The lighting project is designed to light up the city in dark mountains. Integrated with solar energy, LED reduces costs and saves energy to the most extent

图1：当夜幕降临，所有的古迹都消失在人们的视野中，而户外照明则需要呈现出它们的美丽 

Picture 1: All monuments disappear when the night falls. A good outdoor lighting is needed to reclaim their beauty 

在西班牙的在特鲁埃尔省，建在山坡上的Albarracín 城，四周被Guadalaviar 河环绕着。由于它的美丽和历史重要性，自1961年来国家记念馆便准备申请世界非物质文化遗产。朗程照明（Light Cibles）展示了户外灯光的新理念，不只是要古老街道，其他标志性建筑如教堂、市政厅、中世纪城堡、屋顶以及装扮城市的古城墙的美感。

当夜幕降临时， 城市中所有的标志将随之消失。这座城市的建筑和历史被淹没在群山的黑暗中。多亏 Santa Maria 基金会和 Albarracín 市政厅的倡议，在Louis Clair 的领导下于2010年四月成立了一个名为“夜景”的工作坊，在那里18名学生参与了一项照明工程，并为未来留下了理念。

图2：古城墙上的城垛使我们想起城市的历史。太阳能射灯很小，几乎看不见。 

Picture 2: And old wall with its battlements reminds us the history of the city. The solar spot is small and it is almost non visible.

在夜晚来临的时候 ，通过使用灯光照明来恢复城市白天的美丽。这个项目不仅为市民还为游客提供了独特的夜景。设计方案包括了两个理念，如城堡的垂直感可以把人们的视线引导到通往高处的城垛，由于地形陡峭，特色石材地板和屋顶暴露在阳光下。

为了强调古迹的垂直度，该项目建议照亮建筑物扶壁的一侧，用柔和微妙的灯光点亮塔和尖塔。同时也考虑照亮一些古迹的窗户，好似有人在建筑物中，以营造出一种欢迎的氛围。

墙壁也遵循相同的理念。它强调了塔的垂直度，并画出了一条穿越城墙微妙的线条。调为营造一个舒适的环境选择暖色。这些建筑物和古迹灯光遵照夜晚的需要来设计，尽量减少光污染以便让 Albarracín 的暗天空每晚陪伴着我们。

在街道，灯光照亮人行横道这样的水平面。光污染和眩光将降至最低。这种功能照明应该为行人提供良好的视野，但是，同样要重视灯的美感，受落日的启发，它们发出的将是暖光。

图3：Albarracín 市政厅 

Picture 3: The city hall of Albarracín

由于地形陡峭，屋顶向来都是这座城市的一道风景。受月光的启发，通过点缀在镇上的蓝色灯光，他们强调了上帝的眼睛。这种光很轻柔，只是为了清楚的展示夜间的城市。出于这个目的，这个项目将创新与传统相结合，并在乡间和山区运用最新的科技。

为了遵循这一项目所提出的概念，势必要把 LED 技术与太阳能结合起来。Cibles照明运用这两种具有多种优势的技术发明了一种新灯具。首先，它可以在地势陡峭的地点轻易安装，如安装在地形陡峭的山顶上的古城墙上。每个太阳能电池都很容易安装。因此没有必要安装供电电缆，因为每个太阳能 LED 点会自发运作。由于 LED 技术的使用，维修极少，这也保证了较长的寿命。另一个好处是由于能源来自于太阳光，每个 LED 点只消耗3W 能量，所以不需要支付电费。

团队还研发出另一种灯光配件以解决在Albarracin 狭窄的街道上的功能性照明问题。这是一种 LED 灯笼，它保持着与城市风格相协调的旧有灯笼的美感，但其中蕴含了最新的技术。通过使用 LED，电力消耗将减少50％，为市政府节约了能源和资金。通过消除眩光和均匀性的欠缺，既可解决视觉舒适性这一实际问题，又避免了实际存在的光污染。

在西班牙，这个项目开创了用灯光亮化整座城市的先河。这将改善居住者和游客的视觉舒适度，同时也为市政厅减少了电费开支，而且会突出城市美丽的古迹。

图4、5：考虑到这座城建在陡峭的山坡上，屋顶时常曝露在阳光下，所以朗程照明决定利用灯光强调这种浪漫。太阳能板被小心地安装在屋顶上，以便为所有的灯具提供能量。

Picture 4, 5: Due to the steep morphology of the city, the roofs are constantly exposed. That is the reason why Light Cibles decided to emphasize the romantic point of this by lighting. A solar panel was carefully set on roof. All the fittings are feed with solar energy.

In Teruel province (Spain) Ciudad de Albarracín is built on the slopes of a mountain, almost entirely surrounded by the river Guadalaviar. National Monument since 1961 and proposed to be declared a Unesco World Heritage site by the beauty and importance of their heritage. Light Cibles presents a new concept of outdoor lighting. In order to enhance its Cibles beauty, not only for the old narrow streets are treated, but also the monuments like churches, the City Hall, the Medieval Castle, the roofs…  and the remains of the old wall which crowns the city.

When night falls almost the identity of the city disappears. Its architecture and history are buried in the darkness of the mountains. Thanks to the initiative of the Foundation of Santa Maria and the City Hall of Albarracín, in April 2010 comes out  a workshop led by Louis Clair called “Night Landscape”, where eighteen students participated in a lighting project, leaving the concept prepared for the future. 

Light Cibles wants to rescue the day beauty, while at night, with the lighting as an instrument for this purpose. The project offers, not only to the citizens but also to visitors, a unique night landscape. The proposal includes a double concept that plays with the verticality of the forts, battlements and elements that direct their eyes to heaven, and the horizontal of the characteristic stone floors and roofs of Albarracín in constant exposure due to the steep terrain place.

To emphasize the verticality of the monuments, the project proposes to illuminate one side of the buttress of the buildings, with a soft and subtle light the towers and steeples are lit. It is contemplated also to illuminate some of the windows of the monuments, to simulate there are always people inside the buildings and provoke a welcoming ambience.

The walls follow the same concept. It emphasizes the verticality of the towers, and draws the delicate line of batt­lements that runs through the wall. Warm colours to lit are chosen for a comfortable environment.

These buildings and monuments are lit respecting the darkness, it minimizes light pollution, to allow the Albarracín sky stay with us every night.

In the streets, the horizontal planes are lit, ie the pavement. Light pollution and glare will be minimized. This is a functional lighting and should allow good vision for pedestrian, however, not underestimating the aesthetics of the lamps, the light arising from them will be a warm light, inspired by the sunset.

Roofs are always present in the view of the city due to the slope of the terrain. They are underlined with the God’s eyes, dotted throughout the town with a blue light, inspired by the moonlight. This light is very soft, just to make clear this horizontal layer at night.

For this purpose the project is a combination between innovation and tradition, working in a rural and mountainous environment with the latest technology.

To follow the concept proposed for this project, the bet is to use LED technology combined with solar energy. Light Cibles develops a new fixture with these two technologies that will provide several advantages. First, it enables a very easy installation where the accessibility to the installation point is difficult, such as the old wall on the top of the mountain in a steep terrain.  Each solar spot comes prepared for a very easy installation. At this point, there is no electricity cabling to be installed, and there will be no need for that, as each solar LED spot will be autonomous. The maintenance will be minimal because of the usage of LED technology, which will also guaranty a long life duration. Other advantage is that there will be no electricity bill to pay as the energy comes from the light of the sun, which will feed only 3W LED spot.

