Light and Scenography - Erco.com

E Light and Scenography 

Planning 

Technology 

Software 

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Contents 

The Light Factory 

Tune the light: 

a new paradigm in lighting design 

From stage to architecture: 

light and scenography 

Scenographic light: 

planning – technology – application 

Infrastructure scenography 

Planning tool storyboard 

Planning tool moodboard 

Tune the light – the practice 

Nature, vegetation, times and seasons 

Townscape, urban space, landmarks 

Space, surface, perception 

Brand, identity, attraction 

Event, drama, emotion 

ERCO showrooms and offices 

ERCO addresses 

ERCO worldwide: meeting 

in the Stockholm 

showroom. 

ERCO Head Office, 

Lüdenscheid: the high 

bay warehouse P3. 

The Light Factory 

ERCO Head Office, 

Lüdenscheid: the 

Technical Centre. 

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 hardware, 

has characterised our work for many 

years: that’s why we call ourselves ERCO, the 

Light Factory. 

Light interprets spaces and helps us to perceive 

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 contribution 

to culture and the senses and our mission. 

Today, ERCO provides light in museums, 

universities, shop windows, churches, airports, 

hotels, chain stores, exhibitions stands, 

administration buildings, private homes, and 

much more. Irrespective of whether the architectural 

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 luminaires 

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 experienced 

in lighting technology due to new 

lamps, new optical systems, new digitally networked 

control gear and the appropriate software. 

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 lighting 

and hopes to provide inspiration for the 

successful, creative use of our hardware and 

software tools. 

ERCO worldwide: 

Varychrome facade of 

the Naarden branch, 

Netherlands. 

tune the light 1

Architectural lighting has reached a technological 

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 threshold 

of market maturity. These changes result 

in the design and construction of luminaires 

that are increasingly and dynamically able to 

change their characteristics including brightness 

or light colour and soon also beam direction 

and light intensity distribution. Control 

protocols such as the DALI technology enable 

these luminaires to be connected to networks 

that allow individual addressability and grouping 

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 reproduced 

in numerous ways with new effects; 

architecture that can constantly be interpreted 

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 abstraction 

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”. 

New lamps and control 

technologies make 

“Tune the light” possible: 

Optec spotlights 

with LED varychrome 

technology and DALI 

adapter. 

Tune the light 

A new paradigm in lighting design 

Scenography makes 

gastronomy a true 

experience: architecture 

becomes the stage, 

light the medium that 

adds effect. 

With the ERCO Light System DALI, its integrated 

Light Studio software and the extensive 

range of Light Clients, i.e. DALI-compatible 

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 scenographic 

lighting design easier to plan, more 

economical in implementation and more convenient 

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 architecture 

in new, creative ways. This brochure 

hopes to inspire you and set you on your way. 

A new design dimension: 

light can interpret 

architecture in many 

different ways to create 

a genuine experience. 

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). 

2 tune the light tune the light 3

‘Scenography’ in its origin is closely linked 

with the design of stage sets. Recently, however, 

this term has also taken on other meanings: 

defined as the design of the visual and 

spatial dimension of scenic events, the strategies 

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 reinterpreted. 

Designing and controlling such transformations 

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 benefited 

from the transfer of ideas and technology 

developed by scenographers and lighting 

designers for the stage as well as for movies, 

pop concerts or other events. There are, however, 

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. 

From stage to architecture 

Light and scenography 

The variety of light 

qualities coupled with 

spatial structure and 

timed progression, can 

be used to constantly 

reinterpret rooms and 

objects. 

In the case of lighting design for stage productions 

and events which can often take 

several hours and require continuous supervision 

by a technician, architectural lighting 

is expected to work unsupervised, uninterrupted 

and over much longer periods of time. 

Maintenance intervals and energy consumption 

are critical cost factors. Routinely, operation 

is left to non-professionals who as users 

interact with the architecture. The key fundamental 

difference in concept is that archi- 

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 similarity: 

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 lighting, 

particularly for 

special events. Other 

functions, however, 

require lighting equipment 

and systems 

designed specifically 

for architecture. 

Pelléas et Mélisande 

(Claude Debussy) 

Greek premiere, 

Athens Concert Hall 

(Megaron) 1998 

Set and lighting design: 

Uwe Belzner 

Director: 

Georg Rootering 

Photo: Eduard Straub 


Scenographic light 

Planning – technology – application 

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 combination 

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 scenographic 

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 freedom 

and using it to full advantage. 

The technology of the 

Light System DALI simplifies 

the planning and 

realisation of scenographic 

architectural 

lighting systems. “Tune 

the light” is possible 

where lighting control 

systems previously 

proved too expensive, 

too space-consuming 

or too complex. 

