shop lighting

Transcription

shop lighting

002
Shops
International Lighting Review
Revue Internationale de l’Eclairage
Internationale Licht Rundschau
Revista Internacional de Luminotecnia
SCRABBLE
A M O D U L A R A P P ROAC H T O S H O P L I G H T I N G
Philips Lighting
BU Luminaires
International Lighting Review
Internationale Licht Rundschau
Revue Internationale de l’Eclairage
Revista Internacional de Luminotecnia
ISSN 0020-7853
ISSN 0165-9863
ISSN 0035-3388
ISSN 0167-7608
51th year / issue 002
Founded in 1949, International Lighting Review is devoted to all aspects of
lighting. Published three times a year, it reports extensively on developments and
trends in lighting, on actual problems encountered in lighting design and
technology, and on outstanding projects from all over the world. ILR is richly
illustrated with colour photographs and drawings covering more than 50 pages.
Published by Philips Lighting, Luminaire Group
Produced by LiDAC, Lighting Design and Application Centre, Eindhoven, the
Netherlands.
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Post Office, Singapore 9131. Sverige: Leif Berggren, Estlandsgatan 140, S-122 37
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961, 10500 Bangkok. Turkey: Dr Haldun Demirdes, Talatpasa Cad. no. 5, 80640
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CR9 3QR. Uruguay: Luis Jubin, Canelones 1367-305, Montevideo. USA: Mark Roush,
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J J Quagliano, Apartado Aéreo 1167, Caracas 1010-A. Zimbabwe: Derek Warner, P.O.
Box 994, Harare.
Copyright
Normally speaking, articles published in International Lighting Review may be reprinted,
either completely or in part, with prior written authorisation from the publisher. However,
in those cases where the artwork concerned is not the property of ILR, it is not in our
power to grant permission to reproduce this.
The views expressed in this journal by third parties are not necessarily those held
by the publisher. The editor reserves the right to edit and abridge articles for
publication.
b
Front cover: KENZO flagship store (see page 14)
Photo: Philips Lighting Denmark / Børge Klamer Foto
I n t e r n a t i o n a l Lighting Review
Contents
002
http://www.lightingreview.com
2
Forum
6
Editor’s notes
News from the world of lighting
Shop lighting
Projects
Fashion
8
Spanish fashion
Jolanda Tielens-Aarts
Spain
Sfera, one of the new types of shops from El Corte Inglés, relies on lighting
to create a dynamic, fashionable atmosphere
14
p.14 Stig Gejl
p.14 Carsten Bahnsen
p.14 Anna Maria Indrio
Enticing fashion displays
Denmark
Kenzo, a new fashion house in renovated premises, has been given an
exciting lighting design
Supermarkets
18
Supermarkets…all under control
Three large chains of supermarkets where lighting control plays
an important role
p.20 Pascal Loiré
p.20 Maroun Najem
20
24
26
Carrefour’s new lighting concept Montesson France
Comfort and efficiency in Cora Anderlecht Belgium
Daylight linking in Tesco Swansea Wales
Shopping mall
46
p.26 Stuart Dell
p.26 Clive Baily
Metropoli shopping mall
Italy
Giuliano Fumagalli
This 60 000 square-metre site in Milan accommodates eighty shops
and stores
p.46 Giuliano Fumagalli
Design
12
Scrabble
A modular approach for shop lighting that offers the interior designer
the ultimate in lighting flexibility
p.12 Jean-Pierre Lemoine
p.12 Jacques Sergent
New concepts
28
Shop Lighting Vision project
Some parts of the first results of this project are described in a series
of four articles.
30
34
36
40
50
The future shopping experience
The world of the retailer
The future in shop lighting
Shop formulas demonstrated
Index
Quick-reference index, listing the 8 latest issues of ILR
Josephine Green
Stephen Anderson
Sjef Cornelissen
FORUM
ColorWorld
A shop with two faces
The first-of-its-kind outlet specialising in top-quality cosmetics
Fashion and Lifestyle department store Hout-Brox in Uden
Left ColorWorld in Amsterdam.
The well-lighted interior is
designed for the visual comfort
of the customer.
The Hout-Brox Fashion and
Lifestyle department store in
Uden, The Netherlands. The
front and rear entrances are
similarly lighted.
Bottom The product display
includes no fewer than 1000
shades of lipstick and nail
varnish
Sjaak Henselmans, Amsterdam
Sjaak Henselmans, Amsterdam
ColorWorld, opened in Amsterdam in September of last year, is a shop where everything is
to be found in the area of decorative cosmetics. The enormous selection of products, from
lipsticks to nail varnishes, in all possible colours, are on display in a specially-designed
shop in the Boven ’t Y shopping centre in Amsterdam-Noord. This is the first outlet of its
kind in The Netherlands, but more are shortly to follow, and interest is already being
shown in the concept abroad.
The design of the shop interior involved both the outfitting and the lighting. In view of the
small area available, it was decided to adopt a wall layout, one side of the shop for the
display furniture and the other side for the so-called ‘test wall’where customers can try
out the various products.
The use of colour in the interior has been kept to a minimum, the product itself being
colourful enough. What was very important, however, was the need to ensure that all the
1000 colour shades in each product range would be accurately rendered by the lighting.
This meant employing lamps having good colour rendering properties in combination with
high lighting levels. Consequently, both the displays and the test wall are directly
illuminated by downlights, both fixed (CDM-T 35 W/830) and aimable (SDW-T 50 W). In
addition, the test wall has its own built-in mirror lighting (50 W halogen) to ensure the
complete visual satisfaction of the customer. Additional, well-screened indirect and
dimmable fluorescent lighting (TLD 36 W/930) serves to heighten the sense of space in
the shop interior whilst at the same time helping to create a pleasing ambience.
Architect: Buro van der Goes bi, BNA, Hilversum
Lighting design: Philips Lighting and Buro van der Goes
The new Hout-Brox department store in Uden, The Netherlands, was opened in 1999
following a fire in which the former building was completely destroyed. The three-storey
building, with its decorative brick façades (front and rear) and copper roof, houses two
sales floors and a restaurant. This is a medium-to-high-end establishment, and the aim
was to announce this to passers-by. One solution would have been to simply leave the
store lights burning after dark, but this would have left the attractive façade in total
darkness. Obviously, this would have to lighted, but it was decided to limit this
illumination mainly to the vertical architectural elements formed by the junctions of the
curved recesses. These are lighted from above by medium-beam Decofloods (SVF 606
with SDW-T 50 W), the warm light of which brings out the rich brown colour of the bricks.
At the same time, the glancing angle of this light serves to reveal the details and texture
of the brickwork. The option of placing these floodlights in the ground beneath the
entrance canopy was rejected on the grounds that this might have formed a sort of light
barrier for people entering the store.The crossed stainless steel arches linking these
vertical elements are also illuminated. This has been done with side-emitting glass fibres,
which are housed in the arches themselves. The fibres are powered from Octopus light
generators fitted with the MasterColour CDM-T lamp, and this rather cool light contrasts
perfectly with the warmth of the floodlighting.
Finally, there was the two-tiered roof to be considered. This had to form, as it were, the
icing on the cake. And what better than to use simple tubular fluorescents for this
purpose. The lamp chosen was the TL colour 840, housed in special waterproof
luminaires. These run in lines round the base of each roof, from where they shine
upwards to provide a glancing light to reveal the curve of the roof structure whilst at the
same time bringing out the attractive green colour of the verdigris.
Architect: Bonnemayer Architecten, Uden
Lighting design: Ruud Bagen, Philips Lighting The Netherlands
FORUM
Europe is looking to the east
Ahold supermarkets and megamarkets
Ahold is at present the most important retailing company in the Czech republic and
includes both Mana supermarkets (1000 m2) and Prima megamarkets (3000 m2).
In the Mana supermarkets, the general lighting is provided by surface-mounted tubular
fluorescent luminaires fitted with the efficient electronic ballast and low-brightness
mirror. The TL-D 58 W/830 lamp gives an average horizontal illuminance of 500 lux. The
accent lighting in these supermarkets makes use of SDW-T downlights that can be aimed
in any direction.
The general lighting in the Megamarkets is provided by rows of suspended tubular
LaHalle’s new ‘classical’ lighting concept.
In the near future, the European Union, at present comprising 15 countries, is expected to
expand to include another 11 countries, with an increase from 376 million to more than
500 million inhabitants.
Huge chains of retailers, first in the food sector, followed by the fashion sector, have
already started to expand eastwards. Shop formulas throughout Europe will become one.
Two well-known names now becoming familiar to eastern Europeans are La Halle
Fashion and Ahold.
La Halle Fashion
La Halle is a fashion discount store of the international André Group of companies, with
more than 200 outlets in France. It, too, has recently opened new shops in Eastern Europe
– 26 in Poland and 9 in Czechoslovakia. The shop pictured here is in Szczecin in northwest Poland.
La Halle’s new lighting concept is strongly supportive of its new European shop formula.
Rows of huge, well-spaced models of ‘classic lamp shades’, each housing three widebeam CDM-TD 150 W downlights, are suspended just above the products displays. This
lighting helps create a very cosy, intimate atmosphere that is aimed at putting shoppers
at their ease. General lighting is provided by a trunking system of suspended tubular
fluorescent luminaires fitted with TLD 58 W/830 and HF ballasts. Those along the walls
have an asymmetrical rather than the normal symmetrical wide-beam light distribution.
Lighting design: Pascal Loiré, Philips Lighting, France in cooperation with Michel Brunet,
technical manager La Halle Fashion (projects France) and Michel Zipper,
Projectmanagement La Halle Fashion (projects Poland)
Ahold Mana supermarket and Megamarket.
fluorescent luminaires each fitted with two TL-D 58 W/840 reflector lamps of a neutralwhite colour to give an average horizontal illuminance of 750 lux. Where accent lighting is
employed, using track-mounted SDW-T 100 W spotlights, this general lighting is reduced
in level by employing single-lamp luminaires.
Lighting design: Roman Jedlicka, Philips Lighting Czech Republic
Globalshop Fair 2000
Renewed CIE Web Site
International retail event in Chicago
http://www.cie.co.at/cie
The Globalshop Fair 2000 held in March
has been labelled a huge success. More
than 15 000 architects, lighting
professionals, store designers and
executives gathered here for the biggest
annual three-day event in the international
retail industry.
Among the most popular presentations
was the centrepiece ‘Stores of the Future’,
which drew the attention of visitors to the
new technologies in lighting, multimedia
presentations, touch screens, body
scanners, and many other things.
Merchandise displays employing colourful
acrylic materials were prominent, as were
dynamic translucent light-emitting display
panels used in wall presentations, where
these served to back-light the products.
Escalators adorned with coloured light
Very early in the ‘Internet era’ the CIE
already had its own Website. In May of this
year a completely new CIE Website went
‘public’. Emphasis is on maximum
information with a minimum of
navigational effort at high transfer speeds.
A few highlights of the new additional
information:
A list of all Publications is given, with direct
links to abstracts that also give the names
of those who participated in their
preparation. All existing Technical
Committees are listed, together with their
terms of reference. The new Study Groups
(that use Internet via automated EmaiI
Discussion Groups) are also listed. The
latest CIE NEWS edition (four annual
issues) is always directly available for
downloading, as are the back issues from
panels encouraged visitors to explore the
shop further, while Internet stations for
personal shopping, and chat and music
corners with video presentations for
waiting customers helped to make for a
pleasant and informative stay in the shop.
Philips lighting presented new luminaires
fitted with energy-saving Mastercolour
lamps and slimline TL5 fluorescents.
Pascal Loiré, Philips Lighting France
Philips Lighting
Philips Lighting Czech Rep
Philips Lighting France
Two well-known names now becoming familiar to eastern Europeans
the last two years.
All forthcoming CIE Conferences and
Symposia are detailed on the Web, as are
abstracts of the proceedings.
ilr 002 forum
3
FORUM
Kristea and Garnea
Two high-quality merchandising environments in the centre of Shanghai
Pendant luminaires, the ultimate in
shop-lighting flexibility
Philips Lighting China
Shanghai shopping
The accent lighting is of two sorts: dichroic downlights above the sales counters and track-mounted
spotlights for the wall displays.
