Clever planning of changeover switching: lighting control for professionals

Building design
an-escalator-in-a-building-with-a-man-going-down-the-escalator-4w6wa7nv9kw

Photo of a descending escalator with a man, taken by Dominic Kurniawan Suryaputra

Clever planning of changeover switching? Sounds like electrician’s poetry, but it’s an art that quickly becomes a science in architecture. Between regulations, digitalization and the eternal search for sustainable solutions, lighting control is turning out to be an underestimated playing field for professionals – and a reflection of the building culture of tomorrow.

  • Changeover switches are more than just relics from the pre-smart home era – they remain a key element of professional lighting control.
  • Innovative technologies such as networked switches, digital bus systems and KNX are revolutionizing planning and operation.
  • Digitalization, automation and artificial intelligence are fundamentally changing the demands placed on architects and electrical planners.
  • Smart lighting control is a building block of sustainable buildings – with potential for energy efficiency and user comfort.
  • Technical standards, safety requirements and interoperability determine planning practice in Germany, Austria and Switzerland.
  • The profession is facing a paradigm shift: from the classic installation to a highly dynamic, data-driven system.
  • Critical voices warn of complexity, dependency and data protection problems – while visionaries dream of self-learning lighting architecture.
  • Global trends such as human-centric lighting, adaptive control and open protocols are shaping the discussion far beyond the DACH region.

Changeover switching in transition: from a simple switch to a digital interface

Anyone who only thinks of the classic hallway with two switches when it comes to two-way switching is vastly underestimating the topic. The days when architects and electrical planners ticked off lighting control as a compulsory exercise are over. In the age of digital transformation, even the banal light switch is becoming an interface between people, technology and space. In Germany, Austria and Switzerland, the toggle switch is still the backbone of many lighting installations, especially in residential and functional buildings. However, classic installations are already merging with digital bus systems and radio-based control systems. As a result, planning is becoming more complex, interface fragments are growing and responsibilities are becoming blurred. If you’re not careful, you’ll quickly stumble over your own cables.

The status quo in the DACH region shows a certain inertia. Many building owners and users still rely on traditional cabling – out of habit, cost reasons or simple skepticism towards new technologies. At the same time, the pressure is growing: standards such as DIN VDE 0100-520 or ÖVE/ÖNORM E 8001 are increasingly demanding safe, flexible and energy-saving installations. In Switzerland, the Low Voltage Installation Ordinance sets the tone. Architects and planners have to read up, educate themselves and – above all – rethink. The days of the standardized approach are over. Anyone who regards lighting control as merely a secondary task today risks planning errors, additional costs and dissatisfied users.

Digitalization does not stop at changeover switching. Intelligent relays, digital timers, motion detectors and smart control elements are finding their way into everyday building site life and challenging the classic switch. Particularly exciting: the integration of KNX systems and other bus systems allows switching points to be programmed flexibly, scenarios to be stored and the light to be adapted to user habits – even after the building has been accepted. This increases the responsibility for planners: they not only have to draw circuit diagrams, but also design data flows and reckon with software updates. The lighting interface becomes the digital Achilles’ heel of the project.

The tension between tradition and innovation is creating a remarkable dynamic. While some building owners continue to swear by the good old Bakelite toggle switch, others have long been experimenting with voice control, app connections and automated lighting scenarios. What is often overlooked: Each switching variant has consequences – for maintenance, energy consumption, comfort and, last but not least, for the sustainability of the building. Lighting control becomes a calling card for planning expertise. Those who slip up here leave chaos in their wake – and will be made to feel it at the latest when the building is accepted.

It is worth seeing the changeover control system for what it essentially is: a reflection of building culture. It stands for the ability to master complexity, reconcile technology with architecture and take user needs seriously. Anyone who wants to control light intelligently must not only pull cables, but also understand data – and be prepared to question their own routines. After all, lighting control determines how much future there is in a building.

Innovation meets regulations: technology, standards and the art of planning

The greatest innovations in lighting control are not created in the quiet chamber of an electrical engineer, but in the interplay of technology, regulations and architectural demands. Germany, Austria and Switzerland are regarded as strongholds of standardization – and this is both a blessing and a curse. On the one hand, technical regulations offer planning security, protect against errors and create comparability. On the other hand, they sometimes inhibit innovation and lead to a certain degree of planning rigidity. The trick is to make intelligent use of the scope provided by the standards – and to expand them with new technologies where necessary.

One current trend is the integration of bus systems such as KNX, DALI or LON, which make it possible to network switching points flexibly and think of lighting control as a holistic system. Instead of rigid cabling, modular, software-controlled solutions are being created that can be adapted to changing usage requirements. This is not only convenient, but also economical, as subsequent conversions or extensions are possible with minimal effort. However, the complexity increases, and with it the need for training. Planners or implementers who do not understand the new systems risk incorrect installations, data loss or even security problems.

