Time for New Light. TRILUX Scenatic. Light for Workplaces the Office in a New Light

NEW LIGHT | ARCHITECTURE | TECHNOLOGY 2 | 2010 3lux:letters The Architecture Magazine Light for Workplaces 2 | 2010

Time for New Light. TRILUX Scenatic. Light for Workplaces The Office in a new Light

Light for innovative Buildings Current Office Architecture

Looking good, and more importantly, making things look good. This principle for TRILUX luminaires is especially applicable to the Scenatic Light for Planning range. The extensive portfolio of lighting solutions offers you countless design possibilities for the complete spectrum of applications. Whether The new Luxoworks Database you are intending to guide the attention, set highlights or present objects, our formative lighting creates a uniquely attractive atmosphere. www.trilux.com 02 | 03 EDITORIAL 3lux:letters 2 | 2010

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Title page: In architecturally reduced working areas, light unfolds its whole effect – the luminaires themselves become design elements. In the office of the Karlsruhe-based architects baurmann.dürr, the TRILUX luminaires Luceo impressively emphasise the studio character of the interior. Photo: Stephan Baumann, bild_raum, Karlsruhe

Dear Readers,

Again it was a varied summer, in the course of which a lot has happened on the economic level. In particular, innovations with LED luminaires have set the ball rolling on the luminaire market. Presently, we at TRILUX are looking very optimistically into the future, because as usual we will, on the one hand, advance the change of technology with ever-new concepts and, on the other hand, continue to offer architects and planners what we consider to be our core competence: light! Decades of experience on both the technical and the emotional level is what distinguishes us as a provider of lighting solutions. We want to use light not just for illumination, we also want to generate atmosphere. Therefore, we consider LED’s to be an important component in the portfolio, which is not simply a lighting-toy, but an element we apply whenever it is sensible and advisable. In office buildings, light is not only a necessary means for workplace illumination. After overcoming Taylor’s principles of work distribution into single monotonous steps, planners as well as the end user now refuse such outdated office structures. Non-territorial concepts or lounge workspaces are the keywords of the day. However different the structure of an office may be, the important factor is the appropriate and glare-free light. Individualisation of light and staging of interiors are more in demand than ever (page 22). The light from OLEDs will in the future play an ever increasing role, too (page 37). Of course, we want this issue of 3lux:letters on the topic of “Light for Workplaces“ to once again include realised examples such as the Crane Houses in Cologne (page 24), the architectural practice in Karlsruhe (page 30) as well as numerous news from the “Office” segment. This time, renowned Swiss lighting designer Thomas Mika will introduce the subject (page 10).

Please enjoy browsing the current issue of 3lux:letters!

Yours sincerely Dietmar Zembrot, Sales and Marketing Director 42 44 45

LIGHT FOR WORKPLACES

04 VIEWS 100 Lights/100 Faces; Moscow Metro – 75th anniversary; TR16 Archi- tect Luminaire; Sant‘ Apollinare in Classe; Lighthouse Luminaire; International Light Days Winterthur; Light-map RUHR.2010; Dial4Light; LichtRouten Lüdenscheid 2010; Interlight Moscow 2010

05 HISTORY TRILUX-luminaires improve the work performance!

06 STATEMENT Light for People. By Katrin Söncksen, Berlin

09 READING Three books recommended by the editorial board

10 SPOT Trends in the Lighting Industry. By Thomas Mika

14 IMPRESSION Profession or Calling?

18 REFLECTION Answers from Bernd Römer and Stephan Kögeler (römer partner architekten ,Cologne), Bronislaw Wieruszewski (E-plus Mobilfunk, Potsdam) and Michele A. Rami (Candela Lichtplanung, Stuttgart)

22 ARCHITECTURE The History of Modern Working; Crane Houses in Cologne, BRT Bothe Richter Tehrerani, Hamburg; Conversion Hirschstraße architectural office, Karlsruhe, baurmann.dürr architekten, Karlsruhe

34 SERVICE The new database for architects, light-planers and end users: Luxoworks.com; About Materials: OLED; Planners ask, Manufacturers answer: Where does TRILUX see the future of OLEDs?

38 TRILUX TRILUX-Headquarter‘s UK; Orgatec; German Lighting Design Award

42 ART Journey through Space and Time, Atelier Brückner; Literally Pel-lucid, Boris Petrovsky; Magical Veil of Light, Kengo Kuma; Illusion with Light and Dance, Hiroaki Umeda

46 CURIOSITY Show me where you live

47 SOURCE Codename: Energy-saving Lamp

47 Imprint 04 | 05 VIEWS 3lux:letters 2 | 2010

100 Lights/100 Faces With his artistic documentation Mischa Kuball “100 Lights/100 Faces” in the con- October 28, 2010 to April 30, 2011, text of RUHR.2010, Mischa Kuball exhibition in the Campusmuseum of Ruhr-University Bochum once again seeks direct contact to www.mischakuball.com the people on site: Accompanied by filmmaker and photographer Egbert Trogemann, the light artist from Düsseldorf travelled through the Ruhr area and visited 100 residents with a migration background in their private environment. Here a deal is made: The residents tell him their personal life storey and, in return, they are given a luminaire designed by Kuball as symbolic luminous sign of encounter. Portrait photographs are made and a multimedia documentation and texts are prepared for the exhibition in order to capture the social and historically developed range of the Ruhr area.

The luminaires by artist Mischa Kuball, which he leaves behind as presents for the persons he visited, carry the inscription: “lux venit in mundum et dilexerunt homines magis tenebras quam lucem.” – “The light came into the world, but people preferred darkness to light.” Photos: Egbert Trogemann

Moscow Metro 75th anniversary Opening on May 15, 1935 Photographs of the railway stations at: www.archenova.de > Online Stock > “metro moskau”

In the “Majakowskaja” station, Soviet aviation is represented in 30 vault mosaics. The model of this station won the Grand Prix for

Architecture in New York in 1938. Photo: Martin Moos / Lonely Planet Images

The “Kiewskaja“ station, which The Moscow Metro once was Stalin’s showpiece project for the Russian capital. was built in 1954, ranks among It had been conceived and constructed in response to capitalism. Above all, this the architecturally most elaborate should be expressed in the (interior) architecture: Numerous stations were underground stations in Moscow. constructed as underground “palaces for the people” in the typical socialist Between the chandeliers, various mosaics present scenes from style of classicism and with magnificent marble tiles. The platforms, passage- the 300-year history of the ways and halls were very effectively staged by means of lighting. The opulent Russian-Ukrainian Unity. chandeliers alone, but also the illuminated domes and luminous ceilings were a highlight for every person travelling to Moscow. The Metro was opened in 1935. At that time, the completed track length was 11.2 kilometres. Today, on its 75th anniversary, the network has a total length of 302 kilometres. Photo: bluemap TR16 Architect Tom Rossau Material: natural beech www.tomrossau.dk

The mother of all spring-bal- anced luminaires is undoubtedly the Anglepoise lamp, which was invented by British automobile engineer George Carwardine in 1935. In the following decades, the lamp was copied in uncount- able variants. Danish designer Tom Rossau, however, goes one step further in the evolution of the prac-

tical desk lamp: On the one hand, Photos: Christopher Adam, www.arturro.com he maintains the classic design, but, on the other hand, he does From the first sketch up to the not use metal, but – true to the completed product, Tom Rossau always develops various prototype Zeitgeist of responsibly dealing studies in original size. with the environment – beech as material for his “TR16 Architect”. Those familiar with Rossau’s work know that this step is a logical one for him. For the user, however, it means to be conducive to environmental protection when buying or disposing the lamp. HISTORY

Back in 1949, TRILUX already offered “TRILUX luminaires improve innovative workplace lighting– back then with the new “Fluorescent the work performance!” Lamp 220 Volt alternating current”.

In the luminaire industry, the of the company founder Wilhelm gram TRILUX. The year 1949 finally post-war years were most notably Lenze – Eberhard, Franz and brought the decisive step towards characterised by a new develop- Wilhelm – saw a great opportunity the future: The decision was made to ment: the low-voltage fluorescent in this development, which they con- discontinue the production of lumi- lamp, today also known as fluores- sistently seized for the reconstruc- naires suited for normal light bulbs cent tube. It allowed completely new tion in the years following the war. and solely focus on the luminaire forms of lighting, which were other At the Lenze Company, the term programme using linear luminaires than with the normal bulb no longer “Langfeldleuchte“ (linear luminaire) – a courageous, but necessary selective illuminated points, but was created. Most notably, however, decision, which should prove to be linear lighting solutions. The sons the use of the new illuminant found successful. In the following years, expression in the company name: the new linear luminaires proved The threefold light yield of the linear especially popular in the field of luminaire as compared to conven- workspace illumination. They helped The development of the TRILUX tional bulbs, which resulted from to save expensive power and work- elongated lighting fixture pro- both the illuminant as well as the spaces lighting was improved – con- gramme from its beginnings in the 1950s to the LED technology new possibilities for the design of sequently, people worked more effi- of the present. reflector shapes, initiated the logo- ciently in factories and offices. Photos: TRILUX 06 | 07 VIEWS 3lux:letters 2 | 2010

The LED spots are mounted on the roof trusses so that they are only discovered at a second glance.

