Lighting Design + Application

May 2001

RETAIL LIGHTING
Flashy Furniture
Disney’s Downtown Decór
Show-Stopping Store

LIGHTFAIR INTERNATIONAL
Seminar Previews

LIGHTFAIR INTERNATIONAL • MAY 29-JUNE 1 • LAS VEGAS

 CONTENTS MAY 2001
VOL. 31/NO. 4
48

RETAIL LIGHTING
“Must-See” Illumination 34
The NBC Experience project took initial inspiration from other
themed-environment stores, but modified the concepts substantially.
Ron Harwood of Illuminating Concepts, discusses the project that
garnered an Edwin F. Guth Award of Excellence for Interior Lighting Design.

DEPARTMENTS
4 Energy Concerns
Fusion of Fashion and Furniture 42
Ciel Home’s newest store needed an innovative lighting system to completely 8 Specification Sales Strategies
illuminate the products being displayed, while keeping the luminaires as
hidden as possible. Arie Louie explains the design team’s 10 On Committees, Quills and
philosophy in addressing this challenge.
Other Things
Progressive Hub to Disney’s Magic 48
Downtown Disney links all the elements of the expanded Disneyland resort. 11 2001 Progress Report
Toni Page Birdsong provides the details on the lighting design
that accompanied this newly created attraction.
Submittal Form

Today’s Shopping Malls 56 14 Regional Voices

Alfred R. Borden IV and Helen K. Diemer of The Lighting Practice
trace the evolution of the shopping mall and the importance of lighting 16 Essay by Invitation
to developers and shoppers.
18 Working with the Web
LIGHT INTERNATIONAL 21 IES News
Seminar Preview 60
David Apfel, Addison Kelly, Brian Cronin, Anthony Long, 30 Photons
Vesa Honkonen, Julle Oksanen, Harold Jepsen, Leslie North,
Sandra Vasconez, Helmut O.
Paidasch and Randall Whitehead 82 Light Products
provide some insight into the seminars
they’ll be presenting at this year’s 84 Scheduled Events
LIGHTFAIR INTERNATIONAL.
87 Classified Advertisements

87 Ad Offices

88 Ad Index

ON THE COVER: Ciel Home opened its newest store in Newport Beach, Calif., with an
innovative lighting system, based primarily in keeping the fixtures hidden. In fact, there are five
distinct themes to the lighting design, each specially configured for the area in need of illumination.
Each theme, or condition, was evaluated to ensure the lighting was not only functional,
but visually pleasing, as well. Photo: Arie Louie

2 LD+A/May 2001 www.iesna.org


W
e have a passion in this
countr y for “numbers”
and “metrics.” In school,
there are grades, cumulative aver-
ages and SATs; pediatricians evalu-
ate babies in percentiles; television
shows get “ratings;” and movies,
ENERGY
CONCERNS
hotels and restaurants get “stars.”
In lighting there are metrics for illu-
minance, luminance, brightness,
efficiency and efficacy.
“But beauty,” said the poet,
“lies in the eyes of the beholder.”
Numbers don’t necessarily tell the
whole story.
Willard L. Sensory perceptions like sight,
Warren, hearing, smell and taste, once
PE, LC, thought to follow logorithmic rela-
FIESNA tionships, are not that predictable.
Visual perception depends upon
the variable factors of illuminance,
task contrast, task size and time,
and that the relationship between
these variables and visual percep-
tion is like a visual cliff. As those
variable factors are slowly im-
proved, perception climbs quickly,
and then levels off onto a plateau.
If illuminance is increased too far,
glare will develop and perception
will start to decrease, which is
analogous to the sensation of hear-
ing, where pleasurable sounding
music can get discomforting when
played too load.
The Energydesign Resources web-
site (www.energydesignresources.
com) devoted a recent issue to a
new metric, “LER,” the Luminaire
Efficacy Rating, described as an
“objective comparison of energy
miserliness among fluorescent lumi-
naries.” The word, “efficacy” indi-
cates lumens per watt. Incandes-
cent lamps produce approximately
10-20 l/w. Fluorescent and HID pro-
duce from 50-100 l/w. Efficiency, on
the other hand, is the ratio of output
divided by input, and because of the
law of conservation of energy, is
always less than 100 percent. LER
combines those two factors — effi-
cacy and efficiency — to provide this
new metric of “energy miserliness.”
4 LD+A/May 2001
Simply stated, a fluorescent lamp
has a rated light output that’s mea- 2000-2001
Board of Directors
sured in lumens. A ballast drives the
IES of North America
fluorescent lamp at some percent-
age of that rated lumen output, President
Martyn K. Timmings, LC
which is called the “ballast factor” Vice-President, Market Development
(BF). Dimming ballasts vary lamp Canlyte - The Genlyte Thomas Group
lumens from 0 to 100 percent of
Past President
their rated value. High/Low ballasts Ian Lewin, Ph.D., FIES, LC
will give two (50 and 100 percent) President
Lighting Sciences, Inc.
or three (30, 50 and 100 percent)
levels of light, while “standard” Senior Vice-President
electronic ballasts deliver either 75, Pamela K. Horner, LC
Manager, Technical Training
88, 92, 100, 115 or 125 percent of OSRAM SYLVANIA
rated lumens. A ballast with too
Executive Vice-President
high a “BF” will overdrive the lamp
William Hanley, CAE
and shorten its life.
Luminaire “efficiency” is ex- Vice-President—Educational Activities
Mary Beth Gotti, LC
pressed as the measured output Manager, Lighting Institute
in lumens, divided by the input in and Application Development
lumens, and is expressed as a GE Lighting
percentage. Vice-President—-Member Activities
LER is defined as Rated Lamp Ronnie Farrar, LC
Lighting Specialist
output in lumens x Ballast Factor
Duke Power
(percent) x Luminaire Efficiency
Vice-President—-Design & Application
Douglas Paulin, LC
Product Manager
Ruud Lighting
Sensory Vice-President—-Technical & Research
Richard G. Collins
perceptions
Supervisor of the Photometry Laboratory
OSRAM SYLVANIA
like sight,
Treasurer
Patricia Hunt, LC
Hammel Green & Abrahamson
hearing, Directors
Balu Ananthanarayanan
smell and taste,
Wisconsin DOT
Claudia Gabay, LC
once thought
Detroit Edison
Donald Newquist, LC
to follow
Professional Design Consultants, Inc.
John R. Selander, LC
logorithmic
Kirlin Company
Fred Oberkircher, LC
relationships,
Texas Christian University
James L. Sultan, LC
are not
Studio Lux
Regional Vice-Presidents/Directors
that
Jeff Martin, LC
Tampa Electric Company
predictable.
Ralph Smith, LC
Ralph Smith Engineering
(percent) divided by total luminaire
input in watts. The units of LER are
in l/w, which is why it is called
Luminaire “Efficacy” Rating, and
not “efficiency” rating.
LER is used to compare the l/w
www.iesna.org
 of a luminaire to the l/w of a similar
luminaire.
There are 11 categories of com-
monly used fluorescent luminaires,
and only units in the same category
should be compared for their rela-
tive ability to squeeze out lumens.
LER does not include any factor
for the appropriateness of the pho-
tometric distribution curve, or the
coefficient of utilization of the lumi-
naire, nor does it take into account
the dirt and dust depreciation of the
luminaire, which is a matter of its
construction. Use LER for what it
was meant to be — a measure of
the combined luminaire, ballast and
lamp efficacy.
The coefficient of utilization table
indicates what proportion of the
calculated illumination is coming
directly from the luminaires and
how much is coming indirectly, and
how important the room finishes
are in the production of inter-reflect-
ed light. The next time you do a
lumen method illumination calcula-
tion look at the far right column of
the CU char t, where the re-
flectances are 0 percent ceiling, 0
percent walls, and 0 percent floor.
Using that cu value will provide the
direct component of light in the
space.
When the illumination is comput-
ed using the proper cu for the
room’s finishes, the total direct and
reflected light in the room can be
derived. The inter-reflected compo-
nent can be half the total illumina-
tion in the room. If room finishes are
dark, it obviates all the benefits of
choosing a luminaire with the high-
est LER in its category.
Project update
Last June, I wrote about the Bi-
level relighting of the 746 public
corridors at Starrett at Spring
Creek in Brooklyn. There are two 13
W CFLs in each luminaire; one lamp
is always on, providing minimum
code level lighting, and the second
lamp is triggered on by an ultrason-
ic sensor located on the ceiling in
the center of the corridor.
When anyone enters the hallway
from either their apartment or from
the elevator or stairway, the sensor
detects them and turns the second
lamp on. The sensor holds the sec-
ond lamp on for 16 minutes after
there is no more motion detected in
6 LD+A/May 2001
the hallway. Well, we finally installed
a recording w/hour meter last
month on the circuit of a typical
floor with eight apartments. The
recorder’s tapes indicated that the
second lamp is only on for eight out
of every 24 hours a day. That’s a
saving of more than 30 percent in
energy because of the sensors.
When this project started, the
27-year-old co-gen plant at Starrett
was generating electricity, near
capacity, for $.07 per kw-hr. The
higher cost of natural gas has
increased that to $.10/kw-hr. The
13 W CFL lamp that is held off by
the occupancy sensor, saves 16 W
for 6,000 hrs per year (16 hours a
day) at 10 cents/kw-hr or $9.60 a
year. There are 11 fixtures per floor,
so the annual savings in electricity
are $ 105 which pays for the two
sensors on each floor in 2.5 years,
or fewer, if the cost of natural gas
keeps climbing.
We’re now working on a project
which will use an electronic
high/low (50/10 percent output)
ballast in the stairways, with one
lamp per fixture, which will give us
the two proper lighting levels and
extended lamp life. An ultrasonic
sensor, circuit board and power
pack and an emergency battery
pack are all incorporated inside the
luminaire.
Some fluorescent fixture manu-
facturers plan to show “smart fix-
tures” at LIGHTFAIR INTERNATION-
AL. Smart fixtures have self-con-
tained occupancy and/or daylight
harvesting sensors in each unit to
adjust the light output of that fix-
ture, or if they are at the start of a
continuous row of fixtures, or at the
beginning of a wiring “home run,”
they can control all the luminaires
downstream.
There is an interesting aspect to
energy conservation. The bad news
is that energy costs keep rising; the
good news is that the energy con-
servation measures we take will
always pay for themselves in less
time than originally projected.
Publisher
William Hanley, CAE
Editor
Chris Palermo
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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New York, N.Y. 10005-4001
Phone: 212-248-5000
Fax: 212-248-5017/18
Website: http://www.iesna.org
Email: iesna@iesna.org
LD+A is a magazine for professionals involved in the art,
science, study, manufacture, teaching, and implementa-
tion of lighting. LD+A is designed to enhance and
improve the practice of lighting. Every issue of LD+A
includes feature articles on design projects, technical
articles on the science of illumination, new product devel-
opments, industry trends, news of the Illuminating
Engineering Society of North America, and vital informa-
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Statements and opinions expressed in articles and edito-
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do not necessarily represent the policies or opinions of
the Illuminating Engineering Society of North America.
Advertisements appearing in this publication are the sole
responsibility of the advertiser.
LD+A (ISSN 0360-6325) is published monthly in the
United States of America by the Illuminating Engineering
Society of North America, 120 Wall Street, 17th Floor,
New York, N.Y. 10005, 212-248-5000. Copyright 2001 by
the Illuminating Engineering Society of North
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10005 and additional mailing offices. Nonmember sub-
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subscriptions outside the United States. Member sub-
scriptions $30.00 (not deductable from annual dues).
Additional subscriptions $39.00. Single copies $4.00,
except Lighting Equipment & Accessories Directory and
Progress Report issues $10.00. Authorization to repro-
duce articles for internal or personal use by specific
clients is granted by IESNA to libraries and other users
registered with the Copyright Clearance Center (CCC)
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per copy is paid directly to CCC, 21 Congress Street,
Salem, Mass. 01970. IES fee code: 0360-6325/86 $2.00.
This consent does not extend to other kinds of copying
for purposes such as general distribution, advertising or
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POSTMASTER: Send address changes to LD+A, 120
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Subscribers: For continuous service please notify LD+A
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This publication is indexed regularly by Engineering
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www.iesna.org

I
n the last issue, we discussed the
range of professionals that make
up the lighting specifier commun-
ity. This diversity of backgrounds
also exists within the lighting design
community. Despite this, one does
find that lighting designers and
specifiers have common needs and
wants. In this column, we will con-
SPECIFICATION SALES
STRATEGIES
centrate on the lighting design com-
munity and its specific needs.
I recently conducted a small sur-
vey. The survey participants were
lighting designers whose livelihood
is lighting design only. The survey
respondents (eight designers from
seven well-known firms) come from
Li Huang diverse educational backgrounds.
Principal, Their backgrounds are in architec-
FTC ture, theater lighting, industrial
design, electrical engineering and
architectural engineering. The
seven design firms are located in
Philadelphia, New York, and Boston.
This group of participants is small,
but I felt the quality of the results
was high, due to the caliber of the
participants involved.
All participants said they are cur-
rently called on by numerous manu-
facturer sales representatives. All
but one is also called on directly by
manufacturers. This survey asked
the participants to specify the ser-
vices they would like to see from
sales representatives during the
specification period, the construc-
tion period and the post-construc-
tion period.
During specification
During the specification period,
the most important services that
respondents would like to see from
sales are 1) accurate project pric-
ing (with some asking for distributor
net pricing) for project budgeting
purposes; 2) access to samples for
mock-ups in a timely manner; 3)
close direct working relationships
with the manufacturers when devel-
oping custom products; 4) up-to-
date product literature and informa-
tion (through sales visits or lunch-
and-learn sessions); 5) help with
8 LD+A/May 2001
solutions that will resolve challeng-
ing project situations; and 6) hon-
est and timely responses to infor-
mation requests.
During construction
The services the survey partici-
pants felt were most important dur-
ing the construction period include
1) respecting the specification (no
“packaging” and product substitu-
tion); 2) involving the sales repre-
sentatives in the field to resolve
issues; 3) keeping specifiers in-
formed of the progress of the order;
4) making available product instal-
lation details and shop drawings
when needed; 5) keeping specifiers
informed of delivery dates; 6) coor-
dinating closely with the distributor
and contractor, even for “out of ter-
ritory” projects; 7) assisting in ex-
pediting delivery on fast-track pro-
jects; and 8) responding to informa-
tion requests honestly and timely.
During post-construction
The services the survey partici-
pants felt were most important dur-
ing the post construction period
include 1) timely and pro-active
response to any field issues; 2)
commissioning help when applica-
ble; 3) follow-up on issues (i.e., do
not drop the ball); and, again, 4)
honest and timely responses to
information requests.
The survey also asked the partic-
ipants to list services that they
would expect from the manufactur-
ers they specify often. These ser-
vices include 1) timely and accu-
rate responses; 2) no overbearing
used-car sales mentality and behav-
ior; 3) making appointments ahead
of time for a meeting (no “drop-
ins”); 4) honest answers (don’t tell
the designer one answer and the
contractor another); 5) greater
comparisons with their competi-
tors’ products, so the designer
knows how to defend the specifica-
tion when facing challenges from
contactor or owner; 6) respect the
“no substitutions allowed” specifi-
cation’ 7) help with the lead time of
products specified; 8) project bud-
get pricing, timely responses to
information requests; and 9) facing
up to issues when they arise (stand
behind your product).
When asked to rate the specifi-
cation sales people who are cur-
rently calling on them from 1-10,
with 10 as most satisfying, the
results favored the fixture manufac-
turers’ sales representatives with
better ratings than the manufactur-
ers’ direct sales force. However,
this could be based on the fact that
more fixture sales representatives
call on specifiers than manufactur-
ers’ direct sales people. Designers
who are called on by manufacturers
do not usually see their sales repre-
sentatives as often either.
A few additional issues surfaced
in the general comments section
from the specifiers:
1) Better in-house coordina-
tion between the specification
sales force and distributor
sales force in the larger fixture
sales agencies to help the
specification survive the pro-
cess is needed.
2) The practice of pricing a
project as a package has be-
come popular. This practice of
packaging is making lighting
design more difficult, especially
on “high-end” projects. Design-
ers feel that they are often
forced to evaluate equals when
no true equals exist. Often
times, the design quality gets
sacrificed.
3) Manufacturers direct sales
representatives are becoming
less visible to the design com-
munity. That situation is some-
times remedied using a quality
toll-free customer service line.
Although I was not surprised by
any of the responses in the returned
surveys, I was grateful for the par-
ticipants’ time and effort, for they
made this article more complete by
identifying the many issues facing
lighting specifiers today. Many of
these issues have been around for
years. However, this discussion is
not complete without also under-
standing the other side of the equa-
tion — the feelings and issues of
the manufacturers. That will be a
topic for a later issue.
For now, our conclusion is this:
Designers and manufacturers need
each other to succeed. It is the
challenge of the lighting industry to
address the issues and concerns of
every group together, in order to
devise creative solutions that bring
both parties to a middle ground.
www.iesna.org
 T
he day is approaching when
we may contemplate throwing
away the quills, felt tip pens,
pencils, and whatever other old-fash-
ioned writing implements we may
have employed. This may not be
appealing news to everyone, but
many committee chairs have been
asking for improved ways of commu-
nicating internally and with each
ON COMMITTEES,
QUILLS &
OTHER THINGS
other, reducing the number of face-
to-face meetings (thereby saving
travel dollars) and working more effi-
ciently to create new publications,
all through electronic means. You
may have noticed the many signifi-
cant improvements to the commit-
tee area of the IESNA website
Rita M. Harrold, (www.iesna.org), but if you haven’t
FIES, LC visited the site for a while, read on to
Director, find out what is new and different.
Educational and The improvements are in the fol-
Technical lowing areas and we ask for your
Development help in ensuring that committees
take full advantage of the new capa-
bilities of specific parts of the site:
• Feature: The list of committees
and subcommittees has been
updated and posted on the website.
In the public area, the list appears
with the individual committee
scopes and members’ names, email
addresses, and phone numbers.
Functions: Anyone, both IESNA
members and non-members, wish-
ing to join a committee may select
a specific committee and fill out an
application form. An automatic
email response is sent to the appli-
cant, acknowledging receipt of the
application. Adalisa Machado, com-
mittee administrator, will then fol-
low up with the committee chairs in
processing the application.
When the chair and the Board of
Directors accepts the application,
the applicant will be moved from
pending to active committee sta-
tus. (Note: new committee mem-
bership applications only take
effect following a Board meeting,
since the Board of Directors
approves all committee personnel.)
10 LD+A/May 2001
Benefits: Having the list in the
public area of the website gives vis-
itors the opportunity to see the
breadth of technical, application
and program areas in which com-
mittees engage. The list also shows
each committee’s scope of work,
and chair contact information.
• Feature: In the Members Only
area of the website, members now
have visibility in their individual pro-
file area to a list of committees on
which they serve.
Function: The list appears auto-
matically.
Benefit: This provides an instant
check about each member’s com-
mittee membership status. (Mem-
bers who wish to withdraw from a
particular committee may also
make the request online.)
• Feature: When members up-
date their profile information (ad-
dress, phone, fax, or email changes)
online, the system now requires
that the member initial the changes
(by filling in a field at the end of the
form) before the change can be
accepted. Similarly if the change is
made in the IESNA office by the
technical department, the initials of
the person who made the change
will appear. The date on which the
change was made is also indicated.
Function: If the initial field is left
blank, the system will not accept
the change and gives a prompt to
complete the process.
Benefit: The indication of who
made the change, and when, can
help to remind the member that
updating needs to occur (because,
for example, the email address has
changed since the last update)
and/or it also lets members know
that the IESNA office has taken
action on a requested change.
Member action item — we ask
that each committee member take
a moment to visit the site and veri-
fy that the profile information and
the list of the committees on which
he/she serves is correct.
• Feature: Committees now
have the ability to post draft docu-
ments on the website for review,
comment and vote.
Function: One person on each
committee, with the role of admin-
istrator, can upload a document
from his/her computer so members
of that specific committee or sub-
committee (but not others) can
view work in progress. There is an
area for members to make com-
ments and see, in a string, the com-
ments made by others. The admin-
istrator receives the comments,
makes changes to the draft and
reposts a revised version.
Benefit: Review of publications
can take place outside a face-to-
face meeting, saving agenda time
at the next meeting, or maybe even
negate the reason to hold that
extra meeting.
• Feature: Committee members
may vote online.
Function: In the Members Only
area, a committee member will see
a note in red if there is a document
available for ballot from one or more
of his/her committees. When the
vote is cast, the notation disap-
pears. If the member tries to vote
again, the system will indicate that
that the vote has been received,
with a “thank you” note in red.
Benefit: The administrator can
see who has voted, and can remind
the delinquents. We may be able to
capture votes from all voting mem-
bers of a committee in the future!
• Feature: Committee adminis-
trators may now post announce-
ments of meetings or other activi-
ties in their committee areas.
Function: Easy posting of infor-
mation in a template provided in
that particular committee area.
Benefit: Uncertain about the
date or time of the next meeting?
Check your committee area of the
website.
• Feature: This same area of the
site can also be used for posting
minutes of committee and subcom-
mittee meetings with the same vot-
ing opportunity.
Function: Minutes should be
uploaded in the document area of
the individual committee’s site.
Benefit: Committees can save
significant dollars in mailings. Large
committees with multiple subcom-
mittees generate voluminous min-
utes, which are becoming increas-
ingly expensive to distribute. How-
ever, while savings are realized, the
burden of printing is passed on to the
www.iesna.org
individual member. It is suggested
that the minutes be posted by sub-
ject area or by subcommittee so that
members with only specific areas of
interest may find the relevant mater-
ial quickly and easily. Minutes should
also be voted on in the same way as
document voting occurs.
Committee action item — each
committee and subcommittee
should assign one member with
administration rights to post docu-
ments, minutes, announcements,
and receive comments. Please noti-
fy Adalisa Machado (amachado@
iesna.org) or me (rharrold@iesna.
org) who that person is. We will
then enable the system to assign
the responsibility to that individual
for that particular committee.
status, such as, advisory member
to member, member to chair and
deletion from a committee, can only
be made by the IESNA office. The
reason is two-fold: 1) changes can
only be made after Board approval,
and 2) we want to protect the mem-
ber from unauthorized changes.
There are also functions that we
have decided not to offer at the
present time. The site will not
enable committees to do broad-
cast emails - yet. We opted instead
for the posting of information in the
individual committee areas.
IESNA Staff action item — we
will be working over the next sev-
eral months to try to ensure that
the committee area of the site
addresses each committee’s
needs. There are always other func-
tions and features that can be
identified for addition at a later
date (budget permitting). Your
input, as always, is welcome.

While large committees with mul-

tiple documents/activities may
wish to have more than one admin-
istrator, the number of administra-
tors appointed should be as small as
possible for control purposes and to
avoid confusion of responsibilities.
Note that only members of a par-
ticular committee may view draft
documents, minutes of meetings
and other committee information
posted on that committee’s site. A
committee member has access to
the committee area through the
Members Only part of the IESNA
website by entering the membership
number and password. (Non-mem-
bers of the Society who serve on
committees are given a special com-
mittee membership number. Contact
Adalisa for that information.)

