designing lighting October 2020

MOUNT SINAI & THE LRC  SHOULD THE INDUSTRY BE LICENSED?  BENYA’S ART & SCIENCE  WHO WILL BE THE UV POLICE?

designing lighting ISSUE NO. 2

OCTOBER 2020

AN INTERVIEW WITH ANDREA HARTRANFT

Taking T he leap ITALIAN RENAISSANCE -THE REBIRTH OF A BRAND  LIGHTING UP HIDDEN POND

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HOW TO EXTEND EVERYDAY VALUE OF LIGHTING DESIGN INTO WELLNESS WITHOUT ADDING COMPLEXITY

By SALLY LEE

D

esigning lighting, you deliver on space perception and visual comfort within constraints of time, budget and energy codes; realities defining the hard work of educating and delighting clients as you carefully balance their project requirements. Now, adding that recent surveys show we spend nearly 80% of our time indoors, it’s especially important the lighting also provides the wellness benefits of natural light, such as reduced eye strain and improved sleep-wake cycles. How do you verify the lighting design is also helping keep people their best - all the time, any time?

Timeless in the design process, it starts with the source.

It’s not a wild claim. The consensus in the mature body of research and evidenced-based design is it’s best to avoid the negative consequences of intense short wavelength blue light. In other words, the most sensible approach to meeting wellness goals with lighting is from a broad, balanced color spectrum - like natural light. For a while the consumer marketplace has offered solutions, such as Microsoft Office’s Night Light Setting “helping you sleep” because “screens emit blue light, which can keep you up at night.” Likewise, eyeglass manufacturers offer blue-filtering lenses for use throughout the day. Instead of filtering, which compromises efficiency, and because the spectral qualities of lighting we experience throughout the day impact us 24/7, LEDVANCE focused on transforming the spectrum of LED lighting . (FIGURE 1)

FIGURE 1

SYLVANIA Natural Series LED lighting portfolio with TruWave Technology from LEDVANCE introduces easy-to-install lamps and luminaires delivering the benefits of natural light for an experience that reduces eye strain and improves sleep-wake 4

— designing lighting

cycles, eliminates flicker, dims smoothly (when opting to control), and renders colors as naturally as possible without compromising high efficacy. Unlike more expensive and complicated tunable-white systems, these LED products install just like other LED products, yet they offer all the prementioned benefits without needing to be controlled or commissioned.

The optimized TruWave LED configuration and fuller composite spectrum has almost no short wavelength blue light peak - or any valleys across the remaining full spectrum characteristic of typical LED lights, meaning the spectrum is pretty much the same as natural light. Additionally, unique amongst competitive high CRI LED offerings, TruWave renders colors, complexions and textures more accurately. Whatever you see under natural light, you can see under TruWave.

Whether or not your project requirements include high CRI or newer circadian-supportive goals – absent unnecessary blue intensity, you’ll notice higher definition and visual comfort.

Afterall, it’s short wavelength blue light that scatters, (i.e. Why is the sky blue?). Out of the box there is noticeably less glare from TruWave because of the spectrum.

MEET WELLNESS GOALS WITH EASE Lighting design best practice relies on Illuminating Engineering Society (IES) recommended practices. Adding wellness we turn to the newest WELL Building Design Standard V2 (9/18/2020) from the International WELL Building Institute (IWBI). Magnifying how essential an asset lighting is to wellness, a collaboration between IES and IWBI was announced (9/14/2020), “to enable future collaboration to improve the quality of our indoor environments through improved lighting design.” WELL remains a voluntary certification, offering a “global rating system that is focused on the ways that buildings can improve comfort…and enhance health and wellness.” For instance, while lighting designers know if lighting increases employee well-being and productivity, there’s potentially large “non-energy” ROI for businesses, and of course significant benefits for the employees themselves as compliance with the WELL Building standard has been shown to increase employee morale and retention rates. With verification, each WELL light feature contributes to comfortable and healthy spaces.

Each WELL Building Standard V2 lighting feature provides an overview, strategy and verification. The L01 prerequisite for

See in less than 60 seconds the benefits of SYLVANIA TruWave Technology.

Light Exposure details the undeniable connection between indoor lighting – visual and non-visual - and our 24/7 circadian rhythms. L02 Visual Lighting Design requires meeting recommended illuminance thresholds. The remaining seven detail Light Optimizations. For example, L08 Electric Light Quality, includes the newest guidelines to limit unwanted lighting flicker. Color quality is valued, as referenced by the statement, “Light fixtures with higher color rendering emit light that show colors realistically.”

Instead of the standby Color Rendering Index (CRI) which averages eight reference colors, use of newer IES TM-30-18 – developed to more accurately portray modern sources - is most helpful in selecting and comparing different light sources.

(SEE FIGURE 2) For example, the TM-30-18 CES Color shows the color sample fidelity across 99 color and texture samples, and the full report includes additional visual graphics such as the spectral power distribution (SPD) that are helpful as well.

Quality of Light Within the Lighting Efficiency Arena Another industry move recognizing the importance of both the color quality of light and the lighting spectrum launched in July 2020 is new Design Lights Consortium (DLC) requirements. Every new application to qualify LED products (as utility rebate-worthy) requires both CRI and TM-30-18.

While the professional lighting design community generally needs no convincing about color quality, DLC’s move agrees it’s important to those active in energy-driven LED lighting projects. Further, DLC requiring SPDs for every LED product is a sensible nod toward recognizing non-energy benefits of lighting and wellness.

CONCLUSION Lighting is typically driven by a perception that light is a commodity to be obtained at the lowest cost. Emphasizing energy efficiency and energy cost savings is relevant but doesn’t need to lead to missed opportunities to cost-effectively provide additional value by improving the overall quality of light and wellness. While light is indeed a commodity, designing lighting — the application of light to spaces — can be a better asset. Adding tangible value without complexity, the TruWave spectrum positions wellness squarely into every project, with natural lighting you can see and feel.

ABOUT THE AUTHOR

FIGURE 2

Sally Lee is business development & special projects manager at LEDVANCE LLC, the makers of SYLVANIA general lighting in the US & Canada. For more information or project support, contact Sally.Lee@ledvance.com. LEDVANCE has also published a technical paper about TruWave with supporting references which can be found at www.sylvania.com/truwave.

designing lighting — 5

CONTRIBUTORS

Table of Contents Editorial Director’s Notebook

JIM BENYA

Dr. Mariana Figuiero and the LRC to Join Mount Sinai

By Malia Hullfish

Feature Story: Should Lighting Designers be Licensed?

By Randy Reid

The debate continues on this controversial topic.

PAUL BLACKBURN

Just In European Budgets Are Getting Squeezed.

How Can Lighting Professionals Provide More Value to Their Clients?

by Paul Blackburn

MALIA HULLFISH

Lighting design is no longer a case of simple illumination (if it ever was). Employing a lighting designer can actually add value to a construction project.

Fisher Marantz Stone Lights the “City within a City”

by Malia Hullfish

LINDA LONGO

NLB Award Winner – Beautifully lit with a clean design, Embry-Riddle’s Student Union is a vibrant hub for student learning and engagement.