 

 

As the Light Studio 

software simplifies the 

operation of the Light 

System DALI, designers 

are able to concentrate 

on the creative challenges 

and the new 

possibilities of scenographic 

design. 

Digitally controlled 

luminaires such as the 

Grasshopper projectors 

with LEDs in white or 

varychrome are just the 

beginning of a development 

that will lead to 

lighting equipment 

with increasingly flexible 

functions. 

“Tune the light” is 

the vision behind this 

development: multifunctional 

lighting 

equipment for multiple 

architectural lighting 

options. 


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 technology 

that has been defined primarily by its 

roots either in building management or stage 

engineering. 

Light System DALI 

The 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 individually 

addressable luminaires combines with the 

ERCO Light Studio software to create an integrated 

package. Together with the extensive 

range of DALI-compatible ERCO luminaires 

for indoors and outdoors and the ERCO DALI 

track, scenographic light effects in architecture 

can be implemented more easily and 

economically than ever before. 

New standards in terms of ease of operation, 

range of functions and creative control 

are set by the consistent integration of 

software and hardware. Thus, for example, 

the colour location of DALI-compatible Varychrome 

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 software 

automatically recognise DALI-compatible 

ERCO luminaires – known as Light Clients 

– through their pre-programmed codes in the 

DALI control gear, which are then clearly displayed. 

DALI-compatible luminaires of other 

manufacturers can also be integrated into a 


Infrastructure 

Light Studio Light Server 

Light Client 

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 lighting 

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 functions. 

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 communicate 

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 wiring 

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 Clients 

Outdoors 

ERCO track 

with DALI live end 

Light Clients Light Clients 

Light Studio Light Server 

8 tune the light tune the light 9 

Light Client 

Light Changer

1 The lit entrance contrasts 

with the dark 

surroundings at night. 


Planning tool storyboard 

2 The attraction of the 

lit entrance is further 

enhanced by the lighting 

effect of the panoramic 

window on the 

1 st floor giving an indication 

of what happens 

inside the building. 

3 The magically lit 

spiral staircase leads 

visitors from the semidarkness 

of the foyer 

up to the upper floor. 

Unlike the design and development of static 

lighting concepts, scenographic lighting 

design requires additional preliminary planning. 

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. 

Storyboard 

If a scenographic lighting design is to be successful 

as an integral part of the overall architectural 

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- 

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. 

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. 

ers with the design of scenographic lighting 

concepts. Its rough sketches act as a creative 

script for the spatial and perceptional progression 

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 relevant 

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 restaurant, 

for example, can be based on different 

moods, such as reception in daylight, dinner 

with accent lighting on the tables, and cocktail 

hour with subtle, yet atmospheric background 

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. 

5 The atmosphere in 

the dining room itself 

changes throughout 

the evening. 

6 For musical performances, 

the house lights 

are dimmed and a spot 

light is used to illuminate 

the stage. 

5.1 The colour scheme 

changes along with the 

brightness balance of 

the light components. 

5.2 The layout of the 

downlights allows for 

variable accent lighting 

on the individual 

tables. 


As a tool for the visualisation and communication 

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 imagination. 

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 interesting 

contrasts. In this way, the lighting 

designer can underline the conceptual statement 

with a moodboard for each different 

light scene. 


Planning tool moodboard 

Ice Blue 

Night Blue 

Honey Gold 

Forest Green 

Cool White 

Example: a fresh morning. 

The moodboard 

produces a light scene 

using diffuse, cool light 

with sparing, highly 

focused warm white 

accents. 

Colour tones can be 

derived directly from 

the impressions on the 

moodboard and defined 

in the list of colours of 

Light Studio. 

Example: a Mediterranean 

autumn afternoon. 

The moodboard 

produces a light scene 

with warm, directed, 

but soft-edged light 

and red background 

lighting. 

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 information 

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 lighting 

effects. 

Light moods depicted and outlined as light 

scenes using moodboards can be integrated 

seamlessly into the sequence and spatial 

organisation of the storyboard. 


Warm White 

Sunset Pink 

Sunny Orange 

Sky Blue 

Glowing Red

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 environmental 

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 summer. 

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 illuminating 

the entire garden or park uniformly, 

outdoor lighting concepts focus on identifying 

the paths – using a storyboard as an outline 

– 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 perceived 

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 produced, 

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. 

In lighting concepts 

for green spaces, the 

draft design drawing 

allows focal points to 

be selected for accen- 

Penetrating the surroundings: 

uplights 

illuminate the treetops. 

The bollard luminaires 

project light downwards 

to prevent glare 

and provide reliable 

path lighting. 

tuation, to create spatial 

differentiation. 

