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Lighting Design + ApplicationMay 2003ExhibitionSeasonFocus on Museum LightingThe Majesty of MilwaukeeTop 10 Tips for Museum ProjectsArtifact Protection: Q& A Roundtable

CONTENTSMUSEUM & EXHIBIT LIGHTINGEquipped for Success 38A round-up of museum installations illustrates how clever design schemesand proper product specification can combine for a successful project.Invisible Design 44Subtle and self-assured, the Milwaukee Art Museum creates an unforgettable impression onthe banks of Lake Michigan.Museum Musings 52Members of IESNA’s Committee on Museum and Art Gallery Lighting hold court on designchallenges, new technology and standards development in this Q+A panel discussion.If You Market It, They Will Come 56‘Virtual tours’ are being used to market space in a52-story skyscraper planned for downtown Philadelphia.The Anatomy of an Exhibit 62The Science Museum of Minnesota demonstrates10 fundamentals of museum lighting design.Guiding Light 66From dawn to dusk, light moves visitors through building grounds andexhibits at Japan’s Iwate Museum of Art.38FEATURESReversal of Fortune? 72Reverse auctions are gaining popularity, but buyers should beware of hidden costs whenpurchasing non-commodity products such as lighting.Let There Be Healthy Lighting 76Perspectives on how healthy lighting can be achieved through design.DEPARTMENTS6 Editor’s Letter10 Research Recap14 Digital Perspective17 Letters to the Editor24 Energy Concerns26 Regional Voices28 Scanning the Spectrum33 IES News80 Light Products83 2003 Progress ReportInvitation to Submit85 Scheduled Events87 Classified Advertisements88 Ad Offices88 Ad IndexMAY 2003VOL. 33/NO. 566ON THE COVER: Nestled on the banks of Lake Michigan, the expansion ofthe Milwaukee Art Museum added an impressive 30 percent more gallery space,but the architecture and lighting are case studies in understatement.Photo: ©Timothy HursleyLD+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. © 2003 by the Illuminating Engineering Society of NorthAmerica. Periodicals postage paid at New York, N.Y. 10005 and additional mailing offices. POSTMASTER: Send address changes to LD+A, 120 Wall Street, 17th Floor, New York, NY 10005.www.iesna.org LD+A/May 2003 3

“Each time I try to get out,they pull me back in!” saysAl Pacino’s Michael Corleonein the Godfather trilogy. Can IEDITOR’SLETTERPaulTarriconeI’mparticularlyexcitedto beback in theworld ofassociationmagazines.relate? Hardly. Rather being pulledback in, I jumped at the chance torejoin the design/engineering industryas editor of LD+A, afterspending a year as director of publishingfor an association servingthe pharmaceutical industry. Priorto that, I spent six years on the editorialstaff of Civil Engineering (theflagship publication of the AmericanSociety of Civil Engineers) andthen six years as executive editorand later publisher of FacilitiesDesign & Management, where wecovered lighting largely through theprism of end-user concerns, such asenergy management and employeeproductivity.I’m particularly excited to beback in the world of associationmagazines. With strong reader loyalty,society publications areuniquely positioned, since they typicallyrepresent the closest link themember has to the association andoften are the primary reason forjoining in the first place. With thatin mind, we’re planning broader coverageof issues and trends in theindustry. Some of these changesare evident in this issue. Our usualcomplement of theme-related projectcase histories is bolstered bysome “big picture” pieces—in thiscase you will find a Q+A roundtablewith museum design experts, adesigner’s perspective on healthylighting principles and a critique ofthe practice of reverse auctions forlighting purchases.In the coming months, keep aneye out for more business andmanagement pieces, professionaldevelopment information, memberprofile stories (in June a Q+A withPaul Gregory of Focus Lighting)and in August, we will be rolling outa redesign in time for the annualconference.The goal, as always, will be to createa magazine that educates,entertains and when all is said anddone, helps readers to better dotheir jobs. I’ve always argued thatthe true success of a business orsociety publication can be measuredby the old “clip-and-saveindex.” That is, how often are articlesclipped, copied and circulatedamong staff with the simple notation—“fyi:from LD+A.” This is howI measure my satisfaction with thepublications. I read for publishinginformation and hope you will holdLD+A to the same standard of relevancein the industry.That said, I couldn’t close withoutthe obligatory “we want to hearfrom you.” Writer’s Guidelines arenow posted on our web site and areonly an e-mail away by contactingme at ptarricone@iesna.org. And,of course, drop me a line and let meknow how we’re doing. That’s thebeauty of the magazine business—there’s always another chance atbat next month.Paul TarriconeEditorPresidentRandy ReidPast PresidentPamela K. Horner, LCManager, Technical TrainingOSRAM SYLVANIASenior Vice-PresidentRonnie Farrar, LCLighting SpecialistDuke PowerExecutive Vice-PresidentWilliam Hanley, CAEVice-President—-Design & ApplicationJohn R. Selander, LCRegional Sales ManagerThe Kirlin CompanyVice-President—Educational ActivitiesFred Oberkircher, LCDirectorTCU Center for Lighting EducationTexas Christian UniversityVice-President—-Member ActivitiesJeff Martin, LCVice-President—-Technical & ResearchRonald GibbonsLighting Research Scientist, AdvancedProduct Test and Evaluation GroupVirginia Tech Transportation InstituteTreasurerBoyd CorbettBelfer LightingDirectorsJean BlackPPL Services Corp.Anthony J. Denami, LCDonald Newquist, LCProfessional Design Associates, Inc.Earl Print, LCLightolierJoel Siegel, LCEdison Price LightingJames Sultan, LCStudio LuxRVP/DirectorsKevin FlynnKiku Obata & Company2002-2003Board of DirectorsIESNARuss Owens, LCWest Coast Design Group6 LD+A/May 2003 www.iesna.org

RESEARCHRECAPJohn VanDerlofske,LightingResearchCenter,RensselaerPolytechnicInstituteHow important are headlamps?Although the answeris obvious, most people donot immediately realize that vehicleforward lighting is crucial tonighttime driving. Headlamps allowus to drive at night. Over the years,advances in headlamps have led tosafer and more comfortable driving.Specifications and standards havealso been developed to ensure thatdrivers can perform the necessaryvisual tasks as well as possible.However, driving at night can stillbe dangerous. While only approximatelyone quarter of the total distancedriven in the United States isdriven at night, the total accidentrate for that time period is roughly44 percent. 1 Although other factorssuch as alcohol use and fatigueassuredly play a role in thehigher likelihood of nighttime accidents,diminished visual performancedue to reduced light levelsis also a major contributor.When developing new headlampsto improve safety, there is always abalancing act between maximizingthe visual performance of the driverand minimizing glare to oncomingdrivers. This struggle is acutely evidentwhen new lamp sources ordesigns are being introduced, suchis currently the case with high intensitydischarge (HID) headlamps.Why change?In fact for many years headlampdesign and technology did notchange. Sealed beam lamps instandard sizes and shapes (roundor rectangular) were the rule. Thegreatest shake-up during that periodoccurred in the early 1970swhen incandescent sealed beamtechnology was replaced by halogen.Interestingly, there was agreat furor at that time overincreased oncoming glare from thenew halogen sources. However,this commotion quickly went awayafter the rapid introduction of halogensealed beam headlamps into amajority of cars on the road.Today, headlamps have alsobecome styling elements thatdefine the appearance and brandidentity of a vehicle. This newemphasis on styling, combined withan increasing focus on greaternighttime driving safety, has driventhe development of new headlamps.Notably among these areHID or xenon lamps. HID headlampswere developed in the early 1990sand offer several key advantagesover conventional halogen headlamps.They provide greater lightHID Headlamps:BalancingVisibility vs. Glare?output, higher luminous efficacy,increased robustness and longerlife. 2 The small high-luminance arcof an HID lamp also allows moreefficient optical design capabilities.Being discharge rather than incandescentsources, HID lamps alsoproduce light with a different spectraldistribution and apparent colorthan most are familiar with.Can HID headlamps improve visualperformance?Absolutely. This is particularlytrue for off-axis or peripheral vision,which is important to hazard detection,negotiating curved roadwaysand nighttime driving comfort. Inrecent studies, HID headlampshave been shown to provide substantialbenefits to visual performancethat may lead to greaternighttime safety as compared tostandard halogen systems. 3, 4 Inthese studies HID headlamps enableddrivers to react quicker toperipheral target presentation, tosee more peripheral targets and tosee both peripheral and on-axis targetsat greater distances. Figure 1shows how HID headlamps resultsin fewer missed targets than comparablehalogen headlamps, particularlyfor those targets at largerPublisherWilliam Hanley, CAEEditorPaul TarriconeAssistant EditorRoslyn LoweAssociate EditorJohn-Michael KobesArt DirectorAnthony S. PiccoAssociate Art DirectorSamuel FontanezColumnistsEmlyn G. AltmanLouis Erhardt • Stan WalerczykWillard WarrenBook Review EditorPaulette Hebert, Ph.D.Marketing ManagerSue FoleyAdvertising CoordinatorLeslie PrestiaPublished by IESNA120 Wall Street, 17th FloorNew York, NY 10005-4001Phone: 212-248-5000Fax: 212-248-5017/18Website: http://www.iesna.orgEmail: iesna@iesna.orgLD+A is a magazine for professionals involved in the art,science, study, manufacture, teaching, and implementationof lighting. LD+A is designed to enhance andimprove the practice of lighting. Every issue of LD+Aincludes feature articles on design projects, technicalarticles on the science of illumination, new product developments,industry trends, news of the IlluminatingEngineering Society of North America, and vital informationabout the illuminating profession.Statements and opinions expressed in articles and editorialsin LD+A are the expressions of contributors anddo not necessarily represent the policies or opinions ofthe Illuminating Engineering Society of North America.Advertisements appearing in this publication are the soleresponsibility of the advertiser.LD+A (ISSN 0360-6325) is published monthly in theUnited States of America by the Illuminating EngineeringSociety of North America, 120 Wall Street, 17th Floor,New York, NY. 10005, 212-248-5000. Copyright 2003 bythe Illuminating Engineering Society of NorthAmerica. Periodicals postage paid at New York, N.Y.10005 and additional mailing offices. Nonmember subscriptions$44.00 per year. Additional $15.00 postage forsubscriptions outside the United States. Member subscriptions$32.00 (not deductible from annual dues).Additional subscriptions $44.00. Single copies $4.00,except Lighting Equipment & Accessories Directory andProgress Report issues $10.00. Authorization to reproducearticles for internal or personal use by specificclients is granted by IESNA to libraries and other usersregistered with the Copyright Clearance Center (CCC)Transactional Reporting Service, provided a fee of $2.00per copy is paid directly to CCC, 21 Congress Street,Salem, MA 01970. IESNA fee code: 0360-6325/86 $2.00.This consent does not extend to other kinds of copyingfor purposes such as general distribution, advertising orpromotion, creating new collective works, or resale.POSTMASTER: Send address changes to LD+A, 120Wall Street, 17th Floor, New York, NY 10005. Subscribers:For continuous service please notify LD+A ofaddress changes at least 6 weeks in advance.This publication is indexed regularly by EngineeringIndex, Inc. and Applied Science & Technology Index.LD+A is available on microfilm from Proquest Informationand Learning, 800-521-0600, Ann Arbor, MI10 LD+A/May 2003 www.iesna.org

Figure 1—The percentage of missed target presentations as a function of anglefrom the line of sight. Targets were positioned at 60 m away and illuminated bytypical halogen and HID headlamps.angles from the drivers’ line ofsight. 3As far as peripheral visual performanceis concerned HID lamps differfrom conventional halogen headlampsin two important aspects:total light output and spectral composition.It is the first of these, moretotal light output (HID lamps produce2-3 times more light than traditionalhalogen sources), that isprobably the primary factor in theincrease in performance. Greatertarget illuminance results in increasedperformance.Why would this be particularlytrue at the edge of the beam?Wouldn’t the extra light be distributedevenly through the beam pattern?Regulations for headlampshave strict requirements for distributionin the central part of the headlampbeam, which tends to makethese central portions very similar,regardless of source type. The lightdistribution at the edge of the headlampbeam pattern, however, is notas well regulated. Therefore theextra light produced by HID sourcesoften ends up in the periphery, resultingin a wider beam and improvedperipheral visual performance.Although target illuminance andtherefore beam pattern is arguablythe most important factor whenconsidering headlamp visual performancethe role of light spectralcomposition cannot be entirelyoverlooked. Another recent studywas performed to determine therole that HID lamp spectrum playson visual performance. 5 This studyoffers evidence that HID lamp spectracan produce small but measurableimprovements over halogensystems for off-axis visual performance.The exact magnitude ofthese differences depends on theoff-axis angle, the light level and thetarget contrast.Do HID headlamp systems producemore glare?It depends on how glare isdefined. Generally, two types of glareare recognized: discomfort glareand disability glare. Disability glareis defined by the direct reduction ofvisual performance. Light from glaresources get scattered in the eye andis perceived as a luminous veil overthe scene. This veil reduces the contrastof objects and hence their visibility.Discomfort glare is a sensationof annoyance or distraction thatis often measured by means of asubjective rating scale. Discomfortglare does not necessarily impairthe visibility of objects.Recent studies have shown whileHID lamps do not result in any increaseddisability glare they do resultin a significant increase in discomfortglare. 6,7 That is, for thesame illuminance at the eye, HIDheadlamps do not directly reducevisual performance any more thantraditional halogen sources, butthey do produce a greater feeling ofdiscomfort. Disability glare is generallymeasured by foveal or on-axisperformance, which follows thestandard photopic (cone) spectralresponse. Therefore, for equal illuminanceat the eye you wouldexpect equal disability glare.Discomfort glare, however, doesnot seem to follow a photopicspectral response or even a scotopic(rod) response. In fact, littleis known about the basic mechanismsbehind discomfort glare orits spectral response. It does seemthe short wavelength or “blue”content of a light source affectsthe discomfort glare it produces,with greater short wavelengthenergy resulting in more discomfortglare. HID headlamp sourceshave more energy than halogenlamps in the short wavelengthregion of the visible spectrum.Current research is trying to determinethe exact spectral responsefunction for discomfort glare. It isinteresting that even thoughimproved peripheral vision and discomfortglare both depend onspectral content, and both appearto increase with more energy inthe short visible wavelengths, thetwo responses are not the same.That is, increased visual performanceat low light levels does nothave to mean more glare.Note, however, that even thoughdiscomfort glare does not directlyimpact visual performance it doesnot mean that it is not important.Discomfort glare can indirectlyaffect performance by causing a driverto look away from an area of theroadway that should be paid attentionto or by otherwise adverselyaffecting behavior. Prolonged exposureto high levels of discomfortglare may also have effects overtime and could possibly lead togreater fatigue.Can visibility and glare be balancedfor HID headlamps?Yes. However, there is no singlesolution to this challenge. Automotivelighting designers will continueto struggle to balance the visualbenefits and potential drawbacks ofHID headlamps, at least in the nearfuture. This was the case in the pastfor sealed beam halogen lamps andwill be in the future for other newheadlamp sources, such as whiteLEDs. Advances will take place insource design, optical design, beamshaping and system intelligencethat will all contribute to optimizedsystems. However, research will bethe key in this process to definingwhere the balance point should beand how to strike it. For example,determining the exact spectral12 LD+A/May 2003 www.iesna.org

Figure 3aUsing the computer to show the designer how darkmaterials actually lower the lighting perception in aroom is a great opportunity. But how does one knowwhat values to input for the reflectance of a material?There’s no magical button to push that will automaticallyinsert the value into your model. There are companiesthat will take a material sample and use a specialtool to analyze the exact reflectance value for thematerial. Unfortunately, that analysis requires extramoney and time, which are scarcely available on projects.Some manufacturers, especially in the tintedglass industry, include the reflectance value as a partof the material cut sheets. The majority of other materialmanufacturers do not offer that information. If costprevents actual testing, one can refer to generic tablesof reflectance value ranges such as Table 1. WhenFigure 3breferring to tables like this one, you must use your bestjudgment based on the color you are selecting for thematerial: the lighter the color, the higher thereflectance value.Other material characteristics that significantly contributeto the look of images are the use of materialmaps. Maps are image files (such as TIFF’s, JPEG’s,GIF’s) that are overlaid onto a base material to createmore complex effects. Not all lighting design softwareapplications have the capability to incorporate mapsbut more developers are including this variable in laterapplication versions.One of the most widely used types of maps is calledan image (or diffuse) map. The easiest way to understandimage maps is to think of them like decals. If youtake an image and apply it like a decal to an object inwww.iesna.orgLD+A/May 2003 15

Figure 4Figure 5your model, the effect creates a more dynamic materialthan color alone. I’ve taken material palette samplesfrom carpet to upholstery fabric, scanned them into aJPEG (or other image format) and then added them tothe model. Just the addition of visual texture creates awhole other level of realism.For instance, Figure 3a illustrates a lobby renderingcalculated using actual lighting photometry with solidcolors for the materials. It presents a good understandingof the lighting distribution and general feel for howthe space will look when built. But when compared toFigure 3b, which adds image maps for the stone floortiles, wood grain on the wall, perforated ceiling panelsand even people, Figure 3b has a more realistic appearance.Both images accomplish the task of understandingthe lighting conditions but if the goal is for the renderingto look more like a photograph of the finishedspace, then Figure 3b is more successful just by enhancingthe rendering with image maps.There are many other types of maps used to enrichmaterial appearances. Transparency/opacity mapsinstruct the computer to which areas of the object aretransparent, which areas are opaque and variations inbetween. Depending on the software, the areas on themap that are colored white will be solid, the areas whichare black will be transparent and any of the gray valuesin between are variations of translucency. This type ofmap is great for simulating fritted glass. (See Figure 4).Bump maps and displacement maps give the illusionof three dimensions on flat surfaces. The areas on themap that are white appear to be raised and the areasthat are black appear to be recessed. Again, the perceiveddepths vary within the gray range. The lighterthe gray, the less recessed the appearance. Thesetypes of maps are great when simulating texture in concrete,fabric or even creating tile joint lines. (See Figure5). Game developers use bump maps to give the illusionof jagged cave walls rather than increasing the geometryin the model which would slow the rendering timeand increase the file size immensely. The way you candetermine if a bump map is being used is to look at theedge of the object. If the edge is a straight line, then therugged material is created using bump maps. If theedge is rough, then the variations are modeled withinthe geometry.Illumination maps give the illusion of the object glowing.The areas on the map that are white have a brightglow, the areas that are black do not glow and the valuesin between vary the brightness of the glow. This typeof map is great for simulating the light source, such asa lensed troffer or downlight. (See Figure 6). A word ofcaution about using illumination maps: Some programsthat use radiosity calculations will incorporate the illuminationmap values as part of the energy calculated inthe rendering. I had one model where every time I createdrendering, there was an overall red cast floodingthe whole image. After scrutinizing every light objectand the saturation color of every material used in themodel, I discovered that a TV object that I downloadedfrom another source was the culprit. It had a tiny redlight by the power button which was created with a redmaterial using the maximum level of self-illumination. Itwas this little glowing button that affected the overalllighting calculations for the space. The lesson learned:beware of any object that you do not create yourself. Younever know what materials or other variables includedwith the object may affect your model.It is even possible to combine several types of mapswithin the same material. In Figure 7, a multi-levelmaterial assigned to a flat vertical plane simulatesthe dancers. The base map is an image of the dancerson a flat colored background. A secondary opacitymap instructs the computer where the materialshould be solid (the dancers) and where the materialshould be transparent (the colored background). Theshadow created by the follow-spot is not faked. Thelight calculations are able to differentiate betweenFigure 6Figure 716 LD+A/May 2003 www.iesna.org

