the Henri and Eske Nannen Foundation is situated on the picturesque Emden moat. In 1983, the former editor-in-chief of the Stern magazine, Henri Nannen, decided to donate his extensive art collection to his home town of Emden for display in its own museum. The delightful brick building ensemble designed by the architects Ingeborg and Prof. Friedrich Spengelin was handed over to the public in 1986. A gift from Munich-based gallery owner and collector Otto van de Loo increased the collection to the point that the Art Hall needed an extension. In an international competition, the architectural firm of Venneberg & Zech working together with Prof. Friedrich Spengelin won first prize and commenced with their extensive building work in 2006. They developed an energetically optimised concept for the old and extension buildings using intelligent heating and ventilation control systems along with a heat recovery facility. Special focus was placed on the coordination of daylight and artificial light. Wooden components in the old building were painted white, the new part was provided with lightcoloured materials to improve the reflection factor for higher illuminances with lower lamp wattages. The venetian blind controller reacts to sunlight and daylight; artificial light is added in appropriate doses and dimmed accordingly. The reopened Art Hall is not merely one of the main cultural attractions in Emden. Now more so than ever it also takes on the role of an urban-like visiting card. Inside, ERCOs lumi naires place the art in the right light, while new outside lighting lends the entire building ensemble a special nocturnal appearance. The Light System DALI facilitates different lighting scenarios which, where required, can also project coloured light onto the white plaster of the vestibule and foyer walls to bring out effectively the contrast between traditional brick building architecture and the inviting transparency of the glass-encased entrance.
The Light System DALI used in Emdens Art Hall integrates a multitude of different luminaires such as indoor and outdoor luminaires, DALIcompatible Light Clients and standard luminaires using DALI dimmers and actuators.
The Light Timer module in the Light Studio software is used to recall scenes at predefined times.
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Central Garage car museum tune the light with DALI
Photos: Dirk Vogel, Dortmund www.central-garage.de
Variable colour accents on the columns implemented by Optec varychrome LED spotlights. The Light System DALI lighting control installation, integrates such scenographic effects with general and exhibition lighting together under one user interface.
DALI PLUG+ PLAY
Beautiful old cars are fascinating. As a successful combination of aesthetics and function, vin tage vehicles reflect the design of their period and the corresponding technological develop ments. This fascination comes into its own here in the Central Garage car museum in Bad Homburg, Germany. Since 2007, the former car showrooms have provided an exciting backdrop for the original painted and chromed beauties. These not only include models such as the Mercedes SL, the DKW Monza or the Grantura from the British TVR stables, but also Horex motorbikes, the East German Trabant and the Citron 2CV. In addition to the permanent collection and rotating exhibitions on the history of the automobile, the car museum also provides a prestigious venue for various events. For private parties, conferences or company presentations, hosts can make use of a big entre with a multi media projection screen, rooms extending over two floors with variable partitioning and an excellently equipped catering facility. 30 ERCO Lichtbericht 87
ERCOs flexible lighting concept is perfect for such multifunctional uses. The lighting control of the luminaires with the Light System DALI can create highly varied room atmospheres. Usage scenarios with lighting characters varying between neutral and expressive are easy to set up for the indoor area to suit the clients wishes. The ambient lighting is provided by Optec spotlights fitted with economical HIT lamps. In the evening, brilliant accent lighting from Optec low-voltage halogen spotlights highlights the exhibits. The dimmable halogen light also provides the ambient and accent lighting for parties and celebrations. Optec spotlights and Focalflood facade luminaires with varychrome technology and high-power LEDs can additionally illuminate walls and columns with coloured light.
The aesthetics of vintage cars is brought out in the room of light produced from a balanced combination of both ambient and accent lighting. Here a Mercedes Benz Type 370S Mannheim from 1931 gleams under the lighting.
In the Optec varychrome LED spotlights with DALI adapters, 12 high-power LEDs produce coloured light. The colour focus of the light can be controlled with the Light Studio software of the Light System DALI. The Softec lens ensures that the primary colour components are uniformly and softly blended. The required lighting scenarios in the Central Garage car museum can be set up and recalled quickly and easily with the software integrated in the ERCO Light System DALI installed on a portable PC or laptop. With a few mouse clicks the user can enter dynamic dimming progressions and colour progressions for the DALI-controlled uminaires and can l directly check the result of the lighting effects.