Sant‘ Apollinare in Classe Ravenna Interior lighting with LEDs since April 2010 Consumption: 4 kWh (instead of 15.5 kWh)

Photo: Andreas Straub Colour temperature 3200 K

The Byzantine Basilica Sant’Apollinare in Classe, which was dates back to the sixth century, was recognized and protected by UNESCO as a World Heritage Site in 1996. In particular, it is famous for its wall mosaics, which shine in new splendour since last April. Since then, the basilica is the first church in Italy to be entirely illuminated by LED spots. The regional author- ity for cultural assets supported this solution for cost reasons – the power consumption was reduced to almost one third and the system’s life span was extended from 2000 to 70 000 hours. However, not just the mosaics are The three-nave, 55 x 30 m large spotlighted: In addition to the pleasant basic lighting, the columns in the interior of the basilica is the first nave are emphasised and the marble sarcophagi in the aisles are individu- church in Italy to be exclusively illu-

ally staged by means of lighting. minated with LED. Photo: Claudio Giovanni Colombo STATEMENT

Katrin Söncksen lichttransfer, Berlin www.lichttransfer.de

Photograph: In the “LEVEL GREEN – The Idea of Sustainability” exhibition in the Concern Forum at Autostadt Wolfsburg, LED light lines were installed. Light for People

We spend a great part of our life according to daytimes or seasons in closed rooms. Daylight would or even individually controllable, be the most natural and healthi- has hardly left the experimental est light, but working hours or the stage, when there is an increas- function of rooms demand artificial ing demand for LED in favour of light. In order to fulfil requirements a certain energy efficiency con- for minimum illuminance, colour cept. However, regardless of the reproduction, glare reduction or impressive development in recent energy efficiency, a comprehensive years, the currently available LED- but yet very selective set of rules products cannot yet convince me and standards was set up. Much with regards to the workplace too often lighting concepts are now lighting: Good colour reproduction, developed within this framework, a convincing colour spectrum and a which ignore our biological circadi- flicker-free control – these features an rhythm and individual needs and are still a long way off. In my point are blind to perception-physiologi- of view, not quite enough attention cal and -psychological factors. The is paid to the last mentioned factor application of T5 fluorescent tubes of flicker-free lighting in particular and dynamic light, i.e. the attempt – a basic problem of LEDs control- to contribute to wellbeing at school led by a pulse width modulation, or at the workplace by means of which is only consciously perceived light qualities, which are variable by sensitive people. Photo: Christoph Eyrich With the “Lighthouse” luminaire, Lighthouse Swedish architect and designer Thomas Sandell Thomas Sandell conceived a floor Manufacturer: Zero, Schweden lamp for people with an interest in www.zero.se www.sandellsandberg.se architecture. Very openly it shows the clientele it was built for, because its external form corresponds to the basic type of a residential house with saddle roof, which is supported by four posts. The housing consists of white painted metal; a diffuser made from acrylic with a matt fin- ish is installed underneath. With a 75-Watt bulb or alternatively an 18-Watt energy-saving lamp on the inside, the floor-standing lamp radi- ates a pleasantly warm light. Being 40 cm long and 30 cm wide, and with a height of 60 cm, “Lighthouse” is ideally suited for every entrance area and clearly indicates to arriv- ing guests that an architecture lover

Photo: Zero lives in this house.

International Light Days Winterthur This year, the greatest Swiss light festival, the ‘Internationale Lichttage Fuochi Artificiali Winterthur’, will take place from November 5 to 28. “Fuochi artificiali” is November 5 to 28, 2010 the name of the event, which creates an enchanting atmosphere in the old www.lichttage.ch town of Winterthur every three years. Light art in the public space, energy efficiency, media crossover events, and specialist seminars are only a few events of the scheduled items on the programme. Particular attention, however, is directed to the light presentations in the medieval alleys and passages, which - designed by renowned light artists and students – shall place the familiar and concealed in the public space into a new context. The festival is curated by Dorothee Messmer, curator of the art museum of the Canton of Thurgau.

Red line in a cityscape, by Christopher T. Hunziker The 24-metre high sculpture from neon light immerses the surround- ings in a glowing light and marks the starting point of the light tour.

Surrounded, by Li Hui With a cage of 32 laser beams, which appears and disappears sud- denly, the artist addresses the expe-

Photo: Christopher T. Hunziker, courtesy the artist rience of freedom and bondage. Photo: courtesy the artist and ministry of art / Christoph Noe www.licht-ruhr2010.de Webpage Light artworks in the Ruhr area on a “light map” Partners: Zentrum für Internationale Lichtkunst in Unna, Biennale for International Light Art, Light-Cities of the Ruhr Metropolis

The webpage “Licht RUHR.2010” offers clear and practical information on where to find light artworks in the Ruhr area.

There is a lot to do for travellers in the Ruhr area. Especially in terms of light and light art the region offers plenty to admire. From Kamp-Lintfort to Hamm, from Marl to Hagen, many renowned artists, architects and designers have eternalised themselves. Among them are colourful names like Otto Piene, Michael Batz, Mario Merz, Licht Kunst Licht, or Mischa Kuball – the list presently comprises of 59 persons. There are also numerous light artworks in the ‘Zentrum für Internationale Lichtkunst’ in Unna. A very clear and successful compilation of the artworks is available at the webpage “Licht RUHR.2010“, which was created in collaboration with the Capital of Culture “Ruhr.2010“. In addition to a practical survey map, the user can find short

descriptions of the artworks as well as information on current events. Screenshot: www.licht-ruhr2010.de 08 | 09 VIEWS 3lux:letters 2 | 2010

Dial4light Development: Dieter Grote www.dial4light.de

In many communities, street lighting at night is turned off at a certain time for cost and environmental reasons, less frequented roads and paths are often not illuminated at all. In order to nevertheless offer the citizens secu- rity and comfort, Dieter Grote developed the innovative Dial4light System: street lighting shall be adapted to meet the users’ demands and only shine when it is required. With a simple telephone call at the fixed-network rate, residents can “switch on” the light for 15 minutes in a certain street or zone, Dial for Light: The telephone number to be dialled is displayed for example when taking the dog for a walk at night or when returning home on the street lamp in big and late in the evening. The costs for the street lighting are of course accepted prominent numbers. Only a few by the municipality, which realises considerable savings due to reduced seconds after the call, the lamps in

lighting times. the respective zone are activated. Photos: Dieter Grote

Work in the exterior by Ali Heshmati, Lars Meeß-Olsohn and Philipp Sydow (right), projection on a house wall by Ursula Scherrer and Kurt Laurenz Theinert (left). Photos: Claus Langer

Meanwhile, LichtRouten in Lüdenscheid have become a constant institution for all fans of light art. Since 2002, the entire city centre turns into a quarter of light installations, interventions and performances. As in the past, the curators Bettina Pelz and Tom Groll have again come up with a special motto for this year’s event. The artists are asked to deal with the theme of “Chambers of Light Wonders”. In the so-called “Chambers of Wonders”, the precursors of today’s museums, an interesting mix of LichtRouten Lüdenscheid objects of various origins and purpose was exhibited in the 18th century. September 24 to October 3, 2010 According to this principle, the urban environment should be staged with International Forum for Light in Art and Design unexpected and unfamiliar effects during the LichtRouten. TRILUX was one www.lichtrouten.de of the sponsors of LichtRouten.

For 16 years, Interlight has taken Interlight Moscow 2010 place in Moscow, and it is mean- November 9 to 12, 2010 while considered as the most impor- International Trade Fair for Decorative & Technical Lighting tant trade fair for decorative and www.interlight-moscow.com technical lighting as well as building services in the Commonwealth of Independent States. This year, the trade fair is for the first time Russia, a great and important mar- organised in collaboration with the ket, focuses on LEDs. At Interlight German trade fair Light+Building in Moscow, many innovations in and features an interesting accom- this field are expected. panying programme about luminaires and lighting technology. In particular the LED Forum on November 10 and 11, 2010 will offer workshops, panel discussions and presentations. In Russia, the LED can expect a great future: In the next few years, the classic bulb shall be comprehensively replaced by LED illuminants. A new directive by the Kremlin will be a topic at the LED Forum. READING

Masterpieces In recent years, the digital revolu- Office Architecture + Design tion and the changes in workflows Lara Menzel have among other things led to Published in 2009 by Braun a fundamental change of office Publishing, Salenstein, CH 304 pages, 455 illustrations, building projects. The quality of 23,5 x 23,5 cm, linen with book the workspace is the new flag- jacket ship of companies; the nightmares german | english | french of grey, dull cells in open-plan € 39,90 | CHF 59,90 offices are a thing of the past. By ISBN 978-3-03768-007-0 www.braun-publishing.ch means of 61 projects, which were in recent years realised all over the world, author Lara Menzel illustrates how open and inspiring the modern office world can be. On four to six pages each, these projects are presented with text in three languages, a floor plan and numerous meaningful photographs – an inspiring book, which makes you want to work.

