3lux:letters The Architecture Magazine

1 | 2 | 3 | 4 2006

Light for aerialists

T h e A r c h i t e c t u r e M a g a z i n e

Light and Urban Architecture

Light und Urban Architecture
No More Light?

1 | 2 | 3 | 4 2006
Formed by the City
Dubbeltoren Waternet

City Light
Individual Case or Master Plan
www.trilux.de/lumena862

www.trilux.co.uk
 editorial

7 9 23
Cover photo: Satellite picture
of Europe by night.
Photo: W.T. Sullivan III &
Hansen Planetarium /
Science Photo Library /
Agentur Focus
editorial
Dear Readers,

I would like to thank all of you for the extremely posi-

tive and highly motivating reactions to the first issue
of 3lux:letters. Launching a new magazine is always a
significant challenge and your feedback has shown us
that we have achieved a level that would appear both
to be interesting and also useful to you.
Light has long been a way of expressing emotion and
comfort in the interior environment. Unfortunately,
light in the exterior environment is often still regarded
as nothing more than a generic necessity. Yet it is
more than that – light should form part of the urban
landscape. Product design and the general aesthetics
are of enormous importance – they are a part of the
urban scene and as such, always on show. Lighting
for exterior areas not only can but also should be as
emotional as lighting for interiors is. For drivers, good
lighting improves the ability to react and enhances
concentration. For pedestrians, light doesn’t only aid
in the recognition of the surroundings but also plays a
significant role in terms of safety.
The maxim is seeing things, and being seen. In this
second issue of 3lux:letters, we would like to offer a
variety of views and philosophies in terms of both
theory and practice with regard to exterior illuminati-
on. History and future are united, with the single goal
of offering new directions in the conception of urban
lighting design.

My warmest regards,

Richard Taylor, Director Projects

02
 36 39 41

Light and
Urban Architecture
04 views illuminated: Kitchen “Z.Island“ by Zaha Hadid; World Press Photo
Award; LichtRouten, Lüdenscheid; Renault Traffic Design Award;
Luminous Buildings: Architecture of the night, Stuttgart; Light Museum
Wettersdorf, Walldürn; Absence of Fear.

05 statement commented: Ligth and Urban Architecture: Music for the Eyes!
Gerd Pfarré, Pfarré Lighting Design, Munich.

06 memo sighted: The Brightest Star in the Firmament.

08 spot focused: No More Light? Ulrike Brandi and Christoph Geissmar-Brandi

about the illumination of the city.

12 impression observed: City Light and Country Light

16 reflection looked into: Answers from Michael Batz (light artist, film director and
writer), Daniel Kas (RKW Rhode Kellermann Wawrowsky) and Gabriele
Allendorf (light news).

22 architecture formed by the city: City Satellite - “Dubbeltoren“ in Amsterdam by

Architectuurstudio Herman Hertzberger in Amsterdam.

30 TRILUX reported: Photographic competition “a life in light“; new EU lighting stan-

dard; Ernst Wauer (Police Essen) about light and crime prevention.

34 work considered: Exterior luminaire “Lumega“ by Rino Bossy.

38 art visited: Capital of Light 2010 Essen; 114 kW, Schirn Kunsthalle,
Frankfurt/Main; Polylit, Stuttgart; Blue Goals, Hamburg.

42 reading researched: Three books on the theme “Light and Urban Architecture“.

43 source investigated: How were theatre stages lit before electric light was
invented?

06 Imprint

3lux:letters 2 | 2006 03
 views
We don’t know if Zaha Hadid likes
to cook in her spare time. Anyway,
she has conceived a kitchen for
the DuPont corporate group in
familiar futuristic design, which will
be presented in spring at the Milan
Design Week. It consists of a bar
module, a modular storage
system, wall panelling, and two
functional islands made from white
Corian mineral material: The “Fire”
Island (left image) includes a
cooking area, a hot plate as well
as a board computer with LCD
screen and a touch-control panel
with more than 2000 LEDs. The
hexagonal “Water” Island contains
all functional units required for
washing up. The curved wall
panels, which are backlit with RGB
LEDs, can be set oscillating with
special actuators, thus functioning
as loudspeakers. For the time
being, the Z.Island Kitchen remains
a prototype “due to technical
problems”.

Kitchen design:
Z.Island

Photos: DuPont Corian

Prototype
Information under
www.dupont.com, Search word:
Hadid
www.corian.com

Light stands for hope. Hardly any other image can illustrate this symbolism more
clearly than the photograph, for which the French photographer Olivier Jobard
was awarded the World Press Photo Award 2006 in the category “Contemporary
Issues / Stories”. Jobard accompanied a 22-year-old Cameroonian on his illegal
views

boat trip to Europe organized by people smugglers. The photographs awarded

at the “World Press Photo Award” are being presented until the end of this year
in a touring exhibition in more than 45 cities around the world. The “World Press
Photo Award” was originally initiated in 1955 by members of the Dutch Union of
Photo-Journalists (NVF). On the occasion of the 50th anniversary the organizers Exhibition series:
have published the book “Things as They Are – Photojournalism in Context Since World Press Photo Award
1955” in December 2005. The English version was published by the Aperture Awardees, locations and dates under:
publishing house, the Dutch version by SDU Uitgeverij. www.worldpressphoto.nl
Photo: Olivier Jobard / Sipa Press / Paris Match

04
 statement

Gerd Pfarré
Pfarré Lighting Design, Munich
www.lichtplanung.com
Image: Globus Store, Zurich

Light and Urban Architecture:

Music for the Eyes!

A few years ago, a drummer from my circle of acquaintances was interested in

the profession of the lighting planner. “What do you actually do?” he asked me.
After I had briefly explained our job outline, he responded spontaneously: “O
well, you produce music for the eyes!”
Light for urban architecture is also light for the city, and that should indeed be
as harmonious and balanced as good Jazz. Unfortunately such quality can only
be perceived on rare occasions. The public consciousness for well-illuminated
objects and urban spaces however is growing continuously. Until now, light for
architecture, landscape and city was predominantly applied under functional
aspects. Strangely enough, as it is Germany that has a long-standing and dis-
tinct history with regards to good design. “Good-quality exterior light” however
implies more than simply stage-managing a building and sophisticatedly empha-
size architecture.

Photo: Andreas J. Focke, München

As lighting planners we are able to formulate high-quality urban and open
spaces in the dark; a balanced structure from lit buildings and dazzling-restrict-
edly illuminated streets, green areas, embankments, and squares convey urban
identity, security, and calmness; exterior spaces for encounter and all kinds of
urban activities are generated. High-quality light brings people together.
Last but not least: In the way we can enjoy music, we should learn to enjoy our
architecture and urban fabric, also in the evening.

Light-Event: The curators Bettina Pelz and Tom

LichtRouten Lüdenscheid
September 22nd to
Oktober 1st 2006
Contact:
Lüdenscheider Stadtmarketing-
gesellschaft mbH
info@l-s-m-gmbh.de
www.lichtrouten.de
Two much-heeded works of the 2004
LightRoutes were created by Peter
Brdenk and Jürgen LIT Fischer with
“Light-Arboretum 2010“ (left) and
Gottfried Schumacher and Karin
Veldhues with “Libreria” (below).
Groll referred to the LichtRouten as
“Eulogy of Light”, which will this
autumn take place in Lüdenscheid for
the fourth time. With renowned light
artists and designers such as
Magdalena Jetelová, Nan Hoover,
Mischa Kuball, or Belzner Holmes, the
LightRoutes have caused national
sensations since their premiere in
2002. Theme of the 2006 event will
be the city’s cultural remembrance,
which is tremendously complex espe-
cially in an old industrial city like
Lüdenscheid. Well-known places of
remembrance such as cemeteries
and memorials were stage-managed
with light, unknown locations worth
commemoration are made visible and
artistic interventions on the theme
“remembrance” are installed in the
city. Once again one or the other
installation, which will be created on
the occasion of LightRoutes, will defi-
nitely become a permanent compo-
nent of Lüdenscheid’s cityscape.

3lux:letters 2 | 2006 05
views
This year the Renault Traffic Design
Award for forward-looking traffic
structures has been initiated for the
seventh time. Architects, town plan-
ners, and students can submit their
projects until 31st July. The selection
of award-winners is done by an eight-
member jury of experts under the
chairmanship of Prof. Thomas
Sieverts. The prize to be won is a
sculpture by the Düsseldorf artist
Thomas Schönauer, which was espe-
cially designed for this competition.
The winners in the university competi-
tion, which has “Future Roads – Roads
as Spatial Systems Re-defined” as a
motto, can expect 10000 Euros each.
In 2006 an expert audience prize will
be awarded for the first time: Fourteen

Photo: Nikolaus Koliusis, Stuttgart

awarded objects from the competi-
tions 2002 until 2005 are listed on the
Internet page of the Federal Chamber
of Architects (www.bak.de). The asso-
ciation calls upon all architects and
town planers to determine “The Best
of the Bests” from this selection.

