Cover 1_rto4 - Illuminating Engineering Society

RETAIL LIGHTING 

Lighting Design + Application 

May 2001 

Flashy Furniture 

Disney’s Downtown Decór 

Show-Stopping Store 

LIGHTFAIR INTERNATIONAL 

Seminar Previews 

LIGHTFAIR INTERNATIONAL • MAY 29-JUNE 1 • LAS VEGAS

CONTENTS 

RETAIL LIGHTING 

“Must-See” Illumination 34 

The NBC Experience project took initial inspiration from other 

themed-environment stores, but modified the concepts substantially. 

Ron Harwood of Illuminating Concepts, discusses the project that 

garnered an Edwin F. Guth Award of Excellence for Interior Lighting Design. 

MAY 2001 

VOL. 31/NO. 4 

48 

DEPARTMENTS 

Fusion of Fashion and Furniture 42 

Ciel Home’s newest store needed an innovative lighting system to completely 

illuminate the products being displayed, while keeping the luminaires as 

hidden as possible. Arie Louie explains the design team’s 

philosophy in addressing this challenge. 

Progressive Hub to Disney’s Magic 48 

Downtown Disney links all the elements of the expanded Disneyland resort. 

Toni Page Birdsong provides the details on the lighting design 

that accompanied this newly created attraction. 

Today’s Shopping Malls 56 

Alfred R. Borden IV and Helen K. Diemer of The Lighting Practice 

trace the evolution of the shopping mall and the importance of lighting 

to developers and shoppers. 

LIGHT INTERNATIONAL 

Seminar Preview 60 

David Apfel, Addison Kelly, Brian Cronin, Anthony Long, 

Vesa Honkonen, Julle Oksanen, Harold Jepsen, Leslie North, 

Sandra Vasconez, Helmut O. 

Paidasch and Randall Whitehead 

provide some insight into the seminars 

they’ll be presenting at this year’s 

LIGHTFAIR INTERNATIONAL. 

4 Energy Concerns 

8 Specification Sales Strategies 

10 On Committees, Quills and 

Other Things 

11 2001 Progress Report 

Submittal Form 

14 Regional Voices 

16 Essay by Invitation 

18 Working with the Web 

21 IES News 

30 Photons 

82 Light Products 

84 Scheduled Events 

87 Classified Advertisements 

87 Ad Offices 

88 Ad Index 

ON THE COVER: Ciel Home opened its newest store in Newport Beach, Calif., with an 

innovative lighting system, based primarily in keeping the fixtures hidden. In fact, there are five 

distinct themes to the lighting design, each specially configured for the area in need of illumination. 

Each theme, or condition, was evaluated to ensure the lighting was not only functional, 

but visually pleasing, as well. Photo: Arie Louie 

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

Willard L. 

Warren, 

PE, LC, 

FIESNA 

We have a passion in this 

country for “numbers” 

and “metrics.” In school, 

there are grades, cumulative averages 

and SATs; pediatricians evaluate 

babies in percentiles; television 

shows get “ratings;” and movies, 

ENERGY 

CONCERNS 

hotels and restaurants get “stars.” 

In lighting there are metrics for illuminance, 

luminance, brightness, 

efficiency and efficacy. 

“But beauty,” said the poet, 

“lies in the eyes of the beholder.” 

Numbers don’t necessarily tell the 

whole story. 

Sensory perceptions like sight, 

hearing, smell and taste, once 

thought to follow logorithmic relationships, 

are not that predictable. 

Visual perception depends upon 

the variable factors of illuminance, 

task contrast, task size and time, 

and that the relationship between 

these variables and visual perception 

is like a visual cliff. As those 

variable factors are slowly improved, 

perception climbs quickly, 

and then levels off onto a plateau. 

If illuminance is increased too far, 

glare will develop and perception 

will start to decrease, which is 

analogous to the sensation of hearing, 

where pleasurable sounding 

music can get discomforting when 

played too load. 

The Energydesign Resources website 

(www.energydesignresources. 

com) devoted a recent issue to a 

new metric, “LER,” the Luminaire 

Efficacy Rating, described as an 

“objective comparison of energy 

miserliness among fluorescent luminaries.” 

The word, “efficacy” indicates 

lumens per watt. Incandescent 

lamps produce approximately 

10-20 l/w. Fluorescent and HID produce 

from 50-100 l/w. Efficiency, on 

the other hand, is the ratio of output 

divided by input, and because of the 

law of conservation of energy, is 

always less than 100 percent. LER 

combines those two factors — efficacy 

and efficiency — to provide this 

new metric of “energy miserliness.” 

Simply stated, a fluorescent lamp 

has a rated light output that’s measured 

in lumens. A ballast drives the 

fluorescent lamp at some percentage 

of that rated lumen output, 

which is called the “ballast factor” 

(BF). Dimming ballasts vary lamp 

lumens from 0 to 100 percent of 

their rated value. High/Low ballasts 

will give two (50 and 100 percent) 

or three (30, 50 and 100 percent) 

levels of light, while “standard” 

electronic ballasts deliver either 75, 

88, 92, 100, 115 or 125 percent of 

rated lumens. A ballast with too 

high a “BF” will overdrive the lamp 

and shorten its life. 

Luminaire “efficiency” is expressed 

as the measured output 

in lumens, divided by the input in 

lumens, and is expressed as a 

percentage. 

LER is defined as Rated Lamp 

output in lumens x Ballast Factor 

(percent) x Luminaire Efficiency 

Sensory 

perceptions 

like sight, 

hearing, 

smell and taste, 

once thought 

to follow 

logorithmic 

relationships, 

are not 

that 

predictable. 

(percent) divided by total luminaire 

input in watts. The units of LER are 

in l/w, which is why it is called 

Luminaire “Efficacy” Rating, and 

not “efficiency” rating. 

LER is used to compare the l/w 

President 

Martyn K. Timmings, LC 

Vice-President, Market Development 

Canlyte - The Genlyte Thomas Group 

Past President 

Ian Lewin, Ph.D., FIES, LC 

President 

Lighting Sciences, Inc. 

Senior Vice-President 

Pamela K. Horner, LC 

Manager, Technical Training 

OSRAM SYLVANIA 

Executive Vice-President 

William Hanley, CAE 

Vice-President—Educational Activities 

Mary Beth Gotti, LC 

Manager, Lighting Institute 

and Application Development 

GE Lighting 

Vice-President—-Member Activities 

Ronnie Farrar, LC 

Lighting Specialist 

Duke Power 

Vice-President—-Design & Application 

Douglas Paulin, LC 

Product Manager 

Ruud Lighting 

Vice-President—-Technical & Research 

Richard G. Collins 

Supervisor of the Photometry Laboratory 

OSRAM SYLVANIA 

Treasurer 

Patricia Hunt, LC 

Hammel Green & Abrahamson 

Directors 

Balu Ananthanarayanan 

Wisconsin DOT 

Claudia Gabay, LC 

Detroit Edison 

Donald Newquist, LC 

Professional Design Consultants, Inc. 

John R. Selander, LC 

Kirlin Company 

Fred Oberkircher, LC 

Texas Christian University 

James L. Sultan, LC 

Studio Lux 

Regional Vice-Presidents/Directors 

Jeff Martin, LC 

Tampa Electric Company 

Ralph Smith, LC 

Ralph Smith Engineering 

2000-2001 

Board of Directors 

IES of North America 


of a luminaire to the l/w of a similar 

luminaire. 

There are 11 categories of commonly 

used fluorescent luminaires, 

and only units in the same category 

should be compared for their relative 

ability to squeeze out lumens. 

LER does not include any factor 

for the appropriateness of the photometric 

distribution curve, or the 

coefficient of utilization of the luminaire, 

nor does it take into account 

the dirt and dust depreciation of the 

luminaire, which is a matter of its 

construction. Use LER for what it 

was meant to be — a measure of 

the combined luminaire, ballast and 

lamp efficacy. 

The coefficient of utilization table 

indicates what proportion of the 

calculated illumination is coming 

directly from the luminaires and 

how much is coming indirectly, and 

how important the room finishes 

are in the production of inter-reflected 

light. The next time you do a 

lumen method illumination calculation 

look at the far right column of 

the CU chart, where the reflectances 

are 0 percent ceiling, 0 

percent walls, and 0 percent floor. 

Using that cu value will provide the 

direct component of light in the 

space. 

When the illumination is computed 

using the proper cu for the 

room’s finishes, the total direct and 

reflected light in the room can be 

derived. The inter-reflected component 

can be half the total illumination 

in the room. If room finishes are 

dark, it obviates all the benefits of 

choosing a luminaire with the highest 

LER in its category. 

Project update 

Last June, I wrote about the Bilevel 

relighting of the 746 public 

corridors at Starrett at Spring 

Creek in Brooklyn. There are two 13 

W CFLs in each luminaire; one lamp 

is always on, providing minimum 

code level lighting, and the second 

lamp is triggered on by an ultrasonic 

sensor located on the ceiling in 

the center of the corridor. 

When anyone enters the hallway 

from either their apartment or from 

the elevator or stairway, the sensor 

detects them and turns the second 

lamp on. The sensor holds the second 

lamp on for 16 minutes after 

there is no more motion detected in 

the hallway. Well, we finally installed 

a recording w/hour meter last 

month on the circuit of a typical 

floor with eight apartments. The 

recorder’s tapes indicated that the 

second lamp is only on for eight out 

of every 24 hours a day. That’s a 

saving of more than 30 percent in 

energy because of the sensors. 

When this project started, the 

27-year-old co-gen plant at Starrett 

was generating electricity, near 

capacity, for $.07 per kw-hr. The 

higher cost of natural gas has 

increased that to $.10/kw-hr. The 

13 W CFL lamp that is held off by 

the occupancy sensor, saves 16 W 

for 6,000 hrs per year (16 hours a 

day) at 10 cents/kw-hr or $9.60 a 

year. There are 11 fixtures per floor, 

so the annual savings in electricity 

are $ 105 which pays for the two 

sensors on each floor in 2.5 years, 

or fewer, if the cost of natural gas 

keeps climbing. 

We’re now working on a project 

which will use an electronic 

high/low (50/10 percent output) 

ballast in the stairways, with one 

lamp per fixture, which will give us 

the two proper lighting levels and 

extended lamp life. An ultrasonic 

sensor, circuit board and power 

pack and an emergency battery 

pack are all incorporated inside the 

luminaire. 

Some fluorescent fixture manufacturers 

plan to show “smart fixtures” 

at LIGHTFAIR INTERNATION- 

AL. Smart fixtures have self-contained 

occupancy and/or daylight 

harvesting sensors in each unit to 

adjust the light output of that fixture, 

or if they are at the start of a 

continuous row of fixtures, or at the 

beginning of a wiring “home run,” 

they can control all the luminaires 

downstream. 

There is an interesting aspect to 

energy conservation. The bad news 

is that energy costs keep rising; the 

good news is that the energy conservation 

measures we take will 

always pay for themselves in less 

time than originally projected. 

Publisher 

William Hanley, CAE 

Editor 

Chris Palermo 

Assistant Editor 

Roslyn Lowe 

Associate Editor 

John-Michael Kobes 

Art Director 

Anthony S. Picco 

Associate Art Director 

Samuel Fontanez 

Columnists 

Emlyn G. Altman • Brian Cronin 

Rita Harrold • Li Huang 

Louis Erhardt • Willard Warren 

Book Review Editor 

Paulette Hebert, Ph.D. 

Marketing Manager 

Sue Foley 

Advertising Coordinator 

Michelle Rivera 

Published by IESNA 

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Phone: 212-248-5000 

Fax: 212-248-5017/18 

Website: http://www.iesna.org 

Email: iesna@iesna.org 

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

science, study, manufacture, teaching, and 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, N.Y. 10005, 212-248-5000. Copyright 2001 by 

the Illuminating Engineering Society of North 

America. Periodicals postage paid at New York, N.Y. 

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Additional subscriptions $39.00. Single copies $4.00, 

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This consent does not extend to other kinds of copying 

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POSTMASTER: Send address changes to LD+A, 120 

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SPECIFICATION SALES 

STRATEGIES 

Li Huang 

Principal, 

FTC 

In the last issue, we discussed the 

range of professionals that make 

up the lighting specifier community. 

This diversity of backgrounds 

also exists within the lighting design 

community. Despite this, one does 

find that lighting designers and 

specifiers have common needs and 

wants. In this column, we will concentrate 

on the lighting design community 

and its specific needs. 

I recently conducted a small survey. 

The survey participants were 

lighting designers whose livelihood 

is lighting design only. The survey 

respondents (eight designers from 

seven well-known firms) come from 

diverse educational backgrounds. 

Their backgrounds are in architecture, 

theater lighting, industrial 

design, electrical engineering and 

architectural engineering. The 

seven design firms are located in 

Philadelphia, New York, and Boston. 

This group of participants is small, 

but I felt the quality of the results 

was high, due to the caliber of the 

participants involved. 

All participants said they are currently 

called on by numerous manufacturer 

sales representatives. All 

but one is also called on directly by 

manufacturers. This survey asked 

the participants to specify the services 

they would like to see from 

sales representatives during the 

specification period, the construction 

period and the post-construction 

period. 

During specification 

During the specification period, 

the most important services that 

respondents would like to see from 

sales are 1) accurate project pricing 

(with some asking for distributor 

net pricing) for project budgeting 

purposes; 2) access to samples for 

mock-ups in a timely manner; 3) 

close direct working relationships 

with the manufacturers when developing 

custom products; 4) up-todate 

product literature and information 

(through sales visits or lunchand-learn 

sessions); 5) help with 

solutions that will resolve challenging 

project situations; and 6) honest 

and timely responses to information 

requests. 

During construction 

The services the survey participants 

felt were most important during 

the construction period include 

1) respecting the specification (no 

“packaging” and product substitution); 

2) involving the sales representatives 

in the field to resolve 

issues; 3) keeping specifiers informed 

of the progress of the order; 

4) making available product installation 

details and shop drawings 

when needed; 5) keeping specifiers 

informed of delivery dates; 6) coordinating 

closely with the distributor 

and contractor, even for “out of territory” 

projects; 7) assisting in expediting 

delivery on fast-track projects; 

and 8) responding to information 

requests honestly and timely. 

During post-construction 

The services the survey participants 

felt were most important during 

the post construction period 

include 1) timely and pro-active 

response to any field issues; 2) 

commissioning help when applicable; 

3) follow-up on issues (i.e., do 

not drop the ball); and, again, 4) 

honest and timely responses to 

information requests. 

The survey also asked the participants 

to list services that they 

would expect from the manufacturers 

they specify often. These services 

include 1) timely and accurate 

responses; 2) no overbearing 

used-car sales mentality and behavior; 

3) making appointments ahead 

of time for a meeting (no “dropins”); 

4) honest answers (don’t tell 

the designer one answer and the 

contractor another); 5) greater 

comparisons with their competitors’ 

products, so the designer 

knows how to defend the specification 

when facing challenges from 

contactor or owner; 6) respect the 

“no substitutions allowed” specification’ 

7) help with the lead time of 

products specified; 8) project budget 

pricing, timely responses to 

information requests; and 9) facing 

up to issues when they arise (stand 

behind your product). 

When asked to rate the specification 

sales people who are currently 

calling on them from 1-10, 

with 10 as most satisfying, the 

results favored the fixture manufacturers’ 

sales representatives with 

better ratings than the manufacturers’ 

direct sales force. However, 

this could be based on the fact that 

more fixture sales representatives 

call on specifiers than manufacturers’ 

direct sales people. Designers 

who are called on by manufacturers 

do not usually see their sales representatives 

as often either. 

A few additional issues surfaced 

in the general comments section 

from the specifiers: 

1) Better in-house coordination 

between the specification 

sales force and distributor 

sales force in the larger fixture 

sales agencies to help the 

specification survive the process 

is needed. 

2) The practice of pricing a 

project as a package has become 

popular. This practice of 

packaging is making lighting 

design more difficult, especially 

on “high-end” projects. Designers 

feel that they are often 

forced to evaluate equals when 

no true equals exist. Often 

times, the design quality gets 

sacrificed. 

3) Manufacturers direct sales 

representatives are becoming 

less visible to the design community. 

That situation is sometimes 

remedied using a quality 

toll-free customer service line. 

Although I was not surprised by 

any of the responses in the returned 

surveys, I was grateful for the participants’ 

time and effort, for they 

made this article more complete by 

identifying the many issues facing 

lighting specifiers today. Many of 

these issues have been around for 

years. However, this discussion is 

not complete without also understanding 

the other side of the equation 

— the feelings and issues of 

the manufacturers. That will be a 

topic for a later issue. 

For now, our conclusion is this: 

Designers and manufacturers need 

each other to succeed. It is the 

challenge of the lighting industry to 

address the issues and concerns of 

every group together, in order to 

devise creative solutions that bring 

both parties to a middle ground. 


The day is approaching when 

we may contemplate throwing 

away the quills, felt tip pens, 

pencils, and whatever other old-fashioned 

writing implements we may 

have employed. This may not be 

appealing news to everyone, but 

many committee chairs have been 

asking for improved ways of communicating 

internally and with each 

ON COMMITTEES, 

QUILLS & 

OTHER THINGS 

Rita M. Harrold, 

FIES, LC 

Director, 

Educational and 

Technical 

Development 

other, reducing the number of faceto-face 

meetings (thereby saving 

travel dollars) and working more efficiently 

to create new publications, 

all through electronic means. You 

may have noticed the many significant 

improvements to the committee 

area of the IESNA website 

(www.iesna.org), but if you haven’t 

visited the site for a while, read on to 

find out what is new and different. 

The improvements are in the following 

areas and we ask for your 

help in ensuring that committees 

take full advantage of the new capabilities 

of specific parts of the site: 

• Feature: The list of committees 

and subcommittees has been 

updated and posted on the website. 

In the public area, the list appears 

with the individual committee 

scopes and members’ names, email 

addresses, and phone numbers. 

Functions: Anyone, both IESNA 

members and non-members, wishing 

to join a committee may select 

a specific committee and fill out an 

application form. An automatic 

email response is sent to the applicant, 

acknowledging receipt of the 

application. Adalisa Machado, committee 

administrator, will then follow 

up with the committee chairs in 

processing the application. 

When the chair and the Board of 

Directors accepts the application, 

the applicant will be moved from 

pending to active committee status. 

(Note: new committee membership 

applications only take 

effect following a Board meeting, 

since the Board of Directors 

approves all committee personnel.) 

Benefits: Having the list in the 

public area of the website gives visitors 

the opportunity to see the 

breadth of technical, application 

and program areas in which committees 

engage. The list also shows 

each committee’s scope of work, 

and chair contact information. 

• Feature: In the Members Only 

area of the website, members now 

have visibility in their individual profile 

area to a list of committees on 

which they serve. 

Function: The list appears automatically. 

Benefit: This provides an instant 

check about each member’s committee 

membership status. (Members 

who wish to withdraw from a 

particular committee may also 

make the request online.) 

• Feature: When members update 

their profile information (address, 

phone, fax, or email changes) 

online, the system now requires 

that the member initial the changes 

(by filling in a field at the end of the 

form) before the change can be 

accepted. Similarly if the change is 

made in the IESNA office by the 

technical department, the initials of 

the person who made the change 

will appear. The date on which the 

change was made is also indicated. 

Function: If the initial field is left 

blank, the system will not accept 

the change and gives a prompt to 

complete the process. 

Benefit: The indication of who 

made the change, and when, can 

help to remind the member that 

updating needs to occur (because, 

for example, the email address has 

changed since the last update) 

and/or it also lets members know 

that the IESNA office has taken 

action on a requested change. 

Member action item — we ask 

that each committee member take 

a moment to visit the site and verify 

that the profile information and 

the list of the committees on which 

he/she serves is correct. 

• Feature: Committees now 

have the ability to post draft documents 

on the website for review, 

comment and vote. 

Function: One person on each 

committee, with the role of administrator, 

can upload a document 

from his/her computer so members 

of that specific committee or subcommittee 

(but not others) can 

view work in progress. There is an 

area for members to make comments 

and see, in a string, the comments 

made by others. The administrator 

receives the comments, 

makes changes to the draft and 

reposts a revised version. 

Benefit: Review of publications 

can take place outside a face-toface 

meeting, saving agenda time 

at the next meeting, or maybe even 

negate the reason to hold that 

extra meeting. 

• Feature: Committee members 

may vote online. 

Function: In the Members Only 

area, a committee member will see 

a note in red if there is a document 

available for ballot from one or more 

of his/her committees. When the 

vote is cast, the notation disappears. 

If the member tries to vote 

again, the system will indicate that 

that the vote has been received, 

with a “thank you” note in red. 

Benefit: The administrator can 

see who has voted, and can remind 

the delinquents. We may be able to 

capture votes from all voting members 

of a committee in the future! 

• Feature: Committee administrators 

may now post announcements 

of meetings or other activities 

in their committee areas. 

Function: Easy posting of information 

in a template provided in 

that particular committee area. 

Benefit: Uncertain about the 

date or time of the next meeting? 

Check your committee area of the 

website. 

• Feature: This same area of the 

site can also be used for posting 

minutes of committee and subcommittee 

meetings with the same voting 

opportunity. 

Function: Minutes should be 

uploaded in the document area of 

the individual committee’s site. 

Benefit: Committees can save 

significant dollars in mailings. Large 

committees with multiple subcommittees 

generate voluminous minutes, 

which are becoming increasingly 

expensive to distribute. However, 

while savings are realized, the 

burden of printing is passed on to the 


individual member. It is suggested 

that the minutes be posted by subject 

area or by subcommittee so that 

members with only specific areas of 

interest may find the relevant material 

quickly and easily. Minutes should 

also be voted on in the same way as 

document voting occurs. 

Committee action item — each 

committee and subcommittee 

should assign one member with 

administration rights to post documents, 

minutes, announcements, 

and receive comments. Please notify 

Adalisa Machado (amachado@ 

iesna.org) or me (rharrold@iesna. 

org) who that person is. We will 

then enable the system to assign 

the responsibility to that individual 

for that particular committee. 

While large committees with multiple 

documents/activities may 

wish to have more than one administrator, 

the number of administrators 

appointed should be as small as 

possible for control purposes and to 

avoid confusion of responsibilities. 

Note that only members of a particular 

committee may view draft 

documents, minutes of meetings 

and other committee information 

posted on that committee’s site. A 

committee member has access to 

the committee area through the 

Members Only part of the IESNA 

website by entering the membership 

number and password. (Non-members 

of the Society who serve on 

committees are given a special committee 

membership number. Contact 

Adalisa for that information.) 

A word to the worried 

To those of you who are wary 

about the impending electronic 

world, rest assured; we will not 

cease communicating with you. 

No committee member will be 

denied the opportunity to continue 

to receive paper copies of draft 

documents, minutes of meetings, 

announcements, and any other 

committee correspondence. Members 

who wish to receive paper 

copies of all materials should notify 

the chair of the committee, and 

chairs must ensure that those 

members are placed on a conventional 

mailing list. 

There are functions that are not 

available for committee use. Online 

changes to a committee member’s 

www.iesna.org 

status, such as, advisory member 

to member, member to chair and 

deletion from a committee, can only 

be made by the IESNA office. The 

reason is two-fold: 1) changes can 

only be made after Board approval, 

and 2) we want to protect the member 

from unauthorized changes. 

There are also functions that we 

have decided not to offer at the 

present time. The site will not 

enable committees to do broadcast 

emails - yet. We opted instead 

for the posting of information in the 

individual committee areas. 

IESNA Staff action item — we 

will be working over the next several 

months to try to ensure that 

the committee area of the site 

addresses each committee’s 

needs. There are always other functions 

and features that can be 

identified for addition at a later 

date (budget permitting). Your 

input, as always, is welcome.

Russ Owens, 

South Pacific 

Coast RVP 

As the newly elected regional vice-president for 

the South Pacific Coast Region, I am simultaneously 

overwhelmed, apprehensive and encouraged. 

The region was recently expanded to include 

three new Sections and the term of office was also 

extended to three years. Having been the Region’s secretary 

for the past three years, while serving on our 

REGIONAL 

VOICES 

local Section’s Board of Managers, I am aware of some 

of the work that is required to keep an organization like 

the IESNA moving. 

It is not a continuum that moves on its own without 

the need of volunteers at every level. From the president 

of the Society to the most bashful member of a 

Section that volunteers to make name tags for a 

Section meeting, we are all a part of the same team. 

I began my own membership a number of years ago 

during a career change, at a time when I saw the value 

and immediate need for networking with those in the 

industry that might be of benefit to starting a consulting 

business from scratch. I began to attend the local 

Board meetings, was recruited to help with education 

and took on a succession of positions leading to president 

of the Section. My involvement was always voluntary 

and certainly changed from self-serving interests, 

to seeing the larger need to provide programs and other 

venues for the education of those who wanted and 

needed to learn more about lighting. 

I have seen many of my predecessors burn out and 

virtually not be heard from again. New people are the 

lifeblood of any volunteer organization and the few that 

do step forward to help, often get rewarded with more 

duties than they bargained for. Some can’t wait to get 

their term of office over with and get away. 

I would like to offer some suggestions to help retain 

the seasoned people as advisors (they have a wealth of 

knowledge of the history of the Sections and usually are 

more patient in their approach to meeting goals) and 

get the “next generation” of lighting professionals 

involved at the local level. 

