ERCO Lichtbericht 94

Transcrição

E
Lichtbericht 94
Benetton megastores, Vienna
The LED is conquering the retail
sector. From shop window to
sweater shelf, new projects such as
the Benetton stores in Vienna are
now illuminated throughout with
LED technology from ERCO, which
has proven highly effective and
economically efficient. But the new
technology is now also presenting
itself in a fresh look, underlined
and enhanced by the unique light
qualities of the LED lighting tools.
Whether shop, museum or façade
illumination – this Lichtbericht
again shows 100% LED.
Published in April 2012
Contents
Introduction
1
About this issue
2
Keylights
4
Bright prospects
About this issue
Light & Technology
Report
6
LED conquers the fashion world:
Benetton megastores, Vienna
The new megastore of the Italian
fashion brand United Colors of Benetton
in Vienna is presenting itself in an
aesthetically and technically innovative
fashion – illuminated exclusively by
ERCO LED lighting tools.
14
LED spotlights with RGBW
varychrome technology
The new all-rounders among the
lighting tools
18
ERCO Technical Centre
LED case study: New light for
conference rooms
20
LED case study: RGBW wallwashing in
the representative office
22
Focus
Double-focus downlights in use
23
Double focus
Technology of LED double-focus
downlights
24
Palazzo Bembo, Venice
Historical architecture, contempo
rary art, visionary lighting: ERCO LED
technology proves its fine qualities in
Palazzo Bembo exhibition halls.
26
Museum im Palais, Graz
The treasury of Styria: a further example
of an institute of worldwide significance
that has opted for ERCO’s LED technol
ogy in its galleries.
30
ECE Center Thier-Galerie, Dortmund
An economic keystone and city land
mark: the new shopping centre “ThierGalerie” in Dortmund's city centre. LED
lighting tools by ERCO enhance its strik
ing appearance.
32
Backlights
Background
10
Expert talk: The LED – more than a
new type of lamp
We are slowly beginning to realise just
how profoundly the LED will change the
luminaire industry. Armin Scharf talks to
experts at ERCO.
ERCO Lichtbericht
Imprint
Publisher: Tim H. Maack
Editor in Chief: Martin Krautter
Design/Layout: Simone Heinze, Christoph Steinke
Printing: Mohn Media Mohndruck GmbH, Gütersloh
1028768000
© 2012 ERCO
Projects
Tim Henrik Maack
After outdoor applications and museum light
ing, LED lighting solutions are now also con
quering the retail sector. Italian fashion brand
United Colors of Benetton has illuminated two
of its megastores in Vienna throughout with
ERCO LED lighting tools. Starting with façade
lighting through to scenic window displays all
the way to the presentation of its merchandise
on the shop floor. In contrast to the old HIT
lighting, the new LED concept appeals not only
on an aesthetic level; the connected load could,
as a result, be reduced from around 140kW to
now 50kW. A lighting solution, then, that is as
sustainable as it is effective.
From page 10, the LED plays an important role
in a talk with experts. The aim of this talk con
ducted by Armin Scharf was to show how the
LED is changing luminaires and, as a result, the
luminaire industry. It also provides a look behind
the scenes of the technology change at ERCO.
New technologies necessitate a new approach
to the product. Dealing with these technologies
requires, as it were, a feat of translation from
technology to culture. Our old established credo
of “light, not luminaires” is very much coming
into effect here. The technology of the luminaire
is fundamentally redefined by the LED, whereas
light as a cultural concept requires reliable quali
ties, but at the same time spreads because of an
altogether new scope for design.
An impression of new qualities in lighting
design is given on page 14 in an article on ERCO’s
RGBW varychrome technology. Variable light
colour, brightness and subtle white nuances turn
spotlights with this technology into veritable
all-rounders among the lighting tools. The result
is a vast spectrum of new creative potential for
lighting design. Whether saturated colours or
the various shades of white along the Planckian
locus – there is no limit to the creative scope.
LED light in the museum is described on page
24 featuring the Palazzo Bembo in Venice: his
torical architecture looking out over the Rialto
bridge; inside, contemporary art effectively
illuminated by Logotec LED spotlights. In Graz,
the Museum im Palais is a further example of
museum lighting with LEDs. The collection in
the refurbished Palais Herberstein is part of the
Joanneum Universal Museum. Here, the works
of art are effectively staged using LED technol
ogy, while ERCO’s lighting tools produce an
equally impressive atmosphere in outdoor areas.
All things considered, there is no question
that LED technology is well on its way and is
now successfully used in many different types
of project. At the Light+Building trade fair in
Frankfurt, we will further showcase the tech
nology change towards LEDs. We look forward
to welcoming you there.
Photographs (Page): Andreu Adrover (32),
Julia Cawley (1), Aksel Gross/Electric Gobo (14),
Alexandra Lechner (2), Thomas Mayer (2, 3, 4–5,
24–25), Rudi Meisel (U1, 2, 3, 6–9, 26–29),
Alexander Ring (10–13, 14–21, 33), Dirk Vogel (2,
30–31, 32, 33), Sabine Wenzel (2), Michael Wolf
(U4), Edgar Zippel (2, 3)
Translation: Lanzillotta Translations, Düsseldorf
ERCO Lichtbericht 94 1
Keylights
Ifrane
The small town in the Middle Atlas
mountains of Morocco is a popular
skiing resort and holiday destination. Established in 1973 as a luxury
establishment, the Michlifen hotel
has now been extended and fully
redesigned – including a dramatic
lighting concept for indoor and
London
Vienna
outdoor areas using ERCO’s lightAbout to marry a prince and need
Swiss parquet flooring manufacing tools.
appropriate invitation cards? Wel
turer Bauwerk presents its high-end
Michlifen hotel, Ifrane
come to this printing and stationproducts in the design stores of
Architect: Axe International, Casablanca
the Stilwerk chain – after Hamburg Lighting designer: Oscar Nystrom,
ery shop with its rich tradition. It
and Düsseldorf now also in Vienna’s Bromma/Saint-Tropez
prides itself in being a supplier to
www.michlifenifrane.com
Stilwerk on Praterstraße. Optec
the Royal family. But even ordinary
spotlights and Quintessence downcustomers feel equally comfortable
lights and wallwashers optimally
in the freshly renovated premises:
accentuate the high-quality wood.
Quintessence recessed luminaires
ensure excellent visual comfort
Bauwerk parquet flooring store,
while Optec spotlights appropriStilwerk, Vienna
ately accentuate the products.
Architect: Stephen Williams Associates,
Hamburg
www.bauwerk-parkett.com
Turin
Once a palace of the kings of
Savoy, the Venaria Reale has now
undergone extensive reconstructions transforming it into an extra
ordinary museum and a lively cultural centre. Today, it is equipped
with cutting-edge technology
– some galleries even with Cantax
LED spotlights from ERCO.
Venaria Reale, permanent exhibition,
Turin
Project team: Architect Salvatore
Simonetti, architect Stefano Faletti
(consultant), Dr. Alberto Vanelli (director),
Dr. Gianbeppe Colombano, architect
Francesco Bosso, architect Giovanni Tironi
www.lavenaria.it
2 ERCO Lichtbericht 94
Mount Street Printers, London
www.mountstreetprinters.com
Berlin
In the cheeky vernacular of Berliners, the Victoria statue topping the
Victory Column in Berlin since 1873
is nicknamed “Goldelse”, meaning
something like “Golden Lizzy”. The
column was restored in 2011 and
given a fresh and modern appearance at night: the relief-adorned
base of the statue is uniformly illu
minated by efficient and durable
Tesis LED wallwashers.
Victory Column, Berlin
Project management: Denkmalamt
Berlin (State Office for Historical Monuments)
Eltville
Embedded in the vine hills of the
Rheingau, this ancient monastery
is known as a state-owned winery
– but also as the location for such
film classics as “The Name of the
Rose” or an atmospheric setting
for concerts. ERCO’s outdoor
luminaires accentuate the scenic
atmosphere at night and ensure
reliable orientation without glare.
Kloster Eberbach, Eltville
Architect: Rimpl + Flacht Architekten,
Wiesbaden
Lighting designer: Bamberger engineering firm, Pfünz
www.kloster-eberbach.de
Graz
The Kastner & Öhler department
store is truly a venerable establishment, which has been in Graz since
1883. All the greater was the furore
over the modern renovation of
the headquarters – and the appro
priately promoted lighting concept,
which largely uses Optec spotlights
for metal halide lamps.
Kastner & Öhler fashion house, Graz
Architect: Nieto Sobejano Arquitectos,
Madrid; Rolf Seifert, Graz
Lighting designer: Vedder Lichtmanagement, Munich/Mitterberg
www.kastner-oehler.at
Utrecht
Dutch sculptor Ruud Kuijer has
received multiple awards for his
“Waterwerken” project. The work of
art involves a number of abstract
concrete sculptures with multifaceted references to the subject of
water set up on a spit of land at the
Amsterdam-Rhine Canal in Utrecht.