12 kHz and 75 kHz, F32T8 lampshave an efficacy about 9 percenthigher than those same lamps operatedat 60 Hz 4 . Using both of thesereferences, together with the datafrom Table 1 in Dr. Akashi’s paper,we can estimate that an F28T5lamp operating in its optimum ambienttemperature of 35 degrees Chas an efficacy only about 3 percenthigher than an F32T8 lampoperating in its optimum temperatureof 25 degrees C when bothlamps are operated at 20 kHz orabove.Considering that the efficacy ofthese two lamp types is approximatelythe same when each lamp isoperated at its optimum ambienttemperature and both lamps areoperated at the same high frequency,we should not be surprised thatthe system efficacies of T5 and T8systems are comparable when eachlamp is operated at its optimumambient temperature 5 . This resultindicates that the efficiencies ofthe T5 and T8 ballasts used by Dr.Akashi are similar and there is noneed to assume that the similar systemefficacy values are due to differencesin ballast losses.Victor RobertsPresident Roberts Research &Consulting, Inc.Burnt Hills, NY1 GE Lighting refers to a “Nominal Lamp OperatingFrequency” in their Lamp SpecificationBulletin. This is listed as 60Hz for the GE T8lamps and 20kHz for the GE T5 lamps. TheOsram Sylvania Web site has a footnote ontheir T5 lamp specifications that states: “Lumenoutput and life rated on high frequencyoperation”. There is no such footnote for theOsram Sylvania T8 lamps, leading to the conclusionthat their T8 lamps are measuredunder ANSI standard conditions, or 60Hz inNorth America. Philips has a note in their T5Product brochure that states: “Powered byelectronic ballasts designed for 170mA T5lamps.” There is no such note for the PhilipsT8 lamps.2 J.H. Campbell, H.E. Schultz and D.D.Kershaw, “Characteristics and Applications ofHigh-Frequency Fluorescent Lighting,” IlluminatingEngineering, Vol. 48, February 1953,pp. 95 – 103.3 Dale E. Hitchcock, “High Frequency Characteristicsof 32 Watt T8 Lamps,” Journal of theIlluminating Engineering Society, Vol. 13,October 1983, pp. 26 – 35.4 Edward E. Hammer, “High Frequency Characteristicsof Fluorescent Lamps up to 500kHz”, Journal of the Illuminating EngineeringSociety, Winter, 1987, pp. 52 – 61.5 Dr. Akashi does not state whether he usedmagnetic or electronic ballasts for his systemtests. I am assuming that both the T8 and T5lamps were operated on high frequency electronicballasts for the tests reported by Dr.Akashi. T5 lamps are rated for operation onlyon high frequency ballasts. While T8 lampscan be operated on either 60 Hz magnetic ballastsor high frequency electronic ballasts,U.S. Census Bureau data shows that in 2001over 98 percent of the F32T8 ballasts shippedwere electronic high frequency ballasts, whileless than 1.5 percent of F32T8 ballasts shippedwere 60Hz magnetic. (See: Current IndustrialReports, Fluorescent Lamp Ballasts:2001, MQ335C(01)-5, July 2002, U.S. CensusBureau.)“Careful Reading”The February 2003 issue of LD+Acontains a letter submitted byStan Walerczyk and a response providedby Kevin Houser. Houser’sresponse contains a number of misleadingand incorrect statementsthat are relevant to lighting practice.These statements are addressedhere.Although Houser claims to havemade a “careful reading” of thestudies of Berman et-al, his statementsindicate a complete lack ofunderstanding of the results andmethods. He characterizes a presumedcontemporary ambiguity onspectrum and pupil size by offeringa quotation taken from our 1987study (reference 30 ) i.e., “the spectralresponse of pupil size has beenstudied by several investigators butthere is no consensus within thevision literature.” The inferencemade on the basis of the quote,that this describes the situationtoday, is totally out of context asour comment was made then as abackground statement to introducethe need for the research that wewere undertaking.Over a period of several years wehad performed three separate studiesusing different types of objective(not psychophysical as stated byHouser) infrared pupilometry todetermine that pupil size at typicalinterior light levels is predominantlycontrolled by scotopic spectrum(Houser references 30,33,37 ). Thisinfrared methodology is objectiveand non-invasive, has many thousandsof data values taken underconditions of full field binocularviewing, uses a variety of commerciallyavailable fluorescent lampsfor the lighting stimulus andincludes about 40 subjects who satin an office size room sometimeswith white walls and sometimeswith walls of many different colors.These studies show conclusivelythat scotopic spectrum and by inferencerod photoreceptors are thedominant controllers of pupil size attypical interior light levels. Underconditions of viewing self-illuminatedtasks e.g. computers, scotopicspectrum was the sole spectraldeterminant, while under conditionswhere the ambient lighting providedboth task and surround lightingthere was a small additional photopiccomponent. These studies areunique and are the only ones in theliterature that demonstrate thespectral aspects of pupil size controlin conditions relevant to generallighting practice. The aboveobjective studies therefore contradictthe incorrect statement inHouser’s response, “as far as I amaware, they have not tested thisdirectly” referring to our work onthe determination of the scotopicallydriven spectral response of thepupil.In the study of Alpern andCampbell (Houser reference 38 ),where rod and cone contributions topupil size control were approximatelyequal in log units, the field ofview was confined to less than 20degrees thus reducing the net rodresponse whose complete contributionto pupil size control requires afull field of view. We would obtainsimilar results under the same confinedviewing conditions, however,and more appropriately for lightingpractice, it is the full field of viewthat is generally desired. Alpern &Campbell did not study pupilresponse in this condition.Houser also refers a few times tothe work of ten Doesschate &Alpern (reference 39 ) to support hisarguments. In that study there is acomparison of pupil sizes of normalswith a person who has no functioningrods but only functional cones(Iguchi’s disease). At typical interiorlight levels the person withoutfunctioning rods shows almost nopupillary response while the normalsshow large pupil size variationsand this is for the condition ofonly a 12 degree field of view. It isonly when the light levels reachthat of outdoor sunshine or greaterthat the rodless person shows comparablepupil size changes. Thus, onthe contrary, that study providesstrong confirmation for the rod dom-18 LD+A/May 2003 www.iesna.org

Achieving thisenhancement issurely a desirableend point forlighting practiceand is one of themajor values ofscotopicallyenhanced lightinginance of pupil size in normals attypical interior light levels and offersfurther support for our spectral conclusions.Houser is confused about the relationshipbetween pupil size androom brightness perception. Wehave demonstrated that the scotopicspectrum also effects largearea brightness perception (Houserreference 31 ), but the scotopic effecton brightness perception is differentand not as powerful as the scotopiceffect on pupil size. The scotopiceffect on brightness perceptionexplains much of the reported mysteryon full field brightness reportedin the vision and lighting literatureand is discussed in reference 32 ofHouser’s list while the general consequencesfor lighting practice arefully discussed in a less technicalmanner in a recent review 1 . Thosediscussions show the analysis ofHouser as incorrect and that hissummary statement “these results(Houser’s deductions) suggest thatenergy at 530nm would yield smallerpupils and greater brightness perwatt than the 507nm region supportedby Berman” is unsupportedby data and is without legitimatescientific basis.The first paragraph of Houser’sresponse refers to the concept ofS/P values (ratio of scotopic tophotopic quantities) as a derivedmetric and subsequently offers 29references, all of which are aboutsubjective psychophysical measuresnot as fundamental as thosethat provide the basic scotopic andphotopic spectral sensitivity functions.The photopic (V()) and scotopic(V’()) functions are wellestablished and accepted standardsin engineering and scienceand are specifically determined asthe spectral responses of the 2types of photoreceptors (cones androds). Given these fundamentalfunctions, the S/P value is solelydependent on the spectral powerdistribution and is independent ofradiance level and of any furtherpsychophysical responses. As suchthe S/P value is not a performance‘derived’ metric as implied byHouser. Thus the S/P value of alight source or a light reflectingmaterial is a fundamental propertyof the associated spectral powerdistribution and those 29 referencesare essentially irrelevant tothis issue.The penultimate paragraph inHouser’s response indicates a furthermisunderstanding of our researchand its implications for lightingpractice.Perhaps the reason for this isthat he is confused about the relevanceof testing at threshold conditions.When a person is tested forvision and/or spectacles theoptometrist does not ask if thelarge letter E is clear, but tests continuouslysmaller letters in order tohave an objective criterion of visualproficiency evaluated as visual acuity.Even if there are no letters everto be seen under “normal” viewingconditions as small as the test letters,wearers of spectacles will seelarger letters with clearer edgeswhen they are viewed with the correctrefraction obtained by theobjective method. Indeed, any spectaclewearer will complain ofdecreased visual clarity when usinga slightly incorrect refraction. Thisis because almost all objects haveedges and corners whose apparentsharpness is determined by thevisual systems’ capability to resolvehigher spatial frequencies. (This isthe case whether or not one needsspectacles). A general measure ofthis capability is visual acuity. Thusa lit environment providing a higherlevel of acuity via smaller pupilsthat is accomplished by employingscotopically enhanced lighting willalso provide a higher degree ofcrispness and sharpness of the visualscene. Achieving this enhancementis surely a desirable end pointfor lighting practice and is one ofthe major values of scotopicallyenhanced lighting.Sam BermanAbratech CorporationSausalito, CA1. Berman ,S.M. 2000: ‘The comingrevolution in lighting practice’.Energy Users News. Oct, 25,10,pp23-25.Kevin Houser repliesIn the above letter Dr. Bermanasserts that I am “confused aboutthe relationship between pupil sizeand room brightness perception,”that my “statements indicate acomplete lack of understanding of(Berman’s) results and methods,”and that I am “confused about therelevance of testing at thresholdconditions.” These ad hominemarguments are pitiable and wouldbe unnecessary if the conceptsadvanced by Dr. Berman wereendorsed by the wider scientificcommunity of researchers in visionscience. In the end, I will leave it tothe reader to decide whether or notI am confused. Before addressinghis specific criticisms I wish toshare some background.My interest in the spectralresponse of vision and the spectraldesign of light sources began in themid 1990s. My thoughts have beenmost strongly influenced by thework of Drs. Berman and Thornton.In 1998 I traveled to California tovisit Lawrence Berkeley NationalLaboratory and Abratech Corporation,which are the places where Dr.Berman performed most of his workin spectral effects. I spent a daywith Dr. Berman’s colleague, Dr.Don Jewett, who demonstratedtheir main apparatus and talkedwith me at length about their work.Drs. Berman and Jewett were kindenough to loan me a demonstrationbooth they had built to exemplifytheir research. I set-up their apparatusin the Philips Lighting Center(where I was working at the time),and over the next several months I20 LD+A/May 2003 www.iesna.org

my reply to Mr. Walerczyk. Thornton’swork strongly suggests thatvision has three invariant visualchannels. Thornton has studied thistopic from several points-of-view,including brightness perception, 5,6chromaticity errors, 7-9 color preference,10 and metamerism. 11-14Thornton has called the spectralregions near 450, 530 and 610 nmthe “prime color” regions of thespectrum. His work suggests thatthese three regions are uniquelyefficient at creating white lightswith exceptional brightness perwatt and excellent color preference.Thornton’s work fully embracestrichromacy, which is the idea thatvision is fundamentally regulated bythree spectral channels. Thorntondid not originate the idea of trichromacy,but he was the first person tomake a practical light source basedon trichromatic principles. In 1979he was recognized as the USNational “Inventor of the Year” bythe Association for the Advancementof Invention and Innovation forhis patent on the triphosphor fluorescentlamp. 15 Trichromacy has along history in vision science. It wasalluded to by Aristotle and can betraced through history in the workof eminent philosophers and scientists:“...the rainbow appears withthree colors. The rainbow hasthree colors, and these threeand no others.” 16 Aristotle 350BC“Each ray of light is compoundedof three other raysonly...” 17 George Palmer, 1777“From three simple sensations,with their combinations,we obtain seven primitive distinctionsof color; but the differentproportions in which theymay be combined afford a varietyof tints beyond all calculations...” 18 Thomas Young, 1845“The theory which I adoptassumes the existence of threeelementary sensations by combinationof which all the actualsensations of color are produced...”19 James Clerk Maxwell,1856“When we speak of reducingthe colors to three fundamentalcolors, this must be understoodin a subjective sense as being anattempt to trace the color sensationsto three fundamentalsensations.” 20 Herman vonHelmholtz, 1866Despite the fact that trichromacyis a given for vision, Dr. Bermanoffers no comment on this topic. Heinstead states that I am “confusedabout the relationship betweenpupil size and room brightness.” Myoriginal article and response to Mr.Walerczyk focused on what Ibelieve are more important considerations.Dr. Berman dismisses as irrelevantthe 29 references I cited thatare related to spectrally derivedmetrics. He states that all of themetrics I quoted are “about subjectivepsychophysical measures notas fundamental as those that providethe basic scotopic and photopicspectral sensitivity functions.”First, allow me to comment on the29 references. Mr. Walerczyk askedme to cite recent research. Iresponded to his question with a listof references as evidence that it ispossible to create an infinite numberof derived spectral metrics. The29 metrics I cited may be irrelevantto Dr. Berman and his S/P agenda,but they are not extraneous to thisdiscussion. It is a fact that Dr. Berman’sS/P ratio is just one of manyspectrally derived metrics. Second,Berman’s assertion that the photopicand scotopic functions areintrinsically fundamental is only halfthe story. It is generally acceptedthat the photopic function is basedon the L and M cone response (notsimply the cone response asBerman states) and that the scotopicfunction is based on the rodresponse. By considering just scotopicand photopic functions the Scones are (apparently) ignored.When I asked Dr. Berman about thisspecific topic he replied that Scones do not appear to be importantfor vision. 21 This reply strikesme as implausible. Dr. Berman’sS/P model implies vision has twochannels. A two-channel model isinconsistent with hundreds of yearsof thinking and more recent evidencethat favors trichromacy.Consequently, it is difficult toaccept a two-channel model as“fundamental.”More than 50 years ago Polyakdescribed the (then) current stateof knowledge about the retinalstructure and color vision. In hisconclusions he stated “The specialfeature of this paper is the dethronementof the photoreceptors—therods and the cones——from their role of absolute rulers inthe visual hierarchy. The physiologyof vision, especially of color vision,was and still is too much under thespell of these structures.” Rods andcones, critical though they are in initiatingvision, are just the startingpoint. It is the complex neurologicalweb and post retinal processingthat ultimately regulates vision. Ibelieve that trichromacy resides notin the retina, but in the visual systemas a whole. Berman’s S/P ratiois one limited way to characterizethe retinal response, but this is fundamentallydifferent than characterizingthe gestalt visual response.Dr. Berman and I also disagree onthe essence of what constitutes awell designed spectral power distribution.He promotes high S/Pratios because he believes thesewill constrict the pupil and enhancebrightness perception. If lamp companieswere to embrace this conceptthey would design electric lightsources that produced monochromaticenergy at 507 nm (the peakof the scotopic function); this ispoor guidance for spectral optimization.I endorse spectral power distributionsthat embrace trichromacybecause trichromatic optimizationleads to white light sources withexceptional color preference andhigh brightness perception perwatt.In closing I wish to restate themain points of my November 2002“Lighting for Quality” article. Lampcompanies rely on metrics such asthe lumen and CRI to quantify thespectral performance of their lightsources. Both V() and CRI havelimitations, particularly when theimpression of brightness is animportant design criterion andwhen exceptional color preferenceis desired. Nevertheless, V() andCRI are numerically objective andeasy to use, and will likely remainthe tools-of-the-trade until markedly22 LD+A/May 2003 www.iesna.org

etter metrics are agreed upon.Foremost questions are: How canwe use light to improve the visualexperience of building users? And,how can we do this while reducingenergy consumption? A path consistentwith the above objectives isto develop light sources that fullyembrace trichromacy.References1. Ten Doesschate, J., andAlpern, M. “Response of the Pupilto Steady-State Retinal Illumination:Contribution by Cones”.Science. 149(3687): 989-991.1965.2. Trejo, L.J., and Cicerone, C.M.“Retinal Sensitivity Measured bythe Pupillary Light Reflex in RCSand Albino Rats”. Vision Research.22: 1163-1171. 1982.3. Kovalevsky, G., DiLoreto, D.,Wyatt. J., del Cerro, C., Cox, C., anddel Cerro, M. “The Intensity of thePupillary Light Reflex Does notCorrelate with the Number ofRetinal Photoreceptor Cells”.133(1): 43-49. 1995.4. Lucas, R.J., Douglas, R.H., andFoster, R.G. “Characterization of anOcular Photopigment Capable ofDriving Pupillary Constriction inMice.” Nature Neuroscience. 4(6):621-626. 2001.4. Thornton, W.A. “A System ofPhotometry and Colorimetry BasedDirectly on Visual Response”. J.Illum. Eng. Soc. October: 99-111.1973.5. Thornton, W.A., Chen, E.,Morton, E.W., and Rachko, D.“Brightness Meter”. J. Illum. Eng.Soc. October: 52-63. 1980.6. Thornton, W.A. “Toward aMore Accurate and ExtensibleColorimetry, Part I. Introduction.The Visual Colorimeter-Spectroradiometer.Experimental Results.”Color Research and Application.17(2): 79-122. 1992.7. Thornton, W.A. “Toward aMore Accurate and ExtensibleColorimetry, Part II. Discussion.”Color Research and Application.17(3): 162-186. 1992.8. Thornton, W.A. “Toward a MoreAccurate and Extensible Colorimetry,Part III. Discussion (continued).”Color Research and Application.17(4): 240-262. 1992.9. Thornton, W.A. “A Validation ofthe Color Preference Index.” J.Illum. Eng. Soc. October: 48-52.1974.11. Thornton, W.A. “MatchingLighting, Metamers, and HumanVisual Response”. Journal of Colorand Appearance. 2(1): 23-29.1973.12. Thornton, W.A. “Lamps forAssessing Metamerism”. J. Illum.Eng. Soc. October: 11-18. 1974.13. Thornton, W.A. “Intersectionsof Spectral Power Distributionsof Lights that Match”.Color Research and Application.18(6): 399-411. 1993.14. Thornton, W.A. “Intersectionsof Matching Spectra: Applications”.Color Research andApplication. 18(6): 412-421.1993.15. Thornton, W.A. “Method andDevice for Efficiently GeneratingWhite Light with Good Rendition ofIlluminated Objects.” US Patent No.4,176,294. 1979.16. Aristotle. Meteorologica. (c.350 B.C.) Translation by E.W.Webster (Oxford: Clarendon Press.1923). MacAdam, D.L. ed. Sourcesof Color Science. The MIT Press:Cambridge, MA, pg. 9. 1970.17. Palmer, G. Theory of Colorsand Vision. (London: Leacroft,1777). MacAdam, D.L. ed. Sourcesof Color Science. The MIT Press:Cambridge, MA, pg. 40. 1970.18. Young, T. “On the Theory ofLight and Colors”. (PhilosophicalTransactions of the Royal Society ofLondon, 92: 20-71. 1802). Mac-Adam, D.L. ed. Sources of ColorScience. The MIT Press: Cambridge,MA, pg. 51. 1970.19. Maxwell, J.C. “Theory of thePerception of Colors”. (Transactionsof the Royal Scottish Societyof Arts, 4: 394-400. 1856).MacAdam, D.L. ed. Sources ofColor Science. The MIT Press:Cambridge, MA, pg. 63. 1970.20. Von Helmholtz, H.L.F. PhysiologicalOptics. (1866). Mac-Adam, D.L. ed. Sources of ColorScience. The MIT Press: Cambridge,MA, pg. 96. 1970.21. Private communication.IESNA Annual Conference. NationalGallery of Canada: Ottawa, Ontario.August 6, 2001.Kevin W. Houser, Ph.D., LCUniversity of Nebraska-LincolnOmaha, NEwww.iesna.org

