architectural lighting

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and Lighting

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r
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S E P T / O C T 2007
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 I

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 AL
SEPT/OCT 1 07

VOL 21 I NO 6

arc ux architectural lighting

SmartFixture"
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world. Circle no. 380 or www.archliahtina-com/Droduclinfo
 SEPT/OCT I 07

architectural lighting
Industry

13 comments
15 briefs / Eliasson at SFMOMA; Maurer at the Cooper-Hewitt; and more
27 report / Observations From Practice
96 exchange/The Design - Energy Code Debate

projects

31 highlight / House of Sweden

34 sculpture park / Shore Thing
40 community center / A Healthy Glow
44 museum / Sculpting With Light
50 laboratory / The Science and Art of Light COVER STORY

OFFICE DESIGN FOCUS

57 project / Skanska at Alley24, Seattle

58 project / Private Equity Office, Menlo Park, California
60 products / Lighting the Workload

SPECIAL FEATURE

A|L Residential
66 apartment/Time Passages
70 retreat / Rustic Minimalism
75 products / Suspended Elegance; and more

details

85 technology/The LED Evolution

90 technology / Legislating Lighting Efficiency
95 ad index

Cover: The Meinel Optical Sciences Researcii Building at the University of Arizona. Tucson, illumi-
nated at night, PHOTOGRAPHER BILL TIMMERMAN, PHOENIX

This page: Ingo Maurer's Rose, Rose, on the Wall. (2006) at the Cooper-Hev^^itt National Design
Museum, New York; the new Bloch Building at the Nelson-Atkins Museum of Art, Kansas City,
Missouri; the kitchen at 7 Oaks Farm Studio, St. Charles, Illinois; Peter Erskine's Secrets of the Sun.

ra These articles can be found at www.archliahtina.com.

 comments industry

A MORE PRODUCTIVE PRODUCT DISCUSSION

I HAVE A CONFESSION TO M A K E — I ing case studies and manufacturer interviews. Just as the
have a love/tiate relation- pages of Architectural Lighting have served as a place for dis-
ship with lighting products. cussion on pressing industry issues, our pages can also help
Perhaps as editor of a publi- serve as a forum between designers and manufacturers to
cation whose existence derives from advertising revenue address product development. And I know that a more regu-
generated by product manufacturers, this is not something I lar discourse between designers and manufacturers is some-
should admit. However, during my tenure at Architectural thing of interest to all parties. I heard it repeatedly throughout
Lighting magazine, and particularly in the past year as its phn- conversations during the spring conference season, and it's
cipal editor, I have always found that editorial honesty is well expressed on the very pages of this issue as well.
received and welcomed by a readership that is composed of Products, reconsidered as tools and resources are a good
both the design and manufacturing communities. thing. Without them, projects would be incomplete, impossi-
So what do I mean by a "love/hate relationship" with light- ble really, and the inquiries behind their development serve
ing products? In reality the publication has two main audi- more than just the end result object. As new technologies
ences—designers and manufacturers. Of course there is emerge and raise the bar for product discussions, so too
overlap between the two groups, but for the most part the must we continue to refine and raise the standard for this
dividing line is quite clear. (And as much as I would like to type of editorial reportage. I hope all readers—designers and
think of our readership as one entity, not to acknowledge manufacturers alike—will join me in this tools and resources
multiple audiences would be to ignore the diversity that editorial revolution.
exists in the lighting community.) As an editor, one of the
greatest challenges in crafting the editorial lineup for each I D ALSO UKE TO TAKE A MOMENT TO SHARE SOME RECENT AND E X C m N G HAPPEN-
issue is finding a balance between project and product cover- ings here at the magazine. The hard work and long hours have
age that will appeal to the publication's two principal audi- been rewarded in the form of two Eddie Awards for editorial
ences. But the longer I work on this magazine it becomes excellence. In the category B-to-B: Design/
clear to me that to think of products only in terms of corn- Advertising/Marketing, Architectural Lighting's March 2007
modified objects—the form of a 50 word write-up with an issue won bronze, and in the category B-to-B:
accompanying image—does not serve well the luminaire, the Design/Advertising/Marketing, Single Article, my April/May
luminaire designer and engineer, the manufacturer, the 2007 Editor's Comment "An Incandescent Truth" received sil-
designer specifying the product, or even the end-user. What ver. But as it is said, no man (or woman) is an island, and this
if instead we were to view products as tools and resources, work would not have been possible without a dedicated edito-
and described them as such? rial and art team as well as contributing writers. So to all of you
It seems particularly appropriate to address this topic in who were involved with these two issues, I say, thank you.
Architectural Lighting's annual "Projects and Products" issue. I am also pleased to announce that after a year of transition,
Editorially, this anchor issue was conceived long before I the editorial staff is rebuilding itself. Jennifer Lash joins A|L this
arrived on the scene, but its purpose—to expand the design month as associate editor, Stephani L. Miller joined A|L in June
discussion and include information about the actual products as associate web editor, and Aubrey Altmann, Marcy Ryan, and
(tools and resources) used to realize the design—is just as Sam Resta join AjL this month as the new art team. Their talent
important today. This year the editorial staff and individual is seen throughout the pages of this issue. Please join me in
writers have paid extra attention in developing these enthes, welcoming them.
making sure to describe both how the products (tools and
resources) are actually used in the projects, and whether any EUZABETH DONOFF
modifications or customizations were required. And yes, we EDITOR
the editorial staff write these entries. I am always amazed
when I meet readers who think that the product write-ups
are paid advertising. As with all the editorial content that
finds its way to the print and web pages of Architectural NOVEMBER/DECEMBER 2007 EXCHANGE QUESTION:
Lighting magazine, the editors read and review specifications There are many ways in which an individual can arrive at the
sheets for each product culling out the points that we in our practice of lighting design. For some it is born out of architec-
editorial capacity and design experience believe will be the tural study and training. For others it is an engineering path,
salient features of interest to you. and yet still there are those individuals who discover lighting
Going forward it is my wish to recast the product discus- through artistic pursuits. The question then is, whether
sion on the pages of Architectural Lighting magazine in a way through formal academic means or individual inquiries: How
that will expand the thinking behind these components that do you educate for lighting? How do you prepare and train
enable designers and manufacturers each in their own way to someone to practice lighting design?
create. The exact form of this discussion is still taking shape,
but will most likely rely on several editorial typologies includ- SEND RESPONSES TO [email protected]

ARCHITECTURAL LIGHTING 13
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 briefs industry

A TALE OF TWO LIGHT A R T I S T S

PROVOKING MAGIC
TAKE YOUR TIME: OLAFUR E L I A S S O N L I G H T I N G OF INGO M A U R E R

ICELANDIC ARTIST O U F U R ELIASSON IS A W I Z A R D . HE EMBRACES A N D MODIFIES THE ENVIRON- "UGHT'S EPHEMERAL AND IU.USORY NATURE," THE TEXT READS, AND SO BEGINS INGO MAURER'S

ment, with light and time as his primary tools, creating installations first solo museum exhibit in the United States currently on display at the
that offer the visitor contemplative experiences. Just 40 years old, Cooper-Hewitt, National Design Museum in New York City through January
Eliasson emerges from a complex media age not previously imagined. 27 2008. With a healthy combination of humor and poetry, Maurer has been
Therein lies the challenge for a post-object artist: How can one create exploring light and lighting technologies for the past four decades.
something powerful enough to engage and move viewers without The exhibit installation takes advantage of the Carnegie Mansion's archi-
resorting to entertainment? tecture, although by Maurer's own admrttance the landmark status of the
Unlike other major artists working with light, such as James Turrell, building proved challenging. As you walk up the stairs to the second floor
Eliasson's work reveals its mechanics. The pieces and environments are (where the exhibit begins) an existing chandelier is wrapped in red fabric
organizationally simple, and that is part of his genius. What remains left to with small winged-light bulbs emerging from the red bundle. Two portraits,
the viewer is the experience of the moment, or as Eliasson likes to say, in a distinctly Inge Maurer drawing style, one of Carnegie and the other of
"Seeing yourself seeing." Eliasson's his wife, whisper to one another as visitor's
emphasis on the viewers' experience in pass by. Carnegie's wife says, "Look at
each constructed environment hopefully what they have done to our villa," to which
inspires visitors to create something. His Carnegie replies, "It was time for a change."
work successfully creates a forum for A combination of installations fitted
self-exploration as well as communal directly for the Carnegie Mansion coupled
exchange, and this acknowledgement of with Maurer designs people have come to
the vital interconnection between the know provide a complete overview of the
individual and the commonweal is a pro- artist's work. One of the more dramatic, as
foundly democratic idea underlying his well as new, pieces is called MaNo
work. The exhibition at San Francisco Nouchies, 2007, paper light fixtures inspired
MOMA, which is essentially chronologi- by a traditional Japanese textile-dying tech-
cal in its organization, discusses six major nique. The effect of light and pleated paper
tenants of Eliasson's work: a distinctive is magic-like, just as the title of the exhibi-
use of mirrors; an exploration of light and tion states—Provoking Magic.
optical phenomena; kaleidoscopic ele-
ments; landscape referents; scientific Particularly helpful in navigating the
methods and materials; and photograph- exhibit is the audio tour, written and nar-
ic suites of the Icelandic landscape. rated by Maurer himself. It offers a first-
hand look into the artist's thinking and
In 2003 Eliasson installed The Weather the raison d'etre behind many of the dis-
Project, a kind of sun made from light and plays. A modest man who is not looking
mirrors, at the Tate Modern in London, Olafiir E l i a s s o n ' s Notion Motion, 2005, (left). Ingo Maurer's for compliments, Mr. Maurer was partic-
which drew record crowds and pushed the Lucellino, 1992 (right). ularly excited to show this editor one of
artist into the pantheon of contemporary, his latest creations—LED Wallpaper.
accessible artists. The San Francisco exhibit also begins with a bath of yellow 2007 Although still a one-off, one can imagine the amazing possibilities
light as visitor walks into Room for One Colour, 1997 For a brief moment, I this LED technology, in the form of wallpaper, can take.
imagined that all would be golden as with Weather Project, but then every- Maurer is interested in exploring the kinetic relationships that occur
thing pales and people turn shades of gray, the result of the eye's retina when light meets light or object meets object. This is clearly seen in a piece
responding to the saturated yellow and compensating for the lack of any like LEclat Joyeaux. 2005, where Maurer explores the moment of "explo-
other visible color. sion." Although many of his works have specific meanings to Maurer him-
One of the exhibit highlights is the 360" room for All Colours. 2002, with self, he is more concerned with the viewer being able to form their own
hundreds of lamps changing color in a panorama that recalls historic dioramas opinion of the work. One of Maurer's favorite installations in the exhibition,
but without pictorial content. In One-way Colour Tunnel, commissioned for as he describes in a webcast on Cooper-Hewitt's website, is Wo bist du
SFMOMA's interior pedestrian bridge, Eliasson borrows from the experience Edison....?. 1997 which translates into Where are you Edison? Enamored
of the kaleidoscope. Seen from the west, the acrylic triangles look black, and with the simple elegance of the light bulb, a hologram of a light bulb
on the return trip heading east, each facet explodes with a rainbow of color. appears in a pendant-styled fixture that hangs over a table and chairs. Not
Eliasson uses his considerable power of inquiry and environmental a new piece, its installation in the Cooper-Hewitt setting is quite striking.
ingenuity to prod each viewer to see and engage again, to take time back A stimulating visual and thought-provoking journey, Maurer wants to
from whomever steals it, and to think bravely as a unique person within a "change the way you think about light." And that he does, as the visitor is
larger community. This show is no light entertainment; it's transformative. inspired to find the poetry in the everyday lights they find around them.
KENNETH CALDWELL ELIZABETH DONOFF

ARCHITECTURAL LIGHTING 15
 industry briefs

A sampling of artist Olafur Eliasson's work. His first retrospective in the United States. Take Your Time is on view at the San Francisco Museum of IModern Art through
February 24, 2008. (1) Nolion Motion, 2005; (2) Inverted Berlin sphere. 2005; (3) Room for one colour, 1997; (4) One-way colour tunnel, 2007; (5) 360" room for all colours,
2002; (6) Remagine. 2002; (7) Sunset kaleidoscope. 2005.

16 AIL SEPT/OCT I 07
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 industry briefs

A sampling of Ingo Maurer s work on display at the Cooper Hewitt. National Design Museum in New York. The exhibit. Provoking Magic: Lighting of Ingo Maureron display
through January 27. 2008. the following: (1) Golden Ribbon. 2006; (2) Tableaux Chinois. 1989; 3. One chandelier at the Cooper-Hewitt. 2007 ; (4) MaMo Nouchies. 2007; (5) LED
Wallpaper. (2007); 6. Wo bist du Edison....?. 1997; (7) L'Eclat Joyeux. 2005; 8. Pensatoio d'Oro (foreground). 2004 and Symphonia Silemiosa Installation. 2000 (background).

18 AIL S E P T / O C T I 07
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 industry briefs

S E C R E T S OF T H E S U N
IN SEPTEMBER 2007, SCULPTOR PETER ERSKINE VISITED FIVE

cities around the United States lecturing on his

solar spectrum environmental artwork called
Secrets of the Sun, which uses the sun as its
subject, m e d i u m , and energy source. Originally
installed in the ancient Roman Forum, this inter-
active light sculpture draws upon the visible light
spectrum to stimulate a deep emotional and
physical response. Laser-cut prisms w e r e posi-
tioned around the Roman Forum to direct light
into its interior spaces, breaking it d o w n into the
visible s p e c t r u m . Mirrors directed the colored
light around the rooms of the Forum, highlighting
different architectural details and surfaces as the
light moved and changed throughout the day.
Visitors, clothed in w h i t e jumpsuits, became part
of the canvas. Presented by the International
Association of Lighting Designers (lALD),
Erskine's presentation also discussed solar spec-
t r u m art installations in the central station of
Milan, the n e w LARD Headquarters, and a shade
Peter Erskine's Secrets of the Sun installation In the Roman Forum (above left and right).
garden in the California desert, STEPHANI L. M I L L E R

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Circle no. 384 or www.archlighting.com/productinfo

 industry briefs

LIGHTING DESIGNERS FORM HUMANITARIAN GROUP

RESPONDING TO THE GLOBAL CRISES THAT PLAGUE THE WORLD TODAY, AND HOW THE LIGHTING traumatic e v e n t s ; and
design c o m m u n i t y can provide assistance, a g r o u p of French lighting • Regional d e v e l o p m e n t : To develop c o n s i s t e n c y b e t w e e n p r o j e c t s ,
designers led by Roger Narboni, M a r c D u m a s , a n d Francois M a g o s have including sustainable lighting features, no matter the e c o n o m i c scenario.
f o r m e d Lighting Designers W i t h o u t Borders. W i t h 40 m e m b e r s at pres- To that e n d the association plans to "initiate lighting projects at the
ent, the association's goal is " t o bring help t o e x p o s e d populations, in request of local people, based on their local c u s t o m s and expertise; to
e m e r g e n c y or post e m e r g e n c y situations." Professionals in other fields s u b m i t lighting solutions that r e s p o n d to the functional r e q u i r e m e n t s
have been engaged in humanitarian w o r k for many years, m o s t notably and e n h a n c e m e n t of public areas; to design s y s t e m s that are environ-
t h e healthcare profession a n d t h e organization D o c t o r s W i t h o u t Borders. mentally friendly and cost effective in t e r m s of energy use; to teach and
Light and lighting are o n e of t h e m o s t basic and critical needs during design the use of lighting s y s t e m s in places w h e r e this trade d o e s not
t i m e s of disaster, natural or m a n - m a d e . The association's press release exists; and to create a n e t w o r k of k n o w l e d g e a n d c o n t a c t s to generate
explains, "The action of Lighting Designers w i t h o u t Borders is part of financial aid and s p o n s o r s h i p " For m o r e information visit: w w w . c o n c e p -
t h e changing face of humanitarian aid. a sector w h i c h n o w seeks to cre- t e u r s l u m i e r e s a n s f r o n t i e r e s . o r g . A|L
ate a g l i m m e r of h o p e a n d u n d e r t a k e actions w i t h long-lasting e f f e c t s
rather than just providing operational a s s i s t a n c e "
W h e n called upon, the association will assist in t h r e e areas;
I • Visit www.archlighting.com for industry exchange, news updates,
• During major e m e r g e n c y crises: Lighting designers will w o r k w i t h
company buzz, events, and competition listings.
energy experts t o d e t e r m i n e the lighting needs for e m e r g e n c y services
a n d a m b i e n t lighting for general populations;
• Post-emergency situations: To provide intelligently and sensitively
designed lighting for individuals and c o m m u n i t i e s that have experienced

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industry briefs

THREE NEW TITLES FOR THE BOOKSHELF

Take Your Time: Provoking
& Iriitber Magic
Olafur Eliasson
PUBLISHER: SFMO-
Lighting of
M A IN CONJUNCTION
Ingo Maurer
WITH THAMES & PUBLISHER:
r •
HUDSON, NEW YORK SMITHSONIAN
INSTITUTION,
ELIASSON AND LONDON, 2007
COOPER HEWITT,
NATIONAL DESIGN
To accompany
the exhibition of ft MUSEUM, 2 0 0 7
the same title,
this 272-page cat- S t o n e & Feather, Steven HollArchitects /The This 162-page
alog compiles Mr. Nelson-Atldns Museum Expansion color catalog
Eliasson's w o r k f r o m 1991 to the present. Edited PUBLISHER: PRESTEL, 2 0 0 7 documents
by Madeleine Grynsztejn, SFMOMA's Elise S. M a u r e r ' s w o r k on display in t h e exhibition of
Haas senior curator of painting and sculpture, W i t h an introduction by museum director Marc F t h e s a m e title. I n t e r v i e w s w i t h M a u r e r by Kim
the book features 250 reproductions along w i t h Wilson, essays by architectural critic Jeffrey Kipnis, Hastreiter, editor of Paper Magazine, as w e l l as
essays by prominent art historians and critics. architect Steven Holl and project principal Chris Julie V. lovine, Claude Maurer, a n d Trojan
Particular essays of interest include art historian McVoy and photographs by Roland Halbe, this Schmid explore the Maurer's unique and
Pamela M . Lee's discussion of Eliasson's w o r k in monograph luxuriously documents the Nelson- unconventional explorations of light. A|L
the context of the Light and Space M o v e m e n t of Atkins M u s e u m ' s n e w Bloch Building f r o m design
the 1960s. A|L concept to realized and completed project. A|L

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Lighting Is Your Silent Salesperson.