Dramatising the surroundings: 

the narrowbeam 

accentuation 

produced by recessed 

floor luminaires and 

spotlights highlights 

individual trees in the 

environment. 

The compact 

Grasshopper projector 

is available with highpower 

LEDs in white or 

varychrome. With LED 

varychrome technology, 

it provides colourful 

highlights for main features 

in scenographic 

outdoor concepts. 

The Timer Module in 

the Light Studio software 

allows light 

scenes to be recalled at 

pre-determined times. 

The time and calendar 

functions provide great 

flexibility to automate 

scenographic lighting. 

The more discreet a 

light source, the more 

fascinating is the effect 

of the object illuminated. 

Recessed floor 

luminaires are available 

with different light 

distributions. 


Light Studio: Light Timer 

Changes 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 atmosphere, 

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 different 

effects to outdoor spaces and architecture 

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 structure 

similar to that of a calendar and allocate 

light scenes to set times. 

A change from one 

light scene to another 

involves a change in 

the dimmer settings or 

the light colour of the 

Light Client. 

A scene list provides 

the option of setting 

individual fading times 

for each scene. Fading 

times can be seconds 

or even span several 

hours. 



In peaceful surroundings, 

short fading times 

can be a nuisance and 

may be seen as a distraction. 

 

Long transition times 

are ideal if scene 

changes need to be 

imperceptible. 

The fading time is the 

duration set for the 

scene change. 

 

 

High-power LEDs 

High-power LEDs have a power consumption 

from approx. 1W. Their extremely long life, 

compact design and excellent luminous efficacy 

in connection with narrow-beam spot 

reflector lens systems make these LEDs a powerful 

light source for accent lighting. Housings 

with optimised heat dissipation ensure 

that the advantages of LEDs are ensured during 

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 seamless 

integration of dynamic, coloured LED 

lighting into a scenography, ERCO produces 

the appropriate varychrome luminaires as 

Light Clients with DALI interface. 

Conventional 3mm / 

5mm ∅ LED 

Lateral light creates 

maximum contrasts 

of light and shadow, 

producing a strong 

three-dimensionality. 

Lighting from diagonally 

above produces a 

pleasant distribution 

of light and shadow. 

Light from below produces 

a more dramatic, 

unnatural effect due 

to it being the opposite 

of daylight. 

High Power LED (> 1W) 

Modelling objects 

Along 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 modelling 

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 shining 

directly onto the object can over accentuate 

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. 


SMD LED (< 1W)

Since civilisation began to conquer the darkness 

by using artificial light, the dazzling picture 

of a metropolis at night has had a magical 

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. Lighting 

master plans ensure a consistent appearance 

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 confines 

even in the dark, to expressive, temporary 

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 buildings 

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 different 

lighting design approaches. In principle, 

solid facades require different methods than 

transparent facades. As an alternative to the 

extensive lighting of massive facades, spe- 

cific 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 outside 

must ensure cohesion. The more the 

boundaries between interior and exterior dissolve 

through the transparency of the shell of 

the building, the more strongly the lighting 

design requires a holistic approach. 

Focalflood LED facade 

luminaires are mounted 

close to the façade to 

produce striking grazing 

light – in white or 

colour with varychrome 

technology. The maintenance-free 

LED technology 

gives more freedom 

in the choice of 

mounting locations. 

Software such as Light 

Studio forms an integral 

part of lighting systems 

for scenographic concepts. 

The software provides 

easy-to-use tools 

to produce quality light 

with structure and a 

timed sequence. 

Large brick facades 

are bathed in striking 

grazing light to emphasise 

the texture of the 

historic façade through 

the rich contrasts produced 

by the play of 

light and shadow. 

The silhouette of a 

city at night is characterised 

by illuminated 

landmark buildings. 

Lens wallwashers accentuate 

the columns. The 

wall surfaces are illuminated 

by floodlights 

mounted on the ceilings 

of the gateways. 

Scenographic lighting 

elements increase the 

impact of landmarks 

and other prominent 

spaces in urban areas: 

as a permanent part 

of the nightly silhouette 

of a city or in the 

context of temporary 

effects. 


Light Master: Stage 

The stage in the Light Master helps designers 

by providing a spatial diagram of all luminaires. 

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 luminaires 

Individual controllability is a primary advantage 

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, busbased 

lighting control systems – and allow 

greater creative freedom. 

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- 

cal plane, depending on 

the actual project. 

Focalflood floodlights 

Focalflood floodlights 

have a wide light intensity 

distribution with a 

focal point and a cutoff 

angle of over 50°. 

