designing lighting

designing lighting AUGUST 2020

SIMPLE MATH

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EXPANDING YOUR TOOLBOX

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DESIGNING RESTAURANTS IN THE AGE OF COVID

INAUGURAL ISSUE

PROJECT: AKAMAI TECHNOLOGIES GLOBAL HEADQUARTERS DESIGNED BY HLB LIGHTING DESIGN

T he HLB Transition Plan VANCOUVER WATER PARK

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POE IN NYC

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UPCOMING SHOWS

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Table of Contents

CONTRIBUTORS Editorial Director’s Notebook JIM BENYA

Introducing ArchLight Summit

Get the details on Light’s Newest Tradeshow.

It is a real-in person show in Dallas

More Daytime Light = Better Nighttime Sleep

by Charlie Jarboe and Mariana Figueiro

PAUL BLACKBURN

The LRC shares their latest research and how we can positively affect health in lighting design.

Signify’s Interact Office Informs Safer Workspakce Operations

Signify offers technology to help ensure proper distancing in the office environment.

CHUCK CAMERON

Just In How Europe has been Affected by the Pandemic

by Paul Blackburn

TONY DENAMI

It all Comes Together

by Malia Hullfish

Fisher Marantz Stone’s Tesla Award Get the details of this specataular lighting of the Vancouver Waterfront park, the pictures are striking.

MARIANA FIGUEIRO

MALIA HULLFISH

The HLB’s Transition Plan

by Randy Reid

Our tagline is The Business of Lighting™ and we go in depth with HLB Lighting Design to learn about how they transitioned the ownership of their firm.

Benya’s Art & Science:

Title 24, a Necessary Success—So Far POE in NYC

by Chuck Cameron, Olena Zavragina, and Alan Lee

POE is finally being specified and installed and New York City is ground zero for several of these jobs.

CHARLIE JARBOE

Expanding Your Toolbox

by Linda Longo

An opportunity for lighting designers to earn a little extra income moonlighting on the residential side

ALAN LEE

Can You Really Trust the Manufacturer’s Warranty?

By Malia Hullfish

The NLB gives the designer a very big tool and it’s called Trust!

LINDA LONGO

Designing Restaurants in the Age of COVID

by Steph Schwalb

Understanding UV—From A to C

by Tony Denami

In Laymen’s terms, the basics about UV

STEPHANIE SCHWALB

Upcoming Shows A word of Caution from Paul Marantz

OLENA ZAVRAGINA

ON THE COVER

Photo: Andy Caulfield, Andy Caulfield Architectural Photography

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EDITORIAL DIRECTOR’S NOTEPAD

At designing lighting, we want to amplify the voices of the lighting design community and are working hard to raise awareness for good lighting design. While the magazine provides great application examples, it also offers content that deal with the business side of design, which is reflective of our tagline: "The Business of Lighting Design™. For instance, our cover story is a detailed blueprint of how HLB Lighting Design transitioned their ownership.

Tradeshows, seminars and conferences have been cancelled, or moved online, and the old ways of doing business are changing at a dizzying pace. With other lighting magazines closed or scaled back, we believe that the lighting designer is underserved and that is why we created designing lighting.

Find out which three popular lighting magazines have ceased operations.

Editorial Director: Randy Reid (editor@designinglighting.com)

Publisher: Cliff Smith (csmith@designinglighting.com)

Director of Audience Development: Angie Hullfish (admin@designinglighting.com)

Published by EdisonReport 1726C General George Patton Dr. Brentwood, TN 37027 Phone: 615-371-0961 designinglighting.com admin@designinglighting.com

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

(ISSN: pending) 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.

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At designing lighting, we advocate for the professional lighting designer because the best jobs are designed by career professionals. We are strong fans (members) of International Association of Lighting Designers and we encourage our audience to join the IALD and benefit from the many tools they offer.

In this issue we have articles, comments and features from some of the greatest thought leaders in our industry: Barbara Horton, Jim Benya, Mariana Figueiro, and Paul Marantz.

On our website, designinglighting.com, we offer tools for the professional that we hope are useful. First, we are building a database of all lighting CEU courses online and in person. If you are short on education credits, you can now visit a single site and sort opportunities by date or subject with a link to register.

Additionally, we feature a database of lighting designers who have won peer-recognized awards. We scoured the internet and have almost 700 award-winning projects—the oldest dates back to 1968.

There is a convenient form designers can use to update our database to ensure that all awards are listed.

Last, we offer a free career database for lighting designers seeking new opportunities.

This is only our starting point and with your help, we’ll get better.

Thank you, and I hope you enjoy our first edition.

Please send your comments directly to me at editor@designinglighting.com.

Randy Reid

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ArchLight Summit Event

Lighting’s Newest Tradeshow Dallas Market Center has announced the launch of a new lighting expo and educational platform in September 2021 aimed at the architectural, specification and design communities.

The first ArchLight Summit will take place September 21-22, 2021, in the Dallas Trade Mart, already home to the permanent marketplace for the semi-annual Lightovation, the largest residential lighting show in North America.

Both days will include a full slate of seminars and panel discussions offering architects, lighting designers, specifiers and interior designers timely and accredited sessions to keep them abreast of evolving lighting issues and solutions. A $50 fee will allow attendees access to all education and hospitality events.

Admittance into the concurrent exhibition will be complimentary for trade professionals. Temporary exhibits will feature hundreds of lighting brands to enable comprehensive sourcing for a variety

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of projects and applications in the built environment.

Participating Lightovation exhibitors with relevant products for the specification community will also be able to leverage their showrooms for this event with scheduled receptions and tours.

The ArchLight Summit will be colocated with Dallas Design Week, providing additional CEU and networking opportunities for interior designers on site at Dallas Market Center.

Dallas Market Center is already the busiest open-daily design center in the United States, welcoming 200,000 attendees throughout the year and hosting regular shows in the lighting, home and design industries. Existing architectural lighting resources on campus and a robust local specification community prompted the development of the ArchLight Summit, which will broaden offerings to include non-residential brands in addition to those already present that

SEP 21-22, 2021 in DALLAS straddle residential and commercial markets.

While the event is targeted to draw a regional attendance base, the city’s central location and accessibility is also conducive to a broader geographic reach.

“Anyone seeking to learn about the latest lighting trends and technologies will have that opportunity at the ArchLight Summit,” says Laura Van Zeyl, Vice President of Lighting Technology Development and Marketing at Dallas Market Center.

“Lightovation has already established Dallas as the home of lighting in the residential channel. This event will offer a more comprehensive representation of lighting solutions, plus educational opportunities to keep lighting professionals at the top of their game.”

Visit www.ArchLightSummit.com for more information, with live registration to follow on the same site. 

Photo: Kuzco Lighting displays its award-winning Magellan pendant, which debuted in January 2020 in the company’s Lightovation showroom at Dallas Market Center.

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SIMPLE MATH:

MORE DAYTIME LIGHT = CHARLIE JARBOE

& MARIANA FIGUEIRO

Lighting Research Center, Rensselaer Polytechnic Institute

How can lighting help us during this pandemic?

BACKGROUND Light is the major synchronizer of circadian rhythms to the local position on Earth, essentially telling the body what to do and when to do it. Cycles of sleeping and waking, feeding and fasting, the regulation of core body temperature, blood pressure, and the secretion of hormones are just a few examples of circadian rhythms. Bright light (> 500 lux)

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received at the eyes early in the day exerts the strongest influence on adjusting (or entraining) the timing our circadian system to regulate these cycles throughout the 24-hour day.

Before the introduction of electric lighting, humans were exposed to bright days and dark nights. Perhaps because we evolved under this strong day-night contrast, we have

FEATURE STORY

BETTER NIGHTTIME SLEEP

Photo: Marcel Friedrich

adapted to our environment with a circadian clock that needs much higher light levels to be activated than the low levels of light required for our visual system. For example, when we sit around a campfire at night, our night vision permits us to easily see each other’s faces, but the campfire does not cast enough light to disrupt our circadian clock.

People in modern society spend more than 90 percent of their time in buildings, yet indoor lighting is usually not bright enough to stimulate the circadian clock. For example,

typical indoor lighting provides less than 100-200 lux at the eye, whereas being outdoors on a sunny day will provide anywhere from 1,000 to greater than 50,000 lux at the eye.

Yet many of us, including those living in more-controlled environments such as nursing homes and prisons, do not have free or ready access to the outdoors. The situation grows worse for almost everyone during the winter, when we go to work in the dark, remain in a dimly-lit office or classroom all day, and return home in the dark at the end of the workday.

designing lighting — 11

Simply put, most people do not get enough light during the day and are exposed to too much light in the evening, when our bodies should be winding down for a good night’s sleep.

Many people, after not getting enough bright light during the day, compound the problem by using self-luminous electronic devices like smartphones and tablets in the evening or stay up late working on the computer. Light from these screens can make the brain’s circadian clock think it’s time to wake up rather than get ready for bed.

Disruption of the 24-hour rhythm of light and dark affects every one of our biological systems, from DNA repair in

Center (LRC) at Rensselaer Polytechnic Institute investigated the impacts of working from home on individual daily light exposures, and how this may be affecting sleep quality and psychological health.

METHODS In May 2020, the LRC invited people who had been staying home due to the pandemic to complete a short survey about their sleep, mood, and daily light exposure.

A total of 708 individuals responded to the survey, 593 of

Photo: Levi Stute

single cells to the pineal gland’s production of melatonin (the “darkness hormone”). Circadian disruption is most obviously linked with disruption of rest–activity patterns, which can cause sleepiness during the day and insomnia at night, but it is also linked with increased risk for psychological ailments such as anxiety, stress, and depression, and negative physical health outcomes such as diabetes, obesity, cardiovascular disease, and certain types of cancer.

