May 2011 - Illuminating Engineering Society

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The magazine of the Illuminating Engineering Society of North America 

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LIGHTING DESIGN & APPLICATION 

CONTENTS 

Vol.41/No.05 

UP FRONT 

4 Editorial 

20 Letters 

26 News + Notes 

62 68 

COLUMNS 

30 Energy Advisor 

34 Apps + Answers 

38 Forces of Change 

46 The Company • The Candidate 

50 Policy Points 

80 

74 

DEPARTMENTS 

54 Anatomy of an Award 

105 Products in Practice 

106 Products + Literature 

112 Events 

116 Classified Advertisements 

119 Ad Index & Ad Offices 

120 New and Sustaining Members 

125 IES FYI 

128 Out of the Archive 

FEATURES 

62 SERVING UP SCI-FI 

A cinematic futurist cooks up cutting-edge concepts for two new 

restaurants at the Eventi Hotel 

68 A DAY AT THE RACES 

A horse racetrack with more than 3,000 “shuttered” sports 

luminaires is an illuminated jewel in the Dubai desert 

74 BARNYARD BEAUTY 

Urban meets rural as dance club-style lighting is woven into the 

bucolic architecture of a wedding ballroom in New Jersey 

80 PERIOD DRAMA 

Diverse design influences converge to form six exotic 

“experiences” at The Hurricane Club 

86 STEAKHOUSE WELL DONE 

Parx Grill’s contemporary approach to the traditional steakhouse 

interior intermixes lighting with sculptural architectural forms at 

a Philadelphia-area casino 

94 CORE CONCEPTS 

Core sunlighting is a practical, natural alternative for interior 

illumination deep within a building 

99 FIRST CHOICE IN THE SECOND CITY 

Three letters—CMH, not LED—define Chicago’s new street 

lighting strategy. Spearheading the transition is the city DOT’s 

chief engineer, Mohammed Rashed 

ON THE COVER: Designers create a foodie destination from a futurist’s vision at Bar Basque (p.62). 

Sketch: Syd Mead Inc.; Photo: Philip Koether Architects. 

05 • 2011

EDITORIAL 

A 

former 

colleague in the publishing business used to joke about the trade 

show experience of having the same conversation with the same person 

in the same place, year after year after year. Groundhog Day comes to a 

convention center near you. 

In his must-read “Apps + Answers” column on page 34, Don Piefer writes of how he 

doesn’t want our trade show to slide into the same morass—although he fears it may 

be on its way: Despite the advances in LEDs, the product offerings at LIGHTFAIR, he 

argues, are “by and large tame. As an industry, we take incremental steps each year. I 

think it is fair to pose the question: are we evolving at a quick enough pace? It seems 

that in other industries, there is a much more prodigious race to compete, more of a 

mandate to innovate and take chances.” 

Incrementalism in any endeavor is stifling. It contradicts those self-improvement 

mantras (be all you can be) and sports clichés (leave it all out there on the floor) that 

have become part of the business lexicon. Incrementalism can also result in satisfaction 

with the status quo and a subsequent absence of intellectual curiosity. 

You’re probably thinking that lighting is not alone; that incrementalism is the nature of 

the beast in any industry where pioneers are often the ones who take all the arrows in 

the back. But Peifer draws a fascinating contrast to how Apple operates and outlines 

the lessons we can learn from that company’s product catalogue. His five-point plan for 

deconstructing and then rebuilding the luminaire design process is required reading in 

this issue. 

I will have Peifer’s comments and checklist in mind as I cruise the aisles of 

LIGHTFAIR. So let’s leave the annual “game-changer” rhetoric at home this year, or at 

least reserve it for those new products that have really left it “all out there on the floor.” 

PAUL TARRICONE 

Editor/Associate Publisher 

ptarricone@ies.org 

Publisher 

William Hanley, CAE 


Paul Tarricone 

Associate Editor 

Elizabeth Hall 

Assistant Editor 

Roslyn Lowe 

Art Director 

Samuel Fontanez 

Associate Art Director 

Petra Domingo 

Contributing Writers olumnists 

Edward Bartholomew • James Brodrick 

Bob Horner • Mark Lien 

Eunice Noell-Waggoner • Don Peifer 

Paul Pompeo • Willard Warren 

Book Review Editor 

Fred Oberkircher 

Marketing Manager 

Clayton Gordon 

Advertising Coordinator 

Leslie Prestia 

Published by IES 

120 Wall Street, 17th Floor 

New York, NY 10005-4001 

Phone: 212-248-5000 

Fax: 212-248-5017/18 

Website: www.ies.org 

Email: ies@ies.org 

LD+A is a magazine for professionals involved in the art, science, study, 

manufacture, teaching, and implementation of lighting. LD+A is designed 

to enhance and improve the practice of lighting. Every issue of LD+A 

includes feature articles on design projects, technical articles on the science 

of illumination, new product developments, industry trends, news of 

the Illuminating Engineering Society of North America, and vital information 

about the illuminating profession. Statements and opinions expressed 

in articles and editorials in LD+A are the expressions of contributors and 

do not necessarily represent the policies or opinions of the Illuminating 

Engineering Society of North America. Advertisements appearing in this 

publication are the sole responsibility of the advertiser. 

LD+A (ISSN 0360-6325) is published monthly in the United States of 

America by the Illuminating Engineering Society of North America, 120 

Wall Street, 17th Floor, New York, NY 10005, 212-248-5000. Copyright 

2011 by the Illuminating Engineering Society of North America. Periodicals 

postage paid at New York, NY 10005 and additional mailing offices. 

Nonmember subscriptions $44.00 per year. Additional $15.00 postage for 

subscriptions outside the United States. Member subscriptions $32.00 (not 

deductible from annual dues). Additional subscriptions $44.00. Single copies 

$4.00, except Lighting Equipment & Accessories Directory and Progress 

Report issues $10.00. Authorization to reproduce articles for internal or 

personal use by specific clients is granted by IES to libraries and other 

users registered with the Copyright Clearance Center (CCC) Transactional 

Reporting Service, provided a fee of $2.00 per copy is paid directly to CCC, 

21 Congress Street, Salem, MA 01970. IES fee code: 0360-6325/86 $2.00. 

This consent does not extend to other kinds of copying for purposes such 

as general distribution, advertising or promotion, creating new collective 

works, or resale. 

POSTMASTER: Send address changes to LD+A, 120 Wall Street, 17th 

Floor, New York, NY 10005. Subscribers: For continuous service please 

notify LD+A of address changes at least six weeks in advance. 

Canada Post: Publications Mail Agreement #40612608 

Canada Returns to be sent to Bleuchip International, P.O. Box 25542, 

London, ON N6C 6B2. 

This publication is indexed regularly by Engineering Index, Inc. 

and Applied Science & Technology Index. LD+A is available on 

microfilm from Proquest Information and Learning, 800-521-0600, 

Ann Arbor, MI 

4 May 2011 | LD+A www.ies.org

EDITORIAL 

A 

former 

colleague in the publishing business used to joke about the trade 

show experience of having the same conversation with the same person 

in the same place, year after year after year. Groundhog Day comes to a 

convention center near you. 

In his must-read “Apps + Answers” column on page 34, Don Piefer writes of how he 

doesn’t want our trade show to slide into the same morass—although he fears it may 

be on its way: Despite the advances in LEDs, the product offerings at LIGHTFAIR, he 

argues, are “by and large tame. As an industry, we take incremental steps each year. I 

think it is fair to pose the question: are we evolving at a quick enough pace? It seems 

that in other industries, there is a much more prodigious race to compete, more of a 

mandate to innovate and take chances.” 

Incrementalism in any endeavor is stifling. It contradicts those self-improvement 

mantras (be all you can be) and sports clichés (leave it all out there on the floor) that 

have become part of the business lexicon. Incrementalism can also result in satisfaction 

with the status quo and a subsequent absence of intellectual curiosity. 

You’re probably thinking that lighting is not alone; that incrementalism is the nature of 

the beast in any industry where pioneers are often the ones who take all the arrows in 

the back. But Peifer draws a fascinating contrast to how Apple operates and outlines 

the lessons we can learn from that company’s product catalogue. His five-point plan for 

deconstructing and then rebuilding the luminaire design process is required reading in 

this issue. 

I will have Peifer’s comments and checklist in mind as I cruise the aisles of 

LIGHTFAIR. So let’s leave the annual “game-changer” rhetoric at home this year, or at 

least reserve it for those new products that have really left it “all out there on the floor.” 

PAUL TARRICONE 



Publisher 



Paul Tarricone 

Associate Editor 


Assistant Editor 

Roslyn Lowe 

Art Director 

Samuel Fontanez 

Associate Art Director 

Petra Domingo 

Contributing Writers olumnists 

Edward Bartholomew • James Brodrick 

Bob Horner • Mark Lien 

Eunice Noell-Waggoner • Don Peifer 

Paul Pompeo • Willard Warren 

Book Review Editor 

Fred Oberkircher 

Marketing Manager 

Clayton Gordon 

Advertising Coordinator 


Published by IES 


New York, NY 10005-4001 

Phone: 212-248-5000 

Fax: 212-248-5017/18 

Website: www.ies.org 

Email: ies@ies.org 

LD+A is a magazine for professionals involved in the art, science, study, 

manufacture, teaching, and implementation of lighting. LD+A is designed 

to enhance and improve the practice of lighting. Every issue of LD+A 

includes feature articles on design projects, technical articles on the science 

of illumination, new product developments, industry trends, news of 

the Illuminating Engineering Society of North America, and vital information 

about the illuminating profession. Statements and opinions expressed 

in articles and editorials in LD+A are the expressions of contributors and 

do not necessarily represent the policies or opinions of the Illuminating 

Engineering Society of North America. Advertisements appearing in this 

publication are the sole responsibility of the advertiser. 

LD+A (ISSN 0360-6325) is published monthly in the United States of 

America by the Illuminating Engineering Society of North America, 120 

Wall Street, 17th Floor, New York, NY 10005, 212-248-5000. Copyright 

2011 by the Illuminating Engineering Society of North America. Periodicals 

postage paid at New York, NY 10005 and additional mailing offices. 

Nonmember subscriptions $44.00 per year. Additional $15.00 postage for 

subscriptions outside the United States. Member subscriptions $32.00 (not 

deductible from annual dues). Additional subscriptions $44.00. Single copies 

$4.00, except Lighting Equipment & Accessories Directory and Progress 

Report issues $10.00. Authorization to reproduce articles for internal or 

personal use by specific clients is granted by IES to libraries and other 

users registered with the Copyright Clearance Center (CCC) Transactional 

Reporting Service, provided a fee of $2.00 per copy is paid directly to CCC, 

21 Congress Street, Salem, MA 01970. IES fee code: 0360-6325/86 $2.00. 

This consent does not extend to other kinds of copying for purposes such 

as general distribution, advertising or promotion, creating new collective 

works, or resale. 

POSTMASTER: Send address changes to LD+A, 120 Wall Street, 17th 

Floor, New York, NY 10005. Subscribers: For continuous service please 

notify LD+A of address changes at least six weeks in advance. 

Canada Post: Publications Mail Agreement #40612608 

Canada Returns to be sent to Bleuchip International, P.O. Box 25542, 

London, ON N6C 6B2. 

This publication is indexed regularly by Engineering Index, Inc. 

and Applied Science & Technology Index. LD+A is available on 

microfilm from Proquest Information and Learning, 800-521-0600, 

Ann Arbor, MI 


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2011 IES PROGRESS REPORT 

INVITATION TO SUBMIT 

Now’s the time to submit your significant new products, 

research, publications, applications, and advancements from the past year to the 

IES Progress Committee 

SUBMISSIONS ARE OPEN TO ALL 

SUBMIT ON-LINE 

WHAT DOES IT COST? $50 Processing fee per submission 

Submissions are reviewed by the IES Progress Committee 

ACCEPTED SUBMITTALS 

Presented live at the 2011 IES Annual Conference • Austin - Oct 30 - Nov 1 

Published in LD+A magazine 

Presented at IES Section meetings 

Accessible throughout the year at the ies website 

Submissions open: June 1 — August 5, 2011 

Put your 

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For more information, or to submit on-line, go to: www.ies.org

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LETTERS 

Even the ‘New 40s’ Need a 

Little Help 

I agree with Howard Wiig’s letter to 

the editor in the February issue (“60 is 

the New 40”). As a soon-to-be 60 year 

old, I resent being called impaired by any 

measure and look forward to many more 

years of practice. My hobbies are race 

car driving and high-performance driving 

instruction so, clearly, 60 is the new 40. 

However, my eyes are still aging as eyes 

always have. As good as I still feel, the IES 

states that I need 2.5 times the amount 

light required by 30 year olds, so by definition, 

I am visually impaired. It’s good news 

that we’re able to live and work longer, 

but the new 40 year olds will benefit from 

age-appropriate lighting design unencumbered 

by ASHRAE’s restrictive wattage 

limitations. 

Bruce C. Dunlop, PLDA, IALD, LC 

Bruce Dunlop Lighting Design, LLC 

Lutherville, MD 

Don’t Let the Perfect 

Be the Enemy of the Good 

I read with interest the letter to the 

editor from Wallace Ely (LD+A, March 

2011) regarding the “Future Leaders: The 

Next Generation of Lighting Luminaries.” 

Mr. Ely has stated that the article is 

“unbalanced” and “unrepresentative of 

what exists in the real world.” 

The letter does provide us an opportunity 

to address a common concern held by professionals 

like Mr. Ely. Namely, that we all 

know qualified rising stars in our industry. 

How do we help these stars become the 

recognizable professionals in our industry? 

If we lived in fear of making someone 

feel bad because they were not recognized, 

we would err on the side of never 

recognizing anyone. Obviously this is an 

unacceptable outcome. In corporations 

and organizations, recognition is difficult 

because every person’s contribution 

is unique and valuable. But recognition 

motivates individuals to do better, learn 

new things and help others do the same. 

So if you—or someone you know— 

should be recognized, identify an action 

plan to receive that recognition. 

Specific to the “Future Leaders” article, 

this is the approach I recommend for 

other mentors: 

• Read the article. Identify the accomplishments 

of those recognized and 

make a quick list of those items. For 

example: serves on an international 

committee; performed interesting 

research; promoted quickly through an 

organization; is a lighting activist, etc. 

• Identify the goals and objectives of the 

young professional you know. Would 

he like to work on a practice committee? 

Would she like to find a way to 

raise money to fund lighting projects 

in the third world? Does the dream 

include being the president of the IES? 

Brainstorm these items—they can be 

as big as the imagination. 

• Review the list of the accomplishments 

with your mentee. Are any of those activities 

in line with the goals and objectives 

of the young professional? Sometimes 

you can create your own success by 

learning from the success of others. 

• Assign a future date for the objectives. 

Five years is reasonable. Most people 

will need to accomplish multiple action 

items to achieve a single goal—so the 

PRESIDENT 

John Selander, LC, LEED AP 

Acuity Brands Lighting 

jselander@gothamlighting.com 

PAST PRESIDENT 

Fred Oberkircher, LC, FIES 

Texas Christian University (retired) 

VICE PRESIDENT 

(President-Elect) 

Denis Lavoie, PE, LC 

Philips-Lumec, Inc. 

TREASURER 

Chip Israel 

Lighting Design Alliance 

EXECUTIVE VICE PRESIDENT 


DIRECTORS 

Nick Bleeker 

Philips Day-Brite 

Jeffrey J. Davis, LC 

System Design Consultants 

Lisa Heschong 

Heschong Mahone Group 

Kevin Houser, Ph.D. 

The Pennsylvania State University 

Terrance Kilbourne, LC 

TEC, Inc. 

Mark Lien, LC, LEED AP 

Hubbell Lighting Inc. 

Eric Lind 

Lutron Electronics 

Peggy Sue Meehan 

Amerlux 

2010-2011 

Board of Directors 

Chad Watters, LC, LEED AP 

Licoda 

David R. Woodward, Ph.D. 

Philips Lighting Company 


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LETTERS 

future date must be achievable. 

• Create an action plan. Include clear 

steps between today and the date of 

the goal. I would expect an action plan 

would include very specific tasks, for 

example, go to the Annual Conference; 

attend an awards program and note 

the characteristics of award-winning 

designs; meet experts in the field of 

interest; and learn how to network better—the 

list will be varied. 

Experienced people lead companies 

and the industry; we need to support the 

young professionals for their attendance 

at the Annual Conference and LIGHTFAIR, 

we need to support their participation on 

document committees and local boards, 

and we need to introduce young professionals 

to experts in the industry. These 

activities and participation cannot be 

reserved as reward for our most experienced 

employees any more. 

If you are a mentor—or would like to 

mentor others in the industry—there are 

a lot of resources in the IES to assist you: 

• The IES website contains suggestions 

and instructions for how to begin an 

Emerging Professionals group in your 

area. 

• The IES is rolling out its new mentoring 

program, which will be a structured 

program to pair experienced and new 

lighting professionals. 

• The Annual Conference is the place to 

meet the experts in the industry. Go 

to the conference and ensure that the 

young professional can attend as well. 

There are countless opportunities to 

discuss the future of lighting and to 

“bump into the rock stars” of the industry. 

Meeting these people can advance 

professional objectives. 

Please, don’t let the perfect be the 

enemy of the good. Every individual recognized 

in the “Future Leaders” article 

deserved to be included there—they 

are making contributions to the industry 

beyond their experience in years. There 

are many, many others that will make up 

the future of the lighting industry. It is our 

responsibility to help these individuals 

develop to their potential—and to work 

to have them included on the next Future 

Leaders list. 

Kimberly R. Mercier, P.Eng., PE, LEED AP, 

IES past president, 2007-2008 

Lighting Design Innovations 

Calgary, Alberta, Canada 

Norm made sure the 

Bantam was packed with 

more standard features. 

In developing the new Bantam lighting control panel, we 

knew it had to have 8 relays, 8 switch inputs, be easy to 

program, and be competitively priced. Norm, the Owner 

and Lead Engineer with over 20 years of lighting control 

experience, insisted that the Bantam also have an 

Astronomical time clock, a USB port, an SD slot, 

as well as 4 photosensor inputs. PLC is, after all, 

the industry’s most trusted resource for photo 

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LETTERS 

Trends Come and Go; Our 

Mission is a Constant 

Recently, I became aware of the new 

guidelines for the 2010 version of ASHRAE/ 

IES 90.1. Insofar as these guidelines have 

become LEED and municipal mandates, they 

require further, more serious consideration. 

In my Emeritus letter of thanks to IES, 

published in LD+A in 2005, I reflected on 

the execution of duties by the IES in the 

1970s. At that time, the lighting industry 

was experiencing unprecedented growth 

and development of discharge sources, 

and providing light became easier. In fact, 

manufacturers and utility companies figured 

prominently in the IES membership 

rolls and committees, fostering recommended 

light levels in access of 100 footcandles. 

At that time, Bill Lam and others in 

DIALux 

the then-small lighting design community 

took issue with these recommendations, 

calling instead for the increased application 

of lighting quality, in combination with 

thoughtful design considerations. 

This was all heralded with pride and 

accomplishment by the IES. As stated in 

my Emeritus letter: 

An essential chapter in this chronicle must 

be my disaffection during the 1950s, ’60s and 

early ‘70s with IES and the ever-escalating 

recommended levels of illuminance. With the 

original “Blackwell Report” as the rationale, 

the Society published standards which were 

in turn supported and promoted shamelessly 

by the producers of lamps, lighting fixtures 

and electric power. It was really good for business. 

As a salesman, I found myself out of 

step with my peers of the day. 

. 

“Let there be light.” 

Fast-forward to today. No different, 

but very different. Now, it’s the DOE and 

ASHRAE that are influencing the practice 

of lighting design. Then as now, the focus 

of IES is human visual performance, not 

energy. Then as now, IES is the lighting 

expert in the “negotiations” of lighting 

metrics and has the obligation to advocate 

for the best application of light for human 

visual needs. ASHRAE and DOE have set 

quantitative metrics with maximum energy 

usage based on IES minimum recommended 

lighting levels. The footcandle, however, 

is just one of many considerations needed 

to create an appropriate visual result. 

I’m not speaking as a critic of the IES. 

I am speaking as a 50-plus year member 

that champions the Society’s growing legitimacy 

and its role in creating new guidelines 

for practice. However, trends come and go. 

Then, it was our exciting ability to generate 

high levels of light. Now, it’s the righteous 

need to save energy. One theme that hopefully 

remains constant is that the IES will use 

its position of authority to apply all known 

data to the benefit of the luminous environment. 

Now more than then, lighting design 

has the ability to consider more than merely 

the accurate delivery of footcandles. In closing, 

I would caution against the slippery 

slope of minimums and maximums; history 

proves the inertia very difficult to overcome. 