31
LPP Reserved Shop, Warsaw DALI scenography for shop windows
Architect and lighting designer: Studio 1:1, , Dariusz Brunka, Photos: Rudi Meisel, Berlin www.lpp.com.pl
DA 1 DA N
DALI track When using spotlights with DALI adapters, ERCOs classic track profile is connected differently from the standard 3-circuit track. Instead of supplying power, two of the copper conductors are used to transmit the DALI signal (DA).
PE
As a fashion label, Reserved is the flagship of the Polish textile corporation LPP and presents a grandiose success story for the young market economies in Central and Eastern Europe. Founded as early as 1990 and operating as a stock corporation since 1995, the company has grown rapidly over the past few years. Its stores have expanded far beyond the borders of Poland into neighbouring Baltic countries, the Czech Republic, Slovakia and Hungary and on to Russia and the Ukraine. For the first time in 2007, LPP netted profit in excess of one billion Zloty, about 265 million euros. The first Reserved shop opened in 2000. Today, the chain has over 190 stores with further prospect of growth. The stores are found in city centres, but also in shopping malls such as the Galeria Mokotow in Warsaw. Here especially, amongst the dense competition of international brands, the architectural appearance and the lighting design are crucial. Part of the Reserved concept as devised by the office of Studio 1:1 in Gdansk are dynamic lighting effects using Light System DALI within its shop windows. The designers were banking on the attention factor created by changing light qualities such as contrasts, the direction of the light itself and modelling. DALI-compatible Quinta spotlights for QT12 100W low-voltage halogen lamps are mounted on DALI tracks and connected with the Light Server. For individual control of the spotlights, the designers opted for dynamic progression an option available in the Light Studio software for all dimmable Light Clients. The lighting now attracts the attention of customers and, depending on the decoration, directs their eyes toward the mannequins, the displays or other items within the shop window.
DALI PLUG+ PLAY
In the Light Master module of the Light Studio software, dimmable Light Clients also provide the option of dynamic progression, used here by Reserved for shop window effects.
Start the dynamic progress of the dimmer: with the accent lighting dimmed, the general mood is set by a diffuse ambient light. The contrasts are soft.
Quinta1 Quinta2 100
0% 5s 10s 15s
5 seconds later the accent lighting increases to 100%. Sharp display contrasts are produced from spotlighting the manne quin. For eye-catching and light-changing perception, dynamic progressions can be set at short cycles: LPP chose approx. 10 seconds. It doesnt have to be coloured light! In the typical environs of a shopping mall with its high brightness level, dynamic lighting is an effective means of alerting the interest of customers.
33
St. Peters Church, Stavanger Liturgy of light with DALI
Architects: Conrad Fredrik von der Lippe (1833-1901), Helge Schjelderup, Stavanger (Restoration) Lighting design: Erik Selmer (ELDA), Trondheim Photos: Thomas Mayer, Neuss
St. Peters was one of the first brick buildings in Stavanger, a city whose traditional wooden houses had often fallen victim to devastating blazes in the course of history.
DALI PLUG+ PLAY
With a population of over 120,000, Stavanger is Norways fourth largest city. Together with Liverpool, it co-bears the title for the European Capital of Culture 2008. The 19th century St. Peters Church is one of the citys architectural jewels, and following elaborate restoration, now serves as a venue for cultural events during the festival year. The authorities of Stavanger commissioned the building of St. Peters Church in 1861 when the medieval cathedral became too small because of population growth. The Norwegian architect Conrad Fredrik von der Lippe (18331901) built the neo-Romanesque sacred building between 1864 and 1866. His design was heavily influenced by Karl Friedrich Schinkels Church of St. John in Berlins Moabit district, an architect with whom he had become acquainted during his studies in Germany. In the years from 2004 to 2008 the church was given a thorough restoration in line with the strict standards for listed buildings. In particular the naves unusual hammer-beam roof had to be extensively secured. Under the guidance of architect Helge Schjelderup, the church building was restored to its former glory in all its solemn, sombre beauty and, in addition, was also carefully modified and extended in order to enable flexible, contemporary usage. Thus, as well as providing regular church services, St. Peters also serves as an attractive concert hall with excellent acoustics and as a drop-in centre for people living on the fringes of society. Even the original gas lanterns, now con verted to use modern lamps, are once again in place within the church, albeit solely as the decorative component of light, known as Play of Brilliants, within a state-of-the-art, flexible lighting system a system that can be adjusted to suit all usage scenarios and fully exploits the artistic possibilities of controlling the lighting with Light System DALI.