In March, Stan Walerczyk (myenergy conservation colleaguefrom Walnut Creek, CA) and Iwere invited to visit the LawrenceBerkeley National Labs (LBNL) atthe U.C. campus in Berkeley, CA.Much of the research at LBNL isENERGYCONCERNSWillard L.Warren,PE, LC,FIESNAsupported by the U.S. Departmentof Energy (DOE), while some of thework is funded by the CaliforniaEnergy Commission (CEC) and by anumber of corporations. The emphasisis on utilization and controlof light and the sustainability ofbuilt facilities. “Less is more” isbeing replaced with “less is better.”I have been underimpressed withCalifornia’s efforts to deregulateenergy but the CEC research atLBNL will get us closer to using lessenergy, to perform visual tasks inthe future at the least cost to ourenvironment.Steve Johnson, group leader ofthe Lighting Research group atLBNL, showed us some of the workhe’s been doing with LEDs andOLEDs (Organic Light EmittingDiodes). Presently, the efficacy ofLEDs is 30 lumens per watt, butJohnson projects that the numberwill soon double and then sometimein the not too distant future, doubleagain, which is pretty excting for along life point source. Presentlywe’re using LEDs in exit signs,accent lights and displays, and savinga considerable amount of energydoing so, but there’s great applicationfor LEDs in sign lighting, bothstatic and moving, and hopefully, inreplacing the many MR16s andother incandescent quartz halogenlamps used in architectural lighting.I was shown red, green and blueLEDs illuminating a standard colorblindness test chart, and as Johnsonalternated the three differentcolored LEDs, the display changedto three different messages. Withall three colored LEDs on simultaneouslyyou get white light. Looksgreat as an application for outdooradvertising signs.“Less is more”is beingreplacedwith“less is better.”OLEDs, on the other hand, can beconfigured in large, softly glowing,panels that can be manufactured insheets no thicker than heavy dutyaluminum foil, that can be appliedto room surfaces and furniture partitions.The panels, which are dimmableand variable in color, will beable to provide us with walls andceilings that are very pleasing.Want to change the mood in theroom? Just change the color of thepanel and the intensity.There was a period many yearsago when luminous ceilings werethought to be the ultimate in comfort,but getting them uniform inappearance required deep plenumsand closely spaced lamps. In aneffort to improve the efficiency andefficacy of luminous ceilings, wetried electroluminescent panels,which unfortunately had limits totheir brightness, and flat panel fluorescentslamps, but they didn’t performtoo well and were withdrawnfrom the market. When OLEDs areavailable in large thin sheets thatare dimmable and variable in colorwith an efficacy of 100 lumens perwatt we’ll be able to use them asluminous walls and ceilings.Our visit also included time in thelab with staff scientist FrancisRubinstein, who is working on simplifyingcontrol systems for lighting.Simplified for the user, but sophisticatedelectronically, it gives eachoffice occupant control of the workingenvironment at “popularprices.” He, and other LBNL scientistsare working on some of theenergy concerns of luminaire manufacturerswho are anxious to complywith the stricter limits on energyrequired by the 2001 ASHRAE/IESNA 90.1 guide.A lighting research program fundedby the CEC called the Public InterestEnergy Research (PIER) programinvolves a partnership with amanufacturer to test real life classroomlighting installations. The projectis being directed by staff scientistMike Simonovitch who will monitora number of classrooms with differentlighting systems for one yearto compare their costs, installation,commissioning and service.The three systems include classroomswith; 1. occupancy control(good), 2. occupancy and daylightcontrol (better) and 3. occupancyand daylight control and teachercontrolled dimming (best). Theenergy usage of each of the threesystems at each site will be monitoredas will luminaire performanceand teacher and pupil preferences.We also received an update onthe progress being made in over theair control (OTA) of luminaires. Thisopens the door for new ways toretrofit spaces with bi-level lighting.One of the misconceptions of bilevellighting is that it shuts lightsoff when there’s no one in occupancy.That’s not true. The object ofbi-level lighting is to provide two levelsof light: the higher level for optimalperformance while someone isworking at their desk, and then, alower level of illumination, when noone is detected in the space. Inpaths of egress, such as corridorsand stairways, where the lightinghas to be on all the time, the lowlight level is always higher than theANSI Life Safety Code requirement.The lights can be dimmed down ,but not turned off, when there’s noone in the space, which is a requirementin all fire and building codes.OTA control by radio frequency(RF) will allow a sensor to signal asimple detector and relay installedin an existing “slave” luminaire toturn some off some of its lampswhen there’s no one detected in thespace. Or, in the case of existingoutdoor lighting, a simple radio signalcan turn off individual luminairesin a cluster without having to recircuitthe entire installation. This willalso help us comply with “darkskies” legislation.As that Chinese saying goes,“May you live in interesting times.”24 LD+A/May 2003 www.iesna.org

Paul MercierNorthwest RVPREGIONALVOICESMy intention when I started to write this articlewas to describe the special relationship membersfrom the Northwest Region enjoy due tothe geographical nature of the region and the peopleinvolved. But soon I realized that it’s not so much theregion that is unique but IESNA and the experiences ithas provided me.Although I am a regional vice president, I still considermyself a fairly new participant in regional activitiesand national concerns. My enthusiasm for the positionand the volunteerism of IESNA was born at my firstRegional Executive Committee (REC) meeting. I wentto the meeting to satisfy a curiosity and found myselffascinated with the enthusiasm, energy and diversity ofthe participants. This group of individuals from variousbackgrounds and places acted as a well-oiledmachine with a focus on bringing their passion for lightingto people who craved more knowledge. TheNorthwest is one of two regions with cross-border ties.The region encompasses the Pacific Northwest of theUnited States, the Pacific Northwest of Canada andAlaska. My first REC meeting included people fromPortland Oregon, Seattle, Washington, Vancouver,British Columbia, Calgary, Alberta, Edmonton, Albertaand Anchorage, Alaska.I was a section president at the time and walked intothe meeting full of doubt and apprehension about whatrole I could play, or whether I would be accepted bythese proven professionals. These doubts quickly disappearedas my ideas and questions were welcomed bywhat I now consider my professional family. These peoplenot only accepted me right away, they made everyeffort to help develop my ideas with their backgroundand experience. My favorite expression at the time wasthat I was there to “steal” their ideas, as our sectionhad just been reborn after eight years of dormancy. ButI didn’t have to steal their ideas. Their help was givenfreely and still is today.An REC is one of the special benefits of IESNA. Notonly is it a place to grow both professionally and personally,but it’s also a place to form long-term relationshipswith people from diverse backgrounds. I was veryfortunate to have not only their group support but thatof Kay Ferguson, the RVP at that time, who gave freelyof her time and has become a close friend and mentorin the Society.That first group was made up of young people, experiencedpeople and those who have been members ofIESNA for many years (you know who you are) whoserve as resources and mentors. All ideas are acceptedno matter where they come from.An REC is also a traveling road show changing locationson a rotational basis. This allows people to experiencea meeting without incurring travel expenses, andFor those interestedin moving intoregional or national roles,an REC is the placeto gainvaluable experience.for those who like to travel, rotation offers the opportunityto experience the other sections of the region.Anyone interested is welcome to participate. The meetinghas a number of regional chairs responsible for organizinga particular area of concern, but everyone canparticipate in the events or issues. Each region isslightly different. The Northwest has an educationchair, videoconference chair, an IIDA chair, a regionalweb master, a regional historian and a regional secretary.Approximately 10 to 12 people participate in eachof our meetings and are valuable assets to the society.IESNA is a grassroots society and along with the sectionsthis is where a lot of the ideas originate.An REC also is a great training ground and resourcefor section officers. We know that occasionally thetransfer from an outgoing officer to an incoming officeris not always smooth. At a recent dinner prior to an RECmeeting, a number of members met with an incomingpresident. He commented after the dinner that he hadlearned a tremendous amount about the region and hisrole as section president within a short period of time.He realized he was not alone and that there were peopleto help him achieve his section’s goals.For those interested in moving into regional or nationalroles, an REC is the place to gain valuable experience.Everyone is accepted and encouraged to participateat the level they feel comfortable. The Northwesthas members who have filled every possible positionwithin the IESNA including past president of theSociety. No one is left on their own and support comesfrom all members. I have had the privilege of workingwith my predecessor Jeff Davis for over a year prior totaking my position. Although Jeff and I live in differentcountries, he has been a great friend and teacher, andis always there to give a helping hand.Although this article started out about the uniquenature of the Northwest Region, I believe that participationat the regional and section level provides opportunitiesto all members of the IESNA no matter wherethey live and work. I encourage all of you to participatein your next REC and benefit from the diversity anddepth of our Society.26 LD+A/May 2003 www.iesna.org

A Towering EntranceAesthetically sensitive, yet vibrant enough to draw attention and awareness to their historiclocation, the four towers at the intersection of 4th and Chestnut in Louisville, KY, serve as a visuallyattractive entrance to the city’s art deco district. Located in an up and coming retail and residentialquarter, these color-changing towers, each wrapped in historical photographs and backlitwith Martin Exterior 200 color changers, provide the area with a celebrated piece of artwork.Over the last several years, Louisville’s city government, its planners and architects have beenengaged in the redevelopment of many of the city’s downtown areas and attractions. Charles Cashand Kristen Booker of The Louisville Development Authority (LDA), an organization created to promotethe revitalization of the city by coordinating city participation in a variety of downtown projects,provided Louisville with the unique entrance its theater district desired.The city commissioned Illuminating Concepts, Farmington Hills, MI, to co-develop an illuminationconcept. The Illuminating Concepts team included Keith Irtenkauf, studio director and projectmanager; Kenneth Klemmer, design director and principal; and Ron Harwood, creative director.Four custom tower icons (27 ft tall, 2 ft wide per side) were created to serve as a visual gatewayto signal visitors and residents that they are entering a unique area. “Our challenge was toprovide a vertical rather than a heavy horizontal statementbecause of the narrow confines of both road and sidewalk atthe (4th & Chestnut) intersection,” Irtenkauf said. “We suggestedto the Louisville DDA that they use the tower elementsas a way to celebrate the heritage of the theater district,while providing an opportunityfor a local artist to createsculptural elements that wouldadorn the top and bottom of thetowers.”A series of backlit graphicpanels was created. Black andwhite photographs of the intersectionfrom the 1920s, ‘30sand ‘40s were digitized andenlarged to 16 ft in height. Thephotos were wrapped aroundthe four sides of each tower(two photos per tower) andbacklit with Martin Exterior200s. The graphics can bechanged to correspond with aspecial event or holiday season. “Luckily, the photos were originally taken in large format,so image quality was never an issue for enlargement to a 16 ft x 4 ft size,” Klemmer said.“The images were then applied to acrylic panels, providing an opportunity to backlight themonce framed within the tower’s structure with concealed color changing fixtures forenhanced evening effect.”The Exterior 200s are small in physical size, yet offer excellent full color mixing capabilitiesand a high lumen output that resulted in 6000-hour 150-W lamp. The interior of eachtower has two-exterior 200’s (one at the base of the graphic aimed up, one at the top aimeddown). The use of two color changers per tower allows for intense color morphs and fadeswithin each tower as well as the ability to fade and morph between the four towers.Control is handled via wireless radio DMX communication between the towers. This hadseveral advantages including eliminating the need to dig up the street, which would havebeen an additional expense. One tower acts as a transmitter and the other three towers asreceivers. An ELC ShowStore controller is located at the base of one tower and transmitsdata to the first Exterior 200, which is daisy chained to the other Exteriors. “We designeda custom, waterproof UL-listed NEMA enclosure within that we housed the show controller.The radio gear was also housed in custom NEMA enclosures within each tower,” saidKlemmer.With a project of such proportion and requiring so much effort, the thought of “howmuch” could be painful. The total project was kept under $250,000.—John-Michael Kobes• notes on lighting designPHOTOS: SCOTT STEPHENS28 LD+A/May 2003

• notes on lighting designDim The Lights, Raise a GlassSouthern Wine and Spirits of Northern California, a nationwide liquor distributor, operates its Union City,CA, distribution center around the clock Monday morning to Friday evening, with occasional weekend use.Many areas, formally lighted at all times, are only occupied during certain shifts or have sporadic occupancypatterns. Don Laroche, Northern California operations manager for Southern Wine and Spirits, recognizedthe need for a lighting upgrade that decreased operating costs and improved lighting quality. Themost common fixture type in the 14 year-old, 330,000 sq ft facility was a 400-W metal halide hibay withaluminum reflector, mounted at an average height of 25 ft; in addition, a variety of T-12 fluorescent fixtureswere prevalent throughout.Robert Ofsevit, Alamo Lighting, Concord, CA, conducted a preliminary feasibilitystudy, installed demonstration fixtures and prepared a construction-gradesurvey and specification. Working closely with Laroche, Ofsevit designed a projectthat responded to Southern Wine’s specific needs. Installation was completedbetween October 2001 and January 2002.The lighting upgrade replaced most metal halide fixtures consuming 458-W withX-TRA Light Manufacturing’s 4-lamp fluorescent hibays, featuring Sylvania 841-Kelvin T5HO lamps and programstart ballasts, consuming only234-W. The new fixtures increasedhorizontal and vertical foot-candlelevels, provided increased CRI,better lumen maintenance andless glare, while eliminating the old noisy ballast hum.The project also incorporated a wide variety of Wattstopperoccupancy sensors, lighting control panels and digital timeswitches, ensuring lighting remains off during times of vacancy.Forklift drivers and other warehouse personnel are satisfiedwith lights turned off when not in use, and haveexpressed their overall satisfaction with the upgrade. MikeWilske, director of warehouse operations for Southern Wine,said, “I never feel more like God than when I walk through the warehouse ‘giving light’ as the sensors turnon the fixtures ahead of me.”Lastly, all T12 fixtures were upgraded with X-TRA Light’s retrofit kits, Philips high lumen T8 lamps and avariety of Howard Industries high-efficiency ballasts. The combination of retrofit components allowed for maximumenergy savings, while raising light levels, eliminating flicker and providing for longer parts life andlumen maintenance.The “Speed Line” mezzanine, where boxes are placed on a conveyor for shipping,exemplifies the benefits of the lighting upgrade. Previously, workers weredissatisfied with the amount of glare and uneven light levels produced by 20-400-W metal halide fixtures mounted at 15 ft. The upgrade replaced these fixtureswith twice as many X-TRA Light 8 ft strip fixtures with white reflectors, each withhigh output ballasts, and 4-T8 lamps. Speed Line workers responded with thumbsup; one employee stated that he was able to work without his glasses for the firsttime in years, having previously suffered eyestrain and discomfort working underthe old HID fixtures.Switching to fluorescent had another major benefit: eliminating the metalhalide restrike and warm-up facilitated use of controls. A lighting control panelnow sweeps lights on and off to coincide with overnight shifts. Occupants workingoff shift can easily override settings using TS-200 digital time switches. Theswitches feature flexible control options, allowing maintenance personnel to select a time out setting. Aminute before timing out, lights blink to warn occupants of impending shut-off. For added safety, lights abovethe two entry stairwells and in the center of the mezzanine are left on with no controls. Project lighting savingsare estimated to be 55 percent with 22 percent estimated for the entire site.For the 2002 calendar year, load reduction was slightly under 20 percent, but this includes load addedsince the original lighting upgrade. “We were on target on the kWh reduction estimate that Alamo provided”Laroche said. “As expected, the increased lumens were much better and we presently have little or nomaintenance issues.”—John-Michael KobesPHOTOS: MARY JAMES30 LD+A/May 2003 www.iesna.org

Members in the News(Left) Chuck Campagna, president andCEO of Amerlux Lighting Systems andRichard Kurtz, the newly appointed presidentand COO of W.A.C. Lighting.Howard Industries, Laurel, MS, promotedScott Stephens to nationalaccounts manager. Stephens’s primaryresponsibility will be the development ofspecification for Howard ballast productsat a national account level.Herb Seidell has joined Holophane,Newark, OH, as vice-president for theindustrial, retail and education productgroup. Seidell will be responsible for allaspects of marketing, product development,product positioning and pricingfor Holophane’s indoor lightingproducts, including product managementand marketing development.CIE Publishes Guide,Announces New StandardCommission International DeL’Eclairage (CIE) has published guidelinesfor assessing the environmentalimpacts of outdoor lighting and to giverecommended limits for relevant lightingparameters to contain the obtrusiveeffects of outdoor lighting within tolerablelevels. As the obtrusive effects ofoutdoor lighting are best controlled initiallyby appropriate design, the guidelinesare primarily applicable to newinstallations. However, some advice isalso provided on remedial measures forexisting installations.This guide refers to the potentiallyILLUMINATINGENGINEERINGSOCIETYNEWSVOLUME 33, NUMBER 5MAY 2003Con-Tech Lighting, Northbrook, ILhas relocated its headquarters to anew state-of-the-art facility, effectiveMarch 1, 2003. The new facility, alsolocated in Northbrook, IL, has beendesigned to accommodate the company’srecent growth.Lee Hanel, LC, has joined Horton LeesBrogden Lighting Design, New York, NY,as an associate for the New York office.The firm also welcomed the followingnew designers, Jame Mandle, LC and JayWratten, to the San Francisco offices.W.A.C. Lighting, Garden City, NY andAmerlux Lighting Systems, Fairfield, NJ,announced an alliance covering marketing,product development, manufacturingand sourcing for the commercial andretail markets, at GlobalShop 2003.Graybar, St. Louis, MO, selectedLightsearch.com to provide onlinedirectory services across Graybar’sbranches nationwide for manufacturersof various lighting products.adverse effects of outdoor lighting onboth natural and man-made environmentsfor people in most aspects ofdaily life, from residents, sightseers,transport users to environmentalistsand astronomers. (Astronomers alsosee CIE 126-1997.)The daytime appearance of the lightinginstallation is important and thesize and nature of the lighting supportstructures may be intrusive by dayalthough this subject is not addressedin this guide. The Technical Report iswritten in English, with a short sumcontinuedon following pageIESNACalendar of EventsAugust 3-6, 2003IESNA Annual ConferenceChicago, ILContact: Val Landers212-248-5000, ext. 117www.iesna.orgSeptember 29-October 1, 2003IESNAStreet & Area Lighting ConferenceBaltimore, MDContact: Val Landers212-248-5000, ext. 117www.iesna.orgOctober 19-23, 2003IESNA Aviation Lighting SeminarAustin, TXwww.iesalc.orgContact: Val Landers212-248-5000, ext. 117www.iesna.orgSection NewsRhode Island SectionOn January 16, Don LaBelle ofPhilips Lighting and Norm Courcy ofLutron Controls directed a tour of lightingat the George E. Bello Center forInformation and Technology BryantCollege, Smithfield, RI.New York SectionMark Rabinowtz, Conservation andSculpture Co., gave a workshop onlighting restoration on February 5.New Jersey SectionDavid Apfel discussed the latesttechnology and techniques in retaillighting design on January 21.Clara Powell and Joe Troegner discussedlighting for medical environmentson February 18.East Carolina SectionLaura Grayson of Linear Lighting identifiedvarious issues of light quality inthe modern office, including light levels,glare, uniformity and visual highlightson January 27. In addition, she exploredthe lighting system’s flexibility as itcontinued on page 35www.iesna.orgLD+A/May 2003 33

