designing lighting June 2022 by designing lighting

Elegant form, clean hardware, unique connector offering 360° light rotation

The District / Resorts World / Las Vegas, Nevada

EdisonReport's 7th Annual LIFETIME ACHIEVEMENT AWARDS

Monday, 20 JUNE 2022

5:30 pm - 8:30 pm

Las Vegas Marriott

325 Convention Drive

Teal Brogden

Randy Burkett

David DiLaura

Denise Fong

Patty Glasow

Dawn Hollingsworth Kevin Houser

Mark Lien

Paul Pompeo

Charles Stone

STRAIGHT OR CURVED?

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.845 lumens per foot / up to 92 CRI

.S mooth 0-100% dimming

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.Assembled to spec in Los Angeles, CA for fast delivery (AMS - Acclaim Modular Systems)

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.Conect up to 100 linear feet on a single feed

.Go from 5W to 10W output with the flick of a switch ( Acclaim’s PowerSwitch™ Technology)

.Standard in white, black or gray + custom color finishes

.Available in 1 ft. and 4 ft. sections

Mariana Figuiero

Mark Rea

Zac Tschillard

Parker Allen

Photo

Gavriil Papadiotis

Jim Benya

Stefanie Schwalb

Craig Dilouie

Parker Allen

Jim Benya

Juan Davila

Amerlux first mastered the power of light on the mind and body. With Delta Electronics integration, we now understand how it connects an entire building—HVAC, security and detection—on a single platform.

Control how your occupants feel. Shape how they see your award-winning work. Your design touches everything.

Connect it all with one trusted solution.

Visit us at Lightfair booth 1727.

By Craig DiLouie, LC, CLCP

By Stef Schwalb

BOOM! We’re hitting the lighting world hard with the introduction of our latest suspended offering. Impactful and infinitely customizable, this direct/indirect fixture allows you to create lines, squares, rectangles, U-shapes, and T-Shapes. Decorative panels and end caps match any décor, the perfect foil for our vast assortment of high quality light engines and optics.

Editorial Director: Randy Reid

It’s LightFair Time!

This is my favorite professional week of the year and we are so happy that the forecast calls for a strong LightFair.

Publisher: Cliff Smith

We spoke to Dan Darby, Show Director and Senior Vice President. There are 326 exhibitors and pre-registration attendance is 88% higher than in 2021. Dan is very bullish on the show.

Director of Audience Development: Angie Hullfish

EdisonReport’s 7th Annual Lifetime Achievement Awards is on Monday, 20 June and we expect over 100 attendees celebrating the careers of:

• Teal Brogden

• Randy Burkett

Contributing Writers:

James Benya PE, FIES, FIALD

Principal at Design Services, Inc. and The Benya Burnett Consultancy

• David DiLaura

• Denise Fong

• Patty Glasow

• Dawn Hollingsworth

• Kevin Houser

• Mark Lien

• Paul Pompeo

• Charles Stone

Juan Davila

Craig Dilouie

Principal at ZING Communications

European Lighting Contributor Global Business Development Director HER Lighting

Sam Koerbel is the Master of Ceremonies.

Stefanie Schwalb

Hospitality Lighting Contributor

Craig Dilouie

Interim Managing Editor at Boston Magazine

Principal at ZING Communications

Staff Writers:

Stefanie Schwalb

Tickets for the event are still available at https://lifetimeawards.eventbrite.com Heavy appetizers and drinks will be served, and we are respecting WILD’s Mocktail Initiative, with alcohol-free options to show the same level of care and consideration for non-drinkers as we do for other guests.

Parker Allen

Hospitality Lighting Contributor

Interim Managing Editor at Boston Magazine

Katie Smith

Jacob Wright

Staff Writers:

We continue our celebration on Tuesday with the 3rd Annual Tesla Awards. Join the National Lighting Bureau (NLB) as they present the awards at LightFair Live (#1131) on the show floor at 2:15 pm. No pre-registration, seating may be limited; first-come, first-served.

Published by EdisonReport

Parker Allen

Katie Smith

Jacob Wright

1726C General George Patton Dr. Brentwood, TN 37027

Phone: 615-371-0961 designinglighting.com

Published by EdisonReport

1726C General George Patton Dr. Brentwood, TN 37027

Phone: 615-371-0961 designinglighting.com

designing lighting is focused on the Business of Lighting Design™ and provides business information to the lighting design community. In addition to the website, designing lighting publishes bi-monthly online magazines featuring original content, interviews within the community and highlights successful award winning lighting designs. While designing lighting is based in the U.S., it has contributors from Europe and is developing a global presence. (ISSN 2693-9223)

Statements and opinions expressed in articles and editorials in dl are the expressions of contributors and do not necessarily represent the policies or opinions of the EdisonReport. Advertisements appearing in the publication are the sole responsibility of the advertiser.

Wednesday morning, we begin our Thought Leaders' interviews at our booth, 2670. Feel free to stop by and discuss the state of the industry. We will publish key interviews in early July. We especially welcome all lighting designers and specifiers.

Also on Wednesday, 22 JUN, we will attend WILD Speaks! at LightFair Live (#1131). This event begins at 4pm.

All of us have been on an incredible journey that none of us could’ve imagined 28 months ago. It has brought with it heartbreaking human loss, severe business disruption and failure, and much of the time an uneasy sense of “just what is going to happen next?”

But perseverance and elbow grease have moved us this far.

Keep moving!

Remember, it’s the industry people that make LightFair a great event—hope to see you at the show.

NARROWEST SPOTLIGHT

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The latest expansion of the wildly versatile LX2044 Series is the ZE3 version. We’ve combined three powerful 4 degree spotlights into one clean, crisp package for unsurpassed optical performance, unleashing 70,000 CBCP of power. With the addition of various accessories, changing the beam from 4 degrees to wider distributions is as simple as adding a lens, making the LX2044 / COB / ZE3 Spotlight the most powerful tool in your space.

Lighting Services Inc The premier specialty lighting manufacturer

3RD ANNUAL

T E S L A A W A R D S ™

TUESDAY, 21 JUNE 2022

NO TICKET REQUIRED

2:15 pm LightFair Live Booth #1131

We are excited to see so many women speaking, running tours, and mentoring at LightFair this year! We can't wait to reconnect with everyone and learn together. We invite you to join us at two back-to-back WILD events Wednesday afternoon.

no pre-registration, seating may be limited; ﬁrst-come, ﬁrst-served.

Attend: WILD Speaks!

Building Diversity in the Lighting Industry Pipeline

4 pm - 5 pm in the Lightfair’s LIVE Area

Attend: Network with WILD!

5 pm - 6 pm in the Lightfair’s Special Events Area

Join us to connect with fellow lighting peers and catch up with WILD! Enjoy refreshments, networking and an artistic activity!

WILD has new developments to share, like Lamplighter Coalition - a program designed to create awareness around sexual harassment.

Thank you to our networking event sponsor

See you in Vegas!

Lois Hutchinson Principal | Inverse Square

Sr. Lighting Designer | Arup

Lighting control for the modern world

Casambi’s wireless lighting control system provides the most robust, cost-effective, and simple solution tailored for today’s and tomorrow’s lighting designers and electric engineers. With more than 3 million nodes installed, and an ecosystem of partners that continues to expand, Casambi is enabling award-winning products that suit any designer’s vision to deliver a full-featured lighting control system—without compromising on aesthetics or functionality.

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JAMES R. BENYA, PE, FIES, FIALD By

INDUSTRY TRANSFORMATION AFFECTS AWARDS! EVERYTHING —EVEN

To me, the best part was the building of camaraderie among lighting designers, where genuine fellowship reigned over the night, and the winner received a crystal ball.

In the history of buildings, lighting design is relatively new. Only 100 years ago, electric illumination was just starting to become commonplace as electrification was limited to only about half of the people in America. Prior to that, there were several important exhibitions of lighting, like the 1892 World’s Fair in Chicago and the lighting of Niagara Falls, and the 1915 Panama Pacific International Exposition in San Francisco, one of the first to employ the external floodlighting of buildings. Designed by Walter D’Arcy Ryan of GE’s Illuminating Engineering Laboratory, the PPIE was among the first large scale projects where buildings themselves glowed against the night sky without the sparkle of exposed lamps on the structure. Images of the Exposition also stand out as among the earliest examples of architectural lighting photography.

Even more recent are lighting design awards. Award programs and ceremonies for lighting design projects first emerged in the early 1970’s with what are known today as the International Illumination Design Awards of the Illuminating Engineering Society. In 1980, the program known today as the Cooper Source Awards was introduced, followed in 1983 by the International Association of Lighting Designers’ International Lighting Design Awards and the GE Edison Award. While all of these programs were admittedly Americas-centric, international competitors were invited, and lighting designers from all over the world entered and many won awards, including the highest honors.

What made the lighting design awards programs particularly special were the international announcements and publications and the annual awards banquets, which for many years resembled the Academy Awards in pomp and circumstance. Old school extravagance prevailed, an opportunity for dressing up and partying into the night. For over 30 years, LightFair was the home of the GE Edison and IALD Lighting Design Awards, which added an attraction that drew many lighting designers for a gala evening and celebration. One year at LightFair, after a magnificent dinner banquet, the IALD rented San Francisco City Hall for an afterparty that carried on into the wee hours of the morning. To me, the best part was the building of camaraderie among lighting designers, where genuine fellowship reigned over the night, and the winner received a crystal ball.

Most recently, two things have changed lighting design awards. The first, obviously, is COVID, which may have permanently ended banquets. But also, there is a larger force, the changing of the guard in lighting products, in communications and marketing, in image acquisition and editing, and in how current lighting designers work, market and celebrate. I think that this is because the economics of the industry have shifted so much. For example, GE is now two different companies – GE Lighting, a Savant company, and GE Current, a Daintree company – and neither offer the Edison Awards. Philips Lighting is now Signify, but with its acquisition of Cooper Lighting Solutions, the future

of the Source Awards is in doubt. Taking their place are international lighting design award programs like the (d) arc awards, sponsored by (d)arc magazine, and the LIT awards, organized by Farmani Group and 3C Awards, both based on Internet marketing, communications and award celebrations.

To be honest, the demise of the old-school awards programs to me is a bummer. But there is hope! The National Lighting Bureau (NLB) has stepped up and created a lighting design awards program largely focused on the North American lighting market apparently taking the place of the Source Awards and GE programs. Now in its third annual competition, the Tesla Awards are open to new construction or retrofit lighting projects for all types of indoor and outdoor applications. Anyone may enter a project. I served as a judge for the 2022 competition, with awards set to be presented Tuesday, June 21st at 2:15 p.m. at LightFair. Winners of past programs have included significant North American firms including Schuler Shook, Stantec, Morlights, and Fisher Marantz Stone. The genesis of this competition should be of little surprise, as it owes its creation to Mary Beth Gotti, Chair of the National Lighting Bureau and former Manager of the GE Lighting Institute (sponsor of the Edison Award for Lighting) and to Randy Reid, the editor of this magazine and Executive Director of the NLB.

For any lighting designer, winning a lighting design program is an opportunity to build a reputation and get some welldeserved publicity. It looks really good on a resume or CV, too. Early in my career I identified the value of awards in building a practice and one’s “brand”, and I consider it to

have made a significant contribution to my career. I recommend pursuing awards to all lighting designers for many reasons, and there are three important skills that I would like to suggest that you learn:

• Identify and employ a good professional photographer. In every competition, most winners are the result of two or more really good “money” images. A professional photographer tends to get everything right from composition to color balance, contrast and exposure. A professional image is typically more than 30-40 megapixels and taken using premium quality lenses. Magazines love these images because they can print them full-page bleed without loss of detail. Architects often hire professional photographers, and you may be able to share the rights to several images for quite a bit smaller investment.

• Learn to become a good photographer yourself. Decades ago I invested in expensive medium format film cameras to achieve similar results, and I studied with my favorite professional photographer, Doug Salin in San Francisco. Digital cameras are tools of the trade today, and you will be surprised at the challenges of getting the depth of field, color balance, focus and other details right. You might get a useful secondary image from a cell phone but don’t count on it.

