Automotive

Lighting
2
Light for t he car showroom
Car showrooms are realms to be experienced. Light is
an important tool wit h which t he vehicles on display
are given a perfect charisma and a visit to t he car
dealers becomes a sensuous experience.
The vehicles are to be seen as sculptures. By means
of different lighting situations in each case different
shape elements are to be placed at t he forefront.
Direct and indirect light, point-shaped or wide-area
lighting, light colour temperature and intensity are
only some of t he parameters t hat infuence t he
plasticity and hence t he character of t he vehicle.
The lighting for a car showroom is an important
investment. The aim of every investment is t he pro-
motion of sales. As a marketing instrument, lighting
supports branding and boosts t he customers sense of
well-being. By means of customized lighting design
wit h optimized energy consumption and long
maintenance cycles operating costs can be signifcant ly
reduced.
As a decision-making aid, t his brochure is intended
to inform and inspire you.
You can learn:
how, wit hout any additional expenditure, an
atmosphere is created t hat promotes orientation,
accentuation and scene setting.
how energy costs can be saved wit h optimum
lighting quality.
how LED lighting differs from HIT lighting.
3
4
5
Lighting, attractive and
effcient
Light shapes t he room. Light facilitates orientation,
accentuation and scene setting. Light becomes an
aest hetic building block, a dramaturgical instrument,
as part of an overall visual concept. Every lighting
area makes its own demands on effcient technical
implementation.
Functional light for seeing
Ambient lighting for orientation in t he room
Accentuated light for looking
Accent lighting
for special areas of t he room and highlights
to create attractiveness and value
Decorative light for viewing
Decorative lighting wit h
furniture luminaires
highlights, light symbols
Marking light for directing and guiding
Orientation lighting on
supports, pilasters
waiting areas in front of lifts
stair landings
To impart order in t he visual chaos, a hierarchy of
brightness is t he most important means. Dramatur-
gical lighting means t hat all of t he elements in t he
room can be distinguished according to importance
and orientation is hence made possible.
Contrasts facilitate t he separation of an area or an
object from its surroundings.
The highlight directs t he observers gaze to t he object
and hence attracts attention.
For t he parameters of lighting technology see pages
2425.
6
Architectural analysis at customer centre
The architectural analysis clarifes t he defnit ion of:
Visual axes
Funct ional areas
Vert ical surfaces
Access zones
Wait ing area
Page 11
Presentat ion
area
Page 12
Recept ion
Page 10
Customer centre
Page 8
Highlight
Page 14
7
Hand-over
Page 16
Used car
presentat ion
Page 15
Accessory shop
Page 17
Customer service
counter
Page 18
Direct recept ion
Page 19
8
Customer centre
Note not only t he products, but also t he spatial experience
Features
The customer centre forms t he focal point of corpo-
rate culture wit hin t he car dealership. It is t he heart
of t he car dealership wit h a high furnishing standard
and different lighting requirements.
The following functional areas meet here:
Reception
Wait ing area
Presentat ion area
Highlight
Used car presentation
Hand-over
Accessory shop
Customer service counter
Direct reception
9
This enmeshing guarantees optimum communication
and economical work fows wit h short walking distan-
ces.
For t he customer, recognizable networking wit h all of
t he service areas is made visible and hence during
every visit information on all of t he services and
goods of t he company is provided.
The lighting is done in keeping wit h t he demands
made on t he various functional areas. This creates hi-
erarchies and promotes orientation wit hin t he room.
10
Reception
Willkommen . Welcome . Bienvenue
Features
The reception area provides t he customer wit h an
initial starting point. It is t he central communication
point and t he companys visiting card, frequent ly
arranged at a central location. The structuring of t he
room wit h architectural elements, such as suspended
ceiling sails or rear walls, emphasizes t he unique
selling point of t his functional area.
Lighting
High degree of attention due to long-distance
impact
Support wit h illuminated logo on a
rear wall
Computer monitor-compatible workstation lighting
Colour temperature: 3,000 4,200 K
Colour rendit ion: Ra > 80
Illuminance: 500 lx
11
Waiting area
People are at t he centre of t hings
Features
The waiting area serves as a rest and recovery area
to bridge waiting times. Ideally it provides a panora-
mic experience wit h orientation towards t he customer
centre, a view t hrough to t he workshop, an overall
view of t he display.
