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2002 20:59 Uhr Seite 39

Fördergemeinschaft Gutes Licht

Urban Image Lighting 16

Carlos Parrondo, NEDEA, S.L.
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Contents

Editorial 1

City marketing 2

Event lighting 4

Master plan
for a city 6

Master plan
for Expo 2000 8

Paths:
city access routes 10

Edges:
bridges and paths 12

Districts: pedestrian
precincts, zones
for shopping and
eating out 14

Districts: parks
Macerata/Italy
and gardens 16

Nodes: squares
and crossroads 18

Landmarks: houses
and façades 20

Landmarks: public
buildings and
churches 22

Landmarks:
sculptures, fountains
and towers 24

The basics of
lighting design 26

Lamps 30

Luminaires 32

Literature 34

Acknowledgements
for photographs 35

Imprint and
order forms 36

Information from
Fördergemeinschaft
Gutes Licht 37

Multivision show in Aachen

FGL16e 17.04.2002 20:18 Uhr Seite 1
Editorial
City marketing is a phrase
on many lips at present –
and understandably so.
Cities seeking to attract
business, shoppers and
tourists today face tough
competition. So it is very
important for municipal
authorities to cast their city
in the right light.
Advertising campaigns,
special events, shops open
on Sundays and public
holidays – these are just
some of the tools used to
sharpen a city’s profile.
Erasmus Bridge in Rotterdam/Netherlands
To ensure the message
gets across, new ideas are
needed. And one option
favoured by a growing
number of cities at present
is urban image lighting,
lighting specifically de-
signed for city beautifica-
tion.
Fördergemeinschaft Gutes Licht
Street lighting and other
forms of exterior lighting
normally found in cities
ensure that the basic re-
quirements of residents
and visitors are met: an
adequate level of lighting
facilitates orientation and
provides security after dark.
But light can also be har-
nessed to create a distinc-
tive atmosphere: an illumi-
nated monument, a dra-
matically lit square, a park
bathed in decorative light –
these are sights that make
us feel good in a city at
night.
In recent years, scathing
criticism has been voiced
in Germany over the coun-
try’s miserly use of lighting.
On 17 December 2000,
the leading national daily
Frankfurter Allgemeine
Zeitung carried a damning
article comparing German
attitudes to lighting with
those in France and the
United States. “While there
are plenty of shining exam-
ples broad”, it read, “the
powers that be in Ger-
many’s cities seem to have
nothing better to do than
think of turning streetlamps
off”.
Looking at applications
and principles, this booklet
shows what needs to be
borne in mind by archi-
3
tects, lighting designers
and local officials and
politicians seeking to sculpt
the night-time scenery of a
city with light. It describes
actual projects, addresses
technical lighting issues
and presents financing
models.
1
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City marketing
The “Speicherstadt” in Hamburg: illumination of the world's largest warehouse complex is financed by a form of public private partnership.
A special sponsors’ association was created for the purpose.
Urban designers and
architects have been talk-
ing since the sixties about
cities in crisis. And the
most conspicuous signs of
crisis are the retail parks
mushrooming on green-
field development sites.
The impact on city centres
is shown by a study of
spending patterns in the
eastern German city of
Meissen. In 1995, retailers
in and around Meissen
registered revenues to-
talling some 280 million
euros. But only 44 percent
of that volume was record-
ed in the city itself; 56 per-
cent – i.e. well over half
of total local spending –
went into the tills of re-
tailers and service pro-
viders in the surrounding
area.
2
So local authorities face a
major challenge: how can
a city or region acquire
the profile needed to keep
competition at bay?
One answer is through
urban design lighting. As
yet a fairly unconventional
city marketing tool, lighting
can significantly help boost
a town’s or city’s image.
Three factors are crucially
important:
■ Urban design lighting
involves a great deal
more than just illuminat-
ing an individual monu-
ment or church. Any
lighting concept today
needs to encompass an
entire town or urban
district, using the tools
of architectural lighting
to create a harmonious
lighting design concor-
dant with existing light-
ing structures.
■ Imposing buildings,
monuments or squares
are not prerequisites for
creating atmosphere
with light. Even the
humblest village or
hamlet can be visually
enhanced through the
use of architectural light-
ing tools.
■ Image-boosting lighting
plans do not need to be
abandoned because of
budgetary constrictions.
Small-scale and short-
term projects can also
bear fruit, especially if
designed for upgrading
at a later date. Public
private partnership
(PPP) models have a
proven track record
here.
4
Public private partnership
project: Hamburg’s
“Speicherstadt”
The illumination of the
world’s biggest warehouse
complex, the Speicherstadt
in Hamburg (photo 4), is a
particularly good example
of a successful public pri-
vate partnership project.
Put on a regular organisa-
tional footing in summer
2000, the PPP has made
it possible for the Speicher-
stadt to be illuminated night-
ly since 27 April 2001 (www.
lichtkunst-speicherstadt.de).
Prior to that, illumination
was provided by temporary
lighting installations.
Visitors can also enjoy an
evening boat trip on the
canals between the ware-
house buildings. Theatre
performances in the Spei-
cherstadt are another pop-
ular attraction.
FGL16e 17.04.2002 20:19 Uhr Seite 3

Public private partnership building; it is an autonom-

project: Feininger Church ous work of art communi-
Feininger Church in cating with the building
Gelmeroda just outside and the air around it”.
Weimar is also an impres-
sive sight. It was the Originally supposed to be
favourite motif of American wound up at the end of
artist and Bauhaus lecturer 2000, the project has been
Lyonel Feininger. extended indefinitely and
will now run for as long as
Since 1999 – when Weimar the electricity costs are
celebrated its year as Euro- covered by sponsorship.
pean cultural capital – the
church has been a feature
of the night-time land-
scape, bathed in light by
architect Peter Mittmann.
According to Mittmann, the
project is “not the conven-
tional illumination of a

Feininger Church in Gelmeroda

outside Weimar
5

Calvados magnet even after dark.
But what of rural areas,
A region setting which are essentially
accents with light dependent on the day-
time charms of the coun-
Inviting squares and tryside to attract visitors?
boulevards, imposing In the département of
medieval architecture, Calvados in France, a
gushing fountains – group of rural district
towns and cities have councils adopted a novel
their privileges. And in idea: after dark, 19 pro-
the hands of city market- minent buildings in the
ing managers, such area – farms, churches
jewels remain a tourist and chateaux – are illumi-
nated to create a night-
time attraction, an attrac-
tion whose value for
regional tourism is en-
hanced by two-hour guid-
ed tours in French and
English on three different
routes. The lighting is
switched on only on days
when tours are scheduled.
And because it is remote
controlled, the route can
be changed at short no-
tice, e.g. to prevent a tour
coinciding with a special
event at one of the illumi-
nated sites. Some of the
funding for the project is
provided by local and na-
tional government and
some by the European
Union but the biggest
financial contribution
comes from the regional
electricity companies. A
sponsorship model that
power utilities elsewhere
might well consider.

