RESIDENTIAL LIGHTING - Illuminating Engineering Society

Lighting Design + Application 

December 2001 

RESIDENTIAL 

LIGHTING 

STEELWOOD SHOWCASE 

H O M E O R H O T E L 

WARHOL WALLWASHERS 

SHOJI 

SERENADE

CONTENTS 

RESIDENTIAL LIGHTING 

Shoji Serenade 20 

The integration of East and West, of interior and exterior spaces, and the 

interplay between hard and soft is reflected in the lighting design. 

Swapna Sundaram explores the glowing screens and sconces that 

enhance the “shoji” vocabulary—the recessed, unobtrusive uplights 

and downlights tucked behind architectural elements. 

A Grand Entrance 24 

Ralph Schiller’s design highlights the interior architecture of this 

French Chateau style residence outside of Austin. Energy efficiency and 

ease of maintenance were priorities. 

Wallwashers for Warhol 28 

Gary Gordon’s challenge: to integrate the lighting with the architecture in a 

19th century carriage house, renovated for a bachelor with an art collection. 

Steelwood Style 30 

Michael John Smith restored his mid-century modern dream house, keeping 

many of the original luminaires, but adding state-of-the-art controls to create 

lighting scenes that change with mood, time of day, seasons, or the room’s use. 

Hospitality at Home 38 

Hiram Banks’ approach was to integrate the functional lighting of a 

hotel, while maintaining an adaptable, intimately comfortable environment 

for the homeowners. And, because the residence is in a 

chilly Oregon locale, a warm color was integral to the design. 

DEPARTMENTS 

3 Energy Concerns 

5 Executive Vice President 

Reports 

8 Views on the Visual 

Environment 

12 Beardsley’s Beat 

14 Working with the Web 

15 IES News 

42 Light Products 

45 Howard Brandston 

Student Lighting 

Design Entry Form 

50 Scheduled Events 

53 IESNA Membership 

Application 

55 2002 IIDA Submittal Form 

59 Annual Index 

63 Classified Advertisements 

63 Ad Offices 

64 Ad Index 

DECEMBER 2001 

VOL. 31/NO. 12 

20 

ON THE COVER: The birch plywood structure spanning one side of 

the dining area is called “Light Space I,” a creation of Michael John Smith, 

lighting designer and owner of Steelwood in Houston, TX. The “color 

wall”—used for parties—changes according to an electronic preset 

sequencer that fades the colors from magenta/blue/green, to blue/green, 

to all blue over a 14-second fade time. Photo by Paul Bardagjy 

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

President 

Pamela K. Horner, LC 

Manager, Technical Training 

OSRAM SYLVANIA 

Past President 

Martyn K. Timmings, LC 

Vice-President, Market Development 

Canlyte - The Genlyte Thomas Group 

Senior Vice-President 

Randy Reid 

Senior Director 

Telemics 

Executive Vice-President 

William Hanley, CAE 

Vice-President—-Design & Application 

Douglas Paulin, LC 

Product Manager 

Ruud Lighting 

Vice-President—Educational Activities 

Fred Oberkircher, LC 

Director 

TCU Center for Lighting Education 

Texas Christian University 

Vice-President—-Member Activities 

Ronnie Farrar, LC 

Lighting Specialist 

Duke Power 

Vice-President—-Technical & Research 

Ronald Gibbons 

Lighting Research Scientist, Advanced 

Product Test and Evaluation Group 

Virginia Tech Transportation Institute 

Treasurer 

Patricia Hunt, LC 

Hammel Green & Abrahamson 

Directors 

Balu Ananthanarayanan 

Wisconsin DOT 

Anthony J. Denami, LC 

Gresham Smith & Partners 

Donald Newquist, LC 

Professional Design Associates, Inc. 

John R. Selander, LC 

Kirlin Company 

Joel Seigel, LC 

Edison Price Lighting 

James L. Sultan, LC 

Studio Lux 

Regional Vice-Presidents/Directors 

Jeff Martin, LC 

Tampa Electric Company 

www.iesna.org 

2001-2002 

Board of Directors 

IESNA 

Russ Owens, LC 

West Coast Design Group 

In last month’s column we highlighted 

some of the talks and 

seminars presented at the recent 

IESNA Annual Conference and how 

they affect energy conservation in 

lighting. 

Here are some details on the 

issues involved. 

The Quality of the Visual Environment 

(QVE) Committee of the 

IESNA has been conducting practical 

research, using sophisticated 

and critical observers, seeking to 

learn which lighting systems are 

judged to be the most comfortable 

and least glary. One of the conclusions 

reached is that the visual surround 

is a very important factor in 

worker comfort. The effect of volumetric 

brightness in the workplace 

has been found to be very beneficial 

for comfort and performance. Now 

being studied is the effect of 

glare—the maximum perceived 

brightness of a lighting source. The 

term average brightness, which you 

always see published, is a mathematical 

term calculated from the 

candlepower of a luminaire at any 

angle of view, divided by the projected 

area of the unit at that same 

angle. Average brightness does not 

exist in nature, unless the source is 

perfectly diffuse, in which case the 

average brightness is equal to the 

maximum brightness, while all 

other real life sources are nonuniform 

in brightness and the effect of 

glare, both direct and reflected, is a 

function of its maximum brightness. 

The other factors are: the size of the 

source, how far off the line of sight 

it is, and the ambient level of illuminance 

in the space. The hope is 

that some day we will be able to 

assess the cumulative effect of the 

maximum brightness of all of the 

luminaires in a worker’s field of 

view. 

The QVE committee, now chaired 

by Peter Y. Ngai, is trying to quantify 

how maximum brightness affects 

comfort and performance. We are 

working on having a seminar on visibility 

and performance at the next 

IESNA Annual Conference in 2002 

in Salt Lake City. 

Terry McGowen, EPRI, reports 

that research on how the variables 

of task size, task contrast and illumination 

level affect visual task performance, 

is currently being updated 

at the Lighting Research Center 

(LRC). The paper “Lighting and 

Human Performance II—Beyond 

Visibility Models Toward A Unified 

ENERGY 

CONCERNS 

Human Factors Approach to Performance” 

will be available this year. 

There used to be a rule of thumb 

that a one percent improvement in 

task contrast compared to its background, 

is the equivalent of a 15 

percent increase in illumination 

level. We now know, thanks to the 

research by Rae and Ouillette, done 

in 1991, that relative visual performance 

rises very quickly when task 

contrast, size and illumination level 

are increased from very low levels, 

but then level off to a plateau as 

those three variables increase in 

value. The curves developed by Rae 

and Ouelette show that when you 

are on the plateau of relative task 

Willard L. 

Warren, 

PE, LC, 

FIESNA

performance, the factors of 

improved contrast, higher illuminance 

or larger task size do not 

yield any additional improvement in 

visual performance. 

There has been much research 

done on the nature of visual tasks, 

some of it at LRC, which will be 

part of the paper mentioned. Visual 

The 

effect of 

volumetric 

brightness 

in the 

workplace 

has been found 

to be very 

beneficial for 

comfort and 

performance. 

tasks have changed dramatically 

with the popularity of self-illuminated 

monitor screens, which are getting 

better every year. Screens 

have become flatter with fewer 

reflections, better color, greater 

pixel density and brighter images, 

all of which contributes to improved 

visibility. It will be very interesting 

to see what the new research 

reveals, and whether we can claim 

some increase in worker performance 

from better quality screens. 

In last month’s column, we mentioned 

the work of Sam Berman, 

Senior Scientist at Lawrence Berkeley 

Laboratories (LBL), who has 

demonstrated that the rods, located 

mostly in the periphery of the 

eye’s retina, respond to color such 

that at normal lighting levels, the 

higher the color temperature of the 

lighting source in the visual surround, 

the more the rods close 

down the iris of the eye, improving 

acuity and visibility. I’ve found in my 

practice that if warm color sources 

are not required for enhanced color 

rendition, cool color temperature 

(CCT) lamps appear brighter to 

observers and so does the space. Is 

this an opportunity for energy conservation 

I’ve been convinced for years 

that graphic designers in this country 

care little for the readers of their 

copy because of the way they deliver 

it with so little contrast to its 

background. If we could prove to 

advertisers that their message, 

however persuasive, is lost when 

poorly contrasted with its background, 

maybe we could get them 

to improve all copy and allow us to 

read it with maximum visual performance. 

With all the competition for 

readers’ attention, you would think 

that making the message as readable 

as possible would be of the 

highest priority to graphics designers, 

not winning graphics prizes. 

What’s the value of all our research 

Well, if we can show that 

improving the quality of lighting and 

the contrast of the visual tasks 

yields increased worker comfort 

and visual performance, then the 

managers of businesses will invest 

in quality lighting systems to 

enhance the return on their investment 

(ROI). Those of us who 

believe in quality lighting and energy 

conservation need another 

dimension of validation to convince 

owners that investing in quality 

lighting pays huge dividends in 

increased human efficiency as well 

as in the reduction of the use of 

electrical energy. 

I have this quixotic feeling that 

we are at the verge of a new appreciation 

of the importance of lighting 

quality and visibility, and how much 

it impacts illuminance levels and 

energy conservation. (And you 

thought I wasn’t getting back to the 

point of this column.) 

The combination of technically 

superior light sources and luminaires, 

with greater awareness of 

sensory perception, may be the 

next breakthrough in lighting 

design. Your Society is working on 

many fronts to validate the importance 

of these developments for our 

members and the general public. 

Publisher 

William Hanley, CAE 

Editor 

Charles W. Beardsley 

Assistant Editor 

Roslyn Lowe 

Associate Editor 

John-Michael Kobes 

Art Director 

Anthony S. Picco 

Associate Art Director 

Samuel Fontanez 

Columnists 

Emlyn G. Altman • Brian Cronin 

Rita Harrold • Li Huang 

Louis Erhardt • Willard Warren 

Book Review Editor 

Paulette Hebert, Ph.D. 

Marketing Manager 

Sue Foley 

Advertising Coordinator 

Michelle Rivera 

Published by IESNA 

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Phone: 212-248-5000 

Fax: 212-248-5017/18 

Website: http://www.iesna.org 

Email: iesna@iesna.org 

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

science, study, manufacture, teaching, and implementation 

of lighting. LD+A is designed to enhance and 

improve the practice of lighting. Every issue of LD+A 

includes feature articles on design projects, technical 

articles on the science of illumination, new product developments, 

industry trends, news of the Illuminating 

Engineering Society of North America, and vital information 

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Advertisements appearing in this publication are the sole 

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

United States of America by the Illuminating Engineering 

Society of North America, 120 Wall Street, 17th Floor, 

New York, NY. 10005, 212-248-5000. Copyright 2001 by 

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Additional subscriptions $39.00. Single copies $4.00, 

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The Board of Directors/Membership Q&A session 

was held on Tuesday, August 7, 2001, in conjunction 

with the 2001 Annual Conference. The session 

was chaired by Pamela Horner; the following members 

of the Board were present: 

B. Ananthanarayanan, A. Denami, R. Farrar, R. Gibbons, 

W. Hanley, P. Hunt, J. Martin, D. Newquist, F. 

Oberkircher, D. Paulin, R. Reid, J. Selander, J. Siegel, J. 

Sultan, M. Timmings. 

James Havard (member, Roadway Lighting 

He asked that the 

Papers Committee 

be allowed to respond to 

the proposal. 

Committee) requested that the Board: 1) hire a firm 

to do a broad base statistical sampling of local, county, 

state and federal governments to determine how 

recognizable the IESNA brand is, and 2) if the results 

show poor brand recognition, the Board should 

address the question, “how do we become The 

Lighting Authority to the outside world” 

Steve Martel (member, IESNA Papers Committee) 

commented on the recent action of the Board to 

engage the LRC to produce a rejuvenated JIES, to 

create an editorial board for JIES, and to appoint 

Mark Rea as editor. The newly formatted journal 

would appear online, providing readers with monthly 

EXECUTIVE 

VICE PRESIDENT 

REPORTS 

updates; there would be one annual printed version. 

The new journal would include invited papers, 

research reports, abstracts and papers on general 

lighting issues. Steve asked that the Board reconsider 

its action so that the Papers Committee would 

remain in control. 

He asked that the Papers Committee be allowed to 

respond to the proposal. 

William Hanley asked that a written response from 

the Papers Committee be received within two weeks. 

Pamela Horner explained the genesis of the propos- 

William 

Hanley, 

CAE

al, the need for an improved journal, and, as a result of 

Board acceptance, the changed function of the Papers 

Committee, which would review papers for presentation 

at the Conference. 

Francis Rubinstein (member, Papers Committee) 

asked the Board for an explanation of the process by 

which members could vote on a motion of no-confidence 

in the Board; he cited the vote in Executive 

Session and the Board’s acceptance of an unsolicited 

proposal from LRC which, he believes, raises questions 

of bias. 

How do 

we become 

The Lighting Authority 

to the 

outside world 

William Hanley, asked that he submit this request in 

writing for review by the Society’s attorney. 

Joseph Murdoch (member, Papers Committee) questioned 

the Executive Session at which the proposal was 

reviewed and the fact that the final vote was not taken 

in public session. 

William Hanley explained the reasons for Executive 

Session. Personnel issues, both within the IESNA and 

with the proposed LRC editorial staff, necessitated the 

Board going into Executive Session; the procedures did 

not differ from any used in the past. The Society’s attorney 

concurred with such, as the Society could have 

been faced with charges of defamation of character if 

the discussion had taken place in a public forum. He further 

emphasized that the Board vote was unanimous 

and that minutes of all Board meetings reflect the 

names of all who either oppose or abstain from a motion 

carried by the majority. 

Fred Oberkircher (Vice-President-Education Activities), 

through whom the Papers Committee reports to 

the Board, explained, in answer to questions on the 

Board approval process, which did not include review 

of the proposal by the Papers Committee, that his initial 

recommendation was to consider an “in-house” 

plan, which would have accomplished many of the 

goals stated in the proposal. Since he did not initially 

contemplate a radical change, he, therefore, did not 

foresee the need for review of the proposal by the 

Papers Committee. 

Jennifer Veitch (National Research Council, Canada) 

also spoke about the process which, she stated, should 

have been competitive. She also felt strongly that the 

issues of content and production should have been separated 

and that other options should have been considered. 

She noted the need for an improved JIES; there 

should be a good North American lighting journal. She 

noted the relationship between Conference Papers and 

those papers published in JIES. Carol Jones (Pacific 

Northwest National Lab) voiced the same concerns, 

expressing particular concern that the contractor 

would have a vested interest in that which would be 

published. 

Moji Navvab (The University of Michigan) asked for 

clarification as to how papers would be chosen for 

publication. 

Pamela Horner noted that, while it is possible that 

fewer Conference Papers would be published, all 

papers would be peer reviewed. She commented on 

procedure, stating that the Board spent a great deal of 

time in considering the issue over the course of three 

Board meetings, and that, once the unsolicited proposal 

was received, it would have been unethical for 

the Society to disseminate an RFP, which would have 

echoed the elements of the unsolicited proposal. 

Rick Mistrick (member, Papers Committee) stated 

that the proposal called for publication of twelve papers 

per year; JIES currently contains thirty papers. 

Joseph Murdoch expressed concern that the publication 

of a lesser number of papers would discourage 

authors from submitting papers for presentation at the 

Conference. 

Fred Oberkircher responded that the number of 

papers to be published is an open issue, one to be discussed 

with LRC. 

James Sultan noted that it is the intent of the Board 

to improve the Society’s journal, to have it better reflect 

the Society’s tag line – “The Lighting Authority;” the 

motivation of the Board in taking this action was to, 

simply, improve member benefits. The “new” journal 

would remain the Society’s journal. 

Peter Bleasby (OSRAM SYLVANIA), recognizing the 

IESNA’s tax-exempt status and commenting on activity 

on the state level in the banning of all mercury containing 

products, asked the Society’s help, in a limited 

way, in helping to combat such initiatives. 

Pamela Horner thanked all of the members who participated 

in the session, stressing the receptiveness of 

the Board to the opinions of the membership and the 

need for ongoing dialogue. 

A note from Pamela Horner: 

The JIES proposal, upon which the Board of 

Directors voted at its last meeting, has been withdrawn 

by the proposer. The continued improvement of 

the Journal is still a high priority for our membership. 

At the next meeting of the Board, it will discuss JIES, 

working with the Papers Committee to achieve our 

common goal of publishing a first-rate modern Journal 

– which will incorporate an online presence. 


“The painter draws with his 

eyes, not with his hands. 

Whatever he sees, if he sees it 

clear, he can put it down. Seeing 

clear is the important thing.” 

—Maurice Grosser, 

“The Painter’s Eye” 

Arthur Pope, 1 following almost 

50 years of study at Harvard 

University dedicated to the 

study of a genuine theory of the 

visual arts, wrote in 1929: 

VIEWS ON THE 

VISUAL 

ENVIRONMENT 

Louis 

Erhardt 

“When we say that we see 

objects in space, what actually 

happens is that objects are projected 

upon the retina of the eye 

by rays of light traveling from the 

objects to the eye. This projection 

on the retina of the eye—the primary 

basis for visual experience, 

which has to be transformed into 

sensation, and then ordinarily 

interpreted by the mind into the 

facts of existence, before what we 

think of as seeing occurs—is a 

two-dimensional image (the visual 

image) and corresponds to a cross 

section of the cone of rays of light 

converging on the eye. It is like the 

image formed on the ground-glass 

plate of a camera. The visual 

image is composed of areas distinguished 

from each other by differences 

of quantity and quality of 

light. These areas may be placed 

high or low, to the right or left in 

the field of vision in relation to its 

center; they may be large or small 

in relation to other areas; they may 

be round, or square, or oval, or 

some other shape—that is, they 

may vary in position, measure, and 

shape. These areas may be light or 

dark; they may be red or yellow or 

green or blue, or some intermediate 

hue, or they may be neutral 

gray; they may be strong in red or 

yellow or some other hue, or they 

may be weak in hue—grayish. In 

other words, if we use the term 

value to indicate the degree of 

lightness or darkness, the term 

hue to indicate the quality due to 

the predominance of some one of 

the wavelengths which make up 

white light, and the term intensity 

to indicate the strength of the hue 

as distinguished from neutrality, 

we may say that these areas vary 

in value, hue, and hue-intensity, 

Munsell Chroma.” (Munsell term 

added.) 