By installing Halo MiniLUME fixtures, Mother's Market & Kitchen created drama
and added visual interest to its produce section. Most importantly, the natural
foods grocery store dramatically increased sales.
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 report industry

OBSERVATIONS FROM PRACTICE BY FRANCESCA BETTRIDGE

THROUGHOUT MY LIGHTING CAREER I HAVE ALWAYS APPROACHED EACH president expressed his real interest in energy conser- Too often clients have
n e w project w i t h the q u e s t i o n : " W h a t a m I l i g h t i n g ? " vation and w a n t e d the center t o be as sensitive t o t h e
old expectations, assum-
This simple q u e s t i o n actually e n c o m p a s s e s a lot; not e n v i r o n m e n t as possible. W e w e r e i n t r o d u c e d t o t h e
only accenting o b j e c t s , but illuminating t h e vertical process of w o r k i n g w i t h the LEED c o n s u l t a n t s and ing that we will be able
and horizontal planes of the three-dimensional space. experienced expanded coordination time with the to light the new building
A s lighting designers, w e think about h o w w e use engineers and architects. W e currently are w o r k i n g on
the same way w e lit the
light t o m o d e l a space, w h i c h surfaces and materials O n e Bryant Park in N e w York C i t y the f i r s t office t o w e r
should be highlighted and at w h a t angle. Equally to seek a p l a t i n u m LEED rating in t h e U n i t e d States. old building, to the same
i m p o r t a n t t o consider is h o w do w e make people look Here, t o o , t h e clients are c o m p l e t e l y d e d i c a t e d to light levels and with the
and feel good in the space? In the past, as designers, investing t h e t i m e and m o n e y necessary t o achieve
same flexibility.
our creative ideas w e r e shaped by architectural style, this goal. For a project this large—56 stories a n d 2.2
and really, limited only by the project b u d g e t . But million square f e e t — a n d c o m p l e x , I d o n o t think w e ,
increasingly, over t h e past 10 years, as the designer as a f i r m , ever could have e s t i m a t e d t h e a m o u n t of
responsible for the creation of t h e lighting s c h e m e , I t i m e t h e certification process w o u l d c o n s u m e . M o r e
f i n d myself asking a different q u e s t i o n : " W h a t can I t o t h e point, I don't think there are many clients w h o
light w i t h the w a t t s I'm allowed t o u s e ? " and a corol- are w i l l i n g t o invest in the extra w o r k , t i m e , and cost
lary " H o w little light can I afford t o live w i t h ? " this process c o m m a n d s .

AN ENERGY-EFFICIENT MINDSET COOES ANO CONTRAOICTIONS

Over the years, a c o n s c i o u s n e s s a m o n g the general The purpose of the various building energy and ener-
public and certainly the design c o m m u n i t y has g r o w n gy c o n s e r v a t i o n codes—the American Society of
about energy c o n s u m p t i o n . The n e e d t o c o n s e r v e Heating, Refrigerating and Air-Conditioning Engineers
energy has gone f r o m a virtue t o an imperative. The (ASHRAE) 9 0 . 1 , t h e International Energy C o n s e r v a t i o n
last energy crisis in t h e early 1990s w a s a wake-up Code (lECC), and California's Energy-Efficient
call, w i t h energy rebate p r o g r a m s beginning t o appear, Standards for Residential and Non-Residential
a n d lamp manufacturers being spurred on t o " b u i l d a Buildings (Title 2 4 ) — w h i c h are required, as w e l l as
better light b u l b " W e have always used n e w energy- LEED, w h i c h is voluntary but actively influencing t h e
e f f i c i e n t sources in our w o r k at Cline B e t t r i d g e building process, n o w governing our practice locally,
Bernstein Lighting Design, and w e are constantly nationally, and internationally, is to limit energy c o n -
looking for sources w i t h longer life and greater o u t p u t .
s u m p t i o n . They are w e l l - m e a n i n g and necessary, coin-
For m e , part of t h e e x c i t e m e n t of lighting design cidentally challenging designers t o do more w i t h less,
c o m e s f r o m using n e w light sources and fixtures in and encouraging lamp a n d fixture manufacturers to
u n e x p e c t e d ways. The lure of n e w technology is irre- make p r o d u c t s that are m o r e efficient. At t h e s a m e
sistible because it solves p r o b l e m s , creates o p p o r t u n i - t i m e , w e see inexplicable e x e m p t i o n s to the require-
ty, and helps address energy issues, w h i c h have m e n t s and inherent contradictions in the rules. For
b e c o m e m o r e critical over t h e past 15 years. A t our e x a m p l e , in ASHRAE 9 0 . 1 , w h y are "casino g a m i n g
office, w e like t o think of ourselves as pioneers: a r e a s " e x e m p t ? Signage is e x e m p t f r o m w a t t s limita-
• In 1981 w e used M R 1 6 fixtures for the f i r s t t i m e tions, but w h y are t h e r e no restrictions on t h e m i n d -
in a residence; n u m b i n g b r i g h t n e s s of LED signs that have taken over
• In 1988 for a school library w e created decorative the pedestrian-level experience?
fixtures w i t h c o m p a c t f l u o r e s c e n t lamps that success- S o m e t i m e s w e e n c o u n t e r s e e m i n g contradictions
fully m i m i c k e d incandescent w h i l e providing m o d e r n b e t w e e n r e c o m m e n d e d best practices and the n e w
light levels w i t h easy t o maintain s o u r c e s ; legislation. ASHRAE allows 1.3 w a t t s per square f o o t
• In 1999, w e convinced our clients t o take t h e risk for libraries, w h i l e at the s a m e t i m e t h e Illuminating
of using n e w LED technology in c u s t o m fixtures t o Engineering Society (lES) r e c o m m e n d s 30 f o o t c a n -
m e e t the challenge of Title 24 and e x t e n d " l a m p " life. dles at 30 inches above finished floor in the stacks. W e
Using energy-efficient sources has b e c o m e part of can achieve this only by reducing the general light
our basic v o c a b u l a r y as is the n o r m for many lighting level in t h e circulation a n d public areas, and the c o n -
design f i r m s , but m e e t i n g the Leadership in Energy trast can result in an unbalanced c o m p o s i t i o n . If an
and Environmental Design (LEED) r e q u i r e m e n t s has office design uses fixtures that c o m p l y w i t h the lES
d e m a n d e d further a d j u s t m e n t to our practice. O n e of office standard RP-1 w e can take advantage of an
our f i r s t LEED certified projects w a s the W i l l i a m J . additional .35 w a t t s per square foot of energy a l l o w e d .
Clinton Presidential Center in Little Rock, Arkansas. The standard defines m a x i m u m average luminance
From the beginning of the design process, the f o r m e r allowed above a certain angle; this is i n t e n d e d to pre-

ARCHITECTURAL LIGHTING 27
 industry report

A lamp
fit for the vent glare on the CRT (computer) m o n i t o r
in an office and w a s very valuable w h e n
written. However, given technological
THE ROLE OF DIMMING
W h i l e many of t h e energy c o d e s a n d ener-
gy p r o g r a m s p r o m o t e the use of daylight

Round advances of c o m p u t e r screen technology. harvesting they do not give any considera-

Table.
The reality of practice today is that the lighting designer's options are more
limited. Often difficult to find the balance between design and codes, we
face what I call the "unintended consequences of good intentions."

< « I I I I I l >

Cliandelier, 0 5 9 . 0 " .

Chandelier by FontanaArte
is the perfect lamp for
those who enjoy living life
with a chivalrous spirit. It
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castle since the lamp inte-
s o m e of the reasons tion for the slightly higher w a t t a g e con-
grates perfectly with the b e h i n d the RP-1 s t a n - s u m p t i o n of the d i m m i n g ballasts, the
dards no longer apply, so-called "dimming penalty." At
most modern and minimal and taking advantage the s a m e t i m e w e are t r y i n g to convince
of the " w a t t s b o n u s " further reduces fix- c l i e n t s t o pay m o r e for t h e d i m m i n g
architecture. It also illu-
ture o p t i o n s . Fixtures w i t h a w i d e r distri- ballasts and control s y s t e m s to better
minates with class and ele- bution that put light high up on the wall do manage their electrical usage, w e have
not comply, even if they c o n t r i b u t e t o bet- f e w e r watts for the design. LEED
gance both offices and con- ter lighting solutions. certification p r o g r a m s give credit for d i m -
Exterior lighting is fraught w i t h its o w n m i n g , b u t t h e d i m m i n g capabilities of
ference rooms, contribu-
p r o b l e m s and contradictions. Under cur- m e t a l halide sources is still very limited
ting to the good turn out of rent ASHRAE requirements building and the t e c h n o l o g y needs t o m a t u r e . W e
facades are a l l o w e d .2 w a t t s per square have f o u n d that the metal halide lamp
round tables. King Arthur foot for each illuminated wall or 5 w a t t s color loses stability after 50 percent d i m -
per linear foot for each wall or surface m i n g , a visual r e d u c t i o n , w h i c h is not sig-
would have done anything
l e n g t h . O n a r e c e n t project, w e calculated nificantly noticeable t o t h e eye. It helps in
to get his hands on one. that w e could floodlight t h e fagade of the the overall r e d u c t i o n of energy c o n s u m p -
building but c o u l d not achieve an alternate t i o n , b u t w h i l e w e are w a i t i n g for t h e
s c h e m e illuminating certain specific ele- technology to catch up w i t h our needs,
m e n t s of t h e fagade, even t h o u g h w e w e are lacking t h e t o o l s t o f u r t h e r
actually w o u l d use f e w e r w a t t s overall. The refine our designs. A n d although w e are
64 North Moore St. lES a c k n o w l e d g e s e n v i r o n m e n t a l c o n t e x t very active in speaking w i t h t h e manufac-
New Y o r k , NY 1 0 0 1 3 a n d r e c o m m e n d s different light levels, turers explaining t o t h e m w h a t w e n e e d ,
ph + ( 2 1 2 ) 3 3 4 - 1 0 5 0 r e s p o n s i v e n e s s varies f r o m lighting c o m -
w h i l e ASHRAE does not make a distinc-
www.fontanaarte.com pany t o lighting company.
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Circle no. 94 or www.archlighting.com/productinfo

 report industry

LIGHTING DESIGNER AS EDUCATOR

Our role now includes educating the
had the floors b e e n filled in w i t h useable
space. A n o t h e r challenge w e frequently
DIALux
clients and s o m e t i m e s t h e designers on face is w h e n the architectural ceiling grid
h o w energy legislation will affect the proj- requires a tight spacing of t h e light fix-
ect. Clients imagine a n e w energy-effi- tures, w h i c h will in turn exceed the w a t t s
cient building will not cost more on allowance, but a w i d e r spacing will c o m -
account of its energy efficiency. This is p r o m i s e the lighting d e s i g n .
rarely the case. Too o f t e n clients have old
expectations, a s s u m i n g that w e will be CONCLUSION
able t o light t h e n e w building the s a m e As lighting designers w e are in a transition
w a y w e lit the old building, to t h e s a m e period. O f t e n difficult to f i n d the balance
light levels and w i t h t h e s a m e flexibility. In b e t w e e n design and c o d e s , w e face w h a t
a corporate office project, w e w e r e able t o I call t h e " u n i n t e n d e d c o n s e q u e n c e s of
satisfy the client's desire t o illuminate t h e good intentions." Available technology,
dark w o o d walls u s e d t h r o u g h o u t w i t h 20 b o t h traditional sources and solid-state
PAR20 m e t a l halide w a l l w a s h e r s . but t h e y lighting (although offering great promise)
had t o accept that they could not be on is either still not energy-efficient e n o u g h ,
t h e d i m m i n g s y s t e m , and as a result t h e r e t o o expensive, or lacks t h e subtleties that
w o u l d be a start-up t i m e for t h e lamps. w e have w i t h incandescent s o u r c e s . Even ,Let t h e r e b e l i g h t /
For commercial clients, restroom though there are successful lighting
designs often provoke the m o s t discus- design solutions that e x e m p l i f y and justify
sion. Clients want these areas t o be t h e codes, t h e s e solutions do not speak t o
bright, inviting, and perhaps even residen- t h e many styles and spaces f o u n d in archi-
tial in character, however, t h e s e spaces tecture today. A t this point w e are waiting
are inefficient and at .9 w a t t s per square for t h e r e v i e w process, technology, and
foot, w e no longer can give t h e client w h a t t h e price of t h e s e n e w technologies to
they are used t o , an energy c o n s u m p t i o n catch up w i t h our needs s o that once
that used t o allow for 1,5 w a t t s per square again the only limitations of design are
f o o t . Corridor spaces are even m o r e diffi- style and b u d g e t .
cult because t h e y are long narrow spaces
w i t h l o w ceilings. The n e w codes, particu-
larly A S H R A E 9 0 . 1 , allow only .5 w a t t s per Throughout her career. Ms. Bettridge has
square f o o t w i t h only one extra w a t t per collaborated with highly esteemed archi-
square foot p e r m i t t e d for decorative fix- tects on award-winning national and inter-
tures or art on t h e w a l l . Lighting corridors national work, which encompasses a
is still achievable, but t h e r e is an o n g o i n g broad range of types and styles. She has
process of r e a d j u s t m e n t of e x p e c t a t i o n s been honored with multiple Lumen. lALD.
by both t h e client and even of ourselves as and GE Awards, as well as this publica-
designers. tion's own AjL Light & Architecture Design
The reality of practice today is that t h e Awards. Ms. Bettridge is a professional
lighting designer's o p t i o n s are m o r e limit- member and former secretary of the
International Association of Lighting
ed. M o d e r n m a s t e r p i e c e s that w e love, > DIALux is a lighting design software
Designers, and has served on the Board of for calculation and visualisation of Indoor
such as the Seagram building in N e w York
Managers and the Richard Kelly and outdoor lighting,
City w i t h its illuminated ceilings at t h e
Scholarship Committee of the New York
p e r i m e t e r offices on every floor, are today > DIALux is an all-inclusive free software
Section of the Illuminating Engineering for import from and export to all CAD
unobtainable if not for reasons of energy
Society. A graduate of Barnard College, programs and for photorealistic visualisation
c o n s u m p t i o n , then for c o s t . I f r e q u e n t l y with the integrated ray tracer
Ms. Bettridge studied at Parsons The New
receive conceptual renderings f r o m archi-
School for Design and the Open Atelier of
tects s h o w i n g coves, g l o w i n g ceilings and
Design, which she helped found. She also
wall planes, but even w i t h LEDs it often is
has taught at the Fashion Institute of
impossible to create t h e lighting effect > Get your free copy at
Technology and Parsons The New School
that t h e architect envisions. The code only for Design. vvww.dialux.com
allows for so many w a t t s . Other t i m e s the
g e o m e t r y of the architecture m a k e s it dif-
ficult t o light the space w i t h i n t h e c o n f i n e s
of the c o d e s . If the lobby, for example is a
double height s p a c e — 3 0 or 4 0 feet h i g h —
y o u are not even allowed a fraction of t h e
DIAL
light building software
energy that you w o u l d have consumed

Circle no. 383 or www.archlightlng.com/productinfo

 cr
CP

(0
0

CD

CO O
 H I G H L I G H T

house of Sweden
WrtH THE RECENTLY COMPLETED HOUSE OF SWEDEN IN WASHINGTON. D.C., THIS
Nordic nation has created a " h o m e away from home." Located
in Georgetown, on a prime waterfront site overlooking the banks
of the Potomac River and bordering Rock Creek, the building cel-
ebrates the country's Scandinavian traditions of environmental
awareness and design aesthetics that include a material palette
of light, w o o d , stone, and glass.
A competition-winning design by architects Tomas Hansen
and Gert Wingardh, the project is o w n e d by the National
Property Board of Sweden, which following a 1960 parliamen-
tary decree, has been responsible for all of the country's official
buildings outside of Sweden. The seven-story structure is sec-
tionally divided into distinct programmatic areas: Public recep-
tion spaces on the ground floor; the embassy on levels 2 and 3;
a belowgrade conference center; corporate apartments on
floors 4 and 5; and a rooftop terrace.
Called upon by the architects and the property board,
Stockholm-based lighting design firm Ljusarkitektur had a chal-
lenging task before t h e m — t o realize an already very clearly
defined concept of light as integrated into the architecture and
the distinctive wood-patterned glass fagade of the building's
upper-level balconies. A s project principal Kai Piippo explains,
" W e had to make their (the architect's] ideas real."
The lighting design starts at the building's exterior. Taking
almost a full year to define how they would create the luminous
quality and effects as modeled in the architect's original render-
ing of the building at night, the lighting design t e a m embarked
on a lengthy full-scale mockup process. The task v</as to create a
building that would glow from the inside, reminiscent of tradi-
tional Swedish w o o d veneer lamps, yet still be clearly visible
f r o m a distance. The solution was a T5, 2700K fluorescent fix-
ture, designed w i t h Swedish lighting manufacturer Smedmarks,
positioned in the 2nd floor balcony handrails t o provide indirect
light. Allowing the handrail t o function as a reflector, light wash-
es the glass panels and the underside of the balcony above. To
illuminate the building's corners, the designers used inground-
recessed fixtures with metal halide lamps. Rounding out the
exterior luminaires are downlights along the main entrance ramp
and recessed LED fixtures in the entry steps.
Continuing the idea of glowing light into the building's interi-
or, the ceiling plane is transformed into a shimmering luminous
surface, w h a t the designer's refer t o as the "cloud." The perforat-
ed wooden ceiling, patterned w i t h dimensionally thin holes,
densely clustered in the center and randomly extending to the
ceiling edges, is backlit w i t h linear fluorescent tubes. A w h i t e
acoustic fabric backs the w o o d and acts as a light diffuser. The
dappled lighting effect creates a sense of movement across the
ceiling and leads the visitor's eye through the space. As lighting
designer and project manager Eva Persson explains. 'The pres-
ence of light IS strongly felt without seeing a light fixture." The
" d o t " motif, which recalls the early morning mist c o m m o n to the
Swedish natural landscape, is repeated elsewhere in the build-
ing, m o s t noticeably as a frit pattern on the interior vertical glass
planes of the stairway that leads to the below-grade conference
center, and the interior glass walls that separate the embassy
entrance from the public reception area.
The House of Sweden deftly marries architecture and light,
PROJECT: House of Sweden/Swedish Embassy LOCATION: Wasfiington. D C. CLIENT: The
creating a building that stays rooted in and promotes its cultural
National Property Board, Stockholm ARCHiTEcr Wingardh, Stockholm ARCHITECT OF RECORD:
heritage. W i t h large glass expanses, nature is drawn into the
VOA Associates. Washington, D.C, LIGHTING DESIGNER: Ljusarkitektur, Stockholm BUILDING
building's interiors. Washington, D.C., is not generally known for
COST: $67 million PHOTOGRAPHER: Ake Lindman, Stockholm MANUFACTURERS: Artemide,
innovative architecture, but as the House of Sweden proves, the
DeltaLight, Erco, Fagerhult. Lightolier, Lithonia, Lucifer, Luxo, Selux, Smedmarks, Zumtobel
city has an architectural future. ELIZABETH DONOFF

ARCHITECTURAL LIGHTING 31
Large glass expanses coupled with a perforated wooden ceiling create a sense of openness in the ground floor public reception area (above). Fluorescent T5 tubes hi
den behind the wood ceiling and a layer of white acoustic fabric along with the dot pattern creates a shimmering lighting effect. The dot motif is carried throughout the
building as seen in the glass panels of the stairway leading to the conference center (facing page) and on the glass partitions in the embassy's staff quarters (below).
Decorative fixtures with tulle shade add a playful touch in the staff's lunchroom area. A wood-patterned glass gives the facade its distinctive character (below left).