The DALI installation with numerous individually controllable Optec spotlights and wallwashers provides extreme flexibility and optimum visual comfort. The luminaires feature high cut-off angles and are also mounted far above the field of vision on Monopoll DALI track.
Religion and ritual are inseparable. Since time immemorial religious services have followed a fixed dramaturgy or rather liturgy, to use Christian parlance. Nothing could be more fitting than to augment the sequential order of service with the appropriate scenographic light. For such liturgical purposes and also for the increasing practice of using sacred buildings for cultural events, the Light System DALI lighting control system is an ideal tool. The large number of individually addressable DALI Light Clients provides a variable and flexible matrix of luminaires that enables atmosphere, emphasis and spatial perception to be controlled over a wide range, while pre-defined light scenes can be easily and efficiently set up, saved and recalled either individually, in sequences or on a timer-controlled basis.
The ELDA lighting designer Erik Selmer from Trondheim developed the scenographic lighting concept in close cooperation with ERCO, the architects and monument preservationists. The nave can accommodate up to 1,500 visitors. Standing in the centre of focus is a copy figure of Christ by Danish artist Bertel Thorvaldsen. Lighting is provided by discreetly mounted Optec spotlights and wallwashers on Monopoll DALI tack. This sequence of images demonstrates how much the spatial perception can be influenced by different lighting scenes.
The Light Studio software enables the Light System DALI installation to be set up and programmed on site. Once the scenes and sequences have been determined the laptop is no longer needed for everyday operation and the installation can be controlled solely by the Light Changers wall unit (see grey column above) or off-the-shelf switches and push-buttons.
35
Backlights
Oslo showroom opening On the 14th of August 2008, the new ERCO showroom in the Norwegian capital of Oslo ceremo niously opened its gates. Behind the historical, prestigiously illuminated facade on the Kirkegata road, architects and lighting designers now find modern premises. Here the Norwegian ERCO team offers a full range of architectural lighting services ranging from lighting consultation and provision of samples through to seminars and events. Contact ERCO Lighting AS Kirkegata 5 0153 Oslo Postboks 771 Sentrum 0104 Oslo Norway Tel: +47 2414 8200 Fax: +47 2414 8201 Email: info.no@erco.com
Milan showroom opening In the Italian design capital of Milan, ERCO puts the accent on lighting design with a new, spacious showroom. Offices, conference rooms and a mock-up area, complete with all the facilities for presenting luminaire samples, are nicely accommodated on two levels in a former industrial building. Even the outdoor area of the Edificio Sedici in North Milan has been extensively redesigned. Scenically illuminated with ERCO outdoor luminaires, it now provides an attractive environment for companies from the creative branch. Together with clientele and other friends, ERCO Italy celebrated the opening on the 18th of September 2008 here are some impressions of the celebrations and the new premises. Contact ERCO Illuminazione S.r.l. Viale Sarca 336 F 20126 Milan Italy Tel: +39 02 365 872 84 Fax: +39 02 643 7831 Email: info.it@erco.com
The organisation of the new offices is completely geared towards the requirements of the Italian market, but the look is typically ERCO as ERCO directors Britta Schreiter and Tim Henrik Maack were able to see for themselves (above).
ERCO clientele and staff, together with friends and relatives, celebrated the showroom opening in a relaxed and casual atmosphere so typical of Scandinavia.
The richly ornamented Wilhelminian facade is scenically illuminated by Cylinder facade luminaires and Grasshopper LED projectors.
The new showroom fulfils all the requirements for continuing ERCOs successful sales work in Norway. The large windows afford a deep insight into the offices inside and alert the interest of passers-by.
Mediterranean esprit set the tone for the opening celebrations. The event also extended into the spacious inner courtyard, scenically illuminated by ERCO outdoor luminaires. Staff from neighbouring workshops and studios also joined in the party (left). In the mock-up area of the new showroom, scenographic lighting effects can be presented whenever needed (right).
37
Maritim Utescene, Haugesund With its attractive surroundings and open-air stage, the small Norwegian harbour town of Haugesund regularly attracts up to 10,000 visitors to the open-air events. This is no fictional figure. The Sildajazz festival alone, held in Haugesund since 1987, recorded 50,000 visitors in 2008. The neighbouring Rica Maritim Hotel runs the facility. When there is no scheduled evening event and to ensure that the striking white-clad stagetowers, located directly on the quay wall, are a spectacular sight, the designers combined ERCOs Light System DALI with 16 Grasshopper varychrome LED projectors. The lighting produced enables a fascinating scenic dis play for the minimum power con sumption. Architect: Opus Arkitekter, Haugesund Electrical design engineers: Cowi AS, Haugesund www.hotelmaritim.no
ERCO GmbH Postfach 2460 58505 Ldenscheid Germany Tel.: +49 2351 551 0 Fax: +49 2351 551 300 info@erco.com www.erco.com

