ARCHITECTURAL SSL • Chronicling the Advancement of LEDs in the Built Environment
ILLUMINATING INTERACTION. Art is the intentional act of imposing or manipulating imagery within physical space. Artistic lighting intends to evoke an emotional response by going beyond a simple presentation of forms and surfaces.
SSL BUZZ DOE tests a Seattle hospital—one of the first projects employing color tuning—but finds mixed results on the performanceto-spec front.
SSL FEATURE A peek inside Autodesk’s new facilities in South Boston reveals some interesting cross-industrial and commercial possibilities.
WHITE PAGES For those studying the effect of high-spectrum blue nanometer light on Circadian cycles, new LED technology shows promising results.
NUMBER 50 • OCTOBER 2017 www.architecturalssl.com
The Art of Solid State Lighting Kevin Willmorth, c. 2017
Taking an artful approach to illumination can produce spectacular results across a variety of forms and surfaces. The basic tools of applied artistic lighting are well known, but what sets today’s lighting designers apart is in how they utilize these tools to tap into the unique potential of light as art. MARKET SETTING FEATURE
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08 Project Preview Big John adds a little color to his wardrobe on Chicago’s Magnificent Mile.
BUZZ
PERSPECTIVES
07 Color Tuning
05 LED Insights
DOE evaluates color-tunable product performance.
LED, and all those involved with it, are positioned to open many new doors of possibility. By Jim Crockett
09 New Big Apple Glow 37 Project Profile St. Louis’ Kiener Plaza redefines urban park illumination.
Times Square became an art gallery for five days during May’s NYC×Design cultural event.
12 An LED Brew German Museum celebrates 500 years of beer-brewing history with an assist from LED.
02 • 10.17 • ARCHITECTURAL SSL
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48 SSL Observed Lighting technology has evolved to the point that one can’t keep jerry-rigging old forms to meet modern expectations. By Kevin Willmorth
“Art serves to expand our experience, providing perspective. Each of us build our libraries from unique experiences. In this, art adds a dimension to our existence and individuality that enriches our lives and that of humanity.”
www.architecturalssl.com
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30
FEATURES
DESIGN & PRODUCTS
16 Market Setting Feature: The Art of SSL
40 White Pages A new package offering takes the issue of how blue LED spikes affect Circadian cycles.
There is an art to lighting design which presents surfaces and spaces around us with light energy that imparts a feeling of space, with characteristics that produce a sense of being, and a potential for acuity. by Kevin Willmorth
24 At the Front: The New Nighttime Façade illumination has shifted from random blasts of white light, beamed from hefty surface fixtures, into artful installations integrated gracefully with architecture and urban context. by Vilma Barr
42 Advances Color tuning, decorative pendants, cove lighting, area lighting, modules, track fixtures.
Architectural SSL, Vol. 11, No. 5 (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 © 2017 by Construction Business Media) POSTMASTER: Send address changes to Architectural SSL Magazine, 519 East Briarcliff Road, Bolingbrook, IL 60440.
30 Featured Project: Autodesk Boston In a South Boston former warehouse, SGA Architects lower industrialheight ceilings and incorporate geometric fixtures for both style and function in this new Autodesk space. by Vilma Barr
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ARCHITECTURAL SSL • 10.17 • 03
10/3/17 13:51
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NUMBER 50 • OCTOBER 2017 www.architecturalssl.com Gary Redmond
Managing Partner Director Publishing Operations gredmond@cbmedia.us.com
Tim Shea
Managing Partner Director Business Development tshea@cbmedia.us.com
Thoughts and Choices For a New Year She and her students, in their illumination deci-
Dave Pape
Vice President Director, Art & Production dpape@cbmedia.us.com
EDITORIAL Jim Crockett 847 359 6493
Editorial Director jcrockett@cbmedia.us.com
Kevin Willmorth
Editor
Megan Mazzocco 847 359 6493
Senior Editor mmazzocco@cbmedia.us.com
CONTRIBUTING EDITORS Vilma Barr Barbara Horwitz-Bennett Ellen Lampert-Greaux Chuck Ross
Alex Mastera
sion, chose to light three distinct facets of their subject—a local church. The elements were the existing path, the tower--lit with a more funky, swirling pattern--and the church’s windows. With their eyes, viewers are forced to pick something to look at. “Hierarchically guided by light, the visitor chooses which path to take--a
Surprisingly, I struggled coming up with something to say this month—our final issue of the
metaphor to climate action,” said Gilmore. From the student poster: “Actions and choices
year. As I wrote this, Fall had just begun; it was
we make create the reflection of the future we’re
late in the day, and notably darker. Somewhat
all part of. We consume it, but to change it, we
morosely, I began thinking more about Fall’s end
have to take a detour. For if we don’t, Mother
when it becomes so, so dark and cold—at least
Earth will send us a reflection of glare in con-
where I live. In fact, December’s gloom very much
trast to our habits of consuming all our assets.
set the tone for this issue, as I really wanted the
It’s a question of time, and a time to reflect.”
light of hope—through the projects and stories
I’m not going to preach about what course
we’ve chosen to feature—to shine through after
anyone should take, but I whole-heartedly agree
Associate Art Director llenkowski@cbmedia.us.com
what has been a very hard year for me person-
that deep reflection must guide whatever action
ally, having lost my Dad to cancer, as well as
must occur. That said, in these dark times, solid-
Associate Art Director amastera@cbmedia.us.com
having suffered through a year of political and
state lighting—and those associated with it in all
economic upheaval that has been especially hard
facets--truly is in a unique position to open up
on more-eco-oriented proponents.
many paths, be it purely in implementing greater
DESIGN & PRODUCTION Dave Pape Art Director dpape@cbmedia.us.com Lauren Lenkowski
Solid State Lighting—as well as all of those involved with it—are in unique positions to open up many new paths in the way we live in, and light our singular world.
The stories I’m referencing, by the way, focus
ADVERTISING SALES Gary Redmond 847 359 6493 gredmond@cbmedia.us.com
Tim Shea 847 359 6493 tshea@cbmedia.us.com
Michael Boyle 847 359 6493 mboyle@cbmedia.us.com
Jim Oestmann 847 838 0500 joestmann@cbmedia.us.com
David Haggett 847 934 9123 dhaggett@cbmedia.us.com
Ted Rzempoluch 609 361 1733 trzempoluch@cbmedia.us.com
Jim Führer 503 679 5409 jfuhrer@cbmedia.us.com
Bob Fox 203 356 9694 bfox@cbmedia.us.com
SUBSCRIPTION INQUIRIES There is no charge for subscriptions to qualified requestors in the U.S. All other annual subscriptions will be charged $49 for standard delivery or $84 for air mail delivery. For subscriptions, inquiries or address changes, call 630 739 0900 ext. 100.
on the “art of SSL,” and the artful illumination of buildings at night. I hope they inspire, but as
energy efficiency, or in allowing the execution of greater lighting visions—perhaps both. To the former, an interesting graphic came
I pondered these subjects, I recalled a newslet-
across my desk that hits home. Created by Eaton,
ter from the Spring that I had squirreled away,
it involved the transition the major professional
possibly for a day such as this. The communique
sports have made in adopting LEDs. Driven, at
was from lighting designer Debra Gilmore, and it
least partially by the new demands of HDTV,
involved a recap of an event she had participated
Eaton reported 44 pro teams across four major
in last September—Lights in Alingsas—a seven-
sports are now playing under LEDs. That’s a
day workshop/temporary exhibition in the
2500% increase in market penetration since the
eponymous small Swedish town. Gilmore was
technology became readily available in just 2013.
one of eight prominent lighting designers who
Beyond lighting quality, the change has resulted
lead a group of 60 international students in
in a 75% reduction in energy consumption.
creating lighting statements that reflected
That’s nothing to scoff at, and certainly allows
the theme of the event, in this case, the United
for more coal to be put in one’s stocking vs. the
Nations’ 17 sustainability goals. “Team Gilmore”
local power plant, and in turn, the earth’s sky. I
chose UN Goal No. 13—Climate Action. Reflec-
don’t know about you, but that’s a holiday gift I’d
tion, in her introductory note, was something
certainly be glad to receive.•
the designer said she very much wanted to drive home with their art installation from both a A Publication of Construction Business Media
Member:
purely technical perspective, and a moral one, as through a simple graphic of the sun beaming onto a wall, she pointed out the angle of incidence = the angle of reflectance.
www.architecturalssl.com
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Jim Crockett, editorial director
ARCHITECTURAL SSL • 10.17 • 05
10/3/17 13:58
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Initial vs. Secondary Measurement 900
DOE TACKLES 1ST COLOR TUNING CASE: PERFORMANCE AND SPECS OUT OF SYNC
Sky Glow Impact Relative to Baseline Condition
800 4200K 75% 3500K 75% 2700K 55% 2400K 25% 6000K 95% 4200K 75% 3500K 70% 2700K 55% Cove Only
700
Illuminance (lx)
600 500 400 300
The relatively new concept of biophilic design— that is, designing spaces to reflect aspects of the natural environment—is attracting much attention lately, especially among lighting designers working in healthcare applications. Tunable LED systems offer the ability to adjust correlated
200
color temperature (CCT) along with light output,
100
in a biophilic manner that mirrors natural light shifts throughout the day, and possibly sup-
0 13
14
ports circadian sleep/wake schedules. A recent
Measurement Point
DOE Gateway report on such an application in a behavioral health center documents the work
ABOVE: During their first measurement round, researchers discovered fixtures weren’t dimming as much during four measured scenes as designers had specified. So, for example, during the afternoon scene, lighting intensity levels were only reduced to 89% of full output, instead of to the 75% called for in the specifications.
needed to install systems that meet designers’ specifications and makes clear the importance of careful commissioning in such projects. In the August report, “Tuning Hospital Lighting: Evaluating Tunable LED Lighting at the Swedish Hospital Behavioral Health Unit in Seattle,” researchers discuss a collaborative lighting research effort to study how well installed tunable lighting systems live up to specifications.