6 7

3
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Event lighting

Special lighting projects

and events are a popular
tool of modern city market-
ing, a tool rightly welcomed
by city fathers seeking to
cast their city in the right
light. This is because such
events can be realised
within a fairly short time
frame and on a relatively
low budget, especially
where they are supported
by private sponsors. What
is more, special lighting
events often attract more
than just local and regional
media coverage, particular-
ly if internationally renown-
ed artists are involved.

700,000 visitors
in The Hague
One event of a very spe-
cial kind was staged in the
Hague. To mark the city’s
750th anniversary in 1998,
42 sculptures by celebrat-
ed artists – including Rodin,
Arp and Soto - were pre-
sented and illuminated in
the heart of the city. For
two months, visitors had a
chance to see major works 8
Spotlight on sculpture in the heart of The Hague: 42 works by celebrated artists were illuminated at night.
of sculpture in the street

tourist attraction, presented
in a “night-time show” craft-
ed by the tools of lighting
technology. 50 spots on the
ground and 100 in nearby
trees were selected and
arranged to set off the
colour and warmth or cold-
ness of each sculpture to
best advantage. Owing to
the huge success of the
event, exhibitions along
similar lines are now
staged annually in The
Hague (www. denhaag-
sculptuur.com). The sum-
mer 2000 exhibition enti-
tled “De Mens in Beweg-
ing” is estimated by its or-
ganisers to have attracted
at least 700,000 visitors.
More events are scheduled
through to 2004.
In 1996, a similar event in
Paris was a blockbusting
success.

9
from private collections
and museums all over the
world.

The idea is particularly in-

teresting because it made
for two exhibitions. The
masterpieces could be
viewed by day, in natural
daylight. Then, after dark, 10
Laser show staged outside Münster City Hall as part of the city marketing project “Ab in die Mitte”
they became a second

4
FGL16e 17.04.2002
The “Kunsthaus” in Bregenz, illuminated by internationally renowned artist Keith Sonnier.
Façade installation on
the Kunsthaus in Bregenz
Another example: the city
of Bregenz commissioned
internationally acclaimed
artist Keith Sonnier to
create a temporary exterior
installation for the Bregenz
Kunsthaus. Entitled “Millen-
“Ab in die Mitte”: lighting installation in Herne
Fördergemeinschaft Gutes Licht
20:21 Uhr Seite 5
nium 2000”, it was on
show for two months at the
end of 1999 (www.lightlife.
de). Sonnier, who has also
exhibited at the Museum
of Modern Art in New York,
used 512 red, yellow and
green fluorescent lamps in
his installation. This was
another cultural presenta-
11
tion made possible by cor-
porate and institutional
sponsorship.
City marketing initiative
“Ab in die Mitte”
Urban design lighting also
forms part of the “Ab in
die Mitte” city marketing
project launched by the
13
state of North Rhine-West-
phalia (www.abindiemitte.
de). This project – its title
translates roughly as “tak-
ing centre-stage” – in-
volves some 25 towns and
cities in North Rhine-West-
phalia and is a collabora-
tive venture between the
state ministry for urban
development, the congress
of municipal authorities,
retail trade representatives,
12
Gasometer in Oberhausen
two department store
chains and a newspaper.
As part of it, lighting pro-
jects have been realised in
Münster (photo 10) and
Herne (photo 13).
Blue gold
Another lighting project
was realised from Septem-
ber 2001 to April 2002 in
the so-called Gasometer at
the CentrO shopping cen-
tre in Oberhausen. The
exhibition was entitled
“Blaues Gold” – blue
gold – (www. blauesgold.
com) and featured, as one
of its highlights, a 50-me-
tre-high sculpture of water
and light. Set in the 117.5-
metre-high interior of the
Gasometer, it consisted of
a 1,600 m2 spotlighted
cone of canvas, down
which water ran into a
lake.
5
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Master plan for a city
The Eiffel Tower in Paris,
Big Ben in London, the
Brandenburg Gate in
Berlin – no matter how
big or small a town or city,
residents and visitors carry
a distinctive image of it in
their mind. Different people
asked to make a sketch of
a town or borough will
draw the same basic struc-
tures: roads, paths, a cen-
tral square, an outstanding
building or a landmark.
The lighting designer’s task
is to highlight these fea-
tures of the urban land-
scape so that people can
identify their surroundings
and get their bearings.
Back in the 1950s, Ameri-
can architect Kevin Lynch
made a study of perception
at the Massachusetts Insti-
tute of Technology (MIT).
His conclusion: the per-
ceptions, bearings and
memories of people mov-
ing in an urban environ-
ment are essentially shap-
ed by five basic elements.
1. Paths
According to Lynch’s stud-
ies, paths are the most
important structural ele-
ment of all for residents
and visitors.
2. Edges
Edges provide borders
between districts. Clear
examples of edges are
railway embankments
and rivers, which draw
a visible dividing line
through a city.
3. Districts
Districts are large or mod-
erately large sectors, such
as pedestrian precincts.
4. Nodes
Nodes are important points
of interest along paths,
e.g. crossroads and round-
abouts.
6
5. Landmarks
Landmarks are unique,
memorable objects, such
as monuments.
These five basic elements
are not always distinct. A
path, for example, can also
be an edge. Lynch calls
the basic drawing a person
can make of a town a
“mental map”. In pursuing
his line of research, he
hoped to provide pointers
for “correct” town planning.
His findings are not only
instructive for town plan-
ners and architects, how-
ever; they also provide
useful guidance for lighting
designers seeking to en-
hance an urban environ-
ment through urban design
lighting.
In recent years, it has be-
come increasingly com-
mon practice for urban de-
sign lighting projects to be
realised on the basis of a
master plan, i.e. a plan for
an entire town or adminis-
trative district aimed at en-
suring continuity and cohe-
sive design. As no local
authority has the financial
resources to renew all the
lighting in a town at once,
a master plan is also a
long-term instrument, one
for attaining such objec-
tives over a period of sev-
eral years.
Purpose of a master plan
When lighting designers set
about devising a master
plan for a town, they first
need to ask themselves a
number of questions. The
greatest challenge a light-
ing designer faces is inte-
grating urban districts with
widely differing architectural
profiles.
The key to developing a
successful master plan
here lies in establishing
connections between the
individual elements in line
with Kevin Lynch’s theory.
Master plan for Hanover
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Lighting designers typically

need to answer the follow-
ing questions:

■ What is the town’s set-

ting like?
■ Where are there parks,
gardens and water and
which routes do resi-
dents and visitors take
from the town centre to
get there?
■ Is there a traditional
town centre or a particu-
larly fine waterfront?
■ Is the town divided by a
railway line?