Lighting
In t he nature of an accommodation and island
area, subdued, atmospheric lighting separated
from t he ambient lighting
Colour temperature: 3,000 K
Colour rendition: Ra > 80
Illuminance: 300 lx
12
Presentation area
Not hing is more constant t han change
Features
The car is at t he focal point of interest. Because of its
strong emotional signifcance it must be presented in
t he display in such a way t hat besides a real satisfac-
tion of needs a symbolic one is also offered.
Particularly in an area of competition in which
vehicles functionally differ less and less, a shift from
t he utility value to t he emotional value is taking
place. The emotional value of what one buys beco-
mes t he actual economic factor. Purchase decisions
are made largely emotionally and not rationally and,
for t his reason, t he presentation must be somet hing
t hat can be experienced as a promise.
The vehicles are presented like unique items,
positioned individually in t heir own free space and
perfect ly illuminated.
Lighting
Position-dependent ambient light is recommended.
The scenes are set for t he vehicles. Light and
shade underline t he physical effect of t he vehicle;
its value is reinforced.
Preferably use of point-like light sources, as t hey
form only minor images on t he vehicle.
Linear light sources or luminous ceilings can lead
to irritating images on t he vehicle.
Lighting of t he vertical wall surfaces facilitates t he
perception of t he show room as a whole and
makes orientation wit hin t he room easier.
13
The room makes a generously dimensioned and
positive impression due to t he bright surfaces.
The illuminance on t he rear wall was meant
ideally to be twice t hat of t he ambient light.
The long-distance impact of t he car showroom
can be enhanced wit h intense illumination of t he
vehicles near t he windows. In addition, t he
refections in t he shop windows are also mini
mized. The use of anti-glare glazing can have
an additional effect.
The incidence of daylight produces an interesting
effect in t he sales room as regards architecture
and sales.
Colour temperature: 4,000 4,200 K
Colour rendition: Ra > 90
Illuminance:
Ambient light 500 lx,
Rear walls 1,000 lx,
Vehicle in t he interior (spot light) 2,000 lx,
Vehicle by t he window (spot light) 3,000 lx
14
Highlight
Where t he gaze does not stop, t he feet keep on walking
Features
The highlight, an extraordinary or new vehicle model,
is most ly placed at t he centre of t he room or close to
t he window frontage. The form of presentation t hat
matches t he trademark image, as well as t he lighting,
should here be extraordinary and emotional. In t hat
way a highlight becomes an eye catcher.
Lighting
A dramatic scene is set for t he vehicle
The shapes are emphasized
The value of t he vehicle is enhanced
Colour temperature: 4,000 4,200 K
Colour rendition: Ra > 90
Illuminance: (spot lights) 2,000 3,000 lx

15
Used car presentation
Sense and sensuousness
Features
A used car customer expects a good price/perfor-
mance ratio and a large selection of vehicles. Here
in particular t he presentation of t he cars is to be
matched to t he interests of t he customer group. The
customer wishes to make a favourable purchase at a
reasonable, qualitative equivalent value.
Lighting
Upgrading used car area
Colour temperature: 4,000 4,200 K
Colour rendition: Ra > 90
Illuminance: 400 lx
16
Hand-over
The moment longed-for
Features
Important signifcance is attributed to t he hand-over
of t he vehicle in t he car showroom. Here an emotio-
nal link is formed between t he customer and his new
vehicle.
An extraordinary presentation demonstrates t he
corporate identity. The feeling for t he value of t he car
and t he trademark is imparted.
A link wit h t he waiting area and t he accessory shop
is desirable.
Lighting
An emotional scene is set for t he handover of t he
vehicle
Indirect and hence diffuse light makes t he
paintwork surface appear homogeneous
Colour temperature: 4,000 4,200 K
Colour rendition: Ra > 90
Illuminance: 500 lx
17
Accessory shop
Light and shade shape plasticity
Features
Sale of accessories and merchandising articles
generates an increase in sales. The sale of parts
and/or t he accessory shop areas contain workplaces
as well as work areas which have to be given
particular attention as regards lighting.
