good lighting for hotels and restaurants 11 - lighting associates, inc

Fördergemeinschaft Gutes Licht

Good lighting for Hotels and Restaurants 11

or work or recreation, business orpleasure – whatever the reason, allsorts of people spend a great deal

of time in hotels and guest houses, restau-rants and bars.

Whether the experience is a positive onedepends on a lot of factors. But visual im-pact is high on the list.Outside our normal environment our sens-es are particularly alert, ready to registerand store unfamiliar and positive new im-pressions.

This is an automatic human response –one that paves the way for an appreciationof surroundings crafted for aesthetic ap-peal.

The travel experience

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For details of illustrations, see acknowledgementsfor photographs on pages 44ff.

■ Visual information accounts for 80 per-cent of all the information a human be-ing receives.

■ Light makes the quality of our environ-ment visible and impacts on our emo-tional and subconscious response.

■ The rules of sensitive, practical lightingdesign are complex.Lighting designers offer special expert-ise and solutions.

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IntroductionTrends

Pages 8-19

Public areas

Pages 20-23

Circulating areas

Pages 24-31

Private areas

Pages 32-35

Offices Kitchens and utilityrooms

Pages 36-37

FaçadesOutdoor areas

e respond emotionally to the pres-ence of light and enjoy intuitivelythe different kinds of atmosphere

that daylight or artificial lighting creates.

So, in hotels and restaurants, lighting at-mosphere should never be left to chance.Like a stage production, visual ambienceand impact of light can be planned downto the very last detail.

A good lighting constellation – whether it isdesigned to aid orientation, facilitate com-munication or promote a sense of well-being – plays a key role in shaping the waywe assess any experience, even if that assessment is on a subliminal level.

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he quality of daylight has had a cru-cial influence on the developmentand capacity of the human eye. The

environmental requirements of our com-plex visual organ are high – and so, there-fore, are the quality standards that need tobe met by artificial lighting. It would be wrong, however, for the lightingdesigner to seek to copy the characteris-tics of daylight.

Modern lighting technology offers a widerange of lighting tools specifically designedto solve different problems. They should beused discriminatingly.

In modern society – with its strong em-phasis on information, communication andleisure pursuits – we increasingly spendevenings and hours after dark engaged ina wide range of activities that enrich ourlives. Without artificial lighting and the high tech-nical and visual standards it achieves, thiswould not be possible.

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Welcoming and catering for guests day and night

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uman perception works on manylevels – a fact that particularlyneeds to be borne in mind when

implementing plans for artificial lighting.

Just as a good architect harnesses daylightby incorporating different shapes of win-dow and openings for light into the designof a building, so too should artificial light-ing be planned in detail. While the architect’s plans are based on thesun, a punctual light source shining on theoutside of the building, the artificial lightingdesigner needs to take account of a vari-ety of different light sources inside thebuilding.

Daylight planning is complex – due to theconstantly changing position of the sun andthe quality/quantity of light – but planningartificial lighting involves addressing manyfactors. The different physical properties of the lightsources, their specific beam characteristicsand light colours, even their impact on theinteriors and objects illuminated need to beassessed and considered in the lightingdesign.

Pages 38-39

Lamps

Pages 40-41

Lighting management

Pages 42-43

Emergency lightingRegulations

Pages 44-46

Acknowledge-ments

Pages 47-48

Order cardPublisher’s imprint

Page 49

FGL publications

■ Artificial lighting plans need to take account of the constant changes in day-light.

■ Lighting creates an atmosphere only ininteraction with illuminated room sur-faces, objects and shapes, structures,textures and colours.

■ Under artificial lighting, the appearanceof an interior and the objects in it is different from in daylight.

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People in hotels and restaurants

otels and restaurants are classicservice enterprises. As such, theyrequire a lighting atmosphere de-

signed specifically to meet guests’ or din-ers’ needs.

The quality of lighting this necessitatesdoes more than just enhance the visualimpact of the hotel or restaurant architec-ture; first and foremost, it sets the stage forthe guests themselves.

To attain that goal, close attention needs tobe paid to contemporary lighting designcriteria and, in particular, to “lighting quali-ty”. This is a factor shaped by a wholerange of quality features – from illumi-nance, glare limitation and luminance dis-tribution to light colour, colour rendering, di-rection of light and modelling. The basic ingredients of lighting quality areset out in technical standards. But lightingquality also needs to strike the right emo-tional note for the people, interiors or ob-jects illuminated. This calls for creative useof basic lighting quantities: luminous flux,luminous intensity, luminance and illumi-nance. And that needs to be based on analysis ofthe various zones of the establishment.

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taff at a reception desk, in a restau-rant or bar, or anywhere else whereguests seek personal contact need

to be clearly visible and easy to identify.Disturbing shadows should be avoided.Where too much bright lighting is directand directional, deep shadows are cast onfaces. For face-to-face communication, lightingneeds to be planned and crafted so that facial features are bathed in soft, harmo-nious light.

■ The perfect lighting design accuratelyreflects the findings of a detailed analy-sis of the different areas of the estab-lishment.

■ The criteria that define the quality ofmodern lighting planning are: lighting quality economyreliability design

■ The quality of artificial lighting plays a key role in shaping the image of a hotel or restaurant.

■ Briefly, the basic lighting quantities are:luminous flux (lumens) – the rate atwhich light is emitted by a light source;luminous intensity (candelas) – theamount of luminous flux radiating in aparticular direction;luminance (candelas/m2 ) – the per-ceived brightness of a surface;illuminance (lux) – the amount of lumi-nous flux falling on a given surface.

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Trends

andlelight dinner. The challenge ofspeaking to the soul.Let’s start with a quote from a light-

ing designer: “Because luminaire manu-facturers increasingly encounter architectswith a desire to make a strong designstatement, manufacturers’ architecturaland custom lighting departments are get-ting better all the time. They also work in-creasingly with independent lighting de-signers. The role that has been adopted by lightingdesigners is that of interpreter between in-terior designer and electrical engineer. But they are also designers in their ownright. They are specialists in lighting at-mosphere and lighting aesthetics.”The quote says it all. No architect shouldhesitate to engage specialists to optimisethe service he offers.Lighting designers know about the impactof light. They offer the experience that en-ables a creative design, a vision to becomea reality. And they do it a great deal better thancomputers packed with technical data andhigh-resolution graphics.

Lighting today has become such a tech-nologically complex subject that this kindof cooperation is imperative.

It is more than just a matter of lighting con-cepts delivering the right quantity andquality of light without undue energy costs. It is more than a matter of intensity distri-bution curves and illuminance diagrams. It is primarily about developing lighting atmospheres finely tuned to the diverseand changing needs of a particular interi-or design.Good interior design speaks to the heart.And that calls for experience in this sensi-tive area – experience that makes it possi-ble to realise a vision. Creative, poetic design work is needed.Perception of light and a sense of well-being are key to a positive experience.

dentifying design trends for hotels andrestaurants calls for a capacity for keenand sensitive observation and a great

deal of creative imagination. Jan Wichers, who runs a design studio inHamburg, possesses both of these quali-ties.A host of international contracts and acco-lades testify to his sense of style and thequality of his work. Here, he muses on thesubject of lighting.

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7Fördergemeinschaft Gutes Licht

Because wrong use of light can deal adeathblow to the heart and soul. That iswhat happens when the emotional dimen-sion is ignored.

Making effective use of light means alsoworking with shadow, with darkness. Acceptance depends on the different levels being right. What counts is the emotional quality of thelighting; light needs to work magic.Think of the magic in the phrase “candle-light dinner”.A warm, romantic atmosphere full of prom-ise – created entirely by the light of a sin-gle candle. The lighting required is minimalbut it needs to be crafted with care andsensitivity. Through the retina to the soul –direct. That is good lighting.

Jan Wichers, Hamburg

■ In lighting design, emotional qualitycomes first.

■ Lighting designers are specialists inlighting atmospheres and lighting aes-thetics and offer experience whichmake creative joint design work possi-ble.

