Lighting Design + Application

February 2003

Residential
Lighting
From Cloudless Climes to Peaks of Light
Also: Daylight Design • Banking on Matthew

LIGHTFAIR INTERNATIONAL • MAY 6-8, 2003 • NEW YORK

 CONTENTS FEBRYARY 2003
VOL. 33/NO. 2
42

RESIDENTIAL LIGHTING
”Under Starry Skies Above...” 28
A high-end residence in a sensitive environment demands
careful attention to the interrelationship of architectural materials,
colors, textures, and lighting

Peaks of Light 36
Robert Singer sets a mood, expanding and defining
residential spaces with light

DEPARTMENTS
3 Beardsley’s Beat

4 Letters to the Editor

33 8 President’s Points
FEATURES 9 Regional Voices
Inside Out Synergy 33 10 Lighting For Quality
A clerestory illuminates most of the building with an
extraordinary amount of natural daylight. An open-office environment
14 Views on the
encourages interaction among researchers
Visual Environment
Banking on Matthews 42
Diners deposit their trust in chef Matthew Medure’s 17 Research Recap
culinary talents and Larry Wilson’s lighting
19 Energy Concerns

21 Scanning The Spectrum

25 IES News

45 2003 IIDA Submittal Form

49 Light Products

52 Scheduled Events

55 Classified Advertisements

56 Ad Offices

56 Ad Index

ON THE COVER: Michael Souter’s goal: integration of lighting and environment

(page 28). Photo: David Livingston
LD+A (ISSN 0360-6325) is published monthly in the United States of America by the Illuminating Engineering Society of North America, 120 Wall Street, 17th Floor, New York, NY. 10005, 212-248-5000. © 2003 by the Illuminating Engineering Society of North
America. 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.

2 LD+A/February 2003 www.iesna.org

 ditors have a tough time for- our staff, clients, and visitors agree

President
2002-2003
Board of Directors
IESNA E getting their past—particular-
ly when stories come back to
haunt them in print or on the web. A
is one of the best work environ-
ments in New York City.”
The designer, Howard Brandston,
Randy Reid
colleague recently took great FIES and a past president of IESNA,
delight in showing me the January said, “My responsibility as a private
Past President 1975 issue of LD+A –which I edited
Pamela K. Horner, LC
Manager, Technical Training in my youth.

BEARDSLEY’S
OSRAM SYLVANIA Articles in that issue extolled the
Senior Vice-President
benefits of high-pressure sodium

BEAT
Ronnie Farrar, LC lighting for offices (“a warm glow”).
Lighting Specialist Another stressed the need to
Duke Power
replace carbon paper and typewriter
Executive Vice-President ribbons frequently to improve visibil-
William Hanley, CAE ity of the printed page.
Vice-President—-Design & Application No one can deny the distinct
John R. Selander, LC color temperature of HPS sources,
Regional Sales Manager
The Kirlin Company
or the need for fewer carbons—if practicing professional is to present
indeed carbon paper is still used. my point of view... I hope that the
Vice-President—Educational Activities But how does an editor evaluate a opportunity for innovation lies in all
Fred Oberkircher, LC
Director
lighting design? aspects of the lighting industry, not
TCU Center for Lighting Education The January 1975 cover story just in the creation of new sources
Texas Christian University of LD+A featured a New York and luminaires, but also in the
Vice-President—-Member Activities architect’s office with a single attempt to create exciting visual
Jeff Martin, LC RLM over each drafting table and compositions with light itself.”
Vice-President—-Technical & Research
a cluster of four in the conference Bravo, Howard! Your statement Charles
Ronald Gibbons room. Table luminaires and ceiling- of design and personal integrity in Beardsley,
Lighting Research Scientist, Advanced mounted cans offered additional those old pages of LD+A still rings Editor
Product Test and Evaluation Group
Virginia Tech Transportation Institute
illumination. true today.
The story drew fire from manu- Perhaps the last words on the
Treasurer facturers, who criticized the light- subject belong to another lighting
Boyd Corbett
Belfer Lighting ing. The responsible designer and legend, Jules Horton, FIES. At the
his colleagues defended the cover time he wrote, “As to the benefits
Directors
Jean Black
story, citing aesthetics and subjec- of enough light to discern one more
PPL Services Corp. tivity as factors to be considered. angel on the head of a pin, forget it,
Comments from manufacturers Howard. The veiling reflections
Anthony J. Denami, LC
Gresham Smith & Partners
included: would hide him anyway.”
“I could not believe such lousy
Donald Newquist, LC lighting was shown.”
Professional Design Associates, Inc.
“The cover story is a complete
Earl Print, LC abrogation of the efforts of the
Lightolier
Society in espousing energy-effi-
Joel Siegel, LC ciency lighting.”
Edison Price Lighting “This installation can only be
James Sultan, LC
described as disgraceful.”
Studio Lux “If 1920’s nostalgia was the
goal, I offer my congratulations.”
RVP/Directors
The client, on the other hand, had
Kevin Flynn this to say: “If seeing is believing,
Kiku Obata & Company
then come and see and visit what
Russ Owens, LC
West Coast Design Group

www.iesna.org LD+A/February 2003 3

 I read Kevin Houser’s ‘Lighting For
Quality’ in November’s LD+A and
am very curious; unless I missed
something, why there was no men-
tion of the scotopic function and
the work that Sam Berman, Don
Jewett, Moji Navvab, Jim Sheedy
and others have done on scotopi-
cally enhanced lighting.
LETTERS
TO THE EDITOR
Based on good science, there is
little doubt on the following points:
• Rods are active at normal inte-
rior light levels
• Rods are the main controller of
pupil size
• More scotopic color in light
activates the rods = smaller pupils
• Smaller pupils = better visual
acuity and higher levels of bright-
ness perception
• These are important considera-
tions in many working environ-
ments, especially with VDTs
If the author wants to bring up
any recent research that does not
confirm advantages of scoptically
enhanced lighting, I do not consider
it relevant, if 20/20 visual consid-
erations are not the governing cri-
teria.
Stan Walerczyk, LC
Director of Lighting
Sun Industries
Concord, CA
Kevin Houser replies:
Mr. Walerczyk’s last sentence
struck me as remarkable. As I
understand it, he does not con-
sider spectral issues in lighting to
be relevant unless they are about
scotopically enhanced lighting
and 20/20 visual considerations.
Why would we limit ourselves to
these topics? Different lighting
applications have different priori-
ties; while 20/20 considerations
like task visibility are often impor-
tant, so is the color of human
complexions, food, and merchan-
dise, the brightness of room sur-
faces and objects, the visual effi-
ciency of electric light sources,
4 LD+A/February 2003
and perhaps above all the occu-
pants’ satisfaction with the light-
ing. These items are (partly)
dependent upon spectral power
distribution, of which the S/P
ratio is just one of an infinite num-
ber of derived metrics.e.g. 1 - 28
Recent research also shows that
people may have different spec-
tral needs for visibility and circa-
dian photobiology;29 as knowl-
edge in this area grows it may
influence architectural lighting
practice and the spectral design
of light sources. It is wrong to
presume that scotopic enhance-
ment is our only spectral variable,
and unjustified to assume that it
is the best way to improve the
spectral per formance of light
sources.
Furthermore, a careful reading
of Berman’s work does not sup-
port Mr. Walerczyk’s conclusions
about pupil size. While Berman’s
work contains much good sci-
ence, it is important to separate
the facts from the speculations.
Quoting Dr. Berman, “The spec-
tral response of pupil size has
been studied by several investiga-
tors but there is no consensus
within the vision literature.”1
Berman and his coauthors have
speculated that the scotopic
function governs pupillary re-
sponse,31-37 but, as far as I am
aware, they have not tested this
directly. Although it is not impos-
sible to make physiological infer-
ences from psychophysical exper-
iments, it must be understood
that these conclusions contain
speculation. I believe that other
viewpoints about pupil size and
brightness perception have been
prematurely dismissed or never
addressed by Berman and his col-
leagues.
For example, Alpern & Camp-
bell38 and Doesschate & Alpern39
claim that pupil size is affected by
both rods and cones, and that the
action spectrum for pupillary
response peaks midway between
the photopic and scotopic func-
tions (near 530 nm). Indepen-
dently, Thornton has identified “a
particular set of primaries as an
invariant of the visual system,”40
and has termed the regions near
450, 530, and 610 nm the “prime
color” regions of human vision.
Publisher
William Hanley, CAE
Editor
Charles W. Beardsley
Assistant Editor
Roslyn Lowe
Associate Editor
John-Michael Kobes
Art Director
Anthony S. Picco
Associate Art Director
Samuel Fontanez
Columnists
Emlyn G. Altman
Louis Erhardt • Stan Walerczyk
Willard Warren
Book Review Editor
Paulette Hebert, Ph.D.
Marketing Manager
Sue Foley
Advertising Coordinator
Leslie Prestia
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Thornton’s research suggests
that a spectrum of light com-
prised of these spectral bands will
maximize both brightness per
watt and pleasantness of object
coloration. Thornton has not stud-
ied pupillary response. The sco-
topic response peaks at 507 nm;
Berman’s work implies that light
in this spectral region will en-
hance depth of field, visual acuity
and brightness perception. Thorn-
ton has identified this same
region as harmful to brightness
perception and pleasantness of
It is
wrong
to presume
that
scotopic
enhancement
is our only
spectral variable
object coloration.40-45 Thornton
suggests “it is more reasonable
to relate ‘scotopic response’ and
‘photopic response’ to the same
three spectral system responses,
and to ascribe the difference
between scotopic and photopic to
strong reduction in the redmost
system response when input lev-
els fall to those labeled ‘sco-
topic’.”42 Note that the spectral
region identified by Alpern &
Campbell and ten Doesschate &
Alpern coincides with one of
Thornton’s prime color regions
(530 nm). Taken together these
results suggest that energy at
530 nm would yield smaller pupils
and greater brightness per watt
than the 507 nm region support-
ed by Berman.
It is also important to remem-
ber that Berman and his col-
leagues used very sensitive tests
in an effort to isolate and quanti-
www.iesna.org
fy the pupillary effect.34 Their
experiments included very diffi-
cult visual tasks of low contrast
and small size, and in some cases
the visual task was only visible for
1/5 second. While statistically
significant effects were found
under these trying conditions, the
incremental benefit may not be a
top criterion in typical real-world
building interiors.
I believe we can agree that
vision and energy efficiency can
be improved by tuning the spec-
tral output of light sources to bet-
ter coincides with the human visu-
al response. This is a critical sub-
ject as we attempt to find ways to
improve lighting quality while
reducing energy consumption.
References
1. CIE 41. “Light as a True Visual
Quantity: Principles of Measure-
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CIE. 1978.
2. CIE 13.3. “Method of Measur-
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Central Bureau of the CIE. 1995.
3. CIE. “Guide to the use of
Spectral Luminous Efficiency Fun-
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Luminous Efficiency Functions.
1999.
4. Corth, R. “The Basis for a New
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5. Guth, S.L. “Model for Color
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Erratum: 1992; 9: 344.
6. Guth, S.L. “Unified Model for
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7. Howett, G.L. “Linear Opponent-
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8. Hunt, R.W.G. “A Model of
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9. Hunt, R.W.G., and Pointer, M.
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10. Hunt, R.W.G. “A Model of
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11. Hunt, R.W.G. “Revised
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1991; 16: 146-165.
12. Hunt, R.W.G. “An Improved
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Model of Colour Vision.” Color
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13. Jerome, C.W. “Flattery vs.
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Soc. 1972: Apr.: 208-211.
14. Jerome, C.W. “The Flattery
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15. Jerome, C.W. “Absolute Color
Rendering.” J. Illum. Eng. Soc.
1974; Oct.: 25-28.
16. Judd, D.B. “A Flattery Index
for Artificial Illuminants.” Illumin-
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593-598.
17. Nayatani, Y., Takahama, K.,
and Sobagaki, H. “Prediction of
Color Appearance Under Various
Adapting Conditions.” Color Re-
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62-71.
18. Nayatani, Y., Hashimoto, K.,
Takahama, K. and Sobagaki, H. “A
Nonlinear Color-Appearance Model
using Estevez-Hunt-Pointer Pri-
maries.” Color Research and
Application. 1987; 12: 231-242.
19. Nayatani, Y., Mori T.,
Hashimoto K., Takahama, K., and
Sobagaki H. “Comparison of Color
Appearance Models.” Color Re-
search and Application. 1990; 15:
272-284.
20. Nayatani, Y., Sobagaki, H.,
Hashimoto, K., and Yano, T.
“Lightness Dependency of Chroma
Scales of a Nonlinear Color-
Appearance Model and its Latest
Formulation.” Color Research and
Application. 1995; 20: 156-167.
21. Sagawa, K. “The Future of
CIE Photometry, Toward a System
More Visually Meaningful.” CIE
Symposium ’99, 75 years of CIE
Photometry. Budapest, Hungary.
1999; 159-163.
22. Sanders, C.L. & Wyszecki, G.
“Correlate for Brightness in Terms
of CIE Color Matching Data.” CIE
Compte Rendu. 15th Session.
Vienna. Vol. B. CIE Publication No.
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11. 1964; 221-230.
23. Thornton, W.A. “Color
Discrimination Index.” J. Opt. Soc.
Am. 1972; 62(2): 191-194.
24. Thornton, W.A. “A System of
Photometry and Colorimetry Based
Directly on Visual Response.” J.
Illum. Eng. Soc. 1973; 3(Oct): 99-
111.
25. Thornton, W.A. “A Validation
of the Color Preference Index.” J.
Illum. Eng. Soc. 1974; Oct.: 48-52.
26. Thornton, W.A. “Brightness
Meter.” J. Illum. Eng. Soc. 1980;
Oct.: 52-63.
27. Xu, H. Color Rendering
Capacity of Illumination. J. Illum.
Eng. Soc. 1984; Jan.: 270-276.
28. Fotios, S.A. “Lamp Colour
Properties and Apparent Bright-
ness: A Review.” Lighting Re-
search and Technology. 2001;
33(3): 163-181.
29. Rea, M.S., Figueiro, M.G. &
Bullough, J. D. “Circadian photobiol-
ogy: an emerging framework for
lighting practice and research.”
Lighting Research and Technol-
ogy. 2002; 34(3): 177 – 190.
30. Berman, S.M., Jewett, D.L.,
Bingham, L R., Nahass, R.M., Perry,
F. and Fein, G. “Pupillary Size Dif-
ferences under Incandescent and
High Pressure Sodium Lamps.” J.
Illum. Eng. Soc. 1987; 16(1): 3-20.
31. Berman, S.M. “Photopic
Luminance Does Not Always Predict
Perceived Room Brightness.” Light-
ing Research and Technology.
1990; 22(1): 37-41.
32. Berman, S.M. “Energy
Efficiency Consequences of Sco-
topic Sensitivity.” J. Illum. Eng.
Soc. 1992; 21(1): 3-14.
33. Berman, S.M., Fein, G.,
Jewett, D.L., Saika, G., and Ashford,
F. “Spectral Determinants of
Steady-State Pupil Size with Full
Field of View.” J. Illum. Eng. Soc.
1992; 21(2): 3-13.
34. Berman, S.M., Fein, G.
Jewett, D.L., and Ashford, F. “Lu-
minance-Controlled Pupil Size
Affects Landolt C Task Perfor-
mance.” J. Illum. Eng. Soc. 1993;
22(2): 150-165.
35. Berman, S.M., Fein, G.
Jewett, D.L., and Ashford, F. “Lan-
dolt-C Recognition in Elderly Sub-
jects is Affected by Scotopic In-
tensity of Surround Illuminants.” J.
Illum. Eng. Soc. 1994; 23(2): 123-
130.
36. Berman, S.M., Fein, G.
Jewett, D. Benson, B., Law, T. and
Myers, A. “Luminance-Controlled
Pupil Size Affects Word-Reading
Accuracy.” J. Illum. Eng. Soc.
1996; 25(1): 51-59.
37. Berman S.M., Jewett, D.L.,
Benson, B.R., and Law, T.M.
“Despite Different Wall Colors,
Vertical Scotopic Illuminance
Predicts Pupil Size.” J. Illum. Eng.
Soc. 1997; 26(2): 59-68.
38. Alpern, M.G. & Campbell,
F.W. “The spectral sensitivity of the
consensual light reflex.” J. Physiol.
1962; 164: 478-507.
39. ten Doesschate, J. & Alpern,
M.G. “Response of the pupil to
steady state retinal illumination.”
Science. 1965; 149: 989-991.
40. Thornton, W.A. “Toward a
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Colorimetry, Part II. Discussion.”
Color Research and Application.
1992; 1(3): 162-186.
41. Thornton, W.A. “Toward a
More Accurate and Extensible
Colorimetry, Part I. Introduction.
The Visual Colorimeter-Spectro-
radiometer. Experimental Results.”
Color Research and Application.
1992; 17(2): 79-122.
42. Thornton, W.A. “Toward a
More Accurate and Extensible
Colorimetry, Part III. Discussion
(continued).” Color Research and
Application. 1992; 17(4): 240-
262.
43. Thornton, W. A. “Toward a
More Accurate and Extensible
Colorimetry, Part IV. Visual Ex-
periments with Bright Fields and
Both 10° and 1.3° Field Sizes.”
Color Research and Application.
1997; 22(3): 189-198.
44. Thornton, W. A. & Fairman,
H. S. “Toward a More Accurate and
Extensible Colorimetry, Part V.
Testing Visually Matching Pairs of
Lights for Possible Rod Partici-
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Color Research and Application.
1998; 23(2): 92-103.
45. Thornton, W. A. “Toward a
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Application. 1998; 23(4): 226-
233.
www.iesna.org

