designing lighting (dl) Feb/Mar 2025

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CONTRIBUTORS

James R. Benya, PE, FIES, FIALD

By Mariana Figueiro, PhD

Vilma Barr

Bridget

Randy Reid

James Benya, PE, FIES, FIALD

Mariana Figueiro, PhD

Shirley Coyle, LC

Amanda Scott

Vilma Barr

Stacie Dinwiddy, CLD, IALD, LC, LEED BD C

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Randy Reid

Randy Reid

Randy Reid

By Stacie Dinwiddy, CLD, IALD, LC, LEED BD

Randy Reid

Amanda Scott

US Grant Hotel, San Diego.

Photo Credit: Commercial Photographers of America

Editorial Director: Randy Reid

Publisher: Cliff Smith

Contributing Writers:

James Benya PE, FIES, FIALD

Benya's Art & Science Contributor Principal at Design Services, Inc. and The Benya Burnett Consultancy

Shirley Coyle

Up Close Contributor President, Cree Lighting Canada Principal, RELEVANT LIGHT Consulting Inc.

Staff Writer: Parker Allen

Bridget Leary

Published by EdisonReport

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Phone: 615-371-0961

designinglighting.com

Have you ever been so excited about a story that you couldn’t decide where to tell it? That’s exactly the dilemma I faced as we prepared our coverage of the new lighting design at Notre Dame in Paris. In fact, we ended up doing something unusual – we split the story into two parts across designing lighting global (dlg) and designing lighting (dl). Trust me, this wasn’t a decision we made lightly – it sparked plenty of friendly debate in our office. After all, Notre Dame’s restoration is the lighting story of the year, and its significance extends far beyond Paris.

A Tale of Two Magazines: When our team sat down to plan the Notre Dame article, the first question was which magazine should run it. On one hand, the project is in France, a perfect centerpiece for designing lighting global (dlg) On the other hand, the story is so compelling and universally interesting that it belongs in our flagship designing lighting (dl) magazine as well. We went back and forth. One writer argued that since dlg was created to highlight international projects, a high-profile redesign like Notre Dame’s lighting had to lead there. Another pointed out that dl has always covered the world’s best projects, regardless of geography – so why not feature it in the main issue? In the end, we realized everyone was right. So, in February, dlg carried Part I of the Notre Dame story, and now, in this issue, we bring you Part II. It’s the first time we’ve ever split an article in two publications, and yes, it’s a bit unorthodox – but for a story this special, we were willing to break our own rules.

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

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

Lighting Projects Without Borders: This little internal debate got me reflecting on our mission at designing lighting (dl). From day one, we’ve set out to cover the best lighting projects worldwide, wherever they may be. I gazed up at the Acropolis (Eleftheria Deko Lighting Design) in Athens one warm evening, marveling as the hill glowed under a brilliant new illumination. A few months later, I was walking through New York City’s Moynihan Train Hall (Domingo Gonzales Associates), where stepping out of the old Penn Station into the new skylit hall made me feel like Dorothy leaving Kansas for Oz. Not long after, I headed to Los Angeles to visit The Academy Museum of Motion Pictures (Available Light), which we even featured as a cover story in a previous issue. Standing there, immersed in the cinematic glow of that museum, I was reminded how light can completely shape our experience of a space.

These travels reinforced something fundamental – great lighting design knows no borders. Whether it’s a 2,000-yearold temple, a cutting-edge transit hub, or a brand-new museum celebrating film, the power of light to inspire and uplift is a universal language.

Thank you for joining us on this global journey of light. By showcasing projects from Paris to Athens, New York to Los Angeles, and beyond, we continue to learn from each other and illuminate what’s possible. After all, sharing the world’s best lighting designs with the world is precisely what we’re here to do. ■

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Unsafe at a Million Candela

JAMES R. BENYA, PE, FIES, FIALD By

In the late 1990s, I spoke at an environmental conference in San Diego. My principal message in those days was energy efficiency and environmental responsibility, and my special interest, preventing outdoor light pollution. I made my message as mainstream as possible, which to me meant gaining the willing participation of lighting manufacturers, government agencies, utility companies, design professionals, electricians and contractors, and everyday people towards a common goal of dramatically reduced environmental impacts and better lighting quality.

Yes, it would take a revolution at all levels, but after all, the alternatives were really bad.

At that conference, I met Ralph Nader. A lawyer and perennial presidential candidate, he became famous for his 1965 book Unsafe at Any Speed that criticized the American auto industry in general for its unsafe products. He attacked General Motors’ (GM’s) Corvair automobile, in particular.1 His book became a best seller and led directly to the passage of the 1966 National Traffic and Motor Vehicle Safety Act, which gave the

government the power to enact safety standards for all automobiles sold in the United States.

Now, Ralph is a Don Quixote-type character, perennially tilting towards the left side of the environment and politics with little concern for himself. At the time, I could not imagine a future in the lighting industry that would struggle in the same way with obvious conflict between fabulous technology and a growing amount of conflicting science.

But the early 2000s brought profound changes in lighting theory, technology and applications. On parallel courses were LED technology and the so-called human-centric lighting (HCL) movement. In 2002, when LED technology was in its infancy, Dr. Roland Haitz predicted that within 2 decades, solid state lighting would be twice as efficient as the best available at the time.

The “Haitz curve” proved to be conservative, and with the enormous support of industry and our national laboratories, the energy efficiency of lighting is no longer a significant issue. The superiority of LED lighting is unquestionable in almost every metric of energy efficiency, convenience, cost effectiveness, color rendering, and flexibility. Zero to 100 percent in only 20 years is nothing short of phenomenal.

So, as we work today, the success of LED lighting must be counted among the most important inventions in history.

About the same time, human-centric lighting (“HCL”) theory emerged. It was born of an industry needing something beyond energy efficiency. At first there was a lot of snake oil selling of bluish fluorescent lamps to unwitting customers, but after a while, legitimate research concerning human health related to light exposure and its impact on the circadian rhythm showed up.

It took a decade, but ultimately the quackery disappeared, and today, serious science has prevailed. A good example is the work of the Light & Health Research Center with considerable credit to its lead professor, Dr. Mariana Figueiro, and the LHRC’s role in the Department of

Population Health Science & Policy at the Icahn School of Medicine at Mount Sinai. Yes, spectrum, exposure and timing matter. Inclusion in the WELL standard further legitimizes the principles that the architecture and engineering professions will now at least consider on all projects.

That said, I think there is still a lot to study and understand. LED lighting technology has changed everything. And not all of it is good.

In our haste to save energy and achieve all the exciting capabilities of LEDs, we have overlooked the shortcomings. Aside from the circadian and wellness issues, some time ago scientists found that flicker, glare, and other extremes in certain lighting applications were problematic, especially for those persons suffering from lupus and other neurological issues.

For example, we are and have been aware that exposure to extremely bright sources or bright sources that rapidly changed intensity, spectrum and/or direction could impact some humans in very negative ways, which the Cleveland Clinic describes as photophobia.2 Your eyes’ sensitivity to light, especially bright light, can cause discomfort and even pain.

That’s exactly what some LEDs do; they can be extremely bright, rapidly change intensity and spectrum, and move or chase. Digital video billboards are an extreme example, and so are some types of spotlights used in theaters and night clubs.

Two decades ago, I was first introduced to the challenges of re-lighting a home in Palm Springs in which the homeowner’s wife suffered from extreme light sensitivity, and given the limits of available science at the time, I worked with the client on control of luminance, intensity, modulation and spectrum until we found a combination that she found no longer affected her. For that project I prioritized indirect incandescent lighting, and it worked. The experience taught me to consider the flicker and spectrum as well as the intensity of the visible source.

Then along came LEDs. Looking back, maybe I should have seen the warning flags of certain characteristics of LEDs. In fact, last issue, I wrote about the work of Pacific Northwest National Laboratories (PNNL) and work on flicker for which Naomi Miller was, in part, awarded the 2024 IES Medal. The truth here is really simple: standard LED dimming causes flicker.

From an electrical engineering perspective, to

achieve dimming of LEDs, it is not practical to reduce the voltage as the LEDs must be turned on and off, with the ratio of “on time” to “off time” determining apparent brightness. Now, with incandescent lamps, this works fine. The persistence of the incandescent filament means that the filament will continue to glow once the voltage is removed, which eliminates flicker, and turning lamps on and off 120 times per second is essentially flicker-free. But LEDs have no persistence. The LED will appear to dim, and flicker is both the cause and effect.

As PNNL documented, human problems with it are minimized when the dimming frequency is very high (35-50 kilohertz or more). But high frequency operation must be confined to a small area or volume and enclosed in metalized shield to mitigate radio frequency interference (RFI), which in many applications can defeat the desirability of LED as a light source.

In other words, almost all LED lighting today will likely cause flicker when dimmed. And while that

We are and have been aware that exposure to extremely bright sources or bright sources that rapidly changed intensity, spectrum and/or direction could impact some humans in very negative ways, which the Cleveland Clinic describes as photophobia.

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flicker may be annoying to some, to those with photophobia it could produce pain and the inability to lead a normal life.

Then there is the challenge of LED brightness. It doesn’t take a PhD in physics to realize that the brightness of an LED light source module is exceptionally high. Some of my work has involved the brightness of LED billboards, which are arrays of thousands of LED chips.

Their rapid change of intensity and color is exciting and eye catching – and epitomizes the physiological issues and environmental challenges of LED technology. I have measured outdoor LED signs at over 6000 nits (cd/m2)! And because most LEDs are phosphor coated blue diodes, there is a substantial amount of blue relative to the color temperature of the chip and its phosphor coating.

Mark Baker is the founder and president of the Soft Lights Foundation. It is an advocacy group “…. for the protection of people from the harms of visible light radiation emitted by light emitting diodes and for the protection of the natural night as a resource.” He founded the Soft Lights Foundation in 2021 as a registered 501(c)(3) non-profit in Oregon. The Foundation claims approximately 3,000 members via two Facebook Groups, Soft Lights Foundation and Ban Blinding LEDs

Why does Mark Baker maintain an on-going battle demanding greater regulation for LED lighting? According to Mark, “High luminance LED products were introduced into society without having been vetted for comfort, health, or safety. The many federal laws that exist to ensure protection of the public were skipped in the rush to convert to this new light source. Government officials have not understood that LED radiation has an entirely different set of physics characteristics compared to traditional light sources and that LEDs emit a directed energy light that can be exceedingly intense. Due to the combination of government officials ignoring existing laws and not understanding the physics of LED light sources, there are no regulations to protect the public from harm.”3

Like Ralph Nader and car safety, Mark knew something was amiss with LED lighting technology from the beginning. For a number of years he has been critical of LED flicker and has tried to raise concern. He started a web site, published articles, made phone calls, and finally raised sufficient

References

1. Britannica.com

2. https://my.clevelandclinic.org/health/symptoms/photophobia

3. https://www.softlights.org/the-failure-to-regulate-leds/

4. https://www.softlights.org/the-failure-to-regulate-leds/

concern and funding to sue the US government for not adequately addressing the spectral and flicker issues of LEDs.

After all, Haitz and other LED scientists were interested in the efficacy (lumens per watt) of white light, and they were far less interested in in how the LED sources would be powered (termed “driven”) or in related human considerations such as spectrum, glare, flicker and intensity. Not that they were bad scientists; they were in a race to significantly contribute to reduced energy consumption.

Most recently, Mark sued the US Food and Drug Administration for being “…the only federal agency that has the Congressional authority and mandate to regulate electromagnetic radiation from electronic products. Despite this mandate, the FDA has failed to publish performance standards for LED vehicle headlights, LED streetlights, LED light bulbs, LED flashing lights on emergency vehicles, LED lights on children’s shoes, and thousands of other products that use LEDs. The result of this failure is irreparable harm to millions of individuals and the environment.”4

On his website, he further claims that “…over 55,000 people have signed the petition to ban blinding LED headlights. LED streetlights have greatly increased light pollution and risk of disease such as macular degeneration of the eyes, cancer, diabetes, obesity, and mood disorders. LED flashing lights on emergency vehicles are increasing the risk of injury and death for first responders and the public. LED visible radiation is causing seizures, migraines, anxiety and numerous other adverse neurological reactions.”

His lawsuit aims to compel the FDA to comply with federal law and act to protect the public from the hazards of visible radiation emitted by light-emitting diode products.

No doubt, advancements in LED lighting have become a waterfall of lighting goodness, and like GM’s Corvair, the products’ faults are not obvious and may only affect some people. The fact that Pacific Northwest National Laboratories have identified impacts on human physiology by LEDs should be seen as legitimate recognition of Mark Baker’s concerns and should drive additional research and, ultimately, standards that limit brightness, flicker and other impacts, even if only affecting a percentage of the population. Like Ralph Nader, Mark has a point. ■

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The Light and Health Research Center in 2025 LIGHTING THE WAY TO BETTER HEALTH

By MARIANA G. FIGUEIRO, PHD

Looking Back

Four years ago, in the middle of the COVID pandemic when vaccines were just becoming available, several of us from the Lighting Research Center at Rensselaer Polytechnic Institute moved to the Icahn School of Medicine at Mount Sinai to establish the Light and Health Research Center (LHRC). It was a bold move, but it was something we simply had to do to continue to be effective in the science of light and health.

Today, we are still going strong and beginning to see some exciting results from our newly completed and ongoing research projects. What follows is a sample of our findings to date and a recap of the LHRC’s research activities since our inaugural article in the June 2021 issue. None of this could have been achieved without our outstanding staff — those who joined from Rensselaer and those who later joined us at Mount Sinai. And, of course, our funders, including various institutes at the National Institutes of Health, the National Institute for Occupational Health and Safety, the American Lighting Association, USAI Lighting, AriBio, the Northwest Energy Efficiency Alliance, the U.S. General Services Administration, BC Hydro, the U.S. Department of Agriculture, the New York Farm Viability Institute, BrainLit, and Vantage Lighting, among others.

As you will see below, our record shows what a great team can accomplish.

Improving cognition in people with mild cognitive impairment and Alzheimer’s disease

We know from our previous studies that a tailored lighting intervention (TLI) delivering circadianeffective light (circadian stimulus >0.3) improves sleep, mood, and behavior in these populations, but what was still unknown was the TLI’s impact on cognition. Using the Alzheimer's Disease Assessment Scale-Cognitive Subscale, which is a

neuropsychological assessment to measure the severity of dementia’s cognitive symptoms, we are showing that cognition significantly improves among those receiving a six-month TLI. But it takes time – the effect was only seen after a three-month exposure to the intervention.

Improving sleep and cognition in a cohort of World Trade Center Rescue and Recovery Workers and Volunteers (WTC RRWV)

The brave people who served as WTC RRWV are particularly vulnerable to circadian rhythm disruption and neuroinflammation due to the stress and environmental exposures they experienced during the 9/11 operation. Decades after the event, they continue to show high rates of cognitive impairment and poor sleep quality. We showed that a two-month daily lighting intervention improved sleep and cognition in this population, and that the greater circadian-effective light they were exposed to in the morning, the better their cognitive scores.

Reducing depression

Consistent with our previous work and the research of others, we are showing that a TLI significantly reduces symptoms of depression in various populations, including cancer patients, office workers, and people living with mild cognitive impairment.

Changing the U.S. General Services Administration (GSA) P100 to include circadianeffective light based on UL 24480

Recent work in our long-standing research partnership with the GSA has involved the development of a simple lighting design guideline for delivering circadian-effective light to occupants of the agency’s buildings during the day to support good nighttime sleep. The guideline’s criteria for light received at the occupants’ eyes – a minimum

Exterior view of the GSA’s redesigned Building 48 showing added fenestrations that bring daylight into the interior. Daylighting was designed to support the health of the human circadian system following design principles outlined in UL 24480 and the

the first calibrated instrument to measure personal circadian-effective light exposure patterns. Over the years we have continuously improved its design, enabling us to accurately measure circadian entrainment and to predict therapeutic lightinduced circadian phase changes for better sleep.

Most recently the multi-channel Speck sensor was developed in collaboration with Blue Iris Labs. These calibrated devices are now being used to “coach” individuals with mild cognitive impairment to receive light exposures that can improve the quality of their sleep.

Reducing falls for older adults and hospital patients

vertical illuminance of at least 400 lx of white light for at least two consecutive hours and a maximum luminance (from luminaires or windows) of less than 8,500 cd/m2 – have been incorporated in the lighting design standards for GSA-owned buildings. Although the new guideline process was not yet in place for a recent field project we conducted with the GSA (see above), the GSA’s goal to create a new building achieving LEED Gold and SITES Silver certification nonetheless employed the UL 24480 guideline developed in concert with LHRC researchers.

