Neon Rainbow California Cajun Legal Lunch Calgary Cowhands

Lighting Design + Application
December 2002
Restaurant
Lighting
Neon Rainbow
California Cajun
Legal Lunch
Calgary Cowhands
CONTENTS
DECEMBER 2002
VOL. 32/NO. 12
34
RESTAURANT LIGHTING
Cross Over the Bridge... 34
...and enter Ann Kale’s world of subterranean surrealism—a
dining island afloat in a luminous stream
Over The Neon Rainbow 38
Follow the checkerboard road to a realm of color and chrome
DEPARTMENTS
4 Beardsley’s Beat
5 Energy Concerns
7 Executive Vice President
Reports
38
All That Jazz 42
Andy Powell’s lighting design reinforces the New Orleans
French Quarter motif of Ralph Brennan’s Jazz Kitchen
Grandstand Grandeur 46
Saddle up for a look at a restaurant open only 10 days a year
Deep Sea Dining 50
Dorf Reber teamed with Horton Lees Brogden to
surf Sunrise and net a legal catch
8 Letters to the Editor
12 Retrofit/Update Quarterly
15 Digital Perspectives
18 Research Recap
22 Regional Voices
23 Manufacturers’ Directory
Questionnaire
25 2003 IIDA Submittal Form
29 IES News
54 Light Products
58 Scheduled Events
60 Gallery of New Products
61 Howard Brandston Student
Lighting Design Education
Grant Entry Form
66 Annual Index
71 Classified Advertisements
72 Ad Offices
72 Ad Index
ON THE COVER: Sea creatures dominate the stylized ocean floor of Legal Seafoods in
Sunrise, FL. Working with Horton Lees Brogden Lighting Design, Ivonne Dorf and
Paul Reber custom designed each luminaire to fit the nautical environment.
Photographer: Peter Paige.
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. © 2002 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/December 2002
www.iesna.org
he restaurants featured in this
issue are all, of course, well
lighted—not a murky one
among them. Yet murky is a wonderful word. It describes air, as in
“hazy and foggy.” Prose, as in
“vague and obscure.” Food, as in
“heavy and thick.” And lighting, as
in “dark and gloomy.”
Diners in murky restaurants have
T
BEARDSLEY’S
BEAT
been heard to complain, “I can’t
read the menu.”
“Where’s the beef?”
“Who ordered the green eggs and
ham?”
“My stew looks like chocolate
mousse.”
A friend once called the wording
Charles of a restaurant’s dress code murky.
Beardsley, The dress code called for a jacket
Editor and tie, and the restaurant provided
either or both, but ignored torn
jeans and tattered chinos.
“The tie they gave me doesn’t
match my jacket,” said my friend.
“But,” I replied, “No one can see
them.”
Never mind that the man at the
next table was wearing Levis, a bolo
tie, and a bomber jacket. What’s
more, the martini glasses didn’t
sparkle. The décor was dark and
ominous. The walls looked to be
smudged, the waiters ancient. Indeed, we were eating in Murk Manor.
What else annoys diners about
lighting?
• Votive candles more likely to
set fires than mood.
• Votive candles that offer aromatherapy but little light.
• Downlighting that gives diners
a deathmask pallor.
• Rotating restaurants with stationary lighting.
• Pink lamps that make the cottage cheese blush.
• A maitre d’ who dims the lights
at the speed of light.
most of murk and merriment:
“Murk Manor evokes a bit of Las
Vegas and a hint of Atlantic City.
Understatement starts in the disco
area, which doubles as a dining
room during the Early Bird Specials.
The butcher-paper tablecloths catch
the wax from the aromatic votive
candles. Closely spaced tables
mean little elbowroom, but the
back-lighted banquettes and fog
pumped from smoke ports more
than make up for this lack of privacy. Memory control systems restore
lights to former levels after sudden
dimming or power interruptions.
LED indicators make tables easy to
locate in the dark.
“The craps table motif of the
dance floor reinforces the gaming
theme of the restaurant. In each
coffer, miniaturized 10-W lamps of
various colors flash, chase, and
flicker—as do similar lamps behind
What’s more,
the martini
glasses didn’t
sparkle.
2002-2003
Board of Directors
IESNA
President
Randy Reid
Past President
Pamela K. Horner, LC
Manager, Technical Training
OSRAM SYLVANIA
Senior Vice-President
Ronnie Farrar, LC
Lighting Specialist
Duke Power
Executive Vice-President
William Hanley, CAE
Vice-President—-Design & Application
John R. Selander, LC
Regional Sales Manager
The Kirlin Company
Vice-President—Educational Activities
Fred Oberkircher, LC
Director
TCU Center for Lighting Education
Texas Christian University
Vice-President—-Member Activities
Jeff Martin, LC
¡
Vice-President—-Technical & Research
Ronald Gibbons
Lighting Research Scientist, Advanced
Product Test and Evaluation Group
Virginia Tech Transportation Institute
Treasurer
Boyd Corbett
Belfer Lighting
Directors
Jean Black
PPL Services Corp.
Anthony J. Denami, LC
Gresham Smith & Partners
translucent playing cards on the
wall. Pink reflector downlights lend
a blush to the potato salad, a house
specialty. Framing projectors define
the oil paintings of nudes with precise rectangles of light. Mustardmarinated mushrooms—another
specialty—sparkle with a licoricelike glow. The rest rooms offer no
refuge from eccentricity. In the
men’s room neon phalli reflect endlessly in the mirrored walls. Outside
the restrooms, concealed fluorescent strips illuminate the photographs of celebrities like Richard
Simmons. Lighting this sensual display was no easy task.”
I’ll bet. Anyone got a match?
Light the plum pudding, Mrs.
Cratchit?
Dark tidings to all, and to all, a
good night.
Donald Newquist, LC
Professional Design Associates, Inc.
Earl Print, LC
Lightolier
Joel Siegel, LC
Edison Price Lighting
James Sultan, LC
Studio Lux
RVP/Directors
Kevin Flynn
Kiku Obata & Company
Russ Owens, LC
West Coast Design Group
Here’s my take on an imaginary
restaurant review that makes the
4
LD+A/December 2002
www.iesna.org
n my September column, I reported
on the IESNA Annual Conference
and the ‘Hot Topic’ panel discussion on “Lighting Quality and Worker
Productivity.” One of the panelists,
Carol Jones of the Battelle/PNNL Institute, described research being
done under the sponsorship of the
“Light Right Consortium” (www.
lightright.org) whose members
include; IESNA, IALD, DOE, EPA, International Facilities Management
Association, Johnson Controls,
NEMA, Steelcase, N.Y. State Energy
Research and Development Authority
and the Alliance To Save Energy. The
project is “The Benefits of Quality
Lighting,” managed by the Pacific
Northwest National Laboratory and
operated by Battelle for the U.S.
Department of Energy (DOE).
It was always hoped that research
in lighting would prove that quality
lighting would increase the efficiency of a worker’s performance by
some percentage, which could be
translated into savings for employers in labor productivity and reduced
errors. What seems to be emerging
from this research is something different, but much more valuable. It
turns out that 99 percent of employers want their employees to be satisfied and comfortable, because
keeping good people is very important. Only 74 percent of employers
listed worker output as a priority. Is
it possible that office workers are
different from factory workers in
that “quality” is much more of an
owner benefit than “quantity”?
How does this manifest itself in
the workplace? Employee preferences and well-being are moving to
the top of the priority list and lighting design of office spaces must
respond to those needs.
One of the revelations of the research is employees do not like
“gloomy” spaces with insufficient
brightness of walls and ceilings. It
reaffirmed the finding by Craig
Bernecker and P. Vrabel of Penn
State that, “High contrast conditions
in office environments are consistently rated poorly.” This does not
refer to the contrast of the visual
task with its surround, which is still
the most important component of
visual perception. The IESNA Quality
of the Visual Environment (QVE)
committee has been recommending
high overall brightness of room sur-
I
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
Published by IESNA
120 Wall Street, 17th Floor
New York, NY 10005-4001
Phone: 212-248-5000
Fax: 212-248-5017/18
Website: http://www.iesna.org
Email: iesna@iesna.org
LD+A is a magazine for professionals involved in the art,
science, study, manufacture, teaching, and implementation of lighting. LD+A is designed to enhance and
improve the practice of lighting. Every issue of LD+A
includes feature articles on design projects, technical
articles on the science of illumination, new product developments, industry trends, news of the Illuminating
Engineering Society of North America, and vital information about the illuminating profession.
Statements and opinions expressed in articles and editorials in LD+A are the expressions of contributors and
do not necessarily represent the policies or opinions of
the Illuminating Engineering Society of North America.
Advertisements appearing in this publication are the sole
responsibility of the advertiser.
LD+A (ISSN 0360-6325) is published monthly in the
United States of America by the Illuminating Engineering
Society of North America, 120 Wall Street, 17th Floor,
New York, NY. 10005, 212-248-5000. Copyright 2002 by
the Illuminating Engineering Society of North
America. Periodicals postage paid at New York, N.Y.
10005 and additional mailing offices. Nonmember subscriptions $44.00 per year. Additional $15.00 postage for
subscriptions outside the United States. Member subscriptions $30.00 (not deductible from annual dues).
Additional subscriptions $44.00. Single copies $4.00,
except Lighting Equipment & Accessories Directory and
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per copy is paid directly to CCC, 21 Congress Street,
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This consent does not extend to other kinds of copying
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POSTMASTER: Send address changes to LD+A, 120
Wall Street, 17th Floor, New York, NY 10005. Subscribers: For continuous service please notify LD+A of
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This publication is indexed regularly by Engineering
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LD+A is available on microfilm from Proquest Information and Learning, 800-521-0600, Ann Arbor, MI
www.iesna.org
faces (volumetric brightness) in
office interiors for years, as well as
recommending reduced direct over-
ENERGY
CONCERNS
head and reflected glare.
Most employees like daylighting
and access to a view of the outside.
California requires a daylighting component of office lighting, if daylight is
available. Soon, other states will insist
on it also. Too many of our designs
ignore the qualitative and quantitative
virtues of available daylight.
Another finding of the research was
subjects are more satisfied when they
have control of their lighting and that
when employees are given dimmable
lighting, energy use decreases 35 to
45 percent, according to a study done
by Boyce, Eklund and Simpson.
Peter Boyce of the LRC was a participant in the panel discussion at
the IESNA Annual Conference, as
was Guy Newsham of the Canadian
Research Council. Newsham and
Jennifer Veitch have done seminal
work on worker psychology and their
research revealed that subjects who
have control of their lighting experience a greater sense of control, in
general, throughout the day.
The conclusion of the Light Right
report is that workers who are in
control of their workspace, and
more comfortable, are better able
to “solve problems more quickly
and come up with more creative
solutions than subjects in either
neutral or negative moods.”
What about energy concerns?
Technology has advanced quickly
these past couple of years in lighting
control. Luminous efficacy (lamp
lumens per watt) energy savings are
in the range of 25 to 50 percent
when quality, energy-efficient, lighting is installed to replace older equipment. Property owners are always
trying to reduce operating cost with
the least possible capital outlay. My
experience is the cost of better lighting is quickly paid for, especially
when you add worker satisfaction
and comfort to the equation.
Lastly, the Light Right research
Willard L.
Warren,
PE, LC,
FIESNA
reported, “Lighting is an important contributor to the
aesthetic of a space and can help to convey a positive
image to clients and stakeholders (investors).
Additionally, the use of energy-efficient technologies
provides an opportunity to showcase an environmentally friendly corporate policy.”
The Light Right research has revealed employees’
desire for comfort and control and employers are willing to comply.
I am gra teful to Bill Attar di (w a t t a r d i @
attardimarketing.com) for pointing out to us in his
October 2002 “Energy Report”, that between 2002
and 2004, 16,000 school districts will spend $107.7
billion on the new construction and renovation of
schools and that the two top priorities are energy efficient lighting and dimming systems.
Bill also cited a recent DOE report that lighting constitutes 8 percent of the total US energy consumption
from 7 billion installed lights. Commercial buildings
account for 51 percent of that consumption, residential, 27 percent and industrial 14 percent. And the
largest energy users are still incandescent lamps.
I was told by my fellow IESNA QVE committee member, Michael White, Director of Lighting Design for Johnson Controls, which does over 60 percent of the energy
renovations in the country, that the hardest person to
sell in an organization on upgrading the lighting is the
CFO who almost always has another investment in mind.
One luminaire manufacturer on the west coast,
knowing this about many CFOs, has an interesting way
of going around that corporate officer and getting to
the ultimate consumers, the employees. He has been
installing, at no cost to the owner, including labor, a
mock-up of his indirect luminaires in a designated area
of the company’s offices. When employees experience
working under indirect lighting, he is successful 90 percent of the time in persuading the CEO to buy his product because it is so heavily favored by the employees.
Next month’s issue of LD+A (January) is dedicated
to lighting controls and I will be reporting on “smart fixtures,” but to be politically correct, we’ll have to start
calling them “smart luminaires.”
6
LD+A/December 2002
www.iesna.org
he Board of Directors/Membership Q&A session
was held on Tuesday, August 6, 2002, at 3:30
p.m. at the Grand America Hotel, Salt Lake City,
Utah. The session was chaired by Randy Reid,
President; the following members of the Board were
present: J. Black, B. Corbett, R. Farrar, K. Flynn, R.
Gibbons, W. Hanley, P. Horner, J. Martin, D. Newquist,
F. Oberkircher, R. Owens, E. Print, J. Selandar, J. Siegel
J. Havard (Piedmont Section) reiterated a comment
he made last year: he requested that the Board: 1) hire
a firm to do broad based statistical sampling of local,
county, state and federal governments to determine
how recognizable the IESNA brand is, and 2) if the
results show poor brand recognition, then the Board
should address the question, “how do we become The
Lighting Authority to the outside world?” He also questioned the Society’s role in timely response to proposed
local ordinances.
R. Harrold stated that it would be helpful if the Society
were informed about proposed ordinances, etc., so that
the Society could be pro-active rather then re-active.
J. F. Simard (Montreal Section) questioned the activities of the Dark-Sky Association (IDA) in regard to proposal lighting ordinances.
F. Oberkircher commented on a number of IESNA initiatives related to night sky issues: RP-33 (Lighting for
Exterior Environments), the Cut-off Criteria Committee,
the IESNA Outdoor Lighting Criteria Forum, and joint
projects with the IDA.
R. Kaeser (Cincinnati Section) commented on his
perception of the undue influence of the IDA on IESNA
committees, an influence out of proportion to the
Society membership as a whole.
J. Fisher (Cincinnati Section) responded that the proposed ETAL project has tremendous potential; he also
noted the influence of the IDA.
R. Harrold responded that ETAL is not driven by the
IDA and that Society committees will be involved in
development of the program.
W. Warren (New York Section) stated that, as part of
its five-year plan and as a partial answer to J. Havard’s
earlier comment, the Board should evaluate the Annual
Conference for its relevance to the members and to outside communities.
N.V. Shamasunder (Phoenix Section) noted that the
slowed-down economy and September 11th both affected attendance at the Conference.
R. Reid stated that a task force has already been established to re-evaluate the IESNA Conference; it is
scheduled to present recommendations to the Board in
December.
C. Bukalski (Chicago Section) stated that the
Conference is better every year.
H. Kosowski (Southeast Florida Section) stated that
the Conference and LIGHTFAIR should be held in alternate years; lack of new product does not justify an
annual trade show.
R. Reid responded that some manufacturers have
advocated holding LIGHTFAIR in alternate years.
J. Rose (Southeast Florida Section) asked that the
website provide technical information geared to specific membership interests.
R. Prouse (New York Section) spoke of a poten-
T
www.iesna.org
tial code revision for emergency lighting.
R. Harrold noted that the Society needs an
Emergency Lighting Committee.
G. Heumann (Twin Cities Section) spoke positively
about iesna.org.
EXECUTIVE
VICE PRESIDENT
REPORTS
J. Martin noted that there are plans for a web-based
introduction to lighting course.
T. Tolen (Golden Gate Section) noted that Board
should direct the Educational Materials Committee to
consider the inclusion of pragmatic material, i.e., how
to do a job, in the Society’s courses.
E. Cacique (Mexico Section) questioned the flow of
communication between the Mexican Section and the
Society’s office.
W. Hanley responded that no materials, including financial reports, have been received this past year from the
Mexico Section. [Material was subsequently sent.]
R. Reid thanked the members for their comments.
The session adjourned at 4:15 p.m.
William
Hanley,
CAE
NCQLP QUIZ
1. What is scotopically enhanced lighting?
2. What is a software service pack?
3. What are puck lights and how are they used?
4. Why are there no standards-complying yellow LED traffic lights?
5. What does QVE stand for?
Name_________________________________________________________________________
Address_______________________________________________________________________
City/State/Zip________________________________________________________________
Phone_________________________________________________________________________
Fax____________________________________________________________________________
Please return to NCQLP Quiz c/o LD+A, 120 Wall Street, 17th Floor, New York,
N.Y. 10005 by February 15, 2003. You may also fax to 212-248-5018.
LD+A/December 2002
7
Quality Lighting Design
read Dawn De Grazio’s article in
October’s LD+A and am glad
“Lighting For Quality” articles will
continue. I attended Dawn’s seminar in Ottawa last year on “Lighting
for the Aged” and enjoy her insights
on quality lighting design issues. I
I
LETTERS
TO THE EDITOR
feel we need to keep pushing these
points so some of them start to
sink in.
Being a principal in a consulting
engineering firm, one of my responsibilities is to educate my staff, as
well as the clients we work with.
Specializing in lighting design, I
developed a simple “top ten list” of
quality lighting design questions
that I have my staff use at project
kick off meetings.
This forces the design team to at
least hear some of the lighting
design issues at hand, and hopefully take some to heart. If an issue
can’t be addressed for that project,
maybe it can for the next one. I
would like to share that list with
your readers.
1. What type of lighting does the
client currently have? (Fixtures,
lamps, color, condition?) Remember change is subjective!
2. What is the average age of the
client’s employees?
3. What type of visual tasks do
they perform?
4. Are there safety issues?
5. Are there security concerns?
6. Are personal computers
located at each work area? (May
require lower general lighting, specific task lighting, and quality
ambient lighting.)
7. What is the architect’s visual
goal for the space? (Moods, feelings)
8. What are the visual needs of
the space? (Objects/features to
highlight, others to downplay?
Sometimes the best lighting design
is unnoticed!)
9. Discuss lamp color options,
lamp stocking issues. Is the latest
technology more important than
8
LD+A/December 2002
minimizing lamp types?
10. Discuss control requirements
and energy codes. (ASHRAE/
IESNA 90.1 is code in our state.) Is
“Green Building Design” being considered?
I kept this list as simple as possible, allowing room to modify it
on a per-project basis. My staff
knows how to expand on the
issues if I am not present. I also
encourage them to be involved in
the IESNA at our section level, to
attend the seminars, and to read
LD+A. The educational information available to the lighting industry through IESNA is invaluable
and I’m amazed how little it’s used
by consulting engineering firms.
Our section recently hosted a
seminar and brought Mitchell
Kohn to town to discuss quality
office lighting design. His presentation was heard by 40, and
should have been heard by 140! I
challenge the consulting engineering firms across the country to
make IESNA involvement easier
for their employees by covering
their membership dues as a company benefit. The education they
receive will benefit your company
and your local lighting community
in many ways. Each firm should
also send one person to the
Annual IESNA Conference.
The information obtained at the
seminars a person attends can be
used as in-house educational topics
on a monthly basis. Thanks for the
articles on quality lighting design
and to all at LD+A. Keep up the
great work!
Brian J. David, PE, LC
Principal
Bacik, Karpinski Associates
Cleveland, OH
Castle Controversy
write about the lighting of Castello
Sforzesco in Milan (June LD+A,
“Castle Drama,” pp 56-59). Those
who know the Italian mind should
not be surprised that Milanos argue
about the lighting of this monument. After all, even the Italians
who know nothing about soccer
have opinions about the national
team! Lighting is art and should be
judged as such. Not everyone feels
the same way about a painting—
even if it is valuable.
