residential lighting - Illuminating Engineering Society

Lighting Design + Application
December 2001
RESIDENTIAL
LIGHTING
S T E E LW O O D S H O W C A S E
H O M E
O R
H O T E L
WA R H O L WA L LWA S H E R S
S H O J I
S E R E N A D E
CONTENTS
DECEMBER 2001
VOL. 31/NO. 12
20
RESIDENTIAL LIGHTING
Shoji Serenade 20
The integration of East and West, of interior and exterior spaces, and the
interplay between hard and soft is reflected in the lighting design.
Swapna Sundaram explores the glowing screens and sconces that
enhance the “shoji” vocabulary—the recessed, unobtrusive uplights
and downlights tucked behind architectural elements.
A Grand Entrance 24
Ralph Schiller’s design highlights the interior architecture of this
French Chateau style residence outside of Austin. Energy efficiency and
ease of maintenance were priorities.
Wallwashers for Warhol 28
Gary Gordon’s challenge: to integrate the lighting with the architecture in a
19th century carriage house, renovated for a bachelor with an art collection.
Steelwood Style 30
Michael John Smith restored his mid-century modern dream house, keeping
many of the original luminaires, but adding state-of-the-art controls to create
lighting scenes that change with mood, time of day, seasons, or the room’s use.
Hospitality at Home 38
Hiram Banks’ approach was to integrate the functional lighting of a
hotel, while maintaining an adaptable, intimately comfortable environment
for the homeowners. And, because the residence is in a
chilly Oregon locale, a warm color was integral to the design.
DEPARTMENTS
3 Energy Concerns
5 Executive Vice President
Reports
8 Views on the Visual
Environment
12 Beardsley’s Beat
14 Working with the Web
15 IES News
42 Light Products
45 Howard Brandston
Student Lighting
Design Entry Form
50 Scheduled Events
53 IESNA Membership
Application
55 2002 IIDA Submittal Form
59 Annual Index
63 Classified Advertisements
63 Ad Offices
64 Ad Index
ON THE COVER: The birch plywood structure spanning one side of
the dining area is called “Light Space I,” a creation of Michael John Smith,
lighting designer and owner of Steelwood in Houston, TX. The “color
wall”—used for parties—changes according to an electronic preset
sequencer that fades the colors from magenta/blue/green, to blue/green,
to all blue over a 14-second fade time. Photo by Paul Bardagjy
2
LD+A/December 2001
www.iesna.org
2001-2002
Board of Directors
IESNA
President
Pamela K. Horner, LC
Manager, Technical Training
OSRAM SYLVANIA
Past President
Martyn K. Timmings, LC
Vice-President, Market Development
Canlyte - The Genlyte Thomas Group
Senior Vice-President
Randy Reid
Senior Director
Telemics
Executive Vice-President
William Hanley, CAE
Vice-President—-Design & Application
Douglas Paulin, LC
Product Manager
Ruud Lighting
Vice-President—Educational Activities
Fred Oberkircher, LC
Director
TCU Center for Lighting Education
Texas Christian University
Vice-President—-Member Activities
Ronnie Farrar, LC
Lighting Specialist
Duke Power
Vice-President—-Technical & Research
Ronald Gibbons
Lighting Research Scientist, Advanced
Product Test and Evaluation Group
Virginia Tech Transportation Institute
Treasurer
Patricia Hunt, LC
Hammel Green & Abrahamson
Directors
Balu Ananthanarayanan
Wisconsin DOT
Anthony J. Denami, LC
Gresham Smith & Partners
Donald Newquist, LC
Professional Design Associates, Inc.
John R. Selander, LC
Kirlin Company
Joel Seigel, LC
Edison Price Lighting
James L. Sultan, LC
Studio Lux
Regional Vice-Presidents/Directors
Jeff Martin, LC
Tampa Electric Company
Russ Owens, LC
West Coast Design Group
www.iesna.org
n last month’s column we highlighted some of the talks and
seminars presented at the recent
IESNA Annual Conference and how
they affect energy conservation in
lighting.
Here are some details on the
issues involved.
The Quality of the Visual Environment (QVE) Committee of the
IESNA has been conducting practical research, using sophisticated
and critical observers, seeking to
learn which lighting systems are
judged to be the most comfortable
and least glary. One of the conclusions reached is that the visual surround is a very important factor in
worker comfort. The effect of volumetric brightness in the workplace
has been found to be very beneficial
for comfort and performance. Now
being studied is the effect of
glare—the maximum perceived
brightness of a lighting source. The
term average brightness, which you
always see published, is a mathematical term calculated from the
candlepower of a luminaire at any
angle of view, divided by the projected area of the unit at that same
angle. Average brightness does not
exist in nature, unless the source is
perfectly diffuse, in which case the
average brightness is equal to the
maximum brightness, while all
other real life sources are nonuniform in brightness and the effect of
glare, both direct and reflected, is a
function of its maximum brightness.
The other factors are: the size of the
source, how far off the line of sight
it is, and the ambient level of illuminance in the space. The hope is
that some day we will be able to
assess the cumulative effect of the
maximum brightness of all of the
luminaires in a worker’s field of
view.
The QVE committee, now chaired
by Peter Y. Ngai, is trying to quantify how maximum brightness affects
comfort and performance. We are
working on having a seminar on visibility and performance at the next
IESNA Annual Conference in 2002
in Salt Lake City.
Terry McGowen, EPRI, reports
that research on how the variables
of task size, task contrast and illumination level affect visual task performance, is currently being updated at the Lighting Research Center
I
(LRC). The paper “Lighting and
Human Performance II—Beyond
Visibility Models Toward A Unified
ENERGY
CONCERNS
Human Factors Approach to Performance” will be available this year.
There used to be a rule of thumb
that a one percent improvement in
task contrast compared to its background, is the equivalent of a 15
percent increase in illumination
level. We now know, thanks to the
research by Rae and Ouillette, done
in 1991, that relative visual performance rises very quickly when task
contrast, size and illumination level
are increased from very low levels,
but then level off to a plateau as
those three variables increase in
value. The curves developed by Rae
and Ouelette show that when you
are on the plateau of relative task
Willard L.
Warren,
PE, LC,
FIESNA
per formance, the factors of
improved contrast, higher illuminance or larger task size do not
yield any additional improvement in
visual performance.
There has been much research
done on the nature of visual tasks,
some of it at LRC, which will be
part of the paper mentioned. Visual
The
effect of
volumetric
brightness
in the
workplace
has been found
to be very
beneficial for
comfort and
performance.
tasks have changed dramatically
with the popularity of self-illuminated monitor screens, which are getting better every year. Screens
have become flatter with fewer
reflections, better color, greater
pixel density and brighter images,
all of which contributes to improved
visibility. It will be very interesting
to see what the new research
reveals, and whether we can claim
some increase in worker performance from better quality screens.
In last month’s column, we mentioned the work of Sam Berman,
Senior Scientist at Lawrence Berkeley Laboratories (LBL), who has
demonstrated that the rods, located mostly in the periphery of the
eye’s retina, respond to color such
that at normal lighting levels, the
higher the color temperature of the
lighting source in the visual surround, the more the rods close
4
LD+A/December 2001
down the iris of the eye, improving
acuity and visibility. I’ve found in my
practice that if warm color sources
are not required for enhanced color
rendition, cool color temperature
(CCT) lamps appear brighter to
observers and so does the space. Is
this an opportunity for energy conservation?
I’ve been convinced for years
that graphic designers in this country care little for the readers of their
copy because of the way they deliver it with so little contrast to its
background. If we could prove to
advertisers that their message,
however persuasive, is lost when
poorly contrasted with its background, maybe we could get them
to improve all copy and allow us to
read it with maximum visual performance. With all the competition for
readers’ attention, you would think
that making the message as readable as possible would be of the
highest priority to graphics designers, not winning graphics prizes.
What’s the value of all our research? Well, if we can show that
improving the quality of lighting and
the contrast of the visual tasks
yields increased worker comfort
and visual performance, then the
managers of businesses will invest
in quality lighting systems to
enhance the return on their investment (ROI). Those of us who
believe in quality lighting and energy conservation need another
dimension of validation to convince
owners that investing in quality
lighting pays huge dividends in
increased human efficiency as well
as in the reduction of the use of
electrical energy.
I have this quixotic feeling that
we are at the verge of a new appreciation of the importance of lighting
quality and visibility, and how much
it impacts illuminance levels and
energy conservation. (And you
thought I wasn’t getting back to the
point of this column.)
The combination of technically
superior light sources and luminaires, with greater awareness of
sensory perception, may be the
next breakthrough in lighting
design. Your Society is working on
many fronts to validate the importance of these developments for our
members and the general public.
Publisher
William Hanley, CAE
Editor
Charles W. Beardsley
Assistant Editor
Roslyn Lowe
Associate Editor
John-Michael Kobes
Art Director
Anthony S. Picco
Associate Art Director
Samuel Fontanez
Columnists
Emlyn G. Altman • Brian Cronin
Rita Harrold • Li Huang
Louis Erhardt • Willard Warren
Book Review Editor
Paulette Hebert, Ph.D.
Marketing Manager
Sue Foley
Advertising Coordinator
Michelle Rivera
Published by IESNA
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Fax: 212-248-5017/18
Website: http://www.iesna.org
Email: [email protected]
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includes feature articles on design projects, technical
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www.iesna.org
he Board of Directors/Membership Q&A session
was held on Tuesday, August 7, 2001, in conjunction with the 2001 Annual Conference. The session was chaired by Pamela Horner; the following members of the Board were present:
B. Ananthanarayanan, A. Denami, R. Farrar, R. Gibbons, W. Hanley, P. Hunt, J. Martin, D. Newquist, F.
Oberkircher, D. Paulin, R. Reid, J. Selander, J. Siegel, J.
Sultan, M. Timmings.
James Havard (member, Roadway Lighting
T
He asked that the
Papers Committee
be allowed to respond to
the proposal.
Committee) requested that the Board: 1) hire a firm
to do a broad base statistical sampling of local, county, state and federal governments to determine how
recognizable the IESNA brand is, and 2) if the results
show poor brand recognition, the Board should
address the question, “how do we become The
Lighting Authority to the outside world?”
Steve Martel (member, IESNA Papers Committee)
commented on the recent action of the Board to
engage the LRC to produce a rejuvenated JIES, to
create an editorial board for JIES, and to appoint
Mark Rea as editor. The newly formatted journal
would appear online, providing readers with monthly
EXECUTIVE
VICE PRESIDENT
REPORTS
updates; there would be one annual printed version.
The new journal would include invited papers,
research reports, abstracts and papers on general
lighting issues. Steve asked that the Board reconsider its action so that the Papers Committee would
remain in control.
He asked that the Papers Committee be allowed to
respond to the proposal.
William Hanley asked that a written response from
the Papers Committee be received within two weeks.
Pamela Horner explained the genesis of the propos-
William
Hanley,
CAE
al, the need for an improved journal, and, as a result of
Board acceptance, the changed function of the Papers
Committee, which would review papers for presentation
at the Conference.
Francis Rubinstein (member, Papers Committee)
asked the Board for an explanation of the process by
which members could vote on a motion of no-confidence in the Board; he cited the vote in Executive
Session and the Board’s acceptance of an unsolicited
proposal from LRC which, he believes, raises questions of bias.
How do
we become
The Lighting Authority
to the
outside world?
William Hanley, asked that he submit this request in
writing for review by the Society’s attorney.
Joseph Murdoch (member, Papers Committee) questioned the Executive Session at which the proposal was
reviewed and the fact that the final vote was not taken
in public session.
William Hanley explained the reasons for Executive
Session. Personnel issues, both within the IESNA and
with the proposed LRC editorial staff, necessitated the
Board going into Executive Session; the procedures did
not differ from any used in the past. The Society’s attorney concurred with such, as the Society could have
been faced with charges of defamation of character if
the discussion had taken place in a public forum. He further emphasized that the Board vote was unanimous
and that minutes of all Board meetings reflect the
names of all who either oppose or abstain from a motion
carried by the majority.
Fred Oberkircher (Vice-President-Education Activities), through whom the Papers Committee reports to
the Board, explained, in answer to questions on the
Board approval process, which did not include review
of the proposal by the Papers Committee, that his initial recommendation was to consider an “in-house”
plan, which would have accomplished many of the
goals stated in the proposal. Since he did not initially
contemplate a radical change, he, therefore, did not
foresee the need for review of the proposal by the
Papers Committee.
Jennifer Veitch (National Research Council, Canada)
also spoke about the process which, she stated, should
have been competitive. She also felt strongly that the
issues of content and production should have been separated and that other options should have been considered. She noted the need for an improved JIES; there
should be a good North American lighting journal. She
6
LD+A/December 2001
noted the relationship between Conference Papers and
those papers published in JIES. Carol Jones (Pacific
Northwest National Lab) voiced the same concerns,
expressing particular concern that the contractor
would have a vested interest in that which would be
published.
Moji Navvab (The University of Michigan) asked for
clarification as to how papers would be chosen for
publication.
Pamela Horner noted that, while it is possible that
fewer Conference Papers would be published, all
papers would be peer reviewed. She commented on
procedure, stating that the Board spent a great deal of
time in considering the issue over the course of three
Board meetings, and that, once the unsolicited proposal was received, it would have been unethical for
the Society to disseminate an RFP, which would have
echoed the elements of the unsolicited proposal.
Rick Mistrick (member, Papers Committee) stated
that the proposal called for publication of twelve papers
per year; JIES currently contains thirty papers.
Joseph Murdoch expressed concern that the publication of a lesser number of papers would discourage
authors from submitting papers for presentation at the
Conference.
Fred Oberkircher responded that the number of
papers to be published is an open issue, one to be discussed with LRC.
James Sultan noted that it is the intent of the Board
to improve the Society’s journal, to have it better reflect
the Society’s tag line – “The Lighting Authority;” the
motivation of the Board in taking this action was to,
simply, improve member benefits. The “new” journal
would remain the Society’s journal.
Peter Bleasby (OSRAM SYLVANIA), recognizing the
IESNA’s tax-exempt status and commenting on activity
on the state level in the banning of all mercury containing products, asked the Society’s help, in a limited
way, in helping to combat such initiatives.
Pamela Horner thanked all of the members who participated in the session, stressing the receptiveness of
the Board to the opinions of the membership and the
need for ongoing dialogue.
A note from Pamela Horner:
The JIES proposal, upon which the Board of
Directors voted at its last meeting, has been withdrawn by the proposer. The continued improvement of
the Journal is still a high priority for our membership.
At the next meeting of the Board, it will discuss JIES,
working with the Papers Committee to achieve our
common goal of publishing a first-rate modern Journal
– which will incorporate an online presence.
www.iesna.org
“The painter draws with his
eyes, not with his hands.
Whatever he sees, if he sees it
clear, he can put it down. Seeing
clear is the important thing.”
—Maurice Grosser,
“The Painter’s Eye”
rthur Pope,1 following almost
50 years of study at Harvard
University dedicated to the
study of a genuine theory of the
visual arts, wrote in 1929:
A
VIEWS ON THE
VISUAL
ENVIRONMENT
Louis
Erhardt
8
“When we say that we see
objects in space, what actually
happens is that objects are projected upon the retina of the eye
by rays of light traveling from the
objects to the eye. This projection
on the retina of the eye—the primary basis for visual experience,
which has to be transformed into
sensation, and then ordinarily
interpreted by the mind into the
facts of existence, before what we
think of as seeing occurs—is a
two-dimensional image (the visual
image) and corresponds to a cross
section of the cone of rays of light
converging on the eye. It is like the
image formed on the ground-glass
plate of a camera. The visual
image is composed of areas distinguished from each other by differences of quantity and quality of
light. These areas may be placed
high or low, to the right or left in
the field of vision in relation to its
center; they may be large or small
in relation to other areas; they may
be round, or square, or oval, or
some other shape—that is, they
may vary in position, measure, and
shape. These areas may be light or
dark; they may be red or yellow or
green or blue, or some intermediate hue, or they may be neutral
gray; they may be strong in red or
yellow or some other hue, or they
may be weak in hue—grayish. In
other words, if we use the term
value to indicate the degree of
LD+A/December 2001
lightness or darkness, the term
hue to indicate the quality due to
the predominance of some one of
the wavelengths which make up
white light, and the term intensity
to indicate the strength of the hue
as distinguished from neutrality,
we may say that these areas vary
in value, hue, and hue-intensity,
Munsell Chroma.” (Munsell term
added.)
