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Lichtbericht 92

Published in April 2011

LED light in use Last year will go down in the history of architectural lighting as the year of the final breakthrough of the LED. The product range presented by ERCO at the Light+Building trade fair in Frankfurt in April 2010 makes LED lighting tools available as a viable alternative for practically every standard task of lighting. But how does the new technology fare

in practical applications? This issue presents LED lighting projects from very different fields of architecture.

Contents

About this issue

Introduction

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About this issue Keylights Bright prospects

Light & Technology

Report

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Core capability: Optoelectronics Optoelectronics is a crossover field where elements of optical systems, electronics and information technology, i.e. software, overlap. It is where ERCO sees its core capability and a focus of its development work. Focus Measuring and evaluating LED luminaires Double focus LED lighting technology in the lx/W analysis Tim Henrik Maack

Top London art galleries switch to LEDs Both the National Gallery and the National Portrait Gallery, two worldfamous art collections, have after intensive investigation arrived at the same conclusion: ERCOs LED light is the future for museum and gallery lighting.

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Background

Projects

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Lighting art with LEDs Experts from the National Gallery and National Portrait Gallery, London, spoke with ERCO lighting consultants about their experiences and expectations associated with the conversion to LED lighting in museums. Hosted and reported by Paul James, Editor-in-Chief of the technical publi cation mondo*arc

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Sieben Schwaben chemist, Laupheim LED light for salesrooms Private residence, Kalmar LED light for garden and landscape Intercontinental Hotel, Paris LED light for facades Bonnefanten Museum, Maastricht LED light in the museum Starbucks, Dresden LED light in the coffee house Students' Union, University of Bath LED light for education and administration Vial UAB Bellaterra, Barcelona LED light for pathways and open areas

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Backlights

With the technological change towards digital light in full swing within the luminaire industry, it gives us great pleasure to present an edition of Lichtbericht that solely features LED-based projects. After many years of development work in the field of optoelectronics, it is now exciting for us to see LED technology proving itself in actual projects. Following extensive examination of the technological, curatorial and preservation aspects, two renowned museums at once have both decided to go for LED lighting: the National Gallery and the National Portrait Gallery in London a step that is justified not least by the 68%-saving in energy costs and by the reduced maintenance costs due to the long life of LEDs. Many other advantages of LEDs, such as the fact that their light is free of IR and UV components, also provide good reason for the technological change from the preservation point of view. ERCOs core capabilities in the field of opto electronics have laid the necessary technological foundation for this. On pages 16 and following of this Lichtbericht, we reveal exactly what this field of competence known as opto electronics actually entails. But for now, lets just say that optoelectronics is the mixture of the specialist areas of optical systems, elec tronics and information technology. Optical systems are for directing light, electronics for producing light and information technology for controlling light. The intersection of these disciplines indicates a companys profile of capabilities for innovative lighting solutions in the age of digital lighting. Scenography and efficiency are brought together in the lighting solution of the new Sieben Schwaben chemists in Laupheim. In the evenings, the entire salesroom functions as a massive scenically illuminated shop window. An array of different coloured light scenes is executed here in a certain sequence, attracting the observers attention and controlled by the ERCO Light System DALI. Laying quietly in the winter snow amidst a vast open landscape, Kalmar, a private residence in Sweden, appears rather still by comparison. Here, weve installed a hybrid lighting system that makes equal use of both digital LED luminaires and classic analogue luminaires. Overall it's a very coherent and pleasant lighting solution, which tackles the presented task in an appropriate manner.

The facade of the Intercontinental Hotel in Paris is also resplendent in new LED light. Here, the LED luminaires are discreetly integrated into the historical facade. At such difficult-to-access places, maintenance costs naturally play a crucial role and so the long life of LEDs is a decisive plus here. The host of LED projects presented here is rounded off by the Starbucks Coffee House in Dresden, a mast-mounted pathway lighting in Barcelona and installations at Bath University and the Bonnefanten Museum. In conclusion, it can be said that LED lighting is now suitable for a wide variety of projects of many different kinds and that, in the practical applications shown, its capability is admirably demonstrated.

ERCO Lichtbericht Imprint Publisher: Tim H. Maack Editor in Chief: Martin Krautter Design/Layout: Simone Heinze, Christoph Steinke Printing: Mohn Media Mohndruck GmbH, Gtersloh 1028756000 2011 ERCO

Photographs (Page): Andreu Adrover (31), Markus Dlouhy (2223), Thomas Eicken (2), Julia Holtktter (1), Thomas Mayer (3, 45), Rudi Meisel (U1, 2, 3, 611, 30, 33), Swapan Parekh/Das Fotoarchiv (3), Alexander Ring (2, 1819, U4), Tomas Sdergren (2, 2425), Mike St Maur Sheil (1215), Dirk Vogel (2, 3, 26, 27), Michael Wolf (2), Edgar Zippel (2829). Translation: Lanzillotta Translations, Dsseldorf ERCO Lichtbericht 92 1

Keylights

Mrrum In the rural setting of southern Sweden the concrete group AB Frdig Betong has built a conference centre, complete with overnight accommodation facilities, demonstrating the creative use of this material. The differentiated lighting of the workrooms, restaurant and guest rooms was completed using ERCO lighting tools and Light System DALI.
Frdig Betong Konferenscenter, Mrrum Architect: Anders Trnqvist Arkitekt kontor AB, Karlshamn www.fardigbetong.se

Shanghai This ultra-modern public library also provides Pudong, a rapidly growing new district of Shanghai, with a cultural centre that can be used by all residents. Tesis in-ground luminaires add scenic lighting to the entrance area, while, inside, the architecture is skilfully emphasised with wallwashing.
Pudong Library, Shanghai Architect: East China Architecture Design Institute Lighting design: Shanghai Shenjin Lighting Design Co., Ltd.

Copenhagen Fantastic views! Swinging to and fro, the clientele of this sushi bar can enjoy the view of Copenhagen from the 12th floor of the Tivoli Hotel in the glare-free light of Optec spotlights. The rest of the restaurant is kept in stage-like darkness, with Quintessence directional luminaires adding accent lighting to the tables.
Stick'n'Sushi, Sky Bar Tivoli Hotel, Copenhagen. Architect: Terese Engaard, Diener&Diener Architekten, Berlin Lighting design: Licht Kunst Licht, Berlin www.sushi.dk

Wiesbaden The Private Banking department of the Wiesbadener Volksbank has found its home in a historic villa which is scenically illuminated in prestigious fashion at night using ERCOs LED technology. The lighting designer Arne Fiedler worked using Kubus facade luminaires and Midipoll bollard luminaires.
Wiesbadener Volksbank Private Banking, Wiesbaden. Lighting design: Arne Fiedler, Wiesbaden. www.wvb.de

Castel Gandolfo The small town of Castel Gandolfo overlooking Albano Lake southeast of Rome is best known as the traditional summer residence of the Pope. Yet the village also has quite a lot to offer ordinary visitors. This includes the Ristorante Quintessa, which not only offers good cuisine and a highly select wine list, but also boasts an extraordinary interior and lighting design. Local architect and lighting designer Francesca Storaro used Optec spotlights and Pollux projector spotlights to underline the taverns atmosphere.
Ristorante Quintessa, Castel Gandolfo Lighting design: Francesca Storaro, Castel Gandolfo www.laquintessa.it

Sandvika The administrative centre for the prospering municipality of Brum near Oslo is located in the City of Sandvika. The outdoor grounds and the richly ornamented facade of the city hall, built in the 1920s, are presented at night to great effect using low energy, thanks to Parscoop washlights and Midipoll bollard luminaires.
Brum Rdhus, Sandvika Architecture: Magnus Poulsson (18811951) Lighting design: Linda Knoph Vigsns, Hvalstad www.baerum.kommune.no