Times Square
The establishment of Shanghai Times
Square symbolises the remergence of
modern Shanghai as the region's business
and financial centre. Situated at the prime
commercial section of the famous Zang
Yang Road in the Shanghai Pudong district,
4
ilr 001 forum
Shanghai Times Square comprises a 30storey office tower, a 27-storey office and
residential tower, and a six-level generalPhilips Lighting China
It is often hard to create lighting accents in
a store because of the high output of the
general-lighting system. This is why
Philips Lighting is introducing the Kristea
90°
90°
90°
100
60°
200
60°
60°
500
30°
90°
150
90°
60°
60°
30°
C
90°
90°
100
200
60°
300
400
500
200
60°
400
300
375
90°
300
225
30°
30°
100
75
60°
500
B
90°
30°
60°
400
30°
A
60°
200
300
400
30°
90°
100
300
30°
30°
500
30°
D
Kristea Metal:
A: CDM-T 150W
B: PL-T 42W
C: QL 85W/830
Kristea Prismatic:
D: CDM-T 150W
E: QL 85W/830
E
Philips Lighting China
Xin Hua Lian fashion store
Shanghai, in the middle of China's eastern
coastline, is the country’s largest city. It is
also its main commercial and financial
centre and a true shopping paradise. The
Xin Hua Lian fashion store on the
reconstructed Huai Hai Road, one of the
busiest streets in Shanghai, is typical of
the high-class retail establishments to be
found in this bustling international
metropolis.
The lighting in this high-end fashionable
department store has been designed to
highlight top-of-the-line items and to
direct the customer’s attention to
merchandise that offers the owners the
highest profit margins. The high-ceilinged
entrance hall is lit by 70 W metal halide
downlights of 4200 K, while the general
lighting in the store proper is provided by
ceiling-recessed compact fluorescent
downlights (2x18 W PLC). This lighting has
a colour temperature of 4000 K with good
colour rendering (Ra > 80).
The accent lighting is of two sorts. The
sales counters are lit by dichroic
downlights (50 W LV) recessed in the
ceiling above, while wall displays are lit
from an angle by track-mounted spotlights
(QCN210/50 W).
merchandise shopping complex.
The main aim of the lighting was to
emphasise the high-quality merchandising
environment and to create a neutral and
inviting atmosphere in the shopping areas.
The level of the general lighting was
therefore set at 500 lux, with a colour
temperature of 4000 K and a good colour
rendering index (Ra > 80).
By day, the spacious entrance area in the
six-storey-high atrium receives abundant
daylight. At night it is lighted by MDK highbay luminaires fitted with 400 W HPI-BUS
metal halide lamps.
All the lighting on the various sales floors is
housed in the ceiling. The general lighting
is provided by a combination of individual
fluorescent ceiling tiles
(FBS601/2xPLL 36 W) and fluorescent
downlights (2xPLC 26 W). The same ceiling
tiles placed in continuous rows also
provide the all-important visual guidance
for shoppers. Additional guidance lighting
is provided by the fluorescent cove lighting
(TMS012/136 battens) hidden above the
various display areas provided with false
ceilings. Accent lighting is by strategicallyplaced adjustable dichroic downlights
(50W LV).
Lighting equipment: Philips Lighting, China
The downlights and fluorescent cove lighting are designed to match the architectural ceiling as guidance
light for customers.
(top) and Garnea (bottom) range of
pendant luminaires. With their aesthetic
design they are bound to make customers
stand still for a closer look at the display.
Suitable for use with a wide variety of light
sources, they come complete with a broad
range of accessories to create the right
atmosphere in any situation. In addition,
the luminaires may also be used for
general lighting purposes.
The luminaires are easy to install and
require minimal maintenance. The
suspension cables can be easily adjusted
during installation, while the base plate
permits of installation against most ceiling
surfaces. With an adapter, the luminaires
can even be mounted on an existing track
system.
FORUM
eBusiness market place
Philips Lighting intends to focus on an online market place to create pools for information and advice
to specifiers and to stimulate transaction convenience to distribution partners.
Some examples of actual web-based activities of Philips Lighting –
www.lighting.philips.com
1. lighting design information (International Lighting Review)
2. searchable catalogue material (Philips Lighting)
3. order transaction facilities (Philips Lighting, The Netherlands)
Predictions of the growth of eBusiness are both rapid and enormous.
The latest predictions by the Gartner group – a leading international analyst in this field –
are for online world wide Business to Business growth from $0.953 trillions in 2001 up to
$7.3 trillion in 2004. For comparison, the entire US retail market is currently valued at $10
trillion.
eBusiness offers great opportunities to increase the effectiveness of communication. In
marketing terminology it can help to ‘up-sell’ products and services, offer added value,
and help manufacturers and distributors alike to manage their mix.
Concept of communities and online market places
Before considering the options available to the lighting manufacturer, we first have to
examine the concept of communities and online market places. A community can be
regarded as a collection of companies with similar interests. These companies come
together in an attempt to provide a more interesting and rewarding offer through a single
Internet site, an online market place, compared to that of individual company sites. It is
the idea of creating a sum that is greater than all of the parts.
Different options can be faced by the lighting manufacturer today. There are eight
Philips Lighting eBusiness strategy
A combination of digitally-enabled business platforms (transaction convenience for
wholesalers), on-line acquisition support tools (for installers), and segment-specific ebusiness
solutions ( for specifiers & end users)
Specifiers
Segment-specific
solutions for end users
& specifiers
End customers
Installers
Installer marketing pull
and design support
Distribution Partners
Wholesaler transaction
support platform
Philips Lighting
eBusiness Foundation
possible scenarios to be considered:
1. The creation of a community with manufacturers of complimentary products.
2. The creation of a community with manufacturers of competitive products.
3. So-called triangle ordering. In this scenario the manufacturer focuses on the demand
generation process where an order option is included that links directly to the
distributor.
4. The creation of a so-called ‘vertical community’ with an existing channel partner.
5. To participate with a new e-market place or ‘infomediary’.
6. To introduce channel conflict – the direct sell site.
7. The creation of direct-sell sites to large end users.
8. The final option is a mix of some or all of the above.
Working closely with existing distribution partners
Philips Lighting has carefully considered all of the options and has decided to adopt a
strategy based upon the fourth option, namely ‘vertical market integration’. This means
working closely with our existing distribution partners to create a streamlined and
efficient supply chain whilst offering levels of service unmatched by pure eBusinesses.
In adopting this strategy, Philips Lighting intends to focus on two main elements. First, to
create business pools for information and advice to specifiers such as architects, lighting
designers, engineers and end-users. Second, to stimulate transaction convenience to
distribution channels such as wholesalers and installers. From the manufacturer’s
perspective, ‘e’ elements include order management, on-line ordering, invoicing, query
control, technical helpdesks, lead time and availability information, reporting, sales lead
development, literature fulfilment, pricing, and marketing tools. These are a mixture of
pure information exchange and transactional elements.
The aim for manufacturer and distributor alike should be to provide easy and transparent
access for the specifier, installer and end users to product information, pricing, reference
case studies, energy-saving calculation tools, lighting design information, and quotation
generations, to mention but a few.
The ‘traditional way of doing business’ (in person, or by telephone and fax) will not
disappear. Our industry, like others, will still rely on the personal touch and human
relationships, and this will remain as strong as ever. But eBusiness will make these
relationships so much easier and more efficient. The New World of business will demand
speed of thought and action. In the near future, Philips Lighting ‘e-teams’ will take the
initiative to intensify the dialogue with the existing business partners to extend the
present web Philips Lighting eBusiness activities.
Eric de Clercq
eBusiness manager of the Business Unit Lamps of Philips Lighting.
ilr 002 forum
5
Editor’s notes
Sobriety or clean interiors
Are we entering a period of minimalism, or
perhaps only one of sobriety? When looking at the
new Kenzo shop in this issue one could think so.
Minimalism has something sympathetic about it in
these days of noise and excitement. Why not let the
space and the materials…stone, steel…speak for
themselves. And it is precisely in shops where too
much is a current danger. Too many products on
display and too many technical means employed to
show them, especially on the ceiling. The following
lighting practice dialogue might sound familiar:
‘Hey, mister lighting designer, can you come and
have a look…we have a problem. We have no room
for your luminaires because the ceiling is already
occupied by something else. Can we move them a
bit?’ Many of us may then have thought: ‘Why
should MY lighting make room; why not the other
things?’ Answer: because the lighting was the last
thing thought of.
In shops, as in so many other interiors, the space in
general and the ceiling in particular is becoming
cluttered with all sorts of ‘essential’ services.
Ventilation ducts, loudspeakers, movement
detectors, cameras and, of course, the lighting, are
all vying for space. It’s full up there. Perhaps it is
why architects like a plastered ceiling, the illusion
being that this super-smooth looking white surface
will remain unsullied, even if only for a brief while.
All that this beautiful, almost abstract smooth
white surface needs is simply a wash of light. What
a wonderful opportunity to show what can be done
with indirect ambient lighting.
6
ilr 001
It seems, anyway, that shops are calling out for
more visual quietness, although true quietness is
perhaps impossible to achieve with the incessant
beat of a rock band in the background.
So what can be done about this proliferation of
equipment, all claiming the same surfaces and
volumes? Seemingly nothing. But wait, there is an
old designer’s trick that is worth trying. If you have
more objects than you would like, make groups of
them. This may help restrict their visual impact. For
Philips Lighting Spain
example, thirty widely-scattered downlighters are
much more visually intrusive than the same
number of units placed in a row. The arrival on the
market of ‘multiple’ luminaires is therefore to be
welcomed.
More ‘verticalism’ is possibly another component
of today’s lighting engineering. Here in shops,
perhaps like almost anywhere else, the eye is asked
to perceive things in vertical planes. Even on
shelves, it is the product only that has to speak. So
anything that can help reduce clutter in the shop is
good.
Finally, colours. The use of saturated colours, like
the intense red used in this Spanish shop, and as
produced by coloured light filters, is on the
increase. Both indoors and outdoors it seems there
is a need for more colour. And strangely enough, in
combination with white ambient light from
fluorescents or CDM lamps.
JF Caminada
ilr 001
7
2
The atmosphere in this recently renovated store had to be in line with that of the
fashionable shops in Spain…clean, modern and bright, with lots of sparkle and
enjoyment
Spanish fashion
Sfera, Spain
The store’s new lighting concept
hinges on a very high lighting
level and the use of contrasts to
create a dynamic, fashionable
atmosphere
3
8
ilr 002 shops/projects
4
The Lighting
T
his store, with the name of Sfera, is
located in the city of Valladolid. It is one
of the new type of shops from El Corte
Inglés, the well-known chain of large
department stores in Spain, that is trying to
compete in the hard world of fashion for
youngsters. The store, just recently renovated,
has been given a completely new interior and
lighting formula.
The atmosphere in the store prior to renovation
was rather dull. A blanket of light covered the
merchandise, with hardly any sparkle or
contrast. This was largely the result of the widespread use of fluorescent lighting employing
low-brightness luminaires.
The challenge when designing the new lighting
was to help create an environment more in
keeping with the progressive retail world of
today. This meant it had to be clean, modern and
bright, with more sparkle and enjoyment. And
the luminaires needed to play a dominant role in
the total interior design. They had to be
integrated in the whole concept and provide the
extremely high lighting levels needed to create a
modern image. Much more contrast was needed
than in the past, with more emphasis on the play
between bright accents and deep shadow.
Entrance
The entrances are lighted with metal halide
downlights. The high lighting levels serve to
warn the shopper – look out, you are in for a
surprise. But the luminaires themselves are
scarcely noticeable, which means that the focus
of attention is immediately drawn to the welllighted products on display.
General lighting
The general lighting is provided by two quite
different lamp types: the Mastercolour CDM and
the compact fluorescent lamp (PLT). The former
furnishes sparkling general lighting full of
contrasts, while the latter makes a softer, diffuse
contribution to this.
The lighting level of 800-1000 lux has been
achieved by keeping to a small luminaire
spacing of 2x2 metre. This concept has resulted
in a pleasant, relaxed atmosphere, which is
much appreciated by the youth of today.
Accent lighting
In order to draw attention to the clothing and the
displays, a large amount of accent lighting
9
1 (See page 6) Sfera
department store, Spain.
Spots (Mezzo MBN210 near the
wall and Scrabble MBX500 in
the remaining areas) equipped
with CDM-T 35 W/830 highlight
the merchandise.
4-6 Two areas where daylight
enters via windows covered with
canvas. Here, suspended
luminaires (Garnea) equipped
with CDM-T 150 W provide
direct lighting for the display
below while part of the light also
illuminates the canvas window
covers.
2 A grid of downlights (FBS
245) equipped with compact
fluorescents (2xPL-T 42 W/830)
creates a diffuse basic lighting.
7 The walls are uniformly
lighted with a luminaire having
an asymmetrical light
distribution (TBS 105). Spots
(MBN 210) equipped with CDMT 35 W/830 are placed between
the asymmetric luminaires
highlight visuals, displays, and
clothing stocked on the shelves.
