Light for Cities

Ulrike Brandi, Christoph Geissmar-Brandi

Lighting Design for Urban Spaces. A Handbook

Birkhauser - Publishers for Architecture

Basel· Boston· Berlin

Contents

Foreword
New light for urban spaces? 6
Introduction
Trip to the city 8

Process
Concept Development
Players and objectives 25
Survey, analysis and concept 26
Feasibility study and financing 27
Committees and public relations 28
Lighting tests 29
Concept implementation in stages 30
Lighting and design guide 30
Efficiency and Performance Profiles
Efficiency of new lighting systems: Prerequisites 32
"Lighting rnasterplan": Performance profile of a lighting designer 35
Implementation
From concept to design 38
Production information 38
Standard award of contract: Specification and invitation to tender 40
Alternatives to standard award of contract: Staggered contracts 41
Post installation: Alignment of luminaires and control 43
Standards and recommendations: Possibilities and limitations 45
"Light pollution": Avoidance strategies 46
Lamps and Luminaires
The right lamps for exterior lighting: Selection criteria 48
Luminaires, poles and attachment points: Requirements 50
Family of luminaires: Advantages 50
Luminaires as design elements: Prospects and potentials 52
Controlling urban light: Future prospects 53

2 Typology
Travelling by Car
Main roads and side streets 56
Bridges 59
Roundabouts 60
Traffic signs 63
Multi-storey car parks 64
Car parks 67
Petrol stations 68
Stop and go 71
 On Foot
Squares 72
Footpaths and sidewalks 75
Trees 76
Facades and illuminated advertising 79
Shop windows 80
Underground stations 83
Boulevards 84
Design Principles and Techniques 86
Lighting paths and facades: Design techniques 90

3 Completed Schemes
Boulevard: "BUrger" Bremerhaven 94
Historical Facade: Hamburg Town Hall 98
Shopping Centre: London - White City 102
Airport: Terminal II, Munich 106
Historical Town: Einbeck 110
Riverside Walk: Jungfernstieg, Hamburg 112
Fountains and Monuments: Schonbrunn, Vienna 116
Park: Negara Bank, Kuala Lumpur 118
Square: Thomaskirchhof, Leipzig 120
Temporary Light Installation: Gasometer, Oberhausen 122
Urban District: Zurich Affoltern 124
Small Town: Lemgo 128
Large City: Bremen 132
Large City: Luxembourg 138
New District: HafenCity Hamburg 142

4 Developments
Light and Shadow in the Public Realm: Past and Present 150

Appendix
Selective Bibliography 158
Imprint 168
New light for urban spaces?

Electric light has, since the beginning ofthe 20th century (in London around
1880) driven back the dark, and considerably changed the meaning ofthe night
in our cities. The daytime world was extended into an emerging nightlife that
held an inner attraction while being alluringly "dangerous". The illuminated
night breathed a new beauty into the cities with a special aura. Now, at the
beginning ofthe 21st century, we wonder about the character offuture public
light.
We need to analyse the existing light at the end ofthe 20th century as part of
the process ofdeveloping an appropriate concept. This essentially comprises
functional lighting and effect lighting - just as at the beginning of the century.
Street lighting and pedestrian lighting are mainly functional in design and pro-
duce most public light. For a long time, outdoor lighting systems were designed
by continually adding to the existing; new streets and buildings were con-
structed with more light. Technological progress ofthe networks, as well as
luminaires and lamps, has been going on for decades. More or less tightly knit
networks of"street lights" have developed over many years, their light now vis-
ible from space satellites. And conversely, "light pollution" prevents us from
seeing a truly dark sky in many places.
Effect lighting and event lighting is generally short-lived. It is most typically
found on lit facades, monuments or other "stages" that obviously could, and
still can, attract a lot ofpopular attention. The modern term for this type of
lighting is light installation, unintentionally describing the temporary and the-
atrical nature oflight. It is closely related to the illuminated advertising boards
that are an integral part ofall large cities.
Because we take street lighting at night for granted we tend to forget the extent
of the development with light that has taken place in the past 150 years.
The function ofinner cities on the one hand, and the sprawl ofcities into the
periphery or their conglomeration into regions, on the other hand, has been
controversially discussed in recent years - and continues to be a topic of discus-
sion. In Europe, city dwellers are putting a lot of effort into the restoration of
their once very attractive centres. The refurbishment oflighting systems and
the design ofnew light, mostly taking place in central urban areas, will always
play an important part. The various reasons for this will be discussed. There are
many prime examples, and a proportionately large number ofattempts to emu-
late these. An even larger number ofproposals are in the minds of responsible
investors, marketing people, advertising groups, public authorities, power sup-
pliers, supply industries and designers, residents and customers in the city. All
this can culminate in masterplans for public lighting which, apart from defining
general concepts, often put forward designs for specific urban districts. Alterna-
tively, a number ofseparate initiatives for good lighting are formed.

6
In the above context, this book serves as an actual guideline for better lighting
in urban streets, gardens, squares and buildings. Firstly, the design process lead-
ing to new lighting must be discussed. Technical knowledge about lighting sys-
tems for external areas and their control is the second aspect. Good solutions
for urban lighting require a creative imagination in order to rethink the medio-
cre and commonplace look oflight in the daytime and at night. At first it seems
banal. But it is precisely the everyday occurrence ofartificial light that requires
a small phenomenology with practical examples, and so the third field. Our
fourth approach attempts to enhance further the wealth ofideas. How to set out
on a new lighting design task is described as a narrative; our progress into the
city entering an every-increasing density. The bird's eye view from the plane
interchanges with the perspective of the pedestrian. A good design is not possi-
ble without looking in particular at the historical perspectives ofurban lighting,
and at artificial light in a cultural context; we briefly touch on this subject. The
appendix will entice the reader to delve deeper into the subject matter.

Ulrike Brandi
Christoph Geissmar-Brandi
September 2006
Introduction : Tr ip to the city

8
It is only with the benefit of light, after all, that urban spaces become accessible
at night. The symbiosis of light and its surroundings plays an essential role in
architecture, as well as in landscape design and urban planning.

In order to accurately connect different light situations with where they occur
in urban spaces, we will follow a fictional lighting designer who, after having
arrived on an airplane in the evening, drives into a city centre in the dark. This
thought model or design scenario is not related to any specific European city,
but is broadly transferable - in search of local equivalents.

9
lntrcd uction: Trip to the City
From the plane the passenger observes the city's sea oflights. He catches
a glimpse ofthe structure of the city passing from a bird's eye perspective:
a river around which the dense centre huddles, the transversals, sports fields
and petrol stations bright as daylight, dark parks and industrial areas. The trav-
eller sees the existing lights in the city laid out beneath him, in the configura-
tion ofa lighting masterplan. He recognises the light gradations and local light
hierarchies ofthe city he is now approaching.

10
Maybe he will see the runway identification lights close to the ground before
the plane reaches the apron, an extreme version ofthe relationship oflight-
space.

11
Introduction: Trip to the City
The apron is a space that bears no reference; essentially it is an area that is lit
uniformly and glare-free, from extremely high masts. The light on the airport
apron is almost more "mechanical" than the floodlight ofa stadium, bright and
colour television-compatible - a special public place. The apron is public too,
but people do not walk on it, it is only meant for rolling and manoeuvring. Ifhe
does not have to board a bus to get to the terminal building, he enters into a
"finger", a loveless metal shell that takes him to the gate. This is true ofall air-
ports and it is surprising that such design flaws have not yet been addressed by
anyone.

12
Escalators and moving walkways are always found in these passages. They are
generally brightly lit with light close to the ground, most typically with fluores-
cent lamps. Recessed lights in the steps provide glare-free light and attract the
attention of those moving up or down the stairs; often the light is reflected or
refracted in the hard glass ofthe handrail.

13
lr-troduction: Trip to the City
The interior spaces ofairports have a hybrid character in terms oflighting. The
habitually monotonous illumination ofits long corridors abruptly changes into
complex displays oflight technology as soon as the passenger reaches the shops
or enters the prestigious terminal area where the airlines present themselves.
So immediately on leaving the plane there is a marked contrast between the
well-tended ambience ofthe cabin and the subsequent space.

14
After his passage through the airport, our fictional lighting designer proceeds to
his hire car in the car park. The car park is similar to the connecting pier between
airplane and imposing airport building. Often only a door and several steps
connect high-quality interiors and the unimaginative car parks. These are gen-
erally diffusely and inadequately lit. The next space he encounters is the interior
ofthe car, greeting him with a whole array oflight gimmicks that fail, however,
to produce a pleasant light atmosphere. Car interiors, including the usage of
daylight, are the dinosaurs oflighting technology.

15
Introduction: Trip to the City
On leaving the car park, the headlights ofhis car produce a bright, clearly
defined field ofvision on the tarmac, offering a certain sense ofsecurity
within the immediate vicinity ofthe car.

16
The road leading into a city is generally lit across several lanes with bright and
uniform sodium-vapour lamps at a height ofapproximately twelve metres-
sufficient for driving. Urban sprawl extends along the roadside, with lone light
points or illuminated advertising panels placing single accents. After a while
suburbia begins. Here too, yellow-orange sodium-vapour lamps light the side
streets. But the mounting heights are lower; street illumination is irregular.

17
Introduction: Trip to the City
Diversity is now added to the lighting of the road, still wide at this point: the
mounting heights ofthe street lights are further reduced whilst the white flu-
orescent light emitted from the old lighting system presumably gives out the
necessar y brightness. Traffic lights with their colours now enter the picture;
and there are signals too . Footpaths lit from a height offour metres are supple-
mented by shop windows.

18
Some areas are lit disparately, such as pedestrian crossings, bus and tram stops
and underground stations. In addition to this, illuminated and backlit signage
appears. Generally, everything seems to be much brighter, but also more diffuse.

19
Introduction: Trip to the City
The car journey ends on driving into the concealed entrance to an under-
ground car park ofa central business hotel. After checking into the hotel, a stroll
through the city centre seems appropriate. The approach to the brightly lit
Town Hall Square is via a narrow and dark side street. Such encounters with the
urban squares ofParis were likened to entering a ballroom 130 years ago. The
facade of the Town Hall is lit from two masts and from the rooftops opposite.
Not many people are about in the square, although it is early evening. The trav-
eller wants to visit a restaurant in one of the nearby shopping streets - and all
on foot.

20
After striving to get his bearings, he passes a brightly lit pedestrian zone. All
the shops are closed, but their windows shine out. The zone is amply furnished
with signs and bollards, and advertising panels on the facades reach up to the
eaves. The lighting is not graspable - an unsatisfactory situation.

21
Introduction, Trip to the City
The traveller occupies a room at the top ofthe hotel. He no longer has an aerial
view of a sea oflights - but rather looks at the light horizon ofthe city. Does it
still have anything to offer?

22
The fictional journey into the city could have ended differently. However, it identi-
fies the essentials of the model, placing urban light in a special relationship to the
protagonist and the spaces surrounding him. Spaces through which everyone
must pass; urban space is defined by an enduring rite of passage: in this fiction-
al journey the traveller changes from car to aeroplane, from train to public trans-
port, and finally he walks. The fictional journey to the city is a model for readers
and designers. The model attempts to relate the changing environs of the trav-
eller through the eyes of a lighting designer. For this trip, everyday experiences
have been condensed into a comprehensible, short journey through the city's light
structures.

23
Introduction, Trip to the City
Proc
Concept Development
Integrated lighting concepts that take
street lighting and building illumination
into consideration strengthen the atmo-
sphere of a city.
Players and objectives
The terms lighting masterplan, urban lighting concept and plan lumiere were
newly coined in recent years in discussions about the future of (inner) cities;
today, as the practical planning processes] evolve, so do the definitions of these
terms. The players are urban planning departments, civil engineering depart-
ments, public utility companies and lighting designers whose projects are cities
and urban sites ofdifferent sizes, as well as exhibition spaces and leisure parks.
There is no preset course of action, as that defined by the Official Scale of Fees
for Services by Architects and Engineers (Honorarordnung fur Architekten und
Ingenieure HOAI) for the planning and construction ofbuildings, and so the
parties involved must work out their own joint strategy. The initiative in these
instances is usually taken by urban planning departments or entrepreneurs,
often in response to pre-existing pressures: the public space has been criticised
as being unattractive and "people are staying away". By the time the involved
parties choose to employ "light" as a design element, they have already reached
a number ofbasic insights, which will then lead to the commissioning ofa
lighting masterplan or individual lighting projects.
- New lighting on streets and squares creates visual impact and is therefore
a promising course ofaction.
- Existing systems are out of date or at the end of their economic life and need
to be replaced.
- Compared to other engineering and infrastructural projects such as the
redevelopment ofstreets and squares, lighting improvements are among
the most cost-efficient and sustainable measures. The probability of realis-
ing these improvements is therefore comparatively high and the long-term
investments are profitable within a relatively short time span. Savings are
gained by low power consumption and shorter maintenance intervals for the
replacement oflamps.
- Working with a comparatively large number of consultants, who often have
diverging interests, requires extensive coordination and management. If pro-
posals for positioning poles and overhead wiring include locations on pri-
vate property, they must be submitted for permission. The "tastes" ofindi-
vidual business owners are diverse. A consistent design can therefore only
be realised if consensus is reached with regard to integration into a specific
scheme. Just one person not willing to cooperate can seriously upset the
design process. On the other hand, consensus can bring swift improvements
to the appearance of a street at night and have a positive effect on business.
1 Recommended as a primer on the topic, chiefly In relation to Europe: Klaus Selle (Ed.). Was ist los mit den offentl.chen Raumen?
Analysen, Positioren. Konzepte, second edition, Aachen, Dortmund, Hanover 2003, distributed by Dortmunder Vertrieb fur Bau-
und Planungsilteratur
25
Survey, analysis and concept

Once the desire for change has been acknowledged, the search for a sustainable
concept can commence. A lighting designer, who has the relevant experience
and is able to show design examples from other cities, could spark offinitial
thoughts and ideas and be invited to give a lecture. The information contained
in the lecture may provide the material for identifying sites from which the
brieffor a concept can be formulated.

1) Concept stage:
The circle ofdecision makers should be limited to the initiators, or better
still, their representatives. Experience has shown that it is difficult to achieve
results if too many people are involved in the decision-making process at the
concept stage. One reason is the broad range of expectations associated with
"different" light. It is difficult to theoretically "consider" light in advance and Aerial view of Marktplatz Leipzig, The
lighting concept embraces surround-
also to imagine its effect. Once a sustainable concept has been devised, it is
ing areas.
usually persuasive enough to reach the required consensus in favour ofrede-
velopment. The concept stage is the best time to determine who should be
the short-term or permanent client of the job and be in charge ofco-ordina-
tion, independent ofthe available funds at this point.
+
2) Commissioning the concept:
The procedure for appointing a consultant depends on the client's regula-
tions. Public agencies can circumvent the constraints ofbudgets and public
procurement laws and obtain greater freedom in the commissioning of con-
tracts; private clients can generally formulate their own competition terms.
In addition, there are standard competitions conducted according to profes-
sionallaws for architects and landscape architects. These consultants will
then join forces with lighting designers to form competition teams. This
option will inevitably broaden the scope ofthe task, diminishing the advan-
tages ofa complete focus on "new light': On the other hand, such collabora-
tions do make an integrated approach possible in the first place. To achieve
good results, the design ofa concept should be by external appointment,
since the know-how ofexperts at local authorities or operating companies
is generally required to focus on existing situations and ongoing operations.
Innovation, the ''big hit", must come from "outside", possibly from another
city or a different country.
However, there are few lighting design practices that are able to handle the
design - in terms ofquality, precision and long-term perspectives - oflarge,
expansive open spaces or entire city centres. Such design tasks require many
years of experience and versatile practical skills. Since this is not part of

26

The alignment of the undergroun d sta-
tio n beneath the market and the histori -
cal diamond-shaped paving pattern in the
square deter mine the location of the tall
li ghtin g masts.
,, , , of the site .This is generally found below ground: the many existing service runs
professional training programmes, consultants possessing the necessary
expertise are rare.
3) Fee:
The fee for a masterplan is negotiable, as the existing fee scales do not cov-
er the relevant performance profile. Time and good local knowledge are
required for the compilation ofa convincing masterplan. It is not therefore
advisable to radically reduce the consultants' input. Commissioning the
work in stages is recommended. One of the advantages of a lighting master-
plan is that it deals with only one "trade" in isolation and can therefore utilise
and fully exploit all effects and potentials of the light medium.
Feasibility studies and financing
Once a concept has been formulated, it is advisable to conduct a feasibility
study.All facets of realisation are examined, and the study will then set out to
describe and evaluate the details that would follow after the project has been
implemented. A feasibility study is thus an ideal instrument for raising the nec-
essary funds. It may state the relevant criteria for public subsidies, contain actu-
al commitment of budget funds or help private investors to find appropriate
commercial real estate and open space.
A study on new lighting for public spaces will analyse the impact on neighbour-
ing buildings, engineering structures, traffic and, finally, on the open space. It
will compare the existing situation with future scenarios (possibly planned in
several construction phases) and evaluate the advantages and disadvantages of
the proposal. The description of the existing situation will include the past use
(electricity, gas, water, telephone and other services), inspection chambers,
subsoil conditions, alongside the question oflong-established property and
ownership rights must be considered. The study will also address compliance
with rules, standards, orders, regulations and by-laws.
In an interdisciplinary and comprehensive manner, each ofthe appointed con-
sultants will illustrate the impact of the proposed light on every specific area,
taking individual interests into consideration. Neighbouring buildings may
be shown in a new light. Bridges, access and egress to underground stations
may require new "light connections".Traffic flow for cars, bicycles and pedes-
trians may be aligned along entirely new routes, if the budget will allow for it
- and thus require different light. Finally, the feasibility study must address
the chang es proposed for streets and squares, planting, proposed materials, a
change in colour and street furn iture, and how these affect the new lighting
27
Process: Concept Development
Neumarkt Dresden: The Frauenkirche is
free-standir g in the square; traditional
low lighting poles blend in with the sur-
rounding facades.
28
scheme. Details ofwhat exactly needs to be included in the study depend on the
specific site, just like the entire planning process.
Currently, a number ofnew build-operate-transfer (BOT) models are being
developed, aimed at competition in the power supply market. Since public
lighting uses a constant amount ofpower during the night, when utilisation of
power stations is low, it is attractive for power suppliers to enter into this com-
petition. Such long-term contracts guarantee continuous and constant utilisa-
tion, with easily forecasted and contractually fixed values.
Committees and public relations
Public administration committees and indeed the public itself can only be won
over with the triad of "urban lighting concept"- "feasibility study" - "financing".
The professionally prepared service proposal turns into a political issue. It is
now up to the confident clients to act. To what extent quick results and imple-
mentation are achieved varies from case to case, depending on individuals and
political constellations, and the question ofservices previously rendered.
Consultants can lend support and promote their concepts. The process may be
time-consuming - as will the process ofthe subsequent lighting tests - and may
lead to "repetition" in mediation efforts.
 Lighting tests

Lighting tests are very time-consuming procedures intended to demonstrate

the desired effects ofa lighting scheme. However, unlike computer simulations
and other costly methods, they have proven their worth and are an indispens-
able professional tool. These tests complement the feasibility study with a prac-
tical demonstration of a pilot project, during the detailed design stage for the
execution or later.
They are therefore not part of the design stage. On-site lighting tests sharpen
the awareness of the parties involved; they not only demonstrate the desired
light effect, but also show the urban space in the dark with the existing lights.
During a lighting test, committee members frequently comment that they had
never before noticed certain aspect of their cities - including especially attrac-
tive ones.
It is interesting to examine light situations from a distance and from up close, to
explore the boundaries oftechnical feasibility and to select the optimum solu-
tion.
Manufacturers ofluminaires - who provide the samples - and technicians or
installation firms are involved at this stage. They position the luminaires to be
tested and put them into operation. The sampling process provides an opportu-
nity to establish first contacts with potential firms that may be invited to work
on the project; these contacts often prove to be extremely informative as there
are many regional differences throughout Europe.
Lighting tests must be budgeted separately. Suppliers receive payment, the con-
sultants a fee. Their work, which frequently requires extensive input, can only
be planned at short notice.

Marktplatz Leipzig: Lighting tests for a

lighting pole prototype in a blizzard

29
Process: Concept Development
 The cost ofexterior luminaires, including poles and installation, is between
4000- 6 000 euro, sometimes even more. This is tenfold the costs ofinterior
lighting, calculated per luminaire.
Although exterior luminaires are generally intended to "stay for good", the
effort expended for transportation, installation and aligning them is compara-
tively high, given the fact that this is merely a non-binding sampling scenario.

Concept implementation in stages

Investment costs for large-scale new lighting systems are generally too high to
be implemented in the short-term. Hence, it makes sense to plan their imple-
mentation in stages, and to take the life cycles of existing lighting systems
into consideration. It remains a time-consuming endeavour which cannot be
achieved in a day. Depending on the project brief, and subject to budgets and
available finances , it is not uncommon that the time-span for implementation
ofa masterplan ranges from five to ten years. Naturally, it is easier to obtain a
consensus among the parties involved for a smaller, more clearly defined urban
site . Projects that extend over such lengthy periods of time require clients who
possess sufficient determination and will to follow the job through to imple-
mentation. Independent consultants cannot influence future decisions. Hence,
the success oflighting masterplans strongly depends on the continuity and per-
severance of the parties involved.