D
o we need a conference and
does it need to be an annual
event? Should it appeal to a
select few or to a large audience?
How can we get more paper sub-
missions? Does the conference
have to be in August, or perhaps
can we find a hotter month?
Our current Bylaws state: “An
Annual Conference shall be held
once each year on a date and at a
place approved by the Board of
PRESIDENT'S
POINTS
Directors, for the presentation and
discussion of technical, research,
design and application papers and
reports of interest to the Society.”
While we have made several cos-
metic improvements in the IESNA
Annual Conference over the past
few years, your Board of Directors
Randy Reid created a taskforce in August and
directed it to reengineer your con-
ference. The group was headed by
past president, Pam Horner, and
focused on four areas: purpose,
duration, time of year, and content.
Part of the problem in changing
the conference is that a society as
old as ours is deeply rooted in tradi-
tion—and that’s usually a good
thing. However, sometimes tradi-
tion interferes with progress and we
are committed to strengthening
your conference while preserving
key aspects of our nearly 100 years
of tradition.
Purpose. Should the goal be to
grow the Conference and increase
attendance? Do we dumb down the
content to appeal to the beginners?
Instead of reducing the content to
the lowest common denominator,
the Board agreed with the task
force that improving attendance by
trying to appeal to everyone is not
necessarily the goal. We currently
have little or no beginner level mate-
rial at the Annual Conference, and
we should keep it that way. The
task force agreed that the confer-
ence should focus on intermediate
and advanced/masters level infor-
mation. However, that does not nec-
essarily imply that the material
8 LD+A/February 2003
should be impossibly difficult to
understand; the Conference should
offer new and interesting important
topics. We must clearly differenti-
ate our offerings from those found
at LIGHTFAIR. We should do what
LIGHTFAIR does not. Also, we
should keep certain elements that
have always set the Annual Con-
ference apart, i.e., a place for com-
mittees to do their work, a place to
conduct our annual business, and a
place for some of the traditional cer-
emonies.
Duration. While the actual con-
ference is usually held Monday
through Wednesday, several com-
mittees have their meetings the
weekend before—some as early as
the Friday before, which means
committee members have to arrive
on Thursday evening. Spending a
calendar week at the Annual Con-
ference (especially when most
attendees have already spent a
week at LIGHTFAIR two months ear-
lier) is a lot to ask. The task force
recommended a two-day confer-
ence with two days of committee
meetings preceding the conference
for a maximum of four days. The
Board of Directors approved this
recommendation and it will take
effect after the Society’s Centen-
nial Celebration in 2006.
Time of year. The Conference
has been held in August for as far
back as anyone can remember. One
reason was to accommodate stu-
dents. Another was to encourage
members to bring their families and
incorporate a vacation into the con-
ference. As the conference has
evolved, very few students attend.
With many two-income families, we
see far fewer members bringing
spouses or children. Therefore,
August is no longer sacred. And
how does one get excited planning
a trip to San Antonio with 100+
temperatures?
The taskforce recommended and
the board agreed to move the con-
ference from August to January/
Visit
Visit our
our
online
online bookstore
bookstore
at
at www.iesna.org
www.iesna.org
February. A January/February meet-
ing will give sufficient time to recu-
perate from the past LIGHTFAIR
and ample time to prepare for the
following LIGHTFAIR. This improve-
ment will take place in 2006 as we
are already locked into Chicago in
August of 2003, and Tampa in
August of 2004.
Content: The opening session
will be kept, but it will be shorter.
The keynote speaker will remain so
long as we find a suitable speaker
with something important to say.
No longer will we have a warm body
for the sake of tradition. There was
no conclusion on whether we want
lighting or non-lighting keynote
speakers. The papers are the cor-
nerstone of the conference and
make no mistake, the Board will do
whatever is needed to improve their
quality and their quantity. Seminars
must continue to improve and we
will appoint an Annual Conference
chairperson to coordinate all
aspects of the conference program.
The Honors luncheon will continue,
but may be combined with IIDA as
both are intended to honor our
finest. The luncheon will be refor-
matted and perhaps made more for-
mal. The President’s banquet will
likely move to Monday evening and
there will be a focus on increased
networking opportunities during
and after the meal. We will revisit
the timing of both the progress
report and the tabletop exhibits.
The Board of Directors’ question
and answer is an important time to
hear from our membership and that
session will remain unchanged.
Bottom line. In 2006 and
beyond, you’ll find a shorter, more
productive conference with in-
creased networking opportunities. I
want to hear from you. Let me know
what you think of our planned
improvements and whether you pre-
fer a keynote speaker from the
industry or outside the industry.
Send your comments to: randyreid
@comcast.net
www.iesna.org
 a few, then proceed to others. Because of the help of

H
ere it is February and I find my term as South-
western Region RVP more than half over. My many in this region’s REC we have met several of our
term is for three years (the new standard) and goals.
I find this first half has passed by quickly. I wish to The newly reactivated Mexico Section is now a
thank all those that have made it such a pleasure. I
look forward to the second half.
For those of you contemplating being an RVP as
well as those assisting the RVP as a member of the REGIONAL
VOICES
Regional Executive Council or as a Section President
please note that self-motivation is a must. During the
years that I served on the REC under several RVP’s I
always wondered why I did not receive more input
from the RVP on what I should be doing. Now as an
RVP I know. The workload of the RVP is large con- legal entity in Mexico and has a very active mem-
sidering the fact that it is an unpaid, voluntary addi- bership. They have recently hosted their latest
tion to their already full employment, personal and Jornada Internacional de Iluminacion, bringing in
other professional requirements. speakers from as far away as Italy. We have, through
the efforts of the San Jacinto Section, a new student
chapter at the University of Houston. The Student
Lighting Design program has been revamped and is
active.
For those of you The job of the RVP and members of the REC can be Thomas
demanding. It can also be very rewarding, both from Duncan, PE, LC
contemplating being a personal side and in helping the profession. I hearti- Southwestern
ly suggest that all consider assisting the society by Region RVP
an RVP... serving in such a capacity. I know it has been and
still is very rewarding for me.
please note that
self-motivation
is a must.

Having personnel who are self-motivated and who

understand what is necessary to achieve the goals of
the REC is imperative. The RVP simply does not have
the time to personally dictate what each person
needs to accomplish, and having two or three REC
meetings a year (versus the typical monthly Section
Board of Managers meeting) simply does not allow
time to discuss in detail what needs to be done. REC
committee chairs, please review your responsibilities
and determine how you will achieve them. Afterward,
discuss them with your RVP and after a plan has been
agreed upon, proceed without delay. While a year
seems a long time to achieve your goals, it passes by
before you know it. Also, it frequently takes longer
than planned for actions to take place. Section pres-
idents, it is imperative that you keep your RVP
apprised of your Section’s status. The most obvious
way of doing this is circulating copies of your meet-
ing reports and minutes of your board of managers
meetings.
Don’t put too much on your plate. When I became
the RVP, I had many lofty goals for the Region to
achieve—an active student chapter in each Section,
getting inactive sections operating, and revival of the
region’s Student Lighting Design Awards program. I
have since learned that having many goals means
few will be accomplished. Concentrate on achieving
www.iesna.org LD+A/February 2003 9