A word to the worried

To those of you who are wary
about the impending electronic
world, rest assured; we will not
cease communicating with you.
No committee member will be
denied the opportunity to continue
to receive paper copies of draft
documents, minutes of meetings,
announcements, and any other
committee correspondence. Mem-
bers who wish to receive paper
copies of all materials should noti-
fy the chair of the committee, and
chairs must ensure that those
members are placed on a conven-
tional mailing list.
There are functions that are not
available for committee use. Online
changes to a committee member’s
www.iesna.org

A
s the newly elected regional vice-president for
the South Pacific Coast Region, I am simultane-
ously overwhelmed, apprehensive and encour-
aged. The region was recently expanded to include
three new Sections and the term of office was also
extended to three years. Having been the Region’s sec-
retary for the past three years, while serving on our
REGIONAL
VOICES
local Section’s Board of Managers, I am aware of some
of the work that is required to keep an organization like
the IESNA moving.
It is not a continuum that moves on its own without
the need of volunteers at every level. From the presi-
dent of the Society to the most bashful member of a
Section that volunteers to make name tags for a
Section meeting, we are all a part of the same team.
Russ Owens,
South Pacific
I began my own membership a number of years ago
during a career change, at a time when I saw the value
and immediate need for networking with those in the
Coast RVP
industry that might be of benefit to starting a consult-
ing business from scratch. I began to attend the local
Board meetings, was recruited to help with education
and took on a succession of positions leading to presi-
dent of the Section. My involvement was always volun-
tary and certainly changed from self-serving interests,
to seeing the larger need to provide programs and other
venues for the education of those who wanted and
needed to learn more about lighting.
I have seen many of my predecessors burn out and
virtually not be heard from again. New people are the
lifeblood of any volunteer organization and the few that
do step forward to help, often get rewarded with more
duties than they bargained for. Some can’t wait to get
their term of office over with and get away.
I would like to offer some suggestions to help retain
the seasoned people as advisors (they have a wealth of
knowledge of the history of the Sections and usually are
more patient in their approach to meeting goals) and
get the “next generation” of lighting professionals
involved at the local level.
• Let’s take advantage of the numerous awards that
the Society has established and begin to reward those
who have served the Sections and Regions with years
of loyal service (you know, the ones that seem to serve
on the Board forever, always helping in small ways,
those that always are at the meetings helping to make
a difference, etc). Present them with an award at a
Section meeting. Recognize longevity and service at
the variety of levels we have awards for. Section officers
— look in those Section Guides for the various awards
and give credit where credit is due. People that serve
don’t usually do it for the reward, but it is a huge stroke
when your colleagues notice it and act upon it.
• Let’s promote Society membership to people we
work with — either in our offices or our clients — as an
14 LD+A/May 2001
organization that has provided them with something
they might not even think about, but utilize every day.
Our Society produces (through volunteer committees
and alliances with other organizations) Design
Guidelines, Technical Memorandums, Recommended
Practices and other tools we use and quote every day
in conducting business (i.e. How many roadways or
sports facilities are designed to IES Standards?) During
times when budgets decline, disposable income van-
ishes and memberships lose priority; however, they uti-
lize the tools we have produced and they should be
encouraged to consider supporting the organization
that gives them those tools.
• Let’s get the next generation, the “Young Guns”
(gender inclusive) involved in education and serving in
the local sections. Some have had lighting education in
college, and some have not, but they can all benefit
from the IESNA Education materials. Education classes
are a great place to recruit the next leadership for the
section. The energy and ideas that the younger indus-
Agree or disagree,
we are moving forward
and need both fresh ideas
as well as
seasoned ones.
try members possess should be harnessed to bring the
local sections, as well as the Society at large, along
into the future. Let us not cling to paradigms that
worked 10 years ago; we are in an age where technol-
ogy is changing faster than the seasons, and we need
to be able to embrace the wealth of new ideas the
young people can bring.
• With the awareness that corporate budgets have
been cut, as past sources for funding of local mailings
and publishing, local sections are now turning to the
wonders of the electronic age, email and faxing. I am a
proponent of these tools and they appear to be a great
way to get Section Newsletters or meeting notices in
from of a lot of people quickly, repeatedly and with a
minimal investment of time and money. We should
begin and or continue the use of these tools to contact
our respective database of members and interested par-
ties about meetings, etc. One drawback to only using
the electronic method of communication is the poten-
tial of a lack of connectivity with the membership. It can
become easy to hit the send button and miss the fact
that we still are an organization of people and that
human contact is what keeps us sane (some of us less
than others). I think it is a good idea to initiate phone
contact from time to time with the membership, so that
the IES identity/connection is not relegated totally to
the infamous line “you’ve got mail.”
Agree or disagree, we are moving forward and need
both fresh ideas as well as seasoned ones.
www.iesna.org

A
sophisticated new lighting
control system that uses dig-
ital, rather than analog, sig-
nals to control the light output of a
ESSAY
BY INVITATION
digital electronic ballast was recent-
ly introduced into this country
The new digital electronic ballast
and its control will replace the ana-
log electronic ballast as the inter-
Willard L.
Warren,
PE, LC,
FIESNA
Figure 1 — User interface
Figure 2 — DALI software
national standard in a few years
because of its incredible versatility.
The acronym for the new control
protocol is “DALI,” which stands for
“Digital Addressable Lighting Inter-
face.” The beauty of DALI is that it
allows the user to address every
individual digital ballast, and pro-
gram its lamp’s light output. And,
because DALI is a two-way system,
it can feed back information on
16 LD+A/May 2001
which particular lamps and ballasts
are in need of replacement.
The DALI system can be pro-
grammed to turn units on or off, or
dimmed from 1-100 percent light
output, by means of a simple low
voltage control wire that loops
through the building to every fix-
ture. Further, when DALI is used in
conjunction with a building man-
agement system, every lamp and
ballast can be addressed to deter-
mine if the lamp or ballast is in
working order. This status report
can be gathered, either on-site, or
at the central office of a mainte-
nance contractor, to determine
how many replacement lamps and
ballasts are required, what kind
they are, and where they are locat-
ed. This saves time and money
when servicing multiple sites in
the same geographical area, like
department stores, chain stores
and supermarkets.
The DALI system also allows dig-
ital ballasts to be controlled wher-
ever they are in the ceiling, so if
changes are made in the arrange-
ment of departments on a floor,
the lighting luminaires do not have
to be re-wired, just re-addressed.
Because the DALI system controls
every individual ballast, it allows
the user to assign every fixture to
any one of 16 different groupings
of luminaires in the space, and cre-
It can
feed back
information
on which
particular
lamps and
ballasts are in
need of
replacement.
ate multiple operating modes or
scenes. Lighting levels can also be
adjusted to respond to conditions
like energy cutbacks, daylight har-
vesting, occupancy status, or the
system can be used to turn any
part of a large office into a confer-
ence area, with the ability to dim
any fixtures needed to facilitate
audio/visual presentations.
The DALI system can be
accessed either by a PC or a Palm
OS device. Figure 1, the user-friend-
ly PC screen, shows how easy it is
to set the output of the ballast and
assign it to one of 16 fixture groups.
In the third step of the DALI pro-
gram, the user selects the fade
time and fade rate of each ballast.
Figure 2 shows the control plan of
three groups of luminaires, how
they will be dimmed, and at what
time. The user simply draws the
fade and time curve with a PC
mouse, and each group of ballasts
creates the desired scene, as pro-
grammed. The PCs or Palm con-
trollers can be located at several
locations on the floor and changed
at any time.
Many American and European
manufacturers have already signed
on to provide hardware for this new
www.iesna.org
technology, which is expected to power. That is why the versatile sensor control, and so many oth-
grow in popularity in this country, as DALI digital ballast control system ers, that the cost of the system
it already has in Europe. The lamps is so valuable. It can be pro- will be less than the sum of all the
that can be controlled include the grammed to automatically shed parts needed to perform all these
popular new fluorescent sources lighting load by dimming the lights different functions. DALI, the “dig-
like the T5 and T5 HO, T8, 18 to 42 in stages when an energy curtail- ital addressable lighting inter-
W CFLs, and the 40 and 50 W long ment is required. face” is the lighting control of the
fluorescent PL (Biax) lamps, with The DALI digital ballast system future. It can be programmed to
more to come. The digital electron- comes with so many user benefits; provide the proper lighting level
ic ballast is wired for universal volt- fluorescent dimming, load shed- when and where it is needed, and
age (120 V or 277 V), it employs a ding, luminaire grouping, scene most economically.
soft start for long lamp life, it will control, lamp and ballast failure
start the lamp at any point in its status, changing switch control
dimming range, and will cut out the without rewiring, integration of
lamp at the end of its life. daylight harvesting, occupancy
The DALI system is also ideally
suited to deal with energy conser-
vation and energy curtailment.
Interestingly, the rolling blackouts
last November in California occured
from 6 to 8 p.m., when many offices
were still open and homeowners
were preparing dinner, watching
television, and turning on Christmas
lights. California now requires
stores and malls shut their lights off

California
now requires
stores and malls
shut their
lights off
when they close
to keep
electric demand
down in the
evening.

when they close to keep electric

demand down in the evening.
Energy curtailment will be with
us for a while in many parts of the
country because of spot short-
ages of capacity. But even when
we catch up with demand, we will
still have to deal with higher costs
of electricity, pollution controls
and codes that restrict our use of
www.iesna.org
 Basic research is what I am doing when I don’t
know what I am doing.
—Wernher von Braun
I
stumbled upon an online article describing a research
study called The Consumer Daily Question Study. (If
you want more information on this study, conducted
by Lewis, Mobilio & Associates, on behalf of Keen.com,
check out: www.keen.com/documents/corpinfo/
pressstudy.asp). This study monitored about a hundred
people over the course of a week and found Americans
generate an average of four new questions every day.
Participants spent nearly nine hours per week (online
WORKING
WITH THE WEB
and off) looking for the answers. The primary resource
was the Internet, followed by Friends & Family; Sales &
Service Providers; Medical Professionals & Therapists;
and Magazines. Surprisingly, several traditional sources
— libraries, TV news, encyclopedias, dictionaries and
maps — were tapped less often than in the past.
Business Contacts came in dead last; so much for trust-
ing your peers.
Brian Cronin, Information access is a discovery process that will
Director of continue to evolve. Time is essential in finding answers,
Business as is effort. But it is efficiency, the impact of both time
Development, and effort, that determines the course of action. We
Planetmouse, want our information faster and with less energy expend-
Inc. ed. Until time travel or human cloning become common-
place in the work environment, improving the information-
gathering process must focus on the source. Increased
efficiency hinges on improving access and the Internet is
an obvious choice for fast, efficient data gathering.
Conducting Research Online
Web-based research is a fast, painless process. The
three most commonly used online research tools are:
search engines, directories and metacrawlers.
Search Engines are one of the most popular re-
search tools on the web. They direct users, based on
specific topics, to the web pages that best suit them.
The user punches in a request and the search engine
automatically responds by or “crawling” the web to
compile a relevant list of websites.
• Lycos began as a search engine, depending on list-
ings that came from spidering the web. Today, it uses a
directory model similar to Yahoo. Lycos (www.lycos.
com) also owns and runs HotBot (www.hotbot.com),
another popular search engine.
• Excite is one of the most popular online search ser-
vices. It offers a large index and integrates non-web
material such as company information and current
events into its results. Excite also owns and runs
Magellan and WebCrawler as separate search services
(www.excite.com).
• AltaVista is one of the largest search engines on the
18 LD+A/May 2001
web, in terms of pages indexed. It offers extensive cov-
erage and a wide range of search commands, making it
a favorite among researchers (www.altavista.com).
• AOL Search offers two search services: one for its
members and one with general web access for non-
members. This ‘external’ site (http://search.aol.com)
does not list the AOL content available to its members.
• Google is a search engine that uses link popularity
to rank websites. The more links to a site, the higher
the ranking. Yahoo supplements its results with those
from Google (www.google.com).
Directories, a little different than search engines, are
often included under this grouping. A directory depends
on human input for its listings. Individual websites sub-
mit a short description to the directory for the entire site
or the directory editors create one for sites they review.
A directory search looks for matches only in these
descriptions. A well-designed site with quality content is
more likely to be reviewed than a poor site.
• Yahoo is the web’s heavyweight search service
champ. Its reputation for helping people find informa-
tion quickly and easily is well-earned. Yahoo is the
largest human-compiled guide online, employing hun-
dreds of editors to help categorize the web. Launched
in 1994, Yahoo is also the oldest major website direc-
tory (www.yahoo.com).
• LookSmart is another qualitative or human-com-
piled directory of websites. It also provides directory
results to MSN Search, Excite and many other search
engines, in addition to being a stand-alone service
(www.looksmart.com).
Metacrawlers function a bit differently than search
engines and directories do. Rather than searching the
web and building their own listings for each request,
metacrawlers conduct a search on multiple sites all at
once and then provides the compiled results. So, the
user gets the best of multiple search engines and direc-
tories, rather than just one source. Metacrawler exam-
ples include: Go2Net /MetaCrawler (www.go2net.
com/index.html); Mamma (www.mamma.com); and
Dogpile (www.dogpile.com).
Garbage in – garbage out
The quality of the answer often depends on the quality
of the question. Web-based research is no different. The
key is knowing how to request information quickly and
efficiently. Here are some basic tips for searching online
(for the sake of time and efficiency, the term “search
engine” also covers directories and metacrawlers
Using + and -: You can instruct search engines to
find web pages that must contain or exclude specific
words and phrases. For example, if you want to list the
top web pages containing both the words ‘dog’ and
‘retriever,’ enter +dog +retriever into the search field. If
you want only web pages that contain ‘dog,’ but exclude
‘poodle,’ enter +dog –poodle.
“Double Quotes”: Most search engines also allow
you to search for exact phrases by using double quotes.
For example, if you type in ‘classic cars,’ you will receive
a list of pages that contain classic and/or cars. How-
ever, if you search for “classic cars,” your search will
www.iesna.org
yield only those pages containing the specific phrase.
Wildcard Matching: Some search engines will let
you use an asterisk (*) to customize your search even
further. This is called Wildcard Matching. Attaching ‘*’
to the right-hand side of a word will return left side par-
tial matches. For instance, if you type in ‘ball*’ versus
‘ball,’ your search will return pages containing both the
word ball and words containing ball, i.e. baseball.
Capital Letters: Most search engines treat lower
case search phrases as universal, but will perform a
case sensitive search if you capitalize any letter. If you
search for ‘baby,’ you will receive pages containing baby
or Baby. But if you search for ‘Baby,’ only pages con-
taining Baby will be returned.
Document Field Restrictions: Some search engines
can conduct searches of specific web page sections
(such as titles, URLs images) by attaching one of the
field operators to your search terms. By placing a field
name in front of a word, it restricts the search to a cer-
tain section of a web page. Examples include: t: or title:
- this restricts searches to document titles only, as in:
martha stewart vs. t:martha stewart; u: or url: - will
restrict searches to document URLs only, as in: amazon
vs. url:amazon. Other field restrictions include: image,
link, text, alt, domain, host (varies by search engine).
Boolean Phrases: Most major search engines sup-
port Boolean searching. You can limit search result by
including AND, OR and NOT according to Boolean logic.
Search for dog AND retriever to find pages containing
both words. Search for dog OR retriever for pages with
one word or the other. Search for dog NOT retriever to
find pages that have dog but not retriever.
You might think you could get the same results
using + or – signs, but Boolean phrases allow you to
use multiple parameters. To find any page, which talks
about dog and about retriever, but which, does not
mention poodle or pitbull, just type in the search
phrase: dog AND retriever NOT (poodle OR poodles OR
pitbull OR pitbulls.).
The Internet is an excellent information resource, but
people use a variety of resources to find the answers
they need, depending on the circumstances. Human
assistance is still the most popular choice. But when
your “meat-based” resources are limited and you’ve
used up all your Phone-A-Friend and Ask the Audience
lifelines, the World Wide Web may be the best way to
find the answers. To learn more about online research
or search engines, send me an email at brian@planet-
mouse.com. I will explore this topic in more detail later,
when we talk about search engine site registration.
Brian Cronin works with Planetmouse, Inc. — an
Interactive consulting and development firm based
in New York. Planetmouse is a team of developers,
designers and strategists who provide Interactive
business solutions and web-based design for a wide
range of clients. You can learn more about Planet-
mouse by visiting www.planetmouse.com
 ILLUMINATING
ENGINEERING
SOCIETY
NEWS
Members in the News
OSRAM SYLVANIA, Danvers, Mass., IESNA Calendar of Events
announced that Greg Lowe was award- May 29-June 1
ed the Commercial Engineer of the Year LIGHTFAIR INTERNATIONAL
Award. Thomas Ciskoski received the VOLUME 31, NUMBER 5 Las Vegas
Sales Representative of the Year Award MAY 2001 Contact: AMC, Inc.
and Sally Lee received the Sales Excel- 404-220-2221/2215
engineering and technical achieve- www.lightfair.com
lence of the Year Award. ment, and citizenship. In addition, nom-
Vincent Lighting Systems, Inc. has inees were also required to not be a June 7-10
IESNA Maritime Regional Conference
promoted Jason Potts to the position of registered professional engineer, to be Halifax, Canada
service manager in its Cleveland office. a good standing member of one of the Contact: Lee Hiltz • 902-484-3008
Potts joined Vincent Lighting Systems Council’s member organizations, a res-
June 20-23
as an assistant project manager in May ident of Pennsylvania, and a citizen of IESNA Northeastern Regional
of 1999, after graduating from Kent the US. Cheng was presented with the Conference
State University in Kent, Ohio. award during the Council’s National (Beacon of Light)
Creighton Bostrom was appointed Engineers Week banquet celebration. Boston
by W.A.C. Lighting, Garden City, N.Y. Contact: Doreen Le May Madden
This was the first year for the award. dmadden@luxlightingdesign.com
and Bostrom Lighting Sales, Raleigh, continued on following page 781-237-1989
N.C. as its new representative. Bos-
trom Lighting Sales was established August 5-8
2001 IESNA Annual Conference
by Lars Bostrom, formerly of Bostrom- Ottawa, Canada
Hulett, Inc. Contact: Valerie Landers
Mac Warnell has announced his re- 212-248-5000, ext. 117
tirement from the position as Director vlanders@iesna.org
www.iesna.org
of International Sales with SPI
October 14-17
Lighting, Inc. Warnell has been in-
volved with the lighting industry since
See you IESNA Street & Area
Lighting Conference
1962. He became associated with SPI
when it was a division of McGraw
in Ottawa Orlando
Contact: Valerie Landers
Edison, and has continued his affilia- at the 212-248-5000, ext. 117
vlanders@iesna.org
tion with the company since its inde-
pendent ownership in 1988. IESNA www.iesna.org
Crawford Lipsey has been named October 22-25
vice-president, sales and marketing, for Annual IESNA Aviation Lighting Seminar
San Diego
the business unit for Holophane,
Newark, Ohio. Since joining Holophane
Conference Contact: Baljit Boparai
609-821-7756
in June of 2000, Lipsey has served as
vice-president of sales. In this newly
August 5-8, 2001 baljit.boparai@flysfo.com
www.iesalc.org
expanded role he will be responsible for
the management of the U.S. sales
force as well as for all product develop-
ment, marketing and engineering for ASHRAE Updates
Holophane. Standard 90.1’s HVAC Section
Alex P. Cheng, LC, a lighting special- Addenda revising parts of the heating, ventilating and air-conditioning section
ist at Gannett Fleming, Harrisburg, Pa., of ANSI/ASHRAE/IESNA Standard 90.1-1999, Energy Standard for Buildings
received the Technical Achievement Except Low-Rise Residential Buildings, have been approved for publication.
Award from the Central Pennsylvania In total, 16 addenda, which consist of minor editorial changes, were approved
Engineers Week Council. In order to for publication. Among the addenda impacting the HVAC section is an addendum
meet the evaluation criteria, Cheng that relates to the International Organization for Standardization (ISO) proce-
had to demonstrate accomplishments dures. The approval for publication is subject to a 15-day appeal period. The
in the areas of academic achievement, addenda will be published by ASHRAE online in the spring.