An exception to this is 

the varychrome floodlight 

with T16 lamps in 

red, green, and blue: 

a diffuser and a Softec 

lens here ensure com- 

Vertical lighting outdoors 

Overhanging building 

surfaces or roofs are ideal 

for mounting Paratec 

wallwashers. Due to their 

uniform, vertical distribution, 

these luminaires 

not only emphasise the 

wall in its function as a 

room boundary, but also 

reveal the structure of 

the surface. 

plete mixing of the 

basic colours at the 

light aperture to produce 

lighting without 

colour shadows or 

perimeters. 


 

 

 

 

 

 

 

 

 

Focalflood: one name, different characteristics 

Several 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. 

Focalflood facade 

luminaire 

These compact LED 

luminaires produce a 

narrow-beam light distribution 

for grazing 

light. Longitudinally, 

the light is spread wide 

to ensure soft transitions 

when light beams 

are arranged side by 

side. In the varychrome 

version, the system 

consists of reflector 

and spread lens ensuring 

complete colour 

mixing. 

Lightmark facade luminaires 

are used for uniform 

illumination of 

facades. The precise 

light direction of these 

efficient optical systems 

minimises the 

proportion of spill light. 

For this bathing pier, 

the Tesis recessed inground 

wallwashers 

were intentionally 

widely spaced so as to 

produce a rhythmical 

effect to reveal the 

back wall.

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 atmosphere 

of a room. Contrasts in brightness and 

different light colours can establish hierarchies 

of perception and focal points in a room. 

Lighting design must start with the elements 

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 particular 

are important for the perception of architecture. 

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 occupants 

is to be directed upward, or it can serve 

as indirect lighting for the room. Fitted with 

a lighting control system for separate control 

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 frequently 

illuminated with ceiling washlights 

or as luminous ceilings. The diffuse, overhead 

light of the latter is often combined with daylight 

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. Contrasts 

can visually divide rooms, while uniform 

illuminance creates continuity. The 

establishment of spatial correlations with 

light is not limited merely to the connection 

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. 

Uniform lighting 

strongly emphasises 

the volume of the 

structure. 

Complex Clients such as 

varychrome luminaires 

which, technically, have 

three DALI addresses, 

are shown in Light 

Studio as an easy-tooperate 

unit with interactive 

control panels. 

The Client list in Light 

Studio contains all the 

Light Clients (DALIcompatible 

luminaires) 

of the DALI system. 

Light Clients can be 

grouped and allocated 

to zones and control 

gear. 

Coloured washlights 

for the back wall of the 

foyer create an emotionally 

stimulating 

atmosphere and attract 

attention to the back of 

the room. 

Quadra varychrome 

lens wallwashers produce 

colourful, totally 

saturated light based 

on LED varychrome 

technology. 

RGB colour mixing 

luminaires are based 

on additive combinations 

of red, green and 

blue light. 

Equipped with coloured 

T16 fluorescent lamps, 

TFL varychrome wallwashers 

are an efficient 

method of displaying 

walls with coloured 

light – dynamically 

controlled via DALI. 

Washlights illuminating 

the canopy act as a secondary 

reflector for an 

indirect lighting effect 

and define the appearance 

of the space. 


The appearance of a 

room is influenced 

as much by different 

brightness levels as it 

is by colour contrasts 

of the surfaces. 

Subtle differentiation 

results from different 

shades of white such 

as warm white and 

neutral white. 



Light used to differentiate spaces 

Light conveys information, for brightly lit 

areas automatically attract attention. Different 

levels of brightness ensure improved orientation 

in the room and can emphasise areas 

such as the foreground, the centre or the background. 

A suitable light intensity distribution 

directs the attention and structures the wealth 

of information in a space: areas with key information 

are highlighted, secondary or irrelevant 

information, on the other hand, is kept 

in the background through lower lighting levels. 

The significance of the effect depends on 

the brightness contrast between surfaces, i.e. 

between the object and the surroundings. 

Low saturation coloured 

illuminance of 

vertical surfaces has a 

notable effect on the 

atmosphere. 

The monochrome dimmable 

attribute in the 

Light Studio software 

identifies infinitely 

dimmable luminaires, 

When combined with 

white light directed onto 

the work surfaces, the 

requirements of both 

design and ergonomics 

are fulfilled. 

such as spotlights or 

downlights for halogen 

lamps. 

T16 fluorescent lamps 

RGB 

Lamps and colour space 

All the colours perceptible to the human eye 

can be represented as a structure using the 

standard valency system of the CIE (“chromaticity 

diagram”). The brightness dimension is 

disregarded and only the shade and saturation 

of the colours are depicted in this diagram. 

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 triangle 

shows all the colours that can be produced 

with a RGB colour mixing luminaire. 