W
hen we are presented with
a bright source that is
located straight ahead of
us, we experience glare. If the
source is excessively bright we will
experience disability glare. That is,
the intensity of the source is so
harsh that it prevents us from being
able to see well. A good example of
this will be the high beam from an
LIGHTING FOR
QUALITY
approaching car. In interior lighting
environments, it is unusual that we
will experience this type of disabili-
ty glare. But rather, we may be sub-
jected to a high enough source
brightness that will make us feel
uncomfortable. Hence we term it
discomfort glare.
Peter Ngai Discomfort glare has been inves-
tigated for over half a century. We
know quite well the factors that
influence discomfort glare—name-
ly, the size of the glare sources, the
luminance of the sources, the over-
all luminance of the environment,
the angle of deviation of the
sources from the horizontal line of
sight and the number of glare
sources within the field of view. In
North America, we use the Visual
Comfort Probability (VCP) System
to estimate the glare potential of a
luminaire under predetermined con-
ditions. At the present time, there
are some questions among lighting
specialists as to whether VCP is the
best predictor of discomfort glare or
not. However, the overall underlying
concept is sound.
Our glare sensation is very
much affected by the location of
glare source from our horizontal
line of sight. If it is straight ahead
in front of us, we will experience
much greater visual discomfort
than if it is away from our line of
sight. Conversely, the farther away
it is from our line of sight, the less
we will be affected by the bright-
ness of the source. One fundamen-
tal assumption of this system is
that discomfort glare exists if the
source of glare is within 53
degrees above our line of sight.
10 LD+A/February 2003
This implies that a glare source
located above 53 degrees from
horizontal (when we are looking
straight ahead) is unlikely to cause
any discomfort glare.
Or is it?
All of us, at one time or another,
have had the experience of sitting in
an office directly under a two-by-four
type parabolic luminaire with either
three or four T8 fluorescent lamps.
Do we feel very comfortable? Does
the brightness of the luminaire both-
er us? I believe there are just as
many people who would say that it
Overhead
Glare
is uncomfortable, as there are peo-
ple saying it is comfortable. The
luminaire undoubtedly is beyond 53
degrees from our horizontal line of
sight. Our traditional belief is that it
should not cause any visual dis-
comfort because we cannot see the
bright object. But it does, at least
to some. The reason for this is sim-
ple: our sensation to brightness
does not fall off the cliff right
beyond 53 degrees. We are still
sensitive to glare at 55 degrees and
higher but at a continually reduced
level. If source luminance is high
enough, we will experience discom-
fort. The discomfort glare that is
associated with a glare source
located higher than 53 degrees
from our horizontal line of sight is
termed “Overhead Glare. “
The subject of glare is well inves-
tigated, from Luckiesh and Guth to
Hopkinson to Fry to Kanaya just to
name a few. Kanaya showed that as
the angle of deviation from horizon-
tal line of sight increased from 60 to
75 degrees, discomfort was also
reduced accordingly. However, the
first research that solely focused on
glare from overhead sources was
done by Sheedy and Bailey of the
University of California School of
Photometry in 1995. They studied
the effect of overhead glare on visu-
al discomfort produced by a glare
source located directly overhead
the subject. The intensity of the
glare source was held constant. But
the amount of glare sensation felt
by the subject was varied by means
of a cap with a visor of different
transmissions. In this way, all the
photometric quantities associated
with the experimental set-up were
held constant except the amount of
overhead glare impacting the sub-
ject. The researchers’ conclusion
was that the higher the luminaire
luminance, the higher the subject’s
discomfort. This study definitely
showed the effect of visual discom-
fort produced by glare source above
53 degrees, proving the existence
of overhead glare.
Another study on overhead glare
was done at an IESNA and IALD joint
committee QVE/MOQ workshop in
1999. In this study, a series of four
experiments was performed to
understand the phenomenon of over-
head glare. Subjects experienced in
lighting provided assessment of the
degree of discomfort caused by a
glare source positioned at five dif-
ferent positions corresponding to
55, 65, 75, 85 and 95 degrees
above a horizontal line of sight in a
simulated office space. The glare
source was set to high, medium and
low values and so was the ambient
illuminance. The results showed
that people do experience discom-
fort from overhead glare source if
the luminance of the glare source is
high enough. Specifically, the study
found that there is an increase in
discomfort with increasing source
luminance and size of the glare
source. The discomfort is reduced
by increasing the light levels in the
room. And as expected, there is a
decrease of discomfort with an
increase in deviation from horizontal
line of sight. The results showed
that the median BCD (boundary
between comfort and discomfort)
luminance for deviations up to 85
degrees is around 9000 cd/m2.
That is, a glare source with lumi-
nance of 9000 cd/m2 will cause dis-
comfort to 50 percent of the people
even when it occurs 85 degrees
above a horizontal line of sight.
In 2000, another study comple-
mentary to the above mentioned
research using similar method but
with naïve subjects was conducted
at the Lighting Research Center at
Rensselaer. The findings from this
study were similar to those of the
previous study. The only difference
www.iesna.org
 was in the level of luminance value
beyond which subjects felt discom-
fort for all angles. The 1999 study
with lighting professionals reported
a value of 9000 cd/m2 while the
2000 study showed a 16,000
cd/m2 value for the naïve subjects.
This suggests that lighting design-
ers are more sensitive to discomfort
glare than naïve subjects. While
there may be technical debate on
this discrepancy, this much is clear:
for practical applications in long-
term work environments, we need to
consider a level of overhead source
luminance that is much lower than
the BCD values determined in the
studies. This is because we do not
want to design a lighting system in
which only 50 percent of the people
are satisfied. Moreover, this BCD
level is for luminance of the glare
source at 85 degrees. For angles
below 85 degrees, say 55 and 65
degrees, the lamp luminance values
should be much lower.
There was another interesting
finding from this research: the pat-
tern of the results are exactly what
would be expected from the funda-
mental formulae on which the con-
ventional discomfort glare predic-
tion systems, such as VCP, Glare
index and the UGR system are
based. As a matter of fact, the
2000 study shows that the approx-
imate level of discomfort produced
by a glare source between 55
degrees from line of sight and the
edge of the visual field of view can
be predicted using the Unified Glare
Rating system.
Is overhead glare a different kind
of glare? No. The research results
imply that overhead glare is simply
an extension of discomfort glare and
not an entirely separate phenom-
enon. It confirmed that discomfort
glare does not cease at 55 degrees
from line of sight, but continues until
the glare source passes well outside
the field of view. The data does show
that the luminance required to pro-
duce discomfort glare at very high
angles, i.e., when the it is overhead,
is much higher than is required at
lower angles i.e., when it is closer to
the line of sight. There is no doubt
such luminances are well within the
range of our present day light
sources and luminaires.
When is overhead glare a con-
cern for lighting designers and engi-
12 LD+A/February 2003
neers? Well, the short answer is
that whenever visual comfort is an
important issue. Take for example,
lighting for school classrooms.
Most of the time, students’ atten-
tion will be on the teachers or the
the pattern
of the results
are exactly what
would be
expected from
the fundamental
formulae on which
the conventional
discomfort glare
prediction systems
are based
chalkboards. If the luminaires on
the ceiling direct most of the light
downward, it can create overhead
glare and can create a very uncom-
fortable visual condition for the
occupants of the classrooms. This
is especially true for luminaires with
high lumen and high brightness
sources such as HID, compact fluo-
rescent or the linear T5 and T5HO
lamps where the bare lamps are vis-
ible. One can experience similar
overhead glare in offices, confer-
ence rooms, libraries, hospitals, and
courtrooms just to name a few. An
adverse by-product of overhead
glare is veiling reflection. When
most of the intense brightness of
the luminaire is directly overhead,
veiling reflection is most prominent.
As we stated earlier, in long-term
work environments, we need to con-
sider a level of overhead source
luminance that is much lower than
the BCD (9000 - 16,000 cd/m2)
level. There are still some aspects of
overhead glare that need further
explorations, such as the relation-
ship between glare source size and
visual comfort. However, at this
time we recommend the maximum
luminance of the luminaires should
be no more than 10,000 cd/m2.
Those who feel “more comfortable”
with a lower value should feel free to
reduce the luminance. After all,
9000 cd/m2 represents only a 50
percent satisfaction level for lighting
professional.
References:
Illuminating Engineering Society
of North America, IESNA Lighting
Handbook, 9th Edition, 2000.
Commission Internationale de I”
Eclairage, CIE Publication 117,
Discomfor t Glare in Interior
Lighting, 1995.
Lukiesh, M., and Guth, S.K.
Brightness in Visual Field at
Borderline between Comfort and
Discomfort (BCD). Illuminating
Engineering. pp. 650-670. 1949.
Hopkinson, R.G., Architectual
Physics: Lighting, Her Majesty’s
Stationary Office, London, 1963.
Fry, G.A., A Simplified Formula for
Discomfort Glare, JIES, 8, pp 10-
20, 1976.
Akashi, Y., Muramatsu, R., and
Kanaya, S., Unified Glare Ratings
(UGR) and Subjective Appraisal of
Discomfort Glare, Lighting Re-
search and Technology,28, pp 199-
206, 1996.
Mistrick, R.G., and Choi, A., A
comparison of the Visual Comfort
Probability and Unified Glare Rating
Systems, JIES, 28, pp 94-101,
1999.
Sheedy, J. E., and Bailey, I.L.,
Symptoms and Reading Perfor-
mance with Peripheral Glare
Sources, Work with Display Units
94, Eds. A Grieco, G. Molteni, B.
Piccoli, and E. Occhipinti, Elsevier
Science, Amsterdam, 1995.
Ngai, P., and Boyce, P.R., The
Effect of Overhead Glare on Visual
Discomfort, JIES, 29, 29 – 38,
2000.
Boyce, P.R., Hunter, C.M., and
Inclan, C., Overhead Glare and Vis-
ual Discomfort, Conference Pro-
ceedings, The Illuminating Engin-
eering Society of North America,
pp. 43 – 64, 2002.
Peter Ngai, LC, PE, FIESNA, is
vice-president, engineering, Peer-
less Lighting, Berkeley, CA.
www.iesna.org
 E
very space has two sets of
requirements for vision: those
that are external, properties
of the scene; and those that are
internal, the viewer’s reaction. The
external stimulus is the product of
illuminance and reflectance. The
internal response is retinal adapta-
VIEWS ON THE
VISUAL
ENVIRONMENT
tion with a perceptive message
conveyed by the retinal image to
the brain.
One begins with the message “a
study in visual communication.” In
a brief exposition of interior spaces,
the concept of what-you-want-to-
see is reduced to identifications of
Louis the space and of activities to be per-
Erhardt formed therein. Examples might be
a studio to design automobiles, a
factory to assemble them, or any of
a myriad of spaces and activities
that make up our environment.
The stimulus is computed by
means of a simple set of factors.
Our eyes, when we open them,
immediately respond to the prevail-
ing brightness. This response is
approximately the logarithm of the
stimulus. Almost all visual sensitivi-
ties—to brightness, color, size, and
contrast—are expressed in the
same log units as the adaptation.
This compendium of visual abilities
is instantly available when an adap-
tation level is selected.
Following are the steps of a pro-
cedure:
Adaptation – Match the adapta-
tion to fit the requirements of the
space and task. The selection
should present no problem: 1
cd/m2 for simple tasks, 10 cd/m2
for average everyday activities, 100
cd/m2 for the most severe chal-
lenges.
Reflectance – Average reflec-
tance for the total of all interior sur-
faces should be determined. Some-
times such information is not read-
ily available. Since lighting design
is as much an art as a science, it is
not numerically critical. Therefore,
the following averages may be
14 LD+A/February 2003
used: 0.16 for dark interiors, 0.32
for average mid-range lightness,
0.64 for light reflectances. The
selection should also be easy
(Table I). Visual adaptation is set
by the average weighted (lumi-
nance x area) luminance of the
visual field.
Illuminance – Is quantified indi-
rectly by selection of an adaptation
that quantifies an extensive list of
visual sensitivities.
Adaptation – Two kinds: the
unfocused general adaptation, such
as the first appearance of an unfa-
miliar room; second, the focused
attention on a task or other detail.
General adaptation is measured by
the weighted average of the entire
field of view; focused, by the foveal
area plus about a 10 degree sur-
round. Vision moves smoothly be-
tween the two—possibly a neural
transition if the change is momen-
tary, chemical if sustained. Both
foveal and peripheral vision seem to
be adapted simultaneously at night
when attention is focused on the
road or a sign, and a side-glance
reveals a pedestrian moving to step
into the street.
Fudge Factor – All of the retinal
sensitivities, recorded at different
adaptations, are threshold values
agreed upon by professional
observers. Regrettably, my own re-
cording of those values were the
result of a personal test, my obser-
vations after reviewing public data.
Threshold values are minimal. The
amount of increase to fulfill visual
requirements and overcome the
Table I
Visual Abilities of the Eye’s Sensitivities at Individual
Adaptations
Adaptation Reflectance
1 cd/m2 Light .64
Med. .32
Dark .16
10 cd/m2 Light .64
Med. .32
Dark .16
100 cd/m2 Light .64
Med. .32
Dark .16
(To convert lux to footcandles, multiply by 0.093)
multitude of deleterious factors has
been the subject of great discus-
sion. These factors include: viewer’s
age, subnormal vision, moving tar-
gets, distance, need for accuracy,
and many more. Parry Moon has
suggested a safety factor of at least
ten. For many years, IESNA has
used eight—the visibility reference
function—as the safety or “fudge”
factor. To compare our Adaptation-
Reflectance computations with
IESNA findings, we will therefore
use eight as the safety factor, but
only when making a comparison
with calculations requiring a numer-
ical end result.
To compare and discover the
potential of the several approaches,
consider the political phrase that
has decisive significance in the
comparison of different lighting sys-
tems: “What did he know and
when?”
In 1970, Foster Sampson visited
schools throughout California, mea-
suring significant lighting details
and recording them. He drew con-
clusions as to their degree of meet-
ing pre-design goals. (Once
designed, there was a mandated
illuminance on desk surfaces, a
desire for freedom from glare, and a
general sense of comfort.) Glare
and comfort are mental perceptions
without numerical measure, al-
though efforts continue to write
equations for them. What was
known were the dimensions of the
space and the finishes of the sur-
faces. Added to these was the spe-
cific illuminance level, in compli-
Illuminance Applications
1.8 lx Circulation,
6.6 Conversation,
16.5 Storage.
18 lx Reading,
66 Coarse Assembly,
165 Conference.
175 lx Tool-making,
660 Fine Assembly,
1650 Surgery.
www.iesna.org
ance with the recommendations of
the IESNA.
In Sampson’s school #4, the task
area was 708 sq ft; the wall colors,
brown and yellow-green; the aver-
age reflectance, 0.30; and the
IESNA illuminance, 30 fc.
Sampson’s comments on the
lighting after the school was in ser-
vice:
1. The perimeter lighting sys-
tem provides an unusually uni-
form distribution.
2. The general level of illumina-
tion (57 fc) is on the low side.
3. Ceiling brightness is excep-
tionally low (17 cd/m2).
4. Contrast is excellent. (Con-
trast by equation)
5. Wall colors were much darker
than is suggested.
Design using Adaptation-Re-
flectance method, same space:
Selecting the adaptation: For a
school classroom, 10 cd/m2
Reflectance: 0.32
Average illuminance, all surfaces,
6 fc (Table I)
Safety factor, 8 X 6= 48 fc (for
comparison purposes only)
Adapted Visual Abilities are
known immediately when an adap-
tation level is selected. The knowl-
edge and benefits are so extensive
that any attempt to summarize is
apt to leave out more than it
includes.
Brightness – This perception is
relative, subject to the effects of
adaptation. The moon is bright on a
clear night when the eye is adapted
to darkness, but differs in color
only—white against the blue sky in
daytime, having nearly the same
brightness. Brightness allows one
to say that a scene looks bright or
dim, but brightness contrast intro-
duces a host of other visual sensi-
tivities with respect to size, color,
texture, lines and forms. Brightness
plays a part in some way with most
visual properties in a scene.
Contrast –The illuminating engi-
neer defines contrast by an equa-
tion that gives answers substantial-
ly different from those obtained by a
visual appraisal. The equation yields
a single number as the contrast.
Contrast sensitivity is expressed by
the Fechner fraction, the ratio of dif-
ferential luminance threshold to
luminance. This becomes the engi-
www.iesna.org
neer’s equation for contrast.
Luminance of an object (the spot)
minus the luminance of the back-
ground, divided by the luminance of
the background, equals the con-
trast. However, current usage does
not require that the difference be
minimal, or that the background be
Every space
has two sets of
requirements
for vision:
those that are
external,
properties
of the scene;
and those that are
internal,
the viewer’s
reaction.
the adaptation. These later changes
provoke the question, “What has
contrast become?” It is certainly
not contrast in the normal sense of
the word.
The psychologist’s contrast, and
that of the layman as well, is the
perceived difference in the quantity
or quality of two objects or areas—
a difference that may be observed
simultaneously or sequentially. This
contrast is best expressed in
artist’s terms. A painter has three
dimensions for any spot of color on
his canvas. They are, using Albert
Munsell’s notation, Hue, Value, and
Chroma—capitalized to designate
Munsell’s terms. Value is made up
of ten visually, uniformly spaced
steps from White (10) to Black (0).
Uniform illumination is assumed.
Because we are concerned with
light, we must add a fourth dimen-
 sion, Brightness. If reflectance is
uniform, any variation in the field
must arise from differences in
brightness. Although the steps are
visually equal, they are nowhere
near equal in their reflectances,
that have been recognized as valid
ordered pairs by both artists and
engineers. This Munsell Scale of
Values is a characteristic of the
human retina, not merely an artist’s
concept. Failure to recognize this
departure from the expected has
lead to many spurious brightness
ratios, as is the failure to realize the
equally important benefits of adap-
tation. The engineer has taken num-
bers derived from light as radiant
energy instead of addressing light
as a stimulus for vision.
Color – James A. Worthey pro-
vides the basic concept:
“The study of color rendering is
concerned primarily with the chro-
maticity shifts that occur when one
illuminant is exchanged for anoth-
er.”
Deane Judd adds:
“The visual mechanism of the
normal observer is so constructed
that objects keep nearly their day-
light colors even when the illumi-
nant departs markedly from aver-
age daylight.”
Charles P. Steinmetz recognized
that:
“The sensitivity of the eye to radi-
ation obviously changes with the
frequency, as it is zero in the ultra-
red, and in the ultraviolet, where the
radiation is not visible, and thus
gradually decreases from zero at
the red end of the spectrum to a
maximum near the middle of the
spectrum and then decreases again
to zero at the violet end of the spec-
trum.”
Steinmetz also found that sensi-
tivity to color varied with the inten-
sity as well, and gave a set of
curves: far red (ultra red), 65.0
microcentimeters; orange-yellow,
59.0 microcentimeters; bluish
green, 50.5 microcentimeters; and
violet, 45.0 microcentimeters. We
have also touched upon Munsell
Values, not often recognized as a
biological condition of the retinal
perception of lightness or bright-
ness.
Size – One minute of arc is per-
haps the best introduction to visual
size. It is, of course, one sixtieth of
16 LD+A/February 2003
a degree, its tangent is 0.000261,
or 1/3834. In visual terms, one
minute of arc is the “minimum visi-
ble” or “minimum separable” detail
of the “normal” eye.
The reciprocal of minutes of arc
is visual acuity. Visual size is the
angular measure of an object at a
specific distance, and visual acuity
is the reciprocal of visual size.
Visual size is extremely important
when viewing a scene, though its
importance is often unrecognized.
Consider, for example, a chair three
feet in height. On a clear day, it
would be just visible at a bit over
two miles distant with a visual angle
of 1 minute of arc—just a dot in
space. As you approach, several of
its small components, measuring 2
inches, become separately visible
at a little over 600 feet as it is per-
ceived to be a chair. At six feet, the
composition of the chair is quite evi-
dent: the carved wood, the grain of
the wood, and the colors of both the
wood frame and the velvet uphol-
stery. At even closer viewing, tex-
tures are revealed. In all successful
views, light reveals by its intensity,
size of source, and direction, a
series of changing appearances. All
of this abundant detail is the result
of the visual size of the object and
its distance from the eye of the
viewer. The IESNA defines three
types of acuity: that which enables
one to separate two stimuli, a form
of detection called its resolution
acuity; one that allows the viewer to
recognize letters at a specified dis-
tance, known as recognition acuity;
and finally vernier acuity, the ability
to detect misalignment of two lines.
William Lam, in Perception and
Lighting, captured the importance
of the size-distance relationship:
“When a chalkboard is to be
viewed, a 25-percent decrease in
viewing distance produces an
improvement in visual acuity equal
to increasing the amount of light
100 times, from 10 to 1000 foot-
candles.”
Gary Yonemura, in Criteria for
Recommending Lighting Levels,
U.S. Bureau of Standards, 1981,
divides visibility into three cate-
gories: detection, recognition, and
identification.
Simon Shaler, in The Relation
between Visual Acuity and
Illumination, Library of Biophysics,
Columbia University, 1937, uses
the terms recognition and resolu-
tion, as does The IESNA Hand-
book, Ninth Edition. Although
there is no strict adherence to defi-
nitions, they are all associated with
the concept of acuity—the ability to
see, detect, and recognize fine
details.
Flicker – “To eliminate the per-
ception of flicker, it is necessary to
increase the frequency of oscilla-
tion above the critical flicker fre-
quency or to reduce the percentage
modulation of the oscillation, the
area of the visual field over which
the oscillation occurs, or the adap-
tation luminance.”—The IESNA
Handbook, Ninth Edition. The peri-
pheral retina is far more sensitive to
flicker than is the fovea. The ends of
early fluorescent lamps appeared to
flicker if you did not view the ends
directly.
Again, Yonemura comes to our
rescue with an invitation to summa-
rize the possibilities of retinal adap-
tation:
“More generally, we need a mea-
sure that covers the gamut of visu-
al sensitivity (sensation) from bare-
ly detectable to highly legible.”
Perhaps the Adaptation-Reflec-
tance method of design with its
complete recognition of adaptation
(Table 1) is the answer Yonemura
was seeking.
Adaptation-Reflectance by virtue
of two simple selections has made
available an extensive list of visual
abilities: Illuminance, Brightness,
Color Sensitivity, Contrast (modified
by the Munsell Value Scale),
Resolution and Recognition Acuity,
and Flicker. In this month’s column,
we have been exposed to a single
adaptation, 10 cd/m2. In the
future, we will examine other adap-
tations.
e-mail
e-mail aa
letter
letter to
to
the
the
editor:
editor:
cbeardsley@iesna.org
www.iesna.org