Raumpilot Arbeiten Wüstenrot Stiftung recognised the Wüstenrot Stiftung, Ludwigsburg need for a current building theory (editor) and simultaneously initiated the Markus Gasser, Carolin zur Brügge, research project “Raumpilot” at Mario Tvrtkovic (authors) Published in 2010 by Karl Krämer four German institutes of archi- Verlag, Stuttgart tecture. The result is a publication 262 pages series comprising of four volumes, ca. 700 illustrations and drawings which wants to contribute to the 21 x 21 cm, hardcover current building theory. In addi- german € 19,80 | CHF 34,80 tion to a volume on fundamentals, ISBN 978-3-7828-1526-0 the series expands on the fields of www.wuestenrot-stiftung.de “working”, “housing” and “learn- www.kraemerverlag.com ing”. On the topic of “working”, the volume by Darmstadt University of Technology in the form of a reference and textbook provides the reader with important design instruments. In addition to the imparting of basic knowledge, the book explains design fields of office construction by means of picto- grams, texts as well as to-scale drawings of constructed examples.

Collection: büros/offices The new volume of the “Collection” Chris van Uffelen series carries us off into a world of Published in 2010 by Braun modern workspaces. 177 projects Publishing, Salenstein, CH sorted by continents give an insight 512 pages 1090 colour illustrations into new concepts for non-terri- 25 x 28 cm, hardcover with book torial offices, like just-in-time- jacket office, touchdown or desk-sharing, german | english process-promoting business hubs € 68,00 | CHF 125,00 and lounge workspaces. Chris van ISBN 978-3-03768-050-6 www.braun-publishing.ch Uffelen presents each project on two to four pages with a short text in German and English; at least one floor plan and several photographs complement the commentary. When selecting the projects, prima- ry attention was directed at variety: The scope of projects described in this comprehensive volume ranges from open-plan to single offices and from workspaces depending on a branch of industry to purpose- neutral offices for rent 10 | 11 SPOT 3lux:letters 2 | 2010

In the Hiltis Innovation Centre in Schaan the strict order of the ceiling structure is interrupted by the L-shaped pendant luminaires, which were specifically developed for this project. The indirect lighting results in an even illumination of the rooms.

TRENDS IN THE LIGHTING INDUSTRY The lighting industry undergoes constant change and continually develops new technologies based on the latest research. However, the development was rarely as rapid as it is today. It remains to be seen, which one of these innovations will prove itself in practical application in the future and survive on the market in the long run.

By Thomas Mika reflexion Simulation:

Presently, we are witnessing a phase that is extremely innova- the overall composition of space, colour and material. This tive for both the lighting industry and lighting design. Almost accomplishment can only be achieved in close collaboration every week, relevant research and development fields produce with architecture and interior design, and it is more successful new findings and technologies. The question is “What are the the better the co-ordination and the higher the integration of really significant trends and how should they be dealt with the light structure into the architectural design. in practice?” Three major trends can be identified: 1. energy efficiency, 2. innovation in lighting technology and 3. new find- Energy efficiency ings regarding the perception-physiological and –psychologi- It is generally agreed that the development towards improved cal effect of light. The approaches change the possibilities of energy efficiency is urgently needed on the basis of ecological lighting design and influence the consideration of light effects and economic considerations, and that it is nothing negative on human beings. All this leads to normative adaptations, par- as such when ignoring all aspects of lighting quality. When ticularly for workplace lighting. saving energy for lighting through sensible measures, many First of all, it should be noted that with respect for all func- advantages can be achieved. Disadvantages resulting from tional requirements, the most significant task of the lighting energy-conscious behaviour are not discernable. Those ques- designer is to find an appropriate integration of the light struc- tioning the negative effects of our deficient resource balance ture with the architectural conditions. It is true that the light for our environment can at least generate an improved bill of designer’s work is considerably influenced and modified by the utility costs. evolution and current trends, but the central design and devel- Empirical research, but also intuitive knowledge show a spe- opment process remains the same. Primarily, it is still about cial sensibility when it comes to the question of the energy creating an outstanding atmospheric ambience for persons efficiency of lighting with regard to the total consumption. It is in their working environment. With the stylistic devices and a common opinion that energy is wasted wherever light shines techniques of direct, indirect, brilliant, decorative, and graphi- unnecessarily. On the other hand, it is often neglected that cal light, the illumination of rooms needs to be integrated into every second window is left open, consequently causing unhin- dered heat exchange and thus an uncontrolled loss of heating in small steps compared with conventional technologies, energy. Another expression of the high sensitivity to light as which are continually improved, too, achieve higher efficiency, energy consumer, in the public perception, is the uncommu- improve the spectral quality, gain control of the energy man- nicative political demand that the bulb is to be abolished and agement, and develop the light as dynamic, visual phenom- replaced by more efficient systems worldwide; all this leads to enon. On the other hand, the luminaire has with few laudable a restriction of freedom in lighting design. exceptions, not yet found a style to integrate the new technolo- Actually, the issue of energy use for lighting purposes is about gies in an appropriate way. Retrofitting, that is the application the motto: “as much as necessary, as little as possible”. of new systems in facilities in need of refurbishment, certainly Unfortunately, the building projects, architectural and geo- is an important and legitimate aspect in this matter. Often, graphic conditions, user requirements, etc. cannot be lumped conventional forms are simply technically modified for new together, although this is often demanded by energy efficiency facilities. A downlight, the function of which was specifically calculation schemes. Sound judgement and a sensible han- constructed and produced for a high intensity discharge lamp, dling of spaces and spatial structures is the better method. is equipped with a LED chip. The shape of the lamp has no rela- Demanding the same efficiency indicators for the common and tion to the luminaire anymore. reading room of a retirement and nursing home as for a uni- Why did the chandelier at the beginning of the last century versity library is the wrong approach. However, asking yourself looked the way it looked? Would it be the relationship of light how both rooms can be optimised with regards to users and quantity and number of bulbs, and in turn their proportion to energy consumption is the correct way forward. the comprehensive light carrier or reflector, from crystal, glass or metal, which resulted in a harmonious form? The same can Innovation in lighting technology be discovered in all good lighting systems, wherever lamp and The efforts for even more lumen per Watt are positive, but luminaire are perfectly compatible. There are undoubtedly it also leads to grotesque parallel developments. On the one great possibilities for the luminaire industry and designers hand, the semiconductor industry struggles to make up ground with this attitude. Today it is a question of inventing something 12 | 13 SPOT 3lux:letters 2 | 2010

The lighting concept of Graubündner Kantonalbank shall reflect the company’s moral values and convey soli- darity and competence towards the customers. Factual, functional illumination is combined with individual lighting fixtures from white fabric.

