May 2011 - Illuminating Engineering Society
May 2011 - Illuminating Engineering Society
May 2011 - Illuminating Engineering Society
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Debunking job-hunting<br />
myths p. 46<br />
Fixtures wide<br />
open . . .and shut p. 68<br />
Belle of the<br />
ballroom p. 74<br />
Chicago swaps<br />
yellow for white p. 99<br />
The magazine of the <strong>Illuminating</strong> <strong>Engineering</strong> <strong>Society</strong> of North America<br />
Sci-fi<br />
Gets Real<br />
CONCEPTS COME ALIVE AT BAR BASQUE<br />
<strong>May</strong> <strong>2011</strong><br />
www.ies.org
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LED FLAT PANEL<br />
Designed for elegance and for its uniform,<br />
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Pre-programmed for daylight harvesting and<br />
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and DMX512.<br />
The stylish solution to introducing controlled,<br />
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2x2, 2x4, or 1x4 models, as either surface mount<br />
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LIGHTING DESIGN & APPLICATION<br />
CONTENTS<br />
Vol.41/No.05<br />
UP FRONT<br />
4 Editorial<br />
20 Letters<br />
26 News + Notes<br />
62 68<br />
COLUMNS<br />
30 Energy Advisor<br />
34 Apps + Answers<br />
38 Forces of Change<br />
46 The Company • The Candidate<br />
50 Policy Points<br />
80<br />
74<br />
DEPARTMENTS<br />
54 Anatomy of an Award<br />
105 Products in Practice<br />
106 Products + Literature<br />
112 Events<br />
116 Classified Advertisements<br />
119 Ad Index & Ad Offices<br />
120 New and Sustaining Members<br />
125 IES FYI<br />
128 Out of the Archive<br />
FEATURES<br />
62 SERVING UP SCI-FI<br />
A cinematic futurist cooks up cutting-edge concepts for two new<br />
restaurants at the Eventi Hotel<br />
68 A DAY AT THE RACES<br />
A horse racetrack with more than 3,000 “shuttered” sports<br />
luminaires is an illuminated jewel in the Dubai desert<br />
74 BARNYARD BEAUTY<br />
Urban meets rural as dance club-style lighting is woven into the<br />
bucolic architecture of a wedding ballroom in New Jersey<br />
80 PERIOD DRAMA<br />
Diverse design influences converge to form six exotic<br />
“experiences” at The Hurricane Club<br />
86 STEAKHOUSE WELL DONE<br />
Parx Grill’s contemporary approach to the traditional steakhouse<br />
interior intermixes lighting with sculptural architectural forms at<br />
a Philadelphia-area casino<br />
94 CORE CONCEPTS<br />
Core sunlighting is a practical, natural alternative for interior<br />
illumination deep within a building<br />
99 FIRST CHOICE IN THE SECOND CITY<br />
Three letters—CMH, not LED—define Chicago’s new street<br />
lighting strategy. Spearheading the transition is the city DOT’s<br />
chief engineer, Mohammed Rashed<br />
ON THE COVER: Designers create a foodie destination from a futurist’s vision at Bar Basque (p.62).<br />
Sketch: Syd Mead Inc.; Photo: Philip Koether Architects.<br />
05 • <strong>2011</strong>
EDITORIAL<br />
A<br />
former<br />
colleague in the publishing business used to joke about the trade<br />
show experience of having the same conversation with the same person<br />
in the same place, year after year after year. Groundhog Day comes to a<br />
convention center near you.<br />
In his must-read “Apps + Answers” column on page 34, Don Piefer writes of how he<br />
doesn’t want our trade show to slide into the same morass—although he fears it may<br />
be on its way: Despite the advances in LEDs, the product offerings at LIGHTFAIR, he<br />
argues, are “by and large tame. As an industry, we take incremental steps each year. I<br />
think it is fair to pose the question: are we evolving at a quick enough pace? It seems<br />
that in other industries, there is a much more prodigious race to compete, more of a<br />
mandate to innovate and take chances.”<br />
Incrementalism in any endeavor is stifling. It contradicts those self-improvement<br />
mantras (be all you can be) and sports clichés (leave it all out there on the floor) that<br />
have become part of the business lexicon. Incrementalism can also result in satisfaction<br />
with the status quo and a subsequent absence of intellectual curiosity.<br />
You’re probably thinking that lighting is not alone; that incrementalism is the nature of<br />
the beast in any industry where pioneers are often the ones who take all the arrows in<br />
the back. But Peifer draws a fascinating contrast to how Apple operates and outlines<br />
the lessons we can learn from that company’s product catalogue. His five-point plan for<br />
deconstructing and then rebuilding the luminaire design process is required reading in<br />
this issue.<br />
I will have Peifer’s comments and checklist in mind as I cruise the aisles of<br />
LIGHTFAIR. So let’s leave the annual “game-changer” rhetoric at home this year, or at<br />
least reserve it for those new products that have really left it “all out there on the floor.”<br />
PAUL TARRICONE<br />
Editor/Associate Publisher<br />
ptarricone@ies.org<br />
Publisher<br />
William Hanley, CAE<br />
Editor/Associate Publisher<br />
Paul Tarricone<br />
Associate Editor<br />
Elizabeth Hall<br />
Assistant Editor<br />
Roslyn Lowe<br />
Art Director<br />
Samuel Fontanez<br />
Associate Art Director<br />
Petra Domingo<br />
Contributing Writers olumnists<br />
Edward Bartholomew • James Brodrick<br />
Bob Horner • Mark Lien<br />
Eunice Noell-Waggoner • Don Peifer<br />
Paul Pompeo • Willard Warren<br />
Book Review Editor<br />
Fred Oberkircher<br />
Marketing Manager<br />
Clayton Gordon<br />
Advertising Coordinator<br />
Leslie Prestia<br />
Published by IES<br />
120 Wall Street, 17th Floor<br />
New York, NY 10005-4001<br />
Phone: 212-248-5000<br />
Fax: 212-248-5017/18<br />
Website: www.ies.org<br />
Email: ies@ies.org<br />
LD+A is a magazine for professionals involved in the art, science, study,<br />
manufacture, teaching, and implementation of lighting. LD+A is designed<br />
to enhance and improve the practice of lighting. Every issue of LD+A<br />
includes feature articles on design projects, technical articles on the science<br />
of illumination, new product developments, industry trends, news of<br />
the <strong>Illuminating</strong> <strong>Engineering</strong> <strong>Society</strong> of North America, and vital information<br />
about the illuminating profession. Statements and opinions expressed<br />
in articles and editorials in LD+A are the expressions of contributors and<br />
do not necessarily represent the policies or opinions of the <strong>Illuminating</strong><br />
<strong>Engineering</strong> <strong>Society</strong> of North America. Advertisements appearing in this<br />
publication are the sole responsibility of the advertiser.<br />
LD+A (ISSN 0360-6325) is published monthly in the United States of<br />
America by the <strong>Illuminating</strong> <strong>Engineering</strong> <strong>Society</strong> of North America, 120<br />
Wall Street, 17th Floor, New York, NY 10005, 212-248-5000. Copyright<br />
<strong>2011</strong> by the <strong>Illuminating</strong> <strong>Engineering</strong> <strong>Society</strong> of North America. Periodicals<br />
postage paid at New York, NY 10005 and additional mailing offices.<br />
Nonmember subscriptions $44.00 per year. Additional $15.00 postage for<br />
subscriptions outside the United States. Member subscriptions $32.00 (not<br />
deductible from annual dues). Additional subscriptions $44.00. Single copies<br />
$4.00, except Lighting Equipment & Accessories Directory and Progress<br />
Report issues $10.00. Authorization to reproduce articles for internal or<br />
personal use by specific clients is granted by IES to libraries and other<br />
users registered with the Copyright Clearance Center (CCC) Transactional<br />
Reporting Service, provided a fee of $2.00 per copy is paid directly to CCC,<br />
21 Congress Street, Salem, MA 01970. IES fee code: 0360-6325/86 $2.00.<br />
This consent does not extend to other kinds of copying for purposes such<br />
as general distribution, advertising or promotion, creating new collective<br />
works, or resale.<br />
POSTMASTER: Send address changes to LD+A, 120 Wall Street, 17th<br />
Floor, New York, NY 10005. Subscribers: For continuous service please<br />
notify LD+A of address changes at least six weeks in advance.<br />
Canada Post: Publications Mail Agreement #40612608<br />
Canada Returns to be sent to Bleuchip International, P.O. Box 25542,<br />
London, ON N6C 6B2.<br />
This publication is indexed regularly by <strong>Engineering</strong> Index, Inc.<br />
and Applied Science & Technology Index. LD+A is available on<br />
microfilm from Proquest Information and Learning, 800-521-0600,<br />
Ann Arbor, MI<br />
4 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
EDITORIAL<br />
A<br />
former<br />
colleague in the publishing business used to joke about the trade<br />
show experience of having the same conversation with the same person<br />
in the same place, year after year after year. Groundhog Day comes to a<br />
convention center near you.<br />
In his must-read “Apps + Answers” column on page 34, Don Piefer writes of how he<br />
doesn’t want our trade show to slide into the same morass—although he fears it may<br />
be on its way: Despite the advances in LEDs, the product offerings at LIGHTFAIR, he<br />
argues, are “by and large tame. As an industry, we take incremental steps each year. I<br />
think it is fair to pose the question: are we evolving at a quick enough pace? It seems<br />
that in other industries, there is a much more prodigious race to compete, more of a<br />
mandate to innovate and take chances.”<br />
Incrementalism in any endeavor is stifling. It contradicts those self-improvement<br />
mantras (be all you can be) and sports clichés (leave it all out there on the floor) that<br />
have become part of the business lexicon. Incrementalism can also result in satisfaction<br />
with the status quo and a subsequent absence of intellectual curiosity.<br />
You’re probably thinking that lighting is not alone; that incrementalism is the nature of<br />
the beast in any industry where pioneers are often the ones who take all the arrows in<br />
the back. But Peifer draws a fascinating contrast to how Apple operates and outlines<br />
the lessons we can learn from that company’s product catalogue. His five-point plan for<br />
deconstructing and then rebuilding the luminaire design process is required reading in<br />
this issue.<br />
I will have Peifer’s comments and checklist in mind as I cruise the aisles of<br />
LIGHTFAIR. So let’s leave the annual “game-changer” rhetoric at home this year, or at<br />
least reserve it for those new products that have really left it “all out there on the floor.”<br />
PAUL TARRICONE<br />
Editor/Associate Publisher<br />
ptarricone@ies.org<br />
Publisher<br />
William Hanley, CAE<br />
Editor/Associate Publisher<br />
Paul Tarricone<br />
Associate Editor<br />
Elizabeth Hall<br />
Assistant Editor<br />
Roslyn Lowe<br />
Art Director<br />
Samuel Fontanez<br />
Associate Art Director<br />
Petra Domingo<br />
Contributing Writers olumnists<br />
Edward Bartholomew • James Brodrick<br />
Bob Horner • Mark Lien<br />
Eunice Noell-Waggoner • Don Peifer<br />
Paul Pompeo • Willard Warren<br />
Book Review Editor<br />
Fred Oberkircher<br />
Marketing Manager<br />
Clayton Gordon<br />
Advertising Coordinator<br />
Leslie Prestia<br />
Published by IES<br />
120 Wall Street, 17th Floor<br />
New York, NY 10005-4001<br />
Phone: 212-248-5000<br />
Fax: 212-248-5017/18<br />
Website: www.ies.org<br />
Email: ies@ies.org<br />
LD+A is a magazine for professionals involved in the art, science, study,<br />
manufacture, teaching, and implementation of lighting. LD+A is designed<br />
to enhance and improve the practice of lighting. Every issue of LD+A<br />
includes feature articles on design projects, technical articles on the science<br />
of illumination, new product developments, industry trends, news of<br />
the <strong>Illuminating</strong> <strong>Engineering</strong> <strong>Society</strong> of North America, and vital information<br />
about the illuminating profession. Statements and opinions expressed<br />
in articles and editorials in LD+A are the expressions of contributors and<br />
do not necessarily represent the policies or opinions of the <strong>Illuminating</strong><br />
<strong>Engineering</strong> <strong>Society</strong> of North America. Advertisements appearing in this<br />
publication are the sole responsibility of the advertiser.<br />
LD+A (ISSN 0360-6325) is published monthly in the United States of<br />
America by the <strong>Illuminating</strong> <strong>Engineering</strong> <strong>Society</strong> of North America, 120<br />
Wall Street, 17th Floor, New York, NY 10005, 212-248-5000. Copyright<br />
<strong>2011</strong> by the <strong>Illuminating</strong> <strong>Engineering</strong> <strong>Society</strong> of North America. Periodicals<br />
postage paid at New York, NY 10005 and additional mailing offices.<br />
Nonmember subscriptions $44.00 per year. Additional $15.00 postage for<br />
subscriptions outside the United States. Member subscriptions $32.00 (not<br />
deductible from annual dues). Additional subscriptions $44.00. Single copies<br />
$4.00, except Lighting Equipment & Accessories Directory and Progress<br />
Report issues $10.00. Authorization to reproduce articles for internal or<br />
personal use by specific clients is granted by IES to libraries and other<br />
users registered with the Copyright Clearance Center (CCC) Transactional<br />
Reporting Service, provided a fee of $2.00 per copy is paid directly to CCC,<br />
21 Congress Street, Salem, MA 01970. IES fee code: 0360-6325/86 $2.00.<br />
This consent does not extend to other kinds of copying for purposes such<br />
as general distribution, advertising or promotion, creating new collective<br />
works, or resale.<br />
POSTMASTER: Send address changes to LD+A, 120 Wall Street, 17th<br />
Floor, New York, NY 10005. Subscribers: For continuous service please<br />
notify LD+A of address changes at least six weeks in advance.<br />
Canada Post: Publications Mail Agreement #40612608<br />
Canada Returns to be sent to Bleuchip International, P.O. Box 25542,<br />
London, ON N6C 6B2.<br />
This publication is indexed regularly by <strong>Engineering</strong> Index, Inc.<br />
and Applied Science & Technology Index. LD+A is available on<br />
microfilm from Proquest Information and Learning, 800-521-0600,<br />
Ann Arbor, MI<br />
4 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
Success begins with MIRO ®<br />
Orion Energy Systems intelligently controlled combination of<br />
Apollo® solar light pipes and Compact Modular highintensity<br />
fluorescent fixtures work in perfect harmony to<br />
provide dramatic, long-term energy savings. Orion’s<br />
patented designs rely on MIRO high-reflective<br />
aluminum for optimal efficiency. ALANOD offers<br />
a complete line of MIRO, so designers can<br />
create just the right optics for every<br />
lighting situation.<br />
Apollo® solar light pipe<br />
powered by ALANOD ® MIRO-SILVER ®<br />
Orion Compact Modular high-intensity fluorescent<br />
powered by ALANOD ® MIRO ®<br />
ALANOD MIRO<br />
Fluorescent Distribution<br />
Apollo Distribution<br />
Begin with MIRO. End with success. s.<br />
BEGIN WITH MIRO<br />
MIRO is a registered trademark of ALANOD<br />
www.alanod.com. Lightfair booth 2400 US East: 718-321-0002 / US West: 208-726-3003 / Canada: 905-840-6868.
How do you join historic<br />
design with leading edge<br />
technology?<br />
The Answer<br />
Lies Within.<br />
Sentry Unleashes ARA: The New,<br />
Powerhouse LED Reflector System.<br />
Original. Robust. ARA delivers<br />
a high level of aesthetics with<br />
significant energy and<br />
maintenance cost savings.<br />
Specify ARA to retain the time-honored<br />
Sentry design, quality and comfort<br />
you appreciate, while hitting high<br />
sustainability marks.<br />
• Specify ARA for new or currently<br />
installed fixtures.<br />
• Generate savings in energy,<br />
maintenance costs and down time.<br />
• Expect superior light distribution,<br />
comfort and aesthetics.<br />
• Ensure technological reliability with<br />
Fortimo Spotlight Modules and<br />
Xitanium drivers from Philips.<br />
Rely on Sentry’s 60+ year history of<br />
end-to-end project commitment and<br />
innovation. For information, go to<br />
www.sentrylighting.com, or call<br />
516.379.4660.<br />
See us at<br />
Lightfair<br />
<strong>May</strong> 17 — 19<br />
Booth<br />
#3912<br />
www.sentrylighting.com<br />
FROM SPEC TO SPECTACULAR
CREE ® CR SERIES LED TROFFERS<br />
Performance: 90 CRI at 90 LPW standard, 100 LPW and 110 LPW options.<br />
Versatile: 2x4 & 1x4 (2200, 4000, and 5000 lm) and 2x2 (2000 and 3200 lm) troffers. 3500 & 4000 CCT.<br />
Dimmable: Two-wire step dimming to 50% standard, 0-10 V dimming to 5% optional.<br />
Long Life: Designed to last at least 50,000 hours with consistent color.<br />
<br />
LED REVOLUTIONARY<br />
Gary Trott<br />
LED Visionary & Co-Developer of the CR Series
RECESSED PENDANT CEILING LED WALL CUSTOM<br />
LED graze<br />
MTS Health Partners, NYC - Interior Design, Switzer Group, Carissa Pelleteri Photography<br />
The Black Book - Volume 1<br />
Available <strong>May</strong> <strong>2011</strong><br />
WWW.3GLIGHTING.COM<br />
For 3G product information or to find a local representative, contact 3G Lighting Inc. Telephone: 905.850.2305 Toll Free: 888.448.0440 Email: info@3glighting.com
Lighting Product Testing and Certification<br />
Light it Up!<br />
Choose the testing and certification organization that delivers the support you require. Today the CSA C/US mark is<br />
found on millions of lighting and other electrical products sold across North America. The mark signifies these<br />
products meet U.S. and Canadian standards for safety or performance. The experts at CSA International can help<br />
you streamline product evaluation and reduce time to market. And when supply chain or market opportunities<br />
expand your focus, we also deliver local service in Asia and Europe. For expert and efficient product evaluation, the<br />
CSA C/US mark has never shone brighter. Make testing and certification a competitive advantage with CSA International.<br />
www.csa-international.org 1-866-797-4272<br />
Building Confidence in Products Worldwide.<br />
Global Offices and Laboratories: Atlanta, GA • Charlotte, NC • Chicago, IL • Cleveland, OH • Dallas, TX • Los Angeles, CA<br />
Nashville, TN • Edmonton, AB • Montreal, PQ • Toronto, ON • Vancouver, BC • Arnhem, the Netherlands • Bangalore, India<br />
Mumbai, India • Hong Kong, China • Guangzhou, China • Shanghai, China • Seoul, Republic of Korea • Tokyo, Japan
AC Electronics’ New<br />
Toughness-Tested LED Power Supplies<br />
Are All Backed by Our Exclusive<br />
Total Coverage Driver To Labor Warranty*<br />
Dimmable Models Available — 10% - 100%<br />
Separate Dimming Module NOT REQUIRED — Save on Labor & Material Costs<br />
TOUGHNESS-TESTED<br />
• 12 and 24 V, Constant Voltage<br />
• Short Circuit-Protected<br />
• Available in 12W, 25W, 50W, 60W, 100W<br />
• Value Priced<br />
Diode Shield 100 Watt, 24 Volt Constant Voltage LED Dimmable Driver<br />
Testing and Evaluation Samples are Available for Qualifying Accounts<br />
Call AC Electronics Today or Visit Our Website for More Information<br />
Administration & Distribution Center:<br />
3401 Avenue D, Arlington, TX 76011<br />
1-800-375-6355 • www.ace-ballast.com<br />
*See the AC warranty at http://www.ace-ballast.com/articles/?id=Warranty_Policy<br />
LED POWER DESIGNS is a division of AC Electronics, Inc. ©<strong>2011</strong>
Take the LEED.<br />
The first steps to energy savings<br />
and LEED points start here.<br />
Leviton metering solutions enable you to make smart<br />
energy decisions, verify the savings, and achieve<br />
your sustainability goals. IP-addressable and readily<br />
interfaced with building automation systems, Leviton’s<br />
comprehensive line of smart metering products gives<br />
you the power to:<br />
<br />
<br />
<br />
<br />
Proudly manufactured in USA, our Smart Meters come<br />
with an industry leading 10-year warranty — just<br />
what you’d expect from America’s leader in electrical<br />
solutions. Learn more at Leviton.com<br />
Visit us at Lightfair, Booth #945<br />
‘USGBC’ and related logo is a trademark owned by the<br />
U.S. Green Building Council and is used by permission.<br />
©<strong>2011</strong> Leviton Manufacturing Co., Inc. All rights reserved.