There is also another great lighting fitting developed by the team, to solve the functional lighting in the narrow streets of Albarracin. It is a LED lantern, maintaining the aesthetics of the old lanterns integrated in the style of the city, but including the latest technology. By using LED, the consume in electricity will be reduced in a 50%, saving energy and money to the City Hall. It will solve the actual problems of visual comfort, by eliminating the glare and the lack of uniformity, and will avoid the lighting pollution actually existing.

This great project will be a pioneer project in Spain, where it is the first time to treat in its totality the lighting of the whole city. It will improve visual comfort for the habitants and visitors, it will reduce the electricity bill for the City Hall, and it will highlight the beautiful monuments of the City.

人与环境的关系曾一度被认为是直接和自发的，但现在的变化却超越了人们的认识：从罗马时期、中世纪，文艺复兴以及巴洛克时期的第一个部落村的建立，从工业革命开始这种关系就在不断地变化。所有这些都对灯光产生了影响，并随着社会的变化不断发展 

The relationship between an individual and their environment, which used to be direct and spontaneous, has changed beyond recognition: from the creation of the first tribal villages to the founding of cities during the Roman, Medieval, Renaissance and Baroque periods; this relationship has been in a state of constant flux since the age of industrialism. All of this has an effect when it comes to making changes to lighting of a city and keeps up with the needs of an ever-changing society. 

文：莫妮卡·佩慈拉

by Monica Pezzella

图1：拉斯维加斯弗里蒙特街 

Picture 1: Las Vegas, Fremont Street Experience (1995), a multimedia lighting installation (Jon Jerde Partnership)

   设计这个行业，在工业革命时期伴随着第一次大型博览会应运而生，这次博览会是在废除了工会后举办，使生产者、商人和消费者可以直接联系。在1851年伦敦博览会上展示出试验性灯光系统、指示牌和喷泉，这些是由当时最大的生产商制造包括像la Société Anonyme des Hauts-Fourneaux & Fonderies du Val D’Osne、Durenne、Salin 和 Dommartin-le-Franc。第一个关于街道设施贸易的目录册（专注在铁具方面）开始流行，目录册包含了具体的报价和技术介绍，如今这些被称之为金沙。罗马大学历史建筑学教授布鲁诺·赛维（Bruno Zevi）在1957年的卢卡市政规划会议中将街道设施引入用语中。但是意大利建筑师Giuseppe Samona1983年在他的一篇关于意大利的未来及与建筑师的关系的论文中，他把街道设施定义为：“一个特殊的问题是物体与空间（像街道和广场）的关系，和粉饰城市关连，当把它们联在一起的统称。”

Design was born during the Industrial Revolution along with the first large exhibitions, which, following the abolition of the guilds, enabled a direct relationship between producers, traders and consumers. At the Great Exhibition in London in 1851, experimental lighting systems, signage, benches and fountains were put on display. They were constructed by the largest foundries of that time, including: la Société Anonyme des Hauts-Fourneaux & Fonderies du Val D’Osne, Durenne, Salin and Dommartin-le-Franc. The first street furniture trade catalogues (in particular iron-furniture), complete with prices and technical descriptions, came into circulation; today these are considered gold dust. The term street-furniture was introduced into common language after its use by Bruno Zevi in the1957 Town Planning Institute (INU) conference in Lucca, Italy. However, it was Giuseppe Samona in his 1983 paper on the future of the Italian city and its relationship with its architecture, who defined it as “a distinctive problem involving the physical relationship between objects in outside spaces (streets and squares) within the patchwork of the city, which together form an often expressive set of icons”.

图2：日本风之塔 – 伊东丰雄的作品 

Picture 2: Tokyo, Tower of Winds (1986) by architect Toyo Ito

城市之光 

    自从第二次世界大战以来，日本城市特别是东京发展的速度非常快。人们见证了高速的城市化。电子通讯和互联网联系催生了城市灯光设计日益完善的发展，灯光设计亦被认为现代电子社会的标志。一个很好的例子是矗立在日本横滨西口火车站的风之塔（包括1280个小灯泡，基座连着12个霓虹圆灯，30个 500个泛光灯在它的底部），风之塔于1986年出自日本建筑师伊东丰雄之手，这座塔曾经是一个蓄水池，之后被改造成一个生动的、充满活力的灯光建筑。白天，它的孔状，铝包层结构反射光，表现为一个简单的循环结构，但设计师说“晚上就变成一个随时变化的万花筒，随着城市的脉搏和节奏而运动。”

    同样，拉斯维加斯是世界繁华的缩影，创造力超越了建筑领域的理念，1995年美国捷得国际事务所（Jerde Partnership）设计了繁华的弗里蒙特街：弗里蒙特街（Fremont Street）的体验是技术性和创造性的融合。一个大型购物中心 (30m X 427m)，白天可以防太阳光，在晚上，2,100,000支灯泡变成一个巨大的电视屏幕。光释放出它的潜力创造出一个电子的空间：LED灯，扬声器和旋转的镜子，形成一场灯光和音响的盛宴，吸引游客。

图3：艺术家灯光展，蓝色小精灵，Rebecca Horn 作品 

Picture 3: Artist’s Lights, 2006. Piccoli Spiriti Blu, an installation for Monte dei Cappuccini by artist Rebecca Horn

意大利 

    如今的城市，是在经历过几千年的历史之上建立，并受到法律体系的规范（保护艺术和历史的重要性，保护自然之美），任何城市的改变都受到严格控制和监管。虽然有人说意大利是全球一体化的一部分，但是距离像东京和拉斯维加斯这样喧嚣的大都市还有很大距离。意大利因文艺复兴时期的风格严肃的建筑而闻名，然而，一群参与设计佛罗伦萨，最著名的博物馆的灯光和流行艺术的设计师逐渐开始尝试一些有趣的艺术实验；一个裸体妇女和四面鲜艳的美国国旗，在色彩缤纷的灯火下，展示在市民的生活中，为这座古老传统的城市带来了一些后现代气息；这些闪烁绚丽的效果没让人失望。通过淡化一些城市的通俗的照明效果，使光成为一种艺术。尽管我们把艺术同现实区分开，但是可以通过生活的舞台，使人们可以体会并观察现代都市的喧嚣和混乱。

City of Light
Since World War II, Japanese cities, in particular Tokyo, have developed in an extraordinary manner. Here, the effects of urbanism can be witnessed in their extreme. The age of electronic communication and the internet have led to the implementation of urban lighting designs that fly the flag for the modern electronic society. An example of this is the Tower of Winds (consisting of 1280 little lamps, twelve neon rings with thirty 500 W floodlights at its base) in the centre of Yokohama’s Nishi-guchi train station. The Tower of the Winds, built in 1986 by Toyo Ito, used to be a concrete reservoir for water and has been transformed into a lively and vibrant lighting sculpture. During the day, its perforated, aluminium cladding reflects the light and it appears as a simple circular structure, while “at night it becomes a kaleidoscope that reacts to movement, moving in time with the pulse and rhythm of the city”, says its designer. Likewise, in the transient microcosm of Las Vegas, where creativity goes beyond the realms of architectural rationale, an installation by the Jerde Partnership in has graced the busy Fremont Street since 1995: the Fremont Street Experience embodies both creative talent and technology. A large mall (30m X 427m), during the day it is used for protection against the sun’s rays while, when night falls, with the activation of 2.1 million lights it becomes a giant television screen. Here, light unleashes its potential and creates a space using electricity: LED lights, speakers and rotating mirrors, which, through a veritable feast of lighting and sound, captivate its visitors.