CIE Publishes Guidecontinued from previous pagemary in French and German. It consistsof 43 pages with 14 figures and10 tables. It’s readily available at theCIE National Committees or the CIECentral Bureau in Vienna.In other CIE news, the commissionupdated its standard “CIE S003 Spatialdistribution of daylight - CIE standardovercast sky and clear sky” createdin 1996. Since then, further typesof skies were examined and an internationalconsensus was reached ontheir luminance distribution and standardization.The luminance distribution of the skydepends on weather and climate andhow it changes during the course of aday with the position of the sun. Thisstandard lists a set of luminance distributions,which model the sky under awide range of conditions, from theheavily overcast sky to cloudlessweather. It is intended for two purposes:to be a universal basis for the classificationof measured sky luminancedistributions; and to give a method forcalculating sky luminance in daylightingdesign procedures.This standard defines relative luminancedistributions: the luminance ofthe sky at any point is given as a functionof the zenith luminance. For daylightingcalculation purposes it may beused with values of zenith luminance orof horizontal illuminance to obtainabsolute luminance distributions.This standard incorporates both theCIE Standard Clear Sky and the CIEStandard Overcast Sky, which aretreated as particular cases of the GeneralSky. The Overcast Sky is retainedas a separate formula because thereare many calculation procedures thatembody the mathematical formulationof this particular distribution. This presentStandard replaces CIE S003 -1996 “Spatial distribution of daylight -CIE standard overcast sky and clearsky.” This standard has been approvedby CIE National Committees. It may beobtained from the CIE National Committeesor the Central Bureau of theCIE. To obtain this or any standardwrite: CIE/USA, C/O TLA-Lighting, 7Pond Street, Salem, MA 01970.SUSTAININGMEMBERSThe following companies have electedto support the Society as SustainingMembers which allows the IESNA to fundprograms that benefit all segments of themembership and pursue new endeavors,including education projects, lightingresearch and recommended practices.The level of support is classifiedby the amount of annual dues, basedon a company’s annual lighting revenues:Copper: $500 annual duesLighting revenues to $4 million(Copper Sustaining Members are listed inthe March issue of LD+A, as well as in theIESNA Annual Report. There are currently 233Copper Sustaining Members).Silver: $1,000 annual duesLighting revenues to $10 millionGold: $2,500 annual duesLighting revenues to $50 millionPlatinum: $5,000 annual duesLighting revenues to $200 millionEmerald: $10,000 annual duesLighting revenues to $500 millionDiamond: $15,000 annual duesLighting revenues over $500 millionIES SUSTAININGMEMBERSDIAMONDCooper LightingGeneral Electric Co.Lithonia LightingOSRAM SYLVANIA Products, Inc.Philips Lighting Co.EMERALDHolophane CorporationPLATINUMDay-Brite Capri OmegaLightolierLutron Electronics Co, Inc.GOLDALP Lighting Components Co.Altman Lighting, Inc.Barth Electric Co., Inc.BLV Licht und Vakuumtechnik GmbHThe Bodine CompanyDaeyang Electric Co., Ltd.Edison Price Lighting, Inc.Finelite, Inc.Florida Power Lighting SolutionsGardco LightingIndy Lighting, Inc.The Kirlin CompanyKurt Versen Co.LexaLite Int’l CorpLighting Services, Inc.LiteTouch, Inc.Louis Poulsen LightingLSI Industries, Inc.Martin Professional, Inc.Musco Sports Lighting, Inc.Niagara Mohawk Power CorpPrudential Lighting CorpSan Diego Gas & ElectricSPI LightingUnited Illuminating Co.Vista Professional Outdoor LightingZumtobel Staff Lighting, Inc.SILVERArdron-Mackie LimitedAssociated LightingAtofina Chemicals, Inc.Axis Lighting, Inc.Bartco Lighting, Inc.Beta Lighting, Inc.BJB Electric CorporationBirchwood Lighting, Inc.Canlyte Inc.City of San FranciscoCon Edison of New YorkCon-Tech LightingCustom Lighting Services LLCCustom Lights, Inc.Day Lite Maintenance Co.Defense Supply Center PhiladelphiaDelta Power Supply, Inc.EEMA IndustriesElko LtdElliptiparENMAXEnterprise Lighting SalesETC ArchitecturalEye Lighting IndustriesEye Lighting Int’l of NAFactory Sales AgencyFiberstarsFocal PointGammalux SystemsH E Williams, Inc.HAWA IncorporatedHigh End Systems, Inc.Hubbell Lighting, Inc.Illuminating Technologies, Inc.InfraSourceKenall Mfg Co.Kramer LightingLee FiltersLegion Lighting Co.Leviton Mfg Co, Inc.Lite TechLitecontrol CorpLitelab CorpLitetronics Int’l Inc.Lowel Light ManufacturingLucifer Lighting Co.Metalumen Manufacturing, Inc.Ningbo Liaoyuan Lighting Company Ltd.Northern Illumination Co., Inc.Optical Research AssociatesOptima Engineering PAParamount Industries, Inc.Portland General ElectricPrescolite, Inc.PSE & GR A Manning Co, Inc.Reflex Lighting Group, Inc.Richard McDonald & Associates, Ltd. - CalgaryRichard McDonald & Associates, Ltd. - EdmontonSentry Electric CorporationShakespeare Composites & Electronics DivisionSouthern California EdisonStage Front Presentation Sys.Stebnicki Robertson & AssociatesSternberg Vintage LightingSterner Lighting Systems. Inc.StressCrete King Luminaire Co.Sun IndustriesTennessee Valley AuthorityTXU Electric & GasUniversal Electric Ltd.US Architectural Lighting/Sun Valley LightingUtility MetalsW J Whatley, Inc.WAC Lighting, Co.Winnipeg HydroWisconsin Public Service CorpXenon Light, Inc.As of April 200334 LD+A/May 2003 www.iesna.org

Section Newscontinued from page 33accommodates the individual, the company,the architectural design and buildingautomation interface.Michigan SectionSteve Squillace gave a presentationon how lighting design affects individualswith vision loss, damage or geneticallypredisposed conditions on January14. Squillace also talked about hisown medical vision history to providethe audience with background of howdegenerative myopia and glaucoma,as well as other visual conditions,influence lighting design.Cleveland SectionOn February 14, Ben Prichard, HolophaneLighting, reviewed outdoor lightingissues that present challenges topeople involved with specifications,design, and selection.Professor Russ Leslie discussed daylightingand lighting systems on March26 at the Cleveland Convention Center.Golden Gate SectionOn February 11th, David DiLaura,University of Colorado, traced the historyof light and lighting, frommedieval times to today.Western New England SectionOn February 20, Mariana Gross Figueiro,The Lighting Research Center,explained psychology of lighting, focusingon lighting for vision and circadiansystems, including applications forSAD, Alzheimer’s, nightshift workers,dayshift workers and possible links betweenlight and night, and increasedrisk of breast cancer. Also discussedwere the lighting characteristics for thevisual and circadian systems, (quality,spectrum, distribution, timing and duration)and how they differ from eachother. (See LD+A, Feb. ’03, p. 17.)Hank Forrest, LC gave a presentationon his design process that encompassedall of the various lighting areas ofthe Mohegan Sun Casino on March 20.Mid-Hudson Valley SectionAdam Holmes, ICF Consulting, explainedNew York’s State’s “EnergySmart” lighting programs on February19.Tennessee Valley SectionOn February 28, Ron Gibbons reviewedthe “Evaluation of Task AdaptionLuminance” (ETAL)—the latestendeavor to identify the basis of appropriatelighting levels for an exteriorlighting design.British Columbia SectionOn February 13, Robert D. McKayoutlined the Vancouver Whistler 2010Winter Olympic Bid, focusing on bidactivities, as well as profiles of venuesand facilities construction times.Western New York SectionOn March 11, Jeff D. Muhs, directorat Oak Ridge National Laboratory led acontinued on following page

Section Newscontinued from previous pagediscussion on hybrid lighting andsolar/electric luminaires.Southwestern SectionNaomi Miller and Joan Roberts presenteda live virtual seminar on “lightingfor the aged eye” on April 23.Tennessee Valley SectionOn March 18, a seminar on RP-30,Museum and Art Gallery Lighting washeld at the Vanderbilt University Club.Mid-South SectionJanet Lennox Moyer discussed theinteraction of interior and landscapelighting on March 4.Mother Lode SectionOn February 26, Dawn De Grazio,LC, gave a presentation on the updatedRecommended Practice of RP-7-01for the lighting of industrial facilitiesand how it is approached throughoutthe industry.Mission SectionOn February 18 Gary Flamm of theCalifornia Energy Commission discussedDraft 3 of the 2005 Energy EfficiencyStandards for residential andnon-residential buildings.Rocky Mountain SectionMarch 11, David DiLaura, LC discussedthe history of light and lightingcovering such areas as the developmentof ideas, instruments and applicationsthat provided the foundationsfor modern lighting engineering andlighting design.Share yournews with us!IES News120 Wall St., 17th FloorNew York, NY 10005Fax: (212) 248-5018New MembersMembership CommitteeChair Jean Black announcedthe IESNA gained one SustainingMember and 103Members (M), associatemembers and student membersin March.SUSTAINING MEMBERTriatek Lighting, Inc., Kennesaw, CACanadian RegionVijay K. Arora (M), Earth TechCanada, Markham, ONEd J. Lowans, DST ConsultingEngineers, Inc., Ottawa, ONJuergen Wiedermann, StandardProduct, Rockland, ONInternational Academy of DesignKenneth C.K. KwanEast Central RegionDouglas C. Agnes (M), BaltimoreGas & Electric, Baltimore, MDAdam R. Fry, Mueller Associates,Inc., Baltimore, MDGail L. Gross, illume Creatif,Drexel Hill, PAJohn P. McIntyre (M),Ellicott City, MDShea Powers, Simkar Corporation,Philadelphia, PAJ. Erin D. Speck, George WashingtonUniversity at Mount VernonCollege, Dickerson, MDPennsylvania State UniversityAndrea HauberGreat Lakes RegionDennis R. Blansit, HolophaneLighting, Columbus, OHSteve A. Crandall, InnovativeLighting Systems, Inc.,Perrysburg, OHTimothy DeWitt, Carrier & Gable,Inc., Farmington Hills, MIBrinton E. Goettel II (M), Noresco,Pittsburgh, PAPatrick Maglier (M), GE Lighting,Wellsville, NYNelson Douglas Pitlor, AccessmountLLC, Twinsburg, OHMark Podany (M), PGMDiversified Industries, Inc.,Parama Heights, OHBelinda D. Schuster (M), ChicagoLighting, Valparaiso, INIndiana UniversityRobert Eric GrahamSouth Pacific Coast RegionDavid E. Craven, CravenEngineering, Inc., Ogden, UTMark J. Esposito (M), Hartzog &Crabill, Inc., Tistin, CAJulie Glesne, Kaplan PartneredArchitectural Lighting, LosAngeles, CALarry Horton (M), SMUD,Sacramento, CADavid M. Jacques (M),Long Beach, CAJeannine Fisher Komonosky (M),Pacific Energy Center, SanFrancisco, CAKeith Neves, Lumatech, SanFrancisco, CADoug Paton, The Watt Stopper,Oakland, CAGustav Sharvey (M), EgronAssociates, San Jose, CAWest Valley College, Saratoga, CAShaun M. WelchMidwest RegionBalu Ananthanarayanan (M),Wisconsin DOT, Madison, WIStephen E. Blackman (M), AmericanFluorescent Corp., Waukegan, ILDavid Bray (M), SPI Lighting Group,Lisle, ILKevin R. Luebbe (M), MorrisseyEngineering, Omaha, NETimothy F. McJilton, ElectricalDesign Systems, Corp., Aurora, ILJames G. Richter (M), TAT LightingCo., St. Louis, MOSoutheastern RegionThomas A. Baldwin (M), AutomationSystems PLLC, Fletcher, NCGary H. Lott (M), The LPA Group,Inc., Columbia, SCJohn Jordan (M), Owens andAssociates, Mt. Pleasant, SCRamon H. Flores (M), The StellarGroup, Jacksonville, FLStephen T. Prior (M), Holophane,Orlando, FLRicardo Elias (M), Orlando, FLMichael A. Rossman, The HaskellCompany, Jacksonville, FLScott M. Scheublein, LakelandElectric, Lakeland, FLVernon L. Ford, Orlando UtilitiesCommission, Orlando, FLNorth Carolina State University atRaleighDwayne Clarence GillNortheastern RegionJohn P. Duarte, National LightingCompany, Belleville, NJBrian L. Fitzsimmons, LightscapeHudson Valley, Inc., Harriman, NYMichael J. Higgins (M), Fletcher-Thompson, Inc., Shelton, CTSteven Johansen, Lite Control,Hanson, MAH. Mardini (M), RES Engineering,Hudson, MABrian A. Matthews, BriHopeAssociates, Inc., Concord, NHCologero Patti, Edward & Zuck,New York, NYKurt W. Roth, TIAX LLC,Cambridge, MAJosef Sinko III, Consultant,Irvington, NYBoris Viner (M), HumatrackCorporation, Avon, CTBjorn Von Schlebrugge (M),Northern Lights,New York, NYMichele S. Walser, Lighten Up,Pittsfield, MAFashion Institute of TechnologyGustavo GilParsons School of DesignTali Ariely, Irene Benjumea,Jennifer Y. Chuang, NattanunChuenjai, Shiri Cnaani, Stephen W.Horner, Emily M. Hume, I-ChunHung, Ji Hye Hwang, EunkyungKim, Yeon-Jung Kim, Lesley-Anne P.Kondo, Hyo-Jeong Lee, Jeong MinX. Lee, Li-Wei Lu, Hilla Mayer,Maria B. Ochoa, Gi Hyun Park,Sevastides Pelopidas, Seung CheolRyu, Eunjeong WangNorthwest RegionMary A. Davis, Cascade LightingRepresentatives, Portland, ORIhab Elzeyadi, University of Oregon,Eugene, ORJohn O. Renn (M), Espress ImagingSystems LLC, Seattle, WASouthwestern RegionEdward Y. Dabbs (M), MarineOffshore Electric Services,Houston, TXJesse L. McCoy, Carter & Burgess,Inc., Fort Worth, TXMonica A. Rasmussen, FoothilsLighting and Supply, Evans, COJohn B. Roach III, Carter andBurgess, Houston, TXFrederic M. Sobering (M), DS Arts,Dallas, TXRuth A. Sulzer, IBM, Austin, TXJames E. Watson (M), Denver, COSouthwest Texas State UniversityCrystal MontelongTexas A&M UniversityMaria Isabel, Betina G. Martins-Mogo, Candace D. RomeroTexas Christian UniversityTracy L. NullUniversity of HoustonCrystal Granger, Brent Legendre,Shiou TengUniversity of North TexasAfrin NazForeignJose J. Almeida, SLI, Lisbon,PortugalJeong Keunyoung, Maltani LightingCorporation, Soul, KoreaSushant School of Art & Architecture,New Delhi, IndiaAnupam JainUniversity of Leicester, UKL. Michael KatzbergUniversity of Nis, Faculty of ElectronicEngineering, Nis, YugoslaviaDragan D. Vuckovic36 LD+A/May 2003 www.iesna.org

Natural Resources CanadaHonors LedaliteWith Energy AwardNatural Resources Canada named Ledalite ArchitecturalProduct winner of an energy efficient award for its officelighting technology, Ergolight.“Ergolight is an excellent example of Canadian innovationand achievement in the field of energy efficiency andit offers a solid contribution to Canada’s efforts to reducegreenhouse gas emissions that contribute to climatechange,” says Neil MacLeod, director general for the officeof energy efficiency.Ergolight integrates occupancy sensors, daylight sensorsand computer-based dimming controls. Its popularityis based on the significant savings in the energy costs itprovides coupled with user control features allowing individualoffice workers to set the desired light level in theirworkstations via their personal computer.Customers using the Ergolight system have experiencedsignificant decreases in energy consumption, in somecases up to 80 percent. Ergolight has also increasedemployee satisfaction rates due to its personalized natureand the reduced glare levels achieved through its design.Ergolight has been installed in more than 2.5 million sq ftof office space throughout North America. Ledalitereceived the award from Natural Resources Canada at aceremony in Ottawa.Girl Scouts Discover LightWade Lighting Design has collaborated with the GirlScouts—Totem Council, Seattle, WA, to produce a two-hourworkshop on the science of light, as part of an ExploreScience Patch Program. Lighting designer Beth Wade,IALD, IESNA, worked in conjunction with Stephanie Lingwood(science and arts program manager, Girl Scouts—Totem Council) on the project.The interactive, hands-on workshop, entitled “DiscoverLight,” allows girls to explore the science of light andinvestigate the links between light, physics, physiologyand more.The workshop is based on a school assembly program,“A little LIGHT science” recently developed by Beth Wadeto introduce the science of light to elementary school children.Girls undertake a number of activities, including makinga prism out of a tub of water and a mirror, becoming abeam of light traveling through two sheets of colored gelsto understand subtractive mixing, wriggling a rope througha picket fence to learn about wave lengths and bouncing aball to understand the laws of reflection.In other activities, girls learn about adaptation and relativityof color and intensity, the Logarithmic Law of Sensationand color theory. At the end of the workshop girls earna patch for their Girl Scouts uniforms. All of the activitiesand experiments can be done with flashlights, colored cellophaneand other household items, so that they can berepeated within the troop, at home or in the classroom.www.iesna.org

EQUIPPEDFORSUCCESSA round-up of museuminstallations illustrates howclever design schemesand proper product specificationcan combine for a successful project.Chinese Galleries at theMetropolitan Museum: FiberOptics are inserted into the glassdisplay cases at the ChineseGalleries in New York’sMetropolitan Museum to highlightthe intricate pieces on display,while giving out minimumheat and UV rays.The delicate balancing act between conservationand effective display can be the bane ofdesigners responsible for lighting museumsand art galleries. In many ways these two requirementsconflict: how do you restrain lighting levels topreserve the pieces on display and still provide sufficienthigh quality light for optimum viewing conditions?It’s certainly not easy; in fact the process oflighting design is a game of checks and balances.38 LD+A/May 2003 www.iesna.orgwww.iesna.orgFlotilla: The Flotilla exhibit inthe Daylit Gallery at the MaritimeMuseum in Cornwall uses speciallyadapted HID Source Fours. Thesharp, bright focus illuminatesthe key aspects of the sails.Lighting a museum isn’t dependent onany one factor, and the lighting designerneeds to look at how each factor workstogether.The designer needs to consider allaspects of light within the display areaand then specify the best equipmentavailable. But what is the best equipment?Is there one light for one job?Unfortunately not. If there were, it mightmake the job of a lighting designer infinitelyeasier... but definitely more boring.While major strides have been made inlamp technology, they’re not generallyaimed at creating perfect color rendering—atleast not the high quality weexpect at museums. Instead, they’regeared more towards higher energy efficiency.Having said that, it is possible toachieve good lighting. However, effectivemuseum lighting is not just about whatclever schemes designers come up with,but also which products they specify.Everyone who’s ever been to a museum—ina professional or lay capacity—will agree that goodlighting is the difference between an exciting and invigoratinggallery and a dull one; the difference between repeat visitsand a one-time look around; the difference between a successfulexhibition and a failure. It can help the visitor appreciatebetter not only the exhibits but also the museum itself.Poor lighting isn’t meant simply in terms of there not beingenough light, although that can be one factor. But it can referto anything that leaves the exhibits at risk, either from fadingfrom excessive light or at risk of physical damage fromvisitors’ clumsiness if lights are glaring or too dark.Museums world-wide house priceless items, ancient relicsof the past, and while these artifacts may have survived forthousands of years buried underground, it’s once they cometo light (quite literally) that their care and preservation reallyhas to be considered. Of course the viewer’s pleasure isimportant but unless items are looked after and preserved,there won’t be anything to attract the viewer in the first place.From a conservator’s point of view, as little light as possibleis the ideal, but for the exhibitor, more light is needed forthe full appreciation and enjoyment of the works. Most ofthe early work on light exposure took place at the NationalGallery in London, England, and although recommendationsvary slightly from country to country, there’s broadagreement on the best solution. For extremely sensitiveitems, lighting should be kept to approximately 50 lx/4.65 fc,while items described as moderately sensitive should stay atabout 200 lx/18.6 fc.So how does the industry work around these challenges?How do you illuminate highly sensitive, often intricateLD+A/May 2003 39