In a footnote Pope adds, “The
terms luminosity, brightness, and
lightness are sometimes used in
place of value.” And, “Ever since
Newton’s discovery and explanation of the phenomenon of the dispersion of light, the incidental connection between color and refrangibility of wavelength, two entirely
separate affairs, one mental and
the other physical, has been a
source of much confusion of phraseology.”
We will use Munsell’s Hue, Value,
and Chroma as the basic description of object colors and will add
brightnesses to account for illumination.
This is the vocabulary of vision—
the perception of what we see. “The
naïve observer believes that he correctly perceives the objects and
events in the world and that is all
there is to perception.”2 (Italics
added.)
The believer in the correctness
of perception poses numerous
questions. In the railway lines illusion, measurement of two “apparently” different objects or people
verifies that the visual impression
of difference is an illusion. If, on
the other hand, two areas appear
to have brightnesses, one twice
as great as the other, and if photometric measurements show
them to be in a ratio of 5:1, which
is correct—the appearance? Or
the measurement?
The two examples belong to two
different visual properties. The former deals with size, a primary
physical dimension, along with
shape, hardness, mass, and velocity. The latter evaluates brightness—a psychological judgment,
along with lightness, hue, and
chroma. Size can be verified by
measurement; brightness is without measure. One can only judge
by consensus. Mental perceptions
do not exist without a viewer; phys-
ical properties are there whether
there is a viewer or not. Photometrics assume a standard observer represented by spectral sensitivity curves. In engineering practice the photopic curve is used
almost exclusively. Why photopic?
We will return to this subject later.
“What we see” can be expressed
in Munsell’s or other artists’
terms. Photometrics measure certain properties of radiation, but
they are not what we see!
An artist selects a scene to be
painted—for its beauty, for the
emotion it elicits, or as a footnote
The
naïve observer
believes
that he correctly
perceives
the objects and
events in the world
and that is all
there is
to perception.
to history. Or, it may have been
selected for him—as a portrait.
His intent is to paint what he
sees, to convey the feelings he
experiences, or to tell the story
the action portrays. A lighting
designer is given the space and
the objects within. If an interior, it
has a floor, walls and ceiling. It
may have doors, windows, skylights or other penetrations of the
enclosure. Objects often indicate
the purpose for which the room
was constructed. Desks and
blackboards suggest a schoolroom. Machinery, a shop or factory. Pews and an altar, a church or
cathedral. How does the designer
proceed?
www.iesna.org
“The Right Light”3 sets forth the
process by which a designer
achieves a preconceived image of
a scene, as it will look when lighted. It will be based on the architect’s or interior designer’s furnishings and arrangements. (One
wonders if the architect or decorator should be trained in the art and
science of lighting design instead
of initiating engineers in the often
intuitive mysteries of design. Sizes,
shapes, colors and lightnesses
have already been assigned by the
architect and his staff for these
are basic elements of the design.)
One can only emphasize, clarify or
modify those properties already
established. This is not to demean
the role of lighting design, but to
emphasize that light is always
superimposed on the scene
already there. Light has great
power, but only within limits
imposed by the underlying design.
The envisioned image is conceived
in Munsell terms: Hues, Values,
Chromas and brightnesses.
Translation from the Munsell
terms (subjective psychological
judgments) to the lexicon of the
engineer (photometric measured
concepts) is our most challenging
task. To clarify, the relationships will
be put in numerical order starting
with the scene in view:
A scene takes two forms: one,
where reflectance provides the
varying colors and lightnesses; the
other, where reflectance is uniform
and the illumination (as with a TV
screen or movie projection) provides colors and brightnesses.
The photometric property conveying the scene to the eye is luminance, the visible part of exitance.
The eye adapts its sensitivity to
the overall color and to the lightness-brightness of the scene.
Adaptation is logarithmic—the sensation being the log of the stimulus.
Sensitivities—to color, size and contrast—are all determined by the
adaptation level.
The stimulus, luminance, a single
element that the retina combined
with the wondrous assets of the
mind enables us to distinguish
between lightness and brightness.
As noted before, if the reflectance
varies, but the illumination is uniform, we see lightnesses; but if the
reflectance is uniform, we see differwww.iesna.org
ences as brightnesses. This is equally true for parts and for the whole.
This is all a visual process and
“what you see” differs greatly from
photometric measurements. Agreement has been reached between
artists who devised the uniform
Munsell Value Scale and the engineers who have measured and
recorded the ordered reflectances
accompanying the Munsell Values.
The following will justify and
amplify these asser tions:
Land and McCann.4 “We are left
with the circular logical problem
that, because the light coming to
our eye is the product of the
reflectance and the illuminance,
our eye could not determine
reflectance unless the reflectance
is uniform.” This is true for the
entire scene and for portions
thereof. If light is uniform across a
change, such change must be
caused by reflectance; if reflectance is constant across a change,
such change is one of altered illuminance. We will treat them as a
single phenomenon, the perceptual response to illuminance, and
call it lightness-brightness.
Exitance is the totally diffused
reflected light from a surface.
Luminance is that portion directed
to the eye.
C.P. Steinmetz.5 “The adaptability to the enormous range of intensity of illumination, which we meet
in nature, is secured: (1) by adjusting the pupil opening, (2) by the
fatigue of the optic nerve, (3) by
the logarithmic law of sensation.
The impression made on our senses, eye, ear, etc., that is, the sensation, is not proportional to the
energy that produces the sensation, that is the intensity of the
light, the sound, etc., but is
approximately proportional to its
logarithm, and the sensation,
therefore, changes very much less
than the intensity of the light, etc.,
which causes the sensation.”
Confusion between lightness
and brightness, both being subjective perceptions, remains. Judd
and Wyszecki6 deal extensively
with this problem. “Because of the
essential difference between selfluminous and nonself-luminous
objects, the vertical dimension (Y
of the CIE coordinates) takes a different name. The name is brightness (or luminosity). Brightness
varies from invisible to dazzling
(the maximum brightness the
viewer can experience) and is a
property of objects perceived to
be self-luminous. Lightness, on the
other hand, varies from black to
white (or perfectly clear) and is a
property of objects perceived to
be nonself-luminous.” In another
section, Judd and Wyszecki
describe an experiment in which
the brightnesses of the surface
through which an aperture view of
the aperture itself allows the viewer’s perception to move from selfluminous to nonself-luminous.
Both aperture viewing and viewer’s perception-change are unlikely in the complex conditions of
ordinary everyday experience the
Land and McCann exposition of
the lightness and brightness per10
LD+A/December 2001
ceptions seems more logical.
Attempts have been made to
relate measurements to what-wesee! Such equations must be
understood to relate the Munsell
Value numbers to the ordered
reflectances. Under no circumstances can any objective stimulus be made equal to the subjective sensation. Wyszecki offered:
W*=25Y1/3 – 17 with a note
W*/10 agree closely with the
Munsell Values.6 In the January
2001 issue of LD+A, Naomi Miller
notes that “brightness” is not the
same as luminance. “Brightness
can be good or bad, and is the perceived response to the luminances in a scene. We know the
brightness B is roughly proportional to the luminance L raised to
power of 0.33.” Both Wysecki and
Miller imply a direct relationship
between objective measures and
subjective responses. Both intend
to relate the numbers of each, not
the stimuli and responses!
Parry Moon7 writes “the methods of physical science have been
marvelously successful in the
physical world. In the seeing
process, however, we leave the
world of physics and enter the
world of consciousness, of sensation, in which there is no reason to
believe that the methods of
physics can ever be applied. We
have no method of measuring sensation, in the sense that physical
quantities are measured.”
It may be helpful to separate
those properties that are physical,
photometric and visual.
NCQLP QUIZ
1. How do Munsell terms differ from photometric measured concepts?
2. What is the logarithmic law of sensation?
3. What is the difference between exitance and luminance?
4. “Dazzling” refers to what attribute of light?
Name_________________________________________________________________________
Address_______________________________________________________________________
City/State/Zip________________________________________________________________
Phone_________________________________________________________________________
Fax____________________________________________________________________________
Please return to NCQLP Quiz c/o LD+A, 120 Wall Street, 17th Floor, New York,
N.Y. 10005 by February 15, 2002. You may also fax to 212-248-5018.
www.iesna.org
Physics. Light as an octave in the
electromagnetic spectrum is energy and belongs to physics. Another
physical attribute of light waves is
reflection, including the photometric term reflectance—the characteristic so dominant in our experience of constancy. The environment
is stable despite the ever-changing
natural light.
Photometrics.The measurement
of light or its illuminating power. The
establishment of the photopic
lumen (683/watt maximum) as the
unit of measure leads to luminous
flux, luminance, illuminance, exitance, and other photometric
terms. The lumen has, for illuminating engineering purposes, a specific
determination (size). However,
there are numerous other sizes of
which the scotopic lumen
(1699/watt maximum) is next in
frequency of use.
Visual. Light as a stimulus for
vision has different properties than
“light as energy.” The visual system
constitutes the most wondrous
human system, far exceeding in
complexity and ability the most
advanced computer. Its perceptions
include lightness, brightness and
color (hue and chroma).
So the energy that is light,
impinging on the retina, is transduced into nerve impulses that
belong to physiology; and when
received by the brain become perceptions that are physiological manifestations.
Writing of the latter two, Max
Planck8 comments, “observation
based on the psychological viewpoint is rooted in self-consciousness; therefore, it is applicable
directly only to the analysis of
one’s own mental processes. On
the other hand, observation based
on the physiological viewpoint is
directed at the processes in the
external world; therefore, its
direct scope is limited to physical
processes. These two viewpoints
are incompatible. The adoption of
one when the other is called for
always leads to confusion.”
References
1. Arthur Pope, “The Language
of Drawing and Painting, Russell &
Russell, NY 1949
2. Richard Held and Whitman
Richards, Perception: Mechanisms and Models, W.H. Freeman,
San Francisco
3. Louis Erhardt, The Right
Light, IESNA, New York 1995
4. Edwin H. Land and John J.
McCann, “Lightness and Retinex
Theory,” Journal of the Optical
Society, Jan 1971
5. Charles P. Steinmetz, Radiation, Light, and Illumination,
McGraw Hill, NY 1918
6. Deane B. Judd and Gunter
Wyszecki, Color in Business,
Science and Industry, John Wiley
& Sons, NY 1975
7. Parry Moon, Scientific Basis
of Illuminating Engineering, McGraw Hill, NY 1936
8. Max Planck, “Phantom Problems in Science,” Treasury of
World Science, Littlefield Adams
Co., NJ 1962
ome 25 years I ago, I discussed residential lighting
with Rita Harrold, Howard
Brandston, Der Scutt, and the late
Jim Nuckolls. Focus of the informal
forum was education—specifically,
how the “average” consumer who is
naïve about lighting and lighting
design acquires information and
knowledge about the subject.
S
BEARDSLEY’S
BEAT
Charles
Beardsley,
Editor
12
The education process must be
extensive and comprehensive, the
group felt, including not only architects and interior designers, but
developers, builders, manufacturers, dealers, and, of course, the
consumer.
Not much has changed since
then. I recently reviewed the current
state of consumer awareness with
Connie Jensen, principal, Lighting
Professionals Inc., Montvale, NJ.
“The average consumer isn’t as
naïve today as then because shelter magazines today offer more
lighting information,” she observed. “Nevertheless, ongoing
enlightenment of the consumer is
still important, but not nearly as
critical as better education of
those responsible for providing
the lighting.
“Clients expect their architect,
interior designer, builder, electrical contractor or lighting showroom personnel to have the
knowledge necessary to provide
good lighting in the home. They
are rarely advised that these people don’t necessarily have that
expertise.
“Almost every new spec house
has downlights placed 4 ft from
the wall. That leaves the upper 4
ft of wall space, where the top
portion of wall-hung artwork falls,
completely dark
“Clients and many of those providing the lighting love small fixtures with halogen sources. These
luminaires are often misapplied.
Halogen is a wonderful tool as an
LD+A/December 2001
accent light, not as a downlight.
“Many halogen light sources
are not tucked high into a fixture.
This lamp creates enormous
brightness when close to the ceiling and unshielded. This approach
is more acceptable in Europe and
U.S. retail. I use halogen a lot for
residential task and accent lighting, but only with adequate concealment of the source.
“But when all’s said and done,
a home should look and feel the
way the end user wants it to. I
always ask a client to help me
understand how they live. Where
do they read? Where are the
tasks? Are there areas that are
expected to be bright and airy at
night? Do they wish to have intimate spaces? Do they like drama
or subtlety. These are no different
than the questions we asked 25
years ago.
“The clients always have—and
probably always will—put themselves into the hands of others
when its comes to lighting. Today,
clients are more exposed to interesting lighting and may have
strong opinions on what they like,
but they still need someone knowledgeable to translate that effect
for them. And there is the dilemma: How to take lighting out of the
hands of the unknowledgeable?
“It’s not unlike the interior
design field where ‘shoe-bag’ decorators give interior design a bad
name. Licensing—at least for
architects and interior designers—does not really help with
lighting because, I believe, it is
not treated in all schools as the
critical, integral entity to every
space that it is. Lighting is a complicated element of our living environment. It is a profession in its
own right.”
Jensen stresses the importance
of a lighting professional’s training.
“I know in my head what my design
will look like at night. And I’ll break
a contractor’s kneecaps if he
changes my design.”
So how do Connie’s views compare with those from 25 years ago?
“We need to educate the manufacturer—the one who generally
spends the money for advertising.
And if the manufacturer’s representatives were as knowledgeable
about their products as are those
representing the pharmaceutical
companies, that would be a step in
the right direction.”—Howard
Brandston
“The consumer buys fixtures
rather than lighting. The time has
come to look at light in terms of
effect, rather than particular fixtures. That’s where the real educa-
But
when all’s said
and done,
a home
should look
and feel
the way
the end user
wants it to.
tional challenge lies.”—Rita Harrold
“Consumers will visit a furniture
store and buy something that
hangs from the ceiling with crystals
on it, or they will select a table lamp
because it has a music box in the
base!”—Jim Nuckolls
“But if a consumer buys a lamp
with a music box in the base, that’s
his or her decision,” observes Ms.
Jensen in 2001.
Or, as Der Scutt observed 25
years ago, “You can’t teach taste.”
Editor’s Notes
• October’s article on the
relighting of the Benjamin Franklin Bridge neglected to mention
that the original lighting by
George C. Izenour Associates
received a 1988 Paul Waterbury
IIDA Award of Excellence.
• Dick Beckford, whose sidebar was attached to the October
article on the George Washington
Bridge, has been an active IESNA
member since 1964 and has
served on the Industrial Lighting,
Progress and Light Sources committees, among others.
www.iesna.org
“Merry Christmas,
Nearly Everybody!”—Ogden Nash
s I kicked my way through
the rotting jack-o-lanterns on
my front steps to take down
my Halloween decorations a few
weeks ago, I was stunned to see
that half my neighbors had already
hung up their Christmas lights. Cur-
A
WORKING
WITH THE WEB
Brian Cronin,
Director of
Business
Development,
Planetmouse,
Inc.
14
sing to myself, I pulled up the
spooky tombstones and cut down
the big horrible spider hanging from
a maple tree in my front yard. OK,
so maybe it was less than a week
before Thanksgiving, but that damn
daylight savings adjustment screws
me up every year and hunting season is always a distraction. But
Christmas? Already? Man, I’m not
even remotely prepared for that
scene. Boring holiday parties… the
obligatory boozing & feeding frenzy
that spans the weeks between
Thanksgiving and New Year’s… and
that brutal, high-adrenaline frenzy of
last-minute shopping. If I live to be a
hundred, I’ll NEVER be prepared for
that nightmare… nor will I do the
smart thing and shop early. Who am
I to defy the laws of tradition?
Unfortunately, business gift giving is a whole different beast altogether. Can’t hand my clients and
customers some cheesy junk or a
bottle of bootleg rum. I certainly
can’t blow off the boss and my
team. What the hell am I going to
do? Luckily, there is a little thing
called the World Wide Web…
invented just for procrastinating
idiots like me. Now I can participate
like a grown-up in spreading holiday
cheer. And if I get lucky and choose
these gifts well, I may even reap the
harvest I have inadvertently sown.
The best thing about shopping
for business gifts online, is that
you don’t have to touch the presents… much less deliver or wrap
them. A clever fellah can make it
look like painstaking decision-making went into the selection of each
and every gift. The first step:
Determine who you are buying for.
LD+A/December 2001
Old School: Pen sets, desk
clocks, paperweights and other
boring business trinkets are still
popular among those laggards
who putter aimlessly looking for
their missing cheese. Too bad
these mundane toys no longer
pack much of a punch when
schmoozing the modern wired warrior... but if your client still drags
around dayplanner and rides to
work in a chauffeured zeppelin,
buy him a shiny new fountain pen
(www.executiveessentials.com).