For dramatic effect at night, the
works are illuminated using efficient and durable Powercast LED
projectors.
Waterwerken, sculptures by Ruud Kuijer,
Isotopenweg, Utrecht
www.ruudkuijer.nl
Cascais
The Lacoste shop in the Portuguese
seaside resort of Cascais represents
the latest state-of-the-art in shop
design of the famous sportswear
brand with the little crocodile.
The designers opted for a mix of
Quintessence LED downlights for
ambient lighting, HIT directional
luminaires to accentuate the
products, and Cantax spotlights
with metal halide lamps in the
shop windows. White surfaces are
a dominant feature while RGB cove
lighting adds colourful accents –
in harmony with the clear, bright
colours of the collection.
Stuttgart
New look for the Court of Honour
of Stuttgart’s Alte Staatsgalerie
(Old State Gallery): Tesis in-ground
wallwashers for metal halide lamps
now efficiently bathe the neoclassical façade in uniform lighting.
The rider statue of King William I
of Württemberg is accentuated
against this background using Tesis
directional luminaires.
Casablanca
As the first art auction house
in the country, the CMOOA has
looked after Morocco’s growing
art market since 2002. To do so
more efficiently, the company has
moved into a new building. Featuring state-of-the-art technology
and ERCO gallery lighting, the auction lots are now presented in line
with international standards.
Court of Honour of the Alte Staatsgalerie,
Stuttgart
Architecture and lighting design:
Christoph Anstett, cda architekt, Stuttgart
Landscape planning: Köber Landschaftsarchitektur, Stuttgart
www.staatsgalerie.de
Compagnie Marocaine des Œuvres et
Objets d'Art, Casablanca
Architecture and lighting design:
Cabinet d'architecture et design Wael
Elmir, Rabat
www.cmooa.com
Lacoste Boutique, Cascais
Project manager: Joana Mouta, Lacoste/
Devanlay Portugal
Interior designer: Luis Duarte, Space
Inverters, Lisbon
www.lacoste.com
Rome
The baroque Palazzo Barberini
houses the eminent Museum Galleria Nazionale d'Arte Antica. Following renovations in July 2011, it
is once again fully accessible to the
public. This room with a fresco by
Pietro da Cortona is a true architectural gem.
The gold brocade of the
wall covering is illuminated by warm grazing
light. This sunlight effect
is artificially produced
by Powercast projectors
with metal halide lamps
mounted outside in the
air well.
Palazzo Barberini, Rome
Architect: Carlo Maderno (~1556–1629),
Francesco Borromini (1599–1667),
Gian Lorenzo Bernini (1598–1680)
Lighting designer: Adriano Caputo,
Studioillumina, Rome
www.galleriaborghese.it
Bright prospects
LED – awesome!
Frans Hals Museum, Haarlem
Director: Karel Schampers
www.franshalsmuseum.nl
Photo: Thomas Mayer, Neuss
Featured in the photo (from left to right):
Ferdinand van Dam (OTH Architecten B.V.),
Carlo von Meijenfeldt (ERCO), Marijke van der
Wijst (Van Der Wijst Interieurarchitecten BNI),
Julian Wolse (OTH Architecten B.V.)
LED conquers the fashion world: Benetton megastores, Vienna
The new megastore of the Italian fashion
brand United Colors of Benetton in Vienna
is presenting itself in an aesthetically and
technically innovative fashion – illuminated
exclusively by ERCO LED lighting tools.
A store design with the air of liberation, trans
parency and authenticity, both simple and com
plex: Italian fashion brand Benetton now debuts
with not one but two megastores in Vienna
run by brothers Marc and Tino Wieser through
their MTM Textilhandel GmbH. Acting with the
confidence of successful trading partners – the
megastore on Mariahilfer Straße is, after all, the
largest Benetton store in Europe – they enlisted
the help of a creative team of architects and
designers to develop a vision for the Benetton
experience at the point of sale. Without culti
vating a rustic eco look, sustainability is more
than just a buzzword: a reduced deployment,
not only of materials, but even more so, of
energy for aspects such as the lighting based
on ERCO LED technology, is a clear recognition
of future requirements. Just as important in
the sustainability concept, however, is respon
sible consideration of urban design issues. The
striking corner building of the megastore on
Kärntner Straße was given discreet, yet effective lighting to illuminate its magnificent his
toric façade, while accent lighting emphasises
the structure and dimensions of the building’s
fabric – with minimal energy requirements and
no light pollution thanks to the LED technology
of ERCO’s Grasshopper projectors. As precision
lighting tools, Grasshopper LED projectors fea
ture Spherolit lenses with diverse light distribu
tion patterns from spot to wide and oval flood
so as to match the task at hand perfectly.
Both stores present a uniform appearance.
Entrance and shop windows seamlessly lead
from the exterior to the interior. Here, too, focus
Architecture:
Marc & Tino Wieser, MTM Textilhandel GmbH, Vienna
MVD Austria, frank, rieper architekten, Vienna/Graz
Interior & CI designer: Vincenzo De Cotiis, Milan
Photos: Rudi Meisel, Berlin
www.benetton.at
was given to maximum transparency and flow
ing transitions. Fixtures, partition walls and
suspended ceilings made room for a generous
space continuum. “The buyer stands in the
shop window, the city exudes all the way into
the shop,” architect Michael Rieper describes
the design approach. “Store decorations are
reduced to illuminated mannequins, variety is
created through the merchandise.” The shop is
designed effectively around the merchandise,
which is presented at, in and on displays that
seem neutral without appearing trivial: fili
gree shelf structures made of black, bare steel
tubes look as if drawn into the room, with the
aesthetics of a CAD wireframe rendering – con
trasting the compact furniture that gains in
stylish sophistication through the interplay of
cubic volumes and recesses. This aspect bears
the mark of another member of the creative
team – that of Italian haute couture fashion
and interior designer Vincenzo De Cotiis.
Warm, direct lighting accentuates the
seemingly unfinished surfaces of the interior
– and effectively sets apart the textiles whose
“United Colors of Benetton” demand the high
est standards of lighting quality, specifically in
terms of colour rendering. These standards are
more than met by ERCO’s LED lighting tools:
“The old lighting situation with metal halide
lamps was highly unsatisfactory,” Rieper criti
cises in hindsight. “2100 light points made up
what was a uniform concept without effective
accent lighting – based on a connected load
of around 140kW,“ the architect says. Now, as
little as around 50kW are enough for quali
tatively superior lighting that is orientated
around human perception, ensuring more flex
ibility and producing less wasted heat, which,
in turn, guarantees savings in air condition
ing and ventilation as well as visitor and staff
comfort.
Both Benetton megastore locations in
Vienna, on Kärntner Straße and on Mariahilfer
Straße, confronted the designers with the usual
challenges related to existing buildings: win
dows, columns, technical installations that
limited their freedom of scope. Using Logotec
LED spotlights, 3-circuit tracks, and LED recessed
spotlights, directional luminaires and down
lights from its Quintessence range, ERCO was
able to offer a comprehensive and flexible solu
tion. A lighting concept that dispenses with
fixed grid positions, and instead focuses on the
furnishing and wall surfaces, left enough scope
to react efficiently to on-site surprises. The final
decision for ERCO was made only after exten
sive sample demonstrations with real life condi
tions. Efficiency, light quality and the compact
shape of the Logotec LED spotlights with inter
changeable Spherolit lenses for quick and easy
modification of the light distribution pattern
tipped the scales in ERCO’s favour – along with
the convincing service quality of ERCO’s team of
lighting consultants in Vienna.
Entrance area and
Level 2, Kärntner Straße
Suspended Hi-trac
structures accommodate
the Logotec LED spot
lights that illuminate
the ground floor. The
significant ceiling height
requires spotlight char
acteristics from flood to
narrow spot to ensure
optimum emphasis of
the merchandise. Inte
grated LED strips in the
Hi-trac profile brighten
the exposed brick ceil
ing. The same concept of
accent lighting on the
colourful textiles using
Logotec LED is used in
the children’s depart
ment on Level 2, supple
mented by Quintessence
LED downlights and
directional luminaires as
ceiling-integrated com
ponents.
LED ww
100 %
ww
80
60
40
20
0
300
Kärntner Straße,
shop window
The shop windows of
the megastores are left
without back walls as
separation from the shop
floor – giving customers
the experience of flow
ing transitions between
the different zones. Here,
the designers opted for
Logotec LED spotlights
with narrow spot to flood
characteristics as lighting.
Mariahilfer Straße,
escalators
A generous void con
nects all three levels of
this store. Quintessence
LED recessed spotlights
in narrow spot bridge
the enormous distance
with an output of just 9W
per luminaire. The levels
themselves are illumi
nated by Quintessence
LED downlights and
directional luminaires
Precise beams with virtu
ally no spill light produce
strong contrasts with mar
ginal reflections on the
pane for maximum effect
of the window display
even in broad daylight.