Lighting and design guide

The lighting masterplan summarises and illustrates the overall lighting concept
for a city. It provides structure and exemplifies the intentions of the lighting
designer in a series of drawings and diagrams. It establishes classifications, sets
up rules and allocates space for the light image ofthe city.
A "lighting and design guide" is a powerful tool that can be used in conjunction
with the masterplan. While such a guide does not furnish a plan description in
the traditional sense, it does formulate clear rules for the implementation of
the plan and for the correct use of the existing ambient lighting in the future. At
present, few cities have such lighting and design guides; some do regulate the
lighting for advertising panels, and others draw on the regulations for building
conservation.
The finished plans are only available to a select group ofpeople and read by
even fewer. The prerequisites for the plan frequently undergo changes over the
course of time. Drafting a clear, concise text composed in the style ofstatutes is

30
 therefore a useful measure and also helps municipal authorities to implement
the formulated goals.
To facilitate the success oflong-term design concepts, overarching "guidelines"
may be formulated for large projects. These are drawn up at an early stage and
supersede the masterplan conceived by the specialist consultants. The objective
oflighting and design guides is to commit individual specialist consultants to a
set of overriding rules in order to achieve an homogeneous overall appearance.
A masterplan, and for larger projects a lighting and design guide, which is bind-
ing to all specialist consultants should be an integral part of the contracts.

The lighting concept for the City of

Hamburg shows important buildings
and squares as well as the ramparts.

31
Process: Concept Development
Efficiency and Performance Profiles

Efficiency of new lighting systems: Prerequisites

New lighting systems may become profitable within a short period of time.
The initial job costing can be split into investment costs and operating costs .

1) Investments: What needs to be bought?

For a system that is designed for a lifespan of15-20years, sometimes 30 years,
the investor or the city or the municipality requires:
- a lighting scheme,
new luminaires, including lamp s and pole s,
their supply, fitting and putting into operation.
Presumably the city or municipality has high operating costs it wants to avoid .
Hence :

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

To achieve this, the city needs to obtain good offers for the supply of power and
for operation and maintenance or for both from one source (facility manage-
ment by the power company).

Total annual
L- No.tquantity) t-No.rquantity) L-No.(quantity) t -No.rquantl ty ) L-No. tquantity) L-No.tquantity ) costs
Lamps (euro)
Luminaires (euro) 0.00 0.00 000 0.00 0.00 0.00
Total installation costs (euro)
Operating costs tor 6 years (euro) 0.00 0.0 0 0.00 0.00 0.00 0.00

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

Burn lime/ day. summer. B months (hours) 0 00 0.00 0.00 0.00 000 0.00
Average burn time (annual hour s)

Lamp life approx. (hours) 0.00 0.00 000 0.00 0 .00 0.00
Power absorpti on incl. ballast {kW}
Lamp replacement interv als (years) 0.0 0.0 0.0 0.0 0.0 0.0

Eleclr icity costs 1st year reuro)

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

Electr icity costs 2nd year (euro)

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

Electr icity costs 3rd year (euro)

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

Electrici ty costs 4th year (euro)

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

Elect ricity costs 51h year (eur o)

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

Electr icity costs 6th year (euro)

Lamp replacemen t costs (euro ) 0.00 0 00 0.00 0.00 0.00 0.00

Total electricity costs for 6 years (euro)

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

Lamp replacement 10 min/luminaire 10 min/lum inaire 10 min/luminaire 10 min/luminaire 10 min/ luminaire 10 min/luminaire
Cost man-h our (euro) 0.0 0 0.00 000 0. 00 0.0 0 0.00
Average total annual costs (euro )

32
Operating costs for new systems may be much lower. This is due to :
- longer intervals between the replacement oflamps, and the resultant
- longer maintenance intervals,
- substantially reduced power consumption through efficient lamps.
A significant cost reduction would be generated by longer maintenance inter-
vals, immediately reflected in lower annual operating costs. In addition to the
reduced operating costs, the city as investor, acting either in the private or in the
public sector, would benefit from:
- excellent, contemporary lighting in the public realm,
- which improves the appeal ofareas slated for redevelopment,
- and thus creates a better environment for living and for conducting busi -
ness .
Anticipated costs can be estimated on the basis of the above information. The
operating costs ofthe existing system will be known to the present operating
company; those of the new system are easy to compute.
The consultants will submit estimates for the necessary investment and operat-
ing costs. These are based on experience values that appl y to areas or street net-
works.
More complex is the comparison between different lighting systems because
their performance will vary. The generally accepted method (see above) is to
put a figure on the quantity oflightutilised (lumen in lighting hours) and off-
set it against the cost. This does no t reflect benefits derived from light quality
and indirect positive effects, but at least one is equipped with some quantifiable
information.
It is also worthwhile to obtain advice on alternative financing models, espe -
cially from pos sible prospective power suppliers. These companies benefit from
a number ofadvantages. They generally accrue substantial reserves and have
liquidity. It is in their interest to deliver a constant quantity of power over a long
period of time, making plant utilisation easily calculable and enabling them to
offer competitive prices on the open market. Consequently, power companies
can m ake long-term investments into their own local markets and thus secur e a
definite sale.
One ofthe difficulties for cities and municipalities is that public urban lighting
is not paramount for power companies within the context of the total power
demand. Also plants work below capacity at night and thus are expensive. It is a
political issue whether national and cheaper suppliers should better utilise their
available capacities, or whether local suppliers should make the most of their
expensive night hours.
Accurate financing options can only be calculated for specific projects.

33
Process: Efficiency and Per form ance Profiles
This plans shows the existing luminaires
in different colours in the City of Hano-
ver in 2001.

34
"Lighting masterplan": Performance profile of a lighting designer

There is no generally binding performance profile. The first stage ofthe per-
formance profile should comprise the design of a lighting concept, the second
stage a description ofservices during implementation.
Here is a possible performance profile for the first stage:

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

- The lighting masterplan describes the lighting concept for the site.
- The lighting masterplan sets guidelines for the illumination ofa city,
it identifies local features and links light themes.
Apart from design proposals, the lighting masterplan will also include
information on technical and economic aspects.

2) Design services and deliverables of the lighting masterplan:

- Site survey: the survey ofthe existing light situation is conducted with
the help ofthe statutory authorities. It forms the basis ofall subsequent
design work. Preliminary time schedules and first design ideas are formu-
lated.
- Design ofthe masterplan: definition ofprinciples for the different spaces
(function and scale) ofroads, squares and facades in order to develop
a homogenous scheme, also suitable for incremental implementation.
A good working knowledge ofthe site is essential and helps in the identifi-
cation ofits special features.
- The greater the detail ofthe guiding principles - incorporating aspects
such as light colour, illuminance, etc. - the more unified the final overall
scheme will be. Matters ofsafety, efficiency, sustainability and future-ori-
ented technology should also be considered
- Lighting design guide for the masterplan: the lighting design guide estab-
lishes the rules for the site. It contains precise descriptions ofthe propos-
als for the site areas, including all necessary information (lamps, lumi-
naires, etc.). Close collaboration with the city and other consultants is of
utmost importance during this stage.

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

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

Finalising the proposals: illustrating the lighting design guide with CAD
drawings, precise specification ofluminaires and lamps, compiling quan-
tities and costs. Generally this step relates to specific site areas because

35
Process, Efficiency and Performance Profiles
 implementation will be incremental, possibly extending over several
years.
- Lighting test: lighting tests are a trial run ofthe lighting design in a specific
part ofthe site. They provide an impression ofthe effect ofthe proposed
light on the actual site. It is standard practice to quote for lighting tests for
two typical areas.

Special services:
- Contributions to publicity work, for example appearance at press confe-
rences, lectures, interviews,
- visualisations,
- computer models or simulations,
- economic efficiency calculations of the proposed systems,
- design services for custom-made luminaires.

3) Fees:
- The fees are based on experience values obtained from similar projects ofa
comparable size. They are calculated as a lump sum.
- Fee proposals also include hourly rates and daily rates. These serve as the
basis on which special services are charged, should the client require these
(for example repeated presentations, additional lighting tests, etc.).
- Services for "design" may be charged according to the Official Scale ofFees
for Services by Architects and Engineers (HOAI).

36
Competition entry for the City of Regens-
burg: The available budget allows for a
competition and first pilot projects.

37
Process: Efficiency and Performance Profiles
Implementation

From concept to design

The design provides detailed information on the various lighting themes. These
may include a hierarchy ofstreets and paths, spatial appearance ofsquares, light
falling onto and reflected offfacades, the integration ofparks and the treatment
ofoutstanding buildings, as well as the appearance from afar and from up close.
Any further course ofaction depends on whether the proposal is for a new sys-
tem as part ofa new development (such as a leisure park), or whether an existing
site is being redeveloped. The fate of the project will be determined (internally)
by the degree to which the design intention and detail could be defended at the
design stage, and later during implementation, concurrently and interdepend-
ently with regard to:
- design, composition
- cost
- technology
and finally, at the
- initial operation and implementation stage,
a step that follows project execution, but is founded in the design. Since light-
ing design proposals are not self-contained, but tend to continue over longer
periods, it may be advantageous for the success of the project if the consultant is
retained beyond the point of completion and into the initial operational phase.
Implementing the ideas from design, costs and preparation ofproduction infor-
mation through to the technical aspects and bringing the system into opera-
tional use in a detailed and concurrent manner is difficult in practice and success
depends on the quality ofthe appointed firms. Still, this is the approach most
likely to achieve a successful outcome. The common practice of outsourcing
tasks such as project management and cost control frequently results in grave
errors. "Project managers" generally lack specific knowledge oflighting design
and the related organisational matters often exceed their skills.

Production information

Detailed drawings of exterior lighting specify the precise positions oflumi-

naires. They state the exact number, the selected luminaire type (often specify-
ing a manufacturer) and the light colour, as well as technical requirements such
as control units and ballast. This information is the basis for tendering or order-
ing products, and includes their subsequent installation.

38
 Plans for Whit e City

39
Process: Implementation
 Producing these detailed CAD-generated drawings is a complex task because
the plans need to be translated into a smaller scale down to the last detail. Pos-
sible outlets and mounting positions are an important point of reference during
this design stage. Entirely new lighting systems generally require plans drawn
from scratch. It is not uncommon, however, to work with existing site plans and
to "im provise".
Provided that all parties are in agreement and do not lose sight ofthe techni-
cal requirements for the proposed light, this method may also produce good
results. Once again , local characteristics, the willingness ofthose involved to
communicate and the scope ofthe consultant's commission are critical factors
for the quality of the schem e. The subsequ en t sampling plays a vital role in this.
Should there be a breakdown in communication, there is a risk that high-qual-
ity products and services for which tenders have alread y been issued may be
exchanged for supposedly cheaper technology, and that the entire process
will come to a halt. The end result would be a poorly executed exterior light-
ing scheme. This should be avoided on all accounts, especially at this advanced
stage in the design process.

Standard award of contract: Specification and invitation to tender

The software that is currently used usually extrapolates the number oflamps,
luminaires and technical equipment required for the specifications directly
from the detailed drawings. Consequently, every undetected mistake in the
detailed drawings entails a later addendum to the specification and thus a pos-
sible conflict.
Before the specifications are compiled one needs to make sure that all draw-
ings have been approved by all parties, and that everyone has added their bind-
ing information to drawings ofthe same issue. The interface between the servi-
ces provided by consultants such as landscape architects, electrical engineers,
lighting designers and project managers, must be precisely defined at this point.
Every luminaire, including technical equipment and pole s or mounting, must
be described in detail. Manufacturers provide the relevant descriptions which
need to be carefully checked by the lighting designer. Drawings and tender doc-
umentation must be consistent.
The tender documentation, including the specifications, will contain prelimi-
naries describing all tender conditions. These must be counter-signed by the
tenderer.

40
 The transfer of data to the tenderer (and his submission) takes place via default
LN 03 digital interfaces. Once the contract has been awarded, construction may com-
mence.
ERCO Tesis Bodeneinbauleuchte

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

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

If, however, the implementation ofthe masterplan is to take several years, as is
the case in many cities, it does not make sense to continually revise the specifi-
cations ofthe luminaires selected for the masterplan, or to repeatedly re-spec-
ify in conjunction with other urban lighting measures. The plan will comprise
a catalogue ofluminaires (commonly preceded by sampling) or at least define
luminaire types - a selection of ten to 20 different types ofluminaires is reason-
able. Tender negotiations may be held directly with the manufacturers. As with
standard tendering, it is advisable to be well prepared. These meetings are time-
ERCO consuming because ofthe complex calculations involved and because staggered
contracts are generally a challenge to manufacturers.
It has become customary - as for the "standard award ofcontract" - to keep the
contract for the supply ofthe luminaires by manufacturers or wholesalers sepa-
rate from the fitting or installation contract. It may be in the interest ofthe cli-
floodlight 75
HIT-DE 70W
ent (especially if this is a city) to involve local firms; sometimes the investor
hopes for price advantages. One recurring problem is the "gap" on the building
site. Luminaire suppliers and installation firms have separate contracts with the
client for isolated services, lacking a common goal. The liability for the supply
ofluminaires ends at delivery. All problems, such as theft, additional delivery
or false information are at the expense ofinstallation or down to the client.
As a result, a smooth execution ofworks is a rare occurrence. Itis thus recom-
mended to supply and fit from one source; also to stagger payments prior to
completion in line with progress, leaving the final payment until after the
~~P'56 .~~,*"*,,boooldull~
proj ect has been completed.
~~:-~-r~~~~
="'IlrCI\-",... ~t'tMtMIpIl,IQ"''''''~ ,fIM·,,",,.

R..--. :MO

. 'tt"V'; . •• ~-
"Y' \; : :: : : '~
'\ .. tI , ••

igu zzini

Data sheets for specific luminaires

41
Process: ImplementatIOn
42
 Post installation: Alignment of luminaires and control

Two important tasks remain: the time-consuming alignment ofluminaires

(if this could not be carried out as part ofthe installation) and the possible pro-
gramming ofcontrols. Supervision is part ofthe lighting designer's services, as
it is immediately relevant to his design. Both tasks are time-consuming because
they have to be carried out at night. Cherry pickers (access platforms) and
skilled electricians are needed for the alignment ofspotlights. The program-
ming ofcontrols should be done in consultation with manufacturers' experts,
as no control works at first attempt.
Since the control system will work throughout the night, it must be tested for
the full length ofits operating time and possibly re-tested after a successful trial
run. Following this, the system is operational. Now it is up to the client to
utilise and publicise it. He holds onto aspirations ofusers enjoying the public
space, ofbringing out the poetry of the place and of the operators drawing
benefit from the good performance ofthe new technology.

Existing pattern and picturesque Park islands and footpaths Redevelopment and new light
situations in Wallring arrangements

mounting height 10 m approx..
colour temperature neutral to
warm white
mounting height 4-7 m
approx.. colour temperature
warm white
facade lighting. colour
temperature warm white
light accents as orientation
points. colour temperature
warm white
park paths. low mounting
heights. colour temperature
neutral white
trees in moonlight. colour
temperature neutral white
transitional zones Wallring
lighting of edges greenish/bluish
new arrangementof green
spaces. temporary - possibly
coloured
lighting design of new
squares
light attractions buildings/squares.
temporary - possibly coloured or dif-
ferentiated white

Masterplan Oldenburg: The masterplan

illustrates the overall lighting concept for
the city; individual projects may be imple-
mented consecutively.

43
Process: Implementation
Urban situation of the new
Mercedes Benz Museum in
Stuttgart

44
Standards and recommendations: Possibilities and limitations

It is obvious that lighting systems have always been ofpractical benefit: they
offer orientation and safety in the dark. The illuminance required for lighting a
variety ofareas is defined in standards, and is easily calculated. While adhering
to these rules is not necessarily a technical problem, they often present a chal-
lenge to the aesthetics ofa scheme. Standards are almost exclusively concerned
with calculating the levels ofbrightness and the uniform distribution or emis-
sion oflight. Standards are quantitative and cannot address qualitative aspects
ofexterior lighting; they are merely recommendations.
Since standards were primarily developed for road traffic safety, they are largely
based on visibility studies for drivers and only rarely on information relating
to pedestrians. First and foremost, the objective is to integrate urban lighting of
streets, squares and facades into a harmonious whole.
For clients and consultants, standards and recommendations only become
relevant in cases ofliability disputes. Courts oflaw rule and abide by the cur-
rent standards of available technology and, in case of doubt, may take the val-
ues quoted in the standards as authoritative. As a matter ofprinciple, standards
should be considered at the onset ofa proj ect and discussed with the client.
They are part of the trade. If the client or the designer should find the standard
a "hindrance" to the specific design intent - it would produce the wrong result,
for example, or it might not accurately reflect the situation - they can come to a
(written) understanding and jointly develop alternative solutions. Some cities
deliberately disregard standards to save power and cut costs by reducing light-
ing points or switching lights off for the night or during parts of the night.

45
Process: Implementation
 "Light pollution": Avoidance strategies

The fact that new lighting systems "can do more" than old systems is due to
innovations, mainly in lamp technology, and increased knowledge ofthe influ-
ence oflight on the immediate surroundings or the environment as a whole.
One important objective is to avoid light pollution. Many ofthe old devices
are insufficiently glare-reduced and have no reflectors or bad ones. Often their
light shines in all directions resulting in "stray light". The most common exam-
ple is the globe luminaire, extremely popular over a long period of time for its
restrained design. But even they shine against the sky. In many regions of the
world, bright light fog impedes on the view of the night sky. The International
Dark-Sky Association (IDA) was founded in 1988 to promote the protection of
the night sky and fight against light pollution. We are all familiar with satellite
images ofthe Earth dotted with glowing urban conglomerates. Contemporary
light is directional and cut off"towards the top", preventing the loss oflight and
of power.
High-quality light will also be glare-reduced, to the greatest possible extent.
Although anti-glare devices reduce the efficiency ofa luminaire, this is a small
price to pay for directional light that is nearly glare-free. Acceptance ofnew sys-
tems is almost always compromised by the presence (or the perceived presence)
ofglare.
Hence, it is important to find the optimal balance between the desired light
effect upon surfaces, elevations or objects on the one hand, and acceptable,
albeit minimal glare from as few directions as possible on the other hand.
This also applies to light immission. It occurs, for example, when private
spaces such as front gardens or facades are lit too brightly from public light
sources, causing more light to fall into a home.
Non-directional light or light causing glare is one ofthe main reasons for the
poor quality oflight in our cities today (exacerbated by the longevity ofthe
lighting systems). From this perspective, better light is not a question ofideas
or temporary installations, but one ofindependent designs combined with
the skilled application oftechnical innovations. To appreciate this, we need to
recognise that less light is often better than more.

46
Light emission in Europe and the result-
ant invisibility of the stars

47
Process, Implementa tion
Lamps and Luminaires

The right lamps for exterior lighting: Selection criteria

Lamps form the heart ofa lighting concept. Their technical properties have a
marked impact on the light ambience; they emit brilliant or soft light, cold or
warm, strongly demarcating or diffusely flowing light. The light they cast has
different colour temperatures (warm white up to 3300 degrees Kelvin; neutral
white 3300 to 5 000 Kelvin; daylight white above 5 000 Kelvin) and different
colour rendition indices (Ra).
Lamps also determine the functionality of the entire lighting system: a group
offluorescent lights may be switched on instantaneously, whereas the various
metal vapour lamps require some time to reach the operating luminous flux,
especially on hot re-ignition.
Lighting systems are attractive only as long as they work; the economic life of
lamps plays a significant role in this. The longer the life, the greater the chance
oflamps being replaced at the right time, and the less labour-intensive and
costly are maintenance operations. Many German cities are currently trying to
extend maintenance intervals for street lighting from two to four years.
To a large extent the lamps employed determine the operating efficiency of
lighting systems, not just in terms ofinvestment costs (fluorescent lamps cost a
fraction ofmetal-vapour lamps), but also in terms ofproduct life and luminous
efficacy.The output oflow-pressure sodium-vapour lamps (often seen above
pedestrian crossings, in a monochrome yellow light) is approximately 100-180
lumen/watt, a fluorescent lamp approximately 80-100 lumen/watt (but with
white light) and a tungsten halogen lamp approximately 15-22 lumen/watt.
(This is why they are hardly ever specified in public lighting schemes).
There is a conflict between the efficiency and the quality oflight emitted by a
lamp: the better the light quality (essentially the colour rendition and the col-
our temperature), the lower the luminous efficacy.Finding the right balance
between these opposites is one ofthe goals ofgood lighting.
Lamps also influence the design ofthe luminaire. Their shape and size deter-
mine the luminaire head - all lamps used in the public domain require control
gear that needs to be accommodated in addition.