I
If the castle lighting was disrespectful, the office of monuments
and fine arts would have halted its
installation. The Castello Sforzesco lighting is, in my opinion, a very
good example of how a monument
can illuminated for public enjoyment.
Unfortunately, all too many feel
that lighting is based on chance
and empirical knowledge rather
than expertise.
Marco Palandella
Studio Pugno & Partners
Casale, Italy
Designer Duilio Passariello
replies:
I was delighted by the comments
on my design (I think the editors
of LD+A must be too). The letters
are a proof of the kind of intelligent audience the magazine has.
Marco’s understanding of the
social role of light in the urban
environment and Dawn Hollingsworth’s comments (October Letters) about the power of innovation to transform society reveal
their desire to raise the intellectual level of the discourse on lighting. On me, those elegant lines
are a balm on the scars left by
that project.
Border-free Design
he Center for Building Technology of the U.S. Bureau of Standards and the IESNA sponsored a
roundtable held in New York City to
explore the goals, issues and
responsibilities of the lighting community. I was the only lighting consultant from Canada invited to take
part. Each of the 12 panelists read
a short prepared statement on
each of the identified issues under
consideration. The issue was then
open to general discussion. This
was always lively. Those taking part
were well informed and with strong
opinions, which they did not hesitate to express.
The immediate impression I
received was the lighting community was dissatisfied with its image;
the community had the feeling its
work was not recognized. I noted
such comments by the panelists as
“the image is most noticeable by its
absence” and “the lighting industry
is, in fact, devoid of an image.”
The roundtable was in 1979—
T
www.iesna.org
celebrating 100 years of electric
lighting!
Today, nearly a quarter of a century later, I believe lighting in Canada still has an image problem. To
cite just one example, I attended a
symposium on barrier-free design,
which addressed by distinguished
designers from Canada and the
USA. I noted that two of them stated that “universal design is not really about the object – it is about the
experience.” Not a single speaker
touched on the visual experience
and the need to take it into account
in barrier-free design.
In Canada a number of factors
contribute to the image problem of
lighting, but probably the most significant is that people—particularly
design professionals—do not regularly come across authoritative
comments about or discussions on
lighting. The design community is
not regularly and as a matter of
course exposed to good, non-commercial lighting information. Yet, in
LD+A we have a readable and informed source of information.
www.iesna.org
Unfortunately, it goes only to some
500 Canadians who are members
of IESNA. I searched for it recently,
but without success, in the library
of a well-known school of architecture where incidentally, the most
recent book was Boyce’s “Human
Factors in Lighting”—an enormously useful reference, but published in
1981.
I recommend that our Society
address the problem of getting
LD+A better known to the Canadian
design community. This should not
be onerous and should have the following two approaches:
• That the local sections of
our Society make sure LD+A is
received regularly by schools
of architecture, interior design
and engineering. A way might
be found for the sections to
donate the publication, a donation that should have positive
spinoffs.
• That the publisher of LD+A
make contact with Canadian
organizations representing the
design community with a view
to making it possible for members of these organizations to
receive LD+A regularly. I have
discussed this approach with a
major design organization,
which is keen to learn how it
can be put in practice.
LD+A is a much-improved publication since the days when I was
contributing editor. But if it is to be
widely read in Canada, then a determined effort must be made to
ensure that Canadian lighting activities are well represented – possibly
by a page devoted to them.
Ernest Wotton, PEng, CEng.,
FIEE, FCIBSE, FIESNA, FSLL
Lighting Consultant and Designer
Toronto, Ontario, Canada
e-mail a
letter to the
editor:
cbeardsley@iesna.org
LD+A/December 2002
9
his column covers stroboscopic effect, educating end users,
the 2002 IESNA Annual Conference, comparing T5HOs and T8s,
a scotopically enhanced lighting
case study, and HID electronic ballasts.
Stroboscopic effect hits home:
For years, my writings and seminars
have included the potential harmful
T
RETROFIT/UPDATE
QUARTERLY
Stan Walerczyk
12
effects of magnetically ballasted
fluorescent and HID, although I
never heard of a specific incident
until recently.
My long time friend, Bart Wallace, president of Daystar Energy,
told me that after he explained the
benefits of electronically ballasted
T8 and T5HO fluorescent high bays
over the existing magnetically ballasted HID in an industrial facility,
the facilities guy smiled and held
out his hand — which had one finger missing!
When it comes to light the enduser is most in the dark: This is a
phrase from Edward Effron at
Philips Lighting, who further explains that the lighting community
does a good job educating the educated, including most designers
and specifiers, but not a very good
job of educating end users, end customers, engineering firms, architects, and retrofitters. At the IESNA
Annual Conference, Guy Newsham
of the National Research Council of
Canada stated we should write articles in the New York Times and
Wall Street Journal about the benefits of good lighting instead of just
discussing it within the lighting
community. I agree with both of
them.
Although California has made
some big mistakes, one thing we
have is easy access to lighting and
other energy related seminars for
everybody in all the major metropolitan areas. If you are curious, you
can check out free (subsidized by
rate payer funds) seminars at:
• Pacific Energy Center in San
Francisco at www.pge.com/pec
• Customer Technical Applica-
LD+A/December 2002
tion Center in a suburb of LA at
www.sce.com/ctac
• Energy and Technology Center
in Sacramento at www.smud.org
• San Diego’s offerings at
www.seminars.sdge.com
San Diego often offers programs
in the central and northern areas,
so attendees do not have to travel
too far. Some of these utilities are
also offering seminars in the rural
areas, which is great for the hard-toreach people.
There is also the Lighting Design
Lab in Seattle, WA at www.lightingdesignlab.com and the Earth
Advantage National Center in
Portland, or at www.earthadvantage.com
The seminars IESNA sections
offer are very good for ‘the lighting
educated.’ Classes like ED 100 and
150 are good for people who want
to enhance their knowledge as
lighting professionals. My opinion is
that none of these local IESNA
offerings is educational enough for
the typical layperson, such as a
facility manager interested in a
lighting retrofit. A retail store owner,
for example, may want to know
about the best track lights for energy savings and to make his or her
product more sellable. Or a retrofitter may still be specifying retrofits
as he or she did in the 90s.
Although people back east can
attend classes at the major lamp,
ballast and luminaire companies’
headquarters, there are two concerns. One, it takes a lot more travel time and expense than going to a
lighting class within your own metropolitan area, which is often as
easy as going to work. The other is
that although the seminars can be
very good, you have to be aware of
the manufacturers’ main agenda.
Way too many people, when they
need lighting help, call their distributor, who typically comes out with a
factory representative wanting to
sell a product.
If you agree that educating end
users and others is important,
because it is easier to provide the
best solution to educated people,
then I would appreciate your help,
especially in the east and midwest.
This is a great opportunity for the
IESNA members to work with utilities and other organizations.
This year the phrase “be careful
of what you ask for” has been quite
apparent. A few years ago I really
wanted to get on the seminar circuit, because I like teaching. I
would have been happy with about
If
you are
curious,
you can
check out free
(subsidized by
rate payer funds)
seminars
a half a dozen seminars per year.
This year I am presenting 20 seminars up and down the West coast
on various topics including hibays,
cutting edge retrofitting and relighting, how to retrofit or replace fixtures that already have T8s, thinking out of the box, electronic ballasts, and how to practically use
scotopically enhanced lighting.
Most memorable from the
annual conference: The seminars
on office lighting were the most
educational to me this year. EPRI,
National Research Council of
Canada, Light Right Consortium
and LRC are working individually
and together to do researching on
worker lighting preferences, productivity, and satisfaction improvements with better lighting. Office
productivity is difficult to measure,
but satisfaction can easily be evaluated. Satisfaction is a major component to the churn rate, meaning
the rate that employees leave.
Searching for new personnel and
training them typically costs about
the same as one year’s salary. That
is significant! It would be beneficial
if more retrofitters would at least
provide relighting options with suspended indirects and task lights
than just focusing on retrofitting
existing fixtures with lamps, balwww.iesna.org
lasts and maybe reflectors, lenses
and louvers. This retrofit evolution
should get a jump-start after more
of this research is completed and
published.
T8s & T5HOs: Many people have
jumped on the T5HO bandwagon for
suspended indirects and hibays.
Please be aware that for many applications, 3100-lumen extended-life
universal-start 800-series F32T8s
can give F54T5HOs a good run for
the money.
End-of-life lumens per watt including ballasts are about 91 for the
best F32T8s, 88 for F28T5s and
only 76 for F54T5HOs. Plus, the
best F32T8s are rated for 4000
extra hours at least for <1.20 BF
electronic ballasts, even instant
start ones. It will take time to determine if the 1.32 BF shortens lamp
life (1.32 BF can be achieved by
using a three lamp overdrive ballast
to drive two lamps). Also F32T8s
cost significantly less and are readily available.
At least one lamp manufacturer
is providing full warranty with their
F32T8s driven by up to a 1.32 BF
electronic ballast, with 3765 end-of-
www.iesna.org
life lumens, available, which is only
15 percent less than an F54T5HO,
while consuming 26 percent less
wattage. So unless the suspended
indirects have to be very narrow
and shallow, one F32T8 could often
be used instead of one F54T5HO in
a cross section.
Although I am not an expert in
this field, it is my understanding
that T5HO lamps are not consistent. Initial lumens can range significantly among lamps, lamp manufacturers and production runs. Even
at a constant temperature, lumens
can fluctuate +/- 5 percent over a
24-hour period. It is difficult to have
consistency trying to put so many
lumens in such a small envelope.
So, it is frustrating to me when
T5HOs are presented as better than
they really are. At a paper session
at the Annual Conference, only
basic grade F32T8s were compared
with F54T5HOs. There is such a big
difference between basic grade and
the best F32T8s that using only
basic grade is only half the story.
Another example is that some fixtures with T8s can have an artificial
disadvantage compared to fixtures
with T5HOs. The T5HOs have optimal light output at 35° C, while T8s
have optimal light output at 25° C,
and fixtures are tested at ambient
room temperature of 25° C. Numerous times T5HO hibays looked better on paper, but the T8 hibays outperformed them in real life. Over
100 percent luminaire efficiency
with T5HO fixtures does not make
sense to me, or most of the customers I deal with. Although some
people think that the existing testing procedures are okay, I totally
disagree and hope that the lighting
community would look more closely
at what John Zhang and Peter Ngai
proposed in ‘Photometry for T5
High-Output Lamps and Luminaires’, JIES, Winter 2002.
With the help of John Zhang, Jim
Benya and others, I have learned
where T5HOs are best and where
T8s are best.
Scotopically enhanced lighting
case study: A utility company service center has seen electrical savings with scotopically enhanced
lighting, based on Sam Berman and
others’ research. With the recent
energy shortages California has
LD+A/December 2002
13
id you know that purchasing software does not
end at the cash regester? People don’t realize
that once the software is installed on their computers, they still need to constantly check for additional downloads, patches and fixes for the software. Does
that mean that the manufacturer is selling you incomplete software? No, that’s not it. It’s that software is
developing at an exponential rate and sometimes problems are not detected until customers use the product
and notify the software developer that something doesn’t work.
Before I explain how you can check for these additional updates, here are some of the key terms you
need to know to better understand what is involved in
keeping your software up to date:
Patch: a patch or an update is a temporary addition
to a piece of code that is made as a quick fix to an
existing bug or glitch in the program. Since software
developers are constantly rushing to release the latest
and greatest version of software, often problems aren’t
detected until you and I use the software under “real
life” conditions. Once installed, you can tell if a patch
has been successfully added to the software by checking the software’s version number as the program
starts up or under the Help-> About “Software X”,
where the name and version number is followed by a
period and series of numbers.
Upgrade: An upgrade, on the other hand, is a more
substantial modification to the program. Instead of just
fixing minor glitches here and there, it usually indicates
D
www.iesna.org
a significant amount of changes to the software. An
upgrade differs from a patch or an update in that an
DIGITAL
PERSPECTIVE
upgrade is a complete replacement of an earlier version
of the program. It may have the same base program but
overall, it is a more enhanced version of the software.
Upgrades are released less frequently than patches and
are indicated by the next sequential version number of
the software.
Service Pack: A service pack or a maintenance
release is very similar to a patch in that it is an update
to a software version that fixes an existing problem or
provides enhancements that will appear in the next version of the product. Usually operating systems like
Windows NT or Windows 2000 have modifications to
the original version and are indicated by “Service Pack
#” being placed after the version number (Figure 1).
Download: Downloading is a means to transfer a file
or program from a larger, central computer to a smaller
computer or to a computer at a remote location. The
most common example is transfer of a file from a larg-
Emlyn G.
Altman
LD+A/December 2002
15
Figure 1
Figure 2
16
er manufacturer’s server to your own local computer.
Most of the software updates you need can be downloaded from a software company’s website. Some companies offer multiple locations where you can download the files if the site is too
slow or the computer server
is down.
In contrast, uploading a
file is the transfer of a file or
program from a local computer to another computer or
location. With downloading,
you are taking a file from
another location and bringing
it to the computer that
you’re
working
on.
Uploading, on the other hand,
is putting a file from your
computer into another location like a network server or even as an attachment to
an email. For updating purposes, you will only be downloading necessary files from the manufacturer’s website to your local computer.
FTP Site: FTP, or File Transfer Protocol is a set of
rules that determines how a file is uploaded or downloaded from one location to another. The most efficient
way to make this type of transfer is to use software like
CrystalFTP or Reflection specifically designed for transferring files from one location to another. However, it is
still possible to download updates without such software. The FTP Site is a computer location set up for
users to download patches and updates for software
applications. If you know the IP address (a series of
numbers that indicates the specific location of a computer) of the computer where
the files are located and if
these files are located in a
public directory, you can type
the address as you would a
website location but instead
of starting the address with
“HTTP” (which stands for
“Hyper
Text
Transfer
Protocol” – the programming
language for web sites) you
would type “FTP” in its place.
Executable file: This is a
type of program file, indicated
by the file extension .EXE,
which runs a series of commands. Most of the updates
and patches downloaded consist of such files. Running
the executable file automatically adds data from the
patch or generally adjusts the software application to
utilize the most recent information available for the
product.
Zipped File: This is a process where a file or a group
of files are condensed into the smallest amount of data
possible. Usually you can tell if a file is “zipped” if the
file extension is .ZIP (for WinZIP compression files) or
.SIT (for MacIntosh “StuffIt” compression). Most
updates consist of zipped or compressed files because
LD+A/December 2002
the file sizes can be very large. By compressing the
data, the files are downloaded onto your computer
more quickly and all of the required information can be
kept together. This way it is easier for the executable
file to find all of the information necessary to update
your program.
So, now that you know some of the key terms, let’s
see how you can check to see if your software needs to
be updated. First, you need to go to the website of the
manufacturer and check out the downloads page, usually found under “Support” if you do not see a
“Downloads” link.
www.microsoft.com/downloads/search.asp
www.lightinganalysts.com/updates.htm
www.discreet.com/support/lightscape/
www.lighting-technologies.com/Downloads/
lmdownloads.htm (Figure 2)
The websites are pretty clear as to how to download
the updates. Usually, it involves clicking on the link that
best suits your needs and you will then be prompted to
either run the program from the site or save it to disk.
I highly recommend that you create a separate folder
on your hard drive called “Downloads” to keep all these
updates and save the files into that folder. I’ve even
been known to make separate subfolders for each separate program so that I can keep track of what updates
I’ve already downloaded more easily.
If the downloaded file is “zipped,” then use WinZip or
another program to uncompress the file. Then, most
importantly, review the “ReadMe” file to find out the
specific instructions needed to install the update. More
often than not, it’s just a matter of running the executable file. But don’t run it without checking this
ReadMe file first. You may need to relocate or copy files
to a particular subdirectory. Overall, keeping your software current is a pretty simple process but it just
requires you to keep on top of what is offered on the
manufacturers’ websites.
Software updates are not just for lighting software. A
monitor display driver, printer driver, operating system,
virtually anything that has to be written in code has free
updates. Microsoft is constantly putting out patches
and other updates in the download section of their website. You can check a company’s website monthly and
find new updates and patches to download. The problem is that the typical computer user is not aware of
these updates and, therefore, is using software and drivers that could potentially work more efficiently. It is up
to you to keep current on the latest information about
what is running on your computer. Even better, you
might just find some free added features too such as
special plug-ins that offer bonus tools to enhance the
software. You’ll never know unless you look.
Have you checked your software manufacturer’s website lately?
Emlyn Altman is a 3D Visualization/CAD Specialist. Any comments about this column or questions
regarding the use of computers in lighting design
can be addressed to her at lda_dp@yahoo.com
www.iesna.org
faced, there has been a need to find
new strategies and technologies
that are more efficient and effective
than the typical T8 and electronic
ballast systems that have reached a
high level of market penetration in
California. Scotopically enhanced
lighting can provide substantial energy savings by virtue of having a color
spectrum that activates the rods in
the eye, thereby reducing pupil size
and increasing visual acuity and
brightness perception.
Given the potential for significant
energy savings, one California utility has made test cases out of a few
of its facilities using scotopically
enhanced lighting. The results have
been positive, including overall positive feedback from employees who
work under the new lighting. As
more facilities are retrofitted this
way, more feedback is being
obtained. Thus, design and installation techniques are fine tuned, and
the practicality of scotopically
enhanced lighting has increased for
the lighting community.
An 800-fixture facility, completed
in early 2002, is the most comprehensive scotopically enhanced lighting project I designed and my company installed.
One of the main fixture types is
an 18-cell parabolic louvered 2x4
troffer that had three 34W
F40T12CW lamps and two energy
saving magnetic ballasts. The maximum wattage with all lamps on was
118. Since a few lamps were not
always turned on in some of the fixtures, the baseline wattage was
considered to be 110. Each of
these fixtures was retrofitted with
three 5000K 3100-lumen 24,000hour-rated universal-start F32T8
lamps and a three lamp dimming
electronic ballast, controlled by a
dimmer in each zone.
Dimming ballasts for the parabolic fixtures were specified for three
reasons:
1) Delamping by installing a
reflector and repositioning the two
lamps is not even considered due to
the increase in glare—resulting
from ruining proper cut-off angles.
2) The increase in the lamp
brightness in these open fixtures
can be lessened by a dimming
system. This can lead to increased worker satisfaction and
productivity.
14
LD+A/December 2002
3) By using the dimming ballasts,
the utility could test the lighting levels that work best for the employees using the scotopically enhanced lamps.
After gathering information from
employees and fine-tuning the dimming ballasts in these parabolic
troffers, the resulting average
wattage is about 40, which is a 64
Scotopically
enhanced
lighting can provide
substantial
energy savings
by virtue of having
a color spectrum
that activates
the rods
in the eye
percent reduction. As a comparison, the lowest wattage with a
three lamp fixed output ballast
would have been about 65, if there
were 29-30W 5000K F32T8s and
72 with 32W 5000K F32T8s.
All other 4 and 8 foot T12 lamps
were replaced with premium grade
5000K F32T8s. A combination of
dimming, extra efficient low and
standard power, and high power
electronic ballasts were used in various applications and fixture types.
Installed controls include occupancy sensors, intelligent timers, photocontrols and pull chain switches.
In the vehicle maintenance
garage, the 400W HPS hibays were
replaced with 4 ft hibays, each with
four 5000K F54T5HO lamps (which
GE shipped to us from Europe, since
these lamps were not available in
the states) and two electronic ballasts. The system wattage was
reduced from 460 to 234. Additional kilowatt-hour savings were
obtained by installing photocontrols
on the new hibays near the large roll
up doors. When there is sufficient
daylight, these hibays automatically
turn off. Kilowatt-hours were reduced about 70 percent.
Even with the expensive dimming
electronic ballasts and new hibays,
the payback and long term ROI of
this project are quite good.
Brian Liebel of After Image +
Space, who helped on this project
and others, is compiling material for
future publication.