'i
r);! 'iVi:i;i
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32 AIL SEPT / OCT I 07

ARCHITECTURAL LIGHTING 33
34 AIL SEPT/OCTI07
Seattle's Olympic Sculpture Park brings art to the public realm in a
dynamic integration of landscape, architecture, and urban design.
ONCE A DESOLATE AND CONTAMINATED AREA FORMERLY USED FOR INDUSTRIAL PURPOSES, for OLitdoor sculpture and public recreation, the m u s e u m turned to
the site of Seattle's new Olympic SculptLire Park has been transformed into Weiss/Manfredi's innovative competition design—a continuous and con-
an urban sanctuary where art, nature, and infrastructure harmoniously structed landscape rising over existing infrastructure and connecting three
coexist. The site, a 9-acre parcel of land on Seattle's d o w n t o w n waterfront, separate brownfieid sites into one uninterrupted z-shaped landform that
is n o w o w n e d and operated by the Seattle A n M u s e u n i . In 2001, the muse- wanders from the city to the water's edge.
um, w i t h support from the. National Endowment of the Arts, held an inter- Affording an array of environmental restoration processes, including
national competition to find a designer that coLild not only reinvent the site brownfieid remediation and the creation of a salmon habitat, the design
but also form a connection b e t w e e n the city and its neglected shoreline. also offers sweeping panoramic views of Puget Sound, the Olympic
The museum selected New York-based Weiss/Manfredi Mountains, Mount Rainier, and the surrounding city. The design provides "a
AidntectLire/Landscape/Urbanism as lead designer f r o m a pool of 52 appli- broad, continuous ribbon where all kinds of different art can be sited," says
cants, a firm ideally suited tor such a project based on its cross-discipline Michael Manfredi, design partner at Weiss/Manfredi. The firm also
expertise in architecture, landscape, and urban design. Resolving to return addressed the site's significant infrastructural challenges, including an arte-
the site to a functioning ecosystem, while providing a one-of-a-kind setting rial highway and railway lines. Instead of enclosing t h e m . Weiss/Manfredi

A R C H I T E C T U R A L LIGHTING 35
built up the site's topography by 40 feet, in turn creating a seamless and slow One building that provides such light is the park's PACCAR Pavilion, an
decent d o w n to the 850-foot strip of restored shoreline. 18,000-square-foot glass and steel structure located at the park's main
Unlike other sculpture gardens that are hidden behind a sehes of m u s e u m entrance that houses exhibition and event space, areas for educational pro-
walls, the Olympic Sculpture Park is completely open, integrating the park into g r a m m i n g , underground parking, a bookshop, and a caf6. Designed as an
the landscape of the city. Because of its open nature, the site required a light- extension of the z-shaped landform, the pavilion—which includes a series
ing scheme that would not overwhelm its natural surroundings or draw atten- of cantilevered roofs and stepped terraces—links the indoor and outdoor
tion away from the artwork. Weiss/Manfredi worked closely with N e w York- spaces via folded stainless steel and mirrored frit glass that capture the
based lighting design firm Brandston Partnership Inc. (BPI) to design a subtle, reflections of the surrounding city and landscape.
integrated lighting scheme that w a s flexible and maintenance-fnendly. Outside, 2 5 0 W quartz halogen fixtures uplight t h e building's canopies.
"In my view, the beauty of this project is that the lighting does not have Inside, low-wattage track-mounted luminaires w i t h SOW incandescent
to do m u c h ; the architecture is so open, w e l c o m i n g , and beautiful already. AR70 quartz lamps accent artwork and architectural features, providing a
W e only used the light to present the e l e m e n t s as they w e r e designed," setting for art and special events and offenng flexibility for changing exhibits
says lighting designer Chou Lien, partner at BPI. Already a major compo- and functions. In addition, 2 5 0 W DC quartz uplights have been placed in
nent to the park, nature also played an important role in its general illumi- parts of the double-height space to fully illuminate the structure's f o r m ,
nation, which w a s provided by natural light f r o m the night sky as well as transforming the pavilion at dusk into a glowing lantern. " W e see the pavil-
surrounding streetlights and buildings. A s Chou explains, "The sculptures ion as a place of sanctuary as well as a place of celebration," Chou says.
are not solo objects, they are part of a large environment, to be seen at From the pavilion, through an adjoining plaza and amphitheater, a 2,200-
night w i t h other light conditions nearby." foot crushed-stone z-shaped path leads visitors through a series of gradu-

36 AIL SEPT/OCT107
 Surrounded by downtown Seattle, the Olympic Sculpture Park is
intersected by an arterial highway and railroad t r a c k s . Incorporating
this infrastructure into the d e s i g n , W e i s s / M a n f r e d i created an unin-
terrupted z - s h a p e d landform that w a n d e r s from the city to the
water's edge. The custom bollards lining the path create a s e n s e of
s c a l e and legibility without raising the light l e v e l s too high (facing
page, top left and right). The PACCAR Pavilion (facing page, bottom),
located at the main entrance of the park, is a g l a s s and s t e e l s t r u c -
ture that houses exhibition and event s p a c e , educational program-
ming, underground parking, a bookshop, and a c a f e . One of two
bridges that merges with the z - s h a p e d path, the Elliott Avenue
Bridge (above) affords a striking v i e w of A l e x a n d e r Calder's " E a g l e "
illuminated with 100W QPAR38HIR FL lamps (left).

ally descending distinct "galleries" to the newly restored shore, and offers a sense of measure w a s key and a significant amount of t i m e w a s spent on
a multitude of radically different v i e w s at each turn, f r o m the sea and m o u n - calculating the bollard's height and spacing, as well as on understanding the
tains to the city and port. Lining the path at 30-foot intervals are c u s t o m - impact of so many fixtures, The goal w a s " t o create a very soft reference,"
designed bollards that create a r h y t h m to the walkway. As Manfredi Chou notes.
explains, the bollards "give the park s o m e scale at dusk, and provide a leg- Along the path, sculptures reside in their designated spaces, each partic-
ibility w i t h o u t raising the light levels too high, so there's a rather subtle tra- ularly suited to the artwork they contain. Because the m u s e u m required
jectory of light that, particularly in the often w e t , d a m p climate of Seattle, flexibility to light changing exhibits in the future, each section of the park is
plays w i t h that wetness and gives off a glow." controllable by a wall box to m e e t the requirements of each distinct space.
Because there were no suitable products on the market, Weiss/Manfredi To keep the light levels low enough for the art to have a presence, in-grade
and BPI collaborated w i t h d'ac Lighting t o create the ideal fixture. As Marion adjustable fixtures illuminate the majority of the sculptures, Adding s o m e
Weiss, design partner at Weiss/Manfredi, explains, "The point w a s to try variety, cast-in-place 13W compact fluorescent 3000K steplights are
and make something that looked as undesigned as possible." The resulting recessed into retaining walls throughout the park,
bollard is a 32-inch-tall spun-aluminum fixture topped w i t h a glass globe that "This incredibly difficult collection of sites was brought together in one very
houses an 18W compact fluorescent lamp. " W e w e r e very interested in a clear and powerful form," Weiss says. W i t h a minimal, unobtrusive lighting
light fixture that would, among other things, bring the light level down," scheme, the juxtaposition of city and nature comes together seamlessly
Weiss says. "Because the z-shaped path follows the park's highest point, allowing for different settings to coexist. W i t h its fusion of art, landscape, archi-
w e wanted to give the sense of the infinite scale of the sky and the horizon, tecture, and infrastructure, this magnificent addition to Seattle's landscape
as opposed to light fixtures being right at eye level or higher." To achieve this, may very well give the Space Needle a run for its money, S A L L I E M O F F A T

ARCHITECTURAL LIGHTING 37
 I K

DETAILS
PROJECT Olympic Sculpture Park, Seattle
CLIENT Seattle Art Museum, Seattle
LEAD DESIGNER; SITE DESIGN/ARCHITECTURE Weiss/Manfredi
Architecture/Landscape/Urbanism, New York
UGHTiNG DESIGNER Brandstop Partnership Inc., New York
CONSULTANTS:

STRUCTURAL AND CIVIL ENGINEERING Magnusson Klemencic Associates, Seattle

LANDSCAPE ARCHITECTURE Charlos Anderson Landscape Architecture, Seattle
MECHANICAL AND ELECTRICAL ENGINEERING ABACUS Engineered Systems, Seattle
GEOTECHNICAL ENGINEERING Hart Crowser. Seattle
ENVIRONMENTAL CONSULTANT Aspect Consulting, Seattle
AQUATIC ENGINEERING Anchor Environmental. Seattle
PROJECT SIZE 9 acres
PROJECT COST $85 million
PHOTOGRAPHERS Ben Benschneidor, Seattle; and
Paul Warchol. New York (images top left and right, p. 36 and bonom. p. 38)

MANUFACTURERS APPLICATION

-Light Surface-mounted signage light at garage entry

Recessed steplights at landscape exterior steps;
exterior surface-mounted floodlight on underside of
Elliott Avenue bridge
BK Lighting Surface-mounted adjustable accent lights at exterior
pavilion entry; front entry signage
d'ac Lighting Custom bollards lining z-shaped path
Elliptipar Asymmetric uplights at pavilion perimeter mounted
at mullions, exterior pavilion entry, and pavilion
lower-level west wall; signage light at Elliott Avenue
bridge
Fabulux Ceiling surface-mounted jelly jar on underside of
Elliott Avenue bridge
Holophane Ceiling-mounted parking light
Kenall Ceiling-mounted area light on underside of Elliott
Avenue bridge
Lightolier Accentlights. downlights, and wallwashers at
Track fixtures are used throughout the pavilion to provide flexibility for c h a n g -
pavilion interior and throughout
ing exhibits and functions and to a c c e n t the structure's a r c h i t e c t u r a l features
Litelab Track and track heads in pavilion, multipurpose
(top and middle). Outside, quartz halogen fixtures uplight the building's
spaces, and exhibit galleries
c a n o p i e s for a soft glow (above).
Prudential Linear strips in parking garage

38 AIL SEPT/OCT107
 PRODUCTS
HYDREL I M9710 SERIES | HVDRELCOM

Designed for the uplighting of

architectural and landscape
features, Hydrel's M9710
Series w a s used in the park t o
illuminate select sculptures.
Measuring 12 inches in diame-
ter, the modular in-grade sin-
gle-lens spot fixture is con-
structed of a l u m i n u m and fea-
tures a stainless perforated
trim insert. One PAR38 lamp is
LITEUB I M-1333LH0 | UTELAB.COM housed under a flat, clear lens
Used throughout the pavilion, including the outfitted w i t h a linear spread
galleries and exhibition spaces, Litelab's M - filter. CIRCLE 113
1333LHO track fixture is made of 6000-series
aluminum and takes an AR70 incandescent
lamp. Four fittings are available, however, in
the pavilion, the BusRun Busway 9i w a s
E U J P T I P A R I S T Y L E 151 | EUJPTIPAR.COM
used, which features a fused plug-in fitter and
Used to uplight t h e PACCAR Pavilion, Elliptipar's
an integral transformer. The fixture c o m e s in
Style 151 a s y m m e t r i c fixture w a s modified for the
natural aluminum, black, w h i t e , and custom
project w i t h a c u s t o m cantilevered mounting.
paint. Numerous accessories, including a lin-
Featuring a micro-prismatic, thermal- and impact-
ear spread lens, hex cell louver, and tapered
resistant lens, this compact luminaire houses a
glare shield, are offered. CIRCLE 111
2 5 0 W tungsten halogen lamp and has a c u s t o m
polyester powder-coated finish that w a s electro-
statically applied and t h e r m o s e t for abrasion, fade,
D'AC UGHTING I CUSTOM B O U A R D
and corrosion resistance, CIRCLE 114
I 0ACUGHTING.COM

Lining the park's z-shaped

path, the c u s t o m bollard
was created through
the collaboration of d'ac
UGHTOLIER | C4ALV | U G H T 0 U E R . C O M
Lighting, W e i s s / M a n f r e d i ,
Located t h r o u g h o u t t h e pavilion,
and Brandston Partnership
Lightolier's C4ALV Evolution d o w n -
Inc. Standing 32 inches
light takes an M R 1 6 lamp and has a
tall, it is constructed of
4-inch aperture. Made of 20-gauge
spun aluminum and is
steel w i t h a matte black finish, the
topped by a glass globe
fixture features an EZ-Aim gear drive
that houses an 18W c o m -
adjustment mechanism, a Push-Lock
pact fluorescent lamp, cre-
t r i m retention s y s t e m , and is avail-
ating a soft reference point able w i t h a c o m p l e t e palette of inter-
throughout the park w h i l e changeable optical assemblies.
providing a subtle sense of CIRCLE 115
sparkle. CIRCLE 112

BEGA I 2032P | BEGA-US.COM

This recessed, compact fluorescent

steplight by Bega, located at t h e
park's exterior steps, measures 13
inches w i d e by 3 1/2 inches tall.
Constructed of die-cast and extrud-
ed aluminum w i t h a brushed stain-
less-steel faceplate and etched t e m -
pered glass, the luminaire can be
vertically or horizontally mounted
and is suitable for all t y p e s of con-
struction. CIRCLE 116

ARCHITECTURAL LIGHTING 39
 A HEALTHY G L O W
SmithGroup's YMCA design energizes d o w n t o w n Detroit.

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40 A!L SEPT/OCT107
"I R E M E M B E R T A K I N G S W I M M I N G L E S S O N S A T T H E Y A S A K I D . IT W A S A N I N W A R D - F A C I N G , C O N -

crete block building—a purely functional box," recalls lighting designer Jeff
G e r w i n g , principal and co-leader along w i t h Rodrigo Manriquez of the
lighting t e a m at SmithGroup's Detroit office. Stately, and occasionally
heroic, YMCAs, unlike health clubs and spas, generally are thought of as
historic fixtures of urban life, but the Boll Family Y M C A , w h o s e architec-
ture also is designed by the SmithGroup Detroit office, is no stodgy throw-
back. Glass curtain walls make the building's mission transparent: The
Y M C A provides fitness, creative arts, and child care t o the c o m m u n i t y
Located in d o w n t o w n Detroit, the luminous structure is bright and open,
a symbol of the city's revitalization efforts.
"Detroit has a stigma, but the city's been changing in the last decade,"
G e r w i n g says. " F r o m a lighting perspective, w e responded to the Y's
needs, but w e w a n t e d to infuse the building w i t h energy, and have that
energy read to the outside and impact the context." Energy and motion
are conceptual keywords that drive the project, taking both literal and
abstract forms. For example, the building is adjacent t o a stop on the
"People M o v e r " (Detroit's light rail system) and riders have v i e w s into the
lantern-like gymnasium. Industrial high-bay fixtures w i t h 250- and 4 0 0 W
lamps provide general sports lighting in the space, but 3 9 W metal halide
track-mounted fixtures create pools of light along the suspended running
track. For joggers the accent light breaks up the laps, but for transit riders
it highlights the activity and creates a metaphoric link b e t w e e n bodies in
motion and machines.
Streetside, the porch-like ground floor presented the lighting designers with
both challenges and opportunities; because there is no traditional fagade to
wash with light, Gerwing and his team needed to consider the whole volume
of the glazed lobby The rear wall glows in a loop of pastel hues—an effect cre-
ated by integrating the architecture and lighting. Backlit by a LED system,
translucent, structural glass forms a scrim between the lobby and the YMCAs
200-seat black-box theater. The architects allowed for a space behind the glass
to optimize the color rendering: The LED output lights the cavity wall, not the
glass. Located near Detroit's Ford Stadium, the facility receives a lot of evening
foot traffic, particularly on game days. Left on after hours, the LEDs animate
the YMCA even when it is closed, bathing the lobby and the sidewalk in pink,
blue, green, and yellow light.
Colored light is used to activate other spaces as well. In the lobby, t w o
rows of spotlights with tinted filters enhance the earthy character of the
climbing wall that rises from a mezzanine to the second floor fitness room.
The wall is lit with a variety of wattages—39-, 70-, and 100W—with 20, 30,
and 38 PAR lamps, so that each beam spread or wattage variation is obvious
for future lamp replacement, The lighting designers wanted to accent its cliff-
like texture and drew on the shades of the Southwest. "Red, yellows, and
ochres layer on top of each other to look like red rock," Gerwing explains.
"The lighting gradually changes from w a r m tones to a cool, blue sky on top."
In the aerobics room, vibrant orange and yellow lines dance across the
ceiling, giving the space an energetic boost. Conscious of the Y M C A s
need for easy maintenance and functional performance, SmithGroup cre-
ated the lively array using T8 3 2 W fluorescent tubes (standard Y M C A lamp
stock) fitted w i t h color filters. The design provides 30 footcandles illumi-
nance in the studio w i t h o u t sacrificing a poetic approach, "It is not just
about the lighting. It is h o w people feel in the space," says lighting design-
er Rodrigo Manhquez. "It is about h o w all these principles w o r k togeth-
er—materials, volumes, lighting, color, and texture."
The natatorium illustrates this exact marriage of architecture, lighting
concept, and facility maintenance. The s w i m m i n g pool is the biggest selling
point for n e w Y membership, so a bright, aesthetic design w a s important,
but in a w e t and humid environment, upkeep is k e y (The Y M C A did not
want to have to close and drain the pool each t i m e a light bulb needed
changing,) SmithGroup's solution was to use a light pipe. The system places
the lighting components that need to be accessed for maintenance along

Re-energizing downtown Detroit, the Boll Family Y M C A acts a s a beacon for

the surrounding neighborhood and for the city. The new facility opens i t s e l f —
literally and figuratively—to the community (left).