In Italy
Today’s cities with their layers of history built up over the past millennium, are regulated by a complex legal system (“Protection of artefacts of artistic and historical importance” and “Protection of natural beauty”), which regulates changes made within a city by enforcing strict controls. It could also be said that Italian cities, although part of the globalisation process, are a far cry from the modern chaos of Tokyo and Las Vegas. Nevertheless, interesting artistic experiments have been carried out by a group of young Florentines who projected lights and pop art onto Florence’s most famous monuments; a city famous for its strictly Renaissance architecture. A naked woman and four American flags projected in bright colours brought a post-modern effect to the traditional architecture; the dazzling effect on its residents was far from disappointing. By toning down the lighting style from the gaudiness of far-flung cities, it can become an art form, an installation. Although we see it as separate from our own reality, it can be used to create a real-life stage in which the actors and audience can step back and observe the bustle and chaos of modern city life.

图4：米兰灯光展，喷泉效果图 

Picture 4: Milan Light Exhibition Design (LED), the fountain

临时安装 

米兰LED 灯展示设计

圣玛丽亚教堂的直棂窗

设计理念

    直到几年前，白天可以看到美丽的建筑，但一到晚上，就变成了单调，黯淡的夜晚。如今，通过透彻地了解照明系统，以及一些高质量的电源配备，能够为圣玛丽亚教堂提供优雅的灯光，点亮教堂的窗棂。灯光勾勒出建筑物的结构并且为街道提供功能性照明。教堂采用这样的灯光设计，是因为它的尖顶的窗棂和玫瑰花形设计简单——可以引入光的定义-同教堂的整体结合，让游客从角落和缝隙可以有一个新的视角。

设计：白光还是彩色光？

图5、6：设计灵活的 LED 灯条嵌入铝合金，牢固地安装在教堂的直棂窗上，点亮窗棂

Picture 5,6: A flexible LED strip embedded in aluminium and secured to the grate of the mullioned windows, lighting up the windows

    教堂是文艺复兴时期建筑的融合，在白天，采光和通风都非常好，这促使设计师 Annia Codarrit 想办法让它在夜晚也能引起人们的注意。点亮教堂的窗棂和玫瑰花形结构（意大利伦巴第习惯专注于建筑物本身），设计师选择自然色调的白光，色温在4100-4200K 之间，设计灵活的 LED 灯条嵌入铝合金，牢固地安装在窗棂上，灯光投射到建筑物上，带出装饰华丽窗棂，而要玻璃窗户却处于黑暗之中。有必要用带有稳定色温的LED避免出现白黄，白绿和冷白等颜色。在铝条上安装了色温是4100K 的白色、 流线型 IP67 14.4 W/m LED，这样建筑物砖砌结构和墙体都不会被损坏。窗棂和花形结构也被分别照亮。

Temporary Installation

Milan LED lighting exhibition design

The mullioned windows of Holy Mary of Grace church

The design concept

Until a few years ago, it was normal to see beautiful architecture during the day but at night it would become monotone and fade into darkness. Now, through a greater understanding of lighting systems, along with high-quality power supply units, it has became possible to light up the elegant, mullioned windows of the Santa Maria delle Grazie church. The lighting outlines the brickwork of the building and functions as lighting for the city’s streets. This building was chosen for the installation of the lighting system because Guiniforte Solari’s ogival mullioned windows and rosette shapes are simple forms that – brought into definition by the light – can integrate with the overall architecture of the church, allowing visitors a fresh view of its nooks and crannies.

The design: white or coloured light?

The harmony of the church’s Renaissance architecture, which by day has a light and airy feel, led the designer Annia Codarri to devise a way for it to be appreciated at night.
To light up the mullioned windows and rosettes of Santa Maria delle Grazie (the Lombard’s traditionally focused on brickwork), the designer would need to opt for natural tones of white light, with a colour temperature of 4100-4200K.
A flexible LED strip embedded in aluminium and secured to the grate of the mullioned windows, casts light on its brickwork, highlighting the ornate cornices while leaving the glass windows in darkness. It was necessary to use LEDs with a constant colour temperature to avoid the risk of “white-yellow”, ”white-green” and “cool white” colours. An aluminium strip houses a strip of white 4100K linear fixture IP67 LEDs of 14.4 W/m and thin transparent stays will be used to fix them in place. In this way, the brickwork and walls do not get damaged. The mullioned windows and rosettes are lit up separately.

图7：直棂窗的平面图 

Picture 7: The floor plan of the mullioned window

固定安装

米兰 LED 灯展示设计
米兰中央火车站“连接传统与现代灯光的桥梁”

    米兰的中央火车站的正面，体现了灯光设计的效果，它结合了自由与装饰艺术元素，整体外观长200m 长，高72m。其华丽的建筑丰富值得一提，光影微妙的结合，通过不同的色彩和色温，建筑物呈现出一种神秘的美，同时为周围营造出一种欢乐的氛围。照亮火车站的正面，描绘这座城市的工业历史，将激情和梦想注入生活，能够让米兰人精神振奋，通过灯光来表达一种优雅和雅致的感觉，这同法国灯光设计是 Alain Guilhot’s 的理念是一致的。

设计

    照亮 Ulysses Stacchini’ 体现了目前可持续性的趋势，目的是用低能耗的  LED 系统，不需要特别维护，但可以提供丰富多彩的颜色投射在火车站的正面。
Permanent Installation

Milan LED lighting exhibition design

The Central station “Gateways of light between tradition and modernity”

The aim of the intervention
The facade of Milan’s Central Station, a display of eclectic architecture that combines elements of Liberty and Art Deco, is 200 m long and 72 m high. Its ornate architectural richness deserves to be highlighted; a subtle interplay of light and shadow, created through a broad range of chromatic tones and colour temperatures, reveals the building’s mysterious beauty to its fullest potential while bringing an atmosphere of conviviality to the adjoining area. The illumination of the facade aimed to evoke the spirit of Milan, portraying its industrial history and bringing emotion and dreams to life. It was necessary for the lighting to convey a sense of elegance and refinement, something which was integral to the French lighting designer, Alain Guilhot’s concept.

The design

The lighting up of Ulysses Stacchini’s architecture is part of the current trend for sustainability. The aim therefore was to use a low energy LED lighting system, which does not require special maintenance but enables a variation of colour to be projected onto the facade.

图8、9：中央车站夜景照明图

Picture 8,9: Image showing the lighting of facade of the station at night

项目信息 Project information

项目名称 Project Name：中央车站 Central Station

照明设计师 Lighting designer：Alain Guilhot

照明技术供应商Technical lighting design partner：飞利浦 Philips Lighting

官方合作伙伴 Institutional partner： Fondazione AEM_A2A

安装

米兰 LED 灯展示设计
圣凡德利广场

设计理念

为了使人们的目光集中到 LED 装饰的秋千，秋千设计得又高又长，安装了四个秋千，其中双人秋千的扶手合在一起是个“爱(LOVE)”字，一个单人秋千的扶手构成英文“站立(STAND)”的意思，还有一个单独的秋千和一个儿童秋千。
这个理念源于想设计创造一个互动装置，这样成人和儿童可以同时娱乐，享受飞翔的感觉，人们可以感觉到一种从米兰的喧嚣和快节奏中摆脱的自由，（特别是在圣诞节期间），得到片刻的宁静，缓减压力。由于这个原因，所以会选择安静的地方，营造一种平和宁静的氛围和解脱的感觉。从建筑学上讲，秋千的高度和技术需要确保安全，因为在广场的地面上打钻是不大可能的。

将这个理念变为可行的，是一位才华横溢的铁匠，他将管的直径由之前的70厘米变为30厘米，这样可以让秋千的重量减轻。在结构的稳定性方面，在秋千两侧的外围注入沙土稳固根基。整个结构特别选择按照RAL （卡尔色卡）来涂颜色以便同教堂的颜色协调。