■ Harnessing light also means workingwith shadow.

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Foyers, halls and lobbies

irst impressions are crucial – andartificial lighting plays a key role indetermining what those impressions

are and where they are made.

If the first positive impression is not madeby a helping hand or a successful searchfor a parking space, it is the foyer, hall orlobby that shapes a guest's first opinion ofthe hotel.

At dusk, and especially at night, a lightingambience that emphasizes the lines andcontours of the architecture and interior design can be particularly advantageous.

oyers and halls are parts of thebuilding where people converge.They form a link between outdoor

areas and the inside of the building.

Their main purpose is to act as centres forinformation and communication.At the same time, however, lighting supportis needed for other, subsidiary functions,e.g. staging presentations and possiblysales operations, helping visitors get theirbearings, directing guests to other parts ofthe building and providing waiting facilities. Functions with a very clear emotional char-acter.

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■ Artificial lighting provides guidance forguests and helps them get their bear-ings.

■ The first visual impression a guest getsis shaped crucially by the nature of theartificial lighting and can be very difficultto correct. Good conditions for visualperception help give the guest a greatersense of confidence and wellbeing.

■ Artificial lighting should help structure afoyer or entrance hall and distinguishactive zones from rest areas.

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Receptions

ut the external design of the recep-tion should direct only the attentionof guests. For efficient communica-

tion at a reception – which can at times bea very complex task – the quality of thelight illuminating those engaged in conver-sation is a crucially important factor.The directional downlighting normally in-stalled here needs to be supplemented byhorizontal lighting to provide the vertical illuminance needed to lighten the other-wise harsh shadows. This makes for bal-anced lighting on faces and the receptioncounter.

s far as the guest is concerned, thereception is the organisational hubof the hotel and it needs to be per-

ceived as such.

It thus needs architectural emphasis –something achieved by harnessing accen-tuating light to grab the attention of theguest.

So luminance at the reception – i.e. the per-ceived brightness of surfaces – should behigher than in the surrounding area.

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■ The reception is the first place a hotelguest makes for, so the lighting shouldunderline its status as the hub of thehall.

■ Guests and staff need to be able to seeone another clearly. That creates confi-dence.

■ Dazzling reflections on the counter canbe prevented by ensuring that lightingis predominantly indirect or that criticalangles of light incidence are avoided.

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Restaurants

ighting for areas where people eat isprimarily mood lighting. But it alsoneeds to ensure that guests can find

their way around and conduct conversa-tions at the table while facing in any direc-tion.

The kind of artificial lighting required for arestaurant depends primarily on the style ofthe establishment.The range of conceivable lighting moodsis endless – from glaring brightness to in-timate candlelight. The important thing isthat the atmosphere should suit the archi-tectural surroundings, ensure that food isclearly presented and looks attractive, andthat visual conditions at the table are rightfor conversation. The level of brightness selected then de-termines the degree of intimacy for diners. And all these priorities need to be ad-dressed by lighting compatible with thecatering concept of the house.

This is a good point to look at light colour.The light colour of a lamp is the colour ap-pearance of its light, expressed as a colourtemperature in degrees Kelvin (K). It is oneof the crucial factors defining the visual am-bience of a room. Light colours are dividedinto three groups: warm white (below 3300K), neutral white (3300 K – 5300 K) anddaylight white (over 5300 K).To ensure that the impression a roommakes is not impaired, care must be taken– not only on initial installation but alsowhen lamps are replaced – to use the lightcolour stipulated in the lighting design.

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■ Artificial lighting underlines the restau-rant concept.

■ During the day, brightness and trans-parency make for a stimulating atmos-phere.

■ In the evening, gentle lighting and warmlight colours provide the calm and re-laxing ambience a guest wants.

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Restaurants

estaurant lighting should be low-key for all service areas except buf-fets; the emphasis should be on the

arrangement of tables.

At the same time, it should be assumed thatthe "observer principle" applies, i.e. thatpeople prefer all active areas to be cast ina brighter light than themselves.

In a restaurant context, this means the sur-face of the table should be more brightly litthan the surroundings, though guestsshould still be able to make one anotherout clearly.

he lighting designer also needs topay attention to the colour renderingproperties of the lamps used in the

luminaires.This is because good colour rendering isessential for ensuring that the freshnessand delicacy of food is immediately ap-parent.

Like light colour, colour rendering is stan-dardised. It is expressed as a colour ren-dering index Ra, based on the rendering oftest colours commonly found in the envi-ronment. Ra = 100 is the best possible val-ue; the lower the index, the poorer thecolour rendering properties. In restaurants and kitchens, a minimum ofRa � 80 is required; Ra � 90 is better.

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■ The level of brightness on the tableneeds to permit visual appraisal of thequality of the food.

■ Guests need to be able to make outphysical gestures and facial expres-sions with ease.

■ The colour rendering properties of the artificial lighting (Index Ra � 80 orRa � 90) has to meet the high stan-dards needed for realistic rendering offood colours.

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Bistros and bars

he design of bistro and bar lightingshould be based on precise analy-sis of the groups the establishment

wishes to attract. Depending on the in-tended design statement, any of the wholerange of lamps and luminaire types avail-able could be an option. Where the intention is to appeal mainly toa younger market, a wide variety of visualeffects will be needed to attract large num-bers of customers.

For the more conservative guest, the tradi-tional hotel bar dispenses with special effects and offers a relaxing atmosphere. The guests themselves, whether seated orstanding, are bathed in only minimal lightand great care is taken to avoid glare. Be-hind the bar, lighting needs to permit visu-al appraisal of drinks and food by staff. Punctual light sources lend a dramaticsparkle to gleaming objects.

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■ While guests enjoy the emotional ele-ments of the lighting concept, staff needto be able to perform specific visualtasks. Illuminance level, glare limitationand colour rendering are important fac-tors here.

■ Light shining through matt glass sur-faces behind shelves and display cab-inets shows cleanliness.

■ Punctual light sources reinforce the im-pression of gleaming surfaces.

■ Coloured light and programmed colourchanges create atmosphere. The lampsused are coloured fluorescent lampsand LEDs.

■ Escape route signs and escape routelighting need to be installed and main-tained as stipulated in standards (seealso FGL booklet 10).

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Conferences and seminars

s the need for information growsand mobility increases in modernsociety, hotels face a rising tide of

demand for rooms specifically designedfor effective, professional communication.

The lighting required for a meeting, lectureor seminar room designed solely for thepurpose of communication needs to bespecially planned.

The first requirement is to meet the humanneed for visual contact with the outsideworld – a need we feel even when we areperforming concentrated work. Interior room zones with no windows orother links with outdoors are not very suit-able for this purpose. At the same time, it needs to be ensuredthat systems are in place to exclude all day-light and provide the darkened conditionsneeded for projector-based presentations. Even in seminar and conference roomswhich are used normally, however, the ex-tremely high luminance produced nearwindows by direct incident sunlight can result in a level of glare with the potential toseriously disrupt communication.

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ommunication is a process that involves all our senses and can beeffective only where visual inter-

ference is ruled out.So artificial lighting needs to be variable,catering to needs ranging from group workat desks to note-taking during slide pre-sentations.At the same time, to avoid too much lightfalling in one plane – which can happenwhere narrow-angle ceiling luminaires pro-vide an excessive lighting component –care needs to be taken to ensure that theentire room is illuminated, including thewalls and the ceiling. Electronic lighting management systemsare recommended here.

■ Room-darkening facilities need to bedesigned to permit total exclusion ofdaylight.

■ A combination of different lighting sys-tems and light colours enables lightingto be tailored for various forms of roomuse.

■ Air-handling luminaires offer a perfectsolution for combining artificial lightingwith ventilation or air-conditioning.

■ Groups using the room need to be ableto regulate lighting and air-conditioningthemselves, so lighting managementsystems should be local and preferablydesigned for manual operation.

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Corridors

orridors need to be regarded pri-marily as circulating areas, wherethe need for guidance and security

comes first. From a psychological view-point, the impression of depth due to theshape of the interior is not highly conduciveto a sense of wellbeing.