Duisburg Opened in 1964, this museum was dedicated by Duisburg to one of the citys greatest sons sculptor Wilhelm Lehmbruck. Here too, the museum owners have now decided to go for the lighting technology of the future, equipping the first galleries with Optec LED spotlights.
LehmbruckMuseum, Duisburg Architect: Manfred Lehmbruck (1913-1992) www.lehmbruckmuseum.de

Freiburg Dramatic presentation of the originals of the sandstone sculptures from Freiburg Cathedral. Stella projection spotlights illuminate the art treasures of the Augustinian Museum, which was expanded by remodelling an old monastery church.
Augustinian Museum, Freiburg Architect: Prof. Christoph Mckler Architekten, Frankfurt am Main Lighting design: Kress & Adams Atelier fr Tages- und Kunstlichtplanung, Cologne www.augustinermuseum.de

Kelsterbach The way to a good education is through the stomach. With German school reforms stipulating all-day child care, the trend is for the con struction of school canteens. A prime example is in Kelsterbach near Frankfurt. Compar recessed spotlights with HIT lamps add attractive scenic lighting to the meals.
Canteen of the integrated comprehensive school, Kelsterbach Architect: Elmar Krebber & Partner, Wiesbaden www.igskelsterbach.de

Barcelona Concrete reliefs taking ethnology as their subject matter adorn the entrance foyer of the Ethnologic Museum in Barcelona. This attractive feature of the museum building, from 1973, is now brought out at night by a new lighting installation, which uses cantilevermounted Powercast floodlights fitted with efficient metal halide lamps. Wallwash Spherolit reflectors create the asymmetric light distribution which illuminates the facade surface.
Museu Etnlogic, Barcelona Architect: ICUB (Institut de Cultura de Barcelona) www.museuetnologic.bcn.es

Copenhagen All giants together: the new elephant house at Copenhagen Zoo was designed by no less than Foster+Partners design office. Parscoop washlights illuminate the inner area, while the information display in the buildings peripheral area is scenically illuminated by Parscan spotlights.
Elephant house, Copenhagen Zoo Architect: Foster+Partners, London Lighting design: Rambll Lys, Copenhagen www.zoo.dk

Pune Suzlon, one of the worlds largest producers of wind turbines, has built its new, campus-like headquarters in the Indian industrial city and service-provider metropolis of Pune. The project includes ERCOs Midipoll bollard luminaires and Grasshopper projectors.
Suzlon One Earth Campus, Pune Architect: CCBA, Tao Architects, Ravi & Varsha Govandi Lighting design: Satish Rana, LED Inc. www.suzlon.com

Hamary Honoured with a Nobel Prize for Literature yet equally controversial for his stance towards German National Socialism, Knut Hamsun (18591952) is seen as Norways most important author. It is to this complex figure that architect Steven Holl has dedicated an unwieldy yet equally multifaceted building in the far north of Norway, which contains exhibition galleries and conference rooms. The museum tour is accompanied by a dramatic lighting concept with Optec spotlights and wallwashers.
Knut Hamsun Center, Hamary Architect: Steven Holl, New York. Lighting design: L'Observatoire International, New York; Vesa Honkonen Architects, Helsinki/Stockholm. www.hamsunsenteret.no

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Bright prospects

Office building, Basel

Architect: Gehry Partners, LLP, Santa Monica Lighting design: L'Observatoire International, New York Photographer: Thomas Mayer, Neuss

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Top London art galleries switch to LEDs

Both the National Gallery and the National Portrait Gallery, two world-famous art collections, have after intensive investigation arrived at the same conclusion: ERCOs LED light is the future for museum and gallery lighting.

National Portrait Gallery, London Architect: Ewan Christian (1814-1895) Photos: Rudi Meisel, Berlin www.npg.org.uk

Working at 5 metres, museum technician Tim Knight is once again on his high access platform making adjustments to the lighting. This time he is in Room 14 of the National Portrait Gallery aiming one of the Optec LED spotlights that illuminate 18th century portraits from the heyday of the British Empire. This will presumably be the last maintenance for quite a while though. With the introduction in this exhibition room of long-life LED technology, regular lamp replacement and the associated danger of disturbing a painstakingly positioned lighting arrangement, are set to become problems of the past. The LEDs longevity, the related reduction of maintenance costs and the reduced risk of damaging priceless exhibits when manoeuvring ladders and platforms are important arguments for new lighting technology for museum and gallery operatives like Tim Knight and his colleagues. However, the focus of discussions currently ongoing in museums and galleries around the world is regarding three further questions. How much energy can LED lighting save, is the lighting quality equivalent and, above all, how do LEDs fair in terms of the preservation of exhibits? The museum and gallery community is waiting with baited breath to see how the large and famous establishments, which have the relevant technical, curatorial and preservation expertise, be answering these questions. Two top institutions that are steeped in tradition, the National Gallery on Trafalgar Square and the nearby National Portrait Gallery, are now making steps toward the future and are converting their galleries one by one to LED light. Findings gleaned by experts at both galleries while in the course of their investigations and product samplings of LED technology, ultimately leading to the decision to specify ERCOs LED lighting tools, are also of the highest interest to other museums and art galleries. The bar for measuring LED lighting quality was already set high since the existing systems were mainly from ERCO and, at the time of their planning, were state-of-the-art. They included computercontrolled regulation of daylight and artificial light, plus spotlights for low-voltage halogen lamps fitted with UV filters and occasionally with colour correction filters to bring the warmhued light of incandescent lamps into line with daylight. In terms of energy-saving potential, the figures returned by the National Portrait Gallery are very clear and concise. Since changing to LEDs, the lighting of the galleries now consumes 68% less electricity and thats without the inclusion of savings made by a reduced thermal load on the air-conditioning.

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Top London art galleries switch to LEDs

National Gallery, London Architecture: Wilkins Building William Wilkins (1778-1839), Sainsbury Wing Robert Venturi & Denise Scott Brown, Philadelphia Photos: Rudi Meisel, Berlin www.nationalgallery.org.uk

The issue of exhibit preservation can also be addressed because the light irradiation load on the artworks can be quantified using the respective spectral constitution of the light source. To sum up: while daylight white LED spotlights are not to be recommended for sensitive exhibits due to their stronger peak in the short-wave blue spectrum, the overall load of warm white LED spotlights is less than that of low-voltage halogen spotlights (for details see double-page spread overleaf). A big advantage of LEDs in this respect is that their light is inherently free of the infrared and ultraviolet components that are so undesirable in a museum or art gallery. Halogen spotlights, however, require the appropriate filters and these always reduce the efficiency of a luminaire. But what about the lighting quality, which after all can only be measured subjectively? Experts agree that, yes LED light has a different effect, but in many respects it is actually even better than that of its predecessor. The light of warm white LEDs, which is slightly cooler in colour than halogen light, is perceived positively as both brighter and fresher, allowing slightly lower illuminances. For the same reason, LED light also mixes favourably with daylight. Red and gold hues are no longer over-emphasised and overall this kind of colour rendition is well suited for most exhibits. Well, thats what the experts say, but what about the visitors? We braced ourselves for the reactions, but nothing came! There were no complaints at all, states Allan Tyrrell, Chief Engineer of the National Portrait Gallery, adding, believe you me, the visitors do complain about just about everything else. One question remains, however, should museums and galleries now invest in LED light? The next few years will see further developments in LED lighting, but even now the currently available technology offers big savings in maintenance and running costs without compromising on the reliability and quality of the lighting. In every museum where an update of the lighting is under consideration, ERCO LED technology should therefore also be included in the equation.

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Top London art galleries switch to LEDs

LED and efficiency The improvement in the efficiency of the new spotlight lighting over and against the previous offerings can be measured by the attained illuminance per watt. The National Gallery previously illuminated the artworks using Eclipse spotlights for 100W low-voltage halogen lamps all fitted with flood reflectors. Due to the low luminous efficacy of 22lm/W, the original accent lighting performed at 5lx/W. Yet, for an almost identical beam angle, the new Optec LED spotlights with Spherolit lenses achieve an efficiency of 23lx/W. This almost five-fold increase arises as a result of both the higher luminous efficacy of the warm white LEDs at 62lm/W and the highperformance of Spherolit technology. All this is without even considering the UV filter, which is necessary with low-voltage halogen lamps to protect the exhibits but which impairs the efficiency by an additional 8% due to transmission losses.