More on dimming electronic ballasts for high wattage HID: I am glad
that LD+A published Denny Beasley’s ‘Dimming Electronic High
Frequency Drives and their Effect
on Lamp Performance’ in November, because it answered my questions and substantiated my understanding better than previous articles. It confirmed that it is often
better using a 400W PS MH lamp
with a dimmed down electronic ballast than using a 250-W PS MH
with a magnetic ballast for three
reasons. First it can help minimize
lamp types. Second, it increases
lamp life. 250-W PS MH lamps are
only rated for 15,000 hours on a
magnetic ballast compared to
25,000 hours from a 400W PS MH
lamp driven by an electronic ballast.
And, third, wattage is less, because
with at least single lamp electronic
ballasts, lumens compared to light
output is quite linear down to 50
percent.
Afterword: I also want to thank
Alane Smith, Bart Wallace, Robert
Ofsevit and Tom James for their help
on this column. I always appreciate
input and feedback.
Stan Walerczyk, LC, oversees
lighting design practices for Sun
Industries, the largest design and
build lighting retrofit contracting
firm in the western states. He is a
member of IESNA’s Energy Management Committee and chair of
its Retrofit/Upgrade Subcommittee. He would appreciate input
and feedback from others for this
column. For questions, comments
and updates, email swalerczyk@
sunindustriesinc.com
www.iesna.org
ost North Americans love
to drive, and one of the
more ubiquitous forms of
lighting on our roads are traffic signals. Among the advantages of
these lighting devices, according to
the millennium edition of the U.S.
Manual on Uniform Traffic Control
Devices (MUTCD, online at mutcd.
M
RESEARCH
RECAP
John D.
Bullough,
Lighting
Research
Center,
Rensselaer
Polytechnic
Institute
18
fhwa.dot.gov) are orderly traffic
flow, increased traffic capacity, and
reduced frequency of crashes.
Arguably, the reduction of crashes
is paramount, because crashes can
result in the loss of human life. For
this reason, the MUTCD refers to
important standards about the
color and the required luminous
intensities of traffic signals, so that
they can be detected quickly and
accurately as we drive.
What do the standards say?
In North America, these standards1,2 give the minimum luminous intensities required for 8- and
12-in. signals of each of the three
colors (red, green and yellow). Most
interestingly, green signals are
required to have a luminous intensity that is 2.0 times that of the red
signal, while yellow signals require
4.6 times the luminous intensity of
the red signal. These differences
diverge from practice in Europe and
Japan, where all three signal colors
are required to have the same luminous intensity.
These differences lead to certain
questions: Do yellow and green traffic signals in North America need to
be brighter than the red signal? In
particular, do yellow traffic signals,
which have nearly five times the
luminous intensity of red signals,
need to be as bright as they are?
This last question is particularly relevant because of the advent of traffic signals using light-emitting
diodes (LEDs) instead of incandescent lamps. Red LED signals are
becoming almost commonplace
throughout North America, with
LD+A/December 2002
green LED signals following closely
behind. Generally, transportation
agencies consider the installation of
red and green LEDs to be very successful (they use 80 percent less
energy than their incandescent
counterparts, and are warranted to
last much longer). However, no
standards-complying yellow LED
traffic signal currently exists on the
market. Meeting the higher luminous intensity standard with yellow
LEDs results in a product that uses
Are
Yellow
Traffic Signals
Brighter
Than They
Need To
Be?
too many LEDs to be cost-effective,
and in problems with heat dissipation and maintaining light output.
Why does yellow matter?
One could argue that the lack of
a standards-complying yellow LED
signal is unimportant. Many agencies are converting to LED traffic
signals because of energy and
maintenance savings, but the yellow signal is only on for a few seconds during each signal cycle,
which means yellow LEDs would not
significantly affect the overall lifecycle cost. This is no doubt the
case for many retrofit situations,
but it is also true that many intersections convert to a flashing mode
late at night, where the yellow signal is flashed continuously in one
direction and the red signal in
another. Here, potential energy and
maintenance savings from yellow
LED signals could be meaningful.
They might become even more
meaningful in those instances
where battery backup is provided in
case the electricity supply is interrupted; using LEDs in flashing mode
at these times might give work
crews a few extra hours to handle
potential emergency situations!
What is the basis for the higher
luminous intensity of yellow (and
green) signals, anyway? Unfortunately there doesn’t appear to be any
readily available documentation,
but a hint is found when we consider the relative transmittance of the
colored glasses used in incandescent signals. Green glass lets about
twice as much light through as red
glass; yellow glass four to five times
as much. And since the red signal is
arguably the most critical in terms
of life safety, it might have been perceived by early standards makers
as most important to “get red right”
and then to scale the luminous
intensities of the other two colors
by the increase in transmittance
afforded by green and yellow glass.
(Of course, this remains pure speculation).
What does the research say?
The Lighting Research Center at
Rensselaer Polytechnic Institute
recently completed research that
can help standards makers grappling with differences among various international specifications.3
Against a bright background that
simulated daytime viewing, subjects were asked to detect simulated incandescent and LED traffic signals of varying luminous intensities
and colors. If the signal was not
detected within one second, it was
considered a missed signal. In this
way, the reaction times and percentage of missed signals could be
gathered. Thousands of trials were
collected systematically in this
study. Of interest, there were no differences in visual response
between incandescent and LED signals having the same color and
luminous intensity. A red LED signal
performed just as well as a red
incandescent signal. There were,
however, significant differences
among the three signal colors. For
the same intensity, red signals consistently resulted in shorter reaction times and fewer missed signals
than yellow and green signals.
These findings suggest that for
traffic signals in Europe and Japan,
which are specified with equal luminous intensities, yellow and green
signals result in longer reaction
times and in a greater percentage
of misses than red signals. Is such
an approach appropriate? Certainly,
www.iesna.org
there does not appear to be any
controversy abroad associated with
traffic signals of different colors
having the same luminous intensity.
Still, one could argue that cultural differences among drivers in
North America, Europe and Japan
make differences in traffic signal
intensities desirable in North
America. Again, looking at the
results from the aforementioned
study can shed some additional
light.
As described above, red LED traffic signals meeting the North
American standards have been
widely used in what seems to be a
successful manner. Since these signals seem to be successful, their
resulting reaction times and percentage of missed signals are probably acceptable in practice. We
also know that yellow and green
signals having the same luminous
intensity as red signals will result in
cultural
differences
among drivers in
North America,
Europe and
Japan
make differences
in traffic signal
intensities
desirable in North
America
longer reaction times and a greater
percentage of misses, which might
be considered unacceptable in
North America (although this is
clearly not unacceptable in Europe
and Japan). Using the results of the
Lighting Research Center’s study,
one can determine how much higher yellow and green signals must be
www.iesna.org
in order to have the same reaction
time and the same percentage of
misses as a red, standards-complying signal.
Using an equivalent reaction
time as the criterion, the luminous
intensity multiplication factors are
2.0 for the yellow signal and 2.6 for
the green signal. Using an equivalent percentage of missed signals
as the criterion, the luminous intensity multiplication factors are 1.4
for the yellow signal and 2.8 for the
green signal. In other words a yellow signal that is twice the intensity of a standards-compliant red signal will result in a reaction time and
a percentage of missed signals no
worse than the complying red signal. If, and only if, this is a reasonable criterion for the performance
of a yellow traffic signal, then the
existing standards that require yellow signals to have a luminous
intensity that is 4.6 times that of
the red signal are clearly much
higher than needed. As an aside,
reducing the luminous intensity of
the yellow signal will also help to
make them less uncomfortable to
view at night. Yellow and green signals meeting current standards can
often be considered uncomfortably
bright; red signals are almost
always not.4
What about the green signal?
The results above indicate that a
green signal would need to be nearly three times higher in luminous
intensity than the red signal to perform as well as a complying red signal in terms of reaction time and
missed signals. This is a pretty
large increase over what is currently required by standards. Should
standards therefore increase the
luminous intensity required of green
signals? It seems unlikely. The type
of response that is required of a
green signal (start, or continue
moving) is very different than that
required of the red and yellow signals (stop). There do not appear to
be problems with current green traffic signals in North America, which
are “only” twice the luminous intensity of red signals. It is therefore
unlikely that requiring green signals
to have a reaction time and percentage of missed signals, as a red
signal is a reasonable requirement.
Furthermore, increasing the luminous intensity of green signals
would make them more uncomfortable at night than they already
appear to be.
Nonetheless, one could argue
that it is also an unreasonable criterion for the yellow signal, too.
Perhaps it is even more important
to respond quickly and accurately
to the yellow signal than to the red
signal, since after all, it is a precursor to the red signal. If this is the
case, the data from the study
described above can assist in identifying just how much higher the
It could be
argued
that even
considering
a reduction in
the luminous
intensity of
traffic signals
is
irresponsible.
luminous intensity should be. Other
data too will be important in
answering fundamental questions
about appropriate luminous intensities, especially for drivers with color
deficiencies, and older drivers. The
results from the studies described
here, as well as from previous studies and from a soon-to-be-published
commissioned by the National
Cooperative Highway Research
Program, will be especially helpful
as requirements for traffic signals
are revisited.
What next?
It could be argued that even considering a reduction in the luminous
intensity of traffic signals is irresponsible. After all, any reduction in
luminous intensity will result in
longer reaction times and a greater
percentage of missed signals.
www.iesna.org
Whether this reduction in visual performance is meaningful, is a more
difficult question to answer. In addition, concerns about energy use
and costs of maintenance nationwide have prompted some agencies
to begin using non-complying yellow
LED signals, regardless of the lack
of standards-complying yellow LED
products. These issues make it ever
more important that standards
makers consider what visual
responses are required for each signal color and how a given luminous
intensity provides the required visual response. Without careful, yet
timely, consideration, the examples
of “going-it-alone” that have already
begun will grow while standardsmaking bodies will grow less relevant. Such precedents will surely
affect organizations like the IESNA,
which develops standards and recommendations for many applications. Standards makers should act
proactively now rather than reacting later to these inevitable questions.
References
1. Institute of Transportation
Engineers. Vehicle Traffic Control
Signal Heads: A Standard of the
Institute of Transportation Engineers. ITE, Washington, DC, 1985.
2. Institute of Transportation
Engineers. Vehicle Traffic Control
Signal Heads - Part 2: Light Emitting Diode Traffic Control Signal
Modules. ITE, Washington, DC,
1998.
3. Bullough, J. D., P. R. Boyce, A.
Bierman, K. M. Conway, K. Huang,
C. P. O’Rourke, C. M. Hunter and A.
Nakata. Response to simulated traffic signals using light-emitting diode
and incandescent sources. Transportation Research Record 1724.
TRB, Washington, DC, 2000.
4. Bullough, J. D., P. R. Boyce, A.
Bierman, C. M. Hunter, K. M. Conway, A. Nakata and M. G. Figueiro.
Traffic signal luminance and visual
discomfort at night. 80th Annual
Transportation Research Board
Meeting. TRB, Washington, DC,
2001.
LD+A/December 2002
21
rue to our mission “to advance knowledge and disseminate information for the improvement of the
lighting environment to the benefit of society,” our
sections have been very active in holding events and
conferences throughout Canada.
The Toronto Section luncheons have been well
attended. Interesting topics covering a wide range of
T
REGIONAL
VOICES
issues attract a wide range of people, engineers as well
as many other professionals in the lighting industry.
Some of these topics were outdoor lighting design
with a conscience, the science of lighting, seal-safe
technology, and glare and control methodology. The
large turnouts were due not only to the topics, but also
Denis Lavoie,
Canadian
Region RVP
Maritime Conferences
are special and
once any IESNA member
has attended one, he or she
will ask for more.
to the speakers, who were not only knowledgeable, but
also non-partisan.
At one luncheon, “outdoor lighting design with a conscience,” three guest speakers represented different
viewpoints: the manufacturer, the specifier, and the
end-user or taxpayer. The panel discussed the dark
skies issue, with each giving his perspective on the
issue. Ernest Wotton, FIESNA, moderated. This is an
example of the role the IESNA can play: Not only to
inform people of technologies but at the same time to
educate them on issues affecting everyone.
From the Atlantic Coast, Ralph Smith, Fiddlehead
Section Secretary and past RVP, reports that in spite of
the geographical isolation, the Maritime area is alive
and well, as can be confirmed by those who attended
the 47th Annual Canadian-Maritime Joint Regional
Conference that took place on October 18th and 19th,
in Fredericton, New Brunswick. Maritime conferences
have become well known and popular, and their physical isolation from other IESNA regions only strengthens
their ties. What started as an attempt to gather
Maritimers together is now one of the more popular
IESNA functions in the Canadian Region. The reputation most Maritimers have for warmth, friendliness and
hospitality is well deserved and certainly contributes to
the success of their conferences. Of course, the technical sessions are always very enlightening and inter-
22
LD+A/December 2002
esting but perhaps their biggest drawing card is the
famous lobster party. To a seafood lover, the sight of
bright red, succulent lobsters weighing down a buffet
table has to be the epitome of gourmet delight. Holding
together a relatively small area, such as the Maritime
area (the provinces of New Brunswick, Nova Scotia,
Prince Edward Island, and Newfoundland), can be difficult, but the regional conference is one way of drawing
the sections together to reaffirm their enthusiasm.
But how did this all come about? Ready for a brief historical and geographical tour? In 1949, the Maritime
Chapter was started. It continued to function as such
until 1995 when it was divided into two chapters, giving birth to the Bluenose Chapter, which encompassed
the Province of Nova Scotia. Yet, chapters were still
isolated from the rest of Canada, so it was decided to
hold the first Maritime Conference in June 1955 in
Amherst, Nova Scotia.
In 1960, a further division was made. The Maritime
Chapter divided again to form the Northumberland
chapter with headquarters in Moncton, New Brunswick, and included the eastern section of the Province
of New Brunswick, Prince Edward Island and the western tip of Nova Scotia. The Maritime Chapter now
included the western part of the province of New
Brunswick with headquarters still at Saint John, New
Brunswick.
In 1975, feeling that the name was too general, the
Maritime Chapter changed its name to Fiddlehead
Section, in honor of the well-known delicacy that grows
abundantly in the area, and moved its headquarters to
Fredericton, New Brunswick.
Whatever we remember about the conferences—
something touched on at a technical session, or a good
social time—it keeps bringing us back year after year.
The Maritime members are very proud of their IESNA
sections in the Maritime provinces and their Maritime
conferences are the culmination of their efforts to keep
them together. Many of them have been fortunate
enough to attend national and regional conferences
and have thoroughly enjoyed them.
Maritime Conferences are special and once any
IESNA member has attended one, he or she will ask
for more. If you ever have the opportunity, try one.
It’s worth it!
www.iesna.org
ILLUMINATING
ENGINEERING
Section News
Cleveland Section:
Roy Sierleja, GE Nela Park, presented “What’s New in Light Sources” at
the annual clambake in September.
Sierleja, a senior lighting product specialist for fluorescent lighting, covered
a variety of lamp types.
In October, Mitchell Kohn, chair of
the IESNA Office Lighting Committee,
reviewed the soon-to-be-released, updated office lighting recommended
practice, RP-1. Kohn is nationally recognized in the lighting community and
had presented this topic at the Great
Lakes regional video teleconference
last January.
Michigan Section:
On September 10, David DiLaura of
the University of Colorado, Boulder
traced the history of light and lighting.
DiLaura broke down his description
into a time line.
West New York Section:
On October 23, Wayne Morrow, president of Starfield Controls, a manufacturer of Digital Addressable Lighting
Interfaces (DALI) explained DALI’s
applications, meanings and expected
impact on the lighting community at
large.
B.C. Section:
A technical seminar on commercial
indoor lighting control systems was
given on November 5, at B.C. Hydro,
Edmonds.
Western New England Section:
Mark Loeffler summarized Leadership in Energy and Environmental
SOCIETY
NEWS
VOLUME 32, NUMBER 12
DECEMBER 2002
Design (LEED) efforts on October 24
in Har tford, CT. LEED provides a
framework for meeting sustainability
goals. Loeffler is the lighting and sustainable design practice leader for the
RETEC Group, a nationwide environmental consulting firm based in New
Haven, CT.
New Jersey Section:
A presentation on roadway lighting
and light pollution was given by Alan E.
Gest, senior sales representative,
Holophane on October 15 at the PSE&G
training center, Edison, NJ.
Twin City Section:
On October 8, Richard Miller discussed his experiences as a specifier of
DALI, emphasizing the lighting controls
for single rooms, open office, whole
buildings, as well as how to solve DALI
installation and commissioning issues.
Miller, a principal in the firm of RNM
Engineering, LLC, has more than 25
years of project experience, designing
lighting and electrical systems for corporate, commercial, industrial and governmental facilities.
The Golden Gate Section:
James Jewell conducted a tour of the
Hearst Castle, describing his re-lighting
of this historic landmark.
Richard Beckford, 1920-2002
Lighting Designer Richard Steven Beckford died on October 5,
2002. He was 82. Beckford was born in Kingston, NH, and
had recently moved to Atlanta, GA. He retired from the
Engineering Department of the Port Authority of New York and
New Jersey as a lighting designer. Lighting design fascinated
him, and he reached out for assignments that involved lighting. His signature contribution was the relighting of the
George Washington Bridge for the millennium celebration. Beckford was a member of the IESNA for 38 years working with the Industrial Lighting, Light Source
and Progress Committees. Richard Beckford is survived by his wife, Lillian Pace,
two daughters, three grandchildren, two brothers and two sisters.
www.iesna.org
IESNA
Calendar of Events
May 6-8, 2003
LIGHTFAIR INTERNATIONAL
New York, NY
Contact: AMC, Inc.
404-220-2221/2215
www.lightfair.com
August 3-6, 2003
2003 IESNA Annual Conference
Chicago, IL
Contact: Val Landers
212-248-5000, ext. 117
www,iesna.org
September 29-October 1, 2003
2003 IESNA
Street & Area Lighting Conference
Baltimore, MD
Contact: Val Landers
212-248-5000, ext. 117
www,iesna.org
IESNA Proposes
Reducing Lighting
Energy Use in
Standard 90.1
Using the latest lighting technology
and techniques to reduce energy use
is proposed in an addendum to energy
conservation standard 90.1.
The lighting power limits allowed
under ANSI/ASHRAE/IESNA Standard
90.1-2001, Energy Standard for Buildings Except Low-Rise Residential
Buildings, would be completely revised
under proposed addendum g, recently
approved for public review.
Also approved for review was addendum i. The public review dates will be
announced later this fall.
Addendum g proposes to completely
revise the lighting requirements based
on the latest technology and techniques. The revisions incorporate recent research on fluorescent fixture
light loss factors and space type characteristics of new commercial construction, as well as revised lighting
continued on following page
LD+A/December 2002
29
Standard 90.1
continued from previous page
level recommendations as published in
The IESNA Lighting Handbook. Ninth Edition, according to Eric Richman, chair
of the 90.1 lighting subcommittee.
The new lighting requirements could
mean an estimated 29 percent
decrease in the power used for lighting
in buildings with lighting designs that
now only just meet the current standard requirement. In terms of total
building energy use, this could be a
reduction of around six percent for all
energy used in commercial buildings
across the country.
The research is based on a review
that covered all model inputs and
applied current knowledge of lighting
principles, design applications and efficient equipment availability.
Addendum i proposes to increase
the energy efficiency of small threephase air-conditioning units to match
the efficiency recently adopted by the
U.S. Department of Energy (DOE) for
single-phase units.
The DOE rule sets efficiency standards for single-phase air-cooled air
conditioners and heat pumps at a
Seasonal Energy Efficiency Ratio
(SEER) rating of 12.0 for both split and
single package systems and an HSPF
of 7.4 for both single-package and
split-system heat pumps.
The 90.1 committee proposes the
adoption of a 12 SEER level for 3phase air cooled unitary air conditioners and heat pumps smaller than
65,000 Btu/h capacity, with an additional 7.4 HSPF level for such heat
pumps, according to Jerry White, chair
of the committee.
The proposed adoption date for the
new requirements under Standard
90.1 is January 23, 2006, to coincide
with the effective date mandated in
the DOE rule for single-phase central
air conditioner products.
