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Knickerbocker Hotel, New York, NY; Lighting: Tillotson Design Associates; Interiors: Gabellini Sheppard Associates; Photographer: Paul Warchol; electrix® L100 (L140) series
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Editorial Director’s Notepad
Light + Health
From the Lighting Research Center to the Light and Health Research Center:
The Past, the Present, and the Future
By Mariana Figuiero, PhD
An Exit Interview with Tim Licitra
Feature Story
New Heights in Lighting Design
By Randy Reid
Perfecting the balance of interior and exterior light in a renovated high-rise.
Benya’s Art & Science
Spectral Wars Episode 3: The Valley of Cyan
By James R, Benya, PE, FIES, FIALD
Fighting to develop and produce the right spectral dosing to deliver human centric lighting.
Cover Story
IESNYC Lumen Awards 2021
By Randy Reid
How to Submit a Winning Project
By Randy Reid
The Business of Lighting Design™️
Edward Bartholomew Starts a Lighting Design Firm During the Pandemic
By Randy Reid and Ellie Ragiel
“Revitalizing environments with light” through greater equity and diversity.
Residential
The Rise of Resimercial
By Linda Longo
Appreciating the beauty of commercial architectural lighting in homes.
Just in
Modernizing a Hallmark
By Paul Vranesh
Advancements in technology rejuvenate the Acosta Bridge.
Is Bluetooth® Mesh Really the Holy Grail for the Internet of Lighting?
By Randy Reid
Hospitality
Hilton Aventura Miami
By Stef Schwalb
Transforming a space and setting the mood with lighting.
WILD + STEM = a Bright Future
By Ellie Ragiel
Discussing the role of women and minority groups within lighting design.
People on the Move
Still Shining! In Memoriam
Upcoming Shows
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JIM BENYA
LINDA LONGO
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ELLIE RAGIEL
Fotografiska New York
Photography by David Sundberg/Esto
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Editorial Director: Randy Reid
Publisher: Cliff Smith
If there is a better evening in lighting than the IESNYC Lumen Awards Gala, I haven’t found it. For me, it is the most fun social event in the industry, and I can’t wait for its in-person return in 2022. For years, I would arrive back in Nashville the day after the gala with great stories and stunning pictures. Perhaps I was a little sleepy from the long night before, and Mrs. Reid would quickly call me out for being a bit hungover.
Director of Audience Development: Angie Hullfish
Contirbuting Writers:
James Benya PE, FIES, FIALD
Principal at Design Services, Inc. and The Benya Burnett Consultancy
Linda Longo Residential Lighting Contributor
Stefanie Schwalb Hospitality Lighting Contributor Interim Managing Editor at Boston Magazine
Staff Writers:
Ellie Ragiel Margaret Runnels
Jacob Wright
Published by EdisonReport 1726C General George Patton Dr. Brentwood, TN 37027
Phone: 615-371-0961 designinglighting.com
designing lighting is focused on the Business of Lighting Design™ and provides business information to the lighting design community. In addition to the website, designing lighting publishes bi-monthly online magazines featuring original content, interviews within the community and highlights successful award winning lighting designs. While designing lighting is based in the U.S., it has contributors from Europe and is developing a global presence. (ISSN 2693-9223)
Statements and opinions expressed in articles and editorials in dl are the expressions of contributors and do not necessarily represent the policies or opinions of the EdisonReport. Advertisements appearing in the publication are the sole responsibility of the advertiser.
In 2018, she wanted to join the fun and perhaps she wanted an excuse to buy a new dress. Many of you know of my thriftiness, so if she was to attend, she would have to work the event. She did and created the lighting industry’s first fashion report. I believe it was very well received, and she really enjoyed it. With any luck, she, and the fashion commentary, will be back in 2022.
This issue is focused on the Awards that would have been announced at the gala if it were occurring. We want to personally thank Clara Powell, Adrienne Shulman, and Cathy Bontempo for giving me early access to the information. Normally, we publish the first week of every other month. However, we coordinated our timing with the New York section, and everything worked as planned. IESNYC published the awards on 17 JUN with designing lighting (dl) following on 18 JUN.
In this issue I write about one of the Award of Excellence recipients, the Fotografiska New York, which is one of the most dramatic façade lighting jobs I have seen. Having open access to the information from IESNYC and having visited Fotografiska twice allow me to write better stories. When interviewing a lighting design team, questions are easier to craft after seeing the design in person. Of the fourteen lumen awards in 2021, I have personally visited Fotografiska, Moynihan Train Hall, St. Thomas Church, and Zero Bond.
In addition, I was honored to serve as a juror for the awards this year and was able to learn about the process behind the scenes. The amount of work to create a fair and efficient judging process was remarkable given that the New York section is a volunteer organization. The IESNYC is unique, proactive, and proficient in everything they do, making the judging process extremely professional.
As with any awards competition, there were a few submissions in which the descriptions didn’t represent the projects well. Thanks to Randy Sabedra for suggesting the article, “Tips on How to Submit a project for an IESNYC Lumen Award.”
Much to my dismay, Mrs. Reid announced that she could not properly write a fashion article in 2022 wearing a dress she had previously worn. And, as some of you may be aware, Mrs. Reid has had prior issues with dresses at IES events. When I was president of the Society in 2002, on the day I was to give a speech at the Annual Conference in Ottawa, she hung her gown on a fire sprinkler head, which promptly went off causing three floors of the hotel to be flooded and evacuated.
We are all ready for a party and I can’t wait for the 2022 gala. Meantime, I hope you enjoy reading about the 2021 awards.
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From the Lighting Research Center to the Light and Health Research Center: The Past, the Present, and the Future
MARIANA G. FIGUEIRO, PHD By Professor and Director, Light and Health Research Center
The Past
Much has been learned over the past several decades about light’s non-visual impacts on the regulation and disruption of circadian rhythms in humans. In 1980, Dr. Alfred Lewy demonstrated that a two-hour exposure to high levels of light at night significantly suppressed the body’s production of melatonin. This pioneering discovery stimulated numerous subsequent studies that expanded the field of knowledge. In 2002, Dr. David Berson identified a new class of photoreceptor known as intrinsically photosensitive retinal ganglion cells (ipRGCs). While not as well known as the classical rod and cone photoreceptors, the ipRGCs are the primary ones involved in circadian phototransduction, which is how the retina converts light signals into neural signals for the brain’s master biological clock. Soon afterward, a team of scientists at the Lighting Research Center (LRC) led by Dr. Mark Rea proposed a new framework for lighting practice and discussed lighting characteristics affecting the circadian system, as measured by how light affects humans in ways other than visual image formation. Prior to that time, few publications had focused on light’s non-visual impacts. This trend has significantly changed.
Over the past two decades, our research has focused on understanding the phototransduction mechanisms of the circadian system and what kind of lighting is more effective for stimulating the biological clock. A hallmark of our work has been translating the science into applications and performing numerous field studies. Our research has primarily shown that a specific amount of light delivered with the appropriate timing, duration, and distribution can significantly improve sleep, mood, and general well-being for newborns in the NICU, students in schools, office workers, and older adults, including those living with Alzheimer’s disease. We have also studied how light can reduce fatigue in cancer patients and support alertness in night-shift nurses and U.S. Navy submariners.
In all these field studies, the careful calibration and measurement of light
has underscored our firm belief that one cannot even begin to talk about circadian response without first correctly measuring the stimulus. The development of a personal circadian light measurement device known as the Daysimeter, led by our chief scientist Andrew Bierman, was a milestone for us, creating numerous opportunities for new field research.
Over the past two decades, much has also changed on the technology side. A new era of lighting has emerged in the last quarter century with the development of solid-state lighting, including light emitting diodes (LEDs). Not only are these lighting technologies less expensive to purchase and operate than 20th century technologies, but the quality of the light is also better than ever before. The precise and easy control of spectrum, amount, duration, and timing allow lighting professionals to lay out the palette for painting a picture of better health for everyone – at an affordable price.
The Present
Given the increased understanding of circadian phototransduction, advances in lighting technology, and extensive research into the health risks posed by circadian system disruption, there is a growing responsibility to ensure that positive health outcomes are promoted in everyday lighting solutions wherever possible.
Despite widespread agreement that a 24-hour cycle of bright days and dim nights can clearly benefit health and safety, many researchers in the field have noted a lack of appropriate metrics and analytical methods to fully predict and explain lighting’s effect on the circadian system. Without an agreement on metrics and methods, some argue, it is impossible to tailor lighting applications for a specific effect on the circadian system.
My view is that this is beside the point. The science is still young, but we know enough that we can start applying the knowledge at hand in spaces where the 24-hour levels of bright and dim are known to be a problem (e.g., nursing homes, prisons, submarines). It is, after all, about bright days and dark nights – not which metric is better
for defining bright and dark. Thus, there is a clear and growing need to pivot light and health research toward the bed-side and away from the bench-side. And this pivot provides previously untold opportunities for the lighting profession.