F
or many years, we may not
have been looking under all of
the “right rocks” when trying
to link lighting to human perfor-
mance and well-being or when trying
to characterize lighting quality. The
lighting quality matrix in Chapter 10
of the IESNA Lighting Handbook
covers a wide range of visual criteria
(performance, glare, color, etc.), but
We may not
have been
looking under
all of the
“right rocks”
when trying to
link lighting to
human
performance
and well-being
is that all there is to lighting quality?
Based on the rapidly emerging
science of circadian photobiology,
the simple answer must be, no, be-
cause light is not just for vision.
Why isn’t light just for vision?
In 1980, Al Lewy showed that
bright white light (2500 lux for two
hours during the night between
02:00 and 04:00 hours) suppressed
human melatonin to daytime levels
(Lewy et al., 1980) and later
showed that bright white light
relieved symptoms of seasonal
affective disorder (SAD). These dis-
coveries were very important
because they stimulated other clini-
cal research. Eus van Someren (van
Someren et al., 1997) has shown
that exposing Alzheimer’s patients
to bright light during the day and
darkness at night consolidated their
rest/activity patterns, Miller et al.
(1995) showed that cycled light,
instead of continuous light, im-
proved growth rate of premature in-
www.iesna.org
fants. Lewy’s work was also the mice will interpret this as being
stimulus for more basic research. time to be active; humans, on the
Badia et al. (1991), Boyce et al. other hand, will interpret as being
(1997), and Figueiro et al. (2001) time to go to bed.
showed that bright light exposure at
night increased brain activity,
improved cognitive performance,
and subjective alertness, respec- RESEARCH
RECAP
tively. Also, epidemiologists are
hypothesizing that light at night may
be associated with increased risk of
certain types of cancer (Davis et al.,
2001; Hansen, 2001; Schernham-
mer et al., 2001). In summary, I
have been lecturing about light and Why propose a new framework
health for a few years now, and it for lighting practice?
continues to surprise me how I must There are five basic characteris-
continuously update my lectures to
reflect new and exciting research. It
tics of light: quantity, spectrum, dis-
tribution, timing and duration. The
is now impossible to ignore the fact
that light is not just for vision.
characteristics that are ideal for
vision are quite different than those
that are maximally effective for the
What do we know about circadi- circadian system. Certainly, we are Mariana G.
an photobiology? years away from a complete under- Figueiro,
Biological rhythms that repeat at standing of the impact of light on Lighting
approximately every 24 hours are circadian regulation, but an initial Research
called circadian rhythms. These framework for the effects of light on Center
include cycles such as sleep/wake, vision and on the circadian system
body temperature, hormone produc- can be helpful in paving the way to
tion and alertness (Arendt, 1995).
The human circadian timing is con-
trolled by the circadian pacemaker,
the biological clock located in the
suprachiasmatic nucleus (SCN) of
the brain. Light is the main input to
synchronize the biological clock to
the solar (24-hour) day (Brainard et
al., 1997). If we are not exposed to
sufficient amount of light of the
right spectrum, for a sufficient
amount of time, and at the right tim-
ing, our biological clock becomes
desynchronized with the solar day
and decrements in physiological
PO
functions, neurobehavioral perfor-
F
mance and sleep usually occur. (It
is important to note, however, that
light is the main, but not the only
synchronizer of the biological clock.
Exercise, social activities, and
scheduled meals have also been
shown to synchronize the clock,
although their impact on circadian
rhythmicity is weaker than light).
It is now widely known that mela-
tonin is a hormone produced by the
pineal gland at night and under con-
ditions of darkness. Generally, mela-
tonin is used as a marker of the cir-
cadian clock. Melatonin is believed
to be the hormone of darkness, the
one that tells the body it is night-
time. Nocturnal animals, such as
 practical applications where the cir- Phase advance resets the clock What can be recommended?
cadian system as well as the visual to an earlier time and phase This initial framework clearly illus-
system are considered in achieving delay resets the clock to a later trates how light affects the two sys-
good “lighting quality.” time. Because our clock’s natur- tems so differently. Unfortunately,
al rhythm is a bit longer than 24 we have limited understanding of
1. Quantity: Typical light levels hours, we need to advance it the interactions between these
found in an office environment every morning in order to be syn- lighting characteristics in affecting
(500 lux from white light on the chronized to the solar day. the circadian system. Until a more
workplane) are more than suffi- 4. Duration: The visual system comprehensive framework is devel-
cient for the visual system to responds to a light stimulus very oped for the circadian system (in
process information. One hour fast (less than 1 second). The terms of light quantity, spectrum,
exposure to this same white duration of light exposure needed timing, duration, and distribution)
light, however, is barely sufficient to suppress melatonin is longer the various experiments reviewed
to stimulate the circadian photo- than the duration of light expo- above will remain isolated findings
biological system. sure needed to activate the visu- with limited implications for prac-
2. Spectrum: The visual system is al system; suppression of mela- tice. For example, we know that
most sensitive to the middle tonin content in the bloodstream exposure to light during the day
wavelength portion of the spec- starts at approximately 10 min- affects the relative importance of
trum, while the photobiological utes after bright light exposure light exposure at night (Lynch et al.,
system is responsive to the short was initiated. 1985 and Hebert et al., 2002).
wavelength portion. For exam- 5. Spatial Distribution: For the visu- Therefore, it is premature to recom-
ple, at 500 lux on the workplane, al system, light distribution is mend, as some have suggested,
a 7500 kelvin (K) fluorescent critical to visual performance. that people should not read books
lamp is almost 2.5 times more For example, the accurate rendi- or watch television at night or that
effective in suppressing mela- tion of the patterns of light and people should use red LEDs as
tonin (1 hour exposure) than a dark on this page are necessary night-lights. Until we better under-
3000 K fluorescent lamp. In to identify the words I have writ- stand the significance of light expo-
terms of visual performance, ten - the circadian system does sure (quantity, spectrum, distribu-
they are the same (even though not respond to these patterns, tion, timing, and duration) during
the 7500 K lamp would probably only the overall amount of light the preceding 24 hours, we cannot
appear brighter). reaching the retina. predict the impact of light exposure
3. Timing: Operation of the visual on a given night.
system does not depend on tim- Table 1 summarizes a framework In effect, we can presently say
ing of light exposure; it responds for visual and circadian functioning, very little about “lighting quality”
to a light stimulus at any time of based on what we know today. for the circadian system, but it is
the day or night. Depending on Much is still unknown about circa- absolutely necessary to begin to
the timing of light exposure, how- dian photobiology and its interac- educate ourselves about this rapid-
ever, light can phase advance or tion with lighting, but one thing can- ly emerging area of science
phase delay the biological clock, not be denied: light is not just for because it will dramatically affect
or it can have no effect at all. vision. lighting practice in the coming
years. Hopefully, the framework in
Table 1 is a helpful step in this direc-
Lighting Application tion.
characteristics circadian - day shift circadian - night
(broad-band vision work shift work References:
light) Arendt J. 1995. Melatonin and
quantity low high high the Mammalian Pineal Gland.
(300-500 lux on task (~1000 lux at eye) (~1000 lux at eye) Published Chapman & Hall, 2-6
~100 lux at eye) Boundary Row, London, SE1 8HN,
spectrum photopic (peak sensitivity short-wavelength short-wavelength UK.
555 nm) (peak sensitivity (peak sensitivity Badia P, Myers B, Boecker M,
420-480 nm) 420-480 nm) Culpepper, J. 1991. Bright light
spatial distribution important independent of independent of effects on body temperature, alert-
distribution (task luminance, contrast distribution distribution ness, EEG and Behavior. Physiol
and size determine (illuminance at eye) (illuminance at eye)
visibility) Behav 50(3): 583-588.
timing any time subjective morning periodically
Boyce P, Beckstead JW, Eklund
throughout shift NH, Strobel RW, Rea MS. 1997.
duration very short (less than 1 s) long (1-2 hr) short (15 min Lighting the graveyard shift: The
pulses influence of a daylight-simulating
skylight on the task performance
Table 1—A proposed framework for lighting practice. For cells that are shaded, evidence is less and mood of nightshift workers.
certain, and the results of future research will be needed to refine and corroborate these pre- Light Res Technol 29(3): 105-134.
liminary guidelines (Rea et al., 2002). Brainard GC, Rollag MD, Hanifin
18 LD+A/February 2003 www.iesna.org
JP. 1997. Photic Regulation of
Melatonin in Humans: Ocular and
neural Signal Transduction. J Biol
Rhythms, 12(6): 537 - 546
Davis S, Mirick DK, Stevens RG.
2001. Night shift work, light at
night, and risk of breast cancer. J
Natl Cancer Inst 93(20): 1557-
1562.
Figueiro MG, Rea MS, Boyce P,
White R, Kolberg K. 2001. The
effects of bright light on day and
night shift nurses’ performance and
well-being in the NICU. Neonatal
Intens. Care 14(1): 29-32.
Hansen J. 2001. Light at night,
shiftwork, and breast cancer risk. J
Natl Cancer Inst 93(20): 1513-
1515.
Herbert M, Martin SK, Lee C,
Eastman CI. 2002. The effects of
prior light history on the suppres-
sion of melatonin by light in
humans. J Pineal Res 33: 198-203.
Lewy AJ, Wehr TA, Goowin FK, et
al. 1980. Light suppresses mela-
tonin secretion in humans. Sci-
ence, 210: 1267-1269.
Lynch HJ, Deng MH, Wurtman
RJ. 1985. Indirect Effects of Light:
Ecological and Ethological Consid-
erations. The Medical and Bio-
logical Effects of Light. Annals of
the New York Academy of Sci-
ences 453: 231 – 241.
Miller CL, White R, Whitman TL,
O’Callaghan MF, Maxwell SE. 1995.
The effects of cycled versus noncy-
cled lighting on growth and develop-
ment in preterm infants. Infant
Behav Develop 18(1): 87-95.
Rea MS, Figueiro MG, Bullough
JD. 2002. Circadian photobiology:
An emerging framework for lighting
practice and research. Light. Res.
Technol. 34(3): 177-190.
Schernhammer ES, Laden F,
Speizer FE, Willett WC, Hunter DJ,
Kawachi I, Colditz GA. 2001.
Rotating night shifts and risk of
breast cancer in women participat-
ing in the nurses’ health study. J Natl
Cancer Inst 93(20): 1563-1568.
Van Someren EJW, Kessler A,
Mirmirann M, Swaab DF. 1997.
Indirect bright light improves circa-
dian rest-activity rhythm distur-
bances in demented patients. Biol.
Psychiatry 1997; 41: 955-963.
www.iesna.org
B
efore a stage show comes to
Broadway it opens “on the
road” to get the kinks out of
it. Often the producers hire a “show
doctor” to make changes that will
help insure the play’s success in
New York.
Something similar happens with
a developer’s speculative office
building. A construction cost of
$200/sq ft for a million square foot
office building makes for a risky in-
vestment, even with a major tenant
lined up before breaking ground.
Since you can’t try out an office
building on the road, many develop-
ers engage an architect’s architect
Energy
conservationists
recommend that
available daylight
be used to
reduce the
electric load,
which can easily
be done in an
office only 15 ft
deep
to configure the building so that
when it is built in New York, or in
any major US city, it gets the maxi-
mum yield in the form of rental to
insure its success.
The best known of these build-
ing gurus is Der Scutt, who is a
Fellow of the AIA as well as the
IESNA. I turned to him for help in
preparing a talk for the Master
Class in Lighting for Architects and
Designers, produced each year in
New York by Sonny Sonnenfeld, in
association with Paul Gregory and
Jonathan Speirs. Scutt pointed out
that the size of the plot and the
zoning of the site determines the
footprint and size of the building
and the spacing of the structural
steel. The most economical mod-
ule for a developer’s building is five
feet, which dictates the spacing of
the columns and the size of the
various offices.
Some tenants are large corpora-
tions with office buildings through-
out the country. They have their
own formula for space allocation. A
large communication company has
seven different sized private
ENERGY
CONCERNS
offices, one for each of its execu-
tive levels, and has rules for how
many persons have to share a “pri-
vate” office, and how many square
feet to allow for each occupant in
an open plan area.
Der Scutt told me that, in gener-
al, for a building to reach its maxi-
mum rental potential, it should have Willard L.
a 15 ft deep perimeter zone for pri- Warren,
PE, LC,
vate offices, each one a multiple of
5 ft, with the smallest office 10 ft
wide along the window wall by 15 ft
FIESNA
deep, and wider spaces for execu-
tives and conference rooms. Then,
proceeding inward toward the core,
the floor plan should allow 5 ft for a
corridor and 10 feet for secretarial
offices and records. If the perimeter
offices have glass partitions onto
the corridor, then everyone in that
30-ft-deep exterior zone has a visu-
al connection to the outdoors,
which we know from the Light Right
Consortium study is highly valued
by employees. Then Scutt recom-
mends another 5-ft-wide corridor for
passage and past that, interior
offices and conference rooms, the
employee cafeteria and utility areas
and finally, the reception area and
elevator lobby.
The glazing in the windowed
perimeter offices will have coatings
to reduce the sun load, which is
highest in the winter when the sun
is at its lowest, and to retain the
heating or cooling on the inside—
depending on the season. Energy
conservationists recommend that
available daylight be used to reduce
LD+A/February 2003 19
 the electric load, which can easily
be done in an office only 15 ft deep,
depending on the transmissive den-
sity of the coated glazing.
For an entire office building to
meet ASHRAE/ IESNA 90.1-1999,
the allowable Lighting Power Den-
sity (LPD) is 1.3 watts per square
foot. If the new or renovated office
space is part of a substantial alter-
ation to an existing building and it
constitutes more than 50 percent
of the electrical subsystem of the
building, then the allowable LPD is
1.5 w/sq ft.
How much illuminance can you
provide if limited to 1.5 w/sq ft?
That depends on the luminous effi-
cacy of the lamp/ballast combina-
tion, the shape of the room and the
reflection factors of its ceiling, walls
and floor, the coefficient of utiliza-
tion (CU) of the luminaire in that
room, and that is for a calculation
of the expected average initial foot-
candle level.
Let’s take that exterior private
office in our developer’s building
that is 10 ft wide by 15 ft long, with
an area of 150 sq ft limited to 1.5
w/sq ft You will probably want to
provide 50 fc average maintained at
a .85 maintenance factor (MF),
with hopefully, a way to switch it
down to 35 fc when the occupant is
working only on the computer, and
an occupancy sensor to switch the
lights off, or way down, when the
person is out of the office, which is
generally a third of the time.
Two luminaires with CU’s of .55,
and three 32-W T-8 lamps in each
will provide: 6 lamps x 2850
lumens/lamp x .55 (CUs) x .85
MF/150 sq ft = 53 fc average main-
tained. And you’ve used 3 x 58
watts/luminaire = 174 watts, only
1.2 w/sq ft, way under the 1.5
Lighting Power Density (LPD)
watts/sq ft allowed.
I would prefer to use a direct/
indirect unit with premium T-8
lamps and low power electronic bal-
lasts with 3200 lumen lamps and a
ballast factor ( BF) of .77 to give: 6
lamps x 3200-lumens/lamp x .77
BF x .55 cu x .85 MF/150 sq ft =
54 fc average maintained with only
144 watts, which is less than one
watt/sq ft.
Or you could use an efficient indi-
rect luminaire with two- T-5 HO
lamps.
20 LD+A/February 2003
Or you could provide 35 fc aver-
age maintained using only .7 w/sq
ft and an under cabinet task light to
provide the extra illumination need-
ed when working on a more difficult
visual task, and still be under .8
watt/sq. ft.
In a larger office, the CU goes up,
and the spacing of the luminaires
can be greater, (unless you’re lining
them up with the windows) and the
energy load can be reduced even
more.
California, which has been first in
everything lately, is cutting the
allowable LPDs to below ASHRAE/
IESNA 90.1-1999 levels, and
accounting for plug loads. In the
future, California is considering giv-
ing Power Adjustment Factors,
which are credits, for the use of bi-
level lighting in various occupan-
cies like classrooms, warehouses,
corridors, library stacks and
offices.
There’s a lot of controversy about
giving power credits for daylight har-
vesting, but that will happen when
sensors are incorporated within the
luminaires and can be more easily
calibrated and the energy savings
more reliably realized.
As pointed out in last month’s
column, a number of lighting manu-
facturers are incorporating combi-
nation daylight harvesting and
occupancy sensors in their lumi-
naires, along with dimming bal-
lasts, to automatically reduce the
electric load.
I know I repeat myself in my
columns regarding bi-level lighting,
but it is becoming an important
energy saving measure that’s final-
ly being given the “credits” it’s due.
Willard L. Warren, PE, LC, FIES-
NA is the founder of Willard L.
Warren Assoc. a consulting firm
specializing in lighting and energy
conservation. He has consulted
for many governmental agencies
and corporations and is chairper-
son of the panel that rewrote the
lighting sections of the new, New
York City Electric Code of 2003.
He welcomes all comments on
your experiences with energy
conservation in lighting at wlw-
lighting@att.net
www.iesna.org
notes on lighting design •

