Lighting with Artificial Light 16 pptx

So it is veryimportant for municipalauthorities to cast their city in the right light.. But light can also be nessed to create a distinc-tive atmosphere: an illumi-nated monument, a dra-

Urban Image Lighting 16

Zeitung carried a damningarticle comparing Germanattitudes to lighting withthose in France and theUnited States “While thereare plenty of shining exam-ples broad”, it read, “thepowers that be in Ger-many’s cities seem to havenothing better to do thanthink of turning streetlampsoff”

Looking at applicationsand principles, this bookletshows what needs to beborne in mind by archi-

tects, lighting designersand local officials andpoliticians seeking to sculptthe night-time scenery of acity with light It describesactual projects, addressestechnical lighting issuesand presents financingmodels

City marketing is a phrase

on many lips at present –and understandably so

Cities seeking to attractbusiness, shoppers andtourists today face toughcompetition So it is veryimportant for municipalauthorities to cast their city

in the right light

Advertising campaigns,special events, shops open

on Sundays and publicholidays – these are justsome of the tools used tosharpen a city’s profile

To ensure the messagegets across, new ideas areneeded And one optionfavoured by a growingnumber of cities at present

is urban image lighting,lighting specifically de-signed for city beautifica-tion

Street lighting and otherforms of exterior lightingnormally found in citiesensure that the basic re-quirements of residentsand visitors are met: anadequate level of lightingfacilitates orientation andprovides security after dark

But light can also be nessed to create a distinc-tive atmosphere: an illumi-nated monument, a dra-matically lit square, a parkbathed in decorative light –these are sights that make

har-us feel good in a city atnight

In recent years, scathingcriticism has been voiced

in Germany over the try’s miserly use of lighting

coun-On 17 December 2000,the leading national dailyFrankfurter Allgemeine

Erasmus Bridge in Rotterdam/Netherlands

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City marketing

Urban designers and

architects have been

talk-ing since the sixties about

cities in crisis And the

most conspicuous signs of

crisis are the retail parks

mushrooming on

green-field development sites

The impact on city centres

is shown by a study of

spending patterns in the

eastern German city of

Meissen In 1995, retailers

in and around Meissen

registered revenues

to-talling some 280 million

euros But only 44 percent

of that volume was

record-ed in the city itself; 56

per-cent – i.e well over half

of total local spending –

went into the tills of

re-tailers and service

pro-viders in the surrounding

One answer is throughurban design lighting Asyet a fairly unconventionalcity marketing tool, lightingcan significantly help boost

a town’s or city’s image

Three factors are cruciallyimportant:

involves a great dealmore than just illuminat-ing an individual monu-ment or church Anylighting concept todayneeds to encompass anentire town or urbandistrict, using the tools

of architectural lighting

to create a harmoniouslighting design concor-

dant with existing ing structures

monuments or squaresare not prerequisites forcreating atmospherewith light Even thehumblest village orhamlet can be visuallyenhanced through theuse of architectural light-ing tools

plans do not need to beabandoned because ofbudgetary constrictions

Small-scale and term projects can alsobear fruit, especially ifdesigned for upgrading

short-at a lshort-ater dshort-ate Publicprivate partnership(PPP) models have aproven track recordhere

Public private partnershipproject: Hamburg’s

“Speicherstadt”

The illumination of theworld’s biggest warehousecomplex, the Speicherstadt

in Hamburg (photo 4), is a

particularly good example

of a successful public vate partnership project.Put on a regular organisa-tional footing in summer

pri-2000, the PPP has made

it possible for the stadt to be illuminated night-

Speicher-ly since 27 April 2001 (www.lichtkunst-speicherstadt.de).Prior to that, illuminationwas provided by temporarylighting installations.Visitors can also enjoy anevening boat trip on thecanals between the ware-house buildings Theatreperformances in the Spei-cherstadt are another pop-ular attraction

The “Speicherstadt” in Hamburg: illumination of the world's largest warehouse complex is financed by a form of public private partnership.