Lighting
Directed illumination of goods, emphasizing of
t he products against t he surrounding area
Colour temperature: 4,000 4,200 K
Colour rendition: Ra > 90
Illuminance:
Vertical sales area 800 lx
Workplace 500 lx
18
Customer service counter
The best is just good enough
Features
Customer acceptance has a visual link wit h reception
and a direct connection to t he workshop area and
parts sales. The workplaces of t he employees are t he
connecting link between t he customer and t he
workshop.
Lighting
Computer monitor-compatible work station
lighting acc. to t he German Workplace
Ordinance
Colour temperature: 3,000 4,200 K
Colour rendition: Ra > 80
Illuminance: 500 lx
19
Direct reception
The experience
Features
Direct reception unites in it t he two functions of valu-
ation of used cars and acceptance for repairs. From
its weighting it is synonymous wit h sales. A profes-
sional direct reception area provides an essential
differentiation factor and promotes customer loyalty.
Here, joint ly wit h t he customer, t he actual condition
of t he vehicle is analyzed or t he repair expenditure is
defned. The dialogue wit h t he customer is t he central
issue.
So far functionality dominates; t he room is techno-
logy-orientated and has a workshop character. The
display of seasonal impulse goods and accessories in
t he dialogue acceptance area increases sales
opportunities.
Lighting
Functional illumination of t he vehicle
Homogeneous ambient lighting
Colour temperature: 4,000 K
Colour rendition: Ra > 80
Illuminance: 500 lx

20
Effcient lighting concepts for t he car showroom
Lighting technologies compared
The existing concepts of different car manufacturers
can be supplemented and more effectively implemen-
ted wit h current lighting technologies.
HIT (metal halide lamp)
Wit h t he use of t hese effcient lamps and higher re-
fector effciencies a reduction from 150 W to 70 W
as well as from 70 W to 35 W is possible. This leads
to markedly reduced operating costs wit h constant
light quality.
LED (light-emitting diode)
The luminous effcacy and t he colour rendition of
LEDs has been continuously developed furt her and
improved in recent years. LEDs can be used for ligh-
ting in t he car dealers showroom. Due to t he long
service life of LED modules t he equipment is virtually
maintenance-free and lends itself particularly to use in
high-ceiling rooms.
In customized planning, taking t he architecture into
account, an effcient lighting concept can be prepa-
red and t he saving potential can be determined.
21
Comparison of HIT and LED lighting
A comparison set-up in t he Ansorg lighting showroom
shows t he characteristics of HIT and LED lighting.
Bot h types of lighting equipment produce brilliant
light t hat defnes t he vehicle shapes well. Soft transi-
tions of t he light cones due to a higher scattered light
percentage are characteristic of t he HIT lighting. By
contrast, t he LED light produces more contrasts due
to less scattered light and t he light cones are more
clearly delimited.
The colour temperatures in t he range from 4,000 to
4,200 K bot h create a cool effect. In t he test set-up t he
visual impression of t he LED lighting is cooler.
The metallic paint of t he vehicles shows more dept h in
t he LED light. The colour black is more clearly percei-
ved, while t he colour white appears more neutral.
22
The Ansorg core competences
Automotive Lighting
1 Ansorg focuses centrally on t he analysis of t he clients needs. It provides t he key
to t he development of holistic lighting concepts.
2 Ansorg develops successful lighting concepts which underline t he clients unique
selling propositions.
3 Ansorg stands for competent lighting design. Experience, know-how and
creativity provide t he basis for t his. And have been doing so for more t han
50 years now. World-wide.
4 Ansorg provides convincing answers to new questions posed. For a retail
world wit h changing goods images and changed merchandising requirements,
Ansorg develops fexible lighting systems t hat can be quickly modifed for
new tasks.
5 Ansorg makes use of t he sensuous experience quality of light for successful
sales concepts. The effect of t he light on t he consumer is t herefore always on a
level footing wit h all of t he technical issues.
6 Ansorg is put ting its money on innovative lighting techniques and global
procurement structures so t hat light is always economical.