Competition:

Photo: Mennerich/Morese, Hamburg/Braunschweig

Renault Traffic Design Award Two awardees 2005:
Latest date for entries: Juli 31th above: 50 km/h Art in the Tunnel,
2006 Stuttgart; artist: Nikolaus Koliusis,
Jury session: September 2006 Stuttgart
Award ceremony: Dezember 2006
Informationen unter right:
www.renault-traffic-design.de Temporary motorway chapel
Christophorus, motorway services
Zweidorfer Holz North;
Design: Wilke Mennerich/
Sandi Morese, Hamburg/Braunschweig

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Editorial staff:
Image: Pistol Star with nebula. Vivian Hollmann (TRILUX)
Photograph from the Hubble Space Richard Taylor (TRILUX)
The Brightest Star in the Firmament Telescope, 1997 Dipl.-Ing. Thomas Geuder (GKT)
Dipl.-Ing. Katja Pfeiffer (GKT)
Dipl.-Ing. Jakob Schoof (GKT)

Douglas Adams taught us that

Publisher:
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06
 The „Kunstmuseum Stuttgart“ by the
architectural practice Hascher und
Jehle places a prominent accentuation
in the cityscape of Baden-Württem-
berg’s capital. The glazed cube, which
is illuminated at night, seems to be
created for the exhibition “Luminour
Buildings: Architecture of the Night“.
For the very first time the theme of
architectural illumination in the muse-
um context is thoroughly worked up:
The exhibition includes, in its scope, the
world exhibitions of the 19th century,

Model making: Wolfgang Knoll + Ildiko Frels. Photo: Hans-Joachim Heyer + Boris Miklautsch / Kusntmuseum Stuttgart
during which the “wonder” of electrici-
ty was initially presented to a larger
group of people, the classic modernity
and the propagandistic stage-manage-
ment of light by the National Socialists
as well our present time. The exhibits
include illuminated models (for exam-
ple the La Salle Wacker Building in
Chicago), photographs (Alfred
Stieglitz), paintings (Reinhold Nägele,
Otto Dix), visionary designs (Hans
Scharoun, left: Bruno Taut), and archi-
tectural light sculptures.

Exhibition :
Luminous Buildings:
Architecture of the Night
June 9th to October 1st 2006
Kunstmuseum Stuttgart
Opening Hours:
Tuesday, Thursday, Saturday and
Sunday: 10.00 a.m. to 6.00 p.m.
Wednesday and Friday:
10.00 a.m. to 9.00 p.m.
www.kunstmuseum-stuttgart.de

For many years, Walter Frenzl from Walldürn in the Odenwald has compiled an
unusual and diversified private collection: The “Wettersdorf Museum of Lights“
comprises about 2000 exhibits in 60 groups, documenting lighting technology
Permanent exhibition: before the advent of electricity: lanterns, lamps, candelabras, wick-scissors,
Wettersdorf Museum of Lights lighters, match holders, wax tapers, candles, and paintings. The collection is
open from April to October, complemented with “providers of light” from distant countries. The admission to
on Sundays 14.00 to 17.00 a.m. the museum in Wettersdorf, a district of Walldürn, is free; donations for the
Entrance: free museum’s organization and for new acquisition are however gladly accepted. On
Photo: Walter Frenzl

Odenwaldstraße, 74731 Walldürn request the initiator Walter Frenzl offers introductory lectures as well as guided
Tel. 06282/8518 tours for groups. The museum’s homepage itself is worth seeing, where a series
info@lichtermuseum.de of links to the objects of interest and landmarks around Walldürn invites for day-
www.lichtermuseum.de excursions into the medieval surrounding.

Website:
www.absence-of-fear.de
Photographs and information on the
underground railway stations in 42
cities in 19 countries.

In spring 2004 the then 18-year old Daniel Erler from Frankfurt started to travel and
document Europe’s underground railway stations. Until now he has provided access
to the results of his passion for collecting to the public on the website
www.absence-of-fear.de. The website includes characteristics of underground rail-
way stations from 42 European and Asian local area networks (including year of
construction and architect), a “Top-10“ list of the most beautiful stations (headed
by Canary Wharf Station in London), a glossary of the most significant underground
railway architects and lighting planners, a list of secret bunkers and closed down
Photos: Daniel Erler

stations, which were realized in connection with the construction of underground

railway lines, as well as countless statistics. High-quality and less successful exam-
ples for architecture and lighting design of underground railway stations are evalu-
ated here (quite subjectively) and can be studied on numerous photographs.

3lux:letters 2 | 2006 07
 spot
Right page:
View from Arc de Triomphe on the
Avenue des Champs-Élysées in Paris.
Numerous boutiques and showrooms
are located on the 71 metres wide
and 1915 metres long boulevard,
which with their luminous advertising
brightly light up the road.

NO MORE LIGHT?
Slowly people are coming to the conclusion that an excess of light
rather results in a “slush of light” than in a sensible illumination of the
city. Significant parameters for light planners are therefore not solely
the location, but also space and time, as well as darkness.

By Ulrike Brandi and Christoph Geissmar-Brandi

Photo: Kenneth C. Zirkel

What significance does light have in the city? What requirements
must it meet? Who needs light?
First of all, light at night is important for drivers. The major part of
the city illumination is directed towards streets and roads.
Consequently the city reveals itself by night to the majority of its
residents in the light of asphalt routes, which are travelled by car.
Every evening the motorized traffic forms a rising and subsiding
stream, which abates late at night, until the roads and junctions
finally appear in an even light.
spot

What are the lighting conditions that city dwellers experience? Is the
treatment of light symptomatic for the way people live? Probably
not. Light remains a topical theme, especially if one aims to
improve it. As soon as it becomes dark, the majority of city dwellers
live in a “slush of light”: with the standard streetlight in front of their
apartments, which is normally characterized by an undifferentiated
brightness, and with the often diffuse, sometimes unsteady light
conditions in their flats. The TV-set frequently plays the role of a
new campfire, a light around which everyone likes to crowd as in
primeval times past.
Paradigmatic therefore are false mental structures of many people,
who are involved with light. An increase in luminaires automatically
leads to “more light” and consequently better business. The situa-
tion is somehow comparable to that of the automobile: There are
simply too many in the city. Nevertheless they are still fun.
However, this does not improve the general conditions. An improve-
ment will only be achieved, when urban lighting will once again be
planned with care and caution and even exceed a good standard in
designated areas as a special feature. Working towards this objec-
tive means to use the existing design possibilities of lighting. As