However, with artificial lighting, corridorscan be transformed into communication-friendly, spacious areas with a distinct am-bience.

Crucially important is the need to avoid uni-form, homogeneous lighting systems; in-stead, the human eye should be offeredvariety with an interesting landscape of differing luminance levels.Walls – and especially ceilings – should bebright and cheerful to avoid the depressing“cave effect” that can readily occur whereceilings are too dark.

Illuminated room numbers also helpguests get their bearings. Luminaire man-ufacturers offer two different solutions here:backlit numbers and special ceiling spotswhich make room numbers on walls ordoors stand out clearly against the sur-roundings.Installing such systems requires appro-priate wiring, which needs to planned at an early stage of any construction or refur-bishment project.

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■ Corridors are also escape routes. Es-cape route signs and escape routelighting need to be installed and main-tained in accordance with standards(see also FGL booklet 10).

■ Room numbers should be backlit or illuminated.

■ Long corridors can be structured andoptically shortened by pools of intenselight.

■ Bright ceilings make a corridor lookhigher, bigger and more agreeable.

■ Illuminated, light-coloured walls reflectlight and raise the level of vertical illu-minance.

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Staircases and elevators

taircases are often designed forprestige but their basic function stillneeds to be a primary considera-

tion: first and foremost, stairs have to besafe for those who use them.To make for safe visual conditions on astaircase, artificial lighting needs to be de-signed so that no treads are obscured byshadows.For a user looking down or up the stairs,there must be no risk of luminaires caus-ing glare or distracting attention. One principle that applies to all lighting designs is particularly important for stair-cases. Low-reflectance surfaces, such asdark carpets or stone steps, call for higherdesign illuminances to be clearly made out.

The important thing is to ensure that the illuminance provided is right for the re-flectance of the materials used. While high-ly reflective surfaces require only a low level of illuminance to make them appearbright, low-reflectance materials need amuch greater intensity of light to achieve asimilar impression of brightness. Highly re-flective surfaces thus have a significantbearing on the economics of lighting de-sign.

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■ Staircases are also escape routes. Es-cape route signs and escape routelighting need to be installed and main-tained in line with standards (see alsoFGL booklet 10).

■ Staircase treads should not cast shad-ows over the next tread down. Before alighting design is prepared, the bright-ness and colour of the floor coveringneeds to be defined.

■ LED luminaires are an option for illumi-nating staircase treads and are espe-cially suitable for escalators. High main-tenance costs here are substantially re-duced as a result of the shock resist-ance and long service life (approx.50,000 hrs) of LEDs.

■ Elevator entrances should be designedto be inviting by raising the level ofbrightness above that of the surround-ings. Inside elevators, lighting should belargely diffuse to avoid harsh, distortingshadows.

ravelling in an elevator is often anuncomfortable experience becauseif it is enclosed, it can be claustro-

phobic and if its walls are transparent, likethe glass elevators integrated into halls, itcan easily trigger fear of heights. Such phenomena occur partly as a resultof visual confusion – confusion which canbe reduced by the colour scheme andbrightness of the elevator entrance and interior.Even outside the elevator doors, a greatersense of security can be promoted by asignificantly higher level of brightness. Inside the elevator, the colour schemeshould be bright and walls and ceilingshould be lined with mirrors or shiny pan-els to suggest more space. The lighting should be largely diffuse toavoid hard-edged distorting shadows onthe faces of elevator users.

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Rooms and suites

he majority of hotel guests use theirrooms mainly in the evening and atnight, so lighting plays a particularly

important role here.Lighting design for hotel rooms and suitesshould be geared primarily to the need forambience and comfort, which in lightingterms means luminaires which are individ-ually switched and regulated to cater for dif-ferent room uses. The various zones of the room are definedand signalled to the guest primarily by theroom furnishings. That structuring can befurther emphasized by lighting scenes pro-grammed to produce various arrange-ments of accentuating light.To enhance the overall impression madeby the room, quality of design should be apriority when selecting luminaires.

uests should be able to select andregulate the level and distribution ofbrightness in the room to suit their

mood.Convenience is significantly heightened bycentral light switches at the entrance to theroom and also at the bed.It must also be remembered that older peo-ple need considerably more light thanyoung ones, so the psychological impres-sion of brightness a hotel room makes dif-fers significantly according to the guest’sage.For this reason alone, individual dimmercontrol is recommended for regulatinglighting levels.

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■ Hotel rooms and suites have a wide va-riety of function zones (for working,reading, watching TV, resting, sleeping,etc.). The lighting thus also needs to bemultifunctional.

■ Guests need to be able to identify swift-ly the various ways in which they canswitch and regulate the lighting in theroom. Guests have different percep-tions of brightness, so luminairesshould be dimmer-controlled.

■ Warm light colours make for a homelyatmosphere.

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t is particularly important in a hotel roomor suite to ensure that the lighting isplanned with the interior design and the

furnishings of the room in mind. This is because the illuminance requireddepends on the reflectance of the surfacesof walls, ceiling, floor and furniture.

One factor defining the impression a roommakes is the distribution of luminance, i.e.the perceived brightness of surfaces in theroom.Dark woods, carpets and fabrics require ahigher level of illuminance for good visualconditions.The human eye adjusts automatically to dif-ferent luminance levels (adaptation). Wherelevels differ too much, however, the con-stant need to adapt and re-adapt gives riseto visual fatigue.

Direction of light and modelling impact onthe visual information we receive about thedetails of furnishings in a room. The designtarget here is balanced modelling with softbrightness contrasts.Harsh deep shadows create an impressionof dynamism, which should be avoided ina hotel room or suite.Too little modelling, however, impairs 3D vision and makes for visual monotony.Light directed onto walls and ceilingsmakes rooms seem larger.

Any form of glare interferes with our senseof wellbeing. So, direct glare due to exces-sively bright lamps or luminaires and indi-rect glare caused by reflections should atleast be avoided along principal lines of vision.

Rooms and suites

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■ The illuminance required in a room de-pends on the reflectance of the materi-als and finishes present.

■ The way luminaires are arranged anddistribute their light determines the di-rection of light and modelling in theroom.

■ The design target is balanced model-ling with soft-edged shadows.

■ Direct and reflected glare should beavoided.

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Bathrooms

athrooms are required to serve dif-ferent purposes at different times ofthe day. In the morning, guests want

a bright, invigorating atmosphere to startthe day; in the evening, they prefer awarmer ambience.With different luminaire systems of differentlight colours, bathroom lighting can easilybe adapted to meet these requirements.Lighting control, however, should go be-yond mere on/off switching; it should offerthe possibility of activating and individual-ly dimming programmed lighting scenes.

In bathrooms, as in any other part of thebuilding, installation regulations and stan-dards must always be observed. But theneed to meet standards is particularlyacute here because of the presence of wetzones. The rules governing bathrooms areset out in DIN VDE 0100 Part 701, which de-fines four room zones with different safetyrequirements. Electrical appliances, in-cluding luminaires, need to be adequatelyprotected (IP rating).

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irror lighting should be providedby glare-free luminaires for bothvertical and horizontal lighting in

a mix designed to prevent harsh shadow-ing on the face and body of the guest.The use of just two narrow-beam down-lights set in the ceiling over the guest'shead produces precisely the lighting situa-tion which should be avoided. If that baselighting is supplemented by diffuse lumi-naires (e.g. with white opal enclosures)mounted on the wall, however, a harmo-nious distribution of light is achieved. Beauty care at a mirror calls for lamps withgood colour rendering properties (Index Ra � 80 or Ra � 90).

■ Mirror lighting should be realised withdiffuse light and a direct lighting com-ponent of max. 20% (Index Ra � 80 orRa � 90).

■ Bathroom lighting can be bright andfresh in the morning (light colour �3300 K), and warmer in the evening(light colour � 3300 K).

■ Different function zones, such as mirror,shower, WC, etc., should be served bytailored lighting systems. For damp andwet zones, higher degrees of protectionare required (DIN VDE 0100 Part 701).

