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Light and Scenography


Planning Technology Software

Contents

The Light Factory

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The Light Factory Tune the light: a new paradigm in lighting design From stage to architecture: light and scenography Scenographic light: planning technology application Infrastructure scenography Planning tool storyboard Planning tool moodboard Tune the light the practice Nature, vegetation, times and seasons Townscape, urban space, landmarks Space, surface, perception Brand, identity, attraction Event, drama, emotion ERCO showrooms and offices ERCO addresses

ERCO Head Office, Ldenscheid: the high bay warehouse P3.

ERCO Head Office, Ldenscheid: the Technical Centre.

ERCO specialises in software and hardware for architectural lighting design. First and foremost, ERCO sells light and not luminaires. This approach, which places the immaterial software of light above the luminaire hardware, has characterised our work for many years: thats why we call ourselves ERCO, the Light Factory. Light interprets spaces and helps us to perceive and experience them. In this sense, we understand light as the fourth dimension of architecture. Making good architecture even better by placing it in the right light is our contribution to culture and the senses and our mission. Today, ERCO provides light in museums, universities, shop windows, churches, airports, hotels, chain stores, exhibitions stands, administration buildings, private homes, and much more. Irrespective of whether the architectural concept emphasises functionality or presentation: our goal is, and has always been, to find a solution that does justice to the specific use and architectural features of each project. ERCOs indoor luminaires, outdoor luminaires and lighting control systems make up a comprehensive range of lighting equipment for general, comprehensive, architectural lighting solutions. The luminaire is a lighting tool, a piece of lighting equipment with a special practical purpose. The fundamental change is currently experienced in lighting technology due to new lamps, new optical systems, new digitally networked control gear and the appropriate software. This opens up undreamt-of possibilities, a concept which we have encapsulated in the term Tune the light. This brochure introduces these new scenographic dimensions of lighting and hopes to provide inspiration for the successful, creative use of our hardware and software tools.

ERCO worldwide: meeting in the Stockholm showroom.

ERCO worldwide: Varychrome facade of the Naarden branch, Netherlands.

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Tune the light A new paradigm in lighting design

Architectural lighting has reached a technological turning point: after a phase of increasing specialisation, differentiation and improvement of lighting equipment, we now find new lamps, new optical systems and new digital control equipment at the threshold of market maturity. These changes result in the design and construction of luminaires that are increasingly and dynamically able to change their characteristics including brightness or light colour and soon also beam direction and light intensity distribution. Control protocols such as the DALI technology enable these luminaires to be connected to networks that allow individual addressability and grouping independent of the power supply. The result: multiple architectural lighting options for multifunctional rooms. As a consequence, the lighting design task has changed. Instead of creating a specific lighting situation and implementing it based on the installations in the room, it now sets the stage for virtual architectural lighting: rooms that can be transformed and reproduced in numerous ways with new effects; architecture that can constantly be interpreted in new ways. Software becomes an integral part of a lighting system. It provides the user interface for the variable luminaire functions and also creates a level of abstraction to define groups of luminaires and spatial zones completely independent of the circuit arrangement. The software provides functions that enable lighting effects to be produced in time and space. The realisation of this vision of virtually unlimited, individual adaptability of light is embodied in our catchphrase Tune the light.

Scenography makes gastronomy a true experience: architecture becomes the stage, light the medium that adds effect.

With the ERCO Light System DALI, its integrated Light Studio software and the extensive range of Light Clients, i.e. DALI-compatible luminaires, the ERCO Program already contains all the tools required to explore the possibilities of this leap in technology and use it successfully in practical applications. When used as intended, these tools make scenographic lighting design easier to plan, more economical in implementation and more convenient to use than ever before. All that is required is to question outmoded ways of thinking and approaches to design and to embark on the adventure of using light to design space, time and atmosphere in architecture in new, creative ways. This brochure hopes to inspire you and set you on your way.

A new design dimension: light can interpret architecture in many different ways to create a genuine experience.

Colourful lighting during an exhibition completely changed the impression of the MACBA in Barcelona from the character that the building had in daylight (architect: Richard Meier).

New lamps and control technologies make Tune the light possible: Optec spotlights with LED varychrome technology and DALI adapter.

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From stage to architecture Light and scenography

Scenography in its origin is closely linked with the design of stage sets. Recently, however, this term has also taken on other meanings: defined as the design of the visual and spatial dimension of scenic events, the strategies and methods of scenography can be applied not only to the theatre but also to film, television, functions, exhibitions and, not least, to architecture from individual rooms to entire buildings and even effective highlights for urban spaces. Light is the key to scenography, for the possibilities of styling rooms with light are virtually endless. Light allows architecture to be continually reinterpreted. Designing and controlling such transformations with the inclusion of the time dimension, we refer to as scenographic light. These particular hardware and software tools allow light to interact with space and time resulting in the atmosphere being integrated into a coherent scenography. Architectural lighting has always benefited from the transfer of ideas and technology developed by scenographers and lighting designers for the stage as well as for movies, pop concerts or other events. There are, however, crucial differences between these two fields of lighting design. Specifically in terms of technology, they both require different tools in order to produce seamless transitions.

The variety of light qualities coupled with spatial structure and timed progression, can be used to constantly reinterpret rooms and objects.

In the case of lighting design for stage productions and events which can often take several hours and require continuous supervision by a technician, architectural lighting is expected to work unsupervised, uninterrupted and over much longer periods of time. Maintenance intervals and energy consumption are critical cost factors. Routinely, operation is left to non-professionals who as users interact with the architecture. The key fundamental difference in concept is that archi-

tectural lighting does not separate actors from audience or stage from auditorium. A professional stage actor, for example, may have to put up with glare; whereas for users of architecture, this would not be acceptable. Whether on stage or in architecture, both forms of scenographic light share one similarity: it follows a sequence or a plot, which together with the impressions gained by the other senses, conveys a message both on a rational and an emotional level.
Architectural lighting uses lighting effects taken from stage lighting, particularly for special events. Other functions, however, require lighting equipment and systems designed specifically for architecture.

