20113929-Lighting-Handbook-ERCO-Light-and-Scenography.pdf

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EPlanningTechnologySoftware

Light and Scenography

tune the light 1

The Light Factory

Tune the light: a new paradigm in lighting designFrom stage to architecture: light and scenographyScenographic light:planning – technology – applicationInfrastructure scenographyPlanning tool storyboardPlanning tool moodboard

Tune the light – the practiceNature, vegetation, times and seasonsTownscape, urban space, landmarksSpace, surface, perceptionBrand, identity, attractionEvent, drama, emotion

ERCO showrooms and officesERCO addresses

ERCO specialises in software and hardware for architectural lighting design. First and foremost, ERCO sells light and not luminaires. This approach, which places the immaterial ”software” of light above the luminaire hard-ware, has characterised our work for many years: that’s why we call ourselves ERCO, the Light Factory.

Light interprets spaces and helps us to per-ceive and experience them. In this sense, we understand light as the “fourth dimension” of architecture.

Making good architecture even better by placing it in the right light is our contribu-tion to culture and the senses and our mis-sion. Today, ERCO provides light in museums, universities, shop windows, churches, air-ports, hotels, chain stores, exhibitions stands, administration buildings, private homes, and much more. Irrespective of whether the archi-tectural concept emphasises functionality or presentation: our goal is, and has always been, to find a solution that does justice to the specific use and architectural features of each project.

ERCO’s indoor luminaires, outdoor lumi-naires and lighting control systems make up a comprehensive range of lighting equipment for general, comprehensive, architectural lighting solutions. The luminaire is a lighting tool, a piece of lighting equipment with a special practical purpose.

The fundamental change is currently expe-rienced in lighting technology due to new lamps, new optical systems, new digitally net-worked control gear and the appropriate soft-ware. This opens up undreamt-of possibilities, a concept which we have encapsulated in the term “Tune the light”. This brochure introduces these new scenographic dimensions of light-ing and hopes to provide inspiration for the successful, creative use of our hardware and software tools.

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ERCO Head Office, Lüdenscheid: the high bay warehouse P3.

The Light FactoryContents

ERCO worldwide: Varychrome facade of the Naarden branch, Netherlands.

ERCO worldwide: meet-ing in the Stockholm showroom.

ERCO Head Office, Lüdenscheid: the Technical Centre.

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Colourful lighting during an exhibition completely changed the impression of the MACBA in Barcelona from the character that the building had in daylight (architect: Richard Meier).

A new design dimen-sion: light can interpret architecture in many different ways to create a genuine experience.

Architectural lighting has reached a tech-nological turning point: after a phase of increasing specialisation, differentiation and improvement of lighting equipment, we now find new lamps, new optical systems and new digital control equipment at the thresh-old of market maturity. These changes result in the design and construction of luminaires that are increasingly and dynamically able to change their characteristics including bright-ness or light colour and soon also beam direc-tion and light intensity distribution. Control protocols such as the DALI technology enable these luminaires to be connected to networks that allow individual addressability and group-ing independent of the power supply. The result: multiple architectural lighting options for multifunctional rooms.

As a consequence, the lighting design task has changed. Instead of creating a specific lighting situation and implementing it based on the installations in the room, it now sets the stage for virtual architectural lighting: rooms that can be transformed and repro-duced in numerous ways with new effects; architecture that can constantly be inter-preted in new ways. Software becomes an integral part of a lighting system. It provides the user interface for the variable luminaire functions and also creates a level of abstrac-tion to define groups of luminaires and spatial zones completely independent of the circuit arrangement. The software provides functions that enable lighting effects to be produced in time and space. The realisation of this vision of virtually unlimited, individual adaptability of light is embodied in our catchphrase “Tune the light”.

With the ERCO Light System DALI, its inte-grated Light Studio software and the exten-sive range of Light Clients, i.e. DALI-compat-ible luminaires, the ERCO Program already contains all the tools required to explore the possibilities of this leap in technology and use it successfully in practical applications. When used as intended, these tools make sceno-graphic lighting design easier to plan, more economical in implementation and more con-venient to use than ever before. All that is required is to question outmoded ways of thinking and approaches to design and to embark on the adventure of using light to design space, time and atmosphere in archi-tecture in new, creative ways. This brochure hopes to inspire you and set you on your way.

Scenography makes gastronomy a true experience: architec-ture becomes the stage, light the medium that adds effect.

New lamps and con-trol technologies make “Tune the light” pos-sible: Optec spotlights with LED varychrome technology and DALI adapter.

Tune the light A new paradigm in lighting design

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‘Scenography’ in its origin is closely linked with the design of stage sets. Recently, how-ever, this term has also taken on other mean-ings: defined as the design of the visual and spatial dimension of scenic events, the strat-egies and methods of scenography can be applied not only to the theatre but also to film, television, functions, exhibitions and, not least, to architecture – from individual rooms to entire buildings and even effective highlights for urban spaces. Light is the key to scenography, for the possibilities of styling rooms with light are virtually endless. Light allows architecture to be continually reinter-preted. Designing and controlling such trans-formations with the inclusion of the time dimension, we refer to as “scenographic light”. These particular hardware and software tools allow light to interact with space and time resulting in the atmosphere being integrated into a coherent scenography.

Architectural lighting has always bene-fited from the transfer of ideas and technol-ogy developed by scenographers and lighting designers for the stage as well as for movies, pop concerts or other events. There are, how-ever, crucial differences between these two fields of lighting design. Specifically in terms of technology, they both require different tools in order to produce seamless transitions.

tectural lighting does not separate actors from audience or stage from auditorium. A professional stage actor, for example, may have to put up with glare; whereas for users of architecture, this would not be acceptable.

Whether on stage or in architecture, both forms of scenographic light share one simi-larity: it follows a sequence or a plot, which together with the impressions gained by the other senses, conveys a message both on a rational and an emotional level.

Architectural lighting uses lighting effects taken from stage light-ing, particularly for special events. Other functions, however, require lighting equip-ment and systems designed specifically for architecture.

In the case of lighting design for stage pro-ductions and events which can often take several hours and require continuous super-vision by a technician, architectural lighting is expected to work unsupervised, uninter-rupted and over much longer periods of time. Maintenance intervals and energy consump-tion are critical cost factors. Routinely, opera-tion is left to non-professionals who as users interact with the architecture. The key fund-amental difference in concept is that archi-

The variety of light qualities coupled with spatial structure and timed progression, can be used to constantly reinterpret rooms and objects.