• Let’s take advantage of the numerous awards that 

the Society has established and begin to reward those 

who have served the Sections and Regions with years 

of loyal service (you know, the ones that seem to serve 

on the Board forever, always helping in small ways, 

those that always are at the meetings helping to make 

a difference, etc). Present them with an award at a 

Section meeting. Recognize longevity and service at 

the variety of levels we have awards for. Section officers 

— look in those Section Guides for the various awards 

and give credit where credit is due. People that serve 

don’t usually do it for the reward, but it is a huge stroke 

when your colleagues notice it and act upon it. 

• Let’s promote Society membership to people we 

work with — either in our offices or our clients — as an 

Agree or disagree, 

we are moving forward 

and need both fresh ideas 

as well as 

seasoned ones. 

organization that has provided them with something 

they might not even think about, but utilize every day. 

Our Society produces (through volunteer committees 

and alliances with other organizations) Design 

Guidelines, Technical Memorandums, Recommended 

Practices and other tools we use and quote every day 

in conducting business (i.e. How many roadways or 

sports facilities are designed to IES Standards?) During 

times when budgets decline, disposable income vanishes 

and memberships lose priority; however, they utilize 

the tools we have produced and they should be 

encouraged to consider supporting the organization 

that gives them those tools. 

• Let’s get the next generation, the “Young Guns” 

(gender inclusive) involved in education and serving in 

the local sections. Some have had lighting education in 

college, and some have not, but they can all benefit 

from the IESNA Education materials. Education classes 

are a great place to recruit the next leadership for the 

section. The energy and ideas that the younger industry 

members possess should be harnessed to bring the 

local sections, as well as the Society at large, along 

into the future. Let us not cling to paradigms that 

worked 10 years ago; we are in an age where technology 

is changing faster than the seasons, and we need 

to be able to embrace the wealth of new ideas the 

young people can bring. 

• With the awareness that corporate budgets have 

been cut, as past sources for funding of local mailings 

and publishing, local sections are now turning to the 

wonders of the electronic age, email and faxing. I am a 

proponent of these tools and they appear to be a great 

way to get Section Newsletters or meeting notices in 

from of a lot of people quickly, repeatedly and with a 

minimal investment of time and money. We should 

begin and or continue the use of these tools to contact 

our respective database of members and interested parties 

about meetings, etc. One drawback to only using 

the electronic method of communication is the potential 

of a lack of connectivity with the membership. It can 

become easy to hit the send button and miss the fact 

that we still are an organization of people and that 

human contact is what keeps us sane (some of us less 

than others). I think it is a good idea to initiate phone 

contact from time to time with the membership, so that 

the IES identity/connection is not relegated totally to 

the infamous line “you’ve got mail.” 

Agree or disagree, we are moving forward and need 

both fresh ideas as well as seasoned ones. 


Willard L. 

Warren, 

PE, LC, 

FIESNA 

Asophisticated new lighting 

control system that uses digital, 

rather than analog, signals 

to control the light output of a 

ESSAY 

BY INVITATION 

which particular lamps and ballasts 

are in need of replacement. 

The DALI system can be programmed 

to turn units on or off, or 

dimmed from 1-100 percent light 

output, by means of a simple low 

voltage control wire that loops 

through the building to every fixture. 

Further, when DALI is used in 

conjunction with a building management 

system, every lamp and 

ballast can be addressed to determine 

if the lamp or ballast is in 

working order. This status report 

can be gathered, either on-site, or 

at the central office of a maintenance 

contractor, to determine 

how many replacement lamps and 

ballasts are required, what kind 

It can 

feed back 

information 

on which 

particular 

lamps and 

ballasts are in 

need of 

replacement. 

Figure 1 — User interface 

Figure 2 — DALI software 

digital electronic ballast was recently 

introduced into this country 

The new digital electronic ballast 

and its control will replace the analog 

electronic ballast as the international 

standard in a few years 

because of its incredible versatility. 

The acronym for the new control 

protocol is “DALI,” which stands for 

“Digital Addressable Lighting Interface.” 

The beauty of DALI is that it 

allows the user to address every 

individual digital ballast, and program 

its lamp’s light output. And, 

because DALI is a two-way system, 

it can feed back information on 

they are, and where they are located. 

This saves time and money 

when servicing multiple sites in 

the same geographical area, like 

department stores, chain stores 

and supermarkets. 

The DALI system also allows digital 

ballasts to be controlled wherever 

they are in the ceiling, so if 

changes are made in the arrangement 

of departments on a floor, 

the lighting luminaires do not have 

to be re-wired, just re-addressed. 

Because the DALI system controls 

every individual ballast, it allows 

the user to assign every fixture to 

any one of 16 different groupings 

of luminaires in the space, and create 

multiple operating modes or 

scenes. Lighting levels can also be 

adjusted to respond to conditions 

like energy cutbacks, daylight harvesting, 

occupancy status, or the 

system can be used to turn any 

part of a large office into a conference 

area, with the ability to dim 

any fixtures needed to facilitate 

audio/visual presentations. 

The DALI system can be 

accessed either by a PC or a Palm 

OS device. Figure 1, the user-friendly 

PC screen, shows how easy it is 

to set the output of the ballast and 

assign it to one of 16 fixture groups. 

In the third step of the DALI program, 

the user selects the fade 

time and fade rate of each ballast. 

Figure 2 shows the control plan of 

three groups of luminaires, how 

they will be dimmed, and at what 

time. The user simply draws the 

fade and time curve with a PC 

mouse, and each group of ballasts 

creates the desired scene, as programmed. 

The PCs or Palm controllers 

can be located at several 

locations on the floor and changed 

at any time. 

Many American and European 

manufacturers have already signed 

on to provide hardware for this new 


technology, which is expected to 

grow in popularity in this country, as 

it already has in Europe. The lamps 

that can be controlled include the 

popular new fluorescent sources 

like the T5 and T5 HO, T8, 18 to 42 

W CFLs, and the 40 and 50 W long 

fluorescent PL (Biax) lamps, with 

more to come. The digital electronic 

ballast is wired for universal voltage 

(120 V or 277 V), it employs a 

soft start for long lamp life, it will 

start the lamp at any point in its 

dimming range, and will cut out the 

lamp at the end of its life. 

The DALI system is also ideally 

suited to deal with energy conservation 

and energy curtailment. 

Interestingly, the rolling blackouts 

last November in California occured 

from 6 to 8 p.m., when many offices 

were still open and homeowners 

were preparing dinner, watching 

television, and turning on Christmas 

lights. California now requires 

stores and malls shut their lights off 

power. That is why the versatile 

DALI digital ballast control system 

is so valuable. It can be programmed 

to automatically shed 

lighting load by dimming the lights 

in stages when an energy curtailment 

is required. 

The DALI digital ballast system 

comes with so many user benefits; 

fluorescent dimming, load shedding, 

luminaire grouping, scene 

control, lamp and ballast failure 

status, changing switch control 

without rewiring, integration of 

daylight harvesting, occupancy 

sensor control, and so many others, 

that the cost of the system 

will be less than the sum of all the 

parts needed to perform all these 

different functions. DALI, the “digital 

addressable lighting interface” 

is the lighting control of the 

future. It can be programmed to 

provide the proper lighting level 

when and where it is needed, and 

most economically. 

California 

now requires 

stores and malls 

shut their 

lights off 

when they close 

to keep 

electric demand 

down in the 

evening. 

when they close to keep electric 

demand down in the evening. 

Energy curtailment will be with 

us for a while in many parts of the 

country because of spot shortages 

of capacity. But even when 

we catch up with demand, we will 

still have to deal with higher costs 

of electricity, pollution controls 

and codes that restrict our use of 

www.iesna.org

Brian Cronin, 

Director of 

Business 

Development, 

Planetmouse, 

Inc. 

Basic research is what I am doing when I don’t 

know what I am doing. 

—Wernher von Braun 

Istumbled upon an online article describing a research 

study called The Consumer Daily Question Study. (If 

you want more information on this study, conducted 

by Lewis, Mobilio & Associates, on behalf of Keen.com, 

check out: www.keen.com/documents/corpinfo/ 

pressstudy.asp). This study monitored about a hundred 

people over the course of a week and found Americans 

generate an average of four new questions every day. 

Participants spent nearly nine hours per week (online 

WORKING 

WITH THE WEB 

and off) looking for the answers. The primary resource 

was the Internet, followed by Friends & Family; Sales & 

Service Providers; Medical Professionals & Therapists; 

and Magazines. Surprisingly, several traditional sources 

— libraries, TV news, encyclopedias, dictionaries and 

maps — were tapped less often than in the past. 

Business Contacts came in dead last; so much for trusting 

your peers. 

Information access is a discovery process that will 

continue to evolve. Time is essential in finding answers, 

as is effort. But it is efficiency, the impact of both time 

and effort, that determines the course of action. We 

want our information faster and with less energy expended. 

Until time travel or human cloning become commonplace 

in the work environment, improving the informationgathering 

process must focus on the source. Increased 

efficiency hinges on improving access and the Internet is 

an obvious choice for fast, efficient data gathering. 

Conducting Research Online 

Web-based research is a fast, painless process. The 

three most commonly used online research tools are: 

search engines, directories and metacrawlers. 

Search Engines are one of the most popular research 

tools on the web. They direct users, based on 

specific topics, to the web pages that best suit them. 

The user punches in a request and the search engine 

automatically responds by or “crawling” the web to 

compile a relevant list of websites. 

• Lycos began as a search engine, depending on listings 

that came from spidering the web. Today, it uses a 

directory model similar to Yahoo. Lycos (www.lycos. 

com) also owns and runs HotBot (www.hotbot.com), 

another popular search engine. 

• Excite is one of the most popular online search services. 

It offers a large index and integrates non-web 

material such as company information and current 

events into its results. Excite also owns and runs 

Magellan and WebCrawler as separate search services 

(www.excite.com). 

• AltaVista is one of the largest search engines on the 

web, in terms of pages indexed. It offers extensive coverage 

and a wide range of search commands, making it 

a favorite among researchers (www.altavista.com). 

• AOL Search offers two search services: one for its 

members and one with general web access for nonmembers. 

This ‘external’ site (http://search.aol.com) 

does not list the AOL content available to its members. 

• Google is a search engine that uses link popularity 

to rank websites. The more links to a site, the higher 

the ranking. Yahoo supplements its results with those 

from Google (www.google.com). 

Directories, a little different than search engines, are 

often included under this grouping. A directory depends 

on human input for its listings. Individual websites submit 

a short description to the directory for the entire site 

or the directory editors create one for sites they review. 

A directory search looks for matches only in these 

descriptions. A well-designed site with quality content is 

more likely to be reviewed than a poor site. 

• Yahoo is the web’s heavyweight search service 

champ. Its reputation for helping people find information 

quickly and easily is well-earned. Yahoo is the 

largest human-compiled guide online, employing hundreds 

of editors to help categorize the web. Launched 

in 1994, Yahoo is also the oldest major website directory 

(www.yahoo.com). 

• LookSmart is another qualitative or human-compiled 

directory of websites. It also provides directory 

results to MSN Search, Excite and many other search 

engines, in addition to being a stand-alone service 

(www.looksmart.com). 

Metacrawlers function a bit differently than search 

engines and directories do. Rather than searching the 

web and building their own listings for each request, 

metacrawlers conduct a search on multiple sites all at 

once and then provides the compiled results. So, the 

user gets the best of multiple search engines and directories, 

rather than just one source. Metacrawler examples 

include: Go2Net /MetaCrawler (www.go2net. 

com/index.html); Mamma (www.mamma.com); and 

Dogpile (www.dogpile.com). 

Garbage in – garbage out 

The quality of the answer often depends on the quality 

of the question. Web-based research is no different. The 

key is knowing how to request information quickly and 

efficiently. Here are some basic tips for searching online 

(for the sake of time and efficiency, the term “search 

engine” also covers directories and metacrawlers 

Using + and -: You can instruct search engines to 

find web pages that must contain or exclude specific 

words and phrases. For example, if you want to list the 

top web pages containing both the words ‘dog’ and 

‘retriever,’ enter +dog +retriever into the search field. If 

you want only web pages that contain ‘dog,’ but exclude 

‘poodle,’ enter +dog –poodle. 

“Double Quotes”: Most search engines also allow 

you to search for exact phrases by using double quotes. 

For example, if you type in ‘classic cars,’ you will receive 

a list of pages that contain classic and/or cars. However, 

if you search for “classic cars,” your search will 


yield only those pages containing the specific phrase. 

Wildcard Matching: Some search engines will let 

you use an asterisk (*) to customize your search even 

further. This is called Wildcard Matching. Attaching ‘*’ 

to the right-hand side of a word will return left side partial 

matches. For instance, if you type in ‘ball*’ versus 

‘ball,’ your search will return pages containing both the 

word ball and words containing ball, i.e. baseball. 

Capital Letters: Most search engines treat lower 

case search phrases as universal, but will perform a 

case sensitive search if you capitalize any letter. If you 

search for ‘baby,’ you will receive pages containing baby 

or Baby. But if you search for ‘Baby,’ only pages containing 

Baby will be returned. 

Document Field Restrictions: Some search engines 

can conduct searches of specific web page sections 

(such as titles, URLs images) by attaching one of the 

field operators to your search terms. By placing a field 

name in front of a word, it restricts the search to a certain 

section of a web page. Examples include: t: or title: 

- this restricts searches to document titles only, as in: 

martha stewart vs. t:martha stewart; u: or url: - will 

restrict searches to document URLs only, as in: amazon 

vs. url:amazon. Other field restrictions include: image, 

link, text, alt, domain, host (varies by search engine). 

Boolean Phrases: Most major search engines support 

Boolean searching. You can limit search result by 

including AND, OR and NOT according to Boolean logic. 

Search for dog AND retriever to find pages containing 

both words. Search for dog OR retriever for pages with 

one word or the other. Search for dog NOT retriever to 

find pages that have dog but not retriever. 

You might think you could get the same results 

using + or – signs, but Boolean phrases allow you to 

use multiple parameters. To find any page, which talks 

about dog and about retriever, but which, does not 

mention poodle or pitbull, just type in the search 

phrase: dog AND retriever NOT (poodle OR poodles OR 

pitbull OR pitbulls.). 

The Internet is an excellent information resource, but 

people use a variety of resources to find the answers 

they need, depending on the circumstances. Human 

assistance is still the most popular choice. But when 

your “meat-based” resources are limited and you’ve 

used up all your Phone-A-Friend and Ask the Audience 

lifelines, the World Wide Web may be the best way to 

find the answers. To learn more about online research 

or search engines, send me an email at brian@planetmouse.com. 

I will explore this topic in more detail later, 

when we talk about search engine site registration. 

Brian Cronin works with Planetmouse, Inc. — an 

Interactive consulting and development firm based 

in New York. Planetmouse is a team of developers, 

designers and strategists who provide Interactive 

business solutions and web-based design for a wide 

range of clients. You can learn more about Planetmouse 

by visiting www.planetmouse.com

Members in the News 

OSRAM SYLVANIA, Danvers, Mass., 

announced that Greg Lowe was awarded 

the Commercial Engineer of the Year 

Award. Thomas Ciskoski received the 

Sales Representative of the Year Award 

and Sally Lee received the Sales Excellence 

of the Year Award. 

Vincent Lighting Systems, Inc. has 

promoted Jason Potts to the position of 

service manager in its Cleveland office. 

Potts joined Vincent Lighting Systems 

as an assistant project manager in May 

of 1999, after graduating from Kent 

State University in Kent, Ohio. 

Creighton Bostrom was appointed 

by W.A.C. Lighting, Garden City, N.Y. 

and Bostrom Lighting Sales, Raleigh, 

N.C. as its new representative. Bostrom 

Lighting Sales was established 

by Lars Bostrom, formerly of Bostrom- 

Hulett, Inc. 

Mac Warnell has announced his retirement 

from the position as Director 

of International Sales with SPI 

Lighting, Inc. Warnell has been involved 

with the lighting industry since 

1962. He became associated with SPI 

when it was a division of McGraw 

Edison, and has continued his affiliation 

with the company since its independent 

ownership in 1988. 

Crawford Lipsey has been named 

vice-president, sales and marketing, for 

the business unit for Holophane, 

Newark, Ohio. Since joining Holophane 

in June of 2000, Lipsey has served as 

vice-president of sales. In this newly 

expanded role he will be responsible for 

the management of the U.S. sales 

force as well as for all product development, 

marketing and engineering for 

Holophane. 

Alex P. Cheng, LC, a lighting specialist 

at Gannett Fleming, Harrisburg, Pa., 

received the Technical Achievement 

Award from the Central Pennsylvania 

Engineers Week Council. In order to 

meet the evaluation criteria, Cheng 

had to demonstrate accomplishments 

in the areas of academic achievement, 

ILLUMINATING 

ENGINEERING 

SOCIETY 

NEWS 

VOLUME 31, NUMBER 5 

MAY 2001 

engineering and technical achievement, 

and citizenship. In addition, nominees 

were also required to not be a 

registered professional engineer, to be 

a good standing member of one of the 

Council’s member organizations, a resident 

of Pennsylvania, and a citizen of 

the US. Cheng was presented with the 

award during the Council’s National 

Engineers Week banquet celebration. 

This was the first year for the award. 

continued on following page 

See you 

in Ottawa 

at the 

IESNA 

Annual 

Conference 

August 5-8, 2001 

IESNA Calendar of Events 

May 29-June 1 

LIGHTFAIR INTERNATIONAL 

Las Vegas 

Contact: AMC, Inc. 

404-220-2221/2215 

www.lightfair.com 

June 7-10 

IESNA Maritime Regional Conference 

Halifax, Canada 

Contact: Lee Hiltz • 902-484-3008 

June 20-23 

IESNA Northeastern Regional 

Conference 

(Beacon of Light) 

Boston 

Contact: Doreen Le May Madden 

dmadden@luxlightingdesign.com 

781-237-1989 

August 5-8 

2001 IESNA Annual Conference 

Ottawa, Canada 

Contact: Valerie Landers 

212-248-5000, ext. 117 

vlanders@iesna.org 

www.iesna.org 

October 14-17 

IESNA Street & Area 

Lighting Conference 

Orlando 

Contact: Valerie Landers 

212-248-5000, ext. 117 

vlanders@iesna.org 

www.iesna.org 

October 22-25 

IESNA Aviation Lighting Seminar 

San Diego 

Contact: Baljit Boparai 

609-821-7756 

baljit.boparai@flysfo.com 

www.iesalc.org 

ASHRAE Updates 

Standard 90.1’s HVAC Section 

Addenda revising parts of the heating, ventilating and air-conditioning section 

of ANSI/ASHRAE/IESNA Standard 90.1-1999, Energy Standard for Buildings 

Except Low-Rise Residential Buildings, have been approved for publication. 

In total, 16 addenda, which consist of minor editorial changes, were approved 

for publication. Among the addenda impacting the HVAC section is an addendum 

that relates to the International Organization for Standardization (ISO) procedures. 

The approval for publication is subject to a 15-day appeal period. The 

addenda will be published by ASHRAE online in the spring. 

www.iesna.org 

LD+A/May 2001 21

Member News 

continued from previous page 

High-Lites, Inc., Waterbury, CT 

announced appointment of five new 

manufacturers’ independent sales representative 

agencies. Arizona Lighting 

Sales, Inc. now represents High-Lites 

products throughout the state of 

Arizona. Curtis H. Stout/Shreveport is 

now responsible for High-Lites products 

throughout the greater Shreveport, 

La. territory. Curtis H. Stout/ 

Gulf Coast, Inc. is concurrently responsible 

for High-Lites products 

throughout Mobile, Ala. and the Florida 

panhandle. Stiles & Associates, 

headed by George Mays will represent 

High-Lites products throughout the 

Las Vegas area. United Associates will 

represent High-Lites products in the 

greater Charlotte, N.C. area. 

The Electrical Consulting Engineering 

firm of Delan & Dustin, Inc. 

announced the appointment of James 

Knoerr as vice-president of the firm. 

Knoerr has been a project engineer 

with the firm since 1995. He is a registered 

professional engineer in the 

state of Wisconsin, Illinois, California, 

Mississippi and Louisiana, and has 

been certified by the National Council 

of Engineering Examiners. His new 

duties include production scheduling 

and director of employee educational 

programs as well as continuation of 

his present responsibilities as a project 

engineer. Knoerr was also a past 

president of the Milwaukee Section of 

the IESNA. 

Errata 

Lumenation Lighting Design was 

inadvertently left out of our March 

issue listing of Copper Sustaining 

Membership. The IESNA and LD+A 

regrets the error. 

e-mail a 

letter to the 

editor: 

cpalermo@iesna.org 

SUSTAINING 

MEMBERS 

The following companies have elected 

to support the Society as Sustaining 

Members which allows the IESNA to fund 

programs that benefit all segments of the 

membership and pursue new endeavors, 

including education projects, lighting 

research and recommended practices. 

The level of support is classified 

by the amount of annual dues, based 

on a company’s annual lighting revenues: 

Copper: $500 annual dues 

Lighting revenues to $4 million 

(Copper Sustaining Members are listed in 

the March issue of LD+A, as well as in 

the IESNA Annual Report. There are currently 

233 Copper Sustaining Members). 

Silver: $1,000 annual dues 


Gold: $2,500 annual dues 


Platinum: $5,000 annual dues 


Emerald: $10,000 annual dues 


Diamond: $15,000 annual dues 

Lighting revenues over $500 million 

IES SUSTAINING 

MEMBERS 

DIAMOND 

General Electric Co. 

Lithonia Lighting 

OSRAM SYLVANIA Products, Inc. 

Philips Lighting Co. 

EMERALD 

Holophane Corporation 

PLATINUM 

Day-Brite Capri Omega 

Lightolier 

Lutron Electronics Co, Inc. 

Ruud Lighting, Inc. 

GOLD 

ALP Lighting Components Co. 

Altman Lighting, Inc. 

Barth Electric Co., Inc. 

Detroit Edison 

Edison Price Lighting, Inc. 

Finelite, Inc. 

Indy Lighting, Inc. 

Kurt Versen Co. 

Lexalite Int’l Corp 

Lighting Services, Inc. 

Lightron of Cornwall, Inc. 

LSI Industries, Inc. 

Martin Professional, Inc. 

Matsushita Electric Works, Ltd. 

Musco Sports Lighting, Inc. 

Niagara Mohawk Power Corp 

Poulsen Lighting, Inc. 

Prudential Lighting Corp 

San Diego Gas & Electric 

SIMKAR Corp 

SPI Lighting, Inc. 

Steelcase, Inc. 

The Bodine Company 

The Kirlin Company 

United Illuminating Co. 

Visa Lighting 

SILVER 

Ardron-Mackie Limited 

Aromat Corp. 

Axis Lighting, Inc. 

Bartco Lighting, Inc. 

BJB Electric Corporation 

Canlyte, Inc. 

Carinci Burt Rogers Eng, Inc. 

Cinergy PSI Energy 

City of San Francisco Bureau of Light & Power 

Con Edison Co of New York 

Con-Tech Lighting 

Custom Lighting Services LLC 

Custom Lights, Inc. 

Day Lite Maintenance Co. 

EEMA Industries 

Elf Atochem North America Inc. 

Energy Savings, Inc. 

ENMAX 

Enterprise Lighting Sales 

ERCO Lighting USA Inc. 

Exelon Infrastructure Services 

Eye Lighting Industries 

Eye Lighting International of North America 

Factory Sales Agency 

Fiberstars, Inc. 

Focal Point 

Gammalux Systems 

H E Williams, Inc. 

HAWA Incorporated 

High End Systems, Inc. 

Hubbell Lighting, Inc. 

Kansas City Power & Light Co. 

Kenall Mfg Co. 

King Luminaire Co. 

Kirby Risk Supply Co, Inc. 

Ledalite Architectural Prdcts 

Lee Filters 

Legion Lighting Co. 

Leviton Mfg Co, Inc. 

Linear Lighting 

Litecontrol Corp 

Litelab Corp 

Litetronics Int’l, Inc. 

Lucifer Lighting Co. 

Multi Electric Mfg, Inc. 

Optical Research Associates 

Optima Engineering PA 

P & K Pole Products 

Paramount Industries, Inc. 

Portland General Electric 

Power Lighting Products, Inc. 

Prescolite, Inc. 

PSE & G 

R A Manning Co, Inc. 

Radiance, Inc. 

Reflex Lighting Group, Inc. 

Sentry Electric Corp 

Shakespeare Composites & Electronics Division 

Shaper Lighting 

Shobha Light Designers 

Southern California Edison 

Stage Front Presentation Sys. 

Stebnicki Robertson & Associates 

Sternberg Vintage Lighting 

Sterner Lighting Systems, Inc. 

Strand Lighting, Inc. 

TXU Electric & Gas 

Vestar Limited 

W J Whatley, Inc. 

WAC Lighting Co. 

Wiko, Ltd. 

Winnipeg Hydro 

Wisconsin Public Service Corp 

As of April 2001 


2001 IIDA Entries 

The following design projects were 

submitted to the IIDA program through 

respective sections of the IESNA, and 

reported to the IESNA office in New 

York. These projects will proceed 

through the IIDA judging process during 

the coming months, with final merit 

and international-level awards to be 

CANADIAN REGION 

(Jana Nor) 

Montreal Section (Roger Gervais) 

Lighting Chateau Frontenac: A. 

Guiholt, T. Guilhot, S. Laquerre 

Lighting the Foothbridge Straddling 

Aux Sables River: L. Fortin, J. 