Kärntner Straße,
basement level
The men’s department on
the basement level high
lights a further aspect
of the lighting concept:
the free arrangement of
tracks and recessed lumi
naires orientated not on
an orthogonal grid, but
rather, on the merchan
dise shelves. Again, the
merchandise is accentu
ated by Logotec LED
spotlights, while ambient
lighting could be kept to
a minimum thanks to the
bright surface of floor,
walls and ceiling.
with glare-free darklight
reflectors to ensure an
inconspicuous ceiling
appearance.
upper level
“United Colors”: The
variety of colours of the
textiles consistently forms
the focal point of presen
tations at Benetton. Highquality colour rendering
is a vital criterion for the
lighting – ERCO’s latest
lighting tools with warm
white LEDs have a colour
rendering index in excess
of Ra 90.
400
500
600
700
800 nm
Kärntner Straße,
façade
In order to light the
amply structured historic
façade, the designers
opted for Grasshopper
LED projectors. Depending
on whether the grazing
light was to reach across
one or two levels, the
projectors were fitted
with 14W and 21W mod
ules, respectively. Along
with the lighting effect,
priority was given to
glare control for users of
the upper levels.
shelf lighting
A recurring element
in the megastores are
shelving systems along
the walls. Lighting here
is provided by a combi
nation of several com
ponents: Quintessence
LED recessed luminaires
with flood characteristic
and an exceptionally
wide angle of tilt of 40°
provide basic lighting.
Logotec LED spotlights
on a continuous 3-circuit
track add precise accent
lighting for the merchan
dise.
The LED: more than a new type of lamp
We are slowly beginning to realise just
how profoundly the LED will change the
luminaire industry. Armin Scharf talks to
experts at ERCO.
On 2 February 2012,
author Armin Scharf
met with a group of
ERCO experts in Lüdenscheid to talk about the
state of LED technology.
From left to right: Armin
Scharf, Henk Kosche
(Design), David Kuntzsch
(Marketing), Andreas
Blaut (Development), Dr.
Markus Görres (Lighting
Technology).
Armin Scharf:
The whole light scene, it seems, is mesmerised by the LED. But how much of a breakthrough is this technology in actual fact?
David Kuntzsch:
The LED is indeed a much talked about subject, it seems nothing else exists any more.
When it comes to actual planning, however,
things are a little more complex. It’s true that
the LED is gaining ground, but conventional
lamps continue to play a big role. From
ERCO’s viewpoint we can clearly say in terms
of market penetration that the LED is now
measuring up to traditional lamps and ranks
well in terms of economy.
Andreas Blaut:
Working in development, I can only confirm
this. The LED has broken away from earlier
reservations and it’s the only technology we
use now. The LED is also a dominant topic
whenever we talk to other market players or
suppliers.
Armin Scharf:
And what is the situation in design?
Henk Kosche:
The same. As far as I can see, the LED has
established itself firmly over the last five
years. All our current projects are centred on
this technology and the LED is a common
occurrence in our daily work.
Markus Görres:
Issues around LED technology have defined
our day-to-day business for quite a few
years now, and not only in terms of operative aspects. The LED, after all, also requires
new skills if these issues are to be resolved
comprehensively and in the interest of our
customers.
Armin Scharf:
This means ERCO has already made the shift
to LEDs?
Markus Görres:
Exactly. Designers who need to ensure greater
energy efficiency for a concept based on lowvoltage halogen lamps can do so quite easily.
We offer a solution with the same characteristics, but based on LED technology.
David Kuntzsch:
The demand for LED solutions is already very
significant, as you know. It means the current technical and economic advantages are
perceived to be highly positive to the point
that people want to capitalise on them right
away. This is true even though people know
that later investments will have even greater
advantages. Even now, we are already talking
above-average energy cost savings of 60 to
80 per cent. With savings on such a scale, it
makes perfect sense to switch to LED solutions right away, rather than waiting initially
Andreas Blaut:
We are definitely past the initial stages, since
we have built up quite a good level of new
know-how across all our departments and
successfully implemented a number of major
projects involving LED light. Having said
that, we still have a long way to go. Looking
at the forecasts, we can expect huge market
potential here, especially in such sectors as
museums, retail or outdoor lighting. These
are precisely the areas where we already hold
a strong position.
David Kuntzsch:
In terms of conception, development and
design, we are talking about big changes
here. LED deliveries are already on a par with
traditional lamps. The HIT lamp, of course,
still has particular significance for retail
applications, especially where very large
lumen packages need to be made available
at a comparatively reasonable price.
Armin Scharf:
What are these new skills that are required
for LEDs, what specifically has changed at
ERCO?
municate with the suppliers. Incoming QC
processes, in turn, need to assess the quality
of the LEDs. In this way, LEDs have brought
a wave of change to every sector of our company.
David Kuntzsch:
ERCO provides a global infrastructure of
lighting consultants who not only sell a project, but help the customer implement their
conceptual design. In order to maintain the
quality of our consulting services, our staff
in this sector needed intensive familiarisation
with the material in a very short space of
time. This proved to be an enormous challenge.
David Kuntzsch:
LED culture for us means that things change
for ERCO, but not, if at all possible, for
the customer and their processes. The applications and approaches of our component
system acquired over many years remain
the same time, it’s the market segment with
the highest standards in terms of lighting
quality that is most active in adapting to this
new technology. This is hardly surprising in
light of the LED characteristics. The National
Gallery in London employed their own team
of experts to measure the quality of light
in their laboratories for many months, before
deciding on an LED solution in late 2010.
Ever since we started offering luminaires
with LEDs producing even higher luminous
flux, other market segments also started to
show interest. Last year, for instance, we
were able to execute quite a number of challenging retail projects, some opting exclusively for the LED.
Armin Scharf:
The fact that especially museums are leading
the way here is remarkable. Are they not the
ones that complained the loudest about the
disappearance of the light bulb?
Markus Görres:
The loss of conventional incandescent sources
has been dramatised so much because alternative light sources such as the fluorescent
lamp weren’t able to provide adequate colour
rendering or brilliance. The LED now has
assumed that position, with even better characteristics.
Andreas Blaut:
Looking at the technical characteristics of
the LED, i.e. energy savings, no IR or UV
component in the light, the LED is indeed
ideal for the illumination of art.
Henk Kosche:
Thanks to our own optoelectronic systems,
our 20W LED spotlights today are as efficient
as 100W low-voltage halogen spots. With
accent lighting playing such a crucial role
especially in museums, the gain in efficiency
is significant.
Armin Scharf:
Has this, as it were, developed into some sort
of LED culture at ERCO?
Henk Kosche:
Yes, absolutely. The LED has brought with it
a continual process of change, we deal with
the new challenges facing us very openly,
critically analysing and scrutinising each as
they arise. Exactly what you should do with
new technologies.
Armin Scharf:
With the LED, the luminaire sector is
adopting the same short cycles as the semiconductor industry. Is speed a priority here
for ERCO, i.e. being the first to launch LEDs
in a product sector, or is reliability more
important, meaning that products from
the start are technically sophisticated and
mature?
Armin Scharf:
Is this a contribution to planning certainty
in times of change?
Armin Scharf:
LED technology is developing at a very fast
pace; when is the right time from a customer
point of view to join the movement?
Andreas Blaut:
Where do we start? Initially, we found ourselves having to design LED PCBs, develop
entirely new optical systems, and devise
electronics to control these LEDs. Using LEDs
also means we need to procure them first,
and you need experts here who can com10 ERCO Lichtbericht 94
identical. The light intensity distributions
are exactly the same, only the lamp has
changed. It means we demonstrate a high
level of innovation while remaining reliable
and predictable to the outside.
for maybe another 5 per cent or so in terms
of efficiency.
Armin Scharf:
In which segments in particular is the LED
much in use?
David Kuntzsch:
Based on the projects already supplied, we
find the deployment in museums and galleries using LEDs is disproportionately large. At
David Kuntzsch:
And the colour temperature of the LED
doesn’t change when dimmed. That’s important for a museum, where the items displayed
in an exhibition are to be presented with
the same level of illuminance. Differences
in distance between luminaires and exhibits
means the light needs to be dimmed, which,
when using halogen lamps, results in an
unwanted shift in the colour temperature.
Henk Kosche:
We have been dealing with this technology
quite intensively for over ten years now and
have always looked closely to analyse the suitability of the source for various applications.
We started with orientation luminaires back
in 2000, before turning to LED outdoor luminaires. Today, we cover the whole spectrum of
architectural lighting. We always want to provide our customers with the best possible light
quality; the technology must follow suit.