PHOTOS: ANNE HALL & J. R. KRAUZA

Latin Nights
From Noche’s first floor bar to the top floor private dining
room, the spirit and excitement of 21st century Latin America
are captured at this innovative five-story restaurant/cabaret in
the heart of Times Square, where diners are enveloped by vivid-
ly illuminated brightly colored surfaces. Located on Broadway at
49th Street, Noche Restaurant is owned by David Emil, former
owner of Windows on the World.
Diners enter the restaurant through the intimate first-floor bar,
which is illuminated by tall custom rattan pendants, backlit mul-
ticolored collages and wall surfaces washed with amber light.
From the bar, a short trip in an elevator cab, lined with
brushed stainless steel walls and washed by a color changing
ceiling cove, takes one to the second level where diners enter
the main room.
The multiple levels of the soaring dining room glow from 40-ft
high walls covered with blonde wooden slats hung like Venetian
blinds, washed in deep amber from hidden light strips at the top
and bottom of the wall and front-lit from above with a blue dap-
pled light effect. The elevator
enclosure is covered with color-
ful, backlit floating glass panels
and surrounded by a spiral stair-
way illuminated with decorative
blue glass pendants.
The long bar is suffused with
deep orange and red light from
ceiling coves and custom pen-
dants. Behind the bar, floating
glass bottle shelving backed with
murals of Caribbean jungle
scenes are backlit in the same
orange/red, vibrate with blue and
green front light.
The stage, which will show-
case Latin bands, is covered by a
dark blue curtain, and streaked
in various hues of blue light and
front-lit in subtle patterns of aqua
from above.
The centerpiece of the space is
a 30-ft diameter translucent sky-
light supported by five massive
curving columns. In 15-minute
cycles, the expanse of back-lit
skylight is programmed to slowly
shift through a spectrum of color,
each color lending a different
mood to the dining room. Tables
below are spotlighted in peach
tones from a catwalk surrounding
the skylight.
The multitude of distinct and different views throughout the
restaurant makes the Latin dining experience a memorable one.
Lighting design by Focus Lighting; Paul Gregory, principal; Jeff
Nathan, senior designer; Brett Anderson, designer; Gwen
Grossman, assistant designer; and Jaie Bosse, assistant design-
er. Design architect: The Rockwell Group. Photographers: Anne
Hall and J.R. Krauza.
www.iesna.org LD+A/February 2003 21
 • notes on lighting design

Saratoga Showcase
From the outside looking in, the soft, warm-toned interior of this elegant 4000-sq-ft home in Saratoga
Springs, NY, suggests incandescent when, in fact, the lighting in the home is predominantly fluores-
cent. In the past, homeowners have relegated fluorescent luminaires mostly to basements and garages.
Things are changing, though, and the Lighting Research Center (LRC) in Troy, NY, is helping the United
States Environmental Protection Agency (US EPA) bring those changes about.
The LRC, in conjunction with the US EPA, is implementing a market transformation effort to increase
the penetration of energy-efficient lighting in residential new construction. LRC lighting designers have
recently completed a pilot project in the Saratoga home to test
reactions to high-quality fluorescent lighting.
The home’s kitchen contrasts rich woods, polished granite countertops, and wheat-
colored walls. Soffit heights allow continuous mounting of 11 W, T2 luminaires above
and below the cabinets, providing even illumination. These subminiature fluorescents
are mounted toward the front of the cabinets and are slim enough to be invisible from
any viewing angle. Lensed compact fluorescent luminaires containing 26 W lamps sup-
plement the ambient lighting.
In the dining room, a cove conceals the same T2 luminaires used in the kitchen but
runs only along one wall, adding an interesting asymmetrical element. The cove is
mounted only twelve inches below the ceiling line to better integrate it into the capitols
of the decorative columns. Throughout the house, each cove and valance fascia repli-
cates the millwork of columns and built-in cabinet units, creating continuity between fur-
nishings and lighting. A chandelier, fitted with 14 W mini-twist compact fluorescent
lamps (CFLs) in alabaster glass cups, provides indirect light and adds to the tranquil
ambience.
In the adjacent two-story foyer (not shown), a larger version of the same chandelier
houses candelabra-based incandescents in case the view of mini-twist CFLs is undesirable to someone descending the curved
staircase. Viewers cannot tell the difference between the lighting in the two chandeliers, demonstrating how far energy-efficient
luminaires have come.
In the living room, along the expanse of the long wall, a glass lens diffuses light from
a valance that is mounted twenty-four inches below the ceiling. Contiguous 32 W, T8s
are side-mounted behind the valance to cast light up and down the walls and fill the
large room with soft, glare-free light.
The designers used the same technique to add a touch of elegance to the master
bedroom. Alabaster wall sconces in hallways contain low-wattage lamps. The alabaster
glass often used in Energy Star luminaires conceals the CFLs.
The 2700K to 3000K lamps used throughout the home blend well with halogen
accent lights and complement warm surface colors and rich fabrics. Illuminance levels
meet IESNA recommendations for areas such as kitchen work counters, passageways,
and dining areas. Occupancy sensors and dimming controls further reduce energy con-
sumption.
Education is the key to widespread acceptance of any initiative. Belmonte Builders
of Clifton Park, NY, who provided the demonstration site, was excited to learn about
the differing characteristics among T2s, T5s, T8s, and the myriad of CFLs that exist.
US EPA has recently introduced a residential Energy Star “house-pack,” a whole-
house lighting package or lighting upgrade that builders can offer their clients. It
includes Energy Star light fixtures and ceiling fans. One of the main drawbacks to more
frequent use of Energy Star fixtures has been the small selection of high-quality fixtures
and the higher cost of the lamp/ballast combination. Manufacturers have responded
by designing more—and more attractive—improved-performance fixtures. Some are
including CFLs with their packages. The much-maligned fluorescent is ready to come
up out of the basement and make its appearance in even the most upscale of living
rooms.
Designers are Patricia Rizzo, Design Project Manager, LRC, and Jean Paul
Freyssinier-Nova, Lighting Design Specialist, LRC.
—Patricia Rizzo

PHOTOS: MICHAEL KALLA

22 LD+A/February 2003 www.iesna.org

notes on lighting design •

Steel Meals
The challenge: designing light for a contemporary and architecturally
designed 4000-sq-ft restaurant with exposed ceilings. Natural materials
like stone, mahogany, and cherry wood bring out warmth and texture,
creating a dramatic Zen atmosphere and space. The Steel restaurant in
Dallas focuses on an Indo-Chinese menu that merges French, Chinese,
and Vietnamese cuisines.
“The name steel made it very simple to select more industrial-like
material for the construction and also lighting,” says lighting designer
Hatsumi K. Johnston. “Pendant lighting over the three booths uses track
heads with barns and louvers for an industrial look.”
Upon stepping down from the street level, patrons view the iron entry
doors. First impression of the interior is a wall of white, sheer curtain
hanging from a polished steel column, which acts as a focal point, creat-
ing mystery from ceiling to floor. The sheer drapes divide the sushi bar
and main dining rooms from the back bar. This is lighted by a low voltage
monorail system of 50-W MR16’s that emphasize texture and shade, cre-
ating a large, but soft and elegant element.
The same monorail system was also used in the wine room, highlight-
ing wine bottle necks with long beams and creating random light and
shadows, as well as providing necessary light in the space.
Mini ellipse theater projectors with barndoor’s and 35-W MR16’s dra-
matically light the glassware and small bowls of bamboo on tabletops.
For flexibility, the projectors were clamped onto suspended plumbing pipe
with a 75-W Fresnel projector offering fill light throughout the restaurant.
“The beam of light is perfectly centered in the table to illuminate the
beautiful Asian cuisine,” says Johnson. “Ambient lighting is very impor-
tant to me. Supplementary illumination is offered by candles and the rope
lighting along the wall
in the cove.”
At the sushi bar and
the lounge bar, a
curved monorail sys-
tem creates contrasts
on the grid wood walls.
To avoid multiple pene-
trations into the wood
ceiling, task lighting in
bars was achieved with
recessed, adjustable
gang lights.
Both the front bars
and all the backs of
booths located in Steel
are lighted by low tem-
perature, inexpensive
linear lighting to softly dress-up and add texture throughout the restaurant.
“In the bar, the track over the counter provides beams of light on the glass-
ware. Reflections on the white sheer drapes offer diffuse light. Diners love
the beautiful surroundings and setting,” says Johnson.
—John-Michael Kobes

www.iesna.org LD+A/February 2003 23

 ILLUMINATING
ENGINEERING
SOCIETY
Myron Kahn,
Developed Polarized
Ceiling Panels,
NEWS VOLUME 33, NUMBER 2
FEBRUARY 2003
IESNA
Calendar of Events
1916-2002
Myron Kahn, inventor May 6-8, 2003
of polarized ceiling
light panels has died.
User’s Manual LIGHTFAIR INTERNATIONAL
New York, NY
He was 85. Kahn, Simplifies 90.1 Contact: AMC, Inc.
founder of what be- Energy-Efficient Design 404-220-2221/2215
came Polarized Corp. Encouraging users to apply the princi- www.lightfair.com
of America, died No- ples of energy conservation when
vember 19 in St. John designing buildings and systems is the August 3-6, 2003
Hospital in Santa Monica, CA of heart intent of a new user’s manual for the 2003 IESNA Annual Conference
failure, said his son attorney Robert A. 90.1 energy standard. Chicago, IL
Kahn. The 90.1 User’s Manual provides Contact: Val Landers
An IESNA member for 18 years, the detailed instruction for the design of 212-248-5000, ext. 117
native New Yorker went to work in his commercial and high-rise buildings to www.iesna.org
teens, earned a high school diploma ensure their compliance with
in night school and enlisted in the ANSI/ASHRAE/IESNA Standard 90.1- September 29-October 1, 2003
Army Air Corps during World War II, 2001, Energy Standard for Buildings 2003 IESNA
Kahn came to Southern California Except Low-Rise Residential Buildings. Street & Area Lighting Conference
after the war. “The manual illuminates the standard Baltimore, MD
Inspired by a relative who had creat- through the use of numerous sample Contact: Val Landers
ed an early version of the polarized calculations and examples,” Charles 212-248-5000, ext. 117
lenses used in sunglasses, Kahn devel- Eley of Eley Associates, which wrote www.iesna.org
oped (and in the 1960s patented) light- the manual, said. “It also streamlines
polarized plastic ceiling panels to cut the compliance process, making it as
glare from fluorescent lamps. easy as possible for users to create • Chapter 4, “Administration &
In 1947 he established Polarized effective energy-efficient designs.” Enforcement:” revisions to the alter-
Illumination, Inc., which later used the To ensure consistency with the stan- ations section.
names Polarized Lighting International dard, content has been updated • Chapter 5, “Building Envelope:”
and Polarized Corp. or America throughout the manual, which was par- new examples for determining fen-
Kahn is survived by his wife, Bea; his tially funded through a grant from the estration performance and gross
son, Robert; his daughter, Fran Rice; U.S. Department of Energy. Significant wall area.
and four grandchildren. changes include: • Chapter 6, “HVAC:” reorganization
to reflect the corresponding section
in the standard, including updates to
Member News the chiller reference standards and
Leviton, Little Neck, NY, appointed David Buerer to the position of associate the energy recovery sections.
product manager for the company’s rapidly-growing lighting control division. The • Chapter 7, “Service Water
lighting control division designs, develops, and brings to market state-of-the-art Heating:” updates to the equipment
theatrical and architectural dimming systems and advanced box-mounted con- efficiency discussion as well as the
trols that include digital dimmers, scene control devices, occupancy sessions, distribution losses information.
rotary and electronic timers, relay controls, home automation devices and fluo- • Chapter 9, “Lighting:” streamlined
rescent energy management systems. lighting compliance documentation
Interface Engineering, Inc., has appointed Craig Oty LC, PE, as new senior forms.
lighting designer to its lighting design team. Oty comes to Interface with 12 • Chapter 11, “Energy Cost
years of experience in Portland and San Francisco working with local, regional Budget Method:” updates to the
and national architects. continued on following page

www.iesna.org LD+A/February 2003 25

 User’s Manual
continued from previous page
considerations for the adopting
authority section.
The manual’s accompanying CD con-
tains electronic versions of the compli-
ance forms and the EnvStd software,
which is used in conjunction with the
building envelope trade-off compliance
method. The manual also includes
information on energy simulation com-
puter programs used in the energy cost
budget method of compliance.
The IESNA member cost of the 90.1
User’s Manual is $75, plus shipping
and handling.
To order, call 212-248-5000, ext
112, or order online at www.iesna.org
“Smart” Windows
That Don’t
Need Blinds
To improve energy efficiency in build-
ings and in manufacturing, the Depart-
ment of Energy (DOE) announced
awards today totaling $4.4 million to
advance energy efficient, environmen-
tally clean production and building
technologies.
“Twenty-five percent of the energy
used to heat and cool buildings goes
right out the window,” Secretary of
Energy Spencer Abraham said. “The
innovative technologies receiving fund-
ing today will improve the U.S. industri-
al competitiveness while reducing
energy use, helping to make our nation
more secure.”
The Energy Department selected
19 organizations out of 2002 propos-
als to receive funding as part of two
DOE programs: Inventions and Innova-
tions (I&I), and the National Industrial
Competitiveness through Energy,
Environment and Economics (NICE3)
initiative.
Share your
news with us!
IES News
120 Wall St., 17th Floor
New York, NY 10005
Fax: (212) 248-5018
26 LD+A/February 2003
SUSTAINING
MEMBERS
The following companies have elected
to support the Society as Sustaining
Members which allows the IESNA to fund
programs that benefit all segments of the
membership and pursue new endeavors,
including education projects, lighting
research and recommended practices.
The level of support is classified
by the amount of annual dues, based
on a company’s annual lighting revenues:
Copper: $500 annual dues
Lighting revenues to $4 million
(Copper Sustaining Members are listed in
the March issue of LD+A, as well as in the
IESNA Annual Report. There are currently 233
Copper Sustaining Members).
Silver: $1,000 annual dues
Lighting revenues to $10 million
Gold: $2,500 annual dues
Lighting revenues to $50 million
Platinum: $5,000 annual dues
Lighting revenues to $200 million
Emerald: $10,000 annual dues
Lighting revenues to $500 million
Diamond: $15,000 annual dues
Lighting revenues over $500 million
DIAMOND
Cooper Lighting
General Electric Co.
Lithonia Lighting
OSRAM SYLVANIA Products, Inc.
Philips Lighting Co.
EMERALD
Holophane Corporation
PLATINUM
Day-Brite Capri Omega
Lightolier
Lutron Electronics Co, Inc.
GOLD
ALP Lighting Components Co.
Barth Electric Co., Inc.
BLV Licht und Vakuumtechnik GmbH
The Bodine Company
Daeyang Electric Co., Ltd.
Edison Price Lighting, Inc.
Finelite, Inc.
Florida Power Lighting Solutions
Gardco Lighting
Indy Lighting, Inc.
The Kirlin Company
Kurt Versen Co.
LexaLite Int’l Corp
Lighting Services, Inc.
LiteTouch, Inc.
Louis Poulsen Lighting
LSI Industries, Inc.
Martin Professional, Inc.
Musco Sports Lighting, Inc.
Niagara Mohawk Power Corp
Prudential Lighting Corp
San Diego Gas & Electric
SPI Lighting
United Illuminating Co.
Vista Professional Outdoor Lighting
Zumtobel Staff Lighting, Inc.
SILVER
Ardron-Mackie Limited
Associated Lighting
Atofina Chemicals, Inc.
Axis Lighting, Inc.
Bartco Lighting, Inc.
Beta Lighting, Inc.
BJB Electric Corporation
Canlyte Inc.
Con Edison Co. of New York
Con-Tech Lighting
Custom Lighting Services LLC
Custom Lights, Inc.
Day Lite Maintenance Co.
Defense Supply Center Philadelphia
Delta Power Supply, Inc.
EEMA Industries
Elko Ltd
Elliptipar
ENMAX
Enterprise Lighting Sales
ETC Architectural
Eye Lighting Industries
Factory Sales Agency
Fiberstars
Focal Point
Gammalux Systems
H E Williams, Inc.
HAWA Incorporated
High End Systems, Inc.
Hubbell Lighting, Inc.
Illuminating Technologies, Inc.
InfraSource
Kenall Mfg Co.
Kramer Lighting
Lee Filters
Legion Lighting Co.
Leviton Mfg Co, Inc.
Linear Lighting
Litecontrol Corp
Litelab Corp
Lowel Light Manufacturing
Lucifer Lighting Co.
Metalumen Manufacturing, Inc.
Northern Illumination Co., Inc.
Optical Research Associates
Optima Engineering PA
Paramount Industries, Inc.
Portland General Electric
Prescolite, Inc.
PSE & G
R A Manning Co, Inc.
Reflex Lighting Group, Inc.
Richard McDonald & Associates, Ltd. - Calgary
Richard McDonald & Associates, Ltd. - Edmonton
Sentry Electric Corporation
Shakespeare Composites & Electronics Division
Southern California Edison
Stage Front Presentation Sys.
Stebnicki Robertson & Associates
Sternberg Vintage Lighting
Sterner Lighting Systems. Inc.
Strand Lighting, Inc.
StressCrete King Luminaire Co.
Sun Industries
TXU Electric & Gas
Universal Electric Ltd.
US Architectural Lighting/Sun Valley Lighting
Utility Metals
W J Whatley, Inc.
WAC Lighting, Co.
Winnipeg Hydro
Wisconsin Public Service Corp
Xenon Light, Inc.
IESSUSTAINING
MEMBERS
As of January 2002
www.iesna.org
 Lighting Controls Association Publishes White Paper Series
On Lighting And Energy Management Issues
The Lighting Controls Association (LCA), administered by
the National Electrical Manufacturers Association (NEMA),
has published a series of white papers at its web site, www.
AboutLightingControls.org, addressing a range of lighting
and energy management issues.
These white papers are available for free to building own-
ers and managers, specifiers, contractors, distributors and
other building professionals interested in energy efficiency
and green design. To access them, the user should visit the
above web site, click “Education,” then scroll down to “Key
Issues.” Topics include:
New Tax Deduction Will Reward Energy Efficiency.
Language in both the Senate and House versions of the
Energy Policy Act of 2002 (recently tabled until January
2003) includes a provision that rewards exceeding the
requirements of the ASHRAE/IES 90.1-1999 energy code
with a tax deduction of up to $2.25/sq ft—with special pro-
visions for energy-efficient lighting.
Green Design. Energy and environmental concerns have
refocused U.S. corporations and the design communities on
sustainability issues in construction, renovation and exist-
ing buildings. A new program, backed by more than 1,400
organizations comprising the U.S. Green Building Council,
has formed to provide a standard for adoption of green
design practices.
Energy Efficiency in Commercial Lease Properties. With
an average building age of 30.5 years and annual energy
cost of about $16.4 billion or $1.06/sq.ft., commercial
lease buildings are a prime opportunity for upgrade to ener-
gy-efficient building technologies—although traditionally, in
general, they have been slow to embrace energy efficiency.
What are the financial benefits to the building owner?
State of Utility Lighting Rebate Programs. More than
$1.5 billion in rebates were available last year for energy
efficiency upgrades. However, while many states require
public funding of energy efficiency programs as part of their
deregulation laws, utilities are reinventing the traditional
rebate as demand response programs, which offer strong
incentives for curtailing load on demand.

