Simulation

The lighting concept uses direct, directional light to zone the sanctuary area and to accentuate the main focal points such as pulpit and crucifix. To do this, spotlights were fixed to the steel construction of the skylight. The other component of the concept consists of the uniform illumination of the interior of the arched concrete shell with spotlights and floodlights fitted above the skylights.

Architect:
Richard Meier, New York

Lighting design:
Fisher Marantz Stone, New York

Place:
Rome

The columns are accentuated by in-ground lens wallwashers. The wall surfaces of the passages are illuminated by floodlights with an asymmetrical light distribution. In the main, the spotlights for the Quadriga monument on top of the gate were discreetly positioned on adjacent buildings.

Architect:
Carl Gotthard Langhans (1732-1808)

Lighting Design:
Kardorff Ingenieure, Berlin

Place:
Berlin

For the simulations of the Ara Pacis, an ancient altar of peace, the designers used the photo texture method. The whole of the temple was photographed and the photos assigned to the individual structural parts. The DIALux program was then used to provide an exceptionally realistic impression. One of the focal points of the simulation was the analysis of the ideal angle of incidence for the relief, to check the formation of shadows resulting from the protruding frieze, and to integrate the luminaires perfectly within the architecture. An external view at night was created using the photo texture of the Travertin wall panels. The model was also used for daylight simulations. The building was embedded into the environment in an image processing program. The accessible areas in the building were documented with their illuminance levels and in the form of Isolux curves.

Visitors enter the building through a closed atrium, before the hall with the altar opens up before them, bathed in daylight. Spotlights installed in the niches of the concrete grid ceiling illuminate the reliefs on the temple. The luminaires fitted with daylight conversion filters correspond harmoniously with the light colour of the daylight. The warm light colour of the halogen light, on the other hand, optimally emphasises the colour of the Travertine wall panels.

Architect:
Richard Meier, New York

Lighting design:
Fisher Marantz Stone, New York

Place:
Rome

The Scottish Parliament with its asymmetrically vaulted ceilings, its visible roof supporting structure and its seating arrangement for the Parliament has a complex geometry that complicated the lighting design. This situation required the use of light simulations to ensure compliance with the specifications relating to the direction of light and the illuminance for television broadcasts. Due to the fact that the varying distances between luminaire and area to be illuminated resulted in substantial brightness contrasts, the illuminance was calculated on the basis of the faces at the conference table and increased, where necessary, by additional luminaires. The “Autodesk 3ds Max” program enabled the use of virtual luminaires with 3D geometries and photometric data records, which also allowed the designers to check the size of the luminaires in the room.
For the execution phase, a separate application was developed to translate the 3D data on the 900 luminaires of the simulation into 2D drawings and provide the luminous flux, position, alignment and view of each luminaire.

In the plenary chamber, the high illuminance level required for TV broadcasts is achieved using 200 spotlights with Vario-lenses for 150W HIT-CE with 4200K, which also ensure visual comfort for the parliamentarians. The Vario-lenses enable the lighting designer to adjust the beam angles individually to suit the different distances to the illuminated areas.

Architects:
EMBT Enric Miralles, Benedetta Tagliabue, Barcelona; RMJM, Edinburgh

Lighting design:
Office for Visual Interaction (OVI), New York

Place:
Edinburgh

Simulation
Pierre-Félix Breton, Montreal
www.pfbreton.com

The simulations for the dealership were used, on the one hand, to review the lighting concept and, on the other, for a realistic presentation of the design to the client. The scope of the simulations included the calculation of illuminance and luminance levels for the vehicles, walls and workspaces to analyse critical luminance contrasts and to evaluate the avoidance of glare. In contrast to the exclusive use of technical drawings with ground plan and section, the visualisations gave those involved in the planning process a better spatial picture of the lighting solution.

The glare-free general lighting of the showroom is provided by pendant downlights for 150W HIT-CE metal halide lamps. Additional spotlights on suspended light structures emphasise the presentation areas. A row of uplights accentuates the shape of the building and illuminates the cantilevered aluminium roof structure.

Architect:
Scaramuzza / Rubelli

Lighting designer:
Piero Comparotto, Arkilux, Verona

Place:
Brescia