ARCHITECTURAL SSL • Chronicling the Advancement of LEDs in the Built Environment
MISSING THE MARK. Quality of “white” light is probably best defined by its impact on surface colors as seen by human observers. It is odd, therefore, that the very core terminology of non-lighting colorists is missing key descriptors: hue, value, saturation and intensity.
AT THE FRONT The business of light—lighting designers and their clients discuss trends and motivations as to why they're pursuing SSL.
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SSL BUZZ LED illumination allows Austrian performing arts center not only to look fantastic, but be fully ready for HD television broadcasts.
SSL PROJECTS Boston's latest art work, "As if it Were Already Here," is captivating the city with its undulating form and everchanging LED-lit color scheme.
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Call to Arms. What is needed now is the creation of a small, intense and fast moving task force to attack the white light issues at hand and create a new lexicon and new standards to better serve designers and end users.
SSL Buzz: An interview with author/lighting guru Jason Livingston Project Profile: Taliesin West shines anew following LED retrofit
ARCHITECTURAL SSL • 519 BRIARCLIFF ROAD, BOLINGBROOK, IL 60440 1506SSLCVR.indd 1
White Pages: Wireless controls, part 3; LVDC power supply options
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Two sizes: 4" and 5"
s
Up to 12,800 lumens
s
Up to 103 lumens per watt
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Zero uplight
2015 INDOOR Entrant Guide
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33 Project Profile: Madison Square Garden 37 Project Profile: Taliesin West
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BUZZ
PERSPECTIVES
07 3:10 to Yuma
05 LED Insights
DOE tests the impact of extreme heat on LEDs
“Integration" and the “Internet of Things” were the buzzwords at Lightfair. But what does it mean for lighting? By Jim Crockett
13 Making the Stars Shine French resort puts a new spin on Starry Night
48 SSL Observed 12 Nexus of Art & Science Jason Livingston expounds on lighting in a new book.
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“All design decisions—lamp technology, fixture type, control systems, etc—have to satisfy this question: ‘What is the desired look and feel of the space?’”
Without risk no innovation occurs. But entrepreneurs could use a break on certain safety issues which dampen spirits. By Kevin Willmorth
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FEATURES
DESIGN & PRODUCTS
14 Market Setting Feature: White Light Re-Examined
40 White Pages Wireless controls; making power supplies smaller.
A new lexicon is needed to truly describe light emitted onto surfaces by LED, including intensity, hue, value and saturation. At the same time, confusion caused by obsolete color metrics must be eliminated. by Kevin Willmorth
20 At the Front: Business of Light We delve a little deeper into the decision-making process of lighting designers and their clients as to what’s driving their adoption of LED, and where they’re choosing to use it. by Vilma Barr
42 Advances Tunable downlights; bidirectional high bays; lighting sensors; PAR38s; accent lights; wallpacks; area lights
Architectural SSL, Vol. 9, No. 3 (ISSN# 1941-8388) is published five times per year by Construction Business Media. Publication Office: Construction Business Media, 579 First Bank Drive, Suite 220, Palatine, IL 60067; 847 359 6493; www.architecturalssl.com. (Copyright © 2015 by Construction Business Media) POSTMASTER: Send address changes to Architectural SSL Magazine, 519 East Briarcliff Road, Bolingbrook, IL 60440.
26 Featured Project: As if it Were Already Here Arup combines structural engineering and state-of-the-art lighting to bring Janet Echelman’s ethereal art work to life over the Rose Kennedy Greenway in Boston. by Ellen Lampert-Greaux
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SEEM 4 ®
IS EXPANDING UP & DOWN
Introducing Seem 4 LED, direct/indirect with flush or exposed pop lenses. Flexible linear suspended lengths in 1' increments and configurations in playful patterns give Seem 4 the ultimate flexibility to meet your design vision. Visit focalpointlights.com for more information.
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NUMBER 38 • JUNE 2015 www.architecturalssl.com Gary Redmond
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Smart Lighting Takes BIG Picture Thinking sensors can be located to gather in this informa-
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EDITORIAL Jim Crockett 847 359 6493 Kevin Willmorth Megan Mazzocco 847 359 6493
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CONTRIBUTING EDITORS Vilma Barr Barbara Horwitz-Bennett Ellen Lampert-Greaux Chuck Ross
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The digitization and computerization of lighting is not going away any time soon, so the evolved thing to do is put on the big boy pants.
tion. That being said, the most critical criteria in even considering such a concept is whether you or your client will frankly be able to not only see data trends, but parse that into information, and actionable information at that. For just like spam, tons of data points with no meaning
One of the things I did in Manhattan besides
are not useful. Back to Enlighted, their custom-
attend Lightfair this past month was to visit the
ers are the likes of Google and AT&T, and they
Guggenheim, which we featured a couple years
have saved those customers money on lighting,
back when light artist James Terrell temporarily
in large part because the company leases the
lit the place in color. I have to say I was disap-
lighting system, including controls, to the client
pointed, initially. Not only was it smaller than
with the big idea being if the client doesn’t save
I expected, its facade was rather mundane—
money, they don’t make any.
painted concrete—and its interior equally Spar-
But beyond not having to pay all the upfront
tan, given Frank Lloyd Wright’s flare for detail.
costs of an advanced lighting system, what was
That being said, once I started circling my way
really cool was all the things a building operator
up the ramps of the signature circular atrium,
can learn by carefully watching his/her build-
the real genius of the museum’s design hit me;
ing. In the demo, the Enlightened guys took us
for as Wright intended, the space was all about
through the movement patterns of people in a
the art, not his architecture.
given day and week. In just this example, I could
I came to a similar realization walking—or I
quickly see a bunch of benefits: immediate areas
should say finally sitting down—at Lightfair. The
where I’d need to replace carpeting—perhaps not
buzzwords of the show were “Internet of Things”
use carpeting at all; blocks of real estate to re-
and “integration.” Everyone broke out the “Big
purpose or even consolidate as bunches of sales
Data” stick, but I wasn’t sure what was the end
staff were only at their desks on Mondays.
game—until I sat down. That happened to be
Others, of course, have figured this out too.
in the booth of Enlighted, who wasn’t actually
Philips showed off its “Location Services” tech,
showing a lighting product, but a system that
where via the lights and one’s mobile phone,
rides on lighting. The Englighted folks come out
retailers can start shooting you information,
of the networking world, and like many, saw an
including coupons for something a shopper is
opportunity to bring the benefits of Big Data to
looking for, or just happens to be wandering by.
the built environment, but they seem to know
Philips, in fact, just had the system installed in a
what they’re doing. Of course many of you may
supermarket in France—so it’s coming. .
be asking what’s Big Data? I know I didn’t really
The computerization of lighting is here to stay.
understand the term until I heard it pop up at
But that’s not necessarily a bad thing, as lighting
another show. Here’s one definition: “extremely
as a possible revenue source, be it in retail, or
large data sets that may be analyzed computa-
selling it as transactional energy to cities des-
tionally to reveal patterns, trends and associa-
perately needing power in peak demand season,
tions, especially relating to human behavior and
proffer plenty of good reasons to not only install
interactions.” Huh? Clearly it’s not necessarily
smart lighting—but put in the best.•
about lighting, but better understanding buildings, how people use them, and how we can cre-
A Publication of Construction Business Media
Member:
ate better environments while making or saving more money. The lighting-specific connection is turning things off, but in the big picture, lighting is really the infrastructure where myriads of
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Jim Crockett, editorial director
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A SIMPLY SUPERIOR LED Providing superior lighting solutions to the design community, No. 8 Lighting’s LED luminaires out perform the other downlights in installation, operation and function. n n n n
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8lighting.com
ROOM PHOTO: MATTHEW MILLMAN
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LED Performance in Extreme Heat DOE GATEWAY STUDY OF LEDS IN EXTREME HEAT SHOWS CHINKS
Measured Illuminances along East-West Line
Initial 2500-hr. 5000-hr
Among the earliest success stories for LED luminaires were exterior area, roadway and parkinglot applications that benefited from, among other factors, long lifespans that reduced maintenance required to replace failed lamps. In its latest GATEWAY demonstration report, the U.S. Dept. of Energy’s Solid-State Lighting Program updates its study of LED fixture resilience in one of the most extreme outdoor settings this country offers, the Yuma Sector Border Patrol Area near the Mexican border, and finds that performance is degrading faster than anticipated, though the cause for that change remains unclear. ABOVE: Illuminance values (tested at 3 different times) increased near the test pole compared to the initial values, but decreased farther away from the pole. Illuminance values were normalized for a 25 °C (77 °F) condition.
This location is definitely an extreme testing ground for exterior LED lighting, because fixtures here rarely get a break from the heat. During a typical year, maximum temperatures at sunset
Horizontal + Vertical Illuminance Values AR§A
HOuRS
AVg (L x)
µAX (L x)
µi∑ (L x)
µAX/µi∑ RATiO
AVg/µi∑ RATiO
SECONDARY FENCE (VERTICAL)
Initial 2500 5000
5.6 5.8 5.7
7.4 7.8 8.6
4.2 4.4 4.1
1.8 1.8 2.1
1.3 1.3 1.4
fall between 101 to 112 degrees F, with minimums falling between 36 and 43 degrees F., and average nighttime temperatures ranging from 63 to 68 degrees F. So, high ambient heat and solar radiation heat up fixtures during the day, which then turn on and start generating their own internal heat just as ambient temperatures begin to decline. The six luminaires were initially installed in February 2014 on three of the 205 poles used to
3 ROWS CLOSEST TO SECONDARY FENCE (HORIZONTAL)
Initial 2500 5000
8.1 7.3 7.2
14.9 15.5 15.5
3.7 2.5 3.1
4.1 6.1 5.0
2.2 2.9 2.3
ALL (HORIZONTAL)
Initial 2500 5000
21.3 19.5 18.7
44.0 55.6 55.9
3.7 2.5 3.1
12.0 21.8 18.0
5.8 7.6 6.0
3 ROWS CLOSEST TO PRIMARY FENCE (HORIZONTAL)
Initial 2500 5000
27.6 23.4 22.5
40.2 46.8 45.4
20.4 12.9 13.9
2.0 3.6 3.3
1.4 1.8 1.6
quartz metal halide fixtures topping the rest of
PRIMARY FENCE (VERTICAL)
Initial 2500 5000
28.3 21.3 21.2
35.6 29.9 30.6
20.7 13.7 13.5
1.7 2.2 2.3
1.4 1.6 1.6
to anticipated performance levels, or if the quality
illuminate the 125 ft. separating a 7.2-mile stretch of parallel primary and secondary border fencing, near the Yuma San Luis Port of Entry. A December 2014 report written after 2500 hours of operation, compared the fixtures’ performance to that of the the poles in this border area. This time, researchers wanted to see if the LED units were living up of the illumination they produced had degraded over the course of the previous year—especially given the setting’s particularly harsh conditions. Specifically, researchers were looking for shifts
ABOVE: The horizontal measurements were recorded approximately 9.5 in. above the ground and the vertical measurements were recorded at 4 and 8 ft. above the ground along the fences.
