Research matters - Illuminating Engineering Society

JUly 2006
L i g h t i n g D e s i g n + A p p l i c a t i o n
35th
Anniversary
Issue
Shift
Work
T e c h n i q u e s f o r
I n d u s t r i a l L i g h t i n g

jULy, 2006
VOL. 36/NO. 7
I N D U S T R I A L L I G H T I N G / L D + A 3 5 t h A n n i v e r s a r y
32 46 42 37
features
departments
6 Editorial
8 Letters
10 President’s Perspective
14 Updates
18 Energy Advisor
19 Digital Dialogue
22 Art + Illumination
24 Research Matters
29 Tools + Techniques
60 Book Review
62 Light Products
64 Events
66 Classified Advertisements
67 Ad Offices & Ad Index
68 New and Sustaining Members
71 IES FYI
ON THE COVER:
Storage facilities, airplane hangars and manufacturing
plants each require creative lighting techniques.
32 Self-storage, self-improvement
A self-storage facility has become a symbol of
community pride in a rundown area of Topeka, KS
37 HANDLED WITH CARE
Lighting and design were part of the package from
day one at a new postal center in Philadelphia
42 Planes, Cranes AND Very Tight Spaces
A new hangar lighting system had to navigate
around airplanes, a ceiling-mounted crane and
other logistical challenges
46 Lighting Driver
Patrice Fields is the go-to person when lighting
issues arise at GM’s 65 manufacturing plants
at
49 LD+A On the Sixes
Take a ride in the time machine and see what LD+A
was covering in July ’76, ’86 and ’96
53 RECOLLECTIONS AND REFLECTIONS
Lighting professionals offer observations on the last
35 years
56 RIPPED FROM THE HEADLINES
IESNA past president Alan Lewis previews the
stories LD+A will be covering in advance of the
Society’s Bicentennial celebration in 2106

E D I T O R I A L
Isn’t it satisfying when you see something
that needs fixing, think to yourself “there oughta be a law” (or a stop
sign at that intersection), and the solution you had in mind comes to
pass This month’s LD+A offers two cases in point.
At the IESNA Centennial conference in January, Mark Lien, who manages
Cooper Lighting’s education center, spoke about how lighting education
needs to reach the general population. One avenue, he added,
would be to feature lighting on some of the popular home improvement
TV shows. Sure enough, our Updates section (p.14) describes two such
TV spots—one being an Extreme Makeover: Home Edition episode on
the installation of new auditorium lighting at a Texas school ravaged by
Hurricane Rita.
Back in July 1996, at the time of LD+A’s 25th anniversary, Naomi
Miller noted how the computer industry needed to produce better
quality monitors, to mitigate the problem of light reflection on the face
of the monitor. This would allow designers to eschew low-brightness
luminaires in favor of luminaires that produce a brighter, more cheerful
office space. Ten years later—mission accomplished. “Wow. I said
that in ‘96” recalls Miller. “Hmmm. Pretty prophetic, actually. Yes,
computer screens have come a long way in 10 years. This is an issue I
don’t worry about much any longer because the newer LCD flat screens
are brighter (i.e. higher luminance) and have much lower specular and
matte reflection characteristics. So, they don’t reflect bright luminaires
like mirrors the way old CRT screens used to.”
So, after reading incoming IESNA president Kevin Flynn’s description
of the five key strategic initiatives he plans on making a priority
during his term (p.10), or past-president Alan Lewis’s fictitious()
account of what the lighting world will look like at the time of the IESNA
Bicentennial in 2106 (p.56), don’t just chalk up these musings to wishful
thinking. Sometimes when you think “there oughta be a law,” one might
be right around the corner.
Paul tarricone
Editor
ptarricone@iesna.org
Publisher
William Hanley, CAE
Editor
Paul Tarricone
Associate Editor
John-Michael Kobes
Assistant Editor
Roslyn Lowe
Art Director
Samuel Fontanez
Associate Art Director
Petra Domingo
Columnists
Emlyn G. Altman • Brian Liebel
Doug Paulin • Paul Pompeo
Willard Warren
Book Review Editor
Paulette Hebert, Ph.D.
Marketing Manager
Sue Foley
Advertising Coordinator
Leslie Prestia
Published by IESNA
120 Wall Street, 17th Floor
New York, NY 10005-4001
Phone: 212-248-5000
Fax: 212-248-5017/18
Website: www.iesna.org
Email: iesna@iesna.org
Vol.36/No.7
LD+A is a magazine for professionals involved in the art, science,
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www.iesna.org

L E T T E R S
Rethinking Short
Wavelengths
If the readers will forbear, a few
comments concerning Akashi’s,
Lewin’s (April 2006) and Morel’s
(February 2006) letters regarding
the advantages of short wavelength
light sources may broaden readers’
understanding of this important
issue.
To be plain about my perspective,
I support any technologies
or approaches that offer significant
public safety benefits.
However,
broad-spectrum lighting is well
understood to have significant deleterious
consequences for astronomers,
stargazers and wildlife. To
allow a balancing of advantages and
disadvantages, the possible benefits
of short wavelength lighting must
be carefully and fairly evaluated.
1) We must first judge the success
of roadway lighting by any improved
safety it produces, and not by possibly
unrelated measures such as
power consumption, unified luminance,
or residents’ acceptance.
2) The fact that recommended average
luminance values for roadways
fall in the upper mesopic range scarcely
diminishes Morel’s point that the
advantages of this short wavelength
light occur primarily at lower levels.
3) It is not likely of much relevance
that portions of the visual field may
be at lower luminance than the average,
since the visual scanning vital
to safe driving will bring brighter
portions of the field onto most parts
of the retina. Under these conditions
the adaptation state of the retina
remains very close to that of the
highest luminance level. And this
ignores the vital issue of the effect
of the driver’s own and oncoming
headlights, which will further
decrease the eyes’ ability to become
dark adapted.
4) Researchers have been unable
to demonstrate either any on-theground
safety benefits of short wavelength
lighting sources (as opposed
to predicted or demonstrated under
laboratory conditions), or any disadvantages
from light sources deficient
in short wavelengths such as
high- or even low-pressure sodium
(Ref. 1). The work of Rea et al.,
Lewis and Adrian (as well as others)
are based almost exclusively on
laboratory experiments and do not
unanimously support the degree of
advantage for white light sources
indicated in Lewin’s interpretation.
While Akashi and Lewin raise
important issues, Morel’s comments
are still largely correct. Lighting
practitioners should be wary of
drawing too much from this interesting
though incompletely developed
area of vision research. As Lewin
himself states, at this point we may
only say that there is the possibility
of improved safety through the use
of short wavelength light; and “... we
should keep an open mind and not
misconstrue the facts.”
Reference 1. “Roadway Lighting: An
Investigation and Evaluation of Three
Different Light Sources,” I. Lewin, P.
Box and R. Stark, Final Report 522,
2003 (www.ntis.gov/; search for document
PB2004100097)
Christian B. Luginbuhl
US Naval Observatory
Flagstaff Station
Flagstaff, AZ
PRESIDENT
Kevin Flynn, AIA
Kiku Obata & Company
PAST PRESIDENT
Alan Lewis, O.D., Ph.D., FIES
The New England College of Optometry
SENIOR VICE PRESIDENT
(President-Elect)
Kimberly Szinger, PE
Stantec Consulting
VP-EDUCATIONAL ACTIVITIES
Ronald Gibbons, Ph.D
Virginia Tech Transportation Institute
VP-TECHNICAL & RESEARCH
Pekka Hakkarainen
Lutron Electronics Co. Inc.
VP-DESIGN & APPLICATION
Denis Lavoie, LC
LUMEC, Inc.
VP-MEMBER ACTIVITIES
Wanda Barchard, LC
Burt Hill
TREASURER
Gale Spencer, LC
Lighting By Design
EXECUTIVE VICE PRESIDENT
William Hanley, CAE
DIRECTORS
David A. Baum
Martin Architectural
Boyd Corbett
S2C Incorporated
James Cyre
Philips Lighting
Terrance Kilbourne, LC
TEC, Inc.
Paul Mercier, LC
Lighting Design Innovations, Ltd.
Russ Owens, LC
West Coast Design Group
RVP DIRECTORS
Craig Kohring
mda engineering, inc.
2006-2007
Board of Directors
IESNA
Peter Romaniello, LC
Conceptual Lighting LLC
www.iesna.org

L E T T E R S
Efficacy vs. Efficiency
Regarding Ronny Verbeeck’s
Letter to the Editor (LD+A, May), the
metric “lumens per watt” is defined
as the “efficacy” of the lamp/ballast
combination. “Photometric efficiency”
is defined as luminaire lumen
output divided by lamp lumen input.
The efficiency of a bare lamp in
space is 100 percent, because all
lamp lumens escape. A luminaire
using the smaller diameter T-5 lamp
will emit about five percent more
lamp lumens than a T-8 lamp, which
is the same improvement that a T-8
lamp will achieve over a T-12 lamp,
assuming both optical trains are
optimized.
Fluorescent lamps are temperature
sensitive. The lamp output vs.
temperature curve has approximately
a 45-deg slope approaching
its optimal output. There’s about a
one percent loss in output for every
degree F that the lamp is above or
below its optimum temperature (25
deg C for the T-8 lamp and 35 deg C
for the T-5 lamp). Sometimes that’s
called “thermal efficiency,” but it
probably should be called “thermal
efficacy.”
Referring to my February “Energy
Advisor” column, Ronny Verbeeck
declares that the efficiency of a
direct/indirect luminaire with 75
percent downlight is “far more efficient”
than one with 75 percent
uplight. The zonal lumen output of
a luminaire is the average candlepower
in each 10-deg zone multiplied
by the relative area of that zone
on a sphere. Taking the earth as an
example, a 10-deg zone at the South
Pole is only nine percent of the
area of a similar 10-deg zone at the
equator. Therefore, a direct/indirect
luminaire with 75 percent uplight is
much better at emitting more lamp
lumens near the “equator” and is
therefore more “efficient” than one
with 75 percent downlight.
“Direct” luminaires do provide
more light directly below, but indirect
light rays, illuminating a 90 percent
RF matte white ceiling tile, create
a Lambertian emitter with an 1.8
to 1 spacing ratio, which improves
uniformity on all surfaces in a room.
Indirect lighting is preferred by more
people than direct lighting, because
it is softer, has fewer shadows, less
direct and reflected glare, more uniformity,
is more forgiving and provides
greater comfort.
Both occupancy sensors and
daylight harvesting are energy savers
and the amount of the savings
depends on many variables. Topside
day lighting can save a maximum
of 80 percent in lighting energy,
while side windows can save only
30 percent. The other factors include
the percentage of time the room is
empty, the energy cost, whether
expensive dimming ballasts are
used, other material and labor costs
and the client’s budget and dedication
to sustainability.
For a full copy of the California
PIER 4.5 study, email me at wlwlighting@att.net.
Willard L. Warren, PE, LC, FIESNA
+
e-mail
Willard L. Warren Associates
New York, NY
Just Say No To Digital
Enhancements
I found the article “Slides Are
Dead...Long Live Pixels” (LD+A,
May, “Digital Dialogue”) to be quite
interesting. The author, Emlyn
Altman, had requested comments
regarding digital submissions for
IIDA awards. I believe the integrity
of the process is at stake; with this
in mind I believe we should adopt a
strict guideline. I think this guideline
should be no digital enhancements
whatsoever. If you have a submission,
as the article demonstrated,
that has digital enhancements, it is
too “gray” or subjective to determine
whether or not this changes
the project. I believe people need
to know what is and is not accepted
so they are not the ones trying to
guess what does or does not count
as “manipulated.” If we try to avoid
these gray areas I believe we will
keep the integrity of the submission
process intact.
As a side note regarding the formatting
of the submissions, I believe
it would be easiest to ask those submitting
to put one project saved at
two different resolutions on one disk.
This would allow the IIDA committee
to use the material how they need to
without taking the time to change it
themselves or going back and asking
the person submitting to send
another file.
Leslie Forrester
KEY Lighting
Kansas City, MO
a letter to the editor:
ptarricone@iesna.org
LD+A July 2006

P R E S I D E N T ’ S P E R S P E C T I V E
What an honor it is to serve
as president of the IESNA in 2006-2007. This is a
pivotal year as we transition from our Centennial
year, a year of retrospection, to a year of launching
key new initiatives contained within the
“2006-2010 Brand Platform and Strategic Plan”
to position the IESNA as the preeminent voice
for the lighting profession in the 21st century.
As we begin the journey of implementing
the strategic plan, let’s focus on the power of
the membership collectively and the impact our
profession can have on society as a whole. What
a tremendous opportunity and responsibility!
Eleanor Roosevelt said,”The future belongs to
those who believe in the beauty of their dreams.”
Join me in imagining what we will accomplish in
the second century of the IESNA. The collective
“spirit” of IESNA is our future.
Spirit is defined as, 1. An attitude or principle
that inspires, animates or pervades thought,
feeling or action and 2. A vigorous sense of
membership in a group. Let’s imagine an IESNA
with more spirit than ever before.
The Strategic Plan and Brand Statement that
the Board has been working on this past year
will be finalized and adopted at our July meeting.
This document will create a dynamic course for
the next four years in an ever-changing environment.
This plan identifies core goals and initiatives
that will align our future activities ensuring
implementation of our mission and achievement
of our vision. Through this focus, we will maintain
the stability that has allowed us to generate
the proud history, which we celebrated in 2006
and contribute to a bright future.
Future perfect
To create a shared vision for 2006-2007, I have
chosen the theme “Light Matters: Integrating
Light into our Environments.” This will encourage
us to look at how the IESNA can expand beyond
its current horizons to create a lighting community
to explore the power of light in creating
healthy, productive, sustainable and inspirational
environments. In support of this idea, let me
share with you five initiatives from the Strategic
Plan which will be a priority in 2006-2007.
• The first of these initiatives deals with young
members. It states: increase interaction among
and attractiveness to students and younger
members by developing an emerging professional
or young lighting professionals organization
within the IESNA. I am asking the
As we begin the
journey of implementing
the Strategic Plan, let’s
focus on the power of the
membership collectively
and the impact our
profession can have on
society as a whole
Membership Committee to present a plan to
the Board for accomplishing this. This should
be a priority, because this is our future generation
of volunteers and leaders. If we engage this
group, we increase our membership and ensure
a healthy future!
• The second initiative is to promote the
dynamic development of lighting research. I
believe the Society has an important role to play
in being the leader in getting the research, educational
and professional communities to work
together. As such, the task force working on this
10 www.iesna.org

P R E S I D E N T ’ S P E R S P E C T I V E
portion of the Strategic Plan and the Research
Committee are looking at how to make this happen.
At the same time they are looking at the feasibility
of creating an endowment fund that could
be used to support lighting research initiatives.
• The third initiative is to be the source of lighting
knowledge. We must anticipate the needs
of the profession and provide tools that our
membership and the public can use. To continue
to be valued, we need to do valuable things! To
participate effectively in the new global economy,
we as a Society need to be nimble, flexible and
intellectually expansive. Access to information,
effective communication and resources that are
easy to use are necessary so that members stay
competitive. In order to do this, the Board has
initiated an assessment of current IESNA committees
and the publication process with the intent
of crafting a revised committee structure that can
deliver high quality, professional publications in a
timely manner and improve the effectiveness of
each volunteer’s time.
• The fourth initiative is education for life.
There is currently a task force in place to look at
increasing the value and relevance of the IESNA
to members by providing effective professional
development and lighting education. This group
is establishing a comprehensive program that
can reach all experience levels as well as the
general public and students. As part of this effort,
the IESNA will host an Educational Summit in
2007 to begin a dialogue on the future of lighting
education.
• The fifth initiative is communication and
advocacy for high quality lighting in our communities.
I will be asking the Board to take a leadership
role in creating a strategic alliance of lighting
organizations in North America to expand and
elevate the level of discussion and practice within
the lighting profession. The outcome of this will
be a top-level summit to discuss shared interests,
concerns and collaborate on how to raise the discourse
on lighting. This joint effort will increase
awareness of lighting in the general public, educate
tomorrow’s professionals and users, and put
a human face on the art and science of lighting.
I hope that you share in this vision and make
this the reality of our future. These five initiatives
are just a few of the many tactics within the new
strategic plan that the IESNA Board and committees
will be working on in the upcoming years. I
invite all members to become familiar with the
plan and to become active participants in its
implementation.
Keeping You Informed
I am committed to developing new and better
ways to conduct activities and to ensure effective
communication between the Board and members
in order to translate the strategic goals and initiatives
in the strategic plan into actions and results.
In support of this, I will institute a new “Report to
the Membership” section on our website where
we will share progress on the strategic plan with
you, keep you informed of Board activities and
encourage you to share your thoughts and concerns
with us.
The IESNA is fortunate to have a 100-year history
and to be in a position of strength. These are
exciting times for the IESNA. With your creativity,
talent, knowledge and energy...the collective
spirit of the IESNA, we can make a difference!
KEVIN J. FLYNN, AIA, IESNA
PRESIDENT
July 2006 11

