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Louis Poulsen - Landscaping with light 2012
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landscaping with light louis poulsen lighting
2 landscaping with light
Louis Poulsen Lighting has many years of
experience in external lighting experience, this
brochure is designed as a guide for people who
want to consider making the night a more com-
fortable and atmospheric setting. Our aim is to
lead you through the landscape lighting princip-
les, which can be easily applied to both urban
and residential projects.
Should you not feel confi dent in the area of
landscape lighting design, please contact Louis
Poulsen Lighting directly for a design advisory
service to optimize your project.
ambiencepage 24
comfortpage 18
functionpage 4
3
Good lighting design is achieved through a number of choices and considerations. Louis Poulsen Lighting develops its luminaries adhering to a lighting
philosophy of Function, Comfort and Ambience (FCA™). This FCA™ philosophy also applies to scheme design, which in turn strives to balance the technical
and human elements of any project.
A balanced FCA™ philosophy ensures the best lighting solution for your landscaped space.
Functional aspects are addressed by selecting a suitable light fi xture, choosing a complimentary lamp package and positioning it for optimum performance.
Comfort aspects are addressed by considering the scenario and examining the lighting requirements. Ambience is addressed by thinking about the mood and
experience you wish to create.
This enables the designer (through choice of the most appropriate light fi tting, weighing up intensity positioning and colour rendition) to create a unifi ed
specifi cation that is sensitive to requirements while enhancing the landscape form.
the Louis Poulsen Lighting FCA™ philosophy
4 function
f
5
During daylight hours the landscape is a play of colour, form
and texture. The smooth contours of the lawn, shapely trees
and brightly coloured fl owers are all illuminated by the sun
with everything on show.
By contrast, the night sky shrouds the landscape with an air
of mystery. With only the moon-light and selected artifi cial
lighting, the picture becomes a play of dramatic light and
shadow, revealing some objects and hiding others.
With this in mind, the fi rst task is to defi ne the parameters
for the project and what you wish to achieve. Remember,
simplicity is the key.
unction
light source6
Daylight • higher than 6,000 K
Neutral • 3,000 - 4,000 K
Warm white • lower than 3,000 K
8000K
1000K
4000K
light fixture
light source
As designer you will need to select a suitable light fi xture for each
application. The versatility and simplicity of the Louis Poulsen Lighting
product range will allow you to address issues of size, type, material
and fi nish/colour.
For example, recessed inground up-lighters are discreet and
invisible by day while spike mounted fi xtures allow for repositioning
as required and also help prevent plant growth over the light source.
To help a lighting scheme to ‘fl ow’, many of our fi xtures appear in
‘families’. For example, a wall fi xture, bollard and post top. The
‘family’ concept allows a ‘common’ design theme across a scheme.
You must consider the appropriate light source. In particular, a
complementary light source, suitable wattage intensity and beam
angle. Other factors such as lamp life and surface temperature may
also play a part depending on the project parameters.
Remember, natural daylight is the ‘benchmark’ and it is therefore
important to respect the colours of nature in your lamp choice.
Daylight
Colour spectrum
Incandescent and halogen light sources have a continuous
spectrum, representing all the colours of the rainbow, with a
smooth transition between each.
Fluorescent light sources have a linear spectrum. They do not
necessarily have all the colours of the rainbow and of those that do
are each, separated by a black area.
Colour Rendering Index (CRI)
CRI indicates how well a light source reproduces true colours.
The CRI is divided into values from 0-100.
Daylight CRI 100.
Incandescent and low voltage lamps share a CRI of over 90.
High pressure sodium CRI 20-35.
Metal halide CRI 80-90.
Compact fl uorescent CRI 80-98.
Mercury CRI 40-65.
N.B. Light sources can hold the same CRI, but do not have the abi-
lity to render the same colour correctly. This depends on the colour
spectrum of the light source.
Colour temperature
The colour temperature of a light source is measured in degrees
Kelvin (K), and can be defi ned as warm, neutral or cool light.
7
Compact fl uorescent
Although many use this for its long
life quality in or around buildings,
compact fl uorescent is not a light
source strongly recommended for
the landscape environment. It does
not possess the colour rendering
qualities of halogen or metal halide.
However, it is an alternative indicator in
recessed products when the budget
will not stretch to LEDs.