in color temperature and illuminance (essenZ
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Y
tially, brightness). Color metrics shifted slightly, but the 33K average drop in correlated color temperature was well within nominal tolerances allowed for in the governing standard listed by the American National Standards Institute. However, illuminance levels (measured at a range of distances and heights in vertical and horizontal grid patterns established during the fixtures’ February 2014 installation) showed decline. The measurements are focused on the middle of the three poles with LEDs. Researchers found the distribution of illuminance had shifted over the course of the previous year, with values nearest to that pole increasing, while they decreased with distance away from the pole. “This pattern of changes in illuminance would not be expected from normal LED lumen depreciation,” the report’s authors state. “Those changes
THEATER LIGHTING: MONTFORHAUS, FELDKIRCH, AUSTRIA
would occur uniformly throughout the
Lighting Fit for a Jewel Box—and Hi-Def TV
measurement area.” Several possible contributors to this unusual pattern of decreased
The Austrian town of Feldkirch is now home to
illuminance are being considered.
a stunning new “culture and congress centre”
One potential factor is luminaire dirt
called Montforthaus, designed by Berlin-based
depreciation (LDD), a factor in light loss
Hascher Jehle Architektur. As befits such a
common to exterior luminaires. Be-
striking structure, the facility’s custom-designed
cause the changes noticed at the Yuma
lighting solution (by Belzner Holmes/Light Design
installation—with higher illuminance
Engineering) pairs cutting-edge technology with
levels close to a pole and lower levels at
glamorously good looks.
high angles—are similar to those found
The lighting design team worked closely with
where dirt accumulation is a known
Zumtobel to create a solution that could work
cause, the researchers believe LDD
throughout both the lobby and performance
would explain at least some portion of
space—and provide flicker-free, step-less dim-
the measured changes.
ming, to enable HD-quality TV broadcasts live
Other possible contributors to these
“WITH THE MFH-PANOS, WE HAVE DEVELOPED A LUMINAIRE THAT IS TRULY UNIQUE. BUT THE POTENTIAL FOR GLOBAL SUCCESS IS CLEAR.”
from the facility. The company’s PANOS infinity
shifts researchers plan to study, going
family formed the foundation for the finished
forward, include LED depreciation, lens
product, the MFH-PANOS, which included more
material changes and driver changes.
than 2,500 individual luminaires.•
To better understand these changes, DOE researchers are exploring plans for thermal simulations of the fixtures, among other issues.•
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ABOVE: The core objective of the lighting solution was to achieve a flicker-free environment that could be dimmed to zero, which would enable TV broadcasts in high definition from the facillity itself. Zumtobel developed a custom solution based on its PANOS line that facilitated the mixing of cold white and warm white LED sources.
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OFFICE LIGHTING: INGERSOLL RAND HQ, BUILDING D, DAVIDSON, N.C.
LED in Line with Sustainability Goals
Welcome To The Family
Transforming the interior space of Ingersoll Rand’s Building D commercial, which comprises nearly 53,000 sq. ft. across two levels,
Sternberg's
Rialta®
was achieved through efforts that included the installation of more energy-efficient lighting, a building automation system and ENERGY STAR equipment and appliances. Additionally, only low-emitting materials were specified and used for the renovation, and they included GE’s LED fixtures, including the Lumination ET Series of recessed troffers. Featured in the conference room are Lumination BL Series LED Luminaires, that seamlessly integrate within the ceiling for a clean, contemporary look. Before LED lighting and controls were installed, the footcandle reading averaged 40 fc. It now is between 43 and 44 fc. with better uniformity. Overall, the LED lighting has reduced light power density, or watts per sq. ft., by more than 36% over the ASHRAE baseline. As LED lighting produces less heat than traditional light sources, the AC load can be reduced by 0.32 watts with every watt saved in a lighting system. Providing additional energy reduction for Building D, the new lighting has lessened HVAC cooling loads and improved HVAC efficiency by an additional 3%. According to Jefferson Hynds, director of innovation at Ingersoll Rand, the trick is turning these energy-efficient ideals
Rialta, The New Stardard In Light Column Design The Monolithic cannular design of Rialta® incorporates three stylish luminous tops. Lensed models incorporate a state of the art LED optical system that provides uniform surface brightness and even illumination. Rialta® mounts to the walkway via an invisible mounting system, giving a modern seamless appearance. For more information visit sternberglighting.com
into another business level. Doing so, he says, will make one much more successful in changing culture and changing behavior.•
ABOVE: The 215 employees at Building D now utilize offices and open floor work stations with access to numerous additional areas, including conference rooms of various sizes, copy/print rooms and break rooms. An LED upgrade cut increased average footcandles available in each area, while dropping power density significantly.
sternberglighting.com 800.621.3376
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FESTIVALS: VAL D’ISERE
Taking it to the Streets Airstar, a leading company in lighting balloon technology for the event and staging industry, used all its savoir-faire, to illuminate the French ski resort of Val d’Isère. At its annual Airstar Night Light, over 30 balloons of various shapes, sizes and colors were deployed to the delight of the local bourd of tourism. The spectacle is a great point of differentiation for the resort. “We were looking for a unique identity in order to stand out as a resort, and so sought an innova(Photos: Vincent Tim and Andy Parant)
tive lighting solution that would have a wow effect while being easy to deploy,” says David Hemelsdael, events and entertainment manager at the Val d’Isère Tourism Office. In less than 10 minutes, the tourism office technical team can stop the traffic on the main road, cover it entirely with snow, and set up the entertainment activities as well as the lighting balloons with the help of an Airstar team. The centre of the village then becomes the stage of a lighting show like no other. Various animations brighten up the
ABOVE: Lighted balloons from Airstar have become a weekly presence during the winter in the French ski resort of Val d’Isere, when Thursday nights see the appearance of more than 30 LED-illuminated balloons in various shapes and sizes, including the DMX controllable “flame” product.
public as they wander about, using Airstar lighting solutions: ice sculpting, DJ sets, live performances, percussionists; all these animations create a magical and festive ambiance for all ages. The Airstar Night Light also allows the lighting manufacturer to test and validate new lighting solutions such as the new “mobile” made of three Ball and Rock Delices attached under each Diamond and Star balloons, as well as the purposed built 160cm wide Crystal cover on a pole.
AREA LIGHTING: MCEUAN PARK, COEUR D’ALENE, IDAHO
Lighting up the Night Sky—But Not Too Much In their plans for the redesigned McEuan Park
“We are simply delighted with the results.
in Coeur D’Alene, Idaho, lighting designers from
As far as I know, Airstar is the only company
that city’s Trindera Engineering certainly want-
capable of offering cost effective solutions that
ed to provide illumination levels that helped
are capable of lighting up a street so quickly. No
evening visitors feel safe and comfortable. But,
wonder they are the undisputed leader in their
knowing nighttime views are a big attraction
field,” comments David Hemelsdael. “Our main
in the heart of Big Sky Country, limiting light
challenge is to reinvent ourselves each year:
trespass also was an important goal.
last year we had a marine theme, with jellyfish
MayaLED luminaires from Luminis helped
light trespassing upward or into neighboring residential areas. And, while the poles used for
and fish shaped balloons; this year we chose
the designers address both requirements, in a
mounting fixtures along park walkways are a
a galactic theme, and we are already working
design that also referenced the park’s natural
durable aluminum, they’ve been powder coated
closely with Airstar on a new concept for 2016,”
setting. The full-cutoff fixtures direct illumina-
in a wood-grain pattern to match the surround-
he concludes.•
tion only where it’s needed, without unwanted
ing environment.•
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“WHILE MOST EXTERIOR LIGHTING SOLUTIONS ARE INSTALLED FOR SAFETY OR SECURITY, DEALERSHIPS ALSO INSTALL LIGHTING ELEMENTS TO DRAW THE CUSTOMER’S EYE TO THE DEALERSHIP AND ITS VEHICLES.”
AREA LIGHTING: PIONEER FORD, BREMEN, GA.
Dealership Delighted with Switch to LED Galleon area luminaires from Eaton’s Cooper
Working with local utility Georgia Power,
Lighting division have improved the lighting
the team conducted a photometric analysis to
performance, energy efficiency and reliability
ensure the new lighting would meet Illuminat-
at Pioneer Ford, in Bremen, Ga. “The lighting is
ing Engineering Society (IES) standards and
amazing,” says Bob Winiarczyk, the dealer-
the desired illumination levels. Using the ex-
ships’ president. “It’s definitely a more modern,
isting pole locations, the conversion replaced
cleaner look. And with the recent time change,
62,1000-watt metal halide products with
customers can still see the color and features
421-watt LED fixtures to meet the high lumen
of the vehicles during evening hours.
output needs for the new and used vehicle
The conversion has resulted in a 61% en-
K J U Geometric Purist Versatile
inventory display areas.•
ergy reduction, while providing brighter and uniform illumination, and reducing the high number of lighting maintenance issues the
selux.us
auto dealership was experiencing. “Even the transport drivers delivering vehicles at night have commented on how unloading vehicles is like working in daylight,” says Winiarczyk.
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BOOK REVIEW: DESIGNING WITH LIGHT
Lighting for the Desired Look and Feel of a Space understanding and respect for the complexities
the required number of foot-candles and ends
of good lighting design. But the book also dis-
with a calculation confirming that number—
cusses how to think about light and how to talk
that’s a pretty limited way of working. From my
about light with clients, a topic that isn’t covered
perspective a lighting designer has to gather
or covered as deeply in other texts. The preva-
information to fully understand the project so
lence of colored LEDs means that a thorough un-
that the question: “What is the desired look and
Jason Livingston is principal of Studio T+L,
derstanding of color, not just color temperature,
feel of the space?” can be answered. All design
Brooklyn, N.Y, interdisciplinary theatrical and
is more important than ever. Light’s effect on
decisions–lamp technology, fixture type, control
architectural designers and consultants. He
our health is another issue that is relatively new.
system, etc –have to satisfy the answers to that
recently published a new book, Designing With
Research is ongoing and it remains to be seen
question.
Light: The Art, Science, and Practice of Architec-
exactly how this subject will affect the practice
tural Lighting Design. The book
of lighting design.
Jason Livingston, Principal, Studio T+L
is a comprehensive introduc-
Q: Where do you see the cross-over between architectural lighting design and theatrical
tion to the theory and practice
Q: On the subject of lighting education for all
lighting design, as you practice them?
of lighting design and its use of
designers, how do you respond to comments that
JL: It’s almost exclusively one direction-the-
to define and enhance a space.
creativity in lighting design isn’t all that impor-
ater to architecture. Stage lighting designers
Vilma Barr recently spoke with
tant so long as the lighting system is functional.
understand the properties of light and how to
the lighting designer.
JL: I don’t understand why so many schools and
manipulate them and how to use light to create
departments don’t think that lighting design
an environment and tell a story. There are so
Q: Students who are taking
should be part of that preparation. Especially,
many aspects of design that are different, start-
a lighting design course can make good use of
when so many architects and interior designers
ing with the hardware and continuing through
your book. How do you suggest that a practicing
either light their own projects or hand the work
to aspects like LPDs.
designer make use of it?
over to their electrical engineer. Good light-
JL: One of the book’s objectives is that architects
ing design and effective illumination is not the
Q: What have you found about the attitude of
and interior designers come away with a new
same thing. For example, if students are taught
corporate clients to lighting design?
that lighting design begins with determining
JL: While many have embraced good lighting design, the majority of corporate clients don’t place a high value on it. Most only see initial costs and perhaps operational costs. They are not aware of the research that has been done on the ongoing value of good lighting design. Clients should have a clear understanding of its value to request that their architects hire a professional lighting designer, and not ask if the expense is really necessary. •
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RETAIL: BORY MALL, BRATISLAVA, SLOVAKIA
Starry, Starry Mall Architects with the Italian firm Studio Fuksas turned to the nighttime sky in their lighting plans for the new Bory Mall in Bratislava, Slovakia. Looking for point-source fixture that could be controlled to balance with natural daylight, the designers opted for Skim downlights from ERCO.
