light for cities: lighting design for urban spaces. a handbook

Light for Cities

Ulrike Brandi, Christoph Geissmar-Brandi

Lighting Design for Urban Spaces. A Handbook

Birkhauser - Publishers for Architecture

Basel· Boston· Berlin

Contents

Foreword

New light for urban spaces?

Introduction

Trip to the city

ProcessConcept Development

Players and objectives

Survey, analysis and concept

Feasibility study and financing

Committees and public relations

Lighting tests

Concept implementation in stages

Lighting and design guide

Efficiency and Performance Profiles

Efficiency of new lighting systems: Prerequisites

"Lighting rnasterplan": Performance profile of a lighting designer

Implementation

From concept to design

Production information

Standard award of contract: Specification and invitation to tender

Alternatives to standard award of contract: Staggered contracts

Post installation: Alignment of luminaires and control

Standards and recommendations: Possibilities and limitations

"Light pollution": Avoidance strategies

Lamps and Luminaires

The right lamps for exterior lighting: Selection criteria

Luminaires, poles and attachment points: Requirements

Family of luminaires: Advantages

Luminaires as design elements: Prospects and potentials

Controlling urban light: Future prospects

2 TypologyTravelling byCar

Main roads and side streets

Bridges

Roundabouts

Traffic signs

Multi-storey car parks

Car parks

Petrol stations

Stop and go

6

8

25

26

27

28

29

30

30

32

35

38

38

40

41

43

45

46

48

50

50

52

53

56

59

60

63

64

67

68

71

On Foot

Squares 72

Footpaths and sidewalks 75

Trees 76

Facades and illuminated advertising 79

Shop windows 80

Underground stations 83

Boulevards 84

Design Principles and Techniques 86

Lighting paths and facades: Design techniques 90

3 Completed SchemesBoulevard: "BUrger" Bremerhaven 94

Historical Facade: Hamburg Town Hall 98

Shopping Centre: London - White City 102

Airport: Terminal II, Munich 106

Historical Town: Einbeck 110

Riverside Walk: Jungfernstieg, Hamburg 112

Fountains and Monuments: Schonbrunn, Vienna 116

Park: Negara Bank, Kuala Lumpur 118

Square: Thomaskirchhof, Leipzig 120

Temporary Light Installation: Gasometer, Oberhausen 122

Urban District: Zurich Affoltern 124

Small Town: Lemgo 128

Large City: Bremen 132

Large City: Luxembourg 138

New District: HafenCity Hamburg 142

4 DevelopmentsLight and Shadowin the Public Realm: Past and Present 150

Appendix

Selective Bibliography 158

Imprint 168

New light for urban spaces?

6

Electric light has, since the beginning ofthe 20th century (in London around

1880) driven back the dark, and considerably changed the meaning ofthe night

in our cities. The daytime world was extended into an emerging nightlife that

held an inner attraction while being alluringly "dangerous". The illuminated

night breathed a new beauty into the cities with a special aura. Now, at the

beginning ofthe 21st century, we wonder about the character offuture public

light.

We need to analyse the existing light at the end ofthe 20th century as part of

the process ofdeveloping an appropriate concept. This essentially comprises

functional lighting and effect lighting - just as at the beginning of the century.

Street lighting and pedestrian lighting are mainly functional in design and pro

duce most public light. For a long time, outdoor lighting systems were designed

by continually adding to the existing; new streets and buildings were con

structed with more light. Technological progress ofthe networks, as well as

luminaires and lamps, has been going on for decades. More or less tightly knit

networks of"street lights" have developed over many years, their light now vis

ible from space satellites. And conversely, "light pollution" prevents us from

seeing a truly dark sky in many places.

Effect lighting and event lighting is generally short-lived. It is most typically

found on lit facades, monuments or other "stages" that obviously could, and

still can, attract a lot ofpopular attention. The modern term for this type of

lighting is light installation, unintentionally describing the temporary and the

atrical nature oflight. It is closely related to the illuminated advertising boards

that are an integral part ofall large cities.

Because we take street lighting at night for granted we tend to forget the extent

of the development with light that has taken place in the past 150 years.

The function ofinner cities on the one hand, and the sprawl ofcities into the

periphery or their conglomeration into regions, on the other hand, has been

controversially discussed in recent years - and continues to be a topic ofdiscus

sion. In Europe, city dwellers are putting a lot ofeffort into the restoration of

their once very attractive centres. The refurbishment oflighting systems and

the design ofnew light, mostly taking place in central urban areas, will always

play an important part. The various reasons for this will be discussed. There are

many prime examples, and a proportionately large number ofattempts to emu

late these. An even larger number ofproposals are in the minds ofresponsible

investors, marketing people, advertising groups, public authorities, power sup

pliers, supply industries and designers, residents and customers in the city. All

this can culminate in masterplans for public lighting which, apart from defining

general concepts, often put forward designs for specific urban districts. Alterna

tively, a number ofseparate initiatives for good lighting are formed.

In the above context, this book serves as an actual guideline for better lighting

in urban streets, gardens, squares and buildings. Firstly, the design process lead

ing to new lighting must be discussed. Technical knowledge about lighting sys

tems for external areas and their control is the second aspect. Good solutions

for urban lighting require a creative imagination in order to rethink the medio

cre and commonplace look oflight in the daytime and at night. At first it seems

banal. But it is precisely the everyday occurrence ofartificial light that requires

a small phenomenology with practical examples, and so the third field. Our

fourth approach attempts to enhance further the wealth ofideas. How to set out

on a new lighting design task is described as a narrative; our progress into the

city entering an every-increasing density. The bird's eye view from the plane

interchanges with the perspective of the pedestrian. A good design is not possi

ble without looking in particular at the historical perspectives ofurban lighting,

and at artificial light in a cultural context; we briefly touch on this subject. The

appendix will entice the reader to delve deeper into the subject matter.

Ulrike Brandi

Christoph Geissmar-Brandi

September 2006

Introduction: Tr ip to the city

8

It is only with the benefit of light, after all, that urban spaces become accessible

at night. The symbiosis of light and its surroundings plays an essential role in

architecture, as well as in landscape design and urban planning.

In order to accurately connect different light situations with where they occur

in urban spaces, we will follow a fictional lighting designer who, after having

arrived on an airplane in the evening, drives into a city centre in the dark. This

thought model or design scenario is not related to any specific European city,

but is broadly transferable - in search of local equivalents.

lntrcd uction: Trip to the City9

From the plane the passenger observes the city's sea oflights. He catches

a glimpse ofthe structure of the city passing from a bird's eye perspective:

a river around which the dense centre huddles, the transversals, sports fields

and petrol stations bright as daylight, dark parks and industrial areas. The trav

eller sees the existing lights in the city laid out beneath him, in the configura

tion ofa lighting masterplan. He recognises the light gradations and local light

hierarchies ofthe city he is now approaching.

10

Maybe he will see the runway identification lights close to the ground before

the plane reaches the apron, an extreme version ofthe relationship oflight

space.

11Introduction: Trip to the City

The apron is a space that bears no reference; essentially it is an area that is lit

uniformly and glare-free, from extremely high masts. The light on the airport

apron is almost more "mechanical" than the floodlight ofa stadium, bright and

colour television-compatible - a special public place. The apron is public too,

but people do not walk on it, it is only meant for rolling and manoeuvring. Ifhe

does not have to board a bus to get to the terminal building, he enters into a

"finger", a loveless metal shell that takes him to the gate. This is true ofall air

ports and it is surprising that such design flaws have not yet been addressed by

anyone.

12

Escalators and moving walkways are always found in these passages. They are

generally brightly lit with light close to the ground, most typically with fluores

cent lamps. Recessed lights in the steps provide glare-free light and attract the

attention of those moving up or down the stairs; often the light is reflected or

refracted in the hard glass ofthe handrail.

13lr-troduction: Trip to the City

The interior spaces ofairports have a hybrid character in terms oflighting. The

habitually monotonous illumination ofits long corridors abruptly changes into

complex displays oflight technology as soon as the passenger reaches the shops

or enters the prestigious terminal area where the airlines present themselves.

So immediately on leaving the plane there is a marked contrast between the

well-tended ambience ofthe cabin and the subsequent space.

14

After his passage through the airport, our fictional lighting designer proceeds to

his hire car in the car park. The car park is similar to the connecting pier between

airplane and imposing airport building. Often only a door and several steps

connect high-quality interiors and the unimaginative car parks. These are gen

erally diffusely and inadequately lit. The next space he encounters is the interior

ofthe car, greeting him with a whole array oflight gimmicks that fail, however,

to produce a pleasant light atmosphere. Car interiors, including the usage of

daylight, are the dinosaurs oflighting technology.


On leaving the car park, the headlights ofhis car produce a bright, clearly

defined field ofvision on the tarmac, offering a certain sense ofsecurity

within the immediate vicinity ofthe car.

16

The road leading into a city is generally lit across several lanes with bright and

uniform sodium-vapour lamps at a height ofapproximately twelve metres

sufficient for driving. Urban sprawl extends along the roadside, with lone light

points or illuminated advertising panels placing single accents. After a while

suburbia begins. Here too, yellow-orange sodium-vapour lamps light the side

streets. But the mounting heights are lower; street illumination is irregular.


Diversity is now added to the lighting of the road, still wide at this point: the

mounting heights ofthe street lights are further reduced whilst the white flu

orescent light emitted from the old lighting system presumably gives out the

necessar y brightness. Traffic lights with their colours now enter the picture;

and there are signals too . Footpaths lit from a height offour metres are supple

mented byshop windows.

18

Some areas are lit disparately, such as pedestrian crossings, bus and tram stops

and underground stations. In addition to this, illuminated and backlit signage

appears. Generally, everything seems to be much brighter, but also more diffuse.


The car journey ends on driving into the concealed entrance to an under

ground car park ofa central business hotel. After checking into the hotel, a stroll

through the city centre seems appropriate. The approach to the brightly lit

Town Hall Square is via a narrow and dark side street. Such encounters with the

urban squares ofParis were likened to entering a ballroom 130 years ago. The

facade of the Town Hall is lit from two masts and from the rooftops opposite.

Not many people are about in the square, although it is early evening. The trav

eller wants to visi t a restaurant in one of the nearby shopping streets - and all

on foot.

20

After striving to get his bearings, he passes abrightly lit pedestrian zone. All

the shops are closed, but their windows shine out. The zone is amply furnished

with signs and bollards, and advertising panels on the facades reach up to the

eaves. The lighting is not graspable - an unsatisfactory situation.

21Introduction, Trip to the City

The traveller occupies a room at the top ofthe hotel. He no longer has an aerial

view of a sea oflights - but rather looks at the light horizon ofthe city. Does it

still have anything to offer?

22

The fictional journey into the city could have ended differently. However, it identi

fies the essentials of the model, placing urban light in a special relationship to the

protagonist and the spaces surrounding him. Spaces through which everyone

must pass; urban space is defined by an enduring rite of passage: in this fiction-

al journey the traveller changes from car to aeroplane, from train to public trans

port, and finally he walks. The fictional journey to the city is a model for readers

and designers. The model attempts to relate the changing environs of the trav

eller through the eyes of a lighting designer. For this trip, everyday experiences

have been condensed into a comprehensible, short journey through the city's light

structures.

23Introduction, Trip to the City

Concept Development

Integrated lighting concepts that take

street lighting and building illumination

into consideration strengthen the atmo

sphere of a city.

Players and objectives

The terms lighting masterplan, urban lighting concept and plan lumiere were

newly coined in recent years in discussions about the future of (inner) cities;

today, as the practical planning processes] evolve, so do the definitions of these

terms. The players are urban planning departments, civil engineering depart

ments, public utility companies and lighting designers whose projects are cities

and urban sites ofdifferent sizes, as well as exhibition spaces and leisure parks.

There is no preset course ofaction, as that defined by the Official Scale ofFees

for Services by Architects and Engineers (Honorarordnung fur Architekten und

Ingenieure HOAI) for the planning and construction ofbuildings, and so the

parties involved must work out their own joint strategy. The initiative in these

instances is usually taken by urban planning departments or entrepreneurs,

often in response to pre-existing pressures: the public space has been criticised

as being unattractive and "people are staying away". By the time the involved

parties choose to employ "light" as a design element, they have already reached

a number ofbasic insights, which will then lead to the commissioning ofa

lighting masterplan or individual lighting projects.

- New lighting on streets and squares creates visual impact and is therefore

a promising course ofaction.

- Existing systems are out ofdate or at the end of their economic life and need

to be replaced.

- Compared to other engineering and infrastructural projects such as the

redevelopment ofstreets and squares, lighting improvements are among

the most cost-efficient and sustainable measures. The probability of realis

ing these improvements is therefore comparatively high and the long-term

investments are profitable within a relatively short time span. Savings are

gained by low power consumption and shorter maintenance intervals for the

replacement oflamps.

- Working with a comparatively large number of consultants, who often have

diverging interests, requires extensive coordination and management. If pro

posals for positioning poles and overhead wiring include locations on pri

vate property, they must be submitted for permission. The "tastes" ofindi

vidual business owners are diverse. A consistent design can therefore only

be realised if consensus is reached with regard to integration into a specific

scheme. Just one person not willing to cooperate can seriously upset the

design process. On the other hand, consensus can bring swift improvements

to the appearance ofa street at night and have a positive effect on business.

1 Recommended as a primer on the topic, chiefly In relation to Europe: Klaus Selle (Ed.). Was ist los mit den offentl.chen Raumen?

Analysen, Positioren. Konzepte, second edition, Aachen, Dortmund, Hanover 2003, distributed by Dortmunder Vertrieb fur Bau

und Planungsilteratur

25

+

Survey, analysis and concept

Once the desire for change has been acknowledged, the search for a sustainable

concept can commence. A lighting designer, who has the relevant experience

and is able to show design examples from other cities, could spark offinitial

thoughts and ideas and be invited to give a lecture. The information contained

in the lecture may provide the material for identifying sites from which the

brieffor a concept can be formulated.

1) Concept stage:

The circle ofdecision makers should be limited to the initiators, or better

still, their representatives. Experience has shown that it is difficult to achieve

results if too many people are involved in the decision-making process at the

concept stage. One reason is the broad range ofexpectations associated with

"different" light. It is difficult to theoretically "consider" light in advance and

also to imagine its effect. Once a sustainable concept has been devised, it is

usually persuasive enough to reach the required consensus in favour ofrede

velopment. The concept stage is the best time to determine who should be

the short-term or permanent client of the job and be in charge ofco-ordina

tion, independent ofthe available funds at this point.

2) Commissioning the concept:

The procedure for appointing a consultant depends on the client's regula

tions. Public agencies can circumvent the constraints ofbudgets and public

procurement laws and obtain greater freedom in the commissioning of con

tracts; private clients can generally formulate their own competition terms.

In addition, there are standard competitions conducted according to profes

sionallaws for architects and landscape architects. These consultants will

then join forces with lighting designers to form competition teams. This

option will inevitably broaden the scope ofthe task, diminishing the advan

tages ofa complete focus on "new light': On the other hand, such collabora

tions do make an integrated approach possible in the first place. To achieve

good results, the design ofa concept should be by external appointment,

since the know-how ofexperts at local authorities or operating companies

is generally required to focus on existing situations and ongoing operations.

Innovation, the ''big hit", must come from "outside", possibly from another

city or a different country.

However, there are few lighting design practices that are able to handle the

design - in terms ofquality, precision and long-term perspectives - oflarge,

expansive open spaces or entire city centres. Such design tasks require many

years ofexperience and versatile practical skills. Since this is not part of

26

Aerial view of Marktplatz Leipzig, The

lighting concept embraces surround

ing areas.

, ,, ,

The al ignment of the undergroun d sta

tion beneath the market and the histori

cal diamond-shaped paving pattern in the

square determine the location of the tall

li ghtin g masts.

professional training programmes, consultants possessing the necessary

expertise are rare.

3) Fee:

The fee for amasterplan is negotiable, as the existing fee scales do not cov-

er the relevant performance profile. Time and good local knowledge are

required for the compilation ofa convincing masterplan. It is not therefore

advisable to radically reduce the consultants' input. Commissioning the

work in stages is recommended. One of the advantages of a lighting master

plan is that it deals with only one "trade" in isolation and can therefore utilise

and fully exploit all effects and potentials of the light medium.

Feasibility studies and financing

Once a concept has been formulated, it is advisable to conduct a feasibility

study.All facets of realisation are examined, and the study will then set out to

describe and evaluate the details that would follow after the project has been

implemented. A feasibility study is thus an ideal instrument for raising the nec

essary funds. It may state the relevant criteria for public subsidies, contain actu

al commitment of budget funds or help private investors to find appropriate

commercial real estate and open space.

A study on new lighting for public spaces will analyse the impact on neighbour

ing buildings, engineering structures, traffic and, finally, on the open space. It

will compare the existing situation with future scenarios (possibly planned in

several construction phases) and evaluate the advantages and disadvantages of

the proposal. The description of the existing situation will include the past use

of the site .This is generally found below ground: the many existing service runs

(electricity, gas,water, telephone and other services), inspection chambers,

subsoil conditions, alongside the question oflong-established property and

ownership rights must be considered. The study will also address compliance

with rules, standards, orders, regulations and by-laws.

In an interdisciplinary and comprehensive manner, each ofthe appointed con

sultants will illustrate the impact of the proposed light on every specific area,

taking individual interests into consideration. Neighbouring buildings may

be shown in a new light. Bridges, access and egress to underground stations

may require new "light connections".Traffic flow for cars, bicycles and pedes

trians may be aligned along entirely new routes, if the budget will allow for it

- and thus require different light. Finally, the feasibility study must address

the changes proposed for streets and squares, planting, proposed materials, a

change in colour and street furn iture, and how these affect the new lighting

27Process: Concept Development

Neumarkt Dresden: The Frauenkirche is

free-standir g in the square; traditional

low lighting poles blend in with the sur

rounding facades.

28

scheme. Details ofwhat exactly needs to be included in the study depend on the

specific site, just like the entire planning process.

Currently, a number ofnew build-operate-transfer (BOT) models are being

developed, aimed at competition in the power supply market. Since public

lighting uses a constant amount ofpower during the night, when utilisation of

power stations is low, it is attractive for power suppliers to enter into this com

petition. Such long-term contracts guarantee continuous and constant utilisa

tion, with easily forecasted and contractually fixed values.

Committees and public relations

Public administration committees and indeed the public itselfcan only be won

over with the triad of "urban lighting concept"- "feasibility study" - "financing".

The professionally prepared service proposal turns into a political issue. It is

now up to the confident clients to act. To what extent quick results and imple

mentation are achieved varies from case to case, depending on individuals and

political constellations, and the question ofservices previously rendered.

Consultants can lend support and promote their concepts. The process may be

time-consuming - as will the process ofthe subsequent lighting tests - and may

lead to "repetition" in mediation efforts.

Marktplatz Leipzig: Lighting tests for a

lighting pole prototype in a blizzard

Lighting tests

Lighting tests are very time-consuming procedures intended to demonstrate

the desired effects ofa lighting scheme. However, unlike computer simulations

and other costly methods, they have proven their worth and are an indispens

able professional tool. These tests complement the feasibility study with a prac

tical demonstration ofa pilot project, during the detailed design stage for the

execution or later.

They are therefore not part of the design stage. On-site lighting tests sharpen

the awareness of the parties involved; they not only demonstrate the desired

light effect, but also show the urban space in the dark with the existing lights.

During a lighting test, committee members frequently comment that they had

never before noticed certain aspect of their cities - including especially attrac

tive ones.

It is interesting to examine light situations from a distance and from up close, to

explore the boundaries oftechnical feasibility and to select the optimum solu

tion.

Manufacturers ofluminaires - who provide the samples - and technicians or

installation firms are involved at this stage. They position the luminaires to be

tested and put them into operation. The sampling process provides an opportu

nity to establish first contacts with potential firms that may be invited to work

on the project; these contacts often prove to be extremely informative as there

are many regional differences throughout Europe.

Lighting tests must be budgeted separately. Suppliers receive payment, the con

sultants a fee. Their work, which frequently requires extensive input, can only

be planned at short notice.


30

The cost ofexterior luminaires, including poles and installation, is between

4000- 6 000 euro, sometimes even more.This is tenfold the costs ofinterior

lighting, calculated per luminaire.

Although exterior luminaires are generally intended to "stay for good", the

effort expended for transportation, installation and aligning them is compara

tively high, given the fact that this is merely a non-binding sampling scenario.

Concept implementation in stages

Investment costs for large-scale new lighting systems are generally too high to

be implemented in the short-term. Hence, it makes sense to plan their imple

mentation in stages, and to take the life cycles ofexisting lighting systems

into consideration. It remains a time-consuming endeavour which cannot be

achieved in a day. Depending on the project brief, and subject to budgets and

available finances , it is not uncommon that the time-span for implementation

ofa masterplan ranges from five to ten years . Naturally, it is easier to obtain a

consensus among the parties involved for a smaller, more clearly defined urban

site . Projects that extend over such lengthy periods of time require clients who

possess sufficient determination and will to follow the job through to imple

mentation. Independent consultants cannot influence future decisions. Hence,

the success oflighting masterplans strongly depends on the continuity and per

severance of the parties involved.

Lighting and design guide

The lighting masterplan summarises and illustrates the overall lighting concept

for a city. It provides structure and exemplifies the intentions of the lighting

designer in a series ofdrawings and diagrams. It establishes classifications, sets

up rules and allocates space for the light image ofthe city.

A "lighting and design guide" is a powerful tool that can be used in conjunction

with the masterplan. While such a guide does not furnish a plan description in

the traditional sense, it does formulate clear rules for the implementation of

the plan and for the correct use of the existing ambient lighting in the future. At

present, few cities have such lighting and design guides; some do regulate the

lighting for advertising panels, and others draw on the regulations for building

conservation.