New Members Laurence E. Pankau (M),

Membership Committee
Chair Jean Black announced
the IESNA gained one Sus-
taining Member and 72
Members (M), associate
members and student mem-
bers in January.
SUSTAINING MEMBERS
Tennessee Valley Authority,
Chattanooga, TN
INDIVIDUAL MEMBERS
Canadian Region
Robert Cormier (M), Eastcan
Consultants, Inc. Moncton, NB
Nysret Dedinca, Supply and
Services Fredericton, NB
Gavin Fuerst, Winnipeg Hydro,
Winnipeg, MB
Karine Masse, Peerless Electric
Company, Ltd, LaSalle, QC
Ryerson University
Ardith Dyche
Carleton University, Ottawa, ON
Darryl K. Boyce
East Central Region
Robert D. Jerson (M),
Wilkes-Barre, PA
Daniel C. McCorry, Jr., SRS
Technologies, Inc., Arlington, VA
Aron D. Sexton, JM Electric, Inc.
Conshohocken, PA
George W. Williams, Lawrence Perry
and Associates, Roanoke, VA
Great Lakes Region
Mihaley Kotrebai, General Electric
Consumer Products Lighting,
Euclid, OH
Holophane, Mason, OH
James Prosch (M), DLZ Indiana,
Indianapolis, IN
Rachael L. Boydston, The Daylite
Company, Ventura, CA
South Pacific Coast Region
James Himonas, Novitas, Inc,
Torrance, CA
Corey M. Hiratsuka, California
Department of Water Resources,
Sacramento, CA
Kenneth H. Kimball, KHK, Inc.,
Boulder City, NV
Robert E. Lutz (M), Lutz
Engineering, Temple, AZ
Robert C. McQuade, Advanced
Lighting, San Luis Obispo, CA
Ken S. Moss (M), Power Logic, San
Diego, CA
Ronald Reed (M), Reed Corp
Engineering, Irving, CA
Thomas E. Ross (M), Crestwood
Electric, Inc., Draper, UT
Christopher Verone, W.A.C. Lighting,
City of Industry, CA
Sacramento City College
Kasem Nincharoen
Northern Arizona University
Margo Saenz
University of Utah
Stephen A. Zank III
Midwest Region
Julie Allongue, SPI Lighting, Inc.
Mequon, WI
Scott J. Denney, Foley Group, Inc.,
Kansas City, KS
Mark J. Edmonds, Gripple, Inc.
Batavia, IL
Gregg M. Garner, Foley Group, Inc.,
Kansas City, KS
Glenn P. Horstmann, Bright Electric
Supply, Chicago, IL
Andy D. Matlock, Acoustical Design
Group, Mission, KS
Jerry J. Perkowski, Phoenix Prod-
ucts Company, Milwaukee, WI
Ann Marie Reo (M), io Lighting,
Skokie, IL
University of Kansas
Bret A. Boleski
Kansas State University
Kezia Holden, Jacob Nelson
MSOE
Ben Janik
Milwaukee School of Engineering
Laura Vogel, Kari Ward
Southeastern Region
Reggie Barnett, Tennessee Valley
Authority, Jackson, TN
Kevin D. Gammons, Gresham, Smith
and Partners, Nashville, TN
Ernest F. Mallard (M), Forensic
Engineering Inc., Raleigh, NC
Denny Nelson, Holophane
Corporation, Raleigh, NC
O. Wade Parker (M), CRS
Engineering, Birmingham, AL
Deborah Roberts, Lithonia Lighting,
Conyers, GA
Crystal Ray Self, Gene Johnson
Company, Birmingham, AL
Northeastern Region
Philip T. Acone (M), Cooper
Lighting, Cranbury, NJ
William M. Bale (M), Holophane,
Manasquan, NJ
Robert P. Freud (M), Bohler
Engineering PC, Watchung, NJ
Holly Gold, Ele Electric Supply Corp,
Hicksville, NY
Joseph T. Hultquist (M), Sterling
Engineering, Sturbridge, MA
James S. Morier (M), NYS
Department of Environmental
Conservation, Albany, NY
Mike S. Paynotta, Icon Architectural
Lighting Systems, North
Kingstown, RI
Kalyan Pisupati, Lightolier,
Wilmington, MA
Todd Roughgarden, AWM
Engineering, Gorham, ME
Parsons
Donalee Katz
Northwest Region
Romela Alexandrina Bocancea (M),
A.D. Williams Engineering,
Edmonton, AB
Roger T. Dupuis (M), Applied
Engineering Solutions, Ltd.
Victoria, BC
Randy Meier, Con’eer Engineering,
Inc., Billings, MT
Southwestern Region
Raul Garcia, WideLite Corporation,
San Marcos, TX
Patrick J. Garey, ME&E Engineering,
Durango, CO
Colby Henslee, WideLite
Corporation, San Marcos, TX
Jeremy L. Jurica, Laymance, Inc.
Houston, TX
University of Houston
David Hopper, Mayur Patel
Foreign
Pedro Ek Lopes, Megarim –
Iluminacão S.A., Lisbon, Portugal
Jayasiri Amaradasa Muramudalige,
Sr. (M), Electrolight Engineers,
Pvt. Ltd, Nugegoda, Sri Lanka
Robert Puto, IMQ S.p.A. – Italian
Certification Institute, Milan,
Italy
Daniel A. Rosell (M), DRS
Engineering, PSC, San Juan,
Puerto Rico
Yigal Yanai, Metrolight, Ltd,
Netanya, Israel
Kyung Hee University
Taeyon Hwang

www.iesna.org LD+A/February 2003 27

 Entry is illuminated by shielded lights in the
courtyard trees and under the eaves for controlled
focal and moonlighting effects. Compact fluorescents
uplight the oak tree. Miniature recessed lights
offer safety lighting on adjacent steps.

A high-end residence
in a sensitive environment
demands careful attention
to the interrelationship of
architectural materials, colors,
textures, and lighting

“UNDER
STARRY SKIES ABOVE...”

All lighting is
circuited by zone,
and pre-set scenes
are controlled
on a “whole-house”
dimming system.

28 LD+A/February 2003 www.iesna.org


T
he primary challenge for this 8,550 sq ft residence
evolved around its location in an environmentally sen-
sitive and serene valley site in Northern California.
Neighbors were concerned that the structure, new landscaping
and lighting might be too visible from adjacent hilltop homes
and potentially disturb the harmony and natural beauty of the
valley.
Legal challenges related to various environmental issues,
including the potential effects on a native salamander habitat
and the general impact on the valley topography. As a result, a
comprehensive environmental impact study and report was
undertaken. As a compromise, some restrictions were applied
to the architectural design, landscape design and the private
access road. Also, a local “dark sky” ordinance restricted the
landscape lighting design. This ordinance required that no
lighting be directed upwards and that any source over 20 watts
be shielded from view.
With the direction and cooperation of the client, the design
team worked closely with the regulating agencies and the con-
cerned community members to successfully address their con-
cerns. To help everyone visualize the impact of the design, a
geographically accurate scaled site model was developed, com-
plete with proposed landscaping. To help understand the exte-
rior lighting, a nighttime mockup/presentation of the various
landscape lighting fixture types and lamps was also presented
for review, complete with proper lamping and shielding.
Eventually, after nearly two years of design collaboration,
www.iesna.org
The water feature
is accented with
a concealed spot,
highlighting texture
and giving the
water sparkle.
review and refinement, a building permit was finally approved.
Once construction was finally started, the project demanded
constant attention to the interrelationship of architectural
materials, colors, textures, plant life, lighting equipment, and
lighting effects, with the natural surroundings. Optimizing the
indoor/outdoor relationship was paramount to the design’s
success. The five-year planning/design/construction process
continued to require meticulous coordination among the archi-
tect, interior designer, contractor, city review board, client and
lighting designer to keep things on track. Successful planning
resulted in a harmonious integration of environment, architec-
ture, and award winning lighting design.
Exterior Lighting
Lighting at the front gate had to be subtle but still clearly
identify the entrance for visitors and emergency vehicles. An
adjacent oak tree provided a convenient mounting position for
a small shielded downlight directed towards the gate and call
box for the surveillance camera. The address is clearly illumi-
nated on the stone gate column with a concealed graze light,
which also enhances the stone details in light and shadow. As
you continue up the winding and secluded private drive, a
series of small recessed 90-degree hooded luminaires with 20-
W MR16 lamps delineate the way. They are mounted in a 12-
inch-high curb detail facing away from any off site viewing
angles on 40-ft centers and are activated by drive-over pressure
switches. The lights automatically turn off after you pass to
LD+A/February 2003 29
 The five-year building process required meticulous coordination
among the design team, contractor, city review board, and
client. All lighting required precise shielding to obscure
off-site viewing and to satisfy environmental concerns
and strict zoning codes.

on the ground. In addition, six custom cast bronze luminaires

minimize the “runway” lighting effect for hilltop observers,
save energy and maximize lamp life.
Once you arrive at the house, you enter a walled-in octago-
nal shaped courtyard constructed of stone. After dark, the
courtyard is illuminated by three small and well-shielded 12-V
luminaires with 20-W MR16FL lamps mounted high in the
center oak tree. These downlights provide ample illumination
while projecting “moonlight” patterns of branches and leaves
were recessed into the courtyard walls and fitted with 13-W
CFL lamps to provide a visual cue to motorists with a subtle
indirect glow.
The pathway to the front door is also illuminated from above
by another inconspicuous shielded luminaire with a 20-W
MR16 lamp located in an adjacent oak tree. This concept was
carried around the perimeter of the house for all pathways,
decks and water features. Additional luminaires of the same
type and lamping were discretely mounted under the eaves
around the perimeter of the house to fill in. All of these lights
are circuited in small groups and are switched from inside the
house by a “whole house” microprocessor-based lighting con-
trol system. This system allows the flexibility of the exterior
lighting to be controlled as a whole for security and safety rea-
sons from various key points within the house. It also allows
for local control of landscaping areas directly outside of indi-
vidual windows to become part of the interior scene for that
room, without turning on the whole yard. All of the lighting is
concealed from view and directed downward. For ease of
maintenance, all tree-mounted downlights are group re-
lamped each year when the trees are trimmed.
Interior Lighting
The lighting for the interior is a pleasant mix of decorative
fixtures combined with recessed architectural luminaires. They
are all switched by the same central lighting control system
used for the exterior. Each room has a keypad that controls var-

Narrow spots
over the
headboards
provide
individually
controlled
reading lights.
Mirror trims
allow flexible
artwork lighting.

30 LD+A/February 2003 www.iesna.org


ious pre-programmed scenes for mood and function depend-
ing on the client’s preference. Switching circuits are broken into
groups for ambient lighting, focal lighting and task lighting for
maximum flexibility, convenience and lighting balance. There
are four primary types of recessed luminaires used throughout
the house. For general lighting, we selected a haze baffle lumi-
naire fitted with a 75-W A19 lamp. In the kitchen and bath-
rooms where California energy code restrictions required fluo-
rescent lighting, similar downlights with a haze baffle were
used with 3000K, 32-W CFLs (compact fluorescent lamps).
They all blend well together on the ceiling because of the same
appearance, aperture size and baffle color.
For adjustable focal lighting, we used a 1-3/4 in. pinhole
luminaire with 50-W MR16 lamps for most areas. In areas
where the adjustment angle needs to be above 45 degrees, a
mirror trim was used. This allowed an adjustment up to 90
degrees. The beam spreads vary between 8 and 40 degrees.
Also, different spread lenses were used to shape the beams of
light beyond the available beam spreads. Hex cell louvers were
also used where appropriate for additional glare control and to
minimize possible source images in the windows.
Living Room
Decorative floor and table lamps provide the general illumi-
nation in the living room. IC rated recessed pinhole and mirror
trim luminaires were selected to minimize appearance and to
provide maximum flexibility for illumination of artwork and
focal accents. Their locations were restricted by the coffered
architectural ceiling detail.
Family Room
In the family room, IC rated recessed luminaires with 75-W
A-19 lamps were used to provide a layer of general illumina-
tion. Pinhole trims with 50-W MR16 lamps with various beam
spreads were selected for focal lighting on art, walls, and
www.iesna.org
Interchangeable
IC-rated pinhole and
mirror trims
minimize appearance
and maximize
flexibility for focal
accent lighting.
stonework and to highlight the tabletop. Eave-mounted accent
lights directly outside windows help overcome the “black hole”
effect while linking the interior to the exterior. The balance of
interior/exterior brightness can be controlled from within the
space.
Dining Room
Because of the panoramic view and potential reflections in
the windows, we decided to forgo a formal decorative fixture
over the table. The whole space is illuminated with adjustable
recessed pinhole luminaires and lamped with 20-W MR16’s.
They are fitted with hex cell louvers to minimize nighttime
reflections in the windows. Circuits are grouped so the fixtures
can be switched in various combinations to illuminate a single
centerpiece or the whole table. Another grouping focused
behind the diners provides a backdrop of illumination on ver-
tical surfaces to minimize contrast and aid visual comfort. No
lights are aimed directly over diner’s heads. Candles and indi-
rect light from the table illuminate their faces and food, while
providing a festive sparkle on the china and crystal.
Wine Cellar
Fixtures concealed within custom stone façade housings are
mounted in the four corners of the passageway. They give a
warm indirect “torch like” glow that enhances the architecture
of the vaulted ceiling while providing general illumination.
This is somewhat reminiscent of an old rathskeller and sets the
mood for the wine cellar entrance.
The water feature/sculpture is illuminated from two direc-
tions to enhance its shape and form. A concealed 20-W
MR16FL source from behind provides a soft uplight glow to
provide depth. Adjustable recessed pinhole fixtures from above
fitted with 20-W MR16 spots are focused to bring out the tex-
ture of the sculpture and provide sparkle on the water. These
sources are controlled separately to allow fine-tuning of the
LD+A/February 2003 31
 (right) Lighting concealed with custom stone facades
provides pathway and architectural illumination.
(below) Decorative fluorescent lighting offers
general illumination for master bath and meets
California Energy Code requirements. Wet-rated glass trims
and small-lensed fixtures provide focal and
general shower lighting. Accent fixtures are concealed
in the skylight well for the tub area.

lighting balance. Wine racks are illuminated with small 2400K

24-V concealed strip lights that give the wine bottles sparkle.