CORRIDOR CEILINGS WERE TO BE ILLUMINATED IN A MANNER THAT WOULD EVOKE THE IMAGE OF A STARRY SKY VIA AN IRREGULAR ARRANGEMENT OF POINT LIGHTS.
In total, 2,500 of the 28W fixtures now light up the malls’ public corridors. About a third of the fixtures—those installed above display windows—are fitted with oval flood lenses to eliminate overlap with lighting from individual ABOVE: The use of the Skim downlights over competitive products meant 20% less luminaires were needed, lowering operating costs by as much as 40%.
shops. All the luminaires feature automatic three-stage control, which dims them or turns them off completely when natural light provides adequate illumination.•
LIGHT LIGHT EMITTING DREAMS Awaken your imagination with Lumascape precision engineered LED lighting solutions. Design. Create. Illuminate. www.lumascape.com
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The excitement of fresh opportunities coming to lighting masks enduring issues of failing metrics, confusing definitions and missing foundations on which to build new approaches. White light tuning is a hot button topic that deserves attention, starting with redressing the problem of defining white light itself.
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By Kevin Willmorth, editor
The emergence of solid-state technology elevates
Defining White
The Romance and Science of Artificial Light
the discussion of white light to a white hot topic,
Just what exactly is white light? White could
Pointing to “daylight” as an ideal reference for
fueled by fresh opportunities to tune, adjust, and
be described as lacking in hue or color. CCT in
white light fails to consider that sunlight falling
apply white light with sophistication. Solid-state
degrees Kelvin provides nothing more than a sim-
to earth ranges from a low of 1800K (orange)
sources and controls can deliver virtually any
plistic relative comparison. A low number indicat-
through 5000K mid-day (pale blue) to 10000K for
state of white light desired—in static or dynamic
ing warm tones, higher for cooler. The failure of
blue sky glow. With radiant “light” energy ranging
forms. With most research and past practices
this metric to describe “white” is obvious in side-
from ultraviolet, through visible infrared, the
based on old source technologies, exciting new
by-side comparison. A 2700K “white” source ap-
variations in spectral power distribution are vast
opportunities are open for real discovery and
pears yellow compared to a blue appearing 5000K
and changeable.
change. The time has come to re-define appli-
“white” light. Neither could be considered “white.”
cable metrics of “white” light and human visual
Only through the dynamic of the human visual
romantically revered as delivering preferred
performance that reach beyond sterile academic
system, which accommodates uniform color shift-
“white” light. Yet, the color of light emitted by fila-
exploration and marketing jargon. However, to
ing, is this difference somewhat neutralized. We
ment lamps is a physical characteristic of heating
succeed in this expansive voyage, several old and
perceive our world primarily by reflected light,
a metal filament to attain a balance between light
many new issues must be addressed.
where the non-whiteness of light sources imparts
emission and service life, not achievement in high
noticeable distortion.
visual performance or color perfection. Modern
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Incandescent and halogen lamps are often
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fluorescent sources are the product of market driven selective evolution, leading to 3500K and 4100K as the center region of white light for commercial applications. These sources trick the human visual system into seeing “white,” while delivering incomplete spectral power emissions. Solid-state lighting delivers “white” by blending source colors, phosphor down-converting 405nm, or 456nm blue light—or a combination of these. This is not “purer” or a more perfect form of light. However, the ability to create fuller spectral power distributions and vary those profiles using controls, is a significant advancement. White Color Preference vs. Visual Performance The question of whether occupants prefer a specific color of white light based on illuminance levels has been an item of discussion for 75 years. Preferences for white light color varies widely around the world. The preference for incandescent color can be as much based on subjective choice as based on the failure of fresher technolo-
PERCEPTION AND DISTORTIONS OF WHITE
Just as there exist many shades of white paint, light sources impose shades of white. What is perceived as “white” is a composite of the light transmitted directly and reflected from surfaces. Ideally, white light would not impose a distortion of color perception.
gies to deliver acceptable quality. Meanwhile, the preference for warm-enhanced light for low light application contrasts with research indicating that low level visual response is greater under higher CCT sources. If the choice of a particular
derivatives—compare a subject source to a fixed
shade of white is simply subjective, employing
reference with exactly the same CCT value. This
light that delivers a tunable range of CCTs adjust-
produces no definition of the quality of “white”—
able to suit occupant’s preference seems an excit-
as there is no reference to purity of white com-
ing opportunity. Conversely, research indicates
pared to any neutral standard. If one attempts to
human visual performance at task level lighting
apply a single base standard “white,” say of 4000K
illuminance is enhanced by high CCT white light.
to all sources, the results would show that only
This has led to recommendations that high CCT
sources of 4000K are a true “white” light, with all
lighting systems deliver enough improvement in
others proving inferior. Ultimately, current color
visual acuity to support reduction in light levels
quality metrics do not define white light qual-
over lower CCT systems. However, fluorescent
ity, just rough comparisons within the confines
sources have been available for some time capa-
of a single CCT. Further, current metrics do not
ble of delivering this benefit, with little movement
fully consider or reflect differences between full
in the market to exploit this opportunity. Discov-
spectrum sources (sun and filament) and spec-
ering what qualities of the high CCT approach
trally enhanced (phosphor converted) sources.
are failing to capture the market’s interest begs
5000K daylight white at 98 CRI appears cyan blue
additional investigation.
against the orange glow of 1800K 98CRI candle
WHITE LIGHT AND SURFACE COLOR PERCEPTION
Utilization of uniform white light sources in various forms allows surface coloration to stand alone, revealing the designers intended subtle shading between surfaces. This demands al sources deliver virtually identical spectral distribution, regardless of CCT or CRI.
light. A 3000K halogen, 3000K fluorescent, and Color Quality Metric Failure Mode One
3000K LED can all achieve 98CRI, yet appear dis-
Beyond CCT there exists no “proof” of color
tinctly different when compared to one another.
quality to support the notion that one source or product is superior at generating “white”
Color Quality Metrics Failure Mode Two
light. Current metrics—including CRI and similar
Color metrics founded on fixed reference color
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the color by its dominant reflected wavelength. Value refers to the quality of that color. Darker values are referred to as shades, lighter values are often referred to as tints. Saturation, also known as Chroma, defines color depth or purity. Adding black to a color to create a darker shade, or white to tint a hue lighter both reduce their value. The combination of these descriptions come together in an HSV scale graphic designers, fabric colorists, paint formulators, and color specialists use. These professionals understand that lighting conditions shift hue, alter value, and distort saturation. While the calculations inside color metrics (CRI) address this effect to some degree, the terms themselves are excluded. Since perception of color is a composite of the quality of light falling onto and then reflected from surfaces, the connection between HSV and white
USE OF WHITE AS A COLOR
The purposeful use of discrete white color differences, such as that used here between the daylight and perimeter lighting effect, can be used to enhance special definition and depth. The distortion of surface coloration in this case was deliberate, creating definition that would otherwise be muted under a monochromatic approach.
light are inexorably bound. The opportunity to define “white” light that more directly reflects this relationship, with usable terms and metrics, has yet to be fully explored. Steady State or Dynamic Modulation The current interest in color tuning tied to
THE IMPORTANCE OF LIGHT SOURCE “WHITE” DEFINITION IS APPARENT IN ITS IMPACT ON SURFACE COLORS. ODDLY, THE CORE TERMINOLOGY OF COLORISTS IS MISSING FROM LIGHTING METRICS.
swatch sets, while allowing distortions based on
intensity, such as dim-to-warm LED products, is a
CCT value is apparent when viewing a color chart
by-product of accepting the performance of prior
under a dimmable incandescent lamp. At full
technologies as ideal. Incandescent lamps dim-to-
brightness, the CRI value will be 98+. Under this
warm due to filaments producing a warmer color
light, blues will appear muddier than they appear
when they are operated at lower temperatures
under daylight, while reds and oranges will ap-
(dimmed state). This was an acceptable flaw in
pear prominent. As the lamp is dimmed, CRI will
white light performance behavior, not a desirable
remain at 98+, even when blues are lost entirely.
feature designed into the technology. Designing
To expose the flaw even further, comparison of
solid state lighting—which exhibit no such behav-
the aforementioned states against equivalent
ior—to parrot this color shift, based on intensity
natural daylight will show how dramatic the color
setting is one opportunity being explored. Yet, an
shifts are, and how distorting color metrics based
equally strong case can be made for products that
on CCT creates a confused metric for defining
dim toward moonlight blue in outdoor products,
white light. This points to a very real need for
red-orange for coastal wildlife regions, or to fully
a new “white” light metric that indicates color
separate color and intensity as independently
distortion from a neutral “white” baseline.
controlled performance characteristics.
Missing Hue, Value and Saturation
state lighting is delivery of white light to simulate
The importance of light source “white” definition
variability in daylight based not on intensity, but
is apparent in its impact on surface colors. Oddly,
time of day and season. Part of the preference for
the core terminology of colorists is missing from
natural light, beyond spectral quality, may be its
lighting metrics. Hue, Value and Saturation are
changeable nature, in color, intensity and direc-
the terms used to describe color. Hue describes
tionality. Use of controls to create a natural break
An intriguing potential for application of solid-
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from the monotony of fixed-light systems is an
are currently no metrics to define recommended
achievable approach worth considering further.
levels, nor are their standards for application of these techniques.
Doping White Light The science of non-visual response to light has
Moving Forward
revealed there are several characteristics of
The introduction of artificial light created the
white light available for exploitation. The most
issue of truncated spectrums on visual perfor-
discussed is the melatonin suppression effect
mance, while the definition of white light quality
(which reduces the feeling of sleepiness) of light
has been the focus of a great deal of discussion.
sources producing specific blue light content.
Modern understanding of the effect of light on
Enhancing this energy delivery has little effect on
human performance, how light interacts with
the perception of color, while imparting a state
the surfaces, and the dynamics of non-visual re-
of increased energy or feeling of wellness for
sponses to light energy sets the stage for changes
occupants. While this has been present in other
in how we define and deliver white light. The chal-
artificial light sources, proposals now suggest
lenge is in moving from subjective conjecture and
using solid-state technology to tune white light
academic discussion to applicable metrics, stan-
content with the specific intent to modify/support
dards, and recommended practices. Solid-state
the circadian rhythm of human occupants. This
lighting presents an opportunity to build lighting
can also be applied inversely, by limiting emission
systems with greater fidelity and sophistication.
in spaces, such as hospital rooms, hotel rooms,
This potential will be wasted if the current state
or residential bedrooms to support melatonin ac-
of weak metrics persists.
cumulation to enhance sleep performance. There
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CRITICAL WHITE PERFECTION
In color critical applications, simplistic CRI and CCT metrics are relatively useless in determining a white source’s suitability. Study of spectral power distribution, and testing of color performance in application, to verify suitability will remain necessary until more comprehensive metrics can be developed.