48
Outdoor lamps:

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

Tabular fluorescent lamps

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

Compact fluorescent lamps

2 2-tube lamp 18 - 57 1,200 - 4,800 67 - 88 18 WW, nw
3 2-,4- and 6-tube lamp 5 - 57 250 - 4,300 50 - 75 18 WW, nw

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

High-pressure sodium lamp

5 with double burner 50 - 400 4,000 - 55,000 80 - 138 4 ww
6 with T-cap 35 - 100 1,300 - 5,000 39 - 52 18 ww
7 with xenon 50 - 80 3,600 - 6,000 72 - 75 3 ww
8 tubular 35 - 1,000 1,800 - 130.000 51 - 130 4 ww

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

Metal halide lamps

10 tubular (without illustration) 250 - 2,000 20,000 - 200,000 69 - 100 lA,18 nw, tw
11 with T-cap 35 - 150 3,400 - 14,000 87 - 95 18 ww
12 douple capped 70 - 400 6,300 - 36,0000 90 - 91 18 ww

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

Lamps (not to scale)

1 Three-band phosphor fluorescent lamp

2 Compact fluorescent lamp
3 Compact fluorescent lamp
4 Mercury-vapour lamp
5 High-pressure sodium lamp, with double burner
6 High-pressure sodium lamp with T-caps
7 High-pressure sodium lamp, with xenon
8 High-pressure sodium lamp, tubular
9 Low-pressure sodium-vapour lamp
11 Metal halide lamp
12 Metal halide lamp, double capped
13 LED

49
Process: Lamps and Luminaires
 Luminaires, poles and attachment points: Requirements

The term "luminaire" originated in the field ofartificial lighting and is imprecise
in the context ofurban light. When the term luminaire is employed for external
applications supported on a pole or suspended, it frequently denotes the lumi-
naire head alone. On the other hand, the "fasteners" always present a challenge
for innovative solutions during the planning processes: although inconspicu-
ous from a technical perspective, these components are essential and must be
distributed correctly. How and where can new luminaires best be mounted?
This question relates to power outlets, that is, places where electricity is read-
ilyavailable. Often these are not where they are needed for the new system.
A decision must be made on whether to re-position existing poles and over-
head wiring and the predetermined mounting heights, distances and main-
tenance schedules, or whether a compromise with regard to positioning and
attachments for the next 20 years would ultimately be more sensible. The latter
choice does, however, go hand in hand with a technically less than ideal lighting
solution.
While the range ofavailable luminaire heads is wide, there is little variation
in the selection ofpoles on the market, which are frequently mass-produced
standardised products without notable aesthetic qualities. With the exception
of historicising models, the common approach of contemporary solutions is to
make objects in the public realm as inconspicuous as possible.
Some designs ofrecent years seem to forgo even this and simply incorporate
light at ground level or seek eccentric pole solutions. In the hands of design-
ers, the grey lamp standard has been transformed into an urban sculpture. Both
approaches seem to be a passing fad offashion.
"Construction kits" for luminaires and accessories, including poles, offer a
promising alternative. This "modular" approach to the installation oflumi-
naires has in recent years been adopted by the lighting industry; production
and distribution has become more flexible. A multitude oftechnical solutions is
now available which relevant manufacturers can easily insert into various lumi-
naire types. By employing this method an experienced lighting designer can
Outdoor luminaires (not to scale) precisely define the light for each specific location without having to revert to
serial products, and still be able to rely on continued support from the manufac-
1 Catenary luminaire
2,3 Flexible spotlight turer.
4 Floodlight
5 Kofler luminaire
6 Globe luminaire
7 Pole-top mounted luminaire
Family of luminaires: Advantages
8 Bollard luminaire
9 Indirect luminaire with spherical cap reflector
10 Pole mounted luminaire
11 Whip luminaire
To draw on a "family ofluminaires" is a tried and trusted method. The basic idea
12 Recessed floor light is to provide the city with a lighting system that is homogenous in appearance,

50
The mounting heights define the atmo-
sphere, but also the cost effectiveness
of a project.
while at the same time gaining technical advantages from a coordinated group
ofluminaires. It is much easier to maintain and operate such a "family" than a
multitude ofdifferent luminaire types. Moreover, the quantities required over
a number ofyears enable manufacturers to make attractive offers. Developing
a family ofluminaires, issuing a tender for it and integrating it into the town-
scape, requires careful planning and deliberation by the lighting designer. The
luminaires will represent one of the few homogeneous characteristics of the
site. Hence, they give identity and have a unifying function. A family oflumi-
naires may also include a standardised pole for different lamps ofvarious watt-
ages and mounting heights. Arranged along differently dimensioned grids
and fitted with luminaires they unite to form a continuous framework. The
groups should comprise luminaire positions from ground level up to 16 metres
in height and thus cover the entire range ofconceivable lighting technology,
beginning with bollards at a height of one metre and offering a variety ofpole
heights (4, 8,12 and 16 metres respectively).
Poles can also accommodate additional functions within the town or on the
site. One can either allocate a special location for each function (traffic lights,
road signs, information boards, fire alarms, technical information, etc.) - as is
commonly done in Germany - or bundle these functions in one place, on suit-
able poles, as in New York City. The "centralised" solutions are generally con-
fusing, whereas "decentralised" solutions lead to an unattractive "forest of
signs" or "over-designed" proposals.
The ideal family ofluminaires should cover as many standard lighting func-
tions as possible. A set ofhierarchies relating to mounting height and emittance
characteristics, also referred to as light distribution, emerges in accordance with
the use to which each luminaire is put. These hierarchies are then applied to the
entire site or project area. The masterplan thus lists a comprehensive catalogue
oflight scenarios which serve as the basis for creating a varied and harmonious
overall design. This includes the matching oflight colours in the "white" range
oflight. Colours change from cold, daylight-like tones to warm tones, similar to
those ofan incandescent lamp. Where warm colours dominate, in low, pedes-
Standard luminaire heads for poles
trian areas, the light will appear natural and intimate. Colder light colours are
developed for a specific project.

51
Process: Lamps and Luminaires

~============8
Competition entry for New York City.
Poles take various elements: Lights,
traffic signals, street signs, litter bins.
52
suitable for high mounting heights and produce uniform, anonymous light for
road traffic areas.
Luminaires as design elements: Prospects and potentials
Poles and luminaires in the public realm occupy a rather ambiguous position.
Benches, bollards, litter bins - all these elements ofstreet furniture have clearly
defined functions and are comparatively easy to construct. They can be posi-
tioned fairly independently within the city. Luminaires, on the other hand,
require electricity, they must be placed in specific locations and they are abso-
lutely indispensable. The city will still function without seating and bollards,
but not without lights at night. Hence, public lighting spans across a wide and
branching urban network that has grown over time. It is one of the details that
characterises urban life'. Each city creates its own light with its own luminaires-
the difference becomes obvious at second glance. The appearance ofpublic
lighting in Paris differs from that in London or in Hamburg. It is therefore local
in character.
The design and installation of characteristic luminaires and poles could, if the
city chose to promote itselfthrough light, represent an opportunity "in the
detail". It could be one ofthose last finishing touches that reinforce a unique
idea. Since the appearance ofurban streets is strongly influenced by the large
number ofluminaires, a comprehensive scheme would contribute to improv-
ing the streetscape in the long term and also help to raise its profile.
Introducing a customised luminaire that operates on the available, existing
technology would be a highly attractive approach. This could be worthwhile
for cities and for manufacturers, if fixed quantities are agreed over several years.
Next, more attention should be given to the poles; they could be more than
mere supports for luminaires, but could double as traffic lights, luminous signs
and information posts. This would save installation costs and keep the city-
scape simpler and less cluttered. To introduce a pole ofoutstanding design qual-
ity, with all the necessary technical gear, would provide a new stimulus in the
monotony ofthe existing tried and trusted lamp standards.
Traditional lanterns fitted with modern lamps can be found in many cities. The
glass sides of these luminaires expose naked lamps producing glare. They repre-
sent a technical contradiction to their historical housing. Without sophisticat-
ed anti-glare lamellae, diffusers or reflectors, such luminaires do not work prop-
erly and spoil the effect oflight in the urban setting.
1 On this topic, see Virginia Comer's observations in the slim volume: Virginia Comer: Streetlights Urban Details Los Angeles.
2000, self-published
An alternative to installing location-specific systems is the use of"invisible"
luminaires, in which both the luminaires and the poles are designed to be as
inconspicuous as possible so they tend to be overlooked. The rationale behind
this approach is the elusive dream ofcreating a timeless design. Many of the
luminaires on the market today are either historicising or trendy in design; it
remains to be seen whether they will still be popular in ten years' time.

Controlling urban light: Future prospects

In the future, light in cities, just like that in buildings, will be largely centrally
controlled and, at the same time, locally managed. It will be possible to set the
times and time frames for the operation oflighting systems, while simultan-
eously controlling the "local" brightness or darkness.
The costs for such improvements are difficult to estimate at present. For over a
century, analogue networks have been built and safeguarded. The power load is
distributed across a vast area and to a large number ofconsumers. Frequent volt-
age fluctuations make it difficult to control whole systems. As a general rule,
switching options for existing electric circuits are limited to onl offsettings that
do not really offer control. Local networks are often activated or switched off
via twilight switches.' Also time switches are employed so that parts ofthe sys-
tem may be switched off during the second halfof the night, when there is little
traffic.

The technical implementation ofnew digital control systems ultimately rests

with local power companies. Future light scenarios, such as twilight lighting,
night time lighting, event lighting and security lighting, should be defined by
the lighting designer.

2 In Germanythe valuesare stipulatedby DIN5044, part 1.Current regulationscan be foundat www.baunetz.de/arch/

bauregeln/index.htm.

53
Process: Lamps and Luminaires
We are all familiar with this experience: a few places catch one's eye, time after

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

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

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

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

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

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

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

that affect city dwellers.

55
Travelling by Car

Main roads and side streets

Away from the large traffic arteries, we enter into the domain ofthe "hoods"
where the inhabited and inhabitable city unfolds along the side streets. Imme-
diately, a sense ofbelonging arises - an issue not to be disregarded when
planning new urban quarters. The quality ofliving and the safety ofa neigh-
bourhood increases proportionally to the degree ofidentification felt by the
residents.The provision oflight plays an important part in a neighbourhood.
Light should produce a feeling ofsecurity, generate a sense ofbelonging and
exude comfortable warmth, similar to that in our own living rooms. A lot can
be achieved with low lighting points, but this would increase the number of
luminaires that need to be maintained. Warm white lamps, such as metal halide
lamps, are suitable. Their light is less dingy than that cast by (yellow) sodium-
vapour lamps.
Another factor to be considered is that lamps should emit light at low eleva-
tions. Streetlights must not shed bright light into nearby living rooms. Finally,
aesthetics playa part in choosing a luminaire: its shape. It is regarded a profes-
sional blunder to select luminaires on the basis ofform rather than functional
merit, although optimised technology and attractive design often go hand in
hand. When re-designing the lighting ofa neighbourhood, however, it may be
expedient to select distinct poles and luminaire heads. This is not to suggest that
every historic quarter should be equipped with reproductions ofluminaires in
the style ofSchinkel.

56
 57
Typology, Travelling by Car
58
Bridges

Bridges are most often erected at exposed locations. It is in the nature of the
thing and inadvertently marks them as desirable objects for illumination. Illu-
minated bridges are eye-catchers, especially when they can be seen from a dis-
tance. Obviously, investments for lavishly luminous bridges are high. As a rule,
illumination is restricted to the outline or contour ofthe bridge, since it has no
surface area to speak of, except for the road itself. But ifthe light is directed onto
the piers or pylons, this may result in the height or width ofa bridge being over-
emphasised. Illumination of the load bearing structure, in addition to the road
lighting, is generally more unobtrusive.
Narrow-beam spotlights attached directly to the structure offer the best solu-
tions. Specific structural features must be taken into account, in particular with
large bridges. They can seriously hinder maintenance operations. Attachment
points must be easy to reach.
Small bridges across streams and rivers are frequently too brightly lit. Atmo-
spheric reflections upon the dark water should not be destroyed by too much
emphasis on the bridge structure. Small bridges in parks or across moats in
European cities are often welcomed as objects of illumination - and overdone
because there is little else. The mere presence ofa bridge in a park is no reason to
illuminate it.

59
Typology: Travelling by Car
Roundabouts

An ingenious invention: the roundabout. It was first tested for urb an traffic in
New York City and Paris approxima tely one hundred years ago and has been
employed ever since. The fact that roundabouts eliminate many of the dangers
of tr affic is widely accepted today. Consequently, Europe has seen a full-scale
inv asion ofnew roundabouts in past years. The more useful the periphery of
the circle, the more superfluous is its centre. An obvious treatment would be
to furni sh the island with artistic designs offlower borders, large sculptures or
traffic fixtures. A further practical solution is the erection of high lighting masts
th at illuminate the passing traffic from the centre. The current pr actice oflight-
ing has reverted to giving favour to the periphery of the roundabout - the junc-
tion with approach road s. It accentuates the crossroads an d, alm ost as a side
effect , lights the roundabout, chiefly as a result ofthe standard rad ii applied to
roundabouts: the intervals between luminaires are closer than on straigh t roads
and "uninten tion ally" increase the luminance.

60
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Typology: Travelling by Car
62
Traffic signs

In the age ofsatellite navigation, illuminated traffic signs appear like the shining
accomplishment of a past and unremitting traffic euphoria. They have devel-
oped into ubiquitous icons, brought into the cities by growing traffic volumes
during the last century. On their own they seem comparatively harmless, like
the luminous stop sign found at a road junction. Accumulated, for example
on masts, they take the shape ofskyward-reaching sign trees. The large-scale
signage on gantries reaches almost cinematic dimensions along our modern
expressways. Traffic signs, illuminated like lanterns from within, stem from
more prosperous times. They have the advantage ofbeing glare-free and evenly
lit across the surface; the fluorescent lamps are high-maintenance, however,
and replacing them involves the time-consuming assembly ofthe luminaire
body. This is why signage erected and lit by spots was introduced. The larg-
est signs are found above and alongside motorways. Retro-reflecting signage
was introduced specifically for situations where the distance between sign and
driver is short. Modern headlights are sufficiently bright to make the signs,
often mounted at eye level, legible. Luminous signs introduced a specific col-
our range to the urban night. In France, this is an unassuming black and white;
in Germany, the nominated RAL colours dominate, adding a new layer to the
urban scenery. What are the trends? Contemporary approaches attempt to sig-
nificantly reduce the forest ofsigns in the city centres. The excess ofprohibi-
tions' commands, information or other signage on any corner should be cut to a
minimum. Their effect is too limited and the appearance too intrusive. At major
intersections and interchanges and along expressways, however, illuminated
signs are here to stay. They are the Buddhist Pop Art ofmodern road traffic: illu-
minated and memorable.

63
Typology: Travelling by Car
Multi-storey car parks

On film they attract much interest: multi-storey car parks guarantee tension.
These inhospitable interiors, constructed ofsteel and reinforced concrete, are
the ideal setting for criminal action, for getaways, ambushes, labyrinths ofchill
and fear. These associations are by no means unfounded for car parks are about
as appealing as bunkers. Motorist driving in and out experience them as tem-
porary tunnels because of the difference in light levels. Slow driving helps the
eye to adapt to sudden darkness or, conversely, to blinding brightness. During
the day, the lights in the interior are brighter than at night. There should be no
"dark corners" in multi-storey car parks to ensure visibility ofpedestrians at all
times. More light is also required for designated parking spaces for women.
Some car parks are more susceptible to glare - from the perspective oflighting
technology - predominantly in areas where sunlight enters the decks and falls
directly onto the driving lane. Artificial lighting levels must be twice as high in
these areas than in other places.

64
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Typology: Travelling by Car
66
Car parks

Car parks are much sought after and for their users the starting point for
visits to the city. Even now, no one really attends to the light in these
spaces. Light emitted from as few sources as possible, mounted at the
greatest conceivable height, would be the most economical solution. If
there are residential buildings around the car park, compromises regard-
ing mounting heights must be made. Good examples no longer employ
diffuse orange-coloured sodium-vapour lamps, but utilise metal halide
lamps, which have better colour rendition and a warmer light colour.
Access and egress points are clearly marked with light and, in the best
case, low light will lead to them, even over a long distance. In the worst
case, the optics are ofinsufficient quality. Car parks are often the poor
cousin ofexterior lighting design. This can also be said ofthe design qual-
ity ofpoles and luminaire bodies. Car parks demand a lot ofimagination
on the part ofthe lighting designer.

67
Typology, Travelling by Car
Petrol stations

They have evolved into distinctly lit landmarks, not only for drivers. Conspicu-
ous green bands of colour, blue or orange bands against the night sky catch the
eye. But it is not the silver lining on the horizon that we see. Far from it: justas
the overall appearance ofpetrol stations exudes cheap plainness, the lighting
conveys a lack of design investment. Offering neither orientation nor variation,
it is simply and plainly as bright as possible. Driving into a petrol station is like
driving into a light aisle. Steps for initial improvements would be to introduce
unobtrusive light in order to integrate these structures into the urban environs,
and to make the terminals more user-friendly by directing light at the petrol
pump and the waiting cars, rather than against the night sky.
This would also contribute to the visual enhancement of cities. Flying over
urban areas at night, one firstly notices sports fields and then petrol stations,
their extraordinary illumination bearing no relationship to their significance
within the urban fabric.

68
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Typology, Travelling by Car
70
Stop and go

A lonely cone oflight in the darkness, in the middle of the countryside, con-
stantly moving forward. This image ofa car moving through the night is fas-
cinating because it holds many associations. In the city, however, this imagery
is reduced to a limited vocabulary. Breaking, starting, rolling, accelerating and
stopping transforms the moving car lights into a chain reaction offew signals.
At the front of the vehicle are directional lights for orientation, at the rear red
warning lights. When the flow of a line of cars ceases - in a traffic jam or at traffic
lights - the all too familiar long queues of these old "lanterns" form into a flash-
ing parade oflights.

71
Typology: Travelling by Car
On Foot

Squares

Public lighting originated in the urban squares and along main roads, in the
important spaces of European cities. First illuminations were sensational dis-
plays, intended also to demonstrate the grandeur of cities at night. The illu-
minated squares of Paris resembled the halls ofVersailles, bathed in magnifi-
cent candlelight. At that time, nocturnal light was at a premium. It was almost
entirely dark, hence the effect.
Today, few urban squares live up to these expectations, as the facades defining
the spaces usually have brightly lit shop fronts and illuminated advertising pan-
els which determine the light atmosphere. Good lighting will not turn around
this commercial trend - which does have a certain appeal- but with the deliber-
ate treatment ofdarkness it may achieve a great deal for traditional city centres.
The square itselfmust be sufficiently lit, so that people will want to walk in it
and linger in its brighter areas. The characteristics ofthe city centre, however,
shape the night-time illumination along the square's periphery and contours;
with restrained facade illumination (reflections should not light the square) and
a few brighter accentuations ofthe urban architecture. Artificial light has not
been available for long - it is an instrument that needs to be employed carefully,
an addendum to the manner in which flaneurs and consumers experience the
city. It could become special once again. At night, new lighting should not come
immediately to the fore; instead, its ongoing presence should revitalise urban
life. Although accomplishing this while satisfying individual interests is one of
the most difficult tasks, it will achieve the most sustained reward for all parties
involved.

72
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Typology, On Foot
74
Footpaths and sidewalks

Footpaths in European cities greatly differ from country to country.

Lighting that is especially designed for pedestrians is a rarity and most foot-
paths and sidewalks are therefore illuminated by existing street lighting. Paths
in public parks - or in pedestrian precincts - are sometimes lit especially for
pedestrians.
Special lighting is often applied to the boundary between public and private
spaces. As soon as one leaves the street to approach a private building, one
should be able to see the building and its entrance. The light on the way needs to
be as low and direct as possible. Ideally, it should be grazing light directly above
the ground. This ensures that light does not disturb the pedestrian's view onto
the ground and into the distance - even though it fulfils its function (5-7 lux are
the recommended value). Light directed at the ground does not cause glare or
obscure the view. Ofcourse, more fittings are required than in a lighting scheme
that is based on the common, wide-angled luminaires on columns above three
to four metres in height.
The usual traffic lighting on streets and paths is intended for cars, not for pedes-
trians. Although we have been getting around on foot for as long as we can
remember, this might be the very reason why so little importance is attached
to it and to the lighting of these areas. The conventional light in pedestrian pre-
cincts is primarily designed for safety ; danger and passers-by should be recog-
nised as early as possible. Additionally, light should provide orientation. This
is now increasingly achieved through the use ofrecessed elements which have
become smaller, less expensive and more durable with LED technology. The
first models powered by solar energy, independent of electricity circuits, are
available for orientation light
Light points, lines, hatches or nets may be "drawn" with light in pedestrian
areas. As an aside, [the artist] Daniel Buren succeeded in doing just that with
his installation at the Palais Royal in Paris; in fact he showed us how to do it 20
years ago.

