2005 - Illuminating Engineering Society

The
LIGHTING ®
AUTHORITY
Lighting Design + Application • September 2005
SHOWPIECE Showroom
FOCUS ON
Retail Lighting
CONTENTS
R E T A I L
September 2005,
VOL. 35/NO. 9
L I G H T I N G
45
Driven by Design
Lighting systems help brand the autos and architecture in the new Audi dealerships
50
The Big Red Time Machine
Lighting helps museum exhibits and a team shop trace the history of the
Cincinnati Reds
56
Extreme Makeovers
For a new generation of spas and salons, lighting
is more than cosmetic
50
61
Covering all the Bases
56
A corporate merger led to a lighting audit and
retrofit at nearly 400 Sports Authority stores
F E A T U R E S
64
Built to Last
Façade and interior lighting has
restored Napa Valley’s Unified School
District Education Center to its
former splendor
69
Software
Directory 2005
The IESNA Computer Committee
presents the results of its survey of
products and applications
78
Bringing Humanities
to Lighting
All too often, codes, standards and the
“tyranny of lighting science” take
precedence over emotion, individual
thought and the client’s wishes
64
CENTURY SERIES
87
Making Light in the
20th Century
Tungsten, glass and vacuum technologies have been instrumental in creating
light over the past 100 years
D E P A R T M E N T S
4 Editor’s Note • 6 Letters to the Editor • 8 Executive Vice President Reports •
10 Regional Voices • 14 Energy Advisor • 18 Research Matters • 22 Green
Ideas • 26 Careers & Hiring • 31 IES News • 35 Industry Updates • 39 Scanning
the Spectrum • 83 Brandston Grant Application • 92 Light Products •
94 Calendar of Events • 95 Classified Advertisements • 96 Ad Index
LD+A (ISSN 0360-6325) is published monthly in the United States of America by the Illuminating Engineering Society of North America, 120 Wall
Street, 17th Floor, New York, NY. 10005, 212-248-5000. © 2005 by the Illuminating Engineering Society of North America. Periodicals postage paid at New
York, N.Y. 10005 and additional mailing offices. POSTMASTER: Send address changes to LD+A, 120 Wall Street, 17th Floor, New York, NY 10005.
87
ON
THE
COVER:
Lighting integrates with a distinctive
hangar roof in one of Audi’s prototype
showrooms. Photo courtesy of Audi
North America
EDITOR’S NOTE
Paul Tarricone
WHAT DOES “MOCK-UP”
mean to you? For a façade or
bridge, it probably means hauling
fixtures out to the site after hours
to test things like color rendering
and positioning. For an interior
lighting project, maybe you carve
out some testing space at the new
location, at the client’s current
facility, or even in your own office.
Perhaps mock-ups are done on a
limited basis, with one or two
luminaires tested at a time. If
you’re looking for the state-ofthe-art in mock-ups, there’s the
4500 sq ft test site used by The
New York Times to study energy
use and daylighting on a 24/7 basis.
In an LD+A article on communicating with clients, Randy Burkett
There’s another
benefit of
mock-ups to
designers—they
can be fun
described mock-ups as the “piece
de resistance among presentation
techniques...quite simply the most
illustrative way to present lighting
concepts.” Burkett adds that there’s
another benefit of mock-ups to
designers—“they can be fun.”
If that’s true, design firm
Illuminating Concepts is having a
ball—without ever having to leave
home. At its Farmington Hills, MI,
headquarters, the company operates a mock-up facility of about
Publish in the
newest, and what
promises to
become, the
most prestigious
lighting journal in
the world . . .
4
4000 sq ft—large enough for one
client,Audi, to roll in three automobiles to simulate the interaction
between the cars and three different showroom lighting systems (see
page 45 for more on the project).
IC is currently expanding its
mock-up facility and the result will
be a new steel structure with a
curved glass façade and hangar
roof. IC will have close to 20,000
sq ft of mock-up space when the
work is complete. The new building will have a large gallery space
where the company will host new
product demonstrations/exhibitions for local architects, as well as
a 100-person capacity training/lecture room.
Mock-ups are standard operating procedure for IC clients, says
spokesperson Nick Priest. “We
mock up anything from retail product lighting, theatrical effects, intelligent lighting, streetscapes with
full-size poles—you name it, basically.”
That’s an impressive commitment to good design, as well as
customer service. So the next time
a client seems to waffle about the
need to invest in lighting, just
remind him about the investment
others (whether they’re end users
like the Times or designers like IC)
are making in mock-ups.
Even though the term is mockup, it’s pretty serious business.
L E U K O S
The Journal of the Illuminating Engineering Society of North America
For submission information
go to www.iesna.org
Publisher
William Hanley, CAE
Editor
Paul Tarricone
Associate Editor
John-Michael Kobes
Assistant Editor
Roslyn Lowe
Art Director
Samuel Fontanez
Associate Art Director
Petra Domingo
Columnists
Ted Ake • Emlyn G. Altman
Denise Fong • Brian Liebel
Doug Paulin • Paul Pompeo
Willard Warren
Book Review Editor
Paulette Hebert, Ph.D.
Marketing Manager
Sue Foley
Advertising Coordinator
Leslie Prestia
Published by IESNA
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Phone: 212-248-5000
Fax: 212-248-5017/18
Website: www.iesna.org
Email: [email protected]
LD+A is a magazine for professionals involved in the art,
science, study, manufacture, teaching, and implementation
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LD+A (ISSN 0360-6325) is published monthly in the
United States of America by the Illuminating Engineering
Society of North America, 120 Wall Street, 17th Floor,
New York, NY 10005, 212-248-5000. Copyright 2005 by
the Illuminating Engineering Society of North
America. Periodicals postage paid at New York, NY
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www.iesna.org
LETTERS TO THE EDITOR
It’s A Casino, After All
I understand Brian Appelton’s dismay at being surprised by the size of
the new Morongo Casino on his recent trip to the desert (LD+A, July,
“Letters to the Editor). His concerns are felt everywhere growth appears
to be unregulated.
I’ll take a leap though and assume Visual Terrain was only contracted to
light the casino, which is what the original article (LD+A, May) was all about.
Considering Visual Terrain chose to design all of the exterior with dark skyfriendly lighting, I praise them for successfully taking on and actually being
able to implement such a difficult task. It is a casino. With designers like
Visual Terrain, we are all accepting change and thoughtfully designing solutions that hopefully make a difference for the better.
Teri Jackson, LC
Los Angeles Section Leader
International Dark Sky Association
Corrections
In the 2005 IIDA Awards section (LD+A, August), the name of IIDA
Award of Excellence recipient Paul A. Zaferiou was misspelled.
Photo credit:Tobin Neis was the photographer for the Crown Fountain
project (August, p.41) LD+A regrets the errors.
2005-2006
Board of Directors
IESNA
PRESIDENT
Alan L. Lewis, O.D., Ph.D., FIES
The New England College of Optometry
PAST PRESIDENT
Craig A. Bernecker, Ph.D., FIES, LC
The Lighting Education Institute
SENIOR VICE PRESIDENT
(President-Elect)
Kevin Flynn
Kiku Obata & Company
VP-EDUCATIONAL
ACTIVITIES
Ronald Gibbons, Ph.D.
Virginia Tech Transportation Institute
VP-TECHNICAL & RESEARCH
Pekka Hakkarainen
Lutron Electronics Co. Inc.
VP-DESIGN & APPLICATION
Joseph B. Murdoch, Ph.D., PE, FIES, LC
University of New Hampshire (retired)
VP-MEMBER ACTIVITIES
Kimberly Szinger, PE
Stantec Consulting
TREASURER
Boyd Corbett
S2C Incorporated
EXECUTIVE VICE PRESIDENT
William Hanley
IESNA
Sea Gull
Lighting
1/3 sq
DIRECTORS
David A. Baum
Holophane
James Cyre
Philips Lighting
Terrance Kilbourne, LC
TEC, Inc.
Denis Lavoie, LC
LUMEC, Inc.
Paul Mercier, LC
Lighting Design Innovations, Ltd.
Russ Owens, LC
West Coast Design Group
RVP/DIRECTORS
Craig Kohring
mda engineering, inc.
Thomas Tolen, LC
TMT Associates
66
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www.iesna.org
EXECUTIVE VICE PRESIDENT REPORTS
WRITING A COLUMN IS
William Hanley
CAE
somewhat like cooking—you can’t
prepare the same meal night after
night. In 1999 (that’s a while ago), I
wrote a column on the multitude of
acronyms that the lighting industry
had to deal with. In that column I
defined the purpose of 15 associations, from ANSI to the NLB, noting
another seven as subjects for a possible follow up. I was then attempting
to answer the question: does any
industry need another association?
Indeed, does any industry need
another acronym?
Apparently, yes.
What is interesting is that there
are now associations which either
didn’t exist a mere six years ago, or
which, if they did, were below the
radar. One such is the USGBC—The
U.S. Green Building Council.
The mission of the USGBC is to
“promote buildings that are environmentally responsible, profitable, and
healthy places to work.” Its membership is composed of leaders from the
building industry who, working within
the USGBC, are “leading a national
consensus producing a new generation of buildings that deliver high performance inside and out.”
The most widely recognized
USGBC program is LEED. Yes, another acronym. LEED, standing for
Leadership in Energy and Environmental Design, is a rating system
“designed to accelerate the development and implementation of green
building practices.” LEED is a voluntary, consensus-based series of standards for developing high performance, sustainable buildings. In addition, LEED is an accreditation for
building practitioners who must pass
an exam to add these letters after
their name.
It should be noted that the IESNA
has an official representative to the
USGBC, that the IESNA Committee
on Sustainability is presenting a standalone day long session at Greenbuild,
the USGBC’s conference and exhibit,
and that the jointly produced
Lee Filters
1/3 sq
(ASHRAE, IESNA, AIA, USGBC,
DOE) Advanced Energy Design
Guides are under consideration for
incorporation into LEED criteria.
Light Pollution
Although incorporated in 1988,
another association missing from the
list in 1999 was the International
Dark-Sky Association (IDA), formed
to serve the public and astronomy
community by providing information
and research on light pollution and
related topics; its goal is to be effective in stopping adverse environmental impart on dark skies by building
awareness of the problems of light
pollution, radio frequency interference and space debris.
The IDA’s major impact on the
lighting industry came about with the
development of the Model Lighting
Ordinance; Version 2004.1 was
released in June 2004; the MLO
Comments Review Panel has finished
its review of submitted comments;
and version 2005.1 should be issued
shortly.
The IESNA has initiated dialogue
with the IDA; the process is just
beginning, but all hope that the results
will satisfy all concerned.
DALI
Another acronym which has
recently come to the fore is DALI—
Digital Addressable Lighting Interface.
There is, however, an association,AGDALI, operating within the German
Electrical and Electronic Manufacturers’ Association (since we’re talking
about acronyms, ZVEI). Its purpose is
to promote DALI technology and
applications. Membership is mostly
comprised of manufacturers and
institutions interested in digital
lamp/luminaire control.
What’s In An Acronym?
Acronyms are important because
the letters establish an identity.
When, long ago, I received my letter
of hire from the Society, there were
references to the IES and the IESNA.
I was confused. Was I being hired by
two organizations? I finally figured
out that the official name is the
IESNA; most everybody else calls it
the IES.
8
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REGIONAL VOICES
Peter A. Hugh,
Midwest RVP
THIS IS MY LAST COLUMN
as out going RVP for the Midwest
Region. I promise not to make this
into a retrospective look back at my
term, on how I got involved in
IESNA, or why others should do the
same. Suffice it to say, it’s been fun,
exasperating, rewarding, frustrating,
and yes, if I knew then what I know
now, I’d still do it.
What I’d like to close my term
with is an introspective look at the
mindset within the grassroots level of
IESNA. I believe that in many sections, the thought process is that
information and direction is “spoon
fed” to the sections for implementation. There is perhaps an over
reliance on this “orders from above”
mentality that needs to be addressed.
I’d like to encourage sections to be
more free thinking about how they
run their programs within the framework set forth by the Society.
By The Book
The bylaws of the IESNA establish the overall “lines we cannot
cross” within the Society. However,
within the black and white of said
bylaws there is a lot of gray area that
allows sections to customize and
plan regarding programs and activities for their membership. It is not
fair to try to shoehorn all ideas and
directives into the realms of all the
The idea for this column
stemmed originally from the
Centennial attempts at section projects and participation. There has
been no lack of interest or energy,
but I have noticed a lack of original
initiative. Perhaps due to an established (and hopefully soon to be
Copying may be the most sincere
form of flattery, but individual thought
and gumption is what makes for true
forward progress within any culture
sections. Geographically and culturally, each section has its own identity made up of their membership and
their interests.What works in New
York, St. Louis or Raleigh cannot be
expected to have the same results in
Birmingham, Phoenix or Vancouver.
The intent and goals may be a common, but the means of achieving
them need to be relevant and
appropriate to the respective areas.
outdated) mindset, some sections
seem to be waiting for the spoonfed directions of what to do, when
to do it and how it should be done.
This direction is not going to arrive
since we have no inclination to making a Society with robotic thought
processes. The Centennial committee wishes to see individual, creative
involvement that says something
about the uniqueness and diversity
Fulham
1/2 horiz
10
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REGIONAL VOICES
of its membership as expressed
through the section projects.
I then expanded this thinking and
began to see a culture of thought that
could become a hard pill to swallow
for some. By no means am I picking
on sections, their volunteers, nor our
membership. I am somewhat wondering aloud if the Society as a whole
needs to look at mentoring/encouraging sections to operate a bit more
independently within the bylaws of
IESNA. Perhaps in our leadership
forum, we could dedicate time to
developing creative scenarios within a
common goal. We do this to some
degree in the NCQLP exam in the
simulations.We have a goal/project to
LSI
Industries
1/2 island
work on, and need to establish the
parameters and means to achieve
that goal. I’d like to see that kind of
training expanded to allow for more
freedom of thought and ideas that
benefit the mission of our Society.
One Size Doesn’t Fit All
All this being said there are many
sections that are quite progressive
and willing to push the envelope to
provide the best service to their
members. They understand that the
bylaws are an outline which we can fill
in the fine details as we see fit within
the bounds of our goals, abilities and
current legal system. I fully recognize
the limited resources of some sections due to membership size and/or
geographic locations.What I am talking about has nothing to do with
financial resources or ability to get a
“big name speaker” to meetings. It’s
about customizing your activities and
involvement so that it best serves the
interests of your members. Don’t
look at other sections and say “We
don’t have what they have.” Look
rather inwards and ask “What do we
have and what do we do really well?”
What ideas can we borrow and adapt
to our resources and abilities? Let’s
not think “what has so and so done,”
but rather “what hasn’t anyone done
yet?” Copying may be the most sincere form of flattery, but individual
thought and gumption is what makes
for true forward progress within any
culture.
So, in closing, I encourage sections
everywhere to break the umbilical
cord of direction from headquarters.
Just as our children grow and break
from us, so should the IESNA sections follow suit. Our “parent” must
have faith that we have been raised
right, given the right set of values and
understand the goals and parameters
of the Society. Then it can watch us
become individuals contributing valuable insight, information and action
which will contribute to a better
organization that will lead us into the
next 100 years.
back issues of LD+A are
now online
www.iesna.org
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ENERGY ADVISOR
Willard L.Warren,
PE, LC, FIESNA
ERIC E. RICHMAN, CHAIR OF
the Lighting Sub-Committee of the
IESNA 90.1 Committee, wrote a
“Letter to the Editor” in the June issue
of LD+A stating that there was no
interest on the committee’s part to
lower the LPD limits, but that he could
not speak for the IECC since the
IESNA has no member on the ICC
code writing committee. Richman
pointed out that the last round of LPD
“reductions in the 2004 version of the
standard were simply the results of
updating the space type models used
to develop the 90.1-1999 and 2001
LPDs with the latest IESNA and industry research and information,” and that
“those LPD standards were out of
date and not representative of current
design practice.”
Lowering LPD standards based on
average “space type models” is not the
best way to encourage lighting designers to use innovative energy conservation techniques. A better way is to give
“credit for controls,” like the LEED cri-
WAC
1/3 sq
teria does.Award-winning retail, hospitality, dining and religious installations
do not fit any “models” and lighting
consultants should be allowed more
leeway in the design of those “space
types.”
In the July 2005 issue of LD+A, there
are highlights of two projects (one
given an award by New York Section’s
Lumen Award Committee) that do
not fit the mold,and depend on exceptions to the “space type models.”
F.A.O. Schwarz Toy Store
Roslyn Lowe wrote on the incredible lighting installation in the newly renovated F.A.O. Schwarz toy store on
Manhattan’s Fifth Avenue. Created by
architect David Rockwell with lighting
design by Lumen recipient Paul
Gregory of Focus Lighting, this 55,000
sq ft store’s ceiling is entirely covered
with multicolored LEDs which can be
programmed into patterns of stars, circles or whatever, and where the illumination contribution of the LEDs is sec-
ondary.The ceiling was created for its
theatrical effect, and fortunately, theatrical effects are exempt from the
LPD limits of 90.1 even when they are
not used in a theater.The result is spectacular and should be visited by all to
appreciate this novel use of LEDs.
N.Y. Times Headquarters
Paul Tarricone’s article in the same
issue featured the New York Times’
new headquarters building, now under
construction on Manhattan’s west
side near Times Square. Architect
Renzo Piano and lighting designer
Susan Brady of the SBLD Studio have
combined adjustably shaded,clear window daylighting, with a completely
controlled dimmable interior lighting
system. A full size mock-up of one
quarter of a floor was built by the
New York Times to test out the system, which was monitored by telemetry for six months by the Building
Technologies Department of the
Lawrence Berkeley National Laboratories (LBNL) in California.
On paper, the combination of luminaire wattage, including dimming ballasts and task lights, exceeds the LPD
limits. However, the tests done at
LBNL demonstrated that the lighting
energy savings from daylight harvesting
and occupant controlled dimming
reached 60 percent and fortunately,
the net usage, with credit for controls
allowed by the head of the New York
State Code Enforcement Board
judged that the design meets the
intent of the code.
Recently, Hayden McKay, RA, FIESNA, of Hayden McKay Lighting Design,
discovered that the use of robust task
lights in open plan offices with a dense
design of cubicles does not leave
enough LPD to reach sufficient levels
of ambient illumination. McKay and I
both petitioned the 90.1 lighting subcommittee to allow exclusion, or
credit for controls, of task lighting, and
at its June meeting the sub-committee
voted to recommend the following
amendment to the full 90.1 committee
for adoption:
“p) Furniture mounted supplemental task lighting that is controlled by
automatic shutoff and complies with
9.4.1.4 (d)” shall be exempt from the
14
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ENERGY ADVISOR
LPD allowance for general lighting.”
The sub-committee also recommended for adoption exclusion from
LPD limits the lighting in spaces specifically designed for use by occupants
with special lighting needs, including
the visually impaired and those with
age related issues.
These proposals have to pass a full
committee letter ballot, and then be
put out for public review by
September 23, 2005. The proposals
can be viewed and comments submitted through the ASHRAE website
http://www.ashrae.org/template/Techn
ologyLinkLanding/category/1634.
Making Allowances
The lighting sub-committee also discussed “commissioning” and retail
lighting LPD limits.“Commissioning” is
required when any dimming or automatic lighting control system is
installed.This is analogous to the “balancing” of HVAC systems by a
mechanical engineer and installing contractor to insure that all A/C supply
and return devices have the proper
temperature and velocity to provide a
uniform distribution of air for the
occupants’ comfort. With proper
commissioning, a lighting system will
also perform as designed. Pekka
Hakkarainen, PhD, director, technology
and business development for Lutron
Electronics Co., Inc., a member of the
sub-committee, has taken on the
assignment to recommend commissioning requirements for the Standard,
and he is looking for general suggestions from LD+A readers to help him
develop the criteria. Email suggestions
to [email protected].
Regarding retail lighting, Michael
Lane, a key member of the IESNA
lighting sub-committee and the developer of the Standard’s “space type
models,” is studying ways to modify
the Standard, so that small retail stores
with too small a footprint to “average
out” their LPD limits, can still be
allowed to add additional highlighting
and sparkle to compete with their
much larger department store competitors.This issue was also discussed
at the IESNA Energy Management
Committee meeting held during
LIGHTFAIR International.
Allowances and exceptions to the
LPD limits are essential for innovative
energy conservation designs. The next
meeting of the IESNA 90.1 Lighting
Sub-committee will be held in Chicago
in January 2006 (details to follow).The
meetings are open and suggestions are
welcome, and as demonstrated above,
the Standard is subject to review and
has been changed—but the membership must take the time and effort to
participate in the process with a reasonable request that meets the intent
of the code.Anyone can write to me or
to IESNA and we will pass your suggestions on to the committee.But remember, if you don’t register (your opinion),
you can’t vote (or complain later).
Willard L.Warren, PE, LC, FIESNA, is the
principal of Willard L.Warren Associates, a
consulting firm serving industry, government and utility clients in lighting and
energy conservation.
Tech Lighting
1/2 horiz
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RESEARCH MATTERS
Mariana G. Figueiro,
PhD
18
THE TWO MAJOR PROBLEMS
facing residents in senior health care
facilities are poor sleep quality and
falls. Lighting offers solutions to both
problems, as we discovered in a
recent study.