Pellas et Mlisande (Claude Debussy) Greek premiere, Athens Concert Hall (Megaron) 1998 Set and lighting design: Uwe Belzner Director: Georg Rootering Photo: Eduard Straub

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Scenographic light Planning technology application

Scenographic light provides architects and lighting designers with the opportunity to become more critically and creatively involved in the processes, i.e. spatial and timed sequences, more than ever before. The scenographic approach requires a combination consisting of a control systems together with individually addressable luminaires. This allows new possibilities of responding more dynamically to both external and internal factors in the design of architecture, while always allowing reversibility. Now light can be used to more easily interact with nature and the environment, with urban features, with surfaces of structured space, to reveal the values and image of brands as well as to create themes and portray sequential events and also to support the particular activities of host and visitors. The interdisciplinary character of a scenographic approach to design also involves planning methods that originate from related fields such as film, advertising or stage design: Tune the light, in the final analysis, also means exploiting this new creative freedom and using it to full advantage.

The technology of the Light System DALI simplifies the planning and realisation of scenographic architectural lighting systems. Tune the light is possible where lighting control systems previously proved too expensive, too space-consuming or too complex.

As the Light Studio software simplifies the operation of the Light System DALI, designers are able to concentrate on the creative challenges and the new possibilities of scenographic design.

Digitally controlled luminaires such as the Grasshopper projectors with LEDs in white or varychrome are just the beginning of a development that will lead to lighting equipment with increasingly flexible functions.

Tune the light is the vision behind this development: multifunctional lighting equipment for multiple architectural lighting options.

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Scenographic light Infrastructure

Light Studio

Light Server

Light Client

Light Client

The breakthrough of scenographic light is due predominantly to the emergence of new technology. Scenographic concepts have been used in architectural lighting for some time but always with considerable investments in installation and material and with technology that has been defined primarily by its roots either in building management or stage engineering. Light System DALI The lighting control system ERCO Light System DALI, on the other hand, is specifically developed for scenographic architectural lighting and follows an innovative approach: intelligently applied DALI (Digital Addressable Lighting Interface) technology for individually addressable luminaires combines with the ERCO Light Studio software to create an integrated package. Together with the extensive range of DALI-compatible ERCO luminaires for indoors and outdoors and the ERCO DALI track, scenographic light effects in architecture can be implemented more easily and economically than ever before. New standards in terms of ease of operation, range of functions and creative control are set by the consistent integration of software and hardware. Thus, for example, the colour location of DALI-compatible Varychrome luminaires in the ERCO Light Studio can now be set interactively and displayed in a simple and straightforward format by a mere click of the mouse. Once a system is activated, both the Light Server and the software automatically recognise DALI-compatible ERCO luminaires known as Light Clients through their pre-programmed codes in the DALI control gear, which are then clearly displayed. DALI-compatible luminaires of other manufacturers can also be integrated into a 8 tune the light

Light System DALI and can then be controlled just as easily as ERCO Light Clients. The Light Server 64 for up to 64 DALI addresses enables the Light System to handle many typical lighting control applications, as in multifunctional rooms, shops and shop windows, restaurants, lobbies or company showrooms. The Light Server 64+ can be networked with other Light Servers of the same type which allows the system to be expanded to virtually any size. Light System DALI consists of the hardware components Light Server and Light Changer and the Light Studio software. The Light Server is a DALI controller that stores system and scene data and provides the control functions. The day-to-day operation is performed through the wall-mounted control panel ERCO Light Changer or commercial pushbuttons. To set up light scenes and for more complex operations, designers or users can use the ERCO Light Studio software on a PC connected to the Light Server or the Light Changer via a USB connection. The Light Server uses the DALI protocol to communicate with the Light Clients, i.e. the connected DALI-compatible luminaires, via a two-core control line. The bus technology and the switch and dimming functions integrated into the control gear make a permanent wiring of individual circuits and the installation of vast dimmer banks in switch cabinets unnecessary. With DALI track accessories, the well-established and reliable ERCO track is ideal for the operation of DALI-compatible ERCO spotlights via Light System DALI.

ERCO track with DALI live end Light Clients Light Clients

Light Studio

Light Server

Light Changer

Light Clients Outdoors

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Scenographic light Planning tool storyboard

Unlike the design and development of static lighting concepts, scenographic lighting design requires additional preliminary planning. The tools "storyboard" and "moodboard" introduced in the following pages have been used extensively to solve similar tasks in other disciplines including film, advertising, and stage setting. Storyboard If a scenographic lighting design is to be successful as an integral part of the overall architectural project, designers must look at the intended dynamic lighting sequences in the building at an early stage in the design process. These sequences result from aspects such as the spatial progression encountered as you walk through the building, but also from the time dimension experienced in a room throughout the course of a day. Changes in use and varying ambient conditions require different lighting effects at different times. A storyboard is the correct tool helping design4 Intimate light at the bar forms a contrast with a uniformly lit side wall. The light of the dining room appears as a focal point in the background.

ers with the design of scenographic lighting concepts. Its rough sketches act as a creative script for the spatial and perceptional progression of the lighting effects. The means of representation, the style and the depth of detail are, of course, left to the designer the sketches should, however, include the relevant properties of the light such as brightness and colour contrasts. The spatial progression can move from the facade through the entrance area and the traffic zones to the various functional rooms. The perceptional change in a restaurant, for example, can be based on different moods, such as reception in daylight, dinner with accent lighting on the tables, and cocktail hour with subtle, yet atmospheric background lighting. The interaction of light, time and space provides all the components through which the dynamics of light are directly linked with the architecture resulting in spaces which can be used with great flair.
6 For musical performances, the house lights are dimmed and a spot light is used to illuminate the stage.

5 The atmosphere in the dining room itself changes throughout the evening.

1 The lit entrance contrasts with the dark surroundings at night.

2 The attraction of the lit entrance is further enhanced by the lighting effect of the panoramic window on the 1st floor giving an indication of what happens inside the building.

3 The magically lit spiral staircase leads visitors from the semidarkness of the foyer up to the upper floor.

5.1 The colour scheme changes along with the brightness balance of the light components. The key frames for the respective locations and phases can be used to create characteristic light scenes, these can later be stored and set up in the Light Studio. 5.2 The layout of the downlights allows for variable accent lighting on the individual tables.

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Scenographic light Planning tool moodboard

As a tool for the visualisation and communication of moods, moodboards take on a key role in the creative process. They are used to capture impressions, describe emotions, form chains of association and stimulate the imagination. A free collage on a pin board, for example, is based on a central theme in the form of a picture or a concept and made up of pictures, sketches, materials, colours and buzzwords. To create different moods as special effects in a room, the motifs can be systematically grouped in themes to concentrate on interesting contrasts. In this way, the lighting designer can underline the conceptual statement with a moodboard for each different light scene.