In a footnote Pope adds, “The 

terms luminosity, brightness, and 

lightness are sometimes used in 

place of value.” And, “Ever since 

Newton’s discovery and explanation 

of the phenomenon of the dispersion 

of light, the incidental connection 

between color and refrangibility 

of wavelength, two entirely 

separate affairs, one mental and 

the other physical, has been a 

source of much confusion of phraseology.” 

We will use Munsell’s Hue, Value, 

and Chroma as the basic description 

of object colors and will add 

brightnesses to account for illumination. 

This is the vocabulary of vision— 

the perception of what we see. “The 

naïve observer believes that he correctly 

perceives the objects and 

events in the world and that is all 

there is to perception.” 2 (Italics 

added.) 

The believer in the correctness 

of perception poses numerous 

questions. In the railway lines illusion, 

measurement of two “apparently” 

different objects or people 

verifies that the visual impression 

of difference is an illusion. If, on 

the other hand, two areas appear 

to have brightnesses, one twice 

as great as the other, and if photometric 

measurements show 

them to be in a ratio of 5:1, which 

is correct—the appearance Or 

the measurement 

The two examples belong to two 

different visual properties. The former 

deals with size, a primary 

physical dimension, along with 

shape, hardness, mass, and velocity. 

The latter evaluates brightness—a 

psychological judgment, 

along with lightness, hue, and 

chroma. Size can be verified by 

measurement; brightness is without 

measure. One can only judge 

by consensus. Mental perceptions 

do not exist without a viewer; physical 

properties are there whether 

there is a viewer or not. Photometrics 

assume a standard observer 

represented by spectral sensitivity 

curves. In engineering practice 

the photopic curve is used 

almost exclusively. Why photopic 

We will return to this subject later. 

“What we see” can be expressed 

in Munsell’s or other artists’ 

terms. Photometrics measure certain 

properties of radiation, but 

they are not what we see! 

An artist selects a scene to be 

painted—for its beauty, for the 

emotion it elicits, or as a footnote 

The 

naïve observer 

believes 

that he correctly 

perceives 

the objects and 

events in the world 

and that is all 

there is 

to perception. 

to history. Or, it may have been 

selected for him—as a portrait. 

His intent is to paint what he 

sees, to convey the feelings he 

experiences, or to tell the story 

the action portrays. A lighting 

designer is given the space and 

the objects within. If an interior, it 

has a floor, walls and ceiling. It 

may have doors, windows, skylights 

or other penetrations of the 

enclosure. Objects often indicate 

the purpose for which the room 

was constructed. Desks and 

blackboards suggest a schoolroom. 

Machinery, a shop or factory. 

Pews and an altar, a church or 

cathedral. How does the designer 

proceed 


www.iesna.org 

“The Right Light” 3 sets forth the 

process by which a designer 

achieves a preconceived image of 

a scene, as it will look when lighted. 

It will be based on the architect’s 

or interior designer’s furnishings 

and arrangements. (One 

wonders if the architect or decorator 

should be trained in the art and 

science of lighting design instead 

of initiating engineers in the often 

intuitive mysteries of design. Sizes, 

shapes, colors and lightnesses 

have already been assigned by the 

architect and his staff for these 

are basic elements of the design.) 

One can only emphasize, clarify or 

modify those properties already 

established. This is not to demean 

the role of lighting design, but to 

emphasize that light is always 

superimposed on the scene 

already there. Light has great 

power, but only within limits 

imposed by the underlying design. 

The envisioned image is conceived 

in Munsell terms: Hues, Values, 

Chromas and brightnesses. 

Translation from the Munsell 

terms (subjective psychological 

judgments) to the lexicon of the 

engineer (photometric measured 

concepts) is our most challenging 

task. To clarify, the relationships will 

be put in numerical order starting 

with the scene in view: 

A scene takes two forms: one, 

where reflectance provides the 

varying colors and lightnesses; the 

other, where reflectance is uniform 

and the illumination (as with a TV 

screen or movie projection) provides 

colors and brightnesses. 

The photometric property conveying 

the scene to the eye is luminance, 

the visible part of exitance. 

The eye adapts its sensitivity to 

the overall color and to the lightness-brightness 

of the scene. 

Adaptation is logarithmic—the sensation 

being the log of the stimulus. 

Sensitivities—to color, size and contrast—are 

all determined by the 

adaptation level. 

The stimulus, luminance, a single 

element that the retina combined 

with the wondrous assets of the 

mind enables us to distinguish 

between lightness and brightness. 

As noted before, if the reflectance 

varies, but the illumination is uniform, 

we see lightnesses; but if the 

reflectance is uniform, we see differences 

as brightnesses. This is equally 

true for parts and for the whole. 

This is all a visual process and 

“what you see” differs greatly from 

photometric measurements. Agreement 

has been reached between 

artists who devised the uniform 

Munsell Value Scale and the engineers 

who have measured and 

recorded the ordered reflectances 

accompanying the Munsell Values. 

The following will justify and 

amplify these assertions: 

Land and McCann. 4 “We are left 

with the circular logical problem 

that, because the light coming to 

our eye is the product of the 

reflectance and the illuminance, 

our eye could not determine 

reflectance unless the reflectance 

is uniform.” This is true for the 

entire scene and for portions 

thereof. If light is uniform across a

change, such change must be 

caused by reflectance; if reflectance 

is constant across a change, 

such change is one of altered illuminance. 

We will treat them as a 

single phenomenon, the perceptual 

response to illuminance, and 

call it lightness-brightness. 

Exitance is the totally diffused 

reflected light from a surface. 

Luminance is that portion directed 

to the eye. 

C.P. Steinmetz. 5 “The adaptability 

to the enormous range of intensity 

of illumination, which we meet 

in nature, is secured: (1) by adjusting 

the pupil opening, (2) by the 

fatigue of the optic nerve, (3) by 

the logarithmic law of sensation. 

The impression made on our senses, 

eye, ear, etc., that is, the sensation, 

is not proportional to the 

energy that produces the sensation, 

that is the intensity of the 

light, the sound, etc., but is 

approximately proportional to its 

logarithm, and the sensation, 

therefore, changes very much less 

than the intensity of the light, etc., 

which causes the sensation.” 

Confusion between lightness 

and brightness, both being subjective 

perceptions, remains. Judd 

and Wyszecki 6 deal extensively 

with this problem. “Because of the 

essential difference between selfluminous 

and nonself-luminous 

objects, the vertical dimension (Y 

of the CIE coordinates) takes a different 

name. The name is brightness 

(or luminosity). Brightness 

varies from invisible to dazzling 

(the maximum brightness the 

viewer can experience) and is a 

property of objects perceived to 

be self-luminous. Lightness, on the 

other hand, varies from black to 

white (or perfectly clear) and is a 

property of objects perceived to 

be nonself-luminous.” In another 

section, Judd and Wyszecki 

describe an experiment in which 

the brightnesses of the surface 

through which an aperture view of 

the aperture itself allows the viewer’s 

perception to move from selfluminous 

to nonself-luminous. 

Both aperture viewing and viewer’s 

perception-change are unlikely 

in the complex conditions of 

ordinary everyday experience the 

Land and McCann exposition of 

the lightness and brightness perceptions 

seems more logical. 

Attempts have been made to 

relate measurements to what-wesee! 

Such equations must be 

understood to relate the Munsell 

Value numbers to the ordered 

reflectances. Under no circumstances 

can any objective stimulus 

be made equal to the subjective 

sensation. Wyszecki offered: 

W*=25Y 1/3 – 17 with a note 

W*/10 agree closely with the 

Munsell Values. 6 In the January 

2001 issue of LD+A, Naomi Miller 

notes that “brightness” is not the 

same as luminance. “Brightness 

can be good or bad, and is the perceived 

response to the luminances 

in a scene. We know the 

brightness B is roughly proportional 

to the luminance L raised to 

power of 0.33.” Both Wysecki and 

NCQLP QUIZ 

Miller imply a direct relationship 

between objective measures and 

subjective responses. Both intend 

to relate the numbers of each, not 

the stimuli and responses! 

Parry Moon 7 writes “the methods 

of physical science have been 

marvelously successful in the 

physical world. In the seeing 

process, however, we leave the 

world of physics and enter the 

world of consciousness, of sensation, 

in which there is no reason to 

believe that the methods of 

physics can ever be applied. We 

have no method of measuring sensation, 

in the sense that physical 

quantities are measured.” 

It may be helpful to separate 

those properties that are physical, 

photometric and visual. 

1. How do Munsell terms differ from photometric measured concepts 

2. What is the logarithmic law of sensation 

3. What is the difference between exitance and luminance 

4. “Dazzling” refers to what attribute of light 

Name_________________________________________________________________________ 

Address_______________________________________________________________________ 

City/State/Zip________________________________________________________________ 

Phone_________________________________________________________________________ 

Fax____________________________________________________________________________ 

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

N.Y. 10005 by February 15, 2002. You may also fax to 212-248-5018. 


Physics. Light as an octave in the 

electromagnetic spectrum is energy 

and belongs to physics. Another 

physical attribute of light waves is 

reflection, including the photometric 

term reflectance—the characteristic 

so dominant in our experience 

of constancy. The environment 

is stable despite the ever-changing 

natural light. 

Photometrics.The measurement 

of light or its illuminating power. The 

establishment of the photopic 

lumen (683/watt maximum) as the 

unit of measure leads to luminous 

flux, luminance, illuminance, exitance, 

and other photometric 

terms. The lumen has, for illuminating 

engineering purposes, a specific 

determination (size). However, 

there are numerous other sizes of 

which the scotopic lumen 

(1699/watt maximum) is next in 

frequency of use. 

Visual. Light as a stimulus for 

vision has different properties than 

“light as energy.” The visual system 

constitutes the most wondrous 

human system, far exceeding in 

complexity and ability the most 

advanced computer. Its perceptions 

include lightness, brightness and 

color (hue and chroma). 

So the energy that is light, 

impinging on the retina, is transduced 

into nerve impulses that 

belong to physiology; and when 

received by the brain become perceptions 

that are physiological manifestations. 

Writing of the latter two, Max 

Planck 8 comments, “observation 

based on the psychological viewpoint 

is rooted in self-consciousness; 

therefore, it is applicable 

directly only to the analysis of 

one’s own mental processes. On 

the other hand, observation based 

on the physiological viewpoint is 

directed at the processes in the 

external world; therefore, its 

direct scope is limited to physical 

processes. These two viewpoints 

are incompatible. The adoption of 

one when the other is called for 

always leads to confusion.” 

References 

1. Arthur Pope, “The Language 

of Drawing and Painting, Russell & 

Russell, NY 1949 

2. Richard Held and Whitman 

Richards, Perception: Mechanisms 

and Models, W.H. Freeman, 

San Francisco 

3. Louis Erhardt, The Right 

Light, IESNA, New York 1995 

4. Edwin H. Land and John J. 

McCann, “Lightness and Retinex 

Theory,” Journal of the Optical 

Society, Jan 1971 

5. Charles P. Steinmetz, Radiation, 

Light, and Illumination, 

McGraw Hill, NY 1918 

6. Deane B. Judd and Gunter 

Wyszecki, Color in Business, 

Science and Industry, John Wiley 

& Sons, NY 1975 

7. Parry Moon, Scientific Basis 

of Illuminating Engineering, Mc- 

Graw Hill, NY 1936 

8. Max Planck, “Phantom Problems 

in Science,” Treasury of 

World Science, Littlefield Adams 

Co., NJ 1962

Some 25 years I ago, I discussed 

residential lighting 

with Rita Harrold, Howard 

Brandston, Der Scutt, and the late 

Jim Nuckolls. Focus of the informal 

forum was education—specifically, 

how the “average” consumer who is 

naïve about lighting and lighting 

design acquires information and 

knowledge about the subject. 

BEARDSLEY’S 

BEAT 

Charles 

Beardsley, 

Editor 

The education process must be 

extensive and comprehensive, the 

group felt, including not only architects 

and interior designers, but 

developers, builders, manufacturers, 

dealers, and, of course, the 

consumer. 

Not much has changed since 

then. I recently reviewed the current 

state of consumer awareness with 

Connie Jensen, principal, Lighting 

Professionals Inc., Montvale, NJ. 

“The average consumer isn’t as 

naïve today as then because shelter 

magazines today offer more 

lighting information,” she observed. 

“Nevertheless, ongoing 

enlightenment of the consumer is 

still important, but not nearly as 

critical as better education of 

those responsible for providing 

the lighting. 

“Clients expect their architect, 

interior designer, builder, electrical 

contractor or lighting showroom 

personnel to have the 

knowledge necessary to provide 

good lighting in the home. They 

are rarely advised that these people 

don’t necessarily have that 

expertise. 

“Almost every new spec house 

has downlights placed 4 ft from 

the wall. That leaves the upper 4 

ft of wall space, where the top 

portion of wall-hung artwork falls, 

completely dark 

“Clients and many of those providing 

the lighting love small fixtures 

with halogen sources. These 

luminaires are often misapplied. 

Halogen is a wonderful tool as an 

accent light, not as a downlight. 

“Many halogen light sources 

are not tucked high into a fixture. 

This lamp creates enormous 

brightness when close to the ceiling 

and unshielded. This approach 

is more acceptable in Europe and 

U.S. retail. I use halogen a lot for 

residential task and accent lighting, 

but only with adequate concealment 

of the source. 

“But when all’s said and done, 

a home should look and feel the 

way the end user wants it to. I 

always ask a client to help me 

understand how they live. Where 

do they read Where are the 

tasks Are there areas that are 

expected to be bright and airy at 

night Do they wish to have intimate 

spaces Do they like drama 

or subtlety. These are no different 

than the questions we asked 25 

years ago. 

“The clients always have—and 

probably always will—put themselves 

into the hands of others 

when its comes to lighting. Today, 

clients are more exposed to interesting 

lighting and may have 

strong opinions on what they like, 

but they still need someone knowledgeable 

to translate that effect 

for them. And there is the dilemma: 

How to take lighting out of the 

hands of the unknowledgeable 

“It’s not unlike the interior 

design field where ‘shoe-bag’ decorators 

give interior design a bad 

name. Licensing—at least for 

architects and interior designers—does 

not really help with 

lighting because, I believe, it is 

not treated in all schools as the 

critical, integral entity to every 

space that it is. Lighting is a complicated 

element of our living environment. 

It is a profession in its 

own right.” 

Jensen stresses the importance 

of a lighting professional’s training. 

“I know in my head what my design 

will look like at night. And I’ll break 

a contractor’s kneecaps if he 

changes my design.” 

So how do Connie’s views compare 

with those from 25 years ago 

“We need to educate the manufacturer—the 

one who generally 

spends the money for advertising. 

And if the manufacturer’s representatives 

were as knowledgeable 

about their products as are those 

But 

when all’s said 

and done, 

a home 

should look 

and feel 

the way 

the end user 

wants it to. 

representing the pharmaceutical 

companies, that would be a step in 

the right direction.”—Howard 

Brandston 

“The consumer buys fixtures 

rather than lighting. The time has 

come to look at light in terms of 

effect, rather than particular fixtures. 

That’s where the real educational 

challenge lies.”—Rita Harrold 

“Consumers will visit a furniture 

store and buy something that 

hangs from the ceiling with crystals 

on it, or they will select a table lamp 

because it has a music box in the 

base!”—Jim Nuckolls 

“But if a consumer buys a lamp 

with a music box in the base, that’s 

his or her decision,” observes Ms. 

Jensen in 2001. 

Or, as Der Scutt observed 25 

years ago, “You can’t teach taste.” 

Editor’s Notes 

• October’s article on the 

relighting of the Benjamin Franklin 

Bridge neglected to mention 

that the original lighting by 

George C. Izenour Associates 

received a 1988 Paul Waterbury 

IIDA Award of Excellence. 

• Dick Beckford, whose sidebar 

was attached to the October 

article on the George Washington 

Bridge, has been an active IESNA 

member since 1964 and has 

served on the Industrial Lighting, 

Progress and Light Sources committees, 

among others. 


“Merry Christmas, 

Nearly Everybody!”—Ogden Nash 

WORKING 

WITH THE WEB 

Brian Cronin, 

Director of 

Business 

Development, 

Planetmouse, 

Inc. 

As I kicked my way through 

the rotting jack-o-lanterns on 

my front steps to take down 

my Halloween decorations a few 

weeks ago, I was stunned to see 

that half my neighbors had already 

hung up their Christmas lights. Cursing 

to myself, I pulled up the 

spooky tombstones and cut down 

the big horrible spider hanging from 

a maple tree in my front yard. OK, 

so maybe it was less than a week 

before Thanksgiving, but that damn 

daylight savings adjustment screws 

me up every year and hunting season 

is always a distraction. But 

Christmas Already Man, I’m not 

even remotely prepared for that 

scene. Boring holiday parties… the 

obligatory boozing & feeding frenzy 

that spans the weeks between 

Thanksgiving and New Year’s… and 

that brutal, high-adrenaline frenzy of 

last-minute shopping. If I live to be a 

hundred, I’ll NEVER be prepared for 

that nightmare… nor will I do the 

smart thing and shop early. Who am 

I to defy the laws of tradition 

Unfortunately, business gift giving 

is a whole different beast altogether. 