www.iesna.org LD+A/May 2001 21

 Member News
continued from previous page
High-Lites, Inc., Waterbur y, CT
announced appointment of five new
manufacturers’ independent sales rep-
resentative agencies. Arizona Lighting
Sales, Inc. now represents High-Lites
products throughout the state of
Arizona. Curtis H. Stout/Shreveport is
now responsible for High-Lites prod-
ucts throughout the greater Shreve-
port, La. territory. Curtis H. Stout/
Gulf Coast, Inc. is concurrently res-
ponsible for High-Lites products
throughout Mobile, Ala. and the Flori-
da panhandle. Stiles & Associates,
headed by George Mays will represent
High-Lites products throughout the
Las Vegas area. United Associates will
represent High-Lites products in the
greater Charlotte, N.C. area.
The Electrical Consulting Engineer-
ing firm of Delan & Dustin, Inc.
announced the appointment of James
Knoerr as vice-president of the firm.
Knoerr has been a project engineer
with the firm since 1995. He is a reg-
istered professional engineer in the
state of Wisconsin, Illinois, California,
Mississippi and Louisiana, and has
been certified by the National Council
of Engineering Examiners. His new
duties include production scheduling
and director of employee educational
programs as well as continuation of
his present responsibilities as a pro-
ject engineer. Knoerr was also a past
president of the Milwaukee Section of
the IESNA.
Errata
Lumenation Lighting Design was
inadvertently left out of our March
issue listing of Copper Sustaining
Membership. The IESNA and LD+A
regrets the error.
e-mail a
letter to the
editor:
cpalermo@iesna.org
22 LD+A/May 2001
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
DIAMOND
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.
Detroit Edison
Edison Price Lighting, Inc.
Finelite, Inc.
Indy Lighting, Inc.
Kurt Versen Co.
Lexalite Int’l Corp
Lighting Services, Inc.
Lightron of Cornwall, Inc.
LSI Industries, Inc.
Martin Professional, Inc.
Matsushita Electric Works, Ltd.
Musco Sports Lighting, Inc.
Niagara Mohawk Power Corp
Poulsen Lighting, Inc.
Prudential Lighting Corp
San Diego Gas & Electric
SIMKAR Corp
SPI Lighting, Inc.
Steelcase, Inc.
The Bodine Company
The Kirlin Company
United Illuminating Co.
Visa Lighting
IESSUSTAINING
MEMBERS
SILVER
Ardron-Mackie Limited
Aromat Corp.
Axis Lighting, Inc.
Bartco Lighting, Inc.
BJB Electric Corporation
Canlyte, Inc.
Carinci Burt Rogers Eng, Inc.
Cinergy PSI Energy
City of San Francisco Bureau of Light & Power
Con Edison Co of New York
Con-Tech Lighting
Custom Lighting Services LLC
Custom Lights, Inc.
Day Lite Maintenance Co.
EEMA Industries
Elf Atochem North America Inc.
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.
Kansas City Power & Light Co.
Kenall Mfg Co.
King Luminaire Co.
Kirby Risk Supply Co, Inc.
Ledalite Architectural Prdcts
Lee Filters
Legion Lighting Co.
Leviton Mfg Co, Inc.
Linear Lighting
Litecontrol Corp
Litelab Corp
Litetronics Int’l, Inc.
Lucifer Lighting Co.
Multi Electric Mfg, Inc.
Optical Research Associates
Optima Engineering PA
P & K Pole Products
Paramount Industries, Inc.
Portland General Electric
Power Lighting Products, Inc.
Prescolite, Inc.
PSE & G
R A Manning Co, Inc.
Radiance, Inc.
Reflex Lighting Group, Inc.
Sentry Electric Corp
Shakespeare Composites & Electronics Division
Shaper Lighting
Shobha Light Designers
Southern California Edison
Stage Front Presentation Sys.
Stebnicki Robertson & Associates
Sternberg Vintage Lighting
Sterner Lighting Systems, Inc.
Strand Lighting, Inc.
TXU Electric & Gas
Vestar Limited
W J Whatley, Inc.
WAC Lighting Co.
Wiko, Ltd.
Winnipeg Hydro
Wisconsin Public Service Corp
As of April 2001
www.iesna.org
 2001 IIDA Entries
The following design projects were
submitted to the IIDA program through
respective sections of the IESNA, and
reported to the IESNA office in New
York. These projects will proceed
through the IIDA judging process dur-
ing the coming months, with final merit
and international-level awards to be
CANADIAN REGION
(Jana Nor)
Montreal Section (Roger Gervais)
Lighting Chateau Frontenac: A.
Guiholt, T. Guilhot, S. Laquerre
Lighting the Foothbridge Straddling
Aux Sables River: L. Fortin, J.
Bouchard, R. Fay
Sports Center – College Regina
Assumpta: R. Savard
National Capital Section
(Gerry St. Michael)
Canadian National War Memorial &
Tomb of the Unknown Soldier: M.
Conboy
Human Resources Development
Canada Management Centre: L.
Lalande, D. MacLellan, J. Brown
La Cité Collegiale – Technological
Amphitheatre Fit Up: F. Dussault
National Defense Control Centre: L.
Lalande, A. Midgley, G. Moore, D.
Brooks, A. Rankin, M. Tite
Parliament Hill: P. Gabriel
Personal Environmental Controls: I.
Pasini
Plaza Bridge: M. Conboy
Software Development Lab: W.
Needham, J. Salem
Toronto Section (Jerry Mobillo)
Bensimon Byrne Advertising: T.
McDonnell
Canary Wharf Wayfinding &
Signage: K. Muller
Casino Point Edward: F. Carinci, R.
Hopkins, D. Morettin
Christopher Ondaatje South Asian
Gallery: S. Powadiuk
CIBC Executive Boardroom: S.
Powadiuk
City Hall Redesign: D. Parks
Geraldton Heritage Interpretive
Centre: S. Powadiuk
Private Residence: R. Forbes-Gray,
G. Boccini
Sterner Automation: R. Forbes-Gray
Techspace: S. Powadiuk
The Golden Rule: St. Michael’s
College School: J. Gulino, C.
Thacker, L. Kavanagh
The Prince Arthur Mansions –
Archway Lighting: W. Schelnman,
D. Scappaticci
Thunder Bay Charity Casino –
Exterior Lighting: D. Nash, D.
Scappaticci, K. Kapush
Thunder Bay Charity Casino –
Interior Lighting: R. Wong, D.
Scappaticci, K. Kapush
www.iesna.org
announced at the IESNA Annual
Conference (and spotlighted in the
August issue of LD+A).
This list contains all entries received
by March 27, 2001. Listed in paren-
thesis are the regional IIDA chairs and
the section chairs, respectively.
The 2001 IIDA Committee consists
of Zoe Taylor Paul, chair; Jim Zastov-
EAST CENTRAL REGION
(Dave Safford)
Blue Ridge (Leland Gammon)
Roanoke College Campus Center
Atrium Lighting: B. Alcorn
Roanoke College Campus Center
Wortmann Ballroom: B. Alcorn
Maryland Section (Brian Walsh)
Applied Physics Lab – Building 26:
F. Lucas, L. Thomas-Kaonohi, E.
Miller
Saint Ignatius Church: B. Dunlop, J.
Suttner, M. Murphy
Philadelphia Section (David Safford)
Bloomberg Financial: G.
Golaszewski, K. Brooks
Burdines – Florida Mall: A. Borden,
M. Barber, W. Kader
Caanan House University Museum:
G. Kay
City Hall Records Office: M. Alcaraz,
J. Brown, B. Groch
Francis Jerome Cosmetics: P. Pitzer
Gymnasium Lighting Renovation: J.
Camarota
Inspector Sees What the Customer
Sees: C. Watson, D. Rodstein
J&B Software: K. Keilt, A. Hladio
Loews Philadelphia Hotel: M.
Komitzky, P. Helms, S. Cole
Lucy the Elephant (EPRI): G. Kay
Lucy the Elephant (Interior): G. Kay
Modern and Contemporary Gallery:
M. Alcaraz, B. Hahnlen, P.
Whiden, M. Sheridan, J.
Schlecter, A. Slavinskas
Museum Shop: M. Alcaraz, B.
Hahnlen, G. White
PA Turnpike Commission Tuscarora
Tunnel: C. Oerkvitz, G. Forstater,
G. Schorn
Philadelphia City Hall Façade
Lighting Mock-Up: A. Borden, J.
Panassow, J. Bryan
Re-lighting of the Benjamin Franklin
Bridge: D. Edenbaum, S. Stashik,
R. Grenald
Renovation & Expansion of WHYY:
A. Borden, E. Friar
Richmond Town Square Renovation:
H. Diemer, J. Panassow, B.
Cotter, D. Pasttison
Schuylkill River Bridges: R. Grenald,
C. Sarge
Singapore Turf Club: M. Alcaraz, R.
Cunningham, G. Golaszewski, R.
Garman, R. Ghisu, J. Chase
Sports Challenge Exhibit: M.
Alcaraz, B. Hahnlen, R. Ghisu, W.
Crimm
St. Mary’s Steeple: G. Kay
nik, secretary; Lorinda Walters Flores,
Kevin Flynn, Renee Green, Jim Harpest,
Howard Kosowky, Bob McCully, Jim
Mewes, Jerry Mobilio, Donald New-
quist, Phil Santia and Mary Tatum; and
advisory members: Larry Ayers, Robert
Carlson, William Hirons, Frank LaGiusa
and Jerry White.
The First Presbyterian Church Grosse Pte. United Methodist
(EPRI): K. Keilt, A. Hladio Church: R. Trudelle, C. Pappas
The First Presbyterian Church Independence Elementary School:
(Interior): K. Keilt, A. Hladio G. Ziegler
Jackson National Life Headquarters:
Susquehanna Section R. Manriquez, J. Gezwing
(Sheila Martin) Siemens Automotive: B. White, P.
Delta Development Group: J. Balan Ramin
Hagerstown Hampton Inn North: D. Stoney Creek High School: G.
Blontz Ziegler
Norfolk Southern Intermodal
Facility: A. Cheng Rochester Section (Philip Nelson)
Pinnacle Health System Fredrickson The Great Hall – Rush Rhees
Outpatient (Exterior): S. Good Library: T. Bucher, J. Durfee, C.
Pinnacle Health System Fredrickson Jensen, M. Pandolf
Outpatient (Interior): S. Good
The Spartan Center – Elliptical Stair: Western Michigan Section
K. Yancey, L. Cronin, S. Good (Greg Stein)
The Spartan Center: K. Yancey, L. Brandon Middle School (Exterior): H.
Cronin, S. Good Vines, T. Gasser
Town Center Site Lighting: K. Brandon Middle School (Interior): H.
Yancey, L. Cronin, S. Good Vines, T. Gasser
US Route 30: D. Strong, A. Cheng Designware Warehouse Lighting: W.
Mayne, S. Thompson
GREAT LAKES REGION Porter Hills Presbyterian Village
(Jim Fowler) Wellness Center: H. Vines
Cleveland Section (Rita Koltai) Western New York Section
Big Fish Restaurant – Exterior: B. (Don Wrobel)
David Canisius College Montante Cultural
Pioneer Standard/Keylink Systems: Center: T. Fowler
R. Koltai St. Stephen’s Roman Catholic
Progressive Insurance Building 3 – Church: R. Soto
Open Offices: B. David
St. Joseph Church – Exterior: D. SOUTH PACIFIC COAST REGION
Bacik, E. Radziszewski (Mark Seegel)
St. Joseph Church – Interior: D.
Bacik, E. Radziszewski Arizona Section (Greg Gapen)
Anthem Country Club: W. Spitz, B.
Indiana Section Shelly, B. Hawthorne
(Myron Martin, Sam Hurt) Bethune Residence: A. Louie
Hill-Rom Museum: M. Sommers, G. Biltmore Mountain Estates
White, D. Goforth, M. Martin Residence: R. Schneider
Indiana Repertory Theatre: S. Coffin and Trout Jewelers: A. Louie
McComas, S. Rowland Congregation B’nai Israel Sanctuary
Indiana War Memorial 151st Field Remodel: S. Dent, R. Nordhaus
Artillery Post of Command Greenberg Residence Landscape: K.
Exhibit: S. McComas Wilde
LightSource: L. Donato, M. Martin Prince of Peace Catholic: W. Spitz,
Reis Nichols: S. McComas M. Mueller
Resurrection Life Youth Center: E. Saint Joan of Arc Catholic Church:
Paget, D. Herscher, N. Ybarra, V. R. Hawthorne, W. Spitz
Phillips The Shops at Gainey Village: R.
Hawthorne, W. Spitz
Michigan Section (Mark Gadzinski) Uh-oh Clothing Boutique: A. Louie
Asarian Cancer Center – Healing Virginia Piper Trust Foundation: A.
Center: P. Wroblewski Louie
BMW Office Renovation: D. Rodi-
Barczys Golden Gate Section
Dickson Cyberexpress: K. Klemmer, (Angela Lawrence)
R. Harwood, A. Wood, M. Amway Corporate Headquarters,
Huggins Tokyo: D. Witte
General Motors Tech Center: B. Berkeley Wireless Research Center:
White, P. Ramin, D. Franklin A. Lindsley, M. Shefren
continued on following page
LD+A/May 2001 23

IIDA Entries
continued from previous page
Cannon Constructors S.F. Office: M.
Souter, K. Coke
Church of the Nativity: C. Ng
Coca Cola Fan Lot at Pacific Bell
Park: T. Becker, N. Schwab
Experience Music Project – Lobby,
Café, and Retail Areas: T. Becker,
K. Roberson, N. Schwab, J.
Holladay
KTA Offices (EPRI): TJ. Towey, K.
Komorous
KTA Offices (Interior): TJ. Towey, K.
Komorous
Mary Stuart Rogers Music Hall: P.
Glasow, S. Porter
Men in Black Alien Attack –
Interiors: N. Schwab, K.
Roberson, T. Becker, D. Bowling,
B. Malkus, J. Holladay, J. Fisher,
P. Eisenhauer
Palo Alto Westin Hotel: M. Souter,
E. Huang
The Plant Recording Studio – The
Garden Mixing Room: T. Becker,
C. Marcheschi
Trader Vics: D. Hawthrone
W Hotel – San Francisco: M. Souter,
E. Huang
W Hotel – Seattle: M. Souter, E.
Huang
Los Angeles Section (Mark Seegel)
Boeing Building 043 Product Dis-
play and Training Facility: L. Reed
Breeze Restaurant: K. Fuller, B.
Shankar
Callaway Gardens Discovery Center:
K. Fuller, B. Shankar
Carsdirect.com: K. Jones, A. Powell,
C. Israel
Chapman University BIT Building: J.
Dunn, T. Brogden
DisneyQuest, Chicago: P. Dinkel, C.
Breakfield, S. Westbrook, L. Yates
Dodgers Stadium Renovation: A.
Powell
Gaudi Bar: J. Cooper, M. Rosenberg
Hollywood/Highland Metro Rail Sta-
tion: T. Brogden, J. Nolan, S. Klein
Hyatt Regency Lake Las Vegas: T.
Nord, B. Shankar
LAX Gateway Enhancement: D.
Hollingsworth, J. Windle, E.
Powell, P. Tzanetopoulos
Legal Research Network: C. Israel,
F. Feist
Lutèce: P. Quigley, D. Fox
Mandalay Bay – Bayside Buffet and
Noodle Bar: J. Cooper, S. Whitaker
Mandalay Bay – Hotel & Casino: J.
Cooper, S. Whitaker
Marriott Hotel at JR Tower: T. Nord,
B. Shankar
Norton Simon Museum Screening
Room: L. Reed
Oglivy & Mather: C. Israel, F. Feist
Otaru Hilton: B. Shankar, K.
Tanimura
Skechers USA Concept Store: A.
Jain
Sky Harbor Terminal 3 Rockwork: E.
Thomas, D. Hollingsworth
Studio Walk at the MGM Grand
Hotel & Casino: J. Cooper, I.
Silbert, M. Rosenberg
24 LD+A/May 2001
Sunset Station – Hotel & Casino: J.
Cooper, M. Rosenberg
Taj Mahal Hotel: K. Ganti, B. Shankar
TRW Systems Federal Credit Union:
L. Reed, F. Feist
Tsunami Asian Grille: P. Quigley, D.
Fox
Wieden & Kennedy Agency
Headquarters: T. Brogden, T.
Aghassian
Orange Section (Adrienne Kelly)
Bear Street Bridge, South Coast
Plaza: F. Krahe, J. Fox, J.
Poulson, N. Ogle
Calvary Chapel – Silverado Canyon:
S. Arnold
Disney Store – Exterior: T. Ruzika,
B. Castaneda
Disney Store – Interior: T. Ruzika, B.
Castaneda
Downtown Disney at Disneyland
Resort: F. Krahe, J. Fox, P. Butler,
P. Henshall, D. Manfredi, A.
Mayer, M. Willie, W. Chao
Old Bank Building Renovation: T.
Ruzika, M. Finney
PF Changs China Bistro at The
Aladdin: K. Kosiba, J. Blonstein, J.
Gamble, G. Crespo, J. Proctor, B.
Stabstad
Quiksilver Headquarters: F. Krahe, T.
Givler, J. Bauer, A. Wiley, R.
Hassel
Schneider Residence: E. Reo
The Block at Orange: F. Krahe, Y.
Mendoza, K. Pavek, R. Allaire, B.
D’Agostino, C. Izzo
The Shops at Mission Viejo: F.
Krahe, Y. Mendez, T. Givler, J.
Fox, R. Altoon, G. Dempster
Utah Section (Phillip Whisenhunt)
Children with Special Health Care
Needs Office: J. Good
Ford Motor Building Adaptive
Reuse: K. Garner, T. Higgins
KTUX Broadcast Facility: J. Good
Market Street Restaurant and
Oyster Bar at the Cottonwood
Corporate Center: K. Garner, T.
Higgins
Riley Elementary School: J.
Martinez
Salt Palace Expansion - Exterior: C.
Feldman
Salt Palace Expansion – Interior: C.
Feldman
Southtown Convention Center: J.
Good
Sutherland Moot Courtroom: J.
Good
Utah Department of Transportation,
Operations Center: J. Good, C.
Forrest
MIDWEST REGION
(Kathi Vandel)
Black Hawk (David Shelley)
Swiner Designer: J. Eman, M. Culver
Chicago Section (Rick Kellen)
Accenture: M. Sills, S. Riebe, P.
Hagle, J. Seegers, K. Mikuta, C.
Severson, S. Vignali, S. Andersen
Amazon Rising: Seasons of the
River: R. Shook, E. Klingensmith,
A. Ackerman
First United Methodist Church: M.
Sills, S. Johnson
General Growth Properties, Learning
Mall: M. Sills, S. Riebe, C.
Griffiths, M. Reinhart, G. Tadin, L.
Leskaj, R. Houts, S. Andersen, M.
Morga
Happy Boys and Girls: W. Charter,
D. Jennerjahn, C. McGrath
Loop Lighting Improvement –
Randolf Street: M. Maltezos, J.
Stanley, S. Kinzie
Loop Lighting Improvement – West
Randolf Street: M. Maltezos, J.
Stanley, S. Kinzie
Northwestern Memorial Hospital
Campus Streetscape Lighting: M.
Pelikan
Old St. Patricks Church: R. Shook,
J. Baney, M. Urban
Ourhouse.com: M. Sills, C. Lewis,
M. Everts, H. Wasilowski
Real Goods: W. Charter, S. Riebe, K.
Lawson
Second Street Bridge: R. Shook, J.
Baney, E. Klingensmith
Ten East Doty Lobby: M. Sills, D.
Jennerjahn, E. Saltzman
Union Station Multiplex: J. Knox, L.
Boeke
USG Solutions: M. Sills, C. Lewis,
M. Everts, J. Valerio, R. Mattheis,
H. Wasilowski
Heart of America Section
(Anne Lindberg)
Baron BMW: J. Pierce, K. Vandel, C.
Leech
Birch Telecom Lobby and
Conference Center at D.A. Morr:
D. Porter, K. All
Birch Telecom Open Office at D.A.
Morr: D. Porter, K. All
Delmonico’s Steakhouse: D.
Kohnen, M. Frank
Douglas County Jail: P. Robertson
Golf Course Superintendents
Association of America: K. Green
Pony Express Bank: R. deFlon, M.
Anthony
River City Studio: D. Porter, A.
Matlock
Milwaukee Section (David Drumel)
Brown County Courthouse Exterior
Lighting Remodel: C. DeWaal
DCI Marketing – Conference Room:
M. Cooper
Fluno Center for Executive
Education: M. Cooper
Kenosha Public Museum: J. Cody
Legacy Lighting at the State
Capitol: K. Kozminski, L. Davis, R.
Nelson
Offices of Eppstein Uhen Architects:
L. Howard, S. Klein, TJ Morley
Offices of Grunau Project
Development: S. Klein, D. Drumel
Playing with Food (EPRI): M. Peck
Playing with Food (Interior): M. Peck
Prairie Heaven: M. Colegrove
Private Motor Yacht: L. Howard, S.
Klein
Seeing Green!: M. Colegrove
Weber Residence: M. Cooper
St. Louis Section (Sandy Frederich)
Bass Pro Shops Prototype: R. Kurtz,
R. Burkett, N. Clanton, D. Nelson
Boeing Leadership Center: T.
Kaczkowski
Chicago Creative Partnership: M.
Herman
Civil Courts Floodlighting: T.
Kaczkowski, D. Raver
Commerce Bank: R. Kurtz, R.
Burkett, E. MacKey, E. Crader, M.
Englemohr
Forest Park Twins: T. Kaczkowski,
D. Raver
Mansion House Lighting & Signage:
S. Frederich, R. Wagstaff
Nidus Center for Scientific Enter-
prise: D. Raver, T. Kaczkowski
R.G. Brinkman Construction Co.: W.
Gray, G. Wehmeier
Research North Lobby at Ralston
Purina: D. Raver
SJI: M. Herman, B. Kaemmerlen
Statue of St. Louis Floodlighting: T.
Kaczkowski, D. Raver
Ursas Café: A. Feddersen-Heinze, H.
Testa
Xtra Lease, Inc.: J. Meyer, S. Drake
Twin Cities Section (Chad Watters)
Accenture: J. Crosby, P. Koski, T.
Messerli, G. Lecker, D. Mutcher,
J. Thibault
c’More Medical Solutions: A. Friend
Corporate Cafeteria: T. Ham, I. Keer,
M. Ostrom, A. Hillebregt
D. Zimmerman, G. Behm, T.
LaDouceur
McNamara Alumni Center –
Memorial Hall: L. Tredinnick, M.
DiBlasi
Minnesota Chapter of the ASID: A.
Friend
Notre Dame’s Main Administration
Building: J. Dehnert, L. O’Connell,
T. Ham, D. Zimmerman, G. Behan
Pentair Executive Offices: G.
Heumann, D. Thomas
SOUTHEASTERN REGION
(E. Frank Clements)
Alabama Section
(Stephanie Johnson)
Jefferson County Courthouse: J. Gill
Levy’s Fine Jewelry & Gifts: B.
Herrington, F. McComb, S.
Boomhover
TSUM Clock Tower and Plaza: S.
Adams
Central Florida Section (Mike Cahill)
IXL Client Center: D. Bowling
Georgia Section (Morgan Gabler)
A’Wow Presentation Space: R. Noya
Colony Square: T. Bell
Korean World Trade Center: P.
Helms, J. Shimmin
Soft Transparency: R. Noya
Greater Triad Section
(Katherine Doyle)
GMAC Interactive Building Sign: D.
Yanusz
Mid-South Section (Robert Burris)
Starabilias: L. Roper
The Forth Bridge: R. De Alessi, T.
Connor
continued on following page
www.iesna.org