灯光和产品设计

选择 柔和 LED，这个创新性产品由其是在装饰方面的应用上，将代替过时的霓虹灯系统。对比发现，它易切割和可折叠；容易安装，更重要的是不会发射热量。灯光包括5毫米的LED，按照要求分散安装，最终封装在一个不透明的、椭圆形装置中，虽然光的强度有些低，但光照均匀而且能有霓虹灯的效果。产品寿面长达8万小时（取决于装置的颜色，安装位置和电力供应）； 耐冲击，节能70%左右。通过使用这种创新型产品，可以按照设计师的要求再生产秋千以便从每个角度都能看到它；这是因为秋千不适合安装在建筑物正前方而是要旋转35°。

还有是把秋千的其中两个安装红外线感应，像城市的大门一样。也就是当秋千不用的时候，LED 只发出30%的光，当有人靠近和使用的时候，发光率可以达到100%。

图10、11：用 LED 点亮秋千的两侧扶手

Picture 10,11: LED is used to light up the wings of the swing

Installation

Milan LED lighting exhibition design

San Fedele plaza

The concept

In order for the eyes to be drawn straight to the LED wings, the swing structure has been made tall and long to keep it fairly invisible. Four different swings have been installed: a double-swing for couples called LOVE, a low, single standing-swing  called STAND, a standard single-swing and a lower children’s swing.
The idea stemmed from the desire to create an interactive installation, which could be enjoyed by children and grown-ups alike and give the sensation of flying; a sense of freedom from the chaos and haste of Milan (especially during the Christmas period); somewhere for moment of peace and reflection, far from life’s stresses and strains.
It was precisely for this reason that a “peaceful” and quiet location was chosen, to create a sense of tranquillity and escape.
From a structural point of view, the only issue that arose concerned the height of the swing and the techniques required to make it safe and secure, because it was not possible to drill into the paving of the square.
The swing was made entirely by a talented blacksmith who made it possible for a tube measuring approximately 30 cm in diameter, instead of 70 cm, to be used, which made the swing even lighter. With regard to the stability of the structure, a kind of housing containing sand was created at its two ends to anchor it to the ground. The structure was painted entirely with RAL colours chosen specifically to match the church facade.

Lighting + Product design

Flexo LEDs were used, which is an innovative product used in place of the obsolete range of neon lighting used in many decorative devices.

In comparison, it is much simpler to cut and can be folded tightly; it can be installed rapidly and, most importantly, does not emit heat. The light comprises of 5 mm LEDs, spaced out as required, which are encapsulated in an opaque, oval-shaped sheath, which diffuse the light uniformly and recreate a neon lighting effect, although with a slightly lower intensity. The product lasts approximately 80,000 hours (depending on its colour, location and the power supply unit used); it is resistant to impact and reduces energy consumption by around 70%.

Through the use of this innovative product, it was possible to reproduce the wings in the way that the designers wanted and make them visible from every angle; this is because they were not fitted to the front of the structure but rotated by 35°.

It was also possible to fit two of the four swings with infrared lights, like the gates of a city. This means that when the swing is not in use, the LED emits just 30% of its potential light, while when someone approaches it and climbs on, the light output increases to 100%.

图12：秋千两侧扶手的效果图

Picture 12: Lighting of the wings

项目信息 Project information

室内和产品设计师 Interior and Product Designer：Alessandra Reda Veronica

室内设计 Interior Design：Perez Interior Designer

办公室和产品设计师 Office and Product Designer：Susiana Tjiu

SPD – Scuola Politecnica di Design, Milan

技术照明合作商Technical lighting partner：Elinca Innovative Lighting

Arts Square is an architectural complex based on the design by Carlo Rossi and founded at the beginning of the 19^th century. It constitutes one of the oldest and most important urban areas of St. Petersburg

文：维克多·特斯维科夫

by Viktor Tsvetkov

图1：圣彼得堡艺术广场，图示为实施新照明方案后的广场 

Picture 1: St. Petersburg, Arts Square. The finished illuminations

在圣彼得堡艺术广场的流连往返的人中有一半是来自世界各地的游客，这个广场上有很多著名的旅馆、博物馆、剧院和大型超市以及餐馆等。构成这一区域的核心建筑是米哈伊洛夫斯基大厦（现被用为俄罗斯国家博物馆）。环绕这座大厦的众多建筑围成了一个马蹄形——这是一种意大利建筑师们对城市进行规划时常用的设计——作用是突出建筑物的恢弘气势。广场上还有其它建筑，虽然它们的设计者都各不相同，但在建筑风格上都比较相似。  

圣彼得堡艺术广场上的建筑物立面照明采用的是非常具有革新性质的彩灯照明方案。设想最初产生于2008年。经过设计师、客户还有伦斯维尔特市有关企业的共同努力，方案最终得以实现，并且成为圣彼得堡市的一大照明工程。在设计阶段遇到的最大困难是如何兼顾技术和审美的两方面要求：因为用活泼的彩灯给这些十四世纪的古建筑照明并非一件容易的事情。

图2：艺术广场，图示为一个地面上的内嵌式照明灯具的细节 

Picture 2: Arts Square. A close-up of the custom-made lighting fixtures embedded in the pavement 

照明在技术上的概念

艺术广场的照明方案在设计上做了适当的妥协，概念上基本是用均匀的白光把建筑物照亮，然后也运用了活泼的彩灯。在设计初期遇到了很多技术方面的问题，但最大的问题是如何确定灯具的位置：因为对着艺术广场的大楼正面不允许安装照明灯具，为此选择了一款高射灯，灯具本身被安装在生铁制成的高柱上。开始时曾想在多个灯柱上安装这种灯具，但考虑到外观效果，最终还是放弃了这个设计。没有采纳这一设计的另一个原因是射灯会使从楼里出来的人感觉晃眼，并且也会给周边的居民带来视觉不适。所以只好选择在大楼周边的人行路上埋设内嵌式灯具。尽管人行道下面的管道空间已经接近饱和——那里汇集了通信电缆、煤气管道、自来水和高低压电网等，但这个方案最终还是获得了很好的效果。

选择灯具

最初选择灯具时考虑都用彩灯，而且都是地下嵌入式，亮度方面要求很高，这样才能照亮整幢大楼，但结果并不理想。为了解决问题，客户方和设计师转而求助意大利的马蒂尼照明设计公司，希望对方能为他们在短时间内设计出一款合适的灯具。这家公司拥有专业的高级工程师，同时他们以往也有和圣彼得堡市合作的成功经验。在经过多次的试验后，马蒂尼的工程师决定弃用带过滤装置的设备，而选用 LED 射灯。最初遇到的技术问题集中在缩减灯具尺寸上，因为这部分要嵌入地下，所以灯具需要符合花岗岩石片的规格，而人行道下面可利用的空间非常有限，下面又有通讯电缆经过，同时还要考虑 LED 灯使用时会产生的大量的热等等。

图3：艺术广场 

Picture 3:  Arts Square  

合理的方案

就这样马蒂尼公司的技术人员通过反复的研究和试验，在很短的时间内便制出一款名为Borgo5的灯具。由于规格的设计非常合理，只使用这一款灯具便解决了问题：到2008年11月为止，圣彼得堡已经安装了150盏这种射灯。由于工程尚未结束便获得一致好评，因此最终决定将全部灯具都将安装到位。为了获得最佳效果，还首次为圣彼得堡市设计和安装了一套配合照明工程的音乐设备，这个项目还体现了一点：这是第一次专门采用 LED 灯为城市照明，建筑物被照亮后成为了光与影的舞台，配上音乐整体效果获得了进一步的升华。