Bouchard, R. Fay 

Sports Center – College Regina 

Assumpta: R. Savard 

National Capital Section 

(Gerry St. Michael) 

Canadian National War Memorial & 

Tomb of the Unknown Soldier: M. 

Conboy 

Human Resources Development 

Canada Management Centre: L. 

Lalande, D. MacLellan, J. Brown 

La Cité Collegiale – Technological 

Amphitheatre Fit Up: F. Dussault 

National Defense Control Centre: L. 

Lalande, A. Midgley, G. Moore, D. 

Brooks, A. Rankin, M. Tite 

Parliament Hill: P. Gabriel 

Personal Environmental Controls: I. 

Pasini 

Plaza Bridge: M. Conboy 

Software Development Lab: W. 

Needham, J. Salem 

Toronto Section (Jerry Mobillo) 

Bensimon Byrne Advertising: T. 

McDonnell 

Canary Wharf Wayfinding & 

Signage: K. Muller 

Casino Point Edward: F. Carinci, R. 

Hopkins, D. Morettin 

Christopher Ondaatje South Asian 

Gallery: S. Powadiuk 

CIBC Executive Boardroom: S. 

Powadiuk 

City Hall Redesign: D. Parks 

Geraldton Heritage Interpretive 

Centre: S. Powadiuk 

Private Residence: R. Forbes-Gray, 

G. Boccini 

Sterner Automation: R. Forbes-Gray 

Techspace: S. Powadiuk 

The Golden Rule: St. Michael’s 

College School: J. Gulino, C. 

Thacker, L. Kavanagh 

The Prince Arthur Mansions – 

Archway Lighting: W. Schelnman, 

D. Scappaticci 

Thunder Bay Charity Casino – 

Exterior Lighting: D. Nash, D. 

Scappaticci, K. Kapush 

Thunder Bay Charity Casino – 

Interior Lighting: R. Wong, D. 

Scappaticci, K. Kapush 

EAST CENTRAL REGION 

(Dave Safford) 

Blue Ridge (Leland Gammon) 

Roanoke College Campus Center 

Atrium Lighting: B. Alcorn 

Roanoke College Campus Center 

Wortmann Ballroom: B. Alcorn 

Maryland Section (Brian Walsh) 

Applied Physics Lab – Building 26: 

F. Lucas, L. Thomas-Kaonohi, E. 

Miller 

Saint Ignatius Church: B. Dunlop, J. 

Suttner, M. Murphy 

Philadelphia Section (David Safford) 

Bloomberg Financial: G. 

Golaszewski, K. Brooks 

Burdines – Florida Mall: A. Borden, 

M. Barber, W. Kader 

Caanan House University Museum: 

G. Kay 

City Hall Records Office: M. Alcaraz, 

J. Brown, B. Groch 

Francis Jerome Cosmetics: P. Pitzer 

Gymnasium Lighting Renovation: J. 

Camarota 

Inspector Sees What the Customer 

Sees: C. Watson, D. Rodstein 

J&B Software: K. Keilt, A. Hladio 

Loews Philadelphia Hotel: M. 

Komitzky, P. Helms, S. Cole 

Lucy the Elephant (EPRI): G. Kay 

Lucy the Elephant (Interior): G. Kay 

Modern and Contemporary Gallery: 

M. Alcaraz, B. Hahnlen, P. 

Whiden, M. Sheridan, J. 

Schlecter, A. Slavinskas 

Museum Shop: M. Alcaraz, B. 

Hahnlen, G. White 

PA Turnpike Commission Tuscarora 

Tunnel: C. Oerkvitz, G. Forstater, 

G. Schorn 

Philadelphia City Hall Façade 

Lighting Mock-Up: A. Borden, J. 

Panassow, J. Bryan 

Re-lighting of the Benjamin Franklin 

Bridge: D. Edenbaum, S. Stashik, 

R. Grenald 

Renovation & Expansion of WHYY: 

A. Borden, E. Friar 

Richmond Town Square Renovation: 

H. Diemer, J. Panassow, B. 

Cotter, D. Pasttison 

Schuylkill River Bridges: R. Grenald, 

C. Sarge 

Singapore Turf Club: M. Alcaraz, R. 

Cunningham, G. Golaszewski, R. 

Garman, R. Ghisu, J. Chase 

Sports Challenge Exhibit: M. 

Alcaraz, B. Hahnlen, R. Ghisu, W. 

Crimm 

St. Mary’s Steeple: G. Kay 

The First Presbyterian Church 

(EPRI): K. Keilt, A. Hladio 

The First Presbyterian Church 

(Interior): K. Keilt, A. Hladio 

Susquehanna Section 

(Sheila Martin) 

Delta Development Group: J. Balan 

Hagerstown Hampton Inn North: D. 

Blontz 

Norfolk Southern Intermodal 

Facility: A. Cheng 

Pinnacle Health System Fredrickson 

Outpatient (Exterior): S. Good 

Pinnacle Health System Fredrickson 

Outpatient (Interior): S. Good 

The Spartan Center – Elliptical Stair: 

K. Yancey, L. Cronin, S. Good 

The Spartan Center: K. Yancey, L. 

Cronin, S. Good 

Town Center Site Lighting: K. 

Yancey, L. Cronin, S. Good 

US Route 30: D. Strong, A. Cheng 

GREAT LAKES REGION 

(Jim Fowler) 

Cleveland Section (Rita Koltai) 

Big Fish Restaurant – Exterior: B. 

David 

Pioneer Standard/Keylink Systems: 

R. Koltai 

Progressive Insurance Building 3 – 

Open Offices: B. David 

St. Joseph Church – Exterior: D. 

Bacik, E. Radziszewski 

St. Joseph Church – Interior: D. 

Bacik, E. Radziszewski 

Indiana Section 

(Myron Martin, Sam Hurt) 

Hill-Rom Museum: M. Sommers, G. 

White, D. Goforth, M. Martin 

Indiana Repertory Theatre: S. 

McComas, S. Rowland 

Indiana War Memorial 151st Field 

Artillery Post of Command 

Exhibit: S. McComas 

LightSource: L. Donato, M. Martin 

Reis Nichols: S. McComas 

Resurrection Life Youth Center: E. 

Paget, D. Herscher, N. Ybarra, V. 

Phillips 

Michigan Section (Mark Gadzinski) 

Asarian Cancer Center – Healing 

Center: P. Wroblewski 

BMW Office Renovation: D. Rodi- 

Barczys 

Dickson Cyberexpress: K. Klemmer, 

R. Harwood, A. Wood, M. 

Huggins 

General Motors Tech Center: B. 

White, P. Ramin, D. Franklin 

announced at the IESNA Annual 

Conference (and spotlighted in the 

August issue of LD+A). 

This list contains all entries received 

by March 27, 2001. Listed in parenthesis 

are the regional IIDA chairs and 

the section chairs, respectively. 

The 2001 IIDA Committee consists 

of Zoe Taylor Paul, chair; Jim Zastovnik, 

secretary; Lorinda Walters Flores, 

Kevin Flynn, Renee Green, Jim Harpest, 

Howard Kosowky, Bob McCully, Jim 

Mewes, Jerry Mobilio, Donald Newquist, 

Phil Santia and Mary Tatum; and 

advisory members: Larry Ayers, Robert 

Carlson, William Hirons, Frank LaGiusa 

and Jerry White. 

Grosse Pte. United Methodist 

Church: R. Trudelle, C. Pappas 

Independence Elementary School: 

G. Ziegler 

Jackson National Life Headquarters: 

R. Manriquez, J. Gezwing 

Siemens Automotive: B. White, P. 

Ramin 

Stoney Creek High School: G. 

Ziegler 

Rochester Section (Philip Nelson) 

The Great Hall – Rush Rhees 

Library: T. Bucher, J. Durfee, C. 

Jensen, M. Pandolf 

Western Michigan Section 

(Greg Stein) 

Brandon Middle School (Exterior): H. 

Vines, T. Gasser 

Brandon Middle School (Interior): H. 

Vines, T. Gasser 

Designware Warehouse Lighting: W. 

Mayne, S. Thompson 

Porter Hills Presbyterian Village 

Wellness Center: H. Vines 

Western New York Section 

(Don Wrobel) 

Canisius College Montante Cultural 

Center: T. Fowler 

St. Stephen’s Roman Catholic 

Church: R. Soto 

SOUTH PACIFIC COAST REGION 

(Mark Seegel) 

Arizona Section (Greg Gapen) 

Anthem Country Club: W. Spitz, B. 

Shelly, B. Hawthorne 

Bethune Residence: A. Louie 

Biltmore Mountain Estates 

Residence: R. Schneider 

Coffin and Trout Jewelers: A. Louie 

Congregation B’nai Israel Sanctuary 

Remodel: S. Dent, R. Nordhaus 

Greenberg Residence Landscape: K. 

Wilde 

Prince of Peace Catholic: W. Spitz, 

M. Mueller 

Saint Joan of Arc Catholic Church: 

R. Hawthorne, W. Spitz 

The Shops at Gainey Village: R. 

Hawthorne, W. Spitz 

Uh-oh Clothing Boutique: A. Louie 

Virginia Piper Trust Foundation: A. 

Louie 

Golden Gate Section 

(Angela Lawrence) 

Amway Corporate Headquarters, 

Tokyo: D. Witte 

Berkeley Wireless Research Center: 

A. Lindsley, M. Shefren 


www.iesna.org 

LD+A/May 2001 23

IIDA Entries 


Cannon Constructors S.F. Office: M. 

Souter, K. Coke 

Church of the Nativity: C. Ng 

Coca Cola Fan Lot at Pacific Bell 

Park: T. Becker, N. Schwab 

Experience Music Project – Lobby, 

Café, and Retail Areas: T. Becker, 

K. Roberson, N. Schwab, J. 

Holladay 

KTA Offices (EPRI): TJ. Towey, K. 

Komorous 

KTA Offices (Interior): TJ. Towey, K. 

Komorous 

Mary Stuart Rogers Music Hall: P. 

Glasow, S. Porter 

Men in Black Alien Attack – 

Interiors: N. Schwab, K. 

Roberson, T. Becker, D. Bowling, 

B. Malkus, J. Holladay, J. Fisher, 

P. Eisenhauer 

Palo Alto Westin Hotel: M. Souter, 

E. Huang 

The Plant Recording Studio – The 

Garden Mixing Room: T. Becker, 

C. Marcheschi 

Trader Vics: D. Hawthrone 

W Hotel – San Francisco: M. Souter, 

E. Huang 

W Hotel – Seattle: M. Souter, E. 

Huang 

Los Angeles Section (Mark Seegel) 

Boeing Building 043 Product Display 

and Training Facility: L. Reed 

Breeze Restaurant: K. Fuller, B. 

Shankar 

Callaway Gardens Discovery Center: 

K. Fuller, B. Shankar 

Carsdirect.com: K. Jones, A. Powell, 

C. Israel 

Chapman University BIT Building: J. 

Dunn, T. Brogden 

DisneyQuest, Chicago: P. Dinkel, C. 

Breakfield, S. Westbrook, L. Yates 

Dodgers Stadium Renovation: A. 

Powell 

Gaudi Bar: J. Cooper, M. Rosenberg 

Hollywood/Highland Metro Rail Station: 

T. Brogden, J. Nolan, S. Klein 

Hyatt Regency Lake Las Vegas: T. 

Nord, B. Shankar 

LAX Gateway Enhancement: D. 

Hollingsworth, J. Windle, E. 

Powell, P. Tzanetopoulos 

Legal Research Network: C. Israel, 

F. Feist 

Lutèce: P. Quigley, D. Fox 

Mandalay Bay – Bayside Buffet and 

Noodle Bar: J. Cooper, S. Whitaker 

Mandalay Bay – Hotel & Casino: J. 

Cooper, S. Whitaker 

Marriott Hotel at JR Tower: T. Nord, 

B. Shankar 

Norton Simon Museum Screening 

Room: L. Reed 

Oglivy & Mather: C. Israel, F. Feist 

Otaru Hilton: B. Shankar, K. 

Tanimura 

Skechers USA Concept Store: A. 

Jain 

Sky Harbor Terminal 3 Rockwork: E. 

Thomas, D. Hollingsworth 

Studio Walk at the MGM Grand 

Hotel & Casino: J. Cooper, I. 

Silbert, M. Rosenberg 

Sunset Station – Hotel & Casino: J. 

Cooper, M. Rosenberg 

Taj Mahal Hotel: K. Ganti, B. Shankar 

TRW Systems Federal Credit Union: 

L. Reed, F. Feist 

Tsunami Asian Grille: P. Quigley, D. 

Fox 

Wieden & Kennedy Agency 

Headquarters: T. Brogden, T. 

Aghassian 

Orange Section (Adrienne Kelly) 

Bear Street Bridge, South Coast 

Plaza: F. Krahe, J. Fox, J. 

Poulson, N. Ogle 

Calvary Chapel – Silverado Canyon: 

S. Arnold 

Disney Store – Exterior: T. Ruzika, 

B. Castaneda 

Disney Store – Interior: T. Ruzika, B. 

Castaneda 

Downtown Disney at Disneyland 

Resort: F. Krahe, J. Fox, P. Butler, 

P. Henshall, D. Manfredi, A. 

Mayer, M. Willie, W. Chao 

Old Bank Building Renovation: T. 

Ruzika, M. Finney 

PF Changs China Bistro at The 

Aladdin: K. Kosiba, J. Blonstein, J. 

Gamble, G. Crespo, J. Proctor, B. 

Stabstad 

Quiksilver Headquarters: F. Krahe, T. 

Givler, J. Bauer, A. Wiley, R. 

Hassel 

Schneider Residence: E. Reo 

The Block at Orange: F. Krahe, Y. 

Mendoza, K. Pavek, R. Allaire, B. 

D’Agostino, C. Izzo 

The Shops at Mission Viejo: F. 

Krahe, Y. Mendez, T. Givler, J. 

Fox, R. Altoon, G. Dempster 

Utah Section (Phillip Whisenhunt) 

Children with Special Health Care 

Needs Office: J. Good 

Ford Motor Building Adaptive 

Reuse: K. Garner, T. Higgins 

KTUX Broadcast Facility: J. Good 

Market Street Restaurant and 

Oyster Bar at the Cottonwood 

Corporate Center: K. Garner, T. 

Higgins 

Riley Elementary School: J. 

Martinez 

Salt Palace Expansion - Exterior: C. 

Feldman 

Salt Palace Expansion – Interior: C. 

Feldman 

Southtown Convention Center: J. 

Good 

Sutherland Moot Courtroom: J. 

Good 

Utah Department of Transportation, 

Operations Center: J. Good, C. 

Forrest 

MIDWEST REGION 

(Kathi Vandel) 

Black Hawk (David Shelley) 

Swiner Designer: J. Eman, M. Culver 

Chicago Section (Rick Kellen) 

Accenture: M. Sills, S. Riebe, P. 

Hagle, J. Seegers, K. Mikuta, C. 

Severson, S. Vignali, S. Andersen 

Amazon Rising: Seasons of the 

River: R. Shook, E. Klingensmith, 

A. Ackerman 

First United Methodist Church: M. 

Sills, S. Johnson 

General Growth Properties, Learning 

Mall: M. Sills, S. Riebe, C. 

Griffiths, M. Reinhart, G. Tadin, L. 

Leskaj, R. Houts, S. Andersen, M. 

Morga 

Happy Boys and Girls: W. Charter, 

D. Jennerjahn, C. McGrath 

Loop Lighting Improvement – 

Randolf Street: M. Maltezos, J. 

Stanley, S. Kinzie 

Loop Lighting Improvement – West 

Randolf Street: M. Maltezos, J. 

Stanley, S. Kinzie 

Northwestern Memorial Hospital 

Campus Streetscape Lighting: M. 

Pelikan 

Old St. Patricks Church: R. Shook, 

J. Baney, M. Urban 

Ourhouse.com: M. Sills, C. Lewis, 

M. Everts, H. Wasilowski 

Real Goods: W. Charter, S. Riebe, K. 

Lawson 

Second Street Bridge: R. Shook, J. 

Baney, E. Klingensmith 

Ten East Doty Lobby: M. Sills, D. 

Jennerjahn, E. Saltzman 

Union Station Multiplex: J. Knox, L. 

Boeke 

USG Solutions: M. Sills, C. Lewis, 

M. Everts, J. Valerio, R. Mattheis, 

H. Wasilowski 

Heart of America Section 

(Anne Lindberg) 

Baron BMW: J. Pierce, K. Vandel, C. 

Leech 

Birch Telecom Lobby and 

Conference Center at D.A. Morr: 

D. Porter, K. All 

Birch Telecom Open Office at D.A. 

Morr: D. Porter, K. All 

Delmonico’s Steakhouse: D. 

Kohnen, M. Frank 

Douglas County Jail: P. Robertson 

Golf Course Superintendents 

Association of America: K. Green 

Pony Express Bank: R. deFlon, M. 

Anthony 

River City Studio: D. Porter, A. 

Matlock 

Milwaukee Section (David Drumel) 

Brown County Courthouse Exterior 

Lighting Remodel: C. DeWaal 

DCI Marketing – Conference Room: 

M. Cooper 

Fluno Center for Executive 

Education: M. Cooper 

Kenosha Public Museum: J. Cody 

Legacy Lighting at the State 

Capitol: K. Kozminski, L. Davis, R. 

Nelson 

Offices of Eppstein Uhen Architects: 

L. Howard, S. Klein, TJ Morley 

Offices of Grunau Project 

Development: S. Klein, D. Drumel 

Playing with Food (EPRI): M. Peck 

Playing with Food (Interior): M. Peck 

Prairie Heaven: M. Colegrove 

Private Motor Yacht: L. Howard, S. 

Klein 

Seeing Green!: M. Colegrove 

Weber Residence: M. Cooper 

St. Louis Section (Sandy Frederich) 

Bass Pro Shops Prototype: R. Kurtz, 

R. Burkett, N. Clanton, D. Nelson 

Boeing Leadership Center: T. 

Kaczkowski 

Chicago Creative Partnership: M. 

Herman 

Civil Courts Floodlighting: T. 

Kaczkowski, D. Raver 

Commerce Bank: R. Kurtz, R. 

Burkett, E. MacKey, E. Crader, M. 

Englemohr 

Forest Park Twins: T. Kaczkowski, 

D. Raver 

Mansion House Lighting & Signage: 

S. Frederich, R. Wagstaff 

Nidus Center for Scientific Enterprise: 

D. Raver, T. Kaczkowski 

R.G. Brinkman Construction Co.: W. 

Gray, G. Wehmeier 

Research North Lobby at Ralston 

Purina: D. Raver 

SJI: M. Herman, B. Kaemmerlen 

Statue of St. Louis Floodlighting: T. 

Kaczkowski, D. Raver 

Ursas Café: A. Feddersen-Heinze, H. 

Testa 

Xtra Lease, Inc.: J. Meyer, S. Drake 

Twin Cities Section (Chad Watters) 

Accenture: J. Crosby, P. Koski, T. 

Messerli, G. Lecker, D. Mutcher, 

J. Thibault 

c’More Medical Solutions: A. Friend 

Corporate Cafeteria: T. Ham, I. Keer, 

M. Ostrom, A. Hillebregt 

D. Zimmerman, G. Behm, T. 

LaDouceur 

McNamara Alumni Center – 

Memorial Hall: L. Tredinnick, M. 

DiBlasi 

Minnesota Chapter of the ASID: A. 

Friend 

Notre Dame’s Main Administration 

Building: J. Dehnert, L. O’Connell, 

T. Ham, D. Zimmerman, G. Behan 

Pentair Executive Offices: G. 

Heumann, D. Thomas 

SOUTHEASTERN REGION 

(E. Frank Clements) 

Alabama Section 

(Stephanie Johnson) 

Jefferson County Courthouse: J. Gill 

Levy’s Fine Jewelry & Gifts: B. 

Herrington, F. McComb, S. 

Boomhover 

TSUM Clock Tower and Plaza: S. 

Adams 

Central Florida Section (Mike Cahill) 

IXL Client Center: D. Bowling 

Georgia Section (Morgan Gabler) 

A’Wow Presentation Space: R. Noya 

Colony Square: T. Bell 

Korean World Trade Center: P. 

Helms, J. Shimmin 

Soft Transparency: R. Noya 

Greater Triad Section 

(Katherine Doyle) 

GMAC Interactive Building Sign: D. 

Yanusz 

Mid-South Section (Robert Burris) 

Starabilias: L. Roper 

The Forth Bridge: R. De Alessi, T. 

Connor 



IIDA Entries 


The Seattle Space Needle: R. De 

Alessi, C. Woods, B. Medsker 

Mississippi Section (Thomas Rhaly) 

Mississippi Memorial Stadium 

Renovation: M. Woolard, J. 

Browning 

Mississippi Trade Mart Renovation: 

J. Browning 

Northeast Florida Section 

(Michael Vranesh) 

Acosta Bridge/Skyway Express 

Neon: D. Laffitte, R. Richardson 

ADT Customer Service Center: D. 

Laffitte 

Southeast Florida (Keith Rosen) 

Ferrel Schultz Carter Zumpano & 

Fertel: R. Carlson, E. Holland, I. 

Garcia 

Holly Hunt Showroom – Miami: S. 

Bistrong 

Sky TV: M. Wolk 

Virgin Atlantic Airways – SF Lounge: 

S. Bistrong 

Tennessee Valley Section 

(Bob Harden) 

To Conserve a Legacy: M. Haggitt 

NORTHEASTERN REGION 

(Megan Carroll) 

Mohawk Hudson Section 

(Kenn Latal) 

A Modest 1930’s Troy Residence: 

N. Miller 

Lighting Research Center, 

Rensselaer Polytechnic Institute: 

H. Brandston, D. Zuczek, J. Brons 

St. Mary’s / St. Paul’s Church: N. 

Miller 

Suny Postsdam Re-Lighting of 

Hosmer Concert Hall: M. 

Anderson 

New England Section (Rick Paradis) 

Adaptive Reuse of the MERCADO 

D’ABASTO: A. Kibbe, C. Ripman 

Autostadt: K. Abernaty, S. Rosen, 

M. Warner 

Boston University Student Village 

(BU Dorms) Public Areas: M. 

Loeffler 

Chandelier Restoration, University & 

Baker Halls: H. Moss, R. Zeitsiff 

Fort Trumball State Park: C. 

Ripman, C. Walsh 

Irving S. Gilmore Music Library: A. 

Kibbe, C. Ripman 

Lighting the Spires of Harvard: 

Memorial Church: C. Ripman, C. 

Walsh 

Lighting the Spires of Harvard: Memorial 

Hall: C. Ripman, C. Walsh 

MIT Building One Classrooms: I. 

Khan, S. Mahler, J. Berg, J. Sladen 

Nyanja! Africa’s Inland Sea: S. 

Rosen, M. Graves 

Terminal Expansion, Manchester 

Regional Airport – Exterior 

Lighting: C. Ripman, B. Morley 

Terminal Expansion, Manchester 

Regional Airport – Interior 

Lighting: C. Ripman, B. Morley 

The C. Bernard Shea Rowing 

Center: C. Ripman 

The Great Platte River Road 

Archway Monument: S. Rosen, K. 

Abernathy 

The New Music Building, The 

Lawrenceville School: C. Ripman, 

C. Walsh 

The Relighting of St. John’s Chapel: 

C. Ripman 

University of Pennsylvania Chiller 

Plant: R. Osten, J. Hamilton, J. 

Brown 

USPS Processing and Distribution 

Center: H. Gerber 

New York Section 

(Shoshanna Segal) 

Addison Circle Rond Point: S. 

Bernstein, D. Rogers 

American Museum of Natural 

History: C. Stone, H. Forrest, M. 

Toomajian 

Asian Spice at Resorts: P. Gregory, 

J. Nathan, D. Rockwell 

Audrey Jones Beck Bldg, Museum of 

Fine Arts: P. Marantz, R. Renfro, 

H. Forrest 

Bates USA: B. Horton 

Bergdorf Goodman – Plaza Level: R. 

Cooley, E. Monato 

Beyond Day Spa: M. Hay, B. Kuchler 

Brasserie 8 1 /2: P. Marantz, R. 

Schoenbohm, R. Gomez 

Bratton Theater, Chautauqua 

Institute: R. Davis 

Brian Clarke Cone, UBS AG 

Headquarters: S. Margulies 

Calvary Episcopal Church: C. Cosler 

Carnegie Science Center – E-motion 

Light Sculpture: M. Tanteri, S. 

Caan, N. Goldsmith 

Celebration Health: M. Harris, B. 

Horton 

Condé Nast Cafeteria: S. Margulies, 

F. Soler, S. Szynal 

Condé Nast Headquarters: S. 

Margulies, F. Soler 

Congregation B’nai Yisrael: A. Kale 

Conran Shop and Guastavino’s 

Restaurant at Bridgemarket: P. 

Marantz, S. Hershman 

District: P. Gregory, C. Cameron, J. 

Bosse, D. Rockwell 

Emerils: P. Gregory, A. Sebeshalmi, 

D. Rockwell 

Explorer Dining Room: P. Marantz, 

R. Schoenbohm, R. Manning 

George Washington Bridge Tower: 

D. Gonzalez, G. Gouls, A. 

Wadhwa, S. Buracksilapin 

Great Bazaar: J. Fisher, I. 

Eisenhauer, D. Rockwell 

Greenwich Hospital: S. Brady, A. 

Uysal 

H&M Flagship Store: P. Gregory, A. 