David Kuntzsch:
The trickiest bit about new technologies is
facilitating the transition. In other words, we
wanted to continue providing our customers
with sophisticated solutions which actually
meet their requirements and not merely illustrate technical feasibility.
Armin Scharf:
How does ERCO define the light quality of
LEDs?
David Kuntzsch:
Light quality has different meanings for
different people especially when talking
about LEDs. There are the objective, measurable light qualities, such as colour temperature or colour rendering. For us, these are
– in overstated terms – hygiene factors. As a
technology-driven company, it goes without
saying that we use chips guaranteeing the
highest colour rendering and a defined colour temperature. For many market players
that’s all there is to light quality; for us it’s
actually just the beginning.
For us, light quality also means thinking
from the target surface. Vertical illuminance,
for instance, is all about uniform wall illumination using an asymmetrical light distribution. We need, therefore, to come up with a
lighting technology that reproduces exactly
what our customers have been accustomed
to for many decades. Ultimately, we provide
our customers with light, not luminaires.
That’s actually ERCO’s credo.
its own approaches to lighting technology.
Put simply, we believe this is the only way to
assure the quality which the customer rightly
expects of us.
Armin Scharf:
Integrated Spherolit lens technology is one
particular aspect that makes ERCO stand out
from the rest. What are the advantages here
for the designer, the user?
Andreas Blaut:
We combine a primary lens directly on the
LED with interchangeable collimators and
Spherolit lenses, meaning we provide a mod
ular optical structure. If the parameters of
a lighting solution change, it is quite easy to
exchange these light-guiding components
to produce a different light distribution. This
has phenomenal advantages in practice and
makes for great planning certainty.
Markus Görres:
On top of that, we only need to communicate one principle, the customer only needs
to understand one principle. With it, they get
a number of advantages on the side: less spill
light, better beam quality. They can consistently combine luminaires irrespective of their
application.
Armin Scharf:
There are competitors who follow a different
modularity principle in that they combine
purchased standard elements. Is this not an
option for ERCO?
Andreas Blaut:
No, because firstly, it limits the flexibility,
as purchased modules are hard, if at all, to
change. We, on the other hand, are able to
react to the frequent changes to LED chips
and provide our customers more or less
promptly with the best possible light quality.
David Kuntzsch:
In addition to the issues of quality, which
would have been impossible to resolve with
off-the-shelf modules, our customers also
demand differentiated, better solutions
for their specific projects. ERCO ultimately
also stands for developing and producing
requirements again become a priority and
the market consolidates.
David Kuntzsch:
It is quite possible that the market and its
make-up will change because of new supMarkus Görres:
pliers. These include companies with strong
Customers don’t want us just to deliver a
downlight, they want the whole spectrum of brands, e.g. from the consumer electronics
applications, from narrow beam accent light- sector. Conversely, established companies
ing to uniform wallwashing. This would not could lose their previous relevance as they fail
to find adequate answers to new questions
be possible with standard modules.
brought in by designers.
Henk Kosche:
Armin Scharf:
We noticed early on that the advantages of
What is the significance of varychrome techLED technology can only be realised when
you have a coherent overall system. The LED’s nology which adds a white LED to the RGB
system?
efficiency and longevity is only achievable
with superb thermal management. The same
Andreas Blaut:
can be said for the role of electronic manBehind what is known as RGBW technology
agement in the overall system. We simply
lies the vision that an ideal luminaire that
had no choice other than to deal with each
can produce saturated colours as well as
of these elements individually and optimise
pastel-type whites and various colour temthem as a system.
peratures.
Armin Scharf:
How is this reflected in the overall efficiency? Markus Görres:
RGB alone isn’t able to achieve a continuous
colour spectrum or good colour rendering;
David Kuntzsch:
RGB systems are actually suited only for pure
Generally, the designer looks at the quantity
colour applications. If illumination in white
of light generated and the energy required
for it, i.e. the ratio of lumens to watts. In our is required along with it, you will need an
opinion, this falls a bit short though. Lumens, additional white LED. The RGBW system provides entirely new possibilities especially in
after all, only quantify the luminous flux
terms of colour rendition quality.
generated by the lamp. We are interested,
however, in how much light arrives on the
target surface. Yet generated light can be
lost in the housing or stray somewhere on
the wall as spill light. Comparing our products with those of our competitors, we often
register 50% to 100% more illuminance on
the target surface using the same amount of
energy.
Armin Scharf:
The LED luminaire market seems rather confusing. Will this change?
Andreas Blaut:
I reckon it will likely become even more confusing in the medium term. The established
luminaire manufacturers are making efforts
to reduce the level of complexity in order to
make life as easy as possible for their customers. At the same time, there are companies
that bring with them electronics and LED
competence from other sectors, which is not
really conducive to clarity. It is entirely possible that a time may come when customer
David Kuntzsch:
Mixing different colours in a single beam is
a challenge because, optically, the different
coloured LEDs are not in the same focus.
You would normally get shadows behind an
object with undesirable coloured edges to
the beam. We have approached this problem
with our own solution where the complete
colour mixing occurs as the light is emitted
from the luminaire.
Armin Scharf:
Let’s talk about heat management for a
moment. Here, too, ERCO is very proud of its
smart solutions.
Andreas Blaut:
Let’s put it this way: “We are no fans of the
fan”.
Markus Görres:
LEDs emit light into the forward hemisphere,
but the heat is delivered to the rear hemi-
Optoelectronics as a
core competence: Using
a modular presentation
system, Dr. Markus Görres
demonstrates the principle of ERCO’s LED lighting
technology. The experts’
theory: All components of
the overall LED luminaire
system must be optimised
to produce lighting tools
with superior performance and efficiency.
sphere. Good thermal coupling of the chip
surfaces or the PCB makes for ideal heat dissipation. This is what we try to ensure from
the start with high-end thermal simulation.
Unlike our competitors, we only use passive
cooling without active components, such as
ventilators or membranes. These, after all,
reduce the efficiency of the luminaire as well
as its service life and can cause disturbing
noises.
Armin Scharf:
What possibilities does the LED offer in
terms of luminaire design?
Henk Kosche:
Freedom in design arises from the restrictions which come with a technology. As an
overall system, the LED is, after all, not a lowcomplexity technology. Appropriate design,
therefore, is based on mastering complexity.
The product should be as easy to use as possible and be intuitively understood by the user.
In this field, it was quite a c hallenge for us to
combine familiar with innovative aspects and
to find the right style for the product.
David Kuntzsch:
The attitude to design which ERCO applies to
its products could be described as functional
minimalism. Looking at the luminaires here
in front of us, you can see that the transition
to new shapes has already taken place. The
LED light heads are now completely flat. In
that sense, the LED has indeed produced its
own product language.
Markus Görres:
The advantage of our strategy is just as obvious in the design. Purchased modules would
have left us with the old principles: lamp plus
reflector – and so, with a structure that is no
different at all from conventional solutions.
The depth reduction and the formal freedom
which we’ve now achieved are based on a
consistent use of our own components, our
own optical elements.
About the author
Armin Scharf works and lives as a
freelance journalist and copywriter in
Tübingen. His focal subjects include
industrial design, new technologies and
building technology aspects. He is also
a permanent external member of the
Design Report team and various customer
magazines, and since 2009 has been running his own online magazine, zwomp.de,
dedicated specifically to the exciting field
of industrial products design.
www.bueroscharf.de
www.zwomp.de
LED spotlights with RGBW varychrome technology
Beams without colour shadows
The individual colour light sources
of conventional RGB spotlights,
recognisable as red, green and blue
light points on the cover glass,
often result in the phenomenon
of corresponding multi-coloured
perimeters around the shadow
edges. In the development of its
new LED varychrome spotlights
ERCO focused specifically on elimi-
The new all-rounders among the lighting tools: ERCO’s new LED
spotlights with RGBW varychrome technology feature variable
light colour and brightness, subtle white nuances with excellent
colour rendition and interchangeable Spherolit lenses for various
light intensity distributions.
Thanks to their LED lens
systems with Spherolit
lens technology, the new
LED varychrome spotlights
provide the usual wide
range of light intensity
distributions from spot
to wallwash with homogeneous beams without
colour shadows. The
wallwashers, in particular,
are ideal for dynamic,
coloured light to add ever
new dramatic lighting
effects to architecture.
nating these colour shadows. To
this end, the colour components
are homogeneously mixed right
in the LED optical system with the
result that the cover glass already
appears in the mixed light colour
and the beam illuminates objects
and surfaces without any colour
shadows.
Saturated colour
In order to produce coloured light,
the four colour components red,
green, blue and white are individually addressed along the principles
of additive colour mixing. Mixing
100% blue and 100% red, for
instance, produces highly saturated
light in magenta. In ERCO’s LED
varychrome spotlights, the colours
are mixed in the LED optical system
resulting in a colour that appears
homogeneous even on the cover
glass.