From stage to architectureLight and scenography

Pelléas et Mélisande (Claude Debussy) Greek premiere, Athens Concert Hall (Megaron) 1998Set and lighting design: Uwe BelznerDirector: Georg RooteringPhoto: Eduard Straub

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Scenographic lightPlanning – technology – application

The technology of the Light System DALI sim-plifies the planning and realisation of sceno-graphic architectural lighting systems. “Tune the light” is possible where lighting control systems previously proved too expensive, too space-consuming or too complex.

Digitally controlled luminaires such as the Grasshopper projectors with LEDs in white or varychrome are just the beginning of a develop-ment that will lead to lighting equipment with increasingly flex-ible functions.

Scenographic light provides architects and lighting designers with the opportunity to become more critically and creatively involved in the processes, i.e. spatial and timed sequences, more than ever before. The scenographic approach requires a combina-tion consisting of a control systems together with individually addressable luminaires. This allows new possibilities of responding more dynamically to both external and internal factors in the design of architecture, while always allowing reversibility. Now light can be used to more easily interact with nature and the environment, with urban features, with surfaces of structured space, to reveal the values and image of brands as well as to create themes and portray sequential events and also to support the particular activities of host and visitors.

The interdisciplinary character of a sceno-graphic approach to design also involves planning methods that originate from related fields such as film, advertising or stage design: “Tune the light”, in the final analysis, also means exploiting this new creative free-dom and using it to full advantage.

As the Light Studio software simplifies the operation of the Light System DALI, designers are able to concentrate on the creative chal-lenges and the new possibilities of sceno-graphic design.

“Tune the light” is the vision behind this development: multi-functional lighting equipment for multiple architectural lighting options.


Scenographic lightInfrastructure

The breakthrough of scenographic light is due predominantly to the emergence of new technology. Scenographic concepts have been used in architectural lighting for some time – but always with considerable investments in installation and material and with tech-nology that has been defined primarily by its roots either in building management or stage engineering.

Light System DALIThe lighting control system ERCO Light System DALI, on the other hand, is specifically developed for scenographic architectural lighting and follows an innovative approach: intelligently applied DALI (Digital Addressable Lighting Interface) technology for individu-ally addressable luminaires combines with the ERCO Light Studio software to create an inte-grated package. Together with the extensive range of DALI-compatible ERCO luminaires for indoors and outdoors and the ERCO DALI track, scenographic light effects in architec-ture can be implemented more easily and economically than ever before.

New standards in terms of ease of oper-ation, range of functions and creative con-trol are set by the consistent integration of software and hardware. Thus, for example, the colour location of DALI-compatible Vary-chrome luminaires in the ERCO Light Studio can now be set interactively and displayed in a simple and straightforward format by a mere click of the mouse. Once a system is activated, both the Light Server and the soft-ware automatically recognise DALI-compat-ible ERCO luminaires – known as Light Clients – through their pre-programmed codes in the DALI control gear, which are then clearly dis-played. DALI-compatible luminaires of other manufacturers can also be integrated into a

Light ServerLight Studio Light Client

Light Client

ERCO track with DALI live end

Light Changer

Light Clients Light Clients

Light Studio Light Server

Light System DALI and can then be controlled just as easily as ERCO Light Clients. The Light Server 64 for up to 64 DALI addresses enables the Light System to handle many typical light-ing control applications, as in multifunctional rooms, shops and shop windows, restaurants, lobbies or company showrooms. The Light Server 64+ can be networked with other Light Servers of the same type which allows the system to be expanded to virtually any size.

Light System DALI consists of the hardware components Light Server and Light Changer and the Light Studio software. The Light Server is a DALI controller that stores system and scene data and provides the control func-tions. The day-to-day operation is performed through the wall-mounted control panel ERCO Light Changer or commercial push- buttons. To set up light scenes and for more complex operations, designers or users can use the ERCO Light Studio software on a PC connected to the Light Server or the Light Changer via a USB connection. The Light Server uses the DALI protocol to communi-cate with the Light Clients, i.e. the connected DALI-compatible luminaires, via a two-core control line. The bus technology and the switch and dimming functions integrated into the control gear make a permanent wir-ing of individual circuits and the installation of vast dimmer banks in switch cabinets unnecessary. With DALI track accessories, the well-established and reliable ERCO track is ideal for the operation of DALI-compatible ERCO spotlights via Light System DALI.

Light ClientsOutdoors


2 The attraction of the lit entrance is further enhanced by the light-ing effect of the pan-oramic window on the 1st floor giving an indi-cation of what happens inside the building.

3 The magically lit spiral staircase leads visitors from the semi-darkness of the foyer up to the upper floor.

Unlike the design and development of static lighting concepts, scenographic lighting design requires additional preliminary plan-ning. The tools "storyboard" and "moodboard" introduced in the following pages have been used extensively to solve similar tasks in other disciplines including film, advertising, and stage setting.

StoryboardIf a scenographic lighting design is to be suc-cessful as an integral part of the overall archi-tectural project, designers must look at the intended dynamic lighting sequences in the building at an early stage in the design process. These sequences result from aspects such as the spatial progression encountered as you walk through the building, but also from the time dimension experienced in a room throughout the course of a day. Changes in use and varying ambient conditions require different lighting effects at different times. A storyboard is the correct tool helping design-

1 The lit entrance con-trasts with the dark surroundings at night.

5 The atmosphere in the dining room itself changes throughout the evening.

5.1 The colour scheme changes along with the brightness balance of the light components.

4 Intimate light at the bar forms a contrast with a uniformly lit side wall. The light of the dining room appears as a focal point in the background.

6 For musical perform-ances, the house lights are dimmed and a spot light is used to illumi-nate the stage.

5.2 The layout of the downlights allows for variable accent light-ing on the individual tables.

ers with the design of scenographic lighting concepts. Its rough sketches act as a creative script for the spatial and perceptional pro-gression of the lighting effects. The means of representation, the style and the depth of detail are, of course, left to the designer – the sketches should, however, include the rele-vant properties of the light such as brightness and colour contrasts.

The spatial progression can move from the facade through the entrance area and the traffic zones to the various functional rooms. The perceptional change in a restau-rant, for example, can be based on different moods, such as reception in daylight, dinner with accent lighting on the tables, and cock-tail hour with subtle, yet atmospheric back-ground lighting.

The interaction of light, time and space provides all the components through which the dynamics of light are directly linked with the architecture resulting in spaces which can be used with great flair.

Scenographic lightPlanning tool storyboard

The “key frames” for the respective locations and phases can be used to create characteristic light scenes, these can later be stored and set up in the Light Studio.


Scenographic lightPlanning tool moodboard

As a tool for the visualisation and communi-cation of moods, moodboards take on a key role in the creative process. They are used to capture impressions, describe emotions, form chains of association and stimulate the imag-ination.