The combined forces of the IES, IALD, CIE, IEEE,
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CONTROLS ARE THE KEY
Control technologies that offer visual references and commissioning of lighting components are necessary to allow application to focus on the desired effect over hardware arrangements and connections. This demands uniformity of controls and addressability between a wide range of products from diverse sources.
DIVORCING THE CONNECTION BETWEEN COLOR AND INTENSITY
By separating color from intensity, visual effects, such as those used in retail, can be made to reflect seasonal, fashion, and stylistic goals. Color can be set to suit the coloration of the display or seasonal effect, with intensity adjusted to produce the visual impact desired.
UNTIL THE HURDLE OF A MORE REALISTIC DEFINITION IS CLEARED, THE FINER WORK OF DEVELOPING STANDARDS AND PRACTICES CANNOT BE RE-BUILT.
ing models, or failure to include relevant practical
the time to be hobbled by conflicts with lamp
application considerations.
manufacturers, inclusion of every special inter-
What is needed is an immediate, out-of-box
est’s ideas, pandering to the least interested, or
effort to attack white light issues. Whether a joint
promotion of any technology. The time is now to
effort between the existing organizations and
provide guidance to the technical powerhouses,
academia—or one formed in isolation—matters
giving them rock solid standards on which to base
less than the speed and intensity of work. This
new products and drive technical development
includes creating standards to define white light
into the future.
that addresses its effect on rendering surface
Until the hurdle of a more realistic definition of
colors in hue, value, and saturation, while elimi-
white light and its characteristics is cleared, the
ANSI, and NEMA command positions of authority
nating the confusing metrics that assign identical
finer work of developing application standards
and responsibility to effect change. However, with
“quality” marks to sources that obviously distort
and practices cannot be re-built. This includes
a history of taking years in committee to solve (or
color. The effort should re-define the term “white”
redressing light level recommendations, glare
fail to resolve) issues, the infrastructure seems
light, and establish a relationship between spec-
and comfort, the issues of spectral content and its
incapable of redressing the weaknesses of the
tral delivery (CCT and completeness of spectral
effect on circadian activity, application of lighting
current definitions. Meanwhile, technology moves
power distribution) and visual performance—cre-
controls for color and intensity variation, and
forward regardless, with or without guidance.
ating a first-ever visual performance metric. The
mitigation of negative impacts of artificial light
Further, researchers in human vision, physiology,
effort must produce practical, real world lighting
on human health. Until the foundation is rebuilt
and lighting affect are not organized to provide
metrics that make sense to end users, lighting
on solid ground, any discussion or recommenda-
the answers directly, resulting in a body of re-
customers, and professionals alike—without be-
tion based on the current flimsy state of white
search that often conflicts, includes conclusions
ing dumbed down to the point of being useless;
light definition is weakened to anecdote and
irrelevant to practical application, obsolete light-
a primary flaw in current standards. This is not
subjective opinion.•
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TOPICS AT THE FRONT
0
TH E B U S I N E S S O F LI G HT I N G By Vilma Barr, contributing writer
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What drives the decision to adopt LED? Is it pure energy savings? Is it cost? Is it novelty? We asked a number of people what their or their client’s thinking was in context of places where LED has been embraced. The answers are quite surprising. In the world of retail, LVMH is a luxury conglomerate composed of iconic brands such as Louis Vuitton, Sephora, Bulgari and Hennessy. In fact, the company operates 11 million sq. ft. of selling and support space. Three years ago, it investigated the use of LED lighting as a means to significantly cut its operating budget. In fact they wanted to cut 70% of what went into lighting--far surpassing the remaining costs to run its factories, ship its products or other expenses.
“LEDS DO A BETTER JOB OF HIGHLIGHTING PRODUCT FEATURES AND ARE MORE PLEASING TO SHOPPERS.”
The results detailing the documented savings so impressed Bernard Arnault, LVMH’s chairman and CEO, that he established a company-wide effort to reduce its appetite for energy. Headed by Sylvie Bénard, the LED lighting options were carefully scrutinized and then implemented. A post-installation evaluation was thumbs-up. “LED lights, it turns out, do a better job of highlighting product features and are more pleasing to shoppers than incandescents or fluorescents,” Bénard says. LVMH has subsequently established agreeCOLD, HARD FACTS
ments with 20 lighting suppliers
Left, Barneys In Beverly Hills, by Cooley Monato; (Above, top) Tienda Loewe, Valencia, Spain, and Tag Heuer, Las Vegas; the latter are highend retail outlets operated by the international conglomerate LVMH, who recently made the transition to all-LED for its stores. That said, Renee Cooley adds that when working for such high-end clients, designers must make sure LEDs are tested work well before installation.
catalog and establishing a website
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and has followed up by publishing a for internal use by all of its brands.
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TOPICS AT THE FRONT
Unfortunately, the decision to adopt LED is not so cut and dried, and it’s not always about saving en-
TUNED IN
One feature that has Paugh’s museum clients excited about LED is its tunability, particularly because of the frequency with which exhibits change. It also allows for more daylight-like conditions for Impressionist works.
ergy. However, in adopting LED, be it for new construction or retrofit, one commonality is universal: it’s best to have a plan. Emily Monato, a principal with Cooley Monato Studio, can’t emphasize this enough, and notes it may be the most important business decision a client can make. The New York based firm does a lot of work in the hospitality and retail world. The former has significantly jumped on the LED bandwagon, but not at little expense—and we’re not talking about the cost of the technology itself, but lessons learned from flying blind. For many of her firm’s clients, the big issue is the debate as to whether to retrofit LEDs
CAUTION KEY
Museums tend to be conservative in their technology adoption, says Paugh. As a result, LED replacement sources were the more appropriate choice in this instance.
into existing fixtures, or completely renovate. From a pure cost perspective, the answer sounds obvious, but Monato says they’ve worked with people who learned the hard way that 1 for 1 replacement is not a no brainer. “There’s a lot of compatability issues. And we’re being called in a lot to fix these jobs where they jumped too soon,” she says. Diligent in-office and on-site testing is essential to warding off potentially negative installation results, adds Monato’s partner
Design had been getting too many
two. Next came testing. “In some
Renee Cooley. “We have to know it’s
pitches to try everybody’s LED
instances we did them side by side,
going to work,” says Cooley. “When
replacement lamps. He decided it
in some cases we set them up to
we decided on a new office location,
was time to roll up his sleeves and
toggle back and forth,” said Paugh.
we made sure there was sufficient
figure out which products made
After assembling a pros and cons
space to set up our own light lab
the most sense. His process began
checklist, the team settled on a
to test product performance,” she
by first defining the performance
lamp from Sylvania. The curators,
explains.
criteria he wanted, including CRI,
ultimately, were a critical part of
CCT and beam angle, in this case
this process. For example, in one
Cultural Considerations
for spot and flood lamps. He came
instance, the team was looking at a
In the case of Clint Paugh, who
up with a dozen points, then sent
painting by Josef Albers—one of his
manages lighting in Kansas City’s
out a notice to all the reps that had
Interaction of Color series—which
Nelson-Adkins Museum of Art, he
been calling on him, indicating if
included a purple square inside a
had simply had enough. As the
their product comes close, send it
red square. The source they chose
main lighting consultant for the
over. He got back 16 samples, of
to illuminate the painting made the
museum, the principal of Helios
which he narrowed to four, then
red pop, and the designer thought
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“YOU CAN GET REALLY GOOD LED PAR 38S FOR $40 VS. $120 A COUPLE OF YEARS AGO—SO THERE’S NO STICKER SHOCK.”
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TOPICS AT THE FRONT
feel there was an LED MR16 up to snuff. Today, that’s not the case, as he put in an order for 1500 PAR 38s and about 800 MR16s. “That’s about 70% of the gallery.” That said, the thing about the transition to LED that has he and his clients are the most excited about is color tuning. In fact, right now, in their Impressionist collection, they’ve been experimenting with it to achieve a kind of daylight filter in concert with the tungsten lamps in there now. At first they tried a mix of 3000K and 2700K lamps, but now they’re looking into the tunable products. “The ability to change color [Kelvin temperature wise] is a big deal for us.” It’s so, he says, particularly because they’re so frequently changing exhibits. The ability to also add RGB color is appealing in concert with various social events that occur in the museum. One product Paugh has been OWNER INVOLVEMENT
The museum’s curators proved critical in the process of selecting the right LED sources, particularly in conveying information essential as to how the colors of the art works should appear.
especially impressed with is Ketra’s PAR 38 lamp. It’s not so much the light source as it is the company’s innovative software which makes this whole tuning effort fairly seamless. Right now they’re retrofitting Edison Price track heads with the Ketra lamps. They’re also experimenting outright replacing a lot of the T8 fixtures in the
this was cool. Then the curator
bandwagon? “In museums there’s
no sticker shock anymore,” says
museum with the company’s linear
stepped up and said that was not
not a lot of emphasis on being
Paugh.
fixtures as the main ambient
the intent of the artist at all, as
state of the art, as [art] conser-
both colors should be the same
vationists tend to be leery. The
that the use of LED is part of an
intensity. So in this case, Paugh
whole imbroglio over the van Gogh
upgrade as a whole, and that fact,
vs. whole fixture replacement is
said that client involvement made
museum about LEDs being harmful
in their eyes, makes the invest-
not an easy one, says Paugh, and
a huge difference.
to artwork—which turned out to
ment not so outlandish. Some
it depends on the situation. Right
be inaccurate—didn’t help. In fact,
of this willingness is also due to
now, retrofit lamps appeal to him
game was a different story. Some
at least here at the Nelson-Atkins,
an obsolescence issue—the 45W
as they address his fear that some-
were excited to be part of the pro-
if LED wasn’t a good choice, we
halogen MR16s that have been the
thing cooler and more innovative is
cess from the get go; others not so
would have found another alterna-
museum’s go-to source, have been
around the corner.
much. They did a number of these
tive,” says Paugh.
phased out. In fact, anticipating
Now getting the curators in the
kinds of get togethers, and each
Price of the technology, was not
His clients are also well aware
source in the museum. The debate over lamp retrofit
Frankly, he’s also not sure that
this at the end of 2013, Paugh or-
every fixture manufacturer has
time more people would come.
a factor. “You can get really good
dered 45,000 lamps so the museum
made up its mind on exactly where
Was there pressure from the
LED PAR 38s for $40 vs. $120 just
could go two years without needing
they want to go when it comes to
museum at all to jump on the LED
a couple of years ago—so there’s
to look at LED. In 2013 Paugh didn’t
their LED offerings.
