lightfair international seminar preview 2000

Transcription

CONTENTS
APRIL 2000
VOL. 30/NO. 4
42
OUTDOOR LIGHTING
Torre! Torre! Torre! 30
When called upon to illuminate Torre Colpatria, a 48-story tower
in Bogota, Colombia, Robert Daniels was faced with the
biggest challenge in his career. He gives us the details of how
he faced a variety of seemingly insurmountable odds but
still managed to come through the ordeal with flying colors.
From a Distance 36
Miki Matushita, Naoki Takayama, and Satoshi Ono
revised the lighting for one of Japan’s tallest buildings and restored
its prominence in Fukuoka City’s skyline.
Mayan’s Hope 42
Elias Cisneros, Georgina Salazar, and Luis Castello
bring a Mexican cultural center into the new millennium with a
striking lighting scheme that uses indirect sources to accentuate the
architecture while also providing unobtrusive illumination.
DEPARTMENTS
4 Presidents Points
8 Regional Voices
LIGHTFAIR INTERNATIONAL
Seminar Preview 46
LIGHTFAIR INTERNATIONAL 2000 is back in the Big Apple for the
dawn of the 21st Century. To help us mark this momentous occasion
Paul Gregory, David Rockwell, Nancy Snyder, and Art Hatley
give us a preview of what we can expect from the vast array of
educational seminars featured at this year’s show.
12 Energy Concerns
14 Views on the Visual
Environment
19 IES News
60 Light Products
67 Light Literature
70 Scheduled Events
73 Howard Brandston
Student Lighting
Design Form
79 Ad offices/Ad Index
79 Photo Credits
ON THE COVER: Torre Colpatria is a 48-story tower in the heart of Bogota, Colombia.
Bob Daniels was charged with lighting this skyscraper which is also the tallest building
in the country. After many a trial and error, Daniels opted for xenon… downlighted
from the roof! A first not only for Colombia, but for outdoor lighting as well.
PHOTO: Juan Antonio Monsalve
2
LD+A/April 2000
www.iesna.org
t is hard to believe that this is the
last of my columns to you as
President of your Society. So far
I
PRESIDENT'S
POINTS
Ian
Lewin
4
LD+A/April 2000
this year, all seems to be running
smoothly with major efforts being
undertaken in various areas.
I hope you are not tired of my
theme of education. I am totally
convinced that providing knowledge
to all of our members, as well as the
public, is the largest contribution
the IES can make. You will be hearing more about this in the near
future. As we journey further into
the Internet age, the IES is exploring the vast possibilities of providing
significant educational services
through the electronic media.
On a related theme, in my last
column I wrote about cross-fertilization of ideas between the different
groups involved in the lighting
world. I suggested more communication across the boundaries that
separate researchers, designers,
architects, engineers, and others.
Dr. Janos Schanda, director of the
international group CIE, (Commission Internationale De L’Eclairage), or the International Commission of Illumination, noted this
thought and distributed it by e-mail.
How delighted I am to have
received copies of e-mails from all
over the world, all expressing a spirit of cooperation and a desire to
form a CIE working group to establish education as a priority within
CIE. On your behalf, I will ensure
coordination between IESNA and
CIE as we begin what we hope will
be a major international effort.
Making IESNA useful to its members, however, does not require
such laudable goals as spreading
lighting education around the world.
The most powerful tool is at your
local section, which strives to
ensure that you have good speakers and worthwhile programs. If you
are a local program chairman, you
may be surprised at the resources
available to you. Talk to your IES
Regional Vice President. The
Regional Executive Committees
now compile and report upon programs and speakers. Find out what
has been successful at other sections; very often a speaker will be
prepared to travel within your region
to give a program. Experts in many
fields related to lighting may be
available to you in this way.
Another point worth remembering is that credits are available in
the form of CEUs (Continuing
Education Units) for attending local
programs. Not only that, but the
American Institute of Architects
officially recognizes the IES as a
CEU provider. Why not invite other
local groups, such as AIA members,
to a special local meeting? There is
a double benefit—as meeting attendance grows, the quality of speakers who you can attract also grows,
which further increases atten-
How
delighted
I am to
have received
copies of e-mails
from all
over the world,
all expressing
a spirit of
cooperation
1999–2000
Board of Directors
IES of North America
President
Ian Lewin, Ph.D., FIES, LC
President
Lighting Sciences, Inc.
Past President
Joseph Good III, LC
Principal, Lighting and Theater Design
Spectrum Professional Services, Inc
Senior Vice President
Martyn Timmings
Vice President, Market Development
Canlyte Inc.
Executive Vice President
William Hanley, CAE
Vice President---Educational Activities
Mary Beth Gotti
Manager, Lighting Institute
and Application Development
GE Lighting
Vice President—-Member Activities
Mary Peyton, LC
Director, Lighting Services
Smith Duncan Associates
Vice President—-Design & Application
Douglas Paulin
Product Manager
Ruud Lighting
Vice President—-Technical & Research
Richard G. Collins
Supervisor of the Photometry Laboratory
OSRAM SYLVANIA Inc.
Treasurer
Randy Reid
Southeast Regional Manager
Robertson Transformer
Directors
Edwin W. Best
Chief Executive Officer
Dickens & Associates, Inc.
Claudia Gabay
Principal Lighting Consultants
Detroit Edison
Ronnie Farrar
Lighting Specialist
Duke Power
John R. Selander, LC
Branch Manager
Voss Lighting
Pamela K. Horner, LC
Manager, Technical Training
OSRAM SYLVANIA Products Inc.
dance. This has been a powerful formula for many local sections.
Although this is my last column
as President, my major address to
you will be in July, as part of the
Annual General Meeting held in conjunction with the 2000 Annual
Conference July 31–August 2 in
Washington DC. Mark your calendars now and plan on attending this
special event. You will not regret it!
James L. Sultan, LC
Lighting Designer
Studio Lux
Regional Vice Presidents/Directors
Anthony J. Denami, LC
Senior Electrical Designer
Gresham, Smith and Partners
Kay Ferguson
Principal
Ferguson Light Ideas
www.iesna.org
he old saying “All good things
must come to an end” is proving true, as in a few months
my two-year term as RVP will be
over. I have truly enjoyed the time I
have spent attending meetings and
conferences, making new IESNA
friends, and renewing old acquaintances. When I began my term, two
years seemed a long way off but it
has gone by very quickly.
T
REGIONAL
VOICES
Kay
Ferguson,
Pacific
Northwest
RVP
8
LD+A/April 2000
Some highlights of my past two
years are my visits to the Sections
and seeing some of them grow. The
Chinook Section in Calgary is a
good example and three people who
have been behind this growth are
Rich McDonald, Paul Mercier, and
Bill Charbonneau. They have almost
doubled their members but they did
not do it alone; many in their Section helped; they, however, were the
catalysts.
This year I had the privilege of visiting the Northern Lights Section in
Alaska. It was a long journey but a
most enjoyable visit as we discussed ways to improve the Section.
At our last REC meeting we decided
to include the Northern Lights Section in the next REC meeting via
telephone-conferencing. Although it
was only for an hour, it really brought
the Region together.
I traveled to Victoria, the home of
the Vancouver Island Section, which
has been dormant for the past few
years. Just a few weeks ago a luncheon was held with help from the
BC Section President, Carl Koehler,
and former Vancouver Island President, Don Halliday. Some of the
attendees have now organized an
executive meeting to revive the
Section, giving the island renewed
hope. Although the Section was not
active, some of the members carried on a tradition of providing the
Christmas lighting for the local hospital. On my visit to Northern Gateway in Edmonton, I was delighted to
see almost three-quarters of their
Section present for the meeting.
I also had interesting stops with
our neighbors to the south in the
Oregon and Puget Sound Sections.
As for the BC Section, we are
working hard to provide a wonderful
program for the Odyssey 2000
Lighting Conference. The committee has been working for over a year
to make it a success. I hope many
in our Region will attend, and since
it is a Tri-Regional Conference, we
are hoping members from the South
Pacific Coast and the Canadian
Region will support the conference.
At our REC meetings, we have
been encouraging the Sections to
honor their members who give so
much to the Society by having an
awards luncheon. Another reason to
attend is to help us thank the recipients. With all the IESNA activities
It is a
revelation
to see the
inner workings of
the IESNA
in the East, LIGHTFAIR in New York
and the Annual Conference in
Washington DC, this conference
provides an opportunity for members in the west to gain more knowledge (and earn NCQLP credits). The
dates are April 23—26 and I hope
many of you will attend.
This past year I was honored to
be elected by the other RVPs to be
a member of the IESNA Board of
Directors (one of two). It is a revelation to see the inner workings of
the IESNA and to see how much
work goes into making everything
operate in a timely manner.
I want to thank all the staff in
New York and all the volunteers who
make this Society a success. I have
enjoyed working with them, and all
of you, and wish I were younger so I
could carry on for many, many years
as part of this great Society. After
July, I will still continue as the local
Educational Co-Chair and do all I
can to support the new RVP elect,
Jeff Davis. I hope you all give him
the warm welcome and consideration you have given me.
Publisher
William Hanley, CAE
Editor
Mark A. Newman
Assistant Editor
Roslyn Lowe
Associate Editor
Peter Weisman
Art Director
Anthony S. Picco
Associate Art Director
Samuel Fontanez
Columnists
Ian Ashdown • Louis Erhardt
Brett Kingstone • Willard Warren
Book Review Editor
Paulette Hebert, Ph.D.
Marketing Manager
Pamela R. Weess, CAE
Advertising Coordinator
Celeste Picco
Published by IESNA
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Phone: (212) 248-5000
Fax: (212) 248-5017/18
Website: http://www.iesna.org
Email: [email protected]
LD+A is a magazine for professionals involved in the art,
science, study, manufacture, teaching, and implementation of lighting. LD+A is designed to enhance and
improve the practice of lighting. Every issue of LD+A
includes feature articles on design projects, technical
articles on the science of illumination, new product developments, industry trends, news of the Illuminating
Engineering Society of North America, and vital information about the illuminating profession.
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do not necessarily represent the policies or opinions of
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LD+A (ISSN 0360-6325) is published monthly in the
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This consent does not extend to other kinds of copying
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POSTMASTER: Send address changes to LD+A, 120
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www.iesna.org
s we enter the new millennium, the cost of imported
petroleum has doubled in
less than a year, and the U.S. balance of payments has hit a new
high, thanks in part to OPEC and
the popularity of gas guzzling
SUVs. But the difference between
today and 20 years ago, when we
A
ENERGY
CONCERNS
Willard
L. Warren,
PE, LC,
FIESNA
12
first realized the need for energy
conservation, is that the U.S.
economy has grown in the last 20
years, and the cost of imported oil
is now a much smaller portion of
our total GNP. Furthermore, we are
now in the computer age, in which
the service sector of our economy
has grown while the industrial
component has declined.
When government decreed that
utilities deregulate and unbundle
the generation of electricity from
its transmission and distribution,
we had great hope that there
would be a rush to improve utility
load factors, signaling the beginning of meaningful energy conservation. Unfortunately, before we
see those savings in power and in
the cost of electricity, we have to
pay off the “stranded costs” of the
utilities’ outmoded generating
plants, and get rid of all the fly-bynight hustlers trying to become
our electricity providers. But now
the country’s major energy producers, like Enron, are starting to
seriously get into utility deregulation, and the stranded costs are
being paid off, so it looks like we’ll
be in for a new round of energy
conservation.
In the lighting industry, we’ve
made great strides toward increasing energy conservation by downsizing the wattage of lamps, converting incandescent to compact
fluorescent or improved color
HIDs, and replacing T12s with T8s
and electronic ballasts.
There have also been improvements in the efficacy of lamp
sources and in the efficiency of
electric devices, due to the EPA
“Energy Star” program and other
LD+A/April 2000
federal government regulations.
Also, those regions in the country
with the highest electric rates
experienced
utility-created,
Demand Side Management (DSM)
programs that provided cash
incentives to cut demand so that
the utilities could “buy back” some
much needed capacity during peak
periods, while their customers
reduced their electric bills.
These efforts are having an
effect on reducing the electric load
used for lighting, but there are
other developments in office lighting, brought about by the proliferation of Internet businesses that
Of course
not everyone
in these
e-business offices
works at
monitors
all day long,
but the
general impression
you get is that
of a dimly lighted
messy space.
are worthy of notice. First, many
Americans are working on computers at home, where the lighting
loads are less than in their old
offices, and second, the e-businesses that operate in offices are
doing some daring things.
A recent New York Times article described the design of
Internet interiors as “accommodating chaos.” The designs are
masterful, created by some of our
best architects and interior designers, including the dean of graphic
designers, Milton Glaser. But the
spaces themselves are not conventional offices by any means.
Many Internet businesses rent
space in factory type buildings
with high ceilings and vast open
rooms. In these new interiors—called a “digital sweatshop”-by one
of the new entrepreneurs— there
are clusters of young “digital kids”
with lap tops, sitting anywhere
they wish. Incorporated in the middle of the space you find TV studios for shooting video spots and
ark cubicles for displaying web site
designs to clients.
Most often, the lighting level in
these spaces is quite low, especially where the task is a new,
bright, flat-screen monitor. Also,
you find several creative people sitting around a table sharing a
space, all plugged in, and working
on their own projects. People in
this environment work in close
proximity to one another, prompting one of the design architects,
quoted in the same New York
Times article, to point out that
there are some spaces set aside
for personal privacy, but you can
judge their size by their characterization as “phone booths.”
Of course not everyone in these
e-business offices works at monitors all day long, but the general
impression you get is that of a
dimly lighted messy space.
Homemaker guru Martha Stewart
has chosen an entire floor in such
a factory space for her new corporate offices and you can be sure
that the lighting design will be
interesting. The cost to outfit this
type of office in a factory setting
is quite modest, at $45—60/ft2 in
New York City, but the furnishings
are spartan and the lighting is not
only industrial looking, it’s energy
saving because of the low illumination levels required for monitor
viewing.
Right now the designs are evolving. I visited the office space of a
company that designs web sites
and it was indirectly lighted with
industrial halogen floods to a level
of 5—10 fc. Some conference
rooms were kept dark because
they were used to critique and display web site creations for the
clients’ review.
I’ve spoken to lighting designers
www.iesna.org
with experience lighting these
internet business spaces who tell
me that they try to provide some
pattern or continuity to the lighting, instead of just spotting “task
lighting on the ceiling.” Mostly
though, industrial type fluorescent
We’ll have to
wait to see
if the owners
of Internet-based
companies
have carried
minimalism
too far
and
discovered that
less is less.
is used, somewhat randomly located, with 80 percent uplight, 20
percent downlight, and at a connected load of about 1 W/ft2.
As one of the members of the
IESNA Office Lighting Committee
and author of the energy conservation section of RP—1, the new
recommended practice, I’m concerned about the relevance of
RP—1 to this new work atmosphere. We’ll have to wait to see if
the owners of Internet-based
companies have carried minimalism too far and discovered that
less is less.
We learned the hard way about
carpal tunnel syndrome. Is there a
malady out there called “monitor
eye-strain” or “accommodative
fatigue” that we will also discover
through bitter experience? The
principles of properly lighting any
environment, as detailed in the
new IESNA Lighting Handbook,
carry with it a warning—-”ignore
at your own risk.”
www.iesna.org
he Luminometer establishes thresholds; each
threshold depends on the test sample being
viewed. Thresholds, as such, are inadequate
and are multiplied by “fudge” or field factors. The factors are presented herein individually, allowing the
designer to select those appropriate to the immediate problem. Proper selection assures the most
effective adaptation.
Initial treatment of adaptation assumes a more or
less uniform pattern of luminances in the entire field
of view. This will exclude such instances as a single
T
VIEWS ON THE
VISUAL
ENVIRONMENT
lamp source for reading in a dark room where foveal
vision is at a high level while peripheral vision is significantly lower.
In this initial presentation of the AdaptionReflectance method of design, only the leading
issues can be addressed leaving many questions
unanswered.
Louis
Erhardt
1. Identify space; task.
2. Dimensions: length, width, height.
3. Calculate area (A) - meters2: walls + floor + ceiling =
(A).
4. Determine average reflectance of all surfaces
_____%. ().
5. Lacking an accurate average use:
low = 16%, medium = 32%, high = 64%.
6. Estimate task difficulty: simple, average, or severe.
7. Select adaptation luminance (La) (consistent with
task difficulty): simple = 1 cd/m2, average = 10 cd/m2,
severe = 100 cd/m2.
8. Luminance (La), (selected in Item #7), = E/
9. Illuminance (E) = (La)/
10. Reflectance (), (measured or estimated) = L/E
11. Total Flux () = E x A (1-)
12. For adaptation-reflectance design the following
are lumens/square meter, (required for total area,
Item #3):
(cd/m2)
Adaptation
1
10
100
Reflectance (%)
Lumens/meter2
(lux)
16
20
196
1963
32
10
98
981
64
5
49
491
13. Lumen values are the output of the luminaires i.e.,
lamp lumens x luminaire efficiency.
14. Record designer’s colors:
15. Select lamp spectral distribution.
16. Envision the space, as you would like to see it when
lighted, consistent with identity of the space and the
difficulty of the task. Item # 1
14
LD+A/April 2000
17. Luminometer, description and use, are in a separate
essay.