A free collage on a pin board, for example, is based on a central theme in the form of a picture or a concept and made up of pictures, sketches, materials, colours and buzzwords. To create different moods as special effects in a room, the motifs can be systematically grouped in themes to concentrate on inter-esting contrasts. In this way, the lighting designer can underline the conceptual state-ment with a moodboard for each different light scene.

Example: a fresh morn-ing. The moodboard produces a light scene using diffuse, cool light with sparing, highly focused warm white accents.

While the moodboard initially focuses on the straightforward collection of pictures and the free flow of thoughts to collate themes, the process of evaluation and concentration is more analytical. The pictures provide infor-mation on the required light properties and effects: the advantage of diffuse light as opposed to transitions full of contrast and shadows, the tendency toward specific light colours with pastel or saturated tones, and ideas for specific light effects. Silhouettes on photos, for example, can be produced in the lighting design through projected light-ing effects.

Light moods depicted and outlined as light scenes using moodboards can be integrated seamlessly into the sequence and spatial organisation of the storyboard.

Example: a Mediter-ranean autumn after-noon. The moodboard produces a light scene with warm, directed, but soft-edged light and red background lighting.

Ice BlueNight BlueHoney GoldForest GreenCool White

Warm WhiteSunset PinkSunny OrangeSky BlueGlowing Red

Colour tones can be derived directly from the impressions on the moodboard and defined in the list of colours of Light Studio.


In lighting concepts for gardens, parks or green areas specifically, but not exclusively, a scenographic approach must allow for the interaction of artificial light and environmen-tal factors such as the weather and natural light. The appearance of vegetation changes continuously throughout the day and the seasons. Sunlight gives trees great liveliness, the wind in the leaves creates moving shadow pictures on the ground, while moonlight on the other hand reveals trees in silhouettes. In winter, the picture is of a web of twigs and branches, while in summer, the thick foliage changes their crowns into compact volumes. Snow with high reflection reacts to light completely differently to a meadow in sum-mer. The type and frequency of use of parks and public places also changes continuously throughout the night.

Accent lighting of vegetation at night works through the tension created between the special effects and nature. Instead of illu-minating the entire garden or park uniformly, outdoor lighting concepts focus on identify-ing the paths – using a storyboard as an out-line – and specifically emphasising individual elements while maintaining the character of the darkness. Low levels of illuminance here integrate harmoniously into the night scene

and help the eyes adapt through the reduced luminance contrasts.

The direction of light greatly influences how the shape of illuminated trees is per-ceived and should therefore be consistent with their anticipated growth. Carefully arranged luminaires with high cut-off angles protect passers-by from glare at night. The prevention of spill light and glare is a pre- requisite in the interests of meeting effective lighting solutions for Dark Sky requirements. The natural spectacle in the sky is then least affected and can form the background to the displayed vegetation on the ground.

Coloured light can be used to enhance the colour effect of leaves and flowers. Subtle shifts in the colour temperature can change the atmosphere, yet maintain a natural impression. Strong-coloured light, on the other hand, creates an artificial mood pro-duced, for example, for special occasions. Colour-mixing luminaires such as the Grasshopper varychrome projectors enhance creativity, as they allow smooth, dynamic colour transitions to take place. In this way, the drama of light can provide a narrative theme for a park.

The compact Grasshopper projector is available with high-power LEDs in white or varychrome. With LED varychrome technology, it provides colourful highlights for main fea-tures in scenographic outdoor concepts.

The more discreet a light source, the more fascinating is the effect of the object illumi-nated. Recessed floor luminaires are available with different light distributions.

Penetrating the sur-roundings: uplights illuminate the treetops. The bollard luminaires project light down-wards to prevent glare and provide reliable path lighting.

The Timer Module in the Light Studio soft-ware allows light scenes to be recalled at pre-determined times. The time and calendar functions provide great flexibility to automate scenographic lighting.

Dramatising the sur-roundings: the narrow-beam accentuation produced by recessed floor luminaires and spotlights highlights individual trees in the environment.

In lighting concepts for green spaces, the draft design drawing allows focal points to be selected for accen-

tuation, to create spa-tial differentiation.

Tune the light – the practiceNature, vegetation, times and seasons


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The fading time is the duration set for the scene change.

In peaceful surround-ings, short fading times can be a nuisance and may be seen as a dis-traction.

Long transition times are ideal if scene changes need to be imperceptible.

A change from one light scene to another involves a change in the dimmer settings or the light colour of the Light Client.

Light from below pro-duces a more dramatic, unnatural effect due to it being the opposite of daylight.

Lateral light creates maximum contrasts of light and shadow, producing a strong three-dimensionality.

Lighting from diagon-ally above produces a pleasant distribution of light and shadow.

Light Studio: Light TimerChanges in use and ambient conditions require a timed differentiation of lighting effect. Light scenes selected on the basis of the situation provide the right setting, not only functionally but also in terms of atmos-phere, in order for the surroundings to be seen in the best possible light. In addition, timed light scenes provide the possibility of using the same lighting system to add dif-ferent effects to outdoor spaces and archi-tecture which may depend on the season or event and thus increase the quality of the experience of spaces or interpret the themes of a spatial concept. The Light Timer software module allows events to be defined in a struc-ture similar to that of a calendar and allocate light scenes to set times.

High-power LEDs have a power consumption from approx. 1W. Their extremely long life, compact design and excellent luminous effi-cacy in connection with narrow-beam spot reflector lens systems make these LEDs a pow-erful light source for accent lighting. Hous-ings with optimised heat dissipation ensure that the advantages of LEDs are ensured dur-ing use and are maintained throughout the life of the luminaire. Due to their high colour density, coloured high-power LEDs are ideal for RGB colour mixing. To facilitate the seam-less integration of dynamic, coloured LED lighting into a scenography, ERCO produces the appropriate varychrome luminaires as Light Clients with DALI interface.

A scene list provides the option of setting individual fading times for each scene. Fading times can be seconds or even span several hours.

Modelling objectsAlong with the angle of incidence, one of the key factors in modelling is the direction of the light. Light from the front has the same direction as the line of vision of the viewer and consequently has little model-ling effect. It produces hardly any shadow, and the objects appear flat. Lateral light, on the other hand, leads to maximum contrasts of light and shadow resulting in a strong three-dimensionality. Light from above shin-ing directly onto the object can over accen-tuate the top while often causing the sides to appear excessively dark and leaving a light beam on the ground. Back light, where the light source is placed behind the object, casts a long shadow in the direction of the viewer and reveals the object as a dark silhouette surrounded by a halo of light. Light shining onto areas and objects from below produces an unnatural effect due to it being in the opposite direction to daylight. At the same time, however, the reverse direction of the shadows can create dramatic effects.