IIDA Entries
continued from previous page
The Seattle Space Needle: R. De
Alessi, C. Woods, B. Medsker
Mississippi Section (Thomas Rhaly)
Mississippi Memorial Stadium
Renovation: M. Woolard, J.
Browning
Mississippi Trade Mart Renovation:
J. Browning
Northeast Florida Section
(Michael Vranesh)
Acosta Bridge/Skyway Express
Neon: D. Laffitte, R. Richardson
ADT Customer Service Center: D.
Laffitte
Southeast Florida (Keith Rosen)
Ferrel Schultz Carter Zumpano &
Fertel: R. Carlson, E. Holland, I.
Garcia
Holly Hunt Showroom – Miami: S.
Bistrong
Sky TV: M. Wolk
Virgin Atlantic Airways – SF Lounge:
S. Bistrong
Tennessee Valley Section
(Bob Harden)
To Conserve a Legacy: M. Haggitt
NORTHEASTERN REGION
(Megan Carroll)
Mohawk Hudson Section
(Kenn Latal)
A Modest 1930’s Troy Residence:
N. Miller
Lighting Research Center,
Rensselaer Polytechnic Institute:
H. Brandston, D. Zuczek, J. Brons
St. Mary’s / St. Paul’s Church: N.
Miller
Suny Postsdam Re-Lighting of
Hosmer Concert Hall: M.
Anderson
New England Section (Rick Paradis)
Adaptive Reuse of the MERCADO
D’ABASTO: A. Kibbe, C. Ripman
Autostadt: K. Abernaty, S. Rosen,
M. Warner
Boston University Student Village
(BU Dorms) Public Areas: M.
Loeffler
Chandelier Restoration, University &
Baker Halls: H. Moss, R. Zeitsiff
Fort Trumball State Park: C.
Ripman, C. Walsh
Irving S. Gilmore Music Library: A.
Kibbe, C. Ripman
Lighting the Spires of Harvard:
Memorial Church: C. Ripman, C.
Walsh
Lighting the Spires of Harvard: Mem-
orial Hall: C. Ripman, C. Walsh
MIT Building One Classrooms: I.
Khan, S. Mahler, J. Berg, J. Sladen
Nyanja! Africa’s Inland Sea: S.
Rosen, M. Graves
Terminal Expansion, Manchester
Regional Airport – Exterior
Lighting: C. Ripman, B. Morley
26 LD+A/May 2001
Terminal Expansion, Manchester
Regional Airport – Interior
Lighting: C. Ripman, B. Morley
The C. Bernard Shea Rowing
Center: C. Ripman
The Great Platte River Road
Archway Monument: S. Rosen, K.
Abernathy
The New Music Building, The
Lawrenceville School: C. Ripman,
C. Walsh
The Relighting of St. John’s Chapel:
C. Ripman
University of Pennsylvania Chiller
Plant: R. Osten, J. Hamilton, J.
Brown
USPS Processing and Distribution
Center: H. Gerber
New York Section
(Shoshanna Segal)
Addison Circle Rond Point: S.
Bernstein, D. Rogers
American Museum of Natural
History: C. Stone, H. Forrest, M.
Toomajian
Asian Spice at Resorts: P. Gregory,
J. Nathan, D. Rockwell
Audrey Jones Beck Bldg, Museum of
Fine Arts: P. Marantz, R. Renfro,
H. Forrest
Bates USA: B. Horton
Bergdorf Goodman – Plaza Level: R.
Cooley, E. Monato
Beyond Day Spa: M. Hay, B. Kuchler
Brasserie 8 1/2: P. Marantz, R.
Schoenbohm, R. Gomez
Bratton Theater, Chautauqua
Institute: R. Davis
Brian Clarke Cone, UBS AG
Headquarters: S. Margulies
Calvary Episcopal Church: C. Cosler
Carnegie Science Center – E-motion
Light Sculpture: M. Tanteri, S.
Caan, N. Goldsmith
Celebration Health: M. Harris, B.
Horton
Condé Nast Cafeteria: S. Margulies,
F. Soler, S. Szynal
Condé Nast Headquarters: S.
Margulies, F. Soler
Congregation B’nai Yisrael: A. Kale
Conran Shop and Guastavino’s
Restaurant at Bridgemarket: P.
Marantz, S. Hershman
District: P. Gregory, C. Cameron, J.
Bosse, D. Rockwell
Emerils: P. Gregory, A. Sebeshalmi,
D. Rockwell
Explorer Dining Room: P. Marantz,
R. Schoenbohm, R. Manning
George Washington Bridge Tower:
D. Gonzalez, G. Gouls, A.
Wadhwa, S. Buracksilapin
Great Bazaar: J. Fisher, I.
Eisenhauer, D. Rockwell
Greenwich Hospital: S. Brady, A.
Uysal
H&M Flagship Store: P. Gregory, A.
Sebeshalmi
Hensel Hall - Ann & Richard Bar-
singer Center for Music: C. Cosler
Hoboken Train Station Waiting
Room: T. Thompson, R. Burns, J.
Plumpton, S. Lyn
Hotel Giraffe: B. Horton
House for a Bachelor: G. Gordon
International Business Technology
Management Office: R. Prouse,
B. Walter, R. Kliment, F.
Halsband, A. Diez, S. Broughton,
G. George, T. Solsaa
International Center of Photography:
C. Stone, E. Carrera, B.
Mosbacher
Iwataya Passage: M. Tanteri, J.
Valgora, N. Goldsmith
JFK Terminal One: D. Gonzalez, G.
Gouls, M. Merza
JP Morgan Arrakis Center: S.
Margulies, J. Bailey
Kirkpatrick & Lockhart: C. Stone, E.
Carrera, B. Mosbacher
Knoll Inc. Showroom: P. Gregory, D.
Ades, L. Flores
Light Threshold: J. Carpenter, R.
Kress, M. Tanteri
Loews 42nd Street Theatres: P.
Gregory, B. Anderson, D.
Rockwell
LVMH Tower: P. Marantz, S.
Hershman
Meyers Midway Garage: J.
Underwood
Museum and Visitors Center Samuel
FB Morse: F. Bettridge, M.
Salzberg, A. Hibbs
Mystic Aquarium and Institute for
Exploration: F. Bettridge, D.
Rogers
NASDAQ Marketplace: A. Kale, C.
Knowlton, S. Brill
New York Institute: C. Cosler
Newark Penn Station: D. Gonzalez,
D. Tulchin, M. Merza
Niagara Mohawk Headquarters
Exterior Ltg.: H. Brandston, J.
Halser, B. Rutledge, K. Simonson,
B. Carter
Nobu Vegas: P. Gregory, K.
Donahue, D. Rockwell
NOMI: D. Singer, M. Koyama, L.
Ivanovska
Nortel Networks Executive Briefing
Center: S. Bernstein, D. Rogers
Osmanthus Garden: T. Lin, C. Lien,
W. Wong, W. Wen, S. Wu, P. Lin,
M. Pon, K. Tseng, S. Lin
Oxygen Media: S. Brady
POD Restaurant: C. Johnson, J.
Ning, D. Rockwell
Pratt Institute – School of Archi-
tecture: D. Singer, M. Koyama
Predictive: D. Singer, J. Gim
Raleigh Durham Airport Parking
Garage: F. Bettridge, D. Rogers
Resorts: P. Gregory, J. Nathan, D.
Rockwell
Rosa Mexicano: P. Gregory, D.
Rockwell
Royal Promenade Oculus: C. Stone,
R. Schoenbohm, L. Kirkland
Sea Grill Restaurant: A. Kale, C.
Knowlton
Shanghai Lilly: D. Singer, R. Fernan-
dez, M. Koyama, L. Ivanovska
Shapiro Residence: D. Singer, M.
Koyama
Sony Theatres – Metreon: P. Greg-
ory, B. Andersen, D. Rockwell
Strip House: P. Gregory, L. Flores, D.
Rockwell
The Apartment: A. Kale, M. Hunter
The Butterfly Conservatory: D.
Clinaro
The Lord Group: S. Brady, K. Loren
The New 42nd Street Studio
Building Façade: A. Militello
The Tonic Restaurant: M. Kruger
Trading Floor Expansion, New York
Stock Exchange: M. Mehl
Tribeca Grand Hotel: P. Gregory, B.
Anderson, S. Spelninhauer
U.S. Federal Courthouse: P.
Marantz, S. Hershman
United States Courthouse,
Lafayette, Louisiana: F. Bettridge
Warren Hall, Columbia Graduate
School of Law & Business: K.
Douglas, D. Mintz
Winners Club: K. Goldstick
Western New England Section
(William Llewellyn)
Exploration Place: W. Warfel, S.
Schrager
Yale University School of Art: G.
Gordon
NORTHWEST REGION
(Ross Probert)
British Columbia Section
(Darren Luce)
Burnaby Mountain Secondary
School: J. Jay, D. Kaardal
Coastal Forest Thematics Area: D.
Welch, P. Hodson
H2O + Store, Vancouver: G.
Zbrizher, P. Gowland, B. North
Moose Creek Village, at YVR: M.
Graham, C. Curren
NISGA’A USM Government Building:
M. Graham, R. Pacheko
Pender Place: E. Wormsbecker, K.
Bunn, G. Zbrizher
Richmond City Hall: M. Graham
Thompson Community Centre: R.
Hughes, C. Suvagau
Vancouver City Council Chambers:
P. Hodson, D. Welch
Chinook Section (Jeff Bannard)
Airport Corporate Center: L. Barone,
B. Boucoek
Bow Parkade: P. Fritz
Calgary Exhibition and Stampede
Roundup Centre - Exterior: R.
Robertson, S. Mahler, B. Currie
Calgary Exhibition and Stampede
Roundup Centre – Interior: R.
Robertson, S. Wappel, B. Currie
Corus Entertainment: P. Mercier, M.
Rajain, K. Creen
Grabbajabba: G. Korenicki
Hyatt Regency Hotel: H. Doornberg,
D. Reitz, S. Martens
Transalta T1 Floor Renovations: L.
Barone
Utilicorp Networks Canada Office –
(EPRI): B. Maitson
Utilicorp Networks Canada Office –
(Interior): B. Maitson
Wiebe Forest Engineering Offices: L.
Barone, J. Bannard
Northern Gateway Section
(Ross Probert)
Biological Sciences Research
Growth Rooms: R. Rogers
School of Business Lighting
Upgrade: R. Rogers, W. Brenner
www.iesna.org
 Oregon Section (Stephanie Cissna)
ArchCape Residence: A. Humphrey,
E. Gerding
Bertil Vallien at Bullseye Glass: V.
Batho-Demelius
Botsford Residence: M. Godfrey, V.
Batho-Demelius, E. Levin
Christiane Millinger Oriental Rugs at
the Wieden and Kennedy
Building: V. Batho-Demelius
Classical Chinese Garden: R. Dupuy
CNF ADTECH Center (EPRI): A.
Humphrey, K. Davis, K. Andersen
CNF ADTECH Center (Interior): A.
Humphrey, K. Davis, K. Andersen
EastBank Riverfront – Phase I & II:
A. Viado, S. Smith, C. Mayer-Reed
Hickox Salon & Spa: J. Davis
Lane County Juvenile Justice
Center: G. Hansen
Molecular Probes: T. Adams
Nike Parking Building “P”: M.
Ramsby
OSU Valley Library: M. Ramsby
Pacific Continental Bank, West 11th
Branch: G. Hansen
Portland International Airport
Canopy: M. Ramsby, C. Oty
PSU IC Lab: C. Oty, S. Emmons
Sandstrom Residence: E. Levin
St. Anthony Catholic Church: J.
Davis, J. Rogers
University of Oregon Recreation &
Fitness Center: G. Hansen
Uvona/Rapidign: V. Batho-Demelius
Washington State University Stu-
dent Recreation Center (EPRI): A.
Humphrey, K. Davis, B. Curry
Washington State University Stu-
dent Recreation Center (Interior):
A. Humphrey, K. Davis, B. Curry
West Hills Residence: V. Batho-
Demelius
West Linn High School: C. Oty
Woodstock Library: C. Oty
Puget Sound Section (Gloria Koch)
Pacific Place: S. Darragh, J. Miller
Reebok World Head: S. Darragh,
J. Miller
Café 9: D. Simpson
F5 Networks: S. Rhodes
Café 9 (exterior): D. Simpson
LaGuardia Airport: G. Lunde
SOUTHWESTERN REGION
(Sean Gaydos)
North Texas Section
(Dave Comer, Sean Gaydos)
“Chihuly, Inside and Out,” at the
Joslyn Art Museum: E. Levin, V.
Batho-Demelius, D Palin
Abuelo’s Mexican Food Embassy: J.
Whelan, M.Tresp
American Light Facility Solutions
Group Dallas Showroom: B.
Graham, B. Lieber, R. Lee
Business Jet Center (Exterior): R.
Mapes, E. Levin, C. Roeder, G.
McAnear
Business Jet Center (Interior): R.
Mapes, E. Levin, C. Roeder, G.
McAnear
Carlson Capital Office Space: P.
Wilson
Crockett Residence (Exterior): M.
Maloney, V. Batho-Demelius, M.
Godrey, E. Levin
www.iesna.org
Crockett Residence (Interior): M.
Maloney, V. Batho-Demelius, M.
Godrey, E. Levin
Driskill Hotel: M. Keilson
Marriott South Beach Hotel: M.
Keilson
Miller of Dallas: J. Klores
PANJA: T. Weiss, K. Weiss
Parkland NICU: J. Klores
Renovation of the French-Brown
Showroom: T. James, S. Lawson
Sacred Space Exhibit: P. Wilson
Stonebriar Office Lobby: H. Hobbs
Temerlin McClain (EPRI): A. Lang
Temerlin McClain (Interior): A. Lang
The Rocket – Republic Center: S.
Oldner
Rocky Mountain Section
(Leo Mendoza)
Republic Plaza Entry Lighting: M.
Rudiger
Telluride Conference Center: D.
Barber, M. Stauth
San Jacinto Section (Tim Carnes)
American General Canopy: J. Bos, L.
Gandy
Brownsville Courthouse Exterior: J.
Bos, B. Bowen
Brownsville Courthouse Interior: J.
Bos, B. Bowen
Corbin Residence Exterior Archi-
tectural Illumination: M. Smith
Dave Chindly Exterior Glass
Sculpture: M. Smith
IAH Terminal A South Concourse
Art: J. Bos, L. Gandy
Interior Parker Residence: R. Schiller
One Briarlake Plaza – Exterior
Illumination: M. Smith, R. Inaba
One Briarlake Plaza – Interior
Illumination: M. Smith, R. Inaba
Private Residence: J. Bos, J.
Youngston
St. Vincent DePaul Catholic Church
Gathering Space and Baptistry:
M Smith
St. Vincent DePaul Main Worship
Space: M. Smith
Steelwood Townhouse Exterior &
Landscape Illuminate: M. Smith
Steelwood Townhouse Interior
Illumination: M. Smith
INTERNATIONAL ENTRIES
Costanera Sur “ A”: E. Diz
(Argentina)
Costanera Sur “B”: E. Diz
(Argentina)
David Jones Rundle Mall Store: B.
Bauer, T. Herndon, W. Way
(Australia)
Decorative Art Illumination of the
Buildings of Railway Station: G.E.
Avetisov, T.G. Magia Di Luce: D.
Passariello (France)
Necropoli Vaticana: C. Ferrara, P.
Palladino (Italy)
Piazza Scala: C. Ferrara, P. Palladino
(Italy)
Awaji Yumebutai: T. Ando, M.
Tanaka (Japan)
Bankoku Shinryokan: M. Ishii
(Japan)
Daito Seiiki Hekiga at Yakushiji: T.
Imazato, K. Nakaya, R. Hotta
(Japan)
Dominique Doucet: Y.Kato (Japan) Mexican Pavilion World Fair
Furano Theater Factory: M. Harai- Hannover 2000: G. Aviles, K.
kawa, T. Katase, H. Kitamura Diederichsen (Mexico)
(Japan) Televisa Master Channel Center: G.
Gifu Prefectural Health Science Aviles, M. Torres (Mexico)
Center: K. Arai, M. Obayashi, H. Mind Zone at the Millennium Dome:
Asaoka, T. Kimata, M Kawaguchi, R. van der Heide, J. Nielsen, B.
H, Kitamura (Japan) van der Klaauw: (Netherlands)
Japan Flora 2000: M. Ishii (Japan) National Museum for Natural His-
K.K. Bestseller Headquarters: R. tory: R. van der Heide, J. Nielsen,
Chikada, D. Hagiwara (Japan) M. Duijzer (Netherlands)
Latent Sound Sea: K. Tanaka, T. Temples of Abu Simbel: H. Hollands
Shono, T. Osamura, S. Endo (Netherlands)
(Japan) Zanns Museum: R. van der Heide, J.
Marine Pia Kobe Porto Bazar: T. Ito, Nielsen, M. Duijzer (Netherlands)
T. Kanou, T. Tanaka (Japan) Holzfachschule: C. Vogt, Z. Vogel
Masuko Memorial Hospital-Artificial (Switzerland)
Dialysis Room: T. Kume, T. Suzuki Visdome: C.Vogt (Switzerland)
(Japan) Avetisova, O.N. Babenko, S.V.
Mediage: A. Kaneda, m. Noto, Y. Seresh (Ukraine)
Kobayashi (Japan) Alexander Graham Bell House,
Mutsu Municipal Library: R. Chikada British Telecom Regional
(Japan) Headquarters (Interior): J. Speirs,
Paruru Plaza Chiba (Elevator Hall on G. Fraser (United Kingdom)
the 9th Floor) S. Sumiyama Alexander Graham Bell House,
(Japan) British Telecom Regional
P-Park 2: Y. Kato (Japan) Headquarters (Exterior): J.
Saitama Shintoshin East Entrance Speirs, G. Fraser (United
Area – Pedestrian Deck: M. Kingdom)
Kakudate (Japan) Buchanan Street Public Realm
Shorakuji: S. Sumiyama (Japan) Project: J.Speirs, G. Fraser, A.
The Kasumigseki Building: S. Shiina Mitchell, M. Innes, L. Nisbet, D.
(Japan) Hamilton, J. Fagg (United
The Resonance: Asahi-machi Eco Kingdom)
Museum: R. Chikada, D. Grenville Shop and Library, British
Hagiwara (Japan) Museum: J. Speirs, C. Ball
The Secret Cave: Le Petit Bedon: R. (United Kingdom)
Chikada (Japan) IBM E-Business Innovation Centre:
Togetsukyo, a Historical Bridge in J.Speirs, C.Ball (United Kingdom)
Kyoto: H. Ide, S. Shiina, T. Mills Mount Restaurant, Edinburgh
Morinaga (Japan) Castle: A. Mitchell, G. Pyatt
Toppan Koishikawa Building: M. Ishii (United Kingdom)
(Japan) Paddington Station: M. Major, J.
Toyota Car Terrace, Omori: M. Speirs, L. Jones (United Kingdom)
Funakoshi, K. Ito, K. Takagi, H. “The Glass Virgins,” Standard Life
Fujita, K. Kawamura (Japan) Headquarters: J. Speirs, G.
Toyota’s Sangokan Civic Center: Y. Fraser, I. Ruxton, G. Laing
Horibe, S. Takahashi, H. (United Kingdom)
Takimoto, H. Kitamura (Japan) UCI Cinema, Norwich: A. Mitchell,
Yachiyo Public Library: K. Nakamura H. Milne, G. Pyatt (United
(Japan) Kingdom)
ZENT Kisogawa: Y. Kato (Japan) Welcome Wing at the Science
Chapultepec Castle: V. Palacio, C. Museum: R. van der Heide, J.
Ortega (Mexico) Nielsen, M. Duijzer (United
La Giganta Museo Jose Luis Cuevas: Kingdom)
G. Aviles (Mexico)
Liberty In Bronze: G. Aviles
(Mexico)
New Website Offers Information
on Recycling Lamps
The National Electrical Manufacturers Association
(NEMA) Rosslyn, Va., unveiled a new website, www.
lamprecycle.org, which features information on lamp recy-
cling for the thousands of U.S. companies who use fluores-
cent or high intensity discharge (HID) lamps. The website
includes information about federal and state regulatory
spent lamp management requirements, state regulatory
contacts, lists companies that handle and recycle lamps,
and describes the environmental benefits of mercury con-
taining lamps and what the lamp industry has done to
reduce its use of mercury contained in these lamps.
LD+A/May 2001 27
 Public Review of the
Draft American
National Standard BSR E1.11
Entertainment Technology — USITT DMX512-A, Asyn-
chronous Serial Digital Data Transmission Standard for Con-
trolling Lighting Equipment and Accessories, is available for
public review and comment. This document is an updating
and revision of the widely used DMX512/1990, which was
originally developed by the United States Institute for
Theatre Technology. The draft document can be obtained
from the ESTA website (www.esta.org/tsp/) or from the
USITT website (www.usitt.org). Comments are due by
April 24, 2001.
Live! Awards Announced
Flying Pig Systems’ Wholehog II lighting console was
voted 2001 Lighting Console of the year and Martin
Professional’s new high-powered moving head, the MAC
2000, was voted Best New Lighting Product by Live! maga-
zine. An industry awards ceremony was held on February 8,
2001 to honor those voted tops in their field in lighting,
sound, staging, and other aspects of the production busi-
ness. Live! Magazine is a UK trade publication for the enter-
tainment industry.

New Members Great Lakes Region

Membership Committee
Chair Jim Sultan announced
the IESNA gained one Sus-
taining Member and 120
Members (M), associate
members and student mem-
bers in March.
SUSTAINING MEMBER
Axis Lighting Inc. Montreal
Canadian Region
William Agnew (M), Hubbell Canada
Inc., Pickering, Ontario
Chris Linzel, Lightscapes, St.
Catherines, Ontario
Glenn Mooney (M), Duke Solutions
Canada Inc., Nepean, Ontario
Dale Parks, Lighting By Nature,
Stouffville, Ontario
Gerald Schreinert, The Specialty
Lighting Company, Mississauga,
Ontario
Brian Thompson, TEK Consultants
Ltd., Fredericton, New Brunswick
Steven Wilcox, New Brunswick
Power, Fredericton, New
Brunswick
Dirk Zylstra (M), Axis Lighting Inc.,
Montreal
Carleton University
Chiara Camposilvan, Philip
Goodfellow, Cu Ha
East Central Region
Cary Baird, Lutron Electronics,
Whitehall, Pa.
Pamela Brookes, Virginia
Department of Transportation,
Richmond, Va.
Adam Carangi, Lighting Design
Consultation, Philadelphia
John Dukes (M), Pepco Energy
Services, Washington, D.C.
Karen Gleba, Lutron Electronics,
Elkridge, Md.
Peyton Glenn Jr., Ebony, Va.
Melvin Hill, Holophane, Philadelphia
Ian Rowbottom (M), Lutron
Electronics Co., Inc.,
Coopersburg, Pa.
Joan Stein, Silver Spring, Md.
Andrew Wakefield, Lutron
Electronics, Allentown, Pa.
Diana L. Bobo, Holophane Co.,
PMWW, Newark, Ohio
Jack Frost, NYSEG, Lockport, N.Y.
James A. Hall, Central Supply Co.,
Indianapolis, Ind.
Kim Hourigan, Lightolier, Schiller
Park, Ill.
Tonya Hughes, Holophane Corpora-
tion, Summit Station, Ohio
James Koryta, Indiana University,
Bloomington, Ind.
Gedra Mereckis (M), ALKCO,
Franklin Park, Ill.
Sandy Newhouse, Scott Electric,
Youngwood, Pa.
Kevin Newquist, ACS/Midwest,
Naperville, Ill.
Abigail Sorensen, Lightology,
Chicago
South Pacific Coast Region
Al Black, Sylvania, Sandy, Utah
Ed Ebrahimian, City of Los Angeles,
Bureau of Street Lighting, Los
Angeles
Tom Grunwald, Holophane, Phoenix
Keith Gunn (M), Designs for
Business, Orinda, Calif.
Erich Hendrickson, California Archi-
tectural Lighting, San Francisco
Dennis Lamenti, HOK, Inc., San
Francisco
Catherine McGroarty, Lighting
Design Alliance, Los Angeles
John Myklebust (M), Lightshow,
Altadena, Calif.
Robert B. Ofsevit, Alamo Lighting,
Concord, Calif.
William Reed (M), Idaho Falls, Ind.
Michael Shearer, Southern California
Illumination, Agoura Hills, Calif.
Loretta Sheridan, Horton Lees
Brogden Lighting Design, San
Francisco
Meir Shetrit, Elite Electric, San
Francisco
Nina Visconti, Holophane Company,
Fullerton, Calif.
Frederick Wenzlaff, Terra Firma
Architectural and Lands, Eagle
Rock, Calif.
University of Colorado Boulder
Melissa Friedland, Craig Spring
University of Southern California
Khaled Al-Jammaz
Midwest Region
William Donald Breunig,
Germantown, Wis.
James Deeds IV, Pulley & Associ-
ates, West Des Moines, Iowa
Edward S. Jakobsze, McGuire
Engineers, Chicago
Benjamin Jordan, University of
Wisconsin, Madison, Wis.
Judson College
Andy Beach, Marc Book, Joe
Buehler, Jason Burger, Joah Bury,
Andrew Centanni, David Cryder,
Stephanie Eggebeen, Brad
Gehrig, Andrew Ivari, Bo Johnson,
Jon Krager, Jon Lindstrom,
Thaddeus Mack, Andrea Mandle,
Stephen Mangeri, Rebecca
Ritsema, Jacob Sertich, Stacy
Snapp, Leanne Taylor, Isaac
Turner
Southeastern Region
Whit Adams (M), Adco Electric Inc.,
Jackson, Miss.
Lisa Ballard, Parsons Engineering,
Nashville
John Kitson, Applied Energy
Management, Greensboro, N.C.
Steve Lafferty, Royale Resorts,
Brandon, Fla.
Peter H. Matecki (M), Shades of
Color, Raleigh, N.C.
Empe Medeli, Miami, Fla.
Dean Nelson, Nelson Electrical
Services, North Miami, Fla.
Jacqueline Owens, JOLA Inc.,
Gainesville, Fla.
Eric Reid (M), Talbot & Associates,
Charlotte, N.C.
Barbara Trombetta, Audio Visual
Innovations, Jacksonville, Fla.
Guido Walther, Tridonic Inc.,
Norcross, Ga.
John Woodburn, Research Triangle
Park, N.C.
Northeastern Region
Susan J. Arnold (M), Wolfers
Lighting, Waltham, Mass.
Daniel Beaudoin, Harvard School of
Public Health, Boston, Mass.
Joseph Cifaldi, Cooper Lighting,
Cranbury, N.J.
Stacy Holmen, Stacy Holmen
Lighting Design, Wilton, Conn.
Steven Laudati, Langan Engineering,
Elmwood Park, N.J.
Robert Lingard (M), OSRAM SYL-
VANIA, Danvers, Mass.
Bohdan S. Mishko (M), NYCTA, New
York
David Vassallo, Aztech Engineering,
Hartford, Conn.
Parsons School of Design
Chad Groshart
Northwestern Region
Sheila Back, Lightolier, Seattle
Sheri Clarke, Puget Sound Energy
Into Light, Bellevue, Wash.
Deborah Conway, DLR Group,
Seattle
Aleksandra Gorovaya, (M), HNTB,
Bellevue, Wash.
William Guy, Intel Corporation,
Hillsboro, Ore.
Linda K. Holte, Cierra Associates,
LLC, Seattle
Stephen A. Medley Sr., Western Ore-
gon University, Monmouth, Ore.
Ken Mehlenbacher, Puget Sound
Energy, Bellevue, Wash.
Randal Slade (M), Falcon
Engineering Ltd., Victoria, British
Columbia
Portland Community College
Sean Houghtaling
Southwestern Region
Don J. Ackerman, Ackerman
Engineering Inc., Golden, Colo.
Dave Comer (M), Hosley Lighting
Associates, Dallas
Leslie Dinn, Summit Consultants
Inc., Fort Worth, Texas
Erin E. Friar (M), University of
Oklahoma, Norman, Okla.
Juan J. Hernandez (M), Quality
Lighting Inc., Dallas
Stanton Humphries (M), Archi-
tectural Engineering, Avon, Colo.
Danny Hyatt, Lighting Services,
Carrollton, Texas
Lisa Jackson, Enron Energy
Services, Houston
Josef Levy, SLI Lighting Solutions
Inc., Carrolton, Texas
Monte Riggs, Bos Lighting Design,
Houston
Mark Strauss, CED Dba Valmac
Electric, McCallen, Texas
Laura Weilert, Weilert Engineering,
Denver
Jim Whelan (M), American Light
Inc., Fort Worth, Texas
Foreign
Rafael Basso, Brazil
Praveen Kumar Sood, Linear
Technologies India PVT., India

28 LD+A/May 2001 www.iesna.org

 PHOTOS: MICHAEL ANTON
Fashion in the Limelight
Essentially, presentation and quality are the most important ele-
ments when it comes to fashion. However, in an ever-changing world,
more designers look to light to enhance both the presentation and the
perceived quality of the merchandise.
The CFDA (Council of Fashion Designers of America), the organiza-
tion that coordinated the The 7th on Sixth Fashion Shows in Bryant
Park, New York, commissioned Levy Lighting to contribute to its new
lobby appearance. For this year’s event — The 7th on Sixth/Mercedes
Benz Fashion Week — Levy Lighting, Inc., designed custom architec-
tural style fixtures to illuminate 8 ft diameter stretched Spandex™
disks which were provided by Reid Dalland and designed by A-Form
Architecture.
The design team used 1,500 W incandescent light sources in a cus-
tom box enclosure to illuminate each of the disks in the lobby. Knowing there were a number of challenges associated with light-
ing the disks, the crew of Levy Lighting, Inc. thought hard as to how to illuminate disks, while keeping the disks in a comfort-
able, warm and inviting setting.
“Our approach was to keep the disks as close to the light source as possible without having too much of a hot spot,” said
Ira Levy of Levy Lighting, Inc. “The roof tent had a pretty steep angle, so the disks that were not close too the peak began to
make the area seem smaller if they were hung too far from the light source. We also needed to make sure the light level in the
lobby was bright enough for someone to read a newspa-
per or a magazine.”
Lighting levels were also changed from day to night,
so dimming was essential. The system was programmed
with specific levels for cocktail parties and other pre-
show gatherings, which took place during the course of
the fashion week. All lighting luminaires, including
Altman Shakespeare and Altman Star-PARs, were hung
off existing tent architecture hanging hardware. The
color temperature of the 1,500 W luminaires was 2700K
and the color temperature on the Altman equipment was
3200K. The Lekos and PARs were used to highlight spon-
sor signage and installation.
As a primary sponsor, Mercedes Benz also had its own
view of how the areas should be lighted. The Mercedes
Benz area was similar to both a trade show booth and a
museum installation, all in one package, and included an
array of Mercedes Benz automobiles on display
“The first point of concentration was to make sure the
cars were lighted properly in a flattering, yet functional
matter,” Levy said. “While the color change and the
movement were important, we could not sacrifice the
primary objective of the installation, which was to dis-
play product.”
By utilizing an array of Altman Television Studio Fres-
nels, the cars were illuminated in white light. Since the crew did not want to ruin clean installation throughout the rest of the
lobby by hanging truss, the team had to work with the existing architecture to find hang points for the equipment. At the same
time, there were heating tubes to contend with, which could melt if the equipment was hung too close. Within the parameters,
the fresnels worked perfectly.
In order to compensate for the different distances of the luminaires, the crew utilized the flood/spot control on the back of
the fixtures. The units that were further away were set to spot, while the ones hung closer were set to flood.
The control allowed the team to get even light levels wherever it was desired. At the same time, the crew was able to make
some areas brighter than others, so the cars would shine in certain areas. Altman PARs were added to the equation to create
a multiple channel chase in different colors. Some of the colored light was focused directly onto the cars and some of it was
built into the set-piece. The colored light reacted well to the silver color of the vehicles, while the lighting in the set helped to
emphasize movement during the crossfades.
—John-Michael Kobes