Flood reflector QT12-ax, 100W Luminous flux Luminous efficacy Illuminance at 3m Beam diameter

2200lm 22lm/W 754lx 1.39m

Flood Spherolit lens LED 3200K, 14W Luminous flux Luminous efficacy Illuminance at 3m Beam diameter

870lm 62lm/W 326lx 1.55m

Efficiency 5lx/W

Efficiency 23lx/W

At 50,000 hours, the functional life of LEDs also contributes, alongside the good luminous efficacy, to the economic efficiency of a lighting solution. For about two decades there will be no maintenance costs for lamp replacement and the associated hiring of access equipment.

Colour rendition and photo spectrum Colour rendition and preservation aspects are of crucial importance when illuminating paintings. Since warm white LEDs have a higher colour rendition index than daylight white LEDs (Ra85 and Ra70 respectively), warm white LEDs are therefore preferred for colour-sensitive applications such as in museums and art galleries. To avoid lighting-related damage, such as fading or drying out etc, three factors have to be considered: the photo spectrum, the illuminance on the object and the duration of irradiation. To assess various light sources, both on their own and in combination with protection filters, a parameter known as the relative damage factor is used. This indicates the ratio of the damaging radiation intensity and the illuminance. Short-wave components of light are more harmful because they have higher energy levels. The higher blue component in the photo spectrum of daylight white LEDs makes them unsuitable for sensitive exhibits. Warm white LEDs, on the other hand, have a relative damage factor that is even lower than that of the previous standard of low-voltage halogen lamps with UV filter. This means that LED lighting with warm white LEDs represents the optimum solution for museums and galleries today even in terms of the preservation of artworks.

LED ww 100 % 80 60 40 20 0 300 400 500 600 700 800 nm V ()

LED dw 100 % 80 60 40 20 0 300 400 500 600 700 800 nm V ()

QT 100 % 80 60 40 20 0 300 400 500 600 700 800 nm V ()

With or without UV protection filters, lowvoltage halogen lamps have a higher relative damage factor than warm white LEDs. For both pres ervation and energy efficiency reasons, it is therefore recommended to use warm white LEDs to illuminate sensitive

objects. Daylight white LEDs are unsuitable for lighting in museums due to both their poor colour rendition and their higher relative damage factor.

The comparison of the relative damage factors of warm white LEDs and of low-voltage halogen lamps, including UV filter, shows that the modern LED lighting technology also gives an improved protection of the artworks.
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Lighting art with LEDs: Talking to the experts

Hosted and reported by Paul James, Stockport Photos: Mike St. Maur Sheil, London

How well does ERCO LED light acquit itself in museum applications? Paul James, Editorin-Chief of the English technical publication mondo*arc" discussed this issue with Allan Tyrrell, Engineering Manager of the National Portrait Gallery, Dawson Car, Curator of Spanish and Later Italian Paintings at the National Gallery, Steve Vandyke, Head of Technical Services at the National Gallery and ERCO lighting consultants Nigel S ylvester and Steve Spencer. Steve Vandyke: We've been experimenting with the LED lighting and it's been a learning curve. We've got to convince curators, our conservation department and also our scientific department that this is the right direction to go in. People are warming to them, as Dawson has mentioned, but we've got to be happy that we've got the optimum lighting arrangement and that means that we are not only experimenting with the number of fixtures but with light levels as well. Steve Spencer: So you are already using less than the original design of 150 lux that I initially did when the programme first started? Steve Vandyke: Yes we are. The original design had more fittings per room than what we installed. Im really happy with the energy efficiency that is the main driver for me. Obviously the other driver is the quality of light. Dawson Carr: Theres another driver though and thats for the conservators and scientists. The fact that we can run at a lower lux level means that less energy is hitting the works of art. I understand that measuring lux is a crude device but its still useful.

Steve Vandyke: Throughout the years weve used ERCO products so most of the galleries already have the track installed, so with few modifications we can adapt the system to LED. This means there is little disruption with high gain and it also means we are future-proofing which is very important. Steve Vandyke: I have been entrusted with our carbon plan and this means we are embarking on projects that are geared up to save carbon in the next ten years. This also includes the carbon tax that comes into affect in 2012. Paul James: Can you explain a little more about the carbon tax and how far it affects you? Steve Vandyke: This is a government tax of (currently) 12 for every tonne of CO2 produced by a business in the UK. This will mean a payment of roughly 100,000 a year from the National Gallery. Thats the equivalent of a couple of exhibitions for us. Therefore it is even more important to see how much money we can save through initiatives like LED adoption as well as our obligation to CRC (Carbon Reduction Commitment Energy Efficiency Scheme). We can save hundreds of thousands of s a year purely through energy saving project initiatives, so we look at this partnership with ERCO as an important part of that. Allan Tyrrell: The biggest compliment I could make about the LEDs is that, in the two years since the initiative, we have not had a comment from the public about the lighting system. Nigel Sylvester: Thats a powerful statement! Allan Tyrrell: Yes, that means that what we are doing is acceptable because no-one has complained. Believe me we get a lot of complaints about all sorts of things like the state of the toilets etc, so people would complain if they didnt like the lighting. Paul James: Is there anything that you would say the LED doesnt quite work so well with?

Allan Tyrrell: Six months after room 13 we proceeded to room 12. Most recently we completed gallery 14 in November 2010. All of these rooms had little natural light, but the next two rooms we are looking at, 11 and 4, are east/west facing so inevitably there is more natural light.

Dawson Carr: The only thing that Ive noticed is that LED lighting does not complement three- dimensional objects like works of sculpture so well at least with the flood lenses on them. I dont know if its the six points of light as opposed to one but it does something to sculpture that evens out some of the plasticity. It wipes out the three-dimensional quality of sculpture. Conversely, one of the reasons why we do like its affect on paintings is that it doesnt over-emphasise frames, which incandescent light can do when the gold jumps out and overwhelms the picture. The LEDs dont do this yet, they emphasise the surface texture of the painting. Nigel Sylvester: This relates to the set of tools you have to do different tasks. In the LED spotlights a special lens determines the beam distribution. The narrow spot characteristics are perfect for the play of light and shadow on a sculpture. At the moment youve got a great selection of LED characteristics, but there are more options that will become available to you. As it stands, from the same fitting, you can have five different beam distributions just by changing the lens. Allan Tyrrell: In our gallery people say that they can pick out different elements like quartz in the marble now, when using LED.

Paul James: Good morning gentlemen. Could you start by explaining why and when you converted to the Optec LED system at your galleries? Steve Spencer: About two years ago Allan Tyrrell asked me to see him about the tungsten lighting in gallery 13 at the National Portrait Gallery as the old four-circuit track was obsolete. Thats when we looked at the LED solution. Allan Tyrrell: We were spending so much money on repairing fittings. Id been looking at LEDs and thought that the time was now right. So we tested it in a small gallery room and I was encouraged enough to say yes, but it was only a small room and there were questions about the colour rendering and the reds. Dawson Carr: It was that experiment that made us go for it! We had been looking at the theory too much, but once we saw your system we decided we had to try it as well. Steve Vandyke: We started in gallery 62 in the Sainsbury Wing about a year ago. From that we went on to galleries 6, 7 and 8 in the Wilkins Building. Dawson Carr: This was done in conjunction with a reno vation of the rooms and the removal of two dropped ceilings dating back to 1953. This opened the space up hugely, allowing much more natural light to enter the space. Our relatively greater success with the LED programme is down to the fact that our component of natural light is greater. There is only a small amount of natural light in the National Portrait Gallery and some of the negative reaction from your staff, Allan, was because of the blue light in the green rooms. Ours was much easier to integrate. 12ERCO Lichtbericht 92 Steve Vandyke: We are currently refurbishing rooms 5 and 10, and that will be completed by the end of March. Then we move on to galleries 2, 4 and hopefully 12. Paul James: How successful has the changeover to LED been? Dawson Carr: The people who are sensitive to what we do (and who know how the items should look and what sort of light is appropriate for that task) absolutely love this type of light. Getting the conservators on board is key because their sense of colour is truly more refined than any of ours. We love LED lighting because its slight cooler light is closer to natural light than tungsten. Steve Vandyke: This effect is highlighted in rooms 6 and 8. Dawson Carr: Yes, we have taken the light level down by over 20% in those rooms but it still looks very good to me. Steve Spencer: So the LED fixtures must be running at 10 watts maximum!