LED (Light Emitting Diode)
LEDs offer a wide choice of colours - standard white,
blue, red, green, amber and RGB colour change
versions (through DMX control). They have
exceptionally long life, are cool to the touch and
have low running costs. However a word of warning,
in isolation standard white LEDs appear white but
when placed next to or near warmer sources, such as
halogen, they can appear more blue. This can feel
‘cold and ghostly’. It is therefore recommended that
a pale yellow fi lter is added to correct the colour.
Alternatively seek advice on using a ‘warm white’
LED.
High pressure sodium
Today high pressure sodium is often
perceived unfashionable, but it has
its place and should not be ruled out.
It is particularly complimentary to
reds and yellows, for example copper
beech and prunus trees (both red leaf),
sandstone and traditional brickwork
can benefi t from sodium lighting.
However, due to its colour spectrum,
sodium does not compliment blue
coloured surfaces.
Halogen
This source creates a warm
atmosphere and is associated most
strongly with the natural environment.
Despite its lower life, it is the best
choice for illuminating domestic plants
and foliage in their true colours.
Metal halide
This is probably the best ‘all rounder’. With its
good lamp life and light spectrum resembling
natural daylight, this light source favours the
commercial lighting scheme and is also a good
option to illuminate objects in their true colours.
Mercury
Mercury compliments blue and
green coloured surfaces very well.
For example cedars and pine
trees. Stainless steel also illuminates
well.
N.B. Discharge light sources (metal halide/sodium/mercury) are not suitable for security lighting linked to a movement sensor, as they take a period of time to reach
their optimal colour/intensity of light, can rarely be dimmed and offer no instant light.
High pressure sodium
Halogen Mercury
Compact fluorescent
Metal halide
set back
spacing
positioning8
Having chosen the fi xture and light source, many designers underestimate the importance of positioning. Specifying
the position of a fi xture will maximise the desired effect and avoid issues of unnecessary glare, cut-off shadows and
light pollution.
At Jumeriah Beach Hotel in
Dubai, the gentle scalloping
effect of the light (pattern
of light/dark areas on the
wall) is governed by how
close the fi xtures are placed
together.
spotlightsetback
spotlight
9
When light is cast on statues and sculptures, it is important to position the light fi xtures correctly to avoid shadowing and ‘cut-off’. The importance is displayed
above, where the statue of a man appears to fl oat due to the lack of light on his lower legs.
Spacing and setback play a large role in accentuating texture to the fi nished picture. At Stirling Castle (above, left) just outside Edinburgh in Scotland, the
light fi xtures have been placed close to the wall. This accentuates the architectural form with shadow. Had the fi xtures been placed further from the wall the
building would have had less shadows and appeared fl atter in contrast. Illuminating the subject in this way contributes to the myth and mystery associated
with a castle.
after
designing a lighting scheme10
before
The difference in quality of light plays an important role in how the user
feels when moving within a space.
The small image below and on the left demonstrates how glare from
a light fi xture can ‘hide’ a person. By minimising glare, as shown in
the image on the right, you can help the user feel safe and enjoy the
experience of the space after dark.
A good landscape lighting design can in general only really be
achieved through experience. When illuminating commercial areas or
public realm are light levels (lux) need to be adhered to. These are
recognised standards to create a safe environment. However, when
illuminating landscape features such as trees, foliage and focal points of
interest, there are no hard-line rules.
Without such recommendations, many designers shy away from landscape
lighting, and valuable design potential can be lost. With years of
experience, Louis Poulsen Lighting can help you achieve a safe and
‘complimentary’ lighting solution, drawing out the best features in the
scheme, whilst leaving the undesirable in the dark.
11
Many aspects have to be considered when planning an outdoor lighting scheme.
Our aim is to guide you through the outdoor area and offer suggestions based
on our many years of experience. The products of Louis Poulsen Lighting are
designed as lighting tools to fi t discretely into the surroundings and offer a
unique lighting experience.
Lighting urban spaces is not
solely a matter of decoration;
creating a safe environment
is as important. It has been
proven that the introduction
of lighting has contributed to
falling crime rates in many
urban spaces.
garage
applications12
The garage or carport - you may use different types of light fi xture for this purpose, but the
avoidance of glare to the driver is very important.
A path from the parking point to the main entrance door requires ample light for frequent
use. It is important to suggest the direction one should take.
Think hard to exhaust the lighting possibilities available in your scheme.