During the COVID-19 pandemic, many of us were compelled to quarantine and work at home. The Lighting Research

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whom were either employed and working from home or were unemployed but quarantining at home during the two weeks prior to completing the survey. Only results from those 593 were included in the analysis. Forty-five percent of the respondents declared themselves male, 51 percent declared female, and four percent declared “other.” Their average age fell within the 45–54 years age group.

The survey was announced via e-mail and releases on lighting industry websites and in the general media.

Respondents accessed the survey via a link embedded in the

FEATURE STORY e-mails and media releases, directing them to an electronic survey facilitated by SurveyMonkey. All respondents were informed that their answers would be anonymous, no identifying information would be collected, and their participation granted consent for inclusion of their response data in the analysis.

RESULTS The results showed that daily indoor light exposure (Figure 1) and time spent outdoors (Figure 2) had a major impact on all survey outcomes, including sleep disturbances, sleeprelated impairment, anxiety, stress, depression, and mood.

Compared to those with “somewhat dim” to “very dim” indoor lighting, respondents with “somewhat bright” to “very bright” lighting—provided by either uncovered windows or robust electric lighting—reported: • • • • •

Photo: Jude Beck

Fewer sleep disturbances Less anxiety and depression Feeling less tired or less irritable Feeling generally happier and more positive Less sleep-related impairment

Another especially important factor was the amount of time respondents spent outdoors. The survey revealed that people who spent one to two hours outdoors each day

Figure 2. The effects of time spent outdoors on the survey outcomes.

The error bars represent standard error of the mean.

reported feeling significantly less depression, while reporting better sleep than those who spent less than 30 minutes outdoors each day. Notably, these positive impacts leveled off after durations of two hours outdoors. Consistent with the entrainment hypothesis, morning light provided the greatest benefits for the survey outcomes.

Figure 1. The effects of at-home light exposure on the survey outcomes.

The error bars represent standard error of the mean.

The strong trends toward improvement evident in the survey outcomes demonstrated that increasing overall light exposures and spending more time outdoors during the day can help to establish a robust 24-hour light-dark pattern that provides significant positive impacts on our sleep and mood, even during trying times.

designing lighting — 13

Using the power of light to sleep better & feel better Good sleep is essential for good health, and may even have a protective effect against COVID-19 because a healthy, regular sleep pattern promotes a strong immune system.

We recommend the following tips to help you sleep better at night and feel better every day.

• Seek light during the day, especially in the morning.

• If the sky is clear and the sun is shining, go for a 30-minute walk or run every morning at the same time.

Morning light provides the greatest health benefits.

• If you must stay indoors during the daytime, work facing a window (Figure 3a). Open the window curtains or shades to let in daylight. Remember to keep ambient room lighting turned on during the day to reduce glare from the window.

• If you don’t have a window in your workspace, add more lighting fixtures (Figure 3b). For example, if you

a. Set up desk facing widow(s)

have only a single table lamp near your desk, add three additional lamps to the space to deliver at least 350 lux of 3000 K or 300 lux of 5000 K light to the eye. Don’t forget to turn off the extra lights later in the day and through the evening.

• Provide an extra boost to your circadian system early in the day by using a DIY circadian-effective desktop luminaire (Figure 3c).

• In the evening, use warm, low-level, dim lighting and turn off your self-luminous displays one to two hours before bedtime. The intense glow from the screen can make it harder for you to fall asleep.

ANOTHER NOTEWORTHY POTENTIAL BENEFIT OF WORKING OR QUARANTINING AT HOME IS THAT YOU CAN HAVE MORE CONTROL OVER YOUR ENVIRONMENT, SUCH AS SETTING UP YOUR WORKSPACE FACING AN OPEN WINDOW. EVERYONE CAN ALSO BENEFIT FROM FLEXIBILITY IN THEIR WORK SCHEDULE, AND CAN CHOOSE TO WORK OR TAKE BREAKS OUTDOORS, WHICH MAY NOT BE AN OPTION WHEN WORKING AT THE OFFICE. THESE FACTORS CAN INCREASE DAILY LIGHT EXPOSURE, WHICH HAS MANY BENEFITS, AS REVEALED BY OUR SURVEY.

b. Use at least two table/floor lamps within field of view

c. Use two or more DIY circadian luminaires

Figure 3. Three techniques for providing circadian stimulus while working at home during the day. (a) Setting up your desk facing uncovered windows is an effective way to get high levels of circadian-effective light at the eye during the daytime, but remember to also keep ambient room lighting turned on during the day to reduce glare. (b) Having multiple plug-in luminaires set up in your field of view will deliver high illuminance levels at the eye (at least 350 lux of 3000 K, or 300 lux of 5000 K) during the day and provide quality light for video conferencing. Be sure to dim or turn off additional luminaires to reduce light levels at night. (c) Making your own circadian-effective desktop luminaire is inexpensive and easy with off-the-shelf products: www.youtube.com/watch?v=__QsTrrIC2s&feature=youtu.be

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Better for your brain Makes waking hours more productive and resting hours more relaxing.

Coming soon from TCP...the newest innovation in LED lighting.

Signify’s Interact Office Informs Safer Workspace Operations

By RANDY REID

Signify’s Director of Data-enabled Services and IoT Solutions Vasilis Paschos hosted a webinar on the importance of smart office software amidst the coronavirus pandemic, highlighting the different functions of Signify’s Interact Office.

Interact Office utilizes three units that operate together in a connected lighting system: LED luminaires, the sensors embedded in the luminaires, and a software service to view data collected by the sensors.

Sensors collect data on occupancy, humidity, daylight, noise levels and more to inform better office operations.

As the coronavirus pandemic persists, this information is becoming more and more important. Effective strategies for navigating the pandemic look past the immediate crisis and

16 designing Photo:—Patrick Tomasso lighting

consider long-term practices. In fact, Paschos argues that organizations can build resiliency through three phases of office re-population and adaptation.

The first phase focuses on the short-term, with a goal of getting employees back into the office as quickly as possible. In order to do so, companies must reform their administrative measures and policies. This involves determining who can come in and when and adapting the physical office space, as well as communication plans, to ensure the safety of employees.

The second phase calls for an update of data and digital tools. Organizations must install sophisticated building systems and IOT sensors, such as those used in Interact

come into contact with high-touch areas, so what if you have an app for personal control of your lighting?”

Office, to collect data and perform analytics. Lighting is a favorable tool for data collection, because “it is everywhere and can provide accurate information across the whole building” said Paschos. Additionally, organizations should aim to go touchless.

Finally, the third phase looks to longterm AI-drive solutions. According to Paschos, “In this phase, we transition from humans informing machines to machines informing humans.” Using the data from their newly installed building systems, facility managers and real estate operators can work towards building performance and process optimization.

The software services offered by Interact Office help organizations transition seamlessly through these three phases. Its smart lighting features provide traditional lighting-related functions, such as energy optimization and lighting management. Interact Office also

allows facility managers and their employees to access more niche services through an app. Among these services are space management, environmental monitoring, and indoor navigation.

Signify designed Interact Office with three main uses in mind for facility managers, one of them being space optimization. Rather than making decisions based on assumptions, managers can use actual occupancy data to inform space allocation.

Furthermore, they can monitor their employees in real time to view people density and ensure that quota limits for office spaces are being followed.

Finally, Interact Office informs cleaning protocols by determining which areas of the office are used the most and by using real-time data to dispatch cleaning services to recently occupied rooms.

Employees also benefit from Interactive Office. “The demand for light switches is decreasing,” said Paschos, “employees don’t want to

Additionally, Interact Office help employees select where to work.

“Employees can see in real time which spaces are being utilized, with the understanding that the floor with the lowest utilization will be the safest,” said Paschos. Employees can also reserve desks, a feature highly demanded by customers.

Finally, Interact Office also aides in office navigation, including where to find masks and gloves or where to wash hands. “We provide positioning services so that users can see where they are and where the most utilization happens in the office,” said Paschos, “This will inform employees of the heavily crowded spaces to avoid.”

While Interact Office is geared towards offices, manufacturing warehouses also benefit from its services, using its insights to understand how warehouse space is being used.

As men and women slowly re-enter the office, Interact Office technology can help organizations to keep their employees safe and healthy. 

ABOUT SIGNIFY: Signify is the world leader in lighting for professionals, consumers and lighting for the Internet of Things. Our energy efficient lighting products, systems and services enable our customers to enjoy a superior quality of light, and make people’s lives safer and more comfortable, and businesses more productive and cities more livable.

designing lighting — 17

JUST IN...

New architectural lighting products available for specification

“The Lumenpulse Lumencove Nano 2.0 family has expanded to include two new optical versions while maintaining their size, efficiency, and durability, thanks to the elimination of the power supply. Their resulting slim profile helps keep the source unseen without compromising their distinct quality of light and ability to deliver continuous lines of light.�

The iLENE Series from NORA Lighting offers Comfort Dim technology, a color tuning option that creates a warm ambience in residential and hospitality settings. Comfort Dim fine-tunes the Kelvin temperature from a bright 3100K to an intimate 2000K on a gradual, even curve. Other color temperatures range from: 2700K to 4000K at 90+ CRI for realistic color rendition.

The Lance Series from Meteor is available in 4-in and 6-in sizes, these cylinders are a new range of direct/indirect wall luminaires designed for timeless exteriors.

Make a bold after-dark statement with this IP 65 rated, W+RGB color changing luminaire that delivers up to 10,000 lumens.

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Birchwood Lighting, a Leviton company, today announced the launch of the BW165, an all-new small form-factor linear luminaire that offers all the premium features and conveniences expected from larger products. With a profile of just over an inch and a half, the BW165 features an integral driver and delivers up to 2,000 lumens of high efficiency, direct/indirect uniform illumination.

ConTech Lighting by Leviton announces the integration of Intellect Intelligent Fixture Control System in several products for easy energy savings, installation and operation. Engineered to simplify energy management and code compliance, Intellect enabled products by ConTech deliver a distributed lighting control system that is easy to specify and install using Ladderless Commissioning .