Set Sail: The interactive elementsof the Set Sail exhibit in theDark Gallery at the Maritime Museumin Cornwall called on the use oftheatrical lighting in the shapeof ETC’s Source Fours.(opposite, bottom and near left)Long life and energy efficientsolutions appealed to theInternational; Spy Museum inWashington, D.C.items, while still ensuring maximum preservation? There aremany options the good designer can look into, from usingappropriate filtration on all window glass to tungsten or ultraviolet-reduced tungsten halogen lamps. LEDs are becomingincreasingly popular due to their low heat and UV emission,and another option, which was chosen by lighting designerZack Zanolli for the Chinese Galleries at New York’sMetropolitan Museum of Art, is the use of fiber optics.Fiber OpticSolutionThe Chinese Galleriespossess a vast collectionof artifacts—fromsmall jade pieces tolarge paper scrolls—allin all, a variety of verydramatic work. Becausethe artifacts are so fragile,they’re all displayedin floor-to-ceiling glasscases, providing Zanolliwith some very interestingchallenges. Hehad to consider howbest to protect theexhibits while still providingthe requiredlevel of illumination forthe very detailed piecesof work. The schemealso had to take intoaccount the change ofscale between the exhibitsand had to beflexible to give equalattention to both smalland large objects.Fiber optics can beexcellent in terms of preservation,eliminating UV and infrared in thesealed cases, while still maintaininga good color. In this particular application,Zanolli specified a series ofproducts from Lighting Services Inc.To illuminate the detail work, thefiber optics were sited inside theglass cases. The color correctedtungsten halogen fiber optic lightunit, which utilizes a 71 watt MR16 lamp, enabled Zanolli tomaintain good color with the ability to dim down to appropriatelevels. The combination of equipment and cleverdesign eliminated UV while providing a strictly visible light.Ken Kane, Vice President of Research and Development atLighting Services Inc, New York City said: “The beauty of thefiber optic is that it can be controlled to such a degree that itallows the designer to highlight very specific details. It pro-40 LD+A/May 2003 www.iesna.orgvides a very intimate light, which is ideal with small piecesand especially good with case work.”Lamp SpecsThe importance of lamp specification must be made veryclear from the start. While the stereotype of museums is thatof ancient artworks by the masters, these days other concernscome into play, especially with the emergence of moreinteractive types of museums, which require an almost theatricalstyle of lighting. This type of museum doesn’t justtempt the viewer into playing an active part in the display,but positively encourages it.Visitors to such museums are sometimes taken on a journeythrough time and often required to step into the exhibition,to touch, to watch and to sense their surroundings. Thevisitor plays a vital part in making these exhibits work andvisiting these museums is no passive activity. Consequently,employing the same type of lighting systems used in theaterproduction would seem to make sense. Ellipsoidal lampssuch as the ETC Source Four are prominent fixtures in thetheater world, favored by lighting designers for their abilityto provide anything from a soft glow to a sharp focus. Easyto control and fade due to the tungsten element and emittingvery little noise, ellipsoidal lamps are making a smooth transitionfrom the stage to the museum.The Galeria con Ludovico in Parma, Italy, for example, iscompletely outfitted with Source Four fixtures, while theFalmouth Maritime Museum in Cornwall, England hasinstalled Source Fours in two of its galleries where theatricaland interactive effect are of vital importance. Described as “awww.iesna.orggateway to the maritime world,”the museum offers unique andinteractive displays of boats andtheir place in people’s lives.Lighting designer Kevin Theobaldfrom Maurice Brill LightingDesign, London, UK said: “Forthe most part, the museum’s fittedwith conventional exhibitionlighting equipment, but fortwo of the galleries, the DarkGallery and the Daylit Gallery,more sophisticated lighting systemswere needed. Dimmingcontrol is an important aspect ofthe exhibit, especially for theDark Gallery show, an immersiveexperience using video,audio and lighting, spotlightingindividual boats in turn so linkingthe exhibits to what’s happeningon the screen.”More than 120 various Source Fours were installed at theMaritime Museum, including 43 special Source Four jr.Zooms, which were modified to act as High IntensityDischarge (HID) fixtures in the Daylit Gallery, provide apunchy, bright focus to draw the attention of the viewer todetailed aspects of the exhibits. Low wattage HIDs havegiven designers and specifiers not only an energy efficientalternative to incandescents but also a much longer lamp life.Changing lamps thus results in less disruption and replacementcosts are also reduced.LEDs Gaining GroundWhile more and more fixtures are able to offer long-lifeand cost effectiveness, the use of LEDs in museum applicationsis becoming increasingly popular. Their benefitsinclude little heat emission and a virtual elimination of UVrays. The lifespan of the LED can be up to 100,000 hours—ideal both for permanent exhibitions and also for museumslooking to cut down on cost and maintenance. With thesefactors being of major importance at the International SpyMuseum in Washington, D.C., lighting designers opted for aseries of CHIP LED products from OptiLED. The museum,which houses more than 600 international espionage artifacts,features interactive exhibits about disguise, surveillanceand threat analysis to get its message across.One of the big advantages of LEDs is that they generatealmost no radiant heat, a factor which helped to solve a bigproblem at the International Spy Museum: the original displaycabinet lighting was generating heat during the day

an art in itself and the lighting designers are the artists whomust choose the best tools for the job. Whether creating dramaticillusions or simply enhancing the key aspects of a greatpiece of art, successful lighting—getting each and every factorspot-on—can make or break not just the museum experience,but the reputation of the museum too.The good news is, designers can have their cake and eat ittoo. First-class lighting can indeed go hand in hand withfirst-class preservation and there is equipment out there thatsucceeds in achieving excellent color rendition, while stillmaintaining a low temperature.—Sarah Humphries, Contributing WriterWall Washing at the Norton Simon: “ Our challenge was to bring out the luminous quality of this classic art collection without reflected glare, distractingscallops or frame shadows” (Lighting designer, Paul Zaferiou)then, when it was turned off at night, the air in the cabinetscooled down, sucking in air and dust from the outside. Thismeant the cabinets and display items needed frequent cleaning,both to maintain a good display, but also to stop deteriorationof the exhibits. Changing to LED lamps eliminatedthese problems by ensuring the display cases maintained aconstant temperature 24 hours a day, as well as reducing airconditioning requirements. Thus overheads in both lampreplacement and energy bills were reduced at a stroke, whilethe long life of the lamps—up to 11 years continuous use forred lamps—means maintenance costs are also reduced. Aside benefit is also a decrease in security costs. When conventionallamps need replacing, the operation often requiressecurity supervision, particularly for high value objects.OptiLED’s John Nylander, Irvine, CA explains: “One applicationfor our lamps at the Spy Museum is back-lighting alarge graphic which originally used 80 x 100-W incandescentlamps. The museum was replacing the graphic every sixmonths due to damage caused by the heat generated by thelamps. We replaced them with 80 Festival Series LED lampsat 2-W each, thus reducing the power consumption by 98percent.”While factors such as preservation, color rendering andtemperature, cost and maintenance all play vital parts inlighting exhibits, it’s important not to forget the importanceof achieving the right level of light within the museum itself.Designers not only have to consider the shape of the room,but also its design, décor and the amount of natural light thatis allowed into the room. The success of a museum, whetherit houses traditional art pieces, or more robust modern-dayitems, relies just as heavily on getting these things right as onthe exhibits. Too much light outside a glass display case, andnot enough inside, will not only create problems with glare,but will also draw the viewers eye away from the exhibitthey’re meant to be looking at.Integrating Light and ArchitectureProblems can also arise when details of the building ¡itselfpose a challenge. Such was the case at the Norton SimonMuseum in Pasadena, California. With interiors designed byFrank Gehry, the museum houses work belonging to theclassical masters, so the approach to lighting was very important.The most vital aspect for designer Paul Zaferiou waslaying down the initial level of lighting through wall washing.This was critical, both because of the architecture of thebuilding and because of public lighting. Pale colored bandson the walls and floors would attract the eye of the viewer ifall had been lit at the same level. Zaferiou used a customdesigned wall wash fixture which utilizes a halogen T3 lampfrom Lighting Services Inc, washing certain parts and minimizingthe amount of light falling onto the paler spaces, givingthe viewer a sense of brightness while preventing thearchitecture from upstaging the works of art.Museums can no longer be classified under one heading.Today there are a greater variety of museum types, each onetelling its own story, with distinct collections and presentationmethods. The time when the exhibits were consideredthe only stars of the show has passed – today the visual environmentsurrounding the art and artifacts plays an importantsupporting role, to such an extent that the lighting may be asmuch a part of the visual experience as the objects on display.New methods of presentation by exhibition designersare forcing lighting specialists to look beyond the traditionalbody of museum lighting approaches and techniques.Obligations to the museum, its architecture, the collection,the maintenance staff and the all-important viewers areextensive, but it’s also vital to understand that museums areconstantly changing.Museums of previous centuries were nothing other thangloomy rooms housing dusty collections. The atmospherewas studious—the museum was a place to learn, not toenjoy. Fortunately, exhibition designers have awoken to therealization that it is entirely possible to learn and have fun atthe same time. In fact, the slogan “seeing is believing” ishelping designers realize that actually witnessing somethingin action is the most effective way of teaching adults andchildren alike of the exhibit’s place in society—past, presentor future. We must not forget that achieving good lighting is42 LD+A/May 2003 www.iesna.orgwww.iesna.orgLD+A/May 2003 43

INVISIBLEDESIGNPHOTO: TIMOTHY HURSLEYPHOTO: DALE BOYCESubtle and self-assured,the Milwaukee ArtMuseum createsan unforgettableimpression on the banksof Lake MichiganSitting on the shores of Lake Michigan,the Quadracci Pavilion appears ready tosail across the waters. Combining cutting-edgetechnology with old-world craftsmanship,architect Santiago Calatrava hasproduced a graceful and futuristic addition toEero Saarinen’s Milwaukee Art Museum,expanding the available exhibition spacefrom 90,000 to 117,000 sq ft. (a 30 percentincrease in overall gallery space).Some of the design inspiration for themuseum expansion comes from the lakefrontitself. Movable steel louvers resemble thewings of a bird and the Reiman Bridge, a 250ft long cable suspended pedestrian crossing,links downtown Milwaukee directly to thelakefront and museum. Its soaring mast wasinspired by the form of a sailboat. The blendof white concrete and glass creates an interplaywith lights and shadows that reflects onthe Carrera marble floors visually suggestingthe effect of light on water.In a design free of traditional architecturalinfluences, Calatrava portrays both ancientand futuristic design.The Quadracci Pavilion’s spectacular 90 fthigh glass-walled reception hall, enclosed bythe brise soleil (atrium covering the receptionhall of the museum), has a state-of-the-artmoveable sunscreen that can be raised or lowered,creating an astonishing moving sculpture.The raising and lowering of the brisesoleil controls the temperature as well as theamount of light let into the structure. Whenthe reception hall’s wings are open, lightemanates from within the glass structure. Thelighting design for the reception spacerequired to delineate the architectural volumeAs an addition to Eero Saarinen’sMilwaukee Art Museum, architectSantiago Calatrava’s uniquedesign created an array of lightingdesign challenges.44 LD+A/May 2003 www.iesna.org www.iesna.orgLD+A/May 2003 45

fills the room in addition to the accent lighting of large andsmall sculptures.Calatrava’s unique structure created many lighting designchallenges. The lighting couldn’t disturb the rhythmic experienceof the spaces, yet needed flexibility for the nature of temporaryexhibitions. Equally difficult, the lighting team had todevelop strategies to control the daylight levels. Finally,recessed technology was redeveloped for today’s luminaires toperform within this medium.The lighting design team includes lighting designer GeorgeSexton III, of George Sexton Associates, Washington, DC; electricalengineer, Dale R. Boyce, Ring & DuChateau, Inc.,Milwaukee, WI and David Kahler, local architect and one of theoriginal designers of The Milwaukee Art Museum, and presidentof DK Consulting, Milwaukee, WI.During early planning meetings, Calatrava suggestedEdward Hopper’s well-known painting Nighthawks at the Dineras an inspiration for the lighting. “If you look at the painting,the glow of the diner is what you see. You don’t see any lightingfixtures in the diner. You see the warm inviting glow,” saysGeorge Sexton. The designers did not want to draw attentionto the lighting or the fixtures. Like the building itself, thedesigners wanted the lighting to look quiet and self-assured.The secret was to not have a lighting system that was selfconscious.In other words, the building doesn’t say, “look at mebecause I’m lit.” Both the building and the lighting weredesigned to harmonize. Calatrava designed the main part of thestructure (the lower horizontal portion) to emulate a lantern,with the wings on top lighted from below. They were not lightedfrom a distant point, similar to stadium lighting. They providea very subtle illumination whereby the light sources arenot visible. The result is that you’re not calling attention to thelighting but to the building’s surfaces.Exterior lightingThe exterior lighting of the building needed to be as flexibleand seamless as the gallery lighting. With the sculptural natureof the architecture, the lighting design adapts and adds to theexcitement of the building. Line and low voltage adjustable Par56 accent luminaires are concealed within the concrete. Thelighting can project into the reception space or recess into thearchitectural fabric.The designers washed the architectural surfaces withPar38 and Par36 tungsten halogen wall-washers allowinglight to bounce onto other surfaces. Nothing was evenlylighted. Certain surfaces were used as secondary choices forillumination.The museum’s internal illumination turns the building into aPHOTOS: JIM BROZEKglowing beacon in the city’s skyline. To achieve the museum’snighttime identity, all interior vertical surfaces are illuminatedwith tungsten halogen luminaires. This allows the building’sskeletal sculptural structure to breathe light through all of itsapertures.The lighting track system is recessed flush into the ceiling ofthe main gallery and gallerias. The lines of lighting track arelocated to best illuminate the space inaddition to numerous exhibitionpossibilities. The Par38 and Par36tungsten halogen wall-washer andobject fixtures were specified to renderany exhibition scenario.Due to the continually changingrequirements of each new art exhibition,the lighting had to be accommodatingand adaptable, so thatregardless of the size, shape or locationof the art it could be illuminatedproperly.UV rays can destroy art, so controllingdaylight was a major concern.The architect looked at thisbuilding in its entirety as a light modulator,modulating both natural illuminationand artificial illumination.This was a groundbreaking experiencefor the designers, in that theywere able to combine both of theseelements extremely well.The day lighting controlling systemwas comprised of 13 differentzones. Several different dimmingsystems help in daylight harvesting,and cut down on the heat load. ALutron 6000 system was used forcontrol of the building, the site, aswell as several of the galleries insidethe existing facility. An active daylightsensor is tied into the dimmingsystem in the reception area and canbe set up to dim or to bypass that(opposite page) The exterior lightingaccents the sculptural lines of thebuilding, while the internal lightingturns the museum into an illuminatedbeacon on the lake’s shoreline.(this page) The lighting for the receptionspace utilized the illumination of thearchitectural volume in addition to theaccent lighting for the sculptures.feature if someone wished to use full light.The daylight zones in the parking garage are on a stepswitchedprogram, because of the significant amount of daylightthat penetrates the garage from both the east and westside. Vertical surfaces of the garage are bathed with daylightthroughout the day and washed with metal halide wall-washersat night. The wall-washers are accessorized with color cor-46 LD+A/May 2003 www.iesna.orgwww.iesna.orgLD+A/May 2003 47

(left and below) When the receptionhall’s wings are open, the structureemanates light from within.(opposite, top) All interior verticalsurfaces are lighted with tungstenhalogen luminaires.(opposite, bottom) The vertical surfacesof the parking garage are bathed withnatural light during the day, andilluminated with metal halide wall-washersat night. The wall-washers use colorcorrecting glass to match thetungsten halogen light, to keepthe garage integral to thebuilding’s night-time image.PHOTO: TIMOTHY HURSLEYPHOTO: JIM BROZEKrecting glass to match tungsten halogen light. The garage isintegral to the museum’s nighttime identity.Construction innovationWhile the building was under construction the lightingdesigners considered illuminating the mast and cable stays ofthe pedestrian bridge, but the surrounding area of the city producesa lot of ambient light and the white surface of the structurereflected this light. After experimenting with mock-ups,they decided to scale back and “under-light” the bridge.The technology continued to evolve during the designprocess. The fixtures they ended-up using on the brise soleilwere not available when they began the design. According toelectrical engineer Boyce, the team discovered the fixtures atLIGHTFAIR INTERNATIONAL 2001. They used a 39 W anAAL (Architectural Area Lighting) Oculus precision floodlightfixture, ceramic metal halide lamp on an adjustable axial fixture(parabolic reflector with anaxial lamp orientation). Thebeauty of this fixture is that youcan adjust the beam angle from10 to 43 degrees, while in operation.They also used concentricring louvers, an external angledhood shield and asymmetricreflectors normally used outsideto cut down on glare, which weretucked along the brise soleil rail.As a result, the lights are inconspicuousduring the daytime.The brise soleil is a spectacularfeature of the building. After creatingdozens of mock-ups on itand on the bollard and the benchlights and the step lights, etc.,they decided instead to experimentwith the building at varyingstates of construction.According to Sexton, “Welearned something on this project,which is that you really don’t know exactly what to do untilparts of the building are actually constructed. A computermodeling would not have given all the information needed inorder to solve the lighting problem of the building.” The lightingteam followed a process similar to the one used by thearchitect, learning from the actual construction itself. “There isa point in time, when a certain amount of the construction iscompleted and you can actually work on that completed portion,and figure out what to do next, rather than just look at iton paper,” Sexton states. They could not figure out what kindof lighting to put under the brise soleil until it was in place. Atthe same time they had discovered new fixtures, which had theflexibility of being rotated and moved around, so they coulddetermine how to illuminate it. By taking this approach thedesigners were able to avoid making mistakes and so theyended up solving the problem efficiently. Boyce states,“Generally, so much work is done on paper and on the com-48 LD+A/May 2003 www.iesna.orgPHOTO: JIM BROZEKPHOTO: JIM BROZEKputer. The designers will try to visualize or look at other projects.However, when you look at a form as complex asCalatrava’s, there is almost no other way to understand it. It issuch a subtle building, such a subtle shape. The trick is not toover-light it, but to find the right balance.”“When one goes to Asia, people think more about shadows.In Western mentality we always think about over-lightingthings.” Sexton comments.Original museum architect Kahler muses, “Calatrava studiedhuman skeletal structure, animal structure, bone-structuresand so forth, hence, this building has a very organic look andit requires a different kind of lighting. It’s different from tryingto illuminate a square or a rectangular box or a mazion type ofbuilding.” One would illuminate these spaces from the insidewhere it has rectangular spaces or from the outside where it hasa rectangular shape. Illumination of those kinds of surfaces isvery different from the curved surfaces that you find in thisbuilding. These shapes require a different convention orapproach to illuminating. “The analogy would be to comparephotographing an inanimate object as opposed to the humanform,” says Kahler.“Working on any other project where the form is not as complex,it normally takes the computer 12 to 18 hours to run onelighting effect. So with a building as complex as the MilwaukeeArts Museum it would be almost impossible to use the computer,”states Boyce.Benefits to the end-userMaximizing daylight benefits the owners in terms of energyconservation and maintenance/operation requirements.www.iesna.org

PHOTOS: JIM BROZEK(left) The reception hall’s wingsare closing.Inspired by this eloquent design, renowned landscape architectDan Kiley designed a network of gardens, hedges, plazas,and fountains to further enhance the visitor’s experience.Apparently, the expansion is striking a chord with the community.More than 500,000 people visited the museum during itsfirst full year of operation.—Roslyn LoweFrom a flexibility standpoint, one of the features built intothe gallery lighting is also tied into the master control systemthroughout the relays, so the user can reprogram the tracks inany of the galleries in the museum, or reprogram the fixtures inany of the media rooms or auditorium, dining room, etc. Eventhe outdoor lighting can be reprogrammed. It’s initially set upinto several different scenes. But as the use of the space changesit is very simple for building management to go in and programthe system for weddings, receptions, concerts and even funerals.They can easily override the controls for those kinds ofevents.The lighting design for the museum shop is identical to themain gallery. This reinforces the repetition of the buildingmodule in addition to the need for the museum’s gallery spaceto continue to expand.The designers: Lighting designer:George Stuart Sexton, III, IESNA,IALD. Sexton is principal ofGeorge Sexton Associates, Washington,DC, established in 1980,providing consulting services inthe areas of architecture, lightingdesign, and museum services, programming,exhibition and lighting. From 1978-1980 hewas chief exhibitions designer and head of design andinstallation at the Fine Arts Museums of San Francisco.From 1977-1978 acting keeper, responsible for designproduction and lighting of permanent installations at theThe University of East Anglia, Sainsbury Centre for theVisual Arts, Norwich, England. From 1973-1977 Sextonwas installationist museum specialist at the NationalGallery of Art, Washington, DC. He was a lighting consultantwith Claude R. Engle, Lighting Consultant,Washington, DC., from 1971-73. He holds a Bachelor ofArts from Virginia Polytechnic Institute and StateUniversity, Blacksburg, VA.Electrical Engineer Dale R. Boyce, PE, LC joined Ring &DuChateau, Inc. in 1994. He is a senior project managerin the Electrical Department. He designs lighting, controls,power and communications systems. Boycereceived his BS in Electrical and Electronics Engineering from North DakotaState University, Fargo, ND in 1972. He obtained his LC, in 1998. Boyce joinedIESNA in 1977, and is active in the Milwaukee Section and is a past section president.He has been intimately involved with the design and construction of allelectrical systems in the Calatrava Addition for the Milwaukee Art Museum.Architect Santiago Calatrava was born in Valencia, Spain, where he studied artand architecture, with graduate courses in urban studies and civil engineering.He has a Ph.D. in Technical Science from Swiss Federal Institute of Technology,and honorary doctorates from the University Polytechnic Valencia, University ofSeville, Heriot-/watt University in Edinburgh, Scotland and Milwaukee Schoolof Engineering. Calatrava lives in Paris and has architectural offices in Zurich,1981, Paris 1989 and Valencia, Spain.Local Architect David T. Kahler, has a prestigious list of honors and credentials.He has practiced architecture for more than 40 years and has been recognizedby his peers as a Fellow of the American Institute of Architects. Kahler foundedDK Consulting in 2001 and serves as president and design advisor. He supervisedand designed the original Milwaukee Art Museum, as well as the currentCalatrava addition, among countless other projects. Kahler is registered in thestates of Arizona, Colorado, Florida, Illinois, Indiana, Iowa, Maine, Massachusetts,Michigan, Minnesota, Missouri, Montana, Utah, Wisconsin and isNCARB certified. He holds a Master of Fine Arts in Architecture, PrincetonUniversity, 1962; Bachelor of Architecture, Syracuse University, 1960.50 LD+A/May 2003 www.iesna.org