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z
Pushing the Frontier
ing,” says Nestor Infanzon, FAIA,
hide around the campus—better
At the very western tip of Texas,
LEED AP, BD+C Director of Planning
lighting can help prevent problems,
in the Chihuahuan Desert where
& Construction at UTEP. “It’s also
as we want a walkable, safe cam-
the Lone Star state converges with
about landscaping, architecture,
pus,” says Infanzon. “When you add
Mexico and New Mexico, the cam-
wayfinding and accessibility.”
all those factors together, a lighting
pus of University of Texas El Paso
Maintenance was a big part of
masterplan provided a foundation
occupies over 500 acres nestled
the plan. “We have seven miles of
amid various mountains and ar-
roads, and a variety of lights on
royos. This topographical campus
each of them,” says Infanzon. “One
was never in question. It’s been
oddity—more specifically a need to
of our big goals was to simplify
in the plan from day one, with no
illuminate and maintain the roads
things—we wanted to standard-
hesitation from the university. It’s
that connect the campus—was one
ize the campus’ fixtures in part to
a wonderful source—it renders
of the major drivers for UTEP to
simplify our inventory, but also
people well at night to the security
make the LED plunge. That said,
because we wanted LED.”
issue—so you can clearly see if
the university didn’t just jump at
Another surprising driver was
for us to build a friendlier campus.” Adds Yarnell: “The use of LED
someone’s face is threatening.”
the first LED fixture to come along.
tuition. “We want to be extremely
Instead, they commissioned Bruce
responsible to costs,” says Infanzon.
positive. “The area has been trans-
Yarnell of Shawnee, Kan.-based
“So in thinking of ways to manage
formed, says Infanzon. “It’s great
Yarnell Assocs., to develop a light-
the cost of tuition, power consump-
to see people walking around so
ing masterplan. “We always find
tion became a huge target.”
much, even as late as 10 o’clock,
value in having a comprehensive vision—and it’s beyond just light-
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Security was yet another factor. “There are lots of places people can
Reaction to LED has been
because they feel safe—that wasn’t
HUMAN CONSIDERATIONS
The campus green feature’s Structura’s striking “Reed” poles, of which LEDs are mounted. LIghting designer Bruce Yarnell notes humanization of the campus was a major goal.
always the case.”
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look like. And we could immediately
sistance. “The incentives do help—
ments from the mayor as to how
Infanzon even received com-
recognize the differences,” says
and we were delighted we could
impressed he was to see how the
Infanzon.
take advantage of those—but our
core of the campus has changed.
DUE DILIGENCE
Modeling proved a major part in identifying the right sources for different parts of the campus, be they roadways or the main campus green.
is that the light is actually a softer,
we can. And much more efficient
tudes change, and they’re hanging
yet it delivers better perception.
campus lighting is a big part of our
out more on campus.”
“It’s something we appreciate,
big-picture plan,” says Infanzon.
In fact, the school has just
given that El Paso, during the day,
“The question isn’t LED anymore,
started a movie night on one of
is very bright as the sun is very
it’s about knowing the right prod-
the lawn areas. “One of our main
intense; so at night, it’s almost a
ucts,” says Yarnell. For example,
goals was to make it a more human
relief to have that softer tone.”
he notes his team didn’t pick the
space,” says Yarnell.
As far as LED’s cost, Infanzon
most cutting edge technologies.
notes it’s part of doing business.
“We wanted the lights to blend well
where students walk, and 4000K on
“The first thing that matters to us
down the road, and be so that the
the roadways, in part, as research
is life of the product. Our life cycle
university could easily scale up or
has shown it helps drivers with
is 50 years, so we weren’t looking
replace any fixture.”
better reaction times.
for a 3-year payback, the question
“That’s a unique thing about working with Bruce is that we always had an idea of alternative
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philosophy is to move ahead where
“We’re also seeing students atti-
He used 3000K sources in areas
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One subtle difference, he notes,
we wanted answered is whether
“In the next 10-15 years we’ll have all LED,” says Infanzon.•
these fixtures would last 25 years?” That said, UTEP has a good
Next issue, we continue the conver-
choices, and he provides examples
working relationship with the local
sation, with a focus on the relation-
of what different fixtures would
utility who offered financial as-
ship between designer and owner.
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F§ATUR§D PRoj§Ct
“As If It Were Already Here” Boston, Mass.
A Palette Mixed Masterfullly
Artist: Janet Echelman Structural Engineer: Arup Lighting: Arup Integrator: ALPs Contractor: Gaston Electric Text: Ellen Lampert-Greaux Photos: Arup, Lumenpulse The Challenge: For the structural engineers and lighting design team at Arup, before they could even think about an illumination scheme, they first had to figure the right way to securely anchor and light artist Janet Echelman’s art work, as the flowing mesh sculpture flies 70 ft. in the air at its lowest point, 200 ft., at its highest, with spans up to 600 ft. across; It also had to withstand wind speeds of up to 105 miles per hour, with between 50,000 and 70,000 pounds of force in one of the windiest corridors of the city. The Solution: The engineering team decided to attach the sculpted, knotted mesh sculpture to three different buildings across the Rose Kennedy Greenway. Next, the firm’s lighting team developed custom software to analyze the complex behavior of the flowing net under extreme wind conditions. In fact, they used stricter criteria than for a skyscraper. The lighting comprises 44 high-performance Lumenpulse Lumenbeam Grande dimmable 100W RGBW LED fixtures placed on existing light poles and terraces. The fixtures are linked to a DMX control system with wireless repeaters to create colorchanging patterns that enhance the colors of the mesh.
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Floating high above Boston’s Rose
international firm of designers,
laborates with Janet on her work,”
Kennedy Greenway Park is Janet
engineers and technical specialists.
notes Arup senior consultant Jake
Echelman’s “As If It Were Already
The iconic art work was created
Wayne, who spearheaded the
Here,” a monumental art instal-
in response to a public art com-
illumination effort. “She engages
lation as ethereal as it is power-
petition, specifically designated
us throughout the entire process,
ful. Likened to a parachute, an
for the Rose Kennedy Greenway
from winning the initial competi-
acrobatic net, or giant shoelaces,
Conservancy. When Echelman
tion through the final installation.”
installation of this wonder required
was given the commission, she
a feat of aerial engineering involv-
contacted Arup, who would provide
date, the work weighs just 2,000
ing six cranes. Executing it, and its
structural engineering and lighting
pounds, yet can exert many tens of
dramatic lighting, was Arup, the
services. “Arup regularly col-
thousands of pounds of force onto
Echelman’s largest piece to
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INTO THE WIND Artist Janet Echelman’s site-specific installation was created to float above Rose Kennedy Greenway Park in Boston and is attached to three neighboring buildings that anchor the 2,000 pound sculpture to resist high winds.
the buildings that support it under
netting sections and the structural
of this corner from urban roadway
the high winds which can occur
ropes. It covers 20,250 ft. or almost
to open park space. In fact, the col-
along this corridor. “This was a
one-half acre, over parkland that
ored stripes in the piece are meant
great project,” says Wayne, noting
used to be six traffic lanes that
to recall the six lanes of traffic.
the tough structural aspects were
were put underground in Boston’s
par for the course. “That’s always
Big Dig effort. The result is the
structural challenge comes from
a major component in making her
Greenway, a series of parks that
the fact that the sculpture sits 70
pieces work,” says Wayne.
rejoins a part of the city that was
ft. in the air at its lowest point, 200
once split from the core by the
ft. at its highest, spans up to 600 ft.
miles of knotted twine—542,500
highway. Echelman’s newest cre-
at its width, and attaches to three
knots to be exact—including soft
ation was inspired by the evolution
different buildings. “The weight
The art work is made of over 100
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For the engineers at Arup, the
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alone was a challenge,” explains Wayne, about an installation that sways with the wind. “It’s in the air like a giant sail. The load and forces are incredible.” Designed to withstand wind speeds of 105 miles per hour, and between 50,000 and 70,000 pounds of force, the installation required Arup to develop custom software to analyze the complex behavior of the flowing net under extreme wind events. “Our structural engineers will say that the level of computational sophistication
LIGHT UP THE NIGHT Forty-four high-performance Lumenbeam Grande dimmable 100W RGBW LED fixtures from Lumenpulse were placed on existing light poles and terraces to dramatically illuminate the knotted mesh of the art work.
required to analyze the piece far exceeds that required to design the buildings themselves,” says Wayne. Each of this artist’s pieces is sitespecific, and this one’s movement in the wind is part of the design, but as Wayne explains, she chose one of the windiest corridors in Boston. “The request for proposals was for the Greenway specifically, so this was created for the park, and the structural engineers suggested spaces and buildings that can bear the load of the relatively delicate piece.” Echelman specifically chose the colors and shapes of the mesh. It’s heavier ropes are attached to three different buildings. When it came to lighting the piece, Wayne’s first thought was “it’s complicated.” The scheme actually comprises multiple buildings and works within the city’s infrastructure. “We worked with the Greenway Conservancy to see what was feasible in terms of the installation of lighting fixtures.” Existing light poles ultimately provided the best locations to attach the majority if LED lights that would illuminate the sculpture—a total of 12, existing 17-ft. acorn light poles were identified with two LED fixtures to be assigned per pole. Elsewhere, a pair of 25-ft. pendant light poles would accommodate four fixtures; and fixtures would also be attached to a pair of buildings, one the Hotel Intercontinental, the other at 125
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HIGH STAKES Twelve existing acorn-style light poles were included in the lighting layout, with two of the LED fixtures attached at different heights.
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JOHNNY ON THE SPOT The Lumenbeam Grande fixture was the workhorse of the project. These LED fixtures were chosen for their controllabilty via DMX, as well as the fact that Lumenpulse’s Boston office is right around the corner from the installation.
High Street; six fixtures would
A BUTTERFLY’S LIFE While the project is a huge success, it is not permanent. For now, it will remain in place until October, as the vagaries of a Boston winter might be too harsh for the installation to survive. “They have to think about the conservation of the piece,” says Wayne, “but people love it, it’s great public art.”
formance, 100W luminaire used for
asked ourselves where can we put
Wayne says, the idea is to look for
lighting architectural exteriors and
the lights, what are our best op-
local manufacturers to be partners
façades, as either flood or accent
tions, and then working from those
when possible, and to help with
lighting, and in this case, dimming
locations, how could we best place
costs. As a result, the fixtures were
control via DMX.
the lights,” explains Wayne.
sourced from Montreal-based
Once the locations were de-
Arup’s design criterion was to
Lumenpulse, whose U.S. offices
achieve a uniform wash of light
termined, the decision was made
were in Boston—around the corner
across the face of the sculptural
to use LED fixtures for technical
in fact. “They asked to be involved
net surface, with a comfortable and
reasons as well as local sourcing.
and were excited to become part of
dimmable brightness of lighting
Wayne notes. “Technical for the
the project, working with Janet to
to ensure the piece is distinctly
controllability that the dimmable
realize her vision,” says Wayne.
illuminated in comparison with
as the beam aspects we needed.”
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Lumenbeam Grande, a high-per-
kinds of public art installations,
RGBW LED fixtures gave us, as well
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As far local sourcing, with these
be installed on each terrace. “We
The 44 fixtures used to light the installation are all the same: the
the surrounding environment and the night sky glow. The fixtures
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illuminating the mesh were aimed
repeaters that pick up the DMX sig-
very carefully to avoid any glare to
nals provided by ALPS (Advanced
the pedestrian viewers below.
