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LIGHTFAIR INTERNATIONAL SEMINAR PREVIEW (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. 62 LD+A/May 2001 www.iesna.org
LIGHTFAIR INTERNATIONAL SEMINAR PREVIEW 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
Page 1 and 2: RETAIL LIGHTING Lighting Design + A
Page 3 and 4: Willard L. Warren, PE, LC, FIESNA W
Page 5 and 6: SPECIFICATION SALES STRATEGIES Li H
Page 7 and 8: individual member. It is suggested
Page 9 and 10: Willard L. Warren, PE, LC, FIESNA A
Page 11 and 12: Brian Cronin, Director of Business
Page 13 and 14: Members in the News OSRAM SYLVANIA,
Page 15 and 16: 2001 IIDA Entries The following des
Page 17 and 18: IIDA Entries continued from previou
Page 19 and 20: Public Review of the Draft American
Page 21 and 22: P H O T O N S NOTES ON LIGHTING DES
Page 23 and 24: held on to their attachment to some
Page 25 and 26: Keeping with the luminous nature of
Page 27 and 28: the store. This will prevent flat,
Page 29 and 30: decor progresses east to west, from
Page 31 and 32: PHOTOS: RTKL ASSOCIATES, INC. Arund
Page 33 and 34: PHOTOS: PETER RENERTS STUDIO Richmo
Page 35: LIGHTFAIR INTERNATIONAL SEMINAR PRE
Page 39 and 40: LIGHTFAIR INTERNATIONAL SEMINAR PRE
Page 51 and 52: Circle 100 on Reader Service Card.

Cover 1_rto4 - Illuminating Engineering Society

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