Taking the Leap

by Randy Reid

STEFANIE SCHWALB

A Conversation with Andrea Hartranft Benya’s Art & Science:

The Art of Lighting is a Science/The Science of Lighting is an Art Making the Splash with FILIX JACOB WRIGHT

by Jacob Wright

Learn more about the development and conceptualization of underwater lighting design.

Lighting’s Critical Role in the Future Workplace

by John Young

JOHN YOUNG

The challenges and solutions for returning to a safer work environment

Italian Renaissance−the Rebirth of a Brand

By Linda Longo

Celebrating its 70th anniversary, Studio Italia Design changes its name to mark the beginning of a new era of design and innovation

Lighting Up Hidden Pond

by Stefanie Schwalb

Design Secrets Behind One of New England’s Top Luxury Hotels

Who will be the UV Police?

By Randy Reid

UV disinfection is like the Wild, Wild, West. Where have we heard that before?

Upcoming Shows Advertisers Index Human Centric Lighting? It’s about time!

ON THE COVER

Rochester Airport, Courtesy of Don Cochran Photography

6

— designing lighting

Up Close with Dr. Mark Rea, Professor, Lighting Research Center

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Take more control. Virtually eliminate glare and get the ultimate in ergonomics and wellness.

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Be seen in the best light.

EDITORIAL DIRECTOR’S NOTEPAD

Welcome to our second issue. Cliff Smith, our publisher, and I want to thank the industry for such a warm welcome—it was better than we could have imagined. We thought there was an opportunity to raise awareness of the lighting design profession and you have proven us correct.

Editorial Director: Randy Reid editor@designinglighting.com Publisher: Cliff Smith csmith@designinglighting.com

In this issue we tackle the age-old problem of licensing lighting designers. We first covered this subject about 18 years ago in the EdisonReport and surprisingly passions are just as strong today.

We are adding a Letters to the Editor section, so please send your feedback directly to me at editor@designinglighting.com.

David Becker, IALD Chair of the Certified Lighting Designer Program makes a passionate case against licensing.

Director of Audience Development: Angie Hullfish admin@designinglighting.com Contributing Writers: James Benya PE, FIES, FIALD Principal at Design Services, Inc. and The Benya Burnett Consultancy Paul Blackburn European Contributor Lighting Designer at Chroma Lighting Linda Longo Residential Lighting Contributor Stefanie Schwalb Hospitality Lighting Contributor Interim Managing Editor at Boston Magazine Staff Writers: Malia Hullfish Jacob Wright 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 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.

8

— designing lighting

Read the entire article here.

Later in the magazine I have an article titled, “Who will be the UV Police” and it’s not another technical article on UV. It’s more practical.

There are more questions than answers, and we have to get these products on the market—quickly and safely. As an industry, we have the opportunity to help rescue the world and I am confident that we can, but will we create a new organization that will burden our industry for the next decade?

Not only does the pandemic kill people, it kills businesses and we hate that. However, by eliminating some weak competitors, it can make the market stronger for the survivors and the same thing is true for everyone in our chain: luminaire manufacturers, lighting designers, reps, distributors, contractors and even tradeshows. I have always said that there are too many shows and with the bankruptcy of Exponation, the owner of Lightshow West and the LED Specifier Summit, we will lose a few of our weaker shows. It can be a good thing. And we already have a new event to look forward to in 2021, the ArchLight Summit in Dallas.

That’s it for now. Go light up the world and have a great time!

Randy Reid

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Dr. Mariana Figueiro and the LRC to Join Mount Sinai

By MALIA HULLFISH We were surprised to learn that Dr. Mariana Figueiro and the LRC were joining Mount Sinai a few short months after their decision to work with Rutgers. Dr. Figueiro explained that there was a law or regulation called the New Jersey First Act that prevented public employees from living in New York if

10

— designing lighting

they worked in New Jersey. She had committed to the LRC team that they could find office space close to the existing LRC facility in Troy, New York and then transition to Rutgers in a few years. The New Jersey First Act would not allow that.

Below is her letter:

designing lighting — 11

FEATURE STORY

AGAINST:

No. That is the wrong business direction for the lighting design community to be heading.

The narrow view of professional lighting design espoused by an elitist few, that it must be "independent" hourly consulting strictly specialized in the narrow field of architectural lighting, is extraordinarily shortsighted.

First, licensing commoditizes the profession, reducing fees for everyone. Anyone who thinks that professional qualifications will somehow preserve their high consulting fees are sorely mistaken. Any profession that can be so easily delineated in a bureaucratic test can then therefore be easily outsourced to lower cost labor. This is a trend happening to many highly educated professions who thought they were immune to outsourcing. Lighting designers shouldn't kid themselves into thinking they are any different.

By RANDY REID

SHOULD Lightin be Licensed?

Second, defining the profession so rigidly severely hampers innovation in the profession, calcifying the profession with its already antiquated tendencies. This will simply lead to new types of consulting professionals springing up that will address what the lighting certification is too slow/rigid to recognize. The next generations of Richard Kelly's and William Lam's won't limit themselves with such bureaucracy.

Lighting designers should be focused on innovative business partnerships that lead to new forms of revenue. They should be focused on employing cutting edge, unorthodox technologies on their projects. They should be open to transforming their expertise from strictly "lighting design" into "experiential design" to offer truly distinctive value to their project clients.

Brad Koerner | VP of Product Development & Innovation Cima Network Inc.

OF COURSE NOT!!

How is the licensing managed from state to state or in North America including Canada and Mexico?

Who issues the license? Each state? What are the requirements?

What about on a global level? Each country has different standards.

Certification is the answer.

Local governments typically defer to a professional certification in lieu of developing a licensing program from scratch.

What it means to certify: To attest that the lighting designer has satisfied a set of criteria or met a standard in • Education • Experience • Knowledge • Proficiency As the Vice Chair of the Certified Lighting Designer Credential, I would be happy to be interviewed or to contribute to the article in designing lighting.

Rosemarie L. Allaire, FIALD, MIES, CLD, Vice Chair of the IALD Certified Lighting Designer Credential R A L D Rosemarie Allaire Lighting Design

12

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THE 20-YEAR DE

T

his problem has been around since before I joined in the industry and we won’t solve it here, but we hope to be a forum for an open discussion.

Around 1998, I attended my first IES Board of Directors meeting and Jim Benya addressed the board requesting money for the NCQLP. I remember him distinctly stating that barbers had to be licensed yet anyone who wanted to hang a shingle could call herself a lighting designer with no proof of proficiency.

Architect Magazine has a Benya-penned article titled, “Should Lighting Designers be Licensed?” from June

ng Designers

The NCQLP has long been the standard of lighting certification in the United States. The LC credential demonstrates to clients/customers that people doing lighting design have acquired the necessary knowledge, understanding, and ability to apply lighting principles and techniques successfully. We feel strongly that lighting certification is a great tool to give end-users confidence that the people they use for lighting design are competent and qualified.

Against continued ....

FEATURE STORY

The issue of certification versus licensing is by no means new. The main difference is that certification does not involve the government. An independent peer organization, in this case, the NCQLP, certifies that an individual meets defined and impartial standards. In the case of the LC, this is a national standard consistently applied, and endorsed by most of the major organizations in the lighting industry.