U P D AT E S
Photo: Tripp Oliver
Industry Provides Relief for
Hurricane-Hit High School
When Hurricane Rita struck on September 24th, cities like Houston and Galveston were
spared the brunt of the impact. The same couldn’t be said for Sabine Pass, TX, which for the
fifth time in its history sat directly in the path of a catastrophic storm. When the 20-ft storm
Nora Lighting has donated
lighting from its Nora Rail Collection
to Kitchen Renovations, a kitchen
makeover show that will air during
primetime this fall on the Do-It-
Yourself (DIY) Network. The 120-V
line-voltage system provides fixtures
that can accommodate GU10, Par
and Bi-pin lamps in line-voltage, as
well as an array of low-voltage fixtures
that utilize MR16 and AR111
lamps, and now HID and fluorescent
fixtures that can all be used on the
same line-voltage system.
surge and 120 mph winds subsided, an estimated 90
percent of the town’s structures lay in ruins, including the
town’s K-12 Sabine Pass School, which lost its auditorium
and only venue for the performing arts. To make matters
worse, there was no insurance coverage for the damaged
facility.
Relief came from ABC’s Extreme Makeover: Home
Edition, After the Storm TV show, which selected Sabine
Pass to receive a renovation of its 300-seat theater,
along with new stage lighting equipment donated by
Electronic Theatre Controls, Inc. (ETC). To upgrade from
the 24 original dimmers to 106 dimmers, the Smart
Solutions lighting-gear package was specified. Fourteen,
six-channel and two, two-channel SmartBar devices provide
the overhead distributed dimming of lights, while
three permanently wall-mounted SmartPack compact
dimmers power the remaining stage and house lighting
circuits. The stage’s power-distribution equipment
includes outlet boxes containing a three-phase plug for
the SmartBars and a single phase for moving lights.
ETC also donated 32 Source Four ellipsoidal spotlights
and 32 Source Four PARNel floodlights to form
the bulk of the traditional lighting layout. Strong
Electric, Inc. added two Canto 1200 Spotlights for the
intimate seating area. Clay Paky America contributed
special-effect lighting with four Stage Color 300 washes
and two Stage Color 300 spots.
Philips
Announces
European
Partnerships
Philips Lighting has formed
partnerships with two leading
European energy efficiency networks—Fedarene
and Energie-
Cités—that will promote awareness
of the potential for energy
saving and resultant CO 2
reductions
by using new energy-efficient
lighting technologies in European
offices and street lighting.
The announcement comes as
new research by Philips revealed
more than 75 percent of Europe’s
office lighting is based on outdated
fluorescent and energy-inefficient
lighting systems that do
not comply with the EU Quality
standards for offices. This at a
time when European leaders
are highlighting the importance
of energy efficiency and have
agreed to set year-on-year targets
for improvements in public sector
energy performance through
the so called Energy Efficiency
Directive. This also coincides with
the implementation date of the
European Directive on Energy
Performance in Buildings aimed
at reducing energy consumption
and CO 2
emissions from the EU’s
building stock, which currently
consumes 40 percent of Europe’s
total energy demand.
14 www.iesna.org

U P D AT E S
LEDs Light Show House
More than 20 top interior designers debuted their trend-setting rooms at the 34th
Annual Kips Bay Decorator Show House, New York, NY. This year’s show house—a
20,000 sq ft Upper East Side Mansion—raises money for the Kips Bay Boys and Girls
Club, a non-profit organization that works to improve the lives of New York City’s children
by providing after school programs and activities.
Working closely with the designers, Philips integrated LED technology into many
rooms in the house to create an ambient experience that matched the designer’s moods
and desired effects. Some of the LED lighting methods used throughout the house
included wall-washing, color-changing options, layers of light highlighting select pieces
of furniture and a special, innovative moonlighting effect. Highlights include:
• “The Buonanotte” (Charles Pavarini, III Design Associates, Inc.), a velvet-and
damask-walled bedroom, which incorporated LEDs into the bed’s upholstered headboard
that gradually change color and set the mood. A rock crystal and amethyst
lamp also sits beneath a hand-painted celestial mural of zodiac signs in the bay
window area.
• “Room with a View” (Susan K. Gutfreund, Inc.) is a unique windowless space that
takes three wooden boxes to simulate double doors, framed with curtains and LEDs
to evenly distribute the light. One wall showcases a trompe l’oeil scene of a forest in
varying shades of pink and modern meets antique with bamboo blinds set against
hand-woven Indian silk from Shyam Ahuja, and a brand-new Ambilight plasma TV
perched on top of an 18th Century mantle.
• More than 50 Philips Aurelle LED Candles were used in one of the mansion’s
many fireplaces to provide a warm glow with the flicker of real candles, only without
the flame, to demonstrate how LEDs can change the feeling and mood of a room.
The Buonanotte
Room with a View
Nuckolls Fund 2006 Grants Total $45,000
The Nuckolls Fund for Lighting Education presented $45,000 in grants during its luncheon at LIGHTFAIR. Ball State University,
located in Muncie, IN, received a $20,000 grant to develop a graduate-level required course in the College of Architecture and
Planning’s Sustainability Concentration. The course, entitled “Daylectric Lighting,” will emphasize innovative approaches to
combining electric and daylight sources in the illumination of building interiors. It will be offered as one of five required courses
in the graduate concentration focusing on sustainable design in architecture.
The University of Washington, Seattle, will use its $20,000 grant to develop and deliver a new lighting course entitled
“Computational Lighting Design and Analysis.” To be offered through the Department of Architecture, the graduate-level course
will draw from recent developments in lighting simulation, visualization, pre-pixel data measurement and analysis techniques.
The $5000 Jonas Bellovin Scholar Achievement Award (presented this year for the fourth time) went to Megan Gover, a junior
in the interior design program at Texas Christian University. The Bellovin Award rotates among the six U.S. colleges that offer a
full lighting education program. Students are nominated by their faculty.
The speaker for this year’s luncheon was Paul Gregory of Focus Lighting who discussed the role of the IALD Education Trust and
its work with schools of architecture. Now in its 17th year, the Nuckolls Fund was established in memory of the lighting designer and
educator Jim Nuckolls. With this year’s grants, the Fund has made a total of $445,000 in awards drawn from the income generated
by an endowment.
LD+A July 2006 15

U P D AT E S
NEMA Website to Support
Lighting Tax Deduction
The National Electrical Manufacturers Association’s (NEMA) Lighting Systems
Division has launched a new website for owners, specifiers, installers and sellers
of lighting systems. The new website (lightingtaxdeduction.org) will provide comprehensive
education and implementation information about lighting upgrades
covered by the commercial buildings tax deduction provision of the Energy Policy
Act of 2005 (EPAct).
The site contains a wide range of frequently asked questions, process maps
detailing compliance with ASHRAE-IESNA Standard 90.1-2001 and examples of
projects that demonstrate how target reductions in lighting power can be achieved.
It also provides descriptions of popular energy-efficient lighting strategies and technologies
and links to research studies.
Color Kinetics and Martin
Professional Sign Licensing
Agreement
Color Kinetics Inc. and Martin Professional announced that Martin will
license Color Kinetics’ patent portfolio. Through the agreement, Martin will
have access to Color Kinetics’ worldwide patent portfolio to develop and
market its first line of multicolor LED-based lighting systems. Martin’s line of
LED-based systems is scheduled for release in conjunction with the PLASA
tradeshow in London this September.
A Global Message
Fiberoptic lighting enabled the Chicago Mercantile Exchange to create a dramatic
view of earth from its escalators. A total of 9641 individual fibers outline
continents, highlight oceans and connect certain cities. The display is powered
by four halogen light sources—each with one 50-W lamp.
LCA Offers
Online
Education
The Lighting Controls Association
(LCA) has published Education
Express, a free online program that
provides in-depth education about
lighting controls and controllable ballast
technology, application, system
design and commissioning.
Education Express consists of three
courses. EE101: Introduction to Lighting
Control, EE102: Switching Control and
EE103: Fluorescent Dimming. Soon,
advanced-level courses, such as EE201:
Daylight Harvesting, will be added
later this year. Each course consists of
learning modules that conclude with
an optional online comprehension test
that is automatically graded.
After users register, they can access
any of these learning modules, see
what modules they’ve taken, what
tests they’ve passed and can download
certificates of completion that
confirm education credit.
Education Express provides hundreds
of illustrated pages of information about
all major aspects of selecting, designing
and commissioning a lighting control
system-from occupancy sensors to control
panels to dimming systems. The
program’s learning modules are currently
accredited by the Association of
Energy Engineers (AEE) for its Certified
Lighting Efficiency Professional (CLEP)
certification program. The courses are
currently in an application process to
receive accreditation by other organizations.
For more information go to www.
aboutlightingcontrols.org
16 www.iesna.org

e n e r g y
By Willard L. Warren a d v i s o r
On Energy Awareness
Day, I attended a
Building Owners and
Managers (BOMA) seminar
whose main topics were the soaring
cost of fuels, the great difficulty
coming up with energy cost budgets
and what can be done to lower those
costs.
Commercial electric bills have
two parts: the kilowatt peak demand,
called “demand charge,” and total
kilowatt hours used, the “usage
charge.” When demand for electricity
approaches the capacity limit of the
system, utilities apply for permission
to impose higher demand charges.
When fuel costs increase, utilities may
add a “fuel adjustment surcharge.”
The demand charge for office buildings
ranges between 20 to 30 percent
of the total electric bill. In occupancies
with relatively few hours of annual
use, like schools, the demand charge
may be 60 percent of the total cost.
Demand for electricity is predicted to
rise 40 percent over the next 20 years.
Shaving peak demand saves
energy and cost and provides a
cushion of increased capacity for a
utility and avoids rate increases in
demand charge for all users. One
way to save on electric demand is
with building automation systems
(BAS) programmed to set point limits.
Unfortunately, many BAS function
only as expensive time clocks.
The “usage charge” rate decreases
in steps, the more energy you use.
Many owners buy electricity for the
entire building and charge their tenants
a proportional amount for their
space. If the charge for electricity is
part of a “rent inclusion” lease it has
to be estimated or measured with a
sub-meter. Some tenants are directly
metered by the utility at a higher rate
than the owner pays when having the
entire building on one meter.
Owners feel they’re profiting when
“re-selling” electricity to tenants, this
may be an illusion. The owner has to
pay for the common areas, but often
receives less revenue for the tenants’
electricity than the amount paid to
the utility. Meters get less accurate
as they age, some tenants’ wiring
Unfortunately,
many BAS
function only as
expensive time
clocks
is unknowingly() connected to the
landlord’s meter, while some tenants
illegally bypass meters. This “slippage”
can amount to over 10 percent
of the bill.
Many building owners
and managers don’t have an accurate
picture of what’s going on in their
own buildings. And you can’t manage
what you don’t measure.
There are ways of reducing slippage,
usage and demand, but it all
starts with an audit of the space. A
building’s lighting may be its largest
load, or a close second to the
mechanical load, and is always on
during the expensive peak demand
period. Reducing lighting load is
critical to the ability to cut costs, but
many building owners and managers
don’t have a load profile and
will not cooperate with the lighting
energy conservation measures of
their tenants. The demand charge
is a system capacity response, the
lower the peak load, the lower the
rate for all users. In this day of energy
awareness, building owners should
offer an energy audit for all tenants
and cooperate in energy conservation
measures, even when the tenant
is directly metered by the utility.
BASic Steps
A BAS can set a limit on the peak
demand and keep optional loads
from causing it to go over the top.
To reduce the lighting bill, “vacancy”
sensors can shut off lighting when
there’s no one in occupancy, except in
paths of egress. Bi-level lighting can
be used in intermittently used spaces
like stairways and corridors to reduce
the lighting to safety levels of one to
two footcandles when unoccupied,
and then to 10 fc automatically, when
someone enters the stairway. This is
a requirement of the NFPA Life Safety
101 Code. When corridors are occupied,
a higher lighting level is required
than in stairways, but when unoccupied,
10 fc will suffice. When fluorescent
dimming ballasts are reduced
in cost, the transition from high to
low levels of light, especially when
daylight harvesting is employed, can
be seamless and inexpensive.
T12 lamps and magnetic ballasts are
huge energy wasters. Converting to T8
lamps and electronic ballasts will save
40 percent of the usage and demand
charge. First generation T8 lamps and
electronic ballasts can be retrofitted
with premium T8 lamps and electronic
ballasts saving at least 20 percent in
18 www.iesna.org

D I G I TA L D I A L O G U E
energy. Magnetic ballasts with PCBs
ceased being made in 1978 but were
shipped from inventory until 1980. PCB
ballasts over 25 years old are reaching
end of life and a failed and leaking PCB
ballast is an environmental nightmare,
costing thousands of dollars to clean
up to meet EPA standards.
Recessed and pendent luminaires
with highly reflective interiors are now
available with efficiencies approaching
90 percent. There are ceiling tiles on
the market that are 90 percent reflective.
Retrofitting with high efficacy (lm
per watt) lamps and ballasts, plus more
efficient luminaires and lighter room
finishes can reduce the lighting load
over 50 percent, allowing for payback
in less than three years. And there
are incentive rebates available in many
areas plus federal tax credits written
into the EPAct 2005 legislation.
If building owners and managers
were more proactive in encouraging
tenants to adopt energy conserving
measures, they would be better able
to control their costs and budgets and
add benefits to their tenants and the
environment. Utilities are seeking more
sources of revenue and so can landlords,
by saving energy. It’s about time
that owners started thinking “green.”
Willard L. Warren, PE, LC,
Fellow IESNA, is the principal
of Willard L. Warren
Associates, a consulting
firm serving industry, government
and utility clients in lighting and
energy conservation.
What’s Brewing in the
Blogosphere By Emlyn Altman
There is a big fad in 21st century
computing called “blogging.” A
“blog” is a shortened way of saying
“WeB log.” (Computer people streamline
everything, including text.) A blog
is an electronic collection of information
that is easily accessible through a
person or company’s website. It can
be comprised of many things—an
electronic journal, a bulletin board of
news events, a photo essay or even
a documentation of project updates.
These sites are a method for communicating
ideas and information to the
public domain via the Internet.
I personally don’t use blogs. As I
mentioned in my March 2006 article,
I’m suffering from electronic information
overload and don’t have the
time or the energy to put together
and maintain a blog site, but some
people love communicating through
blogs. According to an Associated
Press report in May 2006, the blog site
“MySpace.com” rose to become the
second busiest website, with nearly 80
million users over the past year. News
regarding blog usage has been growing
in the media, including a major
crime being solved when the detectives
used information that was posted
on the criminal’s website. However,
even with all the popularity of blogging,
there’s much controversy surrounding
these communication sites.
In early 2005, when I had considered
pursuing teaching lighting and
computer visualization, I discovered
a series of articles and electronic
bulletin board postings through The
Chronicle (a publication for the higher-education
academia profession)
about the pros and cons of blogs. Job
applicants were frustrated by review
committees who used information
on applicants’ blog sites to influence
their hiring decision. People on these
review committees commented that
applicants’ blog sites, as well as anything
else on the Internet, were fair
game because the information was
in the public domain—just as was
the ability to “Google” information
about an applicant.
In this day and age where investigating
people and events is as simple
as clicking a button, we must
remember that anything posted on
the Internet can never be construed
as private. Employers now have the
ability to learn more about an applicant
than in previous decades when
they could only base their decision on
what was presented to them through
the candidate’s resume or interview.
Most employers take advantage of
that opportunity, which is why I recommend
that users be very cautious
of what is posted to a website, electronic
bulletin board or blog site.
LIGHT BLOGS
I don’t want to give the impression
that all blog usage is bad. Blogs can
be beneficial to the lighting industry
if considerable thought goes into how
LD+A June 2006 19