Armed with the answers to

these questions, the light-
ing designer can then set
about developing a master
plan – one for casting the
town in the right light with a
sophisticated hierarchy and
variety of light sources.

Ambience is determined
mainly by mounting height:
a luminaire mounted on a
very high column, e.g. at
a crossroads, makes for a
functional atmosphere.

An agreeable, more inti-

mate atmosphere can be
created by luminaires set
at lower mounting heights
and fitted with lamps of a
particularly warm light
colour. A master plan can
then be developed defining
precisely

■ how many luminaires

are needed,
■ where they should be
positioned,
■ at what mounting height,
■ at what angle
■ and with lamps of which
light colour.

Fig. 1

7
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Master plan for Expo 2000
Expo 2000 –
a city within a city
It was the talk of the town –
and the subject of wide-
spread debate. But in the
end, its organisers were
able to parade positive
figures: Expo 2000 in
Hanover attracted some
17 million people.
The office appointed to
design the lighting devel-
oped a master plan for the
160 hectare site. Because
of the numerous car parks,
14
Expo roof
8
avenues, parkland areas
and bridges, the assign-
ment amounted to devel-
oping a master plan for a
city.
The lighting planners’ pri-
mary task and greatest
challenge was to create a
common denominator and
cohesive structure for the
widely differing architecture
on the site. Lighting was
used to make entrances
visible from afar and to
meet the functional lighting
requirements of parking
15
Parkland areas at the Expo: low-level pathside lighting
FGL16e 17.04.2002 20:23 Uhr Seite 9

facilities. In other areas, In the parkland areas, the

however, its purpose was aim was to create a variety
to help set the stage. of lighting scenarios and
an appropriate ambience
One of the most important (photo 15).
lighting assignments in-
volved the crossing-point
between the two parts of
the Expo site. The lighting
for the 60-metre-wide stair-
case was designed both to
enhance the facility’s long-
range visual impact and to
help make it an attractive
place for a moment’s rest
(photo 17).

Plateau, staircase, intersection and a

place to take the weight of tired feet

Fig. 2

17

16
Crossroads on a long avenue

9
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Paths: city access routes
Worms city gate
Streetlighting is one of the
oldest forms of public light-
ing – yet the only time nor-
mal streetlighting is notic-
ed, as a rule, is when it
fails to work. For a number
of years, however, lighting
for streets and other city
access routes has played
an increasingly important
role in helping to shape the
face of public places. The
10
profile and life of a city can
thus be underscored even
as the visitor approaches.
Not every city has an im-
posing city gate like Worms
(photo 18) but even roads
which seem initially unpre-
possessing (photo 21) can
be visually enhanced by
appropriate lighting.
18
Investing in renewal:
from functionalism to
aesthetic appeal
As streetlighting facilities
constantly need to be re-
placed, new technologies
offer a chance to upgrade
existing systems one by
one. The latest generation
of lamps for streetlighting
systems are not only more
energy-efficient; they also
respond to the heightened
aesthetic requirements of
town planners, lighting de-
signers and architects by
offering scope – through a
choice of light colour,
colour rendering grades
and beam characteristics –
for shaping the way city
access routes are experi-
enced.
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19
Laatzen trade fair rail terminal near Hanover

20
Autoroute A14: Viaduc Carrière/France

Where any master plan for

town or city lighting is de-
veloped, one thing in par-
ticular must be borne in
mind: municipal authorities
are not normally the sole
proprietor of all city access
routes. Air and rail links, for
example, have other oper-
ators, who should be in-
volved in planning at an 21
Road in Berlin
early stage.

11
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Edges: bridges and paths

22
LED lighting on Duisburg port bridge

According to Kevin Lynch,

“edges” are borders be-
tween the different districts
of a town. One particularly
interesting border-crossing
project is a bridge at
Duisburg port (photo 22).
The lighting is provided
by LEDs (light emitting
diodes).

LEDs – the luminous semi-

conductor chips commonly
used for dashboard lights
in cars and indicators in
electrical appliances – are
at the heart of the latest
revolution in lighting tech-
nology: they have extreme-
ly low power consumption
ratings and a very long
service life.

23
Bankside path in the “VW Autostadt” at Wolfsburg

12
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24
Adolphe Viaduct in Luxembourg

The lighting design of the

Duisburg port bridge is
part of a revitalisation pro-
gramme based on an ar-
chitectural master plan by
British architect Sir Norman
Foster for what was once
the biggest river port in
Europe. The redevelopment
of the port area will add a
totally new district to the
city, complete with offices,
apartments, museums,
restaurants and social
amenities.

25
Bankside path in the “VW Autostadt”, with the Ritz-Carlton Hotel in the background

13
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Districts: Pedestrian precincts, zones for shopping and eating out

City flair – nowhere is

it more tangible than in
street cafés and pedes-
trian precincts. Where a
town or city displays a
scintillating atmosphere,
visitors and tourists
spread the word.

When daylight fades,

lighting enhances the
ambience – as here in
the square fronting the
Old Opera House in
Frankfurt am Main
(photo 26). The use of
numerous light sources
makes for an opulent
lighting atmosphere.

A special ambience
also pervades the Alster
Arcades in Hamburg
(photo 27): the partially
transparent awning roof
is illuminated by indirect
lighting for around 80
metres.

27 28
Alster Arcades in downtown Hamburg Place de la République in Lyon/France

14
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29 30
Market square in Dieburg/Hesse Café on the Expo site

26
15
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Districts: parks and gardens

Nature is an increasingly
popular candidate for illu-
mination. And understand-
ably so: light, like water, is
one of the basic elements
of life and a symbol of
vitality – and there is lots
of scope for dramatising
the interplay between
plants, trees and light.

At a workshop in Alingsås/
Sweden, various forms of
illumination were tried out.
In the avenue on the right
(photo 31), the light radi-
ates down from the tree-
tops. This illumination con-
cept prompts associations
with a summer’s day, when
sunlight filters through the
branches of the trees.

One group at the Alingsås

workshop also studied
bridges and created what
they called a “metaphysi-
cal” bridge of fibre-optic
cables floating on the sur-
face of a lake (photo 34).
The tree on the small is-
land was illuminated by
dot-like light sources.

Park and garden lighting

often involves the use of
recessed ground floods
(photo 32). The advantage
of these luminaires is that
they do not require posts
or columns, which would
detract from the visual
impact of the natural sur-
roundings.
Avenue in Alingsås/Sweden: the light sources are mounted in the trees.