An offi ce lit for creativity . . .<br />
with classic products & the latest technology<br />
LED CYLINDER DOWNLIGHT SERIES<br />
<br />
<br />
<br />
<br />
<br />
Magner Sanborn Advertising Agency, Spokane Washington, Matthew Collins, Architect<br />
Take your office lighting to a higher standard<br />
with Pathway LED products. See these and a<br />
complete offering of LED lighting solutions<br />
at the Lightfair Trade Show – Space 1922.<br />
www.pathwaylighting.com<br />
Pathway Lighting Products, Inc., Old Saybrook, CT 06475-0591voice 800.342.0592 e-mail: sales@pathwaylighting.com
<strong>2011</strong> IES PROGRESS REPORT<br />
INVITATION TO SUBMIT<br />
Now’s the time to submit your significant new products,<br />
research, publications, applications, and advancements from the past year to the<br />
IES Progress Committee<br />
SUBMISSIONS ARE OPEN TO ALL<br />
SUBMIT ON-LINE<br />
WHAT DOES IT COST? $50 Processing fee per submission<br />
Submissions are reviewed by the IES Progress Committee<br />
ACCEPTED SUBMITTALS<br />
Presented live at the <strong>2011</strong> IES Annual Conference • Austin - Oct 30 - Nov 1<br />
Published in LD+A magazine<br />
Presented at IES Section meetings<br />
Accessible throughout the year at the ies website<br />
Submissions open: June 1 — August 5, <strong>2011</strong><br />
Put your<br />
Best Light Forward<br />
For more information, or to submit on-line, go to: www.ies.org
Cylindrix3<br />
Introducing the Cylindrix3 LED – the world’s most advanced track head.<br />
The exciting new Amerlux Cylindrix3 LED has arrived, delivering our greatest lumen output to date for accent<br />
lighting. Features include a regressed single light source for enhanced visual comfort, integrated heat sink, and<br />
lumen output equal to mid range ceramic metal halide. With passive and active cooling options, full dimmability,<br />
and interchangeable reflector optics (15/25/40 beam spreads), Cylindrix3 LED also helps reduce energy and<br />
maintenance costs. Available in recessed multiples. To learn more, visit www.amerlux.com or call 973.882.5010.<br />
Experience the Cylindrix3 LED at Lightfair, Booth #1453.<br />
©<strong>2011</strong> Amerlux, LLC | www.amerlux.com | 973.882.5010
www.sylvania.com/LED<br />
© <strong>2011</strong> OSRAM SYLVANIA<br />
We bring architectural lighting to new heights.<br />
Inside and out, LED lighting systems deliver sustainable energy-efficient lighting consistent with<br />
the principles of modern architecture. With more than a century’s worth of experience in delivering<br />
high-quality light, SYLVANIA LED lighting solutions precisely deliver light to where it is intended,<br />
creating the desired interplay of light and shadow. Together with our partner Traxon Technologies,<br />
we can specify and install the right LED system for your building, including programming software<br />
and commissioning services. As a leader in LED system technology, and with the industry’s best<br />
warranty, SYLVANIA is your trusted source to meet all of your lighting challenges. To talk to us<br />
about your architectural lighting needs, call 1-800-LIGHTBULB or go to www.sylvania.com/LED.<br />
Please visit us at Lightfair International, SYLVANIA booth #833 and Traxon booth #2718.<br />
To get the full LED story on<br />
your phone, snap a picture of<br />
this tag. (Requires a free mobile<br />
app from http://gettag.mobi)
LETTERS<br />
Even the ‘New 40s’ Need a<br />
Little Help<br />
I agree with Howard Wiig’s letter to<br />
the editor in the February issue (“60 is<br />
the New 40”). As a soon-to-be 60 year<br />
old, I resent being called impaired by any<br />
measure and look forward to many more<br />
years of practice. My hobbies are race<br />
car driving and high-performance driving<br />
instruction so, clearly, 60 is the new 40.<br />
However, my eyes are still aging as eyes<br />
always have. As good as I still feel, the IES<br />
states that I need 2.5 times the amount<br />
light required by 30 year olds, so by definition,<br />
I am visually impaired. It’s good news<br />
that we’re able to live and work longer,<br />
but the new 40 year olds will benefit from<br />
age-appropriate lighting design unencumbered<br />
by ASHRAE’s restrictive wattage<br />
limitations.<br />
Bruce C. Dunlop, PLDA, IALD, LC<br />
Bruce Dunlop Lighting Design, LLC<br />
Lutherville, MD<br />
Don’t Let the Perfect<br />
Be the Enemy of the Good<br />
I read with interest the letter to the<br />
editor from Wallace Ely (LD+A, March<br />
<strong>2011</strong>) regarding the “Future Leaders: The<br />
Next Generation of Lighting Luminaries.”<br />
Mr. Ely has stated that the article is<br />
“unbalanced” and “unrepresentative of<br />
what exists in the real world.”<br />
The letter does provide us an opportunity<br />
to address a common concern held by professionals<br />
like Mr. Ely. Namely, that we all<br />
know qualified rising stars in our industry.<br />
How do we help these stars become the<br />
recognizable professionals in our industry?<br />
If we lived in fear of making someone<br />
feel bad because they were not recognized,<br />
we would err on the side of never<br />
recognizing anyone. Obviously this is an<br />
unacceptable outcome. In corporations<br />
and organizations, recognition is difficult<br />
because every person’s contribution<br />
is unique and valuable. But recognition<br />
motivates individuals to do better, learn<br />
new things and help others do the same.<br />
So if you—or someone you know—<br />
should be recognized, identify an action<br />
plan to receive that recognition.<br />
Specific to the “Future Leaders” article,<br />
this is the approach I recommend for<br />
other mentors:<br />
• Read the article. Identify the accomplishments<br />
of those recognized and<br />
make a quick list of those items. For<br />
example: serves on an international<br />
committee; performed interesting<br />
research; promoted quickly through an<br />
organization; is a lighting activist, etc.<br />
• Identify the goals and objectives of the<br />
young professional you know. Would<br />
he like to work on a practice committee?<br />
Would she like to find a way to<br />
raise money to fund lighting projects<br />
in the third world? Does the dream<br />
include being the president of the IES?<br />
Brainstorm these items—they can be<br />
as big as the imagination.<br />
• Review the list of the accomplishments<br />
with your mentee. Are any of those activities<br />
in line with the goals and objectives<br />
of the young professional? Sometimes<br />
you can create your own success by<br />
learning from the success of others.<br />
• Assign a future date for the objectives.<br />
Five years is reasonable. Most people<br />
will need to accomplish multiple action<br />
items to achieve a single goal—so the<br />
PRESIDENT<br />
John Selander, LC, LEED AP<br />
Acuity Brands Lighting<br />
jselander@gothamlighting.com<br />
PAST PRESIDENT<br />
Fred Oberkircher, LC, FIES<br />
Texas Christian University (retired)<br />
VICE PRESIDENT<br />
(President-Elect)<br />
Denis Lavoie, PE, LC<br />
Philips-Lumec, Inc.<br />
TREASURER<br />
Chip Israel<br />
Lighting Design Alliance<br />
EXECUTIVE VICE PRESIDENT<br />
William Hanley, CAE<br />
DIRECTORS<br />
Nick Bleeker<br />
Philips Day-Brite<br />
Jeffrey J. Davis, LC<br />
System Design Consultants<br />
Lisa Heschong<br />
Heschong Mahone Group<br />
Kevin Houser, Ph.D.<br />
The Pennsylvania State University<br />
Terrance Kilbourne, LC<br />
TEC, Inc.<br />
Mark Lien, LC, LEED AP<br />
Hubbell Lighting Inc.<br />
Eric Lind<br />
Lutron Electronics<br />
Peggy Sue Meehan<br />
Amerlux<br />
2010-<strong>2011</strong><br />
Board of Directors<br />
Chad Watters, LC, LEED AP<br />
Licoda<br />
David R. Woodward, Ph.D.<br />
Philips Lighting Company<br />
20 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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LETTERS<br />
future date must be achievable.<br />
• Create an action plan. Include clear<br />
steps between today and the date of<br />
the goal. I would expect an action plan<br />
would include very specific tasks, for<br />
example, go to the Annual Conference;<br />
attend an awards program and note<br />
the characteristics of award-winning<br />
designs; meet experts in the field of<br />
interest; and learn how to network better—the<br />
list will be varied.<br />
Experienced people lead companies<br />
and the industry; we need to support the<br />
young professionals for their attendance<br />
at the Annual Conference and LIGHTFAIR,<br />
we need to support their participation on<br />
document committees and local boards,<br />
and we need to introduce young professionals<br />
to experts in the industry. These<br />
activities and participation cannot be<br />
reserved as reward for our most experienced<br />
employees any more.<br />
If you are a mentor—or would like to<br />
mentor others in the industry—there are<br />
a lot of resources in the IES to assist you:<br />
• The IES website contains suggestions<br />
and instructions for how to begin an<br />
Emerging Professionals group in your<br />
area.<br />
• The IES is rolling out its new mentoring<br />
program, which will be a structured<br />
program to pair experienced and new<br />
lighting professionals.<br />
• The Annual Conference is the place to<br />
meet the experts in the industry. Go<br />
to the conference and ensure that the<br />
young professional can attend as well.<br />
There are countless opportunities to<br />
discuss the future of lighting and to<br />
“bump into the rock stars” of the industry.<br />
Meeting these people can advance<br />
professional objectives.<br />
Please, don’t let the perfect be the<br />
enemy of the good. Every individual recognized<br />
in the “Future Leaders” article<br />
deserved to be included there—they<br />
are making contributions to the industry<br />
beyond their experience in years. There<br />
are many, many others that will make up<br />
the future of the lighting industry. It is our<br />
responsibility to help these individuals<br />
develop to their potential—and to work<br />
to have them included on the next Future<br />
Leaders list.<br />
Kimberly R. Mercier, P.Eng., PE, LEED AP,<br />
IES past president, 2007-2008<br />
Lighting Design Innovations<br />
Calgary, Alberta, Canada<br />
Norm made sure the<br />
Bantam was packed with<br />
more standard features.<br />
In developing the new Bantam lighting control panel, we<br />
knew it had to have 8 relays, 8 switch inputs, be easy to<br />
program, and be competitively priced. Norm, the Owner<br />
and Lead Engineer with over 20 years of lighting control<br />
experience, insisted that the Bantam also have an<br />
Astronomical time clock, a USB port, an SD slot,<br />
as well as 4 photosensor inputs. PLC is, after all,<br />
the industry’s most trusted resource for photo<br />
controls and quality products.<br />
There are plenty of 8 relay lighting control panels<br />
out there but the Bantam is the only one with<br />
4 photocell inputs and Norm.<br />
PLCBuildings.com or 866-998-5483<br />
4 Photosensors • 8 Relays • 8 Switch Inputs • SD Slot<br />
22 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
EASY TO SAY.<br />
HARDER TO PROVE.<br />
Decide for yourself. Request a free sample of<br />
RAB’s high-performance outdoor LED luminaires at<br />
RABLED.com<br />
Visit us at LIGHTFAIR Booth #3631
LETTERS<br />
Trends Come and Go; Our<br />
Mission is a Constant<br />
Recently, I became aware of the new<br />
guidelines for the 2010 version of ASHRAE/<br />
IES 90.1. Insofar as these guidelines have<br />
become LEED and municipal mandates, they<br />
require further, more serious consideration.<br />
In my Emeritus letter of thanks to IES,<br />
published in LD+A in 2005, I reflected on<br />
the execution of duties by the IES in the<br />
1970s. At that time, the lighting industry<br />
was experiencing unprecedented growth<br />
and development of discharge sources,<br />
and providing light became easier. In fact,<br />
manufacturers and utility companies figured<br />
prominently in the IES membership<br />
rolls and committees, fostering recommended<br />
light levels in access of 100 footcandles.<br />
At that time, Bill Lam and others in<br />
DIALux<br />
the then-small lighting design community<br />
took issue with these recommendations,<br />
calling instead for the increased application<br />
of lighting quality, in combination with<br />
thoughtful design considerations.<br />
This was all heralded with pride and<br />
accomplishment by the IES. As stated in<br />
my Emeritus letter:<br />
An essential chapter in this chronicle must<br />
be my disaffection during the 1950s, ’60s and<br />
early ‘70s with IES and the ever-escalating<br />
recommended levels of illuminance. With the<br />
original “Blackwell Report” as the rationale,<br />
the <strong>Society</strong> published standards which were<br />
in turn supported and promoted shamelessly<br />
by the producers of lamps, lighting fixtures<br />
and electric power. It was really good for business.<br />
As a salesman, I found myself out of<br />
step with my peers of the day.<br />
.<br />
“Let there be light.”<br />
Fast-forward to today. No different,<br />
but very different. Now, it’s the DOE and<br />
ASHRAE that are influencing the practice<br />
of lighting design. Then as now, the focus<br />
of IES is human visual performance, not<br />
energy. Then as now, IES is the lighting<br />
expert in the “negotiations” of lighting<br />
metrics and has the obligation to advocate<br />
for the best application of light for human<br />
visual needs. ASHRAE and DOE have set<br />
quantitative metrics with maximum energy<br />
usage based on IES minimum recommended<br />
lighting levels. The footcandle, however,<br />
is just one of many considerations needed<br />
to create an appropriate visual result.<br />
I’m not speaking as a critic of the IES.<br />
I am speaking as a 50-plus year member<br />
that champions the <strong>Society</strong>’s growing legitimacy<br />
and its role in creating new guidelines<br />
for practice. However, trends come and go.<br />
Then, it was our exciting ability to generate<br />
high levels of light. Now, it’s the righteous<br />
need to save energy. One theme that hopefully<br />
remains constant is that the IES will use<br />
its position of authority to apply all known<br />
data to the benefit of the luminous environment.<br />
Now more than then, lighting design<br />
has the ability to consider more than merely<br />
the accurate delivery of footcandles. In closing,<br />
I would caution against the slippery<br />
slope of minimums and maximums; history<br />
proves the inertia very difficult to overcome.<br />
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Correction<br />
Richard Dunlop<br />
IES Member Emeritus<br />
Hunt Valley, MD<br />
Kim Karbus-Weber was missing from<br />
the list of IES members (LD+A, April) who<br />
passed the LC exam. LD+A regrets the<br />
omission.<br />
24 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
NEWS+NOTES<br />
From Sockets to Stardom<br />
Step aside celebrities. The media has a new darling: the incandescent<br />
lamp. From the evening news to late-night television, the<br />
incandescent (and its impending ban) has been hogging recent<br />
headlines, serving as a symbol of government overreach, a stumbling<br />
block to sustainability or the butt of a joke depending on<br />
who’s discussing it. Here’s a sampling from print, the airwaves and the blogosphere:<br />
• Brian Williams, anchor, NBC Nightly News: “We ask only slightly tongue-in-cheek, ‘do<br />
you know your light bulbs are in danger?’ We’re talking about the old-school light bulbs.<br />
The ones that turn on fully when you turn them on and provide that warm glowing light<br />
. . . at a cost. The day is coming when, because of an act of Congress, we all have to get<br />
rid of our traditional bulbs and switch to those energy-efficient bulbs, and a whole lot of<br />
people just don’t want to.”<br />
• Juliet Schor, Boston College sociology professor and participant in The New York Times’<br />
“The Politicized Light Bulb” blog debate: “The trope of offended consumers is a trap set<br />
by the public relations folks at climate change denier central: in fact, Americans believe<br />
strongly in energy-efficient appliances, love the financial payback and appreciate the<br />
chance to help the environment.”<br />
• Steve Forbes, editor-in-chief, Forbes Magazine: “Next year the federal government<br />
begins the phaseout of traditional incandescent light bulbs, giving us yet another enlightening<br />
example of politicians short-circuiting free markets. . . . This prohibition of the<br />
standard light bulb is justified on the grounds that it will save energy. Well, if that were<br />
true, don’t you think consumers would figure it out for themselves?”<br />
• Stephen Colbert, comedian and host, Comedy Central’s The Colbert Report, on CFLs<br />
as an alternative to incandescents: “The socket-huggers will tell you that these pig-tail<br />
bulbs can lower your energy costs and last up to 10 years, but have they even considered<br />
what that will do to the American joke-telling industry? How many blondes does it take<br />
to screw in a light bulb? I don’t know; it’s only been seven years, we don’t have to change<br />
it yet.”<br />
It’s enough to make you wonder what the incandescent can do for an encore.<br />
—Elizabeth Hall<br />
Photo: David Bergman<br />
Crowds gathered at<br />
LEDucation 5.<br />
5 Is Their<br />
Lucky<br />
Number<br />
Want to ensure that an<br />
international mix of lighting<br />
professionals will jostle their<br />
way through the aisles of a<br />
mini trade show in record<br />
numbers? Include the letters<br />
“LED” in the event’s name and<br />
you might be well on your way.<br />
LEDucation 5, produced by<br />
the Designers Lighting Forum<br />
of New York, announced<br />
record-breaking attendance<br />
of more than 1,800 from North<br />
America and Europe for its<br />
Manhattan event in March.<br />
Some 87 LED, OLED and controls<br />
manufacturers exhibited<br />
at the conference, which also<br />
featured four presentations<br />
on solid-state lighting.<br />
Joining<br />
Forces<br />
Westinghouse Lighting<br />
Solutions has sold its assets<br />
to LumenOptix, LLC.<br />
26 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
NEWS + NOTES<br />
Numbers<br />
Game<br />
131<br />
Temperature (in deg F)<br />
that 4,750 new high-bay<br />
luminaires were required<br />
to withstand to be qualified<br />
for installation in the<br />
Qatar National Convention<br />
Centre<br />
33<br />
Percent of electrical<br />
contractors surveyed by<br />
Electrical Contractor magazine<br />
who believe LEDs are<br />
ready to replace incandescent<br />
lamps<br />
GaN-on-Silicon LEDs:<br />
Hype or Hope?<br />
More than two years ago, LEDs Magazine editor Tim<br />
Whitaker warned against buying into the hype surrounding<br />
Cambridge University’s research on gallium-nitride<br />
(GaN)-on-silicon LEDs. Whitaker cautioned that the process<br />
of growing GaN on silicon—which could significantly<br />
reduce the manufacturing costs of developing LED epitaxial<br />
wafers from sapphire or silicon carbide substrates—<br />
was yet untested and didn’t take into account “things like<br />
uniformity, reproducibility and yield.”<br />
Hoping to disprove claims like Whitaker’s, LED technology<br />
company Bridgelux has developed what it calls<br />
“industry’s first commercial grade performance for a<br />
silicon-based LED.” The technology uses a single 1.5mm,<br />
4,730K power LED operated at 350mA to produce 135<br />
lumens per watt. Bridgelux intends to release products<br />
using the new technology in the next two to three years.<br />
34<br />
Terawatt-hours LED<br />
replacements for the 425<br />
million 60-W incandescent<br />
bulbs sold each year could<br />
save in electricity per year,<br />
according to the DOE<br />
409<br />
Number of decorative<br />
post-top streetlights that<br />
Topeka, KS, will convert to<br />
LED lighting<br />
1,700,000<br />
Kilowatt hours that Dallas<br />
expects to save annually<br />
by upgrading to LED lowbay<br />
fixtures at five downtown<br />
parking garages<br />
Brazilian Beacon<br />
When President Obama and his family visited Rio de Janeiro’s<br />
Christ the Redeemer statue on their Brazilian tour, they had the<br />
opportunity to see it as few had before. Several weeks prior,<br />
the monument had been re-lighted in honor of its 80 th anniversary.<br />
Lighting designer Peter Gasper illuminated the statue with<br />
300 individually addressable, high-output LED projectors from<br />
OSRAM that bathe it in color-changing light.<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 27
NEWS + NOTES<br />
The L Prize<br />
gains a<br />
new entry..<br />
The Battle is (Finally) Joined The DOE created the Bright Tomorrow Lighting<br />
Prize, or L Prize, competition to spur the development of LED replacements for common types of incandescent<br />
lamps. So far, the results have been less than stimulating. Only one manufacturer—Philips—has submitted a product<br />
to the 60-W replacement portion of the competition. But that may soon change. Lighting Science Group Corp.<br />
has announced that it will enter a 60-W replacement LED bulb developed with Light Prescription Innovators, LLC<br />
into the competition. Like Philips’ 2009 entry, the new submission must undergo significant testing to ensure compliance<br />
with the competition’s stringent requirements, which include an efficacy of 90-plus lumen per watt, energy<br />
consumption of less than 10 watts, output of more than 900 lumens and a price point of $22 or less.<br />
Reports and Standards<br />
Recently Released<br />
• Rensselaer Polytechnic Institute Lighting Research Center<br />
(LRC) has published Patterns to Daylight Schools for People and<br />
Sustainability, a daylighting design guide that balances the photobiological<br />
benefits of daylighting with well-known daylight design<br />
techniques for school applications. www.lrc.rpi.edu<br />
• The CIE has published CIE 194: <strong>2011</strong>: On Site Measurement of the<br />
Photometric Properties of Road and Tunnel Lighting. This technical<br />
report explains the performance of automatic systems<br />
intended to measure the photometric properties of road and<br />
tunnel lighting systems. www.cie.co.at<br />
• The National Electrical Manufacturers Association (NEMA) has<br />
published two new solid-state lighting standards: NEMA SSL<br />
1-2010 Electronic Drivers for LED Devices, Arrays, or Systems<br />
and NEMA SSL 6-2010 Solid State Lighting for Incandescent<br />
Replacement—Dimming. www.nema.org<br />
28 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
ENERGY ADVISOR<br />
Edison’s Revenge<br />
Classrooms run 700 to 1,000 sq ft in<br />
size, enough for PV panels on the roof<br />
above them to generate 7 to 10 kilowatts<br />
of power—more than enough for all the<br />
classroom’s electric needs. Schools can<br />
cover their parking lots with PV panels, like<br />
the panels that shopping malls are erecting,<br />
to generate more power, even enough<br />
for low-rise multi-story schools.<br />
Imagine a school with roof-mounted PV<br />
panels, generating DC power for lighting<br />
the spaces directly below, and like a DC<br />
battery pack, inverting some to AC for the<br />
plug load and the utility reserve. The roof<br />
capacity of 10 watts per sq ft plus that of<br />
the covered parking lot can provide all of<br />
the school’s electric power needs. The<br />
system is backed up by the local utility on<br />
rainy days and dark nights, cashing in on<br />
the excess power generated during the<br />
day and “banked” by the net meters. The<br />
back-up AC wiring could be run on the roof<br />
with a transfer switch, transformed down<br />
and rectified. Such systems are now in<br />
development by the EMerge Alliance, the<br />
LRC and others with a low-voltage DC<br />
track that LEDs, OLEDs, computers and<br />
other low-voltage DC devices can plug<br />
directly into, thereby contributing to creatby<br />
Willard L. Warren<br />
Is it possible that<br />
Steve Jobs, during<br />
his long absences,<br />
has found a way to<br />
commune with Edison<br />
and then return each<br />
time to introduce a new<br />
low-voltage DC device?<br />
In the late 1800s Thomas A. Edison, our<br />
nation’s most prolific inventor, perfected<br />
the incandescent lamp and the<br />
“electric dynamo“ (generator) to run it,<br />
and built an electrical distribution system<br />
in lower Manhattan for light and power.<br />
Edison’s electrical devices worked on direct<br />
current (DC) and his DC distribution system<br />
was limited in size because it could not be<br />
transmitted over long distances. On the<br />
other hand, Nicola Tesla and his employer,<br />
George Westinghouse, developed a competing<br />
high-voltage alternating current (AC)<br />
system capable of being transmitted for<br />
miles—which could be transformed back<br />
down to a safe working voltage for lighting<br />
and motor loads. Edison’s system was<br />
eclipsed and abandoned and he never forgave<br />
the two of them.<br />
Fast forward to the present: LEDs, OLEDs,<br />
computers, cell phones, iBooks and iPods<br />
operate on low-voltage DC, while power<br />
sources such as photovoltaic (PV) panels,<br />
fuel cells and wind turbines generate lowvoltage<br />
DC which has to be inverted to AC,<br />
transformed to a higher voltage for transmission,<br />
then transformed back down to a<br />
lower AC voltage for distribution to loads<br />
and then rectified to low-voltage DC to operate<br />
these new DC loads. Is it possible that<br />
Steve Jobs, during his long absences, has<br />
found a way to commune with Edison and<br />
then return each time to introduce a new<br />
low-voltage DC device?<br />
MORE POWER TO YOU<br />
PV panels generate 10 watts of DC power<br />
per sq ft of panel area. Lighting systems<br />
need only 1 watt per sq ft to meet recommended<br />
illuminance levels under the lighting<br />
power density (LPD) allowances. Plug<br />
loads (receptacles) consume only 0.5 watts<br />
per sq ft, leaving plenty of spare capacity<br />
during daylight hours. Some cities, like San<br />
Diego, get only 10 days of rain a year and<br />
can easily “bank” power by inverting the<br />
excess DC power generated by the PV panels<br />
to AC and driving a “net” electric meter<br />
backwards, building up a reserve with the<br />
utility. It obviously takes longer to bank the<br />
reserve in other climate zones.<br />
HIGHER LEARNING<br />
30 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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ENERGY ADVISOR<br />
ing “net-zero-energy-use” schools.<br />
Back to the recent past, NEMA reported<br />
that 103 million T12s were sold in 2010 for<br />
replacements, down only eight percent from<br />
2009. T12 lamps represent 52 percent of<br />
all the 4-ft linear lamps sold last year for<br />
replacements. There are approximately 500<br />
million T12 lamps still out there, driven by<br />
Come visit us at<br />
Booth # 404<br />
<strong>May</strong> 17-19, <strong>2011</strong><br />
Pennsylvania Convention Center<br />
about 300 million magnetic ballasts, each<br />
one wasting 30-40 percent in energy. T12<br />
lamps will be banned in July 2012 and incentive<br />
programs curtailed because we’ll have<br />
no choice but to upgrade to T8 lamps and<br />
electronic ballasts. As we reported, New<br />
York City must remove all existing luminaires<br />
in approximately 700 schools because they<br />
SUSPENSION<br />
SPECIALISTS<br />
have magnetic ballasts with PCBs in their<br />
capacitors. The least expensive way to<br />
raise more than $500 million to upgrade the<br />
schools is by financing the upgrade with<br />
municipal bonds and amortizing them with<br />
the energy cost savings. Some states are<br />
doing the same thing with ARRA money.<br />
Employing “demand response” is another<br />
self-amortizing investment. About 30-40<br />
percent of an office building’s electric bill<br />
is for the demand charge. For hospitals<br />
it’s about 50 percent and for schools the<br />
demand charge is about 50-70 percent of<br />
the bill due to the low operating hours of<br />
elementary schools. Some utilities have rate<br />
schedules with ratchet clauses that require<br />
the payment of 80 percent of the highest<br />
monthly demand charge for the following 11<br />
months—even in the summer when schools<br />
are closed. There are controls that can easily<br />
monitor and prevent excessive peak demand.<br />
Many customers pay time-of-day (TOD)<br />
rates of as much as $ 1.25 per kWh during<br />
peak load periods, which should encourage<br />
load shedding, and Independent System<br />
Operators (ISOs) credit users who return<br />
unneeded demand back to the electric grid<br />
system. While there are still incentives, now<br />
is the time to upgrade with controls, save<br />
more than 50 percent in energy, and put<br />
people back to work manufacturing and<br />
installing high-performance lighting systems.<br />
And if SSLs meet our expectations, we can<br />
reach the net-zero usage of energy using<br />
low-voltage DC electrical systems to drive<br />
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is principal of Willard L. Warren Associates.<br />
32 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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APPS + ANSWERS<br />
Defeating Incrementalism<br />
by Don Peifer<br />
As we walk the<br />
halls of LIGHTFAIR,<br />
it’s fair to ask:<br />
is the industry<br />
evolving at a quick<br />
enough pace?<br />
We work in the field of light. How<br />
cool is that? Yet, at the end of<br />
the day, the tools of the trade<br />
that the specifier community<br />
has at its disposal seem banal. Every<br />
once in a while something noteworthy<br />
pops out of the weeds—an impressive<br />