The finished plans are only available to a select group ofpeople and read by

even fewer. The prerequisites for the plan frequently undergo changes over the

course of time. Drafting a clear, concise text composed in the style ofstatutes is

The lighting concept for the City of

Hamburg shows important buildings

and squares as well as the ramparts.

therefore a useful measure and also helps municipal authorities to implement

the formulated goals.

To facilitate the success oflong-term design concepts, overarching "guidelines"

may be formulated for large projects. These are drawn up at an early stage and

supersede the masterplan conceived by the specialist consultants. The objective

oflighting and design guides is to commit individual specialist consultants to a

set ofoverriding rules in order to achieve an homogeneous overall appearance.

A masterplan, and for larger projects a lighting and design guide, which is bind

ing to all specialist consultants should be an integral part of the contracts.


Effic iency and Performance Profiles

Efficiency of new lighting systems: Prerequisites

New lighting systems may become profitable within a short period of time.

The initial job costing can be split into investment costs and operating costs .

1) Investments: What needs to be bought?

For a system that is designed for a lifespan of15-20years, sometimes 30 years,

the investor or the city or the municipality requires:

- a lighting scheme,

new luminaires, including lamps and poles,

their supply, fitting and putting into operation.

Presumably the city or municipality has high operating costs it wants to avoid .

Hence :

2) Operating costs: How can they be reduced or kept low?

To achieve this, the city needs to obtain good offers for the supply of power and

for operation and maintenance or for both from one source (facility manage

ment by the power company).

Total annualL-No.tquantity) t-No.rquantity) L-No.(quantity) t -No.rquantl ty) L-No.tquantity) L-No.tquantity ) costs

Lamps (euro)

Luminaires (euro) 0.00 0.00 000 0.00 0.00 0.00

Total installation costs (euro)

Operating costs tor 6 years (euro) 0.00 0.0 0 0.00 0.00 0.00 0.00

Burn time/day. w inter. 4 months (hours)

Burn lime/ day. summer. B months (hours) 0 00 0.00 0.00 0.00 000 0.00

Average burn time (annual hours)

Lamp life approx. (hours) 0.00 0.00 000 0.00 0.00 0.00

Power absorpti on incl. ballast {kW}

Lamp replacement intervals (years) 0.0 0.0 0.0 0.0 0.0 0.0

Eleclr icity costs 1st year reuro)

Lamp replacement costs (euro) 0.00 000 0.00 0.00 0.00 0.00

Electr icity costs 2nd year (euro)

Lamp replacement costs (euro) 0.00 000 0.00 000 0.00 0.00

Electr icity costs 3rd year (euro)

Lamp replacement costs (euro) 0.00 0.00 0.00 0.00 0.00 000

Electrici ty costs 4th year (euro)

Lamp replacement costs (euro) 0.00 0.00 0.00 0 00 0.00 0.00

Elect ricity costs 51hyear (euro)

Lamp replacement costs (euro) 000 0.00 0.00 000 0.00 0 00

Electr icity costs 6th year (euro)

Lamp replacement costs (euro ) 0.00 0 00 0.00 0.00 0.00 0.00

Total electricity costs for 6 years (euro)

Total lamp replacement costs for 6 years (euro) 0.00 0.00 0.00 0.00 0.00 0.00

Lamp replacement 10 min/luminaire 10 min/lum inaire 10 min/luminaire 10 min/luminaire 10 min/ luminaire 10 min/luminaire

Cost man-h our (euro) 0.00 0.00 000 0.00 0.00 0.00

Average total annual costs (euro )

32

Operating costs for new systems may be much lower. This is due to :

- longer intervals between the replacement oflamps, and the resultant

- longer maintenance intervals,

- substantially reduced power consumption through efficient lamps.

A significant cost reduction would be generated by longer maintenance inter

vals , immediately reflected in lower annual operating costs. In addition to the

reduced operating costs, the city as investor, acting either in the private or in the

public sector, would benefit from:

- excellent, contemporary lighting in the public realm,

- which improves the appeal ofareas slated for redevelopment,

- and thus creates abetter environment for living and for conducting busi -

ness .

Anticipated costs can be estimated on the basis of the above information. The

operating costs ofthe existing system will be known to the present operating

company; those of the new system are easy to compute.

The consultants will submit estimates for the necessary investment and operat

ing costs.These are based on experience values that appl y to areas or street net

works.

More complex is the comparison between different lighting systems because

their performance will vary. The generally accepted method (see above) is to

put a figure on the quantity oflightutilised (lumen in lighting hours) and off

set it against the cost. This does no t reflect benefits derived from light quality

and indirect positive effects, but at least one is equipped with some quantifiable

information.

It is also worthwhile to obtain advice on alternative financing models, espe

cially from possible prospective power suppliers.These companies benefit from

a number ofadvantages.They generally accrue substantial reserves and have

liquidity. It is in their interest to deliver a constant quantity of power over a long

period of time, making plant utilisation easily calculable and enabling them to

offer competitive prices on the open market. Consequently, power companies

can make long-term investments into their own local markets and thus secure a

definite sale.

One ofthe difficulties for cities and municipalities is that public urban lighting

is not paramount for power companies within the context of the total power

demand. Also plants work below capacity at night and thus are expensive. It is a

political issue whether national and cheaper suppliers should better utilise their

available capacities, or whether local suppliers should make the most of their

expensive night hours.

Accurate financing options can only be calculated for specific projects.

33Process: Efficiency and Performance Profiles

This plans shows the existing luminaires

in different colours in the City of Hano

ver in 2001.

34

"Lighting masterplan": Performance profile of a lighting designer

There is no generally binding performance profile. The first stage ofthe per

formance profile should comprise the design ofa lighting concept, the second

stage a description ofservices during implementation.

Here is a possible performance profile for the first stage:

1) Transposing the lighting concept onto a lighting masterplan. Requirements:

- The lighting masterplan describes the lighting concept for the site.

- The lighting masterplan sets guidelines for the illumination ofa city,

it identifies local features and links light themes.

Apart from design proposals, the lighting masterplan will also include

information on technical and economic aspects.

2) Design services and deliverables of the lighting masterplan:

- Site survey: the survey ofthe existing light situation is conducted with

the help ofthe statutory authorities. It forms the basis ofall subsequent

design work. Preliminary time schedules and first design ideas are formu

lated.

- Design ofthe masterplan: definition ofprinciples for the different spaces

(function and scale) ofroads, squares and facades in order to develop

a homogenous scheme, also suitable for incremental implementation.

A good working knowledge ofthe site is essential and helps in the identifi

cation ofits special features.

- The greater the detail ofthe guiding principles - incorporating aspects

such as light colour, illuminance, etc. - the more unified the final overall

scheme will be. Matters ofsafety, efficiency, sustainability and future-ori

ented technology should also be considered

- Lighting design guide for the masterplan: the lighting design guide estab

lishes the rules for the site. It contains precise descriptions ofthe propos

als for the site areas, including all necessary information (lamps, lumi

naires, etc.). Close collaboration with the city and other consultants is of

utmost importance during this stage.

The performance profile for the proposals of the second stage follows on from

that of the fist stage:

1) Design and coordination of lighting proposals of the masterplan:

Finalising the proposals: illustrating the lighting design guide with CAD

drawings, precise specification ofluminaires and lamps, compiling quan

tities and costs. Generally this step relates to specific site areas because

35Process, Efficiency and Performance Profiles

36

implementation will be incremental, possibly extending over several

years.

- Lighting test: lighting tests are a trial run ofthe lighting design in a specific

part ofthe site. They provide an impression ofthe effect ofthe proposed

light on the actual site. It is standard practice to quote for lighting tests for

two typical areas.

Special services:

- Contributions to publicity work, for example appearance at press confe-

rences, lectures, interviews,

- visualisations,

- computer models or simulations,

- economic efficiency calculations of the proposed systems,

- design services for custom-made luminaires.

3) Fees:

- The fees are based on experience values obtained from similar projects ofa

comparable size. They are calculated as a lump sum.

- Fee proposals also include hourly rates and daily rates. These serve as the

basis on which special services are charged, should the client require these

(for example repeated presentations, additional lighting tests, etc.).

- Services for "design" may be charged according to the Official Scale ofFees

for Services by Architects and Engineers (HOAI).

Competition entry for the City of Regens

burg: The available budget allows for a

competition and first pilot projects.

Process: Efficiency and Performance Profiles37

Implementation

38

From concept to design

The design provides detailed information on the various lighting themes. These

may include a hierarchy ofstreets and paths, spatial appearance ofsquares, light

falling onto and reflected offfacades, the integration ofparks and the treatment

ofoutstanding buildings, as well as the appearance from afar and from up close.

Any further course ofaction depends on whether the proposal is for a new sys

tem as part ofa new development (such as a leisure park), or whether an existing

site is being redeveloped. The fate of the project will be determined (internally)

by the degree to which the design intention and detail could be defended at the

design stage, and later during implementation, concurrently and interdepend

ently with regard to:

- design, composition

- cost

- technology

and finally, at the

- initial operation and implementation stage,

a step that follows project execution, but is founded in the design. Since light

ing design proposals are not self-contained, but tend to continue over longer

periods, it may be advantageous for the success of the project if the consultant is

retained beyond the point of completion and into the initial operational phase.

Implementing the ideas from design, costs and preparation ofproduction infor

mation through to the technical aspects and bringing the system into opera

tional use in a detailed and concurrent manner is difficult in practice and success

depends on the quality ofthe appointed firms. Still, this is the approach most

likely to achieve a successful outcome. The common practice ofoutsourcing

tasks such as project management and cost control frequently results in grave

errors. "Project managers" generally lack specific knowledge oflighting design

and the related organisational matters often exceed their skills.

Production information

Detailed drawings of exterior lighting specify the precise positions oflumi

naires. They state the exact number, the selected luminaire type (often specify

ing a manufacturer) and the light colour, as well as technical requirements such

as control units and ballast. This information is the basis for tendering or order

ing products, and includes their subsequent installation.

Plans for White City

Process: Implementation39

40

Producing these detailed CAD-generated drawings is a complex task because

the plans need to be translated into a smaller scale down to the last detail. Pos

sible outlets and mounting positions are an important point ofreference during

this design stage. Entirely new lighting systems generally require plans drawn

from scratch. It is not uncommon, however, to work with existing site plans and

to "improvise".

Provided that all parties are in agreement and do not lose sight ofthe techni-

cal requirements for the proposed light, this method may also produce good

results. Once again , local characteristics, the willingness ofthose involved to

communicate and the scope ofthe consultant's commission are critical factors

for the quality of the scheme.The subsequent sampling plays a vital role in this.

Should there be a breakdown in communication, there is a risk that high-qual

ity products and services for which tenders have alread y been issued may be

exchanged for supposedly cheaper technology, and that the entire process

will come to a halt.The end result would be a poorly executed exterior light

ing scheme. This should be avoided on all accounts, especially at this advanced

stage in the design process.

Standard award of contract: Specification and invitation to tender

The software that is currently used usually extrapolates the number oflamps,

luminaires and technical equipment required for the specifications directly

from the detailed drawings. Consequently, every undetected mistake in the

detailed drawings entails a later addendum to the specification and thus a pos

sible conflict.

Before the specifications are compiled one needs to make sure that all draw

ings have been approved by all parties, and that everyone has added their bind

ing information to drawings ofthe same issue. The interface between the servi

ces provided by consultants such as landscape architects, electrical engineers,

lighting designers and project managers, must be precisely defined at this point.

Every luminaire, including technical equipment and pole s or mounting, must

be described in detail. Manufacturers provide the relevant descriptions which

need to be carefully checked by the lighting designer. Drawings and tender doc

umentation must be consistent.

The tender documentation, including the specifications, will contain prelimi

naries describing all tender conditions.These must be counter-signed by the

tenderer.

LN 03

The transfer ofdata to the tenderer (and his submission) takes place via default

digital interfaces. Once the contract has been awarded, construction may com-

ERCO Tesis Bodeneinbauleuchtemence.

HIT-DE 70W

~/7/ /./ ~m ... ~ / / Alternatives to standard award of contract: Staggered contracts

The above-mentioned "standard method" relates to project-specific tenders.

If, however, the implementation ofthe masterplan is to take several years, as is

the case in many cities, it does not make sense to continually revise the specifi

cations ofthe luminaires selected for the masterplan, or to repeatedly re-spec

ify in conjunction with other urban lighting measures. The plan will comprise

a catalogue ofluminaires (commonly preceded by sampling) or at least define

luminaire types - a selection of ten to 20 different types ofluminaires is reason

able. Tender negotiations may be held directly with the manufacturers. As with

standard tendering, it is advisable to be well prepared. These meetings are time

consuming because ofthe complex calculations involved and because staggered

contracts are generally a challenge to manufacturers.

It has become customary - as for the "standard award ofcontract" - to keep the

contract for the supply ofthe luminaires by manufacturers or wholesalers sepa

rate from the fitting or installation contract. Itmay be in the interest ofthe cli

ent (especially if this is a city) to involve local firms; sometimes the investor

hopes for price advantages. One recurring problem is the "gap" on the building

site. Luminaire suppliers and installation firms have separate contracts with the

client for isolated services, lacking a common goal. The liability for the supply

ofluminaires ends at delivery. All problems, such as theft, additional delivery

or false information are at the expense ofinstallation or down to the client.

As a result, a smooth execution ofworks is a rare occurrence. Itis thus recom

mended to supply and fit from one source; also to stagger payments prior to

completion in line with progress, leaving the final payment until after the

proj ect has been completed.

ERCO

75

~~P'56 .~~,*"*,,boooldull~

~~:-~-r~~~~="'IlrCI\-",... ~t'tMtMIpIl,IQ"''''''~ ,fIM·,,",,.

floodlight

R..--. :MO

. 'tt"V'; . ••~-'\ .. tI , ••

"Y' \; : :: : : '~

iguzzini

Data sheets for specific luminaires

41Process: ImplementatIOn

Post installation: Alignment of luminaires and control

Two important tasks remain: the time-consuming alignment ofluminaires

(if this could not be carried out as part ofthe installation) and the possible pro

gramming ofcontrols. Supervision is part ofthe lighting designer's services, as

it is immediately relevant to his design. Both tasks are time-consuming because

they have to be carried out at night. Cherry pickers (access platforms) and

skilled electricians are needed for the alignment ofspotlights. The program

ming ofcontrols should be done in consultation with manufacturers' experts,

as no control works at first attempt.

Since the control system will work throughout the night, it must be tested for

the full length ofits operating time and possibly re-tested after a successful trial

run. Following this, the system is operational. Now it is up to the client to

utilise and publicise it. He holds onto aspirations ofusers enjoying the public

space, ofbringing out the poetry of the place and of the operators drawing

benefit from the good performance ofthe new technology.

Existing pattern and picturesquesituations

mounting height 10 m approx..

colour temperature neutral to

warm white

mounting height 4-7 m

approx.. colour temperature

warm white

facade lighting. colour

temperature warm white

light accents as orientation

points. colour temperature

warm white

Masterplan Oldenburg: The masterplan

illustrates the overall lighting concept for

the city; individual projects may be imple

mented consecutively.

Park islands and footpathsin Wallring

park paths. low mounting

heights. colour temperature

neutral white

trees in moonlight. colour

temperature neutral white

transitional zones Wallring

lighting of edges greenish/bluish

Process: Implementation

Redevelopment and new lightarrangements

new arrangementof green

spaces. temporary - possibly

coloured

lighting design of new

squares

light attractions buildings/squares.

temporary - possibly coloured or dif

ferentiated white

43

Urban situation of the new

Mercedes Benz Museum in

Stuttgart

44

Standards and recommendations: Possibilities and limitations

It is obvious that lighting systems have always been ofpractical benefit: they

offer orientation and safety in the dark. The illuminance required for lighting a

variety ofareas is defined in standards, and is easily calculated. While adhering

to these rules is not necessarily a technical problem, they often present a chal

lenge to the aesthetics ofa scheme. Standards are almost exclusively concerned

with calculating the levels ofbrightness and the uniform distribution or emis

sion oflight. Standards are quantitative and cannot address qualitative aspects

ofexterior lighting; they are merely recommendations.

Since standards were primarily developed for road traffic safety, they are largely

based on visibility studies for drivers and only rarely on information relating

to pedestrians. First and foremost, the objective is to integrate urban lighting of

streets, squares and facades into a harmonious whole.

For clients and consultants, standards and recommendations only become

relevant in cases ofliability disputes. Courts oflaw rule and abide by the cur

rent standards ofavailable technology and, in case ofdoubt, may take the val

ues quoted in the standards as authoritative. As a matter ofprinciple, standards

should be considered at the onset ofa proj ect and discussed with the client.

They are part of the trade. If the client or the designer should find the standard

a "hindrance" to the specific design intent - it would produce the wrong result,

for example, or it might not accurately reflect the situation - they can come to a

(written) understanding and jointly develop alternative solutions. Some cities

deliberately disregard standards to save power and cut costs by reducing light

ing points or switching lights offfor the night or during parts of the night.

45Process: Implementation

46

"Light pollution": Avoidance strategies

The fact that new lighting systems "can do more" than old systems is due to

innovations, mainly in lamp technology, and increased knowledge ofthe influ

ence oflight on the immediate surroundings or the environment as a whole.

One important objective is to avoid light pollution. Many ofthe old devices

are insufficiently glare-reduced and have no reflectors or bad ones. Often their

light shines in all directions resulting in "stray light". The most common exam

ple is the globe luminaire, extremely popular over a long period of time for its

restrained design. But even they shine against the sky. In many regions of the

world, bright light fog impedes on the view ofthe night sky. The International

Dark-Sky Association (IDA) was founded in 1988 to promote the protection of

the night sky and fight against light pollution. We are all familiar with satellite

images ofthe Earth dotted with glowing urban conglomerates. Contemporary

light is directional and cut off"towards the top", preventing the loss oflight and

of power.

High-quality light will also be glare-reduced, to the greatest possible extent.

Although anti-glare devices reduce the efficiency ofa luminaire, this is a small

price to pay for directional light that is nearly glare-free. Acceptance ofnew sys

tems is almost always compromised by the presence (or the perceived presence)

ofglare.

Hence, it is important to find the optimal balance between the desired light

effect upon surfaces, elevations or objects on the one hand, and acceptable,

albeit minimal glare from as few directions as possible on the other hand.

This also applies to light immission. It occurs, for example, when private

spaces such as front gardens or facades are lit too brightly from public light

sources, causing more light to fall into a home.

Non-directional light or light causing glare is one ofthe main reasons for the

poor quality oflight in our cities today (exacerbated by the longevity ofthe

lighting systems). From this perspective, better light is not a question ofideas

or temporary installations, but one ofindependent designs combined with

the skilled application oftechnical innovations. To appreciate this, we need to

recognise that less light is often better than more.

Light emission in Europe and the result

ant invisibility of the stars

47Process, Implementa tion

Lamps and Luminaires

48

The right lamps for exterior lighting: Selection criteria

Lamps form the heart ofa lighting concept. Their technical properties have a

marked impact on the light ambience; they emit brilliant or soft light, cold or

warm, strongly demarcating or diffusely flowing light. The light they cast has

different colour temperatures (warm white up to 3300 degrees Kelvin; neutral

white 3300 to 5 000 Kelvin; daylight white above 5 000 Kelvin) and different

colour rendition indices (Ra).

Lamps also determine the functionality of the entire lighting system: a group

offluorescent lights may be switched on instantaneously, whereas the various

metal vapour lamps require some time to reach the operating luminous flux,

especially on hot re-ignition.

Lighting systems are attractive only as long as they work; the economic life of

lamps plays a significant role in this. The longer the life, the greater the chance

oflamps being replaced at the right time, and the less labour-intensive and

costly are maintenance operations. Many German cities are currently trying to

extend maintenance intervals for street lighting from two to four years.

To a large extent the lamps employed determine the operating efficiency of

lighting systems, not just in terms ofinvestment costs (fluorescent lamps cost a

fraction ofmetal-vapour lamps), but also in terms ofproduct life and luminous

efficacy.The output oflow-pressure sodium-vapour lamps (often seen above

pedestrian crossings, in a monochrome yellow light) is approximately 100-180

lumen/watt, a fluorescent lamp approximately 80-100 lumen/watt (but with

white light) and a tungsten halogen lamp approximately 15-22 lumen/watt.

(This is why they are hardly ever specified in public lighting schemes).

There is a conflict between the efficiency and the quality oflight emitted by a

lamp: the better the light quality (essentially the colour rendition and the col

our temperature), the lower the luminous efficacy.Finding the right balance

between these opposites is one ofthe goals ofgood lighting.

Lamps also influence the design ofthe luminaire. Their shape and size deter

mine the luminaire head - all lamps used in the public domain require control

gear that needs to be accommodated in addition.