While the moodboard initially focuses on the straightforward collection of pictures and the free flow of thoughts to collate themes, the process of evaluation and concentration is more analytical. The pictures provide information on the required light properties and effects: the advantage of diffuse light as opposed to transitions full of contrast and shadows, the tendency toward specific light colours with pastel or saturated tones, and ideas for specific light effects. Silhouettes on photos, for example, can be produced in the lighting design through projected lighting effects. Light moods depicted and outlined as light scenes using moodboards can be integrated seamlessly into the sequence and spatial organisation of the storyboard.

Example: a fresh morning. The moodboard produces a light scene using diffuse, cool light with sparing, highly focused warm white accents.

Example: a Mediterranean autumn afternoon. The moodboard produces a light scene with warm, directed, but soft-edged light and red background lighting.

Ice Blue Night Blue Honey Gold Forest Green Cool White

Colour tones can be derived directly from the impressions on the moodboard and defined in the list of colours of Light Studio.

Warm White Sunset Pink Sunny Orange Sky Blue Glowing Red

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Tune the light the practice Nature, vegetation, times and seasons

The compact Grasshopper projector is available with highpower LEDs in white or varychrome. With LED varychrome technology, it provides colourful highlights for main features in scenographic outdoor concepts.

In lighting concepts for gardens, parks or green areas specifically, but not exclusively, a scenographic approach must allow for the interaction of artificial light and environmental factors such as the weather and natural light. The appearance of vegetation changes continuously throughout the day and the seasons. Sunlight gives trees great liveliness, the wind in the leaves creates moving shadow pictures on the ground, while moonlight on the other hand reveals trees in silhouettes. In winter, the picture is of a web of twigs and branches, while in summer, the thick foliage changes their crowns into compact volumes. Snow with high reflection reacts to light completely differently to a meadow in summer. The type and frequency of use of parks and public places also changes continuously throughout the night. Accent lighting of vegetation at night works through the tension created between the special effects and nature. Instead of illuminating the entire garden or park uniformly, outdoor lighting concepts focus on identifying the paths using a storyboard as an outline and specifically emphasising individual elements while maintaining the character of the darkness. Low levels of illuminance here integrate harmoniously into the night scene 14 tune the light

and help the eyes adapt through the reduced luminance contrasts. The direction of light greatly influences how the shape of illuminated trees is perceived and should therefore be consistent with their anticipated growth. Carefully arranged luminaires with high cut-off angles protect passers-by from glare at night. The prevention of spill light and glare is a prerequisite in the interests of meeting effective lighting solutions for Dark Sky requirements. The natural spectacle in the sky is then least affected and can form the background to the displayed vegetation on the ground. Coloured light can be used to enhance the colour effect of leaves and flowers. Subtle shifts in the colour temperature can change the atmosphere, yet maintain a natural impression. Strong-coloured light, on the other hand, creates an artificial mood produced, for example, for special occasions. Colour-mixing luminaires such as the Grasshopper varychrome projectors enhance creativity, as they allow smooth, dynamic colour transitions to take place. In this way, the drama of light can provide a narrative theme for a park.

In lighting concepts for green spaces, the draft design drawing allows focal points to be selected for accen-

tuation, to create spatial differentiation.

The Timer Module in the Light Studio software allows light scenes to be recalled at pre-determined times. The time and calendar functions provide great flexibility to automate scenographic lighting.

Penetrating the surroundings: uplights illuminate the treetops. The bollard luminaires project light downwards to prevent glare and provide reliable path lighting.

Dramatising the surroundings: the narrowbeam accentuation produced by recessed floor luminaires and spotlights highlights individual trees in the environment.

The more discreet a light source, the more fascinating is the effect of the object illuminated. Recessed floor luminaires are available with different light distributions.

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Tune the light the practice Nature, vegetation, times and seasons

Light Studio: Light Timer Changes in use and ambient conditions require a timed differentiation of lighting effect. Light scenes selected on the basis of the situation provide the right setting, not only functionally but also in terms of atmosphere, in order for the surroundings to be seen in the best possible light. In addition, timed light scenes provide the possibility of using the same lighting system to add different effects to outdoor spaces and architecture which may depend on the season or event and thus increase the quality of the experience of spaces or interpret the themes of a spatial concept. The Light Timer software module allows events to be defined in a structure similar to that of a calendar and allocate light scenes to set times.

High-power LEDs High-power LEDs have a power consumption from approx. 1W. Their extremely long life, compact design and excellent luminous efficacy in connection with narrow-beam spot reflector lens systems make these LEDs a powerful light source for accent lighting. Housings with optimised heat dissipation ensure that the advantages of LEDs are ensured during use and are maintained throughout the life of the luminaire. Due to their high colour density, coloured high-power LEDs are ideal for RGB colour mixing. To facilitate the seamless integration of dynamic, coloured LED lighting into a scenography, ERCO produces the appropriate varychrome luminaires as Light Clients with DALI interface.
Conventional 3mm / 5mm LED SMD LED (< 1W) High Power LED (> 1W)

A scene list provides the option of setting individual fading times for each scene. Fading times can be seconds or even span several hours.

The fading time is the duration set for the scene change.

Lateral light creates maximum contrasts of light and shadow, producing a strong three-dimensionality. Lighting from diagonally above produces a pleasant distribution of light and shadow.

Light from below produces a more dramatic, unnatural effect due to it being the opposite of daylight.

A change from one light scene to another involves a change in the dimmer settings or the light colour of the Light Client.

In peaceful surroundings, short fading times can be a nuisance and may be seen as a distraction.

Long transition times are ideal if scene changes need to be imperceptible.

Modelling objects Along with the angle of incidence, one of the key factors in modelling is the direction of the light. Light from the front has the same direction as the line of vision of the viewer and consequently has little modelling effect. It produces hardly any shadow, and the objects appear flat. Lateral light, on the other hand, leads to maximum contrasts of light and shadow resulting in a strong three-dimensionality. Light from above shining directly onto the object can over accentuate the top while often causing the sides to appear excessively dark and leaving a light beam on the ground. Back light, where the light source is placed behind the object, casts a long shadow in the direction of the viewer and reveals the object as a dark silhouette surrounded by a halo of light. Light shining onto areas and objects from below produces an unnatural effect due to it being in the opposite direction to daylight. At the same time, however, the reverse direction of the shadows can create dramatic effects.

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Tune the light the practice Townscape, urban space, landmarks

Focalflood LED facade luminaires are mounted close to the faade to produce striking grazing light in white or colour with varychrome technology. The maintenance-free LED technology gives more freedom in the choice of mounting locations.

