Urban Lighting

Urban Lighting

(Parte 1 de 13)

Urban Lighting

Concepts and Case Analyses Paulo Candura e Plinio Godoy

Plínio Godoy

Graduated in 1987 in electrical engineering with a focus on electrotechnique by Escola de Engenharia do Instituto Mauá de Tecnologia, Plínio Godoy started working in the lighting area in the wake of a training stage at Ilumatic and, in his sophomore year, he started working in public and industrial lighting. He was granted a second opportunity in his professional career by Projelétrica, a company that specializes in installation projects, which assigned him to develop a specific software application for lighting calculations. Seeking technical references on the subject, he requested regular assistance from engineer Adriano Genistretti, a product manager at Philips Lighting Project Department – DEPI, who would impact his career in the future as “O Mestre” (The Master). In 1987, Godoy applied for a position in that same multinational company and was admitted as a trainee at the same DEPI that was managed by Isac Roizenblat, a lighting icon in Brazil. In that period, he made contact with his technical and professional references. On concluding his training stage, he was assigned to work as an applications engineer, developing major lighting projects, as stadiums, factories and public lighting. After some time away from the lighting area, Godoy resumed his activities at General Electric, under the management of the late and memorable Horácio Olandin, working in the area of imports to the São Paulo – South -- market. In that company, he met one of his other masters, engineer Milton Martins Ferreira, who dignifies the profession as an extremely competent human being and by taking part in the history of lighting in Brazil.

From 1993 on, Godoy became an independent consultant in the lighting project area, but his career took a significant leap in 2002 with the establishment of Godoy Luminotecnia, which joined forces with Luz Urbana, a company that was founded after a traveling period throughout France – at that time, he had a fleeting impression of the potential opportunities for growth in Brazil in the urban lighting field. He was able to further his knowledge in the area by means of a number of international experiences which led him technological centers in Belgium, Holland and France, where he made an important acquaintance with Roger Narboni, a French lighting designer.

In 2006, he took on the coordination of Division 3 of the Brazilian International Commission on Illumination (CIE), which is headquartered in Austria and is the most relevant scientific reference in illumination and color. In addition to Division 03, he also works in Division 05 where he is in charge of studies in the urban lighting field.

In Brazil, among the projects that gave him fame as a lighting designer are: the Brazilian Independence Museum, also known as Ipiranga Museum, located in the capital city of São Paulo; the São Paulo Municipal Theater, under the direction of architect Nelson Dupré whom Godoy has held in great respect and admiration; a public lighting project for the historical center of Salvador, Bahia, popularly known as “Pelourinho”; the facade lighting of the building that houses the Court of Justice of the State of São Paulo, and the well-known cable-stayed bridge, “Ponte Estaiada”, in São Paulo, among other projects.

The author is of the opinion that an increased overall perception of qualitative issues in lighting brought forth by modern advances and associated to the comfort and the beauty of a city are relevant factors in urban lighting, mainly in view of the prominence of the Brazilian image in the worldwide scenario.

Paulo Candura

A man of a technical vision, as this graduate in mechanical engineering through Escola Politécnica da Universidade de São Paulo (USP) puts it. Being specialized in heat exchange, its functioning and how it propagates, Paulo Candura attained a good spatial vision which was particularly important for his performance in the lighting area, when an opportunity to work in that area appeared in 1991, when he took civil service entrance exams for the Public Lighting Department of the City of São Paulo (ILUME) and took part in lighting fixture development and specification for sodium vapor lamps.

In 1992, he was assigned to head of a group within the ILUME Materials Division and acquired an in-depth knowledge of the materials used in public lighting, how they are used and how the maintenance of the public lighting network is done. At that time, he was assigned to manage and control guarantee-covered materials and to try to improve their own specifications. In 1998, already in command of the ILUME Materials Division, he was accountable for the purchase of all the equipment the lighting service required, besides some groups that formulated materials stock room specifications. Among Candura’s first measures, were the creation of a supplier and equipment assessment and qualification model in addition to computerizing and reporting all specification-related data for use by one of the largest lighting network in the world, the city of São Paulo, which currently relies on 580 thousand lamps. At that time he had the opportunity to develop some joint work with ABNT, the Brazilian Association of Technical Standards and was assigned the task of coordinating two study commissions - Lighting Fixtures and Accessories and Photometric Measurements and Luminotechnical Applications -- of ABNT / COBEI (Brazilian Commission of Electricity, Electronics and Telecommunications). In 2002, Candura, left his Department and returned in early 2005 as ILUME provisional director, remaining in that position until September of the same year. After that period, he consolidated his partnership with Plínio Godoy of Luz Urbana, where he added his keen technical vision to the artistic and aesthetical aspect of lighting. After that, they could reap the fruits of their partnership in the form of important lighting projects for the city of São Paulo, as Rua Oscar Freire (an important street), Nova Radial Leste (a radial road), Complexo Viário Jurubatuba, Complexo Viário Jacu- Pêssego (highway Networks), Nova Bandeirantes (a major Avenue), Odon Guedes Tunnel and Complexo Viário Real Parque (High-way network).

Being assigned to the position of ILUME technical director in March 2009, Paulo Candura regards the lighting of the Cable-stayed bridge (Ponte Estaiada) as a milestone in the field of urban lighting in São Paulo.