Steve Spencer: So if you can run lower lux levels it means you can display the pictures for longer. Dawson Carr: In crude terms, yes. Its interesting though because if I walked into the spaces and you asked me to guess the lux level I would guess that they are much more. Steve Spencer: Yes, they feel brighter, dont they? Dawson Carr: Yes, theres something about the quality of the light, the crispness. The peak in the blue was a concern for our scientific department but if you look at all the benefits they are very excited about this as well. Plus theres the ten-year life expectancy Steve Vandyke: Ive worked it out at between ten and twelve years based on about 3,800 hours a year. Dawson Carr: For us, in addition to the quality of the light that we know will get even better, the part we love the most is the control factor. In particular, the basic physics of LEDs that lets them be dimmed without changing the colour temperature. That fits in with what were trying to do in conjunction with using natural light.

Nigel Sylvester: Yes, what I saw was something that was better than when the halogen was used because it picked out all the content of the sculpture material. The detail came alive. Paul James: Is that because of the different colour temperature, though? Steve Spencer: Its more about the different mix of colours in the beam. Tungsten has got a massive emphasis on red, whereas LED has a more even distribution between the blues and the reds. There is a spike in the blue that were trying to flatten out, but you havent got lots of red beam thrown onto every object that makes it look dirty and yellow.

Steve Spencer: You have a certain amount of lux hours for all of your pictures? Steve Vandyke: We have a limit of about 12 kilolux hours per picture.

Steve Vandyke: Different exhibits need different quantities of light. We were only able to dim down to 80% with the old system (without changing the colour temperature). Now we are able to dim down to 20%. So the beauty of LED lighting is there is no degradation in the quality of light, but it also means we can create more lighting for one exhibit and we can set scenes individually through the ERCO lighting control, which means we can satisfy the curators and conservators whilst using less energy!

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Dawson Carr: One of the problems that youre facing with the acceptance of LED lighting is that we have made people accustomed to seeing works of art blasted with warm spotlights. Its simply what they are used to. Steve Vandyke: People dont like change. Allan Tyrrell: The biggest criticism Ive heard is regarding the colour rendering the fact that its not in the 90s and losing the warm effect. Nigel Sylvester: There are two points to consider with the Colour Rendering Index. The first is that a CRI number cannot guarantee what you are going to see and the second is there is a compromise to be had in terms of luminous efficacy. We want you to have a performing product with a very good illuminance on

Steve Spencer: Even if LEDs do become even more powerful, the development and design of the luminaires will still be geared towards the user requirements. Future luminaires will probably have the same lumen output but from less power, so it could advance from 12W to 10W, say. So it shouldnt affect you too much.

Taking part in Talking to the experts were (from left to right): Allan Tyrrell, Engineering Manager, National Portrait Gallery, Dawson Carr, Curator of Spanish and Later Italian Paintings, National Gallery, Steve Vandyke, Head of Technical Services, National Gallery, Nigel Sylvester, ERCO, Paul James, editor mondo*arc magazine and Steve Spencer, ERCO.

warm light but the cooler light of the LED is a better representation of daylight and that is the optimum environment for viewing paintings. Steve Vandyke: In fact, when you move from a tungsten-lit gallery to an LED-lit one the perception is that the LED gallery is brighter. This isnt the case its the perception. This means you can dim the LED lighting even further to get the same perceived illuminances thus saving more energy. Allan Tyrrell: Im also using less air conditioning, based upon our figures, because there is less heat. Ive actually downsized our chillers because the electric load has gone down so much. Steve Vandyke: LEDs are also great for our budget because we dont have to lamp change.

Steve Vandyke: One other thing is the lack of UV in LED, so there is no need for filters. We worked out we got a 50% reduction in light output through the UV filters and lenses of the tungsten lamp. Steve Spencer: The thermal tests that the NPG has done are staggering concerned about what its going to do to fugitive blues over a long period of time. But we assume youre going to even that out eventually. Nigel Sylvester: The LED starts in the blue spectrum and you put phosphor coatings over it. So the LEDs with the better colour rendering will have a lot more coatings on it, thus killing the light levels. Allan Tyrrell: Yes, we used a thermal camera and found that the heat output from the halogen fittings was between 300 350C, whereas it was 30C from the LED ones. In other words, ten times less heat. Steve Vandyke: Thats when I can factor in the reduction of our air-conditioning load. Steve Spencer: This also means you cant direct the beam so well. ERCO, of course, specialises in dif ferent types of light distribution, but if you add too many coatings youre just going to get a splodge of light. You cant do anything clever with it like pick out detail in sculpture. When weve slightly reduced the blue to the red side and the colour rendering will be slightly higher, we think thats going to end the argument. Dawson Carr: Another advantage is the size of the fitting and the reduction of visual clutter in the ceiling, especially in the small gallery rooms. Steve Spencer: The new Logotec LED range has an even slimmer profile because we design our own electronic circuit boards and control gear that dont require a separate housing.

the articles you are illuminating with a good colour rendering. If you try to increase the colour rendering any more, you inevitably reduce the light output. Steve Vandyke: Yes, of course colour rendering is important but its only as good as your eyes. Its all about human perception. Can you distinguish between an LED fitting with a CRI of 88 and something with a CRI of 95? My guess is no. Dawson Carr: Yes, for the vast majority of people youre not going to see the difference. Just seeing the quality of light in Room 13 made up our minds about that. Paul James: The other issue is peoples perception of what colour rendering is. They may be actually thinking about colour appearance, different colour temperature for instance.

Allan Tyrrell: Oh yes, if we had LED fittings over two floors, which is my aim, I could reduce our maintenance levels enormously because were not employing the maintenance contractor to do so much. Steve Spencer: Dont you currently change all your tungsten lamps every time you have a new exhibition? Dawson Carr: In a special exhibition you dont want any lamps blowing so you just change them all every time. Steve Spencer: Thats a massive wastage! Steve Vandyke: Youre talking 2-3,000 hours for tungsten to 50,000 hours for LED so it makes a massive difference to our exhibitions.

Nigel Sylvester: The Logotec LED is the first product developed by ERCO purely around the LED, whereas the Optec, prior to its LED adoption, was based on conventional technology. So where youve got trailing edge dimming on track you can set the Logotec LED spotlights to 60% for instance. In the past you could not dim it externally, but now, with the new electronics, you can set an upper limit to each individual spotlight and then dim the whole system. Dawson Carr: I like the sound of these! I think we should look at those next!

Paul James: Nigel Sylvester: So you are confident that LED lighting is Steve Vandyke: And the 50,000 hours represents the time here to stay for museums? Exactly. LEDs are not comparative to tungwhen it gets down to 70% of output and as sten so therefore its questionable whether the degradation is slow you wont even notice. Dawson Carr: you should use CRI as a measuring device of I ask our scientists all the time if there is quality. Allan Tyrrell: any possibility that we are going to rue the Wont the problem be that within that, say, day that we used LEDs in twenty years from Nigel Sylvester: twelve-year period, ERCO will be developing now. They think that, looking at the data I think LED lighting is a major chapter change new, brighter versions and were going to be overall, were not dealing with something and its galleries like yours that are at the buying them to supplement the Mark 1 ver- were going to regret in the future. The spike forefront of this change. We are so used to sions we already have? in the blue has the conservationist scientists 14ERCO Lichtbericht 92

ERCO Lichtbericht 92 15

ERCO core capability: Optoelectronics Optical systems Electronics Information technology

The rise of LED technology currently being experienced in architectural lighting probably represents the greatest upheaval in lighting engineering for decades. It is comparable with both the transition from analogue vinyl records to digital music on CDs and memory sticks and the move from analogue to digital photography. Designers and users of lighting systems expect answers from manufacturers in order to ena ble the potential of LED technology to be fully released. Optoelectronics is a field where elements of optical systems overlap with electronics and information technology, i.e. software. As once before in lighting technology, ERCO now sees a core capability and a focus of its development work as being in the field of optoelectronics. The slogan tune the light brings together ERCOs capabilities in producing, directing and controlling light.