Drafts of ASHRAE’s proposed addenda are available only during their public review periods. To obtain electronic
draft versions of the ASHRAE 90.12001 addenda during the comment
period, log on to ASHRAE online at
w w w. a s h r a e . o r g / S TA N D A R D S /
pubrevdft.htm
30
LD+A/December 2002
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.
Altman Lighting, Inc.
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.
Lightron of Cornwall, Inc.
LiteTouch, Inc.
Louis Poulsen Lighting
LSI Industries, Inc.
Martin Professional, Inc.
Matsushita Electric Works, Ltd.
Musco Sports Lighting, Inc.
Niagara Mohawk Power Corp
Prudential Lighting Corp
San Diego Gas & Electric
SPI Lighting
United Illuminating Co.
Universal Electric Ltd.
Vista Professional Outdoor Lighting
Zumtobel Staff Lighting, Inc.
SILVER
Ardron-Mackie Limited
Associated Lighting
Atofina Chemicals, Inc.
Axis Lighting, Inc.
Bartco Lighting, Inc.
BJB Electric Corporation
Canlyte Inc.
City of San Francisco
Con Edison Co. of New York
Con-Tech Lighting
Custom Lighting Services LLC
Custom Lights, Inc.
Day Lite Maintenance Co.
Defense Supply Center PhiladelphiaDelta Power
Supply, Inc.
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.
Lee Filters
Legion Lighting Co.
Leviton Mfg Co, Inc.
Linear Lighting
LiteTech
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
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 November 2002
www.iesna.org
New Members
Membership Committee
Chair Jean Black announced
the IESNA gained two Sustaining Members and 148
Members (M), associate and
student members in October.
SUSTAINING MEMBERS
Alight, Vista, CA
OSRAM de MEXICO SA de CV
INDIVIDUAL MEMBERS
Canadian Region
Pamela Bingham, IN Training,
Mississauga, ON
Jad Burkovic, MCW Custom Energy
Solutions, Ltd., Toronto, ON
James MacKinnon, Litemor
Distributors, Winnipeg, MN
Carleton University, Ottawa, ON
Ophelia Chai, Shing Liew, Al Rich,
Ting-Yan Yeung
East Central Region
Eric Early, Sav-Elec, Inc.,
Roanoke, VA
Michael Hartman, Hartman Design,
Inc., Wernersville, PA
Dennis Hill (M), Master Engineers
and Designers, P.C.,
Lynchburg, VA
Darin Plitt (M), St. Onge, Ruff &
Associates, inc., Hanover, PA
Pennsylvania State University
YounJu Yoon
Great Lakes Region
Charles T. Alexander, Bacik
Karpinski Associates, Inc.,
Cleveland, OH
John J. Bauer (M), Architectural
Lighting Sales, Inc., Bridgeville, PA
Brian K. Baumgartle, Kerr-Greulich
Engineers, Jeffersonville, IN
Michael H. Bay, Baylume, Inc.,
Birmingham, MI
Scott Byrd, Eagle Glass Specialties,
Inc., Clarksburg, WV
Alfredo A. Lopez (M), Bacik Karpinski Associates, Cleveland, OH
Michael Miller (M), Samco,
Pittsburgh, PA
Diane E. Wuensch, City of KetteringEngineering Dept., Kettering, OH
Purdue University
Laura E. Bittner, Kimberly J.
Wildridge
The University of Michigan
Michael V. Romano
South Pacific Coast Region
Yale Barkan (M), YBI,
Los Angeles, CA
George Bosson, alight, Vista, CA
Jeanne Cote’, Graybar Electric,
Tucson, AZ
Chris J. Dragman (M), ILA + Zammit
Engineering Group, San Diego, CA
Ben P. Erpelding (M). San Diego
Regional Energy Office, San
Diego, CA
Matthew Fee, US Architectural/Sun
Valley Lighting, Palmdale, CA
32
LD+A/December 2002
Bill Gonzales, DSA, Glendale, CA
Larry Paul Highley (M), Synergy
Engineering, PLLC, Boise, ID
Keith Johnson, Kim Lighting, City Of
Industry, CA
Ishak L. Kang, High Definition
Home, Inc., San Rafael, CA
Aaron D. Kutchinsky (M), Wright
Engineering Corporation,
Chandler, AZ
Ned A. Pehrson, Holophane Lighting,
Clayton, CA
William J. Simmons, City Light &
Power, Inc., Long Beach, CA
Randy W. Upham, CMS Viron Energy
Services, Sacramento, CA
Wade T. Williams (M), Wright
Engineering Corporation,
Chandler, AZ
R. Scott Wright (M), Wright
Engineering Corporation,
Chandler, AZ
California Polytechnic State
University
Bradford Bosch
University of Southern California
Jonathan Tedjakusuma
Midwest Region
Patricia A. Adams, Holophane
Lighting, Wichita, KS
Eric Hethcoat, Latimer, Sommers &
Associates, Topeka, KS
Samantha Stallbaumer, Latimer Sommers & Associates, Topeka, KS
Tom A. Van Ash, Graybar Electric
Company, Inc., St. Louis, MO
Kansas State University
Jennifer L. McVey
Southern Illinois University at
Carbondale
Brandi Barnard, Samantha Denny,
Megan Dona, Sarah Edwardson,
Nellidene Howell, Sarah Kirk, Erin
Murray, Nicole Oettle, Christine
Reese, Elaine Reiser, Gretta
Rothe, Khristina Sunga, Dawn
White
University of Wisconsin –
Stevens Point
Alexandra E. Tseffos
Southeastern Region
David L. Churchill (M), CEB &
Associates, Sarasota, FL
William E. Clemons, Eden Lights,
Hermitage, TN
Keith E. Drummond (M), Greenville
County Codes Enforcement,
Greenville, SC
Dennis Dryer, Aviation Consulting
Engineers, Atlanta, GA
D. Michael Earps, Curtis H Stout of
TN, Memphis, TN
Jack D. Fleischer (M), Hermitage
Lighting Gallery, Nashville, TN
Ronald A. Fuller (M), TRO,
Memphis, TN
John Gibbons, Holophane,
Zebulon, NC
Dewey J. Gray (M), Gray & Associates – Engineers, Culleoka, TN
Emmett E. Holloway Electrical
Services, Inc., Boca Raton, FL
Derek Hude, Lamp Pro, Inc.,
Plantation, FL
Sidney R. Hunter, WFLI Jax, Inc.,
Jacksonville, FL
Jon Jones (M), Stanford White and
Associates, Raleigh, NC
Ray R. McKenzie (M), Caribbean Civil
Group, Ltd., Ft. Lauderdale, FL
Alicia Morin (M), Sesco Lighting,
Norcross, GA
Carole E. Pacheco (M), Savannah
College of Art & Design,
Savannah, GA
Jon D. Rice, CRS Engineering,
Jackson, MS
Northeastern Region
Nelson Downend, Domingo Gonzalez
Associates, New York, NY
Paul J. Estok III (M), Holophane,
Orange, CT
Marissa T. Frischetti, Onyxon
Environmental Services,
Stroughton, MA
Douglas McCarty, Hubbell Lighting,
Inc., Bristol, RI
Tim P. Milton, Jersey City, NJ
Lana M. Nathe (M), Reflex Lighting
Group, South Boston, MA
John Tremaine Jr., Q-Tran,
Bridgeport, CT
Nicholas D. Votaw (M), The Ritchie
Organization, Newton, MA
Kevin C. Walsh (M), The Lighting
Group, New York, NY
New York School of Interior Design
Deborah Aspinwall, Eileen Bertin,
Jessica Bishop, Tammy Ching,
Wen-Ying Chu, Elizabeth Eisenberg,
Samantha Greenspan, Kumiko
Jitsukawa, Chara Mauer, Lawea
Pozuolska
Parsons School of Design
Ping-Yi Liu, Ricardo J. Vargas
Southern Connecticut State
University
Sid Elahmad
University of New Hampshire
Darrin Bisson, Justin Bouchard,
Jason Brooks, Larry Brown, Joshua
Budgett, Daniel Bunker, Cindy
Burrows, Sze Cheng, Brian Dickie,
Rebecca Gray, Rachel Guptel,
Daniel Kace, Job Omweno,
Stephen Piercey, Aaron Smith,
Christopher Yellick
Northwest Region
Samuel Backus, Associated Electrical Consultants, Longview, WA
Bill A. Hibbs, Clark Public Utilities,
Vancouver, WA
Kathy M. Justin, Brian Hood Lighting
Design, Seattle, WA
Wes Morrow, HyLite Agency –
Progress Lighting, Calgary, AB
John C. Percival (M), Children’s &
Women’s Health Centre of British
Columbia, Vancouver, BC
Margery A. Robison, Robison
Engineering, Inc., Shoreline, WA
Robert F. Shaw (M), VECO Alaska,
Anchorage, AK
Jay Yelton, Hood-McNees,
Portland, OR
Southwestern Region
Cathi J. Cox, Texas Lighting Sales,
Euless, TX
Frenchie DuCharme, Tulsa Airport
Authority, Tulsa, OK
Luis Hurtado, OSRAM De MEXICO
SA de CV, Tultitlan, Mexico
George M. Martinez (M), Austin
Energy, Austin, TX
Marc A. Sacconi, Beaudin Ganze
Consulting Engineers, Avon, CO
University of Houston
Stephanie Barta, Molly Crisler,
David Debenedetto, Joyce
Filsinger, Brian P. Herrera, Robin
Knapp, Anica Landreneau, Carrie
Lust, Angel Rivera, Robin Rucker,
Star Soltani, Amanda Tullos,
Andrew Turner, Gail Viele, Enrique
Villa, Casey West, Qeturah
Williams
Foreign
Naresh Batuklal Makwana (M),
Luxon Lighting, India
Rafael A. Sanchez, R A Sanchez
Pena, Consulting Engineer,
Bayamon, Puerto Rico
IESNA Participates in
“Light up my Life”
A new textbook being developed by the Department of
Energy Rebuild America program, the National Science
Foundation (NSF) and publisher—“It’s About Time, Inc.”—
may change the way students learn physics.
In March 2001 the IESNA was asked to participate in
“Light up my Life” in several ways. Through IESNA members,
the Society provided review and input for the curriculum content, and participated in discussions regarding the program
development.
Two additional opportunities are in the near future: obtaining Sustaining Member company support to provide data for
a website accessible only by students and faculty to augment knowledge about lighting equipment (lamps, luminaires, and controls) and involving IESNA Sections whose
members might be able to contribute teaching time to individual schools in the section’s territory.
www.iesna.org
CROSS OVER THE
BRIDGE...
...and enter Ann
Kale’s world of
subterranean
surrealism—
a dining island
afloat in a
luminous stream
A
t a recent office luncheon I was
asked by one of my junior designers to name my all time favorite
project. As I reflected over a 20-year career
as a lighting designer I was surprised by my
own selection. Although smaller and less
prestigious than many other projects
where better budgets allowed for more
lighting opportunities, SUBA restaurant
represented the kind of professional challenge that made it clear how creative lighting design can empower a space.
(right) Waves of shimmering light
(unseen here due to the photographic timed
exposure) via incandescent underwater jelly-jars
tucked under the dining island provide a subtle
aquatic effect on the brick walls.
(opposite, top) Track spotlights highlight
the bar with the DJ platform above.
(opposite, bottom left) The owners and
architect stripped the interior to its raw envelope,
exposing the red brick walls and reinforcing the
hard surfaces with new concrete floors and
painted gypsum board ceilings. downlights and
track mounted MR-16 accents (hidden
from this view on the red ceiling fascia)
provide general illumination for the tapas lounge
while spots highlight the bottle display.
(opposite, bottom right) A short staircase
illuminated only by steplights leads to the lower
dining room where budget allowed for only
one row of track mounted fixtures to wash this
14 ft high room, complete with skylight
illuminated at night by four colored steplights.
34
LD+A/December 2002
www.iesna.org
2002
®
INTERNATIONAL ILLUMINATION DESIGN AWARDS
In initial meetings with the architect and client we were presented with a minimalist palette of materials for the new restaurant. Brick, concrete and metal
were to complement the simple forms of modern spaces. When I asked what the
lighting should try to convey words like sophisticated and intriguing were
expressed but above all the lighting should be sexy.
This 4000 sq ft restaurant occupies the ground floor and cellar spaces of a gritty tenement building in the heart of Manhattan’s Lower East Side. With a bar
area on street level and two-thirds of the space used for “below ground” dining
areas, our challenge was not only to set the mood for this neighborhood trendsetter but also to create an ambiance derived from the marriage of the architecture and light.
In the ground level tapas bar, partially concealed track mounted accent lights
mounted to the fascia of the dropped ceiling provide a soft glow to the original
brick walls. Viewed from the street through glass walls the lighting is dim and
intimate. Recessed miniature MR-16 downlights located in the glossy red ceiling provide general illumination. 55-degree beam spreads provide enough
punch to accentuate the
furniture without creating harsh shadows on
patron’s faces. The back
bar is highlighted using
MR-16 spotlights to
provide accent and
sparkle to the glass and
bottle display.
The transition to dining mode is full of surprise. Descending an
open metal stair suspended above a pool of
water patrons catch a
glimpse of the main dining area.
Upon arrival at the
maitre’d room one crosses over an open metal
grate spanning above a
6-foot wide pool into an
unadorned room that is
surrounded by an 18 in.
www.iesna.org
LD+A/December 2002
35
(below) Patrons descend an open metal stair perched
above a shallow pool leading to two distinctive cellar-dining floors.
(opposite) Sixty degree track mounted downlights
partially concealed by the ceiling beams provide low-level
complimentary dining light on the tables.
illuminated moat. The concrete dining island
appears to float inside the luminous stream of
water, which is gently circulating past the rustic red brick walls, casting marbleized patterns of light, bathing the room with gentle
shimmering motion. The feeling of the space
is slightly surreal but pleasantly relaxing. A
serene over-glow washes away any unpleasant
notions one might have about being underground.
Having never created this lighting effect
before we tested our hypothesis by filling a 6
in deep clear plastic trough with water and
positioned it so we could slide various lamp
options above and below it. PAR-36 pin
spots above the water created the most
vibrant swirl patterns of light but did little to
wash the wall. MR-16 and PAR-36 spot
lamps below the water also created crisp and
vibrant light patterns but left streaks of light
on the wall from the lamp’s natural beam.
Line voltage PAR lamps provided less crisp
patterns of light but the scallops of light were
still too strong. The last lamp we tried was
the R20, which surprisingly provided the
soft wash we desired and still allowed dancing swirls of patterned light. The lamps were
placed in 50 Hydrel underwater jelly jar fixtures that come with weighted bases and
cords. By not having permanently mounted
fixtures we were able to move the luminaires
within the moat to set their positions at the
perfect point of concealment and lighting
effect. Not only were we concerned about
creating beautiful swirls of light, we needed
to wash the walls to their best advantage by
avoiding the nasty display of gritty texture
old brick walls are prone to.
A crucial factor in achieving the lighting
effect was to have controllable water jets that
could slow or speed up the water current. Too
little current will dampen the effect; too much
current will result in an unhappy evening of
one too many martinis in a swirling room.
36
LD+A/December 2002
www.iesna.org
To complete the room, track-mounted 55-degree MR-16
downlights are tucked behind the ceiling beams with small
candles providing the finishing touch.
To enter the remaining dining room/bar, one descends
another half floor of concrete stairs illuminated only by steplights and candles. In contrast to the upper dining room this
room is an explosion of color with 14-foot tall poppy red and
marigold walls, influenced by Freda Kahlo and Diego Rivera
paintings. What was left of a tight budget would only allow for
a single row of track running down the center of the space.
Fluorescent strips located under the back bar display shelves
highlight liquor bottles. A low-voltage incandescent strip
uplights the back wall of the DJ balcony above the bar. Colored
steplights are mounted in the well of the central skylight for
added interest at night.
After fits and starts caused by budget cuts, changes in ownership, and the great dig, Suba finally opened. As first guests we
dined for hours sampling the selections of French-influenced
Spanish cuisine. We laughed over how the new guy in the
office got stuck with the chore of fully submersing himself
underwater to set the uplights. It was a most memorable event.
Our goal to distinguish this restaurant from all others was
achieved by integrating the lighting as part of the essential
design mix. Capitalizing on the qualities of light passing
through and reflecting on the water helped magically choreograph a display of dancing luminescence.
www.iesna.org
A 2002 IIDA Edwin F. Guth Memorial Award recipient for
Interior Lighting Design, Suba received a “special citation for
creative lighting effects on a limited budget,”
The designer and author: Ann Kale, IESNA, IALD, is
president of Ann Kale Associates, a lighting design firm
established in 1988 and located in New York City. She
and her staff of ten have completed projects such as the
AOL/Time Warner Center, the Four Seasons restaurant
renovation with Philip Johnson & Alan Ritchie
Architects, the Sea Grille restaurant with Adam D. Thany
International Ltd., the Riverside Memorial Chapel, and
the Communications Arts Complex at the University of
Missouri at St. Louis. She has been a member of the
IESNA since 1994.
Nelson C. Jenkins, a registered architect in New York
State, recently joined Thompson + Sears Lighting in 2002
following five years at Ann Kale Associates and three
years at George Sexton Associates. As a designer and project manager, he has worked on commercial, residential,
hospitality and large scale civic projects, including The National Holocaust
Memorial and The National Archives In Washington, DC, The New Bronx
Criminal Court and NIH Neuroscience Research Center with Rafael Vinoly
Architects; The Hudson River Park (Segments 6 & 7) With Richard Dattner &
Partners and The School Construction Authority High School for Public Safety
and Law Enforcement with Polshek Partnership Architects in New York City.
He has a bachelor of fine arts degree and a bachelor of architecture degree from
the Rhode Island School of Design.
LD+A/December 2002
37
OVER THE
NEON RAINBOW
Follow the checkerboard road to a realm of color and chrome
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LD+A/December 2002
www.iesna.org
(top, right) Neon hula-hoops provide color
to each column. Two by four T8 fluorescent
“blade” troffers provide task illumination.
(middle, right) Children’s Mercy Hospital
was in need of a new cafeteria to reflect
the playful environment the hospital
provides. Lighting creates that mood,
while reinforcing a 1950’s diner motif.
(bottom, right) Inside, booths and
bar seats are illuminated with colorful glass
pendants. The impression of a ceiling is
created with curved neon beams standing
bold below the black ceiling above.
(opposite, top) Glass blocks in a curved wall
alternate colors with two color changing,
150-W metal halide fiber optic illuminators
conveniently hidden behind an
access door in the wall.
(opposite, bottom) The diner car seating
floats above light blue high-output
cold cathode protected behind
Plexiglas shields. A curved glass block wall
at the front of the car, not shown, glows
from T8 strips using theatrical gel sleeves.
W
hen one walks through the bright, limegreen doors of Orbit’s Diner, feelings of
excitement and intrigue surface, and the
kid inside comes to life. Brilliant colors and delightful
lighting stimulate the eyes, while the beat of 1950’s
pop favorites singing out of the oversized jukebox
tempt the feet to tap. This one of a kind place is the
new cafeteria, housed on the bottom floor of the new
patient tower, at The Children’s Mercy Hospital,
Kansas City, MO. HMN Architects, Inc., Overland
Park, KS, is responsible for the award-winning design
created with the idea of attracting children to a place
where they can have fun and forget for a short while
that they are in the hospital.
Orbit’s Diner not only caters to the special patients
of the hospital, but also provides an appealing eating
spot for the families and staff members. Families go
there while they are waiting on procedures or exams,
and staff members go there to take a coffee break
between shifts. Adjacent to the main dining area,
there are two private, audio-visually equipped dining
areas in the cafeteria, named Highways and Bi-Ways,
that the staff can reserve for meetings or presentations
or that family members can reserve for special occasions or parties.
The diner itself is marked with all kinds of interesting signage. Just outside the doors, a large blinking
sign with an arrow pointing to the entrance labels the
cafeteria, while another blinking sign in the shape of
large arrow marked enter points the visitors in the
right direction. On the adjacent wall is a large menu
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LD+A/December 2002
39
(top, left and opposite)
Blue coves of 200mA high-output
cold cathode, chosen for its
long lamp life and ease of
maintenance, provide visual cues,
pulling visitors into seating
areas and tray returns.