18. To establish illuminance (lux), which becomes the
designer’s brightness, the luminometer is suggested as
a visual test instrument. (See LD+A December 1992)
The original test is appropriate for office reading or writing, but other tests may be substituted, appropriate for
other tasks. The light source should be selected for the
task, its intensity adjusted to provide for clear distinction between capital and lower case letters. This sets
the threshold for this particular task.
19. Laboratory procedures to determine thresholds
are as accurately perceived 50% of the time. To improve the frequency of accurate perception “fudge
factors” are employed. Factors as high as 10 have
been recommended but a more realistic list for reading or writing includes: 1.9 to improve accuracy, and
2.5 to expand coverage for an overall multiplier of
4.75; which will apply to the total flux required for the
basic task as well as each of the luminance and illuminance figures. Other factors: location of detail
unknown, the factor is 1.5; target in motion, 2.78;
age, 2.5; still other factors may be developed that
Each application
carries a
unique opportunity to
bring to life
the design intent of the
architect or designer
may apply in specific instances. These factors are
unproven with respect to luminometer observations,
hence the appellation “fudge factor.” By applying the
selected factors to the lumens/square meter table,
Item #12, the basic illuminance for uniform adaptation is established.
20. Reflectance is the ratio of light reflected from a
surface divided by the light incident on the surface. It
is a physical property that, in part, defines the surface, and is essential to visual understanding. Color is
a dominant characteristic of reflectance; a property
that aids perception and recognition.
21. Control of intensity distribution begins with selection of a luminaire flux pattern. CIE classifications are:
direct, semi-direct, general, direct-indirect, semi-indirect, or indirect. Direct puts light on the task and
floor; General distributes the flux to ceiling, walls, and
floor; Direct-indirect eliminates the light from the
walls; and Indirect puts all light on the ceiling. All of
the foregoing belong to physics and photometrics,
objective considerations. Following is a brief statement of the physiological objectives, the subjective
www.iesna.org
goals of the design process.
22. These, simply stated, are clearness, comfort, and
satisfaction.
23. Comfort requires that sources of high brightness
be outside the area of foveal vision and greatly
restricted in the peripheral field. Higher adaptations
than necessary for the space or the task result in
lowered visual sensitivity, in fatigue. Proper selection
of an adaptation is of paramount importance. Color,
too, brings serious results. Fatigue occurs more
rapidly with yellow or orange than with green or
bluish-green light
24. Clearness refers to something that stands out in
sharp contrast with its surroundings. The difference
may be in color or brightness. Such contrasts should,
however, be balanced. Too great contrast in brightness may deprive the visual mechanism from seeing
smaller differences.
25. Satisfaction. After comfort and clearness have
been assured, satisfaction can be augmented by the
careful application of highlights and shadows from
directional beams of light, The creation of the
chiaroscuro effect clarifies and enhances objects,
and separates them from their backgrounds. Colors
may be chosen to reveal the effects of soil and age
or may obliterate such detail. Total directional light
may be too dramatic; total diffusion, too boring. A
proper proportion of the two is in order, diffuse light
for circulation and to illuminate the shadows, directional light for emphasis and to separate objects from
the surround.
26. Example: grade school classroom - reading and
writing.
• Dimensions: 9.15m X 9.15m X 3.7m (2.4 cavity
height, RCR 2.7)
Total area (A) 302.8 sq. m. divided as follows.
Floor (Afl) 83.7, walls (Aw) 135.4, ceiling (Ac) 83.7
square meters.
• Task difficulty - Average suggesting 10 cd/m2 for
the adaptation.
• Reflectance (): ceiling 80%, walls 50%, floor 20%,
task 50%, av. 50%.
• Luminaire output requited is 302.8 x 31.4 = 9447
lumens. Lamp lumens = 9447/Luminaire efficiency
• To add the inter reflected component in compliance
with equation # 11, divide by average reflectance, 0.5,
which doubles E to 62.4 lux.
• Total flux () = EA = 302.8 x 62.4 = 18895
lumens. (direct + interreflected)
27. Luminaire Flux Patterns: IESNA Lighting
Handbook, eighth edition -Fig. 9-34, Illuminance and
Exitance values for luminaire types: General #1, Indirect
#2, and Direct #3. Convert Wall and Ceiling exitances
to illuminances by dividing by the appropriate
reflectances.
28. See Table 28
29. See Table 29
30. The foregoing table represents three different distributions of the flux to attain an initial adaptation of 10
cd/m2. Light Loss Factors (LLF) must be applied to
assure the initial design will be maintained. Lamp
lumens required 9447 / Luminaire Efficiency.
www.iesna.org
31. Flux Distribution (Item #35) x Fudge Factor 4.75
= 44873
Task
Walls
Ceiling
General #1
155
139
155
Indirect #2
139
96
241
Direct #3
225
152
64
Note: Luminaire lumens, 44873, total direct and interreflected
lumens, 89747.
Lamp lumens = 44873/luminaire efficiency.
32. These distributions are the result of the selection
of a CIE distribution alone. Among them (and there are
a total of six) there may be an adequate solution of
the design requirements, or the envisioned design
may demand further additions. It may be desirable to
emphasize the chalkboards or other displays, the
instructor’s position, etc. Each application carries a
unique opportunity to bring-to-life the design intent of
the architect or designer.
33. Just as the Luminometer allows one to compare
different lights with respect to their ability to provide
visual information, so the lighting designer should
have the opportunity to try different lighting solutions. It is suggested that the interior designer provide computer assisted design (CAD) renderings of
Table 28
Illuminance (E)
Task Walls/0.5 Ceiling/0.8
General #1
0.530
0.476
0.515
Indirect #2
0.560
0.386
0.974
Direct #3
0.670
0.454
0.173
Illuminance x Area
A-83.7 A-135.4
A-83.7 Total Lumens
General #1
44.4
64.5
43.1
152
Indirect #2
46.9
52.3
81.5
181
Direct #3
56.1
61.5
14.6
132
Percent of Total Lumens (%)
General #1
29
42
29
100%
Indirect #2
26
29
45
100%
Direct #3
47
46
12
100%
Table 29
Illuminance = 9447 x % Total Lumens/Appropriate Area
Lamp Lumens
A-83.7 A-135.4 A-83.7 Flux/Lum.Eff.
General #1 Eff. .80
32.7
29.3
32.7
11809
Indirect #2 Eff. .86
29.3
20.2
50.8
10985
Direct #3 Eff. .83
47.4
32.1
13.5
11382
the interior in flat tones, no highlights or shadows.
The lighting designer then applies the luminaires,
their spectral content, color appearance, direction,
and intensity, to create an overall illumination, with
lighter and shaded areas, highlights and shadows
that combine to form a composite that “brings-tolife” an actual working interior.
34. The A-R method of design begins with setting the
eye’s visual system to achieve specific objectives. The
setting is visual adaptation (A in the A-R designation),
and defines what we can see at each log step of adaptation. This was the topic of a series of LD+A essays,
from February through September, 1992 and reproduced in the collected “Views,” published by the
16
LD+A/April 2000
IESNA in 1995. These observations, though recorded
by a single individual, are quite extensive and give a
comprehensive view of our visual ability at each adaptation level.
35. R is Reflectance, a property of the objective visual scene that provides stability, i.e., visual constancy.
“Both variables, object color and objective illumina-
By definition,
reflectance is
the ratio of
reflected to incident light.
But it is
so much more!
tion, affect the eye through the same medium, the
varying amount of reflected light.”1 Since interior illumination is uniform or uniformly graded we see
reflectances which predominate. By definition,
reflectance is the ratio of reflected to incident light.
But it is so much more! “That color resides in the surface reflectivity makes biological sense. Surface
reflectivity is a physical constant which can serve to
identify an object. . . . It is the surface reflectivity
that provides useful information to the organism.” 2
“Light and color are, in a way, the raw material of
vision. . . . The surfaces of objects reflect light, if they
are illuminated, and this fact is the original basis for
visual perception.” 3
36. Adaptation sets the sensitivity of the visual system to assure that it will allow the maximum discrimination of detail. Reflectance, through brightness and
color, defines the objective image. Together they form
the most promising basis for lighting design, the A-R
Design method.
37. This completes the trilogy: Adaptation Cornerstone of Vision, Luminometer, and Adaptation Reflectance, an exposition of visual adaptation that
proposes a new method of lighting design for the next
century.
References
1. Wallach, H. Brightness Constancy, Document of
Gestalt Psychology, U. of Calif. L.A.
2. Corth, R. 1987. Human visual perception, LD+A
17 (no. 7):20-24.
3. Gibson, J.J. Visual World. Boston: Houghton
Mifflin Co.
www.iesna.org
LIGHTFAIR 2000
Returns to the
Big Apple
LIGHTFAIR INTERNATIONAL 2000
will present the twenty-first century
edition of the world’s largest and most
comprehensive architectural and commercial lighting Conference in New
York City, May 9-11..
With course levels ranging from
Beginner to Intermediate and Masters,
it is the most technically challenging
lighting education resource available.
Seminar Tracks include: pre-Conference
workshops, Design in the Built Environ-
ILLUMINATING
ENGINEERING
SOCIETY
NEWS
VOLUME 30, NUMBER 4
APRIL 2000
ment, Urban Lighting: City Lights,
Entertainment Architecture, Energy &
Technology, and Business Practices.
The entire LIGHTFAIR INTERNATIONAL 2000 Conference is authorized for
the CEU/Learning Units indicated in
accordance with guidelines set forth by
the American Institute of Engineers
(AIE), American Society of Interior
Designers (ASID), and the International
Interior Designers Association (IIDA).
The IESNA will grant CEUs for all nonBusiness presentations, all of which
provide National Council on Qualifications for the Lighting Profession
(NCQLP) Lighting Education Units.
Special Events will utilize the excitement of New York City, providing an
opportunity for architectural, engineering, and design professionals to support industry association and educational efforts. The Special Events
include The Howard Brandston Student
Tour and Luncheon, The IALD 17th
Annual Awards Dinner and Educational
Trust Benefit, The National Council on
Qualifications for the Lighting Pro-
IESNA
Calendar of Events
April 23–26
ODYSSEY 2000
IESNA Tri-Regional Conference
Vancouver, BC, Canada
Contact: e-mail
[email protected]
or visit the Web site at
www.ies-odyssey2000.com
May 7, 2000
Board of Directors Meeting
New York, NY
Contact: Wiliam Hanley
(212) 248-5000, ext. 114
May 9–11, 2000
LIGHTFAIR INTERNATIONAL
New York, NY
Exhibitors contact: Libby Morley
(404) 220-2215
Attendees contact: Renee Gable
(404) 220-2217
July 30-Aug 2, 2000
2000 IESNA Annual Conference
Washington, DC
Contact: Valerie Landers
(212) 248-5000, ext. 117
September 22-23, 2000
IESNA Maritime Regional Conference
Moncton, New Brunswick
Contact: Art Gillard
(506) 858-0950
fessions (NCQLP) Lighting Certified
Luncheon, and The Nuckolls Fund for
Lighting Education Luncheon.
continued on following page
DOE/AIA Sponsor “Sun Wall” Competition
Building the world’s largest solar energy system is the
goal of a design contest sponsored by the Department of
Energy (DOE) and the American Institute of Architects
(AIA). In a joint announcement by DOE, Secretary Bill
Richardson and AIA President Ronald L. Skaggs, it was
revealed that the DOE’s Forrestal Building in Washington,
D.C. will become the home of the world’s largest “sun wall”
in the process of the competition. Richardson added that
architects, engineers, and other design professionals who
enter the competition are ideally positioned, because of
“their training and expertise, to successfully blend aesthetics with complex, technological systems.” Architects,
building design professionals, engineers, and energy technology companies are invited to design a technologically
www.iesna.org
advanced and visually exciting solar energy system for the
south-facing wall of the department’s headquarters building. The wall, which is currently blank, spans a space nearly two-thirds of an acre.
The system could generate as much as 200 kW of electric power, enough energy for more than 60 homes. Once
completed, the “Sun Wall” will be the largest such solar
energy system on any building in the world. It is expected
that the installation of the winning design will be funded by
a combination of public and private resources.
The “Sun Wall” Design Competition officially opened on
March 1, 2000. An eminent jury of architects, design professionals, and solar energy experts will select the winning
continued on page 22
LD+A/April 2000
19
LIGHTFAIR 2000
continued from previous page
Also, The Celebration Cocktail Receptions featuring Best Booth Awards
and IMAGE Awards will celebrate the
expansion of the Trade Show Exhibit
Hall, featuring more exhibiting companies than ever before. Enjoy complimentary wine, beer, and soft drinks at
the Celebration Reception, held in
Hall D.
“The Twentieth Century: Light Runs
Through It” Seminar Luncheon, sponsored by Leviton Mfg. Company, Inc.,
will depict 20th century lighting in context with the fashion and politics of the
times. When big-finned cars and silver
toasters reigned, what was happening
to luminaire design? What social and
cultural influences catalyzed new
designs? How and why has the lighting
in our buildings evolved? To what
extent has home lighting changed in
the past 100 years? These and other
provocative questions will be discussed by the panelists: Daniel Blitzer,
Pamela Horner, Robert Horner, and
Mark Rea.
The City Walk in memory of Craig A.
Roeder will offer some early exercise
through Central Park, beginning at the
Sheraton Hotel and Towers and proceeding down 7th Avenue to Central
Park. Once inside the park, the walk
will continue through the tree-lined
paths up to Bethesda Fountain and
then back to the Sheraton for a light
and healthy breakfast before LFI 2000
gets underway. The walk will benefit
the Nuckolls Fund, sponsored by Belfer
Lighting.
The International Illumination Design
Awards (IIDA) Roundtable Breakfast
will include Don Newquist and Jim
Zastovnik from the IIDA Committee
forming an informative question and
answer session about the IIDA program. By viewing examples, learn how
to prepare a design entry and receive
tips on text preparation, judging criteria, most commonly asked questions,
and photography. Handouts and a
videotape from the previous IIDA workshop will be supplied to support the
presentation. New this year will be an
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:
Copper: $500 annual dues
Lighting revenues to $4 million
(Copper Sustaining Members are
listed in the March issue of LD+A, as
well as in the IESNA Annual Report.
There are currently, 230 Copper
Sustaining Members).
Silver: $1,000 annual dues
Gold: $2,500 annual dues
Platinum: $5,000 annual dues
Emerald: $10,000 annual dues
Diamond: $15,000 annual dues
Lighting revenues over $500 million
DIAMOND
Cooper Lighting
GE Lighting
Lithonia Lighting
OSRAM SYLVANIA Inc.
Philips Lighting Co.
EMERALD
Holophane Corporation
PLATINUM
Day-Brite/Capri/Omega
Lutron Electronics Co., Inc.
GOLD
IES
A.L.P. Lighting Components Co., Inc.
The Bodine Company
Detroit Edison
Edison Price Lighting
Finelite Inc.
Indy Lighting, Inc.
The Kirlin Company
Kurt Versen Co.
LexaLite International Corp.
Lighting Services Inc.
Lightron of Cornwall, Inc.
LSI Industries Inc.
Martin Professional Inc.
Matsushita Electric Works Ltd.
Musco Corporation
Philips Mexicana SA de CV
Prudential Lighting Corp.
Robertson Worldwide
Ruud Lighting Inc.
San Diego Gas & Electric
SIMKAR
SPI Lighting Inc.
Steelcase, Inc.
SUSTAINING
MEMBERS
Visa Lighting
SILVER
Alabama Power Co.
American Illuminetics Inc.
Ardron-Mackie Limited
Associated Lighting Representatives, Inc.
Bartco Lighting, Inc.
Branco Lighting and Controls
BJB Electic Corporation
Canlyte, Inc.
Cinergy PSI Energy
City of San Francisco
Bureau of Light & Power
Con–Tech Lighting
Custom Lighting Services, LLC
Custom Lights, Inc.
Day Lite Maintenance Co.
Elf Atochem North America Inc.
Energy Savings Inc.
ENMAX
Enterprise Lighting Sales Corp.
ERCO Leuchten GmbH
Exelon Infrastructure Services
Eye Lighting Industries
Eye Lighting International of
North America
Factory Sales Agency
Fiberstars, Inc.
Focal Point LLC
High End Systems Inc.
Hubbell Lighting Inc.
Kansas City Power & Light Co.
Kenall Manufacturing Co.
King Luminaire Co.
Kirby Risk Supply Company, Inc.
Ledalite Architectural Products
LEE Filters
Leviton/Macro Lighting
Control Division
Lite Tech
Litecontrol Corp.
Litelab Corporation
Litetronics Int’l Inc.
Multi Electric Manufacturing Inc.
Optical Research Associates
Optima Engineering PA
Paramount Industries, Inc.
PECO Energy Co.
Portland General Electric
Poulsen Lighting Inc.
Power Lighting Products Inc.
Prescolite•Moldcast
Shaper Lighting
Shobha Light Designers
Southern California Edison
Stage Front Presentation Systems Inc.
Sterner Lighting Systems, Inc.
TU Electric
United Illuminating Co.
WAC Lighting Co.
Wiko Ltd.
H.A.Williams & Assoc.
H.E.Williams Inc.
Winnepeg Hydro
Wisconsin Public Service Corp.
Zumtobel Staff Lighting Inc.
As of March 2000
20
LD+A/April 2000
www.iesna.org
LIGHTFAIR 2000
open forum where each attendee may
address the committee about individual issues or concerns.