Illuminance vs. Scheduled Intensity µ§ASUR§D AV§RAg§ iLLUµi∑A∑C§ (Lx)
ZGF Architects invited the DOE’s SSL program to document actual performance of a system they had specified for a new behavioral health unit
i∑T§∑SiT ∞ L§V§L (% OF FULL OUTPUT)
FULL OUTPUT
AFTERNOON (4200K)
(BHU) housed in two floors of renovated space within Seattle’s Swedish Hospital.
LigHTi∑g SC§∑§ (CCT)
666
SC§∑§ OUTPUT
599
µ§ASUR§D
89.9
SCH§DUL§
75
The system was installed in common areas, including a dining/activity area and corridors of the two-floor facility. The combination of colortunable downlights and white-tunable cove
EVENING (3500K)
651
560
86.1
70
lighting was specified to mimic daily shifts in both light color and intensity. The spectral power distribution (SPD) of the BHU system was speci-
SUNSET (2700K)
635
477
75.0
55
fied with CCTs to range from 2400K at night, up to 6000K at midday. Designing such a system to produce the desired results is challenging, the
NIGHT (2400K)
636
295
46.3
25
ABOVE: Commissioning performed after the first testing round improved fixture dimming ranges. This figure reports results at two measurement points in the dining/activity area, with squares representing results from the initial tests and triangles the results from the second testing round.
report authors note, requiring an understanding of the latest research in circadian photobiology, as well as an understanding of LED technology. Additionally, commissioning agents might Z
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Y
not have access to meters that can measure both SPD and illuminance, which was the case with this project. Specifications for these installations also must provide detailed information on desired control sequences and outcomes, because while the desired effect requires meeting specific SPD levels at a range of eye positions, there currently isn’t an easy to estimate the effects at possible eye positions in an architectural space. Researchers’ first measurements, in May 2016, showed discrepancies in CCT and illuminance between what was specified and what was measured. For example, fixtures didn’t dim as much as the designers’ specifications required for the four lighting scenes. After sharing these results with ZGF,
RETROFITS: JOHN HANCOCK CENTER, CHICAGO
a second commissioning was ordered.
Bringing New Functionality to Chicago’s Skyline
Another round of tests was conducted in September, and following adjustments, both CCT and dimming ranges
The 100-story John Hancock Center has been a
between scenes showed improvement.
prominent presence on Chicago’s skyline since
During the second testing, researchers
its completion in 1969, but its signature Crown
also determined that the fade time
of Lights lighting display was showing its age
between scenes needed to be adjusted
when new owners took control of the building
to create a less-jarring transition. A
in 2013. At that time, changing the display’s
series of intermediate steps was pro-
colors for holidays or other occasions required
grammed into the lighting controllers
maintenance staff to remove all 552 T-12 fluores-
to smooth out the light-level shifts.
cent tubes that circled the building in cabinets
The report also presents an energy
mounted against windows on the 99th floor
analysis of the system against two
by hand. The tubes were sheathed in colored,
base-case scenarios that shows plans
plastic sleeves and reinstalled—all by hand. This
such as this one can be less efficient
process took two maintenance engineers 40
than designs that strictly follow IES
hours to complete.
guidelines. Providing the desired
The new scheme, developed by Bloomingdale,
amount of circadian stimulation
Ill.-based Lombardi Electric, replaces the tubes
required 34 luminaires--twice the num-
with high-power Pixel Graze LED fixtures from
ber required to meet applicable IES
Acclaim Lighting. With their
targets. Figuring in the energy savings
4-color Quad chip, the fixtures
created through the installed fixtures’
offer easy color changes using
dimming operations, researchers
Acclaim’s Art 500 controller. Now,
determined this system would raise
the center’s operator has the op-
annual energy use by 19% relative to
tion of 50 different scenes that can be activated
the IES base case.•
with the touch of a switch.•
08 • 10.17 • ARCHITECTURAL SSL
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“AS AN ICONIC BUILDING ALONG THE CHICAGO WATERFRONT, THE HANCOCK CENTER’S LIGHTING CHANGE WILL BE EASILY NOTICED.’
ABOVE: Replacing more than 500 fluorescent tubes are 160 color-changing LED pixel fixtures, which can be operated via remote computer.
www.architecturalssl.com
10/3/17 15:04
Introducing Sternberg's New Low Profile LED Luminaire PUBLIC ART: CAMEO NO. 3, NYCXDESIGN FESTIVAL
Corian Glows in Cameo Appearance New York City’s Times Square became an art gallery for five days during May’s NYCxDesign cultural event. The Corian Cameo No. 3 exhibit designed by ZGF Architects was a highlight of the event, combining music, touch and light into an interactive display. Lighting glowed softly through the abstract structures fabricated from Corian, in colors controlled by publicly accessible
Flight's indirect COB and
touch-activated podiums. The creative and technology firms Piano Push
reflector assemblies
Play, dotdotdash and Uncorked studios also contributed to the work, which
produce better than
also incorporated music and other sounds.
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Sternberg, Lighting The Way Ahead.
ABOVE: Cameo No. 3 in Aquamarine was part of the Corian Movement Bar, a humancentric design exhibit in Times Square, created for people to experience interpretations of movement in the highly trafficked pubic gathering place.
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Flip Through Our 2017 Catalog On-Line www.SternbergLighting.com
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FAÇADES: RAGNAROCK, ROSKILDE, DENMARK
Can You Rock Without Awesome Lighting? The Danish museum for pop, rock and youth culture, opened its doors to the public in April 2016. From the beginning, lighting was meant to be an essential part of the architecture and the visual expression of the museum. In the initial stages, the plan was to implement a media façade, but when Lighting Designer Jesper Kongshaug became part of the project, he presented an alternative to covering up the beautiful façade and instead enhance it with lighting. The façade is made up of a shell of golden studs. The team employed SGM’s P-2 and P-5 fixtures, which were placed at angles all around the building to emphasize the pyramid shapes. “Because of the metallic surface of the façade, with lighting you can make the building appear as if it was made by silver, gold, bronze and other metals.” •
FESTIVALS: UTZON CENTER, AALBORG, DENMARK
A Nighttime Alter Ego In connection with this year’s Architecture Festival in Aalborg, Denmark, ÅF Lighting was given the task to illuminate the Utzon Center, located at the harbor front. From sunset to sunrise, ÅF Lighting, in concert with lighting manufacturer SGM, tried out different color combinations and visual effects, ultimately defining five lighting settings, which varied the visual expression of the building during the festival nights. Starting with the color combination for the skylights, the large curved roofs were staged with matching color tones and projections with relation to the sea, sky and maritime environment at Limfjorden. SGM was responsible for the programming and were on ABOVE: SGM’s P-2 and Q-2 luminaires were used for the illumination of the back of the regular skylights in two corresponding color tones. The large roof top facing the water was illuminated from both sides with P-5 luminaires (43 degrees) and the other two curved roofs were staged with G-Spot gobo projectors.
10 • 10.17 • ARCHITECTURAL SSL
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site during the opening together with lighting designer Johannes Møjen to ensure that everything worked according to plan.•
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10/3/17 15:02
TECHNOLOGY: INFLATABLE FIXTURES
Light in a Can
“BLOW ME UP IS A LAMP FOR THE YOUNG, AND YOUNG OF MIND, ESPECIALLY THOSE THAT EMBRACE MOBILITY AND CHANGE.”
Demonstrating LEDs’ flexibility—both actual and metaphorical—the Blow Me Up fixture from Ingo Maurer, is packaged in a can like a roll of paper towels. Inflating the fixture using the included hand pump creates an approximately 6-ft.-long linear fixture that can be suspended from the ceiling using the enclosed suspension cables or simply leaned against a wall. The performance specs are impressive—the inflatable luminaire has a light output of 4,000 lm, and a CRI of 90.•
Architectural Lighting
As seen in ABOVE: From Ingo Maurer, the fixtures are also adaptable and could be powered by van or truck on the road.