A special sponsors’ association was created for the purpose

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nated to create a time attraction, an attrac-tion whose value forregional tourism is en-hanced by two-hour guid-

night-ed tours in French andEnglish on three differentroutes The lighting isswitched on only on dayswhen tours are scheduled

And because it is remotecontrolled, the route can

be changed at short tice, e.g to prevent a tour

no-magnet even after dark

But what of rural areas,which are essentiallydependent on the day-time charms of the coun-tryside to attract visitors?

In the département ofCalvados in France, agroup of rural districtcouncils adopted a novelidea: after dark, 19 pro-minent buildings in thearea – farms, churchesand chateaux – are illumi-

Calvados

A region setting

accents with light

Inviting squares and

boulevards, imposing

medieval architecture,

gushing fountains –

towns and cities have

their privileges And in

the hands of city

market-ing managers, such

jewels remain a tourist

coinciding with a specialevent at one of the illumi-nated sites Some of thefunding for the project isprovided by local and na-tional government andsome by the EuropeanUnion but the biggestfinancial contributioncomes from the regionalelectricity companies Asponsorship model thatpower utilities elsewheremight well consider

Public private partnership

project: Feininger Church

Feininger Church in

Gelmeroda just outside

Weimar is also an

impres-sive sight It was the

favourite motif of American

artist and Bauhaus lecturer

Lyonel Feininger

Since 1999 – when Weimar

celebrated its year as

Euro-pean cultural capital – the

church has been a feature

of the night-time

land-scape, bathed in light by

architect Peter Mittmann

According to Mittmann, the

project is “not the

conven-tional illumination of a

building; it is an ous work of art communi-cating with the buildingand the air around it”

autonom-Originally supposed to bewound up at the end of

2000, the project has beenextended indefinitely andwill now run for as long asthe electricity costs arecovered by sponsorship

Feininger Church in Gelmeroda outside Weimar

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Event lighting

Special lighting projects

and events are a popular

tool of modern city

market-ing, a tool rightly welcomed

by city fathers seeking to

cast their city in the right

light This is because such

events can be realised

within a fairly short time

frame and on a relatively

low budget, especially

where they are supported

by private sponsors What

is more, special lighting

events often attract more

than just local and regional

media coverage,

particular-ly if internationalparticular-ly

renown-ed artists are involvrenown-ed

700,000 visitors

in The Hague

One event of a very

spe-cial kind was staged in the

Hague To mark the city’s

750th anniversary in 1998,

42 sculptures by

celebrat-ed artists – including Rodin,

Arp and Soto - were

pre-sented and illuminated in

the heart of the city For

two months, visitors had a

chance to see major works

of sculpture in the street

from private collections

and museums all over the

world

The idea is particularly

in-teresting because it made

for two exhibitions The

masterpieces could be

viewed by day, in natural

daylight Then, after dark,

they became a second

tourist attraction, presented

in a “night-time show”

craft-ed by the tools of lightingtechnology 50 spots on theground and 100 in nearbytrees were selected andarranged to set off thecolour and warmth or cold-ness of each sculpture tobest advantage Owing to

the huge success of theevent, exhibitions alongsimilar lines are nowstaged annually in TheHague (www denhaag-sculptuur.com) The sum-mer 2000 exhibition enti-tled “De Mens in Beweg-ing” is estimated by its or-ganisers to have attracted

at least 700,000 visitors.More events are scheduledthrough to 2004

In 1996, a similar event inParis was a blockbustingsuccess

Spotlight on sculpture in the heart of The Hague: 42 works by celebrated artists were illuminated at night.