08
lighting can help to generate a perceptible added value for existing
buildings and maintain a fascinating quality, it bears a decided
chance for the desirable and due renewal of our city life.
Light therefore has to become a quality for city users, a stimulus
“to be in the city”. In order to achieve this objective, there are two,
partially contradictory strategies. One line aims at the promotion of
the contemporary event culture, the other at the continuous differ-
entiation of city illumination, practically an advancement of the
cityscape. Both approaches have a fundamental potential in city
illumination.
Light as Event
Events in themselves attract people and activate the city. Contrary
to the traditional “frontal” performances in opera-houses, theatres,
and cinemas, event attendees actively participate in the activities,
sometimes they are actually part of it (renowned examples are the
mega events such as “Love Parade” or “Christopher Street Day”).
Such events are pure public and they happen in the city centres.
This “festivalization” of city events, as critics describe the phenom-
enon, is also applicable at night. Temporary “event lighting” acts as
a catalyst for the activities; it inspires the participants. This lighting
is often coloured and manoeuvrable, like in a theatre. The city or its
squares quasi become stages, the façades form the (always identi-
cal) setting. There are intermediate forms, where the forms of event
lighting are firmly installed and tend to be repeated every night or
at fixed times. The illumination of the Paris Eiffel Tower depicts this.
Presently the Parisians transform their city’s landmark into some
kind of glittering lollipop for five minutes every full hour at night.
Before this phase of light glitter the tower was illuminated in red and
3lux:letters 2 | 2006
yellow. The many interviewed Parisians expressed approval: They
have nothing against temporarily transforming the tower into a
colourful toy.
Space and Time
The other approach refines the city illumination, in order to create
more intensity. The groundbreaking thought behind this is to abol-
ish the existing partition of traffic lighting on the roads and in
pedestrian areas and the façade illumination, shop-window lighting,
and neon signs, in order to achieve an integral appearance, which
simultaneously reflects the genius loci. This is more demanding,
than the play with gay colours, and is more difficult to realize.
With this design principle the light planner principally moves in two
dimensions. He considers the temporal and spatial dimension.
Artificial light in the exterior is predominantly a matter of great con-
cern at nighttimes. Evenings and mornings as well as seasonal
shifts generate many recurrent transitional situations. Light
changes. Additionally the necessity for seasonal light arises.
Spatially a city reveals itself at first with its accesses at a large
scale via its traffic axes. When the scale is reduced, questions of
possible perspectives and differentiation are addressed. When the
scale is reduced further, one notionally approaches the dimensions
of one’s own body and its immediate surrounding. This can be city
squares, which can be surveyed “by foot”, but also by car, with
which one waits in a traffic jam. All these are common urban
situations.
A new lighting should “re-invent the night” for city goers. That is,
phrased slightly exaggerated, the actual objective. Marketing peo-
ple would say that the aim is to prolong the duration of one’s stay
09
spot
Part of the “Swan” (cygnus) con-
stellation. Views like this one are
already rarely possible in the city,
because the lights for the city also
lighten the sky.
Opposite page:
“Galaxy Bar” on the Hilton Hotel roof
terrace in Athens. Ahead of the 2004
Olympic Games the building, which
was completed in 1972, was com-
pletely renovated and received a new
lighting concept, which puts the
architecture taking reference from
the city’s Byzantine history into per-
spective. The light installation was
awarded at the 2005 IALD-Award.
in the city. A revival of the nightlife of the “Roaring Twenties” easily
crosses one’s mind, a legendary time of public light, which is
presently being repeated in China and in the “East Asian Tiger
States”: light without end. Recent newspapers report that Shanghai
considers switching off neon signs, because the energy to operate
them is insufficient. These global trends exist. They put their trust
in the fascination of brightness and try to turn the night into the day,
which is no doubt attractive.
City Lighting Planning
Considerate planning puts its trust in darkness, in the opposite. It
conceives light reciprocally, not glistening colourful, bright, com-
peting with each other, but as initialisation for changing daytimes
and seasons. That does not mean that a dark city is intended. It
however means that the lighting planner not simply follows the
requirements and specifications of cityscapes, but also those of
natural lighting conditions. The contemporary lighting planner does
not perceive his lighting design as a solitaire; he is however aiming
at a concept integrating the human being, the city, and the daytime.
Whenever someone wants to design with light, one initially tries to
understand the day and night cycles of the respective location.
The starting point is dawn. In the morning the lights are switched
off; due to extended shopping hours the entire city activities are
shifted towards nightfall, towards the period of the “Blue Hour” and
even later, depending on the season. In these first moments city
lighting can be predominately selective, that means assigning light
to important squares and buildings, the city’s well-known accentua-
tions. In the following phase the pedestrian routes as well as access
and departure routes have to be considered. “Gate situations” are
10
Photo: Hilton International 2004
Photo: Michael Puerzer
to be created, thus indicating, whereto life is moving. The final
aspect is the street illumination, with lights being lit by and by, mak-
ing the night attractive and safe. By then it is completely dark, all
planned hierarchies of light are completely activated, and orienta-
tion is clear. The immediate surrounding has no dark corners and is
entirely visible. Upwards, from the first, second storey already, the
light noticeably thins out, thus generating a clear, however secure
light space. The majority of attractive lightness is created with
reflections on various materials, including the ground. The lamps
radiate in graduated white. Some light is provided from the build-
ings’ interior. The intensity should be as homogeneous as possible,
shop-windows are not glistening brighter than their exterior sur-
rounding. First of all they should not radiate direct light onto the
street. Colour is generated through the lighting of the displayed
merchandise.
In the course of the night the accentuation lighting, with which the
illumination cycle began, gradually retreats. The general, secure
light remains until daybreak. This would be a possible scenario
arranged for one day and one night, the 24-hour-rhythm.
Christmas illumination has always existed, the basic type of tempo-
rary lighting, which is geared to the seasons of the year as well as
of trade and commerce. It is very cost-intensive to operate, but
meets the interest of the residents. Many individual themes have
been discussed: The temporary illumination of water areas, foun-
tains or parks enjoy a new popularity and is often reminiscent of
practically lasting Baroque stage-managements, which were 250
years ago available for just one night with thousands of candles. In
the seasonal rhythm these are temporary, preferably recurrent
types of illumination and modified switch cycles. A beautiful spe-
ciality can on the contrary be a permanently installed lighting for
seasonal enjoyment, for example ice-surfaces or temporary pools
and beaches.
Light and Space
The details of possible designs can only be discussed when the sec-
ond approach to good quality lighting in the city has been
addressed, the spatial dimensions. This is the substance of the
Light–Space design model, namely a caesura in the transit move-
atmosphere. From the relative distance the light in the centres must
be strong enough to have a prestigious effect and convey a lasting
appeal. Additionally light delimits previously defined areas. Strong
local light should be possible as exceptional or “chaotic” in its posi-
tioning, without disturbing the overall picture. Unfortunately, the
existing installations and appliances are far from achieving this.
From: Light for Cities – A Guide to Lighting Planning in Urban Spaces, Ulrike Brandi and
Christoph Geissmar-Brandi, Birkhäuser Verlag, 2006. Publishing date: September 2006.
By courtesy of Ulrike Brandi Licht and Birkhäuser/Springer-Verlag.

ment in the city and therefore the respective potential. The trav-
eller’s change from car (aeroplane, train, public transport) to walk-
Ulrike Brandi is owner-manager of Ulrike Brandi Licht in Hamburg. She stu-
ing marks this caesura. The ensuing possibilities solely result for
died Romance studies at Hamburg University and Industrial Design at Hamburg
the city centres or limited shopping areas; at the moment these are College of Fine Arts (HfbK). As light planner for artificial and daylight in buil-
as a rule areas and districts where according to the will of city dings and external areas she has realized more than 250 projects in Europe
councils, chambers of commerce, of Public Private Partnerships and Asia. Lectureships at Düsseldorf University of Applied Sciences and
Brunswick College of Fine Arts, as well as numerous seminars, lectures and
(PPP) or (planned in Germany) Business Improvement Districts (BID)
publications complement her work.
the new city lighting should be intelligently planned and realized. Christoph Geissmar-Brandi is a free-lance curator in Hamburg. He studied
Virtually these are the old market squares with a new appearance. art history, literature, and psychology at Hamburg University. The art historian
Unfortunately the lighting design for rooms is separated into two Dr. phil. M.A. realised exhibitions and congresses in Vienna and Tokyo, wrote
numerous publications and developed the L.E.O.S. software (light, energy opti-
areas: streetscape and pedestrian area. This however would be
mization and service). www.ulrike-brandi.de
quite wrong, this separation has to be overcome. The design con-
cept must achieve a continuous consolidation of the light impres-
sion. The intensity of light could become more and more intense in
the centres. This does not mean making light brighter and even
more powerful. It is about the nuances of light, its presence on the
street and squares in its relative significance. The existing light can
make the existing surrounding so clear and visible that it reveals
itself step by step to everyone strolling about at night on the streets
as immediate surrounding, thereby generating a comfortable

3lux:letters 2 | 2006 11
impression

City Light
View to the west from the John Han-
cock Center, Chicago, Illinois, USA
Architects: Skidmore, Owings &
Merrill LLP (SOM), Chicago
On the 100th floor of the black and
multi-functional first-class business
building built in 1970, known as “Big
John”, is the visitors platform. From
here, you can enjoy the wide view
over the third largest city in the USA
with its chess-board pattern of roads.

12
 Photo: Kenneth C. Zirkel

„It is not now about simply overcoming the darkness, but about an increasingly
richer realisation of light itself (...) An absolute delirium of light unequalled by
the imaginary brilliance of fairy tales from the past, will illuminate the cities of
the future.“
Walter Riezler (1878-1965), 1928, Honorary Professor in the history of modern music, University of Munich, musicologist, art historian, city museum direc-
tor, member of the Deutscher Werkbund and publisher of the magazine “Die Form”.

3lux:letters 2 | 2006 13
impression

Country Light
Sunset over Antelope Island in Utah,
USA.
The rocky island with its bizarrely ero-
ded silhouette forms a contrast to the
expansive 4400 square kilometre
“Great Salt Lake”. Antelope Island is the
largest of the ten islands in the “Utah
State Park System”, a region characte-
rised by extreme and changeable weat-
her conditions and many diverse geo-
logical features.

14
 Photo: Larry Hansen

„Day is almost but not yet done, tensed with the final moments of direct contact
between sun and earth, and with the death throes of a dazzling star. There is a
last kiss, a fleeting touch, and a parting farewell as the sun finally faces the world
and slips away.“
Henry Plummer, in: Poetics of Light, Light and Time, a+u Extra Edition 12/1987

3lux:letters 2 | 2006 15
 reflection
INQUIRED
3lux:letters asked three renowned planners
reflection
about “Light and Urban Architecture”.
Le Corbusier once put it in a nutshell: “The ele-
ments of architecture are light and shadow, wall
and room. Nothing else can be added here.” In
your opinion, what significance has artificial light
amongst these fundamentals of architecture?
16
Michael Batz
Light artist, film director, writer, Executive
Committee “Foundation for Vibrant Cities“
Michael Batz: The lighting of materially enclosed spaces has
always tried to achieve the ideal of an immaterial light room. Since
the night scenarios of Modernism the relationship between these
elements shifts more and more towards the dynamic, temporary,
and stage-managed possibilities of lighting. The night image gene-
rated with artificial lighting has considerably gained importance,
because it expresses a characteristic of energy and has effects
beyond the daylighting function. Glass architecture directly aims at
stage-managements by night, at categories such as lightness,
transparency, hovering and reflection, which do not draw reference
from the expression of the masonry, but from the aesthetics of illu-
strations. Artificial light is therefore no longer an additional applica-
tion reduced to functional aspects; it is the central architectural
category of the night.