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www.lsi-industries.com
513.793.3200 Circle 06
10/5/17 08:57
ACCENT LIGHTING: HAMBURG MUSEUM, GERMANY
Smart Brewing The Hamburg Museum recently commemorated 500 years of beer-brewing history in the region with an exhibition focused on the culture that’s arisen around the hoppy beverage. Designers were given the assignment to create a system for helping visitors navigate the 400 or so exhibits on display. Lighting played an important role in their end result, with a single fixture family—ERCO’s Light Board spotlights—providing the accent illumination required to both highlight sometimes fragile artwork and help guide attendees through the space. Fixtures were fitted with Spherolit lenses to create light distributions ranging from narrow spots, oval floods and wallwashes. The resulting illumination is free of the UV and infrared components that can damage sensitive artwork.•
⬀ 㴀 漀渀攀 吀栀攀 唀氀琀椀洀愀琀攀伀渀攀
䄀䌀 愀渀搀 攀洀攀爀最攀渀挀礀 挀漀洀戀椀渀愀琀椀漀渀 搀爀椀瘀攀爀猀 昀漀爀 䰀䔀䐀 ǻ砀琀甀爀攀猀
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PRECISE AND CONSISTENT. NOW NO OW IT’S ALL IN THE FAMILY.
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Spotlighting Spot tlig the 1045 Precision Precis sio optics with controlled cutoff. Four distributions from Very Narrow Spot to Wide distri but Flood. Color temperatures range from 2700˚K Flood d. C to 5000˚K CCT at 15 to 26 Watts with outputs from 1100 to 2400 delivered lumens.
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PUBLIC SPACES: INDIAN TRAILS LIBRARY, WHEELING, ILL.
Design Booksmarts Designers with Chicago-based Product Architecture + Design worked with KSA Lighting & Controls to add some retail excitement to their plans for a renovated Indian Trails Public Library in Wheeling, Ill. In addition to higher-end wood and glass finishes, the design team created a lighting plan that pairs eye-catching custom luminaires with unobtrusive BASYS LED II fixtures from Zumtobel to ensure even illumination throughout the space.•
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10/3/17 15:02
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16 • 10.17 • ARCHITECTURAL SSL
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www.architecturalssl.com
10/5/17 13:27
The Art of Solid State Lighting Kevin Willmorth, c. 2017
Taking an artful approach to illumination can produce spectacular results across a variety of forms and surfaces. The basic tools of applied artistic lighting are well known, but what sets today’s lighting designers apart is in how they utilize these tools to tap into the unique potential of light as art.
From a purely techni-
Color is interpreted from
We also know that there
cal perspective, vision is
a highly variable chemical
are built-in responses to
the composite process of
balance that produces an
certain visual ques, such as
receiving light emitted,
averaged “white” bal-
color, that cause non-visual
transmitted or reflected
ance from a kaleidoscope
response to visual informa-
from objects and surfaces,
of input collected non-
tion. Since all of what is
converted to nerve impuls-
uniformly by the retina. All
seen is light imagery pro-
es that are translated by
of this is processed using
cessed by the brain, inter-
the brain, where they are
memory references that
pretation of what is “seen”
interpreted and processed
speed interpretation. We
can be manipulated and in-
to create mental images
don’t see objects, we see
fluenced by the application
we accept as representing
light from them. When we
of light. We log what we
the environment. Form
touch an object we “see” it,
see for reference against
and texture are derived
in that the brain, in coor-
new images. Visual art
from contrast, highlight
dinating this connection,
creates fresh imagery that
and shadow, captured
makes it real to us. This
is not necessarily natural,
through eyes that continu-
coordination can be fooled
offering up new pictures
ally adjust to an averaged
with visual manipulations
for reference in an abstract
total retinal illuminance.
or optical illusions that
expression of form and
confound this connection,
light that add depth to our
demonstrating just how
mental libraries.
tenuous the interaction is between what is solid matter and what we perceive.
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ARCHITECTURAL SSL • 10.17 • 17
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PROJECT: Melbourne Theatre. Co. LOCATION: Melbourne, Australia IMAGERY: Fascination + Rhythmic Strokes TOOLS: Highlight and Shadow + Lighted Features
Photo: Matthieu Colin
Art serves to expand our experience, providing perspective. Each of us build our libraries from unique histories and experiences. Because of this, art viewed simultaneously by a group will create similar physiological responses, but individual visual response, based on everyone’s unique referential processes. Since the connection between art and the physical world are tenuous, the range of interpretation is wide. Emotional response and personal preferences are founded on individual experiences. No two individuals experience any artistic presentation in the same way. Further, since communicating any of this to another is impossible, our individual experience of an artistic experience remains our own. Since art is an abstract visual entity, its impact on observers varies. In this, art adds a dimension to our existence and individuality
Photo: Shannon McGrath
that enriches our lives and that of humanity. The human visual system also utilizes light to regulate non-visual physiological responses. The discovery of non-visual receptors compounds
ART OF ILLUSION Contrary to how it appears, the application of lines of light, here by Electrolux, is being created not from application of linear lighting, but from focused wash lighting of the tubular structure, creating a chaotic presence that is intriguing and exciting.
the perceived connection between light and observer affect. Light of certain characteristics influences wakefulness, while others activate
Similar to the use of optical distortion and
deeper reactions. Since we are not consciously
illusion, to confound or enhance perception—
not an engineering function focused on filling a
aware of these connections, we interpret the
manipulating non-visual responses to impart a
space with light of a prescribed formulaic value
affect in reference to what we “see”. If light
desired emotional connection or feeling toward
using a prescribed budget of energy. Lighting de-
imparts a feeling of calm or healthfulness—the
an artistic expression is just around the corner.
sign is the work of presenting the surfaces and
interpretation of the visual imagery will be set
In addition to light energy, there are nu-
While not always recognized, lighting design is
space around us with light energy, to be reflected
within that state. If light energy causes us to feel
merous other psychological responses to our
and transmitted, producing visual imagery that
tired, or evokes a negative physical reaction—the
environment, as well as physical senses that in-
imparts a feeling of space, with characteristics
imagery of the environment will be perceived
fluence visual perception. These include spatial
that produce a sense of being, and a potential for
within that context. The purposeful manipula-
perception, flow and progression, temperature,
visual acuity. The mechanics of energy use and
tion of light to impart a non-visual response is a
senses of smell and hearing, and other compos-
other factors are the rudimentary functions of
potential new area of artistic communication. In
ite perceptions too numerous to cover here.
design, the real work is in the art of imparting
this regard, solid state technology, with its infi-
With sight being the most powerful sense, what
imagery in the mind.
nite potential for finite tuning of SPD and inten-
we “see” is used as the foundation for all other
sity, provides a novel path of exploration - where
senses to work from. Because of this, artists can
signed lighting, and artistic lighting is evident in
the artist might purposefully apply both visual
apply visual cues that establish a predisposition
its intent to evoke an emotional response, or cre-
and non-visual energies to influence viewer
or expectation that changes how other senses are
ate an impression beyond simple presentation of
response. Further, one may choose to isolate the
perceived. For example, cool colored light causes
forms and surfaces. While not all lighting artists
non-visual responses by controlling or filtering
us to anticipate coolness. Bright surfaces are seen
are lighting designers, most lighting design
the spectral energies influencing non-visual
to be nearer, with greater texture, while darker
professionals infuse their designs with some
response to provide a purer visual experience.
surfaces appear less defined and further away.
level of artistry to create a desired perception of
This is a dimension of art that has yet to be fully
Artists use these assumptions as a background,
a visual environment. The basic tools of applied
explored, but offers a unique potential to make
by enhancing physical properties, or purposefully
artistic lighting, either in color, white light, or a
light-as-art an even more intriguing media.
distorting them to impart a desired response.
combination of both, are well known:
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The difference between professionally de-
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ETHEREAL The contrast of the surround with a central focus, by Shanghai Hip-Pop, utilizes smooth wash effects in contrasting white produces a planar view that demonstrates the power of focal plane effect. Edge light accents and soft wash effects product an environment that envelopes occupants.
PROJECT: Setsugekka Japanese Cuisine LOCATION: Changchun, China IMAGERY: Focal Plane + Enveloping + Fascination TOOLS: Wash and Graze + Color + Lighted Objects
Wash and Graze–Manipulation of surface
What sets lighting artists apart is in how they
Target Focus
texture and features.
utilize these tools to produce imagery using light
The use of light to draw attention to one or more
Color—Used as an ambient background or for
and the forms and surfaces within an environ-
specific surfaces, objects or objectives. This can
special effect.
ment to achieve specific results.
be as simple as washing a feature wall, highlight-
Ambient Fill—Provides a background illumi-
ing a zone within a space, or pinpointing of a
nance for other effects to play from.
Focal Planes
single object. The purpose of this technique is
Lighted Features—Details that emit light to
The presentation of an image viewed from a
to add a new element or imagery like a staccato
define or illuminate (coves, slots, etc.)
specific vantage point, like a picture coming into
note in music.
Highlight and Shadow—Builds depth and
focus, revealed to the observer. This creates
accentuates features.
a sense of passage from one visual space to
Fascination
Sprays and Splashes—Create a pattern of light
another, a sense of focal centering to draw the
Light that either creates a fresh effect itself, or
onto surrounding surfaces.
viewer into the scene, or a destination.
focuses on a unique curiosity or feature within
Focus and Accent—Accentuation of an object
a space, intent on producing a feeling of fascina-
Lines—Linear light that accentuates, defines,
Enveloping
tion. This differs from focused target lighting, in
or adds to surfaces and features.