TM

Customize your design with standard, ready-to-go fixtures and light your ceiling as if you drew on it — with Curvano.

Amerlux’s Curvano offers pendant, recessed, direct and direct/indirect lighting with a 2.5” aperture, and its magnetic reflector trays allow for easy maintenance. Tap infinite design patterns — circular, serpentine, and roundedcircle displays included. No special orders or lead time needed.

Acuity announced its Hyperbolic CeilingReflector for directional light sources has been awarded a U.S. patent. The reflector’s innovative hyperbolic shape minimizes glare and aperture brightness generated by an LED light source, while still delivering one of the industry’s leading efficacies. The curvature design of the Hyperbolic Ceiling-Reflector cuts off the LED light before it reaches the bottom of the reflector, making the fixture appear essentially dark from any distance and thus less visible in the ceiling.

TM

TM

The Tex Squared from Alva Lighting is an architectural scale, wet-listed exterior wall sconce.

It features a high efficiency, fully integrated proprietary LED module in a perfect square design.

It is available in 3,000K and 3,500K. The 12-inch model has 1,900 lumens and the 18-inch has 2,400 lumens.

Overdrive announced the launch of a new way for OEMs to purchase, assemble, and stock LED fixtures. The Engineless Fixture + MPLR Program provides OEMs a way to reduce assembly time, labor costs, and inventory costs. The engineless fixture can ship out as a complete fixture with any one of 12 wattage+CCT options. designing lighting — 19

How the European Lighting Industry Has Been Affected by the Coronavirus Pandemic

By PAUL BLACKBURN As is true in almost every vertical, the lighting industry has been profoundly affected by the Coronavirus pandemic.

These effects have been playing out over the last few months, and will continue to cause disturbance for the foreseeable future. In this article we will examine how the industry has been affected over the last while, what lighting companies are doing to mitigate the issues they face, and how the future might look for lighting professionals across the globe.

As Coronavirus became a pandemic towards the end of the first quarter of 2020, professionals in the lighting industry across Europe began to take drastic steps to shore up their practices. There was a debate led by the Global Lighting Association about whether lighting should be deemed an essential service, which would have meant that the industry could continue with the manufacture, supply and sale of lighting equipment while lockdown restrictions were in place.

They stated that ‘light is needed to functionally fulfill our daily duties at home, as well as in the places that are tasked with addressing and alleviating the current crisis, such as emergency hospitals, care centers, shops and distribution centers’.

They concluded their statement by urging the authorities to ‘classify lighting products as essential...in the context of any measures that would otherwise limit manufacturing, supply or sale of products’.

We know that the supply of lighting did continue to essential projects, including the UK’s Nightingale Hospitals, and other countries also erected emergency hospitals.

However the industry was still heavily disrupted, with many factories 20

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closing while the toughest lockdown restrictions were in place.

Some of the first to be affected in Europe were based in Italy and Spain, including Reggiani (IT), who resumed production on May 4th, iGuzzini (IT) declared they were fully operational from May 18th.

Every other nation’s lighting industry will have seen some disruption of their supply chains as the industry relies heavily Chinese manufacturing, as travel bans from the country were among the first to be introduced as early as January 2020.

This disruption has placed a lot of strain on the finances of many lighting companies, and those companies, including some familiar brands, who were already struggling in one aspect or another may not make it to the other side of the crisis.

Financial projections for 2020 by the larger companies such as Signify and Osram are being revised to allow for the unprecedented disruption being faced. Signify have already suspended their official outlook and have withdrawn their dividend proposal to shareholders.

Some good news may come for premium brands as contractors may seek out better quality products. The risks associated with buying cheaper lighting equipment become more pronounced as there are questions hanging over whether the company you’re buying from will still be around to stand over their warranties in one, two or even five years. The benefits of buying quality equipment in these circumstances are twofold; firstly as previously stated you can be more assured that the supplier will be

Photo: Jorgen Hendriksen

Some good news may come for premium brands.

able to stand over their warranty, and secondly that better quality equipment is less likely to fail.

Internally, lighting manufacturers, suppliers and design companies will be seeking to cut costs so that they can keep up with making their payroll. Peripheral budgets such as those attributed to marketing and product development will be slashed so that key services including production and the supply chain can be maintained. Unfortunately these areas are where the most job losses may occur, although hopefully people working in the marketing and product design sectors will be able to maintain their practice with freelance work.

Companies should do all they can to make sure that the lighting industry retains these skills, as they may be expendable in the short term, but over a longer time horizon finding new customers and supplying existing customers with new products is essential to business growth.

On the buyers side, purchasers are likely to want longer payment terms as they place orders for lighting equipment, as the payments they are receiving may also be on longer time frames. It is likely that these will increase from net 30 to net 90 or even net 120 in some cases.

In the UK, Boris Johnsons government has announced ‘Project Defend’, which is an initiative aimed at bringing more of the nations manufacturing capacity back onshore, reducing reliance on foreign imports, mainly from China.

This plan covers all industries, and is likely aimed at reducing the risks of supply chains being disrupted by similar issues such as the Coronavirus pandemic in the future, and it also handily ties in with the Brexit narrative.

It is difficult to see how lighting manufacturers from the UK and other European nations can significantly reduce their reliance on Asian production, perhaps some parts could be made at home, but the development of semiconductor production would take significant investment and years to reach the level of quantity and quality required to support the industry and reduce reliance on foreign imports. It is perhaps more likely that the Asian manufacturers will open factories in Europe, subsidized by national governments.

Every company in the lighting industry has had to make some kind of adjustment as lockdowns were enacted across Europe, work from home models were quickly set up and while many were furloughed or retained by some kind of government subsidy, others have been doing what they can to keep their respective companies afloat.

The next challenge will come when it is time for workers to return to work.

In manufacturing and construction this is already happening, but the issues will arise when some are expected back at work while schools and childcare facilities remain closed.

This is an issue for all industries, but the lighting industry must also ensure that employees needs are met.

The economic outlook for the rest of 2020 is difficult to predict at best, and if you consider how they first half of 2020 has gone it could be considered impossible. On the optimistic side, many companies in the lighting industry are anticipating a busy Q4, as construction and manufacturing hopefully get back to full capacity, and companies seek to make up for revenue lost earlier in the year. 

designing lighting — 21

Photo: Lioneye Ariels

By MALIA HULLFISH

It All Comes Together Seated at the heart of a 10-acre waterfront park in revitalized downtown Vancouver, Washington, sits the Grant Street Pier. This nautical, but elegant, pedestrian pier cantilevers 90 feet over the Columbia River, with a sculptural mast at its center. With luminaires integrated into the underside, the pier appears as if it is floating. In fact, most of the lights are low-level as to not distract from the beautiful vista looking south over the river towards Oregon. The precise optics illuminating the mast from the landside only contribute further to the dramatic visitor experience.

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When designing this intimate public gathering space, the lighting team at Fisher Marantz Stone held visitor experience and views with the utmost importance. They wanted to create a breathtaking environment that would keep Vancouver residents – and visitors - coming back week after week. Whether it was to watch the sun rise over the Columbia River or to take a nighttime stroll on the pier, visitors were to frequent the park at all hours of the day. “We had to make sure it offered a safe and pleasant nighttime experience,” said Kevin Frary, one of the team’s lighting designers.

The designer team capitalized on the scenic view of the river, complementing it rather than attempting to make the pier and its mast the focal points. “There is a balance between the brightness of

the fixtures and the surfaces where lighting does not interfere with your view of the river—it is a spectacular thing in and of itself,” said Charles Stone, President of Fisher Marantz Stone and one of the contributing lighting designers on the project. In order to accomplish this, the team paid special attention to its fixture selections and mounting locations to minimize spill light. This was necessary not only to maintain the views, but also to preserve the Columbia River’s salmon and avifauna populations.

“We had to do some pretty careful calculations and simulations to make sure that the lights under the pier are not shining any light onto the water,” said Frary, “it could distract the salmon or other fish that are migrating, looking to spawn, whatever it is.”

Additionally, the team had to consider how the floodlights uplighting the mast may interfere with the migration of birds. In order to reduce the pier’s light pollution, they collaborated with the project’s engineers to devise a tight controls system, as well as a schedule of operations; this also helped minimize energy use.

Compliments of Fisher Marantz Stone

designing lighting — 23

FIXTURE SCHEDULE Mast floodlights: ERCO Pier step lights and marker lights: Cole Lighting Pier abutment wallwashers: Elliptipar Plaza pole lights: Selux Plaza bench integrated strip lights: LED Linear™

Furthermore, the team was careful in their selection of luminaires. “The luminaires that we’re using and the optics that they have are very precise,” said Frary, “it’s all very controlled to light only the pier and the mast, so that there’s not much spill light.”

By matching the color temperature of the pier to that of the adjacent buildings and park—3000K—and differentiating the mast at 4000K, the team was able to create an artistic and dramatic work of art out of this industrial structure. “The slight difference in color temperature highlights the crisp white finish of the mast, creating a vertical landmark within the overall landscape of the park,” said Frary.

Frary and Stone also spoke to the publicprivate partnership aspect of the project.

What usually poses a challenge to lighting designers, actually worked in the team’s favor. “Our primary client was a private corporation, but this public park extends and connects to more public parkway and jogging paths,” said Stone, “so, there are many pieces that come together, and this particular project becomes a bit of a focal point.”

Frary expanded on this saying, “The park was designed before the pier was, and the plaza behind the pier was designed after. There’s this interesting sequence of smaller projects within an overall larger park, but when you

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— designing lighting

Compliments of Fisher Marantz Stone

PROJECT DETAILS Vancouver Waterfront Park – Grant Street Pier and Plaza Vancouver, WA 18,000 sq. ft Lighting Design: Kevin Frary, IALD, IES, LC Charles G. Stone II, FIALD, IES, LC, LEED AP BD+C Danielle Kelly, IALD, IES, WELL Fisher Marantz Stone

see it from above, it really does feel like a seamless design.”