Can’t hand my clients and 

customers some cheesy junk or a 

bottle of bootleg rum. I certainly 

can’t blow off the boss and my 

team. What the hell am I going to 

do Luckily, there is a little thing 

called the World Wide Web… 

invented just for procrastinating 

idiots like me. Now I can participate 

like a grown-up in spreading holiday 

cheer. And if I get lucky and choose 

these gifts well, I may even reap the 

harvest I have inadvertently sown. 

The best thing about shopping 

for business gifts online, is that 

you don’t have to touch the presents… 

much less deliver or wrap 

them. A clever fellah can make it 

look like painstaking decision-making 

went into the selection of each 

and every gift. The first step: 

Determine who you are buying for. 

Old School: Pen sets, desk 

clocks, paperweights and other 

boring business trinkets are still 

popular among those laggards 

who putter aimlessly looking for 

their missing cheese. Too bad 

these mundane toys no longer 

pack much of a punch when 

schmoozing the modern wired warrior... 

but if your client still drags 

around dayplanner and rides to 

work in a chauffeured zeppelin, 

buy him a shiny new fountain pen 

(www.executiveessentials.com). 

Geek Gadgets: Now, if that 

prospective client is one of those 

know-it-all, bad haircut, dot.com 

reject, Gen-X techno geeks, then 

present him with one of a thousand 

digital wireless beeping buzzing 

handheld doodads. That way, when 

he’s trying to impress his fellow 

subway commuters or a conference 

room full of executives, he’ll clearly 

be flagged for the tool that he undoubtedly 

is. Sharper Image (www. 

sharperimage.com) is as good a 

site as any to placate the nerd on 

your list. 

Tasty Treats: For that special carnivorous 

client, why not give the gift 

of animal protein Seattle’s Finest 

Exotic Meats (www.exoticmeats 

.com) offers an array of tasty treats, 

including alligator, bear, bisurkey (a 

bison/turkey blend), kangaroo, 

snake and possum. 

Unique, But Practical: How 

about a drinking water test kit, to 

show them you REALLY care 

AquaMD (www.AquaMD.com) is a 

web-based division of a 150 year-old 

Connecticut water company, that 

provides everything a client needs 

to test his or her drinking water 

quality. AquaMD ships the sample 

kit… your client adds the water and 

ships it back to their EPA-certified 

lab. In a few days, the good or bad 

news is delivered via email… along 

with recommendation on how to 

treat any problems. Fast, easy, convenient 

and guaranteed. 

Bottoms Up: Diamonds may last 

forever, but booze is the gift that 

keeps on giving. BevMo.com 

(www.bevmo.com) is your one-stop 

e-shop option to ring in a little holiday 

cheer. For the annoying client… 

a bottle of Monte Alban Mezcal with 

a tasty agave worm should exact 

some measure of vengeance. But 

for that high ticket prospect… perhaps 

a $220 bottle of Glenmorangie 

Scotch 1971 Vintage will help them 

choose their next contractor wisely. 

For That Monster Client: Let 

your key clients know how important 

their business is to you with a 

life-size replica T-Rex skull. At a 

monstrous 5 feet long and loaded 

with huge, 6” teeth, this paperweight 

is a bargain at $10,000! 

Pick a couple up at San Antonio’s 

Dinosaur World (www.dinosaurworld. 

com). If your budget is limited, you 

can always go for the authentic T- 

Rex tooth for $3K. 

Cool Stuff: Anyone on your list 

think the Crocodile Hunter is a role 

model Hook them up with a gift 

certificate at the Discovery 

Channel Store (http://shopping. 

discovery.com), the Museum 

Company (www.museumcompany. 

com) or the National Geographic 

Store (http://shop.nationalgeographic.com). 

Cool stuff abounds 

at these websites… telescopes, 

globes, wall maps, books, 

you name it. Personally, I love this 

kind of stuff… which probably doesn’t 

come as any big surprise to the 

LD+A readership. 

The Great Outdoors: E-merchants, 

like Eastern Mountain 

Sports (www.ems.com), REI 

(www.rei.com), Campmor (www. 

campmor.com), L.L. Bean (www. 

llbean.com) and Cabela’s (www. 

cabelas.com) gobble-up most of 

the spare cash that I manage to 

hide from my wife & kids. 

If all else fails, nothing says “last 

minute desperation” like a nice 

holiday fruitcake (www. 

westonfruitcakecompany.com). 

Garrison Keillor once said, “A 

lovely thing about Christmas is 

that it’s compulsory, like a thunderstorm, 

and we all go through it 

together.” That’s certainly rings 

true for me. But as we bear down 

on the season and start twitching 

in ambivalent anticipation of “The 

Holidays”, remember… we can get 

through it in one piece. Don’t fight 

technology this time of year— 

wield it like a 15th Century ball & 

chain mace. Then, if you are lucky, 

the hardest part of this holiday 

season will be surviving the New 

Year’s Day hangover. 


Militello Exhibition to 

be Displayed at 

Gershwin Hotel 

Modern Culture at the Gershwin 

Hotel will present “Anne Militello: 

Radiate (Not Fade Away),” an exhibition 

of site-specific lighting installations 

by Militello. Her exhibition will be 

composed of abstract and ever-changing 

light projections. The works—both 

large and intimate in scale will—exam- 

ILLUMINATING 

ENGINEERING 

SOCIETY 

NEWS 

VOLUME 31, NUMBER 12 

DECEMBER 2001 

ine the convergence of the human experience 

and light. 

Recognized for her innovative lighting 

projects, Militello recently received an 

IIDA Award of Distinction for her artistic 

achievements in the exterior lighting 

design of the new 42nd Street Studios, 

Times Square, NY. 

The exhibition will open on January 5, 

2002, from 6-8 P.M. and will remain on 

view until February 2. For more information 

on gallery hours contact 212- 

213-8289, or email: modcult@ 

bway.net 

IESNA 

Calendar of Events 

June 2-5, 2002 

LIGHTFAIR INTERNATIONAL 

San Francisco, CA 

Contact: AMC, Inc. 

404-220-2221/2215 

www.lightfair.com 

August 4-7, 2002 

2002 IESNA Annual Conference 

Salt Lake City, UT 

Contact: Valerie Landers 

212-248-5000, ext. 117 

www.iesna.org 

Member News 

The IALD Board of Directors has bestowed the 2001 IALD 

Lifetime Achievement Award on Howard Brandston, FIALD, 

FIES. The award was presented at the IALD annual meeting 

November 28-29 in Philadelphia, PA. The Board praised 

Brandston’s efforts over his 30-year career as a lighting 

designer in elevating the profession and credited his leadership 

in lighting design education, research and standards. 

Brandston designed the illumination for more than 2500 

commercial, residential, and government projects. He is the 

winner of four IALD lighting design awards and other numerous 

awards. In 1991 he won the IALD Award of Excellence 

for the Bulgari showroom in New York and from 1983-84, he 

was the president of the IESNA, and an IESNA Medal recipient 

in 1999. 

Leviton Manufacturing Co., Inc., Little 

Neck, NY, has appointed John T. LaMontagne 

to the position of Northeastern 

Regional Sales Manager for the company’s 

Lighting Control Division. As the Sales 

Manager, LaMontagne will manage and 

oversee sales for the region, including 

managing relationships with distributors, 

agencies and specifications markets. 

Beacon Products, Inc., Sarasota, FL, announced the 

appointment of three additional sales representative organizations 

to cover selected territories throughout the western 

United States. Art Sloan, ALSCO, Inc., Las Vegas, NV, 

represents Beacon lighting products throughout Nevada. 

Joe Arizola, Arizola Lighting, Manchaca, TX, represents 

Beacon lighting products throughout southeastern Texas, 

including greater Austin. Harmon Bollen, Bollen Resources, 

Carrolton, TX, represents Beacon lighting products throughout 

the greater Dallas area. 

Stingray Lighting, Inc., Escondido, CA, announced 

the appointment of Robin A. 

Conway as the company’s vice-president of 

marketing and sales. In her new position, 

Conway is responsible for planning and 

implementation of the company’s marketing 

and sales programs to professional 

lighting specifiers, corporate clients, and 

distributors throughout the U.S. and Canada. 

Dr. John Li has joined Optical Research Associates’ Pasadena, 

CA, optical engineering services group as Director of 

Illumination Engineering Services, based at the company’s 

midwest office, Cleveland, OH. Li will lead ORA’s illumination 

system design and development services business, 

which are currently focused on exterior and interior lighting 

systems for automobiles, aircraft, cell phone, laptop, and 

PDA displays; medical equipment and instrumentations; 

and new LED based systems and light projecting systems. 

Grand Stage Company of Chicago, IL, and Vincent 

Lighting Systems of Cleveland, OH, announced the for- 

continued on following page 

www.iesna.org 

LD+A/December 2001 15

Member News 

continued from previous page 

mation of a new partnership. Grand 

Vincent Company of Michigan is now 

available to serve sales, rentals and 

production needs throughout the former 

Grand Stage store in Berkley. 

This location provides the same service 

for the Grand Stage staff, but 

now offers a much-expanded product 

line and access to all the technical 

and production resources available 

through Vincent Lighting. 

Prescolite, San Leandro, CA, 

announced the winners of the company’s 

“Experience Venice!” sweepstakes 

drawing. More then one thousand 

entries were received at the company’s 

display booth at Lightfair 2001, 

and in response to promotion in the 

Lightfair 2001 edition of Illume, Prescolite’s 

new product and lighting 

design publication. Winner of weekend 

getaway at the Venetian Grand Resort 

in Las Vegas was Robert Dupuy (left), 

Senior Lighting Designer of Interface 

Engineering, Milwaukie, OR, shown 

with Jim Fencl , of The Berg Agency. 

Robert Mokry, a 13-year veteran of 

High End Systems, Austin, TX, has 

returned to the company to take on new 

roles associated with the company’s 

restructuring and renewed growth. 

Ellerbe Becket, Kansas City, MO, 

has been selected by the New Memphis 

Public Building Authority to 

design the new downtown arena. The 

New Memphis Arena will be a multiuse 

sports and entertainment facility 

and home to the NBA Memphis 

Grizzlies. 

Penn State University has a new 

lighting faculty member, Dr. Martin 

Moeck, who was previously a faculty 

member in Architectural Engineering 

at the University of Kansas. 

SUSTAINING 

MEMBERS 

The following companies have elected 

to support the Society as Sustaining 

Members which allows the IESNA to fund 

programs that benefit all segments of the 

membership and pursue new endeavors, 

including education projects, lighting 

research and recommended practices. 

The level of support is classified 

by the amount of annual dues, based 

on a company’s annual lighting revenues: 

Copper: $500 annual dues 

Lighting revenues to $4 million 

(Copper Sustaining Members are listed in 

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

the IESNA Annual Report. There are currently 

233 Copper Sustaining Members). 

Silver: $1,000 annual dues 


Gold: $2,500 annual dues 


Platinum: $5,000 annual dues 


Emerald: $10,000 annual dues 


Diamond: $15,000 annual dues 

Lighting revenues over $500 million 

IES SUSTAINING 

MEMBERS 

DIAMOND 

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. 

Ruud Lighting, Inc. 

GOLD 

ALP Lighting Components Co. 

Altman Lighting, Inc. 

Barth Electric Co., Inc. 

Daeyang Electric Co., Ltd. 

Edison Price Lighting, Inc. 

Finelite, Inc. 

Indy Lighting, Inc. 

Kurt Versen Co. 

LexaLite Int’l Corp 

Lighting Services, Inc. 

Lightron of Cornwall, Inc. 

Louis Poulsen Lighting 

LSI Industries, Inc. 

Martin Professional, Inc. 

Matsushita Electric Works, Ltd. 

Musco Sports Lighting, Inc. 

Niagara Mohawk Power Corp 

Prudential Lighting Corp 

San Diego Gas & Electric 

SIMKAR Corp 

SPI Lighting, Inc. 

Steelcase, Inc. 

The Bodine Company 

The Kirlin Company 

United Illuminating Co. 

SILVER 

Ardron-Mackie Limited 

Aromat Corp. 

ATOFINA Chemicals, Inc. 

Associated Lighting 

Axis Lighting, Inc. 

Bartco Lighting, Inc. 

BJB Electric Corporation 

Canlyte, Inc. 

Carinci Burt Roger Eng, Inc. 

Cinergy PSI Energy 

City of San Francisco Bureau of Light & Power 

Custom Lighting Services LLC 

Custom Lights, Inc. 

Day Lite Maintenance Co. 

Defense Supply Center 

EEMA Industries 

Elf Atochem North America Inc. 

Elko Ltd 

Elliptipar 

Energy Savings, Inc. 

ENMAX 

Enterprise Lighting Sales 

ERCO Lighting USA Inc. 

Exelon Infrastructure Services 

Eye Lighting Industries 

Eye Lighting International of North America 

Factory Sales Agency 

Fiberstars, Inc. 

Focal Point 

Gammalux Systems 

H E Williams, Inc. 

HAWA Incorporated 

High End Systems, Inc. 

Hubbell Lighting, Inc. 

Kenall Mfg Co. 

King Luminaire Co. 

Ledalite Architectural Products 

Lee Filters 

Legion Lighting Co. 

Leviton Mfg Co, Inc. 

Linear Lighting 

Litecontrol Corp 

Litelab Corp 

LiteTech 

Litetronics Int’l, Inc. 

Lucifer Lighting Co. 

Mayer Electric Supply 

Metalumen Manufacturing, Inc. 

Multi Electric Mfg, Inc. 

Northern Illumination Co., Inc. 

Optical Research Associates 

Optima Engineering PA 

Paramount Industries, Inc. 

Portland General Electric 

Prescolite, Inc. 

PSE & G 

R A Manning Co, Inc. 

Reflex Lighting Group, Inc. 

Sentry Electric Corp 

Shakespeare Composites & Electronics Division 

Southern California Edison 

Stage Front Presentation Sys. 

Stebnicki Robertson & Associates 

Sternberg Vintage Lighting 

Sterner Lighting Systems, Inc. 

Strand Lighting, Inc. 

StressCrete 

TXU Electric & Gas 

Utility Metals 

Vestar Limited 

W J Whatley, Inc. 

WAC Lighting Co. 

Winnipeg Hydro 

Wisconsin Public Service Corp 

Xenon Light, Inc. 

Zumtobel Staff Lighting, Inc. 

As of November 2001 


Task Force Examines the Future of Tall Buildings 

A task force of leading building industry experts formed by the Council on Tall 

Buildings and Urban Habitat (CTBUH) concluded there are several actions that 

can be taken to enhance the emergency performance of buildings, including 

egress strategies, redundant building systems, integrated building control systems, 

performance-based design, education and research. 

The task force also concluded that it is not practical to design any building to 

withstand the maliciously directed impact of a large fuel-laden aircraft and that 

the buildings in the World Trade Center attack performed heroically, which 

allowed more than 20,000 people to evacuate. 

“It is important to understand that the attack on the World Trade Center was not 

about tall buildings, it was about terrorism,” reports the task force. 

Overall, tall buildings have excellent safety records. The general themes that 

the task force is exploring to further increase the level of safety in the built 

environment. 

The task force includes 24 experts, most representing organizations with global 

presence. Their expertise is architectural, structural engineering, mechanical 

engineering, electrical engineering, vertical transportation, fire protection and 

safety, building owners and developers, building control systems, building security, 

blast and curtain walls. 

They are scheduled to confer again prior to the “Building for the 21st Century” 

conference to be held in London in December. The conference is sponsored by 

the CTBUH and includes a global forum in which to discuss all aspects of the 

built environment under three themes technology, livability and productivity. 

More information can be accessed at www.buildingforthe21stcentury.com 

Section News 

Tennessee Valley Section 

Kam McCormick, of Colortran gave a 

presentation on theatrical lighting at 

the University Club, Nashville, TN. 

Susquehanna Section 

A presentation on “Astronomy 

through the Hubble Space Telescope” 

was given at the Holiday Inn West, 

Central Pennsylvania. Guest Speaker, 

Dr. John Wood, an astronomer is an 

optical engineer for the Optics Branch 

at Goddard. 

Alabama Section 

A presentation on “IIDA Awards and 

Local 2001 Award Entries” was given 

at SSA Architects, Birmingham, AL. 

Both Stephanie Johnson and John Gill 

discussed local talent and the importance 

of getting future entries in the 

coming years. 

Mohawk Hudson Section 

A presentation on the “2001/2002 

NYSERDA Programs” was given at the 

Holiday Inn Turf, Colonie, NY. Adam 

continued on following page 

www.iesna.org 


Section News 

continued from previous page 

Homes of ICF Consulting provided 

insight on the topic. 

Toledo Area Section 

A discussion on “HPS vs. Metal Halide 

vs. Fluorescent Lighting Sources — 

Where, When and How” was given at 

Toledo Electrical Industries Building, 

Rossford, OH. Guest speaker Jeff Waymouth 

of OSRAM SYLVANIA discussed 

operation characteristics of each lamp 

type, as well as the differing psychological 

impact based on the physical characteristics. 

Edison Price Moves 

Headquarters 

Edison Price Lighting moved its New 

York City corporate headquarters to 

Long Island City (Queens), New York, 

to combine it with its manufacturing 

facility already located there. For further 

information go to the website 

www.epl.com 

IALD Accepting Entries For 2002 

Lighting Design Awards 

The International Association of Lighting Designers is now accepting entries 

for its 19th Annual International Lighting Design Awards to be recognized at the 

IALD Awards Dinner and Presentation on June 4, 2002 in San Francisco, CA, in 

conjunction with Lightfair International. The IALD Lighting Design Awards distinguishes 

lighting installations that display aesthetic achievement backed by 

technical expertise. The awards exemplify the integration of the architectural 

and lighting design process. 