Why are older adults more likely
to show sleep disruption? A regular,
robust pattern of light and dark is
needed to synchronize the circadian
system to the solar day. Many older
adults are more likely to experience
problems sleeping because this pattern can be muted by their sedentary
lifestyle of dim days and dim nights
from electric lighting. Moreover, less
light reaches their retina (IESNA,
1998, Figueiro, 2001), their master
clock may become less sensitive to
light (Swaab et al., 1985) and reductions in the amplitude and timing of
melatonin and body temperature
rhythms occur more frequently as we
age (Skene and Swaab, 2003; Van
Someren et al., 2002). As I discussed
in “Research Matters” a few months
ago, blue light exposure in the evening
improved sleep efficiency of older
adults, including those with
Alzheimer’s disease (Figueiro, 2005).
More commonly, perhaps, poor
lighting design in the bedrooms of
nursing homes directly disrupts residents’ sleep (Figueiro and Rea, 2005).
In the facility we studied, a single fluorescent lamp luminaire, operated by a
switch at the bedroom door, was
located above the heads of the sleeping resident. When the nursing staff
came in to perform mandatory bed
checks during the night, residents
were usually awakened. Since these
bed checks were made every two
hours, it is no wonder sleep disruptions are so common in senior health
care facilities!
How can well-designed night-lighting help minimize sleep disruption
at night? To address this problem, the
Lighting Research Center conducted
a small study to explore the application of lighting controls and light
emitting diodes (LEDs) to more
effectively support nursing staff and
help senior residents sleep throughout the night (Figueiro and Rea,
2005). In four bedrooms, we mounted strings of amber-colored LEDs to
the underside of the bed frame,
The Bright Side of Night-lighting
Figures 1a and 1b: Motion-sensor controlled amber LEDs
installed under bed (left) and around doorway (right).The
LED array under the bed provided general, low-level ambient light in the bedroom at night; illuminance levels
between 10 and 15 lux were measured on the floor next
to the bed.The LED array framing the bathroom door
contributed approximately two to 10 lux on the floor near
the door and when standing at the door frame, 10.5 lux
was measured at the plane of the cornea. Notes: 1) photosensors were disconnected for the photos; 2) overhead
fluorescent luminaire was kept off after installation of
night-lighting. Photo: Dennis Guyon
Figures 2a and 2b: Motion-sensor controlled amber LEDs installed
at sink (left) and toilet (right) areas.The array of LEDs in the bathroom provided five to 10 lux at the center of the bathroom floor
and about two to four lux at the cornea when standing at the sink.
Based on survey results, it is recommended that slightly higher
light levels be used in the bathroom. Photos: Dennis Guyon.
around the adjacent bathroom door
frame, and under the mirror and
handrail in the bathroom (Figure 1a
and b, and Figure 2a and b).Amber
lights were selected because they are
more efficient and less expensive than
white LEDs, give enough light to see
and are still relatively close in color to
the very familiar incandescent light
source.
Each system was controlled by a
photosensor that ensured that the
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NURSING
S TA F F
Before Night-lighting Installation
SURVEY
Yes
No
No opinion
100%
0%
0%
When checking on the residents at night, are they
likely to wake up?
94%
6%
0%
Do the residents find the room lights uncomfortably
bright at night?
82%
0%
18%
After Night-lighting Installation
Yes
No
No opinion
There is enough light for performing checks on
residents during the night.
81%
19%
0%
The (colored) lighting is useful.
93%
0%
7%
There is enough light in the bathroom
without having to turn on overhead lighting.
62%
38%
0%
100%
0%
0%
Do you turn on the room lights for performing
checks on the residents at night?
It is convenient to have the lighting on a
motion sensor.
Figure 3a: Survey results
LED lighting did not come on during
the day or when the overhead lights
were on, and by a motion sensor that
slowly turned the lights on when the
residents put their feet on the floor
and when nurses walked into the
room. The new lighting minimized
waking the residents while allowing
the nursing staff to perform their
mandatory bed checks (Figure 3a
and 3b). If the residents were awoken
by the nurse, however, they no longer
had to experience discomfort from
bright overhead lights (Taylor, 2005).
Before-and-after surveys for residents and nursing staff were developed to evaluate the new bedroom
and bathroom lighting. Seventeen
night staff members completed the
survey about the pre-existing lighting
conditions and 16 completed surveys
about the LED lighting two weeks
after installation. Four residents were
interviewed prior to and two weeks
after the night-lighting was installed.
The results of the surveys shown in
Figure 3a and 3b speak for themselves; overall, there was a dramatic
September 2005 LD+A
positive impact on users from the
lighting design change.
Why are older adults at risks for
trips and falls? Nursing staff and
administrators noted that most falls
occur when the residents are getting
in and out of bed unattended.
Because the light switches could not
be reached from the bed, the residents often attempted to reach the
bathroom in very dim conditions.
After they reached the bathroom and
turned on the bright overhead lights,
they then had to get back to their
beds without the benefit of dark
adaptation! The motion-sensor controlled LEDs effectively solved this
problem, but we went one step further to reduce the possibility of trips
and falls at night.
How can well-designed night-lighting help minimize trips and falls at
night? Illumination of a space provides a person with information
about his/her location within the
immediate environment (IESNA,
1998, Figueiro, 2001).Vertical and horizontal cues, linear perspective, and
motion flow are all major sources of
information for spatial perception
and, thus, for orientation, balance and
locomotion (Gibson, 1966). An aging
visual system is less able to extract
these valuable cues from the environment, leading, presumably, to a greater
propensity for disorientation and
then falls.
One solution is to increase light
levels to help older people better see
their environment. At night, however,
bright illumination is counterproductive to sleep quality. This important
spatial information can be provided in
another, much more effective way.We
used LED arrays to frame the bathroom door. These arrays not only
provided low, ambient illumination in
the bedroom at night, they also provided perceptual information to the
residents about the location of the
bathroom as well as important vertical and horizontal cues needed for
spatial orientation.
We believe that night-lighting
specifically and thoughtfully used to
provide spatial information about the
19
RESEARCH MATTERS
RESIDENT
SURVEY
Before Night-lighting Installation
Yes
No
No opinion
Does the staff turning on the lights at night
wake you up?
83%
0%
17%
Do you find the overhead lighting bright
or glaring at night?
91%
0%
9%
Is it difficult to find or reach the lighting
controls at night?
83%
8%
9%
After Night-lighting Installation
Yes
No
No opinion
Does the colored light wake you up at night
when the nurses come in?
0%
100%
0%
Is the colored light uncomfortable at night
if you get up to go to the bathroom?
0%
100%
0%
100%
0%
0%
Do you like the colored light?
Figure 3b: Survey results
environment can reduce the number
of residents’ falls while getting out of
bed. Moreover, as shown by the survey results, this approach promoted
sleep quality without affecting the
responsibilities of the nursing staff.
Why should we care? It’s a shame
that lighting systems that can reduce
falls and improve sleep quality of our
parents and grandparents are not
being incorporated in senior care
facility designs. And to a large extent
the lighting industry is at fault.We do
not produce the lighting products, we
allow the lighting designs to be valueengineered, and, most importantly, we
do not systematically build public
awareness of how lighting can make
an important contribution to this
social problem. Large amounts of
public funds are being spent on codes
and standards to promote sustainability and energy-efficiency. If a fraction of this money were spent more
thoughtfully on improving the lighting
in senior care facilities around the
country, we would not only be promoting sustainability and energy efficiency, but also providing better quality of sleep, and thus, better quality of
life to this growing segment of the
population.
20
If guilt is not enough to motivate
this industry, remember that all of us,
if we’re lucky, become old and could
find ourselves live in a senior care
facility one day.
The author would like to acknowledge
JP Freyssinier, W. Fujinaka, D. Guyon,
K.Lisai, N. Narendran, M. Overington, R.
Pysar, M. Rea, and J.Taylor for their contributions to the study. The Alliance for
Solid-State Illumination Systems and
Technologies (ASSIST) provided the funding for the study. OSRAM SYLVANIA
donated the LED lighting systems used
in the study.
References
Figueiro, M. 2001. Lighting the way:A
key to independence.Troy, NY: Lighting
Research Center.
Figueiro MG. 2005. Research
Matters. The Bright Side of Blue Light,
Lighting Design and Application.
Figueiro MG and Rea MS. 2005.
LEDs: Improving the Sleep Quality of
Older Adults. Proceedings of the CIE
Midterm Meeting and International
Lighting Congress, Leon, Spain, May
18-21, 2005.
Gibson, J. 1966. The sense considered as perceptual systems. Boston:
Houghton Mifflin Company.
Illuminating Engineering Society of
North America. 1998. RP-28-98.
Recommended Practice for Lighting and
the Visual Environment for Senior Living.
IESNA, New York, NY.
Skene DJ, Swaab DF. 2003.
Melatonin rhythmicity: effect of age and
Alzheimer’s disease. Exp Gerontol; 38:
199-206.
Swaab DF, Fliers E, Partiman TS.
1985. The suprachiasmatic nucleus of
the human brain in relation to sex, age
and senile dementia. Brain Res. 342
(1):37-44.
Taylor, J. Advanced lighting technologies enhance resident care.
Nursing Homes/Long Term Care
Management, in press (September
2005). www.nursinghomesmagazine.com
Van Someren EJW, Riemersma RF
and Swaab DF. 2002. Functional plasticity of the circadian timing system in old
age: light exposure. Prog Brain Res
138:205-231.
E-MAIL
a Letter to the Editor at
[email protected]
www.iesna.org
GREEN IDEAS
Denise Fong,
IALD, LC
22
ON A RECENT TRIP TO
Berlin to study sustainable design, I
was struck by the amount of construction and the outstanding quality
of the buildings. As this was my first
visit, I had no comparative memory of
Berlin “before the wall came down.”
Those on the tour who had made
prior visits said the degree of change
in only a few short years—specifically
with regard to sustainable building
features—was astonishing.
Everyone in the group was “open
mouthed” with amazement at the
level of detail used for glazing systems, daylight and sunlight controls,
and natural ventilation. When we
asked about the cost per square foot
to build some of these buildings, it
translates into over $600 per sq ft.
While it’s unlikely that most of us
have the opportunity to work on
buildings with such substantial budgets, there are still lessons to be
learned from sustainable building in
Berlin.When we inquired about how
and why people would spend so
much money, we learned that
European codes significantly influence
the design and layout of their buildings. In office buildings, for example,
each worker must have direct access
to daylight and views from his or her
workstation. Accommodating this
code requirement has a profound
impact on the size and shape of a
building’s floor plate.
Highrise buildings tend to have slimmer profiles to allow daylight to penetrate into a space.To assist in pushing
daylight further into spaces, design
teams are not averse to employing
complex louver systems to redirect
daylight. In fact, it’s not unusual to see
all of the electric light fixtures on the
floor turned “off” during the day.
Natural ventilation is required in
Berlin for what we would term a
Class “A” office building. Buildings
that require air conditioning to the
exclusion of natural ventilation are
considered lower quality buildings.
Green roofs are everywhere.
When we looked out from a high
floor, it was great fun to see green
roofs on the lower buildings rather
than rooftop mechanical equipment.
Aside from the ecological benefits of
a green roof, they also make the skyline much more appealing.
Sustainable Building in Berlin
Systems and Synergies
One reason for the proliferation of
green roofs, advanced daylighting and
natural ventilation systems is that
large portions of Berlin have been rebuilt since the wall came down.
A good example of this is the
GSW Headquarters building, which is
located in a zone near the wall and
was at one time architecturally
“depressed.” This thin, crescentshaped, 22-story tower, which has a
patchwork of orange, red and yellow
vertical louvers on the west façade,
creates a lively quilt of color on an
otherwise somber skyline.
crete. This thermal mass allows for
night cooling in the summer and heating in the winter.
The exposed concrete ceilings also
create an interesting lighting challenge. The solution was to install a
direct fluorescent luminaire recessed
into the concrete.To add to the challenge, the sprinkler heads, smoke
detectors and other devices that
commonly live in ceilings were integrated into the light fixtures. As I
looked across the ceiling, I realized
that almost every fixture was a
unique configuration and size.
Planning the block outs for this design
Everyone in the group was ‘open
mouthed’ with amazement at the level
of detail used for glazing systems,
daylight and sunlight controls, and
natural ventilation
Designed by competition winners
Matthias Sauerbruch and Louisa
Hutton, this building operates at
about half the energy use of conventional buildings. East and west façades
have extensive glazing but the expected heat gain is tempered by double
glazed skins that provide thermal protection as well as a barrier to sound.
The narrow floor plates allow
almost complete daylighting during
daylight hours. The double façade is
one meter deep on the west side and
acts as a continuous convection system, drawing cool air from below and
expelling warm air at the top. Cross
ventilation through an operable
façade virtually eliminates the need
for mechanical air conditioning in the
summer.The exterior vertical louvers
control direct sun penetration. Both
ventilation and solar penetration are
regulated by the user. A building-wide
system sets normal parameters but
an individual within the building can
make his own adjustments. So it’s not
unusual to see the vertical blinds
open and closed to different degrees
on the façade. If you look at the building at different times during the day, it
will always have a new look.The ceilings of this building are exposed con-
must have been a time consuming
task.When I asked about the seeming
lack of repetition and the associated
cost, the designer responded “...but it
does repeat itself, 22 times in the
building.” I try to imagine myself using
that as a selling tool to one of my
clients, and just can’t quite get there.
Additional information about the
systems in this building can be found
at www.gsw.de.
Daylight Goes On
At another presentation, Dr.
Helmut Köster, E.L.D.A. gave a presentation on his daylighting work and
led a tour of several buildings that feature the daylight louver systems he
designed.
Acknowledging that external shading devices are difficult to maintain,
often result in gloomy daylight conditions and that internal devices don’t
help with heat gain, Dr. Köster and
other team members developed a
fixed louver system between a double
glass façade.This location allows heat
reflection during the hottest summer
months while still permitting daylight
penetration. Being fixed between the
glazing eliminates maintenance for the
louvers.The louver is a complex shape
www.iesna.org
GREEN IDEAS
Architect’s office in the GSW building. All lights are off during the day.
Note the multiple light fixture configurations in the exposed concrete
ceiling.
Spectrum
1/3 v
View of green roofs from the Diamler Chrysler building
with a deep “W” closest to the exterior and a shallow parabola near the
interior. The “W” reflects heat back
to the exterior and the parabola
allows daylight deeper into the space.
If you’d like to learn more about
this system, Dr. Köster has written a
book entitled Dynamic Daylight
Architecture, which is available through
amazon.com.
While Dr. Köster showed us many
system variations, it’s clear that the
greatest benefit is obtained when the
architect and lighting designer (and I
would add, the mechanical engineer)
24
work together from early stages of
the project.The compatible synergies
will be the most effective at delivering
maximum daylight with minimal heat
gain (in the summer), resulting in low
energy use and minimal maintenance.
The idea of creating synergies
among the design team is as applicable in Berlin as in any city looking to
create a more sustainable future, and
is a goal to strive toward.
Denise Fong, IALD, LC, LEED is principal of Candela Architectural Lighting
Consultants, Seattle,WA.
www.iesna.org
CAREERS & HIRING
TOPICS COVERED IN THIS
Paul Pompeo
month’s Q&A include resumé length
and how employers should conduct
themselves during the interview
process. If you have a question about
the job market, hiring trends, the
interviewing process, or if you have a
topic in mind for a future “Careers &
Hiring” column, drop a line to
[email protected]. No names or
companies will be used.
Q
“We always have a problem finding good, skilled people. The only
good candidates I find are people
I’ve worked with in the past.
Sometimes I resort to going to
schools and hiring someone I have
to train. Do you think it’s getting
harder to find good people?”—
Product Development Manager,
Lighting Fixture Manufacturer
A
Pompeo: Probably so. As the
lighting business (like many other
industries) continues to grow, so
does the demand for talented performers. There are good people out
there, but though the lighting industry
continues to shrink in some ways (fixture conglomerates in a race to buy
up independent lighting manufacturers, for example), these good people
do seem harder to find. By “hiring
someone you know,” you sometimes
risk not exposing yourself to other
talented individuals who may bring
new things to the table. So be creative—if you’re a ballast manufacturer, for example, don’t always go first
to people working for a competitor
or with ballast experience. You may
end up looking at the same faces and
“recycling” people. Take a look at
important, but less obvious issues—
like people who will fit with the culture of your team and your company.
Also, let’s say you’re a downlighting
manufacturer seeking a national
accounts manager;instead of just looking at your direct competitors, look
for people who have excellent relationships and sales skills in the exact
area of the national accounts channel
that you are calling on or targeting.
Q
“I was really amazed at LIGHTFAIR by the number of changes in
staff at lighting companies. I must
say I’m a little concerned about our
26
Q & A Session
industry. One of the people I met
had lost a major sales management
job at a bigger company—one of
the biggest. The more I look at it,
the more I think there’s a problem
with the major companies—-more
profit, more pressure. I hope that is
a temporary trend, and I think it is,
but what is your opinion?”—
Marketing Manager, Independent
Specification Fixture Manufacturer
A
Pompeo: Very astute observation. There does seem to be more
pressure to perform in companies
these days, but it doesn’t pertain just
to the lighting and electrical industry.
While there does appear to be even
more pressure in larger companies, I
believe it also has to do with the fact
that many public companies have a
new team of managers to answer to:
their shareholders.And, while employees of public and/or large lighting
companies may feel that pressure
from bottom to top, those in upper
The resume should
be your
‘brochure,’ not
your ‘catalogue’
(and middle) management often feel
the heat more than anyone else.
I doubt that it’s a temporary trend,
but brighter minds than mine have
been unable to predict the future, so
we’ll just have to watch and see.
Q
“When do you start deleting
some of your early work on a
resumé? And if something early in
your career was so significant, is it
reasonable to omit some chronology just to highlight it?”—Applications Engineering Manager,
HID Manufacturer
A
Pompeo: To some degree, the
answer depends on the length of your
career (and/or number of jobs). If you
have over 20 years experience and
have worked for several companies,
sometimes it can be difficult to summarize your career in two pages or
less. In that case, I believe it is permissible to only go back 15 years or so, so
as not to have your resume be too
lengthy.You can always go over parts of
your background prior to what you’ve
shown on your resume when you’re
having an actual interview.
As for your question about “omitting chronology,” I would say absolutely not. Again, it’s one thing to have a
summary of the past 15 years or so of
your professional background, but
never omit a company/job experience
from your resume if you are listing the
prior and subsequent job experience.
Along these lines, you should never
“fudge” dates to cover a period of time
between jobs. Reference and background checks can quickly uncover
this,and it can be grounds for dismissal.
Q
“I often hear ‘one page resume,’
but what if the sum total of your
experiences is so compelling that a
four-page resume gives great insight
to the depth of your experience in a
particular field?”—Vice President,
Market Development, Specialty
Lighting Manufacturer
A
Pompeo: Unfortunately, we are in
the era of the sound bite, where most
people have very little time to glean
and evaluate information. We all have
to make frequent decisions within a
matter of a minute (or less) as to
whether a particular e-mail or phone
call is where our time is best spent at
that given moment.This also applies to
a search firm, hiring manager or
human resources professional reviewing your resume. If a hiring professional receives a resume that is very
lengthy, he or she will often put it aside
to look at it later. But,in today’s world,
what often happens is that they never
get to it. And you don’t want that happening to your resume, do you?
Your resume should be a concise
summary of your background, indicating career highlights and achievements,
but should be just that—a summary.A
one-page resume is ideal these days,
two pages maximum. You can always
go into more detail with your
recruiter or interviewer during your
actual meeting or phone conversation
with them.The resume should be your
“brochure,” not your “catalogue.”
Think of it as a trailer to an upcoming
movie—a brief summary, hopefully
enough to get the reader interested
and wanting to find out more.
www.iesna.org
CAREERS & HIRING
“What can an employer do to
make a candidate more comfortable during the interview? Would
you agree that the more at ease a
candidate is,the better the chances
are for each party to make the
right decision about the available
position?”—Vice President/General
Manager, Specification Fixture
Manufacturer
Q
Pompeo: Yes, I very much would
agree. Though we are engaged by the
managers or hiring authorities of
lighting manufacturers to conduct a
search and ultimately schedule interviews with candidates, it’s very
important to realize that an interview really is a two-way street.While
that point may be obvious to most
readers, you might be surprised to
Rejuvenation
1/2 island
A
find that some employers just don’t
grasp this concept. I actually have
been witness to a manager from a
well-known lighting manufacturer, in
an interview, asking the candidate to
“sell me this pencil.” While that may
have worked in the past, that era has
come and gone.You certainly want to
be able to see how candidates think
on their feet, but there are other, better ways to do it.
It’s an old cliché, but candidates
also interview you and your company, so while you are the host and they
the guests, the sharper the candidate,
the more she or he will be thinking,
“Would I really like working for this
person?” While you, as the manager,
need to determine if this candidate is
a fit for your company, realize that
making someone uncomfortable or
treating them as the “applicant” is
not the best way to go about it.
Often having the initial in-person
meeting off-site (provided both parties are in the same geographical
area), as opposed to at your office,
can create a neutral ground to better
determine the amount of chemistry.
Regardless of where it takes place,
a good, thorough, mutually informative meeting along with comprehensive, in-depth reference checks,
meetings with other key managers or
employees whom the candidate
would work with and/or (in certain
cases) personality profiles can help
you during this process.
Paul Pompeo is principal with The
Pompeo Group in Albuquerque, NM, a
leading executive recruiting firm in the
lighting and electrical industry. Pompeo
spent 16 years with Search West Inc.
before starting his own firm in March of
2003. In 2004 he became the president
of the IESNA Rio Grande section, New
Mexico. He can be reached at
[email protected] or www.pompeo.com
Make your
VOICE HEARD!