P H O T O N S
N O T E S O N L I G H T I N G D E S I G N

30 LD+A/May 2001 www.iesna.org

 P H O T O N S
N O T E S O N L I G H T I N G D E S I G N

Appealing Lighting
A symbolic environment, which reflects the scales of truth and justice,
can seem intimidating to some, but can also be a sanctuary of comfort
to others. Whether working or simply visiting, one cannot ignore the stun-
ning uniqueness of the Federal Courthouse located in Brownsville, Texas.
In taking on a project of such magnitude, Bos Lighting Design was forced to consider the monumental look necessary for a
building of this kind, while still attempting to deliver the concept of a warm, gracious public space environment.
“The architects expressed a desire for the building to be revealed at night as a testament to its importance as a Federal
Courthouse, but at the same time, we wanted to keep the look from becoming too institutional, cold, impersonal and
uncomfortable,” said Designers John Bos and Becky Bowen of Bos
Lighting Design.
The difficulty of this project was increased by the stringent energy,
maintenance, and budget requirements that come with any federal pro-
ject. In terms of maintenance, attention was paid to lamp life, and there
was an attempt to standardize lamp types as much as possible, includ-
ing beam spread and color temperature.
“While the budget was a factor for the exterior lighting, what was more
of a guiding factor was that the luminaires be of high quality,” said Bos
and Bowen, “particularly when dealing with in-ground and other lumi-
naires that are exposed to the extreme Texas weather and the high
pedestrian traffic.”
What was most cost-effective for the project was the installation
quality of the luminaires, which would hold up for years to come.
Hydrel luminaires were chosen for its value and its track record for
holding up over time, and — as a bonus — it was not the most expen-
sive line on the market.
Uplighting was used throughout the exterior to emphasize vertical ele-
ments and to lift the eye upward. These color-corrected metal halide
adjustable upliftings create a sense of grandeur. In contrast, low-glare
bollards were selected to illuminate pedestrian pathways and guide foot
traffic. A variety of light was also chosen to highlight built forms and dif-
ferent shades of foliage. Lavender filters were used to enhance the cool
greens of the shrubbery, while straw/pale gold filters were used to
uplight the palm trees, bringing out the warmth in the trunks and the
green tones of the palm leaves.
Given the nature of the building, there were concerns about on-site
security. Bos Lighting Design illuminated the landscape and exterior
architectural elements. Such areas included the benches, which have a
step light underneath; the front columns that support the metal canopy in front, which act as a natural place for uplighting, and
the colonnade walkways to the parking areas. Cut-off luminaires were also used in the parking areas, specifically, to not create
light trespass, since Brownsville is still small and dark enough for evening stargazing.
“With all the uplighting, it was important to control
glare, which can be blinding, thus making it as much of a
security issue as a lack of light,” Bos and Bowen said.
To avoid this problem, well-shielded fixtures were cho-
sen (with the lamp deeply recessed) and additional lou-
vers/glare guards were added wherever necessary. Full
shielded bollards were used to directly light the main
pedestrian pathways into the building to highlight the area
safely and without any glare.
As both a civic landmark and a federally funded project,
the Brownsville Courthouse required thoughtful design
integrated with energy- and maintenance-sensitive light-
ing. By using color corrected metal halide and fluorescent
sources to highlight the built forms and landscape ele-
ments, all of these objectives were thoroughly met
throughout the project.
—John-Michael Kobes
PHOTOS: JUD HAGGARD PHOTOGRAPHY
32 LD+A/May 2001 www.iesna.org
 2000
“MUST-SEE”
ILLUMINATION INTERNATIONAL ILLUMINATION DESIGN AWARDS
The NBC Experience project took
(opposite) Backlighted merchandise display cubes
initial inspiration from other are used to visually expand the rather limited space.
(below) Flourescent backlighted light boxes
themed-environment stores, but and illuminated display cabinetry, coupled with an
intense color palette mimicking the colors in
the NBC peacock is shown.
modified the concepts substantially.
Ron Harwood, of Illuminating
T
he Retail Wars of the 1990s remind me of
the many times I watched NASA space
Concepts, discusses the project that shuttle launches. First, there was the
excitement surrounding the impending launch
garnered an Edwin F. Guth Award and the news coverage and television interviews
that culminated in the final countdown. Then
of Excellence for Interior came the spectacle of watching the ignition and
take-off, the fiery launch, the gantry breaking
Lighting Design. away and the ballet of watching a huge rocket
slowly inching upward. Although cameras could
never record these details, we were told of the
increasing velocity and G forces as the main rockets were jettisoned and the secondary boosters kicked in.
The NBC Experience is the newest example of how retailers have learned to “immerse” their customers in an environment
infused with subliminal and tangible brand messages. It is the final stage, and perhaps, the Mars Lander of retail stores. To assume
that the NBC launch team worked in a vacuum would be a misstatement, however. The lighting and FX designers at
Illuminating Concepts drew on the extraordinary design work of three premier retailers. A brief overview is required to provide
a perspective on the thought process used in the final design for NBC.
The main retail rocket of the early ’90s was Disney. Designers showed retailers another side of marketing that had not previ-
ously been envisioned. They took
a cartoon character and turned
Mickey and friends into inspira-
tional icons for the purpose of
marketing products. By simply
affixing character images to prod-
ucts and apparel, a multi-million
dollar market broke loose from
its theme park moorings.
Lighting design for the “park
stores” changed rapidly in the
early ’90s. Form and function
became inseparable as merchan-
dise lighting took on museum
quality aspects.
Soon after, Warner Bros. creat-
ed its Studio Store concept. There
was wisdom in the ranks of the
PHOTOS: ELLIOTT KAUFMAN

Hollywood studio company. They

knew their characters appealed to
a larger audience than even
Disney. Not only did the kids still
watch Bugs Bunny and friends,
but they also knew that adults
34 LD+A/May 2001 www.iesna.org www.iesna.org LD+A/May 2001 35

held on to their attachment to some of these characters. Thus, a
store ambience was created that was far more sophisticated, in
order to cater to adult tastes. An overview of the Disney and
Warner Bros. prototypes would clearly reveal that their “brand
equity” was character driven. Lighting design for the Warner
Bros. Studio Stores took on a real studio look, so that the adult
36 LD+A/May 2001
patrons could take home a piece of
the Hollywood mystique.
Illuminating Concepts was fortu-
nate to be part of the creative efforts
of these visionary retail adventures.
Much was learned from having our
team immersed in theme park and
character-driven retailing. A few
simple phrases still reverberate in
our creative studio’s ethos: “If you
have to see the fixture, it had better
fit the theme,” and “Light is part of
the illusion of entertainment.”
In the mid ’90s Nike came
“swooshing” onto the retail scene
with Niketown. The challenge of
creating a location-based outlet for
the brand was greater than that of the
two studio giants; essentially they
had no characters, only a logo. From
IC’s exercise with Nike emerged a
new set of values upon which to
establish a shopping environment.
First, Nike’s image is technical as
well as inspirational. Designing
media delivery systems into their
spaces, along with “morphing” and moving light added to the
shopper’s sense that Nike is technically competent and vision-
ary. Second, Nike’s interior design scheme wanted to ooze
quality; a means of imparting tangible evidence that Nike’s
products are also of the highest quality. For visible lighting
component selections, industrial high tech, high quality fittings
were the only choices. Concealing
70 percent of the product and ambi-
ent lighting became the trick. This
proved to be a complete reversal of
the methods used by IC for Disney
and Warner Bros.
NBC was a completely different
beast. There are no cartoon charac-
ters, no tangible products and the
consumer base recognizes the net-
work for its shows rather than for
one cohesive brand. Working with
Guy Pepper from NBC and Eric
Ulfers of Production Design Group,
the team at IC was briefed on the
(top and bottom) Backlighted,
peacock-shaped, ceiling recesses conceal
the ambient light sources. Adjustable
low voltage monopoints used to accent
merchandise and intelligent lights
that spring the space into motion,
provide kinetic accent illumination.
www.iesna.org
thematic elements of the space. The design goal was to create a
vivid and dynamic lighting system that was essentially trans-
parent from the exterior. Virtually no exposed fittings were to
be seen from the street. The multi-colored LED globe was to
dominate the facade, even though it sat well back in the space.
The “brand equity” of NBC revolves, in part, on its history of
dynamic news broadcasts. Past history has shown that viewers
selectively choose their network news and morning shows,
which drives “pull-through” for broadcasts that come later.
Certainly, NBC wanted to show its history of great news broad-
casters and coverage of news events, as well as the wealth of
great specials and classic sit-coms. In general, the NBC
Experience was to be designed around the luminous nature of
studio broadcasting and, of course, the television.
One of our biggest challenges was the highly reflective gage
ceiling by Barrisol. It is a hybrid polymer material that has a
reflective surface similar to a mirror. Special mounting condi-
tions had to be considered. Our team chose to minimize the
perforations to achieve the highest level of continuous, unob-
structed reflections. Similarly, by illuminating the reflective
portrait style floors, we were able to achieve a space that felt
transparent and expansive.
Creating proper levels of illumination, while continuing
the illusion of transparency was very important. No direct
sources were focused on the basketball-shaped LED globe in
order to heighten the anticipation of color and animation on
the exterior of this central feature. Contained within the
globe is a theatre with dynamic sound and short films about
the history of NBC. It was produced to invite all guests to
partake in the full experience of the NBC brand and its evo-
lution.
38 LD+A/May 2001
The interior of the space is dotted with massive column
surrounds. The frequency of the surrounds is dictated by the
fact that the space occupies the lower two floors of the his-
toric G.E. Building in Rockefeller Center, directly across from
the NBC Studio where the Today Show has been a familiar
and inviting attraction for years. The columns needed to be
worked in to the merchandising scheme. The design team
decided to keep the reflective nature of the space flowing by
backlighting the translucent panels with neon. Substantial
testing regarding the location of the neon and the choice of
translucent materials needed to be performed in order to
reduce the columns to their minimum diameter, while not
allowing streaks of neon to be visible.
The IC team worked with the notable store merchandise
designers at JGA in Southfield, Mich., to develop a lighting sys-
tem that would complement the
layout. The retail merchandise
lighting plans were quite complicat-
ed, in that the ceiling heights and
undulations varied dramatically.
Moreover, the assortment of video
monitors located throughout the
space could only be properly
Backlighted merchandise
walls silhouette the merchandise
without obscuring detail due to the
proper balance of light levels on
face-out soft goods.
viewed when there were no reflec-
tions from light sources. Dennis
Vogel at IC worked diligently to
develop precise details for all of the
necessary mounting conditions
required. The store’s merchandising
scheme, as one would expect, was
based on a cable and glass shelving
system that required external illu-
mination. Around most of the col-
umn merchandise the team used
recessed Reggiani adjustable luminaires with narrow focus MR
16s. For wall-mounted store fixtures and merchandise illumi-
nation, the team chose a Bruck VIA solid rod suspension sys-
tem that used 50 W narrow flood MR 16 lamps. The VIA sys-
tem mitigates sagging, a difficult problem prevalent with most
cable systems where proper turnbuckles and strain bucks are
not appropriate.
There are many locations around the NBC Globe that are
merchandised. The floors around the globe are cut away to
allow for most of the globe to be seen from many places in the
store. This meant that good “shots” directed at the merchandise
could only be achieved from the ceiling of the floor above the
globe. In some cases, reaching the merchandise with high
quantities of focused light required using narrow beam AR 111
lamps. In order to keep a flush ceiling plane, the designers
chose an Indy recessed adjustable fixture for the AR 111 lamps.
www.iesna.org
 Keeping with the luminous nature of the store, the NBC
design team desired glass floors for the bridge that allows access
to the NBC Globe Theater. The bridge condition dictated a low
floor to ceiling height. By up-lighting the glass panels from
below, the area gained additional perceived height, and the
merchandise gained an additional “space age” look. Michael
Shulman, project designer for IC, along with Kenneth
Klemmer, design director, studied the up-lighting requirements
for the glass bridge and determined that an additional function
was required in the equipment selection process. Specifically, a
substantial amount of merchandise that needed illumination
was located below the bridge on the first floor. The solution
was self-evident.
Shulman and Klemmer chose a Bruck High Line cable sys-
tem with fixtures that were visually minimal. They were able
to focus both upward toward the bridge underside and
downward toward the merchandise. Construction details for
this installation were extensive, as New York City electrical
codes required that the low voltage feed conductors were to
be protected. In general, construction management of this
project was comprehensive. Shulman provided almost con-
tinuous management during the final weeks of fit-out, com-
missioning and programming.
For the main floor, the major ceiling feature consisted of
NBC peacocks incised above the general perceived ceiling
plane. The peacocks are fabricated from a metal framework
with colored translucent Plexiglas panels creating the feathers.
These peacocks are massive in scale and perspective, leaving lit-
tle space for fixtures that were needed to illuminate the floor
merchandise. The IC team had two challenges: First, the need
to perfectly modulate the backlighted peacock panels and sec-
ond, to find a means to directly focus light on products.
Calculations for the transmissive quality of the Plexiglas
were extensive. With no back-of-house room for a second
(Strand) dimmer rack, it needed to be correct on the first pass.
To make things even more complicated, there was very little
room separating the Plexiglas and the non-dimmable fluores-
cent tubes that the budget required.
For focused light, the team chose to conceal monopoint fix-
tures matching those already specified in the Bruck VIA sys-
tem. These were tucked neatly and consistently at the intersec-
tions of the feather outer edges.
Besides the incredible moving LED surface of the NBC
Globe, the second architectural feature of the space is certainly
the magnificent spiral staircase to the second floor. Upon
approaching the staircase, one can barely miss the backlighted
“test pattern” forming the oculus above. This test pattern is
essentially what one might consider a stained glass window,
which forms the entire ceiling over the staircase. It was to be
the only source of light.
In order to reduce the amount of apparent light fixtures in
the stairwell, the IC design team chose to rely on video display
devices, which form an entablature, rising in a helix along the
walls, as an ambient light source. Albeit a bit blue, but warmed
by the selection of high color rendering fluorescent and quartz-
halogen lamps, the video sources provide at least 20 percent of
the ambient light in many areas.
Past the midsection of the main floor, the designers desired
40 LD+A/May 2001
to create a museum-quality atmosphere for the merchandise
displays. Shaped like picture-tube apertures, the displays
were backlighted with small fluorescent sources. To avoid
flattening out the artifacts for sale, we specified MR 16 nar-
row focus lamps that were aimed to spread light across the
mostly textured products, thereby enhancing the three-
dimensional qualities.
Finally, in keeping with the “showbiz” nature of NBC’s brand
image, a moving light system was specified to create a layer of
animation and excitement. More than 30 Clay Paky Mini-Scan
HPE moving lights were used throughout the space. A detail
was created to conceal most of the moving fixture’s mass. High
quality lithographs with various NBC logos were utilized, along
with a selection of break-ups and appropriate patterns, to cre-
ate a collage of moving images that were programmed to play
across the floors and merchandise. The programs were stored
in non-volatile memory cards, having been downloaded from a
moving light desk.
As if that were not enough, the designers wanted to leave a
lasting impression on visitors who walked through Rockefeller
Center in the evening. To that end, five High End Systems ES-
1 moving lights were specified. The luminaires are mounted
inside the building, quite close to the front window, projecting
out onto the pavement in front of the store. These fixtures are
loaded with NBC artwork, and are programmed to rotate and
scroll through a number of slow-moving routines.
Witnessing the success of the project has been reward for the
immense effort put forth by the IC team. Receiving the Edwin
F. Guth Award of Excellence for Interior Lighting Design made
the project that much more special. Tourists and residents alike
have marveled at the space.
While awards are given to designers for creativity, this pro-
ject, in particular, could not have been a success without the
project management skills of Sheila Fitchett, whose work
behind the scenes in coordinating the installation and informa-
tion flow was invaluable.
The designers: (top, left) Ron
Harwood founded Illuminating
Concepts, Ltd. (IC) in 1981. IC is
an international multi-discipli-
nary firm that blends architectur-
al and theatrical lighting with
acoustic design, projections sys-
tems and special FX of all forms.
Harwood has been active in producing theatrical and
musical performances in folk music and blues since 1963
and was nominated for a Grammy in 1982. He has been
an IESNA member for five years.
Michael Shulman (top, right) is a lighting designer for
Illuminating Concepts, Ltd. He has a BFA in Theatrical
Design and Minors in Art History & Business from
Marymount College — Manhattan. From road shows to
television to live Broadway theatre, Shulman has experience in all areas of the-
atrical lighting and effects.
Dennis Vogel (bottom) is a project manager at IC. His expertise is focused in
the areas of specialization, such as retail, themed environments, office and hos-
pitality design. He is a graduate of the Boston Architectural Center, Interior
Design Program, where he holds an NCIDQ certification and is a registered
interior designer.
www.iesna.org
 Ciel Home’s newest store needed an
innovative lighting system to completely
illuminate the products being displayed, while
keeping the luminaires as hidden as possible.
Arie Louie explains the design team’s philosophy
in addressing this challenge.

C
iel Home is an upscale furniture and home
accessories store with branches located in
Charlotte, N.C., Phoenix and Newport
Beach, Calif. Ciel Home at Fashion Island in Newport
Beach is the newest store in the chain. Ciel imports
unique furniture from around the world. Larry Serge,
owner of Ciel Home, understands the importance of
lighting as an instrument of image and function.
Architect Ilan Baldinger approached the design of

FUSION OF FASHION AND the 5,000 sq ft store as an informal space, reflecting

Southern California aesthetic sensibilities and its
laid-back life style. The store is organized as a series

FURNITURE of asymmetrically layered spaces defined by mini-

malist architectural elements. A curved wall con-
taining display niches runs along the length of the
store and is a unifying and organizing feature.
Baldinger has collaborated with lighting designer
Arie Louie, and his firm, Louie Lighting, on various
other retail and corporate projects.
“This prior work experience allows for a design
synergy and shared understanding of design philoso-
phies as they relate to the idiosyncrasies of diverse
project requirements,” says Baldinger.
Such design synergy is what allows for a full inte-
gration of the lighting with the architecture. In the
case of Ciel Home, it allowed for unique solutions
and creative ideas that allowed for great results at
minimum expense.
“Lighting design for a retail space is a very sensitive
and crucial subject” says Louie. “Proper lighting solu-
tion is designed specifically for the store at hand. It
draws the customer’s attention to a product display,
enhances the product color and appearance and pro-
vides ultimately improved ambient lighting within

(opposite, top) For the display niches, 3000K T8 fluorescent fixtures with electronic ballasts were
PHOTOS: ARIE LOUIE

placed in a concealed space specially designed for each display niche.

(opposite, bottom) Black track lights carrying low voltage 50W MR 16 lamps were recessed
above the ceiling within rectilinear cutouts.
(above) Low voltage cable lighting systems with small 50 W MR 16 lamps stretch inconspicuously
between wood beams highlighting individual groupings of furniture or “rooms.”

42 LD+A/May 2001 www.iesna.org www.iesna.org LD+A/May 2001 43

 and attracts patrons to explore the store while taking in consideration human feel-
various displays. ings and physiological responses.”
The third lighting condition Ciel Home stands out among the stores at
responds to the need to provide Fashion Island as an example of a well-
flooded light localized within each designed store that responds to the need for
recessed display niche. The design- proper lighting. The lighting design for the
ers looked for a cost effective solu- store received an International Illumination
tion that would be easy to maintain Design Award of Merit.
and would be low in heat genera-
tion. After reviewing different The designers: Arie Louie, LC is a
lighting designer with numerous
options, it was decided to use International Illumination Design
3000K T8 fluorescent fixtures with awards. With more than 16 years of
electronic ballasts, which were architectural lighting design experi-
placed in a concealed space spe- ence and a background in theatrical
cially designed for each display and motion pictures lighting, his
designs range from corporate and
niche. The end result is a soft light office spaces, to retail, hospitality and
that floods the products without restaurants, historical sites, residential
any glare. and wood beams with a 4 in. void in between. luorescent strips with T8 lams and landscape lighting. He has been a
For the cash wrap area, the and electronic ballasts were integrated into the void; the lamps are coated with member of IESNA for seven years.
designers decided to introduce a color gel and the effect is a pattern of light, rhythm and color. Ilan Baldinger is a registered archi-
tect in the states of Arizona and
the store. This will prevent flat, dull and uninviting spaces. The different and contrasting light source. By spacing pendant Ciel Home at Fashion Island is attractive to patrons when viewed from the California. In 20 years of architectur-
goal of retail lighting should always be improved merchandiz- lights over the uniquely shaped service island, a distinction is outside, and when they enter the store, the first impression is positive and the al practice Baldinger has compiled a
ing and higher sales.” made between this area and the rest of the store. visual clarity is high. Patrons feel safe and comfortable due to balanced ambi- substantial body of architectural work, varying in scope
The design of the Ceil Newport Beach store presented a The fifth and last lighting condition is specific to the circula- ent lighting. The merchandise is well illuminated with enhanced colors. from uniquely crafted residential projects to mix-use high
unique lighting challenge to the design team. The store-layered tion corridor connecting between the various furniture display Lighting is layered and creates elements of interest that attract people to linger rise urban complexes.
space design and the mix of furniture displays and small acces- “rooms.” This 4 ft wide corridor is defined by steel columns longer. According to Louie, “Good lighting design will enhance the look of the
sories displays dictated a diverse approach to lighting. It was
decided early on in the design process to downplay the source
of light, in keeping with the minimalist design as a background
to the products on display.
The store features five distinct lighting themes. Theme one is
designed to provide ambient and accent lighting within the
hard gypsum board ceiling. Black track lights carrying low volt-
age 50 W MR 16 lamps were recessed above the ceiling within
rectilinear cutouts. The space above the cutouts was painted
black to conceal the lighting luminaires. This solution allows
for clean uninterrupted ceiling plan and at the floor level flexi-
bility, brightness and fluidity. The lighting provides additional
rhythm and sense of order.
Under the exposed structure, displaying and lighting furni-
ture required a different solution. Low voltage cable lighting
systems with small 50 W MR 16 lamps stretch inconspicuous-
ly between wood beams, highlighting individual groupings of
furniture or “rooms” in intensity, clarity and specificity unique
to this lighting source. This solution allows for flexibility that is
needed for the ever-changing display in the furniture store. It
provides sparkle, creates intimacy in the space, adds interest

(above) The product wall is illuminated by concealed

3000K T8 fluorescent fixtures with electronic ballasts.
(right) Inside a false wall, MR 16 ceiling detail provides product lighting.
(opposite) For the cash wrap area the designers
decided to introduce a different and contrasting light source.
By spacing pendant lights over the uniquely shaped service

46 LD+A/May 2001 www.iesna.org

 (right) The Wine Bar District
is named for the vine-covered

PROGRESSIVE HUB TO
wine and tapas bar at its
center. The area features
Café Catal, by Patina, with
a combination of Art Deco and

DISNEY’S MAGIC Westood Village styles.