Outdoor lamps:

Electrical power (watt) Luminous flux (lumen) Luminous efficacy (lumen/walt) Colour rendition Colour temperaturefrom - to from - to from - to

Tabular fluorescent lamps

three-band lamp 0 26 18 - 15 1,350 - 5,200 75" - 93" 18 WW, nw, tw

Compact fluorescent lamps

2 2-tube lamp 18 - 57 1,200 - 4,800 67 - 88 18 WW, nw

3 2-,4- and 6-tube lamp 5 - 57 250 - 4,300 50 - 75 18 WW, nw

Mercury vapour

4 ellipsoid 50 - 1,000 1,800 - 58,000 36 - 58 28,3 ww, nm

High-pressure sodium lamp

5 with double burner 50 - 400 4,000 - 55,000 80 - 138 4 ww

6 with T-cap 35 - 100 1,300 - 5,000 39 - 52 18 ww

7 with xenon 50 - 80 3,600 - 6,000 72 - 75 3 ww

8 tubular 35 - 1,000 1,800 - 130.000 51 - 130 4 ww

Low-pressure sodium

9 tubular 18 - 185 1,800 - 32,000 100 - 178

Metal halide lamps

10 tubular (without illustration) 250 - 2,000 20,000 - 200,000 69 - 100 lA,18 nw, tw

11 with T-cap 35 - 150 3,400 - 14,000 87 - 95 18 ww

12 douple capped 70 - 400 6,300 - 36,0000 90 - 91 18 ww

LED

13 LED 0.7 - 1.5 18 - 27 13 - 23 18

Lamps (not to scale)

1 Three-band phosphor fluorescent lamp

2 Compact fluorescent lamp

3 Compact fluorescent lamp

4 Mercury-vapour lamp

5 High-pressure sodium lamp,with double burner

6 High-pressure sodium lamp with T-caps

7 High-pressure sodium lamp,with xenon

8 High-pressure sodium lamp, tubular

9 Low-pressure sodium-vapour lamp

11 Metal halide lamp

12 Metal halide lamp, double capped

13 LED

49Process: Lamps and Luminaires

Outdoor luminaires (not to scale)

1 Catenary luminaire

2,3 Flexible spotlight

4 Floodlight

5 Kofler luminaire

6 Globe luminaire

7 Pole-top mounted luminaire

8 Bollard luminaire

9 Indirect luminaire with spherical cap reflector

10 Pole mounted luminaire

11 Whip luminaire

12 Recessedfloor light

50

Luminaires, poles and attachment points: Requirements

The term "luminaire" originated in the field ofartificial lighting and is imprecise

in the context ofurban light. When the term luminaire is employed for external

applications supported on a pole or suspended, it frequently denotes the lumi

naire head alone. On the other hand, the "fasteners" always present a challenge

for innovative solutions during the planning processes: although inconspicu

ous from a technical perspective, these components are essential and must be

distributed correctly. How and where can new luminaires best be mounted?

This question relates to power outlets, that is, places where electricity is read

ilyavailable. Often these are not where they are needed for the new system.

A decision must be made on whether to re-position existing poles and over

head wiring and the predetermined mounting heights, distances and main

tenance schedules, or whether a compromise with regard to positioning and

attachments for the next 20 years would ultimately be more sensible. The latter

choice does, however, go hand in hand with a technically less than ideal lighting

solution.

While the range ofavailable luminaire heads is wide, there is little variation

in the selection ofpoles on the market, which are frequently mass-produced

standardised products without notable aesthetic qualities. With the exception

of historicising models, the common approach ofcontemporary solutions is to

make objects in the public realm as inconspicuous as possible.

Some designs ofrecent years seem to forgo even this and simply incorporate

light at ground level or seek eccentric pole solutions. In the hands ofdesign

ers, the grey lamp standard has been transformed into an urban sculpture. Both

approaches seem to be a passing fad offashion.

"Construction kits" for luminaires and accessories, including poles, offer a

promising alternative. This "modular" approach to the installation oflumi

naires has in recent years been adopted by the lighting industry; production

and distribution has become more flexible. A multitude oftechnical solutions is

now available which relevant manufacturers can easily insert into various lumi

naire types. By employing this method an experienced lighting designer can

precisely define the light for each specific location without having to revert to

serial products, and still be able to rely on continued support from the manufac

turer.

Family of luminaires: Advantages

To draw on a "family ofluminaires" is a tried and trusted method. The basic idea

is to provide the city with a lighting system that is homogenous in appearance,

The mounting heights define the atmo

sphere, but also the cost effectiveness

of a project.

Standard luminaire heads for poles

developed for a specific project.

while at the same time gaining technical advantages from a coordinated group

ofluminaires. It is much easier to maintain and operate such a "family" than a

multitude ofdifferent luminaire types. Moreover, the quantities required over

a number ofyears enable manufacturers to make attractive offers. Developing

a family ofluminaires, issuing a tender for it and integrating it into the town

scape, requires careful planning and deliberation by the lighting designer. The

luminaires will represent one of the few homogeneous characteristics of the

site. Hence, they give identity and have a unifying function. A family oflumi

naires may also include a standardised pole for different lamps ofvarious watt

ages and mounting heights. Arranged along differently dimensioned grids

and fitted with luminaires they unite to form a continuous framework. The

groups should comprise luminaire positions from ground level up to 16 metres

in height and thus cover the entire range ofconceivable lighting technology,

beginning with bollards at a height ofone metre and offering a variety ofpole

heights (4, 8,12 and 16 metres respectively).

Poles can also accommodate additional functions within the town or on the

site. One can either allocate a special location for each function (traffic lights,

road signs, information boards, fire alarms, technical information, etc.) - as is

commonly done in Germany - or bundle these functions in one place, on suit

able poles, as in New York City. The "centralised" solutions are generally con

fusing, whereas "decentralised" solutions lead to an unattractive "forest of

signs" or "over-designed" proposals.

The ideal family ofluminaires should cover as many standard lighting func

tions as possible. A set ofhierarchies relating to mounting height and emittance

characteristics, also referred to as light distribution, emerges in accordance with

the use to which each luminaire is put. These hierarchies are then applied to the

entire site or project area. The masterplan thus lists a comprehensive catalogue

oflight scenarios which serve as the basis for creating a varied and harmonious

overall design. This includes the matching oflight colours in the "white" range

oflight. Colours change from cold, daylight-like tones to warm tones, similar to

those ofan incandescent lamp. Where warm colours dominate, in low, pedes

trian areas, the light will appear natural and intimate. Colder light colours are


suitable for high mounting heights and produce uniform, anonymous light for

road traffic areas.

Luminaires as design elements: Prospects and potentials

Poles and luminaires in the public realm occupy a rather ambiguous position.

Benches, bollards, litter bins - all these elements ofstreet furniture have clearly

defined functions and are comparatively easy to construct. They can be posi

tioned fairly independently within the city. Luminaires, on the other hand,

require electricity, they must be placed in specific locations and they are abso

lutely indispensable. The city will still function without seating and bollards,

but not without lights at night. Hence, public lighting spans across a wide and

branching urban network that has grown over time. It is one of the details that

characterises urban life'. Each city creates its own light with its own luminaires

the difference becomes obvious at second glance. The appearance ofpublic

lighting in Paris differs from that in London or in Hamburg. It is therefore local

in character.

The design and installation ofcharacteristic luminaires and poles could, if the

city chose to promote itselfthrough light, represent an opportunity "in the

detail". It could be one ofthose last finishing touches that reinforce a unique

idea. Since the appearance ofurban streets is strongly influenced by the large

number ofluminaires, a comprehensive scheme would contribute to improv

ing the streetscape in the long term and also help to raise its profile.

Introducing a customised luminaire that operates on the available, existing

technology would be a highly attractive approach. This could be worthwhile

for cities and for manufacturers, if fixed quantities are agreed over several years.

Next, more attention should be given to the poles; they could be more than

mere supports for luminaires, but could double as traffic lights, luminous signs

and information posts. This would save installation costs and keep the city

scape simpler and less cluttered. To introduce a pole ofoutstanding design qual

ity, with all the necessary technical gear, would provide a new stimulus in the

monotony ofthe existing tried and trusted lamp standards.

Traditional lanterns fitted with modern lamps can be found in many cities. The

glass sides of these luminaires expose naked lamps producing glare. They repre

sent a technical contradiction to their historical housing. Without sophisticat

ed anti-glare lamellae, diffusers or reflectors, such luminaires do not work prop

erly and spoil the effect oflight in the urban setting.

~============8

Competition entry for New York City.

Poles take various elements: Lights,

traffic signals, street signs, litter bins.

1 On this topic, see Virginia Comer's observations in the slim volume: Virginia Comer: Streetlights Urban Details Los Angeles.

2000, self-published

52

An alternative to installing location-specific systems is the use of"invisible"

luminaires, in which both the luminaires and the poles are designed to be as

inconspicuous as possible so they tend to be overlooked. The rationale behind

this approach is the elusive dream ofcreating a timeless design. Many of the

luminaires on the market today are either historicising or trendy in design; it

remains to be seen whether they will still be popular in ten years' time.

Controlling urban light: Future prospects

In the future, light in cities, just like that in buildings, will be largely centrally

controlled and, at the same time, locally managed. It will be possible to set the

times and time frames for the operation oflighting systems, while simultan

eously controlling the "local" brightness or darkness.

The costs for such improvements are difficult to estimate at present. For over a

century, analogue networks have been built and safeguarded. The power load is

distributed across a vast area and to a large number ofconsumers. Frequent volt

age fluctuations make it difficult to control whole systems. As a general rule,

switching options for existing electric circuits are limited to onloffsettings that

do not really offer control. Localnetworks are often activated or switched off

via twilight switches.' Also time switches are employed so that parts ofthe sys

tem may be switched offduring the second halfof the night, when there is little

traffic.

The technical implementation ofnew digital control systems ultimately rests

with local power companies. Future light scenarios, such as twilight lighting,

night time lighting, event lighting and security lighting, should be defined by

the lighting designer.

2 In Germanythe valuesare stipulatedbyDIN5044, part 1.Current regulationscan be foundat www.baunetz.de/arch/

bauregeln/index.htm.


We are all familiar with this experience: a few places catch one's eye, time after

time, or they are part of one's local context - whether by choice or not. Places and

landmarks, encountered by chance that nevertheless influence our behaviour. We

may find ourselves moving in one direction or another, simply in response to a

preference or perhaps because something is not quite right with the light at night ...

What follows is an illustrated presentation of these hotspots of perception, offering

starting points for possible improvement of light in cities through concrete solu

tions. They invite spontaneous contemplation of every-day lighting phenomena

that affect city dwellers.

55

Travelling by Car

Main roads and side streets

Away from the large traffic arteries, we enter into the domain ofthe "hoods"

where the inhabited and inhabitable city unfolds along the side streets. Imme

diately, a sense ofbelonging arises - an issue not to be disregarded when

planning new urban quarters. The quality ofliving and the safety ofa neigh

bourhood increases proportionally to the degree ofidentification felt by the

residents.The provision oflight plays an important part in a neighbourhood.

Light should produce a feeling ofsecurity, generate a sense ofbelonging and

exude comfortable warmth, similar to that in our own living rooms. A lot can

be achieved with low lighting points, but this would increase the number of

luminaires that need to be maintained. Warm white lamps, such as metal halide

lamps, are suitable. Their light is less dingy than that cast by (yellow) sodium

vapour lamps.

Another factor to be considered is that lamps should emit light at low eleva

tions. Streetlights must not shed bright light into nearby living rooms. Finally,

aesthetics playa part in choosing a luminaire: its shape. It is regarded a profes

sional blunder to select luminaires on the basis ofform rather than functional

merit, although optimised technology and attractive design often go hand in

hand. When re-designing the lighting ofa neighbourhood, however, it may be

expedient to select distinct poles and luminaire heads. This is not to suggest that

every historic quarter should be equipped with reproductions ofluminaires in

the style ofSchinkel.

56

57Typology, Travelling by Car

Bridges

Bridges are most often erected at exposed locations. It is in the nature of the

thing and inadvertently marks them as desirable objects for illumination. Illu

minated bridges are eye-catchers, especially when they can be seen from a dis

tance. Obviously, investments for lavishly luminous bridges are high. As a rule,

illumination is restricted to the outline or contour ofthe bridge, since it has no

surface area to speak of, except for the road itself. But ifthe light is directed onto

the piers or pylons, this may result in the height or width ofa bridge being over

emphasised. Illumination of the load bearing structure, in addition to the road

lighting, is generally more unobtrusive.

Narrow-beam spotlights attached directly to the structure offer the best solu

tions. Specific structural features must be taken into account, in particular with

large bridges. They can seriously hinder maintenance operations. Attachment

points must be easy to reach.

Small bridges across streams and rivers are frequently too brightly lit. Atmo

spheric reflections upon the dark water should not be destroyed by too much

emphasis on the bridge structure. Small bridges in parks or across moats in

European cities are often welcomed as objects of illumination - and overdone

because there is little else. The mere presence ofa bridge in a park is no reason to

illuminate it.

59Typology: Travelling by Car

Roundabouts

An ingenious invention: the roundabout. It was first tested for urb an traffic in

New York City and Paris approxima tely one hundred years ago and has been

employed ever since. The fact that roundabouts eliminate many ofthe dangers

of traffic is widely accepted today. Consequently, Europe has seen a full-scale

inv asion ofnew roundabouts in past years. The more useful the periphery of

the circle, the more superfluous is its centre. An obvious treatment would be

to furni sh the island with artistic designs offlower borders, large sculptures or

traffic fixtures. A further practical solution is the erection of high lighting masts

th at illuminate the passing traffic from the centre. The current practice oflight

ing has reverted to giving favour to the periphery of the roundabout - the junc

tion with approach road s. It accentuates the crossroads and, almost as a side

effect , lights the roundabout, chiefly as a result ofthe standard rad ii applied to

roundabouts: the intervals between luminaires are closer than on straigh t roads

and "uninten tionally" increase the luminance.

60

Traffic signs

In the age ofsatellite navigation, illuminated traffic signs appear like the shining

accomplishment ofa past and unremitting traffic euphoria. They have devel

oped into ubiquitous icons, brought into the cities by growing traffic volumes

during the last century. On their own they seem comparatively harmless, like

the luminous stop sign found at a road junction. Accumulated, for example

on masts, they take the shape ofskyward-reaching sign trees. The large-scale

signage on gantries reaches almost cinematic dimensions along our modern

expressways. Traffic signs, illuminated like lanterns from within, stem from

more prosperous times. They have the advantage ofbeing glare-free and evenly

lit across the surface; the fluorescent lamps are high-maintenance, however,

and replacing them involves the time-consuming assembly ofthe luminaire

body. This is why signage erected and lit by spots was introduced. The larg-

est signs are found above and alongside motorways. Retro-reflecting signage

was introduced specifically for situations where the distance between sign and

driver is short. Modern headlights are sufficiently bright to make the signs,

often mounted at eye level, legible. Luminous signs introduced a specific col

our range to the urban night. In France, this is an unassuming black and white;

in Germany, the nominated RALcolours dominate, adding a new layer to the

urban scenery. What are the trends? Contemporary approaches attempt to sig

nificantly reduce the forest ofsigns in the city centres. The excess ofprohibi

tions' commands, information or other signage on any corner should be cut to a

minimum. Their effect is too limited and the appearance too intrusive. At major

intersections and interchanges and along expressways, however, illuminated

signs are here to stay. They are the Buddhist Pop Art ofmodern road traffic: illu

minated and memorable.


Multi-storey car parks

On film they attract much interest: multi-storey car parks guarantee tension.

These inhospitable interiors, constructed ofsteel and reinforced concrete, are

the ideal setting for criminal action, for getaways, ambushes, labyrinths ofchill

and fear. These associations are by no means unfounded for car parks are about

as appealing as bunkers. Motorist driving in and out experience them as tem

porary tunnels because of the difference in light levels. Slow driving helps the

eye to adapt to sudden darkness or, conversely, to blinding brightness. During

the day, the lights in the interior are brighter than at night. There should be no

"dark corners" in multi-storey car parks to ensure visibility ofpedestrians at all

times. More light is also required for designated parking spaces for women.

Some car parks are more susceptible to glare - from the perspective oflighting

technology - predominantly in areas where sunlight enters the decks and falls

directly onto the driving lane. Artificial lighting levels must be twice as high in

these areas than in other places.

64

Car parks

Car parks are much sought after and for their users the starting point for

visits to the city. Even now, no one really attends to the light in these

spaces. Light emitted from as few sources as possible, mounted at the

greatest conceivable height, would be the most economical solution. If

there are residential buildings around the car park, compromises regard

ing mounting heights must be made. Good examples no longer employ

diffuse orange-coloured sodium-vapour lamps, but utilise metal halide

lamps, which have better colour rendition and a warmer light colour.

Access and egress points are clearly marked with light and, in the best

case, low light will lead to them, even over a long distance. In the worst

case, the optics are ofinsufficient quality. Car parks are often the poor

cousin ofexterior lighting design. This can also be said ofthe design qual

ity ofpoles and luminaire bodies. Car parks demand a lot ofimagination

on the part ofthe lighting designer.

Typology, Travelling by Car67

Petrol stations

They have evolved into distinctly lit landmarks, not only for drivers. Conspicu

ous green bands of colour, blue or orange bands against the night sky catch the

eye. But it is not the silver lining on the horizon that we see. Far from it: justas

the overall appearance ofpetrol stations exudes cheap plainness, the lighting

conveys a lack ofdesign investment. Offering neither orientation nor variation,

it is simply and plainly as bright as possible. Driving into a petrol station is like

driving into a light aisle. Steps for initial improvements would be to introduce

unobtrusive light in order to integrate these structures into the urban environs,

and to make the terminals more user-friendly by directing light at the petrol

pump and the waiting cars, rather than against the night sky.

This would also contribute to the visual enhancement ofcities. Flying over

urban areas at night, one firstly notices sports fields and then petrol stations,

their extraordinary illumination bearing no relationship to their significance

within the urban fabric.

68

69Typology, Travelling by Car

Stop and go

A lonely cone oflight in the darkness, in the middle of the countryside, con

stantly moving forward. This image ofa car moving through the night is fas

cinating because it holds many associations. In the city, however, this imagery

is reduced to a limited vocabulary. Breaking, starting, rolling, accelerating and

stopping transforms the moving car lights into a chain reaction offew signals.

At the front of the vehicle are directional lights for orientation, at the rear red

warning lights. When the flow ofa line ofcars ceases - in a traffic jam or at traffic

lights - the all too familiar long queues of these old "lanterns" form into a flash

ing parade oflights.


On Foot

Squares

Public lighting originated in the urban squares and along main roads, in the

important spaces ofEuropean cities. First illuminations were sensational dis

plays, intended also to demonstrate the grandeur ofcities at night. The illu

minated squares ofParis resembled the halls ofVersailles, bathed in magnifi

cent candlelight. At that time, nocturnal light was at a premium. Itwas almost

entirely dark, hence the effect.

Today, few urban squares live up to these expectations, as the facades defining

the spaces usually have brightly lit shop fronts and illuminated advertising pan

els which determine the light atmosphere. Good lighting will not turn around

this commercial trend - which does have a certain appeal- but with the deliber

ate treatment ofdarkness it may achieve a great deal for traditional city centres.

The square itselfmust be sufficiently lit, so that people will want to walk in it

and linger in its brighter areas. The characteristics ofthe city centre, however,

shape the night-time illumination along the square's periphery and contours;

with restrained facade illumination (reflections should not light the square) and

a few brighter accentuations ofthe urban architecture. Artificial light has not

been available for long - it is an instrument that needs to be employed carefully,

an addendum to the manner in which flaneurs and consumers experience the

city. It could become special once again. At night, new lighting should not come

immediately to the fore; instead, its ongoing presence should revitalise urban

life. Although accomplishing this while satisfying individual interests is one of

the most difficult tasks, it will achieve the most sustained reward for all parties

involved.

72

73Typology, On Foot

Footpaths and sidewalks

Footpaths in European cities greatly differ from country to country.

Lighting that is especially designed for pedestrians is a rarity and most foot

paths and sidewalks are therefore illuminated by existing street lighting. Paths

in public parks - or in pedestrian precincts - are sometimes lit especially for

pedestrians.

Special lighting is often applied to the boundary between public and private

spaces. As soon as one leaves the street to approach a private building, one

should be able to see the building and its entrance. The light on the way needs to

be as low and direct as possible. Ideally, it should be grazing light directly above

the ground.This ensures that light does not disturb the pedestrian's view onto

the ground and into the distance - even though it fulfils its function (5-7 lux are

the recommended value). Light directed at the ground does not cause glare or

obscure the view. Ofcourse, more fittings are required than in a lighting scheme

that is based on the common, wide-angled luminaires on columns above three

to four metres in height.

The usual traffic lighting on streets and paths is intended for cars, not for pedes

trians. Although we have been getting around on foot for as long as we can

remember, this might be the very reason why so little importance is attached

to it and to the lighting of these areas. The conventional light in pedestrian pre

cincts is primarily designed for safety ; danger and passers-by should be recog

nised as early as possible. Additionally, light should provide orientation. This

is now increasingly achieved through the use ofrecessed elements which have

become smaller, less expensive and more durable with LEDtechnology. The

first models powered by solar energy, independent ofelectricity circuits , are

available for orientation light

Light points, lines, hatches or nets may be "drawn" with light in pedestrian

areas.As an aside, [the artist] Daniel Buren succeeded in doing just that with

his installation at the Palais Royal in Paris; in fact he showed us how to do it 20

years ago.

75Typology: On Foot

Trees

Rustle - rustle. This is the sound ofautumn in Walt Disney's comic strips. Bare

trees reveal their natural structure ofstem and branches. It is fascinating to see

the grown order ofa tree contrasting the clearly structured facades and squares.

This is why it is popular to light trees .

Light on trees is usually emitted by buried luminaires. This is the method cur

rently established for lighting trees. When using buried luminaires one needs to

make sure that they are not positioned along lines ofmovement. The glass can

be hot. Some time ago, the technique of training spots from a distance was com

mon practice. Itgave the tree a sculptural quality and cast interesting shadows.

A third alternative is to place the lights on the branches lighting the tree from

within. This is the most beautiful lighting option, but the fixing ofluminaires is

often difficult, the necessary wiring unsightly and the supply line conspicuous.

Light colour is an important aspect oflighting trees. Most suitable are neutral

white halogen metal vapour lamps (HIT). Warm white or sodium-vapour

lamps make the tree and its leaves appear grey. If one chooses buried luminaires,

it is important not to place them too close to the trunk. The growing roots

could displace the fittings , and trees do not like the heat. If the surroundings are

dark, a little light is sufficient. When seen from a distance, the subtle lighting of

trees in open spaces and parks can be extremely attractive. The site will gain in

"depth", the trees will compose the silhouette. Trees planted in clumps can be

visually grouped together using low lighting near the ground and thus trans

pose the design intention ofparks or courtyards "into the night".

76

77Typolcgy: On Foot

Facades and illuminated advertising

Illuminated advertising is an invention ofthe electrified and modern city.

Unique at first, now found everywhere, it is firmly imprinted onto the mod

ern urban imagery. Almost all that shines from buildings at night is advertising.