Anyone is eligible to enter a project for an award. The project must be a permanent 

interior or exterior architectural lighting design solution that was completed 

after June 1, 1999. Projects will be judged individually based on aesthetic 

achievement and technical merit in accordance with the designer’s concepts 

and goals. 

Entries must be received no later than February 1, 2002. Judging will take 

place over two days in February by a jury of eight award-winning industry peers. 

The panel consists of five lighting design professionals who are members of the 

IALD and three design professionals from related disciplines. The awards are cosponsored 

by Architectural Lighting magazine. 

Entry information and specifications are available in care of the IALD Awards 

Program at the International Association of Lighting Designers, The Merchandise 

Mart, Suite 9-104, 200 World Trade Center, Chicago, IL 60654 USA. 

Entry information can also be requested by Tel: 312-527-3677, fax: 312-527- 

3680 or email: iald@iald.org 

New Members 

Membership Committee 

Chair Jim Sultan announced 

the IESNA gained three Sustaining 

Members and 67 

Members (M), associate 

members and student members 

in October. 

SUSTAINING MEMBERS 

Gewalt Hamilton Associates, Inc., 

Vernon Hills, IL 

Lighting Reality, Birmingham, UK 

Orlando Utilities Commission, 

Orlando, FL 

INDIVIDUAL MEMBERS 

Canadian Region 

Jim Allison, Hi Lan Electric, Ltd., 

Moncton, NB 

Eric J. Anderson, Toronto Hydro, 

Toronto, ON 

Adrian D. Goldberg, TAD Lighting 

Services, Ltd., Toronto, ON 

Leo-Paul LeBlanc, The Lighting 

Design Centre, Ltd., Moncton, NB 

Gardiner MacNeill (M), Coles 

Associates, Ltd., Charlottetown, 

PE 

Dyoni Smith, Metalumen 

Manufacturing, Cambridge, ON 

East Central Region 

Arthur L. Bradley Jr., Moseley Harris 

& McClintock, Richmond, VA 

Brian Hahnlen, Ewing Cole Cherry 

Brott, Philadelphia, PA 

Eric D. Lyons, JJM Associates, 

GlenAllen, VA 

Mark Wray (M), Columbia, MD 

Great Lakes Region 

Drew Jones, Holophane, Newark, OH 

Deborah A. Wilks, Michigan Lighting 

Systems, Grand Rapids, MI 

Kate S. Wood (M), Peter Basso 

Associates, Inc., Troy, MI 

South Pacific Coast Region 

Jerry Anders (M), GW Consulting 

Engineers, Citrus Heights, CA 

Bill Beecher (M), DB2 Products, 

Aptos, CA 

Alfredo Benavides, University of 

California, Irvine, CA 

J.D. Bridges, Spectrum Lighting 

Design, Salt Lake City, UT 

Regan Gage, Flack + Kurtz, Inc., 

San Francisco, CA 

Atisuda P. Suchato, Integrated 

Design Associates, Inc., Santa 

Clara, CA 

Dennis Walter, DeVore Aviation 

Corporation of America, 

Albuquerque, NM 

University of Washington 

Michael F. Brisbois 

Midwest Region 

Paul Dahlquist (M), Dahllights, 

Wheaton, IL 

Michael J. Jorgensen (M), Ankeny, 

IA 

Daniel J. Luby , Nesko Electric 

Company, Broadview, IL 

Amy L. Luiso, ‘Bartlett & West 

Engineers, Inc., Topeka, KS 

Don Miletich (M), Cooper Lighting, 

Inc., Elk Grove Village, IL 

Karen Moffett, Juno Lighting, Des 

Plaines, IL 

Christopher A. Nieland, FGM Architects-Engineers, 

Oak Brook, IL 

University of Nebraska, Lincoln 

Xin Guo, Kimberly Thompson 

University of Wisconsin, Madison 

Greg Virnig 

University of Wisconsin Stevens 

Point 

Blaise D. Olafson, 

Southeastern Region 

Lawrence M. Clough, City of 

Kissimmee, Public Works and 

Engineering, 

Kissimmee, FL 

Michael Imparato (M), Beacon 

Products, Inc., Sarasota, FL 

Noll Kretschmann (M), Clark 

Nexsen, Charlotte, NC 

Richard R. Schafer (M), Talbot & 

Associates, Charlotte, NC 

Northeastern Region 

Evelyn Audet (M), Evelyn Audet 

Lighting Design, East Providence, 

RI 

April L. Butcher (M), Women et al, 

Inc., New York, NY 

Gurvinder Dhami (M), Arora and 

Associates, Lawrenceville, NJ 

Donald Flynn, Northeast Utilities, 

Berlin, CT 

Larry Harmon, Spectro Lume, 

Jackson, NJ 

Dawn Ladd (M), Aurora Lampworks, 

Brooklyn, NY 

Tolek Pawelko (M), B/E Aerospace, 

Holbrook, NY 

Frank Tramontozzi (M), Fay Spofford 

& Thorndike, Burlington, MA 

Jason Weiner, JW Lighting & Energy, 

Inc., Rockaway, NJ 

Parsons School of Design 

Sarah J. Donald, Eleni Savidou 

University of New Hampshire 

Scot Almstrom, Timothy Bickford, 

Mike Libby, Corey Marcotte, Carl 

Patten, Steve Sacherski, John 

Weismantel 

Northwest Region 

Brian Barnett, City of Springfield, 

Public Works Dept., Springfield, 

OR 

Ryan Dixon, Holophane, Calgary, AB 

Shaw Iqbal, Sonie Lighting 

Industries, Inc., Centralia, WA 

Southwestern Region 

Tony Backman, Basharkhah 

Engineering, Inc., Dallas, TX 

Lindsey Denny, KSA Architecture, 

Houston, TX 

University of Houston 

Jason Baezner, Jonah Sendelbach, 

Jennifer Whitfield 

Foreign 

Edison Aviles (M), Edison Aviles 

Deliz Ingenieros, Puerto Rico 

Robert Hirschler, SENAI/CETIQT, 

Brazil 

Pinar Kurtoglu, Siteco Lighting 

Technic/Turkey, Turkey 

Kim Woon, Chroma Electric, Korea 

School of Architecture, Planning and 

Landscape, Beirut 

Sawsan Saridar 


PHOTOS: ADRIAN VELICESCU, STANDARD 

(above, right and left) The lighting design lifts and embraces the 

living spaces enclosed by the irrepressibly buoyant roof. 

(below) In the master bedroom, recessed MR-16 wallwashers graze the leaning wall. 

(opposite page) In the “Great Room,” small incandescent halogen uplights, integrated into 

sculptural columns in the glass curtain wall, repeat the glow of the roof planes. 

SHOJI SERENADE 

The inky-black Pacific Ocean beckons against a clear, 

starry Southern California night sky. A shimmering bird 

perched on a hill by the shore is poised to take flight 

across the water below. But no, look carefully! Those are not 

luminous wings... or are they 

Such a vivid description is possibly the only way to describe 

the visual poetry that is the Uyemura residence in Corona del 

Mar, CA. The owners, Gary and Amy Uyemura, wanted this 

typical 1960’s tract house remodeled to create not just a place 

to live in, but a home that is a seamless synthesis of their traditional 

Japanese heritage and modern American life style. 

With this intent, they hired M. Charles Bernstein as the 

architect and the Los Angeles office of Horton Lees Brogden as 

the lighting design firm, with E. Teal Brogden as the principal 

lighting designer on this exciting project. The design process 

was a collaborative one, with the lighting design team working 

closely with the owners and architects at every stage. 

The vocabulary for the house and north-facing walled entry 

garden consists of slanted angles, sculptural curves, and hidden 

elements that reveal themselves at unexpected places. Glass in 

20 LD+A/December 2001 www.iesna.org 

The integration of East and West, of interior and exterior 

spaces, and the interplay between hard and soft is reflected in the 

lighting design. Swapna Sundaram explores the glowing screens 

and sconces that enhance the “shoji” vocabulary— 

the recessed, unobtrusive uplights and downlights tucked 

behind architectural elements. 

www.iesna.org 


A simple glass 

incandescent sconce 

illuminates the 

sink of the 

guest bedroom. 

Cabinetry hides indirect lighting for countertops and 

soffits and also provides illumination for the 

kitchen serving counter. 

enclosed by the irrepressibly buoyant roof. The designers 

were challenged and inspired to create a residence for a 

true indoor/outdoor lifestyle to flourish. The end result 

A sweeping ocean-view home that bespeaks simplicity, 

style, and elegance in its understated lighting. 

the form of wraparound clerestory windows, curtain walls, and 

even bathroom fixtures has been used extensively. Recurring 

design elements evoking the form of traditional Japanese shoji 

and origami screens have been incorporated throughout to create 

an Eastern aesthetic quality. 

The orientation of the site is north-south, with the stepped 

southern side offering an overpowering 360 degree vista of 

the Pacific Ocean and its coastline. The architect razed the 

existing tract house structure to make way for the new residence. 

However, the conventional gable roof form over the 

existing bedroom/garage wing was retained and integrated 

with the curved folding planes of a new unifying zinc roof— 

sculptural, continuous, and composed of folded origami-like 

planes, which seem to float above the glass walls and windows. 

Tiny MR-16 halogen uplights, set along joints within 

exterior pavers, create a softly luminous glow on the roof 

planes, enhancing their dynamic quality. This glow is repeated 

inside the Great Room—composed of living room, dining 

area, and kitchen—with small incandescent halogen 

uplights integrated into sculptural columns in the glass curtain 

wall that also function as 

structural elements. 

In keeping with the illusion 

of undivided space, the 

master bedroom at the back 

of the house is separated 

from the Great Room in the 

front by a single slanted purple 

wall. Recessed MR-16 

wallwashers, hidden behind 

a beam and between rafters 

in the ceiling, graze the leaning 

wall with light. Pendantmounted 

low-voltage decorative 

spotlights pierce the 

secondary floating roof plane 

from the wood ceiling above 

and provide accent light for an art wall below. 

Two freestanding custom-designed cabinets, clad in the same 

pre-weathered zinc as the roof, separate the dining area and 

kitchen. These and other cabinetry in the two rooms hide indirect 

lighting for countertops and soffits, and also provide illumination 

for the kitchen serving counter. 

Sparkling, long-life halogen lamps controlled by dimmers 

were used for energy efficiency, to extend life, and to provide 

flexibility and warmth. No recessed downlights are readily 

visible in the roof form, where carefully selected decorative 

fixtures—such as a Brera hanging light from Flos USA over 

the kitchen table—bring focus and center to the rooms. 

Downlights are used sparingly in areas other than the living 

room, and are again tucked behind architectural elements. 

A guest bedroom in the garage wing, which preserves the 

remnants of the old gabled roof, is actually a traditional 

Japanese tatami room designed for multi-purpose use. The 

adjoining guest bathroom is also in the traditional style, with 

a Japanese soaking tub and a slatted wood floor. A simple 

glass incandescent sconce at the mirror provides light for 

viewing over a specially designed glass sink. A combination 

skylight/accent covelight provides ambient light. 

In the master bedroom, a few carefully placed cove 

accent lights illuminate artwork. A Tizio bedside lamp by 

Artemide offers soft and subdued lighting. Glowing glass 

shoji screens in the master bedroom slide out of the way for 

easy relamping. 

The lighting design lifts and embraces the living spaces 

The designer: As senior 

design principal and the 

director of design at Horton 

Lees Brogden Lighting 

Design, Teal Brogden 

IALD, LC, is responsible 

for developing and establishing 

firm-wide design 

and production standards. She joined HLB in 1991 and oversaw the 

opening of the Los Angeles office in 1994. She has been a board member of 

IALD, is an affiliate of the AIA, and has been a member of IESNA since 1990. 

Her designs have received numerous awards including the IALD and GE 

Edison Awards of Excellence, and eight IIDA Awards of Merit. 

The author: Swapna Sundaram is a second-year graduate student pursuing an 

MS in lighting at the Lighting Research Center in Troy, N.Y. She graduated with 

a masters degree in architecture from UCLA in 1997 and worked for over two 

years as an architectural lighting designer in Los Angeles. 


AGRAND ENTRANCE 

Ralph Schiller’s design highlights the interior architecture 

of this French Chateau style residence outside of Austin. 

Energy efficiency and ease of maintenance 

were priorities. 


(opposite) The lighting, mounted in a 35 ft high ceiling, is designed 

to fashion an inviting aura of warmth and bring attention to the 

magnificent stairway and the flower arrangement in the foreground. 

(below) Recessed, PAR adjustable fixtures, relampable from 

the attic space, focus attention on the construction details of 

the staircase and wrought iron railing. The fixtures are 

locked into position to maintain aim points when relamped. 

(right) In the library, two mounting levels of luminaires highlight the 

scale of the room, yet illuminate all the focal points in the space. 

On the hilly west side of Austin, Texas, sits the new residence 

of Russell and Jeannie Parker. This French 

Chateau style building, in the Barton Creek subdivision, 

was developed and built by the owners, with Mrs. Parker 

as the interior designer. 

This design was demanding because of the requirements of 

the owner and Austin. High ceilings, many as tall as 35 ft, mandated 

tight fixture beam control. This was achieved with Iris 

specification grade, recessed luminaires, by Cooper Lighting. 

Some of these fixtures can relamped from above. 

The owners requested a flexible lighting system. To that end, 

Lutron’s Homeworks lighting control system was specified. 

One of the desirable features incorporated into this product is 

the ability to automatically bring all tungsten halogen lamps to 

full brightness once a week. This allows the lamps to maintain 

efficacy and to reach average lamp life. 

Austin’s energy code is the most stringent in Texas and one 

of the more exacting in the country. Using low-voltage lamps 

with their pinpoint control allowed the designer to achieve the 

desired lighting patterns and illumination levels while adhering 

to the energy limitations stipulated by municipal regulations. 

www.iesna.org 

Entering this richly designed home, the visitor is greeted by 

a floral arrangement that draws attention to the broad white 

and wrought iron staircase directly behind. The flowers are illuminated 

from the second floor ceiling, 35 ft above, by 75 W 

AR111SP lamps. 

The first-floor walls flanking the stairway are lighted with 5 

in. open aperture downlight wall washers with soft white, 100 

W A-lamps. The soft white lamps decrease glare, eliminate striations 

and create an even lighting pattern on the vertical surface. 

Lighting the walls in this manner visually enlarged the 

space and created focal planes within the room. 

The monumental staircase is illuminated from the second 

floor ceiling. Ninety-watt PAR 38NFL capsylite lamps in 

recessed, adjustable fixtures highlight the architectural details 

of the stairway and the beauty of the wooden treads, creating a 

safe environment for the Parker children when they use the 

stairway. For ease of relamping, these fixtures are accessible 

from the attic space above the second floor ceiling. The fixtures 

are locked into position so relamping does not disturb the original 

lighting pattern created by the designer. The upper foyer 

contains a number of focal points. The first is a series of windows 

looking out onto the vista below. In the evening, a chandelier 

suspended from a cove above a casual table immediately 

attracts the interest of the visitor, although this luminaire is not 

meant to be the prime source of light in the space. Relamping 

is made easier by an Aladdin Lightlift lowering device with a 

programmable setting. A group of recessed 75 W AR-111NFL 

fixtures are mounted in the ceiling, lighting the two-story long 

tapestries mounted on the wall at either side of the entrance. 

These can also relamped from above. A ceiling dome is washed 

from a cove with a Lucifer 2BJ light strip containing 5 W, 24- 

volt xenon festoon lamps spaced 2 in. on center. These lamps 

have a higher color temperature than the downlights, creating 

the impression that there is a skylight above the dome. These 

lamps are rated at 24,000-hour average life, cutting down on 


the relamping requirements. 

The hallways off to the left and right of the entrance lead to 

the living room, dining room, kitchen at one end and the family 

room and library on the other. Even though hallways are 

normally considered transit areas, these were designed as 

comfortable spaces to create a transition from the high ceiling, 

spacious entry to the comparatively more intimate 

adjoining rooms. MR-16 pinhole adjustable luminaires illuminate 

the vertical surfaces in the hallway. The small apertures 

lent themselves to low surface brightness on the ceiling 

while accenting the vertical surfaces of the corridors. A pair 

of 50 W MR-16NSP fixtures light the sculpture at the end of 

this space, drawing the eye to the statue and visually shortening 

the hallway. The Tru-Aim Titan lamps used minimize 

color shift over the life of the lamp. 

The study is a room of understated elegance that lends itself 

to conversation, reading or contemplation. The lighting systems 

focus on two different areas. The 5 in. diameter recessed, 

adjustable accent Iris luminaires use 75 W PAR30 wide flood 

lamps to light the rich paneling of the fireplace. MR-16 lamps, 

in the same type of body, provide illumination for the seating 

area. The steeply pitched ceiling required the use of adjustable 

fixtures to accommodate a 45 degree maximum slope, rather 

than a downlight with a large, obtrusive slope adapter. 

In the library, a large table dominates the center of the room. 

Mrs. Parker frequently uses floral arrangements to attract attention 

to specific areas or pieces of furniture she wishes to display. 

Her approach in this room is no different. The lighting, using a 

7 in. aperture Iris downlight with 75 W AR111SP mounted in 

the 35 ft ceiling, projects the light beam to the lower floor level. 

This method effectively highlights the floral grouping. This 

two-level room uses PAR38NFL lamps in recessed downlights 

for the ambient illumination on both levels. The artwork on the 

second level required higher illumination levels to provide a 

minimum contrast ratio of 3 to 1. To reach this design goal, 50 

W MR16 adjustable fixtures with pinhole apertures placed on 

3 ft centers are aimed to provide the proper illumination levels, 

regardless of the size of the paintings displayed. The dichroic 

coating on the lamps absorbs much of the ultraviolet energy 

emitted and helps in the preservation of the artwork. A-lamp 

wall washers illuminate the bookcases in the lower level of this 

room. These fixtures gave a comparatively soft edged, even 

wash of light to the volumes displayed. 