performance here, or an interesting form<br />
factor there. Those instances seem few<br />
and far between, however.<br />
If I meet my deadline, this article will be<br />
handed out to the participants at LIGHTFAIR<br />
in Philadelphia. Amidst the glare of streetlights<br />
and everything LED, the spectacle<br />
has become, on the one hand, overwhelming<br />
from the standpoint of sheer scale and,<br />
on the other hand, underwhelming from the<br />
standpoint of innovation. Formulaic is the<br />
word that comes to mind. To the practiced<br />
eye, themes quickly emerge as you walk the<br />
space. Manufacturers in the era of reverse<br />
engineering may be reluctant to fully open<br />
the kimono, but that results in offerings that<br />
are by and large tame. As an industry, we<br />
take incremental steps each year. I think it<br />
is fair to pose the question: are we evolving<br />
at a quick enough pace?<br />
The reason I ask is that it seems that in<br />
other industries, there is a much more prodigious<br />
race to compete, more of a mandate<br />
to innovate and take chances. Considering<br />
how far LED technology has come in the<br />
last few years, you would think we could<br />
expect more from luminaires. The DOE<br />
recently announced the winners of the Next<br />
Generation Luminaire awards for LED products.<br />
The general illumination winner had<br />
flux of 1,615 lumens. The judges said that<br />
while they appreciated the aesthetics (i.e.,<br />
this is the only product we would consider<br />
specifying), they questioned whether the<br />
light output was sufficient. I’ll save you the<br />
suspense: it’s not. It is, in fact, a non-starter.<br />
There are some very impressive LED performers<br />
out there currently. Where is the<br />
luminaire, however, that is that rare combination<br />
of performance, quality, value and<br />
aesthetics? That shoe has been in the air<br />
forever it seems, and you wonder if the<br />
creation of that product is even encoded into<br />
the industry’s DNA? LIGHTFAIR is a walking<br />
billboard to this disconnect with its separate<br />
design pavilion where “decorative lighting”<br />
is displayed. If you are looking for design, go<br />
here; for everything else, go there.<br />
LESSONS FROM OUTSIDE OUR WORLD<br />
I spoke to an industrial designer recently<br />
and asked him to show me an example of<br />
an interesting product. He reached into his<br />
pocket and pulled out a PDA. The fact that<br />
(a) it wasn’t an iPhone and (b) the product<br />
was exceedingly cool really hit me. It is survival<br />
of the fittest in that industry—evolution<br />
at a much faster pace as a function of<br />
market pressure. If you look at the Apple<br />
product catalog—especially against the<br />
canvas of the competitive space—there<br />
are several observations that could be<br />
used as a primer in our industry.<br />
1. Differentiate. Products in the lighting<br />
industry are more often than not what<br />
I call laterally derivative. One manufacturer’s<br />
luminaire is indiscernible<br />
from another’s. That doesn’t happen at<br />
Apple. Much of that is a function of having<br />
very few decision makers. It seems<br />
inevitable in luminaire companies that<br />
engineers beat up a design, manufacturing<br />
does the same and the end result<br />
is homogenous and uninspired. Apple<br />
demands the impossible. Products are<br />
34 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
APPS + ANSWERS<br />
pulled through a behemoth organization<br />
by a very thin line, and the spirit of<br />
the design remains intact.<br />
2. Keep your own counsel. Another reason<br />
Apple product is differentiated is that<br />
the decision makers hunt by instinct and<br />
listen little to what the industry advises.<br />
The Henry Ford quote comes to mind: “If<br />
I had asked people what they wanted,<br />
they would have said faster horses.”<br />
Surround yourself with the best team,<br />
support them and let them create.<br />
3. Obsolete your product line. We in the<br />
lighting industry seem obsessed with<br />
backward compatibility. Will this product<br />
fit with the existing platform? We<br />
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have new building blocks, and in order<br />
for us to build around the strengths of<br />
the technology fully, we may need to<br />
think outside the parameter of tubes and<br />
spheres. Integration is key to the Apple<br />
value proposition, and year after year<br />
the company sets course for the horizon<br />
and burns the bridges to the past. This<br />
doesn’t happen in lighting. Hundredyear-old<br />
standards are still in place.<br />
4. Just say no. Fixture conglomerates produce<br />
thousands of new SKUs a year in<br />
an attempt to find a small percentage of<br />
winners. Apple is as proud of what they<br />
don’t offer consumers as what they do.<br />
5. Take inspiration from other arenas. Steve<br />
Jobs is famous for culling inspiration from<br />
outside of his industry. It could be as<br />
simple as a beveled edge of an appliance<br />
to the material use on an automobile.<br />
When there are already good ideas in the<br />
ether, use them for inspiration.<br />
Look, LEDs are now front and center in<br />
the industry. As we sit at a crossroads in<br />
the next paradigm of lighting, it is reasonable<br />
to ask: how can we do this differently?<br />
The best designed products address needs<br />
the consumer never knew they had, and<br />
that is the opportunity in solid-state. I am<br />
continually impressed at the sophistication<br />
coming out of the world of architecture.<br />
As a supporting industry, lighting isn’t following<br />
nearly as steep of a trajectory. At<br />
some point, that disconnect will become<br />
conspicuous. It’s only natural that we could<br />
support these endeavors with inspirational<br />
products. To do that, we need to deconstruct<br />
the luminaire design process. It is<br />
ours to destroy, and that should be liberating<br />
for everyone involved.<br />
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36 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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FORCES OF CHANGE<br />
Vacuum Tubes to Nanotubes, Who Will Lead?<br />
by Mark Lien<br />
The skill set that got<br />
us here is not what it<br />
will take to move us<br />
forward. Leaders will<br />
need to understand<br />
how to integrate new<br />
technologies without<br />
compromising lighting<br />
quality. They will need<br />
to take risks, as new<br />
sources prove worthy<br />
Thomas Edison joined the IES in<br />
1907. Industry leaders grappled<br />
with new technologies as flames<br />
were replaced by vacuum tubes.<br />
Those ascending to power over this<br />
decade will guide the shift from vacuum<br />
tubes to nanotubes and beyond.<br />
Entrenched industries and large conglomerates<br />
often resist change and impede progress.<br />
Edison battled the gas companies who<br />
saw electric lights as competition. AT&T<br />
fought anything that competed with their<br />
existing systems, refusing to allow competing<br />
devices to connect to their lines until a<br />
court order forced them to do so. I grew up<br />
in Detroit where auto companies attacked<br />
new forms of mass transit because it made<br />
their products unnecessary. Fossil fuel firms<br />
promote alternative energy in marketing spin<br />
but fund disinformation on climate change.<br />
These painfully slow transitions emerge<br />
from necessity not proactive strategy. The<br />
four largest lighting companies in North<br />
America control 55 percent of the market<br />
share. They are often accused of being<br />
slow to change, partially for the same reason<br />
that it takes time to turn a big ship,<br />
not from ill intent. They are all reinventing<br />
themselves into energy solutions providers<br />
of optoelectronic and semiconductor<br />
products. They are facing aggressive<br />
competition from previously peripheral or<br />
unrelated companies. The sense of urgency<br />
demands that no time be wasted fighting<br />
the momentum of the LED revolution. We<br />
quickly become experts, align with experts<br />
or face rapid demise. Resistance is futile.<br />
Unlike what faced AT&T, auto companies<br />
and the fossil fuel suppliers, our disruptive<br />
technology promises significant<br />
revenue incentive as a benefit from rapid<br />
transition. Due to the sense of urgency,<br />
increased competition and potential for<br />
high profits, there not only is no intentional<br />
blockage of LEDs but the large lighting<br />
companies are driving forward at a pace<br />
that may prove to be an unsafe speed.<br />
Expensive warranty claims, damaged<br />
credibility and disgruntled agents all result<br />
from rushing new technology to market.<br />
Our challenge is whether we can own<br />
relevant new technologies with authority<br />
before peripheral industries suck the cream<br />
off the top, relegating the rest of us to bottom<br />
feeders. What is the timeframe of this<br />
transition? GE claims they will be 75 percent<br />
LED in the next 10 years (noting they are less<br />
than 10 percent now). Philips has projected a<br />
tenfold increase in global LED sales by 2015<br />
(from about 1.5 billion Euros in 2010).<br />
There is only one group charged with<br />
reporting annually on advancements to the<br />
art and science of lighting. It is the IES<br />
Progress Committee. Their numbers reveal<br />
the pace of the transformation: 44 percent<br />
Our next generation of leaders would do well<br />
to adopt the “bring it on” posture of a young<br />
Edison.<br />
38 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
FORCES OF CHANGE<br />
of the acceptances into their 2010 report<br />
were solid-state lighting related; 33 percent<br />
were controls; and 21 percent were retrofit<br />
oriented. Some of the controls and retrofit<br />
products were SSL technology. The LED<br />
train is seemingly unstoppable. Today’s leaders<br />
will have to sift through the overstated<br />
LED claims and focus on the applications<br />
and products that actually benefit from this<br />
source. Reality will rule and the momentum<br />
will slow. Signs are already visible: Just<br />
as many people still prefer incandescent<br />
sources to fluorescent, and early indicators<br />
are that LEDs face similar levels of rejection.<br />
OPERATION BACKLASH<br />
Performance does not equal the hype.<br />
The October DOE Caliper report revealed<br />
that the average white LED luminaire tested<br />
produces about 50 lumens per watt.<br />
While in some applications LEDs can be<br />
more effective, though less efficient than<br />
fluorescent and metal halide, the efficacy<br />
is below consumer expectations. Based on<br />
low efficacy and high fixture costs, there is<br />
a slow return on investment. LED growth<br />
may also be affected by research into photobiology<br />
and toxicity. Last October, the<br />
French Agency for Food, Environmental<br />
and Occupational Health & Safety (ANSES)<br />
recommended, “avoiding the use of light<br />
sources emitting cold white light (light with<br />
a strong blue component) in places frequented<br />
by children.” Architectural LEDs<br />
tend toward cooler correlated color temperatures<br />
having a strong blue component,<br />
especially in exterior applications. The<br />
report specifically addresses LED health<br />
concerns and, with qualifiers, recommends<br />
limiting LED sales, regulating installation<br />
and encourages manufacturers to design<br />
fixtures “in which beams of light emitted by<br />
LEDs cannot be seen directly.”<br />
Earlier this year researchers from<br />
University of California-Irvine’s School of<br />
Social Ecology and Program in Public Health<br />
analyzed red, yellow, green and blue LEDs in<br />
low and high intensities. They chose lights<br />
that would commonly be found on the typical<br />
Christmas tree and then ground up the<br />
contents of each bulb in order to analyze<br />
the different substances, specifically a wide<br />
range of heavy metals. In the LEDs, the<br />
researchers found toxic chemicals includ-<br />
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40 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
FORCES OF CHANGE<br />
ing antimony, arsenic, chromium and lead,<br />
as well as numerous other metals. In the<br />
low intensity red LEDs, researchers found<br />
the lead content was over eight times the<br />
regulatory limit and the nickel content was<br />
approximately two and a half times over<br />
THE FUTURE IS HERE<br />
The most advanced LED system on the planet<br />
has arrived at a town and city near you.<br />
The preferred choice in decorative outdoor<br />
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the limit. Under environmental regulations<br />
in the State of California, most LEDs would<br />
be classified as hazardous waste. Damaged<br />
LEDs could pose health risks to those handling<br />
them and having direct contact with<br />
the toxic substances. These negatives can<br />
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ultimately be addressed but will influence<br />
the unchallenged acceptance LED sources<br />
have enjoyed.<br />
WHO’S UP, WHO’S DOWN<br />
Other new lighting technologies will gain<br />
momentum when our vision clears and reality<br />
sets in for the LED revolution. The OLED<br />
appears doomed as a general light source,<br />
due to the high cost, limited availability<br />
and lack of alternatives to indium. Indium<br />
tin oxide is a transparent (in thin layers)<br />
conductive coating used in OLEDs, LCDs,<br />
plasma displays, touch panels and electronic<br />
ink as well as some thin film solar<br />
cells. According to last October’s issue of<br />
Scientific American, “At current production<br />
levels, known indium reserves contain an<br />
18-year world supply.” There are prospective<br />
replacements including carbon nanotube<br />
coatings but none has proven to be as<br />
effective. There is promising research on<br />
“aromatic carbonyls,” a pure-organic phosphorescent<br />
replacement, at the University<br />
of Michigan. Optimistic lighting and television<br />
manufacturers continue to introduce<br />
new OLED offerings. Apple recently filed<br />
three OLED display related patents.<br />
OLEDs have multiple competing technologies<br />
challenging them. The organic<br />
light-emitting transistor (OLET) is claimed<br />
to be 100 times more efficient at converting<br />
electricity into light that OLEDs. The<br />
OLET was developed at the Italian National<br />
Research Agency and announced in <strong>May</strong><br />
2010. It combines the switching mechanism<br />
of a thin-film transistor and an electroluminescent<br />
device. Carbon nanotubes<br />
were found in 2004 to emit photons of light<br />
but more recent research has focused on<br />
other uses. MIT was able to use carbon<br />
nanotubes to concentrate light by about<br />
42 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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FORCES OF CHANGE<br />
100 times and funnel photons into smaller<br />
(less expensive) solar panels.<br />
A team of Swedish and American<br />
researchers has created an organic lightemitting<br />
electrochemical cell (LEC) with<br />
no metal having carbon-based electrodes<br />
made from graphene. This lighting system<br />
is created entirely from liquid solutions so<br />
it can be produced through an inexpensive<br />
printing process. Graphene is a one atom<br />
thick clear carbon material that is 100 times<br />
stronger than steel. A meter sq sheet would<br />
support a 9.2-pound cat and weigh less<br />
than one whisker on the cat. It is the basic<br />
structural element of carbon nanotubes.<br />
LECs are positioned as a replacement for<br />
OLEDs with the advantages of significantly<br />
lower cost and being fully recyclable.<br />
The electronic and optical performance of<br />
devices based on graphene is similar to<br />
those using indium-tin-oxide but marketable<br />
LEC fixtures are years away.<br />
APPLY HERE<br />
If you are getting the feeling that this is not<br />
your father’s lighting industry, read on as it<br />
only gets more evident. Gordon Moore was<br />
a co-founder of Intel. In 1965 he stated that<br />
the quantity of transistors that can be placed<br />
inexpensively on an integrated circuit has<br />
doubled about every two years. This trend<br />
has continued for more than half a century<br />
and is still predicted throughout this decade.<br />
If you think electronics are pervasive now,<br />
imagine the impact of research reported in<br />
June 2010 on quantum optics that revealed<br />
that a single atom can be a transistor for light.<br />
This means more transistors than Moore<br />
imagined possible. A transistor is a semiconductor<br />
device used to amplify and switch<br />
signals. The quantity of transistors relates<br />
directly to processing power and miniaturization.<br />
The ability to integrate electronics<br />
just took a quantum leap. In fact, quantum<br />
computers may result from this breakthrough.<br />
Many scientists are discussing the<br />
Singularity, a point in time when artificial intelligence<br />
(AI) surpasses human intelligence.<br />
This would require significantly increased<br />
processing speed with most projections<br />
The OLED appears doomed as a general light source,<br />
due to the high cost, limited availability and lack of<br />
alternatives to indium<br />
ranging from 2019 to 2040. AI may control all<br />
of our appliances including the lighting in a<br />
space adjusting not just to user patterns as<br />
we can do now. AI could automatically react<br />
to demand response, offer dynamic intensity<br />
and color tuning for photobiological benefits,<br />
provide seamless daylight integration, select<br />
individual user preferences and much more.<br />
The ability of AI to not only be a supercharged<br />
database (like the Watson computer recently<br />
on Jeopardy) but to reason and repair or replicate<br />
itself has consequences well beyond<br />
our industry. Integrating AI into our products<br />
makes our LED learning curve seem small by<br />
comparison.<br />
Quantum computers are necessary for<br />
teleportation for objects (beyond the information<br />
that can be teleported now), which<br />
also involves light. Entangled photons are<br />
dependant on the state of each other and<br />
when one is sent a distance away and measured<br />
it causes the other to change allowing<br />
the teleportation of quantum information<br />
(but only atoms of matter so far). This<br />
potential for quantum-state generation and<br />
manipulation may allow time-dependant<br />
transfers between light and matter.<br />
Who will lead lighting into this incredible<br />
future? Where are our Thomas Edisons?<br />
The skill set that got us here is not what it<br />
will take to move us forward. It is not just<br />
the products that are changing, it is the<br />
information required to understand, produce<br />
and apply the new sources and fixtures<br />
resulting from the radically different<br />
direction we are speeding toward. Many<br />
fear change and will fall behind. The IES<br />
mission to improve the quality of the lighted<br />
environment will become increasingly difficult<br />
as we move from mature, predictable<br />
sources into the new frontier. Leaders will<br />
need to understand how to integrate these<br />
technologies without compromising lighting<br />
quality. They will need to take risks, as<br />
new sources prove worthy.<br />
It is an exciting time, rich with opportunity<br />
for lighting inventors, designers,<br />
researchers, CEOs and anyone who can<br />
help navigate. Last December this magazine<br />
featured an encouraging “Faces of<br />
the Future” issue profiling 25 “of the future<br />
thought leaders of the industry.” They look<br />
confident and determined but they will<br />
need support, encouragement and mentoring<br />
to face the daunting challenge of<br />
quickly transforming our industry. I even<br />
noticed a few “bring it on” expressions that<br />
reminded me of a young Thomas Edison.<br />
Mark Lien, LC, LEED AP, is director of the<br />
Lighting Solutions Center for Hubbell Lighting<br />
and a member of the IES Board of Directors.<br />
44 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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THE COMPANY • THE CANDIDATE<br />
Surprise! It’s a Seller’s Market for Job Hunters<br />
most parts of the lighting, LED electrical and<br />
energy market. Those employers who don’t<br />
recognize this are doomed to lose out on the<br />
best talent. Granted, there are some exceptions:<br />
Product-wise, for example, companies<br />
in the residential market are generally doing<br />
better but still expect it to be a year or two (or<br />
more, depending upon whom you ask) until<br />
they get back to satisfactory volume levels.<br />
Likewise, if you ask someone how business<br />
is (and, correspondingly how the hiring market<br />
is), your answer will often vary based on<br />
the geographical market of the person asked.<br />
That being said, the demand for strong candidates<br />
in today’s lighting, solid state, controls<br />
and energy market far exceeds the supply.<br />
Every month or so we receive a call or<br />
e-mail from a company telling us about a<br />
position they would like to fill, and the hiring<br />
manager or human resources professional<br />
will ask, “Do you have anyone in your files<br />
that fits this?” The question is asked with<br />
the hope or expectation that we have several<br />
candidates just sitting in our files who<br />
are looking for a job exactly matching their<br />
description. Ideally, the desire is to see those<br />
candidates within a couple of days (or at<br />
least be sent résumés within a day or two).<br />
I tell them that yes, we probably do have<br />
someone in our files who generally fits their<br />
requirements, but that doesn’t mean that<br />
person’s the one they would want to hire.<br />
Just because they may be “new additions”<br />
to our files doesn’t mean they’re the best<br />
people for the position.<br />
2. Unemployment is still high, so money<br />
can be saved by making a low offer to a candidate.<br />
Now more than ever, this strategy<br />
is a lose-lose proposition. “Bidding war”<br />
may be too strong a term and no company<br />
wants a candidate to leverage an opporby<br />
Paul Pompeo<br />
It is a candidate’s<br />
market for most parts<br />
of the industry. Those<br />
employers who don’t<br />
recognize this are<br />
doomed to lose out<br />
on the best talent<br />
According to Wikipedia, “paradigm<br />
shift (or revolutionary<br />
science) is the term used by<br />
Thomas Kuhn in his influential<br />
book The Structure of Scientific<br />
Revolutions (1962) to describe a change<br />
in the basic assumptions, or paradigms,<br />
within the ruling theory of science. Since<br />
the 1960s, the term has also been used<br />
in numerous non-scientific contexts to<br />
describe a profound change in a fundamental<br />
model or perception of events.”<br />
Over the past 12 months, there has<br />
been just this type of a paradigm shift<br />
in the lighting industry. In the past two<br />
years we have experienced “The Great<br />
Recession” complete with layoffs and the<br />
early retirement option (i.e., an “offer you<br />
can’t refuse,” to quote The Godfather) by a<br />
major lighting manufacturer to many of its<br />
most seasoned and respected employees.<br />
However, in the past year we have seen a<br />
strong increase in our search activity.<br />
While some companies have adjusted<br />
their hiring and interviewing strategies to<br />
mirror the positive activity in our industry,<br />
others have not yet recognized how the<br />
past year has affected today’s job market<br />
today and are still operating on an outdated<br />
paradigm.<br />
Here, then, are three myths about<br />
today’s hiring market in the controls, lighting,<br />
LEDs and energy arena that are still<br />
guiding some companies’ strategies:<br />
1. There are many candidates “on the street”<br />
and available for hire. While that might be<br />
true for some of the older technologies in<br />
our industry, anyone involved in the SSL,<br />
controls and/or energy sectors is being<br />
sought after. First off—and let me be clear<br />
about this—it is a candidate’s market for<br />
46 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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tunity/offer against another company’s.<br />
However, if your offer is not fair and competitive<br />
in today’s market, chances are you<br />
are setting your company up to have to<br />
look for another candidate.<br />
The strategy of “Let’s make an offer<br />
and if it’s not acceptable we can consider<br />
increasing it” was only occasionally effective<br />
in the past and is much less so today.<br />
If you’re dealing with an “A” candidate,<br />
by the time you have not heard back from<br />
him/her they may have already accepted<br />
another offer. And even if they do get<br />
back to you to tell you that your offer is<br />
low, if another company has extended a<br />
more competitive offer, odds are they will<br />
go with the other company who they feel<br />
more immediately recognized their worth.<br />
Finally, beware that the “lower cost of living”<br />
gambit can only take you so far if your<br />
offer is not reasonably competitive.<br />
3. We can’t have the next interview for<br />
another (two/three/four weeks)—if she’s<br />
really interested in our position, she will wait.<br />
On the very day I wrote this column, I spoke<br />
with the director of human resources for a<br />
major lighting manufacturer who had a first<br />
phone meeting with a candidate we introduced<br />
for a director of product marketing<br />
position. He liked her and wanted her to<br />
meet with the general manager in person in<br />
two weeks. I explained that while she was<br />
very interested in the opportunity, she was<br />
interviewing with other companies and<br />
did have another strong possibility in the<br />
works. After considering this, the HR professional<br />
replied, “Let’s arrange a phone<br />
meeting between her and the GM later this<br />
week or early next.”<br />
Perfect solution—this would keep the<br />
candidate vested in the process and also<br />
give her more information that would continue<br />
to hold her interest until the in-person<br />
meeting could be arranged. The moral of<br />
this story—if you have a candidate you<br />
like, have no more than a one week interval<br />
between each interview in the hiring process.<br />
Anything longer risks the candidate’s<br />
interest growing cold, giving them time to<br />
get re-engaged in their current position (or<br />
to be offered a promotion) or to be courted<br />
by other companies.<br />
NEW LANDSCAPE<br />
We’re living in both an evolutionary and<br />
revolutionary period. Lighting is no longer<br />
a mature market; in some emerging segments<br />
it’s more like the Wild West. The<br />
explosion of new technologies will be a<br />
challenge to those with a dated outlook on<br />
the hiring process that is more suited to<br />
a 2009 environment than today’s dynamic<br />
“gold rush” for the top talent in our industry.<br />
However, for those forward-thinking hiring<br />
managers and human resources professionals<br />
who are fully aware and taking<br />
advantage of this ground-breaking era,<br />
these are exciting times, indeed.<br />
Paul Pompeo is principal with The Pompeo<br />
Group (www.pompeo.com), an executive<br />
recruiting firm in the lighting and electrical<br />
industry working on a global basis with<br />
both lighting companies and design firms.<br />
email a letter to<br />
the editor<br />
ptarricone@ies.org<br />
48 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
POLICY POINTS<br />
Lighting and the Zero-Sum Game<br />
by Bob Horner<br />
The official goal is<br />
net-zero energy<br />
buildings by 2030,<br />
but, in truth, the<br />
timeline could be<br />
even shorter<br />
Those of you that have been reading<br />
this column have heard about the<br />
Zero Energy Commercial Building<br />
Consortium (CBC); and those of you<br />
that have not been reading this column,<br />
welcome! The CBC has been quite busy of<br />
late, so here’s an update. Remember, the<br />
Zero Energy CBC is charged with producing<br />
recommendations as to how we can<br />
achieve net-zero energy buildings by the<br />
year 2030. A full explanation is available<br />
on the website http://zeroenergycbc.org.<br />
The final report has been completed. It<br />
is divided into two major categories: “Next<br />
Generation Technologies, Barriers, and<br />
Industry Recommendations for Commercial<br />
Buildings” and “Analysis of Cost & Non-cost<br />
Barriers and Policy Solutions for Commercial<br />
Buildings.” The first one deals mostly with<br />
product and technical topics such as lighting,<br />
mechanical systems and the building<br />
envelope; the second with market and policy<br />
areas such as owners and tenants, integrated<br />
design, and financial issues.<br />
The CBC reports are quite timely, following<br />
closely on President Obama’s February<br />
3 announcement about the new Better<br />
Buildings Initiative, which is aimed at improving<br />
energy efficiency in commercial buildings<br />
by 20 percent over the next 10 years by stimulating<br />
private investment in building energy<br />
efficiency. The reports were compiled from<br />
input taken from the lengthy individual working<br />
group reports available at http://zeroenergycbc.org/workinggroups.<br />
There were several overarching principles<br />
and recommendations common<br />
across most of the working groups:<br />
• Existing technologies need to be more<br />