• Develop decent photo editing skills, especially if you are the photographer. In today’s market this isn’t cheating. The most common edits are color correction and cropping.

Finally, find a copy editor to help write the narrative. Most awards programs limit copy to a specific number of words, and its extremely important to use terms correctly and to tell the story in a way that judges can quickly understand the difficulties of the design and skill of the solution. Because I both competed in and served as a judge in every North American program at least once between 1984 and today (not at the same time, of course!), I feel especially qualified to tell you, this is how to compete and win. And oh, yes, you will need a great lighting design and a photogenic space. Good luck! ■ 1

Due to the dramatic changes in the lighting industry in the last few years, the GE Edison Awards are now different, honoring new products and new services throughout world, but not lighting design projects as in the past.

Image: The Shed. LIT Award 2021, lighting design by Tillotson Design Associates. Photo Credits: Brett Beyer, Iwan Baan, John Muggenborg

LEVERAGE

Archimedes is reputed to have said, "Give me a lever and a place to stand and I will move the earth."

It is no surprise to anyone in lighting that LEDs have moved our earth. It was an old saying that new light sources do not replace existing light sources; rather, they are merely added to the catalog. LEDs were not, however, anything like the previous innovations in discharge sources that they displaced — all of them and the incandescent lamps to boot are gone or will be soon.

Perhaps more profoundly, LEDs moved the earth of the

lighting business entirely. The light source and luminaire oligarchies no longer exist. Prior to the widespread introduction of LEDs, the lighting industry was extremely profitable. Anyone can now be a lighting manufacturer, albeit a small one. And times are really tough now for the business of lighting research and education.

The Lighting Research Center (LRC) was founded in 1988 by the New York State Research and Development Authority (NYSERDA) to provide an independent voice in the quest for increasing lighting energy efficiency, well before LEDs were of any real commercial interest. We quickly saw

MARIANA G. FIGUEIRO AND MARK S. REA

the need to expand that mission to graduate education, producing many of today’s lighting application leaders. We also expanded that mission to develop some of the fundamental knowledge used today in lighting applications, including hundreds of peer-reviewed publications, tens of book chapters, and two editions of the IES Lighting Handbook. Among the LRC’s many innovations were the first independent testing program, the first lighting demonstration program, the definition of LED life and how to predict it, the theoretical foundations for mesopic vision and color rendering, as well as a definition of “white” illumination. Perhaps our biggest contribution to lighting knowledge was the development of a theoretical and practical understanding of how light affects circadian rhythms.

The LRC’s intellectual legacy was made possible by the support of the lighting industry through our Partners and Alliance programs. Plus, because lighting was a big energy user in buildings, we enjoyed significant and sustained support from many utility and government agencies.

All of that changed quickly with the widespread adoption of LEDs. The lighting oligarchs were gone because they no longer could rely on their capital investments for producing legacy technologies. Also gone was the support of utility companies and government agencies because they collectively believed that LEDs met their lighting energy efficiency goals.

Because LEDs are so good at what they do — serving as cheap, efficient, long-lasting, high-quality light sources — the lighting industry today has largely become a commodity business. This commoditization of lighting is a huge burden on those people wanting to create value-added products and services rather than value-engineered products and services. That burden is nearly impossible to lift without leverage. Consider the following illustration of the lighting industry and where we are now.

The commodity burden on the lighting industry (LI) is

characterized as the weight (W). The knowledge about the impact of light on humanity is the fulcrum (gray triangle). The LRC helped build the knowledge-fulcrum in this image when the weight of commoditization was much less. To do so, the LRC (orange arrow) needed to be close to the lighting industry so that we could research and develop an understanding of the value that lighting provides. But by being close to the fulcrum, the length of y is small in this illustration. When the weight was small, we could apply enough force (F) to increase lighting’s value for the industry. Now a great deal more force needs to be applied to help the industry to return to a value-added business and away from a value-engineered business. However, without the previous levels of support from the lighting industry, utility companies, and government agencies, the LRC could only apply a limited force to lift that commoditization weight. We moved to Icahn School of Medicine at Mount Sinai and created the Light and Health Research Center (LHRC) in 2020. In doing so, we effectively increased our distance from the lighting industry, increasing the length of y in this diagram (blue arrow). Because we helped build the fulcrum and understand the value of lighting, we can, in principle, apply much less force to lift the commodity weight now facing the industry.

Lighting really is important to humanity, not simply because we can reduce energy use better than ever before, but because it can demonstrably improve sleep among the old and the young, improve safety for automobile drivers and pedestrians, and even improve the health of farmers and their neighbors by reducing the use of fungicides on crops.

Lighting really is important to humanity, not simply because we can reduce energy use better than ever before, but because it can demonstrably improve sleep among the old and the young, improve safety for automobile drivers and pedestrians, and even improve the health of farmers and their neighbors by reducing the use of fungicides on crops. But the lighting technologies needed to improve humanity are essentially the same as those developed before the commoditization of LEDs. That is why we need to help lift that commodity burden

from the manufacturers — humanity needs better lighting products!

So, it might seem counterintuitive, but by moving to Mount Sinai and creating the LHRC we are now able to make a bigger lift because we have increased our leverage. The following is a short list of funded projects we have undertaken since coming to Mount Sinai that, we hope, illustrates how people outside of lighting are beginning to see lighting. ■

Quality Light, Quality Sound

Birchwood Acoustic Fixtures

The BWA250 combines exceptional sound dampening with seamless pixel-free illumination. Available with direct/ indirect illumination and a sustainable housing made from 60 percent post-consumed recycled content, Birchwood acoustic luminaires offer a responsible solution for today’s open spaces.

“Designers love light, but we don’t like fixtures.”

Dean Skira

Photo Credit: Delta Light

The Journey: A Look at the Need, Design and Development of Bespoke Luminaires

The Journey: A look at the need, design, and development of bespoke luminaires

REID By

During my forty-year career in lighting, it was a bit unnerving when I realized the tremendous lack of experience and knowledge I have with custom luminaires. It has only been since my role at designing lighting (dl) magazine did I fully appreciate there is an entire world of bespoke luminaires.

Bespoke luminaires offer many advantages. One of the most important is that they can be designed in such a way to perfectly solve a problem. Because it is custom, no compromises are needed. Second, there likely is not a competitor, so everyone can be compensated for their work. designing lighting (dl) magazine strongly supports the industry’s ability to make a fair profit, including the reps, and thankfully, we don’t hear of 3% commissions on bespoke luminaires.

In Europe, bespoke luminaires are more common than in the U.S., and several lighting designers design their own luminaires.

In July of 2021, I spent an afternoon with worldrenowned lighting designer Dean Skira in his office in Pula, Croatia, where he explained the importance of designing luminaires for his jobs. He asserted, “Designers love light, but we don’t like fixtures.” His recent design, Nime, is a luminaire completely hidden in the ceiling. The human eye sees no source. There is only a small 1cm circle. The luminaire is manufactured by Delta Lighting, and all the hardware is above the ceiling, including three lenses. Dean said, “We break that beam to 0 degrees, and that is where we have the 1 cm opening;

below the ceiling the beam can be either 20 degrees or 50 degrees and can be rotated 360 degrees.

In September of 2021, I ran into Dean in Milan during Euroluce, and he was explaining one of his iGuzzini designs to other designers. I found it interesting that his designs are used at two different companies.

One thing that dissuades the design of customer luminaires in the U.S. market is the certification process, specifically UL and DLC fees. The UL cost is a given for safety concerns. Most custom luminaires are for new construction, so there likely would not be any utility rebate. Still, some designers want that DLC stamp of approval, even though it is not needed. These costs add up and can dramatically add to the price of small custom jobs.

One thing that prevents the design of custom luminaires in the U.S. market is the certification process and the associated costs, specifically UL and DLC fees. The UL cost is a given for safety concerns. Most custom luminaires are for new construction, so there likely would not be any utility rebate. Still, some designers want that DLC stamp of approval, even though it is not needed. These costs add up and can dramatically add to the price of small custom jobs.

Designer Marco Stignani and I met in Milan in September of 2021, and he explained that the certification process in Europe is not as strict as in the United States, saying, "I was designing a luminaire for a special project and used a company for the LED

RANDY

Photo Credit: Yellow Goat Design

components. Since the LED was already certified, the engineer just needed to get approval for the electrical system and not the complete luminaire.”

American landscape lighting designer Patrick Harders explained that he was an early LED adopter for landscape lighting back in 2009. But those early luminaires had short life due to improper heat sinking. In addition, they were almost impossible to service, and, in many cases, the entire luminaire needed to be replaced if one electrical component failed. It was so important to his design business to have correct luminaires that he began designing his own, which resulted in starting a new company, Sterling Lighting. Now he supplies complete fixtures for his own design needs and sells to other landscape lighting designers across the country.

Many OEMs will do custom work. A few designers suggested two OEMS where bespoke work is paramount: Zaneen and Yellow Goat Design.

Zaneen has a new division for custom work called Studio Zaneen, which offers two avenues of solutions for designers – custom build or modifications. With custom, Studio Zaneen will work with a designer to create a new product specific to their project and produce a unique luminaire. Zaneen is not restricted to large quantity projects and will decide to move

forward with a custom proposal based on a variety of reasons. One reason can simply be to build a rapport with the design community. Budget and timeframe are also important issues when considering a custom job.

If applicable, Studio Zaneen has the flexibility to modify a wide range of standard products to match or reflect the inquiry instead of producing a complete custom fixture from scratch. With modifications, Studio Zaneen can adjust or scale luminaires by using their flexibility with standard Zaneen products to better suit a designer's needs.

Amber Caton of Wegman Design Group designed the lighting for the Tribby Arts Center in Ft. Myers, FL. Amber used custom fixtures from Yellow Goat Design, explaining, “The luminaires floating above the reading space in the Literary Artist Lounge are Yellow Goat’s Cloche fixtures, and there are six uniquely stunning Halo Vert fixtures in the grand lobby that were modified in a teardrop shape to highlight the kinetic sculptures and the terrazzo pattern in the lobby floor.” Three are 5 feet in diameter, and the other three are 4 feet, all specified at 3000k color temperature.

Caton added, “Sometimes you just have to do custom so you can get the appropriately sized luminaire in the space.”

We could not agree more! ■

Photo Credit: Studio Zaneen

IESNYC Lumen Awards

AWARD OF EXCELLENCE

ALLISON AND ROBERTO MIGNONE HALLS OF GEMS AND MINERALS AT THE AMNH

Design Firm: Renfro Design Group

Architectural Firm: Ralph Appelbaum Associates

Design team: Richard Renfro, Jenny Stafford, Matt Caraway, Aylin Aydin, Angie Ohman, Paola Bernal

Completion Date: June 6 2021

Project Location: New York City

A welcome part of New York City’s reopening, the redesigned halls of gems and minerals at the American Museum of Natural History feature more than 5,000 specimens from 98 countries within a spacious 11,000 sqft gallery. The color-changing perimeter cove provides a sense of boundary within the space and sets a low-level ambience for higher drama. Then each dazzling specimen is displayed to clarify its features and create a preeminent educational experience. Rigorous mockups, studies, and testing uncovered fixtures with the right attributes to define each specimen. Globally renowned gems are showcased by sources just above eye level, ensuring visitors see the extraordinary optical properties each gem possesses. Nearby, a drab 10-ton zinc slab flashes to piercing orange and green colors elicited by UV light. Each large case houses a dual-CCT, 98+ CRI, micro-adjustable track system for highlighting; a linear light wash to illuminate the full case and graphics; and a linear fiberoptic uplight to mitigate heavy shadows. The case’s final design compartmentalized light sources in attics, to reduce the potential that maintenance might disturb this precious collection of gems and minerals. So that all New Yorkers and visitors might enjoy their brilliance.