Lighting and
“As we defined the project we
Production Ser-
went through various iterations.
vices), the local
In looking at the overall costs, we tried to streamline the project and picked one fixture that gave us the
”WE LET IT GO DARK FOR A FEW SECONDS. THAT MAKES IT VERY COMPELLING AND THEATRICAL, AS THERE’S THAT ‘WOW’ MOMENT WHEN IT COMES BACK ON.”
integrator who implemented the wireless network. In terms of programming the
most flexibility and ease of installa-
RGBW fixtures, Wayne recalls quite
ling and theatrical—there’s that
required various iterations of the
tion,” Wayne explains.
a few nights spent on site program-
‘wow’ moment when it comes back
lighting as the piece moved up in
“The lighting adds additional
ming. “We ran through several
on, and really draws people in.”
down in space as it evolved. Con-
layers of color to the mesh, which
scenes just to see how the piece
changes according to what color
responded to colors,” says Wayne.
a series of five different colors that
also didn’t pan out, so additional
of light we shine on it. There are a
“After we selected the colors and
cycle from a brief moment of dark
pole locations had to be found.
lot of reds and orange tones in the
looks, we took Janet through the
to a color that holds for a while.
Finally, despite all the work, it will
piece, so when you add those tones
looks so that she could make fur-
All of the sequences are of one
have a short life. For now, it will
it really pops, but there are also
ther refinements.”
color: “We decided to let the piece
remain in place until October as
express itself differently as each
winter might be too harsh for the
blues and greens. It is really magi-
Once set, the team choreo-
Ultimately Wayne programmed
versations with certain buildings
cal to see how the mesh changes
graphed the cycles, using various
color hits using the specific hues
installation to survive. “They have
color under the light.”
colors as well as bright white. “We
that we developed with Janet.”
to think about the conservation of
Lumenpulse supplied a Pharos DMX control system with wireless
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even let it go dark for a few sec-
Looking back, Wayne says the
onds. That makes it very compel-
entire project was a challenge as it
the piece,” says Wayne, “but people love it, it’s great public art.”•
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“BIG DIG” EXPRESSED The colors in the lights enhance the colors of the mesh, which Echelman says evoke the six lanes of traffic, which prior to Boston’s epic Big Dig project, once ran above ground in the place the park currently occupies.
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THE GARDEN UPS ITS GAME WITH ANIMATED LED LIGHTING Madison Square Garden New York City
Madison Square Garden recently underwent a $1 billion renovation that has led to a transformation of its nighttime exterior to a canvas of animated color-changing illumination. This new media façade “of spectacular proportions,” is courtesy of the work of Al Borden and the his Philadelphia-based firm, the Lighting Practice. No stranger to monumental Manhattan lighting projects, Borden, principal of the firm, has helped transform New York mainstays such as the Empire State Building, the Hemsley Building, and the Pershing Viaduct—the vehicular approach to Grand Central Station. But in the case of the Garden there was an extra edge which involved more than just lighting up the walls—it had to represent the enthusiasm of the game or concert activity going on within. Known as “MSG Refresh,” the façade illumination was part of a complete facility renovation. Architecturally, the Garden’s façade is indented with a series of 48 vertical coves. Historically, these features were lit with big flood lights on the roof and at ground level. Borden, however, decided to break from legacy. “We felt that a more effective and dynamic approach would be to add vertical, concealed edge-lighting to each of the coves,” says Borden. Specifically, a linear network of lights runs vertically along the edge of the left and right walls of each cove. For the rooftop ring, up lights spaced about 10 ft. apart were specified, with the luminaires facing the ring wall and running continuously around the circular top of the building. To get there, three concepts were developed: uplighting, edge-lighting and direct-view light-
ABOVE: In mounting the ColorGraze fixtures into each wall, 15 of the fixtures comprised one cove lighting circuit.
Depending on cove lengths, additional fixtures were custom cut and added, enabling each cove interior wall to be completely filled with light. At its longest length, up to four LED Colorgraze lighting circuits were utilized to fill in
the tallest coves.
ing. Mock ups, involving equipment from three qualified vendors, proved edge-lighting would be the most effective solution for the budget and what was desired. The RFP process led to the selection of Philips
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SSLProfile:
Madison Square Garden, New York City
THE CHALLENGE: Transform Madison Square Garden’s exterior lighting from traditional flood lighting to a dynamic, 20th century solution that could provide animation and color changing. THE SOLUTION: Create linear networks of light by edge-lighting each of the Garden’s 46 architectural coves with powerful RGBW LED luminaires. Each cove wall was designated subdivided into left, right, upper and lower lighting circuits. Altogether about 1,820 units were required to cover all 46 cove walls. PROJECT CREDITS:
Owner: Madison Square Garden Company Lighting Design: The Lighting Practice Architect: Brisbin, Brook, and Beynon Architects PRODUCTS:
Philips ColorGraze MX4 Powercore RGBW units Philips Reach Powercore fixtures (ring rooftop)
GOOD GAME MANAGER A key feature of Philip’s system is that the software running it is self-diagnosing, monitoring the entire façade and rooftop lighting circuit. It is capable of scanning the lighting system’s circuit fault conditions from unwanted dimming to fixture outages.
Text: Louis M. Brill
Lighting. Immediately, Borden says, the company
MX4 Powercore units were required to cover all
similar to window washer’s rig. It was then
launched an aggressive schedule. “The goal was
46 cove walls.
rigged from the top and lowered down from the
to have the building lighting up and running by
For the rooftop up-lighting, Reach Powercore
the first fall home game of the 2014 season. They
fixtures were specified—of which 92 units were
beat the deadline by almost a week.”
provided to light the ring façade.
roof line. Extending the Crowd With all the Garden’s new LED lighting in place,
The supplier began by evaluating its inven-
Installation began with the arduous task of
tory of LED fixtures to determine appropriate
gaining access to each cove, and once within,
the building’s exterior look pushes its street
target beam angles, the quantity and place-
installing an anchoring system. The ColorGraze
side presence into another dimension. “Once the
ment of fixtures and their preferred mounting
luminaires were configured to follow the left and
building’s façade illuminations are animated and
positions. According to Justin Rowlings, Philips’
right insets. Depending on their locations, the
in play, it’s like seeing the court energy bursting
manager of application engineering, ColorGraze
fixtures were set at different heights, but despite
out of the building,” says Borden.
Powercore RGBW fixtures were chosen—each
their varying lengths they all required the same
of which had a beam angle of 60-in. × 30-in.—a
installation process.
For example, since many of the Garden’s inside activities are sport competitions, possible
According to Patrick Dooley with North Shore
illuminations, he says, could be in the beginning
cove wall. “Each fixture also includes a custom
Neon, one of the project installers, the challenge
of an event of presenting team colors to identify
installed holographic diffuser film within each
was the shear height. “All the coves start 136-ft.
each team’s presence. “Once that game activity
LED module, which makes the narrow beam
up, and then depending on the façade design,
is underway, when a team scores, the building’s
‘wider’ to get the best fill light possible for each
ranged from 124-ft. in length down—these being
illuminations can be animated with a special
cove wall,” says Rowlings.
the majority—to the other coves that were any-
flourish to signify added game points—that kind
where between 58- to 12-ft. in length.”
of exterior lighting activity is easily noticed by
custom spread that was hand picked to fill each
Each cove wall was designated by a zone, with fixtures placed on the left and right sides, and
In order to gain accessibility to coves where
the passing public and gets them to feel more
again subdivided into upper and lower half light-
the contractor could not use its standard lift
connected to whatever is happening inside on
ing circuits. Altogether about 1,820 ColorGraze
equipment, it required the use of a man basket
the court.”•
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CONNECTING YOUR BRIGHT IDEAS TE Connectivity (TE) is transforming technology and enabling workspaces to operate more efficiently through new Low Voltage Direct Current (LVDC) distributed power systems. These “plug-and-play” systems limit the number of conversions necessary to power workspace lighting and accessories, and are inspiring designers to take greater advantage of LEDs functionality, modularity and flexibility. See how TE is helping designers maximize the potential of modern lighting systems at te.com © 2015 TE Connectivity Ltd. family of companies. All Rights Reserved. EVERY CONNECTION COUNTS, TE, TE Connectivity and TE connectivity (logo) are trademarks of the TE Connectivity Ltd. family of companies. Other logos, product and/or Company names might be trademarks of their respective owners.
EVERY CONNECTION COUNTS
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1504SSLFPAds.indd 36
6/15/15 16:34
WRIGHT’S TALIESIN WEST EVOLVES SEAMLESSLY INTO THE 21ST CENTURY Taliesin West Scottsdale, Ariz.
If you’ve never been to Frank Lloyd Wright’s latter-years-of-residence/architecture school in the desert—you might be surprised by its rough nature. In many ways, it still reflects the camplike setting the architect created in opening up shop in the late ‘30s as a winter refuge. Today, the complex is still the home of Wright’s school of architecture, but it’s also the headquarters of the Frank Lloyd Wright Foundation. The latter organization, beyond being driven to keep the Prairie School master’s legacy alive, is also environmentally conscious, and is in various stages of upgrading the venerable facility. A big system targeted by the foundation’s environmental consultant, Big Green Zero, was lighting—a challenge because the overwhelming edict was not to make any notable physical changes to the space. They turned to Studio Lux for an assessment after hearing a presentation on LED by the firm’s founder and principal Christopher Thompson. Upon a site visit, the Studio Lux team, led by Jim Sultan, the firm’s senior lighting designer, was soundly instructed in the history of the complex, Wright’s vision and his personal philosophies. “He believed a building is never finished; it’s always evolving,” says Sultan. “We took that as the spirit of the project.” What was not inspiring was the state of the electrical system. “We found stuff that would make an electrician’s hair turn gray,” jokes Sultan. The challenge became how to invisibly upgrade the crumbling infrastructure to accommodate LED and current code and, of course, choose the right LED sources for the historic environment. “Our mission became how can we renovate
ABOVE: Frank Lloyd Wright believed a building is always evolving. That philosophy became the credo of the
project, and a fact the team of Studio Lux and OSRAM Sylvania found to be true in the course of the project in just evaluating LED possibilities, including investigation of wireless control. “Lighting is always evolving,” says Antonio Giacobbe with OSRAM. More than 1600 LED sources were added seamlessly to the space.
where needed, but emulate Wright and not put light where he didn’t want it.” Studio Lux recommended a replacement of all incandescent sources with LED—in large part to meet the big-picture goal of cutting energy
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SSLProfile:
Taliesin West, Scottsdale, Ariz.
THE CHALLENGE: Upgrade Taliesin West to 21st Century Lighting standards without affecting the aesthetics of the historic space. THE SOLUTION: Studio Lux worked exclusively with OSRAM Sylvania to incorporate over 1600 carefully selected LED sources to replace inefficient incandescent bulbs. In tandem, the two entities reviewed offerings from the company’s catalog, including products not yet listed, and came away with a matrix for replacement sources and new fixtures where they were warranted. PROJECT CREDITS:
Owner: Frank Lloyd Wright Foundation Lighting Design: Studio Lux PRODUCTS:
All ULTRA LEDs: 125 8W G25s; 86 12W A19s; 1001 14W A19s; two 13W PAR 30LNs; 25 16W PAR 38s; 23 8W A15s; 20 15W B30s; 29 21W HD Pro Series PARs; 19 6W R20s; 148 6W B10s; 39 8W PAR20s; and 118 6W B13s.
A LOT OF LAMPS OSRAM Sylvania became an official partner on the project donating, or providing at reduced cost, more than 1600 LED sources for the retrofit. They’re also providing nearly 700 sources for the retrofit of Spring Green in Madison.