(bottom, right)
Three 75 W MR-16 architectural
framing projectors cast colored
gobo patterns on mock
televisions screens. A simple
four-scene preset dimming
system slowly dims each projector
in and out for a continual
dynamic effect.
sign with five fun-shaped black marker boards labeled: grill,
pizza, deli, market, and international. Each represents the different cuisines, which change daily and are written on the
boards in bright neon markers.
Behind the entry doors is a cobalt blue tiled wall that shields
the cashier’s post, and on the wall, the word Orbit’s is whimsically displayed in a cosmic font made of a sparkly light-reflective material. The “O” in the word doubles as a window, so that
the cashier can keep an eye on the traffic coming in and out of
the diner. Above the lime green doors is a flashy metallic panel
with the letters of Orbit’s etched out, so that the green background reveals the diner’s name. On either side of the stencil
appears a futuristic star with different-colored orbs on the end
of each point.
The space inside the diner is divided into areas for different
eating environments. In addition to private dining areas, there
is semi-private dining area behind a curved half wall that has
glass blocks randomly placed inside of it. Fiberoptic rope that
wraps through the glass blocks transmits ever-changing colors,
while the bright blue, dropped soffit floating below the ceiling
defines the area.
A healing environment is extremely important in a healthcare facility, and Orbit’s is a model of such an atmosphere.
The colors chosen to decorate the 17,000 sf space echo the
colors that array the rest of the hospital; however, the colors
in the diner are brighter and richer, invoking feelings of happiness and cheer. Round, opalescent columns, accented at
the top with pink-and-blue neon hula-hoops, add to the dazzle of the lights and colors throughout the area. In addition,
black-and-white checked tile surfaces the majority of the
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LD+A/December 2002
floor, imitating the style of a 1950’s diner.
One of the major challenges that Amy Bonofiglio, HMN’s
lead designer on the project, dealt with was the need to select
materials with captivating hues and patterns that could withstand the scuffs and scrapes of wheelchairs, IV stands, and
other health aids that the patients might have, as well as withstand the general wear and tear of the more energetic patrons.
To fulfill both of these requirements, laminates were used on
horizontal surfaces, as well as vertical, because of their durability and easy upkeep. A Surell solid surface in Fiesta colors creates the top of the slide tray counters, and white-and-black
squiggly plastic laminate forms the tabletops, which are also
outlined with a fluted metal edge. There are three different
types of seating: booths, barstools, and table and chairs, but the
material on each of the seats is the same — a heavy-duty red-
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youngsters behind their illnesses.
In another area of the diner, kids get the opportunity to
“drive” two famous cars from the 50’s: a shiny yellow or a
bright red T-Bird. Both have working lights that switch on
when a small button next to the steering wheel is pushed, and
the keys in the ignition really turn, allowing the “driver” to
actually feel like he or she is driving. What is so unique about
having the cars within the facility is that the children can actually play while they eat — something that adults are constantly discouraging in other eating environments.
Orbit’s Diner is a spectacular cafeteria where children can be
themselves and leave all of their worries behind them. Not only
is it an extremely entertaining place, but it also promotes the
healing of the young individuals within the hospital by directing their thoughts to pleasant things. This special place has
added to the overall comforting feel of the hospital, and the
gratitude can be seen and heard all around the hospital with
each bright smile and giggle.
and-silver glitter vinyl and a chrome frame, reminiscent of diners from the past. All of these materials come together to furnish a hardwearing and playful place.
Many special effects are used for lighting, and huge picture
windows were installed so that there would be plenty of natural lighting as well. Blue and pink neon label the different counters from the cashier to the tray returns, while white fluid neon
wraps around a huge record suspended from the ceiling to give
the appearance that the record is spinning. Blue cold cathode
lighting emits from behind blue wavy soffits that line parts of the
ceiling, and purple cold cathode lighting radiates from the bottom of a single dining car in the middle of the area to make the
dining car look as if it is floating. Inside the dining car, alternating colored neon bars that are housed in rails that extend over
the car, create the visual of a vaulted ceiling.
Mercer-Zimmerman, Inc. provided much of the lighting, and
Dimensional Innovations took care of the special effects. Some
of the special effects include “TV’s” on the walls with circular
white screens that display colorful kaleidoscope-like, changing
patterns projected onto them. In addition, the tray return slots
have TV set surroundings that frame the recessed area that the
trays sit in, playing on the word “TV-trays.” Other special
effects have more of a personal touch, presenting the artwork
of the patients on backlit frames. The artwork changes as more
children offer their masterpieces to the hospital to share their
creativity with everyone. Displaying the artwork of the patients
not only gives the young people something to look forward to,
but also boosts their self-esteem by giving them a sense of
worth. The originality of the gallery within reminds patrons of
the intrinsic beauty and innocence of the children revealing the
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The principal in charge: Patricia
Kistler, principal, has experience
in all phases of planning, design,
construction. Coupled with her
training and experience with interiors, this allows her to assist the
client throughout the entire project. Her sixteen years’ experience
with one firm, focusing primarily on health care since
graduating in 1985, has provided several repeat clients
with many functional and aesthetically pleasing architectural and interior projects. She is a member of National
Council of Architectural Registration Board and has
earned both her bachelor of architecture and bachelor of
environmental design from the University of Kansas.
The lead designer: Amy Bonofiglio has been practicing
interior design at HMN Architects since 1996. She has been involved in many
aspects of the design process, as well as finish selections for numerous projects.
Amy graduated from the University of Missouri, Columbia with a bachelor’s
degree in interior design.
The author: Thérèse Hamtil has been with HMN Architects since October of
2001. In addition to being a writer, she is the project development coordinator
for the firm. Before joining HMN Architects, she worked in the health care field
for several years. Ms. Hamtil earned her bachelor of English writing and literature and bachelor of philosophy from Franciscan University of Steubenville, OH.
LD+A/December 2002
41
ALL THAT JAZZ
Andy Powell’s lighting design reinforces
the New Orleans French Quarter motif
of Ralph Brennan’s Jazz Kitchen
Halogen pinhole downlights illuminate
entry courtyard walls, enhancing the warmth
and charm of this New Orleans inspired
restaurant. Halogen accents tucked into
first and second levels softly illuminate
stairs and seating area around the
central fountain. Cascading water and
crisp accent lighting make this unusual
fountain the sparkling focal point of the
courtyard. At the second level adjustable
MR16 downlights with VNSP lamps
confine accent lighting to the fountain,
avoiding harsh spill light on surrounding
seating. Twelve-volt halogen underwater
luminaires provide uplight.
(opposite) In the dining area, colorful
suspended umbrellas conceal incandescent
pendants with frosted glass globes. These
cause the umbrellas to glow and splash light
onto the ceiling, revealing its texture and
color. Pendant stems, painted to match
the ceiling, all but disappear.
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(Mr. B’s). The opportunity to develop a
restaurant as part of Downtown Disney, the
new retail/entertainment corridor adjacent to
Disneyland, would be his first endeavor outside of New Orleans.
When choosing the design team for the
new restaurant it was suggested that Ralph
consider the southern California firm of
Lighting Design Alliance (LDA) to do the
lighting, despite the fact that they weren’t
from New Orleans as were many of the other
team members. In the first two meetings with
Andrew Powell (LDA’s senior designer for the
project), Ralph, along with his architects and
interior designers, described the atmosphere
and dining experience they wanted to create.
They even recommended several books that
would reinforce the ideas and feelings they
were trying to convey. These books were
quite useful, and such recommendations
helped immensely with LDA’s research for the
project.
The structure
I
n New Orleans, people don’t eat, they “dine.” Dinner out
means a leisurely paced multi-course meal that can last for
hours. When New Orleans restaurant owner Ralph Brennan
decided to open a new restaurant in fast-paced Southern
California he knew that the first step in getting people to slow
down and enjoy their dining experience was to create the proper setting. He wanted to drop a little piece of the French
Quarter into the heart of Anaheim.
The Brennan family has been in the restaurant business in
New Orleans since 1947. Ralph alone owns two restaurants
there (The Red Fish Grill and Bacco) and is partner in a third
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The layout of the building successfully sets
the stage for the dining experience Ralph
Brennan was seeking to create. A two-story
structure, it has interior dining spaces on
both levels. Both levels also have exterior dining on terraces that face the main pedestrian
artery that runs through Downtown Disney,
reminiscent of something one might see on
Bourbon Street. From this public walkway
there are views through the main entrance
into an open central courtyard. The sights,
sounds and smells emanating from this space are irresistible to
passers by. Once inside, this courtyard takes you into another
world.
The concept
In early meetings broad concepts for the lighting scheme
were developed:
• Reinforce the New Orleans French Quarter theme.
• Reveal the rich finishes, furniture and artwork located
throughout the restaurant.
• Minimize the use of recessed downlights. The reason for
LD+A/December 2002
43
this was two-fold. First, these are not commonly found in the
old structures of the French Quarter. Secondly, both Ralph and
the Disney representatives reviewing the project did not like
the directional quality of light produced by downlights over
dining tables.
• Produce all of the above while meeting the project’s budget
from the exterior. Adjustable halogen downlights wash the
walls, enhancing the warm-tone finish. Pinhole trims were
specified to minimize the visual appearance of the fixture. Light
from these wall accents also illuminates the various furniture
pieces placed around the perimeter of the space.
The focal point of the courtyard is an unusual fountain,
(left) Suspended gas lanterns contribute to the French Quarter motif. Metal “palmetto leaves” mounted in front of inexpensive UL listed incandescent
lampholders create unique sconces without the expense and leadtime of custom luminaires. (right) Fluorescent striplights concealed under the translucent backbar illuminate bottles from below. A low voltage striplight integrated into the lip of the bar top brings out the richness of the wood counter face.
For flexibility, energy savings and lamp life extension, a four-scene preset dimming system controls lighting in all public spaces. (opposite) Additional
metal art pieces conceal incandescent lampholders for the custom sconce effect. Wall art is highlighted with halogen pinhole downlights.
constraints, and conforming with ADA, all safety codes and
California’s energy code (Title 24).
The Solution
To reinforce the project theme many types of decorative fixtures were selected. LDA worked closely with Montgomery
Roth (the project’s interior designers) to coordinate these.
Montgomery Roth, whose office is located in New Orleans,
took the lead in determining the different styles that would be
used. These included several types of suspended lanterns, both
electric and gas. The use of real gas lanterns was especially
important on the exterior of the building and courtyard to
authentically represent the French Quarter motif.
The courtyard needed to be warm and inviting when viewed
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LD+A/December 2002
made up of actual brass musical instruments such as trumpets,
trombones and saxophones. This feature is made to sparkle by
a series of accent lights tucked up in the second level eaves and
underwater uplights, both utilizing MR16 lamps. Narrow spot
lamps provide the downlight component, allowing the accent
light to be confined to the fountain and preventing harsh lighting from spilling onto surrounding seating areas.
The most challenging features of the project were the custom
lighting elements. Montgomery Roth wanted these pieces to be
made by a particular artist in New Orleans. This artist did not
make light fixtures, so obtaining the proper UL listings would
be very expensive and time consuming. Since money and time
were both in short supply, LDA was asked to come up with
some creative solutions.
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The two predominant types of custom units were wall
sconces and pendants. Sconces, located in most public areas,
consisted of various bent metal designs in the form of palmetto leaves, torches and other whimsical shapes. Pendants, used
in the main dining spaces, were to look like umbrellas hanging
upside down from the ceiling. The proposed solution for both
was to conceal inexpensive UL listed light fixtures behind the
artist’s decorative pieces. This concept was presented to the
local inspector for approval during the design phase to avoid
any surprises during construction. As long as the art pieces
were not connected to or supported by the lighting equipment
and they did not hinder proper heat dissipation, there was no
problem.
For the sconces, wall mounted incandescent lamp holders
did the trick. The concept for the umbrellas was just as simple.
First, twelve inch diameter pendant mounted incandescent
globes were hung from the ceiling. The umbrellas were then
installed so that the globes were completely concealed from
view within the umbrella shades. Pendant stems for the globes
were painted to match the ceiling finish, making them hardly
noticeable next to the colorful umbrellas. These globes make
the umbrellas glow and splash light across the ceiling, revealing its texture and color.
With no downlights allowed over the seating areas, there was
a concern that the umbrellas would not produce enough light.
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The ceiling was not white and the exact properties of the shade
fabric would not be known until they arrived on site. Globe
pendants that could accept a 200W A-lamp were specified to
get as much light from these as possible. LDA was also assured
that each table would get a candle to add another layer of light.
When all elements were in place, these fixtures produced
enough light for clean up, and were actually dimmed during
operating hours.
Other lighting in the dining areas include recessed halogen
pinhole accents to light wall mounted artwork and low voltage
strip lights concealed under the bar top to wash the rich wood
counter face. Strategically placed low voltage undercounter
“puck” lights provide the necessary work light on the bartender’s side. As you would expect, Ralph Brennen’s Jazz
Kitchen has nightly live jazz performances. To light the stage,
multi-circuit track lighting was installed. This “down and
dirty” stage lighting system was quite cost effective, and
deemed appropriate since it was not dissimilar to what one
might find over a stage in a small jazz club along Bourbon
Street.
The restrooms (not pictured) also got the full treatment.
Since the ceilings were painted like a night sky, a fiberoptic
twinkling star effect was installed. Illuminators were installed
above an accessible ceiling over an adjacent back-of-house corridor. Giant two foot long dragonflies hover overhead, just
below this night sky ceiling.
All public spaces are controlled by a multi-scene preset dimming system. This provides the needed flexibility for lunch and
dinner dining, extends lamp life and provides energy savings.
This system also provided needed energy load allowances,
assuring the lighting system met Title 24.
Disney is known for temporarily taking you to another place
and time when you visit one of their attractions or resorts.
Serving authentic New Orleans food in a setting as close to the
real thing as one can find outside of the French Quarter, Ralph
Brennan and Disney have successfully done this with the Ralph
Brennan’s Jazz Kitchen. The team achieved what they set out to
do from the project’s inception - integrating the architectural,
interior and lighting disciplines to create a place in which visitors to Downtown Disney can experience some of that famed
New Orleans dining experience.
The designer and author: Andrew A. Powell, LC, IESNA,
is senior designer with Lighting Design Alliance. Andy
graduated from the University of Kansas with an architectural engineering degree, emphasis in lighting and electrical design. He has been with Lighting Design Alliance for
seven years. In the past 15 years his design experience has
grown to include a very diverse range of project types,
including single and multi-family residences, restaurants,
retail, hospitality, office spaces, sports stadiums, theme park attractions, museums, convention centers and roadway lighting. Recently Andy has also been
involved in writing exterior lighting ordinances for various cities. He has been
the recipient of numerous IIDA awards (including an Award of Merit for Ralph
Brennan’s Jazz Kitchen) and is active in the IESNA, currently serving as the Vice
President of the Los Angeles section.
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45
(top) The primary use of the facility is for guests
to enjoy fine western cuisine and hospitality while
viewing the rodeo, chuckwagon races and grandstand
night show during the 10 days of Stampede in early July.
(bottom) The bars and buffet have elevated light levels
and are highlighted for easy identification by patrons.
(opposite, top) To combat the high levels of
natural daylight when entering the facility,
back lit glass was utilized to help eyes
adjust slowly to the lower light levels.
(opposite, bottom) Suspended pendants were
chosen to give the space height to combat
the rectangular shape of the facility.
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GRANDSTAND
GRANDEUR
Saddle up for a look at a restaurant
open only 10 days a year
www.iesna.org
R
anahans, a corporate hosting facility in Calgary, Canada, offers premium
dining, reserved seating, Wild West amenities... and it’s only open 10
days a year.
So what’s a ‘ranahan’? “A top hand, a good all-around cowboy. A fitting description of
those individuals at the top of their game and an integral part of the action. It’s heard mostly today in cowboy poetry,” explains Paul Rosenberg, senior manager of corporate development for the Calgary Stampede.
Every summer the Calgary Stampede and Exhibition celebrates the cowboy culture with
a rodeo, chuck wagons, marching bands, blacksmithing, Ferris wheels, and cotton candy.
Calgary’s hotels, stores, and banks are even decked out in western motif for the 10-day
extravaganza.
Since the first stampede took place back in 1912, expanding and improving on the 137-acre
Stampede Park has been an ongoing process. With attendance exceeding over the million
mark the last two years, Stampede Park and Exhibition continues to attract tourists. The
nucleus of the park is the grandstand, a four level entertainment and multipurpose facility
used on a year-round basis for concerts, trade shows, harness and thoroughbred racing, ban-
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LD+A/December 2002
47
(top) Light levels and glare
had to be controlled to
ensure comfortable viewing
of televisions for events.
(bottom) The suspended
luminaires have a veined
acrylic lens outlined by a
metal ‘rope’ frame.
(opposite) The entire
lighting system is controlled
by an architectural system
to ensure patrons’ ability
to see out through the glass
to the stage show at night.
Levels had to be at a
safe level while not reflecting
off of the glass.
quets, meetings and the performing arts.
“We’re huge fans of the Stampede,” admits Rick Robertson,
Ranahans lighting designer. “We approached the restaurant as
though we were walking into the Stampede for the first time.
We allowed ourselves to be taken away by the history and mystique of the event. The entire project was on the third level of
the grandstand—an existing concrete structure, where Stampede fans view the events.
“The interior designer wanted to keep as much headroom
as possible—a definite challenge for the lighting designer.
The choice of luminaires was critical because the space had
to be warm, inviting, and western! Incandescent lamps provide the warmth and are easy to control. And, because the
space is only open 10 days a year, energy efficiency—always
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LD+A/December 2002
a concern—wasn’t as critical.”
Control was critical, however, because the Stampede events
are held in the afternoon and evening. Ranahans is inside
behind glass, so reflection was a concern. Patrons had to see
clearly through the glass during the day and night. Light levels
are high during the day, low in the evening. Functional lighting
was obtained by using low-glare pot lights with higher
wattages, which are dimmed down to get low, but uniform levels at night.
Due to budget constraints, lighting controls are manual.
Restaurant personnel dim the lights throughout the evening
to control glare. The designers had to focus on how to combat the rectangular shape of the concrete facility while illuminating the space in a pleasant and esthetic manner. Robertson
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explains the choice of the actual luminaires was significant
because of the importance of keeping the western feel as
strong as possible throughout the establishment. Their solution was to use suspended pendants to give the space height
to combat the rectangular shape of the facility. These luminaires have a veined acrylic lens outlined by a metal ‘rope’
frame. The rope theme of the fixtures is used throughout the
park. It has been a common goal to tie all of the park venues
together and the lighting was one of the ways that this was
achieved. All fluorescent lighting was of a warm color temperature. This helped maintain the décor color scheme,
which matched the earth tones and the aged bronze finish of
all the fixtures.
Aesthetics are achieved with wall sconces and pendants.
Interior designer Sheila Wappell specified earth colors for the
fixtures, which have an antique bronze finish. The rope theme
of the luminaires is one used throughout the park. It has been
a common goal to tie the park venues together, and lighting is
one way to do this—different fixtures, but with the same western theme.
The bar and buffet are high-traffic locations. Lighting the
food and bar areas at higher levels makes it easy for patrons
to identify these sections. With tickets normally selling out a
year in advance for this area, Robertson brought up the concern that at certain times, light levels may be different, so
keeping patrons satisfied as well as ensuring crisp and clear
viewing of the outside was a large part of their job. Robertson
also had to make it as easy as possible for patrons to be able
to identify these areas without wandering during the performance.
Completion of the entire building and lighting of Ranahans
took about one year. Though changes could be seen on the
west side of the building, it wasn’t until spring that a new 650sq-ft balcony facing Stampede Park was revealed. Members of
Ranahans now enjoy a stage perfect for viewing the midway,
the city and the mountains. On the east side of the building and
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facing the rodeo arena, track and stage, 240 feet of floor-to-ceiling glass and automatic doors replaced the old concrete blocks
in the indoor dining area. Because of the high levels of natural
daylight entering the facility, back lit glass helps patrons adjust
slowly to the lower light levels.