High-power LEDs

Tune the light – the practiceNature, vegetation, times and seasons

Conventional 3mm / 5mm ∅ LED

High Power LED (> 1W)SMD LED (< 1W)


Since civilisation began to conquer the dark-ness by using artificial light, the dazzling pic-ture of a metropolis at night has had a magi-cal effect on people. After a long phase of dealing with light in outdoor situations on a rational and purely functional level, cities are now revived with special effects. Light-ing master plans ensure a consistent appear-ance of a metropolis at night. Buildings with differentiated illumination signify the night time urban identity. Light in the city is used to mark out paths and routes, light up spaces and highlight landmarks – both over great distances in terms of the city’s skyline and in a more local context in the city itself.

The design options range from the subtle, uniform illumination of facades to define spaces and make tangible their spatial con-fines even in the dark, to expressive, tempo-rary lighting concepts for festive occasions. The principle frequently applied here is that of less is more, because only subdued basic light in the background can create contrasts through light that bring squares or build-ings to prominence. Scenographic elements should concentrate on prominent buildings or specific situations in public spaces: as a component of special effects used for events

and particular occasions, but also in response to the different usages which relate to the time of day, the season and the weather. The lighting concept can be varied in terms of its design including light colour, brightness or direction of light, within the scope of a light dramaturgy, to allow an urban space to be continuously reinterpreted.

Different types of buildings require differ-ent lighting design approaches. In principle, solid facades require different methods than transparent facades. As an alternative to the extensive lighting of massive facades, specific building elements can be accentuated through their contours. Glass architecture lit from within, on the other hand, appears to glow. At night, glass facades which reflect daylight are given the effect of depth due to the dimension of visibility within. The façade structure here appears to be a silhouette around the core of the building. The lighting concept inside is effectively carried to the outside – and a lighting concept on the out-side must ensure cohesion. The more the boundaries between interior and exterior dis-solve through the transparency of the shell of the building, the more strongly the lighting design requires a holistic approach.

Lens wallwashers accen-tuate the columns. The wall surfaces are illumi-nated by floodlights mounted on the ceilings of the gateways.

Large brick facades are bathed in striking grazing light to empha-sise the texture of the historic façade through the rich contrasts pro-duced by the play of light and shadow.

Focalflood LED facade luminaires are mounted close to the façade to produce striking graz-ing light – in white or colour with varychrome technology. The mainte-nance-free LED tech-nology gives more free-dom in the choice of mounting locations.

Tune the light – the practiceTownscape, urban space, landmarks

Scenographic lighting elements increase the impact of landmarks and other prominent spaces in urban areas: as a permanent part

Software such as Light Studio forms an integral part of lighting systems for scenographic con-cepts. The software pro-vides easy-to-use tools to produce quality light with structure and a timed sequence.

The silhouette of a city at night is charac-terised by illuminated landmark buildings.

of the nightly silhou-ette of a city or in the context of temporary effects.


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For this bathing pier, the Tesis recessed in-ground wallwashers were intentionally widely spaced so as to produce a rhythmical effect to reveal the back wall.

Lightmark facade lumi-naires are used for uni-form illumination of facades. The precise light direction of these efficient optical sys-tems minimises the proportion of spill light.

Overhanging building surfaces or roofs are ideal for mounting Paratec wallwashers. Due to their uniform, vertical distri-bution, these luminaires not only emphasise the wall in its function as a room boundary, but also reveal the structure of the surface.

Focalflood: one name, different charac-teristicsSeveral product ranges in the ERCO Program are called “Focalflood“. These are all for use outdoors and share a characteristic housing design with a rectangular light aperture and a parabolic profile, but have different sizes, lighting technologies, and thus, also, different fields of application.

Light Master: StageThe stage in the Light Master helps designers by providing a spatial diagram of all lumi-naires. The Clients can be arranged by “drag and drop” to produce a clear display of the lighting situation. The stage can be used both as a horizontal and a vertical projection such as for a façade. Where a Client has several addresses (varychrome luminaires), these are combined in one symbol.

Individually controllable luminairesIndividual controllability is a primary advan-tage of the DALI technology, which is useful, for example, when a scenographic lighting concept requires changing patterns on a facade. These installations are clearly more economical and easier to implement with Light System DALI than with common, bus-based lighting control systems – and allow greater creative freedom.

Focalflood facade luminaireThese compact LED luminaires produce a narrow-beam light dis-tribution for grazing light. Longitudinally, the light is spread wide to ensure soft transi-tions when light beams are arranged side by side. In the varychrome

cal plane, depending on the actual project.

As a visual record, the Light Client symbols of a DALI system can be freely placed anywhere on the stage – for either a horizontal or a verti-

Tune the light – the practiceTownscape, urban space, landmarks

Vertical lighting outdoors

Focalflood floodlightsFocalflood floodlights have a wide light inten-sity distribution with a focal point and a cut-off angle of over 50°. An exception to this is the varychrome flood-light with T16 lamps in red, green, and blue: a diffuser and a Softec lens here ensure com-

plete mixing of the basic colours at the light aperture to pro-duce lighting without colour shadows or perimeters.

version, the system consists of reflector and spread lens ensur-ing complete colour mixing.


Complex Clients such as varychrome luminaires which, technically, have three DALI addresses, are shown in Light Studio as an easy-to-operate unit with inter-active control panels.

Equipped with coloured T16 fluorescent lamps, TFL varychrome wall-washers are an efficient method of displaying walls with coloured light – dynamically controlled via DALI.

Light plays a central and multifaceted role in architectural design. It is light that allows us to see space and structure in the first place; and it is lighting that makes architecture and the people, objects and materials in it become visible. Yet more than making things visible, light also determines the way we perceive our environment. It influences our well-being and the aesthetic effect and emotional atmos-phere of a room. Contrasts in brightness and different light colours can establish hierar-chies of perception and focal points in a room.

Lighting design must start with the ele-ments that define a room, such as the walls, floor, ceiling, and openings. Placed in the right light, they emphasise the shape and character of the architecture and provide a background for the objects illuminated in the space.

Walls and other vertical elements in partic-ular are important for the perception of archi-tecture. Illuminated walls give the impression of a light, open space, they structure the archi-

tecture and make the room proportions and surfaces easier to appreciate. A uniform light distribution from ceiling to floor presents the wall as an entity.