Geek Gadgets: Now, if that
prospective client is one of those
know-it-all, bad haircut, dot.com
reject, Gen-X techno geeks, then
present him with one of a thousand
digital wireless beeping buzzing
handheld doodads. That way, when
he’s trying to impress his fellow
subway commuters or a conference
room full of executives, he’ll clearly
be flagged for the tool that he undoubtedly is. Sharper Image (www.
sharperimage.com) is as good a
site as any to placate the nerd on
your list.
Tasty Treats: For that special carnivorous client, why not give the gift
of animal protein? Seattle’s Finest
Exotic Meats (www.exoticmeats
.com) offers an array of tasty treats,
including alligator, bear, bisurkey (a
bison/turkey blend), kangaroo,
snake and possum.
Unique, But Practical: How
about a drinking water test kit, to
show them you REALLY care?
AquaMD (www.AquaMD.com) is a
web-based division of a 150 year-old
Connecticut water company, that
provides everything a client needs
to test his or her drinking water
quality. AquaMD ships the sample
kit… your client adds the water and
ships it back to their EPA-certified
lab. In a few days, the good or bad
news is delivered via email… along
with recommendation on how to
treat any problems. Fast, easy, convenient and guaranteed.
Bottoms Up: Diamonds may last
forever, but booze is the gift that
keeps on giving. BevMo.com
(www.bevmo.com) is your one-stop
e-shop option to ring in a little holiday cheer. For the annoying client…
a bottle of Monte Alban Mezcal with
a tasty agave worm should exact
some measure of vengeance. But
for that high ticket prospect… per-
haps a $220 bottle of Glenmorangie
Scotch 1971 Vintage will help them
choose their next contractor wisely.
For That Monster Client: Let
your key clients know how important their business is to you with a
life-size replica T-Rex skull. At a
monstrous 5 feet long and loaded
with huge, 6” teeth, this paperweight is a bargain at $10,000!
Pick a couple up at San Antonio’s
Dinosaur World (www.dinosaurworld.
com). If your budget is limited, you
can always go for the authentic TRex tooth for $3K.
Cool Stuff: Anyone on your list
think the Crocodile Hunter is a role
model? Hook them up with a gift
cer tificate at the Discover y
Channel Store (http://shopping.
discovery.com), the Museum
Company (www.museumcompany.
com) or the National Geographic
Store (http://shop.nationalgeographic.com). Cool stuff abounds
at these websites… telescopes, globes, wall maps, books,
you name it. Personally, I love this
kind of stuff… which probably doesn’t come as any big surprise to the
LD+A readership.
The Great Outdoors: E-merchants, like Eastern Mountain
Spor ts (www.ems.com), REI
(www.rei.com), Campmor (www.
campmor.com), L.L. Bean (www.
llbean.com) and Cabela’s (www.
cabelas.com) gobble-up most of
the spare cash that I manage to
hide from my wife & kids.
If all else fails, nothing says “last
minute desperation” like a nice
h o l i d a y f r u i t ca k e ( w w w.
westonfruitcakecompany.com).
Garrison Keillor once said, “A
lovely thing about Christmas is
that it’s compulsory, like a thunderstorm, and we all go through it
together.” That’s certainly rings
true for me. But as we bear down
on the season and start twitching
in ambivalent anticipation of “The
Holidays”, remember… we can get
through it in one piece. Don’t fight
technology this time of year—
wield it like a 15th Century ball &
chain mace. Then, if you are lucky,
the hardest part of this holiday
season will be surviving the New
Year’s Day hangover.
www.iesna.org
ILLUMINATING
ENGINEERING
Militello Exhibition to
be Displayed at
Gershwin Hotel
SOCIETY
NEWS
VOLUME 31, NUMBER 12
DECEMBER 2001
Modern Culture at the Gershwin
Hotel will present “Anne Militello:
Radiate (Not Fade Away),” an exhibition of site-specific lighting installations by Militello. Her exhibition will be
composed of abstract and ever-changing light projections. The works—both
large and intimate in scale will—exam-
ine the convergence of the human experience and light.
Recognized for her innovative lighting
projects, Militello recently received an
IIDA Award of Distinction for her artistic
achievements in the exterior lighting
design of the new 42nd Street Studios,
Times Square, NY.
The exhibition will open on January 5,
2002, from 6-8 P.M. and will remain on
view until February 2. For more information on gallery hours contact 212213-8289, or email: modcult@
bway.net
IESNA
Calendar of Events
June 2-5, 2002
LIGHTFAIR INTERNATIONAL
San Francisco, CA
Contact: AMC, Inc.
404-220-2221/2215
www.lightfair.com
August 4-7, 2002
2002 IESNA Annual Conference
Salt Lake City, UT
Contact: Valerie Landers
212-248-5000, ext. 117
www.iesna.org
Member News
The IALD Board of Directors has bestowed the 2001 IALD
Lifetime Achievement Award on Howard Brandston, FIALD,
FIES. The award was presented at the IALD annual meeting
November 28-29 in Philadelphia, PA. The Board praised
Brandston’s efforts over his 30-year career as a lighting
designer in elevating the profession and credited his leadership in lighting design education, research and standards.
Brandston designed the illumination for more than 2500
commercial, residential, and government projects. He is the
winner of four IALD lighting design awards and other numerous awards. In 1991 he won the IALD Award of Excellence
for the Bulgari showroom in New York and from 1983-84, he
was the president of the IESNA, and an IESNA Medal recipient in 1999.
Leviton Manufacturing Co., Inc., Little
Neck, NY, has appointed John T. LaMontagne to the position of Northeastern
Regional Sales Manager for the company’s
Lighting Control Division. As the Sales
Manager, LaMontagne will manage and
oversee sales for the region, including
managing relationships with distributors,
agencies and specifications markets.
Beacon Products, Inc., Sarasota, FL, announced the
appointment of three additional sales representative organizations to cover selected territories throughout the western United States. Art Sloan, ALSCO, Inc., Las Vegas, NV,
www.iesna.org
represents Beacon lighting products throughout Nevada.
Joe Arizola, Arizola Lighting, Manchaca, TX, represents
Beacon lighting products throughout southeastern Texas,
including greater Austin. Harmon Bollen, Bollen Resources,
Carrolton, TX, represents Beacon lighting products throughout the greater Dallas area.
Stingray Lighting, Inc., Escondido, CA, announced the appointment of Robin A.
Conway as the company’s vice-president of
marketing and sales. In her new position,
Conway is responsible for planning and
implementation of the company’s marketing and sales programs to professional
lighting specifiers, corporate clients, and
distributors throughout the U.S. and Canada.
Dr. John Li has joined Optical Research Associates’ Pasadena, CA, optical engineering services group as Director of
Illumination Engineering Services, based at the company’s
midwest office, Cleveland, OH. Li will lead ORA’s illumination system design and development services business,
which are currently focused on exterior and interior lighting
systems for automobiles, aircraft, cell phone, laptop, and
PDA displays; medical equipment and instrumentations;
and new LED based systems and light projecting systems.
Grand Stage Company of Chicago, IL, and Vincent
Lighting Systems of Cleveland, OH, announced the forcontinued on following page
LD+A/December 2001
15
Member News
continued from previous page
mation of a new partnership. Grand
Vincent Company of Michigan is now
available to serve sales, rentals and
production needs throughout the former Grand Stage store in Berkley.
This location provides the same service for the Grand Stage staff, but
now offers a much-expanded product
line and access to all the technical
and production resources available
through Vincent Lighting.
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
233 Copper Sustaining Members).
Silver: $1,000 annual dues
Lighting revenues to $10 million
Gold: $2,500 annual dues
Lighting revenues to $50 million
Platinum: $5,000 annual dues
Lighting revenues to $200 million
Emerald: $10,000 annual dues
Lighting revenues to $500 million
Diamond: $15,000 annual dues
Lighting revenues over $500 million
Prescolite, San Leandro, CA,
announced the winners of the company’s “Experience Venice!” sweepstakes drawing. More then one thousand entries were received at the company’s display booth at Lightfair 2001,
and in response to promotion in the
Lightfair 2001 edition of Illume, Prescolite’s new product and lighting
design publication. Winner of weekend
getaway at the Venetian Grand Resort
in Las Vegas was Robert Dupuy (left),
Senior Lighting Designer of Interface
Engineering, Milwaukie, OR, shown
with Jim Fencl , of The Berg Agency.
Robert Mokry, a 13-year veteran of
High End Systems, Austin, TX, has
returned to the company to take on new
roles associated with the company’s
restructuring and renewed growth.
Ellerbe Becket, Kansas City, MO,
has been selected by the New Memphis Public Building Authority to
design the new downtown arena. The
New Memphis Arena will be a multiuse sports and entertainment facility
and home to the NBA Memphis
Grizzlies.
Penn State University has a new
lighting faculty member, Dr. Martin
Moeck, who was previously a faculty
member in Architectural Engineering
at the University of Kansas.
16
LD+A/December 2001
DIAMOND
Cooper Lighting
General Electric Co.
Lithonia Lighting
OSRAM SYLVANIA Products, Inc.
Philips Lighting Co.
EMERALD
Holophane Corporation
PLATINUM
Day-Brite Capri Omega
Lightolier
Lutron Electronics Co, Inc.
Ruud Lighting, Inc.
GOLD
ALP Lighting Components Co.
Altman Lighting, Inc.
Barth Electric Co., Inc.
Daeyang Electric Co., Ltd.
Edison Price Lighting, Inc.
Finelite, Inc.
Indy Lighting, Inc.
Kurt Versen Co.
LexaLite Int’l Corp
Lighting Services, Inc.
Lightron of Cornwall, Inc.
Louis Poulsen Lighting
LSI Industries, Inc.
Martin Professional, Inc.
Matsushita Electric Works, Ltd.
Musco Sports Lighting, Inc.
Niagara Mohawk Power Corp
Prudential Lighting Corp
San Diego Gas & Electric
SIMKAR Corp
SPI Lighting, Inc.
Steelcase, Inc.
The Bodine Company
The Kirlin Company
United Illuminating Co.
IESSUSTAINING
MEMBERS
SILVER
Ardron-Mackie Limited
Aromat Corp.
ATOFINA Chemicals, Inc.
Associated Lighting
Axis Lighting, Inc.
Bartco Lighting, Inc.
BJB Electric Corporation
Canlyte, Inc.
Carinci Burt Roger Eng, Inc.
Cinergy PSI Energy
City of San Francisco Bureau of Light & Power
Custom Lighting Services LLC
Custom Lights, Inc.
Day Lite Maintenance Co.
Defense Supply Center
EEMA Industries
Elf Atochem North America Inc.
Elko Ltd
Elliptipar
Energy Savings, Inc.
ENMAX
Enterprise Lighting Sales
ERCO Lighting USA Inc.
Exelon Infrastructure Services
Eye Lighting Industries
Eye Lighting International of North America
Factory Sales Agency
Fiberstars, Inc.
Focal Point
Gammalux Systems
H E Williams, Inc.
HAWA Incorporated
High End Systems, Inc.
Hubbell Lighting, Inc.
Kenall Mfg Co.
King Luminaire Co.
Ledalite Architectural Products
Lee Filters
Legion Lighting Co.
Leviton Mfg Co, Inc.
Linear Lighting
Litecontrol Corp
Litelab Corp
LiteTech
Litetronics Int’l, Inc.
Lucifer Lighting Co.
Mayer Electric Supply
Metalumen Manufacturing, Inc.
Multi Electric Mfg, Inc.
Northern Illumination Co., Inc.
Optical Research Associates
Optima Engineering PA
Paramount Industries, Inc.
Portland General Electric
Prescolite, Inc.
PSE & G
R A Manning Co, Inc.
Reflex Lighting Group, Inc.
Sentry Electric Corp
Shakespeare Composites & Electronics Division
Southern California Edison
Stage Front Presentation Sys.
Stebnicki Robertson & Associates
Sternberg Vintage Lighting
Sterner Lighting Systems, Inc.
Strand Lighting, Inc.
StressCrete
TXU Electric & Gas
Utility Metals
Vestar Limited
W J Whatley, Inc.
WAC Lighting Co.
Winnipeg Hydro
Wisconsin Public Service Corp
Xenon Light, Inc.
Zumtobel Staff Lighting, Inc.
As of November 2001
www.iesna.org
Task Force Examines the Future of Tall Buildings
Section News
A task force of leading building industry experts formed by the Council on Tall
Buildings and Urban Habitat (CTBUH) concluded there are several actions that
can be taken to enhance the emergency performance of buildings, including
egress strategies, redundant building systems, integrated building control systems, performance-based design, education and research.
The task force also concluded that it is not practical to design any building to
withstand the maliciously directed impact of a large fuel-laden aircraft and that
the buildings in the World Trade Center attack performed heroically, which
allowed more than 20,000 people to evacuate.
“It is important to understand that the attack on the World Trade Center was not
about tall buildings, it was about terrorism,” reports the task force.
Overall, tall buildings have excellent safety records. The general themes that
the task force is exploring to further increase the level of safety in the built
environment.
The task force includes 24 experts, most representing organizations with global presence. Their expertise is architectural, structural engineering, mechanical
engineering, electrical engineering, vertical transportation, fire protection and
safety, building owners and developers, building control systems, building security, blast and curtain walls.
They are scheduled to confer again prior to the “Building for the 21st Century”
conference to be held in London in December. The conference is sponsored by
the CTBUH and includes a global forum in which to discuss all aspects of the
built environment under three themes technology, livability and productivity.
More information can be accessed at www.buildingforthe21stcentury.com
Tennessee Valley Section
Kam McCormick, of Colortran gave a
presentation on theatrical lighting at
the University Club, Nashville, TN.
Susquehanna Section
A presentation on “Astronomy
through the Hubble Space Telescope”
was given at the Holiday Inn West,
Central Pennsylvania. Guest Speaker,
Dr. John Wood, an astronomer is an
optical engineer for the Optics Branch
at Goddard.
Alabama Section
A presentation on “IIDA Awards and
Local 2001 Award Entries” was given
at SSA Architects, Birmingham, AL.
Both Stephanie Johnson and John Gill
discussed local talent and the importance of getting future entries in the
coming years.
Mohawk Hudson Section
A presentation on the “2001/2002
NYSERDA Programs” was given at the
Holiday Inn Turf, Colonie, NY. Adam
continued on following page
www.iesna.org
LD+A/December 2001
17
IALD Accepting Entries For 2002
Lighting Design Awards
Section News
continued from previous page
Homes of ICF Consulting provided
insight on the topic.
Toledo Area Section
A discussion on “HPS vs. Metal Halide
vs. Fluorescent Lighting Sources —
Where, When and How?” was given at
Toledo Electrical Industries Building,
Rossford, OH. Guest speaker Jeff Waymouth of OSRAM SYLVANIA discussed
operation characteristics of each lamp
type, as well as the differing psychological impact based on the physical characteristics.
Edison Price Moves
Headquarters
Edison Price Lighting moved its New
York City corporate headquarters to
Long Island City (Queens), New York,
to combine it with its manufacturing
facility already located there. For further information go to the website
www.epl.com
New Members
Membership Committee
Chair Jim Sultan announced
the IESNA gained three Sustaining Members and 67
Members (M), associate
members and student members in October.
SUSTAINING MEMBERS
Gewalt Hamilton Associates, Inc.,
Vernon Hills, IL
Lighting Reality, Birmingham, UK
Orlando Utilities Commission,
Orlando, FL
INDIVIDUAL MEMBERS
Canadian Region
Jim Allison, Hi Lan Electric, Ltd.,
Moncton, NB
Eric J. Anderson, Toronto Hydro,
Toronto, ON
Adrian D. Goldberg, TAD Lighting
Services, Ltd., Toronto, ON
Leo-Paul LeBlanc, The Lighting
Design Centre, Ltd., Moncton, NB
Gardiner MacNeill (M), Coles
Associates, Ltd., Charlottetown,
PE
Dyoni Smith, Metalumen
Manufacturing, Cambridge, ON
East Central Region
Arthur L. Bradley Jr., Moseley Harris
& McClintock, Richmond, VA
Brian Hahnlen, Ewing Cole Cherry
Brott, Philadelphia, PA
18
LD+A/December 2001
The International Association of Lighting Designers is now accepting entries
for its 19th Annual International Lighting Design Awards to be recognized at the
IALD Awards Dinner and Presentation on June 4, 2002 in San Francisco, CA, in
conjunction with Lightfair International. The IALD Lighting Design Awards distinguishes lighting installations that display aesthetic achievement backed by
technical expertise. The awards exemplify the integration of the architectural
and lighting design process.