The luminaries lighting the rich wood of the boardwalk and the captivating artistry of the mast invite pedestrians to gather and experience the newly revitalized downtown Vancouver; the lighting designers had to accomplish this while accounting for the wishes of the Army Corps of Engineers, the Audubon Society, artist, landscape architect, and engineers working on the project; and what’s more is that the team created a space to which other lighting designers can look to for inspiration and instruction.

The carefully considered optics of this simple, but luminous, environment did not go unnoticed by the National Lighting Bureau (NLB), which presented the Fisher Marantz Stone team with a Tesla Award. This was one of five awards received by Fisher Marantz Stone in the Tesla Awards’

inaugural year. The Grant Street Pier embodies all that the NLB and the Tesla Awards work to promote: highbenefit lighting, collaboration, and best practices.

Compliments of Fisher Marantz Stone

Carefully detailed lighting helps the Grant Street Pier blend seamlessly into Vancouver’s waterfront

Through the gentle guiding presence of its lights, the Grant Street Pier acts as an inviting and multi-purposeful public space in a busy, growing city. 

Compliments of Fisher Marantz Stone

designing lighting — 25

The HLB Transition Plan

By RANDY REID

25 Years

in the Making The timing could not have been better for the launch of our new online magazine, given our tagline “The Business of Lighting Design.” A few weeks ago, IALD hosted a webinar, “Business Transition Planning— the Who, What, When, Why.” The IALD does a great job with their webinars, which are just one of many tools they offer the industry.

After the call, we caught up with Barbara Horton, Co-CEO of Horton Lees Brogden, and she expanded on the discussion allowing me to better understand the HLB transition plan.

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— designing lighting

Project: Akamai Technologies Global Headquarters

Photo: Andy Caulfield, Andy Caulfield Architectural Photography

designing lighting — 27

B

arbara explained that they are an open management company following the practices of “The Great Game of Business®” where everyone is aware of the overall financial picture of the company on a weekly basis. A few of the HLB designers create the critical number and then using their data forecast sales, expenses, revenue, etc., for the entire company. In this additional duty, the designers collect data every week and provide a complete financial picture of the company.

Jules Horton is the founder and the inspiration of HLB. Barbara joined the firm in the early 80s, and by the mid 90s she and Stephen Lees sought professional advice from a management consultant. They created the Internal Ownership Transition Plan, which turned out to have been the springboard for their firm’s continued growth. Barbara stated, “We wanted to continue Jules Horton’s legacy while giving an opportunity for others in the business by paying it forward. The transfer strategy had to have financial rewards for everyone. Looking back over the 25 years since we started the plan, we have had a good success, not just for the legacy owners but for the firm and the leadership team.”

Barbara and Stephen, the sellers, were in their 40s and set up a strategy for selling shares over a 25-year period. During this time, they continued to identify limited pools of internal buyers. Barbara explained, “You can’t be totally top heavy, as there can only be a certain number of people in ownership roles.”

Carrie Hawley, Co-CEO spoke about how HLB develops people. Carrie considers herself a boomerang, one of eight associates who left HLB and returned. She became an owner in 2007. Patricia Farnsworth, Partner in Lawson & Weitzen, was the attorney who helped set up the deal, and she also provided some insights during the call.

The group discussed four questions to be answered: The Who, What, When and Why. There was a major theme that weaved itself throughout the discussion and that was the effect of emotion throughout the entire process.

WHO. The who are the existing associates, but not

necessarily all lighting designers. The CFO is also an owner.

People are chosen based on growth and their ability to bring in business. The buy-in gives rising talent the opportunity for personal growth with a solid future. Creating future shareholders creates ongoing stability within the company.

HLB continues to canvas their employees to see who may be interested and who has what it takes to be an owner. When a candidate is identified, they are invited to begin a discussion.

Even though HLB is intimately familiar with their work, the potential buyer will submit a portfolio, similar to if they were applying for a job. The present owners will study their performance metrics and also consider contributions to the industry. It is about a two-year process.

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— designing lighting

WHAT. The sellers and buyers need to align their goals.

From the seller point of view, it does not mean giving up total control, but it does allow the buyers to share the risks as well as the rewards. From the buyer’s perspective, the buy-in is personal career growth with a meaningful stake in the success of the firm and the chance to control their own destiny. Ownership does come with risks and with a good plan, but the risks can be mitigated. The team pointed out that Generation Z has different needs than Generation X and it is important that the program evolves.

WHEN. It is never too early to start planning. The team

strongly recommends that the best time to begin an ownership transition is early. The process takes longer than most people think. One of the first steps is to participate in ownership-transfer workshops.

WHY. Every ownership team will have their own reasons

to sell. HLB has over 90 associates in seven cities and they wanted to continue, even strengthen their legacy and the reputation of the firm, while providing a solid future and financial rewards.

There are many ways to exit a lighting designer firm: passing the business to heirs, selling to co-owners or key employees, an ESOP, a merger, or sale to another firm. The least desirable is liquidation. Determining the best path is why it is important to have an attorney and an accountant at the start of the process.

process. Who are the key teammates who can become successful buyers? Do you see them being capable of taking over? Have you communicated your belief in them? Do they even want to own a business one day? If the answer is no to the majority of these questions, the sellers may need to consider recruiting new talent for succession.

Once the successor candidates have been identified, business evaluation should be prepared. One of the most important issues is determining a methodology for funding the purchase. There are several ways for a buyer to pay for their portion of the business: Cash up front (most will not have this), down payment with a promissory note, life insurance or bank notes and bonus investments. For HLB, the sale was financed in essence by the company. As the business valuation increased, the buy-in became harder for the younger generation so terms had to be changed. Every year HLB pays bonuses and many of the buyers use the bonus to buy shares. In some cases, the buyer has put up a down payment of 25% and in other cases only 10%. The notes are usually paid out over five to ten years.

There are different factors to consider in deciding between an internal sale and an external sale. Important factors for an internal sale are preserving the legacy, paternal/maternal feelings, loyalty to key long-term employees, retaining high value employees, maintaining the culture, and maintaining control for period of time. Important factors for an external sale are maximizing the sales price, positioning the business better to compete, concern about capabilities of the next generation and the risk intolerance of key employees. The attorney pointed out that there could even be a hybrid sale— internal and external.

The attorney stated that the return for an internal sale is usually a little less than an external sale. She also commented that giving up control can be emotional and, with an external sale, that control is given up immediately.

With an internal sale, it is done over time. The attorney emphasized the need to manage emotion and feelings and to understand the difficulty of founders who created a successful and financially profitable business as they begin to give up decision making. There is also emotion from the buyers who have invested their money and have newer and sometimes diametrically opposed ideas for running the business.

BEST PRACTICES. Take time to establish the framework by creating a roadmap. Start with establishing a vision and determining a succession timeline. The attorney recommended a minimum of five years and ideally ten to twenty years. Identify successors or buyers early in the

Once the who, what, when, and why have been established, it is important to work with a good team of advisors and the attorney mentioned PSMJ, Zweig Group or the Pompeo Group since they have a strategic alliance with Tounge Associates. As the process begins to formalize there are three areas of focus: communications, continue mentoring and managing emotions.

INTERNAL AND EXTERNAL COMMUNICATIONS.

Create a presentation for internal candidates to include the value proposition, the proposal, and the risk and rewards.

With a M&A deal, it is critical to communicate with internal staff explaining the benefits and the plan for integration.

Expect some distrust and questions which need to be worked through.

MENTORING. This is the most important part. Identifying,

training, and building trust is critical. Convey the importance of responsibilities and risk, while highlighting the rewards.

Include financial literacy training and teaching to manage people beyond design. With the Covid-19 crisis, now is a great time to teach about the cyclical nature of downturns.

Instead of fearing them, they should not only anticipate them but also create future profit-sharing techniques and rainyday funds for the downturns.

EMOTIONS. Be prepared for emotional high and low

moments and get perspectives from outside experts. It is a little more complicated than a marriage. There is no them; the new mindset is we. Consider what is best for the company as well as all owners. Emotional intelligence can be exhausting but deeply fulfilling. Be prepared that the deal may not work out and that is OK. In addition to an M&A attorney and an accountant, the attorney recommended that the services of a good therapist may also be valuable. ď Ž

designing lighting — 29

BENYA’S ART & SCIENCE

Title 24, a Necessary Success - So Far

By JAMES R BENYA, PE, FIES, FIALD

Benya Burnett Consultancy, Davis, CA

thanks to lighting designers and the lighting industry, it is far better than it would have been had it been left to bureaucrats and energy wonks2.

After all, the design community is concerned with quality and not just footcandles or watts.

WHAT’S GOOD ABOUT TITLE 24?

When it comes to energy codes and lighting, perhaps the most recognized of all is California’s Title 241. In 1979 it became the first lighting energy code enforced statewide. Its principles have since heavily influenced all other energy codes in North America and much of the world. The next generation standards, Title 24-2022 are now under development.

Title 24 is admittedly not perfect, but to the professional designer it still allows good design. Title 24 development and change has always employed an open process where proposed changes are presented in public hearings and debated. Initially, the California Energy Commission (CEC) relied heavily on the IES’ Regional Energy Committee for ideas and input. As the design community grew and as lighting agents and manufacturers became savvier, designer influence increased. Today,

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From the beginning, Title 24 has been written by persons who understood the challenges and differences among project types, and the need for glare control and other lighting quality provisions. Real projects are still used as models, and they include complex project types as well as simpler situations. Exemptions are allowed, such as not counting the lighting for a stage or allowing a decorative allowance for certain project types. In the hands of a good lighting designer, high quality projects complying with Title 24 have always been possible. Title 24’s philosophy and breakthroughs have also become part of both IECC and ASHRAE/IES 90.1.