Our aim at Louis Poulsen Lighting is to make you aware of the potential pitfalls and to help
you see all the possible design options.
drivewaydriveway
driveway13
It is important to illuminate the route from the main entrance to the main door
of the house or building, both for car and pedestrian access. For driveways,
bollards or small post tops/lanterns seem the obvious solution. However,
should the drive be tree lined, ‘moonlighting’ is an option. This will offer a
beautiful picture by night and an uncluttered landscape by day.
entrance
applications14
doorway
A wall fi xture is the obvious solution by a doorway, however
concealing the light source in the eaves may be another option,
particularly on an existing building where concealing cable may
be diffi cult.
steps
path
15
The entrance point to a building should be obvious at night. If the building itself is up-lit, we suggest the entrance
has a form of downward light, delineating it as the entrance. If there is neither a porch nor overhead canopy to
mount an overhead fi xture, wall fi xtures mounted at ¾ of the height of the door or above the door will frame
the entrance. House names and numbers should be clearly illuminated for visitors, taxis and in some cases the
emergency services.
Special care should be
given to illuminating
steps and level
changes, as undefi ned
edges could make
dangerous trip hazards.
Path lighting is designed
to provide orientation
and make the user feel
safe and comfortable
when moving around
within a space after dark.
16 application map
urban
The following plans highlight stereo typical features found within urban and residential schemes.
The matrix below offers suggested product groups for the key areas marked.
Product section
••
Inground/Recessed
Onground
Surface mounted
Wall
Bollard
Post tops
• • • • • • • • • •• • • •
• • • • • • •• • • • • • •
• • • • • •• • • • • •
Driveway/ Forecourt/ Garage Main Building Terrace/ Pool area General Trees Sculpture Paths/ StepsRoad Parking entrance fascia Sitting area planting Walkways
• ••
Plan by Akers Coyle
Road
Walkway
Building fascia
Parking
Main entrance
Sculpture
Sitting area
Steps
Trees/General planting
residential
17
Product section
••
Onground/Recessed
Onground
Surface mounted
Wall
Bollard
Post tops
• • • • • • • • • •• • • •
• • • • • • •• • • • • • •
• • • • • •
Driveway/ Forecourt/ Garage Main Building Terrace/ Pool area General Trees Sculpture Paths/ StepsRoad Parking entrance fascia Sitting area planting Walkways
• • •
Wood
Lake
Wood
Lawn
House
LawnSwimming pool
Wood
Hornbeam Walk
South terrace
Westterrace
Drygarden
Pool area
Gar
age
Forecourt/Parking
Driveway
Grass verge
Main entrance
General planting
Pathway
Pathway
Steps
Trees
Trees
Plan by Timothy Garden Design
Sculpture
Conser-vatory
18 comfort
c
19
It is important to consider the lighting requirements for
the space and scenario you are designing. For example, a
greater intensity of light is required to feel safe in a park,
than in the confi nes of your own garden. Once the gene-
ral lighting requirements have been decided, you can then
look to create a sense of depth to the scheme by drawing
out focal points of interest. Avoid ‘over lighting’, which
can lead to the fi nal picture appearing fl at and lacking
contrast. Remember, the darkness is as important as the
light.
omfort
the purpose of light20
urbanap
When designing a lighting scheme, both functional and decorative elements have to be considered. Urban and residential schemes both require a level of
functional light to navigate by. However, gardens play more on aesthetics, while urban spaces are generally more about experiencing the architecture.
To explain the difference the plans have been separated into two colours.
The functional zones are illustrated in blue, while the more decorative and ambient areas appear in red.
Plan by Akers Coyle
Road
Walkway
Building fascia
Parking
Main entrance
Sculpture
Sitting area
Steps
Trees/General planting
residentialp
21
Wood
Sculpture
Lake
Wood
Lawn
House
LawnSwimming pool
Wood
Hornbeam Walk
South terrace
Westterrace
Drygarden
Pool area
Gar
age
Forecourt/Parking
Driveway
Grass verge
Main entrance
General planting
Pathway
Pathway
Steps
Trees
Trees
Plan by Timothy Garden Design
Conser-vatory
lighting consideration
22 lighting consideration
It is important to remember that good lighting design will not only provide safety and aesthetical value, but also give the daily user an experience to
remember.
Although some people would rather see the night remain night, i.e. dark, Louis Poulsen Lighting products are designed and tested to perform in a precise
manor. Getting the light to where it is needed, avoiding spill and unnecessary light pollution are of utmost importance to us.
In order to respect both the user and the environment, Louis Poulsen Lighting bases its lighting solutions on the philosophy of: function, comfort and ambience
- FCA™. We consider it paramount that our fi xtures unite with the architecture and the surroundings. The light has to become a natural element.