It seems that no one wants to do without the variety that has developed over

time. In the beginning it was the attractive and almost forgotten neon light with

glass tubes and high-voltage systems.

In spite of their triumphant advance in many European cities, illuminated ads

are subject to planning approval, and rightly so. They are prohibited in some

districts. Noone wants to see ads reflected in LakeZurich or in Hamburg's

Alster.The use oflight for advertising purposes should therefore be regularised

with the specific ambience and location in mind.

What if facades are turned into advertisements, when the external skin ofa

building mutates into some sort of screen? In German cities one occasionally

encounters vast advertising boards behind glass, lit and mounted in the inte

rior of the buildings - a practice that cannot be prohibited. Plasma and LED

screens can now cover entire elevations. In Seoul , elevations are being plastered

in screens to such a degree that they demote the facades ofPiccadilly Circus in

London, Times Square in New York or the squares ofShibuya in Tokyo , into

museums ofilluminated advertising. While neither the screens nor the mes

sages are very bright, the cinematic scale - reminiscent ofthe renaissance of

drive-in theatres - tends to displace architecture. The built language of the city

is dying.

When individual facades that are suited for light experiments are transformed

into a "luminous" theme, the results can be alluring indeed.The same is true for

strategies that utilise light deliberately in conjunction with architecture and the

urban image . In recent years, there have been a few notable attempts to animate

high-rise buildings with individual lighting scenarios, although not all of them

have been successful. In Hamburg, illuminated goal posts were placed on high

buildings on the occasion of the Football World Cup 2006. A little gimmicky,

but these things happen.

In Europe, respectable light experiments mostly involve facades, but the Chi

nese love light to be "on top", in all colours. As long as we have a choice and

buildings in their own right are the centre ofsuch experiments, rather than

the light on them, such approaches may succeed. Unlit, monotonous granite

facades, with their formally chartered claim to perpetuity, cladding steel skel

eton structures, are hardly beautiful. Large-scale lighting schemes offer a vibrant

alternative.

79Typology: On Foot

Shop windows

One simple, basic rule applies to the general lighting ofshop windows.The

horizontal plane, the ceiling, produces the basic illumination while accents are

placed on the vertical surfaces, the walls . In principle, there is nothing to be said

against this formula. But its calculation is based on an isolated point in the cen

tre of the space. It omits important factors beyond the four walls of the premis

es. Neither does it consider the different light conditions in the day and at night,

nor what is in front ofthe shop.

Seen from outside, from the shopping street, display windows compete with

one another. Competition reinforces the tendency to assume that attractiveness

increases with light levels . This is often coupled with over-dimensioned illumi

nated advertising on the facade ofthe building. The effect on the passing con

sumer is distracting rather than enticing.

Given the unanimous consent among all the merchants in a district, a lighting

design guide could be commissioned and presented. Another conceivable idea

is to formulate an agreement that sets limits for the brightness ofdispla ys and

restricts advertising icons to facades or to high locations only.The light quality

achieved in this way would be an inexpensive and quick way ofimproving any

high street.

Shop windows with strong, predominantly horizontal light that is not directed

at the walls appear marginally brighter than the ambient lighting.This avoids

reflections. Some light should also be visible in the depth ofthe premises. These

soft transitions with light accents present the goods more effectively than sheer

brightness. The choice oflight colour is determined according to the goods on

display. A shop for technical products will hardly use soft, expensive narrow

beams ofhalogen light; and vice versa , a fashion store would rather do without

up lighters fitted with cold white lamps.

80

81Typology: On Fool

Underground stations

Underground stations are not places where one wants to linger. The common,

typical tube-like architecture ofsuch subterranean spaces for rail traffic are very

low and long, often displaying the laboured efforts ofdesign accents on walls

and a recurring rhythm ofpillars, furniture and signage. The only promise of

some entertainment lies in studying the advertising boards.

The choice and execution oflighting - in most stations without any daylight at

all- underlines monotony; seemingly endless strips offluorescent luminaires

placed along the platforms are boring for the observer and make orientation dif

ficult because ofreduced contrast perception and adaptation. The exclusive use

ofdirect light ofgreat luminance levels further diminish the visible height of

the space and make it appear even deeper.

Generally, the monotony in the selection oflight sources, the type oflight and

light colours precludes contrast-rich, accentuated lighting that sets up a hierar

chy ofspaces. The spatial geometries of these tunnels, in particular, represent an

as yet undiscovered challenge for creating good lighting design for users below

ground and there is also ample room for improvement in above-ground sta

tions as well.

83Typology: On Foot

Boulevards

Rome was to Antiquity what Paris was to the 19th century, New York to the

20th century and, possibly, what Shanghai or Mexico City are to the 21st

century: the embodiment of the city. Cities are characterised by a network of

streets. In city centres some streets are displayed in their full local splendour.

Modern boulevards leading into the centres take on a representative function;

they are a European invention of the 19th and 20th centuries.

Their width facilitates the differentiation of public light in three zones: light for

traffic, light for pedestrians and light on buildings. Each ofthese types oflight

has a different function that should not compete with, but complement the

others. Light on the street must be uniform, just like light on footpaths, only

a little brighter, warmer and "denser"; shop windows should be individually

designed, the light on facades and illuminated advertising should be as homo

geneous as possible. Great importance is attached to the design of boulevard

luminaires.The luminaires selected for these areas are special, as is the planting

and seasonal lighting at Christmas, for example.

Likean urban square, an attractive boulevard is almost an internal space with

carefully staggered "luxury lighting" that sets it apart from the dark surround

ings . Its single light points join up to form lines and, finally, avenues oflight

into the rising dawn - whose steely grey extinguishes its splendour for a few

hours.

84

85Typology, On Foot

Design Principles and Techniques

Waterfall at the EXPO 2000 in Hanover:

Water and light produce a vibrant effect.

Unfortunately more and more German

cities shun the running costs of fountains

and water features.

86

What is the significance oflight in cities today? Which specific requirements

should it fulfil? Who needs it?

First ofall, light is important for drivers at night. A large proportion ofurban

illumination is street lighting. Accordingly, the majority ofcitizens perceive the

city at night in the light ofits tarmac routes - journeys made by car. Every even

ing cars join a swelling and receding stream which late at night ebbs to reveal the

streets and junctions in a flat and uniform light.

What are the actual light conditions citizens move around in today? Is the treat

ment oflight symptomatic of the behaviour ofpeople? Probably not. Light is

still a contemporary issue, especially if it should be improved. As soon as it gets

dark outside, most urban people are surrounded by "light sludge": the regular

street lighting in front oftheir homes primarily noted for its largely undiffer

entiated brightness, and the generally diffuse, sometimes flickering light inside

their flats. The television set often takes on the function ofa campfire, a light

people like to gather around, like in ancient times?

This paradigm is the false reasoning ofmany ofthose people who are concerned

with light. More luminaires automatically produce more light and, hence, bet

ter business. As with cars - there are simply too many in the city. Still, they are

fun. However, this does not improve conditions. Improvement will not hap

pen unless urban light is designed with care, and in specific areas perceived to

be special and designed to levels over and above high standards. In working

towards this goal the available options ofdesigning with light must be fully

exploited. Because light can substantially improve the existing situation and

remain fascinating this provides a definite opportunity for the wished-for and

long overdue revitalisation ofurban life.

Light should be offered to the urban dweller and invite him "to be in the city".

Two partly conflicting strategies may be adopted to achieve this. One is aimed at

the promotion ofcontemporary event culture, the other at the enduring differ

entiation of urban lighting, practically an endorsement of the townscape. Both

approaches offer significant potential for urban lighting.

Events draw people into the city and make it vibrant. Unlike traditional per

formances at the opera, theatre and cinemas, event visitors actually participate

in the activities, sometimes they are the event. Well-known examples are the

"Love Parade" or the "Christopher Street Day" celebrations. Such mega events

are pure publicity and they are focussed on city centres. The impact of this "fes

tivalisation" ofurban life, as critics name the phenomenon, is also felt at night.'

1 Extremely convincing argumentation by Gerd Held: Stadtbeleuchtung, In: Regina Bittner (Ed.J:Urbane Paradiese. Zur

Kulturgeschlchte modernen VergnUgens, Edition Bauhaus, Campus Verlag Frankfurt/NewYork 2001. Reader for the exhibition

"Paradies der Moderne" at the Stlftung Bauhaus Dessau 2001. Excepting Schivelbusch, Held Is one of the few who attempted to

explore the topic of urban illumination from the perspective of cultural history.

Funfairs and their "high" attractions

create a distant impact with light.

Temporary "event lights" act as a catalyst for activities, spurring the participants

on. These lights are often coloured and highly mobile, like in the theatre. The

city and its squares are transformed into a stage, the facades form the - admit

tedly unchanging - backdrop. There are in -between forms in which event illu

mination is firmly built-in and repeated every night, or at preset intervals. The

illumination ofthe Eiffel Tower in Paris illustrates this. Presently, Parisians are

transforming their landmark into some kind ofglittering lollipop for five min

utes, on the hour, every hour. Before the glittering starts, the tower is bathed in

a red and yellow light. When asked, many Parisians voice their approval. They

don't mind the tower being temporarily turned into a colourful plaything.

The second approach refines urban lighting to increase its intensity. The semi

nal idea is to bring to an end the current practice ofseparating the lighting of

roads and pedestrian areas, facades, shop windows and advertising panels. The

objective is to obtain an integrated appearance which is characteristic ofthe

local environment. This is more sophisticated than simply playing with col

ours, and much more difficult to put into practice.

Principally, the lighting designer moves along a two dimensional design strand.

He works with the dimensions of time and space. Artificial light for exteriors is

mainly relevant at night. Evenings, mornings and seasonal changes bring many

recurring transitional situations. The light shifts. Furthermore, the need for

seasonal light arises. On the large scale, access to urban spaces is gained via the

city's traffic arteries. Reducing the scale brings up questions ofpotential per

spectives and differentiation. Reducing the scale even further will theoreti

cally take the perspective right down to the scale ofan individual's body and his

immediate environment. It could be an urban space which can be grasped "on

foot", or a car in a traffic jam - all are common urban situations.

New lighting should "reinvent the night" for the visitor to the city. This, though

slightly exaggerated, is the actual objective. Marketing people would present

this as a desire to prolong the time people spend in the city. Revitalisation ofthe

renowned nightlife ofthe "Roaring Twenties" immediately brings to mind the

legendary times ofpublic light that we now see repeated in China and the "Tiger

States" ofAsia. Light ad infinitum. Recent newspaper articles report that Shang

hai is thinking about switching offthe illuminated advertisements because of

insufficient power supplies to run them. Such global trends are real. They are

based on our fascination with brightness, our desire to turn night into day

undoubtedly an attractive prospect.

Well thought-out design, however, is based on darkness, the opposite. It con

ceives light reciprocally, not glistening, colourful, bright, competing, but as an

87Typology, Design Principles and Techniques

The roof of the station lor ecour l "hovers"

above the bus stop and forms a t ranspar

ent counterpart to the stati on hall.

Glow ing heart s at the Tivoli in Copenha

gen: Light ing design and light art have

been an inherent part of the park sin ce

the 1920 5.

88

initialisation into the changing times ofday and the seasons. This is not to say

that the city should be dark. It means that the lighting designer will not only

meet the requirements of urban spaces, but also consider those of the natural

light conditions.The contemporary lighting consultant's design concept does

not stand in isolation, but aims to devise a scheme that integrates the citizens,

the city and the times ofday. Anyone designing with light should, at the outset

ofa project, appreciate the day and night cycles ofthe site.

The best starting point is twilight. Lights are turned offin the morning; long

shopping hours have shifted most of the city's activities to the time around

nightfall, into the "blue hour", or later, depending on the season. In the early

even ing , urb an lighting can be applied selectively to the most important urban

squares and buildings, the well -known focal points of the city.The next step

sho uld concentrate on ped estrian areas, access and egress points, creating

"gateway situations" that indicate the direction in which the flux of urb an life

is moving. Finally, the street ligh ting is switched on. Lights set in gradually,

rendering the night attractive and safe. Onc e it is completely dark, the planned

hierarchies ofl igh t are fully switched and orientation is no problem. The

immediate surro undings can be overlooked at all times, there are no dark cor

ner s. Above, from the first or second storey onwards, light becomes noticeably

reduced, defining a clear but sheltering overhead space. Most of the attractive

luminosity is a result of reflections on different materials, including the paving.

Lamps emit gradations of white light. Some light is emitted from the interiors

ofbuildings .The levels should be homogenous, the shop windows not glar

ingly brighter than the space outside them. Most importantly, they should not

cast direct light into the street. Colour can be added by the light on the goods

on display. During the course of the night, the accent lighting th at st arted the

sequence ofillumination fades.The overall lighting that instils a sense ofsafety

rem ains until dawn.Thi s is a possible scenario for complete 24-ho ur cycle of

day and night.

Chri stmas lights have always been the archetypal seasonal, temporary illumina

tion linked to time ofyear and commercial sales periods. It is very cost intensive

to run, but enjoys increasing popularity with the public. Many pos sible design

themes have been aired: recently, temporary lighting ofpools, water features

and fountains, or parks has once again become popular. It offers a reminder of

a permanent Baroque staging that, 250 years ago, would have been produced

for a single evening using thousand s of candles I . In a seasonal cycle they repre

sent temporary illuminations, preferably repeated, with alternating switching

times. On the other hand, fixed illuminations for seasonal amusements, such

as ice rinks or temporary pools and beaches , may become special attractions.

3 Prior to the 17th century, parties and theatre productions almost always look place during the day.

The water jets in this field of fountains

can be switched off when the market is

held in front of the Town Hall in Milten

berg.

A small fountain in Hamburg Bergedorf

creates a cosy atmosphere.

Potential design details can only be discussed after examining the second ap

proach to good lighting in cities, the spatial dimensions. It denotes the essence

of the design scenario light - space, that is, the disruption in the movement of a

passage into the city and the respective potential afforded by this. The disrup

tion is marked by the traveller's changed mode of transport, from driving by car

(aeroplane, train, public transportation) to walking. The opportunities arising

from it are limited to the inner cities and certain shopping districts. These are,

at present, the spaces and districts in which, subject to the will ofthe munic

ipalities, chambers ofcommerce, public private partnerships (PPP)or Ger

many's proposed business improvement districts (BID), new urban lighting is

to be established and intelligently planned. Essentially, they are the old market

squares in a new guise.

Regrettably, the design oflight for exterior spaces is divided into two areas,

street space and pedestrian space. But this is exactly the wrong thing to do; it is

precisely this separation that must be overcome. The design should accomplish

a continuous concentration in density ofthe light effect. The intensity oflight

could increase towards the centres. Not to say that everything should become

brighter or garish. The key concern is nuances oflight, its presence in streets

and squares in a relative sense. The existing light is sufficient to make the exist

ing environs adequately visible so that anyone walking the streets at night is

able to see his immediate surroundings, metre by metre, and feel at ease. From

a distance, light in the centres must be sufficiently bright to set them on display

and to exert a constant pull. Also, light demarcates previously defined areas. The

inclusion ofstrong local light should be possible in exceptional situations or

"randomly" without disrupting the overall appearance. Existing installations

and systems are a world away from this.

89Typology, Design PrinCiples and Techniques

Lighting paths and facades: Design techniques

Every luminaire has an IP rating denoting its protection measures against mois

ture, dust and other influences. Several lamps and some types ofballast only

work in a limited temperature range and will not start in frosts, for example.

Suitable luminaires are oftwo groups: luminaires that light ground areas and

luminaires that light facades. Additionally, light is emitted from buildings and

shop windows, which is more difficult to control.

City of Braunschweig: The black

plan illustrates the functional illu

mination in the square and adja

cent streets in conjunction with

facade lighting.

•catenary luminaire

pole luminaire,

mounting height 3.5-4.5 m

pole luminaire for street light

ing, mounting height ca. 7 m

differentiated facade illumi

nation

light from the interior

tree

water feature

90

Catenary road light ing in Bremen

1) General lighting for traffic areas

The quality oflight is largely determined by the mounting heights and posi

tions ofluminaires. Luminaires may be installed on poles , on overhead wires

or on buildings. Poles are the easiest solution, they are generally accepted,

but tend to be "in the way ", and they have few sensual qualities. In most cas

es overhead wiring permits the best positioning ofluminaires. But wires are

difficult to place because the building owner's permission must be obtained

for their installation and it is not always possible to find suitable anchorage

points across long distances. Obviously, the maintenance ofluminaires in

the middle ofthe road is more difficult than ofthose along the edge. Lumi

naires mounted on facades provide a simple solution for narrow streets.

Where exactly luminaires are positioned in the traffic area is ultimately a

question ofdesign and cost. The technical requirements are clear-cut. The

greater the spacing between masts and the higher the luminaires are mount

ed, the more anonymous, general, tiring, but also glare-free the light will be.

A variation in mounting heights and luminaire positions helps to animate

the townscape.

2) Lighting for facades - light close up

Old lighting systems were used to simply brighten facades or towers with

high wattage floodlights from a great distance. The more the better. The

result was often impressive, but flat because the texture of the facade was no

longer discernible. In a reversal ofthis technique, narrow-beam spotlights

were placed close to the building. A lot ofshadow and drama was created

frequently resulting in a lighting kitsch never intended by the architects, as it

distorted the proportions offacade elements.

Sophisticated solutions combine focussed light on the facade, emitted from

a distance by gobo beams,with distinguished light th at is relat ively weak and

mounted directly on the building. A possible alternative is to appl y light very

close to the facade using fibre optics . It is especially effective on light-coloured

elevations .

91Typology: Design Pr inciples and Techniques

Boulevard: "BUrger" in Bremerhaven

Btlrgerrneister-Srnit-Strafie in Bremer

haven had lost its lustre. Here, the design

for its redevelopment.

94

Atmospheric lights for consumers

"Burger" in Bremerhaven, by WES & Partner, is a new, stretched out boulevard

inviting people to stroll along its wide footpaths and befitting planting. Uni

form roofcanopies define the upper limit ofthe new scheme and act as a com

mon denominator. These continuous glazed roofs also provide shelter from bad

weather and create the right scale for pedestrians. It is along these lines that the

brieffor the lighting was formulated; shining in all facets ofnight-time illumi

nation until late in the evening.

Private advertising or floodlit buildings do not disturb the independent char

acter ofthe outdoor mall, which is further supported by the secondary reflec

tor system ofmast luminaires specified for the "small boulevard". In addition,

grazing light near the ground lights the road, which is closed for traffic. The

resultant alternating rhythm ofintervals generates order. The light integrated

into the glass canopies corresponds with the light emitted from shop windows.

This turns the pedestrian area close to the shops into a Parisian passage, which

at night is defined by a 'space with light". The no longer very attractive buildings

obtain a certain elegance extending their flair up to the church square, which

has its own light character.

The new lighting concept also lights

up the surroundings: An illuminated

water feature and a luminous glazed

roof emphasise the length and gen

erous dimensions of the boulevard

- citizens feel safe at night once

again.

Completed Schemes: Boulevard

'. '.: •.......

95

The shining field of fountains and a light

band across the church square introduce

a playful element.

96

The combination of low grazing light with

indirect light from poles provides the

functional lighting of the boulevard.

Completed Schemes, Boulevard

The black plan shows the key areas

of the lighting concept for "Burger"

Bremerhaven. The church square

and market place are important

features.

97

Historical Facade: Hamburg Town Hall

98

Hamburg Town Hall in a new light:

Significant improvements are:

three dimensional appearance of the

facade; bright base and ground floor

(no glare); the power consumption of

the lighting system is reduced by half.

Lighting before 2004

Detail of lighting before 2004

Contrast on a big scale

The Town Hall of Hamburg forms the south-western boundary to the Rathaus

markt square. It can be seen from Monckebergstrafse, and at a greater distance

from the Lombard and Kennedy bridges that span the Binnenalster lake. It plays

a prominent role in both near and distant views ofthe city at night. In a "hierar

chy oflight", a ranking ofthe brightest to the darkest buildings, the Town Hall

would clearly be placed at the top ofthe list. Until recently, it was floodlit from

the rooftops ofbuildings on the opposite side. This type oflight gave it a flat

appearance and let the base ofthe building sink into darkness.

The concept combines two new lighting techniques:

- A soft, wash oflight from masts. This is ofa smaller scale than the light from

the former floodlights and, with the use ofgobos night templates") produces

variations in the bright-dark gradient.

- Luminaires mounted close to the facade create contrast and shadow that

emphasise its three-dimensionality and complement the soft wash oflight.

Together, both types oflight create abalance between the expansiveness on the

one hand and the richness in contrast on the other.

The roofis bathed in a wash ofcalm light; luminaires are placed between the

numerous dormers. The tower is equally visible from a distance; its front is lit

with luminaires positioned close to the facade and a wash oflight across its face,

the sides receive awide wash oflight.

The power input ofapproximately 8 kilowatts (138 spots) for the front and side

elevations offers a considerable energy saving compared to the 16 kilowatts (12

spots) used by the previous system that lit the front of the building only.

Measuring the luminance level of

the tower during a lighting test

99Completed Schemes: Historical Facade

Elevation of Hamburg Town Hall with luminaires

Symb ol Total Facade

A 03 Superlight Compact Meyer 6 6

------ - - -E9 06 Super light Compact Meyer 62 62

------ - - -• 10 Recessed ftoor luminaire 6 6

ERCO

--- - -----o 10.1 Recessed ftoor luminaire 2 2

ERCO

------ - - -C8:I 11 Spotlight Derksen 22 22

------ - - -

10 10 · 06

AU18I181 n

100

~~ 0

/) ~ /) ~ ~ ~ ~ ~ fJ fJ fJ fJ /';, fJ {},

06 • • • 06 rOJ 10 10 10.r 06 • • • • 06· • • 06· 10 10Au Au AuA u Au 18I181 U

Montage showing extracts from lighting tests

Completed Schemes: Historical Facade

Supertight Compact(03)

Super light Compact(Db)

Recessed floor light<10l

Recessed floor light<10.1)

Gobobeam (11)

101

Shopping Centre: London White City

102

Glittering temple of goods

White City shopping centre is located in northwest London immediately adja

cent to the BBCHeadquarters. It is typical of the extremely large-scale shop

ping malls common in the UK.White City is a small town in its own right, with

interior streets and squares and excellent transport connections. Three under

ground stations, including the specially built "White City" stop, and a large bus

terminal are close-by. A multi-storey car park for more than 5 000 cars occupies

the three lower floors of the complex.

