文：罗格•那波尼
by Roger Narboni
在格勒诺布尔市，有轨电车是很富特色的，由其是第三条路线的电车。在晚上乘坐这条电车线路，可以给与格勒诺布尔市的市民和游客提供了一个特殊平台去欣赏美丽的夜景和建筑
Grenoble’s third tramway is worthy of attention. Travelling along it at night offers both residents and visitors a unique nocturnal viewing platform, which brings the city’s scenery and architecture to life
图1：格勒诺布尔。第三条电车轨道景象。
Picture 1: Grenoble’s third tramway
格勒诺布尔市的第三条有轨电车路线的照明项目已构思成形，是在以下原则的基础上确定这条夜间路线的照明方案（图1、2、3）：
图2：在画面中，可以看见通过公共照明实现对不同照明需求的各种支持。
Picture 2: The picture shows the different types of posts to be installed based on the various public lighting needs
图3：在设计图中，列出了各种方案的灯柱和灯杆。
Picture 3: Diagram showing the various proposals for the posts and lamp-heads to be used in the lighting system
a) 整条行驶路线的照明区域都采用单一色调的、显色指数优异（Ra>80)的暖色白炽灯(3000K)照明，凸显地面和背景的协调，创建一种令行人心广神怡的环境（图4）
b) 依靠照明灯光向沿线两侧的扩散，最大程度地拓展了欣赏沿线建筑设计的视野（图2、5）
图4：照明项目的概念位置图。
Picture 4: Conceptual diagram of the lighting design layout
c) 对电车站台不设专门照明，而是将它结合在夜间自然环境之中
d) 照明设计的层次赋予线路的节奏感
e) 优先方便非机动出行方式（步行者、骑车者、轮滑者），利用指向路灯或散射光线，向行人展现出一幅随电车行驶路线起伏、闪动和循环的富有魅力的城市夜景
f) 将一个个照明空间串联起来，线路照明灯和路灯的光线纷纷洒落在电车行驶路线的两侧，使得所遇到各种顺序的活动连续流畅
g) 每个站台区域的特定照明方式，让电车线路显得富有生气、更有节奏感
h) 设计一系列简洁美观的灯具，满足不同的照明需求（电车线路照明灯、路灯、景观灯、建筑用灯）（图3、6、7、8）
图5：格勒诺布尔有轨电车路线计划照明工程的另一幅景象。
Picture 5: Another image showing a proposal for Grenoble’s tramway
生动的灯光布置
整条电车行驶路线上都存在着不同的灯光构思，这些不同照明创意连接起来成一大特征。
在沿电车线路上的道路照明是保持一致，车道两边都设有连续统一的照明，这对与行人活动相关的范围实施了交替顺序照明，其节奏宛如“音乐的旋律”，对非机动车道或行人活动区域实行交替顺序照明，于是，每种灯具就成为一个“音符”，所有这一切均构成了这一条错落有致的照明路线，一种“立体空间的音乐合音”似的照明环境。
在该项照明工程规划中，照明顺序的流畅性是一个重要的考虑因素。如何清晰地区分这些顺序的等级可自主决定，范围很宽，而其解读（白天或夜晚）涉及时空概念，所以与出行速度相关（对于行人，为慢节奏；对于车手或乘用电车的游客，为快节奏）。
图6：沿电车线路行人活动区域和街道的照明方案
Picture 6: Proposals for lighting in pedestrian zones and the streets alongside the tramway
The idea behind the illumination of Grenoble’s third tramway (see pictures 1, 2 and 3) was to make it visible in its entirety at night. It is based on the following key concepts:
a) Use a single lighting tone (warm white light (3000K) with an optimal colour rendering index (CRI>80)) throughout the lit areas. This allows the route and the surrounding scenery to be seen and creates a pleasant ambiance (picture 4).
b) Ensure maximum visibility of the surrounding buildings and street furniture at night through the installation of a lateral lighting system (see pictures 2 and 5).
c) In order to blend into the nocturnal ambiance, the tram’s platforms are not individually lit up.
d) Design a lighting sequence that gives the tramway a sense of rhythm.
e) Prioritise non-motorised modes of transport (walkers, cyclists, skaters). Concentrated and diffuse street lights installed along the tramway offer an attractive nightscape, suggestive of waves, pulsations and rhythm.
f) Highlight individual spaces creating large lit areas along the roads and pedestrian walkways intersected by street lights, giving fluidity as the different sequences are passed by.
g) Create station-specific lighting to bring the tramway to life and make it visible.
h) Design a minimalist and attractive lighting range, adaptable to the differing lighting needs (roads, walkways, landscape, buildings) (pictures 3, 6, 7 and 8).