Even with limited energy consumption, a high-quality room and lighting atmosphere can be generated. In the Mobimo commercial building in Küsnacht, for example, the light of the ceiling luminaires is directed into the adjoining offices by numerous reflective surfaces without Markus Lamprecth causing disturbing glare. Photo: Photo:Mobimo

new, to develop appropriate building forms with regard to the controlled by the respective lighting scenes. Especially the cir- new technologies with higher luminance, larger cooling sur- cadian rhythm (sleep–wake-cycle), but also the direct capacity faces and more precise light emission characteristics. What of human beings is directly dependent on spectral and quan- does a chandelier suited for LED look like, which has the bril- titative light produced. Does that mean that we need dynamic, liance, the impression and the charm of a crystal chandelier of bio-chronologically coordinated lighting systems to improve the past – it is certainly not identical in construction. our workplace conditions? To what extent can artificial light Justifiably, the expectations run high in the application of new really come close to daylight, replace or complement it? technologies in architectural lighting design. Just as new luminaire structures are developed, new application concepts will Integral consideration and innovative approaches come up, and presently there is still hope and soon it will be The described fields of development and research have a high certain that – despite less consumption – ambient light atmos- (inherent) momentum. Due to the danger of thinking with lim- pheres of equal if not better quality can be created. ited dialogue within the single disciplines, the problem shifts to the practice. It opens up a field of tension, where “it is impor- Perception-theoretical findings tant to do one thing and imperative to do another“ hardly exists. In addition to normative quality features for light at work- Consumption must be reduced, whilst the light quality must be places, like the appropriate illuminance, an even distribution increased simultaneously, and this possibly with relatively of luminance, the correct light colour, light direction and new technologies representing a high risk. Because cost- and shadows, possibly without direct and reflected glare, addi- energy-efficient lighting facilities, which also have the redun- tional criteria presently come up in the discussion. Thanks dancies of ergonomically, bio-chronologically designed light- to the research results in the field of visual perception and ing systems, are difficult to plan. the discovery of new photoreceptors and their functions, it is Now, priorities have to be set. Lighting design has the task considered proven that the human organism is influenced and to develop strategies, with which the increased demands for efficiency and sustainability can be reached – with and thanks to new technologies. The question of alternative light source positions and light distribution for workplaces is inevitable and entails the necessity of new light carriers, reflectors and dif- fusers. The simultaneous need for flexibility, high quality and individuality at the workplace leads in the same direction. Altogether, the presented facts offer great opportunities for the lighting design and encourage surprising and exciting solutions, which lead to an upgrading of the workplace.

Thomas Mika was born in 1966. He studied business administration at Zurich University. Additionally he completed a postgraduate diploma in lighting technology in Berlin, various courses at the German Institute for Applied Lighting Technology and special training for digital light simulation and analysis in San José, USA. In 1987, he established the company Helwa Beleuchtungstechnik with a focus on lighting applications and lighting concepts, which he led until 2001. In the same year he founded the lighting design firm Reflexion, where he has ever since worked as CEO and senior light designer www.reflexion.ch 14 | 15 IMPRESSION 3lux:letters 2 | 2010

PROFESSION

At the beginning of the 20th century, Sears Holdings Corporation, which was founded in 1886, developed into one of the most florishing mail-order companies in the USA. Its legendary 1000-page catalogue was part of everyday life in American households, especially in rural areas. In the stenography department at Sears, part of the incoming orders were transferred onto paper by 150 to 200 employees working in the open-plan office of phenographers. For advertising purposes, numerous brochures with photographs taken in the company were produced between 1900 and 1925, which the enterprise Photo: Warshaw Collection of Business Americana – Photographs, Archives Center, National Museum of American History, Behring Center, Smithsonian Institution

“Any work, which occupies the human being, makes people quiet and has the effect that one integrates into the social structure of one’s position.“

Paul Ernst (1866–1933), German writer 16 | 17 IMPRESSION 3lux:letters 2 | 2010

CALLING

The Google Technical Centre in Zurich completed in 2008 belongs to the new generation of office working worlds. After thorough analysis of working and behaviour patterns, the architects from Camezind Evolution Inc. in collaboration with psychologists developed a working environment, which is characterised by functionality and flexibility in an informal, playful setting: Interiors were realised, which have a stimulating effect on the work and improve the well-being of the Google employees. Photo: Peter Wurmli

“One cannot do anything more sensible in this beautiful world than play.“

Henrik Ibsen (1828–1906), Norwegian playwright 18 | 19 REFLECTION 3lux:letters 2 | 2010

LOOKED INTO 3lux:letters has asked four renowned light experts three questions on the topic of “Light for Workplaces”.

Bernd Römer und Stephan Kögeler Architects Römer Partner, Cologne

Today, the LED is considered to be the luminescent Bernd Römer und Stephan Kögeler: In every architectural of the future. Its versatile applications make it fit the project our planning work aims to achieve a combination of role – as well as being an energy-saving alterna- highest architectural quality with state-of-the-art technol- tive to the traditional incandescent lamp. Lighting in ogy especially regarding efficiency. The application of LED offices, however, has to fulfil specific demands, above luminaires in the workplace is therefore analysed in close all in respect of lamp colour, contrast rendering and co-ordination with the manufacturer in terms of the individual lighting level. Taking these aspects into account, how situation. In addition to classic workplace illumination, the do you use LED luminaires in your planning? lighting design in offices thereby offers manifold possible fields of application for LED lighting – especially due to technical features like size and generation of heat the application of LED luminaires is an interesting alternative. Photo: Jens Willebrand Photographie, Cologne

Pier 15 Office, Rheinauhafen Cologne Bronislaw Wieruszewski Michele A. Rami Facility manager Light planner E-Plus Mobilfunk, Potsdam Candela Lichtplanung, Stuttgart

Bronislaw Wieruszewski: Although the technology is innovative Michele A. Rami: We consider the LED technology as another and future-oriented, it is still in its early days of development. planning option. It adds to the already existing great variety Correspondingly, I keep on validating its application in my work, of different lighting technologies. All will be further developed because progress in this field is made very quickly. However, technically. Therefore, we do not focus on pure LED lighting the technology has so far never been applied on a large scale solution, but combine the respective possibilities of individual in any project I accompanied. First of all, this was a question of technologies. We rely on LED’s – particularly in areas of accent efficiency as well as consideration to long-term testing. lighting for example for linear and dynamic light effects, illumination from the back, selective workplace illumination etc. – but definitely not for basic lighting. However, in face of the rapid development this is surely only a question of time. Photo: Nils Holger Moormann, Aschau im Chiemgau Photo: Claus Graubner, Frankfurt/Main

E-Plus headquarter, Düsseldorf (architecture: nps tchoban voss) Guesthouse “berge“, Chiemgau (interior design: Nils Holger Moormann) 20 | 21 REFLECTION 3lux:letters 2 | 2010

In the course of evolution, over thousands of years Bernd Römer und Stephan Kögeler: The future as well as man has adapted to natural light, mainly depending the current office world will be characterised by a continu- on the sun. Yet today he has to cope in an engineered ally growing demand for flexibility and efficiency but also for working environment determined by artificial light interior quality. Daylight-dependent lighting control is already which, of course, does not actually suit his natural state-of-the-art. We think that the requirement for an integra- rhythm. In your opinion, how can this problem be tive working world should be preceded by corresponding archi- solved in an office world of the future? tecture. The optimal mix of efficiency and scope, workspaces and naturally lit areas of retreat, incidence of daylight and shading devices, lighting and colouring will thereby be the link between the engineered working world and the natural needs of the users. Photo: Jens Willebrand Photographie, Cologne

Administration of the 1. FC Köln

In the planning of office lighting, numerous factors Bernd Römer und Stephan Kögeler: The ideal workplace is have to be taken into account, for instance, when flexible. Because of the individuality of the users and the dif- it comes to the proportion of the window areas, ferent demands on office workspaces with teamwork, focused the orientation, the spatial situations or simply working, creativity, routine activities at different times of the the financial possibilities. Disregarding these con- day, an ideal workplace should provide optimal framework straints for the moment: What would your dream of conditions. Architecture can therefore create certain areas in a an ideal workplace look like? building for all individual situations: responding to emails in the morning with a cup of coffee in the lounge, the informal meeting on the terrace, working in the team office or concentrated work in the “think tank”.

Bernd Römer und Stephan Kögeler, Born in Erftstadt-Lechenich in 1957 and in Grevenbroich in 1972, both studied architecture at Cologne University of Applied Sciences. Until 2007, Stephan Kögeler worked as project manager for the practice ORP, which was founded by Bernd Römer and his partners in 1987. In 2007, they finally established joint office römer partner architektur. With their work the team already won numerous awards, among them the German Developers’ Prize for “High Quality - Manageable Costs” in residential construction and the Architecture Award “Zukunft Wohnen”. www.roemerpartner.com Bronislaw Wieruszewski: In terms of technology, more and Michele A. Rami: Clearly in the dynamic changes of rooms we more light will probably be generated in the future, whilst less see the greatest potential of LED. Our daylight is subject to con- energy is consumed for this purpose. The 100+ year–old bulb stant change. Brightness, colour temperatures, shadows vary was initially replaced by the energy-saving fluorescent tube, in constant alternation and have an effect on us. Consequently, and now we have the LED. However, there is already talk of it is not about a merely quantitative approach of lighting design, further discoveries and possible light sources. The speed of but about the question: What light does the human being need progress in this field has accelerated considerably. Workspace when and where? In particular, this applies in view of the chang- lighting will probably – and hopefully – increasingly resemble ing demands on modern work and an increasingly “colourful” natural light particularly in terms of brightness and colour. The world. Here, LED and its capabilities can offer us approaches light sources will be further optimised in use, for example for which have not been imaginable before. extensive ambient lighting instead of spotlighting. Of course, these possibilities can affect the day-and-night rhythm. It is questionable if this would be positive. However, technologically this scenario can become reality. Photo: David Franck Photgraphie, Ostfildern Photo: Uwe Spoering, Cologne

E-Plus headquarter, Düsseldorf Jazzclub “Bix“, Stuttgart (interior design: Bottega + Ehrhardt Architekten)

Bronislaw Wieruszewski: For me, work is preferably done in Michele A. Rami: A workspace is after all a reflection of our the open countryside or on the sofa, flexible in terms of time. I life. There are phases of concentration, of communication, think that the topic of mobility and flexibility of working worlds retreat, we laugh and we argue. Here, all facets of our exist- will become increasingly important. The combination of work ence come together. Architecture and light must react to these and leisure/family will become and sometimes already is an various requirements and give answers. We should discuss the issue of growing significance for office workers. In this context emotional effect of light more often. The planning should be one can already make out changes in office technology, where less technocratic and try to react to the demands of the future small notebooks or smartphones completely change the han- more openly. And sometimes I dream that all standards vanish dling of everyday work. into thin air and we only had one specification: To create places where light helps us to feel well.