75
Typology: On Foot
Trees

Rustle - rustle. This is the sound ofautumn in Walt Disney's comic strips. Bare
trees reveal their natural structure ofstem and branches. It is fascinating to see
the grown order of a tree contrasting the clearly structured facades and squares.
This is why it is popular to light trees .
Light on trees is usually emitted by buried luminaires. This is the method cur-
rently established for lighting trees. When using buried luminaires one needs to
make sure that they are not positioned along lines ofmovement. The glass can
be hot. Some time ago, the technique of training spots from a distance was com-
mon practice. It gave the tree a sculptural quality and cast interesting shadows.
A third alternative is to place the lights on the branches lighting the tree from
within. This is the most beautiful lighting option, but the fixing ofluminaires is
often difficult, the necessary wiring unsightly and the supply line conspicuous.
Light colour is an important aspect oflighting trees. Most suitable are neutral
white halogen metal vapour lamps (HIT). Warm white or sodium-vapour
lamps make the tree and its leaves appear grey. If one chooses buried luminaires,
it is important not to place them too close to the trunk. The growing roots
could displace the fittings , and trees do not like the heat. If the surroundings are
dark, a little light is sufficient. When seen from a distance, the subtle lighting of
trees in open spaces and parks can be extremely attractive. The site will gain in
"depth", the trees will compose the silhouette. Trees planted in clumps can be
visually grouped together using low lighting near the ground and thus trans-
pose the design intention ofparks or courtyards "into the night".

76
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Typolcgy: On Foot
78
Facades and illuminated advertising

Illuminated advertising is an invention ofthe electrified and modern city.

Unique at first, now found everywhere, it is firml y imprinted onto the mod-
ern urban imagery. Almost all that shines from buildings at night is advertising.
It seem s that no one wants to do without the variety that has developed over
time. In the beginning it was the attractive and almost forgotten neon light with
glass tubes and high-voltage systems.
In spite of their triumphant advance in many European cities, illuminated ads
are subject to planning approval, and rightly so. They are prohibited in some
districts. Noone wants to see ads reflected in LakeZurich or in Hamburg's
Alster. The use oflight for advertising purposes should therefore be regularised
with the specific ambience and location in mind.
What if facades are turned into advertisements, when the external skin ofa
building mutates into some sort of screen? In German cities one occasionally
encounters vast advertising boards behind glass, lit and mounted in the inte-
rior of the buildings - a practice that cannot be prohibited. Plasma and LED
screens can now cover entire elevations. In Seoul , elevations are being plastered
in screens to such a degree that they demote the facades of Piccadilly Circus in
London, Times Square in New York or the squares ofShibuya in Tokyo , into
museums ofilluminated advertising. While neither the screens nor the mes-
sages are very bright, the cinematic scale - reminiscent ofthe renaissance of
drive-in theatres - tends to displace architecture. The built language of the city
is dying.
When individual facades that are suited for light experiments are transformed
into a "luminous" theme, the results can be alluring indeed. The same is true for
strategies that utilise light deliberately in conjunction with architecture and the
urban image . In recent years, there have been a few notable attempts to animate
high-rise buildings with individual lighting scenarios, although not all of them
have been successful. In Hamburg, illuminated goal posts were placed on high
buildings on the occasion of the Football World Cup 2006. A little gimmicky,
but these things happen.
In Europe, respectable light experiments mostly involve facades, but the Chi-
nese love light to be "on top", in all colours. As long as we have a choice and
buildings in their own right are the centre ofsuch experiments, rather than
the light on them, such approaches may succeed. Unlit, monotonous granite
facades, with their formally chartered claim to perpetuity, cladding steel skel-
eton structures, are hardly beautiful. Large-scale lighting schemes offer a vibrant
alternative.

79
Typology: On Foot
Shop windows

One simple, basic rule applies to the general lighting ofshop windows. The
horizontal plane, the ceiling, produces the basic illumination while accents are
placed on the vertical surfaces, the walls . In principle, there is nothing to be said
against this formula. But its calculation is based on an isolated point in the cen-
tre of the space. It omits important factors beyond the four walls of the premis-
es. Neither does it consider the different light conditions in the day and at night,
nor what is in front ofthe shop.
Seen from outside, from the shopping street, display windows compete with
one another. Competition reinforces the tendency to assume that attractiveness
increases with light levels . This is often coupled with over-dimensioned illumi-
nated advertising on the facade ofthe building. The effect on the passing con-
sumer is distracting rather than enticing.
Given the unanimous consent among all the merchants in a district, a lighting
design guide could be commissioned and presented. Another conceivable idea
is to formulate an agreement that sets limits for the brightness of displa ys and
restricts advertising icons to facades or to high locations only. The light quality
achieved in this way would be an inexpensive and quick way ofimproving any
high street.
Shop windows with strong, predominantly horizontal light that is not directed
at the walls appear marginally brighter than the ambient lighting. This avoids
reflections. Some light should also be visible in the depth ofthe premises. These
soft transitions with light accents present the goods more effectively than sheer
brightness. The choice oflight colour is determined according to the goods on
display. A shop for technical products will hardly use soft, expensive narrow
beams ofhalogen light; and vice versa , a fashion store would rather do without
up lighters fitted with cold white lamps.

80
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Typology: On Fool
82
Underground stations

Underground stations are not places where one wants to linger. The common,
typical tube-like architecture ofsuch subterranean spaces for rail traffic are very
low and long, often displaying the laboured efforts of design accents on walls
and a recurring rhythm ofpillars, furniture and signage. The only promise of
some entertainment lies in studying the advertising boards.
The choice and execution oflighting - in most stations without any daylight at
all- underlines monotony; seemingly endless strips offluorescent luminaires
placed along the platforms are boring for the observer and make orientation dif-
ficult because ofreduced contrast perception and adaptation. The exclusive use
of direct light ofgreat luminance levels further diminish the visible height of
the space and make it appear even deeper.
Generally, the monotony in the selection oflight sources, the type oflight and
light colours precludes contrast-rich, accentuated lighting that sets up a hierar-
chy ofspaces. The spatial geometries of these tunnels, in particular, represent an
as yet undiscovered challenge for creating good lighting design for users below
ground and there is also ample room for improvement in above-ground sta-
tions as well.

83
Typology: On Foot
Boulevards

Rome was to Antiquity what Paris was to the 19th century, New York to the
20th century and, possibly, what Shanghai or Mexico City are to the 21 st
century: the embodiment of the city. Cities are characterised by a network of
streets. In city centres some streets are displayed in their full local splendour.
Modern boulevards leading into the centres take on a representative function;
they are a European invention of the 19th and 20th centuries.
Their width facilitates the differentiation of public light in three zones: light for
traffic, light for pedestrians and light on buildings. Each ofthese types oflight
has a different function that should not compete with, but complement the
others. Light on the street must be uniform, just like light on footpaths, only
a little brighter, warmer and "denser"; shop windows should be individually
designed, the light on facades and illuminated advertising should be as homo-
geneous as possible. Great importance is attached to the design of boulevard
luminaires. The luminaires selected for these areas are special, as is the planting
and seasonal lighting at Christmas, for example.
Likean urban square, an attractive boulevard is almost an internal space with
carefully staggered "luxury lighting" that sets it apart from the dark surround-
ings . Its single light points join up to form lines and, finally, avenues oflight
into the rising dawn - whose steely grey extinguishes its splendour for a few
hours.

84
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Typology, On Foot
Design Principles and Techniques

What is the significance oflight in cities today? Which specific requirements

should it fulfil? Who needs it?
First ofall, light is important for drivers at night. A large proportion ofurban
illumination is street lighting. Accordingly, the majority of citizens perceive the
city at night in the light ofits tarmac routes - journeys made by car. Every even-
ing cars join a swelling and receding stream which late at night ebbs to reveal the
streets and junctions in a flat and uniform light.
What are the actual light conditions citizens move around in today? Is the treat-
ment oflight symptomatic of the behaviour ofpeople? Probably not. Light is
still a contemporary issue, especially if it should be improved. As soon as it gets
dark outside, most urban people are surrounded by "light sludge": the regular
street lighting in front oftheir homes primarily noted for its largely undiffer-
entiated brightness, and the generally diffuse, sometimes flickering light inside
their flats. The television set often takes on the function ofa campfire, a light
people like to gather around, like in ancient times?
This paradigm is the false reasoning ofmany ofthose people who are concerned
with light. More luminaires automatically produce more light and, hence, bet-
ter business. As with cars - there are simply too many in the city. Still, they are
fun. However, this does not improve conditions. Improvement will not hap-
pen unless urban light is designed with care, and in specific areas perceived to
be special and designed to levels over and above high standards. In working
towards this goal the available options of designing with light must be fully
exploited. Because light can substantially improve the existing situation and
remain fascinating this provides a definite opportunity for the wished-for and
long overdue revitalisation ofurban life.
Light should be offered to the urban dweller and invite him "to be in the city".
Two partly conflicting strategies may be adopted to achieve this. One is aimed at
the promotion ofcontemporary event culture, the other at the enduring differ-
entiation of urban lighting, practically an endorsement of the townscape. Both
approaches offer significant potential for urban lighting.
Events draw people into the city and make it vibrant. Unlike traditional per-
formances at the opera, theatre and cinemas, event visitors actually participate
in the activities, sometimes they are the event. Well-known examples are the
"Love Parade" or the "Christopher Street Day" celebrations. Such mega events
are pure publicity and they are focussed on city centres. The impact of this "fes-
tivalisation" ofurban life, as critics name the phenomenon, is also felt at night.'

Waterfall at the EXPO 2000 in Hanover:

Water and light produce a vibrant effect.
1 Extremely convincing argumentation by Gerd Held: Stadtbeleuchtung, In: Regina Bittner (Ed.J:Urbane Paradiese. Zur
Unfortunately more and more German
Kulturgeschlchte modernen VergnUgens, Edition Bauhaus, Campus Verlag Frankfurt/NewYork 2001. Reader for the exhibition
cities shun the running costs of fountains
"Paradies der Moderne" at the Stlftung Bauhaus Dessau 2001. Excepting Schivelbusch, Held Is one of the few who attempted to
and water features.
explore the topic of urban illumination from the perspective of cultural history.

86
 Temporary "event lights" act as a catalyst for activities, spurring the participants
on. These lights are often coloured and highly mobile, like in the theatre. The
city and its squares are transformed into a stage, the facades form the - admit-
tedly unchanging - backdrop. There are in -between forms in which event illu-
mination is firmly built-in and repeated every night, or at preset intervals. The
illumination ofthe Eiffel Tower in Paris illustrates this. Presently, Parisians are
transforming their landmark into some kind ofglittering lollipop for five min-
utes, on the hour, every hour. Before the glittering starts, the tower is bathed in
a red and yellow light. When asked, many Parisians voice their approval. They
don't mind the tower being temporarily turned into a colourful plaything.
The second approach refines urban lighting to increase its intensity. The semi-
nal idea is to bring to an end the current practice ofseparating the lighting of
roads and pedestrian areas, facades, shop windows and advertising panels. The
objective is to obtain an integrated appearance which is characteristic ofthe
local environment. This is more sophisticated than simply playing with col-
ours, and much more difficult to put into practice.
Principally, the lighting designer moves along a two dimensional design strand.
He works with the dimensions of time and space. Artificial light for exteriors is
mainly relevant at night. Evenings, mornings and seasonal changes bring many
recurring transitional situations. The light shifts. Furthermore, the need for
seasonal light arises. On the large scale, access to urban spaces is gained via the
city's traffic arteries. Reducing the scale brings up questions ofpotential per-
spectives and differentiation. Reducing the scale even further will theoreti-
cally take the perspective right down to the scale ofan individual's body and his
immediate environment. It could be an urban space which can be grasped "on
foot", or a car in a traffic jam - all are common urban situations.
New lighting should "reinvent the night" for the visitor to the city. This, though
slightly exaggerated, is the actual objective. Marketing people would present
this as a desire to prolong the time people spend in the city. Revitalisation ofthe
renowned nightlife ofthe "Roaring Twenties" immediately brings to mind the
legendary times ofpublic light that we now see repeated in China and the "Tiger
States" ofAsia. Light ad infinitum. Recent newspaper articles report that Shang-
hai is thinking about switching offthe illuminated advertisements because of
insufficient power supplies to run them. Such global trends are real. They are
based on our fascination with brightness, our desire to turn night into day-
undoubtedly an attractive prospect.
Well thought-out design, however, is based on darkness, the opposite. It con-
ceives light reciprocally, not glistening, colourful, bright, competing, but as an
Funfairs and their "high" attractions
create a distant impact with light.

87
Typology, Design Principles and Techniques

The roof of the station lor ecour l "hovers"
above the bus stop and fo r ms a t ranspar-
ent counter part to the stati on hall.
Glow ing heart s at the Tivoli in Copenh a-
gen: Light in g desi gn and light art have
been an inher ent part of th e park sin ce
the 1920 5.
88
initialisation into the changing times ofday and the seasons. This is not to say
that the city should be dark. It means that the lighting designer will not only
meet the requirements of urban spaces, but also consider those of the natural
light conditions. The contemporary lighting consultant's design concept does
not stand in isolation, but aim s to devise a scheme that integrates the citizens,
the city and the times of day. Anyone designing with light should, at the outset
ofa project, appreciate the day and night cycles ofthe site.
The best starting point is twilight. Lights are turned offin the morning; long
shopping hours have shifted most of the city's activities to the time around
nightfall, into the "blue hour", or later, depending on the season. In the early
even ing , urb an lighting can be applied selectively to the most important urban
squares and buildings, the well -known focal points of the city. The next step
sho uld concentrate on ped estrian areas, access and egre ss points, creating
"gateway situations" that indicate the direction in which the flux of urb an life
is moving. Finally, the street ligh ting is switched on. Lights set in gradu ally,
rendering the n ight attractive an d safe. Onc e it is completely dark, the planned
hierarchies ofl igh t are fully sw itch ed and orientation is no problem. The
immediate surro undings can be overlooked at all times, there are no dark cor-
ner s. Above, from the first or second storey onward s, light becomes noticeably
reduced, defining a clear but sheltering overhead space. Most of the attractive
luminosity is a result of reflections on different materials, including the paving.
Lamps emit gradations of white light. Some light is emitted from the interiors
ofbuildings . The levels should be homogenous, the shop windows not glar-
ingly brighter than the space outside them. Most importantly, they should not
cast direct light into the street. Colour can be added by the light on the goods
on display. During the course of th e night, th e accent lighting th at st arted the
seque nce ofillumination fades. The overall lighting that instils a sense ofsafety
rem ains until dawn. Thi s is a po ssible scenario for complete 24-ho ur cycle of
day and night.
Chri stmas lights have always been the archety pal seasonal, temporary illumina-
tion linked to time ofyear and commercial sales periods. It is very cost inten sive
to run, but enjoys increasing popularity w ith the public. Many pos sibl e design
theme s have been aired: recently, temporary lighting ofpools, wa ter features
and fountains, or parks has once again become popular. It offers a reminder of
a permanent Baroque staging that, 250 years ago, would have been produced
for a single evening using thousand s of candles I . In a seasonal cycle they repre-
sent temporary illuminations, preferably repeated, with alternating switching
times. On the other hand, fixed illuminations for seasonal amusements, such
as ice rinks or temporary pools and beaches , may become special attractions.
3 Prior to the 17th century, parties and theatre productions almost always look place during the day.

The water jets in this field of fountains
can be switched off when the market is
held in front of the Town Hall in Milten-
berg.
A small fountain in Hamburg Bergedorf
creates a cosy atmosphere.
Potential design details can only be discussed after examining the second ap-
proach to good lighting in cities, the spatial dimensions. It denotes the essence
of the design scenario light - space, that is, the disruption in the movement of a
passage into the city and the respective potential afforded by this. The disrup-
tion is marked by the traveller's changed mode of transport, from driving by car
(aeroplane, train, public transportation) to walking. The opportunities arising
from it are limited to the inner cities and certain shopping districts. These are,
at present, the spaces and districts in which, subject to the will ofthe munic-
ipalities, chambers of commerce, public private partnerships (PPP)or Ger-
many's proposed business improvement districts (BID), new urban lighting is
to be established and intelligently planned. Essentially, they are the old market
squares in a new guise.
Regrettably, the design oflight for exterior spaces is divided into two areas,
street space and pedestrian space. But this is exactly the wrong thing to do; it is
precisely this separation that must be overcome. The design should accomplish
a continuous concentration in density ofthe light effect. The intensity oflight
could increase towards the centres. Not to say that everything should become
brighter or garish. The key concern is nuances oflight, its presence in streets
and squares in a relative sense. The existing light is sufficient to make the exist-
ing environs adequately visible so that anyone walking the streets at night is
able to see his immediate surroundings, metre by metre, and feel at ease. From
a distance, light in the centres must be sufficiently bright to set them on display
and to exert a constant pull. Also, light demarcates previously defined areas. The
inclusion ofstrong local light should be possible in exceptional situations or
"randomly" without disrupting the overall appearance. Existing installations
and systems are a world away from this.
89
Typology, Design PrinCiples and Techniques
 Lighting paths and facades: Design techniques

Every luminaire has an IP rating denoting its protection measures against mois-
ture, dust and other influences. Several lamps and some types ofballast only
work in a limited temperature range and will not start in frosts, for example.
Suitable luminaires are oftwo groups: luminaires that light ground areas and
luminaires that light facades. Additionally, light is emitted from buildings and
shop windows, which is more difficult to control.

differentiated facade illumi-

catenary luminaire tree
nation

City of Braunschweig: The black

plan illustrates the functional illu-
mination in the square and adja-
cent streets in conjunction with
facade lighting.
• pole luminaire,
mounting height 3.5-4.5 m

pole luminaire for street light-

ing, mounting height ca. 7 m
light from the interior water feature

90
 1) General lighting for traffic areas
The quality oflight is largely determined by the mounting heights and posi-
tions ofluminaires. Luminaires may be installed on poles , on overhead wires
or on buildings. Poles are the easiest solution, they are generally accepted,
but tend to be "in the way ", and they have few sensual qualities. In most cas-
es overhead wiring permits the best positioning ofluminaires. But wires are
difficult to place because the building owner's permission must be obtained
for their installation and it is not always possible to find suitable anchorage
points across long distances. Obviously, the maintenance ofluminaires in
the middle ofthe road is more difficult than ofthose along the edge. Lumi-
naires mounted on facades provide a simple solution for narrow streets.
Where exactly luminaires are positioned in the traffic area is ultimately a
question of design and cost. The technical requirements are clear-cut. The
greater the spacing between masts and the higher the luminaires are mount-
ed, the more anonym ous, general, tiring, but also glare-free the light will be.
A variation in mounting heights and luminaire positions helps to animate
the townscape.

2) Lighting for facades - light close up

Old lighting systems were used to simply brighten facades or towers with
high wattage floodlights from a great distance. The more the better. The
result was often impressive, but flat because the texture of the facade was no
longer discernible. In a reversal ofthis technique, narrow-beam spotlights
were placed close to the building. A lot ofshadow and drama was created-
frequently resulting in a lighting kitsch never intended by the architects, as it
distorted the proportions offacade elements.
Sophisticated solutions combine focus sed light on the facade, em itted from
a distance by gobo beams, with distinguished light th at is relat ively weak and
mounted directly on the building. A pos sible alternative is to appl y light very
close to the facade using fibre optics . It is especially effective on light-coloured
elevations .

Catenary road light ing in Bremen

91
Typology: Design Pr inciples and Techniques
l
me
Boulevard: "BUrger" in Bremerhaven Atmospheric lights for consumers

"Burger" in Bremerhaven, by WES & Partner, is a new, stretched out boulevard

inviting people to stroll along its wide footpaths and befitting planting. Uni-
form roofcanopies define the upper limit ofthe new scheme and act as a com-
mon denominator. These continuous glazed roofs also provide shelter from bad
weather and create the right scale for pedestrians. It is along these lines that the
brieffor the lighting was formulated; shining in all facets ofnight-time illumi-
nation until late in the evening.
Private advertising or floodlit buildings do not disturb the independent char-
acter ofthe outdoor mall, which is further supported by the secondary reflec-
tor system ofmast luminaires specified for the "small boulevard". In addition,
grazing light near the ground lights the road, which is closed for traffic. The
resultant alternating rhythm ofintervals generates order. The light integrated
into the glass canopies corresponds with the light emitted from shop windows.
This turns the pedestrian area close to the shops into a Parisian passage, which
at night is defined by a 'space with light". The no longer very attractive buildings
obtain a certain elegance extending their flair up to the church square, which
has its own light character.

Btlrgerrneister-Srnit-Strafie in Bremer-
haven had lost its lustre. Here, the design
for its redevelopment.

94
 The new lighting concept also lights
up the surroundings: An illuminated
water feature and a luminous glazed
roof emphasise the length and gen-
erous dimensions of the boulevard
- citizens feel safe at night once
again.

'.
....•..
:
'.

95
Completed Schemes: Boulevard
The shining field of fountains and a light
band across the church square introduce
a playful element.

96
 The black plan shows the key areas
of the lighting concept for "Burger"
Bremerhaven. The church square
and market place are important
features.

The combination of low grazing light with

indirect light from poles provides the
functional lighting of the boulevard.

97
Completed Schemes, Boulevard
Historical Facade: Hamburg Town Hall

Hamburg Town Hall in a new light:

Significant improvements are:
three dimensional appearance of the
facade; bright base and ground floor
(no glare); the power consumption of
the lighting system is reduced by half.

98
 Contrast on a big scale

The Town Hall of Hamburg forms the south-western boundary to the Rathaus-
markt square. It can be seen from Monckebergstrafse, and at a greater distance
from the Lombard and Kennedy bridges that span the Binnenalster lake. It plays
a prominent role in both near and distant views ofthe city at night. In a "hierar-
chy oflight", a ranking ofthe brightest to the darkest buildings, the Town Hall
would clearly be placed at the top ofthe list. Until recently, it was floodlit from
the rooftops ofbuildings on the opposite side. This type oflight gave it a flat
appearance and let the base ofthe building sink into darkness.
The concept combines two new lighting techniques:
- A soft, wash oflight from masts. This is ofa smaller scale than the light from
the former floodlights and, with the use ofgobos night templates") produces
variations in the bright-dark gradient.