Accents on the ceiling result in a different impression, a changed room character. Light can draw attention to the ceiling – which is useful for features such as historic frescos or stucco work where the attention of the occu-pants is to be directed upward, or it can serve as indirect lighting for the room. Fitted with a lighting control system for separate con-trol of the luminance levels of individual room surfaces, the appearance of a room can be changed within broad limits simply by using different light scenes.

While extensive areas on a wall are usually illuminated by wallwashers, ceilings are fre-quently illuminated with ceiling washlights or as luminous ceilings. The diffuse, overhead light of the latter is often combined with day-light entering through rooflights to look like the diffuse light of an overcast sky.

Furthermore, the lighting should underline the theme of the sequence of spaces. Con-trasts can visually divide rooms, while uni-form illuminance creates continuity. The establishment of spatial correlations with light is not limited merely to the connec-tion of interior spaces. It also provides the transition between exterior and interior, as in entrance areas, for example, or in a home looking out into the garden.

The Client list in Light Studio contains all the Light Clients (DALI-compatible luminaires) of the DALI system. Light Clients can be grouped and allocated to zones and control gear.

Tune the light – the practiceSpace, surface, perception

Washlights illuminating the canopy act as a sec-ondary reflector for an indirect lighting effect and define the appear-ance of the space.

Quadra varychrome lens wallwashers pro-duce colourful, totally saturated light based on LED varychrome technology.

Uniform lighting strongly emphasises the volume of the structure.

Coloured washlights for the back wall of the foyer create an emo-tionally stimulating atmosphere and attract attention to the back of the room.

RGB colour mixing luminaires are based on additive combina-tions of red, green and blue light.


Light used to differentiate spacesLight conveys information, for brightly lit areas automatically attract attention. Differ-ent levels of brightness ensure improved ori-entation in the room and can emphasise areas such as the foreground, the centre or the back-ground. A suitable light intensity distribution directs the attention and structures the wealth of information in a space: areas with key infor-mation are highlighted, secondary or irrele-vant information, on the other hand, is kept in the background through lower lighting lev-els. The significance of the effect depends on the brightness contrast between surfaces, i.e. between the object and the surroundings.

Lamps and colour spaceAll the colours perceptible to the human eye can be represented as a structure using the standard valency system of the CIE (“chroma-ticity diagram”). The brightness dimension is disregarded and only the shade and satura-tion of the colours are depicted in this dia-gram. The saturation increases from the white zone in the centre toward the edges. When the colour loci of the red, green and blue light sources used are connected, the resulting tri-angle shows all the colours that can be pro-duced with a RGB colour mixing luminaire.

This symbol identifies varychrome luminaires with RGB colour mixing technology that can be electronically con-trolled to produce an infinite variety of light colours.

Light Studio: chromatic circleColoured luminaires and other installations with RGB technology, if used effectively, require a lighting control system that controls the dimmer settings of the individual colour light sources allowing a reproduction of spe-cific light colours. These can subsequently be integrated into meaningful scenes and sequences. Light colours are easy to set using software with a chromatic circle, as the col-our, such as orange, can be selected without the need to use the three individual dimmer settings of red, green and blue. The choice of colours is facilitated by a range of predefined colours. The colour attribute in Light Studio is set interactively, either via the HSB/chromatic circle or the RGB settings. The HSB colour model defines each colour in terms of hue, saturation and brightness. The brightness is always defined separately, while hue and sat-uration can be set either in the chromatic cir-cle or by means of two slider controls. RGB hues are entered numerically between 0 and 255 for each basic colour.

The appearance of a room is influenced as much by different brightness levels as it is by colour contrasts of the surfaces.

Tune the light – the practiceSpace, surface, perception

Subtle differentiation results from different shades of white such as warm white and neutral white.

Low saturation col-oured illuminance of vertical surfaces has a notable effect on the atmosphere.

Due to the lower sat-uration of coloured fluorescent lamps, the light colours of the TFL varychrome wallwashers, for exam-ple, produce more of a pastel character (left).

Since coloured LEDs have a higher satura-tion than fluorescent lamps, the colour tri-angle of the Quadra lens washlights is larger and as such includes a greater number of colours (right).

When combined with white light directed onto the work surfaces, the requirements of both design and ergonomics are fulfilled.

T16 fluorescent lamps RGB

High performance LED

The monochrome dim-mable attribute in the Light Studio software identifies infinitely dimmable luminaires,

such as spotlights or downlights for halogen lamps.


Scenographic light in the shop: a design medium that interprets the themes and motifs of a fashion or season into a scene – from subtle to expressive. The timed progression of coloured light is an effective eye-catcher.

Enhanced experience and emotion are the main reasons for using scenographic methods in designing shop win-dows or retail interiors.

The coloured light of this Optec spotlight is created by twelve high-power LEDs. The Softec lens ensures a soft-edged, uniform beam balancing the basic colour components red, green and blue.

Shop design requires brilliant, compact and highly efficient light sources – such as the miniaturised metal halide lamps HIT 20W, integrated into Light System DALI by DALI actuators.

sector are intended to address the customer on a deeply emotional level. These changes require the use of lighting equipment that provides light not merely as a static medium, but as a dynamic means used to express space, time and atmosphere. In a Light System DALI environment, the zoning of shop floor, for example, can be displayed by different brightness levels and rearranged as required in the Light Studio software. Coloured light can be subtle, such as pastel tones used to illuminate the back of a win-dow with wallwashers, or striking in the form of richly coloured accent lighting.

Effects such as dynamic colour sequences attract the viewer’s attention as an excep-tional eye-catcher and reveal the atmosphere in the shop to be in a state of flux. Varychrome luminaires, individually controlled via DALI, enable lighting designers and window dress-ers to set up and change these effects inter-actively with the easy-to-use tools in Light Studio without constantly having to adapt the lighting hardware through a long and laborious process. Specific light qualities or light scenes can be reproduced precisely and subsequently be realised simultaneously in cases such as chain stores. Light scenes can be organised in timed sequences using the

calendar-like Light Timer software module. In this way, different times of the day, week-days and holidays and even entire periods such as the sales or the pre-Christmas season can be differentiated by means of lighting. The advantages of a lighting control system such as Light System DALI, which integrates the functions even of complex lighting equipment like RGB colour changing lumi-naires and controls them through the Light Studio software, are self-evident here.

Designing sales areas today primarily means designing an event to create a shopping experience, a brand experience for the cus-tomer. Professional shop designers work scenographically in order to create themes into a coherent sequence of events. One of their tools used in the process is light as an intangible medium that allows space to be continuously reinterpreted.