Light guidance ERCOs LED spotlight lens system consists of three components: a primary lens, which is part of the LED sub-assembly, the collimator (drawing) as a secondary lens to align the light into a parallel beam and the Spherolit lens as the tertiary lens to control the light intensity distribution.

Optical systems Regardless of how light is created in a luminaire, it is its optical elements that dictate how efficiently and exactly it produces the desired light intensity distribution in the space without glare. It is this capability that qualifies a luminaire to be an instrument of lighting design. Whereas with conventional lamps, the emphasis was on the reflector technology, LEDs are optimally suited for optical lens systems because their light is inherently emitted forwards. In ERCOs laboratories, LED lens systems are developed which ensure that the fundamental efficiency advantage of projected light, as opposed to reflected light, can actually be put to practical use. It is especially for accent light and vertical illuminance that the patented Spherolit lens technology has proven to be the ideal system to produce very efficiently a wide variety of characteristics, whether standard or new and abstract.

Development Technical innovations like the LED spotlights with Spherolit lens not only have to prove their worth against conventional lumi naires in terms of their metrological speci fication, they also need to be seen to be better, since the trained eye of an experienced technician is decisive when judging the lighting quality. Optical systems Lighting tools specifically designed for their respective application areas are the key for fascinating lighting concepts in architecture. ERCO designs and builds optical elements that efficiently and precisely shape the light of both LEDs and conventional light sources, making that light predictable and usable. Electronics LEDs, the light sources of the future, are themselves electronic components and, as with current con ventional lamp types, require electronics in the form of control gear. The development of electronic modules in-house gives ERCO freedom in designing the form and function of innovative lighting tools. Information technology The networking of information technology on the software level turns individual luminaires into an intelligent lighting network. It was only the hardware and software of a digital lighting control installation such as Light System DALI that has made it possible to fully unlock the energysaving potential of LED technology. And it was only with their depiction as a control element in the Light Studio software that the development of multifunctional lumi naires was made complete. Injection-moulded polymer State-of-the-art injection moulding machines, qualified employees, high-quality raw materials and careful controls all contribute to the perfect quality of the collimators and Spherolit lenses.

Spherolit lenses The principle of guiding the light with collimators and Spherolit lenses has proven itself so well at ERCO in terms of efficiency and lighting quality that it is now used in a number of products for indoor and outdoor areas. With Spherolit lenses, a large lens surface is divided into individual, three-dimensionally

domed facets that direct the light by refraction. The computer-calculated curvature of the individ ual facets, or spherolites, determines the beam characteristics of the luminaire.

Tool-making The production of moulds for optical elements made of polymer materials requires an extremely high level of technical expertise, experience and precision. ERCO has its own state-of-the-art toolmaking shop to ensure that the ideas of the designers are translated into production-ready products.
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17

ERCO core capability: Optoelectronics

Firmware The control gear units of luminaires and lighting control components are increasingly being fitted with their own microprocessors. This is to enable innovative functions to be implemented using the corresponding programs, known as firmware. This is why ERCOs R&D team also includes programmers.

Electronics It is with the LED, which is itself a semiconductor electronics component, that the focus in the construction of luminaires has finally turned towards electronics. A combination of standard components for control gear and LED modules will, in turn, only result in standard solutions. To make products that are exceptional in terms of their design, function and lighting quality, however, having in-house capabilities in the field of electronics becomes indispensable. ERCO has already been designing electronic components for lighting control for many years, and this experience now forms the basis for the development of the companys own LED modules and control gear. This guarantees that all the components are optimally tuned towards each other and ensures product characteristics that are far above average.

Information technology ERCO consciously describes itself as a producer of hardware and software for architectural lighting. In one respect, the immaterial product light can be seen to represent the software of architectural lighting. In another, actual soft ware tools themselves are gaining increasing significance in the entire process of product development and lighting design. In fact, many of the innovative solutions for ERCO optical systems would not be possible at all without the use of highly specialised CAD software. ERCO programmers and software developers not only write the firmware for the digital controllers in the control gear and lighting control components but also the Light Studio PC software and the user interface of the Light Changer+. They create the data Plug-Ins for design software such as DIALux and program the web applications for ERCO Light Scout at www.erco.com.

www.erco.com Networked software is shaping the world of architectural lighting, from product development and lighting design through to communication via the Internet.

LED modules The LED semiconductor elements themselves are sourced by ERCO from leading providers on the global market. Since the design of the PCBs for LED modules will dictate the further possibilities of light guidance and thermal management, ERCO therefore designs and develops these PCBs itself, following

modular principles, and then has them manufactured by experienced quality producers.

Thermal management Electronic components, whether LED modules or control gears, require defined ambient conditions for reliable operation. Constructional measures in the housings are designed to promote good thermal management, ensuring that the electronics in ERCO luminaires operate under optimum working conditions. Control gear For ERCO, the ability to develop control gear and control hardware inhouse means more free dom in the design of the form and function of innovative lighting tools and less dependency on suppliers.

EMC Experiments are conducted in the ERCO test laboratory to measure the electromagnetic com patibility (EMC). These ensure that the influence of the luminaires electronic components on any other nearby components or devices through electromagnetic radiation does not exceed a certain standard level.

Light Studio The user-friendly Light Studio PC software is an integral part of the Light System DALI lighting control. It enables an easy configuration of Light System DALI installations and the interactive creation of light scenes.

CAD tools In lighting laboratories highly specialised software tools assist the ERCO lighting engineers in the development of innovative solutions for light guidance. Using intricate computer simulations, they were able to translate the principle of Spherolit lenses into mass-produced products.

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19

Focus

Three aspects essentially determine the efficiency of lighting. Firstly and secondly, on the quantitative side are the luminous efficacy of the lamp and the light output ratio. Thirdly, on the qualitative side, there is the issue of how effectively a luminaire fulfils its lighting task.

Lamp Luminaire Application

Double focus

Measuring and evaluating LED luminaires It is understandable if, during periods of technological upheaval, there is a desire for succinct measurements enabling the comparison of products or technologies. However, new technologies can also raise questions about established measurement values and measuring processes. This can be applied to luminaires with LEDs. Advanced LED modules or better heat management will lead to increased luminous flux for the same power consumption. Furthermore, the light output ratio and precision of the optical systems have a great influence on overall efficiency. This makes it recommendable to have an observation method that not only presents the general photometric specifications, but also relates the effect of the lighting in a space to the power consumption. The luminous flux is a measure of the emitted radiant power. When this is related to the expended electrical power, it gives the luminous efficacy (lm/W), a value that makes it possible to compare the efficiency of lamps. A quantity that is often used as a criterion for the comparison of lighting technology is the light output ratio (abbreviated as LOR). A high LOR, however, only allows limited conclusions to be drawn about the suitability of a luminaire, since it does not consider either visual comfort or the matter of how effectively a luminaire directs its light onto a target surface. It solely describes what proportion of the lamp lumens actually exits through the light aperture of a luminaire. For instance, a lighting fixture with an open lamp may have an extremely high LOR, but can cause unacceptable glare. One approach to quantifying the visual comfort of say, downlights, is to use the UGR (Unified Glare Rating). If, for a specific luminaire application, it is required to compare luminaires of the same character istic, then the illuminance on the target surface can be related to the electric power consumption 20ERCO Lichtbericht 92

and quantified in lx/W. In this way, both the efficiency and the effectiveness of luminaires with different lamps can be compared. This can therefore be used as an example to test which wallwasher is the most economical. Thomas Schielke

h (m)

h(m) E(lx) D(m) 16 1 9226 0.28 2 2307 0.56 3 1025 0.84 4 577 1.12 5 369 1.41

E (lx) D (m)
Accent lighting Meaningful comparisons between spotlights can only be made when the beam angles are the same. If one of the spotlights has a narrower beam, the luminous flux will be concentrated on a smaller area, resulting in a higher illuminance. The tables in the catalogue give the illuminance E(lx) and the resultant beam diameter D(m) dependent on the distance h(m). The illu minance readings are taken at the centre of the beam.