Developing new portable luminaires to improve sleep for people at home

We have been working with the American Lighting Association on a program to support its member manufacturers in developing circadian-effective residential lighting. Tentatively named “Better Light, Better Sleep,” when launched, the program will list qualified products that have been photometrically evaluated to provide high levels of glare-free light at the eye in the morning, low levels in the evening, and turn off overnight. The American Lighting Association will be working with lighting showrooms to provide their customers with information about available products and their key features.

Measuring personal, circadian-effective light exposures

Our 24-hour circadianeffective light exposure patterns affect our sleep, health, and productivity. In 2005, our research team developed the Daysimeter,

Horizontal/vertical nightlights around bathroom doorframes can provide visual cues that promote postural control and stability. One of our recent studies showed a 34% reduction in falls when these lights were used in the rooms of people with Alzheimer’s disease living in assisted living facilities. We are currently collecting data in over 300 rooms to expand on these results. We have also installed these lights in patient rooms at Mount Sinai Hospital and are monitoring falls. The company Filamento has agreed to commercialize this technology.

GSA’s P100. Originally presented in the Oct/Nov 2024 issue.

Reducing skin pigment bias in pulse oximetry

Pulse oximetry is used throughout the medical professions to diagnose hypoxemia (i.e., low blood oxygen levels) in patients to determine if a clinical intervention (e.g., intubation or administration of supplemental oxygen) is necessary. Many recent studies have shown that there is a systematic bias against the accurate diagnosis of hypoxemia in individuals with dark skin. This bias demonstrably increased mortality in this population during the COVID-19 pandemic.

We have shown that the LEDs used in commercially available pulse oximeters cause this bias. There is a systematic shift in the LED spectrum as the light passes through melanin, the epidermal pigment responsible for skin darkening, and this shift upsets a pulse oximeter’s calibration accuracy. We showed that the melanin bias can be eliminated if monochromatic light sources were used in pulse oximeters.

Mitigating risks from pesticide use

Feeding the world is a growing problem that has been accompanied by a growth in the use and development of a wide variety of pesticides to ensure adequate food supplies. Studies have shown that human exposure to some of these materials, either directly through ingestion or indirectly through wind or water dispersion, can be harmful.

We have developed and tested UV-C light delivery systems for a variety of crop types that reduce bacterial and fungal infections that would otherwise compromise yield. These UV-C systems are safe and cost-effective alternatives or adjuncts to pesticide applications, thereby helping to ensure the world is more safely fed.

Improving flashing vehicle lights to increase safety on the road

As automobile drivers, we all have experienced bright flashing lights at night that compromise our ability to see and interpret hazards and people on or near the roadway. Based upon our fundamental knowledge of vision and perception, we have developed lighting systems that alert, inform, and help drivers manage their driving behavior through hazardous roadway environments both night and day. These lighting systems reduce glare and provide intuitive information to drivers about roadside incidents through color and flashing patterns. Not only do they protect drivers, but they also help ensure the safety of police, fire, EMTs, and all others who work in proximity to driving lanes.

Looking forward

As we hope is clear from this brief summary, the LHRC has taken significant strides in the science of light and health over the past four years. Our latest research confirms that light positively impacts

Rendering of the LHRC’s doorframe lighting system for reducing nighttime falls among older adults. The outer arrows mark the vertical and horizontal visual cues provided by the doorframe lights. Originally presented in the Feb/Mar 2024 issue.

human health in ways we had envisioned, and in ways we had only previously imagined. Yet it remains to be seen whether our influence on the scientific community will extend to the lighting industry. We will continue to remain open to forging partnerships with both the lighting industry and designers in the hope that our work will make a positive difference in people’s lives.

To that end, and in closing, listed below are some new projects that we are excited to be part of. ■

New LHRC projects

Treating sleep disturbances in Long COVID patients with a tailored lighting intervention and oral melatonin

Determining whether delirium in cardiac surgery patients is associated with sleep and circadian rhythms disruption

Using light to improve sleep in Duchenne muscular dystrophy patients

Studying shift work schedules and lighting patterns to minimize circadian disruption in shift workers

Working with AriBio to test a lighting device developed to deliver circadian-effective light to adults with dementia

Exploring the efficacy of a photocatalyst (titanium dioxide) and natural sunlight to control plant diseases

A Sleek Vertical Workplace For 1,000 Employees

VILMA BARR By

Photo Credit: Robert Benson

Lodes’ Jefferson pendants in black chrome (2700K) illuminate individual workstations, while Visual Comfort’s Mara Wall sconces (2700K) and a custom-length Barbican-HPC suspended ceiling fixture (3500K) enhance the overall ambiance. The conference room uses

rigid stem fixtures (3500K)

a sleek, modern look.

Hallway lighting features Arancia Frici Evo (3500K), with Coronet Magneto recessed fixtures mounted above the clear space divider. Custom Camman Flex fixtures (3500K) with double circular white lamps accent the black ceiling frame.

CarGurus Headquarters Lighting Program for Multiple Functions

The automotive industry’s competitive brands built consumer demand for its products over decades by promoting quality performance, sleek styling, and pride of individual ownership. In the twenty-first century, car purchasing has taken on a separate electronic life. CarGurus, Inc. is a leading global automotive marketplace, operating an internetbased car shopping process through innovative search and analytics technology, to become a major player in the retail consumer car-buying marketplace.

Founded in 2006 by Langley Steinert, a co-founder of TripAdvisor, CarGurus has grown into a multinational, online automotive platform for buying and selling vehicles that is building upon its industry-leading listings marketplace with both digital retail solutions. The company started off as an automotive community blog where consumers could post reviews and questions about local dealers, shops, and types of cars. Dealers expressed interest in advertising on the site, and the company changed its business strategy to connect dealers and consumers by putting inventory on the site.

Its services include assisting users in comparing local listings for used and new cars and contacting sellers. CarGurus uses algorithms to analyze and compare prices and features on cars for sale. Users can search for specific cars in their local area and compare listings by price, features, and dealership reputation. Consumers can compare car prices and find the best deals by utilizing proprietary algorithms to analyze vehicle listings and dealer reputations. CarGurus has established a positive corporate image as a trusted source for car shopping both online and in-person.

The company also provides a discussion platform where car enthusiasts and automotive experts can exchange insights, ask questions, and share reviews. It currently operates websites in the United States, Canada, the United Kingdom, Italy, Spain, and Germany.

It has consolidated its headquarters into one central location at 1001 Boylston Street in downtown Boston, uniting nearly 1,000 employees who had been operating from various scattered locations across the Charles River in

Cambridge into 200,000 sq.ft. located on the top 10 floors of a new 20-story building. The space, with its unobstructed views of the city and beyond in all directions, enhances the workplace experience for the professional and support staffs.

Designed with Flexibility, Collaboration, and Sustainability

Designed by IA Interior Architects, the CarGurus headquarters was created with a hybrid work culture in mind, offering spaces that support all types of meeting scenarios and individual work modes for the diverse talent that it employs. The result is an activity-driven hub comprised of 900 choice work points, 30 collaborative spaces, and central social spaces, all with flexibility into the design to support changing needs.

Amenities are distributed throughout the office

Stairway lighting features SC4 (3500K) fixtures mounted on the underside of stair sections, with channels cut to length and custom angles to follow the GWB underside.

floors to encourage interaction. Included are a multi-story reception area, tech bar, barista bar, multiple training spaces, allhands meeting areas, video production suite, and dining area. There are two libraries for quiet focus work, several balconies/terraces, and exclusive access to a penthouse gathering space with two large roof decks equipped with seating for individual or group work.

Designed for LEED Gold certification, the project prioritizes sustainability and a connection to nature. Natural light is optimized for all occupants, complemented by wood textures, natural materials, and diverse greenery, creating varied patterns across each floor.

Brand Experience

“CarGurus is everything automotive,” said Reetika Vijay, Managing Principal, IA Interior Architects. Lighting design was integral to the success of the overall CarGurus headquarters project. Lighting served three roles in the design: providing dimension to the interior; reinforcing the CarGurus brand; and supporting high performance of each space.

“Our design team worked hand-in-hand with CarGurus’ brand team to develop the workplace design to elevate the CarGurus brand,” Vijay relates. “Automobiles were the inspiration. The design language of all lighting selections was contemporary, dynamic, and relating to automotive technology with a sense of speed and movement.”

“The 10-story interconnecting stair is framed by a backdrop showcasing an abstracted curvilinear road-like element, highlighted by color-changing LED lighting. The LED lighting not only brings dimension to the graphic form but introduces the sense of movement and energy to each floor.”

IA created a road trip theme for each floor, giving every level of the CarGurus headquarters a distinct identity. Each floor is themed after one road trip ranging from Milford Road in New Zealand, to the Kancamagus Highway in the U.S., to the Amalfi Coast Road in Italy.

“Lighting was then selected to support design vocabulary representing each particular road trip,” said Vijay. “The open office was highlighted with a continuous

A recreation room utilizes a black frame ceiling element with multiple circular Pure Edge Bubble Ball lamps (2700K CIN Monorail).

linear racetrack fixture wrapped around the footprint. Main circulation through the open office was defined by linear pendants. Each amenity had unique lighting to tailor to the specific amenity while also supporting the floor road trip theme.”

Functional Lighting

Both design and function were integrated to meet CarGurus’ sustainability goals. “We began the design process by completing a thorough walk-through in CarGurus’ existing office space in Cambridge to get a better understanding of lighting fixture solutions and light levels that the teams were accustomed to working under,” Vijay indicated.

With an aggressive goal of LEED Gold certification, the overall lighting power density for the project needed to stay below .54 W/sq.ft. “This requirement forced the team to be very strategic with our ambient lighting choices to balance light levels, wattage, and spacing. The curvilinear direct/indirect racetrack was critical to the design concept, and we modeled several variations to find the appropriate lumens/ft in both directions that would achieve the target foot-candle range of 25-35 fc throughout workspace zones,” Vijay explained.

The snack counter features an overhead blue and white Arktura Alluvia cylinder ceiling system with integral LED puck (3999K), while the serving area is illuminated by Lumenture T65 track heads (3500K) on a pendant track.

A meeting area includes an overhead Barbican HPC Solo curve (3500K), with accent lighting from Acolyte Neon Silhouette (3500K). Luxxbox HemII Large (3500K) enhances the space, while a Marset Plaff-Oni! 33 pendant (2700K) highlights the enclosed red workspace.

“The complementary tubes of light in the circulation paths were spaced just close enough to make a statement and provide uniform light levels without consuming too much of the available energy load. We employed recessed linear slot in various size meeting rooms and private offices in targeted lumens/ft to once again balance function, wattage and budget needs,” he stated.

The design team created an efficient base layer of light in open office zones and circulation paths by leaving enough wattage and budget to incorporate the desired layers of light into the unique amenity spaces throughout. “We approached each amenity space by first narrowing in on the feature lighting elements that would best enhance the design concept and validated each would provide adequate task brightness of 20-40 fc depending on the anticipated use of that zone (lounge vs gaming),” Vijay noted.

They are supplemented with floating cylinders as needed to balance light levels as workers transitioned between spaces. The large corporate café on the twentieth floor provided an opportunity to blend a layer of curvilinear racetrack consistent with the other floors, combined with large-scale acoustic fixtures and organic luminous tube forms dispersed throughout to add interest throughout the floor.

The pandemic presented the designers with a unique opportunity to rethink the role of the office in CarGurus’ culture, leading the project team to quickly pivot towards unassigned workspaces. The resulting floor plan is a dynamic collaboration hive, full of choice workpoints, robust collaborative spaces, and central social hubs, with future flexibility built into the infrastructure to support changing needs. Through thoughtful design and strategic planning, IA Interior Architects succeeded in creating a space that not only meets the functional needs of CarGurus’ growing team but also inspires and

supports the pioneering spirit of the company and that of the employees who contribute to a successful organization.

Management’s objective for their central corporate office to create a supportive workplace that embodies CarGurus’ mission to empower people to reach their destination was paramount in the brief to the design team.

Employee wellbeing was embraced from multiple angles throughout the project, with diversity, equity, and inclusion steering many design decisions. Robust mothers’ suites are located on multiple floors. Every floor has comfortable wellness spaces and single-use restrooms, and the workstation design empowers individuals to modify their workspaces to meet specific needs, whether through configuration or adjustment of a task light. Ergonomics and acoustics are thoughtfully addressed throughout. Quiet areas for introspection are balanced with more active spaces that support socialization.

A roadway-like circulation path rings the space, creating a sense of motion through a repetitive lighting gesture. Establishing destinations and ease of navigation was critical to the spatial and experiential design. An intuitive wayfinding strategy incorporates CarGurus’ primary brand colors—red and blue—paired with a neutral base palette of warm woods, crisp whites, and soft greys to create consistent odd and even floor schemes. The spatial design draws inspiration from the ultimate road trip, with an overarching planning concept based on topographical forms one might experience on a drive.

Visual interest and variety are brought in strategically with a geographic floor theme. The individual themes manifest themselves in the spatial design and architectural finishes of the floor amenity, as well as within the graphics, a grab-and-go food pickup area, an interview suite, a boardroom, and many more. ■

A meeting/presentation room has a semi-circle fabric on an overhead track, complemented by Barbican Drum fixtures (3500K, custom 46” diameter) with acoustic shade overlays for enhanced sound quality.

Workspaces are complemented by hanging Moooi Raimond II starburst fixtures (2500K) in front of the windows, creating a striking focal point.

LIGHTING THE OF NOTRE DAME Soul

A Tale of Restoration PART II

In Part I of this series, published in the FEB edition of designing lighting global (dlg), we took a detailed look at the brilliance of the overall lighting design provided by Patrick Rimoux. In this article we will look at the results, and his playful surprise that reminds me of some of the cunning tricks of the great masters. We’ll also take a deep dive into the restoration of the chandeliers.

As I compare the before and after images of a work of art at Notre Dame, the transformation is striking. The first photo was taken in September 2019 during a LiFi Congress in Paris, while the second was captured during my January 2025 visit, after the restoration.

In both the above images, the statue remains radiant, its presence undiminished by time. However, the difference in the surrounding details is remarkable. In the pre-restoration image, the walls and ceiling seem to disappear, as if only the bottom of the painting held significance. The rich architectural elements were lost in the shadows— and in the dirt and grime.

Now, in the restored version, the full scene is revealed. The walls and ceiling are visible, bringing depth and dimension to the space. The most striking revelation? The blue ceiling adorned with stars—a breathtaking detail that had once been completely obscured. Before, one would never have even known they existed.

A Hidden Message…

Art historians have long marveled at the hidden messages embedded in masterpieces, with Dan Brown’s The Da Vinci Code bringing mainstream attention to the idea that Leonardo da Vinci concealed secrets within The Last Supper. But have you ever heard of a lighting designer embedding a hidden message into their work?

That’s exactly what I discovered with this remarkable piece. Adoration of the Shepherds, painted in 1585, miraculously survived the Notre Dame fire and has since been carefully restored. But here’s where things get fascinating—take a close look at the flute player. He wasn’t originally part of the painting.

The illusion is part of Patrick Rimoux’s genius. Patrick added the figure using nothing but light. The flute player isn’t painted on the canvas—he is nothing more than a shadow, skillfully integrated as a gobo into the lighting fixture. This seamless fusion of art and technology transforms the way we experience the painting, making it a modern masterpiece in its own right.

2019, pre-restoration

Photo Credit: Randy Reid

2025, post-restoration

Photo Credit: Randy Reid

Rimoux added a special “signature” to this work of art. Pay special attention to the bottom left.

Photo Credit: Randy Reid

On April 15, 2019, during a family trip to Paris, IP attorney Henrik Villumsen found himself living in history, just blocks from the Notre Dame fire.

“We had just walked past Notre Dame and stopped for lunch at a restaurant about 300 meters away,” Henrik recalled. “We couldn’t see the cathedral from where we were sitting, but after about an hour, it felt like something out of a movie—phones started ringing, and people were being asked if they were okay. The sense of confusion quickly turned into shock as we realized what was happening.”

Leaving the restaurant, Henrik and his family walked along the Seine, witnessing the unfolding tragedy. “The bridges were packed with people watching in disbelief, but what stands out in my memory—aside

from the burning itself—was the sight of police boats rushing below us toward Notre Dame,” he said. About a hundred meters away, Inès Mathieu was also watching the fire, unaware that her future would become so closely tied to the cathedral’s restoration. She had been at home in Paris, finishing her studies, when her boyfriend rushed into the bathroom with shocking news.

“He said, ‘There’s a fire at Notre Dame,’” she recalled, remembering her disbelief. “But then I saw his face. He told me, ‘You need to get out now. We’re going there.’”

The two raced from their apartment in the 15th arrondissement toward the cathedral, navigating streets already closing under emergency barricades. By the time they reached the Seine, crowds had gathered along the bridges, frozen in shock. “We stood there watching in horror as the flames swallowed the roof,” Inès said. “It felt like we were witnessing history crumble before our eyes.”