照明条件改善后，圣彼得堡艺术广场上最古老的米哈伊罗夫斯基剧院门前经常可以看见人们随着音乐翩翩起舞。广场上的音乐为电脑程控，通过一个外接的专用遥控器可以进行调节。照明设备则通过一个微处理器进行控制，计算机则由城市照明控制中心通过一个 GSM 适配器进行统一管理。夜幕降临，每隔15分钟灯光声就会随音乐的旋律发生变化（持续时间为5分钟），其余时间内建筑物则仅由白色的灯光照亮。

图4：灯具 Borgo 5 RGB 是一款灯具，框架采用的是重力铝铸造成型工艺，在地面嵌入安装后车辆可以在上面通过。光源选用的是 LED 灯（发光二极管）。三色 LED 灯（红-绿-蓝）构成单个灯头，可以照射出和控制成彩色光线，可对色调进行微调。灯泡的流明为4500lm，功率6500K（大小可调）。每个灯头由12个蓝色 LED 灯（4.5W）, 24个绿色 LED 灯（4.5W）和13个红色 LED 灯（3W）组成，整个灯头的功率达250W，IP67 

Picture 4: The Borgo 5 RGB is a roadway lighting fixture housed in gravity cast aluminium casing. The lighting uses LED (Light Emitted Diodes) technology as the light source. The matrix is composed of three types of LED (Red – Green – Blue), which allow for an accurate colorimetric balance in setting up and operating the colour beam emissions. The light flow is 4500 lm with a colour temperature of 6500 K (variable). The matrix is equipped with 12 blue LEDs (from 4.5 W), 24 green LEDs (from 4.5 W) and 13 red LEDs (from 3 W) giving a total power output of 250 W. IP 67

照明设计师与圣彼得堡市的建筑师进一步磋商后，决定选择线形 LED 灯为广场侧面的那些建筑物照明。为了满足这种特殊的要求，马蒂尼公司开发了一款名为 Aveline 的灯具，这是同类产品中结构最紧凑的一款——灯光的颜色与建筑物正面的颜色相近，因此色调上与建筑元素保持协调一致。这些墙面的照明都采用均匀的白光，而建筑物的窗户和窗框上的饰物也因此更显突出。

结论

2010年圣彼得堡的伦斯特公司在艺术广场东西两侧的建筑物上也安装了照明设备。负责照明设计的是坎德拉照明设计公司。目前广场上其它建筑物的照明也在设计之中。正如人们所看到的那样，这里的灯光将建筑与音乐合为一体，在光线的交相辉映下，天才建筑师们的杰作显得更加恢弘壮观。

图5，a-b：艺术广场：启用新的照明工具之前（a）和启用新的照明工具之后（b）； 

Picture 5 a , b: Arts Square, the illuminations before (a) and after (b) the installation of the new lighting system 

照片提供：马蒂尼照明设计公司 

Photo courtesy: Martini Illuminazione

Arts Square is a place of intense sightseeing activity by international tourists. Famous hotels, museums, theatres, large supermarkets and restaurants can all be found there. The centre of the architectural configuration is Michailovsky Palace (currently home to the Russian State Museum). All of the buildings surrounding the Square are positioned in a horseshoe formation – based on a city plan by the famous Italian architect – so as to underline the grandeur of the palace.

The facades of the other buildings that overlook the Square all have a similar architecture even though they were created by different architects. The idea to create a revolutionary and dynamic design lighting involving projecting colours on the buildings was born in the spring of 2008 as a result of the collaboration between designers, the client, and the public utility company Lensvet, who were working on the development of the city street lighting in St. Petersburg. The design process encountered difficulties both on the technical side and with regards to the aesthetic decisions to be made: it was in fact very difficult to integrate dynamic colour into a 19^th century architectural complex. On one side there was the danger of the colours “degrading” the classic architecture of the buildings, and on the other there was the difficulty of convincing the architects responsible for the decisions relating to urban design, who were of a somewhat conservative disposition.

The Lighting engineering concept

The concept behind the lighting of the buildings in Arts Square was built on a compromise between the uniform illumination of the buildings with a white light and the possibility of having more dynamic coloured lighting according to a well-defined programme. Various technical problems were resolved during the design process. The main problem was deciding where to put the lighting fixtures: it was expressly forbidden to attach them to the outside of the buildings or for them to be directed towards Arts Square. The functional lighting of the Square was therefore achieved with lanterns hanging from artistic cast iron poles. The possibility of installing groups of fixtures on each pole was not practicable for obvious aesthetic reasons. Moreover these fixtures would have dazzled those who exit from the buildings and caused considerable inconvenience for the residents of the city. Therefore in order to project light onto the facades of the buildings there remained only one solution, which was to incorporate the lighting fixtures into the pavement alongside the buildings, the installation of which was achieved despite the existing congestion underneath the pavement what with a network of telecommunications and electrical wires as well as gas and water pipes.

Choosing the equipment

The next step was to decide on the most appropriate equipment for the job. Initial research into dynamic coloured lighting equipment that could be embedded in the pavement and that had the necessary light flow to illuminate the buildings, had not been crowned with success. The client and the designers therefore turned to the Italian company Martini Group with a proposal to develop customized equipment in a very short space of time. The company’s highly qualified technicians along with its practical experience gained in connection with several lighting projects already completed in St. Petersburg inspired confidence that it would be also successful in this project. After various trials it was decided to abandon the use of filtered lighting and to focus instead on LED lighting. An initial technical problem was posed by a series of restrictions on the dimensions of the formwork for the embedded casing which would house the lighting fixture.  This was due to the dimensions of the granite slabs used in the pavement, the limited available depth, underground communications cables, and the need to guarantee the operating temperature for the powerful LED headlamps.

The chosen solutions

Working to a tight schedule, the Martini technicians developed, tested and produced the Borgo 5 device, the only one whose size could satisfy the requirements of the design project. 150 of these devices had already been installed and commissioned in St. Petersburg in November 2008. In the final phase of the design project it was decided to complete the installation with the provision of a musical soundtrack. This resulted in the creation for the first time in St. Petersburg, of a unique sound and lighting system for the buildings, and it was also the first large urban project achieved exclusively with LEDs. In this way the exterior of the buildings become more like a stage for the dance of light, an effect that is amplified by the classical music. Furthermore, since one of the oldest buildings, the Michailovsky Palace, is among those that overlook the square, people can often be seen dancing to the music there. The whole show is controlled by a computer located externally in a special control panel. The trajectory of the lighting equipment is controlled through the DMX protocol, while the computer functions are checked from the city lighting control centre via GSM modem. Every evening the musical light show is switched on for a brief period (up to 5 minutes) every 15 minutes. The rest of the time the buildings are bathed only in white light. After further consultation with the city architects regarding lighting the lateral walls of the buildings, it was decided to use LED linear lighting equipment. For this specific application the Martini Group developed Aveline, the most compact device of this type of product and, since it is the same colour as the buildings’ walls, one that fits in well with the architectural components of the buildings. These walls are illuminated with a uniform white light that exalts the ornamentation of the windows and the cornices.

Conclusion

In 2010 the St. Petersburg based Lensvet company finished setting up the artistic lighting equipment for the facades of the buildings on the east and west sides of the square. The lighting design project was developed entirely by Studio Candela. Other lighting design projects are currently underway for the other buildings in Arts Square. The result of all this will be the achievement of a unique blend of music and architecture that will enhance even more the beauty and the grandeur of the masterpieces created by this brilliant architect.