Sebeshalmi 

Hensel Hall - Ann & Richard Barsinger 

Center for Music: C. Cosler 

Hoboken Train Station Waiting 

Room: T. Thompson, R. Burns, J. 

Plumpton, S. Lyn 

Hotel Giraffe: B. Horton 

House for a Bachelor: G. Gordon 

International Business Technology 

Management Office: R. Prouse, 

B. Walter, R. Kliment, F. 

Halsband, A. Diez, S. Broughton, 

G. George, T. Solsaa 

International Center of Photography: 

C. Stone, E. Carrera, B. 

Mosbacher 

Iwataya Passage: M. Tanteri, J. 

Valgora, N. Goldsmith 

JFK Terminal One: D. Gonzalez, G. 

Gouls, M. Merza 

JP Morgan Arrakis Center: S. 

Margulies, J. Bailey 

Kirkpatrick & Lockhart: C. Stone, E. 

Carrera, B. Mosbacher 

Knoll Inc. Showroom: P. Gregory, D. 

Ades, L. Flores 

Light Threshold: J. Carpenter, R. 

Kress, M. Tanteri 

Loews 42nd Street Theatres: P. 

Gregory, B. Anderson, D. 

Rockwell 

LVMH Tower: P. Marantz, S. 

Hershman 

Meyers Midway Garage: J. 

Underwood 

Museum and Visitors Center Samuel 

FB Morse: F. Bettridge, M. 

Salzberg, A. Hibbs 

Mystic Aquarium and Institute for 

Exploration: F. Bettridge, D. 

Rogers 

NASDAQ Marketplace: A. Kale, C. 

Knowlton, S. Brill 

New York Institute: C. Cosler 

Newark Penn Station: D. Gonzalez, 

D. Tulchin, M. Merza 

Niagara Mohawk Headquarters 

Exterior Ltg.: H. Brandston, J. 

Halser, B. Rutledge, K. Simonson, 

B. Carter 

Nobu Vegas: P. Gregory, K. 

Donahue, D. Rockwell 

NOMI: D. Singer, M. Koyama, L. 

Ivanovska 

Nortel Networks Executive Briefing 

Center: S. Bernstein, D. Rogers 

Osmanthus Garden: T. Lin, C. Lien, 

W. Wong, W. Wen, S. Wu, P. Lin, 

M. Pon, K. Tseng, S. Lin 

Oxygen Media: S. Brady 

POD Restaurant: C. Johnson, J. 

Ning, D. Rockwell 

Pratt Institute – School of Architecture: 

D. Singer, M. Koyama 

Predictive: D. Singer, J. Gim 

Raleigh Durham Airport Parking 

Garage: F. Bettridge, D. Rogers 

Resorts: P. Gregory, J. Nathan, D. 

Rockwell 

Rosa Mexicano: P. Gregory, D. 

Rockwell 

Royal Promenade Oculus: C. Stone, 

R. Schoenbohm, L. Kirkland 

Sea Grill Restaurant: A. Kale, C. 

Knowlton 

Shanghai Lilly: D. Singer, R. Fernandez, 

M. Koyama, L. Ivanovska 

Shapiro Residence: D. Singer, M. 

Koyama 

Sony Theatres – Metreon: P. Gregory, 

B. Andersen, D. Rockwell 

Strip House: P. Gregory, L. Flores, D. 

Rockwell 

The Apartment: A. Kale, M. Hunter 

The Butterfly Conservatory: D. 

Clinaro 

The Lord Group: S. Brady, K. Loren 

The New 42nd Street Studio 

Building Façade: A. Militello 

The Tonic Restaurant: M. Kruger 

Trading Floor Expansion, New York 

Stock Exchange: M. Mehl 

Tribeca Grand Hotel: P. Gregory, B. 

Anderson, S. Spelninhauer 

U.S. Federal Courthouse: P. 

Marantz, S. Hershman 

United States Courthouse, 

Lafayette, Louisiana: F. Bettridge 

Warren Hall, Columbia Graduate 

School of Law & Business: K. 

Douglas, D. Mintz 

Winners Club: K. Goldstick 

Western New England Section 

(William Llewellyn) 

Exploration Place: W. Warfel, S. 

Schrager 

Yale University School of Art: G. 

Gordon 

NORTHWEST REGION 

(Ross Probert) 

British Columbia Section 

(Darren Luce) 

Burnaby Mountain Secondary 

School: J. Jay, D. Kaardal 

Coastal Forest Thematics Area: D. 

Welch, P. Hodson 

H2O + Store, Vancouver: G. 

Zbrizher, P. Gowland, B. North 

Moose Creek Village, at YVR: M. 

Graham, C. Curren 

NISGA’A USM Government Building: 

M. Graham, R. Pacheko 

Pender Place: E. Wormsbecker, K. 

Bunn, G. Zbrizher 

Richmond City Hall: M. Graham 

Thompson Community Centre: R. 

Hughes, C. Suvagau 

Vancouver City Council Chambers: 

P. Hodson, D. Welch 

Chinook Section (Jeff Bannard) 

Airport Corporate Center: L. Barone, 

B. Boucoek 

Bow Parkade: P. Fritz 

Calgary Exhibition and Stampede 

Roundup Centre - Exterior: R. 

Robertson, S. Mahler, B. Currie 

Calgary Exhibition and Stampede 

Roundup Centre – Interior: R. 

Robertson, S. Wappel, B. Currie 

Corus Entertainment: P. Mercier, M. 

Rajain, K. Creen 

Grabbajabba: G. Korenicki 

Hyatt Regency Hotel: H. Doornberg, 

D. Reitz, S. Martens 

Transalta T1 Floor Renovations: L. 

Barone 

Utilicorp Networks Canada Office – 

(EPRI): B. Maitson 

Utilicorp Networks Canada Office – 

(Interior): B. Maitson 

Wiebe Forest Engineering Offices: L. 

Barone, J. Bannard 

Northern Gateway Section 

(Ross Probert) 

Biological Sciences Research 

Growth Rooms: R. Rogers 

School of Business Lighting 

Upgrade: R. Rogers, W. Brenner 


Oregon Section (Stephanie Cissna) 

ArchCape Residence: A. Humphrey, 

E. Gerding 

Bertil Vallien at Bullseye Glass: V. 

Batho-Demelius 

Botsford Residence: M. Godfrey, V. 

Batho-Demelius, E. Levin 

Christiane Millinger Oriental Rugs at 

the Wieden and Kennedy 

Building: V. Batho-Demelius 

Classical Chinese Garden: R. Dupuy 

CNF ADTECH Center (EPRI): A. 

Humphrey, K. Davis, K. Andersen 

CNF ADTECH Center (Interior): A. 

Humphrey, K. Davis, K. Andersen 

EastBank Riverfront – Phase I & II: 

A. Viado, S. Smith, C. Mayer-Reed 

Hickox Salon & Spa: J. Davis 

Lane County Juvenile Justice 

Center: G. Hansen 

Molecular Probes: T. Adams 

Nike Parking Building “P”: M. 

Ramsby 

OSU Valley Library: M. Ramsby 

Pacific Continental Bank, West 11th 

Branch: G. Hansen 

Portland International Airport 

Canopy: M. Ramsby, C. Oty 

PSU IC Lab: C. Oty, S. Emmons 

Sandstrom Residence: E. Levin 

St. Anthony Catholic Church: J. 

Davis, J. Rogers 

University of Oregon Recreation & 

Fitness Center: G. Hansen 

Uvona/Rapidign: V. Batho-Demelius 

Washington State University Student 

Recreation Center (EPRI): A. 

Humphrey, K. Davis, B. Curry 

Washington State University Student 

Recreation Center (Interior): 

A. Humphrey, K. Davis, B. Curry 

West Hills Residence: V. Batho- 

Demelius 

West Linn High School: C. Oty 

Woodstock Library: C. Oty 

Puget Sound Section (Gloria Koch) 

Pacific Place: S. Darragh, J. Miller 

Reebok World Head: S. Darragh, 

J. Miller 

Café 9: D. Simpson 

F5 Networks: S. Rhodes 

Café 9 (exterior): D. Simpson 

LaGuardia Airport: G. Lunde 

SOUTHWESTERN REGION 

(Sean Gaydos) 

North Texas Section 

(Dave Comer, Sean Gaydos) 

“Chihuly, Inside and Out,” at the 

Joslyn Art Museum: E. Levin, V. 

Batho-Demelius, D Palin 

Abuelo’s Mexican Food Embassy: J. 

Whelan, M.Tresp 

American Light Facility Solutions 

Group Dallas Showroom: B. 

Graham, B. Lieber, R. Lee 

Business Jet Center (Exterior): R. 

Mapes, E. Levin, C. Roeder, G. 

McAnear 

Business Jet Center (Interior): R. 

Mapes, E. Levin, C. Roeder, G. 

McAnear 

Carlson Capital Office Space: P. 

Wilson 

Crockett Residence (Exterior): M. 

Maloney, V. Batho-Demelius, M. 

Godrey, E. Levin 

Crockett Residence (Interior): M. 

Maloney, V. Batho-Demelius, M. 

Godrey, E. Levin 

Driskill Hotel: M. Keilson 

Marriott South Beach Hotel: M. 

Keilson 

Miller of Dallas: J. Klores 

PANJA: T. Weiss, K. Weiss 

Parkland NICU: J. Klores 

Renovation of the French-Brown 

Showroom: T. James, S. Lawson 

Sacred Space Exhibit: P. Wilson 

Stonebriar Office Lobby: H. Hobbs 

Temerlin McClain (EPRI): A. Lang 

Temerlin McClain (Interior): A. Lang 

The Rocket – Republic Center: S. 

Oldner 

Rocky Mountain Section 

(Leo Mendoza) 

Republic Plaza Entry Lighting: M. 

Rudiger 

Telluride Conference Center: D. 

Barber, M. Stauth 

San Jacinto Section (Tim Carnes) 

American General Canopy: J. Bos, L. 

Gandy 

Brownsville Courthouse Exterior: J. 

Bos, B. Bowen 

Brownsville Courthouse Interior: J. 

Bos, B. Bowen 

Corbin Residence Exterior Architectural 

Illumination: M. Smith 

Dave Chindly Exterior Glass 

Sculpture: M. Smith 

IAH Terminal A South Concourse 

Art: J. Bos, L. Gandy 

Interior Parker Residence: R. Schiller 

One Briarlake Plaza – Exterior 

Illumination: M. Smith, R. Inaba 

One Briarlake Plaza – Interior 

Illumination: M. Smith, R. Inaba 

Private Residence: J. Bos, J. 

Youngston 

St. Vincent DePaul Catholic Church 

Gathering Space and Baptistry: 

M Smith 

St. Vincent DePaul Main Worship 

Space: M. Smith 

Steelwood Townhouse Exterior & 

Landscape Illuminate: M. Smith 

Steelwood Townhouse Interior 

Illumination: M. Smith 

INTERNATIONAL ENTRIES 

Costanera Sur “ A”: E. Diz 

(Argentina) 

Costanera Sur “B”: E. Diz 

(Argentina) 

David Jones Rundle Mall Store: B. 

Bauer, T. Herndon, W. Way 

(Australia) 

Decorative Art Illumination of the 

Buildings of Railway Station: G.E. 

Avetisov, T.G. Magia Di Luce: D. 

Passariello (France) 

Necropoli Vaticana: C. Ferrara, P. 

Palladino (Italy) 

Piazza Scala: C. Ferrara, P. Palladino 

(Italy) 

Awaji Yumebutai: T. Ando, M. 

Tanaka (Japan) 

Bankoku Shinryokan: M. Ishii 

(Japan) 

Daito Seiiki Hekiga at Yakushiji: T. 

Imazato, K. Nakaya, R. Hotta 

(Japan) 

Dominique Doucet: Y.Kato (Japan) 

Furano Theater Factory: M. Haraikawa, 

T. Katase, H. Kitamura 

(Japan) 

Gifu Prefectural Health Science 

Center: K. Arai, M. Obayashi, H. 

Asaoka, T. Kimata, M Kawaguchi, 

H, Kitamura (Japan) 

Japan Flora 2000: M. Ishii (Japan) 

K.K. Bestseller Headquarters: R. 

Chikada, D. Hagiwara (Japan) 

Latent Sound Sea: K. Tanaka, T. 

Shono, T. Osamura, S. Endo 

(Japan) 

Marine Pia Kobe Porto Bazar: T. Ito, 

T. Kanou, T. Tanaka (Japan) 

Masuko Memorial Hospital-Artificial 

Dialysis Room: T. Kume, T. Suzuki 

(Japan) 

Mediage: A. Kaneda, m. Noto, Y. 

Kobayashi (Japan) 

Mutsu Municipal Library: R. Chikada 

(Japan) 

Paruru Plaza Chiba (Elevator Hall on 

the 9th Floor) S. Sumiyama 

(Japan) 

P-Park 2: Y. Kato (Japan) 

Saitama Shintoshin East Entrance 

Area – Pedestrian Deck: M. 

Kakudate (Japan) 

Shorakuji: S. Sumiyama (Japan) 

The Kasumigseki Building: S. Shiina 

(Japan) 

The Resonance: Asahi-machi Eco 

Museum: R. Chikada, D. 

Hagiwara (Japan) 

The Secret Cave: Le Petit Bedon: R. 

Chikada (Japan) 

Togetsukyo, a Historical Bridge in 

Kyoto: H. Ide, S. Shiina, T. 

Morinaga (Japan) 

Toppan Koishikawa Building: M. Ishii 

(Japan) 

Toyota Car Terrace, Omori: M. 

Funakoshi, K. Ito, K. Takagi, H. 

Fujita, K. Kawamura (Japan) 

Toyota’s Sangokan Civic Center: Y. 

Horibe, S. Takahashi, H. 

Takimoto, H. Kitamura (Japan) 

Yachiyo Public Library: K. Nakamura 

(Japan) 

ZENT Kisogawa: Y. Kato (Japan) 

Chapultepec Castle: V. Palacio, C. 

Ortega (Mexico) 

La Giganta Museo Jose Luis Cuevas: 

G. Aviles (Mexico) 

Liberty In Bronze: G. Aviles 

(Mexico) 

Mexican Pavilion World Fair 

Hannover 2000: G. Aviles, K. 

Diederichsen (Mexico) 

Televisa Master Channel Center: G. 

Aviles, M. Torres (Mexico) 

Mind Zone at the Millennium Dome: 

R. van der Heide, J. Nielsen, B. 

van der Klaauw: (Netherlands) 

National Museum for Natural History: 

R. van der Heide, J. Nielsen, 

M. Duijzer (Netherlands) 

Temples of Abu Simbel: H. Hollands 

(Netherlands) 

Zanns Museum: R. van der Heide, J. 

Nielsen, M. Duijzer (Netherlands) 

Holzfachschule: C. Vogt, Z. Vogel 

(Switzerland) 

Visdome: C.Vogt (Switzerland) 

Avetisova, O.N. Babenko, S.V. 

Seresh (Ukraine) 

Alexander Graham Bell House, 

British Telecom Regional 

Headquarters (Interior): J. Speirs, 

G. Fraser (United Kingdom) 

Alexander Graham Bell House, 

British Telecom Regional 

Headquarters (Exterior): J. 

Speirs, G. Fraser (United 

Kingdom) 

Buchanan Street Public Realm 

Project: J.Speirs, G. Fraser, A. 

Mitchell, M. Innes, L. Nisbet, D. 

Hamilton, J. Fagg (United 

Kingdom) 

Grenville Shop and Library, British 

Museum: J. Speirs, C. Ball 

(United Kingdom) 

IBM E-Business Innovation Centre: 

J.Speirs, C.Ball (United Kingdom) 

Mills Mount Restaurant, Edinburgh 

Castle: A. Mitchell, G. Pyatt 


Paddington Station: M. Major, J. 

Speirs, L. Jones (United Kingdom) 

“The Glass Virgins,” Standard Life 

Headquarters: J. Speirs, G. 

Fraser, I. Ruxton, G. Laing 


UCI Cinema, Norwich: A. Mitchell, 

H. Milne, G. Pyatt (United 

Kingdom) 

Welcome Wing at the Science 

Museum: R. van der Heide, J. 

Nielsen, M. Duijzer (United 

Kingdom) 

New Website Offers Information 

on Recycling Lamps 

The National Electrical Manufacturers Association 

(NEMA) Rosslyn, Va., unveiled a new website, www. 

lamprecycle.org, which features information on lamp recycling 

for the thousands of U.S. companies who use fluorescent 

or high intensity discharge (HID) lamps. The website 

includes information about federal and state regulatory 

spent lamp management requirements, state regulatory 

contacts, lists companies that handle and recycle lamps, 

and describes the environmental benefits of mercury containing 

lamps and what the lamp industry has done to 

reduce its use of mercury contained in these lamps. 

www.iesna.org 

LD+A/May 2001 27

Public Review of the 

Draft American 

National Standard BSR E1.11 

Entertainment Technology — USITT DMX512-A, Asynchronous 

Serial Digital Data Transmission Standard for Controlling 

Lighting Equipment and Accessories, is available for 

public review and comment. This document is an updating 

and revision of the widely used DMX512/1990, which was 

originally developed by the United States Institute for 

Theatre Technology. The draft document can be obtained 

from the ESTA website (www.esta.org/tsp/) or from the 

USITT website (www.usitt.org). Comments are due by 

April 24, 2001. 

Live! Awards Announced 

Flying Pig Systems’ Wholehog II lighting console was 

voted 2001 Lighting Console of the year and Martin 

Professional’s new high-powered moving head, the MAC 

2000, was voted Best New Lighting Product by Live! magazine. 

An industry awards ceremony was held on February 8, 

2001 to honor those voted tops in their field in lighting, 

sound, staging, and other aspects of the production business. 

Live! Magazine is a UK trade publication for the entertainment 

industry. 

New Members 

Membership Committee 

Chair Jim Sultan announced 

the IESNA gained one Sustaining 

Member and 120 

Members (M), associate 

members and student members 

in March. 

SUSTAINING MEMBER 

Axis Lighting Inc. Montreal 

Canadian Region 

William Agnew (M), Hubbell Canada 

Inc., Pickering, Ontario 

Chris Linzel, Lightscapes, St. 

Catherines, Ontario 

Glenn Mooney (M), Duke Solutions 

Canada Inc., Nepean, Ontario 

Dale Parks, Lighting By Nature, 

Stouffville, Ontario 

Gerald Schreinert, The Specialty 

Lighting Company, Mississauga, 

Ontario 

Brian Thompson, TEK Consultants 

Ltd., Fredericton, New Brunswick 

Steven Wilcox, New Brunswick 

Power, Fredericton, New 

Brunswick 

Dirk Zylstra (M), Axis Lighting Inc., 

Montreal 

Carleton University 

Chiara Camposilvan, Philip 

Goodfellow, Cu Ha 

East Central Region 

Cary Baird, Lutron Electronics, 

Whitehall, Pa. 

Pamela Brookes, Virginia 

Department of Transportation, 

Richmond, Va. 

Adam Carangi, Lighting Design 

Consultation, Philadelphia 

John Dukes (M), Pepco Energy 

Services, Washington, D.C. 

Karen Gleba, Lutron Electronics, 

Elkridge, Md. 

Peyton Glenn Jr., Ebony, Va. 

Melvin Hill, Holophane, Philadelphia 

Ian Rowbottom (M), Lutron 

Electronics Co., Inc., 

Coopersburg, Pa. 

Joan Stein, Silver Spring, Md. 

Andrew Wakefield, Lutron 

Electronics, Allentown, Pa. 

Great Lakes Region 

Diana L. Bobo, Holophane Co., 

PMWW, Newark, Ohio 

Jack Frost, NYSEG, Lockport, N.Y. 

James A. Hall, Central Supply Co., 

Indianapolis, Ind. 

Kim Hourigan, Lightolier, Schiller 

Park, Ill. 

Tonya Hughes, Holophane Corporation, 

Summit Station, Ohio 

James Koryta, Indiana University, 

Bloomington, Ind. 

Gedra Mereckis (M), ALKCO, 

Franklin Park, Ill. 

Sandy Newhouse, Scott Electric, 

Youngwood, Pa. 

Kevin Newquist, ACS/Midwest, 

Naperville, Ill. 

Abigail Sorensen, Lightology, 

Chicago 

South Pacific Coast Region 

Al Black, Sylvania, Sandy, Utah 

Ed Ebrahimian, City of Los Angeles, 

Bureau of Street Lighting, Los 

Angeles 

Tom Grunwald, Holophane, Phoenix 

Keith Gunn (M), Designs for 

Business, Orinda, Calif. 

Erich Hendrickson, California Architectural 

Lighting, San Francisco 

Dennis Lamenti, HOK, Inc., San 

Francisco 

Catherine McGroarty, Lighting 

Design Alliance, Los Angeles 

John Myklebust (M), Lightshow, 

Altadena, Calif. 

Robert B. Ofsevit, Alamo Lighting, 

Concord, Calif. 

William Reed (M), Idaho Falls, Ind. 

Michael Shearer, Southern California 

Illumination, Agoura Hills, Calif. 

Loretta Sheridan, Horton Lees 

Brogden Lighting Design, San 

Francisco 

Meir Shetrit, Elite Electric, San 

Francisco 

Nina Visconti, Holophane Company, 

Fullerton, Calif. 

Frederick Wenzlaff, Terra Firma 

Architectural and Lands, Eagle 

Rock, Calif. 

University of Colorado Boulder 

Melissa Friedland, Craig Spring 

University of Southern California 

Khaled Al-Jammaz 

Midwest Region 

William Donald Breunig, 

Germantown, Wis. 

James Deeds IV, Pulley & Associates, 

West Des Moines, Iowa 

Edward S. Jakobsze, McGuire 

Engineers, Chicago 

Benjamin Jordan, University of 

Wisconsin, Madison, Wis. 

Judson College 

Andy Beach, Marc Book, Joe 

Buehler, Jason Burger, Joah Bury, 

Andrew Centanni, David Cryder, 

Stephanie Eggebeen, Brad 

Gehrig, Andrew Ivari, Bo Johnson, 

Jon Krager, Jon Lindstrom, 

Thaddeus Mack, Andrea Mandle, 

Stephen Mangeri, Rebecca 

Ritsema, Jacob Sertich, Stacy 

Snapp, Leanne Taylor, Isaac 

Turner 

Southeastern Region 

Whit Adams (M), Adco Electric Inc., 

Jackson, Miss. 

Lisa Ballard, Parsons Engineering, 

Nashville 

John Kitson, Applied Energy 

Management, Greensboro, N.C. 

Steve Lafferty, Royale Resorts, 

Brandon, Fla. 

Peter H. Matecki (M), Shades of 

Color, Raleigh, N.C. 

Empe Medeli, Miami, Fla. 

Dean Nelson, Nelson Electrical 

Services, North Miami, Fla. 

Jacqueline Owens, JOLA Inc., 

Gainesville, Fla. 

Eric Reid (M), Talbot & Associates, 

Charlotte, N.C. 

Barbara Trombetta, Audio Visual 

Innovations, Jacksonville, Fla. 

Guido Walther, Tridonic Inc., 

Norcross, Ga. 

John Woodburn, Research Triangle 

Park, N.C. 

Northeastern Region 

Susan J. Arnold (M), Wolfers 

Lighting, Waltham, Mass. 

Daniel Beaudoin, Harvard School of 

Public Health, Boston, Mass. 

Joseph Cifaldi, Cooper Lighting, 

Cranbury, N.J. 

Stacy Holmen, Stacy Holmen 

Lighting Design, Wilton, Conn. 

Steven Laudati, Langan Engineering, 

Elmwood Park, N.J. 

Robert Lingard (M), OSRAM SYL- 

VANIA, Danvers, Mass. 

Bohdan S. Mishko (M), NYCTA, New 

York 

David Vassallo, Aztech Engineering, 

Hartford, Conn. 

Parsons School of Design 

Chad Groshart 

Northwestern Region 

Sheila Back, Lightolier, Seattle 

Sheri Clarke, Puget Sound Energy 

Into Light, Bellevue, Wash. 

Deborah Conway, DLR Group, 

Seattle 

Aleksandra Gorovaya, (M), HNTB, 

Bellevue, Wash. 

William Guy, Intel Corporation, 

Hillsboro, Ore. 

Linda K. Holte, Cierra Associates, 

LLC, Seattle 

Stephen A. Medley Sr., Western Oregon 

University, Monmouth, Ore. 

Ken Mehlenbacher, Puget Sound 

Energy, Bellevue, Wash. 

Randal Slade (M), Falcon 

Engineering Ltd., Victoria, British 

Columbia 

Portland Community College 

Sean Houghtaling 

Southwestern Region 

Don J. Ackerman, Ackerman 

Engineering Inc., Golden, Colo. 

Dave Comer (M), Hosley Lighting 

Associates, Dallas 

Leslie Dinn, Summit Consultants 

Inc., Fort Worth, Texas 

Erin E. Friar (M), University of 

Oklahoma, Norman, Okla. 

Juan J. Hernandez (M), Quality 

Lighting Inc., Dallas 

Stanton Humphries (M), Architectural 

Engineering, Avon, Colo. 