The Future
The Light and Health Research Center was created at the Icahn School of Medicine at Mount Sinai to combine basic science, clinical research, and bioengineering and design to bolster our knowledge of light’s impact on human health and safety (Figure 1). Our mission is to advance the wellbeing of people and the planet through the science of light.
Among the many projects underway, we are continuing to look at how bright days and dim nights improve sleep for people from many walks of life, from submariners to premature infants to senior citizens and, indeed, to all who work in offices, schools, and factories. We are developing lighting schemes to improve the lives of those living with conditions like Alzheimer’s disease and depression, and those who are undergoing cancer treatment or recovering from traumatic brain injury. We are also exploring the science and application of ultraviolet light to improve vitamin D production in populations who do not get enough sunlight, to control agricultural plant pathogens, and to serve as a germicidal disinfection strategy in the built environment. We are also developing innovative lighting solutions for safer transportation, like emergency vehicles, that provide visual information rather than just visual sensation. And we are excited that we will be sharing our work with you every two months through our regular column in designing lighting (dl).
To mashup Timbuk 3 and Corey Hart, “the future’s so bright, we gotta use shades at night!” P
Figure 1. The Mount Sinai Light and Health Research Center brings together a highly skilled group of researchers, educators, and designers who are passionate about what light can do to improve the lives of people and sustain a healthy planet.
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Following the announcement that Tim Licitra would be leaving his post as Executive Director at IES, Tim and I sat down to reflect on his time there and his plans for the future.
Randy: You’ve been at IES now for six years, what would you say is your biggest accomplishment?
Tim: Without a doubt, the biggest accomplishment is the team I will be leaving behind. The staff with their skillsets is truly night and day from when I started at IES. I will surely miss the camaraderie. The team is so great to work with and there is so much history.
Randy: IES has definitely changed a lot from when you started. Can you tell me about the technology changes that you have implemented?
Tim: We have definitely tried to modernize the technology that we use. As a non-profit organization, we weren’t where we thought we should be. Transitioning from a physical handbook to the digitized Lighting Library was a tremendous accomplishment for the entire IES team. A digital version is more accessible to everyone, everywhere.
Randy: How are the sections doing during COVID-19? Has that new shift in technology affected them at all?
Tim: It’s been difficult. All the sections closed down at least for a while during the pandemic, but it has also been great to see sections stepping up and sharing their resources and ideas with each other. On the bright side, many sections have found they can achieve higher attendance with the virtual format.
Randy: When LightFair takes place this October it will mark the first LightFair in over two years. Obviously that conference is a huge revenue stream for IES—can you tell me how that experience has been?
Tim: When I first got to IES about five and a half years ago, the board was focused on turning the organization around from a revenue generation standpoint, specifically to lessen our reliance on LightFair. We have put a lot of effort in the last few years into putting in place the mechanisms to launch the Lighting Library as an annual subscription, (to) increase value to new sustaining membership categories, and (to) increase education revenue streams. While there was a shortfall due to LightFair not happening, we created other levers we could pull to try and make up for some of that shortfall. I do think this organization is in a great place moving forward.
Randy: Dan Salinas was tapped as the interim Executive Director, tell me about that process?
Tim: When I first came to IES they were working on a succession process, which consists of an executive search
committee that decides if an interim is needed. I was not part of the committee hence of the process, but I know Dan well. He has always been a great resource and mentor to me, as well as many people in the industry. He is the perfect person to keep the ship steered in the right direction.
Randy: Is there anything you wanted to get done that you didn’t?
Tim: I was hoping that we could move forward with our global collaboration more than we were able to. We did increase our global membership and some of our global partnerships—specifically IES Australia and New Zealand, the Indian Society of Lighting Engineers, and many others— but unfortunately when the pandemic hit we had to rethink how we would be able to interact with those organizations. Fortunately, we were able to put together Light for Life, the global event that we have held virtually over the past 2 years. This has really helped us maintain those global relationships.
Randy: Now that you are leaving IES, can you tell us about your future plans?
Tim: Yes! I will be the new Executive Director for IEEE’s Power and Energy Society, starting June 21st. They have about 40,000 members globally, and I will be working closely with IEEE and their other societies.
Randy: We are certainly going to miss you. You have done great work at IES.
Tim: I am definitely going to miss working so closely with the other past presidents of the organization, all of the amazing volunteers, our Board members, and the great staff.
New
Heights in Lighting Design
When it was time for the Air Lease Corporation to expand its office space footprint, they called on HOK who brought in Stantec to manage the lighting design. Senior Lighting Designer, Seth Ely, discussed the team’s strategy and implementation of their design.
Air Lease is housed in a Los Angeles high rise--recently fully renovated--creating a new-build feel for the design teams. Just five miles from the ocean, the building occupants get incredible daylight and great views, two of the primary factors for the architect and lighting design teams.
Stantec worked with HOK on the architectural front, and Ely describes two main architectural design characteristics that formed much of his work. The first being the configuration—the building is laid out so that each occupant can enjoy both natural light and high visual acuity. One of Ely’s main considerations was ensuring a healthy balance between the high levels of exterior light and whatever
By
interior lighting they would introduce.
Second, the architectural team introduced the graphic theme of an airfoil (a wing-shaped design element) to much of the project, and Ely and his team implemented complementary lighting styles within ceiling coves in many of the amenity spaces within the building. Ely explained, “The airfoil theme called for long flat surfaces on the bottom with a long gradual curve and then a tight curve. It added significant dimension to the design.”
The decision to go with light levels of 3500 Kelvin throughout was determined by the architectural accents—natural woods, light greys, and whites—to make sure they were well complemented and did not distract. Ely experimented with various color-tunable luminaires: 2700K, 3000K, 3500K, and 4000K as this helped the architect to better understand the
effects on the materials. Once the Kelvin temperature was determined, Ely created the specification around a static 3500K as this was the color temperature that best complemented.
To ensure color uniformity plan, Ely notes that the design mostly tried to group lighting by the same manufacturer
RANDY REID
Photo Credit: Eric Laignel Photography
in different areas. Included were Vode Lighting around the perimeter, Fluxworks for the offices, and iGuzzini for the accents.
When asked what he found to be the biggest challenge, Ely notes that the team put a lot of time and effort into perfecting the balance of exterior and interior light. They conducted multiple studies to
evaluate what the most efficient lighting strategy would be to complement the high lighting of the windows, while also providing enough light for the offices. They ultimately decided on a strategy of balancing the indirect light from the circulation areas with the more direct, linear light sources built near the core, which were positioned to maintain that balance between the exterior and interior. Also, dimming capabilities were key for the luminaires, which are all dimmable to 0.1%. In order to control the fixtures, Ely specified EldoLED drivers. He explained that EldoLED adds certain components to their drivers which allow them to achieve the 0.1% level while maintaining a flickerfree environment.
“With linear sources," Ely commented, "there is the possibility of using too much power pretty quick, so we had to tune the drivers to a specific power level and then the manufacturer had to limit the drivers to that power level.” This tactic allowed the job to beat Title 24 energy requirements by 20%. He went on to say, “We provided support for the visual acuity while creating a high enough vertical illuminance at the eye level to get enough melanopic lux.”
A final issue was that the art had not been
selected as the lighting design was being completed. As much flexibility as possible was needed, so Ely specified LF Illumination downlights with a rotating gimble. The luminaires had changeable lenses and Ely made these aiming adjustments himself during the walkthrough.
Also among the key design considerations was the idea of longevity. Ely wanted to ensure that all the light sources had very long lumen depreciation ratings, so that the lights would stay on throughout the tenure of the current client, and hopefully beyond. Thus, every light source in the Air Lease building has an L70 lumen depreciation rating of at least 100,000 hours.
One challenge in reaching this goal was tape light, which has become prevalent in many designs these days. To add flexibility, many manufacturers no longer use metal backing, so there is little heat dissipation, resulting in short life. Ely specified iGuzzini Underscore In/Out Top Bend, which met the 100,000 L70 rating.
Looking back on this 10-month project, Ely is most proud that the space is very bright and filled with natural light, while still being comfortable. After months of research
Looking back on this 10-month project, Ely is most proud of that fact that the space is very bright and filled with natural light, while still being visually comfortable.
and some trial and error, it appears his team has achieved that perfect balance between lighting for an interior office space and the sunny Los Angeles skies.
Spectral Wars Episode 3: The Valley of Cyan
JAMES R. BENYA, PE, FIES, FIALD By
ar away in a long-forgotten decade, lighting manufacturers battled for international market dominance of fluorescent lighting. They offered energy efficiency, enhanced color rendering, and even health benefits for some products. Today the fight for world dominance continues, using new LED weapons that are even more energy efficient, ever better color rendering, and potentially more capable than ever of making people healthier. At first, the prize was energy efficiency, but as the battle continues the true prize of human wellness has become clear. The combatants are tirelessly working behind the scenes to determine how circadian science, human physiology, and light source spectral power distributions can be finessed into manufactured products complete with detailed instructions as to how to deliver it.