We recommend where possible a lighting scheme that combines fi xtures at varying heights. The highest fi xtures set the upper limit against the night sky
while the lower fi xtures secure the best recognition and navigation for people in the dark.
dark sky
Max. 0% light above 90°Max. 10% light above 80°
Max. 2.5% light above 90°Max. 10% light above 80°
Max. 5% light above 90°Max. 20% light above 80°
Internal honeycomb louver
45° prismatic wash lens Cowl visor Barn-doors
External crossblade louvreInternal concentric louvre
23
Organisations like Dark Sky participate in the lighting debate, casting stringent views on what they consider light pollution and how
to avoid it.
Dark Sky works with the terms full cut-off, cut-off and semi cut-off. These terms are defi ned by the values indicated below. During
the planning and design stages, the character of an area determines which fi xture will be the most suitable. Note: a full cut-off is not
particularly appropriate in an area where parameters like ambience or comfort are important.
Anti-glare/Pollution
Landscape lighting is about ‘painting’ the fi nished picture, the
emphasis being on the effect and not where it is coming from.
Louis Poulsen Lighting fi xtures offer a wide range of accessories
for optimizing light performance and minimising light pollution.
Full cut-off Cut-off Semi cut-off
24 ambience
am
25
It is important to think carefully about the mood you
intend to create and how you wish the user to feel within
the space. Through your choice of light source, you have the
ability to affect the user both emotionally and physically i.e.
making them feel warm or cold, excited or relaxed, secure or
uncomfortable.
Lighting is not just a question of placing a few light fi xtures
in a space to see by. It is about creating an ambience with
deep respect for the darkness and the surroundings.
When designing, think of your self as an artist painting with
light. As far as possible, you want to see the effect and not
where it is coming from.bience
26 lighting technique
Down-lighting
Although a general term encompassing many of the lighting techniques,
down-lighting is the most natural technique as this is the way we perceive light
i.e. sunlight. Good examples of down-lighting include security and path lighting
which cover functional aspects, while moonlighting and spotlighting offer a more
aesthetic approach. Aesthetical down-lighting is especially effective in structures such
as pergolas, gazebos or recreational areas.
Light fi xtures can be used in different ways to create mood. This is often suggested by the contours of the
landscape. Here are a few common techniques:
Up-lighting
Up-lighting is a very simple yet dramatic lighting form where a fi xture is placed under
an object such as tree or sculpture.
Being a manmade distribution of light and therefore unnatural to the human visual
perception, it attracts immediate attention.
Recessed up-light fi xtures are discreet and invisible by day, while spike-mounted
fi xtures although visible in daylight, can be repositioned easily and prevent plant
growth over the light source.
Spot-lighting
This is a very direct technique used to illuminate important features and focal points
e.g. statuary.
The use of narrow-beam light sources often allows the fi xture to be placed some
distance from the subject. This technique is essentially for aesthetical purposes and
directing attention in a particular direction. However, it should be used in moderation
as overuse may be confusing to the eye, drawing it in many directions.
27
Low-level wash/Path lighting
Predominantly, this entails illuminating of a horizontal plain along which we walk. It gives direction, providing ample
illumination to see level changes and avoid hazards such as steps or water. This light can come from a number of different
light fi xtures depending on the environment.
1. Post top fi xtures where light is projected downwards from approximately 3m or more.
2. Bollards available in various heights traditionally providing illumination from a lower height.
3. Wall mounted light fi xtures, mounted at varying heights.
4. Inground, semi-recessed light fi xtures casting local but limited light.
N.B. This technique is designed to make the user feel safe and comfortable moving around within a space.
Silhouetting and wall washing
This is most commonly seen in nature at sunset when an object is caught between the viewer and the setting sun, creating
a dramatic silhouette.
This effect can be reproduced after dark using wide-beam light sources placed behind planting or objects. Doing this will
often mean washing a vertical surface behind the chosen subject, for example a fence or wall. While this is generally seen
as purely adding aesthetical interest, throwing light on the area behind adds a sense of depth to the area.
Moon-lighting
An ally to down-light, this is one of the most effective and natural looking lighting techniques simulating the soft diffuse
light of the moon. For best results, it relies on suitably mature trees. With light fi xtures positioned correctly, light passes
through the canopy casting graceful shadows at ground level. The fi xtures must be located high up (15m approx), to prevent
glare. Fixtures mounted too low generally need to be angled out, often creating glare. Moon-lighting is often used as infi ll
light between two brighter areas.