So if you’re a fan of western living and looking to enjoy some
wrangling, roping and racing, all while enjoying good food,
Ranahans restaurant and Calgary’s famed stampede and exhibition is perfect entertainment “old west style.”
—John-Michael Kobes, Associate Editor
The designers and engineers:
Rick Robertson (left) has been in
the electrical industry for over 24
years and has a wide range of
experience including construction
design, field review and project
management for hotels, office
buildings, hospitals, recreational
facilities, schools, universities, and laboratories. Rick is a partner with
Stebnicki, Robertson & Associates. He has been a member of IESNA since
1985. As part of the design team with Stebnicki, Robertson & Associates he has
won numerous IESNA lighting awards.
Chris Walton has been with Stebnicki, Robertson & Associates for the past five
years as an intermediate designer.
LD+A/December 2002
49
(above) The various light fixtures reflect on the cobalt blue panels,
on the tables and the floor, providing the glow the designers were seeking.
(opposite page) Back lit sail-cloth chandeliers surround the helm of the imaginary ship.
DEEP SEA A
DINING
Dorf Reber teamed
with Horton Lees Brogden
to surf Sunrise and
net a legal catch
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LD+A/December 2002
nautical theme dominates the stylized ocean floor of
Legal Seafoods restaurant in Sunrise, FL. In the center of
the main dining room is a 100-ft-long luminous abstract
hull of a schooner with stainless steel rigging and marine wood
details. A moving wave of light projected on the surface adds an
underwater ambience. Metaphorical sea creatures inhabit the
space at every turn. The ceiling area is filled with bare MR-16
downlights evoking schools of fish moving through the water.
And throughout the dining room, mounted lanterns reminiscent
of dock lights indirectly light the floating stainless steel panels
with fish-scale patterns.
Working with Horton Lees Brogden Lighting Design, Ivonne
Dorf and Paul Reber custom designed each luminaire to fit the
envronment.
At this location, proximity to amusement parks and tourist
attractions meant competing with venues more over-the-top than
usual. The design had to be a departure from tradition—perhaps
even flamboyant.
Dorf Reber, Inc., has a reputation for innovative design, always
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(top) The various light fixtures
reflect on the cobalt blue panels, on the
tables and the floor providing the glow
the designers were seeking.
(bottom) Outside seating displays
imaginative lighting using
netting torchiers in the shape of fish
and porthole lights.
seeking alternative methods, both cost effective and original.
There were few physical constraints in designing a restaurant
from the 10,000 square feet of raw space. No existing architecture needed to be renovated or rescued, so the designers considered themselves lucky.
The space, located in a mall frequented by a younger crowd,
called for a more animated environment: less formal, yet in
keeping with the tradition of the clients’ other restaurants.
52
LD+A/December 2002
A diner entering the restaurant
can almost smell the sea. Just
inside the door a 30-ft tall torchier, an illuminated fish and globe
pylon constructed of metallic
painted-aluminum, greets the
diner. Sailcloth chandeliers hang
from the ceiling throughout.
Curving wood banquettes,
inspired by the shape of a ship’s
hull, form the dining booths.
Burnished stainless-steel fish and
bubbles are cut into the blue
Marlonium flooring. Sea creatures appear at every turn. A
wood and steel eel swimming
through a stainless steel net
forms a railing that divides the
bar from the dining room.
Thirty-foot torchiers in the shape
of abstract fish are scattered
throughout as well, uplighting
huge scaly stainless-steel panels.
Steel netting under the floating
cobalt blue panels in the bar
seems to have caught all of the
wine bottles. Cobalt blue portholes are scattered throughout
the interior; regular portholes
serve as actual windows.
The sign outside the restaurant
resembles a fish. Over 40-ft high,
the sign was hung by a helicopter. There was no way to get a
crane onto the site large enough to handle the job. This process
in itself was an adventure.
“We already had to deal with hurricane issues,” Paul Reber,
the associate designer, observes. Materials are intentionally
flimsy enough to rip in case of a hurricane or intense wind. The
text of the sign suggesting the body of a fish was backlighted
and the fish and globe pylon constructed of metallic painted
www.iesna.org
(right) A 30 ft illuminated abstract fish torchier hovers
over the hull inspired banquettes, where you can catch a full
view of the globe pylon made of painted aluminum,
as well as the schooner in all its glory, in full view of the
back lit cobalt blue panels over the bar.
(below, left) The back lit 40 ft sign in the shape of a fish
cleverly uses spotlights on the globe for extra sparkle.
aluminum. Spotlights offer extra glow.
Addressing the theme of the restaurant, some light
fixtures are made of sailcloth. In the ceiling there are
barely visible ties and pulleys, unique to the sailing
experience, adding to the atmosphere.
According to Ivonne Dorf, principal, “Everything
we design is architectural. We consulted Barbara
Horton for general lighting and for help in executing
our ideas.”
Using all the technology at their disposal Dorf and
Reber custom design each fixture so it is unique to a
project and fits the environment. A contractor executes the design.
Says Dorf, “We like to create something that is part of the
design scheme. We don’t just walk in and buy a chandelier or
a wall sconce. We want to create it so the restaurant will be
something unique. Basically we design everything, from furniture, wall treatments and dishes.
“When we have a client who gives us time to create our ideas
and work out all of the details, something wonderful can happen. As a result each project is special and unlike the next one.
This particular project took approximately six months.”
—Roslyn Lowe, Assistant Editor
www.iesna.org
The architects and interior
designers: Ivonne Dorf, graduated from Parsons School of Design
and began her career as an interior designer working on high-end
retail spaces and a number of
hotel and resort projects in New
York and the Bahamas. Ivonne
joined forces with Martin E. Dorf who had established
Dorf Associates in 1979. Over the past 15 years, Ivonne
has been the designer and project manager for several
retail and food concepts. Together over the next two
decades Martin and Ivonne Dorf concentrated their
efforts on restaurant, retail and market design. They
were inducted into Hospitality/Design magazine’s
Platinum Circle for Lifetime Achievement in 1997.
Martin Dorf passed away in the spring of 2000.
Paul Reber received a bachelor of fine arts degree in 1988 and a bachelor of
architecture in 1989 from Rhode Island School of Design. He participated in
the school’s European Honors program in Rome. After graduating and establishing his architectural career over the next 13 years, he joined Dorf Associates
in 1996 as an Associate. Ivonne Dorf and Paul Reber became partners and
established Dorf Reber, Inc. in 2001.
The lighting designer: Barbara Cianci Horton, LC, IESNA, IALD, is president
and senior principal at Horton Lees Brogden Lighting Design. Her internationally recognized design firm has five principals and a staff of over 25 designers
with offices in New York, Los Angeles and San Francisco. Horton Lees Brogden
Lighting Design specializes in architectural lighting for all project types, including interior and exterior venues. Over the past decade the firm has assembled
an extraordinarily talented team of design professionals and technical experts
from across the country and abroad. The team’s design talent, together, with
their well-established technical skills, form the basis for the firm’s proven ability to produce outstanding, award winning design solutions to meet their
clients’ image, function, budget and time schedule.
LD+A/December 2002
53
This Meyda Tiffany collection of
lamps features lampshades created from translucent, crystallized
mica materials. Each shade is distinguished by its unique variations
of mineral deposit pattern and
amber color tones. The group
includes table lamps, floor lamps,
chandeliers, ceiling pendants and
wall sconces.
Circle 100 on Reader Service Card.
LIGHT
PRODUCTS
The Supernova spherical pendant
by North American Light Spectrum
combines a visually compelling 360
degree pattern of ambient spatial
illumination in a three-dimensional
contemporary design aesthetic.
Supernova pendant hangs motionless in space like a massive star. It
uses a series of graduated round
stainless steel or aluminum disks
to multiply and intensify emitted
light. The slender disks used to create the Supernova housing are
sandwiched to create a louvered
effect on light. Units are adjustable
to 78.75 inches and illumination is
provided by a single 150-W incandescent lamp.
Circle 98 on Reader Service Card.
The CFL electronic ballast replacement kits from Advance
Transformer Co. are designed for
use with lighting fixtures operating
compact fluorescent lamps (CFLs).
The kits’ new features include a
mounting plate adapter and colorcoded pre-stripped lead wires. Both
features are specially designed to
facilitate installation, regardless of
the fixture’s J-Box configuration or
the brand of ballast being replaced.
Circle 97 on Reader Service Card.
Excelite, Inc., Quadris V wall
sconces from the Galaxis series
are curved-face with a front panel of
white faux alabaster .25 in. thick.
Also available in textured white
acrylic. Luminous front panel emits
light into forward space and can be
arranged from two quad 26-W compact fluorescent lamps maximum.
Circle 96 on Reader Service Card.
Jesco Lighting, Inc., GemSteel luminaires are brushed stainless steel
profiles that are resistant to marine and salt spray and other injurious
conditions. They provide durable, non-corrosive patterns to enhance
patios and gardens to create dramatic accents for interior architecture,
landscape concepts and urban site design. GemSteel profiles are available for wall or surface mounting options, as well as single, two-light and
three-light pole mounted combinations.
ARC fixture from Selux compliments classic and contemporary
architecture. With two fixture sizes,
various distribution patterns, full
cut-off sealed optics, and a variety
of standard arms ARC offers design
choices for parking lot, roadway,
pedestrian and building-mounted
applications.
Circle 95 on Reader Service Card.
Circle 99 on Reader Service Card.
54
LD+A/December 2002
www.iesna.org
Cooper Lighting’s Halo L2004 solidstate adapter offers flexibility in
retrofitting track lighting. The
L2004 adapter contains electronics
that step down the 120-V line voltage to 12 V and powers Halo’s
Linea lampholders that function
with 12V MR11 and MR16 lamps
and T3 G4 base bi-pin lamps. The
device will withstand overloads up
to 75 W continuously and permanent short circuits. The device
attaches electronically and mechanically anywhere along either single or double circuit track.
Lightolier’s Outlook series of emergency and exit lighting products
effectively integrates performance
and aesthetics to meet the unique
requirements of architects and
lighting designers. The new line
features five new precuts including
both two and four head emergency
lighting units and three types of
thin profile exit signs including an
edge-lit, die cast aluminum and
thermoplastic. All products are UL
listed and comply with NFPA Life
Safety Codes.
Circle 93 on Reader Service Card.
Circle 94 on Reader Service Card.
Énergie’s T200 luminaires are for general and accent lighting from single
modular systems. From orchestrating product illumination in retail displays to lighting a computer station in an office, T200 high-performance
fixtures with lamping options provide distribution in a variety of locations.
Circle 92 on Reader Service Card.
The Monte Carlo Fan Company catalog offers 116-pages of designs from traditional to contemporary, from sleek to ornate, with a wide range of high performance features and accessories including light kits. The catalog features
more than three-dozen lines of fans, each of which is offered in a range of fan
housing colors as well as a broad selection of blade colors, exotic designs and
unusual designs. Catalog browsers will also find a wide selection of accessories including specialized blade kits, fittings such as downrods and scrolls,
as well as sophisticated wall switches and remote controls that allow the
user to control every aspect of the fan’s operation at touch of a button.
Circle 91 on Reader Service Card.
www.iesna.org
designs in a fraction of the time and
cost of physical prototypes.
Circle 90 on Reader Service Card.
decorative street and area lighting.
A molded borosilicate glass refractor promotes lighting uniformity to
create a well-illuminated environment with lower wattage and fewer
luminaires. Wattages range from
35-175.
Circle 89 on Reader Service Card.
Lighting Technologies, Inc. (LTI)
luminaire design software,
Photopia 2.0, includes new parametric optical design tools allowing
designers to automatically produce
complex optical designs. Coupled
with improvements in calculation
speed and a built-in CAD system,
designers can interactively produce
their designs. Photopia produces
comprehensive performance evaluations for non-imaging optical
designs. Photopia also allows
designers to produce vir tual
Hallbrook extended luminaires from
Holophane are designed to provide
optical performance with low glare,
while meeting the aesthetic and
architectural qualities desired in
RAB Electric Manufacturing Inc., “Vaporproof” luminaires are now UL listed for use with 90 degree supply wiring and suitable for use in dwellings
and outdoor, wet locations. The redesigned line includes thicker silicone
rubber gaskets and aligning pins for easier assembly. The fixture is made
of die-cast aluminum and is available in a wide variety of mounting situations including box, pendant, wall, bracket, and ceiling mounting, with colored globes available in white, red, blue, green or amber.
Circle 87 on Reader Service Card.
The Skyrotechnics from Fibertechnics, Inc., are animated multicolor lighting systems ranging in
size from 6-to-24 ft in diameter that
mimic colorful pyrotechnic bursts
using a combination of light tubes,
fiber-optics and high-tech lighting
control technology. The animation
is made possible by a multi-connection lighting controller linked to
light tubes that are attached to a
steel lighting sphere. The collection of light tubes that project outward are supported by a rigid support system for use in high wind
areas. Skyrotechnics are weatherresistant and can be installed both
indoors and out.
Circle 88 on Reader Service Card.
SEEK
SEEK
HELP
HELP
visit the
The JD Russell Company’s lighted Duratube – landscape light rope edging
system installs easily to any low-voltage outdoor lighting scheme. The 18inch wire leads and pre-attached piece point connectors can fasten to any
trunkline. The two-part system is illuminated with 12-volt light rope encased
in patented, bendable Duratube steel landscape edging. Ideal for high traffic pedestrian areas, the tubular steel housing forms a safe, rounded edging
eliminating the sharp edges generally associated with landscape edging.
Circle 86 on Reader Service Card.
56
LD+A/December 2002
visit the
lighting
lightingprofessionals
professbulbulletin
boardatat
letin board
www.iesna.org
www.iesna.org
GIVE
GIVE
HELP
HELP
www.iesna.org
Conquest Global, Inc. (CGI) family
of ultra-compact, portable fiberoptic illuminators are ideal for integration into industrial and scientific
vision systems and for many other
applications where a small portable
light source is required. The MH21
fiberoptic illuminators measure just
4.5 in. x 3.2 in. x 2.3 in. and weigh
less than a pound. Designed to facilitate integration into a variety of
vision systems, these light sources
produce little heat radiation,
require a minimal amount of space,
and feature very quiet operation.
The MH21 family consists of four
models, and all MH21 models are
available as completely housed
units or as light engines, and each
can be customized to fit most any
OEM requirement.
The Louis XV crystal fixture from
New Metal Crafts provides elegance and drama to a two-story
entry, spectacular dining room, or
an intimate commercial setting.
Executed in cast brass, its fame is
enhanced with a French gold finish.
Czech crystal drops and chains lit
by ten candles make the entire fixture sparkle.
Labsphere Optronik SMS-10H
goniophotometer provides fully
automated, time-saving measurement of automotive and general
vehicle lamps. The system is
equipped with a fully motorized
table with two rotational axes and
three linear axes for precise positioning of test samples. A built-in
alignment laser facilitates sample
positioning to ensure reliable,
repeatable measurement. The system provides a complete hardware
and software solution for measurement of large-sized light sources
such as brake lights, turn signal
lamps, rear fog and rear signal
lamps.
Circle 84 on Reader Service Card.
Circle 83 on Reader Service Card.
Circle 85 on Reader Service Card.
If you’re still referring
to the 8th Edition of the
IESNA Lighting Handbook,
you’re in the
dark ages!
The fact is, you can no longer rely on an illuminance
calculation and consider the lighting job complete.
There are many other design issues to consider,
and the new IESNA Lighting Handbook
not only defines those issues, but provides
you with the necessary recommendations
to deal with each of them.
It’s available in both print and CD-ROM.
OR
Call 212-248-5000, ext 112
Order Online at www.iesna.org
The
LIGHTING
AUTHORITY ®
www.iesna.org
LD+A/December 2002
57
ADVERTISEMENT
Gallery
Gallery of
of
New
New Products
Products
Triadonic
Triadonic,
a global ballast
supplier, expands
PCA digital
addressable ballast
product line to
include compact
fluorescent.
Models include: 1 lamp 32/42W, 2 lamp 26W and 2 lamp 18W.
Triadonic PCA compact ballast features 100-3% dimming,
universal input voltage and compatability with DSI/DALI
system components.Two-way DALI communication provides
the ability to obtain individual fixture operating status.
For information on linear, BIAX and compact models
contact Triadonic at 770-717-0556.
Circle 82 on Reader Service Card.
Lutron Electronics
Hi-lume® 100%-1%
Dimming for Compact
Fluorescent Lamps.
Launched in May of 2002,
the new Hi-lume ballast
can dim fluorescent
lamps down to just 1%,
providing an energyefficient alternative to
incandescent lamps.
The 6-page brochure
includes a product and
application overview plus
various energy savings
charts.To order, please call 1-888-LUTRON1,
and request part number 367-408.
Circle 81 on Reader Service Card.
ADVERTISEMENT
60
LD+A/December 2002
www.iesna.org
Annual Index—Subject—Volume 32, 2002
Architectural Lighting
Street Theater . . . . . . . . . . . . . . . .Jun 33
Lighting The Facade of The New 42nd Street
Studio Building, Times Square, New York City
Militello, Anne
Attraction Lighting
Experience The Elements . . . . . . . .Sep 32
Magna Science Adventure Centre in South
Yorkshire, UK
Speirs, Jonathan; Major, Mark; Clements,
Claudia; Ball, Colin and Rose, Philip
(Jonathan Spiers and Associates, Edinburgh
and Speirs and Major, London, UK)
Great Expectations . . . . . . . . . . . . .Sep 36
Hollywood & Highland, The Carnival Spirit
(Carnival Cruise’s Newest Ship), TokyoDisney
SEA, Planetarium show at the Mohegin Sun
Casino and Chicago’s Time Escape
Lighting Design Alliance, Israel, Chip;
Nautilus Entertainment Design
(NED)Tetlow, Jim; Walt Disney
Imagineering; Peck, Martin and Wegwert,
Andrew (Creative Lighting Design &
Engineering) and Fisher Marantz Stone, Inc.
Lighting Magic For An Icon . . . . . . .Sep 44
The Sorcerer Mickey Hat for Walt Disney’s 100
years of Magic Celebration , Lake Buena Vista, FL
Ostendorf, Michael D.
Tango Argentino . . . . . . . . . . . . . . .Sep 40
Mercado D’Abasto (Retail and Entertainment
Center), Buenos Aires, Argentina . . . . .
Tuscan Dusk . . . . . . . . . . . . . . . . . .Sep 28
Montecasino Resort Complex, South Africa
De Alessi, Ross
Bridge and Monument Lighting
High Road To Aberdeen, The . . . . . .Nov 50
Scotland’s Firth of Forth Bridge
De Alessi, Ross and Conner, Trish (Ross De
Alessi Lighting Design)
Magenta Mood Over Miami . . . . . . .Mar 20
MacArthur Causeway Bridge
Daniels, Robert (Brilliant Lighting Design)
Reflections In A Golden Eye . . . . . . .Aug 37
The Gateshead Millennium Bridge, Gateshead,
Tyne and Wear, England, UK
Speirs, Jonathan, Fraser, Gavin and
Bremner, Carrie Donahue (Jonathan Speirs
and Associates Limited, London, UK)
Columns
Beardsley’s Beat
Beardsley’s Beat
Beardsley’s Beat
Beardsley’s Beat
Beardsley’s Beat
Beardsley’s Beat
Beardsley’s Beat
Beardsley’s Beat
Beardsley’s Beat
Beardsley’s Beat
Beardsley’s Beat
Beardsley’s Beat
. . . . . . . . . . . . . . .May
. . . . . . . . . . . . . . .Jul
. . . . . . . . . . . . . . .Sep
. . . . . . . . . . . . . . .Apr
. . . . . . . . . . . . . . .Dec
. . . . . . . . . . . . . . .Jan
. . . . . . . . . . . . . . .Jun
. . . . . . . . . . . . . . .Mar
. . . . . . . . . . . . . . .Nov
. . . . . . . . . . . . . . .Oct
. . . . . . . . . . . . . . .Aug
. . . . . . . . . . . . . . .Feb
NOTE: (SS) after a title indicates a story that
ran in the “Scanning The Spectrum” section
of the magazine.)