Danny Hyatt, Lighting Services, 

Carrollton, Texas 

Lisa Jackson, Enron Energy 

Services, Houston 

Josef Levy, SLI Lighting Solutions 

Inc., Carrolton, Texas 

Monte Riggs, Bos Lighting Design, 

Houston 

Mark Strauss, CED Dba Valmac 

Electric, McCallen, Texas 

Laura Weilert, Weilert Engineering, 

Denver 

Jim Whelan (M), American Light 

Inc., Fort Worth, Texas 

Foreign 

Rafael Basso, Brazil 

Praveen Kumar Sood, Linear 

Technologies India PVT., India 


Fashion in the Limelight 

Essentially, presentation and quality are the most important elements 

when it comes to fashion. However, in an ever-changing world, 

more designers look to light to enhance both the presentation and the 

perceived quality of the merchandise. 

The CFDA (Council of Fashion Designers of America), the organization 

that coordinated the The 7th on Sixth Fashion Shows in Bryant 

Park, New York, commissioned Levy Lighting to contribute to its new 

lobby appearance. For this year’s event — The 7th on Sixth/Mercedes 

Benz Fashion Week — Levy Lighting, Inc., designed custom architectural 

style fixtures to illuminate 8 ft diameter stretched Spandex 

disks which were provided by Reid Dalland and designed by A-Form 

Architecture. 

The design team used 1,500 W incandescent light sources in a custom 

box enclosure to illuminate each of the disks in the lobby. Knowing there were a number of challenges associated with lighting 

the disks, the crew of Levy Lighting, Inc. thought hard as to how to illuminate disks, while keeping the disks in a comfortable, 

warm and inviting setting. 

“Our approach was to keep the disks as close to the light source as possible without having too much of a hot spot,” said 

Ira Levy of Levy Lighting, Inc. “The roof tent had a pretty steep angle, so the disks that were not close too the peak began to 

make the area seem smaller if they were hung too far from the light source. We also needed to make sure the light level in the 

lobby was bright enough for someone to read a newspaper 

or a magazine.” 

Lighting levels were also changed from day to night, 

so dimming was essential. The system was programmed 

with specific levels for cocktail parties and other preshow 

gatherings, which took place during the course of 

the fashion week. All lighting luminaires, including 

Altman Shakespeare and Altman Star-PARs, were hung 

off existing tent architecture hanging hardware. The 

color temperature of the 1,500 W luminaires was 2700K 

and the color temperature on the Altman equipment was 

3200K. The Lekos and PARs were used to highlight sponsor 

signage and installation. 

As a primary sponsor, Mercedes Benz also had its own 

view of how the areas should be lighted. The Mercedes 

Benz area was similar to both a trade show booth and a 

museum installation, all in one package, and included an 

array of Mercedes Benz automobiles on display 

“The first point of concentration was to make sure the 

cars were lighted properly in a flattering, yet functional 

matter,” Levy said. “While the color change and the 

movement were important, we could not sacrifice the 

primary objective of the installation, which was to display 

product.” 

By utilizing an array of Altman Television Studio Fresnels, 

the cars were illuminated in white light. Since the crew did not want to ruin clean installation throughout the rest of the 

lobby by hanging truss, the team had to work with the existing architecture to find hang points for the equipment. At the same 

time, there were heating tubes to contend with, which could melt if the equipment was hung too close. Within the parameters, 

the fresnels worked perfectly. 

In order to compensate for the different distances of the luminaires, the crew utilized the flood/spot control on the back of 

the fixtures. The units that were further away were set to spot, while the ones hung closer were set to flood. 

The control allowed the team to get even light levels wherever it was desired. At the same time, the crew was able to make 

some areas brighter than others, so the cars would shine in certain areas. Altman PARs were added to the equation to create 

a multiple channel chase in different colors. Some of the colored light was focused directly onto the cars and some of it was 

built into the set-piece. The colored light reacted well to the silver color of the vehicles, while the lighting in the set helped to 

emphasize movement during the crossfades. 

—John-Michael Kobes 

P H O T O N S 

NOTES ON LIGHTING DESIGN 

PHOTOS: MICHAEL ANTON 


P H O T O N S 

NOTES ON LIGHTING DESIGN 

Appealing Lighting 

A symbolic environment, which reflects the scales of truth and justice, 

can seem intimidating to some, but can also be a sanctuary of comfort 

to others. Whether working or simply visiting, one cannot ignore the stunning 

uniqueness of the Federal Courthouse located in Brownsville, Texas. 

In taking on a project of such magnitude, Bos Lighting Design was forced to consider the monumental look necessary for a 

building of this kind, while still attempting to deliver the concept of a warm, gracious public space environment. 

“The architects expressed a desire for the building to be revealed at night as a testament to its importance as a Federal 

Courthouse, but at the same time, we wanted to keep the look from becoming too institutional, cold, impersonal and 

uncomfortable,” said Designers John Bos and Becky Bowen of Bos 

Lighting Design. 

The difficulty of this project was increased by the stringent energy, 

maintenance, and budget requirements that come with any federal project. 

In terms of maintenance, attention was paid to lamp life, and there 

was an attempt to standardize lamp types as much as possible, including 

beam spread and color temperature. 

“While the budget was a factor for the exterior lighting, what was more 

of a guiding factor was that the luminaires be of high quality,” said Bos 

and Bowen, “particularly when dealing with in-ground and other luminaires 

that are exposed to the extreme Texas weather and the high 

pedestrian traffic.” 

What was most cost-effective for the project was the installation 

quality of the luminaires, which would hold up for years to come. 

Hydrel luminaires were chosen for its value and its track record for 

holding up over time, and — as a bonus — it was not the most expensive 

line on the market. 

Uplighting was used throughout the exterior to emphasize vertical elements 

and to lift the eye upward. These color-corrected metal halide 

adjustable upliftings create a sense of grandeur. In contrast, low-glare 

bollards were selected to illuminate pedestrian pathways and guide foot 

traffic. A variety of light was also chosen to highlight built forms and different 

shades of foliage. Lavender filters were used to enhance the cool 

greens of the shrubbery, while straw/pale gold filters were used to 

uplight the palm trees, bringing out the warmth in the trunks and the 

green tones of the palm leaves. 

Given the nature of the building, there were concerns about on-site 

security. Bos Lighting Design illuminated the landscape and exterior 

architectural elements. Such areas included the benches, which have a 

step light underneath; the front columns that support the metal canopy in front, which act as a natural place for uplighting, and 

the colonnade walkways to the parking areas. Cut-off luminaires were also used in the parking areas, specifically, to not create 

light trespass, since Brownsville is still small and dark enough for evening stargazing. 

“With all the uplighting, it was important to control 

glare, which can be blinding, thus making it as much of a 

security issue as a lack of light,” Bos and Bowen said. 

To avoid this problem, well-shielded fixtures were chosen 

(with the lamp deeply recessed) and additional louvers/glare 

guards were added wherever necessary. Full 

shielded bollards were used to directly light the main 

pedestrian pathways into the building to highlight the area 

safely and without any glare. 

As both a civic landmark and a federally funded project, 

the Brownsville Courthouse required thoughtful design 

integrated with energy- and maintenance-sensitive lighting. 

By using color corrected metal halide and fluorescent 

sources to highlight the built forms and landscape elements, 

all of these objectives were thoroughly met 

throughout the project. 

—John-Michael Kobes 

PHOTOS: JUD HAGGARD PHOTOGRAPHY 


PHOTOS: ELLIOTT KAUFMAN 

“MUST-SEE” 

ILLUMINATION 

The NBC Experience project took 

initial inspiration from other 

themed-environment stores, but 

modified the concepts substantially. 

Ron Harwood, of Illuminating 

Concepts, discusses the project that 

garnered an Edwin F. Guth Award 

of Excellence for Interior 

Lighting Design. 

INTERNATIONAL ILLUMINATION DESIGN AWARDS 

(opposite) Backlighted merchandise display cubes 

are used to visually expand the rather limited space. 

(below) Flourescent backlighted light boxes 

and illuminated display cabinetry, coupled with an 

intense color palette mimicking the colors in 

the NBC peacock is shown. 

The Retail Wars of the 1990s remind me of 

the many times I watched NASA space 

shuttle launches. First, there was the 

excitement surrounding the impending launch 

and the news coverage and television interviews 

that culminated in the final countdown. Then 

came the spectacle of watching the ignition and 

take-off, the fiery launch, the gantry breaking 

away and the ballet of watching a huge rocket 

slowly inching upward. Although cameras could 

never record these details, we were told of the 

increasing velocity and G forces as the main rockets were jettisoned and the secondary boosters kicked in. 

The NBC Experience is the newest example of how retailers have learned to “immerse” their customers in an environment 

infused with subliminal and tangible brand messages. It is the final stage, and perhaps, the Mars Lander of retail stores. To assume 

that the NBC launch team worked in a vacuum would be a misstatement, however. The lighting and FX designers at 

Illuminating Concepts drew on the extraordinary design work of three premier retailers. A brief overview is required to provide 

a perspective on the thought process used in the final design for NBC. 

The main retail rocket of the early ’90s was Disney. Designers showed retailers another side of marketing that had not previously 

been envisioned. They took 

a cartoon character and turned 

Mickey and friends into inspirational 

icons for the purpose of 

marketing products. By simply 

affixing character images to products 

and apparel, a multi-million 

dollar market broke loose from 

its theme park moorings. 

Lighting design for the “park 

stores” changed rapidly in the 

early ’90s. Form and function 

became inseparable as merchandise 

lighting took on museum 

quality aspects. 

Soon after, Warner Bros. created 

its Studio Store concept. There 

was wisdom in the ranks of the 

Hollywood studio company. They 

knew their characters appealed to 

a larger audience than even 

Disney. Not only did the kids still 

watch Bugs Bunny and friends, 

but they also knew that adults 

2000 

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

www.iesna.org 

LD+A/May 2001 35

held on to their attachment to some of these characters. Thus, a 

store ambience was created that was far more sophisticated, in 

order to cater to adult tastes. An overview of the Disney and 

Warner Bros. prototypes would clearly reveal that their “brand 

equity” was character driven. Lighting design for the Warner 

Bros. Studio Stores took on a real studio look, so that the adult 

patrons could take home a piece of 

the Hollywood mystique. 

Illuminating Concepts was fortunate 

to be part of the creative efforts 

of these visionary retail adventures. 

Much was learned from having our 

team immersed in theme park and 

character-driven retailing. A few 

simple phrases still reverberate in 

our creative studio’s ethos: “If you 

have to see the fixture, it had better 

fit the theme,” and “Light is part of 

the illusion of entertainment.” 

In the mid ’90s Nike came 

“swooshing” onto the retail scene 

with Niketown. The challenge of 

creating a location-based outlet for 

the brand was greater than that of the 

two studio giants; essentially they 

had no characters, only a logo. From 

IC’s exercise with Nike emerged a 

new set of values upon which to 

establish a shopping environment. 

First, Nike’s image is technical as 

well as inspirational. Designing 

media delivery systems into their 

spaces, along with “morphing” and moving light added to the 

shopper’s sense that Nike is technically competent and visionary. 

Second, Nike’s interior design scheme wanted to ooze 

quality; a means of imparting tangible evidence that Nike’s 

products are also of the highest quality. For visible lighting 

component selections, industrial high tech, high quality fittings 

were the only choices. Concealing 

70 percent of the product and ambient 

lighting became the trick. This 

proved to be a complete reversal of 

the methods used by IC for Disney 

and Warner Bros. 

NBC was a completely different 

beast. There are no cartoon characters, 

no tangible products and the 

consumer base recognizes the network 

for its shows rather than for 

one cohesive brand. Working with 

Guy Pepper from NBC and Eric 

Ulfers of Production Design Group, 

the team at IC was briefed on the 

(top and bottom) Backlighted, 

peacock-shaped, ceiling recesses conceal 

the ambient light sources. Adjustable 

low voltage monopoints used to accent 

merchandise and intelligent lights 

that spring the space into motion, 

provide kinetic accent illumination. 


thematic elements of the space. The design goal was to create a 

vivid and dynamic lighting system that was essentially transparent 

from the exterior. Virtually no exposed fittings were to 

be seen from the street. The multi-colored LED globe was to 

dominate the facade, even though it sat well back in the space. 

The “brand equity” of NBC revolves, in part, on its history of 

dynamic news broadcasts. Past history has shown that viewers 

selectively choose their network news and morning shows, 

which drives “pull-through” for broadcasts that come later. 

Certainly, NBC wanted to show its history of great news broadcasters 

and coverage of news events, as well as the wealth of 

great specials and classic sit-coms. In general, the NBC 

Experience was to be designed around the luminous nature of 

studio broadcasting and, of course, the television. 

One of our biggest challenges was the highly reflective gage 

The interior of the space is dotted with massive column 

surrounds. The frequency of the surrounds is dictated by the 

fact that the space occupies the lower two floors of the historic 

G.E. Building in Rockefeller Center, directly across from 

the NBC Studio where the Today Show has been a familiar 

and inviting attraction for years. The columns needed to be 

worked in to the merchandising scheme. The design team 

decided to keep the reflective nature of the space flowing by 

backlighting the translucent panels with neon. Substantial 

testing regarding the location of the neon and the choice of 

translucent materials needed to be performed in order to 

reduce the columns to their minimum diameter, while not 

allowing streaks of neon to be visible. 

The IC team worked with the notable store merchandise 

designers at JGA in Southfield, Mich., to develop a lighting system 

that would complement the 

layout. The retail merchandise 

lighting plans were quite complicated, 

in that the ceiling heights and 

undulations varied dramatically. 

Moreover, the assortment of video 

monitors located throughout the 

space could only be properly 

Backlighted merchandise 

walls silhouette the merchandise 

without obscuring detail due to the 

proper balance of light levels on 

face-out soft goods. 

ceiling by Barrisol. It is a hybrid polymer material that has a 

reflective surface similar to a mirror. Special mounting conditions 

had to be considered. Our team chose to minimize the 

perforations to achieve the highest level of continuous, unobstructed 

reflections. Similarly, by illuminating the reflective 

portrait style floors, we were able to achieve a space that felt 

transparent and expansive. 

Creating proper levels of illumination, while continuing 

the illusion of transparency was very important. No direct 

sources were focused on the basketball-shaped LED globe in 

order to heighten the anticipation of color and animation on 

the exterior of this central feature. Contained within the 

globe is a theatre with dynamic sound and short films about 

the history of NBC. It was produced to invite all guests to 

partake in the full experience of the NBC brand and its evolution. 

viewed when there were no reflections 

from light sources. Dennis 

Vogel at IC worked diligently to 

develop precise details for all of the 

necessary mounting conditions 

required. The store’s merchandising 

scheme, as one would expect, was 

based on a cable and glass shelving 

system that required external illumination. 

Around most of the column 

merchandise the team used 

recessed Reggiani adjustable luminaires with narrow focus MR 

16s. For wall-mounted store fixtures and merchandise illumination, 

the team chose a Bruck VIA solid rod suspension system 

that used 50 W narrow flood MR 16 lamps. The VIA system 

mitigates sagging, a difficult problem prevalent with most 

cable systems where proper turnbuckles and strain bucks are 

not appropriate. 

There are many locations around the NBC Globe that are 

merchandised. The floors around the globe are cut away to 

allow for most of the globe to be seen from many places in the 

store. This meant that good “shots” directed at the merchandise 

could only be achieved from the ceiling of the floor above the 

globe. In some cases, reaching the merchandise with high 

quantities of focused light required using narrow beam AR 111 

lamps. In order to keep a flush ceiling plane, the designers 

chose an Indy recessed adjustable fixture for the AR 111 lamps. 


Keeping with the luminous nature of the store, the NBC 

design team desired glass floors for the bridge that allows access 

to the NBC Globe Theater. The bridge condition dictated a low 

floor to ceiling height. By up-lighting the glass panels from 

below, the area gained additional perceived height, and the 

merchandise gained an additional “space age” look. Michael 

Shulman, project designer for IC, along with Kenneth 

Klemmer, design director, studied the up-lighting requirements 

for the glass bridge and determined that an additional function 

was required in the equipment selection process. Specifically, a 

substantial amount of merchandise that needed illumination 

was located below the bridge on the first floor. The solution 

was self-evident. 

Shulman and Klemmer chose a Bruck High Line cable system 

with fixtures that were visually minimal. They were able 

to focus both upward toward the bridge underside and 

downward toward the merchandise. Construction details for 

this installation were extensive, as New York City electrical 

codes required that the low voltage feed conductors were to 

be protected. In general, construction management of this 

project was comprehensive. Shulman provided almost continuous 

management during the final weeks of fit-out, commissioning 

and programming. 

For the main floor, the major ceiling feature consisted of 

NBC peacocks incised above the general perceived ceiling 

plane. The peacocks are fabricated from a metal framework 

with colored translucent Plexiglas panels creating the feathers. 

These peacocks are massive in scale and perspective, leaving little 

space for fixtures that were needed to illuminate the floor 

merchandise. The IC team had two challenges: First, the need 

to perfectly modulate the backlighted peacock panels and second, 

to find a means to directly focus light on products. 

Calculations for the transmissive quality of the Plexiglas 

were extensive. With no back-of-house room for a second 

(Strand) dimmer rack, it needed to be correct on the first pass. 

To make things even more complicated, there was very little 

room separating the Plexiglas and the non-dimmable fluorescent 

tubes that the budget required. 

For focused light, the team chose to conceal monopoint fixtures 

matching those already specified in the Bruck VIA system. 

These were tucked neatly and consistently at the intersections 

of the feather outer edges. 

Besides the incredible moving LED surface of the NBC 

Globe, the second architectural feature of the space is certainly 

the magnificent spiral staircase to the second floor. Upon 

approaching the staircase, one can barely miss the backlighted 

“test pattern” forming the oculus above. This test pattern is 

essentially what one might consider a stained glass window, 

which forms the entire ceiling over the staircase. It was to be 

the only source of light. 

In order to reduce the amount of apparent light fixtures in 

the stairwell, the IC design team chose to rely on video display 

devices, which form an entablature, rising in a helix along the 

walls, as an ambient light source. Albeit a bit blue, but warmed 

by the selection of high color rendering fluorescent and quartzhalogen 

lamps, the video sources provide at least 20 percent of 

the ambient light in many areas. 

Past the midsection of the main floor, the designers desired 

to create a museum-quality atmosphere for the merchandise 

displays. Shaped like picture-tube apertures, the displays 

were backlighted with small fluorescent sources. To avoid 

flattening out the artifacts for sale, we specified MR 16 narrow 

focus lamps that were aimed to spread light across the 

mostly textured products, thereby enhancing the threedimensional 

qualities. 

Finally, in keeping with the “showbiz” nature of NBC’s brand 

image, a moving light system was specified to create a layer of 

animation and excitement. More than 30 Clay Paky Mini-Scan 

HPE moving lights were used throughout the space. A detail 

was created to conceal most of the moving fixture’s mass. High 

quality lithographs with various NBC logos were utilized, along 

with a selection of break-ups and appropriate patterns, to create 

a collage of moving images that were programmed to play 

across the floors and merchandise. The programs were stored 

in non-volatile memory cards, having been downloaded from a 

moving light desk. 

As if that were not enough, the designers wanted to leave a 

lasting impression on visitors who walked through Rockefeller 

Center in the evening. To that end, five High End Systems ES- 

1 moving lights were specified. The luminaires are mounted 

inside the building, quite close to the front window, projecting 

out onto the pavement in front of the store. These fixtures are 

loaded with NBC artwork, and are programmed to rotate and 

scroll through a number of slow-moving routines. 

Witnessing the success of the project has been reward for the 

immense effort put forth by the IC team. Receiving the Edwin 

F. Guth Award of Excellence for Interior Lighting Design made 

the project that much more special. Tourists and residents alike 

have marveled at the space. 

While awards are given to designers for creativity, this project, 

in particular, could not have been a success without the 

project management skills of Sheila Fitchett, whose work 

behind the scenes in coordinating the installation and information 

flow was invaluable. 

The designers: (top, left) Ron 

Harwood founded Illuminating 

Concepts, Ltd. (IC) in 1981. IC is 

an international multi-disciplinary 

firm that blends architectural 

and theatrical lighting with 

acoustic design, projections systems 

and special FX of all forms. 

Harwood has been active in producing theatrical and 

musical performances in folk music and blues since 1963 

and was nominated for a Grammy in 1982. He has been 

an IESNA member for five years. 

Michael Shulman (top, right) is a lighting designer for 

Illuminating Concepts, Ltd. He has a BFA in Theatrical 

Design and Minors in Art History & Business from 

Marymount College — Manhattan. From road shows to 

television to live Broadway theatre, Shulman has experience in all areas of theatrical 

lighting and effects. 

Dennis Vogel (bottom) is a project manager at IC. His expertise is focused in 

the areas of specialization, such as retail, themed environments, office and hospitality 

design. He is a graduate of the Boston Architectural Center, Interior 

Design Program, where he holds an NCIDQ certification and is a registered 

interior designer. 


Ciel Home’s newest store needed an 

innovative lighting system to completely 

illuminate the products being displayed, while 

keeping the luminaires as hidden as possible. 

Arie Louie explains the design team’s philosophy 

in addressing this challenge. 

FUSION OF FASHION AND 

FURNITURE 

Ciel Home is an upscale furniture and home 

accessories store with branches located in 

Charlotte, N.C., Phoenix and Newport 

Beach, Calif. Ciel Home at Fashion Island in Newport 

Beach is the newest store in the chain. Ciel imports 

unique furniture from around the world. Larry Serge, 

owner of Ciel Home, understands the importance of 

lighting as an instrument of image and function. 

Architect Ilan Baldinger approached the design of 

the 5,000 sq ft store as an informal space, reflecting 

Southern California aesthetic sensibilities and its 

laid-back life style. The store is organized as a series 

of asymmetrically layered spaces defined by minimalist 

architectural elements. A curved wall containing 

display niches runs along the length of the 

store and is a unifying and organizing feature. 

Baldinger has collaborated with lighting designer 

Arie Louie, and his firm, Louie Lighting, on various 

other retail and corporate projects. 

“This prior work experience allows for a design 

synergy and shared understanding of design philosophies 

as they relate to the idiosyncrasies of diverse 

project requirements,” says Baldinger. 

Such design synergy is what allows for a full integration 

of the lighting with the architecture. In the 

case of Ciel Home, it allowed for unique solutions 

and creative ideas that allowed for great results at 

minimum expense. 

“Lighting design for a retail space is a very sensitive 

and crucial subject” says Louie. “Proper lighting solution 

is designed specifically for the store at hand. It 

draws the customer’s attention to a product display, 

enhances the product color and appearance and provides 

ultimately improved ambient lighting within 

PHOTOS: ARIE LOUIE 

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

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

(opposite, bottom) Black track lights carrying low voltage 50W MR 16 lamps were recessed 

above the ceiling within rectilinear cutouts. 

(above) Low voltage cable lighting systems with small 50 W MR 16 lamps stretch inconspicuously 

between wood beams highlighting individual groupings of furniture or “rooms.” 


www.iesna.org 

LD+A/May 2001 43

the store. This will prevent flat, dull and uninviting spaces. The 

goal of retail lighting should always be improved merchandizing 

and higher sales.” 

The design of the Ceil Newport Beach store presented a 

unique lighting challenge to the design team. The store-layered 

space design and the mix of furniture displays and small accessories 

displays dictated a diverse approach to lighting. It was 

decided early on in the design process to downplay the source 

of light, in keeping with the minimalist design as a background 

to the products on display. 

The store features five distinct lighting themes. Theme one is 

designed to provide ambient and accent lighting within the 

hard gypsum board ceiling. Black track lights carrying low voltage 

50 W MR 16 lamps were recessed above the ceiling within 

rectilinear cutouts. The space above the cutouts was painted 

black to conceal the lighting luminaires. This solution allows 

for clean uninterrupted ceiling plan and at the floor level flexibility, 

brightness and fluidity. The lighting provides additional 

rhythm and sense of order. 

Under the exposed structure, displaying and lighting furniture 

required a different solution. Low voltage cable lighting 

systems with small 50 W MR 16 lamps stretch inconspicuously 

between wood beams, highlighting individual groupings of 

furniture or “rooms” in intensity, clarity and specificity unique 

to this lighting source. This solution allows for flexibility that is 

needed for the ever-changing display in the furniture store. It 

provides sparkle, creates intimacy in the space, adds interest 

and attracts patrons to explore the 

various displays. 

The third lighting condition 

responds to the need to provide 

flooded light localized within each 

recessed display niche. The designers 

looked for a cost effective solution 

that would be easy to maintain 

and would be low in heat generation. 

After reviewing different 

options, it was decided to use 

3000K T8 fluorescent fixtures with 

electronic ballasts, which were 

placed in a concealed space specially 

designed for each display 

niche. The end result is a soft light 

that floods the products without 

any glare. 

For the cash wrap area, the 

designers decided to introduce a 

different and contrasting light source. By spacing pendant 

lights over the uniquely shaped service island, a distinction is 

made between this area and the rest of the store. 

The fifth and last lighting condition is specific to the circulation 

corridor connecting between the various furniture display 

“rooms.” This 4 ft wide corridor is defined by steel columns 

and wood beams with a 4 in. void in between. luorescent strips with T8 lams 

and electronic ballasts were integrated into the void; the lamps are coated with 

color gel and the effect is a pattern of light, rhythm and color. 

Ciel Home at Fashion Island is attractive to patrons when viewed from the 

outside, and when they enter the store, the first impression is positive and the 

visual clarity is high. Patrons feel safe and comfortable due to balanced ambient 

lighting. The merchandise is well illuminated with enhanced colors. 