Light that wraps around the occupants like a
that it may not necessarily be used to direct at-
Patterning—Application of light as texture.
blanket, immersing them in an envelope of light
tention. This technique must be applied sparingly,
Implied Imagery—Use of grids or patterns to
that places them inside the whole. This can be
to avoid visual confusion. This is a technique used
create images in pixelated form.
created in a large space, or focused on a single
when lighting bridges or other public structures
Projected Imagery—Coherent or abstract
table within a restaurant. The purpose may be
that are viewed at great distances, delivering a
images over-laid on surfaces.
to create a feeling of destination, occasion, or
fresh new appearance to a familiar structure.
Direct View—Surfaces or objects that emit
intimacy. The technique creates a non-visual
light, static or dynamic.
sense of close connection to the location, impart-
Lighted Objects—Objects with physical forms
ing a sense or feeling. Color is often used in this
that emit light—often sculptural.
technique, bathing the occupants with imagery.
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PROJECT: MuCEM by Yann Kersale LOCATION: Marseilles, France IMAGERY: Spatial Effects + Fascination TOOLS: Wash and Graze + Sprays and Splashes + Color
MER VEILLE The combination of wash lighting, pinpoint highlights, and the textured building façade produce a visible mesh adding intrigue and interest beyond simply presenting the architecture itself.
Photo: Matthieu Colin
Rhythmic Strokes
Blending Spatial Effects
Applying light at regular intervals, frequently
Lighting techniques that increase or decrease
highlighting a repeated feature or object,
spatial perception. We perceive lighted surfaces
creates a rhythmic image. This is often used to
to be closer than non-lighted surfaces. Far
set boundaries, and present the environment
distant surfaces or objects highlighted draw the
in such a way that is readily seen and recog-
eye well into a space, while large spaces can be
nized. Can also be used as a background effect
made to feel more intimate and less voluminous.
for other features.
The locations of surfaces can be brought in closer, while highlighted and shadowed objects
Mood Setting
create a sense of depth beyond the simple
Mood can be created in many ways. Color,
physical space itself.
shadow and unlighted space creates a sense of mystery. Ambient light coming from many sur-
Contrast with Assumptions and Context
faces, vertical and horizontal alike, can create
Lighting that either assumes an anticipated role,
an elevating energetic mood. Creating islands of
or breaks from it, based on pre-conceptions of
light, that are viewed, then entered as individual
occupants. Offices are expected to have certain
envelopes within the whole, can impart a roman-
lighting characteristics, as are restaurants,
tic mood and sense of occasion.
hospitals, libraries, etc. Presenting occupants
PROJECT: Bidvest on Broadway 2105 LOCATION: New York City IMAGERY: Applied Lighted Art TOOLS: Wash and Graze
with light that breaks with these assumptions can delight or surprise, as well as impart a sense of space and intrigue. Further, breaking from expectations creates a sense of freshness, excitement for new possibilities that can move viewers from complacency to active engagement.
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VIRTUAL LED The application of lighted art by Gearhouse Group, in the form of backlighting graphic images, contrasts with the color and “tinkle” of light applied in the foreground. This combination of lighted objects creates a zone of inclusion.
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ANOTHER PERSON’S DARK SPACE IS OUR BLANK CANVAS. AN IALD PROFESSIONAL LIGHTING DESIGNER SEES THE POSSIBILITIES IN EVERY ENVIRONMENT. LEARN HOW AN IALD LIGHTING DESIGNER CAN TURN YOUR VISION INTO REALITY. VISIT IALD.ORG AND CLICK ON "FIND A LIGHTING DESIGNER" TO REFINE YOUR SEARCH.
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PROJECT: USAF Center for Character + Leadership LOCATION: Colorado Springs IMAGERY: Spatial Effect + Enveloping + Manipulating Time TOOLS: Wash and Graze A MARRIAGE OF ILLUMINATION The impression of space here is created by perimeter floodlighting, delivering a powerful architectural presence, supplemented by a daylight oculus delivering light deep into the below level.
Manipulating Time Light can produce a sense of time, enforce it, or erase it. Natural light entering a space may be celebrated by allowing it to flourish without intervention from artificial sources, enhanced with artificial light to improve its effect and
NATURAL LIGHT ENTERING A SPACE MAY BE CELEBRATED BY ALLOWING IT TO FLOURISH WITHOUT INTERVENTION FROM ARTIFICIAL SOURCES.
reach those beyond its reach, or washed out as an inconsequential component within a larger intended schema. Time can be suspended com-
Art is the intentional act of imposing or ma-
pletely by artfully applied light that erases any
nipulating imagery within physical space. Since
reference to natural indicators.
each of us live within the construct of our own experiences and perception, we each translate
Directly Applied Lighted Art and Sculpture
art uniquely, adding texture to our experiences.
Light applied as lighted physical objects, such as
Since art sets aside pre-conceptions of a given
wall sconces, that act as both artistic physical
place, disconnected from the practical reason
contributor and light source. The use of pattern,
for its existence, the viewing of artistic works
focus, color, highlight, shadow, and/or movement
presents a simultaneous unity of occasion, and
of light itself, celebrates light as an artistic me-
individual experience. For this reason, art in
dia imposed on forms and surfaces. Projecting or
light enriches our environment by expanding the
backlighting of images or patterns on surfaces,
physical space with visual intrigue that we log
or creation of light patterns that reveal imagery
into our memories for reference and compari-
are other forms of direct light imagery are ex-
sons in our every-day lives. In the end, artistic ex-
amples of this. Presenting forms to make a direct
periences add to our visual library, accumulating
connection between light and form.
and changing how we see what we see next.•
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PROJECT: OVO at Lyon Light Festival LOCATION: Lyon, France IMAGERY: Applied Lighted Art + Enveloping TOOLS: Wash and Graze LUMINOUS EVENT This egg-like shell, illuminated within the structure itself by ACT Lighting, provides an intriguing sculptural attraction from an external observer vantage point, while wrapping those within it in the lighted form.
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Pacific City, Huntington Beach CA
First, A High Performance Lighting System Second, A Handrail V-Rail is a high performance luminaire that provides beautiful, uniform and code compliant illumination for stairways, ramps and paths of egress. Realize your project vision with V-Rail by Intense. For detailed specifications visit us at www.Intenselighting.com.
THE FUTURE IS ON™ Circle 11
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TOPICS AT THE FRONT
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TOPICS AT THE FRONT
By Vilma Barr, contributing writer
ARCHITECTURE’S FOURTH DIMENSION Façade lighting has shifted from past eras when random blasts of white light were beamed from hefty surface fixtures, evolving into artful installations integrated gracefully with the architecture and the urban context. Classical approaches to lighting buildings remain floodlighting and backlighting. With the introduction of high-output LEDs options have vastly expanded to include 3D projection as well as various kinds of media façades, ranging from giant OLED television screens that curve around corners, to pixel displays where large arrays of LEDs are fixed to buildings and programmed for computerized control.
C
La Défense District Location: Paris Lighting: 8’18” The inception of design in the 1960s for the La Défense District suburb of Paris established an open outdoor art collection of major works, scaled to balance the scale of surrounding multi-level structures. Defacto, the public institution in charge of the management of the district, now has 69 works on permanent public display. Included in the center’s current restoration and conservation program was illuminating a group of sculptures, either fully lit by LEDs or partially lit with other sources. In charge of the illumination program was lighting designer 8’18”. Doubles Lignes Indéterminées (Two Indeterminate Lines) by Bernar Venet, is shown here. LEC, based in Lyon, France, supplied the fixtures and lamps.Three types of LEC projectors were used. Two flush-embedded ground luminaires, part of the firm’s Meteor and Allevard lines, beam 3W neutral white light. Additional evening drama for each work is supplied by a single Luminy wall light from LEC.
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WORTH THE WAIT Three weeks of night mock-ups at the site were conducted to define and install the numerous optical mixes appropriate for the total of 200 projectors in this phase of the project.
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TOPICS AT THE FRONT
D In its history from open flame that dispelled flickering,
Entertainment and commercial venues attract localites
wall-blackening illumination, to small, energy-efficient
and visitors alike to late day and evening events held
electronc source that is smart and bright—nighttime
in and around buildings that utilize exterior lighting
light sources, seemingly, improve daily with new intro-
to broadcast their place in the community, from street
ductions and refinements to existing products.
level up to the top of multi-story structures.
Lighting for a sense of place
with buildings representing styles ranging from classic
Since the start of the 21st century, America has grown
Beaux-Arts, to innovative contemporary ground-level
even more urban, increasing the demand for lighting
edifices, and on up to sleek skyscrapers. People visual-
to provide the background for both people and places.
ize and then translate their personal versions of the
According to the U.S. Census Bureau, 80.7% of the U.S.
illuminated nightscapes they see around them. Their
population lived in urban areas as of the 2010 Census,
reactions would fit into three main categories:
This trend extends in the U.S. and other countries,
“FAÇADE LIGHTING CREATES ADDED CULTURAL VALUE, BUT SAFETY AND ORIENTATION FOR USERS MUST BE CONSIDERED AT THE OUTSET ON STREETS AND WALKWAYS.”
bringing the country’s total urban population to 250 million, attained via a growth rate of 12.1%. The Census
Architectural
Bureau defines urban as “densely developed resi-
Emotional
dential, commercial and other nonresidential areas.”