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Laser show staged outside Münster City Hall as part of the city marketing project “Ab in die Mitte”

Façade installation on

the Kunsthaus in Bregenz

Another example: the city

of Bregenz commissioned

internationally acclaimed

artist Keith Sonnier to

create a temporary exterior

installation for the Bregenz

Kunsthaus Entitled

“Millen-tion made possible by porate and institutionalsponsorship

cor-City marketing initiative

“Ab in die Mitte”

Urban design lighting alsoforms part of the “Ab indie Mitte” city marketingproject launched by the

state of North phalia (www.abindiemitte

Rhine-West-de) This project – its titletranslates roughly as “tak-ing centre-stage” – in-volves some 25 towns andcities in North Rhine-West-phalia and is a collabora-tive venture between thestate ministry for urbandevelopment, the congress

of municipal authorities,retail trade representatives,

two department storechains and a newspaper

As part of it, lighting jects have been realised in

pro-Münster (photo 10) and Herne (photo 13)

Blue goldAnother lighting projectwas realised from Septem-ber 2001 to April 2002 inthe so-called Gasometer atthe CentrO shopping cen-tre in Oberhausen Theexhibition was entitled

“Blaues Gold” – bluegold – (www blauesgold

com) and featured, as one

of its highlights, a tre-high sculpture of waterand light Set in the 117.5-metre-high interior of theGasometer, it consisted of

50-me-a 1,600 m2 spotlightedcone of canvas, downwhich water ran into alake

nium 2000”, it was onshow for two months at theend of 1999 (www.lightlife

de) Sonnier, who has alsoexhibited at the Museum

of Modern Art in New York,used 512 red, yellow andgreen fluorescent lamps inhis installation This wasanother cultural presenta-

The “Kunsthaus” in Bregenz, illuminated by internationally renowned artist Keith Sonnier Gasometer in Oberhausen

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“Ab in die Mitte”: lighting installation in Herne

Master plan for a city

The Eiffel Tower in Paris,

Big Ben in London, the

Brandenburg Gate in

Berlin – no matter how

big or small a town or city,

residents and visitors carry

a distinctive image of it in

their mind Different people

asked to make a sketch of

a town or borough will

draw the same basic

struc-tures: roads, paths, a

cen-tral square, an outstanding

building or a landmark

The lighting designer’s task

is to highlight these

fea-tures of the urban

land-scape so that people can

identify their surroundings

and get their bearings

Back in the 1950s,

Ameri-can architect Kevin Lynch

made a study of perception

at the Massachusetts

Insti-tute of Technology (MIT)

His conclusion: the

per-ceptions, bearings and

memories of people

mov-ing in an urban

environ-ment are essentially

shap-ed by five basic elements

1 Paths

According to Lynch’s

stud-ies, paths are the most

important structural

ele-ment of all for residents

and visitors

2 Edges

Edges provide borders

between districts Clear

examples of edges are

railway embankments

and rivers, which draw

a visible dividing line

through a city

3 Districts

Districts are large or

mod-erately large sectors, such

as pedestrian precincts

4 Nodes

Nodes are important points

of interest along paths,

e.g crossroads and

round-abouts

5 LandmarksLandmarks are unique,memorable objects, such

as monuments

These five basic elementsare not always distinct Apath, for example, can also

be an edge Lynch callsthe basic drawing a personcan make of a town a

“mental map” In pursuinghis line of research, hehoped to provide pointersfor “correct” town planning

His findings are not onlyinstructive for town plan-ners and architects, how-ever; they also provideuseful guidance for lightingdesigners seeking to en-hance an urban environ-ment through urban designlighting

In recent years, it has come increasingly com-mon practice for urban de-sign lighting projects to berealised on the basis of amaster plan, i.e a plan for

be-an entire town or trative district aimed at en-suring continuity and cohe-sive design As no localauthority has the financialresources to renew all thelighting in a town at once,

adminis-a madminis-aster pladminis-an is adminis-also adminis-along-term instrument, onefor attaining such objec-tives over a period of sev-eral years

Purpose of a master plan When lighting designers setabout devising a masterplan for a town, they firstneed to ask themselves anumber of questions Thegreatest challenge a light-ing designer faces is inte-grating urban districts withwidely differing architecturalprofiles

The key to developing asuccessful master planhere lies in establishingconnections between theindividual elements in linewith Kevin Lynch’s theory

Master plan for Hanover

Lighting designers typicallyneed to answer the follow-ing questions:

■ What is the town’s ting like?

gardens and water andwhich routes do resi-dents and visitors takefrom the town centre toget there?