At the time, she was not employed in the restoration business. Her boyfriend, however, was deeply involved, working for her family’s chandelier restoration company, Mathieu Lustrerie, one of the most prestigious in France. He knew, almost immediately, that they might one day be called upon to help rebuild what was lost.

A Love Story and a Career Path

For generations, Inès’ family had specialized in restoring and manufacturing chandeliers for historic landmarks, working on projects for grand palaces, theaters, and cathedrals across France. As fate would have it, Inès would eventually step into this legacy, but not before her personal life took an unexpected turn.

Two years after the fire, she joined the family company, just as it became clear that their expertise would be needed for Notre Dame. At the same time, she and her boyfriend were preparing for their wedding. It was a pivotal moment.

“He told me, ‘I think I have to leave the company,’”

Ambulatory. The vaulted stone ceilings helped protect most of the cathedral interior from the fire above. ©Julio Piatti / diocèse de Paris

Smoke billows from the roof of Notre Dame. Filmed by Henrik Villumsen.

Inès said. “He loved the work, but he didn’t want us both working there once we were married. He wanted to keep some separation between our professional and personal lives.”

So, as he stepped away from the business, Inès stepped in. Within months, she was overseeing one of the most significant restoration projects of her career: the chandeliers of Notre Dame.

The Damage and Discovery

The chandeliers of Notre Dame, designed in the 19th century by architect Eugène Viollet-le-Duc, have stood as silent witnesses to nearly 150 years of history, enduring war, time, and now restoration. Originally suspended from long chains in the cathedral’s nave, these grand fixtures were initially illuminated by candlelight, each holding 40 candles that bathed the space in a warm, flickering glow. With the advent of electricity, the chandeliers

underwent significant changes. To accommodate modern wiring, they were relocated from the center of the nave to their current positions along the sides, where access to electrical sources was more practical. The transition from candlelight to electric bulbs also reduced the number of lights on each chandelier from 40 to 20, subtly altering their visual impact. Despite these modifications, the chandeliers remained largely untouched for over a century, retaining their historical character until their recent meticulous restoration.

The fire, however, left them in a state of devastation. One chandelier had fallen completely, shattered on impact. Two others, located closer to the collapsed spire, were damaged by falling debris. The rest were coated in thick layers of soot and toxic lead dust from the melted roof.

“When we first saw them, we didn’t even know where to begin,” Inès said. “The one that had fallen was in pieces, and all of them were covered in this dangerous contamination. We couldn’t just pick

The chandeliers of Notre Dame, designed in the 19th century, have stood as silent witnesses to nearly 150 years of mass. © Pascal Le Segretain/ diocèse de Paris

Celebration of the Eucharist at the new altar. In the background stands the Pietà by sculptor Nicolas Coustou. © Pascal Le Segretain / diocèse de Paris

them up and start cleaning. Every step had to be carefully planned.”

Before any restoration work could begin, each chandelier had to be decontaminated off-site. The lead dust, a byproduct of the cathedral’s roof melting in the fire, posed a serious health risk. Cleaning took two weeks and was done inside the storage facility where the chandeliers had been moved immediately after the fire. “We couldn’t risk bringing contaminated chandeliers into our workshop,” Inès explained. “We had to make sure they were safe to handle first.”

Restoring the Chandeliers

Once transported to the workshop, the real work began. Each chandelier was completely disassembled, piece by piece, to be meticulously cleaned, polished, and restored. The restoration team made an important discovery—while many assumed the chandeliers had been gilded with gold, they were actually varnished brass. This meant they needed a different approach to preservation.

“We ran tests to see if we could preserve the patina by just cleaning them, but the results weren’t strong enough,” Inès said. “The chandeliers still looked too aged, and the architects overseeing the restoration wanted them to appear renewed, as if stepping into a restored past.”

The decision was made to fully re-varnish each piece, restoring the chandeliers to their original 19th-century brilliance. This painstaking process,

combined with modern rewiring, took 13 months. Each chandelier was fitted with new electrical components, including tunable LED lights that allow the color temperature to be adjusted to match the warm glow of candlelight.

“It was a delicate balance,” Inès said. “We wanted to maintain the historical integrity while also embracing modern advancements. The goal was to make them look as they did when they were first installed, but with 21st-century technology.”

A Triumphant Return

By October 2024, the chandeliers were ready to be reinstalled. Each fixture, weighing approximately 180 kilograms, was hoisted back into place, an effort requiring precision and patience. One chandelier, a later addition from the 1960s, was even heavier at 260 kilograms.

“When we finally turned them on for the first time inside the cathedral, it was emotional,” Inès said. “We had been working on them for over a year, and to see them glowing again in Notre Dame—it was as if we were restoring light to something that had been in darkness for too long.”

More Than Just a Project

For Inès, the restoration of Notre Dame’s chandeliers was not just another project—it was personal.

“This project became a part of my life in ways I never expected,” she reflected. “I never imagined I would

Crown of Thorns

Photo Credit: Randy Reid

View from the ambulatory, just off to the side of the chancel. ©Julio Piatti / diocèse de Paris

end up in this line of work, let alone be responsible for restoring one of the most famous cathedrals in the world. And to think, I was just a student, watching the fire from the street, never knowing how deeply I would become involved.”

Today, as visitors return to Notre Dame, they will look up and see the chandeliers glowing as they have for

generations. Few will know the story of their survival, the meticulous effort that went into their restoration, or the personal journey of the woman who helped bring them back to life. But for Inès, and for those who poured their passion into this project, the chandeliers are more than just lighting fixtures. They are symbols of resilience, history, and the enduring beauty of Notre Dame. ■

"I have never seen Paris so beautifully illuminated for Christmas. Whether it was just for the special rededication of Notre Dame, I don’t know—but it was absolutely breathtaking…

Think about what happened after Palm Sunday four and a half years ago. France didn’t accept the destruction of Notre Dame as the final chapter. The nation stood up and said, ‘This won’t stand. This cathedral is our symbol of hope, love, and God’s presence among us.’ What followed was nothing short of extraordinary—a national crusade, and even an international one.

I was honored to be invited because generous New Yorkers stepped forward and said, ‘We want to help. We want to raise money to support the reconstruction of Notre Dame.’ They refused to let the charred remains serve as a reminder of loss or the past. Instead, they committed to rebuilding. That determination, that faith, is something to celebrate."

— Cardinal Timothy Dolan in an interview with Maria Bartiromo, December 22, 2024

Each chandelier was completely disassembled to be meticulously restored. The decision was made to fully re-varnish each piece, a process that, combined with modern rewiring, took 13 months.

© Marie-Christine Bertin / diocèse de Paris

Tangram Interiors’

Tom Dixon’s Melt fixture brings a striking visual element to the conference room with its reflective, fluid-like design.

Photo credit: Benny Chan Photography

A unique design story unfolded in Dallas at the hands of Tangram Interiors, a California-based furniture dealer renowned for its people-forward culture. They ventured into the Dallas market with the goal of creating a showroom that would stand apart—not only as a functional space but as an experience. Tasked with this project was interior designer Brad Robichaux, whose shared vision with Tangram’s CEO, Joe Lozowski, brought the space to life. Through bold creativity and a thoughtful approach, Robichaux redefined what a furniture showroom could be.

A New Vision for Showrooms

Furniture dealer showrooms are traditionally utilitarian, often resembling warehouses with a focus on practicality over aesthetics. However, Tangram sought to disrupt this standard by creating a space that was more hospitality-driven and experiential. Their new showroom in the East Quarter of Dallas—a neighborhood with a rich automotive history— became the canvas for this innovative concept.

Robichaux drew inspiration from the neighborhood's 1920s and 1930s automotive heritage, particularly the early car showrooms. “These spaces were more than just functional—they were designed to captivate and impress. I wanted to recreate that sense of

Eureka Lighting’s Berri fixtures, Berri3D and Berri-Angular, played a key role in this project.

drama and sophistication,” said Robichaux. “Chunky” globe lighting and marquee-style signage, characteristic of that era, became key influences for the design, helping to honor the area’s past while embracing Tangram’s forward-thinking ethos.

A Eureka Moment

The Berri fixture by Eureka Lighting became the pivotal element of the showroom’s design. Inspired by the aesthetic of 1920s marquee lights, the Berri fixture’s playful geometry and modularity allowed for a creative interpretation of historical lighting without literal replication. Using SketchUp and Revit, Robichaux arranged these fixtures in grids and clusters, creating an effect that added depth and character to the space.

One of the most striking areas is a transitional corridor designed as a "compression moment." Painted black and illuminated by a constellation of puck lights, this space acts as a psychological bridge between the sterile, bright elevator lobby and the warm, inviting showroom.

Overcoming Design Challenges

The space itself posed unique challenges. Situated on the second floor, it wrapped around a centrally located parking garage, with structural elements creating height constraints in certain areas. To address these limitations, the team opted for a painted black ceiling paired with surface-mounted Eureka Area fixtures to create the illusion of height.

Dense placements of Eureka Area fixtures diffuse the perception of the low ceiling.

The lighting design played a crucial role in this approach, with dense placements drawing the eye upward and diffusing the perception of low ceilings.

Collaboration was key to overcoming these challenges. Big Red Rooster, a subsidiary of JLL, served as the architect of record, ensuring that Robichaux’s creative vision was faithfully executed during documentation and construction administration. Architectural Lighting Alliance (ALA) served as the lighting dealer/consultant, contributing expertise to the project’s lighting design and implementation.

Lighting as an Experience

Beyond aesthetics, lighting was strategically integrated to enhance functionality. The library, a hub for textiles, finishes, and laminates, features tunable white lighting to simulate various color temperatures, allowing designers to select finishes under conditions that mimic real-world settings.

Melt, a decorative pendant by Tom Dixon, adds drama to the conference room, its oilslick aesthetic reminiscent of gasoline pooling on water—yet another subtle nod to the area's automotive roots.

A Wellness Oasis

Perhaps the most unique space is the wellness room. Designed as a quiet retreat for both employees and clients, the room features plush carpet evocative of walking on clouds and dimmable lighting to suit

a variety of moods. Integrated soundscapes, from beach waves to chirping birds, add to the sensory experience, offering a moment of peace amidst the bustling showroom.

“It’s rare for a furniture showroom to have a space like this,” Robichaux remarked. “But it reflects Tangram’s commitment to well-being and their focus on people first.”

A Cultural Shift in Design

From the moment visitors step into Tangram’s Dallas showroom, they are greeted by an environment that feels more like a high-end lounge than a furniture dealer.

“This project was about more than creating a beautiful space,” Robichaux concluded. “It was about telling a story—one that celebrates the history of Dallas while looking boldly into the future.”

The design not only challenges traditional showroom norms but also pays homage to the neighborhood’s legacy, proving that even in a functional space, history and creativity can coexist beautifully. ■

FLOS

Lithonia Lighting

Luminii

4272D-16 LED 35 80 VOLT DV EMB MTG LENGTH CNPY FINISH SHADE WH 3981EA

4272D-16 LED 35 80 VOLT DV MTG LENGTH CNPY FINISH SHADE WH

4715-24 LED.HO 35 80 VOLT DV HSG WH

74600-E03 LED.HO 35 80 VOLT DV AC-LENGTH

MTG CNPY CORD LOOP TUBE WH

74600-E06 LED.HO 35 80 VOLT DV AC-LENGTH

MTG CNPY CORD LOOP TUBE WH

74600-S05 LED.HO 35 80 VOLT DV AC-LENGTH

MTG CNPY CORD LOOP TUBE WHE

74600-Z05 LED.HO 35 80 VOLT DV AC-LENGTH

MTG CNPY CORD LOOP TUBE WHE

HP-2 P ID 14' S H 835 WSO DWNLT 96LG VOLT

SC DRVR MTG CEILING CAP FINISH

HP-2 P ID 4' S H 835 WSO DWNLT 96LG VOLT

SC DRVR MTG CEILING CAP FINISH

HP-WG 6W DEPTH 12' OUTPUT CRI/CCT VOLT

SC MTG SSA LEFT RIGHT CEILING

03.8404.FINISH / 06.5421.FINISH / 06.5420. FINISH / 06.540- LENGTH.FINISH / 06.5430. FINISH / LED90W48V-PWM-B01

EVO4CC TUWH RHYR/10 AR LSS MWD MVOLT

ZT SGB CNPY CORD FINISH

2BLT2 33L ADP GZ1 LP835

EVO4 TUWH RHYR/10 AR LSS MD MVOLT ZT

EDG/EDGR FACE LETTER EL

KBM-F-H CCT START END LENGTH / MC BS

KBM F H 38 / PDCU D 96 24 / PDCU D 3X96 24

Tech Lighting 700TRSPGYD1R-FINISH-LED930

Tom Dixon MELT LED PENDANT

USAI LLC

M1SDF 09X1M 30KS 50 M0 BEVEL WH RT RM / RPD 01 09X1M UNV DIMMING ENC

M1RDF 09X1M 30KS 50 M0 BEVEL WH RT RM / RPD 01 09X1M UNV DIMMING ENC

The wellness room was designed as a peaceful escape, blending thoughtful lighting and textures to enhance comfort.

Eureka

Finelite

May 4 – 8, 2025

Las Vegas, Nevada

Discover. Connect. Learn. Be Inspired. LightFair 2025

Join thousands of lighting professionals to discover the latest technologies and trends. With nearly 100 CEU-eligible sessions, it’s a great opportunity to sharpen your skills and connect with industry leaders shaping the future of lighting. REGISTER TODAY!

ILLUMINATING CITI FIELD

A Masterpiece of Lighting Design

RANDY REID By

QTL tape lighting is seamlessly embedded into the bar and shelving for a clean, cohesive look.

Photo credit: Alexandra Tremaine

Photo credit: Alexandra Tremaine

Transforming Citi Field with Light

Citi Field, home of the New York Mets, has long been recognized as a premier destination for baseball fans. However, beyond its thrilling games and passionate crowds, the stadium has undergone a remarkable transformation— one illuminated by world-class lighting design. Spearheaded by Reveal Design Group, this multiyear project brought new life to Citi Field’s most exclusive spaces, ensuring that lighting enhances the unique identity of each environment.

Under the leadership of Ashton Allin, Senior Designer, the project unfolded over multiple phases. The 2023 season debuted the Cadillac Club, Empire Club, and Fiserv Suites, while the 2024 season introduced the Delta Sky 360 Club and Team Store. The result is a seamless integration of artistry, functionality, and innovation, balancing luxurious ambiance, durability, and sustainability across the stadium. As Allin explained, “We had to work within the tight off-season schedule, ensuring every design element was in place by opening day. That required a lot of coordination and quick pivots.”

A Speakeasy-Inspired Cadillac Club

One of the most striking spaces in Citi Field, the Cadillac Club, was designed to evoke the allure of a hidden speakeasy. Guests enter this exclusive lounge through an intimate entryway before emerging into a rich, warmly lit interior.

The lighting design plays a key role in creating this theatrical transition, featuring QTL tape lighting integrated into the millwork and decorative elements, including a freestanding illuminated bar. Low-level lighting enhances

Inspired by classic speakeasies, the Cadillac Club’s lighting design balances drama and refinement for an unforgettable atmosphere.

Photo credit: Alexandra Tremaine

the sense of exclusivity, while careful fixture placement ensures an inviting and immersive atmosphere.

“This space was all about drama and contrast,” said Allin. “We wanted to create an experience where the lighting guides guests into a new world.”

Art Deco Elegance at the Empire Club

Inspired by the grandeur of New York City’s Art Deco era, the Empire Club embodies timeless sophistication. The bar fascia echoes the stepped form of the Empire State Building, illuminated by carefully integrated millwork lighting that highlights its architectural details.

Decorative fixtures, including stemware lighting above the back bar, add a warm glow, while QTL lighting ensures uniform illumination. The commitment to a consistent 2700K color temperature throughout the space ensures harmony between different fixtures and finishes.

Allin noted, “We wanted this space to feel nostalgic yet modern, using lighting to emphasize architectural details without overwhelming the design.”

The Heart of Citi Field

Situated directly behind home plate, the Delta

Sky 360 Club is Citi Field’s most prestigious space, offering unparalleled access to the stadium’s prime seating.

The defining feature of this club is the customdesigned fan light, a dynamic, programmable lighting element that introduces movement and excitement to the space. Designed with an A-RGBW pixel fixture from Interlux/Linea Light, the fan light operates in multiple scenes that correspond to different game-time moments, transitioning from pre-game to in-game and post-game settings.

To prevent overwhelming the space, the lighting remains predominantly white, with strategic moments of Mets blue and orange for added vibrancy. “The fan light was a major focal point, bringing movement and energy to the space while still maintaining elegance,” explained Allin.