D I G I TA L D I A L O G U E
they are created and used. If the blog
is written like a journal of experiences
in the workplace, it could serve
as a useful tool to present experiences
throughout the design process
beyond the traditional methods that
students receive in the classroom.
Young lighting designers or students
may also use past entries by other
designers as an educational tool.
Design firms could also use blogs as
a benchmarking tool to review how a
problem may have been solved successfully
or to see what techniques
might have failed during the lighting
design process. Just by doing
a Google search of “lighting blog,”
one can find thousands of different
blog sites such as www.ipnlighting.
com/blog; www.residential-landscapelighting-design.com/blogger.html;
and
www.starrynightlights.com/blog.
To give an idea of how these blogs
could be educational, let’s take a
look at some excerpts from a hypothetical
blog using my own experiences...if
I had ever taken the time to
document them in this manner. (The
experiences are true even though the
dates are made up.)
June 8, 1999 - (Punch list day 2)
I was just finishing up my punchlist
of this 500,000-sq ft corporate
project and I couldn’t believe my
eyes. They used red electrical tape to
“fake” the directional arrows on the
edge-lit exit signs. Are they kidding
me!! I know the client is anxious
to move into the building but the
least the contractor could have done
was order the correct number of
directional exit signs. Now I have
to start all over again and see how
Job applicants were frustrated by
review committees who used
information on applicants’ blog sites to
influence their hiring decision
many more I find. Looks like this is
going to be a three-day endeavor.
March 13, 2000 - If I hear another
mechanical engineer tell me that
they won’t shift their ductwork layout
because they got there first, I’m
going to scream!
May 30, 2001 - I saw a very interesting
lighting solution that won an IIDA
award. The designers lit the exterior
of a building with two different
color temperature lamps—cool metal
halides along the building façade with
warm high-pressure sodium lamps
uplighting the front of the columns. It
really added dimension to the architecture.
I must remember this technique
for future exterior projects.
November 7, 2003 - I went to the
job site this afternoon to check on the
installation of the luminaires. Saw a
basket from the indirect/direct 2x2ft
lying on a sawhorse surrounded by
the rest of the contractors’ junk. They
already left for the day but I must
remember to point it out to them
tomorrow. Very sloppy. With all of their
tools and other items lying around it,
I can predict that something will drop
onto the diffusing lens and it will get
damaged.
September 21, 2004 - Triumph!!!
Not only weren’t the LED color changing
lights VE’d out of the project, the
client liked them so much that she
asked if we could use them in another
waiting area too. Thank goodness
for live sample demonstrations. It’s
the best way to convey the design
intent so that the client understands
my vision.
October 7, 2005 - Went to survey
existing conditions of a hotel built
in the ‘70s for a renovation project.
What were they thinking!!! It’s bad
enough that they used tiny cube-cell
louvers everywhere but I’d love to
meet the engineer that thought it
was okay to stick the sprinkler head
through the luminaire.
January 10, 2006 - Happy Centennial
Anniversary IESNA!
February 18, 2006 - Mental note for
the future, even though I specifically
stated on the RCP that all compact
fluorescents on the expansion project
were to be 3000K and wrote to the
engineer TWICE that we needed to
indicate in their spec that all compact
fluorescent lamps were to be 3000K, I
must remember to check that he actually
documents that information on
his electrical drawings. This time the
contractor did not install the correct
color temperature lamps and he didn’t
see the note on the RCP saying that
they ordered the lamps based solely
on what was shown on the engineer’s
drawings. Very frustrating.
BLOGGERS BEWARE
Remember that anyone can create
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D I G I TA L D I A L O G U E
a blog and the information is only as
accurate as the person who wrote it.
I’ve seen very reputable newspapers
publish lighting information for the
layman that was so oversimplified it
bordered on inaccurate. I’m sure that
novice bloggers may upload inaccurate
information as well. You must
understand the source of the blog
before relying on its accuracy.
Also, remember that anything presented
in a blog, or any other Internet
site, can be accessed by anyone
in cyberspace. In some ways this
medium is beneficial but if you’re
not careful, it could have negative
consequences. If you create a blog,
be very cautious about the information
you present in it. Do not write
anything you may regret at a later
point. Even if you eventually take
the information off of the Internet,
there may be a hidden cache floating
around that can come back to haunt
you. Potential employers, clients and
even competitors can find this information
and use it against you or
your company. Blog wisely and you
should be safe.
Emlyn Altman, LC, exercises
her dual specializations
in cutting edge lighting
design technology
as director of lighting design and
visualization at the Washington, DC,
office of architecture/design firm
ForrestPerkins. Ms. Altman is also
currently serving her second term
as IESNA Capital Section president.
She was recently named to Building
Design & Construction magazine’s
list of “40 Under 40.” To send comments
about this column or questions
regarding the use of computers
in lighting design, email Ms. Altman
at D_D@EAVisualization.com.
+
make your
voice heard!
Join an IESNA committee:
Fax: 212-248-5017
LD+A June 2006 21

a r t +
By PAUL DEEB I L L U M I N A T I O N
Las Vegas has been a regular
part of my life for
the past 20 odd years.
My earliest sojourns were
through the aegis of the annual
Consumer Electronics Show (CES).
Now, with the addition of Info COM
and LIGHTFAIR, all of which are relevant
to the work done in my studio,
Vegas has become something of a
yearly pilgrimage.
In the early ‘80s Caesars Palace
was the only Mega Hotel on the
strip; no MGM Grand, Bellagio,
Treasure Island, Luxor or Excalibur.
The Mirage (with claims of being the
world’s largest hotel) was then under
construction and many considered it
a dubious venture at best. Casinos
attracted patrons with extravagant
free buffets and all of the free liquor
a gambler chose to consume.
The city was awash in light, not
the light from giant video screens or
LED fixtures, but enormous, glorious,
tacky constructions of neon partnered
with endless arrays of incandescent
lamps. Vegas was not the
place for viewing sophisticated fades,
subtly color washed facades, gradual
color transitions or choreographed
light shows, rather, it was a universe
of lighting kitsch; endlessly strobing,
blinking and chasing, a mind numbing
electromechanical tour de force of
switches, relays and timers not unlike
some mammoth front yard Christmas
lighting display.
The Las Vegas of old had a lighting
style that, if compared to the current
vogue in architectural lighting,
would be analogous to contrasting
a Liberace or Wayne Newton show
with the performances of Cirque De
Soleil. On one side of the comparison,
kitsch so grandly staged that
it becomes artistic on the merit of
scale alone, on the other, tossing
out the kitsch in favor of spectacle
and finesse. Las Vegas has a visual
language that evolves and it is in this
manner that Las Vegas is of such
fundamental importance to those
of us involved with the lighting arts;
it has become a cornerstone of our
visual landscape, experienced by,
and emblazoned upon the minds of
countless millions of people.
The economic success of this
locale’s visual environment at once
raises the bar in terms of the public’s
expectations, feeds their appetite for
visual experience and simultaneously
writes the permission slip for designers
and artists to engage our creative
energies in very indulgent ways.
The influence of this visually opulent
language has been gradually
finding its way into hotel lobbies,
restaurants, airports, museums and
houses of worship; it has forever
changed the public’s perception of
the built environment. Even while I
appreciate the ongoing evolution of
the Las Vegas visual style and am
distinctly aware of its influence, I feel
a profound sense of loss when I visit,
as if something is missing.
OLD DAYS
On my first trip to Vegas I was
immediately stunned with a landscape
that was literally crafted from light. Not
The Vegas of old utilized
fancifully tacky displays
of light to draw patrons
into relatively normal
structures.
only the quantity of light but the stunning
amount of detail in movement,
color and most importantly, in the
way these effects permeated the entire
environment. There was nothing else
in the visual lexicon to compare the
experience with, and most importantly,
the effect was only present at night;
during the daylight hours the place
looked like a dump. Las Vegas, unlike
any other city was not only aesthetically
transformed by light, lighting in
many ways created its presence. As
22 www.iesna.org

A R T + I L L U M I N AT I O N
ridiculous as it may seem to suggest,
this visceral transformation largely
wrought of lighting is exactly what
now seems to be missing.
As Las Vegas has become a cornerstone
of the visual and lighting
vocabulary, the rest of the world has
been catching up. Every major city
now has restaurants, hotel lobbies,
retail stores and other public spaces
that not only incorporate the new
language of lighting pioneered in
Las Vegas, but also improve upon it.
While the lighting of the various
hotels, casinos and attractions was in
its day obscenely over the top, transforming
the city itself into a wacky
piece of art, it is now, comparatively,
becoming somewhat tame. When
you replicate a medieval castle, the
Statue of Liberty or the Eiffel tower
in the middle of the desert, the lighting
would have to knock you down
with awe in the middle of the street
just to keep pace.
NOT SO NUTTY
The Vegas of old utilized fancifully
tacky displays of light to draw patrons
into relatively normal structures. The
new style emphasizes architecture;
the construction itself is now the
monument to grand whimsy and in
precisely the ways of old, artistic by
scale alone. While the lighting certainly
incorporates scale, the latest
in modern technology and shades
of extravagance, it seems to lack the
nutty, wild abandon formerly the
city’s chief calling card.
While the lit façade of the
Flamingo Hilton was once the image
of Las Vegas eidetically branded into
the minds of many, the pyramid of
Luxor, the castle of Excalibur, has
now superceded it. I feel Las Vegas
has lost its best signature, and we
as designers have lost a venue that
demonstrated not only the realm
of creativity but also that of artistic
transformation.
This very idea of transition from a
visual vocabulary based on light to
Las Vegas, once
a destination
that had created
through lighting
its own aesthetic
reality, is now
becoming a
collection of
reality transplants
one of concrete is key. In a theatrical
sense architecture provides the
stage; it is lighting, however, that
provides the experience. Las Vegas,
once a destination that had created
through lighting its own aesthetic
reality, is now becoming a collection
of reality, transplants. Take a monument,
a pyramid or an Italian villa,
put it through some type of Star Trek
device to alter the scale then deposit
it ready made on the strip. Instead
of a scale model of the Statue of
Liberty, why not a version that could
only exist in Las Vegas; perhaps one
with changing facial expressions,
one that winks.
In all likelihood the culprit is budgetary.
Kitschy architecture or lighting
on the scale of these new hotels
is expensive. Perhaps when building
the next mega hotel the owners of
the project will consider something
that truly stands out, a return, at
least in spirit, to the ecstatically luminous
Vegas of old.
At the end of the strip stands
the Stratosphere hotel/casino. A
revolving restaurant tops the tower
that serves mediocre food but good
champagne. I like to arrive an hour
or so before sunset and face the
desert as the sun falls behind the
mountains. The desert sunset is truly
remarkable, and as the view rotates
toward the strip, darkness falls and
the lights come on. As I look down
at the myriad of tiny lights, it once
again strikes me not as the theme
park that it is becoming but as a big,
wacky work of art.
Paul A. Deeb, principal of
Vox Environmental Arts,
Baltimore, MD, has designed
numerous sound and lighting
installations throughout the
Middle Atlantic region. Vox employs
architects, industrial designers and
lighting designers. With the recent
addition of a metal working and wood
working facility, it now manufactures
custom lighting and acoustical fixtures.
Mr. Deeb received a 2005 IIDA
Award of Merit for event lighting of
the Miami World Trade Center.
LD+A July 2006 23

R E S E A R C H M AT T E R S
Is White Light a White
Knight By John D. Bullough
Although the majority of outdoor
and roadway lighting in North called mesopic light levels, the abil-
familiar with the idea that at low, so-
America currently uses high pressure
sodium (HPS) lamps with their vision is not predicted very well by
ity to detect things using peripheral
characteristic “yellowish” light output,
the past two decades have wit-
The idea that a white light source
the readings from our light meters.
nessed a growth in the proportion of could result in improved peripheral
metal halide (MH) lamps, producing vision over a yellowish one, even if
“white” light, used outdoors. There’s the light meter says they’re equivalent,
seemed a bit “out there” a
no doubt that HPS and MH are presently
the two top contenders for the decade ago. But after the publication
of dozens of laboratory and field
outdoor throne. Nonetheless, other
light source choices are available for studies consistently verifying these
outdoor lighting, in particular, fluorescent
lamps 1 and more recently, light mainstream. The IESNA has a com-
effects, 4 the idea now seems almost
emitting diodes (LEDs). 2 Interestingly, mittee, on which I am privileged
however, these other options seem to to serve, that is deliberating on a
be mainly amplifying the chorus touting
white light as the “white knight” approved, document this evidence
technical report that would, if it is
of outdoor lighting.
formally for consideration by application
committees and interested
There are a number of reasons for
the recent increase in popularity of lighting practitioners.
white light, not the least of which is the Building upon the growing, and
fact that lamps such as MH have lately global, body of research results that
received the lion’s share of the outdoor have been issued, my colleagues at
lighting “press” in our industry’s trade the Lighting Research Center (LRC)
literature. 3 Indeed, some would suggest
that standards and regulations photometry to quantify light levels
and I have developed a system of
should be changed to favor white light under different spectra (colors) at
in outdoor applications. In this column, low light levels. 5 This system could
we’ll explore some of the technical serve as a bridge to link the two
arguments that have been put forth current systems of photometry,
regarding white light, and discuss which now consist of quantities
whether these arguments might warrant
a change in the way we light our the cone photoreceptors (photopic
either based loosely on vision using
exterior environments.
vision), or based upon vision using
the rod photoreceptors (scotopic
ENTERING THE MAINSTREAM vision). All of our light quantities
By now, most readers of LD+A are like lumens, candelas, or lux can be
defined in terms of one of these two
systems. 6 Photopic quantities are
mainly applicable at high, daytime
and indoor light levels. Scotopic
quantities, which are hardly if ever
used outside of the vision science
community, are applicable to light
levels that are very low.
MESOPIC PHOTOMETRY:
UNITER OR DIVIDER
At some light levels found in a few
IESNA recommendations, 6 both the
rods and cones contribute to vision,
but there is no formal definition of
light under these mesopic conditions.
What we did was to provide a framework
to unify photopic and scotopic
photometry across the mesopic
region, based on the observation
that the peripheral visual system’s
functioning could be predicted reasonably
well by a linear combination
of photopic and scotopic spectral
sensitivity. 5
White light sources such as MH, as
well as fluorescent and LED sources,
tend to have relatively greater rodstimulating
output for the same
(photopic) light level than yellower
sources such as HPS. This effect
can be quantified in terms of a lamp
spectrum’s scotopic/photopic (S/P)
ratio. 7 Since whiter sources are often
those with higher S/P ratios, does
this mean that the system of unified
photometry 5 could be used as
a basis for recommending outdoor
light levels Could we light roads
and parking lots to lower (photopic)
light levels, thereby reducing light
pollution and energy use, while at
the same time maintaining or even
improving visibility There is certainly
a great deal of controversy and
24 www.iesna.org

R E S E A R C H M AT T E R S
debate surrounding these questions.
But in some cases, the answer might
well be “yes.”
For example, my LRC colleagues
recently undertook a study that
involved switching the conventional
HPS lighting on a residential street
in a New England town to white
light using fluorescent lamps. 1 The
resulting (photopic) light levels were
reduced but the unified luminances
remained the same. The electrical
energy use was reduced by roughly
30 percent. Reactions by the residents
on this street were positive
regarding their ability to see along
the roadway, despite the unique
appearance of fluorescent luminaires
on their street, something
that’s not an everyday sight in most
neighborhoods!
Now, not every roadway or outdoor
lighting installation would necessarily
benefit from a switch to
white light based on unified photometry.
The residential street studied
by my colleagues 1 is one where the
driving task is probably conducted
at relatively low speeds. Visibility
for driving in this situation might
be adequately provided by vehicle
headlamps, and the street lighting
in this case might serve more to
illuminate areas adjacent to, but not
directly on, the roadway. Such areas
might contain neighbors walking
during the evening, and certainly
these individuals would benefit from
improved peripheral visibility of drivers
predicted by lighting quantities
based on unified photometry.
Again, I am not arguing that using
white light based on unified photometry
is the answer to all outdoor
lighting questions. There are
likely many situations, especially
when on-axis visibility is of utmost
importance, where HPS lighting
would, and should, remain a viable
choice for outdoor and roadway
lighting. One example is a highway
rest area that was evaluated by the
LRC through the Demonstration and
Evaluation of Lighting Technologies
and Applications (DELTA) program. 8
This outdoor installation used HPS
in an attractive, comfortable and
LD+A July 2006 25

R E S E A R C H M AT T E R S
energy-efficient manner, with resulting
good visibility and low glare. I
don’t think anyone would argue that
the use of HPS in that installation
was anything but a success.
What the promising results from
my coworkers 1 show us, for some
applications, is that even with reductions
in light level and energy use,
the use of white light could lead to
lighting that is perceived as just as
good, or even better, than conventional
lighting (and at the same time,
could help to reduce light pollution).
A RESPONSIBILITY TO TRY
The IESNA and the lighting community
as a whole should not be
paralyzed by the ongoing healthy
debate about if and how unified photometry,
or a concept like it, could be
implemented into practice. Indeed,
a consortium of researchers and
national laboratories in Europe has
undertaken research to develop a
mesopic photometry system that is
identical in framework to the one
developed by my colleagues and
me, and with only minor differences
in the actual numbers used. 9 I see
that international effort as an opportunity
to show that the LRC’s basic
approach to unifying photopic and
scotopic photometry can be validated
and eventually embraced by a
diverse lighting community.
Some lighting specifiers have
taken these ideas to heart and
begun implementing them in their
designs for outdoor lighting. Will
every example be a resounding success
I don’t think anyone expects so.
But such examples can show when
using white light sources based on a
unified system of photometry might
serve as a reasonable approach to
outdoor lighting design, and just as
But there already is mounting evidence
that white light sources in some outdoor
applications, such as residential streets,
could yield tangible benefits
importantly, when it might not. After
all, why change lighting practice
unless there are practical and tangible
benefits to doing so Specifiers
who have tried approaches such as
these should be encouraged to evaluate,
and document, their designs.
However, as someone who has
been lucky enough to participate in
some of the research in this area, I
really do think that the lighting community
is on to something with this
trend toward white light. No, it’s
not a panacea, and yes, we have
a lot of work to do before we will
understand enough to know exactly
when and where to use it. But there
already is mounting evidence that
white light sources in some outdoor
applications, such as residential
streets, could yield tangible benefits.
If this evidence isn’t incorporated
in some way into lighting practice,
won’t that be a lost opportunity for
our profession
References
1. Akashi Y, Morante P, Rea MS.
2005. An energy-efficient street
lighting demonstration based upon
the unified system of photometry.
Proc. CIE Symp. on Ltg. in Mesopic
Cond., Leon, Spain, p. 38.
2. Shakir I, Narendran N. 2002.
Evaluating white LEDs for outdoor
lighting applications. Proc. SPIE, No.
4776, p. 162.
3. Rea MS, Bullough JD. 2004. In
defense of LPS. LD+A 34(9): 51.
4. Bullough JD, Rea MS. 2004.
Visual performance under mesopic
conditions: Consequences for
roadway lighting. Transp. Res. Rec.
(1862): 89.
5. Rea MS, Bullough JD, Freyssinier
JP, Bierman A. 2004. A proposed unified
system of photometry. Light.
Res. Tech. 36(2): 85.
6. Rea MS (ed.). 2000. IESNA
Lighting Handbook, 9th ed. New
York: IESNA.
7. Berman SM. 1992. Energy efficiency
consequences of scotopic sensitivity.
J. Illum. Eng. Soc. 21(1): 3.
8. Vasconez S, Brons J. 2001. DELTA
Portfolio: Clifton Park Rest Area. Troy,
NY: Rensselaer Polytechnic Institute.
9. Halonen L, Eloholma M. 2005.
Development of mesopic photometry
based on new findings on visual
performance. Proc. CIE Symp. on Ltg.
in Mesopic Cond., Leon, Spain, p. 1.
John D. Bullough, Fellow
IESNA, is a lighting scientist
and adjunct assistant professor
at the Lighting Research
Center, Rensselaer Polytechnic Institute.
26 www.iesna.org