Bronislaw Wieruszewski, Michele A. Rami, was born in Beuthen/Poland in 1966, studied art history and psychology at was born in Holzgerlingen in 1965. Since 1985, he initially worked in the project Krakow University. Parallel to his architecture study at Dortmund University, and trading department in a company that takes on trainees, where he held he specialised in facility management. Since 2000, he has been working for overall responsibility in the electrical and lighting fields. In 1995, he eventually E-Plus Mobilfunk and since 2002 he is responsible for the facility management opened his first own lamp store in Esslingen near Stuttgart. However, being of the entire firm. Due to his membership in the FM Foundation he works for not only concerned with selling luminaires but also with light and architecture, specialist magazines like “Facility Manager”, “Workspace” or “Outsourcing he relocated the store to Stuttgart’s city centre in 2001 and put an emphasis Magazine” in Poland and gives lectures on the subject of facility management on lighting design activities. Since then, Candela has realised very different in Poland and Germany. www.eplus-gruppe.de projects in terms of their function and design. www.candela.de 22 | 23 ARCHITECTURE 3lux:letters 2 | 2010

MODERN WORKING “‘I believe, […] that the discomfort of this man was caused by the atmosphere in here. It is therefore best and probably what he prefers as well, if we don’t bring him to the infirmary, but escort him out of the office at all.’ ‘That’s it’, K. exclaimed and almost

interrupted the person out of sheer joy.” Franz Kafka

By Thomas Geuder

Spanish architects from Selgascano have built their own office in the forest (top). In the “New EMEA Engineering Hub” of the Google Company in Zurich many different office areas are available for the employees (bottom).

“That’s it, I will certainly feel better at once […]. I am a civil existed. First specific office buildings were only constructed in servant myself and used to office air, but in here it seems to be the renaissance. The Uffizi (“offices”) in Florence (built in the too bad, you mentioned it yourself.“ As a reader, one can eas- middle of the 16th century), for example, represent an impres- ily imagine rooms as the one described in Franz Kafka’s novel sive attest of the then still young building task. However, it was “The Trial”, even though they are not described in detail. K. – the not until the 19th century, before this building type started to protagonist in this book – feels uncomfortable in this room. gradually develop further. Only in the 1960s/1970s, new floor Immediately, one can imagine the premises right in front of plan solutions were developed, which tried to overcome single one’s eyes: grey, lifeless, barren, cold lighting, slightly reverber- and group offices, and came up with solutions such as office ating acoustics, with people in grey-brown suits and elbow pro- landscapes, office islands and combi offices. tectors. You immediately notice: The atmosphere at a workplace Today’s workplaces are primarily characterised by a rapidly is decisive for the wellbeing of both the visitors and primarily progressing digital revolution, which started in the early 1990s. the employees. By today’s standards, this sounds self-evident – With new possibilities of communication and information trans- however, this idea is only self-evident for a comparatively short fer, typologies such as non-territorial offices, lounge work- period of time. Until the second half of the 20th century, the office spaces, business clubs or desk sharing workspaces became workplace was in fact a place, which was not primarily about possible. Today, modern office landscapes follow the insight wellbeing, but only about the performance at work per se. that spontaneous meetings in informal zones effectively and The general nature of the office has not changed since ancient cost-efficiently promote the work process through spontane- times: Even then, the typologies of open-plan and cell offices ous knowledge exchange. Today, office workplaces should be on theirneeds: separated,open,formeetings, stimulating, phere, employeeshavemoreareas tochoosefrom,depending work withspatialvariabilityand variety.Insuchanatmos- develop inanuncreativeenvironment. Modernofficeworlds glance, butintheenditisexpensive, becausegoodideacannot workspace withastandardlayout mightbeinexpensiveatfirst offer theiremployeesspacesthatpromotecreativity.A suited foreveryclient.Creativeenterprises,example,must as hisclientandcorecompetences.Noteveryofficetypeis He mustknowboth,thevariedapproachestosolutionsaswell ades, thearchitectisconfrontedwithspecificrequirements. With thechangeofbuildingproject“office”inrecentdec- advantages offlexibilityandspontaneity. research hasovercomeTaylorismthroughtherecognitionof office structurestothemarketeconomy,andcommunications In thisway,psychologyhasexplainedtheeconomicvalueofnew be funandcommunicationamongstcolleaguesisencouraged. places whereemployeescanfeelcomfortable,work the beginningof20 In thiscontext,roomlightingbecomesanimportantfactor.At on emails,etc. neutral, unofficial,forvisitors,dataprocessing,working individual solutions. which meetsthevarietyofmodern professionallifeandoffers ners atanearlyplanningstage inordertorealiseabuilding, ern officelandscapes,startto collaborate withlightingplan- Architects andplannersofoffice buildings,whodevelopmod- fulfilling ofstandards,butrather aboutthestagingofspaces. priate lightingatmosphere.Thisisnolongeraboutasimple architect, thelightingdesignerisneededtocreateappro- must bethedifferencebetweenlightqualities.Besides The greaterthedifferencebetweenroomzones, lighting isnotaboutmanipulationinfavourofeffectiveness: Daylight-simulating systemsarestate-of-the-art.However, individualisation oflightistheaimmodernlightingdesign. was toextendthedaybyafewproductivehours.Today, th century,theonlytaskofartificiallight

Photos: Peter Wurmli Photo: Iwan Baan 24 | 25 ARCHITECTURE 3lux:letters 2 | 2010

TOWERING Anyone who thinks of Cologne, mostly thinks of the cathedral, the Rhine and carni- val. The list could be extended in the future, because the three Crane Houses by BRT Bothe Richter Teherani and Alfons Linster add a new attraction. They are slightly reminiscent of El Lissitzky’s utopian “Cloud Iron” from 1924, but also of the historic loading cranes, which once stood here.

By Christina Dragoi

Client: Crane house north: PANDION AG, Cologne Crane house south: moderne stadt Gesellschaft zur Förderung des Städtebaues und der Gemeindeentwicklung mbH, Cologne Crane house centre: Development Partner AG, Düsseldorf

Architect: BRT Bothe Richter Teherani + Alfons Linster www.brt.de

Light planner: BRT Bothe Richter Teherani

Location: Rheinauhafen Cologne

Luminaires: Ambiella Series 5051 AL-RPX···

Photos: Jörg Hempel, Aachen Stefan Falk, Berlin Werner Huthmacher, Berlin

26 | 27 ARCHITECTURE 3lux:letters 2 | 2010

Sufficient daylight enters the inner offices.

The special architecture of the Crane Houses allows free views of the River Rhine. The bright, friendly offices are equipped with luminaires from the 5051-AL series.

TECHNOLOGY

Series 5051 AL-RPX···

The suspended luminaires of the Thanks to the flexible luminaire 5051 AL-RPX series stand out due to length of up to 4.60 m, the elegant, their elegant, clear lines. The silver- rectangular luminaires of the 5051 AL-RPX are especially suited for grey, powder-coated luminaire body open-plan offices and meeting zones. has only minimal edge radii. The extruded-aluminium profile makes continuous optical systems of up to three lengths of luminaires possible. With its high-gloss, reflection- enhancing surface, the DARKLIGHT parabolic louver of purest aluminium achieves a high degree of efficiency.