The standards landscape remains a minefield. New regulations on fire protection, energy efficiency and electrical safety are constantly determining daily planning practice. One example: the demand for increased reliability in escape routes forces planners to provide redundant switching systems – and to test them regularly. At the same time, building owners are increasingly demanding user-friendliness and freedom of design. It is necessary to juggle conflicting requirements: Reconciling functionality, safety, aesthetics and sustainability is no mean feat. Lighting control is thus becoming a litmus test for the planning culture in German-speaking countries.

The question of interoperability is also becoming increasingly important. While the major manufacturers rely on proprietary solutions, architects and building owners are increasingly demanding open standards and long-term compatibility. Nobody wants to be faced with a lighting control system in a few years’ time that only works with software from the year 2024. The industry is responding – slowly, but nonetheless. Initiatives such as the “Open Smart Home Protocol” or the increasing spread of IP-based control systems are evidence of this: There is movement, even if it sometimes seems like slow motion.

In the end, it’s planning competence that counts. Anyone who knows how to combine innovations with specifications and understand technical details as part of the overall architectural concept will raise the switching system to a new level. Lighting control is then no longer seen as a chore, but as an opportunity to make a creative and sustainable statement. The path to this is a rocky one – but who, if not architects and planners in German-speaking countries, could take it?

Digitalization and AI: lighting control on the move into the next age

Digitalization is fundamentally transforming lighting control. The analog toggle switch is becoming a digitally controlled experience that can do far more than just switch lamps on and off. In Germany, Austria and Switzerland, there is growing interest in networked systems that can be integrated into smart home and building automation solutions. Particularly exciting: the increasing role of artificial intelligence, which makes lighting control adaptive and capable of learning. Sensors detect presence, daylight and user habits – and adjust the lighting in real time. What sounds like Silicon Valley has long been a reality in high-end residential and commercial buildings.

The advantages are obvious: energy savings, increased comfort and the ability to create specific moods with light. In office buildings, light colors and intensities are automatically adapted to the course of the day to promote concentration and avoid fatigue. In hotels and residential buildings, individual profiles can be stored to make everyday life easier for users. The classic alternating circuit often remains as a fallback – because redundancy is not a weakness in electrical engineering, but a virtue. Those who rely exclusively on digital control risk system failures and user frustration. The trick is to strike a balance between innovation and reliability.

AI-supported systems bring new challenges with them. Data protection, cyber security and the question of who actually owns the collected data are issues that concern planners and operators alike. In Germany, skepticism towards cloud solutions is high, and rightly so: a compromised lighting control system can quickly become a gateway for major attacks on building technology. The industry is responding with certifications, encryption and local control units – but the residual risk remains. Planners who rely on digitalization must not only master the technology, but also manage the risks.

Another field is the increasing integration of lighting control in Building Information Modeling (BIM). Lighting sequences, switching points and control logic can be simulated and optimized as early as the design phase. This saves time, prevents expensive rework and enables more precise coordination between trades. The changeover circuit thus becomes a digital building block in the overall model – and requires architects and planners to have a deep understanding of software, data models and interfaces. Anyone who doesn’t stay on the ball here will quickly lose touch.

The international discussion shows: Germany, Austria and Switzerland are not pioneers, but neither are they laggards. While adaptive lighting systems have long been part of everyday life in Scandinavia and Asia, classic installations still dominate in this country – with some promising exceptions. The path is mapped out: The future of changeover switching is digital, networked and adaptive. The question is no longer whether, but how quickly the profession will help shape the change.

Smart lighting control as a building block of sustainable architecture

Sustainability has long been more than just a buzzword – it is a guiding principle and an obligation for all serious planning. Lighting control plays a key role here that is often underestimated. If planned correctly, intelligent switching can drastically reduce energy consumption, extend the service life of light sources and minimize the ecological footprint of the building. In Germany, Austria and Switzerland, energy laws and subsidy programs are increasingly stipulating efficient lighting systems that can be flexibly controlled and adapted. Those who save money here end up paying twice – with additional costs, the need for refurbishment and dissatisfied users.

Technical development is progressing rapidly. Presence and daylight sensors, adaptive controls and networked systems make it possible to regulate light as required – across rooms, user-centered and dynamically. In practice, this means that light is only switched on where and when it is really needed. This saves electricity, conserves resources and improves the indoor climate. Smart lighting control unfolds its full potential particularly in large-scale projects such as office complexes, hospitals or educational facilities. However, interest is also growing in residential construction – not least due to rising energy prices and social pressure for greater sustainability.