7 Ansorg defnes its own quality of light. This aspiration is backed-up by t he
highest product quality and professional quality management.
24
Parameters of lighting technology
Beam angle
The beam angle is t he opening angle
of t he light beam of a luminaire or
refector lamp. It is determined by t he
type of construction of t he refector. Lu-
minaires wit h a small beam angle pro-
duce small, bright ly illuminated areas.
Light sources wit h a wide beam angle
produce large, but less bright ly illumi-
nated areas. In t he opening angle t he
luminous intensity drops off to half of
t he maximum value.
For homogeneous illumination, wide
beam luminaires wit h large beam an-
gles must be used. For accent lighting
as a rule narrower beam light is neces-
sary. The characteristic of wide beam
light wit h larger beam angles is desig-
nated as Flood and Wide food,
t hat of narrow beam light wit h a small
beam angle for example 10 is
referred to as Spot.
Ansorg distinguishes between
six main beam angles:
Superspot 0 9
Spot 10 19
Medium food 20 29
Flood 30 39
Wide food 40 69
Very wide food > 70
Illuminance
Illuminance ( letter symbol: E, unit of
measure: lux ) defnes how much light
from a lighting technology point of view
more precisely how much light fux (in
lumens) falls on a certain area: it
amounts to one lux, if t he light fux of
one lumen homogeneously illuminates
an area of one square metre.
The illuminance is measured wit h an
illumination photometer on horizontal
and vertical surfaces. It does not, how-
ever, precisely describe t he brightness
impression of a room, as t his depends
mainly on t he refection characteristics
of t he room surfaces. In t hat way a
white room appears, wit h t he same
illuminance, brighter t han a dark one.
Colour temperature
The light colour temperature of a lamp
is described by t he colour temperature
in Kelvin (K). The commonly used lamps
have colour temperatures in t he order
of magnitude of less t han 3,300 Kelvin
(warm white), 3,300 to 5,300 Kelvin
(neutral white) to less t han 5,300 Kelvin
(daylight white).
Colour rendering index (CRI)
The colour rendition of a lamp charac-
terizes t he colour effect which its light
brings about on objects or persons.
It is rated wit h t he general colour ren-
dering index Ra. This indicates how
naturally colours are rendered in t he
light of a lamp.
The colour rendering index is derived
from eight frequent ly occurring test
colours. Ra = 100 stands for t he best
value; t he lower t he index is, t he worse
are t he colour rendition characteristics.
Lamps wit h an Ra-index of less t han
80 should not be used indoors.
Lamp wattage
The power consumption (also lamp
wattage) describes t he electric power
in watts (W) consumed by a lamp or
a ballast. In t he case of low-pressure
and high-pressure discharge lamps, t he
addition of lamp wattage and power
consumption of t he ballast give t he
system wattage.
25
Luminous intensity/
luminous intensity distribution
The luminous intensity (letter symbol: I)
is t he part of t he light fux t hat radiates
in a certain direction. It is measured in
candela (cd).
The spatial distribution of t he luminous
intensity (luminous intensity distribution)
characterises t he luminous exitance
of luminaires and refector lamps.
The luminous intensity distribution is pre-
sented graphically in t he form of curves,
t he luminous intensity distribution
curves (LIDC).
Presentation of t he photometric data:

Polar diagram
If t he luminous intensity (candela, cd)
in t he room (or wit hin t he planes)
around t he lamp or luminaire are
measured and recorded, t he luminous
intensity distribution is obtained.
This photometric curve is presented in
what is referred to as a polar diagram.
The luminous intensity is standardised
to a lamp luminous fux of 1000 lm.

Illuminance cone
The illuminance cone is used to illustrate
t he beam patterns of rotation-symme-
trical luminaires It describes t he light
bundle emitted at one-half-peak-diver-
gence or half-value angle. This is t he
term used for t he aperture angle at
which maximum luminous intensity is
halved. In general t he maximum value
is achieved at a beam angle of 0.
The illuminance cone diagram shows
illuminance available wit hin an area
delimited by t he half-value angler
(light cone diameter) for various moun-
ting heights. The illuminance values
E (lx) refer to t he centre of t he illumi-
nance cone.