Join an IESNA
committee:
Fax: (212) 248-5017
28
www.iesna.org
VOLUME 35, NUMBER 9 • September 2005
ILLUMINATING ENGINEERING SOCIETY
T
NEWS
he IESNA announced the following awards for 2005. Recipients will be formally recognized at the
Society’s Centennial Conference held from January 8-10, 2006, at the New York Marriott Marquis.
For all the latest, go to www.iesna.org
Medal Award
The IESNA Medal is awarded for the purpose of giving recognition to meritorious technical achievement that
has conspicuously furthered the profession, art or knowledge of illuminating engineering. Accomplishments shall
be in the field of engineering, design, applied illumination, optics, ophthalmology, lighting, research or education. In
recognition of his research, his role as mentor and his service to IESNA technical committees, Werner Adrian
will receive the Society’s highest honor, the Medal Award.
Adrian’s scientific and practical contributions to lighting and engineering have been fundamental to the development of visibility-based design criteria for roadway lighting; his vision model to determine the limits of disability glare has been accepted internationally. His analysis of the adaptation process in the eye—chemical reactions
and neuronal responses—allowed the calculation of the luminance necessary to sustain vision when a driver enters
a tunnel in the daytime; his method is the basis for determining eye adaptation for modern tunnel lighting design.
Adrian’s research on the effect of age on vision resulted in changes to the design of visual traffic control devices so that they meet the requirements of the aging eye. His development of a visual performance-description allows the prediction of reading task performance; this led to a broad based and internationally accepted method for the design of
Calendar of
indoor lighting systems.
IESNA
Marks Award
Events
October 2-5, 2005
STREET & AREA
The Louis B. Marks Award, first presented in 1985, is named in honor of the Society’s
LIGHTING CONFERENCE
founding president and presented to a member of the Society in recognition of excepSan Diego, CA
tional service to the Society of a non-technical nature.The 2005 Louis B. Marks Award will
go to Howard Brandston for his exceptional service to the IESNA and for demonJanuary 8-10 2006
strating innovation and initiative at critical times in the Society’s history.
IESNA CENTENNIAL
Brandston served as the Society’s first vice president of design and appliCONFERENCE
cation, ensuring the acceptance of design as a critical element of IESNA
Contact:Valerie
Landers
guidelines and recommendations. As Society president, he was instru212-248-5000 ext.117
mental in improving guidelines for the writing of ANSI standards and in
www.iesna.org
maintaining active IESNA ownership of the lighting standards within
Standard 90. As an expression of his lifelong interest in lighting education, Brandston generously endowed in perpetuity the Brandston
Education Grant, a program administered by the IESNA for college/university participants. He
also established “The Workshop for Teachers of Lighting,” a program to educate teachers of lighting at the college
and university level. During more than 40 years of IESNA membership, Brandston has shared his experience, his
opinions, his wisdom, his talents and his resources for the betterment of the Society.
Taylor Technical Talent Award
The Taylor Technical award was established in 1992 and funded by the late George Taylor, the Society’s 54th
President.The Society grants the Taylor Technical Award each year for the technical contribution which best represents the objectives which George Taylor outlined: to honor a paper detailing research work which furthers the
application knowledge of lighting practice.The IESNA will present the Taylor Technical Talent Award for 2005 to
Kevin Houser, Dale Tiller and Xin Hu for the paper entitled “Tuning the Fluorescent Spectrum for the
Trichromatic Visual Response:A Pilot Study” (From Vol. 1 No. 1 LEUKOS).
September 2005 LD+A
31
Fellow Awards
Fellow Awards, a classification of membership established in 1945 to recognize members for valuable contributions to the technical
activities of the IESNA and to the art and science of illumination or to a directly related scientific field. Fellow award recipients are:
Clanton
Nancy Clanton, lighting designer, Clanton and Associates, Boulder, CO, for her progressive leadership in energy efficient lighting design, her passionate advocacy of responsible outdoor lighting and for her efforts as author,
presenter, committee chair and designer, all activities which have raised consciousness of sustainability, resulting in
effective and comfortable built environments.
John D. Bullough, lighting scientist, Lighting Research Center,Troy, NY, who, through the broad application of
lighting and vision research, has bridged science and engineering to influence practices in the field of transportation lighting that improve safety, comfort and efficiency.
Bullough
Jeffrey A. Milham, lighting designer, Design Decisions, Inc., Putnam Valley, NY, in recognition of his creative lighting design, and of his significant influence on non-traditional lighting education as evidenced by his role in the establishment of Lighting World and its successor LIGHTFAIR, by his work for the Nuckolls Fund for Lighting Education
and through his dedicated service to the NCQLP.
Milham
Richard Vincent, lighting and ultraviolet energy specialist, New York, NY, in recognition of his 28-year career
in research which includes visibility filed observations to validate small target visibility, the implementation of the
IERI/LRI’s research agenda and his significant work on the control of airborne diseases through renewed application of ultraviolet air-cleansing.
Vincent
An accomplished inventor, consultant, professor and author, George C. Izenour is named Honorary Fellow for
his contribution and accomplishments to the lighting industry. In his career, Izenour designed over 100 theater spaces
and brought to market lighting tools used by designers all over the world and in all lighting fields. Izenour wrote his
Master’s thesis on what was to become his first invention, the electronic lighting control system for theaters.
Izenour
Distinguished Service Award
The Distinguished Service Award was established in 1967 to honor those who have significantly furthered the mission of the IESNA
in non-technical areas.To be eligible for the DSA, a candidate shall have performed at least 15 years of dedicated service to the Society.
Spencer
Steffy
A Distinguished Service Award goes to Gale Spencer, lighting designer, Lighting by Design, Sacramento, CA, in
recognition of her energetic dedication to the IESNA as evidenced by her roles on the Section and Region level
and on the International level, serving as a RVP director and as director and as a member of a significant number
of committees, including The Technical Review Council, the Papers Committee, the Outdoor Environmental
Committee and the Merchandise Lighting Automotive Sales Lighting Committee.
Gary Steffy, president and principal, Gary Steffy Lighting Design Inc., Ann Arbor, MI, was awarded the
Distinguished Service Award in recognition of his service to the Society as committee member, including recent
service on the LEUKOS Operations Advisory Board, the Centennial Papers Subcommittee and the Technical
Review Council, and of his contributions to the technical literature through his publication in Society venues and
through his well-received books.
Presidential Awards
Recognized for their specific contributions to lighting and various Society affairs, the following
individuals receive the 2005 Presidential Award.
Naomi Miller for donation of her body of work on quality lighting to the IESNA Quality
of the Visual Environment Committee.
David DiLaura and Gary Steffy for the authorship and editing, respectively, of a book
on the history of lighting, which will be donated to the Society.
Kimberly Szinger for chairing the conference task force.
32
Miller
DiLaura
Szinger
www.iesna.org
Members In The News...
Design firm ForrestPerkins, Los
Angeles, CA, has named Emlyn
Altman director of lighting and
visualization. Altman is currently
serving her second term as Capital
IES Section president in the
Washington, DC, area and is also a
regular columnist for LD+A. Her bimonthly column, “Digital Dialogue,” addresses computer issues related to the lighting design industry.
New Members
Membership
Committee
Chair Paul Mercier announced
the IESNA gained two
Sustaining Members and 55
members (M), associate members and student members in
July.
Sustaining Members
HDLC, New York, NY
Osvaldo Matos LDA,Vila Nova De Gaia,
Portugal
Canadian Region
Francine Armand,Ville de Montreal,
Arrondissement Ville-Marie, Montreal,
QC
Wayne Braye, University Of New
Brunswick, Fredericton, NB
Samir Yammine (M), City of St. John, Saint
John, NB
The Acenti collection of residential wiring devices
and dimmers from Leviton Manufacturing
Company, Little Neck, NY, was awarded a Silver
Level Award at this years Industrial Design
Excellence Award (IDEA). Co-sponsored by
BusinessWeek magazine and the Industrial Designers
Society of America (IDSA), the international awards
represent a celebration of the best and hottest
product designs of the year.
Obituary - Peter J.
Pennachio, 67
Peter J. Pennachio, a founding
board member of the Long Island
Section and a Member Emeritus
of the IESNA, died on June 3 at
the age of 67. Mr. Pennachio was a
part of the Section over the last four decades, serving as Section president several times and was
known as the primary educator for all the lighting
education programs that the Section maintained. Mr.
Pennachio was also employed by the Holophane
Corp. for over 40 years. He retired as a sales engineer in 2004.
September 2005 LD+A
East Central Region
Toby A. Boyd, Hadco Lighting, Littlestown,
PA
Matthew R. Foley (M), URS Corporation,
Stewartstown, PA
Kenneth E. Roth (M), Holophane,
Littlestown, PA
Brian E. Seidel RLA,AICP (M), Nave
Newell, Inc., King of Prussia, PA
Great Lakes Region
Kerry A. Fikes, M/E Engineering P.C.,
Webster, NY
Daniel W. Hoffmeyer, Holophane, Fishers,
IN
Michelle Kun Huang (M), OSRAM Opto
Semiconductors, Inc., Northville, MI
Mary Myers, LexaLite Int’l Corp,
Charlevoix, MI
South Pacific Coast Region
Jim Barnes (M), Stiles & Associates, Inc,
Las Vegas, NV
Mary Cosci (M), Lightolier,Alhambra, CA
Rafael G. Fuetnes (M), Sacramento
Municipal Utility District,
Sacramemnto, CA
Simon D. Harkins (M), GRG Inc., Las
Vegas, NV
Brian Iwashita (M), Palmer Electric, Inc.,
San Carlos, CA
Melinda Morrison (M), Melinda Morrison
Lighting, Moss Beach, CA
Brian J. Scott, Impact Construction &
Lighting Corp., San Diego, CA
Pacific Community College
Larry Chou
Victor Valley Community College
Roy Morales
Midwest Region
P. Scott Jensen (M), Larson Binkley,
Leawood, KS
Michael J. Mondloch, Everbrite LLC,
Greenfield,WI
Ted J.Tanuis, Holophane, Overland Park,
KS
Michael J.Wickersham, CS2 Design
Group, LLC, Elk Grove Village, IL
Southeastern Region
Changsheng Li (M), Universal Lighting
Technologies, Madison,AL
Michael W. Morris, Morris-Depew
Associates, Inc., Fort Myers, FL
University of Alabama
Nicole Oser
Northeastern Region
John W.Alba, Regency Lighting, Sutton,
MA
John S.An (M),Atelier Ten, New York, NY
Mike Connolly, CLS, Norwood, MA
Eri Kosuge, Cooley Monato Studio, New
York, NY
Minako Koyama (M), Cooley Monato
Studio, New York, NY
Robert Leiter, HDLC, New York, NY
Northwest Region
Anurag Gupta (M), Corvallis, OR
Andrew Lee, Meta West Sales Ltd, Lake
Avenue, BC
Tyler Williams, Cherry Tree Design,
Bozeman, MT
BCIT
Paulie Dhillon
Southwestern Region
Daniel T. Calongne (M), Daniel T.
Calongne & Associates, Inc., Baton
Rouge, LA
Tim Egan (M), Specified Lighting Sales,
Houston,TX
W. Sterling Fisher IV (M), Fort
Engineering, Little Rock,AR
Stephen E. Herman, KLG, LLC, Little
Rock, CA
Dan Nottoli,Advance Transformer
Company, Carrollton,TX
Rhonda L. Reynolds (M), Bridgers &
Paxton Consulting Engineers,
Albuquerque, NM
Victoria T. Sandoval, I.W. Inc.,
Albuquerque, NM
Purvesh Shah, Lucifer Lighting Co, San
Antonio,TX
Tuan Q.Tran (M), Purdy-McGuire
Engineering, Inc., Dallas,TX
Southern
John W. Palmer (M), Lithonia Lighting,
Conyers, GA
Capella University
Michael L. McKellip
International
Khaled Ali Al-Obaid (M), Ministry of
Energy /Street Lighting Dept., State of
Kuwait, Kuwait
Kleber R. Franco, Emelec, Inc., Guayaquil,
Ecuador
Ricardo Anell Kamel Ing., Insumos y
Equipos de Iluminacion, Estado de
Mexico, C.P., Mexico
Jang Weon Lee, STAR LVS, Inc., Seoul,
Korea
Pedro Matos, Osvaldo Matos LDA,Vila
Nova De Gaia , Portugal
Chi Chen Tong (M), Konson Trading Co.
Ltd,Taipei,Taiwan
NCTU (National Chiao Tung University)
Ethel Nian
33
SUSTAINING
MEMBERS
The following companies have
elected to support the Society
as Sustaining Members which
allows the IESNA to fund
programs that benefit all
segments of the membership and
pursue new endeavors, including
education projects, lighting
research and recommended
practices. The level of support is
classified by the amount of
annual dues, based on a
company’s annual lighting
revenues:
JJI Lighting
1/2 V
Copper:
$500 annual dues
Lighting revenues to $4 million
(Copper members are listed in
one issue of LD+A each year, as
well as in the IESNA Annual
Report.)
Silver:
$1,000 annual dues
Lighting revenues to $10 million
Gold:
$2,500 annual dues
Lighting revenues to $50 million
Platinum:
$5,000 annual dues
Lighting revenues to $200 million
Emerald:
$10,000 annual dues
Lighting revenues to $500 million
Diamond:
$15,000 annual dues
Lighting revenues over $500 million
DIAMOND
Cooper Lighting
General Electric Co.
Lithonia Lighting
OSRAM SYLVANIA Products, Inc.
Philips Lighting Co.
EMERALD
Holophane Corporation
PLATINUM
Day-Brite Capri Omega
Lightolier
Lutron Electronics Co, Inc.
GOLD
A.L.P. Lighting Components Co.
Altman Lighting Inc
The Bodine Company
Con-Tech Lighting
Duke Power Co.
Edison Price Lighting, Inc.
Finelite, Inc.
Florida Power Lighting Solutions
Gardco Lighting
Indy Lighting, Inc.
Kenall Mfg Co.
The Kirlin Company
Kurt Versen Co.
LexaLite Int’l Corp
Lighting Services Inc
LiteTouch, Inc.
Louis Poulsen Lighting
LSI Industries, Inc.
Lucifer Lighting Co.
Martin Professional, Inc.
Musco Sports Lighting, Inc.
Niagara Mohawk Power Corp
Prudential Lighting Corp
RAB Lighting, Inc.
San Diego Gas & Electric
SPI Lighting
Vista Professional Outdoor Lighting
Zumtobel Staff Lighting, Inc.
SILVER
Ardron-Mackie Limited
Associated Lighting Representatives. Inc.
Atofina Chemicals, Inc.
Axis Lighting Inc.
Bartco Lighting, Inc.
Barth Electric Co., Inc.
The Belfer Group
Beta Lighting, Inc.
Birchwood Lighting, Inc.
BJB Electric Corporation
Border States Electric Supply
Bulbrite Industries, Inc.
Canlyte Inc.
Celestial Products
City of San Francisco
Con Edison of New York
Custom Lighting Services, LLC
Custom Lights, Inc.
Day Lite Maintenance Co.
Defense Supply Center Philadelphia
Eastern Energy Services, Inc.
Eclipse Lighting, Inc.
Elko Ltd
Elliptipar
Enmax
Enterprise Lighting Sales
ETC Architectural
Eye Lighting Industries
Eye Lighting Int’l of NA
Fiberstars
Focal Point
Gammalux Systems
H E Williams, Inc.
HDLC
Illuminating Technologies, Inc.
Kramer Lighting
Lee Filters
Legion Lighting Co.
Leviton Mfg. Co. Inc.
Lightology LLC
LiteTech
Litecontrol Corp
Litelab Corp
Litetronics Int’l Inc.
Lowel Light Manufacturing
Manitoba Hydro
Manning Lighting
Metalumen Manufacturing, Inc.
New York State Energy Research &
Development Authority
OCEM/Multi Electric Mfg. Inc.
Optical Research Associates
Paramount Industries, Inc.
Peter Basso Associates, Inc.
Portland General Electric
Prescolite, Inc.
Reflex Lighting Group, Inc.
Richard McDonald & Associates, Ltd. Calgary
Richard McDonald & Associates, Ltd. Edmonton
Sentry Electric Corporation
Shakespeare Composites & Structures
Solar Outdoor Lighting
Southern California Edison
Sternberg Vintage Lighting
Strand Lighting, Inc.
StressCrete King Luminaire Co.
Tennessee Valley Authority
Universal Electric Ltd.
US Architectural Lighting/Sun Valley Lighting
Utility Metals
WJ Whatley Inc.
WAC Lighting, Co.
Wisconsin Public Service Corp
Wybron, Inc.
Xenon Light, Inc.
IES SUSTAINING
MEMBERS
As of July 2005
34
www.iesna.org
INDUSTRY UPDATES
New Penn Station is Draped in Light and Reflects Its Past
NewYork State and city officials named two developers—Related Companies and Vornado Reality Trust—to remake the existing Farley Post Office into an $818 million terminal, hotel and commercial spaced named after the late U.S. Senator Daniel Patrick
Moynihan.
As envisioned by James Carpenter Design, in collaboration with Hellmuth, Obata & Kassabaum (HOK), the new central train
hall will mirror the old Penn Station through the addition of tall, steel arches that support a huge skylight.
Façade restoration will begin this year and the construction within the building begins next year.The station is scheduled to be
completed by 2010.
Schneider Electric To Acquire Juno Lighting
Schneider Electric’s subsidiary, Square D Company, and Juno Lighting, Inc. have signed a definitive merger agreement that provides for the acquisition of Juno by Square D in a transaction valued at approximately $610 million, which includes assumed debt
of approximately $200 million.
Juno, a manufacturer of recessed and track lighting fixtures, generated revenues of $242 million with a 21 percent operating
margin for the fiscal year ended November 30, 2004. Founded in 1976, the company has achieved, on average over the last 10
years, a sales growth of seven percent with an operating margin of 20 percent.
Schneider Electric expects to realize several benefits in combining Juno with its North American Operating Division, including
leveraging the combined distribution channels to offer a broader product portfolio, access to new markets and opportunities to
cross-sell complementary products across each company’s customer base.
September 2005 LD+A
35
INDUSTRY UPDATES
LEDs Save Energy, Attracts Shoppers
to Retail Windows, LRC Survey Finds
KEEP THAT LIGHT
away from my lobster... A total of
54 Efficient Fiber Optics systems
(Fiberstars, Inc.) and 408 individual fixtures were installed in 11
departments at Whole Foods
Market’s new 80,000 sq ft store, in
Austin, TX. In addition to energy
savings, EFO can help in the
reduction of perishable goods
shrinkage by eliminating UV and
infrared
wavelengths.
The
adjustable beam patterns of the
accent lighting system allow
dynamic lighting ratios that may
not be replicated by conventional
lighting on products like seafood,
dairy and fresh produce items
without generating excess heat.
The Los Angeles Department of Water and Power (LADWP), the
largest municipal utility in the nation, has sponsored a field study by
Lighting Research Center (LRC) at Rensselaer Polytechnic Institute of
Troy, NY, to determine whether energy-efficient, colored window lighting could draw the interest of shoppers, reduce energy consumption in
store windows and maintain or improve retail sales.
For the survey, LRC researchers installed custom, slim-profile LED fixtures in the windows of three stores owned by a popular clothing retailer found in Los Angeles area shopping malls.To cut energy consumption
by 30 to 50 percent in each window, researchers eliminated all general
fluorescent lighting, reduced the number and wattage of halogen accent
lights and added LED systems to create colored backgrounds for interest.The researchers tested different window display and lighting scenarios over an eight-week period and surveyed shoppers about the attractiveness, visibility and eye-catching ability of the windows. (Lighting inside
the stores remained unchanged.)
After eight weeks and more than 700 surveys, the results showed that
shoppers preferred the colored LED window with a 30 percent reduction in power over the typical high-energy lighting design. The survey
results also showed that 74 percent of shoppers found the new lighting
design to be eye-catching; 84 percent agreed that the LED display windows were visually appealing; and 91 percent confirmed that the reduced
accent lighting did not diminish the visibility of the window mannequins
and merchandise.
Cutting the lighting power consumption further to 50 percent in each
window resulted in no significant difference in shoppers’ opinions compared with the typical lighting, and a lower opinion compared with the
30 percent reduction. Sales data gathered by the retailer showed no significant changes in sales at the three test stores during the study period,
even with a 50 percent reduction in power consumption. Sales were
compared with the same weeks for the previous year and with comparable stores owned by the retailer.The LRC estimates the average store
can reduce power demand from lighting store windows by up to one
kilowatt, saving 5500 kilowatt-hours per year (based on 2000 watts of
window lighting and 14 hours of use per day). Given current LED lighting system costs and estimated energy and maintenance savings, the typical system payback is less than two years.
For more information about LEDs, solid-state lighting and their applications, visit www.lrc.rpi.edu/programs/solidstate
T
he railroad track and incline of Horseshoe Curve,
a 150-year-old historic landmark in Altoona,PA, features a curve that forms a 220 deg arch and is 2375
ft long and 1800 ft across.To celebrate the curve’s 100-year
anniversary, a major lighting retrofit and upgrade was done.
OSRAM SYLVANIA installed 300 ft of its Prominence LED
contour lighting and power supplies onto the incline railway
track and approximately 100 ft of Prominence lighting to
outline the terminal house and observation deck.