Lighting before 2004

- Luminaires mounted close to the facade create contrast and shadow that
emphasise its three-dimensionality and complement the soft wash oflight.
Together, both types oflight create a balance between the expansiveness on the
one hand and the richness in contrast on the other.
The roofis bathed in a wash ofcalm light; luminaires are placed between the
numerous dormers. The tower is equally visible from a distance; its front is lit
with luminaires positioned close to the facade and a wash oflight across its face,
the sides receive a wide wash oflight.
The power input ofapproximately 8 kilowatts (138 spots) for the front and side
elevations offers a considerable energy saving compared to the 16 kilowatts (12
spots) used by the previous system that lit the front of the building only.

Detail of lighting before 2004 Measuring the luminance level of

the tower during a lighting test

99
Completed Schemes: Historical Facade
Elevation of Hamburg Town Hall with luminaires

Symb ol Total Facade

A 03 Superlight Compact Meyer 6 6

- -- - - - - - -
E9 06 Super light Compact Meyer 62 62

------ - - -
• 10 Recessed ftoor luminaire 6 6
ERCO

- -- - -----
o 10.1 Recessed ftoor luminaire 2 2
ERCO

- - - - -- - - -
C8:I 11 Spotlight Derksen 22 22

- - - - -- - - -

~ ~ 0
/) ~ /) ~ ~ ~ ~
~ fJ fJ fJ fJ /';, fJ {},

10 10 · 06 06 • • • 06 rOJ 10 10 10.r 06 • • • • 06· • • 06· 10 10

AU Au Au Au
18I181 n A u Au 18I181 U

100
Montage showing extracts from lighting tests

Supertight Compact(03)

Super light Compact(Db)

Recessed floor light<10l

Recessed floor light<10.1)

Gobobeam (11)

101
Completed Schemes: Historical Facade
Shopping Centre: London White City Glittering temple of goods

White City shopping centre is located in northwest London immediately adja-

cent to the BBCHeadquarters. It is typical of the extremely large-scale shop-
ping malls common in the UK. White City is a small town in its own right, with
interior streets and squares and excellent transport connections. Three under-
ground stations, including the specially built "White City" stop, and a large bus
terminal are close-by. A multi-storey car park for more than 5 000 cars occupies
the three lower floors of the complex.
Entrance areas present an important first impression to visitors. Tall, lumi-
nous walls, the so-called "light boxes" dominate the access points. These "light
boxes" are backlit glass boxes which may be used as either presentation win-
dows or projection areas. Individual control ofeach box offers much flexibility
in the utilisation ofthe space, and endless design possibilities.
Another main point ofentry to the shopping centre is via the underground car
park. The access ramp serves as an adaptation zone for the transition between
bright daylight and the relatively dim artificial light of the interior. This tran-
sition is achieved through the use ofdifferent zones ofbrightness that enable
the eye to gradually adapt to prevalent light conditions. At night this effect is
reversed. The car park is designed to a high standard and its bright lights provide
a sense ofsecurity. Brighter light on main traffic lanes and footpaths assist ori-
entation. Long, seemingly floating lines oflight structure the numerous parking
lanes. Asymmetrical luminaires light the outer walls and avoid dark corners.
The shopping centre itselfresembles a small village, with glass-covered streets
and a central "market square" (winter garden). During the day, a great deal
of natural daylight reaches the interior spaces, creating a vibrant and clear

Aerial views of central London

102
Night-time visualisation of White City in
London

103
Completed Schemes: Shopping Centre
 29 30
E: Emergency lighting int egrated
I M-'lNnlllorl'-y lll an lin
II"""" 150-300

26.
27

• Lamps in Ihe vert ical columns provide a general light ing level; height; 15 m,

30 29 distance belw een lamps; 8 rn.

2 lamps are inclu ded in the fill ings; 400 W neutral wh ite for daytim e situation
and 250 W w arm wh ite for night time .

• Lamps are attached 3 m above the lower retail level and again 3 m above the
upper retail level in the ver li cal columns. These lamps act as an eye calc her
for the visit or s as w ell providing suffic ienllighting levels.
o The fill ings also contain the emerge ncy lighting,

30 29
f::,. Rays of light are project ed against the ceiling underneath the galleries every
8 m. This crea tes indir ecllighting for the walkways and again adds 10 Ihe
Sections and floor plan olt he "s treets" for
geometr y of the architecture.
While City Shopping Centre, London

Lamps upligh ting Ihe roo f every 8 m behind the parapet of the upper retail
shop fro nts.

104
 atmosphere. Streetlights mounted on columns underline the impression that
one is outdoors. Luminaires are arranged on three levels: a smallluminaire at
eye-level on the lower tier, one on the gallery level and a large luminaire located
at a height ofapproximately 20 metres. Warm light emitted by the smalllumi-
naires makes visitors feel comfortable, because ofthe relatively low mounting
height they can tell where the light is coming from. However, these only sup-
plement the ambient illumination which is emitted by large, powerful lumi-
naires. They are equipped with two types oflamp - a neutral white lamp for
daytime, to complement the daylight on overcast days especially during the
winter months, and a warm white light for the evenings and nights. Light sen-
sors and timers linked to the light control system regulate the switching bet-
ween the different lamps.
Apart from the functional light, the "winter garden" offers the opportunity
to provide additional illumination for events. As in a medium-sized theatre,
power supply and control lines were installed specifically for this purpose.
The impressive facade ofWhite City is visible from afar, from the nearby dual
carriage way, from the underground trains that run above ground at this point
and from the coach terminal. The expansive north and south-facing elevations
ofthe shopping centre are closed, except for narrow rows ofwindows, and lend
themselves as projection screens. Using powerful projectors placed on lighting
masts or on opposite buildings, it is possible to project any motifonto the fa-
cade. A so-called "keystone" system can compensate for distortions of the
image, if the position ofthe projector in relation to the facade poses difficulties.

Illuminated 1:10model of the "streets"

External area with bridge in White City

105
Completed Schemes: Shopping Centre
Airport: Terminal II, Munich

106
Glass firmament with light sails

The basic and integral design criteria for the central terminal hall were trans-
parency, brightness and optimum indoor clim ate and acoustic conditions. All
departing and arriving passengers enter or leave Terminal II via an expansive ,
light-flooded check-in hall. Functionality and aesthetics combine into a clearly
structured yet tr ansparent spatial form brought to a convincing synthesis. The
generous app earance ofthe central hall ties in w ith the adjacent Munich Airport
Centre, setting its own accents in terms ofscale, detailing, con struction and
light control.
Th e roofspans across the high void of the large hall , reminiscent of the sky. Its
two skins form a volume, a sculptur al boundary at the top of the space. The sky
has a firmament - the roofhas its light sails spanning beneath it.
The glazed hall facilitates the optimum use of daylight. The flexible light sails,
or sun protection sails, are positioned to avoid direct solar radiation, thereby
reducing energy transmittance. On dull days, th e sails are drawn back into the
space below the metal ceiling to ensure that the maximum amount of daylight

The brigh t ceiling and ligh t sails at Ter-

minalll in Munich Ai r por t ar e visible also
from the outside. The pneumatic roofs
above the approach road gleam in indi-
rect light.

107
Completed Schemes: Air por t
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81675 un chen

108

Reflected ceiling plan of Terminal II:
The light is a combination of uptight-
ers, light in the light-acoustic sails
and direct luminaires on the columns.
Hardly any luminaires are visible
from the hall.
Section through Arrivals: The combina-
tion of direct and indirect light is contin-
ued here on a small scale.
will enter the building. Hence, artificial lighting can be avoided for most of the
daytime.
The same principle applies to the flexible lamellae in the double-envelope
facade ofthe hall. The facade also takes on the function ofheat insulation on hot
summer days.
In addition, Germany's largest photovoltaic system was installed on the roofof
Terminal II. It produces approximately 50 000 kWh per annum.
Three daylight scenarios determine the artificial lighting in the terminal hall:
when the sun is shining and the sky is clear, the glass appears bright; the sails
partially screen excessive light while reflecting it onto the underside ofnon-
transparent areas.
On days with a dull, overcast sky, diffuse light directed onto the solid ceiling
compensates for a lack ofbrightness and brilliance.
When it is dark outside, cool light against the non-transparent sections of the
ceiling alternating with warm light shining through the sails create a sculptural
formation ofbackground and clouds. Several spots with long beams of bundled,
coloured light evoke blue skies.
Columns supporting the roofappear as vertical lines; narrow beams oflight
brighten them up. The ceiling sails do not touch the elevation and so the facade
remains visible right to the top. The few spots that are directed straight down
are located near the facade ofthe hall: they take up the light theme of the piers
where direct light predominates and the view to the outside, especially at night,
need not be obstructed by interior reflections.
The light scheme for the entire Terminal II is based on an alternation between
direct and indirect light and creates a soft correspondence to the adjacent,
directly lit Terminal I and to Munich Airport Centre, which is lit indirectly.
The choice oflamp gives high luminous efficacywith low power absorption and
relatively long maintenance intervals.
109
Completed Schemes: Airport
Historical Town: Einbeck Light spot in the dark

Einbeck city centre is seductive with its historical buildings and artfully
adorned timber-framed houses. The Town Hall on Market Square provides a
focal point; its three towers have become the town's landmark. The lighting
concept was specifically designed to make the Town Hall into a central "light
spot" in the evenings and at night, emphasising its particular beauty.
Two complementing light principles were applied in the scheme: the calm
wash oflight from distant lighting masts or houses opposite and the small-
scale, accentuated lighting ofcornices and projections on the facade itself. Com-
bined, these two principles create a generous, as well as sculptural and struc-
turing impression ofthe facade. Fluorescent luminaires fixed behind the snow
gutter softly illuminate the roofarea. This background shimmer illustrates the
height ofthe Town Hall and provides depth as a backdrop to the towers.
The three pointed towers - "witches' hats" - receive light from spots placed
behind them. This light, coming from the side/back, brings out the contours
of the towers and emphasises their three-dimensionality. Alongside, mounted
behind the towers are spots that light the mouldings below the continuous row
ofwindows and accentuate their colours.
Lighting ledges on the interior window sills illuminate the rooms, letting soft
light shine outside. This gives the building an animated appearance. Alterna-
tively, the lights may be left on in the rooms at certain times.
A ceiling luminaire in the foyer emphasises the staircase and, most of all, the
entrance. Light reflections on the white back wall turn the banister into an artful
silhouette. Another luminaire on the side wall next to the stairs completes this
effect.
Spots on masts in the Market Square throw a wash ofsoft light onto the towers
and the facade. The eastern elevation ofthe Town Hall faces onto the narrow
passage leading to the Hallenplan, an adjacent town square, and can only be par-
tially lit. A coloured lighting ledge, similar to that on the windows, illuminates
the rear of this area. Recessed floor luminaires provide a warm grazing light
across the low wall that separates the courtyard of the Town Hall from the Hal-
lenplan. This effect underlines the sculptural aspect of the facade beyond and
offers another small highlight on the square.
The courtyard at the Town Hall is ofparticular beauty, with its stained glass
windows, small, old doors and planting. Unfortunately, this area is only used
as a car park and remains largely unknown to the public. Accentuation of the
stained glass windows using lighting ledges and the installation oflight bollards
in the planting clearly improve the courtyard. The low light creates a pleasant
atmosphere in which an enjoyable evening may be spent.

City of Einbeck: The "witches' hats" of the

Town Hall

110
 - fluorescentluminaire
spotli ghts for sides of
lowers

spotli ghts for rel ief

window illumination
from the inter ior

ceiling luminaire in
foyer

• wail iuminaire on
stair s

Late-night atmosphere

Elevation showing luminaires and

luminairepositions

111
Completed Schemes: Historical Town
Riverside Walk: Jungfernstieg, Hamburg

Visualisation of the concept for

Jungfernstieg, Hamburg. illustra-
tions: Peter Wels

112
 Shining waterfront

The redevelopment ofJungfernstieg provides access to the water's edge by

opening up the site towards the Alster lake. Tree planting on the waterside cre-
ates generous spaces and reveals new vistas. The lighting concept identifies
three linear zones relating to different urban functions.
]ungfernstieg receives directional light from masts, 16 metres in height. The
footpath is lit using luminaires positioned at a height of8 metres and the street
from a height of 15.5 metres. This functional lighting produces the required
illuminance in the street and in pedestrian areas, and allows unobstructed
views from the waterside to the building facades. The luminaires themselves
are not displayed as objects. The masts act as supporting structures and are
designed as double poles.
The 16-metre masts could also be used to softly illuminate the facades along
]ungfernstieg. The proprietors ofbusinesses, through a community ofinter-
ests or a marketing association, could take on the promotion ofthis important
aspect that would have a distinct effect on the appearance ofthe townscape.
A wash ofuniform and subtle light would give emphasis to the space and also
provide the opportunity to pick out important buildings using differentiated
light. Light may thus strengthen the composition ofa city without competing
for brightness.
The luminaires on the bridge at the end ofthe boulevard are distinctive fea-
tures. They underline the ever-present theme ofwater in Hamburg and call to
mind that one is on a bridge. This is a concept already found on several bridges
in Hamburg's city centre and will be the basis on which luminaires are selected
for Reesendammbriicke.
The area between the road and the water's edge is characterised by rows of trees
0-
arranged like bulkheads. This tree planting explores the theme ofvistas whilst
creating atmosphere. Directional and reserved light from poles provides the
required illuminance. Scattered light in the tree canopies produces the desired
ambience. Here too, luminaires step back to maintain the night-time sightlines
between Alster and ]ungfernstieg.
This is achieved by using 4.5-metre high light poles that have two mounting
heights: 1.2 metres for a direct-beam ligh t point and 4.3 metres for indirectlight
emitted from the tree canopies.

16 rn

8m

Section through Jungfernstieg: Low graz-

ing light directed at the ground from the
seating steps; mid-level mounting heights
for pedestrian comfort beneath the tree
canopies, high mounting heights for
street lighting and facades.

113
Completed Schemes: Riverside Walk
 wu.-_s'" RoI,l.. ..,.
..t ...O'O" IoC.... O..et....
obr..-br.."
"t.
"

• 0.30-

.L 16 m doub le mast

'll" 8 m standard mast

'St.1tzrQlII' .lobr..b' .. "t
"ot . "OO"~$'"tv .uCIt .. n ........ t ....
Dc<'.
.. . •I'
aol, .. ,._t."... "'0'"'\1[)rl l''''''9t'IQSSI' " '" SCl'1litZ.
0 floodlight, mounting heighl 16 m
1 x 250W HIT

floodlig ht. mounting heighl16 m

2 x 70 W HIT
allernative ly 1 x 150 WHIT

Detail of light band under the steps

X lighl column 4.5 m w ilh base plate
1x 35 und 1x 70 W HIT

side-emi tti ng fibre optics in seating

steps, allernative ly LEO: allerna-
tivel y fluorescent tamps

LEO line, recessed floor lights warm

w hite

/
+ tootpath lighting
Reesendammbrucke
II
recesse d lumi naire in seal ing step
~ =._- --- for lighting of ramp TC· L 36W,
allernal ive ly TC-T26 W

recesse d luminaire in seal ing step

for lighting o f steps TC·O lOW

waterside lighting in informalion

syste m

=> light band (recessed ceiling lumi ·

naire) in east entranceto under-
ground stat io n: 3 x 80 W

- - lighl from handrail / POSIS

east entrance
Positions for luminaires on Jungfernstieg

Black plan showing site boundaries

114
 The tranquil and generous steps receive soft light from recessed side-emitting
fibre optics. Low, directional light at the side-face of the steps illuminates, at
a reduced intensity, the service access and ramps to the Alster. The extensive
open space at the water's edge represents the entree to the lake. The calm area is
kept as dark as possible to prepare promenaders for the main theme ofthis space
- water. To put into practice the basic design idea, illuminance levels had to fall
short of the recommended values for piers. A line ofLED,positioned 2.8 metres
from the water's edge, acts as a visual indicator.
In the continuation ofthe scheme, it is proposed to maximise the distance
between lighting masts in the road area for design reasons. The resultant advan-
tages ofkeeping Reesedammbriicke and the entrances to underground stations
free oflight poles constitutes a conflict with the technical requirements for
optimum illumination.

View of the inhomogeneous lighting

along Jungfernstieg seen from Bal-
lindamm before redevelopment

The neighbouring Alster Arcades

11S
Completed Schemes: Riverside Walk
Fountains and Monuments: Schonbr.mn, Vienna

Palace Gardens Schonbrunn: The light- Neptune Fountain in the centre of

ing concept picks up the Baroque axes to the Palace Gardens: The fountain
avoiduniform illumination. is bathed in coloured lights for cer-
tain events.

116
Baroque splendour

The buildings of the Viennese Palace Schonbrunn are sited across the extensive
and geometrically laid out grounds. One central axis and secondary axes con-
nect small and large buildings, lending the Palace its genuine Baroque layout.
This is precisely where the lighting concept comes in; it is primarily concerned
with making visible the spatial proportions.
The central axis between the Palace and the Gloriette lies outside the grounds,
leading along Schlossallee to the Technical Museum. Two entrance obelisks
greet visitors approaching the Palace. Eagles perched on their tops frame the
Gloriette that lies on higher ground to the north. Selective lighting brings out
the long vistas and three-dimensionality ofthe overall site .
Two symmetrically laid out fountains in the forecourt ofthe Palace place visual
accents - the light on two central sculptures. The main axis extending between
the fountains receives subtle light to avoid severance ofthe two. Some light is
directed onto the arcades along the sides to draw attention to the park beyond.
The visual differentiation ofthe north elevation facing onto the park underlines
its effective illumination. While the lateral wings are bathed in bright light,
the central section is subdued to make the entrance beneath the grand staircase
shine even brighter.
The Neptune Fountain is located in the centre of the gardens, between Palace
and Gloriette. Lateral axes lead to other monuments: two fountains, one obelisk
and a pavilion. The aesthetic charm ofthese monuments is emphasised by indi-
vidualised lighting that, in a combination ofa bright and friendly atmosphere
and visual accents , put into practice the main principles of the lighting concept.
Underwater luminaires make the Star Fountain appear transparent and expan-
sive while the Round Fountain receives selective lighting directed at its sculp-
ture.
Located on higher ground, the Gloriette "hovers" above the site. The illumi-
nation places emphasis on the exposed position by accentuating its elevation.
It also picks out the architectural refinement ofthe building: the columns are
individually lit, the facade, like that ofthe Palace, receives differentiated levels
oflight, and the interiors are animated with light making the ceilings appear
bright. The overall impression culminates in the shining transparency of the
Gloriette.

117
Compleled Schemes: Fountains and Monuments
Park: Negara Bank, Kuala Lumpur

Design for the exterior lighting and facade

illumination at the Bank Negara in Malay-
sia; plan and elevation

118
Light designed to encourage communication

Negara Bank ofMalaysia invested in a large training and research centre for the
continuing education of not onl y its employees but also stafffrom other banks
in Asia.
The building layout is generous; it accommodates up to 400 people a day who
are participating in courses ofvarying duration and attending conferences.
The main building comprises offices, a library, a numismatic museum, a gallery
for modern Malay painting, language labs, lecture theatres, communication
areas and seminar rooms.
The client attached great importance to easy communication, encouraging
users ofthe building to strike up conversation and meet informally. Different
external areas have been designed for diverse and communicative ways ofutili-
sation.

Large square in front of the main entrance

The building is located on top ofa verdant hill which is reached via one of the
winding roads typical of Kuala Lumpur. Here, an expansive square opens out,
extending visually up to the main entrance. Medium-high walls enclose the
sides of the space . In order to provide variable illumination for night-time
events the square receives ambient illumination directed downwards from a
system of reflectors on the roof overhang.
The reflectors are made offilm with the optical characteristics ofa spherical
indentation area.
The light atmosphere is generated using recessed luminaires in the surround-
ing walls creating more elaborate zones along the edges of the square. Here,
areas of planting with small pools and seating are found. Water shown on the
plan shines: the pools are equipped with side-emitting optical fibres and water
floodlights .
Four tall multi-functional masts pro vide the ambient illumination in the front,
away from the building. Additional spotlights can be mounted for events that
require stage or effect lighting.

Side courtyards as intimate external spaces

The west courtyard is affiliated to a small restaurant and furnished with tables.
Likea pergola, a suspended net with sm all lights at the nodes creates a visual
roof, limiting the height ofthe courtyard. There is always sufficient light irre-
spective of the arrangement ofthe tables. Light lines in the paving emphasise
the graphic pattern of the landscape scheme.
The east courtyard does not receive any general lighting with the exception of
the diagonal bar. Luminaires are integrated into the furniture and a few spot-
lights are trained on the planting.
The large entrance hall shines onto the outside, defining the atmosphere of the
external areas.