3 A preliminary design sketch
embodying Scrabble luminaires
(MBX 500 special), which are
added to the grid to give the
general lighting more contrast.
The downlight module in the
centre (CDM-T 70 W/830 60°)
makes the atmosphere more
dynamic, while the other two
modules (CDM-T 35 W/830
24°) are adjustable to
accentuate the clothing.
8 At night, the daylight entry
above the staircase in the
centre of the shop is illuminated
by wall-mounted uplights.
6
10
5
7
8
spread over the whole store is needed. And to
integrate this lighting as unobtrusively as
possible in the design concept, it was decided to
employ Scrabble luminaires. In these luminaires
it is possible to combine the accent lighting with
the general lighting. So in fact only one
luminaire is needed at any location instead of
two, thus keeping the number of ceilingmounted luminaires to a minimum.
The Scrabble luminaire has three elements: the
one in the centre, which contains a CDMT
70 W/83 and a wide-beam reflector, provides the
general lighting, while on either side are CDMT
35 W/83 and a 24-degree reflector to give the
accent and the illuminance needed in the vertical
planes. The reflectors of this system can be
rotated through 40 degrees, so allowing the
accents to be placed exactly where they are
needed.
Integrating the accent lighting in this way makes
for enormous flexibility. It is spread over the
entire store and is thereby independent of the
interior layout.
Wall-rack illumination
Good lighting on the walls contributes to better
orientation in the store. It is above all the upper
part of the wall that is important in this respect,
because this is visible from anywhere on the
floor. And because the wall presentations are
regularly changed, it was important to come up
with one lighting solution that would be suitable
for all types of presentation.
These requirements resulted in a concept that
comprises general illumination of the walls
using an asymmetrical tubular fluorescent
luminaire fitted with a High Output TL 5 lamp,
combined with a CDM-T spotlight to accentuate
the products and emphasise their quality. In this
way, the products displayed on the wall shelves
are brightly lighted and rich in accents. The
effect is both modern and dynamic, which is in
keeping with the image that Sfera is striving to
create.
Daylight
The ingress of daylight imbues the store with an
atmosphere that is full of variety. The high level
of daylight at the back of the store exerts a very
powerful force of attraction on incoming
visitors. In the evening, the artificial lighting
takes over. A row of bright (Garnea) CDM-T
luminaires makes sure that not only are shoes
illuminated, but also the space and the window
blinds. There is thus no danger of creating ‘black
holes’ where the window openings are. During
the day, the luminaires have a guidance
function. They are clearly visible from the
entrance, and attract attention by virtue of their
brightness. ■
Interior design: El Corte Inglés
Lighting design: Jolanda Tielens-Aarts, Philips
Lighting LiDAC The Netherlands in cooperation
Philips Lighting LiDAC, Spain and the engineering
department El Corte Inglés
11
Design
A modular approach for shop lighting that offers
the interior designer the ultimate
in lighting flexibility
Philips Lighting
Scrabble
1
W
hat is it that draws people to a shop? What makes them stop
and look at a particular display rather than one in a
neighbouring store? It is, of course, the enticing way the
merchandise is presented. And here the lighting plays a very important
role. Above all else it must be unobtrusive, for it is not the lighting
hardware that the shopper has come to admire but the products
illuminated by it and the ambience created. But good lighting is also about
flexibility. A shop owner needs to be able to provide a combination of
different sorts of lighting – general, accent, mood, architectural – each with
its own specific light distribution, aiming angles, colour and colourrendering quality, and each capable of being quickly and easily modified
to suit changes in interior shop layout and design.
Scrabble, the latest range of shop-lighting luminaires from Philips, which
was launched in April of this year, has been specifically designed to meet
all the above requirements.
The grid-light concept
Scrabble is based on the grid-light concept. This involves grouping several
reflectors, up to a maximum of four in number, in a single compact
luminaire in the form of a metal frame or grid. The reflectors are of the
open, rotationally symmetrical type, and are fully gimballed so as to allow
them to be easily aimed in any direction. They can be fitted with a range of
different lamp types and offer a choice of beam angles. All the reflectors
are fully interchangeable, and being ‘faceted’ they help to reduce the
12
ilr 002 shops/design
chance of glare.
The advantage of the grid-light system of concentrating several light
points in one single product is that it gives consistency of appearance to
the shop. It is also an easy way to group the lighting in the ceiling or the
wall, and there is no obtrusive lighting rail to spoil the effect.
Recessed, surface mounted or suspended
The luminaire, or frame, employed in the Scrabble grid-light system can be
recessed, surface mounted or suspended, as the situation requires.
Scrabble recessed luminaires, or downlights, are the obvious choice when
unobtrusive lighting is called for. This is why they offer the widest choice
of lamp/optics combinations (see below). However, where the emphasis is
on creating a pronounced lighting image, as with some table-top displays
and shop windows, the last thing the interior designer is looking for is
modesty. Here the trendy suspended and surface-mounted Scrabble
luminaires really come into their own. In the case of the former, luminaire
orientation is either horizontal or vertical, while for surface mounting the
luminaire orientation is fully adjustable.
Lamp/reflector combinations
The number of reflectors that can be incorporated in the Srabble system,
the lamp choice, and the light distribution depend on the mounting
version chosen.
Philips Lighting
1 The reflectors are fully
gimballed to allow them to be
easily aimed in any direction.
2 Scrabble is available in
recessed, suspended and
surface-mounted versions.
3 The right ambience can be
created with the appropriate
lamp/reflector combination.
Number of reflectors
The Scrabble luminaire intended for recessed mounting in the ceiling can
accommodate one, two, three or four reflectors. The last-mentioned
version is available in both in-line and square configurations.
The Scrabble luminaires for suspended or surface mounting can
accommodate two or four reflectors, either in line or in a square
configuration.
Lamp choice
The Scrabble recessed downlight luminaires will accommodate the SDW-T
White SON (50 W/100 W), the CDM-T metal halide (35 W/70 W), the
CDM-R30 reflector version of the metal halide (35 W/70 W), and the
QR111 halogen (100 W). A special compact version of the Scrabble recessed
luminaire is available for the QR111 50 W halogen lamp.
The Scrabble luminaires intended for suspended and surface-mounting
are based on the QR111 50 W halogen lamp.
Light distribution
Scrabble recessed downlight luminaires offer the user a choice of four light
distributions, or beam angle: 12 degrees for strong accents, 24 and 36
degrees for moderate accents, and 60 degrees for floodlight effects.
The suspended and surface-mounted luminaires employ the compact
QR111 halogen reflector lamp whose beam angle is fixed at 8, 24 and 45
degrees for the 75-100 W lamps and 4, 8 and 24 degrees for the 50 W lamp.
Luminaire styling and compatibility
Scrabble luminaires are technical in appearance and styling and are
designed to appeal to interior architects. They are available in the standard
colours white or grey, although other colours to suit a specific interior
decor can be specially ordered.
One of the main design considerations when designing the Scrabble range
was compatibility. All the optics are fully compatible with each other and
are easily interchangeable on site.
Installation
Any complex luminaire system such as Scrabble will be quite bulky and
heavy. But Scrabble can in fact be installed in a ceiling single-handed
without the use of special tools. Having cut the appropriate-sized hole in
the ceiling and connected the control gear to the mains supply, the
luminaire is simply clicked into position. All that then remains is to plug in
the chosen reflectors.
Philips Lighting
2
New projects
Since its introduction earlier this year, Scrabble has found application in a
number of exciting new shop-lighting projects. One such project is the
Sfera department store in Spain – see ‘The Spanish fashion’ on page 8 of
this issue. ■
Indoor Competence Centre Lamotte-Beuvron: Jacques Sergent,
Philips Lighting, France - Product design: Jean Pierre Lemoine,
Philips Lighting, France
3
ilr 002 shops/design
13
Philips Lighting Denmark / Børge Klamer Foto
1
A new fashion house in renovated premises where the style of
the interior can be described as faultless minimalism
Enticing fashion displays
KENZO Store, Denmark
Philips Lighting Denmark / Torben Eskerod
An exciting lighting design that is
fully in keeping with the design of
the new interior
1 The new KENZO Flagship
Store in Copenhagen.
2,5 The fibre-optics window
lighting employs ultra-small
recessed light points directed at
the displayed products.
2
14
3,4 Small, graphite-grey Mini
Mezzo downlights provide the
main built-in flexible display
lighting in the boutique.
Note how the iron construction
beams are made to form large
‘K’s (symbolising the KENZO
name) behind matt-glass plates.
3
I
n April of last year the Japanese designer
Kenzo opened a new fashion house in
Copenhagen. This beautiful and interesting
boutique on a pedestrian street occupies a fivestorey building that has been totally modernised
and transformed into Kenzo’s Scandinavian
flagship.
The exterior of the building is extremely simple
and discrete, with very high, narrow windows.
The men’s department, ‘Kenzo Homme’, is on
the ground and first floor, while the ladies
department ‘Kenzo Femme’ occupies the second
and third floors. Half of the floor space on the
second and fourth floors has been removed to
provide interesting, spacious areas with an
excellent view.
15
6 The tall display windows
provide a good view of the
interior, the style of which can
be described as faultless
minimalism.
4
The Lighting
The style of the successful renovation can be
described as faultless minimalism. Small,
simple, flexible graphite-grey Mini Mezzos were
therefore chosen as the downlight luminaires for
the built-in lighting in the boutique. These are in
groups of four, with the exception of the window
area, where there are two in each group. The
downlighters can be turned and tilted in order to
achieve direct lighting of the clothes.
Two different types of lamps have been used:
Mastercolour CDM-R 35 W HF metal halide
lamps where a high lighting level is necessary,
and MasterlinePlus 12 V 35 W 60º with electronic
transformers in the other areas. Both lamps have
the same colour temperature (3000 K).
Fibre-optics lighting is used for the high-street
windows. Twelve Focus generators power 18
ultra-small recessed light points in each window
(nine on each side) directed at the displayed
products. This lighting gives a very enticing
effect, even in the daylight. The light is normally
white, but a colour wheel with eight colours can
16
be activated when more attention to a product is
required.
The total power dissipation of the generators is
only 100 W, plus the electronic gear. All the
generators are placed in the basement where all
maintenance, including lamp replacement, is
carried out.
TL5 fluorescent lamps have been built-in to
display the clothes on shelves. TL5 lamps are
also used as indirect lighting behind the mirrors
in the changing rooms.
This building has been one of the more
successful and beautiful renovations on the
pedestrian street (strøget). The fashion house
received a prize for their accomplishment from
the Borough of Copenhagen. ■
5
Commissioner: Wasa Group A/S, Copenhagen
Architect: Anna Maria Indrio, C F Møllers and
Partners, Copenhagen
Lighting design: Stig Gejl and Carsten Bahnsen,
Philips Lighting, Denmark
Installation: L-Tec El Service, Kastrup
6
Supermarkets…
all under control
Carrefour in Montesson, Cora in Anderlecht, Tesco in Swansea
The function of any lighting control system must be to ensure
that energy costs are kept to the minimum compatible
with providing the right lighting at the right place
and at the right time
L
ighting control is starting to play a more
dominant role in shop lighting. With it,
the shop owner can satisfy four very
important needs, namely: to provide flexibility,
to create different working modes, to create
dynamic or special lighting effects, and to save
energy.
Creating flexibility
This is the possibility to adapt the lighting to
changes in layout of the furniture by increasing
the lighting level at a selected location for a
chosen period of time, without changing the
electrical installation.
Creating different working modes
This involves matching the lighting level in the
various shop areas (sales area, surrounding
spaces, shop window, outdoor facade) to the
actual need. Switching steps (lighting levels) can
be timed to coincide with various periods: just
before opening, during opening hours, just
before closing, filling up shelves, evening, and
night (safety, escape and emergency switching
steps).
moving light patches – will draw attention and
create interest.
Saving energy
The most energy-effective lighting installation is
the one that uses the least amount of power for
the shortest time. Thus, having decided to
employ the most efficient lamps, it is only
sensible to employ some system of lighting
control (e.g. controlled daylight linking or
controlled occupancy linking) to maximise on
this saving.
Three well-known chains of supermarkets,
Carrefour just outside Paris, Cora in Anderlecht
and Tesco in Swansea, are anxious to create a
pleasant visual environment for their customers
and staff alike. In each case, full automatic
control of the lighting plays an important role in
the success of the business…and there are
energy savings as well.