图X：针对安装位置对正对广场的建筑物上的灯具进行研究

X: Study of the positioning of the lighting equipment used for the facades overlooking the Square

艺术广场

俄语名为：Площадь Искусств），也被称为：Ploščad Iscusstv’，是圣彼得堡市最重要的广场之一，这里有很多相同名字的博物馆和剧院等。

广场以北是米哈伊罗夫斯基大厦，其设计者也是卡罗·罗西，该建筑建于1819年至1825年间；广场南侧对着 Ital’janskaja Uliza 大厦有几家剧院，其中最著名的是 Filarmonica Šostakovič 剧院；在 ‘Uliza Michailovskaja 大厦的一角是 Prospettiva Nevskij 广场，它正对着的是欧洲大饭店，这家饭店也是圣彼得堡最豪华的酒店之一。

ARTS SQUARE

Arts Square (in Russian Площадь Искусств), otherwise known as Ploščad Iscusstv’, is one of the main squares in St. Petersburg and it owes its name to the numerous museums and theatres that surround it. The Michailovsky Palace, which was designed by the architect Carlo Rossi between 1819 and 1825, is on the North side of the Square while the Southern boundary is lined with various theatres that overlook the Ital’janskaja Uliza. The main one of these is the Šostakovič Philharmonic Hall on the corner of the Uliza Michailovskaja, which joins the Square to the Nevsky Prospect, opposite the Hotel Europa, one of the oldest and most luxurious hotels in the city. 

图Y：维克多·茨韦特科夫，坎德拉照明工作室的创建者和负责人

Y: Viktor Tsvetkov, designer, founder and director of Studio Candela

参与设计的大师们

负责圣彼得堡广场照明工程的是坎德拉照明设计公司，该公司成立于2003年，它同时也是斯巴达戈商业公司下属的一家分公司。该公司的工作室主要为建筑和景观进行照明设计，包括为街道、厂房、商业场所和办公室等各种空间进行照明设计。斯巴达戈商业公司成立于1993年，他们也是圣彼得堡的 GE 照明公司（USA）的代理。自成立以来，该公司下属的各分公司一直致力于为城市提供最新的照明技术和设备。在这些年来，坎德拉工作室为圣彼得堡的很多重要建筑物提供了照明方案。工程所涉及的建筑物有：Mariinsky 大厦、Smolny 教堂、Isaakiievsky 教堂、Petropavlovskaya 古城墙、de l’Ermitage 博物馆、美术学院和电信塔楼等。坎德拉工作室的设计方案多次获得 GE 爱迪生大奖，并在“俄罗斯照明设计大赛”中一举夺魁。这家设计公司还与世界最先进的照明灯具厂家进行合作，马蒂尼照明设计公司就是他们的合作者之一。

The stakeholders

The St. Petersburg project management was undertaken by the company Studio Candela, founded in 2003 and affiliated to the Spdg-Commercial company. The activities of this studio are focussed on architectural and landscape lighting design, functional street lighting and interior lighting for commercial and corporate buildings. Spdg-Commercial began its activities in 1993 and is the distributor for GE lighting (USA) in St. Petersburg. Since its foundation, the company has worked constantly to incorporate the most innovative lighting systems into the city. Over the years the Studio has dealt with numerous important construction projects in St. Petersburg. Among the most well-known of these are the Mariinsky Palace, the Smolny Dome, the Isaakiievsky Dome, the Petropavlovskaya Fort, the Hermitage Museum, the Art Academy and the Telecommunications Tower. Studio Candela’s projects have received numerous accolades such as the GE Edison Award as well as recognition as winner of the “Russian Lighting Design” competition. The company collaborates with the most important global producers of lighting equipment, amongst whom the Martini Group is a key partner. The founder and Director of Studio Candela is Viktor Tsvetkov.

文：罗格•那波尼 

by Roger Narboni

在格勒诺布尔市，有轨电车是很富特色的，由其是第三条路线的电车。在晚上乘坐这条电车线路，可以给与格勒诺布尔市的市民和游客提供了一个特殊平台去欣赏美丽的夜景和建筑

Grenoble’s third tramway is worthy of attention. Travelling along it at night offers both residents and visitors a unique nocturnal viewing platform, which brings the city’s scenery and architecture to life

文：洛伦佐·高利内莉，奥尔波特·里奇·佩蒂托尼

by Lorenza Golinelli and Alberto Ricci Petitoni

除了达到一定程度的节能要求之外，圣马力诺共和国公共服务司（AASS）想通过公共照明来突出都市环境的历史沉淀和艺术传统，同时优化管理成本.

The enhancement of the artistic and historical heritage of this San Marino village through lighting systems, along with a need to keep costs minimal and improve energy efficiency, were the main driving forces behind this pilot project implemented by San Marino’s independent state-controlled public service company (AASS)

图1：蒙泰吉阿迪诺古镇入口外貌

Picture 1: Entrance to the medieval village of Montegiardino. 

圣马力诺共和国的蒙泰吉阿迪诺古镇是该国九个城堡之一。古镇的街景照明工程设计任务委托给了 I-DEA 工程公司。该公司建议采用 LED 新技术，最终使得照明设施更节能，性能更好。

小镇建于古城堡的遗迹之中，以曲径通幽的小巷和古老的石头旧宅为特征，每一块砖头都承载着几个世纪的印记（图1）。由于近来的修复工作，使得这些建筑作为古迹很好地保留了历史特征，其中突出的是半圆形的城堡大门，城门上雕刻着古镇的城徽——在三座山峰顶上的植物丛中长着三种鲜花；1865年为供奉圣劳伦佐而建造的教区教堂和钟楼以及用石头花砖铺设的十字架之路，这一切构成了很有特色的风景。

图2：古镇入口处三条拱廊之一 

Picture 2: Custom-made Corten steel torch fitted with an amber LED spotlight to light up the entrances to the village  

图3：采用 Corten 钢定制的火炬状灯壳，内设琥珀色LED射灯，用于古镇入口的照明 

Picture 3: Montegiardino. One of the three porticoes accessing the village 

照明工程的理念

此项工程的目的是以节能和减少散射光为原则，利用灯光重新营造历史环境。换句话说，就是以艺术的形式来使用灯光，使其表达出古镇的内涵，进而创造出有本地特点的环境的氛围。

照明工程的设计理念源自几个主要的考虑：实施场景照明，在城堡的入口处安装定制的琥珀色灯光的火炬灯，突现历史旧貌（图2、3）；间或设置暖色的白炽灯，烘托环境细节，突出表现小巷的曲径幽深（图4）；通过安装不同色调的 LED 射灯实现对教堂和钟楼的建筑照明（图6、7）；对街道和走道实施正确的功能照明，以便尽可能限制耀眼的灯光（图8），特别强调保留历史要素的原汁原味。

对于古镇那样的具有历史环境价值地区的照明应当给人舒适愉快的感觉，即使深晚漫步街上，仍然沉浸在私密亲昵的气氛之中。

图4：采用 LED 灯的古镇小巷的照明              

Picture 4: Montegiardino. LED lamps illuminating the alleyways of the village

由于使用了光学性能最好的 LED 射灯，因此获得了显著的效果：尽管射灯数量翻了一番，确仍然相当节能，用电量几乎减少了一半，每年节电大约25.000 kWh，借助于照明反差和反射，以较低的能耗凸显了对古迹的照明。

此外，通过利用不同色调和亮度的灯光，重新实现对古镇的开发，用琥珀色灯光凸显古镇入口的历史风貌，用暖色白炽灯光（4200 K）彰显人行小巷的幽深宁静，并用彩色灯光照射十字架之路的石头花砖（图5）和古镇内的喷泉，再现出中世纪古镇恬静祥和的氛围。

另一个显著的特点是重新利用印有圣马力诺共和国国徽的传统灯笼，更换电线，配上温度超过4200 K的发出暖色白炽灯光的平板LED。根据最新的意大利和欧洲的法律规定，减少了光污染，更换了陈旧的电气装置，提高了系统的安全性和适应性。

图5：十字架之路石头花砖的照明

Picture 5: The flagstones of Via Crucis illuminated

The task of lighting up the medieval village of Montegiardino, Republic of San Marino, was commissioned by the engineering firm I-DEA. To ensure the lighting system would provide optimal savings and enhanced performance, the firm proposed using new LED technology. The medieval village of Montegiardino is one of San Marino’s nine Communes or “Castelli”.