Master Bath
Once again, combinations of decorative and architectural
luminaires are used together to provide quality illumination
that is both functional and aesthetically pleasing. The center
mounted decorative pendant is actually lamped with 2700K
compact fluorescent lamps that fulfill the California Title 24
energy restrictions. However, neither the quality of lighting nor
the aesthetics were compromised in this combination. Wet
rated and lensed recessed pinhole luminaires with 50-W MR16
NFL lamps were located over the basins, tub and shower areas
for both general and focal lighting. Sconces mounted on the
mirrors above the basins provide soft fill lighting from the sides
to minimize garish facial shadows.

Master Bedroom
Individually controlled and dimmable recessed and shielded

pinhole luminaires with six-degree 42-W narrow spot MR16

lamps are located over the headboard for reading lights. They
are adjusted to pin spot the reading area for each side of the bed
without intruding on the other. For convenience, there is also
a control switch for both lights on each side of the bed in case
someone forgets to turn the light off. Additional pinhole fix-
tures with 50-W MR16 lamps are used for artwork lighting.
General lighting and accents at the foot of the bead are from
recessed luminaires with 75-W A19 lamps.
The collaborative design team for this unique project includ-
ed architect Michael Moyer, AIA, interior designer Robert
Miller, ASID, landscape architect Tom Klope, and lighting
designer Michael Souter—all located in the San Francisco Bay
area. Successful planning resulted in harmonious integration of
environment, architecture, and lighting from the inside out.
Assisting Mr. Souter were Jackie Hui, Susan Fenske, and
Kevin Coke.

The designer and author: Michael Souter, IESNA, FASID,

IALD, LC, heads Luminae Souter Associates, LLC, in San
Francisco. The firm focuses on architectural design for
fine residences, hospitality, high-density housing, health
care, museums, and corporate facilities. Award winning
projects include San Francisco Towers, The Carmel
Highlands Inn, and the Honolulu Aloha Tower
Marketplace. He has been an IESNA member since 1986.

32 LD+A/February 2003 www.iesna.org

 (left) The 146,000-sq-ft Life Science Technology Center is the home for
240 biochemical researchers. The Center comprises a lab/office building,
cafeteria, and learning center. (below, right) General laboratory lighting
levels of 80 to 100 fc are achieved with 2-lamp recessed parabolic
luminaires that minimize glare on experiments and data entry terminals.

INSIDE-OUT
SYNERGY
A clerestory
illuminates most of
the building with
an extraordinary
amount of natural
daylight.
An open-office
environment
encourages
interaction among
researchers

S
igma-Aldrich is a leading sup-
plier of life science and high-
technology research products.
The Sigma-Aldrich Life Science and
High Technology Center is home to
the company’s expanding biotech-
nology research and development
division. Located in downtown St.
Louis, one block from the compa-
ny’s corporate headquarters, the
Center provides office and lab space
for up to 240 scientists and staff, as
well as a corporate learning center
and 300-seat auditorium.
Hellmuth, Obata + Kassabaum
Inc. (HOK) partnered with the St.

Indirect/direct pendants with three-lamp

cross sections illuminate research support
staff areas to 40 fc.

www.iesna.org LD+A/February 2003 33

 (left, top) General atrium lighting uses continuous
one-lamp fluorescent strips mounted in a cove along the
perimeter on all floors.
(left, bottom) PAR56 track heads, mounted to either
side of the atrium, provide supplemental lighting
and highlighting of seating areas. The track is
accessible from the third floor (not visible).
(below) Ninety-seven percent of the lamps were
extended performance, low-mercury, high CRI T8 fluorescents
to accommodate the client’s requirements for low
maintenance, environmentally friendly lighting solutions.
A budget of $4.25 per sq ft for
lighting fixtures was met.

Louis office of Lockwood Greene on the design of the

$55 million facility. HOK focused on an open design to
bring together scientists working throughout the
building. A three-story atrium, interior glass walls and
gathering spaces such as coffee bars on each floor con-
tribute to the building’s open and interactive design.
A clerestory at the top of the atrium and reflectors on
the roof draw light into the heart of the building. Open
offices and support spaces ring the atrium, with glass-
walled labs occupying three sides of the perimeter.
Locating most labs along the outside glass walls allows
researchers to enjoy the daylight and views. Stairwells
on the north and south sides of the building are glass.
34 LD+A/February 2003 www.iesna.org
 (top) Decorative pendants with
metal-halide lamps provide general
lighting in the cafeteria. Supplemental
lighting for evening functions uses
PAR56 track heads mounted to
the trusses. A dimming system
gives the client the flexibility
of lighting “scenes.”
(bottom) Decorative 42-W
triple-tube pendants illuminate
circulation bridges
throughout the atrium.

Shades on the perimeter protect from glare and direct

radiation while reflecting daylight deep into the build-
ing. Labs are bathed in natural light. Room lights are
typically off during the day.
The client wanted a collaborative environment so
that research teams can interact. The large open spaces
encourage random interactions. Moreover, the design
creates strong visual connections among occupants and
visitors. There are few places where one cannot see out-
side in all directions.
People meet on the stairs, moving through the floors,
or in the coffee bars and kitchens. Corridors pass along
open office spaces and labs. Partition heights are kept
low to further encourage interaction.
The extensive daylighting, heat recovery system, and
isolation of the high-heat-load equipment conserve ener-
gy. Whenever possible, the design team chose healthy,
easy-to-maintain, and recyclable materials.
As part of the programming phase, HOK studied
benchmarks of leaders throughout the biotech industry
and other technology-fueled companies, toured compa-
rable facilities, solicited input from user groups, and led
brainstorming sessions with the client’s research leaders.
The lighting enhances the client’s desire for an ener-
gy efficient new facility to aid retention and recruit-
ment of world-class scientists.

The designer: David Raver, IESNA, IALD, LC, is presently lighting

group director for RDG Lighting, Des Moines, IA. During his career,
David has designed lighting for projects ranging from high end resi-
dential to The Abraham Lincoln Presidential Library. David holds an
MFA in Theatrical Lighting from the University of Texas-Austin and
has also designed lighting for theater and dance productions nation-
wide including two at the Kennedy Center for the Performing Arts.
An IESNA member since 1998, he has served on several section com-
mittees and was the President of the St. Louis Section in 2000. David
was formerly with the HOK Lighting Group, St. Louis, MO, prior to
joining RDG.

www.iesna.org LD+A/February 2003 35

 (left) Incandescent cove uplighting, decorative
wall sconces and table lamps, and fiber optics
illuminating the steps, combine to allow the client
superior flexibility within a fixed environment.
(below) The interior street scene was layered
with a combination of decorative lanterns,
downlights, and PAR36s that created the
layered lighting effects.
(opposite, left) The dramatic technique of grazing
the regal stone columns was achieved with
low voltage PAR36 fixtures set to enhance rather than
flatten the texture and nuances of the stones.
(opposite, left) Decorative lanterns, wall sconces
and recessed track blocked out in concrete.
The decorative elements have an incandescent
candle-like glow; however, the sources for the stairs,
interior street, and accent lighting are the
track fixtures, which can be placed where needed,
giving the clients great flexibility.

PEAKS OF LIGHT
Robert Singer sets a mood, expanding and defining
residential spaces with light

Y
ou walk into a home and what do you see? Any home, be it a 500
sq ft studio apartment or a 40,000 sq ft mansion, will elicit com-
ments about the view, the furniture, and the comfort of the sur-
roundings. Ever wonder what the view or the furniture would be like
with no thought put into the lighting design? The dilemma of enhanc-
ing the appearance of a home is a challenge for a designer faced with the
scale and scope of a premiere residence. With clients who own exclusive
estates in the mountain enclaves of Aspen, the Roaring Fork Valley and
other prime locations throughout the world, Robert Singer and
Associates first seeks to create drama. The award-winning designer
works closely with all of the design team—architects, interior designers
and clients—to create layers of light for each aspect and room of a home.
As Singer states, “Our goal is to create a warm, glowing environment, as
welcoming to the visitor as it is to the owner.”
Perceived brightness is created by indirect sources that throw light onto
ceiling planes and wall surfaces. Finishing touches include augmenting
the lighting with accent and decorative elements.

Buttermilk Residence
Located on the slopes near Aspen, the Buttermilk house is a classic cas-
tle with state-of-the-art features. Designed by A. Horacio Ravazzani y
Arquitectos Asociados, Uruguay, the interior and exterior of the house is
constructed of exposed board form concrete augmented with stone, wood
and plaster. Because of the nature of the construction, there was no room
for error in locating the light sources.
“The client required the lighting to be functional, flexible and have a
warm candle-like glow. In order to achieve the clients’ requirements, we
needed to create layers of light encompassing general, accent, task, and
decorative lighting. A state of the art control system was used to marry all
of these elements into preset portraits of lights or scenes for the client that
36 LD+A/February 2003 www.iesna.org
can be easily controlled throughout the house,” says Singer.
The visitors’ eye is first drawn to the 200 ft long interior
passage that resembles a street. Locations for the decorative
lanterns, wall sconces and recessed track were blocked out
in the concrete. The concept of the lighting design was to
have the decorative elements appear to be the only light
source producing the incandescent candle-like glow.
However, the true light source for the stairs, interior street
and accent lighting emanate from the hidden track fixtures,
which can be placed where needed, giving the client great
flexibility.
The dramatic technique of grazing the regal stone columns
was achieved with low voltage PAR36 fixtures set to enhance
rather than flatten the texture and nuances of the stones. For
the interior street scene, a combination of decorative lanterns,
downlights and PAR36s were used to create the layered light-
ing effects. The effect of a glowing greenhouse bisecting the
interior street of the home was created by custom designed
Edison Price PAR36s. Custom designed board form concrete
steplights graze light across the steps leading to a future sculp-
ture location. To accommodate the location for future dis-
plays, a dramatic pool of light was located below a skylight to
complement the natural light source. Beyond the pool of light
and double doors, the visitor finds the media room and the-
ater. Layers of light, including incandescent cove uplighting,
decorative wall sconces and table lamps, and fiber optics illu-
minating the steps, combine to allow the client superior flexi-
www.iesna.org
bility. In accordance with local building codes, the exterior
lighting was kept to an unobtrusive and subtle level. Uplights
focused on the garage and steplights throwing a warm, glow-
ing light onto the stone wall accomplished this task within the
required parameters.
Red Mountain Residence
Overlooking the Roaring Fork Valley with a spectacular view
of Aspen Mountain, a majestic private estate crowns a ridge on
Red Mountain. A 25,000 sq ft cutting edge contemporary
home with an extensive art collection required museum quali-
ty lighting while maintaining a minimal intrusion of decorative
fixtures. According to Singer, “the challenge was to maintain
the warm glow required for a residence without the enhance-
ment of decorative light sources.”
The entry barrel vault is uplighted with an indirect incan-
descent linear source that appears to penetrate the exterior
glass and continues into the entry vestibule. Recessed down-
lights and wall washers create a warm invitation into this
extraordinary estate. The barrel-vaulted ceiling in the great
room is washed by twelve 500-W quartz asymmetrical throw
light sources mounted in the lower soffit. Complementing
this effect is the glowing clerestory eave lighted with linear
incandescent strip sources. The towering fireplace is high-
lighted with recessed 150-W quartz PAR38s washing the
patinaed copper. PAR36s graze the stone columns with light.
For the art niches and seating areas, Singer utilized AR and
LD+A/February 2003 37
 (left) The interior offers a warm, consistent incandescent glow.
(below, top) The client requested architectural museum quality lighting
with a minimum of decorative fixtures.
(below, bottom) The towering fireplace is highlighted with recessed
150-W quartz PAR38s washing the patinaed cooper, while
PAR 36s graze the stone columns.

MR16 lamps to meet the criteria for museum quality

illumination. Gallery walls were evenly washed with
recessed quartz PAR38s, providing maximum flexi-
bility for the placement of the art collection while
producing zero scalloping.
The technique of using layers of light showcases the
high tech kitchen. Utilizing incandescent downlights,
under cabinet lighting and pendants over the counter,
the design provides more than the illumination level
required for functionality, but also remained consis-
tent in texture and theme with the rest of the home.
Upon entering the dining room, attention is drawn to
the beautiful yet simple pendants suspended over the
table. Glowing bronze fused glass panels, backlit with
MR16s, provide an additional dramatic layer of light
enhancing the entertainment function of this architec-
tural showcase.
The interior of this Aspen estate emanates the
warm, incandescent glow desired by the client.
Whether viewed from the spectacular patio or from
the road leading up the ridge to the estate, the
roofline seems to float above the home. As Singer
says, “perceived lighting is much more alluring to
the curious eye.”

Pagosa Springs Ranch

Nestled in the San Juan Mountain Range, this
15,000 sq ft mountain lodge serves as a private spiri-
tual haven. The challenge of the lighting design for
the multi-use lodge was to find a balance between
showcasing the impressive Native American art col-
lection and valuable Ansel Adams prints, while still
providing the serenity required for a spiritual retreat.
Many of the decorative lighting fixtures were custom
designed by Robert Singer to stand out as additional
showcase pieces.
Upon entering, the visitor is immediately wel-
comed by the glowing environment created with
recessed incandescent sources and adjustable low
voltage fixtures that accent an oil painting. The enor-
mous wine barrel door need not be complimented
with lighting. The extraordinary wine room utilizes
the balance of the material from the barrel for the
shelving, racks and tasting tables. The entire wine
room was illuminated by a remote fiber-optic light
source using an amber dicro filter. Everything from
38 LD+A/February 2003 www.iesna.org
 (left) High-tech kitchen is luminated with incandescent downlights,
under-cabinet lighting and a pendant at the counter.
(below, top) The mud room glows from recessed
incandescent sources and adjustable accents.
(below, bottom) The glowing teepee pendant, lighted display cases
with rare Indian artifacts, wall washers, picture light and
accent light welcome one into the residence.

the display niches to the downlights illu-

minating the wine racks was lit by this
source, eliminating any IR, UV or heat
radiation, major components contributing
to the breakdown of wine.
The entry foyer, the hall and the gallery of
art showcase the majority of the rare art
pieces in the lodge, including the decorative
light fixtures. Isolated picture lights, wall
washers and accent lighting illuminate the
artwork. Display cases house linear incan-
descent sources set at extremely low levels
to avoid excessive heat buildup while still
providing adequate illumination for the
museum quality artifacts. Singer designed
wall sconces and chandeliers with a Native
American theme. Surface-mount museum
quality quartz wall washers provide an even
distribution of illumination on the wall,
highlighting the black-and-white Ansel
Adams prints.
In the library, Singer layered the lighting
by using Native American themed decora-
tive pendants, subtle truss uplights, and lin-
ear incandescent shelf lighting, creating a
wall of light.
As the dramatic, decorative centerpiece of
the dining room, a custom designed, two-
circuit canoe pendant floats above the fami-
ly dining table. Glowing with an internal
source, which illuminates the ceiling and
general surrounding area, the canoe con-
ceals accent downlights within its keel to
illuminate the dining table.
www.iesna.org LD+A/February 2003 39

In the game room, which also serves as the central meditation
quarters for the retreat, layered lighting and theatrical effects
showcase the distinctive architecture. The majestic fireplace is
grazed with light from above enhancing the masonry. A hidden
low voltage source accentuates the central boulder. In lieu of
table and floor lamps and in keeping with the interior design
scheme, the themed, two-circuit pendants stand out as decora-
tive elements while providing functional downlight for the seat-
ing groups. To enhance the warmth of the space and provide
perceived brightness, linear incandescent sources were con-
cealed within the trusses and cabinetry to throw light on the
wood ceiling. As an additional homage to the clients’ spirituali-
ty, hidden framing projectors in the truss silhouette the hewn
beam in the window wall, creating a giant illuminated cross.
Forward Movement
With multiple projects starting up, continuing or nearing
completion around the world, the biggest challenge according
to Singer is to “maintain the integrity and the progressive, cut-
ting edge nature of our designs without sacrificing the person-
al touch that our clients have come to expect from us.”
40 LD+A/February 2003
(top) The library is lit with decorative
pendants, truss uplights and linear
incandescent shelf lighting.
(bottom) The game room is layered
with light and effects. The pendants are
decorative elements with downlights
to illuminate the seating groups.
The ceiling glows from indirect
linear sources on the trusses and
cabinetry. The fireplace is grazed
with light from above and
hidden sources.
The designer: Robert H. Singer,
IESNA, IALD, has been bringing
his expertise to high-end residen-
tial and commercial projects
worldwide since 1981. With ex-
tensive experience in theatri-
cal/stage design and lighting, Mr.
Singer has also served as Adjunct
Professor of Lighting Design at the Fashion Institute of Technology in New
York. Projects include the Old Oaks Country Club in New York, the Tunnel
in Manhattan, the custom-designed crystal iguana and interior for Café Iguana
in New York, the privately-held penthouse suite at the Peaks Hotel and Spa in
Telluride, CO, and private estates throughout the world. Winner of the
Richard Kelly Grant for Lighting Design, Mr. Singer has also seen many of his
projects win national and international awards. Based in Aspen, CO, since
1994, Robert Singer & Associates also maintains satellite offices in New York
and Denver. He has been an IESNA member since 1996.
The author: China Kwan Clancy has been the representative for Robert Singer
& Associates since January 2002. Some of her other published works include
the cover feature for StageCraft magazine showcasing the Oregon Shakespeare
Company, articles for Church Business and Child Care Business, and book
reviews and commentary for Today’s Librarian.
www.iesna.org
 Diners deposit their trust
in Chef Matthew Medure’s
culinary talents and
Larry Wilson’s lighting

(left) Larry Wilson designed and fabricated the

polka-dot screen, made of 1/2-inch-thick Plexiglas. On the rear
of the panel are clear shelves forming a grid supporting
votive candles that are seen as starbursts from
the diner’s side of the screen.
(bottom) An MR16 narrow spot illuminates the raven
atop a square column at the host stand. The raven is a tribute
to Chef Medure’s grandmother, who called him
“little bird” during his childhood.