The space most frequently seen by visitors and guests to this 

home, other than the entrance hall, is the dining room. The 

Parkers entertain frequently—for family dinners or business 

related parties. The most prominent feature in this room is the 

antique chandelier over the dining table. The elegant, French 

Empire style chandelier has been restored to its original appearance. 

The owners chose to use this luminaire and the candelabra 

on the side tables as pieces of jewelry, rather than attempt 

to use them to provide ambient lighting in the space. 

A number of different lighting systems were placed in the 

room to allow the owners to change the focal points in the 


(opposite, top left) Small aperture luminaires above the seating group 

in the living room supply recommended illumination levels and 

narrow beam downlights draw attention to the coffee table. 

(opposite, top right) In another area of the living room, 

xenon festoon lamp strips in a cove highlight the ceiling; low-voltage 

MR-16s illuminate the collections in the wall cases. 

(opposite, bottom) In the dining room, the incandescent pin spots 

in the ceiling fashion a luminous environment and visually enlarge the 

scale of the room. The dimmed chandelier is regarded as a piece of 

jewelry—a focal point that adds ambient fill light. 

(this page) In the study, adjustable accent lights draw attention to the 

rich paneling. MR-16 and PAR downlights mounted in the 35-foot-high 

ceiling offer comfortable lighting for reading or conversation. 

All of the ceilings were handpainted by art students from the 

University of Texas Art Department to emulate the stone 

masonry of an old chateau. 

space or feature select pieces of antique furniture. The antique 

dining table is lighted with four MR-16 downlights placed 

along the centerline and two adjustable accent lights in the ceiling 

to highlight the centerpieces. Both side walls are illuminated 

with 3 in. aperture, lensed, MR-16 wall washers. This allows 

even illumination on the vertical surfaces and also lets the owners 

feature the large antique sideboard. MR-16 downlights are 

placed in the corners of the room to balance out the space and 

provide fill light. As we noted, flexibility was one of the homeowner’s 

design requirements. Using the Lutron Homeworks 

system, the owners are able to highlight different areas or pieces 

of furniture in this room. Changing the balance of light in the 

space can create a pleasant surprise that allows the casual visitor 

to rediscover the room with each visit. 

The space used most frequently by the family is the living 

room. They wished to create a space that was both comfortable 

and utilitarian. The Parkers are avid collectors and display cases 

were designed into the walls. Fifty watt MR-16NFL luminaires 

highlight these display cases. The seating group is lighted with 

small aperture, MR-16 NFL downlights to provide recommended 

illumination levels for reading and other activities in 

the space. The ceiling is featured by the use of a light cove on 

either side of the room. The same Lucifer 2BJ light strips with 

xenon festoon lamps are used here as were selected for the 

dome over the upper foyer. Adjustable accent lights provide 

focus lighting on the coffee table in the center of the space. 

With the use of low-voltage downlights, the designer was able 

to adhere to the Austin energy usage code. The lamps selected 

focused the lighting to provide the beam patterns, illumination 

levels and coverage required. The beam control of the lamps put 

the light where it was needed. The use of the Lutron Homeworks 

control system provided for lighting flexibility while 

allowing the control keypads to be placed in unobtrusive places. 

The system let the owner rebalance the illumination levels and 

focal points in each space without affecting adjoining rooms. 

The designer: Ralph Schiller is a sales representative in 

the lighting industry with 30 years of experience. He is an 

active member of the San Jacinto Section of the IESNA, 

and a Southwest Regional Officer. He has held many posts 

at the Section and Regional level. Among these is the position 

of Education Chairman for the San Jacinto Section as 

well as Treasurer for the Section. In the position of 

Education Chairman, he has taught many of the classes 

held by the Section in both the basic and advanced lighting school as well as 

the American Institute of Architects. Schiller is an associate member of the 

A.I.A. He works at the Houston headquarters of Lighting, Inc., a distributor and 

showroom for architectural and decorative lighting. This firm is an importer of 

chandeliers and sconces from Spain and Italy. 

www.iesna.org

(right, top) In the second-floor living room, the matching, recessed, 

flangeless 4 in. sq MR-16 wallwashers and object-lights illuminate 

the art. Luminaires are located on an invisible grid based in the 

mullions of the operable steel window system—a reminant of the 

original carriage house. Patinated bronze inset-frames were applied 

to each light to seal the caulking at the edges of the glass. 

(right, middle) The exposed concrete ceiling over the living and 

dining room areas was dropped slightly to create more intimate 

spaces, as well as to distinguish the three areas making up the 

entire open space. Lighting helps create this intimacy. Surfacemounted 

luminaires at the exposed ceiling use the same 

50 W MR-16/IR lamp and 55- by 75-degree spread lens as the 

recessed luminaires, simplifying maintenance for the owner and 

ensuring consistency in the illumination of artworks. Recessed 

object-lights focus on a new fireplace located at the northern edge 

of the living area. Recessed wallwashers in the third-floor ceiling 

illuminate the stairs to the master bedroom. Artwork includes 

Andy Warhol’s “Brillo Box,” “Electric Chair” (1965), and “Ambulance 

Disaster” (1963). Charles Ray’s “Boy” (1992) is at far left. 

(right, bottom) This space was previously a garage. Beyond the 

wood-glass light screen are the building’s glass-paneled 

carriage doors. These 

doors originally allowed 

daylight as well as street 

noises into the space, which 

is now used as a media 

room. Today, the light screen 

creates a secondary enclosure and an ante-space between the 

exterior and the media room. Rear illumination is accomplished 

with recessed, open-reflector downlight wallwashers with halogen 

A-lamps and flush-flange reflectors. Recessed wallwashers 

illuminate Ed Ruscha’s 1965 oil on canvas 

“Angry Because It’s Plaster Not Milk.” 

(below) The architect thought of this second-floor powder room 

as “a discovered space or found object.” A recessed Fresnel-lens 

downlight with a halogen A-lamp illuminates the room’s lightcolored 

objects and highlights the water in the glass basin, creating 

a pattern of reflections on the light-colored backsplash. The satinglass 

pendant luminaire uses a halogen, bi-pin display lamp. 


(right, top) The architect calls this space “a swimming pool/gym in a cocktail dress.” 

The pool, gym and the glass partition separating them pre-existed the current 

renovation; however, substantial modifications were made to transform the character 

of both spaces. A Jacuzzi installed into an angled and tiled elevated platform was 

removed and moved to a modest platform at the rear of the room. The lighting is 

integral to the integrated gym and evening cocktail space. The Venetian-glass 

chandelier, sitting group and corner lighting mediate the dual but differing 

characteristics. The rear-illuminated voile curtain in the distance reveals the 

gold-framed mirror of the gym and adds spatial ambiguity. The lighted curtain and 

gold-framed mirror also tie the gym to the cocktail space of the swimming pool 

room. The chandelier and corner light add sparkle to the reflective white tile. 

(right, below) Here, the recessed wallwashers highlight three 

Warhol paintings: “Ambulance Disaster” (1963), “Campbell Soup Can 

(Cream of Chicken)” (1962), and “Mao” (1972). 

The lighting design follows a hierarchy defined by accenting 

the areas he wishes to emphasize and lowering light levels 

elsewhere. 

Another challenge for the lighting designers was to integrate not only 

the lighting and architectural 

concepts, but also the lighting 

WALLWASHERS FOR WARHOL 

equipment with the physical 

structure—all for an architect 

with a strictly modernistic sensibility. 

In the completed project, architectural lighting defines the spaces. It 

displays the art, highlights a freestanding fireplace to create special definition 

between living and dining, and illuminates a wall behind the 

stair to guide circulation. 

Because this is a home—not a museum or gallery—art is properly 

lighted, but not given more emphasis than the surrounding walls. 

Recessed, 4 in.-sq MR-16 fixed angle wallwashers with 55- by 75- 

degree spread lenses and bent aluminum kicker reflectors were selected because they provide even illumination both horizontally 

between luminaires and vertically from the top to the bottom of the walls. 

Because the owner is an active international art dealer, artwork changes frequently. The evenly illuminated walls uniformly light 

a changing display of works of varying dimensions and media. 

The heat from the originally specified 71 W MR-16 lamps contributed to the early failure of some of the electronic transformers, 

which were replaced. Fifty-watt, reflective infrared-coated MR-16 lamps were substituted. They offer the same superior color 

Beyond the floor-level windows in the 

bathroom is the glass-block skylight floor of an 

atrium next to the master bedroom. The glass-block floor 

is lighted from below at night by the second-floor, 

surface-mounted wallwashers. 

rendering and light output, but consume 70 percent less power and generate 

only 70 percent of the heat of the 71 W MR-16 sources. 

The author: Gary Gordon, FIES, IALD, LC is the founder and principal 

lighting designer of Gary Gordon LLC. In 1993, the IALD praised his 

work as “displaying high aesthetic achievement backed by technical 

expertise.” He has written many articles on lighting design and is the 

author of the textbook, Interior Lighting for Designers, published by John 

Wiley & Sons. A frequent speaker on the subject of lighting throughout 

the United States, he has also taught graduate and undergraduate courses 

at the Lighting Institute of Parsons School of Design. He is a founding 

director of the Nuckolls Fund for Lighting Education. He received the 1999 IESNA 

Presidential Award “for extraordinary effort as the three-term President of the NCQLP in establishing 

a meaningful certification program for the lighting industry.” 

Gary Gordon’s challenge: 

to integrate the lighting with the 

architecture in a 19th century carriage 

house, renovated for a bachelor 

with an art collection. 

LD+A/December 2001 29 

PHOTOS: PAUL WARCHOL

Michael John Smith restored his mid-century 

modern dream house, keeping many of the original luminaires, 

but adding state-of-the-art controls to create 

lighting scenes that change with mood, time of day, 

seasons, or the room’s use. 

STEELWOOD STYLE 

(below) Ambient light for the living room reflects off the white wall opposite the fireplace and is supplemented by the wall sconces. 

A pinhole accent light “pops out” the orchid and book on the coffee table and provides a focal point for 

conversation groups much like a campfire out in the wild. 

(opposite) Another of the author’s light sculptures, “Universal Grid,” hangs on the wall behind the buffet. 

Three pinholes with dichroic glass filters deepen the blue pigments in the piece, while two more without blue filters “pop out” food set on the buffet. 

The draperies (amazingly, these are original) are washed with two clear 40-degree, 71 W MR-16 floods and 

one blue-filtered 40 degree flood in the center. 


PHOTOS: PAUL BARDAGJY 

Steelwood is my home. I was both lighting designer and 

restoration architect for the project, which my partner 

Malcolm Perry and I purchased in 1995. It is one of three 

adjoining “Style in Steel Townhouses” built for the National 

Home Builders Association Convention held in Houston in 

January 1969. 

Framed entirely in steel, the houses were built as a demonstration 

of steel in residential construction. Architect Mies van 

der Rohe’s Farnsworth House, Philip Johnson’s glass house, and 

the California Case Study Houses influenced the architectural 

design. 

The exterior appears as a solid stucco wall from the street. A 

pair of steel framed wood louvered gates marks the entrance. 

A pair of cylindrical wall bracket mounted PAR-38 up/down 

lights lamped with 45 W, 130 V, 27 degree floods is visible 

through the horizontal louvers of the gate, creating a welcoming 

glow for visitors. The fixtures are virtually identical to the 

originals that had to be replaced after 30 years of weathering. 

When we purchased the house, the original fixtures were 

found in a storage room. A pair of “adobe” wall lights had 

taken their place on the front courtyard wall. The floors in the 

living/dining room, study, kitchen and the short hallways are 

covered with natural travertine—the same flooring material 

Mies van der Rohe used in the Farnsworth House. We also 

found a box of terra-cotta tiles in the same storage room. We 

realized then what might have happened to the house had we 

not purchased it when we did. Our intent was to restore its 

www.iesna.org 

original “house of tomorrow” elegance while 

updating its lighting, mechanical, A/V and communications 

systems. 

Reflections Lost, Regained 

The front courtyard originally contained a reflecting 

pool lined with Italian glass tiles in varying 

shades of blue. We have not been able to find out 

why or when the pool was removed. Large flagstones 

formed an informal path from the concrete entry 

walk to the pool. A square, pebble-finish concrete 

patio was installed over part of the area where the 

pool had been, and the travertine-lined fountain was 

added where the flagstone path had been. This area 

was covered by a wooden deck when we purchased 

the house. The patio was broken up and removed 

for the current landscape design. Pieces of the glass 

tile were unearthed during the excavation for the 

new wiring and drainage systems. 

When we purchased the house, bare PAR-38 

floodlights and pipe conduit had been screwed to 

the surface of the aluminum gravel guard across the 

façade. A new stainless steel gravel guard was added 

when the house was re-roofed. Twenty-four-inchlong 

pieces of 2X6 lumber were mopped into the 

edge of the new roof at the center of each glass curtain 

wall panel as anchors for the new adjustable 

accent lights. One prototype light was fabricated for 

testing. As a result, a slightly lower profile yoke was 

developed for the final design. 

The original architects referred to the steel 

columns as “star columns.” They are made of four steel angles 

welded together and do indeed support the roof. As part of the 

restoration, all exposed structural steel was sandblasted, 

primed and spray-painted. 

The front courtyard is now landscaped in the manner of a 

small Zen garden, with three Japanese black pines set into 

“hills” planted with miniature mondo grass. Crushed black star 

marble simulates the sea. The garden is illuminated with thirteen 

12 V AR-111 adjustable spotlights mounted on the edge 

of the roof—a la Philip Johnson’s glass house. They are deeply 

shielded and louvered to eliminate any source brightness from 

normal viewing angles. The front courtyard is a visual extension 

of both the living room and study. Lighting is controlled in 

unison with the lighting in the living room and the side yard 

visible from the dining area. An eight-scene preset control system 

allows simple push-button control of the equivalent of 40 

wall-box dimmers. 

Two sets of lights illuminate the fountain: a pair of clear AR- 

111 five degree spots and a second pair filtered with medium 

blue dichroic lenses—each on its own dimming zone. The 

remainder of the garden is illuminated with a set of clear spots 

and floods and a separate set of medium blue filtered spots and 

floods. A single blue-filtered five-degree spot highlights the 

stone lantern from the rear. The widest beam spread used is 45 

degrees. The blue spill light on the inside of the courtyard wall 

gives the illusion of a clear blue sky through the glass wall of the 

study. It is very calming—especially when the night is overcast 


and the light pollution from the city glows with a peach color 

cast from the HPS high-mast lighting on the nearby freeway. 

Mixing the blue and white light makes it possible to dim the 

front courtyard lighting in unison with the living room lighting 

while keeping the fountain jet and plant lighting from appearing 

yellow. 

Study Scenes 

The study extends across three bays of the south-facing front 

courtyard façade, doubling as a guest room and a home office. 

Ambient light is reflected off the travertine floor from the small, 

fixed 12 V, 50 W MR-16 25 degree narrow flood downlights. 

The center of the room is illuminated by a relocated semirecessed 

downlight from the dining area, lamped with a 90 W 

PAR-38 halogen flood. 

Task light on the Knoll Albini desk is produced by a Cedric 

Hartman desk luminaire lamped with a 60 W T-10 frosted 

showcase lamp. The desk chair is a Knoll Spoleto model 

designed by Ufficio Technico in 1971. 

A swing-arm, wall-mounted lamp with a white fabric shade 

provides reading light for the bed, using a good old-fashioned 

100 W A-19 source. The light-colored shade allows it to contribute 

to the ambient light in the room as well. The swing-arm 

lamp is controlled by its own dimming zone on the study’s preset 

system. 

A wireless handheld remote on the nightstand controls the 

eight scenes available—from all on (full bright) to the reading 

lamp alone. The birch grid panel is part of the light sculpture 

Light Space II from my last one-man show in 1982. Its 360 0.5 

W incandescent lamps create a warm glow that is controlled by 

its own dimming zone. 

glass, surface-mounted ceiling fixture that we removed and 

replaced with a tiny 12 V recessed MR-16 downlight. The bit of 

sparkle in the hall comes from tiny “grain of sand” incandescent 

lamps from a model railroad shop. They are inserted into 

what I call my “Electric Nevelson.” 

Five more of the recessed MR-16 downlights—each centered 

on a curtain wall panel—form a line across the south end of the 

living room and study. The one centered just outside the front 

door is on its own control zone. The remaining three in the living 

room are on their own zone; the two in the study are tied 

to its control system. 

The remaining light sources in the living/dining room are 12 

V MR-16s in fully recessed, pinhole aperture, adjustable accent 

lights, with a pair of decorative wall sconces flanking the mirror 

over the fireplace. Ambient light for the space reflects off the 

white wall opposite the fireplace and the travertine floor, supplemented 

by the wall sconces. The desired location for the row 

of pinholes along the east wall was directly beneath a steel I- 

beam; this required that they be installed six in. farther from the 

white wall than originally intended. Yet they light the large 

Meredith O’Donnell oil painting adequately. 

Living and Dining 

When we purchased the house, the living/dining area, 

including the walnut-paneled fireplace wall, was painted off 

white. The 0.5 in. black reveal at the ceiling line and the 2.5 in. 

black rubber recessed base are original details found throughout 

the house. The ceilings appear to float above the walls, and 

the walls above the floor. 

The original working drawings called out the walnut paneling 

for the fireplace wall. Fearing the worse, we elected to 

repaint the wall a deep eggplant color rather than strip the 

wood. We have recently determined that the walnut was originally 

ebonized for maximum dramatic effect. One newspaper 

photo showed a floor lamp in this part of the room. 