Luminous intensity distribution: c0-c180 c90-c270 28 | 29 ARCHITECTURE 3lux:letters 2 | 2010

Ground plan 13th floor (standard floor rectangular building)

Ground plan 7th floor Longitudinal section (standard floor basic tower)

For many decades, embankments and harbour areas were were the first award-winners, but political and economic cir- the backyard of the cities, associated with industry, waste and cumstances delayed the commencement of construction work possibly port taverns. In recent years, the picture has gradually by about ten years. The main axis of the newly planned area changed and the potential of waterside locations was recog- stretches over almost two kilometres from the world-famous nised. Meanwhile, the growing interest in the waterfront is a chocolate museum in a southward direction. In order to avoid worldwide trend: more and more cities invest in the develop- any competition with the existing historical buildings, the new ment of new residential, commercial and cultural districts residential and office buildings are, as a rule, characterised by along rivers. Among them is Cologne, where the Rheinauhafen, a modern, slightly modest architecture. However, one excep- on the left bank of the River Rhine, developed from urban Terra tion proves the rule: the Crane Houses. Even from a distance, Incognita into the city’s prestigious project. Originally one of the three buildings with identical cubic shape, attract attention the most significant urban planning projects of Cologne in the with their exceptional form. In May 2010, the third and last one, 19th century, the harbour lost its function after the Second the most northerly in this row, was completed. The luxurious World War, leading to unused and dilapidating facilities. In Pandion Vista with 133 apartments is for the rich and beautiful 1992, the city council decided to initiate a competition for the of the Rhine metropolis. The other two, Crane House 1 in the revitalisation and restructuring of this desolate area – an middle and Crane HousePLUS as the southern termination of ambitious project, which would turn Cologne into an attractive the trio, are office buildings, which were occupied in 2009. The location for future enterprises. The Hamburg-based office BRT 60-metre tall buildings in the rather unconventional form of a Bothe Richter Teherani together with Alfons Linster from Trier turned L, charac terises the new skyline. Each volume consists Horizontal section

of a 34-metre wide main tower, which is slightly recessed from the longest in Europe with a length of 1.6 kilometres. Despite the façade edge at the promenade, thus forming an adjacent initial difficulties to arouse the interest of investors for this square belonging to the building. Above the ninth level, the large-scale project, the premises were quickly rented. The towers are bent and form a 70-metre cantilever towards the upper levels were especially sought after due to the unique River Rhine. Each cantilever is supported by a slender tower view. The buildings also caused an international sensation: In accommodating the glazed lift and emergency staircase. The 2009, Crane House 1 was awarded the coveted “Mipim Award” resulting horizontal blocks are six-storeys high with a recessed at the international real estate fair in Cannes as the best office seventh storey, and they are divided in a similar way to a tun- building worldwide. ing fork: The two sections, which run separate but parallel to Spectacular architecture as a contrast against the listed the cantilever, are positioned like braces around a secondary harbour buildings at a unique location – a mixture defining tower, which is positioned centrally in the seven-metre wide the city’s new profile. As monumental sculptures, the Crane gap between them. The main towers refer to this gap on the Houses create an impressive picture even from a distance, side facing away from the Rhine with recesses in the façade, which characterises the skyline not just during the day: A behind which staircases and lifts are positioned. On the stand- sophisticated lighting concept based on LED technology for ard floors of the main towers, about 600 square metres of the outdoor area stages the Crane Houses at night. With this available floor area are grouped around the circulation core, ambitious urban planning project the city succeeded to define whilst 1,900 square metres per floor can be rented on the a link between the past and the future and express its forward- levels above. The underground car park below the buildings is looking attitude with a distinct gesture. 30 | 31 ARCHITECTURE 3lux:letters 2 | 2010

SHOP REVIEWED The architectural practice baurmann.dürr from Karlsruhe recognised the potential of a vacant shop dating from the 1960s. With few, cost-conscious interventions the architects transformed the dull rooms into a studio with a workshop character. The materials used, floor plan and lighting work hand in glove and result in an exceptionally attractive working environment.

By Britta Rohlfing

Mighty untreated concrete beams give the studio by baurmann.dürr architekten a workshop character.

Client: baurmann.dürr architekten www.bdarchitekten.eu

Architect: Henning Baurmann Martin Dürr

Location: Hirschstraße 120 Karlsruhe

Luminaires: Luceo

Photos: Stephan Baumann, bild_raum, Karlsruhe

32 | 33 ARCHITECTURE 3lux:letters 2 | 2010

Ground plan ground floor

Ground plan basement

The TRILUX luminaire Luceo illuminates the conference Section table with direct as well as indirect light.

TECHNOLOGY

Luceo H-CDP···

The Luceo luminaire family is char- Luceo offers new innovative plastic acterised by a classical-elegant optics with specifically shaped ultra- design. The stylish, extremely flat low cross-section louvers. Light can luminaire body made from sheet again be perceived and experienced steal, emits direct light as well – without disturbing glare. as indirect decorative ceiling illumination. The spatial depth effect gives the luminaire an appearance that seems to hover. In 2006, it was distinguished with the iF- Luminous intensity distribution award, and in 2005 it was nominat- c0-c180 ed for the Design Award. Luceo is c90-c270 particularly suited for the lighting of workplaces with visual display units (according to EN 12464-1). It can be used as a lighting device in offices, sales areas, exhibition rooms, and financial institutions. The series combines lighting tech- nological efficiency with visual elegance and is thus able to meet the demands of contemporary office lighting. A white screen in the middle of the office – with targeted lighting effects and accents.

Architectural practice baurmann.dürr architekten in Karlsruhe the office towards the street. Near the staircase, the planners looked for a new domicile. The architects considered a shop installed a small sanitary area. A white wall, with a recess for floor in Karlsruhe’s historic Südweststadt district. The premises the display of architectural publications, protrudes, thereby on the ground floor of a building dating from the 1960s had been concealing the functional zones. Emphasised with spotlights, vacant for quite some time. The rooms with a deep plan and low this wall becomes a room-defining, central element. The ceilings, which are only daylit from the street side, appeared furnishing of the ground floor follows a strict grid: Six work- forbidding. The architects, however, recognised the potential stations are each grouped at four tables, which are separated of the salesroom: an open plan, which is only interrupted by a from each other with low shelves. Working areas arranged as few columns, an attractive glass facade facing the street as well islands are created in the open plan, which facilitate team- as the possibility to convert the basement. The dismantling of work.. A stringent lighting concept corresponding to the grid the interior back to the shell revealed further qualities: Mighty supports this layout. TRILUX luminaires Luceo, which are concrete beams, which the architects left untreated in addition suspended from the ceiling with steel cables, illuminate the to the ceiling, stretch across the rooms. A deliberately created tables and emit light upwards the top, thus highlighting the workshop character gives the rooms their appearance and cor- raw, untreated ceiling. The architects designed the basement responds to the creative use of a studio. Towards the courtyard, as a deliberate opposite to the rough load-bearing structure the architects added four large windows in the facade, in order on the ground floor: Meeting areas, kitchen, archive as well as to allow more daylight to enter and facilitate cross ventilation. workshops with a monochrome and high-quality design are Floor-to-ceiling sliding windows in the front glass facade open accommodated here. 34 | 35 SERVICE 3lux:letters 2 | 2010

LUXOWORKS.COM Already in April, the new internet-based database Luxoworks for architects, interior designers, lighting designers and end-users was presented at the Light+Building 2010 trade fair. After a first closed test run by qualified users, Luxoworks has now been accessible to a broad public in the open Beta phase since August.

The new online platform Luxoworks is both internet-based added by drag-and-drop, is an additional tool for the database database and planning tool in one. Managing directors Marcus users. However, Luxoworks is not just suited for searching for Bauer and Laurent Brückner committed themselves to pool luminaires, it can also be used to plan building projects. The the entire product portfolio of the luminaire industry in one user has the possibility to set up projects, which can be sub- place. The aim is to bring together 30 manufacturers and their divided into different levels. That way, so-called “room books” products in this database by the end of this year, so that the are created, which are structured according to storeys, rooms users can access over 100 000 luminaires. Sixteen companies, or construction stages. In these, the user positions the lumi- among them TRILUX, have already confirmed their participa- naires from his watchlist. With the 2D planning tool, the user tion in this project. can additionally import floor plans in jpg-format into the single One of the main characteristics of this internet site is the levels: That way, the luminaires including the automatically sophisticated search function, with which the users can browse assigned position numbers can be automatically arranged. the database: The clear input mask with various search cat- After selecting and positioning the luminaires in the floor plan, egories like light distribution or switch type filters the relevant the user has the possibility to export the project as PDF and luminaires from the mass of available products. If needed, the present it to the client. Furthermore, Luxoworks offers a quali- user can download a detailed data sheet for each product, which fied manufacturer inquiry for the selected products, through provides information on all specifications and technical data which the user can request various information such as price of the luminaire. A watchlist, where selected products can be lists, samples, catalogues, sources of supply or special offers. In the “Projects” section, the user can set up any number of levels und sublevels. The created “room book” is subsequently equipped with the luminaires from the watchlist with the drag-and-drop function.