Entrance areas present an important first impression to visitors. Tall, lumi

nous walls, the so-called "light boxes" dominate the access points. These "light

boxes" are backlit glass boxes which may be used as either presentation win

dows or projection areas. Individual control ofeach box offers much flexibility

in the utilisation ofthe space, and endless design possibilities.

Another main point ofentry to the shopping centre is via the underground car

park. The access ramp serves as an adaptation zone for the transition between

bright daylight and the relatively dim artificial light of the interior. This tran

sition is achieved through the use ofdifferent zones ofbrightness that enable

the eye to gradually adapt to prevalent light conditions. At night this effect is

reversed. The car park is designed to a high standard and its bright lights provide

a sense ofsecurity. Brighter light on main traffic lanes and footpaths assist ori

entation. Long, seemingly floating lines oflight structure the numerous parking

lanes. Asymmetrical luminaires light the outer walls and avoid dark corners.

The shopping centre itselfresembles a small village, with glass-covered streets

and a central "market square" (winter garden). During the day, a great deal

of natural daylight reaches the interior spaces, creating a vibrant and clear

Aerial views of central London

Night-time visualisation of White City in

London

103Completed Schemes: Shopping Centre

29IM-'lNnlllorl'-y lll an lin

II"""" 150-300

• Lamps in Ihe vert ical columns provide a general light ing level; height; 15 m,

distance belw een lamps; 8 rn.

2 lamps are included in the fill ings; 400 W neutral wh ite for daytim e situation

and 250 W warm white for night time.

f::,. Rays of light are projected against the ceiling underneath the galleries every

8 m. This crea tes indirecllighting for the walkways and again adds 10Ihe

geometry of the architecture.

• Lamps are attached 3 m above the lower retail level and again 3 m above the

upper retail level in the ver li cal columns. These lamps act as an eye calcher

for the visitors as well providing suffic ienllighting levels.

The fill ings also contain the emergency lighting,

E: Emergency light ing int egrated30

29

29

26.27

30

o

30

Sections and floor plan olthe "s treets" for

While City Shopping Centre, London

Lamps upligh ting Ihe roo f every 8 m behind the parapet of the upper retail

shop fronts.

104

Illuminated 1:10model of the "streets"

External area with bridge in White City

atmosphere. Streetlights mounted on columns underline the impression that

one is outdoors. Luminaires are arranged on three levels: a smallluminaire at

eye-level on the lower tier, one on the gallery level and a large luminaire located

at a height ofapproximately 20 metres. Warm light emitted by the smalllumi

naires makes visitors feel comfortable, because ofthe relatively low mounting

height they can tell where the light is coming from. However, these only sup

plement the ambient illumination which is emitted by large, powerful lumi

naires. They are equipped with two types oflamp - a neutral white lamp for

daytime, to complement the daylight on overcast days especially during the

winter months, and a warm white light for the evenings and nights. Light sen

sors and timers linked to the light control system regulate the switching bet

ween the different lamps.

Apart from the functional light, the "winter garden" offers the opportunity

to provide additional illumination for events. As in a medium-sized theatre,

power supply and control lines were installed specifically for this purpose.

The impressive facade ofWhite City is visible from afar, from the nearby dual

carriage way, from the underground trains that run above ground at this point

and from the coach terminal. The expansive north and south-facing elevations

ofthe shopping centre are closed, except for narrow rows ofwindows, and lend

themselves as projection screens. Using powerful projectors placed on lighting

masts or on opposite buildings, it is possible to project any motifonto the fa

cade. A so-called "keystone" system can compensate for distortions of the

image, if the position ofthe projector in relation to the facade poses difficulties.

105Completed Schemes: Shopping Centre

Airport: Terminal II, Munich

106

Glass firmament with light sails

The basic and integral design criteria for the central terminal hall were trans

parency, brightness and optimum indoor climate and acoustic conditions. All

departing and arriving passengers enter or leave Terminal IIvia an expansive,

light-flooded check-in hall. Functionality and aesthetics combine into a clearly

structured yet tr ansparent spatial form brought to a convincing synthesis.The

generous app earance ofthe central hall ties in with the adjacent Munich Airport

Centre, setting its own accents in terms ofscale, detailing, construction and

light control.

Th e roofspans across the high void of the large hall , reminiscent of the sky. Its

two skins form a volume, a sculptural boundary at the top of the space.The sky

has a firmament - the roofhas its light sails spanning beneath it.

The glazed hall facilitates the optimum use ofdaylight. The flexible light sails,

or sun protection sails, are positioned to avoid direct solar radiation, thereby

reducing energy transmittance. On dull days, th e sails are drawn back into the

space below the metal ceiling to ensure that the maximum amount ofdaylight

The brigh t ceiling and ligh t sails at Ter

minalll in Munich Ai rpor t are visible also

from the outside. The pneumatic roofs

above the approach road gleam in indi

rect light.

107Completed Schemes: Air por t

.. ... - .... - .... - .... - . ... - . -.- ..... _--

- "" -: II :- ""- .. "" .": II :- .. -: II :- "" - : II :- "" -: 11 :- ""-

: II : : II : : II : : II : : II :: II : : II : : II : : II : : II :: II : : II : : II : : II : : II :: II : I I : [I : : t : : 1.1: : 1.1 :

: r1 : : 11: : 11 : : 11 : : 11: : Ii :. I' . t . [I' . [I ' . II' . 11 ., , , , ' " ! , , l, t l '

: 11 : : 11: : 11 : : 11 : : 11: : 11 :. . II ' . II' . II' . II ' . II ' . II .

; :': : II ': : II ': : II: : II : : II : : II :. " ." II .." II .." II: : II : : 1'1 : : II: .." 11 " II ' II: : II : : II : : II: ; '

• :1 .. I . .. :1.. I . .. :1 .. I. .. .. .. _ . . _ .. _ .. .. .. _ .. _ .. _

..... _ _ _ - _ _,

I \ X1- -

~/I I I

1 I TlTTlT>< ,Ermm I I 1-

rY rI !