36
www.iesna.org
Eastham Elementary
Receives NEED Award
for Energy Education
Selected from more than 100 schools
nationwide, Cape Cod’s Eastham
Elementary School was chosen as the
2005 national Rookie of the Year for best
primary energy education program by the
National Energy Education Development
(NEED) project, a national nonprofit organization that promotes energy education.
The school’s energy education program was developed by the students
under the direction of faculty members
as part of the Cape Light Compact’s
energy education program, a regional
energy services organization made up of
all 21 towns of Barnstable and Dukes
counties.
ConEdison Solutions, which provides
the electricity on Cape Cod and Martha’s
Vineyard through the Cape Light
Compact, sponsored the third-grade
Eastham Elementary “Energizers.”
Schools participating in the NEED program submit a scrapbook of their education efforts to NEED’s headquarters in
Washington each April. Schools from 45
states sent projects for review this year.
Thomas
Research
Products
2/3 Vert Ad
SUITE STUFF
An “ambient experience” radiology suite at the Advocate
Lutheran General Children’s
Hospital in Chicago can ease the
fear of patients—and especially
children—by allowing them to
choose a “mood theme.” Patients
will now be able to wave a radio
frequency card over a reader,
which will trigger special lighting
and animated images projected
onto the walls and ceiling using
Philips technology.
September 2005 LD+A
37
Failing Fixtures are Expelled From School Retrofit
When the 12th largest school system in the U.S. decides to launch a major energy-savings initiative, you know they’re not going to be thinking on a small scale.
The Fairfax County Virginia school system hit the books on ways they could reduce energyrelated expenses for 235 of its elementary, middle and high schools. What the school system
came up with was a program entitled “Energy Savings for Kids.”
Beginning in November 2002, the school awarded energy performance contracts in bundles, with
each bundle including up to 20 buildings.The school selected its oldest buildings to be first in line
for the retrofit, with newer or recently renovated buildings to follow.
Noresco, a national energy services company
based in Westborough, MA, was awarded contracts for retrofitting the school system’s light
fixtures, as well as improving climate controls
and HVAC management. Noresco replaced
older T12 magnetic ballasts and lamps with
ULTim8 T8 electronic ballasts and lamps. Aged
high intensity discharge (HID) fixtures were also
replaced with new high-efficiency fluorescent
fixtures or retrofitted with a higher-efficiency
The Project: Fairfax County
Public Schools located in
Northern Virginia
The Challenge: Create a
massive, customized energy
savings package for more than
235 elementary, middle and
high schools.
The Solution: New ballasts,
lamps and fixtures
HID kit, and HID fixtures in gymnasiums were replaced with T5HO fluorescent fixtures.All T8 and
T5 ballasts used in the project were Universal Lighting Technologies’ products and in most cases, the
retrofit involved a simple changing of lamps and ballasts in existing fixtures.
As part of Phase Four, which will be complete in September 2005, more than 95,000 lighting fixtures will be replaced or retrofitted at 60 schools and approximately 75,000 ballasts will be included in the upgraded fixtures. “Through Phase Four, the school system has invested $16.5 million in
energy conservation,” said Chris Farren of Noresco.“We estimate that the work done to date will
save $1.9 million a year in energy costs.”
—John-Michael Kobes
September 2005 LD+A
39
•
applications & solutions
Bringing The Great Outdoors Inside
Normally,the lighting designer suggests which manufacturer’s fixtures will work best for the project.For the Atlanta Area
Council Volunteer Service Center of the Boy Scouts of America, these roles were combined, as the product manufacturer was also the lighting designer.Acuity Brands Lighting, Atlanta, GA, donated virtually all of the lighting to the facility, while
the Lithonia Lighting Application Engineering department did the design.
Georgia is especially active in the Boy Scouts. A total of 74,000
The Project: Atlanta Area Council Boy
youths are involved in 13 of Atlanta’s metro counties. So, with that in
Scouts of America Volunteer Service
mind, the design inspiration and architectural features for this 51,000 sq
Center, Atlanta, GA
ft service center was going to revolve around the ideals and accomplishments of the Boy Scouts themselves.
The Challenge: To accentuate the
Positioned at the top of the exterior columns were badge emblem
natural materials used in
sculptures, which were accentuated by in-grade fixtures at the base of
construction, as well as create an
each column. Additional in-grade lighting was used to showcase the
“outdoor experience” with the
stonework and heavy timber used throughout the construction of the
architecture and lighting
center.The use of natural materials, the number of windows at the front
entrance and the arched element of the entryway all reinforce and highThe Solution: A seamlessly flowing
lighting design that uses various
light the design theme.
sources
The real challenge in lighting the center was creating a balanced look
from the building exterior to the interior.“The interior space was illuminated with recessed fluorescent cove lighting, while the ceiling was highlighted with fluorescent indirect fixtures,” said project coordinator Neal Tobler. “At the building’s entrance, in-grade
fixtures matching color temperatures and luminance levels of those used in the lobby ceiling, create the harmonious
flow between the two spaces.”
Metal halide cylinders also create a glow from the interior space, which helps to display materials in the lobby
area.The project received a 2004 IIDA Award of Merit.
—John-Michael Kobes
40
www.iesna.org
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PHOTOS COURTESY OF AUDI OF NORTH AMERICA
The architecture of the Audi dealership
employs curved “hangar” roof lines and
expansive glass façades, through which the
lighting emanates a warm glowing effect.
Driven
by D E S I G N
LIGHTING SYSTEMS
HELP BRAND THE
AUTOS AND
ARCHITECTURE IN
THE NEW AUDI
DEALERSHIPS
By Roslyn Lowe
September 2005 LD+A
T
he New World of Audi dealership program will ultimately produce between 100-120 locations throughout North America—
all of them consistent with Audi’s signature brand design. To
date, some 60 dealerships have successfully opened using the new
prototype design.
Audi’s initial experience with the first two or three new dealerships
to be built had produced some disappointing results with the specified light fixtures, including difficult maintenance and lamp failures.
Overall and perhaps most importantly, the illumination levels on the
vehicles were dismal—creating a “muddy” effect in certain paint colors. The previous showroom lighting package consisted of circular
tracks suspended above the car displays, with a combination of low
voltage and line voltage halogen track heads that drew the eye away
from the vehicle. Additional commodity grade acrylic refractor high
bays were placed higher in the ceiling for supplemental illumination.
The combined system was considered cheap and clumsy looking
and had no relation to the quality of materials to which Audi typically
puts its name.
Needless to say, Audi felt the existing lighting failed to complement
the architectural design—either aesthetically, or in performance. In
45
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addition, Audi was looking for a complete lighting package that was much more in-tune with its brand image.
Audi came to Ron Harwood of Illuminating Concepts
(IC), Farmington Hills, MI. Harwood proposed that the
Audi team visit IC’s mockup facility. (IC is unique in that
its headquarters features a mockup facility large enough
to enable a multiple vehicle indoor demonstration.) There,
the IC team demonstrated several fixture styles and lighting techniques, along with many varieties of lamps and
46
reflectors. “We showed them some diffused light, some
highly focused light and a combination of focused and diffused light.” Harwood says. “We mocked up several kinds
of service lights, high bay basically, and several forms of
focused lighting and diffused lighting instruments for the
showroom and they generally picked what they liked on
that day. Then we began to draw a prototype design that
could be adapted for every location.”
www.iesna.org
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ed fixtures that wouldn’t clutter an open ceiling design
that it was very proud of. IC ran the photometrics across
the ceiling at a number of different heights to evaluate
the best method of lighting the cars below with the lamp
reflectors available. The objective was to achieve consistent light levels on all the cars regardless of their placement within the showroom. “When we were doing our
mock-up we had various sources from CDMT lamps to
the metal halide PAR lamp. Our goal was to achieve an
ultimate combination of easy maintenance, efficiency
and high level of color-corrected illumination,” says Kelly
Stechschulte, senior designer and project manager at IC.
She continued, “The desired lamp source and reflector
combinations narrowed our choice of fixture manufactur-
IC is unique in that its
headquarters features a mockup
facility large enough to enable
a multiple vehicle indoor
demonstration
A major focus of the showroom lighting was to
create the impression of the fixtures disappearing
into the hangar ceiling. Continuous rows of track
provide ultimate flexibility and a clean look.
Architecture
IC’s first step was to look at the architecture of the space,
which had been developed in Germany by Audi’s own inhouse design team and “translated” to an American specification by Design Forum of Columbus, Ohio.
The main challenge within the showroom was the
curved open “hangar” ceiling structure with heights that
ranged from 14 ft to 30 ft. IC studied the ceiling in
motion from a high to a low position. Also, Audi requestSeptember 2005 LD+A
ers, since not every manufacturer will offer what you’re
looking for. We evaluated several fixtures for the showroom and it came down to three. We demonstrated all
three for Audi using a three-car showroom scenario within our mock-up space and explained the features and
benefits of each in detail. The Audi team selected the fixture that they felt exceeded the established criteria and
would be most complementary to the showroom design
and brand image.” The fixtures, said Harwood, “looked as
though Audi could have designed them themselves.”
Audi chose the Targetti SmartHead (a fixture that IC
developed with Targetti back in 1995) for several reasons.
It allowed the designers to utilize the same lamp with different reflectors. By utilizing the two different reflectors at
the varied heights with the same lamp, the designers were
able to maintain even light distribution and consistent light
levels on the cars regardless of the ceiling height. IC specified a 70 W MH T6 lamp /G12 base because it has a high
CRI (color rendering index) which is crucial when viewing
paint finishes; a long lamp life (12,000 hours) which is
beneficial for maintenance (especially in the high ceiling
space); and a minimal color shift at end of life. Last, but
certainly not least, the fixture was selected because its
curvilinear lines, chrome accent details and cast aluminum
structure emulate the Audi brand, shown both in the cars
and the architecture of the showroom space.
Challenge
In an effort to reduce the significant installation costs
of the previous system, IC suggested continuous runs of
two circuit/two neutral track suspended just above the
47
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Traveling First Class
L
uxury car manufacturer Mercedes Benz wanted to create a meaningful impression for the world première of its Mercedes Benz M-class at the 17th North
American International Auto Show (NAIAS) in Detroit (January 9 - 23, 2005), so
it enlisted the services of media concept planning agency, TLD Planungsgruppe GmbH.
Founded in the late 1980s as a rock and roll theater based lighting rental company,
TLD is now a full service media planning agency with offices in Munich and Stuttgart.
Aside from launching the M-class, TLD was also responsible for showcasing all the
other Mercedes Benz vehicles at the NAIAS. A total of 20 vehicles had to be accommodated in a space of only 2000 sq. m. So a huge architectural sculpture was created by the stand architects, Schindler Architekten. With the show running for two
weeks and the launch of the Mercedes Benz M-class generating so much attention, the
stand had to be robust, yet impressive and stylish, so lighting was a key factor in the
presentation.
Resembling outstretched wings, the sculpture separating back offices and catering
was ground supported and some parts of it stabilized with steel cables connected to the
roof. The sculpture was covered with a special stretch metal surface and used as a medium for information and graphics.
“Presenting so many different models on the stand provided a
challenge as we had to define the separate identity of each vehicle,” said chief lighting designer Richard Profe.
To create a distinction between the vehicles, Profe and his
team animated the sculpture with atmospheric lighting
schemes; LED screens were integrated into the sculpture walls
and films of the different cars were shown. In addition, the
sculpture changed color to match the model of the car being
showcased. As a result, the mood of the stand was constantly,
but subtly, changing. Preprogramming and controlling everything on a Wholehog 3, Profe used over 300 moving lights,
including Mac 2000s and 600s, plus 130 ETC Source Four PARs.
TLD also designed the lighting for the DaimlerChrysler AG
PHOTOS: ANDREAS KELLER ALTDORF
Corporate Boulevard. This was a corporate area which united
the two stands and presented the technological advances made
by the company. Here Profe and his team created an illuminated walkway which ran between the stands and required 31 m of trussing, and was
rigged with 150 moving lights, which were again controlled by a Wholehog 3.
These vehicles had quite an impact (or maybe better said) impression in the automotive world in Motown.
—Roslyn Lowe
48
www.iesna.org
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Targetti Smarthead metal halide fixtures
were specified with two different reflector
types to compensate for the roof pitch.
ceiling trusses. The use of the track (Nordic AluminumGlobal Trac Tek-showroom track) resulted in fewer conduit runs and significantly reduced installation labor and
equipment costs. Continuous runs are not specified in
states with strict energy codes as track is calculated by
the linear foot. IC’s designers also wanted to implement
a time clock controlled night lighting system, since so
many potential purchasers visit showrooms in the
evening. “We felt it was important to keep some of the
showroom lighting on, while still trying to remain conscious of energy consumption,” says Stechschulte. “It’s
important to have lighting in the evening, but you don’t
need the entire showroom lit.”
According to Harwood, visitors barely sense the lighting instruments up in the ceiling. “The scale of the fixture
is so thin, so small, so transparent and the ceiling is so
vast, that by using focused light sources the architecture
was able to jump way past the lighting fixtures, which is
very unusual for any kind of ceiling design where high
levels of light are required. Normally, the lighting instruments dominate the ceiling because you’re trying to
overpower one’s senses onto the product. I think the
solution here was impressive — it impressed me and I’ve
been doing this for 25 years.”
September 2005 LD+A
About the Designers: Ron Harwood, LC, Member
IESNA (1983), is principal and creative director
Illuminating Concepts, which he founded in 1981
and has guided through its 25-year evolution to
become a resource for the practical application of
light and media-driven sensory experiences within
the built environment. IC has assisted in the production of some of the most famous retail prototypes for brands such as Nike, Disney, Warner Bros., Universal, Calvin
Klein, Diesel, Discovery Channel, NBC and Ferrari.
Kelly Stechschulte is a senior designer and project
manager with Illuminating Concepts. During her 10
years at IC, Ms Stechschulte has both led and assisted in the design of some of IC’s most notable projects for major brand entities such as Nike, Jaguar
and Saks Inc.
Kira Crossman is a designer and project manager
with Illuminating Concepts. She graduated from
Michigan State University with a BA in Interior
Design. Ms. Crossman has been involved in a wide
variety of projects including Heron City entertainment centers in Europe, British Airways’ Terminal 7
JFK and the MGM Grand Detroit.
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LIGHTING HELPS MUSEUM EXHIBITS
AND A TEAM SHOP TRACE THE
HISTORY OF THE CINCINNATI REDS
The
BIG
RED
Time Machine
new addition to the Cincinnati Reds’
Great American Ball Park complex is a
facility housing 15,000 sq ft of exhibit
space over two floors, and the new Reds Hall of
Fame and Team Shop. The museum and shop
is just west of the ball park, located along
Cincinnati’s riverfront. In collaboration with
exhibit and store designers at Jack Rouse
Associates and retail designers at Retail Design
Collaborative, Abernathy Lighting Design, N.
Providence, RI, assisted in presenting the his-
A
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PHOTOS: JACK ROUSE ASSOCIATES
torical, dramatic, entertaining story of the
Cincinnati Reds baseball team.
Some of the lighting challenges included a
fast-track schedule, a firm budget, a variety of
ceiling and mounting heights, hanging objects
and exhibits, daylight integration and maintenance.
“The Palace of the Fans Façade” serves as a
backdrop to the 30 ft entry space that begins
the trip back through the history of the team.
The entry way highlights oversized banners
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that mark time, a model of the first stadium
and a 25-ft long replica of a wooden trophy bat
once presented to the Reds. To enhance the
patron’s first impression, the space is lighted
utilizing metal halide wall washers and pattern
projectors with light levels controlled via colors
and blocking screens. Low-voltage accents create another layer of lighting emphasizing
didactic panels.
Visitors are then led through doors to a themed
theater that takes them back to Crosley Field, the
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team’s former home. The lighting concept for
this theater was to enhance the “surround” sky
conditions, allowing a transition from day games
to night games. The luminaires, located on the
canopy above the seating, illuminate all four
walls with a warm and cool color wash blending
for an active ball park sky. Layered on top of the
wash, a dozen pattern projectors give dimension
to the painted clouds. Replicas of the Crosley
Field light towers are practical, providing a powerful cue when the night games begin.
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“The Palace of the Fans Façade” marks
the beginning of the trip back through
the history of the team. Wall washers,
pattern projectors and accent light set
the tone.
Upper Exhibits
Upon exiting, the visitor climbs three stories.
The stairwell exhibit houses an impressive 50
ft “Wall of Balls” that includes 4256 baseballs—
the number of hits Pete Rose had during his
career. Grazing light across the balls creates an
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awesome nighttime view of the riverfront of
Cincinnati and Kentucky, piquing the interest
of potential visitors.
The main exhibits on the upper level touch
on many aspects of the game. The “Annual
Parade” focuses on Cincinnati’s Opening Day
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The lighting in a Crosley Field
themed theater transforms the
sky from day conditions to night.
A stairwell exhibit includes a
50-ft high “Wall of Balls,”
one ball for each hit in Pete
Rose’s career. Light grazes
across the balls, creating an
appealing nighttime view
from the riverfront.
experience; the “Front Office” addresses the
business of baseball; and “Play Ball” features a
large gallery that combines an opportunity to
learn more about the Reds’ players with the
chance to engage in the experience of being on
the field. The “Play Ball” gallery is divided into
September 2005 LD+A
four sections: fielding, hitting, running, and
pitching and catching. Each space includes
graphics, large photo murals and memorabilia
(artifacts) intermixed to tell the story of the
Reds. The space needed to be bright for the
fast ball and hitting interactives so designers
employed themed “area light” carefully placed
around the exhibit walls using metal halide and
low-voltage accents. Integral dimming on the
low-voltage units and the use of color and
screens throughout the exhibit allowed for
powerful lighting of the exhibits, while isolating
artifacts at the required artifact light levels.
Finally, the “Ultimate Fan Room” was
enhanced through “themed” basement lighting including a dropped ceiling and recessed
“eye ball” adjustable luminaires, controlled via
a small dimming system to set the mood.
The circular “Glory Days” gallery highlights
the championship teams; receiving special
attention is the Big Red Machine of the 1970s
with eight life-size bronze figures. Visual
enhancement is achieved through pendantmounted segmented track lighting that maintains the circular environment without busting
the budget. Wall washing luminaires create the
even light, while accent luminaires appear to
bring the two dimensionality of the wall into a
three-dimensional realm. Pattern projectors
provide sculpting shadows on the bronze men
of the Big Red Machine. The Reds’ three World
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“The Ultimate Fan Room” exhibit is enhanced
through basement lighting including a dropped
recessed ceiling and recessed eye ball adjustable
luminaires controlled through a dimming system.
Please Visit Our Team Shop
The “Glory Days” gallery includes eight
life-size bronze figures. Pendant-mounted
segmented track lighting, wall washing
luminaires and accent light are used.
Championship trophies are highlighted in the
center of the room, purposely positioned
under a floating ceiling. Recessed adjustable
accent lights highlight the trophies with color
and dramatic angles.
The “Hall of Fame” gallery, the last gallery, is
mystical. Plaques, seemingly suspended in air,
are displayed on free-standing towers. Each
tower holds eight plaques, each honoring a legendary figure in team history. The experience
is completed by the sounds of great moments
and by a low-voltage lighting system of varying
degree MR-16s that wash the wall, and AR-111
lamps that illuminate each plaque. The MR-16
lamps bring forward a hint of the club’s team
colors. The black glossy floor in this instance
creates a magical sparkle.
54
Visitors exit the Cincinnati Reds Hall of Fame
down a three-story stairwell to enter the twostory team shop. The task in this space was to
continue the celebration of the ball club’s 135year history. The lighting challenges facing the
design team included three exterior window
walls providing ample daylight and bright interior finishes (white and red) that reflect the
Reds’ team colors. As a result, lighting was integrated into each ceiling level, as well as within
the customized display cases. Metal halide
area lights created the necessary ambient light
as well as night time lighting. Track lighting
illuminates merchandise displays through PAR
metal halide and low-voltage AR-111 accent
lights. Display cases integrated low-voltage systems with MR-16 adjustable heads.
Custom bent conduit over the “C” logoshaped counter carries the necessary electrical
power bringing the pendants to the desired
height, defining the location of the cash wrap for
the patron. Circular truss and schedule 40 pipe
provided unique hanging positions for the lighting in this 50-ft tall area. Metal halide theatrical
pattern projectors employ rotating patterns
adding shadow play across the trophy as well as
the five oversized baseballs. Low-voltage 240-W
PAR 56 c-clamp mounted adjustable heads illuminate the circular mercha34p5.064ndise display. A metal halide and low-voltage lighting system is attached to horizontal structural steel
allowing light to accent the displays at pedestrian level, attracting fans from the outside.
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Three-story windows give the building a
strong exterior nighttime presence. The distinctive quality of light from the good color rendering metal halide luminaires combined with the
reflective qualities of the oversized gold World
Series Trophy, the oversized baseballs and the
white and red team color interior, create a cornerstone attraction to the plaza addition at the
Great American Ball Park.
In the retail area, the exterior window walls providing ample
daylight and the bright interior white and red finishes (matching the
team’s colors) contributed to the lighting challenge. Below,
custom-bent conduit over the “C” logo-shaped counter carries the
necessary power bringing the pendants to the desired height.
About the Designers: Katherine C.
Abernathy, LC, Member IESNA (1990),
IALD, is principal lighting designer with
Abernathy Lighting Design. Ms.
Abernathy’s experience encompasses
both architectural and theatrical lighting design, and she has been recognized with a number of national and
international design awards. Prior to opening her own firm
in July 2001, she was senior associate at Available Light in
Boston, MA. Previously, she worked for Randy Burkett
Lighting Design in St. Louis, MO. Ms. Abernathy holds a
BFA in Stage Design from Webster University and earned
a Post Graduate Certificate of Merit from Croydon College
in London, England. She has served as vice president and
president of the IESNA New England Section and currently serves as a director-at-large on the IALD board.