A Residential Retreat

Designed with a residential aesthetic in mind, the Fiserv Suites offer a more intimate and relaxed setting within Citi Field. These private suites, which overlook home plate, feature a refined lighting approach that prioritizes comfort and warmth.

The design incorporates QTL tape lighting under bar shelving and task lights, complemented by Ecosense cove lighting. The careful selection of a 2700K color temperature ensures a welcoming ambiance,

Photo credit: Lindsey Fairorth

Nolita is a remote-controlled track light for when swift adjustments are essential. With unparalleled flexibility, tailor every move wirelessly through the Casambi app.

Compatible with most existing track beds, Nolita is perfect for spaces like ballrooms, museums, restaurants, shops and more.

balancing well with the suite’s interior finishes. “The goal here was to make guests feel at home, even in a high-end stadium environment,” Allin remarked.

A Bright Retail Experience

As Citi Field’s primary retail destination, the Team Store underwent a complete transformation, doubling in size and enhancing the shopping experience for fans.

The lighting design focused on brightness, flexibility, and color accuracy, ensuring that Mets merchandise is displayed in its best light. ALW linear fixtures provide consistent illumination, while Solais track heads offer adjustable, high-output lighting for retail displays. Notably, the decision to use a 2700K color temperature was deliberate, as it allows the team’s signature orange and blue to remain vibrant without appearing washed out.

Balancing Aesthetics, Functionality, and Maintenance

One of the key challenges in designing Citi

Field’s lighting was maintaining consistency across different spaces while accommodating their unique design languages. Standardizing color temperatures at 2700K across all environments helped unify the lighting experience, even as different finishes altered the perception of warmth. Collaboration with electrical contractors played a crucial role in executing the design seamlessly, with on-site adjustments ensuring a precise installation.

Overcoming Challenges with Precision and Adaptability

Working within the strict timeframe of baseball's offseason presented a unique set of challenges. Construction schedules required quick decision-making, especially when unexpected structural elements, such as hidden beams, were discovered during installation. Last-minute adjustments were necessary to ensure that fixtures fit seamlessly into the architectural framework. The ability to pivot rapidly, combined with the close collaboration between design and procurement teams, allowed the project to meet its deadlines without compromising quality.

A Lighting Design Worthy of Citi Field

From the exclusivity of the Cadillac Club to the spectacle of the Delta Sky 360 Club, every illuminated space at Citi Field tells a story. The thoughtful integration of lighting enhances each environment, creating experiences that extend beyond the game itself. By blending cutting-edge technology with meticulous attention to detail, Reveal Design Group has elevated Citi Field’s atmosphere and set a new benchmark for stadium lighting design.

As Citi Field continues to evolve, its lighting will remain an essential part of its identity—a beacon for fans, players, and visitors alike. ■

A carefully selected 2700K color temperature ensures the Mets’ signature blue and orange remain bold and true to life.

Flexible lighting solutions allow for easy adjustments, keeping the Team Store vibrant and inviting throughout the season.

ALW linear fixtures and Solais track lighting provide optimal brightness and color accuracy for Mets fans browsing the latest gear.

Photo credit: Lindsey Fairorth

Photo credit: Lindsey Fairorth

Photo credit: Lindsey Fairorth

TUESDAY, MARCH 18

Stranger Things: The Melanopsin-Red SaturationBrightness Connection

Alp Durmus, Penn State University

Location: Nassau

2025 Presentations

Tuesday | March 18, 2025 | 9:00 am - 10:00 am EST

Credits: 1 LU | Elective | Introductory

Outdoor Lighting Controls: How Technology is Lowering Costs and Improving Safety

John McBride, Holophane/Utility, Acuity Brands

Location: Sutton South

Tuesday | March 18, 2025 | 9:00 am - 10:00 am EST

Credits: 1 LU | Elective | Intermediate

Time for a Checkup: Coming Energy Code Changes PANEL DISCUSSION

Harold Jepsen, Legrand | Julie Donovan, HLB | Michael Jouaneh, Lutron

Location: Sutton North

Tuesday | March 18, 2025 | 9:30 am - 11:00 am EST

Credits: 1.5 LU | Electiv | Energy Code Update

View Quality: Why and How to Measure?

Won Hee Ko, New Jersey Institute of Technology | Alp Durmus, Pennsylvania State University

Location: Nassau

Tuesday | March 18, 2025 | 10:30 am - 11:30 am EST

Credits: 1 LU | Elective | Introductory

Well Hello, DALI!

Bill Ellis, Candela Controls, Inc.

Location: Sutton South

Tuesday | March 18, 2025 | 10:30 am - 11:30 am EST

Credits: 1 LU | Elective | Intermediate

Digital Design with DALI PANEL DISCUSSION

Carol Jones, DALI Alliance | Clifton Manahan, HLB

Lighting | Stephen Zhou, MW Connect

Location: Sutton South

Tuesday | March 18, 2025 | 11:30 am - 1:00 pm EST

Credits: 1.5 LU | Elective | Intermediate

CANCELLED – Preservation Lighting: LEDs in Museum Exhibitions

This presentation by Jeffrey Versakos, LEDspin being held 12:00pm – 1:00pm has been cancelled

HERITAGE LIGHT: History Illuminated

Charles Stone, Fisher Marantz Stone

Location: Sutton South

Tuesday | March 18, 2025 | 12:00 pm - 1:00 pm EST

Credits: 1 LU | Elective | Intermediate

Championing Sustainable Lighting Specification Processes

Matthew Fracassini, The Lighting Practice

Location: Nassau

Tuesday | March 18, 2025 | 1:30 pm - 2:30 pm EST

Credits: 1 LU | HSW | Intermediate

Maintaining Lighting Designs Beyond the Punch List PANEL DISCUSSION

Andrea Wilkerson, PNNL | Carla R. Bukalski, Reed

Burkett Lighting Design | Anne Kustner Haser, AKLD

Lighting Design

Location: Sutton North

Tuesday | March 18, 2025 | 1:30 pm - 3:00 pm EST

Credits: 1.5 LU | Elective | Intermediate

Fueling Light Education PANEL DISCUSSION

Daniel Blitzer, The Practical Lighting Workshop | Tom Butters, The Lighting Agora | Robert Davis, University of Colorado | Dr. Abimbola Asojo, Morgan State University School of Architecture and Planning | Mark Lien, The Illuminating Engineering Society

Location: Sutton South

Tuesday | March 18, 2025 | 1:30 pm - 3:00 pm EST

Credits: 1.5 LU | Elective | Introductory

Design Storytelling: Communicating the Value of Impactful Lighting Design

Jonathan Hoyle, The Lighting Practice | Xingying Peng, The Lighting Practice

Location: Nassau

Tuesday | March 18, 2025 | 3:00 pm - 4:00 pm EST

Credits: 1 LU | HSW | Intermediate

“La Plancha” Metropolitan Park

Elías Cisneros, 333 Luxes

Location: Sutton North

Tuesday | March 18, 2025 | 3:30 pm - 4:30 pm EST

Credits: 1 LU | HSW | Advanced

Lumens Are for Humans

Dañiel Luna-Fuller, Luna Lighting

Location: Sutton South

Tuesday | March 18, 2025 | 3:30 pm - 4:30 pm EST

Credits: 1 LU | Elective | Introductory

I Can’t Hear You Because My T-Shirt is Too Itchy: Understanding Sensory Processing in Neurodivergent Learners

Cana Sarnes, The Neurodiversity Collective

Location: Nassau

Tuesday | March 18, 2025 | 4:30 pm - 5:30 pm EST

Credits: 1 LU | Elective | Intermediate

Designing Lighting for Interpersonal Video Communication

Richard Falconer, NV5

Location: Sutton North

Tuesday | March 18, 2025 | 5:00 pm - 6:00 pm EST

Credits: 1 LU | Elective | Intermediate

Bird Utopia

Aura-Nat Sirikanokvilai, Cooley Monato Studio

Location: Sutton North

Tuesday | March 18, 2025 | 5:00 pm - 6:00 pm EST

Credits: 1 LU | Elective | Introductory

WEDNESDAY,

MARCH 19

Demonstrating Interoperability and HVAC

Integration: Exploring Open Standards in Action with Wireless LLLC

Rita Renner, mwConnect | Chris Wolgamott, Northwest Energy Efficiency Alliance (NEEA)

Location: Nassau

Wednesday | March 19, 2025 | 8:30 am - 9:30 am EST

Credits: 1 LU | Elective | Intermediate

Leveraging AI in Lighting To Design Occupant Experiences

Franco Castaldini, Enlighted | Rob Groff, Enlighted Location: Sutton North

Wednesday | March 19, 2025 | 9:00 am - 10:00 am EST

Credits: 1 LU | Elective | Introductory

The Sun–The Perfect Spectrum: What You See and What You Don’t

Jay Goodman, Apres Illumination

Location: Sutton North

Wednesday | March 19, 2025 | 9:30 am - 10:30 am EST

Credits: 1 LU | HSW | Introductory

Beyond Blueprints: Integrating Smart Controls for Holistic Wellbeing

Fabio Zaniboni, BubblyNet

Location: Nassau

Wednesday | March 19, 2025 | 10:00 am - 11:00 am EST

Credits: 1 LU | Elective | Introductory

Flicker: It’s Not Just Annoying. New Results of Work on the Phantom Array Effect

Naomi Miller, Pacific Northwest National Laboratory

Location: Sutton North

Wednesday | March 19, 2025 | 10:30 am - 11:30 am EST

Credits: 1 LU | HSW | Intermediate

2025 Presentations

Utilizing Latent Properties of Light for Wellness

Abhay Wadhwa, AWA Lighting Designers

Location: Sutton North

Wednesday | March 19, 2025 | 11:00 am - 12:00 pm EST

Credits: 1 LU | HSW | Advanced

The How, Why and When of Systems Integration

John Mears, Eos Lightmedia | Patrick Smith, Eos Lightmedia

Location: Nassau

Wednesday | March 19, 2025 | 11:30 am - 12:30 pm EST

Credits: 1 LU | Elective | Intermediate

Behavioral Health Lighting Solutions – Concepts, Guidelines, and Strategies for Therapeutic Design

Laurie Emery, Visa Lighting

Location: Sutton North

Wednesday | March 19, 2025 | 12:00 pm - 1:00 pm EST

Credits: 1 LU | HSW | Intermediate

Lighting Controls as an Operating System: A Shift in Focus

William Norris, Airlight

Location: Sutton South

Wednesday | March 19, 2025 | 12:30 pm - 1:30 pm EST

Credits: 1 LU | Elective | Intermediate

Luminous Connections: Exploring Innovative

Bridge Lighting Design

Phat Quach, Domingo Gonzalez Associates

Location: Nassau

Wednesday | March 19, 2025 | 1:00 pm - 2:00 pm EST

Credits: 1 LU | Elective | Intermediate

Light on Crime

Hyun Woo Hwangbo, Tillotson Design Associates | Craig Bernecker, Parsons School of Design

Location: Sutton North

Wednesday | March 19, 2025 | 1:30 pm - 2:30 pm EST

Credits: 1 LU | HSW | Introductory

Demystifying Fluorescent Retrofits: Helping Clients

Upgrade Fluorescent Lighting While Preserving Existing Fixtures

Tom Shearer, Lutron

Location: Sutton South

Wednesday | March 19, 2025 | 2:00 pm - 3:00 pm EST

Credits: 1 LU | Elective | Introductory

Sustainable Lighting: From Theory to Impact

PANEL DISCUSSION

Scott Roos, Acuity Brands | Leela Shanker, WAP

Sustainability Consulting | Alexandra Christiana, HMFH Architects

Location: Nassau

Wednesday | March 19, 2025 | 2:30 pm - 4:00 pm EST

Credits: 1.5 LU | HSW | Introductory

Americas Hall 1

Omnify Lighting AH1 2000

LTF Technology AH1 2001

Primus Lighting AH1 2002

Sunlight2® AH1 2003

Beachside Lighting AH1 2004

Klus Design AH1 2006/2008

cBright Lighting Inc. AH1 2009

HUNZA AND LUXR LIGHTING AH1 2010

Advantage Lighting Solutions AH1 2012

Lotus LED Lights AH1 2013

Performance iN Lighting AH1 2014

Tweener Lighting Systems AH1 2015

Global Lighting Perspectives (GLP) AH1 2016

IR TEC America AH1 2017

Revlite Technologies Inc AH1 2018

Aleo Lighting AH1 2019

LUXRITE/AKLOW (ALLSTAR LIGHTING) AH1 2020/2022

ALEDDRA LED LIGHTING AH1 2021

Staco Energy Products AH1 2023

Deco Lighting AH1 2024

Goldeneye Inc. AH1 2026

USAI Lighting

(Little One's / Armstrong / USAI Integrated Solutions) AH1 2101/2103

Armstrong /USAI

Integrated Solutions AH1 2102/2104

G Lighting AH1 2105

Coronet LED AH1 2109/2111

Grand Ballroom

Chameleon Lighting, Inc.

GB 100

Assurance Emergency Lighting GB 101

SPJ LIGHTING GB 112/114

Lightheaded GB 113/115

AURA by Dernier & Hamlyn / ETi SSL GB 116/118/120

EMERGI LITE

Eklipse

GB 117

GB 119/121

Espen Technology GB 122/124

ewo USA, LLC

GB 123/125

Celera Thermal GB 201/203

GRE Alpha

Quattrobi Inc.

GB 205

GB 207

Advance GB 209

Ambor Structures, Inc.