Neutral white (approx. 5000K)
In addition to the three primary
colours, the new LED varychrome
spotlights now also have warm
white LEDs. This, as a result, allows
any light colour to be infinitely
changed to pastel hues, but even
more so, for whites to be produced
along the Planckian locus – by adding further blue or red components
to the white light.
Varychrome technology with RGB
colour mixing was a key factor
in the breakthrough of LEDs in
architectural lighting. For the first
time, LED luminaires provided a
combination of features that could
not be implemented using con
ventional technology: flexibility
and variability joined comfort, long
life and efficiency. Their capacity
for superb dimming and highly
saturated light colours make LEDs
the ideal light source for colour
mixing luminaires. ERCO now
presents a new generation of LED
varychrome spotlights that mark a
clear advance, especially in terms
of versatility and light quality,
arguably the most flexible tools for
accent lighting and wallwashing
ever provided. These new developments are based on the principle of
adding white LEDs to the primary
colours red, green and blue (RGB).
Addressing these four components
individually and using a DALIcompatible 4-channel control gear
means highly saturated light can
be produced together with pastel
hues, but more especially so, it
provides high-grade white light
with variable colour temperature –
infinitely variable along the Planckian locus. The additional warm
white component (3000K) also
ensures excellent colour rendition.
ERCO’s varychrome spotlights now
combine the RGBW colour mixing available in the Quintessence
range of recessed luminaires since
2010 with the patented LED optical
system consisting of collimators
and Spherolit lenses. As a specific
feature, the varychrome spots have
a light mixing layer integrated in
the primary optical system to pro-
Warm white (approx. 2700K)
The new LED varychrome spotlights
allow infinite adjustment of the
colour temperature in a range from
2700K to 5500K. The already good
colour rendering of the warm white
LED (Ra>90) is further optimised by
adding extra spectral components.
duce homogeneous beams without
colour shadows. The Spherolit
technology provides a wide variety
of light intensity distributions from
spot to flood and wide flood all the
way to oval flood and wallwash.
RGBW LED module
The red, green, blue and
white LEDs are combined
to light points on the
modules of ERCO’s LED
varychrome spotlights.
The modules are developed and produced by
ERCO to strict specifications.
LED spotlights with RGBW varychrome technology
Products with RGBW technology
The new LED varychrome technology for spotlights consists of the
RGBW module, a special LED optical system with integrated colour
mixing layer, a six-fold collimator,
interchangeable Spherolit lenses,
and customised DALI control gear.
It is available in the new Light
Board and Opton spotlight ranges
and in the latest generation of
Cantax spotlights. For ceiling integration, ERCO provides Light Board
as recessed RGBW luminaires.
RGBW technology now also features in LED downlights and LED
wallwashers in the Quintessence
range.
The optical components
of ERCO’s LED varychrome
spotlight with RGBW
technology: RGBW LED
module with primary lens
(1), light mixing layer
(2) with diffuser film (3),
six-fold collimator as
secondary lens (4), interchangeable Spherolit lens
as tertiary lens (5).
mented by a further layer: this
colour mixing layer is positioned
between LED module and the sixfold collimator for totally mixed
homogeneous colour components
in the optical system to produce a
beam without any colour shadows.
1
2
3
Cantax varychrome
RGBW
Light Board varychrome
RGBW
4
Opton varychrome
RGBW
5
Spectrum and colour rendition
Due to the properties of the human
eye, light that appears white to us
may have a very different spectral
composition. This results in varying
renditions of body colours which
define the colour rendition qual
ity in relation to a full-spectrum
reference light. Because of their
narrow-band spectrums, pure RGB
luminaires produce white light
Light Board varychrome
recessed luminaire
Control of RGBW spotlights
The lighting control system Light
System DALI provides two control
panels for corresponding spotlights in its integrated Light Studio
software – the colour circle, which
allows selection of any colour,
and the slider control to regulate
the whites of a defined colour
temperature. In accordance with
the current DALI standards, ERCO’s
varychrome spotlights with RGBW
technology only require one DALI
address despite having four colour
channels. The proven colour compensation technology used in the
factory ensures a high level of colour constancy and precision.
Spherolit lens for RGBW
The new LED varychrome spotlights feature a special form of the
patented Spherolit lens technology developed by ERCO. The LED
modules with their primary lenses
directly on the LEDs, the collimators as secondary lenses to create
a parallel beam, and the Spherolit
lenses as tertiary lenses to control
the light distribution are comple
527
530
0.8
0.7
G
R
B
100 %
G
R
Green
510
555
0.6
0.5
B
100 %
with poor colour rendition characteristics. The more uniform spectrum of the RGBW luminaires, in
contrast, enables a highly natural,
superior colour rendition.
575
500
y
80
80
60
60
40
40
20
20
ww
0.4
600
White
0.3
Red
490
622
780
0.2
480
0.1
Blue
0
465 380
0.0
0.0
0.1
0.2
0.3
0.4
x
0.5
Colour space
Within the coloured area
of the CIE diagram, the
Planckian locus traces the
whites of different colour
temperatures – from
bluish cool white to reddish warm white. RGBW
technology produces
both highly saturated colours and variable shades
of white.
0.6
0.7
0
300
0.8
Colour temperature
Light Clients with the
varychrome RGBW attribute, such as those from
the new LED varychrome
spotlight range, allow the
colour temperature to be
adjusted continuously
over a wide range in the
Light Studio software.
Alternatively, the familiar
colour wheel can be used
to select any light colour.
400
500
RGB LEDs
The RGB LEDs are ideal for
mixing highly saturated
coloured light. However,
the white light from RGB
LEDs does not give satisfactory colour rendition
quality, making it less
suitable for lighting tasks
where colour is critical.
600
700
800 nm
300
400
500
RGBW LEDs
Mixing RGB LEDs with
warm white LEDs combines the advantages
of both systems: RGBW
luminaires produce var
iable shades of white
along the Planckian curve
with excellent colour
rendering, but also coloured light in pastel hues
all the way to the highly
600
700
800 nm
saturated range. The more
uniform spectrum results
in a good colour rendition
quality.
LED case study: New light for conference rooms
face in the form of spotlights and wallwashers
on track.
The dimmable LED technology used in the
Quintessence downlights and Logotec spotlights scores primarily in terms of efficiency
and light quality, but delivers a further convincing argument in that it was easily integrated
into the lighting control system Light System
DALI. Intelligent lighting control is crucial for
efficient visual comfort particularly in multi
functional rooms. Thanks to DALI plug and
play, the LED luminaires are quick and easy to
incorporate into pre-programmed user requirements, which can be readily recalled with a
touch screen on the Light Changer, not only for
individual dimming of the various light components, but also for automatic activation of the
projection screen, for instance, for multimedia
presentations.
The energy savings potential is again con
siderable here: Compared to the previous
installation – at the time equipped to conform
with the prevailing standard using generalpurpose, halogen and fluorescent lamps – the
energy consumption has dropped by around
75% – in the muted light of a presentation,
even a data projector of the latest “ECO – low
energy” generation has a significantly higher
energy requirement than the new LED lighting.
ERCO has taken to upgrading its own premises
in a continuous commitment to deploying
modern and efficient LED lighting. The experience gained in the process provides the best
arguments for offering optimal LED lighting
solutions to designers and clients.
The basement level of ERCO’s Technical Centre
in Lüdenscheid accommodates a number of con
ference rooms that, although designed along
the same concept, differ primarily in terms of
size to cater for different usage requirements. All
rooms have a glass front to the exterior, which
can be shaded where necessary using motorised
interior blinds. A suspended acoustic ceiling element incorporates recessed luminaires and hides
installations such as media technology, air conditioning and ventilation systems. At the head
of the room, the ceiling element stops short
of the wall. The resulting haunches are used to
keep air outlets, electric screen and tracked spotlights out of sight. The lighting concept differentiates between ambient lighting components
in a downlight matrix and lighting at the front
In the small conference
rooms, ceiling-integrated
lighting is provided by
Quintessence LED down
lights, whereas the
larger rooms differentiate between downlights
and wallwashers. Interior
blinds and projection
screens can be integrated
in the light management
ensured by Light System
DALI using DALI blind and
screen actuators: A sim-
ple touch of the Light
Changer recalling the
“Presentation” scene, for
instance, dims the lighting while the screen is
simultaneously lowered.
Lighting concept
Connected load per m2
(W/m2)
Old
New (LED)
41.38W/m2 11.05W/m2
Comparison of connected
load (%)
100% 27%
Comparison of operating
costs
100% 18%
CO2 savings per year
Corresponds to a reduction to 27%
4.9t
Logotec LED
The spotlights and wall
washers with Spherolit
lenses are mounted on
3-circuit track and via
DALI dimmers are connected in groups with
the lighting control sys
tem. The uniform wall
washing of the back wall
creates a larger room
impression. One spotlight
is used to create a glarefree zone of higher illu
minance at the room
entrance to produce the
effect of a “welcome
mat”.