Tayva Kilburn, Member IESNA (2005),
is an assistant lighting designer with
Abernathy Lighting Design. She holds
a BFA in Theatrical Design from Texas
Tech University and a MFA in Lighting
Design from Brandeis University.
Projects include both the museum and
retail aspects of the Singapore Island
Resort of Sentosa, the Arab American National Museum in
Dearborn, MI, and the National Underground Railroad
Freedom Center in Cincinnati, OH.
Christopher A. Abernathy, associate
lighting designer, currently serves as
associate professor for the Department
of Music, Theatre, and Dance at Rhode
Island College. Since the inception of
Abernathy Lighting Design, he has collaborated on several projects such as
Chisholm Trail Heritage Center,
Technology Center at Coalbrookdale, Ironbridge, the Green
Bay Packers Hall of Fame Green Bay, MI, and National
Underground Railroad Freedom Center, Cincinnati, OH.
Jason Rainone, assistant lighting
designer, is based in New York City
and focuses primarily on theatrical
lighting design. He has designed for
numerous organizations in New York,
as well as for regional theaters from
Vermont to Florida, including the
Worcester Foothills Theater, Northern
Stage Company, Seaside Music Theater and The
Cumberland County Playhouse.
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PHOTO: VILMA BARR
P
Extreme
Make overs
FOR A NEW GENERATION OF SPAS AND SALONS, LIGHTING IS MORE THAN
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www.iesna.org
COSMETIC
September 2005 LD+A
By Vilma Barr
once de León’s Fountain of Youth may not be all
fable and hearsay after all. Look around. The
promise of life-long beauty and appealing good
looks is bubbling out of a broad assortment of venues,
from intimate and urban, to spacious and lively. They
all present illumination challenges that lighting professionals are creatively solving.
Consumers can go around the corner or travel thousands of miles for their beauty fixes. They can take 20
minutes to refresh their hair style in a trendy Paris salon.
In Las Vegas, they can spend a whole day enjoying a
massage and facial using crushed pearls. Others may opt
for a wrap with imported Romanian white mud in New
York City. If a total makeover is on their schedule, they
can take advantage of a dietary and beauty regimen created by a celebrity dermatologist/wellness specialist.
And, of course they are reminded to purchase the same
products to take home, too.
Spa patrons come in all age ranges, with men a fastgrowing segment of the market. In the U.S., demographics show that there are more people around to
take advantage of the self-pampering appeal of the fullservice spa and salon. Current life expectancy is nearly
78, an eight-year increase from 1970. There are also
approximately 296 million Americans today, 90 million
more than the total U.S. population 35 years ago.
Lighting plays a critical role in communicating the
mood of such environments. “Spas are the up-and-coming amenity for resorts and hotels,” said G. Michael
Gehring of Kaplan Gehring McCarroll Architectural
Lighting, Santa Monica, CA, lighting designers for the Spa
& Salon Ballagio in Las Vegas, NV. “The importance of
the spa experience to the guest represents a benefit to
the property, and more operators are expanding existing
spa facilities or installing new ones,” he pointed out.
“It’s part of the wellness trend,” Gehring explains.
“Life is so frantic today; it’s become important for people to take a few hours for themselves, to get some rest
and serenity.” His firm was responsible for lighting of
Bellagio’s original 29,000 sq ft Spa & Salon. Now nearly two-and-one-half times larger, the 65,000 sq ft Spa &
Salon Bellagio is located in the new $375 million, 928room Spa Tower addition.
Sven Van Assche, vice president of design for MGM
Mirage Design Group, concurs with Gehring’s comments on the consumer appeal of the ultra-upscale spa
and salon. “The spa has become an event and destination of its own in the past few years. Introducing the spa
experience is a growing market for us, offering variety
and opportunity for the customer.” Van Assche adds
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that the hospitality industry has
begun to actively promote the
potential of the spa market as an
income generator. “We will begin to
update spa facilities in other MGM
Mirage holdings.”
Everything Zen
At the Bellagio, the Spa & Salon’s
architecture is based on the natural
philosophies of Zen. Reflecting
pools, water walls and illuminated
aqua-colored glass and Nepphrite
Jade are used throughout. Interior
design was by Marnell Interiors, Las
Vegas, NV, which also selected the
decorative sconces and pendants
used throughout the facility.
Exotic treatments such as Thai
Yoga massage, Indian Head massage
and Balinese massage are offered in
56 treatment rooms. There are 12
skin care rooms with private showers and a 6000 sq ft fitness center
overlooking the pool and the
Mediterranean
gardens.
The
Meditation room is surrounded by
water walls. Glowing shelf-mounted
candles accentuate the flowing
water. The Bamboo studio is a 1000
sq ft exercise room with bamboo
flooring for such classes as Pilates,
kickboxing and yoga. The Salon has
facilities for 18 stylist stations, a waxing and facial room, and a private
manicure/pedicure room. Bellagio
also created amenities and a treatment menu especially for men
including a private Barber Room.
Gehring described the lighting
program as enhancing the “cool,
sophisticated and elegant” Bellagio
Spa & Salon experience achieved by
the architecture and interior design.
Customers, he pointed out, have the
impression that the space is lighted
by the decorative fixtures they can
see. “The mood is soft and nurturing,” Gehring said. Most of the architectural ambient and feature lighting
fixtures are out of sight. MR16 fixtures beam light onto the area
around the top of the head at each
stylist’s station. Facial shadows are
dispelled by wall-mounted sconces.
Wallwashing, accents and some
downlighting was achieved with
CSL Jewel Light 9871-DX slot aperture fitted with GE 40-W fluorescent
lamps. Fluorescent and neon were
installed in coves where Gehring’s
design utilized one-lamp T8 staggered strips, and 15MM 2800 warm
white neon. For visual interest,
color-changing LED fixtures were
installed in coves and ceiling pockets. The jade floor tiles are also
accented with LED lighting. Lutron’s
7000 control system creates a spectrum of color light patterns and
lighting levels throughout the public
and private spaces.
The Beauty/Wellness Niche
More than twice as large as the original, the new 65,000 sq ft spa at the
Bellagio uses lighting to enhance the “cool, sophisticated, elegant” experience.
BELLAGIO PHOTOS COURTESY MGM GRAND
In the salon, illumination for specific detailed tasks, such
as hair cutting, requires shadowless lighting for the stylist.
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Far removed from the 24/7 pulsating beat of the Las Vegas Strip,
on New York City’s tony upper
Madison Avenue, is the cosmeceutical flagship of Dr. Nicholas V.
Perricone, M.D. His total life-style
regimen encompasses a dietary
program of nutrients, supported by
exercise and the external application of products of his own formulation. A practicing dermatologist
based in Meriden, CT, Dr. Perricone
is an acknowledged pioneer in
studying how inflammation interrelates with aging. He holds dozens of
patents based on his research,
translated into a handsomely packaged line of skin care products sold
in over 200 stores, including
Nordstrom and Sephora.
Gary Steffy, principal designer of
Gary Steffy Lighting Design Inc.,
Ann Arbor, MI., created the lighting
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PERRICONE PHOTOS: ROBERT MITRA
Design of the two-level Perricone salon
considered daylighting, color rendering
and energy issues. “There wasn’t a need
for high-contrast theatrical lighting,” said
designer Steffy.
to flatter skin tones and emphasize
the store’s elegant materials. The
2100 sq ft two-level space is in a
century-old landmark building with
large windows on both floors. On
the ground level are product displays, with an exposed staircase
leading to the balconied second
floor that houses the library, information center and consultation
rooms.
Architect Gary Rossbach of
Facility Matrix Group, Bloomfield
Township, MI, said he based his
design on Dr. Perricone’s philosophy that beauty is a reflection of
what is going on in the body. “His
theories go far beyond selling product,” Rossbach noted. “The design
of the store environment had to
September 2005 LD+A
‘The importance of the spa experience to the
guest represents a benefit to the property,
and more operators are expanding existing
spa facilities or installing new ones’
translate his principles into a space
that is inviting and comfortable...where visitors can gain
knowledge to improve not only
their looks but how they feel.” His
material selection incorporates
stone walls and floors, transparent
panels for the stairway and balcony
and burgundy leather covering the
stairway wall.
Steffy, who previously created the
lighting for the Elizabeth Arden salon
and boutique on New York’s Fifth
Avenue, points to such cosmeceutical venues as Dr. Perricone’s as a
hybrid niche in the beauty/wellness
market that is fast attracting a growing following of repeat customers.
For Dr. Perricone’s center, Steffy had
to bring daylighting, color rendering
and energy issues together. His solution combined elements of residential and hospitality lighting.
Daylighting from the large windows on the Madison Avenue and
the 67th Street frontages, ambient
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PHOTO: VILMA BARR
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Philips Lighting’s 25-W PAR38 lamp and ballast
(in one screw-in unit) provides both ambient and
accent illumination at the new Sephora location.
lighting and subtle spotlighting
bring soft illumination to all parts of
the space. “There wasn’t a need for
high-contrast, theatrical-type lighting here,” said Steffy. His design
combines 3000 deg K tri-phosphor
fluorescent and ceramic metal
halide lamps. Where emphasis was
needed, it is provided by a low-voltage halogen source utilizing IRC
infrared MR16 lamps from Philips.
Overhead coves on both levels have
T5 fluorescent lamps. T5s also backlight the glowing translucent display
walls.
Throughout, a CRI level of 83 is
maintained. “Anything higher is less
efficient,” says Steffy, who encountered structural integration challenges when implementing the
lighting design. The current renovation spanned two adjacent buildings
60
and required extensive bracing and
new beams. Space for luminaire
installation
was
significantly
restricted, so Steffy had to make his
lighting program functional with fixtures that fit into shallow plenums.
Ceramic metal halide and MR16
lamps have transformers in the
housing. A total of 3.5 watts per sq
ft was achieved, a level well within
the New York energy code usage
level for a retail establishment.
in a colorful, high-density display
environment, Sephora’s price
points range from top-of-the-line
brands like Dr. Perricone’s to affordable mid-market product lines. The
5700 sq ft L-shape store features
high ceilings and full-height southfacing front windows.
Kim Klingler, Sephora’s North
American director of construction,
was on hand in June at the opening
of the store, the first in the chain in
the U.S., to be fitted with Philips
Lighting’s 25-W PAR38 MasterColor
Integrated lamp that combines
lamp and ballast in one screw-in
unit. Klingler said he specified the
lamp shortly after its introduction
earlier this year for both ambient
and accent illumination. He cited its
10,500-hour rated life and higher
output, which Philips pegs at 25-W
equal to a 90-W halogen.
Philips sent an audio/video team
to record the opening. The footage
will be shown to Philips employees
and for other promotional and
training purposes.
Is the spa/salon star still ascending? Lighting designer Gehring
thinks one of the drivers is a fairly
strong economy. Mid-year consumer spending results support this
observation. Retail reporting services predict that near-term spending should remain favorable as job
gains continue upward.
So, if you have a chance to design
the lighting for a new spa or salon,
it could be a very interesting assignment. It’s certainly not your grandmother’s beauty parlor sporting
oversize bonnet dryers, or your
dad’s three-chair barber shop.
Rather, it could be a new spout from
the Fountain of Youth.
Urban Oasis
About five miles south of Dr.
Perricone’s soft-sell, open-space
approach to beauty, international
mega-chain Sephora opened its
100th store in the U.S., this one facing New York’s busy Union Square.
Known for its broad assortments of
perfumes and beauty products sold
About the Author: Vilma Barr is a contributing editor on retail store design and lighting to
several magazines published in the U.S. and
overseas. She is manager of Barr Publicity &
Editorial Services, Philadelphia, PA, an editorial and promotional consulting firm. Ms. Barr
has written, co-authored or edited 10 books
on retailing and design.
www.iesna.org
PHOTOS: MIKE FOOTE, OSRAM SYLVANIA
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A post-retrofit view of the
Clifton, NJ, Sports Authority
location where 261 T5 fixtures
replaced 240 HID fixtures.
Covering All The
Bases
hat do you get when the two largest sporting
goods retailers in the U.S. merge? A retail juggernaut comprised of nearly 400 stores...and
almost as many lighting layouts. Well, not quite, but the
August 2003 merger between Number 1 (The Sports
Authority) and Number 2 (Gart Sports Company) was the
catalyst for The Sports Authority, Inc. to survey the lighting in its 393 outlets. The stores operate in 45 states
under The Sports Authority, Gart Sports, Sportmart and
Oshman’s names. The survey of all locations was expected to be completed in August 2005.
The Sports Authority enlisted SYLVANIA Lighting
Services to survey the properties, starting with the
Clifton, NJ, retail outlet (see sidebar), and provide a light-
W
September 2005 LD+A
A CORPORATE MERGER LED
TO A LIGHTING AUDIT AND
RETROFIT AT NEARLY 400
SPORTS AUTHORITY STORES
ing program that would address the need for energy-efficient and aesthetically pleasing retail space.
Overseeing the initiative is director of facilities
Jacqueline Hokuf, who is responsible for The Sports
Authority’s facility and energy management programs.
Previously, she was employed by Gart Sports Company
as its energy manager. Hokuf describes The Sports
Authority’s lighting program in this Q+A discussion.
Why did The Sports Authority decide to perform a
lighting survey of its stores?
Hokuf: A survey was needed because with corporate
acquisitions and mergers, the lighting varied significantly from store to store. Our stores had many different
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designs, layouts and different types of lighting fixtures.
With our national presence, the energy prices also varied
significantly across markets.
What are The Sports Authority’s goals regarding
lighting?
Hokuf: We wanted to increase the overall lighting output and color rendering output across the stores, particularly on the apparel pad. We wanted a lighting fixture
that would maintain the majority of its lighting output
over the life of the bulbs. We targeted stores for T5 lighting retrofits as remodel stores with the highest potential
energy and maintenance expense savings. The
Northeast, California and Florida markets were the most
attractive in energy expense reductions. Many of our
existing HID fixtures were installed in the mid and late
1980s, and they were approaching the end of their ballast life. The HID electrical tracks used in many stores
were very dated and expensive to replace.
How did the variety of layouts across Sports
Authority outlets impact the lighting strategy?
Hokuf: The lighting retrofit paralleled store remodels,
which included significant changes to merchandise fix-
62
Before the fixture change-out in Clifton, NJ,
light levels ranged from 35 to 60 fc. After
installation (above), they measure between
75 and 85 fc.
turing. We created three different lighting options to align
the most cost-effective lighting design to the individual
store’s needs.
• If the store was a remodel and it lacked adequate fixtures throughout, we added fixtures to all areas of the
store. This design was applied to the new merchandise
plan to align the placement of all light fixtures with the
new merchandise fixtures.
• If the existing lighting design was deficient in the cen-
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Line-up Change
F
Energy efficiency and the need to create aesthetically
pleasing retail space were the two goals of the Sports
Authority’s lighting audit. Pictured are before and after
(below) shots of the Clifton location.
ter of the store, we added fixtures to only the store’s
center, to achieve a minimum of 75 fc on center, while
maintaining existing fixture counts on the perimeter.
• If the store had an acceptable number of existing fixtures, we chose the least-cost option, which was a 1:1
fixture replacement.
Has The Sports Authority calculated the ROI from
this lighting survey and retrofit?
Hokuf: Most of the stores we retrofitted had an average payback well under 2.5 years. Stores in the California
markets with rebate incentives were averaging under 1.5
years and the Northeast stores were near that range.
September 2005 LD+A
irst up during The Sports Authority’s lighting
retrofit program was the Clifton, NJ, store
where HID fixtures equipped with 400-W
metal halide lamps have been replaced by four-lamp
T5 high-output fixtures. Prior to the change-out by
SYLVANIA Lighting Services (SLS), the average light
level on the sales floor was less than 45 footcandles
and lighting energy costs were upwards of $54,000 a
year.
Before specifying the new lighting system, SLS digitally replicated the 43,891 sq ft store using advanced
photometric software (AGI32) from Lighting Analysts,
Inc. The T5 fixture (using SYLVANIA Pentron lamps)
was selected for its brightness and energy savings
potential (more than 200 watts per fixture).
SLS removed the 240 HID fixtures from the store
and installed 261 T5 fixtures. Before the retrofit, light
levels were between 35 and 60 fc. Now they measure
between 75 and 85 fc. The payback period for the
project was 1.65 years. As a result of the retrofit in
Clifton and seven other test stores, The Sports
Authority is expected to install more than 20,000 T5
Pentron fixtures in 90-plus locations during 2005.
—Paul Tarricone
What about the lighting of future Sports Authority
locations that are not part of the current survey? How
will lighting design decisions be made for these locations? Are you considering alternative techniques
such as daylighting, or will new stores adopt techniques currently being used in the retrofit program?
Hokuf: The new stores are using T8 fluorescent lighting for overhead lighting. We receive some daylighting
support from our glass front exteriors. We are not considering the use of daylighting in our current lighting
retrofits.
What is the role of lighting in the context of Sports
Authority’s overall facilities management program?
Hokuf: Store lighting is clearly a differentiating factor
in the overall attractiveness of a store. As lighting continues to improve the attractiveness of our stores and products, facility management will continue to look for ways
to improve upon and maintain our store lighting.
—Paul Tarricone
63
. . . . . . . . . . . . P. R O
. J. E .C T. . . . . . . . . . . . .
Built to
Last
FAÇADE AND INTERIOR
LIGHTING HAS RESTORED NAPA
VALLEY’S UNIFIED SCHOOL
DISTRICT EDUCATION CENTER TO
ITS FORMER SPLENDOR
uildings and boxers are similar in the sense that
physical abuse to their exteriors is a fact of life.
Sure, the hits and licks come with the territory,
some more damaging than others, but after the dust
settles, they can be restored to a stature that is greater
than their former selves.
The Napa Valley Unified School District Education
Center has had such a storied history. Originally built
in 1922 as the Napa Union High School, the structure
was gutted by fire in 1937 and then rocked by an
earthquake in 2000 that damaged the school’s drama
classrooms and music facility. Following the earthquake, the center was immediately closed, but two
months later, underwent a $100,000 reconstruction.
With the major structural problems repaired, the
school staff was given access to their administrative
offices, but the auditorium remained unusable.
In 2001, Mark Quattrocchi and project architect, Jon
Stong of Quattrocchi Kwok Architects, commissioned
Peters & Myer, The Lighting Design Studio of
O’Mahony & Myer, San Rafael, CA, to design both the
interior lighting and exterior façade lighting for the
62,000 sq ft facility. Don Evans, Napa Valley Unified
School District’s administrator for general services and
B
PHOTOS: TIM MALONEY, TECHNICAL IMAGERY STUDIOS
Recessed downlights provide the ambient lighting layer,
recessed adjustable downlights accent architectural elements,
and glowing wall sconces and pendant create sparkle.
65
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P R. O. J .E C. T . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Glowing bollards guide the viewer toward the entry while
decorative pendants change the facade lighting from soft
wash to grazing uplight to general illumination.
facilities, oversaw the project, which was completed in 2004. The district’s goal was to help
revitalize the area, and restore the stature of
this historic and picturesque building, in addition to providing state-of-the-art offices for district personnel and theatrical space for the district’s surrounding high schools.
To restore the building’s nighttime presence,
light was delicately painted over the stucco
façade. One of the challenges in illuminating
the façade was the fact that the building was
set so far back from the road. To overcome
One of the challenges
in illuminating the façade
was the fact that the
building was set so far
back from the road
this, full cut-off metal halide luminaires (Kim
Lighting) were used to illuminate the roadway
and parking areas in order to minimize the
impact of the site luminaires on viewers as
they passed by the building. Light patterns
were manipulated on the façade with in-grade
asymmetric 3000K metal halide wall washers
on the outside wings of the building and
3000K metal halide PAR lamp accent lighting
(Phoenix Lighting) in the center of the façade
to reinforce the subjective impression of drama
66
at the entry. Indirect/direct linear fluorescent
pendants (Ledalite) in the perimeter offices
and classrooms were specified to augment the
“light box” effect within the building. Metal
halide bollards with softly glowing tops accentuate the perspective of the approach and reinforce the symmetry of the architecture.
Take Your Seats
The 680-seat auditorium is the crown jewel
of the building. Equipped with a full theatrical
fly loft, the auditorium is used by all of the surrounding district high schools for various theatrical arts and music programs. The challenge
here was to recreate the 1920s look of the auditorium while bringing the lighting, acoustics,
theatrical and audio/visual systems into the
21st century. Halogen lamps were specified to
replace standard incandescent lamps and fluorescent lighting in the fly galleries provides
energy efficient work lighting for stage set
building. Light levels were boosted in the auditorium through the use of tight beam halogen
ellipsoidal downlights in the high ceiling areas.
Open halogen A-lamp downlights provide the
general lighting above and below the balcony
in the low-ceiling areas while wall washers and
accent lights along the back and sidewalls
respectively reinforce the sense of the geometry of the space. Kurt Versen supplied all the
downlighting, wall washers and accent lighting
in the auditorium.
www.iesna.org
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P .R O. J .E C. T . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The use of recessed fixtures presented a challenge that is often encountered in renovation
work. Fixture locations had to be coordinated
with existing structural members, so that the relatively conspicuous pattern of apertures looked
symmetrical in the ceiling from the occupant’s
point of view. Two rows of wall sconces, one
mounted higher on the wall than the other,
which aesthetically match the architectural style,
are located along the sidewalls of the auditorium
to give a layer of sparkle to the room as well as
accentuate the height of the space.