Leviton

GB 211

GB 212

Lumenture GB 213/215

ConTech Lighting GB 214

Intense & Birchwood Lighting GB 216/218

Lumetta GB 217

Legion Lighting Co., Inc GB 219

Omnilight, Inc. GB 220

Modular International, Inc. GB 221/223

SLG Lighting GB 222

Vision3 Lighting GB 224

Dado Lighting GB 225

Hi Lite Manufacturing GB 300

AFX Inc GB 301

Abra Lighting GB 302

Access Lighting GB 303

Arkalumen Inc. GB 304

Zeplinn GB 305

Bender + Wirth GB 306

Intek Plastics GB 307

JDRF Electromag GB 308

ERG Lighting GB 309

BJB Electric LP GB 310

Nichia America Corporation GB 311

Pinnacle Architectural Lighting GB 312/314

Carl Stahl ARC GmbH GB 313

Satco/Nuvo Lighting GB 315/317

ANP LIGHTING GB 316/318

Canto USA GB 319

Domino By Satco GB 320

Barn Light Electric GB 321

Optique Lighting / Alloy LED GB 322/324

Amico Lights AH1 2110

Scout Lighting AH1 2112/2114

Encore Lighting Manufacturers AH1 2113

Nanometer Lighting AH1 2115/2117

Twice Bright / Puraluce AH1 2116/2124

WE EF LIGHTING USA AH1 2119

LED Linear USA AH1 2121

SENSORWORX AH1 2201/2203

BASO AH1 2202/2204

3G Lighting AH1 2205

Cooledge Lighting Inc. AH1 2206

Signify AH1 2209/ 2211/2213/ 2215/2217/2219

iGuzzini AH1 2210/2212

Sistemalux AH1 2214/2216

Blackjack Lighting LLC

TAG Lighting Brands AH1 2218/2220

HK Lighting AH1 2221/2223

Intra Lighting AH1 2222/2224

Bruck / Alphabet AH1 2301/2303

MODA Light AH1 2302/2304

Ledrabrands AH1 2305

LUX dynamics AH1 2306

SONNEMAN AH1 2401/2403

CSL Lighting AH1 2402/2404

The Smart Lighting Company AH1 2405

GM Lighting AH1 2406

ETi Handrail Systems GB 323/325

Edison Lighting Group Ltd. GB 400

ILLUMUS ILP & GC GB 401/403

mwConnect GB 402

Magnitude Lighting Inc. GB 404

ERALUX GB 405/407

M2O GB 406/408

Bodine GB 409

Sportsbeams Lighting, Inc. GB 410

Current Fixtures/Lamps (GLI) GB 411

NX Lighting Control by Current GB 412/414

Kim by Current GB 413/415

Tivoli GB 416/418

Litecontrol by Current GB 417/419

Justice Design Group GB 420

Current Lighting & Controls GB 421

LED Luks GB 422/424

Beacon Lighting by Current/AAL GB 423/425

BACKLIGHT srl GB 500

Hinkley GB 501

Promotech Italia Srl GB 502

Spot on Lighting GB 503

B Light GB 504/507

LED NE GB 505

Academy Light GB 506/508

Apure GB 509

Lumentruss GB 511/510

Traxon e:cue GB 512

Lucent Lighting GB 513

Secto Design GB 514

Holectron GB 515

Paradigm LED GB 516

ILLUMRA GB 517

ERP POWER GB 518/520

Edison Opto USA Corp. GB 519

Intertek GB 521

Euchips Electronics Inc. GB 522/524

LEDiL, Inc. GB 523/525

Times Square Lighting GB 600

SGM Lighting GB 601

BEGHELLI USA GB 602/603

Oxygen GB 604/606

ACROSENTEC GB 605

FC / SSL AH1 2501/2503

Nora Lighting AH1 2502/2504

North Star Lighting, LLC AH1 2505

Bartco Lighting AH1 2506

CLEANLIFE LLC AH1 2601/2603

Delta Light AH1 2602/2604

LDPI Inc. AH1 2605

Delta Light Group North America AH1 2606

FOLIO USA INC AH1 2701/2703

Rayhil AH1 2702/2704

No. 8 Lighting AH1 2705

Aldabra USA AH1 2706

Nova Flex LED AH1 2801/2803

Bullard Collection / Bullard Bollards AH1 2802/2804

Bullard Outdoor / Bullard Solar AH1 2806/2805

Bold Lighting AH1 2809

Selux AH1 2810/2812

Marset AH1 2811

eos Light AH1 2813

Pablo Designs AH1 2814

Nemo Lighting Inc./Reggiani USA AH1 2815

Cole Lighting AH1 2816

UltraLights Lighting AH1 2817

Arcluce AH1 2818

Pariah Lighting AH1 2819

Rambusch Lighting AH1 2820

Roger Pradier AH1 2821

Snowball Inc. AH1 2822

MetroSpec / FlexRad GB 612

A.L.P. GB 613/615

Tripar Inc GB 614

Morelux Lighting (USA) LLC GB 616

inventronics GB 617/619

PLASKOLITE GB 618

Khatod North America LLC GB 620

ADURA LED SOLUTIONS GB 621

Reeves Extruded Products GB 622

TE Connectivity GB 623

Sourcery Procurement Platform inc. GB 624

UL Solutions GB 625

Lamar / Clear Vu Lighting GB 700/702

LUXAM GB 704

Pharos Architectural Controls GB 706

ARCHIPELAGO LIGHTING GB 708

XAL GB 710

RAB Lighting GB 712/714

Wagner Architectural GB 713/715

Fulham Co Inc GB 716

PoleLed Flagpole Lights GB 717

Fraen Corporation GB 718

Nicolaudie America Inc. GB 719

Magnum First Inc. GB 721

naturaLED GB 722

World Class Illumination inc GB 723

Radiant Architectural Lighting GB 724

Luminos Global GB 725

Boca Lighting|Controls GB 812/814

THE LIGHTING QUOTIENT GB 813/815

Targetti / Duralamp / 3F GB 816/818/820

BubblyNet GB 817

Specialty Lighting Industries GB 819

SALIOT Lighting GB 821

XICO Lighting GB 822/824

Edison Price Lighting GB 823/825

Visual Comfort & Co.

Architectural Collection GB 912/914

Kelvix GB 913/915

Visual Comfort & Co.

Modern Collection

Barbizon Lighting Company GB 607

ETC GB 609/611

GB 916

StarTek Lighting America GB 917

B K Lighting GB 918

Hubbardton Forge GB 919

MOJO Illumination

GB 920

Myers Emergency Power System GB 922/924

PureEdge Lighting GB 923/925

SOLAVANTI LIGHTING &

TMB GB 610

ENVISION LED LIGHTING

GB 921

Rhinelander/Gramercy

Americas Hall 2

Innerscene AH2 4000/4002

LED Living AH2 4001

Heper AH2 4003

Roberts Step Lite AH2 4004

Ledconn Corp AH2 4006

AYO Lighting AH2 4008

TECHNILUM Corp AH2 4009

Impact Architectural Lighting LLC AH2 4010

KLIK USA AH2 4012

Nulite Lighting AH2 4013/4015

New Star Lighting AH2 4014/4016

Barron Lighting Group AH2 4017/4019

Schmitz AH2 4018

Lamp AH2 4020

Xero Lighting AH2 4021

Wila AH2 4022

Artika AH2 4023

HessAmerica AH2 4024

Griven AH2 4026

Lindsley Lighting AH2 4101

ALUZ AH2 4102/4104

Fluxwerx AH2 4103/4105

Vode Lighting AH2 4109/4111

lightly AH2 4110

JESCO LIGHTING GROUP, LLC AH2 4112/4114

Authentic Design Collection AH2 4113/4115

Opus

AH2 4117

PMC Lighting AH2 4118

Toggled AH2 4119

Litetronics AH2 4121

FSC LIGHTING AH2 4124

Gotham AH2 4201/4203

Aculux AH2 4202

Lithonia Spec AH2 4204

Juno Trac AH2 4205

Acuity Brands Life Safety AH2 4206

Mark / Peerless AH2 4209 4215

nlight AH2 4210/4212

eldoLED / Iota AH2 4214

Kurtzon Lighting AH2 4217/4219

Lehigh Electric Products Co AH2 4218

SABIN AH2 4220

Evluma AH2 4221

LUMENTENDER CONTROL

SOLUTIONS INC. AH2 4222

SONARAY AH2 4223

LANTANA LED AH2 4224

Luminis AH2 4301/4303

Hydrel AH2 4302/4304

Luminare LED AH2 4306

Acuity Brands AH2 4401/4216

Eureka AH2 4402/4404

Rhinelander/Gramercy Room

Beta Calco Inc.

RG 6000/6002

Casambi Technologies RG 6001/6003

Cree Lighting RG 6004/6006

Manning Lighting Inc. RG 6005

Feelux Lighting RG 6007/6009

Insight Lighting RG 6010/6012

Prima Lighting RG 6013

VIZULO SOLUTIONS SIA RG 6015

Organic Lighting RG 6017

Keystone Technologies RG 6018/ 6016/6014

Verozza Lighting RG 6019

Prudential Lighting RG 6023/6021

Modular Lighting Instruments RG 6025

Lutron Electronics Co RG 6026/6024

Revelite RG 6029

Elite Lighting RG 6030/6028

Cerno RG 6031

C Flex (Light Efficient Design) RG 6032

Vantage Lighting RG 6034

CORE Architectural Lighting RG 6035/6033

Clarte Lighting RG 6036

DSPM RG 6037

Nuura RG 6038

Liton/ModuLED RG 6041/6039

WAC Lighting RG 6100/6102

JLC Tech RG 6101/6103

Modern Forms RG 6104/6106

Vista Professional Outdoor Lighting RG 6105/6107

Electric Mirror RG 6108/6110

Day O Lite RG 6109/6111

Inter lux (Whitegoods, Linea Light and Stoane Lighting) RG 6114/ 6116/6118

Ecosense RG 6115/6117

Soraa RG 6119/6121

H.E. Williams, Inc. RG 6120/6122

Avi on Labs, Inc. RG 6123

Evenlite RG 6124/6126

PreciseLED RG 6125/6127

Hemera RG 6130/6132

Litelab Corp RG 6131/6133

Ligman Lighting RG 6134

Baselite Corporation RG 6135

Envoy Lighting RG 6136/6138

Evoralight RG 6137

LA Lighting RG 6139

HONYA Lighting LLC RG 6140/6142

LEDVANCE RG 6141/6143

Luminii Corp / Senso RG 6200/6202

RBW RG 6203/6205

RCL/Precision RG 6204

ALVA LIGHTING RG 6206

Viscor RG 6207/6209

Structura, Inc. RG 6208/6210

Alight

AH2 4405/4403

Nightingale AH2 4406/4305

Lumenpulse AH2 4501/4503

ALW AH2 4502/4504

LightArt AH2 4505

Lumca Inc AH2 4506

KKDC AH2 4601

Estiluz, Inc AH2 4602

i2Systems AH2 4603/4605

OLS (ElementalLED / ngemann / MILO) AH2 4604

OLS (Viso Systems) AH2 4606

GVA Lighting, Inc. AH2 4701/4703

Amerlux AH2 4702/4704

Lumos Architectural Lighting AH2 4705

BuzziSpace AH2 4706

Flos AH2 4801/4803

Lighting Services Inc. AH2 4802/4804

Acolyte AH2 4805

Extant Architectural Lighting AH2 4806

OCL AH2 4809/4811

Focal Point AH2 4810/4812

Finelite, Inc. AH2 4813

Kenall Manufacturing AH2 4814/4816

Encelium / Wattstopper (Legrand) AH2 4815/4817

Sky Factory

Lumenwerx

RG 6211

RG 6214/6216

Healthwerx RG 6218/6220

Designplan Lighting, inc. / STRAL RG 6221/6223

Universal Fiber Optic Lighting USA, LLC. RG 6221A

STEINEL AMERICA INC. RG 6222

Waldmann Lighting RG 6224/6226

L&L Luce&Light srl RG 6225/6227

TLS Architectural Lighting by Media Graph inc. RG 6230/6232

ERCO Lighting, Inc. RG 6231/6233

Dals Lighting RG 6234

Graypants RG 6235

Hevi Lite, Inc. RG 6236

Perfect Power Systems RG 6237

LED Inspirations RG 6238

U.S. Architectural/Sun Valley Lighting RG 6239/6241

Cristal Controls RG 6240

Goodlite products RG 6242

QuantaLight RG 6243

METEOR LIGHTING RG 6330

Axis Lighting RG 6331/6333

Spectrum Lighting RG 6332/6334

Balanced Care by Axis Lighting RG 6335/6337

6538

6630

6635

6636

OVER 55 YEARS OF INNOVATION & LINEAR LIGHTING LEADERSHIP

Location: Bar Chelou / Pasadena CA

Tivoli provides solutions for your projects, from customized vision to large-scope designs that produce the right amount of light where needed. Tivoli has maintained a customer-first approach, with quality products and uncompromising service year after year.

Product: Flexile LG System

Top 10 MUST SEE Products of LEDucation

New architectural lighting products available for specification

CORONET LED

BOOTH NUMBER: AH1 2109/2111

Lalina Cove is a field curvable and cuttable, mud-in channel system that easily conforms to architectural coves. A ceiling-facing precision engineered asymmetric optic provides subtle, even indirect illumination. The Optional Wide Asymmetric Optic illuminates even farther. Lengths are customizable.

LIGHTING SERVICES INC

BOOTH NUMBER: AH2 4802/4804

LZ ZOOM Full Color brings vibrant, high-intensity color with a 12°–36° zoom beam. Featuring RGBL LEDs, 1300 lumens, and DMX control, this 4 lb. spotlight offers precise focus adjustment and passive cooling in a compact design.

AMERLUX

BOOTH NUMBER: AH2 4702/4704

The GridCove Series brings cove lighting to grid ceilings, delivering soft, glare-free illumination that enhances architectural features. Available in cove, wall grazer, and wall mount options, it provides best-in-class indirect light distribution.

GOTHAM LIGHTING

BOOTH NUMBER: AH2 4201/4203

The IVO™ Deep Regressed Downlight Ray™ technology and a 45-degree cutoff to minimize glare, enhancing visual comfort. With Perfect Color™ Technology and customizable beam angles, it offers precision, flexibility, and seamless installation.

LUMINIS

BOOTH NUMBER: AH2 4301/4303

PELICAN blends organic design with advanced lighting technology for outdoor spaces. Its curved form minimizes glare, provides uniform illumination, and enhances pedestrian comfort with edge-lit technology. Offering multiple distributions and up to 18,000 lumens, it ensures security and elegance.

LODES

BOOTH NUMBER: AH2 5013/5015

A-Tube Nano is a sleek suspension lamp with a 2 cm aluminum frame and a transparent diffuser for a soft glow. Available in multiple lengths and finishes, it offers versatile compositions for any space, including an adjustable recessed version.

NIGHTINGALE™

BOOTH NUMBER: AH2 4305/4406

Embrace™ by Nightingale™ redefines patient comfort with a glare-free overbed light that meets RP requirements while creating a spa-like aesthetic. It offers exam, ambient, and night lighting with intuitive controls for both patients and practitioners.

BOLD LIGHTING

BOOTH NUMBER: AH1 2809

PUREEDGE LIGHTING

BOOTH NUMBER: GB 923/925

Ghost is a discreet 1” slot lighting system with deeply regressed optics for a trimless, glare-free effect. Its versatile design allows multiple optical configurations, including downlights and wall washes, for seamless, quiet illumination.

The Trapeze 360 features patented luminous ropes with 360° LED illumination and braided cloth diffusion, creating an elegant yet dynamic centerpiece. Its vanishing point connection enhances the floating effect, with warm dim and TruColor™ RGBTW options.

TM-30: It’s Time to Start Using this Superior Color Rendition Tool

During a recent IES webinar, Dr. Michael Royer presented a comprehensive exploration of IES TM-30, the advanced system for measuring and specifying light source color rendition. Although TM30 was first introduced in 2015 and has been covered extensively by numerous publications, it is still not being used as it should. More about that later in the article. We commend IES for continuing to keep the education active.

TM-30 represents a significant advancement over older systems like the Color Rendering Index (CRI). The IES webinar delved into the technical aspects, practical applications, and future directions as the lighting industry embraces increasingly complex demands for color quality.

The Technical Foundation of TM-30

TM-30 is a robust, scientifically updated system designed to provide comprehensive insights into how light sources render colors. It was developed to overcome the limitations of CRI, which, as Dr. Royer pointed out, relies on outdated methods and offers a single fidelity score that fails to capture the full range of color performance.

ANSI/IES TM-30, Technical Memorandum: IES Method for Evaluating Light Source Color Rendition

TM-30 uses spectral data across 99 Color Evaluation Samples (CES), a vast improvement over CRI’s 8 test samples. These CES are more representative of real-world materials, covering a broader and more balanced range of hues and saturations. TM30 generates three high-level outputs describing aggregate performance:

1. Rf (Fidelity Index):

• Similar to CRI but derived from the 99 CES samples, among other updates.

Rf scores range from 0 to 100, indicating how closely a light source reproduces colors compared to a reference illuminant.

• Provides a more accurate and nuanced representation of color fidelity.

PARKER ALLEN By

2. R g (Gamut Index):

• Measures the average shift in color saturation caused by the light source.

R g = 100 represents no change, while values greater than 100 indicate increased saturation, and values below 100 reflect desaturation.

• Crucially, Rg is complemented by huespecific metrics, allowing for detailed analysis of which parts of the color spectrum are saturated or desaturated.

3. Color Vector Graphic:

• A visual tool illustrating shifts in hue and saturation for 16 hue bins.

• Arrows indicate the direction and magnitude of color shifts, providing an intuitive understanding of how a light source alters the perception of colors.

Advanced Metrics for Precision

Beyond the basic metrics, TM-30 includes additional tools for deeper analysis:

• Hue-Specific Fidelity (Rf,h): Provides fidelity scores for each of the 16 hue bins (h indicates the bin), revealing how accurately specific hues are reproduced.

• Chroma Shift (Rcs,h): Indicates whether specific hues are made more or less vibrant under the light source.

• Local Gamut (Rg,h): Breaks down the gamut index for individual hue bins, offering a granular view of saturation shifts.

Dr. Royer emphasized that these metrics empower designers to tailor lighting solutions to specific applications, such as retail environments that benefit from vivid, saturated colors (high R g) or healthcare

facilities where color fidelity (high Rf) is critical for accurate diagnostics.

Overcoming Industry Challenges

Despite its technical superiority, TM-30 adoption has been gradual. One major obstacle is the entrenched use of CRI, a simpler but less informative metric. Dr. Royer noted that the lack of widespread manufacturer dissemination of TM-30 data creates a barrier for specifiers who wish to adopt the new standard.

To address this, tools like the IES Spectral Calculator have been developed. This web-based platform allows users to input spectral data and generate detailed TM-30 reports, including all key metrics and graphical outputs. Unlike older Excel-based tools, the online calculator supports the TM-27 format for spectral data exchange and ensures users always work with the latest updates.

Applications Across Industries

TM-30 has already gained traction in several specifications, including:

• LEED v4.1: TM-30 metrics are used to evaluate color rendition in sustainable design.

• U.S. Department of Defense: TM-30 is included in Unified Facilities Criteria for medical facilities, where accurate color rendering is essential.

• ASHRAE 189.1: TM-30 criteria have been incorporated into standard 189.1 in the section on indoor light quality.

The webinar also highlighted Annex E of the TM30 standard, which provides guidance on tailoring metrics to specific project goals. For instance, Annex E includes recommendations for different applications:

• Retail: Emphasize higher R g to enhance product vibrancy.

Rg values greater than 100 indicate increased saturation (right), while values below 100 reflect desaturation (left).

Two example Color Vector Graphics with annotations for the interpretation.