Visual Wine Cellar Gets a Stellar Makeover
Alto restaurant, located in New York’s Rockefeller Center, is known for its Northern Italian cuisine, but the
real draw is the establishment’s selection of over 700 different wines.
The interior—designed by restaurant partner Vicente Wolf—includes a split-level dining plan that consists
of an 80-seat main dining room downstairs, a mezzanine above and enclosed clear glass wine racks, which
showcase thousands of bottles that rise to the ceiling and extend along the southern, western and northern
walls. Designers hoped to emphasize the
wine racks by installing a high-brightness,
seamless wash of color-changing
light consistent in intensity across
the entire 15-ft height of the frosted
Plexiglas panels. “It was obvious that we
needed to utilize a linear LED fixture for
intensity, color change, facility of installation,
low heat and low maintenance,”
said Adrienne Jaret, project manager,
Drama Lighting.
For the installation, 54 Light Wave
Bars (from Illumivision), each with 12,
3-W LEDs, were mounted in a one-ft
extrusion and three, 600-W power supplies.
Utilizing the narrow beam spread
increased the capacity for high-intensity
light to be placed over the entire distance,
and mounting the fixtures 24 in.
below the panels increased the beam
width and created the desired effect with
a minimal number of fixtures.
The power supplies as well as the
DMX control unit were mounted along
the structural base of the walls in the
same cavity as the fixtures behind the seating. “The low-heat output of both the LED fixtures and the power
supplies enabled us to mount the fixtures in an enclosed location, without any concerns for the patrons who
would be using the seating,” said Jaret.
TOOLS + TECHNIQUES
John-Michael Kobes
The Project: Alto Restaurant, New York, NY
The Challenge: Illuminate concealed wine racks, while adding ambiance to the décor
The Solution: Linear LED lighting
LD+A July 2006 29

TOOLS + TECHNIQUES
West Expansion Looks North and South
When the time came for the Moscone Convention Center in San Francisco, CA, to expand its West
Conference Center, ownership looked to avoid duplicating the complex and problematic dual lighting and
control system (one for exhibition lighting and one for meeting room configuration) found in the North and
South structures.
The meeting room consisted of 1500 downlights with 1000-W quartz lamps that had to be individually
dimmed and also had separate home-run wiring of over 3000 conductors to the centralized dimming system.
A separate lighting system was also used in the same spaces for exhibit lighting consisting of approximately
1500 high-bay luminaires with 320-W metal halide lamps.
The West Conference Center building features open exhibit space on the floor level, while the upper two
floors are conference room swing spaces. Incandescent lamps were no longer an option, due in part to
California Title 24’s lighting density requirements, and high-bay metal-halide fixtures were not possible as the
lighting system had to be dimmable. In order to provide an energy efficient system, while maintaining good
color rendition, and having quick-response emergency lighting, designers selected a multi-lamp, recessed
fluorescent fixture that uses eight compact fluorescent lamps with four, two-lamp ballasts (from Sport Lite).
Controlling the new system was the MicroPanel (from LC&D), a compact, networked lighting controller that
integrates manual control, occupant sensors, daylight harvesting, time-based controls and building automation.
“Because dimming for the entire facility proved to be too costly, we provided a stepped dimming process
for the first three sets of lamps, and continuous dimming ballast for the last set of lamps in each fixture,” said
Kristina Martin, an electrical engineer and lighting designer with The Engineering Enterprise, Alameda, CA.
One MicroPanel was mounted on every (four ballast, eight lamp) fixture. This allowed individual control of
each ballast, and reduced line-voltage home-run wiring by 97 percent during construction when compared to
conventional switching and dimming systems.
Over 1600 fixtures are now individually controlled, giving three switched and one dimmed output, and the
setup time for lighting configurations was greatly reduced and can be saved to memory.
John-Michael Kobes
Photos: John Louie
The Project: The Moscone Convention Center West Expansion, San Francisco, CA
The Challenge: Design a single lighting system that met the functionality of the dual system in the older
(North and South) phases
The Solution: Fluorescent lighting and a digital lighting control system
30 www.iesna.org

I I D A P R O J E C T
I I D A P R O J E C T
A self-storage facility has become a symbol of community pride and
renewal in a rundown area of Topeka, KS
Self-Storage
Self-Improvement
And who’s to say that self-storage can’t be beautiful
Through careful composition and planning, the
use of standardized, “off-the-shelf” and durable industrial
materials set the tone for the architectural
direction of FLEXsystems. The design had to meet
prescribed financial models within the self-storage
industry, but as long as the basic square foot to cost
criteria was met (the construction budget was $60 per
sq ft), the design team (el dorado architects; lighting
designer Derek Porter Studio; and landscape consultant
Off the Grid) was free to define the outcome.
A combination of primary colors and glowing
translucent polycarbonate panels articulate the ex­
‘The large clerestory was
metaphorically viewed as a
lantern, a beacon of hope
for this community’s future,
a way to animate the street
with new life’
terior of the building and boldly redefine the typical
definition of a self-storage unit. Key to the design
was integrating lighting hardware into the modular
building system. In addition to the pragmatics of illuminating
space, the lighting design reveals more
Photos: Mike Sinclair
subtle relationships in the architecture, emphasizing
graphic pattern, unique material use and relationships
between interior and exterior.
FAÇADE AND GARAGE DOORS
Borrowed light between interior and exterior dur­
Performing arts centers, museums, streetscapes—all
symbols of urban renewal in
downtrodden cities. But a self-storage facility
That was the unlikely scenario in the Highland
Crest neighborhood of Topeka, KS, which had
been in decline ever since the Forbes Air Force base
closed over 20 years ago. Loss of individual homeownership,
poor quality buildings and a fractured
community spirit all contributed to a downturn in
the region.
A feasibility study indicated that replacing existing
dilapidated retail shops with a new shopping center
would not be cost-effective. Construction costs and
market lease rates in the neighborhood could not support
new retail. Instead, owner Botwin Family Partners
converted an obsolete strip mall into the FLEXSystems
self-storage facility, in the hopes of creating a catalyst
for other commercial development.
ing both day and night helps to soften and humanize
scale in this 24,000 sq ft industrial structure. Brightly
colored garage doors that demarcate each storage unit
from the outside are lighted graphically by surfacemounted
fluorescent luminaires. The luminaires,
located in niches above each garage door, simultane­
32 www.iesna.org
LD+A July 2006 33

I I D A P R O J E C T
I I D A P R O J E C T
Interior storage units are illuminated with
two continuous rows of two-lamp strips
located on tops of storage walls, which
provide indirect illumination of corridor and
storage spaces. The wire mesh ceilings also
allow natural light to penetrate.
34 www.iesna.org
ously light the façade, loading dock platform and adjacent
parking area. Precise positioning of the fixtures
also provides interior illumination when the exterior
doors are raised for access to the individual units.
The nine-ft wide garage doors were sized in order to
accommodate two four-ft T8 fluorescent fixtures. This
insured a smooth and consistent garage door illumination
and also gave the contractor ample space for
installation. The polycarbonate clerestory becomes
a valance over the lighting niche deemphasizing the
lighting hardware. The luminaires are wet location
rated, have cold weather ballasts and vandal-resistant
polycarbonate lenses. The north-facing polycarbonate
clerestory and aluminum garage doors produce a beacon
of light to the surrounding night environment—the
building literally glows at night.
“The large clerestory was metaphorically viewed
as a lantern, a beacon of hope for this community’s
future, a way to animate the street with new life,”
says Derek Porter, lighting designer on the project,
and recipient of a 2005 IIDA Edwin F. Guth Award
of Excellence.
For the entire project, only three luminaire types
were used (H.E. Williams supplied all four-ft and
eight-ft fluorescent luminaires). This reduction of
material yielded one lamp type (the four-ft T8), which
makes lamp maintenance a simple endeavor. Derek
Porter Studio’s design approach also met the personal
security and pragmatic performance requirements of
a 24-hour facility.
The high, unencumbered white ceiling acts
as a large reflector hovering overhead.
INSIDE THE BUILDING
Interior storage and corridor areas have high,
unencumbered white ceilings that capture daylight box switches in the office. The office manager controls
the interior lighting depending upon daylight
during daytime hours and are indirectly illuminated
at night by two-lamp fluorescent strips located conditions to save energy costs and to reduce lamp
out of sight on top of storage walls. This concealed maintenance. Exposed mechanical systems typically
hung from the ceiling are routed through walls
mounting shields direct view of the lamps and reduces
the likelihood of damage from vandalism and to optimize efficiency. Therefore, the ceiling itself
movement of stored goods through the corridors. serves as a large reflector hovering overhead.
All of the luminaires are zoned in rows running Using the same palette of luminaires, the entry sales
parallel to clerestories and are controlled by wall area (the only space with exposed luminaires) fea­
LD+A July 2006 35

I I D A P R O J E C T
Brightly colored garage doors are lighted by surface-mounted
fluorescent luminaires integrated within the building façade.
The clerestory functions as a beacon at night.
tures a set of X patterned suspended fluorescent strips
to provide general illumination. This expressive gesture
celebrates the simplicity and beauty of this industrial
product and is also a wayfinding device directing
customers toward individual storage units.
MORE THAN A STORAGE SITE
In October 2004, the facility hosted an experimental
art exhibition called “Moving In Moving Out.”
El dorado architects and Botwin Family Partners
sponsored the exhibition as an inaugural event to
welcome the new business to the community. Kansas
City-based artists Jordan Nickel, James Woodfill,
Mike Sinclar, Marcie Miller Gross and Miles
Neidinger each fabricated site-specific installations
within the storage units, the lobby area and corridors.
Much of the artwork focused on themes of storage,
reuse, interwoven images of community history
and concepts of belonging and identity.
Given the state of the surrounding community,
it’s critical that FLEXsystems embodies it name as
a flexible facility. “A key element of the functionality
and longevity of the project is its flexibility—the
facility is designed in such a way that should market
needs shift, it can easily be converted from storage
to retail space,” wrote Hesse McGraw, curator of
“Moving In Moving Out.”
What a good story: A developer who was sensitive
to the community; early involvement and careful
planning by the design team; and lighting solutions
that go beyond merely fulfilling the baseline criteria
to create architecture that may help resurrect a
community.
About the Designers: Derek Porter, IALD, Member IESNA
(1995), is owner and principal designer of Derek Porter Studio. With
16 years of experience as a lighting designer, his projects include
the Kansas City Ballet with Moshe Safdie, Nerman Museum of
Contemporary Art with Kyu Sung Woo, Southern Poverty Law
Center in Montgomery, AL, and numerous custom residential projects. Mr. Porter also
serves as director, MFA Lighting Program, at Parsons, The New School for Design.
Katrina Stullken All, LC, holds an architectural engineering degree
from the University of Kansas. She manages large scale lighting design
projects at Derek Porter Studio such as Sinai Campus, Detroit
Public Schools, Kansas City Public Library, Bich Telecom offices, Indian
Creek Community Church and the law offices of Shook Hardy Bacon.
Katie Green, LEED, Member IESNA (1997), is a designer at Derek
Porter Studio who works on such projects as Liberty Condominiums,
Bartle Hall Convention Center Expansion, a Civil Rights Museum in
Greensboro South Carolina and custom residential projects. She is
an active participant is numerous “green design” organizations and
holds an undergraduate degree in architectural engineering and a Master’s degree in
architecture from the University of Kansas.
36 www.iesna.org

P R O J E C T
A wall mural depicting city
scenes and zip codes is
backlit by LED light boxes.
Photos: Copyright Woodruff / Brown Architectural Photography
Handled With
Care
Lighting and design were part of
the package from day one at a new
postal center in Philadelphia
By Paul Tarricone
It’s a familiar refrain: A frustrated lighting consultant
is called in at the 11th hour by the architect
to apply (or heaven forbid “paste”) lighting
to a preconceived design scheme, rather than
having a seat at the table earlier in the project. For
the new U.S. Postal Service Processing and Distribution
Center in Philadelphia, however, there
was no chance that the lighting designer would
be late to the party. That’s because the architectural
firm and lighting designer were one and the
same—Philadelphia-based Kling.
LD+A July 2006 37

P R O J E C T
“It was a nice departure to be brought in initially
and not at the last minute,” says lighting designer
Nicolas Gurganus, formerly of Kling and now senior
project lighting designer with Giovanetti Shulman
Associates, Broomall, PA. “We were able to walk in
early with the other disciplines, such as mechanical
and electrical.”
The new mail center replaces the
1
facility at 30th Street in Philadelphia,
constructed in 1935. At the time, it
was the only postal facility in the
world that could be reached directly
by air, rail and water, due to its roof
designed for the landing of mail
planes and its location adjacent to
30th Street Station and the Schuykill
River. Over the years, however, the
facility became less operationally
efficient, as the railroad became obsolete
for transporting mail and mail
trucks increasingly had to compete
with rush hour traffic along South
30th Street. After 25 years of site
analyses, the USPS and the city located
a 50-acre “brown field” industrial
site for the new center near Philadelphia
International Airport and the
Interstate-95 corridor. The 930,000
sq ft, $300 million facility opened in
December 2005.
Not surprisingly, considering the
cost and size of the project, the Postal
Service was no absentee owner. “They
were very hands-on from the get-go,”
says Gurganus. “They were involved
in every project meeting I went to and were onsite
during construction.” The roots of that involvement
actually trace back to November 2003 when the
Postal Service, Kling, construction manager Jacobs-
Gilbane and other key personnel participated in a
pre-construction partnering session to help ensure
a successful project. This all-day session was used
to jointly develop a project mission statement. The
session helped identify member expectations and
even went as far as evaluating the personality traits
of each team member to facilitate a smooth conflict
resolution process. Twenty-five members of the team
attended the session; a booklet outlining the conclusions
was later distributed to each attendee.
FRIENDLY FACILITY
One item on the client’s wish list—and perhaps the
most difficult challenge—was designing for the “human
element,” says Kling project director Richard
Farley. How do you take a straight-forward mail processing
facility that caters to speed, efficiency and
tried-and-true processes and make it inhabitable,
38 www.iesna.org

P R O J E C T
workable and enjoyable for a workforce of 4000 The
design solution was to “make the box breathe”: a circulation
spine just inside the main entry serves as a
link between the workroom spaces and administrative
spaces. All employees, whether mail sorters, operations
supervisors or top administrative staff, enter
the building through the same main entrance, filled
with natural light from the skylights during the day
and lit up like a beacon at night. HID pulse-start metal
halide downlights (Kurt Versen), pendants (Louis
Poulsen) and wall scoops (Elliptipar) complement
the skylights to illuminate the circulation spine.
“The main entry welcomes personnel into the building
with arms wide open,” says Farley. “Some personnel
at other facilities entered the workroom through a
side door, punched in and went to work amid the sound
of machines and the chaos of the workroom floor. But
here, everyone enters the building with a sense of dignity
and satisfaction, that they’re a part of something
beyond themselves, processing more than eight million
pieces of mail nightly to all parts of the world.”
2
4
3
1. Skylights, pendants and wall scoops were among the
techniques used to illuminate the central atrium spine—
the link between workroom and administrative spaces.
2. The administrative areas off the atrium benefit from
natural light complemented by dimmable fluorescent
light.
3. Gasketed compact fluorescent downlights illuminate
an outdoor dining terrace.
4. Pendants illuminate the main entrance, which all personnel
use to access the facility.
To further foster a sense of egalitarianism,
two-story glass walls offer a view of the Philadelphia
skyline, while common spaces such as locker
rooms and a full-service cafeteria (with outdoor
seating and more wide-open views) were placed
equidistant from administrative and workroom
spaces to put all employees on the same plane.
For the most part, the Postal Service had a “cook-
LD+A July 2006 39