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n today’s health- and leisure-orientedsociety, pools and saunas, activityzones and rest areas are considered

an intrinsic part of the modern hotel serv-ice package. Here, the special challenge for the lightingdesigner lies in enhancing the experienceprovided by these facilities.Punctual light sources lend brilliance togleaming, tiled surfaces.The visual impact of cleanliness and hy-giene is heightened by raising the bright-ness level and using lamps of cooler lightcolour (� 4000 K).Harnessing the capacity of water to pro-duce interesting lighting effects calls for the services of a specialised lighting con-sultant.

Planning underwater lighting to enhancethe visual impact of a pool, intensifying theeffect by lowering the brightness of the sur-roundings and using the surface of the wa-ter to produce decorative reflections callsfor a great deal of experience with light anda detailed knowledge of the specific roomsituation.

Pillar lighting is used to grab attention.The aim here is to emphasize the weight ofthe pillars by modelling – not to create atwo-dimensional scene with diffuse light.Pool facilities with glass walls appear morespacious at night if the garden areas out-doors are illuminated.

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■ Depending on the lighting, water canhave a dramatic impact or look like agently flowing stream.

■ Brighter lighting and neutral lightcolours reinforce the impression of ahigh standard of hygiene and cleanli-ness.

■ Special regulations need to be ob-served for the installation and operationof electrical systems in pool and saunafacilities (DIN VDE 0100 Part 702 forswimming pools, DIN VDE 0100 Part703 for saunas).

■ Coloured light and programmed colourchanges create atmosphere. The lampsused are coloured fluorescent lamps orLEDs.

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Offices

here are basically three forms oflighting for offices in administrativeareas.

Room-related lighting: ceiling luminairesmake for uniform brightness throughoutthe room.Task area lighting: where different visualtasks are performed in different parts of aroom, their different lighting requirementscan be met.Task zone lighting: supplementary lightingis used to raise the level of lighting to meetthe requirements of a specific visual taskperformed in a particular part of the taskarea.

ood glare limitation is a must in anyroom where work is performed –but especially at VDU workplaces.

Direct glare, e.g. from an unshielded ceilingluminaire or other highly luminant surfacessuch as windows, is avoided by using suit-ably designed luminaires and positioningluminaires and workplaces correctly. Reflected glare occurs where light is re-flected into the eye by shiny surfaces, e.g.screen reflections. To avoid reflected glare,monitors should be set at an angle to lu-minant surfaces such as windows, lumi-naires or bright walls – where they exceeda luminance of 1000 candelas/m2 – so thatdisturbing reflections cannot appear on thescreen.

For office work, a minimum of 500 lx illu-minance is required. This level of bright-ness can be achieved using a combinationof direct and indirect lighting or with directlighting alone. Most people find the light of pendant lumi-naires or standard luminaires for direct/in-direct lighting particularly agreeable. Gooduniformity is more easily achieved with a di-rect general lighting system comprised ofrecessed ceiling, surface-mounted ceilingor pendant luminaires. The highly direc-tional light emitted by these luminaires isdistributed by specular louvers, thus en-suring the necessary glare limitation.

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■ The lighting design requirements for of-fices are set out in DIN EN 12464-1, DIN5035 Parts 7 and 8 as well as the national ordinance protecting employ-ees working at VDUs (Bildschirmar-beitsverordnung). Mean illuminanceneeds to be at least 500 lx. Detailed information can be found in FGL book-let 4 “Good Lighting for Offices and Of-fice Buildings”.

■ Lighting management makes for en-hanced lighting comfort and facilitatestask area and task zone lighting. It alsoenables daylight to be included in thelighting calculation; energy can thus besaved by constant light regulation. Moreinformation can be found in FGL book-let 12 “Lighting Quality with Electronics”.

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Kitchens and utility rooms

itchens and utility rooms are usedfor preparing and cooking, clean-ing and restoring what will later be

presented to guests for appraisal.Whether this is a culinary delicacy or anitem of clothing, kitchen and utility roomlighting needs to ensure the visual condi-tions required for safe and reliable handl-ing by staff.

As well as having to conform to the rele-vant standards (e.g. DIN EN 12464-1), light-ing here needs to comply with the stipula-tions of ASR workplace regulations.To do so, these rooms require a glare-freelighting system delivering 500 lx mean il-luminance.

Because of the steamy atmospheres foundin kitchens and laundries, luminaires hereshould be designed for use in damp inte-riors (degree of protection IP 54). Nearcooking ranges, luminaires also need to beresistant to chemical attack.

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here the act of cooking is a signalevent, the lighting design param-eters are different. In this situation,

the guest is again the prime consideration.A culinary performance is like a stage pro-duction: it needs to be enjoyed without dis-traction or glare.For participants too, the level of brightnessneeds to be high enough to ensure that thetask can be performed safely and surely.

■ Kitchens and utility rooms are governedby ASR workplace regulations and DINEN 12464-1. They require bright, uni-form lighting (mean illuminance 500 lx).

■ At serving counters, a light colour sim-ilar to the one at guests’ tables is rec-ommended for the inspection of food.

■ Kitchens require luminaires specificallydesigned for use in damp interiors (de-gree of protection IP 54 recommend-ed). Near cooking ranges, resistance tochemical attack is also required.

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Façades and outdoor areas

he illuminated exterior of a buildingat night does more than boost pres-tige; it also helps guests get their

bearings. A building identified from afar asa place for hospitality guides guests swift-ly and easily to the door, makes an agree-able impression and leaves behind apleasant memory.

However, night lighting finely tuned to thearchitecture also has an enduring positiveimpact on the image of the establishment.

loodlighting a building from outsideand below can make it look very solid; illumination from inside can

lend it an open, filigree appearance. Façade illumination does not necessarilyhave to follow the lines and contours of thearchitecture. Artistic night lighting can ignore architec-tural and constructive details and craft a totally new image for the observer.A particularly interesting effect here isachieved where lighting is activated beforedaylight fades. The observer thus witness-es an architectural transformation as dark-ness descends.

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uring the warmer months of theyear especially, the outdoor areasof hotels and restaurants possess

considerable allure.In the dark, the human eye is particularlysusceptible to glare; subliminal discomfortresults. So lighting for outdoor facilities needs to beplanned with particular care. Even very low illuminances are foundbright enough when our eyes have adapt-ed to the dark.Direct eye contact with lamps needs to beavoided at all times in the main viewing di-rections. In restaurants with seating out-doors, glare is a particularly important as-pect.

■ Punctual light sources in a lineararrangement guide guests through theprevailing darkness. Path lighting inparks and gardens where steps or oth-er potential hazards are present needsto provide a minimum of 5 lx illumi-nance.

■ Glare caused by luminaires makes ithard for us to get our bearings. Orien-tation is facilitated by illuminated or lu-minescent signs.

■ With a service life of around 50,000hours, LED (Light Emitting Diode) tech-nology is particularly suitable for ac-centuating night lighting outdoors.

■ LEDs are also used for dynamiccoloured lighting. Colour changes canbe programmed in any sequence andat any speed. Where RGB colours (red,green, blue) are used, they can be com-bined to produce any colour at all (in-cluding white). RGB fluorescent lampsare an alternative light source.

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These two pages show a selection of the most important types oflamps for hotels and restaurants.

1, 2 Incandescent lampsThe traditional incandescent lamp is still the most widely used lightsource of all. This is due in part to the wide range of different unitsavailable. Reflector and bowl reflector lamps provide decorativedirectional lighting. Incandescent lamps emit an agreeable warm-white light with good colour rendering properties and can be dimmer-controlled. Their luminous efficacy, however, is relativelylow and their service life short.

3, 4, 5, 6 Tungsten halogen lamps (230 Volt)Tungsten halogen lamps for 230 V line voltage produce an agree-able white light with very good colour rendering properties. Theirservice life is longer than that of incandescent lamps and their luminous efficacy higher. Dimming control presents no problems.They are also available as reflector lamps.