ARCHITECTURAL LIGHTING 41
 m

DETAILS
PROJECT Boll Family YMCA, Detroit
cuENT YMCA of Metropolitan Detroit. Detroit
ARCHfTECT SmithGroup. Detroit
UGHTING DESIGNER SmithGroup, Detroit
PROJECT SIZE 100.000 square feet
PROJECT COST S24.5 million
UGHTING INSTALLATION COST SG30.000
W A H S PER SQUARE FOOT 1.2

PHOTOGRAPHS Justip Maconochie, Ferndale. Michigan

A LED system illuminates the structural g l a s s rear w a l l of the lobby (top left). The
a e r o b i c s studio is brought to life by T8 32W fluorescent tubes fitted with colored APPLICATION
MANUFACTURER
filters (above). A light pipe w a s the solution in the swimming pool area providing
Bega Exterior downlight wall sconce at building
a c c e s s for maintenance along the perimeter of the pool deck (top and bottom right).
perimeter; indirect luminaries in lobby
the perimeter of the pool area, while optics efficiently direct light over the Cole Lighting Atrium stairway handrail lighting
water. In this c u s t o m installation, the light pipe is placed above the ceiling and Color Kinetics* CoiorBlast 12 at structural glass wall in lobby
shines through linear slots. Viewed f r o m a lobby w i n d o w overlooking the Day-Brite Industrial high-bay fixtures in gymnasium
pool, the design is an unfussy pattern of clean w h i t e lines reflected in the Elliptipar Wall-mounted indirect fixtures at natatorium/
swimming pool area
water's surface.
Lighting Services Inc. Spotlight track lighting with colored filters
Interaction b e t w e e n each of the YMCA's recreational and creative arts areas
at climbing wall
is carefully built into the architecture: Floor plates are offset and volumes over-
PAL Suspended indirect/direct luminaire and
lap, offering views of activity in each space. This arrangement makes for dynam-
wall-mounted asymmetric fixtures in workout room
ic spaces, but is difficult to represent in a standard reflected ceiling plan. The
SPI Uplighting at the exterior entry soffit
lighting designers visualized the scheme by applying the computer program
TIR*' IllumiWave tubular light pipe in
Lightscape to a three-dimensional digital model crafted by SmithGroup, which
natatorium/swimming pool area
offers a nuanced way to understand h o w light, materials, and massing c o m e
Waldmann T8 linear fluorescents in aerobics/dance
together. "Ten years ago architects had a preconceived idea of the ceiling plan,"
studio; linear sconces m natatorium and lobbies
Gerwing reflects. "We've been able to break out of that mold and focus on
lighting from a conceptual level, not simply fixture selection." This mold-break- • In Augusi 2007 Philips Solid Slate Lighting acquired Color Kinetics.
•• In June 2007 Philips Solid Slate Lighting acquired TIR Systems.
ing approach freed the team to fully realize its energetic concept and let that
vision enliven the Y M C A and d o w n t o w n Detroit. M I M I Z E I G E R

42 AIL SEPT/OCT 1 0 7
 PRODUCTS
UGHTING SERVICES INC | M2807 SERIES |

UGHTINGSERVICESINC.COM

A track-mounted M2807 spotlight is

used at the climbing wall. Equipped
w i t h colored filters, at the YMCA, the
lightweight steel and aluminum fixture
also can be accessorized w i t h louvers,
baffles, and spread lenses. Adjustable
and self-locking, it is mountable in five
different configurations and available in
w h i t e , black, and platinum. CIRCLE 103

SPI I ECHO SERIES | SPILIGHTING.COM

To create luminous, inviting surfaces, a 6-inch-diameter by

12-inch-long wallwasher w a s used to uplight the under-
side of the w o r k o u t space that cantilevers over the main
entry. The fixture can be specified for f o r w a r d throw,
plane w a s h , and vertical graze optics. Additionally the
extruded aluminum housing is field adjustable for flexible
aiming, Available in t w o versions: fluorescent w i t h an
acrylic lens or high-intensity discharge w i t h an impact,
heat-resistant, t e m p e r e d glass lens, CIRCLE 100

PRECISION ARCHITECTURAL LIGHTING |

A S 6 0 0 SERIES | PAL-LIGHTING.COM

Used to create a pattern of energetic lines, the

direct-indirect version of the AS600 luminaire is suspended
in the workout r o o m , w h i l e wall-mounted a s y m m e t r i c fixtures are
used along the perimeter of the space. Offered in a large variety of
powdered coat finishes, the extruded a l u m i n u m housing is 6-1/2 inch-
es square, and the fixture is specifiable in 4, 8, and 12-foot standard
lengths. Linear prismatic, w h i t e cross baffle, and parametric baffle
lenses also are available. CIRCLE 104

DAY-BRITE UGHTING | HBD-EXPRESSIONS HIGH

BAY ACRYUC | DAYBRiraJGHnNG.COM

This industrial high-bay fixture pro-

vides general illumination in t h e
g y m n a s i u m . Equipped w i t h an
acrylic reflector, to provide an even
COLOR KINETICS | C O L O R B U S T 12 | C0L0RKINETICS.COM distribution of light, the luminaire
Tucked behind structural glass, the ColorBlast 12 w a s h e s the lobby's rear can be u s e d w i t h either m e t a l
wall w i t h ever-changing shades. The 12.6-inch-wlde by 8.4-inch-tall fixture halide, high pressure sodium, or
is packed w i t h 36 high-intensity RGB LED lamps that can produce an pulse start metal halide lamps. The
astonishing spectrum of 16.7 million colors. Equipped w i t h a soft focus fixture offers numerous assembly
glass lens, it produces a soft-edge 23-degree beam of light; the clear combinations w i t h pendant s t e m s
glass lens offers a 10-degree beam of light. The die-cast a l u m i n u m fixture ranging f r o m 12- to 60-inches long
is available in black or w h i t e finishes. CIRCLE 101 and three decorative ring options.
The reflectors all have heavy wall
a l u m i n u m housings and are UL list-
TIR SYSTEMS | lUUMIWAVE 10(H) | TIRSYS.COM ed for d a m p locations. CIRCLE 105
The IllumiWave 1000 light pipe system provides lighting over the pool in
the natatorium, but is easily maintained because 1000W metal halide
lamps are located over the deck. Available in lengths f r o m 20 to 60 feet
f r o m a single source, the system illuminates w i t h o u t glare. The light pipe ELLIPTIPAR I STYLE 153 | ELUPTIPAR.COM
IS fitted w i t h w h i t e , powder-coated a l u m i n u m side panels, and a non-emit- This large, cylindrical indirect light is
ting w h i t e ABS upper housing. CIRCLE 102 wall-mounted around the perimeter
of the s w i m m i n g pool deck. Round,
aluminum endplates conceal a para-
bolic reflector and house either a
1000W halogen or t w o 4 0 0 W lamps.
The asymmetric reflector minimizes
spill light. The fixture is UL listed for
w e t locations. CIRCLE 106

ARCHITECTURAL LIGHTING 43
 SOME PROJECTS SIMPLY INCLUDE UGHTING IN THEIR DESIGN, OTHERS ROOT UGHT IN

their core. The Bloch Building, the n e w addition to the Nelson-

Atkins M u s e u m of Art in Kansas City Missouri, is one such proj-
ect. From its inception to its realization, light permeates every
aspect of the n e w building. "The primary building material is
light," states Steven Holl Architects partner-in-charge, Chris
McVoy. "Lighting is not seen as separate f r o m the architecture."
The competition-winning scheme is c o m p o s e d of five "lens-
es," glass pavilions that e m b e d themselves along the eastern
edge of the m u s e u m site. The Bloch Building offers a n e w para-
d i g m for the m u s e u m visitor—a meandenng path, a route of
one's o w n choosing, w h e r e ever-present but ever-changing natu-
ral light creates a dynamic experience. In contrast, the 1933
Atkins Building provides the visitor w i t h a more traditional muse-
u m experience w i t h its sequential "black-box" galleries, which
rely on electric sources and do not incorporate natural light. As
m u s e u m director Marc F W i l s o n explains, "The Bloch Building
presents us w i t h propositions w e haven't seen before. Light is
e v e r y w h e r e . It's part of the spatial composition. The experience
of the space is never finished."
Lense One, as it is referred to, houses the lobby cafe, art
library, m u s e u m shop, and the director's office. Multiple entry
p o i n t s — w h e t h e r it be f r o m the main drop off by the Walter De
Maria sculpture One Sun / 34 Moons, the parking garage, the
Atkins building, or the sculpture garden—are w o v e n together
using perspective and permit visitors to m o v e through the space
via a series of ramped floors.
The walls of the lenses are composed of 16-inch w i d e planks of
structural self-spanning channel glass. An intricate system of stip-
pling the center glass surface along with a sandblasted translucent
insulation, depending on the angle the viewer is looking at the
glass, it will appear to have either a satin reflection or a moir6 effect.
"The surface become pure light and glass," McVoy says. Inside the
glass cavity wall t w o layers of low-iron laminated sheet glass are
applied to maintain the clearest color rendering of daylight as pos-
sible. As McVoy explains, "The lenses are instruments of light that
play w i t h the qualities of intensity and color."
Working with the architects, lighting designer Richard Renfro
and his team played a fairly technical role on the project because
as Renfro explains, "The concept of light was already there." To
understand how light would work in the glass cavities, Renfro built
a full-scale mock-up at his home in Brooklyn, N e w York, and then
w h e e l e d it d o w n the street to study the change of light conditions.
Through the center of the glass lenses are a series of T-walls,
referred to a "Breathing T's," which form a structural spine and
allow a mix of north and south light into the galleries, creating a
volumetric play of light. "They curve out to cup the space and dif-
fuse light into the galleries," McVoy explains. Renfro and his
t e a m also used a fair amount of computer modeling to deter-
mine the a m o u n t of light in the galleries to devise a passive shad-
ing s y s t e m , at the request of the m u s e u m , that w o u l d let natu-
ral light in w i t h o u t risking damage to t h e artwork. Renfro devised
a three-layer shade s y s t e m , w i t h 7-, 11-, and 50-percent transmis-
sion, so that the daylight light levels in the galleries are no less
than a m i n i m u m of 7 footcandles and no more than a m a x i m u m
of 27 footcandles. As Renfro explains, "The multiple shades
allow a m a x i m u m flexibility."
The other main gallery lighting e l e m e n t is the "stitch t r a c k " —
short runs of track that create a zipper-like effect on the ceiling
plane and tie the long and short perspectives of the galleries
together. Lighting designer Rebecca Malkin explains, "The archi-
tects did not w a n t continuous 'slashes' in the ceiling." In a
demanding exercise, to ensure the exact flow of the dashed
stitch track through each gallery in relation to the height of the

Architecture and light become one in the entry area of the Bloch Building (right).

44 AIL SEPT/OCT I 07
SCOLPTINGWITH LIGHT

DYNAMIC LIGHTING
R E E S f e t e N E S THE ML
EXPERIENCE.

ARCHITECTURAL LIGHTING 45
 ^ —

NORTH U G H T

GALLERIES

SERVICE Z O N E
( H V A C ELECTRICAL, DATA)

S p a c e and the s l o p e of the ceiling, Renfro and Malkin first laid out each
line of track making a paper template before it w a s installed.
Certainly dynamic by day as light and s h a d o w move across the Bloch
Building's surfaces, at night the building b e c o m e something else alto-
gether—an other-worldly series of g l o w i n g glass blocks, which t u m b l e
gently d o w n the sloped landscape. Low-mercury 5 4 W T 5 H L fluorescent
lamps, chosen for their color rendering capabilities, are located in the
glass cavity walls to achieve the nighttime glowing quality. The light is
intense, but not distracting, making the grass greener, and the blue of the
night sky deeper. The Bloch Building celebrates light creating a series of
formal and experiential moments unrivaled in their expression—an
expression that sculpts architecture through light. ELIZABETH D O N O F

46 AIL SEPT/OCT 1 0 7
As socn Iroin the north (iHcing page top rightl and the south (facing page middle
right), the new addition to the Nelson-Alkins Museum of An engages the existing
museum, the sculpture park, and the surrounding neighborhood. The galleries nre
organized around a series of "Breathing T's," structural elements that allow both
nofih and soutti light into the galleries while providing a mechanical service zone
below (facing page top left and left middle). An early watercolor sketch by Steven
Holl lays out the project's design concept—a series of "lenses" folded into the
landscape (facing page bottom right). By day (top) and by night (bottom) the geo-
metric forms of the new addition cast a strong profile and compliment the 1933
Atkins building. A diagram (bottom right) explains the relationship between the
new gallery spaces, and how the project as a whole occupies the site.

A R C H I T E C T U R A L LIGHTING 47
 •
M
B

lilt

DETAILS
P R O J c a Blocfi Building. Nelson-Atkins Museum of Art Addition. Kansas City. Missouri
OIEMT Nelson-Atkins Museum. Kansas City. Missouri
ARCHITECT Steven Holl Architects, New York
UGHTING DESIGNER Renfro Design Group, New York
STRUCTURAL ENGINEER Guy Nordeoson and Associates, New York
GLASS CONSULTANT R A. Heintges & Associates, New York
PROJECT SIZE 165,000 square feet (addition): 234.000 square feet (renovation); 450
square feet (parking garage)
PROJECT COST S200 million (expansion and renovation)
raoTOSMPiias Roland Halbe. Stuttgart. Germany, unless otherwise noted

APPLICATION / MANUFACTURERS

Bloch Building Expansion:

Alera. Alexandra Lighting Systems. Banco Ligfiting. Bega. Cathode Lighting Systems.
C.J Lighting, Columbia Lighting. C W Cole and Company. Edison Price Lighting,
Elliptipar. Finelite. Focal Point Lighting. H.E. Williams. Kirlin Company. Lightcontrol
Corporation. Nulux. Paramount, Prudential Lighting Industries. Winona Lighting

At night the Bloch Building's five "lenses" glow irom within forming an illuminated Parking Garage:
edge to the museum's 22-acre sculpture park (top). The parking garage is transformed B.K. Lighting. Bega. Canlet. C.W. Cole and Company. Elliptipar. Finelite, Greenlee
into an unexpected art installation (above) as light is allowed to permeate the below
Lighting, Kim Lighting. Paramount Industries

grade space through the circular skylights, part of the Walter Oe Maria sculpture above.
Sculpture Gallery & Kirkwood Hall Renovation:
One Sun/34 Moons. Column wall sconces fitted with 250W metal halide lamps uplight
Barbican (custom laylight glass). Cathode Lighting Systems, Edison Price Lighting.
the concrete ceiling.
Elliptipar. Fiber Optic Lighting Solutions, H E. Williams. Lumenyte. Nulux. Winona
Lighting

48 A I L SEPT/OCT 107
 PRODUCTS
NULUX I CUSTOM SLOTLUX | NULUX.COM

Hidden behind the ceiling plane of the Bloch building entry tick-
et area, a custom-designed fully recessed linear fluorescent
T 5 H 0 fixture w i t h t w o lamps in conjunction w i t h an incandes-
cent spotlight provide a secondary layer of light in the daylight
space. A 9-inch-wide textured, t e m p e r e d w h i t e water glass lens
diffuses the light. CIRCLE 119
C.W. COLE I CUSTOM-DESIGNED

UNEAR PENDANT|

C0LEUGHTING.COM

Custom-designed pen-
dant-mounted fixtures
are used to supplement
t h e illumination of the
caf6 at the Bloch build-
ing entrance. The lumi-
naries use a 150W 150Q
T4 frosted lamp and
have a clear, textured
glass shade, CIRCLE 117

EDISON PRICE I TRACK MOUNTED GALLERY UGHTING | EDIS0NPRICE.COM

In the galleries of the Bloch building a "stitch track"

track lighting system is used. Selected to keep the
ceiling plane in the galleries as uninterrupted as possi-
ble, several lamp t y p e s , including PAR 36, PAR38,
AR70, and AR111, and spread lenses ranging f r o m 30-
to 70-degrees are used depending on the artwork on
display CIRCLE 120