Lighting is layered and creates elements of interest that attract people to linger 

longer. According to Louie, “Good lighting design will enhance the look of the 

store while taking in consideration human feelings 

and physiological responses.” 

Ciel Home stands out among the stores at 

Fashion Island as an example of a welldesigned 

store that responds to the need for 

proper lighting. The lighting design for the 

store received an International Illumination 

Design Award of Merit. 

The designers: Arie Louie, LC is a 

lighting designer with numerous 

International Illumination Design 

awards. With more than 16 years of 

architectural lighting design experience 

and a background in theatrical 

and motion pictures lighting, his 

designs range from corporate and 

office spaces, to retail, hospitality and 

restaurants, historical sites, residential 

and landscape lighting. He has been a 

member of IESNA for seven years. 

Ilan Baldinger is a registered architect 

in the states of Arizona and 

California. In 20 years of architectural 

practice Baldinger has compiled a 

substantial body of architectural work, varying in scope 

from uniquely crafted residential projects to mix-use high 

rise urban complexes. 

(above) The product wall is illuminated by concealed 

3000K T8 fluorescent fixtures with electronic ballasts. 

(right) Inside a false wall, MR 16 ceiling detail provides product lighting. 

(opposite) For the cash wrap area the designers 

decided to introduce a different and contrasting light source. 

By spacing pendant lights over the uniquely shaped service 


PROGRESSIVE HUB TO 

DISNEY’S MAGIC 

Downtown 

Disney links 

all the 

elements 

of the 

expanded 

Disneyland 

resort. 

Toni Page 

Birdsong 

provides the 

details on 

the lighting 

design that 

accompanied 

this newly 

created 

attraction. 

The Rainforest Café has touches of 

Inca palace architecture, but is also 

inspired by an extraordinary 

concrete block house, La Minatura, 

built in California by Frank Lloyd Wright 

in the 1920s. With an interior overlay 

of Yucatan rainforest, the café offers a 

uniquely entertaining atmosphere. 


(right) The Wine Bar District 

is named for the vine-covered 

wine and tapas bar at its 

center. The area features 

Café Catal, by Patina, with 

a combination of Art Deco and 

Westood Village styles. 

(below) Yarriba! Yarriba! 

is Downtown Disney’s new 

Latin dining and entertainment 

concept. It is housed in a 

classical structure that draws 

on styles from Havana to 

Buenos Aires. 

Avery wise lighting luminary once said, “If you build it 

they will come. And, if you turn the lights on, they will 

be able to see it when they get there.” 

Okay, we made that up. But it’s a great start when setting out 

to examine the design moves behind Downtown Disney, 

Anaheim’s new retail, dining and entertainment esplanade at 

the heart of the Disneyland Resort. When the sun goes down, 

the curtain rises to showcase this entertainment district’s precise 

fusion of architecture, landscaping and lighting. 

“Downtown Disney possesses its own sense of place, evoking 

the feeling of stepping into a garden paradise,” says Walt 

Disney Imagineering Senior Vice-President and General 

Manager Timur Galen. “In plan, Downtown Disney links all 

of the elements of the expanded Disneyland Resort… 

Disneyland, Disney’s California Adventure, the Disneyland 

Hotel, Disney’s Paradise Pier Hotel and Disney’s Grand 

Californian Hotel through a lushly landscaped pedestrian 

www.iesna.org 

environment. In character, it embodies our vision for the 

guest experience that the entire complex offers.” 

Embedded in that “vision” however, was one of the development’s 

biggest design challenges: How to transition 

Downtown Disney’s 300,000 sq ft of space from a daytime to 

a nighttime experience. 

Because Downtown Disney is bookended by the Disneyland 

Hotel on the west and two theme parks — Disneyland and the 

new Disney’s California Adventure — on the east, and also 

serves as a hub for local residents, designers were tasked with 

making the space appealing to a very diverse patron mix. The 

Downtown Disney team of Imagineers decided early on that, to 

be successful, the area would have to transition from a relaxing 

resort experience during the day, to a more sophisticated entertainment 

destination at night. 

“We wanted to provide a different experience, so people 

would come back from visiting the theme parks during the day 

and discover a whole different sense of 

place at night. And, the key to implementing 

that strategy, for us, was with 

lighting,” says Walt Disney Imagineering 

Project Manager Dev Hawley. 

Different areas, 

different needs 

In determining the lighting needs, 

designers first had to understand the 

character of each of the separate districts 

within Downtown Disney, as 

well as the story of California’s diverse 

history and culture that Disney was 

telling. Just as landscape and architecture 

choices were made to reflect 

California culture, so too, unique tenants 

were selected for their individual 

contributions to that same culture. 

Downtown Disney’s architectural 

LD+A/May 2001 49

decor progresses east to west, from Craftsman to Art Deco to 

California Eclectic styles, and ultimately connects with the 

urban-modern design of the Disneyland Hotel on the far west 

end. So, the lighting had to psychologically support the visual 

changes taking place, said Francis Krahe, president and owner 

of Laguna Beach-based Francis Krahe and Associates, the lighting 

firm tasked with fitting Disney’s lighting needs. 

“We essentially created two districts,” said Krahe. “The east 

side Garden District has a Tivoli Garden feel and has the history 

of the Arts and Crafts movement reflected in the architecture. 

We used a lot of warm-tone, white light and tried to 

create a great deal of sparkle to reinforce the idea of a romantic, 

peaceful setting.” 

In this area, Xenon lights, or twinkle lights, are subtly positioned 

in the trees, and uplighting accentuates the canopy of 

50-year-old, transplanted ficus trees that line the walkway. 

Perhaps one of the most unique lighting elements that is carried 

throughout the development also starts here with the first 

of many leaf-shaped planters that double 

as seat walls. 

“Throughout the entire esplanade, 

we placed fiber optic lights within a 

groove beneath the seat walls. The 

lights change color depending on 

which district — or environment — 

you happen to be in,” said Krahe. “I 

think this was extremely effective in 

establishing one, integrated expression 

for Downtown Disney. The idea 

was to create atmosphere, not effect, 

with the lighting.” 

The seat walls begin in the Garden 

District and emanate a warm, white 

glow that changes hue with each step 

west toward the Wine Bar District and 

the more energized, tropical spaces of 

the Paradise Plaza and the West End 

District. Progressively, the seat walls 

project hues that complement the 

spirit of each area. 

In the Paradise Plaza area, ambers, 

yellows, oranges, blues and purples 

can be found within view of more 

vibrant venues such as Ralph 

Brennan’s Jazz Kitchen, The House of 

Blues and the Latin Jazz club, Yarriba! 

Yarriba! This area also begins to 

employ more neon lighting within signage and on facades, 

which along with the music spilling onto the walkway, also 

adds to the visual fiesta. 

Colorful west end 

A few steps away, the West End district of Downtown Disney 

is stage to a colorful hub of venues such as Lego Imagination 

Center, Rainforest Café and the ESPN Zone. Here, a last minute 

design decision to apply dramatic theater lighting to a 60 ft 

Sorcerer’s hat (representing Sorcerer Mickey of Fantasia fame) 

adds to the dimension and frivolity of the district. 

“We needed some soft accent lighting on the hat and we 

needed to apply it from sources that wouldn’t overpower our 

guests,” said Francis Krahe and Associates senior project manager, 

Paul Butler. “We applied two 1,000 W, narrow-beam, 

metal halide accent lights from the top of the adjacent ESPN 

building. The hat also was uplighted.” 

With landscaping as the dominant design element of 

(right) ESPN Zone is the country’s premier 

sports entertainment concept. It includes 

hi-tech satellite transmitters and receivers, 

video cameras, more than 165 video 

monitors and fully functional radio 

and live television broadcast facilities. 

(above) The World of Disney has one of the 

world’s largest collections of exclusive 

Disney merchandise. Its highly themed 

interior is colorful and lively, in keeping 

with playful Disney characters. 


Downtown Disney, it’s clear the landscape and lighting 

design teams had to work closely to achieve the ultimate 

visual symphony. 

“The lighting of Downtown Disney definitely plays up the 

structure of the landscaping and provides the mood and accent 

that defines the space,” according to Manager of Landscape 

Architecture for Walt Disney Imagineering Jeff Morosky. “The 

lighting was so important in telling our story that, before we 

would plant trees, we considered how we would punctuate 

a warm, romantic glow to spill forth. Moving west, color-corrected, 

high-pressure, sodium lights were focused on lamp 

posts to ensure a consistent glow. Quartz halogen landscape 

and building uplights were used as accent lights. 

“We applied neon and fiber optics to the buildings and hundreds 

of yards of fiber optics beneath the seat walls,” said Krahe. 

“There’s also a series of custom-designed, thematic lanterns 

throughout the project that were designed to embellish each 

individual building façade, and add ornamental, incandescent 

flood lighting, which draws people through the 

space by presenting a new focal point structure 

in the distance. It’s a pretty substantial, yet not 

overpowering, element of the entire environment.” 

Creating scale and a “sense of place” was a 

challenge that strategic lighting moves helped 

to solve. In addition to uplighting the taller 

trees to confine the environment, incandescent 

lights were used to trim the tops of the retail 

facades on the east end of the esplanade which 

easily could have been overpowered by the 

towering Disney’s Grand Californian Hotel. 

And, because most of the east portion of 

Downtown Disney is built over a parking structure 

for Disney’s Grand Californian Hotel, landscaping 

and lighting were used to give dimension 

to the flatness of the area. 

“Guests never should perceive they are on a 

deck,” noted Hawley. “We want them to feel 

like they’re walking through a garden. That 

means we had to do things like build concrete 

tree pits that are 20 x 20 ft and 6 ft deep. It 

was an enormous undertaking.” 

According to Graf, it wasn’t hard to conform to the lighting 

standards set forth by the Downtown Disney lighting design 

team. Metal halide downlights were used in the ceilings for 

general lighting with warm color and high ECI. In the low ceilings, 

Graf used compact florescent lamps and a combination of 

incandescent HIR lights with spots of halogen infrared. In addition, 

CDM metal halide spots were used in the window displays 

to create theatrical lighting. Color filters were used on the 

spotlights to create “visual amplifiers” to showcase products 

and graphics. 

Another store that conformed to the lighting specs in a creative 

way was Illuminations, a popular candle store. 

According to Gary Miller, vice-president of Visual Merchandising 

for Illuminations, the lighting challenge was 

unique since the product being displayed was candles, many 

of which were lighted. 

“We worked closely with the Disney lighting designers to 

meet both of our objectives,” said Miller. “We used PAR 36 

lighting throughout the store to create warm, soft light. It made 

our product look great without making the store look bright. 

These lights are very easy to direct and don’t wash onto the 

floor space. Our goal was to create lighting that inspired our 

customers since our product gives off what we call living light 

[candlelight].” 

To achieve the desired interior lighting, luminaires included 

recessed compact fluorescent downlights and wall washes, 

compact fluorescent downlights, recessed parabolic fluorescence, 

surface-mounted strip fluorescents and track luminaires 

in many areas. 

Exterior lights commonly used included metal halide, building-mounted 

color floodlights, column mounted up and 

downlights and recessed incandescents, among others. 

Frivolity was an intentional design element employed 

throughout Downtown Disney and is found in details such as 

underwater lighting along the walkway’s many fountains and 

the Micktorian (Disney for Victorian) lamp posts custom 

crafted with those famous mouse ears. Designers even customized 

programming for the twinkle lights in the trees to 

create an effect closer to the illusion of fire flies, which 

includes a slight fade-in and a slowed twinkle to accomplish 

precise lighting and mood. 

“We were striving for something magical and I think we 

achieved that with the combination of landscape, architecture 

and particularly lighting,” said Hawley. “Not a bad debut 

for an area that just three years ago used to be part of an 

asphalt parking lot.” 

The author: Toni Page Birdsong is a Los Angeles-based 

writer who has reported on business, politics, travel and 

themed entertainment for the past 12 years. She has been 

a researcher for the Hollywood Entertainment Museum, 

and has been a contributor to LD+A, most recently in the 

May 2000 edition with her piece on ABC’s Good Morning 

America studio. 

Two views of the Downtown Disney fountain. The bottom image is from the West Side 

to the Central Plaza. Island Charters and Illuminations are on the right. 

those spaces with light at night. We developed many of our 

landscape concepts in conjunction with the lighting concepts 

in order to make the most impactful statements.” 

Despite the grand scale of the project, the lighting fixture 

specification was kept fairly simple, said Krahe. “Disney gave 

us the mandate that the impression had to be a warm, garden 

setting, and that’s what directed the palate of light we 

would use throughout.” 

Pedestrian poles that pepper the area were custom-designed 

to house metal halide lights topped with copper hoods to allow 

Lighting retail stores 

To further maintain a seamless environment, 

Walt Disney Imagineering lighting standards 

were applied to 30 separate retail tenants. 

According to Hawley, tenants were given guidelines 

to follow and were assisted in achieving 

the warm hues established by the team. 

“Our tenants underwent full design reviews 

of their interior and exterior lighting,” said 

Hawley. “Once the lighting story was established, 

it became crucial not to break that story. 

We tried to create a dialogue between the exterior 

and the interior of buildings, and we did 

that by carrying the established lighting standard 

into the stores. Not only does this maintain story, it ultimately 

helps guests better engage with the retail space.” 

One of the most dramatic lighting statements at Downtown 

Disney was achieved by the World of Disney store. According 

to design director Stefan Graf of Illuminart, lighting within the 

enormous retail space served as a silent design partner. 

“Light was to be used as an attraction,” said Graf. “We’ve 

worked with Disney for many years and we’ve developed a 

technique for maximizing the visual impact with lighting to 

create excitement and attract attention to the displays.” 


PHOTOS: RTKL ASSOCIATES, INC. 

Arundel Mills is a new retail entertainment 

center near Baltimore. The project is quite 

large, and employs fanciful spins on local 

attractions as a basis for the graphic treatment 

in all public spaces. 

(left, top) An exterior view of one of the 

entrances. The shot shows the Row House Folly. 

The design team used exposed neon and 

concealed metal halide PAR lamps to bring out 

the textures in the structures. 

(left, bottom) An interior view of the Pinball 

Court. The team used programmable and 

theatrical luminaries to create both 

general lighting and a show sequence 

cued to a sound track. 

LIGHTING TODAY’S 

SHOPPING MALL 

Alfred R. Borden IV and Helen K. Diemer of 

The Lighting Practice trace the evolution of the 

shopping mall and the importance of lighting 

to developers and shoppers. 

Lighting design for retail applications 

is part theater, part therapy, and all 

about commerce. It must attract customers, 

make them feel good, encourage 

them to buy, and facilitate the sales transaction. 

And it must do this in an environment 

that changes with the seasons, 

has limited maintenance, and always 

wants to reduce operating expense. 

The retail industry thrives on change. 

Its constant churn keeps the buying 

experience fresh and attractive. New 

products are introduced; new styles are 

promoted; new concepts are launched. 

The pace is whirlwind fast and profit 

margins are tight, so the visual excitement 

must also be very cost-effective. 

From their earliest beginnings as 

open-air bazaars and marketplaces, 

shopping centers have become big business 

and a powerful social force. In a little 

more than 70 years — the first suburban 

center in the U.S. came on the scene 

in the late 1920s outside of Philadelphia 

at Suburban Square, Ardmore — shopping 

centers have assumed a dominant 

role in consumer retailing. Today, shopping 

centers come in many sizes and 

shapes, and fill different market niches: 

covered malls, open malls, vertical malls, 

regional malls, urban malls, strip centers, 

discount malls, factory outlet malls, offprice 

malls, megamalls, festival malls 

and convenience centers. 

Shopping malls construction intensified 

in the late 1960s and early 1970s. 

This new format seemed more customerfriendly 

than the old big-box shopping 

center or strip stores, because the public 

space between stores was covered and 

conditioned. The public mall was meant 

to function as a protected walkway that 

connected the shops. It served to move 

shoppers from store to store, attracted by 

the brightly lighted and decorated display 

windows. 

Interior courts, with their skylights, 

planters and benches, were planned as 

relaxation areas where shoppers could 

replenish their energy supply between 

forays. Since the public mall’s main function 

was to serve as a transition area 

between stores, it was only lighted to 

about 10 fc. With such a dim ambient 

light level, the brightly lighted signage 

band above each storefront was intended 

to dominate the shopper’s view. 

General lighting in the public mall was 

typically provided by a variety of incandescent 

sources, selected for their rich, 

warm color and point-source accents. 

During the late 1970s and 1980s, 

advances in lamp technology introduced 

the possibility of color-corrected mercury 

or metal halide sources for mall 

lighting. Unfortunately, the poor color 

rendition and color-shifting of these 

early-generation HIDs, and their large, 

bright ceiling apertures, made them 

unattractive to many mall operators. 

High-end malls continued to use only 

incandescent and halogen sources well 

into the 1990s. 

By current standards, mall designs 

from several decades ago suffer from 

dim, dreary interiors with few amenities 

or visual destinations, dark exterior 

entrances, and high energy consumption. 

Now, the role of the shopping mall 

has changed significantly, and consumers 

have different expectations for 

such facilities. 


During the 1980s and 1990s, the shopping mall became 

the central civic space for many communities. It is where people 

meet and socialize; where they eat, exercise and entertain 

themselves. 

Shopping malls provide an environment where the visitor is 

offered a broad variety of amenities and diversions, as well as 

retail shopping venues. A person might go to the mall for some 

reason other than to visit the stores, but the trip usually produces 

a few purchases. 

For the lighting designer, the new concept meant that the 

public mall was no longer just a corridor. It was a feature area, 

an exhibition space for specialty vendors, fairs and seasonal 

displays; a staging area for product demonstrations, concerts 

and shows; a meeting place for groups of all sizes; and, of 

course, a relaxing place for tired shoppers. The lighting 

design presents the space as attractive and open and full of 

opportunities. 

Retail’s tough competitive environment keeps merchants 

constantly searching for a new concept that will keep shoppers 

coming back to their location. In the 1990s the strategy of the 

public mall as a themed environment became a popular format 

for new malls and renovations of existing properties. The rationale 

behind it embraced the idea that the shopping trip 

expands into and becomes an entertaining adventure, and the 

“Retail Entertainment Center” came onto the mall scene. 

People came to the same stores to shop, but they found 

themselves in the midst of a theatrical scene — a garden, a jungle, 

a futuristic landscape. Often, one of the anchor tenants was 

a multiplex cinema or a themed restaurant, adding to the intensity 

of the entertainment experience. The lighting for the public 

space in this shopping venue becomes part of the show. 

4. Programmable luminaires: 

Automated gobo and color changer and beam shaper 

Moving lights: Automated pan and tilt 

Another concept that started growing in the 1990s is actually 

a return to the earliest retail forms — the open-air market. 

The new venues, called Main Streets or Town Centers, are very 

much like the old big-box strip centers. The difference is that 

all elements contributing to the shopper’s experience is controlled. 

In the past, shoppers would walk down the main street 

of their town and visit the toy store, the haberdasher, the shoe 

store, etc. Streets and parking places would be standard municipal 

issue and each storefront would look as different as the 

ownership of each store. 

New Town Centers provide the streets, the parking, the 

street furniture and storefronts to create an environment that 

is reminiscent of its ancestor, but all based on some unifying 

design concepts. In this way, shoppers have the variety of 

experiences they used to get, but with more comfort and 

without the confusion created by the old hodge-podge environment. 

The Town Center or Main Street can be outside or 

inside a mall; it can be an exterior component attached to an 

interior mall. 

The lighting design for these venues must address roadways 

and pedestrian sidewalks, signage structures and building 

facades, water features, and still create an entertainment feel- 

What makes lighting look theatrical? 

High contrast, visual textures, and saturated color 

What makes lighting feel theatrical? 

The Unexpected: The lighting effect or color wash that the 

average shopper never saw in a store before. 

Visual Animation: moving lights 

Appropriate Tools 

1. The same stuff you are using now: 

Adjustable accent luminaires 

Flood luminaires 

Exposed/concealed cathode 

2. Theater instruments: 

Ellipsoidal reflector 

Gobo projection 

Zip strips 

LEDs 

3. Color media: 

Theatrical gel 

Dyed glass 

Dichroic glass

PHOTOS: PETER RENERTS STUDIO 

Richmond Town Square is a renovated 

mall near Cleveland. It was built in the 1970s. 

The black-and-white image (top) is the original 

mall concourse; the middle image shows 

the renovated main concourse, and the bottom 

image shows the food court. This is a traditional 

mall design. The lighting treatments include 

cold cathode coves, ceramic metal halide 

downlights and a custom fluorescent pendant. 

true low-brightness reflectors. 

High lumen compact fluorescents, 

such as quad- and triple-tubes lamps can 

also be used in small aperture luminaires 

and have similar benefits of excellent 

color rendition, long life and low energy. 

These sources are rapidly replacing 

incandescent and halogen lamps in mall 

lighting designs. 

Mall exterior lighting has evolved similarly 

to interior lighting. The points previously 

mentioned about the new theatrical 

techniques also apply to exterior 

lighting. Usually, exterior lighting for a 

mall is limited to the entries and a few 

architectural features. Exterior lighting 

on Main Street projects is more extensive, 

but the same principles apply — 

create visual destinations with some element 

of entertainment. 

The authors: Alfred R. Borden 

IV, IALD, is president of 

The Lighting Practice, Philadelphia, 

and Helen K. 

Diemer, FIALD is vice-president. 

The Lighting Practice 

was founded 12 years ago 

and has grown into a diversified 

international practice in 

the application of lighting for 

architecture. 

Borden has more than 20 

years of experience in lighting 

design. He is a past president of the 

Philadelphia Section of IESNA, and is on the 

Executive Committee of the International 

Association of Lighting Designers. He has been an 

IESNA member since 1978. 

Diemer had 15 years experience as a lighting 

designer with firms in New York, Minneapolis, and 

St. Paul before joining The Lighting Practice. She is 

a past president of the IALD and was named a 

Fellow last year. She is also an active member of the 

Philadelphia Section of IESNA, and has been an 

NCQLP QUIZ 

1. What types of light sources were primarily used by high-end 

malls into the early 1990s? 

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

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

feel? 

ing. The Main Street is a themed entertainment 

village, complete with architectural 

and lighting features that tie the 

buildings to a time period or locale, but 

with a theatrical spin. 

One of the best things to happen to 

retail in the 1990s was the introduction 

of low-wattage, high-color-rendering 

metal halide lamps, and high-lumen 

compact fluorescent lamps. The new 

generations of metal halide PAR lamps 

and ceramic arc tube metal halide lamps 

have an attractive warm color, very little 

color shifting, long life and low energy 

consumption. They are small and can be 

used in fixtures with small apertures and 

4. Due to their size, what types of fixtures can metal halide PAR lamps 

be used in? 

5. What are the benefits of high lumen compact fluorescents? 

Name___________________________________________________________________ 

Address_________________________________________________________________ 

City/State/Zip__________________________________________________________ 

Phone__________________________________________________________________ 

Fax_____________________________________________________________________ 

Please return to NCQLP Quiz c / o LD+A, 120 Wall Street, 17th Floor, New York, N.Y. 10005 

by July 15, 2001. You may also fax to 212-248-5018. 


LIGHTFAIR INTERNATIONAL SEMINAR PREVIEW 

LIGHTFAIR 

INTERNATIONAL 

SEMINAR 

PREVIEW 

David Apfel, Addison Kelly, Brian Cronin, 

Anthony Long, Vesa Honkonen, Julle Oksanen, 

Harold Jepsen, Leslie North, Sandra Vasconez, 

Helmut O. Paidasch and Randall Whitehead 

provide some insight into the seminars 

they’ll be presenting at this year’s 


Las Vegas will be the mecca for 

the lighting industry this 

coming May, when thousands of 

professionals descend upon the 

city, in search of the newest lighting-related 

equipment and accessories, 

as well as educational 

opportunities, provided through 

the 38 workshops and seminars 

offered at this year’s conference. 

With a little prodding, LD+A 

was able to convince the presenters 

of six seminars to discuss 

what they’ll be speaking about in 

Las Vegas. 

David Apfel and Addison 

Kelly will address the 11th hour 

fixes — the situations that arise, 

late in the construction process 

where redesign is simply not an 

option. This seminar will help 

participants to identify potential pitfalls, so they can save both time and money. 

Tying in to LD+A’s focus on retail store lighting, Helmut O. Paidasch’s seminar will discuss creating a 

more customer-friendly retail environment. He identifies the three key components of delivering such 

a lighting design: visual comfort, visual display and visual ambience. 

Three presenters —– Harold Jepsen, Leslie North and Sandra Vasconez — will pool their knowledge base 

to speak on the virtues of lighting control systems. In many cases, lighting controls can be more important 

than the actual luminaries specified, especially when needed to comply with energy code provisions. 

A series of projects, chosen for artistic value, will be discussed by Vesa Honkonen and Julle Oksanen. 

This seminar will discuss the poetry of lighting design — the power it can have over those viewing lighting 

projects — and even the poetry of lighting calculations. 

Brian Cronin, an LD+A columnist, and Anthony Long, present a seminar on the various benefits the 

Internet can provide to businesses. Whether it be through website design, or online research, or using 

the Internet as a marketing and branding tool, this seminar promises to enlighten even the most computer-savvy 

attendees. 

Randall Whitehead will be presenting a three-hour workshop at the conference, where attendees will 

learn to identify and incorporate the four functions of illumination — decorative, accent, task and ambient 

— into their own residential lighting designs. 