The only other light in the space came from three semirecessed 

downlights over the dining area. These fixtures were 

too close to the wall to light the center of the table and too far 

to wash all but the bottom foot or so. Therefore, we elected to 

remove, rewire and relocate one each in the center of the study, 

the den, and the master bedroom. These fixtures have a 

brushed aluminum finish as do the up/downlights on the exterior. 

They are no longer manufactured, and as they like to say 

in Natchez, “they are original to the house.” 

The short hall to the guest bath and study had a glary opal- 

The living/dining area faces the restored travertine fountain. 


www.iesna.org 


(left) Lighting changes the character of the den completely. Both reading 

lights are on for scene two. For serious home theater movie viewing, the 

four lights over the television are activated (scene six). The two in the center 

are filtered with red dichroic lenses and the two flanking are filtered 

with deep-blue stained glass lenses. Outside in the atrium, the center clear 

PAR-38 goes off, and two flanking bullets lamped with 150 W PAR-38 

dichroic blue floods come on. This happens over a seven-second fade time. 

The filtered lights appear to bring the color of the television images directly 

into the space. 

In the Den 

The den is the most interior space in the house and offers a 

beautiful view of a decades-old ligustrum in a small atrium that 

backs up to the two-story wall separating Steelwood from the 

townhouse next door. 

The room had a surface-mounted prismatic glass bowl fixture 

in the center of the ceiling and a single incandescent bullet 

uplight behind the ligustrum in the atrium, controlled by a 

wall switch to the left of the sliding glass door. 

Originally used as a bedroom, it had one Knoll Bertoia Bird 

Chair in it and now has two of these same chairs. The end 

tables flanking the sofa are vintage Florence Knoll with travertine 

tops. 

We removed all of the original Nutone intercom equipment 

in the house. The telephones were rewired in a star pattern to 

allow us to answer the doorbell from any telephone. The music 

portion of the intercom was replaced by an A/V system that 

plays through the house via flush-mounted wall speakers. 

Our lighting consists of fully recessed MR-16 pinhole 

adjustable accent lights and a wall hung “light shelf” that provides 

a pleasant glow behind the television screen. The shelf is 

on its own control zone and eases eye strain by reducing the 

contrast brightness between the screen and the wall behind. 

Each end of the sofa has its own pinhole reading light on its 

own control zone. The ceiling light is one of the original semirecessed 

incandescent downlights from the dining area. The 

floor lamp in the far corner is a reproduction of the original 

from open-house days of the project, with its outlet controlled 

by the dimming system for the room. The existing bullet 

uplight behind the tree outside is tied to the system as well. 

Handheld eight-scene remotes on each end table provide 

control of the reading lights. 

Rear View 

When we purchased the house, the rear courtyard was covered 

with a wooden deck from the edge of the walk to the carport 

to the edge of the master bedroom glass. The decked area 

ended with a wood fence. We pulled up the decking, driving 

out the baby mice that had taken up residence. 

The walk between the kitchen and carport was covered with 

wire-glass panels for rain protection. These were broken, and 

the steel frame was badly rusted. A new steel frame with laminated 

glass panels is now is place. 

A Zen rock garden is now at the kitchen end of the rear 

courtyard, with an existing palm tree and hearty philodendron 

at the master bedroom end. 

Two roof-mounted AR-111 accent lights highlight the boulders 

outside the kitchen window—one clear, the other with a 

medium blue dichroic glass lens, each on a separate control 

zone. A flush-mounted MR-16 uplight washes the wall behind 

the boulders. This lighting is controlled with the kitchen 

scenes and only activated by a photocell when a scene button 

is pushed after dark. 

Elegance and Openness 

All of the exterior up/downlights in the courtyards and the 

carport, as well as the downlights over the house numbers, are 

controlled by wallbox dimmers, mastered by a photocell and 

operating from dusk to dawn. These dimmers have a built-in 

three-second fade to “on,” which cushions the lamp filaments 

from current inrush, conserving energy and easily quadrupling 

rated lamp life. 

Individual room and area preset systems are tied together in 

groups of eight with control interfaces. The three interfaces are 

in turn controlled at three points in the house: at the back door, 

in the kitchen, and over the night stands in the master bedroom. 

These three controls have an on button that turns on all 

room lights at scene two and a button that turns all room lights 

Three more of the pinholes, one centered on each leg of the 

modular sofa and one centered over the Eileen Gray table, offer 

reading light for the sofa and the Barcelona chairs. Two identical 

black leather Barcelona chairs occupied this room 32 years 

ago when the house was originally open for tours. 

The reading lights are adjusted and locked into position so 

that a person’s lap and reading material are illuminated without 

any direct light reaching the eyes or face. 

The view outside the dining area is illuminated with four 

roof-mounted AR-111’s and three flush-mounted line-voltage 

uplights beneath three mature ligustrums. Even though this 

window is exposed to the neighboring townhouses across a 

common area lawn, the lighted planting and softly washed 

casement fabric provide complete privacy. The uplights are covered 

with pale blue glass filters that reveal the bark on the 

multi-trunk ligustrums and go up into the leaf canopy. 

All the ceilings in the house had a blown-on popcorn texture. 

The installation of the ceiling lights required that large 

slots of the ceiling be removed. After patching the ceilings and 

trying to match the popcorn texture to no avail, we asked the 

contractor to scrap off the texture and skim-coat the ceilings 

with a thin layer of drywall mud. 

(right) The study doubles as a guest bedroom and offers varied views of 

the “scenes” created by the living/dining lighting in the front courtyard. 


Go to www.leadnet.com/lda or Circle 32 on Reader Service Card.

(top, right) The kitchen retains its 

original cabinetry and GE wall oven. 

“You can’t go wrong with white,” 

observes the designer. “The owners 

of a different Steelwood unit 

‘updated’ their kitchen with 

granite countertops and 

black slate backsplashes. It already 

looks dated.” The new lighting 

consists of 10-watt, 12-V festoon 

lamps spaced at 4 in. on center 

beneath all of the wall cabinets, 

and eight fully recessed 

MR-16 pinhole adjustable 

accent lights in a new white 

laminate covered box 

centered over the island. 

(bottom, left) The master bath 

has interesting lavatory bowls 

with integral soap niches. 

The countertop is of early cultured 

marble. Three pinhole MR-16 

adjustable accent lights provide 

task light. All three are lamped with 

71-watt, 25-degree narrow floods 

aimed to offer even illumination 

for the countertop and sink bowls. 

The designer relies on direct downlight 

from the pinholes and light reflected 

up from the white sink bowls and 

the light colored countertop for 

shaving light—something he would 

“never recommend to a client.” 

off. It is very comforting when you enter the 

house after sundown; very comforting if you hear a 

bump in the night; and very convenient if you forget 

to turn off all the lights when retiring for the night. 

The original design architect’s masterful use of 

floor-to-ceiling glass and stucco privacy walls creates 

the illusion of much greater size than the house’s 

2000 square feet of enclosed air-conditioned space. 

The ceilings with the subtle reveal at the top of the 

walls and the recessed base further reinforce the sensation 

of elegance and openness. The plan is a masterpiece 

of efficient design. There is no wasted space. 

We know it is a privilege to live in such a beautiful 

piece of architecture. Our intent is to preserve it 

for the future by making it valuable to the next caretakers 

without damaging its original design. 

The designer: Michael John Smith, AIA, 

LC, IES, IALD has been a member of the 

IESNA since 1982, and a corporate member 

of the IALD. He was the first independent 

lighting consultant to set up practice in 

Houston, Texas. His firm was established in 

the fall of 1982. He has completed projects 

in the medical, liturgical, hospitality, roadway, 

industrial, and residential categories in many parts of the 

United States, Mexico, Turkey, and Saudi Arabia. Smith has 

served as President of the San Jacinto Section of the IESNA and is 

currently serving on the Board of the San Jacinto Section. He has 

also served a term on the National Board of the International 

Association of Lighting Designers. 


Hiram Banks’ 

approach was to 

integrate the functional 

lighting of a hotel, 

while maintaining an 

adaptable, intimately 

comfortable environment 

for the homeowners. 

And, because the 

residence is in a 

chilly Oregon locale, 

a warm color 

was integral to 

the design. 

PHOTOS: PHILIP THOMPSON 

HOSPITALITY AT 

HOME 

(top) The owners of this 22,000 sq ft house 

sought sufficient space for entertaining large groups 

during philanthropic fund-raising. As a result, 

the lighting techniques drew heavily on hospitality 

design. Halogen and incandescent sources provide 

inviting, warm illumination, while offering 

good color rendering. Coffers are backlit with 

low-voltage xenon strips. Discrete, recessed 

downlights and table lamps balance the lighting layer. 

(left) The library is less dramatic for more 

intimate gatherings. Here, MR-16 downlights and 

accents work with incandescent table lamps. 


Total integration was the primary challenge for a residence and 

landscape in Salem, OR. First and foremost, this very large custom 

residence required an integrated lighting design to fit the overscaled 

size of the architecture and its multi-functional use by its active, 

philanthropic owners. For the 22,000 sq ft home, we collectively identified 

these lighting goals: 

• To light a very large property, using lamps and fixtures from commercial 

and hospitality design to achieve the balance between the look and 

feel of a residential property with the energy efficiency and low maintenance 

of a well-designed commercial building. 

• To provide flexibility in lighting to accommodate the varying functions 

held throughout the residence, from large fund-raising events to comfortable 

home living, allowing the owners to enjoy the lifestyle they had 

dreamed of in a home that would serve both their intimate living needs 

as well as large-scale entertaining. 

• To select lamp sources and to balance 

color rendition to achieve a consistent 

warm look throughout a home in a cool, 

gray Oregon locale. 

• To offer flexibility in use and operation 

for the owner by integrating lighting 

design into the A/V and security system 

with an easy-to-use control system. 

• To ensure energy efficiency and 

reduced maintenance throughout. 

Because some of the rooms were in 

spaces two to three stories high, it was 

mandatory to use energy-efficient, highlumen-output, 

long-life sources. 

• To integrate the architecturally installed 

lighting. 

When I first looked at the project and 

model, it was evident the house was quite 

large, as was the scale of each of the 

rooms. The lighting design takes advantage 

of the traditional architecture as well 

as the volume of the spaces—yet provides 

different layers of light for the various 

functions of the home. 

The design team—myself, the architect, 

and the interior designer—sought to 

make to overscale spaces feel more intimate 

and comfortable. The larger two- to 

(top) Lighting is focused on the centerpiece 

and place settings for sparkle and drama. 

(bottom) In the kitchen, recessed MR-16s, 

incandescent A-Lamps and xenon strips offer 

warmth and architectural congruity. 

Lighting layers accommodate scenes ranging 

from ambient to high contrast, allowing 

for a variety of activities. 

www.iesna.org 


supplement ambient light and create a sense of scale, proportion and 

intimacy. 

The lighting control system, with preset, dimmed scene selections, 

allows the user to match lighting to room function and use. 

A major challenge was to integrate various technologies and match 

lamp sources while maintaining good color rendering within a flexible 

design. 

To achieve adequate illumination and to reduce maintenance in the 

taller spaces, I chose the high-lumen biax fluorescent lamps with a color 

temperature of 2700 degrees K to look and “act” like incandescent, halogen 

and xenon sources. Color rendition was critical, as was the ability to 

dim without flicker. Painting the coves with a warm finish further 

enhanced the desired look. The result is a very warm light similar to that 

three-story rooms were designed with 

oversized furniture and architectural elements 

to reduce the apparent size of the 

rooms. The lighting design followed suit, 

using large chandeliers as decorative elements 

and floor torchieres to focus the 

spatial scale. 

I used much of my hospitality and commercial 

design background to select 

sources and luminaires that would both 

light and manipulate perception of the 

architectural space. Light sources previously 

used only for commercial spaces 

provide the high lumen output needed the 

large spaces. For example, in the threestory 

entry foyer, high-lumen biax fluorescent 

lamps with specialized asymmetrical 

reflector luminaires offer even and adequate 

illumination. 

The living room has a coffered, barrel 

vault ceiling. Each coffer is backlighted 

with a low-voltage, long-life xenon striplight, 

providing even illumination for each 

coffer, as well as a soft, ambient layer of 

light. Illumination of the coffers enhances 

the dramatic sense of scale of the room. 

Low-voltage, adjustable AR-111 

lamps accent the artwork and architectural 

elements. Low-level floor torchiers 

(top) Functional light sources 

were designed to disappear into 

the interior details. 

(middle) In more private areas, 

lighting is personalized to reflect 

the owner’s sensibilities. Scale is 

reduced and layers more sculpted. 

(bottom) In guest rooms, 

lighting controls are simple 

and user-friendly. 


The dining area features a refurbished antique chandelier augmented 

with halogen downlights. 

They like most the ability to have different scenes to fit their 

moods. And they feel comfortable in a large residence that 

could easily have become a dark hole or an ostentatious space. 

That truly is a satisfying design! 

The designer: Hiram Banks founded Hiram Banks 

Design in 1995 after seven years as design principal with 

Lighting Integration Technology. His award-winning 

work includes the Japanese-American National Museum 

in Los Angeles, the San Francisco Fashion Center and the 

Hawaiian Electric Company in Honolulu. His designs 

have been published in Architectural Digest, Architectural 

Lighting, Interior Design, Interiors and Architectural Record 

Lighting. He holds a degree in systems engineering from Tennessee 

Technological University and has pursued additional graduate studies in architecture. 

He has taught lighting design at the Academy of Art in San Francisc 

rom a dimmed halogen or incandescent source. 

Part of the early collaborative effort with the architect and 

interior designer was to test the illumination of the plaster on 

all walls and ceilings. We mocked up one of the plaster walls 

with various light sources to get the right look and feel. 

Because fluorescent lamps can appear intense, I stepped 

down their intensity with dimming ballasts. To match and 

blend fluorescent and halogen sources, I used Lutron Hi- 

Lume dimming ballasts and the Homeworks lighting control 

system. With these we were able to achieve dimming down to 

l percent without flicker. 

For energy efficiency, I used halogen infrared lamps in all MR 

116s and PAR 38s, achieving higher lumen output for less 

wattage. Additionally, I used dimming to manage energy usage. 

The Creston Touch Screen Pad Remote System integrated 

control of lighting, video, audio, security, air conditioning, heat, 

and draperies in strategic locations throughout the home. 

Very small-aperture, low-voltage downlights with trims 

painted the color of the ceiling enhance integration of the lighting 

with the architecture of the home. In taller spaces with PAR 

38 lamps, the luminaires are very deep, hiding the source while 

offering a 45-degree cut-off. 

Cove lighting was used throughout and integrated into architectural 

molding details. During the five-year design process, 

the architect and I worked closely to make the lighting as discreet 

as possible. 

The results exceed the owners’ expectations. They had 

never lived in a house with “designed” lighting. Because they 

entertain so many groups—from their own family to the 

company baseball team—they needed a range of flexibility in 

the design. 

www.iesna.org

fixture. Due to faster turn-on times 

than conventional incandescent signal 

lamps the LED lamps increase 

the response time available for 

motorists. The lamps operate 0.2 

seconds quicker than incandescent, 

giving an additional 19 ft of 

response time at 65 mph for trailing 

vehicles. Go to www.leadnet.com/lda 

or Circle 99 on Reader Service Card. 

lighted signage. The reflector shell 

removes easily to access signage 

and replace bulbs. The entire shelf 

is constructed of aluminum and 

anodized to color specifications. Go 

to www.leadnet.com/lda or Circle 97 

on Reader Service Card. 

LIGHT 

PRODUCTS 

Stingray Lighting, Inc. has introduced 

an adjustable dual-reflector 

high-bay interior lighting system 

that offers high-performance light 

output as well as reduce energy 

consumption. The system can provide 

superior control of light, both 

directly beneath the fixture, as well 

as with the ambient beam spread 

directed between lighting fixtures. 

Locations include manufacturing 

facilities, warehouses, “big box” 

retail centers, showroom, athletic 

and sports arenas, and convention 

centers. Go to www.leadnet.com/lda 

or Circle 100 on Reader Service Card. 

TSAO Design, Inc., offers comprehensive 

new product binder. 

Features include a tabbed section 

for location of TSAO’s Designer 

Series pendant lights and wall 

sconces, work-surface, wall and 

floor task lighting products, new 

suspended track lighting systems, 

and custom-design capabilities. Go 



Meyda Tiffany introduces the Emile 

Galle Collection of decorative 

lamps. The collection features 

table lamps inspired by the French 

art nouveau design movement. This 

brand includes the layering of different 

colors of mouth-blown art glass 

into a model in the shape of the 

lamp and shade. Go to www. 

leadnet.com/lda or Circle 96 on 

Reader Service Card. 

Designed to replace incandescent 

1157 bulbs in combination 

tail/brake signals in most cars, 

motor cycles, forklifts, ATVs and 

trailers, the LEDtronics sunlight-visible 

AUT-1157 Tail/Brake LED 

lamps have nearly twice as many 

LEDs as competitive models. The 

AUT-1157 LED lamps feature 24 

Super Red (633nm) discrete LEDs 

that are configured to maximize 

brightness and to fill the entire light 

Stylemark’s introduced its newly 

redesigned and significantly slimmer 

bracket profiles enhance Shelf 

Light system. Shelf Light is a selfcontained 

lighting unit that connects 

to a powered shelf standard, 

allowing for easy height adjustment 

and hidden electrical connections. 

Two reflector profiles are available, 

each with optional openings for 

With style and substance, Ruud 

Lighting will now offer the Wedge 

Light (WAC/WPR Series). The 

Wedge features distinctive architectural 

styling, and its DetailGuard 

finish, in black or white, can be augmented 

with an optional red or gray 

stripe at no extra charge. The 

Wedge Light is offered in Uni-form 

pulse start metal halide, metal 

halide and high-pressure sodium. 