Source: Tutorial: Background and Guidance for Using the ANSI/IES TM-30 Method for Evaluating Light Source Color Rendition1

• Art Galleries: Balance Rf and R g to faithfully render artwork.

Office Environments: Prioritize high Rf to avoid distorted skin tones and material colors.

The Role of LP-30 and Future Developments

Looking forward, the upcoming Lighting Practice 30 (LP-30) aims to demystify TM-30 for practitioners. Scheduled for release later this year, LP-30 will provide a step-by-step framework for integrating TM-30 metrics throughout the design and evaluation process. It will include case studies, best practices, and detailed workflows, helping designers apply TM30 data effectively from concept to installation.

Dr. Royer also discussed ongoing research to expand TM-30’s capabilities, including:

Adjustments for Illuminance Levels: Exploring how different light intensities affect color perception and preferences.

• Perceptual Links to Brightness: Investigating correlations between red chroma shift (Rcs,h1) and perceived brightness, which could enhance both aesthetics and energy efficiency.

Advanced Use Cases: TM-30 in Action

During the webinar, Dr. Royer presented examples of how TM-30 can solve real-world challenges:

• Bridges and Large-Scale Structures: Using R g and R cv metrics to create visually dynamic yet balanced lighting.

Healthcare Applications: Employing Rf,h to ensure critical hues like reds (important for diagnosing conditions like erythema) are accurately rendered.

Call to Action for Manufacturers and Designers

Dr. Royer concluded with a strong appeal to manufacturers to provide TM-30 data as standard practice. He highlighted the growing interest among specifiers and the potential for TM-30 to become the industry norm. “TM-30 provides the tools we need to design lighting environments that are both beautiful and functional,” he said. “It’s time for the industry to embrace this evolution.”

The webinar underscored TM-30’s potential to transform lighting design by delivering the nuanced insights necessary for modern projects. With tools like the IES Spectral Calculator and the forthcoming LP-30, TM-30 is set to redefine color metrics for decades to come.

Further Resources

To explore TM-30 metrics and tools, visit the IES Spectral Calculator. For more information on TM-30’s application, keep an eye out for the release of LP-30 later this year. ■

1 Royer, Michael P (2022). Tutorial: Background and Guidance for Using the ANSI/IES TM-30 Method for Evaluating Light Source Color Rendition, LEUKOS, 18:2, 191-231, DOI: 10.1080/15502724.2020.1860771

IVY LUCERA CHIOBO VADER CATRIPEL / LANDSCAPE LIGHTING SOLUTIONS _

ARCHITECTURAL REBORN IN LIGHTGrandeur,

RANDY REID By

credit: Commercial Photographers of America

Located just blocks from the waterfront in downtown San Diego, the historic US Grant Hotel is both an architectural landmark and a symbol of timeless elegance. However, its proximity to the San Diego International Airport’s flight path presents unique lighting challenges. Planes descend low over the city skyline, passing just above the hotel’s rooftop as they approach the runway.

On my flight to San Diego for the IALD Enlighten Americas Conference last October, I experienced this firsthand. This dynamic setting required a lighting design that not only accentuated the hotel’s grandeur but also adhered to strict aviation safety regulations.

A Legacy of Light

The US Grant has long been a focal point of downtown San Diego. Over the years, the exterior lighting has undergone several iterations. Initially illuminated by HID lighting, the building was accentuated with strong corner highlights and column lighting.

As lighting technology evolved, so did the need for an upgrade. About a decade ago, an RGB LED system was introduced, aiming to provide a more dynamic look. Yet, the early LED technology suffered from inconsistent output and frequent failures.

Chris Rynne, lighting designer and Director of Theatrical Applications at OCS Lighting and Control, was tasked with the latest lighting revamp. “The existing system wasn’t holding up— there were too many failures, and the quality of light had degraded over time. It was time to breathe new life into this historic façade.”

Reimagining the US Grant’s Nighttime Presence

With a deep understanding of the challenges posed by early LED technology, Chris and his team took a meticulous approach to the new lighting design. The owners sought a solution that not only elevated the hotel’s architectural beauty but also offered flexibility and longevity.

“We needed a system that was robust enough to withstand coastal conditions while providing rich, vibrant color,” said Rynne. “Given our past success with Acclaim’s Dyna Drum series on other San

Photo

The Lighting Design of the US Grant Hotel

“We needed a system that was robust enough to withstand coastal conditions while providing rich, vibrant color.”

— Chris Rynne

Diego landmarks, it was a natural choice for this project.”

The lighting scheme included 64 Acclaim Dyna Drum SOQS floodlights, strategically positioned to enhance the building’s intricate details. These fixtures were chosen for their high output, colorchanging capabilities, and durability in outdoor environments. The SOQS model features quad-chip RGBW technology, allowing seamless transitions between rich, saturated colors and a warm white that complements the hotel's historical aesthetic.

Smaller Acclaim Flood One EO RGBW fixtures were used for more delicate areas, allowing precise control of illumination. “The Flood One EO fixtures were perfect for highlighting architectural features without overpowering the overall look. We needed something that provided flexibility in beam angles while maintaining consistency with the larger floodlights,” Rynne explained.

Addressing the Challenges

One of the primary challenges was working within the existing infrastructure. Since the hotel was undergoing exterior renovations and repainting, the lighting had to be seamlessly integrated without disrupting other construction efforts.

A critical aspect of the installation was the integration of DMX runs and final programming. Chris Hammond, owner of DCJ Theatrical Lighting Inc., played a key role in bringing the design to life. “Chris [Hammond] was my partner in crime when it came to mocking up the fixtures,” Rynne said. “His expertise was instrumental in ensuring everything from fixture aiming to DMX integration was flawless.” DCJ Theatrical Lighting was responsible for

supervising the fixture aiming, ensuring the lighting aligned with the architectural vision, and handling the final Mosaic programming.

The project also involved collaboration with Absolutely Electric, who managed the electrical installation. “Having a team like Absolutely Electric handling the wiring and installation, along with DCJ managing the programming, allowed us to execute this vision seamlessly,” Rynne added.

Another consideration was the marine layer that frequently blankets San Diego. The city’s famous “May Gray” and “June Gloom” create atmospheric conditions that cause excessive light diffusion. Rynne and his team conducted on-site experiments to ensure the lighting cuts through the haze without becoming overpowering.

“We tested various lensing options and fixture placements to combat ambient light interference,” Rynne explained. “In a dense urban environment with multiple light sources, it’s crucial to strike the right balance.” The Dyna Drum SOQS floodlights offer narrow, medium, and wide beam options, and after extensive testing, the team selected a combination that maximized impact without unnecessary spill light.

Programming & Control

One of the standout features of the new lighting system is its advanced DMX control via ETC Mosaic The hotel management now has the ability to create customized lighting scenes for special events, holidays, and branding initiatives.

“The key to a successful architectural lighting project is giving the client control,” Rynne noted.

“We worked closely with the owners to pre-program a set of curated color palettes, ensuring a refined aesthetic while still allowing flexibility for custom requests.”

Using a touchscreen interface, the hotel staff can override presets to display specific colors for events, such as patriotic themes for the Fourth of July or pink hues for Breast Cancer Awareness Month.

“The ETC Mosaic system allows for precise timing and programming. We wanted to ensure that the transitions between scenes felt elegant and purposeful, rather than gimmicky or jarring,” Rynne said.

FAA Considerations

Given the hotel’s location within San Diego’s flight path, all exterior lighting had to comply with Federal Aviation Administration (FAA) guidelines. While the project did not require extensive modifications, Rynne ensured that no upward-facing fixtures created hazardous glare for pilots.

“We worked within the parameters to ensure that all fixtures directed light toward the façade rather than into the sky,” he said. “It’s a delicate balance between making the hotel stand out and keeping aviation safety a priority.”

A Landmark Reborn

Since the completion of the project, the US Grant Hotel’s exterior lighting has received overwhelming praise. The building’s architectural elements are now beautifully highlighted, adding to the elegance and prestige the hotel has long been known for.

“Lighting should tell a story,” Rynne reflected. “With the US Grant, we’ve been able to restore its nighttime presence, giving it the grandeur it deserves while embracing modern technology.” ■

LUMINAIRE SCHEDULE

Acclaim Dyna Drum SOQS (high-output floodlights with RGBW color control)

Acclaim Flood One EO RGBW (precision accent lighting)

ETC Mosaic (DMX control system for advanced scene programming)

field-curvable lighting solution for architectural coves

Find inspiration. Gain insight. Venture forward.

Ver la luz.

Developed by lighting designers and for lighting designers, IALD Enlighten Europe 2025 presents top-tier educational sessions led by the brightest minds in the profession. Two days in the design city of Valencia will resonate with deep discussions, engaging workshops, lively roundtables, and quality networking

Join lighting professionals, designers, and enthusiasts as they exchange knowledge, showcase innovative design methodologies and technologies, and engage in critical discussions on current issues and trends within the lighting industry

Immerse yourself in an agenda featuring compelling keynote presentations, insightful panel discussions, and meaningful networking opportunities with peers and industry leaders. R e g i s t e r t o d a y a t i a l d . o r g / e e 2 5

Valencia, Spain 26 - 27 June 2025

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Merging the art of metal and the science of light

At VoksLyte, meticulous craftsmanship and attention to details have always been our hallmark. Each project is uniquely different, and demands not only our 38 years of manufacturing expertise, but also outstanding collaboration with the designer and ongoing communication with site personnel, from the design phase until the final lens is snapped into place. It’s what we have always done. It’s not always easy, but we like the challenge, and we think you’ll agree that the results are just breathtaking.

As always, made entirely in the USA in our Gaithersburg, MD factory.

Jefferson Health • Cherry Hill NJ Designer: Gensler

Washington University • St. Louis, MO Designer: Arcturis

Private Facility Seattle, WA

The lighting industry thrives on innovation, collaboration, and connection. In September 2024, the Illuminating Engineering Society of New York City (IESNYC) launched a groundbreaking mentorship program to bridge the gap between seasoned professionals and emerging talent.

Spearheaded by Jean Jacques, Executive Vice President of SDA Lighting & Controls and chair of the IESNYC Mentorship Committee, the program exemplifies the power of mentorship in fostering growth and shaping the future of the lighting industry.

The Vision Behind the Program

For Jean, mentorship is personal. Reflecting on his career, he recalled the invaluable guidance he

MENTORING IN LIGHTING

A Look at the IESNYC’s

New Program

received from mentors, even if they weren’t formally labeled as such. These relationships left an indelible mark, inspiring him to create a structured program that would provide similar opportunities for others.

Jean has been fortunate to have several influential mentors who guided him at pivotal moments, including Domingo Gonzalez, principal of DGA Architectural Lighting Design. Domingo offered invaluable insights and perspective, further enriching Jean's understanding of the industry.

“Mentorship is about accessibility and creating connections,” Jean explained. “It’s not about shortcuts but rather fostering guidance and mutual respect. This program brings people together to share knowledge, tackle challenges, and grow on both sides of the relationship.”

RANDY REID By

Images courtesy of Jean Jacques

The Mentorship Framework

The pilot program paired 22 participants (11 mentors and 11 mentees) for a six-month journey of collaboration and learning. To ensure meaningful connections, participants completed detailed questionnaires, which informed the initial pairings. An in-person meet-and-greet event allowed mentees to identify potential mentors they resonated with, further refining the matches.

Jean added that there is an additional remote 12th pair (as a test case) with Jeff Hoenig from the DC chapter working remotely with a mentee in Chicago.

The program emphasizes regular engagement, including monthly meetings—preferrably inperson. To ensure consistent progress, mentors were provided with a syllabus of topics to guide discussions, covering everything from industry challenges to career aspirations. Some pairs followed the syllabus closely, while others allowed their conversations to evolve organically based on their unique dynamics.

A Case in Point: Elaine Cook and Quincy Drane

Elaine Cook, a seasoned lighting professional with 15 years of experience, began her journey in the industry at the tender age of 16. As part of the IESNYC Mentoring Program, she is paired with Quincy Drane, a lighting designer at Hartranft Lighting Design. Their mentorship involves regular meetings, typically in person but occasionally virtual, to foster cross-disciplinary learning.

Quincy, with three years of experience in the lighting industry, graduated from Parsons in the Spring of 2024. He actively sought a mentor outside his typical design-focused environment. He expressed a strong desire to understand the roles and perspectives of other key players, particularly those in sales. By engaging with Elaine, he aims to gain a more comprehensive view of the industry and its interconnectedness, ultimately enhancing his own design practice and professional development.

Quincy gains valuable knowledge about the sales cycle and the broader industry dynamics, while

Elaine deepens her understanding of design considerations and challenges. This cross-pollination of knowledge strengthens both individuals and enhances their professional growth.

Building Community

A core tenet of the program is fostering a sense of community—not just between individual pairs but across the cohort. “The goal is to create a network of support, learning, and camaraderie,” Jean noted. “We want participants to feel connected, not just to their mentors or mentees but to the entire group.”

The mentorship committee is composed of dedicated individuals, including Board Liaisons

Nathalie Faubert and Brigid Hardiman, as well as Committee Members Francesca Bastianini and Ryan Raica-Scallan

Challenges and Successes

Like any new initiative, the program has faced challenges. Balancing involvement from the committee while allowing mentor-mentee relationships to evolve naturally has been a learning

process. However, the enthusiasm from both mentors and mentees has been overwhelming.

Jean shared a surprising aspect of the program: “The level of commitment and excitement from the mentors has been incredible. These are busy professionals, yet they’ve volunteered their time wholeheartedly. It speaks volumes about the generosity and dedication within our industry.”

Not all applicants could be accommodated in the pilot program due to logistical constraints. Jean explained, “We had to limit participation to ensure manageable group sizes and prioritize local participants who could meet in person. However, we’re optimistic about expanding the program in future cycles.”

High Reward, Low Cost

The program’s success lies in its high reward-to-cost ratio. Beyond the time commitment of mentors, mentees, and committee members, the financial investment was minimal. The program included a kickoff event, monthly stipends for mentor-mentee meetings, and plans for a closing event. Jean described it as a “high-reward, low-buy-in” initiative that has garnered significant positive feedback.

The Road Ahead

As the inaugural cycle nears completion in March 2025, the committee is already considering improvements for future iterations. Extending the program's duration from six to eight months, incorporating mid-term learning modules, and expanding participation are among the ideas being explored.

Jean emphasized the importance of participant feedback in shaping the program’s future. “This first group has been instrumental in shaping the program,” he said. “Their feedback will guide us as we refine and grow this initiative.”

A Model for the Industry

The IESNYC Mentorship Program has set a new standard for mentorship in the lighting industry. With its high reward and low cost, it serves as a blueprint for other IES sections to adopt. Jean expressed hope that similar programs could flourish in cities like Washington D.C., Los Angeles, San Francisco, and Chicago, further strengthening the industry nationwide.

As the lighting community looks to the future, initiatives like this mentorship program illuminate the path forward—one relationship at a time. ■

“Mentorship is about accessibility and creating connections.” — Jean Jacques

Foyer - PF14

The Lighting Design of the Gary C. Werths Building at Siteman Cancer Center in St. Louis

RANDY REID By

The lobby lighting was another key element in the design. “From the outside, you see layers of illuminated forms, making the building feel dynamic yet calming,” Lisa explained.

Photograph by Andrew Rugge | Copyright Perkins Eastman

A GLOW FROM WITHIN

In January, at Light + Intelligent Building Middle East in Dubai, I had the pleasure of interviewing Lisa Reed of Reed Burkett Lighting Design. She was eager to share details about one of her latest projects— Siteman Cancer Center, a space that stands as a beacon of hope, healing, and thoughtful design in the heart of St. Louis.

The Collaborative Effort

Designed in partnership with the Lawrence Group, a local St. Louis architectural firm, and Perkins Eastman from New York, RBLD was tasked with illuminating both the interior and exterior public spaces. Their primary objective was to ensure that all lighting elements contributed to a sense of warmth, comfort, and ease—especially in a space where patients are often undergoing stressful treatments.

Transforming the Drive-Up Experience

“We were responsible for the public spaces, including the deep overhang drive-up entrance, the lobby, and the waiting areas,” said Lisa. “The goal was to ensure that the entrance didn’t feel dark or cave-like. We wanted it to feel bright and inviting.”

One of the initial lighting concepts included backlit faux skylights for the drive-up area to enhance brightness and create an open feel. Unfortunately, budget constraints forced a shift in strategy.

“It was going to cost a couple million dollars just for the lights there,” Lisa explained. “We had to adjust, so instead, we used large, bright cove lights to bring a similar effect—ceiling brightness that creates comfort.”

Another unexpected challenge came in the form of bird nesting concerns with outdoor cove lighting. To mitigate this, Lisa and her team opted for flush-mounted, wall-integrated lighting fixtures that maintained the intended aesthetic without creating nesting spots.