I I I

~~~T~-,- -

- ,- ---- _.. _-L.J

I 07 09 ~ <;~ I ~~ ----...: I 109 07-=== ............ I..........

~~," I ""

=1"" ILJ

~/~- - --.-~~~\-1~- 12 - - - =-=

~ """ V ~w r\1/ \iII ~~

I :'t~ ~~~~ n rrI

- I_L: ~ ::l ~ ~-l '10 '- __ L

I 1Schnitl Eingang E 03 M 1:100

i II

~

Gepoeckvorsort ierung

I IFughaf Muncheo Lichlkonzept Emg0'O% E 03 Vorionle 1 KOCH+ PARTNER ULRIKEBRANDI LICHTTerm nol 2 Schnilt B - 1.1 1-1 Architeklen/ Slodtplaner :::...:~ - ....

20.01.2000 Ismani~erstr. 51 ~... '-4 .. D«o ) I

81675 un chen

108

Reflected ceiling plan of Terminal II:

The light is a combination of uptight

ers, light in the light-acoustic sails

and direct luminaires on the columns.

Hardly any luminaires are visible

from the hall.

Section through Arrivals: The combina

tion of direct and indirect light is contin

ued here on a small scale.

will enter the building. Hence, artificial lighting can be avoided for most of the

daytime.

The same principle applies to the flexible lamellae in the double-envelope

facade ofthe hall. The facade also takes on the function ofheat insulation on hot

summer days.

In addition, Germany's largest photovoltaic system was installed on the roofof

Terminal II. It produces approximately 50 000 kWh per annum.

Three daylight scenarios determine the artificial lighting in the terminal hall:

when the sun is shining and the sky is clear, the glass appears bright; the sails

partially screen excessive light while reflecting it onto the underside ofnon

transparent areas.

On days with a dull, overcast sky, diffuse light directed onto the solid ceiling

compensates for a lack ofbrightness and brilliance.

When it is dark outside, cool light against the non-transparent sections of the

ceiling alternating with warm light shining through the sails create a sculptural

formation ofbackground and clouds. Several spots with long beams of bundled,

coloured light evoke blue skies.

Columns supporting the roofappear as vertical lines; narrow beams oflight

brighten them up. The ceiling sails do not touch the elevation and so the facade

remains visible right to the top. The few spots that are directed straight down

are located near the facade ofthe hall: they take up the light theme ofthe piers

where direct light predominates and the view to the outside, especially at night,

need not be obstructed by interior reflections.

The light scheme for the entire Terminal II is based on an alternation between

direct and indirect light and creates a soft correspondence to the adjacent,

directly lit Terminal I and to Munich Airport Centre, which is lit indirectly.

The choice oflamp gives high luminous efficacywith low power absorption and

relatively long maintenance intervals.

109Completed Schemes: Airport

Historical Town: Einbeck

110

Light spot in the dark

Einbeck city centre is seductive with its historical buildings and artfully

adorned timber-framed houses. The Town Hall on Market Square provides a

focal point; its three towers have become the town's landmark. The lighting

concept was specifically designed to make the Town Hall into a central "light

spot" in the evenings and at night, emphasising its particular beauty.

Two complementing light principles were applied in the scheme: the calm

wash oflight from distant lighting masts or houses opposite and the small

scale, accentuated lighting ofcornices and projections on the facade itself. Com

bined, these two principles create a generous, as well as sculptural and struc

turing impression ofthe facade. Fluorescent luminaires fixed behind the snow

gutter softly illuminate the roofarea. This background shimmer illustrates the

height ofthe Town Hall and provides depth as a backdrop to the towers.

The three pointed towers - "witches' hats" - receive light from spots placed

behind them. This light, coming from the side/back, brings out the contours

of the towers and emphasises their three-dimensionality. Alongside, mounted

behind the towers are spots that light the mouldings below the continuous row

ofwindows and accentuate their colours.

Lighting ledges on the interior window sills illuminate the rooms, letting soft

light shine outside. This gives the building an animated appearance. Alterna

tively, the lights may be left on in the rooms at certain times.

A ceiling luminaire in the foyer emphasises the staircase and, most ofall, the

entrance. Light reflections on the white back wall turn the banister into an artful

silhouette. Another luminaire on the side wall next to the stairs completes this

effect.

Spots on masts in the Market Square throw a wash ofsoft light onto the towers

and the facade. The eastern elevation ofthe Town Hall faces onto the narrow

passage leading to the Hallenplan, an adjacent town square, and can only be par

tially lit. A coloured lighting ledge, similar to that on the windows, illuminates

the rear of this area. Recessed floor luminaires provide a warm grazing light

across the low wall that separates the courtyard of the Town Hall from the Hal

lenplan. This effect underlines the sculptural aspect of the facade beyond and

offers another small highlight on the square.

The courtyard at the Town Hall is ofparticular beauty, with its stained glass

windows, small, old doors and planting. Unfortunately, this area is only used

as a car park and remains largely unknown to the public. Accentuation of the

stained glass windows using lighting ledges and the installation oflight bollards

in the planting clearly improve the courtyard. The low light creates a pleasant

atmosphere in which an enjoyable evening may be spent.

City of Einbeck: The "witches' hats" of the

Town Hall

- fluorescentluminaire

Completed Schemes: Historical Town

Late-night atmosphere

Elevation showing luminaires and

luminairepositions

•

spotli ghts for sides oflowers

spotli ghts for rel ief

windowilluminationfrom the inter ior

ceiling luminaire infoyer

wail iuminaire onstairs

111

Riverside Walk: Jungfernstieg, Hamburg

112

Visualisation of the concept for

Jungfernstieg, Hamburg. illustra

tions: Peter Wels

16 rn

0-

8m

Shining waterfront

The redevelopment ofJungfernstieg provides access to the water's edge by

opening up the site towards the Alster lake. Tree planting on the waterside cre

ates generous spaces and reveals new vistas. The lighting concept identifies

three linear zones relating to different urban functions.

]ungfernstieg receives directional light from masts, 16 metres in height. The

footpath is lit using luminaires positioned at a height of8 metres and the street

from a height of 15.5 metres. This functional lighting produces the required

illuminance in the street and in pedestrian areas, and allows unobstructed

views from the waterside to the building facades. The luminaires themselves

are not displayed as objects. The masts act as supporting structures and are

designed as double poles.

The 16-metre masts could also be used to softly illuminate the facades along

]ungfernstieg. The proprietors ofbusinesses, through a community ofinter

ests or a marketing association, could take on the promotion ofthis important

aspect that would have a distinct effect on the appearance ofthe townscape.

A wash ofuniform and subtle light would give emphasis to the space and also

provide the opportunity to pick out important buildings using differentiated

light. Light may thus strengthen the composition ofa city without competing

for brightness.

The luminaires on the bridge at the end ofthe boulevard are distinctive fea

tures. They underline the ever-present theme ofwater in Hamburg and call to

mind that one is on a bridge. This is a concept already found on several bridges

in Hamburg's city centre and will be the basis on which luminaires are selected

for Reesendammbriicke.

The area between the road and the water's edge is characterised by rows of trees

arranged like bulkheads. This tree planting explores the theme ofvistas whilst

creating atmosphere. Directional and reserved light from poles provides the

required illuminance. Scattered light in the tree canopies produces the desired

ambience. Here too, luminaires step back to maintain the night-time sightlines

between Alster and ]ungfernstieg.

This is achieved by using 4.5-metre high light poles that have two mounting

heights: 1.2 metres for a direct-beam ligh t point and 4.3 metres for indirectlight

emitted from the tree canopies.

Section through Jungfernstieg: Low graz

ing light directed at the ground from the

seating steps; mid-level mounting heights

for pedestrian comfort beneath the tree

canopies, high mounting heights for

street lighting and facades.

113Completed Schemes: Riverside Walk

.L 16 m doub le mast

'll" 8 m standard mast

0 floodlight, mounting heighl 16 m

1x 250W HIT

floodlig ht. mounting heighl16 m

2 x 70 W HIT

allernative ly 1x 150 WHIT

X lighl column 4.5 m wilh base plate

1x 35 und 1x 70 W HIT

side-emi tti ng fibre optics in seating

steps, allernative ly LEO: allerna-

tively fluorescent tamps

LEO line, recessed floor lights warm

w hite

+ tootpath lighting

II Reesendammbrucke

recesse d luminaire in seal ing step

for lighting of ramp TC· L 36W,

allernal ive ly TC-T26 W

recesse d luminaire in seal ing step

for lighting of steps TC·O lOW

waterside lighting in informalion

syste m

=> light band (recessed cei ling lumi ·

naire) in east entrancetounder-

ground stat ion: 3 x 80 W

-- lighl from handrail / POSIS

east entrance

'St.1tzrQlII' .lobr..b' .. "t

"ot . "OO"~$'"tv.uCIt ..n ........ t ....

•I'

/~=._----

• 0.30-

.aol, .. ,._t."... "'0'"'\1[)rl l' '''''9t'IQSSI'" '" SCl'1litZ.

"wu.-_s'" RoI,l.. ..,. obr..-br.."..t ...O'O"IoC....O..et.... "t.

..Dc<'.

Detail of light band under the steps

Positions for luminaires on Jungfernstieg

Black plan showing site boundaries

114

The tranquil and generous steps receive soft light from recessed side-emitting

fibre optics. Low, directional light at the side-face of the steps illuminates, at

a reduced intensity, the service access and ramps to the Alster. The extensive

open space at the water's edge represents the entree to the lake. The calm area is

kept as dark as possible to prepare promenaders for the main theme ofthis space

- water. To put into practice the basic design idea, illuminance levels had to fall

short of the recommended values for piers. A line ofLED,positioned 2.8 metres

from the water's edge, acts as a visual indicator.

In the continuation ofthe scheme, it is proposed to maximise the distance

between lighting masts in the road area for design reasons. The resultant advan

tages ofkeeping Reesedammbriicke and the entrances to underground stations

free oflight poles constitutes a conflict with the technical requirements for

optimum illumination.

View of the inhomogeneous lighting

along Jungfernstieg seen from Bal

lindamm before redevelopment

The neighbouring Alster Arcades

11SCompleted Schemes: Riverside Walk

Fountains and Monuments: Schonbr.mn, Vienna

Palace Gardens Schonbrunn: The light

ing concept picks up the Baroque axes to

avoiduniform illumination.

116

Neptune Fountain in the centre of

the Palace Gardens: The fountain

is bathed in coloured lights for cer

tain events.

Baroque splendour

The buildings of the Viennese Palace Schonbrunn are sited across the extensive

and geometrically laid out grounds. One central axis and secondary axes con

nect small and large buildings, lending the Palace its genuine Baroque layout.

This is precisely where the lighting concept comes in; it is primarily concerned

with making visible the spatial proportions.

The central axis between the Palace and the Gloriette lies outside the grounds,

leading along Schlossallee to the Technical Museum. Two entrance obelisks

greet visitors approaching the Palace. Eagles perched on their tops frame the

Gloriette that lies on higher ground to the north. Selective lighting brings out

the long vistas and three-dimensionality ofthe overall site .

Two symmetrically laid out fountains in the forecourt ofthe Palace place visual

accents - the light on two central sculptures. The main axis extending between

the fountains receives subtle light to avoid severance ofthe two. Some light is

directed onto the arcades along the sides to draw attention to the park beyond.

The visual differentiation ofthe north elevation facing onto the park underlines

its effective illumination.While the lateral wings are bathed in bright light,

the central section is subdued to make the entrance beneath the grand staircase

shine even brighter.

The Neptune Fountain is located in the centre of the gardens, between Palace

and Gloriette. Lateral axes lead to other monuments: two fountains, one obelisk

and a pavilion. The aesthetic charm ofthese monuments is emphasised by indi

vidualised lighting that, in a combination ofabright and friendly atmosphere

and visual accents , put into practice the main principles of the lighting concept.

Underwater luminaires make the Star Fountain appear transparent and expan

sive while the Round Fountain receives selective lighting directed at its sculp

ture.

Located on higher ground, the Gloriette "hovers" above the site. The illumi

nation places emphasis on the exposed position by accentuating its elevation.

It also picks out the architectural refinement ofthe building: the columns are

individually lit, the facade, like that ofthe Palace, receives differentiated levels

oflight, and the interiors are animated with light making the ceilings appear

bright.The overall impression culminates in the shining transparency of the

Gloriette.

117Compleled Schemes: Fountains and Monuments

Park: Negara Bank, Kuala Lumpur

Design for the exterior lighting and facade

illumination at the Bank Negara in Malay

sia; plan and elevation

118

Light designed to encourage communication

Negara Bank ofMalaysia invested in a large training and research centre for the

continuing education of not only its employees but also stafffrom other banks

in Asia.

The building layout is generous; it accommodates up to 400 people a day who

are participating in courses ofvarying duration and attending conferences.

The main building comprises offices, a library, a numismatic museum, a gallery

for modern Malay painting, language labs, lecture theatres, communication

areas and seminar rooms.

The client attached great importance to easy communication, encouraging

users ofthe building to strike up conversation and meet informally. Different

external areas have been designed for diverse and communicative ways ofutili

sation.

Large square in front of the main entrance

The building is located on top ofa verdant hill which is reached via one of the

winding roads typical of Kuala Lumpur. Here, an expansive square opens out,

extending visually up to the main entrance. Medium-high walls enclose the

sides of the space. In order to provide variable illumination for night-time

events the square receives ambient illumination directed downwards from a

system of reflectors on the roofoverhang.

The reflectors are made offilm with the optical characteristics ofa spherical

indentation area.

The light atmosphere is generated using recessed luminaires in the surround

ing walls creating more elaborate zones along the edges of the square. Here,

areas of planting with small pools and seating are found. Water shown on the

plan shines: the pools are equipped with side-emitting optical fibres and water

floodlights .

Four tall multi-functional masts provide the ambient illumination in the front,

away from the building. Additional spotlights can be mounted for events that

require stage or effect lighting.

Side courtyards as intimate external spaces

The west courtyard is affiliated to a small restaurant and furnished with tables.

Likea pergola, a suspended net with small lights at the nodes creates a visual

roof, limiting the height ofthe courtyard.There is always sufficient light irre

spective of the arrangement ofthe tables. Light lines in the paving emphasise

the graphic pattern of the landscape scheme.

The east courtyard does not receive any general lighting with the exception of

the diagonal bar. Luminaires are integrated into the furniture and a few spot

lights are trained on the planting.

The large entrance hall shines onto the outside, defining the atmosphere of the

external areas.

119Completed Schemes: Fountains and Monuments

Square: Thomaskirchhof, Leipzig Bach's church square

Site plan of Thomaskirche in Leipzig

andsurrounding squares, below:

Thomaskirchhof with Bach memorial

The masterplan for the enclosed Thomaskirchhofin Leipzig, bustling with

visitors, bars and restaurants, demanded a new lighting concept. The hither

to random, glaring and flat illumination ofthe southern church elevation was

replaced by a combination offour light scenarios: a subtle wash ofwarm light

from luminaires mounted on houses opposite, light close to the facade, back

lighting of the church windows and lighting of the square and footpaths from

existing Schinkel luminaires. All these factors work together to enhance the

sculptural architecture, to integrate the church facade into the ensemble of the

square and to provide a more restrained, gentle and sensitive light.

l ·Nr06 Ab$l immung Bauhcn"Variante 1 • langfold UplighLFOn:!;.Imbaokveoeete 2b: langre6d-WandlUefPendel, Sonderanferttguog " r r 1 ...nach SondefgenetwnlgungfurDed:enbohrungen '1/. Oenkmalschutz

:. :.

'L :.

\

\.. "X~Sdl~

r Z .I :7 -;

DtttBaumb$Wlr'ld 1!Jt001 BIXl,lIfzu

be.......,,''' \

(

---

r: :z J 7- -z:

o

/"-'-

r~

[1

-j

+-

120

ffi Masl, mountin g heighI 10 m

Q Platea ligh t fan vert ical HIT 150 W

"g" Platea ligh t fan hor izon tal HIT 150 W

bJ Woody HIT 35

"g" Platea lighl fan horizontal HIT 70 W

o Tesis recessed floor lighl HIT 35

Q Supers pot HIT-CRl l50

Thomaskirche reflects light onto

adjacent areas; the tower can be

seen from a distance. Low-key

lighting brings out the cosy and

small-scale character of Thomas

kirchhof.

Waliw asher T16 54W

i;ii;.....".. ......t"';..J"".. (~2'O.l~ _I"'I!O'I "'" 011III ~11(I4;,(0".. t,',or...t:'-:J""'II'II>ftll\ tM"...i¢WIl

121Completed Schemes, Square

Temporary Light Installation: Gasometer, Oberhausen

View into the 116-metre tall gasometer in

Oberhausen. The luminous water cone

is 50 metres tall and lit on the inside and

outside. Stars are projected onto the skin

of the gasometer.

122

Mystical water-light sculpture

Exhibitions in the former gasometer, a structure ofmore than 100 metres in

height, benefit from its spectacular dimensions. At the "Blue Gold" exhibition

on water, visitors were guided over three levels: a desert-like entrance area with

warm light creating atmospheric sunsets; above it video waterfalls on a 360 0

panorama. The centrepiece on the third floor was a water-light sculpture, a

50-metre tall light cone with water running down its sides. The dark surround

ings ofthe cone shone in a cold glow, reminiscent ofthe northern lights. They

transformed into various whitish-blue coloured light scenarios to culminate in

a brightly glowing crystal. Three types oflight alternated: a star-shaped area of

fluorescent lamps shining from the inside made the cone appear transparent.

As these were dimmed and the spots on the outside around it started up, the

cone became solid - as if it were covered in a matte metal material. Also, the

underwater luminaires generated a picture ofmoving light reflections. The

transitions between the different light scenarios were the most spectacular.

Section through the gasometer in Ober

hausen showing three exhibition levels:

ground floor: history of water, first floor:

film installations, second floor: shining

water cone with starry sky

123Completed Schemes: Temporary Light Installa tion

Urban District: Zurich Affoltern Light culms for a new identity

Plan Lumiere is the title ofthe lighting masterplan for the city ofZurich. It will,

in future, furnish the entire area of the Swiss city with a new lighting concept.

Presently it is being put into practice in smaller sub-projects. One ofthese is the

district ofAffoltern, located within the catchment area ofZurich. The former

village Affoltern has lost some its character in recent years with the construc

tion ofnew building developments. The light scheme helps in providing the

area with a new identity by enhancing its public spaces with light.

New lighting has been especially created for pedestrians and cyclists in the area

around the railway station. But also further afield new lights appear. Low light

poles ofa height offour metres illuminate squares, streets and entrance points

within the district. These include gateways, entrances to underpasses and the

shopping centre. The luminaires break the monotony ofthe main roads and

help to create a pleasant environment. Light points at ground level lead into the

neighbourhoods, their numbers increase at junctions. Selective spots direct

attention to special situations, give identity and atmosphere. Pedestrian areas

have even lower poles with a mounting height of three metres and wide spac

ing. They produce a warm and calm light ambience.

Additionally, light points on tall buildings highlight distinct details character

istic of the local neighbourhoods. These facilitate orientation and recognition

from a long way away, and further promote the specific identity of the district.

Changing light scenarios on traffic structures, such as ramps and underpasses,

serve the same purpose. Light picks out new meeting places. For example, the

building facade opposite the station could be used for projections to be viewed

by passengers on the platforms.

124

Aerial view of Zurich Affoltern showing

the viewpoints of the photographic survey

Site plan showing the two important

"squares" that provide access from the

railway station and the main road

squares

squares

streets

• paths

II prominent points

temporary light an

II entrances

Completed Schemes: Urban District

Zurich Affoltern station with photovoltaic

light culms in the day and night

125

126

The environment ofAffoltern is marked by its heterogeneity. Congested and

busy areas alternate with romantic corners. The lighting design attempts to

respond to this diversity with a surprise. The luminaires are, in their original

form, not usually specified for use "on land". They typically mark out water

ways.

LEDlamps are fitted in the luminaires' heads and run on solar powered storage

batteries. They do not require conventionally generated power, neither in sum

mer nor in winter. This feature, and its related design quality, is typical of the

scheme and amazingly up to date.

The luminaires are constructed from a conventional pole and a fibreglass rod

at the tip ofwhich the lamp is fixed at a height ofseven metres. This makes the

luminaire virtually vandal proof. It is easy and economical to erect since no

power supply is required. Photovoltaic cells on the projecting "leaf' at the top of

the steel pole supply the necessary power to (recyclable) storage batteries.

Streetlights are generally static in appearance. In Affoltern, the light markers on

the fibreglass rods move in the breeze. They sway to and fro like reeds in water,

where these luminaires usually would be found. But here they are a poetic allu

sion to the rural environs of the village. The luminaires can tilt approximately

one metre in each direction; the rod cannot turn any further, but will not break.

In Europe, this suggests bamboo and thus the luminaires were named "light

culms". They are painted the colour of the local grasses and are ofa slender and

miniature-like appearance that only modern materials can conjure up in such a

stunning manner. A true surprise on all fronts.

LED alter native colo urs

B fixed mounting on standard pole

ambergreenred

steel pole, diameter 102 mm

length 3.5 m, RAL coated

mounting height ca. 7 m

luminaire head LED

diameter 180 rnrn:height 140 mm

/21 kg

incline ca. 2 x 1 m

3.5 m

fibre glass rod, diameter 20 rnrn,

length 3.5 m, gives flexible tilt,

RAL coated

B mounting element

fibreglass pole - flange plate

Light culms

pole height 7 rn: 6.5 rn: 6 m

aiternative colours: red and blue

blue11 11

oL"I I

\\\\\\\\\\\\\

(U;8

,.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:-:-:-:-:-:-:-j t-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-

Pole installation with flange plate

according to standard EWZ

The persuasive argument for the light

culms was that they receive power from

photovoltaic units on the "leaves" and

storage batteries, making them indepen

dent of electric power supply.

127Completed Schemes: Urban District

Small Town: Lemgo

The lighting masterplan for Lemgo allo

cates light characteristics to the clearly

identifiable historical town plan.

128

• rampart s Witt! vegetationlow lIght

important axes: bright ,generous

III squares: mdrv rdual.space dehnmg light

• lowers; accenruaung. high

Amenities presented in the proper light

The inner city ofLemgo in North Rhine-Westphalia has an historical-contem

porary ambience. Stone and timber-frame buildings dating back to the Late

Gothic and Renaissance periods alternate with exemplary modern architecture.

The street pattern, squares and prominent buildings determine the appearance

of the former Hanseatic town. Naturally, the design concept for an integrated

and artistically conceived lighting scheme should emphasise the qualitative

characteristics ofthe town centre. Five zones are ofspecial relevance:

- The axes at right angles to the pedestrian zone, or rather the main shopping

street aligned with the town gates.

- The large sections of the existing ramparts that surround the town centre,

now as a public park.

- The public squares, two ofthese are located close to the point ofintersection

ofthe main axes.

- The historical towers which serve as eye-catching points of orientation, even

from a distance.

- The former town gates, important routes into the town centre.

In the pilot project on Waisenhausplatz.

light emitted by facades of public build

ings plays a major role.

129Completed Schemes: Small Town

The pink facade of Gesanghaus

130

The masterplan allocates individual light ambiences and moods to the five

areas, all ofwhich integrate into an harmonious, coherent overall scheme. In

the shopping areas, for instance, low light directed onto the ground from a

height ofthree metres determines the general light effect. An important fac-

tor is the lighting ofshop windows which was coordinated with public light

ing . Subtle light on the surrounding historical facades displays refined and rich

detail; light from the side alleys marks vibrant points along the main axis.

Even lower than in the shopping area are the light levels on the ramparts, illu

minating special places. Here, darkness is preserved as a qualitative space in its

own right while light on trees or groups ofplanting makes it safe to use the park.

Furthermore, prominent buildings, like towers or town gates are emphasised

and made easily recognisable. They are not brightly lit, but instead receive sub

tle , inviting light that provides balanced points of orientation.

Two large squares hold great significance for the public life ofLemgo, the

Marktplatz and the Waisenhausplatz. Their central location matches the

vibrancy ofthe place. Public transport routes run in all directions from here.

The market square especially is a success in terms ofaesthetic design. Not only

due to the juxtaposition and blending ofhistorical and modern architecture,

the balance ofold and new, but also due to footpath links and the composition

ofbuildings and spaces in the overall appearance of the square. Consequentially,

the lighting concept attempts to underline existing spaces in their complexity

rather than isolating them as single elements.

On a small scale, the complexity ofthe square is exemplified by the detail of the

adjacent Town Hall; its facade turned out differently from the main body of

the building because it was constructed in different phases over a long period

oftime. The light attempts to carefully respond to these subtleties. From close

up it is soft on the surface, subtly emphasising the quality of the architecture

instead oftraining a flattening beam onto it. In addition, some small, aestheti

cally attractive windows are lit in the interior using minimal high-efficiency

lighting in adjoining rooms. On the opposite side ofthe square, the windows of

homes are lit, their lights seem to go on and offat random.

Another public building, the Ballhaus, is only illuminated to show the charm

ing architectural detail of the facade. Incidental light shining beyond the facade

is blocked. All functional lighting is reduced to the lowest possible level to min

imise interference with the sense of space. The surface ofMarktplatz receives

different accents emitted from spotlights on poles; each of the light points is

mounted at a different height. The sole exception is a water feature in the centre

of the square that replaces the former historical fountain. The interplay oflight

gives the square an animated appearance and increases its attraction.

An axis extends across Kramerstrafse, from Marktplatz to nearby Waisenhaus

platz. Here, the light ambience is similar to that ofMarktplatz, only the

functional lighting recedes further into the background in favour offacade

lighting and shop windows. One selective light on the back elevation ofBall

haus, and the windows ofseveral public buildings lit from within lend the

space an intimate atmosphere. Waisenhausplatz has two further features: first

ly, a direct relationship with the market square is set up owing to an attractive

view ofthe church spires. Secondly, at twilight the bus stops on Waisenhaus

platz generate an animated play oflight, their roofs are transformed into light

objects. Transparent glazed areas that seem to be randomly scattered across the

square are pleasant to behold; they appear like immaterial luminous rectangles.

The option ofchanging the colour ofthe light fed into the glazed roofs should

be carefully and sparingly handled.

131Completed Schemes: Small Town

Large City: Bremen

132

Light music

The face ofa city changes in the course ofnight and day. The warm, red autumn

sun almost makes its facades glow, the clear winter air lets a row ofbuildings

appear more three-dimensional than in damp, misty weather conditions that

seem to mould shades ofgrey. This is reversed at night: windows shine to the

outside, the public realm extends into houses, illuminated advertising panels

compete with one another, and the lighting on streets and paths provides order

and orientation.

The evening and night-time appearance of the city significantly contributes

to the degree in which citizens and visitors feel comfortable and like to go out.

People bring life to the city, visit the centre and identify with the place, but only

if pertinent criteria are fulfilled.

The 0 bjective ofthe lighting masterplan was to present the qualities of

Bremen's inner city in the proper light, to place accents, introduce structure,

facilitate orientation, create change and order and, in doing so, provide a pleas

ant atmosphere that typifies Bremen.

The concept presents an integrated approach to the lighting design ofBremen's

inner city. Prior to implementation of the proposed principles, it was important

and also necessary to reach a detailed agreement between the involved parties.

The scheme retained its message and put into practice its desired effect, even

