The Jewelry of Architecture

The Jewelry of Architecture

Decorative lighting adds 'eye candy' to the architectural space.

By JAMES R. BENYA, PE, FIES, FIALD

FOREWORD

The original edition of this article was published in 1993 in Architectural Record in cahoots with my long-time editor, Charles Linn FAIA. In 2007 my friend and colleague Tom Scott encouraged me to re-publish it in Architectural Lighting, as he had found it helpful in his work. Recently retired from Acuity Brands, Tom worked a career in the jewelry of architecture. To him, I dedicate this, what will probably be the final edition.

In the nearly 30 years since the first edition, there have been two significant shifts in the practice of lighting design. The first is the profound impact of LEDs, which are now the only light source for almost everything in lighting. Many see the LED revolution as simply replacing legacy light sources in everyday applications, but frankly, there are design opportunities unleashed by LEDs that transcend the collective history of lighting design. The second significant shift is the complete transition to a next generation of lighting designers, of whose opportunities I am envious.

THE LAYERS OF LIGHT

In the practice of architectural lighting, one discovers, sooner or later, that lighting design is best described and designed by layers of light, an approach in which principal lighting requirements are addressed separately before being coordinated into a unified composition. Depending on the designer and the project, the number of layers may be as many as eight, but for most projects, there are four classic layers that have served lighting designers in both architecture and the theatre for generations.

The first layer, “ambient light”, also called “fill light”, is non-focal, general illumination. The amount and type of ambient lighting helps establish the basic mood or 'ambience' of a space. It does not usually create visual interest. The second layer is the “task light”, dedicated to the principal activities of a space. In rooms where tasks such as reading or manufacturing predominate, this layer provides visual interest. The third layer, called focal or “key” light, is dedicated to illuminating displays in a space. In rooms where displays dominate, this layer creates visual interest.

This article is about the fourth layer - decorative lighting. Its primary role is to attract the eye in order to establish or reinforce the architectural design or theme. Decorative lighting may also provide ambient, task, or focal lighting in the process. For historic and classical lighting design, these four layers are essential, and they work well for projects of all generations, whether new or renovation and restoration.

THE LANGUAGE OF DECORATIVE LIGHTING

Surely, decorative lighting has evolved over time, often as part of the architectural details of a given period. For practical reasons involving the use of flame as a light source, most historic luminaires included some type of transparent, translucent, or perforated enclosure and venting. To this day, many traditional luminaire styles tend to embody these characteristics, since their original purpose also suits electric lighting. We tend to use historic lighting terminology today to describe decorative lighting even if it is modern.

Chandelier: A French word meaning literally 'holder of candles,' chandeliers illuminated large and grand spaces, often employing elaborate lowering mechanisms so that dozens of candles could be lit from the floor. We tend to associate chandeliers today with suspended decorative lighting that plays a formal ornamental role.

Pendant: A word meaning 'hanging ornament,' primarily applying to jewelry and lighting. A broader classification of luminaires in which chandeliers could also be included, though generally describing a decorative class that is less formal and, often, less expensive.

Sconce: From the French word esconce, literally meaning 'holder of light,' this term is only used today to describe an ornamental wall fixture.

Lantern: A traditional word suggesting a more utilitarian light mounted to a post, wall, or arm, lantern is typically associated with ornamental and themed lighting.

Lamp: A historic word still associated with portable lighting of classic construction, lamp often takes an adjective like 'floor' or 'table.'

In current terms, we also use practically rooted terminology, based on how the luminaire is mounted - for instance, track, wall bracket, or string light. Or where the luminaire is seated - pier light or post light. Or where the luminaire is located - ceiling light or streetlight.

THE MODERN EVOLUTION OF DECORATIVE LIGHTING

Prior to the invention of the electric lamp, the enormous challenges of managing fire limited the world of decorative lighting until the 20th century. With early incandescent lamps, electric versions of traditional and historic gas and candle luminaires were among the first to occur, but soon the industrial era of the twentieth century produced a number of appealing products. For instance, some fixtures of this era take their names from the original manufacturer, like Holophane (ribbed glass) or Abolite (industrial metal shades) that even today are favorites for adaptive reuse and edgy loft products. In other cases, the function of the luminaire, such as “vaportight”, floodlight or “acorn”, has become handy language to describe a specific class and style.

Modernism squashed decorative lighting for a time, but the “post modernism” movement renewed interest in decorative lighting on many levels. Sconces and pendants were the first to emerge in the 1970’s and 1980’s with contemporary styling at first reminiscent of Art Deco, along with modern task lights and table lamps, many of which can be found in museums today. The compact fluorescent lamp was instrumental in bringing decorative lighting back into design in the 1980’s and helped make appealing designs for energycode compliant projects.

LEDs have changed everything. No longer tethered to hot lamps, the heavyduty electrical requirements of legacy light sources, and the appurtenant costs, decorative lighting enjoys renewed enthusiasm and creativity. Modernized versions of classical types and fresh new ideas abound. Here are some thoughts on successful design approaches.