18
ilr 002 shops/lighting control projects
Creating dynamic effects
Whereas conventional effect lighting provides
interest by virtue of the special effects created,
dynamic lighting adds a new dimension:
movement. It is well known that controlled
dynamic lighting – for example, flashing light or
LIGHTING CONTROLS
•••
19
Today, Carrefour is present , with more than
9000 stores throughout the world. It invented
the hypermarket and new shopping concepts
are continually developed and nurtured
Carrefour’s
new lighting concept
The new Carrefour Magali formula for food products
is implemented with a new store lighting concept
that enhances displays, maximises control and
extends customer comfort
3
4
2
20
C
arrefour developed the hypermarket
concept and opened the first store of
this type in France in 1963. Since 1973,
Carrefour has been expanding, and by the end of
2001 it will have opened in a further four
countries in Europe. It is the second largest foodretailer in the world after the American WalMart organisation, with more than 9000 stores in
26 countries world-wide. In 1998 Carrefour
began with a new world-wide concept called
Magali (Magasin alimentaire or food shop) The
Magali supermarket featured here opened in
1999 in Montesson on the outskirts of Paris.
LIGHTING CONTROLS
•••
1 See page 18. The Carrefour
Magali supermarket in
Montesson, France is fitted with
a day-light linked lighting
control system.
The Lighting
The Magali concept, complete with the relevant
lighting recommendations, is strictly laid down
in a special ‘bible’ as an aid to installers and
engineering consultants alike. Careful layout,
design and control of the store lighting creates a
relaxed, pleasing atmosphere for the customer
and optimises the colour and general
appearance of merchandise.
The Magali concept includes all the fresh-food
zones, the grocer's zone, the wine cellar, and the
perfumery. It is divided into two parts: the
general lighting and the accent lighting.
2 Plan of various zones of
accent lighting in combination
with the general lighting,
managed through the lighting
control system.
3 The general lighting and
accent lighting for the display
racks is combined on lighting
tracks.
4,5 Fruit and vegetables.
Transparent luminaires spread
cool light over the produce to
emphasize freshness.
General lighting
This is provided by continuous lines of
fluorescent luminaires (FAX 458 HFR). Each
three-metre module houses four 58 W lamps and
is equipped with louvres to reduce glare and
improve visual comfort. The lines are spaced 2.5
m apart, perpendicular to the gondolas, at a
height of 4.5 m to give a maintained lighting
level of 1000 lux one metre above the floor.
5
21
6
7
22
8
8, 9 The fish counter. Sparkling
luminaires highlight the ‘catch
of the day’ on its bed of ice.
lighting to accentuate the produce in the most
preferred way.
Colour rendering, brightness and avoidance of
shadow were important factors taken into
consideration in relation to enhancing the appeal
and drawing attention to the array of produce.
The fruit and vegetable displays, the freezer
cabinets and the fish stand are illuminated with
36° reflector pendant luminaires fitted with
Mastercolour (CDM-T 70W/830) lamps. These
provide a fresh, cool light. Where a warm colour
temperature is required, for example in the
bakery, wine cellar and perfumery, White SON
lamps (SDW-T 50W) housed in projectors are
used. ■
For lighting purposes, the store is divided into
several zones, some of which are selected for
dimming. For example, the general lighting in
the fruit and vegetable zone is dimmed to 70 per
cent and that in the creamery to 80 per cent to
correspond with the accent lighting.
Carrefour uses a multi-functional lighting
control system (TRIOS 1030), which manages
several dimmable controllers. The TRIOS
assesses the amount of daylight present and then
alters the lighting level accordingly, thereby
having excellent energy-saving capabilities. The
system can also adjust lighting levels for various
store activities such as shelf-stacking. The
complete system is extremely flexible and can
easily be adapted to changes in store layout.
Accent lighting
The type of accent lighting used is dependent on
the particular zone, and is designed to
complement and contrast with the general
Lighting design: Carrefour, France, Market Value
together with Pascal Loiré and Maroun Najem , Philips
Lighting France
Technical data
Lighting control system
Light sensor device
Light controller (programmable)
Infrared receiver
Push-button interface
TRIOS
LRM 8101
LRC 1030
MCS 9010
LCU 8020
A
B
The general lighting (B) is dimmed to 70-80 per cent
where accent lighting (A) is present. Besides the lighting
system is daylight linked.
9
23
LIGHTING CONTROLS
6, 7 The meat counter. Pendant
luminaires effectively draw
attention to the frozen food
gondolas.
•••
A French supermarket chain with more than
seventy branches at home and abroad
Comfort and efficiency in Cora
The lighting control system automatically adjusts
the level and pattern of the lighting to suit the
behaviour of shoppers and the needs of the staff
C
ora, the French supermarket chain,
opened its first store in 1969. Today,
thirty years later, the company has 59
stores in France and 19 abroad, including five in
Belgium. The store featured here is two years old
and is situated in the Anderlecht district of
Brussels, some six kilometres to the west of the
town centre.
1 The well-lighted check-outs.
The general display lighting
throughout the store is provided
by rows of TTX400 fluorescent
luminaires housing the TLD 58
W colour 840 lamp. Maximum
illuminance: 1200 lux.
2-4 The lighting control
system: at closing time, the
lighting at the rear of the store is
dimmed to about 50 per cent of
maximum, but increases in
level towards the checkouts,
which are kept brightly
illuminated, so helping to steer
customers in this direction.
Philips Lighting Belgium/ Visual News
1
LIGHTING CONTROLS
•••
The Lighting
The main requirements placed on the lighting by
the client were that shoppers should feel
comfortable in the store and that the staff should
enjoy a pleasant working environment. At the
same time, the lighting was required to show a
considerable saving on the energy bill compared
with conventionally lit stores not featuring
lighting control.
The basic idea behind the lighting control system
is that it automatically adjusts the level and
pattern of the lighting to suit the behaviour of
shoppers and the needs of the staff. Before
opening time, when the racks are being filled, a
low lighting level of around 300 lux is sufficient.
Lighting levels then increase to around 1200 lux
as the busiest time of day is approached, at
which time they are at their maximum
throughout the store. Then, at closing time, the
lighting is dimmed to around 400 lux at the rear
3
time. The result, much to the delight of the client,
is an energy saving of some 30 per cent
compared with a similar installation not
provided with lighting control. ■
of the store but increases in level towards the
checkouts, which are kept brightly illuminated
(1200 lux), so helping to steer customers in this
direction.
The general display lighting throughout the 180
m by 160 m store is provided by rows of TTX400
fluorescent luminaires housing the TLD 58 W
colour 840 lamp. Above the checkouts, however,
where the ceiling drops from ten to four metres,
it was decided to employ a combination of
fluorescent lighting and spot lighting. The
former, which is in the form of TBS600 TL5 2x35
W and 2x28 W luminaires, is located directly
above the cashier positions, while the latter
comes from CDM 70 W spots recessed in the
ceiling above the packing area.
All the artificial lighting is daylight linked, so
further helping to minimise running costs. While
light sensors installed in the ceiling serve to keep
the lighting at its prescribed level in each zone, a
clock says what those levels should be at a given
Lighting design: Cora in cooperation with Philips
Lighting, LiDAC, Belgium
2
Technical data
Lighting control system
Light controller (programmable)
Light cell
A
B
Trios
LRC1030
LRL8101
C
3
2
1
Lighting levels:
A – before opening, B – during normal shopping hours,
C – at closing time (1 = rear, 2 = middle, 3 = front of store).
25
Philips Lighting UK / Newbery Smith
2
1
Tesco’s new store in Swansea has glass walls and large skylights
to admit an abundance of daylight on the sales floor
Daylight linking in Tesco
The greater the amount of daylight,
the lower the contribution made by
the artificial lighting
W
ith more than 600 stores, Tesco is the
largest food retailer in the United
Kingdom. Its new high-to-mediumend store in the centre of Swansea, in South
Wales, combines all the qualities of a superstore,
together with new non-food departments. Three
sides of the building are glass, and there are
large skylights to admit an abundance of
daylight on the sales floor.
26
The Lighting
The brief from Tesco was to provide an efficient
and comfortable ‘blanket of light’ throughout
the store, with accent lighting confined to the
perimeter and areas like health care and the
delicatessen.
It was obvious from the outset that lighting
efficiency would be maximised by making full
use of the abundant daylight available. The
decision was therefore taken to employ a
lighting installation whose output would be
daylight linked using an appropriate control
system: the greater the amount of daylight, the
lower the contribution made by the artificial
lighting. This would yield an expected energy
saving during the day in the region of 35 to 40
per cent per year.
The general lighting is provided by a TTX 400
line-lighting system consisting of rows of
industrial-style twin-lamp (2x36 W and 2x58 W)
fluorescent luminaires having a very high
downward light output ratio and a wide-beam
light distribution. By mounting the luminaires in
almost continuous rows close to the ceiling, the
lines of light complement rather than detract
from the pattern of roof supports.
For control purposes, these luminaires are
divided into two groups, one covering the front
of the store and the other the back of the store.
Each group is controlled by a ceiling-mounted
light controller which responds to the changes in
LIGHTING CONTROLS
•••
Technical data
Light control
Light controller
Multisensor
TRIOS
(multi-functional)
type LRC1025
Type LRI 8133
A
B
The greater the amount of daylight (A), the lower the
contribution made by the artificial lighting (B) needed to
maintain the level at 900 lux.
3
1, 2 The lighting control
system: during normal opening
hours, the lighting throughout
the store is maintained at a level
of 900 lux (at night), if
necessary (during the day) by
dimming the lamps down to as
low as 3 per cent.
3 There are large skylights to
admit an abundance of daylight
on the sales floor. Accent
lighting is confined to the
perimeter and areas like health
care and the delicatessen.
Electric Consultant: ACDP, Maidenhead, U.K.
Lighting design: Stuart Dell and Clive Baily, Philips
Lighting, UK in cooperation with Tesco, engineering
department
Philips Lighting UK / Newbery Smith
lighting level that occur as the amount of
daylight fluctuates. During normal opening
hours, the lighting throughout the store is
maintained at a level of 900 lux, if necessary by
dimming the lamps down to as low as 3 per cent.
When the store is closed, as determined by a
time clock, the lighting is automatically reduced
to what is termed the ‘merchandising’ level of
300 lux for restocking the shelves. The store
manager can, of course, override the clock
should he need to. ■
27
New concepts
ShopLightingVision project
A research project of Philips Lighting to explore and define a
long-term vision on future shopping behaviour, retail trends,
and the role of lighting
In this project, leading experts on social and cultural trends,
internationally-renowned interior and lighting designers from the world
of retail, and representatives of important shop formulas were asked to
contribute to a stimulating joint discussion on the quality of shopping and
to explore ways in which lighting can help to improve the quality of the
retail-world of shopping. Workshops for scenarios and design briefs for
future lighting solutions are the next steps in this Shop Lighting Vision
project.
In this ILR issue some parts of the first results of this project are described
in a series of four articles. The first phase of the project, as described in the
article by Josephine Green entitled The future shopping experience, consisted
of socio-cultural trend research and analysis of future consumer behaviour
and the shopping experience, of retail trends, and of the role of lighting.
The results were validated by means of expert interviews, of which the
interview published in this ILR issue with retail designer Stephen
Anderson entitled The world of the retailer is an example.
The first direct consequences of this basic research for lighting application
concepts are described in the article The future in shop lighting by
Sjef Cornelissen.
Finally, to be able to actually demonstrate the important current and future
trends in shop lighting, the Philips' Lighting Application Centre for indoor
lighting in Eindhoven (LAC) has had its shop-lighting facility completely
remodelled to bring it right up to date with the latest changes in the
shopping world. The new facility is described in the article by Jolanda
Tielens-Aarts entitled Shop formulas demonstrated.
The future shopping experience ✪ The wor
Shop formulas demonstrated ✪ The future
The future in shop lighting ✪ Shop formul
✪ The world of the retailer ✪ The future in
28
ilr 002 shop lighting vision project/new concepts
by Josephine Green
by Stephen Anderson
by Sjef Cornelissen
by Jolanda Tielens-Aarts
Philips Lighting
rld of the retailer ✪ The future in shop ligh
e shopping experience ✪ The world of the r
las demonstrated ✪ The future shopping ex
shop lighting ✪ Shop formulas demonstr
29
New concepts
Josephine Green
Philips Design has carried out a study into the future shopping experience in order to be able to
define how lighting could contribute to this. We defined a number of trends that will undoubtedly
affect shop lighting in the future
I
n all of our projects at Philips Design, from the future of the home (la
casa prossima futura), the future of cooking and eating, to the future of
shopping, the process follows a clearly defined path. Socio-cultural
trends in that domain are identified as a starting point. The methodology is
broad and ranges from on-going monitoring of socio-cultural change, desk
research, qualitative and quantitative research, to expert interviews and
collaboration with a number of relevant university faculties. (For
illustrations and projects visit http://www.design.philips.com)
As we have discovered, the future is no longer a straight extrapolation of
past trends. We have seen that there are a number of futures that can be
‘invented’ to some extent. Individuals are ‘empowered’ to try out their
own ideas and invent their own scenarios. In short, create their future.