The battle location, known by combatants as the Valley of Cyan, will be where circadian photobiology meets roaming tribes of zealot metric warriors, disenfranchised early adopters, and woke scientific purists all fighting to develop and produce the right spectral dosing to deliver health, productivity, and wellbeing benefits to the conquered and willing.
Twenty years ago, the breakthrough discovery of the intrinsically photo-responsive ganglion cells (“iprgc cells”) in human eyes coupled with a greater understanding of the circadian system response to light set the lighting industry on its head. In a haste to capitalize on the opportunity, early adopters called their ideas “human centric lighting” (HCL) and initially promoted fluorescent retrofits using 8000K lamps. The marketing spin was based upon the false assumption that blue rich white light was the panacea for unilateral enhanced visual acuity, greater energy efficiency, and “healthy” light. The HCL movement sputtered but did not die as it scrambled on the continuing notion that duplication of natural light was as simple as lots of short wavelength light by day and little to none at night. This notion was monetized by the ease of combining LEDs of two different color temperatures and cross fading them at the proper times. Now called white light tuning, test installations were made in classrooms, senior housing, hospitals, and offices all around
Comparing the Seoul “Sunlike” LEDs to generic bluepump LEDs at common correlated color temperatures
the developed world, which led to HCL became a marketing phenomenon that added $1 billion to the US lighting industry in 2020 alone.
But white light tuning is at a critical juncture. A relatively simple combination of ordinary high and low color white LED lighting using a basic dimming system allows the lighting to have either color temperature or a mixture of both. It is presented as easy as high CCT (5000K+) for “day active” periods and low CCT (3000K or less) for preparing to sleep. Mass production is already underway and equipping the armies with weapons of all types, from downlights and troffers to special “circadian” lighting. But emerging research points to the limited amount of red and cyan, caused by low-cost, blue-based LED manufacturing practices and gives new insight into the need for short wavelengths alone for circadian relevance.1
Until recently only a few specialized LEDs produced the spectrum of light most needed for a system wide circadian benefit. Common LEDs, even with high CRI, typically provide little light in the wavelengths we recognize as cyan between 487- 520nm. To win this war, LED lighting systems must significantly increase the amount of light in cyan and ensure a robust presence of red between 630 – 660nm as well. For projects pursing the latest version of WELL, the dramatically increased “melanopic” cyan wavelengths are a huge benefit.
There is another health-related reason for this new generation of LEDs. Australia, New Zealand and several other countries have required the use of certain lighting systems in health care settings for several decades. Codes call for the use of light sources that meet Cyanosis Observation Index (COI) requirements throughout health care and emergency facilities. Cyanosis2 is nature’s warning sign of sepsis onset and/or imminent death and proper lighting spectrum allows staff to easily recognize it by being able to easily see the purplish-red discoloration of the skin resulting from poor circulation or inadequate oxygenation of the blood. To meet COI requirements, general and
surgical light sources must be between 3300K and 5700K and have a COI value of 3.3 or less3. This rating system ensures that personnel can visually recognize the dermal discoloration and act quickly to combat the deadly condition. And here’s the catch…. meeting COI in effect requires the presence of cyan in the light source! It is hard to detect cyanosis unless cyan is present in the light source due to the human eye tristimulus preference for simultaneous contrast, which is the tendency of a surface color to induce its color wheel opposite in hue, value, and intensity upon an adjacent color. The Aussies learned the value of such light sources a long time ago, and I wonder why we do not require them too.
A new generation of LED’s are now emerging that appear to be the spectral war weapons of choice. They have CRI of 97 or higher, high R9 and conquer the Valley of Cyan. Called “sunlike” by one manufacturer, this new battle strategy is a lamp that spectrally ensures superb color rendering, is COI compliant4 and reinforces the human circadian system.
Benefits are even achieved at 3000K. If I am designing to help my clients with the most up to date HCL tool, I will certainly be specifying this new generation of LEDs.
In closing, I wish to add that for the full benefit that HCL promises, it is not as simple as the right LEDs. There are a number of other contributing factors necessary for lighting interventions to be successful in delivering bioactive circadian and health benefits. They include daylighting, interior surface reflectivity, vertical plane illuminance, ceiling plane illuminance, spatial distribution, architectural geometry, and color temperature5. Although these considerations and the contribution they provide have been known and discussed for several years, there is a new open access journal report that offers an excellent basis for quantifying these factors. Be sure to check out this interesting paper from Robert “SolerWalker” and “Princess” Erika Voss5. May the force be with you and your cyan light saber….
1 Spitschan, M., Lazar, R., Yetik, E., & Cajochen, C. (2019). No evidence for an S cone contribution to acute neuroendocrine and alerting responses to light. Current Biology, CB, 29(24), R1297–R1298. doi.org/10.1016/j.cub.2019.11.031
2 Ian Ashdown, “In the Blood”, All Things Lighting, February 15, 2019.
3 Calculated from spectrometer data of the source.
4 In 4000K and 5000K versions
5 Soler R and Voss E (2021) Biologically Relevant Lighting: An Industry Perspective. Front. Neurosci. 15:637221. www.frontiersin.org/articles/10.3389/fnins.2021.637221/full.
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AN OUTSTANDING BLEND OF INTERIOR/EXTERIOR DESIGN: KUGLER NING WINS IESNYC AWARD FOR FOTOGRAFISKA NEW YORK
REID By
RANDY
Photo Credit: David Sundberg / Esto
he IESNYC this week announced that Kugler Ning Lighting received an Award of Excellence for Fotografiska New York, a museum focused on the world’s best photography. A former church, the museum celebrates photography as a haven for innovation, inclusivity, and free expression.
Kugler Ning Lighting is an awardwinning New York architectural lighting design firm. Although they carry out many projects in New York, they work across North America and abroad.
After visiting the project, I interviewed designers Jerry Kugler, Michele Clement and Yungbin Kim to discuss the project and the unique challenges their design solved.
The exterior of Fotografiska New York is extraordinary with its renaissance revival style. At the time of its construction in the 1890s, the church house featured important architectural innovations—it had a cast-iron steel structure, terracotta construction, and many windows for natural light. It is these windows that presented a problem for the design team.
The gallery on floors 3-5, Clement explained, required the maximum amount of wall space for exhibits, and that meant blocking most of the windows, which would normally result in an unsightly exterior experience for pedestrians.
Their design called for creating another room around the perimeter with projectors illuminating each window. This partition allowed the interior of the space to be used efficiently, while providing a dramatic and pleasing aesthetic for the exterior facade.
When I visited the site, I discovered beautiful, rotating, primary colors lighting the windows on the fourth, fifth, and sixth floors, all complimenting the limestone façade for a jaw dropping view. Kugler Ning collaborated with 6Sides who used the Epson Pro L1300UNL for the projection show. In the interior, these primary colors appear between the exhibits.
In addition to primary colors, the Fotografiska curators can project Images which could expand across the panels so one image could fill the entire building, looking like a picture that was cut into many pieces, or images could travel through the different areas to create motion. They wanted the building to look architecturally beautiful, but at the same time make it a great background for video.
The space between the interior partition and the windows provided a sense of depth from the exterior and the window-to-panel gap also allows for interior maintenance of the projectors.
The historical facade was lit with a layering approach of expressing the multiple decorative ornamentation on each level. Although the façade fixtures look very similar, they hail from different manufacturers, as the KNL team could not get everything they needed from one manufacturer because of color temperature or point source details.
Overall, there are four layers to the façade design. KNL placed point source fixtures on the columns providing vertical façade illumination and used a second manufacturer for linear fixtures filling the volume of each window. In between floors there are small LED strip lights expressing the balustrades. In-ground uplights are
installed at the entrance to allow the visual connection with the upper levels
KNL reviewed color temperature to ensure that different brands of luminaires blended together. There were numerous mockups of luminaires against a white wall in their NYC office to decide between 2700K, 3000K and 3500K. Clement stated, “Because different manufacturers use different LED chips, the same CCT can look different with one fixture appearing more pink, and another more yellow.” An on-site mockup against the limestone appeared different. They discovered
Photo Credit: Randy Reid
Photo Credit: David Sundberg/Esto
Photo Credit: David Sundberg/Esto
Photo Credit: David Sundberg/Esto
that some 3000K luminaires matched luminaires from other manufacturers that were 2700K. During my visit, the entire façade appeared to be the exact same color temperature.
There were also mounting challenges - as there was no written record about this former church, and all work had to be within the guidelines of the Landmark Preservation Commission. The project was especially difficult because there were many wiring and drilling complications. Clement stated, “No penetrations were allowed in the stonework, so we created plans to potentially suspend the lights and create cantilever shelves for the luminaires to be mounted.” She went on to say, “We did sketches using the wooden window sills, going through grout joints because that can always be repaired if the lights are ever removed. We collaborated with the structural engineer on getting these details fully vetted before submitting to the LPC.”