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Correction 

Richard Dunlop 

IES Member Emeritus 

Hunt Valley, MD 

Kim Karbus-Weber was missing from 

the list of IES members (LD+A, April) who 

passed the LC exam. LD+A regrets the 

omission. 


NEWS+NOTES 

From Sockets to Stardom 

Step aside celebrities. The media has a new darling: the incandescent 

lamp. From the evening news to late-night television, the 

incandescent (and its impending ban) has been hogging recent 

headlines, serving as a symbol of government overreach, a stumbling 

block to sustainability or the butt of a joke depending on 

who’s discussing it. Here’s a sampling from print, the airwaves and the blogosphere: 

• Brian Williams, anchor, NBC Nightly News: “We ask only slightly tongue-in-cheek, ‘do 

you know your light bulbs are in danger?’ We’re talking about the old-school light bulbs. 

The ones that turn on fully when you turn them on and provide that warm glowing light 

. . . at a cost. The day is coming when, because of an act of Congress, we all have to get 

rid of our traditional bulbs and switch to those energy-efficient bulbs, and a whole lot of 

people just don’t want to.” 

• Juliet Schor, Boston College sociology professor and participant in The New York Times’ 

“The Politicized Light Bulb” blog debate: “The trope of offended consumers is a trap set 

by the public relations folks at climate change denier central: in fact, Americans believe 

strongly in energy-efficient appliances, love the financial payback and appreciate the 

chance to help the environment.” 

• Steve Forbes, editor-in-chief, Forbes Magazine: “Next year the federal government 

begins the phaseout of traditional incandescent light bulbs, giving us yet another enlightening 

example of politicians short-circuiting free markets. . . . This prohibition of the 

standard light bulb is justified on the grounds that it will save energy. Well, if that were 

true, don’t you think consumers would figure it out for themselves?” 

• Stephen Colbert, comedian and host, Comedy Central’s The Colbert Report, on CFLs 

as an alternative to incandescents: “The socket-huggers will tell you that these pig-tail 

bulbs can lower your energy costs and last up to 10 years, but have they even considered 

what that will do to the American joke-telling industry? How many blondes does it take 

to screw in a light bulb? I don’t know; it’s only been seven years, we don’t have to change 

it yet.” 

It’s enough to make you wonder what the incandescent can do for an encore. 

—Elizabeth Hall 

Photo: David Bergman 

Crowds gathered at 

LEDucation 5. 

5 Is Their 

Lucky 

Number 

Want to ensure that an 

international mix of lighting 

professionals will jostle their 

way through the aisles of a 

mini trade show in record 

numbers? Include the letters 

“LED” in the event’s name and 

you might be well on your way. 

LEDucation 5, produced by 

the Designers Lighting Forum 

of New York, announced 

record-breaking attendance 

of more than 1,800 from North 

America and Europe for its 

Manhattan event in March. 

Some 87 LED, OLED and controls 

manufacturers exhibited 

at the conference, which also 

featured four presentations 

on solid-state lighting. 

Joining 

Forces 

Westinghouse Lighting 

Solutions has sold its assets 

to LumenOptix, LLC. 


NEWS + NOTES 

Numbers 

Game 

131 

Temperature (in deg F) 

that 4,750 new high-bay 

luminaires were required 

to withstand to be qualified 

for installation in the 

Qatar National Convention 

Centre 

33 

Percent of electrical 

contractors surveyed by 

Electrical Contractor magazine 

who believe LEDs are 

ready to replace incandescent 

lamps 

GaN-on-Silicon LEDs: 

Hype or Hope? 

More than two years ago, LEDs Magazine editor Tim 

Whitaker warned against buying into the hype surrounding 

Cambridge University’s research on gallium-nitride 

(GaN)-on-silicon LEDs. Whitaker cautioned that the process 

of growing GaN on silicon—which could significantly 

reduce the manufacturing costs of developing LED epitaxial 

wafers from sapphire or silicon carbide substrates— 

was yet untested and didn’t take into account “things like 

uniformity, reproducibility and yield.” 

Hoping to disprove claims like Whitaker’s, LED technology 

company Bridgelux has developed what it calls 

“industry’s first commercial grade performance for a 

silicon-based LED.” The technology uses a single 1.5mm, 

4,730K power LED operated at 350mA to produce 135 

lumens per watt. Bridgelux intends to release products 

using the new technology in the next two to three years. 

34 

Terawatt-hours LED 

replacements for the 425 

million 60-W incandescent 

bulbs sold each year could 

save in electricity per year, 

according to the DOE 

409 

Number of decorative 

post-top streetlights that 

Topeka, KS, will convert to 

LED lighting 

1,700,000 

Kilowatt hours that Dallas 

expects to save annually 

by upgrading to LED lowbay 

fixtures at five downtown 

parking garages 

Brazilian Beacon 

When President Obama and his family visited Rio de Janeiro’s 

Christ the Redeemer statue on their Brazilian tour, they had the 

opportunity to see it as few had before. Several weeks prior, 

the monument had been re-lighted in honor of its 80 th anniversary. 

Lighting designer Peter Gasper illuminated the statue with 

300 individually addressable, high-output LED projectors from 

OSRAM that bathe it in color-changing light. 

www.ies.org LD+A | May 2011 27

NEWS + NOTES 

The L Prize 

gains a 

new entry.. 

The Battle is (Finally) Joined The DOE created the Bright Tomorrow Lighting 

Prize, or L Prize, competition to spur the development of LED replacements for common types of incandescent 

lamps. So far, the results have been less than stimulating. Only one manufacturer—Philips—has submitted a product 

to the 60-W replacement portion of the competition. But that may soon change. Lighting Science Group Corp. 

has announced that it will enter a 60-W replacement LED bulb developed with Light Prescription Innovators, LLC 

into the competition. Like Philips’ 2009 entry, the new submission must undergo significant testing to ensure compliance 

with the competition’s stringent requirements, which include an efficacy of 90-plus lumen per watt, energy 

consumption of less than 10 watts, output of more than 900 lumens and a price point of $22 or less. 

Reports and Standards 

Recently Released 

• Rensselaer Polytechnic Institute Lighting Research Center 

(LRC) has published Patterns to Daylight Schools for People and 

Sustainability, a daylighting design guide that balances the photobiological 

benefits of daylighting with well-known daylight design 

techniques for school applications. www.lrc.rpi.edu 

• The CIE has published CIE 194: 2011: On Site Measurement of the 

Photometric Properties of Road and Tunnel Lighting. This technical 

report explains the performance of automatic systems 

intended to measure the photometric properties of road and 

tunnel lighting systems. www.cie.co.at 

• The National Electrical Manufacturers Association (NEMA) has 

published two new solid-state lighting standards: NEMA SSL 

1-2010 Electronic Drivers for LED Devices, Arrays, or Systems 

and NEMA SSL 6-2010 Solid State Lighting for Incandescent 

Replacement—Dimming. www.nema.org 


ENERGY ADVISOR 

Edison’s Revenge 

Classrooms run 700 to 1,000 sq ft in 

size, enough for PV panels on the roof 

above them to generate 7 to 10 kilowatts 

of power—more than enough for all the 

classroom’s electric needs. Schools can 

cover their parking lots with PV panels, like 

the panels that shopping malls are erecting, 

to generate more power, even enough 

for low-rise multi-story schools. 

Imagine a school with roof-mounted PV 

panels, generating DC power for lighting 

the spaces directly below, and like a DC 

battery pack, inverting some to AC for the 

plug load and the utility reserve. The roof 

capacity of 10 watts per sq ft plus that of 

the covered parking lot can provide all of 

the school’s electric power needs. The 

system is backed up by the local utility on 

rainy days and dark nights, cashing in on 

the excess power generated during the 

day and “banked” by the net meters. The 

back-up AC wiring could be run on the roof 

with a transfer switch, transformed down 

and rectified. Such systems are now in 

development by the EMerge Alliance, the 

LRC and others with a low-voltage DC 

track that LEDs, OLEDs, computers and 

other low-voltage DC devices can plug 

directly into, thereby contributing to creatby 

Willard L. Warren 

Is it possible that 

Steve Jobs, during 

his long absences, 

has found a way to 

commune with Edison 

and then return each 

time to introduce a new 

low-voltage DC device? 

In the late 1800s Thomas A. Edison, our 

nation’s most prolific inventor, perfected 

the incandescent lamp and the 

“electric dynamo“ (generator) to run it, 

and built an electrical distribution system 

in lower Manhattan for light and power. 

Edison’s electrical devices worked on direct 

current (DC) and his DC distribution system 

was limited in size because it could not be 

transmitted over long distances. On the 

other hand, Nicola Tesla and his employer, 

George Westinghouse, developed a competing 

high-voltage alternating current (AC) 

system capable of being transmitted for 

miles—which could be transformed back 

down to a safe working voltage for lighting 

and motor loads. Edison’s system was 

eclipsed and abandoned and he never forgave 

the two of them. 

Fast forward to the present: LEDs, OLEDs, 

computers, cell phones, iBooks and iPods 

operate on low-voltage DC, while power 

sources such as photovoltaic (PV) panels, 

fuel cells and wind turbines generate lowvoltage 

DC which has to be inverted to AC, 

transformed to a higher voltage for transmission, 

then transformed back down to a 

lower AC voltage for distribution to loads 

and then rectified to low-voltage DC to operate 

these new DC loads. Is it possible that 

Steve Jobs, during his long absences, has 

found a way to commune with Edison and 

then return each time to introduce a new 

low-voltage DC device? 

MORE POWER TO YOU 

PV panels generate 10 watts of DC power 

per sq ft of panel area. Lighting systems 

need only 1 watt per sq ft to meet recommended 

illuminance levels under the lighting 

power density (LPD) allowances. Plug 

loads (receptacles) consume only 0.5 watts 

per sq ft, leaving plenty of spare capacity 

during daylight hours. Some cities, like San 

Diego, get only 10 days of rain a year and 

can easily “bank” power by inverting the 

excess DC power generated by the PV panels 

to AC and driving a “net” electric meter 

backwards, building up a reserve with the 

utility. It obviously takes longer to bank the 

reserve in other climate zones. 

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ENERGY ADVISOR 

ing “net-zero-energy-use” schools. 

Back to the recent past, NEMA reported 

that 103 million T12s were sold in 2010 for 

replacements, down only eight percent from 

2009. T12 lamps represent 52 percent of 

all the 4-ft linear lamps sold last year for 

replacements. There are approximately 500 

million T12 lamps still out there, driven by 

Come visit us at 

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about 300 million magnetic ballasts, each 

one wasting 30-40 percent in energy. T12 

lamps will be banned in July 2012 and incentive 

programs curtailed because we’ll have 

no choice but to upgrade to T8 lamps and 

electronic ballasts. As we reported, New 

York City must remove all existing luminaires 

in approximately 700 schools because they 

SUSPENSION 

SPECIALISTS 

have magnetic ballasts with PCBs in their 

capacitors. The least expensive way to 

raise more than $500 million to upgrade the 

schools is by financing the upgrade with 

municipal bonds and amortizing them with 

the energy cost savings. Some states are 

doing the same thing with ARRA money. 

Employing “demand response” is another 

self-amortizing investment. About 30-40 

percent of an office building’s electric bill 

is for the demand charge. For hospitals 

it’s about 50 percent and for schools the 

demand charge is about 50-70 percent of 

the bill due to the low operating hours of 

elementary schools. Some utilities have rate 

schedules with ratchet clauses that require 

the payment of 80 percent of the highest 

monthly demand charge for the following 11 

months—even in the summer when schools 

are closed. There are controls that can easily 

monitor and prevent excessive peak demand. 

Many customers pay time-of-day (TOD) 

rates of as much as $ 1.25 per kWh during 

peak load periods, which should encourage 

load shedding, and Independent System 

Operators (ISOs) credit users who return 

unneeded demand back to the electric grid 

system. While there are still incentives, now 

is the time to upgrade with controls, save 

more than 50 percent in energy, and put 

people back to work manufacturing and 

installing high-performance lighting systems. 

And if SSLs meet our expectations, we can 

reach the net-zero usage of energy using 

low-voltage DC electrical systems to drive 

them. It’s the best investment we can make, 

both financially and environmentally. To their 

credit, lighting equipment manufacturers 

and electricians are born “shovel ready.” 

Rize Enterprises, LLC - PO Box 1311 Brentwood, NY 11717 

Phone: 631-930-7532 Fax: 631-249-8976 

www.rize-enterprises.com 

Willard L. Warren, PE, Fellow IES, LC, DSA, 

is principal of Willard L. Warren Associates. 


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APPS + ANSWERS 

Defeating Incrementalism 

by Don Peifer 

As we walk the 

halls of LIGHTFAIR, 

it’s fair to ask: 

is the industry 

evolving at a quick 

enough pace? 

We work in the field of light. How 

cool is that? Yet, at the end of 

the day, the tools of the trade 

that the specifier community 

has at its disposal seem banal. Every 

once in a while something noteworthy 

pops out of the weeds—an impressive 

performance here, or an interesting form 

factor there. Those instances seem few 

and far between, however. 

If I meet my deadline, this article will be 

handed out to the participants at LIGHTFAIR 

in Philadelphia. Amidst the glare of streetlights 

and everything LED, the spectacle 

has become, on the one hand, overwhelming 

from the standpoint of sheer scale and, 

on the other hand, underwhelming from the 

standpoint of innovation. Formulaic is the 

word that comes to mind. To the practiced 

eye, themes quickly emerge as you walk the 

space. Manufacturers in the era of reverse 

engineering may be reluctant to fully open 

the kimono, but that results in offerings that 

are by and large tame. As an industry, we 

take incremental steps each year. I think it 

is fair to pose the question: are we evolving 

at a quick enough pace? 

The reason I ask is that it seems that in 

other industries, there is a much more prodigious 

race to compete, more of a mandate 

to innovate and take chances. Considering 

how far LED technology has come in the 

last few years, you would think we could 

expect more from luminaires. The DOE 

recently announced the winners of the Next 

Generation Luminaire awards for LED products. 

The general illumination winner had 

flux of 1,615 lumens. The judges said that 

while they appreciated the aesthetics (i.e., 

this is the only product we would consider 

specifying), they questioned whether the 

light output was sufficient. I’ll save you the 

suspense: it’s not. It is, in fact, a non-starter. 

There are some very impressive LED performers 

out there currently. Where is the 

luminaire, however, that is that rare combination 

of performance, quality, value and 

aesthetics? That shoe has been in the air 

forever it seems, and you wonder if the 

creation of that product is even encoded into 

the industry’s DNA? LIGHTFAIR is a walking 

billboard to this disconnect with its separate 

design pavilion where “decorative lighting” 

is displayed. If you are looking for design, go 

here; for everything else, go there. 

LESSONS FROM OUTSIDE OUR WORLD 

I spoke to an industrial designer recently 

and asked him to show me an example of 

an interesting product. He reached into his 

pocket and pulled out a PDA. The fact that 

(a) it wasn’t an iPhone and (b) the product 

was exceedingly cool really hit me. It is survival 

of the fittest in that industry—evolution 

at a much faster pace as a function of 

market pressure. If you look at the Apple 

product catalog—especially against the 

canvas of the competitive space—there 

are several observations that could be 

used as a primer in our industry. 

1. Differentiate. Products in the lighting 

industry are more often than not what 

I call laterally derivative. One manufacturer’s 

luminaire is indiscernible 

from another’s. That doesn’t happen at 

Apple. Much of that is a function of having 

very few decision makers. It seems 

inevitable in luminaire companies that 

engineers beat up a design, manufacturing 

does the same and the end result 

is homogenous and uninspired. Apple 

demands the impossible. Products are 


APPS + ANSWERS 

pulled through a behemoth organization 

by a very thin line, and the spirit of 

the design remains intact. 

2. Keep your own counsel. Another reason 

Apple product is differentiated is that 

the decision makers hunt by instinct and 

listen little to what the industry advises. 

The Henry Ford quote comes to mind: “If 

I had asked people what they wanted, 

they would have said faster horses.” 

Surround yourself with the best team, 

support them and let them create. 

3. Obsolete your product line. We in the 

lighting industry seem obsessed with 

backward compatibility. Will this product 

fit with the existing platform? We 

MARCH TO THE BEAT OF A 

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have new building blocks, and in order 

for us to build around the strengths of 

the technology fully, we may need to 

think outside the parameter of tubes and 

spheres. Integration is key to the Apple 

value proposition, and year after year 

the company sets course for the horizon 

and burns the bridges to the past. This 

doesn’t happen in lighting. Hundredyear-old 

standards are still in place. 

4. Just say no. Fixture conglomerates produce 

thousands of new SKUs a year in 

an attempt to find a small percentage of 

winners. Apple is as proud of what they 

don’t offer consumers as what they do. 

5. Take inspiration from other arenas. Steve 

Jobs is famous for culling inspiration from 

outside of his industry. It could be as 

simple as a beveled edge of an appliance 

to the material use on an automobile. 

When there are already good ideas in the 

ether, use them for inspiration. 

Look, LEDs are now front and center in 

the industry. As we sit at a crossroads in 

the next paradigm of lighting, it is reasonable 

to ask: how can we do this differently? 

The best designed products address needs 

the consumer never knew they had, and 

that is the opportunity in solid-state. I am 

continually impressed at the sophistication 

coming out of the world of architecture. 

As a supporting industry, lighting isn’t following 

nearly as steep of a trajectory. At 

some point, that disconnect will become 

conspicuous. It’s only natural that we could 

support these endeavors with inspirational 

products. To do that, we need to deconstruct 

the luminaire design process. It is 

ours to destroy, and that should be liberating 

for everyone involved. 

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FORCES OF CHANGE 

Vacuum Tubes to Nanotubes, Who Will Lead? 

by Mark Lien 

The skill set that got 

us here is not what it 

will take to move us 

forward. Leaders will 

need to understand 

how to integrate new 

technologies without 

compromising lighting 

quality. They will need 

to take risks, as new 

sources prove worthy 

Thomas Edison joined the IES in 

1907. Industry leaders grappled 

with new technologies as flames 

were replaced by vacuum tubes. 

Those ascending to power over this 

decade will guide the shift from vacuum 

tubes to nanotubes and beyond. 

Entrenched industries and large conglomerates 

often resist change and impede progress. 

Edison battled the gas companies who 

saw electric lights as competition. AT&T 

fought anything that competed with their 

existing systems, refusing to allow competing 

devices to connect to their lines until a 

court order forced them to do so. I grew up 

in Detroit where auto companies attacked 

new forms of mass transit because it made 

their products unnecessary. Fossil fuel firms 

promote alternative energy in marketing spin 

but fund disinformation on climate change. 

These painfully slow transitions emerge 

from necessity not proactive strategy. The 

four largest lighting companies in North 

America control 55 percent of the market 

share. They are often accused of being 

slow to change, partially for the same reason 

that it takes time to turn a big ship, 

not from ill intent. They are all reinventing 

themselves into energy solutions providers 

of optoelectronic and semiconductor 

products. They are facing aggressive 

competition from previously peripheral or 

unrelated companies. The sense of urgency 

demands that no time be wasted fighting 

the momentum of the LED revolution. We 

quickly become experts, align with experts 

or face rapid demise. Resistance is futile. 

Unlike what faced AT&T, auto companies 

and the fossil fuel suppliers, our disruptive 

technology promises significant 

revenue incentive as a benefit from rapid 

transition. Due to the sense of urgency, 

increased competition and potential for 

high profits, there not only is no intentional 

blockage of LEDs but the large lighting 

companies are driving forward at a pace 

that may prove to be an unsafe speed. 

Expensive warranty claims, damaged 

credibility and disgruntled agents all result 

from rushing new technology to market. 

Our challenge is whether we can own 

relevant new technologies with authority 

before peripheral industries suck the cream 

off the top, relegating the rest of us to bottom 

feeders. What is the timeframe of this 

transition? GE claims they will be 75 percent 

LED in the next 10 years (noting they are less 

than 10 percent now). Philips has projected a 

tenfold increase in global LED sales by 2015 

(from about 1.5 billion Euros in 2010). 

There is only one group charged with 

reporting annually on advancements to the 

art and science of lighting. It is the IES 

Progress Committee. Their numbers reveal 

the pace of the transformation: 44 percent 

Our next generation of leaders would do well 

to adopt the “bring it on” posture of a young 

Edison. 



of the acceptances into their 2010 report 

were solid-state lighting related; 33 percent 

were controls; and 21 percent were retrofit 

oriented. Some of the controls and retrofit 

products were SSL technology. The LED 

train is seemingly unstoppable. Today’s leaders 

will have to sift through the overstated 

LED claims and focus on the applications 

and products that actually benefit from this 

source. Reality will rule and the momentum 

will slow. Signs are already visible: Just 

as many people still prefer incandescent 

sources to fluorescent, and early indicators 

are that LEDs face similar levels of rejection. 