Anyone is eligible to enter a project for an award. The project must be a permanent interior or exterior architectural lighting design solution that was completed after June 1, 1999. Projects will be judged individually based on aesthetic achievement and technical merit in accordance with the designer’s concepts and goals.
Entries must be received no later than February 1, 2002. Judging will take
place over two days in February by a jury of eight award-winning industry peers.
The panel consists of five lighting design professionals who are members of the
IALD and three design professionals from related disciplines. The awards are cosponsored by Architectural Lighting magazine.
Entry information and specifications are available in care of the IALD Awards
Program at the International Association of Lighting Designers, The Merchandise Mart, Suite 9-104, 200 World Trade Center, Chicago, IL 60654 USA.
Entry information can also be requested by Tel: 312-527-3677, fax: 312-5273680 or email: [email protected]
Eric D. Lyons, JJM Associates,
GlenAllen, VA
Mark Wray (M), Columbia, MD
Great Lakes Region
Drew Jones, Holophane, Newark, OH
Deborah A. Wilks, Michigan Lighting
Systems, Grand Rapids, MI
Kate S. Wood (M), Peter Basso
Associates, Inc., Troy, MI
South Pacific Coast Region
Jerry Anders (M), GW Consulting
Engineers, Citrus Heights, CA
Bill Beecher (M), DB2 Products,
Aptos, CA
Alfredo Benavides, University of
California, Irvine, CA
J.D. Bridges, Spectrum Lighting
Design, Salt Lake City, UT
Regan Gage, Flack + Kurtz, Inc.,
San Francisco, CA
Atisuda P. Suchato, Integrated
Design Associates, Inc., Santa
Clara, CA
Dennis Walter, DeVore Aviation
Corporation of America,
Albuquerque, NM
University of Washington
Michael F. Brisbois
Midwest Region
Paul Dahlquist (M), Dahllights,
Wheaton, IL
Michael J. Jorgensen (M), Ankeny,
IA
Daniel J. Luby , Nesko Electric
Company, Broadview, IL
Amy L. Luiso, ‘Bartlett & West
Engineers, Inc., Topeka, KS
Don Miletich (M), Cooper Lighting,
Inc., Elk Grove Village, IL
Karen Moffett, Juno Lighting, Des
Plaines, IL
Christopher A. Nieland, FGM Architects-Engineers, Oak Brook, IL
University of Nebraska, Lincoln
Xin Guo, Kimberly Thompson
University of Wisconsin, Madison
Greg Virnig
University of Wisconsin Stevens
Point
Blaise D. Olafson,
Southeastern Region
Lawrence M. Clough, City of
Kissimmee, Public Works and
Engineering,
Kissimmee, FL
Michael Imparato (M), Beacon
Products, Inc., Sarasota, FL
Noll Kretschmann (M), Clark
Nexsen, Charlotte, NC
Richard R. Schafer (M), Talbot &
Associates, Charlotte, NC
Northeastern Region
Evelyn Audet (M), Evelyn Audet
Lighting Design, East Providence,
RI
April L. Butcher (M), Women et al,
Inc., New York, NY
Gurvinder Dhami (M), Arora and
Associates, Lawrenceville, NJ
Donald Flynn, Northeast Utilities,
Berlin, CT
Larry Harmon, Spectro Lume,
Jackson, NJ
Dawn Ladd (M), Aurora Lampworks,
Brooklyn, NY
Tolek Pawelko (M), B/E Aerospace,
Holbrook, NY
Frank Tramontozzi (M), Fay Spofford
& Thorndike, Burlington, MA
Jason Weiner, JW Lighting & Energy,
Inc., Rockaway, NJ
Parsons School of Design
Sarah J. Donald, Eleni Savidou
University of New Hampshire
Scot Almstrom, Timothy Bickford,
Mike Libby, Corey Marcotte, Carl
Patten, Steve Sacherski, John
Weismantel
Northwest Region
Brian Barnett, City of Springfield,
Public Works Dept., Springfield,
OR
Ryan Dixon, Holophane, Calgary, AB
Shaw Iqbal, Sonie Lighting
Industries, Inc., Centralia, WA
Southwestern Region
Tony Backman, Basharkhah
Engineering, Inc., Dallas, TX
Lindsey Denny, KSA Architecture,
Houston, TX
University of Houston
Jason Baezner, Jonah Sendelbach,
Jennifer Whitfield
Foreign
Edison Aviles (M), Edison Aviles
Deliz Ingenieros, Puerto Rico
Robert Hirschler, SENAI/CETIQT,
Brazil
Pinar Kurtoglu, Siteco Lighting
Technic/Turkey, Turkey
Kim Woon, Chroma Electric, Korea
School of Architecture, Planning and
Landscape, Beirut
Sawsan Saridar
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PHOTOS: ADRIAN VELICESCU, STANDARD
(above, right and left) The lighting design lifts and embraces the
living spaces enclosed by the irrepressibly buoyant roof.
(below) In the master bedroom, recessed MR-16 wallwashers graze the leaning wall.
(opposite page) In the “Great Room,” small incandescent halogen uplights, integrated into
sculptural columns in the glass curtain wall, repeat the glow of the roof planes.
SHOJI SERENADE
T
he inky-black Pacific Ocean beckons against a clear,
starry Southern California night sky. A shimmering bird
perched on a hill by the shore is poised to take flight
across the water below. But no, look carefully! Those are not
luminous wings... or are they?
Such a vivid description is possibly the only way to describe
the visual poetry that is the Uyemura residence in Corona del
Mar, CA. The owners, Gary and Amy Uyemura, wanted this
typical 1960’s tract house remodeled to create not just a place
to live in, but a home that is a seamless synthesis of their tradi-
tional Japanese heritage and modern American life style.
With this intent, they hired M. Charles Bernstein as the
architect and the Los Angeles office of Horton Lees Brogden as
the lighting design firm, with E. Teal Brogden as the principal
lighting designer on this exciting project. The design process
was a collaborative one, with the lighting design team working
closely with the owners and architects at every stage.
The vocabulary for the house and north-facing walled entry
garden consists of slanted angles, sculptural curves, and hidden
elements that reveal themselves at unexpected places. Glass in
The integration of East and West, of interior and exterior
spaces, and the interplay between hard and soft is reflected in the
lighting design. Swapna Sundaram explores the glowing screens
and sconces that enhance the “shoji” vocabulary—
the recessed, unobtrusive uplights and downlights tucked
behind architectural elements.
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21
Cabinetry hides indirect lighting for countertops and
soffits and also provides illumination for the
kitchen serving counter.
A simple glass
incandescent sconce
illuminates the
sink of the
guest bedroom.
the form of wraparound clerestory windows, curtain walls, and
even bathroom fixtures has been used extensively. Recurring
design elements evoking the form of traditional Japanese shoji
and origami screens have been incorporated throughout to create an Eastern aesthetic quality.
The orientation of the site is north-south, with the stepped
southern side offering an overpowering 360 degree vista of
the Pacific Ocean and its coastline. The architect razed the
existing tract house structure to make way for the new residence. However, the conventional gable roof form over the
existing bedroom/garage wing was retained and integrated
with the curved folding planes of a new unifying zinc roof—
sculptural, continuous, and composed of folded origami-like
planes, which seem to float above the glass walls and windows. Tiny MR-16 halogen uplights, set along joints within
exterior pavers, create a softly luminous glow on the roof
planes, enhancing their dynamic quality. This glow is repeated inside the Great Room—composed of living room, dining
area, and kitchen—with small incandescent halogen
uplights integrated into sculptural columns in the glass cur22
LD+A/December 2001
enclosed by the irrepressibly buoyant roof. The designers
were challenged and inspired to create a residence for a
true indoor/outdoor lifestyle to flourish. The end result?
A sweeping ocean-view home that bespeaks simplicity,
style, and elegance in its understated lighting.
tain wall that also function as
structural elements.
In keeping with the illusion of undivided space, the
master bedroom at the back
of the house is separated
from the Great Room in the
front by a single slanted purple wall. Recessed MR-16
wallwashers, hidden behind
a beam and between rafters
in the ceiling, graze the leaning wall with light. Pendantmounted low-voltage decorative spotlights pierce the
secondary floating roof plane
from the wood ceiling above
and provide accent light for an art wall below.
Two freestanding custom-designed cabinets, clad in the same
pre-weathered zinc as the roof, separate the dining area and
kitchen. These and other cabinetry in the two rooms hide indirect lighting for countertops and soffits, and also provide illumination for the kitchen serving counter.
Sparkling, long-life halogen lamps controlled by dimmers
were used for energy efficiency, to extend life, and to provide
flexibility and warmth. No recessed downlights are readily
visible in the roof form, where carefully selected decorative
fixtures—such as a Brera hanging light from Flos USA over
the kitchen table—bring focus and center to the rooms.
Downlights are used sparingly in areas other than the living
room, and are again tucked behind architectural elements.
A guest bedroom in the garage wing, which preserves the
remnants of the old gabled roof, is actually a traditional
Japanese tatami room designed for multi-purpose use. The
adjoining guest bathroom is also in the traditional style, with
a Japanese soaking tub and a slatted wood floor. A simple
glass incandescent sconce at the mirror provides light for
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viewing over a specially designed glass sink. A combination
skylight/accent covelight provides ambient light.
In the master bedroom, a few carefully placed cove
accent lights illuminate artwork. A Tizio bedside lamp by
Artemide offers soft and subdued lighting. Glowing glass
shoji screens in the master bedroom slide out of the way for
easy relamping.
The lighting design lifts and embraces the living spaces
The designer: As senior
design principal and the
director of design at Horton Lees Brogden Lighting
Design, Teal Brogden
IALD, LC, is responsible
for developing and establishing firm-wide design
and production standards. She joined HLB in 1991 and oversaw the
opening of the Los Angeles office in 1994. She has been a board member of
IALD, is an affiliate of the AIA, and has been a member of IESNA since 1990.
Her designs have received numerous awards including the IALD and GE
Edison Awards of Excellence, and eight IIDA Awards of Merit.
The author: Swapna Sundaram is a second-year graduate student pursuing an
MS in lighting at the Lighting Research Center in Troy, N.Y. She graduated with
a masters degree in architecture from UCLA in 1997 and worked for over two
years as an architectural lighting designer in Los Angeles.
A GRAND ENTRANCE
Ralph Schiller’s design highlights the interior architecture
of this French Chateau style residence outside of Austin.
Energy efficiency and ease of maintenance
were priorities.
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(opposite) The lighting, mounted in a 35 ft high ceiling, is designed
to fashion an inviting aura of warmth and bring attention to the
magnificent stairway and the flower arrangement in the foreground.
(below) Recessed, PAR adjustable fixtures, relampable from
the attic space, focus attention on the construction details of
the staircase and wrought iron railing. The fixtures are
locked into position to maintain aim points when relamped.
(right) In the library, two mounting levels of luminaires highlight the
scale of the room, yet illuminate all the focal points in the space.
O
n the hilly west side of Austin, Texas, sits the new residence of Russell and Jeannie Parker. This French
Chateau style building, in the Barton Creek subdivision, was developed and built by the owners, with Mrs. Parker
as the interior designer.
This design was demanding because of the requirements of
the owner and Austin. High ceilings, many as tall as 35 ft, mandated tight fixture beam control. This was achieved with Iris
specification grade, recessed luminaires, by Cooper Lighting.
Some of these fixtures can relamped from above.
The owners requested a flexible lighting system. To that end,
Lutron’s Homeworks lighting control system was specified.
One of the desirable features incorporated into this product is
the ability to automatically bring all tungsten halogen lamps to
full brightness once a week. This allows the lamps to maintain
efficacy and to reach average lamp life.
Austin’s energy code is the most stringent in Texas and one
of the more exacting in the country. Using low-voltage lamps
with their pinpoint control allowed the designer to achieve the
desired lighting patterns and illumination levels while adhering
to the energy limitations stipulated by municipal regulations.
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Entering this richly designed home, the visitor is greeted by
a floral arrangement that draws attention to the broad white
and wrought iron staircase directly behind. The flowers are illuminated from the second floor ceiling, 35 ft above, by 75 W
AR111SP lamps.
The first-floor walls flanking the stairway are lighted with 5
in. open aperture downlight wall washers with soft white, 100
W A-lamps. The soft white lamps decrease glare, eliminate striations and create an even lighting pattern on the vertical surface. Lighting the walls in this manner visually enlarged the
space and created focal planes within the room.
The monumental staircase is illuminated from the second
floor ceiling. Ninety-watt PAR 38NFL capsylite lamps in
recessed, adjustable fixtures highlight the architectural details
of the stairway and the beauty of the wooden treads, creating a
safe environment for the Parker children when they use the
stairway. For ease of relamping, these fixtures are accessible
from the attic space above the second floor ceiling. The fixtures
are locked into position so relamping does not disturb the original lighting pattern created by the designer. The upper foyer
contains a number of focal points. The first is a series of windows looking out onto the vista below. In the evening, a chandelier suspended from a cove above a casual table immediately
attracts the interest of the visitor, although this luminaire is not
meant to be the prime source of light in the space. Relamping
is made easier by an Aladdin Lightlift lowering device with a
programmable setting. A group of recessed 75 W AR-111NFL
fixtures are mounted in the ceiling, lighting the two-story long
tapestries mounted on the wall at either side of the entrance.
These can also relamped from above. A ceiling dome is washed
from a cove with a Lucifer 2BJ light strip containing 5 W, 24volt xenon festoon lamps spaced 2 in. on center. These lamps
have a higher color temperature than the downlights, creating
the impression that there is a skylight above the dome. These
lamps are rated at 24,000-hour average life, cutting down on
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the relamping requirements.
The hallways off to the left and right of the entrance lead to
the living room, dining room, kitchen at one end and the family room and library on the other. Even though hallways are
normally considered transit areas, these were designed as
comfortable spaces to create a transition from the high ceiling, spacious entry to the comparatively more intimate
adjoining rooms. MR-16 pinhole adjustable luminaires illuminate the vertical surfaces in the hallway. The small apertures lent themselves to low surface brightness on the ceiling
while accenting the vertical surfaces of the corridors. A pair
of 50 W MR-16NSP fixtures light the sculpture at the end of
this space, drawing the eye to the statue and visually shortening the hallway. The Tru-Aim Titan lamps used minimize
color shift over the life of the lamp.
The study is a room of understated elegance that lends itself
to conversation, reading or contemplation. The lighting systems focus on two different areas. The 5 in. diameter recessed,
adjustable accent Iris luminaires use 75 W PAR30 wide flood
lamps to light the rich paneling of the fireplace. MR-16 lamps,
in the same type of body, provide illumination for the seating
area. The steeply pitched ceiling required the use of adjustable
fixtures to accommodate a 45 degree maximum slope, rather
than a downlight with a large, obtrusive slope adapter.
In the library, a large table dominates the center of the room.
Mrs. Parker frequently uses floral arrangements to attract attention to specific areas or pieces of furniture she wishes to display.
Her approach in this room is no different. The lighting, using a
7 in. aperture Iris downlight with 75 W AR111SP mounted in
the 35 ft ceiling, projects the light beam to the lower floor level.
This method effectively highlights the floral grouping. This
two-level room uses PAR38NFL lamps in recessed downlights
for the ambient illumination on both levels. The artwork on the
second level required higher illumination levels to provide a
minimum contrast ratio of 3 to 1. To reach this design goal, 50
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W MR16 adjustable fixtures with pinhole apertures placed on
3 ft centers are aimed to provide the proper illumination levels,
regardless of the size of the paintings displayed. The dichroic
coating on the lamps absorbs much of the ultraviolet energy
emitted and helps in the preservation of the artwork. A-lamp
wall washers illuminate the bookcases in the lower level of this
room. These fixtures gave a comparatively soft edged, even
wash of light to the volumes displayed.
The space most frequently seen by visitors and guests to this
home, other than the entrance hall, is the dining room. The
Parkers entertain frequently—for family dinners or business
related parties. The most prominent feature in this room is the
antique chandelier over the dining table. The elegant, French
Empire style chandelier has been restored to its original appearance. The owners chose to use this luminaire and the candelabra on the side tables as pieces of jewelry, rather than attempt
to use them to provide ambient lighting in the space.
A number of different lighting systems were placed in the
room to allow the owners to change the focal points in the
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(opposite, top left) Small aperture luminaires above the seating group
in the living room supply recommended illumination levels and
narrow beam downlights draw attention to the coffee table.