There is a restaurant in the middle of the building on the third floor that is illuminated with very warm light. The KNL team blended the interior illumination with the outside of the building and merged with the white light on the limestone. In addition, there is a bookstore and cafe on the ground floor that pedestrians can easily see through the windows.
Kim explained, “Being able to see inside the building, and picking the perfect lighting for the outside of the building created a blending façade that invited people to come inside and see what was going on.”
Kugler added, “This project was different from any other because on most projects, the interior is usually very separate from the exterior. With, Fotografiska there was a blend of the interior and exterior.”
Jerry Kugler later added, “My role these
days is to nurture our talented staff, to encourage them and assist them in an effort to do their best work. This transition from generation to generation is how a firm maintains a leading role in our industry. I am very proud of Michele and Yungbin who played the key roles in this project and led us to this prestigious award. They are part of a core group of excellent lighting designers that represent the future of Kugler Ning and the lighting design industry.
CREATING A CONNECTION DAY AND NIGHT
Amsterdam Passenger Terminal, NL
A new lighting system, by Acclaim Lighting, extends the primary architectural concept of connecting land and water.
Read Full Story Here
SCAN ME
Dyna Drum SO Color GEN2
The Waterline Club at Waterline Square NEW
Focus Lighting
Color Kinetics, LF Illumination, Amerlux, Q-Tran
Photo Credit: Ryan Fischer
Saint Thomas Church
NEW YORK
Renfro Design Group
REREDOS: Ketra, ETC, Q-Tran, Mountain Productions, Inc.
Photo Credit: Cat Hoa, Leela Shanker, Yuting Wang Copyright: Flint Collective NYC OPEN 2020
Photo Credit: Keena Photo
Tips on How to Submit a Project for an IESNYC Lumen Award
A 2021 Juror Shares Best Practices to Help Submitters for 2022.
RANDY REID By
This year I had the privilege and honor to serve as a juror for the IESNYC Lumen Awards. It was a day-long process giving me the opportunity to see some of the best lit jobs in the world. Almost all of the submissions were professionally submitted, but there were a few that may have scored higher if the submitter could have better anticipated questions that came up during the judging process and addressed unclear issues in the narrative.
The IESNYC Lumen Awards program recognizes individuals for professionalism, ingenuity, and originality in lighting design based on the individual merit of each entry. Jurors are selected from a broad professional spectrum, representing knowledge of lighting and design excellence. The judging system is entirely based on how well the lighting design meets the program criteria. The Lumen Awards program is not a competition. There are three rounds of judging and I had the privilege of participating in the third round.
Submissions are received in January. Each submission is reviewed for compliance of rules and regulations. Projects that comply with the rules of the program move onto judging into three award categories:
Lumen Award of Excellence
The highest level of recognition for permanent architectural application.
Lumen Award of Merit Meritorious Recognition for permanent architectural application.
Lumen Citation Special Recognition for an art installation, technical detail, portion of a single project, temporary installation or other work.
For a detailed list of general rules, click here.
Project Information: Provide lighting designer's contact information credited for the design of the lighting, and the projects general information (such as name, location, type, and completion date).
Project Summary: 100-word limit. This summary will be read to the judges and your images will be shown during the first round of judging. Your summary should introduce your project to the Judges and inspire them to accelerate your project to the second round.
Image Narratives: 300-total word limit. Should your project move to the second round, the image narratives will be read to the judges. The image narratives should be cued to each image (e.g., Image1, Image2, Image3, etc.), and should describe or support the visual content of each image. Any reference or endorsement of a commercial product is not allowed. Submittals with this information will be dismissed. However, proper names of places (i.e., David H. Koch Center for Cancer Care at Memorial Sloan Kettering Cancer Center) is admissible.
Digital Images: Up to 10 high-resolution JPEG images (at least 1024px and 768px at 300dpi). Each digital file will be counted as
a single image. Digital files with multiple pictures or views or illustrations will be counted as multiple images towards a maximum of 10 images. For example, one file with two side-by-side views will be counted as 2 images or, one file with a picture, a detail and a section will count as 3 images.
Don’t include 10 images if they don’t help tell a powerful project story; sometimes less is more. Photos taken during daylight hours may not adequately present the lighting design.
Optional Video Submission: You may submit an optional digital video file. Acceptable files are: MOV, M4V or MP4 format. No audio allowed and digital videos should only be used to demonstrate kinetic, transitional, or animated lighting effects key to the lighting design concept. Still images as a slide show are not accepted as video and will be disqualified. Videos must be a maximum of one minute in length. Those that are over one minute will be terminated after one minute of play.
For best results, watch for flicker in your video which could jeopardize your chance of receiving an award. A video of simple color-changing lighting can appear pretty amateur if it appears more like ‘chase’ lights. As a juror I found the videos incredibly helpful as they always seemed to further expand the beauty of the design.
For a detailed list of submission requirements, click here
The Waterline Club at Waterline Square, Award of Excellence | Design: Focus Lighting. | Photography: Ryan Fischer
IP67 Large In-Grade Driveover and IP68 Fountain Shapes - Submersible to 1 m (3.28’)
5 Shapes
5 Sizes
Static or Tunable White
RGB
Pressure Switch on Request
Edward Bartholomew
STARTS a Lighting Design Firm during the Pandemic
By
RANDY REID AND ELLIE RAGIEL
Recently I had the chance to interview Edward Bartholomew, the Principal of Bartholomew Lighting, about his lifelong career in the lighting industry and his experience starting his firm last year in the middle of the pandemic.
Edward Bartholomew began his career as a lighting designer in the San Francisco Bay Area and later in Seattle. This was a formative time for him where he was able to explore big design ideas that interested him, most prominently, sustainable lighting solutions that integrated daylighting and electric lighting, and the application of contrast and luminance in interior spaces that he referred to as "exquisite darkness." He later moved to the Boston area and worked at the utility National Grid as an Energy Efficiency Lighting Program Manager. In this position, he developed utility incentive programs that supported energy efficiency and lighting quality. After leaving National Grid in 2019, Edward went on to work as a Senior Associate at the lighting design firm Available Light.
In March of 2020, during the global
pandemic, he was laid off at Available Light. But Edward saw what many would view as a setback as a great opportunity instead. He used his time to restart his own design firm, Bartholomew Lighting, and to focus his firm on the opportunities of retrofit lighting, and how these projects could benefit from his lighting design experience. Now, a little over one year into this venture, Edward has multiple projects and is competing for more. One recent project is with a museum in Rhode Island and is a personal favorite. As Edward describes it; "This particular building had previously been somewhat overlooked by the community, and my firm now has the opportunity to bring this museum back to life." It seems that this idea of bringing buildings back to life is the motivation behind all of the firm's activities. One can tell that Edward has made good on his promise to bring his lighting design experience to existing buildings—a process (and, fittingly, the tagline of the new firm) that he calls "revitalizing environments with light."
As a Black-owned business, Edward
is proud to be certified as a Minority Business Enterprise (MBE) in Massachusetts, which he describes as a signifier of the professional excellence and talents found in minority communities. While venturing out on his own has been challenging at times, Edward notes a few strategies that have helped expand his companies strengths. He has created strategic partnerships with a local energy service company (ESCO) which compliments his retrofit capabilities. And he contracts on projects with an independent designer on the West Coast whose skills complement his own.
Another significant role that Edward has embraced is his advocacy to promote greater diversity and inclusion in the lighting industry. For example, he was one of the first to voice his displeasure at the lighting industry in ignoring the social justice movement sparked by the killing of George Floyd last year. Among his efforts, he founded the affinity group Blacks & Underrepresented in Lighting & Design, (B.U.I.L.D.up) to foster connections between Black lighting
He was excited to announce that he has led a group that successfully applied for a Nuckolls Fund for Lighting Education $30,000 grant, which was awarded to Morgan State University to create a lighting course in their graduate architecture program.
professionals and discuss ways to support one another in a predominantly white industry. Edward also serves on the IES Diversity, Equity, Inclusion, and Respect (DEIR) committee, which was created to help the IES and the lighting industry embrace greater diversity and equity. While Edward admits that he's not sure any of these efforts have necessarily helped him acquire new work, he believes that it is crucial to lead when history calls you to make a difference.
One of the relationships that Edward is most proud of is being mentored by experienced friend and ally, Mark Loeffler IALD, LEED Fellow. "Being able to pick Mark's brain when a project starts to get complicated has been invaluable." What started off as a weekly check-in meeting has morphed into a shared passion and advocacy for equity in lighting design. Edward and Mark have developed a talk called "Light + Justice," which they will present at LightFair this fall, with an article on light and environmental justice to be in LD&A preceding LightFair. This talk and article has crystalized Edward's mission, and focused him to center equity in his practice, finding ways that lighting design can support underserved communities and not just the rich and priviledged. His mentoring relationship with Mark also shows how white allies can have a powerful impact on equity and inclusion, thus making our industry better.