7, 8 Low-voltage tungsten halogen lamps (12 Volt)Low-voltage tungsten halogen lamps have the same characteris-tics as lamps for line voltage. To operate them, however, a trans-former is needed to reduce the line voltage to 12 Volts. IRC (InfraRed Coating) lamps consume 30 percent less power for the sameluminous flux. With appropriate transformers and dimmers, theycan be dimmer-controlled.

9, 10 Energy-saving lampsEnergy-saving lamps are compact fluorescent lamps. They arenearly the same size as incandescent lamps and have the samescrew base (E14/E27). The electronic ballast (EB) required is in-tegrated in the lamps. Energy-saving lamps consume 80% lesspower and have a considerably longer life than incandescentlamps.

11, 12, 13, 14 Compact fluorescent lampsUnlike energy-saving lamps, compact fluorescent lamps have aplug-in base; the ballast needs to be integrated in the lamp. Com-pact fluorescent lamps have the same characteristics as three-band fluorescent lamps. Here, too, luminous efficacy is improved,service life lengthened and visual comfort heightened by EB operation. Lamps can be dimmed by dimmable EBs.

15, 16 Metal halide lampsThese high-pressure discharge lamps are noted for their high luminous efficacy and excellent colour rendering properties. Withmodern metal halide lamps with a ceramic burner, light colour re-mains constant throughout the life of the lamp. Inductive ballastsand starters or EBs are needed to operate metal halide lamps.

17, 18, 19 Linear three-band fluorescent lampsThree-band fluorescent lamps are noted for their high luminousefficacy, good colour rendering properties and long service life.Operated by electronic ballasts (EBs), they achieve even higherluminous efficacy, a longer service life and greater visual comfort.16 mm diameter lamps are designed for EB operation only. Dimming control of three-band fluorescent luminaires is possiblewith appropriate EBs.

20 Light-emitting diodes (LEDs)LEDs are available in numerous shapes and colours. They are extremely small, have a high resistance to impact and emit nei-ther IR nor UV radiation. They have a very long service life. LEDswith a special fluorescent coating produce white light. The mostimportant lighting applications at present are in orientation anddecorative lighting. LEDs are designed for d.c. operation.

Lamps

Illus- Lamp type Powertration ratingNo. (Watts)

Incandescent lamps1 Reflector lamps 30 – 1002 Bowl reflector lamps 40 – 100

Tungsten halogen lamps (230 V)3 With jacket 25 – 2504 Mini-format 25 – 755 With base at both ends 60 – 2.0006 With reflector 40 – 100

Low-voltage tungsten halogen lamps (12 V)7 With reflector 20 – 1008 Pin-based 5 – 100

Energy-saving lamps9 Candle-shape 5 – 12

10 Incandescent-shape 5 – 23Compact fluorescent lamps

11 2-, 4- and 6-tube lamp 5 – 12012 2-tube lamp 18 – 8013 4-tube lamp 18 – 3614 2D-lamp 10 – 55

Metal halide lamps15 With base at one end 35 – 15016 With base at both ends 70 – 400

Linear three-band fluorescent lamps17 16 mm diameter with high luminous efficacy1) 14 – 3518 16 mm diameter with high luminous flux1) 24 – 8019 26 mm diameter 18 – 58

Light-emitting diodes (LEDs)20 Individual LEDs4) 0,7 – 5

131211

1 23

Light colour:ww = warm white, nw = neutral white, dw = daylight white

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Luminous Luminous Light Colour Baseflux efficacy colour rendering

(Lumens) (Lumens/Watts) index Ra

– – ww � 90 E14; E27– – ww � 90 E14; E27

260 – 4,350 10 – 17 ww � 90 E14; E27260 – 1,100 10 – 15 ww � 90 G9840 – 44,400 14 – 22 ww � 90 R7s

– – ww � 90 E14; E27; GZ10; GU10

– – ww � 90 GU5,360 – 2,200 12 – 22 ww � 90 G4; GY6,35

150 – 600 30 – 50 ww 80 � 90 E14150 – 1,350 30 – 59 ww 80 � 90 E27

250 – 9,000 50 – 75 ww, nw 80 � 90 G23; G24; GX24; 2G7/81.200 – 6,000 67 – 75 ww, nw, dw 80 � 90 2G111.100 – 2,800 61 – 78 ww, nw 80 � 90 2G10650 – 3,900 65 – 71 ww, nw, dw 80 � 90 GR8; GR10; GRY10

3.300 – 14,000 85 – 95 ww, nw � 90; 80 � 90, G8,5; G12; 6.500 – 36,000 90 ww, nw � 90; 80 � 90, RX7s; Fc2

1.250 – 3,6502) 89 – 104 ww, nw, dw 80 � 90 G51.850 – 7,0002) 77 – 88 ww, nw, dw 80 � 90 G51.350 – 5,200 75 – 903) ww, nw, dw 80 � 90 G13

18 – 120 13 – 24 – – –

14 15

16 20

19

17+18

3

4

5

6

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8 910

1) For EB operation only 2) Luminous flux at 35°C

3) Luminous efficacy increases to 81 – 100 lm/W with EB operation. 4) The illustration shows individual LEDs on a flexible printed-circuit board.

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Lighting management

ighting management offers hugescope for creating optimal lightingconstellations for different times of the

day and year – especially in hotels andrestaurants. The planning for any lighting managementsystem should focus on human needs andexpectations.Lighting management systems enable usto tailor the lighting climate in a room to ourcurrent requirements – much in the sameway as we mix hot and cold tap water toget the cold, lukewarm or hot water wewant.

■ Catering to personal preferences – because all guests have their own ideaof what makes an agreeable ambience.

■ Boosting motivation and dynamism –because customised lighting makes foran enhanced sense of wellbeing.

■ Providing the extra light needed in thewinter months.

■ A free choice of functions instead of aone-size-fits-all lighting solution.

n addition to these aspects, attentionshould also be paid to the economic advantages of a lighting management

system. Considerable energy savings can be made,for example, by the integration of presenceor light sensors. In hotels, in particular, communicationroutes to rooms are rarely used during theday. With presence sensors, lighting can beswitched on when it is required; there is noneed for maintained lighting. For initial ori-entation, however, a basic level of illumi-nance is required, which can be providedby residual brightness from main corridorlighting or the emergency lighting in thecorridor itself.

Light sensors measure the illuminance ofdaylight or artificial lighting. When pre-de-fined threshold values are reached, a lightsensor signals the need for luminaires to beswitched on or off or for dimming levels tobe raised or lowered. Known as constantlight regulation, this offers high energy-saving potential for foyers, receptions, con-ference and seminar rooms, daylit commu-nication routes and all administrative andutility areas.

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ighting management permits fast,variable and dependable lightingscene adjustment to suit different

forms of room use – something which isparticularly useful in the seminar and con-ference rooms and multi-purpose roomsfound in hotels and catering establish-ments.From family parties to receptions and as-semblies, from seminars and meetings tolectures and slide, video or beamer pre-sentations – different events and activitiescall for different visual conditions. Depend-ing on the multifunctional lighting compo-nents installed, lighting management offersthe possibility of switch or handset controlto vary illuminance, luminance distribution,direction of light, modelling and light colour. Every anticipated lighting situation can beplanned, tested and stored in advance andthen activated at any time. In addition, all the lighting scenes definedin this way can be manually modified andadjusted to meet the specific lighting re-quirements of guests.

he internationally standardized digi-tal interface DALI (Digital Address-able Lighting Interface) is designed

to facilitate flexible lighting management inindividual rooms or small building units. Asan independent system or integrated intoa building management system, DALI controls switching and dimming functionsand verifies the availability of connectedcomponents.

The working group AG DALI (www.dali-ag.org), which operates under the wing of theGerman electrical and electronics associ-ation Zentralverband Elektrotechnik- undElektronikindustrie e.V. (ZVEI), Frankfurt/Main, numbers among its members lead-ing European and US manufacturers ofelectronic lighting components.

■ Presence and light sensors switch andregulate lighting systems automatically,making for greater lighting comfort andeconomy.