1/3 h

h (m) 1/3 h

Average illuminances En (lx) Angle of tilt 35 Wall height (m) 3.00 Offset from wall (m) 1.00 1.25 1.50 Luminaire spacing (m) 1.00 1.25 1.50 Illuminance En (lx) 227 154 108

Wandflutung For a valid comparison of wallwashers, it is important that the mounting conditions are the same, i.e. the same wall offsets and luminaire spacings.

In the catalogue, the tab ular data for wallwashers presents practical wall offsets and luminaire spacings dependent on the luminous flux.

60

60

30

2000 cd

30

47812.000 Cut-off angle: 40 LOR 0.70 UGR 16.0 55 < 200cd/m2

General lighting With downlights, a higher LOR value indicates a better operating efficiency. A lower UGR value means less glare. Luminaires with a cut-off angle of 40 will, in principle, always have a better UGR value than luminaires with 30.

LED lighting technology in the lx/W analysis The efficiency of specific luminaires can only be meaningfully considered in connection with their purpose of use. The criterion for accent light is the illuminance on the target surface. For wallwashing and for horizontal general lighting arranged in a grid formation, there is the additional criterion of uniformity. The calculated or measured lx/W values are not absolute values, but only apply to luminaires with a similar light intensity distribution in a defined spatial situation. In this context they allow the direct comparison between different technologies of light production and beam control. For a comparison between LED spotlights and spotlights for HIT lamps, two spotlights with the spot characteristic would be selected. Illuminance levels and beam diameters dependent on the distance can be obtained from the product documentation, such as the relevant tables in the ERCO catalogue. For a given lighting distance, the spotlights can now be compared by way of their lx/W values. When it comes to wallwashing, the average illuminance on the wall, assuming good uniformity, is of interest. The prerequisite for any meaningful comparison is to have a regular luminaire arrangement. The values for a 3m-high wall and for a wall offset and luminaire spacing of 1m are obtained by consulting the product documentation and then the lx/W value is derived. The comparison made on the basis of the documented product data can be better understood using a simulation program (DIALux) or by measurement in a mock-up scenario. This comparison also verifies the inherent advantages of projected LED light over and against the reflected light of conventional luminaires. Thomas Schielke

Accent lighting Because transmission with lenses is more efficient than reflection with reflectors, LED lumi naires with Spherolit lenses deliver a better light output ratio.

Spot Spherolit reflector HIT, 20W Luminous flux Luminous efficacy Illuminance 3m Beam diameter Efficiency

1650lm 83lm/W 1088lx 0.79m 54lx/W

Spot Spherolit lens LED 5500K, 14W Luminous flux Luminous efficacy Illuminance 3m Beam diameter Efficiency

1080lm 77lm/W 1025lx 0.84m 73lx/W

Wallwashing In the example, an LED wallwasher with Spherolit lens delivers an lx/W value that is more than double that of the HIT version. The average illuminance of the LED solution is higher, despite the nominally lower luminous flux of the LED module.

Lens wallwasher with reflector HIT, 20W Luminous flux 1650lm Luminous efficacy 83lm/W Illuminance 142lx Efficiency 7lx/W

LED lens wallwasher LED 5500K, 14W Luminous flux Luminous efficacy Illuminance Efficiency

1080lm 77lm/W 227lx 16lx/W

The higher efficiency of transmission with lenses means that LED luminaires with Spherolit lenses deliver a better light out put ratio than those relying on reflection with reflector systems. ERCO Spherolit lenses are made of optical polymer with a special surface structure (shown here: wallwash Spherolit lens).

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LED light for salesrooms: Sieben Schwaben chemist, Laupheim

Architect: Braunger Wrtz Architekten, Ulm; Project team Rentschler Biotechnologie GmbH, Laupheim Lighting design: Braunger Wrtz Architekten, Ulm Electrical installation: Endlichhofer, Achstetten Photos: Markus Dlouhy, Munich www.7-schwaben-apotheke.de

Quintessence ERCOs system of recessed luminaires covers lighting tools with highly varied light distributions and a wide selection of light sources. The various sizes, shapes and mounting details form a highly versatile toolbox for the rational implementation of integrated lighting concepts.

The Sieben Schwaben (Seven Swabians) chemist in the town of Laupheim near Ulm is a chemist like no other. Established in 1872, it became the nucleus of todays Rentschler Biotechnologie GmbH, a pharmaceutical business with an international reputation. To this day it is still owned by the Rentschler family and this means that high requirements are also placed on aesthetics and design; understandable when you get to know Dr. Friedrich E. Rentschler, long-term head of the business and an avid art collector. His FER collection containing important works by contemporary artists is exhibited in a private gallery in Ulm and illuminated by ERCO. Although the chemist store was given a makeover with clean-lined modern furnishings not long ago, the lighting installed at that time, featuring a stretch ceiling backlit with coloured light, proved to be high-maintenance and developed too much heat when switched on. In the context of a corrective conversion, ERCO assisted the designers in developing a lighting concept with the latest LED and control technol22ERCO Lichtbericht 92

ogy. The recommendation was a hybrid combination of LED light for both the general lighting and colour effects while high-pressure discharge lamps were incorporated for economical accent lighting and wallwashing; a concept completely in keeping with the principle of efficient visual comfort. Light System DALI controls the entire installation. The ceiling-integrated luminaires are from the Quintessence range. The result was a unified lighting system whose hardware and software components work together flawlessly. During the day, glare-free and attractive light suited to human perception, is provided for customers, staff and product displays; while at night, the intensively coloured, dynamic scenic lighting of the rear wall and dispensary converts the chemist into an architectural eye-catcher.

The lighting concept combines lighting tools with LEDs and metal halide lamps. LED downlights in warm white with varychrome rings provide vertical general lighting, while recessed spotlights with 35W high-pressure discharge lamps add highcontrast accents. The vertical illuminance so crucial for spatial perception is shared by wallwashers for

high-pressure discharge lamps and by LED-based, 4-chanel varychrome wallwashers in LED technology. Respectively, these provide neutral lighting during the day and coloured light scenes in the evening hours. All components are connected to the Light System DALI either directly or via switching actuators.

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LED light for garden and landscape: Private residence, Kalmar (Sweden)

Lighting design: Input Interior, Vxj Landscaping: Sweco, Anna Svensson, Vxj Photos: Tomas Sdergren, Stockholm

A rural house like this on a beautiful, park-like plot of land in the Swedish coastal town of Kalmar does of course offer many particularly attractive possibilities for the use of lighting tools from ERCOs range of outdoor luminaires. However, when we talk about the lighting design of outdoor parks, gardens and landscapes, fundamental possibilities arise for the use of LED luminaires, regardless of project size and with special benefits for private building owners. First of all, how LEDs react to temperature is itself a valid argument, because unlike fluorescent lamps, for instance, the luminous flux of LEDs does not decrease at low temperatures, like those that are often experienced at night in outdoor areas. Quite the opposite in fact, a cool environment has an additional positive effect on the already long functional life of LEDs. This brings us to another, important advantage. The enormous functional life of approx. 50,000 operating hours makes lamp replacement redundant. Paired with the savings in energy costs due to the high efficiency of LED luminaires, this enables the amortisation of the higher initial investment in future-proof technology. A frequent request in the private area is to link outdoor luminaires with devices such as timers, twilight switches or motion sensors. Once again, the LED excels here too with its optimum switching behaviour delivering full and immediate luminous flux. ERCOs powerful lighting technology ensures that the lighting quality and lighting design capabilities of LED luminaires are no different from that of conventional luminaires and in some cases, such as with the Axis Walklight, they are the only real alternative.