With the “advanced search” button, the user accesses the possibility to select the luminaires according to criteria such as style, use, light distribution, surface, or manufacturer.

Further information on the single search results is available with the product data sheet, which also allows the retrieval of the product family of the selected variant. 36 | 37 SERVICE 3lux:letters 2 | 2010

MATERIAL SCIENCE: OLED

Although not yet ready for mass production, OLEDs have meanwhile developed so far that designers see the light revolution in the near future: The new technology offers a previously unimaginable creative potential, which will characterise the future of lighting design in addition to existing light sources – despite initial challenges like high costs.

Structural schema of OLED: 3 1. Cathode 2. Emissive layer 3. Recombination and emission of 4 a photon 4. lower conductive layer 5. Anode 5

(-) = electron, (+) = holes Picture: Rafał Konieczny (Wikipedia)

The only a few nanometre thin OLEDs can be applied to any surface – even to flexible films.

The development of the OLED technology already started back in the 1980s. It has meanwhile achieved a progress, which allows them to revolutionise lighting design. The OLED (organic light emitting diode) essentially consists of one or several thin organic semiconductors, which are positioned between two electrodes. When applying a voltage, negative current carriers (electrons) and positive current carriers (missing electrons, so-called “holes”) are injected by the electrodes into the organic semiconductor material. Here, the current carriers wander towards the electrode with opposite pole. When they meet, they merge (recombination) and change into a conducting state. After deactivation of this state, energy is emitted, which stimulates colour mol- ecules to emit photons, that is so to say light. Owing to their extremely thin structure of few nanometres, the OLED can be applied to any substrate, meanwhile even on flexible film. As first area light source, this technology opens up previously unimagined design possibilities. Photo: Novaled Photo: meharris (Wikipedia) PLANNERS AKS, MANUFACTURERS ANSWER

In the everyday work of a planner, many a question comes up which cannot be found in any handbook. Answers to such questions are given here by the experts from TRILUX who also tell you one or more tricks.

The topic of „OLEDs“ has lately been turning up more and more frequently in the media. How does TRILUX deal with this new light of the future?

Thomas Kretzer Managing director

The diffuse light of OLEDs comple- ments the precision of LEDs and opens up unimagined design possibilities due to its thin structure.

LEDs are widely known, far less common, however, is the term “OLED”: Yet, as flat light sources, OLEDs (organic light emitting diodes) could in future be particularly well suitable for illuminating a room, above all because their diffuse light causes hardly any shadows. TRILUX has taken a first step in this direction together with Novaled, one of the leading developers and manufacturers of OLEDs worldwide, with a prototype of the OLEDO Enspiro suspended luminaire for offices which was presented at the Light+Building 2010: 20 transparent, ultra-flat OLED modules complement the directed, precise light of two direct- and indirect-beam LED modules. But the revolutionary development of OLEDs is still in the beginning stages of its efficiency: In future, illuminated wallpaper on walls and ceilings might replace the traditional luminaires. When exactly this will happen is not certain yet, but we at TRILUX are counting on OLEDs already having established themselves as light sources of the future in five to six years. Photos: TRILUX 38 | 39 TRILUX 3lux:letters 2 | 2010

TRILUX-HEADQUARTER‘S UK As a company operating globally, TRILUX works with subsidiaries and partners in Europe, Asia, Australia, the Middle East, and North America. Business in Great Britain is conducted from Chelmsford in England, where the local TRILUX branch was updat- ed in 2009 and equipped with the latest TRILUX luminaires. Now visitors can experience the broad product range of the luminaire maker in practical application.

Chelmsford is situated about 45 kilometres northeast of “Varistos” luminaires, which were integrated in the ceiling in London, in the County of Essex. Here is the British TRILUX different depths at the foot of the stairs. That way, an individual headquarters, managed by Richard Holt, managing director of showroom is no longer needed. Instead, the entire building is the subsidiary. In 1998, the luminaire producer moved into the equipped with the latest TRILUX luminaires, so that visitors can traditional warehouse, with adjoining offices, located on the experience the pleasant and appealing working atmosphere outskirts, but soon the existing space was no longer sufficient. generated by the luminaires in practice. During the conversion In order to extend the available space, architect Norbert Jansen of the branch, special attention was attached to the subject of inserted a mezzanine level. Simultaneously, the building was energy-efficiency: For example, an intelligent lighting control, refurbished and adapted to the vivid and colourful appear- which reacts to the presence or absence of employees as well ance of the TRILUX Group. The entrance area is characterised as to daylight, regulates the lighting in the entire building. In the by the typical corporate colours; its unobtrusive equipment toilets, the planners came up with an original idea: Depending conveys confidence and competence. The backlit logo at the on the gender, the rooms are dominated by a topic – motorcy- end of the room attracts the attention and welcomes guests. cles and guitars in the gents’ lavatory, handbags and shoes in The airy open-plan offices are inviting and interlinked via open the ladies’ restrooms. When leaving the building, the exhibition staircases. The “Solvan” luminaires, which were here verti- is continued; the outdoor area, too, was designed with various cally sunk into the wall and positioned parallel to the ascending new luminaires. Among other things, their light emphasises the steps, are part of the luminaire exhibition, just as the eight traditional, red TRILUX arch above the entrance. Photos: TRILUX

At night, the red arch, which marks The open office structure allows a the entrance area of the English quick exchange of information. The branch, is emphasised with Lumena so-called “hot desking” additionally 150 floodlights (topmost). ensures a flexible use of existing Not just in the cafeteria, much workplaces. importance was attached to a cosy colour design and lighting atmosphere (left), the open staircase saws The entrance area is designed in skilfully staged, too (right). the TRILUX colours red, orange and grey. The plain pieces of furniture take a back seat. The arrangement of luminaires guides the visitor directly to the reception desk.. 40 | 41 TRILUX 3lux:letters 2 | 2010

LIGHTING COMFORT FOR THE OFFICE

People spent a lot of their lives in offices. Thus it is no wonder that the requirements on office equipment are increasing. Modern lighting solutions as well have to fulfil several tasks. In addition to functional lighting, at the same time they are to create a pleasant atmosphere and be energy-efficient. At the ORGATEC, TRILUX presents the latest luminaires which fulfil these requirements.

At the TRILUX exhibition stand at this year’s ORGATEC, visitors are able to experience the latest luminaire innovations in use.

The Scenatic Programme empha- sizes spatial elements, highlights details and, at the same time, ensures high light comfort in the

whole room. Renderings: TRILUX

Every two years, professional visitors flock to the ORGATEC to examine, in addition to the innovations in the furniture sector, also the latest creations from the sectors of flooring, acoustics, media technology and lighting. From 26 to 30 October 2010, TRILUX will present the most modern luminaires which are convincing not only due to their excellent design but above all fulfil the central requirements on modern lighting solutions in office buildings: a pleasant atmosphere and energy-efficient lighting. Four select highlights are examples of the future of office illumination: The Neximo and Enspiro LED suspended luminaires have an innovative design and provide optimum light quality. With adjustable LED optics, the Offset LED floor luminare makes various light scenarios possible for a variety of fields of application. The Scenatic Programme creates atmospheric light in offices, hallways and foyers. With this product family, architects and light planners stress the individual character of the architecture and the ambience. GERMAN LIGHTING DESIGN AWARD

There are numerous architecture competitions and awards in Germany, but none of them attaches as much importance to light as a design element as “Der Deutsche Lichtdesign- Preis” (German Lighting Design Award), which was initiated for the first time in 2010. From now on, this prize will be awarded annually to distinguish outstanding lighting designs in architecture and thus emphasise the significance of light for structural design.

unterstützt den Deutschen Lichtdesign-Preis 2011

The winning projects are selected in ten different categories rang- ing from office and administration buildings to shop lighting, events and trade fairs to outdoor lighting.

Light is no longer just regarded as necessary illumination; rather, it established itself as an important means of architectural design in the building world. Whether as temporary façade design or as the deliberate staging of small interiors – today, light as a “building material” is omnipresent. It is therefore only logical that besides the successful British “lighting design award” there finally is a competition focusing on light in Germany: On May 5, 2011, “Der Deutsche Lichtdesign-Preis” will be awarded in Cologne for the first time. Projects from Germany, Austria, Switzerland, and the Benelux countries were submitted in ten different catego- www.lichtdesign-preis.de ries. After a pre-selection by an independent jury of experts, the jury members now evaluate the selected projects directly on site in order to get an exact idea of the lighting effect – apart from temporary installations. Early in May, the winners Medienpartner Printmedien: DBZ Deutsche Bauzeitschrift, LICHT, Licht + Raum, HIGHLIGHT – Das Fachmagazin der Lichtbranche in the individual categories as well as the “Lighting Designer Medienpartner Webmedien: www.dbz.de, www.highlight-web.de, www.lichtnet.de, of the Year” will be chosen. www.dbz-lichtundraum.de, www.lighting-jobs.de, www.luminapolis.de, www.on-light.de Medienpartner Institutionen: www.licht.de Photos: Volkswagen 42 | 43 ART 3lux:letters 2 | 2010

During the day, thousands of mirror chips on the façade of the Magic Box reflect the environment, whilst at dark the pulsating light of the LED façade spreads across the en - tire pavilion ensemble. Photos: Roland Halbe

From the internal glass bridges, the visitors can watch the animated film not just on the sidewalls and the ceiling, but also on the floor of the Magic Box.