A special thanks is due to these authors, who willingly authored these seminar previews, both to whet 

the appetite of those attending the conference, and to allow those not fortunate enough to make the trip 

to still gain some knowledge from the presentation. 

Chris Palermo 

Editor 



The Functions of 

Illumination 

Randall Whitehead previews his extensive 

workshop on lighting residences. Attendees will learn 

to easily identify and incorporate the four functions 

of illumination into a flexible design for 

the home environment. 

TUESDAY, MAY 29, 2001, 9:00AM - 12:00 PM 

The new technologies and developments 

in lighting over the last that match our virtual reality, techno- 

We can now achieve lighting effects 

decade have created opportunities for magic world. Plus, we can do it within 

approaches to lighting only dreamed of a reasonable budget, without dramatically 

changing the way we live. At the 

in the past. The body of knowledge 

about lighting has greatly evolved from same time, we can increase the comfort 

the times of candles and gaslights, yet level in our living spaces, and increase 

many clients have not updated their convenience as well. 

thinking much beyond that. 

Lighting can be a tremendous force in 

design; it’s the one element that makes all 

the rest work together. Yet it has been the 

second-class citizen of the design world 

for so long, and the results have left many 

homes drab, uncomfortable and dark. Too 

often, the blame goes elsewhere, when 

improper lighting is the culprit causing 

the discomfort. Let’s take a leap from nineteenth-century 

lighting to the next 

plateau by welcoming new lighting possibilities 

and techniques and sending 

design into a new era of dramatic comfort. 

Light has four specific duties: To provide 

decorative, accent, task and ambient 

illumination. No one light source can 

perform all the functions of lighting 

required for a specific space. Understanding 

these differences will help you 

create cohesive designs that integrate 

illumination into your overall design. 

Getting your clients, contractors and 

other members of the design team to 

become comfortable with these terms 

will help a project gel more cohesively. 

Light performs these basic functions:


(left, before and middle & 

right, after) This dining room 

makes a fantastic transformation 

from dated 1970s box to Japanese 

Moderne. A lush paper lantern 

by Ingo Mauer hovers over 

the dining room table. 

Recessed adjustable fixtures 

by Lucifer Lighting punch up 

the painting, red metal 

sculpture, and the amber vase 

in the center of the table 

decorative, accent, task and ambient illumination 

— the well-integrated layering of 

the four within each space will create a unified 

design. 

Decorative light 

Luminaires such as chandeliers, candlestick-type 

wall sconces, and table 

lamps work best when they are used to 

create the sparkle for a room. They 

alone cannot adequately provide usable 

illumination for other functions without 

overpowering the rest of the design 

aspects of the space. 

For example, a dining room illuminated 

only by the chandelier over the table 

creates a glare-bomb situation. As you 

crank up the dimmer to provide enough 

illumination to see by, intensity of the 

light causes every other object to fall into 

secondary importance. This one supernova 

of uncomfortably bright light 

eclipses the wall color, the art, the carpeting, 

and especially the people. By 

nature, any bright light source in a room 

or space immediately draws people’s 

attention. They won’t see all the other 

elements, no matter how beautiful or 

expertly designed. 

Similarly, linen shades on table lamps 

draw too much attention to themselves. 

Consider using a shade with an opaque 

liner and perforated lid to direct the 

illumination downwards over the base, 

the tabletop and across your lap if 

you’re reading. 

Accent light 

Accent light is directed illumination 

that highlights objects within an environment. 

Luminaires such as track and 

recessed adjustable luminaires are used 

to bring attention to art, sculpture, tabletops 

and plantings. Just like any of the 

four functions, accent light cannot be the 

only source of illumination in a room. If 

you use only accent light, you end up 

with the museum effect, where the art 

visually takes over the room, while 

guests fall into darkness. 

Subconsciously, the people will feel 

that the art is more important than they 

are. Of course, some of your clients may 

feel that the art is more important than 

the guests are. Their desires must be 

taken into account, even if they seem to 

be incorrect. The truth is, they’re the ones 

that ultimately will live in the house, and 

their needs must be addressed. Sometimes, 

you will be able to compromise on 

a design that at least provides some ambient 

light. As a guest, you will just have to 

try to be witty or profound enough to 

compete with the art. 

The Museum Effect: When art becomes 

visually more important than people within 

the space. Even museums now add additional 

illumination beyond accent light to 

help reduce eye fatigue, by cutting contrast 

in the overall environment. 

Accent lighting thrives on subtlety. A 

focused beam of light directed at an 

orchid or highlighting an abstract painting 

above a primitive chest can create a 

wondrous effect. People will not notice 

the light itself; they see only the object 

being lighted, almost subliminally. The 

lighting effect achieves its magic through 

its very invisibility. 

In the movies, if we can tell how a special 

effect has been achieved, we feel 

cheated. We don’t want to know, because 

we want to think it’s magic. In lighting, it 

should be no less the case. 

We want to see the effects of light, but 

the method needs to remain unseen, hidden, 

or an optical illusion. That subtlety is 

what will give the design a cohesive 

wholeness, allowing the design, the architecture, 

the furnishings or the landscape 

to become the focus in a particular space, 

not the light luminaires or the lighted 

bulbs glaring out from within them. 

Task light 

This is illumination for performing 

work-related activities, such as reading, 

cutting vegetables and sorting laundry. 

The optimal task light is located 

between your head and your work sur- 

(left, before and right, after) 

This living room uses light layering to 

create a comfortable, inviting environment. 

The ambient light, which comes from the 

indirect lighting by Starfire, adds the 

much-needed fill light which softens shadows 

on peoples faces. Recessed adjustable low 

voltage fixtures by Lucifer Lighting 

highlight the art glass, paintings, 

greenery and table tops. 



face. That’s why lighting from above isn’t 

a good source of task light, because your 

head casts a shadow onto your book, 

computer keyboard or ransom note. 

Overhead lighting or incorrectly 

placed task lighting often contributes to 

the problem of veiling reflection. This 

occurs when light comes from the ceiling 

directly in front of you, hitting the 

paper at such an angle that the glare is 

Simply putting 

ambient light 

on one 

dimmer 

and 

accent 

lighting on 

another 

provides a 

whole range 

of 

illumination 

level 

settings. 

reflected directly into your eyes. This 

causes unnecessary eye fatigue. Veiling 

reflection is the mirror-like reflection of a 

light source on a shiny surface. The surface 

may be a magazine page, thermal 

fax paper, or any visual task that has 

shiny ink, pencil lead, or any amount of 

glossiness. The veiling reflection is a 

bright image that washes out the contrast 

of the print or picture. 

Another related term is photo-pigment 

bleaching. When you try to read a 

book or a magazine outside, sometimes 

www.iesna.org


This plain home in 

Palm Springs, Calif. comes 

alive at night with the 

addition of color corrected 

lighting for the new 

plantings and facade. 

The dramatic lighting 

draws visitors to the 

front door without 

glaring in their eyes. 

the brightness of the page makes it difficult 

to read. You end up moving to a 

shaded spot or tilting the magazine until 

the sun isn’t hitting it directly. 

Veiling Reflection: This refers to the glare 

and eye fatigue resulting from overhead 

light hitting directly on white paper with 

black ink, as if you were trying to read 

through a veil. 

A reflective surface is always a reflective 

surface, which means you can’t eliminate 

glare if you are focusing light onto 

a mirror-like finish. 

What you can do is redirect that glare 

away from the normal viewing angle. 

That’s why a light coming in from one side 

or both sides of your direction of view is 

more effective. It redirects the glare. 

Portable tabletop luminaires with solid 

shades often do the best job for casual 

reading, because they better direct the 

light and do not visually overpower the 

room when turned up to the correct 

intensity for the job at hand. You may be 

thinking, “Well, that’s fine and dandy for 

some Euro-chic interior, but what about 

my Louis the Sixteenth library?” 

Well, a boullotte lamp does a great job 

of task lighting, as does a banker’s lamp. 

Fluorescent or incandescent linear shelf 

lights, too, are a good source of task illumination 

at a desk with a shelf above the 

work surface or in the kitchen mounted 

under the overhead cabinets. 

Ambient light 

Ambient light is the soft, general illumination 

that fills the volume of a room 

with a glow of light, and softens the 

shadows on people’s faces. It is the most 

important of the four functions of light, 

but it is often the one element that is left 

out of the design of a room or space. 

The best ambient light comes from 

sources that bounce illumination off the 

ceiling and walls. Luminaires such as 

opaque wall sconces, torchieres, indirect 

pendants and cove lighting can provide a 

subtle general illumination without 

drawing attention to them. You could 

call it the open-hearth effect, where the 

room seems to be filled with the light of 

a glowing fire. 

Just filling a room with table lamps is 

not an adequate source of general illumination. 

The space becomes a lampshade 

showroom, where the table lamps are the 

first thing people see as they enter. Let 

these portable luminaires be a decorative 

source, creating little islands of light. 

Using opaque shades and perforated 

metal lids can turn these luminaires into 

more effective reading lights. Utilizing 

other sources to provide the necessary 

ambient light lets the decorative luminaires 

create the illusion of illuminating 

the room, without dominating the design. 

This inclusion of an ambient light 

source works only if the ceiling is light in 

color. A rich aubergine ceiling in a 

Victorian dining room or a dark wooden 

ceiling in a cabin retreat would make 

indirect light sources ineffective, because 

the dark surfaces absorb light instead of 

reflecting it. 

One solution to this situation is to 

lighten the color of the ceiling. Yes, 

sometimes the answer is to alter the environment 

rather than change the light 

source. Instead of the whole ceiling 

being eggplant-colored, how about a 

wide border in that color with the rest of 

the ceiling done in a cream color or similar 

hue? Using a traditional chandelier 

with a hidden halogen source could 

complement the design, while adding a 

modern sensibility. 

A wooden ceiling could be washed 

with an opaque stain that gives it a more 

weathered look without taking away 

from the wood feel itself, as simple painting 

would do. 

Say that your clients are dead-set 

against changing the color. A second 

possibility would be to use a luminaire 

that essentially provides its own ceiling. 

One luminaire that has been out on the 

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

a tall rice paper lantern from Ambiente offers a decorative 

glow, as do the two tall candlesticks. The series of blown 

glass pendants by Lite Source add decorative/ambient light 

for this compact galley kitchen. Xenon Puk Lights by 

Lucifer Lighting provide task light for the counter tops and 

additional Puk lights in the base of the upper glass-faced 

cabinets help punch out the architectural detailing. 

(right) This compact living room/dining room uses light to 

create a greater feeling of space. The Chip wall sconces 

by Koch & Lowy cast a dramatic shadow pattern on the 

wall, while recessed fixtures illuminate the arrangement 

on the dining table and the objects on the banquette. 



market for many years is the RLM pendant. 

It has a white interior fitted with a 

silver bowl reflector lamp (such as a 

150A21SBIF). The illumination is 

bounced off the inside of the shade itself, 

instead of the ceiling, to provide an adequate 

level of ambient light. 

There are more modern versions of 

the RLM, such as Spectro by Boyd 

The best 

ambient light 

comes 

from sources 

that bounce 

illumination 

off the 

ceiling and 

walls. 

Lighting or the Spilla Vetro by Flos. The 

halogen source fitted within an integral 

reflector bounces light off the dishshaped 

reflector and down into the space 

below. 

Ambient light, too, just like the other 

three functions, should not be used by 

itself. What you end up with is the 

cloudy day effect, where everything is of 

the same value, without depth or dimension. 

Ambient light alone is a flat light. It 

is only one component of well-designed 

lighting. 

Light layering 

A lighting design is successful when 

these four functions of light are layered 

within a room to create a fully usable, 

adaptive space. Good lighting does not 

draw attention to itself, but to the other 

design aspects of the environment. 

Once you have a good understanding 

of the functions of light and have communicated 

it successfully to your clients, 

then you can decide which are needed 

for a specific area. An entryway, for 

example, desperately needs ambient and 

accent light, but may not need any task 

light, because no work is going to be 

done in the entry. However, there may be 

a coat closet, which would need some 

task-oriented illumination. 

What we often see is a house lighted 

for entertaining only: a very dramatic, 

glitzy look. Many of the design magazines 

also show this type of lighting 

design, nearly exclusively. Every vase, 

painting, sculpture and ashtray glistens 

in its own pool of illumination. Yet, the 

seating area remains in darkness. What 

are these people going to do for light 

when they want to go through the mail, 

do their taxes or put a puzzle together 

with their kids? 

Also, the design magazines don’t tell 

you that they often add lighting specifically 

for photographing the rooms. 

Those lights won’t be there when someone 

is living in the house, and the effect 

won’t be nearly as wonderful. What it 

does do is give clients a false sense of 

what type of illumination downlights 

alone can provide. 

Please remember that people entertain 

only part of the time. The rest of the time 

these rooms are used to do homework, 

clean and interact with other family members. 

This doesn’t mean that you should 

eliminate accent lighting; just don’t make 

it the only option. Simply putting ambient 

light on one dimmer and accent lighting 

on another provides a whole range of illumination 

level settings. 

As your clients become more sophisticated 

about what they want, you should 

have the knowledge to give them what 

they want and need. 

Once a project is finished and someone 

walks in and says, “Oh, you put in 

track lighting,” it means that the lighting 

system itself is the first thing seen. If 

they walk in and say, “You look great!” 

or, “Is that a new painting?” then you 

know the lighting has been successfully 

integrated into the overall room design. 

Subtle is good. 

Randall Whitehead is an affiliate president for 

Randall Whitehead International, in San 

Francisco. 

www.iesna.org


If late one night, after everyone has 

gone home, you find yourself sitting 

on top of a 10 ft ladder with a can of 

spray paint and a roll of duct tape, you 

are most likely involved in an 11th hour 

fix. In some cosmic sense, you are probably 

being punished for sins committed 

earlier in the lighting project. 

Most of us love the design concept 

phase, tolerate the design documentation 

phase and delegate the project management 

phase. It is not surprising that 

things go wrong during the phase where 

we spend the least amount of quality 

time. 

Except for back luck, most of the 

things that can go wrong with a lighting 

project are identifiable and avoidable. 

Good communication and documentation 

throughout the project from concept 

to focusing will go a long way 

towards avoiding the things that can go 

wrong. 

Join Addison Kelly and David Apfel 

for an illustrated tour through a typical 

11th Hour Fixes 

Preempting disaster, by learning to sidestep the pitfalls 

of construction during the design process can save time 

and money. David Apfel and Addison G. Kelly will 

help designers avoid 11th hour fixes. 

FRIDAY, JUNE 1, 2001, 2:00 - 3:30 PM 

lighting design project. We will identify 

the potential pitfalls and where they 

occur in the project schedule. We will 

review each problem area and indicate 

the steps that can be taken to avoid 11th 

hour fixes. Listed below are just some of 

the things that can go wrong during the 

construction and focusing phases of a 

project: 

Construction Phase 

• Contractor refuses to order lighting 

equipment in a timely manner, hoping 

that a delivery crisis will allow him to 

substitute. 

• Lighting equipment manufacturer 

cannot meet schedule. 

• Poor documentation or construction 

site conditions result in relocated ductwork, 

tight ceiling plenum conditions, 

and light coves not correctly built. 

• Lighting equipment installed in the 

wrong location. 

• Wrong lamps are installed in the 

luminaires. 

• Wall washers are installed lighting 

out into the room. 

• At a pre-completion walk-through, 

before the finishing materials and furniture 

are in place, the space feels too 

bright or too dark. 

Focusing Phase 

• No one ever notified the lighting 

designer that the project was complete 

and the lights needed to be focused. 

• The contractor has left with his ladders, 

lifts and scaffolds. How do you 

reach the lighting equipment? 

• The luminaires are too hot to touch. 

• The rotation and pivot mechanisms 

are locked in place and will not move. 

• Lamps have burnt out in 30 percent 

of the luminaires. 

• The local electrical union will not 

allow the lighting designer to focus the 

lights. 

• Your hands get cut because of rough, 

unfinished, metal edges on the interior 

of a luminaire. 

• The luminaires are installed according 

to plan, but the furniture and art 

have moved. 

Also included are illustrated stories of 

the things that went wrong and how 

they were fixed by some of the most brilliant 

lighting designers of our day. Of 

course, names will be changed to protect 

the innocent and the guilty. 

The accompanying illustrations are 

examples of specular materials interacting 

with light sources in a manner never 

intended by the interior designer or the 

lighting designer. Join us and learn how 

to avoid the 11th hour fix. 

David Apfel is the owner of David Apfel 

Lighting Design in New York. Addison Kelly is 

a principal for US Lighting Design Consultants, 

also in New York. 



The Need for Control 

Deciding what types of lighting controls to use in an 

application is of primary importance. Harold Jepsen, 

Leslie North and Sandra Vasconez will provide 

help in making the decision easier. 

THURSDAY, MAY 31, 2001, 4:00 - 5:30 PM 

For most facilities, lighting systems management personnel value the 

are second only to HVAC systems in increased convenience in maintaining 

terms of energy usage. Controlling optimal building operations with automated 

controls. For occupants, the 

these systems is an inextricable part of 

the entire lighting equation. There are advantages of optimal lighting and 

some unavoidable reasons for controlling 

lighting, such as complying with comfort and satisfaction with personal 

adjustable light levels can lead to greater 

energy code provisions that require work environments. 

automated lighting controls in non-residential 

facilities. 

companies that are implementing light- 

While it’s clear to a growing number of 

However, beyond basic compliance, ing controls that there is great potential 

lighting control can provide a variety of for enhancing the operation of a facility, 

benefits for building owners, managers many also acknowledge that developing 

and occupants. For building owners and a lighting control project offers considerable 

potential for pitfalls. An inadequate 

managers, the potential energy savings 

involved with lighting control can be or ineffective controls system can create 

substantial — often 30 percent of total more obstacles than an absence of controls, 

as dissatisfied or frustrated electrical usage or even greater. Facility 

occupants 

may disable or destroy devices to 

resolve their concerns. 

“Control Me!” provides a roadmap 

through the design, selection, and 

implementation of lighting controls in a 

“real-world” context. Structured 

around real-life applications commonly 

found in commercial settings, this seminar 

provides attendees with a comprehensive 

overview about the entire lighting 

controls process, from a logistical 

perspective, as well as a results-oriented 

perspective. 

For instance, seminar leaders will 

explore common applications such as 

open office areas, private offices, conference/training 

rooms, restrooms, common 

areas and exterior lighting. In each 

setting, topics for consideration include 

what the needs of the user(s) are. This 

includes an assessment of who — if anyone 

— feels “ownership” of the space, as 

well as other factors, such as the presence 

of daylight. In addition to user 

needs, other topics include how to select 

a suitable control strategy, what application-specific 

challenges might appear, 

and results or insights gained from 

recent research or case studies involving 

similar applications. 

Before exploring each specific application, 

the seminar reviews some of the 

basics in beginning a lighting controls 

(left) In conference rooms, user needs include flexibility and ease-of-use for selected controls. Architectural dimming controls may be an 

appropriate solution. (right) In an open office setting, there is limited space “ownership” by occupants. There is a need for daytime lighting and the 

ability to override controls after hours. This is accommodated with scheduled control and the use of local “smart” switches. 



For restrooms, occupancy-based control is a natural selection. Lights turn on when the space is occupied, 

and turn off when the space is vacant. 

project. Control parameters need to be 

defined. This includes identifying the 

goals of lighting controls for that specific 

project and factors such as who will 

be maintaining the system and budgetary 

issues. Lighting control strategies 

(i.e., occupancy-based, time scheduled, 

light level control and load shedding) 

must be assessed. 

Another aspect the seminar leaders 

will explore is who will be involved in 

designing a lighting control system; who 

will actually do the design and how it 

will be communicated (i.e., through documents 

such as written specifications, 

schedules, and riser diagrams). 

At this point, the seminar begins to 

explore a “sample office building” to 

put into practice some of the topics 

already discussed. The leaders begin 

with a common application in commercial 

buildings: the open office application. 

In open office settings, there might 

be limited space “ownership” by occupants. 

In addition, there will be the 

need for daytime lighting and the ability 

to override controls after hours for 

individuals working late. This can be 

accommodated by scheduled control 

and the use of local “smart” switches. It 

can also be provided by daylighting 

controls, such as continuous dimming. 

These controls ensure that occupants 

always have the lighting levels needed 

for their tasks. At the Sacramento 

Municipal Utility District, a combination 

of these two control strategies was 

used to achieve the desired energy management 

objectives and to realize energy 

savings. 

In private offices, on the other hand, 

there is usually greater “ownership” by 

the occupant, coupled with the desire to 

control lighting in the space. For these 

reasons, suitable control strategies 

include occupancy-based control or personal 

dimming controls. Evidence that 

these strategies are well suited to this 

type of work environment was revealed 

by a seminal study conducted at the 

National Center for Atmospheric 

Research. This research indicated that 

employees preferred manual controls to 

automatic ones, and actively adjusted 

their own lighting for a variety of reasons. 

In fact, more than 70 percent of 

study participants used portable desktop 

dimmer switches to adjust lighting! And 

in many cases, workers indicated that 

they adjusted their lighting, not for energy 

saving reasons, but to make their 

environment more comfortable to perform 

computer work. 

Conference/training rooms may be 

smaller and occupant-intimate while 

accommodating multiple users and a 

wide range of activities. Here, user 

needs include flexibility and ease-of-use 

for selected controls. In this type of setting, 

architectural dimming controls or 

occupancy-based control may be appropriate 

solutions. 

For restrooms, which experience 

infrequent use and limited space ownership, 

occupancy-based control is a 

natural selection. With this strategy, 

lights will be on when the space is occupied 

and off when vacant. Other types 

of building spaces that have little or no 

ownership are the common areas such 

as lobbies and hallways. These spaces 

also demonstrate characteristics such as 

the need for egress and the frequent 

presence of daylight. For spaces like 

these, the control solution may be 

scheduled, daylighting, occupancybased 

or some combination. 

The primary factor in exterior lighting 

applications is usually protecting occupant 

safety and security. Design factors 

such as multi-phase loads, the presence 

of daylight, and the need to accommodate 

occupant schedules may also influence 

the ultimate control strategy that is 

selected. With factors like these, automated 

scheduled control that relies on 

either astronomic or photocell control is 

ideal for many exterior applications. 

Once the lighting control tour of the 

seminar’s office building is complete, 

attendees will have a deeper understanding 

of the issues involved in 

designing and implementing lighting 

controls. They will also have a number 

of control solutions to explore further in 

the context of their own facilities. The 

seminar will conclude with a brief 

exploration of emerging issues such as 

integrating lighting control and other 

building systems. This discussion will 

look at who the stakeholders are in systems 

integration as well as what the benefits 

and challenges are in the integration 

process. Seminar leaders will also 

touch on some of the communication 

standards and issues between systems. 

Harold Jepsen is a product line manager for The 

Watt Stopper, in Livermore, Calif. Leslie North 

is a senior lighting designer for OWP&P Engineers, 

Inc., in Chicago. Sandra Vasconez is a 

research assistant professor for the Lighting 

Research Center in Troy, N. Y. 



PHOTO: JUSSI TIAINEN 

Fiskars waterfall has been part of the village center for 

350 years. For years, it has given the sound to the night 

of Fiskars. Now the sound is combined with the 

new image of the lighted waterfall. 

Poetry in 

Lighting Design 

Vesa Honkonen and Julle Oksanen 

take attendees on a personal journey of projects, 

which demonstrate the artistic and 

poetic side of lighting design. 

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

standing outside, in the small picturesque village of Fiskars, 

located in Southern Finland. Fiskars is a 350-year-old steel mill 

village. We had darkened the whole area; all the street lights 

were off. A small river with strong current runs through the village. 

The river has always been the heart of Fiskars. 

There are two small waterfalls in the very center of the village. 

We had built a lighting demonstration to one of the waterfalls 

as part of our commission to create a new lighting design 

for the village. We used just one small light caster to lift the 

waterfall from the darkness. Two men were with us: our client, 

the vice-president of Fiskars Company; and a quiet man who 

had lived in Fiskars for his whole life, and had helped us to 

build the demonstrations. The vice-president turned to ask his 

opinion. We were all surprised to notice that this local guy had 

tears in his eyes and he was staring at the waterfall. He said 

whispering, “All my life, I have just heard that water in the 

darkness. Now I can also see it after 50 years, and it is so beautiful.” 

This experience made us think about the power of light 

and our responsibility as designers. 

The power of light 

If we really think about it, it is impossible to work with the 

light itself. Light is meaningless before it meets something. 

Light earns its life when it starts to play with surfaces, materials, 

places, locations. On our way to be lighting designers we 

learn about light, lamps and fixtures, but we should pay even 

more attention to studying the environment, place, objects, 

which will be our true client. Lighting a city or a town, is an 

extremely demanding challenge. Part of the stories are written 

www.iesna.org 

THURSDAY, MAY 31, 2001, 2:00 - 3:30 PM



with stone and concrete, some of them live in stories and 

books. Then there are hidden stories that carry enormous 

power within, the memories of the people — places to fall in 

love, places for the first kiss, places for joy and happiness, for 

loss and sorrow. 

Does a painting exist if no one is looking at it? Does a 

poem exist if no one reads it? These are eternal philosophical 

questions. 

I have started to realize that the place where our design gets 

its life and meaning is not where it physically exists. We are 

doing our design for people to experience and feel. The space 

with light is created inside people’s mind and soul. There, it has 

its final interpretation, People’s experience in our work is seen 

through all those personal layers of memories, education, feelings 

and connotations. 