P R O J E C T
ie-cutter” design theory about lighting spelled out
in its design guidelines—a document “the size of a
phone book,” Gurganus says. “There was no lighting
expert on staff for the client, but lighting was a concern
in terms of achieving specific metrics—whether
A roof terrace provides access to the
cafeteria. Brick lights embedded in the
walls complement other lights sources.
it was 50 footcandles in the work room areas, or a
minimum of two footcandles in others.” However,
the Postal Service did allow for a touch of architectural
lighting panache on a 175-ft long 40-ft high
silkscreen wall mural that shows Philadelphia zip
codes across photographs of city scenes. LED light
boxes (one ft by four ft) spaced intermittently (about
every 10 ft) backlight sections of the mural. “Remember
the movie Close Encounters, with the blocks of
light during communication with the space ship”
says Gurganus. “That’s sort of what it looks like.”
Directly off the circulation spine are the mail processing
areas and administrative offices. Approximately
630,000 sq ft on two levels is devoted to mail
processing. This industrial-style space is lighted by
glass refractor, fully enclosed gasketed HID 250-W
pulse-start metal halide highbay luminaires (Holophane)
that can withstand floating paper dust—a
possibility in an area where such high volumes of
mail are handled. The admin offices, meanwhile,
receive daylight penetration through windows supplemented
by dimmable fluorescent lights.
LANDSCAPING AND LOADING
Outside, the grounds include new roadways,
curbs, gates, sidewalks, plant screenings, berms,
wayfinding signage and a parking lot for more than
2200 vehicles. To assuage residential concerns about
parking lot illumination, full-cutoff fixtures were
used to “ensure zero light trespass,” says Gurganus.
Approximately 50 poles (50-ft high), most with a
cluster of four metal halide shoe-box fixtures, were
used. “Two footcandles minimum was the criteria
for security. The parking lot is very bright and uniformly
lit.”
The building’s exterior is comprised of insulated
metal panels incorporating a glass and aluminum
curtainwall. The processing center is surrounded
by more than 100 loading docks, which are illuminated
by HID luminaires recessed into the curtainwall.
Finally, a veranda outside the cafeteria is
illuminated by gasketed compact fluorescent downlights,
as well as embedded brick lights.
The Postal Service apparently likes the package.
At the ribbon-cutting ceremony, USPS governor David
Fineman described the design as the “model that
will be used in Chicago, Los Angeles and all over the
United States.”
About the Designers: Nicolas Gurganus, Member IESNA (2000),
is senior project lighting designer with Giovanetti Shulman Associates,
Broomall, PA. He has 15 years of design experience with projects
ranging from pharmaceutical labs to corporate office campuses,
data centers, higher learning environments, industrial environments,
MRI suites, medical care facilities, federal detention centers, Department of Defense
and NASA facilities, several postal facility renovations and gaming/casinos.
Richard J. Farley, AIA, is project director with Kling. As both an architect
and an engineer, Mr. Farley has extensive experience working
on institutional and corporate facilities featuring state-of-the-art
technology, and large site master plans, several of which have won
design awards. He has also been a faculty member at the University
of Pennsylvania Department of Architecture since 1983, teaching graduate courses in
design, architectural structures and high-tech building enclosure.
40 www.iesna.org

P R O J E C T
P R O J E C T
Adequate light levels, a special reflective white
epoxy floor and proper luminaire spacing and
distribution eliminated shadows and the need for
supplemental lighting under the aircraft, where
inspections are routinely performed.
Monsanto’s facility at the Spirit of St. Louis
Airport isn’t just a hangar—it’s a hangout.
The building is used not only to house and
maintain Monsanto’s corporate aircraft, but also
for social functions and as a welcoming center for
international clients and guests. William Tao & Associates,
Webster Grove, MO, was commissioned to
provide a quiet, low-maintenance, energy-efficient
lighting system for the hangar that would improve
light levels and quality.
The 22,000 sq ft facility includes the renovated
12,000 sq ft hangar bay, which can accommodate up
to four medium-sized aircraft. Complicating the new
lighting design was the fact that the National Electric
Code (the governing electrical code for this project)
classifies aircraft hangars as “hazardous locations,”
meaning additional rules affecting electrical equipment
and wiring methods have to be followed.
Plagued by noise (in excess of 60 decibels), lamp
failures and poor lighting quality, the existing lighting
system had simply outlived its usefulness. “The
previous lighting consisted of 400-W twin metal halide
high-bays and 1000-W incandescent pendants,”
says Mark de la Fuente, an electrical project engineer
William Tao & Associates. “Because the lighting was
over 30 years old, over time the metal plates within
the metal halide magnetic ballasts had loosened and
separated from each other due to the forces exerted
by alternating magnetic fields created by alternating
current. These changing magnetic fields were causing
the ballasts to hum louder and louder with each
passing year. In addition, because the hangar is very
acoustically reflective, the lighting system had become
distractingly loud.”
SWITCH OUT
To create the new lighting system, 40 450-W open
rated pulse start metal halide highbays replaced the
existing (approximately 80) standard 400-W metal
halide fixtures. By dramatically reducing lamp
quantity and by using a lamp with longer life, maintenance
required for this spot re-lamped lighting
system would be greatly reduced. “The new system
is expected to improve maintained light levels by 10
percent,” says de la Fuente. “In addition, the lighting
system offers far better color stability over life,
good resistance against vibration and is essentially
impervious to temperature fluctuations.” Indeed,
the efficacy of the metal halide system was deemed
superior to comparable fluorescent systems in the
winter months, while the encapsulated ballasts
could easily withstand 120 deg summer temperatures
in this non-air-conditioned facility.
Meanwhile, eight compact fluorescent highbays
utilizing 42-W CFLs were used to replace the existing
incandescent lighting. The CFL lighting doubles
as both an instant-on lighting system, as well as a
low-light level lighting system that allows the main
Planes, Cranes
+
Very Tight Spaces
A new hangar lighting system had to navigate around airplanes,
a ceiling-mounted crane and other logistical challenges
By Paul Tarricone
42 www.iesna.org
LD+A July 2006 43

P R O J E C T
The new lighting had to avoid hazards such as a
ceiling-mounted crane used to lift equipment and
aircraft parts.
overhead lighting to be kept off when it is not needed.
“Thanks to new lamp and ballast technologies,
the energy consumption of the hangar lighting has
‘Because the hangar is very
acoustically reflective, the
lighting system had become
distractingly loud”
been reduced by an estimated 50 percent,” says de
la Fuente. The existing lighting contactors were
re-used to control the lights; however a multi-zone
lighting control system was added to provide the facility
with lighting control flexibility.
UNder and AROUND
The project also presented logistical challenges
specific to a hangar facility. The lighting must avoid
airplane wings and tails, as well as a large ceilingmounted
crane used to maintain and service the aircraft.
The crane is used to lift equipment and aircraft
parts. Avoiding the crane’s wide moving path without
creating gaps in the lighting was accomplished by
carefully coordinating the location and suspension
length of the lighting with the crane’s rail system.
In addition, adequate light levels, a reflective
44 www.iesna.org

P R O J E C T
Option A3 was selected. Option A2 had a faster payback, but did not meet the recommended light levels. Option A5 also had a faster payback,
but designers were concerned with the ability of the lamp and ballast to function in the un-air-conditioned environment of the hangar.
The new system cut the existing
luminaire quantity in half.
floor and proper luminaire spacing and distribution
eliminated shadows and the need for supplemental
undercarriage lighting. “A large portion of maintenance
and inspection is performed from under the
aircraft. Unfortunately it is very difficult to locate
permanent lighting under the aircraft,” says de la
Fuente. “A special white epoxy floor was used to reflect
the downward light up and under the aircraft.
By reflecting the light, we are able to achieve very
uniform and shadow-free lighting under the aircraft,
much like how a typical office indirect lighting
system uses the ceiling to reflect uniform light
onto the work surface.”
In other words, the new lighting has raised the
bar—both in terms of aircraft maintenance and visitor
perception. Says Jim Hrubes, Monsanto’s director
of corporate aviation, “The old lighting was inadequate
and an old technology. During periodic
aircraft inspections, bright and true lighting are essential.
Besides being more efficient and economical,
it also shows off our clean and neat hangar.”
About the Designers: Steve Andert, P.E., is a senior vice president
and board member of William Tao & Associates, overseeing
WTA’s lighting and electrical engineering services. He is also a
board member of the IESNA St. Louis Section.
Mark de la Fuente, Member IESNA (2004), is an associate and lead
lighting designer for William Tao & Associates. He is a degreed
architectural engineer, whose lighting projects include the Liberty
(WWI) Memorial and other historic lighting renovation projects. Mr.
de la Fuente is a past president of IESNA St. Louis Section.
LD+A July 2006 45

Q + A
Got a question about innovations
in powertrain
transmissions at General
Motors or the latest in vehicle
safety Talk to an automotive engineer.
Got a question about GM’s
lighting program Talk to Patrice
D. Fields. As senior electrical
engineer for GM’s Worldwide
Facilities Group (WFG), Fields
is responsible for planning and
managing the engineering, construction
and commissioning of
major electrical systems for manufacturing
and non-manufacturing
facilities in North America.
Fields is also GM’s “subject matter
expert” for lighting systems.
She establishes corporate equipment
specifications, application
guidelines and approves manufacturers
for 65 plants encompassing
nearly 14 million sq ft of space.
Lighting is not taken lightly at
GM. In 2002, under Fields’s direction,
the company formed a
Lighting Strategies Committee
(LSC) to establish a Corporate
Lighting Standard that addresses
safety, end user requirements,
energy efficiency, design criteria,
maintenance and lowest
lifecycle costs. The LSC consists
of other lighting subject matter
experts from energy, construction
and maintenance service
groups within WFG, and a lighting
consultant from a local architectural
engineering firm.
Fields began her career at GM
in 1986 while still at the University
of Detroit, earning credit toward a
Bachelors of Electrical Engineering.
She later received a Masters of
Business Administration from the
University of Phoenix.
Fields began specializing in
lighting after completing an
IESNA section course in 1990.
L i g h t i n g
Driver
Patrice Fields
is the go-to
person when
lighting issues
arise at GM’s 65
manufacturing
plants across
North America
Ultimately, she became responsible
for reviewing and approving
new lighting products and
led the effort to approve the corporate-wide
use of electronic
ballasts and T8 lamps. In addition,
she established corporate
specifications and application
guidelines for fluorescent
electronic ballasts and outdoor
lighting systems, and led a team
of engineers in revising corporate
specifications for indoor
46 www.iesna.org

Q + A
HID, office and fluorescent industrial
lighting systems. She is
also the liaison between lighting
manufacturers and GM facility
management representatives to
resolve operating issues with
lighting products.
In this Q&A discussion, Fields
describes GM’s approach to industrial
lighting and how it fits within
the larger corporate mission.
LD+A: What are the key industrial
lighting issues at GM
and how is your department
addressing them
Fields: The key issues are
safety, improved lighting quality
and reducing overall lifecycle
costs for lighting systems.
Safety is the number one priority
at General Motors; safety issues
include proper component specifications,
suitable luminaire application,
installation mounting
and power details, layout and
design for maintenance accessibility,
and proper operating control
type and location.
The Lighting Strategies Committee
has used a lifecycle cost
approach to justify standards that
have changed our approach to
lighting design. The design philosophy
has shifted from the use
of a grid pattern for general lighting
design to an approach that
customizes the lighting design
and optimizes the layout to support
the visual manufacturing
tasks. Our design approach emphasizes
luminaire accessibility
for maintenance and features
a group relamping program to
achieve minimal lifecycle cost.
LD+A: Are there any current
R&D projects or department
initiatives regarding lighting
What new technologies (sources,
fixtures, etc.), if any, are
you investigating
Fields: GM has installed limited
applications of newer technologies
in our facilities to determine
their suitability for use
in automotive manufacturing. In
addition to the use of highbay fluorescent
and electronically ballasted
metal halide systems, we
have expanded the use of occupancy
sensors to control lighting
outside of the office environment.
The use of occupancy sensors in
locations with limited activity
is an improvement over manual
switching with no adverse safety
impact. We have also successfully
integrated lighting controls
into automated equipment to provide
lighting only when needed.
LD+A: How does GM evaluate
the effectiveness of industrial
lighting “in the trenches” Do
user groups/plant personnel/
unions provide feedback, design
ideas or post-occupancy
evaluations
Fields: Several mechanisms
are used in GM to obtain employee
input, feedback or to solicit
ideas. A “Go-Fast” process is frequently
used to obtain employee
input for a defined problem and
identify potential solutions. The
GM Suggestion Program has
been used extensively by employees
to improve lighting effectiveness
through identification
of wasted lighting energy,
opportunities for better control
and the use of specialty lighting
for specific visual tasks. In addition,
the Lighting Strategies
Committee maintains the GM
Corporate Lighting Standard as
a living document with frequent
updates to address issues as they
are identified.
Prior to incorporating new technologies
or products into the lighting
standard, several validation
The design philosophy has shifted from
the use of a grid pattern for general lighting
design to an approach that customizes
the design to support the visual manufacturing
tasks.
steps are taken. We conduct a table-top
evaluation of the construction
of luminaires, as well as the
photometrics. We select an appropriate
application for a trial installation
of new products. We evaluate
feedback from the end users such
as line workers, supervisors and
maintenance personnel. We also
work with representatives from
manufacturing engineering organizations
to assist in the selection
LD+A July 2006 47

of luminaires and determine the
proper lighting design and levels
for tasks such as welding, assembly
line operations, painting and
inspection lighting.
LD+A: Is there an example
of how lighting addressed a
specific manufacturing/production
challenge at GM
Fields: The integration of process,
building and emergency
lighting systems has eliminated
problems associated with robotic
vision systems, reducing excessive
glare at inspection stations,
and providing better lighting inside
the vehicle to support interior
vehicle assembly processes.
LD+A: Are there any lighting
issues that are unique to
North American vs. international
production facilities
Fields: HID lighting systems
are more prominent in North
America than other parts of the
world. The use of fluorescent
lighting for general industrial
building purposes has not been an
accepted practice in the past. Concerns
include increased installation
and maintenance costs due to
higher luminaire and lamp quantities,
increased safety hazard
due to potential lamp breakage or
lamp retention in the luminaires,
and shorter life expectancy due to
less robust ballast products. HID
systems are preferred in North
America because of high lumen
package, high ambient operating
temperatures, less maintenance
and longer life.
GM’s Corporate Lighting Standard addresses
safety, end user requirements
and cost.
GM’s international manufacturing
facilities tend to place less
emphasis on building lighting
systems, relying almost solely
on process task lighting for visual
requirements. As a result,
most international facilities use
exclusively fluorescent systems.
LD+A: Generally speaking,
apart from GM, what are the
big issues to monitor in terms
‘We evaluate
feedback from the
end users such as
line workers,
supervisors and
maintenance
personnel’
of industrial lighting
Fields: Big issues to monitor
are 1) the development of electronic
ballasts for metal halide
systems and 2) how changes to
federal and state energy codes
will impact luminaire, lamp and
lighting system design requirements
in the future.
—Paul Tarricone
48 www.iesna.org

L D + A AT 3 5
Take a ride in the time machine and see what
LD+A was covering in July ’76, ’86 and ’96
LD+A
On The Sixes
LD+A July 2006 49

L D + A AT 3 5
July 1976—5 th Anniversary
What’s the Story Tennis, anyone
In 1976, Jimmy Connors and Chris Everet
ruled the hard courts. Today, the
names have changed (not to mention
the rackets), but the lighting issues
from ’76 strike a familiar chord. In his
article “Tennis Court Lighting—Designing
For Play,” in LD+A, July 1976, Kenneth
Fairbanks (then director of engineering services
at Gardco Manufacturing Co. and now an IESNA Fellow)
writes that “with the current emphasis on energy
conservation, outdated lighting techniques must be
reexamined. …Outmoded incandescent floodlighting
approaches are unacceptable in terms of energy
consumption. Their popularity comes from low initial
cost, but operating costs verify that incandescent systems
have outlived their usefulness.”
LD+A
‘As the scaffolding began to come down, and I looked again at our
Lady in the harbor—I was there one morning just as the sun rose—it
bcame very clear that that’s what she should look like’
July 1986—15 th Anniversary
What’s the Story One of the U.S.’s most
revered national treasures is the Statue of Liberty.
One of the most recognized names in the
lighting industry is Howard Brandston. The two
came together in the July 1986 issue of LD+A,
when Brandston contributed a first-person account
about relighting the Lady. “It wasn’t that
this was the biggest job my company had ever
done or even the most difficult project. But it
certainly would be one that had the greatest
symbolic meaning to more people than any other
previous project or perhaps any project that
we ever do.
“We visited the island and did a careful survey
of what angles were most flattering to the Statue.
…It became clear that we had to do something to
increase the presence of the Statue in the harbor.
This would underline the symbolic importance of
the Lady.
“To accomplish this, I felt that she should no
longer loom out of the darkness of the harbor
with just her pedestal and herself lighted. Rather,
you should see the
island, the fort, the
pedestal, the Statue,
the crown and the
torch clearly.”
But even as the design
plan came into
focus, something was
gnawing at Brandston.
“There was still something missing. There was
still some image that I did not have a handle on
of how I wanted the Statue to look when you saw
her at night. As the scaffolding began to come
down, and I looked again at our Lady in the
harbor—I was there one morning just as the sun
rose—it became very clear that that’s what she
should look like. The impression should be that
the sunlight is on her face, and that there is always
a beginning and a hope here in America. So
as we began to apply the warm and cool lights,
the final focus phase, that’s what we worked for,
the impression of the sun in her face with the
clear cool light of the sky surrounding her.”
50 www.iesna.org