Normally, Studio Lux doesn’t package
consumption by 60%; but also to reduce mainte-
one of those partners, Studio Lux did not take
nance overall, including implementing an opera-
this decision lightly. “We were looking for best
products in their specs; this case was different,
tions scheme where lighting product choices
solutions—not necessarily the cheapest price—so
particularly because the consultant was also
would be taken out of the hands of maintenance
I wanted to talk to a number of manufacturers.”
looking to the future and evolving technology,
staff. In preparation for this decision, Studio Lux
One of the people Sultan reached out to was
such as wireless control—and again—wanted a
did a full site survey of all the complex’s existing
Antonio Giacobbe, technical sales manager of
partner who shared their vision and could offer
lamps. “Phase 1 was a way to determine 1 for 1
OSRAM Sylvania’s Commercial Markets Group.
assistance in helping deliver next phases. “This
replacements; Phase 2 involved suggestions for
Sultan obtained samples of all of their lamps
project is just scratching the surface,” he says.
new fixtures that would still work within the
and came to the conclusion that OSRAM “were
spirit of the design,” says Sultan.
the guys.” “We knew we were heading into a
dous PR for its role in the project, Giacobbe says
While OSRAM Sylvania will receive tremen-
very sensitive building [as far as disrupting or
that’s not been his motivation. “The PR is nice,
the right supplier. When it came to evaluating
changing things]. So we wanted to bring the
but I really wanted to see this [restoration of
options, Sultan knew there were definite things
best products to the table that would ultimately
the facility] happen and show we could deliver a
he wanted: a true 2700K color temperature; con-
deliver the quality of light the foundation
comprehensive solution.”
sistent quality LEDs that weren’t pink or yellow;
wanted,” says Giacobbe. “I worked with Antonio
and a manufacturer who could offer a breadth of
from the beginning,” adds Sultan. “It really just
“They’re thrilled, which is why they’ve asked for
products. They also wished to identify fixtures
went to confirm my belief that if a designer is not
more,” says Sultan, referring to the fact that the
for future renovations. “What we were really
working directly with a factory, they’re not get-
team has also evaluated the foundation’s Spring
looking for was a willingness to participate and
ting the scoop. In fact, if I could give a speech to
Green complex in Madison, Wisc. “We did a full
someone who would become a partner.”
young lighting designers, I’d tell them not to just
site survey, and many of the lamps we identi-
rely on reps, but to build strong relationships
fied at Taliesin West are now going into Spring
directly with manufacturers as well.”
Green.” •
With this survey complete, it came time to find
Partnerships are a key component in the way the foundation does business. Having become
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Both the foundation and Sultan are sold.
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By Mark Vermeulen, TE Connectivity
Removing the Stumbling “Block” of LED Lighting Applying Low-Voltage Direct Current thinking to lighting luminaires could change the fixture game.
With the emergence of LED lighting, the number of options for lighting
the required functionality or popular interior design concepts, and
designers and architects has greatly improved. In fact, the quality
not design solely based on technological constraints. Simply put, an
of LED lighting has reached a level where the need for other light
LVDC infrastructure frees the arm that has been tied behind designers’
sources has mostly disappeared, and luminaires can be designed in
backs, and allows them the freedom create the most aesthetically
many different form factors to fit nearly every kind of lighting need
pleasing luminaires ever.
imaginable. One thing that has not changed substantially however, is how the
The benefits of distributed power are not just in the design, but also in the installation. In the United States, especially, main power needs
power needed to drive the LED luminaires is distributed. Designers
to be put into cable conduits. These are difficult to install and require
are continually having to work around the bulky power “block” which
specialized and qualified installers. In an LVDC application, if the power
hinders the design part of luminaire design and using LEDs in beautiful
consumption of a luminaire is limited to 100W, it can be connected to a
applications.
UL Class II power supply, where there are few limitations in the actual
Applying a low voltage direct current (LVDC) infrastructure, also known as distributed power, could be the key to eliminating the final
installation. With simplified connection and installation, lighting then becomes “plug and play” and more versatile than ever before.
stumbling block to more widespread LED adoption by removing the block itself. Learning from Consumer Electronics Distributed power in itself is not a new concept. It is actually widely used in other industries but until recently, it has been not widely
LVDC infrastructure frees lighting designers to create aesthetically pleasing luminaires because they’re no longer restrained by bulky power supplies
used in the lighting industry. For example, laptops computers have undergone a transformation from bulky, heavy technological equipment to sleek, chic “ultrabooks,” based largely on their use of
From LVDC to Plug and Play
distributed power. The heavy books of just a few years ago have been
Plug-and-play lighting is extremely flexible and easy to modify over
replaced by notebooks 1-inch thick due to the use of distributed power
time with very limited costs. Applications in retail spaces are just one
and an intermediate LVDC step in the power conversion via the laptops
example that comes to mind. Imagine the flexibility of a store owner
power adapter.
in their ability to change a lighting design at a fraction of the costs
The available power is locally converted further down to the level that is required to power the microcontroller, hard drive and other parts inside in an efficient and compact way. The power adapter
compared to mains powered lighting. Lighting configurations could be used to enhance displays or alter the customer experience easily. In commercial applications as a whole, the need to use cable
performs the conversion from an unsafe mains supply voltage to
conduits disappears as well, even in a ceiling structure or inside walls.
an inherently safe low voltage supply that is touch-safe. As safety
Therefore the space required to recess luminaires into a ceiling or
distances are solved in the power adapter, the computer itself can
wall is greatly reduced as the design-in depth is now restricted only by
become extremely thin and light. Even the names have changed to
the interconnect, and no longer determined by the need to fit a bulky
reflect this trend, going from “laptop computers” that you had to sit
driver.
down to use, to notebooks and tablets that can easily be slipped in a briefcase or handbag.
Future is Now What does this mean for manufacturer’s and lighting designers? Now
Distributed Power for Lighting
is the time to remove the last hurdle to making the best LED lighting
If we apply this same concept to lighting, it’s possible to create a
solutions available to the market. Using a distributed power approach
lighting fixture that no longer needs a bulky external power supply per
LVDC pluggable lighting and will not only bring the technical benefits
light source, but instead can use one central power supply for multiple
to more widespread adoption of LED lighting, but also unlock the
light sources combined with a small DC/DC converter inside the
potential to design beautiful spaces with LED lighting because fixtures
luminaire. This enables manufacturers to design luminaires around
are now both functional and beautiful.•
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By Kevin Willmorth, Editor
Exploring Wireless Controls, Pt. 3 Open and proprietary wireless controls options are available; both have pros and cons; both will work in new or retrofit cases.
Editor’s Note: Part 2 of this series (February issue), examined the
EnOcean-Powered System.
growth of wireless technologies, and specifically reviewed the various
Leviton’s LevNet RF system, on the other hand, represents an example
means of executing wireless systems by use of Zig-Bee, Bluetooth and
of EnOcean self-powered controls comprised of transmitters, receivers
other protocols of the like. This final installment actually takes a look
and transceivers. Additional components include hybrid wired controls
at two different approaches using a pair of readily available products
with wireless features integrated for remote control using self-
on the market today and how they might be incorporated on a typical
powered sensors or switches.
lighting project.
Consistent with EnOcean standards, all wireless controls operate at 315MHz. Fixtures controlled by the system must be circuited through
Proprietary Hybrid Option
either an interface module/receiver, or include one within the fixture,
One example of a proprietary wireless control option is Lutron’s
LED module, or retrofit lamp itself, operating at 315MHz compatible
Maestro Wireless offering. This system is an example of a hybrid
with EnOcean controls standards. The system is easily retrofit into
controls approach. Fixtures remain hard-wire connected to wall box
commercial spaces, with the capacity to mix hard wire controlled load
controls and dimmers. The dimmers control light levels in the same
schemes with wireless controls. Further, special controls include hotel
manner as they would in conventional hard wired system. Circuiting
room key cards, thermostats, plug-in modules for portable loads, and
from the power supply to the fixtures remains conventional as well.
constant voltage PWM LED control modules.
Switches, companion controls, dimmers and interfaces are available
Commissioning the installed system requires manually setting
for line voltage dimming, 3-wire fluorescent style control, PWM, and
device addresses, and learning mode programming of modules to
0–10V control, all connected in a similar manner as any standard hard
bring out all of the systems capabilities. The system is well suited
wired system.
to small commercial spaces, hospitality, high-end residential and
Where the Maestro Wireless system differentiates itself is that the
similar applications, where complexity is limited by the number of
dimmers and switches are specific to this system, and include wireless
controlled loads and interface sensors. What’s nice about the EnOcean
receivers within each component. This provides a dual function of each
self-powered components is that they eliminate batteries and open
control. Manual control at the switches and dimmers directly with no
the door to incorporating other product manufacturer components
wireless input, and wireless remote control of the switch or dimmer’s
operating on the same frequency and EnOcean standards, to be
function using remote controls, daylight or occupancy sensors. The
incorporated.
operating frequency of the system is 434MHz, while the controls interface language is proprietary to Lutron. Commissioning is completed by features built into controls that
Since this system is more reliant on wireless controls of the lighting loads and interface between controls, more care needs to be taken into consideration. This includes avoiding signal lass from massive
are easily accomplished during installation. Battery-powered sensors
walls, as well as paying attention to transmission distances involved.
make adding automatic controls simpler still.
Since these basic systems do not include self-healing network features, signal losses can result in unreliable results. However, with care,
Usage
this can be resolved in the design and installation phases. Further,
This hybrid approach can be used to retrofit a conventionally wired
the LevNet system includes accessories for connect the system to
space with wireless remote control, without changing fixtures, while
a computer for testing, monitoring and commissioning the LevNet
presenting end users a familiar interface that requires no special
environment.
training or experience to understand. The addition of a layer of automatic controls, and the addition of remote controls that can be
A Good Fit For Many
mounted to walls, located on desks, or even clipped to a car visor
These two example systems, while not the only solutions available,
utilizes wireless capabilities to enhance the end user experience very
represent reliable, commercial-grade products that deliver the
simply and elegantly—and at a reasonable overall cost. For small
advantages and flexibility of a wireless interface with reasonable
commercial, room-by-room applications, hospitality, and residential
simplicity for ease of installation. These examples are perhaps not well
applications, this is a good solution for both new construction and
suited to very large or complex facility-wide applications, where the
retrofit installations.
more sophisticated controls systems shine.•
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Product Introductions
Infinite Possibilities Taking control to new levels, USAI Lighting’s Infinite Color+ downlights combines white light that can be tuned to any color temperature from 1800K to 12000K with the ability to change the actual hue produced to any color in the spectrum. Available with products in the BeveLED 2.0 fixture family, Infinite Color+ can be managed with any industry standard DMX512 control system. Visit www.usailighting.com or Circle 291.
Is the preference for incandescent color in residential applications based on an actual color choice, or simply familiarity coupled with the failure of other technologies to deliver?
1 Spot On—Wherever You Want it Intended to create accent lighting in small spaces, the Eklipse Lighting PIXIS mini-spot can be installed on a stem or jack-plug, and its articulated arm allows for full 360-degree rotation (the lamp head, itself, tilts up to 80 degrees). Visit www.eklipselighting.com or Circle 292.