119
Completed Schemes: Fountains and Monuments
Square: Thomaskirchhof, Leipzig Bach's church square

The masterplan for the enclosed Thomaskirchhofin Leipzig, bustling with

visitors, bars and restaurants, demanded a new lighting concept. The hither-
to random, glaring and flat illumination ofthe southern church elevation was
replaced by a combination offour light scenarios: a subtle wash ofwarm light
from luminaires mounted on houses opposite, light close to the facade, back-
lighting of the church windows and lighting of the square and footpaths from
existing Schinkel luminaires. All these factors work together to enhance the
sculptural architecture, to integrate the church facade into the ensemble of the
Site plan of Thomaskirche in Leipzig
square and to provide a more restrained, gentle and sensitive light.
andsurrounding squares, below:
Thomaskirchhof with Bach memorial

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adjacent areas; the tower can be
seen from a distance. Low-key
lighting brings out the cosy and
small-scale character of Thomas-
kirchhof.

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121
Completed Schemes, Square
Temporary Light Installation: Gasometer, Oberhausen

View into the 116-metre tall gasometer in

Oberhausen. The luminous water cone
is 50 metres tall and lit on the inside and
outside. Stars are projected onto the skin
of the gasometer.

122
Mystical water-light sculpture

Exhibitions in the former gasometer, a structure ofmore than 100 metres in

height, benefit from its spectacular dimensions. At the "Blue Gold" exhibition
on water, visitors were guided over three levels: a desert-like entrance area with
0
warm light creating atmospheric sunsets; above it video waterfalls on a 360
panorama. The centrepiece on the third floor was a water-light sculpture, a
50-metre tall light cone with water running down its sides. The dark surround-
ings ofthe cone shone in a cold glow, reminiscent ofthe northern lights. They
transformed into various whitish-blue coloured light scenarios to culminate in
a brightly glowing crystal. Three types oflight alternated: a star-shaped area of
fluorescent lamps shining from the inside made the cone appear transparent.
As these were dimmed and the spots on the outside around it started up, the
cone became solid - as if it were covered in a matte metal material. Also, the
underwater luminaires generated a picture ofmoving light reflections. The
transitions between the different light scenarios were the most spectacular.

Section through the gasometer in Ober-

hausen showing three exhibition levels:
ground floor: history of water, first floor:
film installations, second floor: shining
water cone with starry sky

123
Completed Schemes: Temporary Light Installa tion
Urban District: Zurich Affoltern Light culms for a new identity

Plan Lumiere is the title ofthe lighting masterplan for the city of Zurich. It will,
in future, furnish the entire area of the Swiss city with a new lighting concept.
Presently it is being put into practice in smaller sub-projects. One ofthese is the
district ofAffoltern, located within the catchment area of Zurich. The former
village Affoltern has lost some its character in recent years with the construc-
tion ofnew building developments. The light scheme helps in providing the
area with a new identity by enhancing its public spaces with light.
New lighting has been especially created for pedestrians and cyclists in the area
around the railway station. But also further afield new lights appear. Low light
poles ofa height offour metres illuminate squares, streets and entrance points
within the district. These include gateways, entrances to underpasses and the
shopping centre. The luminaires break the monotony ofthe main roads and
help to create a pleasant environment. Light points at ground level lead into the
neighbourhoods, their numbers increase at junctions. Selective spots direct
attention to special situations, give identity and atmosphere. Pedestrian areas
have even lower poles with a mounting height of three metres and wide spac-
ing. They produce a warm and calm light ambience.
Additionally, light points on tall buildings highlight distinct details character-
istic of the local neighbourhoods. These facilitate orientation and recognition
from a long way away, and further promote the specific identity of the district.
Changing light scenarios on traffic structures, such as ramps and underpasses,
serve the same purpose. Light picks out new meeting places. For example, the
building facade opposite the station could be used for projections to be viewed
by passengers on the platforms.

Aerial view of Zurich Affoltern showing

the viewpoints of the photographic survey

124
Site plan showing the two important squares Zurich Affoltern station with photovoltaic
"squares" that provide access from the light culms in the day and night
railway station and the main road squares

streets

• paths

II prominent points

temporary light an

II entrances

125
Completed Schemes: Urban District
 The environment ofAffoltern is marked by its heterogeneity. Congested and
busy areas alternate with romantic corners. The lighting design attempts to
respond to this diversity with a surprise. The luminaires are, in their original
form, not usually specified for use "on land". They typically mark out water-
ways.
LEDlamps are fitted in the luminaires' heads and run on solar powered storage
batteries. They do not require conventionally generated power, neither in sum-
mer nor in winter. This feature, and its related design quality, is typical of the
scheme and amazingly up to date.
The luminaires are constructed from a conventional pole and a fibreglass rod
at the tip ofwhich the lamp is fixed at a height ofseven metres. This makes the
luminaire virtually vandal proof. It is easy and economical to erect since no
power supply is required. Photovoltaic cells on the projecting "leaf' at the top of
the steel pole supply the necessary power to (recyclable) storage batteries.
Streetlights are generally static in appearance. In Affoltern, the light markers on
the fibreglass rods move in the breeze. They sway to and fro like reeds in water,
where these luminaires usually would be found. But here they are a poetic allu-
sion to the rural environs of the village. The luminaires can tilt approximately
one metre in each direction; the rod cannot turn any further, but will not break.
In Europe, this suggests bamboo and thus the luminaires were named "light
culms". They are painted the colour of the local grasses and are ofa slender and
miniature-like appearance that only modern materials can conjure up in such a
stunning manner. A true surprise on all fronts.

126
 Light culms
pole height 7 rn: 6.5 rn: 6 m
aiternative colours: red and blue

incline ca. 2 x 1 m

mounting height ca. 7 m

luminaire head LED
diameter 180 rnrn: height 140 mm
/21 kg

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steel pole, diameter 102 mm

length 3.5 m, RAL coated

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fibreglass pole - flange plate

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blue red green amber

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Pole installation with flange plate
according to standard EWZ

The persuasive argument for the light

culms was that they receive power from
photovoltaic units on the "leaves" and
storage batteries, making them indepen-
dent of electric power supply.

127
Completed Schemes: Urban District
Small Town: Lemgo

• rampart s Witt! vegetation

low lIght

important axes: bright ,

generous

III squares: mdrv rdual.

space dehnmg light

• lowers; accenruaung. high

The lighting masterplan for Lemgo allo-

cates light characteristics to the clearly
identifiable historical town plan.

128
Amenities presented in the proper light

The inner city ofLemgo in North Rhine-Westphalia has an historical-contem-

porary ambience. Stone and timber-frame buildings dating back to the Late
Gothic and Renaissance periods alternate with exemplary modern architecture.
The street pattern, squares and prominent buildings determine the appearance
of the former Hanseatic town. Naturally, the design concept for an integrated
and artistically conceived lighting scheme should emphasise the qualitative
characteristics ofthe town centre. Five zones are ofspecial relevance:
- The axes at right angles to the pedestrian zone, or rather the main shopping
street aligned with the town gates.
- The large sections of the existing ramparts that surround the town centre,
now as a public park.
- The public squares, two ofthese are located close to the point ofintersection
ofthe main axes.
- The historical towers which serve as eye-catching points of orientation, even
from a distance.
- The former town gates, important routes into the town centre.

In the pilot project on Waisenhausplatz.

light emitted by facades of public build-
ings plays a major role.

129
Completed Schemes: Small Town
 The masterplan allocates individual light ambiences and moods to the five
areas, all ofwhich integrate into an harmonious, coherent overall scheme. In
the shopping areas, for instance, low light directed onto the ground from a
height ofthree metres determines the general light effect. An important fac-
tor is the lighting ofshop windows which was coordinated with public light-
ing . Subtle light on the surrounding historical facades displays refined and rich
detail; light from the side alleys marks vibrant points along the main axis.
Even lower than in the shopping area are the light levels on the ramparts, illu-
minating special places. Here, darkness is preserved as a qualitative space in its
own right while light on trees or groups ofplanting makes it safe to use the park.
Furthermore, prominent buildings, like towers or town gates are emphasised
and made easily recognisable. They are not brightly lit, but instead receive sub-
tle , inviting light that provides balanced points of orientation.
Two large squares hold great significance for the public life ofLemgo, the
Marktplatz and the Waisenhausplatz. Their central location matches the
vibrancy ofthe place. Public transport routes run in all directions from here.
The market square especially is a success in terms ofaesthetic design. Not only
due to the juxtaposition and blending ofhistorical and modern architecture,
the balance ofold and new, but also due to footpath links and the composition
The pink facade of Gesanghaus
ofbuildings and spaces in the overall appearance of the square. Consequentially,
the lighting concept attempts to underline existing spaces in their complexity
rather than isolating them as single elements.
On a small scale, the complexity ofthe square is exemplified by the detail of the
adjacent Town Hall; its facade turned out differently from the main body of
the building because it was constructed in different phases over a long period
oftime. The light attempts to carefully respond to these subtleties. From close
up it is soft on the surface, subtly emphasising the quality of the architecture
instead oftraining a flattening beam onto it. In addition, some small, aestheti-
cally attractive windows are lit in the interior using minimal high-efficiency
lighting in adjoining rooms. On the opposite side ofthe square, the windows of
homes are lit, their lights seem to go on and off at random.
Another public building, the Ballhaus, is only illuminated to show the charm-
ing architectural detail of the facade. Incidental light shining beyond the facade
is blocked. All functional lighting is reduced to the lowest possible level to min-
imise interference with the sense of space. The surface ofMarktplatz receives
different accents emitted from spotlights on poles; each of the light points is
mounted at a different height. The sole exception is a water feature in the centre
of the square that replaces the former historical fountain. The interplay oflight
gives the square an animated appearance and increases its attraction.
An axis extends across Kramerstrafse, from Marktplatz to nearby Waisenhaus-
platz. Here, the light ambience is similar to that ofMarktplatz, only the

130
functional lighting recedes further into the background in favour offacade
lighting and shop windows. One selective light on the back elevation ofBall-
haus, and the windows ofseveral public buildings lit from within lend the
space an intimate atmosphere. Waisenhausplatz has two further features: first-
ly, a direct relationship with the market square is set up owing to an attractive
view ofthe church spires. Secondly, at twilight the bus stops on Waisenhaus-
platz generate an animated play oflight, their roofs are transformed into light
objects. Transparent glazed areas that seem to be randomly scattered across the
square are pleasant to behold; they appear like immaterial luminous rectangles.
The option ofchanging the colour ofthe light fed into the glazed roofs should
be carefully and sparingly handled.

131
Completed Schemes: Small Town
Large City: Bremen Light music

The face ofa city changes in the course ofnight and day. The warm, red autumn
sun almost makes its facades glow, the clear winter air lets a row ofbuildings
appear more three-dimensional than in damp, misty weather conditions that
seem to mould shades ofgrey. This is reversed at night: windows shine to the
outside, the public realm extends into houses, illuminated advertising panels
compete with one another, and the lighting on streets and paths provides order
and orientation.
The evening and night-time appearance of the city significantly contributes
to the degree in which citizens and visitors feel comfortable and like to go out.
People bring life to the city, visit the centre and identify with the place, but only
if pertinent criteria are fulfilled.
The 0 bjective ofthe lighting masterplan was to present the qualities of
Bremen's inner city in the proper light, to place accents, introduce structure,
facilitate orientation, create change and order and, in doing so, provide a pleas-
ant atmosphere that typifies Bremen.
The concept presents an integrated approach to the lighting design ofBremen's
inner city. Prior to implementation of the proposed principles, it was important
and also necessary to reach a detailed agreement between the involved parties.
The scheme retained its message and put into practice its desired effect, even
though some aspects ofthe proposals could not be realised (for example, light-
ing windows from the interior). In the first instance, the principles of the mas-
terplan should be pursued to the greatest possible extent.

Sightlines
A walk through the city centre of Bremen presents the visitor with a wide range
of beautiful, historical buildings. The lighting scheme builds on the great densi-
ty ofsignificant facades and, by lighting specific viewpoints, guides people from
one site to the next.
Firstly, this is accomplished by the broad lighting offascinating gables and
facades and secondly, by providing smaller-scale illumination for central build-
ings, such as the church Liebfrauenkirche, the Cathedral and the Town Hall.
Light guides the visitor through the streets and onto small, intimate squares,
like that around Liebfrauenkirche for instance, and reinforces the unique charm
of Bremen's city centre.
Each street and each square opens out onto adjacent squares and streets, the city
centre is perceived as one entity.

Streets
The street spaces in the city centre can be divided into three categories: pedes-
trian areas, pedestrian streets with delivery access and streets predominantly
for motor vehicles. Each ofthese categories has a different focus and is designed
accordingly.
Light poles for a mounting height offour metres illuminate the pedestrian are-
as, such as Stintbrucke and GrofSeWagenstrafSe as well as Kleine Wagenstrafse.
This height creates a pleasant and clear atmosphere in the street - good visibility

132
 Site plan of the city centre of
Bremen showing all elevations on
which light is applied to form spa-
tial boundaries or which define the
character of a street

Bremen was the first city to consistently

plan "functional" and "design" lighting.
Conflicting light effects do not occur and
costs can be kept to a minimum.

133
Completed Schemes: Large City

The Town Band of Bremen next to the
Town Hall at the entrance to the small
Schoppensteel area, which is kept rather
dark.
134
of the light sources with the regular spacing ofpoles make it easy for pedestri-
ans to judge distances.
Hakenstrafse receives overhead wiring at a height ofeight metres because this
best suits the function of the street. Light poles along one side ofthe street serve
the mixed areas, like LangenstrafSe, SandstrafSe and MuseumstrafSe. In addition,
important and architecturally interesting buildings are flood lit.The street space
widens towards the top and presents new focal points that catch the eye ofpas-
sers-by.
The areas ofMarktstrafSe and WachtstrafSe receive overhead wiring at a height
ofeight metres as they are mainly used for vehicular traffic. The light points
trace the alignment ofthe road and facilitate orientation. Here, too, light picks
out several important and architecturally relevant buildings and creates an
interesting urban environment.
Squares
There are two types ofsquare in Bremen's city centre. Firstly, the large squares
with vehicular traffic, and secondly, smaller squares for pedestrian use only.
Tall masts with mounting heights of9.S metres provide direct light for the large
squares, like Domhof, Domsheide and Am Dom. Spots fixed to these masts cast
light onto surrounding facades and objects in the square. Unlike the low light-
ing points used in the streets, the illumination from a height lends these squares
a generous character; it makes the space appear extensive.
Spots mounted at the top offacades provide light on the small-scale squares
around the Town Hall and Liebfrauenkirche. The light sources are not in the
pedestrians' field ofvision, but cones oflight distribute a uniform brightness
over the area. To create a transition between bright street lighting on Obern-
strafSeand the small squares and narrow streets, illuminance levels are stag-
gered in different zones. This permits the wash oflight and light emitted by
luminaires mounted close to the Town Hall and Liebfrauenkirche elevations
to occupy the foreground, as intended. Selective spots provide soft light for
Markus Fountain and the sculpture of the Town Band of Bremen.
Facades
The vertical planes offacades make a significant contribution to the sense of
space in squares and streets. Two complementing light principles are applied:
the broad, calm light from a distant light pole or from opposite houses and the
small-scale accentuated illumination ofcornices and projections on the facade
itself. In combination both these principles make the facade appear generous
and at the same time three-dimensional and structured.
Town Hall
The Town Hall, located in the city centre, displays its facade in all directions.
The elevation facing the market, seen from the middle-distance, receives a
wash oflight: light mounted close to the facade directed onto ornaments and
figures, light on the gables and on the arcades. The roofis of the copper-green
variety that looks bright. Illuminated windows lend the Town Hall an animated
appearance. On the elevation facing Obernstrafse, identical principles apply, in
particular the light on the gable is meant to be seen from a distance. The high
 nuorescenlluminaire

• uplighter

• spotlight

... spotlight OWP604

o spotlight SNF 100

Elevation of Bremen Town Hall fac-

ing the market with luminaires and
luminaire positions

Town Hall w it h and without backlit win-

dow s (the latte r w as the intent ion of the
master planl

Other facades of Bremen's Town Hall

135
Completed Schemes: Large City

Facade of Bremen's Tow n Hall : We found
places to mount luminaires on the roof,
balconies and beneath the arcades. Not
so in the median resalit w hich is lit fr om
light ing poles in the square.
136
luminosity is the response to the relatively bright shopping street. Towards
Schoppensteel, the light is adjusted to suit the small scale ofthe space. It is more
reserved and transforms the formerly dark area into a pleasant environment.
Directed light places special emphasis on the small stairwell-tower and the
Town Band of Bremen; they are the dominant features on this side of the Town
Hall. The bright windows and the illuminated roofare intended to be viewed
from distant Domhof. The same principles as for the other building elevations
apply to the elevation facing Domhofand the back of the Town Hall. Bright
windows and light on several figures (Windsbraut, for example) structure the
facade and display it. Here also, a wash oflight and light on the gables bring out
the distant effect.
The Glocke
The austere gable elevation with its doorway arches is the central feature of
the lighting scheme. A soft wash complements the lights mounted close to the
facade, aligned along the vertical direction of the gable. Smaller spots light the
entrance, the windows shine from within. The roofs receive a wash oflight
emitted from the cornices and the back of the stairwell gables.
Liebfrauenkirche
This church is different from the other large buildings because it has fewer win-
dows (especially on the entrance elevation) and it is constructed oflarge boul-
ders , making it appear more solid. Spots mounted on a mast erected between
the trees light the walls. The existing overhead wires were removed. The rose
window shines from the inside, just like the lateral windows. The tiled roofis
not lit , it only reflects the stray light ofthe urban surroundings. The green roof
of the tower appears like a sign of the church. The gables and recessed windows
receive light from fluorescent luminaires that give depth to the facade.
Cathedral
The Cathedral with its many copper roofs and two widely visible towers domi-
nates the city centre from many viewpoints. The roofs are lit. The lights on the
inside of the Cathedral windows and the facade illumination present a distinct
character. The entrance portal receives direct light to bring out the shine of the
gilding above the doors. Spots mounted on poles in the courtyard, Domhof,
illuminate the historical building and its side entrance. The wash oflight on the
front of the Cathedral makes it widely visible and emphasises the power of the
church.
Large-format projections on facades: building facades may serve as screens for
projections of all kinds ofmotifs from large-format projectors (Pani, for exam-
ple). Buildings are thus visually transformed into entirely different structures.
Projectors can be temporarily fixed to opposite buildings, or to poles.
Coloured light on facades: coloured light on facades completely changes their
appearance and effect. Coloured architectural spotlights may be temporarily
fixed to opposite buildings, to poles or mounted on the building to be lit. An
additional option would be to adapt existing lighting systems (for example,
floodligh ts) by inserting colour filters.
Laser light show
Laser light sh ows are events for special occasion s. With the use oflaser lights
squares and streets may be transformed into theatrical settings.
Moving lights: "intelligent" spotlights, so-called "moving lights", open many
design pos sibilities. Spotlights may project moving coloured beams or gobos
onto facades and the ground. Th ese systems can be installed on buildings and
on masts.

3 0 backli t w indow s

4 • entrance ligh ti ng (existing)

5 0 accent on lenering wil h spoll ight

6 ... accentuation of relief with spotligh t

7 • gobo beam on mastllracing gable outline)

Luminaire positions for another

important facade in the centre of
Bremen: The Glocke

137
Completed Schemes: Large City
Large City: Luxembourg Distinguished light management for a special flair

The topography ofLuxembourg is impressive: steep cliffs heightened with bat-

tlements, deep river valleys, winding roads and gigantic bridges, views across
the valley onto the mountain ridge opposite along with the view onto the roofs
of a neighbourhood 70 metres below - all this offers picturesque charm.
The town, expanded throughout history, and in which important European
institutions are based, is open to citizens and guests. The layout ofstreets and
squares has a special Luxembourg flavour offering a high quality oflife. The aim
of the lighting masterplan is to strengthen these characteristics.
Blessed with sunshine and warmth, the people ofLuxembourg make the most
of their public spaces: restaurants and cafes enliven the squares, people go for
walks in the parks, but also use them to sit, play and have picnics.

Initial ideas for the lighting master-

plan for the City of Luxembourg.

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138
 Competition entry: Different light-
ing ambiences in the city centre of
Luxembourg

139
Completed Schemes: Large City
 River valleys

The valleys of the rivers Alzette and Petruss receive less sunlight. Here, the
shadow play on the rocks is interesting to observe, both on a grand scale as well
as in detail. Responding to this by way ofthe nocturnal illumination is one of
the chiefelements ofthe masterplan; it proposes to only light places that are
touched by sunlight: The actual concept defines an "afterglow" in the shape of
a net ofelements that shine at night where the sun shone during the day. Sec-
tions that receive little light in the daytime would shine for only a few hours,
creating a subtle imprint, an elegant trace ofnatural light through the course of
the day. This type oflighting could be superimposed onto a differentiated,
more conventional but sensitive illumination. A refined, perceptive - not
bulky, loud or flashy - use oflight would best suit Luxembourg.

Centres
The city is characterised by different centres, vibrant with life late into the
night, and quieter areas in between. To strengthen the appeal ofalternating
bright and less bright, between vibrant districts or squares and quiet neigh-
bourhoods would be fascinating. In the process, light colours could be coor-
dinated.