L D + A AT 3 5
While the term “dark skies” had yet to become part
of the everyday lighting lexicon, Fairbanks notes that
“although fluorescent tennis lighting systems are
fairly efficient, many areas have rejected them because
they light not only the courts, but the entire
neighborhood. Justifiably court neighbors feel their
privacy is being invaded and their property values
are reduced by this light intrusion.” The article goes
on to prescribe “sharp cutoff” HID luminaires as the
technique of choice for tennis courts.
Much of the remainder of the July ’76 issue was
dominated by coverage of the upcoming IES annual
conference in Cleveland. While staples like the
Progress Report and the Awards Luncheon continue
to this day, the after-hours entertainment had a decidedly
’76 flavor; on Wednesday night, attendees
could choose between singer Bobby Vinton at the
Blossom Music Center or the killer whale Shamu at
Sea World in the bi-centennial show, “Yankee Doodle
Whale.”
July 1996—25 th Anniversary
What’s the Story A cover story on LD+A’s silver
anniversary looked ahead, not back. A piece entitled
“Communicating the Future of Lighting” discussed
a range of topics, including a little thing called the
Internet. The article touched upon online “distance
learning programs” offered by universities and the
“wealth of information already available for free via
the Internet. Home pages and databases
by various organizations, manufacturers
and even individuals await intrepid ‘surfers.’
”
Beyond the rise of the Internet, the essay
also offered predictions on how the computer
would change design. “Computer-aided
design is becoming increasingly prevalent
in the offices of architects, designers and
consultants. Eventually, all the details,
structural, plumbing, HVAC, acoustical,
fenestration, finishes, furniture, and, of course, lighting—will
be associated with different ‘layers’ of a drawing
that resides in a different computer.”
The emergence of a “computer on every desktop”
was also discussed in terms of lighting work spaces.
Naomi Johnson Miller, now an IESNA Fellow, said
at the time, “My prediction is that in another five
years—maybe 10—the computer industry will be making
better quality monitors and we will no longer have
to worry about reflections of the lighting systems on
the face of the monitor. …We will suddenly be released
from a lot of these low-brightness luminaires and go
back to a luminaire that produces a brighter more
cheerful space to work in.”
For the most part, Miller turned out to be prophetic.
Revisiting her prediction, Miller today says, “Yes, computer
screens have come a long way in 10 years. This is
an issue I don’t worry about much any longer because
the newer LCD flat screens are brighter (i.e.
higher luminance) and have much lower
specular and matte reflection characteristics.
So, they don’t reflect bright luminaires like
mirrors the way old CRT screens used to.”
Finally, there was also a discussion of
lighting quality vis a vis energy consumption
and the potential commoditization of
lighting—topics that still resonate today. Said
Wayne Morrow, “If you’re marketing a television
set, you don’t start off by telling people
what the cost is; you talk about the benefits. If you
put in an oak door, what’s the payback Nobody even
asks. When we put in a good lighting fixture, why do
we ask what the payback is Energy savings is a dividend,
something that falls out of what we do.” Bradley
Hutchinson added, “The most important [energy issue]
is that the lighting not ever be compromised. I’ve seen
so many situations where energy conservation has
overtaken the reason we do lighting in the first place.”
—Paul Tarricone
LD+A July 2006 51

L D + A AT 3 5
Recollections
+ Reflections
Lighting professionals
offer observations—
ranging from personal
milestones to industrychanging
events—from
the last 35 years
People—not companies,
committees and conferences—comprise
an industry,
and those people are ultimately
the greatest resource a
magazine has. To commemorate
the 35th anniversary of LD+A,
we asked a number of individuals
from the lighting industry to
reflect back on one “moment”
during the past 35 years. That
moment could be a personal
highlight or a trend that has
shaped the lighting community—
anything goes. Here’s what they
came up with.
LD+A July 2006 53

L D + A AT 3 5
1970s
In 1977 I took my
first lighting class
from Marietta Millet.
Our text was the
newly published Perception
and Lighting as Formgivers
for Architecture by Bill Lam,
her mentor. I was hooked. Maybe
it was because I had majored in
psychology, and the idea that lighting
could affect and be affected
by perception was intriguing. Or
maybe it was that daylight and
electric light could work together
to mold a building by some seemingly
mystical means. I have always
considered myself Bill Lam’s
lighting granddaughter, and feel
duty-bound to pass on those stillintriguing
ideas to future generations.
Mary Claire Frazier,
Candela Architectural
Lighting Consultants
Change came to theatrical lighting
controls from 1976-1980. The
1960s saw tungsten halogen lamps
improve lighting instruments, optics
and efficiency. The early ’70s
saw the advent of wide-spread
computerized control. The real
change in equipment came in the
late 1970s when power semiconductors
became so cost-efficient
that the whole architecture of
power controls for theatrical and
television applications changed.
Dimmer-per-circuit became practical
and feasible. This led to safer
operations, less cost and ideal coupling
with the new computerized
lighting control consoles. Power
“patch panels,” “repatching” and
“ghost loads” virtually vanished
from our language, and dimmers
were purchased by the hundreds
instead of dozens.
Jody Good, Spectrum
Lighting
1980s
My first 35 years in illumination
and the IESNA were devoted
to indoor lighting. In 1985, Hubbell
Lighting, known for outdoor
lighting, purchased The Miller
Company. As manager of training,
it was clear that I had to
quickly acquire a new language:
floodlight and roadway types,
pole heights, wind-loading, cutoff,
inverse square law. Happily,
this led to the Security Lighting
Committee. As I approach 80
years of age and over 55 years
in the IESNA, I am still teaching
and writing about security lighting.
This activity provides a level
of satisfaction no office lighting
design could offer.
Ted Ake, Hubbell Lighting
(retired)
I always felt I crossed over
from the art world into the architectural
lighting design profession
at a significant point in
time: early enough to experience
some of the living history still
lingering around parts of New
York City before it completely
vanished—like the century-old
Luxfer prisms in the transoms
of old Broadway storefronts—yet
well enough into its formative
period to envision where the future
would take it. I was lucky to
have struck up some brief friendships
along way with a few firstgeneration
lighting designers
(people like Douglas Leigh and
Edison Price). Their shared passion
for light and what seemed
an eternal lifetime of achievement
made me think they might
somehow outlive their legend.
Matthew Tanteri, Tanteri +
Associates, LLC
1990s
Instant food, instant messenger,
overnight delivery, e-mail, load a
project to an FTP site...instant design.
Thinking back to the mid-
1970s, when overnight delivery
was just being born and we drafted
by hand, we had more time;
we had “think-time.” We didn’t
have to get the drawings to the architect
the next day, because that
was just physically impossible...
nowadays we have rush projects,
no phases of design. It seems that
modern man assumes ideas are
born faster since we can cut-and-
54 www.iesna.org

L D + A AT 3 5
paste our details. I cherish a project
that has “think-time.”
Bonny Ann Whitehouse,
Whitehouse Lighting Design
As a neophyte lighting designer,
learning about lighting during
the time period (post-1970s energy
crisis) when lamp manufacturers
were touting the benefits
of compact fluorescent sources
as energy-saving alternatives to
incandescent, I remember taking
personal pride in developing
designs using 100 percent nonincandescent
sources. It wasn’t
until I started submitting lighting
designs for IIDA Awards that
I learned more of the nuances of
visually artistic designs. A majestic
moment for me—as a lighting
designer—was winning an Award
of Merit for my design of the Crayola
Factory. I would not have developed
the necessary design sensitivities
without the IESNA.
Jean C. Black, PPL Services
Corp.
A new development in the past
35 years is the research, awareness
and importance placed
on “lighting quality.” For many
years, the emphasis of lighting
for buildings and exterior environments
was most often based
on technical solutions. This is
what we were taught in education
programs where lighting
was oversimplified to numerical
equations. While these are still
an important part of our process,
a new emphasis is placed
on “quality lighting” early in
the design by architects and especially
by building owner/operators,
whose bottom line is affected
by the impact that lighting
has on people using the space.
Stefan R. Graf, Illuminart
One of my strongest memories
in the lighting industry was during
the renovation of the Guggenheim
Museum in New York City in the
early 1990s. As a student of design
and architecture, I was humbled
by the experience of sitting in a job
meeting room, at the ground floor
of such an iconic building, with all
of the façade that the public usually
sees stripped away. It was the
image of huge concrete columns
falling from the sky, and gracefully
transferring their enormous loads
to the foundation underneath that
made me realize the most interesting
features of any project are often
hidden out of sight.
Ken Kane, Lighting
Services Inc
2000s
“Continuing education” means
much more than attending courses
and seminars. That education
also extends to the face-to-face
networking and information exchange
that happens with colleagues
at these events. Attending
local section meetings is a really
good place to start. Committee
involvement or being a section
officer provides a great leadership
role. However, going to a
regional or annual conference offers
so many more opportunities
for learning, such as history, latest
technologies and what’s on the
horizon. Plus, the people you meet
make the time well-spent.
Anthony J. Denami, Nash
Lipsey Burch, LLC
Since computers have integrated
and taken over our society,
lighting systems have become
more complex as well. Our luminaires
now speak to controls,
occupants, sensors and building
systems. Nevertheless, no matter
how “smart” the lighting system
may be, it still takes a passionate
lighting designer to make it work.
Connie L. Buchan, SMUD
Energy & Technology Center
The IESNA just celebrated its
centennial, which is certainly a
great milestone. What really struck
me about the event was the fact that
a group of stereotypically unsocial
and “stuffy” people got together
and had a really great time together.
It was a special time for all who
took part in it, especially the students
who were able to celebrate
with a Society that is full of life and
potential.
Pete Romaniello,
Conceptual Lighting
LD+A July 2006 55

L D + A AT 3 5
L D + A AT 3 5
IESNA past president Alan Lewis previews the stories LD+A will be
covering in advance of the Society’s Bicentennial celebration in 2106
R i p p e d F r o m t h e
Headlines
By Alan Laird Lewis
Imagine the Bicentennial meeting of IESNA, held at
the palatial Days Inn Resort and Spa in New York
City in January 2106 and attended by nearly 2000
members (the average age of whom is 79 years). This
meeting is especially notable because, for the first
time in 30 years, the members are coming together
at one location instead of attending via personal electronic
media from their homes or businesses.
the lighted environment improved dramatically when
the IESNA stopped trying to convince the building industries
that lighting was an important component of
architectural design that shouldn’t be the last system
to be added and the first system to be cut in the budget
process and instead embarked on a program of
public education that aroused the ire of users who in
turn demanded work and living spaces that were com-
The desire of the public for well-designed lighting
became so universal that, for the first time since the
1940s and in response to the increased demand for
highly qualified lighting professionals, North American
universities began programs that offered degrees
in illuminating engineering as a primary discipline.
2. Extra, Extra! “Gas Guzzlers Phased Out As
Lighting Gains Prominence”: The energy crisis of
The IESNA’s position that it was bad public policy
to continue to ignore the visual needs of the increasingly
aged population of North America gained it
valuable support from public advocacy groups and
politicians. The fact that the lighting industry continued
to develop ever more energy-efficient sources
and designs gave it important credibility and played
a crucial role in the success of this initiative.
Following the presentation of the IESNA Medal to
fortable and efficient. By drawing attention to the most
2031 showed that if the efforts during the late 20th
3. Extra, Extra! “Researchers Establish Link
the now feeble but still feisty Howard Brandston—his
egregious assaults on the senses by the glare mongers,
and early 21st centuries to continually decrease
Between Light and Human Health”: The success
third (he just keeps going and going...)—the Heritage
it became as unacceptable to disturb vision by shining
the amount of energy devoted to lighting had been
of the mission to Mars in 2045 brought to the pub-
Committee Report recounts what the members be-
bright lights into people’s eyes as it was to play loud
continued, quality lighting would have become im-
lic’s attention the role of light in maintaining health.
lieve to be the major contributions of the Society in
music in public spaces (in fact that analogy was promi-
possible to provide. Fortunately, the IESNA instead
Because of the research funding that supported the
the past 100 years. Those milestones have also been
nently made in the education campaign). And once
embarked on a program which demonstrated that,
studies of the role of light in the physiological well-
the subject of countless headlines and articles in
the public started to pay attention to the worst of light-
rather than starving the portion of the energy budget
being of the astronauts for long duration space trav-
LD+A between 2006 and 2106:
ing conditions, it became increasingly interested and
dedicated to lighting, the public benefited far more
el, photobiologists and illuminating engineers were
1. Extra, Extra! “Public Reaches For the Stars;
knowledgeable about lighting and eventually began to
by restricting the energy devoted to such unneces-
also able to conduct the basic research that mark-
Finally Demands Quality Lighting”: The state of
demand increased quality in all its lighted spaces.
sary uses as fuel guzzling, oversized vehicles.
edly advanced our knowledge about the relationship
56 www.iesna.org
LD+A July 2006 57

L D + A AT 3 5
between light exposure and human health. Just as
the space program advanced research in electronics
and electro-optics in the 20th century, so did it
advance the realization that lighting designs that included
non-visual effects could be even more costeffective
and useful.
4. Extra, Extra! “Cobra heads, HID Headlights
Extinct; Roads Now Light Themselves”:
Among the most significant advances covered in LD+A
and cited at the Bicentennial Conference was the development
and widespread application of coatings for
fabrics and materials that were self-luminous and
which have largely replaced the need to provide outdoor
lighting at night. The availability of the micro fuel
cell, which eliminated the battery as a source of portable
energy, made possible the use of self-luminous external
garments which virtually eliminated the need
for roadway lighting in rural areas. The application
of solid-state coatings on road and walkway surfaces,
an outcome of the natural and rapid advances in solidstate
technologies which not only emitted radiation in
the visible spectrum but also could be tuned to emit in
the infrared, has not only dramatically increased driving
safety at night, but also keeps roads free of snow
and ice in colder regions of the world.
The accompanying advances in lighting controls,
which permit the activation of the visible light component
of the coatings only at night and when vehicles
or other moving objects are present, have not
only dramatically reduced energy usage, but also
have cut sky glow by over 80 percent, now known
as the Crawford-Clanton Effect. However the IESNA
office still gets an occasional letter bemoaning the
passing of the high pressure sodium Cobra head
and the beloved HID headlight.
Expanded Horizons
Whether or not these imagined headlines ever
grace the pages of LD+A is not the important point.
What is important is that we—the members of the
Illuminating Engineering Society of North America—continue
what our founders started in 1906.
Moreover, it is now time to expand our horizons
from working on the problems that face the lighting
industry to addressing the problems of our ultimate
constituency, the public. Within the past 18 months,
the Society crafted a new mission statement which
is both simple and elegant: The IESNA seeks to improve
the lighted environment by bringing together
those with lighting knowledge and by translating
that knowledge into actions that benefit the public.
The change in our mission articulated in this statement
is subtle, but immensely important: we act not
to benefit the industry, but to benefit the public. That
means that we should be asking how we, as those
most knowledgeable about the lighted environment,
can improve the lives of others through what we do
and know. We should be asking what it is that we,
as a group, can and should be doing to address the
needs of an aging population for a glare-free and
well-lighted space, for a safer and more comfortable
driving experience, for a night sky where we can
again see the stars while still getting around safely
on the ground, and where the therapeutic benefits of
light are available and understood by all. We can do
all this while still serving the needs of our industry
for order, standards and communication.
The Centennial celebration in January marked
a new and expanded vision of what this Society is
and can be. If you think the last 100 years have been
great, just watch us now. With enthusiastic and
committed members, with an exceptionally strong
leadership team ready to carry the torch, and with
an industry that is both innovative and generous,
our future is bright (but not glaring).
That’s news we can shout out from the rooftops.
This article was adapted from Dr. Alan Lewis’s
speech at the IESNA Centennial Celebration Dinner
in January.
About the Author: Dr. Alan Laird Lewis, O.D., Ph.D., Fellow IESNA
(Member 1972), is the president of the New England College of Optometry
and the 101st president of the IESNA.
58 www.iesna.org