LED case study: RGBW wallwashing in the representative office
Variable colour temperature
Light components with
variable colour temperature such as wallwashing
with RGBW varychrome
wallwashers open up
countless possibilities of
scenographic lighting
in the room. One such
option in a specific application would be wallwashing adjusted to the
natural light coming in
through the large windows throughout the
course of the day: cooler
room light in the afternoon (left), warmer light
towards dusk (right).
Light that can be infinitely controlled, not only
in terms of brightness, but also colour, opens
up new dimensions for scenic lighting effects
in rooms. Where variable room lighting of a
high quality is as important as individual accent
lights in rich colours, LED varychrome luminaires
with RGBW technology are the perfect solution – they combine red, green and blue LEDs
with efficient warm white LEDs. Individually
addressed using DALI-compatible control gear
units, these luminaires can produce intensive
light of any colour through additive colour mixing, but also shades of white along the Planckian locus – from the extremely warm tone of
a dimmed light bulb all the way to the bright
and cool white of zenith daylight. Through balanced spectral composition of the light, colours
are rendered beautifully and appear natural. For
the representative office in ERCO’s Technical
Centre, designers opted for Quintessence RGBW
wallwashers with LEDs to ensure uniform wallwashing of the room surfaces using light of
variable hues. A Light System DALI installation
Coloured light
Along with the option of
infinitely variable colour
temperature of white
light, RGBW varychrome
luminaires also cover
the whole spectrum of
coloured light: from pastel hues all the way to a
highly saturated range.
As a result, they are suitable both for high-quality
white light with good
colour rendition in day-
to-day operation, but
also for coloured scenic
lighting in rooms used for
special occasions, such
as a reception or a private
viewing. ERCO’s Light
Changer offers appropriate graphic tools on its
touch screen for colour
selection.
provides the intuitive interface to operate the
lighting so that a single touch of the screen
calls up the right light scene for different times
of the day, occasions or moods. Appropriate
graphic control panels also allow for interactive
manual intervention, for instance, in order to
correct the colour temperature of a group of
wallwashers as requested.
DALI plug and play
ERCO’s RGBW lighting
tools can be integrated
as DALI Light Clients in
such lighting control
systems as Light System
DALI. In compliance with
the current DALI stand
ard, the control gear units
only require one DALI
address in spite of having
four control channels.
On commissioning, the
factory-encoded ERCO
Light Clients are automatically recognised by
Light System DALI to offer
true “plug and play” connectivity.
Focus
Double-focus downlights in use
Ceiling-integrated lighting with
lamps largely concealed from view
pretty much typifies the maxim of
“light, not luminaires”. The development of the double-focus downlight has now taken this approach
to positive extremes. Whereas the
higher luminous flux of conventional downlights necessitates
larger luminaire apertures, the
double-focus downlights stand out
due to their rather small aperture.
Their advantage in terms of lighting lies in optimised screening of
the lamp to avoid glare. This aspect
is relevant particularly in rooms
with high ceilings such as foyers
or concert halls. Conventional
downlights easily cause glare here
through direct view upon the lamp.
The regressed position of the lamp
in the double-focus downlight, in
contrast, ensures pleasant visual
comfort. Double-focus downlights
typically produce a relatively narrow beam to achieve appropriate
lighting effects even in rooms with
higher ceilings.
The small light aperture of the
double-focus downlights also has
design advantages. Compared to
conventional downlights and their
considerably much larger luminaire
apertures these luminaires take on
a very discreet effect on the ceiling. The latter, as a result, appears
more homogeneous and inconspicuous. Grids with large, bright
luminaire apertures are perceived
as disturbing particularly on dark
ceilings. Double-focus downlights
therefore can contribute to a
discreet appearance of the ceiling
even in rooms of normal height.
Double focus
Concert hall application:
Due to its height, the hall
requires high luminous
flux for an attractive lighting design. Double-focus
downlights can produce
the necessary horizontal
illuminances while maintaining a high level of visual comfort.
Airport terminal application: High rooms place
particular demands on
visual comfort, as the
angle increases the view
into the recessed luminaires. Double-focus
downlights are ideal for
such applications due to
their high glare control
and inconspicuous ceiling
apertures.
In contrast to downlights (left), double-focus
downlights (right) have
a smaller, inconspicuous
luminaire aperture but
the same luminous flux to
produce a more discreet
impression. The Darklight
reflector in recessed lumi
naires for conventional
lamps ensures good visual
comfort.
Technology of LED double-focus
downlights
Double-focus downlights with
LED technology are designed differently from double-focus downlights for conventional lamps, but
their applications are the same. Traditional double-focus downlights
such as for high-pressure discharge
lamps comprise an upper elliptical reflector and a lower Darklight
reflector. The lamp located at the
upper, first focal point of the ellipse
is reflected to the second focal
point. Here sits the upper edge of
the compact Darklight reflector,
which reduces glare and achieves
excellent visual comfort in the
room. Detrimental points here are
their large size along with relatively
poor efficiency.
Since PCBs with several LEDs
produce diverse focal points, the
existing lighting technology cannot
directly be transferred to LED technology. Consequently, the light of
the Quintessence LED double-focus
downlights is guided via a compact
lens system with collimator and
Spherolit lens. The projected light is
emitted as a precise beam with little spill light immediately from the
Spherolit lens making a Darklight
reflector unnecessary. Instead, a
matt black anti-glare cone ensures
visual comfort along with an inconspicuous ceiling design, especially
for dark ceilings. This technical
approach results in a higher light
output ratio than for conventional
lamps, a much better unified glare
rating (UGR), and a smaller size.
The LED double-focus downlights
are fitted either with flood or wide
flood Spherolit lenses for adjustment to the room height.
Thomas Schielke
The most notable advantage of double-focus
downlights with LED
technology compared to
those with conventional
lamps is reduced energy
consumption along with
a smaller size.
Lamp
QT12LED
90W
20W, warm white
Luminous flux
1800lm1305lm
Luminous efficacy
20lm/W65lm/W
Illuminance
178lx199lx
P*
8.79W/m² The LED double-focus
downlights are provided
with a matt black antiglare cone for optimum
glare protection and an
inconspicuous ceiling
especially in dark rooms
with high ceilings.
2.10W/m²
Corresponds to a reduction to 24%
Palazzo Bembo, Venice
Historical architecture, contemporary art,
visionary lighting: ERCO LED technology
proves its fine qualities in Palazzo Bembo
exhibition halls.
www.palazzobembo.org
A glance through the
window puts each exhibit
into the context of six
centuries of European
cultural history: the loggia hall of Palazzo Bembo
looks out over the Canal
Grande and the Rialto
bridge. The Logotec LED
projectors, equipped with
warm-white LEDs and
proprietary Spherolit
technology lenses, ensure
a perfect lighting design.
For several years, the
Global Art Affairs foundation has organised
exhibitions featuring
international artists. In
Palazzo Bembo, it has
found a permanent venue
in Venice, one of the
most important hubs for
contemporary art. The
photo to the left shows
the following works
of art: Arnulf Rainer
(Austria): Head, untitled,
Exhibition and lighting design:
Global Art Affairs, Leiden/Venice
Photos: Thomas Mayer, Neuss
The minimalistic, neutral
design of these compact
projectors adds a subtle,
yet characteristic ingre
dient to the blend of historical architecture and
contemporary art.
In the midst of tourist stampedes, Venice, the
sinking beauty, is well established as a hub for
contemporary art. Its driving force is the Venice
Biennale, whose attraction ensures that a number of renowned galleries and collections also
receive a share of the international audience. A
particular appeal is often created by the venues
themselves: historical sites like the old Arsenal
shipyards, where tangible history is contrasted
with artefacts formed by contemporary minds
– some unwieldy, strange, inaccessible, and
awaiting history's judgment.
The splendid Palazzo Bembo, built in the
15th century by the prominent Bembo family
and located on the Canal Grande, now houses
another space for such inspiring encounters.