Edward will also add teaching to his repertoire. He was excited to announce that he has led a group that successfully applied for a Nuckolls Fund for Lighting Education $30,000 grant, which was awarded to Morgan State University to create a lighting course in their graduate architecture program. It is the first time in the fund's history that it will provide funding to a Historically Black College and University (HBCU). Edward will be coteaching the course alongside Baltimorebased lighting designer Greg Guarnaccia of DoublEdge Designs. This lighting class at Morgan State is just the beginning of an effort to increase the pipeline of diverse talent into the lighting industry.
In another exciting venture, Edward and his friend John Wilson of Fernhill
Shopworks will be co-hosting a "vlogcast" starting in June on the Get-A-Grip-onLighting media platform. Each show will explore the interaction of lighting in our society. Diversity and equity will be just a few of the topics covered in this vlogcast, which will feature some fascinating guests. This timely vlogcast will broaden the conversation around lighting to examine
how light and design intersect with many of the world's critical issues.
We are excited to see Edward succeed with his design firm while advocating for greater equity and diversity in our industry. Our industry is better with voices like Edward's demonstrating the boundless potential of a better, more equitable lighting industry.
CREDITS: SHKS Architects, Bartholomew Lighting, Photographer: Benjamin Benschneider
M1:1 7/8” [22mm] 5/8“ [15.5mm]
Minirail 48V track
Small cross section, large flexibility
Miniaturized, flexible and efficient. Minirail 48V enables high quality lighting concepts with extremely compact tracks and spotlights.
www.erco.com/minirail
3 Available as surface-mounted, recessed and pendant solutions
3 Wide range of accessories
3 Wireless connectivity via Casambi Bluetooth, Zigbee and DALI
3 Safety class III and connections protected against polarity reversal
3 Efficient central power supply with up to 500W
3 Also available as a singlet
THE RISE OF RESIMERCIAL
Commercial architectural lighting products are becoming increasingly popular in residential installations as clients seek extraordinary performance and versatility.
By
“Everyone wants something special and unique,” notes Greg Kay, an award-winning lighting innovator, designer, and master electrician who has founded several companies (Tech Lighting, Pure Lighting, Edge Lighting, and Lightology) over his 40-year career, which includes acclaim as a roller disco lighting specialist in the 1970s alongside Paul Gregory of Manhattan-based Focus Lighting.
“I think the consumer has become more sophisticated, and they understand the value of good lighting design,” Kay says of today’s homeowners. Particularly in the medium to high-end and luxury markets, “people are building their dream homes and they are hiring lighting designers,” he explains.
Kay realized lighting’s effects on mood back in those roller disco design days, when he observed how good lighting design would invigorate club-goers who were tired from having worked all day and energize them enough to dance all night. “It’s the whole concept of [evoking] emotion,” he states.
Fast-forward four decades and that tenet holds true, but the tools have evolved.
“LED has been a huge advantage to lighting design,” Kay comments. In addition to LEDs allowing fixtures to be in a smaller and
"I think the consumer has become more sophisticated, and they understand the value of good lighting design."
― Greg Kay
LINDA LONGO
For a Boston client who passionately collects art, having a custom lighting solution – in this case, PureEdge Lighting’s Cirrus wall-wash fixtures – that could subtly showcase her collection without any other visual distractions (i.e. lighting fixtures) was the goal.
Photo credit: Four Seasons Residences, Boston Photographer: Tracy Shankle
less obtrusive size than ever before, they also can be installed in ways that previous light sources could not, such as being literally plastered into walls to create a glow of linear light.
Understandably, creating lighting effects such as cove lighting and wall-washing were immediately embraced in office and hospitality projects, but Kay has observed specifying architectural lighting effects in residential projects slowly gaining ground.
Savvy designers are selecting architectural products such as pinhole, adjustable spots, and linear wall-wash fixtures in residential applications because they are precisionengineered to block glare among other performance-driven capabilities.
For example, at the Four Seasons Residences in Boston, lighting designer Sergio Mazon of Mazon Lighting and lighting specifier Omnilite selected PureEdge Lighting’s wall wash architectural lighting to evenly illuminate a prized art collection in the client’s home.
The goal was to enhance the art and render the art and colors in their truest forms.
Choosing architectural lighting for a residential setting might have seemed unconventional years ago, but Kay finds it’s becoming more widely accepted when creating visual interest or as an architectural element in the living space.
When designing a new home, there are much less limitations regarding lighting design than in the past. “It’s no longer a paint-by-numbers scenario,” Kay says, where lighting can only be placed in certain areas on the wall or ceiling and is treated as more of an after-thought than part of the construction process.
“To truly appreciate the value of a space, you need architectural lighting,” Kay states. “And with products like plaster-in recessed linear, you can draw any size or shape. You don’t have to worry about hitting studs or going between joists. The drywall is your canvas. It becomes one with the architecture,” he comments. “These are tools that lighting designers didn’t have as recently as several years ago. Designers can now accent architectural features in an integral way; the lighting is not just something attached to the building.”
According to Kay, electricians and builders are open to these new lighting
approaches. “I’m an electrician by trade, so everything [at PureEdge Lighting] is about how simple it is for the electrician to solve problems,” he says.
In addition to recessed linear, there is another architecturally based technology on the horizon in the residential arena. “Tunable White in a range of 6500K to 2700K is becoming popular in commercial office spaces. We’re seeing it take off quicker there,” Kay notes, adding that a range of 6500K to 2000K is more suited for residential spaces, although currently under-utilized. That will soon change.
“The Department of Energy (DOE) did a study [Tuning the Light in Senior Care, 2016] evaluating the beneficial effects of tunable white light in senior care facilities,” Kay mentions. The results revealed residents sleeping better and feeling a greater sense of well-being. “We all know that lighting affects emotion,” he states. “How do you feel on a cloudy day versus a sunny day? By using color-tuning, you can create the space and emotion you want.”
In the aforementioned case of clients with treasured works of art in their homes, tunable light is an incredible tool for maximizing the look of that investment. “If there are warm tones in the painting, you’d want to hit it with warmer color. If there are more blue tones, you can change it to a cooler color temperature and really saturate that color,” Kay advises. “That’s what lighting can do. You’re painting with light.”
PureEdge Lighting offers Warm Dim on its line of TruTrack® and MR16s, while TrueLine, Verge, Reveal Wall Wash, and Cover are all a part of the Tunable technology family of products.
Warm Dim, Kay explains, is a direct replacement product while Tunable, which requires rewiring, is best in new
construction. “Both give a whole new dimension to the space,” he adds. “For me, I view tunable light like the advent of color TV. I think it’s the future. However, the average person doesn’t know what Warm Dim and Tunable are yet. The challenge is educating the public; it’s going to take a village.” Adoption will happen over time. “After all, we had to educate the client on halogen years ago,” he recalls.
The beauty of these new architectural products is that they allow the client to become lighting fixture designers to some degree. They can achieve something completely unique for their home that no one else has.
“Lighting has always been an asset — if it’s done right,” Kay affirms. When homeowners see what can be achieved, there is often little price resistance. “It gives value to their home, and they realize they’re going to be living in that light for a long time.”
This residential kitchen in Chicago features Pure Lighting’s plaster-in TruLine LED recessed linear lighting on a flat ceiling and featuring tunable color.
Photo credit: Gregory Kay, PureEdge Lighting
New Saber Suspended Outdoor Lighting
Form, Function, Flexibility
Saber, the new USA patent-pending lighting system by PureEdge, takes architectural lighting to the next level by creating free-form lighting in outdoor spaces. LED rounded strips of light create soft, glare-free ambient illumination. Available in RGB and RGB+White for design flexibility.
Saber’s 3-dimensional, wet-listed, suspended stream of light provides ambient illumination in multiple color temperatures, as well as warm dim technology to help create a relaxing environment.
We engineer lighting solutions to help cultivate your creativity. For more information, contact us at design@pureedgelighting.com or visit our website at www.pureedgelighting.com
JUST IN...
New architectural lighting products available for specification
Acclaim Lighting launched DynaGraze HO Exterior DMX, a high power, outdoor linear LED fixture with a wired digital communication network. Available in 1’ and 4’ sections with a multi-voltage switching power supply and a glare shield, DynaGraze HO Exterior DMX offers multiple configurations, including RGB, RGBW, and Dynamic White.