BOOK REVIEW
A HISTORY
OF LIGHT
AND
LIGHTING
Author: David L. DiLaura
ISBN: 0-87995-209-9. Available
through IESNA (www.iesna.org);
212/248-5000
Hard cover: 402 pages. Includes
432 figure resources, bibliographical
references and index.
By Gilberto J. C. da Costa
This well-done narrative describes
the principal facts involving
the technology of lighting in all of
its aspects. It begins with the use
of fire as a form of light, originally
utilized to meet the needs of seeing
and security, and continues to trace
philosophy. The first chapter deals
with the general aspects of lighting
history. The remaining chapters describe
technical aspects of artificial
lighting’s evolution. For a lighting
professional, the book’s chapters
may be read in any order.
The main focus of the book is the
evolution of the knowledge of light
as an aspect of human civilization.
DiLaura uses clear English with a
pleasant literary style, accessible
even to those for whom English
is not their mother language. In
addition, many illustrations are
provided. Included are some very
interesting historic photographs
documenting the environment of
the lighting plants and laboratories
of the past. At first glance, the work
ing” is used in the organization’s
title, are all chronicled.
Each chapter of the book may
stand alone, because they each
include a contents’ summary, as
well as an historical research, theory
and application section. So,
after the first chapters describe
the mechanics of light, vision and
color, the remaining ones describe
development of lamp sources. Included
are the economic costs of
the respective light type discussed.
For instance, economic reasons
are important in considering why
candles are used only for religious
purposes, and for such commemorative
events as birthdays or romantic
moments. These may be
considered special life events and
the high cost of candlelight is prohibitive
except in these situations.
The book’s content does not
neglect the importance of electrical
discoveries and potential influ-
the development of contemporary
ences on futures technologies. The
light sources. The breadth of the
history shows the hard work made
author’s knowledge and experience
by pioneers in getting the correct
is obvious, revealed through his
material for the filament, the re-
ability to deftly handle the material
search for the best vacuum value
from the many different viewpoints
and the search for a better lamp
of the relevant branches of lighting
lifetime duration including that for
sciences. The text goes through
halogen lamps. Following that, the
the identification of milestones
development of fluorescent lamps
in sources research, calculation
and high pressure discharge lamps
methods, technical papers, as well
appears to resemble a story book,
are discussed.
as standards’ definitions. Instead of
but a detailed examination of the
Given the right and essential im-
merely providing facts, the author
content will provide for an educa-
portance to the search for a light
adds personal comments on light-
tion and comprehension of the
standard, the book also addresses
ing history, starting from the very
lighting sciences.
photometric measurement issues
beginning and until the middle of
In the introduction, the author
in a separate chapter. The com-
the 20th century.
presents the first constitution of
plete description of the photomet-
The narrative consists of 12 chap-
the IESNA and acknowledges many
ric system’s role is presented from
ters with each part leading the read-
contributors. The first meetings,
the beginning, including the initial
ers efficiently towards specialized
the early letters and the presiden-
concepts and Lambert’s work, as
knowledge. The preface explains
tial addresses, including the reason
well as the equipment laboratories.
the book’s main orientation and
why the use of the word “engineer-
Additional comments are made
60 www.iesna.org

about the studies for lighting calculations
provided by Rousseau,
Parks, Benford and Yamautti. The
design methods used by Harrison
and Anderson, introducing the coefficients
of utilization and the lumen
method, are also discussed.
Finally, the book comments on
daylighting, called “the first light”
by the author, and the study of daylight
calculations mainly in effect
after the first oil crisis.
The result is a charming book
for those who make the science of
lighting their life’s work, but also
for those curious about the history
of civilization. It was written also to
document and to celebrate the centennial
anniversary of the IESNA.
For that reason DiLaura received the
Society’s Presidential Award.
This book deserves a place in
the professional’s personal library
and is highly recommended. This
text may be considered as a motivational
book for lighting students
of all ages and experience.
Gilberto J. C. da Costa is Titular
Professor of lighting at the Catholic
Pontifical University of Rio Grande
do Sul (PUCRS), Brazil, since 1969,
at the Architecture and Engineering
Faculties. He worked at the same
time for 30 years for an electric public
utility (CEEE) Brazil. He is a member
of IESNA, since 1994 and of the ISHS,
since 2000. Presently his research is
on the use of supplementary lighting
for plant growers production.
Join Now!
The Illuminating Engineering
Society of North America is
the recognized technical authority
on illumination. With a diverse
membership, the society publishes
nearly 100 authoritative publications,
including recommended practices
on a variety of applications, design
guides, technical memoranda, and
publications on energy management
and lighting measurement. For more
information visit our website.
Apply for membership
online at www.iesna.org
LD+A July 2006 61

LIGHT PRODUCTS
s W2 Architectural Lighting’s
Norfolk Series of decorative luminaires
for use for commercial, retail
and hospitality applications features
a complete family of architectural
styled decorative fixtures that
are designed to illuminate today’s
s In addition to the LG16 Festive
LED lamp which is two in. in diameter,
TCP now offers the LG25
(3.1-in. diameter) and LG40 (5-in.
diameter) as energy efficient alternatives
to incandescent lamps.
The LED lamps are available in
s Square D’s Clipsal keypads
with Dynamic Labeling Technology
make it easier for homeowners and
their guests to locate switches in a
dark room and turn on the lights
they want. The technology allows
for electronic labeling of keypad
switches according to homeowner
preferences, and incorporates a
backlit LCD screen that can display
editable text or bitmap labels
contemporary commercial interi-
an array of colors, including red,
along with function indicators like
ors. Gently diffusing bowl-shaped
blue, green, white and amber, and
bar graphs. Button configurations
shades produce soft, even lighting
last up to 50,000 hours, providing
allow the setting of up to four light-
while their open tops deliver indi-
a stylish option for a variety of
ing scenes. This means scenes spe-
rect lighting that enhances the envi-
specialty applications where low
cifically designed for certain times
ronment. The pendants are offered
maintenance and energy savings
of the day or household events,
with diameters ranging from 24
are desired. The lamps come in 24
such as movie night, can be pre-
to 48 in., and can be extended
or 120 volts with either a medium
programmed to homeowner speci-
from the ceiling with stems. www.
or candelabra base. Each lamp
fications. www.us.squared.com
w2lighting.com
consumes only one watt and is
rated for indoor or outdoor use.
www.tcpi.com
t Juno Lighting Group has added 21 new families of Linear Fluorescent fixtures to its
ModuLight line. These fixtures provide energy efficiencies and added safety benefits, and
allow for unlimited reconfiguration of lighting layouts. Linear Fluorescent fixtures provide
flexibility, dependability and variety to fit any industrial or commercial application. The 21 new
families are available in five luminary groups. These groups include: industrial, strip mounts,
wraparound, surface mounts and channel. The fixtures also offer an emergency lighting systems
option. The emergency system offering provides 1 or 2 T8 lamp operation, 1100 to 1400
lumen output and 90 minutes of illumination time. www.junolightinggroup.com
62 www.iesna.org

s Encelium Technologies, Inc.’s Energy Control System
(ECS) is a fully scalable, integrated hardware and software
system that allows users to realize unprecedented lighting-related
energy savings in offices, healthcare facilities,
schools, warehouses, factories, and other commercial and
public buildings. The system’s unique “GreenBus” communication
network allows light fixtures, occupancy sensors,
photo sensors and wall dimmers to be individually
addressed as part of a complete lighting control system,
resulting in quantifiable energy savings of 55-70 percent.
www.encelium.com
t LEDtronics series
Panel Mount LED
Lamps and Holders are
designed to replace
T2 incandescent telephone-slide
based
lamps in miniature
utility switches, industrial
control panels
and other applications
that demand durable and energy-efficient light sources. The
lamps and holders fit space-restricted control panels and
tight operating budgets alike. While intended as integrated
assemblies (incorporating the lens, lamp and lamp holder),
the relampable series may be purchased as separate components.
With behind-the-panel depths of .935 in. (23.7mm)
and 1.4 in. (35.6) mm respectively are great for applications
where space is at a premium. www.ledtronics.com
s Deltalight’s harnesses Power LEDs blending cutting-edge
European design, with high-performance
Power LED technology. Encompassing a stylish range
of surface mount and recessed fixtures for interior and
exterior applications, the line includes task, accent, miniature
down-light, orientation, wall sconce, in-ground,
linear and landscape luminaires. Power LEDs offer many
advantages over conventional light sources including
extremely long-life of 50,000+ hours, smaller size allowing
for dramatically different fixture designs, energy
efficiency with white Power LEDs delivering more than
20 lumens per watt and no heat or UV in the light beam.
www.deltalight.us
LD+A July 2006 63

EVENTS
ß July 18-19: The Kirlin Company
is offering its course,
“Healthcare and Medical
Lighting” at its Reflection
Point Education Center
in Detroit, MI. The course
focuses on current practices
for healthcare facility lighting,
including specialty lighting
for procedures and exams,
as well as issues that are
important in addressing the
need of patient visual comfort
and professional staff
performance. Contact: www.
kirlinlighting.com
ß July 31-August 2: Philips
Lighting presents a three-day
Lighting Fundamentals workshop
held at the Lighting Application
Center in Somerset,
NJ. This program, covering
basic knowledge for anyone
involved in the lighting
industry, includes hands-on
demonstrations and interactive
experiences to give you a
first hand appreciation of the
impact of lighting decisions.
Contact: www.nam.lighting.
philips.com/us/lac/ or call
732-563-3273.
ß August 3-4: The Philips
Lighting two-day workshop
on Retail Lighting Applications
addresses and explores
innovative lighting solutions
for visual merchandising
at the Lighting Application
Center in Somerset, NJ. This
workshop will cover general
lighting, display lighting,
color and theme lighting
appropriate for applications
ranging from big-box
and grocery, to department
stores and specialty shops.
Contact: www.nam.lighting.
philips.com/us/lac/ or call
732-563-3273.
N September 7-8: Second
CIE Symposium on Lighting
and Health, Ottawa, Canada.
NRC and the Commission
Internationale de l’Eclairage
(CIE) are co-hosting this
important international event,
with support from major
lighting companies.
Contact: irc.nrc-cnrc.gc.ca/ie/
lighting/health/cie_e.html
ß September 11: Philips
Lighting presents a oneday
Sustainable Lighting
workshop held at the Lighting
Application Center in Toronto.
This program delivers
information and techniques
needed for lighting LEED
(Leadership in Energy and
Environmental Design) applications.
Contact: www.nam.
lighting.philips.com/us/lac/ or
call 905-201-4500, ext 2034.
ß September 12-14: Philips
Lighting presents a threeday
Lighting Fundamentals
workshop held at the Lighting
Application Center in Toronto.
This program, covering
basic knowledge for anyone
involved in the lighting
industry, includes hands-on
demonstrations and interactive
experiences to give you a
first hand appreciation of the
impact of lighting decisions.
Contact: www.nam.lighting.
philips.com/us/lac/ or call
905-201-4500, ext 2034.
ß September 19: Philips
Lighting presents a one-day
Residential Lighting Application
workshop held at the
Lighting Application Center in
Somerset, NJ. This program
demonstrates home lighting
techniques and merchandising
for residential showrooms.
Contact: www.nam.
lighting.philips.com/us/lac/ or
call 732-563-3273.
ß September 20-22: Philips
Lighting presents a three-day
NCQLP Exam Preparation
Review held at the Lighting
Application Center in Somerset,
NJ. This course will
help prepare LC candidates
for the exam in November
by emphasizing effective
techniques, using practice
simulations and calculations,
and filling in knowledge gaps.
Contact: www.nam.lighting.
philips.com/us/lac/ or call
732-563-3273.
64 www.iesna.org

ß September 20-22:
Cooper Lighting presents
Maximizing Sustainability and
Energy Efficiency in Schools,
Offices & Healthcare Applications–
$500– to be held at the
Cooper Lighting headquarters
in Peachtree City, GA. Contact:
Karin Martin 630-513-8625
ß September 21-23: CIE/
USA, Commission Internationale
De L ’Eclairage
International commission
on Illumination announces
Urban Nightscape, Athens
– Kifissia, Gaia Centre, Goulandris
Museum of Natural
History. Contact: www.
urbannightscape2006.com
ß September 27-29: ITL
(Independent Testing Laboratories,
Inc.) will conduct
its Educational Institute
“Photometric Reports and
Lighting Calculations” in
Boulder, CO. This training
course is geared toward
those new to the study
of lighting, emphasizing
the use of photometric
data– Indoor, Roadway and
Floodlight. Contact: Debbie
Berger 303-442-1255
ß October 2-3 : Cooper
Lighting presents Advanced
IRiS Solutions– $350– to be
held at the Cooper Lighting
headquarters in Peachtree
City, GA. Contact: Karin
Martin 630-513-8625.
ß October 2-5: ITL (Independent
Testing Laboratories,
Inc.) will conduct its Educational
Institute “Fundamentals
of Photometry” in Boulder,
CO. This four-day course
covers the technical aspects
of photometric testing. Extensive
coverage is given to the
various forms of photometric
data and the procedures necessary
to test and reduce the
raw data into final photometric
reports for indoor, outdoor,
and floodlight luminaires. The
institute also reviews the fundamental
concepts and terms
of illumination and electrical
measurements as well as characteristics
of contemporary
light sources. Contact: Debbie
Berger. 303-442-1255
ß October 3-4: The Kirlin
Company is offering its
course, “Healthcare and
Medical Lighting” at its
Reflection Point Education
Center in Detroit, MI. See
(July 18-19) description.
ß October 4: Philips Lighting
presents a one-day Sustainable
Lighting workshop
held at the Lighting Application
Center in Toronto. See
(September 11) description.
N October 4-6: Inaugural
Conference from Intertech,
Quantum Dots 2006: From
Nano to Mega – Transforming
QDs into a Global Market will
feature 20 speakers, two seminars
and multiple networking
events for members of the
quantum dot, lighting, display,
biomedical/biotech, energy,
data storage, and investment
communities, will be held at
Crowne Plaza Hotel Union
Square, San Francisco, CA.
Contact: syandell@intertechusa.com
or go to www.
intertechusa.com
N October 6-9: 2006 American
Society of Landscape
Architects Annual Meeting &
EXPO (October 7-8) and 43rd
International Federation of
Landscape Architects World
Congress (IFLA) will host
Green Solutions for a Blue
Planet will be held at the Minneapolis
Convention Center,
Minneapolis, MN. Contact:
Angela Wilson at 202-363-
4666 or email angelaasla@
starpower.net
ß October 8-11 : The Illuminating
Engineering Society of
North America (IESNA) will
host the 25th Annual Street
and Area Lighting Conference
in Tampa, FL, at the Hyatt Regency
Tampa Hotel. The threeday
conference is dedicated to
the continuing education of a
wide range of outdoor lighting
professionals including, designers,
engineers, managers,
directors and planners from
municipalities, cooperatives,
utilities, consultant firms and
urban planners with responsibilities
in outdoor lighting.
Three days of educational sessions
and exhibits will enable
attendees to gain an edge on
current outdoor lighting practices.
From lighting novice to
experienced veterans, the conference
offers basic courses
to advanced lighting courses.
The conference program
covers a wide range of topics
such as security, liability, and
maintenance exclusive to outdoor
lighting and presented by
top industry speakers. Small
group breakouts are held to
address relevant and specific
business related issues totally
focused on outdoor lighting.
Contact: Valerie Landers, Tel:
212-248-5000, ext. 117 or go to
www.iesna.org
ß October 12-13 : Cooper
Lighting presents Lighting
Design & Applications with E-
Tools – $350– to be held at the
Cooper Lighting headquarters
in Peachtree City, GA. Contact:
Karin Martin 630-513-8625
ß October 16-18: Philips
Lighting presents a three-day
Lighting Fundamentals workshop
held at the Lighting Application
Center in Somerset,
NJ. See (September 12-14)
description.
N October 16-18: LEDs
(Light Emitting Diodes)
2006, Intertech’s 7th Annual
Conference dedicated to the
applications, technological
developments, and markets
for high-brightness HB LEDs
(light emitting diodes).
Featuring 25 speakers, two
seminars, 50+ exhibitors and
multiple networking events.
The industry’s premier LED
event will be held at the Hilton
San Diego Resort Hotel,
San Diego, CA. Contact:
syandell@intertechusa.com
or go to www.intertechusa.
com
Events KEY
N = tradeshows & conferences
ß = educational opportunities
For all Industry Events go to
the website www.iesna.org
LD+A July 2006 65