AWARD OF EXCELLENCE

CONFIDENTIAL AEROSPACE / DEFENSE HEADQUARTERS

Design Firm: Fisher Marantz Stone, Inc

Architectural Firm: Lehman Smith McLeish (LSM)

Design team: Paula Martinez Nobles, Katheryn Czub, Ame E. Leder, Charles G. Stone II

Completion Date: July 20, 2020

Project Location: Reston, VA

Photography Credit(s): Peter Aaron / OTTO

Nestled within a wooded 22-acre site on the rolling hills of Virginia, this bespoke 250,000 square foot corporate headquarters reveal itself as a highly refined lantern of evolved modernism. The building's users are enveloped in luminous spaces, exuding a calm airiness. Surfaces are interrupted only by structural members or the purposeful intervention of art and changes of materials. Studied, integrated lighting techniques contribute to gestures that expand space and create impressions of great depth of field. Particularly, the lighted ceilings throughout employ optically optimized linear LED fixtures that extend views to adjacent spaces and provide soft lighting on walls. All the illumination choices are highly methodical: rigorous layouts of minimal downlights, coves, and overt linear expressions all work in harmony with the architecture. The lighting appropriately recedes from view, enhancing the strong modernist structure and its nod to brutalist influences. Refined washes on both hard surfaces and soft materials, and the controlled color palette, dominate our impressions of the project. The project may be described as high budget with exceedingly low energy use, helping achieve USGBC LEED Silver certification.

AWARD OF EXCELLENCE

STONY BROOK UNIVERSITY MART BUILDING & CHILDREN'S HOSPITAL TOWER

STONY BROOK UNIVERSITY MART

BUILDING & CHILDREN'S HOSPITAL TOWER

Design Firm: Cline Bettridge Bernstein Lighting Design

Architectural Firm: Pelli Clarke & Partners

Design Firm: Cline Bettridge Bernstein Lighting Design

Architectural Firm: Pelli Clarke & Partners

Design team: Francesca Bettridge, Michael Hennes, Nira Wattanachote

Key Luminaires: Acuity controls, Zaneen

Completion Date: February 28, 2020

Design team: Francesca Bettridge, Michael Hennes, Nira Wattanachote

Key Luminaires: Acuity controls, Zaneen

Project Location: Stony Brook, NY

Completion Date: February 28, 2020

Photography Credit(s): Jeff Goldberg/Esto

Project Location: Stony Brook, NY

Photography Credit(s): Jeff Goldberg/Esto

Three connected structures – a Cancer Center, Children’s Hospital and Auditorium – give Stony Brook University’s medical campus a renewed visual identity. The design draws inspiration from the surrounding landscape and the organic architectural forms it suggests. Our lighting reinforces these references, making the spaces comfortable and welcoming. A water motif suffuses the Children’s Hospital lobby. Grazers highlight mosaic “bubbles” and large ceiling fixtures enrich the aquatic imagery. In patient rooms, colorchanging LEDs, customizable DMX interfaces, and easyto-use bedside controls enable children to personalize their environments. Thoughtfully selected decorative fixtures mark entrances and circulation spaces. Pendants highlight the auditorium lobby’s ellipse-shaped arrival point. Cylindrical glass lights follow the form of a spiral stair down to the lower level. In the shared auditorium, indirect uplights emphasize the overlapping petals that form the stepped ceiling, creating a dramatic effect that emphasizes the room’s sweeping arc. On the ceiling of the double-height Cancer Center lobby, the water theme reemerges in a glass art feature. Layered, overlapping LED circles are animated by DMX controls to suggest ripples. This feature embraces the essence of our lighting concept: celebration of nature’s forms and imagery, reinforcement of pure geometries, and the design of spaces that evoke delight.

Three connected structures – a Cancer Center, Children’s Hospital and Auditorium – give Stony Brook University’s medical campus a renewed visual identity. The design draws inspiration from the surrounding landscape and the organic architectural forms it suggests. Our lighting reinforces these references, making the spaces comfortable and welcoming. A water motif suffuses the Children’s Hospital lobby. Grazers highlight mosaic “bubbles” and large ceiling fixtures enrich the aquatic imagery. In patient rooms, color-changing LEDs, customizable DMX interfaces, and easy-to-use bedside controls enable children to personalize their environments. Thoughtfully selected decorative fixtures mark entrances and circulation spaces. Pendants highlight the auditorium lobby’s ellipse-shaped arrival point. Cylindrical glass lights follow the form of a spiral stair down to the lower level. In the shared auditorium, indirect uplights emphasize the overlapping petals that form the stepped ceiling, creating a dramatic effect that emphasizes the room’s sweeping arc. On the ceiling of the double-height Cancer Center lobby, the water theme reemerges in a glass art feature. Layered, overlapping LED circles are animated by DMX controls to suggest ripples. This feature embraces the essence of our lighting concept: celebration of nature’s forms and imagery, reinforcement of pure geometries, and the design of spaces that evoke delight.

AWARD OF EXCELLENCE

LITTLE ISLAND

Design Firm: Fisher Marantz

Stone, Inc

Architectural Firm: Heatherwick Studio

Studio

Design team: Enrique Garcia-Carrera, Paul Marantz, Miyoung Song-Carroll

Landscape Architect: Mathews Nielson Landscape

Design team: Enrique Garcia-Carrera, Paul Marantz, Miyoung Song-Carroll

Architects (MNLA)

Landscape Architect: Mathews Nielson Landscape

Completion Date: May 21, 2021

Architects (MNLA)

Project Location: New York City

Completion Date: May 21, 2021

Photography Credit(s): Michael Grimm

Project Location: New York City

Photography, FMSP

Photography Credit(s): Michael Grimm

Photography, FMSP

A daring public-private partnership, Little Island rises from a vision to replace a decaying pier, imagining a new public space for Manhattan. The result is a new public park providing an immersive art and nature experience. The brief: create an intimate yet safe environment, with subtle landscape and structure highlights utilizing inconspicuous sources. Topography and plants glow from concealed luminaires. Visitors first notice the softly glowing park from the esplanade. The historic pier’s archway acts as entry beacon leading to the luminous bridge and concrete “pots” structure. Arriving, one can explore luminous pathways, experience a performance, or marvel at unparalleled vistas of city and river, unobstructed thanks to shielded lighting. Choosing highlights and shadows creates a dynamic nighttime setting. At the entry, lights change color for special events, while all others remain warm-white in consideration of nighttime adaptation and the serene environment. Many fixtures were custom designed to meet the client’s high expectations and the harsh New York Harbor environment. Existing pole lights were not sufficiently inconspicuous, necessitating bespoke design of slender, multiple-shielded-head poles. At the performance venues, each fixture is wirelessly dimmable via a sophisticated control system. A demonstration of how state-of-the-art lighting can achieve a new visual experience.

AWARD

550 MADISON AVENUE

Design Firm: KGM Architectural Lighting

Architectural Firm: Gensler

Design team: Stacie Dinwiddy, Martin van Koolbergen, Stacey Bello, Dorothy Underwood

Key Luminaires: Lumenpulse, Optic Arts by Luminii, LED-Linear

Completion Date: January 3, 2022

Project Location: New York City

Photography Credit(s): James Ewing / Gensler

Seeking to complement the volume of this iconic tower transformation, the lighting design for this soaring ground floor lobby emphasizes the ethereal, pensive quality of the space while honoring the simple, classic forms and materials. Mindful of concealing all specified light sources, surfaces and edges appear to radiate light, with no distractions to compromise the visitors’ experience. In deference to the original design, the original oculus was kept and reilluminated with tunable white sources to account for natural light entering throughout the day. A suspended 24-tonblue-marble sphere art installation in the lobby center is lit, giving the illusion of a piece of sky brought down to ground level. Lighting of this piece not only perfectly highlights the art, but also the terrazzo floor, which is made from the crushed pink granite that originally adorned the walls. The dynamism of the space is translated throughout the day via a tunable white programmed control system. The amount of natural light that penetrates the space from north and south was fundamental in the approach to artificial lighting.

AWARD OF MERIT

MANITOGA / THE RUSSEL WRIGHT

DESIGN CENTER

WRIGHT

DESIGN CENTER

Design Firm: Anita Jorgensen Lighting Design

Architectural Firm: Studio Joseph, River Architects

Design Firm: Anita Jorgensen Lighting Design

Architectural Firm: Studio Joseph, River Architects

Design team: Anita Jorgensen, Joseph Ballweg

Completion Date: May 14, 2021

Design team: Anita Jorgensen, Joseph Ballweg

Project Location: Garrison, NY

Completion Date: May 14, 2021

Project Location: Garrison, NY

Photography Credit(s): Wendy Joseph, Michael Biondo

Tucked away in Garrison, NY, a new Design Center comprises the nationally landmarked mid-century home, serene studio and enchanting forest of an iconic American industrial designer. This exquisite, new design space tells the story of how the designer, Russel Wright, shaped modern American lifestyle from early experiments in spun aluminum in the 1930s and the colorful rounded forms of American Modern mix and match dinnerware to Japanese inspired patterns and textures decades later. The state-of-the-art exhibition space connects to the main House Museum and to an exterior terrace with stunning views of a dramatic stone ridge and surrounding woodland landscape. The design approach is guided by the concept of "invisible" lighting that seamlessly blends with the exterior environment while highlighting the uniquely American mid-century forms created by Russel Wright. Continuous bands of neutral 3,000°Kelvin LED luminaires are discreetly concealed within the curvilinear architectural elements, while miniature recessed accent lights add sparkle to the objects placed on the organically shaped central display area. The lighting plays a supporting role by enhancing the stars of the installation - Russel Wright's iconic, organically shaped objects created for "easier living," a unique American lifestyle that was gracious yet contemporary and informal.

AWARD OF MERIT

BIKE BARN AT THADEN SCHOOL

Design Firm: TM Light

Architectural Firm:

Design Firm: TM Light

Marlon Blackwell Architects

Architectural Firm:

Design team: B. Alex Miller, Aoife O’Leary

Marlon Blackwell Architects

Key Luminaires: EcoSense

Design team: B. Alex Miller, Aoife O’Leary

Completion Date: May 1, 2020

Key Luminaires: EcoSense

Project Location: Bentonville, AR

Completion Date: May 1, 2020

Photography Credit: Timothy Hursley

Project Location: Bentonville, AR

Photography Credit: Timothy Hursley

Visually anchoring the eastern portion of a school campus, this barn structure provides a flexible space for sports and gatherings. The lighting concept is rooted in the vernacular of a dilapidated barn that allows light to leak both in ward and outward. The façade spacing is modulated to allow the building to glow like a lantern. We worked closely with architects to develop the detailing of the enclosure to allow for this trespass of light through certain planes. This allows for a subtle dappling of light, shade, and shadow when patterns are cast by the spaces between the wood members, articulating the ‘space between’ rather than the architectural surface. Where possible, this indirect passage of light through architectural surface was valued above the application of direct light from the light fixtures themselves. The main source of interior lighting is indirect ceiling illumination provided through uplight grazers concealed at the balcony level. Cylinder pendants are used for supplemental downlighting and carefully located to align with the bottom of the wood trusses and thus reduce the visual impact. The lighting design deploys inexpensive, industrial fixtures to reinforce the experience of space while using them in an elegant and strategic way to maintain hierarchy.

AWARD OF MERIT

DENVER ART MUSEUM

Design Firm: Burro Happold

Architectural Firm: Machado Silvetti, Fentress Architects

Design team: Wei Liu, Gabe Guilliams, James Clotfelter, Chris Coulter

Completion Date: October 24, 2021

Project Location: Denver

Completion Date: October 24, 2021

Project Location: Denver

Two eclectic buildings house the Denver Art Museum's expansive collection. The Buro Happold team researched the original abstract façade lighting concept that had been lost through time. The original neon lighting scheme bifurcates the façade at overlapping surfaces. To re-create the effect, powerful, narrow-beam sources are mounted only at the top and bottom of the sevenstory slots, making the effect much easier to maintain. Original windowintegrated luminaires discovered during demolition were replaced, re-creating the same internal glowing effect that was originally conceived.