OPERATION BACKLASH 

Performance does not equal the hype. 

The October DOE Caliper report revealed 

that the average white LED luminaire tested 

produces about 50 lumens per watt. 

While in some applications LEDs can be 

more effective, though less efficient than 

fluorescent and metal halide, the efficacy 

is below consumer expectations. Based on 

low efficacy and high fixture costs, there is 

a slow return on investment. LED growth 

may also be affected by research into photobiology 

and toxicity. Last October, the 

French Agency for Food, Environmental 

and Occupational Health & Safety (ANSES) 

recommended, “avoiding the use of light 

sources emitting cold white light (light with 

a strong blue component) in places frequented 

by children.” Architectural LEDs 

tend toward cooler correlated color temperatures 

having a strong blue component, 

especially in exterior applications. The 

report specifically addresses LED health 

concerns and, with qualifiers, recommends 

limiting LED sales, regulating installation 

and encourages manufacturers to design 

fixtures “in which beams of light emitted by 

LEDs cannot be seen directly.” 

Earlier this year researchers from 

University of California-Irvine’s School of 

Social Ecology and Program in Public Health 

analyzed red, yellow, green and blue LEDs in 

low and high intensities. They chose lights 

that would commonly be found on the typical 

Christmas tree and then ground up the 

contents of each bulb in order to analyze 

the different substances, specifically a wide 

range of heavy metals. In the LEDs, the 

researchers found toxic chemicals includ- 

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ing antimony, arsenic, chromium and lead, 

as well as numerous other metals. In the 

low intensity red LEDs, researchers found 

the lead content was over eight times the 

regulatory limit and the nickel content was 

approximately two and a half times over 

THE FUTURE IS HERE 

The most advanced LED system on the planet 

has arrived at a town and city near you. 

The preferred choice in decorative outdoor 

street and area lighting nationwide. 

the limit. Under environmental regulations 

in the State of California, most LEDs would 

be classified as hazardous waste. Damaged 

LEDs could pose health risks to those handling 

them and having direct contact with 

the toxic substances. These negatives can 

“Admirable 

uniformity 

and a warm 

color” 

Judges comment 

800.621.3376 | info@sternberglighting.com | www.sternberglighting.com 

ultimately be addressed but will influence 

the unchallenged acceptance LED sources 

have enjoyed. 

WHO’S UP, WHO’S DOWN 

Other new lighting technologies will gain 

momentum when our vision clears and reality 

sets in for the LED revolution. The OLED 

appears doomed as a general light source, 

due to the high cost, limited availability 

and lack of alternatives to indium. Indium 

tin oxide is a transparent (in thin layers) 

conductive coating used in OLEDs, LCDs, 

plasma displays, touch panels and electronic 

ink as well as some thin film solar 

cells. According to last October’s issue of 

Scientific American, “At current production 

levels, known indium reserves contain an 

18-year world supply.” There are prospective 

replacements including carbon nanotube 

coatings but none has proven to be as 

effective. There is promising research on 

“aromatic carbonyls,” a pure-organic phosphorescent 

replacement, at the University 

of Michigan. Optimistic lighting and television 

manufacturers continue to introduce 

new OLED offerings. Apple recently filed 

three OLED display related patents. 

OLEDs have multiple competing technologies 

challenging them. The organic 

light-emitting transistor (OLET) is claimed 

to be 100 times more efficient at converting 

electricity into light that OLEDs. The 

OLET was developed at the Italian National 

Research Agency and announced in May 

2010. It combines the switching mechanism 

of a thin-film transistor and an electroluminescent 

device. Carbon nanotubes 

were found in 2004 to emit photons of light 

but more recent research has focused on 

other uses. MIT was able to use carbon 

nanotubes to concentrate light by about 


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100 times and funnel photons into smaller 

(less expensive) solar panels. 

A team of Swedish and American 

researchers has created an organic lightemitting 

electrochemical cell (LEC) with 

no metal having carbon-based electrodes 

made from graphene. This lighting system 

is created entirely from liquid solutions so 

it can be produced through an inexpensive 

printing process. Graphene is a one atom 

thick clear carbon material that is 100 times 

stronger than steel. A meter sq sheet would 

support a 9.2-pound cat and weigh less 

than one whisker on the cat. It is the basic 

structural element of carbon nanotubes. 

LECs are positioned as a replacement for 

OLEDs with the advantages of significantly 

lower cost and being fully recyclable. 

The electronic and optical performance of 

devices based on graphene is similar to 

those using indium-tin-oxide but marketable 

LEC fixtures are years away. 

APPLY HERE 

If you are getting the feeling that this is not 

your father’s lighting industry, read on as it 

only gets more evident. Gordon Moore was 

a co-founder of Intel. In 1965 he stated that 

the quantity of transistors that can be placed 

inexpensively on an integrated circuit has 

doubled about every two years. This trend 

has continued for more than half a century 

and is still predicted throughout this decade. 

If you think electronics are pervasive now, 

imagine the impact of research reported in 

June 2010 on quantum optics that revealed 

that a single atom can be a transistor for light. 

This means more transistors than Moore 

imagined possible. A transistor is a semiconductor 

device used to amplify and switch 

signals. The quantity of transistors relates 

directly to processing power and miniaturization. 

The ability to integrate electronics 

just took a quantum leap. In fact, quantum 

computers may result from this breakthrough. 

Many scientists are discussing the 

Singularity, a point in time when artificial intelligence 

(AI) surpasses human intelligence. 

This would require significantly increased 

processing speed with most projections 

The OLED appears doomed as a general light source, 

due to the high cost, limited availability and lack of 

alternatives to indium 

ranging from 2019 to 2040. AI may control all 

of our appliances including the lighting in a 

space adjusting not just to user patterns as 

we can do now. AI could automatically react 

to demand response, offer dynamic intensity 

and color tuning for photobiological benefits, 

provide seamless daylight integration, select 

individual user preferences and much more. 

The ability of AI to not only be a supercharged 

database (like the Watson computer recently 

on Jeopardy) but to reason and repair or replicate 

itself has consequences well beyond 

our industry. Integrating AI into our products 

makes our LED learning curve seem small by 

comparison. 

Quantum computers are necessary for 

teleportation for objects (beyond the information 

that can be teleported now), which 

also involves light. Entangled photons are 

dependant on the state of each other and 

when one is sent a distance away and measured 

it causes the other to change allowing 

the teleportation of quantum information 

(but only atoms of matter so far). This 

potential for quantum-state generation and 

manipulation may allow time-dependant 

transfers between light and matter. 

Who will lead lighting into this incredible 

future? Where are our Thomas Edisons? 

The skill set that got us here is not what it 

will take to move us forward. It is not just 

the products that are changing, it is the 

information required to understand, produce 

and apply the new sources and fixtures 

resulting from the radically different 

direction we are speeding toward. Many 

fear change and will fall behind. The IES 

mission to improve the quality of the lighted 

environment will become increasingly difficult 

as we move from mature, predictable 

sources into the new frontier. Leaders will 

need to understand how to integrate these 

technologies without compromising lighting 

quality. They will need to take risks, as 

new sources prove worthy. 

It is an exciting time, rich with opportunity 

for lighting inventors, designers, 

researchers, CEOs and anyone who can 

help navigate. Last December this magazine 

featured an encouraging “Faces of 

the Future” issue profiling 25 “of the future 

thought leaders of the industry.” They look 

confident and determined but they will 

need support, encouragement and mentoring 

to face the daunting challenge of 

quickly transforming our industry. I even 

noticed a few “bring it on” expressions that 

reminded me of a young Thomas Edison. 

Mark Lien, LC, LEED AP, is director of the 

Lighting Solutions Center for Hubbell Lighting 

and a member of the IES Board of Directors. 


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THE COMPANY • THE CANDIDATE 

Surprise! It’s a Seller’s Market for Job Hunters 

most parts of the lighting, LED electrical and 

energy market. Those employers who don’t 

recognize this are doomed to lose out on the 

best talent. Granted, there are some exceptions: 

Product-wise, for example, companies 

in the residential market are generally doing 

better but still expect it to be a year or two (or 

more, depending upon whom you ask) until 

they get back to satisfactory volume levels. 

Likewise, if you ask someone how business 

is (and, correspondingly how the hiring market 

is), your answer will often vary based on 

the geographical market of the person asked. 

That being said, the demand for strong candidates 

in today’s lighting, solid state, controls 

and energy market far exceeds the supply. 

Every month or so we receive a call or 

e-mail from a company telling us about a 

position they would like to fill, and the hiring 

manager or human resources professional 

will ask, “Do you have anyone in your files 

that fits this?” The question is asked with 

the hope or expectation that we have several 

candidates just sitting in our files who 

are looking for a job exactly matching their 

description. Ideally, the desire is to see those 

candidates within a couple of days (or at 

least be sent résumés within a day or two). 

I tell them that yes, we probably do have 

someone in our files who generally fits their 

requirements, but that doesn’t mean that 

person’s the one they would want to hire. 

Just because they may be “new additions” 

to our files doesn’t mean they’re the best 

people for the position. 

2. Unemployment is still high, so money 

can be saved by making a low offer to a candidate. 

Now more than ever, this strategy 

is a lose-lose proposition. “Bidding war” 

may be too strong a term and no company 

wants a candidate to leverage an opporby 

Paul Pompeo 

It is a candidate’s 

market for most parts 

of the industry. Those 

employers who don’t 

recognize this are 

doomed to lose out 

on the best talent 

According to Wikipedia, “paradigm 

shift (or revolutionary 

science) is the term used by 

Thomas Kuhn in his influential 

book The Structure of Scientific 

Revolutions (1962) to describe a change 

in the basic assumptions, or paradigms, 

within the ruling theory of science. Since 

the 1960s, the term has also been used 

in numerous non-scientific contexts to 

describe a profound change in a fundamental 

model or perception of events.” 

Over the past 12 months, there has 

been just this type of a paradigm shift 

in the lighting industry. In the past two 

years we have experienced “The Great 

Recession” complete with layoffs and the 

early retirement option (i.e., an “offer you 

can’t refuse,” to quote The Godfather) by a 

major lighting manufacturer to many of its 

most seasoned and respected employees. 

However, in the past year we have seen a 

strong increase in our search activity. 

While some companies have adjusted 

their hiring and interviewing strategies to 

mirror the positive activity in our industry, 

others have not yet recognized how the 

past year has affected today’s job market 

today and are still operating on an outdated 

paradigm. 

Here, then, are three myths about 

today’s hiring market in the controls, lighting, 

LEDs and energy arena that are still 

guiding some companies’ strategies: 

1. There are many candidates “on the street” 

and available for hire. While that might be 

true for some of the older technologies in 

our industry, anyone involved in the SSL, 

controls and/or energy sectors is being 

sought after. First off—and let me be clear 

about this—it is a candidate’s market for 


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THE COMPANY - THE CANDIDATE 

tunity/offer against another company’s. 

However, if your offer is not fair and competitive 

in today’s market, chances are you 

are setting your company up to have to 

look for another candidate. 

The strategy of “Let’s make an offer 

and if it’s not acceptable we can consider 

increasing it” was only occasionally effective 

in the past and is much less so today. 

If you’re dealing with an “A” candidate, 

by the time you have not heard back from 

him/her they may have already accepted 

another offer. And even if they do get 

back to you to tell you that your offer is 

low, if another company has extended a 

more competitive offer, odds are they will 

go with the other company who they feel 

more immediately recognized their worth. 

Finally, beware that the “lower cost of living” 

gambit can only take you so far if your 

offer is not reasonably competitive. 

3. We can’t have the next interview for 

another (two/three/four weeks)—if she’s 

really interested in our position, she will wait. 

On the very day I wrote this column, I spoke 

with the director of human resources for a 

major lighting manufacturer who had a first 

phone meeting with a candidate we introduced 

for a director of product marketing 

position. He liked her and wanted her to 

meet with the general manager in person in 

two weeks. I explained that while she was 

very interested in the opportunity, she was 

interviewing with other companies and 

did have another strong possibility in the 

works. After considering this, the HR professional 

replied, “Let’s arrange a phone 

meeting between her and the GM later this 

week or early next.” 

Perfect solution—this would keep the 

candidate vested in the process and also 

give her more information that would continue 

to hold her interest until the in-person 

meeting could be arranged. The moral of 

this story—if you have a candidate you 

like, have no more than a one week interval 

between each interview in the hiring process. 

Anything longer risks the candidate’s 

interest growing cold, giving them time to 

get re-engaged in their current position (or 

to be offered a promotion) or to be courted 

by other companies. 

NEW LANDSCAPE 

We’re living in both an evolutionary and 

revolutionary period. Lighting is no longer 

a mature market; in some emerging segments 

it’s more like the Wild West. The 

explosion of new technologies will be a 

challenge to those with a dated outlook on 

the hiring process that is more suited to 

a 2009 environment than today’s dynamic 

“gold rush” for the top talent in our industry. 

However, for those forward-thinking hiring 

managers and human resources professionals 

who are fully aware and taking 

advantage of this ground-breaking era, 

these are exciting times, indeed. 

Paul Pompeo is principal with The Pompeo 

Group (www.pompeo.com), an executive 

recruiting firm in the lighting and electrical 

industry working on a global basis with 

both lighting companies and design firms. 

email a letter to 

the editor 



POLICY POINTS 

Lighting and the Zero-Sum Game 

by Bob Horner 

The official goal is 

net-zero energy 

buildings by 2030, 

but, in truth, the 

timeline could be 

even shorter 

Those of you that have been reading 

this column have heard about the 

Zero Energy Commercial Building 

Consortium (CBC); and those of you 

that have not been reading this column, 

welcome! The CBC has been quite busy of 

late, so here’s an update. Remember, the 

Zero Energy CBC is charged with producing 

recommendations as to how we can 

achieve net-zero energy buildings by the 

year 2030. A full explanation is available 

on the website http://zeroenergycbc.org. 

The final report has been completed. It 

is divided into two major categories: “Next 

Generation Technologies, Barriers, and 

Industry Recommendations for Commercial 

Buildings” and “Analysis of Cost & Non-cost 

Barriers and Policy Solutions for Commercial 

Buildings.” The first one deals mostly with 

product and technical topics such as lighting, 

mechanical systems and the building 

envelope; the second with market and policy 

areas such as owners and tenants, integrated 

design, and financial issues. 

The CBC reports are quite timely, following 

closely on President Obama’s February 

3 announcement about the new Better 

Buildings Initiative, which is aimed at improving 

energy efficiency in commercial buildings 

by 20 percent over the next 10 years by stimulating 

private investment in building energy 

efficiency. The reports were compiled from 

input taken from the lengthy individual working 

group reports available at http://zeroenergycbc.org/workinggroups. 

There were several overarching principles 

and recommendations common 

across most of the working groups: 

• Existing technologies need to be more 

rapidly developed and commercialized. 

• There is significant opportunity today 

to reduce energy consumption in buildings—underutilized 

existing technologies 

should be applied for immediate 

results. 

• Integrated design will be necessary to 

even approach net zero. 

Following are some of the salient points 

specific to lighting noted in the report: 

• Traditional light sources do have a 

place in net-zero energy buildings, but 

to a limited extent. High-efficiency 

fluorescent systems for general lighting 

and improved performance metal 

halide for higher ceilings, atria, small 

auditoriums, etc. should be considered 

as part of an overall lighting design. 

• The major portion of the lighting in netzero 

energy buildings will need to be 

done by some form of improved solidstate 

lighting due to its high-efficacy, 

long-life and ability to control. 

• New lighting design techniques and 

software are needed to ensure the 

significant lighting demands of net-zero 

energy buildings are met. 

• Net-zero energy buildings will depend 

heavily on improved designs and application 

of daylighting and control systems. 

• Buy-in from building owners is paramount. 

• Even though the target is 2030, product 

development cycles will dictate that 

the real timeline is shorter, perhaps 

2020 or 2025. 

Gap analysis is also part of the report, 

noting those areas where significant R&D 

is needed to achieve net-zero energy. 

Lofty goals? You bet! But the challenge 

is not insurmountable. Energy independence 

is a bi-partisan issue (or should I 

say non-partisan). It can drive innovation, 


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POLICY POINTS 

create new industries and improve the 

environment. What’s not to like? 

A WORTHY CHARTER 

The National Institute of Building 

Sciences (NIBS) is an organization whose 

charter. . . well, here it is directly from their 

website: “The National Institute of Building 

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Sciences is a non-profit, non-governmental 

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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 

housing, commerce and industry throughout 

the United States. . . . The Institute’s mission 

to serve the public interest is accomplished 

by supporting advances in building sciences 

and technologies for the purpose of improving 

the performance of our nation’s buildings 

while reducing waste and conserving 

energy and resources.” 

NIBS has a group called the Consultative 

Council, of which IES (that’s me) is an 

active member. The council was charged 

with identifying the high-level issues 

currently impacting the building community 

and offering findings and recommendations 

related to these issues. These 

findings are then to be submitted to the 

President (of the U.S.) and Congress. 

The initial issues identified were: 

• Defining high-performance and common 

metrics 

• Energy and water efficiency 

• Codes and standards adoption and 

enforcement 

• Sustainability 

• Education and training 

• Existing buildings 

Committees were formed to address each 

of these topics. Their individual reports were 

consolidated and summarized in a cover 

report for submission to the President and 

Congress. In case you were wondering what 

I have been doing as part of all this, in addition 

to being a member of the Consultative 

Council, I am on the Existing Buildings committee, 

chaired by the head of the Building 

Owners and Managers Association (BOMA). 

The report should have been submitted 

by the time you read this. Check the 

IES Public Policy webpage, http://www.ies. 

org/public-policy for the status. 

Bob Horner is director of public policy for 

the IES. 


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Warren E. 

Burger Federal 

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Replacing unshielded T12 

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The verdict? Guilty. The culprit? Outdated lighting 

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LEED-EB Silver certification with lighting that uses 1.19 watts per sq ft building-wide on average. 

Photos: Don Wong 

A fl uorescent cove lightens 

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BAR BASQUE/FOODPARC 

Serving up 

Sci-Fi 

A 

cinematic ‘futurist’ 

cooks up cutting-edge 

concepts for two new 

restaurants at the 

Eventi Hotel 

BY ELIZABETH HALL 

Photo: Philip Koether Architects 



At Bar Basque, translucent red resin panels backlit with T8 fl u orescents 

form a “fuselage” interior. Custom MR16 downlights integrated into the 

fi b erglass ceiling recreate the random patterns in Mead’s sketches. 

Inside what appears to be a spaceship, 

diners sample bite-sized “pintxos,” 

sip wine poured by a machine and rub 

elbows with a hologram. This could 

be a scene from a science fiction movie, 

but it’s not. . . .It is, however, modeled after 

one. Best known for the conceptual 

design of movies like Blade Runner, Alien 

and Tron, “visual futurist” Syd Mead has 

brought his big-screen visions to the real 

world at two new restaurants in New York 

City’s Eventi hotel. In fact, Mead referred 

to one of the concepts as the “set for a 

movie that will never be made.” 

His first permanent architectural projects, 

Bar Basque and FoodParc both exhibit 

Mead’s signature space-age style, 

but each is executed differently. Bar 

Basque, a Spanish fine-dining restaurant 

on the second floor of the hotel, has dramatic, 

fiery red interiors that complement 



Stem-mounted MR16s illuminate circular mirrored reflectors to form a space-age chandelier in the 

private dining room at Bar Basque. 

Adding a “circuit-board” element to a corridor in Bar Basque’s narrow red interior, blue LED strip 

lights a textured horizontal reveal. 

Photo: Adrian Wilson Photo: Adrian Wilson 

the Basque region’s hearty cuisine (including 

“pintxos,” Basque tapas). In contrast, 

FoodParc, a modern, upscale food court on 

the first floor, features nature-patterned 

lighting projected onto a white backdrop. 

The two eateries are joined in the middle by 

a tiered seating area that can be used by 

patrons from either restaurant. 

A self-proclaimed non-conformist, Mead 

pushed design boundaries at both restaurants. 

New York City-based firms Philip 

Koether Architects and Cline Bettridge 

Bernstein Lighting Design, Inc. turned 

Mead’s other-worldly sketches into a reality. 

“It was up to us to interpret what Syd’s 

concepts meant and to deal with things 

like energy requirements and budget. We 

also had to look at what it took for people 

to look and feel good in these spaces,” says 

CBBLD principal Francesca Bettridge, who 

collaborated with senior associate Michael 

Hennes and associate Nira Wattanachote 

on the restaurant lighting. The team also 

designed lighting for common areas, such 

as stairwells, and the building’s façade. 