■ Because of the lower energy costs,higher luminous efficacy (electronic operating gear) and longer service in-tervals compared to old or standardlighting systems, the time taken to re-coup the initial outlay on new lightingand a lighting management system isgenerally no longer than five years.

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Emergency lighting and regulations

ighting is governed by a host of reg-ulations and standards which canseem like an impenetrable jungle to

the layman. So owners, planners, installersand operators of lighting systems in hotelsand restaurants should always seek expertadvice and demand appropriate guaran-tees from the specialists they engage. The safety of guests and prevention of in-dustrial accidents need to be assigned toppriority. This obligation can be seen fromthe examples on the right showing the reg-ulations that apply to certain lighting appli-cations.

mergency lighting is essential forbridging power cuts that affect thegeneral lighting. Emergency lighting

is a standardised term covering both stand-by lighting and safety lighting. Standby lighting ensures that importantoperations are maintained and providesthe minimum general lighting required until the fault is cleared.

afety lighting is a blanket term covering safety lighting for escaperoutes and particularly hazardous

workplaces as well as anti-panic lighting. At particularly hazardous workplaces, forexample, detail identification (safe termina-tion of operations, recognition of safetycolours) still needs to be assured even after normal power supply fails.

General interior lightingLuminaires generate heat. Luminaires mounted e.g. in furniture needto bear either the M or the MM symbol,depending on the material on which theyare mounted. In the case of spots, a minimum distanceneeds to be observed from the surfacethey illuminate.Recessed luminaires bearing the F-firesafety symbol need to be mounted directlyon normally flammable or flame retardantmaterials.In corridors or along escape routes withF30/F90 fire ceilings, luminaires are re-quired to be encased in a material certi-fied by the Materials Testing Agency.

Exterior lighting Outdoor lighting systems need to be pro-tected from water, summer temperaturesand winter frosts. Where humidity is high,adequate corrosion resistance is also re-quired. The relevant degree of protection againstthe ingress of water needs to be observed(DIN VDE 0100-737, DIN VDE 0100-559).

Kitchens and utility rooms Lighting systems for kitchens and utilityrooms primarily need to be protectedagainst the ingress of water. Where asteamy atmosphere may be present, the2nd numeral of the degree of protectionshould be at least 1. Where hosepipes orhigh-pressure equipment are used forcleaning, the 2nd numeral of the degreeof protection should be at least 4. (DINVDE 0100-559).

Bathrooms In bathrooms, as in facilities such asswimming pools or saunas, the operationof electrical appliances is governed byspecial regulations. These are set out forbathrooms in DIN VDE 0100-701, for poolsin DIN VDE 0100-702 and for saunas inDIN VDE 0100-703.DIN VDE 0100-559 must also be ob-served.

Decorative lightingRecessed ground or floor luminairesneed to withstand the weight of pedestri-ans and require a non-slip surface; wherewheeled vehicles are present, they needto be appropriately reinforced.The degree of protection needs to suit theroom situation and permit problem-freecleaning. In most cases, the degree ofprotection required is IP 65.

Safety lighting In establishments seating more than 400guests or with over 60 beds, safety light-ing is required by law. This means thatguests and staff need to be able to findtheir way along escape routes as well asin corridors, stairwells and exits even if thegeneral lighting should fail completely. The same requirement can also apply tosmaller establishments where orientationis difficult or where there is no naturallighting.

Luminaires for mounting on building parts non-flammable upto 180°C.

As F symbol, but suitable for use with thermal insulationbacking.

Luminaires for mounting in/on furniture where the mountingsurface is non-flammable up to 180°C.Important note: mounting instructions must be observed

Luminaires for mounting in/on furniture where the mountingsurface is non-flammable up to 95°C in normal operation.Important note: mounting instructions must be observed

Luminaires for locations exposed to fire hazards. Temperatureof horizontal luminaire surfaces max. 90°C in normaloperation. Glass surfaces of fluorescent lamps max. 150°C.

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Temperature symbols

Symbol Meaning

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Classes of protectionLuminaires need to offer protectionagainst electric shock. There are threeadmissible classes of protection for this:Class I , Class II and Class III. Luminairescan be assigned to only one class.

Class I unit with protective conductor terminal

Class II unit with protective insulation

Class III unit for operation on protective extra-low voltage

Symbol Meaning

Laws and ordinances■ Workplace Ordinance (Arbeitsstätten-

verordnung) The law concerning the design of workpremises is based on the WorkplaceOrdinance (Arbeitsstättenverordnung)of 12 August 2004, issued pursuant toArticle 18 of the Occupational Healthand Safety Act (Arbeitsschutzgesetz).Among other things, the Workplace Or-dinance transposes the European Di-rective 89/654/EEC on “minimum safe-ty and health requirements for the work-place” into national law. Its purpose isto ensure that work premises areequipped and maintained to avoid ex-posing employees to health and safetyhazards. Technical rules set out in WorkplaceRegulations (Arbeitsstättenrichtlinien)help define in more concrete termshow the requirements of the WorkplaceOrdinance can be fulfilled. The Workplace Regulations developedfor the present Workplace Ordinance,which include– ASR 7/3 “Artificial lighting”– ASR 7/4 “Safety lighting”will remain valid until revised and untilnew technical rules are published, butonly for a maximum of six years after theWorkplace Ordinance came into force.

For the trade and industrial sector, trade em-ployers’ liability insurance associations haveissued the following regulations to define therequirements of the Workplace Ordinance inmore concrete terms (in line with Article 15of the Social Security Code, Book VII):

– BGV A1 “Principles of prevention” forthe prevention of accidents in the in-dustrial sector– BGV A8 “Health and safety markingsat workplaces” in trade and industry

– BGR 216 “Optical emergency guid-ance systems”, which includes safetylighting, for trade and industry

■ Industrial Health and Safety Ordinance(Betriebssicherheitsverordnung)“Ordinance governing the health andsafety aspects of the provision and useof materials at work, the operation ofequipment requiring supervision andthe organisation of occupational healthand safety precautions” of 27 Septem-ber 2002 (effective as of 3 October2002). The ordinance was issued on thebasis of Art. 18 of the OccupationalHealth and Safety Act (Arbeitsschutzge-setz). Among other things, it transposesthe European Directive 89/655/EEC on“minimum safety and health require-ments for the use of work equipment byworkers at work” into national law.

■ Electromagnetic Compatibility Act(EMV)This act applies to appliances whichcan cause electromagnetic interfer-ence or whose operation can be im-paired by such interference. It trans-poses the European Directive 89/336/EEC on the “approximation of thelaws of the EU Member States relatingto electromagnetic compatibility” intonational law.

Standards and other technical regulations ■ DIN EN 12464-1 “Light and lighting –

Lighting of work places, Part 1: Indoorwork places”

■ DIN EN 60598 series “Luminaires”■ DIN VDE 0100 “Regulations governing

electrical installations with a rated volt-age up to 1000V”

■ DIN VDE 0108 “Power installations andsafety power supply in communal fa-cilities”

■ DIN 4844 series “Safety marking”■ DIN 67528 “Lighting of parking areas

and indoor car-parks”■ Technical requirements for low-voltage

mains connection (TAB)TAB regulations govern all systemsconnected to and operating on powerutility low-voltage mains. Among otherthings, they contain stipulations for theelectrical connection of luminaires, e.g.requirements to prevent interferencewith AF remote control systems.

■ Technical regulations for elevators(TRA)TRA 200 “Passenger elevators – freightelevators”

ENEC test symbol ENEC (European Norms Electrical Certifi-cation) is a European test and certificationsymbol for luminaires and electrical com-ponents in luminaires. It is displayed alongwith the logo and identifying numeral of therelevant national testing agency. The testinstitute in Germany is the VDE, which isidentified by the numeral “10”.