The Lighting Industry Resource
Council Lunch and Game Show offers
attendees the chance to play along
with colleagues, customers, and competitors in the return engagement of
the LIRC “Filament Family Fracas.”
This lighthearted event includes a brief
LIRC business update, remarks from
the IALD Chair, and then show time!
The IESNA and IALD Gallery of
Awards will present photography of
award winning lighting designs. The
photographs will be on display daily
from May 9-11, featuring the winners
of the 1999 IIDA Awards and the 1999
IALD Awards.
The New Product Showcase and
Award Presentation will be an informative and entertaining multi-media presentation to kick off the 2000 event
with an exciting preview of what will
be seen on the Exhibit floor.
A panel of renowned lighting professionals will serve as judges to select
The Best New Product of the Year
Award, along with the Technical
Innovation Award, The Energy Award,
The Design Excellence Award, Category Innovator Awards, and at their
discretion, The Judges Citation Award
and the Roeder Award, recognizing
manufacturers whose product entries
truly meet and exceed the current
challenges of the twenty-first century.
LIGHTFAIR INTERNATIONAL 2000
will be held at the Javits Convention
Center in New York City. Pre-Conference will be Monday, May 8, 2000.
The Trade Show and Conference will
be Tuesday, May 9 – Thursday, May
11, 2000. The conference is sponsored by IALD, the New York section of
the IESNA, and the IESNA itself. For
exhibit information, contact Libby
Morley, Executive Director, Conference & Marketing, at (404) 220-2217
([email protected]), or Angela
Ausband, Conference and Marketing
M a n a g e r, a t ( 4 0 4 ) 2 2 0 - 2 2 2 1
([email protected]). For registration call 1-800-450-1106 (US and
Canada), or 1-708-786-4120 (international). For Hotel Reservations, call 1800-220-4765 or 1-312-527-7300 for
international callers. Or call Fax-OnDemand at 1-888-611-0164 to have
forms faxed to you. Everything you
need to plan your LFI 2000 experience
is also available at the web site,
www.lightfair.com.
NCQLP Announces LC Class of 2000
Norman Grimshaw, vice president of
Advance Transformer Co. and president of NCQLP, is pleased to announce
that 137 individuals earned the Lighting Certificate (LC) credential in November of 1999; the pass rate for the
Frank J. Agraz, Jr.
Mary Alcaraz
Mary Andalia
Brent A. Andrews
Thomas Ballew
Jeff T. Bannard
William R. Banning
Wanda J. Barchard
Faith E. Baum
Steven Berthelette
John F. Bos, Jr.
Jeffery P. Boynton
E. Teal Brogden
William J. Broughton, III
Cynthia Burke
Kevin P. Burke
Bruno Campesi
Kerry D. Carr
Norman J. Chamberlain
Larry B. Chambers
Donald Cherwonka
Timothy R. Clarke
Jill Cody
Stephen A. Coffey
Margaret A. Cooper
Tracy R. Cuneo
Margaret Czebatul
Jimalee Dakin
www.iesna.org
1999 examination was 80 percent.
The 2000 LC graduates are listed
below (IESNA members are in bold
face).
The fourth annual LC examination is
scheduled for November 4, 2000 at 20
Wilson Dau
Leslie E. Davis
Henry P. Dormberg
Kenneth A. Douglas
Bruce Dunlop
John K. Dunn
Laurie E. Emery
Glen R. Fasman
James H. Floyd
Marcia L. Fowler
Scott J. Freer
John R. Freese
Brian H. Friedman
John A. Funkhouser
Claudia R. Gabay
G. Michael Gehring
Joe E. Gibson
Mark A. Graham
Laura Grayson
Raymond W. Greenhalgh
Scott G. Guenther
Lee Harris
Melinda Haverland
Greg R. Hebets
Sarah Heenan
Steven Heidlauf
David J. Herscher
Margaret O. Hill
William B. Hodges
Lance D. Howitt
Edward D. Hyatt
Debra L. Jensen
Eric K. Jensen
David E. Johanning
Richard Johnstone
Emily Klingensmith
Darryl J. Knittle
Daniel A. Knutson
John C. Lamb
Stephen Leinweber
David R. Leslie
Lincoln Lighthill
Kim Loren
James A. Love
Lynn Lumsden
Dawn MacFayden
Michael MacPhee
Marianne Maloney
Dorene Maniccia
Michael McCarroll
James McCarty, III
Richard McDonald
Carlos Medina
Paul Mercier
Charles Michael, Jr.
Keith J. Mitchell
sites in the U.S. and Canada. For additional information on NCQLP and the
LC examination see the NCQLP website at www.ncqlp.org or contact
Jacqueline Callahan at (301) 6542121 or email: [email protected].
Andy Mullins, III
Lana M. Nathe
Linda Owens
Steven J. Parker
Tara M. Parks
Christine Paterakis
Scott T. Payne
Mary J. Pelican
Eric S. Perkins
Chris Yu Poon
Huel Pruitt
Frank J. Puliafico
Kelly S. Quinn
Amee Quiriconi
Raymond Randall
Kenneth Reinhard
Susan M. Rhodes
Philip C. Richards
Vincent G. Roy
Joseph M. Scott
Jerry E. Shepard
Mahandra Singh
Gregory D. Smith
David C. Smith
Gale Spencer
Carsten J. Stehr
Daniel O. Sterling
Richard J. Stern
Michael R. Stevens
David W. Steward
Cristian Suvagau
Mark Tatarian
Tan V. Tran
Lauri A. Tredinnick
Christie M. Trexler
Ken Valentine
Adrian A. Vera
Tom S. Vohs
Debbie Voyce
Stan Walerczyk
Christina S. Walsh
Gordon A. White
Mark B. Williams
Michelle L. Wilson
Jeremy Windle
Marcus Yahnke
Dany Yanusz
Li Yao
Dennis Yee
James Youngston
Tarek Zarif
John Zotis
Daniel Zuczek
LD+A/April 2000
21
DOE/AIA Competition
continued from page 19
design. The contest will close on
August 1, 2000, with the winning
design scheduled to be announced during Energy Awareness Month 2000 in
October. The winning design team will
be awarded $20,000.
DOE and the AIA jointly established
the rules for the competition and
determined the award categories.
Criteria for the contest, design specifications, rules of entry, and registration
materials are available on the Sun Wall
Design competition web site at
www.doe-sunwall.org or by contacting
Dr. E. Jackson, Jr., The AIA, 1735 New
York Avenue, NW, Washington, D.C.
20006-5292, phone: (202) 626-7446.
The Depar tment of Energy also
announced $132.7 million in state
grants will be used to help lowincome households cope with rising
energy costs. These grants will
reduce the energy bills of more than
67,000 low-income families nationwide by 25 percent, provide jobs, and
improve the environment. Richardson
made the announcement during
remarks at the Annual Conference of
the National Community Action
Foundation. Members of the foundation represent local weatherization
providers throughout the country.
1978, he joined Incorporated Consultants Limited until 1985 when he
founded Cline Bettridge Bernstein
Lighting Design.
When Cline worked with Robert A.
M. Stern, the Manhattan architect
who is now dean of the Yale School of
Architecture, in designing the Ohrstrom Library in New Hampshire, in the
late 80s, Mr. Stern wanted the lighting
to be hanging pendants and table
lamps. “It was to evoke an old Ivy
League school library, but had to be
energy efficient,” said Francesca
Bettridge, a principal partner at CBB
Lighting Design, Inc.
Cline wanted to use a new compact
fluorescent lamp, but knew Stern didn’t like fluorescent light. Cline and
Bettridge made two glass lamps,
putting an incandescent lamp in one
and a fluorescent lamp in the other.
But with the latter, they also inserted
a theatrical gel to alter the color.
Asked to choose, Stern picked the fluorescent, disguised as incandescent.
Cline tinkered with new light fixtures
to see how they worked. Once, a fixture arrived without any explanation
for assembly. Carroll sawed the fixture
in half, according to Bettridge. He was
a designer of great craft and collaboration with architects. His was known as
a dedicated design mastermind.
Cline is survived by his wife,
Katherine D.; two children from his first
marriage to Barbara Lovett, Rachel K.
Cline of Brooklyn and Henry L. Cline of
Manhattan; a twin sister, Dorothy
Yunghans of Pittman, New Jersey; and
a brother, Alan Cline of Sarasota,
Florida. Instead of flowers, it is asked
that you donate the money to a charity of your discretion.
Members in the News
lighting products. Electrical Products
Co. covers Nebraska and Iowa;
Electrical Sales of Ohio serves the
Cincinnati/Dayton area; Liteco represents Crescent/Stonco in Oregon and
Southern Idaho; Griesser Sales Co. is
the Cleveland area representative now
to include Columbus, Ohio.
Elisabeth Bernitt has been named
managing principal of Hellmuth,
Obata, and Kassabaum, Inc. in
Tampa, Florida. In her new role at
HOK Bernitt will direct day-to-day
operations while focusing on a vision
for the firm’s future.
Electronic Theatre Controls has
appointed Joseph E. Deklotz as the
Obituary
Lighting design pioneer, Carroll Cline
died February 24 at
his home on the
Upper West Side in
Manhattan. He was
72. His projects included the Santa Fe
Opera Theater in New
Mexico, The Norman Rockwell Museum in Stockwell, Massachusetts,
and the lobby of 1251 Avenue of the
Americas in New York City.
He received G.E.’s Edison Award of
Excellence for the Sante Fe Opera, a
1997 IIDA Award for One Market Plaza
in San Francisco, CA, G.E.’s Award of
Merit for MONY Financial Services
Headquarters in New York City, and the
IALD Certificate of Fellowship, in
recognition of outstanding contributions to the association and profession. The list of awards cited to his
enterprise is long.
Cline was born on October 12, 1927,
in Richmond, Indiana. He received a
BA from the University of Chicago, BS
in Architecture at the Illinois Institute
of Technology, and collected a vast
working education in the lighting field.
The field, he claimed, is less than thirty years old.
Never idle professionally, he moved
around until working for Skidmore,
Owings & Merrill, for three years. In
1962, Skidmore loaned Cline to one
of its clients, lighting fixture manufacturer Edison Price, where he
became not only a vice president but
also a lighting designer, staying there
for ten years before striking out as
Carroll Cline, Lighting Consultant. In
22
LD+A/April 2000
Carrie Baltin, Department Manager of
Lighting Products for Search West, was
awarded the 1999 ‘Corporate Account
Executive of the Year’ title. A nationwide recruitment specialist in the lighting and electrical industries, Baltin has
now earned 16 Account Executive of
the Year Awards, including seven as
Westlake Village branch office winner,
and nine awards company-wide.
At LDI 1999 in Orlando, Paul Vincent
of Vincent Lighting Systems was
awarded the 1999 Eva Swan Award.
Crescent/Stonco, a division of Genlyte-Thomas Group LLC, announced
three firms joining its sales network,
representing the division’s lines of
www.iesna.org
Members in the News
company’s new Vice President of
Research and Development. Most
recently, Deklotz comes to ETC from
Schenk/AccuRate in Whitewater,
Wisconsin, where he was a senior
executive of the company, guiding new
product planning and development at
an international level.
James Posey Associates, Inc. Consulting Engineers announced that Marc
R. Hurwitz has joined
the firm’s electrical
depar tment as a
Project Manager.
Hurwitz is presidentelect of the Mar yland Society of
Professional Engineers, the state society of the National Society of Professional Engineers.
Lutron Electronics Co., Inc., has purchased VIMCO (Virginia Iron and Metal
Company, Inc.), a leading manufacturer of window shading sytems. “The
acquisition of VIMCO enhances
Lutron’s total package of lighting controls and shading systems, allowing us
to serve our customers even better by
controlling the complete visual environment,” said Lutron President John
Longenderfer. “Combining light dimming solutions with motorized shading
systems gives total lighting control
solutions. It provides the ability for us
to bring products to market throughout a new channel of distribution.
Vimco . . . will continue to deliver high
quality window shading systems.”
Horton•Lees Lighting Design has
grown again, adding several new
designers to the firm as of mid-January,
2000. Guy Smith joined the Los
Angeles office as a Project Director
with a background in architecture and
Rudy Rodriguez joined the New York
office as a Project Director. He has an
MFA in lighting from Parsons School of
Design. Angela Lawrence, LC, joined
the San Francisco office as a Project
Director. She has a strong design background and her understanding of products and their applications complement the team for a broad range of projects they design.
Two lighting products from automated lighting manufacturer High End
Systems Inc. took top honors at a
recent conference for the live entertainment industry. The Live! Awards,
presented by UK-based Live! Magazine
EELA to Certify Energy Efficient Companies
The Energy Efficient Lighting Association announced CEELSCo, a new certification program for energy efficient lighting service companies. The certification
program increases the basic knowledge level and capabilities of lighting service
companies and identifies those accredited as upholding the technical and ethical standards of the EELA. The certification program is available for members and
non-members, alike.
Companies seeking to become a Certified Energy Efficient Lighting Service
Company (CEELSCo) must adhere to specific guidelines that include demonstrating an industry recognized energy efficient lighting certification such as
CLEP, LC, EPA Green Lights Survey Ally, or CLMC. Companies must also possess
sufficient lighting and business experience, appropriate insurance coverage, and
provide specific information to clients for all lighting projects.
The certification program benefits the industry by increasing the overall awareness level of the marketplace and end-user confidence. Working with an EELA
Certified Energy Efficient Lighting Service Company ensures quality service from
audit to design through installation, delivered in a professional and timely manner. The first recipients to receive the CEELSCo designation are FMS Lighting
Management Systems of Jackson, Michigan; Lighting Management Consultants,
Inc. of Houston, Texas; Lighting Systems Solutions, Inc. of Gainesville, Georgia;
and Sempra Energy Services of Houston, Texas. To learn more about the program, contact Lynn M. Russo, Association Manager, Energy Efficient Lighting
Association, P.O. Box 727, Princeton Junction, NJ 08550; tel: (609) 799-4900;
fax: (609) 799-7032; email: [email protected].
24
LD+A/April 2000
in conjunction with their annual trade
conference, were presented in February at the Royal Lancaster Hotel in
London. The Studio Beam PC automated luminaire won the award for New
Lighting Product of the Year and the
Wholehog II won Lighting Console of
the Year.
Advance Transformer Co. presented
the Advance-developed National Dimming Initiative CD-ROM application to
the Lighting Control Association (LCA)
for the organization’s exclusive use.
Taking part in the presentation ceremony were Talbot Steel (right), Advance’s executive vice president of
marketing and sales, and Lighting
Controls Association president Dave
Peterson (left) of Horton Controls. The
ceremony took place at Advance’s
headquarters in Rosemont, Illinois. The
CD-ROM, a key component in the
Advance-spearheaded National Dimming Initiative, was made possible by
extensive financial and human resources provided by Advance. It is a
powerful lighting controls specification
and application tool that includes a
lighting controls tutorial, a controls
estimator, case histories, a catalog of
industry products, and an amusing and
educational lighting controls game.
Since the founding of the Lighting
Controls Association in the spring of
1999, the CD-ROM has played a key
role in helping the organization fulfill its
educational mission, alerting building
designers, lighting specifiers, engineers, and end-users to the unique benefits of lighting controls and fluorescent dimming technology. Advance’s
presenting of the CD-ROM includes its
master source files, programming
code, and exclusive content for the
LCA’s educational use.
Cooper Industries, Inc. will acquire
www.iesna.org
Members in the News
Eagle Electric, a U.S. manufacturer of
residential electrical wiring devices.
Eagle’s products include switches,
receptacles, plugs and connectors,
cords and other electrical accessories.
Through Eagle, Cooper gains access to
a significant number of new customers
and additional product offerings.
Fiberstars, Inc., a maker of fiber optic
lighting, announced that the customer
who purchases the company’s
New Members
The IESNA gained 124
members (M), associate
members, and student
members in February.