32
Promenade in Sirolo/Italy

16
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Illumination of plants and trees

Fig. 3 Fig. 4

Where a tree or shrub is floodlit on

two sides from ground level (Fig. 3),
illumination is relatively uniform.
Where a light source is mounted in
the branches (Fig. 4) or positioned
beneath the tree and directed upwards
(Fig. 5), dramatic effects are produced.
In this case, each individual tree ap-
pears as an island of light and the
artistic arrangement of light and dark-
ness creates atmosphere.

Fig. 5

31

33 34
Järti Park in Alingsås/Sweden Lake in Alingsås/Sweden with fibre-optic “bridge”

17
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Nodes: squares and crossroads

Squares play a key role

in urban architecture, fur-
nishing space for assem-
blies, markets and cultural
events. Given their massive
importance, urban design
lighting here should pro-
vide “guidance” for visitors
and residents.

When selecting the lighting

for a square, it is very im-
portant to bear in mind
the function or functions
the square performs. The
functions listed below, of
course, are not mutually
exclusive.

■ Is the square a meeting-

place for young and
old?
■ Is it primarily a venue
for markets or cultural
events such as theatre
performances?
■ Was the square original-
ly designed to underline
the status of buildings
fronting onto it, e.g. town
hall or church?
■ Is the square a commu-
nications hub?

Lighting depends
on function
The principal purpose a
town square serves effec-
tively dictates the kind of
lighting climate required.
Market square in Dessau
A square which is frequent-
ly used for events requires
uniform lighting (“carpet of
light” – see box on facing
page). A square with multi-
ple functions can be divid-
ed into different “lighting
zones”. And in a square
originally designed to un-
derline the importance of
buildings fronting onto it,
the main emphasis is on
illuminating those build-
ings; lighting for the square
itself is confined to a few
“pools of light”.

KölnArena - Germany’s largest

indoor events complex seats
21,000 spectators
36

18
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Lighting for squares

Carpet of light (Fig. 6):

The square is uniformly
illuminated. Light sources
are mounted high, outside
the field of vision of
passers-by. Façades are
illuminated by stray light
only.
Fig. 6

Lighting zones (Fig. 7):

An agreeable atmosphere
can be created by using a
large number of low light
sources to divide the
square into different zones.
In this case, the tops of
façades surrounding the
square are not illuminated.
Fig. 7

Pools of light (Fig. 8):

The square itself is of
minor importance, so it
is only punctually illumi-
nated by luminaires.
The façades of buildings
fringing the square are
floodlit.
Fig. 8
35

The market square in minance requirements

Dessau (photo 35) is lit needed to be observed for
on the “pool of light” princi- the pedestrian access
ple, whereas the Place Bir routes and the roads for
Hakein in Lyon/France motor traffic around the
(photo 37) is divided into building.
two lighting zones. In light-
ing design circles, Lyons
is considered a shining
example of a city shaped
by light.

The 21,000-seat KölnArena

– Germany’s biggest facility
for indoor events – pre-
sented a special challenge
for lighting designers (pho-
to 36). Widely differing illu-

The “Place Bir Hakein” in Lyon/

France is divided into two light-
ing zones.
37

19
Fördergemeinschaft Gutes Licht
FGL16e 17.04.2002 20:32 Uhr Seite 20

Landmarks: houses and façades

For the wave-shaped build-

ing in Frankfurt am Main
(photo 39), lighting artist
Clemens Teichmann creat-
ed an exterior lighting sys-
tem based on fibre-optic
cables. The building is
illuminated after dark by
two projectors feeding light
into a 150 metre side-light-
ing cable. Colour filters in-
side the projectors change
the colour of the line from
white to blue.

The illumination of the

neoclassical building on
the left (photo 38) was
realised at a workshop
in Alingsås/Sweden. The
differentiated façade is
achieved with numerous
spots and floods.

38
A building with a highly structured façade

Façade lighting

Fig. 9 Fig. 10

Façades can be illumi- needs to be borne in

nated in two ways – mind when illuminat-
either by floodlighting ing a façade is shad-
from outside with owing: the closer a
lighting systems on luminaire is to the
or near the building building, the greater
or by making effective the likelihood of deep
use of interior lighting shadows – which can
in the evening, e.g. to add a desirable note
turn a glass façade of drama to the visual
into a backlit “stage”. impact achieved (Fig.
Façades with a de- 9 and 10).
tailed structure can
be illuminated most
effectively by using
several coordinated
floods (Fig. 11).
Another thing that
Fig. 11

20
FGL16e 17.04.2002 20:32 Uhr Seite 21

39
A building in Frankfurt am Main

21
Fördergemeinschaft Gutes Licht
FGL16e 17.04.2002 20:35 Uhr Seite 22

Landmarks: public buildings and churches

Church in blue
On the right is an uncon-
ventional lighting produc-
tion for a church (photo 41)
realised during a workshop
at Alingsås in Sweden.
The façade is floodlit by
light bounced off specular
reflectors on the ground,
while gleaming highlights
are added to window and
door arches and even the
tower clock. Then, as a
crowning feature, the
church tower is bathed in

40
Recessed ground LEDs at
Bremen University

blue light by a beamer

projector with filter attach-
ment.

Extraordinary lighting
production
Between 15 and 21 Sep-
tember 2001 in Aachen,
more than 50,000 people
flocked to a project
launched as part of the
North Rhine-Westphalia
city marketing initiative
“Ab in die Mitte”. Gathering
in the Katschhof, a down-
town square named after
the stocks that used to
Church in Alingsås/Sweden

22
FGL16e 17.04.2002 20:35 Uhr Seite 23

stand in it, spectators wit-

nessed a multivision show
projected onto the rear
façade of the City Hall
(photo 42). In the Middle
Ages, the Katschhof was
crossed by no less than
32 German kings on their
way to be crowned in the
Palatine Chapel built by
Charlemagne. Artistic
direction of the project was
in the hands of celebrated
artist Jacques Darolles,
who heads the Centre
National Art et Technologie
in Reims/ France and has
initiated and realised a
variety of lighting projects
worldwide.

42
Multivision show on the rear
façade of the City Hall in
Aachen.

41

23
Fördergemeinschaft Gutes Licht
FGL16e 17.04.2002 20:37 Uhr Seite 24

Landmarks: sculptures, fountains and towers

43
Sculpture in the "Platz der Verfassungsfreunde" in Offenburg Illuminated fountains in Bocholt

In December 2000, the

publisher Aenne Burda
donated the 20 metre
sculpture “Freedom – male/
female” by American artist
Jonathan Borofsky for the
Platz der Verfassungsfreun-
de (Friends of the Consti-
tution Square) in Offenburg
(photo 43). A regional pow-
er utility took the initiative
and financed the lighting
for the sculpture.