BANKING ON MATTHEW’S
I
n the Jacksonville, FL, his-
toric San Marco district,
quaint boutiques and eater-
ies abound. Matthew’s restaurant
offers diners a relaxed, yet
refined dining experience in this
upper income neighborhood.
“The restaurant was designed
to be hip, stylish and forward
thinking without being intimi-
dating or stuffy,” says Larry
Wilson, chief designer of Rink
Reynolds Diamond Fisher
Wilson, P.A.
Attractive and inviting;
warm woods, moss green
upholstery, and periodic bursts
of auburn lure guests through
the doors of Matthew’s. Small in
size, the restaurant can enter-
tain about 50 indoors and a sea-
sonal terrace serving al fresco
dining can be set for 24 guests
42 LD+A/February 2003 www.iesna.org
 (left) Custom banquettes are 5 feet high to give a sense
of privacy. The heavily padded booths offer an enclosed
and secluded feeling. Louis Poulsen “Magazin” fixtures
provide general ceiling lighting.
(bottom) A single narrow-spot MR16 reflects off
artwork in each banquette.

as needed. The menu changes nightly and is available with from the start. “I treated the small space as a ‘jewel box,’ mak-
wine pairings. Diners can select from a wide variety of ing every detail important,” Wilson says. “The visible light fix-
seafood cooked with Southern, Mediterranean, Asian, and tures were chosen to be very high tech and industrial in nature.
Middle Eastern influences. The
menu is seasonal and chef
Matthew Medure composes a
daily tasting menu and an
adventure menu that offers din-
ers a unique and exciting culi-
nary experience. The wine list
provides over 400 selections.
The casual, yet romantically
elegant Matthew’s restaurant
originally wasn’t a restaurant at
all. Built as a bank in the 1920’s,
the space was transformed and
the restaurant opened in 1998.
Bank tellers of the past are now
replaced with the men and wo-
men of chef and owner Medure’s
serving brigade. Construction of
the 1940 sq ft establishment
took about seven months to
complete. Designers kept the
original terrazzo floor with
inlayed bronze strips.
Larry Wilson was involved
www.iesna.org LD+A/February 2003 43
Most are stainless steel, some also with frosted glass.” brothers. Having special meaning to chef Medure, the col-
Lighting obviously played a key role. “We wanted to main- umn’s three-dimensional raven is lit with a MR-16 nar-
tain flexibility in the seating, so we needed a lighting system rowspot as it watches over the dining room.
that gave general illumination without blasting light. We also As Jacksonville emerges as an up-and-coming metropoli-
wanted to simulate a candlelight feel, particularly for the tan icon, Wilson aims to design a space that competes on a
tables in the center of the room,” added Wilson. national level.
A privacy screen hand-sanded by Wilson shields the waiter “It’s very rewarding to receive feedback that it feels like a
station and the back of the house from diners. The 1/2 inch space that could be found in cities like New York, Chicago
Plexiglas screen is supported by wax-polished cold-rolled and Los Angeles.”—John-Michael Kobes
rusted-steel columns and is backlit with votive candles set
directly behind it on small, individually clear Plexglas shelves The designer: Larry Wilson received his bachelor degree
in interior design from the College of Architecture,
forming a grid. University of Florida with High Honors in 1976. Wilson
Pinlights in the ceiling were avoided and a mix of floor- was a Distinguished Alumnus 2002, Department of
recessed halogen uplights, recessed incandescent cove lights, Interior Design, College of Architecture, University of
surface-mounted incandescent MR-16 accent lights, decora- Florida. He has also served on the advisory board for the
tive pendants and decorative wall sconces were installed. All University of North Florida, Department of Communi-
cations and Visual Arts. Mr. Wilson is past president,
the fixtures are controlled independently and are dimmable Florida North Chapter of the American Society of Interior Designers. He is the
to ensure a proper illumination balance. past chairman of ethics and appellations for ASID (1991), as well as, past chair-
Except for the cove lighting that existed in the raised ceil- man of the Florida North Chapter, ASID, Association, (1989-1991).
ing over the entry area, all of the initial lighting was
removed. Fluorescent lamps were replaced with an incan-
descent source for a warmer color temperature.
Because the restaurant is a retrofit into an old branch bank
space, designers were restricted by the locations of the
restrooms, the ceiling heights and the original existing store-
front. The restricted square footage helped create the open
kitchen concept. A focal point of the establishment, the
kitchen puts Medure and his staff on display. While patrons
enjoy culinary creations, as many as four diners receive
front-row seating at the chef’s table, which is actually a gran-
ite counter. Three Louis Poulsen pendants light the counter.
Privileged guests get a firsthand look at the details involved
in every step throughout Medure’s preparation and presenta-
tion of his dishes, created with all fresh ingredients, organi-
cally grown vegetables, and farm-raised meat.
The display kitchen is illuminated by recessed downlights
with sealed lenses, which is a code requirement. “I treated
the lighting in the kitchen in a dramatic way and the chal-
lenge was that it had to be highly functional lighting,”
Wilson says. “I had to restrict the light to the work surfaces
and food prep areas, because I did not want any spill light to
over illuminate the area.”
Concerned about overpowering the entire restaurant with
bright kitchen fixtures, Wilson used downlights lamped with
50-W MR-16’s. In addition, there are indirect lights under
the hood of the hot line that are simple A lamps encased in
a jelly jar globe (again a code requirement).
While trying to keep the intimacy level at a high, Wilson
created a private space within the space, compensating for
the close and sometimes claustrophobic setting a small area
can bring out. Wilson installed high-backed, heavily padded
booths to provide the enclosed and secluded feeling.
Cantilevered lights highlight the artwork placed on the wall
in each booth, which enhances the warm glow that bounces
off the ash wood paneling.
The most personal detail at Matthew’s is a raven-topped
square column at the host stand. During chef Medure’s child-
hood, he was known as “little bird” by his grandmother and
44 LD+A/February 2003 www.iesna.org

Lumastrobe’s BT10-SS-RT is a low
cost signaling and warning device
that is achieved by combining their
featherweight stop sign and bat-
tery powered LED baton into a sin-
gle, hand-held stop sign. Although
the baton does not illuminate the
sign, the combination of the reflec-
tive tape and the lights effectively
brings attention to the sign mes-
sage. Operator fatigue is minimized
utilizing this lightweight (only 1.72
pounds with batteries), durable and
weather proof signaling device.
Circle 100 on Reader Service Card.
Day-Brite Lighting’s FHB fluores-
cent high bay luminaire featuring
T8 or T5/HO fluorescent lamps that
have angled design and six linear
fluorescent lamps. Whether used in
open areas or warehouse aisles, the
FHB luminaire is a good alternative
to HID lighting. Hanging brackets
on the luminaire provide flexible
mounting methods and multi-level
switching for light control. In addi-
tion, the FHB features a dimming
option for energy savings.
Circle 99 on Reader Service Card.
The Neo-Ray twin-beam architectur-
al linear fluorescent energy efficient
suspended luminaire has a non-
www.iesna.org
conventional unique modular
design for indirect/semi-indirect
ambient lighting applications.
Fashioned with two physically sep-
arated T5 high output housings,
the fixtures “void-detail” serves to
enrich the leading edge design
while filling space with glare-free
indirect illumination. The two-piece,
die formed cold rolled steel housing
forms an 8 5/8 x 1 3/4 in. architec-
tural profile and is available in 4 and
8 ft lengths for individual or contin-
uous rows.
Circle 98 on Reader Service Card.
Deco series luminaires from Eclipse
Lighting are one-piece translucent
diffuser in white or optional colors
with soft illumination for building
facades, entrances, concourses
and atriums. Variety of styles fea-
ture elegant square bar aluminum
frames, perforated anti-glare pan-
els, and optional up/down light for
wall wash effects. ADA-compliant
models, custom frame styles and
textured finishes available.
Circle 97 on Reader Service Card.
LITETRONICS International, Inc.,
Color-Brite halogen PAR lamp was
created for display lighting applica-
tions and is an ultra-white halogen
lamp for retailers who want to
accent their lighting displays. It fil-
ters the yellow portion of the light-
ed spectrum rendering colors more
vividly, providing better contrast
between black and white for better
visual acuity. Manufactured with a
rare earth additive in the glass, this
lamp meets the needs of retailers
for an ultrawhite display light, simi-
lar to sunlight, while improving the
lamp’s life by up to 200 percent,
reducing energy costs and eliminat-
ing maintenance issues from early
lamp failure.
Circle 96 on Reader Service Card.
LIGHT
PRODUCTS
Precision Multiple Controls, Inc.
has upgraded features to its line of
Permatrol street lighting contac-
tors. Using mercury, which is envi-
ronmentally sealed in a stainless
steel tube, as the contact material,
the hermetically sealed switch con-
tacts never wear out. Relays are
available in N/O or N/C positioning,
SPT and are rated at 30 amp or 60
amp, 120/240 volt. A polycarbon-
ate enclosed with gasketed, hinged
cover is used to protect the relay
and gives access to line fuse.
Circle 95 on Reader Service Card.
LD+A/February 2003 49
 authentic art glass and the pen-
dent was created using a copper-
foil construction method.
Circle 93 on Reader Service Card.

Peerless Lighting’s Lightedge is an

The Mark X powerline dimming bal-
last from Advance Transformer Co.,
has continuous dimming capability,
allowing users to adjust lighting lev-
els to fit their needs and visual com-
fort. The ballast provides ignition at
any light setting, including the five
percent dim level, making it unnec-
essary to ramp up to 100 percent
light output when starting. Another
additional benefit is the energy cost
savings dimmable fluorescent light-
ing makes possible. Common work-
place applications for Mark X bal-
last include meeting rooms and
audio/visual presentation spaces,
computer-intensive work areas and
private offices.
Circle 94 on Reader Service Card.
architectural luminaire featuring an
advanced optical system for
smooth even illumination. Its twin
edges capture reflects light off the
ceiling and, with the assistance of a
contrasting deep reveal, glow with
elegance. Lightedge’s end caps are
also extruded and therefore are
anodized to match perfectly with
the fixture body, creating a singular
aesthetic. The luminaire also offers
dramatic sweet corners that give
rise to a wide range of configuration
possibilities. These sweep corners
not only join two or more opposing
sections at various angels, but also
serve as feed supports and wire-
ways.
Circle 92 on Reader Service Card.
Kichler Landscape Lighting’s illumi-
nated birdbath creates a focal point
in any yard, day or night. The satin-
etched glass basin glows from
below with a 35-W, PAR 36 lamp.
Standing 28 in. tall with a 22 1/2
in. diameter, the base of the bird-
bath is made of aluminum con-
struction and is painted in a tex-
tured weatherstone finish. Also
included is a 60-W transformer with
photocell and timer, a 35-W, PAR
36 lamp, 25 ft of cable and 14 in.
non-corrosive stake.
Circle 91 on Reader Service Card.

Waldmann Lighting’s, Roma task light includes a combination of furniture-

Meyda Tiffany’s Pueblo Mission
series of decorative lighting fix-
tures has art glass shades with a
red and yellow arrowhead motif,
with brick-like borders designs in
bright reds and dark blues, browns
and greens. The shade was hand-
crafted of hundreds of pieces of
integrated, freestanding, pendant, or wall mounted indirect lighting, and an
adjustable arm for direct task lighting for the desktop. The Roma offers
new ergonomic features including sturdy fully articulating arm(s) offered
in single, twin vertical and twin horizontal. The single arm is ideal for small-
er workspaces, while the twin vertical arm is designed for larger work areas
where a broad reach of light is necessary. Use the twin horizontal arms for
easy positioning in workstation panels. The task light also features a swiv-
el joint connected to the base of the head, which allows for maximum rota-
tion and positioning. One 18-W compact fluorescent lamp housed inside
the head offers more light output and energy efficiency. The lamp, which
provides the same light (lumen) output as a 75-W incandescent lamp, pro-
vides 12,000 hours of lamp life, excellent 4100K color temperature, and
an 82 CRI. A variety of color temperatures are offered.
Circle 90 on Reader Service Card.

50 LD+A/February 2003 www.iesna.org


The Sea Wind outdoor ceiling fan from Hunter Fan Company is a nautical
inspired globe light design and bronze finish combined with all an aluminum
housing focuses towards outdoor living spaces. Its five 52 in. solid teak
blades are especially designed for outdoor use and complimented by rust
prevention features that give the ceiling fan a non-rust guarantee. Also fea-
tures a wobble-free canopy mounting system, keeping the fan in balance,
and a hands-free loop that temporary supports the fan during wiring.
Circle 89 on Reader Service Card.
The mini reflector luminaire from
Ruud Lighting is designed to light
small industrial areas, including
mezzanines and similar work or stor-
age spaces that do not require a
full-sized lighting fixture. The “D
series” features a die-cast alu-
minum housing with a thermal air-
isolation chamber that separates
the ballast from the capacitor and
ignitor. A hydro-formed aluminum
reflector attaches with screws
directly to the ballast housing.
Fixture includes a medium-base
lamp available in metal halide,
pulse-start metal halide or high-
pressure sodium, in wattages of 70
through 150.
Circle 87 on Reader Service Card.
Celine, a new group of pendant,
table and floor lamps is classic
and modern. Its subtle refinement
and clear functionality makes it
appropriate for any number of interi-
or settings and styles. The lumi- A multi-page brochure describing
naire has a satin white cylindrical Litecontrol’s family of individual
blown glass diffuser, its base has a pendant-mounted architectural fluo-
brushed nickel finish and it uses rescent lighting fixtures offers 21
incandescent lamps. different product choices with a
Circle 88 on Reader Service Card. variety of options, including fixture
www.iesna.org
design, size, distribution and lamp-
ing. High performance and efficien-
cies provide an alternative to linear
row lighting in many applications.
Fixtures are constructed of spun
steel housing in larger sizes from
32-39 in. diameters and smaller, Jr,
sizes from 23-29 in. diameters.
They also include a variety of distri-
bution, diffuser, and lumen output
choices. Indirect and indirect/
direct versions are available, using
compact fluorescent lamps for up-
light and 2D lamps for down-light.
Fixtures are installed using a simple
stem/aircraft cable assembly.
Circle 86 on Reader Service Card.
Infrared discrete LED’s from
LEDtronics fulfill the demand for
high-powered, high-speed emitters
in wireless connectivity, imaging
systems and analysis equipment.
These LEDs use advanced semi
conductor compounds to produce
infrared emissions in the wave-
lengths of 850 nm, 880nm, and
940nm. Sizes available are T1
(3mm), T1-3/4 (5mm) and SMT
(3.4mm x 8mm). T1 (3mm) and T1-
3/4 (5mm) LEDs come with strong
leads that hold up to the stress of
wire-wrap and through-hole applica-
tions. The SMT model is packaged
in a plastic housing allowing
infrared functionality to be incorpo-
rated into miniature-sized electron-
ic devices.
Circle 85 on Reader Service Card.
LD+A/February 2003 51