Light in a shop takes on a wide variety of functions: it attracts attention through the visual effect of neon signs, windows and entrance areas. It structures the sales area into functional zones, creates perception hierarchies and highlights routes. It ensures optimum product presentations and creates special effects for particular displays or dec-orations. It helps customers feel comfort-able and – specifically in the extensive field of fashion and cosmetics – look good. Light finally also serves as a medium to express the image and values of a brand in an identifiable way within the scope of a “corporate light-ing” concept. It is also used to express sea-sonal themes such as a change of collections in the fashion industry by producing the appropriate atmosphere.

Cyclical changes from refurbishments to major renovations as occur within the retail

International brands insist on reproducible lighting concepts with a high recognition factor.

Window-dressing works powerfully with stage-like effects.

Tune the light – the practiceBrand, identity, attraction


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shelf

cash point

DALI dimmers and DALI actuatorsDALI dimmers and DALI switch actuators greatly increase the application options of Light System DALI. They allow a wide range of conventional luminaires such as those in ERCO’s previous range to be integrated into a Light System DALI installation. This is par-ticularly useful for luminaires without con-trol gear or for lamps for which DALI control gear is not yet available, including most of the high-intensity discharge lamps.

Light System DALI is an open system: DALI-compatible luminaires or actuators from other manufacturers can also be incor-porated into the system. Conversely, ERCO Light Clients, i.e. DALI-compatible luminaires, are suitable for operation with DALI controls of other manufacturers. However, only when the Light System DALI, the Light Studio soft-ware and the ERCO Light Clients are combined does the full potential and advantage of this design system such as automatic setup and automatic recognition become available.

Light BookThis software module is used for the spatial structuring of a project.

Light Studio: Light BookThe Light Book is used for the spatial struc-turing of Light System DALI installations. Its main function is to create zones and assign Light Clients or Light Changers to zones. Floor plans can be created in the stage template of the Light Book. A zone can consist of a room, functional areas or several rooms. The flexible structure of Light System DALI allows zones to overlap – this means that a Light Client can belong to several zones. Shop design epito-mises the purpose of defining zones: if, for example, the shop facade, the windows and the sales area are defined as individual zones, the light scenes in these zones can be set up and recalled irrespective of what is happen-ing around them. The light scenes and light-

The DALI actuator, DALI dimmer and DALI transformer accessories allow virtually all non-DALI-compatible lumi-naires to be controlled with the Light System DALI.Light Changer

Touch screen control panel for daily oper-ation of the Light System.

One of the trends in shop lighting is to present products in the same manner as museums exhibits. The appropriate profes-

Typical vertical illumi-nation in shop design: Lightscan wallwashers focus the light on the upper third of the wall. Brilliant accent light-

Integrating luminaires from other manufacturersIndividually dimmed fluorescent lamps in red, green and blue behind the frosted glass wall allow all light colours to be dynamically con-trolled. The coloured light display is a fasci-nating sight through which the atmosphere in the room is in a constant state of flux.

The Client Editor in the Light Book module of the Light Studio software allows light ceil-ings or light walls with control gear featuring DALI interfaces to be easily combined into a single varychrome luminaire. This simplifies the selection of the exact colour locus: the user can now interactively select colours using the colour wheel, instead of having to enter the numerical RGB value. The Client Editor allows all types of DALI luminaires to be integrated into the system, this even includes specially manufactured factory coded ERCO Light Clients.

The Client Editor of the Light Studio software is used to integrate DALI-compatible luminaires from other manufactur-ers into Light System DALI or process the factory coding of the ERCO Light Clients.

Vertical illumination Accentuating objects

Tune the light – the practiceBrand, identity, attraction

ing effects in the shop windows can then be changed according to the season, without having to modify the internal lighting. Each zone can have its own, independently set timer program. A “global zone” that includes all the Clients in a project allows scenes such as “All on” or “All out”, to be created e.g. for room cleaning.

sional accent lighting is achieved through key light, fill light and back light.

ing for the products is provided by spotlights mounted on tracks.


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Events largely rely on the creative use of light and on the interaction with and between peo-ple. The lighting communicates the themes and motifs of the event and supports its production with a progressive sequence of scenes. Versatile, dynamic lighting can both conjure up details out of the magical dark-ness or veil rooms in light of changing colours to create an experience that evokes a state of fluidity. Individual lighting effects contrast with the surroundings and attract attention. This is “light to observe", light which has no practical application, e.g. creating a grand entrance as an aesthetic spectacle, an emo-tional impact, able to captivate and aston-ish its audience. Atmosphere, traditionally created by means of chandeliers and candle-light, can now be produced by more modern means such as through the projection of pat-terns and pictures using gobos and stencils made of sheet metal or glass.

With the introduction of varychrome lumi-naires and other individually addressable Light Clients in a Light System DALI installa-tion, the transition between everyday and event lighting now becomes fluid. This is due to the change from the laborious setup of temporary show lighting to the establishment of different light scenes and light programs

in the Light Studio software. Compared to standard lighting, event lighting works with a more intense dramaturgy and colour mood to produce the desired effect and get it to unfold over a specific period of time.

To create memorable experiences at events or at restaurants, the light must create the right atmosphere at the right time. Each ele-ment throughout the evening has its own light scenes to correspond with the activities of the occupants, i.e. the hosts and the guests: from light suitable for welcoming and becom-ing acquainted to light for listening, light for cocktails, light for the meal, and light for danc-ing and celebrating. “Tune the light” invites you to exercise this new, creative freedom using light to create constantly new, striking light sequences from a single technical infra-structure.

Light Clients on the DALI track Flexible lighting with spotlights on track is indispensable for event lighting. With DALI live ends, the ERCO track becomes a DALI track that allows ERCO Light Clients to be operated with DALI adapters.

The combination of coloured light and projection produces interesting and varied lighting effects. One approach is coloured background lighting with an overlay of white gobo patterns.

Light at events is sim-ilar to stage lighting – except that it does not separate the actors from the audience. The expression here is to ee and be seen.

With filters, the pro-jections can also be in colour. By dimming the projectors, the light patterns can be made to appear or disappear.

The Light Studio soft-ware spatially struc-tures the quality of light in a timed pro-gression.

Tune the light – the practiceEvent, drama, emotion

ERCO track for DALI installation

DA DALI data cableDA DALI data cable 1 CircuitN Neutral conductorPE Protected earth

conductor


1

2

Colour filtersThe classic method of creating coloured light is by using colour filters as attachments. Interference colour filters feature a relatively high transmission factor and a high colour density, due to the clear separation of the reflecting and transmitting spectral ranges. ERCO provides four standard colour filters as natural light colours for architectural light-ing. These are derived from the colours of light found in nature: Amber for the sunrise, Sky Blue as the sky by day, Magenta for the sunset, and Night Blue for the night sky. Other filter colours can be custom-made on request.