Software such as Light Studio forms an integral part of lighting systems for scenographic concepts. The software provides easy-to-use tools to produce quality light with structure and a timed sequence.

The silhouette of a city at night is characterised by illuminated landmark buildings.

Since civilisation began to conquer the darkness by using artificial light, the dazzling picture of a metropolis at night has had a magical effect on people. After a long phase of dealing with light in outdoor situations on a rational and purely functional level, cities are now revived with special effects. Lighting master plans ensure a consistent appearance of a metropolis at night. Buildings with differentiated illumination signify the night time urban identity. Light in the city is used to mark out paths and routes, light up spaces and highlight landmarks both over great distances in terms of the citys skyline and in a more local context in the city itself. The design options range from the subtle, uniform illumination of facades to define spaces and make tangible their spatial confines even in the dark, to expressive, temporary lighting concepts for festive occasions. The principle frequently applied here is that of less is more, because only subdued basic light in the background can create contrasts through light that bring squares or buildings to prominence. Scenographic elements should concentrate on prominent buildings or specific situations in public spaces: as a component of special effects used for events 18 tune the light

and particular occasions, but also in response to the different usages which relate to the time of day, the season and the weather. The lighting concept can be varied in terms of its design including light colour, brightness or direction of light, within the scope of a light dramaturgy, to allow an urban space to be continuously reinterpreted. Different types of buildings require different lighting design approaches. In principle, solid facades require different methods than transparent facades. As an alternative to the extensive lighting of massive facades, specific building elements can be accentuated through their contours. Glass architecture lit from within, on the other hand, appears to glow. At night, glass facades which reflect daylight are given the effect of depth due to the dimension of visibility within. The faade structure here appears to be a silhouette around the core of the building. The lighting concept inside is effectively carried to the outside and a lighting concept on the outside must ensure cohesion. The more the boundaries between interior and exterior dissolve through the transparency of the shell of the building, the more strongly the lighting design requires a holistic approach.

Scenographic lighting elements increase the impact of landmarks and other prominent spaces in urban areas: as a permanent part

of the nightly silhouette of a city or in the context of temporary effects.

Large brick facades are bathed in striking grazing light to emphasise the texture of the historic faade through the rich contrasts produced by the play of light and shadow.

Lens wallwashers accentuate the columns. The wall surfaces are illuminated by floodlights mounted on the ceilings of the gateways.

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Tune the light the practice Townscape, urban space, landmarks

Individually controllable luminaires Individual controllability is a primary advantage of the DALI technology, which is useful, for example, when a scenographic lighting concept requires changing patterns on a facade. These installations are clearly more economical and easier to implement with Light System DALI than with common, busbased lighting control systems and allow greater creative freedom.

Focalflood floodlights Focalflood floodlights have a wide light intensity distribution with a focal point and a cutoff angle of over 50. An exception to this is the varychrome floodlight with T16 lamps in red, green, and blue: a diffuser and a Softec lens here ensure com-

plete mixing of the basic colours at the light aperture to produce lighting without colour shadows or perimeters.

Focalflood: one name, different characteristics Several product ranges in the ERCO Program are called Focalflood. These are all for use outdoors and share a characteristic housing design with a rectangular light aperture and a parabolic profile, but have different sizes, lighting technologies, and thus, also, different fields of application.

Focalflood facade luminaire These compact LED luminaires produce a narrow-beam light distribution for grazing light. Longitudinally, the light is spread wide to ensure soft transitions when light beams are arranged side by side. In the varychrome

version, the system consists of reflector and spread lens ensuring complete colour mixing.

Vertical lighting outdoors


Lightmark facade luminaires are used for uniform illumination of facades. The precise light direction of these efficient optical systems minimises the proportion of spill light.

Light Master: Stage The stage in the Light Master helps designers by providing a spatial diagram of all luminaires. The Clients can be arranged by drag and drop to produce a clear display of the lighting situation. The stage can be used both as a horizontal and a vertical projection such as for a faade. Where a Client has several addresses (varychrome luminaires), these are combined in one symbol.
As a visual record, the Light Client symbols of a DALI system can be freely placed anywhere on the stage for either a horizontal or a vertical plane, depending on the actual project.

Overhanging building surfaces or roofs are ideal for mounting Paratec wallwashers. Due to their uniform, vertical distribution, these luminaires not only emphasise the wall in its function as a room boundary, but also reveal the structure of the surface.

For this bathing pier, the Tesis recessed inground wallwashers were intentionally widely spaced so as to produce a rhythmical effect to reveal the back wall.

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Tune the light the practice Space, surface, perception

The Client list in Light Studio contains all the Light Clients (DALIcompatible luminaires) of the DALI system. Light Clients can be grouped and allocated to zones and control gear.

RGB colour mixing luminaires are based on additive combinations of red, green and blue light.

Complex Clients such as varychrome luminaires which, technically, have three DALI addresses, are shown in Light Studio as an easy-tooperate unit with interactive control panels.

Quadra varychrome lens wallwashers produce colourful, totally saturated light based on LED varychrome technology.

Equipped with coloured T16 fluorescent lamps, TFL varychrome wallwashers are an efficient method of displaying walls with coloured light dynamically controlled via DALI.

Coloured washlights for the back wall of the foyer create an emotionally stimulating atmosphere and attract attention to the back of the room.

Washlights illuminating the canopy act as a secondary reflector for an indirect lighting effect and define the appearance of the space.

Light plays a central and multifaceted role in architectural design. It is light that allows us to see space and structure in the first place; and it is lighting that makes architecture and the people, objects and materials in it become visible. Yet more than making things visible, light also determines the way we perceive our environment. It influences our well-being and the aesthetic effect and emotional atmosphere of a room. Contrasts in brightness and different light colours can establish hierarchies of perception and focal points in a room. Lighting design must start with the elements that define a room, such as the walls, floor, ceiling, and openings. Placed in the right light, they emphasise the shape and character of the architecture and provide a background for the objects illuminated in the space. Walls and other vertical elements in particular are important for the perception of architecture. Illuminated walls give the impression of a light, open space, they structure the archi22 tune the light

tecture and make the room proportions and surfaces easier to appreciate. A uniform light distribution from ceiling to floor presents the wall as an entity. Accents on the ceiling result in a different impression, a changed room character. Light can draw attention to the ceiling which is useful for features such as historic frescos or stucco work where the attention of the occupants is to be directed upward, or it can serve as indirect lighting for the room. Fitted with a lighting control system for separate control of the luminance levels of individual room surfaces, the appearance of a room can be changed within broad limits simply by using different light scenes. While extensive areas on a wall are usually illuminated by wallwashers, ceilings are frequently illuminated with ceiling washlights or as luminous ceilings. The diffuse, overhead light of the latter is often combined with daylight entering through rooflights to look like the diffuse light of an overcast sky.