Design Firm: L'Observatoire International

International Architectural Firm: Steven Holl

Architectural Firm: Steven Holl Architects

Design team: Hervé Descottes, Wei Jien, June Park, Thomas Mnich, Wen Y. Lin

Architects

Design team: Hervé Descottes, Wei Jien, June Park, Thomas Mnich, Wen Y. Lin

Key Luminaires: ETC, Lutron, EcoSense, Edison Price, ALW, CoolEdge, and ERCO

Completion Date: October 1, 2020

Project Location: Lancaster, PA

Key Luminaires: ETC, Lutron, EcoSense, Edison Price, ALW, CoolEdge, and ERCO

Completion Date: October 1, 2020

Photography Credit: Paul Warchol

Project Location: Lancaster, PA

Photography Credit: Paul Warchol

L’Observatoire’s multifunctional lighting concept celebrates the distinctive geometry of the building’s architecture. In common spaces, such as the ground floor forum, mono points and track systems offer adjustable lighting for exhibitions and events, while integrated lighting shapes the overall atmosphere, transforming walls and edges into glowing surfaces. Studio spaces are illuminated through skylights with integrated electric lighting to facilitate an even cast of light. Exterior lighting amplifies the unique curves and character of the building, enhancing the elevated structure to create the impression of a floating volume.

As visitors move deeper within the site, episodically illuminated native vegetation surrounds the pathways, adding visual richness at a personal scale."

This Expo features pavilions from 192 nations, each demonstrating native cutting-edge technology. The site hosts photovoltaic trees, along with a photovoltaic canopy shading the site and subterranean exhibition hall. The distribution of canopies on the site strikes a delicate balance between optimal solar collection, shading visitors from the intense sun, and providing visually comfortable indirect illumination for nighttime visitors.

CITATION FOR SUSTAINABLE DESIGN

TERRA—THE SUSTAINABILITY PAVILION

SUSTAINABILITY PAVILION

Design Firm: Burro Happold

Architectural Firm:

Design Firm: Burro Happold

Grimshaw Architects

Architectural Firm:

Grimshaw Architects

Design team: Chris Coulter, Gabe Guilliams, Jenny Werbell

Project Location: Dubai

Photography Credit: Phil Hanforth

Project Location: Dubai

Photography Credit: Phil Hanforth

Every once in a while you get to work on a project where the outcome is even much better than expected. When you walk into this lobby there is something that is so surreal, it is hard to explain. Light can truly transform one's experience, and this lobby proves that."

– Stephen Margulies

The lobby redesign at this building was driven largely by the need to brighten the space. Previously, the lobby felt dark and uninviting, even during the day, due to factors like limited sunlight and dark architectural finishes. To help solve this, the lighting team designed a system of custom, illuminated baffles at the lobby’s ceiling, which combines with additional light layers to create depth and visual interest. The lighting solution more than compensates for the lack of natural lighting, elevating this transitional space above and beyond the average treatment of a corporate lobby.

DEUTSCHE BANK, ONE COLUMBUS CIRCLE

Design Firm: One Lux Studio

Architectural Firm: Skidmore, Owings & Merrill

Owings & Merrill

Design team: Stephen Margulies, Elena Areshina, Taki Taniguch

Margulies, Elena Areshina, Taki Taniguch

Key Luminaires: Flos, Kettra, Edison Price, USAI

Completion Date: August 31, 2021

Key Luminaires: Flos, Kettra, Edison Price, USAI

Project Location: New York City

Completion Date: August 31, 2021

Photography Credit: Caprice Johnson

Project Location: New York City

Photography Credit: Caprice Johnson

CITATION FOR URBAN LIGHTING RESEARCH

LIGHT GOWANUS

Design Firm: Sighte Studio

Design team: Francesca Bastianini and Alex Pappas-Kalber

Completion Date: October 2, 2021

Project Location: Brooklyn

Photography Credit: Alexandra Pappas-Kalber

The project consists of a comprehensive longitudinal survey of existing electric lighting conditions throughout one Brooklyn neighborhood. Both quantitative and qualitative data sets were collected through measuring, photographing, observing, and interviewing community members. Future surveys will capture a historic narrative of the neighborhood’s lighting during and after impending development, creating a reference for use in other urban redevelopment situation.

Position. Point. Play.

With a palette that tailors its performance and aesthetic, the Profile lighting line offers new tools with which to design lighting experiences. Designed in collaboration with award-winning lighting designer Linnaea Tillett and Tillett Lighting Design Associates.

Find us at landscapeforms.com or contact us toll free at 800.430.6205.

RANDY REID WITH KATIE SMITH By

Photography Credit: Gavriil Papadiotis

As a jury member for the LIT Lighting Design Awards, I found the project, The Acropolis of Athens and Monuments, absolutely stunning. My jury peers agreed - as it was selected LIT 2021 Lighting Design of the Year.

It was an honor to meet Eleftheria Deko, of Eleftheria Deko Lighting Design, as she walked me through her winning project.

What a journey this project was—in the midst of Covid!

In late 2019 rumors started about lighting design studios in Greece interested in relighting the Acropolis. Originally the Ministry of Culture wanted to update the lighting with no other changes. Eleftheria, when asked to apply for the job, made it clear that she wanted more than to just update existing equipment: “We’re not interested in just doing the replacement. We believe that the monuments need a new approach to the lighting.”

She met with multiple decision makers on location (with the most crucial being the President of The Onassis Foundation, sponsor of the project) to explain that the new lighting did not mean more lights, but rather more efficient positions, different focusing, and other improvements.

Although she was already hired by The Onassis Foundation, she believes this on-site visit is what ultimately convinced all to approve her application. However, the final approval was given by the national Central Archaeological Council of Greece after Eleftheria’s detailed presentation to its 42 members. The approval was unanimous.

The job was offered in January 2020; however, the Ministry wanted the project design completed in 45 days. A job of this

magnitude deserves the best quality and design available. The team members worked 18 hours every day to accomplish this. Eleftheria told me, “Outdoor fixtures are a little bulky, and we wanted something elegant for the Parthenon. The aesthetic look of the fixtures was a major concern, together with the technical specs, because during daytime the monument is visited by more than 20,000 people in high season.”

Also, there were significant restrictions and specific guidelines by the archaeologists. As one of the greatest monuments in the world, no drilling or modifications of any kind were allowed. As work began, two team members collected historic, archaeological, and architectural data; two worked on the 3D model, and three worked on the lighting plan with Eleftheria, who also drove around Athens to observe the existing installation from different vantage points to see what was and was not working.

The team had only until mid-March to deliver final plans, and they had asked six different lighting manufacturers to provide samples. But because this was the beginning of COVID, businesses were shutting down, and only three manufacturers sent mock-ups. While that was a negative, the design team felt lucky – during lockdown, they were able to visit this huge tourist attraction with no visitors. As the project progressed, The Ministry wanted wanted to inaugurate the new lighting in July, leaving little room for error and delays.

The design team approached the project as three distinct zones – rock, fortification walls, and monuments. In the past all three were lit uniformly with the same color temperature. Eleftheria’s design called for each zone to be illuminated differently, believing that they had to be distinguished from each other.

First, for the rock, that was there before Athens was inhabited, a beautiful white greyish rock, they chose 4000K, to accentuate the materiality and its greyish color.

For the fortification masonry walls, she used 3000K to accentuate their warm color.

The monuments were a different story, as they were made of the famous Pendelikon marble, and they were worshiping places as well as masterpieces of architecture and art. Eleftheria explained, “Initially we thought to light the temples at 3600K, but we ultimately chose tunable white instead.” Her design also called for tunable white light to give a different treatment from East to West, North and South.

The team met with ERCO, asking if their indoor color-tunable technology could be used to create outdoor fixtures. ERCO quickly said yes and sent samples for mockup. DMX controls were used and every column in the Parthenon, Propylaia, Erechtheion and Temple of Nike is now controlled individually.

Eleftheria also pointed out that all of the temples are now easily distinguished: each is illuminated with a different shade of white to give a depth of field from a distance. In fact, Eleftheria’s team used 12 shades of white ranging from 2800K to 3700K.

To comply with the no-drilling subtle touch policy, and to respect the monuments, the team created special cement bases to house luminaires according to the style, size and color given by the archaeologists of the preservation office. As vehicles are not allowed up close to the Parthenon, the bases were poured on site and placed on a thin film on top of the marble to avoid friction. The visibility of the cables was another issue, and in some cases, soil was used to hide the wiring.

The Ministry insisted on keeping the monument lighted at night during installation, which would have been almost impossible. Eleftheria’s team negotiated and received permission to go dark for only one week. However, as new luminaires were rotated in and old metal halide fixtures rotated out, the team managed to keep the site fully illuminated except for only three or four hours for several nights. Every discarded light had to be counted and logged prior to recycling.

Eleftheria told me how genuinely exciting this project was. One team would typically begin in the morning and work all day with models and calculations, while a second team worked on site in the daytime with archeologists’ supervision to change out cabling. Another team would be on site until 3 or 4 am with mockups, and never once felt fatigued, sick, or tired. She explained, “There was never a possibility to be bored or exhausted. It was as if the monument was supporting us.”

Another challenge was balancing the design with the comfort of the city. The plan called for a variety between 30-150 lux, whether it was on the rock, walls or monuments. Eleftheria would drive away from the site, while the team dimmed the lighting as she evaluated the illuminance levels from multiple locations. This permitted for dimming to the maximum extent while ensuring the Acropolis is always visible at a distance, without disturbing nearby neighborhoods.

With only a group of 8 associates in the office, along with 3 electrical engineers and the 20 electricians and construction subcontractors, Eleftheria and her team had to complete the design and installation of over 680 luminaires. After its completion, Eleftheria was asked by the sponsors, The Onassis Foundation, to design the launching of the ‘new lighting’ with a light show for inauguration night that was finally scheduled for September 30, 2020.

Eleftheria emphasized the importance of The Onassis Foundation, saying, “Without their sponsorship this project might not have been accomplished. They were very supportive during the whole process, as were the archaeologists and the Ministry of Culture.”

And what about dark sky concerns?

Eleftheria strongly believes and supports dark sky, saying, “We didn’t want to light up another monument and add more light to the city at night. Instead, we wanted to highlight the symbol of democracy, philosophy, art and mathematics…that exists in every inch, every centimeter of the Acropolis.”

The end result? Despite obstacles, the new lighting design of the Acropolis forever improves how everyone sees this world class monument and reflects its symbolic values. ■

THE PREVIOUS LIGHTING INVOLVED:

• lighting projectors with HID bulbs 10-150W, 3000K

• lighting projectors with High-Pressure Sodium bulbs (SDW-T Philips) 2500K, 100W

• lighting projectors with High-Pressure Sodium (SON-T comfort Philips), 100W, 150W and 250W, 2200 °Κ (pink-orange color).