Axis Lighting is offering its SoftZone as a flexible soundabsorbing pendant lighting design system available in Horizontal (Stencil®) and Vertical (Spatial) forms, as well as Vertical linear solutions (Spatial and SculptTM). It features a modular approach that lets you vary the quantity of panels to achieve the desired level of sound attenuation. SoftZone offers a Per-unit Noise Reduction Coefficient (NRC): up to 1.05
PRIZM Lighting, introduces the Senik Flex Series Tape Light. This high-performance optic based tape light features beam control in wall washing and grazing for limitless design applications. It is available in 3000K and 4000K with a high 90+ CRI with a 30° and 10° x 60° beam pattern. It can be dimmed 5-100 percent with TRIAC, MLV, 0-10V and ELV dimmers.
Mark Architectural Lighting™ announces the release of Markline 101 and Markcove 102 linear accent and cove luminaires.
Markline 101 and Markcove 102 feature a small eldoLED® driver specifically designed for the luminaires’ 1.5-inch aperture. The Markline 101 and Markcove 102 contain a multi-diode chip that enhances the blending of light and eliminates color separation, resulting in better near-field blending compared to other linear accent and cove lighting solutions. The products also offer seven precise distribution options ranging from 9°x9° to asymmetric wall wash.
Tivoli Lighting launches another industry first with the Vast Cove Light. With built-in dual dimming of both ELV and 0-10V and a self-ballasted 120V-277V AC feature, the Vast Cove Light offers up to 413 lumens per foot, with a maximum run up to 120 feet. It offers flexible connectors to accommodate curves. (video)
LSI Industries launched a uniquely different series of outdoor architectural luminaires.
Branded “Opulence,” the new series combines a visually stunning fixture with five different mounting styles. Regardless of configuration, each product in the Opulence series features the same beautifully curved fixture with a clean housing and a nearseamless mounting assembly.
Q-Tran announces the launch of the MICRO 5 Series. The MICRO 5 fixture family performs with equivalent efficacy at approximately half the size of our standard fixtures, making it ideal for a variety of applications where space is limited. Available in 1 watt, 2 watts and 4 watts per foot, the fixtures can deliver over 320 lumens in 3000K at 4 watts per foot. (video)
The Mediterrània 2 Pendant from Bover is an ode to the light and the Mediterranean breeze. A soft wave of ribbon that pays homage to Mediterranean light, so heterogeneous throughout the day; that light always combines bright flashes with very warm beams. Designed by Alex Fernández Camps.
Trapeze, from Archilume is reminiscent of the kinetic energy ball sets we have on our desks. It draws inspiration from the dynamic movements of trapeze artists frozen in time. Archilume’s signature application of total internal reflection optics allows for Trapeze to emit a flattering warm light with strong diagonal lines that when installed in arrays of linear, random, or radial configurations, creates an impactful luminaire installation. (video)
Lumenpulse announces the release of two additional smaller sizes of the Lumenquad, a rectilinear projector for both outdoor and indoor environments. Developed for architectural applications such as lighting landscapes, highlighting details, pathways and monuments, the Lumenquad Small and Medium are compact, low-wattage, high performance projectors, complementing the two existing products in the family.
MODERNIZING A HALLMARK
By
PAUL VRANESH
Architectural Sales & Illumination (ASI Lighting)
Jacksonville has long been known as the City of Seven Bridges, a namesake celebrating the distinct system of bridges linking Downtown Jacksonville to the many neighborhoods across the St. Johns River. Around twenty years ago, each bridge received significant lighting upgrades, principally designed by local Architect David Laffitte. Utilizing the technology of the day, the unique architecture of each bridge was highlighted to stunning effect. Over the course of the past two decades, technological advances have opened new possibilities for lighting these treasured pieces of Jacksonville infrastructure. And no other bridge was more primed
for modernization than the Acosta Bridge that links the heart of Jacksonville to the historic Riverside area.
Long a focal point on Independence Day, the Acosta Bridge over the St. Johns has been the launch pad for fireworks that light up Downtown. The accent lighting for the bridge itself had long been decommissioned, as the march of time (and Florida weather) had taken its toll on the once stunning blue cold cathode fixtures that outlined the structure and traced Jacksonville’s Skyway monorail back and forth across the bridge. This year, the bright accents of red, white and blue once again
illuminate the Acosta Bridge. But this new light show remains long after the spent firework debris is cleaned up.
The Acosta now holds over 4,000 linear feet of color-changing, RGB, LED lighting. The new fixtures flash, marquee, dim and twinkle in color schemes as diverse as a rainbow. Rather than replace the existing cathode with static blue light, the team decided to make a splash with RGB LED technology for the new system. The luminaires, part of the WPX Series from Clifton Park, New York lighting manufacturer G&G Lighting, carry many of the rugged qualities needed for a highway infrastructure project. With IP68/IP69K ingress protection, and 3G vibration and IK07 impact ratings, these heavy-duty luminaires stand prepared to face the brutal Jacksonville climate.
With the lighting fixtures selected, other challenges awaited the design team. Firstly, a lengthy approval process stretching over three years, which included countless mockups, lighting studies and infrastructure assessments. ASI Lighting in Jacksonville completed initial design of the lighting system and mounting scheme, while RS&H Engineering performed final design drawings and schematics. Once the project was approved, construction could begin. The existing neon lighting system was fastened to steel cables on the bridge. The project team strived to use as much existing infrastructure available for the new lights to limit the cost and fabrication impact.
The project team installed the system by fastening the lighting and devices to existing bridge cables via 3D-printed clamps specifically designed for the installation. The controls system was specially engineered to be programmed remotely via cellphone, providing color and movement controls through Acuity Brands Pathway connectivity and SixEye remote management. Utilizing these controls and luminaire technologies, Jacksonville officials have since programmed the lights to celebrate several events in the City, including Jaguars games, Breast Cancer Awareness Month, the Florida-Georgia football game weekend, and more.
Highlighting and beautifying infrastructure, particularly bridges like the Tampa Sunshine Skyway Bridge and the Miami Bridge of Ages, continues to blossom into an ambitious and gripping means of highlighting the omnipresent elements of Florida downtown landscapes. And in the case of the Acosta Bridge, advancements in technology, and a little imagination, have coalesced to create something truly special, a hallmark of Downtown Jacksonville. P
Is Bluetooth® Mesh Really the Holy Grail for the Internet of Lighting?
We’ve heard about the benefits of wireless lighting control for a long time now. Years. Maybe even decades. But somehow the reality never seems to quite live up to the promise. It’s too expensive, too hard to specify. And let’s not get started on installation and commissioning. Smart buildings with intelligent connected lighting systems are just too costly and too difficult to operate.
In the last couple of years, however, a number of Bluetooth® meshbased solutions have emerged in the marketplace that seem to be capable of living up to the promise. Could it be that a Bluetooth based system really can do what all the others haven’t been able to?
We all use Bluetooth devices everyday, multiple times a day usually. Our mobile phones, our cars, our Alexa-enabled homes, our Fitbits, the list goes on and on. And that’s really part of the strength of the technology, its ubiquity. Harnessing this communication protocol into a control platform creates a flexible, versatile system capable of delivering old-fashioned code-compliant control as well as a range of new capabilities. For instance, circadian and RGBW control throughout the daytime is possible. Daylight harvesting, high end trim, multiple simultaneous scene control, coordinated indoor/outdoor control, occupancy monitoring, heat mapping. The list goes on.
The game-changer of these systems isn’t necessarily the control functionality, although that is impressive. It’s the ease of design, installation and use that makes an impression.
“The real difference between a Bluetooth mesh-based system and a ‘legacy’ system is that the Bluetooth based system is software driven,” notes Tyler Jennings, North American General Manager, Casambi Technologies. “Most of the legacy systems are hardware-based, with everything that implies: the need to design and construct intricate wired zones and circuits to maximize the functionality of the network.” Even hybrid systems, typically offered by legacy providers trying to get in the wireless game, have extra hardware planning and requirements. All that disappears with a softwaredriven system. The components can be embedded in the fixture and share the same power supply. Wireless wall switches and even sensors can be positioned or added virtually anywhere. Because the control platform is software-based, the designer can concentrate on how to light the space without worrying about how to wire the space. Project drawings can be uploaded into the app so that control design becomes a seamless layer in the design process rather than a tedious process passed to an electrical engineer.
In terms of specifying, the flexibility is even greater. Because any fixture capable of
RANDY REID By
The Casambi app enables circadian control if desired.
Photo courtesy of Jason Luckenbill and LEDRA
dimming can easily be made Bluetooth® ready, the ecosystem of available products is expansive. “There’s a great deal of choice involved,” notes Jennings. “A specifier can select the best-ofbreed components, whether that is a specific fixture, driver, sensor, controller or switch.” Interoperable components enable the specifier and designer to focus on the project rather than the elements.
Installation becomes more fluid as well. One fast-track project in Southern California risked being derailed by the COVID lockdown in the spring of 2020. The project team devised a method of commissioning the system components remotely, each participant in his own garage with his app and the devices. When the onsite installation finally occurred, the commissioning had already been completed and only minor adjustments needed to be made.