It is hard to envision how this level of consistency could be achieved with state by state licensing. Secondly, since lighting design can be done remotely, being licensed in one state and doing work in another state further can complicate the process, and reduce the pool of qualified designers Bernie Erickson, President, NCQLP

I am an LC certified lighting designer, clearly I believe that credentialing my ability to design is important. That being said, I don’t think that there is a need for a government level license. This will create barriers between end users and skilled lighting practitioners. Design will only be done by firms offering expensive consulting fees or unqualified electrical installers. I believe it is the end-users responsibility to seek a qualified lighting designer and the designers responsibility to communicate the need.

BATE CONTINUES of 2011 — and the caption says, “original text has been edited and excerpted from the 1988 original.”

Fast forward to 2020 and the issue still has not been resolved, although the NCQLP and their LC program is successful and continues to grow, the LC can be held by anyone from a lighting salesperson to a designer, so the LC alone does not certify the design competence of the person.

In the licensing discussion, there is little middle ground. Most people feel very passionate about their respective positions. Some even use the same argu-

This is a question which has been discussed for several years. I believe the industry has been and is advancing in the licensed requirement direction. However for now, pursuing lighting certifications is a good separator from anyone without certifications as owners choose the best professionals to be a part of the design team for their project. Many lighting certifications are available for one to elevate and demonstrate their professional level of expertise. The NCQLP has the Lighting Certification "LC" for professionals demonstrating a broad range of lighting knowledge, and a very good certification to start building your credentials. Another is the NALMCO Certified Lighting Management Consultant "CLMC" plus another is the AEE's Certified Lighting Efficiency Professional "CLEP". The International Association of Lighting Designers has various levels of membership which one can apply for after completing projects and submitting those projects for pier review. Also, the IALD has the Certified Lighting Designer program and credentialing identifying architectural lighting designers. Start achieving these certifications and should licensing become required in the future, you will be well positioned.

Anthony J. Denami, LC, MIES, CALCTP, CLMC, CLEP Associate Member of IALD

designing lighting — 13

NEUTRAL:

JASON SELF, LC Lighting and Power Distribution Specialist NCQLP Lighting Certified IES Member CBT Company

FEATURE STORY

FOR:

Lighting and Control Technology have changed rapidly in the last decade. The energy savings brought by these technological improvements have resulted in the revision to energy codes. All of these changes have resulted in a new education gap, requiring more attention from the design professional or electrical engineer.

An important part of this technology change is new understanding of the latest research and implementation of human factors and lighting, circadian human response on, for example. This requires yet another level of expertise.

ment to reach different conclusions. Brad Koerner, of Cima Network, and Terry Clark both think money is a key issue in the licensing discussion. Terry cites the fact that interior designers are licensed, and they earn more money than non-licensed interior designers. Terry believes the same thing would be true with lighting designers.

The common justification to this licensing proposal is that it supports communication and integration of the project design and construction integrity. These are just the tip of the case for lighting designer licensing.

Sincerely, Joseph M. (Jody) Good, III, FIES, IALD, LC.

Today anyone with a decent computer can download the tools to create lighting designs. Just because you can doesn’t mean they should. It has been my experience as a designer for almost 30 years using these tools without understanding the full scope of the products attributes and guessing key items within a given area creates safety issues and liability concerns for the designers and end users. I am personally involved in many such post sales issues where designs have been a factor with issues ranging from improper modeling, wrong distributions and other factors. The time is long overdue to properly license skilled designers The field of lighting design has grown in scope and the expectations of the designers to understand issues regarding many more critical issues beyond the basics such as the growing trends for circadian metrics, UGR, UV, and even calculations for agriculture designs. While the NCQLP has created the LC as a good first step, I rarely see it as part of a spec or greatly emphasized as it was intended. When you have designers dealing with roadway, life safety or extensively complex projects it should be part of the requirement to demand a professionally accredited individual to generate a design and not merely reviewing designs by others.

Having a skilled designer that is able to complete competent site audits, review local codes, industry standards, government legislation uses multiple platforms to generate designs from plus stay abreast of the latest trends is getting harder to find in the market. It is about time the industry accredits these skilled individuals.

James K. Eads, LC Manager – Lighting Design / Applications Engineering

YES! Lighting Design as a profession is marginalized by not being a licensed profession.

Without licensure, anyone can “play” lighting designer; whether they are qualified or biased or profiting from the design… or not. Lighting designers are limited in their ability to formally issue design documents, as they can’t stamp sheets as part of Construction Document drawing packages. I’m happy to discuss further, but as a foundational basis – YES, lighting designers should be licensed. Thank you for inquiring about this hot topic.

Rachel Fitzgerald CLD, LC, IALD, LEED AP BD+C Senior Associate, Discipline Lead, Lighting STANTEC

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— designing lighting

Insert video: https://youtu.be/Ur-XgzanrmE

Brad also thinks money is a key point, but he has the opposite opinion. Brad states that licensing will reduce fees for everyone.

Terry explained that the licensed lighting designers will be able to sign off on documents and create more value, therefore they should earn more than non-licensed designers. Brad said, “Any profession that can be so easily delineated in a bureaucratic test can then, therefore, be easily outsourced to lower cost labor.”

IALD may have the solution with their Certified Lighting Designer program. The intent is to identify lighting designers who have demonstrated a high level of professional competence, using their prior work as supporting evidence. Utilizing seven domains of practice, the CLD certification will measure applicants’ skill levels - not only in design, but in key associated areas such as project management, scientific knowledge, understanding of human factors, and ability to meet owners’ and architects’ project desires and requirements. To ensure integrity, the process uses a double-blind submission process.

Marsha Turner, Executive Vice President of the IALD explained, “For a profession as small as ours, licensing could kill the profession. It would not help the profession grow.” She further explained that the volume of engineers and architects is significantly greater than lighting designers and licensing makes sense for those professions. She stated, “Profes-

sional certification is better because of the national and international nature of our work.”

We spoke with David Becker, the Chair of the CLD and David asked, “Who would decide the metrics that define competency for a license and how would a licensing system be coordinated and consistently implemented across global authorities, as is the typical project nature of the profession?”

He said that the probability is that licensing would be an inconsistent patchwork of regimes managed through different government agencies, and all the vagaries that that implies. Apart from restricting trade, compliance with this fractious and unpredictable system would drain the resources of what, by and large, is an industry made up of tiny practices.

I think Lighting Designers should be licensed. The CLD should be the backbone of the licensing process for Lighting Designers, as it assesses quality of designs and understanding of lighting principals/codes, which is a far better metric than just an exam. Competency needs to be evaluated, not just the ability to pass an exam.

Thanks for asking for input from our community!

Katherine Stekr CLD, IALD, MIES, EDAC, LEED AP BD+C HLB

However, I asked David, why it appears that IALD itself doesn’t have too many members that have achieved the CLD.

Video: https://youtu.be/bxNMFJ8_cz8

I am not a lighting designer, nor do I play one on TV, so I am the first to admit this is not my area of expertise. Researching this article, beginning in August, I had an open mind, and my mind is still open, but I don’t see licensing happening anytime soon, at least in the U.S. As a big believer in keeping government out of our industry as much as possible, I believe that we should chart our own destiny.