The impact of Title 24 has been exceptional. It has forced designers to learn to use cost effective and energy efficient technologies, and to provide sensible controls. Designers in turn demand new products and innovation, especially LED lighting and dimmable electronic controls. The results are shown in the attached diagram I call “Benya’s Curve”3, which shows that appropriate lighting can be designed today to operate at 90% less energy

use than a comparable space in 1978.

It is easy to brag about out industry’s achievement and hard to argue that lighting design has suffered.

WHAT’S BAD ABOUT IT? From the beginning, lighting designers have looked upon California’s Title 24 energy code as limiting their creative options. That is at least partly true.

Initially it served to limit incandescent lighting, but over time Title 24 played a series of ever-stronger hands to restrict every lighting technology. The worst was with compact fluorescent lighting, a generally awful light source forced into incandescent lighting situations with constantly poor results. Fortunately, LED lighting is so vastly superior that lighting designers can now achieve their goals without crummy color, flicker, poor dimming, or disastrous photometric performance. The 2019 standards are mostly rational and quality design is not a problem.

Perhaps the worst of Title 24’s current lighting requirements involves “JA8” – Joint Appendix 8, which imposes color quality, flicker limits, and other requirements on residential lighting.

Originally intended to prevent LED technology from devolving as badly as compact fluorescent, JA8 requires every LED luminaire in a home to be certified by a certified lab and listed by the Energy Commission.

That listing requires test reports for each SKU, which manufacturers say

BENYA’S ART & SCIENCE

costs thousands of dollars each. For manufacturers who make a wide range of residential lighting products, the costs are prohibitive – and of course, need recertification if there is a change to a driver or LED module.

Residential lighting designers also note that for major projects, the specified product may not be available two years after the specification and building permit – then what? Aren’t there enough options in LED lighting for a homeowner or designer to choose?

MAKING IT EVEN WORSE About the year 2000, the California Public Utilities Commission (CPUC) began allowing utilities to claim energy efficiency savings from Title 24 changes they introduced – resulting in higher utility rates. Called “attribution,” this encouraged the utilities to take charge of Title 24 over the last two decades as they gathered to form and fund the Statewide Utility Codes and Standards Enhancement Team.

Today, the utility Team hires professional consultants to develop code change ideas and then to make formal proposals to the CEC known as Codes and Standard Enhancement (CASE) reports that have changed the character of Title 24 development.

For example, a 2022 CASE report proposing outdoor lighting code changes consists of 236 pages of technical reporting, 112 tables, 46 figures, 14 appendices, references and

a 5-page bibliography. These reports typically cost about $1,000 per page to produce4. For all practical purposes, this changes the public process on which Title 24 was founded and has turned ongoing code development into an expensive and bureaucratic process in which voluminous and costly CASE reports have become the voice of change. How can an individual designer afford to participate or to affect the outcome?

Worse yet, because of current success at reducing lighting energy the CASE proposals are increasingly having to nit-pick Title 24 to find rational opportunities. Having already reduced outdoor lighting power allowances by nearly 50% in the last decade, the above-mentioned CASE proposal now wants to alter light levels by making lighting zone interpretations and descriptions different from Table 26.4 of the IES 10th Edition Handbook.

The net effect could lower Title 24’s lighting power allowances such that recommended lighting levels from Handbook Chapter 26 may not be able to be achieved. I believe first in the professional responsibility of the designer to assess the design situation and correctly light it, and a code that prevents this is a bad one.

team has, the IALD and IES Sections in California began to organize this year to step in with and on behalf of the lighting community to counterbalance the weight of CASE reports and the controlling efforts of the utility team.

As an industry we have been remiss in not identifying this particular trend and fighting it. But we must. In my 2020 LightFair program with Clifton Lemon, our topic is “Own the Code” because we should. 

Title 24 of the California Code of Regulations is the state’s building codes including the building code, plumbing code, HVAC code, electrical code, sustainability code and other sections. Part 6 is the Building Energy Efficiency Standards. Among lighting professionals, the phrase “Title 24” needs little explanation.

1

A person who takes an excessive interest in minor details of political policy.

2

LD&A, May, 2018, “Our Work is Done Here”, by James Benya.

3

I have first-hand experience with developing CASE reports.

4

Photo: Bret Kavanaugh

Historically, the California Energy Commission expected code changes to be consistent with IES recommendations and good design practice. Realizing the overbearing advantage in resources that the utility

designing lighting — 31

PoE in NYC THE NEXT BROADWAY HIT?

By CHUCK CAMERON, OLENA ZAVRAGINA, ALAN LEE

of SDA Lighting & Controls

IS IT USEFUL FOR LIGHTING? In short, yes. PoE is able to perform all of the functions of current networked lighting control systems. It allows for user and sensor inputs, timeclock functionality and other advanced scheduling features. The granular control offered via PoE provides the flexibility needed to remain compliant with local codes, regardless of location. This is particularly useful as energy codes continue to get stricter over time.

As an added benefit, the interconnected topology allows for added potential in terms of energy savings and site specific calibration. It does so by providing detailed data it has collected from all its devices. Furthermore, because PoE is digital, it is far more easily integrated with other systems. As such, it is not reliant on protocols such as BACNet. PoE Lighting is also low voltage in nature, allowing projects to greatly limit the need for licensed electrical contractors that handle line voltage. This remains true when fixtures are added or replaced following project completion. Particularly with larger projects, there is potential for cost savings and this frees up the electrical contractor to handle other parts of the project.

PoE holds many benefits, including time and cost savings.

Money is saved on hiring an electrician to install complex systems of electrical cablings; the network of ethernet cables used in an office or building is much simpler and uses lower voltage—reducing hazards—making it easy for anyone to install.

Finally, PoE allows for flexibility. Devices can be placed almost anywhere and can easily be moved around, because the single ethernet cord can be easily disconnected and reconnected.

Compliments of HEW

WHAT IS PoE? PoE, or Power over Ethernet, has become increasingly prevalent in the lighting industry, but what exactly is PoE? And how is it relevant to lighting? PoE allows a single Ethernet cord to provide both data and DC Power to a device rather than using numerous cords, outlets, and extension cables. PoE has long been used to power phones, IT devices, cameras and in many places security systems.

Compliments of SmartEngine 32



designing lighting

Compliments of HEW

WHY DO OWNERS & TENANTS WANT POE? The great promise of PoE lighting is gathering more data about our buildings. This data can be shared and aggregated with other data. This is the core tenet of what is generally referred to as smart buildings. The term smart building does not have a defined feature set and so the design team needs to tease out during the design process, which features will add value for the project’s owner and tenants. In New York City, the vast majority of PoE lighting systems have been specified for medium to large professional office fit outs. The reasons owners and tenants seek out PoE systems varies but there are some typical ones. When we posed this question to Glenn Buchholz, EVP, Controls & Technology of Chelsea Lighting, he replied, “Building owners and tenants are interested in a combination of reducing the line voltage wire running through their walls and ceilings and also building an intelligent sensor network that is the foundation for collecting data from within the space.”

The switch away from line voltage wiring and the associated conduits to structured data cabling will make installation a bit faster and easier. More importantly, this low voltage infrastructure and the increased control granularity make the system more flexible to reflect the real daily use of the space, adapt to the changes in an organization's space needs over time and respond to the unexpected, like our current pandemic.

Some owners are integrating their PoE lighting systems to share data with other systems. This can be a two-way street with the lighting system providing information like temperature and CO2 concentrations to the HVAC system as

well as receiving information from security and scheduling software. Additionally, new software tools for efficient building operations and real estate optimization, generally called PropTech, are growing in use.

We also see owners and tenants who want to future proof their space. They believe that they will find new uses for the technology as time goes on. It is true that the smart building space will grow greatly in the coming decade (typical length of a commercial lease) and so the likelihood that they will find new ways to use the data available from a PoE lighting system is high. So now that the client has asked for this, what does it mean for the lighting.

WHAT IS THE ANATOMY OF A SYSTEM? The Infrastructure of a PoE system is surprisingly simple and consists of only a handful of components.

The heart of the system is a ‘server’ that hosts software used for set up, system operation and data collection from the PoE network. The Primary function of the PoE switch is communication, more specifically receiving and forwarding data between software and Low Voltage (LV) devices on the network. Also, it is important to note that the conversion from AC to DC power takes place inside the PoE switch.

There are many manufacturers of the network switches; the most well known being Cisco. However, there are plenty of others that are also widely used in the industry. These switches don’t go in the electrical room as our other controls do. As you might guess, the PoE switches are typically located in the IT room. Alternatively, there are PoE ethernet switches that are plenum rated and can be distributed in the ceiling.

designing lighting — 33

Compliments of SmartEngine (tables and chairs)

The next component is a PoE node. A node is an intelligent device, which can be integrated in the fixture or located remotely, and provides means of control and communication with the luminaire. Nodes often include an integrated sensor.

This sensor is a digital device that provides occupancy and light level information to the system. Depending on the POE manufacturer, sensors can also monitor temperature, humidity, CO2 level, sound and more. Alternatively, remote sensors can be connected to the nodes.

Another component of the system is a keypad or touchscreen(s) to provide user inputs. There are many different flavors starting from simple on/off switches, to more sophisticated scene selectors and touchscreens.

They are sometimes native PoE devices but often we are connecting legacy low voltage devices.

The last, but not least, in the list of components of the POE system is a hub for connections to 3rd party sensors, nonPOE fixtures, plug load control and other devices.

HOW DOES THE FIXTURE CHANGE? If a client directs us to design a PoE lighting system, it is possible for the client to still use her favorite fixtures, especially if they are specification-grade. To convert to

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PoE, the LED board and the optics are not affected so the output and distribution of light will be just the same as with traditional power. Coordination with the particular system vendor will be required, as there are no standards like traditional drivers. First, does the PoE system have a node that drives the correct power to the LED board? All systems have nodes for constant current LEDs but constant voltage options are still developing. The next consideration is deciding whether the node fits in the fixture or is remote.