Daniel Kas
Architect
RKW Rhode Kellermann Wawrowsky
Daniel Kas: The manifestos of the iridescent guiding light of
Modernism have today been filtered with a critical distance. Despite
all admiration for Le Corbusier’s passion in his architectural definiti-
on for the “homme à demain”, we now know that openness and con-
centration on the respective task are necessary. In our cultural
circle artificial light presently defines the living environment of the
people more than daylight regarding quantity (when including the
time spent in front of screens). The qualitative application of arti-
ficial light in architecture has therefore become correspondingly
indispensable. Artificial light can develop a materiality in rooms,
which can be touched with the eyes and sometimes almost grasped.
Natural and artificial light are fundamental building materials for the
atmosphere of architecture.
3lux:letters 2 | 2006
Photo: Dominik Parzinger
Gabriele Allendorf
Lighting planner
light news
Gabriele Allendorf: Le Corbusier talks about “light”. Where we diffe-
rentiate between daylight and artificial light, we should also consider
“wall and room”. The wall is as “artificial” as artificial light; that means
something is man-made. The wall or the room get in the way of the
sun. An image following the course of the day is generated from light
and variously bright and dark shadow qualities. This image gives us
information about the dimension, form, colour, and material quality of
the room. In twilight the sharp three-dimensional picture merges into
an almost two-dimensional shadow aquarelle as far as a grey-black mix
at night. Before we start considering the use of artificial light, we
should ask ourselves a question of a similar quality, as we pose them
when building a wall or a room to be enclosed: What image is created?
How is the wall positioned in relation to the sun and to the next wall?
Should at night a pictorial quality be created, which is modelled on day-
light? Or is the stimulus of artificial light to depict qualities, which can-
not be perceived by day, that is to describe the room’s character.
17
reflection
In the illumination of our cities a change of values
has become apparent for in recent years, which
manoeuvres aside the usual set of standards and
regulations towards an aesthetization of light.
Where do you see the intersections, where lighting
planning and light art can learn from one another?
The lighting master plan of cities is often subject
to different interests, which are contradicting a
harmonious appearance. Are lighting master plans
necessary from your viewpoint, and how can you
as a planner contribute to their implementation?
18
Michael Batz: Cities are not simply illuminated settlement areas,
and light does not solely serve the primary provision of the human
visual function. Lighting planning can learn: That light is not only a
medium of brightness, but primarily also of design, which implies a
thinking of contrasts, tonal values, luminance, and relational percep-
tions. Not illuminance, but the graduation of luminance generates a
coherent and qualitative picture. The co-ordination of light structures
and the avoidance of the mostly reciprocal listlessness of lighting
systems are foundations of urban light culture. Light art must not
learn anything; as an art it is free. It cannot hurt to acquire an orien-
tation regarding contexts and commercial attention strategies and to
differentiate clearly between permanent lighting and temporary
stage-management. Mediocrity and crude city furnishing with lighting
objects is always detrimental.
Photo: Michael Batz
Complex in Friedrichsborn (historic mill, now literature center), Unna
Michael Batz: A master plan as a basis for communication is
generally necessary in order to list basic principles systematically,
such as objective and programme. A master plan in this sense is
rather a set of regulations with view to reality than an abstract
catalogue of regulations. The lighting designer basically acts as a
mediator between interests and opinions.
Daniel Kas: My impression is that more selectivity is necessary
especially between lighting planning and light art. On one hand we
need expert planners, who are perfectly informed about the market,
competent in lighting engineering and can equally communicate in
design matters. These are high demands, which to fulfil would be
well worth doing. On the other hand we are interested in light artists,
who are able to impart an artistic depth to the medium light. For a
long time James Turrell has led the way. The active cooperation of
light artists in new lighting master plans for our cities illustrates the
artists’ talent to react to the actual problems of our times and place
them in the centre of their work. As a result the so-called light art
from Bordeaux to Hamburg unfortunately too often mutates into
aesthetizingly designed educational lighting trails. “A strong commu-
nity needs strong individuals”, said Joseph Beuys. Professional plan-
ners and artists, who have something substantial to say, lead
towards curiosity and real interest. Intersections then result in the
collaboration per se.
Photo: Ansgar Maria van Treek
Medical fraternity, Düsseldorf
Daniel Kas: Especially complex, contradictory interests, which
seem to endanger a project, can also be used as energy potential.
The treatment of the contradiction sharpens the reference to reali-
ty and social relevance. A harmonious appearance is of course
agreeable, but achieves little in total. A lighting master plan is the
right instrument to structure the increasing urban illumination will.
Results of a thorough examination of the task “lighting planning for
the cityscape or light art as cityscape” can be capably utilized. This
integrative attitude is the more intricate, however the only way for
all those, who want to implement acceptance of valid models for a
democratic society.
3lux:letters 2 | 2006
Gabriele Allendorf: The set of standards and regulations, which is
amongst other things laid out in consideration of economic aspects,
takes care that at night the citizen moves from A to B as safely as
possible. That has nothing to do with aesthetics. Surely this is an
important consideration level of artificial lighting. It however ignores
the different appearances of façades or squares. This however is
exactly the starting point of light art, which reacts to the originality
of a square or a street, generating a new distinct picture in the behol-
der. I consider it as the synergy lighting planning / light art to
curiously look as cityscapes: The perception of the special feature of
a square, the original character of a street, the beauty of an urban
district and the creation of a picture of light with artificial lighting. In
this picture, several lighting levels have an effect, not only the neces-
sary light from always identical luminaires from above, like from a
shower. There can be a fore-, middle-, and background, comparable
to the classical structure of a painting.
Photo: Dorothee Haering
Business Lounge of Bosch/Siemens domestic appliance, Munich
Gabriele Allendorf: Considering Zurich as example, one can reali-
ze that a carefully developed lighting master plan is a gift for the city.
There is a commonly developed basic set of regulations, which clas-
sifies squares and streets, which however leaves enough scope to
deliberately design the various manifestations of the city’s spaces.
As this is very important and affects all citizens every day, even con-
clusive benchmark data were reconsidered in Zurich, with private
people, shops or firms are being granted the opportunity and stimu-
lus for a common design. Lighting design / Private Public
Partnership: A jointly designed square will generate conviction and
pride in the partners and find imitators.
19
reflection
We presently live in a time of increasing lighting
pollution. The night is more and more “turned
into day” with light engineering and light art
performances. Frequently artificial light actually
develops to be a strain for the human being and
the environment. When considering this back-
ground, towards which direction should lighting
planning move in the future?
Hardly any other design medium is as emotiona-
lizing as light. It is therefore even more impor-
tant, to understand lighting as a social concern.
Which good (or also bad) example for that stayed
in your mind?
20
Michael Batz: By giving priority to quality over quantity. The
unchecked linear increase of quantities of light and illuminance can
only be restricted by a politically enforced and privately supported
economy of emission. Starting points are for example time quotas
and district-related consent solutions. When everybody keeps to the
same rules (and luminance), nobody needs to be afraid of not being
perceived anymore. In the weighting to “picture quality” against
“arousal of attention” it must be clarified that the light of one per-
son is always also the light of others, and that in the end the over-
all picture is what counts. The more modest the use of light, the bet-
ter the chances for the picture.
Photo: Michael Batz
Bridge over the Elbe, Hamburg
Michael Batz: There are plenty of bad examples, which can be
enumerated. Certainly amongst them are the design of the Main
embankment in Frankfurt, the Rhine embankment in Cologne and
the Speicherstadt in Hamburg.
Michael Batz,
born in 1951 in Hanover, from 1970 to 1976 Michael Batz
studied German studies, history, philosophy, and history of
art in Marburg / Lahn. During his studies he already began to
produce numerous theatre pieces. From 1990 to 1994 he
worked as dramaturge at the international culture factory
“Kampnagel” in Hamburg. Soon after be became a member
of the board of “Lebendige Stadt Foundation” and was respon-
sible for the artistic management of “Theater in der
Speicherstadt” as well as the HafenKulturTage. Numerous
book publications, radio plays, exhibitions, and the stage-
management of urban scenographics/lighting concepts are
also part of his work. www.michaelbatz.de
Daniel Kas: The lighting planning of the future has to avoid the
urban planning mistakes of the past. I suspect that, as in architectu-
re, the examples of lighting treatment, which are really straining for
human beings and nature, are not caused by the meanwhile large
circle of well-educated experts. The “lawless zone” is in many places
wide open for lighting cowboys. Many communes decide upon the
use of illumination exactly like upon urban planning in a comfortable
“do it yourself” procedure. Generous, sensible, and simultaneously
powerful lighting planning can be the best advertisement for predo-
minately legitimated cities of light in the future.
Photo: Michael Reisch
IKB International, Luxemburg
Daniel Kas: I had the most fascinating experience with light during a jour-
ney to Havana. We arrived at dusk and took a taxi to the hotel. The sub-
urbs as well as the city centre were almost dark. No light axes, no neon
signs. Matt shinning, dark people sporadically emerged from the arcades
of the colonial architecture, illuminated from the headlights of the passing
cars. Policemen waved torches in order to hitch a lift. Not until the abso-
lute centre sources of light became visible: Completely unexpected, as
the strongest possible contrast, we drove into the harsh-white light-floo-
ded square at Parque Central. Here opposite the Capitolio gather the
major hotels around an ecstatically shinning stage filled with people,
where the dollar performs a Caribbean dream until late at night.
Daniel Kas,
born in 1960 in Saarbrücken, between 1982 and 1990 Daniel
Kas studied architecture in Düsseldorf initially at the Polytechnic
and subsequently three years at the Academy of Arts. After com-
pleting his studies he taught at the Düsseldorf University of
Applied Sciences. He worked as project architect with RKW
Rhode Kellermann Wawrowsky, and from 1998 as free-lance
interior designer. In 2000 he became one of the managing direc-
tors at Büros für Architektur + Städtebau RKW with headquarters
in Düsseldorf. Since 2004 Daniel Kas is assistant professor at the
Münster University of Applied Sciences. www.rkw-as.de
3lux:letters 2 | 2006
Gabriele Allendorf: Here, a finely co-coordinated master plan can
prove worthwhile: The more differentiated and sophisticated we
look at the application of artificial light, the more versatile, and sen-
sible we will treat it. We lighting designers also benefit from the
immense variety of luminants. Whilst in the city centre a historical,
prestigious building is illuminated with metal halide lamps, LED-
lamps are already conceivable in a side street or an adjoining
square. Last but not least a lighting planning, which is attuned with
scarce resources and moderate energy costs, will convince the
users of a reasonable application of artificial light.
Photo: Dorothee Haering
Schäfflerhof, Munich
Gabriele Allendorf: One of my all-time and absolute favourites are
the old arch lamps by AEG. They are used in Munich on the major city
axes, such as Briennerstraße and Ludwigsstraße, and on historical
squares, like Königsplatz and Karolinenplatz. When in winter the
colours are rather poor and dusk sets in early, these lamps start to
shine, initially weak, then increasingly stronger, in a bewitching
orange – like gigantic, ripe tangerines, putting a spell on these pla-
ces and myself. Maybe it is this enchantment, which we lighting
designers can evoke, this “be able to get involved in something”,
which makes our society more sensible, more enlightened, and more
curious.
Gabriele Allendorf,
born in 1956, completed her education as interior designer at
the Nuremberg Academy of Fine Arts. Since 1983 she is res-
ponsible for the production and distribution of her own lumi-
naire range, day- and artificial lighting planning as well as
light-sound installations in collaboration with musicians. In
1997 she founded “light news”, her own lighting design prac-
tice in Munich. For several years she has been lecturer for
lighting design at Munich Blocherer Schule and Coburg
Polytechnic. www.light-news.de
21
 architecture