NEW MEMBERS
Membership committee Chair Paul Mercier announced the IESNA gained nine Sustaining Members and 116
members (M), associate and student members in April and May.
Sustaining Members
Brite-Lite Wholesale Lighting, Delta, BC
Federal Highway Administration, McLean, VA
IESNA Montreal Section, Boisbriand, QC
J&J Electronics, Inc., Irvine, CA
Lam Lighting, Santa Ana, CA
Ledalite Architectural Products Inc, Langley, BC
Nora Lighting, Commerce, CA
Page Interworks, P.A., North Wilkesboro, NC
PolyBrite International, Inc., Naperville, IL
Canadian Region
Leigh E. Budd, Westburne Electric Supply,
Winnipeg, MB
Glen L. Handford (M), Handford Marketing,
Winnipeg, MB
Graham J. Keene, Canadian Tire,
St. Catharines, ON
Philippe Lafleche (M), BPR, Inc., Montreal, QC
Paul F. Nolan (M), The College of the North
Atlantic - Qatar, St. John’s, NF
Michael R. Pearse (M), King Luminaire Inc.,
Burlington, ON
Sandra E. Romero, C.E.T., Cochrane
Engineering Ltd., Winnipeg, MB
A. David Taylor, Taylor Marketing Group, Inc.,
London, ON
Sylvie Valiquette, IESNA Montreal Section,
Boisbriand, QC
East Central Region
Theodore R. Calver (M), AES Consulting
Engineers, Williamsburg, VA
Samuel M. Carmack Jr., Baskervill, Richmond, VA
Gerard D. Darville (M), Lutron Electronics,
Coopersburg, PA
John P. Kuderka Jr. (M), Martin/Rogers/
Associates, P.C., Wilkes Barre, PA
Larry S. McKee (M), Hayes, Seay, Mattern &
Mattern, Inc., Roanoke, VA
C. Cameron Miller (M), National Institute of
Standards and Technology, Gaithersburg, MD
Scott G. Rhea (M), American Lighting &
Signalization, Willow Grove, PA
Michael J. Titus (M), JDA Consulting Engineers,
Baltimore, MD
Morgan State University
Olufemi O. Sonde
The Pennsylvania State University
Takanori Taira
Great Lakes Region
Januk S. Aggarwal (M), Holophane, Newark, OH
Jack Bonbright (M), Steed Hammond Paul Inc.,
Hamilton, OH
Joseph K. Chan (M), Biagi & Associates,
Shelbyville, KY
Michele C. Eaton, Turner Engineering,
East Rochester, NY
Andrew J. Galsterer III, The Kirlin Company,
Detroit, MI
Stacy A. D. Hoch (M), Holophane, Newark, OH
Kane Howard (M), Kalamazoo, MI
Mark E. Jacobs (M), Dmytryka Jacobs
Engineers, Inc., Perrysburg, OH
Kevin McGahey, Philips Lighting, Pittsburgh, PA
Eric J. Schuldt, The Kirlin Company, Detroit, MI
William L. Surna, Carl Walker, Inc., Kalamazoo, MI
Joshua D. Thornton, Kraft Electrical
Contracting, Inc., Cincinnati, OH
Christian A. Todd, McHenry & Associates, Inc.,
Warrensville Heights, OH
Michael S. Wolfe (M), HDR, Inc., Cincinnati, OH
Corey J. Zachel (M), Buehrer Group Architecture &
Engineering, Inc., Maumee, OH
Cazenovia College
Tiffany M. Fairbrother
South Pacific Coast Region
Craig Brauks (M), Lam Lighting, Santa Ana, CA
Warren J. Gross, San Diego Gas and Electric,
San Diego, CA
Stephanie Jeffers (M), J&J Electronics, Inc.,
Irvine, CA
Matthew A. Levesque (M), First Circle Design,
LLC, Newport Beach, CA
Peter A. Maradudin (M), First Circle Design, LLC,
Newport Beach, CA
Ben Mascardo (M), DMJM Harris, Orange, CA
Marya Anne Miller, O’Connor Sales Agency,
San Diego, CA
Lenna M. Minion, Los Angeles, CA
Julian Sabri, Orange County Sanitation District,
Fountain Valley, CA
James Paul Schipper (M), Kinetic Lighting, Inc.,
Culver City, CA
Roger Ziegler, Lam Lighting, Santa Ana, CA
Michael W. Zollers (M), Optical Research
Associates, Pasadena, CA
San Diego State University
Peter Farjad
Midwest Region
William E. Arnold (M), Powell/Kleinschmidt,
Chicago, IL
Brian Finn, Holophane, Aurora, IL
Andrew David Hager (M), Allstate Consultants,
P.C., Columbia, MO
John E. Hollander (M), Alkco Lighting, Franklin
Park, IL
W. Wade Johnson, Holophane, St Charles, MO
Jon Michael Kirkhoff (M), Pulse Products,
Minnetonka, MN
Steven J. Patkus (M) Kramer/ Rudd Lighting,
Sturtevant, WI
Benjamin T. Petry, Burns & McDonnell,
Kansas City, MO
Carol J. Tigges (M), Border States Electric
Supply, Fargo,ND
Southern Illinois University at Carbondale
Alison R. Deany, Jennifer M. Pivovarnik
University of Missouri-Columbia
Tyson N. Taylor
University of Wisconsin - Stevens Point
Christine Janssen, Heather Klug, Emily Magestro,
Rebecca Stefanski, Kim Wolter
Southeastern Region
Nawwaf Ahmad (M), Cuhaci + Peterson, Architects,
Orlando, FL
Melissa A. Hay, Power Design, Inc., St. Petersburg,
FL
Northeastern Region
Mary Barton, Town of Watertown, Watertown, CT
Edward T. Crofton (M), Articulated Technologies,
LLC, Higganum, CT
Bernard Diffin (M), The EGL Company,
Berkeley Heights, NJ
Kevin J. Dowling (M), Color Kinetics Incorporated,
Boston, MA
Don Jacklin (M), Ledalite Architectural Products,
Inc., New York, NY
Eric R. Kuegler (M), Tewksbury, MA
John T. LaMontagne (M), Reflex Lighting, Boston, MA
Paul J. Shapiro (M), Lightolier, Fall River, MA
Anne P. Williamson, The Wysong Co., Inc.,
New York, NY
New York College of Technology
Cyril Young
Rensselaer Polytechnic Institute
Jorge L. Colon
Shepaug Valley High School
David J. Kinkade
University of Massachuetts, Boston
Andrew Michael Hyman
Northwest Region
Lynn A. Asselin, Holophane Canada, Inc.,
North Vancouver, BC
Thinh C. Nguyen, PAE Consulting Engineers, Inc.,
Portland, OR
Edna Noga (M), Flack & Kurtz, Inc., Seattle, WA
Ali Rahimpour, RFA Engineering Consultants,
Vancouver, BC
Debbie A. Stewart, Gausman & Moore,
Portland, OR
Mike Wiebe, Ledalite Architectural Products, Inc.,
Langley, BC
British Columbia Intstitute of Technology
Sarah J. Marshall, Susan Pranjic, Jen Shan,
Geele N. Tutty, Roye Wang
Southwestern Region
Jim Barnes (M), Plain L.L.C., Dallas, TX
Christopher D. Berumen, Eye Lighting
International of North America,
League City, TX
R.J. Darling, EYE Lighting International of
North America, Castle Rock, CO
Norman E. Graham (M) Ford Bacon and Davis,
Baton Rouge, LA
Daniel P. Grant (M), MKK Consulting
Engineers, Inc., Greenwood Village, CO
Mort A. Katz, Juno Lighting Group, Plano, TX
Jonathan M. Krams, Cresent Electric Supply,
Denver, CO
Jessica D. McIntyre, Architectural Design Group,
Oklahoma City, OK
John W. Schach, Gardco, San Marcos, TX
Sylvia P. Tongate, Holophane Lighting,
Ft. Worth, TX
Jeffrey J. Turner (M), Advanced Energy
Innovations, Rowlett, TX
Oklahoma State University
Mai Shibata
University of Texas at San Antonio
Trey R. Sinkfield
Walden University
Carol L. Petty
Southern Region
Addison Brown, S.L. Bagby Company,
Charlotte, NC
D. Heath Kelly, Page Interworks, P.A.
North Wilkesboro, NC
Carl A.R. Page, Page Interworks, P.A.
North Wilkesboro, NC
Kerry D. Penwell (M), Majestic Lighting Design,
Simpsonville, SC
Guy A. Petruccelli (M), Day-Brite/Capri/Omega,
Tupelo, MS
Russell George Villard, Cree Solid State
Lighting, Durham, NC
North Carolina A&T State University
Michael S. McDaniel
International
John Frank Rands, WRTL Exterior Lighting Ltd.
(i-TunneL), St. Asaph, U.K.
Xavier Varghese, Brass Light International, Dubai,
United Arab Emirates
Brunel University (U.K.)
Sean G. Mooney
Univerity of Sto. Tomas
Venna Violete R. Resurreccion
68 www.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 members are listed in one
issue of LD+A each year, as well as
in the IESNA Annual Report.)
Silver: $1,000 annual dues
Lighting revenues to $10 million
Gold: $2,500 annual dues
Lighting revenues to $50 million
Platinum: $5,000 annual dues
Lighting revenues to $200 million
Emerald: $10,000 annual dues
Lighting revenues to $500 million
Diamond: $15,000 annual dues
Lighting revenues over $500
million
DIAMOND
Cooper Lighting
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.
GOLD
A.L.P. Lighting Components Co.
The Bodine Company
Canlyte Inc.
Con-Tech Lighting
Duke Power Co.
Edison Price Lighting, Inc.
Finelite, Inc.
Florida Power Lighting Solutions
Gardco Lighting
Indy Lighting, Inc.
Kenall Mfg Co.
The Kirlin Company
Kurt Versen Co.
LexaLite Int’l Corp
Lighting Services Inc
LiteTouch Inc.
Louis Poulsen Lighting
LSI Industries, Inc.
Lucifer Lighting Co.
Martin Professional, Inc.
Musco Sports Lighting, Inc.
Niagara Mohawk Power Corp
Prudential Lighting Corp
RAB Lighting, Inc.
San Diego Gas & Electric
SPI Lighting
Vista Professional Outdoor Lighting
The Watt Stopper Inc.
Zumtobel Staff Lighting, Inc.
SILVER
Altuglas International, Arkema Inc.
Ardron-Mackie Limited
Associated Lighting Representatives. Inc.
Axis Lighting Inc.
Bartco Lighting, Inc.
Barth Electric Co., Inc.
Beta Lighting
Birchwood Lighting, Inc.
BJB Electric Corporation
Border States Electric Supply
Brite-Lite Wholesale Lighting
Bulbrite Industries, Inc.
Celestial Products
City of San Francisco
Con Edison of New York
Custom Lighting Services, LLC
Custom Lights, Inc.
Day Lite Maintenance Co.
Defense Supply Center Philadelphia
Eastern Energy Services, Inc.
Eclipse Lighting, Inc.
Elko Ltd
Elliptipar
Enmax
Enterprise Lighting Sales
ETC Architectural
Eye Lighting Int’l of NA
Fiberstars
Focal Point
Gammalux Systems
H E Williams, Inc.
HDLC
Illuminating Technologies, Inc.
Kramer Lighting
Lam Lighting
LCA Holdings P/C
Ledalite Architectural Products Inc.
Lee Filters
Legion Lighting Co.
Leviton Mfg. Co. Inc.
Lightology LLC
LiteTech
Litecontrol Corp
Litelab Corp
Lumascape USA Inc.
Manitoba Hydro
Manning Lighting
Metalumen Manufacturing, Inc.
Nora Lighting
OCEM/Multi Electric Mfg. Inc.
Optical Research Associates
Page Interworks, P.A.
Paramount Industries, Inc.
Peter Basso Associates, Inc.
Prescolite, Inc.
Reflex Lighting Group, Inc.
Richard McDonald & Associates, Ltd. - Calgary
Richard McDonald & Associates, Ltd. -
Edmonton
Ruud Lighting Canada Corp.
Sentry Electric Corporation
Shakespeare Composites & Structures
Southern California Edison
Sternberg Vintage Lighting
Strand Lighting, Inc.
StressCrete King Luminaire Co.
Tennessee Valley Authority
The Belfer Group
Universal Electric Ltd.
US Architectural Lighting/Sun Valley Lighting
Utility Metals
Velux America Inc.
WJ Whatley Inc.
WAC Lighting, Co.
Wisconsin Public Service Corp
Wybron, Inc.
Xenon Light, Inc.
IES SUSTAINING
MEMBERS
As of June 2006
LD+A July 2006 69

B e s t P r a c t i c e M a k e s P e r f e c t
What Brand Are You Wearing
By Scott D. Padios
I have had the opportunity to experience “branding” from several different
perspectives within the lighting industry. Throughout my career,
I’ve been on four of what I would define as the five sides of the industry:
electrical engineering; lighting design consulting; lighting distribution and
showrooms; and lighting educator. (The one I lack would be lighting manufacturer.)
If each one of the five professions wore a different colored hat
that labeled or branded each with a specific set of qualifications, how do
you think the general public would view each one Let’s take a look at how
each is branded.
1. The Electrical Engineer. The public views the electrical engineer as an
educated professional qualified in all aspects of electrical design and code
requirements, but not necessarily having any lighting design knowledge.
That’s not to say there aren’t any lighting-qualified engineers out there. It’s
simply to say that this is typically the way they’re branded by the public.
2. The Lighting Design Consultant. If we look at the role of a lighting design
consultant (which is where I rest my hat), the public generally views us
as lighting knowledgeable, but it may not understand what we are genuinely
qualified to do, such as running calculations, 3D modeling, understanding
visual comfort, etc. From time to time, we may be viewed as the interior
decorators of lighting, possessing the ability to select luminaires that mesh
well with the interior design of the home and picking out the decorative
stuff. It’s usually not until after a client has come in for a consultation with
us that they discover what we really have to offer and how there exists a
delicate balance between the art and science of lighting.
3. Distributors and Showrooms. In my view, the public has branded distributors
as simple merchandise warehouses; staff may be knowledgeable
about the specifications of a specific luminaire, but not necessarily possess
much design ability. Since my background includes this area, I find this
branding particularly disturbing.
Distributors typically go hand-in-hand with lighting showrooms where
the showroom sales staff is perceived or branded as more of a general
salesperson than a lighting professional, similar to a salesperson working
in any retail store. Yes, the salespersons there typically know a lot about
what they carry and what they stock, but not necessarily about how their
products are made or how they should be properly used. In fact, there are
many showrooms across North America that have qualified lighting designers
on staff; you just have to be able to tell the difference. This is also where
the public can be left with a bad taste in its mouth. One simple way to correct
this problem is to have all lighting salespeople take the NCQLP exam.
Wouldn’t that be wonderful! Let’s define who knows what they are talking
about and who doesn’t.
4. The Lighting Educator. I am confident that this is the one and only
profession in our industry that holds its own in the public’s eye. They are
Members In
the News
Martin Professional, Inc. has
named David Baum national sales
director for its Public
Spaces segment. Baum,
previously with Holophane,
currently sits on
the IESNA Board of Directors
and has been involved with the
IESNA Street & Area Lighting Committee
(SALC) for the past 15 years,
serving as chairman and committee
member. Last October he received
the Lifetime Service Award from the
SALC.
Advance Transformer, Rosemont,
IL, was presented with Grainger’s
“Partners in Performance Supplier”
Award for 2005. The award recognizes
suppliers who achieve excellence
in several categories, including responsiveness,
information integrity,
on-time shipping and order fulfillment.
It is the seventh consecutive
and ninth overall time that Advance
has received the award.
Dwight Hochstein, vice president
and general manager of Hydrel, an
Acuity Brands Company, has retired.
Hochstein was responsible
for the engineering,
manufacturing and sales
of Hydrel architectural
products. During his career,
he was instrumental in lighting
monuments and projects including
the Hoover Dam; Wrigley Building,
Chicago; Disneyland (Paris and
Tokyo); and the Forbidden City in
China.
IES FYI
LD+A July 2006 71

IES FYI
the leaders of our industry and are looked upon as such. With lighting educators
like David DiLaura, Fred Oberkircher and Craig Bernecker out there,
I believe we are in good hands.
5. The Manufacturer. There are “lighting manufacturers” and there are
“innovative luminaire design specialists.” This is a tough one for public
branding and I think it really falls both ways on the chart. (I didn’t mention
the manufacturer’s representative since there isn’t much of a connection
between them and the general public. Their relationships tend to stay primarily
with the five professional groups I’ve defined.)
WHEN A COKE IS NOT A COKE
In areas of the U.S. such as Tennessee, when you ask for a Coke in a restaurant,
your waiter’s reply will generally be, “What kind of Coke would you
like We have Dr. Pepper, Sprite, Root Beer and Coca-Cola.” There, “Coke”
is referred to as a generic brand of soda. In Colorado, however, when you
ask for a Coke, you simply get a Coca-Cola. The point is that your location
has an impact on how you’re branded by the public.
What we need to do as an industry is to correct public perceptions about
our profession. I think we’re well on our way with organizations like the
IESNA, NCQLP, the International Dark-Sky Association, the IALD and local
groups like the DLF (Designers Lighting Forum). In short, we as lighting
professionals, in whatever color hat you may wear, should be aware that
there is a public branding taking place, and we need to set it straight. Next
time you find yourself with a new client, customer or student, take the time
to personally educate them in exactly what you can do for them as a lighting
professional. Word of mouth goes much further than you may think.
Members In The News
(continued)
Terry Bell was named a partner
in the newly formed venture, CD+M
Lighting Design Group (a merger of
City Design Group and Marcad Lighting
Design). Bell will be the principal
designer based in Orlando.
Leviton Manufacturing Company,
Little Neck, NY, is celebrating its
100th year in business.
As part of its
Centennial celebration,
the company
is offering special
programs and promotions during
the year. For more information go to
www.leviton.com
Vincent Lighting Systems, Cleveland,
OH, has appointed Melissa
Schmidt to product manager, J.R.
Simons to inside product sales and
Brian Bernicken as inside sales representative.
Scott D. Padios is the IESNA Southwest Regional
Vice President
More in ‘06
More in ‘06, a grassroots member recruitment campaign, is underway and
can benefit your local IESNA Section and you, as well. The campaign runs twice
during a given year, the first phase of the current year’s campaign began April 1
and ends August 30—the second begins September 1 and runs through January
31, 2007. More in ‘07 will kick off in February 2007, running through June 30, 2007,
then again September 2007 through January 31, 2008.
The Section with the highest growth (based on percentage increase) during
each campaign phase receives a $1000 grant, a write up in LD+A and recognition
during the Annual Conference. So, there’s the possibility of a Section winning
$1000 twice during a campaign year. The five top individual recruiters from all
Sections will receive a $50 IESNA coupon toward the purchase of publications or
other Society products, a certificate of recognition, an IESNA Ready Reference
and an IESNA golf shirt. Check with your local Section officers for more information
on how you can help your Section and yourself.
In a ceremony held in Boston’s
Faneuil Hall, OSRAM SYLVANIA,
Danvers, MA, was awarded an Environmental
Merit Award by the New
England region of the U.S. Environmental
Protection Agency (EPA) for
its efforts in preserving New England’s
environment.
Consolidated Edison Company
of New York, Inc. was named by
DiversityInc magazine as one the
country’s top 50 companies for promoting
and encouraging diversity in
its workforce. The company ranked
second on the magazine’s overall
list, was named second among competing
companies for supplier diversity
and placed third on the list of top
companies for Latinos.
72 www.iesna.org