(opposite, top right) In another area of the living room,
xenon festoon lamp strips in a cove highlight the ceiling; low-voltage
MR-16s illuminate the collections in the wall cases.
(opposite, bottom) In the dining room, the incandescent pin spots
in the ceiling fashion a luminous environment and visually enlarge the
scale of the room. The dimmed chandelier is regarded as a piece of
jewelry—a focal point that adds ambient fill light.
(this page) In the study, adjustable accent lights draw attention to the
rich paneling. MR-16 and PAR downlights mounted in the 35-foot-high
ceiling offer comfortable lighting for reading or conversation.
All of the ceilings were handpainted by art students from the
University of Texas Art Department to emulate the stone
masonry of an old chateau.
space or feature select pieces of antique furniture. The antique
dining table is lighted with four MR-16 downlights placed
along the centerline and two adjustable accent lights in the ceiling to highlight the centerpieces. Both side walls are illuminated with 3 in. aperture, lensed, MR-16 wall washers. This allows
even illumination on the vertical surfaces and also lets the owners feature the large antique sideboard. MR-16 downlights are
placed in the corners of the room to balance out the space and
provide fill light. As we noted, flexibility was one of the homeowner’s design requirements. Using the Lutron Homeworks
system, the owners are able to highlight different areas or pieces
of furniture in this room. Changing the balance of light in the
space can create a pleasant surprise that allows the casual visitor to rediscover the room with each visit.
The space used most frequently by the family is the living
room. They wished to create a space that was both comfortable
and utilitarian. The Parkers are avid collectors and display cases
were designed into the walls. Fifty watt MR-16NFL luminaires
highlight these display cases. The seating group is lighted with
small aperture, MR-16 NFL downlights to provide recommended illumination levels for reading and other activities in
the space. The ceiling is featured by the use of a light cove on
either side of the room. The same Lucifer 2BJ light strips with
xenon festoon lamps are used here as were selected for the
dome over the upper foyer. Adjustable accent lights provide
focus lighting on the coffee table in the center of the space.
With the use of low-voltage downlights, the designer was able
to adhere to the Austin energy usage code. The lamps selected
focused the lighting to provide the beam patterns, illumination
levels and coverage required. The beam control of the lamps put
the light where it was needed. The use of the Lutron Homeworks control system provided for lighting flexibility while
allowing the control keypads to be placed in unobtrusive places.
The system let the owner rebalance the illumination levels and
focal points in each space without affecting adjoining rooms.
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The designer: Ralph Schiller is a sales representative in
the lighting industry with 30 years of experience. He is an
active member of the San Jacinto Section of the IESNA,
and a Southwest Regional Officer. He has held many posts
at the Section and Regional level. Among these is the position of Education Chairman for the San Jacinto Section as
well as Treasurer for the Section. In the position of
Education Chairman, he has taught many of the classes
held by the Section in both the basic and advanced lighting school as well as
the American Institute of Architects. Schiller is an associate member of the
A.I.A. He works at the Houston headquarters of Lighting, Inc., a distributor and
showroom for architectural and decorative lighting. This firm is an importer of
chandeliers and sconces from Spain and Italy.
PHOTOS: PAUL WARCHOL
(right, top) The architect calls this space “a swimming pool/gym in a cocktail dress.”
The pool, gym and the glass partition separating them pre-existed the current
renovation; however, substantial modifications were made to transform the character
of both spaces. A Jacuzzi installed into an angled and tiled elevated platform was
removed and moved to a modest platform at the rear of the room. The lighting is
integral to the integrated gym and evening cocktail space. The Venetian-glass
chandelier, sitting group and corner lighting mediate the dual but differing
characteristics. The rear-illuminated voile curtain in the distance reveals the
gold-framed mirror of the gym and adds spatial ambiguity. The lighted curtain and
gold-framed mirror also tie the gym to the cocktail space of the swimming pool
room. The chandelier and corner light add sparkle to the reflective white tile.
(right, below) Here, the recessed wallwashers highlight three
Warhol paintings: “Ambulance Disaster” (1963), “Campbell Soup Can
(Cream of Chicken)” (1962), and “Mao” (1972).
(right, top) In the second-floor living room, the matching, recessed,
flangeless 4 in. sq MR-16 wallwashers and object-lights illuminate
the art. Luminaires are located on an invisible grid based in the
mullions of the operable steel window system—a reminant of the
original carriage house. Patinated bronze inset-frames were applied
to each light to seal the caulking at the edges of the glass.
(right, middle) The exposed concrete ceiling over the living and
dining room areas was dropped slightly to create more intimate
spaces, as well as to distinguish the three areas making up the
entire open space. Lighting helps create this intimacy. Surfacemounted luminaires at the exposed ceiling use the same
50 W MR-16/IR lamp and 55- by 75-degree spread lens as the
recessed luminaires, simplifying maintenance for the owner and
ensuring consistency in the illumination of artworks. Recessed
object-lights focus on a new fireplace located at the northern edge
of the living area. Recessed wallwashers in the third-floor ceiling
illuminate the stairs to the master bedroom. Artwork includes
Andy Warhol’s “Brillo Box,” “Electric Chair” (1965), and “Ambulance Disaster” (1963). Charles Ray’s “Boy” (1992) is at far left.
(right, bottom) This space was previously a garage. Beyond the
wood-glass light screen are the building’s glass-paneled
carriage doors. These
doors originally allowed
daylight as well as street
noises into the space, which
is now used as a media
room. Today, the light screen
creates a secondary enclosure and an ante-space between the
exterior and the media room. Rear illumination is accomplished
with recessed, open-reflector downlight wallwashers with halogen
A-lamps and flush-flange reflectors. Recessed wallwashers
illuminate Ed Ruscha’s 1965 oil on canvas
“Angry Because It’s Plaster Not Milk.”
(below) The architect thought of this second-floor powder room
as “a discovered space or found object.” A recessed Fresnel-lens
downlight with a halogen A-lamp illuminates the room’s lightcolored objects and highlights the water in the glass basin, creating
a pattern of reflections on the light-colored backsplash. The satinglass pendant luminaire uses a halogen, bi-pin display lamp.
T
WALLWASHERS FOR WARHOL
he lighting design follows a hierarchy defined by accenting
the areas he wishes to emphasize and lowering light levels
elsewhere.
Another challenge for the lighting designers was to integrate not only
the lighting and architectural
concepts, but also the lighting
equipment with the physical
structure—all for an architect
with a strictly modernistic sensibility.
In the completed project, architectural lighting defines the spaces. It
displays the art, highlights a freestanding fireplace to create special definition between living and dining, and illuminates a wall behind the
stair to guide circulation.
Because this is a home—not a museum or gallery—art is properly
lighted, but not given more emphasis than the surrounding walls.
Recessed, 4 in.-sq MR-16 fixed angle wallwashers with 55- by 75degree spread lenses and bent aluminum kicker reflectors were selected because they provide even illumination both horizontally between luminaires and vertically from the top to the bottom of the walls.
Because the owner is an active international art dealer, artwork changes frequently. The evenly illuminated walls uniformly light
a changing display of works of varying dimensions and media.
The heat from the originally specified 71 W MR-16 lamps contributed to the early failure of some of the electronic transformers, which were replaced. Fifty-watt, reflective infrared-coated MR-16 lamps were substituted. They offer the same superior color
rendering and light output, but consume 70 percent less power and generBeyond the floor-level windows in the
ate only 70 percent of the heat of the 71 W MR-16 sources.
bathroom is the glass-block skylight floor of an
atrium next to the master bedroom. The glass-block floor
is lighted from below at night by the second-floor,
surface-mounted wallwashers.
The author: Gary Gordon, FIES, IALD, LC is the founder and principal
lighting designer of Gary Gordon LLC. In 1993, the IALD praised his
work as “displaying high aesthetic achievement backed by technical
expertise.” He has written many articles on lighting design and is the
author of the textbook, Interior Lighting for Designers, published by John
Wiley & Sons. A frequent speaker on the subject of lighting throughout
the United States, he has also taught graduate and undergraduate courses at the Lighting Institute of Parsons School of Design. He is a founding
director of the Nuckolls Fund for Lighting Education. He received the 1999 IESNA
Presidential Award “for extraordinary effort as the three-term President of the NCQLP in establishing a meaningful certification program for the lighting industry.”
Gary Gordon’s challenge:
to integrate the lighting with the
architecture in a 19th century carriage
house, renovated for a bachelor
with an art collection.
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29
original “house of tomorrow” elegance while
updating its lighting, mechanical, A/V and communications systems.
Michael John Smith restored his mid-century
modern dream house, keeping many of the original luminaires,
but adding state-of-the-art controls to create
lighting scenes that change with mood, time of day,
seasons, or the room’s use.
Reflections Lost, Regained
STEELWOOD STYLE
PHOTOS: PAUL BARDAGJY
(below) Ambient light for the living room reflects off the white wall opposite the fireplace and is supplemented by the wall sconces.
A pinhole accent light “pops out” the orchid and book on the coffee table and provides a focal point for
conversation groups much like a campfire out in the wild.
(opposite) Another of the author’s light sculptures, “Universal Grid,” hangs on the wall behind the buffet.
Three pinholes with dichroic glass filters deepen the blue pigments in the piece, while two more without blue filters “pop out” food set on the buffet.
The draperies (amazingly, these are original) are washed with two clear 40-degree, 71 W MR-16 floods and
one blue-filtered 40 degree flood in the center.
S
teelwood is my home. I was both lighting designer and
restoration architect for the project, which my partner
Malcolm Perry and I purchased in 1995. It is one of three
adjoining “Style in Steel Townhouses” built for the National
Home Builders Association Convention held in Houston in
January 1969.
Framed entirely in steel, the houses were built as a demonstration of steel in residential construction. Architect Mies van
der Rohe’s Farnsworth House, Philip Johnson’s glass house, and
the California Case Study Houses influenced the architectural
design.
The exterior appears as a solid stucco wall from the street. A
pair of steel framed wood louvered gates marks the entrance.
A pair of cylindrical wall bracket mounted PAR-38 up/down
lights lamped with 45 W, 130 V, 27 degree floods is visible
through the horizontal louvers of the gate, creating a welcoming glow for visitors. The fixtures are virtually identical to the
originals that had to be replaced after 30 years of weathering.
When we purchased the house, the original fixtures were
found in a storage room. A pair of “adobe” wall lights had
taken their place on the front courtyard wall. The floors in the
living/dining room, study, kitchen and the short hallways are
covered with natural travertine—the same flooring material
Mies van der Rohe used in the Farnsworth House. We also
found a box of terra-cotta tiles in the same storage room. We
realized then what might have happened to the house had we
not purchased it when we did. Our intent was to restore its
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The front courtyard originally contained a reflecting pool lined with Italian glass tiles in varying
shades of blue. We have not been able to find out
why or when the pool was removed. Large flagstones
formed an informal path from the concrete entry
walk to the pool. A square, pebble-finish concrete
patio was installed over part of the area where the
pool had been, and the travertine-lined fountain was
added where the flagstone path had been. This area
was covered by a wooden deck when we purchased
the house. The patio was broken up and removed
for the current landscape design. Pieces of the glass
tile were unearthed during the excavation for the
new wiring and drainage systems.
When we purchased the house, bare PAR-38
floodlights and pipe conduit had been screwed to
the surface of the aluminum gravel guard across the
façade. A new stainless steel gravel guard was added
when the house was re-roofed. Twenty-four-inchlong pieces of 2X6 lumber were mopped into the
edge of the new roof at the center of each glass curtain wall panel as anchors for the new adjustable
accent lights. One prototype light was fabricated for
testing. As a result, a slightly lower profile yoke was
developed for the final design.
The original architects referred to the steel
columns as “star columns.” They are made of four steel angles
welded together and do indeed support the roof. As part of the
restoration, all exposed structural steel was sandblasted,
primed and spray-painted.
The front courtyard is now landscaped in the manner of a
small Zen garden, with three Japanese black pines set into
“hills” planted with miniature mondo grass. Crushed black star
marble simulates the sea. The garden is illuminated with thirteen 12 V AR-111 adjustable spotlights mounted on the edge
of the roof—a la Philip Johnson’s glass house. They are deeply
shielded and louvered to eliminate any source brightness from
normal viewing angles. The front courtyard is a visual extension of both the living room and study. Lighting is controlled in
unison with the lighting in the living room and the side yard
visible from the dining area. An eight-scene preset control system allows simple push-button control of the equivalent of 40
wall-box dimmers.
Two sets of lights illuminate the fountain: a pair of clear AR111 five degree spots and a second pair filtered with medium
blue dichroic lenses—each on its own dimming zone. The
remainder of the garden is illuminated with a set of clear spots
and floods and a separate set of medium blue filtered spots and
floods. A single blue-filtered five-degree spot highlights the
stone lantern from the rear. The widest beam spread used is 45
degrees. The blue spill light on the inside of the courtyard wall
gives the illusion of a clear blue sky through the glass wall of the
study. It is very calming—especially when the night is overcast
LD+A/December 2001
31
and the light pollution from the city glows with a peach color
cast from the HPS high-mast lighting on the nearby freeway.
Mixing the blue and white light makes it possible to dim the
front courtyard lighting in unison with the living room lighting
while keeping the fountain jet and plant lighting from appearing yellow.
glass, surface-mounted ceiling fixture that we removed and
replaced with a tiny 12 V recessed MR-16 downlight. The bit of
sparkle in the hall comes from tiny “grain of sand” incandescent lamps from a model railroad shop. They are inserted into
what I call my “Electric Nevelson.”
Five more of the recessed MR-16 downlights—each centered
on a curtain wall panel—form a line across the south end of the
living room and study. The one centered just outside the front
door is on its own control zone. The remaining three in the living room are on their own zone; the two in the study are tied
to its control system.
The remaining light sources in the living/dining room are 12
V MR-16s in fully recessed, pinhole aperture, adjustable accent
lights, with a pair of decorative wall sconces flanking the mir-
ror over the fireplace. Ambient light for the space reflects off the
white wall opposite the fireplace and the travertine floor, supplemented by the wall sconces. The desired location for the row
of pinholes along the east wall was directly beneath a steel Ibeam; this required that they be installed six in. farther from the
white wall than originally intended. Yet they light the large
Meredith O’Donnell oil painting adequately.
Study Scenes
The study extends across three bays of the south-facing front
courtyard façade, doubling as a guest room and a home office.
Ambient light is reflected off the travertine floor from the small,
fixed 12 V, 50 W MR-16 25 degree narrow flood downlights.
The center of the room is illuminated by a relocated semirecessed downlight from the dining area, lamped with a 90 W
PAR-38 halogen flood.
Task light on the Knoll Albini desk is produced by a Cedric
Hartman desk luminaire lamped with a 60 W T-10 frosted
showcase lamp. The desk chair is a Knoll Spoleto model
designed by Ufficio Technico in 1971.
A swing-arm, wall-mounted lamp with a white fabric shade
provides reading light for the bed, using a good old-fashioned
100 W A-19 source. The light-colored shade allows it to contribute to the ambient light in the room as well. The swing-arm
lamp is controlled by its own dimming zone on the study’s preset system.
A wireless handheld remote on the nightstand controls the
eight scenes available—from all on (full bright) to the reading
lamp alone. The birch grid panel is part of the light sculpture
Light Space II from my last one-man show in 1982. Its 360 0.5
W incandescent lamps create a warm glow that is controlled by
its own dimming zone.
Living and Dining
When we purchased the house, the living/dining area,
including the walnut-paneled fireplace wall, was painted off
white. The 0.5 in. black reveal at the ceiling line and the 2.5 in.
black rubber recessed base are original details found throughout the house. The ceilings appear to float above the walls, and
the walls above the floor.
The original working drawings called out the walnut paneling for the fireplace wall. Fearing the worse, we elected to
repaint the wall a deep eggplant color rather than strip the
wood. We have recently determined that the walnut was originally ebonized for maximum dramatic effect. One newspaper
photo showed a floor lamp in this part of the room.
The only other light in the space came from three semirecessed downlights over the dining area. These fixtures were
too close to the wall to light the center of the table and too far
to wash all but the bottom foot or so. Therefore, we elected to
remove, rewire and relocate one each in the center of the study,
the den, and the master bedroom. These fixtures have a
brushed aluminum finish as do the up/downlights on the exterior. They are no longer manufactured, and as they like to say
in Natchez, “they are original to the house.”
The short hall to the guest bath and study had a glary opalThe living/dining area faces the restored travertine fountain.