Possible or preferable Futures?
There are a number of possible futures. Technology has acted as a trigger
for change, and the pace at which this change has taken place has
exponentially accelerated in the last 20 years. There is a sense of euphoria
and astonishment when faced with the many technological developments
that allow us to do things today that only yesterday were impossible; our
horizons of information and communication exchanges have expanded to
unprecedented scales.
Technology has accelerated the rhythms of our lives in totally unexpected
ways in such a limited period of time that many of us are left with no time
to think about whether the direction in which it is leading us is the one
where we actually wish to go. In other words, are we really sure that
whatever is technologically possible is also anthropologically and socially
preferable? It is a known fact that the future is what we make of it today, and
therefore that it is our responsibility, as companies, brands, individuals
and societies, to contribute to the creation of a better future, one that we
wish to live in ourselves. In part the future is what we make it.
That is where visions come onto the scene to provide direction and
meaning to what companies (through the work of anthropologists,
sociologists, designers, researchers and technologists) do, and to ensure
that the future will not be defined by technology but through technology by
people.
Lighting’s Aims
The Business Segment Team Shops of the Philips Business Unit of Indoor
Lighting was interested in the future shopping experience and how
30
lighting could contribute to this. For this project Philips Design conducted
Strategic FuturesTM research and defined a number of trends that will affect
shop lighting in the future – trends to consider when designing for the
future.
Socio-Cultural Trends
In order to define what the ‘new attractive qualities’ in the domain of shop
lighting will be in the next 5-10 years, it is necessary to understand change
and sense what values are driving our society at the moment. As such, our
research has identified three major ‘scripts’ taking us into the future. They
are the Mosaic Society, the Experience Society and the Sustainable Society.
The Mosaic Society
In the Mosaic Society, people are searching for new personal strategies and
fulfilment in an ever more option filled life. A linear lifestyle is giving way
to a more ‘mosaic’ style of living where individuals increasingly define
and redefine their own personal goals and aspirations. In the quest for selfactualisation, empowerment and balance, people will look to companies
that can guide and facilitate the realisation of their goals, and they will
look for a new rapport with those companies.
In this process people will increasingly move from a material and a
product paradigm to an information, service paradigm. Therefore we have
to start thinking that in fact what people are going to look for are the
solutions. Already the food industry has moved far into that.
The Experience Society
In the Experience Society, people want to ‘consume’ the experience of a
product, service or brand – that ‘memorable thing’ that will stay in their
mind and remind them so that they will go back for more. The merchant is
actually becoming a play writer to set the stage for a memorable
experience. So we are not only consuming solutions, we are also
consuming emotions. Shopping is increasingly becoming a leisure activity.
In the experience society, people are also constantly pushing the frontiers
to see where they stretch. As we move into the new society we are in
exploratory mode. People are exploring with their minds, their senses,
including their sixth sense and intuition. Taboos are going, and the
positive side is a neo-renaissance feel, where anything is possible. This
means a constant sense of inquiry, and of challenging accepted ways of
thinking and doing.
by Josephine Green
by Stephen Anderson
by Sjef Cornelissen
Fred De Gasquet/ Interior View France
The Sustainable Society
We increasingly understand the fragility of the planet; the issue of
sustainability and environment is becoming important. And speed and
stress are getting people to ask what is progress and quality of life? Does
more actually mean better? There is a desire for new balance and meaning
as people search for ways to live life to the full but in harmony with
themselves and their environment.
At the same time, the public are asking for more accountability and
transparency from companies and brands as they become ever more
powerful and influential. At some companies we have already seen issues
of environment and social responsibility on their agenda.
Within our mosaic lives,
we want efficient, timesaving and customised
shopping experiences.
Arran Elvridge U.K.
Freedom and Flexibility
Seven themes
The understanding of these socio-cultural
factors that are driving our society at the
moment is crucial in the creation of products
and services that not only satisfy but also
anticipate upon people’s needs and desires.
All the trend information, consisting of people's
behaviour, their shopping experiences, retail
trends and market responses and developments
were finally clustered into seven main shopping
themes. These are:
Freedom and Flexibility – personalisation and transformation
Social Reference – recognition codes, participation and integration
Exciting Enjoyment – amusement, fantasy and play
Browsing and Stretching – the blend of education, shopping,
interactivity and engagement
New Strategy for Living – the search for balance and well-being
Trust and Support – the search for peace of mind and trust
Security and protection – health and safety.
The challenge for lighting
is to offer ‘chameleontic’
light – light that is flexible
and adjustable and that
could be used in a
multiplicity of different
ways to keep the vitality
going in the stores.
•
•
•
•
•
•
•
31
Freedom and flexibility
This is about personalisation and transformation. Within our mosaic lives,
we want efficient, time-saving and customised shopping experiences. We
create our own identities and have multiple moods, and therefore need a
wide choice in products, goods and services. For example, one day I will
be in the mood for Sushi with Sake and on another day I want simple pasta
with a meat sauce and beer. Segments don’t exist
anymore, and retail’s challenge is to create
We want real-life
flexible space to respond to these many
experiences and magic
moments. This means that they have to get to
where we are emotionally
know the customer and respond to their change
involved.
of moods and moments. We see this in
specialised stores and convenience stores where
Ingo Maurer Germany
These themes were validated by means of expert interviews covering the
fields of shopping behaviour, market and retail, architecture, and lighting
design. For each of the seven themes subsequently the challenge for
lighting has been defined. Here we will illustrate three, namely Freedom
and Flexibility, Exciting Enjoyment and New Strategy for Living.
the customer not only gets products or services
but also solutions. The challenge for lighting is
to offer ‘chameleontic’ light. Light that is flexible
and adjustable and that could be used in a
multiplicity of different ways to keep the vitality
going in the stores.
is to offer seducing light –
light that is surprising,
that creates a stimulating
ambience and is
animating.
Exciting enjoyment
This is about amusement, fantasy, play, and
effect and atmosphere. Whilst shopping we feel the need to be seduced.
We want real-life experiences and magic where we are emotionally
involved. We search for enchantment and fascination and long for
discovery and adventure. Retail’s challenge is to maximise exciting,
memorable and sense-stimulating experiences by creating mood zones,
try-out areas and creative theatres. The challenge for lighting is to offer
seducing light. Light that is surprising, that creates a stimulating ambience
and is animating.
New strategy for living
This is about the search for balance and well-being. We want our body,
spirit and energy to be in balance. We need a natural environment,
32
Todd Eberle U.S.A
Exciting enjoyment
by Josephine Green
by Stephen Anderson
by Sjef Cornelissen
Fred De Gasquet/ Interior View France
demand respect and responsibility, both from ourselves and from
companies, and we need transparency. Retail’s challenge is to show moral
standards and support sustainable concepts. They have to provide
authenticity, sponsor and be charitable, and they have to have clear goals
and consistency. The challenge for lighting is to offer cosmic light. Light
that is life-giving, natural and healthy. Light that is balanced, Eco-efficient
and that reduces light pollution. ❏
We want our body, spirit
and energy to be in
balance.
Lon van Keulen/ Interior View France
New strategy for living
is to offer cosmic light –
light that is life-giving,
natural and healthy.
Light that is balanced and
eco-efficient.
Josephine Green is in charge of Trends and Strategy, a
multidisciplinary group at Philips Design. The team is
composed of sociologists, anthropologists,
psychologists and designers specialising in Futures
and Trends research and analysing changes in society,
culture and people. As part of this Josephine is
responsible for Philips Design's Strategic Futures‘
Programme that helps customers think about their
futures and identify and explore new business
opportunities. The
programme researches
and analyses emerging
values, new technologies
and future qualities of
life. It also identifies
strategic opportunities,
creates new product and
services solutions, and
articulates these findings
through design.
33
New concepts
Current trends
What do you think are the main issues
and challenges facing retailers today?
‘Maintaining your existing
customer base is the main issue
today. Traditionally, retailers have
been relying on their customer
base, which has been fairly loyal,
with about 15 per cent floating
consumers. That is really changing,
in part probably due to the Internet.
People have also started to look
around in shops and then buy
through order catalogues, at a
better price. Loyalty is very quickly
going out of the window.
‘Now, retailers such as GAP, British
Home Stores and Xara are much
more manoeuvrable in terms of
service levels, products, and store
environment.’
Where do you see the solutions for the
retailers?
‘Today your non-loyal customers
are often your main source of
revenue – they are therefore the
people you really wish to attract.
The approach is to speak to a wide
variety of customers in their own
language. Nike Town has done this
very successfully. They have
created different sub-environments
with appropriate identities within
the store to attract the young
market without alienating the
existing older market, which is
controlling 80 per cent of the retail
potential.’
How are these issues and challenges
affecting retail lighting at the moment?
‘Lighting is becoming increasingly
important to create a unique and
dynamic (changing) environment.
‘An important issue is that today
consumer profiles are not static.
Depending on the time of the week
34
or day, a consumer can assume a
different consumer profile.
‘Retail cycles are getting shorter –
so retailers have to be very flexible.
They are generally becoming more
aware of the importance of lighting
to differentiate and create a
pleasing shopping experience.
They see it as being very flexible
and as a cost-effective way to
attract the customer.
Future
What will people value, what are their
needs, and how do you think lifestyles
will change in the future?
‘The communication in shops will
have to improve.
‘For day-to-day shopping, most
people will have even less time in
the future. Instead of leaving
customers to puzzle things out for
themselves, it is important to make
their passage through the shop as
speedy and as informative as
possible to enhance the experience
and save time.
‘For leisure shopping, people will
also increasingly look for
enjoyment and excitement in shops.
Shoppers will become more
demanding across the board. Their
attitude is moving towards: look,
I’ve got the money, give me what I
want how I want it, or I’ll take my
business elsewhere. They will not
look for the product only, but for
the experience, the enrichment and
the fit to their lifestyle and the
association with the ambience of
the shop.’
How do you think retail will respond to
this?
‘Brands and shops are all about
love, memory and habit. Memory is
going to become very important to
get customers to return to the shop.
If you can repeatedly offer a
pleasant experience, you can get
people to shop at your store out of
habit. Creating association with the
past and with pleasurable
memories will be important (more
than actual loyalty).
‘It is becoming more and more
difficult to differentiate on the basis
of product. Retailers now have to
differentiate on the basis of the
experience to capture a share of the
market.’
How will it affect shop lighting in the
future?
‘Shop lighting will become even
more flexible to create a dynamic
experience.
‘The use of general shop lighting
based on a hybrid of lighting types,
and the changeover to the use of
audio-video/multimedia lighting
will become seamless in many
shops, to create a dynamic
theatrical experience.
‘There will be increasingly a move
to the use of dynamic light control
systems. And the technology of
these systems must, and will, also
become very simple for shop staff
to use and control.’
Vision
‘In the first three years from now
you’ll still see price, value and fast
convenience as the main driving
factors. During this period, the
service levels in the shop will
continue to increase. US groups like
Wal-Mart will bring with them a
culture of service that will strike
deep into the retail culture in
Europe.
‘In three to five years you’ll see a
shift to experiential and life-style
shopping where the product will
move away from the floor. People
will go to the shops for the
enjoyment, excitement and
experience and may not physically
buy at the shop, but may go away
sensitised about some products and
end up buying from the
e-commerce front-end of the shop
over the Internet. The physical
retail experience will help to
prevent that articles simply become
commodities that are pushed via
“e-tail” outlets on the Internet.
‘In five years time, the old way of
selling in shops will be dead. Much
of the selling will move to out-ofstore channels. The shop will be
there to reinforce the brands and
entice the customer through unique
experiences. Showrooms will have
to provide as much pleasurable
sensory experience as possible. The
paradigm shift is that the shop will
have to sell its aura rather than
merely its products.
‘In ten to twenty years from now,
some experts predict that there will
be very few physical shops in the
traditional sense, and the potential
certainly will be there that most of
actual sales will move to the digital
environment. The challenge then,
of course, would be how to control
the information overload and
still provide a pleasurable
experience.’ ❏
David Barbour, London
Stephen Anderson, retail designer of Building Design Partnership (BDP), who did the flagship
store of Nike in London, was asked for his views on consumer shopping
and the future of retailing
by Josephine Green
by Stephen Anderson
by Sjef Cornelissen
David Barbour, London
Looking across the Town Square
towards the Nike Pavilion, the
'electronic town crier'.
The dramatic views across the
space recall the vistas of
London's streets.