Events require different light scenes throughout the evening. During a speech, the focus is placed on the speaker, the background is dark-ened for the video pres-entation.

Light Studio: Light TimerThe Light Timer allows numerous light scenes to be recalled automatically at pre-determined times. The light scenes are assigned to specific sections of the event. These sections can be interpreted using many different light scenes for a short sequence or for a longer period. Cyclical events such as festive lighting at weekends or on specific weekdays can also ideally be controlled using the Light Timer.

Projection effects with contour spotlightsStella contour spotlights with a projection lens produce a sharp-edged beam. The con-tour attachment (1) ensures a sharp projec-tion of freely adjustable triangular and square shapes. The lens is focused by turning the lens holder ring (2). The version for QT12 100W low-voltage halogen lamps is also available as a Light Client with DALI adapter and can inte-grate dimmable projection effects into a Light System DALI environment.

Light Studio: scene listA light scene defines the colour or dimmer settings of each light source in the room. For event lighting, the light scenes are designed to match the sequence of the event. The scene list in the Light Studio is used to organ-ise light scenes. With appropriate names, the scenes can be sorted and arranged using the search function.

Dynamic effects with projectors: if several projectors are dimmed alternately, the appear-ance and disappearance of the patterns creates the impression of movement.

Subdued lighting with lighting effects in the background creates the right atmosphere for meetings and conver-sations and creates a suitable backdrop for an intimate setting.

The holder for aperture masks and gobos is inte-grated into the contour attachment of the lumi-naire to avoid lateral spill light. Depending on the aperture masks sup-plied, the Stella contour spotlights have emis-sion angles of 16°, 22° and 26°.

The sharp-edged illu-mination of the picture surface makes the pic-tures appear to radiate from within, while the background remains dark. The distortion in the perspective which is due to the angle

of incidence of light can be corrected by the four blades in the framing attachments to achieve the precise shape required.

During dinner, the col-oured lighting of the walls creates an emo-tive atmosphere, while accent lighting on the tables accentuates the gastronomic delights.

Tune the light – the practiceEvent, drama, emotion

Phase 1: Blue pattern

Phase 2: Blue pattern+ Magenta pattern

Phase 3: Blue pattern+ Magenta pattern+ text


Project managementThe offices provide ideal facilities for pro-ject meetings: confer-ence at ERCO Dubai.

Experiencing scenographic light – worldwideERCO showrooms and offices

ERCO is a cosmopolitan, globally active com-pany. ERCO showrooms and offices can be found in all major markets. Here, our well-educated, specially trained employees work as lighting advisors. This worldwide network ensures reliable service and competent, on-site support especially on international projects: from providing advice during the planning stage, tendering, sample supply and project planning to customer service and training.

“Consultant to the consultant” – this is how ERCO lighting advisors see their role in the building process: they provide profes-sional support to designers in all matters relating to lighting technology and in each individual project phase. With case-related specialist information and customised prod-uct documentation they help customers to make the correct decision when selecting lighting equipment.

The showrooms and offices provide ideal facilities for meetings during the project phase. Each has a mock-up section for sample and other product demonstrations.

However, our ERCO service does not end with the on-schedule delivery of the required products: after switching on, our lighting advisors support customers both verbally

and actively or with recommendations, advice and assistance in focusing luminaires.

All our addresses are found at:www.erco.com/contact

DidacticsDesigner seminars provide information on the right use of our highly developed lighting equipment.

Mock-up sectionThe ERCO showrooms have the necessary infrastructure to explain the meaning of “Tune the light”: using all the qualities of light in time and space (ERCO Great Britain, London).

Events and seminars These turn ERCO show-rooms into a meeting place for the local light and architecture scene: such as here at ERCO Poland in Warsaw.

Lighting qualitiesOur wide range of lumi-naires addressable via lighting control equip-ment are ready for operation to allow the demonstration of subtle lighting qualities: such as a direct comparison between different types of wallwashers.

Light in spaceThe effect of light in space is difficult to put into words or pic-tures – it needs to be experienced. For this, the ERCO showrooms provide ideal, flexi-ble conditions (ERCO Netherlands, Naarden).


ERCO Head OfficeERCO Leuchten GmbHPostfach 246058505 LüdenscheidBrockhauser Weg 80–8258507 LüdenscheidGermany

Tel.: +49 2351 551 0Fax: +49 2351 551 [email protected]

For our up-to-date address list, please visit www.erco.com

Southeast Asia:

SingaporeERCO LightingERCO Leuchten GmbHRepresentative Office (S.E.A.)63a Club StreetSingapore 069437SingaporeTel.: +65 6 227 3768Fax: +65 6 227 [email protected]

BruneiIndonesiaPhilippinesVietnamsee Singapore

MalaysiaERCO LightingERCO Leuchten GmbHRepresentative Office (K.L.)Level 40, Tower 2Petronas Twin TowerKuala Lumpur City Centre50088 Kuala LumpurMalaysiaTel.: +60 3 2168 4479Fax: +60 3 4257 [email protected]

ThailandPalicon Pro-Art Lighting Ltd.58/3 Soi Prompak,Sukhumvit RoadKlongton-Nua, VadhanaBangkok 10110 ThailandTel.: +662 382 1851Fax: +662 382 [email protected]

East Asia:

ChinaERCO LightingERCO Leuchten GmbHRepresentative Office ShanghaiRm 2015, Civil Aviation Center18, Xin Jinqiao Road PudongShanghai 201206P.R. ChinaTel.: +86 21 5030 5979Fax: +86 21 5030 [email protected]

Architectural Lighting (HK) Ltd.3/F. Shing Dao Industrial Building232 Aberdeen Main RoadAberdeen, Hong KongP.R. ChinaTel.: +85 2 287 022 88Fax: +85 2 255 227 [email protected]

JapanERCO TOTO Ltd.Shibakoen ND Bldg.2-5-10 ShibaMinato-ku Tokyo 105-0014JapanTel.: +81 3 5418 8230Fax: +81 3 5418 [email protected]

KoreaAltek LightingJungjin B/D, 619-2Sinsa-Dong, Gangnam-GuSeoul KoreaTel.: +82 2 512 7779 Fax: +82 2 512 [email protected]

AustraliaERCO LightingERCO Leuchten GmbHRepresentative Office Australia349 Pacific HighwayNorth Sydney NSW 2060AustraliaTel.: +61 2 9004 8801Fax: +61 2 9004 [email protected]

New Zealandsee Australia

North America:

USAERCO Lighting Inc.160 Raritan Center Parkway Suite 10Edison, NJ 08837 USATel.: +1 732 225 8856Fax: +1 732 225 [email protected]