C.W. COLE I CUSTOM-DESIGNED LINEAR PENDANT |

In the library, custom-designed pendant-mounted 5 4 W T 5 H O 5-foot-long linear fluo-

rescent fixtures w i t h an integral ballast are located over each reading table. The lumi-
naire's bent glass " s h a d e " is made of 1/4 inch thick glass in a water w h i t e finish,
sandblasted and sealed at both sides. CIRCLE 118

ARCHITECTURAL LIGHTING 49
The Science
and Art
of L
Richard+Bauer's new Meinel Optical Sciences Research Building creates substance out of light.
ARCHfTECTURE TODAY OFTEN IS PRAISED FOR ITS TECTONICS, FLOATING VOLUMES, AND SENSATION- ing the ethereal quality of the wide Arizona sky. The fagade, however, is
al, gravity-defying stunts of "starchitecture." Yet, very so often there is a merely a prelude for w h a t awaits inside—where light and architecture
building that inspires descriptions of the sublime, the expehential, and the seamlessly combine to create m o m e n t s of pure awe.
power of light and architecture to transcend our expectations. The n e w The M e i n e l Optical Sciences building began w i t h t h e simple request of
Meinel Optical Sciences Research Building, designed by Phoenix-based a "signature building for the department," according t o John Greivenkamp,
Richard+Bauer for the University of Arizona, Tucson, is one of these archi- professor at the College of Optical Sciences and user representative for
tectural rarities. Already drawing comparisons to Louis Kahn's 1965 Salk the Meinel project. The faculty and administration w a n t e d the architecture
Institute for Biological Studies in La Jolla, California, the indescribable qual- to express the college's reputation as a world-class research institution.
ity of light that characterizes the best of Kahn's w o r k also resonates in Since its completion in April 2006, the project has received numerous
Richard-t-Bauer's n e w building. Both an expansion and renovation of the state, regional, and national design awards, including a 2007 American
existing College of Optical Sciences facilities, the Meinel building includes Institute of Architects (AIA) Honor A w a r d for Architecture, but as
teaching and research laboratories, six floors of offices, discussion areas, Greivenkamp describes, no o n e expected " a building of AIA honor sta-
conference rooms, and an auditorium. The n e w 4 7 0 0 0 square-foot cast-in- tus.. .that w a s never our intention, but w e are thrilled at the attention it has
place concrete structure, w r a p p e d on three-sides in copper-alloy panels, received." The creative w e d d i n g of program and expression at the M e i n e l
harmonizes w i t h the largely brick vocabulary of the campus while reflect- Optical Sciences building s t e m s f r o m Richard+Bauer's thoughtful approach

50 AIL SEPT/OCTI07
S a
to architecture—and lighting design, which is handled in-house, J a m e s feet, pulls abundant natural light into the below-grade lobby, creating a pow-
Richard, principal, explains, " W e like t o tie the building and the architecture erful experience. According to Greivenkamp the typical response of visitors
back to the phmary i n t e n t — w h a t are the programmatic requirements and is, " W o w ! " Another aperture contains the fire stairs and Richard+Bauer
w h a t IS the mission of the institution? And here, their mission s t a t e m e n t is smartly solved the problem of emergency and ambient lighting by recess-
pretty neat—the science and application of l i g h t — h o w can you go w r o n g ing standard T8 fluorescent fixtures behind vinyl panels on each rise, there-
with that?" by emphasizing the sculptural quality of the shaft. Nature provides the best
Richard+Bauer's concept for the Meinel Optical Sciences building takes effects though as the transitory play of natural light animates the wells
inspiration f r o m the camera obscura (an ancient optics tool used to study " W e let the sky paint the inside of these shafts," Richard says, "You get
light), responding directly to the programmatic requirements; particularly these amazing blues, purples, reds, magentas, and oranges,"
the light-restricted " d a r k r o o m " laboratories, the sheer number of which The spirit of the optical sciences also informs the division of the building
effectively sealed-off a large portion of the interior f r o m access t o natural into " b l i n d " and " s e e i n g " spaces. Extremely light-sensitive research is con-
light. Bringing that light into the interior of the building then became a pri- d u c t e d in laboratories along t h e southern, w i n d o w l e s s wall of t h e build-
mary challenge. To "introduce light into a dark volume," Richard says, they ing—the "blind s p a c e " Here Richard+Bauer designed a simple and eco-
designed three structure-piercing light shafts, each terminating in a t w o -
nomical solution to the high ambient-light levels needed for teaching and
story interaction space. The light wells occupy a different elevation and oh-
priming experiments, and the l o w light-levels required for experiments
entation, producing unique light effects. The tallest of these, roughly 85
which involve precise m e a s u r e m e n t of lasers, mounting standard T8 fluo-

52 AIL SEPT/OCT 107

 1

Using the idea of a c a m e r a o b s c u r a — a n optics tool used to study l i g h t — a s the pro-

1
ject's design inspiration for the volumetric play of s p a c e within the building, the
a r c h i t e c t s create a dialogue between "light" and "dark" relying on a combination
of daylight and readily a v a i l a b l e s o u r c e s , in the lobby (facing page) linear fluores-
cent T8 fixtures define the underside of the stair and perimeter edges of the light
shaft—one of three in the project. The light shafts a l l o w natural light to permeate
throughout the building w h i l e creating unique effects (left). Three s i d e s of the n e w
addition are wrapped in copper-alloy panels, which create a breathable rain
s c r e e n . The southern elevation is purposely kept w i n d o w l e s s for the light s e n s i t i v e
r e s e a r c h that is conducted in the laboratories behind (top). In the auditorium
(above) low-profile T8s a c c e n t the side w a l l - p a n e l covelights.

rescent lamps on a chasse alongside dimmable 9 0 W PAR38 incandescent screen that protects the surface of the building (thereby avoiding sealants)
uplights. Using off-the-shelf products, Richard+Bauer's laboratory lighting and allows for natural ventilation up through the skin.
system is not only effective, but also easy t o use and maintain. Throughout the project, Richard+Bauer's choices w e r e inspired by t h e
The same simplicity characterizes t h e lighting of t h e " s e e i n g " zones of optical sciences, as is evident in their reliance on light's effects, as o p p o s e d
the building, including offices, classrooms, and support spaces that all have to elaborate fixtures. From t h e light wells t o t h e industrial T8s m o u n t e d
varying levels of exposure to natural light. The offices located behind the behind perforated a l u m i n u m ceilings in many of the public areas and meet-
folded-glass curtain wall are t h e m o s t dramatic of these areas, offering ing rooms, light b e c o m e s matter. The consistency of the firm's vision and
abundant light and v i e w s of the Catalina M o u n t a i n s t o the north. Daylight its ability t o solve design challenges economically and gracefully has result-
is balanced by T8 luminaries m o u n t e d at angles corresponding to the ed in a remarkable building that speaks directly t o its users as well as its
faceted glass curtain wall; after dark these echo t h e rhythm of t h e fagade
use, aesthetically a n d sustainably. The m o v e m e n t of daylight through the
and create a dramatic nighttime presence for t h e building. The east and
architecture, whether filtering d o w n t h e light shafts or saturating the office
w e s t fagades' carefully edited fenestration enlivens t h e elevation and min-
spaces, infuses the building w i t h a living d y n a m i s m often lacking in
imizes solar exposure, heat gain, and glare. Keeping the southern elevation
research facilities. Humbly explaining t h e surprise success of this project,
w i n d o w l e s s , besides protecting t h e laboratories, w a s an obvious " g r e e n "
Richard says, " W e looked for responses that w e r e intrinsic both t o solving
choice, dramatically reducing t h e impact of t h e desert sun. Similarly sus-
regular programmatic and functional issues, but tried t o do t h e m in ways
tainable, the copper panels sheathing the structure create a breathable rain
that w e r e also poetic." MARGARET MAILE PETTY

ARCHITECTURAL LIGHTING 53
 PRODUCTS
BARTCO UGHTING | BEL SERIES | BARTC0LIGHTING.COM

Well suited t o a variety of high-use spaces, this low-pro-

file linear T8 fluorescent fixture w a s used in the auditori-
u m for the wall panel covelights. The fixture offers a
fully a s s e m b l e d housing in corrosion-resistant
steel and high-reflectance w h i t e p o w d e r coat
finish. Available in a w i d e range of wattages
w i t h knock-outs that accept standard
electrical fittings, this all-purpose fix-
ture is UL and C-UL listed for dry
and d a m p locations.
CIRCLE 108

PRUDENTIAL UGHTING | P-8600 SERIES | PRUUTE.COM

ThisT8 troffer, w i t h a premium-quality prismatic acrylic lens and 5-inch-

deep body, w a s selected for use in the perforated a l u m i n u m ceilings in
the laboratories, corridors, and offices. It features mitered door corners,
spring-loaded latches, and reversible hinges and is available in four m o d -
els: 1/2 inch regressed aluminum, flat aluminum, flat steel or floating 1/2
inch regressed aluminum. The P-8600 series also can be fitted w i t h
stainless-steel flanges and doorframes. CIRCLE 109

The new addition's north f a c a d e , a folded-glass curtain w a l l , provides v i e w s out

to the surrounding l a n d s c a p e and abundant natural light into the office and c l a s s -
room a r e a s by day. Daylight is b a l a n c e d with T8 fixtures positioned at a n g l e s ,
w h i c h correspond to the faceted g l a s s w a l l . At night, the s k e w e d patterning of
the fluorescent tubes t a k e s on a sculptural quality (top and above).

DETAILS PRUDENTIAL UGHTING | PSS-162 | PRUUTE.COM

PROJECT Meinel Optical Sciences Research Building, Tucson, Arizona Used for the stairs and light shaft perimeters, this staggered two-lamp
CLIENT The University of Arizona, Tucson. Arizona T8 striplight c o m e s w i t h a 4-inch overlapping s y s t e m and a telescoping
ARCHITECT AND UGHTiNG DESIGNERflichard+BauerArchitecture. Phoenix end-module for flexibility Available in 2, 3, 4, 6, or 8-foot standard
lengths, the multipurpose PSS-162 can be specified w i t h
STRUCTURAL, MECHANICAL, ELECTRICAL ENGINEER Arup, LoS AngelOS
s y m m e t h c , asymmetric, or reverse s y m m e t r i c
PROJECT SIZE 66,000 square teet (addition and renovation)
reflectors, as well as d i m m i n g ballasts and
PROJECT COST $14 million e m e r g e n c y batteries. CIRCLE 110
LIGHTING INSTALLATION COST $549,000 (building); $30,000 (site)
PHOTOGRAPHER Bill Timmerman, Phoenix

MANUFACTURER APPLICATION

Bartco Auditorium wall-panel light coves

Kurt Versen Auditorium downlights; laboratory uplights
Prudential Striplights at stairs and perimeter of light shafts; JI
industrial strips within perforated aluminum
ceilings in laboratories, corridor, and offices
Zumtobel Auditorium, office, and conference room pendants;
T8 fluorescent fixtures in laboratories and Ledos
series "Lazer On" light

54 AIL SEPT/OCT107
 ENVISION LIGHT

afchit«1- Office dA phoiogfsphy: John Homw Photography

EXPERIENCE BARTCO LIGHTING.

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Circle no. 85 or www.archii

 offices DESIGN FOCUS

SKANSKA AT ALLEY24, SEATTLE

CHALLENGE W h e n the Seattle office of Skanska—a cles and partitioned perimeter offices. The result is
global company with expertise in construction and a w a r m and w e l c o m i n g h o m e characterized by DETAILS

project development—decided to move its operations visually intersecting spaces that both enable and PROJECT j Skanska at Alley24. Seattle
from its previous home of 30 years, a traditionally encourage collaboration. DESIGN TEAM i NBBJ, Seattle
styled office interior with limited daylight exposure, its Another technique the NBBJ team used t o (architect and lighting designer}
principals knew they wanted an energy-efficient space accentuate the layout and its permeation of natural PHOTOGRAPHER 1 Boii Benschneider. Seattle
imbued with structural transparency radiating with light w a s clipping t h e bottoms off the w o o d panels PROJECT SIZE! 23,300 square feet
natural light that would provide all employees with a lining t h e corridor that cuts through t h e core, a WATTS PER SQUARE FOOT j 37
healthy work environment rich in exterior views. Their space that serves as both t h e offices primary MANUFACTURERS | Deltalight. Edison Price,
search led t h e m to a 25,00G-square-foot single-floor artery and Skanskas gallery for exhibiting its collec- Focal Point, Greenlee. Halo, io Lighting.
office within a n e w mixed-used building known as tion of project photos and construction-theme Metalux, Portfolio, Xenon
Alley24, conveniently located one floor above the sculpture. Daylight, which streams beneath t h e
buildings designer and Skanskas project architect and w o o d panels, effectively illuminates the floor. To
lighting designer, NBBJ. support this light, NBBJ lighting designer M e g a n
Skanska wanted t h e space lit primarily by way of Strawn looked for unusual opportunities to provide
natural light and w i t h a m i n i m u m of task lighting to practical solutions that c o m p l e m e n t and continue
reduce t h e companys electricity dependency. the interiors vibrant quality of natural light. She
Luckily for the designers, this LEED-candidate build- attached T 5 H 0 lamps atop t h e wall defining t h e

ing was already enveloped in clear glass, a feature interior offices and concealed T5 lamps below the
that allowed a significant amount of natural light to w o o d panels. "Integrating t h e lighting into the
penetrate deep into the interior core. architecture," Strawn says, " p r o d u c e d elegant
results." To light t h e artwork, Strawn added low-
ARCHITECTURAL AND LIGHTING SOLUTION To m e e t t h e voltage wall- and ceiling-mounted PAR30 track fix-
clients daylight requirements NBBJ focused on gra- tures. She also selected d i m m i n g controls t o main-
dating the spatial experience and reversing the typ- tain a c o n t i n u o u s quality of functional light
ical office interior layout. Cubicles housing adminis- throughout t h e office. The controls allow occu-
trative and support staff are positioned along t h e pants to comfortably work at night and during over-
exterior wall and next to the w i n d o w s . Private exec- cast days. To keep t h e interior m o o d bright, NBBJ
utive offices and the board room, spaces typically interior design principal Anne Cunningham select-
placed around the interior perimeter, are located in ed desks and furnishings in light w o o d s and fab-
the 10-foot-high core and enclosed w i t h 7-foot-high rics, objects of clean geometric propoaions, which
clear- and frosted-glass walls, a gesture that lets nat- subtly convey Skanskas Scandinavian roots. For
ural light stream over the interior partitions and Strawn, w h o cites her biggest project challenge as
extend across t h e space. More important, as "being judicious w i t h t h e monetary and energy
Skanska Vice President Tony Stewart explains, the budget to find a balance b e t w e e n the t w o " t h e
design accomplishes an important project require- lighting design creates "a space that is a comfort-
ment: it dismantles the traditional corporate hierar- able, practical, and respectful; a solution w i t h high-
chy typically defined architecturally via darkly lit cubi- aesthetic intent." JOSEPH OENNIS KEUY
 DESIGN FOCUS offices

PRIVATE EQUITY OFFICE, M E N L O PARK

CHALLENGE Working in the financial services indus- port t h e use of natural light as the primary source
DETAILS
try is a stressful, highly charged experience in of interior illumination, Gensler turned t o Los
PROJECT I Private Equity Office, Menlo Park. California Angeles-based lighting designer Alfred Scholze.
which 15-hour workdays are the norm. W h e n one
DESIGN TEAM | Gensler, San Francisco (architect); Schoize used digital imaging t o create a plan that
quickly growing northern California equity firm
Alfred Sehoize & Associates. Venice, California needed t o move its operations t o accommodate its ensured t h e quality of natural light pervaded
(lighting designer) personnel expansion, it hired Gensler t o transform throughout the t w o floors.
PHOTOGRAPHERS | Benny Chan. Fotoworks, Los t w o unconnected floors in a typical suburban office One architectural e l e m e n t that enabled Scholze
Angeles, California (images facing page); Sherman park building into an interconnected open-planned t o accomplish this is t h e office area's cove ceiling.
Takata. Gensler, San Francisco (image this page) space that both defied the traditional Wall Street The cove not only subtly maximizes t h e office's
DRAWING I Courtesy of Gensler San Francisco (below) aesthetic (dark w o o d s and indistinct partitioned volume through its visual extension of t h e space's
PROJECT SIZE 131,000 square feet interiors) and created a hospitable and luminous structural linearity b u t also provided Scholze w i t h
WATTS PER SQUARE FOOT | 1.1 working environment that encourages dynamic an opportunity t o tuck a w a y T 6 lamps—generating
activity cross-collaboration, and enables private 33 watts per 4 square f e e t — a n d create a stream
MANUFACTURERS | Bartco, Delta, Elite, Iris, Legion,
meetings w i t h clients. of end-to-end fixtures t h u s eliminating socket
Lightolier. Louis Poulsen. Mark Lighting. Metalux.
channels. The result successfully unifies t h e inte-
Nippo. Peerless, RSA, Systemalux
rior through a continuous quality of bright light
ARCHITECTURAL AND UGHTING SOLUTION The result
that extends f r o m perimeter t o core. "Rarely,"
is a highly transparent yet quiet multilayered space
Scholze explains, " d o e s an office feel this o p e n
that conveys a sophisticated casualness appropri-
and this lively"
ate for a W e s t Coast equity firm and takes advan-
The cove's electrically illuminated
curvilinear planes effectively main-
tain the quality of natural light, while
the white ceiling's reflective proper-
ty efficiently transmits the fluores-
cent light across the space, visually
suggesting the interior presence of
the sky. The cove's design also
enabled Scholze t o develop an interi-
or lighting scheme that—because it
required fewer fixtures than t h e typ-
ical office space—uses a mere 1.1
watts per square foot, a calculation
that m e e t s California's stringent
Title 24 energy code and gave the
equity firm's principals w h a t they
wanted: A practical lighting solution
that was more about providing func-
tional quality than creating a signa-
ture space or an architectural mood.