(below) Yarriba! Yarriba!
is Downtown Disney’s new
Latin dining and entertainment
concept. It is housed in a
classical structure that draws
Downtown on styles from Havana to
Buenos Aires.

Disney links
all the
elements
of the
expanded
A
very wise lighting luminary once said, “If you build it environment. In character, it embodies our vision for the
Disneyland they will come. And, if you turn the lights on, they will guest experience that the entire complex offers.”
be able to see it when they get there.” Embedded in that “vision” however, was one of the devel-
resort. Okay, we made that up. But it’s a great start when setting out opment’s biggest design challenges: How to transition
to examine the design moves behind Downtown Disney, Downtown Disney’s 300,000 sq ft of space from a daytime to
Toni Page Anaheim’s new retail, dining and entertainment esplanade at a nighttime experience.
the heart of the Disneyland Resort. When the sun goes down, Because Downtown Disney is bookended by the Disneyland
Birdsong the curtain rises to showcase this entertainment district’s pre- Hotel on the west and two theme parks — Disneyland and the
cise fusion of architecture, landscaping and lighting. new Disney’s California Adventure — on the east, and also
provides the “Downtown Disney possesses its own sense of place, evok- serves as a hub for local residents, designers were tasked with
ing the feeling of stepping into a garden paradise,” says Walt making the space appealing to a very diverse patron mix. The
details on Disney Imagineering Senior Vice-President and General Downtown Disney team of Imagineers decided early on that, to
Manager Timur Galen. “In plan, Downtown Disney links all be successful, the area would have to transition from a relaxing
the lighting of the elements of the expanded Disneyland Resort… resort experience during the day, to a more sophisticated enter-
Disneyland, Disney’s California Adventure, the Disneyland tainment destination at night.
design that Hotel, Disney’s Paradise Pier Hotel and Disney’s Grand “We wanted to provide a different experience, so people
Californian Hotel through a lushly landscaped pedestrian would come back from visiting the theme parks during the day
accompanied and discover a whole different sense of
place at night. And, the key to imple-
this newly menting that strategy, for us, was with
lighting,” says Walt Disney Imagineer-
created ing Project Manager Dev Hawley.

attraction. Different areas,

The Rainforest Café has touches of
Inca palace architecture, but is also
inspired by an extraordinary
concrete block house, La Minatura,
built in California by Frank Lloyd Wright
in the 1920s. With an interior overlay
of Yucatan rainforest, the café offers a
uniquely entertaining atmosphere.
48 LD+A/May 2001
different needs
In determining the lighting needs,
designers first had to understand the
character of each of the separate dis-
tricts within Downtown Disney, as
well as the story of California’s diverse
history and culture that Disney was
telling. Just as landscape and architec-
ture choices were made to reflect
California culture, so too, unique ten-
ants were selected for their individual
contributions to that same culture.
Downtown Disney’s architectural
www.iesna.org www.iesna.org LD+A/May 2001 49

decor progresses east to west, from Craftsman to Art Deco to
California Eclectic styles, and ultimately connects with the
urban-modern design of the Disneyland Hotel on the far west
end. So, the lighting had to psychologically support the visual
changes taking place, said Francis Krahe, president and owner
of Laguna Beach-based Francis Krahe and Associates, the light-
ing firm tasked with fitting Disney’s lighting needs.
“We essentially created two districts,” said Krahe. “The east
side Garden District has a Tivoli Garden feel and has the his-
tory of the Arts and Crafts movement reflected in the archi-
tecture. We used a lot of warm-tone, white light and tried to
create a great deal of sparkle to reinforce the idea of a roman-
tic, peaceful setting.”
In this area, Xenon lights, or twinkle lights, are subtly posi-
tioned in the trees, and uplighting accentuates the canopy of
50-year-old, transplanted ficus trees that line the walkway.
Perhaps one of the most unique lighting elements that is car-
ried throughout the development also starts here with the first
of many leaf-shaped planters that dou-
ble as seat walls.
“Throughout the entire esplanade,
we placed fiber optic lights within a
groove beneath the seat walls. The
lights change color depending on
which district — or environment —
you happen to be in,” said Krahe. “I
think this was extremely effective in
(right) ESPN Zone is the country’s premier
sports entertainment concept. It includes
hi-tech satellite transmitters and receivers,
video cameras, more than 165 video
monitors and fully functional radio
and live television broadcast facilities.
(above) The World of Disney has one of the
world’s largest collections of exclusive
Disney merchandise. Its highly themed
interior is colorful and lively, in keeping
with playful Disney characters.
50 LD+A/May 2001
establishing one, integrated expres-
sion for Downtown Disney. The idea
was to create atmosphere, not effect,
with the lighting.”
The seat walls begin in the Garden
District and emanate a warm, white
glow that changes hue with each step
west toward the Wine Bar District and
the more energized, tropical spaces of
the Paradise Plaza and the West End
District. Progressively, the seat walls
project hues that complement the
spirit of each area.
In the Paradise Plaza area, ambers,
yellows, oranges, blues and purples
can be found within view of more
vibrant venues such as Ralph
Brennan’s Jazz Kitchen, The House of
Blues and the Latin Jazz club, Yarriba!
Yarriba! This area also begins to
employ more neon lighting within signage and on facades,
which along with the music spilling onto the walkway, also
adds to the visual fiesta.
Colorful west end
A few steps away, the West End district of Downtown Disney
is stage to a colorful hub of venues such as Lego Imagination
Center, Rainforest Café and the ESPN Zone. Here, a last minute
design decision to apply dramatic theater lighting to a 60 ft
Sorcerer’s hat (representing Sorcerer Mickey of Fantasia fame)
adds to the dimension and frivolity of the district.
“We needed some soft accent lighting on the hat and we
needed to apply it from sources that wouldn’t overpower our
guests,” said Francis Krahe and Associates senior project man-
ager, Paul Butler. “We applied two 1,000 W, narrow-beam,
metal halide accent lights from the top of the adjacent ESPN
building. The hat also was uplighted.”
With landscaping as the dominant design element of
www.iesna.org
Downtown Disney, it’s clear the landscape and lighting
design teams had to work closely to achieve the ultimate
visual symphony.
“The lighting of Downtown Disney definitely plays up the
structure of the landscaping and provides the mood and accent
that defines the space,” according to Manager of Landscape
Architecture for Walt Disney Imagineering Jeff Morosky. “The
lighting was so important in telling our story that, before we
would plant trees, we considered how we would punctuate
a warm, romantic glow to spill forth. Moving west, color-cor-
rected, high-pressure, sodium lights were focused on lamp
posts to ensure a consistent glow. Quartz halogen landscape
and building uplights were used as accent lights.
“We applied neon and fiber optics to the buildings and hun-
dreds of yards of fiber optics beneath the seat walls,” said Krahe.
“There’s also a series of custom-designed, thematic lanterns
throughout the project that were designed to embellish each
individual building façade, and add ornamental, incandescent
flood lighting, which draws people through the
space by presenting a new focal point structure
in the distance. It’s a pretty substantial, yet not
overpowering, element of the entire environ-
ment.”
Creating scale and a “sense of place” was a
challenge that strategic lighting moves helped
to solve. In addition to uplighting the taller
trees to confine the environment, incandescent
lights were used to trim the tops of the retail
facades on the east end of the esplanade which
easily could have been overpowered by the
towering Disney’s Grand Californian Hotel.
And, because most of the east portion of
Downtown Disney is built over a parking struc-
ture for Disney’s Grand Californian Hotel, land-
scaping and lighting were used to give dimen-
sion to the flatness of the area.
“Guests never should perceive they are on a
deck,” noted Hawley. “We want them to feel
like they’re walking through a garden. That
means we had to do things like build concrete
tree pits that are 20 x 20 ft and 6 ft deep. It
was an enormous undertaking.”
According to Graf, it wasn’t hard to conform to the lighting
standards set forth by the Downtown Disney lighting design
team. Metal halide downlights were used in the ceilings for
general lighting with warm color and high ECI. In the low ceil-
ings, Graf used compact florescent lamps and a combination of
incandescent HIR lights with spots of halogen infrared. In addi-
tion, CDM metal halide spots were used in the window dis-
plays to create theatrical lighting. Color filters were used on the
spotlights to create “visual amplifiers” to showcase products
and graphics.
Another store that conformed to the lighting specs in a cre-
ative way was Illuminations, a popular candle store.
According to Gary Miller, vice-president of Visual Mer-
chandising for Illuminations, the lighting challenge was
unique since the product being displayed was candles, many
of which were lighted.
“We worked closely with the Disney lighting designers to
meet both of our objectives,” said Miller. “We used PAR 36
lighting throughout the store to create warm, soft light. It made
our product look great without making the store look bright.
These lights are very easy to direct and don’t wash onto the
floor space. Our goal was to create lighting that inspired our
customers since our product gives off what we call living light
[candlelight].”
To achieve the desired interior lighting, luminaires included
recessed compact fluorescent downlights and wall washes,
compact fluorescent downlights, recessed parabolic fluores-
cence, surface-mounted strip fluorescents and track luminaires
in many areas.
Exterior lights commonly used included metal halide, build-
ing-mounted color floodlights, column mounted up and
downlights and recessed incandescents, among others.
Frivolity was an intentional design element employed
throughout Downtown Disney and is found in details such as
underwater lighting along the walkway’s many fountains and
the Micktorian (Disney for Victorian) lamp posts custom
crafted with those famous mouse ears. Designers even cus-
tomized programming for the twinkle lights in the trees to
create an effect closer to the illusion of fire flies, which
includes a slight fade-in and a slowed twinkle to accomplish
precise lighting and mood.
“We were striving for something magical and I think we
achieved that with the combination of landscape, architec-
ture and particularly lighting,” said Hawley. “Not a bad debut
for an area that just three years ago used to be part of an
asphalt parking lot.”
The author: Toni Page Birdsong is a Los Angeles-based
writer who has reported on business, politics, travel and
themed entertainment for the past 12 years. She has been
a researcher for the Hollywood Entertainment Museum,
and has been a contributor to LD+A, most recently in the
May 2000 edition with her piece on ABC’s Good Morning
America studio.

Lighting retail stores

To further maintain a seamless environment,
Walt Disney Imagineering lighting standards
were applied to 30 separate retail tenants.
According to Hawley, tenants were given guide-
lines to follow and were assisted in achieving
the warm hues established by the team.
“Our tenants underwent full design reviews
of their interior and exterior lighting,” said
Hawley. “Once the lighting story was estab-
Two views of the Downtown Disney fountain. The bottom image is from the West Side lished, it became crucial not to break that story.
to the Central Plaza. Island Charters and Illuminations are on the right. We tried to create a dialogue between the exte-
rior and the interior of buildings, and we did
that by carrying the established lighting stan-
those spaces with light at night. We developed many of our dard into the stores. Not only does this maintain story, it ulti-
landscape concepts in conjunction with the lighting concepts mately helps guests better engage with the retail space.”
in order to make the most impactful statements.” One of the most dramatic lighting statements at Downtown
Despite the grand scale of the project, the lighting fixture Disney was achieved by the World of Disney store. According
specification was kept fairly simple, said Krahe. “Disney gave to design director Stefan Graf of Illuminart, lighting within the
us the mandate that the impression had to be a warm, gar- enormous retail space served as a silent design partner.
den setting, and that’s what directed the palate of light we “Light was to be used as an attraction,” said Graf. “We’ve
would use throughout.” worked with Disney for many years and we’ve developed a
Pedestrian poles that pepper the area were custom-designed technique for maximizing the visual impact with lighting to
to house metal halide lights topped with copper hoods to allow create excitement and attract attention to the displays.”
52 LD+A/May 2001 www.iesna.org

PHOTOS: RTKL ASSOCIATES, INC.
L ighting design for retail applications
is part theater, part therapy, and all
about commerce. It must attract cus-
tomers, make them feel good, encourage
them to buy, and facilitate the sales trans-
action. And it must do this in an envi-
ronment that changes with the seasons,
has limited maintenance, and always
wants to reduce operating expense.
The retail industry thrives on change.
Its constant churn keeps the buying
experience fresh and attractive. New
products are introduced; new styles are
promoted; new concepts are launched.
The pace is whirlwind fast and profit
margins are tight, so the visual excite-
ment must also be very cost-effective.
From their earliest beginnings as
open-air bazaars and marketplaces,
shopping centers have become big busi-
ness and a powerful social force. In a lit-
tle more than 70 years — the first subur-
ban center in the U.S. came on the scene
in the late 1920s outside of Philadelphia
56 LD+A/May 2001
LIGHTING TODAY’S
SHOPPING MALL
Alfred R. Borden IV and Helen K. Diemer of
The Lighting Practice trace the evolution of the
shopping mall and the importance of lighting
to developers and shoppers.
at Suburban Square, Ardmore — shop-
ping centers have assumed a dominant
role in consumer retailing. Today, shop-
ping centers come in many sizes and
shapes, and fill different market niches:
covered malls, open malls, vertical malls,
regional malls, urban malls, strip centers,
discount malls, factory outlet malls, off-
price malls, megamalls, festival malls
and convenience centers.
Shopping malls construction intensi-
fied in the late 1960s and early 1970s.
This new format seemed more customer-
friendly than the old big-box shopping
center or strip stores, because the public
space between stores was covered and
conditioned. The public mall was meant
to function as a protected walkway that
connected the shops. It served to move
shoppers from store to store, attracted by
the brightly lighted and decorated dis-
play windows.
Interior courts, with their skylights,
planters and benches, were planned as
relaxation areas where shoppers could
replenish their energy supply between
forays. Since the public mall’s main func-
tion was to serve as a transition area
between stores, it was only lighted to
Arundel Mills is a new retail entertainment
center near Baltimore. The project is quite
large, and employs fanciful spins on local
attractions as a basis for the graphic treatment
in all public spaces.
(left, top) An exterior view of one of the
entrances. The shot shows the Row House Folly.
The design team used exposed neon and
concealed metal halide PAR lamps to bring out
the textures in the structures.
(left, bottom) An interior view of the Pinball
Court. The team used programmable and
theatrical luminaries to create both
general lighting and a show sequence
cued to a sound track.
about 10 fc. With such a dim ambient
light level, the brightly lighted signage
band above each storefront was intended
to dominate the shopper’s view.
General lighting in the public mall was
typically provided by a variety of incan-
descent sources, selected for their rich,
warm color and point-source accents.
During the late 1970s and 1980s,
advances in lamp technology introduced
the possibility of color-corrected mer-
cury or metal halide sources for mall
lighting. Unfortunately, the poor color
rendition and color-shifting of these
early-generation HIDs, and their large,
bright ceiling apertures, made them
unattractive to many mall operators.
High-end malls continued to use only
incandescent and halogen sources well
into the 1990s.
By current standards, mall designs
from several decades ago suffer from
dim, dreary interiors with few amenities
or visual destinations, dark exterior
entrances, and high energy consump-
tion. Now, the role of the shopping mall
has changed significantly, and con-
sumers have different expectations for
such facilities.
www.iesna.org
 During the 1980s and 1990s, the shopping mall became
the central civic space for many communities. It is where peo-
ple meet and socialize; where they eat, exercise and entertain
themselves.
Shopping malls provide an environment where the visitor is
offered a broad variety of amenities and diversions, as well as
retail shopping venues. A person might go to the mall for some
reason other than to visit the stores, but the trip usually pro-
duces a few purchases.
For the lighting designer, the new concept meant that the
public mall was no longer just a corridor. It was a feature area,
an exhibition space for specialty vendors, fairs and seasonal
displays; a staging area for product demonstrations, concerts
and shows; a meeting place for groups of all sizes; and, of
course, a relaxing place for tired shoppers. The lighting
design presents the space as attractive and open and full of
opportunities.
Retail’s tough competitive environment keeps merchants
constantly searching for a new concept that will keep shoppers
coming back to their location. In the 1990s the strategy of the
public mall as a themed environment became a popular format
for new malls and renovations of existing properties. The ratio-
nale behind it embraced the idea that the shopping trip
expands into and becomes an entertaining adventure, and the
“Retail Entertainment Center” came onto the mall scene.
People came to the same stores to shop, but they found
themselves in the midst of a theatrical scene — a garden, a jun-
gle, a futuristic landscape. Often, one of the anchor tenants was
a multiplex cinema or a themed restaurant, adding to the inten-
sity of the entertainment experience. The lighting for the pub-
lic space in this shopping venue becomes part of the show.
4. Programmable luminaires:
Automated gobo and color changer and beam shaper
Moving lights: Automated pan and tilt
Another concept that started growing in the 1990s is actual-
ly a return to the earliest retail forms — the open-air market.
The new venues, called Main Streets or Town Centers, are very
much like the old big-box strip centers. The difference is that
all elements contributing to the shopper’s experience is con-
trolled. In the past, shoppers would walk down the main street
of their town and visit the toy store, the haberdasher, the shoe
store, etc. Streets and parking places would be standard munic-
ipal issue and each storefront would look as different as the
ownership of each store.
New Town Centers provide the streets, the parking, the
street furniture and storefronts to create an environment that
is reminiscent of its ancestor, but all based on some unifying
design concepts. In this way, shoppers have the variety of
experiences they used to get, but with more comfort and
without the confusion created by the old hodge-podge envi-
ronment. The Town Center or Main Street can be outside or
inside a mall; it can be an exterior component attached to an
interior mall.
The lighting design for these venues must address roadways
and pedestrian sidewalks, signage structures and building
facades, water features, and still create an entertainment feel-

What makes lighting look theatrical?

High contrast, visual textures, and saturated color

What makes lighting feel theatrical?

The Unexpected: The lighting effect or color wash that the
average shopper never saw in a store before.
Visual Animation: moving lights

Appropriate Tools
1. The same stuff you are using now:
Adjustable accent luminaires
Flood luminaires
Exposed/concealed cathode

2. Theater instruments:
Ellipsoidal reflector
Gobo projection
Zip strips
LEDs

3. Color media:
Theatrical gel
Dyed glass
Dichroic glass
 Richmond Town Square is a renovated on Main Street projects is more exten-
PHOTOS: PETER RENERTS STUDIO

mall near Cleveland. It was built in the 1970s.
The black-and-white image (top) is the original
mall concourse; the middle image shows
the renovated main concourse, and the bottom
image shows the food court. This is a traditional
mall design. The lighting treatments include
cold cathode coves, ceramic metal halide
downlights and a custom fluorescent pendant.
true low-brightness reflectors.
High lumen compact fluorescents,
such as quad- and triple-tubes lamps can
also be used in small aperture luminaires
and have similar benefits of excellent
color rendition, long life and low energy.
These sources are rapidly replacing
incandescent and halogen lamps in mall
lighting designs.
Mall exterior lighting has evolved sim-
ilarly to interior lighting. The points pre-
viously mentioned about the new the-
atrical techniques also apply to exterior
lighting. Usually, exterior lighting for a
mall is limited to the entries and a few
architectural features. Exterior lighting
sive, but the same principles apply —
create visual destinations with some ele-
ment of entertainment.
The authors: Alfred R. Bor-
den IV, IALD, is president of
The Lighting Practice, Phila-
delphia, and Helen K.
Diemer, FIALD is vice-presi-
dent. The Lighting Practice
was founded 12 years ago
and has grown into a diversi-
fied international practice in
the application of lighting for
architecture.
Borden has more than 20
years of experience in light-
ing design. He is a past president of the
Philadelphia Section of IESNA, and is on the
Executive Committee of the International
Association of Lighting Designers. He has been an
IESNA member since 1978.
Diemer had 15 years experience as a lighting
designer with firms in New York, Minneapolis, and
St. Paul before joining The Lighting Practice. She is
a past president of the IALD and was named a
Fellow last year. She is also an active member of the
Philadelphia Section of IESNA, and has been an

NCQLP QUIZ
1. What types of light sources were primarily used by high-end
malls into the early 1990s?

2. According to the authors, what makes lighting look theatrical?

3. What theater instruments do the authors recommend using to create a the-

atrical feel?

4. Due to their size, what types of fixtures can metal halide PAR lamps
be used in?
ing. The Main Street is a themed enter-
tainment village, complete with architec-
tural and lighting features that tie the 5. What are the benefits of high lumen compact fluorescents?
buildings to a time period or locale, but
with a theatrical spin.
One of the best things to happen to Name___________________________________________________________________
retail in the 1990s was the introduction
of low-wattage, high-color-rendering Address_________________________________________________________________
metal halide lamps, and high-lumen City/State/Zip__________________________________________________________
compact fluorescent lamps. The new
Phone__________________________________________________________________
generations of metal halide PAR lamps
and ceramic arc tube metal halide lamps Fax_____________________________________________________________________
have an attractive warm color, very little
color shifting, long life and low energy Please return to NCQLP Quiz c/o LD+A, 120 Wall Street, 17th Floor, New York, N.Y. 10005
consumption. They are small and can be by July 15, 2001. You may also fax to 212-248-5018.
used in fixtures with small apertures and
58 LD+A/May 2001 www.iesna.org
L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W

LIGHTFAIR L as Vegas will be the mecca for

the lighting industry this
coming May, when thousands of
INTERNATIONAL professionals descend upon the
city, in search of the newest light-
SEMINAR ing-related equipment and acces-
sories, as well as educational

PREVIEW opportunities, provided through

the 38 workshops and seminars
offered at this year’s conference.
David Apfel, Addison Kelly, Brian Cronin, With a little prodding, LD+A
was able to convince the presen-
Anthony Long, Vesa Honkonen, Julle Oksanen, ters of six seminars to discuss
Harold Jepsen, Leslie North, Sandra Vasconez, what they’ll be speaking about in
Helmut O. Paidasch and Randall Whitehead LasDavid Vegas.
Apfel and Addison
provide some insight into the seminars Kelly will address the 11th hour
they’ll be presenting at this year’s fixes — the situations that arise,
late in the construction process
LIGHTFAIR INTERNATIONAL. where redesign is simply not an
option. This seminar will help
participants to identify potential pitfalls, so they can save both time and money.
Tying in to LD+A’s focus on retail store lighting, Helmut O. Paidasch’s seminar will discuss creating a
more customer-friendly retail environment. He identifies the three key components of delivering such
a lighting design: visual comfort, visual display and visual ambience.
Three presenters —– Harold Jepsen, Leslie North and Sandra Vasconez — will pool their knowledge base
to speak on the virtues of lighting control systems. In many cases, lighting controls can be more important
than the actual luminaries specified, especially when needed to comply with energy code provisions.
A series of projects, chosen for artistic value, will be discussed by Vesa Honkonen and Julle Oksanen.
This seminar will discuss the poetry of lighting design — the power it can have over those viewing light-
ing projects — and even the poetry of lighting calculations.
Brian Cronin, an LD+A columnist, and Anthony Long, present a seminar on the various benefits the
Internet can provide to businesses. Whether it be through website design, or online research, or using
the Internet as a marketing and branding tool, this seminar promises to enlighten even the most com-
puter-savvy attendees.
Randall Whitehead will be presenting a three-hour workshop at the conference, where attendees will
learn to identify and incorporate the four functions of illumination — decorative, accent, task and ambi-
ent — into their own residential lighting designs.
A special thanks is due to these authors, who willingly authored these seminar previews, both to whet
the appetite of those attending the conference, and to allow those not fortunate enough to make the trip
to still gain some knowledge from the presentation.