Stephen Anderson has been a Director of BDP Design for three years and is
responsible for Retail Interiors, with particular interest in retail strategy and future
trends. He has been able to use his skills on a number of recent high-profile retail
projects both in the UK and throughout Europe. In addition to this he has been
carrying out further research through his MA studies
in Design Management, his dissertation focussed on
the concept of the Brand Flagship and the
opportunities this may provide for other forms of
retailing.
Over the past two years Stephen has worked closely
with Nike in both the US and Europe to realise their
London flagship store, the largest in the world.
35
New concepts
Sjef Cornelissen
Pim van den Berg Perspectives B.V.Amstelveen
All of the acquired information on the seven shopping themes expounded by Josephine Green in
her opening article was subsequently translated into a lighting vision (road map) taking us
through the future of shop-lighting application
“
1
Light the product”
F
rom the trend analyses as described in Green’s article we derived
answers to the question: How can lighting contribute to the latest
demands of this market? The research is divided into three parts,
namely: the social and cultural trends, showing the changes in the way
people shop; the reaction of the retail world to this typical consumer
behaviour, which they translate into new shop formulas, which lead in
turn to new trends in interior design; and the new lighting demands,
which lead to innovations in application and product development
(lamps, luminaries and lighting control systems).
In this article we want to focus on this last part, the new lighting functions.
New lighting functions
Retail is a very demanding and at the same time fast-moving world, and as
a consequence, so is the art of shop lighting. Not only has the shape of the
luminaires employed changed over the years, so too has the function of
shop lighting. In the eighties and nineties, lighting designs were based first
and foremost on the illumination of the merchandise – Light the product. In
response to a changing shopping behaviour, today’s lighting concepts are
built up from a combination of merchandise and space illumination. This
last, space illumination, is designed to create an ambience that is in
keeping with the shop image – Light the shop ambience. This again means
36
“
2
Light the shop
that the architecture of the space and the chosen lighting solutions should
be in balance with each other and so in line with the shop’s sales strategy.
In the future, the starting point for lighting design will not be merely the
merchandise and the image needed. The shoppers themselves and their
interactions will also have to be taken much more into consideration –
Light the people. Lighting will then have to be seen as a tool that has a
dominant role in the total process of retailing – Light the process. It is clear
that in the future the right balance of these four functions will become the
basis of new lighting concepts.
Attracting light (light the product)
The visibility and attraction of the merchandise is very important. It is a
fact that our eyes are always attracted to the area of the highest brightness.
This is why even today the lighting is still largely focussed on creating the
highest lighting levels on the merchandise, whether this is displayed on
racks, in gondolas, on shelves, or on in special individual displays. This
need for accent lighting, as it is called, often means that illuminating the
vertical planes is very important. Additional general lighting, mainly
using wide-beam luminaires, is then installed to fill up areas where the
lighting level is too low. This is why the use of adjustable downlights or
spots on power tracks is so popular, these often being used in combination
by Josephine Green
by Stephen Anderson
by Sjef Cornelissen
Alberto Ferrero, Italy
Volkswagen Showroom Concept
ambience”
“
3
Light the people”
with luminaires for fluorescent lamps or with downlights. The directional
part of the lighting system makes it possible to show the special offers or
products of special interest so as to reveal their quality in the best possible
way.
2 The ambience and
atmosphere also play an
important role.
a
b
light
c
Inciting light
d
80-90th
now
3-5years
Philips Lighting
3 Humanising light will be the
item of the future.
function of light
Enticing light (light the shop ambience)
Shoppers are not only interested in the product, they also want to shop in
an exciting and enjoyable way. In other words, in addition to being
attracted by the lighting they must also be enticed by it. Enticing light is
being employed more than ever before to create a memorable shopping
experience.
Today lighting is being employed much more suggestively than in the
past, to persuade and to manipulate. This means that shop lighting should
not stop at finding the appropriate balance between the accent and the
general lighting. Today, lighting systems (e.g. Gobos, dynamic lighting
etc.) that enhance the shop ambience must also be considered, as must
lighting that underlines the architecture of the space and supports the
interior design, both aimed at creating the right atmosphere and style. The
consequence of all this is that a larger part of the lighting will consist of
luminaires used for purposes other than to illuminate the merchandise.
In the future it will no longer be sufficient to design luminaires with one
1 An example of inviting
product illumination.
4 The figure shows that in
future it will not be a focus
change from product to
ambience to people, and to the
process, but the integration of
these new lighting systems into
one total lighting concept.
a. Relational light
b. Humanising light
c. Enticing light
d. Attracting light
5-10 years
time
4
37
Philips Lighting
5
38
integrated
natural
dynamic
flexible
adjustable
controllable
“
Light the process”
by Josephine Green
by Stephen Anderson
by Sjef Cornelissen
specification application in mind, for instance spots for accent lighting and
downlights for general lighting. What will be needed are luminaires that
are able to provide a combination of lighting functions.
Humanising light (light the people)
Shopping chains of today have their target customer groups in mind, all
with their own habits, preferences and dislikes. The consequence of this is
a move towards a more humanistic approach to shop lighting. In the near
future, say within the next five years, the focus of attention will be divided
between the merchandise and the shoppers themselves. The modelling
power of the light, or the illumination of the human face, will become
more important and will stay central in the future way of thinking. Shops
in general will change from a so-called warehouse concept to places where
shoppers can meet each other, browse around at their leisure, and learn
about new products and the way they have to be used. This will lead to
lighting solutions that facilitate these activities and that provide a
welcoming environment. In short, future lighting solutions will take the
comfort, mood and interaction of people more into consideration and will
provide for their well-being as well. It will also physically support humans
and their biorhythms.
Old and new lighting systems
Lighting system
General lighting
For lighting the space
Accent lighting (object lighting)
To bring objects to light
Local/localised lighting
To add extra highlights in areas
of special interest in the space
Merchandise lighting
To illuminate merchandise
stored in racks and shelves
Task lighting
At the counters and
cashier areas
Architectural lighting
To form and underline the
architecture of the space and
provide for basic orientation
and atmosphere
Special/decorative lighting
Elements and solutions to
underline the shopping
ambience (Gobo, dynamic
lighting etc.)
Relational light (light the process)
In the more distant future, say five to ten years from now, shopping will
become an individual experience. Each shopper will have his or her own
individual strategy of living, and this will lead to lighting that plays a
much larger role in the total process of retailing.
The future will be with the eye on total system thinking. Vital and
invigorating light that can be controlled, even ‘orchestrated’ and
integrated, will be required. Even sustainable systems and self-repairing
light will become possible in the future. In fact flexibility and control of the
light will become major items, as was discovered during our trend
analysis. But also more dynamics in lighting solutions, coupled with the
possibility to adjust lighting, to integrate it into the latest interior designs,
are just around the corner.
From what has been said above it is clear that we must be constantly aware
of the possibilities that lie ahead in this lively world of shop lighting. We
must constantly update these new, innovative lighting solutions and at the
same time develop new lighting hardware for tomorrow. The various
suggestions for attracting light, enticing light, humanising light and
relational light will be totally integrated in the design of shop-lighting
installations within the next ten years. ❏
5 Examples of new lighting
solutions
Period of use
Past
Present
Future
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
Luminaires
per lighting
system
Luminaire families
for combined
lighting systems
Separate
products
Sjef Cornelissen is a
retail lighting designer
from the Indoor Lighting
Design team of the
Philips Lighting Design
and Application Centre
in Eindhoven.
39
New concepts
Pilips Lighting
In March of this year the shop-lighting demonstration area in the Philips Lighting Application
Centre in Eindhoven was reopened having been completely remodelled to bring it right up to date
with the new trends in shop lighting
1
2
I
n the spring of 1991 Philips Lighting celebrated its 100th Anniversary.
At the same time, on a site in the centre of Eindhoven just a couple of
hundred metres away from its very first lamp factory, it opened a
brand new demonstration centre for professional lighting products and
systems. Named the Lighting Application Centre, or LAC for short (see
ILR 1991/3), this facility has since received more than 100 000 visitors from
all over the world.
One of the most popular demonstrations has always been that devoted to
the role played by lighting in various types of shops and stores. In March
of this year this section of the LAC was reopened having been completely
remodelled to bring it right up to date with the very latest trends in shop
lighting that have evolved to keep pace with the changes in the shopping
world.
The changing world of the shopper
When the LAC was opened in 1991 its purpose was to help heighten the
40
interest in lighting by providing general information regarding lighting
effects. This has proved a great success. In the meanwhile, the
characteristics of the various market segments have changed considerably,
particularly the dynamic shopping market, due to changes in shopping
behaviour and the introduction of new technology.
The shopping world is changing very rapidly as a result of all kinds of
influences. The Internet in particular has had an enormous impact on the
way we view the shopping experience. And people themselves are now
more open to change. So the function of the shop is also changing. No
longer a place where you quickly gather your purchases, it is becoming
more and more a place where people meet, have fun, relax, and escape
from the outside world.
The new LAC shop
Whereas in the past the visitors were seated in a theatre-like environment
some distance away from the lighting ‘stage’ they are now able to view the
4,9 When architects enter the
shopping world, nice things
happen. The shop itself and the
total impression of space
receives much more attention.
Clothing is no longer piled up in
high racks, but is integrated in
architectural elements. These
provide many opportunities to
integrate lighting in an almost
invisible way. Only the ‘nicely
designed’ luminaires are visible.
By illuminating the ceiling, or
just the wall, either uniformly or
with contrasts, completely
different impressions of the
space are created. Illuminating
the ceiling makes the shop look
higher, while illuminating walls
makes it look larger.
5 The lighting of this fashion
shop is rather standard. It is
based purely on uniform general
lighting (fluorescent) and shelflighting (fluorescent).
4
5
6
6 Here the diffuse general
lighting, created by fluorescents
behind the translucent panels, is
of a much higher level. This
bright surface not only succeeds
in catching the attention of the
shopper, it also makes the
merchandise stand out from its
background. The merchandise
is well illuminated by highintensity spots to overcome
silhouetting. All this makes the
atmosphere very bright, natural
and dynamic.
7 Here the lighting level is
rather low. It is created with
halogen downlights giving
general lighting full of contrasts.
The background of the clothing
is softly illuminated with extrawarm fluorescent lighting. The
atmosphere created is homelike, cosy and makes you feel at
ease.
8
8 Although it is the dress that is
for sale and not the model, the
main lighting should be always
aimed at the face and
shoulders. Here deep shadows
and very bright areas are
created by using just one strong
spotlight positioned low down
and quite close to the model.
The result is the self-assured,
almost haughty expression seen
here.
With the right lighting, any
charisma can be created.
9
7
by Josephine Green
by Stephen Anderson
by Sjef Cornelissen
Philips Lighting
1 Reflections in shop windows
often cause lots of problems.
The display is spoiled by
reflections. Passers-by see
themselves or buildings when
the brightness of the products
displayed in the shop window is
too low.
2 Here many lighting tricks are
used to overcome the
reflections. First of all the model
is brightly illuminated in an
attractive way with different HID
light sources, namely
Mastercolour and White Son.
This, and the brightly-lighted
background serve to virtually
eliminate reflections.
3 The seating in the centre of
the new LAC shop affords
visitors an excellent view of the
lighting demonstrations.
3
demonstrations as if they were customers in the shop itself. These
demonstrations are now carried out in detail for the various sorts of shop
formula. In this way a very large number of different lighting solutions are
shown for the shop merchandising activities, product presentations and
shop interiors. Here the flexibility of the lighting in the dynamic shop
interior of today plays an important role. In addition, the lighting effects
obtained using lighting control systems, the latest lamps and luminaires
are now demonstrated: different lighting levels, accents, contrasts, colour
impressions and colour rendering.
All kinds of strategies and trends are visualised in the LAC. And because
retailers have different ideas about how to react to these trends, the shop
lighting demonstrations have been re-designed to enable us to show
examples of how lighting can continue to exert a positive influence on
their shop formulas. But we not only show the importance of lighting in a
shop with regard to product presentation and the creation of ambience, we
also show how a certain ambience can be achieved.
Specific shop areas
The LAC shop contains three specific areas: shop window, fashion shop,
and supermarket.
Shop window
Before entering the shop proper, visitors are invited to view a mock-up of a
typical shop window while different lighting ‘tricks of the trade’ are
demonstrated.
They are first shown how high brightnesses within the window can help to
draw attention to the shop whilst at the same time subduing irritating
reflections in the glass. They are then shown how attractive display
lighting with plenty of contrasts can draw passers-by into the shop.
The fashion shop and supermarket
The lighting demonstrations involving the fashion shop and the
supermarket are viewed from a central seating position in the shop itself.