architecture
CITY SATELLITE
Standing on the “Blauwbrug” bridge in Amsterdam’s historic district, the
headquarters of the recently merged “Waternet” water corporation is
perceptible in the distance. The “Dubbeltoren”, designed by the
Architectuurstudio Herman Hertzberger, subtly react to the location and
offer an exclusive view across the supplier’s sovereign water territory.

By Thomas Geuder

Owner:
DWR-kantoor/Waternet, Amsterdam
www.waternet.nl

Architect:
Architectuurstudio Herman Hertzberger,
Amsterdam. Entwurfsteam: Herman
Hertzberger, Cor Kruter, Laurens Jan ten
Kate (Projektarchitekt), Tom Bergevoet,
Laurens Cobben, Tjeerd van de Sandt,
Ariënne Matser, Kim de Man, Henk de
Weijer; www.hertzberger.nl

Statics:
Royal Haskoning, Nijmegen
www.royalhaskoning.com

Location:
Spaklerweg 16, Amsterdam

Photos:
Duccio Malagamba fotografía de
arquitectura S.L., Barçelona
www.ducciomalagamba.com

22
 A vertical slit of sight created
between both towers of the
Dutch Waternet water corporati-
on opens up a cutout to the
hinterland.

3lux:letters 2 | 2006 23
architecture

The division of the floor areas in

two towers and the wave-like
façade formation let the office
complex appear less massive in
comparison to usual office blocks.

24
Left page:
By night, when the building seems to
turn itself inside out, the diagonal
load-bearing structure becomes
visible.

Special urban planning parameters

define the exterior building form of
the “Dubbeltoren“, the double tower:
One visual axis stretches from
Amsterdam’s historic district along
the Amstel, the second one runs
parallel to the busy road
“President Kennedylaan”.

Parallel to the façade, the suspen-

ded ceilings are terminated with
continuous lighting lines. At dark
they emphasize the round building
form as well as the façades’
horizontal accentuation.

3lux:letters 2 | 2006 25
architecture

Photo: Herman H. van Doorn GKf

The column-free structure allows the
free division of interior spaces;
workspaces can be arranged in
clusters. The offices are illuminated
with the series 369 by TRILUX.

The ninth and tenth floor accommo-

date the common “Place of
Encounter” with café, canteen, diffe-
rent meeting rooms and the forum,
the large conference hall. TRILUX-
downlights provide the appropriate
ambience.

26
 The calm individual offices are loca-
ted between the inner service block
and the straight exterior façade.
Glass partition walls ensure spatial
transparency.

From the footbridge, which connec-

ts the ninth and tenth floor in both
towers with the semi-public plaza,
the beholder can enjoy a superb
view across Amsterdam.

3lux:letters 2 | 2006 27
architecture
Ground floor plan
Who has ever been in the Dutch capital Amsterdam will willingly
remember the idyllic old town with its canals, which are 80 kilometres
in total, spanned by about 1300 bridges and lined by innumerable
houseboats. An important link in the canal network is the river, which
has given its name to the city: the Amstel. In the centre it runs from
the “Blauwbrug”, the Blue Bridge, transverse to the canals upstream
towards the “Industrieterrein Amstel” situated south-east of the old
town. Since recently the river points towards the new office building
of the Dutch Waternet water corporation that has been created in
early 2006 by the merger of the municipal waterworks
(Waterleidingbedrijf Amsterdam) and the supply and waste water ser-
vice corporation DWR (Dienst Waterbeheer en Riolering). The corpo-
ration has established their headquarters with a panoramic view
across the city and almost their entire service area.
“A particular building in a particular location requires an extraordinary
line of approach - and an extraordinary architect”; with these words
Roelof Kruize, director general at Waternet, describes the result of
the architectural competition, to which seven architects had been
invited. The Amsterdam practice of Herman Hertzberger proposed a
28
convincing solution, which is first of all characterized by its response
to the site’s urban planning parameters: The designated site is
located at an almost right-angled bend of the river Amstel; in this
location a single, massive office block would have sensitively disturb
the view to the Amsterdam hinterland. In order to nevertheless realize
the required office floor area of 28500 square metres for approxi-
mately 1000 employees, Hertzberger divided the room programme
and conceived two 50-metre high towers. Some kind of “sight slit” is
produced between the towers, which is optically further widened by
the wave-formed façade. Transverse to the viewing direction a
second visual axis penetrates the twin towers parallel to the Amstel,
forming an extension of the busy road “President Kennedylaan”.
A striking feature in the façade of the “Dubbeltoren” is a two-storied
glass joint stretching across both buildings and a glazed bridge bet-
ween the towers. In addition to the vertical sight slit, Hertzberger
interprets the horizontal space located behind this glass joint as the
second component of his open space concept: Here on the ninth and
tenth floor a “Place of Encounter” has been generated, a kind of Plaza
with bar, canteen, a forum (large conference hall) and a few meeting
Ninth floor plan, Place of Encounter
rooms, which are partially located on the mezzanine level.
Hertzberger deliberately avoids the usual positioning of these func-
tional rooms on the ground floor, instead moving them to the upper
levels due to the wonderful view across Amsterdam and the surroun-
ding region. With this move Hertzberger wants to express his reser-
vations against internal hierarchies; therefore the great conference
hall is located “on eye-level” with the staff canteen.
The structure of both towers is based on a simple principle: The
floor slabs span column-free between a concrete core, the “service
block”, and an exterior load-bearing steel structure with a sus-
pended façade, which consists of a net of diagonal columns with a
nodal point on every third floor. This structure offers the advantage,
that it accepts vertical and simultaneously horizontal loads. Wind
loads are therefore directly transferred into the foundations and
need not be initially redirected via stiffened walls. Even in the case
of failure of a column element due to a catastrophe, the structure
remains stable.
The column-free quality of the interior allows an arbitrary example
of the office areas. Herman Hertzberger thereby represents a
3lux:letters 2 | 2006
Longitudinal section
design principle, which breaks with the traditional cell structure (as
they have already done in the “Centraal Beheer” office complex in
Apeldoorn in 1972), in favour of an open system from interlinked
zones with multiple functions. Hertzberger divides the storeys in
two areas: Quiet workplaces are located between the service block
and the straight façade; in the open area between the core and the
wave-formed façade the workplaces can be grouped in clusters if
required. The office spaces are illuminated by a combined system
of indirect ceiling lighting positioned at a 2-metre distance to the
façade (which lets the building’s interior shine at night, therefore
eliminating the exterior lighting) and direct-indirect radiating ceiling
luminaires, which are especially suitable for workstations. Circular
built-in lights with a radial mirror grid provide a homogeneous
lighting on the common level. Natural light is regulated with the
formation of continuous windows: Their height seems to be orien-
tated by the façade’s curvature. However, they actually enlarge
with the rooms’ depth, thereby providing an even illumination –
according to the democratic principle running through the entire
design like a main thread.
29
 TRILUX

Photo: Auler-Licht-Kabel, Saarbrücken

The winner of May was the
company Auler-Licht-Kabel from
Saarbrücken. Their photo shows
the main conference hall inside the
conference building of the Saarland
broadcasting company. Its sloping
ceiling was a particular challenge
for the lighting designers.
TRILUX

A LIFE IN LIGHT
This is the universal and wide-reaching slogan
already used by TRILUX at the light+building
2006 exhibition. Now TRILUX is looking for
attractive lighting solutions to match the same
slogan in a photographic competition - lighting
that is an experience for the senses.

Don’t be shy! We want anyone who enjoys photography to join in the

search for sophisticated and unique lighting situations. We would
like the photos to show motifs that, in line with our company philo-
sophy, use modern concepts to enhance light so that it not only
improves living and working conditions but also has a positive effect
on people’s health, comfort and mood – light as emotion and fasci-
nation. The aim of the competition is to discover a wide range of
impressive and lively lighting environments with TRILUX products.
Every month, from May to December 2006, each participant can
enter up to ten digital photos on our website at www.trilux.de/ima-
ges. Entries sent by post will not be included. An interdisciplinary
jury will select a photo every month that matches our slogan “A life
in light”. The monthly winners, who will also be entered automati-
cally in a draw at the end of the year, will be announced each month
on the Internet. The tempting monthly prize is a rental car voucher
worth 250 Euros from Sixt. The winner of the main prize will recei-
ve a modern home entertainment centre.