Chris Palermo
Editor

60 LD+A/May 2001 www.iesna.org

L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
The Functions of
Illumination
Randall Whitehead previews his extensive
workshop on lighting residences. Attendees will learn
to easily identify and incorporate the four functions
of illumination into a flexible design for
the home environment.
T U E S D AY, M AY 2 9 , 2 0 0 1 , 9 : 0 0 A M - 1 2 : 0 0 P M
T he new technologies and develop-
ments in lighting over the last
decade have created opportunities for
We can now achieve lighting effects
that match our virtual reality, techno-
magic world. Plus, we can do it within
approaches to lighting only dreamed of a reasonable budget, without dramati-
in the past. The body of knowledge cally changing the way we live. At the
about lighting has greatly evolved from same time, we can increase the comfort
the times of candles and gaslights, yet level in our living spaces, and increase
many clients have not updated their convenience as well.
thinking much beyond that. Lighting can be a tremendous force in
design; it’s the one element that makes all
the rest work together. Yet it has been the
second-class citizen of the design world
for so long, and the results have left many
homes drab, uncomfortable and dark. Too
often, the blame goes elsewhere, when
improper lighting is the culprit causing
the discomfort. Let’s take a leap from nine-
teenth-century lighting to the next
plateau by welcoming new lighting possi-
bilities and techniques and sending
design into a new era of dramatic comfort.
Light has four specific duties: To pro-
vide decorative, accent, task and ambient
illumination. No one light source can
perform all the functions of lighting
required for a specific space. Under-
standing these differences will help you
create cohesive designs that integrate
illumination into your overall design.
Getting your clients, contractors and
other members of the design team to
become comfortable with these terms
will help a project gel more cohesively.
Light performs these basic functions:
L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
decorative, accent, task and ambient illu-
mination — the well-integrated layering of
the four within each space will create a uni-
fied design.
Decorative light
Luminaires such as chandeliers, can-
dlestick-type wall sconces, and table
lamps work best when they are used to
create the sparkle for a room. They
alone cannot adequately provide usable
illumination for other functions without
overpowering the rest of the design
aspects of the space.
For example, a dining room illuminat-
ed only by the chandelier over the table
creates a glare-bomb situation. As you
crank up the dimmer to provide enough
illumination to see by, intensity of the
light causes every other object to fall into
secondary importance. This one super-
nova of uncomfortably bright light
eclipses the wall color, the art, the car-
peting, and especially the people. By
nature, any bright light source in a room
or space immediately draws people’s
attention. They won’t see all the other
elements, no matter how beautiful or
expertly designed.
Similarly, linen shades on table lamps
draw too much attention to themselves.
Consider using a shade with an opaque
liner and perforated lid to direct the
illumination downwards over the base,
(left, before and right, after)
This living room uses light layering to
create a comfortable, inviting environment.
The ambient light, which comes from the
indirect lighting by Starfire, adds the
much-needed fill light which softens shadows
on peoples faces. Recessed adjustable low
voltage fixtures by Lucifer Lighting
highlight the art glass, paintings,
greenery and table tops.
62 LD+A/May 2001
the tabletop and across your lap if
you’re reading.
Accent light
Accent light is directed illumination
that highlights objects within an envi-
ronment. Luminaires such as track and
recessed adjustable luminaires are used
to bring attention to art, sculpture, table-
tops and plantings. Just like any of the
four functions, accent light cannot be the
only source of illumination in a room. If
you use only accent light, you end up
with the museum effect, where the art
visually takes over the room, while
guests fall into darkness.
Subconsciously, the people will feel
that the art is more important than they
are. Of course, some of your clients may
feel that the art is more important than
the guests are. Their desires must be
taken into account, even if they seem to
be incorrect. The truth is, they’re the ones
that ultimately will live in the house, and
their needs must be addressed. Some-
times, you will be able to compromise on
a design that at least provides some ambi-
ent light. As a guest, you will just have to
try to be witty or profound enough to
compete with the art.
The Museum Effect: When art becomes
visually more important than people with-
in the space. Even museums now add addi-
(left, before and middle &
right, after) This dining room
makes a fantastic transformation
from dated 1970s box to Japanese
Moderne. A lush paper lantern
by Ingo Mauer hovers over
the dining room table.
Recessed adjustable fixtures
by Lucifer Lighting punch up
the painting, red metal
sculpture, and the amber vase
in the center of the table
tional illumination beyond accent light to
help reduce eye fatigue, by cutting contrast
in the overall environment.
Accent lighting thrives on subtlety. A
focused beam of light directed at an
orchid or highlighting an abstract paint-
ing above a primitive chest can create a
wondrous effect. People will not notice
the light itself; they see only the object
being lighted, almost subliminally. The
lighting effect achieves its magic through
its very invisibility.
In the movies, if we can tell how a spe-
cial effect has been achieved, we feel
cheated. We don’t want to know, because
we want to think it’s magic. In lighting, it
should be no less the case.
We want to see the effects of light, but
the method needs to remain unseen, hid-
den, or an optical illusion. That subtlety is
what will give the design a cohesive
wholeness, allowing the design, the archi-
tecture, the furnishings or the landscape
to become the focus in a particular space,
not the light luminaires or the lighted
bulbs glaring out from within them.
Task light
This is illumination for performing
work-related activities, such as reading,
cutting vegetables and sorting laundry.
The optimal task light is located
between your head and your work sur-
www.iesna.org
L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
face. That’s why lighting from above isn’t
a good source of task light, because your
head casts a shadow onto your book,
computer keyboard or ransom note.
Overhead lighting or incorrectly
placed task lighting often contributes to
the problem of veiling reflection. This
occurs when light comes from the ceil-
ing directly in front of you, hitting the
paper at such an angle that the glare is

Simplyputting
ambient light
on one
dimmer
and
accent
lighting on
another
provides a
whole range
of
illumination
level
settings.

reflected directly into your eyes. This

causes unnecessary eye fatigue. Veiling
reflection is the mirror-like reflection of a
light source on a shiny surface. The sur-
face may be a magazine page, thermal
fax paper, or any visual task that has
shiny ink, pencil lead, or any amount of
glossiness. The veiling reflection is a
bright image that washes out the con-
trast of the print or picture.
Another related term is photo-pig-
ment bleaching. When you try to read a
book or a magazine outside, sometimes
www.iesna.org
L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
This plain home in
Palm Springs, Calif. comes
alive at night with the
addition of color corrected
lighting for the new
plantings and facade.
The dramatic lighting
draws visitors to the
front door without
glaring in their eyes.

the brightness of the page makes it diffi-
cult to read. You end up moving to a
shaded spot or tilting the magazine until
the sun isn’t hitting it directly.
Veiling Reflection: This refers to the glare
and eye fatigue resulting from overhead
light hitting directly on white paper with
black ink, as if you were trying to read
through a veil.
A reflective surface is always a reflec-
tive surface, which means you can’t elim-
inate glare if you are focusing light onto
a mirror-like finish.
What you can do is redirect that glare
away from the normal viewing angle.
That’s why a light coming in from one side
or both sides of your direction of view is
more effective. It redirects the glare.
Portable tabletop luminaires with solid
shades often do the best job for casual
reading, because they better direct the
light and do not visually overpower the
room when turned up to the correct
intensity for the job at hand. You may be
thinking, “Well, that’s fine and dandy for
some Euro-chic interior, but what about
my Louis the Sixteenth library?”
Well, a boullotte lamp does a great job
of task lighting, as does a banker’s lamp.
Fluorescent or incandescent linear shelf
lights, too, are a good source of task illu-
mination at a desk with a shelf above the
work surface or in the kitchen mounted
under the overhead cabinets.
Ambient light
Ambient light is the soft, general illu-
mination that fills the volume of a room
with a glow of light, and softens the
shadows on people’s faces. It is the most
important of the four functions of light,
but it is often the one element that is left
out of the design of a room or space.
The best ambient light comes from
sources that bounce illumination off the
ceiling and walls. Luminaires such as
opaque wall sconces, torchieres, indirect
pendants and cove lighting can provide a
subtle general illumination without
drawing attention to them. You could
call it the open-hearth effect, where the
room seems to be filled with the light of
a glowing fire.
Just filling a room with table lamps is
not an adequate source of general illumi-
nation. The space becomes a lampshade
showroom, where the table lamps are the
first thing people see as they enter. Let
these portable luminaires be a decorative
source, creating little islands of light.
Using opaque shades and perforated
metal lids can turn these luminaires into
more effective reading lights. Utilizing
other sources to provide the necessary
ambient light lets the decorative lumi-
naires create the illusion of illuminating
the room, without dominating the design.
This inclusion of an ambient light
source works only if the ceiling is light in
color. A rich aubergine ceiling in a
Victorian dining room or a dark wooden
ceiling in a cabin retreat would make
indirect light sources ineffective, because
the dark surfaces absorb light instead of
reflecting it.
One solution to this situation is to
lighten the color of the ceiling. Yes,
sometimes the answer is to alter the envi-
ronment rather than change the light
source. Instead of the whole ceiling
being eggplant-colored, how about a
wide border in that color with the rest of
the ceiling done in a cream color or sim-
ilar hue? Using a traditional chandelier
with a hidden halogen source could
complement the design, while adding a
modern sensibility.
A wooden ceiling could be washed
with an opaque stain that gives it a more
weathered look without taking away
from the wood feel itself, as simple paint-
ing would do.
Say that your clients are dead-set
against changing the color. A second
possibility would be to use a luminaire
that essentially provides its own ceiling.
One luminaire that has been out on the

(left) Looking in towards the kitchen from the dining room,

a tall rice paper lantern from Ambiente offers a decorative
glow, as do the two tall candlesticks. The series of blown
glass pendants by Lite Source add decorative/ambient light
for this compact galley kitchen. Xenon Puk Lights by
Lucifer Lighting provide task light for the counter tops and
additional Puk lights in the base of the upper glass-faced
cabinets help punch out the architectural detailing.
(right) This compact living room/dining room uses light to
create a greater feeling of space. The Chip wall sconces
by Koch & Lowy cast a dramatic shadow pattern on the
wall, while recessed fixtures illuminate the arrangement
on the dining table and the objects on the banquette.

64 LD+A/May 2001 www.iesna.org

L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
market for many years is the RLM pen-
dant. It has a white interior fitted with a
silver bowl reflector lamp (such as a
150A21SBIF). The illumination is
bounced off the inside of the shade itself,
instead of the ceiling, to provide an ade-
quate level of ambient light.
There are more modern versions of
the RLM, such as Spectro by Boyd
The best
ambient light
comes
from sources
that
bounce
illumination
off the
ceiling and
walls.
Lighting or the Spilla Vetro by Flos. The
halogen source fitted within an integral
reflector bounces light off the dish-
shaped reflector and down into the space
below.
Ambient light, too, just like the other
three functions, should not be used by
itself. What you end up with is the
cloudy day effect, where everything is of
the same value, without depth or dimen-
sion. Ambient light alone is a flat light. It
is only one component of well-designed
lighting.
Light layering
A lighting design is successful when
these four functions of light are layered
within a room to create a fully usable,
adaptive space. Good lighting does not
draw attention to itself, but to the other
design aspects of the environment.
Once you have a good understanding
of the functions of light and have com-
www.iesna.org
municated it successfully to your clients,
then you can decide which are needed
for a specific area. An entryway, for
example, desperately needs ambient and
accent light, but may not need any task
light, because no work is going to be
done in the entry. However, there may be
a coat closet, which would need some
task-oriented illumination.
What we often see is a house lighted
for entertaining only: a very dramatic,
glitzy look. Many of the design maga-
zines also show this type of lighting
design, nearly exclusively. Every vase,
painting, sculpture and ashtray glistens
in its own pool of illumination. Yet, the
seating area remains in darkness. What
are these people going to do for light
when they want to go through the mail,
do their taxes or put a puzzle together
with their kids?
Also, the design magazines don’t tell
you that they often add lighting specifi-
cally for photographing the rooms.
Those lights won’t be there when some-
one is living in the house, and the effect
won’t be nearly as wonderful. What it
does do is give clients a false sense of
what type of illumination downlights
alone can provide.
Please remember that people entertain
only part of the time. The rest of the time
these rooms are used to do homework,
clean and interact with other family mem-
bers. This doesn’t mean that you should
eliminate accent lighting; just don’t make
it the only option. Simply putting ambient
light on one dimmer and accent lighting
on another provides a whole range of illu-
mination level settings.
As your clients become more sophisti-
cated about what they want, you should
have the knowledge to give them what
they want and need.
Once a project is finished and some-
one walks in and says, “Oh, you put in
track lighting,” it means that the light-
ing system itself is the first thing seen. If
they walk in and say, “You look great!”
or, “Is that a new painting?” then you
know the lighting has been successfully
integrated into the overall room design.
Subtle is good.
Randall Whitehead is an affiliate president for
Randall Whitehead International, in San
Francisco.
L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
11th Hour Fixes
Preempting disaster, by learning to sidestep the pitfalls
of construction during the design process can save time
and money. David Apfel and Addison G. Kelly will
help designers avoid 11th hour fixes.
F R I D A Y, J U N E 1 , 2 0 0 1 , 2 : 0 0 - 3 : 3 0 P M
I f late one night, after everyone has
gone home, you find yourself sitting
on top of a 10 ft ladder with a can of
spray paint and a roll of duct tape, you
are most likely involved in an 11th hour
fix. In some cosmic sense, you are prob-
ably being punished for sins committed
earlier in the lighting project.
Most of us love the design concept
phase, tolerate the design documenta-
tion phase and delegate the project man-
agement phase. It is not surprising that
things go wrong during the phase where
we spend the least amount of quality
time.
Except for back luck, most of the
things that can go wrong with a lighting
project are identifiable and avoidable.
Good communication and documenta-
tion throughout the project from con-
cept to focusing will go a long way
towards avoiding the things that can go
wrong.
Join Addison Kelly and David Apfel
for an illustrated tour through a typical
66 LD+A/May 2001
lighting design project. We will identify
the potential pitfalls and where they
occur in the project schedule. We will
review each problem area and indicate
the steps that can be taken to avoid 11th
hour fixes. Listed below are just some of
the things that can go wrong during the
construction and focusing phases of a
project:
Construction Phase
• Contractor refuses to order lighting
equipment in a timely manner, hoping
that a delivery crisis will allow him to
substitute.
• Lighting equipment manufacturer
cannot meet schedule.
• Poor documentation or construction
site conditions result in relocated duct-
work, tight ceiling plenum conditions,
and light coves not correctly built.
• Lighting equipment installed in the
wrong location.
• Wrong lamps are installed in the
luminaires.
• Wall washers are installed lighting
out into the room.
• At a pre-completion walk-through,
before the finishing materials and furni-
ture are in place, the space feels too
bright or too dark.
Focusing Phase
• No one ever notified the lighting
designer that the project was complete
and the lights needed to be focused.
• The contractor has left with his lad-
ders, lifts and scaffolds. How do you
reach the lighting equipment?
• The luminaires are too hot to touch.
• The rotation and pivot mechanisms
are locked in place and will not move.
• Lamps have burnt out in 30 percent
of the luminaires.
• The local electrical union will not
allow the lighting designer to focus the
lights.
• Your hands get cut because of rough,
unfinished, metal edges on the interior
of a luminaire.
• The luminaires are installed accord-
ing to plan, but the furniture and art
have moved.
Also included are illustrated stories of
the things that went wrong and how
they were fixed by some of the most bril-
liant lighting designers of our day. Of
course, names will be changed to protect
the innocent and the guilty.
The accompanying illustrations are
examples of specular materials interact-
ing with light sources in a manner never
intended by the interior designer or the
lighting designer. Join us and learn how
to avoid the 11th hour fix.
David Apfel is the owner of David Apfel
Lighting Design in New York. Addison Kelly is
a principal for US Lighting Design Consultants,
also in New York.
www.iesna.org
L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W

pants may disable or destroy devices to

resolve their concerns.

The Need for Control “Control Me!” provides a roadmap

through the design, selection, and
implementation of lighting controls in a
Deciding what types of lighting controls to use in an “real-world” context. Structured
around real-life applications commonly
application is of primary importance. Harold Jepsen, found in commercial settings, this sem-
inar provides attendees with a compre-
Leslie North and Sandra Vasconez will provide hensive overview about the entire light-
help in making the decision easier. ing controls process, from a logistical
perspective, as well as a results-oriented
perspective.
T H U R S D A Y, M A Y 3 1 , 2 0 0 1 , 4 : 0 0 - 5 : 3 0 P M For instance, seminar leaders will
explore common applications such as

F or most facilities, lighting systems

are second only to HVAC systems in
terms of energy usage. Controlling
these systems is an inextricable part of
the entire lighting equation. There are
some unavoidable reasons for control-
ling lighting, such as complying with
energy code provisions that require
automated lighting controls in non-res-
idential facilities.
However, beyond basic compliance,
lighting control can provide a variety of
benefits for building owners, managers
and occupants. For building owners and
managers, the potential energy savings
involved with lighting control can be
substantial — often 30 percent of total
electrical usage or even greater. Facility
management personnel value the
increased convenience in maintaining
optimal building operations with auto-
mated controls. For occupants, the
advantages of optimal lighting and
adjustable light levels can lead to greater
comfort and satisfaction with personal
work environments.
While it’s clear to a growing number of
companies that are implementing light-
ing controls that there is great potential
for enhancing the operation of a facility,
many also acknowledge that developing
a lighting control project offers consider-
able potential for pitfalls. An inadequate
or ineffective controls system can create
more obstacles than an absence of con-
trols, as dissatisfied or frustrated occu-
open office areas, private offices, confer-
ence/training rooms, restrooms, com-
mon areas and exterior lighting. In each
setting, topics for consideration include
what the needs of the user(s) are. This
includes an assessment of who — if any-
one — feels “ownership” of the space, as
well as other factors, such as the pres-
ence of daylight. In addition to user
needs, other topics include how to select
a suitable control strategy, what applica-
tion-specific challenges might appear,
and results or insights gained from
recent research or case studies involving
similar applications.
Before exploring each specific appli-
cation, the seminar reviews some of the
basics in beginning a lighting controls

(left) In conference rooms, user needs include flexibility and ease-of-use for selected controls. Architectural dimming controls may be an
appropriate solution. (right) In an open office setting, there is limited space “ownership” by occupants. There is a need for daytime lighting and the
ability to override controls after hours. This is accommodated with scheduled control and the use of local “smart” switches.

68 LD+A/May 2001 www.iesna.org

L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
For restrooms, occupancy-based control is a natural selection. Lights turn on when the space is occu-
pied, and turn off when the space is vacant.
project. Control parameters need to be
defined. This includes identifying the
goals of lighting controls for that specif-
ic project and factors such as who will
be maintaining the system and bud-
getary issues. Lighting control strategies
(i.e., occupancy-based, time scheduled,
light level control and load shedding)
must be assessed.
Another aspect the seminar leaders
will explore is who will be involved in
designing a lighting control system; who
will actually do the design and how it
will be communicated (i.e., through doc-
uments such as written specifications,
schedules, and riser diagrams).
At this point, the seminar begins to
explore a “sample office building” to
put into practice some of the topics
already discussed. The leaders begin
with a common application in commer-
cial buildings: the open office applica-
tion. In open office settings, there might
be limited space “ownership” by occu-
pants. In addition, there will be the
need for daytime lighting and the abili-
ty to override controls after hours for
individuals working late. This can be
accommodated by scheduled control
and the use of local “smart” switches. It
can also be provided by daylighting
controls, such as continuous dimming.
These controls ensure that occupants
always have the lighting levels needed
for their tasks. At the Sacramento
Municipal Utility District, a combina-
70 LD+A/May 2001
tion of these two control strategies was
used to achieve the desired energy man-
agement objectives and to realize ener-
gy savings.
In private offices, on the other hand,
there is usually greater “ownership” by
the occupant, coupled with the desire to
control lighting in the space. For these
reasons, suitable control strategies
include occupancy-based control or per-
sonal dimming controls. Evidence that
these strategies are well suited to this
type of work environment was revealed
by a seminal study conducted at the
National Center for Atmospheric
Research. This research indicated that
employees preferred manual controls to
automatic ones, and actively adjusted
their own lighting for a variety of rea-
sons. In fact, more than 70 percent of
study participants used portable desktop
dimmer switches to adjust lighting! And
in many cases, workers indicated that
they adjusted their lighting, not for ener-
gy saving reasons, but to make their
environment more comfortable to per-
form computer work.
Conference/training rooms may be
smaller and occupant-intimate while
accommodating multiple users and a
wide range of activities. Here, user
needs include flexibility and ease-of-use
for selected controls. In this type of set-
ting, architectural dimming controls or
occupancy-based control may be appro-
priate solutions.
For restrooms, which experience
infrequent use and limited space own-
ership, occupancy-based control is a
natural selection. With this strategy,
lights will be on when the space is occu-
pied and off when vacant. Other types
of building spaces that have little or no
ownership are the common areas such
as lobbies and hallways. These spaces
also demonstrate characteristics such as
the need for egress and the frequent
presence of daylight. For spaces like
these, the control solution may be
scheduled, daylighting, occupancy-
based or some combination.
The primary factor in exterior lighting
applications is usually protecting occu-
pant safety and security. Design factors
such as multi-phase loads, the presence
of daylight, and the need to accommo-
date occupant schedules may also influ-
ence the ultimate control strategy that is
selected. With factors like these, auto-
mated scheduled control that relies on
either astronomic or photocell control is
ideal for many exterior applications.
Once the lighting control tour of the
seminar’s office building is complete,
attendees will have a deeper under-
standing of the issues involved in
designing and implementing lighting
controls. They will also have a number
of control solutions to explore further in
the context of their own facilities. The
seminar will conclude with a brief
exploration of emerging issues such as
integrating lighting control and other
building systems. This discussion will
look at who the stakeholders are in sys-
tems integration as well as what the ben-
efits and challenges are in the integra-
tion process. Seminar leaders will also
touch on some of the communication
standards and issues between systems.
Harold Jepsen is a product line manager for The
Watt Stopper, in Livermore, Calif. Leslie North
is a senior lighting designer for OWP&P En-
gineers, Inc., in Chicago. Sandra Vasconez is a
research assistant professor for the Lighting
Research Center in Troy, N. Y.
www.iesna.org
L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W

PHOTO: JUSSI TIAINEN

Fiskars waterfall has been part of the village center for
350 years. For years, it has given the sound to the night
of Fiskars. Now the sound is combined with the
new image of the lighted waterfall.

Poetry in
Lighting Design
Vesa Honkonen and Julle Oksanen
take attendees on a personal journey of projects,
which demonstrate the artistic and
poetic side of lighting design.

T H U R S D A Y, M A Y 3 1 , 2 0 0 1 , 2 : 0 0 - 3 : 3 0 P M

I t was a starry night in October, a few years ago. We were

standing outside, in the small picturesque village of Fiskars,
located in Southern Finland. Fiskars is a 350-year-old steel mill
village. We had darkened the whole area; all the street lights
were off. A small river with strong current runs through the vil-
lage. The river has always been the heart of Fiskars.
There are two small waterfalls in the very center of the vil-
lage. We had built a lighting demonstration to one of the water-
falls as part of our commission to create a new lighting design
for the village. We used just one small light caster to lift the
waterfall from the darkness. Two men were with us: our client,
the vice-president of Fiskars Company; and a quiet man who
had lived in Fiskars for his whole life, and had helped us to
build the demonstrations. The vice-president turned to ask his
opinion. We were all surprised to notice that this local guy had
tears in his eyes and he was staring at the waterfall. He said
whispering, “All my life, I have just heard that water in the
darkness. Now I can also see it after 50 years, and it is so beau-
tiful.” This experience made us think about the power of light
and our responsibility as designers.

The power of light

If we really think about it, it is impossible to work with the
light itself. Light is meaningless before it meets something.
Light earns its life when it starts to play with surfaces, materi-
als, places, locations. On our way to be lighting designers we
learn about light, lamps and fixtures, but we should pay even
more attention to studying the environment, place, objects,
which will be our true client. Lighting a city or a town, is an
extremely demanding challenge. Part of the stories are written
www.iesna.org
L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
PHOTO: JUSSI TIAINEN

The Fiskars Park bollard fixture creates spots of light in the darkness.
People walk through intervals of light and darkness. The bollard’s
material is rusted steel. The form language has its origins in one of the
early Fiskars steel mill products — railroad track spikes.

Due to these reasons, we believe that a good lighting design-

with stone and concrete, some of them live in stories and
books. Then there are hidden stories that carry enormous
power within, the memories of the people — places to fall in
love, places for the first kiss, places for joy and happiness, for
loss and sorrow.
Does a painting exist if no one is looking at it? Does a
er should understand lighting, architecture, urban design, elec-
trical engineering physics, psychology, semiology, history, etc.
This is also the reason why we believe that lighting design is
team work.
In our team, we have the training of an experienced architect
and an experienced electrical engineer with both having expe-
rience in lighting design; and even this is not enough. You have
to be able to say: “I do not know, let me ask somebody.”
With these resources, we might be able to create good light-
ing, which might rise to the level where we can talk about the
Poetry of light. Spirit, the soul, creates the poem; cities and
places are our paper and canvas; and light and darkness are
our pen.
The canvas of the lighting designer is dark black; that is
where it all starts. Studies of light have made me think about
the dualistic nature of things. Light and darkness, sound and
silence, movement and stand still, the play of pairs. I call one
the power part; the other part is the basic level.
Darkness is the origin, the state of being without any life,
without any concept of space. For some people, total darkness

PHOTO: TAPIO VANHATALO

poem exist if no one reads it? These are eternal philosophi-
cal questions.
I have started to realize that the place where our design gets
its life and meaning is not where it physically exists. We are
doing our design for people to experience and feel. The space
with light is created inside people’s mind and soul. There, it has
its final interpretation, People’s experience in our work is seen
through all those personal layers of memories, education, feel-
ings and connotations.
Our design is created with steel, electricity and glass. With
those materials, we create light. Our light meets the stones,
concrete and wood the way we have determined. How well we
succeed depends on our capability and sensitivity to under-
stand the location and the stories written into common her-
itage of the site. We highlight some things, others we leave to
darkness. We continue the tradition of the storytellers of the
place, adding our new layer to the history of the site.