More often than not, it’s still remote. The PoE providers are working to develop nodes that fit into the driver compartment in existing fixtures. There are several ways to connect the luminaire to the node. Some nodes accept bare wires while most use some type of low voltage connector.

Moreover, if PoE lighting continues to grow, standardization will almost certainly occur and fixtures will be adapted to better accommodate the integral nodes.

WHAT ABOUT EMERGENCY LIGHTING? Emergency control devices are crucial in ensuring proper operation of PoE lighting in the event of an emergency.

This requires coordination much like it does with traditional lighting controls. The difference is in the execution, which is often dictated by local code requirements.

The most straightforward method in traditional lighting

incorporates battery backups into the fixtures themselves to provide temporary power following a loss of power. Some PoE solutions also offer such a battery option in PoE form factor. Keep in mind that the battery unit often requires an additional PoE feed.

Centralized backup from an inverter or generator is the other main method for powering the emergency lighting. There are now UL approved methods for doing this with PoE. This method has the network switch receiving power from an emergency power source which usually consists of a UPS backed up with an inverter or generator. In this use case, the server may also be connected to a UPS in order to ensure that the lighting control system does not reset in the event of a power loss. Sometimes, the network equipment connected to

that switch is powered by a normal power source. This allows for the system to sense when power has been lost.

Here in New York City, these methods are not yet approved by the Department of Buildings. In order to comply with code, emergency fixtures have to be connected to line voltage equipment that is controlled by the PoE Lighting System and a UL924 certified shunt relay or battery. Work is ongoing to update the building codes and allow for native PoE solutions, though the agencies involved tend to move slowly. There may be scenarios in which a mix of solutions are implemented in different parts of a project, as dictated by site conditions and as allowed by local code. It is always important to check the local requirements.

Compliments of Smart Engine (Human Centric Lighting)

How Does this Work for Dynamic Lighting?

We recently received a request from a lighting design consultant who had been asked to explore options for PoE and dynamic -- color tuning -- lighting for a project. While there are some additional details to coordinate such as matching the right PoE node to the fixture, the color tuning request makes it a great application for PoE lighting. Most of the PoE vendors have multi-channel nodes that can be used for the

fixture control in this application. Since each fixture is already getting a data connection, there is less additional wiring. Additionally, most PoE systems have white tuning functions built into their software suite.

Therefore, PoE systems do not become more complex when adding dynamic lighting features. PoE lighting systems are also being used for more chromatic -- full color changing -- installations.

designing lighting — 35

Going Deeper...

Compliments of HEW

HOW ARE THE FIRST PROJECTS GOING?

WHAT ARE THE FUTURE POSSIBILITIES?

Like any new technology, there are growing pains.

While in the past, lighting designers did not necessarily need to communicate with client IT departments, PoE requires coordination between the two. Often they need to get onboard early. Many of the PoE lighting system manufacturers have come from other industries and would benefit from gaining a better understanding of the various players in the architectural lighting channel. Going to PoE also changes how the project is purchased and built. We asked Mr. Buchholz about the role of the distributor and how it’s different for a PoE project. He said, “A lighting distributor needs to get involved earlier in the project in order to coordinate every light fixture with the PoE drivers that will power them. Drivers need to be matched to the LED boards used in each light fixture to ensure proper performance and dimmability.”

As the number of projects implementing PoE lighting systems grows, the growing pains of this new technology are still being sorted out. Once this methodology to power and control lighting is more common, lighting designers can begin to explore new possibilities for PoE systems.

The installation phase of a project also looks different because the electrician and the IT contractor must work together. Oftentimes, the two may hold different opinions as to who should be responsible for which aspects of a project.

Because, each project is so different, there is no one way to address this. Bucholz noted, “Our contractors’ biggest concerns are making sure that PoE lighting does not add unanticipated costs to a project or jeopardize a project’s schedule.” Another tool in making the implementation of the project go well is a new kind of system integrator with the combined knowledge of lighting and computer networking to help smooth out this process. This integrator coordinates the equipment from multiple vendors, creates final detailed installation drawings and then assists the contractors on site in addition to configuring the system.

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The COVID-19 pandemic has highlighted the need for more flexible workplaces, as well as urged an accelerated evolution of smart buildings. Many buildings are beginning to see room schedule integration, indoor location services, and asset tracking. Furthermore, new developments are arising in terms of enhanced communication for emergency situations.

In time, integration possibilities are certain to grow. Much like we have seen with the web and mobile revolutions, new features and integrations we didn’t know we needed will keep being developed. All of these possibilities can make the space perform better for the users while keeping the electric bill as low as possible. Oh... wait, that has always been our goal for the lighting system. 

CASE STUDIES:

** Click to view

West Baden Hotel uses PoE for Dynamic Color in a historic space Apartment Complex Saves 86% on their Energy Usage A contractor tries it for themselves Quest technology management updates their lighting

OUTDOOR AND UNDERWATER SPECIALIST

OUTDOOR AND UNDERWATER SPECIALIST

cool,

cool, powerful, powerful, certified. the new certified.

Arpool the new series is Arpoolready.

Expanding Your Toolbox By

LINDA LONGO

As many hospitality projects hit pause thanks to the pandemic, many architectural lighting designers are applying their talent for illuminating large-scale spaces to the luxury residential market.

Even before stay-at-home orders were a mandate, there has always been an upper eschelon of clientele whose residences – whether primary or vacation homes – command the square footage of a resort or commercial property. One of the outcomes of the pandemic has been an increased emphasis on maximizing one’s home and property to serve as a self-contained compound of sorts for a variety of family activities.

James Solecki, a leading lighting designer who has operated a boutique lighting design business in his native Canada for 20 years before his expertise was tapped to handle resort projects in the Turks & Caicos Islands, has been straddling the line between hospitality/commercial work and luxury residences for years. He is also on the board of directors for the International Landscape Lighting Institute.

Designing lighting plans for large residential resort properties ―

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— designing lighting

especially with features such as wall-to-ceiling windows or unusually tall ceilings ― takes a more comprehensive skill set than the average interior designer might possess when it comes to not only providing adequate lighting for the space after sundown, but then strategically illuminating architectural features and objets d’art.

“Whether I’m located in Muskoka, Ontario, or here in the Turks and Caicos, the challenges are similar,” Solecki explains. “Lighting large volume spaces while maintaining a warm, welcoming, and subtle appearance requires a strong understanding of technical specifications and a lot of creativity. I have relied heavily on my experience in stage and live event lighting to help direct me in my residential lighting solutions.”

Solecki says his motto is, “See the effect, not the source” when describing his design style to clients

and architects. “Nowhere is this more important than in grand scale, voluminous residential interiors,” he nots. “In order to accomplish a quiet, glare-free interior, you need to pay close attention to the photometrics of any given luminaire while also ensuring that accessory glare control components – such as Hex-cell

louvres and shrouds or ‘snoots’ – are available.”

When it comes to photometrics, Solecki emphasizes the need to check that the manufacturers have done their homework and can provide all of the optical performance data required to ensure that the surfaces and

objects being highlighted will receive not only the right amount of light, but that aspects such as beam shape are appropriate and appealing.

In the average home, glare control is not nearly as critical as when shooting light across a large room or space. “Nothing ruins a lovely lighting

composition more than glare,” Solecki states. “It’s imperative that beam direction is considered from all angles in a room before finalizing fixture placement. Even the best quality directional lighting fixtures, fitted with glare control accessories, can be very annoying when viewed directly from a sitting area. It is my opinion that if

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there aren’t glare control accessories for the projected light source I want to use, then that luminaire drops to the bottom of my list. Glare is our enemy, and it needs to be eliminated.”

It is because of these lighting nuances that Solecki is a strong advocate for architectural lighting professionals being involved in any major renovation or new construction

project. “Not employing one is essentially the same as leaving your lighting design to chance. While interior designers, decorators, and the like often come up with interesting and novel light fixtures, they are rarely familiar with all of the technical requirements of a great lighting composition,” he explains. “Similarly, while the electrician may seem to have a handle on fixture selection, installation, techniques and controls, few have the depth of knowledge

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about the essence of light that makes a space or place remarkable. A good lighting designer will combine their technical expertise with their creative flair to come up with a system that truly enhances the project.”

As an architectural lighting consultant, Solecki sees his role as an arbiter.

“I work directly for my client while working alongside the architect,

engineer, interior designer, and electrician,” he says. “Learning on each project from everyone on the design team only strengthens my abilities for the next project, allowing me to build on their experience and deliver something truly remarkable. Another one of my sayings is, ‘People don’t get great lighting ― until they get it.’ ” Collaborating with interior designers is the best approach, according to Solecki. “Typically, I will handle the

design/layout and specification of all permanently installed luminaires such as recessed, linear, step, in-floor, monorail, and all exterior fixtures,” he recounts. “I then ask the interior designer for their specifications of the occasional and decorative fixtures. I review those specifications and will advise them if I find discrepancies with the overall design concept.

Things like CCT, unshielded lamps,

and incompatible drivers or power sources can create some hurdles, but we can usually work with the interior designers to find alternatives or make corrections.”

Sometimes those collaborations have hit some snags. “Being in a coastal environment is one of our greatest challenges. Often the decorative fixtures that are suggested are simply not appropriate for open-air or outdoor locations,” he remarks. “I

“Glare is our enemy, and it needs to be eliminated.”

“I don’t expect to see too much renovation work from the major resort/condo operators as they try to recover,” Solecki admits. “Our construction industry is still moving forward, however. The villa building boom of the last few years continues.