Sizes available are 16 and 22 in. Go 




portion) from a single switch. Go 

to www.leadnet.com/lda or Circle 

93 on Reader Service Card. 

fluorescent with electronic ballast. 

Go to www.leadnet.com/lda or Circle 


Flos USA presents the Apollo 

flashlight with a body of aluminum 

and anodized aluminum. Included 

are a plastic carrying case and a 

plastic case at the head for the 

bulb, a 2.4 V-0.7 A Krypton Philips. 

Powered by two Alkaline LR20s, 

Apollo is completely portable and 

can be moved at will. Go to 

www.leadnet.com/lda or Circle 94 


Developed for Luraline by awardwinning 

designer Louis A. Lara, 

Andorra pendant, sconce, ceiling 

and linear fluorescent fixtures 

combine satin-finish acrylic cowls 

in four jewel tones with satin white 

or satin-etched clear acrylic material 

that frost white when lit and 

infuse the cowls with a soft glow. 

Lamping options for Andorra 

include incandescent, magnetic 

compact fluorescent and compact 

LSI Industries Inc. has introduced 

the challenger wall sconce. With 

high performance reflectors for 

spotlighting or general illusion, the 

Challenger Wall Sconce is available 

in 50-400 W, in a choice of lamp 

sources and color finishes. Go to 

www.leadnet.com/lda or Circle 91 on 

Reader Service Card. 

Watt Stopper introduces its 

newest automatic wall switch, 

the WI-300 dual relay model. The 

WI-300 is a passive infrared automatic 

wall switch that turns lighting 

on and off based on occupancy 

and ambient light levels. It contains 

two separate relays and can 

control two independent lighting 

loads or circuits. The WI-300 sensor 

incorporates The Watt 

Stopper’s ASIC (application-specific 

integrated circuit) technology 

that reduces components and 

provides greater reliability to 

users. The WI-300 satisfies energy 

codes requiring bi-level or daylight 

control switching. The two 

relays in the WI-300 give it the 

ability to control two lighting loads 

independently. This provides A/B 

switching: the user can achieve 

half-lighting (or another desired 

www.iesna.org

WattWatchers are a series of industrial 

and outdoor lighting systems 

manufactured Day-Bright Lighting. 

Designed for efficient use of energy 

and lower energy cost for industrial 

applications, both the WattWatcher 

High Bay and Low Bay systems provide 

more than 20 percent better 

system efficiency over standard 

400 W metal halide high bay systems 

and improved optical efficiency. 

WattWatchers increase efficacy 

and lumen maintenance and provide 

faster start-up and re-strike 

time, while offering substantial 

energy savings. Go to www.leadnet.com/lda 

or Circle 90 on Reader 

Service Card. 

A 12-page brochure detailing its 

new redesigned industrial Series 

309 watertight pin and sleeve 

devices, including electrical plugs, 

connectors, receptacles, inlets, 

and both fused and unfused 

mechanical interlocks, has been 

issued by Cooper Wiring Devices. 

The Cooper Series 309 devices 

have been engineered and manufactured 

to provide safe, reliable 

power distribution in the most 

demanding industrial environments, 

exceeding rigorous IEC 309-1 and 

309-2 watertight performance 

requirements. The devices also 

comply with UL, CSA, IP66, and 

NEMA 4x industry standards. The 

brochure is available by faxing 

Department P&S at 718-361-5080. 