Mirror-lighting
Mirror-lighting utilises the refl ective quality of a pool, pond or a lake’s surface. By leaving the water in darkness and
illuminating objects such as trees, planting or structures on the far side of the water, a magical mirrored refl ection can be
achieved. Viewing it in situ really is like looking into an underworld!
N.B. Small ponds and water features lack the surface area for refl ection; however, many gardens and parcs have moving
water that can be illuminated. Here we suggest that you position the fi xtures just under the surface, allowing the water to
fall directly onto them, creating moving shadows that ‘dance’ on the neighbouring surfaces.
ambience concept & lighting tools28
Raod
Walkway
Building fascia
Parking
Main entrance
Sculpture
Sitting area
Steps
Trees/General planting
The following plans give an indication of where the lighting technique may be best used.
The matrix to the right indicates suitable products for specifi c areas.
urbanap
Spot-lightingSilhouetting Path lightingDown-lighting Up-lighting
Plan
by
Ake
rs C
oyle
29
Products
Inground/recessed
IPR10
IPR12
IPR14
Nimbus
Nimbus LED
WeeBee LED
LytLed
Dex
Onground
Dome
Tripos
Tripos Mini
Pagoda
Volcano
LP Knap
Surface
SPR10
SPR12
SPR14
WeeBee Spot
Wall
Toldbod Wall
Nyhavn Wall
Homann M2
Orbiter Wall
PH Wall
PH 3- 2½ Wall
Kipp Wall
Dex
Nimbus Wall
Dock Wall
Skot Wall
Skot Maxi Wall
WeeBee Wall
Bollards
Bysted
Toldbod Ø 155 Bollard
Kipp Bollard
Orbiter Bollard
Sentry
Skot Bollard
Dock Bollard
PH 3 - 2½ Bollard
Waterfront
Planet Bollard
Poles
Nyhavn Boulevard Post
Patina
Kastrup
Kipp Post
Orbiter Post
Terminal
Toldbod Post
Driveway/ Forecourt/ Garage Main Building Terrace/ Pool General Trees Sculpture Paths/ StepsRoad Parking entrance Fascia Sitting area area planting Walkways
ambience concept & lighting tools30
Wood
Sculpture
Lake
Wood
Lawn
House
LawnSwimming pool
Wood
Hornbeam Walk
South terrace
Westterrace Conser-
vatory
Drygarden
Pool area
Gar
age
Forecourt/Parking
Driveway
Grass verge
Main entrance
General planting
Pathway
Pathway
Steps
Trees
Trees
The wide range of Louis Poulsen Lighting products make it possible to create a unique project. The plan below shows examples where the lighting
techniques can be applied, the matrix explains which product may be most suitable.
residentialp
Spot-lightingSilhouettingMirror-lighting Path lightingDown-lighting Up-lighting Moon-lighting
Plan
by
Tim
othy
Gar
den
Des
ign
31
Products
Inground/recessed
IPR10
IPR12
IPR14
Nimbus
Nimbus LED
WeeBee LED
LytLed
Dex
Onground
Dome
Tripos
Tripos Mini
Pagoda
Volcano
LP Knap
Surface
SPR10
SPR12
SPR14
WeeBee Spot
Wall
Toldbod Wall
Nyhavn Wall
Homann M2
Orbiter Wall
PH Wall
PH 3- 2½ Wall
Kipp Wall
Dex
Nimbus Wall
Dock Wall
Skot Wall
Skot Maxi Wall
WeeBee Wall
Bollards
Bysted
Toldbod Ø 155 Bollard
Kipp Bollard
Orbiter Bollard
Sentry
Skot Bollard
Dock Bollard
PH 3 - 2½ Bollard
Waterfront
Planet Bollard
Poles
Nyhavn Boulevard Post
Patina
Kastrup
Kipp Post
Orbiter Post
Terminal
Toldbod Post
Driveway/ Forecourt/ Garage Main Building Terrace/ Pool General Trees Sculpture Paths/ StepsRoad Parking entrance Fascia Sitting area area planting Walkways
32 ambience
33Ph
oto:
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34 product families
Toldbod
Orbiter
The Louis Poulsen Lighting product programme includes a trademark design concept called product families. This unique concept is based on our close
relationship with architects and their desire to equip an entire building using the same family of products, both on the outside and the inside. For example,
Toldbod Pendant, Toldbod Wall, Toldbod Bollard and Toldbod Post.