Further ERCO outdoor luminaires are used around the spacious grounds. These include Tesis in-ground luminaires for adding scenic lighting to the trees and mast-mounted Beamer projectors for illuminating the driveways and playground equipment.

Carefully illuminated inside and out, this rural house radiates warmth and refuge in the harsh Scandinavian winter. The facade lighting with Cylinder Facade lumi naires emphasises the traditional timber con struction material with its grazing light, while also marking out the entrance and creating an illuminated transitional zone

around the edge of the house. The latter is a trick designed to reduce the reflections in the panoramic windows of this bungalow and enables a view outside at night.

Safety on steps and paths: two types of LED lighting tool, Axis Walklight and Midipoll, are used around the grounds of this rural house. As a step luminaire, Axis Walklight provides glarefree and energy-efficient lighting on stairs and steps. The use of Midipoll presents itself in all situations where not only are areas or pathways to be effectively illuminated, but also the bollards themselves are to function as objects defining the area.

The contrast of the colours of light was a deliberate choice. The Cylinder facade lumi naires with low-voltage halogen lamps empha sise the natural-coloured wood of the facade. The Midipoll LED bollard lumi naires in daylight white set the surroundings apart from the building, while also providing even higher energy efficiency than the warm white version.

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LED light for facades: Intercontinental Hotel, Paris

Photos: Dirk Vogel, Dortmund www.ic-marceau.com

LED light in the museum: Bonnefanten Museum, Maastricht

Lighting design: John van Tongeren, Bonnefanten Museum, Maastricht Photos: Dirk Vogel, Dortmund www.bonnefanten.nl

A facade is the public face of a hotel. Whether historic or modern, it allows the owner an opportunity to express the establishments style and image. It is precisely for this reason that in today's major cities, which are pulsating with life 24-7, illuminated facades ensure a hotel presents an impressive image at night time as well. The recently renovated "Intercontinental Paris Avenue Marceau" is self-styled as a 5-star boutique hotel. Situated in a prestigious quarter of Paris near to the Arc de Triomphe, the hotel boasts the attractive historic facade of a 19thcentury townhouse. Working together with ERCO Paris, the hotel management designed a sensitive yet dramatic concept for the facade lighting. The lighting approach fuses historic splendour with a high-tech look, creating a solution that is environmentally friendly and reduces the running and maintenance costs.

The lighting concept uses the latest energyefficient ERCO LED lighting tools for the outdoor area: Kubus, Focalflood facade luminaires and Grasshopper. The lighting designers made deliberate use of the contrast between warm-white and daylight-white LEDs in different zones of the facade.

Outside post-modern, inside classic. In 1995, the Bonnefanten Museum in Maastricht relocated into a new building designed by architect Aldo Rossi. This striking building leaves an indelible mark on the cityscape. The galleries inside are as timeless and neutral as the outside is contemporary and impressive. White walls, a skylight for diffuse general lighting, an all-round track at the correct wall offset for accent lighting or wallwashing, this is what curators want as the ideal spatial framework for scenically presenting artworks old and new. ERCO lighting tracks have been used in the Maastricht museum for 15 years. Today, another advantage of their versatility has become apparent. Retrofitting the tracks with state-of-the-art LED spotlights from the Optec range has allowed the lighting system to be simply and economically updated to the latest technical standard of efficiency. This was undertaken in the context of restyling the permanent collection under the title Augenspiel, curated by Alexander van Grevenstein. The museum management in Maastricht was won

over by the advantages of LED light. Namely the conservation of resources and reduced running costs due to lower energy consumption, optimum preservation of the exhibits thanks to low UV and IR components. What particularly stood out in favour of the ERCO spotlights was the excellent colour rendition of their warm-white LED modules and the ability to regulate the luminous flux of each individual spotlight separately using the integrated dimmers.
The Bonnefanten Museums exhibits include excellent pieces of Flemish ecclesias tical art. The new presentation concept of the permanent collection contrasts such ancient master pieces over and against modern and contemporary art. Whether figurines in the targeted beam of an Optec LED spot or large-format paintings discreetly accentuated with "flood" characteristics, the new light underscores the freshness of the presentation.

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LED light in the coffee house: Starbucks at the Altmarkt, Dresden

Architecture: Starbucks Coffee International Design, Erin Meyer Design and implementation: Starbucks Coffee Deutschland, Construction Management, Hanko Geissler Photos: Edgar Zippel, Berlin www.starbucks.de

Hissing steam, creamy milk froth, fragrant espresso and flashing stainless steel: making coffee la Starbucks is an experience for all the senses. The brilliant light of the Cantax LED spotlights in the counter area optimally brings out the visual side of this setting.

Starbucks, the global brand for the laid-back American way to enjoy coffee, gets serious with the subject of sustainability. Not just for the contents poured into the coffee cup, which are now largely brewed from fairly traded raw products, but also for the worldwide design of the coffee houses. The first of these new and environmentally conscious coffee bars in Germany was established last summer at the Altmarkt in Dresden, on the ground floor of a new hotel building designed by the Dresden design offices Pfau Architekten for the Spanish NH group. We chose the city as a location for this special coffee house because of the regions rich cultural heritage. As of 2011, all our new coffee houses will be built according to the same environmental and design standards that we are presenting to our guests for the first time here, states Ross Shadix, Managing Director of Starbucks Coffee Deutschland, explaining the new design concept, which takes up the colours of the coffee world and makes liberal use of wood to create a pleasant and quiet atmosphere for enjoying coffee. Modern elements are combined with vintage pieces such as recycled barstools or old oak beams preferably using local sources and materials. Important elements in the new strategy are energy efficiency and environmental com patibility. It is not just in the producer countries, but also here in Germany that we go for sustainability. The Dresden outlet is the first coffee house in Germany to be registered for LEED certification, comments Ross Shadix. LEED (Leadership in Energy and Environmental

Design) was developed by the U.S. Green Building Council and stands for ecological construction. It is within this framework that Starbucks uses environmentally friendly materials that are kind to resources as well as local materials and also reduces the sites consumption of energy and water. In Dresden for instance, the coffee dregs are composted and the employees have a dedicated parking space for their bicycles. When it comes to the lighting, ERCOs LEDtechnology and its lighting concept following the principles of efficient visual comfort both contribute to meeting the criteria for sustainability. In addition to the longevity and high luminous efficacy of the LEDs themselves, there is the precision and effectiveness of the lighting tools that direct the light exactly onto the desired target surfaces, avoiding any wasted energy. Quintessence LED wallwashers illuminate the wall surfaces and vertical goods displays. The serving bar receives brilliant yet glare-free light from Cantax LED spotlights mounted on a track suspended above this counter. The pleasant lighting quality of the warmwhite LEDs underlines the relaxed atmosphere that is so typical of Starbucks.

Wallwashing is a crucial factor of efficient visual comfort because it is the illuminance on the vertical surfaces delineating an area that determines the subjective impression of brightness. Especially when combined with LED technology, wallwashing is a key element of sustainable lighting design.

The lighting concept for the serving counter in the coffee house can be transferred to many similar situations in the catering and retail trades: narrow-beam light from spotlights accentuates the counter surface, where it creates the optimum visual conditions for guests and staff without causing glare. The rear wall behind the counter is illuminated

with vertical light from wallwashers and together with its product displays, acts as a beacon, assisting orientation in the coffee bar and intensifying the brand experience.