Due to the lower saturation 

of coloured 

fluorescent lamps, 

the light colours of 

the TFL varychrome 

wallwashers, for example, 

produce more of a 

pastel character (left). 

Since coloured LEDs 

have a higher saturation 

than fluorescent 

lamps, the colour triangle 

of the Quadra 

lens washlights is larger 

and as such includes 

a greater number of 

colours (right). 

Light Studio: chromatic circle 

Coloured 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 specific 

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 colour, 

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 saturation 

can be set either in the chromatic circle 

or by means of two slider controls. RGB 

hues are entered numerically between 0 and 

255 for each basic colour. 

High performance LED 

This symbol identifies 

varychrome luminaires 

with RGB colour mixing 

technology that can 

be electronically controlled 

to produce an 

infinite variety of light 

colours. 


Designing sales areas today primarily means 

designing an event to create a shopping 

experience, a brand experience for the customer. 

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 decorations. 

It helps customers feel comfortable 

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 lighting” 

concept. It is also used to express seasonal 

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 



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 window 

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 exceptional 

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 dressers 

to set up and change these effects interactively 

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, weekdays 

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 luminaires 

and controls them through the Light 

Studio software, are self-evident here. 

Window-dressing works 

powerfully with stagelike 

effects. 

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. 


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 windows 

or retail interiors. 

The coloured light of 

this Optec spotlight is 

created by twelve highpower 

LEDs. The Softec 

lens ensures a softedged, 

uniform beam 

balancing the basic 

colour components 

red, green and blue. 

International brands 

insist on reproducible 

lighting concepts with 

a high recognition 

factor. 


Light Book 

This software module 

is used for the spatial 

structuring of a project. 

Light Changer 

Touch screen control 

panel for daily operation 

of the Light 

System. 

Typical vertical illumination 

in shop design: 

Lightscan wallwashers 

focus the light on the 

upper third of the wall. 

Brilliant accent light- 



shop window 

wall 

Light Studio: Light Book 

The Light Book is used for the spatial structuring 

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 epitomises 

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 happening 

around them. The light scenes and light- 

Vertical illumination Accentuating objects 

ing for the products is 

provided by spotlights 

mounted on tracks. 

shelf 

One of the trends in 

shop lighting is to 

present products in 

the same manner as 

museums exhibits. The 

appropriate profes- 

cash point 

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. 

DALI dimmers and DALI actuators 

DALI 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 particularly 

useful for luminaires without control 

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 incorporated 

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 software 

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. 

The DALI actuator, 

DALI dimmer and DALI 

transformer accessories 

allow virtually all non- 

DALI-compatible luminaires 

to be controlled 

with the Light System 

DALI. 

The Client Editor of the 

Light Studio software is 

used to integrate DALIcompatible 

luminaires 

from other manufacturers 

into Light System 

DALI or process the 

factory coding of the 

ERCO Light Clients. 

Integrating luminaires from other 

manufacturers 

Individually dimmed fluorescent lamps in red, 

green and blue behind the frosted glass wall 

allow all light colours to be dynamically controlled. 

The coloured light display is a fascinating 

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 ceilings 

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. 




Events largely rely on the creative use of light 

and on the interaction with and between people. 

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 darkness 

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 emotional 

impact, able to captivate and astonish 

its audience. Atmosphere, traditionally 

created by means of chandeliers and candlelight, 

can now be produced by more modern 

means such as through the projection of patterns 

and pictures using gobos and stencils 

made of sheet metal or glass. 

With the introduction of varychrome luminaires 

and other individually addressable 

Light Clients in a Light System DALI installation, 

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 element 

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 becoming 

acquainted to light for listening, light for 

cocktails, light for the meal, and light for dancing 

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 infrastructure. 

The Light Studio software 

spatially structures 

the quality of 

light in a timed progression. 

Light at events is similar 

to stage lighting 

– except that it does 

not separate the actors 

from the audience. The 

expression here is to ee 

and be seen. 

ERCO track for DALI 

installation 

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 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. 

DA DALI data cable 

DA DALI data cable 

1 Circuit 

N Neutral conductor 

PE Protected earth 

conductor 

With filters, the projections 

can also be 

in colour. By dimming 

the projectors, the light 

patterns can be made 

to appear or disappear.

Phase 1: 

Blue pattern 

Events require different 

light scenes throughout 

the evening. During 

a speech, the focus is 

placed on the speaker, 

the background is darkened 

for the video presentation. 



Light Studio: scene list 

A 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 organise 

light scenes. With appropriate names, the 

scenes can be sorted and arranged using the 

search function. 

Phase 2: 

Blue pattern 

+ Magenta pattern 

Light Studio: Light Timer 

The Light Timer allows numerous light 

scenes to be recalled automatically at predetermined 

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. 