“That’s something that people don’t always think about,” she noted. “Cove lighting can be beautiful, but in outdoor settings, it can also attract birds. We had to find a creative solution that kept the vision intact while being practical.”

A Lantern from the Inside Out

The Cancer Center's façade lighting concept showcases the building as a glowing lantern, radiating warmth through its glass exterior. Inside, strategically placed wall washers and grazing lights illuminate interior walls, particularly on the ground floor, providing a dynamic visual connection between the interior and exterior. “We wanted the building to glow from within,” Lisa said. “We used grazing light on the interior walls, particularly on the ground floor, so that when viewed from the outside, the entire structure felt warm and welcoming.”

This interplay of light enhances the building's transparency and openness, a design element aimed at fostering trust and ease for visitors.

The lobby lighting was another key element in the design. A unique stepped ceiling detail features a zigzagging illuminated soffit, visible from the outside. “There are three different ceiling heights, and each of those steps has a glowing line of light,” Lisa described. “From the outside, you see layers of illuminated forms, making the building feel dynamic yet calming.”

One particularly striking feature is the welcome desk’s glowing back wall, created using LEDCONN panels. “We wanted the welcome desk to be a focal point, something that greets people with warmth the moment they walk in.”

Thoughtful Integration

Throughout the facility, lighting was meticulously integrated into architectural elements. In the waiting areas and nurses’ stations, wood slat ceilings feature hidden linear lighting to provide a soft, diffused glow. Lisa credited Kathleen Hamilton from her team for ensuring that fixtures in dark ceilings had dark trims, and fixtures in white ceilings had white trims, ensuring seamless integration.

“Kathleen took such care with the details,” Lisa shared. “She made sure everything blended perfectly into the architecture. Those small details make a big difference.”

Interior Features That Heal

Unlike a hospital, this is an outpatient ambulatory care facility, meaning that patients come in for treatments and leave the same day. The lighting design had to balance functionality with emotional sensitivity.

“We wanted to make this a special place— somewhere that feels uplifting, not clinical,” Lisa explained. “Lighting plays a huge role in that.”

The project, which began in 2021, faced interruptions due to the pandemic but has since been completed, with construction wrapping up in spring 2024. Lisa reflected on how meaningful it was to watch the building come together, especially since she had a personal connection to the area.

“My child had a doctor’s appointments next door,” she shared. “Every time we went, I’d stop at the parking garage and look down at the construction site. It was gratifying to see it come to life.”

A Collaborative Success

While RBLD focused on the public spaces, they collaborated closely with the engineers responsible for patient area lighting to ensure a cohesive approach. “We worked together on selecting color temperatures and making sure there was consistency throughout the building,” Lisa said. “Even though we weren’t directly designing those areas, it was important to maintain a unified feel.”

With its thoughtful design and innovative solutions, the Siteman Cancer Center in St. Louis illustrates the power of lighting in healthcare spaces. Lisa and her team navigated challenges with creativity and care, proving once again that good lighting is about more than just illumination—it’s about shaping experiences and enhancing well-being.

Lisa concluded, “Some projects transcend profitability, becoming labors of love that reflect a deeper purpose. The Cancer Center exemplifies this ethos, standing as a shining example of how lighting design can touch lives in meaningful and lasting ways.” ■

FEATURED FIXTURE BRANDS

• Axis: Exterior linear lighting, Lobby (angled lighting at ceiling plane)

• Ecosense Trov Flex: Used as a flexible, fieldcuttable fixture for long runs with non-90 degree angles

• Focal Point: Perimeter fixtures

• Halo: Downlights

• LEDCONN: Welcome desk glowing back wall

• LED Linear: Tape light used throughout

• Lumenwerx: Exterior “cove” lighting

• Lusive: Custom pendant luminaires in the lobby

• Neo Ray: Linear fixtures

• USAI: Multi-cell downlight in plank ceilings (such as seating area near nurse’s stations)

Lighting was meticulously integrated into architectural elements. In the waiting areas and nurses’ stations, wood slat ceilings feature hidden linear lighting to provide a soft, diffused glow.

Photograph by Andrew Rugge | Copyright Perkins Eastman

Pipeline 360

Transform your environment with unmatched flexibility and sophisticated design

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• Versatile Lens Options – Choose from four distinct styles: Diffused for seamless illumination, Cora Diffused Weave for a textured glow, Clear Tube Diffused for a sleek modern appearance, and Clear Tube Cora Weave that showcases a decorative woven cover inside a transparent tube.

• Bendable & Flexible – Easily adapt to architectural contours with a system designed to bend, rotate, and form custom shapes for limitless design possibilities.

• Decorative Yet Functional – Offered with fixture options that combine visual appeal with practical illumination, doubling as statement pieces.

• Vanishing Point Compatible – Achieve a minimal aesthetic with the Vanishing Point option, allowing fixtures to virtually disappear into the ceiling without a canopy.

• 360° Rotatable Channel – Adjust light direction effortlessly for tailored ambiance.

• Patented Modular Connectors – L, T, X, Y, and Flexible Connectors enable seamless, custom configurations for limitless designs.

Lighting design for the home: Tailoring each detail to create a space that resonates with the unique needs of the homeowner.

Photo credit Chris Cooper

Bringing commercial techniques home: The same cove lighting, but carefully adapted for residential spaces to enhance comfort and style.

Photo credit Chris Cooper

THE HIDDEN DETAILS THAT DEFINE GREAT RESIDENTIAL LIGHTING

By STACIE DINWIDDY HLB Lighting Design

Over the last five years, private residential construction has been making waves in the design industry. Lower interest rates have allowed settled homeowners to consider financing options to fund large-scale construction costs and has encouraged a buyer-seller market when a new location or layout was desired.

While the pressure of higher interest rates has slowed the rise in proposals for new construction in recent years, home improvements remain in demand and continue to accumulate pace. With the pivot to hybrid working environments, many homeowners tested the flexibility of every room, evaluated the overall functionality of floor plans, and developed a keen awareness of the influence lighting has on physical health and mental well-being.

The growing influence and exposure to home renovation shows like Love It or List It and Fixer Upper coupled with access to social media and DIY channels has made many homeowners and electricians more confident in their skillsets in delivering high-end residential design solutions. Aisles in home improvement and upscale furnishing retailers now stock specgrade options and decorative lighting showrooms offer consumers free design services in-house.

With a range of tangible resources available to meet budget and bypass lead times, what are our selling points to homeowners and residential design teams to explore full-scope services with professional lighting designers?

Only in our homes do we fully experience the profound impact of great lighting design. Just as Gregg Mackell described in the previous issue, the process of lighting design is not limited to the placement, specification, and performance of a light source. Outside the home,

multiple shareholders are typically involved in the ownership of a design, and there is an acceptance that no one person will experience a space the same way – perhaps not even as it was intended by the design team.

However, a residence is private to a single family, challenging the design team to deliver an experience unique yet specific to the homeowner’s needs for comfort, function, and style.

Typical details are rarely standard in a residence. Material finishes and features are considered within each room to specify the best detail and fixture selection. A partial renovation of a property once led to four distinct types of cove lighting, and while the end results were all the same – soft indirect illumination from a concealed linear light source –the installation and light effect were unique to each application.

In commercial and hospitality settings, an inverse cove detail along a core wall might encourage

The challenge of residential design is to create a space that is both unique and tailored to the homeowner’s needs for comfort, function, and style.

Photo credit James Florio

movement or highlight a niche to invite one to sit for a moment. In those settings, normal viewing angles are evaluated for optimal mounting location and lensing to prevent direct view of the light source. The same fixture and detail can often be used for both applications. When designing similar details in residences, we often find ourselves on the floor or laying on our backs to ensure not one diode is reflected on any surface.

Lighting details can affect how large or small the space feels as much as it affects how one feels in the space. Low-level lighting can effectively ground an architectural element or float a piece of millwork, while inverse

coves and grazing wall finishes can increase a room’s perceived height.

Most important to achieving these effects in residential lighting is the actual scale of the detail. Linear cove details calling out wide mounting shelves and deep offsets between soffit and shelf are reminiscent of the linear fluorescent profiles, lending to a more commercial outcome. In contrast, a soft halo of light seeping from a crown molding a few inches shy of the ceiling adds a residential touch to a hallway. Integrating indirect lighting at ceilings and structures is carefully thought out to avoid looking like an afterthought or taking away from the solidity of a structural element.

Avoiding lighting within faux structural elements is also important as these details often expose the element as a fake. Millwork lighting is a signature offering for residential lighting designers. A variety of details are carefully coordinated with joinery manufacturers, design team members, and homeowners to achieve the best placed light sources to highlight a variety of items on display – often resulting in multiple details at each shelf. Placement of a linear or point source, aiming angle, extrusion thickness, and lens translucency are studied to ensure minimal distraction and desired illumination effect. Millwork materials, finishes, shelf depth and mobility, and displays are all factored into the technical specification that a residential lighting designer uses in coordination with the team.

Often, designers will defer to a range of suggestions provided standard by a joinery

Low-level lighting enhances architectural elements, grounding them and creating a sense of balance in the space.

Photo credit Brent Moss Photography

manufacturer, which are commonly provided as a low-output LED tape set in a shallow recessed lensed extrusion mounted along the top front edge of each shelf in a display. The shallow extrusion exposes the spacing between diodes as dots along the lens. The LED tape itself is typically outsourced in bulk at a discount rate, leading to mismatched color along each run or between displays.

Color temperature and rendering of light sources are additional specification options considered less personal outside the home. As LEDs have evolved, so have the options available off-the-shelf. Unfortunately, homeowners, electricians, and contractors end up in lighting aisles overstocked with ambiguous color temperatures, dimming options, and lamp style.

Lighting designers seek to provide an education of all available options to avoid some of the common misconceptions the influx of offerings has created. For example, warm does not mean dull and yellow, and bright lighting can be achieved with sources that are not labeled bright or cool white. Demonstrating the differences between clear and frosted bulbs as well as filament shape and style in decorative lamps on site helps to identify those most complementary of the fixture and most

Carefully considered lighting placements, from linear to point sources, enhance aesthetics while highlighting items without creating distractions.

Photo credit Raul J. Garcia Photography

compatible for low-end dimming.

Individual art pieces or collections often sway color temperature selection in residential design. When illuminated in the proper color and level of light, art will take on new composition – exposing colors, linework, and textures once hidden in the soft glow of a single light source. Accompanying clients to showrooms and providing displays enables a lighting designer to visually translate the different offerings in color temperature as well as dynamic lighting and control options.

Design teams in multiple market sectors prioritize end-user experiences and community impact. Sports entertainment districts, for example, are built up around stadiums to provide fans with an entertaining and winding path of revenue enroute to their suite designed to feel like they never left their living room. Commercial

buildings provide quiet and collaborative workspaces, offering employees a flexible and comfortable environment and the human interaction often missed when working remotely. Restaurants and lounges draw inspiration from residential dining and living spaces – offering intricately-designed and architecturally interesting venues for social hosting without the cleanup after the last guest has left.

If lighting designers are sought in these sectors not to sell the latest technology and market trends but to celebrate every project’s architectural and interior features in their best light, residential lighting should follow the same principle. By reviewing your next residential lighting concept with a professional lighting designer, you can ensure a design so comfortable that homeowners will find it hard to leave— except to discover new inspirations for their next renovation or property purchase. ■

Individual art pieces or collections often sway color temperature selection in residential design. When illuminated in the proper color and level of light, art will take on new composition – exposing colors, linework, and textures once hidden in the soft glow of a single light source.

Just as commercial spaces prioritize user experience, residential lighting should do the same, ensuring a design that promotes comfort and inspiration for homeowners.

Photo credit James Florio

Little but Unity S1

The most compact Unity fixture

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TRIA’s sleek triangular design integrates lighting, smart technology, and urban infrastructure in one modular system.

TRIA: The Future of Multifunctional Lighting Designed by Dean Skira and Filix Lighting

By

At Light + Intelligent Building Middle East in Dubai this past January, I had the privilege of sitting down with Marko Jurman, CEO of Filix Lighting, who demonstrated a groundbreaking new product: TRIA. Designed by world-renowned lighting designer Dean Skira, TRIA is more than just a lighting fixture— it is a multifunctional urban lighting solution that integrates lighting, connectivity, and smart city infrastructure in a single, elegant design.

Typically, I refrain from writing articles about new products, but TRIA is an exception. As I saw with my own eyes in Dubai, its design and technology set a new benchmark in urban lighting, making it one of the most innovative solutions introduced in recent years.

The Origins of TRIA

TRIA is the result of a long-standing collaboration between Skira and Filix Lighting. Their professional relationship began in the early 2000s when Nikola Jurman, Marko Jurman’s brother, interned at Skira’s design office. That experience laid the foundation for Filix Lighting’s design approach and its commitment to integrating aesthetics, functionality, and cuttingedge technology.

Filix Lighting has evolved significantly since its founding in the 1980s. Initially a manufacturer of coil transformers, the company transitioned a decade later into lighting distribution before fully pivoting to manufacturing highend lighting solutions in the early 2000s. This shift positioned them to collaborate with designers like Skira, resulting in advanced, architecturally significant lighting solutions such as TRIA.

Changing the Game

TRIA is a modular triangular pole system designed for urban environments, blending aesthetics with smart city functionalities. Unlike traditional street lighting, TRIA serves as a multifunctional infrastructure component. According to Jurman, "The goal was to develop a lighting system that could incorporate multiple functionalities into a single structure."

Key features of TRIA include:

• Multiple heights and sizes: Available in three different sizes, with heights reaching up to eight meters.

• Quick-connect system: A patented IP66-rated mechanism allows for seamless integration of projectors, cameras, and other smart technologies without compromising the pole’s

RANDY REID

Photo credit: Randy Reid

Marko Jurman, CEO of Filix Lighting, showcasing the TRIA system at Light + Intelligent Building Middle East.

• structural integrity.

Modular functionality: The system supports lighting applications, smart pole features, and signage, reducing the need for multiple installations.

• Smart controls: The pole integrates Filix’s SensorX technology, which enables selfregulating brightness and color temperature adjustments based on GPS time and location.

• Multi-purpose design: TRIA supports Wi-Fi modules, surveillance cameras, and branding

applications, making it an ideal solution for both urban and commercial environments.

"TRIA is not just a concept—it is market-ready," Jurman emphasized. "The structure, wiring, and modular components have been fully engineered and tested. The first installations are expected within the next two months."

Jurman further detailed how TRIA’s low-voltage (48V) system simplifies installation while ensuring high efficiency. The medium (M) and large (L) versions of the pole will include built-in transformers, while the small (S) version will require an external shaft for power supply.

A Collaboration Built on Trust

TRIA’s development reflects the deep partnership between company and designer. Rather than a onetime design commission, Skira will receive royalties from the product’s success, ensuring continued commitment to its development.

"We have an open and transparent deal—Skira brought the concept, and Filix engineered the wiring, mounting system, and smart integrations," Jurman explained. This collaboration ensures that TRIA remains adaptable, with both design and technology teams actively working on future enhancements.

The Debut at Light Middle East

While TRIA debuted at Light + Intelligent Building Middle East, where industry professionals witnessed this cutting-edge lighting solution firsthand, Jurman explained that it will be available in the U.S. later this year. He hinted that Filix is already working on additional smart integrations, including AI-based sensors and next-generation projection systems.

"Lighting has remained stagnant for too long. With TRIA, we are pushing the boundaries of technology and design," he stated.

Redefining Urban Lighting

As cities grow increasingly complex, lighting must evolve beyond simple illumination. TRIA represents the next step in smart urban infrastructure— seamlessly integrating lighting, security, and connectivity while maintaining an elegant aesthetic.

With its versatile design, smart adaptability, and cutting-edge technology, TRIA is poised to redefine how cities are illuminated. The collaboration between Skira and Filix Lighting has resulted in an innovation that will shape the future of urban lighting for years to come.

Stay tuned for updates as TRIA enters the global market, setting a new standard for urban lighting solutions. ■

TRIA makes its debut at Light + Building, marking the launch of a new era in multifunctional lighting and connectivity.

IT TAKES A VILLAGE

North Point Development Headquarters. Operating on a tight deadline, Convergence helped get the project to the finish line in under 11 months.

Products pictured: Axis Lighting

Architect: Farrah Crubaugh, Studio North Architecture

Photo credit: Matt Kocourek

The phrase “It takes a village” perfectly captures the collaborative role of a lighting rep, especially when working with the design community. Lighting reps are more than just product suppliers; we are integral players in a broader network that includes manufacturers, architects, designers, engineers, contractors, electrical distributors, and sometimes even the clients themselves.