FROM RENDERING TO REALITY 

Known for his movie set designs, Mead 

has also created some rather unusual 

spaces, including the custom interior of a 

747 aircraft. At Bar Basque, he channeled 

that experience to create an airplane-inspired 

aesthetic, envisioning the long, narrow 

interior as a red fuselage with curved 

ceilings and circuit board-style accents. 

Translating Mead’s ideas into reality 

posed several challenges, however. In his 

sketches, the sole light sources are randomly 

clustered downlights “that aren’t 

something you see in our industry,” says 

Bettridge. “We really tried to capture the 

spirit of everything that he was doing, but 



Photo: Eric Laignel 

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 

from the top. Blue T5s illuminate the glass storage display in the background. The three colors combine to give the appearance of depth. 

put the lights where they worked with the 

ceiling and what was happening below, 

creating a family of fixtures.” 

CBBLD maintained the random quality 

of Mead’s sketch by varying the size and 

shape of the custom luminaires (RSA Lighting), 

which are integrated into the formed 

fiberglass ceiling. “Some elements are big, 

some are small, some are rectangular with 

curved edges and some have glowing components 

in them,” says Hennes. Fitted with 

37-W infrared MR16s, the fixtures seem 

arbitrary, but they are actually strategically 

positioned. “Wherever people are sitting, 

we put some white light on the tables,” 

notes Bettridge. 

Supplementing the downlights was another 

must. “The renderings are really focused 

on downlighting, so we had to think 

of ways to bring in more glow,” says Hennes. 

To stay true to Mead’s concepts, CBBLD 

came up with ways to integrate lighting 

into the architecture without adding visible 

fixtures. One method was to create glowing 

walls. Instead of a traditional opaque material, 

translucent red resin was used to form the 

curved portion of the walls seen in Mead’s 

sketches. Long-life T8 fluorescent strips 

with red gel sleeves make the wall appear 

to glow from within. The panels hinge open 

at the bottom so lamps are easily accessible 

for maintenance. In between the resin panels 

and the wall below, a textured horizontal 

reveal is lighted from behind by a continuous 

blue LED strip (iLight). The techy-looking 

band adds to the “control panel, switchboard” 

aesthetic, says Hennes. 

Glow was also added to the windows. 

Concealed above window walls, warm-white 

LED cove grazes the white shades below, 

creating ambient glow in the red dining and 

lounge area as well as the glass-enclosed 



Photo: Philip Koether Architects Rendering: Syd Mead Inc. Sketch: Syd Mead Inc. 

A CONCEPT TAKES SHAPE 

The sequence shows the progression from 

Mead’s early concept for FoodParc, to a 

more developed rendering, to the final 

installation, where fluorescents backlight 

computer chip-style acrylic ceiling panels and 

theatrical fixtures produce abstract colored, 

moving images on the white floors and walls. 

terrace on the opposite side of the windows. 

The illuminated architecture adds warmth to 

the edgy décor, making the red fuselage the 

perfect place for guests to enjoy a glass of 

wine . . . poured from a built-in, self-service 

wine vending machine, of course. 

BASQUE TO THE FUTURE 

For a wider beverage selection, patrons 

can visit the Whiskey Bar at the end of the 

restaurant. Though the bar is a continuation 

of the futuristic red lounge and dining 

area, its conceptual design also pays homage 

to the Basque region of Spain. Rising 

behind the bar, a glass wall with an applied 

leaf pattern represents the region’s famous 

Bilbao tree. Initially, the wall design 

called for four layers of glass. After four 

panes were valued engineered down to 

one, the team was tasked with maintaining 

the perception of depth achieved in the 

original rendering and “had to mix sources 

to create the layered effect,” says Hennes. 

Three colors of light were combined to 

create the appearance of depth: Cool-white 

LEDs uplight the bottom of the glass panel, 

red LEDs graze down from the top and recessed 

blue fluorescent T5s illuminate the 

whiskey bottle glass storage display in the 

background. The LED-backlighted acrylic 

bar provides additional ambient illumination, 

while a half-hidden hologram created by a 

ceiling-mounted framing projector adds a 

decorative surprise to a nearby column. 

The Bilbao tree reappears in the private 

dining room, where it is depicted in a painting 

by artist Andrew Schoultz. Unlike the 

rest of the interior, the private dining room 

was not included in Mead’s concepts. “We 

wanted to keep the same space-agey feel 

so that it looked like it belonged, but we 

didn’t want it to be a continuation of the 

red room,” says Bettridge. CBBLD distinguished 

the space by creating a custom 

chandelier. Suspended next to a fiber-opticilluminated 

skylight, circular mirrored reflectors 

of different diameters are hung at 

varying lengths. Light from stem-mounted 

MR16 monopoints bounces off the reflectors 

and illuminates the dining room below. 

FUTURISTIC FOODCOURT 

Nature-inspired accents and sci-fi interiors 

are an unlikely combination, but they 

complement each other at FoodParc, the 

downstairs restaurant. What else would 

you expect from an eatery that boldly 

pairs quirky gourmet snacks like pastrami 

egg rolls and artisanal bacon burgers with 

cafeteria-style dining? 

“It’s interesting because on one hand the 

architecture is very techy looking, but on 

the other a lot of the patterns are very natural 

and leafy,” says Hennes. “Syd really 

liked the idea of a dappled quality of light,” 

so CBBLD created foliage patterns using 

robotic theatrical fixtures (Martin) with 

150-W T6 metal halide lamps. Mounted in 

the black ceiling space between hanging 

translucent acrylic panels, the luminaires 

project abstract, moving, color-changing 

patterns onto the white floors and paneled 

walls. A similar leaf pattern is echoed 

on the multi-colored glass feature walls, 

which are grazed by warm-white LEDs. 

FoodParc’s “techy” elements are likewise 

enhanced by lighting. Fluorescents with 

specular bottom louvers backlight undulating, 

hanging, acrylic ceiling panels to reveal 

their computer chip-style patterns. “We 

didn’t try to evenly light the panels,” says 

Hennes. “We didn’t mind that the light would 

be a little stripey looking,” since the intention 

was to create the impression of light shin- 



Photo: Philip Koether Architects 

Photo: Cline Bettridge Bernstein Lighting Design 

The futuristic concept continues even in the stairwell, where white LED strip highlights the threedimensional 

architecture to represent turbines turning. 

Color-changing LEDs illuminate window wells 

to enliven the façade. 

ing through tree branches. In Mead’s world, 

even trees, it seems, can be high-tech. 

SIGNS OF LIFE 

With so much attention to detail paid 

to both restaurant concepts, the design 

team didn’t want the experience to end 

when guests stepped into a corridor. As 

a result, the connective areas between 

the restaurants, including the shared 

tiered seating area, two entrances and 

stairwells, multiple hallways, and elevator 

banks, all bear Mead’s mark. 

For example, the northeast stairwell is a 

continuation of the red Bar Basque theme. 

Along the wall, a three-dimensional red band 

and oversized circle “represent machinery, 

like turbines turning,” says Bettridge. In 

Mead’s sketch, the turbine radiates spokes 

of light to suggest movement. To achieve 

the look, CBBLD used white LED strip to 

highlight the edge of the band and circular 

turbine element. Amber LED indicator lights 

create the impression of machinery. 

The stairwell gives guests a taste of the 

upstairs interior as they enter from Sixth Avenue. 

But the design team wanted to create 

the same appeal even before guests enter 

the building: “It has a clean, minimalist façade 

and we wanted people to get excited 

about what’s behind it,” says Bettridge. 

Grazing the 16-ft-tall windows along Sixth 

METRICS THAT MATTER 

Avenue, color-changing LED lights are positioned 

inside walled-off window wells to 

“enliven the façade and create a beacon that 

pulls people in,” adds Hennes. Like Mead’s 

futuristic interiors, the façade is a sign of 

things to come. ■ 

Bar Basque/FoodParc Restaurants 

Watts per sq ft: 1.3 (complies with ASHRAE/IESNA 90.1-2004 and New York State 

Energy Code 2007) 

Illuminance Levels: target lighting levels at dining and general areas at FoodParc and Bar 

Basque = 10-30 fc (different light level presets were created for different times of day); 

food preparation area = 50 fc 

Lamp Types: 11 

Fixture Types: 11 

THE DESIGNERS 

Francesca Bettridge, LC, IALD, Member IES (1980), is president 

and principal of Cline Bettridge Bernstein Lighting Design 

in New York City. 

Michael Hennes, LEED AP, Member IES (2008), is a senior 

associate and project director at CBBLD. 

Nira Wattanachote, DLF, Member IES (2000), is an associate and project designer at CBBLD. 


MEYDAN RACECOURSE 

A Day at the Races 

A horse racetrack 

with more than 3,000 

‘shuttered’ sports 

luminaires is an 

illuminated jewel in 

the Dubai desert 

BY WILLIAM WEATHERSBY 



If you follow horse racing, you have, 

of course, heard of the Triple Crown’s 

Kentucky Derby, Preakness Stakes 

and Belmont Stakes; perhaps you’ve 

visited London’s Kempton Park or other 

racetracks around the world. Now the 

must-see outpost for thoroughbred aficionados 

is destination Dubai. The spectacular 

Meydan City in Dubai, United Arab 

Emirates, adds to an already legendary 

landscape of inventive architecture, engineering 

and lighting design. “Meydan” 

in Arabic means “meeting place,” and 

indeed the racecourse is a venue where 

fast-paced thoroughbred racing meets 

inventive illumination. 

tially launched as a Jumeirah-managed 

property, but now the flagship for the Meydan 

chain) encompasses a 285-room, fivestar 

hotel that directly overlooks what is 

billed as the world’s most exclusive horse 

racing venue. The racecourse features 

an imposing trackside LED media screen 

(from Mitsubishi) measuring 100 meters 

long by 12 meters high. The luxury hotel, 

itself, has more than 1.6 kilometers of interior 

LEDs, plus a multitude of dramatic 

lighting effects. Designed by TAK Architects 

of Malaysia and Dubai, with interior 

and exterior lighting by CD+M Lighting Design 

Group of Atlanta and Dubai, the highend 

hospitality and sporting property is an 

keep 60,000 spectators entertained between 

races when they are not leaving the stands 

to place bets?” The solution was thoroughbred-level 

lighting of the racecourse and the 

entertainment area in the paddock. 

The mandate from the hotel and racecourse 

owners, Meydan City Corp., was 

to create theatrical lighting that evokes 

an almost American NFL Super Bowl halftime 

show ambiance. “It was meant to be 

very family-oriented, and to create visual 

interest during the downtime between 

races,” Johnson notes. The LED-powered 

media screen entertains the crowd 

whether or not icons such as Elton John, 

Santana and Sting are performing. 

The dream project of His Highness Sheikh 

Mohammed bin Rashid Al Maktoum, UAE 

oasis of dramatic nightlife in the desert. 

“The project is multi-layered, with ex- 

OPEN AND SHUT CASE 

Vice President, Prime Minister and Ruler 

pressive interior, exterior, landscape and 

Just over 3,000 luminaires were used to 

of Dubai, the new evolving city complex 

horse racing facility lighting,” says prin- 

light the racecourse, all 1,500-W metal ha- 

will combine shopping, housing, business 

cipal lighting designer Ted Ferreira. “At 

lide and supplied by Musco. The fixtures 

parks and hospitality/sporting sites. “Mey- 

night, we wanted the hotel and racecourse 

were mounted in several locations: 889 

dan is founded on the guiding principles of 

grandstand to appear as a jewel box dra- 

double-stacked luminaires line the top of 

partnership, community and sporting excel- 

matically seen from the visitors’ approach.” 

the ½-mile long grandstand; 176 are posi- 

lence,” says chairman of the board and CEO 

tioned on four different masts on top of the 

of Meydan, Saeed Humaid Al Tayer. “We 

DUBAI’S SUPER BOWL 

hotel; and 1,935 are mounted on 25-meter- 

have conceptualized and planned for an in- 

As racing only occurs in Dubai between 

tall poles (52 total) staggered around the 

terconnected cityscape where the worlds 

the winter months of November and March 

track. Another 52 luminaires (2,000-W in- 

of business, sport and cosmopolitan living 

and at night, because of the hot desert 

candescent) were installed at the finish line. 

merge and complement each other. 

climate, evening illumination was a criti- 

Each 1,500-W fixture is equipped with a 

“Dubai had enjoyed 14 years of an amaz- 

cal concern for the sporting venue. Sports 

motor-controlled hood that rotates to “black 

ing racing legacy with the venue Nad Al 

lighting raced to a new level at Meydan 

out” each luminaire. Just four switches 

Sheba,” he continues, “but we were also 

when CD+M designed a CIE83/169 criteria 

transition the entire track into complete 

acutely aware of the fact that with the 

system to support television broadcasts, 

darkness from 2,500 lux in less than three 

Photos courtesy of Meydan Hotel and Racecourse 

increasing popularity of racing, growing 

turnouts at races and the demands of the 

international racing connections, Dubai 

needed a new facility that could cope 

with the expectations of patrons and 

horsemen, providing them with a facility 

that justified the stature of the sport.” 

The Meydan Hotel and Racecourse (ini- 

special entertainment events and the horse 

races themselves. 

“Sports lighting is generally designed by 

staff engineers, not a lighting consultancy,” 

says CD+M associate principal Bill Johnson, 

who led the team that designed the 

racecourse. “There is no official gambling 

in Dubai, so the quandary was, how do you 

seconds, to dramatic effect. Three programmable 

switching levels allow six different 

light levels, all with identical uniformity. 

“Entertainment under 1,800 vertical lux in 

such an expansive space doesn’t work, with 

objects getting washed out,” Johnson says. 

“Thus, the specific mandate to turn the 

sports lighting off between races was born.” 



Photos courtesy of CD+M Lighting 

The hotel abuts the racecourse, but the owner prohibited sports lights from being affixed directly 

onto the façade. 

The top of the grandstand was one of three 

LEDs are integrated into the underside of the grandstand seats. 

The challenge was that high-wattage 

(1,500 to 2,000-W) metal halide lamps 

are not fully dimmable or designed to 

be switched on and off (lumen output 

and lamp life are severely deteriorated). 

“Blocking the light or going to blackout 

was the only viable solution,” he says. 

Two technologies were explored by 

the design team to create this controlled 

lighting criteria: a scrolling type mechanical 

device which rolled a fabric in 

front of the luminaire, and then the shutter 

system, in which a mechanical visor 

rotates down in front of each lamp. The 

Musco product was eventually specified, 

a technology used in NBA arenas across 

the U.S. “Such a rig of these fixtures had 



Photos courtesy of Musco 

mounting positions for the metal halide luminaires. A visor on each fixture reduces spill light. 

The racetrack luminaires in an open (above) 

and closed (below) position. A mechanical 

visor rotates down in front of each metal 

halide lamp. The entire track can go from 

illuminated to complete darkness in less than 

three seconds. 

never been used outdoors, particularly on 

this scale,” Johnson says. 

Each luminaire contains its own motorized 

linear actuator with a control wired 

back to the control room. One switch, for example, 

can open and close all 889 luminaires 

across the grandstand in approximately 

two seconds for a full blackout effect. The 

showlight visor is an integral component 

of the luminaire. When in the open position, 

the visor acts as a reflector focusing light 

onto the track and reducing light pollution 

and spill light. The system is employed up to 

12 times on a typical race night. 

The entire sports lighting system can 

be switched to three light levels of 33, 66 

and 100 percent maintaining a uniformity 

of 0.4 min/max, 0.6 minutes on average. 

A pole with perhaps 10 luminaires, for 

example, can be switched so that any of 

the three levels are maintained. If only 

33 percent of the lights are on, however, 

the uniformity of the light is not affected. 

This was built into the design so the lighting 

staff does not have to run the system 

at full power during practices, non-race 

nights, or when the facility is used for 

other purposes. In addition, the Meydan 

lighting system is equipped with a bi-level 

dimming transformer that can switch the 

luminaire to 50 percent power, reducing 

power consumption between races. 

The technical performance of the luminaires 

was just half the equation. The 

other factor was their aesthetic impact on 

the hotel. “The hotel was a bigger challenge 

in that the client didn’t want lights 

attached to the structure—at all,” Johnson 

notes. “The solution was to group the 

luminaires on masts situated on top of 

the elevator shafts of the building. These 

masts are attached to a 5-m pole with a 

hinged base plate each fitted with a dedicated 

hydraulic mechanism that folds the 

pole backwards to a horizontal resting position 

and concealed from view.” 

Finally, some lighting below complements 

this lighting above: CD+M designed 

LED seating for the grandstand which is 

integrated into the underside of the folddown 

stadium seats. 



Opened in 2010, the racecourse made 

its audacious debut in conjunction with the 

15 th Dubai World Cup. This year, the Dubai 

International Racing Carnival took place 

in January, while the world’s richest purse 

race day, the 16 th Dubai World Cup, raced to 

a finish on March 26. And with Tom Cruise 

having filmed his latest Mission Impossible 


Meydan Racecourse 

Total Fixtures: approximately 3,000 

metal halide luminaires along the 

grandstand and hotel, and pole-mounted 

around the track 

Illuminance Levels: 130, 167 and 279 fc 

at different points along the track 

The racecourse is also lighted from luminaires 

(176) on four masts situated on the hotel 

roof, atop the elevator shafts. The masts 

are attached to a pole that folds down and is 

concealed from view. 

Photos courtesy of Musco 

film, Ghost Protocol, here recently, glamorous 

nightlife for the thoroughbred set would 

appear to be stamped Meydan Dubai. ■ 

William Weathersby, the former lighting 

editor of several national publications 

including Architectural Record, Lighting 

Dimensions and Entertainment Design, is 

a freelance writer based in New York City. 

THE DESIGNERS 

Ted Ferreira, LEED 

AP, is a principal 

with CD+M Lighting 

Design Group. 

Bill Johnson, LC, 

is associate principal, Dubai offices, CD+M Lighting 

Design Group. 

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ASHFORD ESTATE 

Virtually all of the theatrical lighting emanates from the two longs walls of the ballroom. 

Barnyard Beauty 



Urban meets rural as dance 

club-style lighting is woven into the 

bucolic architecture of a wedding 

ballroom in New Jersey 

BY PAUL TARRICONE 

Photos courtesy of Fennelli Design Group 

The Ashford Estate has an elegant name and a new wedding 

ballroom with splashy interiors, but with its rustic surroundings 

and architectural aesthetic, it wouldn’t be a surprise 

if during the reception, the bride and groom led their 

guests in a square dance instead of a line dance. Picture, if you 

will, a hoedown under color-changing lights. 

Improbable, yes, but possible when you consider the site’s split 

personality. Situated on 28 acres of rustic farmland in Allentown, NJ, 

the Ashford Estate encompasses a historic barn (used for ceremonies), 

a 12-bedroom main house, a pond with gazebo, a tree-lined 

driveway and the recently built wedding ballroom—a separate 

structure measuring 85-ft long by 57-ft wide, which holds 250 guests. 

The ballroom’s design is reminiscent of the neighboring barn 

with peaked ceilings and dual slopes (36-ft high at the center and 

14-ft high on the sides) found in its gambrel-style roof. But the 

ballroom is as much urban night club as country inn. “The owner 

wanted the whole room to light up at night and to change colors 

when the bride walked in,” says lighting designer James Fennelli 

of Fennelli Design Group, Allenton, NJ. “The owner has other 

wedding reception halls and really wanted to wow people with 

this one. He pointed out certain areas—the columns, coves and 

ceiling—but he didn’t want to see the fixtures in these areas.” LED 

luminaires comprise the lion’s share of the lighting, supplemented 

by a limited application of incandescent and discharge sources. 

Finding fixtures to fit the bill was difficult because Fennelli 

insisted on using tri-color LEDs. “Each individual LED produces 

each color—red, blue and green—so you won’t have a guest sitting 

near a fixture who would see a red LED come on, then a blue 

LED come on and then a green LED come on.” Instead, guests only 

see the color-mixed end result throughout the room. 

IT’S ALL IN THE WALLS 

Three of the four walls in the rectangular building are lined with 

windows offering a view of the grounds. The two longest walls each 

have seven banks of picture windows separated by columns with an 

archway above each window. An alcove sits between the top of the 

picture window and the peak of the archway. In addition, overhead 

beams sprout from the space where two archways meet (at their lowest 

points) and visually extend the look of the columns upward. 

These architectural details within the two long walls of the ballroom 

provide the hiding places for the luminaires. “The fixtures were 

built right into the building—into the architecture—permanently. 



HIDDEN FIXTURES 

1. 2. 3. 

Three LED luminaire types (approximately 90 total from Illuminarc) are concealed within the walls of the ballroom. 