MUSEUMMUSINGSMembersof IESNA’sCommittee onMuseum andArt GalleryLighting holdcourt on designchallenges,new technologyand standardsdevelopmentin thisQ+A paneldiscussion.From historical documents to priceless art to sportsmemorabilia, museums run the gamut and their contentsare always changing. But the classic Catch-22 ofmuseum design remains the same: How do we balance theneed for effective lighting of exhibits with the need to protectthe exhibits themselves? In this LD+A “e-roundtable” paneldiscussion, two members of the Society’s Committee onMuseum and Art Gallery Lighting took time out to fieldquestions about the current state-of-the-art in museum lightingand design. The panelists areRichard Rummel, LC, exhibits lighting designer, MinnesotaHistorical Society, who for the past 12 years hasdesigned lighting and supervised its installation and maintenancefor the exhibitions and multi-media “object theater”productions produced by the Society at its museums andhistoric sites.Christine Wilson Kesner, Ph.D., LC, professor, IndianaUniversity of Pennsylvania, Department of Human Developmentand Environmental Studies, who teaches classes inlighting and interior design; conducts museum lightingresearch; and maintains a private lighting and interiordesign practice.Here are some of their musings on museums:LD+A: Traditionally, there has been concern about museum andart gallery lighting and the potential degradation of materialscaused by exposure to light. How are institutions addressing this?Is there anything new on the horizon in terms of technology ordesign strategy?Kesner: Several studies give valuable insight into the natureof artifact preservation. Field evaluations of 39 galleries (exhibitspaces) indicated that excessive illuminance was the majorartifact preservation problem in both day lit and electrically litgalleries. It is an especially important issue for temporary exhibitionspaces. Two separate polls of nearly 375 museum lightingdecision-makers revealed that although artifact preservationwas consistently the primary concern, a majority of decision-makerswere confused as to the relationship between artifactpreservation and the daylighting system. Interestingly,although the issue was very important to decision-makers, itwas not the major museum lighting problem for visitors.Museum personnel and designers must be educated aboutthe critical relationship between artifact preservation and daylightmanagement, including various electrical light and daylightcontrol options. Recent technological advances in lightcontrol devices now provide remote and “smart” controls integratingelectrical and daylight systems suitable for retrofit ornew installations. Likewise, innovative glass technologiesincluding photochromic glass (changes from transparent toopaque when exposed to UV wavelengths) and electrochromicglass (similar changes activated by a control switch that areoperated manually or automatically with a photocell) alsoexist to effectively control daylight. Although sophisticatedtechnologies are available, many are not affordable for small tomedium sized museums and art galleries. However, strategiessuch as building orientation and shape, overhangs, and apertureplacement (windows, doors, and skylights) can be cost-52 LD+A/May 2003 www.iesna.org

effective if considered early in the architectural design process.Thoughtful interior space planning can also help addressthe problem—for example, placing light sensitive collectionsin areas where there is no natural light or in “micro-environments”(niches) where light can be controlled more easily andinexpensively. Finally, institutions must actively educate visitorsas to the need for effectively protecting artifactsRummel: New methods include Dichroic UV filters, dimmingcontrol systems and lux/hour monitoring systems.LD+A: What about photography of exhibits? Is this somethingthat’s top-of-mind in the industry?Rummel: I think it is something people are concernedabout, but unless you are at a major national museum with asteady stream of picture snapping visitors; lux/hour exposurecaused by a flash is not of great concern to the artifacts. Theproblem is the disturbance the bright flash causes the other visitorsin a dim gallery.LD+A: Let’s discuss light intensity and duration of exposure. Whatare the implications for artifact protection?Rummel: I am a strong advocate of the lux/hour methodof exposure monitoring. This technique gives museums witha fluctuating visitor flow the ability to illuminate artifacts toa higher level than has been traditionally done in the past. Itcan also greatly extend the time artifacts are on display byusing systems to turn the lights down or off when there is noMany decision-makersworking in small tomedium size museumswith limited resources arenot getting the lightinginformation they need to makeeffective decisions. Several factorsmay account for this. Decisionmakersare diverse and theirtraining in lighting may be limited.They typically wear many hats.—Christine Wilson Kesnerone looking at a case. The Minnesota Historical Society hassystems that log the time the lights are on and at what intensity.The information is downloaded into a collections managementsystem that keeps track of the total exposure of allthe artifacts on display. It also calculates projected rotationdates by subtracting the lux/hour total for the logging period;say a month, from a lux/hour budget determined by theconservation department.Kesner: Light intensity and duration of exposure are two ofthe most important aspects of artifact protection. Understandingtheir reciprocal relationship can help decision-makersexplore suitable lighting alternatives. Quite simply, for a givensource, total light exposure on an artifact is the product of lightquantity (intensity) and the time (duration) of exposure. Thus,an artifact exposed to 40-W per square meter for five hours isI get very frustrated whenI am told the maximumlevel of illumination for anartifact is 50 lux withoutany more reason than thepiece is a textile.—Richard Rummelequivalent to the object getting 10-W per square meter for 20hours. In either case, the artifact is exposed to 200-W hours persq meter. In short, more light can be used if exposure time canbe reduced. Numerous options are available to limit light exposuretime, including occupant sensors, window shades andviewer-controlled devices such as lids, louvers, draperies andscreens. Daylight on light sensitive artifacts must be blockedwhen the museum is closed.LD+A: What is happening in the way of standards or best practice/recommendedpractice for museum lighting?Kesner: Publication and subsequent ANSI standardapproval of the RP-30 IESNA Museum and Art GalleryLighting Recommended Practice (IESNA Museum LightingCommittee, 1996) was a progressive step toward recognizingthe unique concerns in lighting exhibit spaces. A revision willsoon be underway. RP-30 is a comprehensive reference thatshould be in the museum lighting decision maker’s library.Other valuable references include the IESNA LightingHandbook (Rea, 2000) and Lighting for Museums and ArtGalleries), published by the UK-based Chartered Institution ofBuilding Services Engineers (CIBSE, 1994).Rummel: In order for RP-30 to continue, it must be periodicallyrevised. It’s now over seven-years old and it is time to takeinto account the changes in technology, design and conservationpractices that have occurred since the document was firstdeveloped. Museums and their exhibition styles have evolvedand artifacts are being displayed in variety of ways, which thenew RP needs to address.LD+A: If you were to pinpoint one design and/or technical challengevis a vis museum lighting, what would it be?Rummel: The design challenge is meeting both ADA andconservation requirements. The technical challenge is to developaccurate assessments of the sensitivity and fade rates of artifacts.I get very frustrated when I am told the maximum level54 LD+A/May 2003 www.iesna.org

of illumination for an artifact is 50 lux without any more reasonthan the piece is a textile. Each piece fades at a different rateand most have already faded to some extent and they will notkeep on fading at the same rate. Using a blanket low levelrestriction does a disservice to our visitors.Kesner: One of the greatest challenges I see is to deliver current,research-based information to practitioners in a convenientand easy-to-read form. Many decision-makers working insmall to medium size museums with limited resources are notgetting the lighting information they need to make effectivedecisions. Several factors may account for this. Decision-makersare diverse and their training in lighting may be limited.They typically wear many hats. Museum lighting guidelinesmust be written for the non-technical reader and publishedwhere practitioners are likely to see it, e.g. trade publicationstargeting museum personnel, facilities managers, architectsand interior designers.Information must not only be easy to understand and convenientlyaccessible, but also based on objective data. Museumlighting guides therefore need a research basis along with consensusof experienced practitioners. Further, the informationcurrently available typically reflects a limited perspective.However, the priorities of various constituents, including visitors,should be represented.LD+A: Final thoughts?Kesner: My recommendations for the lighting communityinclude:• Sessions at professional meetings targeting museumpersonnel, facility managers, architects and interiordesigners; topics to include low-cost solutions for effectivelighting with a focus on artifact preservation anddaylight management.• Cross-disciplinary collaboration by providing venuesfor museum directors, curators, preparators, electricians(and other personnel), architects, lighting designers,exhibit designers and lighting equipment manufacturersto discuss and appreciate mutual concerns.• Support of schools that offer inter-disciplinary curriculaand team-teaching opportunities to educate studentsabout lighting attributes affecting artifact preservation,artifact appearance and the importance of lighting togood visual quality.• Cross-disciplinary museum design programs to includeinterior design, architecture and biology.• Organizational and institutional support of rigorousmuseum lighting research, especially field studies.• Industry support to build facilities for testing museumlighting products and studying the needs of older visitors.—Paul Tarriconewww.iesna.orgLD+A/May 2003 55

Artist’s rendering of theplanned skyscraper.IF YOUMARKET IT,THEYWILLCOME‘Virtual tours’—supported bycomputerizedimaging andlighting presets—are being usedto market spacein a 52-storyskyscraperplanned fordowntownPhiladelphia.For real estate developers, a sluggish economy oftentranslates into an ultra-competitive leasing climate.Developers need to look for any edge when marketingspace, and Liberty Property Trust may have found just the rightone for luring tenants to One Pennsylvania Plaza, its $350 million,52-story office building currently under construction inPhiladelphia. When completed, the skyscraper will occupy adistinctive place in the city’s downtown skyline.The marketing strategy comes to life in a 9,000 sq ft salesoffice/showroom, where the company is marketing the newskyscraper through virtual tours. “They wanted a marketingoffice that was fun and different, more like a high-techPHOTOS: TOM CRANEView 156 LD+A/May 2003 www.iesna.org

View 2amusement park ride in a corporate marketplace,” saysAlfred R. Borden, IALD, president of The Lighting Practice,Inc., Philadelphia. “Light and video combine to create a virtualjourney through the building.” The Lighting Practicecollaborated with interior architects IA/Interspace to create ashowroom that mirrors their client’s corporate philosophy.Liberty Property Trust, Malvern, PA, was founded 30 yearsago by Willard G. Rouse III. Formerly known as Rouse &Associates, the publicly traded major commercial and industrialproperty firm now has 18 offices and a portfolio of over50 million sq. ft. in 10 states and the United Kingdom. “Overthe years, Liberty has cultivated the image that it providesthe best possible environment that can be offered to fit theneeds of the potential user,” says Borden. “They wanted adynamic presentation that would express how prospectivetenants could utilize high-technology for their own uses.”The office tower and an adjacent 16-story structure weredesigned by New York architect Robert A.M. Stern.Completed on a fast-track, three-month schedule, thesales office is housed within an existing building that is kittycornerto the One Pennsylvania Plaza construction site.Assisting Borden for The Lighting Practice was lightingdesigner Gail Beck; Jeff Morgan was the project manager forIA/Interspace, with Bill Krebs responsible for the interiordesign.Lighting the Virtual TourThe Lighting Practice and IA/Interspace translated theowner’s concept of an automated guided tour to encompassView 3View 4View 558 LD+A/May 2003 www.iesna.org

View 6 View 7the built interior space and the surrounding Philadelphiacityscape. Liberty’s representatives accompany prospectivetenants through an impressive suite of rooms fitted withsophisticated integrated video imaging and lighting systems.The Lighting Practice designed the architectural lightingelectronic control system and the interface with the a/v presentations,including cueing and dimming.“The lighting acts in support of the simulated tour,”Borden says. “Three-dimensional models and video introduceprospects to the future environment of OnePennsylvania Plaza. Our lighting program uses 48 dimmablecircuits in 32 preset scenes cued to video tracks. The lightlevel establishes mood, creates pathways, focuses attentionand helps to tell the story without diminishing the videoimages.”An audio/visual specialist and a technician from controlsmanufacturer Lutron Electronics Co., Inc. worked withBorden to establish the cues. An RS 232 interface codes andtransmits the signals initiated by the lighting system.According to Borden, the effect achieves “a sense of a smoothjourney.” Employing light and shadow and high contrastwith low-voltage lighting, the system establishes a mood ofexcitement and anticipation. The program’s multi-mediasequence helps visitors to build their own relationship withthe project and then to imagine themselves in their ownspace within the structure.Here, Borden leads LD+A readers through the same tourtaken by prospective tenants of One Pennsylvania Plaza:View 1: In the reception area, 65W MR-16 downlightsand wallwashers accentuate crisp forms and clean lines.Cove-mounted 3000ºK cathode tubes accent the curved ceilingand draw attention to the tour entry.View 2: Visitors are ushered from the reception area into the“Hall of Wishes.” Utilizing rear screen projection onto glass,life-size images representing typical staff members from futuretenant firms describe their optimum workplace. A control buttoncues lights and video to change a dim when pressed.Overhead, 65-W MR 16s draws visitors toward the first model.At the end of the corridor, the illuminated building model isdramatically framed through open double doors.View 3: Prospective tenants can examine a scale model ofthe building in a room featuring nine wall-mounted recessedTV screens and a floor-to-ceiling “window” depicting thesurrounding cityscape from each of the future floors. Thevideo view on the screen shown here is of the 30th floor.Accent lighting is beamed on the pedestal-mounted buildingreplica; cove lighting enhances the room’s soft warm neutralcolor scheme. Lighting simulates dusk around themodel. Dimmed T-5HO fluorescent uplights create the sky.Recessed 65-W MR 16s, focused and dimmed, add late afternoonshadows to the model. The lighting is stepped throughnight and mid-day as banked screens show 360 degree viewsfrom each floor of the building.View 4: The large lobby model opens for closer visitorexamination. The lobby model is hinged and opens like bigtrunk. Visitors are invited to look into the interior of themodel to get a feel for the scale and quality of the interiorspace.The lobby is a three-story winter garden that sits onthe south side of the building. Dimmed T-5HO fluorescentuplights and 65-W MR 16s are stepped through presets tosimulate daylight changes. From here, visitors are led intothe theater featuring a curved screen and individual upholsteredclub chairs.View 5: In the Viewing Room, visitors get a video tour ofthe project and a personal presentation from the marketingteam. Overhead, 65-W MR 16s accent the curved walls andpresenter’s area without diminishing the video image.View 6: After the video, lights dim up, the screen isretracted, and an actual view of the site appears. The videoends with a wipe to the right. It is timed to track with thescreen as it disappears into a pocket to reveal a window.View 7: In the sales staff’s office space, daylighting combineswith illumination from overhead direct/indirect fixtures.Marketing management offices are lighted with T5 fluwww.iesna.org

orescent and CFL sources. Uplights in each office provide45FC and have wallbox dimmer controls.According to Borden, Liberty’s decision to invest in highqualityfurnishings and lighting for their own marketingoffice enhances the visitor experience. “It shows how thespace can be transformed for the comfort and increased productivityof each tenant.”Lighting designer Alfred R. Borden IV, IALD, LC, IES, ispresident and founder of The Lighting Practice, Inc.,Philadelphia. Borden has over 20 years of experience inall phases of lighting design for the exterior and interiorof buildings in the U.S. and overseas. He earned aBachelor of Arts in Theater at Temple University and aMaster of Fine Arts in Theatrical Design from New YorkUniversity. His lighting designs have been honored withnumerous industry awards. He is a frequent speaker and writer on lighting.Borden is a past president of the Philadelphia Section of the IlluminatingEngineering Society of North America. He is serving a two-year term as directorof marketing and communications for the International Association ofLighting Designers. Borden’s recent projects include Arundel Mills (Md.) RetailEntertainment Center; Garden Walk in Makuhari, Japan; new facilities forPhiladelphia’s WHYY television station, and the renovation and expansion ofthe Houston Galleria.www.iesna.org

THEANATOMYOF ANEXHIBITThe Science Museum ofMinnesota demonstrates10 fundamentals of museumlighting designThe word “museum” covers a broad range of facility types.Although the contents of an art gallery, history or science museumdiffer greatly, their exhibits can only be viewed because ofthe light that illuminates them. While this common thread ties themtogether, there may be very different requirements for the applicationof lighting in each installation. Although there are a multitude of issuesthat the designer must consider, addressed are 10 fundamentals ofmuseum lighting design:• Light fixture location flexibility• Light fixture lamping and beam control• Ultraviolet energy consideration• Infrared energy consideration• Total light consideration• Natural light• Glare• Circulation lighting• Emergency and egress lighting• ControlsThe new Science Museum of Minnesota, located on the banks of theMississippi River in downtown St. Paul, MN, illustrates how these principlescan be applied. Its lighting system provides the ultimate in flexibilitycombined with ease of use and the capability to change the controlsystem to meet the power and lighting control needs of each exhibithall.Light fixture location flexibilityA metal support grid system is located 16 ft AFF. This serves asthe attachment point for the flexible lighting system. Custommodular fixture mounting bars attach to this ceiling grid and cord andplug connect to the power distribution system.Things to consider for your projectFlexibility can be achieved with a manufacturer’s standard track lighting(above, right) Theatrical fixtures using gels are track mountedon mullions to animate prehistoric silhouettes among splashesof color. (above, left) To accommodate the evolving exhibits,a lighting system was developed with unistrut grid thatincorporates "power sticks" where monopoint fixtures connect.(opposite, left) Enclosed stairwells maximize daylightingand provide a home to butterflies. Suspended direct/indirectfluorescents illuminate the space in the evening and aresealed to keep the butterflies out.(opposite, right) Compact fluorescent fixtures provideambient light. Fluorescent slots and a round cove draw visitorstowards the projection room.62 LD+A/May 2003 www.iesna.org

system. Single or dual circuit tracks are available. Mountingoptions are available to fit most any application, recessed, surfaceor pendant.Light fixture lamping and beam controlThe modularity of the Science Museum’s flexible lightingsystem allows for different fixture types to bemounted adjacent to each other or to replace each other. Thisgeneric system affords the owner the flexibility of utilizing theirexisting “stock” light fixtures while also allowing new fixturesto be added at any location. This allows for alternative fixturemanufacturer’s product to be installed at any time. As technologyadvances, the lighting system is capable of supporting it.Things to consider for your projectKnow the degree of theatrics that your facility requires. This canrange form low-end commercial track, to theatrical track, to a customsystem as designed for the Science Museum of Minnesota.Certain manufacturer’s fixtures are capable of utilizing multiplelamps, wattages and beam spread. There is also a wide range ofwww.iesna.orgLD+A/May 2003 63