Our design is created with steel, electricity and glass. With 

those materials, we create light. Our light meets the stones, 

concrete and wood the way we have determined. How well we 

succeed depends on our capability and sensitivity to understand 

the location and the stories written into common heritage 

of the site. We highlight some things, others we leave to 

darkness. We continue the tradition of the storytellers of the 

place, adding our new layer to the history of the site. 

How to be a good lighting designer 

Philosophy of light: No matter how weird, sentimental or 

scientific it is, you have to have it. You have to have your own 

personal point of view. Then you have to be able to analyze and 

read the place, and know your task. When you have all this, 

you still have to be able to tell the stories of places with light. 

You have to be able to master the techniques at the same time. 

The Fiskars Park bollard fixture creates spots of light in the darkness. 

People walk through intervals of light and darkness. The bollard’s 

material is rusted steel. The form language has its origins in one of the 

early Fiskars steel mill products — railroad track spikes. 

Due to these reasons, we believe that a good lighting designer 

should understand lighting, architecture, urban design, electrical 

engineering physics, psychology, semiology, history, etc. 

This is also the reason why we believe that lighting design is 

team work. 

In our team, we have the training of an experienced architect 

and an experienced electrical engineer with both having experience 

in lighting design; and even this is not enough. You have 

to be able to say: “I do not know, let me ask somebody.” 

With these resources, we might be able to create good lighting, 

which might rise to the level where we can talk about the 

Poetry of light. Spirit, the soul, creates the poem; cities and 

places are our paper and canvas; and light and darkness are 

our pen. 

The canvas of the lighting designer is dark black; that is 

where it all starts. Studies of light have made me think about 

the dualistic nature of things. Light and darkness, sound and 

silence, movement and stand still, the play of pairs. I call one 

the power part; the other part is the basic level. 

Darkness is the origin, the state of being without any life, 

without any concept of space. For some people, total darkness 

PHOTO: TAPIO VANHATALO 

The Fiskars Street fixture shows its directly aimed light best in rain and 

fog. The steel pole is vertical for the first 4 m. Then, it starts to lean back 

slightly. This move allows the light to attach to its own body. A small 

stripe of light on that leaning steel tube reveals the structure in the night. 



PHOTO: VESA HONKONEN 

is scary and threatening. For me, it means peace and rest. Light 

is the outburst of energy, life. It is always produced somehow. 

It will last as long as the reaction causing it is alive. Light has 

the concept of time built in it.Two separate lights can give a 

meaning or dimension. Time to darkness can be measured by 

marking the boundaries for the indefinable darkness, including 

an end and a starting point. 

This approach is easy to repeat with sound and silence. Total 

silence has no dimensions for our senses. Sound is an outburst, 

created with energy. Sound itself has a length, which can be 

measured both by time and quantity. Music contains many 

extremely powerful examples of the power of silence. Two 

notes, which mark the beginning and the end of a silence, are 

usually the most powerful moments of many symphonies. But, 

there are also quiet moments between two notes. During the 

wait for the next sound, you can almost feel the time and anticipation. 

Silence gets a meaning and a length. 

In order to see light, study darkness; in order to hear sound, 

study silence. This indicates the poetry in lighting design 

Poems in figures and calculations 

The history of electrical lighting is short, only some 100 

years. As always in culture, various factors direct the progress. 

We seldom realize that one of the biggest factors to our exterior 

lighting quality is the energy crisis in the 1970s. 

In order to achieve efficient lighting, lamp manufacturers 

started to concentrate on high pressure and low pressure sodium 

lamps. Sales were great but the quality was in question. As 

always, using those lamps was almost like a fashion. Yellow fog 

covered the quality aspects. 

Similar things have happened in many other fields also. The 

progress has been directed by technically orientated people, 

and it takes a while before design and visually orientated professionals 

get involved. Now it seems the time is right for high 

quality lighting. The lamp manufacturers have also noticed this 

progress. Light sources have become smaller, with greater 

www.iesna.org 

The Railway Station Plaza fixture in front of architect 

Eliel Saarinen’s station building. 

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

This has given new possibilities, as well as new challenges to 

lighting fixture design. The world is open for good design combined 

with high quality techniques. 

Let’s take a look at two examples, the Railway Station Plaza 

in Helsinki with Eliel Saarinen’s architecture and the Aura River 

in Turku, which is the oldest city of Finland. In both cases, the 

goal has been to combine design and high quality techniques 

in harmony. As always, when facing something new, people 

reject. We also met a reasonable amount of resistance and critics 

based on other arguments like; “we have never done it this 

way.” But in the end, the result speaks for it self. 

The Railway Station Plaza project was the result of a winning 

design competition entry, done in co-operation with 

Philip Gabriel. The place is culturally and architecturally 

important. After a long path of various design phases we 

came to the solution to light the plaza with just one type of 

luminaire, a 4.5 m tall indirect fixture. We used 150 W 

ceramic metal halide lamps. The pole was 140 mm thick. One 

lamp was located on the top part of the pole to take care of 

the indirect light and the other was inserted to height of 2.2 

m to create direct facade lighting. 

The battle for the right light distribution, lamp chamber



100 trees with tree 

luminaires in Turku. 

The best possible indirect 

lighting fixture is located 

above the River and 

the moon. 

and optics was long. We had to hit the indirect reflector part 

with light exactly the right way. The maximum luminance of 

the reflector part is the same as full moon (average value 

1,100 cd/sq. with variation from 500-2,500 cd/sq). All the 

values were measured, E hor-, E vertical-, E hemispherical-, 

E semicylindrical- and symmetrical, in order to evaluate the 

quality of the minimized size lamp chamber and its light. 

One luminaire can cover a 30 x 16 m area with reasonable E 

hor values. Selected and summed up values for whole calculation 

area were the following: E hor average: 20 lx; E hor 

minimum average: 8 lx; and E semicylindrical minimum 

average: 1.2 lx. Elevations got 5 cd/sq. 

We put a lot of effort to minimize the glare. We evaluated the 

luminaire as post top and road lighting luminaire. All the measurements 

have shown that this luminaire achieves excellent 

values. When maximum L 0.25 values for post top luminaires 

which we have measured, have been 8,000 (extremely bright, 

3,000-7,000 is nowadays regarded as acceptable), our fixture 

was 600. After this, we were excited to study our luminaires 

glare values using the road lighting fixture measurements. The 

glare for the road lighting luminaire is presented with glare 

value G, nuisance glare, with values 1, 3, 5, 7, 9. In this table, 

1 is glary and 9 is unnoticeable. Our fixture achieved the theoretical 

value of 9.5. 

These evaluation tools, glare, uniformity, luminance, different 

illuminance values, are usually studied and evaluated separately 

and they do not affect one another. 

However, a fixture can produce a lot of light on the road even 

though it is fairly glary. That kind of fixture can be regarded as 

efficient and good one. 

At the same time, a luminaire, which creates less light and 

has no glare, is much more efficient, since the glare does not 

prevent our eyes to see clearly. We are saying that the glare values 

should be part of the formulas estimating the efficiency. 

Glare and light distribution should not be two separate things. 

There are many things to be studied. Our statement to this discussion 

can be seen at the Railway Station Plaza. 

The Aura River project included all the elements of a public 

space lighting with a great river area with bridges. One example 

is the story of how we lighted the trees. 

Usually trees are lighted either with underground luminaires 

or with floodlights. Both options create several glary light distribution 

surfaces with glare causing veiling luminance to 

observer’s eyes. Floodlights also create big visual elements to 

sensitive historical environment. 

We started to study a luminaire, which would be simple, 

effective and would not have any glare. The solution was to 

locate the light source to a height of 3 m with a 60 mm pole. 

The lamp chamber has 2 x 150 W ceramic metalhalide lamps. 

Lumen output is 30,000 lm. Each tree has its own fixture, 

always located on the same side of the tree. This creates the difference 

to the quality of light, depending on which direction 

you approach from. 

In the beginning of the project we had a demonstration 

with the luminaires at the site. An older couple came to us, 

stopped just under the fixtures, looked around and said: 

“What a beautiful light, but where does it come from?” We 

knew we had succeeded. 

Vesa Honkonen is an architect and lighting designer for Vesa Honkonen 

Architects in Helsinki, Finland. Julle Oksanen is a lighting designer for 

Teakon, also in Helsinki. 



Communicating at the 

Speed of e 

Brian Cronin and Anthony Long, of Planetmouse, 

Inc., hope to ease the wary minds of those skeptical 

of the power and benefits the Internet can 

bring to their business. 

FRIDAY, JUNE 1, 2001, 10:30 AM - 12:00 PM 

Why do I need to incorporate the 

Internet into my business? This 

is a good question, and representative 

of the synergetic, yet sometimes nebulous 

relationship between the burgeoning 

technology and the quintessential 

challenges associated with business. In 

our upcoming presentation on Interactivity 

at LIGHTFAIR INTERNA- 

TIONAL, Planetmouse will not only 

aim to shed light on the basic principles 

that govern interactivity, but will 

also reveal the potential of the Internet 

to transform both businesses and 

everyday reality. 

The Internet represents many things 

to many people. To some, it is a vast sea 

of information. To others, it is a conduit 

for communications. There are those 

who still envision tremendous e-commerce 

potential for the Internet, while 

many see it simply as a source of entertainment. 

In short, the Internet feeds 

heads of many different shapes, sizes, 

cultures and beliefs. With billions of us 

buzzing around this big, spinning rock 

with our heads reasonably intact, I’m 

guessing that interactivity will be here 

for a while. 

www.iesna.org 

So, what does “e” mean? Literally, “e” 

stands for electronic, which is a rather 

generic term these days, similar to the 

the Internet 

feeds 

heads of 

many different 

shapes, 

sizes, 

cultures 

and beliefs 

way folks toss around the word “digital.” 

If something isn’t digital, then it 

isn’t first-rate. 

Acquiring a fundamental understanding 

of interactive basics is a necessity 

today. This working knowledge will 

not only help to avoid confusion, but 

will allow for more effective strategic 

planning. While securing a grasp on the 

basics is a good place to start, it’s important 

to know how the Internet can support 

and enhance ongoing business 

plans. That’s why we are heading to Las 

Vegas in May. We can help you understand 

the advantages of harnessing 

interactivity. 

Getting Started: Interactivity is all 

about bringing business to the Internet 

and vice versa. This is what Planetmouse 

is all about. Since our inception in the 

mid-1990s, our primary purpose has 

been to help our clients understand, 

strategize and implement interactivity 

into their business plans. As a result, we 

plan to touch on the following at 


• Plugging the Gaps: How the 

Internet can make your organization 

more effective. 

• Scope & Scale: Addressing both 

large and small web initiatives (the differences 

and similarities). 

• Experience vs. Inexperience: The 

goal is still the same — increased efficiency 

and productivity. 

• Resource Options: The Who, What, 

Where, When, Why and How of interactive 

resources. 

Staying Connected: The impact of 

online communications can be felt 

immediately upon implementation. If, 

for no other reason, companies must 

establish an interactive presence to fortify 

this essential business element. Topics 

will include: 

• Plugging In & Turning On: 

Accessing the Web for fun & profit. 

• Communication: Using email and 

other web-based tools to bolster communications 

efforts. 

LD+A/May 2001 77


• Basic Tools: Which options are right 

for your business? 

• For The Geeks: PDAs, Digital 

Wireless Telecom, Portable Web Access 

& Voice Over IP. 

Online Research: The Internet is a vast 

resource for information. Conducting 

research on an industry, specific markets, 

competitors, vendors and suppliers only 

takes a few clicks of the keyboard or 

mouse. Here, we will discuss things like: 

• Working with search engines 

• Information web resources 

• Competitive and market intelligence 

• Customer data 

• Web communities/peers 

Website Planning: Why do you need a 

website? How will a site enhance your 

overall business objectives? What makes 

a site effective? How do I avoid common 

mistakes? These and other questions 

regarding website planning, development, 

design and implementation will be 

discussed in this section. 

• Establish an high-impact interactive 

presence 

• Extending “reach” beyond geographic 

and market barriers 

• Information vs. design 

• Relevance and freshness 

• Function and form issues 

• Success criteria 

Website Construction: There are all 

sorts of tasks and issues to address before 

breaking ground on a website. Handling 

them properly can mean the difference 

between a smooth project and a rocky 

ride. These issues include: 

• User interface priorities 

• Domain name registration 

• Hiring an ISP/web host 

• “Beta” vs. “Final:” Content development 

• Breaking Ground: Professional 

design vs. Do-It-Yourself (DIY) 

Website Repair: As with any physical 

construction project, there are ultimately 

some components that either stray from 

spec or require re-tasking. The Internet is 

still in its infancy and will continue to 

evolve in its state of flux in the near 

future. A website should also be a fluid, 

adaptive appliance 

• Internal vs. external perceptions 

• “Small” vs. “large” changes 

• Evolving expectations 

• Driving improvements to results 

• Costs/budget tracking 

360 Degree Marketing and Online 

Branding: When marketing and promoting 

a business, choosing the right tools 

it’s important 

to know 

how the 

Internet 

can 

support and 

enhance 

ongoing 

business 

plans. 

for the job is key. Blending both online 

and offline efforts into a cohesive marketing 

plan will minimize cost and maximize 

the overall impact 

• Integration: Integrating interactive 

tools into your marketing mix. 

• Targeting: Strengthening the link 

between your customers, partners and 

vendors. 

• Branding: Analysis, strategy, building 

and tracking of your brand online. 

What Management Needs to Know: 

There are some basic decision-making 

issues for both large and small organizations 

to keep in mind. We will discuss 

some of the elements that make up a 

sound interactive game plan: 

• Marketing vs. Strategy: Who should 

drive the interactive bus? 

• Management Buy-In: Setting 

Goals… Evaluating Results 

• Project Management: Meeting timelines 

and managing the workflow 

• Content Management: Exceeding 

audience expectations 

• Cost and Budgeting 

Other Interactive Issues: Time permitting, 

we have some additional issues to 

consider when implementing an interactive 

strategy. Concepts like the Role of 

Multimedia and E-Business Best Practices 

cover a broad range of pertinent 

subject matter, including: 

• Audience/hardware sophistication 

• Connectivity issues 

• Shelf Life: Sizzle vs. substance 

• Transparency 

• Fast turnaround 

Our goal at LIGHTFAIR INTERNA- 

TIONAL is to foster an interactive dialogue 

with the audience during our presentation. 

If the group wants to chew on 

a specific topic for a while, we will gnaw 

away until everyone is satisfied. 

This is a quite a bit of ground to 

cover in a two-hour presentation. 

However, each component represents 

an important segment of the overall 

interactive puzzle. Missing or misplaced 

pieces can affect the performance 

of the entire endeavor and jeopardize 

its success. Function and Form 

must work in concert to provide the 

user with a stimulating and rewarding 

interactive experience. 

The business world is just as fierce, 

competitive and unforgiving as it was 

before the advent of the World Wide 

Web. Success will ultimately depend on 

preparation, creativity and cunning. If 

you can’t deliver the goods, someone 

else will. 

Anthony Long is president, and Brian Cronin is 

the director of business development for Planetmouse, 

Inc. in New York. 



Merchandising 

Retail Environments 

with Light 

Helmut O. Paidasch offers insight into creating a 

more customer-friendly retail environment, by addressing 

three aspects: visual comfort, display and ambience. 

THURSDAY, MAY 31, 2001, 8:30 - 10:00 AM 

In today’s competitive market, it is 

essential for every retailer, large or 

small, to consider all items of his store as 

an attraction to draw the attention of 

prospective customers. 

Architects and interior designers 

must capture the aesthetically pleasing 

surroundings coupled with captivating 

and imaginary interior design. Shopping 

centers and large department 

stores are no longer focused on single 

shopping activities, but have become 

centers of meeting places and emulate 

the plaza environment. 

Light is a fundamental prerequisite in 

the retail environment. It determines 

form, color and texture, and also creates 

ambience, which can enhance or detract 

from merchandising on display. 

In the ’80s and ’90s, the retail industry 

witnessed an exceptional increase in 

the development and application of 

lamps and luminaires (fixtures). In 

these years, shopping centers expanded 

with ever-increasing fervor, placing 

innovative demands on the skills of the 

lighting designer. Architectural designs 

for shopping malls and retail centers 

influenced by the continuous change in 

fashion trends, have contributed to a 

heightened recognition of the importance 

of lighting. 

It is now well established that good 

lighting is fundamental for successful 

salesmanship; it sets the mood and 

reflects the enterprising attitude of the 

retail outlet. It will give the retailer a 

competitive edge and can also create a 

corporate image. 

Technological advancements are now 

presenting the lighting designer with 

solutions to meet new challenges. These 

developments are augmented by the 

awareness of architects and store designers 

that good lighting not only contributes 

to the overall image of the retail 

outlet, but also attracts prospective customers 

to stop and shop. 

The lighting designer must consider 

and be aware at all times that the visual 

effect on customers is of paramount 

importance. Generally there are three 

aspects to consider: visual comfort, visual 

display and visual ambience. 

Visual comfort: suggests no glare, good 

color rendering and adequate illumination 

for the items on display. Glare mostly 

comes in two forms — disability glare 

or discomfort glare — and it can be 

direct or reflected. The most common 

manifestation of glare is produced by 

luminance directly within one’s visual 

field, and is greater than the luminance 

to which the eyes have already adapted. 

Glare causes reduced visibility, discomfort 

and irritation, not only to customers 

but sales staff as well. Glare in the shopping 

environment is attributed mainly 

from luminaries, lamps or both. In most 

cases, it can be corrected by aiming 

adjustments. The introduction of controlled 

glare in a lighting installation can 

contribute sparkle. 

Visual display: requires satisfactory 

lighting levels so that color, fabric and 

merchandise is easy recognizable. Fabric 

and texture may look the same under 

(left) An optimum level of visual comfort means no glare, with good color rendering and adequate illumination for the items on display. 

(right) Visual ambience is the overall impression the customers perceive when entering the store. Low, soft illumination should invite the shopper 

into the store, where more colorful, elegant displays await. 



Visual display requires satisfactory 

lighting levels so that color, fabric and 

merchandise is easily recognizable. 

The choice between various types of 

lamps should be made in terms of 

color rendering and color appearance. 

one source but entirely different under 

another light source. Metamerism is the 

term used to describe light sources of different 

spectral composition, but of the 

Low and 

soft 

illumination 

should invite 

the shopper 

into a 

friendly 

and 

colorful 

atmosphere 

same color appearance. Color samples 

may look the same under one light 

source, but different under another light 

source. For best results the choice 

between various types of lamps should 

be made in terms of color rendering and 

www.iesna.org 

color appearance. Good color rendering 

is especially beneficial when merchandise 

is selected by virtue of its color. 

Visual ambience: is the overall impression 

the customers perceive on entering 

the store. Low and soft illumination 

should invite the shopper into a friendly 

and colorful atmosphere where a 

world of enticing and elegant displays 

awaits. Merchandising should be 

offered on well-designed and illuminated 

display counters generating a powerful 

ambience. 

Lighting for the retail environment 

can be separated into three parts: ambient, 

background and display or accent. 

The simplest and most effective formula 

to illuminate this areas is” double and 

double.” It is a well-applied and proven 

method. With an ambient of 400 lx, the 

background illumination should be 800 

lx and accent illumination should be 

1600 lx. This combination will help to 

ensure that the shopper’s attention is 

directed to the merchandise of his or her 

choice. 

The ceaseless changes in the field of 

electronics should remind lighting 

designers what is state-of-the-art today 

might be outmoded tomorrow by new 

developments in either lamps, luminaires 

or control equipment. The lighting 

designer must maintain a vigil on all 

developments in his field of endeavor. It 

is obvious that to be proficient at 

“Merchandising the Retail Environment 

with Light” requires that the lighting 

designer has artistic skills, as well as 

astute technical awareness. 

With budget restrictions, all expenditure 

for lighting has to be justified and 

each of the following points demand 

serious consideration: capital outlay, utility 

consumption cost and annual maintenance 

cost. Designers must be alert to 

incorporate all three points when submitting 

a presentation. 

Although the final lighting installation 

is highly subjective, there is an interrelationship 

between the design and the 

profitability of the store. In the final 

analysis, it is the cash register that is the 

measure of success. 

Helmut O. Paidasch is a principal for HOP 

Illuminations & Associates, PYT LTD, Beecroft, 

Australia.

Circle 100 on Reader Service Card. 

elliptipar now offers very low profile 

compact luminaires in one- and 

two-lamp styles for lighting vertical 

surfaces, and a three-lamp style to 

add uplighting. Features include 

LIGHT 

PRODUCTS 

adjustable aiming; radial vertical 

blade baffle for 25 degree lengthwise 

shielding; integral electronic 

ballast (dimming and emergency 

optional); all aluminum and stainless 

steel construction and continuous 

rows with through wiring and 

quick connectors. The precise optical 

control of the T5 or T5HO fluorescent 

lamp in elliptipar’s high performance 

asymmetric reflector projects 

maximum peak candlepower 

down a vertical plane with exceptional 

uniformity. 

and top of the luminaires are made 

from an exclusive New Metal Crafts 

pattern. A four-leaf cup holds the 

lamps, and a crown of bronze leaves 

complete the design. The luminaire 

measures 44 in. in diameter (less 

lamps) x 38 in. 


The new HIR XL Ultra Life PAR 

lamp from General Electric Company 

lasts three times (6,000 

hours) longer than standard halogen 

PAR, says the company. The product 

provides excellent color rendering 

and beam control in virtually alllighting 

applications. The HIR XL 

Ultra Life PAR is available in three 

wattages — 45, 55 and 90 — as 

well as 12 degree and 40 degree 

beam spreads. 

d’ac now offers ADA compliant 

wall sconces and ceiling luminaires 

through its Portholes and 

Crossroads line. Both styles share 

a bold, circular design with architectural 

detailing. A 16 in. diameter 

trim ring and 13 in. diameter 

lens protrude from each mounting 

surface a mere 4 in., creating 

visually striking, geometric design 

continuity in a fresh, contemporary 

aesthetic. 


Kichler’s new luminaire is a resin 

frog figure holding a lite copper 

umbrella. In addition, the company 

offers a complementary standalone 

copper umbrella. Standing 23 

in. tall, the luminaire will develop its 

own natural patina over time and is 

supplied with a long-life Krypton 

18.5 W lamp. 


Based on an early electric design, 

circa the 1900s, New Metal Crafts 

now offers a custom designed commercial 

metal luminaire chandelier. 

Finished in antique bronze, the 

chandelier features a center of 

hand-formed decorative acanthus 

leaves. Fronds of leaves reach out 

to a metal ring that holds 16 lamps, 

separated by decorative rosettes. 

Also, cast iron finials at the bottom 


To better provide softly diffused 

ambient interior lighting in a contemporary, 

geometric design aesthetic 

for a range of commercial 

and upscale residential corridors, 


Bartco Lighting introduced its new 

Slide by Side adjustable staggered 

low-profile luminaire. The design, 

an original of Bartco Lighting, is a 

two-lamp linear luminaire that can 

be adjusted to varied spaces and 

still provide a continuous glow. The 

T5 comes with a high output ballast 

option, while the T8 is available 

with a high output, emergency or 

dimming ballast. Both T5 and T8 linear 

fluorescent lamps are available 

in 120 or 277 V. 


shallow reflector to accent any 

urban boulevard, town square, commercial 

shopping district, park or 

college campus. 



Ledalite’s new Steelform family of 

steel linear lighting systems includes 

the Soleo, Venza and InCove 

product series, each with a range of 

T8 and T5HO fluorescent lamp 

options. Color choices for Soleo and 

Venza series include white and a 

natural steel color finish that 

comes with translucent end caps in 

seven different colors. 

Holophane now offers Lyon Series 

luminaires in new detailed literature. 

The luminaires are offered 

with IES Type II/4 way, Type III 

(asymmetric), Type IV (asymmetric), 

and Type V (symmetric) photometric 

light distributions for outstanding 

performance in any application. 

Designers may choose from 

high-pressure sodium, metal halide 

and mercury vapor lamps. Wattages 

range from 35 to 175. The 

Lyon series luminaires feature a 


Infinity Lighting, Inc. introduces its 

new XO15 luminaire. The XO15 

provides a variety of lamp options in 

an all aluminium-extruded housing. 

It can be used for general application 

or as an architectural solution. 

The XO15 is offered in both octagonal 

and square shapes, and can 

house incandescent, HID, fluorescent 

and ICETRON lamps. 

Lithonia Lighting has introduced 

the Sculpture Series 

surfaced mounted fluorescent 

luminaires. Providing 

both direct and indirect 

Circle 93 on Reader Service Card. lighting, the new fixtures 

are appropriate for residential 

use, as well as for lighting commercial environments. The 

Sculpture Series features a distinctive frame in a choice of three 

low-profile designs. All are equipped with three 40 W compact fluorescent 

lamps and quiet, energy-efficient electronic ballasts. 


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

indirect/direct luminaire design imported from Regent Beleuchtungskörper 

AG. Smile’s angular wings with reeded acrylic satin 

diffusers dispense soft, even indirect/direct illumination across 

ceilings and walls and into the workplace, contributing to user 

comfort, while adding highlight and definition to people and 

objects below. Ceiling-suspended and wall-mounted luminaires 

may be combined for design integration throughout a facility. Wallmounted 

variations are available in 2 ft and 4 ft lengths and have 

a high-quality extruded aluminum channel with matte-anodized finish 

for color-neutral integration in interior architecture. 

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