During dinner, the coloured 

lighting of the 

walls creates an emotive 

atmosphere, while 

accent lighting on the 

tables accentuates the 

gastronomic delights. 

Phase 3: 

Blue pattern 

+ Magenta pattern 

+ text 

Dynamic effects with 

projectors: if several 

projectors are dimmed 

alternately, the appearance 

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 conversations 

and creates a 

suitable backdrop for 

an intimate setting. 

Colour filters 

The 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 lighting. 

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. 

Projection effects with contour spotlights 

Stella contour spotlights with a projection 

lens produce a sharp-edged beam. The contour 

attachment (1) ensures a sharp projection 

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 integrate 

dimmable projection effects into a Light 

System DALI environment. 


1 

2 

The sharp-edged illumination 

of the picture 

surface makes the pictures 

appear to radiate 

from within, while the 

background remains 

dark. The distortion in 

the perspective which 

is due to the angle 

The holder for aperture 

masks and gobos is integrated 

into the contour 

attachment of the luminaire 

to avoid lateral 

spill light. Depending on 

the aperture masks supplied, 

the Stella contour 

spotlights have emission 

angles of 16°, 22° 

and 26°. 

of incidence of light 

can be corrected by 

the four blades in the 

framing attachments 

to achieve the precise 

shape required.

ERCO is a cosmopolitan, globally active company. 

ERCO showrooms and offices can be 

found in all major markets. Here, our welleducated, 

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 professional 

support to designers in all matters 

relating to lighting technology and in each 

individual project phase. With case-related 

specialist information and customised product 

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 

Experiencing scenographic light – worldwide 

ERCO showrooms and offices 

and actively or with recommendations, advice 

and assistance in focusing luminaires. 

All our addresses are found at: 

www.erco.com/contact 

Mock-up section 

The 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). 

Lighting qualities 

Our wide range of luminaires 

addressable via 

lighting control equipment 

are ready for 

operation to allow the 

demonstration of subtle 

lighting qualities: such 

as a direct comparison 

between different types 

of wallwashers. 

Didactics 

Designer seminars 

provide information 

on the right use of 

our highly developed 

lighting equipment. 

Light in space 

The effect of light in 

space is difficult to 

put into words or pictures 

– it needs to be 

experienced. For this, 

the ERCO showrooms 

provide ideal, flexible 

conditions (ERCO 

Netherlands, Naarden). 

Project management 

The offices provide 

ideal facilities for project 

meetings: conference 

at ERCO Dubai. 

Events and seminars 

These turn ERCO showrooms 

into a meeting 

place for the local light 

and architecture scene: 

such as here at ERCO 

Poland in Warsaw. 


Experiencing light – worldwide 

ERCO Addresses 

Europe: 

Austria 

ERCO Leuchten GmbH 

Zweigniederlassung Wien 

Modecenter Str. 14/4.OG/BC 

1030 Wien 

Austria 

Tel.: +43 1 798 8494 0 

Fax: +43 1 798 8495 

info.at@erco.com 

Belgium 

ERCO Lighting Belgium Bvba/sprl 

Leuvensesteenweg 369 bus 7 

1932 Zaventem 

Belgium 

Tel.: +32 2 340 7220 

Fax: +32 2 347 3882 

info.be@erco.com 

Cyprus 

J. N. Christofides Trading Ltd. 

P.O. Box 21093 

1c Kennedy Avenue 

1501, Nicosia 

Cyprus 

Tel.: +357 22 813 043 

Fax: +357 22 764 643 

mail@jnc.com.cy 

Czech Republic 

ERCO Lighting 

Organizacni slozka 

Jana Masaryka 3/456 

120 00 Praha 2 

Czech Republic 

Tel.: +420 2 225 111 16 

Fax: +420 2 225 217 12 

info.cz@erco.com 

Bulgaria 

Croatia 

Lithuania 

Slovakia 

Slovenia 

see Czech Republic 

Denmark 


Vesterbrogade 136 C, st. 