30
NEW STANDARD: DIN EN 13201
Since November 2003, the new standard DIN EN
1302 has applied in Europe for the lighting of
streets, paths and public squares. In order make
conformity with the standard easier, TRILUX has
published a 40-page planning aid and the plan-
ning programs “TX-WINstreet” and “TX-WINarea”.
In Europe, not only are the traffic regulations largely the same in all
countries, but since November 2003 the minimum requirements for
street lighting have also been standardised. The standard series EN 13
201 comprises four parts, which specify selection of lighting class,
quality standards, how to calculate these and suitable methods of
measurement.
In order to make implementation of the new standard more easy for
planners, last year TRILUX launched its new software “TX-WINstreet”
and a planning aid “Light for Europe’s roads”. The clearly designed bro-
chure first covers the technical lighting requirements for street lighting
with regard to light intensity, lighting strength, dazzle limitation and
colour reproduction. Numerous straightforward tables over the follow-
ing pages assist the user with selection of lighting class according to
the traffic situation and frequency, the expected risk of criminality and
any visual obstacles that may need to be accounted for. In street
lighting, a so-called “maintenance value” is to apply in future for the light
intensity on the road surface, and this must not be fallen short of at any
time. From this value and from the estimated annual lighting time, the
maintenance cycle for the lighting system can be calculated.
3lux:letters 2 | 2006
Information about maintenance cycles, the effect of different road sur-
faces and detailed planning instructions is provided for the user in the
third section of the planning aid. Part 4 deals mainly with technical light
planning for pedestrian and cycling areas. A bibliography with informa-
tion about the standards that have applied in the past completes the
planning aid.
Planning software TX-WINstreet can be used for planning road and path
lighting in conformity with the new DIN standard EN 13 201. The lighting
situation, lighting class and lighting data are specified by selecting cri-
teria from a menu. Changing the specifications, such as the arrange-
ment of the lights, enables the user to calculate alternatives and set out
the data for each alternative in a table. The TX-WINarea software can be
used to plan the lighting of open areas, road crossings, sports grounds
and pedestrian areas. It can also be used to calculate lighting strengths
on vertical and sloping areas in accordance with DIN EN 13 201.
The planning aid and planning software can be ordered from
vertrieb@trilux.de or on hotline number +491802-TRILUX (-874589);
the software can also be downloaded free of charge from www.TRI-
LUX.de/service.
31
TRILUX
LIGHT AND CRIME PREVENTION
The importance of an intact living environ-
ment in the prevention of criminal offences is
often underestimated. However, lighting
plays an important role here alongside many
other factors.
By Ernst Wauer
The extent to which the design of an environment influences the
development of criminality in our cities is a question that crops up
regularly. Attempts are made to fight criminality in advance, by taking
preventive architectural measures in urban development. People who
feel comfortable in their environment develop a sense of responsibility
for their habitat and become committed to it. Urban development, par-
ticularly in the 1960s and 70s, often resulted in cityscapes that were
characterised by their uniform look and inadequate infrastructure. A
healthy mixture of living space, work areas and leisure facilities was
often forfeited. The result is inner cities that are empty after the shops
and offices close in the evenings and an increasing tendency for resi-
dents to move out to the suburbs. This process and the associated
reduction in informal social control resulted in an increase in criminality
that induced feelings of fear amongst the population.
In many studies (including a project by the police crime unit in Essen
entitled “Heeme”) a link has been ascertained between criminality and
types of urban development. Although no monocausal connection can
be ascertained, as is often the case in criminology, the architectural
design of residential areas definitely has an influence on facts like
victim fear, offence opportunity structure, the degree of risk of dis-
covery, and communication between people. This all has an effect on
the people living in this environment and lays down a decisive frame-
work for the process of socialising young people. Criminality often
occurs when the social context is characterised by loneliness, and lack
of attachment and orientation, and when very little social control takes
place. Urban planner Gary Lawrence from Seattle asked in a talk he
gave at the University of Essen in 1998: “What makes people happy?”.
His answer made it clear that a positive environment (living area) plays
an important role, and this includes design aspects too. Experience in
this field has shown that people’s perception and interests are always
focussed on a small area. In this connection, urbanity means atmos-
phere, comfort, urban aesthetics and, in particular, safety, because
safety means quality of life. Our feeling of safety determines our levels
of daily fear and consequently our well-being. The objective safety
situation is only of secondary importance here. A great many studies
have shown that “a place of fear” comes into being as a result of one
or more of these characteristics:
– There is no formal or informal social control by a lively environment
(neighbourhood involvement)
32
Right page:
Even minimal lighting can inspire a
feeling of safety in public areas and
significantly reduce the risk of
criminality.
– There are unmanageable, unclear areas with corners that cannot be
seen into.
– The plants at the edges of pavements and paths are too high and
provide opportunities for people to hide or attack.
– There is inadequate or faulty lighting or none at all, dark-coloured
walls reduce the basic levels of light.
– There are dark zones in the direct surroundings
– Orientation aids are inadequate.
– In typically “unsafe areas”, like underground car parks, there are no
technical safety systems (emergency call intercoms, video
cameras).
– Buildings are not used on the ground floor, e.g. when shops are not
occupied.
– Outside areas are run-down.
Eliminating only one of the characteristics listed above is not sufficient.
In particular, none of these characteristics should determine the cha-
racter of an area. The following applies for public areas: not only a real
danger, but also a potential danger is enough to generate feelings of
fear and consequently “places of fear”. These theoretical basics are
the starting-point for the development of different concepts for crime
prevention.
Anonymous housing estates – hotbed of criminality?
The architectural structure of a living environment is a significantly
influential factor in criminality. This is because it has a direct influence
on scene of the crime structures in that it can potentially offer suitable
opportunities for crime and either encourage or hinder acts of crime.
In addition, it determines the degree of informal social control (neigh-
bourhood involvement) and consequently how safe people feel. Also, it
is in the living environment that a disposition towards criminal beha-
viour can develop.
International studies have shown that large blocks of flats in particular
often have high levels of criminality. Especially tower-like blocks with a
height of more than seven storeys are often distributed haphazardly
across large pieces of land and not well structured. The public areas
of roads and open spaces often drift over into the private accommo-
dation units. Halls, corridors and lifts are not regarded as semi-public
or semi-private access areas or thoroughfares that are really only
intended for inhabitants, their friends and other authorised individuals
to enter and pass through. The same phenomenon occurs with green
areas in housing estates of this kind that are not divided up into func-
tional areas and neither therefore defined as being semi-public or
semi-private. The result is that informal control in these areas is signi-
ficantly diminished. So what is needed here is to extend private areas
beyond the flats in order to show potential criminals that these areas
are subject to informal control and that they are therefore more likely
to be discovered there. In this connection, it is also very important for
corridors, entrance areas, green areas and underground car parks to
be well lit and secure.
There are two basic principles that come foremost in urban develop-
ment and architecture designed to prevent criminality. The first is that
a feeling of belonging should be encouraged among residents. People
who are interested in their surroundings and identify with them tend to
develop a social feeling of togetherness. As a result, informal social
control also develops: it becomes difficult for offenders to commit a
crime without being seen.
The second is that the concept of so-called “defensible space” can be
assumed. This means that the way living space and the surroundings
are divided up should make it clear where the semi-public and semi-
private areas actually are. Semi-public areas are demarcated by sym-
bolic barriers that separate them off from the public areas, for exam-
ple by using different coloured paving slabs on public footpaths and
the entrance areas of a block of flats.
The limits for changes of this kind can be established from the degree
to which residents accept these measures. In order for the necessary
preventive effect to develop, projects must be accepted: simply impo-
sing theoretically constructive and carefully thought-out measures is
not very successful and can even have the opposite effect. Particularly
in residential areas where large numbers of people live, social struc-
tures and activities tend already to be firmly established and auto-
nomous. In cases like this, what is needed are crime prevention com-
mittees that must attempt to break down these structures carefully in
order to introduce change.
Modernisation of street lighting – an investigation
Lighting conditions are very important to people, particularly in relation
to how they evaluate quality of life and of homes and how safe they feel
in a place. For this reason, the lighting of residential streets is also of
3lux:letters 2 | 2006
great interest with relation to urban crime prevention measures.
Whether and to what degree modernised street lighting is actually
assessed as positive by the residents of an area was investigated by
the Department for Crime Prevention at the Urban Criminal Prevention
Sector of the police in Essen, using the example of a small residential
street in Essen. A resident here had notified the police of the fact that
he found the street lighting inadequate. The lighting was assessed and
criminal statistics of the surrounding area investigated. It was found
that parts of the street, particularly in areas where the buildings were
widely spaced, were indeed not adequately lit from a point of view of
crime prevention. In addition, it was found that there were significant-
ly high numbers of break-ins to buildings and cars. Although most of
the buildings affected were shops, this must certainly have had a
negative effect on the way inhabitants of the area felt about their
safety. Just a few weeks later the street lighting was modernised and
the old type of white lights used until this point (cone-shaped lamps)
replaced with modern lamps with a sodium vapour tubes, which give
out orange light. The same lampposts were kept, which reduced the
cost of the conversion considerably. Immediately after this measure
had been taken, a questionnaire was distributed among residents. The
aim was to find out how they assessed the change itself, and find out
more about how residents felt about their personal safety and fear
factors in their residential area. Particular attention was paid to a
before-and-after comparison. The survey, in which 53.7 percent of
residents took part, revealed that they place great value on living in
safe surroundings. On the whole, residents seemed to feel safer in
their own street than in the rest of the area. With the changes made
to the lighting, this feeling was apparently intensified successfully. The
modernisation was also welcomed by most of the residents for
aesthetic reasons. Interestingly, most of the residents had not
previously been aware of the need for better street lighting, but in
retrospect appreciated it very much. This effect of residents being
accustomed to poor lighting conditions should be taken into account
in future in the planning of similar measures.
Ernst Wauer, Bachelor of Public Administration (university of applied sciences), has
been with the police in the regional state of North Rhine Westphalia since 1992. He
is currently a Detective Superintendent. Since 2004 he has headed the specialist
department for “Crime prevention in urban development”, which operates at the inter-
face between urban planning, architecture and criminology. www.polizei-essen.de
33
 work