The house where, in 1470, the scholar and
later cardinal Pietro Bembo was born, is once
again a place of art and culture. What was, for
many years, a vacant space across several of
the Palazzo’s floors was brought to life again
by Global Art Affairs, a foundation which has
organised exhibitions featuring international
artists for several years, initiated by Dutch artist
Rene Rietmayer. Together with his curators
Sarah Gold and Karlyn De Jongh, Rietmayer had
been searching for a venue for the 54th Biennale exhibition “Personal Structures” featuring
28 artists from five continents. Having secured
a long-term commitment to the exhibition
space, the trio invested many resources and
countless hours into the rooms’ restoration,
which had to meet both the requirements of the
historic register and, in the light of the exhibits’
importance, the standards of a museum. The
2010; Cross, untitled,
undated. Carl Andre
(USA): Crux 14, 2010. The
photo to the right shows
the following works of
art: Wallpaper by Peter
Halley (USA): Judgment
Day, 2011; in the background, by Yuko Sakurai
(Japan): Tsuyama.
solid walls of the historic Palazzo allowed them
to get away without installing air conditioning. By contrast, a professional and sustainable
lighting solution was a “must”. The foundation
ultimately opted for an ERCO track system with
Logotec LED spotlights and wallwashers. Curator Sarah Gold relates her experience with the
system as follows: “It works perfectly, allows
the art optimal expression, and is easy and
convenient to move around when we rearrange
exhibitions.” Thanks to its efficient LED technology, the connected load is only about 20%
that of a comparable system using low-voltage
halogen technology. This not only saves power
and natural resources; it also spares the curator’s nerves, seeing how fickle the wiring in old
Palazzi can be, as Sarah Gold knows: “Here in
Venice, we have seen vernissages where, at the
precise moment the light was supposed to come
on, the master fuse blew instead. That's not
going to happen here!”
The treasury of Styria: Museum im Palais, Graz
Lighting design: Gerald P. Marko, Graz
Exhibition design: Dr. Eva Marko, Graz
Photos: Rudi Meisel, Berlin
The Cultural History Collection in the
refurbished Palais Herberstein is part of
the Joanneum Universal Museum: a further example of an institute of worldwide
significance that has opted for ERCO’s
LED technology in its galleries. Light is
also used outdoors for highly effective
architectural lighting.
Graz, the capital city of Styria, links rich history
with a creative future as if the one entailed the
other. How many modern cities have a historic
centre that the UNESCO has listed as a world
heritage site, and more so, were chosen by the
same international cultural organisation as one
of the ten “UNESCO Cities of Design” worldwide? The Joanneum Universal Museum is part
of this vivid cultural tradition in Graz. Founded
in 1811 by Archduke Johann as the first ever
museum in Austria, it encompasses nine sites in
historic and modern buildings today. Its collection includes well over 4.5 million items from
different areas making it one of the largest of
its kind in Europe. One such site is the baroque
Palais Herberstein at Sackstraße 16. Since 1941,
this important historic building in the old part
of Graz has housed initially the New Gallery of
the Joanneum, before extensive refurbishment
and restoration work was carried out to reopen
in May 2011 as the “Museum im Palais”, the new
home of the Cultural History Collection.
A reopening that meets all the standards of
a “City of Design”. With effect, the new museum
blends the authentic presentation of magnificently restored baroque-style rooms in the Palais
with exhibition galleries of a modern design that
meet all the curatorial requirements. Today’s
museum extras such as gift shop and restaurant
are housed in atmospheric indoor and outdoor
areas on the ground floor. Evidence of the variety of roles ERCO’s lighting tools are able to play
in a context such as this. The Joanneum is yet
another institute with global reputation that has
opted for LED technology from ERCO to light its
galleries. Its ornate baroque stairwell, the courtyard and the pillared arcades all feature stunning architectural lighting using ERCO products
to further enhance the attractive appearance of
this building.
The oldest part of the Palais hails from the
16th century. Today’s façade design with its
two portals was added in the 18th century by
baroque master builder Joseph Hueber
(1715–1787), who also built an ornate central
stairwell to weld the three wings into a single
building: The grand stairwell is lined by pairs
of putti carrying lanterns and opens upwards
to an illusionistic ceiling fresco depicting a
view into Olympus. Like another fresco in the
vestibule of the exhibition circuit on the 2nd
floor, it is attributed to Philipp Carl Laubmann
(1703–1792). The magic of the lighting here
lies in light sources that are hidden from the
observer. ERCO’s DALI-dimmable Trion ceiling
washlights for T16 54W fluorescent lamps
were placed on the surrounding plaster cornice.
Their asymmetrical light distribution illuminates the arched ceiling uniformly – to produce
www.museum-joanneum.at/museum_im_palais
Historic arched ceilings
form a grand entrance
into the Museum im
Palais. The lighting
technology of the Tesis
uplights for 35W metal
halide lamps used here
has been modified to
emit an even softer light
with a wider beam reaching far into the ceiling
centre.
Eye-catcher on the Sackstraße façade in Graz:
the magnificent baroque
portal, effectively lit using
two Tesis in-ground luminaires. These adjustable
uplights are fitted with
20W metal halide lamps
and sculpture lenses to
produce an oval beam.
Tesis in-ground
luminaire HIT
One of the courtyards of
the Palais is also used as
a terrace for the “Prato”
restaurant. Season permitting, visitors can dine
“al fresco” here in a rather
unique ambience. The
glare-free Kubus façade
luminaires lend the building a discreet presence
at nightfall. They are provided with efficient 20W
metal halide lamps and
mounted in groups of
two with a beam emitting light both up and
down.
Kubus façade luminaire
HIT
The circuit starts off in
the grand baroque staircase. It opens upwards
to a ceiling fresco by
Philipp Carl Laubmann
(1703–1792) depicting
a view into Olympus. It
is illuminated by Trion
ceiling washlights for T16
54W fluorescent lamps,
which the designers
spread around the existing plaster cornice. The
uniform washlighting
gives the fresco a magic
appearance as if shining
from within.
The Spherolit lenses,
which are easily replaced
to provide different light
distribution patterns,
make Logotec LED spotlights a flexible tool
for effective exhibition
lighting.
Logotec LED
Thanks to the LED lighting technology with
collimators and Spherolit
lenses to control the
light distribution, ERCO’s
LED light used in the
museum solves many
different lighting tasks:
from washlighting of an
installation with oval
flood characteristic (left)
all the way to precise
accent lighting on smaller
objects using a narrow
spot characteristic.
Cultural history with a
local link: The Graz collection presents true gems
such as the “Styrian Ducal
Hat” (top right), but also
historic everyday objects
and oddities. The system
design of ERCO’s LED
lighting provides a lighting tool for each exhibit
that ensures appropriate
light distribution with the
option of adjusting the
level of brightness exactly
to its curatorial and conservational requirements
using the integrated
dimmer.
the effect of a fresco that seems to shine from
within.
Following this overwhelming overture, the
museum circuit continues on a dramatic level. It
initially takes the visitor through a suite of four
rooms, an antechamber, and a cabinet room
with opulent Rococo decor, in order then to present the permanent exhibition of the Cultural
History Collection in plain modern exhibition
rooms. Based on the overriding theme of ‘status
symbols’, the artefacts on show here represent
political power, an aristocratic lifestyle and
court education, and generally have a close link
with Styria or Graz. Among the highlights of the
Museum im Palais are, for example, the Styrian
Ducal Hat (c. 1400), Frederick III’s Gothic state
coach (��
~1450)��
and the only incontestably genuine transverse flute in the world made by the
eminent French instrument-maker and flautist
Jean Hotteterre, in around 1680.
As the lighting designer of the exhibition, G.P.
Marko cleverly staged these cultural treasures
in such a way that capitalises on all the advantages offered by the system design of ERCO’s
LED lighting tools. Depending on the size and
format of the exhibits, the designer brought
all available light intensity distributions of the
Logotec LED spotlights into play, from narrow
spot to wide flood, oval flood and wallwash.
The Spherolit lenses, easily interchangeable for
future requirement, give designers and engineers great flexibility in fine-tuning the system,
while the low proportion of spill light produces
dramatic contrasts. To ensure the right dosage of
illuminance, the LED spotlights can be individu-
ally dimmed without the shift in colour temperature known from halogen lamp. The spectral
composition of the warm white LED light is free
of infrared and ultraviolet components to allow
for best possible protection of the irreplaceable
exhibits. All these aspects add up to provide an
attractive, highly flexible and safe lighting solution with minimum energy requirement and
heat input – a prime example of translating the
potential of ERCO’s LED technology successfully
into efficient visual comfort in museums and
galleries.
A highlight of the
exhibition, Emperor
Frederick III’s Gothic state
coach (~1450), is given
appropriate lighting: the
highly dramatic effect is
produced by light sources
concealed in ceiling ducts,
their optimum position
and focusing previously
determined in extensive
lighting tests. The designers used Optec LED spotlights 9.6W, narrow spot,
for specific accentuation
of the magnificently
carved coats of armour
on the front sides of the
coach.
ECE Center Thier-Galerie, Dortmund
Architect: Kaspar Kraemer Architekten, Cologne
(façade); ECE Planning Team, Hamburg
Lighting designer: LDE KOBER, Dortmund
Photos: Dirk Vogel, Dortmund
An economic keystone and city landmark:
the new shopping centre “Thier-Galerie” in
Dortmund's city centre. LED lighting tools
by ERCO enhance its striking appearance.