To enhance the flow of natural

light throughout the space, Gensler
added a skylight above the n e w stair-
tage of t h e building's large w i n d o w s t o channel case that connects the upper-level workspace with
natural light across the space, a key client require- the lower-level hospitality-oriented floor, which also
m e n t that Gensler fulfilled by selecting glass walls houses showers, casual dining, and seating areas.
to enclose t h e perimeter offices and removing all And because this skylight channels so much natural
structural obstructions f r o m t h e core t o create an light into the core, Scholze w a s able t o select low-
open administrative area. This arrangement voltage pendant downlights t o illuminate the dining
enabled Gensler t o use natural light—rather than area and complement the natural light flowing into
the seating area. This type of downlight also is used
rely on electric sources—as the primary source of
to illuminate the traditionally partitioned lobby and
interior illumination. Doing so allowed t h e design
reception areas, spaces the Gensler team adorned
t e a m t o not only realize another client require-
in lightly hued fabrics (carpeting, upholstery) and
ment—integrating the exterior and t h e interior
w o o d elements (floors, desks, glass-wall trim) t o
environments—but also create what Gensler
enhance the quality of natural light, enable daylight
design director Douglas Giesey describes as a
to fully permeate the space, and to provide a formal
dynamic workspace enlivened by "its subtle but
tactility appropriate for a serious-minded business
unexpected visibility and views."
environment. JOSEPH DENNIS KELLY
To develop a lighting scheme that would sup-

58 AIL SEPT/OCTI07
offices DESIGN FOCUS
 DESIGN FOCUS products

LIGHTING THE WORKLOAD

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cast a l u m i n u m units; E02, fixed recessed die-cast a l u m i n u m units w i t h a circular layout; E03,
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units w i t h a cylindrical body. CIRCLE 127
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lamps, all ModuleX M3.7 Series also are UL and and can reduce energy c o n s u m p t i o n in a building
CUL listed for d a m p locations w i t h select trims by as much as 30 percent. The technology's pur-
for w e t locations. CIRCLE 125 ——--^ -
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The SOON table lamp w a s relaunched at
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ID, a n e w downlight, offers both flush and
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metal halide MRT6 downlights. S o m e fea- N o w w i t h expanded optics, t h e M L 4 is m o r e
tures include "Gloves O f A i m " to easily versatile, according to the manufacturer, and
adjust the beam angles. "Auto M e m o r y " to can be used in a variety of spaces such as
return the lamp t o its original angle after offices, retail, and health care facilities. A sec-
being replaced, and "Perfect Fit" to allow for ondary light chamber creates a gradient, and
the alignment of multiple trims and a s e a m - color inlays are available to customize the look.
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CIRCLE 130

AIL ; E P T / O C T 107
 eCOTECTURAL
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1

TWO PROJECTS
EXPLORE LIGHTING'S
CONTEMPORARY SIDE
plus
TIME PASSAGES
A Contemporary Lighting Approach Redefines a Kansas City Residence.

66 AIL SEPT/OCTI07

(I I ^. K ij !1
With no exterior v i e w s to s p e a k of, the lighting design turns this apartment's f o c u s i n w a r d , emphasizing the p r e s e n c e of
daylight and how it moves through the s p a c e from morning to night ( s e q u e n c e s p r e a d b e l o w , f a c i n g page top left, c l o c k -
w i s e } . P u n c h e d - w i n d o w c l e r e s t o r i e s alternating with a cove detail w r a p the perimeter of the main living a r e a creating
a complementary relationship between daylight and e l e c t r i c light. L i n e a r f l u o r e s c e n t fixtures with a 3500K-color temper-
ature are s e l e c t e d for their neutral rendering of cool and w a r m tones.

ARCHITECTURAL LIGHTING 67
UYERING UGHT IN A RESIDENTIAL SETTING OFTEN REUES ON THE UGHT FIXTURE AS A DECORATIVE ested in the kind of c o m p l e m e n t of these independent dualities, and not
object. But in the case of this c o n v e r t e d t w o - s t o r y c o m m e r c i a l building, trying to blur the relationship b e t w e e n the two," he explains.
a c o n t e m p o r a r y t r e a t m e n t w a s r e q u e s t e d . In a s o m e w h a t unusual proj- The lighting scheme's design parti is best expressed in the cove detail
ect structure, lighting designer Derek Porter and his t e a m at Derek below the parapet. Because the clerestory has repeated punched open-
Porter Studio w e r e hired directly by t h e c l i e n t s — a n older couple in their ings, geometric in aperture scale and proportion w i t h no trim detail, the
60s and 70s, Faced w i t h an interesting set of project c o n d i t i o n s : no exte- lighting designers w a n t e d to create a c o m p l e m e n t i n g gesture w i t h electric
rior v i e w s to speak of, and a vaulted SIP (structurally insulated panel) light. " W e didn't w a n t something just attached to the architecture," Porter
roof structure that had recently been installed, rather than be hindered describes. The solution w a s a constant linear shelf, which houses the elec-
by t h e s e c i r c u m s t a n c e s , Porter manipulated t h e s e p o t e n t i a l o b s t r u c t i o n s tric 3500K fluorescent sources, w h o s e f o r m peels away f o r m the wall—a
into project opportunities. He explains. " T h e w a y in w h i c h t h e light inte- poetic gesture in keeping w i t h the vaulted roof line and c o n t e m p o r a r y aes-
grated w i t h the architecture evolved significantly f r o m t h e fact that w e thetic of the interiors.
couldn't use the ceiling." Another project element, which receives a similar poetic touch, is the
Several site visits into the preliminary design, it w a s apparent that the entryway closet. A unique architectural feature, but one that roots itself in
roof clerestory and thick parapet wall (18 t o 24 inches) allowed a fair t h e n e w cabinetry pieces found elsewhere in the apartment, sliding glass
amount of natural light into the space. Studying exactly h o w daylight m o v e d doors w i t h a satin finish hung f r o m a steel I-beam, allow the c o n t e n t s of
through the residence enabled Porter to turn the apartment's focus inward. the closet to be seen, but abstractly. Each shelf is essentially a maple box
"The presence of daylight phenomenologically became more important in w i t h a slim linear fluorescent lamp hidden behind the front fascia that
the design," he states. Also early on in the design discussions. Porter and allows the light to w a s h back onto the contents of each shelf. W h e n the
his t e a m introduced the idea of energy efficient fluorescent sources. "The glass doors are closed and the lights turned on the effect is a diffuse g l o w
client had no preconceived notion of this, but t o their credit, despite the and the closet as an entire entity functions as the entryway luminaire.
typical aversion to the first m e n t i o n of fluorescent, they w e r e very open in W i t h no preconceived ideas as t o w h a t their residence should be, the
considering it," he says. Once the client w a s in agreement about the light client allowed the lighting design t e a m to explore light in a way that focus-
sources. Porter and his t e a m began t o explore the relationship b e t w e e n es on quality and color temperature. Light exists as both a measure and an
daylight and electric light, specifically h o w t o balance static and dynamic experience. The result is a contemplative space w h e r e residence b e c o m e s
light sources, along w i t h directionality and color temperature. " I ' m inter- refuge f r o m the busy daily happenings of life. ELIZABETH DONOFF

68 AIL SEPT/OCTI07
 • • • L •••UUUDdS

Section 1 Section 2
A zone of indirect light—at the upper portion of each wall—gives this loft-like residence
an airy feeling. The apartment's open kitchen and living room are the heart of the resi-
dence (facing page). The guest bedroom and bath, and a study are accessible from the
open living area. Sectional drawings describe the building's vaulted roof structure.
Section 1 (above left) is cut through the master bath, elevator, and entry hall. Section 2
(above right) is cut through the guest bath and living room. The perimeter covelight is
designed to look as if a layer of the wall is being peeled away to reveal the light (far left).
A glass clerestory allows light into the bedrooms, bath, and study, while continuing the
theme of top light which rings the apartment (left). The entryway's special feature (bot-
tom left) is a closet that takes on sculptural qualities with translucent-glass sliding
doors, which diffuses the light from linear fixtures at each shelf. In the guest bath (below)
the "peeling" cove detail provides indirect light, while wall sconces at the mirror plane
provide additional task lighting.

DETAILS
PROJECT West Plaza Residence. Kansas City, Missouri
LIGHTING DESIGNER Derel< Pofter Studio, Kansas City, Missouri
PHOTOGRAPHER Michael Spillers, Kansas City, Missouri

MANUFACTURER APPLICATION
Ardee Kitchen under cabinet fixtures
Elliptipar Linear fluorescents throughout project
GE Lamps throughout project
Ginger Lighting Bathroom wall sconces
Lutron Graphic Eye control system
Osram Sylvania Lamps throughout project

A|L RESIDENTIAL COVER, WEST PLAZA RESIDENCE ENTRYWAY CLOSET, PHOTOGRAPHER; MICHAEL SPILLERS

ARCHITECTURAL LIGHTING 69
i
 An Illinois barn is given new life and light
as an architectural retreat.
ELEGANT AND SIMPLE, BUT IN NO WAY SIMPUSTIC, THAT IS HOW AN 85-YEAR-OLD
abandoned c o w bam in rural Illinois, transformed into a sophisti-
cated architectural retreat, is best described. Collaboration
b e t w e e n longtime colleagues and friends, Helmut Jahn and
Michael Rohde, the project exemplifies the synchronicity
b e t w e e n architect and lighting designer born out of a w o r k i n g
relationship built on mutual respect and trust.
W i t h Jahn acting as both the client and the architect, the pro-
ject's purpose w a s to create a retreat for his office—Murphy/Jahn
Architects—in nearby Chicago. A place for the design t e a m to
gather for a quiet w e e k e n d or to focus on project and competition
charrettes, the barn is fully equipped w i t h the technical compo-
nents of a remote office.
Two primary architectural interventions w e r e made t o the
existing structure; a n e w skylight running the length of the main
roof, and the addition of a s w i m m i n g pool in w h a t w a s once the
stalls for manure collection. Jahn w a n t e d the space t o retain an
" o p e n " feeling and be respectful of the existing architecture w i t h
its timber post and beam structure. To that end, spaces like the
kitchen area a n d sleeping quarters w i t h bunk beds (similar t o a
hostel setup) are kept to one end of the main hall. But it is the role
of daylight that makes this spaciousness complete. As Michael
Rohde explains, "The w h o l e structure w a s stripped and simply
opened. The building [faces] absolute north, it w o r k s like a sun
clock. You could actually put lines on the floor, w r i t e numbers, and
see by t h e n u m b e r s w h a t t i m e it i s " Industrial-style pendants
w i t h glass prismatic lenses and tungsten halogen lamps run the
center of the hall and side w i n g s . These fixtures provide a supple-
m e n t a r y layer of light and w e r e chosen for their excellent color
rendering and d i m m i n g capabilities. To ensure sufficient illumina-
tion at night, a third layer of fluorescent luminaires, located on top
of the b e a m s and hidden in a U-shaped a l u m i n u m profile to pre-
vent glare, round out the lighting scheme. The use of indirect
lighting throughout the project is essential to Jahn's minimal
architectural approach and desire that light be seen, not t h e light
fixture. This holds true in the kitchen as well w h e r e the beam
structure once again serves as the foil for task lighting in the f o r m
of track spotlights.

The s w i m m i n g pool area by day is a light-mfused space. Large

w i n d o w openings line the perimeter walls, allowing daylight to
provide a cool illumination, w h i l e four lines of fluorescent fixtures
housed in a perforated metal enclosure highlight the w o o d e n
beam structure of the ceiling w i t h a w a r m glow, and accentuate
the length of t h e pool. At night t h e atmosphere of the pool area
takes on dramatic proportions as the indirect fluorescent ceiling
luminaires cast a cool g l o w on the ceiling structure and recessed
low-voltage tungsten halogen fixtures define t h e v o l u m e of the
pool itself.
Not a typical residential setting in that it is not a permanent
home; nonetheless the attention to detail and consideration of the
quality of light throughout the project has a w a r m and intimate feel.
"Every project is individual but the principals of lighting are always
the same," Rohde explains. "You try and understand the language
of the building, and you discuss the client's aim." And in that the
design team has succeeded, creating a light-infused and welcoming
place that nurtures the creative process. ELIZABETH D O N O F

An 85-year-old barn structure is respected and left intact with only the
most minimal of interventions—a new skylight that runs the length of
the roof and allows the space to be flooded with daylight. At night,
industrial-style pendants provide indirect illumination (facing page).

ARCHITECTURAL LIGHTING 71
 iNPfirT IN

ufvir

72 AIL SEPT/OCTI07
 Early sketches by architect Helmut Jahn describe the lighting design's evolution
DETAILS
and placement of fixtures (facing page top). The naturally ventilated barn strikes a
PROJECT 7 Oaks Farm Studio, St. Charles. Illinois
handsome pose in the rural Illinois landscape (facing page middle). Day or night the
pool area, the other major new intervention to the structure besides the skylight, is CLIENT Murpliy/Jahn Architects, Chicago
dramatic (facing page bottom left and bottom right). Low-voltage tungsten halogen ARCHITECT Murphy/Jahn Architects, Chicago
fixtures define the perimeter edges of the pool volume, while four lines of custom LIGHTING DESIGNER L-Plan Lighting Design, Berlin
designed linear fluorescent fixtures housed in perforated metal and integrated per- PROJECT SIZE 960 square meters (approx 10,335 square feet)
pendicularly to the beam structure accent the length of the ceiling. In accordance LIGHTING INSTALLATION COST 52,000 Euros (approx. $73,730)
with Jahn's preference to keep the view of fixtures at a minimum, halogen spot- WATTS PER SQUARE FOOT 1.5
lights are hidden within the beam structure of the kitchen ceiling (above).
PHOTOGRAPHERS Helmut Jahn and Doug Snower

MANUFACTURER APPLICATION
Bega Low-voltage tungsten halogen fixtures in pool area
Erco Halogen spotlights in kitchen
GE 15, PAR30, and halogen lamps throughout
Hess Exterior luminaries at terrace
Sill Pendant luminaires with prismatic lens in the
main hall

ARCHITECTURAL LIGHTING 73
 Introducing Z-MAX with "zero current" switching.
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Circle no. 35 or www.archlighting.com/productinfo
 products I INDOORS

SUSPENDED ELEGANCE

1 Noaxis, a hanging lamp f r o m FontanaArte, is made of a painted

fiberglass and w o r k s well in contemporary spaces. W i t h a glass
diffuser, the lamp is available in black, w h i t e , gray, metallic gray,
and gold. CIRCLE 131 2TobiasGrau presents George, a suspen-
sion design w i t h a shiny black lamp head made of PC glass. The
sleek fixture is adjustable for height, can be d i m m e d , and has an
integrated s w i t c h . C I R C L E 1 3 2 3 Neutra by Kartell is a circular
suspension lamp that c o m e s in either black or w h i t e . The modern
design uses plastic as a light vector and the housing consists of
t w o e l e m e n t s that are similar to shells. C I R C L E 133 4 Available
w i t h either eight or 12 lights, Maine by Barovier&Toso is height
adjustable, w i t h lampshades in either black or w h i t e . C I R C L E
134 5 W i t h 24 concave and convex b l o w n glass blocks fitting into
its frame, Bellissima f r o m Studio Italia Design is available as either
a cylinder or a straight line and in any color combination of w h i t e ,
red. and amber. CIRCLE 135 6 A unique suspension lamp f r o m
Terzani. Tresor, available in gold or silver, is made f r o m 3,900 coins
that are hand-welded by craftsmen. C I R C L E 136 7 J Adore
Venice, another fixture f r o m Terzani. is crafted f r o m b l o w n crystal
and is available in white/transparent or black/transparent finishes.
CIRCLE 137

ARCHITECTURAL LIGHTING 75
products I INDOORS

LIVING AREA LUMINANCE

1 The U p - D o w n hanging lamp by FontanaArte features an upper

diffuser in acid-etched b l o w n w h i t e glass and a lower diffuser in a
metallic b l o w n glass. C I R C L E 138 2The Kentfield Collection pres-
ents the Soleil ceiling fixtures w i t h solid copper frames that hold
either a w h i t e cased glass diffuser or a w h i t e fabric shade. C I R -
C L E 139 3 Vittoria, a pendant lamp f r o m Leucos, has a glass dif-
fuser w i t h a mirrored chrome finish. CIRCLE 140 4 N a m e d for
its resemblance to a cue ball, the Cue pendant f r o m Nessen
Lighting is made f r o m hand-blown glass. C I R C L E 141 5Three by
hansandfranz is assembled via a do-it-yourself kit. The chic lamp
has a lampshade made out of synthetics. C I R C L E 142 6 New
f r o m HutJ is the Saw Table Light, made f r o m w h i t e oak and nick-
el plated steel. Each cut in the table gives off a different intensity
of light w h e n the fixture is inserted. C I R C L E 143 7 Flos intro-
duces Ray which features a stand that is part lighthouse and part
power pylon. C I R C L E 144 8 The Bamboo Light System f r o m
Yamagiwa is made f r o m polycarbonate and a l u m i n u m . Its shape is
inspired by the f o r m of bamboo. C I R C L E 145 9 M a r y by Tobias
Grau has a mouth-blown white crystal glass shade and is
designed as a reading lamp for use next to a sofa. C I R C L E 146

Tambient.
l i g h t i n g at w o r k "

Lights the ceiling, task a n d i m m e d i a t e Comfortable ... affordable ...

surround from o n e T 5 lamp, furniture m o u n t e d . a s low as 0.6 w/sf.
Available with personal d i m m i n g control a n d
www.tambient.com
interface for daylight r e s p o n s e a n d p o w e r load
shedding networks. a division of Sylvan R. Shemitz Designs, Inc.. makers of elllptlpar