Collaborating with Designers

One of the core responsibilities of a lighting rep is to be an extension of the manufacturers we represent, serving as a bridge between a designer’s creative vision and the products that will bring that vision to life. Designers are tasked with imagining spaces that evoke emotion, functionality, and beauty, while our job is to interpret that vision through the lens of lighting design. We do not simply provide a catalog of options – we curate a selection of fixtures that meet the design intent both aesthetically and functionally. Often this means customizing products or recommending innovative solutions that require close collaboration with other design trades.

For example, when a designer envisions a unique lighting effect for a space, we work alongside them to ensure that the right fixtures are available to make that idea a reality. This typically involves creating mockups or prototypes, obtaining samples for on-site evaluation, and sometimes conducting extensive site visits to make sure everything is aligned. Additionally, lighting reps often run photometric studies to ensure that the lighting levels meet the desired effect and functionality, which is critical for both ambiance and compliance with local codes.

Education & Inspiration

Lighting reps are consultants at heart, which means we are constantly learning. The lighting industry is fast paced, with new products, technologies, and regulations emerging

AMANDA SCOTT By Convergence

regularly. We cannot offer the best advice to design teams unless we are knowledgeable about the latest products, the capabilities of various manufacturers, current compliance regulations, including local building codes, LEED standards, and WELL certification. Whether it is recommending an innovative LED fixture, advising on the best lighting control system, or providing sustainable design solutions that meet code requirements, we are there to inspire and inform. Using our knowledge and continuing education, we ensure the design not only looks great but also performs optimally.

Navigating the Client’s Needs

While the design team is the narrator of the client’s vision, objectives, and budget, our role as lighting reps is to translate these goals into specific, practical, and cost-effective lighting solutions. In many cases the design budget is established at the permit stage, which often occurs before the design is fully completed. This timing can create a complex situation, as the designer is trying to protect the integrity of their creative vision, while the contractor must stay in budget. Lighting reps can help balance these competing priorities by offering solutions that still meet the design intent while reducing costs.

One important way we assist in the process is by suggesting alternative products or configurations that provide comparable results but at a more affordable price. Sometimes this means recommending a more cost-effective fixture that still aligns with the overall aesthetic, or it could mean offering a different lighting system that meets the desired functional needs but is easier to install or maintain. Our knowledge of the market and our client relationships with the manufacturers allow us to identify opportunities to save money without compromising the design.

Problem Solving

Despite thorough planning, lighting projects often encounter issues once installation begins. Whether it is a fixture not meeting the design intent, incorrect installations, or energy loads exceeding expectations, lighting reps are often called in to troubleshoot. We frequently find ourselves on-site, diagnosing issues with wiring, testing power connections, or dealing with product failures that may be affecting the lighting performance. In these situations, lighting reps work closely with the other trades involved with the project, including electricians and contractors, to determine the root cause of the problem. Often, this involves collaborating with manufacturers to address technical issues or to get replacement parts. Sometimes it is a matter of adjusting the lighting design to better fit

the space or to meet new requirements that may have emerged during installation. The ability to problem-solve and coordinate across different teams is a key aspect of our role. We are there to ensure that issues are resolved quickly and efficiently, while minimizing delays, and keeping the project on track.

Project Coordination

Lighting reps do more than present lunch-andlearns or product demos. Behind the scenes, we are part of a larger team that ensures the success of every project. This means we participate in every stage of the project, from the initial design to post-sale support. We collaborate with designers to refine product selections, supply technical documentation, assist the contractors with installation inquiries, and ensure that quotes meet project budget. Once the project is underway, the lighting rep is there to ensure that lighting package is delivered on time and to offer support, and coordination every step of the way. We have an internal village to support all the different design trades to bring a project to completion.

In a sense, lighting reps are the glue that holds all the moving parts of the project together. We are not only a supplier but a partner. The success of a lighting design often depends on the relationships between the lighting rep and various members of the design community. It truly does take a village. ■

Prior to the renovation, North Point Development’s HQ served as a data center. The building was originally built in 1956.

Products pictured: Bruck Lighting, Barn Light Electric, Kuzco Architect: Farrah Crubaugh, Studio North Architecture

Photo credit: Matt Kocourek

Illuminating Success

A Conversation with Terry Clark on Building Finelite

Editor’s Note: This is a new column where I interview the people who helped make our industry great.

While vacationing in the wine country, my wife Lori and I had the pleasure of being hosted by Terry Clark, the founder of Finelite, and his wife Anne, at their beautiful vacation home in St. Helena. During our stay, I had the privilege of sitting down with Terry to conduct an interview. Throughout our conversation, Terry shared insights from his extraordinary journey—one marked by lessons, resilience, and pivotal decisions. His story provides valuable guidance for anyone in business, particularly those navigating the complexities of the lighting industry.

Leaving Silicon Valley for Peerless Lighting

After spending 20 years with various High-Tech firms, Terry joined Peerless Lighting in 1985. Doug Herst gave Terry the mission to bring the manufacturing and operations side of Peerless up to its outstanding level in luminaire design and sales and marketing materials. However, Terry joined Peerless during a turbulent period marked by high interest rates and a downturn in the industry. Within his first 90 days, Terry had to take the lead to cut its workforce by 30%. Despite this rocky start, Terry helped Peerless recover. He supported initiatives introducing numerous new products, increasing manufacturing efficiency and capacity, and building a new corporate headquarters.

However, Terry’s tenure at Peerless took a difficult turn. Disagreements with Doug over strategic direction and how to reward management led to his dismissal. Reflecting on this experience, Terry noted, "I believe in the Silicon Valley model that the team deserves an equity-style reward for building the company and should receive bonuses reflecting profits they generated.” Reflecting on this experience, Terry remarked, "I think I would've been happy helping growing Peerless as the number two or three person there. But perhaps, my management style made it clear to Doug that I was destined to chart my own course."

And that’s exactly what he did.

The Birth of Finelite

In 1990, after his departure from Peerless, Terry embarked on a new venture, founding Finelite. For two years, the

RANDY REID By

company focused on a patented system to convert troffers into pendants without requiring electricians. However, the concept struggled to gain traction. A number of leading sales representatives urged Terry to create a low-cost, highquality linear indirect lighting system. That resulted in a major pivot. Terry recalled, “A pivot is not just a decision; it’s a commitment. You have to wake up every day and work in the new direction as hard as humanly possible. If you don’t make it, it is game over. We were lucky. Finelite made it and found its footing.”

Inspired by Henry Ford, Finelite restarted with a limited offering that emphasized high quality, affordable luminaires with a 10-day shipping promise. This let Finelite stand out from competitors who offered many shapes of expensive luminaries whose lead times could run 12 or more weeks. Compared to competitors that built cheap steel luminaires, Finelite invested in new manufacturing techniques. For example, making just one part in high volume on precision dies cut the cost at each joint from several dollars to just 50 cents. Other parts followed. Quality was improved and costs dropped.

Early on, Finelite invented custom software to automatically generate submittal drawings from the order input process. This cut costs, reduced engineering errors and made the job of their independent sales agents easier. Innovations such as this allowed Finelite to win customer confidence that they could actually deliver custom, quality lighting solutions with unparalleled speed—often within just 10 days.

"We bartered stock for rent and partnered with suppliers because we had no money," Terry shared, reflecting on Finelite’s scrappy beginnings. "But we delivered what customers needed, and we built trust with architects by solving their problems quickly and efficiently."

100% Overage and Organic Growth

One of Finelite’s key growth strategies involved building strong relationships with independent agents. From the outset, the company offered agents 100% overage—a controversial but effective practice that allows agents to address job-specific challenges without lawsuits. "It’s not often discussed, but overage can help resolve real-world issues on projects, reducing hassles for everyone involved," Terry explained.

This approach, combined with Finelite’s exceptional customer service, quickly established the company as a trusted partner for contractors and architects. Terry credited agents like Marshall Dunbar in the Bay Area and Jerry Strand in Minnesota for playing pivotal roles in the company’s expansion. "We grew territory by territory, following the jobs. When we won a project in a new area, we found an agent to support it, and that’s how we built our network," Terry recalled.

Innovation and Profit Sharing

A significant factor in Finelite’s success was its commitment to innovation and employee engagement. Every fulltime employee participated in a profit-sharing program, receiving payouts every 90 days. "It kept everyone invested in the company’s success," Terry noted. The company also

Terry Clark offers homegrown lemons from his vacation home in St. Helena, CA.

adopted groundbreaking manufacturing practices, such as lean manufacturing, which Terry attributed to the vision of his COO, Mark Benguerel. Mark also took the lead in recognizing the importance of the strategic supply chain. By treating manufacturing partners well and focusing on employee training, Finelite was able to grow fast and still ship jobs in 10 working days.

Terry was proud that Finelite’s customer service was among the best in the industry, explaining, “Jane White, who became Finelite’s EVP of Sales and Marketing, taught us how to do that. Rather than relying on extensive manuals, Finelite empowered employees to think critically and creatively to address customer needs.” Terry recounted a story about a massive order of 33,000 linear feet of lighting, saying, “There was just no way we could build that in 10 days.” Jane White proactively called the contractor, asking where they would store the material while it was waiting to be installed. This prompted the contractor to ask her if it would be OK if they took it in staggered deliveries. The answer was “yes.” The contractor saved storage costs— which solved Finelite’s production constraint. "That’s what great customer service looks like," Terry said with pride.

Finelite was also uniquely poised to catch the wave created by the white LED. Terry’s experience at Intel let him watch this technology develop for over 10 years. When it was finally ready, Finelite went all in. The result was that Finelite was a leader in LED-based luminaires from the start.

The Legrand Acquisition

In 2018, after nearly three decades of growth, Finelite was acquired by Legrand, a strategic buyer with a vision for building a portfolio of top-tier lighting companies. By this

time, Finelite had grown to nearly 500 people and was generating over a hundred million dollars in revenue annually.

Prior to the acquisition, Terry hired Jerry Mix to become Finelite’s CEO and Terry became Chairman of the Board. Terry knew Jerry from the Watt Stopper days and Jerry was a Finelite Board Member. “Jerry understood the value of preserving what made Finelite unique," Terry explained. It also turned out that Jerry’s understanding of Legrand helped with many aspects of the transition. Terry viewed the acquisition as a success. “Legrand honored their commitment to keep every employee and allowed the company to continue operating independently."

Lessons from the Journey

When asked about his proudest accomplishments, Terry highlighted Finelite’s ability to solve contractor and architectural challenges while fostering a culture of shared success. "We didn’t just make lights; we made solutions," he said. From energy-efficient research in California classrooms to developing industry-leading customer service practices, Finelite consistently pushed the boundaries of what a lighting company could achieve.

Reflecting on his journey, Terry offered a piece of advice for aspiring entrepreneurs: “Do NOT put shareholders first. Focus on your customers, your workers, your strategic suppliers, and your managers. Do that and your shareholders will do well. That’s how you build something that lasts."

Terry Clark’s story is a testament to resilience, innovation, and the power of collaboration. For those in the lighting industry, his journey offers not just inspiration but a roadmap for success. ■

Tesla Awards ™ 2025

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ANNOUNCEMENT DATE

18 March 2025

IALD International Lighting Design Awards 2025

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7 May 2025

LightFair, Las Vegas, NV IES Illumination Awards 2025

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22 August 2025

IES 25 Lighting Conference, Anaheim, CA

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7 May 2025 LightFair, Las Vegas, NV

IESNYC Lumen Awards 2025

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AWARDS PRESENTATION 18 June 2025 Lumen Gala, NYC

LEDucation, NYC LIT Lighting Design Awards 2025

EARLY BIRD DEADLINE 30 April 2025

ANNOUNCEMENT DATE November 2025 Light Justice NOW Awards

OCULUS LIGHT STUDIO

Batuhan Tumba joined the Los Angeles, California office as an Associate.

HARTRANFT LIGHTING STUDIOS

Carrie Walker started a new position as Senior Lighting Designer.

HLB LIGHTING DESIGN

Claudia Barrett started a new position as Designer.

KEL DESIGN & PROCUREMENT CORP

Alex Webber joined the firm as Lighting Designer.

Charles Foster was promoted to Principal.

Chad Groshart started a new position as Principal Lighting Designer. He was also recently reappointed as a WELL Advisor on Lighting and earned his CLD certification from the Certified Lighting Designer (CLD) Commission.

TILLOTSON DESIGN ASSOCIATES

Liyi Pan was promoted to Senior Associate.

Tim Huth was promoted to Senior Associate. LUMA LIGHTING DESIGN

Bonny Whitehouse announced the founding of her company. WILD

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Steph Powell started a new position as Senior Lighting Designer.

STANTEC

Rachel (Petro) Fitzgerald was promoted to Senior Principal, Discipline Lead, Lighting.

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Christian Hinojosa joined the Los Angeles, California, Office as Lighting Designer.

salutes and thanks its advertisers for their support. We applaud the achievements of lighting practitioners and recognize the importance of their work in architecture and design.

UP CLOSE WITH

PAUL MERCIER

SHIRLEY COYLE, LC By

Working as a young technical guy for a Montreal-based electrical engineering firm, Paul Mercier was doing highend electrical work – data centers, hospitals, generators.

“As I progressed in my career,” Paul noted, “I found that everyone in my firm had amazing expertise. I enjoyed learning from them, but I wanted to go my own way.”

“Lighting design was not something the firm was known for, so maybe lighting could be my expertise. I went to an IES meeting, then a class, then a lot of lighting classes,” he continued.

Paul would continue to be involved in IES over his career, locally, nationally, and internationally (he is a Past President and past Executive Director of IES). “I started doing projects that were not just technical. I began getting calls from companies that had heard I did ‘architecturally sensitive’ lighting design. I realized lighting design was something that I wanted to do. My strong technical background freed me to be creative.”

“After eight years, I was leading the electrical engineering group and wanted more. I looked for an engineering role requiring lighting expertise and ended up moving to Calgary to head a newly founded lighting practice within an engineering firm. Over time, I was managing the engineering team again.”

Paul moved to another engineering firm, and for several years, did strictly lighting. Eventually, he established his own design firm, Lighting Design Innovations (LDI), with the

support of both the engineering firm he was working for and the local lighting industry.

The reciprocal support that Paul and his mentor, Garry McTighe, gave each other became a philosophical commitment to pay forward to others. Paul and his partner in work and life, Kim Mercier, recently celebrated their 25th year of operation at LDI. “If there was someone in need… starting their own business…we would help. We hired them as designers and draftspeople in lighting. This willingness to build a better community sprouted from the support I had received starting out.”

“In the engineering world,” he continued, “engineering groups are not always friendly to their competitors. In the lighting design world, my competitors are all friendly to me – but, more, some have become really good friends. I love this industry for that!”

While starting his own business was a significant challenge, Paul also raises an important and unique challenge for lighting designers. “One of the biggest challenges for us,” he said, “is putting our reputation in the hands of the person who hires us – a person who is often not the end client. You have to trust the people hiring you. Frequently, the lighting designer becomes the scapegoat for the commitments that were not fulfilled by other team members.”

On issues facing the lighting community, Paul voiced his concern about the legitimacy of lighting design in general, saying, “There are so many people engaged in lighting design, and we are subdividing ourselves in ways that hide our numbers and cause confusion to the public. We have lighting designers, lighting agents who do lighting design, distribution people who do lighting design, architectural firms specializing in lighting, etc. Lighting design, in all facets, has to be accepted as an area of expertise to benefit everyone in the industry – from manufacturing through installation.”

“We have to begin acting as a large community, not a collection of small special interest groups, so that we can work together to create a stronger lighting industry. As a community, we can approach challenges with more hands and a greater ability to make progress. Then, our legitimacy can rise to that enjoyed by architects, interior designers, and engineers.”

To what does Paul attribute his success? “Fundamentally, I have a really sharp pencil. I spent a lot of time educating myself, including going back for my Masters of Lighting (from the Physics Department at Queensland University of Technology in Brisbane, Australia). In part, I felt I should have the formal education, so I could teach others.”

Paul has taught lighting at SUNY for over fifteen years. “If you want to be creative, understand the science so that you don’t have to rely on someone else to confirm that your designs work!”

Paul advised those coming into lighting, “Find mentors and listen to what they have to say. It is easier to learn from the examples of another’s successes and mistakes.”

What does Paul do for fun and restoration outside of lighting? “As a young man, I was an athlete and played every sport I could. What I enjoyed most was coaching and teaching friends. The biggest lesson I learned was how to share my passion and expertise.”

He continued, “I was torn between the path into the science world and the path into coaching. Now I’ve gone full circle – I am trained as a certified coach for pickleball. That coaching certification was really important for me, so that I have the foundational sharp pencil to help my students.” The same sharp pencil philosophy that has been with Paul all along his journey. ■

Photo Credit: Eames Institute Gallery@ Nicholas Calcott

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