Tabelle
Chart wall
illuminance
For asymmetrical luminaires, illumi-
nance values are given for different
mounting heights and distances be-
tween walls. The illuminance values
likewise refer to t he centre of t he
illuminance cone.
Light-source effcacy
Light-source effcacy is t he measure
of t he economic effciency of a lamp.
It states how much luminous fux in
lumens (lm) per watt (W) of its power
consumption a lamp generates.
The higher t he ratio of lumens/watts,
t he better a lamp applies t he energy
introduced. Here are some examples:
Metal halide lamp 100 lm/W,
Halogen lamp 30 lm/W,
Compact fuorescent lamp 75 lm/W,
Tubular fuorescent lamp 100 lm/W.
Light fux
The light fux or luminous fux meas-
ured in lumens (lm) is t he luminous
effcacy of a lamp. It describes t he
output radiated by t he light source in
all directions in t he visible range.
Luminance
The luminance (letter symbol: l) is t he
measure of t he brightness impression
t hat t he eye gains from a luminous
or illuminated area. The luminance is
measured in candelas per unit area
(cd/m2).
Operational effciency (LOR)
The operational effciency or light out-
put ratio states how much of t he lumi-
nous fux generated by a lamp actually
leaves t he luminaire. The type of direct-
ing of t he lamps luminous fux and t he
t hermal conditions inside t he luminaire
determine t he light output ratio.
Degree of refection
The degree of refection states what
percentage of t he light fux falling on a
surface is refected. Light surfaces have
a high degree of refection and dark
ones have a low degree of refection:
white walls refect up to 85 % of t he
light, panelling in light coloured wood
still up to 35 %, red bricks, on t he ot her
hand, only up to 15 %. Conclusion: t he
darker a room is furnished, t he more
light is required to achieve t he same
illuminance on t he working plane.
1.0 m
o=
0. m
20 4
Z 11
24 14
80 80
2 0
10 40
20
o
0.1
m
0.
1.0
1.
2.0
2.
3.0
E |lx,klm]
I(0) = 1200 cd/klm
30 30
60 60
LOR = 0.72 WFL
I(0) = 1200 cd/klm
30 30
60 60
LOR = 0.72 WFL
26
Photography
HG Esch, Stadt Blankenberg
Max Schulz, Mlheim
Vincent Muracciole, Paris
Tobias Trapp, Oldenburg
Svend Eric Panjer, Almere
ABA-Design, Maidenhead
Aston Mart in Lagonda Ltd., Warwick
Concept and layout
Ansorg GmbH, Mlheim an der Ruhr
27
www.ansorg.com
Ansorg Companies
Offices & Showrooms
Ansorg Partners/Sales Agents
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Pilgerstrae 11
D-45473 Mlheim an der Ruhr
T +49 (0)208 48 46 0
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info@ansorg.com
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Business Design Centre
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Islington
GB-London
NI 0QH
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De Oude Molen 4
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aan de Amstel
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Bldg. Sheikha Sana Mana al
Maktoum
Office M8 Al Wasl
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Dubai, UAE
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Mehara Compound
L B S Road
Vikhroli (W)
Mumbai 400 079
India
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Distributed by
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A-4040 Linz
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www.ansorg.at
Ansorg in Australia
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Balcatta
AUS-Western Australia 6021
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www.lcrl.com.au
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Vanhaistentie 8
FIN-00420 Helsinki
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www.ansorg.fi
Ansorg in Norway
Distributed by
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P.B. 106 Bekkelagshgda
N-1109 Oslo
M + 47 90111310
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Ansorg in Greece, Cyprus
Distributed by
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www.ansorg.gr
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Distributed by
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Showroom: 45/1, 2nd floor
Corner Market
Malviya Nagar
New Delhi 110017 - India
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info@mvipl.com
Ansorg in Ireland
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www.designlight.com
Ansorg in Korea
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For other countries:
Ansorg GmbH
Pilgerstrae 11
D-45473 Mlheim an der Ruhr
T +49 (0)208 48 46 0
F +49 (0)208 48 46 1200
info@ansorg.com
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