The industry organizations are big and bureaucratic (although less so lately), so imagine how laborious it will be to have each state create their own licensing requirements.

Because there is no easy answer, we have to pick the best solution and we believe that lies with the IALD and their CLD program. Lighting design is tough enough without having the burden to gain reciprocity in other states — or even other countries. If you believe in licensing, then the CLD is a great first step. 

Photo: Serge Kutuzov

Let me know your thoughts and we’ll publish some of them in December. editor@designinglighting.com

designing lighting — 15

For continued ....

FEATURE STORY

JUST IN...

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LumiCube is a new collection of square lighting products from Pathway Lighting with many customizable options.

This 4.38-inch square fixture is available in 4 lengths, 6 mounting options, 3 beam spreads, and up- or down-light, bi-directional, wall wash and Type II forward throw. The output of 3000L (6000L up/down) presents ample light for any space. IP65 rating. Optional decorative elements are available for a wide variety of aesthetically pleasing components.

Nora Lighting’s mini M1 LED Downlight Series expands its trim options with two new stainless steel louver styles that reduce aperture glare. The 1” round louver and hexcell louver trims are offered in brushed nickel, white and black finishes.

With a ¾” aperture and 1 ¾” depth, the IC-rated M1 module has a minimal appearance and is suitable for niche lighting in indoor and outdoor applications. No housing is required. Four field-changeable optics are included: spot, narrow flood, frosted flood and clear frosted.

Lighting Services Inc's CONTROL Track is a continuous slot track system for dynamically controlling fixtures through various wired protocols including DMX, Lutron EcoSystem and up to two zones of 0-10V control. CONTROLTrack is constructed of heavy duty .070 extruded aluminum and is available in nominal 4 foot, 8 foot, and 12 foot lengths, in Black, White and Silver finishes.

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— designing lighting

“The old story was: the smaller you went the more glare you’d get, if you wanted to deliver the right amount of light,” said Amerlux President and CEO Chuck Campagna.

“With our new Cubebits line, there is zero glare on the ceiling.” Campagna summed up the novelty of this cuttingedge solution: “You don’t know where the light is coming from – it’s a mystery.”

Cubebits brings a whole new definition to the term comfortable lighting by bringing breathtaking visuals to the space below with a single illumination beam. It offers a 1.5" aperture profile in 3-cell, 6-cell, 9-cell or 12-cell units as well as mounting into the Amerlux Linea Pendants and Gruv recessed 1.5 linear profiles.

The Lighting Quotient's tambient® G305 offers expert-designed task and ambient light, which can be combined with a separately controlled UV-C energy mode for disinfecting viruses, germs, and bacteria on work surfaces for offices, schools, labs, call centers, and more. The new, LED solution replaces harmful mercury sources with patent pending technology that integrates a "UVC energy mode" into a complete workplace lighting solution with the option to light the entire space from one of their optically engineered fixtures. tambient's® G305 is installed at close-proximity to high-touch surfaces such as desks, computer keyboards, papers, phones, etc., so lower intensity and less electrical power are required to achieve the effective UV-C dose than would be needed from overhead fixtures.

Eurofase introduces a great success is the Aerie collection — now extended to include multiple sizes and colors. Inspired by free-flowing, gilded branches of gold and silver leaves which flow elegantly within an open-cage design linear frame made from solid cast brass. The thin twigs are handcrafted with metal foil and accentuated by pinhole recessed LED lighting to add a luxurious glow to this beautiful, natureinspired collection.

LSI’s new Abolite RLM fixtures are available in a wide variety styles, shapes and finishes to compliment a myriad of architectural building designs. They feature upgraded light engines with outputs of 1,250, 1,500 and 1,700 lumens at color temperatures of 27K, 30K, 35K and 40K – producing the desired illumination for their intended applications. The new fixtures maintain the classic elegance of the Abolite product line while adding the energy-saving benefits of modern LED technology. The new luminaires are compliant with the Buy American Act, and they can also comply with California’s Title 24 energy conservation requirements. designing lighting — 17

European Budgets Are Getting Squeezed.

How Can Lighting Professionals Provide More Value to Their Clients?

By PAUL BLACKBURN

As

our societies are in the midst of an economic shock which has arguably not played out fully, and may be worse than anything we’ve seen before, construction budgets are becoming squeezed as revenues are dropping throughout the majority of industries.

Professionals in the Europan lighting industry will likely be well aware of the problems they have been facing recently, with construction projects being revised, postponed, or worse, cancelled completely!

Since many countries have affected lockdowns since March, several businesses in the lighting industry will feel like the rug has been pulled from under them, and it has. The professional environment has been completely transformed, and in order to survive these challenging times, the lighting industry must adapt.

These last 20 years have been a radical time for anyone involved in the European lighting industry - the transformation to Solid State Lighting (SSL) saw a complete overhaul of how artificial light is transmitted - so lighting professionals have already proven themselves to be very adaptable, and will be capable of surviving these most trying of times.

With these circumstances in mind, what can lighting professionals do to provide more value to their clients?

In these trying times, it must be reasserted that employing a lighting designer can actually add value to a construction project. Engineering consultants may be sitting in their 18

— designing lighting

offices (or at home), considering which design services are expendable. If lighting designers work as diligently as their profession requires, embracing the latest techniques and technology, then it will actually lead to extra savings related to the lighting installation, without compromising on quality, and enhancing business profits.

Lighting design is no longer a case of simple illumination (if it ever was).

While approaches and priorities may vary depending on the project, there are some key factors to be considered which are universal.

The first is energy efficiency. While this concept will be nothing new to anyone working in the industry, they may not be aware that the energy efficiency of SSL’s is actually always improving. This is because they follow an efficiency curve in a similar way to Moores law for computer processing power. It’s known as Haitz’ Law (named after Roland Haitz). It states that the cost of each lumen produced will fall by a factor of 10, and the lumen output of SSL’s will increase by a factor of 20 over the same period.

Put simply, if 100 lumens per watt was possible in 2010, then 200 lm/W will be achieved by this year, 2020.

Prototypes have existed of luminaires which can actually produce 220 lm/W since 2018, when LG unveiled a commercially available product.

Lighting designers will know that depending on the project, there is always a compromise to be made between efficiency and aesthetic, however if they are faced with declining budgets, decisions will be

These last 20 years have been a radical time for anyone.

weighted towards the former.

Lighting controls are another great way to save money within a lighting installation, both as a way to automate lighting to be on only when required, and as a way to reduce the need for additional wiring using wireless technologies such as Wi-Fi or more recently Bluetooth.

This can include presence/absence detection, daylight harvesting and wireless switching. Installing the right software platform will allow luminaires to be programmed to provide the exact amount of light required on the reference plane, at any time of the day, allowing for high quality designs. The same software may also be able to monitor the performance of the luminaire and control gear, allowing for predictive maintenance.

Lifetime ratings have increasingly become a differentiator for high quality lighting products. For a long time since the advent of SSL lifetime ratings of 50,000 hours were so impressive that no-one seemed to require more. If you consider that fluorescent and metal halide light sources lasted up to 15,000 hours, it’s easy to take that 300% plus improvement and hang your hat on it.