Degree of protection

1st numeral 2nd numeral protection against foreign bodies water protection

0 unprotected 0 unprotected

1 protected against foreign 1 protected bodies � 50 mm against drops of water

2 protected against foreign 2 protected against bodies � 12mm drops of water below 15°

3 protected against foreign 3 protected against bodies � 2.5mm spraywater

4 protected against foreign 4 protected against bodies �1.0 mm splashwater

5 protected against dust 5 protected against jets of water

6 dustproof 6 protected against floodwater

7 – 7 protected against the effects of immersion

8 – 8 protected against the effects of submersion

Example: IP 23 = protected against foreign bodies �12 mm and spraywater

Degrees of protection Degrees of protection indicate the extentto which a product is protected againstthe ingress of foreign bodies and mois-ture. They consist of the code letters IP(Ingress Protection) and two numerals.The first numeral indicates the degree ofprotection against foreign bodies andcontact, the second numeral definesprotection against water.

44

Acknowledgements for projects and photographs

he following projects were re-searched and made available ingood faith by members of

Fördergemeinschaft Gutes Licht (FGL). Inthe general interest of the association, man-ufacturers and products have not beennamed. If you would like more information aboutspecific photographs, please contactFördergemeinschaft Gutes Licht, which willbe pleased to help with any requests.

Cover photographProject:Restaurant Karren, DornbirnPhoto:Atelier Filler, Bregenz

1 Project:Harvey Nichols Restaurant inOxo Tower Building, LondonArchitecture:Lifschutz Davidson, LondonLighting:Equation Lighting Design, LondonPhoto:Bernd Hoff

2 Project:Max Car-Bar, LucerneArchitecture and lighting:Ramseyer+Steiger, BernPhoto:Thomas Mayer

3 Project:Grandhotel Quellenhof, Bad RagazArchitecture:Karl SteffenLighting:Peter AGPhoto:Atelier Filler, Bregenz

4 Project:Radisson SAS Hotel, Cologne Architecture and lighting:k/h Büro für Innenarchitektur undDesign, MönchengladbachPhoto:Andrea Flak, Hamburg

5 Project:Hotel Residenz Hafen, HamburgArchitecture:Meyer & Fleckenstein, HamburgLighting:Schlotfeldt Licht, HamburgPhoto:Andrea Flak, Hamburg

6 Project:Hotel Allegro, BernArchitecture, lighting and photo:Rast Architekten, Bern

7 Project:Hotel Havana Palace, BarcelonaPhoto:FGL

8 Project:Hotel Adlon, BerlinArchitecture:Patzschke, Klotz + Partner,MunichLighting:Licht Kunst Licht, Bonn/BerlinPhoto:Bernd Hoff

9 Project:Holiday Inn Crown Plaza,DortmundActive-ClubArchitecture:Rainer KimpelLighting:RheinelektraPhoto:Holiday Inn Crown Plaza,DortmundActive-Club

10 Project:Hotel VitznauerhofArchitecture:G. KostrewaPhoto:Atelier Filler, Bregenz

11 Project:Hilton Morumbi, Sao PauloArchitecture:Botti-Rubin, Sao Paulo,Daniel Piana & Associates,Buenos AiresInterior design:Daniel Piana & Associates,Buenos AiresLighting:Theo Kondos, New YorkPhoto:Rogerio Reis

12 Photo:Studio Jan Wichers, Hamburg

13 Project:Mövenpick Hotel, BerlinArchitecture and lighting:IDA 14, ZürichPhoto:Andrea Flak, Hamburg

14 Project:Theaterkeller, Munich Lighting:Studio Jan Wichers, Hamburg with Hamburg Design, HamburgPhoto:Studio Jan Wichers, Hamburg

15 Project:Hotel Side, HamburgArchitecture:Matteo Thun, MilanLighting:Robert Wilson, New YorkPhoto:Andrea Flak, Hamburg

16 Project:Hotel Hübner,Rostock-WarnemündeLighting:Michael Kurtius, HamburgPhoto:Foto Design Latzel, Ahnatal

17 Project:Lobby IKB DeutscheIndustriebank AG, DüsseldorfArchitecture:Siegfried Müller, Maja Djordjevic-Müller, Werner Krehl, StuttgartLighting:Kress & Adams, ColognePhoto:Rainer Mader, Cologne

18 See photo 3

19 Project:Enterprise Hotel, MailandArchitecture:Cristina di Carlo (2002)Lighting:Christopher RedfernPhoto:Santi Caleca

20 Project:Quality Hotel Toensberg, OsloArchitecture:Arthur Buchardt (2002)Photo:Santi Caleca

21 Project:Sparkasse NeussArchitecture:Büttner and Musiol, DüsseldorfLighting:Brandi Ingenieure, ColognePhoto:FGL

22 See photo 4Photo:arge lola, Stuttgart

23 Project:Dorint Kongresshotel, CologneArchitecture and lighting:Büro Markus Diedenhofen,ReutlingenPhoto:Döring & Kern, Wuppertal

24 See photo 3

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25 Project:Parkhotel Riter, Munich Photo:FGL

26 Photo:FGL

27 Project:Golfhotel, SpeyerLighting:Ziplight, PlankstadtPhoto:Studio 3, St. Augustin

28 See photo 6

29 See photo 17

30 See photo 13

31 See photo 3

32 Project:Parkhotel Weggis,Aldopark AG, WeggisArchitecture:Vincenz Erni, Aldopark AG,WeggisLighting:Albert Steffen, Lichthalle AG,ZurichPhoto:Fabrikstudios AG, Lucerne

33 See photo 32

34 Project:Zurich ReinsuranceArchitecture:MB Architekten, LachenLighting:Polke Ziege von Moos, ZurichPhoto:Fotostudio Prisma, Melingen

35 See photo 23

36 See photo 3

37 Project:Hotel MetropolLighting:Rigav Interieur, EmmenPhoto:Atelier Filler, Bregenz

38 Photo:FGL

39 See photo 6Photo:G. Latznia, Bregenz

40 Project:Bar „Der Widder“, ZurichArchitecture:Tilla TheusPhoto:FGL

41 Project:Samediggi(Saami Parliament)Architecture:Stein Halvorsen, ChristianA. SundbyLighting:AS Rasmussen & StramdPhoto:Thomas Mayer

42 Project:Forum, DornbirnArchitecture:Baumschläger + EberlePhoto:G. Latznia, Bregenz

43 Project:S-Finanzzentrum, ErfurtArchitecture:Schweger & Partner, HamburgLighting:Schlotfeldt Licht, HamburgPhoto:Andrea Flak, Hamburg

44 See photo 4

45 Project:Sheraton Hotel, Frankfurt am MainArchitecture:United Designers LtdShad Thames, London (2001)Photo:Santi Caleca

46 See photo 3

47 Project:Le Meridien Hotel, TurinArchitecture:Renzo PianoPhoto:FGL

48 Project:Michaelsberg Abbey, SiegburgArchitecture:Schilling Architekten, CologneLighting:Kress & Adams, ColognePhoto:Rainer Mader, Cologne

49 Project:Grand Hyatt Hotel, Hong KongArchitecture:NG Chun Nun + Associates,Hong KongLighting:Lightsource, SeattlePhoto:Kerun Ip

50 Project:Wempe, HamburgPhoto:Andrea Flak, Hamburg

51 Project:Claudius Therme, ColognePhoto:FGL

52 Project:Forum BonnArchitecture:HPP Hentrich-Petschnigg und PartnerLighting:Kress & AdamsPhoto:FGL

53 Project:Schüco, BielefeldArchitecture:Wannenmacher & Moeller, BielefeldLighting:Mies & Reichelt, BielefeldPhoto:Michael Wortmann

54 See photo 15

55 Project:Messe Trendhotel, HanoverArchitecture and lighting:Studio Jan Wichers, HamburgPhoto:Andrea Flak, Hamburg

56 Photo:FGL

57 Project:Gastwerk Hotel, HamburgArchitecture:Regina Schwethelm, Sybylle vonHeydenPhoto:Andrea Flak, Hamburg

58 Project:Berghotel Astenkrone,Winterberg-AltastenbergArchitecture and lighting:Agentur Kretschmann, BambergPhoto:Andrea Flak, Hamburg