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LD+A/December 2002
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Digital Perspective . . . . . . . . . . . . .Dec
Digital Perspective . . . . . . . . . . . . .Apr
Digital Perspective . . . . . . . . . . . . .Sep
Digital Perspectives . . . . . . . . . . . .Nov
Energy Concerns . . . . . . . . . . . . . . .Dec
Energy Concerns . . . . . . . . . . . . . . .Feb
Energy Concerns . . . . . . . . . . . . . . .Jan
Energy Concerns . . . . . . . . . . . . . . .Nov
Energy Concerns . . . . . . . . . . . . . . .Apr
Energy Concerns . . . . . . . . . . . . . . .Aug
Energy Concerns . . . . . . . . . . . . . . .Jul
Energy Concerns . . . . . . . . . . . . . . .Jun
Energy Concerns . . . . . . . . . . . . . . .Mar
Energy Concerns . . . . . . . . . . . . . . .Oct
Energy Concerns . . . . . . . . . . . . . . .Sep
Energy-Saving Retrofit . . . . . . . . . . .Dec
Energy-Saving Retrofit . . . . . . . . . . .Sep
Essay By Invitation . . . . . . . . . . . . .Jan
Essay By Invitation . . . . . . . . . . . . .Nov
Essay By Invitation . . . . . . . . . . . . .Oct
Essay By Invitation . . . . . . . . . . . . .Aug
Essay By Invitation . . . . . . . . . . . . .Aug
Essay By Invitation . . . . . . . . . . . . .Feb
Essay By Invitation . . . . . . . . . . . . .Jul
Essay By Invitation . . . . . . . . . . . . .Jun
Essay By Invitation . . . . . . . . . . . . .May
Essay By Invitation . . . . . . . . . . . . .Jan
Executive Vice President Reports . .Dec
Executive Vice President Reports . .Mar
Executive Vice President Reports . .Jun
Executive Vice President Reports . .Sep
Follow The Money . . . . . . . . . . . . . .Aug
Lighting For Quality . . . . . . . . . . . . .Oct
Lighting For Quality . . . . . . . . . . . . .Sep
Lighting For Quality . . . . . . . . . . . . .Nov
President’s Points . . . . . . . . . . . . . .Apr
President’s Points . . . . . . . . . . . . . .Oct
President’s Points . . . . . . . . . . . . . .Jul
President’s Points . . . . . . . . . . . . . .Jan
Regional Voices . . . . . . . . . . . . . . .Apr
Regional Voices . . . . . . . . . . . . . . .Dec
Regional Voices . . . . . . . . . . . . . . .Nov
Regional Voices . . . . . . . . . . . . . . .Aug
Regional Voices . . . . . . . . . . . . . . .Feb
Regional Voices . . . . . . . . . . . . . . .Mar
Regional Voices . . . . . . . . . . . . . . .May
Regional Voices . . . . . . . . . . . . . . .Sep
Research Recap . . . . . . . . . . . . . . .Dec
Specification Sales Strategies . . . . .Feb
Vice President Member Activities . . .Jan
Views On The Visual Environment . . .Aug
Working With The Web . . . . . . . . . .Feb
Working With The Web . . . . . . . . . .Jan
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Entertainment Lighting
Cinematic Gold (SS) . . . . . . . . . . . .Sep 22
UCI Cinema, Norwich, England
Mitchell, Alan, Milne, Hamish and Pyatt,
Gillian (Jonathan Speirs and Associates
Ltd., Edinburgh, Scotland)
Tango Argentino . . . . . . . . . . . . . . .Sep 40
Mercado D’Abasto (Retail and Entertainment
Center), Buenos Aires, Argentina
Directories
2002 Lighting Equipment &
Accessories Directory . . . . . . . . . .Mar 33
IESNA Lighting Design
Software Survey 2002 . . . . . . . . .Jul 35
Hospitality Lighting
California Dreamin’ (SS) . . . . . . . . .Sep 20
The Grand Californian Hotel, Walt Disney’s
California Adventure Park, Anaheim, CA
Israel, Chip and Reeves, Julie (The Lighting
Design Alliance, Long Beach, CA)
Grand Hotels . . . . . . . . . . . . . . . . . .Oct 38
Boutique Hotels (New York City’s Hotel Giraffe,
Calgary’s Hyatt Regency Hotel, South Beach
Marriott, Dallas’ Park Cities Hilton)
Brogden, Lees, Horton; Stantec Consulting
Ltd.; Integrated Lighting Design; Martens
VanWattenghem; Duncan & Miller Design;
and Zclighting
Hospitality—Reception
To Romance . . . . . . . . . . . . . . . . .Oct 28
Otaru, Japan Hilton
Shankar, Babu and Tanimura, Kazumi
Leisure And Light . . . . . . . . . . . . . .Oct 32
Shankars’ 24 year Career in Hospitality Lighting
Shankar, Babu M.
Luxury Light . . . . . . . . . . . . . . . . .Oct 42
Tom Hicks’ Skybox at American Airlines Arena
Alexandra Champalimaud & Associates
Houses of Worship
Glory Gathering (SS) . . . . . . . . . . . .Aug 28
King of Glory, Lutheran Church, Dallas, TX
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Directories
2002 Lighting Equipment &
Accessories Directory . . . . . . . . . .Mar 33
IESNA Lighting Design
Software Survey 2002 . . . . . . . . .Jul 35
Klores, Jill and Mapes, Robert, Dallas, TX
and Langford, James E. of James E.
Langford Architects & Planners, Dallas, TX
Liturgical Light For
St. Leo The Great . . . . . . . . . . . . .Jun 48
Church of St. Leo The Great, Oakland, CA
Rambusch, Viggo (Viggo Rambusch
Decorating Co.)
Old St.Patrick’s Rebirth . . . . . . . . .Mar 26
Old St. Patrick’s Church, Chicago, IL
Shook, Robert; Baney, James and Szpiro,
Monica (Schuler & Shook)
The Guiding Light . . . . . . . . . . . . . .Aug 54
Shorakujii Buddhist Temple, Tokyo; The First
Presbyterian Chuch, Philadelphia, PA; St. Ignatius
Chuch, Baltimore, MD; St. Vincent de Paul’s
Catholic Church, Houston, TX; The Calvary
Chapel of Canyons in Silvarado, CA and Shadow
Hills Baptist Chuch, Las Vegas, NV
Matsushita Electric Works Ltd; HK Lighting
Design, Inc., Havertown, PA; Cromption/Dunlop Architectural Lighting Services
and Murphy & Dittenhafer; Michael John
Smith Consultant and A&H Lighting Design,
Irvine, CA
www.iesna.org
Annual Index—Subject—Volume 32, 2002
IES News
CORM 2002: Second Announcment and Call
For Papers . . . . . . . . . . . . . . . . . .Jan 14
2002 GE Edison Award . . . . . . . . . .Jan 14
Architectural Lighting
Master Classes 2003 . . . . . . . . . .Nov 26
ASHRAE Proposes Reducing Lighting Energy
Use in Standard 90.1 . . . . . . . . . .Dec 29
ASHRAE Releases New Toolkit for Building
Load Circulation . . . . . . . . . . . . . .Jan 15
BPA and PPM Sign 25-Year Wind Power
Agreement . . . . . . . . . . . . . . . . . .Feb 24
BSR E1 is Available for Second Public
Review . . . . . . . . . . . . . . . . . . . .Oct 26
Buying Electronic Documents
From ANSI . . . . . . . . . . . . . . . . . .Nov 25
Call for Entries: 2002 ISP/VM+SD Store
Design Competition . . . . . . . . . . .Oct 25
Call For Entries—Source Awards . . .May 23
Call For Roadway Presentations . . . .Nov 25
CIE 146:2002 CIE Equations For
Disability Glare . . . . . . . . . . . . . . .Sep 27
CIE 147:2002 - Glare from Small,
Large and Complex Sources . . . . .Sep 27
Clarence C. Keller 1907 - 2002 . . . .May 19
Configuration Standard for
Metal-Halide Ballast Power Cables is
Available for Review . . . . . . . . . . .Jan 16
DOE To Reference ASHRAE/IESNA 90.1 1999 In Federal Energy Policy Act .Sep 25
Dr. Robert A. Bell 1933-2001 . . . . .Jan 13
Edenbaum Forms Drago Illumination .Nov 25
Energy Department and States Team Up On
Clean Energy Research . . . . . . . . .May 23
Former IESNA President
Honored By UH . . . . . . . . . . . . . . .May 22
Guth Celebrates 100 Years . . . . . . .May 21
Hick, Dentist Who
Ran Lamp Museum, Dies . . . . . . .Jul 16
High End Systems’ Catalyst
Receives EDDY Award . . . . . . . . .Feb 25
IALD Announces 2001 Lifetime Achievement
Award and New Fellows . . . . . . . .Jan 15
IALD Announces
New Board Members . . . . . . . . . .Feb 25
IESANZ Convention 2003 . . . . . . . .Sep 27
IESNA Awards Presented at 2002 Annual
Conference . . . . . . . . . . . . . . . . .Aug 29
IESNA Participates in
Light up my Life . . . . . . . . . . . . . .Dec 32
InformeDesign Approaches Launch . .Nov 26
ISP/VM+SD 2001 International
Store Design Competition Winners .Apr 25
John Kesselring Elected Chairman
of the LRO . . . . . . . . . . . . . . . . . .Mar 13
KU’s Jay Wratten Receives
Brandston Grant . . . . . . . . . . . . . .Sep 23
LIGHTFAIR INTERNATIONAL 2002 Set For
San Francisco . . . . . . . . . . . . . . .Jan 13
Lighting Controls Industry Offers On-Line
Education . . . . . . . . . . . . . . . . . .Jan 16
Lighting Research Center Host
LED Event . . . . . . . . . . . . . . . . . .Mar 15
Lighting Research Center Offers New
Publication . . . . . . . . . . . . . . . . . .May 24
Lightolier and The Lighting Research
Center Present Student Luminaire Design
Competition Awards . . . . . . . . . . .Oct 25
Litecontrol Announces the Litecontrol
Scholarship for Lighting Education .Mar 16
Lithonia Lighting Acquires Thomas & Betts’
American Electric and Dark-To-Light
Lighting Products . . . . . . . . . . . . .Jan 16
LRC Student Honored for
Church Steeple Lighting . . . . . . . .Feb 25
LRO Symposium - Light and
Human Health . . . . . . . . . . . . . . .Mar 15
Luraline’s Competition Focuses on
Design for Hospitality . . . . . . . . . .Sep 26
Martin to Establish Asian Manufacturing
Facility . . . . . . . . . . . . . . . . . . . .Jul 14
Meeting Offers Overview of
Standard 90.1 . . . . . . . . . . . . . . .Nov 25
Navigant Consulting Releases Study
of National Lighting
Energy Consumption . . . . . . . . . . .Nov 25
NCQLP Announces Availability of Materials
for 2002 LC Examination . . . . . . .Jun 31
NCQLP Announces Test Results - 2001
Examination . . . . . . . . . . . . . . . . .Mar 18
NCQLP Offers Career Brochure . . . . .Jul 13
NYSERDA Extends Proposal DeadlingNov 26
Papers Committee Sets
Conference Schedule . . . . . . . . . .Jun 23
Philips Becomes First Lighting
Manufacaturer To Receive
ISO 14001 Certification . . . . . . . .Oct 25
Philips Lighting Launches Tradelink
Customer Web Portal . . . . . . . . . .Jul 16
Philips Named Energy Star 2002
Partner Of The Year . . . . . . . . . . .Jun 27
Public Awareness Program to Promote
the Use of Energy-Efficient
Products and Technologies . . . . . .Apr 26
Public Review of IESNA Publication .Apr 23
Public Review of IESNA Publication .Aug 33
Ramon Noya, 1940 - 2002 . . . . . . . .Aug 31
Request for Proposal . . . . . . . . . . . .Oct 27
Richard Beckford, 1920 - 2002 . . . .Dec 29
Salt Lake 2002—A Conference of
Olympic Proportion . . . . . . . . . . . .Oct 21
Spatial Distribution of Daylight CIE Draft Standard DS 011.2/E: 2002
Now Available . . . . . . . . . . . . . . .Apr 25
Standard 90.1 to Include Small Commercial
Buildings Energy Requirements . . .Mar 14
Stingray Lighting Receives
Clean Air Award . . . . . . . . . . . . . .Sep 26
Theater Lighting Designer
Martin Aronstein, 1937 - 2002 . . .Sep 26
Timothy Pike, 1954 - 2002 . . . . . . .Jun 24
To Improve School Safety,
Lithonia Lighting and Ingersoll-Rand
Combine Efforts . . . . . . . . . . . . . .Feb 25
Tribute in Light Marks Six-Month Anniversary
of WTC Attack . . . . . . . . . . . . . . .Apr 25
Two HOK-Designed Buildings Named to Top
10 ‘Green’ Projects List . . . . . . . .Aug 32
William Wedding 1924 - 2002 . . . . .May 22
IIDA
Celestial Centerpiece . . . . . . . . . . .Apr 32
American Museum of Natural History Rose Center
for Earth and Space, New York, NY
Stone, Charles G. II, Forrest, Hank, and
Toomajian, Matthew; Fisher Marantz Stone,
Inc., New York, NY
Cross Over The Bridge... . . . . . . . . .Dec 34
SUBA Restaurant, Lower East Side, New York, NY
Ann Kale and Nelson Jenkins, Ann Kale
Associates, Inc.
Dawn & Jeremy Solve The
Towers Mystery . . . . . . . . . . . . . .Feb 38
Los Angeles World Airports . . . . . . . . . .
Hollingsworth, Dawn, Windle, Jeremy,
Powell, Erin and Tzanetopoulos, Paul
(Moody Rivitz Hollingsworth Lighting
Design, Inc., Los Angeles, CA)
Experience The Elements . . . . . . . .Sep 32
Magna Science Adventure Centre
in South Yorkshire, UK
Speirs, Jonathan; Major, Mark; Clements,
Claudia; Ball, Colin and Rose, Philip
(Jonathan Spiers and Associates, Edinburgh
and Speirs and Major, London, UK)
Reflections In A Golden Eye . . . . . . .Aug 37
The Gateshead Millennium Bridge, Gateshead,
Tyne and Wear, England, UK
Speirs, Jonathan; Fraser, Gavin and
Bremner, Carrie Donahue (Jonathan Speirs
and Associates Limited, London, UK)
Street Theater . . . . . . . . . . . . . . . .Jun 33
Lighting The Facade of The New 42nd Street
Studio Building, Times Square, New York City
Militello, Anne
The 2002 International Illumination Design
Awards . . . . . . . . . . . . . . . . . . . .Aug 41
Top Awardees of the International Illumination
Design Awards 2002
The Blue Waves Of Parruru . . . . . . .Feb 28
Parruru Plaza Chiba, Cultural Center,
Fujimicho, Chiba, Japan
Minami, Kazunobu, architect and Sumiyami,
Shigetsugu (Matsushita Electric Works,
Japan).
Institutional Lighting
Lighting for Learning (LIGHTFAIR
International Seminar Preview) . . .May 76
Daylighting vs. Student Performance
Landscape Lighting
Lighting The Seasons (LIGHTFAIR
International Seminar Preview) . . .May 62
How Lighting Offers a Visual Connection to the
Landscape
LIGHTFAIR INTERNATIONAL
A History of Light and Lighting . . . . .May 52
LIGHTFAIR INTERNATIONAL
Seminar Preview . . . . . . . . . . . . . .May 50
Ngai, Peter; Steffy, Gary; Robinson, Craig;
Waite, John; Folsom, Tom; Hollingsworth,
Dawn; Gregory, Paul; DiLaura, David; Erwin,
Barbara; Heschong, Lisa; Prouse, Robert
and Moyer, Jan
Lighting for Learning (LIGHTFAIR
International Seminar Preview) . . .May 76
Daylighting vs. Student Performance
www.iesna.org
LD+A/December 2002
67
Annual Index—Subject—Volume 32, 2002
Lighting The Seasons (LIGHTFAIR
International Seminar Preview) . . .May 62
How Lighting Offers a Visual Connection to the
Landscape
Lighting Uncommon for the Commonwealth
Games (LIGHTFAIR International
Seminar Preview) . . . . . . . . . . . . .May 64
The 17th Commonweath Games, Manchester, UK
More Than Just a Pretty Face (LIGHTFAIR
International Seminar Preview) . . .May 72
Lighting design process
Restaurant Lighting (LIGHTFAIR
International Seminar Preview) . . .May 58
Morimoto Restaurant in Philadelphia, PA
Theatrical Fixtures In Architectural
Applications (LIGHTFAIR International
Seminar Preview) . . . . . . . . . . . . .May 68
Roland’s U.S. headquarters, Los Angeles, CA and
Game Works, Ontario, CA
Up With Uplighting (LIGHTFAIR
International Seminar Preview) . . .May 54
Can Uplight compete as an efficient,
sustainable lighting technique today
Lighting Controls
Diffusers In Design . . . . . . . . . . . . .Nov 58
Museum & Exhibit Lighting
Celestial Centerpiece . . . . . . . . . . .Apr 32
American Museum of Natural History Rose Center
for Earth and Space, New York, NY
Stone, Charles G. II, Forrest, Hank, and
Toomajian, Matthew; Fisher Marantz Stone,
Inc., New York, NY
Pacific Perceptions . . . . . . . . . . . .Jun 38
San Francisco’s Exploratorium Museum
Doherty, Paul, The Exploratorium
Lighting Learning . . . . . . . . . . . . . .Apr 46
The Franklin Institute, The Train Factory, Kid
Science and Sports Challenge, Philadelphia, PA
Alcarax, Mary; Ghisu, Robert; Hahnlen,
Brian and Mackenzie, Kenneth (Ewing Cole
Cherry Brott, Philadelphia, PA)
Lighting Mr. Dupont’s Legacy . . . . .Apr 38
Winterthur, former home of
Henry Francis duPont
Hefferan, Steven and Degenhart, Carol
(Hefferan Partnership, Inc. Boulder, CO)
Militello’s Mind-Melting Luminosity .Apr 28
Radiate:Not Fade Away Visual Art Exhibit,
New York City
Militello, Anne (Vortex Lighting,
Los Angeles, CA)
Mood River . . . . . . . . . . . . . . . . . .Apr 50
Wexner Center for the Arts, Columbus, OH
Bohuslawsky, John (Ohio State University,
Columbus, OH and Contemporary American
Theater Co.)
Office Lighting
A High-Tech Incubator . . . . . . . . . . .Jan 32
Techspace, Toronto, ON, Canada
Powadiuk, Suzanne and Kuwabara Payne
McKenna Blumberg Architects of Toronto
Charge of the Light Brigade . . . . . . .Jan 18
Offices of Sterner Automation,
Toronto, ON, Canada
Forbes-Gray, Rhomney
Into The Woods Of Wiebe Forest . . .Jan 36
Wiebe Forest Enginering (WFE), Office Space and
Lighting Showplace, Calgary, AB, Canada
Barone, Livio P. and Bannard, Jeff OF WFE
(Wiebe Forest Engineering Ltd.) Calgary,
AB, Canada
Loft Lighting . . . . . . . . . . . . . . . . . .Jan 26
Evolve Software, Emeryville, CA . . . . . .