Furthermore, the lighting should underline the theme of the sequence of spaces. Contrasts can visually divide rooms, while uniform illuminance creates continuity. The establishment of spatial correlations with light is not limited merely to the connection of interior spaces. It also provides the transition between exterior and interior, as in entrance areas, for example, or in a home looking out into the garden.
Uniform lighting strongly emphasises the volume of the structure.

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Tune the light the practice Space, surface, perception

Lamps and colour space All the colours perceptible to the human eye can be represented as a structure using the standard valency system of the CIE (chromaticity diagram). The brightness dimension is disregarded and only the shade and saturation of the colours are depicted in this diagram. The saturation increases from the white zone in the centre toward the edges. When the colour loci of the red, green and blue light sources used are connected, the resulting triangle shows all the colours that can be produced with a RGB colour mixing luminaire.

Light used to differentiate spaces Light conveys information, for brightly lit areas automatically attract attention. Different levels of brightness ensure improved orientation in the room and can emphasise areas such as the foreground, the centre or the background. A suitable light intensity distribution directs the attention and structures the wealth of information in a space: areas with key information are highlighted, secondary or irrelevant information, on the other hand, is kept in the background through lower lighting levels. The significance of the effect depends on the brightness contrast between surfaces, i.e. between the object and the surroundings.

T16 fluorescent lamps RGB

Due to the lower saturation of coloured fluorescent lamps, the light colours of the TFL varychrome wallwashers, for example, produce more of a pastel character (left).

Since coloured LEDs have a higher saturation than fluorescent lamps, the colour triangle of the Quadra lens washlights is larger and as such includes a greater number of colours (right).

High performance LED

The appearance of a room is influenced as much by different brightness levels as it is by colour contrasts of the surfaces.

The monochrome dimmable attribute in the Light Studio software identifies infinitely dimmable luminaires,

such as spotlights or downlights for halogen lamps.

Subtle differentiation results from different shades of white such as warm white and neutral white.

Low saturation coloured illuminance of vertical surfaces has a notable effect on the atmosphere.

When combined with white light directed onto the work surfaces, the requirements of both design and ergonomics are fulfilled.

Light Studio: chromatic circle Coloured luminaires and other installations with RGB technology, if used effectively, require a lighting control system that controls the dimmer settings of the individual colour light sources allowing a reproduction of specific light colours. These can subsequently be integrated into meaningful scenes and sequences. Light colours are easy to set using software with a chromatic circle, as the colour, such as orange, can be selected without the need to use the three individual dimmer settings of red, green and blue. The choice of colours is facilitated by a range of predefined colours. The colour attribute in Light Studio is set interactively, either via the HSB/chromatic circle or the RGB settings. The HSB colour model defines each colour in terms of hue, saturation and brightness. The brightness is always defined separately, while hue and saturation can be set either in the chromatic circle or by means of two slider controls. RGB hues are entered numerically between 0 and 255 for each basic colour.

This symbol identifies varychrome luminaires with RGB colour mixing technology that can be electronically controlled to produce an infinite variety of light colours.

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Tune the light the practice Brand, identity, attraction

Window-dressing works powerfully with stagelike effects.

International brands insist on reproducible lighting concepts with a high recognition factor.

Shop design requires brilliant, compact and highly efficient light sources such as the miniaturised metal halide lamps HIT 20W, integrated into Light System DALI by DALI actuators.

The coloured light of this Optec spotlight is created by twelve highpower LEDs. The Softec lens ensures a softedged, uniform beam balancing the basic colour components red, green and blue.

Designing sales areas today primarily means designing an event to create a shopping experience, a brand experience for the customer. Professional shop designers work scenographically in order to create themes into a coherent sequence of events. One of their tools used in the process is light as an intangible medium that allows space to be continuously reinterpreted. Light in a shop takes on a wide variety of functions: it attracts attention through the visual effect of neon signs, windows and entrance areas. It structures the sales area into functional zones, creates perception hierarchies and highlights routes. It ensures optimum product presentations and creates special effects for particular displays or decorations. It helps customers feel comfortable and specifically in the extensive field of fashion and cosmetics look good. Light finally also serves as a medium to express the image and values of a brand in an identifiable way within the scope of a corporate lighting concept. It is also used to express seasonal themes such as a change of collections in the fashion industry by producing the appropriate atmosphere. Cyclical changes from refurbishments to major renovations as occur within the retail 26 tune the light

sector are intended to address the customer on a deeply emotional level. These changes require the use of lighting equipment that provides light not merely as a static medium, but as a dynamic means used to express space, time and atmosphere. In a Light System DALI environment, the zoning of shop floor, for example, can be displayed by different brightness levels and rearranged as required in the Light Studio software. Coloured light can be subtle, such as pastel tones used to illuminate the back of a window with wallwashers, or striking in the form of richly coloured accent lighting. Effects such as dynamic colour sequences attract the viewers attention as an exceptional eye-catcher and reveal the atmosphere in the shop to be in a state of flux. Varychrome luminaires, individually controlled via DALI, enable lighting designers and window dressers to set up and change these effects interactively with the easy-to-use tools in Light Studio without constantly having to adapt the lighting hardware through a long and laborious process. Specific light qualities or light scenes can be reproduced precisely and subsequently be realised simultaneously in cases such as chain stores. Light scenes can be organised in timed sequences using the

calendar-like Light Timer software module. In this way, different times of the day, weekdays and holidays and even entire periods such as the sales or the pre-Christmas season can be differentiated by means of lighting. The advantages of a lighting control system such as Light System DALI, which integrates the functions even of complex lighting equipment like RGB colour changing luminaires and controls them through the Light Studio software, are self-evident here.

Scenographic light in the shop: a design medium that interprets the themes and motifs of a fashion or season into a scene from subtle to expressive. The timed progression of coloured light is an effective eye-catcher.

Enhanced experience and emotion are the main reasons for using scenographic methods in designing shop windows or retail interiors.

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Tune the light the practice Brand, identity, attraction

shelf shop window

wall

cash point

Light Book This software module is used for the spatial structuring of a project.

Light Changer Touch screen control panel for daily operation of the Light System.