As a marketing tool
Ismail Building
Location: Mumbai Lighting: AWA Lighting Designers Formerly owned by the Ismail Yusuf Trust, the international fashion chain Zara now occupies the imposing five-level BeauxArts structure that occupies a high-traffic corner site in Fort Mumbai’s Flora Fountain district. New façade lighting plays an important image role in the adaptive reuse of the building, built in 1905, as a go-to retail destination to attract the city’s fashionable customer base. AWA developed a series of stringent installation guidelines.Included in the specification document, AWA outlined how to mount the fixtures, including wiring diagrams, driver locations, and exact mounting angles. Mock-ups were constructed by AWA to test the system before final installation to ensure that such elements as columns, cornices and other geometric forms that give building its historic character were balanced. At the final installation, the team worked closely with the installers to track the output of the fixtures so that the impactful drama of the many architectural elements formed a distinctive image. Owner: The Sopariwala Group Tenant: Zara Conservation Architect: Kirtida Unwall
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TOPICS AT THE FRONT
“THE VISIBILITY OF LIGHTING IS BOUND UP IN AN OBJECT WHICH ITSELF BECOMES VISIBLE THANKS TO THE LIGHT THAT FALLS ON IT.”
Contemporary lighting solutions for building facades
facades that make users feel more secure are an impor-
create added value for developers and municipal offi-
tant aspect of a successful exterior lighting design for
cials alike by contributing architectural and economic
buildings with close-by pedestrian traffic.
merit. Locations are made more appealing and safer for use after dark. Designers apply their honed esthetic
Finally, no look at exterior lighting should be concluded
and painterly talents to streetscapes or skyscapes.
without reviewing personal perspectives of three
Lighting fixture manufacturer Zumtobel emphasizes
masters: James Turrell; lighting design icon Howard
in its directives to lighting professionals that today’s
Brandston; and historian and author Jane Brox.
façade lighting solutions need to be sustainable, save resources, and prevent unnecessary light pollution. “The number of buildings that have illuminated
James Turrell, lighting artist Light is intangible, but real… The visibility of lighting
façade is increasing sharply,” Zumtobel’s report on
is bound up in an object which itself becomes visible
façade lighting solutions indicates. “While façade light-
thanks to the light that impinges on it. Tactility and vis-
ing creates added cultural value, safety and orientation
ibility are linked together in a bewildering way…usually
for users must be considered at the outset on streets
functioning like an extension of the sense of sight, the
and walkways.” The report urges that illuminated
eye—like a sense of touch operating at a distance.”
Fairmont Empress Hotel
Location: Victoria, B.C. Canada Lighting: L’Observatoire International First opened in 1908, the hotel re-captured its elegance with an extensive upgrading of the interior and the façade. Designed in the classic Chateau style, it contains 477 guest rooms with views of the Inner Harbor or landscaped gardens. Previous lighting of the stone and brick exterior was provided by a combination of two types of bulky metal halide ground-mounted fixtures along with LED projectors. For a sleeker, less obtrusive look, management asked the designers to create an energy-saving alternative system that would show off the structure’s architectural details to best advantage. Lighting designer L’Observatoire International collaborated with Lumenpulse to plan a solution that would bring subtle drama to the façade surfaces, from ground level to the spires. Their selection was the low-profile Lumenfacade Horizontal luminaire with narrow-beam optics, accompanied by Lumenfacade Inground fixtures. Lumentalk provides zonal dimming control so no additional control wiring had to be run through the structure. Owner: Bosa Development Corp. Electrical Engineer: Tower Electric
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SLEEK ILLUMINATION
Hotel management asked the lighting designers to create an energy-saving alternative system that would show off the structure’s architectural details to best advantage.
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TOPICS AT THE FRONT
D Howard Brandston
Jane Brox
When devising the lighting master plan for Detroit,
In her award winning book, “Brilliant—The Evolution
Brandston toured the city on foot to feel its personal-
of Artificial Light,” Jane Brox detailed the ahead-of-its-
ity, and determine how to portray it with lighting. “Key
time Chicago World’s Columbian Exposition of 1893.
landmark buildings would be lighted uniquely to make
“George Westinghouse had outmaneuvered Edison’s
them more visible, and develop a unique character
General Electric Company for the major contract to
that would be easily recognizable, which in turn would
supply electricity to power the greatest ode to electric
become part of the wayfinding solution,” he wrote in his
light the world had yet seen. Never had there been so
book, “Learning to See—A Matter of Light.”
much light in one place—and it was all electric: 200,000
“As the plan became implemented, all of the identi-
“AS THE PLAN BECAME IMPLEMENTED, ALL OF THE IDENTIFIED LANDMARKS, PARKS, AND IMPORTANT PLACES WERE BROUGHT TO LIFE THROUGH LIGHT.”
incandescent bulbs illuminated the white edifices.
fied landmarks, parks, and important places were
Mounted on 12-ft.-high posts lining paths and walkways
brought to life through light. The major arteries feed-
were 6,000 arc lights. Colored lights shone from roof-
ing the district became beautiful again.
tops and fountains. All wires ran underground.”
Pennsylvania Convention Center Parking Facility Location: Philadelphia Lighting: Grenald Waldron Assocs.
A 10-level, 205,000-sq.-ft. precast concrete parking structure in center city provides space for 540 cars across from the city’s regional conference and exhibit center. The building façade is clad in tensioned, perforated fabric mesh panels. “The mesh scrim becomes a blank canvas,” says lighting designer Lee Waldron of Grenald Waldron Assocs. “Lighting is almost entirely by LED. Most evenings the mesh scrim is illuminated with one solid color or alternating colors. There are also programs that are kinetic, such as displaying the American flag.” Inside the garage itself, the lighting provides even illumination and high color rendering while minimizing glare. Atop a canopy on the Arch Street side of the structure is a 3,500 sq. ft .green roof. The project received an Award of Merit from the Illuminating Engineering Society.
VERSATILE EXPRESSION
Most evenings the LED-lit mesh scrim is illuminated with one solid color or alternating colors. That said, there are also programs that are kinetic, such as displaying the American flag, on special occasions.
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EFFECTIVE COVER
In order to create something interesting to block the direct view of the parking garage, lighting, according to GWA, could be used to highlight the mesh, and could even be used to create a unique statement.
Client: Realen Properties Architect: Erdy McHenry Assocs. Contractor: TN Ward
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F§ATUR§D PRoj§Ct
Autodesk Boston Boston, Mass. Interior Architect and Lighting Design: SGA Text: Vilma Barr The Challenge: Software developer Autodesk, a premier source for programs used internationally by the architectural design and construction industry, wanted to give impetus to its corporate decision to build upstream product demand. The company moved its 150-person staff from suburban Waltham, and combined it with the 30-person Boston office, into a former warehouse in the South Boston Seaport District, which in the past decade, has become a hub of technologyrelated activity in what had been an underutilized city resource of outdated piers and the adjacent shoreline. The Solution: Inviting the participation of architects SGA, Autodesk staff, contractors, and consultants, the company leased three floors to encourage interaction among the 180 staff members and independent start-ups who can utilize space and equipment at no charge while in the design and development stages. For interior and lighting designer Amanda Vicari of SGA, the lighting program included lowering the industrial-height ceilings by incorporating geometric fixtures for style and function. A pair of sculptures serve to reflect the surrounding interior environment, including an overhead glowing free-standing tornadolike construction.
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Autodesk Invests in Innovation Autodesk emerged in 1982 when
software to operate reliably and
John Walker founded it as a small
effectively. In October 2016,
company based on their original
Autodesk moved its East Coast
product, AutoCAD, with a total
headquarters to a former ware-
workforce of 16. Now Autodesk,
house at 23 Dry Dock Avenue on
based in San Rafael, Calif., employs
the Boston waterfront, occupying
6,600 worldwide, generating
67,000-sq.-ft. They launched their
revenues of $2.5 billion in 2016 for
Innovation and Design Building
products utilized for 3D design,
initiative, incorporating BUILD
engineering, and entertainment.
Space, office space, an industrial
To grow its market, the company is
fabrication workshop, start-up
proactively investing in new hard-
incubator, and innovation studio all
ware products that will require its
under one roof.
GROWING INNOVATION
Occupying approximately half of Autodesk’s East Coast headquarters in a former warehouse on Boston’s waterfront, BUILD Space, representing Building, Innovation, Learning, and Design, is a collaborative R&D research residence program for innovators and emerging growth companies.
