Cover 1_rto4 - Illuminating Engineering Society

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