1620 København V 

Denmark 

Tel.: +45 33 21 80 60 

Fax: +45 33 21 80 64 

info.dk@erco.com 

Estonia 

see Finland 

Finland 

Oy HedTec Ab 

Lauttasaarentie 50 

00 200 Helsinki 

Postilokero 110 

00 201 Helsinki 

Finland 

Tel.: +358 9 682 881 

Fax: +358 9 673 813 

lighting@hedtec.fi 

France 

ERCO Lumières Eurl 

6ter, rue des Saints-Pères 

75007 Paris 

France 

Groupe Paris-IIe de France 

Tel.: +33 1 44 77 84 71 

Fax: +33 1 47 03 96 68 

Groupe Régions 

Tel.: +33 1 44 77 84 75 

Fax: +33 1 49 27 06 48 

Groupe Architecture Commerciale 

Tel.: +33 1 44 77 84 70 

Fax: +33 1 44 77 84 84 

info.fr@erco.com 

Germany 


Postfach 2460 

58505 Lüdenscheid 

Brockhauser Weg 80–82 


Germany 

Tel.: +49 2351 551 100 

Fax: +49 2351 551 603 

info.de@erco.com 

Great Britain 

ERCO Lighting Ltd. 

38 Dover Street 

London W1S 4NL 

Great Britain 

Tel.: +44 20 7408 0320 

Fax: +44 20 7409 1530 

info.uk@erco.com 

Greece 

Expo Ltd. 

Nimfeou Str. 20 & 24 

11528 Athens 

Greece 

Tel.: +30 210 748 5560 

Fax: +30 210 770 6342 

Expo@compulink.gr 

Hungary 

ERCO Fénytechnika 


Kereskedelmi Képviselet 

Budapest 

Irányi u. 1. mfsz. 2. 

1056 

Hungary 

Tel.: +36 1 266 0006 

Fax: +36 1 266 0006 

info.hu@erco.com 

Iceland 

see Sweden 

Ireland 

DesignLight Ireland Ltd. 

289 Harolds Cross Road 

Dublin 6W 

Ireland 

Tel.: +353 1 496 6177 

Fax: +353 1 496 6851 

info@designlight.com 

Italy 

ERCO Illuminazione S.r.l. 

Via Vivaldi 

Residenza dell’ Orione 34 

20080 Basiglio (Milano) 

Italy 

Tel.: +39 02 904 5031 

Fax: +39 02 904 503 51/42 

info.it@erco.com 

Latvia 

Xcelsior stila grupa 

Muksalas Iela 42 

Riga LV 1004 

Latvia 

Tel.: +37 1 780 5233 

Fax: +37 1 780 5231 

xcelsior@xcelsior.lv 

Netherlands 

ERCO Lighting Nederland B.V. 

Gooimeer 13 

1411 DE Naarden 

Netherlands 

Tel.: +31 35 699 1710 

Fax: +31 35 694 6383 

info.nl@erco.com 

Norway 

ERCO Belysning A.S. 

Industriveien 8 B 

1473 Lørenskog 

Postboks 83 Ellingsrudåsen 

1006 Oslo 

Norway 

Tel.: +47 67 973 240 

Fax: +47 67 973 244 

info.no@erco.com 

Poland 

ERCO Leuchten GmbH. Sp. z o. o. 

Przedstawicielstwo w Polsce 

ul. Bialy Kamien 7 

02-593 Warszawa 

Poland 

Tel.: +48 22 898 7845 

Fax: +48 22 898 2939 

info.pl@erco.com 

Portugal 

Omnicel 

Técnicas de Iluminação, S.A. 

Rua Castilho, 57-5. Dto. 

1250-068 Lisboa 

Portugal 

Tel.: +351 21 381 3080 

Fax: +351 21 381 3090 

omnicel.lx@omnicel.pt 

Romania 

SC. ProEnerg SRL 

Str. M. Kogalniceanu nr. 60/A. 

410094 Oradea 

Romania 

Tel.: +40 259 447 163 

Fax: +40 259 413 869 

office@proenerg.ro 

Spain 

ERCO Iluminación, S.A. 

c/ El Plà nº 47 

08750 Molins de Rei, Barcelona 

Spain 

Tel.: +34 93 680 1110 

Fax: +34 93 680 0546 

info.es@erco.com 

Delegación Cataluña 

c/ El Plà nº 47 

08750 Molins de Rei, Barcelona 

Spain 

Tel: +34 93 680 1244 

Fax: +34 93 680 2624 

info.barcelona@erco.com 

Delegación Centro 

c/ Buen Suceso nº 13 

28008 Madrid 

Spain 

Tel.: +34 91 542 6954 

Fax: +34 91 559 0965 

info.madrid@erco.com 

Sweden 


Birger Jarlsgatan 46 

11429 Stockholm 

Sweden 

Tel.: + 46 8 545 044 30 

Fax: + 46 8 545 044 39 

info.se@erco.com 

Switzerland 

Neuco AG 

Würzgrabenstrasse 5 

8048 Zurich 


Tel.: +41 44 437 3737 

Fax: +41 44 437 3738 

mail@neuco.ch 

Neuco SA 

100, route de Cossonay 

1008 Prilly 


Tel.: +41 21 637 3000 

Fax: +41 21 637 3003 

mail.prilly@neuco.ch 

The Middle East: 