Circle no. 29 or www.archlighting.com/productinfo

 products I INDOORS

Electri^
Your Vision. . . Our Expertise

Luminaires
For more information, call Sentry Electric, L L C
at 516.379.4660, or visit us at www.sentrylighting.com
Poles

Bollards
Sehtry Electric, ILC
185 B u f f a l o A v e n u e Freeport, N e w York, 11520
Accessories WWW.SffNTRYLIGHTING.COM

Circle no. 46 or www.arctilighting.com/productinfo

products I INDOORS

TABLE TOPPERS

1 FontanaArte presents 100 M e t r i , a table lamp available in t w o

sizes. It features a d i m m e r and a diffuser in transparent glass,
11
w h i c h is w o u n d by a transparent cable. C I R C L E 147 2 The
Robsjohn-Gibbings Classic Square Marble Table Lamp by Hinson
Lighting is back on the market after 30 years. W i t h a marble base
that c o m e s in w h i t e or black, the lamp has on/off pull chain sock-
ets and either a round or square shade. C I R C L E 148 3 Pullo f r o m
Leucos has a blown glass diffuser w i t h an inside spot and can be
both a floor (shown) or table lamp. Available in n u m e r o u s chro-
matic versions. C I R C L E 1 4 9 4 Tosca by Foscarini has a thick 3

glass shade and a base available in opaque w h i t e , opaque black

w i t h w h i t e stripes, or w o o d . C I R C L E 150 5 Barovier&Toso's Lara
has black or w h i t e shades w i t h the base available in liquid orange
(shown), green, or yellow, Clear plastic is used for the w i r e s and
switches. C I R C L E 151 6 M a d e f r o m transparent Pyrex glass,
Karina by Estiluz uses the simple e l e m e n t s of light and glass to

b n
create a w a r m glow. Each fixture is hand-crafted f r o m a single
piece of glass. C I R C L E 152 7 Slight by AXO Light c o m e s in t w o
sizes and can be used w i t h an incandescent or fluorescent lamp.
This bi-dimensional fixture has the silhouette of a typical table
lamp but appears as if it's been pressed almost flat. C I R C L E 153

When a hole in your ceiling is

a good thing.
Our "Hole in the Ceiling" fixtures are plaster/ Coll us for more information at
fiberglass castings. Once installed, they 626.579.0943
appear to be a custom built drywoll "light
niche." They illuminate your space without or visit our website today at
calling attention to themselves. www.elplighting.com

Circle no. 73 or www.archlighting.com/productinfo

products INDOORS

Booth 12
products I INDOORS

WALL ILLUMINATORS

1 Rotaliana presents OpenEye, sleek wall or ceiling lamps that are

" d e s i g n e d to meld seamlessly w i t h your wall," according to the
manufacturer. The m o d e r n , simple fixtures are suitable for both
indoor and outdoor use. The lamps have a die-cast a l u m i n u m
body and a m o l d e d prism glass diffuser. C I R C L E 154 2This sim-
ple, double horizontal wall light f r o m Nicholas Antiques, W 6 002, is
ideal for use in bathrooms and features a frosted glass housing.
The fixture also is available in a brass, chrome, or bronze finish.
C I R C L E 155 3 AND 4 Alkco Lighting's WayGlo family of LED night
lights provides an equal distribution of light at t h e floor plane via
an optical lens and is ideal for illuminating corridors, steps, and
aisles. The lights also can be used as a tasklight at t h e counter
surface or in an inverted fashion to light t h e ceiling plane. C I R C L E
156 5 The Sala sconce f r o m Boyd Lighting is available in single or
double glass shade versions. Using an incandescent lamp, Sala is
offered in a satin nickel, satin brass, antiqued Boyd brass, and
blackened brass finishes. C I R C L E 157

G Lighting \—<^ ii II O S S C H A N I) I- 1. 1 I- H >^—^

Fine Lighting Since 1908

www.glighting.com

sa les@g I ig hti ng. com

St. Louis, MO

800-331-2425
lection Fax 314-631-7800
The ambia collection from Manning Lighting features diffusers
with e m b e d d e d textiles, graphics, botanicals, a n d more.
C h o o s e from 4 0 + p r o d u c t s a n d 12 standard diffuser options.
See more at m a n n i n g l t g . c o m
Catalog and custom lighting to meet your specifications.
Manning Ughting Inc. ShelDoygan, Wl USA p 920.458.2184 f 920.458.2491

r^irolo n n Q O r»r \Af\A/\A( Qmhl'mhtino r'r>m/r>rr\Hi ir*tinfo

 products I INDOORS

New Citizen White LEDs

deliver more light
with less power!

Whether you are designing a new fixture or updating a

classic, these new high-efficiency Citizen LEDs offer
high performance and design flexibility, to give you an
edge. Efficiency is greater than manyfluorescents,and
other LEDs. Lead-free and environmentally friendly

NewCL-652S LEDs New CL-L100 ultra-fiat,

Offer 85ini {70lm/watt) 2451m LEDs (70lm/watt)

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GOOD NIGHT LIGHTS with unheard of efficiency. super luminance flux
Luminous Flux: cool white of 2451m with high
1 Buonanotte by Studio Italia Design w a s designed as a book rest is 851m (70lm/watt). Warm efficiency. S p a c e -
and table lamp. Translating into " g o o d n i g h t " in English, white model is 571m saving thin package
Buonanotte is ideal for those w h o read before going to bed. The (47lm/watt). Draws 1.2 releases flat, well
fixture's metal f r a m e has a sensor that turns t h e light o n w h e n
watts. Configure as 8 dispersed illumination.
the book is lifted and turns it off w h e n the book is rested on the
junctions in series for Power consumption is
frame. C I R C L E 158 2Rotaliana's MultiBook features a three-way
multisocket to recharge electronics and is available in w h i t e , just 44mA or in parallel 3.5 watts. 50x7mm.
black, red, or dark blue. The book-shaped multifunctional piece for 350mA. 14x14mm.
has 74 LEDs around three sides for diffused light and the spine
features a digital clock and calendar, making it a convenient bed-
side table accessory C I R C L E 159 3 She, a wall lamp f r o m
(r CITIZEN ELECTRONICS CO., LTD. CITIZEN
FontanaArte, is available in t w o sizes and c o m e s in polished w h i t e ,
polished gray and polished black, Below the lighting source is a Specifications: www.cecol.com
shelf to rest things such as nighttime reading materials. CIRCLE Sample Requests: email: [email protected]
107 4 Created as a wall and bedside lamp, FontanaArte's Ivory
Phone
has shades in clear acid-etched glass, w i t h the center of the piece
North America - +1-847-619-6700 Asia +852-2793-0613
finished in a polished a l u m i n u m . The electronic power supply is
Japan +81-3-3493-2081 Singapore +65-6734-1398
housed in the base of the shelf-like structure. C I R C L E 122
Ejrope +49-59-29924810

Circle no. 22 or www.archlighting.com/productinfo

 RESOURCES
H o w d o y o u S w i n

SUSPENDED ELEGANCE

1 FontanaArte, 212-334-3295; www.fontanaarte.it

2. Tobias G r a u , w w w . t o b i a s - g r a u . c o m

3 Kartell, www.kartell.it

diffused 4 Barovier&Toso, www.barovier.com

• Studio Italia Design, 305-621-9602; w w w . s i d - u s a . c o m

6 and 7. Terzani, 866-837-9264; w w w . t e r z a n i . c o m

LIVING A R E A L U M I N A N C E

FontanaArte, 212-334-3295; www.fontanaarte.it

indirect
1 T h e Kentfield Collection, 866-251-7777; w w w . k e n t f i e l d c o l l e c t i o n . c o m

3. L e u c o s , 732-225-0010; w w w . l e u c o s . c o m

•\ N e s s e n Lighting, 914-698-7799; w w w . n e s s e n l i g h t i n g . c o m

5. hansandfranz, www.hansandfranz.de
e nse d
6 H u t J , 204-943-4733; w w w . h u t j . c a

7 Flos, www.flos.com

8. Y a m a g i w a , 888-879-8611; w w w . y a m a g i w a u s a . c o m

9, FontanaArte, 212-334-3295; www.fontanaarte.it

TABLE TOPPERS

asymmetric ' FontanaArte. 212-334-3295; www.fontanaarte.it

2 Hinson Lighting, 212-688-5538

3. L e u c o s , 732-225-0010; w w w . l e u c o s . c o m

-1 Foscarini, www.foscarini.com/en

5. Barovier&Toso, www.barovier.com

6. Estiluz, 201-641-1997; w w w . e s t i l u z . c o m

o uVe re 7 A X O Light, www.axolight.it

WALL ILLUMINATORS

" Rotaliana, www.rotaliana.it

2 Nicholas A n t i q u e s , 212-688-3312; www.nicholasantiques.com

3 and 4. Alkco Lighting, 847-451-0700; w w w . a l k c o . c o m

: Boyd Lighting, 415-778-4300; w w w . b o y d l i g h t i n g . c o m

GOOD NIGHT LIGHT

1. S t u d i o Italia Design, 305-621-9602; w w w . s i d - u s a . c o m

2 Rotaliana, www.rotaliana.it

3 and 4. FontanaArte, 212-334-3295; www.fontanaarte.it

delrayligfiting.co

Circle no. 28 or www.archiighting.com/productinfo

T l i e O v a l Series \ daring t o be different

Exclusivity from Lumec

> Innovative design Superior p h o t o m e t r i c p e r f o r m a n c e s

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Added value for LEED projects

www.lumec.com T.: 4 5 0 . 4 3 0 . 7 0 4 0 L u m E C AGenlyte Company

Circle no. 98 or www.archlighting.com/productinfo

Fiberstars is now Energy Focus, Inc.

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Circle no. 87 or www.archlighting.com/productinfo

 technology LED:

THE LED EVOLUTION BY STEPHANI L. MILLER

LED PERFORMANCE, COLOR QUALITY, OUTPUT, AND CONSISTENCY HAVE COME A LONG WAY,
BUT IMPROVEMENTS ARE STILL TO BE HAD WITH THIS EVER-EVOLVING TECHNOLOGY.

SOLID-STATE LIGHTING (SSL) TECHNOLOGY IS ONE OF THE are accustomed to receiving from incandes-
fastest-evolving illumination sources. Use of cent lamps at high enough outputs, combined
light emitting diodes (LEDs) is well-established with low color temperature variation and high
in a variety of applications that many people efficacy has been a big challenge. While cool-
take for granted: automobile interiors and dash- white LEDs provide stable, efficient light out-
boards, cellular phone keypads and screens, put, warm-white LEDs have greater color insta-
televisions, computers, and other electronic bility and color variation, and lower efficacies.
devices, as well as theatrical stage lighting, Warm-white LED technology is still new,
street lighting, and architectural lighting. and manufacturers of luminaires and LED chips
Lately, the SSL industry has been focused still have a lot of work ahead of them. Because
on developing LED lamps and luminaires for LED light is not naturally white, developers
general lighting applications in buildings as have had to find ways to create white light, and
building owners and occupants grow increas- the two main processes available deliver differ-
ingly aware of and concerned about energy use ent types of white light with different benefits
and costs and seek more efficient solutions. In and drawbacks. Applying different phosphor
the past five years alone the technology has coatings is one method, but certain phosphors
progressed so rapidly that architects and light- decrease LED efficacy. Color-mixing RGB sys-
ing designers are tested to constantly keep up tems are another method, but because each
with all the latest developments. The challenge LED color degrades at different rates in appli-
for the SSL industry lies in developing general- cation, color quality and efficacy are inconsis-
use LED luminaires and lamps that will deliver tent. Some lighting companies are experiment-
high-efficacy, high-quality (warm) white light at ing with different phosphors to discover which
a cost-effective price point. can deliver the best mix of desired light color
with high efficacy, while others are developing
better RGB color-mixing systems.
COLOR QUALITY, COST AND EFFICACY
Currently, the SSL industry is working toward GE Lighting's Lumination VIO high-power
producing lower-cost, daylight-equivalent white LED uses a proprietary chip and phosphor sys-
light LED sources that exhibit minimal color shift tem to effect a color shift of less than 100K
and degradation, longer life, and greater light within the overall Kelvin scale over a 50,000-
output for general use. While the costs of LED hour rated life, which the manufacturer says
sources are decreasing continually, the price for also overcomes color control issues and pro-
white light is not yet low enough to make LED vides high efficiency at warmer color tempera-
lamps or luminaires cost-effective for most tures. Philips Lumileds has developed a new
applications. "Step one is to get the cost down phosphor technology, Lumiramic, that allows
so there's not such a huge gap between incan- specific colors and temperatures of white
descent, fluorescent, and LED," according to LEDs to be produced. The company plans to
Kraig Kasler, vice president of product manage- introduce Luxeon products incorporating
ment and marketing for GE Illumination. Lumiramic phosphor technology early in 2008.
Lighting quality is an equally important Ledon'sTempura LED spotlight, utilizing Philips
aspect from the designer's viewpoint, but as TIR Systems' Lexel RGB color-mixing technolo-
Kasler points out, even if high-quality LED light gy, allows the color temperature of the light to
becomes available, few designers will be able be adjusted from 2500K to 6500K while provid-
to use it unless costs also have fallen to ing a constant luminous flux of 1000 lumens
acceptable levels. and consuming between 40 and 75 watts.
On the other hand, Kathy Abernathy of Heat in application also affects LED perform-
North Providence, Rhode Island-based ance. When too much heat is generated in an
Abernathy Lighting Design and chair of the LED fixture, the lamp's lumen output and use-
International Association of Lighting ful life decrease. Managing heat in the fixture GE's VIO high-power LED chip promises niininial
Designers' (lALD) Energy and Sustainability and understanding the environmental condi- color shift over its lifetime (top).
Committee, points out that using LED lumi- tions of the lighting application are critical to the
Ledoii/Zumtobel's Tempura fixture allows color
naires, even in limited applications, allows success of the LED product. Manufacturers use
temperature to be adjusted (middle). LEO Lighting
peripheral savings in HVAC load and costs conductive materials to create a heat sink in
Fixtures' LR6 downlight is an example of a popu-
because of their minimal heat output, which is their LED products that pull heat away from the
attractive both to designers and their clients. lar LED retrofit fixture (above),
light source; the better the heat sink, the more
Delivering the warm-white light end-users stable the LED's lumen output, color, and life.

ARCHITECTURAL LIGHTING 85
 LEDs technology

HOVER CF

innovative, floating reflector appearance

for energy efficient CFLs

2 styles
Insider - trimless design,
Classic - standard flanged trim rings
W i n o n a Lighting's P O P S ! LED fixtures (lefti are designed to resemble conventional decorative fixtures,
w h i l e io Lighting's Luxrail LED-lit handrails (right) deliver illumination in a new format.

Both higher efficiencies and lower costs will ing, which will go into effect September 30,
deliver the payback that designers, end-users, 2008, with requirements for light output, effi-
and building owners are looking for. According cacy, warmth of light, and light focus.
to Kevin Dowling, vice president of technical "DOE is accelerating their efforts in this
innovation for Philips Solid-State Lighting standards area, because they know what hap-
Solutions, consistency, quality, and amount of pened when CFLs (compact fluorescent
light output in warm-white LEDs have all lamps] came online years ago. There were few
shallow and IC rated improved dramatically in the past 18 months. standards and inaccurate claims, and that real-
rough-ins ly inhibited the adoption of CFLs," Kasler says.
MEASURING PERFORMANCE One of the issues of debate has been man-
Absence of standards has made it difficult for ufacturers claiming their LED's efficacy, life
designers to decipher the life expectancy and expectancy, and light output based on the test-
other performance aspects of white LEDs and ing lab performance of the LED source, not its
white LED luminaires. A safety standard from real-world performance in a complete lighting
United Laboratories (UL) recently was pub- system. The DOE's most recent round of solid-
lished. Along with UL and the U.S. Department state luminaire testing, released in August
of Energy (DOE), several other organizations, 2007 indicates that the problem of accurate
including the Illuminating Engineering Society reporting has not significantly improved.
of North America (lESNA), the Institute of Rensselaer Polytechnic Institute's Lighting
open trim, regressed lens, Electrical and Electronics Engineers (IEEE), the Research Center (LRC) also offers guidelines
cross blade baffle, International Commission on Illumination (CIE), for the effective use of SSL through its Alliance
or colored ring options the National Electrical Manufacturers for Solid-State Illumination Systems and
Association (NEMA), and the American Technologies (ASSIST) program.
National Standards Institute (ANSI), are work- The SSL industry is acting quickly to devel-
ing on standards for measuring LED life, effica- op standards for this lighting category, in part
cy, lumens per watt, chromaticity, and color because the technology itself is evolving so
shift. Late in September 2007, DOE's Energy quickly but also because the DOE and the
ardeelighting.com
Star program released standards for LED light- aforementioned industry groups are confident
800-442-7333

a Genlyte company
Circle no. 50 or www.archlighting.com/productinfo
r

i
1
 technology

that LEDs offer one of the best means of unique characteristics that lend themselves
reducing the energy usage of lighting—one of well to new forms of lighting; new form factors,
the largest electricity consumers in the United new bulb types that will perform much better
States. Lighting represents about 22 percent than existing bulb sources," Dowling says.
of all energy use in the U.S.—one-fifth of Some industry experts think that maintain-
national electrical consumption, according to ing the same old form factors for lamping and
the DOE. Four to five performance standards luminaires with such a promis.ng technology is
are expected to be completed this year. short-sighted and wastes the potential of
LEDs. "Trying to replace an existing light bulb
SO LONG, INCANDESCENTS? in a socket with an LED light bulb is a waste of
Though it is unlikely that general service incan- the LED's talent," says Dr. Nadaraiah
descent lamps will be banned outright, the Narendran, director of solid-state lighting for
lighting efficacy standards under consideration the LRC. "If you can look at applications where
In Congress this session would set minimum LEDs can be of better service to the end-user,
standards so high that most incandescents that becomes a better value proposition." But
would become ineligible for use by 2012 at the he concedes, there is a market for both.
earliest. Though there are alternatives to mean-
descents that are less expensive than LEDs at GOOD INVESTMENTS
this point in time, the lack of incandescent The lighting industry is investing heavily in LED
sources efficient enough to meet the stan- technology. Several big-name lighting compa-
dards proposed will leave a huge gap in the nies have acquired smaller, specialized LED
market, one that potentially could be at least development companies in the past few years.
partially filled by LED lamps and luminaires. Royal Philips Electronics, for example, has
However promising LED technology is, acquired a number of LED developers, including
though, it is important to understand that most Lumileds, TIR Systems, and Color Kinetics, and
of the people who currently purchase incan- Cooper Lighting recently acquirea io Lighting.
descent lamps do so because it is an inexpen- Several industry partnerships between conven-
sive light source—and LEDs still are an expen- tional lamp manufacturers and LED chip or
sive option that do not yet reliably deliver the semiconductor manufacturers also have been
high-quality light for which incandescent arranged, including cross-licensing agreements.
sources are appreciated. The DOE also has been investing in solid-
state lighting research and development with
FORM FACTORS AND APPLICATIONS $7 million in funding going to a variety of proj-
There is a slight division in the lighting industry ects and industry partnerships. According to
regarding the form LED luminaires should take. Jim Brodrick, DOE's solid-state lighting portfo-
Some manufacturers are focusing on produc- lio manager, nearly S200 billion or more can be
ing products that will accommodate existing saved if the DOE is successful in achieving
lighting infrastructure and resemble conven- general illumination with LEDs.
tional decorative and task lighting fixtures, "These investments are advancing LED
while others are designing new formats that technology as well as associated technologies
deliver lighting in unexpected and innovative required to make LEDs useful, such as con-
ways that previously could not be accom- trols, power, thermal management, and
plished with old lighting technologies. optics," says Jim Anderson, director of tech-
LED fixtures designed to resemble conven- nology and projects for Philips Solid-State
tional light fixtures range from recessed down- Lighting Solutions.