1. The linear washer sits in the flat area of the alcoves above the windows. 

2. This recessed fixture flanks the columns on both sides, providing uplighting. 

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 

column beam and is also used to uplight the taller columns on the short wall of the building. 

Six 150-W discharge luminaires with moving heads light the dance floor 

and project patterns on the ceiling. 

They just blend,” says Fennelli. Approximately 90 luminaires (from Illuminarc) 

are used in these niches to wash the space in colored light. 

First are the columns separating each group of windows. Fennelli 

flanked each column with a 3.2-W LED luminaire recessed 

into the base for uplighting. In each alcove above the windows, 

decorative molding is punctuated by a pair of small, incandescent 

ornamental sconces. In addition, the flat area within the alcoves 

houses two linear 12.8-W LED wash lights that measure about 1-ft 

long and emit a 120-deg wide beam. 

For the joints where the ceiling beams meet the lowest point 

of the window archways, Fennelli specified a 12.9-W LED luminaire. 

The small fixture—Fennelli says it “looks like a McDonald’s 

Quarter Pounder”—uplights the beams that climb up the sloped 

barnyard-style ceiling. This fixture was also used to light the two 

columns on the wall opposite the ballroom entrance. 

Finally, two other luminaires were used for accent lighting and 

theatrical effect. “The owner wanted white light” for these applications, 

says Fennelli. Six high efficiency, 150-W discharge luminaires 

(from Martin) with moving heads are used to light the 

dance floor, highlight the bride and groom’s first dance and project 

patterns on the ceiling. Thirty-four 12-V incandescent pin spot luminaires 

(Altman) highlight the tables and centerpieces. 

Architecture meets lighting: In the alcove above the windows, ornamental 

sconces combine with linear LED washers. Concealed LED fixtures uplight 

the barnyard-style beams that climb the sloped roof, while pin spots high 

above highlight the tables and centerpieces. 

WEDDING PLANNER 

Unlike the typical project where a lighting designer never sees 

his handiwork once the installation is complete, Ashford Estate 

is the wedding gift that keeps on giving for Fennelli Design Group. 

Fennelli or a colleague meets with every couple getting married 

at Ashford to discuss the lighting scheme for the reception. Some 



Return Visit 

When Michael Souter visited the San Francisco’s Intercontinental 

Hotel in 2010 to participate in a retrofi t place; however, they have been removed and lab-tested after 3,000, 

a satisfaction survey. “In the end, the LED replacements were left in 

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 

gerprints were all over the existing design: his own. Souter, design 

principal for local fi rm Luminae Souter Associates, did the original 

lighting for the Intercontinental in 2008. 

Souter’s most recent trip to the hotel was aimed at making some 

of that lighting more energy effi cient. “I was 

asked to be part of a team to evaluate LED 

retrofi t products that could be used,” he says. 

“The process involved evaluating the existing 

lamp technology and looking for quality 

alternatives that would not compromise the 

design or guest experience. The candidates 

included AR111, PAR30 and MR16 lamps.” 

The Department of Energy Gateway project 

was a collaboration between Pacifi c Gas & 

Electric, Pacifi c Northwest National Labs 

(PNNL) and the hotel. 

Early on, the team asked various manufacturers 

who made LED replacement lamps to 

submit samples for testing. “We evaluated 

several candidates for color quality, color temperature, 

lumen output, color rendition and color temperature,” says Souter. 

After each test, the same lamps have been reinstalled. “To date there 

have not been any signifi cant changes in performance or quality; the 

unexpected surprise is how well the quality of the lighting improved 

the wood wall at the reception area.” 

Souter, though, is quick to point out 

that an all LED approach for hotel lighting 

is not yet viable. “Not all light fi xtures are 

good candidates for LED replacements. 

For instance, in the ballroom the ceilings 

were very high and the fi xtures required 

100 percent dimming. The available LED 

retrofi t products for the existing 150-W 

PAR38NSP lamps did not have the required 

lumen output, beam spread or full 

range dimming ability. At this point, the 

best retrofi t applications for the hotel 

market are in lower ceiling heights using 

PAR30, PAR38 and MR16 halogen lamps, 

especially where lighting is on 24/7. 

quality of beam pattern, potential 

On a personal note, Souter harbors no 

The registration desk at the Intercontinental Hotel 

flicker and dimming capability,” says Souter. in San Francisco, lighted by incandescent/halogen ill will about some of his original work at 

“We took a very quantitative approach during 

the evaluation and scored each product accordingly 

to the criteria we were looking for. 

We selected good alternatives for the PAR30 

(above) and LED replacement sources (below). 

The designer, who did the original lighting plan, 

was pleased with how the LEDs improved the light 

quality on the wood wall. 

the Intercontinental being revamped. “I’m 

not disappointed,” he says. “Actually the 

design process started in 2005 and I used 

the best technology available at the time. 

and MR16 lamps but did not find a good alternative for the AR111.” 

The selected lamps were installed in pre-selected testing zones 

of the hotel, replacing their incandescent/halogen counterparts for 

several weeks to see how they performed. The testing zones included 

conference rooms, the registration desk area and elevator lobby, 

guestroom corridors and an area where artwork is illuminated. 

Meanwhile, to help assess the aesthetic quality of the LED replacements, 

hotel staff, management, designers and engineers took part in 

Initially I was apprehensive about the retrofi t because of so many 

bad LED products on the market and some very bad retrofi ts. The 

Intercontinental was also apprehensive that the aesthetics and guest 

experience might be compromised. Even after the retrofi t, I am still 

consulting with the hotel maintenance staff on how to maintain the 

original lighting design. Also, IHG has asked me to consult on several 

other hotels with similar opportunities. This is a vote of confidence.” 

— Paul Tarricone 



opt for understated—i.e., less color-changing—while others 

want something more dynamic. There’s often substantial daylight 

at the start of a wedding—especially on a summer wedding—so 

the colored light generally appears later in the evening. “During 

the reception’s first two hours the ballroom is lit by the same color 

throughout,” he says. “As the night progresses, the room takes on 

a different look. We’ll do color fades and color chases so the room 

takes on a nightclub feel with an elegant look.” Also every table 

set-up and flower arrangement is different, so Fennelli’s team will 

match the light to the flowers and table cloth. 

What makes the installation more unusual, says Fennelli, is that 

the LEDs can create a “two-tone look.” The complete left side 

with the three fixtures makes one channel. The right side comprises 

another channel. Says Fennelli, “We can split the colors on 

the columns, alcoves and archways so they can be lit two different 

colors at the same time.” 

A bit of pink for her and some blue for him. ■ 


Ashford Estate 

Number of Fixtures: approximately 135 


THE DESIGNER 

James Fennelli, chief of operations, Fennelli Design Group, Allentown, 

NJ, has over 25 years experience in the integration of 

lighting, sound, video projection and special effects. Ray Cerwinski, 

Fennelli Design Group, was responsible for installation and 

programming. 

 

 

 

 

 

 

 

 

 

 

 


> 

> 

For superb durability, Whatley casts 

architectural-grade composite light poles 

in a resilient layer of elastomeric-urethane. 

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THE HURRICANE CLUB 

What do South Pacific and the Rat Pack have in common? 

They’re both channeled in the design of The Hurricane 

Club in New York City. A combination of mid-century 

Tiki, swanky 1960s supper club and French Colonial 

styles, the seemingly incongruous design concept for the 350-seat, 

10,000-sq ft, Polynesian-cuisine restaurant and lounge could have 

looked chaotic and cluttered. Instead, disparate historical, cultural 

and geographical references were seamlessly blended into six “experiences,” 

or areas within the restaurant, by interior design firm AvroKO 

and lighting design firm Focus Lighting, both based in New York 

City. The end product resists emulating one particular place or era, 

making it timeless and, ultimately, one-of-a-kind. 

Guests are greeted with an “impressive first look,” 

which includes a hurricane-inspired chandelier. 

Period 

Drama 

Diverse design influences converge 

to form six exotic ‘experiences’ at 

The Hurricane Club 

BY ELIZABETH HALL 

FIRST IMPRESSIONS 

From the outside, The Hurricane Club is shrouded in mystery. White 

frosted glass doors at the entrance and ruched fabric curtains covering 

perimeter windows prohibit views inside. The effect not only piques the 

interest of passersby, it also purposely creates a division between the 

hectic city streets and the interior guest experience. “It’s all covered, 

so you can’t see inside and you don’t know what to expect. Then you 

come through the first set of doors into the lobby and see a chandelier 

made of bones, and before you even open the doors, you get a hint of 

what’s to come,” says Juan Pablo Lira, Focus Lighting, who designed 

the lighting along with Focus principal Michael Cummings. 

But the real reveal comes next. After passing through the second 

set of doors, guests enter the restaurant and are greeted with what 

Cummings calls “the impressive first look” of a giant chandeliertopped 

bar surrounded by the main dining area. Immediately “you’re 

transported,” he adds. “It’s an escape.” 

“The Hurricane Room,” is the first of the six guest “experiences,” 

and lighting was essential to create the initial immersion. On entering, 

visitors’ eyes are immediately drawn to the massive chandelier 

hung above the bar. Designed to resemble a hurricane, the chandelier 

“evokes the drama of a dynamic form revolving around the room,” 

adds Paul Gregory, Focus Lighting principal and founder. The effect is 

created by three layers: an internally illuminated crystal chandelier in 

the center forms “the eye of the storm” and is encompassed by two 

layers of gold chain that are draped in a swirling pattern to suggest 

movement. The chains are side-lighted by 50-W MR16s mounted on 

track in the ceiling (Time Square Lighting). The luminaires reflect off 

of the surrounding mirrored columns and the bar’s mirrored “hatches” 

for bar lighting, supplemented by 20-W xenon puck lights (CSL) 

Photos: Michael Weber (unless otherwise noted) 





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. 

mounted under the hatches. A handful of smaller crystal chandeliers 

hung over seating banquettes and walkways echo the elegance of 

the central centerpiece. 

In the main dining area around the bar, tables are pinspotted with 

50-W AR70 track heads (Time Square Lighting). The spots concentrate 

light on the tabletops to illuminate diners and food, but don’t 

“splash light around,” says Cummings. “We wanted to create a dramatic 

environment, but at the same time make sure that people look 

good.” The spots also bounce light off of the warm-toned finishes, like 

cane-paneled walls, and mirrors, “for a little bit of fill light. It makes 

diners look like they are surrounded by torchlight.” 

PRIVATE HIDEAWAYS 

Guests can get that same glow in “The Lagoon Lounge,” one of 

three additional “experiences” off the main dining area, which features 

a large faux-fireplace with a white coral mantel, two cast glass 

pendants with decorative, exposed-filament incandescents, and 

a 10-ft-tall, three-tiered barnacle chandelier. Low-voltage zenon 

strip highlights two mirrors on opposite ends of the room. AvroKO 

designed the decorative lighting for the project, which consists of 

eclectic and mostly custom elements sourced from all over the globe. 

While the glass chandeliers provide the majority of ambient illumination 

in the lounge, 75-W MR16 framing projectors (Times 

Square Lighting) add ambiance with patterned light. “We wanted 

to create the idea of the sun shining through an exterior wooden 

trellis, so the fixtures shoot through wood ceiling screens to produce 

this shadow-line pattern that repeats,” says Lira. 

Framing projectors also enhance the experience in “The Cave 

Rooms” next door. Separated from the main dining room by cane 

screens, the two rooms “allow guests a little more seclusion,” says 



Decorative cast glass fixtures flank a coral mantelpiece in “The Lagoon 

Lounge.” Zenon strip outlines two mirrors at opposite ends of the lounge. 

The same track heads light the warm-toned finishes, like cane-paneled walls. 

Lira. To heighten the sense of privacy, “there are these projections on 

rattan screens that you can only see from inside the caves. They are 

meant to evoke the shadow of the plants around you; it’s like the sun 

coming through the palm trees.” Surface-mounted MR16 and AR70 

track heads graze the textured white stone surface of the adjacent 

walls. As a finishing touch, red glass pendants wrapped in mesh netting 

are hung between black lacquered ornamental ceiling panels. 

The pendants resemble buoys, adding to the island aesthetic. 

The third separate experience off the main dining area, “The Volcano 

Room,” moves away from the neutral palette of buttery browns 

and ivory bone that characterizes the main dining room and three 

other rooms. Here, red is the theme. Frosted glass pendants lend ambiance 

to the space, while 75-W framing projectors and 50-W wall 

washers illuminate red surfaces, including glossy red lacquer walls 

and red and gold wallpaper inspired by native Polynesian tattoos. 

Framing projectors cast palm-tree patterns on the cane screens that 

separate “The Cave Rooms” from the main dining room. Wrapped in mesh, 

red glass pendants resemble buoys, a nod to the island theme. 



Photo: Juan Pablo Lira 

In “The Volcano Room,” framing projectors and wall washers light highgloss 

red walls and wallpaper inspired by traditional Polynesian tattoos. 

A final surprise, bone reliefs in the restrooms are illuminated by MR16 

accents. 

TREASURE TROVE 

As promised by a neon sign advertising “Rum & Shine,” the guest 

experience continues downstairs as well. In addition to sampling rum 

from a specially designed “water” fountain or getting a shoe shine, 

patrons can host parties in “The Bora Bora Black and White Room,” 

a private dining room that is designed to be “more subtle, more subdued 

than the upstairs rooms” and features darker finishes, notes 

Lira. The ambient lighting is also decorative: mounted within decorative 

white ceiling coffers, exposed half-chrome incandescent lamps 

are a nod to turn-of-the-19 th -century architecture. 

The theme even continues in the most unlikely of places—the restrooms 

which comprise the sixth experience. Lining the walls, carefully 

curated replicas of animal bones create exotic reliefs illuminated 

by 50-W MR16 accents (Contrast Lighting). “You don’t know if they 

are human or animal bones,” jokes Lira. It’s just one of the restaurant’s 

many surprises. ■ 


The Hurricane Club 

Watts per sq ft: 3.1 total; architectural lighting = 2.1; 

decorative lighting = 1.0 

Lamp Types: 6 

Fixture Types: 9 (not including decorative pendants) 

THE DESIGNERS 

Paul Gregory, Member IES (1983), is founder 

and president of Focus Lighting, Inc. in New 

York City. 

Michael Cummings (right) is one of Focus Lighting’s 

principal designers and is also director of 

design. 

Juan Pablo Lira (bottom) is a senior designer with Focus Lighting in 

New York City. Lighting designers Hilary Manners and Stephanie 

Daigle also participated in the design for The Hurricane Club. Dan 

Nichols was the project manager. 


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PARX GRILL 

Interior architecture and lighting for U.S. steakhouses have been 

visually predictable since the introduction of the genre in chain 

format or in the occasional regional specialty restaurant. Some 

destinations are decidedly upscale, often with a preponderance 

of dark woods, deep-tone leather and functional lighting that gives 

the space a British men’s club overtone. Mid- and popular-priced 

steakhouses often take their theme from expanded roadside eateries, 

informal and using a design vernacular in keeping with their locales. 

For the Parx Grill, the 5,000-sq ft, top-of-the-line steakhouse within 

the Parx Casino, the owners had in mind a jewel box of a dining destination. 

“The client did want to retain features such as dark woods, 

leather, wine display and a fireplace, but with a contemporary spin,” 

says architect Richard Mark, interior design principal at the Philadelphia 

office of KlingStubbins. The casino was clear about wanting a 

dining environment with clean modern lines and contemporary finishes 

that could hold its own in any upscale urban commercial district. 

Located on the same site as the former Philadelphia Park racetrack 

in Bensalem, PA, bordering the Philadelphia city line, Parx Casino 

draws from a 30-mile radius, a mixed urban/suburban market. When 

it was time to plan for the Parx Grill, “The ultimate design goal of the 

Grill’s management was a steakhouse that communicates the image 

of an oasis within the busy milieu of the casino’s machines and gam- 

Parx Grill’s contemporary approach to the 

traditional steakhouse interior intermixes 

lighting with sculptural architectural forms 

at a Philadelphia-area casino 

BY VILMA BARR 

Steakhouse 

Well Done 

The 

Photos: Jeffrey Totaro 

entry of the restaurant includes several design flourishes. MR16 

entry frame behind is uplighted by the same in-floor fixtures. 


PARX GRILL 

downlights illuminate the glass art on the clear glass étagère, while in-floor wallwashers graze a screen of overlapping wood panels. The red wooden 


PARX GRILL 

ing stations,” says architect Mark Zwagerman, the hospitality studio 

director at KlingStubbins. In addition to its appeal to casino patrons, 

the steakhouse has capitalized on a substantial secondary market as 

a dining destination for residents of nearby communities. 

TAKING CUES FROM THE CASINO 

The design team and KlingStubbins’s lighting designer Andrea 

Hauber were on a fast-track, six-month design and construction 

timetable for the $2.5 million eatery. Empty space within the casino 

needed to emerge into a sophisticated restaurant environment 

that is open around the clock, with a dining room to seat 

135 guests, a small holding/service bar and a private dining room 

for 12. “From the gaming floor, we took cues from major elements 

such as crystal chandeliers, high-gloss millwork and high-definition 

displays, and art glass pieces were reinterpreted for the Grill,” 

says Zwagerman. (The casino floor was designed by others.) 

“The steakhouse interior is visible from the casino floor without 

a front enclosure,” Hauber points out, “so lighting plays a key part 

in transitioning the mood from casino to dining enclave, from day to 

evening. The juxtaposition of the lighting, the sparkle of ceiling-hung 

fixtures, and the combination of cool white on warm white LEDs of the 

metal bead curtains provides a variety of moods within the restaurant.” 

On both sides of the entry to the space, which is framed by faceted 

limestone, is a tall clear glass étagère. On their shelves are 

colored art glass pieces commissioned for the project, including 

several in the shape of red and amber wine-bottles. Recessed 

downlights with 50-W MR16 lamps provide a soft shimmer to the 

étagères and their art glass displays. 

Adding to the entry’s strong visual identity is a free-standing, 

18-ft-high wood screen of canted, overlapping, high-gloss-finish 

Silverwood panels. They are uplighted with recessed, in-floor, 

grazing wallwashers fitted with 20-W T5 lamps. Directly behind 

the panels is a deep-red painted wood entry frame, uplighted 

with the same wallwash fixtures. Recessed downlighting within 

the frame, which serves as fill lighting for the space, is comprised 

of compact 32-W fluorescent fixtures with an integral electronic 

dimming ballast. At the dining and entry bar, recessed, 50-W 

MR16s provide open downlighting and wallwash illumination. 

SHAPES AND WAVES 

The main dining room’s stepped, resin ceiling coffers sparkle 

with color-changing LEDs and are accented by teardrop-shaped, 

Tear-drop shaped pendants and color-changing LEDs light the tables in the 

steel beads that appear to float in front of a stone wall. LEDs graze the 

patterned glass pendant fixtures. Linear low-profile LEDs, 3 watts 

per sq ft, include a dimming module and controls. In the private 

dining room beyond, the internally lighted crystal chandelier 

echoes the rectangular shape of the table. 

An 11-ft-high by 33-ft-long wall formed by five rows of bookmatched 

squares of onyx is backlit with cool white LEDs, 9.2-W per 


PARX GRILL 

main dining room. At the rear, a wood canopy frames rows of stainless 

beads for a glistening effect. 

An internally lighted crystal chandelier mimics the shape of the 

rectangular table in the private dining room. 

panel. At the second level of onyx squares above the banquettes 

is a recessed horizontal fireplace with computer-controlled flame 

shapes—actually produced by digital imagery and flat screen 

technology—silhouetted against a red background. 

Along both sides of the restaurant, wood canopies create an architectural 

frame for triple wave-cut rows of stainless steel beads 

that appear to float in front of a textured stone wall. Hauber created 

a subtle glisten on the beads by grazing each with combined 

cool white and warm white LEDs, 7.6 watts per linear ft, end-toend 

mounted, with a remote dimming module. 

Limestone and cut river rock floors create a neutral ground for 

the bronze and black carpet in a stylized pattern of interlocking 


PARX GRILL 

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 

actually a computer-generated image. 

branches. Colorful commissioned abstract expressionist artworks 

are mounted against wood walls to contribute to the sophisticated 

ambience of the room. Generously sized upholstered 

chairs and banquettes are a custom KlingStubbins design. 

“Everyone pulled together to meet our very accelerated time 

schedule. The end result was the contemporary fusion approach 

that the owners agreed expressed their image,” says Hauber. ■ 

Vilma Barr is a regular contributor to LD+A. 