ALLROUND TOOL
Robustness, durability and a high degree of functional versatility cha-
racterize a good-quality exterior luminaire. With “Lumega” by TRILUX
Rino Bossy faced the challenge to develop an adequate, easily reco-
gnizable form for more than 170 product versions.

von Thomas Geuder

work

Design:
Bossy Design
www.bossy-design.de
Luminaire:
Exterior luminaire for pole head and pole
shoulder mounting.
Luminaire heads:
More than 170 versions with different per-
formance and radiation characteristics
Light sources:
High-pressure sodium and mercury
vapour lamps as well as compact
fluorescent lamps
Application fields:
Streets and crossroads, pedestrian
areas, paths in parks and housing areas,
squares, car parks, open air workplaces,
factory roads, harbours and shipyards,
sports facilities, cross country ski trails
The question for the origins of a luminaire family such as Lumega
is slightly reminiscent of the riddle with the hen and the egg: Who
was there first: the brief of the client TRILUX or the designer’s idea?
On one hand no product design can do without technical specifica-
tions. The demands for standardized light engineering, adequate
dimensioning as well as quick and uncomplicated maintenance were
of primary importance for Lumega. Especially the aspects of main-
tenance and durability frequently separate the wheat from the chaff
in case of exterior lights: The luminaires have to brave wind and
weather, must be robust and vandalism-proof, and do with a
minimum of care.
On the other side of the design process is (as fresh and unbiased
as possible) the designer’s creativity, to which Rino Bossy deliber-
ately attached primary importance when commencing his work on
Lumega: In a brainstorming procedure he developed ideas for the
form of the future lights. The hand sketches produced in this phase
are at first put aside, only to be brought back later on to support
significant decisions. A phase of intense research follows: How can
maintenance work on the luminaire be reduced, how can the

34
 Sketches: Rino Bossy / Bossy Design

The first form studies for Lumega are

hand sketches.
Right: Light-head with snap lock for
the transparent cover of the light
chamber.

3lux:letters 2 | 2006 35
work
ergonomics be improved? Solutions, which already exist on the
market, are analyzed and potential architectural developments are
anticipated. Even before the actual concept design a first qualita-
tive design strategy was determined: Lumega will be constructed
according to the three-chamber principle. One chamber serves for
the exchange of the luminant, one for the exchange of the control
gear (as compact as possible) and the third for the inclination
adjustment of the luminaire head using a scale.
During the concept design phase all general conditions and para-
meters came off the table at first. “They are firmly anchored in my
mind” said Rino Bossy, “and give way to the generation of ideas”.
New, more or less good principle solutions are generated, first
forms are perceptible. “We refine, reject, and start all over again: a
balancing act between euphoria and contentment. That is good,
because euphoria pushes on and disappointment contributes to
qualitatively better solutions,” explains Bossy. “Paper as a medium
has now reached its limitations, I want to three-dimensionally and
haptically experience and evaluate the visions.” The first models are
hand-carved from soft foam with a coarse file and a hand-milling
36
Detail sketches of luminaire head.
The sealing claps of the maintenance
chamber were deliberately marked
as functional elements; they decisive-
ly characterize the luminaire’s form.
Opposite page:
For the second presentation to
TRILUX various design variants for
Lumega were initially produced as
models at a scale of 1:5 (top left).
The completed luminaire during the
market launch at the light+building
trade fair in Frankfurt (below).
machine. During an internal review all models were tabled. On the
basis of product-relevant technical and theoretical cognitions
acceptable results are separated from useless variants. Important
for this product is the marketing and brand strategy: “In this case
it is not about conceiving a design as simply ‘beautiful’, but to
achieve the highest possible serviceability under economic
aspects”, explains Rino Bossy. From the concept designs that have
the potential to be realized, he has presentation models made at a
scale of 1:5.
Two to three months after his first concept sketch follows the pre-
sentation of concept designs to TRILUX. The numbered models are
unveiled one after the other and the strong points as well as the
risks of the single variants are discussed. “The stronger the design,
the quicker decisions can be made”, says Rino Bossy. TRILUX
clearly opts for one variant, which should be implemented. From
now on the optimization of details is in the fore at Bossy Design,
namely criteria such as simple handling, uncomplicated manufactur-
ing, demoulding, and stiffening of the casing structure. With the
SolidWorks mechanical design software a 3-D data model is gener-
ated, which is modified until a basic satisfaction is achieved.
Simultaneously a full-scale HR-foam model is produced in the work-
shop. It provides most information regarding the luminaire’s plastic
effect. Therefore its proportions are once again transferred to the
data model after the fine-tuning. In return the HR-foam model takes
on details from the engineering drawing such as the casing divi-
sions, which are already perceptible as joints. From now on the
attention is generally directed to technical details: What can be sim-
plified? Where can existing technical solutions be applied, where
would they annul the luminaire’s aesthetics? Are there corners
where dirt can gather? New, acceptable solutions are generated,
which merge geometry and function in a conclusive entity. By now
the data model “stands”; the dimensioning is determined as well as
the structural composition (at least the principle). Before the sec-
ond presentation to TRILUX the design rests in favour of other pro-
jects. The design team puts some daylight between itself and the
existing design and starts thinking about fundamental alternatives.
The developed solutions to date are deliberately put to the final
test: Modifications are still relatively easy to realize; later on they
3lux:letters 2 | 2006
would be far more expensive. Furthermore the team is well worked
into the theme and has gained a maximum of insight and experience
in the previous design phases. At the end of the final thinking and
discussion process the casing surfaces are once again slightly
modified and the demoulding angle is increased in favour of a
reduced tool wear. At the concluding presentation to TRILUX a
model of the luminaire is for the first time mounted to a pole and
can thus be assessed under realistic conditions. The client’s reac-
tion is positive: TRILUX gives the light concept good chances to be
successful in the market. Thereupon Bossy Design hands over the
model’s 3-D data to the TRILUX development department; the fur-
ther detailing and technical elaboration is carried out in close coor-
dination between the designers and product developers.
Since Lumega’s market launch in March 2002, the luminaire has
been able to prove its suitability for daily use in several thousand
cases. The unity of form and function as well as the large diversity
of the luminaire family have since then not just convinced the jury
of the Design Centre North Rhine-Westphalia in Essen: In 2002 the
jury awarded the luminaire the coveted “red dot” Design Award.
37
 art
Zollverein glows: With fireworks
Essen celebrated the appointment
as European Capital of Culture
2010 on their World Heritage Site
“Zollverein coal-mine”.
CAPITAL OF LIGHT 2010
The EU-jury has elected Essen as European
Capital of Culture 2010. Light art projects
played a major role in the application of the
Ruhr area city.
art
By Jakob Schoof
38
Photo: EMG/Wieler
“Change through Culture – Culture through Change” was the motto
for Essen’s application as Capital of Culture: a clear allusion to the
structural change the Ruhr area has been undergoing for several
decades. The focal point of activities is the Zollverein coal-mine, its-
elf a symbol for the conversion of an industrial site into a cultural
location. From 2010 it can be experienced, what made up the pros-
perity and fate of the Ruhr area: galleries and conveyors, a real
“second city” located 1000 metre below the earth’s surface. At least
small parts of it will now be made accessible to the public.
Light played a central role in Essen’s entry for being the Capital of
Culture: In a project under the curatorship of Florian Matzner and
Mischa Kuball, seven light and text-active objects (so-called “art brid-
ges”) will be realized along the Ruhr express way, the area’s central
arterial road. Additionally, the seven-part opera cycle “LIGHT” by the
composer Karlheinz Stockhausen, which is divided by the weekdays,
will for the first time be stage-managed during the Culture Capital
year. Locations of the performances will be industrial monuments
such as the Jahrhunderthalle in Bochum or the Meiderich
Kraftzentrale in Duisburg. www.kulturhauptstadt-europas.de
 Unfiltered light bombing: Siegrun
Appelt’s installation “114 kW” trans-
formed the Schirn-Rotunda into a
glistening arena.

150000 lux, more than the average

on a sunny summer day, was the
illuminance in the light of 57 flood-
lights; for some visitors only
bearable with sunglasses.