Propylaea and Temple of Athena Nike

Erechtheum

The Sacred Rock and Fortification Walls + Terrace of Apollo, Terrace of Aphrodite, Aglaureion

Theatre of Dionysus and Temenos of Dionysus South Slope

Stoa of Eumenes

Monuments of South Slope: Sanctuary of Asclepius, Choragic Monument and Monument of Thrasyllus, Sculptures

Temple of Hephaestus (Phase B)

Philoapappos Monument (Phase B)

Total

PREVIOUS LIGHTING BULBS HID

5,000h-24,000h

PERFORMANCE DECREASE

8,000h -10,000h (40%) NEW LIGHTING

PERFORMANCE DECREASE ≤50,000h (10%)

ERCO Lightscan 48W (53W) TW IP65

ERCO Lightscan 48W (53W) TW IP65 (55 pcs), ERCO Lightscan 24W TW IP65 (26 pcs), ERCO Lightscan 72W (81W) 3000K IP65 (2 pcs)

ERCO Lightscan 48W (53W) TW IP65 (28 pcs), ERCO Lightscan 24W TW IP65 (19 pcs)

GRIVEN Parade S 60 L. , 72W 3000K IP67 (20 pcs) ERCO Lightscan 72W (81W) 3000K BOARD IP65 (69 pcs), ERCO Lightscan 72W (81W) 4000K BOARD IP65 (69 pcs), LINEA LIGHT Prolamp, 120W, 3000K IP67 (14 pcs), LINEA LIGHT Prolamp, 120W, 4000K IP67 (8 pcs), LINEA LIGHT Periskop 62W 3000K IP66 (5 pcs), LINEA LIGHT Periskop 62W 4000K IP66 (6 pcs), LINEA LIGHT Periskop 62W 2700K IP66 (2 pcs), LINEA LIGHT Narcissus 7W 3000K IP67 (1 pcs)

LINEA LIGHT Periskop 62W 3000K IP66 (31 pcs) LINEA LIGHT Periskop 62W 4000K IP66 (2 pcs)

LINEA LIGHT Archiline_W Linear Profile 62W 3000K IP67 (18 pcs), LINEA LIGHT Archiline_W Linear Profile 32W 3000K IP67 (1 pcs), LINEA LIGHT Narcissus 7W 3000K IP67 (1 pcs)

LINEA LIGHT Archiline_W Linear Profile 32W 3000K IP67 (8 pcs), LINEA LIGHT Periskop 62W 3500K IP66 (4 pcs), LINEA LIGHT Periskop 62W 3000K IP66 (4 pcs), LINEA LIGHT Narcissus 7W 3000K IP67 (2 pcs), LINEA LIGHT Narcissus 11W 3000K IP67 (4 pcs), OSRAM finesse linear 30W 2700K IP65 (1pcs)

ERCO Lightscan 48W (53W) TW IP65 (46 pcs), ERCO Lightscan 24W TW IP65 (5 pcs), LINEA LIGHT Archiline_W 24W TW IP65 (12 pcs)

LINEA LIGHT Periskop 62W TW IP66 (9 pcs), LINEA LIGHT Periskop 8W 4000K IP66, (2 pcs)

566 + 43 For the monumets that have been lit for the first time

Lighting Design: Eleftheria Deko and Associates Lighting Design

KEY LUMINAIRES AND SOFTWARE:

ERCO: Monuments, temples and rock

Linea Light group: East slope and South slope monuments including the ancient theater of Dionysus

Griven Lighting: South fortification wall

Key Controls: DMX

LIGHTFAIR

SUCCESSFULLY PAIRING ARCHITECTURE AND LIGHT IN LAS VEGAS

Resorts World uses lighting to connect the hotels, retail space and public areas

The most expensive resort built on the Las Vegas strip has the most up-to-date, high-tech lighting. Resorts World is home to three hotels offering different levels of luxury experience. The three hotels – the Las Vegas Hilton, Conrad Las Vegas and Crockfords Las Vegas – are all part of the Hilton brand, and each features its own entrance, lobby, and distinct decor. Completed in June 2021 on the former grounds of the old Stardust, Resorts World Las Vegas cost $4.3 billion to build. It boasts the world's largest LED screen and features 3,500 rooms and 40 restaurants and bars collectively.

RANDY REID AND PARKER ALLEN

Developed by Genting Berhad, a publicly traded Malaysian corporation registered with the Nevada Gaming Commission, Resorts World Las Vegas is an integrated luxury resort that redefines the hospitality standard in Las Vegas. It offers various new-age technology advancements across the property, including mobile check-in and digital key via the Hilton Honors app, an AI-powered digital concierge named Red, and more. The resort also boasts more than 200,000 square feet of captivating LED displays, including a 100,000 square-foot West Tower LED screen (one of the largest LED building displays in the U.S.).

The resort’s 5,000-capacity concert and entertainment venue is outfitted to host a myriad of affairs – from starstudded concerts to convention, corporate and sporting events. “This is a gaming city, of course, but we’re the Entertainment Capital of the World, so we wanted to make sure it was all about entertainment, and that starts with the theater,” explained Resorts World President Scott Sibella. The multi-level venue will provide an intimate, high-energy atmosphere with unparalleled comfort, unobstructed sightlines, and an unmatched immersive visual and audio experience.

Gaming has not been overlooked, however. With 117,000

TYING THE RESORT TOGETHER

The resort's 5,000-capacity music and entertainment venue is outfitted to host star-studded concerts, conventions, corporate affairs and sporting events. “This is a gaming city, of course, but we’re the Entertainment Capital of the World, so we wanted to make sure it was all about entertainment, and that starts with the theater,” explained Resorts World President Scott Sibella. The multi-level venue will provide an intimate, high-energy atmosphere with unparalleled comfort, unobstructed sightlines, and an unmatched immersive visual and audio experience. spa.

square feet of gaming space, including 1,400 slots, 117 table games, a dedicated poker room with 30 tables, high-limit areas, and a sportsbook, the next-generation casino will redefine the traditional gaming experience by introducing the most technologically advanced casino and gaming operation.

Working to ensure that all spaces flowed well and fit together under a cohesive theme was the job of Steelman Partners, a Las Vegas-based architectural firm, and Shop 12, a full-service lighting and visual feature studio specializing in the creative design of performance venues and custom visual features. The firms chose to use lighting as a means to link all of the public and retail areas in the World East and West Towers, including the Spine, all public areas, hallways, elevator foyers and the Spa. Lighting was also chosen to guide, entertain and visually amaze guests as they walk through the resort. Specifically, they wanted to use both RGBW and static white linear color changing light for direct view, as well as cove lighting, to be able to change the lighting throughout the year.

Shop 12 and Steelman Partners brought aboard local rep

agency Alive Enterprises Inc. to assist in lighting the resort. Alive knows the Las Vegas environment very well, having worked on most casinos on the Las Vegas strip, as well as T-Mobile Arena and Allegiant Stadium. Commenting on the project, David Alayev, President of Alive Enterprises Inc., said, “The biggest challenge was to create a wide line of light which can house RGBW to be evenly lit, using three various applications - surface mounted, recessed and suspended lighting.”

Shop 12 Design, along with Bombard Electric LLC., specified that the lighting system meet several strict criteria. First, the lighting system had to be flexible for custom applications since there are a wide range of public area activities and physical dimensions throughout the property. Second, the lighting team had to provide detailed shop drawings and installation documentation plans, as well as provide onsite support. Third, with the tight construction schedule, the lighting suppliers had to guarantee that products would arrive on schedule. Any product hold-up would delay other trades and be costly for the resort complex. Having local factories was key to Omnify Lighting and Excelsior Lighting, Inc. being able to ensure that they were able to meet the demand on time. Tivoli took another route – they acquired their own 3D printing machine in order to avoid having to

wait on manufacturing parts from elsewhere.

For general lighting throughout, Shop 12 specified RGB+W TivoTape, which has a tight pitch 3535 LED package and offers defined color consistency and reliability, which is necessary for the lighting schemes at Resorts World. The low voltage tape light is dimmable and compatible with Tivoli’s CUEpro software. It is bright while still being energy efficient, producing up to 285 lumens per foot while consuming only 5.3 watts. The tape light was used for both direct and side-emitting, high and low brightness lighting to meet the specific demands in each area.

Tony Milan, the Lead Project Manager for Tivoli Lighting, said, “An advantage of working with Tivoli is our adaptability of design. The lighting is remarkable thanks to the architects and lighting designers. It truly is beyond complimentary lighting. It is an immersive, emotional experience inspired by the intelligent and passionate marriage of architecture and light.”

Using their patented embedded LED light panels, Omnify provided much of the backlighting for the project, including the specially designed shelf lights in Brezza and Genting Palace, two of the fine dining options at Resorts World.

PROJECT PARTICIPANTS

“The response has been amazing. Everyone who has been to Resorts World loves how the lighting creates the atmosphere in the space. Using lighting which can be tuned to any color and any tone provided infinite possibilities for the client. It can be programmed to do anything and create various scenes through the year for guests to enjoy year-round.”

David Alayev

Omnify specializes in embedding LEDs in acrylic, which can be made in any size and shape. This flexibility was perfect for a job of this size and complexity.

Excelsior Lighting, Inc., a Fresno-based manufacturer, was used for the exterior lighting at Resorts World. Their ability to create last minute solutions and deliver products on time was key to the completion of the project.

The design team faced significant challenges during the course of the project. Boyd Gaming initially owned the site, where it planned to develop the Echelon Place project following the demolition of the Stardust Resort and Casino. Construction of Echelon Place was halted in 2008, and the site was sold to Genting in 2013. The project developers navigated the challenges of developing the site under three different administrations and a global pandemic, bringing the project to completion in mid-2021. The result is the most expensive resort property ever developed in Las Vegas and the first resort to be completed on the Las Vegas strip in over a decade.

Summarizing the project, Alayev explained, “The response has been amazing. Everyone who has been to Resorts World loves how the lighting creates the atmosphere in the space. Using lighting which can be tuned to any color and any tone provided infinite possibilities for the client. It can be programmed to do anything and create various scenes through the year for guests to enjoy year-round.” ■

Architect – Steelman Partners

Lighting Design Firm – Shop 12

Lighting Manufacturers – Tivoli Lighting, Excelsior Lighting, and Omnify Lighting

Installers/Electricians – Bombard Electric, LLC

Rep Agency – Alive Enterprises Inc., ALSCO, Las Vegas, NV

Electrical Distributor – Gexpro/Rexel

Why UL?

Announcing new circadian-effective services at LightFair, booth #2364

At UL, a global safety science leader, we have the knowledge and expertise to help you navigate complex lighting challenges.

Stop by our booth to learn more about our new and exclusive circadian-effective field measurement and performance testing services. For lighting manufacturers, designers and building owners, these new tools can help ensure goals related to circadian effectiveness are being met.

• Heat mapping of indoor spaces and reports on the circadian effectiveness of a building

• Spectral power distribution (SPD) readings at various eye levels converted into circadian stimulus (CS) readings

Connect with our experts at the show and bookmark UL.com/services/human-centric-lighting to keep up to date on upcoming webinars and assets.

THE IoT AND LIGHTING DESIGN

CRAIG DILOUIE, LC, CLCP

Craig DiLouie is education director for the Lighting Controls Association, a council of the National Electrical Manufacturers Association that educates the public about lighting control technology and application (www.LightingControlsAssociation.org).

About nine of out of 10 U.S. organizations responding to Eseye’s 2021 IoT Adoption Report survey stated the Internet of Things (IoT) was a priority for their business, with nearly half planning projects in the next two to three years.

Looking specifically at the IoT and buildings, in a recent report, research firm Fortune Business Insights valued the North American smart buildings market at roughly $27 billion in 2021, with considerable growth in the future.

How will this affect lighting practice?

The Illuminating Engineering Society (IES) tackled the topic with the 2021 publication of ANSI/IES LP-12, IoT Connected Lighting. The 43-page Lighting Practice and American National Standard provides guidance for lighting people when evaluating connected lighting’s role in IoT applications. Overall, it provides an excellent guidepost for the current state of the art, a foundational knowledge base upon which lighting professionals can build as the trend develops.

One area bears special attention, which is implications for lighting design. The IoT is really just a toolbox for various applications. Where it becomes reality is in implementation by lighting and building professionals who work with a set of requirements, some of which will be familiar and some possibly not, and all of it requiring the right expectations and a high level of design discipline.

Before we dive into the document, we should look at a problem with the IoT, which is simply defining it. A basic definition is available, though it covers a wide range of permutations. Simply put, the IoT is a network of sensors and computing devices in everyday objects that can send and receive data.

By extension, this suggests four core capabilities: programmable device behavior, data sharing between devices to trigger automatic response, measuring and monitoring to generate sensor data and monitor device status, and optimization of operations by leveraging the data.