Parx Grill 

Watts per sq ft: complies with ASHRAE 2007 

Lamp Types: 4 traditional lamp types and 4 integral LED types 


Illuminance Levels: Fully dimmable system with scene selection 

THE DESIGNERS 

Andrea Hauber, LC, LEED AP, Member IES (2005), 

is a lighting designer with KlingStubbins and a 

Board member of the IES Philadelphia Section. 

Mark Zwagerman, AIA, LEED AP, is senior associate 

and studio director at KlingStubbins. 

Richard Mark (left), design principal, interiors at KlingStubbins oversees 

all aspects of project design for the firm’s national interiors 

practice. 


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RESEARCH 

Core Concepts 

Core sunlighting is a practical, natural alternative for interior illumination deep 

within a building 

BY LUÍS FERNANDES AND MICHELE MOSSMAN 

A 

substantial, well-recognized challenge 

exists in many buildings: 

how to illuminate central spaces 

using as little electrical energy as 

possible. An obvious solution: use available 

sunlight instead of electric light. 

The key is to determine how best to use 

daylight to illuminate areas deep within 

a building. A number of architects and 

building designers advocate eliminating 

the dark core entirely using narrow floor 

plates, high ceilings and high fenestration 

ratios, so that daylight penetrates 

throughout. With careful design to minimize 

glare, this solution has the potential 

to create pleasant spaces. But the idea 

does not address the massive stock of existing 

large-floor-plate buildings, or new 

buildings that require a large floor plate to 

optimally execute a desired purpose. Narrow 

floor plates also can be expensive because 

the construction cost per unit area 

of floor space is significantly increased. 

Here, we discuss a fundamentally different 

approach to the problem: illuminating a 

building’s core with piped sunlight. This is 

not a new idea, but thanks to the availability 

of new optical materials and designs, 

a theoretical possibility has transformed 

into a practical and affordable alternative. 

Unlike other solar technologies, core 

sunlighting involves capturing sunlight 

at the building envelope, concentrating it, 

transporting it and regulating its release 

deep within the building at useful indoor 

lighting levels, typically only 1 percent of 

outdoor illumination (Figure 1). Significant 

electrical energy savings can be realized if 

the system incorporates automated electric 

lighting controls that substantially dim 

or completely turn off the electric lights. 

Core sunlighting systems have the potential 

to deliver illumination with the benefits 

of high-quality electric lighting while 

also providing the advantages of daylight, 

including excellent color rendering and substantial 

energy savings. A further benefit is 

that windows can be optimized to prevent 

glare and provide a view rather than illumination, 

with the overhead lighting synchronized 

with the outdoor lighting, giving 

Figure 1. Sunlight is collected on the rooftop or façade and piped inside for lighting. 

Figure 2. Optimal system cost depends on choice of sunlight 

collection and delivery approaches. 


RESEARCH 

occupants a natural and intuitive sense of 

connection with the exterior environment. 

These benefits, however, will not become 

widely available until core sunlighting 

is both cost effective and seamlessly 

integrated within construction techniques. 

For this reason, we are part of an ongoing 

inter-university research collaboration, 

funded by parties in Canada and California, 

aimed at achieving mainstream availability 

by 2030. The core of the partnership 

is formed by the University of California, 

Davis; University of California, Merced; 

University of British Columbia; and Ryerson 

University in Toronto, and has been 

complemented with a broad range of participants, 

including major electrical utilities 

in Canada and California, national laboratories, 

and a number of industry professionals 

and manufacturers. 

TWO DRIVERS: EFFICIENCY AND COST 

As with most solar technologies, a key 

issue is the net capital cost of the system. 

In this regard, it is important to remember 

that the dominant capital investment in 

any building is the structure itself, which 

means that space inside the building has 

a very real capital cost per cubic ft. Consequently, 

any energy-saving system in a 

building has an effective additional capital 

cost burden proportional to its volume. 

This fact makes it economically essential 

to concentrate sunlight before piping it into 

the building because the cost of capital of 

the space required to guide unconcentrated 

sunlight would be higher than the 

savings from reduced electrical use. (We 

should emphasize that this need for concentration 

does not apply to daylighting at 

the periphery of a building, using windows, 

skylights and tubular skylights. Such daylighting 

methods already are practical and 

are completely compatible with core sunlighting 

systems, together forming a natural 

lighting system for the whole building.) 

But just how inexpensive must a core 

sunlighting system be for the building industry 

to accept it? Typical electric lighting 

loads today are an estimated 1 watt per sq 

ft. If a core sunlighting system turns off this 

load 40 percent of the average 2,000 workday 

hours each year, a savings of about 

0.8 kWh per sq ft per year results. Typical 

electricity costs currently range roughly 

between $0.10 and $0.30 per kWh, so the 

annual savings will be somewhere between 

$0.08 to $0.24 per sq ft per year. To attain 

payback within 10 years, core sunlighting 

must not cost more than $0.80 to $2.40 per 

sq ft per year. The exact value will vary, depending 

on sunlight availability and other 

factors such as peak load electrical pricing. 

Despite other potential economic benefits 

such as protection from energy price escalation, 

cooling load reduction and increased 

occupant productivity, this calculation is 

sobering: It suggests that successful core 

sunlighting will require optimized, costeffective 

materials and volume manufacturing, 

without significantly adding to the cost 

of any other building components. 

Determining the total system cost by depending 

on the methods of capturing and 

distributing the sunlight is a design optimization 

problem. In one extreme, sunlight is 

concentrated very little and the collection 

apparatus is comparatively inexpensive (it 

could consist of little more than an expanse 

of glazing), but the subsequent delivery of 

the light requires high floor-to-floor spacing, 

which adds considerably to the cost of 

the building. At the opposite extreme, the 

sunlight is highly concentrated by more expensive 

optical components and is directed 

into comparatively inexpensive small light 

guides. The optimum design may be a compromise 

that minimizes total system cost 

Core sunlighting involves capturing sunlight at the 

building envelope, concentrating it, transporting it 

and regulating its release deep within the building 

at useful indoor lighting levels 

with an intermediate level of concentration 

(Figure 2). Naturally, a variety of design parameters 

undoubtedly will find optimal application, 

depending on specific applications. 

It may be helpful to loosely classify 

core sunlighting systems based on the 

location of sunlight capture and degree 

of concentration, as depicted in Figure 3. 

It could be argued that core sunlighting 

systems in the R2 and F2 categories correspond 

to the minimum total cost that was 

shown in Figure 3. However, as mentioned 

above, systems in the other categories 

may be no less viable, depending on application 

and specific system characteristics. 

Much of what has been learned by studying 

F2 systems, as described below, is applicable 

to the other categories. 

TWO CASE STUDIES 

Two demonstration projects (academic 

buildings in British Columbia, Canada) 


RESEARCH 

funded largely by the Canadian government, 

are being conducted to evaluate 

the performance of some systems of the 

F2 type (Whitehead, 2010). These systems 

collect and concentrate sunlight 

along the façade adjacent the plenum 

space, below each floor on the wall that 

has the most sun exposure (Figure 4). 

Optical components within the enclosure 

direct sunlight through small windows 

in the building wall and into dual-function 

light guides, which distribute the sunlight 

and provide electric lighting to maintain 

adequate indoor light levels when enough 

sunlight is not available. The hollow light 

guides are inexpensive and highly efficient 

because of newly developed polymeric 

reflective films whose absorption is less 

than 1 percent per reflection. The system 

provides illumination through the space 

Figure 3. Classification of core sunlighting systems. 

exceeding the typical standards of ~500 lux 

for office spaces, using sunlight when available. 

A preliminary verification undertaken 

by the electrical utility BC Hydro indicates 

that performance matches predictions. 

MISSION 2030 

New approaches to energy-efficient 

lighting using core sunlighting mean that almost 

all areas of a building can be illuminated 

with sunlight whenever the sun shines, 

without requiring any increase in floor-tofloor 

height or large expanses of glazing. 

As a result, cost-effective, highly efficient 

core sunlighting systems have the potential 

to significantly affect how the building 

industry approaches green building design. 

The goal of researchers from Canadian 

and California universities is to achieve 

mainstream adoption for the technique 

by 2030. This will be done in collaboration 

with other research institutions, as 

well as utilities, manufacturers, building 

design practitioners, government and any 

other relevant stakeholders. ■ 

REFERENCES 

Aizenburg, J. B., Bukhman, C. B., and Pjatigorsky, V. M., 

“A new principle of lighting premises by means of the illuminating 

device with the slit lightguides”, CIE Publication No. 

36, 1976. 

Beltrán, L.O., Lee, E.S., Papamichael, K.M., and Selkowitz, 

S.E., “The design and evaluation of three advanced daylighting 

systems: light shelves, light pipes and skylights”, Proceedings 

of the Solar ‘94 Conference, American Solar Energy 

Society, LBNL Report 34458, Berkeley, CA, Lawrence Berkeley 

National Laboratory, 1994. 

Duguay, M. A., “Solar Electricity: The hybrid system approach”, 

The American Scientist, 65, 442, 1977. 

Whitehead, L., Brown, D., Nodwell, R., “A new device for 

distributing concentrated sunlight in building interiors”, Energy 

and Buildings 6, 119-125, 1984. 

Whitehead, L., Upward, A., Friedel, P., Cox, G. and Mossman, 

M., “Using core sunlighting to improve illumination quality 

and increase energy efficiency of commercial buildings”, 

Association of Mechanical Engineers International Conference 

on Energy Sustainability, May 2010. 

THE AUTHORS 

Luís Fernandes, Member IES (2002), 

is a research engineer at CLTC. He 

holds a Ph.D. in Civil Engineering 

from the University of Colorado, 

Boulder, and Lic. Eng. in Physics Engineering 

from Instituto Superior Tecnico, Portugal. His 

research focuses on daylighting, energy efficiency in 

buildings and visual comfort. 

Michele Mossman, Member IES 

(2007), is a research associate and 

laboratory manager for the Structured 

Surface Physics Laboratory at 

the University of British Columbia. 

She holds a M.Sc. and Ph.D. in Physics from UBC. They 

co-manage the California-Canada Core Sunlighting 

Partnership. 

Figure 4. Two F2 

demonstration 

installations in 

British Columbia, 

Canada. 


NEWSMAKER 

First Choice in 

the Second City 

Three letters—CMH, not LED—define 

Chicago’s new street lighting strategy. 

Spearheading the transition is the city 

DOT’s chief engineer, Mohammed Rashed 

The conversion to ceramic metal halide 

includes residential and arterial streets, 

along with alleys. 

A 

while back, the Chicago Department of Transportation received a heartfelt letter 

from a concerned citizen who expressed dismay with the city’s street lighting: “You 

know what, I want less streetlights. I know you guys are nice and all, but seriously 

do not use so much energy. . . .In conclusion, let’s have a less polluted earth.” 

The author of the letter was a child, and today that youngster is getting his wish. The city 

of Chicago has committed to reducing its energy usage and carbon dioxide emissions by revamping 

its street lighting—specifically by swapping yellow for white. On the way out are 

high-pressure sodium streetlights with their yellow light. Taking their place is the white light of 

ceramic metal halide, which has become Chicago’s official streetlight source of choice. 

That’s right: When it seems every municipality is gravitating to solid-state lighting, the 

three letters that spell white light in the Windy City are CMH, not LED. “All new installations 

moving forward will have CMH,” says Mohammed Rashed, chief engineer of electrical 

operations for the Chicago DOT and a member of the Mayor’s Streetscape Task Force, 

who is leading the streetlight conversion effort. 

Chicago’s road to CMH began with a “White Light Study,” during which induction, LED 

and CMH luminaires were installed on three residential streets and adjacent alleys. A survey 

was distributed to area residents for feedback. “Once the survey was completed, it was 

evident that the local residents opted for the white light instead of the traditional yellow light 

or high-pressure sodium,” says Rashed. “It was also evident that the white light provided 

better visibility and color rendering, along with an overall higher quality lighting system. This 

was all accomplished despite the lower wattage of the tested luminaires.” 

At the same time as the White Light Study, Chicago DOT was conducting research on induction, 

LEDs and CMH. Rashed explains the findings: “While induction lighting is not new, it 


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still lags behind other light sources in lumen 

output. However, its long rated life and the 

absence of filament make it attractive for 

certain outdoor lighting applications. LED 

lighting is an evolving technology, [but] 

small-scale pilot projects in Chicago had 

rendered disappointing outcomes. Ceramic 

metal halide is an advancement to a decades-old 

technology. While this technology 

is new to North America, it has already 

been used in many European cities with 

much success.” 

Rashed, who returned to the DOT in 2004 

after a four year stint in the private sector, 

discusses Chicago’s CMH block party. 

What prompted your move from the 

private sector to the public sector? 

Rashed: The challenges associated 

with the new position of the chief engineer 

of electricity. I had started my career 

with the city as an entry level engineer 

before I moved to the private sector. 

What’s the “big picture” in terms of 

street lighting in Chicago? 

Rashed: We completed 2,500 residential 

blocks of new residential lighting that 

were part of an annual program started 

in 2003. It is a continuing program that is 

still active. We are anticipating doing 500 

residential blocks every year. The aforementioned 

2,500 blocks were all installed 

with HPS luminaires. All new installations 

moving forward will have CMH. We have 

ruled out the use of LED or induction lighting 

for future installations. 

Every day we seem to hear of another 

city switching to LED streetlights, whereas 

CMH streetlights are relatively new in 

North America. Do you have any concerns 

about being a pioneer, especially when 

the trend seems to be toward LEDs? 

Rashed: Not at all. This technology has 

been used and tested in Europe. The goal 

was always to do the right thing based on 

sound engineering judgment and not just 

to follow the trend. 

What prompted you to select CMH? 

Rashed: The White Light Study only 

gave us a hint of what the residents of the 

city wanted; it was evident from our survey 

that the majority opted for white light versus 

yellow light. The selection of CMH was 

based on evidence from other cities in Europe, 

personal evaluation, and evaluation 

and input from superiors and peers. The 

key performance factors leading Chicago 

to select CMH for streetlights are lumen 

output per watt; lumen maintenance; long 

rated life; and lower initial cost than that of 

LED and induction. 

Fortuitous timing has accelerated in 

the transition to CMH, correct? 

Rashed: After we concluded the White 

Light Study and decided on ceramic metal 

halide, the opportunity came along to retrofit 

some of our streetlights using stimulus 

money. Those three ongoing stimulus 

projects—one being Western Ave, the 

longest street in Chicago—encompass 

239 miles and more than 15,000 new CMH 

luminaires. ■ 

—Paul Tarricone 


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more problems. So when tomorrow’s changes become your new challenges you can rest 

assured Lithonia Lighting has already addressed and overcome them. 

Visit www.lithonia.com/RTLED/LDA for free white papers, case studies and product spec sheets. 

© 2010 Acuity Brands, Inc. All rights reserved.

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Photos courtesy of Lumenpulse 

PP 

PRODUCTS 

IN PRACTICE 

CHURCH BELLS CHIME FOR LEDs 

For more than 100 years, St. John the 

Evangelist Church has helped Winthrop, 

MA, residents see the light. 

But until recently the century-old building 

was, itself, in the dark. Using 24 white LED 

luminaires, project manager Paul Marks 

of Winthrop made its detailed brick and 

granite façade as clear as the bells that 

ring in its belfry. 

Because the church is surrounded by residences, 

Marks wanted to ensure that the new 

façade lighting wouldn’t spill light onto neighboring 

properties. He was also looking for a 

lighting solution with low energy and maintenance 

costs. White LED luminaires from Lumenpulse 

met Marks’ controllability and energy 

efficiency criteria. 

Two color temperatures of white LEDs were 

specified—2,700K and 3,000K—to light the red 

brick and white granite, respectively. Positioning 

the luminaires was another issue. “Pole or 

ground mounting wouldn’t have achieved the 

same effect,” says Marks, so the luminaires are 

building mounted on extrusions set back 4-in. 

from the façade. Four 2-ft-long, 2,700K LEDs 

luminaires are mounted between the doorways 

(top, left) to “highlight the accents on the 

red brick façade with the rose window,” says 

Marks, while eight 1-ft-long, 2,700K fixtures at 

the base of the 75-ft-tall bell tower (top, right) 

reveal its architectural details. Mounted atop a 

cornice on the granite portion of the tower, 12 

1-ft-long, 3,000K luminaires complement “the 

white tone of the [stone].” 

Using only 441 watts total, the luminaires feature 

a flat lens that eliminates glare and reduces 

light spill into the surrounding neighborhood. 


The Challenge: Illuminate 

the two-toned façade and 

bell tower of an historic 

church without spilling light 

into surrounding areas. 

The Solution: Buildingmounted 

LED luminaires 

in two different color 

temperatures direct light 

only on the façade. 


PL 

PRODUCTS 

+ LITERATURE 

1. FDV Collection introduces the 

Reed light. Based on a custom 

lighting installation Patrick Jouin 

made for L’Auberge de L’Ill in 

France, the Reed is now available 

on the market. The elegant glass 

tube modules of Reed resemble 

crystal reeds shooting out of the 

water. Each hand-blown unit 

can be arranged in a variety of 

patterns and configurations for 

unique applications. 

www.leucosusa.com 

2. OSRAM SYLVANIA has introduced 

its latest series of LED 

lamps, the SYLVANIA ULTRA 

Professional Series. The series 

offers color rendition with a 

CRI of 95 and an R9 color rating 

greater than 50. The LEDs are 

hot binned at 85-deg C, within 

a three-step MacAdams ellipse 

measurement of color difference. 

Four lamp types are currently 

available: PAR20, PAR30, PAR30 

LN and PAR38. 

www.sylvania.com 

1. 

3. Nualight’s new Vivace technology 

creates colorful food displays. 

Vivace is a proprietary high 

CRI technology with near perfect 

R9 values that brings out the 

freshest colors in food displays. 

Pictured here in Nualight’s Alto 

fixture, it is available across the 

entire Nualight linear LED lighting 

portfolio. www.nualight.com 

2. 

3. 


4. 5. 

4. HessAmerica offers the 

Novara 450 OV LED, a pedestrian-scale, 

pole-mounted 

architectural LED luminaire for 

pathway and campus street 

lighting applications. The luminaire 

emits zero uplight above 

ninety deg horizontal and can 

be used for LEED lighting zones 

LZ2 through LZ4. Two light 

outputs are available: 39 or 50 

watts. www.hessamerica.com 

5. Quick Adapt LED Pendant 

Lights from Jesco Lighting 

are connectable decorative 

LED light units for use with 

Jesco Monorail suspended, 

curved ceiling track lighting 

and Monopoint surfacemount 

lighting. Quick Adapt 

UPDATES 

LED Pendant Lights offer ten 

cylindrical and disc LED lighthead 

shapes in contemporary 

designs, of varying scale. 

www.jescolighting.com 

6. Lucite International announces 

a new addition to its LuciteLux 

line: the EcoShade IR reflective 

continuous cast acrylic sheet. 

The sheets help conserve 

energy by reflecting more 

than 75 percent of the infrared 

radiation present in sunlight. 

They feature an iridescent 

quality that transforms from 

blue to gold based on the angle 

of view and surrounding light. 

EcoShade is available in two 

thicknesses: .118 and .117. 

www.lucitelux.com 

6. 

PURE ELEGANCE 

With no visible mounting screws, the Hunza Solid Step Eyelid 

makes a visual statement by day while lighting steps perfectly at 

night. At Hunza we take pride in making the finest outdoor lights 

in the world, engineered in New Zealand from the best materials 

to provide a lifetime of pure enjoyment. 

www.hunzausa.com 

HUNZA LIGHTING USA 

Ph: +1 888 578 6005 Toll Free 

sales@hunzalightingusa.com 


PL 

PRODUCTS 

+ LITERATURE 

7. EYE Lighting International 

introduces kíaroLED outdoor, 

architectural-grade LED luminaires. 

KíaroLED color-correcting 

optics improve uniformity and 

reduce color shift by redirecting 

light. Superior light control delivers 

more light-on-task at a lower 

wattage than competitive LED 

luminaires. The increased number 

of street-side lumens result in 

better visibility and minimize the 

amount of poles. 

www.eyelighting.com/led 

8. Pulsar introduces the 

ChromaStrip25 TriColour LED 

slim-line linear strips designed for 

entertainment and architecture 

applications. ChromaStrip 25 is 

compact with a diameter of only 

25mm. IP66 rating for exterior 

use also makes the units easy 

to clean. ChromaStrip 25 utilizes 

UV-protected, polycarbonate 

tubes for long life. It is offered in a 

dozen sizes. www.pulsarlight.com 

7. 

8. 

9. Compact 3.4-W LED puck lights 

from Nora Lighting measure 2 .75- 

in. wide and .5-in. deep; produce 

70 lumens per watt (210 lumens 

per unit); and are available in 

3,000K and 4,200K color temperatures. 