There are many fully committed projects moving forward as well as strong interest from new buyers and developers. Vacation property resales continue to be strong, which is encouraging for more renovation and upgrade projects. I am confident that we will weather this storm and come out on the other side stronger and more popular than ever. It’s important to note that the TCI is uniquely positioned in the Caribbean with its proximity to major urban markets, its long-standing reputation as a safe and ‘high end’ destination, and a haven for international investors.”

will always try to find an appropriate architectural lighting solution, but I don’t always win… until such a time as that lovely wicker pendant over the patio table fails, usually in a few short months. Then the clients tend to revert to my suggestions.”

Just as in all of North America, business in the Turks and Caicos are different than before the COVID-19 pandemic. For example, in a giant blow to tourism, Turks & Caicos had to close its borders to visitors for four months.

Solecki believes there are good residential opportunities for architectural lighting designers in most markets. “Not a week goes by where I don’t have to pause and educate someone about what it is I do, and why,” he says. “The residential market needs more of us. Your challenge will be found in convincing the clients, architects, and designers that you can bring value to the project. The only way to do that, in my experience, is to educate, educate, educate. While building your network, focus on the clients first,” he advises.

“Most of our clients have been involved in multiple projects over the years and they are most apt to listen, learn, and approve. Once you have the ear of the client, it is much easier to communicate with the rest of the design team and get them on board. 

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Can You Really Trust the Manufacturer’s Warranty?

Yes, with the NLB’s Trusted Warranty Evaluation Program

I

magine as a lighting designer, you are hired to work on a nursing home. The project owners highlight two main goals for the project: 1) the home must implement circadian lighting and 2) the project must be completed in one month.

You immediately turn to the manufacturer you have been working with for years, Tried and True. You are comfortable with this manufacturer and, in the past, whenever you had issues with a fixture, they have handled it efficiently and professionally.

Unfortunately, Tried and True will not have the fixtures you need in stock for another six weeks, well past the project’s completion date. Another manufacturer—New, Young, and Cool—has a nearly identical fixture in stock, but you don’t know anything about the company and find yourself wondering, “Will they stand behind their warranty?”

This is when the National Lighting Bureau’s (NLB) Trusted Warranty Evaluation program comes in. In short, this program validates that a company reliably stands behind its warranty. Products carrying the NLB Trusted Warranty logo come from companies whose warranty departments have been audited and approved by the NLB. Any company that sells products in the U.S. or Canada and that meets the objective criteria set by the NLB will be approved by the program. Seeing that the fixtures you need carry this logo gives you peace of mind, knowing that New, Young, and Cool upholds the quality standards of its products and warranty administration.

What’s more, this logo tells you that New, Young, and Cool meets at least eight of ten criteria within five specific areas of interest.

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By MALIA HULLFISH

The first set of criterion looks at the company’s formal warranty and evaluates three criteria. Firstly, the warranty must be found easily on the company’s website within three search clicks from the homepage or within one click using search. The company should also have specific documented procedures for their warranty that keep its management informed of warranty issues.

Finally, either an employee, department, or third party must be tasked with managing the warranty and their contact information must be readily available.

Randy Reid, Executive Director of the NLB stated, that we were ready to launch the program on March 1st, but with pandemic, the launch date has been pushed. We are currently processing applications from OEMS and we will be conducting the audits beginning October 1. The next area of interest examines the warranty language.

The warranty must be written in a way that the average person can understand and follow it. Additionally, the warranty must specify its start date. Often warranties, are filled with technical language that the layperson cannot understand. These criteria ensure that the company’s client understands exactly what the warranty does and does not cover.

Next, the company must either a) have been in business longer than the length of the warranty or b) possess insurance that covers its warranty obligations. This prevents companies from offering warranties which they don’t have the financial means to back; additionally, by offering the option for warranty insurance, newer companies are not discriminated against.

The fourth area includes a technical evaluation. Two SKUs (stock keeping units) will be chosen at random for reliability validation. A point will be awarded for each SKU that has reliability documentation. While the NLB

does not conduct product testing, they ensure that the company has information that allows it to confidently stand behind the quality of its products.

Finally, the NLB will assess three claims for evaluation.

Specifically, each of the claims will be assessed from first notification until when the claim was complete,

with the NLB examining the speed with which the claim was dealt.

Knowing that New, Young, and Cool’s warranty program has been inspected for standards that protect you as the designer and buyer, you are able to move forward with the project worry-free. 

designing lighting — 43

Designing Restaurants in the Age of COVID How Gitano and Zona De Cuba Are Lighting Up NYC Nightlife and Its Signature Skyline With travel abroad limited and COVID-19 keeping people far from close quarters, it’s nice to know there are still options for nightlife in the Big Apple. Since outdoor dining has started to open up, we’ve been searching for places that really go above and beyond in making an evening out a magical and safe experience. That’s what led us to GITANO Garden of Love (downtown) and Zona De Cuba (uptown) as two examples that are not only surviving, but thriving, during this tumultuous time.

Tulum-based Grupo GITANO recently made their return to NYC with their summer pop-up, Garden of Love.

The 24,000-square-foot outdoor restaurant and mezcal bar is the largest alfresco space in downtown Manhattan, with plenty of room to safely social distance. In a time when people are hesitant to travel, Garden of Love transports guests by bringing the Tulum jungle to the concrete jungle. Founder and owner James Gardner has taken every precaution to ensure guests are safe with tables set up six feet apart and no contact ordering, while still having fun in the wood pergola dining decks surrounded by 25" coconut palms, a reflecting pond, and a meditation area. While the process of bringing the space together was no easy feat, the results definitely prove their worth.

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“This was perhaps our most ambitious project to date—transforming an empty, dusty entire downtown NYC city block (24,000 square feet) in Hudson Square with no electricity, water, or sewer connections—into a lush tropical oasis and full service restaurant (seating 450 pre-COVID, and currently 250 guests) and all in just 3 months!”, enthuses Gardner.

“It was end of January 2018 when we were initially presented with this almost insane opportunity. The first thing I did after our site visit was find a palm tree farm in Florida. I asked the wholesale price of a 30"coconut palm and based on that answer said, ‘We can do this!’” Gardner then went into overdrive sketching and visualizing.

He had a very strong vision manifest quite quickly: a dramatic, symmetrical layout with central structure flanked by twin pergola dining decks and an outer 360-degree lounge. “I saw our iconic pergola and GITANO neon sign in the middle of Grand Street, knowing the people would Instagram with the backdrop of palms against the iconic Herzog & De Mueron and the Freedom Tower buildings, and I visualized a long, palm tree-lined runway right through the center of the property.”

Next Gardner enlisted GITANO’s in-house architect and design team in Tulum to start designing the structures and all components of the

By STEF SCHWALB project under his and his partner’s close direction. “It was incredibly complex pulling this off in NYC with so many government departments involved including the Department of Buildings, the Department of Environmental Protection, the Fire Department, the Department of Health, the State Liquor Authority, and others,” explains Gardner. “Everything was challenging, including getting a full liquor license approved in record time; but the most complex and challenging part was without question the permits and process to get utilities to the site—a project that can take 18 months plus, typically.

We have learned so many lessons— too many to share briefly—but most importantly, each season we have been able to tweak and evolve the design.”

Since lighting plays an integral part in creating the vibe of any space, in bringing Tulum to NYC, it played a critical role in setting the scene.

“Lighting brings the magic for sure.

Everyone talks about our Tulum property as being magical, almost ethereal and otherworldly. A large part of this is the lighting design,” says Gardner. “From the neon sign lighting up the entrance pathway in pink; to the disco kisses of our giant disco ball suspended, swaying, and gently spinning in the palm trees welcoming our guests; to the soft pink and yellow lights wound in old ship rope; to the eclectic chandeliers hanging at different heights in an ancient fairy tree. Speaking of fairies, that’s the inspiration for the tiny hanging

GITANO GARDEN OF LOVE

lights throughout the restaurant. We then have a very dramatic eight-foot vintage brass chandelier in our Jungle Room and mini crystal chandeliers over the bar.”

Combining the vibe of city life with inspiring elements of Tulum was top of mind in the creation of GITANO. “With NYC, we wanted to capture its essence and make it very NYC. There is much more light pollution in the city, so it’s a little harder to pull this off in some ways, but I do believe we have achieved magic here, also with many of the elements imported from Tulum,” says Gardner. “We are inspired by the idea of a tropical cabaret in glamorous days gone by, the roaring 20s, and pre-revolution

Cuba juxtaposed with gypsies singing and dancing around a campfire in Morocco or India.”

With the COVID-19 outbreak sidelining a lot of venues, GITANO Garden of Love has been impacted as well and had to change in order to serve its guests. “We are so grateful to be a big outdoor dining property, which is really all anyone wants right now.

The place was almost designed with this pandemic in mind, although we will not take credit for having foreseen any of this almost surreal environment, we are all currently living in,” notes Gardner. “We have easily been able to space out tables and plantings for social distancing. We are strictly enforcing masks and only

serving guests who want to come for seated dining experiences. There are no standing groups or cocktail parties, for example. We take our position as one of the largest venues to be open in NYC very seriously and have taken lots of measures to make sure we are leaders in safety and social change.

We have implemented temperature checks and online health screenings for all guests at the door. We have a new automated order and payment system, which reduces contact and increase safety. We built new outdoor hand-washing stations, Tulumjungle style. The most surprising and pleasing part is that our guests are respecting and embracing these changes and are happy that we are taking this so seriously.”

designing lighting — 45

Further uptown, opening last spring, and showcasing the largest restaurant rooftop deck in NYC, Zona De Cuba also delivers enticing island vibes and can safely seat up to 150-200 guests.

Social distancing aside, the vibrant space also features lush lighting, palm trees, red carpets, and much more. “We are unique when it comes to rooftops as Zona De Cuba is in a self-standing structure on top of a national, state and NYC landmark— the United States Post Office building, which occupies an entire city block.