rapidly developed and commercialized.<br />
• There is significant opportunity today<br />
to reduce energy consumption in buildings—underutilized<br />
existing technologies<br />
should be applied for immediate<br />
results.<br />
• Integrated design will be necessary to<br />
even approach net zero.<br />
Following are some of the salient points<br />
specific to lighting noted in the report:<br />
• Traditional light sources do have a<br />
place in net-zero energy buildings, but<br />
to a limited extent. High-efficiency<br />
fluorescent systems for general lighting<br />
and improved performance metal<br />
halide for higher ceilings, atria, small<br />
auditoriums, etc. should be considered<br />
as part of an overall lighting design.<br />
• The major portion of the lighting in netzero<br />
energy buildings will need to be<br />
done by some form of improved solidstate<br />
lighting due to its high-efficacy,<br />
long-life and ability to control.<br />
• New lighting design techniques and<br />
software are needed to ensure the<br />
significant lighting demands of net-zero<br />
energy buildings are met.<br />
• Net-zero energy buildings will depend<br />
heavily on improved designs and application<br />
of daylighting and control systems.<br />
• Buy-in from building owners is paramount.<br />
• Even though the target is 2030, product<br />
development cycles will dictate that<br />
the real timeline is shorter, perhaps<br />
2020 or 2025.<br />
Gap analysis is also part of the report,<br />
noting those areas where significant R&D<br />
is needed to achieve net-zero energy.<br />
Lofty goals? You bet! But the challenge<br />
is not insurmountable. Energy independence<br />
is a bi-partisan issue (or should I<br />
say non-partisan). It can drive innovation,<br />
50 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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POLICY POINTS<br />
create new industries and improve the<br />
environment. What’s not to like?<br />
A WORTHY CHARTER<br />
The National Institute of Building<br />
Sciences (NIBS) is an organization whose<br />
charter. . . well, here it is directly from their<br />
website: “The National Institute of Building<br />
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NEW<br />
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R E S I D E N T I A L C O M M E R C I A L R E T A I L I N S T I T U T I O N A L<br />
housing, commerce and industry throughout<br />
the United States. . . . The Institute’s mission<br />
to serve the public interest is accomplished<br />
by supporting advances in building sciences<br />
and technologies for the purpose of improving<br />
the performance of our nation’s buildings<br />
while reducing waste and conserving<br />
energy and resources.”<br />
NIBS has a group called the Consultative<br />
Council, of which IES (that’s me) is an<br />
active member. The council was charged<br />
with identifying the high-level issues<br />
currently impacting the building community<br />
and offering findings and recommendations<br />
related to these issues. These<br />
findings are then to be submitted to the<br />
President (of the U.S.) and Congress.<br />
The initial issues identified were:<br />
• Defining high-performance and common<br />
metrics<br />
• Energy and water efficiency<br />
• Codes and standards adoption and<br />
enforcement<br />
• Sustainability<br />
• Education and training<br />
• Existing buildings<br />
Committees were formed to address each<br />
of these topics. Their individual reports were<br />
consolidated and summarized in a cover<br />
report for submission to the President and<br />
Congress. In case you were wondering what<br />
I have been doing as part of all this, in addition<br />
to being a member of the Consultative<br />
Council, I am on the Existing Buildings committee,<br />
chaired by the head of the Building<br />
Owners and Managers Association (BOMA).<br />
The report should have been submitted<br />
by the time you read this. Check the<br />
IES Public Policy webpage, http://www.ies.<br />
org/public-policy for the status.<br />
Bob Horner is director of public policy for<br />
the IES.<br />
52 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
VISIT US AT LIGHTFAIR <strong>2011</strong><br />
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Warren E.<br />
Burger Federal<br />
Building and<br />
Courthouse<br />
Replacing unshielded T12<br />
lamps, high-lumen T8s backlight<br />
an acrylic ceiling.<br />
Dimmable downlights<br />
with 90-W, 6,000-hour IR quartz<br />
halogen lamps enhance wood<br />
panels.<br />
The verdict? Guilty. The culprit? Outdated lighting<br />
at the Warren E. Burger Federal Building<br />
and Courthouse in St. Paul, MN. Built in 1966,<br />
the 350,000-sq ft building had courtrooms with<br />
unlawfully unbalanced illumination from luminous<br />
ceilings that under-lighted walnut paneled walls,<br />
but over-illuminated the courtroom floor, or “well.”<br />
Greg Lecker, a principal associate of LightSpaces,<br />
a division of Michaud Cooley Erickson, updated<br />
the luminous ceiling by balancing brightness ratios<br />
and salvaging the historic interior finishes. Louvered ceiling panels now shield fluorescent lamps<br />
from view, while quartz halogen downlights and dual-lamp wall washers bring out the richness of<br />
wood panels. The renovation not only restored justice to the courtroom, it helped earn the facility a<br />
LEED-EB Silver certification with lighting that uses 1.19 watts per sq ft building-wide on average.<br />
Photos: Don Wong<br />
A fl uorescent cove lightens<br />
the ceiling and dramatically fills<br />
in the wood. 3,000K fl uorescents<br />
were used throughout.<br />
In the lobby, sand-blasted,<br />
white acrylic panels with 50<br />
percent transmittance diffuse T8<br />
fl uorescents.<br />
The same fluorescent lamps<br />
are slotted in the floating ceiling<br />
and at its perimeter.<br />
ANATOMY OF AN AWARD<br />
Elizabeth Hall<br />
IES Illumination<br />
Award of Merit<br />
54 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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BAR BASQUE/FOODPARC<br />
Serving up<br />
Sci-Fi<br />
A<br />
cinematic ‘futurist’<br />
cooks up cutting-edge<br />
concepts for two new<br />
restaurants at the<br />
Eventi Hotel<br />
BY ELIZABETH HALL<br />
Photo: Philip Koether Architects<br />
62 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
BAR BASQUE/FOODPARC<br />
At Bar Basque, translucent red resin panels backlit with T8 fl u orescents<br />
form a “fuselage” interior. Custom MR16 downlights integrated into the<br />
fi b erglass ceiling recreate the random patterns in Mead’s sketches.<br />
Inside what appears to be a spaceship,<br />
diners sample bite-sized “pintxos,”<br />
sip wine poured by a machine and rub<br />
elbows with a hologram. This could<br />
be a scene from a science fiction movie,<br />
but it’s not. . . .It is, however, modeled after<br />
one. Best known for the conceptual<br />
design of movies like Blade Runner, Alien<br />
and Tron, “visual futurist” Syd Mead has<br />
brought his big-screen visions to the real<br />
world at two new restaurants in New York<br />
City’s Eventi hotel. In fact, Mead referred<br />
to one of the concepts as the “set for a<br />
movie that will never be made.”<br />
His first permanent architectural projects,<br />
Bar Basque and FoodParc both exhibit<br />
Mead’s signature space-age style,<br />
but each is executed differently. Bar<br />
Basque, a Spanish fine-dining restaurant<br />
on the second floor of the hotel, has dramatic,<br />
fiery red interiors that complement<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 63
BAR BASQUE/FOODPARC<br />
Stem-mounted MR16s illuminate circular mirrored reflectors to form a space-age chandelier in the<br />
private dining room at Bar Basque.<br />
Adding a “circuit-board” element to a corridor in Bar Basque’s narrow red interior, blue LED strip<br />
lights a textured horizontal reveal.<br />
Photo: Adrian Wilson Photo: Adrian Wilson<br />
the Basque region’s hearty cuisine (including<br />
“pintxos,” Basque tapas). In contrast,<br />
FoodParc, a modern, upscale food court on<br />
the first floor, features nature-patterned<br />
lighting projected onto a white backdrop.<br />
The two eateries are joined in the middle by<br />
a tiered seating area that can be used by<br />
patrons from either restaurant.<br />
A self-proclaimed non-conformist, Mead<br />
pushed design boundaries at both restaurants.<br />
New York City-based firms Philip<br />
Koether Architects and Cline Bettridge<br />
Bernstein Lighting Design, Inc. turned<br />
Mead’s other-worldly sketches into a reality.<br />
“It was up to us to interpret what Syd’s<br />
concepts meant and to deal with things<br />
like energy requirements and budget. We<br />
also had to look at what it took for people<br />
to look and feel good in these spaces,” says<br />
CBBLD principal Francesca Bettridge, who<br />
collaborated with senior associate Michael<br />
Hennes and associate Nira Wattanachote<br />
on the restaurant lighting. The team also<br />
designed lighting for common areas, such<br />
as stairwells, and the building’s façade.<br />
FROM RENDERING TO REALITY<br />
Known for his movie set designs, Mead<br />
has also created some rather unusual<br />
spaces, including the custom interior of a<br />
747 aircraft. At Bar Basque, he channeled<br />
that experience to create an airplane-inspired<br />
aesthetic, envisioning the long, narrow<br />
interior as a red fuselage with curved<br />
ceilings and circuit board-style accents.<br />
Translating Mead’s ideas into reality<br />
posed several challenges, however. In his<br />
sketches, the sole light sources are randomly<br />
clustered downlights “that aren’t<br />
something you see in our industry,” says<br />
Bettridge. “We really tried to capture the<br />
spirit of everything that he was doing, but<br />
64 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
BAR BASQUE/FOODPARC<br />
Photo: Eric Laignel<br />
A reference to Basque culture, the patterned glass wall represents the region’s Bilbao tree. Cool-white LEDs uplight the panel, while red LEDs graze down<br />
from the top. Blue T5s illuminate the glass storage display in the background. The three colors combine to give the appearance of depth.<br />
put the lights where they worked with the<br />
ceiling and what was happening below,<br />
creating a family of fixtures.”<br />
CBBLD maintained the random quality<br />
of Mead’s sketch by varying the size and<br />
shape of the custom luminaires (RSA Lighting),<br />
which are integrated into the formed<br />
fiberglass ceiling. “Some elements are big,<br />
some are small, some are rectangular with<br />
curved edges and some have glowing components<br />
in them,” says Hennes. Fitted with<br />
37-W infrared MR16s, the fixtures seem<br />
arbitrary, but they are actually strategically<br />
positioned. “Wherever people are sitting,<br />
we put some white light on the tables,”<br />
notes Bettridge.<br />
Supplementing the downlights was another<br />
must. “The renderings are really focused<br />
on downlighting, so we had to think<br />
of ways to bring in more glow,” says Hennes.<br />
To stay true to Mead’s concepts, CBBLD<br />
came up with ways to integrate lighting<br />
into the architecture without adding visible<br />
fixtures. One method was to create glowing<br />
walls. Instead of a traditional opaque material,<br />
translucent red resin was used to form the<br />
curved portion of the walls seen in Mead’s<br />
sketches. Long-life T8 fluorescent strips<br />
with red gel sleeves make the wall appear<br />
to glow from within. The panels hinge open<br />
at the bottom so lamps are easily accessible<br />
for maintenance. In between the resin panels<br />
and the wall below, a textured horizontal<br />
reveal is lighted from behind by a continuous<br />
blue LED strip (iLight). The techy-looking<br />
band adds to the “control panel, switchboard”<br />
aesthetic, says Hennes.<br />
Glow was also added to the windows.<br />
Concealed above window walls, warm-white<br />
LED cove grazes the white shades below,<br />
creating ambient glow in the red dining and<br />
lounge area as well as the glass-enclosed<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 65
BAR BASQUE/FOODPARC<br />
Photo: Philip Koether Architects Rendering: Syd Mead Inc. Sketch: Syd Mead Inc.<br />
A CONCEPT TAKES SHAPE<br />
The sequence shows the progression from<br />
Mead’s early concept for FoodParc, to a<br />
more developed rendering, to the final<br />
installation, where fluorescents backlight<br />
computer chip-style acrylic ceiling panels and<br />
theatrical fixtures produce abstract colored,<br />
moving images on the white floors and walls.<br />
terrace on the opposite side of the windows.<br />
The illuminated architecture adds warmth to<br />
the edgy décor, making the red fuselage the<br />
perfect place for guests to enjoy a glass of<br />
wine . . . poured from a built-in, self-service<br />
wine vending machine, of course.<br />
BASQUE TO THE FUTURE<br />
For a wider beverage selection, patrons<br />
can visit the Whiskey Bar at the end of the<br />
restaurant. Though the bar is a continuation<br />
of the futuristic red lounge and dining<br />
area, its conceptual design also pays homage<br />
to the Basque region of Spain. Rising<br />
behind the bar, a glass wall with an applied<br />
leaf pattern represents the region’s famous<br />
Bilbao tree. Initially, the wall design<br />
called for four layers of glass. After four<br />
panes were valued engineered down to<br />
one, the team was tasked with maintaining<br />
the perception of depth achieved in the<br />
original rendering and “had to mix sources<br />
to create the layered effect,” says Hennes.<br />
Three colors of light were combined to<br />
create the appearance of depth: Cool-white<br />
LEDs uplight the bottom of the glass panel,<br />
red LEDs graze down from the top and recessed<br />
blue fluorescent T5s illuminate the<br />
whiskey bottle glass storage display in the<br />
background. The LED-backlighted acrylic<br />
bar provides additional ambient illumination,<br />
while a half-hidden hologram created by a<br />
ceiling-mounted framing projector adds a<br />
decorative surprise to a nearby column.<br />
The Bilbao tree reappears in the private<br />
dining room, where it is depicted in a painting<br />
by artist Andrew Schoultz. Unlike the<br />
rest of the interior, the private dining room<br />
was not included in Mead’s concepts. “We<br />
wanted to keep the same space-agey feel<br />
so that it looked like it belonged, but we<br />
didn’t want it to be a continuation of the<br />
red room,” says Bettridge. CBBLD distinguished<br />
the space by creating a custom<br />
chandelier. Suspended next to a fiber-opticilluminated<br />
skylight, circular mirrored reflectors<br />
of different diameters are hung at<br />
varying lengths. Light from stem-mounted<br />
MR16 monopoints bounces off the reflectors<br />
and illuminates the dining room below.<br />
FUTURISTIC FOODCOURT<br />
Nature-inspired accents and sci-fi interiors<br />
are an unlikely combination, but they<br />
complement each other at FoodParc, the<br />
downstairs restaurant. What else would<br />
you expect from an eatery that boldly<br />
pairs quirky gourmet snacks like pastrami<br />
egg rolls and artisanal bacon burgers with<br />
cafeteria-style dining?<br />
“It’s interesting because on one hand the<br />
architecture is very techy looking, but on<br />
the other a lot of the patterns are very natural<br />
and leafy,” says Hennes. “Syd really<br />
liked the idea of a dappled quality of light,”<br />
so CBBLD created foliage patterns using<br />
robotic theatrical fixtures (Martin) with<br />
150-W T6 metal halide lamps. Mounted in<br />
the black ceiling space between hanging<br />
translucent acrylic panels, the luminaires<br />
project abstract, moving, color-changing<br />
patterns onto the white floors and paneled<br />
walls. A similar leaf pattern is echoed<br />
on the multi-colored glass feature walls,<br />
which are grazed by warm-white LEDs.<br />
FoodParc’s “techy” elements are likewise<br />
enhanced by lighting. Fluorescents with<br />
specular bottom louvers backlight undulating,<br />
hanging, acrylic ceiling panels to reveal<br />
their computer chip-style patterns. “We<br />
didn’t try to evenly light the panels,” says<br />
Hennes. “We didn’t mind that the light would<br />
be a little stripey looking,” since the intention<br />
was to create the impression of light shin-<br />
66 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
BAR BASQUE/FOODPARC<br />
Photo: Philip Koether Architects<br />
Photo: Cline Bettridge Bernstein Lighting Design<br />
The futuristic concept continues even in the stairwell, where white LED strip highlights the threedimensional<br />
architecture to represent turbines turning.<br />
Color-changing LEDs illuminate window wells<br />
to enliven the façade.<br />
ing through tree branches. In Mead’s world,<br />
even trees, it seems, can be high-tech.<br />
SIGNS OF LIFE<br />
With so much attention to detail paid<br />
to both restaurant concepts, the design<br />
team didn’t want the experience to end<br />
when guests stepped into a corridor. As<br />
a result, the connective areas between<br />
the restaurants, including the shared<br />
tiered seating area, two entrances and<br />
stairwells, multiple hallways, and elevator<br />
banks, all bear Mead’s mark.<br />
For example, the northeast stairwell is a<br />
continuation of the red Bar Basque theme.<br />
Along the wall, a three-dimensional red band<br />
and oversized circle “represent machinery,<br />
like turbines turning,” says Bettridge. In<br />
Mead’s sketch, the turbine radiates spokes<br />
of light to suggest movement. To achieve<br />
the look, CBBLD used white LED strip to<br />
highlight the edge of the band and circular<br />
turbine element. Amber LED indicator lights<br />
create the impression of machinery.<br />
The stairwell gives guests a taste of the<br />
upstairs interior as they enter from Sixth Avenue.<br />
But the design team wanted to create<br />
the same appeal even before guests enter<br />
the building: “It has a clean, minimalist façade<br />
and we wanted people to get excited<br />
about what’s behind it,” says Bettridge.<br />
Grazing the 16-ft-tall windows along Sixth<br />
METRICS THAT MATTER<br />
Avenue, color-changing LED lights are positioned<br />
inside walled-off window wells to<br />
“enliven the façade and create a beacon that<br />
pulls people in,” adds Hennes. Like Mead’s<br />
futuristic interiors, the façade is a sign of<br />
things to come. ■<br />
Bar Basque/FoodParc Restaurants<br />
Watts per sq ft: 1.3 (complies with ASHRAE/IESNA 90.1-2004 and New York State<br />
Energy Code 2007)<br />
Illuminance Levels: target lighting levels at dining and general areas at FoodParc and Bar<br />
Basque = 10-30 fc (different light level presets were created for different times of day);<br />
food preparation area = 50 fc<br />
Lamp Types: 11<br />
Fixture Types: 11<br />
THE DESIGNERS<br />
Francesca Bettridge, LC, IALD, Member IES (1980), is president<br />
and principal of Cline Bettridge Bernstein Lighting Design<br />
in New York City.<br />
Michael Hennes, LEED AP, Member IES (2008), is a senior<br />
associate and project director at CBBLD.<br />
Nira Wattanachote, DLF, Member IES (2000), is an associate and project designer at CBBLD.<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 67
MEYDAN RACECOURSE<br />
A Day at the Races<br />
A horse racetrack<br />
with more than 3,000<br />
‘shuttered’ sports<br />
luminaires is an<br />
illuminated jewel in<br />
the Dubai desert<br />
BY WILLIAM WEATHERSBY<br />
68 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
MEYDAN RACECOURSE<br />
If you follow horse racing, you have,<br />
of course, heard of the Triple Crown’s<br />
Kentucky Derby, Preakness Stakes<br />
and Belmont Stakes; perhaps you’ve<br />
visited London’s Kempton Park or other<br />
racetracks around the world. Now the<br />
must-see outpost for thoroughbred aficionados<br />
is destination Dubai. The spectacular<br />
Meydan City in Dubai, United Arab<br />
Emirates, adds to an already legendary<br />
landscape of inventive architecture, engineering<br />
and lighting design. “Meydan”<br />
in Arabic means “meeting place,” and<br />
indeed the racecourse is a venue where<br />
fast-paced thoroughbred racing meets<br />
inventive illumination.<br />
tially launched as a Jumeirah-managed<br />
property, but now the flagship for the Meydan<br />
chain) encompasses a 285-room, fivestar<br />
hotel that directly overlooks what is<br />
billed as the world’s most exclusive horse<br />
racing venue. The racecourse features<br />
an imposing trackside LED media screen<br />
(from Mitsubishi) measuring 100 meters<br />
long by 12 meters high. The luxury hotel,<br />
itself, has more than 1.6 kilometers of interior<br />
LEDs, plus a multitude of dramatic<br />
lighting effects. Designed by TAK Architects<br />
of Malaysia and Dubai, with interior<br />
and exterior lighting by CD+M Lighting Design<br />
Group of Atlanta and Dubai, the highend<br />
hospitality and sporting property is an<br />
keep 60,000 spectators entertained between<br />
races when they are not leaving the stands<br />
to place bets?” The solution was thoroughbred-level<br />
lighting of the racecourse and the<br />
entertainment area in the paddock.<br />
The mandate from the hotel and racecourse<br />
owners, Meydan City Corp., was<br />
to create theatrical lighting that evokes<br />
an almost American NFL Super Bowl halftime<br />
show ambiance. “It was meant to be<br />
very family-oriented, and to create visual<br />
interest during the downtime between<br />
races,” Johnson notes. The LED-powered<br />
media screen entertains the crowd<br />
whether or not icons such as Elton John,<br />
Santana and Sting are performing.<br />
The dream project of His Highness Sheikh<br />
Mohammed bin Rashid Al Maktoum, UAE<br />
oasis of dramatic nightlife in the desert.<br />
“The project is multi-layered, with ex-<br />
OPEN AND SHUT CASE<br />
Vice President, Prime Minister and Ruler<br />
pressive interior, exterior, landscape and<br />
Just over 3,000 luminaires were used to<br />
of Dubai, the new evolving city complex<br />
horse racing facility lighting,” says prin-<br />
light the racecourse, all 1,500-W metal ha-<br />
will combine shopping, housing, business<br />
cipal lighting designer Ted Ferreira. “At<br />
lide and supplied by Musco. The fixtures<br />
parks and hospitality/sporting sites. “Mey-<br />
night, we wanted the hotel and racecourse<br />
were mounted in several locations: 889<br />
dan is founded on the guiding principles of<br />
grandstand to appear as a jewel box dra-<br />
double-stacked luminaires line the top of<br />
partnership, community and sporting excel-<br />
matically seen from the visitors’ approach.”<br />
the ½-mile long grandstand; 176 are posi-<br />
lence,” says chairman of the board and CEO<br />
tioned on four different masts on top of the<br />
of Meydan, Saeed Humaid Al Tayer. “We<br />
DUBAI’S SUPER BOWL<br />
hotel; and 1,935 are mounted on 25-meter-<br />
have conceptualized and planned for an in-<br />
As racing only occurs in Dubai between<br />
tall poles (52 total) staggered around the<br />
terconnected cityscape where the worlds<br />
the winter months of November and March<br />
track. Another 52 luminaires (2,000-W in-<br />
of business, sport and cosmopolitan living<br />
and at night, because of the hot desert<br />
candescent) were installed at the finish line.<br />
merge and complement each other.<br />
climate, evening illumination was a criti-<br />
Each 1,500-W fixture is equipped with a<br />
“Dubai had enjoyed 14 years of an amaz-<br />
cal concern for the sporting venue. Sports<br />
motor-controlled hood that rotates to “black<br />
ing racing legacy with the venue Nad Al<br />
lighting raced to a new level at Meydan<br />
out” each luminaire. Just four switches<br />
Sheba,” he continues, “but we were also<br />
when CD+M designed a CIE83/169 criteria<br />
transition the entire track into complete<br />
acutely aware of the fact that with the<br />
system to support television broadcasts,<br />
darkness from 2,500 lux in less than three<br />
Photos courtesy of Meydan Hotel and Racecourse<br />
increasing popularity of racing, growing<br />
turnouts at races and the demands of the<br />
international racing connections, Dubai<br />
needed a new facility that could cope<br />
with the expectations of patrons and<br />
horsemen, providing them with a facility<br />
that justified the stature of the sport.”<br />
The Meydan Hotel and Racecourse (ini-<br />
special entertainment events and the horse<br />
races themselves.<br />
“Sports lighting is generally designed by<br />
staff engineers, not a lighting consultancy,”<br />
says CD+M associate principal Bill Johnson,<br />
who led the team that designed the<br />
racecourse. “There is no official gambling<br />
in Dubai, so the quandary was, how do you<br />
seconds, to dramatic effect. Three programmable<br />
switching levels allow six different<br />
light levels, all with identical uniformity.<br />
“Entertainment under 1,800 vertical lux in<br />
such an expansive space doesn’t work, with<br />
objects getting washed out,” Johnson says.<br />
“Thus, the specific mandate to turn the<br />
sports lighting off between races was born.”<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 69
MEYDAN RACECOURSE<br />
Photos courtesy of CD+M Lighting<br />
The hotel abuts the racecourse, but the owner prohibited sports lights from being affixed directly<br />
onto the façade.<br />
The top of the grandstand was one of three<br />
LEDs are integrated into the underside of the grandstand seats.<br />
The challenge was that high-wattage<br />
(1,500 to 2,000-W) metal halide lamps<br />
are not fully dimmable or designed to<br />
be switched on and off (lumen output<br />
and lamp life are severely deteriorated).<br />
“Blocking the light or going to blackout<br />
was the only viable solution,” he says.<br />
Two technologies were explored by<br />
the design team to create this controlled<br />
lighting criteria: a scrolling type mechanical<br />
device which rolled a fabric in<br />
front of the luminaire, and then the shutter<br />
system, in which a mechanical visor<br />
rotates down in front of each lamp. The<br />
Musco product was eventually specified,<br />
a technology used in NBA arenas across<br />
the U.S. “Such a rig of these fixtures had<br />
70 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
MEYDAN RACECOURSE<br />
Photos courtesy of Musco<br />
mounting positions for the metal halide luminaires. A visor on each fixture reduces spill light.<br />
The racetrack luminaires in an open (above)<br />
and closed (below) position. A mechanical<br />
visor rotates down in front of each metal<br />
halide lamp. The entire track can go from<br />
illuminated to complete darkness in less than<br />
three seconds.<br />
never been used outdoors, particularly on<br />
this scale,” Johnson says.<br />
Each luminaire contains its own motorized<br />
linear actuator with a control wired<br />
back to the control room. One switch, for example,<br />
can open and close all 889 luminaires<br />
across the grandstand in approximately<br />
two seconds for a full blackout effect. The<br />
showlight visor is an integral component<br />
of the luminaire. When in the open position,<br />
the visor acts as a reflector focusing light<br />
onto the track and reducing light pollution<br />
and spill light. The system is employed up to<br />
12 times on a typical race night.<br />
The entire sports lighting system can<br />
be switched to three light levels of 33, 66<br />
and 100 percent maintaining a uniformity<br />
of 0.4 min/max, 0.6 minutes on average.<br />
A pole with perhaps 10 luminaires, for<br />
example, can be switched so that any of<br />
the three levels are maintained. If only<br />
33 percent of the lights are on, however,<br />
the uniformity of the light is not affected.<br />
This was built into the design so the lighting<br />
staff does not have to run the system<br />
at full power during practices, non-race<br />
nights, or when the facility is used for<br />
other purposes. In addition, the Meydan<br />
lighting system is equipped with a bi-level<br />
dimming transformer that can switch the<br />
luminaire to 50 percent power, reducing<br />
power consumption between races.<br />
The technical performance of the luminaires<br />
was just half the equation. The<br />
other factor was their aesthetic impact on<br />
the hotel. “The hotel was a bigger challenge<br />
in that the client didn’t want lights<br />
attached to the structure—at all,” Johnson<br />
notes. “The solution was to group the<br />
luminaires on masts situated on top of<br />
the elevator shafts of the building. These<br />
masts are attached to a 5-m pole with a<br />
hinged base plate each fitted with a dedicated<br />
hydraulic mechanism that folds the<br />
pole backwards to a horizontal resting position<br />
and concealed from view.”<br />
Finally, some lighting below complements<br />
this lighting above: CD+M designed<br />
LED seating for the grandstand which is<br />
integrated into the underside of the folddown<br />
stadium seats.<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 71
MEYDAN RACECOURSE<br />
Opened in 2010, the racecourse made<br />
its audacious debut in conjunction with the<br />
15 th Dubai World Cup. This year, the Dubai<br />
International Racing Carnival took place<br />
in January, while the world’s richest purse<br />
race day, the 16 th Dubai World Cup, raced to<br />
a finish on March 26. And with Tom Cruise<br />
having filmed his latest Mission Impossible<br />
METRICS THAT MATTER<br />
Meydan Racecourse<br />
Total Fixtures: approximately 3,000<br />
metal halide luminaires along the<br />
grandstand and hotel, and pole-mounted<br />
around the track<br />
Illuminance Levels: 130, 167 and 279 fc<br />
at different points along the track<br />