■ Is there a traditionaltown centre or a particu-larly fine waterfront?

■ Is the town divided by arailway line?

Armed with the answers tothese questions, the light-ing designer can then setabout developing a masterplan – one for casting thetown in the right light with asophisticated hierarchy andvariety of light sources Ambience is determinedmainly by mounting height:

a luminaire mounted on avery high column, e.g at

a crossroads, makes for afunctional atmosphere

An agreeable, more mate atmosphere can becreated by luminaires set

inti-at lower mounting heightsand fitted with lamps of aparticularly warm lightcolour A master plan canthen be developed definingprecisely

Master plan for Expo 2000

Expo roof

Expo 2000 –

a city within a city

It was the talk of the town –

and the subject of

wide-spread debate But in the

end, its organisers were

able to parade positive

figures: Expo 2000 in

Hanover attracted some

17 million people

The office appointed to

design the lighting

devel-oped a master plan for the

160 hectare site Because

of the numerous car parks,

avenues, parkland areasand bridges, the assign-ment amounted to devel-oping a master plan for acity

The lighting planners’ mary task and greatestchallenge was to create acommon denominator andcohesive structure for thewidely differing architecture

pri-on the site Lighting wasused to make entrancesvisible from afar and tomeet the functional lightingrequirements of parking

Parkland areas at the Expo: low-level pathside lighting

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In the parkland areas, theaim was to create a variety

of lighting scenarios and

an appropriate ambience

(photo 15).

facilities In other areas,however, its purpose was

to help set the stage

One of the most importantlighting assignments in-volved the crossing-pointbetween the two parts ofthe Expo site The lightingfor the 60-metre-wide stair-case was designed both toenhance the facility’s long-range visual impact and tohelp make it an attractiveplace for a moment’s rest

(photo 17)

Crossroads on a long avenue

Plateau, staircase, intersection and a place to take the weight of tired feet

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17 Fig 2

Paths: city access routes

respond to the heightenedaesthetic requirements oftown planners, lighting de-signers and architects byoffering scope – through achoice of light colour,colour rendering gradesand beam characteristics –for shaping the way cityaccess routes are experi-enced

Streetlighting is one of the

oldest forms of public

light-ing – yet the only time

nor-mal streetlighting is

notic-ed, as a rule, is when it

fails to work For a number

of years, however, lighting

for streets and other city

access routes has played

an increasingly important

role in helping to shape the

face of public places The

profile and life of a city canthus be underscored even

as the visitor approaches

Not every city has an posing city gate like Worms(photo 18) but even roadswhich seem initially unpre-

im-possessing (photo 21) can

be visually enhanced byappropriate lighting

Investing in renewal:

from functionalism toaesthetic appeal

As streetlighting facilitiesconstantly need to be re-placed, new technologiesoffer a chance to upgradeexisting systems one byone The latest generation

of lamps for streetlightingsystems are not only moreenergy-efficient; they also

Worms city gate

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Where any master plan for

town or city lighting is

de-veloped, one thing in

par-ticular must be borne in

mind: municipal authorities

are not normally the sole

proprietor of all city access

routes Air and rail links, for

example, have other

oper-ators, who should be

in-volved in planning at an

early stage

Autoroute A14: Viaduc Carrière/France

Laatzen trade fair rail terminal near Hanover

Road in Berlin

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Edges: bridges and paths

According to Kevin Lynch,

“edges” are borders

be-tween the different districts

of a town One particularly

interesting border-crossing

project is a bridge at

Duisburg port (photo 22).