They are available as 

a single unit or in a three-puck kit 

and are CA Title 24 compliant and 

rated for up to 30,000 hours. 

www.noralighting.com 

10. Beacon Products introduces 

Vinoy, a pole-mounted luminaire 

available in early 20th-century 

street and area lighting designs. 

Units have an easy to relamp 

9. 

10. 


emovable top; high power-factor 

ballasts; porcelain-glazed 

sockets; and galvanized anchor 

bolts or direct-burial, in-ground 

bases. A range of globes, 

decorative luminaire housings, 

arm styles, poles, and bases 

are available. 

www.beaconproducts.com 

11. 12. 13. 

UPDATES 

11. Derek Marshall Lighting 

unveils the new Nara Bamboo 

Pendant, which is inspired 

by the curves and texture of 

bamboo. It is divided into three 

kiln-formed curved pieces of 

American art glass with overlapping 

glass segments that 

are held together with small 

stainless steel screws. The 

pendant measures 6 1/2-in. 

diameter by 12-in. high and 

comes in a choice of colors. 

www.derekmarshall.com 

12. Niche Modern introduces 

the Spark Modern Chandelier 

Collection, including the 48-in.- 

diameter, 24-bulb Spark 48 

Modern Chandelier (pictured). 

Each chandelier is handcrafted 

and made to order in the United 

States. They are customizable, 

allowing designers and consumers 

to choose from among 

five ring finishes; Edison, tubular 

or globe bulbs; and up or 

down ring and bulb orientation. 

www.nichemodern.com 

13. Traxon Technologies introduces 

its line of High-Resolution 

Media Systems that provide 

crisp, clear imaging for scalable 

communication messaging in 

Innovative Lighting for Creating a Sense of Place. 

Hi-glo Designed by BMW Group DesignworksUSA 

800.290.6233 | landscapeforms.com 


PL 

PRODUCTS 

+ LITERATURE 

both interior and exterior environments. 

Available in a variety 

of pixel pitches, the slim profile 

Media Systems can be combined 

to create a range of screen sizes 

and resolutions. 

www.traxontechnologies.com 

14. Fulham expands its line of solid 

state Pony Halogen Electronic 

Transformers from 60 watts and 

75 watts to include 150-W, 300-W 

linear and 300-W circular. These 

12V-50/60Hz units operate multiple 

dimming and non-dimming 

MR16s and MR11s to stated wattage, 

have short circuit/overload/ 

thermal protections, 50-deg C 

maximum ambient temperature, 

and use UR (UL-recognized) components. 

www.fulham.com 

14. 

All GPS systems will 

get you there 

...eventually. 

You have many recruiting options, but if you want the best 

15. results for your money, few in lighting match the return on 

investment provided by The Pompeo Group. Our reputation 

for ethics, integrity, quality of candidates, attention to detail 

and exceptional follow-up means that you will get what you 

pay for. That’s why decision-makers in our industry come back 

to The Pompeo Group. If you are looking for a direct route 

to the most qualified candidate for the job, let The Pompeo 

Group steer you in the right direction. 

(505) 271-5353 

 

Ready to get your money’s worth? Try us on your next critical 

search. Call now and ask for Paul Pompeo. 

The 

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Group 

LED, Lighting & Energy Global Search 


Before 

200W HPS, 240 Syste 

Aer 

 

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to Philadelphia, Leotek 

 

 

 

 

 

 

 

 

 

 

Step outside toiht 

ad take a walk 

o the “White Carpet 

 

Petroleum and Convenience Stores Refrigerated Displays Cold Storage and Warehouse Facilies 

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Visit us at 

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www.leotek.com | 888.806.1188 | ©Leotek Electronics USA Corp.

EEVENTS 

May 10-12: Rensselaer Polytechnic 

Institute Lighting Research Center 

(LRC), Troy, NY, is offering “LED 

Lighting Institute.” Learn the basics 

of LED technology and system integration 

issues involving electrical, 

optical and thermal characteristics 

of LEDs and how to measure and 

evaluate LEDs and LED systems. 

Compare LED technologies from a 

variety of manufacturers, and design, 

build, and evaluate your own LED 

fixtures. Three CEUs available and a 

continuing education certificate in 

LED Lighting. Contact: Dan Frering, 

frerid@rpi.edu or www.lrc.rpi.edu/ 

education/outreachEducation/ 

InHouseInstitute.asp 

May 12: Acuity Brands Lighting is 

offering “Visual Training.” Held at 

the Light & Space Center, Conyers, 

GA, the session offers hands-on 

experience with “Visual Professional 

Edition.” Follow on computers (provided), 

as instructors demonstrate 

how to create real-world applications 

and discover new features of Visual 

2.6, navigate the Visual interface, 

create and modify models, and walk 

through a project. Ground transportation, 

food and one night hotel stay will 

be covered. Participant is responsible 

for airfare to Atlanta. Contact: Tricia 

Foster 770-860-2049; E-mail: Tricia. 

Foster@acuitybrands.com 

May 15-19: LIGHTFAIR International 

2011 is the world’s largest annual 

architectural and commercial lighting 

trade show and conference. Join 

thousands of lighting professionals 

including lighting designers, architects, 

specifiers, engineers, etc., at 

the Pennsylvania Convention Center, 

Philadelphia, PA. LFI blends continuing 

education courses with innovative 

products ranging from high-end 

design to cutting edge technology. 

Contact: www.lightfair.com 

May 18-20: “RLC 2011.” This Romanian 

Lighting Convention, “Lighting 

and Community,” will be held at the 

JW Marriott Bucharest Grand Hotel, 

Bucharest, Romania. Topics include 

lighting design and architecture, 

daylight, light and health, night and 

city, lamp disposal, LEDs, legislation, 

lighting education, luminaire design, 

lighting master plan, control systems 

and interior and exterior lighting. 

Contact: www.rlc.org.ro 

May 19: The CIE/USA Seminar on 

Photometry, “Colorimetry and Application 

of Solid-State Lighting” will 

be held at the Courtyard Philadelphia 

Airport Hotel from 8 am to 5 pm to 

coordinate with LIGHTFAIR at the 

Philadelphia Convention Center. 

Contact: Tom Lemons 978-745-6870 

or www.cie-usnc.org. 

May 19: Venture Lighting Institute 

is offering “HID vs. the Competition 

– Part 1.” This half-hour webinar (11- 

11:30) reviews induction interior and 

exterior applications vs. metal halide. 

Discuss pros/cons of the systems 

from new construction and retrofit/ 

upgrade solutions. Analyze interior 

induction and pulse-start, exterior 


layout options, energy, and the 

advantages and disadvantages 

of each system. 5 CEUs available. 

Contact: Amanda I. Foust 

440.836.7523 or E-mail: amanda_ 

foust@TheVLI.com or go to www. 

TheVLI.com 

May 26-27: Hubbell Lighting is offering 

“LED & Emerging Technologies 

Workshop.” This course held at the 

Lighting Solutions Center, Greenville, 

SC, will discuss the ever-increasing 

LED market and the speed at which 

LEDs are quickly being integrated 

into lighting applications. Participants 

gain a basic understanding of 

how LED components are integrated 

into lighting fixtures and how well 

LEDs perform in particular applications. 

Discussion includes newer 

technologies such as OLEDs, solar 

and wind technologies, and other 

technologies that impact the lighting 

industry. Take part in a workshop 

designing and building LED fixtures. 

Cost: $350. Contact: 864-678-1045 

or www.lightingsolutionscenter.com 

June 1-3: Cooper Lighting SOURCE 

is offering “Lighting Fundamentals/Lighting 

Basics.” Held at the 

Peachtree City, GA, facility this 

seminar is geared to newcomers 

and those interested in a refresher 

course. Focus is on lighting terminology, 

photometry, LEDs, fixture 

types, lamp-ballast systems, 

energy and lighting legislation 

with an introduction to lighting 

controls. CEUs available. Contact: 

Jere Greiner 770-486-4680 or go to 

www.cooperlighting.com/education 

June 2-3: GE is offering “Lighting 

for Healthcare Facilities.” A 

primer on economic cost analysis, 

this workshop is geared to facility 

managers, maintenance supervisors 

and professionals involved 

in specification and maintenance 

of lighting systems in healthcare 

environments. Focus is on energy/ 

maintenance and cost-reduction 

strategies. Identify quality lighting 

criteria for public spaces, patient 

rooms, and specialized medical 

treatment areas and lighting 

designs/products that help 

improve patient outcomes and 

reduce error rates. Cost: $400. 

CEUs available. Contact: Rose 

Marie Davis 216-266-2039; E-mail: 

rose.davis@ge.com or go to www. 

gelighting.com 

June 8: Venture Lighting Institute 

is offering “The Sound of Pulse- 

Start Technology.” This class 

covers lamp and ballast basics, 

controls, dimming, regulatory and 

sustainability trends, and product 

training. 8 CEUs available. Contact: 

Amanda I. Foust, 440-836-7523 or 

E-mail: amanda_foust@TheVLI. 

com or go to www.TheVLI.com 

June 9-12: The Guangzhou 

International Lighting Exhibition 

2011 will be held at the China 

Import & Export Fair, Guangzhou, 

China. This is the biggest lighting 

industry forum in Asia with 

1,882 exhibitors and 71,000 in 

attendance from 117 countries/ 

regions. Geared to lighting retailers, 

wholesales, architects and 

building planners, this event provides 

the marketing opportunity 

for face-to-face contact. Contact: 

Messe Franfurt (HK) Ltd., 

852-2238-9953 or burnice.ip@ 

hongkong.messefrankfurt.com or 

www.messefrankfurt.com.hk 

June 13-15: MMPI presents “Neo- 

Con 2011.” Held at the Merchandise 

Mart, Chicago, IL, this conference 

offers a comprehensive schedule 

with more than 140 CEU-accredited 

seminars, industry association 

forums and keynote presentations 

covering a wide range of subjects 

and discussion topics in educational 

tracks: Dealer strategies, 

environmental design, facilities 

construction and renovation, 

facilities technology, healthcare, 

hospitality, institutional, and office 

lighting design. Also, professional 

development, residential design, 

senior housing, workplace, and 

health and safety. Contact: 800- 

677-6278 or www.neocon.com 

June 15-17: Hubbell Lighting is offering 

“Fundamentals of Lighting.” 

This workshop held at the Lighting 

Solutions Center, Greenville, 

SC, focuses on the fundamental 

principles of lighting, with specific 

attention on lamps and ballasts, 

terminology, light, sight and color, 

optical control, lighting calculations, 

and application principles 

covered through hands-on training 

and real-world applications. Topics 

improve and enhance lighting education 

needs of those who are new 

to lighting or looking for a refresher. 

Cost: $500. Contact: 864-678-1045 or 

www.lightingsolutionscenter.com 

June 16: Venture Lighting Institute 

is offering “HID vs. the Competition 

– Part II.” This half-hour 

webinar (11-11:30) reviews LED 

interior and exterior vs. metal 

halide and discusses the pros/ 

cons to the systems from new 

construction and retrofit/upgrade 

solutions. Review lighting layouts 

Flavor Paper, Brooklyn, NY • Lighting Designer: Lighting Workshop 

New CLS-Slim 

EVENTS 

and analysis of interior induction 

and pulse start, exterior layout 

options, and energy for induction. 

5 CEUs available. Contact: Amanda 

I. Foust 440.836.7523 or E-mail: 

amanda_foust@TheVLI.com or go 

to www.TheVLI.com 

June 20-22: Infocast, Inc. presents 

the inaugural “Smart Lighting 

Value Chain Summit, The Coming 

Revolution in High-Efficiency Commercial 

Lighting Systems.” This 

summit, held in Santa Clara, CA, 

unites the complete chain for intelligent 

networked lighting solutions. 

Geared to specifiers and influencers 

from the building (retail, office, 

industrial) and outdoor street 

lighting segments, this summit provides 

the opportunity to realize the 

potential of smart lighting to cut 

the energy footprint of real estate/ 

building and outdoor municipal 

segments. Contact: Brent Tinter 

310-663-0623 or E-mail: brentt@ 

infocastevents.com 

Visit us at Lightfair 2011 • Booth #3708 

www.CathodeLightingSystems.com 

Photo: Boone Speed 

From candlelight to daylight... 

we do white better than anyone 

www.ies.org LD+A | April May 2011 113

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PROCEDUREFORDETERMININGINTERIORANDEXTERIORLIGHTINGPOWERALLOWANCES

IT’S LIKE A 

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HAD A BABY. 

The stylish new kíaroLED luminaire from EYE Lighting represents the latest in design 

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and glare. Its photometric performance delivers 20% more light than competitors on streets 

and boulevards, offices and college campuses, outdoor retail grounds, and recreational 

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CLASSIFIED 

SENIOR DESIGNER 

Kurt Versen Company seeks exper’d individual to join our engineering 

team. Knowl. of AutoCad 2011, Autodesk Inventor 3D basic 

electrical principles, UL procedures, lighting fundamentals, sheet 

metal & other manufacturing methods essential. Must have excellent 

visualization & communication skills, & ability to translate 

concepts into accurate drawings. Minimum 5 years exper. designing 

lighting fixtures is desired. A BSME is a plus. Excellent benefits 

package. Send resume with salary requirement to H.R., Kurt 

Versen Company, 10 Charles St., Westwood, NJ 07675 Fax: (201) 

664-4801 Email: slechich@kurtversen.com EOE/M/F . 

FOR BACK ISSUES 

Call Leslie Prestia 

212-248-5000 ext 111 

“In the right light, 

at the right time... 

...everything is 

extraordinary.” 

– Aaron Rose 

Superior lighting design can transform the ambience of a room, 

invite a sense of well-being, and facilitate social interaction. 

Creating such innovative, energy-efficient, and high quality 

solutions is a challenge MMM Group tackles daily. Join our 

Vancouver lighting design team as they meet today’s complex 

design and environmental challenges with architectural flair, 

technical savvy, and creative insight. 

To find out more about MMM Group and how you can join our 

team, please visit www.mmm.ca 

Visit us on Facebook 


PIANO 

BOREAL 

INSPIRATION 

SCALA 

ALURA 

Come and be inspired by our innovative new products 

Light Fair 2011 booth #2453 

www.schreder.us 

847 621.5100 

The Right Light

Green or cost-effective? Why not both? 

At Spring City, we don’t like to compromise. And neither 

do our customers. That’s why we’ve combined our 

LED luminaires with our ductile iron posts, using our 

sustainable manufacturing process to make a lighting 

system that’s as elegant as it is energy-efficient and 

durable. 

Our LED fixtures last up to 75,000 hours and carry a 

7-year warranty. Our posts, made from the strongest 

metal in our famous traditional designs, carry a 25- 

year warranty. Together, they’re a thing of beauty. And 

efficiency. And sustainability. And they’re made right here 

in America. 

For more information, please visit our website 

at www.springcity.com/led, call us at 

610-948-4000 or send us an email at 

sales@springcity.com

The companies listed below would like to tell you more about their products and 

services. To learn more, access the websites listed here. 

Company Website Page # 

3G Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.3glighting.com . . . . . . . . . . . . . 12 

AC Electronics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.ace-ballast.com . . . . . . . . . . . . 14 

Acuity Brands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.acuitybrands.com . . . . . . . . . . . 55 

Acuity Brands Outdoor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.acuitybrands.com . . . . . . . . . . 127 

Alanod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.alanod.com . . . . . . . . . .8,47, 92 

Almeco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.almecogroup.com . . . . . . . . . . . 60 

A.L.P. Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.alplighting.com . . . . . . . . . . . . 91 

American Bright Lighting Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.americanbrightled.com . . . . . . . . . 78 

Amerlux Lighting Solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.amerlux.com . . . . . . . . . . . . . 18 

Apogee Translite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.apogeetranslite.com . . . . . . . . . . 10 

Baero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . wwwbaerousa.com . . . . . . . . . . . . 6-7 

Canadian Standards Association . . . . . . . . . . . . . . . . . . . . . . . . . . www.csa-international.org . . . . . . . . . . 13 

Carclo Technical Plastics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.carclo-optics.com . . . . . . . . . . . 28 

Carmanah Technologies Corp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.carmanah.com . . . . . . . . . . . . 126 

Cathode Lighting Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.cathodelightingsystems.com . . . . . . 113 

Cooper Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.cooperlighting.com . . . . . . . . . . . 45 

Cree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.cree.com . . . . . . . . . . . . . . . 11 

Creston . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.creston.com . . . . . . . . . . . . . . 21 

Dialux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.dialux.com . . . . . . . . . . . . . . 24 

Everlight Electronics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.everlight.com . . . . . . . . . . . . . 98 

Evonik Cyro LLC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.acrylite-polymers.com . . . . . . . . 121 

Eye Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.eyelighting.com . . . . . . . . . . . 115 

Full Spectrum Solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.fullaspectrumsolutions.com . . . . . . . 51 

Future Lighting Solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.futurelightingsolutions.com . . . . 58, 93 

Gotham Lighting/Lithonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.gothamlighting.com . . . . . . . . . . 59 

Havells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.havells.com . . . . . . . . . . . . . . 73 

Hunza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.hunzausa.com . . . . . . . . . . . . 107 

IES Lightfair Daily Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.ies.org . . . . . . . . . . . . . . . 120 

IES Progress Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.ies.org . . . . . . . . . . . . . . . . 17 

IES Recently Published Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.ies.org . . . . . . . . . . . . . . . 114 

iGuzzini North America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.iguzzini-na.com/en/ . . . . . . . Insert 

Ilex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.ilexlight.com . . . . . . . . . . . . . 36 

Illuminarc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.illuminarc.com . . . . . . . . . . . . 123 

Insight Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.insightlighting.com . . . . . . . . . . . 61 

Intense Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.intenselighting.com. . . . . . . . . . . 53 

Lambda Research Corp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.lambdares.com . . . . . . . . . . . . 40 

Landscape Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.landscapeforms.com . . . . . . . . . 109 

LEDirect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.ledirect-usa.com . . . . . . . . . . . . 27 

LEDtronics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.ledtronics.com . . . . . . . . . . . . 103 

Leotek Electronics Corp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.leotek.com . . . . . . . . . . . . . 111 

Leviton Manufacturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.leviton.com . . . . . . . . . . . . . . 15 

Lighting Analysts Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.agi32.com . . . . . . . . . . . . . . 35 

Ligman. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.ligmanlighting.com . . . . . . . . . . . 39 

Lithonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.lithonia.com . . . . . . . . . . . . . 101 

Lumenpulse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.lumenpulse.com . . . . . . . . . 56-57 

Lutron Electronics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.lutron.com . . . . . . . . . .Cover 4 

Maxlite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.maxlite.com . . . . . . . . . . . . . . . 2 

Meteor-Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.meteor-lighting.com . . . . . . . . . . 41 

MMM Group Limited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.mmm.ca . . . . . . . . . . . . . . 116 

MP Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.mplighting.com . . . . . . . . . . . . 33 

Nedap Power Supplies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.nedap.com . . . . . . . . . . . . . 104 

Nichia America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.nichia.com . . . . . . . . . . . . . . . 1 

Nora Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.noralighting.com . . . . . . . . . . . . 37 

NoUVIR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.nouvir.com . . . . . . . . . . . . . 100 

Osram Sylvania . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.sylvania.com . . . . . . . . . . . . . 19 

Panasonic Lighting Div . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.pewa.panasonic.com/lighting . . . . . . 72 

Pathway the Lighting Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.pathwaylighting.com . . . . . . . . . . 16 

Philips Daybrite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.daybritelighting.com . . . . . . . . . . 49 

Philips Emergency Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.bodine.com . . . . . . . . . . . . . . 97 

Philips Lumileds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.philipslumileds.com/lda . . . . . . . . . . 5 

Philips Roadway Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.philips.com/roadwaylighting . . . . . . 122 

PLC Multipoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.plcmultipoint.com . . . . . . . . . . . 22 

RAB Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.rabweb.com . . . . . . . . . . . . . . 23 

Rambusch Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.rambuschlighting.com . . . . . . . . . 102 

Rize Enterprises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.rize-enterprise.com . . . . . . . . . . . 32 

Ruud Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.betaled.com . . . . . . . . . .Cover 3 

Samsung LED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.samsungled.com . . . . . . . . . . . . 29 

Schreder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.schreder.com . . . . . . . . . . . . 117 

Sentry Electric Corp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.sentrylighting.com . . . . . . . . . . . . 9 

Spectrum Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.speclighting.com . . . . . . . . . . . . 48 

SPI Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.specadvent.com . . . . . . . .Cover 2 

Spring City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.springcity.com . . . . . . . . . . . . 118 

Sternberg Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.sternberglighting.com . . . . . . . . . . 42 

Terralux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.terralux.com . . . . . . . . . . . . 112 

The Pompeo Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.pompeo.com . . . . . . . . . . . . 110 

Times Square Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.tslight.com . . . . . . . . . . . . . 114 

Tyco Electronics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.tycoelectronics.com . . . . . . . . . . 43 

Ultrasave Lighting Ltd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.ultrasave.ca . . . . . . . . . . . . . . 52 

Valmont . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.valmont.com . . . . . . . . . . . . . 79 

Venture Lighting International. . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.venturelighting.com . . . . . . . . . 124 

Virginia Optoelectronics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.vaopto.com . . . . . . . . . . . . . . 25 

WAC Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.waclighting.com . . . . . . . . . . . . 85 

WattStopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.wattstopper.com . . . . . . . . . . . . 31 

ADVERTISING 

OFFICES 

GENERAL OFFICES 

LD+A Advertising Department 



New York, NY 10005-4001 

(212) 248-5000 ext. 111 

(212) 248-5017/18 (fax) 

lprestia@ies.org 

NEW ENGLAND/ 

MID-ATLANTIC 

Brett Goldfine 

Sage 

1403 Whitpain Hills 

Blue Bell, PA 19422 

(484) 231-1308 

(805)-375-5282 (fax) 

brett.goldfine@sagepub.com 

States serviced: NY, NJ, CT, VT, MA, NH, 

RI, ME, MD, DE, Wash DC, VA, NC, & PA 

SOUTH/MIDWEST 

Bill Middleton 

Middleton Media 

561 Robin Lane 

Marietta, GA 30067 

(770) 973-9190 

(770) 565-7013 (fax) 

midmedia@aol.com 

States serviced: GA, SC, TX, OK, AR, LA, 

MS, AL, FL, TN, NE, KS, MO, IA, MN, WI,IL, 

MI, IN, KY, OH, WV, ND, & SD—and 

Canadian Provinces of Ontario, Quebec, New 

Brunswick, Newfoundland and Labrador, 

Nova Scotia and Prince Edward Island 

WEST 

Ellen Tucker 

Mohanna Associates 

305 W. Spring Creek Pkwy 

Building C-101 

Plano, TX 75023 

(972) 596-8777 

(972) 985-8069 (fax) 

States serviced: CA, MT, ID, OR, WY, UT, 

NV, WA, CO, AZ, NM, AK, HI—and Canadian 

Provinces of Manitoba, Saskatchewan, 

Alberta and British Columbia 

LD+A Article Reprints- 

Print and Electronic 

Nan Lamade 

Reprint Specialist 

(800)-259-0470 

nlamade@reprintdept.com 

This www.ies.org index is provided as a service by the publisher, who assumes no liability for errors or omissions. 