In addition to fluorescent work lighting
mounted at the various levels of the fly loft galleries, the auditorium is equipped with a full
theatrical lighting and dimming system. The
house lights are also on the theatrical system
so transitions between house and theatrical
scenes are seamless. Here, due to the difficultly in recessing fixtures in the proscenium soffit, the theatrical lighting is used to illuminate
the proscenium wall.
Energy efficient sources are used throughout
the remainder of the project. To reinforce the
historical references to the original design,
glowing schoolhouse pendant fixtures fitted
with compact fluorescent lamps are used in
the corridors to fill the area with light and to
visually help break up their overwhelming
length. Large, traditionally styled pendants
mark the transverse axis of the corridor at the
entry to the building. Adjustable MR-16 accent
lights accentuate the old Napa High Indians
floor emblem.
Meeting Adjourned
The building also hosts the Napa Valley
Unified School District School board meetings.
The boardroom lighting was a particularly critical challenge because it had to accommodate
all of the modern accoutrements of today’s
technically demanding meeting environments,
including monitors, projectors and other A/V
equipment. The schoolhouse pendants aesthetically refer back to a less complex time in
history, while dimmable (Prescolite) compact
fluorescent downlights provide general lighting. Monopoint mounted MR-16 accent lights
with acoustically isolated remote transformers
(Lightolier) provide accent lighting for school
board members. Wallbox dimming controls
(Lutron) were utilized to provide maximum
flexibility of the lighting within the room while
keeping the cost down. The second floor corri-
September 2005 LD+A
Old and new aesthetic instruments
are used simultaneously to meet the
functional demands of the boardroom.
dor is illuminated with a lay-light system with
concealed, fluorescent striplights (Lithonia)
flanking the edges of the skylight well.
With its prominent look and improved lighting layout, the The Napa Valley Unified School
District Education Center building stands strong
in the heart of northern California’s wine country. You can’t keep a good building down.
About the Designers: David Orgish,
Member IESNA (1995), is the principal
lighting designer for Peters & Myer. Mr.
Orgish has worked in the lighting
industry since 1991 designing houses
of worship, libraries, retail malls and
stores, outdoor landmarks, offices,
schools, residences, and private art collections. Prior to joining Peters & Myer, Mr. Orgish was
product design manager for an international lighting manufacturer. He has also developed custom applications for
fiber optics, artifact display shelves and custom lighting
fixtures. Mr. Orgish holds a bachelor of fine arts degree in
Industrial Design from the California College of the Arts in
San Francisco where he is currently an adjunct professor.
Jan Myer, Member IESNA (1982), is a
principal designer of Peters & Myer,
and has more than 30 years of design
experience in the electrical construction industry. Many of his completed
lighting installations have been recognized with design awards from industry
associations such as IESNA. Mr. Myer
was educated at California Polytechnic State University.
67
THE IESNA COMPUTER COMMITTEE PRESENTS THE RESULTS
OF ITS SURVEY OF PRODUCTS AND APPLICATIONS
D
I
R
E
C
T
The 2005 Software Directory was developed by the IESNA
Computer Committee and is divided into three sections:
• Lighting Design Software—Software used in the design and
analysis of an interior or exterior space or spaces.
• Luminaire Design Software—Software used in the design and
analysis of reflector, refractor and/or optical systems.
• Specialty Software—Software that does not fit either of the
above two definitions.The Specialty section is further divided into
several subsections.
The committee distributed the survey to 60 companies.
Respondents were asked to list each software title in only one category.The 2005 directory was finalized in June.
Participation in the survey is voluntary and inclusion of a product does not imply endorsement by the IESNA Computer
Committee or LD+A. If your company would like to participate or
you use software that you would like to see added to the directory in a future issue, please contact the IESNA Computer
Committee for more information (David [email protected]).
September 2005 LD+A
O
R
Y
2005
05
Lighting
Software
69
L
I
G
AGI32
(pronounced A.G.I. thirty two)
$1295
AutoLUX
$869
H
T
I
N
Lighting
Analysts, Inc.
www.agi32.com
Independent
Testing
Laboratories Inc.
www.alux.org
LITESTAR/
Litecalc - Basic
€250
OxyTech Srl
LITESTAR/
Litecalc - Premium
€1300
OxyTech Srl
Lumen Designer
$595
Lighting
Technologies Inc.
www.oxytech.it
www.oxytech.it
www.lighting-technologies.com/products/lumen
designer/overview.htm
Lumen Micro
$595
Lighting
Technologies Inc.
www.lighting-technologies.com/products/lumen
micro/lm.htm
70
G
D
E
S
I
G
N
AGI32 is a 3D lighting design and rendering program for electric lighting and daylight analysis.The software produces radiosity and ray-traced
renderings as well as exhaustive numeric computations for all applications of electric lighting and daylighting in interior and exterior projects.
Specialty calculations such as roadway, tunnel and glare are also incorporated. Complex architectural environments are easily created internally, or imported via DWG or DXF format CAD files.A comprehensive library of manufacturers’ lighting product data is included. Single
user license,includes first year maintenance and support,annual renewal is $400. Local and Wide area network licensing available.
AutoLUX runs 100 percent inside AutoCAD—you manipulate
luminaires and calculation points as AutoCAD objects. Freely use
Move, Copy, Erase, Array, Rotate, other AutoCAD commands.
Calculation results are AutoCAD text entities and contour polylines. Specialized Roadway features, powerful symmetry feature for
sports lighting, calculate on curved surfaces, much more. AutoLUX
supports all versions of AutoCAD from 2000 forward. The website
has details for support pricing and multi-license discounts.
Litecalc is a complete lighting package for indoor, outdoor, road and
tunnel lighting. It supplies calculations, renderings and ray-tracings
for every aspects of your project. It manages 2D and 3D DXF files.
Litecalc is a complete lighting package for indoor, outdoor, road and
tunnel lighting. It supplies calculations, renderings and ray-tracings
for every aspects of your project. It manages 2D and 3D DXF files.
The premium package includes phone and e-mail technical support
and program upgrades for one year.The premium package is renewable every year for €500.
Lumen Designer is the next generation in lighting design software.
Designer was developed to model any geometry in an easy-to-use,
intuitive interface. Designer includes a built-in, professional CAD
system that includes object snaps, dimensioning, DXF/DWG support and many advanced features. Designer’s material library
includes diffuse, specular, textured materials, and the ability to
model custom materials. Photo-realistic renderings are included.
Price includes email/fax support plus maintenance releases. Price
includes an international database of lighting products.
Lumen Micro has been an industry standard for lighting design calculations since it defined the industry in 1982. Lumen Micro incorporates interior, exterior, and daylighting in an easy-to-use interface.
Some geometric limitations do apply to Lumen Micro models—see
Lumen Designer for advanced modeling. Supports DXF/DWG
import and export. Price includes email/fax support plus maintenance releases. Phone support is additional.
www.iesna.org
L
I
G
H
T
I
N
GENESYS III
Consult Factory
Canlyte Inc.
GENESYS Lyte
Consult Factory
Canlyte Inc.
Visual Basic Edition
Free
Acuity Brands
Lighting
www.genesysiii.com
www.canlyte.com/glyte/index.html
www.visuallightingsoftware.com
Visual Professional
Edition
$100
September 2005 LD+A
Acuity Brands
Lighting
www.visuallightingsoftware.com
G
D
E
S
I
G
N
GENESYS III is a full-fledged 3D lighting design and rendering program. The user-friendly interface creates all levels of architectural
spaces quickly and accurately. Design a complex project in minutes
using the Wizard, or tap into an extensive set of tools and robust
CAD system to model anything your imagination can conceive.
Illuminate the space accurately with automated tools, a vast product database, and a rich library of realistic objects and materials.
Visualize how the space will actually look and produce the answers
you need quickly with extensive output, photo-realistic renderings
and DXF/DWG importing and exporting. Technical support is
included with this software.
With GENESYS Lyte you can create quick and easy lighting layouts
in the time it takes for you to get a coffee. GENESYS Lyte has been
designed with you and your customer in mind.This easy to use software will guide you through indoor, outdoor and economic projects
with ease. Create professional lighting layout and comparisons
while your customer is still on the phone! With Canlyte’s leading
edge electronic catalogue, finding detailed product information is a
breeze. GENESYS Lyte is ideal not only for those who do lighting
everyday, but for the occasional users as well.
The Visual Basic Edition provides quick design, analysis and documentation of simple interior spaces where uniform horizontal illuminance is the primary goal. Office spaces, classrooms, warehouses
and other open areas can be designed in minutes.The Basic Edition
incorporates an intuitive interior lighting design tool to provide
step-by-step guidance through the lighting design process.
The Visual Professional Edition provides comprehensive lighting
analysis for complex interior and exterior lighting designs. The
advanced interface represents a unique approach to 3-D modeling
to provide an intuitive and powerful design experience. Import
DXF/DWG files or model the architecture within the software.
Performs fast and accurate direct and interreflected lighting calculations based on the latest advances in radiosity. The Professional
Edition provides customized documentation to communicate the
completed lighting design.
71
L
U
M
I
N
Photopia
$4995
A
I
R
E
Lighting
Technologies Inc.
www.lambdares.com
P
E
C
S
I
G
N
TracePro is luminaire design software with a built-in 3D CAD modeling engine, compatible with over 200 CAD programs; includes database of 400 lamps and LEDs,ALANOD, Sacall,Anafol surface property catalogs.TracePro is also used in optimization of daylighting, design
of light pipes, management of glare etc. TracePro output includes
Candela/Intensity Plots, Irradiance/Illuminance Maps, Chromaticity
RGB, CIE or color coordinates, and luminance. Standardized flux and
candela output is available in both IES and Eulumdat formats.$825 per
yearly maintenance, support and upgrade.
Lambda
Research
Corporation
S
E
Photopia is the #1 luminaire design software in the world.This fast
and accurate photometric analysis software produces comprehensive performance evaluations for non-imaging optical designs.
Photopia allows you to produce virtual luminaires in a fraction of the
time and for a fraction of the cost of physical prototypes. New
Parametric Optical Design Tools automatically produce optical
designs based on your design parameters. See the website for support and pricing details.
www.lighting-technologies.com/
products/photopia/photopia.htm
TracePro LC
$5500
D
I
A
L
T
Y
CATALOG DATA
MANAGERS
LITESTAR/Lisdat
Free
OxyTech Srl
www.oxytech.it
ECONOMICS
Economic Viewer
Free
Acuity Lighting
Group, Inc.
www.acuitybrandslighting.com/
lightware/software/economic
_viewer/
Simply Economics
$195
Lighting
Technologies Inc.
www.lightingtechnologies.com/
products/simply/simplyeconomics.htm
72
Lisdat is a complete tool for Liswin db creation. It allows to manually input data into the program db or to import an Access db file.
Economic Viewer allows the user to perform simple financial comparisons between lighting alternatives. Whether investigating the
economics of a renovation project or deciding between options in
a new construction project, the Economic Viewer considers both
initial and annual costs to determine payback periods and internal
rate of return. Comparing up to five lighting systems simultaneously, the Economic Viewer also provides graphical comparisons of
accumulated costs over the life of the system in present day dollars.
Simply Economics is part of LTI’s Simply Lighting suite of easy-to-use
tools developed for specific lighting applications. Simply Economics
provides a simple, step-driven approach to determining the cost of
a lighting system over its life.This is ideal for retrofit analysis or cost
comparison of alternative lighting systems. Up to four systems can
be compared simultaneously. Price includes email/fax support plus
maintenance releases.
www.iesna.org
ELECTRONIC CATALOGS
LITESTAR/Liswin
Free
OxyTech Srl
www.oxytech.it
Liswin (Operative Electronic Catalog) is a complete tool for products documentation management: it includes features to search
products in two different manners (tree search and parametrical
search), locally and via the Internet, to develop data sheets into 12
different languages and print them or save to RTF and PDF file formats, to manage price lists, to create products lists.
ENERGY ANALYSIS
Electronic Ballast
Calculator
Free
Acuity Lighting
Group, Inc.
KiloWatch
Calculator
Free
Acuity Lighting
Group, Inc.
Pulse Start
Calculator
Free
Acuity Lighting
Group, Inc.
www.lithonia.com/energy/energy
calculators/geb/default.asp
www.lithonia.com/energy
/energycalculators/kilowatch/
www.lithonia.com/energy/energy
calculators/pulsestart/
The age of electronic ballasts for HID pulse start lamps is upon us and
the benefits are numerous. This new combination delivers optimal
energy efficiency, superior quality of light, peak performance and lower
installation and ownership costs.All this adds up to the best value.The
Electronic Ballast Calculator helps you to analyze your options.
The KiloWatch calculator compares full power output versus a 50
percent power output for various lamps (a 50 percent lumen output version is also available). Subtracting the energy consumption of
the KiloWatch system from a standard system reveals the total
energy savings using the KiloWatch multi-level lighting system. All
inputted watts are based on the most recent published information
from ballast manufacture. Up to date details specific to input
wattage should be verified with ballast manufacture.
The Pulse Start calculator allows you to compare a Probe-Start HID
system with a Pulse-Start HID Ballast/Lamp System based on energy
savings and mean lumens for enclosed rated lamps. All input watts,
and mean lumens data are based on the most recent information.
The calculations show the potential economic savings of a proposed
system based on the following input wattage and vertical lamp lumen
output shown in these charts.
EXTERIOR LIGHTING
Simply Outdoor
$245
Lighting
Technologies Inc.
www.lighting-technologies.com/
products/simply/simplyoutdoor.htm
September 2005 LD+A
Simply Outdoor is part of LTI’s Simply Lighting suite of easy-to-use
tools developed for specific lighting applications. Simply Outdoor is a
step-driven application targeted at quickly producing layouts for area
lighting applications such as parking lots and other exterior applications. It includes an automatic layout tool that determines optimal
pole spacing for perimeter lighting and arrayed lighting across an area.
An ideal product for anyone creating exterior lighting designs. Price
includes email/fax support plus maintenance releases.
73
INTERIOR LIGHTING
FlashZC
Individual quotation
Lighting
Analysts, Inc.
www.agi32.com/products/
flash_tools/flash_web_tools.htm
Simply Indoor
$245
Lighting
Technologies Inc.
www.lighting-technologies.com/
products/simply/simplyIndoor.htm
FlashZC is a web-based zonal cavity calculation tool designed for
integration with lighting product web sites maintained by manufacturers and distributors. FlashZC allows website visitors to quickly
estimate the light level, luminaire quantity and position, for a simple
interior space.The programs small form factor and straight-forward
graphical design, invites web visitors to obtain instant estimates
while browsing for lighting products. FlashZC can be personalized
and provides detailed, single-page printed output.
Simply Indoor is part of LTI’s Simply Lighting suite of easy-to-use
tools developed for specific lighting applications. Simply Indoor
automatically creates and optimizes indoor lighting layouts to meet
your design criteria in about the time it takes to get a cup of coffee. Point-by-point illuminance analyses are included. Plus, the ability to compare up to four systems simultaneously. Price includes
email/fax support plus maintenance releases.
LABORATORY PHOTOMETRY
LITESTAR/Gonwin
Individual quotation
OxyTech Srl
WinITL
$4995
Independent
Testing
Laboratories Inc.,
www.oxytech.it
www.itlboulder.com
74
Gonwin is a software tool to manage mirror or lamp turning goniophotometers. It allows to use standard matrix or to import ones created with the Photowin module.It manages C-Gamma or V-H (B-Beta)
measurements allowing step-by-step or continuous measurements
with speed selection. It controls all electrical parameters, the motors
and the data acquisition process. It works with OxyTech based
machines (see T2 and T4) but can be configured for other systems.
Fully automated lab data gathering and reduction to photometric
reports. Choose Type C angles (Indoor/Roadway), or Type B
(Floodlights). Stray light, stabilization monitoring, create IES files,
much more. Windows dialog boxes for maximum productivity.
WinITL is integrated with the ITL/OWL moving mirror goniophotometer hardware and electronics. Please contact us for details on
modifying WinITL to work with your existing photometric lab hardware. For photometric report details, see the separate listing for
“WinITL-Reduce.”
www.iesna.org
OPTICAL SYSTEM DESIGN
OSLO Premium
$4995
Lambda
Research
Corporation
www.lambdares.com
OSLO is powerful optical design software with advanced raytracing,
analysis, tolerancing and optimization methods with a high-speed
macro language to meet today’s optical requirements. More than a
lens design program, OSLO provides advanced tools for designing
image-forming as well as non-imaging systems, laser and illumination
systems, instrumentation, etc. OSLO can be customized using CCL
macro language and includes the Warren Smith, Arthur Cox, and
Optics Toolbox libraries of starting designs. $1995 yearly maintenance, support and upgrade.
PHOTOMETRIC TOOLS
LITESTAR/Photoview OxyTech Srl
€1800
www.oxytech.it
LITESTAR/Photowin OxyTech Srl
Free
www.oxytech.it
Photometric
ToolboxProfessional
Edition
$299
September 2005 LD+A
Lighting
Analysts, Inc.
www.agi32.com/products
Photoview is software used to develop photometric data into
advanced graphics and tables such as the beam diagrams, the utilization and utilance factors, the efficiency and zonal flux diagrams,
the UGR table, the isolux curves, the international photometric
classifications. The graphics can be saved to different files formats
such as JPG,TIFF, BMP, PNG while the tables are saved to TXT files.
Photowin is a complete tool for photometric data management: it
includes features to manually input photometric data into the program database to import data in standard formats or to interface
files coming from goniophotometers. It allows the matrix to rotate
in any space direction or to convert files from one measuring system to another. it allows export of data to IES, IES Gels, Eulumdat,
Cibse TM14, LTLI formats or to print intensities tables, polar and
cartesian diagrams to paper or files of different formats.
Photometric Toolbox–Professional Edition provides the capability to
open any IES photometric file, view the light distribution in 2D and
3D polar coordinates, generate iso–fc (lux) templates, convert
goniometer types, change angles sets, change test position, and generate extensive performance reports including the side by side
comparison of two or three luminaires. The software also checks
for, and repairs common errors in the IES format and freely converts between IES and European formats CIBSE TM-14 and
EULUMDAT. Price is for single user license. Local and Wide area
network licensing available.
75
Photometric
Viewer
Free
Acuity Lighting
Group, Inc.
Simply
Photometrics
$195
Lighting
Technologies Inc.
WinITL-Reduce
$2500
Independent
Testing
Laboratories Inc.,
www.acuitybrandslight-ing.com/
lightware/software/photometric
_viewer/
www.lighting-technol-ogies.com/
products/simply/simplyphotomet
rics.htm
www.itlboulder.com
Lithonia Lighting’s new Photometric Viewer v3.0 software program
allows the user to view or print photometric reports. In addition,
reports can be viewed, side-by-side, for quick and easy comparison.
Photometric Viewer processes photometric files constructed in
accordance with the IESNA standard LM-63 “IESNA Standard File
Format for Electronic Transfer of Photometric Data.” The software
will process data from any of these versions of LM-63: 1986, 1991,
1995 or 2002.
Simply Photometrics is part of LTI’s Simply Lighting suite of easy-touse tools developed for specific lighting applications. Simply
Photometrics includes several easy-to-use tools for analyzing, comparing, importing, and exporting photometric data. View detailed
photometric information for selected luminaires including zonal
summaries and candela plot. Create iso-footcandle/iso-lux templates for any single luminaire or pole configuration. Generates photometric reports. Price includes email/fax support plus maintenance
releases.
Produces presentation-quality photometric reports, using IES-format candela files as input. View finished report on screen (WYSIWYG) before printing. Reports per latest IES LM/RP documents:
indoor/roadway/floodlights. Refined curve-fitted candela, iso-illuminance, and CU plots (no connect the dots look like other programs). Automatic integration of AutoCAD generated luminaire
sketch into any report. User interface is via Windows dialog boxes.
Additional program capabilities are available which include lab data
gathering (see separate listing for “WinITL”).
ROADWAY LIGHTING
Simply Roadway
$295
Lighting
Technologies Inc.
www.lighting-technologies.com/
products/simply/simply
roadway.htm
76
Simply Roadway is part of LTI’s Simply Lighting suite of easy-to-use
tools developed for specific lighting applications. Simply Roadway is
a simple, step-driven application targeted at quickly determining the
optimal pole spacing for roadway applications. It conforms to
IESNA RP-8 and CIE design criteria. Includes STV and veiling luminance calculations. An ideal product for anyone creating roadway
lighting designs. Price includes email/fax support plus maintenance
releases.
www.iesna.org
Visual Roadway
Lighting Tool
$50
Acuity Brands
Lighting
www.visuallightingsoftware.com
The Visual Roadway Lighting Tool is for quick design, analysis and
documentation of roadway lighting designs. The intuitive interface
provides step-by-step guidance through the definition of the roadway geometry, selection and placement of luminaires and analysis of
the resulting lighting metrics. IESNA and CIE recommendations and
calculation methods are included.
SPECS AND TENDER
DEVELOPERS
LITESTAR/
Lisman
Free
OxyTech Srl
www.oxytech.it
Lisman is a specs and tenders developer. It allows to manage products lists derived from the lighting design program (Litecalc) or to
import data from the Operative Electronic Catalog (Liswin). Any
spec or tender may be printed or saved to RTF or PDF file formats.