2 Look Ma, No Switches When it hits the market in the third quarter of 2015, this new, long-necked PAR30L LED lamp from Soraa can be ordered with optional built-in wireless control, allowing them to be dimmed, grouped to create scenes and otherwise operated without need for a connected wall switch or dimmer. Visit www.soraa.com or Circle 293.
3 Who’s Watching? Improvements to the Osram IR Oslon Black infrared LEDs (IREDs) have boosted light output by 70%, compared to a similar standard design. In surveillance cameras and other applications, the new components can provide illumination over a distance of more than 100 meters. Visit www.osram-os.com or Circle 294.
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Product Introductions
It Goes Up and Down The Meteor Lighting Whiz Bidirectional high-bay luminaire delivers simultaneous illumination to both floors and ceilings, in a compact package capable of producing up to 25,000 lumens with an efficacy of 100 lumens per watt. Plus, the uplight and downlight functions can be dimmed separately or together. Two lumen packages and three color temperatures are available. Visit www.meteor-lighting.com or Circle 295.
The opportunity to utilize lighting that can be tuned to deliver a range of CCTs that can be adjusted after installation presents an exciting opportunity.
4 When You Need to Get High For high-ceilinged applications, the IC 1400 Lumen Downlight Series from Juno Lighting Group use only 21 watts to produce lighting output equivalent to a 120-watt PAR38 or BR40 incandescent fixture. Visit www.junolightinggroup.com or Circle 296.
5 Address Your Control Issues Sensors from Enlighted can be incorporated into individual OEM fixtures during manufacturing or installed by end users as a retrofit option. The highly intelligent devices can distinguish people from other heat sources and feature on-board processors capable of independent decision without need for centralized control. Visit www.enlightedinc.com or Circle 297.
6 Tough Customer The Albeo ABR1 Series high-bay fixture from GE Lighting is designed to perform in unforgiving climates and demanding settings. It’s IP66-rated for heavy-industrial and wet applications, as well as in ambient temperatures up to 149°F. Three distribution patterns available. Visit www.gelighting.com or Circle 298.
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Product Introductions
Light Where You Want It The ultra-sleek 1-in.-diameter Lightplane 1 Round from Architectural Lighting Works features a fieldadjustable light channel that can be rotated up to 350 degrees by simply loosening a set screw. The fixtures are offered in suspended and wall-mount models, with lumen packages intended for ambient or decorative applications, in a range of color temperatures and lengths—plus, sections can be joined to create continuous rows. Visit www.alwusa.com or Circle 299.
The challenge now is in moving lighting research from academic discussion into the real work of redefining the metrics, standards, and recommended practices involved.
1 Well-Adjusted Design Kim Lighting ArcheType X outdoor luminaires feature new Light Engine Adjustable Ready (LEAR) modules—the LED emitters are each independently adjustable, at the factory or in the field, for configuration to any standard or custom distribution pattern. Visit www.kimlighting.com or Circle 300.
2 A Merge Urge The linear recessed bus of the new Merge system from Tech Lighting can support recessed gimbal heads or, as shown here with the FreeJack dropdown arm, more than 80 styles of pendants and more than 25 spot heads, allowing for simultaneous accent and task illumination. Visit www.techlighting.com or Circle 301.
3 Rugged Design Eye Lighting’s Aphos Mini Series luminaires feature a rugged design and produce the bright white light needed in parking garages, warehouses, canopies and other hard-working locations. Fixtures can be specified in Type II, IIA, III and V configurations. Visit www.eyelighting.com or Circle 302.
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Product Introductions
Ride the Wave The LN series of suspended, ambient luminaires from Cree is the first product line to feature WaveMax technology for optical efficiency of up to 90%, along with precise optical control. The LN line incorporates the technology into sleek, architectural fixtures that deliver efficacy of up to 110 lumens per watt, with a color rendering index of 90+. Visit www.cree.com or Circle 303.
If warm white light is preferred at low levels, why do street lighting systems delivering much higher CCT at low illuminance levels receive such strong positive response?
4 For a Rapid ROI The Civilight Professional 14W 5/6-in. downlight replaces units for 75W incandescent lamps. Available in standard Edison or GU24 bases, the dimmable downlights are offered with various color temperatures and are designed for projects where ROI is key. Visit www.civilight-na.com or Circle 304.
5 Put It On Display This 25W LED full-cutoff wall pack from Access Fixtures is priced lower than an equivalent 100W pulse-start metal halide fixture, so owners enjoy a payback from the moment of purchase. The durable fixture features a die-cast aluminum housing and a hinged, full-cutoff front frame. Visit www.accessfixtures.com or Circle 305.
6 LED Update Newbury pendant fixtures from Hudson Valley Lighting are among several new offerings to show off a classic Italian glass-making technique of inlaying strands of brass into molten glass. The nearly-dissolved brass strands create bubbles that glow when the fixture is illuminated. Visit www.hudsonvalleylighting.com or Circle 306.
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ADV§RTIS§R
∆§BSIT§
CIRCL§ ∑UµB§R
PAg§ ∑UµB§R
ACCESS LIGHTING
www.accesslighting.com
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ARCHITECTURAL AREA LIGHTING
www.aal.net
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IFC
B-K LIGHTING
www.bklighting.com
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BODINE / PHILIPS
www.bodine.com
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CIVILIGHT
www.civilight.com
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EATON
www.eaton.com
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IBC
FINELITE
www.fineliteled.com
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FOCAL POINT
www.focalpointlights.com
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KIM LIGHTING / HUBBELL
www.kimlighting.com
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LIGHTSHOW WEST
www.lightshowwest.com
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36
LUMASCAPE
www.lumascape.com
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LUMINIS
www.luminis.com
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NO 8 LIGHTING
www.8lighting.com
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SELUX
www.selux.us
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STERNBERG VINTAGE LIGHTING
www.sternberglighting.com
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TE CONNECTIVITY
www.te.com
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THE CONTINUING ARCHITECT
www.thecontinuingarchitect.com
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CIVILIGHT
LED Diamond Candelabras Combine
NEXT ISSUE:
Experience Civilight’s dimmable Architectural Series LED Diamond candelabras with their beautiful silver or gold metallic finishes and our state-of-art patented optical design that extends their quality performance over a long lifetime.
In the August issue of SSL, we continue our “Business of Light” story, but this time with more of a focus on issues lighting designers and their clients need to resolve to make successful LED projects. Elsewhere, we jet to Turin to see how LED has helped transform a former palace into a modern residence for more than royalty. We also take a look at excellent area lighting at an Austrian Ski Resort in Lech. Closer to home, we break down the Biogen Idec campus in Cambridge, Mass., a GE Edison Award winner.
www.civilight-na.com
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THE MOST INTERESTING AIA APPROVED COURSES ON THE WEB. THECONTINUINGARCHITECT.
Better Content Better Learning
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Adding Value by Embracing the Risk of the Undone and reassemble them a few times in the process
to small production runs, where the extra work
of reaching the ultimate end product. While I
and cost of approvals is infeasible. This is akin
manage risk through use of modern tools, risk of
to demanding the Wright flyer to pass current
failure is a constant companion. With solid-state
FAA regulations, or requiring Ford’s Model A to
lighting, there is an added layer of ever-changing
pass NHSTA crash tests. While safety regulation
technology, planned obsolescence cycles, and
delivers value in safer products, it does have a
new products running into projects in process.
taste of risk aversion, mass hysteria and corpo-
This adds risk and stress… and yet, fun. Without
rate protectionism. Something really needs to be
Doing what has not been done before is fraught
risk and the challenge of making something from
done to open the door to one-off and ultra-low
with risk from the unknown. The day Lewis and
nothing, I would be bored to tears.
volume product creation. The risk of failure of
Without risk, including lessons learned from failure, innovation would never occur and life would be boring; so take a chance and do something that adds new value.
Clark set off to explore the West, they spent
Not every idea works as planned. Some
one small sculptural 24VDC desk light is hardly
more effort inventing means of transport than
crumble like sand castles at the beach—leaving
the same as a failure of a mass produced 277V
they did actual survey work. When the Wright
you hot, tired and burnt red. Yet, when a large
office troffer, yet the cost to list both are roughly
Brothers began to build their first airplane, they
project comes together successfully, the risks
the same—seems goofy to me.
found no engines existed to suit their needs—
seem irrelevant. For example, a recent 1200 watt
forcing them to build motors before building the
custom light system I was involved with, consist-
goniometer, custom task lights, and a few
flying machine. Henry Ford found manufacturing
ed of 94 LEDs, 94 drivers, with a total of 3 power
sculptural gadgets—I realize there are going to
methods and practices of his day unsuitable to
supplies, housing, lenses, retractable legs and
be moments where I feel like an idiot for putting
meet his needs, so he took on re-invented mass
a myriad of switches and cables. The number of
things together that I designed incorrectly, or
production and labor utilization. In more con-
individual components—mostly custom—totaled
missing details that make something not work as
temporary time, John Q. Public faced the daunt-
in the hundreds, all needing to have to come
planned. I also know there will be tools that can’t
ing process of converting a flat pack of particle
together on an impossible deadline. There was
be found, and others that need to be made to get
board into a bookshelf, requiring he make three
no room to fail and little room to recover from a
the job done. Yet, if none of this were the case, I’d
trips to a hardware store to buy tools he did not
miscalculation. It was a serious thrill ride rival-
be bored with it all. Embracing the risk is part of
have and fasteners missing from the kit. Each of
ing any at Six Flags. By the way, this is precisely
converting undone ideas into finished, valuable
these have one thing in common—they embraced
the type of project most large scale manufactur-
products—oh yeah, not to mention the thrill of
the risk of the undone to create new value,
ers avoid.
seeing an idea become real.•
including the fact that the work involved effort beyond their core focus. As a designer, most everything I do is for the
As I ponder the work in front of me—a custom
However, because the availability of key components—once impossible to buy without a corporate account—makes specialty projects pos-
first time. I add value by doing something not
sible. Now, small market players have access to
already done. Because of this, I frequently spend
many of the components they need. This can fuel
ABOUT THE AUTHOR:
as much time finding or making the tools I need
innovation that leads to exciting new product
Kevin Willmorth, a lighting expert and fixture designer,
as I do actually making the thing I want to get
directions. Unfortunately, one massive roadblock
has been instrumental in helping create a vision and
done. I also put things together, take them apart,
remains—safety approvals. The process is hostile
mission statement for Architectural SSL.
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With the industry’s broadest portfolio of lighting and controls solutions, coupled with our experience and vision, Eaton can provide you with the unparalleled guidance you need for your next project. Visit us at AIA Booth Number 3617. eaton.com/lighting
Follow us on social media to get the latest product and support information.
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A r c h e Ty p e X
™
Kim Lighting is proud to announce the new LEAR™ (Light Engine Adjustable Ready) module, a concept that brings unparalleled flexibility to the lighting industry. By incorporating this latest design, Kim Lighting has developed the first outdoor luminaires with independently adjustable LED emitters. We call this concept the Type X distribution. X is whatever you want it to be. • LED modules rotate 355 degrees with 70 degrees
of tilt for maximum flexibility • Create your user defined distribution specific
to your site using AGi32 v16 new feature Design Isolines • Site, flood, wall product options • Visit us at LightFair booth 721 for a
demonstration of just how easy it is.
Infinite adjustability…
http://www.kimlighting.com/typex/
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