INDIVIDUAL MEMBERS
Canadian Region
Phillip C. Schwab, Lumeneering Inc.,
Toronto, ON
East Central Region
Monica Gresser, Cochran,
Stephenson & Donkervo,
Baltimore, MD
James Harrington, URS Greiner Woodward Clyde, Virginia Beach, VA
Mark F. Nardy, PWI Engineering,
Philadelphia, PA
Great Lakes Region
Mary Fisher, Technical Consumer
Products, Solon, OH
Edward Intemann (M), Cornell
University, Ithaca , NY
Paul Marttilia (M), HITCH,
Houghton, MI
Russell K. McBride, Lightolier, Alto,
MI
Gregory S. Owens, HAWA Inc.,
Columbus, OH
Tara M. Parks, Plymouth, MI
Eastern Michigan University
Sasithorn Charoenratana
Intermountain Region
Robert Clark, Iota Engineering Co.,
Tucson, AZ
Stephen D. Dent (M), Dent &
Nordhaus Architects,
Albuquerque, NM
Mary Gross, CH2M Hill, Denver, CO
Robert Holmes (M), PG&E Energy
Services, Scottsdale, AZ
Gary J. Jurkin (M), Gary Jurkin
Engineering, Tucson, AZ
Paul Shubin, Lighting Resources
Inc., Boise, ID
University of Colorado
Heather Chinault, Regan Gage
Midwest Region
Mark Anthony, Bredson &
Associates, Raytown, MO
26
LD+A/April 2000
250,000th fiber optic lighting system
will win a special state-of-the-art
Fiberstars 701S system, plus a week
for two in San Francisco. The contest is
being held to highlight the 250,000th
system milestone for Fiberstars. Fiberstars’ CEO David Ruckert expects to
hit the 250,000 mark during the second quarter of this year. The Grand
Prizewinner will be the worldwide customer who places the order from
among three Fiberstars customer
groups. The two runner-ups will be the
nearest within the other two customer
David Kilbourn, Kansas
Cosmosphere & Space Center,
Hutchinson, KS
Chad Wicklander, Illinoise Power,
Decatur, IL
Kansas State University
Jonathan Carter, Sandra Ellis, Aaron
Reiswig, Christopher Rosol,
Casey Steiner, Darren Thrasher,
Julie Vavra
North Central Region
Robert Anderson (M), Lumec Inc.,
Channahon, IL
Mark Belich, Minnesota Power,
Duluth, MN
Dennis W. Coker, Lexington
Standard Corp., Lakesville, MN
Thomas J. Gonring (M), Leedy &
Petzold Associates, Elm Grove,
WI
Jason Hunze (M), Prairie Engineering, Minot, ND
David S. Liebl, University of
Wisconsin-Madison, Madison, WI
Andrew Lindstrom, General Electric
Lighting, Madison, WI
Don F. Reitz, Allen County Department of Planning, Fort Wayne, IN
Anthony Speltz, Winona Lighting,
Winona, MN
Linnea Weyandt, LHB Engineering &
Architects, Duluth, MN
Northeastern Region
Yukio Akashi (M), Lighting Research
Center RPI, Troy, NY
Tom Allebaugh, Thomas electronics
Inc., Wayne, NJ
Richard C. Bishop, Centerstage
Lighting Corporation, Union, NJ
Jennifer M. Dolecki, Langan
Engineeriang and Enviromental
Services, Elmwood Park, NJ
Heather Faulding, Fzinc Faulding
Architecture PC, New York, NY
David A. Hoeltzel (M), Hudson
International, Hopatcong, NJ
Tyler King, Genlyte Thomas
(Stonco), Union, NJ
Richard Marsanico, Traffic Systems
Inc., Bayshore, NY
Sean Martin, The reflex Lighting
Group, Boston, MA
Akane Nakabayashi (M), SGF
Associates, Inc., New York, NY
Joseph Rocco, Applied Energy
Group, Hauppauge, NY
groups. The winners will be from the following three market groups: U.S.
Commercial Lighting, U.S. Pool and
Spa Market, and International Sales.
The Grand Prize package also includes
free airfare and hotel, plus a factory
tour of the Fiberstars’ headquarters.
The two runners-up customers will get
a three-day weekend for two in San
Francisco, with a factory tour.
David Loe is a Spring 2000 semester
visiting professor at Rensselaer
Polytechnic Institute’s Lighting Research Center, in Troy, NY.
Christopher Stephens, Richard R.
Stephens Consulting Engineer,
Cohoes, NY
Matthew Tirschwell (M),Trischwell
& Co., Inc., New York, NY
John Veilleux, Architectural Lighting,
Portland, ME
Northeastern University
Robbi Gorman
Parsons School of Design
Wanjus Sonia Chao, Pei-His Feng
Jeffrey McCammon (M), Cooper
Lighting, Peachtree City, GA
Scott Quinn (M), Odell Associate4s
Inc., Charlotte, NC
Alvin Nelson Ragan Jr., PWI Wfland
Consulting Engineer, Durham, NC
Ronald E. Smith, Mountain Heritage
Systems, Newland, NC
Timothy Sohl, Lightalarms, St.
Matthews, SC
Pacific Northwest Region
Richard Burdick, Oregon State
University, Corvallis, OR
K. Dean Carr, Candel Group,
Calgary, AB
David B. Harper (M), Exponent
Energy Services, Calgary, AB
Jean Jackson, NW Lighting
Solutions, Tigard, OR
Flaviano Reyes Jr. (M), Reyes
Engineering, Portland, OR
Greg Wright, Altasouth Agencies,
Calgary, AB
South Pacific Region
Barbara Daher (M), Design By
Daher, Burlingame, CA
Joseph Fox (M), Cooper Lighting,
Buena Park, CA
Adam Y. Lee, Prima Lighting Corp.,
Valencia, CA
Lory J. Morar (M), Vacaville, CA
Bijan Pour, Cooper Preuit Engineers,
San Jose, CA
Richard K. Sewards, Hubbell
Lighting Inc., Goleta, CA
University of Southern California
Mark Hulme
South Central Region
Robert H. Landry (M), Bob Landry &
Associates, Inc., Brandon, MS
The University of Alabama
J.R. Allen, Debbie Blumencranz,
Shelley Bridges, Ashley Brock,
Christina Fernandez, Kathryn
Grotheer, Robert Hall, Cameron
Johnson, Heather Jones, Jennifer
Kirby, Jennifer Kurtz, Bita Lester,
Laura Loscudo, Elizabeth
Lumpkin, Amanda Mahn, Jennifer
l. McCollister, Blake Morris,
Gwendolyn Murphy, Miranda
Parker, Starr Pearce, Laura Penn,
Vee Quizon, Mary Ann Rabren,
Erin Richardson, Abigail
Ricketson, Lisbeth Schwab,
Marta Sherrill, Kristen Smith,
Katherine Steele, Heather Yager
Southwestern Region
Terry Bejlek, Mills Electrical,
Celina, TX
H.A. Tripp Dungan III, Cleco
Corporation, Pineville, LA
Norm Erlandson, Fisher Rosemont
Systems, Autin, TX
Alfonso Islas Franco, Air Ingenieria y
Construccion, Mexico
Bill Halpain, Schuelein & Halpain Engineering, Inc., Oklahoma City, OK
Barry F. Johnson, B.F. Johnson &
Associates Inc., San Antonio, TX
Andrew S. Lawton, Wilson Aries
Group Industrial, Mexico
Lynn Lumsden (M), McBride
Electric, Houston, TX
Marsha Peters (M), Lighting
Management Consultant,
Houston, TX
Southeastern Region
Dennis W. Connors, Lighting &
Production Inc., Flagler Beach, FL
Moragan Gabler (M), Lighting
Design Group, Atlanta, GA
Michael J. Gamble (M), Powercon of
Florida Inc., Tampa, FL
Kelly Gay, Arch Design Group,
Evans, GA
Stan Kaye, Gainesville, FL
Foreign
Alwyn H. Akin, Jamaica, W.I.
Ricardo Lopes (M), Equipe So Luz,
Rio De Janeiro, Brazil
Josette Perez (M), Puerto Rico
Carlos A. Powell (M), Cayman
Islands Public Works, Grand
Cayman
Fernando Rodriguez, Sylvania
Lighting International, Colombia
www.iesna.org
1999
®
INTERNATIONAL ILLUMINATION DESIGN AWARDS
TORRE! TORRE! TORRE!
When called upon to illuminate Torre Colpatria, a 48-story tower
in Bogota, Colombia, Robert Daniels was faced with the biggest
challenge in his career. He gives us the details of how he faced a
variety of seemingly insurmountable odds but still managed
to come through the ordeal with flying colors.
W
hen presented with a challenge, some face it with
eager anticipation while others find reasons to abstain. As a specialist in building facade lighting, the offer
to engineer the illumination of the Torre
(Tower) Colpatria became the greatest
challenge of my career.
In July 1996 I was summoned to a
meeting that would change my life.
Eduardo Pacheco, the President and
CEO of Banco Colpatria, called me to his
office in downtown Miami. There I was
to learn of a project that is every lighting
designer’s dream and, at the same time,
their nightmare. I was requested to be
the lighting consultant to illuminate a
48-story office building in downtown
Bogota, Colombia.
Pacheco had seen Miami’s Centrust
Tower/Nation’s Bank Tower and wanted
his building, of the same height and
size, to look as beautiful as this great
lighting landmark of Miami’s skyline. In
ideal conditions, I knew it would be
possible to create a similar level of illumination. But, as I was to discover over
the next 15 months, the ideal conditions
At 48 stories, Torre Colpatria is the tallest
building in Colombia. Due to a variety of
stumbling blocks, lighting designer Bob
Daniels was forced to reassess his concept of
façade lighting. The result? The first use of
xenon downlighting to illuminate a
building of this magnitude.
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LD+A/April 2000
www.iesna.org
All 36 of the fixtures that illuminate Torre Colpatria change colors every 10 seconds thanks to a computer controlled system. Placing the fixtures on
the roof was a solution that nobody had thought of before now. Thanks to the precise placement of mirrors, the tower is awash in a colorful array of
light that stands out from Bogota’s skyline.
would never appear.
Overcoming engineering problems was only a small part of
succeeding on this project. I now found myself involved in
visiting one of the most dangerous cities in the world. My first
three visits to Bogota entailed staying at the Intercontinental
Hotel and walking three blocks to the building with two
plain-clothes guards. The bank always looked out for my
security, but it was unnerving knowing that the camera I carried was worth my life.
Language became another obstacle to overcome. During my
projects in Puerto Rico and Panama, I had been able to communicate quite well. Most people spoke both English and
Spanish, but Colombia was different. Only a small percentage
of the educated elite spoke English. Workers for the bank and
attendants at the hotel only spoke Spanish. My challenge was
getting larger by the day.
As I stood on the roof of the Torre Colpatria, Bogota’s dangers and isolation seemed distant. I was able to visualize a lighting plan for this tower, the tallest building in Colombia. Each
face of the building would need two lighting platforms. I would
work in metal halide, like the Centrust Tower, with a close platform lighting the first third and a distant platform lighting the
upper two thirds. Surrounding the tower was open park land
on two sides and buildings on the other two sides. I would have
to put the platforms on the roofs of the adjacent buildings similar to the Centrust design. This would be my design.
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LD+A/April 2000
My first of five designs consisted of eight platforms and 1000
W metal halide lamps. Creating alternatives for every situation,
I was first asked to create an energy efficient design. Public
opinion was against using electricity for lighting buildings,
when it could be better used for people. Therefore, I created an
alternative lighting system using 400 W fixtures. Due to the
tighter focus of the 400 W lamp, I was able to reduce about 30
percent of the electricity consumption, while increasing the
total fixture count and the size of the platforms.
To eliminate the use of so many platforms, I also came up
with an alternative design that used only four platforms,
instead of eight. Of course, the platforms became huge. The
rooftops of the adjacent buildings were very old and there was
doubt that they could take the load. However, the biggest setback to the whole project was the placement of the platforms
on the open, public land that was owned by the City of Bogota.
Footings would need to be poured in the ground and an attractive lighting platform erected next to the expressway that
passed in front of Torre Colpatria. All the sidewalks and roads
would be undisturbed. Certainly the power and prominence of
Colombia’s second largest bank would be able to obtain this
variance for easement.
During the next 15 months, the variance for easement came
and went. The Bank went through a series of officials, seeking
permission. It turns out that there were many different authorities that had to approve this project. Some were political affiliwww.iesna.org
ates, others weren’t. Finally, in October 1997, I was informed
that we could not build the lighting platforms because the Bank
could not get the variances necessary for the public lands.
From the very beginning of the project, it was my intention to use xenon light to stripe the notched corners. My
original designs were based on focusing the metal halide
light on the main walls. With the power and brightness of
xenon, I would overpower the weaker metal halide with the
intense xenon beams. This way I could achieve not only colored washes of the main walls, but there would be contrasting stripes in the corners.
When it became evident that the metal halide system was not
going to get approval, I had to start getting creative. The possibility of lighting the entire building with xenon became our last
resort. The setback distance, required for metal halide washes
to reach 480 ft, moved the fixture location a great distance from
the building. But xenon, with its tight, narrow beams, could
push light to the top with only a short setback distance.
I approached the owner with this new lighting system, my
fourth design at this point. The plan was to place a xenon fixture, mounted on 5-m poles, in front of each of the 36 vertical
columns that ring the exterior of the building. The glass walls
that separate the columns would act to sharply define the
beams. The system looked like it would work well and we didn’t need to have approval from the city. After reviewing the new
design, the owner vetoed it. He said that it would create too
much clutter around the entrances and would detract from the
clean lines the building has at ground level.
So here I am, 16 months into a project, the greatest project
of my career to date, and I have nothing usable. Every direction I turned got canceled. The logical choice of metal halide
had been designed from many standpoints and still could not
be applied. Even my use of xenon to uplight the building had
been ruled out.
Xenon arc is a very special type of fixture. Evolved from the
old carbon arc searchlights of World War II, xenon has been
used in theater as well as pushing beams of light into the sky
for special occasions. The heat involved with 3000 W of xenon
is incredibly strong. The fixture can be aimed upward or horizontal, but never down. Aiming the fixture down would cause
heat build up around the lamp and burn it out prematurely
after several hundred hours.
When Pacheco rejected my uplighting idea of using xenon,
he asked why I couldn’t light the building from the roof. I proceeded to list all the established reasons why you just can’t do
that with xenon. I told him about the lamp burnout and setback distances. I knew all the answers why it wouldn’t work,
but in the back of my mind I knew he was right. Light a 48
story building from the roof isn’t that crazy an idea, but it had
never been done.
Flying 35,000 ft above the earth, my mind started to open to
greater possibilities. Why not light the building from above?
Then the idea of a horizontally aimed beam, striking a mirror,
and redirecting downward came to me. This process would not
overheat the lamp and we could achieve the downlighting
effect.
Upon returning to my office, I created a new set of drawings
that showed the lighting of the building using xenon. But, do I
light each triangular column with two small fixtures or one
large fixture? I had studied the surface texture of the precast
concrete tiles extensively. It was very porous and diffuse.
However, would the irregular surface spread the light adequately from one luminaire or would it take two? In addition,
would the setback requirements—to get the beam of light to
work all the way down the wall—be too great? Hanging a mirror out over the edge and aiming perfectly is almost impossible.
It is important to have a very strong support to hold the mirror
and extend it properly over the side of the building. All of these
questions can be answered with a demonstration. The questions I was asking had never been tested before.
The time was right for a demonstration to test the capability
of xenon arc. To illuminate a building with only a few feet of
setback would be totally impossible with metal halide. As
shown with the Centrust Tower, a narrow beam metal halide
has difficulty even going 100 ft without significant dimming
when the setback is 4 ft away from the wall. Now we are trying
for a distance of almost 500 ft. I felt sure that the incredible
power of xenon arc would be equal to the task.
At LDI 1997, I did some serious searching for the best xenon
fixture I could find. I knew from my own testing of beam
strength at several xenon factories in the U.S. that candela levels were way overrated. I also found that one factory’s 7000 W
unit had lower candela levels than another factory’s 4000 W
unit. The quality of the mirrored reflectors and the ability to
focus the beam varied by manufacturer. I had to be very careful in my fixture selection to make sure I got a luminaire with
a strong beam.
Trying to measure light in the enclosed environment of a
lighting show is very difficult. In the end, I exposed my digital
light meter to a very strong xenon beam and burned out the
sensor. However, I found a unit that performed very well and
had a new patented dichroic color changing system. I could
offer my client not only a system capable of creating the lighting he wanted, but we could also change color by computer.
That was the key. All the other units were using scrollers with
polyester gels. These were adequate for theater, but not satisfactory for architectural lighting.
Checking the references of the Italian company Space
Cannon was somewhat difficult. They had most of their sales
in Europe and little of it was in the architectural realm. I found
a couple of buildings in the U.S. that used their equipment and
the operators were satisfied with its performance and maintenance. Not having a U.S. dealer at the time, I worked directly
with the factory. I was impressed with their international sales
manager, Luisa Valenti. It was through her that I arranged the
first demonstration for December 18, 1997.
With the help of the Space Cannon factory, I successfully
demonstrated the downlighting of xenon on a tall building
using mirrors to redirect the light. There were many difficulties
with the mirror support that I designed because it was never fabricated properly in Bogota. The architect/project manager decided that my design was “over built.” Instead, he made the frame
34
LD+A/April 2000
of thin architectural tubing. Even though the special mirror provided by Space Cannon was only 18 pounds, the surface area
was 24 x 40 inches. As the mirror hung in place, gusts of wind
would start moving it ever so slightly. At 480 ft above the
ground, gusts were frequent and our demonstration was only
intermittently successful. Every gust would cause the mirror to
move and push our aimed beam out of alignment. I knew that
the final mirror holder would have to follow my design exactly.
Illuminating a wall 480 ft high under the best of conditions
is difficult. Add a light beam that would be stationary for only
10–15 seconds at a time is next to impossible. However,
through diligence we got the beam of light to illuminate the
whole wall. It was important for me to be there, as the factory
technicians were skilled in operating their equipment, but not
in applying it to a 480 ft building. Their aiming was not achieving the desired results and finally after an hour of arguing, they
started to listen to my instructions in directing the beam alignment. One hour later, we had the basic results we were after
and recorded it with photographs.
Unbeknownst to me, the president of Space Cannon, Bruno
Bairdi, started private negotiations with the owner. The day
before the demonstration, I met with him and he signed an
agreement to work through me as project lighting engineer. I
wanted to be an intermediary to protect the interests of the
owner. The project architect informed me two months later
that there would be a second demonstration with a new fixture.
This caught me by complete surprise. I had spoken to the factory several times in this period and they didn’t mention this
new design.
I flew to Bogota for the second demonstration. Space Cannon
built a new fixture that changed the internal airflow patterns.