We have a total of 16,000 square feet, eight inside and eight outside,” explains Fernando Mateo, Vice President of Operations. With visually stunning, expansive city views, the space overlooks Yankee Stadium, the Major Deegan Expressway, the Harlem River, and the Harlem River Drive.

It also offers views of the George Washington Bridge and the Robert F. Kennedy Bridge (also known as the Triborough Bridge). “Our views of the NYC skyline are amazing, and the fresh air and sights of Harlem nights are breathtaking. Navigating Zona De Cuba brings you back to the island of Cuba with its maze of palm trees, coconut palms, and greens.

It’s something you experience only when you’re vacationing. Our antique

ZONA DE CUBA

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furniture for the salitas are small living room sets that do not match, but they create a living room feeling.”

Of course, as with any design scheme, lighting also plays an important part in setting the mood here at Zona De Cuba. “It’s most important,” says Mateo. “Our antique sconces, chandeliers, bar lights, and pendants show the glamour of Old Havana.

Outside our festoon lights take it to the next level, enough for people to see without taking away from the evening stars and moonlight. We keep our lighting with the times when Cuba was the destination of the rich and famous. After visiting Cuba, we realized that everything old works as new if put together properly.”

The fact that the neighborhood itself is up and coming is also a good sign for the restaurant. “Zona De Cuba is an experience everyone should have at least once in their lifetime. It’s not a regular night out for dinner – it’s much more than that,” enthuses Mateo. “Coming into the South Bronx or (SOBRO), as many call it, is seeing a neighborhood change right before your eyes. Rents for one-bedroom apartments are costing upwards of $2800.00, and the skyline along

the Harlem River is towering with spectacular views of NYC.” What of the impact of COVID-19?

While sadly many restaurants are being shuttered, Zona De Cuba is still standing strong. “COVID-19 hurt all of us equally in the hospitality business, and we have dealt with it as best we can following all the guidelines and recommendations of the state,” says Mateo. “And at Zona De Cuba, we have gone beyond the government’s requirements of masks, gloves, and sanitizers. We implemented a monitoring app that keeps track of all employee symptoms for health and wellness. Every employee has downloaded the @work app by Achu Health, where they tell us their daily symptoms and our management team decides if they are ok to come to work—and so far, so good. We have only had one person who we felt was not feeling good enough to come into work. We think this is the future to keeping a healthy work environment. @Work securely monitors workplace health through tracking the signs of fatigue, cough, cold, flu, and viruses, and we think this revolutionary technology will be a game changer for businesses as states begin to reopen.” 

For the past 35 years, Metro Area Sales has represented some of the finest lighting manufacturers in the metro NYC area.

We salute our partner manufacturers listed here and congratulate designing lighting on the launch of their inaugural issue.

JESCO Introduces INFINA 2.0 120V strip in 5 new styles: Ultra High Output, JA8/T24 Approved, Full Spectrum, RGBW and Eco. This flexible LED system runs up to 164 ft with 3� increments. Hardwired or plugged in, it is suitable for indoor and outdoor applications.

Specialty lighting is Aamsco’s area of expertise. We are expanding our line to incorporate OLED lighting. Custom designs available to suit your needs.

KLUS creates aluminum extrusions and components for customized LED lighting systems that fit your specific design maintaining a clean, high end finish.

Founded in 1934 and in our 80+ years in business, Times Square Lighting has dedicated ourselves to the lighting community with superior products and innovations.

By TONY DENAMI

Understanding UV— For most people visual light ranges from about 380 to 740 nm.

T

he human eye can see objects due to reflected light in the visual light spectrum. Light behaves like a wave, which has different properties that cause the light to manifest itself in different ways, one of them being wavelength (see image below).

Granted, waves of light do not just exist to help us see.

Light acts as a way of transporting energy, meaning that lighting is constantly operating around us, despite us not being able to see it. Some examples of this include x-rays used in a doctor’s office and infrared light used for night vision and thermal imaging.

For most people this visual light ranges from about 380 to 740 nanometers. Nanometers is the scale to which electromagnetic radiation is measured similar to the way that Fahrenheit measures temperature. There are seven color wavelengths within the 380 to 740 spectrums; in descending order they are red, orange, yellow green, blue, indigo and violet. Below the human visual level of 380 nanometers is the ultra violet or UV wavelength. Not all light is safe, ultraviolet (or UV) light being one of them.

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Most people have heard of UV light, having been warned about its connection to sunburns, tanning, and overexposure to sunlight. They know that the sun gives off UV rays, causing us to tan, but also making us more susceptible to sunburns, wrinkles, leathery skin, and even skin cancer.

Most do not know, however, that UV light can be further categorized into three groups: UV-A, UV-B, and UV-C. UV-A light exists below the visible spectrum, which is why we cannot see it, and it is also the most abundant type of UV light in the atmosphere, accounting for up to 95%.

UV-A light ranges from 315 to 400 nanometers.

Commonly referred to as blacklight, UV-A is the least dangerous and is used more commonly than the other types of UV light. Many of us have seen UV-A in action at malls, night clubs, or art installations, and many restaurants and food processing facilities use UV-A to trap and kill germ-carrying bugs.

—From A to C UV-B includes light of 280 to 315 nanometers. This type of light is what causes us to tan or burn and it is through UV-B that we receive vitamin D from the sun. Tanning salons have capitalized on UV-B, with their tanning beds providing enough UV-B to get a tan in a shorter amount of time.

Similarly to UV-A, UV-B promotes skin aging and the development of skin cancer, working specifically in the superficial layers of the skin. However, unlike UV-A, the atmosphere filters out most UV-B from the sun.

Finally, UV-C includes light of 100 to 280 nanometers.

UV-C poses various health risks, but, like UV-B, the atmosphere filters out its radiation. However, because of its highly damaging nature, scientists have found numerous uses for UV-C, including water disinfection and germicidal irradiation.

UV-C is most dangerous to humans at the 253.7 nanometer wavelength and becomes safer at 222 nanometers. Even so, because the radiation from UV-C can cause cancer and cataracts, medical grade personal protective equipment, PPE, and procedures must be handled with the utmost care to avoid its dangerous side effects. The hope is that, in combination with hand washing and facemasks, UV-C light can be used to effectively eradicate COVID-19 and make public spaces safer.

In June Signify announced that Boston University’s National Emerging Infectious Diseases Laboratories (NEIDL) exposed materials containing the virus to a UV-C tube lamp from Signify. It found that a dose of 5 mJ/cm2 resulted in “a reduction of the SARS-CoV-2 virus of 99% in 6 seconds” (SARS-CoV-2 is the more scientific name for the novel coronavirus). Signify provided Boston University with a 35W Philips TUV light source emitting at around 254 nm.

Later that same month, Acuity announced a partnership with Ushio and launched the Care222 lamp module, which emits intermittent pulses of the 222nm UV light to reduce pathogens on surfaces. The lamps are produced by Ushio and feature a specially designed short pass filter, based on research and technology developed by Columbia University, which filters out from the lamp the longer UV wavelengths that are harmful to humans.

Stones River Electric in Nashville recently installed UV-C technology on a job site. In that application the luminaires were mounted high in the ceiling on the short-dimension wall of a room in order to traverse the long dimension and flood the upper room area; no direct view of the light source was possible, with fixed louvers helping to further decrease the direct sight lines to the source. Additionally, Stones River found mixing UV sources was also an effective way to sterilize rooms and treat patients. Using light for disinfection is especially helpful because it is able to bounce and reflect into hard to reach areas of the room that may be passed over when cleaning by hand.

As scientists continue expand their knowledge of UV light, we can anticipate finding more ways to use the different types of UV light for good in spite of their harmful properties. 

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Photo: Umberto

While UV-A is relatively safe due to its emission of long(er) wave light, scientists have linked UV-A to skin cancer, as it can penetrate the middle layer of the skin, damaging collagen and promoting skin aging. Most sunscreens only protect against UV-B, so look for products with “broadspectrum protection” on the label.

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designing lighting salutes our charter advertisers and we thank them for their support.

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UP CLOSE

A Word of Caution From Paul Marantz

"We are losing many of the manufacturers that we relied on. They are either being swallowed up or they are going out of business."

Paul told me that these are very challenging times for everyone, “All designers bank on certain levels of quality from the companies which they specify and we always had a roster of manufacturers that were mainly based in the US, but also in Europe. Much of the product today is sourced from Asia and not, I think, subject to the same quality controls to which we have become accustomed.” 

Paul Marantz is an American architectural lighting designer, whose work includes the discothèque Studio 54, the Times Square Ball, the Tribute in Light, the World Trade Center Memorial, the Barnes Foundation, and the Burj Khalifa. He is a founder of the lighting design firm Fisher Marantz Stone.

Recently Fisher Marantz Stone received Tesla Awards for the Paradise Club at the Edition Hotel and the Ford Foundation, both in New York City. After discussing those awards in detail, Paul and I had a conversation about the state of the industry. He had some concerns to share about manufacturing before the pandemic. Paul explained that the world was moving from a lighting scenario that was built with 100-year old tried-and-true light sources to a scenario where everyone wants to replace all of their lighting with LEDs. He said, “It’s a little bit scary.” He explained that a large portion of the company’s work (along with everyone else’s) is based on technology that is not yet fully mature. Another concern was the state of manufacturing. “We are losing many of the manufacturers that we relied on. They are either being swallowed up or they are going out of business,” he said. We discussed Edison Price’s recent Chapter 11 filing.

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Coming in the October Issue:

Should Lighting Designers be Licensed?

designing lighting — 53

EdisonReport.tv serves as a hub for all digital content in the lighting industry. A premier source for critical information surrounding lighting, EdisonReport.tv is dedicated to delivering industry news by way of video and serving its audience by spotlighting product launches and up-to-date educational videos, as well as information about upcoming webinars.

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