DESIGNING WITH DECORATIVE LIGHTING

I think of decorative lighting as the 'jewelry of architecture.' The principal role of jewelry is to ornament and 'catch the eye'; in modern lighting, it is no different. Like jewelry, the style and design of decorative lighting sends many messages about a project. For instance, a crystal chandelier is traditional, formal, and elegant. An onyx or alabaster bowl chandelier is transitional, semi-formal, and tasteful. A deer antler chandelier is themed, semi-informal, and playful. A glass and metal wall sconce is modern, formal, and contemporary. When it comes to making an architectural statement, lighting is to architecture as jewelry is to dress - it stands out and begs to be looked at first.

But like jewelry, there are some conventions and well-learned design concepts that work best. Consider the following:

LOCATING DECORATIVE LIGHTING. The use and location of decorative lighting is often driven by aesthetic expectations. It helps to use tradition as a starting point; assume there will be a chandelier over the dining room table, a pendant light over the breakfast table, a table lamp by the bed, and sconces in a hotel corridor. While it is acceptable to design a dining room without a chandelier, there is a cultural expectation for such a piece; its absence would give the space a different feeling. The visitor's eye will be forced to seek other visual interest, such as architectural details, artwork, silverware, or stemware.

USE OF SPARKLE AND GLOW. Two especially important aspects of decorative lighting are sparkle and glow. Sparkle usually refers to small areas of relatively high brightness. If the source becomes too large, sparkle quickly becomes glare. Take, for instance, lamps in a crystal chandelier. As long as the wattage is low, or the chandelier hung high enough, the result will be pleasant. But increase the size of the lamp or proximity to it, and glare will occur. Glow is a large area of brightness that is not glare. To prevent glare, the brightness of the luminaire must be balanced with the luminance of the room, and, especially, with the surface against which it is seen. Many lighting designers favor hanging a chandelier within a ceiling coffer that is uplighted from a cove or from concealed lighting atop the chandelier. This reveals the beauty of the chandelier while creating an effective indirect light source that casts more light than that radiating from the apparent luminaire.

ACHIEVING THE RIGHT AMBIENCE. “Eye-level glow” is the clever technique of employing a glowing luminaire at or below the horizon line. In this approach, a table or floor lamp draws the eye down to where the visual tasks and interest occur. The coziness and warmth of a living room or bar is often the result of carefully placed luminaires below six feet, such as table or floor lamps. A shade prevents glare, allowing for a high-wattage lamp suitable as a reading light, without ruining the effect.

USED AS OTHER LAYERS. Decorative fixtures can also provide ambient lighting. A favorite 'bargain' hotel ballroom design involves fitting a chandelier with concealed uplights, and separately circuited low-wattage lamps visible through a (seemingly) high-end diffuser, such as real (or faux) alabaster. The uplights can provide as much as 200 to 300 lux of general illumination, and when these are turned off, the lamps glowing through the diffuser might provide 20 to 50 lux that can be separately dimmed for an event.

DRESS UP THE ORDINARY. Decorative lighting can also enhance corridors and other spaces that usually employ only one lighting system. Too often these spaces are illuminated solely by downlights, or worse, troffers. Use ceiling decoratives or sconces, mixed with downlights (to prevent the overuse of ornamental luminaires), to easily improve the appearance and perception of quality in even the most ordinary space.

WORDS TO THE WISE

OTHER LAYERS. Beyond providing appealing and functional illumination, some projects aspire to employ lighting to create artful effects or to become art itself. With the capabilities of LED lighting, the rendering of the architecture and structure of a building is a special opportunity that lighting designers seek. Approach these projects with caution and reverence, and make sure you have the funding and patience on the part of the owner and other design team members.

CUSTOM LIGHTING. The larger the decorative luminaire, the more likely a custom design will need to be considered. This is particularly true in important hospitality projects, like restaurants, hotels, and casinos, as well as for major civic projects, houses of worship, and the occasional corporate or office project. However, keep in mind that custom lighting is expensive, complicated, and can be surprisingly difficult, so proceed with caution. Working with a company that specializes in this type of product is tantamount. Before designing your own luminaire from scratch, make sure you have completely evaluated standard lines and products from companies that are accustomed to making custom variations of their cataloged offerings. Hint: unless you’re very skilled and have the budget, choose decorative luminaires, especially custom products, that use screw-based LED lamps. It will save both fixture costs and listing costs (remember that all lighting must be listed to UL standards), and once in the field, will give you tremendous flexibility to change lamp wattage and color temperature. And above all, avoid 'knocking off' existing designs; it is, at best, unfair to those who have invested their resources to develop the original product.

COMMON MISTAKES. Its easy to over-do it. You will be tempted to place luminaires in inappropriate locations or in conflict with other decorative elements, or simply to use too many. For instance, sconces generally look best mounted at the 'third points,' meaning one-third of the height of the wall from either the ceiling or the floor. Along the wall, be careful - too many sconces can look overdone. Remember, the essence of good design is restraint (unless you are designing a casino, and then all bets are off).

BEAUTY IN IN THE EYE OF THE BEHOLDER. I encourage architects and interior designers, or in residential work, the homeowner or decorator, to play a significant role in the choice of decorative lighting. Use your knowledge of design and illumination to take their choice and add the other layers to create the desired composition. That's good lighting design.