Bridges
Bridges link the developed plateaux and cross gorges. The bridgeheads act as
subtle gateways oflight or light openings, while the bridges are bathed in a soft
wash oflight. The light intensity should be adjusted to the frequency ofuse.

Streets and squares

Functional street lighting and the illumination of facades and objects are intrin-
sically linked. These types oflighting should not compete but rather comple-
ment one another. Street lighting must be precisely aimed at the areas where it
is needed; columns and brackets could be used to mount spotlights for facade
lighting. To achieve such unity-which actually becomes a process of integra-
tion in time - streetlights should be of a warm white light colour, providing a
better colour rendition than sodium-vapour lamps.
The main axes, Boulevard de la Liberte and Neue Avenue, could be impressive
when approached by car, if the street lanterns were not arranged in two rows
ofbright light points obscuring the view up to the central railway station and
adjoining facades. Streetlights should be mounted and directed in a different
way. Here, the lighting masterplan's special feature would be the continuous
lighting offacades and roofs ofadjacent buildings.

Parks
Luxembourg is a green city. Lush vegetation and huge tree canopies are abun-
dant, in places even obstructing good views. Stadtpark and Petruss Valley are
centrally located. They are much frequented during the day. If the Stadtpark
was integrated into a night-time lighting concept, space would be made avail-
able for small events and cafes. Footpaths as well as park boundaries and vegeta-
tion should be lit to create a pleasant and safe environment. This would also

140
 generate a brighter background for illuminated features such as monuments or
buildings. As a general rule, a fresh light colour and good colour rendition is of
particular importance in parks.

Resource conservation and operation

The lighting masterplan is committed to resource conservation and to the pro-
tection of the environment. This can be achieved by specifying economical
lamps and directing light accurately onto those areas where it is required thus
avoiding accidental, interfering stray light which could produce glare or dis-
rupt the planned light effect. The masterplan is open to new technical devel-
opments. The city is given the opportunity to launch pilot projects as a test
procedure. The experience gained on a small scale, in implementing more eco-
nomical technology ofa higher standard, could quickly be put into practice.
Controls to switch lights on or offas necessary would also reduce operational
costs and could simplify the inspection oflighting systems.

Detail of the Lighting Masterplan for

the station area in Luxembourg

141
Completed Schemes: Large City
New District: HafenCity Hamburg A family of luminaires for a variety of light themes

Sunsets have their own individual charm. Depending on where the spectators
are, they will witness the nightly spectacle in the most multifarious displays.
In Hamburg's port, it is the expansive backdrop, passing ships, water, historical
and new buildings that make the show a beautiful experience. The more the day
sinks in the dark of night, the stronger the orange glow of the light-dome fed by
thousands ofJamps in Europe's second largest port.
The comprehensive lighting scheme for the growing HafenCity takes into con-
sideration and gives special emphasis to the existing light situation. Although it
is an integral part of the larger port area, it develops an individual character. The
site is clearly separated from other harbour areas and as such an independent
part ofa whole.
Contrasting the free port and its hectic 24-hour hustle and bustle ofshipping
traffic, HafenCity is characterised by urban features. Side roads and main traf-
ficarteries, junctions and squares make HafenCity into a vibrant place; in the
future it will be more densely populated. Rather than having work related uses
it comprises modern and attractive areas for recreation and leisure: waterfront
promenades, headlands, docks , sports marinas, bridges and landing stages.
They all require special lighting designs, which are, however, subject to eco-
nomic constraints, most of all those relating to operational maintenance.
Decisive factors for the lighting schemes of HafenCity are the light ambience
and the light situations ofthe various sites, rather than the detailed design of
the luminaires. Public lighting and "designed light", such as for floodlighting or
object lighting, are both developed from a common starting point and concern.
The proposed light colour takes up the general themes of Hamburg's urban
lighting: firstly, warm white light is employed, as opposed to yellow sodium-
vapour lamps commonly used in many other cities. Secondly, the city's many
water areas offer contrasting "dark spaces", though reflections and shimmer on
the calm or ruffled surfaces themselves create changing lights.
HafenCity can be divided into seven functional areas which all require separate
lighting schemes. Design qualities, as light colour and luminosity, brilliance and
softness, are applied to every single functional area alongside the local require-
ments - including illuminance and luminance, etc.
Extent and scope of these criteria give rise to a luminaire typology.They define
the constraints for the design ofthe luminaire heads, their installation on poles
and the poles themselves. This is how a family ofJuminaires characteristic for
HafenCity is formed. It accommodates individual features, but also offers opti-
mum adaptability to the many different sites in Hamburg's harbour.
Localroads: the enclosed and intimate character ofneighbourhoods is estab-
Model of HafenCil y Hamburg
lished by low mounting heights ofJuminaires. Warm white light is emitted
from a height offive metres, associated with a homely atmosphere and, hence,
contrasting the rather cool lighting of the main roads.
Main roads with cycle paths: steel bridges with a parabolic supporting structure
are typical of HafenCity. They lead across the water or across roads . This motif
ofa "rising mountain" is taken up in the design ofthe luminaires for main roads.
Their mounting heights are at five to ten metres. Similar to the luminaires in the
neighbourhoods, they are also spaced thirty metres apart. Their colours are in

142
Main roads
colour temperature warm w hite
mounting height 8 m
spacing of light point s 30 m
Local roads
colour temperatu re wa rm whi te
(TC 26, TC-H, TC-n
mounting height 5 m
spacin g of light points 30 m
Waterside
colour temperatu re w ar m white
(TC 26, TC-H, TC-T)
mounting height 5 m
spacing of light points 20-30 m
Squares
colou r temperature warm white
(TC 26, TC- H, TC-Tl
mounting height 5 m
spacing of light points as necessary
Ju nctions
colour temperature warm white
mounting height 8 m
spacing of light points as necessary

Headlands and prominent. accentu-

ated high points
- - - --
Western HafenCity Lightin g Master-
plan sit e boundary

143
Completed Schemes: New Distr ict
 Light ing mast er plan for western
Hafen City Hamburg

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the neutral range, so do not compete with the architecture nor with the impres- mas t mounung heIght 5 m

sive views across the water. mast mounting height 8 m

Squares: HafenCity's squares offer a welcome motive for the intonation ofdif- rnuui-Iunctiona! mast. mounting height 10 m

ferent light themes. Wherever the sense ofspace is primarily formed by the light objects

facades ofsurrounding buildings (on Magdeburger Hafen, for example), spa- illum ination of squares

tial emphasis on the vertical plane continues into the night. This is either done lacade light ing

using translucent "luminous" facades or with direct illumination ofsolid eleva- light lor s,gn,hcan t burldings

tions.
Additionally, some elements in the squares are displayed in accentuated light.
The bench at Sandtorhafen is picked out in light, for instance, or objects them-
selves are luminous, like the light snake, also at Sandtorhafen. Rows oflight
poles were avoided to pre serve the homogeneity ofthe squares. All too often
such rows subdivide a space into unintended sections. Instead, there are single
masts, ten metres in height, that accommodate luminaires at different levels.
This provides sufficient leeway to produce a variety oflight scenarios for events
or for other special occasions.

144
Junctions: where two main roads meet, ten-metre high light points are placed at
the junction. The height facilitates the broad illumination ofthe road area from
a single mast. The light colour of these junctions is neutral or warm white, cor-
responding to the light colour ofstreetlights.
Quays and waterside: HafenCity has many quays and watersides. They form
its horizontal profile, emphasise its boundaries and contours. The mounting
height is reduced to five metres along these lines. Masts ofintermediary height
are placed in front ofthe lateral boundary walls. Light emitted from behind and
directed at the ground ensures that views remain unobstructed. Views across
the River Elbe and onto the various docks remain undisturbed by light.
Bridges: most ofthe bridges in Hamburg are equipped with chandelier lumi-
naires. This theme is carried into the adjoining new and growing HafenCity.
Low luminaires ofapproximately five metres mounting height are continued
here. The luminaire heads were specially designed as objects.
Headlands and prominent, accentuated high points: conspicuous and rather
inconspicuous, high and low buildings mark the headlands of HafenCity. This
heterogeneity is also expressed in light ofdifferent intensities. On the site of
Hamburg's future landmark, the Elbphilharmonie to be built on Kaispeicher A,
it is imperative to set a light accent, visible over a long distance and from far off.
The headland at Sandtorkai is more suited to different, subtle illumination. The
horizontal plane ofthe tip itself could become luminous.

145
Comple ted Schemes: New District
Magellan Terraces showing Ihe
lighting of the square and seating
benches

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. .,-. .... \

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y""

-t
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- ...._-

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Luminaire positions tor street light-

ing in HafenCity

146
 Magellan Terraces just after completion.
Low mounting heights on the seating
benches (regrettably only some were
builtl create islands of light beneath the
tall multi-functional masts.

147
Completed Schemes, New District
lopm t
Light and Shadow in the Public Realm: Past and Present

As we began to ponder the meaning oflight and shadow, we started to associate

them with dreams, to see how in our mind's eye all those shadows in our sur-
roundings enter our perception. Dreams are the equivalent ofshadows. They
remain elusive and immaterial, sometimes an intense experience, some en pas-
sant.' In the same manner we perceive light, whose dark sibling is the shadow."
Apart from the gleam oflight from distant stars, the fire close by is the primor-
dial concept oflight in human perception. Following his "Psychoanalysis of
Fire'; the French philosopher Gaston Bachelard dedicated a wonderful book to
"The Flame of a Candle".' For Bachelard, the flame is one ofthe prime sources
which gives form to our reveries. It has had a great impact on raising our aware-
ness oflight and shadow. To study the details ofa flame for a period of time, to
meditate, is vital and seductive.
Light ignited by man has always had a spectacular aspect. Fireworks, gates of
honour and pageants were rare highlights ofcourtly life, even more so for the
public. These displays were expensive, complex and, naturally, ofa short dura-
tion. They are part ofthe cultural roots oftoday's "event culture" and were com-
posed ofmany, sometimes thousands of"single lights", candles with a short
life.
The true social advance in the history of "artificial brightness" came with the
introduction of street lighting on a large scale some 200 years ago; it was, how-
ever, not permanent for a long time." The light was probably weak, in as far as
can be reconstructed, and its development dependent on the technical impro-
vement oflamps and luminaires, but also on the expansion of the supply net.
The first noteworthy public lighting system using gas was established in Lon-
don at the beginning of the 19th century; Germany and France did not follow
until fifty years later. Industrialisation oflight had commenced, its new charac-
teristics are easily named: light took on the dimension ofdistance. The bright-
ness ofgaslights was less intimate than candles, argand lamps or oil lamps; it
could bridge large distances. The fuel arrived via a network from distant gas-
works; light could be controlled with the gas tap over any distance." The prin-
ciple ofpublic illumination with a central supply system was established and is
still valid today. Electric lighting also adopted this system. It was initially routed
along main streets and squares in the 1880s, and set off the replacement ofgas-
lights.

1 Ulrike Brandl,ChristophGeissrnar-Brandi: Walking through shadows,in: DeutschesArchitektur Museum(Ed): The Secret of

the Shadow.Light and ShadowIn Architecture,TUbingen, Berlin 2002, p.10 If.
2 IngeborgFlagge: Light's dark brother, in: DeutschesArchitektur Museum(Ed.):The Secret of the Shadow.Light and Shadow
in Architecture,TUbingen, Berlin 2002, p. 64 If.
3 GastonBachelard: Psychoanalysis of Fire,Boston1987; GastonBachelard: The Flameof a Candle, Dallas
4 Compare Wolfgang Schivelbusch: Disenchanted Night:The lndustnalization of Light in the Nineteenth Century,California 1995,
p. 83 ff.
5 CompareSchvelbusch: Disenchanted Night,p. 48

150
Urban street lighting is now taken for granted in many parts of the world. Its
significance is not immediately apparent to everyone any longer, "it is just the-
re". But the relative brightness ofstreets at night is a basic value that should con-
stitute the starting point in the contemplation ofnew urban lighting schemes.
Just like technical achievements, life in the city and, ultimately in rural areas, is
changing fundamentally. The new, permanent illumination of200 years ago
enabled citizens to use exterior spaces at night (some attempts at lighting streets
were made much earlier). The "technical" availability oflight thus had a demo-
cratic quality. The presence ofthis light provided safety for all, then and now,
lifting the burden offear at night. It also served the police for surveillance pur-
poses. Previous generations ofstreet lights in Paris, built before the revolution
and financed out ofthe police budget, became the symbol ofthe old order.
The" reverberes" ofall things, were used as gallows. Lanterns were destroyed
during the riots in Paris, Berlin and Vienna. This was for practical, strategic rea-
sons; it was more difficult for the military to close in on the rebels in the dark,
and for symbolic reasons: public lighting was regarded as a key instrument
in the system of domination.

151
Light and Shadow in the Public Realm
 The destruction ofpublic lights during the July Revolution contributed to its
success, as natural darkness deprived the police of control over the night in Paris.
Such phenomena mark the difference between public lighting and light in inte-
rior spaces, be it the 24-hour day at the factory, or private light in our homes.
It is remarkable that artificial light is increasingly dispensable. Fully automated
fabrication systems operated by robots can work in the dark. One of the techni-
cal keys to industrial production, the ability to turn night into day, is strangely
enough losing its significance. There will never be dark factories, ghostly places;
but - hypothetically - a new darkness can be predicted, or considered in the cen-
tral zones ofour work spaces.

Today, however, electric light still shares a similar premise with other technolo-
gies (the car, railway, PC), which are generally available and of a high standard: it
is extremely egalitarian. It is, like the whole of society, dependant on the power
suppliers and power distributors who facilitate the production of electricity.
Thinking about light in another way rather than along the set, contemporary
lines, and in slightly more general terms, the now almost banal presence oflight
at night and in the day can be understood as a visible pattern of one of the "real"
foundations of the present economic and social systems: electric power, available

152
 any time and any place. This is what is hoped for, at least. Light and brightness
everywhere. The system is almost expected to work like the cosmos of
" moon and stars " visible at night which have "illuminated" us from time imme-
morial. The many single light points in our earthly world are, to exaggerate, the
. citation ofthe stars manifested in the firmament.
This "idea of light" is firmly established in us and is responsible for much of
the fascination, amazement and reliefthat is brought by light in the dark. Our
sensibility for lights is so strong thatwe are astonished by it, every day, again
and again, while taking for granted the comfort offered by artificial light. This
archaic relation is presumably the reason for the current attraction to new illu-
mination schemes in cities; however, financial considerations are a prerequisite
for all public initiatives. These concepts change the light characteristics ofa city.
Obviously, the initial renewal is generally of a technical nature. The weak light
sources which were difficult to operate, such as the first oil lamps (they really
were marker lamps), were followed by efficient light sources producing suffi-
cient brightness to light an area. The basic illumination of streets became pos-
sible. This was first accomplished with gaslights.
Public lighting took the next step in the 1870s with the introduction ofelec-
tric arc lamps which directed light with reflectors. They were bright and led to
hitherto unknown mounting heights, offering an entirely new light quality.
The higher the arc lamps were positioned, the less glare they produced; they
bathed entire streets in a uniform light. In Europe, some arc lamps remained in
use until the 1920s.
The most important light source ofpublic street lighting was the electric light
bulb for many decades, however, some gas systems remain until the present day,

153
light and Shadow in the Public Realm
 Basically,it must be remembered that urban public lighting is a very large
system, "created" by numerous people and composed ofmillions ofparts,
which slowly but continuously develops. In technical terms, the system is
banal. But its intercontinental distribution and mere existence make ita remark-
able although inconspicuous entity in our daily lives, and in terms of practi-
cal knowledge. Public light is a common phenomenon, like tarmac roads or
the many cars that surround us. It simply is one of the basics ofour civilised
lives. Exceptional circumstances, such as the black outs in war-torn cities, are a
depressing reality, where light, a synonym for safety at night in urban life, ceases
to exist and where normal life is "switched off".

All these thoughts arise from the perspective ofthe designers or operators
ofpublic light and thus from the necessity oflighting for squares and streets.
However, one can also pose the question of defining this public domain more
precisely. In other words: where is the public space that should be lit? What
(city) space should be available at night as well? Unquestionably, traffic areas
should be lit so that people can safely, and according to individual needs, move
through the "environment". But how can the differentiation be taken any
further?
Newly installed lighting systems continue to develop the basic principles
through their comprehensive differentiation. Markers ofcontemporary exteri-
or lighting schemes are no longer the standardised solutions that first and fore-
most comply with norms. Instead, they are site-specific lighting solutions - this
is the basis oftheir success; they are technically up to date - and this is what
distinguishes them from the usual patterns; they are also operator-friendly.
Operating time and maintenance costs can take more out ofthe budget than the
initial investment. Taking these three points is a good basis on which to develop
the best solutions.

But first ofall, we need to look at the development ofinner cities in general.
Lighting proposals build on these development plans and must offer compati-
bility - that this is actually happening can be traced over recent decades.
For a long time inner cities were representative in character. They were commu-
nication spaces, places to see and be seen in, and accessible to all. In the wake of
the car urban planners have, for many years, endeavoured to plan the car-com-
patible city. The resultant reallocation ofinner cities led to the destruction of
the primary function ofstreets and squares. The invasion ofthe motorcar, of
private transport, pushed out urban life that was concentrated in pedestrian
areas. Urban planners and landscape architects, in pursuit oflong-term goals,
work against this. The current philosophy is, as far as possible, to free inner
cities of cars in the next ten to 20 years.

154
 155
Light and Shadow in the Public Realm
 The thus newly defined and newly designed streets and squares need new light-
ing which is not developed for motorised traffic, but for pedestrians. Ofcourse,
similar proposals were made in the 1950s. But the decisive reversal ofurban
planning towards precisely defined traffic zones prompted new lighting pro-
posals that emulated this principle. The common approach separates the stan-
dards for roads and pedestrian areas into two distinctive product groups.

But this reflects only the European understanding of urban life which has evolv-
ed over a long time. It is determined by the historical-political dimension of
urban development and its related local characteristics. Contemporary urban
development outside Europe and the United States is primarily influenced by
quantitative factors, the immense influx ofpeople into urban conglomerates.
Today, the urban environment already accommodates more than halfof the
world population.
It is virtually impossible to plan the development ofthese mega cities and gen-
erally growth takes place in areas where state funds for efficient infrastructure
measures are insufficient or where improvements are not wanted. To man-
age this development and the ensuing chaos is a dramatic task. Planned lighting
projects would be akin to the proverbial drop in the ocean. Water and electrici-
ty' and as a consequence some light at night, is a godsend for the inhabitants of
slums in new mega cities, which has little in common with the European
"urbanite's"understanding of their environment. "Illumination" is an important
factor ofcivilised life; the way in which "public light" is typically implemented
makes it a secondary factor in urban planning; it will take some time before arti-
ficial light is afforded a more aesthetic significance. Our perception of the city
remains dominated by the visually uninteresting grid ofthousands ofstreet
lights; in the corners the more intriguing but somewhat frightening darkness of
night.

Hence, it is not possible to develop global standards oflighting for public spaces
- ultimately a truism. It means that light, including artificial light, should in
future always be more closely related to its immediate surroundings. Pure
necessity will make do with naked lights; financially strong cities and munici-
palities' on the one hand, and historical towns, on the other, will rise above the
drab monotony ofeveryday life and become more attractive for the urban dwel-
ler - the consumer.

156
Ultimately, this means that the proper use oflight indoors and out of doors
will, in future, be a tiny bit more important. Traditional cities will need guide-
lines; future cities will need new ideas for their illumination that follow the
trends in urban planning towards sustainable, "uncontrolled growth", making
the chaos even more interesting.