though some aspects ofthe proposals could not be realised (for example, light

ing windows from the interior). In the first instance, the principles of the mas

terplan should be pursued to the greatest possible extent.

Sightlines

A walk through the city centre ofBremen presents the visitor with a wide range

of beautiful, historical buildings. The lighting scheme builds on the great densi

ty ofsignificant facades and, by lighting specific viewpoints, guides people from

one site to the next.

Firstly, this is accomplished by the broad lighting offascinating gables and

facades and secondly, by providing smaller-scale illumination for central build

ings, such as the church Liebfrauenkirche, the Cathedral and the Town Hall.

Light guides the visitor through the streets and onto small, intimate squares,

like that around Liebfrauenkirche for instance, and reinforces the unique charm

of Bremen's city centre.

Each street and each square opens out onto adjacent squares and streets, the city

centre is perceived as one entity.

Streets

The street spaces in the city centre can be divided into three categories: pedes

trian areas, pedestrian streets with delivery access and streets predominantly

for motor vehicles. Each ofthese categories has a different focus and is designed

accordingly.

Light poles for a mounting height offour metres illuminate the pedestrian are

as, such as Stintbrucke and GrofSeWagenstrafSe as well as Kleine Wagenstrafse.

This height creates a pleasant and clear atmosphere in the street - good visibility

Site plan of the city centre of

Bremen showing all elevations on

which light is applied to form spa

tial boundaries or which define the

character of a street

Bremen was the first city to consistently

plan "functional" and "design" lighting.

Conflicting light effects do not occur and

costs can be kept to a minimum.

133Completed Schemes: Large City

The Town Band of Bremen next to the

Town Hall at the entrance to the small

Schoppensteel area, which is kept rather

dark.

134

of the light sources with the regular spacing ofpoles make it easy for pedestri

ans to judge distances.

Hakenstrafse receives overhead wiring at a height ofeight metres because this

best suits the function of the street. Light poles along one side ofthe street serve

the mixed areas, like LangenstrafSe, SandstrafSe and MuseumstrafSe. In addition,

important and architecturally interesting buildings are flood lit.The street space

widens towards the top and presents new focal points that catch the eye ofpas

sers-by.

The areas ofMarktstrafSe and WachtstrafSe receive overhead wiring at a height

ofeight metres as they are mainly used for vehicular traffic. The light points

trace the alignment ofthe road and facilitate orientation. Here, too, light picks

out several important and architecturally relevant buildings and creates an

interesting urban environment.

Squares

There are two types ofsquare in Bremen's city centre. Firstly, the large squares

with vehicular traffic, and secondly, smaller squares for pedestrian use only.

Tall masts with mounting heights of9.S metres provide direct light for the large

squares, like Domhof, Domsheide and Am Dom. Spots fixed to these masts cast

light onto surrounding facades and objects in the square. Unlike the low light

ing points used in the streets, the illumination from a height lends these squares

a generous character; it makes the space appear extensive.

Spots mounted at the top offacades provide light on the small-scale squares

around the Town Hall and Liebfrauenkirche. The light sources are not in the

pedestrians' field ofvision, but cones oflight distribute a uniform brightness

over the area. To create a transition between bright street lighting on Obern

strafSeand the small squares and narrow streets, illuminance levels are stag

gered in different zones. This permits the wash oflight and light emitted by

luminaires mounted close to the Town Hall and Liebfrauenkirche elevations

to occupy the foreground, as intended. Selective spots provide soft light for

Markus Fountain and the sculpture of the Town Band ofBremen.

Facades

The vertical planes offacades make a significant contribution to the sense of

space in squares and streets. Two complementing light principles are applied:

the broad, calm light from a distant light pole or from opposite houses and the

small-scale accentuated illumination ofcornices and projections on the facade

itself. In combination both these principles make the facade appear generous

and at the same time three-dimensional and structured.

Town Hall

The Town Hall, located in the city centre, displays its facade in all directions.

The elevation facing the market, seen from the middle-distance, receives a

wash oflight: light mounted close to the facade directed onto ornaments and

figures, light on the gables and on the arcades. The roofis of the copper-green

variety that looks bright. Illuminated windows lend the Town Hall an animated

appearance. On the elevation facing Obernstrafse, identical principles apply, in

particular the light on the gable is meant to be seen from a distance. The high

nuorescenlluminaire

• uplighter

• spotlight

... spotlight OWP604

o spotlight SNF 100

Elevation of Bremen Town Hall fac

ing the market with luminaires and

luminaire positions

Other facades of Bremen's Town Hall

Completed Schemes: Large City

Town Hall w ith and without backlit win

dows (the latter w as the intent ion of the

masterplanl

135

Facade of Bremen's Tow n Hall : We found

places to mount luminaires on the roof,

balconies and beneath the arcades. Not

so in the median resalit which is lit fr om

light ing poles in the square.

136

luminosity is the response to the relatively bright shopping street.Towards

Schoppensteel, the light is adjusted to suit the small scale ofthe space. It is more

reserved and transforms the formerly dark area into a pleasant environment.

Directed light places special emphasis on the small stairwell-tower and the

Town Band ofBremen; they are the dominant features on this side of the Town

Hall. The bright windows and the illuminated roofare intended to be viewed

from distant Domhof. The same principles as for the other building elevations

apply to the elevation facing Domhofand the back of the Town Hall. Bright

windows and light on several figures (Windsbraut, for example) structure the

facade and display it. Here also, a wash oflight and light on the gables bring out

the distant effect.

The Glocke

The austere gable elevation with its doorway arches is the central feature of

the lighting scheme. A soft wash complements the lights mounted close to the

facade, aligned along the vertical direction of the gable. Smaller spots light the

entrance, the windows shine from within.The roofs receive a wash oflight

emitted from the cornices and the back of the stairwell gables.

Liebfrauenkirche

This church is different from the other large buildings because it has fewer win

dows (especially on the entrance elevation) and it is constructed oflarge boul

ders , making it appear more solid. Spots mounted on a mast erected between

the trees light the walls. The existing overhead wires were removed. The rose

window shines from the inside, just like the lateral windows. The tiled roofis

not lit , it only reflects the stray light ofthe urban surroundings.The green roof

of the tower appears like a sign of the church. The gables and recessed windows

receive light from fluorescent luminaires that give depth to the facade.

Cathedral

The Cathedral with its many copper roofs and two widely visible towers domi

nates the city centre from many viewpoints. The roofs are lit. The lights on the

inside of the Cathedral windows and the facade illumination present a distinct

character. The entrance portal receives direct light to bring out the shine of the

gilding above the doors. Spots mounted on poles in the courtyard, Domhof,

illuminate the historical building and its side entrance. The wash oflight on the

front of the Cathedral makes it widely visible and emphasises the power of the

church.

Large-format projections on facades:building facades may serve as screens for

projections of all kinds ofmotifs from large-format projectors (Pani, for exam

ple). Buildings are thus visually transformed into entirely different structures.

Projectors can be temporarily fixed to opposite buildings, or to poles.

Coloured light on facades: coloured light on facades completely changes their

appearance and effect. Coloured architectural spotlights may be temporarily

fixed to opposite buildings, to poles or mounted on the building to be lit. An

additional option would be to adapt existing lighting systems (for example,

floodligh ts) by inserting colour filters.

Laser light show

Laser light shows are events for special occasion s. With the use oflaser lights

squares and streets may be transformed into theatrical settings.

Moving lights: "intelligent" spotlights, so-called "moving lights", open many

design pos sibilities. Spotlights may project moving coloured beams or gobos

onto facades and the ground. Th ese systems can be installed on buildings and

on masts.

3 0 backli t w indows

4 • entrance lighting (existing)

5 0 accent on lenering wil h spoll ight

6 ... accentuation of relief with spotligh t

7 • gobo beam on mastllracing gable outline)

Luminaire positions for another

important facade in the centre of

Bremen: The Glocke


Large City: Luxembourg Distinguished light management for a special flair

The topography ofLuxembourg is impressive: steep cliffs heightened with bat

tlements, deep river valleys, winding roads and gigantic bridges, views across

the valley onto the mountain ridge opposite along with the view onto the roofs

ofa neighbourhood 70 metres below - all this offers picturesque charm.

The town, expanded throughout history, and in which important European

institutions are based, is open to citizens and guests. The layout ofstreets and

squares has a special Luxembourg flavour offering a high quality oflife. The aim

ofthe lighting masterplan is to strengthen these characteristics.

Blessed with sunshine and warmth, the people ofLuxembourg make the most

of their public spaces: restaurants and cafes enliven the squares, people go for

walks in the parks, but also use them to sit, play and have picnics.

Initial ideas for the lighting master

plan for the City of Luxembourg.

{)..~""1T..m","(~t.J,.~",,J~.. .....,,

~"fVA&.""e~s

~e."""'~""""_~1;f-fA,~ax.~It(~

U}...~tA"L-'1~I k"'AtfII<~I U I"-?E# ..

'7Ai.~! pPdIHfJL-rz.O.(trfb~]

~)I'rrau,CI"C/)'-,CJIrt ~

/tll&'&;tt~~.s~ I

t.)~.;~~'k.l

1lJ~~t..t.N1EM ... t:

f./tt.r. LEt..~H'fCN "C III

~~(s.v~

fJlf)l.rJpj,,;- •

EI6~.""'/ .t.)(J"IIJ~

~~I.E" , ~E""...~"" ,VIR.. ~41 ,

~~'tk~ 2,C ...*!-TlfIlillr I'ftJ~C.ftN

138

Completed Schemes: Large City

Competition entry: Different light

ing ambiences in the city centre of

Luxembourg

139

140

River valleys

The valleys of the rivers Alzette and Petruss receive less sunlight. Here, the

shadow play on the rocks is interesting to observe, both on a grand scale as well

as in detail. Responding to this by way ofthe nocturnal illumination is one of

the chiefelements ofthe masterplan; it proposes to only light places that are

touched by sunlight: The actual concept defines an "afterglow" in the shape of

a net ofelements that shine at night where the sun shone during the day. Sec

tions that receive little light in the daytime would shine for only a few hours,

creating a subtle imprint, an elegant trace ofnatural light through the course of

the day. This type oflighting could be superimposed onto a differentiated,

more conventional but sensitive illumination. A refined, perceptive - not

bulky, loud or flashy - use oflight would best suit Luxembourg.

Centres

The city is characterised by different centres, vibrant with life late into the

night, and quieter areas in between. To strengthen the appeal ofalternating

bright and less bright, between vibrant districts or squares and quiet neigh

bourhoods would be fascinating. In the process, light colours could be coor

dinated.

Bridges

Bridges link the developed plateaux and cross gorges. The bridgeheads act as

subtle gateways oflight or light openings, while the bridges are bathed in a soft

wash oflight. The light intensity should be adjusted to the frequency ofuse.

Streets and squares

Functional street lighting and the illumination of facades and objects are intrin

sically linked. These types oflighting should not compete but rather comple

ment one another. Street lighting must be precisely aimed at the areas where it

is needed; columns and brackets could be used to mount spotlights for facade

lighting. To achieve such unity-which actually becomes a process of integra

tion in time - streetlights should be of a warm white light colour, providing a

better colour rendition than sodium-vapour lamps.

The main axes, Boulevard de la Liberte and Neue Avenue, could be impressive

when approached by car, if the street lanterns were not arranged in two rows

ofbright light points obscuring the view up to the central railway station and

adjoining facades. Streetlights should be mounted and directed in a different

way. Here, the lighting masterplan's special feature would be the continuous

lighting offacades and roofs ofadjacent buildings.

Parks

Luxembourg is a green city. Lush vegetation and huge tree canopies are abun

dant, in places even obstructing good views. Stadtpark and Petruss Valley are

centrally located. They are much frequented during the day. If the Stadtpark

was integrated into a night-time lighting concept, space would be made avail

able for small events and cafes. Footpaths as well as park boundaries and vegeta

tion should be lit to create a pleasant and safe environment. This would also

Detail of the Lighting Masterplan for

the stationarea in Luxembourg

generate a brighter background for illuminated features such as monuments or

buildings. As a general rule, a fresh light colour and good colour rendition is of

particular importance in parks.

Resource conservation and operation

The lighting masterplan is committed to resource conservation and to the pro

tection of the environment. This can be achieved by specifying economical

lamps and directing light accurately onto those areas where it is required thus

avoiding accidental, interfering stray light which could produce glare or dis

rupt the planned light effect. The masterplan is open to new technical devel

opments. The city is given the opportunity to launch pilot projects as a test

procedure. The experience gained on a small scale, in implementing more eco

nomical technology ofa higher standard, could quickly be put into practice.

Controls to switch lights on or offas necessary would also reduce operational

costs and could simplify the inspection oflighting systems.


New District : HafenCity Hamburg

Model of HafenCily Hamburg

142

A family of luminaires for a variety of light themes

Sunsets have their own individual charm. Depending on where the spectators

are, they will witness the nightly spectacle in the most multifarious displays.

In Hamburg's port, it is the expansive backdrop, passing ships, water, historical

and new buildings that make the show a beautiful experience. The more the day

sinks in the dark of night, the stronger the orange glow ofthe light-dome fed by

thousands ofJamps in Europe's second largest port.

The comprehensive lighting scheme for the growing HafenCity takes into con

sideration and gives special emphasis to the existing light situation. Although it

is an integral part of the larger port area, it develops an individual character. The

site is clearly separated from other harbour areas and as such an independent

part ofa whole.

Contrasting the free port and its hectic 24-hour hustle and bustle ofshipping

traffic, HafenCity is characterised by urban features. Side roads and main traf

ficarteries, junctions and squares make HafenCity into a vibrant place; in the

future it will be more densely populated. Rather than having work related uses

it comprises modern and attractive areas for recreation and leisure: waterfront

promenades, headlands, docks , sports marinas, bridges and landing stages.

They all require special lighting designs, which are, however, subject to eco

nomic constraints, most of all those relating to operational maintenance.

Decisive factors for the lighting schemes ofHafenCity are the light ambience

and the light situations ofthe various sites, rather than the detailed design of

the luminaires. Public lighting and "designed light", such as for floodlighting or

object lighting, are both developed from a common starting point and concern.

The proposed light colour takes up the general themes ofHamburg's urban

lighting: firstly, warm white light is employed, as opposed to yellow sodium

vapour lamps commonly used in many other cities. Secondly, the city's many

water areas offer contrasting "dark spaces", though reflections and shimmer on

the calm or ruffled surfaces themselves create changing lights.

HafenCity can be divided into seven functional areas which all require separate

lighting schemes. Design qualities, as light colour and luminosity, brilliance and

softness, are applied to every single functional area alongside the local require

ments - including illuminance and luminance, etc.

Extent and scope of these criteria give rise to a luminaire typology.They define

the constraints for the design ofthe luminaire heads, their installation on poles

and the poles themselves. This is how a family ofJuminaires characteristic for

HafenCity is formed. It accommodates individual features, but also offers opti

mum adaptability to the many different sites in Hamburg's harbour.

Localroads: the enclosed and intimate character ofneighbourhoods is estab

lished by low mounting heights ofJuminaires. Warm white light is emitted

from a height offive metres, associated with a homely atmosphere and, hence,

contrasting the rather cool lighting of the main roads.

Main roads with cycle paths: steel bridges with a parabolic supporting structure

are typical ofHafenCity. They lead across the water or across roads . This motif

ofa "rising mountain" is taken up in the design ofthe luminaires for main roads.

Their mounting heights are at five to ten metres. Similar to the luminaires in the

neighbourhoods, they are also spaced thirty metres apart. Their colours are in

Main roads

colour temperature warm white

mounting height 8 m

spacing of light point s 30 m

Headlands and prominent. accentu

ated high points

Local roads

colour temperatu re warm whi te

(TC 26, TC-H, TC-nmounting height 5 m

spacing of light points 30 m

- - - --Western HafenCity Lighting Master

plan site boundary

Waterside

colour temperatu re warm white

(TC 26, TC-H, TC-T)

mounting height 5 m

spacing of l ight points 20-30 m

Completed Schemes: New Distr ict

Squares


(TC 26, TC- H, TC-Tl

mounting height 5 m

spacing of l ight points as necessary

Junctions


mounting height 8 m

spacing of light points as necessary

143

Light ing masterplan for western

Hafen City Hamburg

"

...,"

~.

./

-;,. ~/ ~.~.'?'. ' . i~. ' .

j. '.Ii:,\:. • ••• It., ' ,

I~~ ~7.<.:'. .~Y1;r.: • ,,:.\\ ,;' .,.~;~ e: "'.•••• •• _.

". '·lI. .....'"ro •• "'-~e .. ....~~. " ~.~ .· .oJ· . ee ••" ....... ,.' -' ."H••: -..",~ • '.. ., : _...... ..,. ~I '."~. . .. .. .1 \ : ,.. • e... Q.. . \ •

• • ...' ~ It . e. , '''j. ,.. .~. . . "•..•..~••.....! ..~.. •.• . , ~ ,.... ••,".•• - • , 110 ' . 10

~.. .".. \... "\ '\\ :.' ...., • ~...... •• ~! \l. •••• a,\ •••......t ft • • •• ,,-.... • .;J~. ... ~ .•·r... , .~. ~ .••••.. • .).t.~. 0.

0

•

••• ..••• ... ...."'-......' : t ...~..., •••....... i eo: •••• " ',0 ..• •."., .... -. .......••, ••• ~4!.!!.....

the neutral range, so do not compete with the architecture nor with the impres

sive views across the water.

Squares: HafenCity's squares offer a welcome motive for the intonation ofdif

ferent light themes. Wherever the sense ofspace is primarily formed by the

facades ofsurrounding buildings (on Magdeburger Hafen, for example), spa

tial emphasis on the vertical plane continues into the night. This is either done

using translucent "luminous" facades or with direct illumination ofsolid eleva

tions.

Additionally, some elements in the squares are displayed in accentuated light.

The bench at Sandtorhafen is picked out in light, for instance, or objects them

selves are luminous, like the light snake, also at Sandtorhafen. Rows oflight

poles were avoided to pre serve the homogeneity ofthe squares.All too often

such rows subdivide a space into unintended sections. Instead, there are single

masts, ten metres in height, that accommodate luminaires at different levels.

This provides sufficient leeway to produce a variety oflight scenarios for events

or for other special occasions.

mast mounung heIght 5 m

mast mounting height 8 m

rnuui-Iunctiona!mast. mounting height 10m

light objects

illum ination of squares

lacade light ing

light lor s,gn,hcan t burldings

144

Junctions: where two main roads meet, ten-metre high light points are placed at

the junction. The height facilitates the broad illumination ofthe road area from

a single mast. The light colour of these junctions is neutral or warm white, cor

responding to the light colour ofstreetlights.

Quays and waterside: HafenCity has many quays and watersides. They form

its horizontal profile, emphasise its boundaries and contours. The mounting

height is reduced to five metres along these lines. Masts ofintermediary height

are placed in front ofthe lateral boundary walls. Light emitted from behind and

directed at the ground ensures that views remain unobstructed. Views across

the River Elbe and onto the various docks remain undisturbed by light.

Bridges: most ofthe bridges in Hamburg are equipped with chandelier lumi

naires. This theme is carried into the adjoining new and growing HafenCity.

Low luminaires ofapproximately five metres mounting height are continued

here. The luminaire heads were specially designed as objects.

Headlands and prominent, accentuated high points: conspicuous and rather

inconspicuous, high and low buildings mark the headlands ofHafenCity. This

heterogeneity is also expressed in light ofdifferent intensities. On the site of

Hamburg's future landmark, the Elbphilharmonie to be built on Kaispeicher A,

it is imperative to set a light accent, visible over a long distance and from far off.

The headland at Sandtorkai is more suited to different, subtle illumination. The

horizontal plane ofthe tip itselfcould become luminous.

145Comple ted Schemes: New District

Magellan Terraces showing Ihe

lighting of the square and seating

benches

o

y""

-t:---:- - ...._-

\ -t\

\·6\ . ~

/ .

G\ \,\ \

\

.~.-. .,-. .... \

([

Luminaire positions tor street light

ing in HafenCity

146

Magellan Terraces just after completion.

Low mounting heights on the seating

benches (regrettably only some were

builtl create islands of light beneath the

tall multi-functional masts.

147Completed Schemes, New District

lopm t

Light and Shadow in the Public Realm: Past and Present

As we began to ponder the meaning oflight and shadow, we started to associate

them with dreams, to see how in our mind's eye all those shadows in our sur

roundings enter our perception. Dreams are the equivalent ofshadows. They

remain elusive and immaterial, sometimes an intense experience, some en pas

sant.' In the same manner we perceive light, whose dark sibling is the shadow."

Apart from the gleam oflight from distant stars, the fire close by is the primor

dial concept oflight in human perception. Following his "Psychoanalysis of

Fire'; the French philosopher Gaston Bachelard dedicated a wonderful book to

"The Flame of a Candle".' For Bachelard, the flame is one ofthe prime sources

which gives form to our reveries. Ithas had a great impact on raising our aware

ness oflight and shadow. To study the details ofa flame for a period of time, to

meditate, is vital and seductive.

Light ignited by man has always had a spectacular aspect. Fireworks, gates of

honour and pageants were rare highlights ofcourtly life, even more so for the

public. These displays were expensive, complex and, naturally, ofa short dura

tion. They are part ofthe cultural roots oftoday's "event culture" and were com

posed ofmany, sometimes thousands of"single lights", candles with a short

life.

The true social advance in the history of "artificial brightness" came with the

introduction of street lighting on a large scale some 200 years ago; it was, how

ever, not permanent for a long time." The light was probably weak, in as far as

can be reconstructed, and its development dependent on the technical impro

vement oflamps and luminaires, but also on the expansion of the supply net.

The first noteworthy public lighting system using gas was established in Lon

don at the beginning of the 19th century; Germany and France did not follow

until fifty years later. Industrialisation oflight had commenced, its new charac

teristics are easily named: light took on the dimension ofdistance. The bright

ness ofgaslights was less intimate than candles, argand lamps or oil lamps; it

could bridge large distances. The fuel arrived via a network from distant gas

works; light could be controlled with the gas tap over any distance." The prin

ciple ofpublic illumination with a central supply system was established and is

still valid today. Electric lighting also adopted this system. It was initially routed

along main streets and squares in the 1880s, and set off the replacement ofgas

lights.

1 Ulrike Brandl,ChristophGeissrnar-Brandi: Walking through shadows,in: DeutschesArchitektur Museum(Ed): TheSecretof

the Shadow.LightandShadowInArchitecture,TUbingen, Berlin 2002, p.10If.

2 IngeborgFlagge: Light'sdark brother, in: DeutschesArchitektur Museum(Ed.):TheSecret of theShadow.LightandShadow

in Architecture,TUbingen, Berlin 2002, p.64 If.

3 GastonBachelard: Psychoanalysis of Fire,Boston1987; GastonBachelard: The Flameof a Candle, Dallas

4 Compare Wolfgang Schivelbusch: Disenchanted Night:The lndustnalization of Light in the Nineteenth Century,California 1995,

p. 83 ff.

5 CompareSchvelbusch: Disenchanted Night,p.48

150

Urban street lighting is now taken for granted in many parts of the world. Its

significance is not immediately apparent to everyone any longer, "it is just the

re". But the relative brightness ofstreets at night is a basic value that should con

stitute the starting point in the contemplation ofnew urban lighting schemes.

Just like technical achievements, life in the city and, ultimately in rural areas, is

changing fundamentally. The new, permanent illumination of200 years ago

enabled citizens to use exterior spaces at night (some attempts at lighting streets

were made much earlier). The "technical" availability oflight thus had a demo

cratic quality. The presence ofthis light provided safety for all, then and now,

lifting the burden offear at night. It also served the police for surveillance pur

poses. Previous generations ofstreet lights in Paris, built before the revolution

and financed out ofthe police budget, became the symbol ofthe old order.

The" reverberes" ofall things, were used as gallows. Lanterns were destroyed

during the riots in Paris, Berlin and Vienna. This was for practical, strategic rea

sons; it was more difficult for the military to close in on the rebels in the dark,

and for symbolic reasons: public lighting was regarded as a key instrument

in the system ofdomination.

151Light and Shadow in the Public Realm

The destruction ofpublic lights during the July Revolution contributed to its

success, as natural darkness deprived the police of control over the night in Paris.

Such phenomena mark the difference between public lighting and light in inte

rior spaces, be it the 24-hour day at the factory, or private light in our homes.

It is remarkable that artificial light is increasingly dispensable. Fully automated

fabrication systems operated by robots can work in the dark. One of the techni

cal keys to industrial production, the ability to turn night into day, is strangely

enough losing its significance. There will never be dark factories, ghostly places;

but - hypothetically - a new darkness can be predicted, or considered in the cen

tral zones ofour work spaces.

Today, however, electric light still shares a similar premise with other technolo

gies (the car, railway, PC), which are generally available and ofa high standard: it

is extremely egalitarian. It is, like the whole of society, dependant on the power

suppliers and power distributors who facilitate the production ofelectricity.

Thinking about light in another way rather than along the set, contemporary

lines, and in slightly more general terms, the now almost banal presence oflight

at night and in the day can be understood as a visible pattern ofone of the "real"

foundations of the present economic and social systems: electric power, available

152

any time and any place. This is what is hoped for, at least . Light and brightness

everywhere. The system is almost expected to work like the cosmos of

" moon and stars "visible at night which have "illuminated" us from time imme

morial. The many single light points in our earthly world are, to exaggerate, the

. citation ofthe stars manifested in the firmament.

This "idea oflight" is firmly established in us and is responsible for much of

the fascination, amazement and reliefthat is brought by light in the dark. Our

sensibility for lights is so strong thatwe are astonished by it, every day, again

and again, while taking for granted the comfort offered by artificial light.This

archaic relation is presumably the reason for the current attraction to new illu

mination schemes in cities; however, financial considerations are a prerequisite

for all public initiatives. These concepts change the light characteristics ofa city.

Obviously, the initial renewal is generally of a technical nature. The weak light

sources which were difficult to operate, such as the first oil lamps (they really

were marker lamps), were followed by efficient light sources producing suffi

cient brightness to light an area.The basic illumination of streets became pos

sible. This was first accomplished with gaslights.

Public lighting took the next step in the 1870s with the introduction ofelec

tric arc lamps which directed light with reflectors. They were bright and led to

hitherto unknown mounting heights, offering an entirely new light quality.

The higher the arc lamps were positioned, the less glare they produced; they

bathed entire streets in a uniform light. In Europe, some arc lamps remained in

use until the 1920s.

The most important light source ofpublic street lighting was the electric light

bulb for many decades, however, some gas systems remain until the present day,

153light and Shadow in the Public Realm

154

Basically,it must be remembered that urban public lighting is a very large

system, "created" by numerous people and composed ofmillions ofparts,

which slowly but continuously develops. In technical terms, the system is

banal. But its intercontinental distribution and mere existence make ita remark

able although inconspicuous entity in our daily lives, and in terms ofpracti-

cal knowledge. Public light is a common phenomenon, like tarmac roads or