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The design of the Boston flagship
research by giving building profes-
president Jim Lynch described the
applies dimension to Autodesk’s
sionals access to a facility that
activities to take place in the facil-
ethos that architects and build-
permits experimentation without
ity as a collaborative R&D research
ing industry professionals must
the expense of purchasing costly
residence program for industry
be actively engaged in research
prototyping equipment.
innovators and startups. “They all
focused on data-driven design and
Autodesk’s BUILD—an acronym
have access to 60 different pieces
construction. BUILD Space is the
for Building, Innovation, Learning
of equipment, from 3D printers,
company’s prerogative to chal-
and Design—space is positioned
to laser cutters, six industrial
lenge the industry’s low-margin,
on the first and second floors of
robots, and 11 workshops for wood,
high-risk pattern that the company
the building. It occupies 34,000-sq.
concrete, glass, composites such as
feels deters experimentation and
ft., or approximately one-half of
carbon fiber, metal fabrication and
research. The long-term benefits,
the total leased space. During the
welding stations,” Lynch stated. He
Autodesk believes, is to “de-risk”
opening ceremonies, Autodesk vice
added that a 5-ton bridge crane was
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PARTICIPANTS IN THE BUILD SPACE PROGRAM ARE PROVIDED WITH THE EQUIPMENT NEEDED TO BUILD AND TEST TECH UNDER DEVELOPMENT.
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installed to move large fabricated pieces and equipment between the first two floors, with software development on the sixth floor. The architect for the design and detailed planning coordination was SGA’s Boston office, with interior and lighting designer Amanda Vicari as the firm’s lighting design representative on the team. To support collaboration and promote visibility, SGA created a flexible floor layout with glass dividers. As many as 15 to 20 start-ups can be accommodated free of charge in the facility. To transform the raw, almost warehouse-like spaces, the team used the “Integrated Project Delivery” (IPD) approach, employing Autodesk’s own Lean tools. For the efficient flow of materials and the safe site conditions, the team implemented a “Just-in-TimeDeliveries” policy and “NothingHits-the-Ground” materials management, which requires all materials on-site to be on wheels. Contractors, including Consigli Construction Co., played “DesignAssist” roles, bringing experience to the process. In her role as an interior and lighting design specialist with SGA for the past four years, Vicari is not a newcomer to creating and illuminating spaces for clients with specialized industrial- and technology-related needs. She cited a 70,000-sq.-ft. new facility for Pipefitters Local 537 in Dorchester, Mass. “The project design created a vibrant new space for union members and trainees, including workshop space for pipefitting and refrigeration training, office, and public assembly space,” she recounts. Vicari and the other members of the SGA for the Autodesk project, worked with key client stakeholders along with a team of academics and other consultants to define the BUILD equipment and
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how it would occupy the designated
space on the first two floors. Om-
development area, Vicari translated
spaces. With this information,
nilite handled the procurement of
this concept into horizontally ar-
they developed the floor plan and
fixtures for the office area on the
ranged ceiling suspended Amerlux
lighting program best matching
sixth floor.
Linea 1.5-in. fixtures.
the needs of the user and their relationship to the machinery. “From their inputs, we issued an
Vicari’s selections introduced
line of circular fixtures in the café
the various activity spaces on
creates drama with black spoke-
Autodesk’s three floors. Above the
like attachments. They succeed in
vices, from bidding on the fixtures
reception station and along the
both enlivening and unifying the
to installation,” Vicari points out.
entry hall are Reidhardt RPDO7
space, carved out of the former
Two key suppliers were appointed
pendants from the Go Figure line.
warehouse’s open vista. For a
to coordinate with the securing
The configurable light bars and
work-study section for individuals
and delivery of the specified
joiner hubs form a cross-hatch
or small groups, Vicari emphasized
products to meet the installation
pattern that adds visual interest
the white table tops with Pruden-
program. Reflex Lighting provided
and lowers the line of sight in the
tial Lighting’s square Zenith In
fixtures and lamps for the BUILD
former warehouse. In the design-
pendent. Fabrication and testing
1710SSLFEA01.indd 33
Sculptural overhead lighting fixture arrangements effectively supply illumination and lower the sightline to user scale at Autodesk in Boston, now occupying 67,000 sq. ft. of a former warehouse.
Placement of Eureka’s Cycle
geometric forms to illuminate
RFP to cover all products and ser-
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LIGHT+ ARCHITECTURE
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areas are illuminated by circular Top Bay LEDs by Metalux. Two free-standing sculptures communicate color and materials into the workplace to show off the integration of shapes and materials for which Autodesk products are capable. In an open area adjacent to a glass-enclosed conference room, employees can converse while seated on orange free-standing banquettes, next to a structural column encased in diamond-shaped glass inserts that reflect the orange hue of the seating pieces. On a dropped ceiling, Lindley Lighting’s slender Reed fixtures are placed amidst irregular-shaped angular cut-outs that, along with their shadows, create a gallery-like ambience overhead. In a meeting-presentation room, the girth of a structural column was the starting point for an illuminated interpretation of mini-cyclone landing on Earth in a funnel of color. Vicari worked with the designers at Jaywalk Studio for a digitally fabricated CNC-cut translucent acrylic sculpture with milled aluminum connection clips arranged in a firmament-like pattern. “A mock-up was constructed and was tested for even light transmission through the acrylic, glowing from the circle of Indy sixinch LED fixtures installed above the flared portion of the piece,” Vicari points out. Separate lighting systems were designed for six conference spaces that are essentially rooms-withina-room. One structural challenge
panelized wall system for its exte-
forming framing machine, installed
was they needed to span up to 25
rior and interior that was custom
in April.
feet, far wider than any existing
fabricated. Each of these six large
Planned for the fall is a build-out
pre-fabricated modular office
“rooms” can be configured with ei-
of an additional 17,000 sq.-ft. of the
system available or what could
ther one, two or four interior areas,
BUILD space, as a pilot to applying
be built with light gauge metal
giving Autodesk a wide range of op-
new Autodesk technology along
framing. Consigli Construction Co.
tions for their collaborative teams.
with other integrated technologies
developed a one-of-a-kind steel
Adding to the equipment inven-
and software. Long-term plans
shell. Their technicians applied
tory to help fashion and test the
can, as needed, grow the Autodesk
Autodesk’s COP and DIRTT pro-
prototypes under development is a
space to 120,000-sq.-ft.•
grams adapted for a modular,
FRAMA 3200 smart technology roll-
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FINE COMBINATIONS
SGA introduced color and illuminated geometrical forms in work and meeting spaces; Top: Reconfigurable free-standing conference spaces; Bottom: Surrounding a structural column is an internally lit acrylic interpretation of cloud-like element in a blue sky.
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25 Years of Lighting Solutions
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OLYMPIC MEMORIAL RE-ILLUMINATION A CHALLENGING TASK TO PLACE & CONTROL KIENER PLAZA PARK St. Louis, Mo.
St Louis-based electrical contractor, Power UP, was selected as a finalist in the 2017 Associated General Contractors of Missouri (AGCMO) Keystone Awards for their work on the $24-million Kiener Plaza Renovation Project. Dedicated in 1962, the popular 1.9-acre Kiener Plaza has was named after St. Louis native Harry J. Kiener, a member of the U.S. track team at the 1904 Olympics, which was held in St. Louis during the World’s Fair. Kiener Plaza and park was renovated as part of a $380-million improvement of the Gateway Arch grounds and its surrounding public spaces; it reopened in May 2017, after being closed for slightly over one year. Michael Van Valkenburgh Assocs. served as the landscape architects, putting in a new playground, multiple fountains, native Missouri landscaping, benches, 140 trees, open gathering space, and a large event lawn west of the Old Courthouse. Power UP completed electrical power and lighting installation on the project, which included the coordination and layout of almost 300 fixtures—all LED—to ensure energy savings for the city. The fixture count include 14 streetlights with 30-ft.-tall concrete poles by Stresscrete capped with General Electric ERS2 cobra heads; the latter provide a 50,000 hour lamp life based on 12 hours of operation per day. Addionally, 15 sidewalk lights with 8-ft. black poles, are capped with Bega pole-top luminaires with GFI and IP65 rating. Rounding out the illumination scheme with some flare are 28 multi-headed park lights by Selex , which stand 30-ft. tall, while 62 gradelevel, 30W lamps Philips tree lights, and catanary
ABOVE: A re-envisioning of the plaza that marked the 1904 summer Olympics in St. Louis, the plaza also
underwent re-illumination that involved a combination of new LED lighting both in the park, but also mounted high above on adjacent buildings, even the trees. The project has been nominated for a 2017 Keystone Award by the Missouri AGC. Winners will be announced soon at the association’s Construction Gala.
lighting by Tokistar Lighting over the crushed granite seating area, add accents. Eight 250W, high-power overhead Philips’ “moonlights,” located on the 42nd floor of the adjacent Metropolitan Square Building, add
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SSLProfile:
KIENER PLAZA PARK, St. Louis, Missouri
THE CHALLENGE: In installing the new LED lighting system at the recently renovated Kiener Plaza in St Louis, local electrical contractor Power Up was faced with the challenge of installing and focusing “moonlights” on the 42nd floor of the adjacent Metropolitan Square Building, 132 color-changing lights in the programmable waterfall feature on the west edge of the park, and 23 lights in the fountain surrounding the iconic Olympic Runner statue. Another challenge was the cohesive coordination required to properly layout the electrical installation for a total of almost 300 light fixtures throughout the plaza. THE SOLUTION: Power UP used computer-aided design and a Trimble Layout Robot to ensure that every light fixture was placed in their precise design location, without error, as Kiener Paza contains an extensive design of sidewalks and plant beds. Power UP superintendents also worked daily with wireless tablets on-site to coordinate changes, set up meetings and share fixture data in real-time with construction manager BSI and the other trades involved in the project. PROJECT CREDITS:
further illumination without poles. Installing
vides power to the three distribution pedestals
Landscape Architects:
these fixtures, Power UP overcame multiple
for the lighting systems.