(top) The rotatable domed Omni and flat Imax screens created achallenge for locating light fixtures. Therefore, theatrical fixtures weremounted onto trusses at the side walls and above the control room.Light washes the screens providing general illumination.(bottom) Underneath the stairs neon guides visitors to the exit andprohibits glare from the screens. Recessed floor fixtures establishthe walkway and steplights recessed in the end seats illuminatethe aisles. Exit lights are integrated into the railing.Infrared energy considerationFixture-to-object distance ratios at the ScienceMuseum are large, diminishing the infrared energyeffect on the artifacts and exhibits.Things to consider for your projectTungsten halogen sources produce the greatest amount ofinfrared energy. Filters should be provided when illuminating sensitivematerials.Total light considerationThere are several different types of exhibits housed inthe Science Museum of Minnesota ranging from sensitivehistorical documents and artifacts to interactive children’sdisplays. The light levels for each are independent. The illuminationon the artifacts is low in comparison to the children’sexhibits. The lighting control system allows for further refinementin lighting levels and duration.accessories available for fine-tuning your lighting system. Thesecapabilities are most critical when exhibits and displays arechangeable.Ultraviolet energy considerationThe three-story atrium on the south face of the buildingallows for a spectacular view of the MississippiRiver from any exhibit hall in the facility. Sun screening and thearchitectural configuration of the space, protect the exhibitsfrom natural ultraviolet energy. Within the exhibit spaces, theconcern was for protection from the artificial ultraviolet energyproduced by the work lights. All linear fluorescent lamps inthese spaces are equipped with UV shields.Things to consider for your projectKnow the sensitivity of the contents of the space you are designing.Some materials such as silk, watercolor paintings and fugitivedyes are extremely sensitive to UV exposure; while glass, metal,rock and bronze are not. Understand the amount of “natural” UVpresent in your space and apply artificial light sources accordingly.North sky daylight ratio of UV to visible light is higher thantungsten halogen (a predominant light source used in museums),while fluorescent sources with rare earth and tri-phosphors areminimal. Filters are commonly available for fixtures with tungstenhalogen lamps.Things to consider for your projectAgain, know the sensitivity of the contents of the space you aredesigning. Total exposure limits for highly susceptible materials,according to IESNA, should not exceed 50 lux or 50,000 lux hoursper year. This takes into account both the amount and duration oflight on an object.Natural lightDaylighting issues at the Science Museum are limitedto those addressed under the ultraviolet energy considerations.Things to consider for your projectWhere natural light is present in areas of sensitive displays, redirectionof the direct daylight should be done with the use of louversor blinds. Natural light may actually enhance the viewing of threedimensionalobjects made from stable materials, making it a“desirable” component of the lighting system.GlareThe flexibility of the Science Museum’s metal supportceiling grid system allows for fixture placement to bestalleviate glare issues. Fill light can easily be added and aimingangles can be adjusted as necessary for every exhibit. Veilingreflections that could result in diminished colorfulness ofobjects are also minimized by the same methods.Things to consider for your projectTake viewing angles into consideration when locating directionallight fixtures to minimize glare and veiling reflections.64 LD+A/May 2003 www.iesna.org

Circulation lightThe Science Museum’s flexible exhibit lighting systemalso provides lighting for circulation while consideringcontrast between exhibit and pathway. After hours, the exhibitlighting system is turned off and the work light system providesfor circulation in the spaces.Things to consider for your projectThere are minimum levels of light required to meet the safetyand comfort of patrons in a facility. Circulation light that is providedshould not compete with or distract from the attention of theexhibits.Emergency and egress lightingThe work light system at the Science Museum providesmulti-functions in the exhibit halls. Dual circuitingof fixtures along with the control system allow a uniformlevel of emergency and egress lighting. Work lights are locatedabove the open metal support ceiling system grid in a uniformpattern. Separate ballasts allow the center lamp of each to usedduring an emergency.Things to consider for your projectUsually, the emergency and egress lighting systems are completelyseparate from the exhibit lighting system. Placement mustallow for code minimum levels to be realized while being sensitiveto the exhibits and architecture of the space.ControlsA combination dimming rack/ controllable circuitbreaker system supplies all lighting within theScience Museum of Minnesota, including the exhibit areas.These systems are programmable and allow for changes asdesired by the owner.Things to consider for your projectThere are control options available to meet the requirements ofmost any project type. An understanding of the use of the space,now and in the future, will help the designer in specifying a systemthat meets the owner’s expectation and budget. The decision onhow to control the lighting system within a museum space is probablythe most critical issue to be addressed. While the light fixturesmay be considered the “heart” of the overall lighting system, thecontrol system is the “soul” of the system.—Teri LaDouceurThe author and designer: Teri LaDouceur is partner atthe lighting design firm Lighting Matters, Inc., MinneapolisMN. Prior to that she was a senior electrical projectleader and supervisor of the Lighting Design Group atEllerbe Becket, Minneapolis, MN.Ellerbe Becket provided architectural and engineeringdesign for the new Science Museum of Minnesota, locatedin St. Paul, MN.www.iesna.orgLD+A/May 2003 65

GUIDING LIGHTFrom dawn to dusk, light movesvisitors through building grounds and exhibits atJapan’s Iwate Museum of Art.(right) A canopy covers water alongthe entrance hall. In this view from thepark side, the entrance hall is visiblebeyond the surface of the water.Blue light enters through arounded skylight in the canopy.Like a trusted companion on an unpredictable journey,lighting helps to guide visitors through the IwateMuseum of Art and to the art itself. Lighting PlannersAssociates, Inc. and Architects, Nihone Sekkei, Inc. bothlocated in Tokyo, used natural light from the skylights andclerestory windows, as well as artificial lights, to enhance theartwork and overall space.The museum is located in a quiet, lush green environmentabout 10 minutes from Morioka Station. In order forvisitors to enjoy the surrounding nature as well as theexhibited artworks, lighting fixtures were concealed toeliminate glare. The architectural expressions were emphasizedwith clean lights placed so that they would comfortablyguide visitors.The museum has five exhibition spaces with differentcharacteristics: a special exhibition space, a large exhibitionspace, two exhibition spaces for the permanent collectionsand an open-air exhibition space. In the corridors connectingone exhibition space to another, there are many doors66 LD+A/May 2003 www.iesna.org

leading outdoors so that visitors can enjoy the surroundinglandscape. After dusk, the lighting in the corridors dramaticallychanges and displays different impressions created by warmlights. Because this museum sometimes is open for exhibitionsat night, the changing of lights over the course of time wascarefully tested. The night-lights effectively highlight the outerarchitectural appearance of the building.Lights Show SequenceVisitors approach the building viewing its simple and cleanouter appearance. From the entrance hall to the exhibitionspaces to the corridors between the exhibition spaces, rest areasand museum shop, the lighting balance has been createdthrough detailed simulations of the visitors’ moving eyes in thebrightness and how light is reflected on walls. In order to guidethem by light, vertical lights move in a number of directions.This was achieved through detailed consideration of floor-towallspaces. To avoid excessive general lighting, wall lightingwas used as base light, as much as possible.(this page) The grand entrance hall measures100 m long and includes a 10 m high ceiling. Daylight entersthrough the glass, bathing the hallway and the white marble stairs.At night, the bottom of the concrete pillars are softlylit with warm incandescent light, and fluorescent lamps, buriedwithin the walls, lead visitors into the exhibit area.www.iesna.orgLD+A/May 2003 67

The blue light from the canopy’s skylight (above, left) is an example of the recurring color concept demonstrated at key points throughout the museum.Meanwhile, downlighting was also an integral part of the design. The entrance is lit with downlights lighter than the surroundings so visitors won’t losetheir way (bottom, right), and the west entrance (bottom, left) features downlighting aided by the two-story atrium. The concrete-box anteroom leading tothe entrance hall (bottom, right) is sparsely lit to increase visitor anticipation.Different interior configurations and ceiling heights changethe way natural light comes into the environment. There is abright, large hall and an exhibition space with a rather low ceiling.The architecture allows visitors to comfortably enjoy theartworks for many hours. The lighting design also givessequence and drama to the space through consciously contrastingthe light and dark, denying even spatial composition.The Approach to the MuseumThe entrance hall of the museum features a gentle curveembracing the park to the south side. This distinctive southside façade includes a 10-m-long deep eave. A water basin isplaced underneath the eave. The eave, which blocks the strongsunlight from the south and lets the pleasant light come intothe building, has 2-m diameter round skylights rhythmicallyplaced in 4-m intervals.During the day, direct sunlight casts round spotlights on thewater basin and the floor to entertain visitors. At night, the lookdramatically changes; the skylights are lit in blue to create fantasticimpressions. A space is carved into the pre-cast concreteto place lighting fixtures on the sides of the skylights, 14-mmdiameterblue neon tubes are placed in the space in order tolight the inside of the skylights in blue.At the front entrance, PAR-38/150 W glareless downlightsare placed creating a light “welcome mat” on the floor. On theother side of the front entrance is an entryway from the parkinglot to guide the visitors into the same wind shelter space.This entrance is also under the eave. The same PAR-38/150 Wlights are used to wash out the double-height wall space on theside of the entrance.Entering the building from the south and north, one finds alarge wind shelter space constructed with unfinished reinforced68 LD+A/May 2003 www.iesna.org

concrete. While some natural light comes into the buildingbetween two narrow slits, the illuminance in this room is ratherminimal, which leads to the next entrance hall. Openings penetratethe grids in the ceilings where blue lights come in.Past the wind shelter space is the spacious entrance hall,10.5-m in height and 100-m in depth. Strong concrete columnsdictate a wide curve. At the end of the curve are bright-whitemarble stairs, which lead to the second floor. Natural lightcoming from clerestory windows and skylights above thecolumns, as well as the diffused glass wall at the front end ofthe hall, gently light the entrance hall. In order to design thisspace with daylight, designers carried out the lighting experimentsusing simulation models. The seasonally changing lightand light changing during the course of the day were assessedto decide how to use daylight, as well as the transparency ofglass materials and sections in the architecture.Only adjustable downlights were used for the base lightingin the entrance hall. They were systematically installed in oneline along with other facilities. Cosmetic coverings were madeso that the openings would appear to be identical in design.The goal was to add to the ceiling’s visual appeal. When naturallight fills the hall during the daytime, dramatic white150W/4200K ceramic metal halide lamps are used to emphasizethe marble stairs. After dusk, low color temperature PAR-36/300W quartz halogen lamps are used to gently light thefloors for visitors. The light changes over the course of time.Dark light cones, which conceal the presence of lights, areused for the adjustable downlights, in order to highlight thestrong and simple architectural design. The glareless cut-offangle has been set to 50 degrees and a black matte surface isselected for the cones so that impressions do not change whenthey are lit.At the end of the entrance hall, there is a large square wall oflight, which functions as a pleasant light source all day long.This light wall was installed with double diffused glass so thatit receives natural light during the day. After dusk, 3000K fluorescentlamps installed in the double-wall mullion light thewall with adequate brightness. This light wall also serves toguide the visitors’ eyes further into the exhibition spaces.Lobby and FoyerThe lobbies and foyers are lit to indicate the entrance to theexhibition spaces. Walls are washed with light, creating a large,bright surface, and the ceiling has gentle reflection lights withupper lights, to create ambient lighting. To make a strongimpression of ambient lighting, 12V/50W halogen lamps areused to create narrow beams of contrast around the entrances,exits, and counters.The fan-shaped room one enters before the special exhibitionspace has accent lights to emphasize the entrance andgeneral lights coming from the skylight to create contrast. Inthe foyer, the floor-recessed uplight wall-washer was customordered to gently light the sloped ceiling and wall surface. Inthe lobby of the permanent collection space, the front wallwww.iesna.orgLD+A/May 2003 69

space is broadly washed in light to create brightness in thespace.Around the ticket counter, adjustable down-lights were usedto collect lights on the thin wood poles. In the second floorgallery corridor, indirect fluorescent footlights are placed inrhythmic sequences.Exterior LightingIn Japan, most museums are open only during the day, andnighttime exterior lighting hasn’t been given much attention.However, since the Iwate Museum of Art is a public museumrooted in the surrounding community, the lighting designs ofthe building in the beautiful dusk and quiet darkness are quiteimportant.For the community’s benefit, the museum should emit naturallight instead of bright lights found in most commercialfacilities. In the exhibition rooms, corridors offices and backyard,the color temperature is unified at 3000K, so that gentleindirect lights come from the openings. The unification of thecolor temperature has given a pleasant characteristic to themuseum at night.The indirect light from the clerestory windows in theentrance hall and the light wall at the end give a sharp lightingedge to emphasize the skyline. The round-shaped skylightsdrilled on the eaves are lit in blue and show beautifulcolor contrast with 3000K warm lights across the water basinto create a mystical sight. People in the community seem toenjoy this unique night view of the museum.This lighting plan was largely realized through many miniatureand life-sized mock-up models to verify the lightingeffects. The designers went to the construction sites manytimes, and a number of experiments were conducted before thebuilding was completed.Lighting designer Kaoru Mende, IESNA, (top) studiedboth industrial and environmental design. He receivedhis M.A. from Tokyo University of Art. He is the founderand director of Lighting Planners Associates Inc., Tokyosince 1990. Mende is the recipient of many IIDA awards.He teaches lighting design at Musashino Art University,Tokyo University and Tokyo University of Art.Author and designer Hirohito Totsune (left)is a lightingdesigner with Lighting PlannersAssociates, Inc. Tokyo, with a B. A.from the University of Tokyo.Hideto Mori, (right), is part of thedesign team with Lighting PlannersAssociates, Inc. Tokyo, with aB. A. in Three Dimensional Formfrom the Tama Art University .Hiromitsu Yamashita and Minoru Inaazaki (not pictured) are architects withNihon Sekkei, Inc., Tokyowww.iesna.orgLD+A/May 2003 71

REVERSAL OFFORTUNE?Reverse auctionsare gainingpopularity, butbuyers shouldbeware ofhidden costswhen purchasingnon-commodityproducts suchas lighting.As the world continues to move from face-to-face to virtual communications,the art of sales price negotiation has similarly beentransformed from an up-close-and-personal activity to one thatcan be executed in cyberspace. Toward that end, online auctions haveemerged as a way to provide end-users with the best purchase price. Onesuch model is the reverse auction, which allows merchants to bid for acustomer’s business.Initially, reverse auctions were designed to aid buyers of commodityproducts by providing all manufacturers’ prices and eliminating thetime and effort needed to individually research each one. Unfortunately,this medium has expanded to more complex products, without providingbuyers the necessary information to make informed purchase decisions.Buyers need to be aware of the many hidden costs associated withmore sophisticated products in order to fully understand the true costof their purchase.Beginning in 1999, buyers in the retail sector began to encouragelighting manufacturers to market their products on online reverse auctionsites and were excited by the ultimate lowest prices they werereceiving per lighting fixture. However, these buyers now find themselveslacking the information to fully calculate the “true cost” of theirlighting purchase.When making purchase decisions regarding lighting fixtures, buyersneed to be aware of the two major costs of lighting: the “cost to purchase”and the “cost to own.” The cost to purchase includes purchasing andinstallation of fixtures, where the cost to own includes operation andmaintenance of the fixtures. (See Figure 1). When purchasing throughreverse auctions, buyers only considering the purchase cost of the fixturedon’t realize that the lower cost to buy can quickly be offset by the costto own the fixture.72 LD+A/May 2003 www.iesna.org

Cost To PurchaseReverse auctions have been successful in helping buyersreceive the lowest priced fixtures on the market. This initialinvestment seems to be the most important purchase decisionfor buyers of national accounts, who are purchasing hundredsor thousands of fixtures in bulk to be used in multiplefacilities. However, this limited-focus buying decision maystill cost buyers more in upfront costs than they realize sincethe information provided in the reverse auction cannot providea true comparison of products.To determine purchase price, buyers must calculate thenumber of fixtures needed. However, buyers that use alighting photometric layout created byone lighting manufacturer and assumethis calculated quantity will work forall manufacturers’ products run therisk of being dissatisfied with the lightingperformance. What buyers don’trealize is that although two fixturesmay seem to have the same specifications,the lighting photometric performancedictates how many fixtures willbe required to maintain performancelevels. In turn, a better performing fixturewould allow installers to space fixturesfurther apart, resulting in theneed to purchase fewer fixtures, whichreduces purchase costs.For example, in a 500,000 sq. ft.retail distribution center, a buyer mayreceive prices on two 400 W MetalHalide aluminum reflector high bay fixtures.Fixture 1 features a round reflectorpriced at $.09 per sq. ft. to purchase,while Fixture 2 features a highly engineeredfaceted elliptical reflector, pricedat $.11 per sq. ft. to purchase. With thelimited information provided in thereverse auction, uninformed buyerswould believe that with the $.02 pricedifference, Fixture 1 would be the bestpurchase, saving $10,000 in purchasecosts. However, what this process doesnot reveal is that due to the superiorphotometric performance, the ellipticalreflector actually requires 25 percentfewer fixtures to provide the same illumination.(See Figure 2).Another factor in the cost to purchasea lighting system is the cost oflabor to install the fixtures. A reverseauction usually does not considerinstallation cost and therefore may notprovide the owner with a realistic cost.Fixtures that feature easy-to-installbrackets can reduce set-up times andlower installation costs. For instance,fixtures have been designed for nationalretailers to reduce their cost to install by 50 percent, whileincreasing their initial cost by only 10 percent. In a reverseauction, the owner would never have the opportunity torealize this substantial savings and consequently, would notbe able to take advantage of a greatly improved return oninvestment.Thomas Lighting is working with several national retailersto upgrade their existing fluorescent lighting systems with anew retrofit fixture that makes older retrofit kits obsolete. Areverse auction might eliminate this new technology becausethe new fixture does not comply with the old technologyspecification. The end-user would have no chance to realizewww.iesna.org

an annual energy and maintenance savings of $.67 per sq. ft.in addition to a mess-free installation at less than five minutesper fixture.Cost To OwnLighting accounts for approximately 40 percent of total commercialelectric bills. When budgeting for lighting systems,what companies participating in reverse auctions often don’ttake into account is that purchasing higher energy-efficientmodeled fixtures, rather than the lowest-priced fixtures, canoften repay the cost of each fixture in energy costs in a shorttimeframe. In addition, numerous utility providers offer rebatesin the range of $25 to $50 per fixture for customers to installenergy-efficient/energy saving technology. So while buyers mayonly see the higher upfront costs, the power savings may repaytheir investment very quickly.Once again, when looking at upfront costs, companies shoppingfor lighting fixtures through reverse auctions do not takeinto consideration the costs to maintain and service fixtures.For most traditional lighting sales, manufacturers’ sales representativescounsel buyers on the proper fixture not only to fittheir budget and their specific application needs, but also toensure that it is delivered on-time, packaged with all appropriateparts and with custom-designed instructions for properinstallation. Many manufacturers provide service within 72hours of delivery to respond to any problems or questions withthe product. With reverse auctions, buyers may sacrifice thishigh level of service before and after the sale in order to receivea low-priced fixture.In addition to quality service from the manufacturers, buyersmust realize that each lighting fixture can differ on its light levelsand lumen maintenance over time. If a lighting system doesnot provide a high-lumen maintenance, it will require endusersto supplement or replace fixtures sooner to maintain thesame light levels. This will result in additional fixture andmaintenance costs.Going back to the first example, Fixture 1 costs $.76 per sq.ft. to operate, while Fixture 2 only costs $.57 per sq. ft. (basedon the assumption of $.10/kWH). With this $.17 difference incombined purchase and operational costs (see Figure 2), a500,000 sq. ft. facility would save $85,000 annually. In addition,since Fixture 2 required 25 percent fewer fixtures to providethe same illumination, the owner would save even moreon maintenance costs. The uninformed buyer in a reverse auctionwould end up paying an 850 percent premium on powerand maintenance to save $10,000 on upfront fixture costs.More Red FlagsRetail environments: For markets such as retail, where visualcomfort for shoppers is key to sales success, choosing the properlighting fixture is essential. Lighting characteristics, such asaesthetics, quantity of light and quality of light may be moreimportant than price when making purchase decisions. Thesethree lighting characteristics determine the mood created whileshopping in the retail outlet, the visual comfort the store creates,as well as the ability to accurately display colors of theretail products. If purchasing lower cost fixtures compromisesthe lighting of a retail store, then the shopping environmentFigure 1Cost to BuyCost to OwnCost per Fixture PowerCosts per FixtureCost to InstallCost to Maintain FixtureFigure 2Product specifications: 400W metal halide aluminumreflector high bay fixtureReflector Cost to purchase Cost to own Net savingsFixture 1 16" round $.09/sq. ft. $.76/sq. ft. XFixture 2 22" elliptical $.11/sq. ft. $.57/sq. ft $.17/sq. ftFigure 3Based on 10-year amortization with energy costs at$.10/kWHPurchase savings Annual energy savingsFixture 1 $10,000 XFixture 2 X $85,000will suffer, damaging the company’s image and sales in theprocess.Technology: Also lost in this fast-paced virtual environment isthat buyers will never receive the opportunity to learn aboutthe many technological options that can ultimately enhancetheir business and/or save them money. If purchase price is theultimate concern, innovative products will never receive theconsideration of buyers.Reverse auctions give end-users a false sense that they arecreating an opportunity to lower their costs, when they mayactually be hindering their business. They do not allow buyersto take into account the costs associated with lighting. In addition,while a system that provides an easy and productiveforum for buyers of commodity products, reverse auctions cannotaccommodate the intense planning and service that is necessaryto purchase sophisticated, high technology lighting systems.In the final analysis, lighting is a science and an art, and decisionsaffecting it are best left to the experts. When the bottomlinecost per fixture is a buyer’s only consideration, manufacturerstrying to win the bid can’t afford to provide proper serviceand technical advice. As a result, the reverse auctionprocess will only adversely affect facility operations.—Frank AustinThe author: Frank Austin is vice president of ThomasLighting National Accounts, a division of the GenlyteThomas Group, a leading manufacturer of lighting fixturesand controls for commercial, industrial and residentialmarkets. Austin has been active in the ThomasLighting National Accounts since he started the group in1988. In addition, he has held positions of vice president,marketing and sales Canada and vice president, strategicmarketing for Thomas Lighting. His company and its parent company havetaken a firm stance that they will not bid on reverse auctions.74 LD+A/May 2003 www.iesna.org