However, it has been more than a decade since SSL’s have been in commercial usage, and just as there has been improvements in light output efficiency, companies like Lumenpulse are producing lighting ranges which quote lifetime ratings of 225,000 hours.

Photo: Anne Nygård

It is also important for specifiers to be aware that lifetime ratings can mean little if they’re not covered by

a warranty from the manufacturer.

This is a big chunk of value which can be provided to customers, because the best luminaire specifications don’t mean a lot if the manufacturer isn’t willing to stand behind their products for a considerable amount of time.

Quality manufacturers usually provide a five year warranty, comprised of one year on site, and after that equipment must be returned for the remaining four years. Buyers shouldn’t settle for anything less than this, and they should make sure that all warranty documents are filled out and returned during the purchasing process.

All of the aforementioned technical aspects of a lighting design are important and should be considered to their fullest as part of any project.

As budgets get cut and projects become more demanding, it’s important that designers don’t lose sight of two crucial aspects of their profession - Lighting spaces well, and pleasing their clients.

They shouldn’t forego lighting vertical surfaces, as a way to save some money on the projects, because the lighting guide they are following only requires them to light horizontal surfaces. Besides the practical application of lighting, it is important that end users are able to enjoy the places they inhabit, whether it’s for work, retail or relaxation.

For retail specifically, if you ask the owners or managers of the shop that you are lighting, their primary concern isn’t to save money by reducing their spend on lighting, but to enhance their produce so that they can sell more to cover the cost of it. 

designing lighting — 19

Fisher Marantz Stone Lights the

“City Within A City”

Beautifully lit with a clean design, Embry-Riddle’s Student Union is a vibrant hub for student learning and engagement.

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By MALIA HULLFISH

2020

marks the year the National Lighting Bureau launched their inaugural Tesla Awards, honoring projects that promote the value of lighting and that showcase the best practices in lighting. Among the winners was the lighting team at Fisher Marantz Stone for their work in Embry-Riddle Aeronautical University’s Mori Hoesseini Student Union in Daytona Beach, Florida.

Standing at the entrance to the university, the Mori Hoesseini Student Union acts as a visitor’s first glimpse of the culture of this aviation school—hence its resemblance to a bird taking flight.

The building exudes a modern feel thanks to its spacious commons and vibrant atmosphere; the architects describe it as a “city within a city,” creating an environment conducive to learning, collaboration, and innovation.

The final project—completed in 2018—resulted in an expansive, 4-story atrium complete with lounges, study rooms, dining, 2 art exhibitions, career services, and a library.

All 177,000 square feet of this open, light-filled space lends itself to Embry-Riddle’s mission of an immersive education in flight and discovery, from its sweeping design to its arching skylight.

Photos on this & opposite page: Brad Feinknopf / OTTO

Because of its adjacency to the university’s observatory building, the Student Union posed a threat to the dark skies needed for various faculty research and student learning. The lighting designers at Fisher Marantz Stone needed to find a way to sufficiently illuminate the building without

designing lighting — 21

producing an excessive amount of light. Fortunately, they came in early enough in the project, when the building was just beginning to take shape; this gave the designers the chance to provide input and collaborate with the architects.

“The building is nothing but a lantern,” said Enrique Garcia Carrera, one of the lighting designers who worked on the project, “it has multi-straight curtain walls on all sides, plus a skylight above.” Eventually, they were able to preserve the dark skies surrounding the observatory building through directed light and tightly controlled beam spreads caught by the building’s overhang. This also allowed them not only to highlight the building’s soaring roof overhang, but also block the lumens from continuing upward.

Carrera notes the importance of this task to the university, “We had to present the university with studies of how many lumens were leaving the building through the curtain walls and through the skylight, as well as the intensity of

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light when looking at the building.”

This was just the beginning of many challenges that the building posed.

Due to its curving structures and planes, the designers could not employ a single organized lighting solution. Additionally, the designers foresaw the challenges of integrating light into the complex curve surfaces; they did not want too much labor-intensive onsite construction that the ceiling coves with their precise knife edges and complex curves would require.

ing luminaires for different ceiling heights. When asked how the team went about doing so, Carrera said, “There is the performance aspect, and then there are the aesthetics. The top story of the building has a large curving roof, and then that continues on and lights not only the single height space of the fourth floor, but then an adjacent double height space, triple height space, and quadruple height space. Then, there is also the skylight running through the center of that ceiling.”

“The architects and ourselves agreed on a strategy that would allow [us] to divide up the length of the coves into segments,” said Carrera, “they could be replicated several times over the building so that it was feasible to fabricate offsite and then just bring to the building and assemble as part of the ceiling itself.”

To address this, the team knew they needed a lighting system they could integrate into the skylight, which would traverse the whole length of the building and illuminate the different levels. In order to accomplish this, they found a light fixture that was consistent in form but that provided different options for lumen outputs and beam spreads.

The Fisher Marantz Stone team’s scope of service also included select-

Because so much daylight enters the building, its lighting system is heavily

EMBRY RIDDLE AERONAUTICAL UNIVERSITY MORI HOSSEINI STUDENT UNION DAYTONA BEACH, FL LIGHTING DESIGN: Enrique Garcia-Carrera, IALD, IES, NOMA, LEED AP BD+C Miyoung Song, IALD, IES, LC, LEED AP BD+C Fisher Marantz Stone 180,000 sq. ft.

3000 K, 80+ and 90 + CRI daylight-controlled, but—due to the multiple purposes of the space—each room required special attention. “There are classrooms and multipurpose rooms that require different settings for different types of functions. Some of these are actually totally cut off from daylight, so we needed to make sure they functioned day and night,” said Carrera.

This newest addition to campus was received with high praise from students, faculty, and administration alike. “When the architects flew down to

FIXTURE SCHEDULE: • Flexible linear LED strips inside coves: LED LinearTM • Recessed downlights: Gotham • Recessed linear downlights: Focal Point • Pendants: SPI • Exterior light posts and bollards: Forms+Surfaces • Knife edge cove lights: Apogee • Adjustable multi-story downlights: ERCO • Column uplights: ACDC Lighting • Preset Dimming Control System: Acuity FrescoTM / nLight® Florida for the opening and dedication, I got an email from them saying the lighting was stunning,” said Carrera, “that was nice to hear because usually you just hear the bad stuff.”

The Mori Hoesseni Student Union acts as a perfect example of the collaboration and originality that the Tesla Awards were created to celebrate.

Thanks to Fisher Marantz Stone’s inventiveness and enthusiasm for this project, Embry-Riddle students now have a space that lights the way for all of their academic endeavors. 

designing lighting — 23

Taking the Leap

By RANDY REID

for wanting to go out on your own could be resolved with a conversation with your employer.”

Andrea Hartranft Bunch

After setting the seal on her decision, Hartranft began to assess where her opportunity was, finally electing to put her efforts into the market in Charlotte, North Carolina, despite living in the Washington, D.C., metropolitan area.

In

2013, after an 18-year-long stint at lighting design firm C.M. Kling + Associates, designer Andrea Hartranft considered whether it was time to go out on her own. As Hartranft turned 50 and began to think of retirement, she started to ask herself if the time to start her own firm was going to be now or if it was never going to happen. Crediting her family, friends, and potential clients with giving her the confidence to finally take the leap, Hartranft decided to go out on her own and has now been Principal of Hartranft Lighting Design for seven years and expanded into three different U.S. cities.