43
10 This is an example of a
supermarket where the basic
need of good seeing conditions
is fulfilled. The shop formula is
based on the message:‘we have
low-priced articles of a
medium-to-good quality and
they are easy to find’. The
diffuse fluorescent lighting has
a cool colour temperature and a
medium (average) lighting level.
11 This supermarket offers a
nice shopping experience. The
atmosphere created plays a
very important role in putting
customers in a buying mood.
The strategy here is to create an
enticing environment to help
keep them in the shop longer.
The general lighting is of a very
low level, combined with accent
lighting. To make the
atmosphere even more enticing,
architectural cove-lighting and
back-lighted visuals is
employed.
10
11
Fashion shop. It is here that lighting solutions for three differing display
techniques from the simple to the very sophisticated are demonstrated.
The simplest type of display demonstrated is that in which the items of
clothing are arranged on shelves in front of a wall. In the second
demonstration, modern display facilities are integrated in the architectonic
design of the shop. This makes it possible to create ‘invisible’ lighting and
to play with the spatial effects of lighting in the shop. Lastly, there is the
boutique. Here it is the quality of both the clothing and the shop itself that
are emphasised by the lighting, which uses the latest control techniques to
provide interaction with the customer.
can be created to fit in with the sales strategies or to suit different times of
the day or week.
Finally, in the same area, there is a special demonstration of the techniques
employed to light specific products such as glassware, footwear, jewellery,
perfumes, and various sorts of domestic appliances. ■
Supermarket. The demonstration begins with the visitors being shown the
different types of ambiences that go with the different types of shop
formulas. Various techniques for lighting a whole range of products such
as flowers, bread, fish, meat and fruit are shown and explained. Lighting
control systems are also demonstrated to show how different atmospheres
The photographs accompanying this article will give you some idea of what the
shop-lighting demonstration in the LAC has to offer. However, to experience the
true three-dimensional effect of the lighting for yourself, why not request a
personal visit. These visits can be booked via your National Philips Lighting
Organisation.
44
Future direction in shop lighting
by Josephine Green
by Stephen Anderson
by Sjef Cornelissen
12,13 It is not easy to light
glass. Glass reflects, and can be
transparent or translucent. It
can be very expensive, or very
cheap, either of which must be
evident from the display.
By creating bright spots on the
glass object, which are reflected
in the glass, its form is revealed.
The use of halogen spots
creates nice shadows and
sparkle in the glass, making it
seem even more expensive.
Top: lighting glass with
fluorescents
Bottom: lighting glass with
halogen spots and reflections by
means of a graduated, white-toblue surface.
12
13
Jolanda Tielens-Aarts is
a retail lighting designer
from the Indoor Lighting
Design team of the
Philips Lighting Design
and Application Centre
in Eindhoven.
45
T
he Metropoli Commercial Center is
situated on a 60 000 square-metre site on
the outskirts of Milan. It accommodates
eighty shops and stores, among which such
famous Italian names as Media World, Ipercoop,
Oviesse, Longoni Sport, and Chicco. Services
include a hairdresser, a laundry, a bank, a post
office, and two restaurants.
The main structure is in reinforced concrete. Two
ramps for entry and exit lead from the enormous
parking area to ensure a quick and efficient
traffic flow.
1
46
On mounting the gently-sloping escalator the
visitor has the feeling of being transported
slowly upwards towards the heavens
Metropoli shopping mall
Milan, Italy
The starry sky effect, which is
created by thousands of light
points seen against a dark-blue
background, extends over the
entire first-floor shopping area
The Lighting
Central public square
The general lighting in the central public square
is provided by downlighters equipped with
MasterColour lamps of 70 W and 150 W. These
are positioned behind an aluminium cornice
running along the edges of the first and secondlevel mezzanine floors. The pattern of wooden
beams supporting the high roof is picked out by
floodlights (MNF 100) at the third-floor level
fitted with the same MasterColour lamps.
Flanking the escalator leading to the floors
above are two very attractive pools, each with a
colourful display of flowers and a multitude of
water jets. The pools and the surrounding areas
are illuminated by post-top luminaires mounted
on the pool surrounds, while the water jets in
each fountain are highlighted by fibre-optics
spotlights run off a 200 W metal halide light
generator.
On mounting the gently-sloping escalator the
visitor has the feeling of being transported
slowly upwards towards the heavens. The starry
sky effect, which is created by thousands of light
points seen against a dark-blue background,
extends over the entire first-floor shopping area
on the escalator side of the square.
The fibre-optics terminations creating this effect
are linked to eight light generators by some 3700
metres of glass-fibre cables. Each generator is
fitted with a 200 W metal halide lamp, but the
terminations are of various sizes to create the
effect of stars of different brightness.
Philips Lighting Italy/ Marco Maggioni
Giuliano Fumagalli
1 The general lighting in the
central public square is provided
by downlighters equipped with
MasterColour lamps. The
wooden beams supporting the
high roof are lit by floodlights
(MNF 100) fitted with the same
lamps. The pools flanking the
escalator leading to the floors
above are illuminated by posttop luminaires mounted on the
pool surrounds, while the water
jets in each fountain are
highlighted by fibre-optics
spotlights.
2 The starry sky effect above is
created by thousands of light
points, the fibre-optics
terminations creating this effect
being linked to eight 200 W
metal halide light generators.
2
47
3
4
5
3,4 The wide galleries are lit by
a combination of indirect
lighting and downlighting. The
lighting level throughout is some
400 lux.
5,6 In those zones near to the
escalators or escape routes, the
indirect lighting system is
interrupted and the proportion
of 26 W compact fluorescents
available for emergency
purposes is increased to 10 per
cent.
48
6
Lighting system of the galleries
The feeling of height experienced in the wide
galleries in the Metropoli Center is attributable
in part to the closeness of the central atrium, but
the lighting also plays an important role here.
This is a combination of indirect lighting and
downlighting. The former is provided by
fluorescent luminaires hidden in longitudinal
ceiling coves. The downlighting employs three
sorts of equally-spaced luminaires: immediately
above the shop fronts are symmetrical and
asymmetrical units housing MasterColour
lamps of 35 W and 70 W, while higher up around
the perimeter are compact fluorescent units of 26
W (one in 14 being connected to an independent
group for emergency purposes). The lighting
level throughout is some 400 lux. In those zones
near to the escalators or escape routes the
indirect lighting system is interrupted and the
proportion of 26 W compact fluorescents
available for emergency purposes is increased to
10 per cent. ■
Consultancy and projectmanagement: SDS, Milan
Architect: Chapman Taylor, Open Project London and
Bologna
Lighting design: Giuliano Fumagalli, Philips Lighting
Italy
Installation: Elettroimpianti Italia, Bergamo
49
index 973- 001
For back issues of ILR, please use ordering card.
❉ Stands for short article in our column ‘Forum’ (formerly
named ‘Flashes’. ▲ Stands for outdoor only.
Royal Palace, Bangkok, Thailand ❉
Cusco City and fortress, Peru T Sandoval
coming events
001
001
Designers
Pim van den Berg, Amstelveen, The Netherlands
991
Exhibitions / Fairs
THEMES
CAR-PARKS
FIBRE OPTICS
OFFICES / SPORTS
CITY/PEOPLE/LIGHT
SHOPS AND STORES
LANDMARKS
INDUSTRY
CITY BEAUTIFICATION/EURO 2000 SOCCER
ISSUE
973
974
981
982
991
992
993
001
Art (Light art, Light performances)
Graduation ‘97, the Design Academy, Eindhoven, the
Netherlands ❉
Lightforms ‘98 - Satori ❉
Sculptures Exhibition, The Haque H. Hollands
Exhibition Light and Sculpture, The Haque ❉
The city as a matrix ❉ Graduation ’99, the Design Academy,
Eindhoven, the Netherlands
Sculptured gateway, Spijkenisse, Netherlands ❉
Roundabout Åbenrå, Denmark
Roundabout, Århus, Denmark
Roundabout "La Coquille", Reims, France
Berge 2000, outdoor museum of Light, Grenoble
V Laganier
974
981
982
992
992
992
992
992
001
Books / publications
Les Couleurs de l’Europe, authors J-P and D Lenclos
973
La lumière urbaine, author R Narboni
973
The Outdoor Lighting Pattern Book, authors
R P Leslie and P A Rodgers
973
The 1997 Interior Design Handbook (The Interior Design
Handbook, London)
973
Discharge lamps and the environment (European
Lighting Companies Federation)
974
The Demise of the Office, authors E Veldhoen &
B Piepers (1010 Publishers)
981
Stage Lighting Controls, author Ulf Sandström
(Focla Press)
981
Lighting Detectives, authors Kaoru Mende/ Reiko Kasai
(Shomei Tanteidan)
982
Lamps and Lighting, (John Wiley & Sons)
982
CIE guide "Guide to the lighting of exterior working areas" 982
CIE guide* Update "Guide to the lighting of exterior
working areas"
992
Light and Design, Developments in artificial light sources ❉ 992
"Faszination Licht:", author Max Keller
993
"A-Z of Lighting Terms", author Brian Fitt
993
Bridges
City of Bridges, Cleveland, USA ❉
Hohenzollern bridge, Cologne, Germany
Akashi Kaikyo Bridge, Japan
Tsing Ma Bridge, Hong Kong
Pont Neuf, Paris, France
Viaduc d’Austerlitz, Paris, France
Bridges of Dublin, Ireland B Callagy
Bridges of Belfast, Northern Ireland P Watson
Norrbro Bridge, Stockholm, Sweden L Hägglund
973
992
992
992
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001
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Churches, Places of Worship
Church of St Nectaire, France ❉ ▲
Sri Mariamman Temple, Singapore M Klaasen
Cathedral of Gniezno, Poland ❉
Cologne Cathedral, Cologne, Germany
974
974
974
992
Graphic fibres
- IFA fair, Berlin, Germany ❉
LIGHTfair International 1999, San Francisco USA ❉
Light + Building Fair, Hannover, Germany ❉
Light + Building Fair 2000, Frankfurt, Germany ❉
974
991
993
001
Industry
Cikampek Luminaire Center, Indonesia
Amica Wronki, Poland
TVS Suzuki, India
Melamo B.V., Helmond, The Netherlands
Printing Works Goldmann, Tulln, Austria
Good lighting.... better work Sjaak Dekker`
Light and Productivity P R Boyce
Peugeot’s Mulhouse factory, France
TCG, Transport Centrale Gelderland, Veenendaal, The
Netherlands
Archicom Building Services, Eindhoven, The Netherlands
interview R vd Water
The Boots Company Warehouse, England
Rio de la Plata port terminal, Argentina
Control Room, Refining company, New Zealand ❉
993
993
993
993
993
993
993
993
993
993
993
993
993
Lamps and light technology
Fibre-optics Lighting Systems
- Product review G Deraedt
- Application considerations L vd Poel & D vd Weele
Lighting controls
Unified Glare Rating (UGR) W van Bommel,
A de Visser, M Wouters
Architectural fibres ❉
Decorative floodlighting, R Hendriks
Brødrende A & O Johansen A/S, Denmark
974
981
981
991
992
993
Landscaping (Light-)
Fiber Wave, Tokyo, Japan ❉
Do not X-Ray, Dordrecht, the Netherlands ❉
Aquatic fibres
- Chamalière fountain France ❉
- Wilsonplein Ghent, Belgium ❉
- Montgomeryplein fountain Brussel, Belgium ❉
- Association Liégoise du Gaz, Liège, Belgium ❉
Lively Squares H Hollands & D v.d. Weele
973
974
974
982
982
982
992
992
992
992
992
993
Museums and themed buildings
Singapore Art Museum ❉
Museums
- Musée de la Musique, France
- Patio de la Infanta, Spain
- The Egyptian Museum Cairo, Egypt S Cornelissen
& T Akkermans
Congress Hall in Villach, Austria ❉
Bibliothèque Nationale de France, Paris
American Air Museum, Duxford, U.K.
Palais des Beaux-Arts, Lille, France
Van Gogh Museum, Amsterdam, new wing: Symbyosis ❉
973
974
Upstairs / Downstairs
- Lyon’s car-parks France
- Nijmegen’s hospital parking The Netherlands
W J Idema et al.