LD+A | May 2011 119

NEW MEMBERS 

MEMBERS 

Membership 

Committee chair 

Norm Waff 

announced the IES 

gained six 

Sustaining 

Members and 85 

Members (M), 

Associates and 

Students in March. 

Sustaining Members 

Con Edison Commercial and Industrial 

Energy Efficiency Program, 

New York, NY 

FSP Group USA, Chino, CA 

LCTECH Testing Services Co., Ltd, 

Zhongshan, China 

LUX-TSI Limited, Bridgend, 

United Kingdom 

Studio Lux. LLC, Seattle, WA 

VAOPTO, Las Vegas, NV 

Midwest Region 

Boris Bondin, University of Michigan, 

Ann Arbor, MI 

James W. Creveling (M), Toyoda Gosei, 

Troy, MI 

Elizabeth A. Guzowski (M), GE Lighting 

Solutions, East Cleveland, OH 

Mary R. Heidorn, Focal Point, 

Chicago, IL 

Emily Lai, dbHMS, Chicago, IL 

David Meglio, Meglio and Associates, 

Chesterfield, MO 

Russ Randall (M), Carl Walker, Inc., 

Kalamazoo, MI 

April L. Rothgeb, Sylvania Lighting 

Services, Minneapolis, MN 

Kevin M. Smock, Masco Cabinetry, 

Ann Arbor, MI 

Aristides Wade, Particle Wave 

Solutions, Carmel, IN 

Joshua J. Wehr, Havells-USA, 

Noblesville, IN 

Madison Area Technical College 

Troy M. Rettschlag 

Maryville University 

Jamie M. Toon 

University of Kansas 

George R. Magnuson 

Northeast Region 

Lindsay B. Barnett, Orsman 

Design, Inc., Southampton, NY 

Christian M. Barry, Mississauga, ON 

Chris Benotto, Gates Canada, Inc., 

Ancaster, ON 

Daniel R. Brooks (M), Meridianwave, 

Inc., Ottawa, ON 

Ian A. Buba, ICF International, 

Swampscott, MA 

Courtney C. Capshaw, Con Edison 

Commerical and Industrial Energy 

Efficiency Program, New York, NY 

Jeffery J. Casse, Philips Lighting 

Systems & Controls, Cicero, NY 

Pedro Diaz Jr., Orsman Design, 

Southampton, NY 

Kimberly K. Drysdale, Drysdale 

Lighting, Inc., Toronto, ON 

Caitlin R. Faron (M), Shine Design + 

Distribution, LLC, Water Mill, NY 

Benjamin J, Fischer, STL Lighting 

Group, Cambridge, ON 

Alan G. Kinne, Wasco Products, 

Wells, ME 

Dale Morton, Nedco, Mississauga, ON 

Corrie Muir (M), Graybar Canada, 

Markham, ON 

David R. Neal, Seoul Semiconductor, 

Pelham, NH 

Anne-Marie Perreault, Ville de 

Montreal, Montreal, QC 

Cherise Rollins, Mark Architectural 

Lighting - Acuity Brands, Edison, NJ 

Marc-Antoine Vachon, Philips Lumec, 

Boisbriand, QC 

Clarence L. Yu (M), Philips Lighting 

Canada, Markham, ON 

Michael Zhu, Philips Lighting, 

Plainsboro, NJ 

Pennsylvania State University 

Chang Liu, Daniel R. MacRitchie, 

Matthew T. Trethaway 

South Region 

Jorge Avila, Philips Mexicana, 

Mexico City, Mexico 

Peter S. Browne (M), HESM&A 

Consulting Engineers, Inc., 

Charlotte, NC 

Zoe Carlin, Hubbell Lighting, 

Greenville, SC 

Colleen M. Conrad, PM&E Design 

Group, Virginia Beach, VA 

Pedro A. Garza De Yta, Sr., 

Mantenimieto Arquitectonico 

Integral, SA de CV., Mexico City, 

Mexico 

Marco Antonio A. Gongora Amaro Sr., 

Avant Garde Technologies, SA. de 

CV, Mexico City, Mexico 

Donald E. Gould Jr, Green HID, 

Charleston, SC 

Daniel J. Kovach (M), United 

Launch Alliance, Melbourne, FL 

Richard R. Leinbach (M), Apex, NC 

Jeffrey K. Morgan (M), Mactec 

Engineering and Consulting, Inc., 

Rome, GA 

Ronan P. Ryan, Verbatim Americas LLC, 

Charlotte, NC 

Eddie Sera, Gulf States Distribution, 

Houston, TX 

Greg Wiley, Griffith Engineering, 

Charlotte, NC 

Jorge M. Zinser Cruz Sr., Avant Garde 

Technologies, SA. de CV, Mexico City, 

Mexico 

University of Alabama 

Destin Barkley, Laura Bays, 

Anna Crowson, Erynne Freeman, 

Catherine Hackett, 

Courtney Hamilton, Jenny Janus, 

Alex King, Rebecca Lybrand, Kendal 

Ann Miller, Ashlee Moore, Courtney 

Moore, Kelly Petro, Shelby Storey, 

Kiara Thompson 

West Region 

Robert D. Amick, Meeker, CO 

Kayla D. Brown-Cestero, Philips 

Lightolier, Las Vegas, NV 

Phil Elizondo, Bridgelux, Livermore, CA 

Sonja M. Ferdows (M), Design Alliance, 

Denver, CO 

Ronald J. France, Leviton, Antioch, CA 

Michael Heieh, FSP Group USA, 

Chino, CA 

Dorian Hicklin, Applied Minds, Inc., 

Glendale, CA 

Stanton Humphries (M), Architectural 

Engineering, Avon, CO 

Charles Q. Li (M), VAOPTO, 

Las Vegas, NV 

John P. Martin (M), KGM Architectural 

Lighting, El Segundo, CA 

Brian Meissner, ECI/Hyer Architecture 

& Interiors, Anchorage, AK 

Corie V. Moonen, Valley Electric Co., 

Everett, WA 

John S. Williams, Young Electric Sign 

Company, Las Vegas, NV 

California State University Northridge 

Tanya R. Wicks 

University of Washington 

Maja Petric 

International 

Sanjay Biswas (M), Crompton Greaves, 

Ltd - LAB (Lighting), Mumbai, India 

David WS Chan, LUX-TSI Limited, 

Bridgend, United Kingdom 

Richard Li, LCTECH Testing Services 

Co., Ltd., Zhongshan, China 

Alan G. Redilla, Mandaluyong City, 

Philippines 

LIGHTING HANDBOOK 

GIVE-AWAY DRAWN DAILY 

Publisher of LD+A, LEUKOS, lighting standards, books, 

and educational materials 

VISIT IES BOOTH #1813 

LIGHTFAIR International 2011 

Pennsylvania Convention Center, Philadelphia May 17-19 


SUSTAINING MEMBERS 

The following companies have elected to support the Society as Sustaining Members which allows 

the IES to fund programs that benefit all segments of the membership and pursue new endeavors, 

including education projects, lighting research and recommended practices. The level of support is 

classified by the amount of annual dues, based on a company’s annual lighting revenues: 

Diamond: $15,000 annual dues 

Lighting revenues over $500 million 

Emerald: $10,000 annual dues 

Lighting revenues to $500 million 

Platinum: $5,000 annual dues 


DIAMOND 

Acuity Brands 

Cooper Lighting 

GE Lighting 

Hubbell Lighting, Inc. 

OSRAM SYLVANIA Products, Inc. 

Philips Lighting Co. 

EMERALD 

Holophane 

PLATINUM 

Finelite, Inc. 

H E Williams, Inc. 

Lutron Electronics Co, Inc. 

Musco Lighting 

Philips Day-Brite 

Philips Lightolier 

RAB Lighting, Inc. 

Renova Lighting Systems, Inc 

Samsung LED 

Watt Stopper/Legrand 

GOLD 

A.L.P. Lighting Components Inc. 

Altman Lighting, Inc. 

Canlyte a Philips Group Brand 

Con-Tech Lighting 

Contrast Lighting ML, Inc. 

Duke Energy 

Edison Price Lighting, Inc. 

Elation Professional 

ETC 

EYE Lighting Int’l of NA 

Focal Point LLC 

Hapco 

Intense Lighting 

IOTA Engineering LLC 

Kenall Mfg Co. 

The Kirlin Company 

Kurt Versen Co. 

Lighting Science Group Corp 

Lighting Services, Inc 

Louis Poulsen Lighting, Inc. 

LSI Industries, Inc. 

Lucifer Lighting Co. 

National Grid 

Neonlite Electronic + Lighting (HK) Ltd. 

Philips Emergency Lighting 

Philips Gardco 

Prudential Lighting Corp 

San Diego Gas + Electric 

Sternberg Lighting 

Verbatim Americans 

Visa Lighting 

Vista Professional Outdoor Lighting 

Zumtobel Lighting, Inc. 

SILVER 

Apogee Translite 

Apollo Lighting 

Ascent Battery Supply LLC 

Associated Lighting Representatives. Inc. 

Axis Lighting, Inc. 

BAERO North America, Inc. 

Bartco Lighting, Inc. 

Barth Electric Co., Inc. 

Beta Lighting 

Birchwood Lighting, Inc. 

BJB Electric LP 

Black + McDonald 

Border States Electric Supply 

Bulbrite Industries, Inc. 

Carmanah Technologies 

Celestial Products 

City of San Francisco 

Gold: $2,500 annual dues 


Silver: $1,000 annual dues 


Copper: $500 annual dues 

Lighting revenues to $4 million (Copper members 

are listed in the IES Annual Report.) 

Con Edison Commercial and Industrial Energy 

Efficiency 

Con Edison Co. of New York 

CV Energy & Water Technologies 

Day Lite Maintenance Co. 

Delta Products Corp. 

EAE Lighting Co. 

Eastern Energy Services, Inc. 

Echelon Corporation 

Eclipse Lighting, Inc. 

Eco Lumens 

Eiko Ltd 

Energy Network Service 

ENMAX 

Enterprise Lighting Sales 

EPCOR Technologies Inc 

Fawoo Tech North America, LLC 

Gammalux Systems 

Illuminating Technologies, Inc. 

Illumineer Ltd 

Kramer Lighting 

L. J. Illuminacion SA de CV. 

Lam Lighting 

LCA Holdings P/L 

The L.C. Doane Company 

Ledalite Architectural Products, Inc. 

LED One, Inc. 

LED Roadway Lighting Ltd. 

Lee Filters USA 

Legion Lighting Co. 

Leviton Mfg. Co., Inc. 

Lighting Analysts, Inc. 

Lighting Design Lab. 

Lightology LLC 

Litecontrol Corp 

Litelab Corp 

LiteTech 

LCTECH Testing Services Co., LTD. 

Lumascape USA, Inc 

Luma Stream, LLC. 

Luxim Corporation 

Manning Lighting 

Medgar Lighting Group, Inc. 

Megalite USA, Inc. 

Metalumen Manufacturing, Inc. 

MP Lighting 

Neidhardt, Inc. 

Nora Lighting 

OCEM Acquisition Corp. dba 

Paramount Industries, Inc. 

Reflex Lighting Group, Inc. 

Richard McDonald & Associates, Ltd. - Calgary 

Richard McDonald & Associates, Ltd. - 

Edmonton 

Rosco Laboratories 

Ruud Lighting Canada Corp. 

Schneider Electric Mexico SA de CV 

Senso Lighting 

Sentry Electric Corporation 

Shakespeare Composites & Structures 

Smedmarks Inc. 

Southern California Edison 

StressCrete King Luminaire Co. 

The Climate Group 

The Lighting Quotient 

Tivoli, LLC. 

Toshiba International Corporation 

Traxon Technologies 

US Energy Sciences, Inc. 

Utility Metals. 

VAOPTO 

Velux America, Inc. 

WAC Lighting Co. 

Westpac LED Lighting, Inc. 

Xal, Inc. 

As of March 2011 


See us at LightFair Booth 1618!

In The World of Lighting... 

“A GOOD IDEA IS NEVER LOST. 

E VEN THOUGH ITS ORIGINATOR OR POSSESSOR 

MAY DIE WITHOUT PUBLICIZING IT, 

IT WILL SOMEDAY BE REBORN 

IN THE MIND OF ANOTHER.” 

-THOMAS 

A. EDISON 

Photo Copyright of Brooks Borg Skiles Architecture Engineering 

T HE N EXT G REAT I DEA H AS A RRIVED 

See it at LIGHTFAIR Booth #2601 

For more information contact Venture: 

800-451-2606 

FAX: 800-451-2605 E-MAIL: venture@adlt.com 

VentureLighting.com 

© 2011 Venture Lighting International. Venture Lighting and Natural White are registered trademarks of Venture Lighting International 

VLI-1032A2-0211

Peace Reigns at Student Lighting 

Competition 

IESFYI 

MAY 2011 

Member Mentions 

Lighting Science Group Corp. has hired 

Jose Sierra as its vice president of customer 

satisfaction. 

Zumtobel has won the iF product design 

award 2011 for two of its products: 

the Panos Infinity LED downlight and the 

Opura free-standing luminaire (pictured). 

The awards recognize outstanding product 

design across a range of categories. 

More than 100 design students 

submitted entries to the 

11 th Annual IES New York City 

Section Student Lighting Competition, 

but ultimately peace 

triumphed: Pratt Institute industrial 

design major Kevin Lee 

took home the grand prize for 

his “Peace Bomb” interpretation 

of this year’s theme, “Revealing 

Shadows.” Students 

were challenged to construct 

a three-dimensional study in 

any medium and show how the 

interaction of light, shadows 

and surfaces can distort or enhance 

one’s perception. 

A paper luminaire in the 

shape of a cold-war era bomb, 

Lee’s entry produces a shadow 

in the form of a “ban the bomb” 

peace symbol when illuminated 

from within. The jury felt “Peace 

Bomb” not only demonstrated 

originality, but realized an idea 

that has international and historical 

significance. Lee received 

a $2,000 cash prize and 

will have the opportunity to take 

part in the upcoming Guerilla 

Lighting in Beirut. 

Parsons The New School 

student Rebecca Bost won the 

$1,000 second place prize for 

her project, “Shadow Ripples in 

a Pond of Light.” Another Parsons’ 

student, Brandon Lenoir, 

was awarded third place and a 

$500 cash prize for his design 

“Was It a Rat I Saw?” Margaret 

Cabanis-Wicht, Pratt Institute; 

continued on p. 126 

First-place winner “Peace Bomb.” 

“Shadow Ripples in a Pond of Light” 

won second palce. 

“Was It a Rat I Saw?” 

received third place. 

Photos: Naomi Castillo, 90 Degree Photo, Inc 


continued from p. 125 

IESFYI 

Shane Moan, Fordham University; and Andrew Koudlai, Fordham University, received honorable 

mentions. The awards were presented after keynote presentations by two artists 

who work with light and shadows: sculptor and professor of art at Rensselaer Polytechnic 

Institute, Larry Kagan, and artist Kumi Yamashita. 

Clean, Green, Next Big Thing 

Luxim vice president of marketing Randy Reid (right) discusses 

automobile lighting with Ford Motor Company CEO Bill Ford at a Wall 

Street Journal banquet honoring winners of its “Next Big Thing: Top 

10 Venture-Backed, Clean Technology Companies Award.” Luxim 

was one of 10 companies to receive the award, which ranks companies 

for entrepreneurial pedigree, growth and investor success. 

 

 

 

 

 

 

 

 

 

 

 


OUT OF THE ARCHIVE 

May 

1991 

Volume 21/No. 5 

» Project: The cover features the Keith W. Johnson Zoo Center at 

the Bronx Zoo in New York City—known as the “Elephant House.” 

The structure, designed in 1908 by architects Heins & LaFarge in 

the Beaux-Arts tradition, laid claim to having been designed so 

beautifully it could have been a church or a museum, as opposed 

to a home for really large mammals, such as elephants, rhinoceroses 

or hippopotamuses (hence the story’s title “Pachyderm 

Palace”). The building however, was quite dark, with only some 

natural light entering from windows and skylights. The new 

lighting achieved better color rendering from a mixture of metal 

halide, high-pressure sodium and quartz floodlights mounted on 

the arched beams. The rotunda was illuminated by narrow-beam 

metal halide floodlights through the skylights and five 100-W, 

narrow-beam quartz floodlights with dimming capabilities above 

and around the perimeter of the large central skylight. Hidden 

HPS floodlights washed the rotunda ceilings and three incandescent 

recessed downlights washed a wall niche. 

» Education: An “Industry News” item announced that Cooper 

Lighting had opened the doors of its state-of-the-art demonstration 

center, The Source Cooper Lighting Center in Elk Grove, IL. 

The half-acre working laboratory was designed to “meet the needs 

of the full spectrum of the industry professionals, advancing their 

skills through hands-on examination, the use of classrooms, application 

areas, showrooms and lecture areas.” The Source is still 

going strong today but is now located in Peachtree City, GA. 

» Views on the Visual Environment: Legendary and longtime LD+A 

contributor Louis Erhardt was known for his charming verbosity. 

This month’s column, entitled “In a Nutshell,” contained some of 

his favorite quotes; he led with one called “Brevity” from Dr. Seuss: 

“It has often been said there’s so much to be read, you never 

can cram all those words in your head. That’s why my belief is the 

briefer the brief is the greater the sigh of the reader’s relief is.” 


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Wireless daylight and occupancy 

sensors via wireless sensor module 

sensors 

sensor 

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EcoSystem 

ballast 

Occupancy Sensors 

Sensors automatically turn lights 

off when a room is vacant 

NEW Radio Powr SavrTM 

occupancy/vacancy sensors 

are easy to retrofi t with wireless 

communication and 10-year 

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Can provide up to 20% lighting 

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Daylight Sensors 

Automatically dim or turn off 

overhead lights when daylight 

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NEW Radio Powr Savr wireless 

daylight sensor is simple to retrofi t 

with no new wiring 

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occupied: on 

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Visit us at 

LIGHTFAIR 

Booth #501 

For more information about Lutron EcoSystem solutions—or to schedule an on-site 

lighting energy assessment—call 1.888.LUTRON1 or visit www.lutron.com 

©2011 Lutron Electronics Co., Inc.

May 2011 - Illuminating Engineering Society

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