Hartranft’s entrepreneurial ambitions are not uncommon among designers. Especially as the COVID-19 pandemic intensifies feelings of employment precariousness, designers may be considering more seriously their desires to start their own firms.

According to Hartranft, the first thing that all designers must consider are their motivations behind wanting to do so, “Asking yourself what is your motivating factor for taking that leap is a really good place to start. Sometimes your reasons

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“I did not have extreme expectations for Washington, D.C., even though that’s where I live. I thought that there was opportunity [in Charlotte],” said Hartranft, “I had great relationships there, and it made a lot of sense to me to start in Charlotte. Washington, D.C., has a competitive market, and I felt like I might be behind trying to start up when there were so many established firms already.”

On that point, it is often the relationships built over the course of a lighting designer’s career that allows him or her to find success in the beginning stages of working solo. In fact, an excess of financial capital is unnecessary if you have the experience and are thrifty.

Hartranft recommends having a month’s expenses in the bank to start. “I learned that I really didn’t need as much as I thought I was going to need,” she said.

While Hartranft did have financial backing, she does not believe she needed it looking back. Instead, Hartranft encourages designers to be prudent in where they spend their money, believing that costs can be kept low if they are willing to sacrifice.

“I think your first year is a year of eating a lot of peanut butter and jelly; whatever you have to do. Mark Cuban talks about sleeping on the floor, really late nights and all of that.

Everybody’s story will be different,” said Hartranft, “I had some really dear friends who let me stay with them every time I was in Charlotte. I was loaned a car until I was able to get a car, and I didn’t do that until I had enough money in the bank to feel like it was safe. I don’t think you have to have an office.”

Rochester Airport, Courtesy of Don Cochran Photography

"Asking yourself what is your motivating factor for taking that leap is a really good place to start."

By keeping her costs to the payroll of herself and the other person working with her and only necessary additional expenses such as insurance, Hartranft was able to focus on marketing her firm in Charlotte, “I had a very good working relationship with architects and the airport folks in Charlotte, so I was able to hit the ground running, maybe a bit easier than if I had nothing to start with. I don’t say that’s lucky; you make your own luck.”

It is these relationships cultivated through her time in the lighting industry that allowed Hartranft (and really any aspiring entrepreneurial designer) to head out on her own.

“The reality is I was 27 years in — I had worked really, really hard to have a good reputation in the industry, to do good work, to support the profession,” said Hartranft, “Those foundations thankfully had been laid so that when I started the firm, I wasn’t starting from scratch.”

While industry relationships and the willingness to sacrifice are important when heading out on your own, designers should also be aware of the tools needed for the business side of running a firm. In addition to anticipated needs, such as computers and printers, designers need to decide whether to outsource certain jobs, such as bookkeeping and taxes, to other professionals. Hartranft has an accountant, a bookkeeper, and an attorney.

“Use the tools that you need to get where you want to go for the least amount of cost. Sometimes that’s in the form of not a full-time or even a part-time person,” said Hartranft, “If you’re willing to adapt, you figure it out and you find a way to make it work.”

Fortunately, Hartranft says an office is not a necessary cost when starting out, “The good news about what we do is that we can do our work from a computer no matter where we are. I spent many hours at the Cluck N Cup in Charlotte — that was my office. It was where I could hang out and get my

designing lighting — 25

FEATURE STORY Rochester Airport, Courtesy of Don Cochran Photography

"I think your first year is a year of eating a lot of peanut butter and jelly; whatever you have to do." work done and have good coffee.”

Designers are encouraged to be honest with themselves in their estimations of initial profitability. While the first year may see little to no profit, Hartranft is proof that success will come with time. As her business in Charlotte began to take off, she was able to begin focusing on other markets and bringing on more employees. Today, Hartranft Lighting Design has offices in Charlotte, D.C., and Boston and is made up of 9 designers. High levels of design experience within the team have allowed Hartranft freedom to travel less often, something she appreciates, especially with this year’s uncertainties.

HLD celebrates employee initiative by providing bonuses for client acquisition and repeat projects. Hartranft explained, “I believe that people should be rewarded for helping to grow the firm.”

Furthermore, Hartranft believes that her team’s scope of design is as important as their geographic diversity in terms

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of bringing in work. “We are doing pretty much every sector of work. Not having all of our eggs in one design sector is really what’s been very helpful,” she said. Additionally, technological understanding and staying up to date on the latest innovations in lighting technology are instrumental in a firm’s success.

While Hartranft has been able to stay on top of accounts receivable, she does warn that payment can be delayed, as architects wait to be paid by their clients before sending in their own payments to her firm. She also suggests keeping to a billing schedule. “Keeping to a billing schedule really helped because, after the first few months, money was coming in regularly, as we were billing regularly,” said Hartranft.

Even as her firm gains more and more recognition, Hartranft has stayed humble and does not forget to give back to the industry that has paved the way for her successful career.

She advises designers “to give back and give forward." 

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CALL FOR ENTRIES

THE NLB TESLA AWARDS™ program recognizes excellence in new construction or retrofit lighting projects that through the creative use of lighting systems and controls enhance the value of lighting for occupants. The main intent of the THE NLB TESLA AWARDS™ is to promote best practices in indoor and outdoor lighting applications for residential, commercial, industrial, institutional and municipal projects. Lighting design and implementation teams may include: lighting designers, manufacturers, agents, distributors, facility managers or engineers, building owners and occupants, and/or researchers.

The “value of lighting” end-user benefit categories may include but are not limited to: health and wellness, productivity, safety and security, visual comfort, control of light pollution, retail/commercial performance, and entertainment.

Judging criteria are: use of state-of-the-art lighting and controls, application innovation through needs assessment and project team coordination, documentation to validate enhanced “value of lighting” claims, level of difficulty, cost effectiveness, and sustainability.

Anyone may enter a project for the THE NLB TESLA AWARDS™. There are no fees for entry. Projects should have been installed within the 2019 and 2020 calendar years.

Submissions should be completed online by January 29, 2021.

Winning projects will be recognized during LightFair 2021 in New York City and will receive additional publicity in press releases, and industry newsletters and websites.

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Video space

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designing lighting — 29

BENYA’S ART & SCIENCE

The Art of Lighting is a Science T

By JAMES R BENYA, PE, FIES, FIALD

L

ight itself is best described as science. A stunning sunset is not art; it is natural science interpreted as art by humans who wish they could accomplish it. But this article is not so much about light – it is about lighting. Lighting is done by humans, an intentional act that applies light to accomplish an intended outcome. And because lighting for all intents and purposes is created using electricity, I will keep this simple and assume “lighting” means electric lighting since the late 19th century.

Lighting began as a practical necessity.

It is the one of the earliest and still the best known of the uses of electricity.

With omnipresent electricity, interior space is lighted as and when needed.

Electric lighting enables buildings of enormous interior space with no access to daylight, making interior living, working, commerce and religion possible. It extends the daytime hours making for longer and more productive days, especially in winter. It provides light for activities of all kinds at night and adds security to streets and walks.