157
Light and Shadow in the Public Realm
Selected Bibliography

Bollmann, Stefan (Ed.): Kursbuch Stadt, DVA, Stuttgart 1999

Brandi, Ulrike; Geissmar- Brandi, Christoph: Lightbook. The Practice ofLighting
Design, Birkhauser - Publishers for Architecture, Basel 2001
Brockhaus, Christoph (Ed.): Stadtlicht-Lichtkunst, Wienand, Cologne 2004
Comer, Virginia: Streetlights, Balcony Press, Los Angeles 2000
Dinkla, Sake: Am Rande des Lichts inmitten des Lichts, Wienand, Cologne 2004
Ruth Eaton: Ideal Cities: Utopianism and the (Un)Built Environment. Society for
Utopian Studies, 2002
Eckert, Martin: Auflenbeleuchtung, Verlag Moderne Industrie, Die Bibliothek
Expo 2000 Hannover GmbH (Ed.): Masterplan Licht/EXPO 2000 Hannover,
Dolling und Gallitz, Hamburg 2000
Flagge, Ingeborg (Ed.): [ahrbuch fiir Licht und Architektur, Berlin 1994 ff.
Fordergemeinschaft Gutes Licht (Ed.): Stadtmarketing mit Licht, informationen
zur Lichtanwendung Nr. 16, Frankfurt/Main o. J.
Gehl, Jan; Gemzoe, Lars: New City Spaces, The Danish Architectural Press,
Copenhagen 2001
Gehl, Jan; Gemzoe, Lars: Pubic Spaces Public Life, Arkitektens Forlag,
Copenhagen 1996
Haus derKunstMiinchen (Ed.): Die Nacht, Benteli Wabern/Bern 1998
Held, Gerd: 'Stadtbeleuchtung" in: Bittner, Regine (Ed.): Urbane Paradiese,
Campus, Frankfurt/Main 2001
Lange, Horst: Handbuch.jiir Beleuchtung, Ecomed, Landsberg/Lech 2005
LeGoff, Jaques: Die Liebe zur Stadt, Campus, Frankfurt/Main 1998
Leslie, Russell P.;Rodgers, Paula A.: The Outdoor Lighting Pattern Book,
McGrawHill-Rensselaer, New York 1996
Narboni, Roger: la lumiere et lepaysage- creer despaysages nocturnes,
LeMoniteur, Paris 2003
Narboni, Roger: la luminiere urbaine- eclairer les espaces publics,
LeMoniteur, Paris 1995
Neumann, Dietrich: Architektur der Nacht, Prestel, Miinchen 2002
Podrecca, Boris: Offene Riiume/Public Spaces, Springer, Wien 2004
Poulsen, Louis (company broschure, Ed.): Auflenbeleuchtung, n.d.
Prigge, Walter (Ed.): Peripherie ist uberall, Campus, Edition Bauhaus
Frankfurt/Main 1998
Selle, Klaus: Was ist los mit den offentlichen Riiumen? Dortmunder Vertrieb fur
Bau- und Planungsliteratur, Dortmund 2003

158
Schivelbusch, Wolfgang: Lichtblicke, Carl Hanser, Miinchen 1983
Schlor, Joachim: Nachts in der groflen Stadt, Paris Berlin London 1840- 1930,
Artemis und Winkler, Miinchen 1991
Schmals, Klaus M. (Ed.): Was ist Raumplanung? Dortmunder Beitriige zur
Raumplanung 89, Institut fur Raumplanung Universitat Dortmund,
Dortmund 1999
Selle, Klaus: Was ist los mit den offentlichen Riiumen? Dortmunder Vertrieb fur
Bau- und Planungsliteratur, Dortmund 2003
Stadt Braunschweig (Ed.): Lichtparcours, Braunschweig 1999
Stemshorn, Max (Ed.): Dream City-Zur Zukunft der Stadtriiume, Hatje Cantz,
Ostfildern-Ruit2001
Terzi, Corrado (Ed.): Lighting Plans, Editoriale Domus/iGuzzini, Milan 2001
Van Santen, Christa: Lichtraum Stadt, Lichtplanung im urbanen Kontext,
Birkhauser- Verlag fur Architektur, Basel 2006
Zajonc, Arthur: Die gemeinsame Geschichte von Licht und Bewusstsein,
Rowohlt, Reinbek 1994
Zumthor, Peter; Beer, Ivan; Mathieu, Jon: Wieviel Licht braucht der Mensch, um
leben zu kiinnen, und wieviel Dunkelheit? vdfHochschulverlag/Editrice Com-
positori, Zurich/Bologna 2006

Light on the Internet:

www.licht.de
www.on-light.de
www.strassenlicht.de

159
Advertisement Urban lighting and quality of public spaces
iGuzzini illuminazione
After an uncertain start to the 1980s, from the latter part of the decade onwards, the issue

of urban lighting has returned to the fore more or less everywhere, not just in Europe. In

some cases, this is a result of the sensitivity of local administrations to the request for a

higher quality of life in public spaces, but more often it IS a question of political expedi-

ency. In any case, it stems from the now irreversible changes in urban lifestyles, which have

shifted much of the activities of collective and social living into the evening and through to

the early hours of the morning. Consequently, even in Italy where (with a small number

of exceptions) the culture of lighting remains firmly entrenched in traditionalism, in recent

years more mature approaches have been developed for the methods of lighting a city and

to the creative use of lighting in designing night-time urban spaces. Nothing revolutionary

has happened yet as it is difficult to be boldly experimental when caught between on the

one side the technicians, repositories of "lighting science" who attribute a kind of "ethical"

sense to orthodox lighting technology, and on the other side the administrations in charge of

cultural assets, united by what we could describe as a philological concept of lighting, con-

vinced that all in all the best artificial lighting is that which is identical to natural lighting

Nonetheless, things are slowly changing. Even in Italy we are seeing new generations of

engineers and architects who are willing to experiment With more modern and uninhibited

approaches in an awareness that the lighting project (and urban lighting in particular) IS

unable to guarantee acceptable quality levels unless it is part of an interdisciplinary pro-

cess that makes full use of the various competences involved in each individual initiative.

The same applies at a productive level, as the national industry is making considerable

advances in terms of quality standards and technological research.

At this point we must again reiterate the fundamental concepts on which the new (if not

in reality so recent) ways of considering public lighting are based. This is partly to update

the scenario in which the lighting design culture for open spaces is developing, and partly

to reaffirm the urgency of modifying the objectives and contents of the lighting technology

project at an urban level, especially in the context of Italy.

San Marco bell tower; on the left side the new

lighting from 2005, on the right the bell tower
from the lagoon

160
 The city by night

Innovation began w ith the aw areness of the existence of a noctu rn al cit y w hich is inde-

pendent of the daytime city. complete with its own life and image w hich in some w ays are

much more exciting . Although this aw ar eness first became apparent towards the end of the

1970s . it w as already firmly establishe d in the collective cinematographic imagination of the

metro polis. Research efforts such as those carried out by Bob Venturi and his co-workers

in Las Vegas as the culmination of the Pop vision of the 1960s in architecture and the School

of Frankfur t's rejection durin g the same period of the functional narr ow-mindedness of the

rationalist city prompted or iginal and "constr uctive" reflection on the nature of contempo-

rar y urban space, a debate that continues today.

In the era of "affl uent" society, of expansion of the mass media and increasingly rapid social

changes. the Expressionist idea of the nocturnal city as the dark side of the ur ban condition.

a symbolic space and a metaph or for apprehension, evaporates in neon lights and rnegas-

creens .

The need for a city that is equally livable at night is clearly unrelated to lighti ng technology

itself but has developed hand in hand wi th new forms of urban behaviour under the aggres-

sive thrus t of adver tising and leisure- related consumerism. This is similar to the way that
The Bell tow er in Berching duri ng "Berchi nale
des Lichts". 2005 the bour geois "ville lurniere " that so fascinated Le Corbusier came into being in the firs t half

of the 20th century.

On the other hand, the archit ectural idea of "another " nocturna l city whe re it is possible

to redisco ver the space of arti stic and symbol ic events, of narration and wonders. der ives

from the intuit ion of people like Venturi , Schw ar tz and several others wh o grasped the new

str uctural oppor tunities of artificial lighti ng as an effective means for "constructing" rather

than j ust for exhibiting or decorating that wh ich has already been constructed.

An aw areness that there exists a dimension of social and community living that belongs to

the night has led irreversibly to the question of "constructing" the nocturn al cit y, of how it

can be constructed. and wh at means to use to construct it with out sacr ificing the physical,

functional and morphological consistency of the daytime city.

This is the conceptual foundation, both for the present and the immediate future. of the

urb an lightin g project from an architectural and urbani stic standpoint.

Functional lighting and the functions of lighting

It is now wi dely recognised that the almost universal policy of using public lightin g for the

sole purpose of making streets safe has prevented timely reflection on the role of lighting in
determining the nocturnal image of the city.

Obviously no one wo uld dream of denying that there continues to be an impellin g need to

prevent crime and road accidents. Likewise, it is accepted that there were precise technical

and economic reasons for a strictly functional limitation of this kind, part icularl y in the past.

Howeve r , although this is still an essential aspect of the urban lighting project. it is now no

longer the only, or even the most important. issue.

Something of this kind is also happening in the equally important, if less elevated, field of

road surfa ces.

For decades the exclusive policy w as to cover all hori zontal surfa ces in the city with tarma c.

Identical blankets of amorphous tarmac w ere poured over all surfaces subject to car ,

161
Advertisement iGuzzlni illuminazione
 bicycle or foot traffic. including roads. squaresand pavements. the avenuesof old public
gardens. and even the area inside the Roman Forum.
Once again. the reasons were comfort. safety and economics. Then the time came when we
rediscovered the meaningand role of pavings in the construction of open spaces and in the
environmental redevelopment of sites of historical interest. In recent years we have begun
to design paving textures and restore original pavings buried beneath the tarmac.
At the much more complex level of expressive values. the way of conceiving public lighting
is evolving from a functional to a cultural issue. Due to its selective nature, artificial lighting
is seen as a critical tool for promoting an awareness of the city. It allows us to rediscover
the main aspects of the city's structure and the distinctive characteristics of its morphology,
to restore the key characteristics of an identity that is now becoming increasingly uncertain.
In the specific case of historical centres and sites of major artistic and environmental
importance. there is a widespread tendency to view the study of artificial lighting as a major
component of redevelopment projects. This is due to its abilityto enhance details and at the
sametime recompose an overallpicture. to recreate the suggestive atmospheres of loca-
tions and to restore the original hierarchiesof meaning. which are now difficult to perceive
in the visual confusion of the daytime urban environment

Lighting "by continuous systems "

The link between monumental urban lighting and redevelopment we have just mentioned
does not stem from the fairly obvious direct, reciprocal relationship between the two types
of initiative, but instead from a need to establish a precise methodological reference frame-
work. We have to introduce into the field of architectural and monumental lighting the con-
Piazza del Popolo , Ascoli Piceno. Italy
cept of the inseparablerelationship between a monumentand its context. This is one of the
mainstays of conservation of historical centres and of the landscape in general.

The material. visual and morphological context, together with its urban and functional sur-
roundings, form the web of relationships in which an historical, artistic or landscape fea-
ture expresses its significance and raison d'etre. And often the field of operation cannot be
restricted to the immediate, visible context as significant relationshipsthat are essential for
interpreting the site extend throughout a much larger area. An example of this is Rome's
Baroque Quarter, from Piazza del Popolo to Piazza Venezia.
This concept of unity of a monument with its context is crucial to the issue of city lighting. It
must be considered a central concept together with the complementary notion of composi-
tional hierarchy, especially taking account of the risks of interpretation that can be caused
by the selective power of artificial lighting when it is projected onto objects immersed in
darkness.
The old concept of using light, and in particular a large amount of light, to pick out single
monuments from their context appears to be slowly dying out, at least among the most cul-
turally aware designers.
At a theoretical more than a practical level, we have begun to move away from the idea of
paintingthe city's night-time image through an indefinite, almost always random series of
"coups de theatre", as startling as they are extraneous to the site they belong to.

This traditional point type procedure is based on an ideaof the night-time city as a placethat
in some way has to fight off the siegeof darkness until the following dawn. From this

162
point of view, the need to light the most famous points of the city meets a deeply-felt need

to save from destruction at least the essential aspects, those that are most representative of

the collective identity. The inevitable result of this is to light up an individual monument, an

individual facade, or in the best case a single square. Unfortunately this results in fragmen-

tation and further destructuring of the city's image, falsifying the compositional relationship

between space and architecture and distorting the perception of their underlying meanings.

The biggest obstacles to casting off methods of this kind are effectively the clients, both

public and private, who for reasons of political and economical expediency prefer to inter-

vene on single objects. Furthermore, the current mechanism of sponsorships means that

resources tend to be focused where the return in terms of image is guaranteed by the fame

of a masterpiece.

Stage-management of lighting in outdoor areas

In the rarefied nocturnal atmosphere of the urban stage, we can not only choose what is to

be displayed but also redesign the physiognomy of places in such a way as to rediscover

their original meaning or to explore new meanings. Above all, we can enhance the aspects

that we consider most significant by establishing precise hierarchies between all the ele-

ments of the context.

This way, we can recompose the compositional unity of space and restore the structural

and historical characteristics of the old city. In the same way, but using different methods,

we can create a strong identity for public spaces, an issue that has always been neglected

in urbanistic and architectural projects for the modern city.

If the objective is to create a coordinated image for the nocturnal city, then the most essen-

tial thing to implement at a planning level is a kind of stage-management of lighting that

takes account not only of the immediate environmental contexts but also of the visual, struc-

tural and symbolic relationships at the higher level of an entire unitary urban area or the

entire city.

By the term stage-management we mean an interpretation of what is to be illuminated in

a given location or in an entire urban centre and the lighting methods to be adopted on the

basis of a detailed knowledge of the urbanistic, morphological, functional and historical

characteristics.

The guiding principle behind this process must be a precise expressive intention that con-
stitutes the effective artistic content of the project. This represents what we could define

as the specific "added value" of the lighting design of an outdoor space. From a conceptual

standpoint, the stage-management of lighting is responsible for a cultured interpretation

of the illuminated site and how it is a function not only of its own characteristics but also of

the contemporary culture and language to which the designer belongs. The aim of this con-

ceptual and technical coordination is for every urban lighting initiative to produce the exact

effect sought by the designer but at the same time to be attuned to the overall night-time

environment, thereby orienting the impressions perceived by the eye according to one or

more narrative plots.

The intention is to use lighting to achieve an aesthetic rather than neutral interpretation

of the city to convey, by means of a weighted system of hierarchies and differences, the

underlying identity of places and the expressive potentialities that are denied to them during

the day. Thinking in terms of urban lighting means organising the nocturnal vision of a city.

163
Advertisement iGuzzini illuminazione
 The urbanistic approach to lighting

The need to tackle the issue of city lighting in a systematic manner, with general plans of a

strategic rather than purely legislative nature, makes it necessary to prepare adequate tools

to ensure on the one hand compliance with the guidelines of the general lighting plan and of

the implementation projects that are to be carried through over the course of the years, and

on the other hand consistency of the plan with the directives of current or forthcoming town

planning schemes. From the design regulation standpoint. this makes it necessary to de-

velop genuine lighting urbanistics and to create methodologies, tools and even terminolo-

gies that are current or under development.

In some countries this began some time ago and the quality of the projects and above all the

cultural and technical levels of public clients is now satisfactory and in some cases excel-

lent.

In Italy the process began late. Nonetheless, experiments such as that of Enel with the

Lighting for Art programme, urban lighting planning initiatives such as those of Turin, Rome,

Bergamo and now also Milan, technological research on the part of leading companies and

a commitment to cultural promotion on the part of sector professional and entrepreneurial

associations even in Italy are bearing the first fruits of a renovation that now appears not

only desirable but also entire feasible. For this purpose, it is essential to succeed in prompt-

ing debate among the various parties involved in regulatory and methodological issues

including the administrations and local legislative bodies. This is the aim of this book on

lighting design.

Environmental lighting

An urbanistic lighting project that is capable of meeting the needs of the contemporary city

and of the type of lifestyle conducted in our public spaces must not be limited to a definition

of performance standards or to a lighting classification of roads on the basis of parameters

dictated by national and international traffic legislat ion. If a tool has to be devised for the

planning of this sector, then it must have quite different objectives. Compliance with legis-

lation and implementation of technical standards are the prerequisites and not the goals of

any urban project.

As we have said, the most important thing is to get away from the concept of "tactical" light-

ing based on a limited number of quality-oriented initiatives against a backdrop of an opti-

mised functional type standard lighting system. We must instead learn to think in terms of a

"strategic" lighting concept based on unitary initiatives which move away from the rigid dis-

tinction between functional lighting and artistic/monumental lighting.

In this approach, the distinction between an urban site and a monument is likewise aban-

doned in favour of a concept of the urban environment defined as a system of structural

interrelations between an object and the space in which it is contained.

We therefore propose, as for the PGIA in Rome, to use the term "Environmental Lighting

Plan" for the tool that could be used to define the general guidelines of urban lighting and

the work criteria for achieving rigorous conceptual interpretation of sites.

164
 The aim of this is certainly not to add yet another name and acronym to the myriad already

in existence without saying anything genuinely new. Instead, this terminology aims to

underscore firstly an intention to integrate point type artistic lighting into a broader strategy

that proceeds in terms of unitary urban systems, and secondly the need to coordinate func-

tional and architectural type lighting systems so as to achieve a unitary visual result.

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165
Advertisement iGuzzini illuminazione
iGuzzini illuminazione

The Company

iGuzzini illuminazione was founded in 1958 and belongs to the Fimag holding company,

which controls the companies in the Guzzini Group (Teuco Guzzini, F.lli Guzzini and Telrna).

The company's head office is situated in Recanati, in the Marche region, where it extends

over an area of 120000 square metres, of which 33 500 are covered.

The company has 17 sales agencies throughout Italy, ten branch offices (situated in Ger-

many, France, Spain, England, Norway, Switzerland, Denmark, Sweden, Belgium, Russia

and China) as well as sole distributors in countries the world over.

In 1995, the company set up its own Centro Studi e Ricerca (Centre for Study and Research)

in order to broaden its understanding in the many aspects of light; both regarding its nature

as a physical phenomenon as well as vaster more complex aspects which are at the basis

of human perception.

An ISO 9001-certified company, iGuzzini is currently Number One in Italy in the lighting

technology sector and is among the top five in Europe.

The company's group sales for 2005 came to 167 million euro. The company employs 971

members of staff. Currently at the helm of the company are Giannunzio Guzzini - Chairman

and - Adolfo Guzzini - Managing Director and Head of corporate strategies.

The company's activities

Designing and planning the efficient use of light. This is how we can summarise the charac-

teristic trait of what we do here at iGuzzini illuminazione.

Designing and planning the use of light does not just mean producing objects that create

light. It is rather a design activity that integrates light sources with the role they play in a giv-

en environment. Over the years, iGuzzini production has been founded on investments into

research, on technological-production innovations and on the collaboration with prestigious

international designers and architects, such as Luigi Massoni, Gi6 Ponti and Rodolfo Bonetto

at first, and then with Bruno Gecchelin, Renzo Piano, Gae Aulenti, Piero Castiglioni and Lord

Norman Foster.
iGuzzini luminaires can be found in a range of sectors: urban lighting, museums, commer-

cial areas and hotels. They are lighting some of the most prestigious settings in the world:

the Ferrari showrooms, Benetton and Coin stores, Marks & Spencer's, the Grand Louvre in

Paris, the Galleria Borghese in Rome, the Beaubourg in Paris, Luxor Temple in Egypt, the

Dutch section of the State Hermitage Museum in Saint Petersburg, the Museo de Bellas

Artes in Havana, Brisbane Airport in Australia, the North Greenwich Transport Interchange

and Heathrow Airport in London, Charles De Gaulle Airport (Terminal E) and the Mercedes

Design Centre in Stuttgart.

In 1997, iGuzzini adopted as its first private-owned enterprise the Galleria Borghese Muse-
um in Rome on occasion of the Veltroni-Fossa Convention. This procedure was the model

166
for the sponsoring activity on the part of iGuzzini illuminazione at the Centre National

George Pompidou (Beaubourg),

The company has been awarded a great number of prizes, from the Compasso d' Oro in

1989 for the Shuttle luminaire by Bruno Gecchelin, to the one in 1991 awarded to the Guzzini

Group "for having developed through time a very coherent designing and manufacturing

philosophy where the culture of design has represented a common denominator and an ele-

ment of distinction" to the 1998 Compasso d'Oro for the Nuvola product by the Piano Design

Workshop, to the highly recent iF product design award, promoted by the Industrie Forum of

Hanover, for Le Perroquet by Piano Design Workshop.

In 1998, iGuzzini was awarded the Guggenheim Prize, in recognition of the company's con-

stant commitment to the world of culture.

For further information: http://www.iguzzini.com

iQuzzini
167
Advertisement iGulzini iltuminazione
Picture Credits:
Figure p. 44/45 : © DaimlerChrysler AG
Figure p. 47: © International Dark Sky Association and W .T. Sulli van (data provided by the:
Defense Meteorological Satellite Program)
Figures p. 112 : © Peter Wels, Hamburg
All other figures are supplied by the authors. Every effort was made to acknowledge and obtain permission
for all pictures. We deeply regret any mi stakes or oversights that might have occurred.

Editor:
Ulrike Brandi Licht
Lichtplanung und Leuchtenentwicklung GmbH
Stadtdeich 27
20097 Hamburg
www.ulrike-brandi.de

Texts: Ulrike Brandi, Christoph Geissmar-Brandi, Hamburg

Illustrations: David von Bassewitz, Hamburg

Layout : Christina Hackenschuh, Stuttgart

Cover: Muriel Comby, Basel; Christina Hackenschuh, Stuttgart

English Translation: Caroline Ahrens, Hamburg

Copyediting: Elizabeth Schwaiger, Picton, Ontario

A C1P catalogue record for this book is available from the Library ofCongress, Washington D.C., USA.
Bibliographic information published by Die Deutsche Bibliothek.
Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbiblio-
grafie;detailed bibliographic data is available in the Internet at http://dnb.ddb.de.

This work is subject to copyright. All rights are reserved, whether the whole or part of the material is con-
cerned, specifically the rights of translation, reprinting, re-use ofillustrations, recitation, broadcasting,
reproduction on microfilms or in other ways, and storage in data banks. For any kind ofuse, permission of
the copyright owner must be obtained.
This book is also available in a German language edition (ISBN 3-7643-7628-7).

© 2007 Birkhauser - Publishers for Architecture, P.O. Box 133 , CH -4010 Basel, Switzerland
Part ofSpringer Science-Business Media
Printed on acid-free paper produced from chlorine-free pulp. TCF 00

Printed in Germany
ISBN-IO: 3-7643-7629-5
ISBN- 13: 978-3-7643-7629-1
987654321
www.birkhauser.ch

168