59 Project:Dorint Hotel am Gendarmenmarkt,BerlinArchitecture:K/H Klein-Haller (1999)Photo:Soenne-Architekturfotograf,Aachen

60 See photo 55

61 Project:Steigenberger Graf Zeppelin,StuttgartArchitecture:Bärbel Thorer, Frankfurt am MainPhoto:Steigenberger

46

Acknowledgements for projects and photographs

62 See photo 55Photo:FGL

63 Project:Forum Hotel, HamburgArchitecture and lighting:Inter Gastro Design, ZurichPhoto:Andrea Flak, Hamburg

64 Project:Cantera Naturstein Hotel, WunstorfArchitecture:Kreykenbohm Architekten,HanoverPhoto:Andrea Flak, Hamburg

65 Photo:Vogelsänger Studios

66 Photo:Studio Casa

67 See photo 15

68 Photo:Jahreszeitenverlag

69 See photo 3

70 Project:Mineraltherme BöblingenArchitecture:Kieferle & Partner, StuttgartLighting:Büro Schwarz, StuttgartPhotos:Arne Hettrich, Stuttgart

71 See photo 70

72 See photo 70

73 Project:Rotherma Steam Baths, GaggenauArchitecture and lighting:Luft + Partner, GaggenauPhoto:FGL

74 Photo:FGL

75 Photo:Ruckdeschel, Ebern

76 Photo:Tech Group

77 Photo:FGL

78 Photo:FGL

79 Photo:FGL

80 Project:Restaurant „Casino“,Zeche Zollverein, EssenArchitecture:Böll + Krabel, EssenLighting:Carla M. Uphues, BerlinPhoto:Bernd Hoff

81 Photo:FGL

82 Photo:FGL

83 See photo 32

84 See photo 6Photo:G. Latznia, Bregenz

85 Project:Golfhotel Öschberghof,DonaueschingenLighting:Klaus BegassePhoto:arge lola, Stuttgart

86 See photo 6Photo:arge lola, Stuttgart

87 Project:Penthouse Hürlimann, PfäffikonPhoto:Thomas Filler, Bregenz

88 See photo 87

89 See photo 87

90 Project:Iserlohn Council ChamberInterior design:Schrodt Bauconsult, IserlohnLighting:Ing.-Büro Bickmann, IserlohnPhoto:FGL

91 See photo 90

92 See photo 90

93 See photo 21

94 See photo 17

95 See photo 11

96 See photo 85

97 Project:Le Meridien Hotel, Vienna Architecture:Manfred Wehdorn, Vienna, FritzSchwaighoferLighting:DHA Designs, LondonPhoto:Rudi Meisel

98 Project:Hilton Hotel, AthensArchitecture:Meletitiki – A.N.Tombazis & Architects Ltd & Aeter-Harry C. Bougadellis & AssociatesArchitects, 2003Photo:Santi Caleca

99 See photo 11

100 See photo 20

101 Project:Bernheimer Palais, MunichPhoto:arge lola, Stuttgart

102 Project:Restaurant „Paolino“, HamburgArchitecture:Studio Jan Wichers, HamburgLighting:Hamburg Design, HamburgPhoto:Andrea Flak, Hamburg

Lamps(double-page spread 38/39)Photo:Andreas Kelm, Darmstadt


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Fax number: +49-69-6302-317

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9,–

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V

Imprint

his booklet is No. 11 in the series “In-formation on Lighting Applications”published by Fördergemeinschaft

Gutes Licht (FGL) to provide practical in-formation on good artificial lighting. The titles and numbers of all the bookletsin this series are shown on the page op-posite.

Publisher:Fördergemeinschaft Gutes Licht (FGL) Stresemannallee 1960596 Frankfurt am MainGermanyphone: +49 (0) 69 6302-353fax: +49 (0) 69 6302-317e-mail: [email protected]

Technical consultant:Fördergemeinschaft Gutes Licht

Overall design, texts:martin, MarketingConsulting, Hemer

Picture editing, new revised edition:rfw. redaktion für wirtschaftskommunika-tion, Darmstadt

DTP, new revised edition:Kugelstadt MedienDesign, Darmstadt

Printed by: westermann druckBraunschweig

Acknowledgements:The booklets in this series contain refer-ences to current DIN standards and VDEstipulations.

DIN EN standards:Beuth-Verlag GmbH10787 Berlin

DIN-VDE standards:VDE-Verlag10625 Berlin

ISBN:3-926 193-18-2

Reprints:With the permission of the publishers.02/05/00/11IV

T11

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Please indicate number of booklet(s) required. Prices given include postage. (e

= available in English, E

= available in English only as pdf-file,

download free of charge at w

ww

.licht.de):

Booklet N

o./TitleQ

ty

1 Lighting with A

rtificial Light (7/04)E

R9,–

2 Good Lighting for S

chools and Educational Establishments (7/03)

ER

9,–


afety on Roads, Paths and S

quares (3/00)e

R9,–

4 Good Lighting for O

ffices and Office B

uildings (1/03)E

R9,–

5 Good Lighting for Trade and Industry (4/99)

ER

9,–


ales and Presentation (2/02)E

R9,–

7 Good Lighting for H

ealth Care Prem

ises (4/04)E

R9,–


ports and Leisure Facilities (9/01)E

R9,–

9 Prestige Lighting (8/97)e

R9,–

10N

otbeleuchtung, Sicherheitsbeleuchtung (4/00)

R9,–

11 Good Lighting for H

otels and Restaurants (2/05)

ER

9,–

12 Lighting Quality w

ith Electronics (5/03)E

R9,–

14Ideen für G

utes Licht zum W

ohnen (9/99)R

9,–

16 Urban im

age lighting (4/02)E

R9,–

Lichtforumfree of charge

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02/05/00/11IV


Fördergemeinschaft Gutes Licht publications

ördergemeinschaft Gutes Licht(FGL) provides information on theadvantages of good lighting and of-

fers extensive material on every aspect ofartificial lighting and its correct usage. FGLinformation is impartial and based on cur-rent DIN standards and VDE stipulations.

Information on lighting applications The booklets 1 to 16 in this series of publi-cations are designed to help anyone in-volved with lighting – planners, decision-makers, investors – to acquire a basicknowledge of the subject. This facilitatescooperation with lighting and electricalspecialists. The lighting information con-tained in all these booklets is of a generalnature.

LichtforumLichtforum is a specialist periodical focus-ing on topical lighting issues and trends. Itis published at irregular intervals.

www.licht.deFGL is also on the internet. Its websitewww.licht.de features a Private Portal and aPro Portal offering tips on correct lighting fora variety of domestic, commercial and in-dustrial “Lighting Applications”. Explana-tions of technical terms are also availableat the click of a mouse on the buttons“About Light” and “Lighting Technology”.Databases containing a wealth of productdata, a product/supplier matrix and the ad-dresses of FGL members provide a directroute to manufacturers. “Publications” in anonline shop and “Links” for further infor-mation round off the broad spectrum of theFGL light portal.

Gutes Licht für Sicherheit auf Straßen, Wegen, Plätzen3Die Beleuchtung

mit künstlichem Licht 1

Gutes Licht für Sport und Freizeit 8Gutes Licht für Verkauf

und Präsentation 6Gutes Licht für Handwerk und Industrie 5

Beleuchtungsqualitätmit Elektronik12Gutes Licht für Hotellerie

und Gastronomie11NotbeleuchtungSicherheitsbeleuchtung10Repräsentative

Lichtgestaltung 9

Gutes Licht am Haus und im Garten 15 Stadtmarketing mit Licht16Ideen für Gutes Licht

zum Wohnen14Gutes Licht für kommunaleBauten und Anlagen13

Booklets 13 and 15are out of print

Gutes Licht für Schulen und Bildungsstätten 2

Gutes Licht im Gesund-heitswesen 7

Gutes Licht für Büros und Verwaltungsgebäude 4F

Informationon lighting applicationsBooklet 11

Good lighting for hotels and restaurants


good lighting for hotels and restaurants 11 - lighting associates, inc

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