In addition to installation flexibility, hard costs go down with this type of system since there is no need for extensive layout design of control wiring or the associated labor costs of implementing such designs. These cost savings can extend throughout the system lifecycle as well. Typically, with legacy wired systems, a network failure can require significant troubleshooting and identifying the location of the fault. Very frequently, the
problem is a faulty network wiring termination. With the wireless network, intelligence is embedded in each node, or device. A device failure will only take down that specific node, not the entire network or the portion of the network that is ‘downstream’ from the fault.
The user interfaces on these systems are usually quite intuitive. Running on iOS or Android platforms, they can be accessed from virtually any smartphone or tablet. Multiple levels of access afford a project team flexibility in collaboration. For instance, the specifier might require a comprehensive level of access while the electrical contractor installing the devices might require a different level of access. The end user might require yet another level of access.
Ultimately, the end user experience can provide the tipping point for marketplace acceptance. A sophisticated control network can offer a comprehensive range of capabilities, but if it’s too difficult to use, or perceived as too difficult, the user will take away an impression of failure. This has been one of the principal reasons behind the hesitation to implement connected lighting networks.
The apps that drive these systems, however, are accessible to all types of users. One recent project involving the magnificent
Photo courtesy of Josh Farlow, High Lighting Services.
Historic Trinity Lutheran church, a national historic landmark in downtown Detroit, illustrates the ease of use. The system, consisting of retrofitted historic fixtures with embedded controls and custom-built 300-500W equivalent LED lighting, delivers the control capabilities to the liturgical team. The pastor can access the scenes from his tablet during a worship service to activate specific scenes, for instance, a scene involving the baptismal font during a baptism. The pastor can also program new scenes on the fly. With the right system, this kind of complex control can be as simple to the end user as flipping a switch while in the background the software is determining which scene to play based the time of day.
In many ways, the sky is the limit for the Internet of Lighting with Bluetooth mesh. Not only do these systems afford the stakeholders throughout the construction process with numerous benefits, but future possibilities also mean lighting
truly can become the hub of an intelligent building. We don’t know right now what new capabilities could be delivered via Bluetooth. We do know that new capabilities emerge every day. Occupancy monitoring, heat mapping, indoor navigation and wayfinding, these are all existing capabilities that extend beyond lighting now.
Some challenges remain, but many of these are inherent in the design and construction process. For instance, professional engineers and designers are accustomed to thinking about controls from a hardware perspective rather than a software perspective, so attitudes about construction budgets and planning will need to develop.
While the technology appears to be battle-tested with the sky being the limit in terms of Bluetooth capabilities, the knowledge and experience base across the industry still needs to catch up. It will be an interesting next couple of years to watch.
DS Services, Mabelton, GA
Explore the depth of the Targetti collection
The former Cook County Hospital, now Hyatt House Chicago, features the small yet mighty, MINILINI compact linear line voltage projector, the powerful DART MAXI flood light projector, and our versatile STILO WALL FLAT sconce.
Hyatt House, Chicago, IL (formerly Cook County Hospital) Lighting Design: Hugh Lighting Design
This new hotel in the Magic City was designed to put travelers under its spell.
Hilton Aventura Miami
Now that the COVID-19 vaccine has arrived and some assemblance of normalcy is coming with it, there’s no better time to celebrate the onslaught of hospitality hubs opening up across the country. One city that’s already proving it’s on the upswing is Miami with a host of restaurants, including New York City staples such as Pastis and Red Rooster, and hotels, including the Hilton Aventura Miami, entering the scene. Situated in the heart of Aventura across the street from its signature mall, near Sunny Isles Beach and local airports, the hotel—which opened in late March 2021—has plenty of amenities that impress and design elements that showcase both elegance and innovation.
From the Spanish-inspired menu at the on-site restaurant Gala, to the handcrafted cocktails and skyline views at the lobby bar Muse Lounge, and the exquisite 8,466-square-foot event space featuring the grand Carrington Ballroom, the combination upscale interiors with gorgeous lighting fixtures makes the Hilton Aventura Miami’s surroundings the essence of luxury. Add to that the elevated pool deck, a 24-hour fitness center, a yoga studio, 208 well-appointed guest rooms, the Hilton Executive Lounge, the Library gathering area, the Reserve coffee outlet, and multiple exterior decks for business and recreation, this hotel is an ideal spot to call home when you’re away from home and exploring the area. We caught up with Mayer S. Abbo, Principal and Founder of Prime Design Associates for insights about the design, and of course, the lighting.
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All images are Courtesy of Hilton Aventura Miami.
“Every single project has different criteria. First and foremost, one of the drivers is really the site and its location. This hotel is a fairly urban site, and it was really quite challenging because of its geometry and access points. It has very high visibility because of this. It is parallel to the William Lehman Causeway, which runs east to west. Everybody uses that road to go to the beach, so there’s a lot of exposure,” explains Abbo. “The causeway, along with the Aventura Mall, were important considerations. This hotel is also probably one of the larger projects that has been done in the city for some time now, and I think it was something that was a long time coming. Covid and all of the different things that have happened in the recent past just expedited this and helped it come to fruition.”
Inside the sleek, modern-line architecture of the pristine white and gray exterior, the Hilton Aventura Miami features hues of warm neutrals and grays combined with metallic accents. Stylish art envelops
the surroundings with oversized garage murals and in-room art canvases. The heart of the hotel is the black-and-white lobby with its white marble flooring, comfy leather lounge chairs, modern glass fireplace, sweeping views overlooking Aventura, and striking fixtures. “Lighting is always very important, both natural lighting as well as other lighting interior to the building. From a planning perspective, the main lobby of the hotel is located at the seventh level. There are areas of the hotel that are double height, reaching about 20 feet or so. With glazing on both sides of those spaces, you really get a unique perspective when you’re inside the space looking outward and quality of light that comes into those spaces,” says Abbo. He adds that how those larger areas juxtapose with some of the smaller, more intimate spaces—which are not double height with control lighting—really set up different moods, especially in the evenings. “The space can really begin to transform throughout the day and into the evening.”
Of course with any hotel of this scale, collaboration with like-minded partners who inspire is the key to success. “We like to be as open as possible when beginning a project,” says Abbo. “It’s a collaborative effort with all the team players that typically partake in a project like this, so we try to have an open mind more than anything else.” He adds that there was a great team working on this. “We worked with IDDI (ID & Design International). That was the interior designer. They do a lot of commercial spaces, hospitality, and restaurants. I think they had a pretty unique approach,” notes Abbo. “We also worked with GMLD (Granville Mcanear Lighting Design) on the lighting.” He notes
"There's a number of different fixtures that really help accentuate the spaces. The ones in the ballroom—all of that was custom, and really set the mood. As far as I’m concerned, they really transform the space."
Mayer S. Abbo
that there were quite a few people involved in the lighting of the hotel, helping to set the mood and select some of the fixtures. Many of which, by the way, were custom-made.
“There's a number of different fixtures that really help accentuate the spaces. The ones in the ballroom—all of that was custom, and really set the mood. As far as I’m concerned, they really transform the space,” says Abbo. “Also, there are two fixtures that come to mind in the main lobby space. One is right above the bar. It is a sculptural piece that’s really the anchor to the lobby and the focal point. How the
light reflects off of those crystals is really quite wonderful. The other is the lighting in the restaurant above the main dining space where we have a communal table. That’s an anchor as well.”
As always the importance of lighting choice can never be understated when it comes to helping define a design aesthetic, and for Abbo and his team, it truly helps bring each space to life. “It starts with the building itself, what we’re trying to achieve, and the mood that we’re trying to create with natural lighting and how that transforms throughout the day,” he says. “The quality
of the lighting throughout the day—how it can change and be controlled so that it's not too bright or not too dark—is certainly a very important consideration in the design.”
The hotel itself is something Abbo is very happy with considering the tail end of its development took place during the pandemic and sourcing was delayed in terms of the lighting, furniture, and more. Due to the circumstances, there was a lot to contend with and, therefore, he actually thought things might take even longer. “I think overall,” he concludes, “it’s exceeded my expectations.”
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WILD + STEM = A BRIGHT FUTURE
Recently, I added the Lighting Education, Diversity, + STEM round table discussion hosted by Women in Lighting Design (WILD). The round table featured industry leaders and professionals from all walks of life as they gathered to discuss the role of women and minority groups within the lighting design industry and share their thoughts on how to make the industry more welcoming and accessible to all.
The panelists included Glenn Shrum,
By
Assistant Professor of Lighting Design and Interdisciplinary Practice at The New School: Parsons School of Design; Vicki A. Hobson, Director of Human Resources at Syska Hennessy; Michael Conway, Founder and President at Stacks + Joules; Francisca Peral, Program Facilitator at Stacks + Joules and former student of Conway; and Paula Martinez-Nobles, Principal at Fisher Marantz Stone.
The discussion was moderated by Kim
Daley, Senior Designer at Hartranft Lighting Design and a WILD New York City Committee Member.