Dortmund is a textbook example of structural
transformation. Less than 50 years ago, the
region’s notorious economic triad of coal, steel
and beer dominated this Westphalian metropolis, the largest breweries of the time quenching
the thirst of miners and steelworkers. In the
meantime, the blast furnaces have gone cold,
some dismantled, sold and shipped to China,
while brownfields such as the former Phoenix
steelworks provide ample space for new business districts, lakes, and exclusive residential
real estate. The breweries also had to surrender
to the decline in German consumers’ appetite
for beer. As more and more businesses moved
to the outskirts, enormous spaces became available in the city centre. New buildings as well as
converted pre-war edifices are now utilised by
the emerging service sector, both for cultural
and retail purposes. One example of this is the
Thier brewery site, a prime location between
the Hiltropwall and the busy shopping street
Westenhellweg, abandoned by the brewery as
early as 1996.
www.thiergalerie.de
That real estate was discovered and developed
by Hamburg-based ECE Projektmanagement, a
leading European specialist in this field. It created the Thier-Galerie, a new, attractive shopping centre with over 33,000 square metres of
retail space. The Berlet house’s meticulously
reconstructed historical façade facing Westenhellweg as well as the interior design concept
of a “house within a house” contribute to the
centre’s architectural appeal. Especially when it
comes to projects of this scale, sustainability is
an important factor to consider.
With many years of experience, ECE brings a
vast amount of know-how to the task of energy
and resource efficiency. This is borne out by the
fact that heating only accounts for 20 to 30%
of the centre’s energy consumption while the
rest is used for ventilation, air conditioning
and lighting. This puts the focus on the lighting
concept: According to ECE, it has cut the energy
consumption in its new centres by an average
of 20%, simply by installing state-of-the-art
lighting tools, an approach that fits in perfectly
Tesis Uplights
The adjustable uplight
from the Tesis range of
recessed floor luminaires,
rated with IP68, lends
itself to accentuating
vertical features of a
façade with its narrow
beam. Highly efficient
metal halide lamps are
used as lighting tools.
Lightcast
IP68 rated downlights
generate a light carpet
accentuating the entrance
area. Again, the lighting
tools are metal halide
lamps.
deliver a lighting concept
that is consistent with
the idea of efficient vis
ual comfort.
Optec
The universal range
of Optec luminaires is
available for use both
with conventional lighting tools, such as metal
halide lamps, and with
LEDs – in both cases
with a wide selection of
light distribution characteristics from spot to
wallwash.
with the ERCO concept of efficient visual comfort. Within these parameters, Dortmund-based
LDE KOBER’s lighting designers sought to create
an agreeable atmosphere on the inside with a
mix of daylight and accentuated artificial lighting and to make the building as a whole stand
out at night by highlighting the façade’s features. The top floors of the newly built space
serve as parking garages and are designed as a
roof parapet. A casing of warm-coloured perforated metal gives elegance and lightness to the
top section. Shimmering in a golden hue, it is
accentuated at night by the grazing light from
Focalflood LED façade luminaires. The building has advanced to a landmark with minimal
energy consumption and need for servicing
thanks to ERCO LED technology.
Focalflood LED façade
luminaire
The grazing light of the
Focalflood façade lumi
naires brings out the
surface texture of buildings at night. The narrow
light distribution over the
whole wall avoids unnecessary light pollution.
The wide light distribution in the other direction
ensures good uniformity on the façade and, if
mounted in a row, allows
wide luminaire spacing.
The two mounting brackets help with easy adjustment to the inclination
of the luminaire.
Ordinarily, ECE's responsibility as an operator does
not extend to furnishing
tenants' shops. However,
ECE provides them with
a lighting manual they
created to help optimise
energy efficiency. In this
way, shops such as the
fashion jewellery boutique “39°C” were inspired
to use ERCO products to
Backlights
PLDC 2011, Madrid
In October 2011, the architectural lighting scene
gathered in Madrid for the Professional Lighting
Design Convention (PLDC). Contributing to the
supporting programme, ERCO Spain had organised an “Afterwork Event” for the evening of 21
October 2011 to be held at Studioloft 11:13, one
of the trendiest venues in Madrid. Many of the
international lighting experts used this opportunity after a full day at the convention for an
exchange with colleagues in a more informal
setting effectively illuminated by ERCO, to enjoy
the refreshments provided or simply to relax
to the music. Thank you to all our guests and
the team who have helped make this evening a
great success!
Dr. Dirk Stahlschmidt takes his leave
On 27 January 2012, our managing director Dr.
Dirk Stahlschmidt bid a sad farewell to the company to go into retirement. In a small ceremony marking 26 successful years at ERCO, he was
sent out in style. His executive colleagues and
hundreds of employees had gathered to wish
the outgoing managing director all the very
best for this next stage of life. Dr. Stahlschmidt
began his career at ERCO as a management
assistant before he was put in charge of domestic sales in 1987 followed by his appointment as
managing director in 1989. He also looks back
on many years of service in an honorary capacity – such as on the advisory board and as chairman of the Fachverband Leuchten (Luminaire
Association), as jointly responsible founder of
the international Light+Building trade fair, and
on the board of managing directors of the ZVEI,
the German Electrical and Electronic Manufacturers' Association.
International lighting
experts came together
at the Afterwork Event
organised by ERCO Spain
for the PLDC in Madrid
last October.
Thanks to a colleague,
who was respected and
appreciated among the
workforce as a straightforward person of inte
grity: managing director
Tim Henrik Maack paid
tribute to the work of
Dr. Stahlschmidt (left).
Below: Successor Marcus
Schramm used the opportunity to introduce himself as the new managing
director.
www.pld-c.com
www.rockandloft.com/11.13/
Exponatec 2011, Cologne
International museums, well-known vendors,
and high-calibre visitors in an ever more eminent cultural market met at the Exponatec trade
show in Cologne from 16 – 18 November 2011.
Also present were experts of ERCO Leuchten
GmbH demonstrating LED lighting technology
as a topic of particular interest to museums. At
a compact trade fair stand, practical experience
of LED lighting tools such as the Logotec LED
spotlights was backed by ERCO consultants with
application studies from world leading institutions including the National Gallery in London,
where ERCO’s LED technology had led to drastic
savings in energy and maintenance costs coupled with optimal light quality (full report in
Lichtbericht 92). The resulting technical discussions brought to light the significant potential
of the concept of efficient visual comfort for
museums and cause us to be optimistic about
the further development of museum lighting.
This is an area in which ERCO is already a recognised authority.
www.exponatec.de
www.erco.com/museum/de
Otl Aicher – Gestalter
A biography by Eva Moser
2011, Hatje Cantz (German)
ISBN 978-3-7757-3201-7
Richard Reinke (right),
chairman of the Works
Council, also acknowledged the constructive
cooperation with the outgoing managing director
with a donation from
the Works Council to the
Friends of the Psychological Counselling Service
Lessingstraße, which Dr.
Stahlschmidt chairs in an
honorary capacity.
Superior, hands-on LED
lighting technology from
ERCO: Spherolit lenses
which can be replaced
without tools to control
light distribution patterns are crucial aspects
particularly for museum
experts – providing, for
instance, for flexible lighting situations in changing
exhibitions. The LED lighting tools made an equally
convincing argument in
terms of long life, efficiency, colour rendition,
and the protection of
exhibits.
Hundreds of employees
had gathered in the
cafeteria of ERCO’s
Lüdenscheid head office
to bid farewell to their
managing director. A meal
gave opportunity to look
back on the time with Dr.
Stahlschmidt.
Otl Aicher (1922-1991) is known as a
visionary designer and pioneer of visual
communication. His work on ERCO’s
image has left a deep mark on our company. Art historian Eva Moser now presents the first comprehensive biography
of Aicher that delves deeper also into the
lesser known sides of the designer. After
meticulous research among members of
his family, friends and in archives, it gives
insight into his life especially as a young
and private person presenting aspects
that will be new even to Aicher experts.
Aicher’s connections in politics and culture make his biography an exciting piece
of contemporary German history.
Chinese National Museum,
Beijing
Architect: von Gerkan, Marg und
Partner (gmp), Hamburg
Photos: Michael Wolf, Hong Kong
www.kunstderaufklaerung.de
www.chnmuseum.cn
The world’s largest museum opened
in April 2011 with the exhibition
“The Art of the Enlightenment”. A
massive new annex now extends
the total area of the Chinese
National Museum to 191,900m2.
The architectural design by gmp
and the exhibition presented by
Germany’s three largest museums,
the Staatliche Museen in Berlin,
the Staatliche Kunstsammlungen
in Dresden and the Bayerische
Staatsgemäldesammlungen in
Munich, are not the only contributions from Germany – ERCO supplied thousands of metres of track
along with thousands of spotlights
for exhibition lighting – some
featuring cutting-edge LED technology.
E
ERCO GmbH
Postfach 2460
58505 Lüdenscheid
Germany
Tel.: +49 2351 551 0
Fax:+49 2351 551 300
[email protected]
www.erco.com

ERCO Lichtbericht 94

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