The village, built upon the ruins of the ancient Commune, is characterised by its winding streets and ancient stone houses, which every brick is imbibed in history (picture 1). Following recent restoration works, these buildings now form part of a carefully preserved and unique historic monument. Highlights of the village include the rounded door to the Commune displaying the village’s coat of arms with its three-flowered plant atop three hills, the parish church and bell tower of San Lorenzo (built in 1865), as well as the flagstones of Via Crucis.

图6：圣劳伦佐教堂和广场的照明方案一例

Picture 6: Montegiardino. Studio mock-up of the lighting idea proposed for the Square and Church of San Lorenzo

The technical lighting model

The focus of the project was to use lighting to recreate a historic feel with an emphasis on improving energy efficiency and reducing diffuse reflection. The aim was to use lighting artistically as a form of expression: the place and its atmosphere are designed, created and shaped.

The following key considerations formed the basis of the technical lighting model: to illuminate the scenery using custom-made, amber-glow medieval torches to light up the Commune’s entry points (pictures 2, 3); to light up the streets and bring their unique atmosphere to life using warm, white lighting tones, (picture 4); to install various shades of LED spotlights to illuminate the church and its bell tower (pictures 6, 7); to light up the alleyways and streets and at the same time reducing glare, particularly of the historic monuments, as much as possible (picture 8).

The illumination of this historical village has made it a welcoming and pleasant place to stroll around, even at night, and has instilled it with an atmosphere of both safety and intimacy.

Through the use of LED spotlights and high-performance lighting, the main objective was achieved: namely the reduction of energy consumption. Despite the fact that the number of spotlights has doubled, consumption has almost halved, giving annual savings of approximately 25,000 kWh thanks to the use of low-consumption contrast lighting and their reflections to light up the monuments.

图7：圣劳伦佐教堂一瞥

Picture 7: The Church of San Lorenzo

Various lighting tones and intensities were used in the medieval village: amber light was used to illuminate the entrances to the ancient village; warm, white tones (4,200 K colour temperature) were used for the alleyways; and coloured lights were used to illuminate the flagstones of Via Crucis (see picture 5) and the fountains.

Another important feature is the restoration of ancient torches bearing the Republic of San Marino’s coat of arms. They have been rewired with LED plates to give off a warm, white light (4,200 K). In line with current Italian and European legislation, light pollution has been reduced, and, in order to improve the system’s safety and allow it greater flexibility, the obsolete electrical components of the lighting system have been replaced.

图8：古镇入口处街道一瞥

Picture 8: Montegiardino. Another entrance-point to the village

项目信息

项目名称  Project Name:

古镇蒙泰吉阿迪诺，圣马力诺Montegiardino, Republic of San Marino

客户Client:

AASS – 圣马力诺共和国公共服务司 Azienda Autonoma di Stato per i Servizi Pubblici della Repubblica di San Marino

设计和监理 Design and management team：

I-Dea 公司 (建筑师洛伦佐•高利内莉,工程师 奥尔波特•里奇•佩蒂托尼)–伊莫拉(波伦亚省) I -Dea Srl (architect – Lorenza Golinelli, engineer – Alberto Ricci Petitoni) – Imola (Bologna)

照明设备供应商:  Litek, Modus: 灯笼及 CDM 灯泡和 LED 板; DGA (设计师. Scuba, Sirio, Giove)：十字架之路的灯光照明；圣劳伦佐教堂和小巷建筑细部的灯光照明; Philips Lighting (设计师 Graze Powercore, LED灯带, LED水下灯, LED泛光灯, LED投光灯), 圣劳伦佐教堂和钟楼的建筑照明和古镇细部的照明; Ghidini Illuminazione

Lighting system suppliers:  Litek, Modus: torches with CDM bulbs and LED plates; DGA (models – Scuba, Sirio, Giove): illumination of Via Crucis, Church of San Lorenzo and the architectural features of the alleyways; Philips Lighting (models – Graze Powercore, LEDLine, Underwater, LEDflood, Beamer LED): illumination of Church of San Lorenzo and  its bell tower as well as the architectural features of the village; Ghidini Illuminazione

灯光设计师与客户

项目历程

我们想了解一下设计过程和客户与照明设计师以及照明设计师与建筑师之间的关系。虽然做决定的时候都很困难，但是最终设计成品的质量正是取决于这些关系。

你在哪个设计阶段与客户接触？你是直接还是通过项目建筑师与客户接触？

项目一开始的时候客户就立即与我们取的了联系。照明设计部分实际上是这个古镇重建项目的出发点。这也是推动古镇重建计划的驱动力，城堡委员会从几年前直至今日一直致力于此。

你们有关照明工程的所有方案选择都得到了客户的确认码？

设计方案提出之后经过居民公开讨论，获得了客户、古镇居民和蒙泰吉阿迪诺城堡委员会一致认可和共享。从最初构思一直到方案实施，作了各种不同的试验包括夜间局部地区的照明实验，验证了方案中场景照明的效果，从而更好地解决了项目的实施问题。

你们与照明设备供应商的关系如何？

我们与照明设备供应商的合作关系一直很好、很稳定，他们提供我们若干个样品供夜间试验，与我们联合开发了许多定制的设计方案，譬如开发设计了采用 Corten 钢（低合金高强度耐蚀钢）定制的火炬状灯具，在传统灯笼内配装 LED 板，灯笼外面安装圣马力诺共和国国徽。所有这一切都是为了从项目构思一直到整个项目乃至每一个小细节都能顺利进行，圆满实施，包括所有灯具和电源线的设置路线和安装。

 Lorenza Golinelli (left) and Alberto Ricci Petitoni (right)

The Lighting Designer & Client

THE PROJECT ITINERARY

We were intrigued to hear about the project itinerary and get an understanding of the relationships between the lighting designer and the client and the lighting designer and the architect. Although the decision-making process was not always easy, the creation of a high-quality final design rested on the strength of these relationships.

At what stage of the design process did the client contact you? Did you have direct contact with the client or did you liaise through the architect?

The client contacted us straight away. The lighting design was the starting point of the project to restore the village, or rather it was the driving force behind helping to complete the restoration work that the Municipality had been working on over many years.   

With regards to the lighting design, were all of your ideas accepted by the client?

The design decisions were made by the client, the Municipality of the Castello di Montegiardino and its residents. The design was presented to and discussed with the residents. A number of night time tests were carried out throughout the process, from the initial idea to the final design, to review the proposed lighting effect in-situ, which enabled a greater definition of the final design.

How strong was your relationship with the lighting suppliers?

Our relationship with the lighting suppliers was highly collaborative and reliable. They supplied us with various samples for night time testing and collaborated in the development of a number of designs such as the design of a custom-made Corten steel torch and the fitting of LED plates into traditional lanterns bearing the Republic of San Marino’s coat of arms. This helped ease the process from the initial design stage to completion down to the smallest details, which included the layout and installation of the entire lighting system and its energy supply.