How to be a good lighting designer

Philosophy of light: No matter how weird, sentimental or
scientific it is, you have to have it. You have to have your own
personal point of view. Then you have to be able to analyze and
read the place, and know your task. When you have all this,
you still have to be able to tell the stories of places with light.
You have to be able to master the techniques at the same time.

The Fiskars Street fixture shows its directly aimed light best in rain and
fog. The steel pole is vertical for the first 4 m. Then, it starts to lean back
slightly. This move allows the light to attach to its own body. A small
stripe of light on that leaning steel tube reveals the structure in the night.

74 LD+A/May 2001 www.iesna.org

L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
The Railway Station Plaza fixture in front of architect
PHOTO: VESA HONKONEN

Eliel Saarinen’s station building.

lm/W values, longer lifetime and excellent color properties.

is scary and threatening. For me, it means peace and rest. Light
is the outburst of energy, life. It is always produced somehow.
It will last as long as the reaction causing it is alive. Light has
the concept of time built in it.Two separate lights can give a
meaning or dimension. Time to darkness can be measured by
marking the boundaries for the indefinable darkness, including
an end and a starting point.
This approach is easy to repeat with sound and silence. Total
silence has no dimensions for our senses. Sound is an outburst,
created with energy. Sound itself has a length, which can be
measured both by time and quantity. Music contains many
extremely powerful examples of the power of silence. Two
notes, which mark the beginning and the end of a silence, are
usually the most powerful moments of many symphonies. But,
there are also quiet moments between two notes. During the
wait for the next sound, you can almost feel the time and antic-
ipation. Silence gets a meaning and a length.
In order to see light, study darkness; in order to hear sound,
study silence. This indicates the poetry in lighting design
This has given new possibilities, as well as new challenges to
lighting fixture design. The world is open for good design com-
bined with high quality techniques.
Let’s take a look at two examples, the Railway Station Plaza
in Helsinki with Eliel Saarinen’s architecture and the Aura River
in Turku, which is the oldest city of Finland. In both cases, the
goal has been to combine design and high quality techniques
in harmony. As always, when facing something new, people
reject. We also met a reasonable amount of resistance and crit-
ics based on other arguments like; “we have never done it this
way.” But in the end, the result speaks for it self.
The Railway Station Plaza project was the result of a win-
ning design competition entry, done in co-operation with
Philip Gabriel. The place is culturally and architecturally
important. After a long path of various design phases we
came to the solution to light the plaza with just one type of
luminaire, a 4.5 m tall indirect fixture. We used 150 W
ceramic metal halide lamps. The pole was 140 mm thick. One
lamp was located on the top part of the pole to take care of
the indirect light and the other was inserted to height of 2.2
m to create direct facade lighting.
The battle for the right light distribution, lamp chamber

Poems in figures and calculations

The history of electrical lighting is short, only some 100
years. As always in culture, various factors direct the progress.
We seldom realize that one of the biggest factors to our exteri-
or lighting quality is the energy crisis in the 1970s.
In order to achieve efficient lighting, lamp manufacturers
started to concentrate on high pressure and low pressure sodi-
um lamps. Sales were great but the quality was in question. As
always, using those lamps was almost like a fashion. Yellow fog
covered the quality aspects.
Similar things have happened in many other fields also. The
progress has been directed by technically orientated people,
and it takes a while before design and visually orientated pro-
fessionals get involved. Now it seems the time is right for high
quality lighting. The lamp manufacturers have also noticed this
progress. Light sources have become smaller, with greater
www.iesna.org
L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
PHOTO: JUSSI TIAINEN
and optics was long. We had to hit the indirect reflector part
with light exactly the right way. The maximum luminance of
the reflector part is the same as full moon (average value
1,100 cd/sq. with variation from 500-2,500 cd/sq). All the
values were measured, E hor-, E vertical-, E hemispherical-,
E semicylindrical- and symmetrical, in order to evaluate the
quality of the minimized size lamp chamber and its light.
One luminaire can cover a 30 x 16 m area with reasonable E
hor values. Selected and summed up values for whole calcu-
lation area were the following: E hor average: 20 lx; E hor
minimum average: 8 lx; and E semicylindrical minimum
average: 1.2 lx. Elevations got 5 cd/sq.
We put a lot of effort to minimize the glare. We evaluated the
luminaire as post top and road lighting luminaire. All the mea-
surements have shown that this luminaire achieves excellent
values. When maximum L 0.25 values for post top luminaires
which we have measured, have been 8,000 (extremely bright,
3,000-7,000 is nowadays regarded as acceptable), our fixture
was 600. After this, we were excited to study our luminaires
glare values using the road lighting fixture measurements. The
glare for the road lighting luminaire is presented with glare
value G, nuisance glare, with values 1, 3, 5, 7, 9. In this table,
1 is glary and 9 is unnoticeable. Our fixture achieved the theo-
retical value of 9.5.
These evaluation tools, glare, uniformity, luminance, differ-
ent illuminance values, are usually studied and evaluated sep-
arately and they do not affect one another.
However, a fixture can produce a lot of light on the road even
though it is fairly glary. That kind of fixture can be regarded as
efficient and good one.
At the same time, a luminaire, which creates less light and
has no glare, is much more efficient, since the glare does not
prevent our eyes to see clearly. We are saying that the glare val-
ues should be part of the formulas estimating the efficiency.
76 LD+A/May 2001
100 trees with tree
luminaires in Turku.
The best possible indirect
lighting fixture is located
above the River and
the moon.
Glare and light distribution should not be two separate things.
There are many things to be studied. Our statement to this dis-
cussion can be seen at the Railway Station Plaza.
The Aura River project included all the elements of a public
space lighting with a great river area with bridges. One exam-
ple is the story of how we lighted the trees.
Usually trees are lighted either with underground luminaires
or with floodlights. Both options create several glary light dis-
tribution surfaces with glare causing veiling luminance to
observer’s eyes. Floodlights also create big visual elements to
sensitive historical environment.
We started to study a luminaire, which would be simple,
effective and would not have any glare. The solution was to
locate the light source to a height of 3 m with a 60 mm pole.
The lamp chamber has 2 x 150 W ceramic metalhalide lamps.
Lumen output is 30,000 lm. Each tree has its own fixture,
always located on the same side of the tree. This creates the dif-
ference to the quality of light, depending on which direction
you approach from.
In the beginning of the project we had a demonstration
with the luminaires at the site. An older couple came to us,
stopped just under the fixtures, looked around and said:
“What a beautiful light, but where does it come from?” We
knew we had succeeded.
Vesa Honkonen is an architect and lighting designer for Vesa Honkonen
Architects in Helsinki, Finland. Julle Oksanen is a lighting designer for
Teakon, also in Helsinki.
www.iesna.org
L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
Communicating at the
Speed of
Brian Cronin and Anthony Long, of Planetmouse,
Inc., hope to ease the wary minds of those skeptical
of the power and benefits the Internet can
bring to their business.
F R I D AY, J U N E 1 , 2 0 0 1 , 1 0 : 3 0 A M - 1 2 : 0 0 P M
W hy do I need to incorporate the
Internet into my business? This
is a good question, and representative
of the synergetic, yet sometimes nebu-
lous relationship between the burgeon-
ing technology and the quintessential
challenges associated with business. In
our upcoming presentation on Inter-
activity at LIGHTFAIR INTERNA-
TIONAL, Planetmouse will not only
aim to shed light on the basic princi-
ples that govern interactivity, but will
also reveal the potential of the Internet
to transform both businesses and
everyday reality.
The Internet represents many things
to many people. To some, it is a vast sea
of information. To others, it is a conduit
for communications. There are those
who still envision tremendous e-com-
merce potential for the Internet, while
many see it simply as a source of enter-
tainment. In short, the Internet feeds
heads of many different shapes, sizes,
cultures and beliefs. With billions of us
buzzing around this big, spinning rock
with our heads reasonably intact, I’m
guessing that interactivity will be here
for a while.
www.iesna.org
Acquiring a fundamental under-
standing of interactive basics is a neces-
sity today. This working knowledge will
e
not only help to avoid confusion, but
will allow for more effective strategic
planning. While securing a grasp on the
basics is a good place to start, it’s impor-
tant to know how the Internet can sup-
port and enhance ongoing business
plans. That’s why we are heading to Las
Vegas in May. We can help you under-
stand the advantages of harnessing
interactivity.
Getting Started: Interactivity is all
about bringing business to the Internet
and vice versa. This is what Planetmouse
is all about. Since our inception in the
mid-1990s, our primary purpose has
been to help our clients understand,
So, what does “e” mean? Literally, “e”
stands for electronic, which is a rather
generic term these days, similar to the
strategize and implement interactivity
into their business plans. As a result, we
plan to touch on the following at
LIGHTFAIR INTERNATIONAL.
• Plugging the Gaps: How the
Internet can make your organization
the Internet more effective.
• Scope & Scale: Addressing both
feeds large and small web initiatives (the dif-
ferences and similarities).
heads of • Experience vs. Inexperience: The
goal is still the same — increased effi-
many ciency and productivity.
• Resource Options: The Who, What,
different Where, When, Why and How of inter-
shapes, active resources.
sizes, Staying Connected: The impact of
online communications can be felt
cultures immediately upon implementation. If,
for no other reason, companies must
and beliefs establish an interactive presence to forti-
fy this essential business element. Topics
will include:
• Plugging In & Turning On:
Accessing the Web for fun & profit.
way folks toss around the word “digi- • Communication: Using email and
tal.” If something isn’t digital, then it other web-based tools to bolster com-
isn’t first-rate. munications efforts.
LD+A/May 2001 77
L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
• Basic Tools: Which options are right
for your business?
• For The Geeks: PDAs, Digital
Wireless Telecom, Portable Web Access
& Voice Over IP.
Online Research: The Internet is a vast
resource for information. Conducting
research on an industry, specific markets,
competitors, vendors and suppliers only
takes a few clicks of the keyboard or
mouse. Here, we will discuss things like:
• Working with search engines
• Information web resources
• Competitive and market intelligence
• Customer data
• Web communities/peers
Website Planning: Why do you need a
website? How will a site enhance your
overall business objectives? What makes
a site effective? How do I avoid common
mistakes? These and other questions
regarding website planning, develop-
ment, design and implementation will be
discussed in this section.
• Establish an high-impact interactive
presence
• Extending “reach” beyond geo-
graphic and market barriers
• Information vs. design
• Relevance and freshness
• Function and form issues
• Success criteria
Website Construction: There are all
sorts of tasks and issues to address before
breaking ground on a website. Handling
them properly can mean the difference
between a smooth project and a rocky
ride. These issues include:
• User interface priorities
• Domain name registration
• Hiring an ISP/web host
• “Beta” vs. “Final:” Content develop-
ment
• Breaking Ground: Professional
design vs. Do-It-Yourself (DIY)
Website Repair: As with any physical
construction project, there are ultimately
some components that either stray from
spec or require re-tasking. The Internet is
still in its infancy and will continue to
evolve in its state of flux in the near
future. A website should also be a fluid,
adaptive appliance
78 LD+A/May 2001
• Internal vs. external perceptions
• “Small” vs. “large” changes
• Evolving expectations
• Driving improvements to results
• Costs/budget tracking
360 Degree Marketing and Online
Branding: When marketing and promot-
ing a business, choosing the right tools
it’s
important
to know
how the
Internet
can
support and
enhance
ongoing
business
plans.
for the job is key. Blending both online
and offline efforts into a cohesive mar-
keting plan will minimize cost and max-
imize the overall impact
• Integration: Integrating interactive
tools into your marketing mix.
• Targeting: Strengthening the link
between your customers, partners and
vendors.
• Branding: Analysis, strategy, build-
ing and tracking of your brand online.
What Management Needs to Know:
There are some basic decision-making
issues for both large and small organiza-
tions to keep in mind. We will discuss
some of the elements that make up a
sound interactive game plan:
• Marketing vs. Strategy: Who should
drive the interactive bus?
• Management Buy-In: Setting
Goals… Evaluating Results
• Project Management: Meeting time-
lines and managing the workflow
• Content Management: Exceeding
audience expectations
• Cost and Budgeting
Other Interactive Issues: Time permit-
ting, we have some additional issues to
consider when implementing an interac-
tive strategy. Concepts like the Role of
Multimedia and E-Business Best Prac-
tices cover a broad range of pertinent
subject matter, including:
• Audience/hardware sophistication
• Connectivity issues
• Shelf Life: Sizzle vs. substance
• Transparency
• Fast turnaround
Our goal at LIGHTFAIR INTERNA-
TIONAL is to foster an interactive dia-
logue with the audience during our pre-
sentation. If the group wants to chew on
a specific topic for a while, we will gnaw
away until everyone is satisfied.
This is a quite a bit of ground to
cover in a two-hour presentation.
However, each component represents
an important segment of the overall
interactive puzzle. Missing or mis-
placed pieces can affect the perfor-
mance of the entire endeavor and jeop-
ardize its success. Function and Form
must work in concert to provide the
user with a stimulating and rewarding
interactive experience.
The business world is just as fierce,
competitive and unforgiving as it was
before the advent of the World Wide
Web. Success will ultimately depend on
preparation, creativity and cunning. If
you can’t deliver the goods, someone
else will.
Anthony Long is president, and Brian Cronin is
the director of business development for Planet-
mouse, Inc. in New York.
www.iesna.org
L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W

Merchandising presenting the lighting designer with

solutions to meet new challenges. These

Retail Environments developments are augmented by the

awareness of architects and store design-
ers that good lighting not only con-

with Light tributes to the overall image of the retail

outlet, but also attracts prospective cus-
tomers to stop and shop.
The lighting designer must consider
Helmut O. Paidasch offers insight into creating a and be aware at all times that the visual
effect on customers is of paramount
more customer-friendly retail environment, by address- importance. Generally there are three
ing three aspects: visual comfort, display and ambience. aspects to consider: visual comfort, visu-
al display and visual ambience.
Visual comfort: suggests no glare, good
T H U R S D A Y, M A Y 3 1 , 2 0 0 1 , 8 : 3 0 - 1 0 : 0 0 A M color rendering and adequate illumina-
tion for the items on display. Glare most-

I n today’s competitive market, it is

essential for every retailer, large or
small, to consider all items of his store as
an attraction to draw the attention of
prospective customers.
Architects and interior designers
must capture the aesthetically pleasing
surroundings coupled with captivating
and imaginary interior design. Shop-
ping centers and large department
stores are no longer focused on single
shopping activities, but have become
centers of meeting places and emulate
the plaza environment.
Light is a fundamental prerequisite in
the retail environment. It determines
form, color and texture, and also creates
ambience, which can enhance or detract
from merchandising on display.
In the ’80s and ’90s, the retail indus-
try witnessed an exceptional increase in
the development and application of
lamps and luminaires (fixtures). In
these years, shopping centers expanded
with ever-increasing fervor, placing
innovative demands on the skills of the
lighting designer. Architectural designs
for shopping malls and retail centers
influenced by the continuous change in
fashion trends, have contributed to a
heightened recognition of the impor-
tance of lighting.
It is now well established that good
lighting is fundamental for successful
salesmanship; it sets the mood and
reflects the enterprising attitude of the
retail outlet. It will give the retailer a
competitive edge and can also create a
corporate image.
Technological advancements are now
ly comes in two forms — disability glare
or discomfort glare — and it can be
direct or reflected. The most common
manifestation of glare is produced by
luminance directly within one’s visual
field, and is greater than the luminance
to which the eyes have already adapted.
Glare causes reduced visibility, discom-
fort and irritation, not only to customers
but sales staff as well. Glare in the shop-
ping environment is attributed mainly
from luminaries, lamps or both. In most
cases, it can be corrected by aiming
adjustments. The introduction of con-
trolled glare in a lighting installation can
contribute sparkle.
Visual display: requires satisfactory
lighting levels so that color, fabric and
merchandise is easy recognizable. Fabric
and texture may look the same under

(left) An optimum level of visual comfort means no glare, with good color rendering and adequate illumination for the items on display.
(right) Visual ambience is the overall impression the customers perceive when entering the store. Low, soft illumination should invite the shopper
into the store, where more colorful, elegant displays await.

80 LD+A/May 2001 www.iesna.org

L I G H T FA I R I N T E R N AT I O N A L S E M I N A R P R E V I E W
Visual display requires satisfactory
lighting levels so that color, fabric and
merchandise is easily recognizable.
The choice between various types of
lamps should be made in terms of
color rendering and color appearance.

designer has artistic skills, as well as

one source but entirely different under
another light source. Metamerism is the
term used to describe light sources of dif-
ferent spectral composition, but of the
color appearance. Good color rendering
is especially beneficial when merchan-
dise is selected by virtue of its color.
Visual ambience: is the overall impres-
sion the customers perceive on entering
the store. Low and soft illumination
should invite the shopper into a friend-
astute technical awareness.
With budget restrictions, all expendi-
ture for lighting has to be justified and
each of the following points demand
serious consideration: capital outlay, util-
ity consumption cost and annual main-
tenance cost. Designers must be alert to
incorporate all three points when sub-
mitting a presentation.
Although the final lighting installation
is highly subjective, there is an interrela-
tionship between the design and the
profitability of the store. In the final
analysis, it is the cash register that is the
measure of success.
Helmut O. Paidasch is a principal for HOP
Illuminations & Associates, PYT LTD, Beecroft,
Australia.

Low and ly and colorful atmosphere where a

world of enticing and elegant displays
soft awaits. Merchandising should be
offered on well-designed and illuminat-
illumination ed display counters generating a power-
ful ambience.
should
invite Lighting for the retail environment
can be separated into three parts: ambi-

the ent, background and display or accent.

The simplest and most effective formula
shopper to illuminate this areas is” double and
double.” It is a well-applied and proven
into a method. With an ambient of 400 lx, the
background illumination should be 800
friendly lx and accent illumination should be
1600 lx. This combination will help to
and ensure that the shopper’s attention is

colorful directed to the merchandise of his or her

choice.

atmosphere The ceaseless changes in the field of

same color appearance. Color samples
may look the same under one light
source, but different under another light
source. For best results the choice
between various types of lamps should
be made in terms of color rendering and
www.iesna.org
electronics should remind lighting
designers what is state-of-the-art today
might be outmoded tomorrow by new
developments in either lamps, lumi-
naires or control equipment. The light-
ing designer must maintain a vigil on all
developments in his field of endeavor. It
is obvious that to be proficient at
“Merchandising the Retail Environment
with Light” requires that the lighting

Circle 100 on Reader Service Card.
elliptipar now offers very low profile
compact luminaires in one- and
two-lamp styles for lighting vertical
surfaces, and a three-lamp style to
add uplighting. Features include
LIGHT
PRODUCTS
adjustable aiming; radial vertical
blade baffle for 25 degree length-
wise shielding; integral electronic
ballast (dimming and emergency
optional); all aluminum and stain-
less steel construction and contin-
uous rows with through wiring and
quick connectors. The precise opti-
cal control of the T5 or T5HO fluo-
rescent lamp in elliptipar’s high per-
formance asymmetric reflector pro-
jects maximum peak candlepower
down a vertical plane with excep-
tional uniformity.
Circle 99 on Reader Service Card.
Based on an early electric design,
circa the 1900s, New Metal Crafts
now offers a custom designed com-
mercial metal luminaire chande-
lier. Finished in antique bronze, the
chandelier features a center of
hand-formed decorative acanthus
leaves. Fronds of leaves reach out
to a metal ring that holds 16 lamps,
separated by decorative rosettes.
Also, cast iron finials at the bottom
82 LD+A/May 2001
and top of the luminaires are made
from an exclusive New Metal Crafts
pattern. A four-leaf cup holds the
lamps, and a crown of bronze leaves
complete the design. The luminaire
measures 44 in. in diameter (less
lamps) x 38 in.
Circle 98 on Reader Service Card.
The new HIR XL Ultra Life PAR
lamp from General Electric Com-
pany lasts three times (6,000
hours) longer than standard halogen
PAR, says the company. The prod-
uct provides excellent color render-
ing and beam control in virtually all-
lighting applications. The HIR XL
Ultra Life PAR is available in three
wattages — 45, 55 and 90 — as
well as 12 degree and 40 degree
beam spreads.
Circle 97 on Reader Service Card.
To better provide softly diffused
ambient interior lighting in a con-
temporary, geometric design aes-
thetic for a range of commercial
and upscale residential corridors,
d’ac now offers ADA compliant
wall sconces and ceiling lumi-
naires through its Portholes and
Crossroads line. Both styles share
a bold, circular design with archi-
tectural detailing. A 16 in. diame-
ter trim ring and 13 in. diameter
lens protrude from each mounting
surface a mere 4 in., creating
visually striking, geometric design
continuity in a fresh, contempo-
rary aesthetic.
Circle 96 on Reader Service Card.
Kichler’s new luminaire is a resin
frog figure holding a lite copper
umbrella. In addition, the company
offers a complementary stand-
alone copper umbrella. Standing 23
in. tall, the luminaire will develop its
own natural patina over time and is
supplied with a long-life Krypton
18.5 W lamp.
Circle 95 on Reader Service Card.
Bartco Lighting introduced its new
Slide by Side adjustable staggered
low-profile luminaire. The design,
an original of Bartco Lighting, is a
two-lamp linear luminaire that can
be adjusted to varied spaces and
still provide a continuous glow. The
T5 comes with a high output ballast
option, while the T8 is available
with a high output, emergency or
dimming ballast. Both T5 and T8 lin-
ear fluorescent lamps are available
in 120 or 277 V.
www.iesna.org
 shallow reflector to accent any
urban boulevard, town square, com-
mercial shopping district, park or
college campus.

Circle 91 on Reader Service Card.

Holophane now offers Lyon Series Circle 90 on Reader Service Card.

Circle 94 on Reader Service Card.
Ledalite’s new Steelform family of
steel linear lighting systems in-
cludes the Soleo, Venza and InCove
product series, each with a range of
T8 and T5HO fluorescent lamp
options. Color choices for Soleo and
Venza series include white and a
natural steel color finish that
comes with translucent end caps in
seven different colors.
luminaires in new detailed litera-
ture. The luminaires are offered
with IES Type II/4 way, Type III
(asymmetric), Type IV (asymmet-
ric), and Type V (symmetric) photo-
metric light distributions for out-
standing performance in any appli-
cation. Designers may choose from
high-pressure sodium, metal halide
and mercury vapor lamps. Watt-
ages range from 35 to 175. The
Lyon series luminaires feature a
Infinity Lighting, Inc. introduces its
new XO15 luminaire. The XO15
provides a variety of lamp options in
an all aluminium-extruded housing.
It can be used for general applica-
tion or as an architectural solution.
The XO15 is offered in both octago-
nal and square shapes, and can
house incandescent, HID, fluores-
cent and ICETRON lamps.

Lithonia Lighting has intro-

duced the Sculpture Series
surfaced mounted fluores-
cent luminaires. Providing
both direct and indirect
Circle 93 on Reader Service Card. lighting, the new fixtures
are appropriate for residen-
tial use, as well as for lighting commercial environments. The
Sculpture Series features a distinctive frame in a choice of three
low-profile designs. All are equipped with three 40 W compact flu-
orescent lamps and quiet, energy-efficient electronic ballasts.

Circle 92 on Reader Service Card.

Focal Point, LLC has announced the U.S. introduction of Smile, an

indirect/direct luminaire design imported from Regent Beleuch-
tungskörper AG. Smile’s angular wings with reeded acrylic satin
diffusers dispense soft, even indirect/direct illumination across
ceilings and walls and into the workplace, contributing to user
comfort, while adding highlight and definition to people and
objects below. Ceiling-suspended and wall-mounted luminaires
may be combined for design integration throughout a facility. Wall-
mounted variations are available in 2 ft and 4 ft lengths and have
a high-quality extruded aluminum channel with matte-anodized fin-
ish for color-neutral integration in interior architecture.
www.iesna.org