Dubai 



Representative Office Dubai 

P.O. Box 62221 

Dubai 

United Arab Emirates 

Tel.: +971 4 336 9798 

Fax: +971 4 337 3746 

info.ae@erco.com 

Bahrain 

Egypt 

India 

Jordan 

Kuwait 

Oman 

Qatar 

see Dubai 

Lebanon 

La Giralda 

Mme Curie Street 

Beirut-Lebanon 

P.O. Box 13-5554 

Lebanon 

Tel.: +961 1 864 641 

Fax: +961 1 867 353 

lagirald@inco.com.lb 

Saudi Arabia 

Technolight 

P.O. Box 12679 

Jeddah 21483 

Saudi Arabia 

Tel.: +966 2 669 3241 

Fax: +966 2 665 9664 

jeddahbranch@ 

technolight-ksa.com 


M/S Scientechnic 

P.O. Box 325 

Dubai 


Tel.: +971 4 66 6000 

Fax: +971 4 66 6176 

scitech@emirates.net.ae 

ERCO Head Office 


Postfach 2460 


Brockhauser Weg 80–82 


Germany 

Tel.: +49 2351 551 0 

Fax: +49 2351 551 300 

info@erco.com 

www.erco.com 

For our up-to-date address list, 

please visit www.erco.com 


Southeast Asia: 

Singapore 



Representative Office (S.E.A.) 

63a Club Street 

Singapore 069437 

Singapore 

Tel.: +65 6 227 3768 

Fax: +65 6 227 8768 

info.sg@erco.com 

Brunei 

Indonesia 

Philippines 

Vietnam 

see Singapore 

Malaysia 



Representative Office (K.L.) 

Level 40, Tower 2 

Petronas Twin Tower 

Kuala Lumpur City Centre 

50088 Kuala Lumpur 

Malaysia 

Tel.: +60 3 2168 4479 

Fax: +60 3 4257 5950 

info.my@erco.com 

Thailand 

Palicon Pro-Art Lighting Ltd. 

58/3 Soi Prompak, 

Sukhumvit Road 

Klongton-Nua, Vadhana 

Bangkok 10110 

Thailand 

Tel.: +662 382 1851 

Fax: +662 382 1852 

uwe@palicon.corp-th.com 

East Asia: 

China 



Representative Office Shanghai 

Rm 2015, Civil Aviation Center 

18, Xin Jinqiao Road Pudong 

Shanghai 201206 

P.R. China 

Tel.: +86 21 5030 5979 

Fax: +86 21 5030 5879 

info.cn@erco.com 

Architectural Lighting (HK) Ltd. 

3/F. Shing Dao Industrial Building 

232 Aberdeen Main Road 

Aberdeen, Hong Kong 

P.R. China 

Tel.: +85 2 287 022 88 

Fax: +85 2 255 227 87 

waal@williamartists.com 

Japan 

ERCO TOTO Ltd. 

Shibakoen ND Bldg. 

2-5-10 Shiba 

Minato-ku 

Tokyo 105-0014 

Japan 

Tel.: +81 3 5418 8230 

Fax: +81 3 5418 8238 

info.jp@erco.com 

Korea 

Altek Lighting 

Jungjin B/D, 619-2 

Sinsa-Dong, Gangnam-Gu 

Seoul 

Korea 

Tel.: +82 2 512 7779 

Fax: +82 2 512 4117 

altek@altek.co.kr 

Australia 



Representative Office Australia 

349 Pacific Highway 

North Sydney NSW 2060 

Australia 

Tel.: +61 2 9004 8801 

Fax: +61 2 9004 8805 

info.au@erco.com 

New Zealand 

see Australia 

North America: 

USA 

ERCO Lighting Inc. 

160 Raritan Center Parkway 

Suite 10 

Edison, NJ 08837 

USA 

Tel.: +1 732 225 8856 

Fax: +1 732 225 8857 

info.us@erco.com 

Canada 

Mexico 

see USA 

South America: 

Argentina 


Oficina de Representación 

Av. Alicia M. de Justo 2030, Of.202 

1106 Buenos Aires 

Argentina 

Tel.: +54 11 431 314 00 

Fax: +54 11 431 254 65 

info.ar@erco.com 

Bolivia 

Brazil 

Chile 

Colombia 

Ecuador 

Paraguay 

Peru 

Uruguay 

Venezuela 

see Argentina 

Our ERCO lighting 

experts in regional 

centres, offices and at 

partner companies are 

available in all major 

markets around the 

world.

4 

E 

Art.-Nr. 1029172000 EN 04/2006

Light and Scenography - Erco.com

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