No parking, no business G Giesbers
Vitré City Centre, France
Tournai City Centre, Belgium B Josz
Veurne City Centre, Belgium V Rosi
Light Square, Eindhoven, The Netherlands
D. v.d. Weele & H Hollands
Light in de City, Copenhagen, Denmark
S Frandsen & E Christensen
Jyväskylä city centre, Finland ❉
Symposium "City/people/light", Amsterdam,
the Netherlands
Dynamic road marking ❉, Papendrecht, The Netherlands
Casino Square, Monte Carlo, Monaco V Laganier
Speicherstadt Hamburg in colourful light ❉
The English Tower, Buenos Aires, Argentina ❉
50
ilr 002 index / coming events
973
973
982
982
982
982
982
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993
001
001
001
Fifth floor Philips Nederland, Eindhoven, the Netherlands
Interpolis Head Office, Tilburg, the Netherlands
Twijnstra Gudde Consultancy, Amersfoort, the
Netherlands R B S Tan
WDR, Cologne, Germany
Building Research Establishment, Garston, England
M & C Saatchi’s building, London, England N Kelso
The many faces of the office M Wouters &
W van Bommel
Office lighting M Wouters
Philips Design, Eindhoven
Colossal Tokyo Forum, Japan ❉
Justus Lipsius building, Belgium ❉
973
973
Shops, stores and showrooms
Swarovski Kristallwelten Austria H Weingärtner
Perry Sport ❉
Fibre-shop, Vught, the Netherlands
Graphic fibres
- Kurfürstenpassage, Mannheim, Germany ❉
- La Rinascente Duomo, Milan, Italy ❉
Bijenkorf store, Amstelveen, The Netherlands R bagen
C & A stores, M de kruiff
C & A Clockhouse, Manchester, U.K. Karen Owens
Siegert, Gentlemen’s outfitter, Regensburg, Germany
W Huber
Superquinn Supermarket, Ireland L vd poel
Wellworths-SuperValu store, Ireland
Sainsbury Supermarket, U.K.
Burger King Restaurant, Amsterdam, The Netherlands
P rijnders
Praxis Megastore, Amsterdam, The Netherlands
Petrol-station shops P Entrop
Volvo Car showroom J Tielens-Aarts
Yeasu Book Center, Tokyo, Japan Motoko Ishii
Shoplighting, "Keeping pace with the times"
S Cornelissen
WalMart supermarkets, Brazil ❉
New shops in Italy ❉
Bruna Retail chain ❉
INNO department store, Brussels/Belgium ❉
Skiing on television
- Neveros piste Spain J A Sánchez
- Kandahar piste Italy R de Marco
- The Planai downhill Austria M Schmutzler
- Holmenkollen Norway T Sogge
Soccer stadiums at the French ‘98 World Cup in
Toulouse, Lyon and Marseille JF Caminada
Gelredome arena, Arnhem, the Netherlands ❉
Morumbi Stadium, Sao Paulo, Brazil ❉
Euro 2000 Soccer
- King Baudouin Stadium, Brussels, Belgium
- Jan Breydel Stadium, Bruges, Belgium
- Charleroi Stadium, Charleroi, Belgium
- Philips Stadium, Eindhoven, The Netherlands
- Gelredome Stadium, Arnhem, The Netherlands
Stadium perspectives
- Interviews about stadium lighting
Theater de Harmonie, the Netherlands ❉
974
974
992
992
993
981
981
981
981
981
981
981
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Products
Fibre Stone, Japan ❉
Metsys
Hannover Messe ‘98 ❉
- Mastercolour CDM-TT
- Ecotone Ambiance
- ArenaVision for indoor
- TL5 Circular
Public / Institutional buildings
973
973
974
974
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991
991
991
991
991
991
991
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991
991
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991
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973
981
981
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001
001
Theatres, concert halls
Offices
Cities / Town planning of light
982
991
991
991
991
991
992
992
993
993
993
993
001
Sports buildings and installations
Monuments and landmarks
Roman Forum, Rome, Italy ❉
Riegersburg fortress, Austria
Skywalk❉, pedestrian walkway, Hannover, Germany
Twin Tower , Berlin, Germany
Calakmul building, Mexico City, Mexico
"Die Pyramide", office building, Berlin, Germany
UFA Multiplex-Kino, Dresden, Germany
Forte de Nossa Senhora dos Remedios, Brazil ❉
- SON for outdoor
Metronomis, city-friendly luminaires
Soprano
ACS/2 spots ❉
Europa 2 downlighter ❉
Starry Sky Kits ❉
Under a starry sky ❉
Metropol, park luminaire
Milewide project, Denmark
HPI Plus range of lamps ❉
TTX 400 line-lighting system
TLD Reflex
TLD Secura
Arena Vision – New Generation
974
981
981
973
General
Fibre-optics lighting, schemes
Not only for your eyes
Urban Lighting, Research study
World Lighting Index
City People Light conference, Paris
974
981
982
991
001
3222 635 23591
AMERICAS
ARGENTINA: Buenos Aires19-22 October 2000,
ELECTROSHOW/ International Audio, TV, Video, Lighting
Exhibition. USA: Los Angeles, 22-25 September 2000, AES.
Las Vegas, 13-15 October, 2000, LDI. Scottsdale, 11
November, IS & T, Systems, Technologies, Applications.
ASIA/PACIFIC/AFRICA
CHINA: Hong Kong, 11-14 October, 2000 Hong Kong
International Lighting Fair. Hong Kong, November 2000,
HEIMTEXTIL ASIA ASIAFLOR, International Trade Fair for
Hometextiles, Floor Coverings, and Interior Furnishings: Hong
Kong, 15-18 October, 2000 ,CELF2000 Shenzhen International
Exhibition Center, export oriented lighting fair . Shanghai, 1316 September, 2000, ILE CHINA, China International Lighting
Exhibition. INDONESIA: Jakarta, 22-25 November 2000 (2629 September 2001) BUILDING & CONSTRUCTION INDONESIA
SERIES, International Building and Construction, Equipment and
Materials Exhibition. Jakarta, 21-24 February 2001,
BROADCAST TECHNOLOGY INDONESIA, Int. Professional
Broadcast, Sound, Film, Video and Lighting Exhibition. SAUDI
ARABIA: Jeddah, 01-05 October 2000, Saudi Building
Industries Exhibition. Riyadh SAUDI LUMINEX, International
Lighting Equipment show. SINGAPORE: Singapore, 01-03
November, 2000, LUMINAIRE ASIA, The World Light Show in Asia.
SOUTH AFRICA: Port Elizabeth, 6-8 November 2000, SANCI,
Light and Lighting 2000. TAIWAN: Taipei 20-23 September,
2000 Taiwan International Furniture, Interior Decoration, Kitchen
Furniture and Building Materials Fair. VIETNAM: Ho Chi Minh
City, 25-28 October, 2000, Lighting and Electrical Appliances
Expo.
EUROPE
AUSTRIA: Vienna, 19-22 October 2000 (18-20/10 2001),
WOHNDESIGN, Domestic Design Exhibition. BELGIUM: Kortrijk,
13-22 October 2000, INTERIEUR 2000. CZECH REPUBLIC:
Pilsen, 19-22 October 2000, VIA CREATIVA, Exhibition for Glass,
Lighting, Ceramics, Gifts and Handicrafts. Prague, 15-17
February 2001, PRAGOINTERIER – NEW DESIGN International
Exhibition of Furniture, New Design, Lighting. FRANCE: Paris,
11-15 December 2000, International Exhibition ELEC –
Electricity, Automation, Lighting. Paris, 11-15 January 2001,
PARIS SELECTION DECO Interior Decoration Exhibition.
GERMANY: Bad Salzuflen, 20-24 September 2000, M.O.W.
Herbst, Furniture Trade Fair. Barntrup, 20-24 September, 2000 ,
M.O.W. Herbst, Furniture Trade Fair. Schieder, 20-24
September 2000, M.O.W. Herbst/Furniture Trade Fair
Frankfurt/Main, 16-20 February 2001, Ambiente Internationale
Frankfurter Messe, Domus & Lumina. Goslar, 20-22 September,
LICHT 2000. Lemgo, 20-24 September, 2000, M.O.W. Herbst,
Furniture Trade Fair. Gutersloh, 27-29 October 2000, DeSign/
Interior Design Exhibition. Cologne, 15-21 January 2001, IMM
–International Furniture Fair. HUNGARY: Budapest , 02-04
November 2000, FENY, International Trade Fair for Lighting and
Lighting Technology. ITALY: Verona, 14-18 September, 2000
MONDOLUCE , Lighting Exhibition. POLAND: Lotz, 24-26
November, 2000 , Lighting Equipment, Materials, Devices and
Technology Exhibition. Warsaw, 06-09 November, 2000,
ElektroExpo, International Electrical Fittings and Lighting
Exhibition. PORTUGAL: Aveiro, 21-29 October 2000,
DECORCASA, Furniture, Decoration and Lighting Exhibition,
Lisbon, 16-19 September, 2000, INTERHOME, Furniture and
Lighting Fair. Lisbon, 07-15 October, 2000 INTERCASA,
International Furniture and Lighting Exhibition. Porto, 28 Feb – 4
March 2001, Export Home – Expo of Furniture, Lighting.
RUSSIA: St. Petersburg, 21-25 February 2001, LIGHTING,
International Lighting Trade Fair. Moscow, 12-15 October, 2000
MUSIC, International Exhibition on Musical Equipment and
Lighting Technology. Moscow, 13-16 December, 2000,
INTERLIGHT 2000, International Trade Fair for Lighting and Light
Technology. SPAIN: Valencia, 25-30 September, 2000, FIM,
International Furniture Fair. Valencia, 25-30 September, 2000
FIAM, International Fair of Lighting Fixtures, Accessories and
Components. SWEDEN: Stockholm, 07-11 February 2001,
LIGHTING, Lighting Fair. TURKEY: Istanbul, 05-08 October
2000, LIGHTING/Lighting Technologies Exhibition. Istanbul, 1215 October 2000, INTERIOR DESIGN & DECORATION. Istanbul,
23-24 November, 2000, 3rd National Lighting congress and
Exhibition. UNITED KINGDOM: Birmingham, 21-24 January
2001, The Lighting Show – Contract Lighting.
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Fax or mail this form to:
The Reader-Service person in your country
Should no such person be listed for your country, please fax or post your order to:
fax
ILR/ Franka Heesterbeek **31 40 275 78 00
post ILR/ Franka Heesterbeek P.O. Box 721, 5600 AS Eindhoven The Netherlands
Chile:
Valeria Sáez, Santiago,
fax 027371711.
Malaysia:
K.C. Wong, Kuala Lumpur,
fax 037574368.
Thailand:
Kitiya Vorasuntharosoth, Bangkok,
fax 02 703 4183.
China:
Tracy Li, Shanghai,
fax 0255501822.
Mexico:
Jorge Avila, Mexico
fax 05 7294844.
Turkey:
Didem Sen, Istanbul,
fax 02122804501.
Colombia:
Edgardo Cayón, Bogota,
fax 016236177.
New Zealand:
Sarah Bastin, Auckland,
fax 098497812.
United Kingdom:
Andy Gowen, Croydon,
fax 01816892752.
Czech Republic:
Jacob Wittlich, Prague,
fax 0233099326.
Netherlands:
Anneke Summerfield, Eindhoven,
fax 0402786795.
Uruguay:
Carlos Galante, Montevideo,
fax 029023616.
Your profession
Denmark:
Hans Jorgen Jacobsen,
Copenhagen, fax 032960131.
Norway:
Line Furulund, Oslo,
fax 022748229.
USA:
Megan Carroll,
fax 732 5633 525
Please help us to know you better:
Finland:
Petri Pekola, Mäntsäla,
fax 096883230.
Peru:
Fabián Ysla, Lima,
fax 014449147.
Venezuela:
Alejandro Samour
Fax: 2 2378343.
France:
Hubert De La Rivière,
Ivry-sur-Seine, fax 0149876186.
Pakistan:
Ejaz Ahmed, Karachi
Fax 021 2568658
Germany:
Harald Dekkers, Springe,
fax 05041945183.
Philippines:
Robert Victoriano, Manila,
fax 028166340.
Greece:
Isabella Terzaki, Athens,
fax 016845728.
Poland:
Magda Tarnowska, Pila,
fax 067 3513104.
Your address
NAME
ADDRESS
Other countries:
ILR/ Franka Heesterbeek
fax 31 40 275 78 00
PRINCIPAL BUSINESS
1 Architecture/interior design
2 Consulting engineering
3 Lighting design
4 Government/Municipality Electrical utility
5 Electrical contractor
6 Manufacturer of lighting accessories
or materials
7 Professional society orassociation
8 Education/library
9 Other____________________
PRINCIPAL LIGHTING INTERESTS
A Commercial/industrial
B Institutional/social environment
C Indoor sports
D Outdoor sports
E Public lighting
F Floodlighting
G Theatre/television/Performing arts
H Other____________________
002
ILR 002: SHOPS
Spanish fashion, Sfera, Spain.
Shop lighting with Scrabble luminaires.

shop lighting

Transcription

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