45
The "Havelspitz" outdoor facility in Spandau, Berlin

24
FGL16e 17.04.2002 20:37 Uhr Seite 25

44 46
Winding tower in Gelsenkirchen

Aside from the height of went for brightly coloured

the sculpture, the lighting illuminated fountains
designer’s task was made (photo 44). During the
challenging by the fact that weeks of the water theme
the aluminium tube statue programme in late Au-
had only a very small sur- gust/early September 2001,
face area for reflection. a 6 x 18 metre pontoon was
To make the most of what anchored on the Aa River
was available, the designer in the heart of Bocholt.
placed four recessed Creating the 20-metre-high
ground floods in the spaces fountain spectacle called
between the entwined male for 2,500 water jets, 500
and female figures. metres of hose, 1,000 me-
tres of cabling and 190
Two more projects involve floodlights with a total
the interplay of light and power rating of some
water. At the “Havelspitz” 20,000 Watts.
outdoor facility in Spandau,
Berlin (photo 45), the light-
ing designer's solution
strikes a decidedly tranquil
note, whereas in Bocholt,
in a project realised under
the North Rhine-Westphalia
city marketing banner “Ab
in die Mitte”, the designers
47
Sculpture in Dotternhausen near Balingen

25
Fördergemeinschaft Gutes Licht
FGL16e 17.04.2002 20:38 Uhr Seite 26
Basics of lighting design
3D computer simulation without …
Public space lighting has
changed dramatically in
the last 20 years. With
more sophisticated lighting
productions made possible
by new lamps and lumi-
naires with optimal optical
control systems, lighting
concepts are becoming
increasingly complex.
At the same time, lighting
has become considerably
more economical. New
light sources such as light
emitting diodes (LEDs)
have a much longer ser-
vice life and lower power
consumption ratings than
other lamps.
26
Agencies and authorities
awarding lighting contracts
today favour lighting de-
signers with formal qualifi-
cations in design and ar-
chitecture and additional
expertise in the use of
lighting as a tool of archi-
tectural and landscape
design. By manipulating
brightness and shadow,
lighting designers can cast
illuminated objects in a
graphic and dramatic light.
And through the use of
different light colours, they
turn those objects into a
special visual experience
which heightens the quality
of civic life.
Planning
Illumination project plan-
ning needs to be done in
close cooperation with the
client and, in the case of
listed buildings, with the
curator of historical monu-
ments.
Before any actual plan-
ning is done, however, it
is imperative to obtain
answers to the following
questions:
Fig. 12
… and with façade illumination
■ What are the principal
viewing directions or
primary lines of sight for
passers-by?
■ What shape is the object
(flat, curved, stepped,
etc.)?
■ What is the surface of
the object like (structure,
colour, etc.)?
■ What is the object’s built
environment like?
■ What precautions need
to be taken to prevent
road users being daz-
zled?
■ How can light pollution
be avoided?
■ What needs to be done
to ensure that the ap-
pearance of neighbour-
ing buildings is not af-
fected?
CAAD programs
Once those questions have
been answered, a lighting
design office develops and
visualises a number of
lighting variants.
Nowadays, using CAAD
(computer-aided architec-
tural design)software, this
step can be merged with
the development of a mas-
ter plan. With the help of
such software, the lighting
designer can simulate dif-
ferent lighting situations
and brightness distribution.
But 3D computer simula-
tion still tends to be the ex-
ception, mainly because of
the very high costs it can
entail. Take façade illumina-
tion, for example: the more
complex the surface of a
façade – which can be
very detailed in the case of
a church – the more cost-
intensive the 3D simulation.
As an alternative, a digital
photograph of the facade
can be used and manipu-
lated using image process-
ing software to demonstrate
the effects of different light-
ing arrangements. Often,
the lighting designer also
invites the client to a trial
illumination, in which a part
of the façade is illuminated
by luminaires in a variety of
positions.
Lighting level
Lighting level is one of the
most important design cri-
FGL16e 17.04.2002 20:38 Uhr Seite 27

1/2 Carpet of light

1b Vertical lighting
on façade
3 Sculptural lighting
(trees)
4 Functional lighting
(flexible lamping)
Fig. 13 Fig. 14
Example of a master plan on paper

teria. It is defined by illumi- Most buildings and objects determines not only the il-
nance and by the reflect- that are illuminated have luminance at the building
ance of the surfaces illumi- matt surfaces, so illumi- but also the light and dark
nated. Illuminance depends nance E (in lx) is calculat- zones needed to achieve
on the intensity, quantity ed from luminance L (in the intended scenic effect.
and position of the light cd/m2) and reflectance ρ
sources used. in accordance with the Depending on the position-
following formula: ing of floods, attainable ef-
As a general rule, the illu- fects are
minance required at the ■ illumination,
surface of an object de- E = L · π /ρ ■ silhouetting,
pends essentially on its ■ backlighting and
reflectance and the level ■ contouring
of background and/or Reduction of reflectance
ambient brightness, i.e. the due to pollution has a
defining factor is the ratio major impact on this equa-
of the building's surface lu- tion and thus also on the
minance to the luminance visual impact of the illumi-
of the background. The nated building. The darker
visual impact of a building the original building materi-
is greater the more brightly al, the lower the effect of Mean luminance required for the illuminated building in
it stands out from its sur- pollution on its reflectance. different ambient conditions
roundings. The illuminance In such cases, the pollution
required for a tower in the factors that need to be ap- Location of building mean luminance
middle of a brightly lit city, plied for design illuminance of building in cd/m2
for example, needs to be are lower for dark materials
higher than for a castle set than for light ones free-standing 3 to 6.5
in dark countryside. What
is more, the darker the The bulk of planning in- in dark built-up surroundings 6.5 to 10
building’s surface – i.e. the volves defining the princi-
lower the reflectance – the pal viewing direction and in moderately bright
higher the illuminance re- selecting the locations of built-up surroundings 10 to 13
quired. the floods. Their positioning
in bright built-up surroundings 13 to 16

27
Fördergemeinschaft Gutes Licht
FGL16e 17.04.2002 20:39 Uhr Seite 28

Basics of lighting design

Where viewing direction B effects for the same build-

and spotlighting direction ing can be produced by
S are identical, illumination a combination of different
tends to be flat, two-dimen- light colours. When choos-
sional. An angle of around ing metal halide lamps –
60° between the two direc- which are available in neu-
tions is recommended. For tral white or daylight white
fairly plain surfaces, even light colours, depending
angles up to 90° are possi- on power rating – special
ble. attention should also be
paid to colour rendering.
The visual impact achieved
is also affected by the light
colour of the lamps used.
Yellow and reddish sur-
faces illuminated by high-
power sodium vapour
lamps often make good
colour contrasts for grey
buildings illuminated by
metal halide lamps. Special