Designing in this way allows architectural adaptability while creating a common ideom between buildings and landscape.
Nyhavn Pendant Nyhavn Maxi Pendant
Nyhavn Wall Nyhavn Maxi Wall Nyhavn Boulevard
Kipp Wall Kipp Bollard Kipp Post
Toldbod Wall Toldbod Ø 155 Wall
Toldbod Ø 155 Bollard
Toldbod Post
Orbiter Micro Pendant
Orbiter PendantOrbiter Wall Orbiter Bollard Orbiter Mini Post Orbiter Maxi Post
Toldbod 155/220 Glass Pendant
Toldbod 120 Metal Pendant
35
products
Dome
onground
TriposTripos Mini PagodaVolcanoLP Knap
surface
SPR10 SPR12 SPR14WeeBee Spot
inground/recessed
IPR14IPR12IPR10Nimbus Nimbus LEDLytLED WeeBee LED
Toldbod Wall Nyhavn WallOrbiter Wall
wall
Kipp Wall Skot Wall Skot Maxi Wall
Bysted
bollards
Toldbod 155 Bollard Kipp Bollard Orbiter Bollard Sentry Skot BollardWaterfront
poles
Nyhavn BoulevardPost
Patina KastrupKipp Post Orbiter PostTerminalToldbod Post
Toldbod Ø 155 Wall
IPR10 & IPR12 available spring 2007
Homann M2PH WallPH 3-2½ Wall Dex Nimbus WallDock Wall WeeBee Wall
wall
Dock BollardPH 3-2½ Bollard
bollards
inground/recessed
Dex
Louis Poulsen Lighting
Louis Poulsen Lighting A/S
Gammel Strand 28
DK-1202 Copenhagen K
Tel. +45 70 33 14 14
Fax +45 33 29 86 36
www.louis-poulsen.dk
International
Louis Poulsen Lighting A/S
Gammel Strand 28
DK-1202 Copenhagen K
Tel. +45 70 33 14 14
Fax +45 33 29 86 46
www.louis-poulsen.com
Finland
Louis Poulsen Lighting Oy
Hämeentie 135 A
FIN-00560 Helsinki
Tel. +358 9 6226 760
Fax +358 9 6226 7650
info.fi @louis-poulsen.fi
www.louis-poulsen.fi
France
Louis Poulsen & Cie. S.A.R.L
Parc Mure
Module 2.8
128 bis, avenue Jean Jaurès
F-94851 Ivry Sur Seine Cedex
Tel. +33 1 49 59 68 68
Fax +33 1 49 59 68 69
www.louis-poulsen.fr
Germany
Louis Poulsen & Co. GmbH
Westring 13
D-40721 Hilden
Postfach 10 07 50
D-40707 Hilden
Tel. +49 2103 940 0
Fax +49 2103 940 290 + 291
www.louis-poulsen.de
Japan
Louis Poulsen Japan Co. Ltd.
AXIS Building 3 Fl
5-17-1 Roppongi
Minato-ku
Tokyo 106-0032
Tel. +81 3 3586 5341
Fax +81 3 3586 0478
www.louis-poulsen.com
Netherlands
Louis Poulsen Lighting B.V.
Parellaan 26
NL-2132 WS Hoofddorp
Tel. +31 23 56 50 030
Fax +31 23 56 52 284
www.louis-poulsen.nl
Norway
Louis Poulsen Lighting AS
Lilleakerveien 2, Bygn. E2
N-0283 Oslo
Tel. +47 22 50 20 20
Fax +47 22 52 47 05
www.louis-poulsen.no
Sweden
Louis Poulsen Lighting AB
Gävlegatan 12 A, 7tr
Box 23013
S-104 35 Stockholm
Tel. +46 8 446 48 00
Fax +46 8 446 48 28
www.louis-poulsen.se
Switzerland
Louis Poulsen AG
Haldenstrasse 5
CH-6340 Baar
Tel. +41 41 768 5252
Fax +41 41 768 5253
www.louis-poulsen.ch
United Kingdom
Louis Poulsen UK Ltd.
Unit C 44
Barwell Business Park
Leatherhead Road
Chessington
Surrey KT9 2NY
Tel. +44 208 397 4400
Fax +44 208 397 4455
www.louis-poulsen.co.uk
USA
Louis Poulsen Lighting, Inc.
3260 Meridian Parkway
Fort Lauderdale, FL 33331
Tel. +1 954 349 2525
Fax +1 954 349 2550
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ouls
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