The round table discussion started off with a poll to the audience: At what point is it appropriate for children to be exposed to STEM (that is, Science Technology Engineering and Mathematics)? Perhaps unsurprisingly, as one purpose of this webinar was to discuss ways in which more accessible STEM education can help bridge some
ELLIE RAGIEL
inequities in representation in the lighting industry, over 90% of the audience answered that ages 3-9 was an appropriate age to introduce STEM into a child’s education. This poll would set the tone for a common theme throughout the discussion: that earlier and more accessible STEM education could serve as an important tool in helping more women and minorities access the lighting industry.
The panel discussion kicked off by, essentially, naming the problem at hand, and exploring two questions— Who do you feel is missing from the lighting industry? And what kinds of barriers promote this lack of diversity?
Almost all of the panelists concluded that a lack of women and minorities was the biggest demographic missing from lighting design, with Paula MartinezNobles, a woman of proud Colombian heritage, noting lightheartedly when asked who was missing from the industry— “people like me.” Francisca Peral spoke to that note by discussing the importance of seeing people who look like you when aspiring to join an industry. As a recent graduate who just joined the industry herself, Peral views the women of color that paved their way into this industry to be crucial for young women trying to follow suit. She stated, “Having mentors who look like you gives you a sense of belonging and empowerment when trying to join any industry.”
Glenn Shrum additionally noted that a lack of economic diversity is missing from the industry, which, from his role at Parsons, he views as symptomatic of
the high barriers to higher education in this country, especially in STEMrelated fields.
“Having mentors who look like you gives you a sense of belonging and empowerment when trying to join any industry.”
Francisca Peral
Indeed, STEM education was a topic that was revisited throughout the discussion as panelists discussed their ideas of how to achieve better representation in lighting design. Most of these conversations centered around how to make underrepresented groups feel comfortable and empowered to explore STEM during their early education. Martinez-Nobles, who earned her degree in architectural engineering from a predominately white university, remembers how she took solace in her minority-focused engineering student groups while in college, and shared her belief that introducing similar groups during high school could help minority students feel like they have a place in STEM. Mike Conway, a lifelong educator who specializes in making mathematics and technical learning more accessible, discussed the importance of mentorship and work-based learning when trying to introduce young people into STEM. Peral, a former student of his, agreed with this approach, and described how the mentorship provided by Conway always made her feel like an equal and empowered her to continue her STEM education.
Glenn Shrum spoke on behalf of lighting design-specific higher education by saying that there was still a lot of work to be done, but that Parsons specifically was taking great strides to make an education in
lighting design more accessible. One way in which Parsons is achieving this is through summer and online programs—aspiring designers can now achieve an online interior lighting design certificate on their own time, or students can learn the basics of lighting design during their summer break.
Although access to proper higher educational opportunities is the dream, Martinez-Nobles notes that there are many different paths into lighting, and that you do not have to go to school to be a lighting designer to get into the industry. On that note, Vicky Hobson, director of HR at Syska Hennessy, discussed the inclusive and diverse recruiting philosophy that they have adopted when hiring aspiring designers and engineers out of college. She believes that through this philosophy, a greater sense of diversity in the industry will be achieved and urged other firms to adopt a similar hiring strategy.
In any industry, but especially in an industry such as this one that focuses on designing spaces to be used by all, proper representation of marginalized groups could not be more important. While it seems that there are still many groups missing from the lighting design industry, organizations like WILD, educators like Shrum and Conway, and trailblazers like Martinez-Nobles, Peral, and Hobson are taking the necessary steps and having the hard conversations to make the industry, its barriers to entry, and STEM education systems in general more accessible to all. P
PEOPLE ON THE MOVE
Schuler Shook
Schuler Shook is pleased to announce the promotion of Christopher Sprague, ASTC to Principal. Christopher is based in Schuler Shook’s Chicago office.
Heather McAvoy has been selected as the new president of the Board of Directors for the America Society of Theater Consultants.
Fisher Marantz Stone announces that Paujla Martinez-Nobles, Kevin Frary, and Michael Hemmenway are now principals of the firm.
HLB Lighting Design Celebrates Spring 2021 Promotions
David Seok named IALD Professional Member
STILL SHINING!
"We must recognize that design is ‘coloring outside the lines.’ Design can be the great synthesizer. Designers must be idea makers.”
— Art Gensler
Art Gensler (1935—2021) founded the firm that bears his name in 1965 together with his wife Drue and their colleague James Follet. He is widely credited with elevating the practice of interior design to professional standing. He was a Fellow of both the American Institute of Architects and the International Interior Design Association, and a professional member of the Royal Institute of British Architects. Art graduated from Cornell University’s College of Architecture, Art and Planning and was a member of its Advisory Council. A charter member of Interior Design magazine’s Hall of Fame and a recipient of IIDA’s Star Award, he also received Ernst & Young LLP’s Lifetime Achievement Award and the Cornell Entrepreneur of the Year Award. In 2015, he wrote Art’s Principles to offer entrepreneurs the business insights he wishes someone had given him when he was starting out.
Art is recognized as an industry icon and an astute businessman who propelled a small practice into the largest and most admired firm in the industry over the course of his 65-year career. Learn more about Art’s legacy
COMING IN AUGUST
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on 100 Years 1921 2021
Here's to a century of product innovation, American manufacturing, and customer satisfaction!
UPCOMING SHOWS
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salutes our charter advertisers and we thank them for their support. We applaud the achievements of lighting practitioners and recognize the importance of their work in architecture and design.
salutes and thanks its advertisers for their support. We applaud the achievements of lighting practitioners and recognize the importance of their work in architecture and design.
CLANTON UP CLOSE WITHNancy
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Nancy Clanton celebrates 40 years. As the CEO of an award-winning lighting design and engineering firm, Clanton & Associates, Inc., and a standout innovator in the industry, Nancy has a long and fascinating history.
Nancy graduated from Colorado University at Boulder in 1975 with an architectural engineering degree. After graduating, she worked at an engineering firm in Minneapolis in a four-person electrical engineering department. As the only female engineer, co-workers underestimated her and suggested she spend time with the female secretaries rather than with the male engineers.
Nancy then became a teacher at the University of Colorado at Boulder. In addition, she worked with Dr. Ron Helms at his company, Lumineering. When Dr. Helms was transferred, Nancy had the opportunity to buy 100% of the company, which later became Clanton & Associates, for just over a thousand dollars. She was 28 years old at the time.
Nancy described Clanton & Associate's mission- “to illuminate beautiful sustainable places that enable people and nature to thrive”. In order to see how Clanton & Associates has worked towards that mission, Nancy described some goals and highlights from every decade, starting with the 1980’s, where her main goal was to recognize the importance of daylight. Nancy installed the first daylight dimming system and discovered a way to get lighting to respond to daylight. The 1990s was a time of lighting evolution and a highlight for Nancy was running the lighting group for greening the White House. She even talked with Bill Clinton!
Another major interest in the 1990’s was figuring out how to work with the International Association of Lighting Designers (IALD). Interestingly, Nancy recalls her highlight of the 2000’s not by any technical development but by working
on projects in Brazil and Argentina. Not only did Nancy and her team fix the lighting in 10,000 different schools, but they also cared deeply about the health and welfare of those communities. The 2000’s was a time of improvement and learning how to be a better neighbor to countries, while getting involved with the state department and building operations. The 2010 to present timeframe is a “whole different arena”, as Nancy describes it. Clanton & Associates is focusing on what they can do with lighting that is different. Nancy explained, “One major focus is the importance of natural daylight, because a view is more than just nice to have.”
Another major focus of the present day is quality.
Reflecting on her work life experience, Nancy recalls that working as a woman in engineering has not always been smooth sailing. In college, there were only male restrooms in the Engineering building. Being female was one of her toughest experiences due to the gender discrimination in the workplace. However, in order to change culture and biases, Nancy has worked tirelessly to diversify the workplace. Clanton & Associates now has more female engineers than male, which is a huge accomplishment. At the end of the day, Nancy believes that the more diverse the team, the better the production and thought process. Clanton & Associates hires people from different countries with unique backgrounds, and Nancy has been a contributor to the positive diversity progress in the industry. She has paved the way for women in engineering in the future.
Nancy then talked about the future of Clanton and Associates. Dane Sanders, president of Clanton & Associates, will be taking over the company in approximately a year and a half because Nancy wants to run a small company on the side while also working as a consultant for Clanton & Associates. Nancy will be bought out internally by the company and agreed to take a lower payout in order to “preserve what she helped create [because] it is too important”.
Overall, Nancy is very excited about the future. Her dream is to get the world to a place of carbon neutrality and believes this can be done by 2030. She explained, “At its core, engineering is not just about solving problems like everyone thinks, engineering is about creating and asking the what if. It is about the innovation.” Nancy is not only an engineer, but an innovator who has paved the way for generations to come.
Thank you, Nancy, for forty years of service to the industry!
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