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LD+A/December 2001
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LD+A/December 2001
33
(left) Lighting changes the character of the den completely. Both reading
lights are on for scene two. For serious home theater movie viewing, the
four lights over the television are activated (scene six). The two in the center are filtered with red dichroic lenses and the two flanking are filtered
with deep-blue stained glass lenses. Outside in the atrium, the center clear
PAR-38 goes off, and two flanking bullets lamped with 150 W PAR-38
dichroic blue floods come on. This happens over a seven-second fade time.
The filtered lights appear to bring the color of the television images directly into the space.
In the Den
The den is the most interior space in the house and offers a
beautiful view of a decades-old ligustrum in a small atrium that
backs up to the two-story wall separating Steelwood from the
townhouse next door.
The room had a surface-mounted prismatic glass bowl fixture in the center of the ceiling and a single incandescent bullet uplight behind the ligustrum in the atrium, controlled by a
wall switch to the left of the sliding glass door.
Originally used as a bedroom, it had one Knoll Bertoia Bird
Chair in it and now has two of these same chairs. The end
tables flanking the sofa are vintage Florence Knoll with travertine tops.
We removed all of the original Nutone intercom equipment
in the house. The telephones were rewired in a star pattern to
allow us to answer the doorbell from any telephone. The music
portion of the intercom was replaced by an A/V system that
plays through the house via flush-mounted wall speakers.
Our lighting consists of fully recessed MR-16 pinhole
adjustable accent lights and a wall hung “light shelf” that provides a pleasant glow behind the television screen. The shelf is
on its own control zone and eases eye strain by reducing the
contrast brightness between the screen and the wall behind.
Each end of the sofa has its own pinhole reading light on its
own control zone. The ceiling light is one of the original semirecessed incandescent downlights from the dining area. The
floor lamp in the far corner is a reproduction of the original
from open-house days of the project, with its outlet controlled
by the dimming system for the room. The existing bullet
uplight behind the tree outside is tied to the system as well.
Handheld eight-scene remotes on each end table provide
control of the reading lights.
Rear View
When we purchased the house, the rear courtyard was covered with a wooden deck from the edge of the walk to the carport to the edge of the master bedroom glass. The decked area
ended with a wood fence. We pulled up the decking, driving
out the baby mice that had taken up residence.
The walk between the kitchen and carport was covered with
wire-glass panels for rain protection. These were broken, and
the steel frame was badly rusted. A new steel frame with lami-
nated glass panels is now is place.
A Zen rock garden is now at the kitchen end of the rear
courtyard, with an existing palm tree and hearty philodendron
at the master bedroom end.
Two roof-mounted AR-111 accent lights highlight the boulders outside the kitchen window—one clear, the other with a
medium blue dichroic glass lens, each on a separate control
zone. A flush-mounted MR-16 uplight washes the wall behind
the boulders. This lighting is controlled with the kitchen
scenes and only activated by a photocell when a scene button
is pushed after dark.
Elegance and Openness
All of the exterior up/downlights in the courtyards and the
carport, as well as the downlights over the house numbers, are
controlled by wallbox dimmers, mastered by a photocell and
operating from dusk to dawn. These dimmers have a built-in
three-second fade to “on,” which cushions the lamp filaments
from current inrush, conserving energy and easily quadrupling
rated lamp life.
Individual room and area preset systems are tied together in
groups of eight with control interfaces. The three interfaces are
in turn controlled at three points in the house: at the back door,
in the kitchen, and over the night stands in the master bedroom. These three controls have an on button that turns on all
room lights at scene two and a button that turns all room lights
Three more of the pinholes, one centered on each leg of the
modular sofa and one centered over the Eileen Gray table, offer
reading light for the sofa and the Barcelona chairs. Two identical black leather Barcelona chairs occupied this room 32 years
ago when the house was originally open for tours.
The reading lights are adjusted and locked into position so
that a person’s lap and reading material are illuminated without
any direct light reaching the eyes or face.
The view outside the dining area is illuminated with four
roof-mounted AR-111’s and three flush-mounted line-voltage
uplights beneath three mature ligustrums. Even though this
window is exposed to the neighboring townhouses across a
common area lawn, the lighted planting and softly washed
casement fabric provide complete privacy. The uplights are covered with pale blue glass filters that reveal the bark on the
multi-trunk ligustrums and go up into the leaf canopy.
All the ceilings in the house had a blown-on popcorn texture. The installation of the ceiling lights required that large
slots of the ceiling be removed. After patching the ceilings and
trying to match the popcorn texture to no avail, we asked the
contractor to scrap off the texture and skim-coat the ceilings
with a thin layer of drywall mud.
(right) The study doubles as a guest bedroom and offers varied views of
the “scenes” created by the living/dining lighting in the front courtyard.
34
LD+A/December 2001
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Go to www.leadnet.com/lda or Circle 32 on Reader Service Card.
(top, right) The kitchen retains its
original cabinetry and GE wall oven.
“You can’t go wrong with white,”
observes the designer. “The owners
of a different Steelwood unit
‘updated’ their kitchen with
granite countertops and
black slate backsplashes. It already
looks dated.” The new lighting
consists of 10-watt, 12-V festoon
lamps spaced at 4 in. on center
beneath all of the wall cabinets,
and eight fully recessed
MR-16 pinhole adjustable
accent lights in a new white
laminate covered box
centered over the island.
(bottom, left) The master bath
has interesting lavatory bowls
with integral soap niches.
The countertop is of early cultured
marble. Three pinhole MR-16
adjustable accent lights provide
task light. All three are lamped with
71-watt, 25-degree narrow floods
aimed to offer even illumination
for the countertop and sink bowls.
The designer relies on direct downlight
from the pinholes and light reflected
up from the white sink bowls and
the light colored countertop for
shaving light—something he would
“never recommend to a client.”
off. It is very comforting when you enter the
house after sundown; very comforting if you hear a
bump in the night; and very convenient if you forget
to turn off all the lights when retiring for the night.
The original design architect’s masterful use of
floor-to-ceiling glass and stucco privacy walls creates
the illusion of much greater size than the house’s
2000 square feet of enclosed air-conditioned space.
The ceilings with the subtle reveal at the top of the
walls and the recessed base further reinforce the sensation of elegance and openness. The plan is a masterpiece of efficient design. There is no wasted space.
We know it is a privilege to live in such a beautiful piece of architecture. Our intent is to preserve it
for the future by making it valuable to the next caretakers without damaging its original design.
The designer: Michael John Smith, AIA,
LC, IES, IALD has been a member of the
IESNA since 1982, and a corporate member
of the IALD. He was the first independent
lighting consultant to set up practice in
Houston, Texas. His firm was established in
the fall of 1982. He has completed projects
in the medical, liturgical, hospitality, roadway, industrial, and residential categories in many parts of the
United States, Mexico, Turkey, and Saudi Arabia. Smith has
served as President of the San Jacinto Section of the IESNA and is
currently serving on the Board of the San Jacinto Section. He has
also served a term on the National Board of the International
Association of Lighting Designers.
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LD+A/December 2001
www.iesna.org
PHOTOS: PHILIP THOMPSON
Hiram Banks’
approach was to
integrate the functional
lighting of a hotel,
while maintaining an
adaptable, intimately
comfortable environment
for the homeowners.
And, because the
residence is in a
chilly Oregon locale,
a warm color
was integral to
the design.
HOSPITALITY AT
HOME
(top) The owners of this 22,000 sq ft house
sought sufficient space for entertaining large groups
during philanthropic fund-raising. As a result,
the lighting techniques drew heavily on hospitality
design. Halogen and incandescent sources provide
inviting, warm illumination, while offering
good color rendering. Coffers are backlit with
low-voltage xenon strips. Discrete, recessed
downlights and table lamps balance the lighting layer.
(left) The library is less dramatic for more
intimate gatherings. Here, MR-16 downlights and
accents work with incandescent table lamps.
38
LD+A/December 2001
www.iesna.org
T
otal integration was the primary challenge for a residence and
landscape in Salem, OR. First and foremost, this very large custom
residence required an integrated lighting design to fit the overscaled size of the architecture and its multi-functional use by its active,
philanthropic owners. For the 22,000 sq ft home, we collectively identified these lighting goals:
• To light a very large property, using lamps and fixtures from commercial and hospitality design to achieve the balance between the look and
feel of a residential property with the energy efficiency and low maintenance of a well-designed commercial building.
• To provide flexibility in lighting to accommodate the varying functions
held throughout the residence, from large fund-raising events to comfortable home living, allowing the owners to enjoy the lifestyle they had
dreamed of in a home that would serve both their intimate living needs
as well as large-scale entertaining.
• To select lamp sources and to balance
color rendition to achieve a consistent
warm look throughout a home in a cool,
gray Oregon locale.
• To offer flexibility in use and operation
for the owner by integrating lighting
design into the A/V and security system
with an easy-to-use control system.
• To ensure energy efficiency and
reduced maintenance throughout.
Because some of the rooms were in
spaces two to three stories high, it was
mandatory to use energy-efficient, highlumen-output, long-life sources.
• To integrate the architecturally installed
lighting.
When I first looked at the project and
model, it was evident the house was quite
large, as was the scale of each of the
rooms. The lighting design takes advantage of the traditional architecture as well
as the volume of the spaces—yet provides
different layers of light for the various
functions of the home.
The design team—myself, the architect,
and the interior designer—sought to
make to overscale spaces feel more intimate and comfortable. The larger two- to
(top) Lighting is focused on the centerpiece
and place settings for sparkle and drama.
(bottom) In the kitchen, recessed MR-16s,
incandescent A-Lamps and xenon strips offer
warmth and architectural congruity.
Lighting layers accommodate scenes ranging
from ambient to high contrast, allowing
for a variety of activities.
www.iesna.org
LD+A/December 2001
39
supplement ambient light and create a sense of scale, proportion and
intimacy.
The lighting control system, with preset, dimmed scene selections,
allows the user to match lighting to room function and use.
A major challenge was to integrate various technologies and match
lamp sources while maintaining good color rendering within a flexible
design.
To achieve adequate illumination and to reduce maintenance in the
taller spaces, I chose the high-lumen biax fluorescent lamps with a color
temperature of 2700 degrees K to look and “act” like incandescent, halogen and xenon sources. Color rendition was critical, as was the ability to
dim without flicker. Painting the coves with a warm finish further
enhanced the desired look. The result is a very warm light similar to that
three-story rooms were designed with
oversized furniture and architectural elements to reduce the apparent size of the
rooms. The lighting design followed suit,
using large chandeliers as decorative elements and floor torchieres to focus the
spatial scale.
I used much of my hospitality and commercial design background to select
sources and luminaires that would both
light and manipulate perception of the
architectural space. Light sources previously used only for commercial spaces
provide the high lumen output needed the
large spaces. For example, in the threestory entry foyer, high-lumen biax fluorescent lamps with specialized asymmetrical
reflector luminaires offer even and adequate illumination.
The living room has a coffered, barrel
vault ceiling. Each coffer is backlighted
with a low-voltage, long-life xenon striplight, providing even illumination for each
coffer, as well as a soft, ambient layer of
light. Illumination of the coffers enhances
the dramatic sense of scale of the room.
Low-voltage, adjustable AR-111
lamps accent the artwork and architectural elements. Low-level floor torchiers
(top) Functional light sources
were designed to disappear into
the interior details.
(middle) In more private areas,
lighting is personalized to reflect
the owner’s sensibilities. Scale is
reduced and layers more sculpted.
(bottom) In guest rooms,
lighting controls are simple
and user-friendly.
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LD+A/December 2001
www.iesna.org
The dining area features a refurbished antique chandelier augmented with halogen downlights.
They like most the ability to have different scenes to fit their
moods. And they feel comfortable in a large residence that
could easily have become a dark hole or an ostentatious space.
That truly is a satisfying design!
The designer: Hiram Banks founded Hiram Banks
Design in 1995 after seven years as design principal with
Lighting Integration Technology. His award-winning
work includes the Japanese-American National Museum
in Los Angeles, the San Francisco Fashion Center and the
Hawaiian Electric Company in Honolulu. His designs
have been published in Architectural Digest, Architectural
Lighting, Interior Design, Interiors and Architectural Record
Lighting. He holds a degree in systems engineering from Tennessee
Technological University and has pursued additional graduate studies in architecture. He has taught lighting design at the Academy of Art in San Francisc
rom a dimmed halogen or incandescent source.
Part of the early collaborative effort with the architect and
interior designer was to test the illumination of the plaster on
all walls and ceilings. We mocked up one of the plaster walls
with various light sources to get the right look and feel.
Because fluorescent lamps can appear intense, I stepped
down their intensity with dimming ballasts. To match and
blend fluorescent and halogen sources, I used Lutron HiLume dimming ballasts and the Homeworks lighting control
system. With these we were able to achieve dimming down to
l percent without flicker.
For energy efficiency, I used halogen infrared lamps in all MR
116s and PAR 38s, achieving higher lumen output for less
wattage. Additionally, I used dimming to manage energy usage.
The Creston Touch Screen Pad Remote System integrated
control of lighting, video, audio, security, air conditioning, heat,
and draperies in strategic locations throughout the home.
Very small-aperture, low-voltage downlights with trims
painted the color of the ceiling enhance integration of the lighting with the architecture of the home. In taller spaces with PAR
38 lamps, the luminaires are very deep, hiding the source while
offering a 45-degree cut-off.
Cove lighting was used throughout and integrated into architectural molding details. During the five-year design process,
the architect and I worked closely to make the lighting as discreet as possible.
The results exceed the owners’ expectations. They had
never lived in a house with “designed” lighting. Because they
entertain so many groups—from their own family to the
company baseball team—they needed a range of flexibility in
the design.
www.iesna.org
fixture. Due to faster turn-on times
than conventional incandescent signal lamps the LED lamps increase
the response time available for
motorists. The lamps operate 0.2
seconds quicker than incandescent,
giving an additional 19 ft of
response time at 65 mph for trailing
vehicles. Go to www.leadnet.com/lda
lighted signage. The reflector shell
removes easily to access signage
and replace bulbs. The entire shelf
is constructed of aluminum and
anodized to color specifications. Go
to www.leadnet.com/lda or Circle 97
on Reader Service Card.
or Circle 99 on Reader Service Card.
Stingray Lighting, Inc. has introduced an adjustable dual-reflector
high-bay interior lighting system
that offers high-performance light
output as well as reduce energy
consumption. The system can pro-
LIGHT
PRODUCTS
vide superior control of light, both
directly beneath the fixture, as well
as with the ambient beam spread
directed between lighting fixtures.
Locations include manufacturing
facilities, warehouses, “big box”
retail centers, showroom, athletic
and sports arenas, and convention
centers. Go to www.leadnet.com/lda
TSAO Design, Inc., offers comprehensive new product binder.
Features include a tabbed section
for location of TSAO’s Designer
Series pendant lights and wall
sconces, work-surface, wall and
floor task lighting products, new
suspended track lighting systems,
and custom-design capabilities. Go
Meyda Tiffany introduces the Emile
Galle Collection of decorative
lamps. The collection features
table lamps inspired by the French
art nouveau design movement. This
brand includes the layering of different colors of mouth-blown art glass
into a model in the shape of the
lamp and shade. G o t o w w w.
leadnet.com/lda or Circle 96 on
Reader Service Card.
to www.leadnet.com/lda or Circle 98
on Reader Service Card.
or Circle 100 on Reader Service Card.
Designed to replace incandescent
1157 bulbs in combina tion
tail/brake signals in most cars,
motor cycles, forklifts, ATVs and
trailers, the LEDtronics sunlight-visible AUT-1157 Tail/Brake LED
lamps have nearly twice as many
LEDs as competitive models. The
AUT-1157 LED lamps feature 24
Super Red (633nm) discrete LEDs
that are configured to maximize
brightness and to fill the entire light
42
LD+A/December 2001
Stylemark’s introduced its newly
redesigned and significantly slimmer bracket profiles enhance Shelf
Light system. Shelf Light is a selfcontained lighting unit that connects to a powered shelf standard,
allowing for easy height adjustment
and hidden electrical connections.
Two reflector profiles are available,
each with optional openings for
With style and substance, Ruud
Lighting will now offer the Wedge
Light (WAC/WPR Series). The
Wedge features distinctive architectural styling, and its DetailGuard
finish, in black or white, can be augmented with an optional red or gray
stripe at no extra charge. The
Wedge Light is offered in Uni-form
pulse start metal halide, metal
halide and high-pressure sodium.