LETTHEREBEHEALTHYLIGHTINGPerspectives onhow healthy lighting can beachieved through designClearly, “healthy lighting” should address the needs ofboth the circadian system—which has been linked tosleep disorder, seasonal affective disorder (SAD) anddepression—and the visual system, in terms of migraines andeyestrain.However, the lighting needs of the visual and circadian systemare so different and contradictory that it seems almostimpossible to design healthy lighting to serve both. Mark Rea(2002) provides an excellent summary of lighting characteristicsof the circadian and the visual systems (Table 1). What followsis an analysis of these characteristics from the perspectiveof a lighting designer.• The quantity of light needed for the visual system is moderatecompared to the needs of the circadian system. Thevisual system operates as a spotlight requiring optimallight level at the task. By the law of diminishing returns,increasing the illuminance further on the task will notimprove the visual performance. On the other hand, thecircadian system requires 10 times more light “at the eye”and a vision field, focal and peripheral, completely filledwith light. These differences raise legitimate concerns forvisual discomfort caused by over brightness and spaceslighted as integrated sphere, without light and shadowpatterns.• The spectrum for the visual system has a peak of 555 nm,which results in a generally warm light. The peak sensitivityfor the circadian system is at 465 nm, perceived asbluish light. Lighting efficiently for the circadian systemwill make spaces appear cold and bluish and generallyunacceptable to the visual system.• Spatial distribution is important to the visual system.The geometry of eye, task, light source, contrast and sizeof the task all define the visual system’s performance. Thecircadian system only cares about retinal illuminance. Infact, it can be compared to a giant photocell, monitoringfor large amplitude light/dark signals. However, the lowerarea of the retina, where the image of the sky is formed, ismore sensitive to light and thought to contribute more tothe circadian system.• The timing and the duration are interconnected, especiallyfor the circadian system. Timing for the visual systemis not important, because the visual systemresponds quickly and the response is similar from oneLighting characteristics Application Vision Circadian day shift work Circadian night shift workQuantity Low (300-500 lux on task High (~1000 lux at eye) High (~1000 lux at eye)and ~100 lux at eye)Spectrum Photopic Short-wavelength Short-wavelength(peak sensitivity 555nm) (peak sensitivity 420-480 nm) (peak sensitivity 420-480 nm)Spatial Distribution Distribution important Independent of distribution Independent of distribution(task luminance, contrast and (illuminance at eye) (illuminance at eye)size determine visibility)Timing Any time Subjective morning Periodically throughout the shiftDuration Very short (less than 1s) Long (1 - 2 h) Short (15 min) pulsesTable 1: Summary of research findings on visual and circadian systems. (Source: Lighting Research Center, RPI.)76 LD+A/May 2003 www.iesna.org

time to another. However, timing and duration for thecircadian system are important. The circadian system isbulky and slow in response and even though it’s able tointegrate light stimuli, it needs prolonged time exposureto light. The circadian system will be more responsive tolight at certain times in the 24-hour cycle, usually whenthe lowest body temperature occurs (5 am) or whentransition in melatonin level occurs (6-8 am and 6-9pm). It is most sensitive to light during the night andbecomes progressively numb during the day. Table 1illustrates the timing and duration to light exposure forday-shift and its difference from the night-shift. For dayshift,stable high level of light (light pulse) will boostworker’s alertness and performance. For night-shift,when continuous production of melatonin occurs, periodicallight pulses are the most effective way to communicatewith the circadian system.A study on maintaining graveyard shift workers’ alertnessand performancefound that light could be dimmed down aftera light pulse is administered, thus providing for energy savings.(Boyceat al., 1997). This study also showed how importantis the directionality of the light stimuli and that beginningwith a light pulse and then reducing light is more effective forsuppressing melatonin than starting with low level of light andthen dimming it up.So what are the odds the same lighting will work for boththe circadian and visual systems? Luckily, there are interfacesbetween the systems that allow this to happen. These interfacesare the perceptual constancies and the square law curvefor adaptation to illuminance levels. The IESNA LightingHandbook, 9th Ed., defines the perceptual constancies as“fundamental attributes of surrounding objects that are constantover a wide range of lighting conditions.” In this casewe are interested in two of the attributes, the color constancyand the lightness constancy. The color constancy is preservingthe familiarity with a color (color recognition) underdifferent light sources with different spectral distribution.This will allow the cycled modulation from bluish light (forthe circadian system) to warm light (for the visual system)preserving the features of the surrounding objects. The constancyis the appearance of a piece of white paper when comparedto a piece of black charcoal, even if the charcoal’s luminanceis much higher than the paper’s luminance. The constancyreinforces the other interface and the square law curvefor adaptation to illuminance levels. What the square lawcurve represents is the adaptation of the eye to changes inilluminances. For instance, a measured illuminance of 50percent of the original illuminance is perceived as bright asabout 70 percent of the original level. This lag in brightnessperception will allow the dimming of light after a lightimpulse has been administered for the circadian systemwithout disturbing the operation of the visual system.Luminaires For Healthy LightingHealthy lighting will require sophisticated controls thatactivate a simultaneous modulation in light intensity andspectral distribution. Traditional energy-efficient lightsources such as fluorescent and metal halide will need anarray of dimmable luminaires operating an array of lamps ofdifferent spectral distribution (SPD). This arrangement willresult in expensive and cumbersome lighting systems, however,fine-tuning to the needs of the circadian system will bealmost impossible.A simpler and less expensive lighting system will use LightEmitting Diodes (LED) as the light source. LED is a new par-Designing For the BoomersWith the Baby Boomers well into middle age, businessesmust constantly adjust to an aging society. Those who do notmay face:• A loss of customers and valuable employees;• Injuries to customers and staff;• Possible lawsuits;As a result, businesses need to make their workplaces saferand attractive. One of the easiest ways to achieve this is toaccommodate the changes in eyesight as one ages.Consultants Judith Adelman and Noel McNaughton offer fourexamples of what business can do to create a well-designedlighting environment:1. A building must be well lit during the day and night.Airports are good examples of well-lit environments. Lightingwithin airport buildings is generally good no matter what time ofday or where you are located in the building. They usually do nothave darkened stairwells and signage is well lit and easily visible.2. The building’s entrance should not have a drastic changebetween the lighting inside and outside. Older buildings thathave a foyer often have this problem. Foyers and lobbies thatchange their lighting to adjust to the time of day would meetthis criterion.3. Light sensitive night-lights should be strategically locatedand available to assist staff to adjust to the dark. Anyone whohas had the experience of entering a pitch-black hotel roomwhile trying to find the light switch or awakening in the middleof the night to go to the washroom knows the advantage of anight-light.4. The flooring colors clearly should demarcate the locationof stairs as well as changes in elevation or texture. At the sametime, flooring colors do not suggest changing elevations or textureswhen there are none. Long term care facilities, because oftheir experience with the elderly, tend to excel at applying theseconcepts. Floors and stairs usually contrast with the walls andif walls are light colored, stairs should be dark-colored, with slipresistantstrips at their edges. Carpets, if they are used, cancontrast with the floor. These adjustments not only addressvision changes, but also lower the risk of injury.These are just a few of the ways you can pay attention to thevisual needs of those who visit or work on your premises. Yourbusiness can become safer and more attractive to your customersand staff if you take the time to assess your workplaceand make appropriate changes. Often the costs of accommodatingchanges in vision are small when compared to the costof not doing it in the first place.Judith Adelman is a Vancouver- based psychologist who providestraining and consulting for organizations. Her focus is onthe aging population and its impact on business and government.She can be reached at Tel: 604-535-2392; or email: jadelman@telus.netVancouver-based Noel McNaughton speaks, coaches and consultson managing for the greater good and strategies for midlifeand beyond. Contact her at 1-877-736-1552, or 604-736-1552,or email: noelm@telus.net78 LD+A/May 2003 www.iesna.org

adigm of light source, where individual LED modules synergizeand work together for fine-tuning the lighting characteristics.While the mix of rare phosphors for the fluorescentsoccurs inside the lamp, the external mix of several narrowbandLEDs will change the color rendering (CRI) and thespectral distribution (SPD). Additive RGB (red, blue andgreen) LED can also provide white light modulation. WhiteLEDs are on the bluish side with excellent circadian (biological)efficiency. White LED combined with amber LED cansatisfy the visual system through a spectral modulation.Another great advantage of an LED lighting system fordesigning healthy lighting is that it can be synchronized withthe circadian system through integral controls.Design GuidelinesDay-shift Work Healthy Lighting Guidelines: Increase theupper surface illuminance in spaces of insufficient light levelsor no daylight contribution. Use indirect lighting to illuminatethe ceiling. Use uniform bluish light, to light the ceiling, whichwill result in illuminance predominantly on the lower retinawithout visual discomfort. To accommodate the visual system,have warm color finishes on the walls or at the task surfaces.Inter-reflections will result in warmer light for the visual system.Increase the light/dark signal to the retina, by lighted ceilingsand upper walls, and dimmer or patterned (light and shadow)lower surfaces.Night-shift Work Lighting Guidelines: Modulate lightingcontinuously to maintain defined melatonin level. Start thecycle with high illuminance and cool bluish-white light andprogressively dim the light levels while simultaneously shiftingto warmer light. Dim down the light levels at a slow paceto be unnoticed to the visual system, but restart the cycle byinstantaneously coming back to the high illuminance levels.This will give directionality of the cycle and allow for integrationof the light stimuli. Additional research will be neededto define at what frequency the unnoticed change in lightconditions occurs and to define what level of suppressedmelatonin during the night will provide the acceptable levelsof alertness and performance. Perhaps suppressing the melatoninextensively during the night will upset the circadiansystem and might not be necessary. Finally, do not just lightfor the lower retina; light lower surroundings imaged in theupper retina with interesting bright/dim patterns. Interestingsurroundings will help to maintain the suppressed melatoninlevel in between the light pulses. In order to preserveperception constancies, light the space with cool or warmlight at any given time. Provide additional interest in thespace by using warm/cool finishes.lighting retrofits. Indeed, any place inhabited by people is acandidate for healthy lighting, including homes, schools andoffices. This is an exciting time for designers in their quest toprovide healthy human light.— Milena SimeonovaReferencesBoyce, P.R., Beckstead, J.W., Eklund, N.H., Strobel, R.W., andRea, M.S.1997. Lighting the graveyard shift: the influence of adaylight–simulating skylight on the task performance and mood ofnight shift workers. Lighting Research and Technology, 29 (3),105-142.Rea, M.S. 2002. “Light-much more than vision” Light andHuman Health: EPRI/LRO 5th International Lighting ResearchSymposium: Pal Alto, CA: The Lighting Research Office of theElectric Power Research Institute, 1-15.The author: A member of the IESNA since 2000, Milena Simeonova, LC, presidentof Milena Lighting Design, has worked on projects in the commercial,institutional, urban lighting, religious, residential, landscape and healthcaremarkets. Simeonova has a Master’s degree in Architecture from the College ofArchitecture and Urban Planning, Sofia, Bulgaria as well as a Master’s of Sciencein lighting from the Lighting Research Center, Rensselaer Polytechnic Institute,Troy, NY. Publications include Healthy Lighting, by the Center for Health CareDesign, CA; and Application of Colored LED for Retail Window Display, by theIlluminating Engineering Society of North America. Simeonova is fluent in fivelanguages: English, Spanish, French, Russian and Bulgarian.Future ApplicationsThe issue of healthy lighting is resonating in many industriesand facilities. The U.S. Navy is investigating the retrofitof submarines with LED lighting, to reduce maintenancerequirements and to address SAD, caused by the lack of daylight.Automaker Ford Motor Company is researching thecreation of a “circadian” car to keep drivers alert duringnight driving and prevent night road accidents. State Healthdepartments, including New York, are investigating hospitalwww.iesna.org

Providing a compact and cost-effectivesolution, the CHIP series of LEDlamps by OptiLED, are available inred, blue, amber, white or green onall styles, plus red/orange andblue/green are also available in theFestival festoon style. An efficientlight output combined with long lifeensures minimum maintenance,making CHIP lamps also ideal fordisplay, floor and table lighting inbars and clubs, hotels and corporateinstallations.Circle 100 on Reader Service Card.LIGHTPRODUCTSLEDtronics new, low-cost pocketflashlight features three 5mm discretewhite LED lamps and is onlyfive inches in length and 2.1 ouncesin weight. The long-lasting LEDlamps operate for more than100,000 hours before requiringreplacement. Light turns on and offby a twist-activated switch or by apulse switch that provides a burstof light when pressed. Unlike incandescent-lampedflashlights, LEDflashlights do not change transmissioncharacteristics with use.Circle 99 on Reader Service Card.Opto Technology Inc., high-resolutionreflective mark sensors areavailable in two styles: The OTBC-0480, using an infrared LED and theOTBC-0490 with a red LED. Bothstyles are compact allowing fordesign flexibility, and incorporate aphototransistor sensor, an opticallens and an optical aperture in a singleplastic unit. These compactsensors area ideal for limited spaceapplications in bar code slot readers,time and attendance equipment,paper edge sensing, currencyvalidation equipment, or any devicewhere a fine edge or mark requiressensing.Circle 98 on Reader Service Card.Leviton’s line of IllumaTech dimmers/fan speed controls combine traditionalrotary dimming with the contemporarydécor. An extension ofthe IllumTech Lighting/Fan SpeedControl family, the new IllumTechdevices are compatible with thecomplete line of devices to offer acoordinated look throughout anyresidential or commercial interior.IllumaTech dimmers are available insingle-pole, single rotary dial andduplex rotary dial models. Dimmersfeature push-ON/push-OFF switchingfor both single-pole and threeWay installations when used with athree Way switch.Circle 97 on Reader Service Card.OSRAM SYLVANIA has expandedits soft white dulux EL family withthe addition of a series of energysaving, compact fluorescentlamps. Products include a 30-Wtwist; 4-W flame shape medium andcandelabra base; 15-W BR30 frostedand safeline lamps; 14-W A19soft white lamp; a non-attractinginsect bug light; 7-W torpedo mediumand candelabra base, as well asan extension to the minitwist family—offering7, 11, 19 and 23-Wlamps.Circle 96 on Reader Service Card.Efficient and highly versatile, thecanopy light (CL series) from RuudLighting is a specular reflector providesefficiency and cutoff distribution,resulting in maximum light levels.The die-cast aluminum housingis standard with white deltaguardfinish. HID lamp choices, includedwith fixtures, are metal halide in50-to 400-W and high-pressuresodium in 35-to-400 W. The fixtureperforms well in a multitude of settings,from entryways of professionalbuildings and churches to warehousesand convience stores.Circle 95 on Reader Service Card.Apollo Design Technology, Inc Gel-Tak is a tape used to affix color filtersto windows and other surfacesfor both interior and exteriorenvironments. Gel-Tak can also beused as a label substrate.Apollo80 LD+A/May 2003 www.iesna.org

Gel-Tak is quick and easy to applyand remove during frequentchanges or after an extended application.Gel-Tak will hold fast in 0 -350 degrees F range of temperaturesand measures 12mm x 25m(1/2 in. x 27 yards).Circle 94 on Reader Service Card.by making the operator easier tosee. The compact device continuouslyemits a bright flashing lightthat can be see up to five miles,depending on weather conditionsand line-of-site. The mini-strobeflashes 50-70 times per minute for72 continuous hours on a fresh D-cell alkaline battery. Additionally,the mini-strobe features a stainlesssteel safety pin that makes it easyto attach the strobe to life jackets,safety vests, camping/hiking gearand tool belts.Circle 91 on Reader Service Card.Lithonia Lighting’s new ELM2 andELM emergency lighting unitshave MR24 lampheads, high-outputkrypton lamps and quick-mount—three minute installation. Kryptonlamps in both the ELM2 and theELM rugged Quantum series emergencylights have a 25 percentsmaller footprint and feature toollessentry for easy installation andmaintenance.Circle 93 on Reader Service Card.Lamar Lighting’s AST series ofadjustable low-profile stagger striplighting fixtures with integral ballastexpand 50 percent more inlength without any dark spots. Onceinstalled, the locking mechanismkeeps the sliding section securelyin place. Fixtures are available instandard two, three and four ft.lengths and in either T8 or T5 lampsizes. All fixtures are UL listed.Circle 92 on Reader Service Card.Chloride Systems’ SV11 emergencylighting unit is smaller thanthe average emergency light, yetpacked with lots of life saving features.The housing, backplate andelectronics shell are injection moldedfrom a premium, impact resistantpolycarbonate. A junction boxgasket, tamperproof screws andstandard screws are included withthe product. The SV11 is UL listedfor damp locations.Circle 90 on Reader Service Card.LEDtronics mini-strobe safety deviceprovides reliable, affordableand portable protection in low-lightwork or recreational environmentsThe sculpted design of the 260series spotlight by Lighting Services,Inc., provides a visually quiet,glare-free light to enhance any interiorspace. The 260 series, anadjustable unit utilizing the energyefficient MR16 bi-pin lamp (up to71 W), features internal accessoryclips for multiple accessories; crosswww.iesna.org

affle for glare control; a fully rotationalfront end for lens rotation andpositive front rotation lock; and 2-tone paint for control of unwantedspill light. The 260 series is availablein 100, 120 and 230 voltages,as well as a variety of finishes includingplatinum, graphite, black,white, and silver.Circle 89 on Reader Service Card.button decorative metal accentdesigns that adorn the diffuser. Thehorizontal and button accents runalong top edge of the diffuser. Thevertical accent visually divides thediffuser in two. All accents areoffered in polished or brushed solidor plated steel finishes. Sconcesare offered with a choice of 14- or18-in. housing widths, and domedepths of 7 or 9 in. respectively. Allmodels mount flush to walls via aconventional junction box. Illuminationis provided by a choice of compactU-shaped twin- or quad-tubefluorescents in 13, 18, or 24 watts,or 60 watt incandescent “A” lampsto customize emitted light to eachapplication.Circle 87 on Reader Service Card.A four-color brochure from Holophanedetails the company’s newline of prismatic glass lighting fixtures.The luminaire units are availablein five unique new styles: TheEgg, Crest, Tri-Egg, Tri-Crest andthe Quad for retail, commercial andlight industrial applications. Holophaneis introducing the new llluminaireshapes in three stages, withthe Egg and Crest available in January,the Tri-Egg and Tri-Crestshapes following in March, and themodern-looking Quad luminaireoffered in May. Each shape, exceptthe Quad, is available in a large andcompact version and provides up to92 percent efficiency. The Quad isoffered in the large size only.Circle 88 on Reader Service Card.Decorative series of translucentquarter sconces from StarfireLighting, Inc., are characterized bya choice of vertical, horizontal orWith the appearance of close-toceilingtrims, Progress Lighting’sdecorative recessed trims providehigher light output with the use oftheir PAR30 lamp that directs 100percent of its light downward.Decorative recessed trims aremounted to a patented torsionspring of Progress Lighting’s P87-AT cans and other similar productsand can even be installed into existingfluorescent cans using magneticor electronic ballasts.Circle 86 on Reader Service Card.www.iesna.org