H
lights and pendants to undercabinet lights and Every major lighting manufacturer wants to
elp us
tracklights. LED Lighting Fixtures has intro- have some play in LED technology for when the
celebrate duced Its LR6 downlight, a complete recessed market catches on; missing the boat could be
our 30th anniversary. Order downlight trim kit with LED light engine, disastrous. "I think probably over the next five
from a selection of our exclusive designed to fit into standard recessed hous- to six years or so, we will see the market go to
outdoor lighting fixtures with ings. Winona Lighting's POPS fixtures offer about 20 to 25 percent LED," Narendran pre-
conventional sconce, chandelier, and pendant dicts. "Market transformation takes a long time.
the new energy-efficient GU24 To get to 50 percent may take much longer."
light fixture configurations, but are integrated
compact fluorescent option and with LED light sources in several colors, includ- All in all, LED technology appears to be pro-
receive a 30% discount through ing warm white, and have a playful, contempo- gressing in the right direction for adoption in
December 31,2007. rary vibe. general illumination and architectural applica-
LEDs can be used to provide illumination in tions, according to Kasler. "Efficiencies are get-
nearly any kind of application, such as io ting better, costs are coming down, people are
Lighting's Luxrail LED-based handrail, designed being forced to talk about the quality of light,"
-HEJIVENATION to illuminate a path or stairs while providing
ADA-compliant gripping surfaces. The fact that
he says.

LEDs can be incorporated into )ust about any

material, including fabrics, means that lighting
rejuvenation.com could be made to emanate from the very sur-
888-401-1900 faces and shapes of a building, from architec-
tural elements to furniture. "LEDs have such

Circle no. 92 or www.archlighting.com/productinfo

 iinBii iiiii

•
 LEDs technology

Legislating Lighting Efficiency BY STEPHANI L. MILLER

MOVEMENT TO BAN THE INCANDESCENT BULB SPARKS FEDERAL PROPOSALS TO SET ENERGY EFFICIENCY STANDARDS.

FOR MORE THAN 125 YEARS, THOMAS EDISON'S INCANDESCENT UGHT BULB HAS REMAINED THE lamps outright by 2012 or would set efficiency standards so high that current-
most commonly used light source in the United States, particularly in residen- ly available incandescent technology would not be viable by 2012.
tial applications. The U.S. Department of Energy (DOE) estimates there are In January 2007 California State Assemblyman Lloyd Levine introduced a
approximately four billion general service incandescent lamps in use across bill to ban the sale of incandescent bulbs by 2012. The bill, AB 722, was later
the nation. But several legislative initiatives proposed over the past year seek changed to promote a plan for phasing in energy efficiency standards for gen-
to either ban the sale of general service medium screw-base incandescent eral service lamps, before being permanently shelved in June 2007
Though now effectively dead, Levine's bill acted as
something of a catalyst, sparking conversation and debate
about cutting the energy use of lighting in buildings. A
competing bill, AB 1109, was introduced soon after by
Levine's colleague in the assembly Jared Huffman.
Huffman's bill proposes performance standards for a vari-
ety of lighting types aimed at reducing the energy con-
sumption of general purpose residential indoor lighting by

II
at least 50 percent by 2018. By 2018, the bill's standards
also would cut energy consumption of indoor commercial
and outdoor lighting by at least 25 percent. It also outlaws
The sale, after January 2010, of general purpose lights con-
taining hazardous substances—namely lead and mercu-
ry—at levels prohibited by the European Union.
Between February and March 2007 the conversation in
the U.S. evolved from simply banning incandescent lamps
to developing national efficiency standards for all general
service lamps. Along with several state legislators, some
members of Congress introduced their own bills that
address lighting efficiency Consumer dissatisfaction with
compact fluorescent lamps (CFLs), the primary alternative
to incandescents, plus the inability of CFLs to replace
incandescents in all applications, led lawmakers to recon-
sider the approach to reining in lighting's energy usage.
Currently on the Senate's calendar for consideration is
H.R. 3221, which passed in the House of Representatives
in August 2007 Among other energy-related matters, this
bill would prohibit the sale of 100W general service incan-
descents that do not emit at least 60 lumens per watt
after January 2012; phase out general service lamps from
2012 to 2014 that do not meet a range of minimum effi-
ciency levels specified; and prohibit the sale of general
service lamps emitting less than 300 percent of the aver-
age lumens per watt emitted by 100W general service
incandescents currently available.
The most recently introduced bill in the Senate, S.
2017 would phase out current 40-, 60-, 75-, and 100W
incandescent bulbs from 2012 to 2014 to be replaced by
lower wattage bulbs with equivalent light output.
Introduced by New Mexico Democratic Senator Jeff
Bingaman, the bill was crafted with input from a consor-
tium of lighting industry players and advocates, including
Philips Lighting, Osram Sylvania, General Electric, the
Alliance to Save Energy the American Council for an
Energy-Efficient Economy (ACEEE), and the Natural
AMBIANCE
Resources Defense Council. Hearings on S. 2017 were
LIGHTING SYSTEMS
held September 12, 2007 where senior policy analyst for
the International Energy Agency's Energy Efficiency and
eaGullLighting.com/Ambiance Environment Division. Dr. Paul Waide, along with the
Sea Gull Lighting Products, LLC American Council for an Energy Efficient Economy's
executive director, Steven Nadel, and the National
Electrical Manufacturers Association's vice president of
government relations, Kyle Pitsor, all testified as to their
organizations' positions on the proposals of the bill.
Generation Brands

Circle no. 45 or www.archlighting.com/productinfo

 On the
LED
••*)

Highway!
Y E S • • •

STRON
H e a t r o n Ls rhe quickest, i m ^ r efficient and cost-effective vehicle on the
road to new H i g h Power L E D product development.

• Wide range ol design and development services niF. HIGH PCWER LED RiM)LirnoN
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power sources and drivers
• Cost effective production and assenihly capabilities •LEDs 2007 Circle no. 89 or
www.archlighting.com/productinfo
• hi-depth industry and technology ex^x^rtise INTERTECH
Booth #63 CKfcfc^^ LUMILEDSii-,
D o n ' t make a wrong turn along rhe way... Let H e a t r o n put you i n the
Oct. 24-26. 2007 UBkHM UBU

driver's seat to " S o l i d State L i g h t i n g C i t y " . San Diego, C A OSRAM C h e p p o u i s t )

 technology

Even if a federal bill is not enacted this year, points out ACEEE's Nadel, House bill would allow existing state lighting efficacy standards to continue to
there is bipartisan support for such a bill in Congress and sometime in the next be enforced until the bill went into effect; however, the Senate bill would
few years lighting efficacy standards will be nationally legislated. If Congress supercede state standards.
does not act this year, he says, there are several states prepared to act on Lighting designers, on the other hand, are rightfully concerned that such
their own lighting efficiency bills. Connecticut, Rhode Island, New Jersey, legislation may tie their hands when it comes to design possibilities by limit-
South Carolina. Illinois, Minnesota. Hawaii, and New York all are considenng ing the type of lamps allowable in certain applications. Many already have
bills addressing lighting efficiency. experienced such immobilizing encroachment on their design prerogatives,
However, as Kim Freeman, spokesperson for GE Consumer & Industrial particularly in California where every energy-consuming system is heavily reg-
points out. a national policy on lighting efficacy would have a much greater ulated by Title 24,
impact on the environment and on energy savings than could a state-by-state For Charles Cameron, principal of Meeker Cameron Lighting Design Group
effort. Also, a national standard would be more beneficial for lighting design- in New York, the issue is less a question of whether legislation addressing
ers, who could refer to a single set of requirements and regulations rather lighting efficiency will pass, but rather how the lighting industry can influence
than having to learn a different set for each state in which they work. The the standards being set to ensure the legislation accomplishes the right obiec-
tives for designers, end-users, the environment, and light-
ing manufacturers,
"We (the design community] need to get out there
and affect [the process] so that it's actually good legis-
lation and that it accomplishes the goal of really bring-
ing the worst-performing, least-efficient lighting meth-
ods and technologies to their retirement; encourages
people to design smarter, and encourages manufactur-
ers to put the money into research and development
energy of new product," Cameron says, "There is a way to do
this that doesn't cut off legitimate use of some less-
efficient technology,"
The conversation about lighting efficiency has grown
in intensity and complexity over the past year. Phasing
out the most inefficient lighting technologies appears to
be favored by much of the lighting industry and by law-
makers, but many designers and manufacturers are
quick to clarify that any legislation passed should be
technology-neutral. As long as legislation remains non-
specific on allowable lighting technologies, manufactur-
ers have a chance to improve existing affordable tech-
nologies, As ACEEE's Nadel says. "Set the performance
standard and let the manufacturers meet it with the best
mousetrap they can,"
But is it possible to develop a much more efficient
incandescent, and if so, why haven't manufacturers
attempted it yet? According to GE's Freeman, the timing
just hasn't been right—^that is, until now. The current focus
on energy efficiency has generated a perfect storm of
demand for more efficient lighting and the coming-of-age
I specify occupancy sensors from of the necessary technology she says.
Watt Stopper/Legrand because In fact. GE announced in February 2007 that it will
they automatically control ttie introduce an incandescent bulb in 2010. already in devel-
lighting in my client's building, opment for three years, that will be twice as efficient as
allowing us to apply for LEEO current incandescents, operating at 30 lumens per watt.
points and comply to energy codes By 2012. the technology will be four times as efficient—
60 lumens per watt, the company says. But what about
cost? According to Freeman, it is too early to say defini-
tively what the price tag will be. but she says the new
incandescent likely will cost less than a CFL because it
will not be a long-life product.
Tax rebates and deductions, nsing Get information on our new generation Wall
energy costs and mandated energy Switch Sensors and a comprehensive prod- Regardless of whether lighting efficacy legislation
codes have heated up the demand for uct selection guide. passes this Congressional session, there is more
lighting controls. Simply turning lights 800.879.8585 I vww.wattstopper.com/psg focus on openness to energy efficient products and
ofl in unoccupied areas can save up to technologies in general among consumers and in the
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94 AIL SEPT/OCT107
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 industry exchange

THE DESIGN / ENERGY CODE DEBATE

How do you balance the design process while adhering to energy code require- Responses from all readers are always welcome to Exctiange topics.
ments? Is it possible for both to coexist without any sacrifices to the light- Replies and proposed topic questions can be submitted directly to
ing design concept and implementation? [email protected] or [email protected]

D O U G L A S S R. W E R N E R , LIGHTING DESIGNER | STV INCORPORATED ate good lighting design that agrees with the energy codes or is even more
The biggest hurdle in balancing the design process with energy code require- energy efficient. Often there is no contradiction between good lighting
ments is. as designers, to have a thorough knowledge of the energy codes design and energy efficient lighting. By planning and use of modern ener-
affecting our projects and to share this knowledge with our clients. The design gy efficient light sources you get the right light where you need it and avoid
process is clearly a collaborative, creative process between the designer and unnecessary light and energy where you don't.
the client that includes many factors; we cannot ignore the importance of Light control also is an important tool to receive the right light environ-
energy codes and energy savings among those factors. ment and to save energy. In some cases we have a high installed effect
While many designers work with energy codes on a daily basis, many but it is never meant to be used all at the same time. An environment can
of our clients are relatively unfamiliar with these codes, in discussions with have different needs of light depending on time of day or function. In the
my colleagues, I'm finding this to be especially evident on the East Coast House of Sweden we have a multipurpose room where the activity can be
where the implementation of energy codes seems to have lagged behind a conference, an exhibition, or a party—all need a different kind of lighting.
the western part of the country. It is our responsibility as professionals to Depending on the use of the room we can control the different luminaires
educate our clients regarding energy codes and their impact on lighting and the light level to suit the situation.
design and control strategies, in the same way we have educated them as The most difficult environment to make good lighting design, energy
new lamp technologies and luminaire designs have been introduced. efficiency, and the needs from the customer to coexist is the commercial
It is clear to me that energy code requirements can, and must, coexist environment. The general situation today is the more light the better. In this
with the design process without sacrificing design. I find this to be appar- case we believe you might have a chance to compete with less light if you
ent as good design practice puts less emphasis on providing the appropri- do it differently to your surroundings and with the combination of special
ate quantity of light and more emphasis on the correct quality of light and design of both light and architecture together.
how that light shapes the visual environment. Quantity of light is not the
only factor affecting energy usage, however, limiting the amount of light- MICHAEL A M A N F R E D I , PRINCIPAL | W E I S S / M A N F R E D I

ing in a particular space, both by design and the use of effective lighting In our work we have found that the energy code does not compromise the
controls, is a significant factor in reducing energy consumption. It also is design concept. In fact, we would argue that often restraints—building
apparent that there is an ongoing "push" among lighting manufacturers to codes, energy codes, or economic pressures—elicit or provoke a higher
develop new fixture designs committed not only to photometric perform- level of inventiveness. All codes, including the energy code requirements,
ance, but also to reducing the amount of energy consumed by these fix- are blunt tools and are design blind. They do need to be revisited in the con-
tures. These are ways the lighting industry exemplifies its seriousness text of emergent technologies and changing environmental or life-safety
about the "art of illumination" as well as energy codes and how these concerns and are only as effective as they are simple and free of shifting
energy codes ultimately affect the future of our planet. interpretations. If good design is foregrounded and if a design is successful
then all codes, including the energy code, need to be incorporated into the
J E F F G E R W I N G . PRINCIPAL | S M I T H G R O U P design at the conceptual level and holistically, in the context of all project
There is no doubt that the continued development of energy codes creates parameters and conditions.
a significant design challenge when it comes to meeting the aesthetic
goals for a project. Our design process always begins with a conceptual RICHARD RENFRO, PRINCIPAL | RENFRO D E S I G N GROUP

study of how lighting relates to the architecture of the spaces we are What to light and where the light sources are located define the lighting
designing. These aesthetic concepts translate into a reality that impacts concept. If you are mindful of the code as you brainstorm ideas, just as you
the way people perceive and experience space and therefore must remain are of the quality of light and user needs, this should not cause sacrifices
fresh in our minds as the target of what the lighting design will become. If to the concept. Implementation of the concept is where the energy code
we begin with a focus on energy, we already have forgotten why we will impact the lighting design variables: aesthetics, function, and budget.
design buildings—for people. Sacrifices are relative to one's expectations. Ideally, sufficient dollars
There are many parameters that impact the design process and pull would be allocated in the concept budget to accommodate the technolo-
you off course, but energy codes quickly are becoming one of the most dif- gy of efficient sources, fixtures, and controls to not compromise the light-
ficult challenges to navigate. Beginning with the aesthetic and following ing's aesthetics or function.
with the technical allows us to focus our design work on the most critical Another major facet of energy use is the choice of how much light to
areas. It's really about creating a hierarchy of spaces and using your allow- use. Once your concept establishes what to light, the amount of light has
able energy where it matters most. We target energy savings in areas of a significant impact on all the other design variables. Most designers and
the building that are more functional so we can apply more energy to the even institutions look to generic guidelines to determine light level require-
critical "impact spaces." There are times when a great idea cannot be ments. While many of the recommendations for critical tasks are based on
implemented within code, but the majority of the time these challenges scientific research, there are many parts of a building and exterior land-
simply force us to dig deeper into a better overall design solution. scape where the requirements are subjective. The next step toward reduc-
ing energy as a profession is to challenge how much illumination truly is
needed, not in a reckless way but with a true understanding of the needs
KAI P I I P P O . M A N A G I N G / D E S I G N PRINCIPAL | U U S A R K I T E K T U R
of the occupants, the adjacent visual environment and the building's con-
EVA PERSSON, PROJECT MANAGER | U U S A R K I T E K T U R
text. This is where an experienced design team can provide the owner
The lighting design profession has a great responsibility for future genera-
with the best balance of design with the energy code.
tions. Light is energy and we need to handle it with care. The goal is to cre-

96 AIL SEPT/OCT107
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