Michael Van Valkenburgh Assocs., Inc.
challenges, including the need to mount special-
Civil/Structural Engineer: ABNA Engineering, Inc.
engineered brackets for the moonlights 540
project was maintaining cohesive coordination
Electrical Engineer: KJWW Engineering Consultants
ft. above street level on the top of the nearby
between all trades to properly layout and install
Electrical Contractor: Power Up
Metropolitan Square Building. The contrac-
the lighting system. Due to the extensive design
tor also had to devise a DMX control panel on
of the sidewalks and plant beds, computer-aided
Photos: Power UP
the ground. This further required Power UP to
design and a Trimble Layout Robot was used
Text: Ellen Lampert-Gréaux
install a wireless transmitter and receiver to
to ensure that every fixture was placed in its
provide clear communication from the ground
precise design location, without error. Power UP
to the roof. “This task was particularly challeng-
superintendents also worked daily with wireless
ing as the team spent many long nights on the
tablets on-site to coordinate changes, set up
Metropolitan Square Building roof aiming and
meetings and share fixture data in real-time.
adjusting each individual light accurately and
“We had to conduct extensive planning to sched-
safely in order to open the park to the public on
ule exactly when we could install each piece of
time,” said Gerhard Glassl, vice president of the
our conduit at the correct depth because the
UP Companies.
landscape designers planned their bed soils in
The project also included the installation of 132 color-changing lights in the programmable
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1710SSLPRO.indd 38
Another of the most challenging aspects of the
layers,” says Glassl. “This was a very complex plan and spec
waterfall feature on the west edge of the park,
project that required constant manpower and
as well as 23 lights by Hydro Dramatics in the
material adjustments to keep us within our
fountain surrounding the iconic Olympic Runner
budget. With continuous communication and
statue on the plaza. The park is powered by a
great attention to detail, we were able to
1200 amp 120/208V three-phase service that pro-
accomplish this feat.”•
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By Kevin Willmorth, Editor
Realizing Fuller SPD with Controlled Blue Content Questions about blue spectrum light in many LEDs is of concern. The good news is manufacturers are addressing the matter.
Blue pump phosphor conversion used in LEDs creates a troubling
The use of RGB phosphors with a purple LED source produces a
presence of a blue light spike at 456nm. The higher the CCT, the more
reduction of total energy in the 450-470nm region, and a reduction in
pronounced this peak becomes. Following this spike is a valley between
the peak at 456nm. This will produce less impact on natural circadian
the light emission of the LED direct emission and the down-converted
timing through reduced melatonin suppressive activity. The difference
color produced by the phosphor overlay. While this distribution shape
is not dramatic, so will still require careful consideration for sensitive
does not necessarily impact color rendering or white light perception,
applications. Those who pursue low CCT solutions will likely still prefer
if the energy in the spiked region were to be converted to light filling
the 3000K version. For others, the improvements may open the door to
the in the longer wavelength region, a more complete spectral power
consider higher CCTs to realize improvements in visual performance.
distribution could be created. This improves overall color performance in critical color applications. Further, the more complete the spectrum, the closer a source comes to replicating natural light, which includes a broad spectral power distribution covering the width of human visual perception. This is why natural light is considered the golden standard to which all other sources are compared.
SWITCHING TO A PURPLE LED SOURCE SEEMS TO REDUCE THE BLUE LIGHT SPIKE, MEANING A LESSER IMPACT ON NATURAL CIRCADIAN TIMING.
Seoul Semiconductor has pre-released a product called SunLike that addresses these issues. Rather than the conventional approach of using a modified YAG phosphor over a 456nm blue light source, SSC
Efficacy Trade Off and Questions to be Answered
utilizes a 405nm purple pump with Red, Green and Blue phosphors to
Current high-power COB arrays generate efficacies between 150
produce a complete spectrum that is surprisingly close to daylight in
and 170 lm/W at 80CRI. CRI (90+) COB arrays generate a range of 105
4000K and 5000K CCT, and Halogen at 3000K. The SunLike COB LED to
to 130lm/W efficacy. The SunLike LED delivers approximately 92 to
deliver 97CRI, (99Rf / 100Rg under TM30). Compared to a halogen lamp,
104lm/W at 97CRI. This is a small premium in efficacy to pay for the
the 3000K LED compares favorably, but the real benefits are most
benefits delivered. However, for applications where color is not critical,
apparent at higher CCTs. The 4000K and 5000K distributions are very
and the benefit in human factors consideration is not a priority, the use
close to natural light, with less raw blue LED contribution. All three
of lower CRI (80 typical) will remain a mainstream choice, delivering
will produce noticeable improvements over conventional blue pump/
an improvement of 33% in energy utilization. For the highest efficacy
YAG phosphor products of similar CRI performance.
demands, use of arrays of mid power LEDs delivering efficacies in
Other approaches to attaining similar results include heavily modified YAG phosphors over 456nm or 405nm LED die, and multiple
excess of 170lm/W will remain a superior choice. As of this writing, two questions remain to be answered. First, what
color LED die, including RGBW, and five to seven color LED mixes to
is the expected lumen depreciated service life of the product. Second,
reduce blue light emission and produce a fuller spectrum. Each have
will the RGB phosphor mix and 405nm core LED die maintain its color
shown varying degrees of success. However, multiple LED packages
over time. As the product is fully released, more detail will follow to
create optical color control issues and color maintenance problems
answer these important questions.
that demand constant monitoring to maintain the original color point. This can be problematic in fixture design and packaging, making
A Welcome Development
a simpler COB design more attractive. Color consistency seems
The development a fuller spectrum, more closely matched to
somewhat inconsistent with the target market desirous of the highest
natural light (or halogen in low CCT products), that further mitigate
possible color performance.
production of excess blue light peaks between 460 and 470nm is a welcome addition to the solid-state arsenal now available to designers.
Human Factors Consideration
This is the direction needed for addressing high color performance
In consideration of human factors and non-visual physiological
applications, as well as installations where natural light is being
response to light, the region between 450nm and 470nm is of concern.
supplemented by other ambient, display and accent lighting.
This short wavelength light effects Melatonin suppression, and related
A diagram explaining this process is available in the news section
Circadian rhythm entrainment.
of SSL Interactive at www.architecturalssl.com
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modular area lighting system QuadroMAX Plus is a premium area lighting system with LED modules that interlock to create configurations from 50W to 300W, reaching 39,500+ lumens. Independent modules and drivers enable quick and efficient product maintenance and customization in the field!
10 www.QuadroMax.com Circle 16
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Product Introductions
Keeping a Low Profile Focal Point’s Covert Lite fixed cove fixture complements the company’s adjustable Covert offering by providing a low-profile option for simple cove designs, cost-conscious budgets and tight schedules. It features a 2-in. housing height and mounts in drywall, grid, and pre-engineered cove ceiling solutions. The fully concealed optic delivers up to 1,200 lumens per foot. Visit www.focalpointlights.com or Circle 291.
The incandescent light bulb, the T12 lamp, magnetic ballasts, mercury vapor lamps, and rheostat dimmers are the bias-ply tires, un-tempered glass, and AM radio of our old “ride.”
1 Frosty Disposition In surface-mount and suspended designs, Nordeon USA’s Calvia fixture features a thin frosted-glass panel punctuated by a stainless-steel center that emphasizes the design’s edge-lit approach to illumination. Visit www.nordeon-usa.com or Circle 292.
2 Driver Flexibility Available in five wattages, each offering a choice of five output currents, flexC SC Advanced drivers from Tridonic are suitable for all standard currents in spotlights and downlights. The drivers’ compact housing size is well-suited to small track boxes and spotlights. Visit www.tridonic.com or Circle 293.
3 Bypass the Ballast The new line of LED T5 ballast-bypass lamps from Satco offer a direct-replacement option for use in existing fixtures. The lamps operate without ballast or external drivers on direct wire 277 line voltage. The lamps are available in three lumen packages. Visit www.satco.com or Circle 294.
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Product Introductions
Minimalist Impact Featuring slim lines to complement urban architecture and streetscapes, the new Torres family of exterior fixtures from Landscape Forms includes the pedestrian luminaire, shown here, along with catenary and path-lighting models. The lineup was designed by industrial designer Rodrigo Torres and lighting designer Chip Israel. Visit www.landscapeforms.com or Circle 295.
In considering human factors and non-visual physiological response to light, the region between 450nm and 470nm is of concern. This short wavelength light effects Melatonin suppression.