The lighting is provided

by LEDs (light emitting

diodes)

LEDs – the luminous

semi-conductor chips commonly

used for dashboard lights

in cars and indicators in

electrical appliances – are

at the heart of the latest

revolution in lighting

tech-nology: they have

extreme-ly low power consumption

ratings and a very long

service life

LED lighting on Duisburg port bridge

Bankside path in the “VW Autostadt” at Wolfsburg

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The lighting design of theDuisburg port bridge ispart of a revitalisation pro-gramme based on an ar-chitectural master plan byBritish architect Sir NormanFoster for what was oncethe biggest river port inEurope The redevelopment

of the port area will add atotally new district to thecity, complete with offices,apartments, museums,restaurants and socialamenities

Adolphe Viaduct in Luxembourg

Bankside path in the “VW Autostadt”, with the Ritz-Carlton Hotel in the background

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Districts: Pedestrian precincts, zones for shopping and eating out

Alster Arcades in downtown Hamburg Place de la République in Lyon/France

City flair – nowhere is

it more tangible than instreet cafés and pedes-trian precincts Where atown or city displays ascintillating atmosphere,visitors and touristsspread the word

When daylight fades,lighting enhances theambience – as here inthe square fronting theOld Opera House inFrankfurt am Main

(photo 26) The use of

numerous light sourcesmakes for an opulentlighting atmosphere

A special ambiencealso pervades the AlsterArcades in Hamburg(photo 27): the partiallytransparent awning roof

is illuminated by indirectlighting for around 80metres

Market square in Dieburg/Hesse Café on the Expo site

Districts: parks and gardens

Nature is an increasingly

popular candidate for

illu-mination And

understand-ably so: light, like water, is

one of the basic elements

of life and a symbol of

vitality – and there is lots

of scope for dramatising

the interplay between

plants, trees and light

At a workshop in Alingsås/

Sweden, various forms of

illumination were tried out

In the avenue on the right

(photo 31), the light

radi-ates down from the

tree-tops This illumination

con-cept prompts associations

with a summer’s day, when

sunlight filters through the

branches of the trees

One group at the Alingsås

workshop also studied

bridges and created what

they called a

“metaphysi-cal” bridge of fibre-optic

cables floating on the

sur-face of a lake (photo 34).

The tree on the small

is-land was illuminated by

dot-like light sources

Park and garden lighting

often involves the use of

recessed ground floods

(photo 32) The advantage

of these luminaires is that

they do not require posts

or columns, which would

detract from the visual

impact of the natural

sur-roundings

Avenue in Alingsås/Sweden: the light sources are mounted in the trees.

Promenade in Sirolo/Italy

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Illumination of plants and trees

Where a tree or shrub is floodlit on

two sides from ground level (Fig 3),

illumination is relatively uniform

Where a light source is mounted in

the branches (Fig 4) or positioned

beneath the tree and directed upwards

(Fig 5), dramatic effects are produced.

In this case, each individual tree pears as an island of light and theartistic arrangement of light and dark-ness creates atmosphere

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Fig 5

Nodes: squares and crossroads

Squares play a key role

in urban architecture,

fur-nishing space for

assem-blies, markets and cultural

events Given their massive

importance, urban design

lighting here should

pro-vide “guidance” for visitors

and residents

When selecting the lighting

for a square, it is very

im-portant to bear in mind

the function or functions

the square performs The

functions listed below, of

course, are not mutually

exclusive

■ Is the square a

meeting-place for young andold?

■ Is it primarily a venue

for markets or culturalevents such as theatreperformances?

■ Was the square

original-ly designed to underlinethe status of buildingsfronting onto it, e.g townhall or church?

commu-nications hub?

Lighting depends

on function

The principal purpose a

town square serves

effec-tively dictates the kind of

lighting climate required

A square which is

frequent-ly used for events requires

uniform lighting (“carpet of

light” – see box on facing

page) A square with

multi-ple functions can be

divid-ed into different “lighting

zones” And in a square

originally designed to

un-derline the importance of

buildings fronting onto it,

the main emphasis is on

illuminating those

build-ings; lighting for the square

itself is confined to a few

“pools of light”

KölnArena - Germany’s largest

indoor events complex seats

21,000 spectators

Market square in Dessau

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