Driven by practical demands, the lighting industry was born and grew rapidly. In only a century, lighting became commonplace, inexpensive, practical, safe, reliable, flexible, useful, necessary – and often, appealing, and occasionally beautiful.

At first, it was probably believed that lighting design involved designing the luminaires themselves. They are the “jewelry of architecture1”, as important in scale, style and detail as any other part of architectural design.

Originally using candles, decorative practical lighting such as lamps, sconces and chandeliers became an industry in which artists designed luminaires guided by engineers and craftsmen to safely hold increasingly

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hot light sources. In the early 20th century, luminaires became an industrial art form of their own. No longer confined by the problems and dangers of flame, thousands of products for all situations emerged, creating a new design opportunity for architects, interior designers and engineers. While mostly the products of necessity, to this day I employ timelessly superb designs like the Holophane industrial glass reflectors and the RLM “barn” lights.

Photo: Ryan Searle

Some architects designed luminaires themselves to be certain that they were the right “jewelry” for their project. I often think of Frank Lloyd Wright’s Unity Temple where I was once the best man for a friend’s wedding. I relate especially well to the collections in modern museums because stylish electric lighting became commonplace about the start of the modernist period in art and architecture. I like looking at decorative lighting catalogs and websites as much as anything else I do.

Arguably, theaters and other performance venues were among those who immediately seized the science of electric lighting for its convenience and relative safety, and in the hands of set designers and technicians, its use in performance spaces quickly expanded. In his profound 1932 book, A Method for Lighting the Stage, Stanley McCandless described using light itself to achieve dramatic purpose, explaining technology and design skills that serve today as the basis of lighting design in architecture as well as for the stage.

Many of the pioneers of architectural lighting design cite McCandless as their inspiration. But I think the idea started earlier. At the 1893 World’s Fair in Chicago, lighting was the star, creating night environments on a

The title of this article was taken from a former IES President of the Chicago in 1986 and was captivated by the wa lighting.

BENYA’S ART & SCIENCE

The Science of Lighting is an Art

m a presentation by Gerry Zekowski, o Section. I attended his presentation ay he spoke of the art and science of

scale and in manner that illustrated the potential impact of lighting. The 1915 Pan-Pacific Exposition was noted for its use of floodlighting of buildings, an important departure from marquees and strings of lights.

Like other forms of art, the practice of lighting design today combines and interprets the evolved theories and practices of lighting design with the almost unbelievable advances in lighting technology and technique.

Fast forward to present day, we enjoy dramatic improvements in lighting technology and efficiency that in turn permit lighting designs and effects. A simple example comes from McCandless, who first explained the use of using color temperature to evoke mood and exaggerate depth.

What he might think about a single luminaire that could change color temperature from a dial! I think today’s lighting designers are a lot like McCandless. The challenging mix of architecture, physics, electricity, interior design, drama, three dimensional space, the feelings and emotions light arouses, revealing day and night, directing the viewer’s attention and perception, providing color and warmth, allowing adaptation from light to dark, driving focus, and as we now know, delivering key health and wellness to both the living beings in the viewshed as well as to the viewer. Lighting design is among the best practical pursuits that appeal to the Renaissance personality, who like Leonardo da Vinci are excited by both the art and science of their work.

Whether we knew it or not, lighting has always been a dance between art and science. Science enables and provides lighting within the limits of the day. Art reflects the culture and expectations of society and lighting.

One example of this dance is The

National Lighting Bureau’s new awards program, the Art & Science Awards. The Art Award focuses on key aesthetic design achievements, while the Science Award is for important technical achievements. Mary Beth Gotti is the chair and the NLB will launch these awards late this year.

Architecture and design – each both an art and science – are the musical score for lighting. Like dancing, lighting design involves society and its issues. Who leads and who follows?

For this music, are we to be graceful?

Fun? Athletic? Sophisticated? Are we happy? Serious? Conservative?

Flamboyant? Ballroom? America’s Got Talent? Or is it impromptu and freeform2? So many ways to dance, realizing that the point is to dance and how is a choice, the style and method driven by many other factors.

Unlike dancing, though, lighting is also environmental and persists long after the premier performance.

Together over the last 50 years we have learned to improve lighting and to significantly reduce its energy use. But while less scary than climate change, light pollution affects all forms of life as well as depriving the world of the nightly view of the cosmos.

And we still have almost everything to learn about how lighting – including daylighting – can be used to realize health and wellness in living beings.

Which of course, brings us back to where we started – science – and I think we need to start a new song to which to dance  1

James Benya, The Jewelry of Architecture, Architectural

Lighting, March 2007, inspired by an article of the same name and author in Architectural Record Lighting Supplement, c. 1993 2

I have been known to do the “alligator” and once won a

60’s style dance contest.

3

James Benya, Our Work is Done Here, LD+A, May 2018

designing lighting — 31

By JACOB WRIGHT

Making a Splash with FILI X FILIX

Lighting is, at their core, an electrical engineering company that began in Croatia in the 1980s. As LED technology began to improve over time and eventually became the new standard, they took their engineering knowledge and experience to develop unique lighting solutions for the industry. What stands out amongst these solutions is their development of underwater lighting solutions and designs. I sat down with FILIX CEO, Marko Jurman, to gain more insight into their development and conceptualization of their underwater lighting designs.

Q: Why have you chosen to specialize in underwater lighting solutions?

32 designing Photo:—Patrick Tomasso lighting

A: With the engineering background that FILIX Lighting has, we’ve always been drawn to developing highly technical solutions. We found the opportunity to do so in the IP68 LED niche. The process of creating such instruments is challenging and when you are able to produce quality results the feeling is much more rewarding.

Q: Was your choice to specialize in underwater lighting influenced by a perceived lack of options and innovation?

A: Definitely, there hasn’t really been any major developments in this niche, and we saw a need to provide the design community with solutions that allow them

to design lighting in and around underwater environments.

Q: How do you begin to design underwater lighting? What steps or process do you go through?

A: First, you need to design a lighting scheme that will enhance and add value to the space. In this case that space would be a pool or some sort of water feature. In order to do this, one needs to understand the interaction of light and water. Factors like how water absorbs the light photons, and how water scatters the light and changes the perception of color are all key elements that are needed to understand before choosing the right lighting instrument. With these factors in mind, one can begin to design and implement the solutions you’ve deemed necessary to bring the idea, or vision, to life.

Q: I understand that you are one of the creators of the “Make a Splash!” workshop, can you go into more detail about what this workshop entails and

what it provides to those who attend?

A: “Make a Splash!” is an educational seminar that is aimed at system designers and integrators for lighting solutions in pools and other water features. We launched the “Make a Splash!” workshop after seeing many projects that have not realized the full dynamic effect water has on lighting.

Showing the effect in real-time and the impact that positioning and depth have on the overall image has proven to be a great help to designers who are tasked with these kinds of projects. Those who attend will walk away with a greater understanding of how to effectively implement underwater lighting designs.

Q: What does the future hold for underwater lighting?

A: With the introduction of LED technology, more opportunities for underwater lighting have presented themselves, along with more instruments to work with in order to bring these opportunities to life.

Improving optical performances and efficiency, but also the design of the instruments, has been one of our main focuses up to this point. We are developing new solutions that will offer more individualized and precise designs for special situations that are arising due to the increasingly complex market of pool construction.