Photo: Schirn-Kunsthalle, Frankfurt

Photo: Jakob Schoof

OVEREXPOSED
With her installation “114 kW” in the Frankfurt
Schirn Kunsthalle the Viennese artist Siegrun
Appelt has referred to the light pollution of
our cities.
By Jakob Schoof
114 kilowatt is approximately the performance of a mid-range car,
or that of 57 two-thousand-watt floodlights. At the end of April,
Siegrun Appelt, born in 1965, has exposed the visitors to the
Schirn Rotunda in Frankfurt to this quantity of light. She wanted to
allude to the light pollution and waste of light that belongs to the
everyday life of our cities and landscapes. The floodlights were
installed in a circular formation underneath the rotunda’s glass
dome, consequently transforming the interior into a glisteningly
bright (and hot) arena: Only about 43 percent of the overall perfor-
mance reached the beholder’s eyes in form of visible light waves;
53 percent on the contrary were direct or indirect heat loss, which
the visitors of the installation got to feel directly. An information
board explained the correlations and reference data: With 114 kilo-
watt half a football field, 35 kilometres of B-roads, 6000 square
meters office space, or 300 meters shop windows can alternative-
ly be illuminated. “114 kW” has had first, intended effects immedia-
tely on location: During the exhibition the city of Frankfurt did not
illuminate the façades of the cathedral, the Roemer (city hall), and
St. Paul’s Church at night. www.schirn-kunsthalle.de

3lux:letters 2 | 2006 39
art
“Polylit” on Kleiner Schlossplatz in
Stuttgart reveals its interior at night.

By day the mirrored surfaces reflect

the light, the peoples and the surro-
unding buildings.

Photo: Kunstmuseum Stuttgart/Gonzalez

Photo: Thomas Geuder

RADIATION INDICATOR
With “Polylit” the artist and musician Carsten There are different opinions as to whether the radiation of mobile
phones is harmful for the human organism. Whoever is really inte-
Nicolai invites passers-by on “Kleiner Schloss-
rested, when exactly the mobile phone transmits, should come to
platz”, a central square in Stuttgart, not only to Kleiner Schlossplatz in Stuttgart, right behind the art museum,
have a look, but also to participate. where for a few weeks the “Polylit” by the artist Carsten Nicolai from
Berlin has been located. “Polylit” is a ten-metre high crystal-like pil-
lar made from three irregular octahedrons with surfaces from plate
glass, which become bigger towards the top. During the day the
By Thomas Geuder surfaces reflect the natural light with multiple refractions; at night
however, when the sun is not shinning anymore, the invisible elec-
tro-magnetic radiation of mobile transmitting sets initiates pulsating
light beams in the sculpture instead, making the interior visible
through the semi-transparent mirrors. The piece of art, herald for
the exhibition “Illuminated Buildings: Architecture by Night” in the Art
Museum (page 07), consists of an only 800-kilogram internal steel
structure, which is clad with glass panes weighing 1.4 tons in total.
An almost 13-ton concrete plinth invites passers-by to linger and
make telephone calls, maybe even conjures smiles in the face of the
beholder at dusk. www.kunstmuseum-stuttgart.de

40

A ROUND OF GOALS AROUND THE ALSTER
Signs of light above Hamburg’s roofs: In
almost 200 locations in the Hanseatic city the
“Blue Goals” by the light artist Michael Batz
call attention to themselves: apposite to the
2006 FIFA World Cup.
By Jakob Schoof and Thomas Geuder
3lux:letters 2 | 2006
In the meantime almost 200 “Blue
Goals” adorn Hamburg’s roofs. The
light installations, which are very
appropriate to the FIFA World Cup,
have been created on the occasion
of festivities for the 20th anniversary
of town twining with Shanghai.
The “Blue Goals” are based on a sim-
ple and reusable structure: They con-
sist of aluminium cross beams,
which are equipped with strong, blue
shining fluorescent tubes. The artist
personally approves all goals before
the initial operation.
Photos: Michael Zapf
The idea was simple and obvious: The Hamburg light artist Michael
Batz has used the “Gate to the World”, as the city of Hamburg has
always been entitled, as the location for a light artwork setting a
bridging symbol on the occasion of the 20th anniversary of the town
twinning with Shanghai. For several months the 200 goals made
from blue fluorescent tubes decorate the city’s roofs. Depending on
the location, visual relations and viewing distance, they consists of
2 to 15 meters long aluminium cross beams, to which strong, blue
shining fluorescent tubes are fastened. As many goals as possible
are interlinked at night with laser beams, thus repeatedly creating
new urban relations and lines of correspondence. The artwork aims
to stimulate fantasy and reverie, whilst simultaneously raising prin-
cipal questions regarding the city’s presence and future.
Chronologically favourable, the light installation coincides with the
FIFA World Championship, which is perfectly suitable as moving
spirit and impulse for the artwork. When the festivities of the part-
nership anniversary will end on 30th September, all goals will be dis-
assembled, except ten pieces, which are supposed to find a new
home in Shanghai. www.blue-goals.de
41
 reading
City Light – Lighting Art
(Stadtlicht – Lichtkunst)
Christoph Brockhaus
Published 2005 by Wienand Verlag
und Medien GmbH, Cologne. 232
pages with 181 colour and 33
black/white images. German.
21 x 27 cm, hardcover.
¢ 39,80
ISBN: 3-87909-852-2
www.wienand-koeln.de
Light – Building with Light
(Licht – Bauen mit Licht)
reading
Heinrich Kramer / Walter von Lom
Published 2002 by Rudolf Müller
GmbH, Cologne. 287 pages with
numerous black/white and colour
images. German.
23,5 x 28 cm, hardcover.
¢ 49,–
ISBN: 3-481-01691-3
www.rudolf-mueller.de
Light Zone City –
Light Planning in the Urban
Context
(Lichtraum Stadt –
Lichtplanung im urbanen Kontext)
Christa van Santen
Published 2006 by Birkhäuser –
Verlag für Architektur, Basel, CH.
128 pages with 210 colour and 30
black/white images.
24 x 28 cm, hardcover.
¢ 53,39
ISBN: 3-7643-7522-1
(Germany ISBN: 3-7643-7521-3)
www.birkhauser.ch
42
Light has many facets – potential that
is not often used to the full in public
areas. Now a new book entitled
“Stadtlicht – Lichtkunst” (City Light –
Lighting Art), published on the occasi-
on of an exhibition of the same name
by the Wilhelm Lehmbruck Museum
Foundation in Duisburg, shows the
effect of light in different environ-
ments. In the first part, well known wri-
ters provide a historic outline of the
international light art scene since the
1960s. Artists like Otto Piene, Keith
Sonnier, Olafur Eliasson and Mischa
Kuball shed light on what light can
actually do in public areas. The second
part, which is the catalogue for the
exhibition, then confirms how diverse
light art is, illustrated with numerous
pictures. Organisation of the volume
into different categories makes it
especially useful as a reference book.
The projects covered in the book
range from permanent light architec-
ture to sculptures and installations that
use light and temporary light shows.
A 34-page crash course on the
history of the human race puts light
into architecture: light designer
Heinrich Kramer and architect Walter
von Lom are interested in incorpora-
ting artificial and natural light to an
equal extent in the planning of buil-
dings. As well as being something
functional, light also affects the emo-
tions, it emphasises and hides things,
it creates spaces and influences their
effect. Prometheus was punished by
the Gods for giving mankind the fire
of knowledge. Today, light is a tool
available to us at any time that we
can use to lengthen the day, convey
information and create whole worlds
of images. But the decisive thing
about it is how sophisticatedly it is
used. With a selection of contempo-
rary “light applications” taken from
urban design, architecture and art,
this book is a potpourri made up of
many parts and seen from many dif-
ferent viewpoints, illustrated with
plans and pictures.
“Light Zone City – Light Planning in
the Urban Context” by Christa van
Santen. The cover of this book is
tempting in itself, the title picture is
Paris at night, bathed in warm light.
Inside the cover, the author covers
everything from very general
themes like “the lighting of buil-
dings” to topical problems like “light
pollution”. Numerous colour pic-
tures accompanied by short, pre-
cise text take the reader through
light situations that compare day
and night. At the end, Christa van
Santen provides an insight into solu-
tions for different, mostly well-
known buildings in ten European
cities such as Rome, London and
Berlin, all of which she has visited in
person. Despite the many subjective
impressions gathered on her jour-
neys, the author still succeeds in
grouping and documenting the tech-
nical facts and emotional light
designs in an appealing and objec-
tive manner.
 source

How were theatre stages

lit before electric light
was invented?

Design for the opera Nerone fatto Cesare by

Giacomo Antonio Perti, 1695
A stagehand trims the candle wicks. Reconstructive
drawing by R. Christiansen, 19th century
Lamp housing with reflector. Source: Joseph
Furttenbach, 1627

Theatre lighting is and remains one

of the most complicated and difficult
challenges of lighting design. Before
electric light was invented, theatre
stages had to be lit up with thou-
sands of oil and wax lights. Candles
were preferred to oil lamps, how-
ever, although they were more
expensive, because they were brigh-
ter than oil lamps, which also gave
out an unpleasant, greasy smell.
One opera performance in Stuttgart
in 1779, it was meticulously recor-
ded, needed the following: 170 wax
lights, 1176 tallow candles, 430
pounds of tree oil, 1 pound of wax
sticks to light the candles, 3 pounds
of clubmoss spores known as lyco-
podium (for flame effects) and 200
pitch rings for pitch torches.
Specially employed lamp cleaners
spent the entire performance repla-
cing the candles and trimming
wicks, a job that disappeared gra-
dually with the introduction of gas
and later electric lights.

3lux:letters 2 | 2006 43