The racecourse is also lighted from luminaires<br />
(176) on four masts situated on the hotel<br />
roof, atop the elevator shafts. The masts<br />
are attached to a pole that folds down and is<br />
concealed from view.<br />
Photos courtesy of Musco<br />
film, Ghost Protocol, here recently, glamorous<br />
nightlife for the thoroughbred set would<br />
appear to be stamped Meydan Dubai. ■<br />
William Weathersby, the former lighting<br />
editor of several national publications<br />
including Architectural Record, Lighting<br />
Dimensions and Entertainment Design, is<br />
a freelance writer based in New York City.<br />
THE DESIGNERS<br />
Ted Ferreira, LEED<br />
AP, is a principal<br />
with CD+M Lighting<br />
Design Group.<br />
Bill Johnson, LC,<br />
is associate principal, Dubai offices, CD+M Lighting<br />
Design Group.<br />
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72 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
ASHFORD ESTATE<br />
Virtually all of the theatrical lighting emanates from the two longs walls of the ballroom.<br />
Barnyard Beauty<br />
74 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
ASHFORD ESTATE<br />
Urban meets rural as dance<br />
club-style lighting is woven into the<br />
bucolic architecture of a wedding<br />
ballroom in New Jersey<br />
BY PAUL TARRICONE<br />
Photos courtesy of Fennelli Design Group<br />
The Ashford Estate has an elegant name and a new wedding<br />
ballroom with splashy interiors, but with its rustic surroundings<br />
and architectural aesthetic, it wouldn’t be a surprise<br />
if during the reception, the bride and groom led their<br />
guests in a square dance instead of a line dance. Picture, if you<br />
will, a hoedown under color-changing lights.<br />
Improbable, yes, but possible when you consider the site’s split<br />
personality. Situated on 28 acres of rustic farmland in Allentown, NJ,<br />
the Ashford Estate encompasses a historic barn (used for ceremonies),<br />
a 12-bedroom main house, a pond with gazebo, a tree-lined<br />
driveway and the recently built wedding ballroom—a separate<br />
structure measuring 85-ft long by 57-ft wide, which holds 250 guests.<br />
The ballroom’s design is reminiscent of the neighboring barn<br />
with peaked ceilings and dual slopes (36-ft high at the center and<br />
14-ft high on the sides) found in its gambrel-style roof. But the<br />
ballroom is as much urban night club as country inn. “The owner<br />
wanted the whole room to light up at night and to change colors<br />
when the bride walked in,” says lighting designer James Fennelli<br />
of Fennelli Design Group, Allenton, NJ. “The owner has other<br />
wedding reception halls and really wanted to wow people with<br />
this one. He pointed out certain areas—the columns, coves and<br />
ceiling—but he didn’t want to see the fixtures in these areas.” LED<br />
luminaires comprise the lion’s share of the lighting, supplemented<br />
by a limited application of incandescent and discharge sources.<br />
Finding fixtures to fit the bill was difficult because Fennelli<br />
insisted on using tri-color LEDs. “Each individual LED produces<br />
each color—red, blue and green—so you won’t have a guest sitting<br />
near a fixture who would see a red LED come on, then a blue<br />
LED come on and then a green LED come on.” Instead, guests only<br />
see the color-mixed end result throughout the room.<br />
IT’S ALL IN THE WALLS<br />
Three of the four walls in the rectangular building are lined with<br />
windows offering a view of the grounds. The two longest walls each<br />
have seven banks of picture windows separated by columns with an<br />
archway above each window. An alcove sits between the top of the<br />
picture window and the peak of the archway. In addition, overhead<br />
beams sprout from the space where two archways meet (at their lowest<br />
points) and visually extend the look of the columns upward.<br />
These architectural details within the two long walls of the ballroom<br />
provide the hiding places for the luminaires. “The fixtures were<br />
built right into the building—into the architecture—permanently.<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 75
ASHFORD ESTATE<br />
HIDDEN FIXTURES<br />
1. 2. 3.<br />
Three LED luminaire types (approximately 90 total from Illuminarc) are concealed within the walls of the ballroom.<br />
1. The linear washer sits in the flat area of the alcoves above the windows.<br />
2. This recessed fixture flanks the columns on both sides, providing uplighting.<br />
3. This luminaire—which the designer likens to a McDonald’s Quarter Pounder—is mounted in the joint where the archway above the window meets the<br />
column beam and is also used to uplight the taller columns on the short wall of the building.<br />
Six 150-W discharge luminaires with moving heads light the dance floor<br />
and project patterns on the ceiling.<br />
They just blend,” says Fennelli. Approximately 90 luminaires (from Illuminarc)<br />
are used in these niches to wash the space in colored light.<br />
First are the columns separating each group of windows. Fennelli<br />
flanked each column with a 3.2-W LED luminaire recessed<br />
into the base for uplighting. In each alcove above the windows,<br />
decorative molding is punctuated by a pair of small, incandescent<br />
ornamental sconces. In addition, the flat area within the alcoves<br />
houses two linear 12.8-W LED wash lights that measure about 1-ft<br />
long and emit a 120-deg wide beam.<br />
For the joints where the ceiling beams meet the lowest point<br />
of the window archways, Fennelli specified a 12.9-W LED luminaire.<br />
The small fixture—Fennelli says it “looks like a McDonald’s<br />
Quarter Pounder”—uplights the beams that climb up the sloped<br />
barnyard-style ceiling. This fixture was also used to light the two<br />
columns on the wall opposite the ballroom entrance.<br />
Finally, two other luminaires were used for accent lighting and<br />
theatrical effect. “The owner wanted white light” for these applications,<br />
says Fennelli. Six high efficiency, 150-W discharge luminaires<br />
(from Martin) with moving heads are used to light the<br />
dance floor, highlight the bride and groom’s first dance and project<br />
patterns on the ceiling. Thirty-four 12-V incandescent pin spot luminaires<br />
(Altman) highlight the tables and centerpieces.<br />
Architecture meets lighting: In the alcove above the windows, ornamental<br />
sconces combine with linear LED washers. Concealed LED fixtures uplight<br />
the barnyard-style beams that climb the sloped roof, while pin spots high<br />
above highlight the tables and centerpieces.<br />
WEDDING PLANNER<br />
Unlike the typical project where a lighting designer never sees<br />
his handiwork once the installation is complete, Ashford Estate<br />
is the wedding gift that keeps on giving for Fennelli Design Group.<br />
Fennelli or a colleague meets with every couple getting married<br />
at Ashford to discuss the lighting scheme for the reception. Some<br />
76 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
ASHFORD ESTATE<br />
Return Visit<br />
When Michael Souter visited the San Francisco’s Intercontinental<br />
Hotel in 2010 to participate in a retrofi t place; however, they have been removed and lab-tested after 3,000,<br />
a satisfaction survey. “In the end, the LED replacements were left in<br />
of some of the hotel’s lighting, he knew whose fi n- 6,000 and 9,000 hours to determine how the lamps have changed in<br />
gerprints were all over the existing design: his own. Souter, design<br />
principal for local fi rm Luminae Souter Associates, did the original<br />
lighting for the Intercontinental in 2008.<br />
Souter’s most recent trip to the hotel was aimed at making some<br />
of that lighting more energy effi cient. “I was<br />
asked to be part of a team to evaluate LED<br />
retrofi t products that could be used,” he says.<br />
“The process involved evaluating the existing<br />
lamp technology and looking for quality<br />
alternatives that would not compromise the<br />
design or guest experience. The candidates<br />
included AR111, PAR30 and MR16 lamps.”<br />
The Department of Energy Gateway project<br />
was a collaboration between Pacifi c Gas &<br />
Electric, Pacifi c Northwest National Labs<br />
(PNNL) and the hotel.<br />
Early on, the team asked various manufacturers<br />
who made LED replacement lamps to<br />
submit samples for testing. “We evaluated<br />
several candidates for color quality, color temperature,<br />
lumen output, color rendition and color temperature,” says Souter.<br />
After each test, the same lamps have been reinstalled. “To date there<br />
have not been any signifi cant changes in performance or quality; the<br />
unexpected surprise is how well the quality of the lighting improved<br />
the wood wall at the reception area.”<br />
Souter, though, is quick to point out<br />
that an all LED approach for hotel lighting<br />
is not yet viable. “Not all light fi xtures are<br />
good candidates for LED replacements.<br />
For instance, in the ballroom the ceilings<br />
were very high and the fi xtures required<br />
100 percent dimming. The available LED<br />
retrofi t products for the existing 150-W<br />
PAR38NSP lamps did not have the required<br />
lumen output, beam spread or full<br />
range dimming ability. At this point, the<br />
best retrofi t applications for the hotel<br />
market are in lower ceiling heights using<br />
PAR30, PAR38 and MR16 halogen lamps,<br />
especially where lighting is on 24/7.<br />
quality of beam pattern, potential<br />
On a personal note, Souter harbors no<br />
The registration desk at the Intercontinental Hotel<br />
flicker and dimming capability,” says Souter. in San Francisco, lighted by incandescent/halogen ill will about some of his original work at<br />
“We took a very quantitative approach during<br />
the evaluation and scored each product accordingly<br />
to the criteria we were looking for.<br />
We selected good alternatives for the PAR30<br />
(above) and LED replacement sources (below).<br />
The designer, who did the original lighting plan,<br />
was pleased with how the LEDs improved the light<br />
quality on the wood wall.<br />
the Intercontinental being revamped. “I’m<br />
not disappointed,” he says. “Actually the<br />
design process started in 2005 and I used<br />
the best technology available at the time.<br />
and MR16 lamps but did not find a good alternative for the AR111.”<br />
The selected lamps were installed in pre-selected testing zones<br />
of the hotel, replacing their incandescent/halogen counterparts for<br />
several weeks to see how they performed. The testing zones included<br />
conference rooms, the registration desk area and elevator lobby,<br />
guestroom corridors and an area where artwork is illuminated.<br />
Meanwhile, to help assess the aesthetic quality of the LED replacements,<br />
hotel staff, management, designers and engineers took part in<br />
Initially I was apprehensive about the retrofi t because of so many<br />
bad LED products on the market and some very bad retrofi ts. The<br />
Intercontinental was also apprehensive that the aesthetics and guest<br />
experience might be compromised. Even after the retrofi t, I am still<br />
consulting with the hotel maintenance staff on how to maintain the<br />
original lighting design. Also, IHG has asked me to consult on several<br />
other hotels with similar opportunities. This is a vote of confidence.”<br />
— Paul Tarricone<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 77
ASHFORD ESTATE<br />
opt for understated—i.e., less color-changing—while others<br />
want something more dynamic. There’s often substantial daylight<br />
at the start of a wedding—especially on a summer wedding—so<br />
the colored light generally appears later in the evening. “During<br />
the reception’s first two hours the ballroom is lit by the same color<br />
throughout,” he says. “As the night progresses, the room takes on<br />
a different look. We’ll do color fades and color chases so the room<br />
takes on a nightclub feel with an elegant look.” Also every table<br />
set-up and flower arrangement is different, so Fennelli’s team will<br />
match the light to the flowers and table cloth.<br />
What makes the installation more unusual, says Fennelli, is that<br />
the LEDs can create a “two-tone look.” The complete left side<br />
with the three fixtures makes one channel. The right side comprises<br />
another channel. Says Fennelli, “We can split the colors on<br />
the columns, alcoves and archways so they can be lit two different<br />
colors at the same time.”<br />
A bit of pink for her and some blue for him. ■<br />
METRICS THAT MATTER<br />
Ashford Estate<br />
Number of Fixtures: approximately 135<br />
Fixture Types: 5<br />
THE DESIGNER<br />
James Fennelli, chief of operations, Fennelli Design Group, Allentown,<br />
NJ, has over 25 years experience in the integration of<br />
lighting, sound, video projection and special effects. Ray Cerwinski,<br />
Fennelli Design Group, was responsible for installation and<br />
programming.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
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78 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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THE HURRICANE CLUB<br />
What do South Pacific and the Rat Pack have in common?<br />
They’re both channeled in the design of The Hurricane<br />
Club in New York City. A combination of mid-century<br />
Tiki, swanky 1960s supper club and French Colonial<br />
styles, the seemingly incongruous design concept for the 350-seat,<br />
10,000-sq ft, Polynesian-cuisine restaurant and lounge could have<br />
looked chaotic and cluttered. Instead, disparate historical, cultural<br />
and geographical references were seamlessly blended into six “experiences,”<br />
or areas within the restaurant, by interior design firm AvroKO<br />
and lighting design firm Focus Lighting, both based in New York<br />
City. The end product resists emulating one particular place or era,<br />
making it timeless and, ultimately, one-of-a-kind.<br />
Guests are greeted with an “impressive first look,”<br />
which includes a hurricane-inspired chandelier.<br />
Period<br />
Drama<br />
Diverse design influences converge<br />
to form six exotic ‘experiences’ at<br />
The Hurricane Club<br />
BY ELIZABETH HALL<br />
FIRST IMPRESSIONS<br />
From the outside, The Hurricane Club is shrouded in mystery. White<br />
frosted glass doors at the entrance and ruched fabric curtains covering<br />
perimeter windows prohibit views inside. The effect not only piques the<br />
interest of passersby, it also purposely creates a division between the<br />
hectic city streets and the interior guest experience. “It’s all covered,<br />
so you can’t see inside and you don’t know what to expect. Then you<br />
come through the first set of doors into the lobby and see a chandelier<br />
made of bones, and before you even open the doors, you get a hint of<br />
what’s to come,” says Juan Pablo Lira, Focus Lighting, who designed<br />
the lighting along with Focus principal Michael Cummings.<br />
But the real reveal comes next. After passing through the second<br />
set of doors, guests enter the restaurant and are greeted with what<br />
Cummings calls “the impressive first look” of a giant chandeliertopped<br />
bar surrounded by the main dining area. Immediately “you’re<br />
transported,” he adds. “It’s an escape.”<br />
“The Hurricane Room,” is the first of the six guest “experiences,”<br />
and lighting was essential to create the initial immersion. On entering,<br />
visitors’ eyes are immediately drawn to the massive chandelier<br />
hung above the bar. Designed to resemble a hurricane, the chandelier<br />
“evokes the drama of a dynamic form revolving around the room,”<br />
adds Paul Gregory, Focus Lighting principal and founder. The effect is<br />
created by three layers: an internally illuminated crystal chandelier in<br />
the center forms “the eye of the storm” and is encompassed by two<br />
layers of gold chain that are draped in a swirling pattern to suggest<br />
movement. The chains are side-lighted by 50-W MR16s mounted on<br />
track in the ceiling (Time Square Lighting). The luminaires reflect off<br />
of the surrounding mirrored columns and the bar’s mirrored “hatches”<br />
for bar lighting, supplemented by 20-W xenon puck lights (CSL)<br />
Photos: Michael Weber (unless otherwise noted)<br />
80 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
THE HURRICANE CLUB<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 81
THE HURRICANE CLUB<br />
Mounted on track in the open, black ceiling, AR70 spots concentrate light on the tables below in “The Hurricane Room,” the main dining area and bar.<br />
mounted under the hatches. A handful of smaller crystal chandeliers<br />
hung over seating banquettes and walkways echo the elegance of<br />
the central centerpiece.<br />
In the main dining area around the bar, tables are pinspotted with<br />
50-W AR70 track heads (Time Square Lighting). The spots concentrate<br />
light on the tabletops to illuminate diners and food, but don’t<br />
“splash light around,” says Cummings. “We wanted to create a dramatic<br />
environment, but at the same time make sure that people look<br />
good.” The spots also bounce light off of the warm-toned finishes, like<br />
cane-paneled walls, and mirrors, “for a little bit of fill light. It makes<br />
diners look like they are surrounded by torchlight.”<br />
PRIVATE HIDEAWAYS<br />
Guests can get that same glow in “The Lagoon Lounge,” one of<br />
three additional “experiences” off the main dining area, which features<br />
a large faux-fireplace with a white coral mantel, two cast glass<br />
pendants with decorative, exposed-filament incandescents, and<br />
a 10-ft-tall, three-tiered barnacle chandelier. Low-voltage zenon<br />
strip highlights two mirrors on opposite ends of the room. AvroKO<br />
designed the decorative lighting for the project, which consists of<br />
eclectic and mostly custom elements sourced from all over the globe.<br />
While the glass chandeliers provide the majority of ambient illumination<br />
in the lounge, 75-W MR16 framing projectors (Times<br />
Square Lighting) add ambiance with patterned light. “We wanted<br />
to create the idea of the sun shining through an exterior wooden<br />
trellis, so the fixtures shoot through wood ceiling screens to produce<br />
this shadow-line pattern that repeats,” says Lira.<br />
Framing projectors also enhance the experience in “The Cave<br />
Rooms” next door. Separated from the main dining room by cane<br />
screens, the two rooms “allow guests a little more seclusion,” says<br />
82 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
THE HURRICANE CLUB<br />
Decorative cast glass fixtures flank a coral mantelpiece in “The Lagoon<br />
Lounge.” Zenon strip outlines two mirrors at opposite ends of the lounge.<br />
The same track heads light the warm-toned finishes, like cane-paneled walls.<br />
Lira. To heighten the sense of privacy, “there are these projections on<br />
rattan screens that you can only see from inside the caves. They are<br />
meant to evoke the shadow of the plants around you; it’s like the sun<br />
coming through the palm trees.” Surface-mounted MR16 and AR70<br />
track heads graze the textured white stone surface of the adjacent<br />
walls. As a finishing touch, red glass pendants wrapped in mesh netting<br />
are hung between black lacquered ornamental ceiling panels.<br />
The pendants resemble buoys, adding to the island aesthetic.<br />
The third separate experience off the main dining area, “The Volcano<br />
Room,” moves away from the neutral palette of buttery browns<br />
and ivory bone that characterizes the main dining room and three<br />
other rooms. Here, red is the theme. Frosted glass pendants lend ambiance<br />
to the space, while 75-W framing projectors and 50-W wall<br />
washers illuminate red surfaces, including glossy red lacquer walls<br />
and red and gold wallpaper inspired by native Polynesian tattoos.<br />
Framing projectors cast palm-tree patterns on the cane screens that<br />
separate “The Cave Rooms” from the main dining room. Wrapped in mesh,<br />
red glass pendants resemble buoys, a nod to the island theme.<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 83
THE HURRICANE CLUB<br />
Photo: Juan Pablo Lira<br />
In “The Volcano Room,” framing projectors and wall washers light highgloss<br />
red walls and wallpaper inspired by traditional Polynesian tattoos.<br />
A final surprise, bone reliefs in the restrooms are illuminated by MR16<br />
accents.<br />
TREASURE TROVE<br />
As promised by a neon sign advertising “Rum & Shine,” the guest<br />
experience continues downstairs as well. In addition to sampling rum<br />
from a specially designed “water” fountain or getting a shoe shine,<br />
patrons can host parties in “The Bora Bora Black and White Room,”<br />
a private dining room that is designed to be “more subtle, more subdued<br />
than the upstairs rooms” and features darker finishes, notes<br />
Lira. The ambient lighting is also decorative: mounted within decorative<br />
white ceiling coffers, exposed half-chrome incandescent lamps<br />
are a nod to turn-of-the-19 th -century architecture.<br />
The theme even continues in the most unlikely of places—the restrooms<br />
which comprise the sixth experience. Lining the walls, carefully<br />
curated replicas of animal bones create exotic reliefs illuminated<br />
by 50-W MR16 accents (Contrast Lighting). “You don’t know if they<br />
are human or animal bones,” jokes Lira. It’s just one of the restaurant’s<br />
many surprises. ■<br />
METRICS THAT MATTER<br />
The Hurricane Club<br />
Watts per sq ft: 3.1 total; architectural lighting = 2.1;<br />
decorative lighting = 1.0<br />
Lamp Types: 6<br />
Fixture Types: 9 (not including decorative pendants)<br />
THE DESIGNERS<br />
Paul Gregory, Member IES (1983), is founder<br />
and president of Focus Lighting, Inc. in New<br />
York City.<br />
Michael Cummings (right) is one of Focus Lighting’s<br />
principal designers and is also director of<br />
design.<br />
Juan Pablo Lira (bottom) is a senior designer with Focus Lighting in<br />
New York City. Lighting designers Hilary Manners and Stephanie<br />
Daigle also participated in the design for The Hurricane Club. Dan<br />
Nichols was the project manager.<br />
84 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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PARX GRILL<br />
Interior architecture and lighting for U.S. steakhouses have been<br />
visually predictable since the introduction of the genre in chain<br />
format or in the occasional regional specialty restaurant. Some<br />
destinations are decidedly upscale, often with a preponderance<br />
of dark woods, deep-tone leather and functional lighting that gives<br />
the space a British men’s club overtone. Mid- and popular-priced<br />
steakhouses often take their theme from expanded roadside eateries,<br />
informal and using a design vernacular in keeping with their locales.<br />
For the Parx Grill, the 5,000-sq ft, top-of-the-line steakhouse within<br />
the Parx Casino, the owners had in mind a jewel box of a dining destination.<br />
“The client did want to retain features such as dark woods,<br />
leather, wine display and a fireplace, but with a contemporary spin,”<br />
says architect Richard Mark, interior design principal at the Philadelphia<br />
office of KlingStubbins. The casino was clear about wanting a<br />
dining environment with clean modern lines and contemporary finishes<br />
that could hold its own in any upscale urban commercial district.<br />
Located on the same site as the former Philadelphia Park racetrack<br />
in Bensalem, PA, bordering the Philadelphia city line, Parx Casino<br />
draws from a 30-mile radius, a mixed urban/suburban market. When<br />
it was time to plan for the Parx Grill, “The ultimate design goal of the<br />
Grill’s management was a steakhouse that communicates the image<br />
of an oasis within the busy milieu of the casino’s machines and gam-<br />
Parx Grill’s contemporary approach to the<br />
traditional steakhouse interior intermixes<br />
lighting with sculptural architectural forms<br />
at a Philadelphia-area casino<br />
BY VILMA BARR<br />
Steakhouse<br />
Well Done<br />
The<br />
Photos: Jeffrey Totaro<br />
entry of the restaurant includes several design flourishes. MR16<br />
entry frame behind is uplighted by the same in-floor fixtures.<br />
86 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
PARX GRILL<br />
downlights illuminate the glass art on the clear glass étagère, while in-floor wallwashers graze a screen of overlapping wood panels. The red wooden<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 87
PARX GRILL<br />
ing stations,” says architect Mark Zwagerman, the hospitality studio<br />
director at KlingStubbins. In addition to its appeal to casino patrons,<br />
the steakhouse has capitalized on a substantial secondary market as<br />
a dining destination for residents of nearby communities.<br />
TAKING CUES FROM THE CASINO<br />
The design team and KlingStubbins’s lighting designer Andrea<br />
Hauber were on a fast-track, six-month design and construction<br />
timetable for the $2.5 million eatery. Empty space within the casino<br />
needed to emerge into a sophisticated restaurant environment<br />
that is open around the clock, with a dining room to seat<br />
135 guests, a small holding/service bar and a private dining room<br />
for 12. “From the gaming floor, we took cues from major elements<br />
such as crystal chandeliers, high-gloss millwork and high-definition<br />
displays, and art glass pieces were reinterpreted for the Grill,”<br />
says Zwagerman. (The casino floor was designed by others.)<br />
“The steakhouse interior is visible from the casino floor without<br />
a front enclosure,” Hauber points out, “so lighting plays a key part<br />
in transitioning the mood from casino to dining enclave, from day to<br />
evening. The juxtaposition of the lighting, the sparkle of ceiling-hung<br />
fixtures, and the combination of cool white on warm white LEDs of the<br />
metal bead curtains provides a variety of moods within the restaurant.”<br />
On both sides of the entry to the space, which is framed by faceted<br />
limestone, is a tall clear glass étagère. On their shelves are<br />
colored art glass pieces commissioned for the project, including<br />
several in the shape of red and amber wine-bottles. Recessed<br />
downlights with 50-W MR16 lamps provide a soft shimmer to the<br />
étagères and their art glass displays.<br />
Adding to the entry’s strong visual identity is a free-standing,<br />
18-ft-high wood screen of canted, overlapping, high-gloss-finish<br />
Silverwood panels. They are uplighted with recessed, in-floor,<br />
grazing wallwashers fitted with 20-W T5 lamps. Directly behind<br />
the panels is a deep-red painted wood entry frame, uplighted<br />
with the same wallwash fixtures. Recessed downlighting within<br />
the frame, which serves as fill lighting for the space, is comprised<br />
of compact 32-W fluorescent fixtures with an integral electronic<br />
dimming ballast. At the dining and entry bar, recessed, 50-W<br />
MR16s provide open downlighting and wallwash illumination.<br />
SHAPES AND WAVES<br />
The main dining room’s stepped, resin ceiling coffers sparkle<br />
with color-changing LEDs and are accented by teardrop-shaped,<br />
Tear-drop shaped pendants and color-changing LEDs light the tables in the<br />
steel beads that appear to float in front of a stone wall. LEDs graze the<br />
patterned glass pendant fixtures. Linear low-profile LEDs, 3 watts<br />
per sq ft, include a dimming module and controls. In the private<br />
dining room beyond, the internally lighted crystal chandelier<br />
echoes the rectangular shape of the table.<br />
An 11-ft-high by 33-ft-long wall formed by five rows of bookmatched<br />
squares of onyx is backlit with cool white LEDs, 9.2-W per<br />
88 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
PARX GRILL<br />
main dining room. At the rear, a wood canopy frames rows of stainless<br />
beads for a glistening effect.<br />
An internally lighted crystal chandelier mimics the shape of the<br />
rectangular table in the private dining room.<br />
panel. At the second level of onyx squares above the banquettes<br />
is a recessed horizontal fireplace with computer-controlled flame<br />
shapes—actually produced by digital imagery and flat screen<br />
technology—silhouetted against a red background.<br />
Along both sides of the restaurant, wood canopies create an architectural<br />
frame for triple wave-cut rows of stainless steel beads<br />
that appear to float in front of a textured stone wall. Hauber created<br />
a subtle glisten on the beads by grazing each with combined<br />
cool white and warm white LEDs, 7.6 watts per linear ft, end-toend<br />
mounted, with a remote dimming module.<br />
Limestone and cut river rock floors create a neutral ground for<br />
the bronze and black carpet in a stylized pattern of interlocking<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 89
PARX GRILL<br />
Onyx squares are backlit with cool white LEDs. The casino also wanted the classic fireplace of a steakhouse, but with a contemporary spin: the fire is<br />
actually a computer-generated image.<br />
branches. Colorful commissioned abstract expressionist artworks<br />
are mounted against wood walls to contribute to the sophisticated<br />
ambience of the room. Generously sized upholstered<br />
chairs and banquettes are a custom KlingStubbins design.<br />
“Everyone pulled together to meet our very accelerated time<br />
schedule. The end result was the contemporary fusion approach<br />
that the owners agreed expressed their image,” says Hauber. ■<br />
Vilma Barr is a regular contributor to LD+A.<br />
METRICS THAT MATTER<br />
Parx Grill<br />
Watts per sq ft: complies with ASHRAE 2007<br />
Lamp Types: 4 traditional lamp types and 4 integral LED types<br />