Go to www.leadnet.com/lda or Circle 


Visit 

our 

online 

bookstore 

at 

www.iesna.org 


Volume 31 • 2001 

AMUSEMENT & ATTRACTION LIGHTING 

Digital Lighting Sets The Stage . . . .Jul 32 

Intimate Lighting for 600(P) . . . . . .Aug 16 

Reef Madness . . . . . . . . . . . . . . . . .Jul 46 

Scripted Lighting . . . . . . . . . . . . . . .Jul 40 

This Sun Rises In The West . . . . . . .Jul 36 

BRIDGE AND MONUMENT LIGHTING 

Benjamin Franklin Dances With 

Color And Light . . . . . . . . . . . . . .Oct 38 

Downtown Lake Oswego Recreation .Oct 46 

Washington Crosses The Hudson . . .Oct 33 

COLUMNS 

Beardsley’s Beat . . . . . . . . . . . . . . .Dec 12 

Beardsley’s Beat . . . . . . . . . . . . . . .Nov 11 

Digital Perspective . . . . . . . . . . . . .Apr 4 

Digital Perspective . . . . . . . . . . . . .Jul 12 

Energy Concerns . . . . . . . . . . . . . . .Apr 12 

Energy Concerns . . . . . . . . . . . . . . .Aug 12 

Energy Concerns . . . . . . . . . . . . . . .Dec 3 

Energy Concerns . . . . . . . . . . . . . . .Feb 3 

Energy Concerns . . . . . . . . . . . . . . .Jan 3 

Energy Concerns . . . . . . . . . . . . . . .Jul 3 

Energy Concerns . . . . . . . . . . . . . . .Jun 3 

Energy Concerns . . . . . . . . . . . . . . .Mar 10 

Energy Concerns . . . . . . . . . . . . . . .May 4 

Energy Concerns . . . . . . . . . . . . . . .Nov 3 

Energy Concerns . . . . . . . . . . . . . . .Oct 4 

Energy Concerns . . . . . . . . . . . . . . .Sep 3 

Essay By Invitation . . . . . . . . . . . . .Apr 14 

Essay By Invitation . . . . . . . . . . . . .Jul 18 

Essay By Invitation . . . . . . . . . . . . .Jun 6 

Essay By Invitation . . . . . . . . . . . . .May 16 

Executive Vice President Reports . .Dec 5 

Executive Vice President Reports . .Jun 16 

Executive Vice President Reports . .Mar 9 

Executive Vice President Reports . .Sep 17 

On Committees, Quills & Other Things .Mar 4 

On Committees Quills & Other Things .May 10 

On Committees, Quills & Other Things .Jan 6 

On Committees, Quills & Other Things .Jul 16 

On Committees, Quills & Other Things .Oct 15 

On Committees, Quills & Other Things .Sep 11 

President’s Points . . . . . . . . . . . . . .Jul 6 

President’s Points . . . . . . . . . . . . . .Oct 22 

Regional Voices . . . . . . . . . . . . . . .Apr 22 

Regional Voices . . . . . . . . . . . . . . .Aug 10 

Regional Voices . . . . . . . . . . . . . . .Feb 6 

Regional Voices . . . . . . . . . . . . . . .Mar 14 

Regional Voices . . . . . . . . . . . . . . .May 14 

Regional Voices . . . . . . . . . . . . . . .Oct 25 

Regional Voices . . . . . . . . . . . . . . .Sep 7 

Specification Sales Strategies . . . . .Apr 11 

Specification Sales Strategy . . . . . .Aug 6 

Specification Sales Strategies . . . . .Jul 10 

Specification Sales Strategies . . . . .Jun 14 

Specification Sales Strategies . . . . .Mar 12 

Specification Sales Strategies . . . . .Oct 6 

Specification Sales Strategies . . . . .Sep 16 

Views On The Visual Environment . . .Apr 20 

Views On The Visual Environment . . .Aug 8 

Views On The Visual Environment . . .Feb 8 

Views On The Visual Environment . . .Jun 22 

Views On The Visual Environment . . .Oct 18 

Views On The Visual Environment . . .Dec 8 

Working With The Web . . . . . . . . . .Apr 18 

Working With The Web . . . . . . . . . .Aug 14 

Working With The Web . . . . . . . . . .Dec 14 

Working With The Web . . . . . . . . . .Jul 8 

Working With The Web . . . . . . . . . .Jun 26 

Working With The Web . . . . . . . . . .Mar 16 

Working With The Web . . . . . . . . . .May 18 

Working With The Web . . . . . . . . . .Oct 24 

Working With The Web . . . . . . . . . .Sep 18 

DAYLIGHTING 

Not Your Father’s Daylighting . . . . . .Jan 32 

EQUIPMENT 

2001 Lighting Equipment & Accessories 

Directory . . . . . . . . . . . . . . . . . . .Mar 38 

Paradise By The Hubcap Light(P) . . .Apr 26 

FIBER OPTIC 

Functionally Decorative: The Fiber Optic 

Approach . . . . . . . . . . . . . . . . . . .Jul 60 

GLARE 

Glare Is In The Eye Of The Beholder .Jan 36 

HOUSES OF WORSHIP 

Illumination For The Congregation . .Feb 30 

Smart Church, Smarter Lighting(P) .Jul 23 

IES NEWS 

Additional Honors Awarded at National 

Conference . . . . . . . . . . . . . . . . .Sep 21 

Advance Core & Coil HID Ballasts to Carry 

UL “Class N” Ratings . . . . . . . . . .Jun 37 

Annual Conference . . . . . . . . . . . . .Nov 13 

Annual Lighting Awards Program 

Announced . . . . . . . . . . . . . . . . . . .Sep 26 

Another Successful Teachers of Lighting 

Workshop . . . . . . . . . . . . . . . . . .Oct 27 

ANSI Approves ASHRAE/IESNA Standard 

90.1-1999 . . . . . . . . . . . . . . . . . .Mar 23 

ASHRAE Outlines Goals for Revising Energy 

Conservation Standard . . . . . . . . . .Nov 17 

ASHRAE Publishes New Addenda to Standard 

90.1 . . . . . . . . . . . . . . . . . . . . . .Oct 29 

ASHRAE Updates Standard 

90.1’s HVAC Section . . . . . . . . . .May 21 

Aviation Lighting Seminar . . . . . . . .Sep 21 

Avoiding Panic Conservation 

Measures . . . . . . . . . . . . . . . . . . .Jul 27 

Bright Turnout for Lightstyle . . . . . .Jul 27 

California Officials Share Strategies to 

Reduce Energy Use . . . . . . . . . . .Jul 29 

Call For Committee Members . . . . .Sep 22 

Call For Entries for National Lighting Design 

Competition . . . . . . . . . . . . . . . . .Apr 30 

Call For Roadway Papers . . . . . . . . .Oct 28 

Call For The Richard Kelly Grant 

Entries . . . . . . . . . . . . . . . . . . . . .Mar 24 

Christos C. Mpelkas . . . . . . . . . . . .Mar 29 

Committee To Update ASRAE/IESNA 

Standard 90.1-1999 . . . . . . . . . . .Mar 28 

Cooper Industries Acquires 

Shaper Lighting . . . . . . . . . . . . . .Feb 18 

Cooper Lighting Announces Division 

Relocation . . . . . . . . . . . . . . . . . .Sep 24 

DCO Introduces New 

d-Commerce Platform . . . . . . . . . .Mar 28 

Design Firm Merge To Create 

Visual Terrain . . . . . . . . . . . . . . . .Jul 29 

Donation To Build 

University Laboratory . . . . . . . . . .Apr 31 

Edison Awards Set for 2001 . . . . . .Jan 19 

Edison Price Lighting 

Moves Headquarters . . . . . . . . . . .Dec 18 

Energy Department and States Join to 

Fund $40 Million in 164 Energy Saving 

Projects . . . . . . . . . . . . . . . . . . .Aug 26 

Energy Efficient Lamps Could be Solution to 

Blackouts . . . . . . . . . . . . . . . . . .Sep 24 

ETC Celebrates 25th Birthday . . . . .Mar 30 

Family of Innovators Honored at LRC Sep 26 

Fiberstars Announces New Energy Efficient 

Lighting System Patent . . . . . . . . .Jun 38 

Fiberstars Receives R&D Award . . . .Apr 29 

Heyco Products, Inc. Forms Alliance With 

Electro Terminal . . . . . . . . . . . . . .Mar 30 

HOK Honored For Its Global Leadership In 

Sustainable Design . . . . . . . . . . . .Sep 23 

IALD Accepting Entries for 2002 Lighting 

Design Awards . . . . . . . . . . . . . .Dec 18 

IALD Education Trust Fund 

Awards $10,000 in Scholarships .Sep 23 

IALD Honors Lighting Designs . . . . .Aug 29 

IESNA Annual Conference Set 

for Ottawa . . . . . . . . . . . . . . . . . .Jul 25 

IESNA Awards Presented at 2001 Annual 

Conference . . . . . . . . . . . . . . . . .Aug 23 

IESNA Board Approves Changes in IIDA 

Program . . . . . . . . . . . . . . . . . . . .Oct 27 

IESNA/Ledalite Award . . . . . . . . . . .Mar 23 

IESNA SALC Committee Meets . . . .Apr 27 

IESNA 2001 Annual Conference Set for 

Ottawa Canada . . . . . . . . . . . . . .Apr 29 

Increase in Number of 

LC Exam Takers . . . . . . . . . . . . . .Jan 19 

Industry Companies Set To Sponsor 

Scholarships Winners . . . . . . . . . .Jul 27 

Institute for Research In Construction 

Upgrades Website . . . . . . . . . . . .Oct 30 

Inter-Society Color Council’s Call for 

Macbeth Nominations . . . . . . . . . .Nov 15 

Karlin Launches Expansive Website .Aug 25 

Ken Meyer Passes Away . . . . . . . . .Sep 21 

Largest Vegas 

LIGHTFAIR INTERNATIONAL . . . . . .Jul 25 

Ledalite Opens New 

Manufacturing Facility . . . . . . . . .Apr 31 

Lewin Named Man of the Year . . . . .Apr 27 

Lightech Opens New Technology Center 

and Corporate Headquarters . . . . .Mar 28 

Lighting Analysts And by Heart Win With 

Combined Effort . . . . . . . . . . . . . .Feb 17 

Lighting Industry Loses 

Positive Innovator . . . . . . . . . . . . .Apr 30 

Lighting Research Center’s Innovative LED 

Lighting Institute Is a Success . . .Nov 13 

LightWork Design’s New 

Partner Program . . . . . . . . . . . . . .Feb 18 

Lithonia Lighting and Musco 

Form Alliance . . . . . . . . . . . . . . . .Aug 30 

Live! Awards Announced . . . . . . . . .May 28 

LMs Revised With Safety Statement Aug 23 

LRC Honors Diversity; Latimer . . . . .Jul 28 

Luraline’s Competition turns Student Designs 

Into Reality . . . . . . . . . . . . . . . . .Oct 30 

Maintenance Savings are Immediate Nov 19 

Membership Openings On 

www.iesna.org 


Project Committee . . . . . . . . . . . .Feb 18 

Militello Exhibition to be Displayed at 

Gershwin Hotel . . . . . . . . . . . . . . .Dec 15 

MVP Status Annual Awards 

Program Winners . . . . . . . . . . . . .Jun 37 

NCQLP Announces Test Results for 

2000 Examination . . . . . . . . . . . .Mar 28 

NCQLP Granted 

Full Tax-Exempt Status . . . . . . . . .Jun 33 

New Product Showcase Awards . . . .Aug 29 

New Recommended Practice On 

Industrial Lighting . . . . . . . . . . . . .Mar 23 

New Training Facility To Support 

Latin America Market . . . . . . . . . .Sep 23 

New Website Offers Information on 

Recycling Lamps . . . . . . . . . . . . .May 27 

Nuckolls Fund Announces 

New Grants For 2001 . . . . . . . . . .Aug 28 

Nuckolls Fund Establishes Website .Apr 30 

NYSERDA Announces Energy 

Smart Lighting Program . . . . . . . .Jun 35 

OSRAM SYLVANIA Donation In 

Honor Of Lighting Scientist . . . . . .Feb 15 

Papers Committee Sets 

Conference Schedule . . . . . . . . . .Jul 28 

Philadelphia Section Makes 

Donation . . . . . . . . . . . . . . . . . . .Sep 24 

Philips Awarded 

Good Housekeeping Seal . . . . . . . .Jan 21 

Product Price Comparison Available 

On Website . . . . . . . . . . . . . . . . .Mar 30 

Progress Lighting And Lennar Family Of Builders 

Sign Luminaire Agreement . . . .Mar 29 

Public Review Of The Draft American 

National Standard BSR E1.11 . . . .May 28 

Satellite Conference On 

Standard 90.1-1999 . . . . . . . . . . .Sep 22 

Simpson Named Society President . .Sep 26 

Six Products Receive EDDY Awards .Mar 26 

Society Fellow 1934-2001 . . . . . . . .Oct 28 

Sonnenfeld Announces Master Class Nov 18 

Speakers Announced For LIGHTFAIR 

International 2001 . . . . . . . . . . . .Feb 15 

Starfire Lighting, Lightolier Sales 

Agencies Strike Business Alliance . .Mar 29 

Targetti North America Established .Apr 31 

Task Force Examines the 

Future of Tall Buildings . . . . . . . . .Dec 17 

2000 GE Edison Awards . . . . . . . . .Aug 30 

2001 Energy Star Awards . . . . . . . .Jun 33 

2001 IIDA Entries . . . . . . . . . . . . . .May 23 

Uniroyal Technology to Advance Ultraviolet 

LED Device Development . . . . . . .Nov 18 

Varon Lighting Acquires 

Thomas Research Products . . . . . .Jun 36 

Varon Lighting Completes 

Acquisitions . . . . . . . . . . . . . . . . .Feb 17 

HOUSES OF WORSHIP 

Brightly Lighting The Ways of 

Worship(P) . . . . . . . . . . . . . . . . . .Feb 14 

Light For The Sufferer’s Sake . . . . . .Feb 20 

IIDA 

A Light In The Library . . . . . . . . . . .Mar 32 

Cherokee Nation Illumination . . . . . .Feb 38 

From Coking Plant To 

Colorful Sculpture . . . . . . . . . . . . .Apr 32 

Las Rozas Light Show . . . . . . . . . . .Apr 40 

Light For The Sufferers’ Sake . . . . . .Feb 20 

Lighting Threshold . . . . . . . . . . . . . .Nov 48 

Millennium Masterpiece . . . . . . . . .Apr 44 

Must-See Illumination . . . . . . . . . . .May 35 

Piercing The Night Sky . . . . . . . . . .Aug 46 

Pod People . . . . . . . . . . . . . . . . . . .Sep 28 

Reef Madness . . . . . . . . . . . . . . . . .Jul 46 

Sound + Vision . . . . . . . . . . . . . . . .Jun 64 

The 2001 INTERNATIONAL ILLUMINATION 

Design Awards . . . . . . . . . . . . . . .Aug 33 

Venice In The Desert . . . . . . . . . . . .Jun 50 

Washington Crosses The Hudson . . .Oct 33 

Winging It . . . . . . . . . . . . . . . . . . .Apr 36 

INDUSTRIAL LIGHTING 

Legislative and Regulatory Alert . . .Nov 52 

Light Work . . . . . . . . . . . . . . . . . . .Aug 44 

Uniting Lighting Under One Roof . . .Aug 52 

INSTITUTIONAL 

Hospital Strives For Warm, Welcoming 

Feel(P) . . . . . . . . . . . . . . . . . . . .Mar 20 

LEDs 

A Thousand Points Of Light At Least Jul 57 

LIGHTFAIR INTERNATIONAL 

Communicating At The Speed of e . .May 77 

11th Hour Fixes . . . . . . . . . . . . . . .May 66 

LIGHTFAIR International 

Seminar Preview . . . . . . . . . . . . . .May 60 

Merchandising Retail Environments 

With Light . . . . . . . . . . . . . . . . . .May 80 

Poetry In Lighting Design . . . . . . . .May 73 

The Functions Of Illumination . . . . . .May 61 

The Need For Control . . . . . . . . . . .May 68 

MUSEUM LIGHTING 

Cherokee Nation Illumination . . . . . .Feb 38 

Creativity And Science Presented 

Interactively . . . . . . . . . . . . . . . . .Feb 24 

The Art of Lighting Art . . . . . . . . . .Feb 34 

NEON 

Neon: The First Hundred Years . . . . .Jul 52 

OFFICE LIGHTING 

Ballasts For Barristers(P) . . . . . . . .Apr 23 

Dynamic Duo . . . . . . . . . . . . . . . . .Jan 42 

First Impressions . . . . . . . . . . . . . .Jan 28 

Glass Filters Create Multi-colored 

Elevators(P) . . . . . . . . . . . . . . . . .Jul 20 

Innovative Officing Goes Public . . . .Jan 24 

Lowering Light Loads(P) . . . . . . . . .Jul 22 

Six Fixtures Does It All(P) . . . . . . . .Apr 24 

OUTDOOR LIGHTING 



From Day To Night With UV(P) . . . . .Jan 16 

Las Rozas Light Show . . . . . . . . . . .Apr 40 

Lighting Threshold . . . . . . . . . . . . . .Nov 48 

Millennium Masterpiece . . . . . . . . .Apr 44 

Piercing The Night Sky . . . . . . . . . .Aug 46 

Sound + Vision . . . . . . . . . . . . . . . .Jun 64 

Turkmenistan Birthday Beacon of 

Independence(P) . . . . . . . . . . . . .Jun 30 

Winging It . . . . . . . . . . . . . . . . . . .Apr 36 

PROGRESS REPORT 

2001 Progress Report . . . . . . . . . . .Nov 23 

PUBLIC SPACES 

A Light In The Library . . . . . . . . . . .Mar 32 

Appealing Lighting(P) . . . . . . . . . . .May 32 

Better Integration Of Light 

And Architecture . . . . . . . . . . . . .Jun 56 

High End and LD Systems 

Illuminate Capitol(P) . . . . . . . . . . .Jan 12 

Lighting City Hall . . . . . . . . . . . . . .Jun 60 

Lobbying With Light . . . . . . . . . . . .Jun 41 

Lone Star State’s Burning Beacon(P) Aug 18 

Night Lighting A City Landmark(P) . .Feb 12 

Revolutionizing The Rest Stop . . . . .Apr 48 

St. Bruno Reborn . . . . . . . . . . . . . .Jun 46 

RESIDENTIAL LIGHTING 

A Grand Entrance . . . . . . . . . . . . . .Dec 24 

Hospitality At Home . . . . . . . . . . . .Dec 38 

Shoji Serenade . . . . . . . . . . . . . . . .Dec 20 

Steelwood Style . . . . . . . . . . . . . . .Dec 28 

Wallwashers For Warhol . . . . . . . . .Dec 30 

RESTAURANT AND HOTEL LIGHTING 

Dinner For Two . . . . . . . . . . . . . . . .Sep 34 

Luminous Lounge Lighting(P) . . . . . .Aug 20 

Northern Lighting . . . . . . . . . . . . . .Sep 44 

Pod People . . . . . . . . . . . . . . . . . . .Sep 28 

Supper’s Ready . . . . . . . . . . . . . . . .Sep 40 

The More Things Change . . . . . . . . .Sep 48 

TriBeCa Hotel Scene Just 

Got Brighter(P) . . . . . . . . . . . . . . .Jan 14 

Venice In The Desert . . . . . . . . . . . .Jun 50 

RETAIL LIGHTING 

Fashion In The Limelight (P) . . . . . .May 30 

Fusion Of Fashion And Furniture . . . .May 42 

Museum Store Brightens The 

Prehistoric Past(P) . . . . . . . . . . . .Jun 28 

Must-See Illumination . . . . . . . . . . .May 35 

Progressive Hub To Disney’s Magic .May 48 

Today’s Shopping Mall . . . . . . . . . . .May 56 

RETROFITTING 

Why Should The Customer Have To 

Pay Twice . . . . . . . . . . . . . . . . .Sep 52 

ROADWAY LIGHTING 

Full Cutoff Lighting: The Benefits . . .Apr 54 

SPORTS LIGHTING 

Northern Lighting . . . . . . . . . . . . . .Sep 44 

TRANSPORTATION 

Designing Light For Layovers(P) . . . .Mar 18 

Revolutionizing The Rest Stop . . . . .Apr 48 

TRESPASS LIGHTING 

Not In My Dark Yard . . . . . . . . . . . .Apr 52 

Altman, Emlyn G. 

Digital Perspective . . . . . . . . . . . .Apr 4 

Digital Perspective . . . . . . . . . . . .Jul 12 

Apfel, David and Kelly, Addison G. 

Eleventh 11th Hour Fixes . . . . . . .May 66 

Banks, Hiram 

Hospitality At Home . . . . . . . . . . .Dec 38 

Barone, Livio and Bannard, Jeff 

Uniting Lighting Under One Roof . .Aug 52 

Beardsley, Charles 

Beardsley’s Beat . . . . . . . . . . . . .Dec 12 

Beardsley’s Beat . . . . . . . . . . . . .Nov 11 

Birdsong, Toni Page 

Progressive Hub To Disney’s Magic .May 48 

This Sun Rises In The West . . . . . .Jul 36 

Bleasby, Peter and English, Cheryl 

Legislative and Regulartory Alert . .Nov 52 

Bordon IV, Alfred R. and Diemer, Helen K. 

Lighting Today’s Shopping Mall . . .May 56 

Bosson, George C. and Allaire, Rosemarie 

Better Integration Of Light And 

Architecture . . . . . . . . . . . . . . . . .Jun 56 

Carpenter, James Design Associates 

Lighting Threshold . . . . . . . . . . . .Nov 48 

Carr, Michael 

Washington Crosses The Hudson . .Oct 33 


Cronin, Brian 

Working With The Web . . . . . . . . .Apr 18 

Working With The Web . . . . . . . . .Aug 14 

Working With The Web . . . . . . . . .Dec 14 

Working With The Web . . . . . . . . .Jul 8 

Working With The Web . . . . . . . . .Jun 26 

Working With The Web . . . . . . . . .Mar 16 

Working With The Web . . . . . . . . .May 18 

Working With The Web . . . . . . . . .Oct 24 

Working With The Web . . . . . . . . .Sep 18 

Cronin, Brian and Long, Anthony 

Communicating At The Speed of e .May 77 

Davis, Jeffrey 

Regional Voices . . . . . . . . . . . . . .Apr 22 

De Allessi, Ross 

Piercing The Night Sky . . . . . . . . .Aug 46 

Dewar, Danielle 

Illumination For The Congregation .Feb 30 

Ducharme, Al 

A Thousand Points Of Light At Least Jul 57 

Ehrardt, Louis 

Views On The Visual Environment . .Feb 8 

Views On The Visual Environment . .Aug 8 

Views On The Visual Environment . .Jun 22 

Views On The Visual Environment . .Oct 18 

Views On The Visual Environment . .Apr 20 

Flynn, Kevin 

Regional Voices . . . . . . . . . . . . . .Oct 25 

Regional Voices . . . . . . . . . . . . . .Mar 14 

Fullerton, Kathy 

Light Work . . . . . . . . . . . . . . . . . .Aug 44 

Gordon, Gary 

Wallwashers For Warhol . . . . . . . .Dec 28 

Green, David Paul 

Cherokee Nation Illumination . . . . .Feb 38 

Grenald, Ray 

Benjamin Franklin Dances With 

Color And Light . . . . . . . . . . . . . .Oct 38 

Hanley, William 

Executive Vice President Reports . .Dec 5 

Executive Vice President Reports . .Jun 16 

Executive Vice President Reports . .Mar 9 

Executive Vice President Reports . .Sep 17 

Harrold, Rita M. 

On Committees, Quills & Other Things Mar 4 

On Committees Quills & Other Things May 10 

On Committees, Quills & Other Things Jan 6 

On Committees, Quills & Other Things Jul 16 

On Committees, Quills & Other Things Oct 15 

On Committees, Quills & Other Things Sep 11 

Harwood, Ron 

Las Rozas Light Show . . . . . . . . . .Apr 40 

Must-See Illumination . . . . . . . . . .May 35 

Hatley, J. Arthur 

Functionally Decorative: The Fiber Optic 

Approach . . . . . . . . . . . . . . . . . . .Jul 60 

Heinisch, Richard 

Essay By Invitation . . . . . . . . . . . .Jul 18 

Hershman, Mark 

Winging It . . . . . . . . . . . . . . . . . .Apr 36 

Hollingsworth, Dawn and Green, Lisa 

Passamonte 

Scripted Lighting . . . . . . . . . . . . .Jul 40 

Honkonen, Vesa and Oksanen, Julle 

Poetry In Lighting Design . . . . . . .May 73 

Horner, Pamela 

President’s Points . . . . . . . . . . . .Jul 6 

President’s Points . . . . . . . . . . . .Oct 22 

Humphrey, Aaron J 

Downtown Lake Oswego Recreation Oct 46 

Hutchinson, Brad 

First ImpressionsJ . . . . . . . . . . . . .Jan 28 

Israel, Chip 

Venice In The Desert . . . . . . . . . .Jun 50 

Jepsen, Harold, North, Leslie and 

Vasconez, Sandra 

The Need For Control . . . . . . . . . .May 68 

Kiefer, Geraldine 

Revolutionizing The Rest Stop . . . .Apr 48 

Klingensmith, Emily and Shook, Robert 

Reef Madness . . . . . . . . . . . . . . .Jul 46 

Kobes, John-Michael 

Appealing Lighting . . . . . . . . . . . .May 32 

Ballasts For Barristers . . . . . . . . .Apr 23 

Brightly Lighting The Ways 

of Worship . . . . . . . . . . . . . . . . . . . .Feb 14 

Designing Light For Layovers . . . . .Mar 18 

Fashion In The Limelight . . . . . . . .May 30 

Intimate Lighting for 600 . . . . . . .Aug 16 

Lone Star State’s Burning Beacon .Aug 18 

Lowering Light Loads . . . . . . . . . .Jul 22 

Luminous Lounge Lighting . . . . . . .Aug 20 

Museum Store Brightens The 

Prehistoric Past . . . . . . . . . . . . . .Jun 28 

Night Lighting A City Landmark . . .Feb 12 

Smart Church, Smarter Lighting . .Jul 23 

TriBeCa Hotel Scene Just 

Got Brighter . . . . . . . . . . . . . . . . .Jan 14 

Turkmenistan Birthday Beacon of 

Independence . . . . . . . . . . . . . . . .Jun 30 

Kramer, Edward 

Not In My Dark Yard . . . . . . . . . . .Apr 52 

Kurtz, Ronald 

A Light In The Library . . . . . . . . . .Mar 32 

Lalande, Louise 

Innovative Officing Goes Public . . .Jan 24 

Lobo, Luz Monica 

Light For The Sufferers’ Sake . . . .Feb 20 

Logan, Lane and Maddison, Charles 

Lighting City Hall . . . . . . . . . . . . .Jun 60 

Louie, Arie 

Fusion Of Fashion And Furniture . .May 42 

Major, Mark 

Millennium Masterpiece . . . . . . . .Apr 44 

Manriquez, Rodrigo and Gersing, Jeff 

Lobbying With Light . . . . . . . . . . .Jun 41 

Margulies, Stephen 

Dynamic Duo . . . . . . . . . . . . . . . .Jan 42 

Martin, Jeff 

Regional Voices . . . . . . . . . . . . . .Aug 10 

Maynard, Lori S. 

Paradise By The Hubcap Light . . . .Apr 26 

Mercier, Paul 

Northern Lighting . . . . . . . . . . . . .Sep 44 

Miller, Naomi 

Glare Is In The Eye Of 

The Beholder . . . . . . . . . . . . . . . .Jan 36 

Moen, Debi 

High End and LD Systems 

Illuminate Capitol . . . . . . . . . . . . .Jan 12 

Moran, Maureen 

The More Things Change . . . . . . .Sep 48 

Nicholson, Ross 

St. Bruno Reborn . . . . . . . . . . . . .Jun 46 

Oberkircher, Fred 

Essay By Invitation . . . . . . . . . . . .Apr 14 

Owens, Russ 

Regional Voices . . . . . . . . . . . . . .May 14 

Paidasch, Helmut O. 

Merchandising Retail Environments 

With Light . . . . . . . . . . . . . . . . . .May 80 

Palermo, Chris 

From Day To Night With UV . . . . . .Jan 16 

Glass Filters Create 

Multi-Colored Elevators . . . . . . . . .Jul 20 

Hospital Strives For Warm, 

Welcoming Feel . . . . . . . . . . . . . .Mar 20 

LIGHTFAIR International 

Seminar Preview . . . . . . . . . . . . . .May 60 

Pattison, Kathy 

Digital Lighting Sets The Stage . . .Jul 32 

Paulin, Douglas 

Full Cutoff Lighting: The Benefits . .Apr 54 

Perszyk, Peter 

Neon: The First Hundred Years . . .Jul 52 

Principal, Li Huang 

Specification Sales Strategies . . . .Sep 16 

Specification Sales Strategies . . . .Apr 11 

Specification Sales Strategies . . . .Jul 10 

Specification Sales Strategies . . . .Jun 14 

Specification Sales Strategies . . . .Mar 12 

Specification Sales Strategies . . . .May 8 

Specification Sales Strategies . . . .Nov 6 

Specification Sales Strategies . . . .Oct 26 

Specification Sales Strategy . . . . .Aug 6 

Puckett, Robert 

Six Fixtures Does It All . . . . . . . . .Apr 24 

Rockwell, David 

Pod People . . . . . . . . . . . . . . . . .Sep 28 

Rutherford, Richard and Decker, John 

Supper’s Ready . . . . . . . . . . . . . .Sep 40 

Schiller, Ralph 

A Grand Entrance . . . . . . . . . . . . .Dec 24 

Schrager, Sara 

The Art of Lighting Art . . . . . . . . .Feb 34 

Sheifer, Brooks, Walerczyk, Stan and 

Ofsevit, Robert 

Essay By Invitation . . . . . . . . . . . .Jun 6 

Smith, Michael John 

Steelwood Style . . . . . . . . . . . . . .Dec 30 

Speirs, Jonathan 



Sundaram, Swapna 

Shoji Serenade . . . . . . . . . . . . . . .Dec 20 

Szinger, Kimberly 

Regional Voices . . . . . . . . . . . . . .Feb 6 

Regional Voices . . . . . . . . . . . . . .Sep 7 

Takeishi, Masanobu 

Creativity And Science Presented 

Interactively . . . . . . . . . . . . . . . . .Feb 24 

Takeishi, Masonobu 

Dinner For Two . . . . . . . . . . . . . . .Sep 34 

Ternoey, Steven E. 

Not Your Father’s Daylighting . . . .Jan 32 

Uchihara, Satoshi and Yagi, Hiroki 

Sound + Vision . . . . . . . . . . . . . . .Jun 64 

Walerczyk, Stan 

Why Should The Customer 

Have To Pay Twice . . . . . . . . . . .Sep 52 

Warren, Willard L. 

Energy Concerns . . . . . . . . . . . . .Apr 12 

Energy Concerns . . . . . . . . . . . . .Aug 12 

Energy Concerns . . . . . . . . . . . . .Dec 3 

Energy Concerns . . . . . . . . . . . . .Feb 3 

Energy Concerns . . . . . . . . . . . . .Jan 3 

Energy Concerns . . . . . . . . . . . . .Jul 3 

Energy Concerns . . . . . . . . . . . . .Jun 3 

Energy Concerns . . . . . . . . . . . . .Mar 10 

Energy Concerns . . . . . . . . . . . . .May 4 

Energy Concerns . . . . . . . . . . . . .Nov 3 

Energy Concerns . . . . . . . . . . . . .Oct 4 

Energy Concerns . . . . . . . . . . . . .Sep 3 

Essay By Invitation . . . . . . . . . . . .May 16 

Whitehead, Randal 

The Functions Of Illumination . . . .May 61 

www.iesna.org

RESIDENTIAL LIGHTING - Illuminating Engineering Society

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