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Published in December 2008

About this issue

About this issue Keylights Bright prospects

Light & Technology

Backlights New ERCO showrooms in Oslo and Milan

Indre Kai, Haugesund (Norway) Photo: Thomas Mayer, Neuss www.haugesund.no

New York Times Building

List of ERCO luminaires used

Beamer projectors Facade and pathway lighting

Lightscoop washlights Facade and indirect lighting

Stella spotlights TheTimesCenter auditorium

Optec wallwashers Conference rooms

LED orientation luminaires Atrium

Let the lighting technology decide

New York Times Building

Tune the light!

preferences for equipment mounting.

New: Powercast projectors and floodlights

New DALI products

Light Studio Light Server Media technology control

Licht Quellenwahl Projektor

zustzliche Funktionen VCR Bedienfeld DVD Bedienfeld Audio Foyer

DALI and provides appropriate models.

cally depending on the status of the partition walls.

Switch Scene change S2

Push-button Scene change S2 S3 S4

A possible application of outdoor sensors is the daylight-dependent control of facade lighting.

Twilight switch 100

Brightness sensor 100 Scene change S1 S2 S3 0% Time

Scene change 0% Time

Mnsterland estate Mise en scene with DALI

Architect: Andreas Heupel, Mnster Photos: Thomas Mayer, Neuss

Emden Art Hall Nocturnal delight with DALI

Central Garage car museum tune the light with DALI

Photos: Dirk Vogel, Dortmund www.central-garage.de

DALI PLUG+ PLAY

LPP Reserved Shop, Warsaw DALI scenography for shop windows

DALI PLUG+ PLAY

Quinta1 Quinta2 100

St. Peters Church, Stavanger Liturgy of light with DALI

DALI PLUG+ PLAY

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