Fixture Types: 18<br />
Illuminance Levels: Fully dimmable system with scene selection<br />
THE DESIGNERS<br />
Andrea Hauber, LC, LEED AP, Member IES (2005),<br />
is a lighting designer with KlingStubbins and a<br />
Board member of the IES Philadelphia Section.<br />
Mark Zwagerman, AIA, LEED AP, is senior associate<br />
and studio director at KlingStubbins.<br />
Richard Mark (left), design principal, interiors at KlingStubbins oversees<br />
all aspects of project design for the firm’s national interiors<br />
practice.<br />
90 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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RESEARCH<br />
Core Concepts<br />
Core sunlighting is a practical, natural alternative for interior illumination deep<br />
within a building<br />
BY LUÍS FERNANDES AND MICHELE MOSSMAN<br />
A<br />
substantial, well-recognized challenge<br />
exists in many buildings:<br />
how to illuminate central spaces<br />
using as little electrical energy as<br />
possible. An obvious solution: use available<br />
sunlight instead of electric light.<br />
The key is to determine how best to use<br />
daylight to illuminate areas deep within<br />
a building. A number of architects and<br />
building designers advocate eliminating<br />
the dark core entirely using narrow floor<br />
plates, high ceilings and high fenestration<br />
ratios, so that daylight penetrates<br />
throughout. With careful design to minimize<br />
glare, this solution has the potential<br />
to create pleasant spaces. But the idea<br />
does not address the massive stock of existing<br />
large-floor-plate buildings, or new<br />
buildings that require a large floor plate to<br />
optimally execute a desired purpose. Narrow<br />
floor plates also can be expensive because<br />
the construction cost per unit area<br />
of floor space is significantly increased.<br />
Here, we discuss a fundamentally different<br />
approach to the problem: illuminating a<br />
building’s core with piped sunlight. This is<br />
not a new idea, but thanks to the availability<br />
of new optical materials and designs,<br />
a theoretical possibility has transformed<br />
into a practical and affordable alternative.<br />
Unlike other solar technologies, core<br />
sunlighting involves capturing sunlight<br />
at the building envelope, concentrating it,<br />
transporting it and regulating its release<br />
deep within the building at useful indoor<br />
lighting levels, typically only 1 percent of<br />
outdoor illumination (Figure 1). Significant<br />
electrical energy savings can be realized if<br />
the system incorporates automated electric<br />
lighting controls that substantially dim<br />
or completely turn off the electric lights.<br />
Core sunlighting systems have the potential<br />
to deliver illumination with the benefits<br />
of high-quality electric lighting while<br />
also providing the advantages of daylight,<br />
including excellent color rendering and substantial<br />
energy savings. A further benefit is<br />
that windows can be optimized to prevent<br />
glare and provide a view rather than illumination,<br />
with the overhead lighting synchronized<br />
with the outdoor lighting, giving<br />
Figure 1. Sunlight is collected on the rooftop or façade and piped inside for lighting.<br />
Figure 2. Optimal system cost depends on choice of sunlight<br />
collection and delivery approaches.<br />
94 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
RESEARCH<br />
occupants a natural and intuitive sense of<br />
connection with the exterior environment.<br />
These benefits, however, will not become<br />
widely available until core sunlighting<br />
is both cost effective and seamlessly<br />
integrated within construction techniques.<br />
For this reason, we are part of an ongoing<br />
inter-university research collaboration,<br />
funded by parties in Canada and California,<br />
aimed at achieving mainstream availability<br />
by 2030. The core of the partnership<br />
is formed by the University of California,<br />
Davis; University of California, Merced;<br />
University of British Columbia; and Ryerson<br />
University in Toronto, and has been<br />
complemented with a broad range of participants,<br />
including major electrical utilities<br />
in Canada and California, national laboratories,<br />
and a number of industry professionals<br />
and manufacturers.<br />
TWO DRIVERS: EFFICIENCY AND COST<br />
As with most solar technologies, a key<br />
issue is the net capital cost of the system.<br />
In this regard, it is important to remember<br />
that the dominant capital investment in<br />
any building is the structure itself, which<br />
means that space inside the building has<br />
a very real capital cost per cubic ft. Consequently,<br />
any energy-saving system in a<br />
building has an effective additional capital<br />
cost burden proportional to its volume.<br />
This fact makes it economically essential<br />
to concentrate sunlight before piping it into<br />
the building because the cost of capital of<br />
the space required to guide unconcentrated<br />
sunlight would be higher than the<br />
savings from reduced electrical use. (We<br />
should emphasize that this need for concentration<br />
does not apply to daylighting at<br />
the periphery of a building, using windows,<br />
skylights and tubular skylights. Such daylighting<br />
methods already are practical and<br />
are completely compatible with core sunlighting<br />
systems, together forming a natural<br />
lighting system for the whole building.)<br />
But just how inexpensive must a core<br />
sunlighting system be for the building industry<br />
to accept it? Typical electric lighting<br />
loads today are an estimated 1 watt per sq<br />
ft. If a core sunlighting system turns off this<br />
load 40 percent of the average 2,000 workday<br />
hours each year, a savings of about<br />
0.8 kWh per sq ft per year results. Typical<br />
electricity costs currently range roughly<br />
between $0.10 and $0.30 per kWh, so the<br />
annual savings will be somewhere between<br />
$0.08 to $0.24 per sq ft per year. To attain<br />
payback within 10 years, core sunlighting<br />
must not cost more than $0.80 to $2.40 per<br />
sq ft per year. The exact value will vary, depending<br />
on sunlight availability and other<br />
factors such as peak load electrical pricing.<br />
Despite other potential economic benefits<br />
such as protection from energy price escalation,<br />
cooling load reduction and increased<br />
occupant productivity, this calculation is<br />
sobering: It suggests that successful core<br />
sunlighting will require optimized, costeffective<br />
materials and volume manufacturing,<br />
without significantly adding to the cost<br />
of any other building components.<br />
Determining the total system cost by depending<br />
on the methods of capturing and<br />
distributing the sunlight is a design optimization<br />
problem. In one extreme, sunlight is<br />
concentrated very little and the collection<br />
apparatus is comparatively inexpensive (it<br />
could consist of little more than an expanse<br />
of glazing), but the subsequent delivery of<br />
the light requires high floor-to-floor spacing,<br />
which adds considerably to the cost of<br />
the building. At the opposite extreme, the<br />
sunlight is highly concentrated by more expensive<br />
optical components and is directed<br />
into comparatively inexpensive small light<br />
guides. The optimum design may be a compromise<br />
that minimizes total system cost<br />
Core sunlighting involves capturing sunlight at the<br />
building envelope, concentrating it, transporting it<br />
and regulating its release deep within the building<br />
at useful indoor lighting levels<br />
with an intermediate level of concentration<br />
(Figure 2). Naturally, a variety of design parameters<br />
undoubtedly will find optimal application,<br />
depending on specific applications.<br />
It may be helpful to loosely classify<br />
core sunlighting systems based on the<br />
location of sunlight capture and degree<br />
of concentration, as depicted in Figure 3.<br />
It could be argued that core sunlighting<br />
systems in the R2 and F2 categories correspond<br />
to the minimum total cost that was<br />
shown in Figure 3. However, as mentioned<br />
above, systems in the other categories<br />
may be no less viable, depending on application<br />
and specific system characteristics.<br />
Much of what has been learned by studying<br />
F2 systems, as described below, is applicable<br />
to the other categories.<br />
TWO CASE STUDIES<br />
Two demonstration projects (academic<br />
buildings in British Columbia, Canada)<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 95
RESEARCH<br />
funded largely by the Canadian government,<br />
are being conducted to evaluate<br />
the performance of some systems of the<br />
F2 type (Whitehead, 2010). These systems<br />
collect and concentrate sunlight<br />
along the façade adjacent the plenum<br />
space, below each floor on the wall that<br />
has the most sun exposure (Figure 4).<br />
Optical components within the enclosure<br />
direct sunlight through small windows<br />
in the building wall and into dual-function<br />
light guides, which distribute the sunlight<br />
and provide electric lighting to maintain<br />
adequate indoor light levels when enough<br />
sunlight is not available. The hollow light<br />
guides are inexpensive and highly efficient<br />
because of newly developed polymeric<br />
reflective films whose absorption is less<br />
than 1 percent per reflection. The system<br />
provides illumination through the space<br />
Figure 3. Classification of core sunlighting systems.<br />
exceeding the typical standards of ~500 lux<br />
for office spaces, using sunlight when available.<br />
A preliminary verification undertaken<br />
by the electrical utility BC Hydro indicates<br />
that performance matches predictions.<br />
MISSION 2030<br />
New approaches to energy-efficient<br />
lighting using core sunlighting mean that almost<br />
all areas of a building can be illuminated<br />
with sunlight whenever the sun shines,<br />
without requiring any increase in floor-tofloor<br />
height or large expanses of glazing.<br />
As a result, cost-effective, highly efficient<br />
core sunlighting systems have the potential<br />
to significantly affect how the building<br />
industry approaches green building design.<br />
The goal of researchers from Canadian<br />
and California universities is to achieve<br />
mainstream adoption for the technique<br />
by 2030. This will be done in collaboration<br />
with other research institutions, as<br />
well as utilities, manufacturers, building<br />
design practitioners, government and any<br />
other relevant stakeholders. ■<br />
REFERENCES<br />
Aizenburg, J. B., Bukhman, C. B., and Pjatigorsky, V. M.,<br />
“A new principle of lighting premises by means of the illuminating<br />
device with the slit lightguides”, CIE Publication No.<br />
36, 1976.<br />
Beltrán, L.O., Lee, E.S., Papamichael, K.M., and Selkowitz,<br />
S.E., “The design and evaluation of three advanced daylighting<br />
systems: light shelves, light pipes and skylights”, Proceedings<br />
of the Solar ‘94 Conference, American Solar Energy<br />
<strong>Society</strong>, LBNL Report 34458, Berkeley, CA, Lawrence Berkeley<br />
National Laboratory, 1994.<br />
Duguay, M. A., “Solar Electricity: The hybrid system approach”,<br />
The American Scientist, 65, 442, 1977.<br />
Whitehead, L., Brown, D., Nodwell, R., “A new device for<br />
distributing concentrated sunlight in building interiors”, Energy<br />
and Buildings 6, 119-125, 1984.<br />
Whitehead, L., Upward, A., Friedel, P., Cox, G. and Mossman,<br />
M., “Using core sunlighting to improve illumination quality<br />
and increase energy efficiency of commercial buildings”,<br />
Association of Mechanical Engineers International Conference<br />
on Energy Sustainability, <strong>May</strong> 2010.<br />
THE AUTHORS<br />
Luís Fernandes, Member IES (2002),<br />
is a research engineer at CLTC. He<br />
holds a Ph.D. in Civil <strong>Engineering</strong><br />
from the University of Colorado,<br />
Boulder, and Lic. Eng. in Physics <strong>Engineering</strong><br />
from Instituto Superior Tecnico, Portugal. His<br />
research focuses on daylighting, energy efficiency in<br />
buildings and visual comfort.<br />
Michele Mossman, Member IES<br />
(2007), is a research associate and<br />
laboratory manager for the Structured<br />
Surface Physics Laboratory at<br />
the University of British Columbia.<br />
She holds a M.Sc. and Ph.D. in Physics from UBC. They<br />
co-manage the California-Canada Core Sunlighting<br />
Partnership.<br />
Figure 4. Two F2<br />
demonstration<br />
installations in<br />
British Columbia,<br />
Canada.<br />
96 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
NEWSMAKER<br />
First Choice in<br />
the Second City<br />
Three letters—CMH, not LED—define<br />
Chicago’s new street lighting strategy.<br />
Spearheading the transition is the city<br />
DOT’s chief engineer, Mohammed Rashed<br />
The conversion to ceramic metal halide<br />
includes residential and arterial streets,<br />
along with alleys.<br />
A<br />
while back, the Chicago Department of Transportation received a heartfelt letter<br />
from a concerned citizen who expressed dismay with the city’s street lighting: “You<br />
know what, I want less streetlights. I know you guys are nice and all, but seriously<br />
do not use so much energy. . . .In conclusion, let’s have a less polluted earth.”<br />
The author of the letter was a child, and today that youngster is getting his wish. The city<br />
of Chicago has committed to reducing its energy usage and carbon dioxide emissions by revamping<br />
its street lighting—specifically by swapping yellow for white. On the way out are<br />
high-pressure sodium streetlights with their yellow light. Taking their place is the white light of<br />
ceramic metal halide, which has become Chicago’s official streetlight source of choice.<br />
That’s right: When it seems every municipality is gravitating to solid-state lighting, the<br />
three letters that spell white light in the Windy City are CMH, not LED. “All new installations<br />
moving forward will have CMH,” says Mohammed Rashed, chief engineer of electrical<br />
operations for the Chicago DOT and a member of the <strong>May</strong>or’s Streetscape Task Force,<br />
who is leading the streetlight conversion effort.<br />
Chicago’s road to CMH began with a “White Light Study,” during which induction, LED<br />
and CMH luminaires were installed on three residential streets and adjacent alleys. A survey<br />
was distributed to area residents for feedback. “Once the survey was completed, it was<br />
evident that the local residents opted for the white light instead of the traditional yellow light<br />
or high-pressure sodium,” says Rashed. “It was also evident that the white light provided<br />
better visibility and color rendering, along with an overall higher quality lighting system. This<br />
was all accomplished despite the lower wattage of the tested luminaires.”<br />
At the same time as the White Light Study, Chicago DOT was conducting research on induction,<br />
LEDs and CMH. Rashed explains the findings: “While induction lighting is not new, it<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 99
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NEWSMAKER<br />
still lags behind other light sources in lumen<br />
output. However, its long rated life and the<br />
absence of filament make it attractive for<br />
certain outdoor lighting applications. LED<br />
lighting is an evolving technology, [but]<br />
small-scale pilot projects in Chicago had<br />
rendered disappointing outcomes. Ceramic<br />
metal halide is an advancement to a decades-old<br />
technology. While this technology<br />
is new to North America, it has already<br />
been used in many European cities with<br />
much success.”<br />
Rashed, who returned to the DOT in 2004<br />
after a four year stint in the private sector,<br />
discusses Chicago’s CMH block party.<br />
What prompted your move from the<br />
private sector to the public sector?<br />
Rashed: The challenges associated<br />
with the new position of the chief engineer<br />
of electricity. I had started my career<br />
with the city as an entry level engineer<br />
before I moved to the private sector.<br />
What’s the “big picture” in terms of<br />
street lighting in Chicago?<br />
Rashed: We completed 2,500 residential<br />
blocks of new residential lighting that<br />
were part of an annual program started<br />
in 2003. It is a continuing program that is<br />
still active. We are anticipating doing 500<br />
residential blocks every year. The aforementioned<br />
2,500 blocks were all installed<br />
with HPS luminaires. All new installations<br />
moving forward will have CMH. We have<br />
ruled out the use of LED or induction lighting<br />
for future installations.<br />
Every day we seem to hear of another<br />
city switching to LED streetlights, whereas<br />
CMH streetlights are relatively new in<br />
North America. Do you have any concerns<br />
about being a pioneer, especially when<br />
the trend seems to be toward LEDs?<br />
Rashed: Not at all. This technology has<br />
been used and tested in Europe. The goal<br />
was always to do the right thing based on<br />
sound engineering judgment and not just<br />
to follow the trend.<br />
What prompted you to select CMH?<br />
Rashed: The White Light Study only<br />
gave us a hint of what the residents of the<br />
city wanted; it was evident from our survey<br />
that the majority opted for white light versus<br />
yellow light. The selection of CMH was<br />
based on evidence from other cities in Europe,<br />
personal evaluation, and evaluation<br />
and input from superiors and peers. The<br />
key performance factors leading Chicago<br />
to select CMH for streetlights are lumen<br />
output per watt; lumen maintenance; long<br />
rated life; and lower initial cost than that of<br />
LED and induction.<br />
Fortuitous timing has accelerated in<br />
the transition to CMH, correct?<br />
Rashed: After we concluded the White<br />
Light Study and decided on ceramic metal<br />
halide, the opportunity came along to retrofit<br />
some of our streetlights using stimulus<br />
money. Those three ongoing stimulus<br />
projects—one being Western Ave, the<br />
longest street in Chicago—encompass<br />
239 miles and more than 15,000 new CMH<br />
luminaires. ■<br />
—Paul Tarricone<br />
100 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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Uplight<br />
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Photos courtesy of Lumenpulse<br />
PP<br />
PRODUCTS<br />
IN PRACTICE<br />
CHURCH BELLS CHIME FOR LEDs<br />
For more than 100 years, St. John the<br />
Evangelist Church has helped Winthrop,<br />
MA, residents see the light.<br />
But until recently the century-old building<br />
was, itself, in the dark. Using 24 white LED<br />
luminaires, project manager Paul Marks<br />
of Winthrop made its detailed brick and<br />
granite façade as clear as the bells that<br />
ring in its belfry.<br />
Because the church is surrounded by residences,<br />
Marks wanted to ensure that the new<br />
façade lighting wouldn’t spill light onto neighboring<br />
properties. He was also looking for a<br />
lighting solution with low energy and maintenance<br />
costs. White LED luminaires from Lumenpulse<br />
met Marks’ controllability and energy<br />
efficiency criteria.<br />
Two color temperatures of white LEDs were<br />
specified—2,700K and 3,000K—to light the red<br />
brick and white granite, respectively. Positioning<br />
the luminaires was another issue. “Pole or<br />
ground mounting wouldn’t have achieved the<br />
same effect,” says Marks, so the luminaires are<br />
building mounted on extrusions set back 4-in.<br />
from the façade. Four 2-ft-long, 2,700K LEDs<br />
luminaires are mounted between the doorways<br />
(top, left) to “highlight the accents on the<br />
red brick façade with the rose window,” says<br />
Marks, while eight 1-ft-long, 2,700K fixtures at<br />
the base of the 75-ft-tall bell tower (top, right)<br />
reveal its architectural details. Mounted atop a<br />
cornice on the granite portion of the tower, 12<br />
1-ft-long, 3,000K luminaires complement “the<br />
white tone of the [stone].”<br />
Using only 441 watts total, the luminaires feature<br />
a flat lens that eliminates glare and reduces<br />
light spill into the surrounding neighborhood.<br />
Elizabeth Hall<br />
The Challenge: Illuminate<br />
the two-toned façade and<br />
bell tower of an historic<br />
church without spilling light<br />
into surrounding areas.<br />
The Solution: Buildingmounted<br />
LED luminaires<br />
in two different color<br />
temperatures direct light<br />
only on the façade.<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 105
PL<br />
PRODUCTS<br />
+ LITERATURE<br />
1. FDV Collection introduces the<br />
Reed light. Based on a custom<br />
lighting installation Patrick Jouin<br />
made for L’Auberge de L’Ill in<br />
France, the Reed is now available<br />
on the market. The elegant glass<br />
tube modules of Reed resemble<br />
crystal reeds shooting out of the<br />
water. Each hand-blown unit<br />
can be arranged in a variety of<br />
patterns and configurations for<br />
unique applications.<br />
www.leucosusa.com<br />
2. OSRAM SYLVANIA has introduced<br />
its latest series of LED<br />
lamps, the SYLVANIA ULTRA<br />
Professional Series. The series<br />
offers color rendition with a<br />
CRI of 95 and an R9 color rating<br />
greater than 50. The LEDs are<br />
hot binned at 85-deg C, within<br />
a three-step MacAdams ellipse<br />
measurement of color difference.<br />
Four lamp types are currently<br />
available: PAR20, PAR30, PAR30<br />
LN and PAR38.<br />
www.sylvania.com<br />
1.<br />
3. Nualight’s new Vivace technology<br />
creates colorful food displays.<br />
Vivace is a proprietary high<br />
CRI technology with near perfect<br />
R9 values that brings out the<br />
freshest colors in food displays.<br />
Pictured here in Nualight’s Alto<br />
fixture, it is available across the<br />
entire Nualight linear LED lighting<br />
portfolio. www.nualight.com<br />
2.<br />
3.<br />
106 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
4. 5.<br />
4. HessAmerica offers the<br />
Novara 450 OV LED, a pedestrian-scale,<br />
pole-mounted<br />
architectural LED luminaire for<br />
pathway and campus street<br />
lighting applications. The luminaire<br />
emits zero uplight above<br />
ninety deg horizontal and can<br />
be used for LEED lighting zones<br />
LZ2 through LZ4. Two light<br />
outputs are available: 39 or 50<br />
watts. www.hessamerica.com<br />
5. Quick Adapt LED Pendant<br />
Lights from Jesco Lighting<br />
are connectable decorative<br />
LED light units for use with<br />
Jesco Monorail suspended,<br />
curved ceiling track lighting<br />
and Monopoint surfacemount<br />
lighting. Quick Adapt<br />
UPDATES<br />
LED Pendant Lights offer ten<br />
cylindrical and disc LED lighthead<br />
shapes in contemporary<br />
designs, of varying scale.<br />
www.jescolighting.com<br />
6. Lucite International announces<br />
a new addition to its LuciteLux<br />
line: the EcoShade IR reflective<br />
continuous cast acrylic sheet.<br />
The sheets help conserve<br />
energy by reflecting more<br />
than 75 percent of the infrared<br />
radiation present in sunlight.<br />
They feature an iridescent<br />
quality that transforms from<br />
blue to gold based on the angle<br />
of view and surrounding light.<br />
EcoShade is available in two<br />
thicknesses: .118 and .117.<br />
www.lucitelux.com<br />
6.<br />
PURE ELEGANCE<br />
With no visible mounting screws, the Hunza Solid Step Eyelid<br />
makes a visual statement by day while lighting steps perfectly at<br />
night. At Hunza we take pride in making the finest outdoor lights<br />
in the world, engineered in New Zealand from the best materials<br />
to provide a lifetime of pure enjoyment.<br />
www.hunzausa.com<br />
HUNZA LIGHTING USA<br />
Ph: +1 888 578 6005 Toll Free<br />
sales@hunzalightingusa.com<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 107
PL<br />
PRODUCTS<br />
+ LITERATURE<br />
7. EYE Lighting International<br />
introduces kíaroLED outdoor,<br />
architectural-grade LED luminaires.<br />
KíaroLED color-correcting<br />
optics improve uniformity and<br />
reduce color shift by redirecting<br />
light. Superior light control delivers<br />
more light-on-task at a lower<br />
wattage than competitive LED<br />
luminaires. The increased number<br />
of street-side lumens result in<br />
better visibility and minimize the<br />
amount of poles.<br />
www.eyelighting.com/led<br />
8. Pulsar introduces the<br />
ChromaStrip25 TriColour LED<br />
slim-line linear strips designed for<br />
entertainment and architecture<br />
applications. ChromaStrip 25 is<br />
compact with a diameter of only<br />
25mm. IP66 rating for exterior<br />
use also makes the units easy<br />
to clean. ChromaStrip 25 utilizes<br />
UV-protected, polycarbonate<br />
tubes for long life. It is offered in a<br />
dozen sizes. www.pulsarlight.com<br />
7.<br />
8.<br />
9. Compact 3.4-W LED puck lights<br />
from Nora Lighting measure 2 .75-<br />
in. wide and .5-in. deep; produce<br />
70 lumens per watt (210 lumens<br />
per unit); and are available in<br />
3,000K and 4,200K color temperatures.<br />
They are available as<br />
a single unit or in a three-puck kit<br />
and are CA Title 24 compliant and<br />
rated for up to 30,000 hours.<br />
www.noralighting.com<br />
10. Beacon Products introduces<br />
Vinoy, a pole-mounted luminaire<br />
available in early 20th-century<br />
street and area lighting designs.<br />
Units have an easy to relamp<br />
9.<br />
10.<br />
108 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
emovable top; high power-factor<br />
ballasts; porcelain-glazed<br />
sockets; and galvanized anchor<br />
bolts or direct-burial, in-ground<br />
bases. A range of globes,<br />
decorative luminaire housings,<br />
arm styles, poles, and bases<br />
are available.<br />
www.beaconproducts.com<br />
11. 12. 13.<br />
UPDATES<br />
11. Derek Marshall Lighting<br />
unveils the new Nara Bamboo<br />
Pendant, which is inspired<br />
by the curves and texture of<br />
bamboo. It is divided into three<br />
kiln-formed curved pieces of<br />
American art glass with overlapping<br />
glass segments that<br />
are held together with small<br />
stainless steel screws. The<br />
pendant measures 6 1/2-in.<br />
diameter by 12-in. high and<br />
comes in a choice of colors.<br />
www.derekmarshall.com<br />
12. Niche Modern introduces<br />
the Spark Modern Chandelier<br />
Collection, including the 48-in.-<br />
diameter, 24-bulb Spark 48<br />
Modern Chandelier (pictured).<br />
Each chandelier is handcrafted<br />
and made to order in the United<br />
States. They are customizable,<br />
allowing designers and consumers<br />
to choose from among<br />
five ring finishes; Edison, tubular<br />
or globe bulbs; and up or<br />
down ring and bulb orientation.<br />
www.nichemodern.com<br />
13. Traxon Technologies introduces<br />
its line of High-Resolution<br />
Media Systems that provide<br />
crisp, clear imaging for scalable<br />
communication messaging in<br />
Innovative Lighting for Creating a Sense of Place.<br />
Hi-glo Designed by BMW Group DesignworksUSA<br />
800.290.6233 | landscapeforms.com<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 109
PL<br />
PRODUCTS<br />
+ LITERATURE<br />
both interior and exterior environments.<br />
Available in a variety<br />
of pixel pitches, the slim profile<br />
Media Systems can be combined<br />
to create a range of screen sizes<br />
and resolutions.<br />
www.traxontechnologies.com<br />
14. Fulham expands its line of solid<br />
state Pony Halogen Electronic<br />
Transformers from 60 watts and<br />
75 watts to include 150-W, 300-W<br />
linear and 300-W circular. These<br />
12V-50/60Hz units operate multiple<br />
dimming and non-dimming<br />
MR16s and MR11s to stated wattage,<br />
have short circuit/overload/<br />
thermal protections, 50-deg C<br />
maximum ambient temperature,<br />
and use UR (UL-recognized) components.<br />
www.fulham.com<br />
14.<br />
All GPS systems will<br />
get you there<br />
...eventually.<br />
You have many recruiting options, but if you want the best<br />
15. results for your money, few in lighting match the return on<br />
investment provided by The Pompeo Group. Our reputation<br />
for ethics, integrity, quality of candidates, attention to detail<br />
and exceptional follow-up means that you will get what you<br />
pay for. That’s why decision-makers in our industry come back<br />
to The Pompeo Group. If you are looking for a direct route<br />
to the most qualified candidate for the job, let The Pompeo<br />
Group steer you in the right direction.<br />
(505) 271-5353<br />
<br />
Ready to get your money’s worth? Try us on your next critical<br />
search. Call now and ask for Paul Pompeo.<br />
The<br />
Pompeo<br />
Group<br />
LED, Lighting & Energy Global Search<br />
110 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
Before<br />
200W HPS, 240 Syste<br />
Aer<br />
<br />
Improved Visiility AD 45% Eery Savis!<br />
<br />
to Philadelphia, Leotek<br />
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<br />
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<br />
<br />
<br />
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<br />
Step outside toiht<br />
ad take a walk<br />
o the “White Carpet<br />
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Petroleum and Convenience Stores Refrigerated Displays Cold Storage and Warehouse Facilies<br />
Retail Outlets Schools and Campuses Airports Security and Site Parking and Area Signage<br />
Visit us at<br />
Booth # 3437<br />
www.leotek.com | 888.806.1188 | ©Leotek Electronics USA Corp.