Sizes available are 16 and 22 in. Go
to www.leadnet.com/lda or Circle 95
on Reader Service Card.
www.iesna.org
Flos USA presents the Apollo
flashlight with a body of aluminum
and anodized aluminum. Included
are a plastic carrying case and a
plastic case at the head for the
bulb, a 2.4 V-0.7 A Krypton Philips.
Powered by two Alkaline LR20s,
Apollo is completely portable and
can be moved at will. Go to
www.leadnet.com/lda or Circle 94
on Reader Service Card.
Watt Stopper introduces its
newest automatic wall switch,
the WI-300 dual relay model. The
WI-300 is a passive infrared automatic wall switch that turns lighting on and off based on occupancy and ambient light levels. It contains two separate relays and can
control two independent lighting
loads or circuits. The WI-300 sensor incorporates The Watt
Stopper’s ASIC (application-specific integrated circuit) technology that reduces components and
provides greater reliability to
users. The WI-300 satisfies energy codes requiring bi-level or daylight control switching. The two
relays in the WI-300 give it the
ability to control two lighting loads
independently. This provides A/B
switching: the user can achieve
half-lighting (or another desired
www.iesna.org
portion) from a single switch. Go
fluorescent with electronic ballast.
to www.leadnet.com/lda or Circle
93 on Reader Service Card.
Go to www.leadnet.com/lda or Circle
92 on Reader Service Card.
Developed for Luraline by awardwinning designer Louis A. Lara,
Andorra pendant, sconce, ceiling
and linear fluorescent fixtures
combine satin-finish acrylic cowls
in four jewel tones with satin white
or satin-etched clear acrylic material that frost white when lit and
infuse the cowls with a soft glow.
Lamping options for Andorra
include incandescent, magnetic
compact fluorescent and compact
LSI Industries Inc. has introduced
the challenger wall sconce. With
high performance reflectors for
spotlighting or general illusion, the
Challenger Wall Sconce is available
in 50-400 W, in a choice of lamp
sources and color finishes. Go to
www.leadnet.com/lda or Circle 91 on
Reader Service Card.
time, while offering substantial
energy savings. Go to www.leadnet.com/lda or Circle 90 on Reader
Service Card.
The Cooper Series 309 devices
have been engineered and manufactured to provide safe, reliable
power distribution in the most
demanding industrial environments,
exceeding rigorous IEC 309-1 and
309-2 watertight performance
requirements. The devices also
comply with UL, CSA, IP66, and
NEMA 4x industry standards. The
brochure is available by faxing
Department P&S at 718-361-5080.
Go to www.leadnet.com/lda or Circle
89 on Reader Service Card.
WattWatchers are a series of industrial and outdoor lighting systems
manufactured Day-Bright Lighting.
Designed for efficient use of energy
and lower energy cost for industrial
applications, both the WattWatcher
High Bay and Low Bay systems provide more than 20 percent better
system efficiency over standard
400 W metal halide high bay systems and improved optical efficiency. WattWatchers increase efficacy
and lumen maintenance and provide faster start-up and re-strike
44
LD+A/December 2001
A 12-page brochure detailing its
new redesigned industrial Series
309 watertight pin and sleeve
devices, including electrical plugs,
connectors, receptacles, inlets,
and both fused and unfused
mechanical interlocks, has been
issued by Cooper Wiring Devices.
Visit
our
online
bookstore
at
at
www.iesna.org
www.iesna.org
www.iesna.org
Volume 31
AMUSEMENT & ATTRACTION LIGHTING
Digital Lighting Sets The Stage . . . .Jul
Intimate Lighting for 600(P) . . . . . .Aug
Reef Madness . . . . . . . . . . . . . . . . .Jul
Scripted Lighting . . . . . . . . . . . . . . .Jul
This Sun Rises In The West . . . . . . .Jul
32
16
46
40
36
BRIDGE AND MONUMENT LIGHTING
Benjamin Franklin Dances With
Color And Light . . . . . . . . . . . . . .Oct 38
Downtown Lake Oswego Recreation .Oct 46
Washington Crosses The Hudson . . .Oct 33
COLUMNS
Beardsley’s Beat . . . . . . . . . . . . . . .Dec
Beardsley’s Beat . . . . . . . . . . . . . . .Nov
Digital Perspective . . . . . . . . . . . . .Apr
Digital Perspective . . . . . . . . . . . . .Jul
Energy Concerns . . . . . . . . . . . . . . .Apr
Energy Concerns . . . . . . . . . . . . . . .Aug
Energy Concerns . . . . . . . . . . . . . . .Dec
Energy Concerns . . . . . . . . . . . . . . .Feb
Energy Concerns . . . . . . . . . . . . . . .Jan
Energy Concerns . . . . . . . . . . . . . . .Jul
Energy Concerns . . . . . . . . . . . . . . .Jun
Energy Concerns . . . . . . . . . . . . . . .Mar
Energy Concerns . . . . . . . . . . . . . . .May
Energy Concerns . . . . . . . . . . . . . . .Nov
Energy Concerns . . . . . . . . . . . . . . .Oct
Energy Concerns . . . . . . . . . . . . . . .Sep
Essay By Invitation . . . . . . . . . . . . .Apr
Essay By Invitation . . . . . . . . . . . . .Jul
Essay By Invitation . . . . . . . . . . . . .Jun
Essay By Invitation . . . . . . . . . . . . .May
Executive Vice President Reports . .Dec
Executive Vice President Reports . .Jun
Executive Vice President Reports . .Mar
Executive Vice President Reports . .Sep
On Committees, Quills & Other Things .Mar
On Committees Quills & Other Things .May
On Committees, Quills & Other Things .Jan
On Committees, Quills & Other Things .Jul
On Committees, Quills & Other Things .Oct
On Committees, Quills & Other Things .Sep
President’s Points . . . . . . . . . . . . . .Jul
President’s Points . . . . . . . . . . . . . .Oct
Regional Voices . . . . . . . . . . . . . . .Apr
Regional Voices . . . . . . . . . . . . . . .Aug
Regional Voices . . . . . . . . . . . . . . .Feb
Regional Voices . . . . . . . . . . . . . . .Mar
Regional Voices . . . . . . . . . . . . . . .May
Regional Voices . . . . . . . . . . . . . . .Oct
Regional Voices . . . . . . . . . . . . . . .Sep
Specification Sales Strategies . . . . .Apr
Specification Sales Strategy . . . . . .Aug
Specification Sales Strategies . . . . .Jul
Specification Sales Strategies . . . . .Jun
Specification Sales Strategies . . . . .Mar
Specification Sales Strategies . . . . .Oct
Specification Sales Strategies . . . . .Sep
Views On The Visual Environment . . .Apr
Views On The Visual Environment . . .Aug
Views On The Visual Environment . . .Feb
Views On The Visual Environment . . .Jun
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2001
Views On The Visual Environment . . .Oct
Views On The Visual Environment . . .Dec
Working With The Web . . . . . . . . . .Apr
Working With The Web . . . . . . . . . .Aug
Working With The Web . . . . . . . . . .Dec
Working With The Web . . . . . . . . . .Jul
Working With The Web . . . . . . . . . .Jun
Working With The Web . . . . . . . . . .Mar
Working With The Web . . . . . . . . . .May
Working With The Web . . . . . . . . . .Oct
Working With The Web . . . . . . . . . .Sep
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DAYLIGHTING
Not Your Father’s Daylighting . . . . . .Jan 32
EQUIPMENT
2001 Lighting Equipment & Accessories
Directory . . . . . . . . . . . . . . . . . . .Mar 38
Paradise By The Hubcap Light(P) . . .Apr 26
FIBER OPTIC
Functionally Decorative: The Fiber Optic
Approach . . . . . . . . . . . . . . . . . . .Jul
60
GLARE
Glare Is In The Eye Of The Beholder .Jan 36
HOUSES OF WORSHIP
Illumination For The Congregation . .Feb 30
Smart Church, Smarter Lighting(P) .Jul 23
IES NEWS
Additional Honors Awarded at National
Conference . . . . . . . . . . . . . . . . .Sep 21
Advance Core & Coil HID Ballasts to Carry
UL “Class N” Ratings . . . . . . . . . .Jun 37
Annual Conference . . . . . . . . . . . . .Nov 13
Annual Lighting Awards Program
Announced . . . . . . . . . . . . . . . . . . .Sep 26
Another Successful Teachers of Lighting
Workshop . . . . . . . . . . . . . . . . . .Oct 27
ANSI Approves ASHRAE/IESNA Standard
90.1-1999 . . . . . . . . . . . . . . . . . .Mar 23
ASHRAE Outlines Goals for Revising Energy
Conservation Standard . . . . . . . . . .Nov 17
ASHRAE Publishes New Addenda to Standard
90.1 . . . . . . . . . . . . . . . . . . . . . .Oct 29
ASHRAE Updates Standard
90.1’s HVAC Section . . . . . . . . . .May 21
Aviation Lighting Seminar . . . . . . . .Sep 21
Avoiding Panic Conservation
Measures . . . . . . . . . . . . . . . . . . .Jul 27
Bright Turnout for Lightstyle . . . . . .Jul 27
California Officials Share Strategies to
Reduce Energy Use . . . . . . . . . . .Jul 29
Call For Committee Members . . . . .Sep 22
Call For Entries for National Lighting Design
Competition . . . . . . . . . . . . . . . . .Apr 30
Call For Roadway Papers . . . . . . . . .Oct 28
Call For The Richard Kelly Grant
Entries . . . . . . . . . . . . . . . . . . . . .Mar 24
Christos C. Mpelkas . . . . . . . . . . . .Mar 29
Committee To Update ASRAE/IESNA
Standard 90.1-1999 . . . . . . . . . . .Mar 28
Cooper Industries Acquires
Shaper Lighting . . . . . . . . . . . . . .Feb 18
Cooper Lighting Announces Division
Relocation . . . . . . . . . . . . . . . . . .Sep 24
DCO Introduces New
d-Commerce Platform . . . . . . . . . .Mar 28
Design Firm Merge To Create
Visual Terrain . . . . . . . . . . . . . . . .Jul 29
Donation To Build
University Laboratory . . . . . . . . . .Apr 31
Edison Awards Set for 2001 . . . . . .Jan 19
Edison Price Lighting
Moves Headquarters . . . . . . . . . . .Dec 18
Energy Department and States Join to
Fund $40 Million in 164 Energy Saving
Projects . . . . . . . . . . . . . . . . . . .Aug 26
Energy Efficient Lamps Could be Solution to
Blackouts . . . . . . . . . . . . . . . . . .Sep 24
ETC Celebrates 25th Birthday . . . . .Mar 30
Family of Innovators Honored at LRC Sep 26
Fiberstars Announces New Energy Efficient
Lighting System Patent . . . . . . . . .Jun 38
Fiberstars Receives R&D Award . . . .Apr 29
Heyco Products, Inc. Forms Alliance With
Electro Terminal . . . . . . . . . . . . . .Mar 30
HOK Honored For Its Global Leadership In
Sustainable Design . . . . . . . . . . . .Sep 23
IALD Accepting Entries for 2002 Lighting
Design Awards . . . . . . . . . . . . . .Dec 18
IALD Education Trust Fund
Awards $10,000 in Scholarships .Sep 23
IALD Honors Lighting Designs . . . . .Aug 29
IESNA Annual Conference Set
for Ottawa . . . . . . . . . . . . . . . . . .Jul 25
IESNA Awards Presented at 2001 Annual
Conference . . . . . . . . . . . . . . . . .Aug 23
IESNA Board Approves Changes in IIDA
Program . . . . . . . . . . . . . . . . . . . .Oct 27
IESNA/Ledalite Award . . . . . . . . . . .Mar 23
IESNA SALC Committee Meets . . . .Apr 27
IESNA 2001 Annual Conference Set for
Ottawa Canada . . . . . . . . . . . . . .Apr 29
Increase in Number of
LC Exam Takers . . . . . . . . . . . . . .Jan 19
Industry Companies Set To Sponsor
Scholarships Winners . . . . . . . . . .Jul 27
Institute for Research In Construction
Upgrades Website . . . . . . . . . . . .Oct 30
Inter-Society Color Council’s Call for
Macbeth Nominations . . . . . . . . . .Nov 15
Karlin Launches Expansive Website .Aug 25
Ken Meyer Passes Away . . . . . . . . .Sep 21
Largest Vegas
LIGHTFAIR INTERNATIONAL . . . . . .Jul 25
Ledalite Opens New
Manufacturing Facility . . . . . . . . .Apr 31
Lewin Named Man of the Year . . . . .Apr 27
Lightech Opens New Technology Center
and Corporate Headquarters . . . . .Mar 28
Lighting Analysts And by Heart Win With
Combined Effort . . . . . . . . . . . . . .Feb 17
Lighting Industry Loses
Positive Innovator . . . . . . . . . . . . .Apr 30
Lighting Research Center’s Innovative LED
Lighting Institute Is a Success . . .Nov 13
LightWork Design’s New
Partner Program . . . . . . . . . . . . . .Feb 18
Lithonia Lighting and Musco
Form Alliance . . . . . . . . . . . . . . . .Aug 30
Live! Awards Announced . . . . . . . . .May 28
LMs Revised With Safety Statement Aug 23
LRC Honors Diversity; Latimer . . . . .Jul 28
Luraline’s Competition turns Student Designs
Into Reality . . . . . . . . . . . . . . . . .Oct 30
Maintenance Savings are Immediate Nov 19
Membership Openings On
LD+A/December 2001
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Project Committee . . . . . . . . . . . .Feb 18
Militello Exhibition to be Displayed at
Gershwin Hotel . . . . . . . . . . . . . . .Dec 15
MVP Status Annual Awards
Program Winners . . . . . . . . . . . . .Jun 37
NCQLP Announces Test Results for
2000 Examination . . . . . . . . . . . .Mar 28
NCQLP Granted
Full Tax-Exempt Status . . . . . . . . .Jun 33
New Product Showcase Awards . . . .Aug 29
New Recommended Practice On
Industrial Lighting . . . . . . . . . . . . .Mar 23
New Training Facility To Support
Latin America Market . . . . . . . . . .Sep 23
New Website Offers Information on
Recycling Lamps . . . . . . . . . . . . .May 27
Nuckolls Fund Announces
New Grants For 2001 . . . . . . . . . .Aug 28
Nuckolls Fund Establishes Website .Apr 30
NYSERDA Announces Energy
Smart Lighting Program . . . . . . . .Jun 35
OSRAM SYLVANIA Donation In
Honor Of Lighting Scientist . . . . . .Feb 15
Papers Committee Sets
Conference Schedule . . . . . . . . . .Jul 28
Philadelphia Section Makes
Donation . . . . . . . . . . . . . . . . . . .Sep 24
Philips Awarded
Good Housekeeping Seal . . . . . . . .Jan 21
Product Price Comparison Available
On Website . . . . . . . . . . . . . . . . .Mar 30
Progress Lighting And Lennar Family Of Builders Sign Luminaire Agreement . . . .Mar 29
Public Review Of The Draft American
National Standard BSR E1.11 . . . .May 28
Satellite Conference On
Standard 90.1-1999 . . . . . . . . . . .Sep 22
Simpson Named Society President . .Sep 26
Six Products Receive EDDY Awards .Mar 26
Society Fellow 1934-2001 . . . . . . . .Oct 28
Sonnenfeld Announces Master Class Nov 18
Speakers Announced For LIGHTFAIR
International 2001 . . . . . . . . . . . .Feb 15
Starfire Lighting, Lightolier Sales
Agencies Strike Business Alliance . .Mar 29
Targetti North America Established .Apr 31
Task Force Examines the
Future of Tall Buildings . . . . . . . . .Dec 17
2000 GE Edison Awards . . . . . . . . .Aug 30
2001 Energy Star Awards . . . . . . . .Jun 33
2001 IIDA Entries . . . . . . . . . . . . . .May 23
Uniroyal Technology to Advance Ultraviolet