Background: LEED certification LEED (Leadership in Energy and Environmental Design) is a certification system for sustainable buildings that was drawn up in 1988 by the American "U.S. Green Building Council". Initially intended for individual buildings, it developed, not least at Starbucks establishments, into the so-called "LEED Volume Program", which enables a simpler certification of architectural concepts for retail and restaurant chains. The requirements remain as high as before, but the acceptance of the branches is conducted though the quality management of the owner himself, compliant with the official certification of the prototype shop. www.usgbc.org/LEED/

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LED light for education and administration: Students' Union, University of Bath

Architects: Stubbs Rich, Bath Lighting designer: Hoare Lea Lighting, Bristol Photos: Rudi Meisel, Berlin www.bathstudent.com

LED light for pathways and open areas: Vial UAB Bellaterra, Barcelona

Architects: Bru Lacomba Setoain, Barcelona Photos: Andreu Adrover, Barcelona http://parc.uab.es

An unusual lighting task was presented to the staff of the Spanish ERCO subsidiary in Molins del Rey near Barcelona. It came in the form of this pedestrian road at the new Research Park, which is adjoined to the campus of the Universitat Autnoma de Barcelona (UAB). The university site lies in Bellaterra, a suburb on the northern city limits of the Catalan capital. In the framework of its Agenda 21 UAB, the large university with its 30,000-plus students is striving for sustainability in many areas. These

The 5.5-million-pound building was built within 11 months and in close cooperation with the students. A declared planning objective for the project was to have a minimum carbon footprint. At British universities, the Students' Union is a self-managed entity that represents the

interests of the student body and looks after a number of their concerns: from study groups and the mediation of accommodation and jobs to the organisation of parties.

University as both a learning and living space: the students also spend much free time in the lounges, clubs and bars of the Students' Union. Materi als, furniture and technical equipment have to be, above all, robust, durable and uncomplicated.

Casual lounge furniture, plasma info-screens and a ubiquitous WiFi network set the tone for the Students' Union in Bath and are all simply taken for granted. The students at this South West of England university belong to a generation for whom digital technology and networking are everyday matters. So they probably also take it for granted that the recently opened Students' Union building is fitted with innovative LED lighting technology to help combine high visual comfort with efficient use of energy. Outwardly, the Quintessence LED downlights installed in the corridors and foyers hardly appear any different from the pendants with conventional lamps. With their precise mounting detail, glare-free Darklight reflector and a frosted-glass diffuser, they have the same features as all Quintessence downlights and also deliver a similarly high lighting quality. The size-3 downlights have 14W LED modules in the colour warm white. The output illumi nances are comparable with downlights for 50W low-voltage halogen lamps or 14W compact fluorescent lamps. In addition, they are also compact, maintenance-free, offer high stability under switching and using the appropriate control gear, are dimmable via DALI. In this respect, Quintessence LED downlights and wireless LAN both have something in common: true advance in technology is not always immediately apparent.

Efficient visual comfort: Quintessence LED downlights as general lighting are supplemented by Optec LED spotlights in warm white with flood Spherolit lenses as flexible components for accent lighting. The entire installation is DALI controlled to suit the level of demand.

range from the reduction of laboratory waste and the conservation of biotopes on the campus to the conscious consideration of energy aspects when planning construction projects. Consequently, the use of LEDs as energy-saving light sources was rightly included in the specification sheets for the new lighting of the pedestrian road. At almost 100m-long, this road runs between two new buildings in which institute and technology companies are resident. The Powercast range of projectors with their sleek profiles, demonstrate a universal versatility here even when mast-mounted. Fourteen Powercast LED projectors with wide flood Spherolit lenses and 28W warm-white LED modules illuminate the road surface from a height of about 4.50m. The contribution towards sustainability is obvious: safe, low-maintenance lighting with minimum energy consumption, high visual comfort for the pedestrians and in the interest of Dark Sky, no spill light whatsoever above the horizontal plane.

Powercast projectors with Spherolit lenses wide flood are a very attractive option as mast luminaires. Their beams of light are directed in a deliberately irregular pattern, creating a lively impression.

With their minimalist, clean lines, Powercast projectors are a high-quality detail and combine well with modern architecture, irrespective of which of many different mounting types is selected for this universal luminaire group.
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Backlights

Award-winning ERCO projects Once again in 2010, lighting projects with ERCO lighting tools have won important awards. Our warmest thanks go to all those involved the jury, lighting designers and building owners. We would like to briefly present three, interesting, award-winning projects here.

EuroShop 2011, Dsseldorf International experts from the world of retail trade met in Dsseldorf from the 26th of February to the 2nd of March 2011, at the EuroShop, the worlds largest trade fair for capital goods from the retail sector. Amongst the providers of lighting solutions who were concentrated in Hall 11, LED light was the central theme and ERCO was one of the main attractions. On the 240sqm-trade-fair stand, the relevant lighting tools were available for inspection and also shown in use in typical shop situations. The stand was scenically illuminated solely by LED lighting tools, allowing the connected load of the lighting to be reduced by 80%, compared with our last EuroShop stand three years ago. www.euroshop.de

Logotec LED: with its striking design, this new release at the trade fair is omnipresent, not only featuring in the graphic artwork, but also acting as the backbone of the entire stand lighting. The unrivalled narrow spot version of the LED spotlight met with particular interest.

Material samples invited visitors to test brilliance and colour the rendition. ERCO lighting consultants explained the workings of the inno vative LED optical sys tems with collimators and Spherolit lenses.

National Portrait Gallery, Canberra The International Association of Lighting Designers (IALD) presented 23 projects from twelve countries with an IALD award on the 13th of May 2010. Lighting designer Mirjam Roos, IALD Associate, received an IALD Award of Merit for the National Portrait Gallery in the Australian capital of Canberra. Optec spotlights and wallwashers are also used here to highlight exhibits and architectural elements.
Interesting guests, thrilling conversations: we would like to thank all visitors and staff for helping to make the EuroShop 2011 such a big success! Even the experts were amazed! The entire stand was illuminated solely by ERCO LED lighting tools. Five different light scenes illuminated typical shop situations, thereby illustrating the five factors of efficient visual comfort controlled by a Light System DALI installation.

Matildelunds Frskola, Kumla The Swedish Lighting Award (Svenska Ljuspriset) for building projects from 2009 was presented to the Matildelunds Nursery School in Kumla in October 2010. The jury particularly praised the efficiency of the lighting and the successful use of light in creating a stimulating visual environment for the children. In addition to decorative luminaires, Optec spotlights and wallwashers mounted on 3-circuit track were used for accent lighting and vertical illuminance. Architecture and lighting design: Jonas Kjellander, Sweco Architects AB, rebro Photos: Ulf Celander, Gothenburg

Original Levi's Store, Regent Street, London At the renowned Interiors Awards 2010 of the English technical publication Retail Week, the inventors of blue jeans scooped up three awards, including the award for Best Use of Lighting. Optec HIT spotlights and wallwashers are the tools in a concept that takes the factors of efficient visual comfort into consideration. Architecture: Checkland Kindleysides Retail Design, London Photos: Rudi Meisel, Berlin

Architecture: Johnson Pilton Walker, Sydney Lighting design: Mirjam Roos, Steensen Varming Australia, Sydney/Canberra www.portrait.gov.au

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ERCO Lichtbericht 92

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Centre for International Light Art, Unna: Light 21 exhibition Lighting design: LDE Kober, Dortmund Photos: Alexander Ring www.lichtkunst-unna.de

The Light 21 exhibition from 04.12.2010 to 27.03.2011 presented three exceptional perspectives of contemporary light art. In the context of historical, industrial architecture, which gives the exhibition galleries of the Centre for International Light Art Unna their unmistakeable framework, the works of HC Berg, Brigitte Kowanz and Christina Benz were pooled

together to create an energycharged tour through imaginary spaces of light and shadow. Where necessary, ERCO spotlights added precise accents to the exhibits perfectly measured and without glare.

ERCO GmbH Postfach 2460 58505 Ldenscheid Germany Tel.: +49 2351 551 0 Fax: +49 2351 551 300 info@erco.com www.erco.com