JOURNEY THROUGH SPACE AND TIME

For the World Exhibition in Shanghai, Inside the Magic Box, an animated film is screened on all six sides right in front of the marvelling EXPO visitors. They are in Atelier Brückner designed the Magic the core of the State Grid Pavilion Ensemble, which was designed Box faced with LED walls. With a media by the Chinese architectural practice CCDI and staged by Atelier Brückner from Stuttgart. In the 15 by 15 metre Magic Box, the design by Marc Tamschik it will carry edges of the cubic space are dissolved in the film sequences, and the feeling for the visitors of being part of this imaginary the visitors off into imaginary worlds. spatial landscape is further intensified by a sound collage. In various chapters, the film by Marc Tamschik presents tasks and By Julia Zürn visions of the client, State Grid, a major Chinese power company: Starting with the origins of energy in nature, to energy transport, which has to cover great distances in China, through to the city of the future. In the exterior, Atelier Brückner’s staging is continued at night when the LED facades of the entire pavilion are covered by a power-flooded, pulsating net. www.tamschick.com, www.atelier-brueckner.com, www.youtube.com > “State Grid Pavillon EXPO Shanghai 2010” What might at first sight look like a communication machine from times long past, is only the external picture of a modern process happening on the internet. Photo: ONUK Photos: Nina Martens

LITERALLY PEL-LUCID

Boris Petrovsky has assembled hundreds With his current installation “You & Me-isms, part I”, media artist Boris Petrovsky, who was born in 1967, once again suc- of reused neon signs to create an instal- ceeded to break familiar schemes. Until the end of this year, the lation – however, only the user turns it piece of art can be seen in the ZKM-Kubus in Karlsruhe and live on the internet via the installed webcam. It is an unusual cyber- into a piece of art. punk communication machine, which integrates the viewer into the artwork. Its core element consists of 440 individual, By Christina Dragoi evidently used neon signs of old illuminated advertisements, which are interwoven to form a 50-square metre multilayer matrix. The visitors are invited to enter short statements via input terminals or via SMS or Twitter, which then light up sign by sign scattered in the tangles of the matrix. Every lighting up is accompanied by the stereomorphic sound of old typewriters, so that the localisation is audiovisual. For the messages stored in the web a response similar to “Cadavre exquis” texts in the age of omnipresent, high-tech communication is generated by random control. www.petrovsky.de/PART I-34 44 | 45 ART 3lux:letters 2 | 2010

White ceramics, seemingly hovering panels of fabric and the historic context: In the interplay with the wind the work unfolds its magical effect. Photos: Peppe Maisto

Light projections on the ceramic shards and the fabric shimmering in the wind transform the courtyard of Cà Granda, the Renaissance pal- ace of the Milan University, into a sensual space of experience.

MAGICAL VEIL OF LIGHT

The “CCCWall” installation by Kengo On the 50th company anniversary of an Italian tile manufacturer, Japanese architect Kengo Kuma developed the instal- Kuma for the Milan Design Fair is grace- lation “Casalgrande Ceramic Cloud“. Inspired and influenced ful and elegant. The view to the historic by this work, the smaller project “CCCWall” can be understood as a further component in a long series of spatial and material Cà Granda through transparent veils experiments by the architect. Following the Asian principle of Yin and Yang, Kuma divided the courtyard of the old Milan resembles the view into an enchanted University into two “ceramic” gardens, which are laid out with dream world. tile shards or stones. Both halves are separated by a transparent curtain from airy-light organza fabric, which moves By Franziska Bettac lively in the slightest of breezes, thereby generating a magical fairy-like atmosphere. At night, projections bring to life the white ceramic fragments and generate a play of light, which is reflected on the thin curtain that all of a sudden turns into a screen. Watching the video recording of the installation accompanied by subtle sounds and the interview with Kengo Kuma is highly recommendable! www.youtube.com > “CCCWall” A projector animates the screen, a second one transfers the animation onto the stage floor and two beamers at the sides project the luminous graphics onto Hiroaki Umeda.

During his performance, Hiroaki Umeda temporarily looses his human features and becomes part of the technoid presentation. Photos: Alex

ILLUSION WITH LIGHT AND DANCE

Full concentration is indispensible when For 26 minutes the mesmerized audiences followed the mixture of technoid dance performance, light show and electronic per- watching Hiroaki Umeda’s presentation. formance of the 33-year-old Japanese Hiroaki Umeda. “Adapting Almost like a modern magician, the solo for Distortion” is the title of the piece that fascinates even serene lovers of performance art. During this 30-minute performance, entertainer enchants his audience with Umeda seems to become one with the stage, the music and the light grids, which cover him and the entire stage area, and music, dance and light. temporarily he almost seems to disappear. This is his declared aim, and Hiroaki Umeda as photographer, choreographer and By Lydia Meyer dancer knows how to precisely stage this visual illusion - and he did so with simplest means: A few loudspeakers, a white sports suit and four customary beamers connected to two laptops are combined with a sophisticated choreography to generate a visual and acoustic spectacle. However, behind all this is no message for the audience but only his intention get to the bottom of the boundaries of visual perception. For this he and his agency S20 won several awards. www. hiroakiumeda.com 46 | 47 CURIOSITY 3lux:letters 2 | 2010 Photos: OOOMS

In the animal world, the sleep-wake-cycle still functions SHOW ME according to the natural source of light, the sun. That’s why we normally don’t hear birds chirping at dark – normally! WHERE YOU LIVE Some people, who were on their way home late at night, may have wondered that even at that time songbirds per- By Thomas Geuder form their arias. It is no surprise, because in the cities the night is turned into day! For the birds, the return to their sweet home might nevertheless prove to be difficult, if this is situated in a dark corner. For this case, Studio Oooms from the Netherlands has a simple but intelligent idea ready: At their “Solar Birdhouse”, the bar in front of the opening shines, thus showing the bird the way. The energy is generated via photovoltaic cells during the day – a completely energy-self-sufficient house. If the birdie only knew how progressive its housing is! SOURCE

CODENAME: ENERGY-SAVING LAMP

It is hard to believe that the origins tional gas filling for the low-pres- of today’s energy-saving lamp go sure discharge, operation in the back to the middle of the 19th cen- electricity network became pos- tury. Back then, the trained glass- sible around 1929 and the colour blower Heinrich Geissler invent- and spectral composition of the ed the Geissler tube, which was lamplight could be almost freely named after him, a low-pressure selected by means of suitable gas discharge lamp made from luminescent substances. Although glass. The principle is simple: An the further development of light- almost arbitrarily shaped glass ing technology stagnated during is filled with various gases and the Second World War, the eco- sealed at its ends with electrodes, nomic reconstruction after the war which in turn are connected to a entailed an enormous need for high-voltage source via platinum new lighting systems. The fluores-

wires. Set under current, various cent lamp became an important Photo: M. Rapine, 1869 (Wikipedia) light colours are created inside the symbol of the post war period: glass body depending on the gas Light was now not just considered used. In 1904, the successful pro- as a cost factor, but as a means to duction of quartz glass from rock increase productivity. The energy crystal facilitated the development crisis in the mid-1970s, however, of the high-pressure mercury directed the development trends lamp, which was in the following into a new direction: Saving energy years improved to such an extent was the order of the day and con- that around 1932/33 the first sequently the wattage should be easy to handle, series-produced reduced whilst maintaining the lamps with screw base and a 250 light output. This became pos- Photo: The Cathode Ray Tube site to 1000-Watt light output were sible with a smaller tube diam- 1979, which was not much bigger When Johann Geißler invented available on the world market. eter, a moadified gas filling and than a regular bulb and fitted into the low pressure gas discharge tube – in various colours and However, due to the incomplete three-band phosphor. But that’s the identical screw socket. This shapes – he laid the foundation colour spectrum the application development paved the way for the not all: On the occasion of the for the fluorescent lamp. area was still very limited. After 100th anniversary of the Edison so-called “energy-saving lamp” the introduction of fixed incan- lamp, Philips launched the first from the offices and factory halls descent electrodes and an add miniaturised fluorescent tube in into private households.

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