LED Device Development . . . . . . .Nov 18
Varon Lighting Acquires
Thomas Research Products . . . . . .Jun 36
Varon Lighting Completes
Acquisitions . . . . . . . . . . . . . . . . .Feb 17
HOUSES OF WORSHIP
Brightly Lighting The Ways of
Worship(P) . . . . . . . . . . . . . . . . . .Feb 14
Light For The Sufferer’s Sake . . . . . .Feb 20
IIDA
A Light In The Library . . . . . . . . . . .Mar
Cherokee Nation Illumination . . . . . .Feb
From Coking Plant To
Colorful Sculpture . . . . . . . . . . . . .Apr
Las Rozas Light Show . . . . . . . . . . .Apr
Light For The Sufferers’ Sake . . . . . .Feb
Lighting Threshold . . . . . . . . . . . . . .Nov
Millennium Masterpiece . . . . . . . . .Apr
Must-See Illumination . . . . . . . . . . .May
Piercing The Night Sky . . . . . . . . . .Aug
60
LD+A/December 2001
Pod People . . . . . . . . . . . . . . . . . . .Sep 28
Reef Madness . . . . . . . . . . . . . . . . .Jul 46
Sound + Vision . . . . . . . . . . . . . . . .Jun 64
The 2001 INTERNATIONAL ILLUMINATION
Design Awards . . . . . . . . . . . . . . .Aug 33
Venice In The Desert . . . . . . . . . . . .Jun 50
Washington Crosses The Hudson . . .Oct 33
Winging It . . . . . . . . . . . . . . . . . . .Apr 36
INDUSTRIAL LIGHTING
Legislative and Regulatory Alert . . .Nov 52
Light Work . . . . . . . . . . . . . . . . . . .Aug 44
Uniting Lighting Under One Roof . . .Aug 52
INSTITUTIONAL
Hospital Strives For Warm, Welcoming
Feel(P) . . . . . . . . . . . . . . . . . . . .Mar 20
LEDs
A Thousand Points Of Light At Least Jul
LIGHTFAIR INTERNATIONAL
Communicating At The Speed of e . .May
11th Hour Fixes . . . . . . . . . . . . . . .May
LIGHTFAIR International
Seminar Preview . . . . . . . . . . . . . .May
Merchandising Retail Environments
With Light . . . . . . . . . . . . . . . . . .May
Poetry In Lighting Design . . . . . . . .May
The Functions Of Illumination . . . . . .May
The Need For Control . . . . . . . . . . .May
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MUSEUM LIGHTING
Cherokee Nation Illumination . . . . . .Feb 38
Creativity And Science Presented
Interactively . . . . . . . . . . . . . . . . .Feb 24
The Art of Lighting Art . . . . . . . . . .Feb 34
NEON
Neon: The First Hundred Years . . . . .Jul
OFFICE LIGHTING
Ballasts For Barristers(P) . . . . . . . .Apr
Dynamic Duo . . . . . . . . . . . . . . . . .Jan
First Impressions . . . . . . . . . . . . . .Jan
Glass Filters Create Multi-colored
Elevators(P) . . . . . . . . . . . . . . . . .Jul
Innovative Officing Goes Public . . . .Jan
Lowering Light Loads(P) . . . . . . . . .Jul
Six Fixtures Does It All(P) . . . . . . . .Apr
OUTDOOR LIGHTING
From Coking Plant To
Colorful Sculpture . . . . . . . . . . . . .Apr
From Day To Night With UV(P) . . . . .Jan
Las Rozas Light Show . . . . . . . . . . .Apr
Lighting Threshold . . . . . . . . . . . . . .Nov
Millennium Masterpiece . . . . . . . . .Apr
Piercing The Night Sky . . . . . . . . . .Aug
Sound + Vision . . . . . . . . . . . . . . . .Jun
Turkmenistan Birthday Beacon of
Independence(P) . . . . . . . . . . . . .Jun
Winging It . . . . . . . . . . . . . . . . . . .Apr
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PROGRESS REPORT
2001 Progress Report . . . . . . . . . . .Nov 23
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38
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PUBLIC SPACES
A Light In The Library . . . . . . . . . . .Mar
Appealing Lighting(P) . . . . . . . . . . .May
Better Integration Of Light
And Architecture . . . . . . . . . . . . .Jun
High End and LD Systems
Illuminate Capitol(P) . . . . . . . . . . .Jan
Lighting City Hall . . . . . . . . . . . . . .Jun
Lobbying With Light . . . . . . . . . . . .Jun
Lone Star State’s Burning Beacon(P) Aug
Night Lighting A City Landmark(P) . .Feb
Revolutionizing The Rest Stop . . . . .Apr
St. Bruno Reborn . . . . . . . . . . . . . .Jun
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RESIDENTIAL LIGHTING
A Grand Entrance . . . . . . . . . . . . . .Dec
Hospitality At Home . . . . . . . . . . . .Dec
Shoji Serenade . . . . . . . . . . . . . . . .Dec
Steelwood Style . . . . . . . . . . . . . . .Dec
Wallwashers For Warhol . . . . . . . . .Dec
RESTAURANT AND HOTEL LIGHTING
Dinner For Two . . . . . . . . . . . . . . . .Sep
Luminous Lounge Lighting(P) . . . . . .Aug
Northern Lighting . . . . . . . . . . . . . .Sep
Pod People . . . . . . . . . . . . . . . . . . .Sep
Supper’s Ready . . . . . . . . . . . . . . . .Sep
The More Things Change . . . . . . . . .Sep
TriBeCa Hotel Scene Just
Got Brighter(P) . . . . . . . . . . . . . . .Jan
Venice In The Desert . . . . . . . . . . . .Jun
RETAIL LIGHTING
Fashion In The Limelight (P) . . . . . .May
Fusion Of Fashion And Furniture . . . .May
Museum Store Brightens The
Prehistoric Past(P) . . . . . . . . . . . .Jun
Must-See Illumination . . . . . . . . . . .May
Progressive Hub To Disney’s Magic .May
Today’s Shopping Mall . . . . . . . . . . .May
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RETROFITTING
Why Should The Customer Have To
Pay Twice? . . . . . . . . . . . . . . . . .Sep 52
ROADWAY LIGHTING
Full Cutoff Lighting: The Benefits . . .Apr 54
SPORTS LIGHTING
Northern Lighting . . . . . . . . . . . . . .Sep 44
TRANSPORTATION
Designing Light For Layovers(P) . . . .Mar 18
Revolutionizing The Rest Stop . . . . .Apr 48
TRESPASS LIGHTING
Not In My Dark Yard . . . . . . . . . . . .Apr 52
Altman, Emlyn G.
Digital Perspective . . . . . . . . . . . .Apr 4
Digital Perspective . . . . . . . . . . . .Jul 12
Apfel, David and Kelly, Addison G.
Eleventh 11th Hour Fixes . . . . . . .May 66
Banks, Hiram
Hospitality At Home . . . . . . . . . . .Dec 38
Barone, Livio and Bannard, Jeff
Uniting Lighting Under One Roof . .Aug 52
Beardsley, Charles
Beardsley’s Beat . . . . . . . . . . . . .Dec 12
Beardsley’s Beat . . . . . . . . . . . . .Nov 11
Birdsong, Toni Page
Progressive Hub To Disney’s Magic .May 48
This Sun Rises In The West . . . . . .Jul 36
Bleasby, Peter and English, Cheryl
Legislative and Regulartory Alert . .Nov 52
Bordon IV, Alfred R. and Diemer, Helen K.
Lighting Today’s Shopping Mall . . .May 56
Bosson, George C. and Allaire, Rosemarie
Better Integration Of Light And
Architecture . . . . . . . . . . . . . . . . .Jun 56
Carpenter, James Design Associates
Lighting Threshold . . . . . . . . . . . .Nov 48
Carr, Michael
Washington Crosses The Hudson . .Oct 33
www.iesna.org
Cronin, Brian
Working With The Web . . . . . . . . .Apr
Working With The Web . . . . . . . . .Aug
Working With The Web . . . . . . . . .Dec
Working With The Web . . . . . . . . .Jul
Working With The Web . . . . . . . . .Jun
Working With The Web . . . . . . . . .Mar
Working With The Web . . . . . . . . .May
Working With The Web . . . . . . . . .Oct
Working With The Web . . . . . . . . .Sep
Cronin, Brian and Long, Anthony
Communicating At The Speed of e .May
Davis, Jeffrey
Regional Voices . . . . . . . . . . . . . .Apr
De Allessi, Ross
Piercing The Night Sky . . . . . . . . .Aug
Dewar, Danielle
Illumination For The Congregation .Feb
Ducharme, Al
A Thousand Points Of Light At Least Jul
Ehrardt, Louis
Views On The Visual Environment . .Feb
Views On The Visual Environment . .Aug
Views On The Visual Environment . .Jun
Views On The Visual Environment . .Oct
Views On The Visual Environment . .Apr
Flynn, Kevin
Regional Voices . . . . . . . . . . . . . .Oct
Regional Voices . . . . . . . . . . . . . .Mar
Fullerton, Kathy
Light Work . . . . . . . . . . . . . . . . . .Aug
Gordon, Gary
Wallwashers For Warhol . . . . . . . .Dec
Green, David Paul
Cherokee Nation Illumination . . . . .Feb
Grenald, Ray
Benjamin Franklin Dances With
Color And Light . . . . . . . . . . . . . .Oct
Hanley, William
Executive Vice President Reports . .Dec
Executive Vice President Reports . .Jun
Executive Vice President Reports . .Mar
Executive Vice President Reports . .Sep
Harrold, Rita M.
On Committees, Quills & Other Things Mar
On Committees Quills & Other Things May
On Committees, Quills & Other Things Jan
On Committees, Quills & Other Things Jul
On Committees, Quills & Other Things Oct
On Committees, Quills & Other Things Sep
Harwood, Ron
Las Rozas Light Show . . . . . . . . . .Apr
Must-See Illumination . . . . . . . . . .May
Hatley, J. Arthur
Functionally Decorative: The Fiber Optic
Approach . . . . . . . . . . . . . . . . . . .Jul
Heinisch, Richard
Essay By Invitation . . . . . . . . . . . .Jul
Hershman, Mark
Winging It . . . . . . . . . . . . . . . . . .Apr
Hollingsworth, Dawn and Green, Lisa
Passamonte
Scripted Lighting . . . . . . . . . . . . .Jul
Honkonen, Vesa and Oksanen, Julle
Poetry In Lighting Design . . . . . . .May
Horner, Pamela
President’s Points . . . . . . . . . . . .Jul
President’s Points . . . . . . . . . . . .Oct
Humphrey, Aaron J
Downtown Lake Oswego Recreation Oct
Hutchinson, Brad
First ImpressionsJ . . . . . . . . . . . . .Jan
www.iesna.org
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Israel, Chip
Venice In The Desert . . . . . . . . . .Jun
Jepsen, Harold, North, Leslie and
Vasconez, Sandra
The Need For Control . . . . . . . . . .May
Kiefer, Geraldine
Revolutionizing The Rest Stop . . . .Apr
Klingensmith, Emily and Shook, Robert
Reef Madness . . . . . . . . . . . . . . .Jul
Kobes, John-Michael
Appealing Lighting . . . . . . . . . . . .May
Ballasts For Barristers . . . . . . . . .Apr
Brightly Lighting The Ways
of Worship . . . . . . . . . . . . . . . . . . . .Feb
Designing Light For Layovers . . . . .Mar
Fashion In The Limelight . . . . . . . .May
Intimate Lighting for 600 . . . . . . .Aug
Lone Star State’s Burning Beacon .Aug
Lowering Light Loads . . . . . . . . . .Jul
Luminous Lounge Lighting . . . . . . .Aug
Museum Store Brightens The
Prehistoric Past . . . . . . . . . . . . . .Jun
Night Lighting A City Landmark . . .Feb
Smart Church, Smarter Lighting . .Jul
TriBeCa Hotel Scene Just
Got Brighter . . . . . . . . . . . . . . . . .Jan
Turkmenistan Birthday Beacon of
Independence . . . . . . . . . . . . . . . .Jun
Kramer, Edward
Not In My Dark Yard . . . . . . . . . . .Apr
Kurtz, Ronald
A Light In The Library . . . . . . . . . .Mar
Lalande, Louise
Innovative Officing Goes Public . . .Jan
Lobo, Luz Monica
Light For The Sufferers’ Sake . . . .Feb
Logan, Lane and Maddison, Charles
Lighting City Hall . . . . . . . . . . . . .Jun
Louie, Arie
Fusion Of Fashion And Furniture . .May
Major, Mark
Millennium Masterpiece . . . . . . . .Apr
Manriquez, Rodrigo and Gersing, Jeff
Lobbying With Light . . . . . . . . . . .Jun
Margulies, Stephen
Dynamic Duo . . . . . . . . . . . . . . . .Jan
Martin, Jeff
Regional Voices . . . . . . . . . . . . . .Aug
Maynard, Lori S.
Paradise By The Hubcap Light . . . .Apr
Mercier, Paul
Northern Lighting . . . . . . . . . . . . .Sep
Miller, Naomi
Glare Is In The Eye Of
The Beholder . . . . . . . . . . . . . . . .Jan
Moen, Debi
High End and LD Systems
Illuminate Capitol . . . . . . . . . . . . .Jan
Moran, Maureen
The More Things Change . . . . . . .Sep
Nicholson, Ross
St. Bruno Reborn . . . . . . . . . . . . .Jun
Oberkircher, Fred
Essay By Invitation . . . . . . . . . . . .Apr
Owens, Russ
Regional Voices . . . . . . . . . . . . . .May
Paidasch, Helmut O.
Merchandising Retail Environments
With Light . . . . . . . . . . . . . . . . . .May
Palermo, Chris
From Day To Night With UV . . . . . .Jan
Glass Filters Create
Multi-Colored Elevators . . . . . . . . .Jul
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Hospital Strives For Warm,
Welcoming Feel . . . . . . . . . . . . . .Mar
LIGHTFAIR International
Seminar Preview . . . . . . . . . . . . . .May
Pattison, Kathy
Digital Lighting Sets The Stage . . .Jul
Paulin, Douglas
Full Cutoff Lighting: The Benefits . .Apr
Perszyk, Peter
Neon: The First Hundred Years . . .J u l
Principal, Li Huang
Specification Sales Strategies . . . .Sep
Specification Sales Strategies . . . .Apr
Specification Sales Strategies . . . .Jul
Specification Sales Strategies . . . .Jun
Specification Sales Strategies . . . .Mar
Specification Sales Strategies . . . .May
Specification Sales Strategies . . . .Nov
Specification Sales Strategies . . . .Oct
Specification Sales Strategy . . . . .Aug
Puckett, Robert
Six Fixtures Does It All . . . . . . . . .Apr
Rockwell, David
Pod People . . . . . . . . . . . . . . . . .Sep
Rutherford, Richard and Decker, John
Supper’s Ready . . . . . . . . . . . . . .Sep
Schiller, Ralph
A Grand Entrance . . . . . . . . . . . . .Dec
Schrager, Sara
The Art of Lighting Art . . . . . . . . .Feb
Sheifer, Brooks, Walerczyk, Stan and
Ofsevit, Robert
Essay By Invitation . . . . . . . . . . . .Jun
Smith, Michael John
Steelwood Style . . . . . . . . . . . . . .Dec
Speirs, Jonathan
From Coking Plant To
Colorful Sculpture . . . . . . . . . . . . .Apr
Sundaram, Swapna
Shoji Serenade . . . . . . . . . . . . . . .Dec
Szinger, Kimberly
Regional Voices . . . . . . . . . . . . . .Feb
Regional Voices . . . . . . . . . . . . . .Sep
Takeishi, Masanobu
Creativity And Science Presented
Interactively . . . . . . . . . . . . . . . . .Feb
Takeishi, Masonobu
Dinner For Two . . . . . . . . . . . . . . .Sep
Ternoey, Steven E.
Not Your Father’s Daylighting . . . .Jan
Uchihara, Satoshi and Yagi, Hiroki
Sound + Vision . . . . . . . . . . . . . . .Jun
Walerczyk, Stan
Why Should The Customer
Have To Pay Twice? . . . . . . . . . . .Sep
Warren, Willard L.
Energy Concerns . . . . . . . . . . . . .Apr
Energy Concerns . . . . . . . . . . . . .Aug
Energy Concerns . . . . . . . . . . . . .Dec
Energy Concerns . . . . . . . . . . . . .Feb
Energy Concerns . . . . . . . . . . . . .Jan
Energy Concerns . . . . . . . . . . . . .Jul
Energy Concerns . . . . . . . . . . . . .Jun
Energy Concerns . . . . . . . . . . . . .Mar
Energy Concerns . . . . . . . . . . . . .May
Energy Concerns . . . . . . . . . . . . .Nov
Energy Concerns . . . . . . . . . . . . .Oct
Energy Concerns . . . . . . . . . . . . .Sep
Essay By Invitation . . . . . . . . . . . .May
Whitehead, Randal
The Functions Of Illumination . . . .May
20
60
32
54
52
16
11
10
14
12
8
6
26
6
24
28
40
24
34
6
30
32
20
6
7
24
34
32
64
52
12
12
3
3
3
3
3
10
4
3
4
3
16
61
20
LD+A/December 2001
61