The benefits to a building? Think the 3/30/300 rule of thumb, which postulates the average cost to operate one square foot of commercial building space as being $3 for energy, $30 for real estate, and $300 for occupants. Traditionally, energy-efficient lighting would reduce the $3 investment, and a high-quality lighting solution theoretically influences the value of the $300 investment. An IoT solution has the potential to deliver value across all three areas while possibly adding a fourth—$3,000—which is revenue from new services such as customer-facing applications.

Major IoT elements include physical objects such as sensors and controllers, network infrastructure such as servers and gateways, and data and software. Devices may communicate via a dedicated network such as Bluetooth mesh, building network (LAN), or internet (WAN). Attendant issues are those common whenever computing devices are networked: managing data, latency for response, cybersecurity, and interoperability/integration—issues being tackled in the IoT’s development just as they are by the lighting controls industry.

The IoT solution may express through a dedicated system, a building system such as lighting, or across an integrated building automation system with lighting being a part of the mix. Analytics applications may be inherent in the system software or created via third-party apps using APIs.

This brings us back to lighting. Lighting has long been touted as a “Trojan Horse,” a strong candidate for IoT implementation, because luminaires offer:

• Aesthetically accepted hardware/real estate for integrated devices

• Connection to power

• Installation throughout spaces and areas people use

• Typical positioning at a high mounting height, which provides overhead coverage and lower likelihood of tampering

Further, luminaires can operate with lighting controls, which fit just as neatly into the IoT. Sensors and lighting controllers can be installed as an integral part of (or in proximity to) the luminaire. The sensors produce occupancy and potentially other data. The controllers provide the intelligence necessary for nuanced, algorithmic response. If these control points are connected within a global network enabling data sharing, the

basics of an IoT solution are achieved.

IoT Connected Lighting defines potential IoT lighting use cases, including space utilization, indoor positioning/tracking, personal control, energy optimization, voice input, and Li-Fi in eight project types ranging from office buildings to smart cities. Applications are numerous and still being pioneered, with the most successful likely to become building blocks upon which more complex applications can be developed.

The bottom line is that the ability to collect and analyze energy, occupancy, and other data delivers potentially significant applications and benefits that go far beyond lighting control’s traditional roles of energy savings and flexibility. The data can be used to further optimize energy savings and also improve building and organizational performance, a potentially powerful tool.

Technology is evolving with this nascent trend. For example, some sensors now incorporate the ability to not only detect occupancy as a Yes/No condition and sense daylight but also count occupants and record temperature and humidity. The benefits of data—realized in various applications—is on top of the benefits of global and potentially integrated building system automation, which is really the bedrock of the smart building.

With this understanding, we’re ready to focus on how the IoT impacts lighting design.

The first step is to understand that IoT connected lighting solution projects are more intensive than typical room-based connected control solutions, with any attendant premiums in terms of cost and designer involvement. Regardless of their role in formulating the IoT solution, the lighting professional should take care to be involved as early in the design process as possible to ensure connectivity does not impose a tradeoff in lighting quality and to ensure lighting opportunities are fully considered. As the lighting professional produces the written narrative for the lighting and control system, at a minimum, they must represent their domain in the planning for an IoT solution and provide whatever deliverables are required from their purview.

IoT Connected Lighting states it succinctly: “Lighting design that incorporates IoT involves more team members, diversified project goals beyond traditional lighting project criteria, and additional coordinated components. The decision-making may include collaborative development of financial analysis.”

The document goes on to identify the stakeholders involved in an IoT connected lighting solution, some of whom are familiar and some of whom may be novel. Familiar players might include the:

• Building owner, who establishes the vision, must have skilled operators

capable of operating and maintaining the system, and may be represented in the project by technical consultants

• Architect, interior designer, and acoustic designer, who work with the owner on intended applications

• Lighting designer and/or electrical engineer, who produces the lighting and control design

• Commissioning agent, who validates the design satisfies owner requirements

• Electrical contractor, responsible for installation

• Manufacturer and its sales and technical representatives

More novel players might include a:

• Smart building program manager, an owner representative responsible for implementing global smart building initiatives

• Systems integrator, who integrates or one more building systems

• Master systems integrator, responsible for integrating all building systems into one global platform

• Building IT team, responsible for maintaining networks and cybersecurity

• Low-voltage contractor, responsible for installation

Lighting the IoT

In short, an IoT solution builds upon the familiar to incorporate connectivity, integration, and data to achieve a set of particular owner goals. As the building industry evolves toward greater IoT adoption, lighting professionals should familiarize themselves with the additional requirements related to this fascinating category

The relative role and influence of each of these players may differ based on the type of project and its IoT goals, such as which and how many building systems will be required to interoperate.

During the pre-design/programming phase, the design team will determine the owner’s vision and identify the project’s needs, ideally in a document called the Owner Project Requirements (OPR). The lighting professional should be prepared to ask about the project goals, what data will be collected, any third parties that will be contracted such as for data analytics, desired control system capabilities, integration, level of owner expertise to operate the system, and future-proofing. To deliver maximum consulting value, the designer should be familiar with the technologies involved and potential applications and opportunities. As owner desires may crystalize during the project, the OPR should be treated as a “living document” that updates over the course of the project until it is realized.

During the schematic design/concept phase, the design team will identify the IoT application and required infrastructure, prioritize project needs as essential or desirable, and engage the owner at the internal stakeholder level. The lighting professional should be prepared to ask about primary (must-have) IoT objectives, preferred manufacturers, owner needs related to data storage and analytics, and minimum infrastructure needed to satisfy the primary objectives. Using this information, concepts—which may be expressed visually— can be formulated as Basis of Design, including the start of a written lighting and controls narrative.

During the design development phase, the design team now has a clear plan—refining owner requirements and subsequently building a luminaire, control, and sensor layout and specifications. Coordination will be provided to ensure the lighting and control system properly integrates with other systems. Network and cybersecurity requirements and information is provided to the building IT team. The lighting professional should confirm the budget, select manufacturers, and refine the Basis of Design, including the written lighting and controls narrative.

During the construction phase, the design team refines the design, coordinates with the integrator and other project members to accomplish integration, ensures installers have good documentation, and confirms satisfaction of project goals. The lighting and controls narrative is finalized. Documentation is delivered to the owner, and any specified training is provisioned. A six- to twelve-month post-occupancy evaluation is highly recommended to confirm and tune outcomes. ■

of lighting so as to fully realize its opportunities and minimize risk.

Available at the IES online store, IoT Connected Lighting provides an excellent foundational starting point, along with Lighting Controls Association Education Express courses addressing lighting control system design and commissioning, centralized networked lighting control systems, and how lighting fits the Internet of Things.

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TOP 10 MUST-SEE AT LIGHTFAIR

The Vicky Ring Light, from Above All Lighting, Booth 2020, is a unique ring style light with an LED light source illuminating from its inner surface. It is available in sizes ranging from 23.6”(dia.) up to 59”(dia.). This design features aluminum body construction and an optional acoustic system that maximizes surface area to absorb sound waves and improve harmony in the installed space, providing a perfect integration of lighting and acoustic control.

Cree LED’s, Booth 3007, XLamp®Element G (XE-G) LEDs are breakthrough solutions for color-mixing lighting applications that require high levels of light output and full control over the spectral content. Available in 17 different colors plus a complete portfolio of white options, these LEDs give lighting manufacturers unprecedented flexibility to change and optimize their product's light output properties.

Klus, Booth #2951 is an innovative system providing limitless lighting creativity according to the architect’s/end user’s desire. The luminaires are designed into soft polygonal shapes allowing modules to be connected into strings and multiplying shapes. lighting.

MIFOR-70 from KLUS, LLC, Booth #2951 is an innovative system providing limitless lighting creativity according to the architect’s/end user’s desire. The luminaires are designed into soft polygonal shapes allowing modules to be connected into strings and multiplying shapes.

The multifunctional bollard Korner continues the tradition of Ragni’s, Booth #3435, adaptable and customizable products, this time bringing together new functionalities related to the transformation of urban infrastructures. Sometimes design column, sometimes communication tool, Korner is a dynamic, qualitative, and unusual lighting support, serving communities around the world.

Who says TINY comes at the expense of performance? With USAI Lighting, Booth is defying the norm and what is possible as it raises the bar in design and engineering with a new one-inch recessed fixture family. Featuring powerful output, incredible low glare optics, and completely serviceable from below, these LittleOnes will knock your socks off.

The Miro Cube 2 from Rosco Laboratories, Booth 1617, range of LED fixtures is engineered to provide lighting designers and integrators with precision light control to execute their projects with accuracy and efficiency. Available in RGBW, RGBA, UV & tunable white light models, the patented technology inside Miro Cube 2 provides maximum output, and flicker-free dimming from a 4-in. (10 cm) cube-shaped LED light.

PureEdge Lighting, Booth 2350 launches TruCirque. This product brings the same ease of installation to a pristine circle of illumination. Redefining the relationship between lighting and interior design, the innovative and highly efficient system blends seamlessly into the drywall, becoming part of the architecture. The slim extrusions, LED strips, and lenses are field-cuttable and provide smooth and glare-free illumination using designergrade color rendering LEDs (95+ CRI).

The BISHOP illuminating bollard, from HessAmerica, Booth 2543, delivers highperformance illumination from a unique contoured form factor. Fully shielded optics provide exceptionally uniform illumination without striations or hot spots. Bollard spacings up to 8 mounting heights or more are possible while meeting path of egress and industry recommendations for illumination levels and uniformity, resulting in fewer fixtures and reduced installation costs.

The STRUT from WAC Lighting, Booth 3143, is perfect for open office designs and other community spaces, STRUT incorporates combination vacancy/photo sensors to maximize daylight harvesting and reduce energy consumption. STRUT can also give each occupant control over their own task lighting with SILO Adjustable pendants while integrating illumination of pathways and common areas with layered lighting. STRUT is a complete program with Direct, Indirect, Wall Wash, Downlights, Spotlights, and Pendants.

COOL AND CONTEMPORARY

At the ModernHaus Hotel in SoHo, Lighting Sets the Mood for a Chic Urban Experience

Photography Credit: Pavel Bendov

STEF SCHWALB

STEF SCHWALB By

Photography Credit: Pavel Bendov

The neighborhood of SoHo in New York City is historically synonymous with art galleries, culture, upscale boutiques, stylish bars and restaurants—as well as high-end hotels. The area, located in Lower Manhattan South of Houston Street, is also home to great architecture. Case in point: The recently completed ModernHaus Hotel on Grand Street. The project was helmed by Big Apple-based Palette Architecture, who worked in conjunction with interior design firm Wilson Associates and lighting design firm Dot Dash (also both NYC–based). The goal was to maintain most of the former building by highlighting its original precast concrete, steel, and weathered finishes, while simultaneously reinvigorating spaces that were underused and outdated with character and consistency seamlessly imbued into the property.

The luxurious boutique hotel features 114 rooms equipped with all the modern amenities (Wi-Fi, smart TVs, Nespresso

machines included) and panoramic city vistas, a rooftop pool with spectacular views, 11,000 square feet of outdoor space, 24/7 fitness center, and three dine and drink venues—the all-day, art-filled eatery Jumpin Jacks (which becomes an intimate lounge in the evening); the multi-level, world-class restaurant Veranda, set beneath a state-ofthe art retractable greenhouse and featuring the cuisine of Michelin-star chef George Mendes; and the 18th-floor rooftop bar JIMMY, conveniently located near the outdoor pool.

“Early in the conceptualization of the project, there was an interest by the owner to highlight the hotel’s location in

Previously occupied by The James New York, the ModernHaus required a contemporary refurbishment and rebrand to update the style and revitalize the structure while taking into consideration the hotel’s location and the general design aesthetic for interiors and light selection. “Early in the conceptualization of the project, there was an interest by the owner to highlight the hotel’s location in

“The use of decorative lighting fixtures that prominently display the craft of their assembly, and the use lively brass and metal finishes fit well into the overall design strategy.”