照片提供: 奥尔波特•里奇•佩蒂托尼

All photo courtesy: Alberto Ricci Petitoni

Located in the historical center of Beirut lays a hidden treasure, around 30 buildings which with restored and enhanced beauty. The famous lighting design, Louis Claire has led his team to design the innovative façade lighting for them. We had the chance to interview him and hear his know-how on this type of project

在饱受战争的摧残之后，贝鲁特市老城区中心恢复了旧时的原貌，矗立着带有传统风格的建筑。该项目的推动者，Solidere，邀请本地和各国各个领域的专家，共同出谋划策，以恢复和提升这个令人印象深刻的建筑遗产的独特的美。
该项目的第一阶段将将市中心特殊的遗产轨迹周围的30多个楼宇来串联起来，统一由Solidere 来出设计方案，使之成为市区内最引人注目的地方。

什么是从客户的要求都有哪些？您是与客户联系直接联系还是间接通过建筑师？
在要求是提升在贝鲁特中心镇的这些文物建筑，这些建筑在内战期间受损，外立面被恢复为一百年前的模样。我们从来不直接和客户联系，都是通过中间人。

这些建筑有着悠久的历史，设计考虑是怎样的？如何提高建筑物的历史感，同时防止光污染呢？
主要的设计考虑是尊重建筑外立面的原始设计，让人们看到了所有的飞檐和外立面的细节轮廓从而欣赏他们的美。白天的自然光不影响建筑物的外墙，但是，如果设计师在人行道上安装照明向上打光，照到天上去，这就成了光污染。我们的技术是唯一一种能够将光只传送到我们想要它去的地方的技术。因此，我们设计了立面照明的框架，使它只照到设计好的确切的地方。

立面照明您使用的传统技术都有哪些？
这很简单一般的立面照明技术手段有两种。
其一是将灯具安装固定在立面底部，然后向上打光。这样的话，灯具会在白天和晚上都比较明显，不是很美观。而且晚上的时候灯光不能将建筑的细节充分地表现出来。我将这种效果称之为“洗澡”。其二是将灯具固定在建筑立面之上，这种手法很常见。问题是白天人们可以看见灯具，像是一个十几岁年轻人的脸上青春痘一般明显。晚上的时候，在离目标区域比较近的地方会非常亮，旁边的阴影会非常暗。虽然这两种情况在20年前是普遍使用的，但是我认为这是很丑的。第二种方法可以使用大一点的方形或圆形灯具或“线性”系统。十年前我曾经用冷阴极管技术来勾勒飞檐，白天还是比较隐蔽的，在夜间也没有像“法国小胡子”的阴影。

你在这个项目中使用了什么样的技术以消除光污染？
现在在传统照明手法中运用的灯具更易于维护，但也更贵。这个项目我们可以使用线性 LED 系统，因为它有更好的防水保护，体积小也更小。缺点是，它必须要安装到建筑立面上，而建筑是古迹，不允许这样做。
我们的解决方案很简单。在需要打亮的建筑物对面的建筑顶部上的安装灯具。白天，你不会注意到它。到了夜里，它没有任何额外的灯具。我们使用“幻灯片”的概念，灯光设计和画面内容完全与建筑立面大小一致，没有任何多余的光落到设计好的框架之外，因此也就没有光污染。这种灯具是一种常用于戏剧和演艺界的舞台灯光，因为不能防水下雨外和粉尘等，所以没有在户外应用。这就是为什么我们与一家灯具厂商合作开发了特制的灯具，具有最佳影像光学质量的同时，还具备防雨或尘埃所需要的保护。这是这种方法第一次在外部环境中永久使用。这种新方法把建筑从电缆解脱出来，保持了原有的建筑完整性。

您主要使用了哪些光源？为什么？
我们用1200瓦的金属卤素灯，它的光源点小，距离反射器就可以很近，使其光效更好。

In the heart of the downtown Beirut, which was devastated by the war, beautiful buildings of all ages and styles have been brought back to their ancient splendour.
The promoter of the project, Solidere, involved Lebanese and international experts from every cultural field to restore and enhance the unique beauty of this impressive architectural legacy.
This project will involve in its first phase around 30 buildings located along a special heritage trail designed by Solidere to link the most remarkable places of downtown.

图1-5：古建筑外立面上的具有历史感的细节，例如飞檐

Picture 1-5: Façade on the historical building showing its intricate details such as cornices

What was the brief from the client? Did you contact the client directly or indirectly through architect?
The brief was to enhance the heritage buildings in centre town of Beirut, these buildings were damaged during the civil war and they reconstituted the facades as 100 years ago
We never contact directly customers
We get jobs mostly after tender , these tenders can be open to a world large competitors or after preselection
But we always have competitors in front of us with other projects and other costs

The buildings have a long history, what are the design considerations to enhance the historical characters the buildings while protecting them from light pollutions?
The main design considerations are to respect the original design of the facade and allow people to see the outlines of all cornices and details of facades and appreciate the beauty of them. Light pollution does not affect the facades but the buildings are made to be under the day light at exterior, artificial light can’t damage it. However, if designers install light fittings on the pavement to shoot up along the facade, the light will go up to the sky to the clouds. Then it becomes the light pollution. Our technique is the only technique able to send light just where we want and nowhere else. Hence we designed the frame for façade lighting and limited it exactly to where we want it to be.

What were the traditional techniques for façade you used before？
That’s simple. The normal techniques means 2 fitting positions for facade lighting.
The first is install poles with fittings fixed on it at the feet of the facade and shoot up
The fitting will be obvious during the day and night, the result is that the building will appear at night without details. That’s what I call like a “shower”. The second technique is to screw the fittings on the facades as you can see this method every where. But the problem with it is that during the day, you see the fittings like pimples on a teen ager face. During the night you get very bright effect close to the spot and very dark shadows just close to it. In both cases, I think that’s ugly even though 20 years ago it was ok.
The second technique can use either big square or round fittings or “linear ” systems. Ten years ago I used cold cathode technique along of the cornices , or very slim fluorescent systems , so it was very discreet during the day and without shadows like “French moustaches ” during the night.

图片6：投影设计中的一个图案投射到建筑物上

Picture 6: One of the design in the slide can be projected onto the building

What were the techniques you used for this project to eliminate light pollution?
Today, the fittings used in the traditional techniques are easier to maintain but more expensive, for this project we had the option of the linear LED systems with better water protection and smaller size. The downside is that we had to fix the fittings to the facade, and when it is heritage, it is not allowed to do so.
Our solution is simple. We put the fittings on the top of the facade of the building opposite the one to be illuminated. During the day you will not notice it at all. During the night, it is the illuminated facade without extra fittings on them. We used the “slide” concept, meaning designing exactly the line and the surfaces we want to be lit, so there is no loose light out of designed frame, hence no light pollution. These kind of fittings are commonly used in theatre and show business for stage lighting and can not be used outside because of rain and dust etc. This is the first time this method is used in a permanent outside environment. That’s why we developed a new fittings with the help from a fitting manufacturer. The fitting has the optical quality for the best image and the needed protections against rain or dust to be installed outside. This new method set the façade free from the cables and keep the original architectural integrity intact.

图片7：设置在建筑物对面的灯具的特写镜头

Picture 7: Close-up of the fitting on the opposite building

Which light sources did you use mainly? why?
In this case, we use 1200 W metal halide for its high rendering and little burning point. Little burning point allows better rendering of the optical system.

项目信息 Project Information

项目名称 Project Name: Facade lighting design for the Beirut hitorical central district
灯光设计 Lighting Design: LIGHT CIBLES www.light-cibles.com
灯具提供商 Lighting Suppliers: Lampo

图片提供：朗程照明

All photo courtesy: LIGHT CIBLES