图7：为街道公共照明专门设计的增强结构
Picture 7: Close-up of one of the streetlights along the route
Bringing the lighting sequence to life
A variety of lighting ideas create nocturnal lighting sequences in succession along the length of the tramway.
The uniform lighting sequence installed alongside the roads is constant throughout; all of the roads are systematically lit up. Alternated lighting sequences along the traffic-free routes and pedestrian zones complete the network. The aim is for the lights to become “pulsating rhythms” with the “notes” being “played” by the individual lighting systems. In its entirety, the route forms a kind of “spatial and musical score”.
During the design of the lighting system, it was essential for the lighting sequence to be fluid. The installation is deliberately broad in its dimensions, which enables the lighting sequence to be clearly visible. Whether at night or during the day, it conveys a sense of “time and space” and highlights the pace of travel: leisurely for pedestrians and swift for drivers and tram passengers.
图8：电车车站的站台棚，在站台地面上装有荧光照明灯柱
Picture 8: A tramway shelter with a fluorescent light column in the foreground
照片提供：罗格·那波尼
All photo courtesy: Roger Narboni
项目信息 Project Information
项目名称 Project Name: 格勒诺布尔市–第三条城市有轨电车路线 Grenoble–Third urban tramway
客户 Client: Territoires 38
照明设计: Roger Narboni – Concepto 事务所, Mélina Votadoro, 项目经理
工程总价 Cost: 二百八十万欧元（扣税后） (2001年价格)
Roger Narboni
灯光设计师与客户
项目历程
我们想了解一下设计程序和客户与照明设计师以及照明设计师与建筑师之间的关系。我们就从这个正面的例子出发，去理解问题决策的关键，最终设计成品的质量正是取决于这些关系的变化。
你在哪个设计阶段与客户接触？你是直接与客户接触还是通过项目建筑师实现这种接触？
这个格勒诺布尔有轨电车线路照明项目是公开竞争的项目。从项目一开始，我们就是中标团队的一部分（建筑师，景观建筑师，工程师）。在整个设计阶段，我们与客户进行了直接接触或间接接触（通过建筑师）。
你们有关照明工程的所有方案选择都得到了客户的确认码？
大多数照明方案的选择（灯具和灯泡型式）最终均被客户所接受，不过，有时要和负责维护工作的部门进行长时间的讨论。在设计阶段，有些灯具为客户拒绝接收，于是就放弃了。
你们与照明设备供应商的关系如何？
我们与灯具制造商的关系很好，因为我们必须为该项目特别设计一些照明设备（灯柱、街灯）。不过，在正式生产阶段，有时对与制造商的关系是种考验。
Lighting Designer & Client
PROJECT ITINERARY
At what stage of the design process did the client contact you? Did you have direct contact with the client or did you liaise through the architect?
The design of the Grenoble tramway was chosen through an open competition. Along with the architect, landscape architect and engineers, we became part of the team right from the start. Throughout the design process we remained in direct and indirect (through the architect) contact with the client.
With regards to the lighting design, were all of your ideas accepted by the client?
In the end, the majority of our lighting ideas, the products and fixtures, were accepted by the client. Occasionally, however, this followed long discussions with the maintenance team. During the design process, some of the installation ideas were rejected by the client and therefore had to be abandoned.
How strong was your relationship with the lighting suppliers?
Our relationship with the lighting manufacturers was very strong. This was essential, as some of the installations, such as the light columns and street lights, were designed specifically for this project.
Nonetheless, at various stages of the production phase, our relationship with them was put to the test.