Light Studio: Light Book The Light Book is used for the spatial structuring of Light System DALI installations. Its main function is to create zones and assign Light Clients or Light Changers to zones. Floor plans can be created in the stage template of the Light Book. A zone can consist of a room, functional areas or several rooms. The flexible structure of Light System DALI allows zones to overlap this means that a Light Client can belong to several zones. Shop design epitomises the purpose of defining zones: if, for example, the shop facade, the windows and the sales area are defined as individual zones, the light scenes in these zones can be set up and recalled irrespective of what is happening around them. The light scenes and light-

ing effects in the shop windows can then be changed according to the season, without having to modify the internal lighting. Each zone can have its own, independently set timer program. A global zone that includes all the Clients in a project allows scenes such as All on or All out, to be created e.g. for room cleaning.

DALI dimmers and DALI actuators DALI dimmers and DALI switch actuators greatly increase the application options of Light System DALI. They allow a wide range of conventional luminaires such as those in ERCOs previous range to be integrated into a Light System DALI installation. This is particularly useful for luminaires without control gear or for lamps for which DALI control gear is not yet available, including most of the high-intensity discharge lamps. Light System DALI is an open system: DALI-compatible luminaires or actuators from other manufacturers can also be incorporated into the system. Conversely, ERCO Light Clients, i.e. DALI-compatible luminaires, are suitable for operation with DALI controls of other manufacturers. However, only when the Light System DALI, the Light Studio software and the ERCO Light Clients are combined does the full potential and advantage of this design system such as automatic setup and automatic recognition become available.

The DALI actuator, DALI dimmer and DALI transformer accessories allow virtually all nonDALI-compatible luminaires to be controlled with the Light System DALI.

The Client Editor of the Light Studio software is used to integrate DALIcompatible luminaires from other manufacturers into Light System DALI or process the factory coding of the ERCO Light Clients.

Vertical illumination

Accentuating objects Integrating luminaires from other manufacturers Individually dimmed fluorescent lamps in red, green and blue behind the frosted glass wall allow all light colours to be dynamically controlled. The coloured light display is a fascinating sight through which the atmosphere in the room is in a constant state of flux. The Client Editor in the Light Book module of the Light Studio software allows light ceilings or light walls with control gear featuring DALI interfaces to be easily combined into a single varychrome luminaire. This simplifies the selection of the exact colour locus: the user can now interactively select colours using the colour wheel, instead of having to enter the numerical RGB value. The Client Editor allows all types of DALI luminaires to be integrated into the system, this even includes specially manufactured factory coded ERCO Light Clients.

Typical vertical illumination in shop design: Lightscan wallwashers focus the light on the upper third of the wall. Brilliant accent light-

ing for the products is provided by spotlights mounted on tracks.

One of the trends in shop lighting is to present products in the same manner as museums exhibits. The appropriate profes-

sional accent lighting is achieved through key light, fill light and back light.

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Tune the light the practice Event, drama, emotion

Light Clients on the DALI track Flexible lighting with spotlights on track is indispensable for event lighting. With DALI live ends, the ERCO track becomes a DALI track that allows ERCO Light Clients to be operated with DALI adapters.

DA DA 1 N PE

DALI data cable DALI data cable Circuit Neutral conductor Protected earth conductor

Events largely rely on the creative use of light and on the interaction with and between people. The lighting communicates the themes and motifs of the event and supports its production with a progressive sequence of scenes. Versatile, dynamic lighting can both conjure up details out of the magical darkness or veil rooms in light of changing colours to create an experience that evokes a state of fluidity. Individual lighting effects contrast with the surroundings and attract attention. This is light to observe", light which has no practical application, e.g. creating a grand entrance as an aesthetic spectacle, an emotional impact, able to captivate and astonish its audience. Atmosphere, traditionally created by means of chandeliers and candlelight, can now be produced by more modern means such as through the projection of patterns and pictures using gobos and stencils made of sheet metal or glass. With the introduction of varychrome luminaires and other individually addressable Light Clients in a Light System DALI installation, the transition between everyday and event lighting now becomes fluid. This is due to the change from the laborious setup of temporary show lighting to the establishment of different light scenes and light programs

in the Light Studio software. Compared to standard lighting, event lighting works with a more intense dramaturgy and colour mood to produce the desired effect and get it to unfold over a specific period of time. To create memorable experiences at events or at restaurants, the light must create the right atmosphere at the right time. Each element throughout the evening has its own light scenes to correspond with the activities of the occupants, i.e. the hosts and the guests: from light suitable for welcoming and becoming acquainted to light for listening, light for cocktails, light for the meal, and light for dancing and celebrating. Tune the light invites you to exercise this new, creative freedom using light to create constantly new, striking light sequences from a single technical infrastructure.

The Light Studio software spatially structures the quality of light in a timed progression.

ERCO track for DALI installation

The combination of coloured light and projection produces interesting and varied lighting effects. One approach is coloured background lighting with an overlay of white gobo patterns. Light at events is similar to stage lighting except that it does not separate the actors from the audience. The expression here is to ee and be seen.

With filters, the projections can also be in colour. By dimming the projectors, the light patterns can be made to appear or disappear.

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Tune the light the practice Event, drama, emotion

Light Studio: scene list A light scene defines the colour or dimmer settings of each light source in the room. For event lighting, the light scenes are designed to match the sequence of the event. The scene list in the Light Studio is used to organise light scenes. With appropriate names, the scenes can be sorted and arranged using the search function.

Dynamic effects with projectors: if several projectors are dimmed alternately, the appearance and disappearance of the patterns creates the impression of movement.

1 2

Projection effects with contour spotlights Stella contour spotlights with a projection lens produce a sharp-edged beam. The contour attachment (1) ensures a sharp projection of freely adjustable triangular and square shapes. The lens is focused by turning the lens holder ring (2). The version for QT12 100W low-voltage halogen lamps is also available as a Light Client with DALI adapter and can integrate dimmable projection effects into a Light System DALI environment.
Phase 1: Blue pattern Phase 2: Blue pattern + Magenta pattern Phase 3: Blue pattern + Magenta pattern + text

The holder for aperture masks and gobos is integrated into the contour attachment of the luminaire to avoid lateral spill light. Depending on the aperture masks supplied, the Stella contour spotlights have emission angles of 16, 22 and 26.

Light Studio: Light Timer The Light Timer allows numerous light scenes to be recalled automatically at predetermined times. The light scenes are assigned to specific sections of the event. These sections can be interpreted using many different light scenes for a short sequence or for a longer period. Cyclical events such as festive lighting at weekends or on specific weekdays can also ideally be controlled using the Light Timer.