McDonald, Angela L. (Horton Lees Brogden
Lighting), San Francisco, CA
Theatrical Fixtures In Architectural
Applications . . . . . . . . . . . . . . . .May 68
Roland’s U.S. headquarters, Los Angeles, CA and
Game Works, Ontario, CA
Hollingsworth, Dawn (Visual Terrrain, Inc.,
Van Nuys, CA) and Folsom, Tom (Katie
Group, Inc., North Hollywood, CA)
Vision Networking . . . . . . . . . . . . . .Jan 22
Offices of F5 Networks, Seattle, WA
Rhodes, Susan (LightWire, Seattle, WA)
Outdoor Lighting
Castle Drama . . . . . . . . . . . . . . . . .Jun 56
Lighting of Sforzesco Castle, Milan, Italy
Passariello, Duilio, Philips Lighting, France
Interpreting Outdoor Luminaire Cutoff
Classification . . . . . . . . . . . . . . . .Jul 44
Light Pollution
Bullough, John, LRC, Troy, NY
Streetscapes . . . . . . . . . . . . . . . . .Jun 52
Lighting Urban Street Venues (Northwestern
Memorial Hospital Campus) The Eastbank
Riverfront Park, Portland, Buchanan Street,
Glasgow, Scotland;
Pelikan, Mary, OWP&P Engineers, Chicago,
IL; Viado, AlfredP. , IDC-CH2M, Portland,
OR, Smith, Steven, MFIA, Inc., Portland,
OR, Mayer-Reed, Carol, Mayer-Reed,
Portland, OR; Gillespies Landscape
Archites, Jonathan Speirs and Associated
Ltd., UK
Twin Beacons Of Hope . . . . . . . . . .Jun 40
Tribute in Light Memorial dedicated to the World
Trade Center
Marantz, Paul (Fisher Marantz Stone, Inc.,
New York, NY)
Progress Report
2002 Progress Report . . . . . . . . . . .Nov 29
Public Spaces
A Playful Broadway Opening . . . . . .Feb 34
Toys R Us Times Square, New York City
Ades, Diana and Gregory, Paul; Focus
Lighting, New York, NY
Celestial Centerpiece . . . . . . . . . . .Apr 32
American Museum of Natural History Rose Center
for Earth and Space, New York, NY
Stone, Charles G. II, Forrest, Hank, and
Toomajian, Matthew; Fisher Marantz Stone,
Inc., New York, NY
Dawn & Jeremy Solve The
Towers Mystery . . . . . . . . . . . . . .Feb 38
Los Angeles International Airport
Hollingsworth, Dawn, Windle, Jeremy,
Powell, Erin and Tzanetopoulos, Paul
(Moody Rivitz Hollingsworth Lighting
Design, Inc., Los Angeles, CA
Lighting Speed On The Oval Ice . . . .Feb 48
Olympic Oval Skating Ring, Salt Lake City, UT
Good III, Joseph M., Spectrum + Bennion,
Salt Lake City, UT
On The Light Track . . . . . . . . . . . . .Feb 32
Restoration of the Railroad Waiting Room,
Hoboken, NJ
Thompson, Thomas, Thomas Thompson
Lighting Design, New York, NY
Restoration Drama . . . . . . . . . . . . .Feb 44
Bridgemarket and Guastavino’s Restaurant,
New York City
Fisher Marantz Stone, New York, NY
(Lighting Consultants) and HHPA
Architects, New York, NY
The Blue Waves Of Parruru . . . . . . .Feb 28
Parruru Plaza Chiba, Cultural Center, Fujimicho,
Chiba, Japan
Minami, Kazunobu, architect and Sumiyami,
Shigetsugu (Matsushita Electric Works,
Japan).
The Light And The Music . . . . . . . .Mar 28
The Juliet Lyell Staunton Clarke Music Center,
Lawrencville School, Princeton, NJ
Ripman, Chris, Ripman Lighting
Consultants, Belmont, MA
Residential Lighting
Georgian On My Mind . . . . . . . . . . .Jun 60
Fox Chapel Home turns into a Georgian Manor
Allaire, Rosemarie, Rosemarie Allaire
Lighting Design, Dana Point, CA
Restaurant Lighting
All That Jazz . . . . . . . . . . . . . . . . . .Dec 42
Jazz Kitchen, Disneyland, Aneheim, CA
Power, Andrew A., Lighting Design Alliance,
Long Beach, CA
Creative Composition (SS) . . . . . . . .Aug 24
Sapporo Sushi and Teppan Yaki, Phoenix, AZ
Wilde, Kris L., Creative Designs in Lighting,
Phoenix, AZ
Cross Over The Bridge... . . . . . . . . .Dec 34
SUBA Restaurant, Lower East Side, New York, NY
Ann Kale and Nelson Jenkins, Ann Kale
Associates, Inc.
Deep Sea Dining . . . . . . . . . . . . . . .Dec 50
Legal Seafoods Restaurant, Sunrise Florida
Dorf, Ivonne and Reber, Paul, Dorf Reber,
Inc., New York, NY and Horton, Barbara
Cianci, Horton Lees Brogden, New York, NY
68
LD+A/December 2002
www.iesna.org
Annual Index—Subject—Volume 32, 2002
Fanfare Off The Field . . . . . . . . . . . .Jul
20
Seattle Key Arena Courtside Club . . . . .
Full Spectrum Dining (SS) . . . . . . . .Aug 26
The Miranove M Restaurant, Columbus, OH
Schad, David M., Design Illumination,
Grove City, OH
Grandstand Grandeur . . . . . . . . . . . .Dec 46
Ranahans Restaurant, Calgary, AB, Canada
Robertson, Rick P., Walton, Chris,
Stebnicki, Robertson & Associates and
Wapple, Sheila, Wappel Associates,
Calvary, AB, Canada
Over The Rainbow . . . . . . . . . . . . . .Dec 38
Orbit’s Diner, The Children’s Mercy Hospital in
Kansas City, MO
Kistler, Patricia, Bonofiglio, Amy and
Hamtil, Therese, HMN Architects, Overland
Park, KS
Restaurant Lighting (LIGHTFAIR International
Seminar Preview) . . . . . . . . . . . . .May 58
Morimoto Restaurant in Philadelphia, PA
Gregory, Paul (Focus Lighting, New York, NY)
Restoration Drama . . . . . . . . . . . . .Feb 44
Bridgemarket and Guastavino’s Restaurant,
New York City
Fisher Marantz Stone, New York, NY
(Lighting Consultants) and HHPA
Architects, New York, NY
Retail Lighting
A Barcelona Treat For The Senses . .May 44
Can Drago Mall, Barcelona, Spain
Harwood, Ron, Illuminating Concepts,
Farmington Hills, MI
A Playful Broadway Opening . . . . . .Feb 34
Toys R Us Times Square, New York City
Ades, Diana and Gregory, Paul; Focus
Lighting, New York, NY
Fluorescent System Gets
Solar Assist (SS) . . . . . . . . . . . . .Jun 16
Whole foods Market in Berkeley, CA uses Solar
power and fluorescents
Fresh Brands’ Fresh Light (SS) . . . . .Oct 18
The Washington Square Piggly Wiggly,
Sheboygan, WI
Sugars, Thomas, Thomas Design, Inc.,
Architect; Bartol, Christina, Excel
Engineering, Fond du Lac, WI
Lighting Prada In SoHo . . . . . . . . . .May 32
Prada’s SoHo, New York Epicenter, New York City
Tillotson, Suzan, Kugler Tillotson
Associates, Lighting Design, New York, NY
The Hot Light is On (SS) . . . . . . . . .Jun 18
Lighting Krispy Kreme, Austin, TX
A Mall Reborn . . . . . . . . . . . . . . . . .May 38
NorthEast Mall, Hurst, TX
Barber, Michael A. and Diemer, Helen K. ,
The Lighting Practice, Philadelphia, PA
Tango Argentino . . . . . . . . . . . . . . .Sep 40
Roadway Lighting
Reducing Headlight Glare . . . . . . . .Feb 52
Advantages of neodymium oxide additives for
glare reduction on the road
The Sioux City Orpheum Theater, Sioux City, IA
Views On The Visual Environment . . .Apr 11
Software
Finding Photometric Files
At 2AM (SS) . . . . . . . . . . . . . . . .Nov 20
eLumit website
Horton Lees Brogden Lightng Design, New
York City and San Francisco, CA
Sports Lighting
An Odds-On Favorite . . . . . . . . . . . .Jul
Theater Lighting
Orpheum Ascending (SS) . . . . . . . . .Sep 18
28
Singapore Turf Club all weather race track
Alcaraz, Mary, Ghisu, Robert, Golaszewski,
Gary J., Cunningham, Robert F, Chase,
John F. and Garman, Richard, Ewing Cole
Cherry Brot, Philadelphia, PA
Daylight Savings Time . . . . . . . . . . .Jul 24
Washington State University’s
Student Recreation Center
Humphrey, Aaron J. (Rising Sun Enterprises,
Basalt, CO), Davis, Kirk C. (Glumac
International, Portland, OR) and Curry,
Robert, Project Manager for Educational
Projects
Elliptical Stairway to the Stars (SS) .Jul 10
Shepardson, Ray (GSI Architects,
Cleveland, OH)
Transportation
Dawn & Jeremy Solve The
Towers Mystery . . . . . . . . . . . . . .Feb 38
Los Angeles International Airport
Hollingsworth, Dawn; Windle, Jeremy;
Powell, Erin and Tzanetopoulos, Paul
(Moody Ravitz Hollingsworth Lighting
Design, Inc., Los Angeles, CA)
On The Light Track . . . . . . . . . . . . .Feb 32
Restoration of the Railroad Waiting Room,
Hoboken, NJ . . . . . . . . . . . . . . . . . . . .
Thompson, Thomas, Thomas Thompson
Lighting Design, New York, NY
Uplighting
Up With Uplighting (LIGHTFAIR
International Seminar Preview) . . .May 54
Can uplight compete as an efficient,
sustainable lighting technique today
Spartan Center, Milton Hershey School’s
Performance Gym, Hershey, PA
Yancey, Kieth, Cronin, Larry and Good,
Shaun of Brinjac Engineering, Harrisburg, PA
Fanfare Off The Field . . . . . . . . . . . .Jul 20
Seattle Key Arena Courtside Club
Fong, Denise and Strawn, Megan, Candela
Architectural Lighting, Seattle, WA
Keeping Her Eye On The Ball . . . . . .Jul 17
Miller Park, Milwaukee, WI, Cincinnati’s Paul
Brown Stadium, Rose Garden arena, Portland, OR
and Seattle’s Safeco Field
Whitehouse, Bonny Ann, Flack + Kurtz,
Inc., New York, NY
Lighting Speed On The Oval Ice . . . .Feb 48
Olympic Oval Skating Ring, Salt Lake City, UT
Good III, Joseph M., Spectrum+Bannion,
Salt Lake City, UT
Lighting Uncommon for the Commonwealth
Games (LIGHTFAIR International
Seminar Preview) . . . . . . . . . . . . .May 64
The 17th Commonweath Games, Manchester, UK
Robinson, Craig and Waite, John (Arup,
Manchester, Lancashire, UK)
Swim Meet (SS) . . . . . . . . . . . . . . .Oct 20
Natatorium at Union College, Schenectady, NY
Lindstrom, Carole and Zuczek, Daniel
(zuczek.lindstrom lighting associates)
Mercado D’Abasto (Retail and Entertainment
Center), Buenos Aires, Argentina
www.iesna.org
LD+A/December 2002
69
Annual Index—Author—Volume 32, 2002
Alcaraz, Mary and Hahnlen, Brian
Lighting Learning . . . . . . . . . . . . .Apr 46
Alcaraz, Mary, Ghisu, Robert, Golaszewski,
Gary J., Cunningham, Robert F, Chase,
John F. and Garman, Richard
An Odds-On Favorite . . . . . . . . . . .Jul 28
Allaire, Rosemarie
Georgian On My Mind . . . . . . . . .Jun 60
Altman, Emlyn G.
Digital Perspective . . . . . . . . . . . .Dec 15
Digital Perspective . . . . . . . . . . . .Apr 22
Digital Perspective . . . . . . . . . . . .Sep 16
Digital Perspectives . . . . . . . . . . .Nov 18
Ashdown, Ian
Diffusers In Design . . . . . . . . . . . .Nov 58
Barr, Vilma
Restoration Drama . . . . . . . . . . .Feb 44
Fresh Brands’ Fresh Light . . . . . . .Oct 18
Lighting Prada In SoHo . . . . . . . .May 32
Beardsley, Charles
Beardsley’s Beat . . . . . . . . . . . . .May 8
Beardsley’s Beat . . . . . . . . . . . . .Jul
3
Beardsley’s Beat . . . . . . . . . . . . .Dec 4
Beardsley’s Beat . . . . . . . . . . . . .Jan 7
Beardsley’s Beat . . . . . . . . . . . . .Jun 9
Beardsley’s Beat . . . . . . . . . . . . .Mar 8
Beardsley’s Beat . . . . . . . . . . . . .Nov 3
Beardsley’s Beat . . . . . . . . . . . . .Oct 12
Beardsley’s Beat . . . . . . . . . . . . .Aug 3
Beardsley’s Beat . . . . . . . . . . . . .Sep 3
Beardsley’s Beat . . . . . . . . . . . . .Feb 3
Pacific Perceptions . . . . . . . . . . .Jun 38
Beasley, Denny
Essay By Invitation . . . . . . . . . . . .Nov 8
Brown, Wesson M.
Essay By Invitation . . . . . . . . . . . .Oct 7
Bullough, John
Interpreting Outdoor Luminaire Cutoff
Classification . . . . . . . . . . . . . . . .Jul 44
Bullough, John D.
Research Recap . . . . . . . . . . . . . .Dec 18
Cronin, Brian
Working With The Web . . . . . . . . .Feb 21
Working With The Web . . . . . . . . .Jan 11
Crowley, James P.
Regional Voices . . . . . . . . . . . . . .Mar 7
Regional Voices . . . . . . . . . . . . . .Nov 15
Daniels, Robert
Megenta Mood Over Miami . . . . . .Mar 20
Davis, Jeffrey
Regional Voices . . . . . . . . . . . . . .Feb 4
De Alessi, Ross
Tuscan Dusk . . . . . . . . . . . . . . . .Sep 28
De Alessi, Ross
High Road To Aberdeen, The . . . . .Nov 50
De Grazio, Dawn
Lighting For Quality . . . . . . . . . . . .Oct 10
DiLaura, David
A History of Light and Lighting
(Seminar Preview LIGHTFAIR
International 2002) . . . . . . . . . . .May 52
Duncan, Thomas
Regional Voices . . . . . . . . . . . . . .May 13
Erhardt, Louis
Views On The Visual Environment .Aug 7
Views On The Visual Environment .Apr 11
Erwine, Barbara and Heschong, Lisa
Lighting for Learning (Daylighting and
Student Performance, LIGHTFAIR
International Seminar Preview) . . .May 76
70
LD+A/December 2002
Farrar, Ronnie
Vice President Member Activities .Jan
Ferzacca, Nick
Essay By Invitation . . . . . . . . . . . .Aug
Flynn, Kevin
Regional Voices . . . . . . . . . . . . . .Sep
Forrest, Hank
Celestial Centerpiece . . . . . . . . . .Apr
Gregory, Paul
Restaurant Lighting (LIGHTFAIR
International Seminar Preview) . . .May
Hamtil, Therese
Over The Rainbow . . . . . . . . . . . . .Dec
Hanley, William
Executive Vice President Reports .Dec
Executive Vice President Reports .Mar
Executive Vice President Reports .Jun
Executive Vice President Reports .Sep
Harwood, Ron
A Barcelona Treat
For The Senses . . . . . . . . . . . . . .May
Heinisch, Richard
Essay By Invitation . . . . . . . . . . . .Aug
Essay By Invitation . . . . . . . . . . . .Jan
Hollingsworth, Dawn and Folsom, Tom
Theatrical Fixtures In Architectural
Applications (LIGHTFAIR International
Seminar Preview) . . . . . . . . . . . . .May
Dawn & Jeremy Solve The
Towers Mystery . . . . . . . . . . . . . .Feb
Horner, Pam
President’s Points . . . . . . . . . . . .Apr
President’s Points . . . . . . . . . . . .Jan
Horton, Barbara
Finding Photometric Files At 2 AM Nov
Houser, Kevin W.
Lighting For Quality . . . . . . . . . . . .Nov
Huang, Li
Specification Sales Strategies . . . .Feb
Jones, Bill
Essay By Invitation . . . . . . . . . . . .May
Kale, Ann
Cross Over The Bridge . . . . . . . . .Dec
Karpen, Daniel
Reducing Headlight Glare . . . . . . .Feb
Kessler, Carolyn
Luxury Light . . . . . . . . . . . . . . . .Oct
Kobes, John-Michael
Grandstand Grandeur . . . . . . . . . .Dec
Lavoie, Denis
Regional Voices . . . . . . . . . . . . . .Apr
Regional Voices . . . . . . . . . . . . . .Dec
Lowe, Roslyn
Street Theater . . . . . . . . . . . . . . .Jun
Deep Sea Dining . . . . . . . . . . . . . .Dec
Maiman, William L.
Twin Beacons Of Hope . . . . . . . . .Jun
McLafferty, Patrick
Fluorescent System Gets
Solar Assist . . . . . . . . . . . . . . . .Jun
McSweeney, Diarmuid and Gibbs, Jeffrey
Essay By Invitation . . . . . . . . . . . .Jun
Moen, Debi
The Hot Light is On . . . . . . . . . . .Jun
Moyer, Janet Lennox
Lighting The Seasons (LIGHTFAIR
International Seminar Preview) . . .May
Neuman, Barry
Militello’s Mind-Melting Luminosity Apr
Ngai, Peter and Steffy, Gary
Up With Uplighting . . . . . . . . . . .May
Passariello, Duilio
Castle Drama . . . . . . . . . . . . . . . .Jun
4
11
15
32
58
38
7
10
15
11
44
18
3
68
38
8
9
20
4
19
9
34
52
42
46
Perovic, Lydia
Charge of the Light Brigade . . . . .Jan 18
Powe, Andrew A.
All That Jazz . . . . . . . . . . . . . . . . .Dec 42
Prouse, Robert
More Than Just a Pretty Face (LIGHTFAIR
International Seminar Preview) . . .May 72
Rambusch, Viggo Bech
Liturgical Light
For St. Leo The Great . . . . . . . . . .Jun 48
Reid, Randy
President’s Points . . . . . . . . . . . .Oct 15
President’s Points . . . . . . . . . . . .Jul
9
Robinson, Craig and Waite, John
Lighting Uncommon for the Commonwealth
Games (LIGHTFAIR International Seminar
Preview) . . . . . . . . . . . . . . . . . . .May 64
Speirs, Jonathan
Experience The Elements . . . . . . .Sep 32
Reflections In A Golden Eye . . . . .Aug 37
Sumiyama, Shigetsugu, Designer and
Minami, Kazunobu
The Blue Waves Of Parruru . . . . . .Feb 28
Szinger, Kimberly
Regional Voices . . . . . . . . . . . . . .Aug 6
Valenti, Michael
Tango Argentino . . . . . . . . . . . . . .Sep 40
Leisure And Light . . . . . . . . . . . .Oct 32
The Guiding Light . . . . . . . . . . . . .Aug 54
Veitch, Jennifer and Timmings, Martin
Lighting For Quality . . . . . . . . . . . .Sep 12
Walerczyk, Stan
Energy-Saving Retrofit . . . . . . . . .Dec
Energy-Saving Retrofit . . . . . . . . .Sep 6
Essay By Invitation . . . . . . . . . . . .Feb 8
Essay By Invitation . . . . . . . . . . . .Jul
6
Follow The Money . . . . . . . . . . . .Aug 14
Warren, Willard L.
Energy Concerns . . . . . . . . . . . . .Dec 5
Energy Concerns . . . . . . . . . . . . .Feb 6
Energy Concerns . . . . . . . . . . . . .Jan 8
Energy Concerns . . . . . . . . . . . . .Nov 16
Energy Concerns . . . . . . . . . . . . .Apr 3
Energy Concerns . . . . . . . . . . . . .Aug 22
Energy Concerns . . . . . . . . . . . . .May 3
Energy Concerns . . . . . . . . . . . . .Jul
8
Energy Concerns . . . . . . . . . . . . .Jun 4
Energy Concerns . . . . . . . . . . . . .Mar 3
Energy Concerns . . . . . . . . . . . . .Oct 16
Energy Concerns . . . . . . . . . . . . .Sep 10
10
33
50
40
16
10
18
62
28
54
56
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