the many cars that surround us. It simply is one of the basics ofour civilised

lives. Exceptional circumstances, such as the black outs in war-torn cities, are a

depressing reality, where light, a synonym for safety at night in urban life, ceases

to exist and where normal life is "switched off".

All these thoughts arise from the perspective ofthe designers or operators

ofpublic light and thus from the necessity oflighting for squares and streets.

However, one can also pose the question ofdefining this public domain more

precisely. In other words: where is the public space that should be lit? What

(city) space should be available at night as well? Unquestionably, traffic areas

should be lit so that people can safely, and according to individual needs, move

through the "environment". But how can the differentiation be taken any

further?

Newly installed lighting systems continue to develop the basic principles

through their comprehensive differentiation. Markers ofcontemporary exteri

or lighting schemes are no longer the standardised solutions that first and fore

most comply with norms. Instead, they are site-specific lighting solutions - this

is the basis oftheir success; they are technically up to date - and this is what

distinguishes them from the usual patterns; they are also operator-friendly.

Operating time and maintenance costs can take more out ofthe budget than the

initial investment. Taking these three points is a good basis on which to develop

the best solutions.

But first ofall, we need to look at the development ofinner cities in general.

Lighting proposals build on these development plans and must offer compati

bility - that this is actually happening can be traced over recent decades.

For a long time inner cities were representative in character. They were commu

nication spaces, places to see and be seen in, and accessible to all. In the wake of

the car urban planners have, for many years, endeavoured to plan the car-com

patible city. The resultant reallocation ofinner cities led to the destruction of

the primary function ofstreets and squares. The invasion ofthe motorcar, of

private transport, pushed out urban life that was concentrated in pedestrian

areas. Urban planners and landscape architects, in pursuit oflong-term goals,

work against this. The current philosophy is, as far as possible, to free inner

cities ofcars in the next ten to 20 years.

156

The thus newly defined and newly designed streets and squares need new light

ing which is not developed for motorised traffic, but for pedestrians. Ofcourse,

similar proposals were made in the 1950s. But the decisive reversal ofurban

planning towards precisely defined traffic zones prompted new lighting pro

posals that emulated this principle. The common approach separates the stan

dards for roads and pedestrian areas into two distinctive product groups.

But this reflects only the European understanding of urban life which has evolv

ed over a long time. It is determined by the historical-political dimension of

urban development and its related local characteristics. Contemporary urban

development outside Europe and the United States is primarily influenced by

quantitative factors, the immense influx ofpeople into urban conglomerates.

Today, the urban environment already accommodates more than halfof the

world population.

It is virtually impossible to plan the development ofthese mega cities and gen

erally growth takes place in areas where state funds for efficient infrastructure

measures are insufficient or where improvements are not wanted. To man-

age this development and the ensuing chaos is a dramatic task. Planned lighting

projects would be akin to the proverbial drop in the ocean. Water and electrici

ty' and as a consequence some light at night, is a godsend for the inhabitants of

slums in new mega cities, which has little in common with the European

"urbanite's"understanding of their environment. "Illumination" is an important

factor ofcivilised life; the way in which "public light" is typically implemented

makes it a secondary factor in urban planning; it will take some time before arti

ficial light is afforded a more aesthetic significance. Our perception of the city

remains dominated by the visually uninteresting grid ofthousands ofstreet

lights; in the corners the more intriguing but somewhat frightening darkness of

night.

Hence, it is not possible to develop global standards oflighting for public spaces

- ultimately a truism. It means that light, including artificial light, should in

future always be more closely related to its immediate surroundings. Pure

necessity will make do with naked lights; financially strong cities and munici

palities' on the one hand, and historical towns, on the other, will rise above the

drab monotony ofeveryday life and become more attractive for the urban dwel

ler - the consumer.

Ultimately, this means that the proper use oflight indoors and out of doors

will, in future, be a tiny bit more important. Traditional cities will need guide

lines; future cities will need new ideas for their illumination that follow the

trends in urban planning towards sustainable, "uncontrolled growth", making

the chaos even more interesting.


Selected Bibliography

158

Bollmann, Stefan (Ed.): Kursbuch Stadt, DVA, Stuttgart 1999

Brandi, Ulrike; Geissmar-Brandi, Christoph: Lightbook. The Practice ofLighting

Design, Birkhauser - Publishers for Architecture, Basel 2001

Brockhaus, Christoph (Ed.): Stadtlicht-Lichtkunst, Wienand, Cologne 2004

Comer, Virginia: Streetlights, Balcony Press, LosAngeles 2000

Dinkla, Sake: Am Rande des Lichts inmitten des Lichts, Wienand, Cologne 2004

Ruth Eaton: Ideal Cities:Utopianism and the (Un)Built Environment. Society for

Utopian Studies, 2002

Eckert, Martin: Auflenbeleuchtung, Verlag Moderne Industrie, Die Bibliothek

Expo 2000 Hannover GmbH (Ed.): Masterplan Licht/EXPO 2000 Hannover,

Dolling und Gallitz, Hamburg 2000

Flagge, Ingeborg (Ed.):[ahrbuchfiir Licht undArchitektur, Berlin 1994 ff.

Fordergemeinschaft Gutes Licht (Ed.): Stadtmarketing mit Licht, informationen

zur Lichtanwendung Nr. 16, Frankfurt/Main o. J.

Gehl, Jan; Gemzoe, Lars: New City Spaces, The Danish Architectural Press,

Copenhagen 2001

Gehl, Jan; Gemzoe, Lars: Pubic Spaces Public Life, Arkitektens Forlag,

Copenhagen 1996

Haus derKunstMiinchen (Ed.): Die Nacht, Benteli Wabern/Bern 1998

Held, Gerd: 'Stadtbeleuchtung" in: Bittner, Regine (Ed.): Urbane Paradiese,

Campus, Frankfurt/Main 2001

Lange, Horst: Handbuch.jiir Beleuchtung, Ecomed, Landsberg/Lech 2005

LeGoff, Jaques: Die Liebezur Stadt, Campus, Frankfurt/Main 1998

Leslie, Russell P.;Rodgers, Paula A.: The Outdoor Lighting Pattern Book,

McGrawHill-Rensselaer, New York 1996

Narboni, Roger: la lumiere et lepaysage- creer despaysages nocturnes,

LeMoniteur, Paris 2003

Narboni, Roger: la luminiere urbaine- eclairer lesespaces publics,

LeMoniteur, Paris 1995

Neumann, Dietrich: Architekturder Nacht, Prestel, Miinchen 2002

Podrecca, Boris: Offene Riiume/Public Spaces, Springer, Wien 2004

Poulsen, Louis (company broschure, Ed.): Auflenbeleuchtung, n.d.

Prigge, Walter (Ed.): Peripherie ist uberall, Campus, Edition Bauhaus

Frankfurt/Main 1998

Selle, Klaus: Was ist los mitden offentlichen Riiumen? Dortmunder Vertrieb fur

Bau- und Planungsliteratur, Dortmund 2003

Schivelbusch, Wolfgang: Lichtblicke, Carl Hanser, Miinchen 1983

Schlor, Joachim: Nachts in dergroflen Stadt, Paris Berlin London 1840- 1930,

Artemis und Winkler, Miinchen 1991

Schmals, Klaus M. (Ed.): Was ist Raumplanung? Dortmunder Beitriigezur

Raumplanung 89, Institut fur Raumplanung Universitat Dortmund,

Dortmund 1999

Selle, Klaus: Was ist los mit den offentlichen Riiumen? Dortmunder Vertrieb fur

Bau- und Planungsliteratur, Dortmund 2003

Stadt Braunschweig (Ed.): Lichtparcours, Braunschweig 1999

Stemshorn, Max (Ed.): Dream City-Zur Zukunft der Stadtriiume, Hatje Cantz,

Ostfildern-Ruit2001

Terzi, Corrado (Ed.): Lighting Plans, Editoriale Domus/iGuzzini, Milan 2001

Van Santen, Christa: Lichtraum Stadt, Lichtplanung im urbanen Kontext,

Birkhauser-Verlag fur Architektur, Basel 2006

Zajonc, Arthur: Die gemeinsame Geschichte von Licht und Bewusstsein,

Rowohlt, Reinbek 1994

Zumthor, Peter; Beer, Ivan; Mathieu, Jon: Wieviel Licht braucht der Mensch, um

leben zu kiinnen, und wieviel Dunkelheit? vdfHochschulverlag/Editrice Com

positori, Zurich/Bologna 2006

Light on the Internet:

www.licht.de

www.on-light.de

www.strassenlicht.de

159

Advertisement

iGuzzini illuminazione

San Marco bell tower; on the left side the new

lighting from 2005, on the right the bell tower

from the lagoon

160

Urban lighting and qualityof public spaces

After an uncertain start to the 1980s, from the latter part of the decade onwards, the issue

of urban lighting has returned to the fore more or less everywhere, not just in Europe. In

some cases, this is a result of the sensitivity of local administrations to the request for a

higher quality of life in public spaces, but more often it IS a question of political expedi-

ency. In any case, it stems from the now irreversible changes in urban lifestyles, which have

shifted much of the activities of collective and social living into the evening and through to

the early hours of the morning. Consequently, even in Italy where (with a small number

of exceptions) the culture of lighting remains firmly entrenched in traditionalism, in recent

years more mature approaches have been developed for the methods of lighting a city and

to the creative use of lighting in designing night-time urban spaces. Nothing revolutionary

has happened yet as it is difficult to be boldly experimental when caught between on the

one side the technicians, repositories of "lighting science" who attribute a kind of "ethical"

sense to orthodox lighting technology, and on the other side the administrations in charge of

cultural assets, united by what we could describe as a philological concept of lighting, con

vinced that all in all the best artificial lighting is that which is identical to natural lighting

Nonetheless, things are slowly changing. Even in Italy we are seeing new generations of

engineers and architects who are willing to experiment With more modern and uninhibited

approaches in an awareness that the lighting project (and urban lighting in particular) IS

unable to guarantee acceptable quality levels unless it is part of an interdisciplinary pro

cess that makes full use of the various competences involved in each individual initiative.

The same applies at a productive level, as the national industry is making considerable

advances in terms of quality standards and technological research.

At this point we must again reiterate the fundamental concepts on which the new (if not

in reality so recent) ways of considering public lighting are based. This is partly to update

the scenario in which the lighting design culture for open spaces is developing, and partly

to reaffirm the urgency of modifying the objectives and contents of the lighting technology

project at an urban level, especially in the context of Italy.

The Bell tow er in Berching duri ng "Berchinale

des Lichts". 2005

The city by night

Innovation began w ith the awareness of the existence of a noctu rnal city w hich is inde

pendent of the daytime city. complete with its own life and image w hich in some ways are

much more exciting . Although this aw areness first became apparent towards the end of the

1970s . it was already firmly establishe d in the collective cinematographic imagination of the

metro polis. Research efforts such as those carried out by Bob Venturi and his co-workers

in Las Vegas as the culmination of the Pop vision of the 1960s in architecture and the School

of Frankfur t's rejection durin g the same period of the functional narrow-mindedness of the

rationalist city prompted or iginal and "constructive" reflection on the nature of contempo

rary urban space, a debate that continues today.

In the era of "affluent" society, of expansion of the mass media and increasingly rapid social

changes. the Expressionist idea of the nocturnal city as the dark side of the urban condition.

a symbolic space and a metaphor for apprehension, evaporates in neon lights and rnegas-

creens .

The need for a city that is equally livable at night is clearly unrelated to lighting technology

itself but has developed hand in hand wi th new forms of urban behaviour under the aggres

sive thrus t of adver tising and leisure- related consumerism. This is similar to the way that

the bourgeois "ville lurniere" that so fascinated Le Corbusier came into being in the firs t half

of the 20th century.

On the other hand, the archit ectural idea of "another " nocturnal city whe re it is possible

to rediscover the space of arti stic and symbol ic events, of narration and wonders. der ives

from the intuit ion of people like Venturi , Schwartz and several others wh o grasped the new

structural opportunities of artificial lighting as an effect ive means for "constructing" rather

than just for exhibiting or decorating that wh ich has already been constructed.

An awareness that there exists a dimension of social and community living that belongs to

the night has led irreversibly to the question of "constructing" the nocturnal city, of how it

can be constructed. and wh at means to use to construct it with out sacr ificing the physical,

functional and morphological consistency of the daytime city.

This is the conceptual foundation, both for the present and the immediate future. of the

urb an lighting project from an architectural and urbani stic standpoint.

Functional lighting andthe functions of lighting

It is now wi dely recognised that the almost universal policy of using public lighting for the

sole purpose of making streets safe has prevented timely reflection on the role of lighting in

determining the nocturnal image of the city.

Obviously no one would dream of denying that there continues to be an impellin g need to

prevent crime and road accidents. Likewise, it is accepted that there were precise technical

and economic reasons for a str ictly functional limitation of this kind, part icularl y in the past.

However , although this is still an essential aspect of the urban lighting project. it is now no

longer the only, or even the most important. issue.

Something of this kind is also happening in the equally important, if less elevated, field of

road surfa ces.

For decades the exclusive policy w as to cover all hori zontal surfaces in the city with tarmac.

Identical blankets of amorphous tarmac w ere poured over all surfaces subject to car ,

161Advertisement iGuzzlni illuminazione

Piazza del Popolo, Ascoli Piceno. Italy

162

bicycle or foot traffic. including roads. squaresandpavements. the avenuesof old public

gardens.and even the areainsidethe Roman Forum.

Once again. the reasons were comfort. safety andeconomics. Then the time came when we

rediscovered the meaningand role of pavings in the construction of open spaces and in the

environmental redevelopmentof sites of historical interest. In recent years we have begun

to design paving textures andrestore original pavings buried beneath the tarmac.

At the much more complex level of expressive values. the way of conceiving public lighting

is evolving from a functional to a cultural issue. Due to its selective nature, artificial lighting

is seen as a critical tool for promoting an awareness of the city. It allows us to rediscover

the mainaspects of the city's structure and the distinctive characteristics of its morphology,

to restore the key characteristics of an identity that is now becoming increasingly uncertain.

In the specific case of historical centres andsites of major artistic andenvironmental

importance. there is a widespreadtendency to view the study of artificial lighting as a major

component of redevelopment projects. This is due to its abilityto enhance details and at the

sametime recompose an overallpicture. to recreate the suggestive atmospheres of loca

tions and to restore the originalhierarchiesof meaning. which are now difficult to perceive

in the visual confusion of the daytime urban environment

Lighting "by continuous systems "

The link between monumental urban lighting and redevelopment we have just mentioned

does not stem from the fairly obviousdirect, reciprocal relationship between the two types

of initiative, but instead from a needto establish a precise methodological reference frame

work. We have to introduce into the field of architectural and monumental lighting the con

cept of the inseparablerelationship betweena monumentand its context. This is one of the

mainstaysof conservation of historical centres and of the landscape in general.

The material. visual andmorphological context, together with its urban and functional sur

roundings, form the web of relationships in which an historical, artistic or landscape fea

ture expresses its significance and raisond'etre. And often the fieldof operation cannot be

restricted to the immediate, visible context as significant relationshipsthat are essential for

interpreting the site extend throughout a much larger area. An example of this is Rome's

BaroqueQuarter, from Piazza del Popolo to Piazza Venezia.

This concept of unity of a monument with its context is crucial to the issue of city lighting. It

must be considereda central concept together with the complementary notion of composi

tional hierarchy, especially taking account of the risks of interpretation that can be caused

by the selective power of artificial lighting when it is projected onto objects immersed in

darkness.

The old concept of using light, and in particular a large amountof light, to pick out single

monuments from their context appears to be slowly dying out, at least among the most cul

turally aware designers.

At a theoretical more than a practical level, we have begun to move away from the idea of

paintingthe city's night-time image through an indefinite, almost always random series of

"coups de theatre", as startling as they are extraneous to the site they belong to.

This traditional point type procedure is based on an ideaof the night-time city as a placethat

in someway has to fight off the siegeof darkness until the following dawn. From this

point of view, the need to light the most famous points of the city meets a deeply-felt need

to save from destruction at least the essential aspects, those that are most representative of

the collective identity. The inevitable result of this is to light up an individual monument, an

individual facade, or in the best case a single square. Unfortunately this results in fragmen

tation and further destructuring of the city's image, falsifying the compositional relationship

between space and architecture and distorting the perception of their underlying meanings.

The biggest obstacles to casting off methods of this kind are effectively the clients, both

public and private, who for reasons of political and economical expediency prefer to inter

vene on single objects. Furthermore, the current mechanism of sponsorships means that

resources tend to be focused where the return in terms of image is guaranteed by the fame

of a masterpiece.

Stage-management of lighting in outdoor areas

In the rarefied nocturnal atmosphere of the urban stage, we can not only choose what is to

be displayed but also redesign the physiognomy of places in such a way as to rediscover

their original meaning or to explore new meanings. Above all, we can enhance the aspects

that we consider most significant by establishing precise hierarchies between all the ele

ments of the context.

This way, we can recompose the compositional unity of space and restore the structural

and historical characteristics of the old city. In the same way, but using different methods,

we can create a strong identity for public spaces, an issue that has always been neglected

in urbanistic and architectural projects for the modern city.

If the objective is to create a coordinated image for the nocturnal city, then the most essen

tial thing to implement at a planning level is a kind of stage-management of lighting that

takes account not only of the immediate environmental contexts but also of the visual, struc

tural and symbolic relationships at the higher level of an entire unitary urban area or the

entire city.

By the term stage-management we mean an interpretation of what is to be illuminated in

a given location or in an entire urban centre and the lighting methods to be adopted on the

basis of a detailed knowledge of the urbanistic, morphological, functional and historical

characteristics.

The guiding principle behind this process must be a precise expressive intention that con

stitutes the effective artistic content of the project. This represents what we could define

as the specific "added value" of the lighting design of an outdoor space. From a conceptual

standpoint, the stage-management of lighting is responsible for a cultured interpretation

of the illuminated site and how it is a function not only of its own characteristics but also of

the contemporary culture and language to which the designer belongs. The aim of this con

ceptual and technical coordination is for every urban lighting initiative to produce the exact

effect sought by the designer but at the same time to be attuned to the overall night-time

environment, thereby orienting the impressions perceived by the eye according to one or

more narrative plots.

The intention is to use lighting to achieve an aesthetic rather than neutral interpretation

of the city to convey, by means of a weighted system of hierarchies and differences, the

underlying identity of places and the expressive potentialities that are denied to them during

the day. Thinking in terms of urban lighting means organising the nocturnal vision of a city.

163Advertisement iGuzzini illuminazione

164

The urbanistic approach to lighting

The need to tackle the issue of city lighting in a systematic manner, with general plans of a

strategic rather than purely legislative nature, makes it necessary to prepare adequate tools

to ensure on the one hand compliance with the guidelines of the general lighting plan and of

the implementation projects that are to be carried through over the course of the years, and

on the other hand consistency of the plan with the directives of current or forthcoming town

planning schemes. From the design regulation standpoint. this makes it necessary to de

velop genuine lighting urbanistics and to create methodologies, tools and even terminolo

gies that are current or under development.

In some countries this began some time ago and the quality of the projects and above all the

cultural and technical levels of public clients is now satisfactory and in some cases excel

lent.

In Italy the process began late. Nonetheless, experiments such as that of Enel with the

Lighting for Art programme, urban lighting planning initiatives such as those of Turin, Rome,

Bergamo and now also Milan, technological research on the part of leading companies and

a commitment to cultural promotion on the part of sector professional and entrepreneurial

associations even in Italy are bearing the first fruits of a renovation that now appears not

only desirable but also entire feasible. For this purpose, it is essential to succeed in prompt

ing debate among the various parties involved in regulatory and methodological issues

including the administrations and local legislative bodies. This is the aim of this book on

lighting design.

Environmental lighting

An urbanistic lighting project that is capable of meeting the needs of the contemporary city

and of the type of lifestyle conducted in our public spaces must not be limited to a definition

of performance standards or to a lighting classification of roads on the basis of parameters

dictated by national and international traffic legislat ion. If a tool has to be devised for the

planning of this sector, then it must have quite different objectives. Compliance with legis

lation and implementation of technical standards are the prerequisites and not the goals of

any urban project.

As we have said, the most important thing is to get away from the concept of "tactical" light

ing based on a limited number of quality-oriented initiatives against a backdrop of an opti

mised functional type standard lighting system. We must instead learn to think in terms of a

"strategic" lighting concept based on unitary initiatives which move away from the rigid dis

tinction between functional lighting and artistic/monumental lighting.

In this approach, the distinction between an urban site and a monument is likewise aban

doned in favour of a concept of the urban environment defined as a system of structural

interrelations between an object and the space in which it is contained.

We therefore propose, as for the PGIA in Rome, to use the term "Environmental Lighting

Plan" for the tool that could be used to define the general guidelines of urban lighting and

the work criteria for achieving rigorous conceptual interpretation of sites.

, ,'"lit!

"j

~.. .. •"

~l

l';. , I.~

The aim of this is certainly not to add yet another name and acronym to the myriad already

in existence without saying anything genuinely new. Instead, this terminology aims to

underscore firstly an intention to integrate point type artistic lighting into a broader strategy

that proceeds in terms of unitary urban systems, and secondly the need to coordinate func

tional and architectural type lighting systems so as to achieve a unitary visual result.

The Sultan Hassan Mosque, Cairo, Egypt

165Advertisement iGuzzini illuminazione

iGuzzini illuminazione

166

The Company

iGuzzini illuminazione was founded in 1958 and belongs to the Fimag holding company,

which controls the companies in the Guzzini Group (Teuco Guzzini, F.lli Guzzini and Telrna).

The company's head office is situated in Recanati, in the Marche region, where it extends

over an area of 120000 square metres, of which 33 500 are covered.

The company has 17 sales agencies throughout Italy, ten branch offices (situated in Ger

many, France, Spain, England, Norway, Switzerland, Denmark, Sweden, Belgium, Russia

and China) as well as sole distributors in countries the world over.

In 1995, the company set up its own Centro Studi e Ricerca (Centre for Study and Research)

in order to broaden its understanding in the many aspects of light; both regarding its nature

as a physical phenomenon as well as vaster more complex aspects which are at the basis

of human perception.

An ISO 9001-certified company, iGuzzini is currently Number One in Italy in the lighting

technology sector and is among the top five in Europe.

The company's group sales for 2005 came to 167 million euro. The company employs 971

members of staff. Currently at the helm of the company are Giannunzio Guzzini - Chairman

and - Adolfo Guzzini - Managing Director and Head of corporate strategies.

The company's activities

Designing and planning the efficient use of light. This is how we can summarise the charac

teristic trait of what we do here at iGuzzini illuminazione.

Designing and planning the use of light does not just mean producing objects that create

light. It is rather a design activity that integrates light sources with the role they play in a giv

en environment. Over the years, iGuzzini production has been founded on investments into

research, on technological-production innovations and on the collaboration with prestigious

international designers and architects, such as Luigi Massoni, Gi6 Ponti and Rodolfo Bonetto

at first, and then with Bruno Gecchelin, Renzo Piano, Gae Aulenti, Piero Castiglioni and Lord

Norman Foster.

iGuzzini luminaires can be found in a range of sectors: urban lighting, museums, commer

cial areas and hotels. They are lighting some of the most prestigious settings in the world:

the Ferrari showrooms, Benetton and Coin stores, Marks & Spencer's, the Grand Louvre in

Paris, the Galleria Borghese in Rome, the Beaubourg in Paris, Luxor Temple in Egypt, the

Dutch section of the State Hermitage Museum in Saint Petersburg, the Museo de Bellas

Artes in Havana, Brisbane Airport in Australia, the North Greenwich Transport Interchange

and Heathrow Airport in London, Charles De Gaulle Airport (Terminal E) and the Mercedes

Design Centre in Stuttgart.

In1997, iGuzzini adopted as its first private-owned enterprise the Galleria Borghese Muse

um in Rome on occasion of the Veltroni-Fossa Convention. This procedure was the model

for the sponsoring activity on the part of iGuzzini illuminazione at the Centre National

George Pompidou (Beaubourg),

The company has been awarded a great number of prizes, from the Compasso d' Oro in

1989 for the Shuttle luminaire by Bruno Gecchelin, to the one in 1991 awarded to the Guzzini

Group "for having developed through time a very coherent designing and manufacturing

philosophy where the culture of design has represented a common denominator and an ele

ment of distinction" to the 1998 Compasso d'Oro for the Nuvola product by the Piano Design

Workshop, to the highly recent iF product design award, promoted by the Industrie Forum of

Hanover, for Le Perroquet by Piano Design Workshop.

In 1998, iGuzzini was awarded the Guggenheim Prize, in recognition of the company's con

stant commitment to the world of culture.

For further information: http://www.iguzzini.com

iQuzzini167

Advertisement iGulzini iltuminazione

Figure p. 44/45:

Figure p. 47:

Picture Credits:

© DaimlerChrysler AG

© International Dark Sky Association and W .T.Sulli van (data provided by the:

Defense Meteorological Satellite Program)

Figures p. 112 : © Peter Wels, Hamburg

All other figures are supplied by the authors. Every effort was made to acknowledge and obtain permission

for all pictures. We deeply regret any mi stakes or oversights that might have occurred.

Editor:

Ulrike Brandi Licht

Lichtplanung und Leuchtenentwicklung GmbH

Stadtdeich 27

20097 Hamburg

www.ulrike-brandi.de

Texts: Ulrike Brandi, Christoph Geissmar-Brandi, Hamburg

Illustrations: David von Bassewitz, Hamburg

Layout : Christina Hackenschuh, Stuttgart

Cover: Muriel Comby, Basel; Christina Hackenschuh, Stuttgart

English Translation: Caroline Ahrens, Hamburg

Copyediting: Elizabeth Schwaiger, Picton, Ontario

A C1P catalogue record for this book is available from the Library ofCongress, Washington D.C., USA.

Bibliographic information published by Die Deutsche Bibliothek.

Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbiblio

grafie;detailed bibliographic data is available in the Internet at http://dnb.ddb.de.

This work is subject to copyright. All rights are reserved, whether the whole or part of the material is con

cerned, specifically the rights of translation, reprinting, re-use ofillustrations, recitation, broadcasting,

reproduction on microfilms or in other ways, and storage in data banks. For any kind ofuse, permission of

the copyright owner must be obtained.

This book is also available in a German language edition (ISBN 3-7643-7628-7).

© 2007 Birkhauser - Publishers for Architecture, P.O. Box 133 , CH -4010 Basel, Switzerland

Part ofSpringer Science-Business Media

Printed on acid-free paper produced from chlorine-free pulp.TCF 00

Printed in Germany

ISBN-IO: 3-7643-7629-5

ISBN- 13: 978-3-7643-7629-1

987654321

www.birkhauser.ch

168

light for cities: lighting design for urban spaces. a handbook

Documents