CanadaMexicosee USA

South America:

ArgentinaERCO Leuchten GmbHOficina de RepresentaciónAv. Alicia M. de Justo 2030, Of.2021106 Buenos AiresArgentinaTel.: +54 11 431 314 00Fax: +54 11 431 254 [email protected]

BoliviaBrazilChileColombiaEcuadorParaguayPeruUruguayVenezuelasee Argentina

FranceERCO Lumières Eurl6ter, rue des Saints-Pères75007 ParisFrance

Groupe Paris-IIe de FranceTel.: +33 1 44 77 84 71Fax: +33 1 47 03 96 68Groupe RégionsTel.: +33 1 44 77 84 75 Fax: +33 1 49 27 06 48Groupe Architecture CommercialeTel.: +33 1 44 77 84 70Fax: +33 1 44 77 84 [email protected]

GermanyERCO Leuchten GmbHPostfach 246058505 LüdenscheidBrockhauser Weg 80–8258507 LüdenscheidGermanyTel.: +49 2351 551 100Fax: +49 2351 551 [email protected]

Great BritainERCO Lighting Ltd. 38 Dover StreetLondon W1S 4NLGreat BritainTel.: +44 20 7408 0320Fax: +44 20 7409 [email protected]

GreeceExpo Ltd.Nimfeou Str. 20 & 2411528 AthensGreeceTel.: +30 210 748 5560Fax: +30 210 770 [email protected]

HungaryERCO Fénytechnika ERCO Leuchten GmbH Kereskedelmi KépviseletBudapestIrányi u. 1. mfsz. 2.1056 HungaryTel.: +36 1 266 0006Fax: +36 1 266 [email protected] Icelandsee Sweden

IrelandDesignLight Ireland Ltd. 289 Harolds Cross RoadDublin 6WIrelandTel.: +353 1 496 6177Fax: +353 1 496 [email protected]

ItalyERCO Illuminazione S.r.l. Via VivaldiResidenza dell’ Orione 3420080 Basiglio (Milano)ItalyTel.: +39 02 904 5031Fax: +39 02 904 503 51/42 [email protected]

LatviaXcelsior stila grupaMuksalas Iela 42Riga LV 1004LatviaTel.: +37 1 780 5233Fax: +37 1 780 [email protected]

NetherlandsERCO Lighting Nederland B.V. Gooimeer 131411 DE NaardenNetherlandsTel.: +31 35 699 1710Fax: +31 35 694 [email protected]

NorwayERCO Belysning A.S. Industriveien 8 B1473 LørenskogPostboks 83 Ellingsrudåsen1006 OsloNorwayTel.: +47 67 973 240Fax: +47 67 973 [email protected]

PolandERCO Leuchten GmbH. Sp. z o. o.Przedstawicielstwo w Polsceul. Bialy Kamien 702-593 WarszawaPolandTel.: +48 22 898 7845Fax: +48 22 898 [email protected]

PortugalOmnicel Técnicas de Iluminação, S.A.Rua Castilho, 57-5. Dto.1250-068 LisboaPortugalTel.: +351 21 381 3080Fax: +351 21 381 [email protected]

RomaniaSC. ProEnerg SRLStr. M. Kogalniceanu nr. 60/A.410094 OradeaRomaniaTel.: +40 259 447 163Fax: +40 259 413 [email protected]

SpainERCO Iluminación, S.A. c/ El Plà nº 4708750 Molins de Rei, BarcelonaSpainTel.: +34 93 680 1110Fax: +34 93 680 [email protected]

Delegación Cataluñac/ El Plà nº 4708750 Molins de Rei, BarcelonaSpainTel: +34 93 680 1244Fax: +34 93 680 [email protected]

Delegación Centroc/ Buen Suceso nº 1328008 MadridSpainTel.: +34 91 542 6954Fax: +34 91 559 [email protected]

SwedenERCO LightingBirger Jarlsgatan 4611429 StockholmSwedenTel.: + 46 8 545 044 30Fax: + 46 8 545 044 [email protected]

SwitzerlandNeuco AG Würzgrabenstrasse 58048 ZurichSwitzerlandTel.: +41 44 437 3737Fax: +41 44 437 [email protected]

Neuco SA100, route de Cossonay1008 PrillySwitzerlandTel.: +41 21 637 3000Fax: +41 21 637 [email protected]

The Middle East:

DubaiERCO Lighting ERCO Leuchten GmbHRepresentative Office DubaiP.O. Box 62221DubaiUnited Arab EmiratesTel.: +971 4 336 9798Fax: +971 4 337 [email protected]

BahrainEgyptIndiaJordanKuwaitOmanQatarsee Dubai

LebanonLa GiraldaMme Curie Street Beirut-LebanonP.O. Box 13-5554LebanonTel.: +961 1 864 641Fax: +961 1 867 [email protected]

Saudi ArabiaTechnolight P.O. Box 12679Jeddah 21483Saudi ArabiaTel.: +966 2 669 3241Fax: +966 2 665 [email protected]

United Arab EmiratesM/S ScientechnicP.O. Box 325DubaiUnited Arab EmiratesTel.: +971 4 66 6000Fax: +971 4 66 [email protected]

Europe:

AustriaERCO Leuchten GmbH Zweigniederlassung WienModecenter Str. 14/4.OG/BC1030 WienAustriaTel.: +43 1 798 8494 0Fax: +43 1 798 [email protected]

BelgiumERCO Lighting Belgium Bvba/sprlLeuvensesteenweg 369 bus 71932 ZaventemBelgiumTel.: +32 2 340 7220Fax: +32 2 347 [email protected]

CyprusJ. N. Christofides Trading Ltd. P.O. Box 210931c Kennedy Avenue1501, NicosiaCyprusTel.: +357 22 813 043Fax: +357 22 764 [email protected]

Czech RepublicERCO Lighting Organizacni slozkaJana Masaryka 3/456120 00 Praha 2Czech RepublicTel.: +420 2 225 111 16Fax: +420 2 225 217 [email protected]

BulgariaCroatiaLithuaniaSlovakiaSloveniasee Czech Republic

DenmarkERCO LightingVesterbrogade 136 C, st.1620 København VDenmarkTel.: +45 33 21 80 60Fax: +45 33 21 80 [email protected]

Estoniasee Finland

FinlandOy HedTec Ab Lauttasaarentie 5000 200 HelsinkiPostilokero 11000 201 HelsinkiFinlandTel.: +358 9 682 881Fax: +358 9 673 [email protected]

Experiencing light – worldwideERCO Addresses

Our ERCO lighting experts in regional centres, offices and at partner companies are available in all major markets around the world.

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