4 Get in Line Samsung’s new Q-series of linear modules incorporates the company’s new LM301B LED package to enable efficacy ratings of more than 150 lumens per watt in fixtures using the modules. This level of performance could help fixture makers hit DLC Premium technical standards. Visit www.samsung.com or Circle 296.
5 Back to Basics In simple square and circular designs, Mini Panel fixtures from EarthTronics feature an acrylic lens to provide wide light distribution—and, with their wet-location rating—they’re also an option for hotel and hospital shower applications. Visit www.earthtronics.com or Circle 297.
6 Gaining in the Ratings Targetti has expanded its STORE Series, aimed toward retail and hospitality markets, with new Class 2-rated adjustable recessed downlight options. Now designers can combine up to three gimbal-style fixtures into a single housing. Visit www.targetti.us or Circle 298.
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Product Introductions
Curvalicious New to the dweLED line from WAC Lighting, Vornado chandeliers create a Mobius strip of illumination in handcrafted fixtures that each feature slight variations. With solid aluminum construction in a chrome finish, the fixtures are available in three sizes, all with a CCT of 3000K and a CRI of 90. Visit www.waclighting.com or Circle 299.
Tunable LED offer the ability to adjust CCT & light output, in a manner that mirrors natural light shifts throughout the day, possibly supporting circadian sleep.
1 Adaptable Retrofit The D4R retrofit downlight from Ketra can be used with a variety of ceiling types. Additionally, each fixture is individually addressable, with color tuning possible using wireless communications over the manufacturer’s propriety mesh network. Visit www.ketra.com or Circle 300.
2 Open-Aperture Offering Pathway Lighting Fixtures created a silicone shield for the LED modules in its new WLE Silicone-sealed Open-aperture Downlights. This eliminates the need for the flat lens used in fixtures intended for wet locations under covered ceilings. Visit www.pathwaylighting.com or Circle 301.
3 High-Performance Dimming Meteor Lighting’s new 4-in. recessed downlight is one of the company’s first fixtures to feature its new ColorFlip tunable-white dimming technology. ColorFlip flip-chip LEDs offer light output of up to 10,000 lumens throughout a 2700–6500K range. The technology also offers both improved heat management and low thermal resistance. Visit www.meteor-lighting.com or Circle 302.
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Product Introductions
Smarter Than Your Average Track Light Featuring Xicato’s XIM Gen 4 light module, the IQ Nano track system from Intense Lighting offers built-in Bluetooth connectivity, enabling app-based fixture-level addressability and group scene control. A Bluetooth low energy (BLE) option also provides embedded beacon technology to enable wayfinding and other location-based features. Visit www.intenselighting.com or Circle 303.
Designing tunable systems, says DOE, is challenging, and requires an understanding of circadian photobiology; commissioning agents should meter SPD and illuminance.
4 Mid-Power Style Luxeon Stylist Series LEDs now are available in midpower packages, bringing the possibility of high-end color performance to a broader portfolio of fixtures. Lumileds has added options for its CrispColor and Fresh Focus technologies to many of its packages. Visit www.lumileds.com or Circle 304.
5 Pointless Illumination Developed by Architectural Area Lighting, the Cypher wall sconce’s semi-cylindrical shade can be specified in a range of form factors and finishes, including with an optional RGBW-adjustable luminous front. A “Ghost Fascia” option allows for on-site materials, including stucco, stone or tile, to be applied directly over the fixture. Visit www.aal.net or Circle 305.
6 Lighting a New Path Inspired by traditional Chinese lantern design, the Filipia pendant is part of the introductory collection on offer by the new Uplight Group, which is bringing a number of international lines to the U.S. manufactured by the Italian firm Oggetti. Visit www.uplightgroup.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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ACCLAIM LIGHTING
www.acclaimlighting.com
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ANP LIGHTING
www.anplighting.com
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ARTEMIDE
www.artemide.net
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B-K LIGHTING
www.bklighting.com
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BODINE / PHILIPS
www.bodine.com
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IALD
www.iald.org
INSIGHT LIGHTING
www.insightlighting.com
INTENSE LIGHTING
www.intenselighting.com
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IOTA ENGINEERING
www.iotaengineering.com
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KIM LIGHTING / HUBBELL
www.kimlighting.com
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LED SPECIFIER SUMMIT
www.ledspecifiersummit.com
LF ILLUMINATION
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www.lfillumination.com
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LSI INDUSTRIES
www.lsi-industries.com
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MAXLITE
www.maxlite.com
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OSRAM OPTO SEMICONDUCTORS
www.osram-os.com
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OSRAM SYLVANIA
www.sylvania.com/led
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SAMSUNG LED
www.samsung.com
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STERNBERG VINTAGE LIGHTING
www.sternberglighting.com
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THE CONTINUING ARCHITECT
www.thecontinuingarchitect.com
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VISTA ARCHITECTURAL LIGHTING
www.vistapro.com
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WAC LIGHTING
www.waclighting.com
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IFC
NEXT ISSUE: We won’t see you again until February, but promise the issue will be spectacular including a look at Bloomberg’s new European headquarters in London by Foster and Partners. The project claims to be the world’s most sustainable office building, as designed and features bespoke integrated ceiling panels that combine heating, cooling, lighting and acoustic functions in an innovative petal-leaf design. The system incorporates 500,000 LED lights and uses 40% less energy than a typical fluorescent office lighting system.
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The most interesting AIA-approved courses on the internet are streaming video
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10/2/17 1:39 PM 10/3/17 17:00
Keeping Junk Going is a Formula for a Head-On Crash Old “parts”—read incandescent and fluorescent sources—no longer do the job, as today’s LED tech simply performs better, lasts longer and delivers greater fidelity.
They work, and everyone knows how to shift the
hindering progress, absorbing time and effort
gears and move along with them, but these parts
best spent on a fresher approach.
are past their prime. Eventually, we’ll need to
Alas, the days of patching the old heap are
accept that there are better ways to somewhere.
coming to an end. The recognition that lighting
Some technologies replace components that
influences non-visual human physiology means
failed in the past. The incandescent light bulb,
it is no longer just about lumens and watts—it is
the T12 lamp, magnetic ballasts, mercury vapor
about actual human health and well-being, now
lamp, and rheostat dimmers are the bias-ply
in the hands of marketers. Addressing this may
Part of the fun of being in the editorial business
tires, un-tempered glass, and AM radio of our old
lead to licensing practitioners to restrict who
is being in a position to observe, and even postu-
ride. These old parts no longer do the job, so we
can administer light as a human effecting en-
late where things might be going. I believe that
replaced them with technologies that perform
vironmental component. Further, products will
questioning everything is important—if there is
better, last longer, and deliver greater fidelity.
need to be certified under new health standards.
an effort to look at a topic from more than a sin-
Then, there are the parts we bolted on to realize
Our new vehicle will not only need to be more
gular vantage point. In my opinion, science is not
a significant improvement for other reasons. We
sophisticated, it needs to safely carry more pas-
an absolute, it is a work in process. Technology
integrate solid-state lighting and controls in our
sengers and be more efficient.
is messy and filled with variables, blending old
effort to save energy, reduce carbon emissions,
with new, practical theories, hard laws and a lot
and lessen our footprint, just like installing safe-
this step. Do we wait for proof of injury from
of conjecture.
The question now becomes how long to delay
ty belts and air bags to protect us from injury,
obsolete practice, or act proactively to build
The process of applying the emerging tech-
or a new engine saves fuel. We might also add a
a new model now? Unlike old cars, which can
nologies that are constantly coming at us is like
lick of paint to the old girl to freshen up the look,
be set aside for occasional use as a romantic
driving an old car. We keep things going on a mix
or have the seats redone to improve comfort. In
reminder of our past, lighting practice is a daily
of outdated junk, worn parts and new additions
lighting, we are exploring similar improvements
driver that must be up to the task. Or, are we
accumulated over time. Halogen lamps, down-
in white light tuning, SPD manipulation, and
ready to admit lighting really doesn’t matter
lights and troffers are the lighting industry’s
effects intended to improve our passage of time
that much—to avoid change we know is coming
“rusty junk.” We know they are out of date, but
and tinker at improving our health.
at us head on?•
are too comfortable with them to toss them in
Over time, the old car has evolved into
the dumpster for something fresher. To that
something different than it was originally, and
end, we make copies of these old parts with new
in some cases, unrecognizable from its point of
materials and technology. In the hot-rod world,
origin. Yet we continue to suffer breakdowns,
this is analogous to replacing familiar steel parts
and crash into a ditch or two, as the old vehicle
with fiberglass replicas. No matter how good
is still under it all. Still, we are loath to trade the
they are, they are compromised.
entire mess off on a totally new model. New is
ABOUT THE AUTHOR:
unknown, and expensive. Better to keep the old
Kevin Willmorth, a lighting expert and fixture designer,
CRI ratings, volumetric lighting techniques, line
ride going a little longer and see what happens.
has been instrumental in helping create a vision and
voltage and 0–10V dimming fit this category.
At some point, the vehicle becomes a burden
mission statement for Architectural SSL.
Other parts are well worn, but still operable.
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