EEVENTS<br />
<strong>May</strong> 10-12: Rensselaer Polytechnic<br />
Institute Lighting Research Center<br />
(LRC), Troy, NY, is offering “LED<br />
Lighting Institute.” Learn the basics<br />
of LED technology and system integration<br />
issues involving electrical,<br />
optical and thermal characteristics<br />
of LEDs and how to measure and<br />
evaluate LEDs and LED systems.<br />
Compare LED technologies from a<br />
variety of manufacturers, and design,<br />
build, and evaluate your own LED<br />
fixtures. Three CEUs available and a<br />
continuing education certificate in<br />
LED Lighting. Contact: Dan Frering,<br />
frerid@rpi.edu or www.lrc.rpi.edu/<br />
education/outreachEducation/<br />
InHouseInstitute.asp<br />
<strong>May</strong> 12: Acuity Brands Lighting is<br />
offering “Visual Training.” Held at<br />
the Light & Space Center, Conyers,<br />
GA, the session offers hands-on<br />
experience with “Visual Professional<br />
Edition.” Follow on computers (provided),<br />
as instructors demonstrate<br />
how to create real-world applications<br />
and discover new features of Visual<br />
2.6, navigate the Visual interface,<br />
create and modify models, and walk<br />
through a project. Ground transportation,<br />
food and one night hotel stay will<br />
be covered. Participant is responsible<br />
for airfare to Atlanta. Contact: Tricia<br />
Foster 770-860-2049; E-mail: Tricia.<br />
Foster@acuitybrands.com<br />
<strong>May</strong> 15-19: LIGHTFAIR International<br />
<strong>2011</strong> is the world’s largest annual<br />
architectural and commercial lighting<br />
trade show and conference. Join<br />
thousands of lighting professionals<br />
including lighting designers, architects,<br />
specifiers, engineers, etc., at<br />
the Pennsylvania Convention Center,<br />
Philadelphia, PA. LFI blends continuing<br />
education courses with innovative<br />
products ranging from high-end<br />
design to cutting edge technology.<br />
Contact: www.lightfair.com<br />
<strong>May</strong> 18-20: “RLC <strong>2011</strong>.” This Romanian<br />
Lighting Convention, “Lighting<br />
and Community,” will be held at the<br />
JW Marriott Bucharest Grand Hotel,<br />
Bucharest, Romania. Topics include<br />
lighting design and architecture,<br />
daylight, light and health, night and<br />
city, lamp disposal, LEDs, legislation,<br />
lighting education, luminaire design,<br />
lighting master plan, control systems<br />
and interior and exterior lighting.<br />
Contact: www.rlc.org.ro<br />
<strong>May</strong> 19: The CIE/USA Seminar on<br />
Photometry, “Colorimetry and Application<br />
of Solid-State Lighting” will<br />
be held at the Courtyard Philadelphia<br />
Airport Hotel from 8 am to 5 pm to<br />
coordinate with LIGHTFAIR at the<br />
Philadelphia Convention Center.<br />
Contact: Tom Lemons 978-745-6870<br />
or www.cie-usnc.org.<br />
<strong>May</strong> 19: Venture Lighting Institute<br />
is offering “HID vs. the Competition<br />
– Part 1.” This half-hour webinar (11-<br />
11:30) reviews induction interior and<br />
exterior applications vs. metal halide.<br />
Discuss pros/cons of the systems<br />
from new construction and retrofit/<br />
upgrade solutions. Analyze interior<br />
induction and pulse-start, exterior<br />
112 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
layout options, energy, and the<br />
advantages and disadvantages<br />
of each system. 5 CEUs available.<br />
Contact: Amanda I. Foust<br />
440.836.7523 or E-mail: amanda_<br />
foust@TheVLI.com or go to www.<br />
TheVLI.com<br />
<strong>May</strong> 26-27: Hubbell Lighting is offering<br />
“LED & Emerging Technologies<br />
Workshop.” This course held at the<br />
Lighting Solutions Center, Greenville,<br />
SC, will discuss the ever-increasing<br />
LED market and the speed at which<br />
LEDs are quickly being integrated<br />
into lighting applications. Participants<br />
gain a basic understanding of<br />
how LED components are integrated<br />
into lighting fixtures and how well<br />
LEDs perform in particular applications.<br />
Discussion includes newer<br />
technologies such as OLEDs, solar<br />
and wind technologies, and other<br />
technologies that impact the lighting<br />
industry. Take part in a workshop<br />
designing and building LED fixtures.<br />
Cost: $350. Contact: 864-678-1045<br />
or www.lightingsolutionscenter.com<br />
June 1-3: Cooper Lighting SOURCE<br />
is offering “Lighting Fundamentals/Lighting<br />
Basics.” Held at the<br />
Peachtree City, GA, facility this<br />
seminar is geared to newcomers<br />
and those interested in a refresher<br />
course. Focus is on lighting terminology,<br />
photometry, LEDs, fixture<br />
types, lamp-ballast systems,<br />
energy and lighting legislation<br />
with an introduction to lighting<br />
controls. CEUs available. Contact:<br />
Jere Greiner 770-486-4680 or go to<br />
www.cooperlighting.com/education<br />
June 2-3: GE is offering “Lighting<br />
for Healthcare Facilities.” A<br />
primer on economic cost analysis,<br />
this workshop is geared to facility<br />
managers, maintenance supervisors<br />
and professionals involved<br />
in specification and maintenance<br />
of lighting systems in healthcare<br />
environments. Focus is on energy/<br />
maintenance and cost-reduction<br />
strategies. Identify quality lighting<br />
criteria for public spaces, patient<br />
rooms, and specialized medical<br />
treatment areas and lighting<br />
designs/products that help<br />
improve patient outcomes and<br />
reduce error rates. Cost: $400.<br />
CEUs available. Contact: Rose<br />
Marie Davis 216-266-2039; E-mail:<br />
rose.davis@ge.com or go to www.<br />
gelighting.com<br />
June 8: Venture Lighting Institute<br />
is offering “The Sound of Pulse-<br />
Start Technology.” This class<br />
covers lamp and ballast basics,<br />
controls, dimming, regulatory and<br />
sustainability trends, and product<br />
training. 8 CEUs available. Contact:<br />
Amanda I. Foust, 440-836-7523 or<br />
E-mail: amanda_foust@TheVLI.<br />
com or go to www.TheVLI.com<br />
June 9-12: The Guangzhou<br />
International Lighting Exhibition<br />
<strong>2011</strong> will be held at the China<br />
Import & Export Fair, Guangzhou,<br />
China. This is the biggest lighting<br />
industry forum in Asia with<br />
1,882 exhibitors and 71,000 in<br />
attendance from 117 countries/<br />
regions. Geared to lighting retailers,<br />
wholesales, architects and<br />
building planners, this event provides<br />
the marketing opportunity<br />
for face-to-face contact. Contact:<br />
Messe Franfurt (HK) Ltd.,<br />
852-2238-9953 or burnice.ip@<br />
hongkong.messefrankfurt.com or<br />
www.messefrankfurt.com.hk<br />
June 13-15: MMPI presents “Neo-<br />
Con <strong>2011</strong>.” Held at the Merchandise<br />
Mart, Chicago, IL, this conference<br />
offers a comprehensive schedule<br />
with more than 140 CEU-accredited<br />
seminars, industry association<br />
forums and keynote presentations<br />
covering a wide range of subjects<br />
and discussion topics in educational<br />
tracks: Dealer strategies,<br />
environmental design, facilities<br />
construction and renovation,<br />
facilities technology, healthcare,<br />
hospitality, institutional, and office<br />
lighting design. Also, professional<br />
development, residential design,<br />
senior housing, workplace, and<br />
health and safety. Contact: 800-<br />
677-6278 or www.neocon.com<br />
June 15-17: Hubbell Lighting is offering<br />
“Fundamentals of Lighting.”<br />
This workshop held at the Lighting<br />
Solutions Center, Greenville,<br />
SC, focuses on the fundamental<br />
principles of lighting, with specific<br />
attention on lamps and ballasts,<br />
terminology, light, sight and color,<br />
optical control, lighting calculations,<br />
and application principles<br />
covered through hands-on training<br />
and real-world applications. Topics<br />
improve and enhance lighting education<br />
needs of those who are new<br />
to lighting or looking for a refresher.<br />
Cost: $500. Contact: 864-678-1045 or<br />
www.lightingsolutionscenter.com<br />
June 16: Venture Lighting Institute<br />
is offering “HID vs. the Competition<br />
– Part II.” This half-hour<br />
webinar (11-11:30) reviews LED<br />
interior and exterior vs. metal<br />
halide and discusses the pros/<br />
cons to the systems from new<br />
construction and retrofit/upgrade<br />
solutions. Review lighting layouts<br />
Flavor Paper, Brooklyn, NY • Lighting Designer: Lighting Workshop<br />
New CLS-Slim<br />
EVENTS<br />
and analysis of interior induction<br />
and pulse start, exterior layout<br />
options, and energy for induction.<br />
5 CEUs available. Contact: Amanda<br />
I. Foust 440.836.7523 or E-mail:<br />
amanda_foust@TheVLI.com or go<br />
to www.TheVLI.com<br />
June 20-22: Infocast, Inc. presents<br />
the inaugural “Smart Lighting<br />
Value Chain Summit, The Coming<br />
Revolution in High-Efficiency Commercial<br />
Lighting Systems.” This<br />
summit, held in Santa Clara, CA,<br />
unites the complete chain for intelligent<br />
networked lighting solutions.<br />
Geared to specifiers and influencers<br />
from the building (retail, office,<br />
industrial) and outdoor street<br />
lighting segments, this summit provides<br />
the opportunity to realize the<br />
potential of smart lighting to cut<br />
the energy footprint of real estate/<br />
building and outdoor municipal<br />
segments. Contact: Brent Tinter<br />
310-663-0623 or E-mail: brentt@<br />
infocastevents.com<br />
Visit us at Lightfair <strong>2011</strong> • Booth #3708<br />
www.CathodeLightingSystems.com<br />
Photo: Boone Speed<br />
From candlelight to daylight...<br />
we do white better than anyone<br />
www.ies.org LD+A | April <strong>May</strong> <strong>2011</strong> 113
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LED<br />
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FUNDAMENTALS OF LIGHTING FOR VIDEOCONFERENCING | RECOMMENDED PRACTICE FO<br />
TUNNEL LIGHTING | LIGHTING FOR HOSPITALS AND HEALTH CARE FACILITIES |<br />
NOMENCLATUR<br />
AND DEFINITIONS FOR ILLUMINATING ENGINEERING | PHOTOBIOLOGICAL SAFETY FOR LAMPS<br />
AND<br />
Recently LAMP SYSTEMS—GENERAL<br />
Published from REQUIREMENTS<br />
the IES<br />
| RECOMMENDED PRACTICE OF DAYLIGHTING<br />
NECA/IESNA RECOMMENDED PRACTICE FOR INSTALLING EXTERIOR LIGHTING FIXTURES | NECA<br />
IESNA RECOMMENDED PRACTICE FOR INSTALLING INDOOR COMMERCIAL LIGHTING SYSTEMS<br />
NECA/IESNA RECOMMENDED PRACTICE FOR INSTALLING INDUSTRIAL LIGHTING | RECOMMEN<br />
YSTEMS | PHOTOBIOLOGICAL SAFETY FOR LAMPS AND LAMP SYSTEMS-MEASUREMENT SYSTEM<br />
— MEASUREMENT TECHNIQUES | PHOTOBIOLOGICAL SAFETY FOR LAMPS AND LAMP SYSTEM<br />
RISK GROUP CLASSIFICATION AND LABELING | LIGHTING FOR EDUCATIONAL FACILITIES | LIGHTIN<br />
FOR EXTERIOR ENVIRONMENTS | RECOMMENDED PRACTICE FOR LIGHTING INDUSTRIAL FACILITIE<br />
| DESIGN CRITERIA FOR LIGHTING INTERIOR LIVING SPACES | IESNA/NALMCO RECOMMENDE<br />
PRACTICE FOR PLANNED INDOOR LIGHTING MAINTENANCE RECOMMENDED PRACTICE FO<br />
MARINE LIGHTING | RECOMMENDED PRACTICE FOR LIGHTING MERCHANDISING AREAS | MUSEU<br />
AND ART GALLERY LIGHTING | AMERICAN List Price: NATIONAL STANDARD FOR OFFICE LIGHTING<br />
List Price:<br />
| DESIG<br />
$30.00<br />
$20.00<br />
RECOMMENDED PRACTICE FOR LIGHTING IES Member FOR PARKING FACILITIES | RECOMMENDE<br />
IES Member<br />
PRACTICE FOR ROADWAY LIGHTING<br />
Price:<br />
Price:<br />
| RECOMMENDED PRACTICE FOR ROADWAY SIGN LIGHTIN<br />
$21.00<br />
$14.00<br />
| LIGHTING AND THE VISUAL ENVIRONMENT Order # FOR SENIOR LIVING | RECOMMENDED Order # PRACTIC<br />
LM-40-10<br />
LM-65-10<br />
FOR SPORTS AND RECREATIONAL AREA LIGHTING | APPLICATION OF LUMINAIRE SYMBOLS O<br />
LIGHTING DESIGN DRAWINGS | THE LIGHTING DESIGN PROCESS | CHOOSING LIGHT SOURCE<br />
FOR GENERAL LIGHTING | GUIDELINES FOR PROFESSIONAL FILMING OR PHOTOGRAPHIN<br />
To order:<br />
WORKS OF ART IN MUSEUMS | OUTDOOR LIGHTING | DESIGN GUIDE FOR ROADWAY LIGHTIN<br />
MAINTENANCE | VISIT THE IESNA BOOKSTORE CALL 212-248-5000 @ | WWW.IESNA.ORG/SHOP ext 112 FAX 212-248-5017 | LIGHTING FO<br />
ENVIRONMENTS | FOR INFORMATION ON ONLINE<br />
<br />
ADDITIONAL www.ies.org LIGHTING DOCUMENTS EMAIL<br />
<br />
publications | RECOMMENDE<br />
@ies.org<br />
PROCEDUREFORDETERMININGINTERIORANDEXTERIORLIGHTINGPOWERALLOWANCES
IT’S LIKE A<br />
FERRARI AND<br />
A HYBRID<br />
HAD A BABY.<br />
The stylish new kíaroLED luminaire from EYE Lighting represents the latest in design<br />
and technology. With patented optics, it provides superior control of backlight, uplight<br />
and glare. Its photometric performance delivers 20% more light than competitors on streets<br />
and boulevards, offices and college campuses, outdoor retail grounds, and recreational<br />
spaces. Virtually maintenance free, kíaroLED operates 50% longer than traditional light<br />
sources. To learn more, request a brochure: 888.665.2677 or EYE.LED@eyelighting.com.<br />
www.eyelighting.com/led
CLASSIFIED<br />
SENIOR DESIGNER<br />
Kurt Versen Company seeks exper’d individual to join our engineering<br />
team. Knowl. of AutoCad <strong>2011</strong>, Autodesk Inventor 3D basic<br />
electrical principles, UL procedures, lighting fundamentals, sheet<br />
metal & other manufacturing methods essential. Must have excellent<br />
visualization & communication skills, & ability to translate<br />
concepts into accurate drawings. Minimum 5 years exper. designing<br />
lighting fixtures is desired. A BSME is a plus. Excellent benefits<br />
package. Send resume with salary requirement to H.R., Kurt<br />
Versen Company, 10 Charles St., Westwood, NJ 07675 Fax: (201)<br />
664-4801 Email: slechich@kurtversen.com EOE/M/F .<br />
FOR BACK ISSUES<br />
Call Leslie Prestia<br />
212-248-5000 ext 111<br />
“In the right light,<br />
at the right time...<br />
...everything is<br />
extraordinary.”<br />
– Aaron Rose<br />
Superior lighting design can transform the ambience of a room,<br />
invite a sense of well-being, and facilitate social interaction.<br />
Creating such innovative, energy-efficient, and high quality<br />
solutions is a challenge MMM Group tackles daily. Join our<br />
Vancouver lighting design team as they meet today’s complex<br />
design and environmental challenges with architectural flair,<br />
technical savvy, and creative insight.<br />
To find out more about MMM Group and how you can join our<br />
team, please visit www.mmm.ca<br />
Visit us on Facebook<br />
116 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
PIANO<br />
BOREAL<br />
INSPIRATION<br />
SCALA<br />
ALURA<br />
Come and be inspired by our innovative new products<br />
Light Fair <strong>2011</strong> booth #2453<br />
www.schreder.us<br />
847 621.5100<br />
The Right Light
Green or cost-effective? Why not both?<br />
At Spring City, we don’t like to compromise. And neither<br />
do our customers. That’s why we’ve combined our<br />
LED luminaires with our ductile iron posts, using our<br />
sustainable manufacturing process to make a lighting<br />
system that’s as elegant as it is energy-efficient and<br />
durable.<br />
Our LED fixtures last up to 75,000 hours and carry a<br />
7-year warranty. Our posts, made from the strongest<br />
metal in our famous traditional designs, carry a 25-<br />
year warranty. Together, they’re a thing of beauty. And<br />
efficiency. And sustainability. And they’re made right here<br />
in America.<br />
For more information, please visit our website<br />
at www.springcity.com/led, call us at<br />
610-948-4000 or send us an email at<br />
sales@springcity.com
The companies listed below would like to tell you more about their products and<br />
services. To learn more, access the websites listed here.<br />
Company Website Page #<br />
3G Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.3glighting.com . . . . . . . . . . . . . 12<br />
AC Electronics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.ace-ballast.com . . . . . . . . . . . . 14<br />
Acuity Brands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.acuitybrands.com . . . . . . . . . . . 55<br />
Acuity Brands Outdoor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.acuitybrands.com . . . . . . . . . . 127<br />
Alanod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.alanod.com . . . . . . . . . .8,47, 92<br />
Almeco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.almecogroup.com . . . . . . . . . . . 60<br />
A.L.P. Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.alplighting.com . . . . . . . . . . . . 91<br />
American Bright Lighting Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.americanbrightled.com . . . . . . . . . 78<br />
Amerlux Lighting Solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.amerlux.com . . . . . . . . . . . . . 18<br />
Apogee Translite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.apogeetranslite.com . . . . . . . . . . 10<br />
Baero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . wwwbaerousa.com . . . . . . . . . . . . 6-7<br />
Canadian Standards Association . . . . . . . . . . . . . . . . . . . . . . . . . . www.csa-international.org . . . . . . . . . . 13<br />
Carclo Technical Plastics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.carclo-optics.com . . . . . . . . . . . 28<br />
Carmanah Technologies Corp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.carmanah.com . . . . . . . . . . . . 126<br />
Cathode Lighting Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.cathodelightingsystems.com . . . . . . 113<br />
Cooper Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.cooperlighting.com . . . . . . . . . . . 45<br />
Cree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.cree.com . . . . . . . . . . . . . . . 11<br />
Creston . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.creston.com . . . . . . . . . . . . . . 21<br />
Dialux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.dialux.com . . . . . . . . . . . . . . 24<br />
Everlight Electronics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.everlight.com . . . . . . . . . . . . . 98<br />
Evonik Cyro LLC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.acrylite-polymers.com . . . . . . . . 121<br />
Eye Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.eyelighting.com . . . . . . . . . . . 115<br />
Full Spectrum Solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.fullaspectrumsolutions.com . . . . . . . 51<br />
Future Lighting Solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.futurelightingsolutions.com . . . . 58, 93<br />
Gotham Lighting/Lithonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.gothamlighting.com . . . . . . . . . . 59<br />
Havells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.havells.com . . . . . . . . . . . . . . 73<br />
Hunza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.hunzausa.com . . . . . . . . . . . . 107<br />
IES Lightfair Daily Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.ies.org . . . . . . . . . . . . . . . 120<br />
IES Progress Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.ies.org . . . . . . . . . . . . . . . . 17<br />
IES Recently Published Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.ies.org . . . . . . . . . . . . . . . 114<br />
iGuzzini North America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.iguzzini-na.com/en/ . . . . . . . Insert<br />
Ilex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.ilexlight.com . . . . . . . . . . . . . 36<br />
Illuminarc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.illuminarc.com . . . . . . . . . . . . 123<br />
Insight Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.insightlighting.com . . . . . . . . . . . 61<br />
Intense Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.intenselighting.com. . . . . . . . . . . 53<br />
Lambda Research Corp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.lambdares.com . . . . . . . . . . . . 40<br />
Landscape Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.landscapeforms.com . . . . . . . . . 109<br />
LEDirect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.ledirect-usa.com . . . . . . . . . . . . 27<br />
LEDtronics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.ledtronics.com . . . . . . . . . . . . 103<br />
Leotek Electronics Corp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.leotek.com . . . . . . . . . . . . . 111<br />
Leviton Manufacturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.leviton.com . . . . . . . . . . . . . . 15<br />
Lighting Analysts Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.agi32.com . . . . . . . . . . . . . . 35<br />
Ligman. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.ligmanlighting.com . . . . . . . . . . . 39<br />
Lithonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.lithonia.com . . . . . . . . . . . . . 101<br />
Lumenpulse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.lumenpulse.com . . . . . . . . . 56-57<br />
Lutron Electronics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.lutron.com . . . . . . . . . .Cover 4<br />
Maxlite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.maxlite.com . . . . . . . . . . . . . . . 2<br />
Meteor-Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.meteor-lighting.com . . . . . . . . . . 41<br />
MMM Group Limited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.mmm.ca . . . . . . . . . . . . . . 116<br />
MP Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.mplighting.com . . . . . . . . . . . . 33<br />
Nedap Power Supplies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.nedap.com . . . . . . . . . . . . . 104<br />
Nichia America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.nichia.com . . . . . . . . . . . . . . . 1<br />
Nora Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.noralighting.com . . . . . . . . . . . . 37<br />
NoUVIR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.nouvir.com . . . . . . . . . . . . . 100<br />
Osram Sylvania . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.sylvania.com . . . . . . . . . . . . . 19<br />