Events require different light scenes throughout the evening. During a speech, the focus is placed on the speaker, the background is darkened for the video presentation.

During dinner, the coloured lighting of the walls creates an emotive atmosphere, while accent lighting on the tables accentuates the gastronomic delights. Subdued lighting with lighting effects in the background creates the right atmosphere for meetings and conversations and creates a suitable backdrop for an intimate setting.

Colour filters The classic method of creating coloured light is by using colour filters as attachments. Interference colour filters feature a relatively high transmission factor and a high colour density, due to the clear separation of the reflecting and transmitting spectral ranges. ERCO provides four standard colour filters as natural light colours for architectural lighting. These are derived from the colours of light found in nature: Amber for the sunrise, Sky Blue as the sky by day, Magenta for the sunset, and Night Blue for the night sky. Other filter colours can be custom-made on request.

The sharp-edged illumination of the picture surface makes the pictures appear to radiate from within, while the background remains dark. The distortion in the perspective which is due to the angle

of incidence of light can be corrected by the four blades in the framing attachments to achieve the precise shape required.

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Experiencing scenographic light worldwide ERCO showrooms and offices

Light in space The effect of light in space is difficult to put into words or pictures it needs to be experienced. For this, the ERCO showrooms provide ideal, flexible conditions (ERCO Netherlands, Naarden).

Lighting qualities Our wide range of luminaires addressable via lighting control equipment are ready for operation to allow the demonstration of subtle lighting qualities: such as a direct comparison between different types of wallwashers.

ERCO is a cosmopolitan, globally active company. ERCO showrooms and offices can be found in all major markets. Here, our welleducated, specially trained employees work as lighting advisors. This worldwide network ensures reliable service and competent, on-site support especially on international projects: from providing advice during the planning stage, tendering, sample supply and project planning to customer service and training. Consultant to the consultant this is how ERCO lighting advisors see their role in the building process: they provide professional support to designers in all matters relating to lighting technology and in each individual project phase. With case-related specialist information and customised product documentation they help customers to make the correct decision when selecting lighting equipment. The showrooms and offices provide ideal facilities for meetings during the project phase. Each has a mock-up section for sample and other product demonstrations. However, our ERCO service does not end with the on-schedule delivery of the required products: after switching on, our lighting advisors support customers both verbally 34 tune the light

and actively or with recommendations, advice and assistance in focusing luminaires. All our addresses are found at: www.erco.com/contact

Didactics Designer seminars provide information on the right use of our highly developed lighting equipment.

Events and seminars These turn ERCO showrooms into a meeting place for the local light and architecture scene: such as here at ERCO Poland in Warsaw.

Mock-up section The ERCO showrooms have the necessary infrastructure to explain the meaning of Tune the light: using all the qualities of light in time and space (ERCO Great Britain, London).

Project management The offices provide ideal facilities for project meetings: conference at ERCO Dubai.

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Experiencing light worldwide ERCO Addresses

Europe: Austria ERCO Leuchten GmbH Zweigniederlassung Wien Modecenter Str. 14/4.OG/BC 1030 Wien Austria Tel.: +43 1 798 8494 0 Fax: +43 1 798 8495 info.at@erco.com Belgium ERCO Lighting Belgium Bvba/sprl Leuvensesteenweg 369 bus 7 1932 Zaventem Belgium Tel.: +32 2 340 7220 Fax: +32 2 347 3882 info.be@erco.com Cyprus J. N. Christofides Trading Ltd. P.O. Box 21093 1c Kennedy Avenue 1501, Nicosia Cyprus Tel.: +357 22 813 043 Fax: +357 22 764 643 mail@jnc.com.cy Czech Republic ERCO Lighting Organizacni slozka Jana Masaryka 3/456 120 00 Praha 2 Czech Republic Tel.: +420 2 225 111 16 Fax: +420 2 225 217 12 info.cz@erco.com Bulgaria Croatia Lithuania Slovakia Slovenia see Czech Republic Denmark ERCO Lighting Vesterbrogade 136 C, st. 1620 Kbenhavn V Denmark Tel.: +45 33 21 80 60 Fax: +45 33 21 80 64 info.dk@erco.com Estonia see Finland Finland Oy HedTec Ab Lauttasaarentie 50 00 200 Helsinki Postilokero 110 00 201 Helsinki Finland Tel.: +358 9 682 881 Fax: +358 9 673 813 lighting@hedtec.fi

France ERCO Lumires Eurl 6ter, rue des Saints-Pres 75007 Paris France Groupe Paris-IIe de France Tel.: +33 1 44 77 84 71 Fax: +33 1 47 03 96 68 Groupe Rgions Tel.: +33 1 44 77 84 75 Fax: +33 1 49 27 06 48 Groupe Architecture Commerciale Tel.: +33 1 44 77 84 70 Fax: +33 1 44 77 84 84 info.fr@erco.com Germany ERCO Leuchten GmbH Postfach 2460 58505 Ldenscheid Brockhauser Weg 8082 58507 Ldenscheid Germany Tel.: +49 2351 551 100 Fax: +49 2351 551 603 info.de@erco.com Great Britain ERCO Lighting Ltd. 38 Dover Street London W1S 4NL Great Britain Tel.: +44 20 7408 0320 Fax: +44 20 7409 1530 info.uk@erco.com Greece Expo Ltd. Nimfeou Str. 20 & 24 11528 Athens Greece Tel.: +30 210 748 5560 Fax: +30 210 770 6342 Expo@compulink.gr Hungary ERCO Fnytechnika ERCO Leuchten GmbH Kereskedelmi Kpviselet Budapest Irnyi u. 1. mfsz. 2. 1056 Hungary Tel.: +36 1 266 0006 Fax: +36 1 266 0006 info.hu@erco.com Iceland see Sweden Ireland DesignLight Ireland Ltd. 289 Harolds Cross Road Dublin 6W Ireland Tel.: +353 1 496 6177 Fax: +353 1 496 6851 info@designlight.com Italy ERCO Illuminazione S.r.l. Via Vivaldi Residenza dell Orione 34 20080 Basiglio (Milano) Italy Tel.: +39 02 904 5031 Fax: +39 02 904 503 51/42 info.it@erco.com