1. Cubic building with two flood-

lights in slightly asymmetrical
arrangement

2. and 3. Cylindrical building

with two floodlights. Two differ-
ent viewing directions
B1 and B2
Fig. 15

Recommended minimum illuminance set out in CIE publication 94:1993

Material and colour of the illuminated surface Ambient brightness in lx

low moderate high

light-coloured stone, light-coloured marble 20 30 60

moderately light stone, concrete, cement, lightly stained marble 40 60 120
dark stone, grey granite, dark marble 100 150 300

light-yellow brick 35 50 100

light-brown brick 40 60 120
dark-brown brick, red granite 55 80 160
red brick 100 150 300
dark brick 120 180 360

architectural concrete 60 100 200

aluminium 200 300 600

bold-coloured surfaces (ρ = 10 %) 120 180 360

moderately bold-coloured surfaces (ρ = 30 – 40 %) 40 60 120

Pastel coloured surfaces (ρ = 60 – 70 %) 20 30 60

28
FGL16e 17.04.2002
Illumination project ensuring low light immission in Recanati/Italy
Light pollution
Where residents are dis-
turbed by light from street-
lamps shining into their
homes, they have a right to
complain – a right en-
shrined in Germany in the
Federal Ambient Pollution
Control Act. So any risk of
“light pollution” needs to be
eliminated at the planning
stage.
Neither the Pollution Con-
trol Act nor its implement-
ing regulations set out any
actual ceilings or limits but
the Deutsche Lichttechnis-
che Gesellschaft e.V. (LiTG)
has published details of
Fördergemeinschaft Gutes Licht
20:40 Uhr Seite 29
useful methods of monitor-
ing and assessing light pol-
lution, together with maxi-
mum admissible limits bas-
ed on them (see Literature,
page 34).
The ambient pollution con-
trol committee of Ger-
many’s federal states (Län-
derausschuss für Immis-
sionsschutz – LAI) has in-
corporated these methods
and ceilings in its guideline
“Measurement and assess-
ment of light immissions”
and recommends that they
should be applied by envi-
ronmental protection agen-
cies.
Light and insects
Artificial lighting attracts in-
sects, so there is a risk it
could interfere with the nat-
ural habits of nocturnal ani-
mals.
Light with a predominantly
yellow/orange spectral
content is not so attractive
to insects because their
eyes have a different
spectral sensitivity from
the human eye. They re-
spond more sensitively to
the spectral composition of
the light from fluorescent
lamps, high-pressure mer-
cury vapour lamps and
metal halide lamps. Pale
48
moonlight, which insects
presumably use for orienta-
tion, also appears much
brighter to the insect eye
than to humans. The light
cast by a high-pressure
sodium vapour lamp,
however, appears darker.
Orange and red spectral
components produce virtu-
ally no response. A sum-
mary of what science
knows about this subject
has been published by the
Deutsche Lichttechnische
Gesellschaft e.V. (LiTG)
(see Literature, Page 34).
29
FGL16e 17.04.2002 20:41 Uhr Seite 30

Lamps

2 3 4 5 8

10
6
1
7

15

19

16

18
er

17 17
se

se
rn
ba

bu

ba

en at
en t
th e a
in

in
le

oid
n

ds
ds

e
g-

ub

g-
no

bo as
bo bas

oid

ips
oid

plu

plu
do
xe

r
r

b
ula
ula

ell
ips
ips

th
th
th
th

th
th

th
tub
tub

wi
wi

ell
ell

wi

wi
wi

wi

1 2 3 4 5 6 7 8 9 10 11 12 13 14
Lamp type Mercury L.p.
High-pressure sodium vapour lamps Metal halide lamps
Features vapour sodium
Power rating classes from 35 35 50 35 50 70 250 70 35 70 50 18 55 100
(Watt) to 1,000 1,000 80 100 400 400 2,000 1,000 150 400 1.000 180 165 150
Luminous flux from 1,800 2,000 3,600 1,300 4,000 6,800 20,000 5,200 3,400 6,300 1,800 1,800 3,500 8,000
(Lumen) to 130,000 128,000 6,000 5,000 55,000 48,000 200,000 95,000 14,000 36,000 58,000 32,000 12,000 12,000
Luminous efficacy from 51 57 72 39 80 97 69 74 87 90 36 100 65
80
(Lumen/Watt) to 130 128 75 52 138 120 100 95 95 91 58 178 73
Light colour ww ww ww ww ww ww nw, dw ww, nw, dw ww ww ww, nw – ww, nw ww, nw
Colour rendering grade 4 4 3 1B 4 4 1A, 2B 1A,1B, 2B 1B 1B 2B, 3 – 1B 1B
E27 E27 PG12-3 E27 Fc2 E27 Rx7s E27
Base PG12-1 E40 G12 BY22d Special Special
E40 E40 E27 E40 Rx7s E40 Fc2 E40

30
 FGL16e 17.04.2002 20:41 Uhr Seite 31

Good lighting concepts call for the right choice of

lamp. The table below shows the most important
lamp types for decorative exterior lighting.

Power rating class indicates how much power in

Watts (W) is consumed by the lamp. The operation
of discharge lamps (lamps 1 – 20) requires ballasts,
which consume additional electricity. Ballast power
consumption is not taken into account in the table,
except in the case of induction lamps (lamps 13, 14)
and energy-saving lamps (lamps 19, 20).
11 12 13
Luminous flux is the rate at which light is emitted
by a lamp in all directions. It is measured in lumens
(lm). Luminous efficacy is the measure of a lamp's
energy efficiency. It is the luminous flux of a lamp in
relation to its power consumption and is expressed
in lumens per Watt (lm/W). The higher the ratio of
lumens to watts, the more light a lamp produces
from the energy it consumes.

Lamps have different light colours. These are

classed as warm white (ww), neutral white (nw) or
daylight white (dw), depending on the colour tem-
perature of the lamp (see bottom right).

The colour rendering properties of a lamp are de-

fined by its colour rendering index Ra. The highest
Ra value possible is 100. The lower a lamp’s Ra in-
20 dex, the poorer its colour rendering properties. For
practical purposes, DIN 5035 groups indices into
six colour rendering grades: 1A (Ra ≥ 90), 1B (Ra =
80 – 89), 2A (Ra = 70 – 79), 2B (Ra = 60 – 69),
3 (Ra = 40 – 59) und 4 (Ra < 40).

The base provides the mechanical connection with

14 the luminaire and supplies power to the lamp.