Integration into sustainable building concepts presents planners and architects with new challenges. It is no longer enough to simply place switches and lights. What is needed are well thought-out concepts that dovetail usage profiles, daylight incidence, building technology and user requirements. Those who understand lighting control as part of a holistic energy and building management system can achieve real efficiency gains – and turn switching from a relic into a resource. The technical complexity is growing, but so are the opportunities for creative, future-proof solutions.

Of course, there are also critical voices. Some experts warn against “overengineering”: too much technology, too many interfaces, too little robustness. The fear of system failures, maintenance problems or user frustration is not unfounded. A sure instinct is needed here – and the courage not to chase after every fashion. Smart lighting control is not an end in itself, but must be geared to requirements. The best solution is the one that works in everyday life – and is easy to maintain and adapt.

Lighting control is becoming increasingly important in the global debate on sustainable building. International initiatives such as the “Green Building Councils” or the “WELL Building Standard” certification focus on smart, adaptive systems that combine energy efficiency and user comfort. Germany, Austria and Switzerland are well positioned here – but the pressure to act is growing. If you plan the changeover switch cleverly, you can not only save energy, but also make a contribution to the building culture of the future.

Conclusion: Rethinking changeover switching – between duty and optional extra

Planning a changeover switch is no longer just a routine task, but a multi-layered field between technology, design and sustainability. Digital transformation, smart systems and increasing demands on energy efficiency make lighting control a benchmark for the innovative strength of the profession. Those who are still stubbornly wiring according to a schematic F not only miss out on technical opportunities, but also risk legal and economic disadvantages. The future belongs to solutions that are flexible, scalable and user-oriented – without forgetting the classic virtues of planning. Because in the end, it’s not the technology that counts, but the interplay of architecture, user focus and technical excellence. Clever planning of changeover switching means shaping the future with light – and mastering the balancing act between duty and freestyle.

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Karl & Faber Auction 2024 – Old Masters and 19th Century Art

Building design

"The Triumph of Love" by Frans Francken II (around 1621) - a masterpiece that combines the finesse of Antwerp painting and literary inspiration. © Karl & Faber Art Auctions

The Karl & Faber auction house’s “Old Masters and 19th Century Art” fall auction offers some very special treasures. Highlights include masterpieces in early states of printing by Albrecht Dürer, Martin Schongauer, Rembrandt and Goya. In addition to the artistic expertise of the artists, the history of the artworks is also fascinating – from exciting discoveries to captivating provenance stories. Read here which exquisite works by Josse de Momper, J. F. A. Tischbein and the Master of the Prodigal Son will be on offer on November 15. […]

The Karl & Faber auction house’s “Old Masters and 19th Century Art” fall auction offers some very special treasures. Highlights include masterpieces in early states of printing by Albrecht Dürer, Martin Schongauer, Rembrandt and Goya. In addition to the artistic expertise of the artists, the history of the artworks is also fascinating – from exciting discoveries to captivating provenance stories. Read here which exquisite works by Josse de Momper, J. F. A. Tischbein and the Master of the Prodigal Son will be on offer on November 15.

Ovid’s “Metamorphoses” and Petrarch’s “Trionfiserved as a model for the painting “The Triumph of Love” by Frans Francken II. The oil painting, created around 1621, depicts a gathering of unhappy lovers from Greek mythology. With an estimate of 30,000 to 40,000 euros, the work is one of the most sought-after offers at the auction. The Antwerp painter’s precise and subtle painterly staging lends a flowing depiction of several tragic couples such as Heracles and Omphale as well as Jason and Medea with delicate color accents.

The painting by the artist Master of the Prodigal Son also comes from Antwerp: he depicted “Mary and the Child Jesus” (1530-1560) on oak wood surrounded by their native landscape. With soft colors and a realistic and detailed depiction of nature, this characteristic painting captivates at the Karl & Faber auction. Originally owned by the Baden nobility, it will be sold at the auction for between 50,000 and 70,000 euros.

In his late creative period around 1620, one of the leading Flemish landscape painters of the time, Josse de Momper II, created the work “Weite Berglandschaft mit Achsenbruch”, estimated at 30,000 to 60,000 euros. With a striking separation between foreground and background, the painting creates an atmospheric perspective: while a carriage accident is dramatically staged in the dark foreground, the lighter background captivates with a gentle, tranquil landscape.