The heat that would have collected in the reflector area, causing
the lamp to burn out prematurely, was eliminated. Bairdi
assured me that lamp life would be equal or longer than the normal xenon luminaire. Space Cannon’s design of the support
bracket included structural contacts for proper mounting. With
my advice, they welded additional mounting straps onto the
support and successfully mounted the 100-kg fixture head.
The test that night proved even more conclusively that
xenon arc could downlight tall buildings. With 3K and 4K
units, we lit both the typical vertical facing and a wider facing
that was in tandem at the corners. This became the basis of my
fifth and final design. I next created six variations of xenon
lighting design for various budget levels. We looked at a complete computer controlled color changing system, to variations
that were mostly manual color changing with dichroic filters.
This would give the owner many options and purchase levels.
Pacheco decided to buy the most expensive system, one with
all 36 fixtures being computer controlled and color changing.
The architect and project manager, Eduardo Pombo, told me
that I should be in Bogota on the night of August 5th. The factory confirmed that their team was in Bogota and were about to
complete the installation. Arriving on August 3rd, I hoped to be
involved with the aiming of the system. The last time I worked
with them, they had a lot of problems aiming the equipment.
When I arrived, I found all the fixtures had been aimed. I never
participated in the final aiming or programming of the 40 lighting images of the building that I sent to the factory.
www.iesna.org
In the months to come, articles appeared in lighting and
engineering magazines for both North and South America. The
articles insinuated that Space Cannon’s new sales manager was
the lighting engineer and that their in-house architect was in
fact the project architect. The articles never dealt with the
design, but instead focussed on how they built a custom support bracket for the fixture.
Even though this project has been a career builder and an
opportunity to be one of the few people in the world to gain
knowledge about architectural application of xenon technology, it has been the most frustrating job of my life. The language
and cultural barrier of English to Spanish is immense. My lack
of Spanish kept the owner from fully trusting me. The bond
established from speaking in someone’s first language is very
important.
Since that time, I have lived in Bogota and spent much time
in Caracas. My understanding of the Spanish language and culture has improved to the point that the “gringo” is almost
accepted by the local people. However, it is important to carefully choose your friends and business associates, as I found out
from this project.
I must offer my thanks to Eduardo Pacheco for putting his
money out to buy the best possible system for his building. His
belief and desire in lighting Torre Colpatria was a vision he carried for many years. His frustration at not finding an engineer
in Colombia capable of this project led him to me. Our mutual frustration in obtaining permission to build the lighting plat-
forms necessary for the metal halide system led us to create
something even better. He pushed me to design for the impossible, and to re-access my thinking. Thankfully, this landmark
step in architectural façade lighting was recognized by the
IESNA with a 1999 IIDA Paul Waterbury Award of Excellence
for Outdoor Lighting.
My original downlighting design became much more simplified with the introduction of the new Space Cannon xenon
downlight, created by Bruno Bairdi especially for this project.
In the end, it was Pacheco who chose to spend even more to
buy the finest system. To his credit, it has made the most dramatic effect possible in the skyline of Bogota. The tallest building in Colombia, fully lit on four sides, changing colors in less
than 10 seconds.
The designer: Robert Daniels is the president of Brilliant
Lighting Design in Miami, FL. He has been in the practice of designing façade lighting for the past 7 years. Prior
to that he worked 12 years in structural design, 3 years in
aerospace manufacturing, and has 30 years of working
with light in photography. He learned about façade lighting by working with John Kennedy, the former senior
lighting instructor at the GE Lighting Institute. He has
been a speaker at lighting conferences from New York to Singapore with a variety of stops in between. His major projects include the Georgia State Capitol,
the 30-story New World Tower in Miami, and a variety of projects in Miami
and San Juan, Puerto Rico. He has been a member of the IESNA since 1994 and
is chair of the Building Façade, Bridge, and Monument Lighting Committee.
1999
®
FROM A DISTANCE
Miki Matushita, Naoki
Takayama, and Satoshi Ono I
revised the lighting for one
of Japan’s tallest buildings and
restored its prominence
in Fukuoka City’s skyline.
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LD+A/April 2000
n 1989, the Fukuoka Tower was constructed as the symbol
of the Asia Pacific Expo held in Fukuoka City that same year.
Constructed on reclaimed land in the Seaside Momochi area
of Fukuoka, the Tower has served as a landmark for all of
Kyushu, the southwestern island in the Japanese archipelago, for
the last decade. Its massive height has also lent the tower to be
used as a radio, television, and communications antenna.
Since the 1989 Expo, the seaside area surrounding the Tower
has changed dramatically. The headquarters of numerous
major companies including Panasonic, NEC, Fujitsu, Hitachi
and several television stations have been established here. The
Fukuoka City Museum and City Library have further added to
www.iesna.org
the altered landscape. What was once only reclaimed land is
now a bustling city center full of large buildings.
Unfortunately, this development has diminished the status of
the Fukuoka Tower. High rises obstruct views of the Tower and
the glare from office lights blocks out the Tower’s shape at
night. Our new lighting design was intended to return the
Fukuoka Tower to its preeminent status as a featured symbol of
Asia. Our design philosophy for the Fukuoka Tower was to utilize both light and shadow as fundamental components. The
design team for this project consisted of Ms. Miki Matsushita,
principal lighting designer, Mr. Naoki Takayama, chief designer, and Mr. Satoshi Ono, engineer. We drew up four lighting
design concepts to achieve this goal.
The first concept focused on the importance of both long
distance and close up views of the Tower. At night, the Tower
should be viewed from great distances so that the lighting
design can be appreciated. The only area where you could see
it in its entirety was from the promenade in front. This concept was intended to allow people to enjoy the Tower from all
perspectives including making it the symbol of Fukuoka for
travelers arriving by air or sea.
At 234 m high, the Fukuoka Tower is the highest seaside
tower in Japan. From the ground to 150 m high, it beautifully
incorporates half mirror glass in its architecture. The observation tower, 123 m above sea level, offers an outstanding
panoramic view of Fukuoka City and the surrounding mountains and the Pacific Ocean. The final 74 m is made up of the
communications antenna which includes weather information
sensors and a disaster prevention camera. In sum, the architecture exudes a modern, cutting edge appeal. The nickname,
“Mirror Sail” was coined based on the dazzling scene produced
when sunshine reflects off the Tower’s half mirror glass.
The focus was to highlight these different sections and their
varying architectural features and materials. For example, in
the transition area between the antenna and the main body of
the Tower, we proposed the use of a specialized lighting design,
namely the symbol for Fukuoka City.
Before our new lighting design was developed, the Tower
used half mirror glass to reduce the transmission of solar light
into the interior. However, as mentioned previously, the glare
from the surrounding buildings caused the Tower’s lighting to
lack distinction and caused a blinding effect by reflecting light
from other buildings. Because of these difficulties we decided
to incorporate exterior lighting to achieve the proper balance
between luminance and lightness. Additionally, we had to
take into account the neighboring apartment building and
attempt to protect the local bird and insect population. The
most integral aspects of the design were the type of lamp
used, the entrance angle of retroreflector, and placing the
equipment in a safe, unobtrusive, but accessible location.
Another major consideration was to be environmentally
friendly by saving energy, reducing CO2 emissions, and avoiding environmental disruption.
One of the purposes of our design was to make the Tower the
central landmark of Fukuoka City, which bills itself as the “Key
Center of Exchange in Asia.” Therefore, we hoped the Tower
would become a recognized symbol throughout Asia. We needed to have a concept that would be international in scope with
www.iesna.org
(opposite) The Fukuoka Tower is a striking presence among the
other buildings that make up the skyline of Fukuoka City, Japan.
(above) The view of the tower up close is just as impressive as it is
viewed from a distance. The emergency stairways within the tower are
illuminated by 60 W halogen spotlights in a zigzag array, giving
the north side of the tower a unique appearance.
LD+A/April 2000
37
(left and below) From a variety of angles, the Fukuoka Tower is an
impressive sight. Fixtures were placed in three different locations
to adequately illuminate the 74-m antenna. The lower portion of the
antenna is enhanced with 400 W metal halide lamps placed on a
ring 7 m above the antenna deck. At the antenna’s base, eight 700 W
metal halides were aimed into the center of the antenna. Finally,
on a small deck near the antenna’s peak, three 250 W metal
halides uplight the section all the way to the top.
metal halide lamps, 2 m away from the structure, in line with
each vertical frame component. This uplighted the first 123 m
of the Tower all the way up to the observation floor.
We tested various setting angles of the lamps up to 70 m
until the lighting gradually weakened. This left the center section of the Tower darker, making it appear taller. We decided
not to remove the existing mercury lamps, originally placed in
the interior corners of the Tower, so that from a distance the
Tower would continue to have an illuminated appearance.
Unlike the original lighting, we really wanted to emphasize
the solid architecture of the Tower. Therefore we chose to set
the lighting outside the structure in order to utilize the reflective properties of the half mirror glass. In addition to reducing
glare on the outside, we also wanted to improve the lighting
environment for passengers within the scenic elevators. To
achieve this we removed the remaining mercury lamps from
the Tower’s interior. This allowed for a better appreciation of
Fukuoka City’s other lights when riding in the elevators.
The portion of the tower that posed the biggest challenge
world class quality. To achieve this we conducted extensive
research around the world including Las Vegas, Shanghai, and
other Asian centers with similar towers. In the end, our design
wanted to express an original vision for Fukuoka as an impressive and refined international city with the Tower as the focal
point.
Our final design was based on these concepts and to reach
these goals we utilized computer graphics and onsite lighting
equipment testing.
We attempted to evenly illuminate the entire antenna so that
this topmost portion of the tower could be viewed from a far
distance. By positioning various lighting fixtures at three different heights on the 74-m antenna, we could create an effect of
the antenna floating upward. On the antenna deck (at the base
of the antenna), we placed eight 700 W metal halide lamps
which were aimed toward the center point of the antenna.
The antenna base was ideal for fixture placement as its width
allowed us to angle the lamps correctly as well as keep them
hidden from view. To enhance the lighting in the lower half of
the antenna, we also set eight 400 W metal halide lamps on a
ring 7 m above the antenna deck. Finally, on a small deck near
the top section of the antenna, we placed three 250 W metal
halide lamps to uplight the entire upper section right to the
uppermost tip.
By positioning the lighting at three different heights we were
able to completely illuminate the antenna with limited spill
light. At the base of the Tower we set 33 1000 W narrow angle
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was at the base of the antenna. First we set 38 400 W metal
halide lamps with blue glass filters on the cap of the observation deck. From outside, the lighted portion appears blue. We
tested various glass filters until we found the deep blue color
we preferred. Originally a louver canopy in the shape of the
Fukuoka City symbol mark was set atop the observation deck.
However, since this canopy was not illuminated, we decided to
border it with white neon lights. This created an eye-catching
image at 140 m with a sense of stability, balance, and regional
expression.
As mentioned previously, we planned to leave the existing
mercury lamps for the Tower’s solid lower section. We tried this
with a new illumination system for the Tower cap. For this new
system we used the new generation of electrodeless fluorescent
lamps developed by Matsushita Electric Works Ltd. These
lamps utilize high frequency waves resulting in greater efficiency, longer life, and better visibility.
Originally, there was no lighting plan for the north or “back”
side of the Tower. We wanted to give the Tower a more multisided image with a new appearance from both the air and sea.
First we placed 39 150 W quartz lamps with blue glass filters
on the emergency stairways to create the appearance of a spine
running up the Tower. Then we installed 54 60 W halogen
spotlights in a zigzag array inside the clear glass sections that
run up both sides of the stairway. This gave the north side a
unique appearance rhythmically sketched in light.
We not only wanted the Tower to appear beautiful from all
directions, but to have a different appearance from both near
and distant views. Close up it looks like a floating pillar of light;
from a distance it stands out as a symbol of Fukuoka City. The
Tower further complements the other components of the city’s
superior lighting which both accents the beauty of the Tower’s
original architecture and gives it a seemingly new appearance
at night. The Fukuoka Tower received the utmost of accolades
when it was awarded a 1999 IIDA Paul Waterbury Award of
Distinction for Outdoor Lighting.
The designers: Miki Matsushita
founded her eponymous company, Miki Matsushita Lighting
Design Co. Ltd., in 1989 in
Fukuoka City, Japan. The company provides complete lighting
concept development from basic
to detailed designs, as well as programming for both indoor and outdoor projects. Their
projects include landscape lighting for various cities,
hotels, resorts, hospitals, retail stores, and much more.
The company’s design philosophy utilizes both light and
shadow as fundamental design elements.
Naoki Takayama is a Lighting Designer with Miki Matsushita Lighting Design Co., Ltd. His 10 years of expertise have involved a variety of lighting design aspects
ranging from landscape to architecture.
Satoshi Ono is Lighting Engineer for Matsushita Electric Works, Ltd. in
Fukuoka City. He has worked as a lighting engineer on a wide variety of projects for 20 years.
1999
®
T
he worlds of architecture and art were intrigued when the Centro Cultural de Merida El Olimpo designed by
architects Ancona, Quijano, and Zoreda was inaugurated on January 6, 1999 on the 457th anniversary of the
city of Merida, Mexico. Merida is a traditional Mexican city in the southeast Yucatan peninsula. Known as the
“Gate to the Mayan World,” Merida was recently named American Capital of Culture 2000.
Those of us on the GA Iluminación lighting design team—Georgina Salazar, Luis Castello, and myself—understand the potential of lighting to preserve and enhance the architectural heritage for which we are responsible.
This heritage is an increasingly important
concept in the development of culture and
tourism. Taking this into consideration, our
challenge for lighting was to create a design
that would be compatible with the building’s form, following the rhythm of the
arches and niches, rather than simply displaying stylish fixtures. Appropriate lighting levels and energy efficient
technology were also top priorities.
The lighting had to be very subtle and complement the architectural details while supplying unobstrusive illumination. El Olimpo is located in Merida’s Historic Site, therefore we had to be respectful of the surrounding
buildings’ lineage. To the south is the Merida City Hall which was built in the 17th century and is full of exquis-
El Olimpo in Merida, Mexico required subtle lighting
that would complement the historical architecture.
(right) The main entrance is accented by wall-mounted sconces
with 250 W metal halide sources that support the building lines.
(below) Semi-circular formed fixtures containing 150 W metal halide
lamps were integrated into the pre-fabricated slots to accent
the arches around the perimeter of the courtyard.
(opposite) The whole lighting concept for El Olimpo is to evoke
the warm colors of lantern and torch light with fixtures integrated
into the design and highlight the arches, columns, and niches.
MAYAN’S HOPE
Elias Cisneros,
Georgina Salazar, and
Luis Castello bring
a Mexican cultural center
into the new millenium
with a striking lighting
scheme that uses
indirect sources to
accentuate the
architecture
while also providing
unobtrusive illumination.
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LD+A/April 2000
43
Light and shadows both enhance the
architecture and create “highs” and “lows.”
The lighting supports the cornice that
unifies El Olimpo with its next door neighbor,
the Merida City Hall.
ite ornaments of Colonial architecture.
Casa del Alguacil borders on the north
and is another beautiful building from
the 17th century. The Main Plaza is
located in front of the facade along with
the Cathedral, which is the first cathedral built in the Americas.
In order to accomplish our goal, the
concept of indirect lighting was key to
the design. Even though the lighting system uses modern technological advances, it blends in well with the beautiful historic surroundings and is a fitting
complement to El Olimpo.
In the main facade we placed 48 hermetically-sealed, ground-mounted fittings with IP 653, PAR30, 60 W halogen lamps with a 9-inch beam width.
This solution worked well for two rea-
Reflections & Contrasts: An Architectural Profile of El Olimpo
We designed a building to replace the lost solid shape after the demolition of the former El Olimpo in 1974,
in such a way that it would easily take its place on the urban space. The building had to be an expression of
our time but in compliance with the City Hall, which is adjacent to El Olimpo.
This is an architectural project with reflections and contrasts. The building appears rooted in the city’s origin and reflects its historic surroundings. Its spacial richness is displayed with contrasts between circles and
squares in a variety of scales and a multitude of lights and shadows.
Our intention was to maximize the enjoyment of the different spaces, creating pathways to inspire various
feelings to users — discovering new perceptions, visual angles, and surprises that would be inviting to a stroll
through the space.
The building gives new value to its surrounding historical context and existing buildings, linking volumes
and space with the neighborhood. The central courtyard is a meeting place and the heart of the project. Here
all the pathways converge and then diverge into various sections. Spatial snails and eels dance the cadence
of changing light and shadows. Light bathes the spaces and sunshine rains throughout the building.
For the cultural function assigned to the project, we wanted a building that expresses contemporary culture and
pays respect to the site.
The City of Merida’s Historic Area is a large horizontal volume drilled with some plazas in urban space and
some courtyards in architectural space. Our proposal was based on revitalizing the non-variable elements of
the urban context, celebrating contemporary design elements like new spatial structure created by both full
and empty spaces.
The building has a simple composition and a reduced palette of formal and material elements. It contributes to the local architectural culture, with an austere space that utilizes precast concrete elements
extracted from the previous building.
This formal vocabulary derives from the decomposition of volumes into planes. All the pieces fit together
entrenched in the roots of history, with a contemporary interpretation of their forebears.
—Ancona, Quijano, and Zoreda Architects
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sons: (1) It highlighted the polished surface columns constructed of regional stone with a lighting pattern reminiscent
of the warm colors of torch light (2700K); and (2) It
enhanced the cornice that integrates El Olimpo with City
Hall.