John Sunwoo

SoHo through a connection to the local art scene—both current and historical,” explains John Sunwoo, a founding partner at Palette Architecture. “The mood of the lighting naturally sprung from an idea that spaces would have large pieces of artwork that would be focal points of lighting, which then led to a similar use of lighting to highlight landscape elements, bars, and other features.”

From the lobby to the JIMMY, as well as the guest and presidential suites, there are plenty of examples illuminating the mood with help from lighting fixtures sourced via Aldabra, Bold Lighting, Elemental, Modulightor, Tech Lighting, and Trov. “Another important theme of the design was the counterplay between an architectural palette of unadorned natural materials to form a more subdued backdrop for bold and lively furnishings,” continues Sunwoo. “The use of decorative lighting fixtures that prominently display the craft of their assembly, and the use lively brass and metal finishes fit well into the overall design strategy.”

The project, which got underway in November 2018, was completed in May 2021. And as it turns out, that was a relief for everyone involved. “Luckily, [it] was completed

before supply chain issues became so prominent. During construction, there was back and forth on the selections based on availability and price,” adds Sunwoo. “It’s a credit to Wilson Associates and Dot Dash that they were able to continually propose and source fixtures that the team could get excited about; and in terms of original fixtures versus existing designs, the team was flexible and pragmatic.”

Of course, the role of lighting and choice of fixtures plays an important and strategic role in Palette’s design approach and within their team’s process. “We believe that lighting is critical to the experience of any space. Our approach centers on thinking about lighting from a couple of aspects,” says Sunwoo. “First is the manner in which lighting can shape space by creating datums and allowing objects to come into or recede from focus. In addition, there is such a rich variety of decorative fixtures that there are incredible opportunities to use a single piece to unify and give identity to a space in a much more profound way than other architectural elements.” As for what inspires the firm overall design-wise, Sunwoo says his team is always looking at the spaces around them. “We are lucky to have such diversity and talent in New York,” he concludes. “There is much to draw from.” ■

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RESIDENTIAL LIGHTING AND FABULOUS FIXTURES SHINE BRIGHT AT ICFF

STEF SCHWALB By

Mid-May brought the full-scale return of the International Contemporary Furniture Fair (ICFF) to the Javits Center in New York City. But, don’t let the name fool you, because throughout the three-day event there were plenty of fabulous light fixtures on display in addition to beautiful furniture finds. Over the course of 72 hours, we saw examples of exceptional craftsmanship from around the globe across the show floor. We even attended an event outside of the convention center, which brought the beauty of Brazil stateside to SoHo, via a pop-up that featured cozy, colorful settings and innovative gastronomic experiences for design enthusiasts to enjoy. Now it’s time for a recap featuring a few of the stunners we saw at the show.

CASA BRASIL

While designs from Brazil had a significant presence at the Javits, it was the pop-up— Casa Brasil—and corresponding events that really set the scene for a peek at residential life in the country. Complete with mood lighting and music within two levels of displays, the space featured small vignettes highlighting furnishings, accessories, textiles, and more. But of course, we came for the lighting—which did not disappoint. With the production of luminaires in sectors including decorative, technical, commercial, public, and industrial, lighting creates more than 37,000 jobs in Brazil, and the industry is dedicated to developing and incorporating new technologies throughout its offerings.

Since 2010, through its partnership with ApexBrasil (the Brazilian Trade and Investment Promotion Agency that sponsored Casa Brasil), the Brazilian Association of the

Lighting Industry (ABILUX) has supported the exposure of Brazil’s lighting designers and products to numerous global markets including Europe, Latin America, and the United States through its export programming, Lux Brasil. For ICFF, the project featured the following companies: ACCORD Lighting, DSGN Selo, GEO Luz&Cerâmica, LIGHTSOURCE, LUXION, Madelustre, Munclair Iluminação, and Omega Light. The bold designs, high-quality craftsmanship, and environmentally friendly products—from pendants to floor and table lamps—made a strong showing throughout the space as both functional and fashionable items for the home.

COOLICON™

Making its debut at ICCF this year, British lighting company Coolicon™️ may be introducing their products to the U.S. market now, but their heritage in England features quite an impressive legacy. With 90 years of experience in innovation and engineering, Coolicon™️’s legendary lampshades revolutionized British lighting and industry with its original bi-directional light. Originally patented and designed in 1933, Coolicon™️ lampshades were constructed from high-grade steel and became England’s go-to luminaries in factory and utility lighting. Synonymous with Coolicon™

Photo Credit: Sharon Marston - Neo Bankside

“What lies behind it is a real authenticity. This shape—and it’s kind of grown larger—is great for task lighting."

early British industrial infrastructure, and later in day-to-day life, these standard, durable, efficient lampshades lit British workshops and factories, as well as the London Underground network.. They were also enlisted for use at military bases and barracks during World War II, illuminating the way in Winston Churchill’s war bunker kitchen and during the BLITZ for his London underground telephone exchange.

Trent B. Jennings FRSA

Coolicon™ ran on 40%

“What lies behind it is a real authenticity. This shape—and it’s kind of grown larger—is great for task lighting. In the original factory, you can see it hanging over machines,” explains Coolicon™️ design director Trent B. Jennings FRSA. “It gives a strong down light, but then you get a nice uplight, too. In the 1930s and ’40s they used big 150 watt lights, making huge amounts of heat. Bulbs would pop, and all the electrics would age really quickly.” But because Coolicon™️ ran on 40% less heat, light bulbs were saved and factories didn’t have to be continually re-lit. Companies also noticed there were less accidents onsite. “It was a safer working environment. People were happier because they could see, and that’s because of the ambient light throughout their space,” adds Jennings.

“Because it’s a utility light shade that’s safer for factories, when wartime came along, it was specified everywhere—even in American GI barracks. It’s kind of a shared heritage, so we felt we needed to tell this story in the U.S.”

The original Coolicon™️ utility shade was put back into production in 2015 and continues to be handmade and tooled by generations of skilled craftspeople employing timehonored techniques and materials that remain faithful to the first patented design. As a leader of British-brand vitreous enamel lighting products, Coolicon™️ is also the only company in the world with a license to use Harry Beck’s original London Underground Tube map on their shades, which is permanently enameled by hand.

HADELAND GLASSVERK

Meanwhile, inside the Inside Norway booth—an exhibition project highlighting a curated collection of eight of the country’s best design brands—Hadeland Glassverk showcased a rich history of its own. Founded by the king of Norway in 1762 (who was at that time in search of better medicine bottles), the company maintains more than 200 years of archives and design sources to make a range of pendants,

floor and table lamps created with the highest-quality handblown, hand-etched glass in a wide variety of hues.

With a production time of approximately 6-12 weeks, Hadeland’s international business development manager John Jacobsen says that Hadeland is looking to enter the U.S. market after a more than 50 years’ absence. The company previously delivered 85 lamps to the Kennedy Center back in 1965, but it’s been under the radar since then. Now that Hadeland has received such positive feedback and a good response to its product line introduction, Jacobsen sees this time as the company’s comeback. Having recently completed a stunning cascade of pendants at an Oslo-based H&M flagship store, plans are also underway for more projects to be announced soon.

Raymond Barberousse began designing the brand’s one-ofa-kind, high-quality light fixtures after developing lighting for his own home. “My wife basically said, ‘You can sell these,’ and so she set up a visit with a home store in our neighborhood,” he notes. “The owner said, ‘we love [the fixtures], and you have to sell them in our store.”

SHARON MARSTON

Moving on to beautiful bespoke lighting, British designer Sharon Marston’s work stopped us right in our tracks when we came across it on display—and for good reason. Designed for interiors and public spaces, the studio produces fixtures that stun, something Marston reveals is a conscious part of her process. “I think my work is commissioned as a piece of art and as a focal point, definitely,” she says. “It’s always invariably in stairwells, [flowing] all the way down through a house, as an entrance piece, or over dining room tables.” All the elements are handcrafted, Marston adds, so the glass is handblown and then hand-painted to client specifications.

Of course it comes as no surprise that the designer has always been creatively inclined due to her rich artistic background, which influences the work. “I started as a jeweler, I worked in fashion and theater for a few years, then moved into doing lighting,” Marston reveals. “I always use mostly textile materials. I like to draw with them—that’s how I get ideas—and then it just progressed into glass.” While she’s not trained in glass blowing herself, Marston remains hands-on and sits with the glass blowers during the process. As they work, she instructs them to draw as she creates specific shapes. The result ranges from breathtaking chandeliers and sparkling backdrops to lavish room dividers.

STUDIO PGRB

Continuing on with bespoke, handmade luxury fixtures, Miami-based exhibitor Studio PGRB was a homegrown success story (literally) we just had to share. Creator

Although Studio PGRB works in both residential and commercial sectors, post-pandemic—unlike other companies in the design sector—Barberousse has actually seen an uptick in demand for the latter while interest in the former remains strong. While the pandemic may have brought an increase in material costs, client demand hasn’t subsided. In fact, Barberousse acknowledges that the trend in resimericial design only continues to rise, citing the slowdown of “traditional” fixtures and the increase in more artistic pieces. “You can see when it happens – when the big box stores like West Elm start creating fixtures like this,” he says. “I’ve noticed that now they are geared to more designs like ours, but the quality just isn’t the same; yet it’s true, you can always tell a design shift when those stores start to get onboard.”

TRELLA

Last but certainly not least, we caught up with Timothy Mellema and Daniel Termini, co-founders of New York City–based Trella, a design and fabrication studio that focuses on high-end lighting, including their signature Benedict pendant, which they say launched their brand. “The Prussian blue finish we developed in our shop became a piece that everyone wanted, and it encouraged us to expand the collection,” says Termini. “Part of coming back [to ICFF] was showing our Benedict Pendant series in a more versatile and usable collection, and then also showing some of our more specialty finishes that we just love and want to show where we can.”

While the pandemic was devastating for so many companies on so many levels, for Trella, it actually brought a revelation that’s currently led to business growth. “When 2020 hit, one of the things that did so well for us were these smaller pieces,” says Mellema, “and that pushed us to believe in [Benedict pendant] and expand the collection.” In fact, adds Termini, that led to Trella having a collection which can now be offered to potential hospitality clients. “Especially at that lower price point—we can have the flexibility to offer our specialty finishes to high-end residential and anywhere in between,” he notes. “That was also the point of relaunching the collection—to broaden the scope and where it can be used.”

At the same time, Mellema also acknowledges that the company is considering workplaces as well. “I don’t know if this is related to the pandemic, but in 2019 when we were showing work, I think we just wanted to show beautiful pieces—which was fine—but we weren’t thinking about the practical application,” he admits. “Today we've become more aware of the exact setting that someone’s going to be living with this, asking ourselves, ‘Are they going to be with it at home or the office, and how can we make that a little better for them?’” ■

THE GREAT RESIGNATION, MILLENNIALS AND GEN Z, and the Future of the Lighting Industry

ZAC TSCHILLARD By Roth Lighting, Las Vegas

A recent story from ABC News has given me pause. It’s made me think about the future of the industry from a different angle, and about the future of lighting reps.

I’m talking about the Great Resignation. It sounds like a whole bunch of people walking off the job at once – and that’s exactly what it is.

Anthony Klotz, an associate professor of business at Texas A&M, coined this term in late 2020. He noticed several converging factors that signaled a seismic shift in the way we work: a backlog of resignations, widespread burnout, and people re-evaluating their relationship with work. These three signs that a change was at hand were already present before COVID-19 upended our lives. The Great Resignation just needed something to pull the trigger and get the ball rolling.

The pandemic did just that. It provided the opportunity for remote work – an escape route from the burnout and dissatisfaction, the feeling that we’re working too much for too little satisfaction. Now, almost two years later, as the pandemic subsides, returning to the workplace now seems more plausible. But people aren’t so anxious to give up the benefits of remote work.

So, I got to thinking – how will this affect the lighting industry, and specifically, how will it change the lighting rep arena? And what can we do to make the transition smoother?

WHO WILL CARRY THE TORCH FORWARD?