SPORTS LIGHTING
AutoFLO
$2500
Independent
Testing
Laboratories Inc.
www.alux.org
AutoFLO produces floodlight aiming diagrams: both a field spotting
map and crossarm luminaire arrangement. Output is an AutoCAD
.dwg file—AutoFLO runs 100 percent inside AutoCAD. AutoFLO
places floodlights on crossarms initially (choose between two different sorting algorithms), then you may adjust at will. Move units
on arm, etc. Input is an AutoLUX .dwg file—but we can customize
for other calculation software. See details and example output at
www.alux.org—click “Companion Product / AutoFLO.”
TEMPLATE GENERATOR
FlashTemplate
Individual quotation
Lighting
Analysts, Inc.
www.agi32.com/products/
flash_tools/flash_web_tools.htm
September 2005 LD+A
FlashTemplate is a web-based iso-footcandle template generator
designed for integration with manufacturers and distributors lighting product web sites. FlashTemplate allows website visitors to produce scaled iso-footcandle templates for common and custom
luminaire arrangements including floodlights and off axis positions.
Like FlashZC, the programs small form factor and straight-forward
graphical design, invites web visitors to utilize the web hosts lighting products by providing instant answers. FlashTemplate can be
personalized and provides detailed, single-page printed output.
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W
hy are you reading this essay? One
must suppose you turned to this
page to learn something—to be educated. Beware education, lest you receive
training and become brainwashed.
People with little or no education must rely
almost entirely on subjective judgment to
make all of their decisions. They do very well.
Now it is quite true that all of us, no matter how
much education or training we have accumulated, still use subjective judgment for most of
what we do. However, the education we all
have received does become a problem when
we start to apply school-taught knowledge to
analyze and measure everything we look at.
What has happened is that because of our
training we have lost our faith in our subjective
judgment capabilities. This manifests itself
most hideously when working in lighting. We
get so “educated”—a better description would
be brainwashed—it seems as if we need a thermometer to tell us when we are hot or cold. I
never saw a light meter with eyes, or one that
measured emotion. At least a thermometer
can confirm why you are hot or cold, but a light
meter can’t tell you very much about seeing or
how you feel, the things you really need to
know. All the light meter can do is measure the
radiant energy at the spot you are holding it.
ALL TOO OFTEN, CODES, STANDARDS
AND THE ‘TYRANNY OF LIGHTING
SCIENCE’ TAKE PRECEDENCE OVER
EMOTION, INDIVIDUAL THOUGHT
AND THE CLIENT’S WISHES
So, what should we do? Stop designing for
light meter readings. Stop being intimidated
by codes and standards and the tyranny of
lighting science, your so-called education.
Instead, rely on your emotions, your personal
evaluations and the responses of your clients.
Take a lesson from Hashem Aghajari, a
teacher recently sentenced to death in Iran for
blasphemy. His offense was telling his students that, “In all matters...your reason is a
better tool of discernment than all the sayings
of prophets and clerics.” He was condemned
for advocating individual thought, as opposed
to blindly accepting the thinking—or nonthinking—of others.
Now I am the product of a superb education. Not the school-taught technical design
parts, but in studying philosophy. The old and
new philosophers I was exposed to in school
provided me with a mentorship program that
was unmatched. It became patently clear that
all you needed for success was an open mind,
skepticism and curiosity. Rules were a substitute for thinking. A particular subject needed
a dissertation particular to it and many interpretations were quite viable. How enlightening that was for me as a young man. Your job
was to learn to see. That goes beyond eyesight. You had to think!
Now, how do you sift through the subjective
notions for your design projects to ferret out
the one that has the most potential to solve
the project goals? Where did those ideas, the
visual imagery come from? I would hope they
Bringing
Humanities
to Lighting
By Howard M. Brandston
78
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September 2005 LD+A
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did not come from a reference to some lighting standard. The lighting bibles won’t tell you
much about what you wish to see. The lighting bibles are the path to thought-free solutions. I would hope that those solutions we
choose for our projects were thoughtful ones
that fit the questions, “What is it we wish to
see?” and “Does this answer fit our client’s
wishes for his particular project?”
Of ‘Light’ and ‘Lighting’
What is light? In human terms light is visually evaluated radiant energy. For evaluating
lighting designs, it is not measured. Light is
enlightenment, discovery, edification, insight,
understanding. Light is a revealer, a shaper, an
obscurer/exposer, discloser and so forth. Light
is time’s swiftest traveler. It is hard to conceive
of a man-made space that does not use light.
Light is an element of the structure of every
man-made place. In fact, light is a part of the
structure of everything we can see. It should
be as familiar to you as any other architectural material. A few tools can enhance that
familiarity. You need a light meter, a spectroscope and a dollar bill. The light meter is used
only after guessing how much light is in a
room, to see how close you got to the real
Good lighting is defined
at the beginning of each
project with each client.
You can’t look it up on
the Internet
number. After a while you will make more
educated guesses. The spectroscope will show
you the spectral power distribution of the light
sources in the space; compare them to the
sun and objects being lighted. It is part of
learning about the color of light. It is different
than the color of objects (pigment vs. wavelength). The dollar bill is a practical test—is
there enough light to play liar’s poker?
How much light do you really need for your
spaces? Do you have the courage to determine that for yourself and your client? How
can you deal with a medium you know little
about? Become familiar with it. A few weeks
of practicing with these tools might heighten
your familiarity. Are you willing to invest in
your ability to do lighting?
80
This investment I implore you to make
might even lead to a creative solution or two.
Rudolph Flesch said, “Creative thinking may
simply mean the realization that there’s no
particular virtue in doing things the way they
have always been done.” Creativity: so simply
put, so hard to achieve. If you accept the
“Flesch Injunction,” you have the instant
elimination of all lighting standards.
Standards become a process of design that
uses the thought-free methodology of just filling their prescription. They are “what has
always been done.” They are the instant elimination of creativity and personal perception.
Isn’t creativity what the client is counting on
you for? Are you being truly accountable? Can
you see the light?
What is lighting? Lighting is the application of light. Lighting is 100 percent a collaborative medium. And remember, every successful collaboration must be founded on a
clear understanding. Your client and you have
a duty to enlighten each other. You have to
learn from them their objectives, their special
needs, their idiosyncratic problems. In turn,
you must educate them. Show them how the
solutions you propose are going to make their
lives better, convince them that what you’re
going to build will be not only right and on
budget, but beautiful as well. Mother Theresa
implied this when she said, “Let every action
of mine be something beautiful for God.”
What is good lighting? The single most significant problem in the design of any lighting
system today generally lies in an understanding of what is good lighting. Simply put, the
lighting should be of benefit to the project, a
part of the design for people and spaces. You
are lighting for people and the spaces they
occupy. Most lighting designs get caught up in
the “architecture.” Believe me, it is the people
who are important. Good lighting is defined at
the beginning of each project with each client.
You must write it down for each and every job
you do. You can’t look it up on the Internet.
All people are not alike. Neither are their work
tasks, leisure pursuits or the places they like.
Because of this, there is no single solution that
will solve all lighting problems. The ultimate test
therefore is—did the lighting design satisfy each
of the client’s particular needs and wants for his
project? Was every decision or choice correct?
Was a reasonable method developed to test the
above questions before the project was built? If
so, the resultant lighting was probably good.
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The need for client participation can never
be overemphasized. Client participation from
the beginning of the project to the completion
of its post-occupancy evaluation is mandatory
if future project renovations are to be successful. The presence of the client in the development of any design advances the potential for
the education of all participants and therefore
the design of better lighting systems now and
in the future.
Overzealous About Energy
The client needs to be present if their needs
are to be fulfilled and for them to understand
how that fulfillment was derived. One of the
biggest obstacles to that fulfillment in recent
years has been the overzealousness of the
design community to save energy. What good
is saving energy if the project lighting quality
suffers? The biggest setback for good lighting
is this penchant for looking at saving energy
instead of determining how to optimize the
use of energy while still fulfilling the client’s
program. If you do energy-ethical lighting,
you will do better work.
Of itself, light is one of the most powerful
tools in the architect’s repertoire. It is a new
architectural tool developed in the 20th century. It can create countless moods. Light can
flatter, soothe, stimulate, conceal or reveal. It
can ensure safety on the factory floor and can
create an island of calm in a hectic office.
Lighting can alter our perception of place,
comfort and security.
When you undertake any new project, the
lighting solutions must be a part of your thinking from the start. Learn to light well by being
alert to what works and what doesn’t work.
Wherever you go, keep your eyes and your
mind open. Evaluate every visual experience.
Absorb what you have seen and then translate it into your client’s personal terms. Share
it with him, while remembering that no single
solution fits all scenarios. Ultimately, you
must work your way through to the solution
that is particular to your client and meets your
personal professional standards. So study.
Analyze. Reflect. Edit and invent. Do not
copy! Think! Think!
The work of others can serve as a guide, a
catalyst or an inspiration, but you are obliged
to go forth and create something new. Here, I
quote from Alice’s Red Duchess in Through
the Looking Glass: “It’s a poor sort of memory
that only works backwards.” Remember, the
September 2005 LD+A
The Brandston Rules
What follows is a partial list of criteria for good
lighting design.
1. People look good and all spaces and objects to be
viewed (entry, transition, linger, work, exit, etc.)
are properly composed in a clear hierarchy of
importance and purpose.
2. The lighting provides spatial clarity.
3. The lighting mood is consistent with the use,
function and design of each space.
4. The design promotes productivity.
5. The design is within the client’s initial and
operating budgets.
6. The design has fully utilized the potential of
daylight, when this is available and appropriate.
7. The design is easy to install and is readily maintainable.
8. The design is energy effective.
9. All state of the art alternatives have been
considered.
10.The design has, where applicable, withstood the
test of a rigorous post-occupancy evaluation by
the client and his personnel.
only worthwhile solutions are the ones you
arrive at yourself.
This article was adapted from a presentation
delivered at the IESNA Mid-Hudson Section
meeting in May 2005.
Howard M. Brandston, LC, Fellow
IESNA (Member 1959), Hon. FCIBSE,
FIALD, founded Howard Brandston
Lighting Design, Inc. in 1965. Today,
the internationally recognized firm is
known as the Brandston Partnership
Inc. Mr. Brandston is a past-president
of IESNA (1983-84), a recipient of the
IESNA Medal, Louis B. Marks Award and the Distinguished
Service Award, creator and sponsor of the Brandston
Award for Students, founding member of the IALD and
recipient of its Lifetime Achievement Award, and a frequent author and lecturer on lighting. Signature projects
include the relighting of the Statue of Liberty, the U.S.
Pavilion-Expo 70 in Osaka, Japan, and the Petronas
Towers, Kuala Lampur, Malaysia.
81
The Howard Brandston
Student Lighting Design
Education Grant 2006
The Howard Brandston Student
Lighting Design Education Grant was established to encourage and
recognize students who have demonstrated exceptional professional promise through the presentation of an original and ingenious solution to a supplied design problem.
The award comprises a plaque
and a check in the amount of $1,000. The award is presented in
conjunction with the IESNA Annual Conference each year.
Group entries
will be accepted. However, if a group
entry is selected, the group will receive the plaque and the
$1,000 check will be presented to the group as a whole.
To be eligible to enter this
competition,
applicants must be enrolled as full-time students in an approved
academic degree program. Approved programs are those offering a
substantial core of illumination studies and are either engineering
technology programs accredited by the Accreditation Board for
Engineering and Technology; architecture programs accredited by
the National Architectural Accrediting Board; interior design programs accredited by the Foundation for Interior Design Research; or
theatre programs accredited by the National Association of Schools
of Theatre. If there is a question about accreditation, please query.
Please note that the deadline
for receipt of completed entries to the New York office of the
Illuminating Engineering Society of North America is May 1, 2006.
Judging of entries will take place in mid-May.
The purpose
of the Howard Brandston Student
Lighting Design Education Grant is to foster good lighting and to
advance the appreciation of lighting as an art.
Project Description
This retail shopping center is located within a multi-use development in a midwestern suburb in the United States. The
development incorporates outdoor streets and plazas surrounding a large central building of a train-shed design.
Restaurants, hotels, and offices are integrated into the entire
development, and it has become a shopping and entertainment
destination not only for local families but also for weekend bustours from towns within a 300+ mile radius. It is one of the
most successful multi-use developments of recent years.
The development’s overwhelming success has hinged on its
core design philosophy: architecture reminiscent of smalltown America of the 1940’s and 50’s era, captured so well
in Norman Rockwell’s paintings. The Rotunda of the central
building was not originally designed within this core philosophy, but it is now being refurbished to be in keeping with the
Plan View
small town America theme that has been so successful elsewhere in the development. It is of utmost importance that
your lighting design and architectural recommendations are
consistent with the development’s core design philosophy.
To the south of the Rotunda is an existing 2-story Atrium
with successful retail and restaurants. The architectural
design of the Atrium includes skylights, as shown. The
adjacent Rotunda is investigating a proposed skylight as
part of the redesign, which is estimated to cost approximately $1.25 million. The architects and owners would like
your opinion on the proposed skylight: either incorporate it
within the lighting design or eliminate it and design without
it. Your reasoning for this decision should be explained
clearly and justified as part of your design.
A large multiplex movie theater on the second floor is a
destination for much of the foot-traffic in this central building. A grand marquee is being designed to celebrate the
theater experience, and additional suggestions are expected from you for this marquee as well as for the other architectural elements in the space.
Ground floor retail spaces and restaurants are being added
to the east and west sides, and a ticket booth is being
added to the south side of the Rotunda. These are highrent spaces, and each space will have a canopy or roof
above it – to look good from the Rotunda as well as for
moviegoers exiting behind the screen wall on the second
floor. While the retail spaces and ticket booths are not in
the contract for the lighting designer (NIC), your input for
the canopies themselves is expected.
and columns are painted to resemble honed limestone (50%
reflectance). The exposed columns above the wrap are painted white to match the ceiling and catwalks. Floors are large,
neutral-colored terrazzo tiles (30% reflectance). Ceiling
heights are indicated in the sections provided. Any other
details necessary for the completion of your lighting design
are to be inferred from the drawings and/or developed on your
own. Requests for further information will not be honored as
this would provide an unfair advantage.
In the Rotunda and Atrium, ceilings and catwalks are whitepainted (75% reflectance), with the ceiling behind the screen
wall painted dark blue (10% reflectance). Columns in the
Rotunda have an architectural wrap extending to the second
floor, similar to those in the Atrium. This wrap and all walls
The judges give added weight to your design concepts.
While high quality presentations are expected, the judges
strongly encourage entrants to demonstrate clearly their
design concepts inspired by the architecture rather than simply producing elaborate computer graphical presentations.
PROJECT REQUIREMENTS
TIPS FROM THE JUDGES
One 24 x 36 inch mounted board including the following:
1. Clearly labeled lighting plan.
2. Illustrative material demonstrating the lighting intent. This may
include, but is not limited to perspectives, sections, elevations,
details and fixture drawings.
3. A brief (250 word maximum) written statement of the objectives
and goals of the lighting design concept and description of the
design process used. (This may be provided on a separate
8 1/2 -inch x 11-inch sheet or mounted on the board.)
4. A lighting fixture schedule. This must include but is not limited to,
fixture designations and lamp types.
5. Concept control schedule (if applicable).
6. Titles of drawings and scale notations are recommended.
1. Don’t spend a lot of time on computer
graphics. We appreciate your “skill,” but
fancy graphics often create more questions than they answer.
2. Make sure there is good contrast
between the text and the background.
3. Use a point size that allows easy reading.
4. If you have any doubt whether or not
something is clear, it usually isn’t.
5. The written statement should clearly
define the concept, design process and
lighting program.
6. Lighting should be the prevalent focus.
7. Reflective ceiling plans must be easily
readable. The judges generally have a
short time to review each project. The
judges do not use magnifying glasses.
8. Include lighting plans for the entire
project, not selected areas.
7. DO NOT include your name or school affiliation on the front of your
board. Complete the form below and affix it to the back of the board.
Deadline May 1, 2006
8. Entries become the property of the IESNA and will not be returned.
The Howard Brandston Student Lighting
Design Education Grant 2006
Student Design Application Form
AFFIX THIS FORM TO THE BACK OF YOUR BOARD AND SEND TO:
Howard Brandston Student Lighting Design Education Grant
c/o Illuminating Engineering Society of North America (IESNA),
120 Wall Street, 17th Floor, New York, N.Y. 10005
Name of Student Designer______________________________________________________________________________________________
Address______________________________________________________________________________________________________________
City/State/Zip_______________________________________________________________________________________________________
Phone (
)_______________________________________________Fax (
)________________________________________________
Email:___________________________________________________________________Are you a member of IESNA?____________________
School__________________________________________________________________Instructor_____________________________________
School Address________________________________________________________________________________________________________
School City/State/Zip _________________________________________________________________________________________________
Instructor’s Phone (
)___________________________________________________Fax (
)_______________________________
PLEASE BE SURE ALL MATERIALS SUBMITTED HAVE NAME OF DESIGNER(S), SCHOOL AFFILIATION, AND ADDRESS.
THIS INFORMATION MUST BE AFFIXED TO THE BACK OF EACH BOARD AND SCRIPT SUBMITTED.
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Making Light in the 20th Century
Tungsten, glass and vacuum technologies have been instrumental in creating light
over the past 100 years
By David L. DiLaura
I
n September of 1882, when
Thomas Edison turned the switch
in the offices of J. Pierpont Morgan
in lower Manhattan, practical electric
incandescent lighting was born. The
next 20 years would see electric
incandescent lighting in a to-and-fro
with other forms of lighting. But early
in the 20th century the electric
incandescent lamp overtook nearly
every other source of “artificial light.”
There were three technologies
essential for this development: tungsten, glass and vacuum.
The evolution of electric lighting
during the 20th century relied on
ductile tungsten wire, glass and its
related technologies, and vacuum and
the management of gaseous atmospheres. Glass bulbs and the vacuum
they contained were essential aspects
of early commercial incandescent
lamps. Ductile tungsten wire would
open the way to significant improvement in lamp efficacy and new lamps.
Tungsten, glass and vacuum are technologies that span the entire 20th
century and have played an essential
role in the invention, development
and evolution of incandescent, mercury discharge, fluorescent, high pressure sodium, metal halide, compact
fluorescent and ceramic metal halide
lamps. All require filaments, electrodes, endcaps or other components
87
Langmuir,Whitney and Coolidge with ductile tungsten wire.
that rely on tungsten wire and related
refractory metal technology. All
require envelopes of glass or the
related materials of quartz or alumina. All require vacuum or the related
technological management of gases.
Tungsten and Its
Predecessors
Edison’s early lamps used carbon
filaments, produced by sintering carefully shaped splints of bamboo.
Filaments made from thread pro-
duced by Joseph Swan’s procedure of
squirting liquefied cellulose through a
die were a considerable improvement, but were still carbon.Though it
has the highest melting point of any
element, carbon vigorously evaporates at temperatures far below melting, and evaporated carbon blackens
the lamp’s bulb. Carbon also has a
negative thermal coefficient of resistance: it becomes less electrically
resistive at higher temperatures.
These and other characteristics of
www.iesna.org
Bamboo splitter for filaments in Edison’s first incandescent lamps.
Carbon filament lamp, circa 1900.
carbon filaments limited their operating temperature to about 1600 deg C
and their efficacy to about three
lumens per watt.
Early workers in the field sought a
better material for lamp filaments, and
thin metal wire became the goal.
Platinum had been tried, but its melting point is 1770 deg C and proved to
be far too low for lamp use.The first
practical metal filament used osmium
and was developed and produced by
Carl Auer von Welsbach in 1902.
Osmium has a melting point of 2700
deg C, a low evaporation rate, and is a
selective radiator—it radiates more
power in the visible wavelengths than
carbon at the same temperature.
Welsbach devised a process that
mixed powered osmium with a cellulose binder and squirted it through a
die to make a fine thread.This was sintered at a high temperature to fuse
the particles together. Osmium wire
88
was very brittle and so the lamps
were fragile. Though osmium lamps
achieved efficacies of 5.5 lumens per
watt, the metal was so rare that the
lamps proved to be too expensive for
commerce.
Werner von Bolton and O.
Feuerlein of Siemand & Halske in
Germany were able to produce ductile wire made from tantalum.Though
it had a melting temperature just
below that of osmium it was much
more common and more easily
worked. Bolton and Feuerlein discovered that tantalum’s brittleness had
been caused by impurities; ultra pure
tantalum was ductile.The low electrical resistance of tantalum required
very long filaments, resulting in the
characteristic bird cage appearance of
tantalum filaments. Additionally, tantalum crystallized rapidly on alternating
current, so to get reasonable lamp life,
direct current had to be used.
Commercial tantalum lamps appeared
in 1906 and had an efficacy of five
lumens per watt.
Tungsten has been known since the
18th century and was an attractive
material for filaments: its melting temperature of 3380 deg C was higher
than any other metal and lower than
only that of carbon; it was a selective
emitter and so would be more efficacious than carbon; and it was relatively abundant. Between 1900 and 1908
work on making tungsten lamp filaments was widespread. Initial success
was achieved by Viennese chemists
Alexander Just and Franz Hanamann,
who produced very fragile wire from
tungsten powder. Lamps with filaments of this brittle wire had an efficacy of eight lumens per watt; far
greater than anything before. Nonductile tungsten lamps were introduced in the United States in 1907
and tungsten became the research
focus of the lamp industry.
Development of Ductile
Tungsten
The first step that led to ductile
tungsten wire and the developments
surrounding it was an electric furnace
capable of temperatures of 3500 deg
C and a controlled atmosphere. This
furnace was an early project of Willis
R. Whitney, former professor of
chemistry at MIT and hired by
General Electric to be the first director of its newly-established research
laboratory in Schenectady, NY.