We took a different approach to the second level since the
facade has another cadence. However, this raised an additional
challege—Where do we install the built-in fixtures?
We needed to coordinate with the company making the prefabricated concrete. Fortunately, architect Jorge Duarte agreed
to prepare the casts in accordance with our design which
included power source conduits that perfectly fit the façade
when the fixtures were installed.
We set fourteen 50 W, IP 653, PAR20 spots in every column. In addition we placed 24 fittings of IP 651s that supplied indirect lighting to half of the arches. Eighty-six IP
651s with 13 W, 2700K compact fluorescents finished off the
building cornice.
We took an interesting approach to the corridors; we combined 37 ground-mounted 50 W PAR20 spot lamps with 21
sconces placed in slots only 15 cm wide. Designed by the
architects with a pre-fabricated concrete tablet, these fixtures
are “half cane” shaped and are fully integrated into the arches. Add to this remarkable scene the 150 W master
color/CDM 3000K lamps and the result is a warm, generously lighted space.
The main entrance axis was emphasized with three white
aluminium cylinders hanging 6 m high and equipped with
an integrated ballast and a 250 W, 3000K master color/CDM
lamp.
Crossing the carved stone arch threshold that connects
both buildings, visitors can perceive a change of architectural epoch. The lighting design, however, presents continuous illumination levels, but gives each individual space its
own identity and character in a joyous, cohesive setting.
The result is a smooth visual scene which allows for a striking perspective, totally free of obtrusive lighting. At the
same time lighting from opposite sides produces a sense of
amplitude, resulting in the longer side having a shortened
appearance.
The round central courtyard flows up to the sky via vertical
elements lighted by 16 built-in 50 W PAR20 lamps. Thirty 13
W, 2700K compact fluorescents provide uniformity to the
curved facade. The stairway and the City Hall tower, awash in
glare-free illumination, are clearly visible when walking
through the courtyard.
Regarding energy efficiency, we fulfilled Mexico’s Official
Regulation for non-residential buildings which requires that
electricity for lighting cannot exceed 16 W/m2. Maintenance
was a further technical consideration. Therefore, to keep cleaning and relamping to a minimum, we proposed the longest lasting life for all of the lamp types used.
The Centro Cultural de Merida El Olimpo, was a great success and became an icon of the city due to its friendly illuminated volume and space elements that enliven and
enhance Merida’s well being and civic pride. El Olimpo was
a trigger for current lighting projects in Merida’s Historic Site
around the main plaza. Undoubtedly it contributed to its
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nomination as American Capital of Culture 2000. An additional source of pride for this project was its recognition by
the IESNA with a 1999 IIDA Paul Waterbury Award of
Excellence for Outdoor Lighting.
The designers: Elias Cisneros and
his wife, Georgina Salazar, founded GA Illuminacion, Architectural
Lighting Concepts in 1990 in
Merida, Yucatan, Mexico. Among
their projects in the Yucatan Peninsula are the Yucatan Siglo XXI
Convention Center, Campeche’s
Cathedral, Francis Ford Coppola’s Village in Belize, and
Progresso Catholic Church, among others. Cisneros is
General Secretary of the Federacion de Colegios de
Arquitectos de la Republica Mexicana. He has participated as Synodal for the Yucatan State University Faculty of
Architecture. After graduating from Texas Language
Academy in Brownsville, TX in 1978, Cisneros then
attended the Construction Technician Insituto de Merida.
He received his Bachelor of Architecture from the Universidad de Autonoma de
Yucatan. His continuing education in all aspects of lighting, design, energy, and
other building concerns is ongoing. He has been an IESNA member since 1999.
He and Georgina have worked together on virtually every project GA
Iluminacion has undertaken since the company was founded.
Luis Castello Guadarrama served as engineer for the El Olimpo project. No
longer employed with GA Iluminacion, he is currently an Electronic
Engineer with the Insituto Technologico de Merida. He has been a member
of the IESNA since 1998.
l i g h t fa i r i n t e r n a t i o n a l s e m i n a r p re v i ew 2 0 0 0
H
appy 2000 and Happy 21st
Century! LIGHTFAIR is back in
New York City where it all started 11
years ago. This is the fourth year that
LD+A has sponsored a track of seminars. We are proud to sponsor those
seminars that make up the Urban
Lighting: City Lights track. This is
doubly appropriate for us as the April
2000 issue is also devoted to striking
outdoor lighting designs.
LD+A is also pleased to be the only
lighting publication to give attendees
preview of what they can expect
LIGHTFAIR INTERNATIONAL 2000 is back afrom
the various seminars presented
in the Big Apple for the dawn of the 21st Century. at LIGHTFAIR. Each year the semibecome more and more varied
To help us mark this momentous occasion nars
and LIGHTFAIR 2000 is certainly no
Paul Gregory, David Rockwell, different. For LIGHTFAIR 2000,
LD+A is highlighting four seminars
Nancy Snyder, and Art Hatley give us a preview that show just how diversified the
of what we can expect from the vast array of LIGHTFAIR educational program and
conference has become over the years.
educational seminars featured at this year’s show. Paul Gregory and David Rockwell
discuss the importance of a good
working relationship between lighting designer and architect in their seminar “Rockwell & Gregory: A Collaboration
of Architecture and Lighting Design.” They’ll give attendees the lowdown on how beneficial it is to both the designer and the architect when the lighting is taken into consideration at the earliest stages of a project. Their work is a
favorite of LD+A readers so you can bet that this seminar will also be a crowd pleaser!
The future of lighting is on the minds of all professionals from all walks of the lighting life. The government’s
involvement in the forecast for lighting is reiterated in a seminar entitled, “Vision 2020: The Lighting Technology
Roadmap.” This seminar about how all of the building professions have worked together to chart out this roadmap
is as inspiring as it is informational.
Nancy Snyder is on hand to lead us through the sometimes scary and unpredicatble world of the Internet. Her seminar, “Internet Marketing Solutions,” will take the attendee by the hand and lead them onto the “information super
highway.” The business world is becoming more global with each passing day, and the lighting world is no different.
Fiber optic lighting is one of the most innovative types of illumination around but a lot of designers are hesitant to
use this source because they feel it is “uncertain.” Art Hatley is a member of a panel discussion devoted to this light
source entitled, “Fiber Optic Lighting: Photometrics & Performance Prediction.” If you’ve ever pondered using fiber
optics for one of your projects, then this is one seminar you definitely want to sit in on.
A special thanks goes out to all of these contributors for taking the time out of their busy schedules to provide LD+A
readers with this sneak peek into their seminars. Again, none of this would be possible without the hard work and
dedication of the LIGHTFAIR INTERNATIONAL Conference Advisory Committee. Is it just me, or is LIGHTFAIR
getting better and better with each passing year?
LIGHTFAIR
INTERNATIONAL
SEMINAR
PREVIEW
Mark A. Newman
Editor
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LD+A/April 2000
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AHEAD OF THE CURVE
The Lighting Technology Roadmap is a combined effort that includes professionals
from all realms of the building industry. This preview gives us a hint of what lies in
store for lighting, the lighting industry, and lighting professionals.
We d n e s d a y
May 10, 2000
10:30 am – 12:00 pm
I
t is impossible to imagine modern life
without electric lighting. With the
wide availability and affordability of
today’s lighting, people throughout
much of the world are free to work, play,
and learn virtually anywhere, anytime.
The flexibility of our waking hours, the
richness of our information environments, and the range of our movement
exceed anything our ancestors could
have envisioned just over 120 years ago,
in the days before Thomas Edison’s carbon-filament lamp changed the world.
Continued innovation in lamps and
other system components, as well as in
design practices, have made lighting progressively more effective, efficient, and
economical since Edison’s time. Yet
developments in the next 20 years may
well dwarf the accomplishments of the
past century.
Today, advances on diverse technology
fronts promise to drive down the costs
and multiply the capabilities of microchips, lasers, and photovoltaics, opening
the way to entirely new levels of performance in sensors and controls. Also on
the horizon are innovative materials,
high-efficiency light sources, breakthroughs in biotechnologies and chemical
sciences, and ever more powerful methods of system modeling and integration.
This remarkable confluence of technologies can spell great improvements
in our ability to harness light efficiently and effectively, to extend the reach
and power of human vision, and to
dynamically monitor and shape our
built environments to suit specific pur-
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LD+A/April 2000
poses and preferences.
Advanced technologies will, in turn,
enable advanced design and engineering
approaches. Starting in the commercial
building sector, but later moving into the
residential sector as well, we will see
growing sophistication in the design of
lighting and other building systems
within an integrated, “whole buildings”
framework. The “whole buildings” ap
proach will optimally use both manmade and natural systems to provide efficient, high-quality lighting, heating,
cooling, ventilation, and information
exchange. The result? Tomorrow’s buildings will provide unprecedented levels of
comfort, productivity, flexibility, and
well-being for occupants, while reducing
energy use and other impacts on the natural environment.
Vision 2020: The Lighting Technology
Roadmap describes an exciting future for
lighting in the coming decades. It represents the work of hundreds of lighting
professionals, as well as members of the
academic, government, and research
communities. These individuals contributed to the imaginative brainstorming, lively debates, and multidisciplinary
analyses that, ultimately, produced a
vision for the future of lighting and pathways for achieving it.
The Lighting Vision
In 2020, lighting systems in buildings
and other applications will:
• Enhance the performance and wellbeing of people
• Adapt easily to the changing needs
of any user
• Use all sources of light efficiently and
effectively
• Function as true systems, fully integrated with other systems (rather than as
collections of independent components)
• Create minimal impacts on the environment during its manufacturing,
installation, maintenance, operations,
and disposal.
As a result, people will understand,
value, and utilize the tangible, personal
benefits provided by these lighting systems.
In developing this Technology Roadmap, the industry participants defined
key market-related and technology
trends that can help drive the Lighting
Vision and barriers that will need to be
addressed. One key barrier is the current
weakness in the market for innovative
lighting solutions. A specific challenge is
to demonstrate how life-cycle benefits
often make high-quality lighting systems
an attractive and economical choice,
even when their initial purchase costs are
higher than those for other options.
Once participants defined the barriers, they identified six strategies for
moving forward, together with 28
high-priority activities that support the
strategies. Virtually all of these activities were judged to be achievable within ten years.
Strategies
Strategies for achieving the Lighting
Vision relate to market transformation,
as well as to new technology development.
• Develop clear definitions and standards for lighting quality
• Collaborate on industry-standard
control protocols
• Prove and quantify the benefits of
high-quality lighting
• Strengthen understanding of what
end users and purchasers value in lighting systems
• Demonstrate and promote the benwww.iesna.org
efits of innovative lighting technologies
and solutions
• Provide incentives to accelerate
lighting technology development, with a
focus on lighting solutions that are highly flexible, efficient, responsive to the
changing demands of workplaces, effectively integrated with other building systems, and adaptable to the needs of individual users.
In addition, participants defined 48
desired technology attributes that they
believe will be valued in tomorrow’s
lighting components and systems. Highpriority attributes were determined for
sources and ballasts, lighting controls,
luminaires and systems, and daylighting
solutions. These attributes will contribute to lighting solutions that are
highly flexible and efficient, well integrated with other building systems,
responsive to the demands of our
increasingly information-intensive and
team-based workplaces, and adaptable to
the changing needs of individual users.
Participants judged virtually all the
desired attributes to be technically
achievable within ten years.
All told, the Lighting Vision and
roadmap process has engaged a broad
cross-section of lighting industry leaders
and experts. Nearly 100 lighting professionals representing 60 companies and
associations participated in the workshops to develop the Technology
Roadmap, and an additional 179 professionals helped prioritize the activities
through an on-line voting process. These
votes were solicited and collated by the
Department of Energy, Office of Building
Technologies, State and Community
Programs (BTS), which has facilitated
the development of Vision 2020 - The
Lighting Technology Roadmap.
Eight lighting industry associations
have sponsored the vision and roadmap
process: the Illuminating Engineering
Society of North America (IESNA), the
International Association of Lighting
Designers (IALD), the National Association of Electrical Distributors (NAED),
the National Electrical Manufacturers
Association (NEMA), the National Electrical Manufacturers Representatives
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Association (NEMRA), the National Electrical Contractors Association (NECA),
the National Association of Independent
Lighting Distributors (NAILD), and the
interNational Association of Lighting
Management Companies (NALMCO).
In 20 years, the state of lighting technologies and markets may well be con-
siderably different than that described in
the Technology Roadmap. Yet to the
extent that their work inspires increased
innovation, risk-taking, investment, and
collaboration in the industry, the lighting
professionals who developed this vision
and roadmap will have helped to shape
that future.
TEAM SPIRIT
When The Rockwell Group and Focus Lighting work together on a project,
close collaboration begins early and continues until well after the opening, ensuring
seamless integration between lighting and architecture, and a successful and
memorable look.
T u e s d a y,
May 9, 2000
10:30 am – 12:00 pm
F
rank Lloyd Wright described lighting
as “the form-giver.” A building’s
architecture is a visual canvas, which
both reveals and is revealed by light.
When architects, interior designers,
and lighting designers combine forces
early on in a project, lighting becomes
an integral part of the design, rather
than an afterthought. If all members of
the design team share a “common
vision,” and are all working together
from different design platforms to create the same mood, the resulting project
will elicit a complimentary and beautiful emotion in the viewer.
A successful lighting design highlights
the complexity and beauty of the architecture, to draw in the eye of the spectator. Architecture and lighting in a space
should blend into a single immersing
experienc—a seamless tableau. Successful collaborations between lighting
designers and architects grow over time,
as a dialogue and a trust are created,
along with shared experiences.
One such long-term collaboration
evolved between architect David Rockwell, president and principal of The Rockwell Group,
and lighting designer Paul
Gregory, principal of Focus
Lighting.
“We’ve worked together
since the 70’s,” Gregory explains. “Our companies
have formed a close working relationship based on
(left) At the Samba Grill in
the Mirage Hotel in Las Vegas,
Paul Gregory and David
Rockwell had to work together
to determine the lighting for
this unique tropical-themed
restaurant. Here the lighting
had to take the revolving stage
into consideration, as well as
the variety of other design
elements throughout the space.
(opposite) At Ruby Foo’s in
New York, the focus of the
patron’s eye is the magnificent
lacquered red wall that contains
a variety of Asian artifacts.
The designers highlighted the
items with a variety of fixtures,
circuits, and angles.
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LD+A/April 2000
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the desire to create a memorable design,
integrating lighting and architecture.” In
recent years Rockwell and Gregory have
collaborated on numerous high-profile
projects, including the Mohegan Casino
in Uncasville, Connecticut (January
1998 LD+A); Loews Theatres’ E-Walk in
New York and across the country;
Sultan’s Palace shops in Las Vegas; and
Resorts Hotel and Casino in Atlantic
City. The pair have teamed up on over
100 restaurants worldwide, including
Samba Grill at the Mirage Hotel, Las
Vegas (September 1999 LD+A); Café
Milan in Chelsea, UK; Nobu restaurant,
in New York and Las Vegas; Vong, in
New York and Chicago; Lidia’s
Restaurant in Kansas City (April 1999
LD+A); and New York’s Ruby Foo’s
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(September 1999 LD+A), Payard Patisserie, and Michael Jordan’s Steakhouse at
Grand Central Station.
To begin a successful collaboration on
a project, the architect, interior designer,
lighting designer, and owner must articulate and agree on what the viewer
should feel upon entering the space.
Getting involved in the early conceptual
stages of a project helps Gregory and his
team establish a good working relationship and integrate lighting into the visual image more completely.
“It’s essential to think about lighting
from the very beginning,” affirms David
Rockwell. “The important thing is to
integrate the lighting into the architecture, and not just apply it to the skin.”
Gregory agrees: “If you don’t decide up
front what picture you’re trying to paint
with light; what visual image you’re trying to convey; it’s hard to be in sync
design-wise. We try to establish a set of
design priorities together early on, and
then keep referring back to those priorities during the decision making
process.”
Rockwell also brings Focus Lighting
in on early meetings or presentations
with the client at the table, stating that
“Focus needs to hear what the owner has
to say about the space, or our designs
first hand, so they can see what’s most
important to the owner and can make
intelligent decisions and set clear goals.”
“We can also articulate our own ideas
to the owner directly and get feedback,”
Gregory added. “So we’re spending our
LD+A/April 2000
51
time on making the right ideas better,
not on trying to guess what the owner
might like.”
Getting involved in the early stages of
design helps ensure proper lighting positions to achieve desired effects. “We fax
hand-drawn details back and forth daily,
with notes saying ‘how about this?’ or
‘what if we try that’,” says Gregory.
“Sometimes we can suggest a subtle
change or detail to create a new lighting
position and give us the ability to more
effectively sculpt an architectural element with light. The more communication there is between us, the better. If
we’re trying to achieve the perfect cove
lighting, we won’t just state a critical
dimension and then be inflexible about
it. We’ll talk about why it’s important,
and try to present options with visual
and cost implications so an informed
decision can be made based on the same
set of priorities.”
Specifics such as light fixture mounting conditions should be discussed
between architect and lighting designer
so that the fixtures themselves don’t
appear “stuck on,” but become a part of
the overall picture. Often, Rockwell
and his design team will use a surfacemounted light fixture as an opportuni-
ty to create a decorative accent by creating a custom or themed enclosure for
the light source.