Latvia Xcelsior stila grupa Muksalas Iela 42 Riga LV 1004 Latvia Tel.: +37 1 780 5233 Fax: +37 1 780 5231 xcelsior@xcelsior.lv Netherlands ERCO Lighting Nederland B.V. Gooimeer 13 1411 DE Naarden Netherlands Tel.: +31 35 699 1710 Fax: +31 35 694 6383 info.nl@erco.com Norway ERCO Belysning A.S. Industriveien 8 B 1473 Lrenskog Postboks 83 Ellingsrudsen 1006 Oslo Norway Tel.: +47 67 973 240 Fax: +47 67 973 244 info.no@erco.com Poland ERCO Leuchten GmbH. Sp. z o. o. Przedstawicielstwo w Polsce ul. Bialy Kamien 7 02-593 Warszawa Poland Tel.: +48 22 898 7845 Fax: +48 22 898 2939 info.pl@erco.com Portugal Omnicel Tcnicas de Iluminao, S.A. Rua Castilho, 57-5. Dto. 1250-068 Lisboa Portugal Tel.: +351 21 381 3080 Fax: +351 21 381 3090 omnicel.lx@omnicel.pt Romania SC. ProEnerg SRL Str. M. Kogalniceanu nr. 60/A. 410094 Oradea Romania Tel.: +40 259 447 163 Fax: +40 259 413 869 office@proenerg.ro Spain ERCO Iluminacin, S.A. c/ El Pl n 47 08750 Molins de Rei, Barcelona Spain Tel.: +34 93 680 1110 Fax: +34 93 680 0546 info.es@erco.com Delegacin Catalua c/ El Pl n 47 08750 Molins de Rei, Barcelona Spain Tel: +34 93 680 1244 Fax: +34 93 680 2624 info.barcelona@erco.com Delegacin Centro c/ Buen Suceso n 13 28008 Madrid Spain Tel.: +34 91 542 6954 Fax: +34 91 559 0965 info.madrid@erco.com

Sweden ERCO Lighting Birger Jarlsgatan 46 11429 Stockholm Sweden Tel.: + 46 8 545 044 30 Fax: + 46 8 545 044 39 info.se@erco.com Switzerland Neuco AG Wrzgrabenstrasse 5 8048 Zurich Switzerland Tel.: +41 44 437 3737 Fax: +41 44 437 3738 mail@neuco.ch Neuco SA 100, route de Cossonay 1008 Prilly Switzerland Tel.: +41 21 637 3000 Fax: +41 21 637 3003 mail.prilly@neuco.ch The Middle East: Dubai ERCO Lighting ERCO Leuchten GmbH Representative Office Dubai P.O. Box 62221 Dubai United Arab Emirates Tel.: +971 4 336 9798 Fax: +971 4 337 3746 info.ae@erco.com Bahrain Egypt India Jordan Kuwait Oman Qatar see Dubai Lebanon La Giralda Mme Curie Street Beirut-Lebanon P.O. Box 13-5554 Lebanon Tel.: +961 1 864 641 Fax: +961 1 867 353 lagirald@inco.com.lb Saudi Arabia Technolight P.O. Box 12679 Jeddah 21483 Saudi Arabia Tel.: +966 2 669 3241 Fax: +966 2 665 9664 jeddahbranch@ technolight-ksa.com United Arab Emirates M/S Scientechnic P.O. Box 325 Dubai United Arab Emirates Tel.: +971 4 66 6000 Fax: +971 4 66 6176 scitech@emirates.net.ae

Southeast Asia: Singapore ERCO Lighting ERCO Leuchten GmbH Representative Office (S.E.A.) 63a Club Street Singapore 069437 Singapore Tel.: +65 6 227 3768 Fax: +65 6 227 8768 info.sg@erco.com Brunei Indonesia Philippines Vietnam see Singapore Malaysia ERCO Lighting ERCO Leuchten GmbH Representative Office (K.L.) Level 40, Tower 2 Petronas Twin Tower Kuala Lumpur City Centre 50088 Kuala Lumpur Malaysia Tel.: +60 3 2168 4479 Fax: +60 3 4257 5950 info.my@erco.com Thailand Palicon Pro-Art Lighting Ltd. 58/3 Soi Prompak, Sukhumvit Road Klongton-Nua, Vadhana Bangkok 10110 Thailand Tel.: +662 382 1851 Fax: +662 382 1852 uwe@palicon.corp-th.com

East Asia: China ERCO Lighting ERCO Leuchten GmbH Representative Office Shanghai Rm 2015, Civil Aviation Center 18, Xin Jinqiao Road Pudong Shanghai 201206 P.R. China Tel.: +86 21 5030 5979 Fax: +86 21 5030 5879 info.cn@erco.com Architectural Lighting (HK) Ltd. 3/F. Shing Dao Industrial Building 232 Aberdeen Main Road Aberdeen, Hong Kong P.R. China Tel.: +85 2 287 022 88 Fax: +85 2 255 227 87 waal@williamartists.com Japan ERCO TOTO Ltd. Shibakoen ND Bldg. 2-5-10 Shiba Minato-ku Tokyo 105-0014 Japan Tel.: +81 3 5418 8230 Fax: +81 3 5418 8238 info.jp@erco.com Korea Altek Lighting Jungjin B/D, 619-2 Sinsa-Dong, Gangnam-Gu Seoul Korea Tel.: +82 2 512 7779 Fax: +82 2 512 4117 altek@altek.co.kr

Australia ERCO Lighting ERCO Leuchten GmbH Representative Office Australia 349 Pacific Highway North Sydney NSW 2060 Australia Tel.: +61 2 9004 8801 Fax: +61 2 9004 8805 info.au@erco.com New Zealand see Australia North America: USA ERCO Lighting Inc. 160 Raritan Center Parkway Suite 10 Edison, NJ 08837 USA Tel.: +1 732 225 8856 Fax: +1 732 225 8857 info.us@erco.com Canada Mexico see USA South America: Argentina ERCO Leuchten GmbH Oficina de Representacin Av. Alicia M. de Justo 2030, Of.202 1106 Buenos Aires Argentina Tel.: +54 11 431 314 00 Fax: +54 11 431 254 65 info.ar@erco.com Bolivia Brazil Chile Colombia Ecuador Paraguay Peru Uruguay Venezuela see Argentina

ERCO Head Office ERCO Leuchten GmbH Postfach 2460 58505 Ldenscheid Brockhauser Weg 8082 58507 Ldenscheid Germany Tel.: +49 2351 551 0 Fax: +49 2351 551 300 info@erco.com www.erco.com For our up-to-date address list, please visit www.erco.com

Our ERCO lighting experts in regional centres, offices and at partner companies are available in all major markets around the world.

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Art.-Nr. 1029172000 EN 04/2006