I decided to look at my very limited demographic information from Mailchimp. Presently, about 40% of lighting reps are between 55 and 64 years old. They’re approaching retirement age. Another 23% are over 65.

In contrast, fewer than 3% are between the ages of 18 and 34. As industry professionals, we need to ask ourselves, why this difference in numbers? How much of it has to do with the Great Resignation? And, most importantly, what can we

do to encourage younger people to step up and pursue a career as a lighting rep?

As part of the Great Resignation, people are re-evaluating their lives, and how their work fits into their life and their value system. No generation is more greatly affected by this than Gen Z, the youngest people in our industry. According to Forbes, these young people in their early twenties want to seek meaningful jobs and be true to themselves, and will leave companies early on in their career if they don’t feel like their values fit in.

There’s a real “war for talent” going on right now, says Steve Crocker, senior vice president and general manager of U.S. construction at WESCO. How can our industry rise to the challenge? What will we do to retain talented young people and interest them in carrying the torch forward as more and more lighting reps retire? How can we help Gen Z, barely into the work force, develop the technical, interpersonal, and problem-solving skills needed to be a good lighting rep who also finds satisfaction in their career?

HOW ARE COMPANIES RESPONDING TO THE GREAT RESIGNATION?

Steve Crocker says that his company, WESCO, is working to “harmonize and modernize” their benefits and retirement packages. This is part of the flexibility that younger people considering our field are looking for. The Great Resignation has only amplified Gen Z’s tendency to place importance on much more than a paycheck.

They’re also looking for flexible hours. They want the ability to merge their work and non-work lives in a way that allows for activities like travel and exercise, things that promote their health and well-being outside the workplace. Both Gen Z and millennial workers are focused on being more than a cog in a machine. They want to make an impact as an individual. To that end, environmentalism and human needs are top on their list of concerns.

So how can we tap into these desires and make it more likely that these talented young people will want to join our industry?

Besides flexible work conditions and hours, the younger generations’ concern with the environment is probably our best opportunity. After all, environmentalism and human needs are a big part of how we design lighting for various environments. It should be part of our work lives as well. Millennials and Gen Z will be attracted to a career that emphasizes this.

WHAT RESOURCES ARE AVAILABLE TO PROMOTE OUR INDUSTRY?

As I see it, we have three valuable resources at our disposal.

College programs. There are many fine programs at the college level that teach both the technical and design aspects of lighting. One example is the Lighting Program at the University of Colorado, Boulder. Another is the MFA Lighting Design program at Parsons School of Design in New York City, where students interact with peers in architecture, interior design, and product design programs, and even have the option of pursuing a double major in lighting design along with either architecture or interior design.

Mentoring. But where can young people acquire the interpersonal skills that will enable them to succeed as lighting reps, and remain in the field long-term? Where will they develop the communication skills needed to work with clients, to effectively explain the big picture thinking that goes into a lighting plan so that their client understands its value?

It seems to me that it’s up to those who have spent years in this field to find ways to mentor those who are just starting. College programs are all well and good, but the personal mentoring of an experienced professional has a greater value than any course work. A mentor is not just someone

who passes on technical knowledge. They can light the spark of enthusiasm in the next generation of reps by being ambassadors for a career that has given them a lifetime of satisfaction and financial gain.

Without this mentoring, it’s questionable whether there will be enough younger people stepping up to replace experienced reps as they retire. And without new blood, there’s a risk that the lighting field will ultimately suffer significant attrition.

The Illuminating Engineering Society. The premier professional organization for lighting reps, the IES offers an annual conference and has student chapters at many colleges that offer lighting programs. Through the IES website (www.ies.org), young professionals can access webinars, podcasts, and a library of courses, from basic to more technical.

How can your company use these resources to address the changes brought about by the Great Resignation? Let’s all do our part to go out and share this exciting career option with the world. ■

London Bridge, Lake Havasu, AZ Photo Credit: Roth Lighting Roth Lighting replaced incandescent lamps with a new full color changing cloud based DMX system.

Sun's Out Buns Out at Resorts World, Las Vegas, Photo Credit: Roth Lighting. New construction where Roth Lighting installed Gammalux custom recessed ceiling fixtures.

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UL Brings Automation and Metrics to the Circadian Stimulus Discussion

With the last two years of our workspaces changing and becoming more work-from-home and a lot of co-op shared workspaces, lighting manufacturers have added new products that contribute to a circadian-effective lighting plan. The importance of circadian lighting is something that Adam Lilien from UL cares deeply about. Adam was recently a guest panelist on the National Lighting Bureau’s discussion on circadian lighting, and he finds that the growth in technology of circadian solutions will greatly benefit people who spend their days working in buildings. He mentioned that after their publication of the Design Guideline for Promoting Circadian Entrainment with Light for Day-Active People, the team realized that the industry desperately needs a methodology for measurement. I found this extremely intriguing, so I sat down with him to learn more about what UL is working on in terms of circadian solutions.

A new service from UL is a patent-pending UL Circadian Field Measurement System. This service will allow UL field engineers to take measurements in customers' buildings and create a floor plan with color-coded spaces to show the lighting designers where light output is above or below their circadian-effective lighting goals. Essentially, this is allowing for field measurements to be taken with results being demonstrated in a heat map format. This service can be utilized in existing retrofits or new conditions.

Instead of working off computer-aided design plans, the system captures the actual light at eye level, including

ambient light from windows and skylights and artificial light from luminaires, along with all of the reflectances from ceilings, walls, floors, furniture, and more. With those measurements, algorithms are used to calculate the effectiveness of the light’s ability to signal to the brain that it’s daytime. Those calculations then derive the circadian heat map that illustrates in color where people in that space will reach the circadian goals. These are voluntary goals defined by the lighting designer, based on the circadian model that they have chosen.

This map shows up in green, red, and yellow. The color green shows where lighting is above the goal– so a space where the circadian-effective lighting is successfully being delivered to the eyes. Yellow and red show where the lights aren’t achieving the goal. This tells lighting designers that they have a few different moves to make, whether it be adding more layers of light, such as a wall wash or a desk lamp, utilizing dimming controls, or improving the reflectance of the space through painting the walls, opening the blinds, or making the furniture options brighter. Adam explained, “This is to measure the circadian-effective lighting achieved in the space. We’ve designed it for the three different published models. Lighting designers can now “see” the results of their designs after installation and commissioning, or for a retrofit, what they are starting with.”

Ideally, this voluntary testing service will be of interest for business owners, lighting designers or specifiers, space planners, and even building occupants. This isn’t just a

"We are focusing on how the light impacts human circadian physiology and what messages the brain is receiving about that light."

Adam Lilien

RANDY REID WITH KATIE SMITH By

trendy concept; it’s something that allows building owners to differentiate their properties, and boost occupancy.

A huge struggle Adam found is that circadian-effective lighting is not a visual thing - what his team is measuring and reporting is not the first thing people notice. It's not like the visual aspect of light. They are focusing on how the light impacts human circadian physiology and what messages the brain is receiving about that light. He explained, “We learned that you can’t just tell the industry how to conduct circadian goal measurements, but that we had to make it easier.” Adam said UL comes into play because the industry needed an organization to figure out a way to automate the process to make assessing the amount of circadian stimulus in larger spaces practical and affordable.

There is a struggle with assigning how properly designed

lighting spaces are better for circadian synchronization, and how it’s possible to deliver consistent results. Even with that struggle, Adam feels that UL’s new systems will bring the right tools to the market and remove barriers for industry adoption. He said that sometimes in the lighting industry, the hardest part is getting the word out. I am pleased to use this as an opportunity to help spread the news about these fantastic systems.

If you are interested in learning more, you can visit UL’s booth at LightFair, reach out to your local UL representative, or visit www.ul.com/services/human-centric-lighting where a video about the UL Circadian Field Measurement System is available. A webinar will soon be announced with a more in-depth look at the UL Circadian Field Measurement System and UL Circadian-Effective Luminaire Performance Certification. ■

PEOPLE ON THE MOVE

Sighte Studio, LLC

Sighte Studio, LLC as Lighting Designer.

Fernando Cotto has joined BOLD LLC as Lighting Designer.

Geoffrey Wright, PE, LC, LEED AP BD C started a new position as Senior Lighting Designer at HOK.

HLB Lighting Desi

HLB Lighting Design announced that Tina Aghassian and Ken Douglas have been promoted to Senior Principals.

HLB Lighting Design

HLB Lighting Design introduced a new line of leadership at HLB with the promotion of Joanna Billy (Controller), Elizabeth Johnson (Lighting Designer), Andrew Moore (Lighting Designer), Katherine Stekr (Lighting Designer) and Azusa Yabe (Lighting Designer) to Associate Director.

HOK

BOLD LLC

FRANKFURT

salutes

and math. Much of her income is earned in her native Argentina,

making the audience part of the design. Lighting plays on the

stage lighting; that career ended when the

Sophya struck out on her own creating immersive light art, where she had entire control of the project. She remembers telling her former colleagues, “We are not suspended in time during the pandemic, and I am going to create my own work.” When employed with stage production, she was part of a crew, but by creating light art she was her own producer. Sophya still wanted to work with a team, but on her own terms. She created Sophya

in essence, a traveling studio. manufacturers, media and consultants,

Buenos Aires as this will be a tremendous no-cost opportunity to get in front of lighting designers and receive Her displays offer 3 main components: art, light, and

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Awards

EdisonReport Thought Leaders: Dan Darby

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The 39th Annual IALD International Lighting Design Awards

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designing lighting June 2022

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STRAIGHT OR CURVED?

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Lighting control for the modern world

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Birchwood Acoustic Fixtures

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The Journey: A look at the need, design, and development of bespoke luminaires

IESNYC Lumen Awards

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ALLISON AND ROBERTO MIGNONE HALLS OF GEMS AND MINERALS AT THE AMNH

AWARD OF EXCELLENCE

CONFIDENTIAL AEROSPACE / DEFENSE HEADQUARTERS

AWARD OF EXCELLENCE

AWARD OF EXCELLENCE

STONY BROOK UNIVERSITY MART BUILDING & CHILDREN'S HOSPITAL TOWER

AWARD

550 MADISON AVENUE

AWARD OF MERIT

MANITOGA / THE RUSSEL WRIGHT

WRIGHT

AWARD OF MERIT

AWARD OF MERIT

BIKE BARN AT THADEN SCHOOL

AWARD OF MERIT

AWARD OF MERIT

DENVER ART MUSEUM

DENVER ART MUSEUM

CITATION FOR SUSTAINABLE DESIGN

TERRA—THE SUSTAINABILITY PAVILION

SUSTAINABILITY PAVILION

DEUTSCHE BANK, ONE COLUMBUS CIRCLE

CITATION FOR URBAN LIGHTING RESEARCH

CITATION FOR URBAN LIGHTING RESEARCH

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LIGHT GOWANUS

LIGHTFAIR

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Why UL?

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Lighting the IoT

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COOL AND CONTEMPORARY

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CASA BRASIL

COOLICON™

HADELAND GLASSVERK

SHARON MARSTON

STUDIO PGRB

TRELLA

THE GREAT RESIGNATION, MILLENNIALS AND GEN Z, and the Future of the Lighting Industry

WHO WILL CARRY THE TORCH FORWARD?

HOW ARE COMPANIES RESPONDING TO THE GREAT RESIGNATION?

WHAT RESOURCES ARE AVAILABLE TO PROMOTE OUR INDUSTRY?

UL Brings Automation and Metrics to the Circadian Stimulus Discussion

PEOPLE ON THE MOVE

TRUCIRQUE

Showing at LightFair Booth #2350

Articles inside

UL Brings Automation and Metrics to the Circadian Stimulus Discussion

The Great Resignation, Millennials and Gen Z, and the Future of the Lighting Industry

Up Close with Sophya Acosta

The IoT and Lighting Design

The Journey: A Look at the Need, Design, and Development of Bespoke Luminaires

Leverage

Industry Transformation Affects Everything - Even Awards!

IESNYC Lumen Awards