Urban Lighting -

Concepts and Case Analyses

Urban Lighting

Concepts and Case Analyses Paulo Candura and Plinio Godoy


My deepest thanks go to my parents, Cleufe and Felippe, for the education and the knowledge they provided me. My children, Juliana and Felippe, the “lights” of my life and my wife Odette for her devoted support in our journey through life. My steadfast friend, Plínio Godoy, an Engineer and Light Designer for having shown me another key element of public lighting: ts artistic aspect. Isac Roizenblatt for the long and delightful talks about lighting over delicious breakfasts An broad and joyful learning experience. “Brother” Adilson Castelo, a first-rate fellow in the cause for a topnotch public lighting service. My ILUME workmates, whom I want to express my deepest thanks, especially to Ilume2 technical people, on behalf of Márcio Sacchi Correa, for having assisted me in my technical development and helping me to become the person I am today. Mayor Gilberto Kassab and Secretary Alexandre de Moraes, who presented me with the opportunity to manage the largest public lighting asset in the world, the São Paulo City Public Lighting Department (ILUME). Last but not least, I want to thank Juliana Parise, alias “Pimenta”, light in its rawest state, a source of inspiration, an adviser, a safe harbor and a strong hand who has lead me to a new path in life. Paulo Candura

I wish to thank my family for the strength they have given me and for whom I can carry the heaviest of burdens.

My friends who have provided me with their usual and significant assistance in the course of these 20 years of lighting projects.

To my masters, engineers Milton Martins Ferreira,

Adriano Genistretti and Isac Roizenblatt, for their patience in my early professional years.

To engineer Paulo Candura, for his friendship and steadfast professional and personal guidance.

To those who endeavored to make this book come true, To my friend Vitório Júnior and his team, and journalist Andréa Espírito Santo, for her long hours of dedication.

To Impact Comunicação and staff, for achieving a fantastic visual work.

To master Roger Narboni, an inspiration in life, who kindly granted the use of some of his pieces to enrich our work.

To all the sponsors who believed in the proposal of this book.

To God, my friend forever. Plínio Godoy


Editor-in-Chief: Vitório Junior MTB/SP 52.635 Authors: Plinio Godoy and Paula Candura Text: Andréia Espirito Santo MTB/SP 030201 Proofreader: Giovanni Giocondo DRT/BA 3269 Special Participation: João Valente, Roger Narboni and Pietro Palladino Graphic Design and Layout: Impact! Comunicação Illustration: Dirceu Veiga Graphic Coordination: Grafplus Printing: Gráfica Santa Marta Photography: Rubens Campo and Ailton Tenório Communication and Press Consultant: VJMCE Institutional Sponsorship Coordination: Amarildo Leal de Souza Book Project General Coordination: VJMCE

Book Cataloguing:

GODOY, Plinio; CANDURA, Paulo

Urban Lighting Concepts and Case Analyses

São Paulo, VJ Marketing Institucional Ltda, 2009. 176p.il. (Bibliography)

Chap.1. Basic Concepts

Chap2. Master Plan – Fields of Application

Chap 3. Case Studies VJ Publishing House

Av. João Paulo Ablas 327 rooms 1 and 4

Granja Viana – Cotia – São Paulo – CEP: 06711-250

Telephones (51) 4617-5114 / 4777-0867 Website: w.vjmce.com.br

Contact: luzurbana@luzurbana.com.br

As an urbanist, an architect is an urban space builder whose work includes the crossing of people and vehicles, focusing on the dynamics of a city, but related to constructing buildings and transforming that space into something functional to society. It is also art. But the key challenge to an urbanist is to fulfill the needs of a modern 20th century city, as it has created a wide array of activities that go beyond a day shift and compels those involved in its construction and management to rethink and adapt the urban space to nighttime use, after all, it is still regarded as architecture at nighttime. And on such occasion the science of illumination should take over. It is intended to rebuild the architecture and the urbanism for the nighttime, while life goes on relentlessly in urban arteries.

It is not about beating nighttime. Being just as complex as architecture, lighting involves a broad range of perspectives, reinventing architectural works to attain a diversity of types, scenic, visual and landscaping effects from their elements.

Artificial lighting has the purpose of transporting architecture to another dimension by resorting to modern equipment and excessive lighting and intensity and by being a provocative and emotionally stirring intervention.

When I met Paulo Candura and Plínio Godoy on the occasion of cable-stayed bridge project in São Paulo, known as “Ponte Estaiada Octávio Frias de Oliveira”, the first impression that I was dealing with two highly qualified professionals became a certainty later on.

Plínio’s art and Paulo’s technique were joined in that partnership whose main objective was to dazzle human eyes by emphasizing the cablestayed bridge structure. That outstanding bridge was lit from an inner angle to render a provocative feeling and show the geniality of lighting in architecture and urbanism

Fascinating and unostentatious, that bridge´s lighting project conveys an feeling of mystery, an element that is embedded in its framework but could only be emphasized with the help of its lighting design.

In addition to being modern, the bridge lighting portrays the energy of the largest Brazilian city. It came as a surprise when I realized that my initial concern that using colors and effects would vulgarize that structure was totally unfounded: created a quite favorable impression. The enhancement of the bridge’s shape and design granted the city one of the loveliest postcard images in the whole world. It is an additional dimension of the same construction, the same idea, and the feeling one may experience at daytime and nighttime.

After that project, I met Paulo and Plínio again in another bridge project: Pedestrian Cablestayed Miguel Reale Footbridge, a step further in a friendship that has a long and enlightening way to go, as getting acquainted with the artistic aspect of illumination was an enriching professional experience. And they are qualified professionals that master their work-subjects, complementing each other’s knowledge.

Brazil deserves it. And also deserves works focused on illumination.

(Parte 1 de 13)