21 22 23
lam llu cy ,
a m
6- - an s ef 16 m

–
ted
, 4 nou p, ˇ

p tra
fic
se

flu -ou mp

s
lam

i m

)
ba

ed
la

e –i
lum la

ed
en t

es ut

es ut

en t
p
th e a

rg
th e a
in

se
oid

h nd
hig ent

nt

lam
ds

or tp

or tp

ds
ap
tub d
g-

ke

nla
m

ba
ce
bo bas

flu -ou

sc 27
hig -ba

bo bas
ips

c
plu

-sh

jac
m
r

(e
e

E
ula

w
ell

ee

tub
38

ar
th

re
th

th

D
hig
th

th
tub

thr
wi

pe

LE
wi

wi
2-
wi

wi
2-
ˇ

9 10 11 12 13 1514 16 17 18 19 20 21 22 23
1) Where lamps are operated by
Mercury L.p. Linear Compact Energy-saving 230 V tungsten
Induction lamps fluorescent lamps fluorescent lamps LED electronic ballasts (EBs), lu-
vapour sodium lamps halogen lamps minous efficacy is increased
35 70 50 18 55 100 20 18 5 18 5 5 60 60 0.7 to 81-100 lm/W. Power con-
150 400 1.000 180 165 150 65 58 57 552) 23 15 250 2,000 1.5 sumption decreases from 18
W to 16 W, from 36 W to 32
3,400 6,300 1,800 1,800 3,500 8,000 1,150 1,350 250 1,200 240 200 820 840 18
W and from 58 W to 50 W.
14,000 36,000 58,000 32,000 12,000 12,000 4,400 5,200 4,300 4,800 1,500 900 4,200 44,000 27 2) 40 W and 55 W only with EB
87 90 36 100 65 58 751) 50 67 48 40 14 14 13
80
95 91 58 178 73 68 931) 75 88 65 60 17 22 23 ww = warm white
colour temperature
ww ww ww, nw – ww, nw ww, nw ww, nw ww, nw, dw ww, nw ww, nw ww ww ww ww – below 3,300 K
1B 1B 2B, 3 – 1B 1B 2A, 2B, 3 1B 1B 1B 1B 1B 1A 1A – nw = neutral white
G23 colour temperature
Rx7s E27 3,300 to 5,000 K
G12 BY22d Special Special G13 G13 G24, 2G7 2G11 E27 E27 E27 R7s Special
Fc2 E40 dw = daylight white
GX24 over 5,000 K

31
Fördergemeinschaft Gutes Licht
FGL16e 17.04.2002 20:56 Uhr Seite 32

Luminaires

Luminaires, floods and spotlights
should be selected on the basis of
the lighting requirements corres-
ponding to the lighting task, espe-
cially the intended lighting effect.
Secondly – but not of secondary
importance – is the matter of lumi-
naire design and the visual impact
made during the day by non-con-
cealed luminaires.
It definitely pays to invest in quality
luminaires. Crucial advantages of
their design and manufacture are
■ high light output ratios for econom-
ical operation,
■ lighting quality and functionality,
■ mechanical and electrical reliability
(VDE, ENEC),
■ long service life (material quality,
surface treatment, compact
design),

Fig. 16 Fig. 18 Fig. 20

Fig. 17 Fig. 19 Fig. 21

Fig. 16 Flood (symmetrical intensity distribu- Nu- 1st numeral Protection against foreign 2nd numeral Protection
tion) fitted with high-pressure discharge meral bodies and physical contact against water
lamps with high power ratings or small
flood/spot fitted with high-pressure lamps 0 unprotected unprotected
with low power ratings for floodlighting protected against solid protected against
1
foreign bodies > 15 mm water falling vertically
Fig. 17 Round flood (axially symmetrical in-
tensity distribution) with high-pressure dis- protected against solid protected against
2
charge lamps or tungsten halogen lamps for foreign bodies > 12 mm water falling up to 15° from the vertical
floodlighting protected against solid protected against
3
foreign bodies > 2,5 mm spraywater
Fig. 18 Flood (asymmetrical intensity distribu-
protected against solid protected against
tion) with high-pressure discharge lamps for 4
foreign bodies > 1 mm splashwater
floodlighting
protected against protected against
5
Fig. 19 Recessed ground flood with metal harmful dust deposits jetwater
halide lamps or tungsten halogen lamps for protected against protected against
floodlighting from below 6
ingress of dust floodwater
Fig. 20 Underwater floodlight with low-volt- protected against
7 —
age tungsten halogen PAR lamps the effects of immersion
protected against
8 — …m
effects of submersion