Focus Lighting and The Rockwell
we can
really build
off of what
we already
know
and not
have to start
a new
dialogue
each time
Group also routinely mock-up tricky or
unique lighting conditions. “Whether it’s
a full scale section of an internally illuminated soffit or a piece of a backlit wine
rack we build in our basement,” says
Gregory, “It’s essential that we mock it up
and look at it. The surfaces and finishes
play such a huge role in what effect the
lighting will have. Rockwell Group provides samples of finishes they’re considering so we can choose the best sources
or angles.”
Working closely with an architect
throughout the design process makes
problem solving on site easier too. Last
minute dilemmas can be turned into
opportunities when owner, architect,
interior designer, and lighting designer
all stay focused on initial goals and are
willing to adapt their own ideas for the
greater good of the project as a whole.
Collaboration between lighting
designers, architects, and interior
designers should be an educational
process for all parties. “We’re always
learning about new materials and possibilities from the Rockwell Group,”
Gregory said. “And we have the opportunity to share our knowledge of light
sources and effects.”
Rockwell agrees: “It’s nice to be able
to work with the same lighting designer on such a variety of projects; we can
really build off of what we already
know and not have to start a new dialogue each time.”
Lighting has the potential
to pull together visual elements, and to give a space a
proper focus. Open collaboration between the lighting
designer and architect can
help to ensure that a finished project will be stunning and memorable; not
simply adequate.
At the Mohegan Sun Casino
in Uncasville, Connecticut,
Rockwell and Gregory based
their design on natural
elements. The design of the
casino reflects the great
outdoors as several mock trees
are located throughout the
space. In various areas,
different seasons are represented
by the change in the lighting.
Here, subtle effects can make all
the difference in the world.
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LD+A/April 2000
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FIBER CLASS
Despite the benefits of fiber optic lighting, not much is known about this unique
light source in terms of photometrics and performance prediction. Art Hatley
is part of a panel discussion that should be attended by every designer or specifier
who’s thinking of using fiber optics.
Tuesday
May 9, 20000
4:00 am – 5:30 pm
F
iber optic lighting is one of the most
promising lighting technologies to
come along in years. It has an extremely
wide range of beneficial characteristics,
from the lack of locational heat and UV
to the absence of electrical current running through the fiber optic cable. These
characteristics can translate into significant safety and other user benefits.
Further, the remote location of the light
source can make installation and maintenance significantly easier than with
other, more traditional lighting techniques. Minimal spatial requirements at
fixture locations make it possible to put
light where there’s never been room
before. Combined with its special effects,
controls, and color options, these capabilities make fiber optic lighting a potentially attractive alternative to other types
of lighting in a variety of applications.
Why then has fiber optic lighting
usage not grown to a level commensurate with such a valuable set of features
and benefits? Initially, high costs and
questionable reliability had a negative
impact on usage, but as the technology
has matured over the past decade, in
most cases costs have come down significantly and reliability has increased to
more than satisfactory levels. Thus, the
main unresolved problem with fiber
optic lighting has been the lack of accurate and consistent photometric data for
lighting professionals to use in their
designs and specifications.
As with a number of other emerging
54
LD+A/April 2000
technologies, the development and
acceptance of standardized testing practices and procedures have lagged behind
the popular application of the technology. Specifiers using fiber optic lighting
have all too often had to depend solely
on unsubstantiated performance claims
from the systems’ manufacturers. And,
while some companies have been candid
in their performance claims, others have
tended to overstate their systems’ abili-
there
will finally
be a
set of
standardized
testing
procedures
and
guidelines
ties. While some manufacturers have
submitted their systems for testing by an
independent photometric lab, the lack of
consistent testing standards and measurement procedures have made comparative performance evaluations effectively impossible.
This lack of photometric testing standards and procedures has not been for
lack of interest or effort. NEMA and
other lighting organizations have been
working to create such standards and
procedures for years. But because fiber
optic lighting is different from other
types of lighting in certain key areas,
considerable work was needed to establish not only the specifics of testing, but
even the basic methodologies and criteria. Further complicating and delaying
the process has been the need to resolve
a wide range of technical questions and
challenges.
By LIGHTFAIR INTERNATIONAL
2000, however, there will finally be a set
of standardized testing procedures and
guidelines, thanks to the efforts of the
National Electrical Manufacturers Association (NEMA), its Remote Illumination
Systems Section, and its (ad hoc) Task
Force on Sidelighting Photometrics. This
will be the basis of the panel discussion,
“Fiber Optic Lighting: Photometrics &
Performance Prediction.”
The Section has spent considerable
time developing a series of photometric
testing definitions, guidelines and procedures that will allow specifiers of fiber
optic lighting to finally apply the technology with accuracy and confidence.
NEMA is scheduled to review the
Section’s recommendations for final
approval shortly before LIGHTFAIR, and
the members of the panel will use the
approved NEMA standards as the basis
for their presentation.
The panel, comprised of three members of the lighting community wellversed in the manufacture, application,
and testing of fiber optic lighting, will
explain the new NEMA standards, discuss how to interpret the data and illustrate ways in which the information can
be effectively applied. The panel
includes:
J. Arthur Hatley, VP and general manwww.iesna.org
ager of commercial lighting for
Fiberstars, Inc., an industry pioneer and
a major proponent of the effort to “legitimize” fiber optic lighting through objective testing and evaluation;
Paul Morgan, principal of Paul
Morgan Lighting Design and one of
America’s most knowledgeable and
experienced specifiers of fiber optic
lighting systems; and
IESNA President Ian Lewin of
Lighting Sciences, Inc., one of the
nation’s foremost photometric testing
laboratories with valuable experience in
the testing of fiber optic lighting systems.
The Section had many issues to resolve
in its effort to establish effective fiber
optic lighting testing procedures, one of
which was the consistency of nomenclature. Because fiber optic lighting technology and practice have evolved in an
uncoordinated way, terms and references
have sometimes been confusing to the
specification community.
Another key issue was the separation
of testing procedures for the two basic
categories of fiber optic lighting: endemitting and side-emitting. End-emitting is that type of fiber optics in which
light travels through the fiber optic cable
to create (what is effectively) a point
source at the end of the cable. With sideemitting fiber optics, the light is continuously emitted through the side walls of
the cable.
In the case of end-emitting systems,
many of the same principles that apply to
conventional testing can be used. Still,
there are some idiosyncracies of end-lit
fiber optic systems requiring discussion.
Since a fiber optic lighting system may be
comprised of a variable number of individual components, definitions of exactly what components should be required
for testing had to be determined. (Take,
for example, the fact that a single illuminator can drive a number of output fixtures.) Another issue is what length of
cable should be tested, as well as how to
determine and report the amount of light
attenuation over different cable lengths.
The bigger challenge, however, has
pertained to the testing of side-emitting
systems. The Section had to first develwww.iesna.org
op a testing procedure strategy that
would best illustrate the photometric
characteristics of side-emitting fiber
optic systems. Such fundamental issues
as the actual characteristics to be measured and how to measure them, as well
as how the data should be presented, had
to be determined. The possible segregation of side-emitting systems designed
for different functions (since some fiber
is designed for purely decorative purposes, while other fiber is designed to provide actual illumination) also required
discussion .
In terms of specifics, the Section also
had to determine how to deal with such
factors as color, brightening due to bending, and changes in intensity distribution
along the length of a cable. Also needing
to be considered was the length of cable
to be tested, since applications of sideemitting systems can run from just a
couple to literally hundreds of feet.
Further questions arose in terms of
how lighting application software would
deal with extended sources of light, thus
influencing the accuracy with which
commonly used software can portray lit
fiber optic cable.
Finally, in addition to the photometric
testing issues, the NEMA Section has
also discussed a number of safety, hazard, and environmental issues that could
be associated with certain components
used in fiber optic lighting systems,
including how to prevent (or warn
against) such potential problems as:
• UV exposure from unblocked ports
on illuminators,
• Electrical shock and related high
voltage hazards from illuminators,
• Violent end-of-life occurrences with
certain lamps, and
• Risk of fire from photaic energy to
heat conversion within illuminators.
By attending this panel discussion,
specifiers and designers will be able to
learn not only how the NEMA Section
dealt with these issues, but also how to
put the results of these new photometric
testing standards to use in applying fiber
optic lighting technology and systems to
their projects.
NOT JUST
ANOTHER FAIR E-TALE
Nancy T. Snyder tells us a different type of tale about the future of today’s businesses
that utilize the Internet. And this tale is far from grim.
We d n e s d a y
May 10, 2000
10:30 am – 12:00 pm
nce upon a time, there was an innocent and frightened business lost in the
middle of a large, seemingly dark technological forest. This business, like many others, was frantically trying to find the path
that would lead it to a new community
made up of dot-coms. The business had a
map—but nowhere on this map did it say,
“This way to the World Wide Web.” It was
rumored that this dot-com community had
developed its own universal languages—
HTML, Java, XML—which allowed businesses to interact with millions of potential
customers simultaneously.
This enabled design specifiers, installers,
and distributors to communicate instantly
and more efficiently with the click of a
“magic mouse.” Mastery of these new languages evolved. Businesses were said to be
able to provide higher levels of service for
their customers and increase design, specification, and purchasing efficiencies while
extending their marketplace to the world.
Oh, could such a place really exist?
Do you ever wonder why most fairy
tales take place in a deep, dark forest?
Red Riding Hood, Goldilocks, and
Hansel and Gretel all learn valuable
lessons as a result of traveling offbeat
paths in dark and mysterious forests, and
so can we in the professional lighting
business. You may have guessed that our
seemingly evil forest is a metaphorical
representation of the Internet.
O
56
LD+A/April 2000
The frightened business is yours and
mine, and—most importantly—the map
we have is our existing business plan,
usually without any mention of the
Internet as the burgeoning market segment it is, and the essential distribution,
specifying and communications tool it is
rapidly becoming worldwide. By following our business plans closely, and by listening carefully to our guides, we in the
lighting industry today can transform
the very process of lighting design,
ordering, shipping, and illumination. By
learning how to really tap into the new
community of the Internet, each of us
will make our business more satisfying,
infinitely larger, and more profitable.
The Customer is The Guide
To help steer us down the mysterious,
ever-changing path the Internet creates,
we need only to follow the eternal guide:
our customers. They are what they have
(or should have) been: our compasses.
Thanks to the Internet, they can now
provide daily direction by expressing to
us what they want and when they want
it, more readily than ever before. The
advent of Internet communications now
allows us to meet those demands and
more efficiently than ever before.
e-Business Rule #1: It is our customers who lay the foundation of our
future business success and our future
Internet success.
Your e-Roadmap
An existing business plan is literally a
map that can guide you step by step, not
only when developing and implement-
ing an effective business strategy, but in
establishing—or enlarging—your Internet programs. Your plan typically identifies your target markets. It outlines the
customer value propositions your products and services offer. It specifically
addresses the day to day demands made
by your customers for information about
your business, its track record, ability to
serve customers competitively and
become a value-added supplier.
e-Business Rule #2: The flow chart
for an effective website and Internet
presence is your existing business
plan.
Yourwebsite.com
A company’s website should be a mirror of their organization and philosophy,
and should be organized based on external (customer) needs rather than internal (company) needs. Content should be
delivered strategically, based on the specific needs of specifier customers. If you
have a diverse product or service offering
that has value and relevance to more
than one target market, there should be a
visible point of entry on your website for
each identified customer base, current or
anticipated. This keeps customers from
becoming “lost in your forest.”
For example, an architectural or lighting design firm that specializes in both
residential and commercial markets
should have two separate “communities,” or neighborhoods, on its website,
with content customized for each audience. Developing or improving your
website using a community approach
provides customer personalization,
www.iesna.org
which stimulates greater inter-activity
between a client and your business.
e-Business Rule #3: Never give a
customer information they didn’t ask
for or cannot use; always give them the
information they need.
Content Transformation: From
Bits to Bytes
The demand for faster access to up-tothe minute business information and
specification data is ultimately forcing us
all to move into the digital arena, willing
or not. Most business websites—including those of your known or future competition—are evolving over time from
containing primarily “branding” content
or marketing messages, to active “electronic commerce.” Basic e-commerce
involves a business or sales transaction
from a virtual shopping cart of your services and products. Simpler forms of ecommerce can be providing your customers with a digital on-line catalog of
your products and services, providing
educational tools, FAQs, and troubleshooting solutions.
e-Business Rule #4: The Internet is
truly the “information super highway” for your business, and should
not merely be an advertising super
highway.
Expanding your Markets
Internet communication today is
empowering every business to expand
its potential target markets and geographic reach. You are now able to communicate with customers previously
untapped by your traditional sales and
marketing methods. Architects and
lighting designers now have infinitely
more access to clients and prospects than
could have been dreamed of just a few
years ago. These same architects and
lighting designers also have more product options than ever before, from manufacturers and/or distributors they never
knew existed.
Distributors and independent sales
representatives now have more ability to
promote products and communicate
with potential customers more effectively, including those in geographically
remote locations or under-served territo58
LD+A/April 2000
ries. Manufacturers not previously considered for specifications now are on a
more level “playing field” with larger,
older or more localized businesses.
e-Business Rule #5: Fasten your seat
belt . . . doing business via the Internet
is an exciting ride, but it is full of
twists and turns.
Marketing Your Illumination
Services
Opportunities for marketing on the
Internet may seem like a “forest” in itself.
These opportunities include banner ads,
on-line directories, search engines, portals, marketplaces, link exchanges, commerce engines . . . and on and on. How
can you spend any advertising dollars for
e-commerce wisely?
To answer these questions, you must
go back to your “e-Roadmap,” your business plan. It should contain an outline of
your target audience, client group(s) and
all of the sales influences and decision
makers in your buying chain. You
should then outline in detail the keywords and phrases a customer might use
to locate your product(s) or service on
the Internet. This information will
enable you to make educated decisions
when selecting the right Internet marketing and advertising service, and
method.
Banner advertisements are a popular
form of Internet marketing. These are
the graphically displayed advertisements
that appear on other websites that send
people to yours. Successful banner campaigns, like most forms of advertisement,
depend both on location and timing of
your message. Internet search engines
offer media options to display your banners based on a user’s key word or key
word phrase and bring in thousands of
potential users per day. Website communities, product-specific search engines,
website directories, portals, or even marketplaces provide a more “focused” audience. They offer many forms of advertisements and product visibility opportunities, both in terms of the quantity of
global website traffic, and the quality of
the “browsing” audience.
Great sources for “community” exposure in the professional lighting industry
are those managed by dot-orgs of our
industry such as the Illuminating
Engineering Society of North America
(iesna.org), American Institute of Architects (aiaonline.com), or the International
Association of Lighting Designers
(iald.org). Extensive product visibility
can be obtained through industryfocused sites, such as lightingresource.com,
which profile entire catalogs of products
for manufacturers including photometry;
or lightsearch.com, which provides an
industry directory service and product
manufacturer search function.
As with other forms of public relations, word of mouth is the most effective and most economical form of marketing on the Internet. People communicate and share experiences with peers.
You need to develop an Internet presence
that welcomes customers, is easy to navigate, and provides customers with what
they want, when they want it.
e-Business Rule #6: Your Internet
web address should be printed and
publicly available as often as your telephone number.
From a FAIR E-Tale to a Great
E-Tale
Global interconnectivity made possible
through the Internet is bringing about a
tidal wave of change, affecting every
aspect of our personal and professional
lives. From 2000 to 2010, it has been estimated that two billion people will go
online, dramatically changing the business landscape. Each of us has an opportunity, and a responsibility, to learn, share,
and guide our industry through this
exciting forest of technology. Follow your
customer—remember those e-business
rules and you can help “light” the way for
yet another great E-tale.
Nancy Snyder is founder and president of
Enlightenment, a marketing information
technologies company, and of Lighting Resource
(http://www.lightingresource.com), an Internet product and marketing resource for the lighting industry. She is speaking at LIGHTFAIR 2000 on effective e-business strategies, Internet marketing and evisioning for our industry. For additional information, contact her at (877) 287-5265, Ext. 2892, or
via e-mail at [email protected].
www.iesna.org
of LED cluster sizes, electrical
bases, sunlight-visible colors, industry-standard voltages and with a life
span measured in years not hours,
SolarLED is the ideal complement
for solar photovoltaic cell setups.
Circle 100 on Reader Service Card.
W.A.C. Lighting Company will introduce new track heads and linear
track fixtures featuring an all-new
LIGHT
PRODUCTS
Brushed Nickel Finish, at LIGHTFAIR
INTERNATIONAL 2000. The low- and
line-voltage track heads will be available in the new finish. These fixtures
provide uniform, glare-free illumination from a low-profile ceiling or wall
track system. They are designed to
accommodate a wide range of halogen lamps, from the MR11 to the
PAR38. They are easily dimmable
and install quickly on W.A.C.
Lighting’s various track systems.
Meyda Tiffany introduces the Mica
Lighting Collection, handcrafted
with the same natural materials
used by crafters from the Arts and
Crafts Movement. Meyda Tiffany’s
new Mica Collection features
shades combining mineral mica
flakes with organic shellac – distinguishing each fixture or table
lamp by its unique variations of
mineral deposit patterns and
amber color tones.
and 11 inches deep, the fixture is
designed specifically for the “big
box” retailer. A compact ballast capsule provides a clean, unobtrusive
image. The ballast, which is warranted for five years, is encapsulated in a potting material for excellent
thermal dissipation and sound
absorption. Superior glass optics
provide optimum efficiency and photometric stability. An Endural prismatic glass reflector retains its
appearance over time and is not
affected by high temperature, static
dirt attraction, or ultraviolet exposure. The Retailer is offered with
both standard and pulse start metal
halide technologies. The luminaire is
prewired with cord and NEMA plug
or the Holoflex flexible wiring system. An attached snap hook facilitates quick installation. A factory
set light center ensures actual fixture installation matches the original design criteria. Options available
include “EM” quartz restrike, fusing
and a safety chain. The Retailer is
available with a glass only aluminum
covered glass reflector.