Panasonic Lighting Div . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.pewa.panasonic.com/lighting . . . . . . 72<br />
Pathway the Lighting Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.pathwaylighting.com . . . . . . . . . . 16<br />
Philips Daybrite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.daybritelighting.com . . . . . . . . . . 49<br />
Philips Emergency Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.bodine.com . . . . . . . . . . . . . . 97<br />
Philips Lumileds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.philipslumileds.com/lda . . . . . . . . . . 5<br />
Philips Roadway Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.philips.com/roadwaylighting . . . . . . 122<br />
PLC Multipoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.plcmultipoint.com . . . . . . . . . . . 22<br />
RAB Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.rabweb.com . . . . . . . . . . . . . . 23<br />
Rambusch Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.rambuschlighting.com . . . . . . . . . 102<br />
Rize Enterprises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.rize-enterprise.com . . . . . . . . . . . 32<br />
Ruud Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.betaled.com . . . . . . . . . .Cover 3<br />
Samsung LED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.samsungled.com . . . . . . . . . . . . 29<br />
Schreder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.schreder.com . . . . . . . . . . . . 117<br />
Sentry Electric Corp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.sentrylighting.com . . . . . . . . . . . . 9<br />
Spectrum Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.speclighting.com . . . . . . . . . . . . 48<br />
SPI Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.specadvent.com . . . . . . . .Cover 2<br />
Spring City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.springcity.com . . . . . . . . . . . . 118<br />
Sternberg Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.sternberglighting.com . . . . . . . . . . 42<br />
Terralux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.terralux.com . . . . . . . . . . . . 112<br />
The Pompeo Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.pompeo.com . . . . . . . . . . . . 110<br />
Times Square Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.tslight.com . . . . . . . . . . . . . 114<br />
Tyco Electronics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.tycoelectronics.com . . . . . . . . . . 43<br />
Ultrasave Lighting Ltd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.ultrasave.ca . . . . . . . . . . . . . . 52<br />
Valmont . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.valmont.com . . . . . . . . . . . . . 79<br />
Venture Lighting International. . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.venturelighting.com . . . . . . . . . 124<br />
Virginia Optoelectronics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.vaopto.com . . . . . . . . . . . . . . 25<br />
WAC Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.waclighting.com . . . . . . . . . . . . 85<br />
WattStopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.wattstopper.com . . . . . . . . . . . . 31<br />
ADVERTISING<br />
OFFICES<br />
GENERAL OFFICES<br />
LD+A Advertising Department<br />
Leslie Prestia<br />
120 Wall Street, 17th Floor<br />
New York, NY 10005-4001<br />
(212) 248-5000 ext. 111<br />
(212) 248-5017/18 (fax)<br />
lprestia@ies.org<br />
NEW ENGLAND/<br />
MID-ATLANTIC<br />
Brett Goldfine<br />
Sage<br />
1403 Whitpain Hills<br />
Blue Bell, PA 19422<br />
(484) 231-1308<br />
(805)-375-5282 (fax)<br />
brett.goldfine@sagepub.com<br />
States serviced: NY, NJ, CT, VT, MA, NH,<br />
RI, ME, MD, DE, Wash DC, VA, NC, & PA<br />
SOUTH/MIDWEST<br />
Bill Middleton<br />
Middleton Media<br />
561 Robin Lane<br />
Marietta, GA 30067<br />
(770) 973-9190<br />
(770) 565-7013 (fax)<br />
midmedia@aol.com<br />
States serviced: GA, SC, TX, OK, AR, LA,<br />
MS, AL, FL, TN, NE, KS, MO, IA, MN, WI,IL,<br />
MI, IN, KY, OH, WV, ND, & SD—and<br />
Canadian Provinces of Ontario, Quebec, New<br />
Brunswick, Newfoundland and Labrador,<br />
Nova Scotia and Prince Edward Island<br />
WEST<br />
Ellen Tucker<br />
Mohanna Associates<br />
305 W. Spring Creek Pkwy<br />
Building C-101<br />
Plano, TX 75023<br />
(972) 596-8777<br />
(972) 985-8069 (fax)<br />
States serviced: CA, MT, ID, OR, WY, UT,<br />
NV, WA, CO, AZ, NM, AK, HI—and Canadian<br />
Provinces of Manitoba, Saskatchewan,<br />
Alberta and British Columbia<br />
LD+A Article Reprints-<br />
Print and Electronic<br />
Nan Lamade<br />
Reprint Specialist<br />
(800)-259-0470<br />
nlamade@reprintdept.com<br />
This www.ies.org index is provided as a service by the publisher, who assumes no liability for errors or omissions.<br />
LD+A | <strong>May</strong> <strong>2011</strong> 119
NEW MEMBERS<br />
MEMBERS<br />
Membership<br />
Committee chair<br />
Norm Waff<br />
announced the IES<br />
gained six<br />
Sustaining<br />
Members and 85<br />
Members (M),<br />
Associates and<br />
Students in March.<br />
Sustaining Members<br />
Con Edison Commercial and Industrial<br />
Energy Efficiency Program,<br />
New York, NY<br />
FSP Group USA, Chino, CA<br />
LCTECH Testing Services Co., Ltd,<br />
Zhongshan, China<br />
LUX-TSI Limited, Bridgend,<br />
United Kingdom<br />
Studio Lux. LLC, Seattle, WA<br />
VAOPTO, Las Vegas, NV<br />
Midwest Region<br />
Boris Bondin, University of Michigan,<br />
Ann Arbor, MI<br />
James W. Creveling (M), Toyoda Gosei,<br />
Troy, MI<br />
Elizabeth A. Guzowski (M), GE Lighting<br />
Solutions, East Cleveland, OH<br />
Mary R. Heidorn, Focal Point,<br />
Chicago, IL<br />
Emily Lai, dbHMS, Chicago, IL<br />
David Meglio, Meglio and Associates,<br />
Chesterfield, MO<br />
Russ Randall (M), Carl Walker, Inc.,<br />
Kalamazoo, MI<br />
April L. Rothgeb, Sylvania Lighting<br />
Services, Minneapolis, MN<br />
Kevin M. Smock, Masco Cabinetry,<br />
Ann Arbor, MI<br />
Aristides Wade, Particle Wave<br />
Solutions, Carmel, IN<br />
Joshua J. Wehr, Havells-USA,<br />
Noblesville, IN<br />
Madison Area Technical College<br />
Troy M. Rettschlag<br />
Maryville University<br />
Jamie M. Toon<br />
University of Kansas<br />
George R. Magnuson<br />
Northeast Region<br />
Lindsay B. Barnett, Orsman<br />
Design, Inc., Southampton, NY<br />
Christian M. Barry, Mississauga, ON<br />
Chris Benotto, Gates Canada, Inc.,<br />
Ancaster, ON<br />
Daniel R. Brooks (M), Meridianwave,<br />
Inc., Ottawa, ON<br />
Ian A. Buba, ICF International,<br />
Swampscott, MA<br />
Courtney C. Capshaw, Con Edison<br />
Commerical and Industrial Energy<br />
Efficiency Program, New York, NY<br />
Jeffery J. Casse, Philips Lighting<br />
Systems & Controls, Cicero, NY<br />
Pedro Diaz Jr., Orsman Design,<br />
Southampton, NY<br />
Kimberly K. Drysdale, Drysdale<br />
Lighting, Inc., Toronto, ON<br />
Caitlin R. Faron (M), Shine Design +<br />
Distribution, LLC, Water Mill, NY<br />
Benjamin J, Fischer, STL Lighting<br />
Group, Cambridge, ON<br />
Alan G. Kinne, Wasco Products,<br />
Wells, ME<br />
Dale Morton, Nedco, Mississauga, ON<br />
Corrie Muir (M), Graybar Canada,<br />
Markham, ON<br />
David R. Neal, Seoul Semiconductor,<br />
Pelham, NH<br />
Anne-Marie Perreault, Ville de<br />
Montreal, Montreal, QC<br />
Cherise Rollins, Mark Architectural<br />
Lighting - Acuity Brands, Edison, NJ<br />
Marc-Antoine Vachon, Philips Lumec,<br />
Boisbriand, QC<br />
Clarence L. Yu (M), Philips Lighting<br />
Canada, Markham, ON<br />
Michael Zhu, Philips Lighting,<br />
Plainsboro, NJ<br />
Pennsylvania State University<br />
Chang Liu, Daniel R. MacRitchie,<br />
Matthew T. Trethaway<br />
South Region<br />
Jorge Avila, Philips Mexicana,<br />
Mexico City, Mexico<br />
Peter S. Browne (M), HESM&A<br />
Consulting Engineers, Inc.,<br />
Charlotte, NC<br />
Zoe Carlin, Hubbell Lighting,<br />
Greenville, SC<br />
Colleen M. Conrad, PM&E Design<br />
Group, Virginia Beach, VA<br />
Pedro A. Garza De Yta, Sr.,<br />
Mantenimieto Arquitectonico<br />
Integral, SA de CV., Mexico City,<br />
Mexico<br />
Marco Antonio A. Gongora Amaro Sr.,<br />
Avant Garde Technologies, SA. de<br />
CV, Mexico City, Mexico<br />
Donald E. Gould Jr, Green HID,<br />
Charleston, SC<br />
Daniel J. Kovach (M), United<br />
Launch Alliance, Melbourne, FL<br />
Richard R. Leinbach (M), Apex, NC<br />
Jeffrey K. Morgan (M), Mactec<br />
<strong>Engineering</strong> and Consulting, Inc.,<br />
Rome, GA<br />
Ronan P. Ryan, Verbatim Americas LLC,<br />
Charlotte, NC<br />
Eddie Sera, Gulf States Distribution,<br />
Houston, TX<br />
Greg Wiley, Griffith <strong>Engineering</strong>,<br />
Charlotte, NC<br />
Jorge M. Zinser Cruz Sr., Avant Garde<br />
Technologies, SA. de CV, Mexico City,<br />
Mexico<br />
University of Alabama<br />
Destin Barkley, Laura Bays,<br />
Anna Crowson, Erynne Freeman,<br />
Catherine Hackett,<br />
Courtney Hamilton, Jenny Janus,<br />
Alex King, Rebecca Lybrand, Kendal<br />
Ann Miller, Ashlee Moore, Courtney<br />
Moore, Kelly Petro, Shelby Storey,<br />
Kiara Thompson<br />
West Region<br />
Robert D. Amick, Meeker, CO<br />
Kayla D. Brown-Cestero, Philips<br />
Lightolier, Las Vegas, NV<br />
Phil Elizondo, Bridgelux, Livermore, CA<br />
Sonja M. Ferdows (M), Design Alliance,<br />
Denver, CO<br />
Ronald J. France, Leviton, Antioch, CA<br />
Michael Heieh, FSP Group USA,<br />
Chino, CA<br />
Dorian Hicklin, Applied Minds, Inc.,<br />
Glendale, CA<br />
Stanton Humphries (M), Architectural<br />
<strong>Engineering</strong>, Avon, CO<br />
Charles Q. Li (M), VAOPTO,<br />
Las Vegas, NV<br />
John P. Martin (M), KGM Architectural<br />
Lighting, El Segundo, CA<br />
Brian Meissner, ECI/Hyer Architecture<br />
& Interiors, Anchorage, AK<br />
Corie V. Moonen, Valley Electric Co.,<br />
Everett, WA<br />
John S. Williams, Young Electric Sign<br />
Company, Las Vegas, NV<br />
California State University Northridge<br />
Tanya R. Wicks<br />
University of Washington<br />
Maja Petric<br />
International<br />
Sanjay Biswas (M), Crompton Greaves,<br />
Ltd - LAB (Lighting), Mumbai, India<br />
David WS Chan, LUX-TSI Limited,<br />
Bridgend, United Kingdom<br />
Richard Li, LCTECH Testing Services<br />
Co., Ltd., Zhongshan, China<br />
Alan G. Redilla, Mandaluyong City,<br />
Philippines<br />
LIGHTING HANDBOOK<br />
GIVE-AWAY DRAWN DAILY<br />
Publisher of LD+A, LEUKOS, lighting standards, books,<br />
and educational materials<br />
VISIT IES BOOTH #1813<br />
LIGHTFAIR International <strong>2011</strong><br />
Pennsylvania Convention Center, Philadelphia <strong>May</strong> 17-19<br />
120 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
SUSTAINING MEMBERS<br />
The following companies have elected to support the <strong>Society</strong> as Sustaining Members which allows<br />
the IES to fund programs that benefit all segments of the membership and pursue new endeavors,<br />
including education projects, lighting research and recommended practices. The level of support is<br />
classified by the amount of annual dues, based on a company’s annual lighting revenues:<br />
Diamond: $15,000 annual dues<br />
Lighting revenues over $500 million<br />
Emerald: $10,000 annual dues<br />
Lighting revenues to $500 million<br />
Platinum: $5,000 annual dues<br />
Lighting revenues to $200 million<br />
DIAMOND<br />
Acuity Brands<br />
Cooper Lighting<br />
GE Lighting<br />
Hubbell Lighting, Inc.<br />
OSRAM SYLVANIA Products, Inc.<br />
Philips Lighting Co.<br />
EMERALD<br />
Holophane<br />
PLATINUM<br />
Finelite, Inc.<br />
H E Williams, Inc.<br />
Lutron Electronics Co, Inc.<br />
Musco Lighting<br />
Philips Day-Brite<br />
Philips Lightolier<br />
RAB Lighting, Inc.<br />
Renova Lighting Systems, Inc<br />
Samsung LED<br />
Watt Stopper/Legrand<br />
GOLD<br />
A.L.P. Lighting Components Inc.<br />
Altman Lighting, Inc.<br />
Canlyte a Philips Group Brand<br />
Con-Tech Lighting<br />
Contrast Lighting ML, Inc.<br />
Duke Energy<br />
Edison Price Lighting, Inc.<br />
Elation Professional<br />
ETC<br />
EYE Lighting Int’l of NA<br />
Focal Point LLC<br />
Hapco<br />
Intense Lighting<br />
IOTA <strong>Engineering</strong> LLC<br />
Kenall Mfg Co.<br />
The Kirlin Company<br />
Kurt Versen Co.<br />
Lighting Science Group Corp<br />
Lighting Services, Inc<br />
Louis Poulsen Lighting, Inc.<br />
LSI Industries, Inc.<br />
Lucifer Lighting Co.<br />
National Grid<br />
Neonlite Electronic + Lighting (HK) Ltd.<br />
Philips Emergency Lighting<br />
Philips Gardco<br />
Prudential Lighting Corp<br />
San Diego Gas + Electric<br />
Sternberg Lighting<br />
Verbatim Americans<br />
Visa Lighting<br />
Vista Professional Outdoor Lighting<br />
Zumtobel Lighting, Inc.<br />
SILVER<br />
Apogee Translite<br />
Apollo Lighting<br />
Ascent Battery Supply LLC<br />
Associated Lighting Representatives. Inc.<br />
Axis Lighting, Inc.<br />
BAERO North America, Inc.<br />
Bartco Lighting, Inc.<br />
Barth Electric Co., Inc.<br />
Beta Lighting<br />
Birchwood Lighting, Inc.<br />
BJB Electric LP<br />
Black + McDonald<br />
Border States Electric Supply<br />
Bulbrite Industries, Inc.<br />
Carmanah Technologies<br />
Celestial Products<br />
City of San Francisco<br />
Gold: $2,500 annual dues<br />
Lighting revenues to $50 million<br />
Silver: $1,000 annual dues<br />
Lighting revenues to $10 million<br />
Copper: $500 annual dues<br />
Lighting revenues to $4 million (Copper members<br />
are listed in the IES Annual Report.)<br />
Con Edison Commercial and Industrial Energy<br />
Efficiency<br />
Con Edison Co. of New York<br />
CV Energy & Water Technologies<br />
Day Lite Maintenance Co.<br />
Delta Products Corp.<br />
EAE Lighting Co.<br />
Eastern Energy Services, Inc.<br />
Echelon Corporation<br />
Eclipse Lighting, Inc.<br />
Eco Lumens<br />
Eiko Ltd<br />
Energy Network Service<br />
ENMAX<br />
Enterprise Lighting Sales<br />
EPCOR Technologies Inc<br />
Fawoo Tech North America, LLC<br />
Gammalux Systems<br />
<strong>Illuminating</strong> Technologies, Inc.<br />
Illumineer Ltd<br />
Kramer Lighting<br />
L. J. Illuminacion SA de CV.<br />
Lam Lighting<br />
LCA Holdings P/L<br />
The L.C. Doane Company<br />
Ledalite Architectural Products, Inc.<br />
LED One, Inc.<br />
LED Roadway Lighting Ltd.<br />
Lee Filters USA<br />
Legion Lighting Co.<br />
Leviton Mfg. Co., Inc.<br />
Lighting Analysts, Inc.<br />
Lighting Design Lab.<br />
Lightology LLC<br />
Litecontrol Corp<br />
Litelab Corp<br />
LiteTech<br />
LCTECH Testing Services Co., LTD.<br />
Lumascape USA, Inc<br />
Luma Stream, LLC.<br />
Luxim Corporation<br />
Manning Lighting<br />
Medgar Lighting Group, Inc.<br />
Megalite USA, Inc.<br />
Metalumen Manufacturing, Inc.<br />
MP Lighting<br />
Neidhardt, Inc.<br />
Nora Lighting<br />
OCEM Acquisition Corp. dba<br />
Paramount Industries, Inc.<br />
Reflex Lighting Group, Inc.<br />
Richard McDonald & Associates, Ltd. - Calgary<br />
Richard McDonald & Associates, Ltd. -<br />
Edmonton<br />
Rosco Laboratories<br />
Ruud Lighting Canada Corp.<br />
Schneider Electric Mexico SA de CV<br />
Senso Lighting<br />
Sentry Electric Corporation<br />
Shakespeare Composites & Structures<br />
Smedmarks Inc.<br />
Southern California Edison<br />
StressCrete King Luminaire Co.<br />
The Climate Group<br />
The Lighting Quotient<br />
Tivoli, LLC.<br />
Toshiba International Corporation<br />
Traxon Technologies<br />
US Energy Sciences, Inc.<br />
Utility Metals.<br />
VAOPTO<br />
Velux America, Inc.<br />
WAC Lighting Co.<br />
Westpac LED Lighting, Inc.<br />
Xal, Inc.<br />
As of March <strong>2011</strong><br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 121
See us at LightFair Booth 1618!
In The World of Lighting...<br />
“A GOOD IDEA IS NEVER LOST.<br />
E VEN THOUGH ITS ORIGINATOR OR POSSESSOR<br />
MAY DIE WITHOUT PUBLICIZING IT,<br />
IT WILL SOMEDAY BE REBORN<br />
IN THE MIND OF ANOTHER.”<br />
-THOMAS<br />
A. EDISON<br />
Photo Copyright of Brooks Borg Skiles Architecture <strong>Engineering</strong><br />
T HE N EXT G REAT I DEA H AS A RRIVED<br />
See it at LIGHTFAIR Booth #2601<br />
For more information contact Venture:<br />
800-451-2606<br />
FAX: 800-451-2605 E-MAIL: venture@adlt.com<br />
VentureLighting.com<br />
© <strong>2011</strong> Venture Lighting International. Venture Lighting and Natural White are registered trademarks of Venture Lighting International<br />
VLI-1032A2-0211
Peace Reigns at Student Lighting<br />
Competition<br />
IESFYI<br />
MAY <strong>2011</strong><br />
Member Mentions<br />
Lighting Science Group Corp. has hired<br />
Jose Sierra as its vice president of customer<br />
satisfaction.<br />
Zumtobel has won the iF product design<br />
award <strong>2011</strong> for two of its products:<br />
the Panos Infinity LED downlight and the<br />
Opura free-standing luminaire (pictured).<br />
The awards recognize outstanding product<br />
design across a range of categories.<br />
More than 100 design students<br />
submitted entries to the<br />
11 th Annual IES New York City<br />
Section Student Lighting Competition,<br />
but ultimately peace<br />
triumphed: Pratt Institute industrial<br />
design major Kevin Lee<br />
took home the grand prize for<br />
his “Peace Bomb” interpretation<br />
of this year’s theme, “Revealing<br />
Shadows.” Students<br />
were challenged to construct<br />
a three-dimensional study in<br />
any medium and show how the<br />
interaction of light, shadows<br />
and surfaces can distort or enhance<br />
one’s perception.<br />
A paper luminaire in the<br />
shape of a cold-war era bomb,<br />
Lee’s entry produces a shadow<br />
in the form of a “ban the bomb”<br />
peace symbol when illuminated<br />
from within. The jury felt “Peace<br />
Bomb” not only demonstrated<br />
originality, but realized an idea<br />
that has international and historical<br />
significance. Lee received<br />
a $2,000 cash prize and<br />
will have the opportunity to take<br />
part in the upcoming Guerilla<br />
Lighting in Beirut.<br />
Parsons The New School<br />
student Rebecca Bost won the<br />
$1,000 second place prize for<br />
her project, “Shadow Ripples in<br />
a Pond of Light.” Another Parsons’<br />
student, Brandon Lenoir,<br />
was awarded third place and a<br />
$500 cash prize for his design<br />
“Was It a Rat I Saw?” Margaret<br />
Cabanis-Wicht, Pratt Institute;<br />
continued on p. 126<br />
First-place winner “Peace Bomb.”<br />
“Shadow Ripples in a Pond of Light”<br />
won second palce.<br />
“Was It a Rat I Saw?”<br />
received third place.<br />
Photos: Naomi Castillo, 90 Degree Photo, Inc<br />
www.ies.org LD+A | <strong>May</strong> <strong>2011</strong> 125
continued from p. 125<br />
IESFYI<br />
Shane Moan, Fordham University; and Andrew Koudlai, Fordham University, received honorable<br />
mentions. The awards were presented after keynote presentations by two artists<br />
who work with light and shadows: sculptor and professor of art at Rensselaer Polytechnic<br />
Institute, Larry Kagan, and artist Kumi Yamashita.<br />
Clean, Green, Next Big Thing<br />
Luxim vice president of marketing Randy Reid (right) discusses<br />
automobile lighting with Ford Motor Company CEO Bill Ford at a Wall<br />
Street Journal banquet honoring winners of its “Next Big Thing: Top<br />
10 Venture-Backed, Clean Technology Companies Award.” Luxim<br />
was one of 10 companies to receive the award, which ranks companies<br />
for entrepreneurial pedigree, growth and investor success.<br />
<br />
<br />
<br />
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126 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
OUT OF THE ARCHIVE<br />
<strong>May</strong><br />
1991<br />
Volume 21/No. 5<br />
» Project: The cover features the Keith W. Johnson Zoo Center at<br />
the Bronx Zoo in New York City—known as the “Elephant House.”<br />
The structure, designed in 1908 by architects Heins & LaFarge in<br />
the Beaux-Arts tradition, laid claim to having been designed so<br />
beautifully it could have been a church or a museum, as opposed<br />
to a home for really large mammals, such as elephants, rhinoceroses<br />
or hippopotamuses (hence the story’s title “Pachyderm<br />
Palace”). The building however, was quite dark, with only some<br />
natural light entering from windows and skylights. The new<br />
lighting achieved better color rendering from a mixture of metal<br />
halide, high-pressure sodium and quartz floodlights mounted on<br />
the arched beams. The rotunda was illuminated by narrow-beam<br />
metal halide floodlights through the skylights and five 100-W,<br />
narrow-beam quartz floodlights with dimming capabilities above<br />
and around the perimeter of the large central skylight. Hidden<br />
HPS floodlights washed the rotunda ceilings and three incandescent<br />
recessed downlights washed a wall niche.<br />
» Education: An “Industry News” item announced that Cooper<br />
Lighting had opened the doors of its state-of-the-art demonstration<br />
center, The Source Cooper Lighting Center in Elk Grove, IL.<br />
The half-acre working laboratory was designed to “meet the needs<br />
of the full spectrum of the industry professionals, advancing their<br />
skills through hands-on examination, the use of classrooms, application<br />
areas, showrooms and lecture areas.” The Source is still<br />
going strong today but is now located in Peachtree City, GA.<br />
» Views on the Visual Environment: Legendary and longtime LD+A<br />
contributor Louis Erhardt was known for his charming verbosity.<br />
This month’s column, entitled “In a Nutshell,” contained some of<br />
his favorite quotes; he led with one called “Brevity” from Dr. Seuss:<br />
“It has often been said there’s so much to be read, you never<br />
can cram all those words in your head. That’s why my belief is the<br />
briefer the brief is the greater the sigh of the reader’s relief is.”<br />
128 <strong>May</strong> <strong>2011</strong> | LD+A www.ies.org
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©<strong>2011</strong> Lutron Electronics Co., Inc.