32
FGL16e 17.04.2002 20:56 Uhr Seite 33
■ quality control throughout pro-
duction,
■ easy assembly and low mainte-
nance.
In addition, manufacturers of quality
luminaires offer professional advice
and planning assistance.
Fig. 22
Fig. 23
Fig. 21 Secondary luminaire (indirect optical
control) with high-pressure sodium vapour
lamps or metal halide lamps for decorative
lighting in pedestrian precincts and down-
town squares
Fig. 22 Conical luminaire with decorative
louvers (narrow-angle beam) and high-
pressure sodium vapour lamps or compact
fluorescent lamps for decorative streetlight-
ing
Fig. 23 Decorative luminaire with high-
pressure sodium vapour lamps, metal halide
lamps or compact fluorescent lamps for
pedestrian precinct and square lighting
Fördergemeinschaft Gutes Licht
Special attention should be paid to
the degree of protection: the higher
it is, the greater the luminaire’s resis-
tance to external factors and the
longer its useful life. It is recommend-
ed that the luminaire wiring compart-
ment should be protected to at least
IP 23 and the lamp compartment to
at least IP 54. The table on the left
Fig. 24
Fig. 25
Fig. 24 Bollard luminaire with compact
fluorescent lamps, energy-saving lamps,
tungsten halogen lamps or incandescent
lamps for path lighting in parks and gardens.
Fig. 25 Recessed wall luminaire with com-
pact fluorescent lamps, energy-saving lamps
or tungsten halogen lamps for path lighting,
mainly used on stairs and approach paths
Fig. 26 Fibre-optic lighting system
lists and explains all the IP codes
(Ingress Protection). The first numeral
(1– 6) describes the degree of protec-
tion against solid foreign bodies, the
second (1– 8) indicates protection
against moisture. The higher degrees
of protection also indicate conformity
to the degrees lower down the scale.
Fig. 26
Fibre-optic lighting systems
Although fibre-optic lighting sys-
tems (Fig. 26) comprise light
guides several metres long, they
have only a single light source.
The lamp – a 230 Volt tungsten
halogen lamp or a metal halide
lamp – feeds its luminous flux
into a cable of fibre-optic light
guides, which then direct the
light to where it is needed.
The light guides are flexible.
They can be different lengths
and thicknesses. Optical connec-
tors fix the end of the cable and
determine the direction and
spread of the beam. Special
lighting effects can be achieved
with filters or rotating coloured
discs mounted in front of the
light emission elements. The
cables carry no electric current
and emit only minimal IR and
UV radiation.
33
FGL16e 17.04.2002 20:57 Uhr Seite 34
Literature
Brandi, Ulrike/Geissmar-Brandi, Christoph: Lichtbuch,
Die Praxis der Lichtplanung, (Practical guide to lighting
design) Birkhäuser-Verlag für Architektur, Basel, Boston,
Berlin 2001
Expo 2000 GmbH: Masterplan Licht Expo 2000 Han-
nover, (Lighting master plan for Expo 2000 in Hanover)
Dölling und Gaur-Verlag, Hamburg
Guide for floodlighting, Publ. 94, Commission Interna-
tionale de L’eclairage (CIE) publications, 1993, available
from Deutsche Lichttechnische Gesellschaft e.V (LiTG),
LiTG-Geschäftsstelle, Burggrafenstraße 6, 10787 Berlin,
orders: phone 0 69/9 89 55-127, fax -198
Messung und Beurteilung von Lichtimmissionen künst-
licher Lichtquellen (Measurement and assessment of
light immissions from artificial light sources) LiTG publica-
tion no. 12.2:1996, 2nd revised edition 1996, available
from Deutsche Lichttechnische Gesellschaft e.V. (LiTG),
LiTG-Geschäftsstelle, Burggrafenstraße 6, 10787 Berlin,
orders: phone 0 69/9 89 55-1 27, fax -1 98
Lynch, Kevin: Das Bild der Stadt (The image of the city)
Bauwelt Fundamente 16, published by Ulrich Conrads und
Peter Neitzke, Bertelsmann Fachzeitschriften Gütersloh –
Square in Vitré/France
34
Berlin, Birkhäuser Verlag für Architektur, Basel - Boston -
Berlin 2001, 2nd edition 1989, 1st impression 2001
Straßenbeleuchtung und Sicherheit, (Streetlighting and
safety) LiTG publication no. 17:1998, available from
Deutsche Lichttechnische Gesellschaft e.V. (LiTG), LiTG-
Geschäftsstelle, Burggrafenstraße 6, 10787 Berlin,
orders: phone 0 69/9 89 55-1 27, fax -1 98
Zur Einwirkung von Außenbeleuchtungsanlagen auf
nachtaktive Insekten (Impact of exterior lighting systems
on nocturnal insects), LiTG publication no. 15: 1997, avail-
able from Deutsche Lichttechnische Gesellschaft e.V.
(LiTG), LiTG-Geschäftsstelle, Burggrafenstraße 6, 10787
Berlin, orders: phone 0 69/9 89 55-1 27, fax -1 98
DIN standards:
DIN 5035: Interior lighting with artificial light
DIN 5044: Stationary traffic lighting – Street lighting for
automobile traffic
Part 1: General requirements and recommendations
Part 2: Calculation and measurement
E DIN 5035: Draft European standard on workplace
lighting
49
 FGL16e

2, 42

50

56
53
Photos:

LBM: 39

Figures:

Gutes Licht
Gutes Licht
17.04.2002

51

57
54
FGL*: 12–13, 15
Stadt Herne: 13

Volz, Wolfgang: 12
Muhs, Andreas: 21
Hempel, Jörg: 27, 53

58
55
52
Brandi, Ulrike: 1–2, 14
20:57 Uhr

43, 45–49, 51–52, 54–55, 57

Acknowledgements

“Professional Lighting Design”.

Sickinger, Uwe for FGL: 26, 29

Roope Siiroinen, Tampere), 57, 59

Zorn-Robeis, Ilonka for FGL: 3–11

Lamp page photos: Kelm, Andreas
Brandi, Ulrike: 14–17, 23, 25, 40, 50

Numbering of photos on back page:

Eichler Graphik GmbH for FGL: 16–26
Seite 35

Cover photo: Carlos Parrondo NEDEA, S.L.

leader: Kevan Shaw, Edinburgh), 38 (project

leader: Gad Gilaldi, Israel), 41 (project leader:
Helin, Patrik for ELDA/PLD: 31 (project leader:

Tellini and Franco Iannone, Milan), 34 (project

* provided by members of Fördergemeinschaft

* provided by members of Fördergemeinschaft

Schröder, Bernd for Aachen Municipal Authority:
FGL*: 1, 3–9, 11, 18–20, 22, 24, 28, 30, 32, 35–37,

Werner, Oliver for Münster Municipal Authority: 10

Kai Piipo, Stockholm), 33 (project leaders: Serena

The photos were kindly provided by the periodical

Münken, Thomas for Bocholt Municipal Authority: 44

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Information from Fördergemeinschaft Gutes Licht

Fördergemeinschaft Gutes
Licht (FGL) provides infor-
mation on the advantages
Die Beleuchtung Gutes Licht für Schulen Gutes Licht für Sicherheit Gutes Licht für Büros
of good lighting and offers mit künstlichem Licht 1 und Bildungsstätten 2 auf Straßen, Wegen, Plätzen 3 und Verwaltungsgebäude 4
extensive material dealing
with every aspect of artifi-
cial lighting and its correct
usage. FGL information is
impartial and based on
current DIN standards and
VDE stipulations.

Information on Lighting
Applications
The booklets 1 to 16 in this
series of publications are
Gutes Licht für Gutes Licht für Verkauf Gutes Licht Gutes Licht
designed to help anyone Handwerk und Industrie 5 und Präsentation 6 im Gesundheitswesen 7 für Sport und Freizeit 8
who becomes involved
with lighting – planners,
decision-makers, investors
– to acquire a basic knowl-
edge of the subject. This
facilitates cooperation with
lighting and electrical
specialists. The lighting
information contained in
all these booklets is of a
general nature.
Repräsentative Notbeleuchtung Gutes Licht für Hotellerie Wirtschaftlicher Lichtkomfort
Lichtforum Lichtgestaltung 9 Sicherheitsbeleuchtung 10 und Gastronomie 11 mit Beleuchtungselektronik 12
Lichtforum is a specialist
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and trends. It is published
at irregular intervals.

www.licht.de
FGL is also on the Internet.
Its website

“www.licht.de”
Gutes Licht für kommunale Ideen für Gutes Licht Gutes Licht
offers tips on correct light- Bauten und Anlagen 13 zum Wohnen 14 am Haus und im Garten 15 Stadtmarketing mit Licht 16
ing for a variety of domes-
tic and commercial “light-
ing situations”. These are
linked to a “product/manu-
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only lists products but also
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more than 140 FGL mem-
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tions”, visitors can view
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Other site features include
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37
FGL16e 17.04.2002 20:58 Uhr Seite 38

Information
on Lighting Applications
Booklet 16

Urban Image Lighting

Fördergemeinschaft Gutes Licht