Whitney produced a carbon filament
in his furnace with a very hard
graphitic coating and a positive thermal coefficient of electrical resistance,
like a metal. These filaments behaved
like metallic ones and were called
“metallized.” They could be operated
200 deg C higher than earlier carbon
filaments and had an efficacy of four
lumens per watt. Because of their low
cost and conventional construction,
GEM lamps (General Electric
Metallized filament) were successfully
marketed against the tantalum lamps
that had been developed in Europe.
Whitney hired William D.
Coolidge, who began searching for a
process to make ductile tungsten wire
www.iesna.org
in 1908. Unlike tantalum, which only
had to be sufficiently pure to be ductile, tungsten had resisted all efforts to
transform it from its usual fragile and
brittle state. Early in this process,
Coolidge found that molybdenum,
with a similar natural powdery state
and melting temperature of 2500 deg
C, could be made ductile by hammering and drawing while carefully heated.Two years of work and the use of
Whitney’s furnace produced a variation of this method by which ductile
tungsten wire cold be made:
• Powdered tungsten was pressed
into bars and sintered at high
temperature.
• A heavy electric current was
passed through the bars,
condensing and crystallizing the
tungsten.
• Bars were then hammered in a
swaging machine: a device for
simultaneously heating and radially hammering the bar to
make it thinner. Many passes
through such equipment
produced ductile rods about 0.1
in. in diameter.
• The rods were again heated and
then pulled through a
succession of heated diamond
dies to produce very fine
tungsten wire.
Incandescent lamps with ductile
tungsten wire filaments were placed
on the market in 1911.
Tungsten Filaments
These new filaments were strong,
lasted 1000 hours, and had an efficacy
of 10 lumens per watt.The availability
of the new ductile material made
other types of filament geometries
and other types of lamps available. It
was found that small amounts of alkalies added to the tungsten generated
a long-grained structure in the wire,
significantly reducing sagging when it
was incandescent.The result was wire
that could be coiled to make very
small filaments. This technology was
soon used in automobile headlights
and other lamps that provided a
focused beam. As a result of
Langmuir’s work (described below) it
was known that increasing the overall
September 2005 LD+A
geometric diameter of lamp filaments
reduced their heat loss. By 1936 tungsten wire composition and automatic
machinery combined to produce
coiled-coil filaments, bringing another
improvement to lamp efficacy. In 1941
tungsten wire would form the cathodes in a new light source: the fluorescent lamp.
Along the way to these developments it had been found how to make
ductile molybdenum wire. More
abundant, with a higher melting temperature than platinum, and with its
blanks—an arrangement that lasted
many years.
These bulbs were made with a long
neck that would receive the filament
support wires and be sealed at the
lamp factory.The top of the bulb was
then softened, a hole opened up, and
the bulb was attached to a vacuum
pump. After evacuation the bulb was
sealed by melting it off, leaving a tip at
the round end of the bulb. All this
work was done by hand. By 1919 the
glass filament support also served as
an exhaust tube and the glass work at
Early machines were capable of producing
50,000 bulbs a day.After World War II,
Corning was using bulb machines capable
of producing 50,000 bulbs an hour
ability to make a vacuum-tight seal
with quartz, molybdenum became an
increasingly important material in
lamps in the 20th century.
Glass
In the 1000 years glass had been
known and made, it had always contained striations and bubbles, limiting
its optical use. In his “Photometria” of
1760, Johann Lambert complained
how difficult it was to get prism or
lens of any appreciable size not seriously degraded by striations and bubbles. In 1802 the Swiss glassmaker
Pierre Louis Guinand discovered the
implement and procedure for stirring
molten glass to make it homogeneous
and free of bubbles. By late in the century, glass had become a standard
optical and scientific material, manipulated by glassblowers who had usually
been trained in Germany. Edison had
the glassblower Ludwig Boehm in his
employ at the time of his work on the
incandescent lamp.
Experiments were made in Edison’s
lamp factory using molds for making
lamp bulbs. In the end, and before
commercial production of lamps
began, the Corning Glass Works was
contracted to supply blown bulb
the lamp factory was considerably
simplified.
Initially, bulbs were hand blown by
furnace teams at Corning. By the
1920s, Corning engineers had developed sophisticated machines for manufacturing bulbs. Early versions were
capable of producing 50,000 bulbs a
day. After World War II, Corning was
using bulb machines capable of producing 50,000 bulbs an hour.
Beyond Glass
These bulbs were made of sodalime glass,which was inexpensive,easy
to work and inert.This glass is 72 percent silica (from sand), 13 percent
soda ash, 11 percent lime and four
percent other minor ingredients.
Soda-lime glass has a softening temperature of 700 deg C and so
requires large bulbs that keep the
glass away from the filament. Though
serviceable, materials other than glass
were developed that promised new
types of light sources.
General Electric’s long experience
with electric furnaces had produced
equipment not only capable of very
high temperatures but also either
vacuum or elevated pressures. These
furnaces were used in the making of
89
fused quartz—a type of high temperature, stable, inert glass. At the 45th
meeting of The Electrochemical
Society held in Philadelphia in 1924,
Edward Berry of General Electric
announced the ability to generate
large quantities of fused quartz.
Naturally-occurring quartz crystals
were heated until melted and viscous.
Creating a vacuum in the furnace liberated the gas bubbles that were
trapped in the quartz and had made it
cloudy. Raising the pressure in the furnace forced whatever remaining gas to
be dissolved. The result was fused
quartz: uniform, clear, glass-like and
transparent to infrared, visible and
ultraviolet wavelengths. Eventually the
process used silica (that is, sand)
rather than naturally occurring quartz
crystals.The result was called fused silica, but continued to be commonly
referred to as quartz. Because of its
high softening temperature of 1600
deg C, low thermal expansion and
inertness, quartz was used for the
bulbs of tungsten-halogen lamps which
required a surface temperature of 750
deg C for the tungsten-halogen cycle.
Quartz also became the material for
the arc containers of mercury and
then metal-halide discharge lamps.
Research in glass and ceramic
materials at General Electric included
alumina as well as silica, and in 1957
Robert L. Coble invented transparent
polycrystalline aluminum oxide.
Coble was an MIT graduate hired
into General Electric’s ceramics
group at Schenectady in 1955.Coble’s
material was very transparent, inert,
of very high melting point and unaffected by other substances, even hot
sodium. This material, named
LUCALOX, provided the technology
for the high pressure sodium lamp,
utterly transforming roadway lighting.
The
latest
development
in
glass/ceramic technology has given us
the ceramic metal-halide lamp.
Initially, bulbs were hand blown by teams at Corning (above,
1905). By the 1920s, Corning engineers had developed machines
for manufacturing bulbs.
90
Vacuum
A key element of the success of
Edison’s first commercial incandescent lamp was the high vacuum
attained and held in the glass bulb.
Platinum had been the only refracto-
www.iesna.org
ry metal that did not seriously oxidize in the presence of air when it
was incandescently hot, but its low
melting temperature prevented it
from being a viable material for an
incandescent filament. It had long
been known that a vacuum was necessary to keep other incandescent
materials from oxidizing, but the production of the necessary vacuum was
difficult.
Mechanical vacuum pumps had
been in use in the 18th century but
even with tight mechanical tolerances
and good oil seals, the vacuum was
limited by the room temperature
vapor pressure of the oils available. In
1854 Hermann Sprengel devised a
vacuum pump made of blown glass
that used a stream of falling mercury
drops to trap air, push it down a glass
tube and so remove it from an
attached chamber. This pump could
reduce pressure to 10-5 atmosphere
but required constant attendance.As
the mercury supply was collected at
the tube’s bottom, it needed to be
moved into the reservoir at the top.
Experimentation by Edison’s team
resulted in pumps that would produce a vacuum of 10-6 atmosphere in
20 minutes in a bulb. Edison’s first
lamp factory of 1880 contained more
than 400 of these pumps using more
than 1000 pounds of mercury.
Artuo Malignani was an independent incandescent lamp manufacturer
in Italy and in 1894 discovered that
red-phosphorus, daubed on the
inside of the bulb, attracted and held
gases when it was heated by flashing
the filament. This “chemical exhaust”
process spread rapidly in the lamp
manufacturing industry and significantly changed how lamps were
made. Only a modest vacuum needed
to be pumped; the final vacuum produced by means of this adsorption
process. This was the first of many
discoveries related to what came to
be called “getters”: material placed
inside the bulb to help produce the
final vacuum or atmosphere.
Mercury pumps continued to be
developed, but by 1910 oils were produced that had very low vapor pressures, and mechanical vacuum pumps
September 2005 LD+A
FLASHBACK
LD+A: September 1986
A theme issue on hotels and restaurants included
Craig Roeder’s humorous take on “the illumination of
America’s favorite pastime—eating.” The article ran
the table, from “fast-food footcandles” at Jack-in-theBox to fine dining.
became standard equipment in the
lighting industry.These produced the
modest vacuum required of the
chemical getters that gave the final,
high vacuum.
The utility of incandescent lamps
was limited by the eventual bulb wall
blackening and reduced light output.
This was one of the problems set
before Irving Langmuir when he
joined The Schenectady laboratory in
1909. Langmuir showed that this happened regardless of the degree of
vacuum and proved conclusively that
tungsten evaporation was the only
cause of bulb wall blackening.
Langmuir’s continued research led to
the understanding of how an appropriate gas, rather than a vacuum,
could improve lamp efficacy and life
by limiting tungsten migration and
heat dissipation. He found that losses
were governed by overall filament
geometry and not simply wire size,
and so demonstrated the great benefit of using coiled filaments and gasfilled lamps.A gas-filled lamp also permitted the filament to be operated
400 deg C higher than in vacuum,
improving efficacy. By 1918 Argon and
Nitrogen were used in all but the
smallest of incandescent lamps.
The ability to control the atmosphere within a bulb of glass, quartz, or
alumina-by pump, heat, and chemistry-has produced the array of discharge sources that are so important
to modern lighting.
It has recently become possible to
produce stacks of precisely regular,
hollow tubes of tungsten,of a size and
spacing comparable to the wavelengths of visible radiation.The smallness and regularity of this lattice
structure, similar to that of a hologram, can be used to confine the
wavelengths it radiates to those in
the visible region. An incandescent
lamp based on such a radiator could
have a startlingly high efficacy.
We may yet see a radical rebirth of
the incandescent lamp.
LD+A’s “Century Series” celebrates
pioneers,achievements and developments
in lighting, as IESNA approaches its centennial in January 2006
About the Author: David
L. DiLaura, Fellow IESNA
(Member 1968), has taught
illuminating engineering at
the University of Colorado,
Boulder, for more than 20 years. His
development of mathematical procedures and lighting software programs—
used universally by manufacturers and
designers—laid the groundwork for lighting software used today. Prof. DiLaura
has authored numerous papers and
recently published a translation of
Johann Heinrich Lambert’s “Photometria.” A past IESNA Medal recipient,
he also serves as the editor of LEUKOS,
the online journal of the IESNA.
Future Lamp Technologies
A material technology which may
affect lighting’s future as radically as
any of the past is the photonic lattice.
91
LIGHT PRODUCTS
Philips Lighting’s Aurelle LED candle
series allow consumers to enjoy the glow
and flicker of a candle without the risks
associated with open flames. Wireless and
weather resistant, the rechargeable candles
consist of four elements – a frosted-glass
cover, candle, recharger and adapter. The
candle consists of two LEDs that provide
up to 10 hours of continuous light.
Technical Consumer Products’ 141
series alabaster glass dome ceiling fixture can
be used anywhere a standard incandescent
ceiling fixture is used, such as bedrooms, hallways, kitchens, living rooms and family rooms.
The fixture is available in 11 in. or 13 in. in diameter and is available in 75, 90 or 120 watt incandescent equivalent.
www.lighting.philips.com
www.tcpi.com
Alfa (a Juno Lighting Group brand) offers a
Tuscan Villa collection that includes pendants with
old-world warmth and charm. The collection is
designed to be used with the Vintage Bronze
MonoTrack system or on a Vintage Bronze
Monopoint canopy. Models include Etrusca,
Pannano, Miramare, Belforte, La Poventa and
Cassanuova that come in a variety of hand-blown
glass in warm colors and rich textures such as
Radiant Red, Sunflower, Amber Fisch, Antique,
Arezzo and Amaretto. Pictured is the Cassanuova
in the Radiant Red color.
Kirlin's newest nightLights,
stepLights and markerLights provide bright, uniform illumination
using high intensity long-life LEDs,
with many vibrant colors for different applications and decors. The
vandal resistant nightLights are
made with a 16 gauge steel faceplate
attached to the housing with four
tamperproof screws. Dual lenses
(high strength prismatic acrylic and
clear polycarbonate) are behind the
louver to protect the LED panel.
www.junolightinggroup.com
www.kirlinlighting.com
The Cooke
1/4 ad
As an expansion of its Mood-Light line,
Traxon USA now offers the Mood Light 64
Pixel DMX Tile — a highly pixilated, outdoorrated, DMX-controlled LED panel, with 64 individually addressable sections. The tile can be
used to create highly detailed compositions of
an infinite array of colors and moving
sequences. Photo and video input may also be
utilized, creating a new level of flexibility. The
panel is easy to install and can be used to add
visual excitement and beauty to different surfaces, whether it is wall-mounted, suspended from a ceiling, or built into furniture, floors and walls.
www.mood-light.com
FlashLED
FLT-4001
from
LEDtronics offers an 1800 ft-candles of white light erupts from the 1W LED that integrates a collimator
that focuses the light into tight beam
for an intensity of 2000fc.The CNCmachined anodized aluminum housing enables it to withstand the
toughest of tasks and working conditions. A sealed rubber switch and orings prevent moisture and corrosive
agents from seeping in and adversely
effecting operation. This long-lasting
white LED lamp operates for more
than 50,000 hours (six years).
www.ledronics.com
1/2 H ad
Alera
Designed to create the proper lighting environment while
protecting against corrosion and the danger of lamp breakage,
O-Z/Gedney’s NFR/NFD/NFZ series of fixtures safely illuminate hazardous industrial locations such as oil refineries or
chemical factories, as well as damp areas including car washes,
tunnels, farms and food and beverage processing plants. Ballast
options are available for nearly all U.S. and international voltage
and frequency combinations for support of two T12 or T8 lamps.
www.o-zgedney.com
The Crusader from Unique Lighting offers a
practical solution to most down light applications.
Featuring a dual O-ring supported shroud this
down-light fixture uses the Universal mounting bracket to make installation fast and
easy.The Crusader is equipped with a 35W MR16, 4000hr halogen lamp.
www.uniquelighting.com
92
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www.iesna.org
www.iesna.org
April 2005 LD+A
93
CALENDAR OF EVENTS
§
September 12-13:
Cooper Lighting's two-day workshop on residential lighting solutions will explore light from a
designer's perspective, educate
participants how to apply design
techniques that use today's technologies and study lamps and their
operating characteristics, luminaries in application and an introduction to control systems. The class
project allows you to analyze a
variety of lighting designs in both
theory and practice. Contact:
Registration and information can be
found at www.cooperlighting.com/
education
§
September 12-14: Philips
Lighting Company is offering an
office application workshop, a
course geared to help commercial
end-users and specifiers address
visual performance, visual comfort,
energy management, maintenance
and sustainability in the office. The
workshop will be held at The
Lighting Application Center in
Somerset, NJ. Contact: To register
for this workshop call 732-5633600.
§
September 19-21: The
Philips Lighting Application Center in
Toronto presents a three-day workshop on Lighting Fundamentals,
designed to help participants acquire
a practical understanding of the fundamental principles of lighting for
use in the design, construction, and
supply industries. Attendees from
almost any background will leave
with an appreciation of the value of
lighting in all our environments, as
well as a foundation to consider the
many challenges involved in implementing a successful lighting system.
Contact: For more information or
to register, call 905-201-4500, ext.
2034.
§
September 21-23:
Designed for newcomers to the
lighting industry, GE's Fundamentals of Commercial and
Industrial Lighting conference provides basic product and application
training for commercial and industrial lighting. Using lectures and fullscale lighting demonstrations,
Lighting Institute experts cover a
lot of ground through this interesting, fast-paced, comprehensive
lighting conference. Contact: The
Lighting Institute at 800-255-1200
94
§
or go the website www.gelighting.com
September 21-23: The
Lighting Research Center (LRC)
offers its popular LED Lighting
Institute, an intensive, three-day
course for lighting fixture designers
and manufacturers, lighting specifiers and other professionals interested in learning more about this
rapidly evolving lighting technology.
Contact: Dan Frering at Tel: 518687-7149 or go to the website
www.lrc.rpi.edu/education/
outreacheducation/ledinstitute.asp
§
September 22-24: The
summer/fall meeting of the
Roadway Lighting Committee will
be held in Toronto, Ontario, at
the Radisson Admiral – Toronto
Harbourfront. Agenda and meeting
registration forms will be forthcoming by mid-August. Contact:
For more information go to the
website www.iesna.org
§
September 26-27:Cooper
Lighting's “Advanced IRiS Solutions”
is a two-day seminars that will help
participants understand what is
required in residential lighting
design.The hands on workshop will
feature the “IRiS Lighting System,”
Cooper Lighting's high-performance residential down-lighting
brand. Contact: Registration and
information can be found at
www.cooperlighting.com/education
§
September 26-28: Philips
Lighting Company is offering an
NCQLP prep application workshop to be held at The Lighting
Application Center in Somerset,
NJ. Contact: For information on
the exam, visit www.ncqlp.org. For
workshop pre-requisites or to register, call 800-945-9071 or visit
www.nam.lighting.philips.com/us/lac/
October 2-5: Dedicated
N
to educating street and area personnel with outdoor lighting
responsibilities, The IESNA's 24th
Annual Street and Area Lighting
Conference will be held in San
Diego, CA. Four days of topical sessions on the best practices in maintenance, planning, and design relevant to the outdoor lighting profession. Basic and intermediate full-day
courses, special events and networking opportunities with peers
in the outdoor lighting area.
Contact: Valerie Landers at Tel:
212-248-5000 ext. 117
§
October 6: The Kirlin
Company is offering its course,
“Healthcare and Medical Lighting”
at its Reflection Point Lighting and
Education Center in Detroit, MI.
The one-day program focuses on
lighting for hospitals, long-term
care and other medical and healthcare facilities.Attendees will receive
a copy of the new IESNA RP-292005, Recommended Practice for
Health Care Facilities. Contact:
Monique Killard at Tel: 313-2596400, ext. 301; or email:
[email protected]
§
October 7: Cooper
Lighting's Healthcare Solutions
workshop is a full day of interactive
teaching with an emphasis on lighting for healthcare and environments
for the aged. Participants will learn
about the psychology of light, visual
lighting cues and lighting techniques.
There will be discussion of healthcare and lighting research, vision and
color and lighting and its effects on
the aging eye. The course will also
feature Naomi Miller as its guest
speaker. Contact: Registration and
information can be found at
www.cooperlighting.com/education
§
October 10-12: WAGO
Corporation's free three-day seminar on Industrial Ethernet Control
will be held at their North American
headquarters, Germantown, WI.
Areas of discussion include an introduction to the WAGO-I/O-SYSTEM
hardware, overview of Industrial
Ethernet components and protocols, hands on IEC 61131-3 programming session with live demo
nodes, and review/create web services or applications (such as alarm
emails, web pages, etc. from the controller) using the new 750-841
Ethernet Programmable Controller.
Contact: For more information go
to the website www.wago.com
§
October 11-12: GE's
conference on retail lighting caters
to professionals who specify retail
lighting and others who supervise
the design or maintenance of lighting in department, grocery, specialty and mass merchandise stores.
Topics include: energy efficient light
sources, lighting equipment, light
and color, design strategies and
detailing. A portion of this conference will be held off-site as Lighting
Institute experts and attendees
visit some of Cleveland's newest
shopping venues to discuss and
evaluate actual retail lighting applications. Contact: The Lighting
Institute at 800-255-1200 or go the
website www.gelighting.com
October 17-19: Intertech
N
Corporation's “Power Signs 2005:
Emerging Markets for Dynamic
Signage” will take place at the Palace
Station Hotel and Casino, Las Vegas,
NV. In addition to including presentation on all aspects of digital signage - from new sign technologies
to advertising trends — the conference will facilitate networking
among attendees, speakers, and cochairs at its many functions. A tour
taking in notable sign installations
throughout Las Vegas as well as the
production facilities of Las Vegas —
based Young Electric Sign
Company (YESCO) will also be
offered. Contact: Chuck Spear at
Tel: 207-781-9612, email: cspear@
intertechusa.com; go to the
website www.intertechusa.com/
powersigns2005.html
N
October 17-19: Light
Emitting Diodes 2005 will feature
more than 25 expert speakers, I
paneled discussion, and an exhibit
area with space for over 50
exhibitors, more than any other
conference, which addresses HB
LEDs. The summit brings together
key users, component suppliers and
manufacturers of high-brightness
LEDs, and includes more than 10
presentations on end-use applications. The sixth annual conference
will be held at the Hilton San Diego
Resort Hotel. Contact: Patricia
Kinzer, conference director at Tel:
207-781-9604; or go to the website
www.intertechusa.com/leds.html
N
§= educational opportunities
Events KEY
= tradeshows & conferences
For all Industry Events go to
the website www.iesna.org
Future Events
Email:
[email protected]
www.iesna.org