Another highlight of the auction is the work “St. Joseph Holding the Infant Jesus” by Domenico Tiepolo. In a familiar position, St. Joseph lovingly cradles the infant Jesus in his arms. This extraordinary painting, which, among other works by Tiepolo, had a significant influence on the Venetian art scene in the 18th century, can be purchased for 40,000 to 60,000 euros. Particularly noteworthy are two Old Master drawings: “The Adoration of the Shepherds” by Santi di Tito for 15,000 to 20,000 euros and “Judith and Holofernes” by Alessandro Turchi, gen. L’Orbetto, for 7,000 to 10,000 euros. Both works impressively demonstrate the influence of the Venetian and Roman art scene of the 16th to 18th centuries.

The “Vesuviana” section from around 1830 also offers breathtaking insights into everyday life in Naples. The numerous watercolors and gouaches, which capture the charm of the southern Italian Gulf of Naples and the impressive Mount Vesuvius, were popular souvenirs for travelers. Particularly lively among them: two technical sheets by Saverio Xavier della Gatta for 3,000 to 4,000 euros.

A rarity in this year’s auction: the early work of the late Romantic artist Heinrich Dreber depicted in a large, finely watercolored drawing from 1841. Having not been shown in public since 1955, the drawing with a scenery of trees and a rocky slope near Dresden is a true specialty of the auction. Offered for 20,000 to 25,000 euros, it shows the unique combination of romantic tradition and realistic observation of nature. The 17-part collection of Carl Spitzweg’s drawings also inspires with charm and humor. The drawing “Post coach, surrounded by onlookers”, which Karl & Faber is offering for 2,500 to 3,000 euros, is considered particularly outstanding.

Once auctioned as “Portraits of an Unknown Couple”, the double portrait by Johann Friedrich August Tischbein was given new faces by the expert Dr. Martin Franke: the paintings show the historical figures Christiane Auguste Wilhelmine “Minna” Reichenbach and her husband Christian Wilhelm Reichenbach. Minna’s correspondence with Clemens Brentano made this attribution possible. Dating from 1803, the two paintings are now on offer for 15,000 to 20,000 euros.

The focus of the fall auction is also on the prints department: Compared to the spring, Karl & Faber is able to expand its offering in this area to a total of 222 lots and enrich it with extremely rare, impressive lifetime prints of museum value. With 79 lots, the Dürer suite is an impressive collection of high-quality, partly museum-quality works. Among the most important pieces is the copperplate engraving “Nemesis (The Great Fortune)” from 1501, one of the Nuremberg master’s programmatic main sheets, which has an estimate of 60,000 to 80,000 euros. Equally noteworthy is “St. Anthony before the City”, a copperplate engraving in a rare lifetime proof, which was possibly intended as a New Year’s greeting and is estimated at 100,000 to 120,000 euros. The early masterpiece “Samson Killing the Lion” (estimate: 80,000 to 100,000 euros) is one of the most beautiful woodcuts from Dürer’s early post-Italian years.

The 64 etchings from the Rembrandt suite, including “Christus lehrend”, which is offered for 120,000 to 150,000 euros, are considered the most important part of the auction. With its deep black coloring, precise lines and fine atmospheric details, which are characteristic of Rembrandt’s etchings, this early print is particularly fascinating. A rare print by Martin Schongauer entitled “The Flight into Egypt” is also impressive. This unique copperplate engraving, which has an estimate of 40,000 to 50,000 euros, stands out with its detailed depiction of exotic plants.

The prints section is rounded off by the series “Picador caught by a Bull” by Francisco de Goya. This impressive series of etchings is a masterful display of intense and painterly lithographs. With this etching, Goya produces a dramatic and dynamic staging of Spanish bullfights, which can be purchased at auction for 50,000 to 60,000 euros.

The auction will take place online on Friday, November 15, 2024.

COURSE OF THE AUCTION

Paintings
Lot 1 – 81
, 1 p.m. to approx. 2 p.m.

Watercolors and drawings
Lots 85 – 149, approx. 2.00 pm to approx. 2.45 pm

Old Master and 19th century prints
Lots 150 – 371
, 4.00 p.m. to approx. 6.30 p.m.

By the way: On November 14, 2024, the Van Ham auction house in Cologne invites you to the Fine Art Auction.

Urban brutalism

Building design

Inspired by the characteristic brutalism of Belgrade, the urban café Chernyi Cooperative Coffee Roasters was created. FREYA Architects focused on geometry and materials. On the one hand, this resulted in a design of the space characterized by rectangular shapes. On the other hand, the office used the existing materials and supplemented them to create a mixture of wood, concrete, brick and metal. The historic brick walls from 1921 were partially retained. The office used the bricks from the demolished walls to create a cash desk. This mixture of old and new materials created a link between past and present. Large floor-to-ceiling windows provide plenty of natural light and round off the modern overall impression.