LEDtronics, Inc. announced the
availability of its new direct incandescent replacement SolarLED cluster lamp for photovoltaic renewable
energy systems. SolarLED is an
energy efficient, environmentally
attractive alternative to incandescent lamps in applications where
sunlight is converted to electricity.
SolarLED’s low power requirements
and high-intensity light output
enables the use of smaller and less
expensive solar cell modules and
batteries than necessitated by
incandescent bulbs. With a choice
60
LD+A/April 2000
The new Retailer luminaire from
Holophane Corporation combines a
simple, uncluttered appearance
with long ballast life and quiet operation. Measuring 15.4 inches wide
The highly crafted brushed aluminum fixture from SPI Lighting is
designed for outdoor applications.
The design can be modified by
changing the window configuration, selecting from a variety of finish combinations, and varying both
the up and downlight illumination.
Standard sizes are 22" and 30"
high, 13.5" wide and 9.5" deep.
Fixtures use a combination of fluorescent and metal halide lamps.
www.iesna.org
Innova Electronic High Intensity
Discharge Ballast Technology introduces dimmable electronic ballasts for metal halide and CDM
lamps ranging from 35 to 150 W.
Recent advancement in semiconductor technologies have enabled
developments leading to the smallest, lightest weight, coolest running ANSI-compliant ballast in the
industry that is cost competitive.
This is a high performing HID lamp
controller with hardened EMI/RFI
input section, low THD, and 0.99
power factor that has constant
lamp wattage control against AC
line fluctuation as well as lamp variations and aging. The one-piece
unit (built-in igniter) simplifies
installation. The low-frequency,
soft-edge square wave lamp drive
eliminates lamp flicker, acoustic
resonance and extends lamp life.
The key factor behind this product
development has been integration
of decades of expertise in high density power electronic design, HID
physics, and industrial product
development.
Simkar Corporation’s Vandgard
high endurance lighting is now
manufactured using the most corrowww.iesna.org
sive resistant aluminum available
(Marine Grade Aluminum, Rated
‘A’), to ensure a longer life and require less maintenance. Aluminum
construction offers the maximum
protection from all types of weather
and salt water. The high quality aluminum fixtures prevent heat
buildup, leading to longer ballast life.
Aluminum also means ballasts cycle
less than steel back models,
extending the lamp’s life and lowering maintenance costs. The range of
available wattages in most of the
Vanguard fixtures has been expanded and many compact fluorescents
have been added for applications
requiring brighter yet more economical lighting solutions. New models
include Quad lighting, HID lamps,
and a variety of lamping options for
T12 and T8 ballasts. They are vandal resistant, moisture and dust
proof, quickly installed, with tamperproof screws, a prismatic diffuser,
and a two year warranty.
is the Ruud Flat Back Cylinder (TFB
Series) track light and the Translucent Lens (SE1 Series) fixture.
gauge, extruded aluminum for maximum rigidity.
Ruud Lighting offers two new lamp
designs, the High Bay A Series for
retail, commercial, and industrial
applications; and the Projection
Cutoff E4 Series for building mounted security lighting. Also available
Lithonia Lighting introduced a fullfeatured new line of track and display lighting, a flexible tool for a
variety of accent and display applications. The system is available
with classical track head designs
for a variety of popular lamps and
enhanced by a full selection of
accessories, filters, and louvers.
They are available in one- and twocircuit configurations and constructed of low-profile, heavy-
Morlite Systems, Inc. offers a new
Morlite Defiant Series luminaire.
Designed for high vandal resistance, high-output, low-glare lighting in outdoor public environments.
The Defiant Series wall mount luminaires have fixture lenses, injection-molded polycarbonate optically
ribbed for low glare with high
impact resistance. All painted
parts and housing are finished in
durable, chip- and scratch-resistant
black baked polyester powder
coat. Finishes are made to withstand 1000 salt spray hours.
commands. The speaker-independent operation enables it to work
with anyone’s voice right out of
the box. It will program any command or language desired.
EZ-Snap mounting brackets which
facilitate quick installations and a
positive fit. Integrated with the TruLux module is a patented Starfire
spectral metal reflector that yields
in an evenly distributed linear
beam spread.
The hands free IntelaVoice Wall
Switch by VOS Systems, Inc. lets
you command your lights on, off,
and dim. They have just added the
dimming control. The IntelaVoice
Wall Switch takes the place of a
standard wall switch and incorporates the latest technology in
speech recognition. Utilizing
patented state-of-the-art technology, the wall switch creates
instant ambiance with “lights
low,” “lights off,” “lights dim”
Starfire Lighting, Inc. has created
Tru-Lux Cove and Wall Luminaires
that provide high-performance
beam control, from T2 and T5
sources. Typical applications include coves, wall lighting, and
remote lighting applications. Four
individual models comprise the TruLux series. Tru-Lux TB is the “basic”
model, ideal for cove lighting applications. It is little more than 1.5
inches deep and 2.25 inches high.
Tru-Lux Housings are light-weight,
prewired extruded aluminum with
Peter Parts Electronics announced
a new miniature LCD display. These
active matrix displays are available
in 4 and 5.6 inch diagonal sizes and
accept 1 V p-p NTSC composite signal video inputs. The 4 inch display
features 442 x 238 pixel resolution, while the 5.6 inch model had
960 x234. Both displays deliver
excellent viewing under most conditions. Both require a 12 V input voltage and consume just a few watts
of power.
The
LIGHTING
AUTHORITY
Swaravoski and 30% Premium
Lead. The line includes flush
mounts, wall sconces, and ceiling
fixtures.
Martin Professional of Denmark
has introduced a new DJ effect for
the mobile DJ and club/discotheque market. The new Juggler is
a plug and play DJ and club scanner
special effects fixture which
keeps 20 beams aloft simultaneously, producing a colorful flower
effect using a combined color/
gobo wheel. The Juggler is a high
quality output effect using a 250 W
halogen lamp with a long life lamp
also available.
64
W.A.C. Lighting has unveiled Line
Voltage Halogen Light Bars.
Designed as an alternative to fluorescent undercounter fixtures, the
Line Voltage Light Bars feature 25
W halogen lamps that provide a
pure white natural source. Available
for hard wiring in a permanent installation or to be used as portables,
the fixtures are equipped with frosted lenses that diffuse light well. The
miniaturized Halogen Light Bar unit,
which features a shallow depth and
narrow width, gives an even light
spread over a wide area. The light
bars provide an in-out access at the
back wall, which is for easy installation of multiple fixtures. All units are
modular and have knock outs at the
end for continuous runs. Each is
equipped with a high/low dimmer
switch, offered in both white and
metallic bronze finishes.
Glow Lighting Inc. has introduced
The Rosette Dreams Collection of
Crystal Lighting Fixtures. Each
chandelier in the collection is outlined with rosette-shaped crystals.
It is designed to mask the steel
frame of the ceiling fixture with
intricate garlands of rosettes. The
Rosette Dreams Collection offers
three grades of crystal including
A 24 V lighting system has been
introduced by the Halo Lighting
brand of Cooper Lighting. Named
Linea, the new system and streamlined lamp holders combine the
inherent advantages of low voltage
halogen lighting and respond to
facility manager requirements for
high performance, high reliability,
and aesthetically pleasing design
LD+A/April 2000
and form. Delivering heavy duty performance in a very small package,
the lamp holders are offered in
either 35 W MR11 or 50 W MR16
versions. With Linea’s capability for
longer runs and more lamp holders
per a given length, applications like
wall washing, accent and task lighting are given more dynamic variations. Lamp holders, available in
white, matte black, and silver, feature 338 degree rotation and 0–90
degree elevation for precise aiming. Designed with solid connectors
and large cross-section square
buss bars, Linea offers unparalleled
service for the day-to-day demands
of the business world.
Luxo Corporation has developed a
wedge-shaped light fixture design,
all but invisible when attached to
the underside of overhead cabinets,
shelves, or slotted panel-system
verticals. The Luxo 20/20 Asymmetric Task Light Series can also
be mounted directly to vertical panels and walls. A choice of integral
low-profile mounting brackets
attach directly to the vertical or horizontal mounting surfaces. Abundant asymmetric, glare-free illumination is provided on all applications. With those above eye level,
Luxo offers optional asymmetric
louvers that snap onto the 20/20
to prevent intrusion of overhead
glare. A swivel mechanism allows
325 degree rotation of the unit, left
or right, directing the shadow-free
light across work surfaces at right
angles, rather than directly on
them. The light source is an 18 W,
U-shaped compact fluorescent
lamp, with a choice of miniaturized
electromagnetic or electronic ballasting. This series employs a lightweight, high-impact plastic housing
with a ribbed top and convenient
front on/off switch.
www.iesna.org
Discovering Stage Lighting,
Francis Reid, Focal Press, Oxford.
1998. 128 pages.
Reviewed by Christine Myres
Francis Reid, author of Designing
for the Theatre, has created an
equally effective and interesting
text focusing on lighting in
Discovering Stage Lighting. Mr.
Reid is an experienced theater practitioner who has been involved in
hundreds of productions of every
kind. He lectures worldwide and is
author of several books on theater
design and technology.
Reid has revised his excellent
book on stage lighting to include
recent advances in lamp design, but
the basic text remains the same. I
found it to be well written, well organized, and useful (despite the fact
that I am not a theater designer).
First published in 1993, it continues
to present basic information from
the perspective of a 40-year veteran,
who insists on ‘discovery’ through
observation and application. We are
reminded that lighting is only a part
of the production and is dependent
on context; the designer must look
at script, staging, sets, costumes,
and so on to effectively integrate
lighting into the overall production.
The parallels to lighting the interior
are clear, and many of the techniques can be translated into applications for interior design.
The first section of the book
emphasizes equipment rather than
technique, and chapters are devoted to filters and controls, safety, the
design process, and project analysis. The second part contains projects that help the reader explore a
variety of techniques as applied to a
variety of situations. This book
www.iesna.org
broadened my understanding of
lighting by presenting familiar fixtures and techniques in a setting
unfamiliar to me, and I found it very
stimulating. The emphasis on observation as a learning tool is particularly helpful to the educator. The
text indirectly suggests several useful exercises to increase our awareness of how light appears, whether
outdoors or indoors; filtered through
trees or around lighting in art, photography, film, and video. This book
would be useful for any lighting student, educator, or practitioner, even
though it is primarily directed
towards theater lighting.
section is included which discusses
the importance of finished and surface reflectances on the performance and well being of inhabitants.
A discussion on incandescent,
fluorescent, cold cathode, and HID
sources explains their associated
advantages and disadvantages,
Christine R. Myres is an assistant
professor in interior design at the
University of Arkansas. She has
been teaching lighting for fifteen
years.
color temperatures and color rendering, power consumption, lamp
life, lumen maintenance, size, type,
distribution, and efficacy. A detailed,
comparative table regarding the
characteristics of these light
sources is provided.
The electrical distribution system
portion of this publication discusses general, emergency, and battery
powered lighting. Voltage, lighting
system considerations, and grounding are presented. In the lighting
design section, quantity as well as
quality of light for marine applications is explored and fixture selection is addressed. Lighting designers are urged in their visual task
analyses to pay special attention to
the unique challenges of on-board
boredom and fatigue and the need
to operate vessels under low lighting levels.
Recommended Practice for
Marine Lighting is very well organized and easy to use. Photographs
show a good range of marine applications from floating casinos and
cruise ships to aircraft carriers and
offshore oil rigs. A thorough discussion of exterior illumination is provided and considerations include:
cargo handling, passenger boarding,
security, maintenance, recreation,
navigation, and many more.
A detailed section on maintenance
is provided. A section on performing
an infield lighting survey for lighting
performance evaluation is discussed.
Survey forms for instrumentation,
electrical system operation and lighting measurements are supplemented
by recommended illumination measurement and calculation forms. This
is an excellent specialty publication
Recommended Practice for
Marine Lighting, The Marine
Lighting Committee of the IES. New
York: IESNA. 1997.
Reviewed by Paulette R. Hebert
The newly revised guide addresses
all types of ships, small craft, and
marine platforms and contains recommendations for illuminating
many interior and exterior marine
activities. Included are recommendations on alleviating the potential
marine lighting problems associated with shock, corrosion, vibration,
temperature variation, fire, radio frequency interference, and space and
weight constraints. Navigational,
operational, safety, and emergency
lighting are also considered.
Task visibility factors are discussed. A detailed recommended
illuminance level table is provided. A
LIGHT
LITERATURE
LD+A/April 2000
67
geared toward those who design,
own, manage, or maintain vessels or
related structures.
Paulette R. Herbert, Ph.D., is an
assistant professor in the School
of Architecture at the University
of Louisiana in Lafayette. She is
active in networking the book
reviews and is integral to their
appearance in LD+A.
Fiber Optic Lighting: a Guide for
Specifiers, Russell L. Deveau, Upworld Publishing, Inc. New York, NY.
1997. 158 pages.
Reviewed by by Linda Fisher
Fiber Optic Lighting: A guide for
Specifiers, is a very good resource
for the reader interested in learning
about the technology, capabilities,
and limitations, and specification
issues involved in the use of fiber
optic illumination systems.
Throughout the book, the author
provides the designer with the basic
concepts needed to understand and
apply the technology of fiber optics
within architectural lighting design
solutions. Especially helpful is the
key terms section within each
chapter that defines the vocabulary
used within. Clear, easily understood graphic diagrams are provided, when needed, to visually illustrate a variety of concepts. The theory of operation, particulars of
specifying, principles of operation,
efficiency factors, material selection, and condensed case studies
are provided within the first seven
chapters are supported by a concluding chapter on the future of
fiber optic illumination.
Chapter four is especially useful
to the reader trying to discern the
difference between the use of glass
or plastic in a fiber optic system.
The author does an excellent job in
identifying the general various characteristics of how these two systems differ and are similar in performance. This information is useful to
the person who is designing and
specifying fiber optics for the first
time and gives them the tools to
view manufacturer’s claims with a
more educated eye and make more
informed decisions.
The 20 case studies illustrated in
the book are somewhat too abbreviated in their approach, but do
68
LD+A/April 2000
offer a section on the reason for the
selection of fiber optics in the
design solution presented, which
offers the reader an opportunity to
learn about appropriate application
methods and solutions.
The author is extremely successful in reaching his specific goal in
writing this book—giving the reader
a basic understanding of fiber optic
illumination. Any design professional, design student, or facilities manager would be well served to use
this book as a valuable resource in
the understanding and specification
of fiber optic illumination.
Fiber Optics in Architectural
Lighting: Methods, Design and
Applications, Gersil N. Kay.
McGraw Hill Companies, Inc. 1999.
298 pages.
Reviewed by by Linda Fisher
Fiber Optics in Architectural
Lighting; Methods, Design and
Applications, written by Gersil N.
Kay, is an outstanding book for
anyone interested in learning
more about the art and science of
fiber optics used in architectural
lighting design.
The author’s intent is to offer
practical help, through her 40 years
of field experience and 20 years of
educating others about this very
specialized lighting system, to those
requiring or providing artificial light.
The book is divided into six interesting and informative chapters,
ranging from a brief story of illumination in general, followed by an introduction to light pipe technology and
fiber optics. Other significant issues
such as; determining the scope of a
project, the design and installation of
fiber optics, and economic consider-
ations are thoughtfully explained,
supported by the concluding chapter
which highlights a variety of representative case studies.
The entire book is well written
and easily understood, but the
introductory chapter dealing with
the History and Technology of Fiber
optics and the Light Pipe, is especially noteworthy in it’s ability to
lay the groundwork for the professional or layperson’s understanding
of the subject matter. This chapter
thoroughly explains the topic of
fiber optics and its use in architectural lighting design, providing the
reader with a clear understanding
of the three properties of fiber
optics—cost effectiveness, discreet, sophisticated image, and its
safety factors when used as a lighting design solution.
The application examples given
in the book’s final chapter, contains
over 120 pages of excellent visual
materials and case study analysis of
a variety of institutional, commercial, and residential design solutions. The examples given are varied in their scope and complexity,
and provide the reader with a strong
understanding on the methods,
design, and application of fiber
optics. The attractive color photographs provided in this section,
further support the reader’s understanding of fiber optics as an architectural lighting design tool.
The information given in this
book would be suitable for design
and engineering professionals,
design students, lighting designers, architects, interior designers,
facility managers, and lay persons
interested learning more about the
state-of-the-art technology involved
in fiber optics. The reader will be
able to enjoy this book as a way to
learn more about the topic, as well
as a resource for technical information when designing and specifying
fiber optic illumination.
Professor Linda S. Fisher, IIDA,
IDEC, coordinates the interior
design program at Kean University, Union, NJ. She has worked
extensively as a professional interior designer, including specifying
and designing lighting, and as an
educator teaches courses in
design studio, lighting, building
systems, and interior finishes.
www.iesna.org

lightfair international seminar preview 2000

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