Q: So, would you say the construction industry for water features plays an important part in driving innovation in the design department?

A: Yes, the integration of water features in landscape, spa, and wellness areas have presented the task of developing lighting solutions for these specific areas that will add value. That in turn guides the development of the next generation of our underwater lighting solutions.

We appreciate Mr. Jurman for taking the time to sit down with us and explain the creative process of one who designs lighting for a space not everyone thinks of — underwater. 

designing lighting — 33

By JOHN YOUNG

Southern Lighting Source

Lighting’s critical role in the future workplace.

A NEW WORLD

T

he creative and innovative spaces of the new modern office will have a look and feel like nothing we’ve ever seen. As employees leave the comforts of home and reinsert themselves into the workspace, many will naturally have fears and concerns. Architects and designers have been working tirelessly to re-imagine and design environments that are not only modern, functional and beautiful, but address critical short and long-term needs to keep people safe. So let’s take a brief glimpse into what this world will look like.

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WELCOME

Your first day back begins by entering the office through a sanitization portal. As you make your way to the space assignment hub, you are greeted by teammates on the large centrally located Zoom Wall. After exchanging a few virtual pleasantries you're now ready to book your work space for the day. A simple glance at the assignment monitor alerts you to an opening. On your mobile phone, you reserve an available video cubbie and then start making your way to the team lounge.

Weaving through modular and ergonomic

Creating designs that are not only beautiful, but improve safety and wellness for a confident return. furniture varied throughout the open concept, you notice the beautiful view and natural light coming through three large windows. As you're passing the updated conference room, someone from inside calls your name. It’s Diane!

The two of you started with the company nearly 10 years ago and you haven’t seen each other (in person) in nearly 8 months. As you enter and begin catching up, you can’t help but notice the spacious and updated look. Video monitors adorn each wall and an innovative furniture layout for team meetings and collaboration are placed carefully to maintain social distancing. Now that you and Diane have reconnected, you continue to the lounge. Once there, you activate the touchless faucet and begin washing your hands. While drying your hands you glance up, take a full scan of the space, and are struck by the changes. A futuristic world now bustling with activity! You begin to realize how much you have missed the work environment and being amongst your team.

A calm comes over you and you eagerly head to your cubby to start the day.

Unbeknownst to you, great care and consideration went into making sure that the best suitable lighting, controls, technology, and materials were integrated into the bold design. UV Lighting for sanitization, color tuning to maintain optimal circadian rhythm, daylight harvesting controls, antimicrobial finishes, and space utilization technology are all actively present to provide the healthiest and most productive environment possible. A collaborative effort in design with a shared goal has created an ideal space where occupants feel safe, comfortable, and have a renewed sense of confidence.

CHALLENGES While employers are eager to have their teams back at work and resume in-office activities, they realize that the space they return to must be an environment where everyone can achieve maximum productivity while confidently interacting with colleagues and clients. As the psychological and emotional stresses of the pandemic begin to wane, a return to office life appears eminent. However, there are questions and concerns to be addressed.

1. What safety protocols should be in place?

2. What options are available to maximize health and cleanliness?

3. What, if any, changes will there be regarding code compliance?

4. Is there existing technology that monitors occupancy, social distancing, and utilization in real time?

5. Are these technologies affordable and sustainable?

Obvious and important questions indeed! As lighting and controls consultants and providers, we are fortunate to have options that answer and satisfy these questions.

SOLUTIONS Thankfully, innovative and forward thinking lighting & controls engineers have created solutions that are currently available to make a safe return a reality. Cutting edge technologies such as AVUITY’s suite of space measurement products for example. They not only monitor utilization in real time, but through the end user app you have access to critical analytics to better understand trends and areas of concern. By having this unprecedented instant view, workplace configuration and usage adjustments can be made the moment an issue occurs.

Then you have Healthe’s sanitization and circadian series solutions that prioritize the occupant’s health and wellness.

Using light as a platform a comprehensive office solution might include one of their FAR-UVC 222 products to protect against viruses, bacteria and mold. A Blue-enriched light option to help employees reach the peak of melanopsin sensitivity leading to heightened focus and increased productivity. Lastly, a complimentary air sanitizing/UV filtration luminaries are strategically placed to capture airborne pathogens while reducing carbon gases and odors. By thoughtfully combining these groundbreaking technologies, Healthe has created a veil of protection enabling occupants to feel safe.

The next layer of effective lighting might include Waldmann’s LUM CONNECT VTL that provides ergonomic-friendly options with biodynamic controls. Implementing solutions that are balanced, safe, and promote productivity will become increasingly more important. By installing a comprehensive

designing lighting — 35

reliable solution that meets these criteria, the employer will reap the benefits of having a reinvigorated team in an ever more clean and healthy environment. Waldmann is able to accomplish this by combining ceiling mounted, suspended, and task lighting luminaires equipped with controls that have the ability to mimic the changes in sunlight that occur throughout the day. Not only do these work together to create a comfortable ambiance, but they also offer a flexibility to accommodate the dynamic and fluid changes certain to be present in the modern office.

Lastly let’s take a look at what is certain to be a game changer in office spaces where people tend to congregate such as lounges, libraries, conference rooms, and collaboration zones. These environments are sure to be areas where the need for healthy and clean surfaces are paramount. GE Current’s disinfection technology solution has shown to combat common pathogens via in-vitro testing using a continuous disinfection kill rate through low-intensity irradiance. Employers and their employees will not only enjoy the benefits the smooth uniform UVA disinfecting light

that GE Currents LBU series provides, but will be comforted in knowing that it is in accordance with IEC photobiological safety standard 62471. An amazing solution that is safe for human exposure while minimizing the potential spread of bacteria, viruses, and fungi.

DELIVERY With these and many other solutions to consider, it is easy to understand that many will be overwhelmed during the design and implementation process. A key element towards a finished product that all can be proud of, will be a strong focus on engaging, educating, and instilling confidence in the architectural and design community. Having conversations in the early stages of the design process to know the creative vision, intended function, and a clear understanding of what the client/end-user truly wants will be critical. Once that is broadly defined, then the fun can begin!

A closer look at the architectural and design concepts will lead to initial selections of fixtures and controls in keeping with the shared vision. But the fun doesn’t stop there!

Understanding that several of these new and innovative solutions will also be a first experience for engineers and contractors, a conscientious effort will have to be placed on informing and educating them along the way. Once again, a shared vision and goal across several disciplines to deliver an extraordinary and unprecedented return to work. Having a small hand in creating a home for a returning workforce that meets the defined budget and schedule requirements, along with meeting the aesthetic intent can be daunting. But it’s just the challenge our industry craves and can deliver.

Our world will never be the same but if we can have a small hand in making it comfortable and safe for a confident return, then we will have served an important role. 

Photo by Jack O’Hanlon and the O’Hanlon Group

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Italian Renaissance

By LINDA LONGO

the Rebirth

of a Brand Renowned Italian lighting manufacturer Studio Italia Design celebrated its platinum jubilee this summer by revealing a name change as part of a rebranding initiative.

Changing the name of the company your grandfather founded 70 years ago is not a decision that Massimiliano Tosetto, General Manager of Studio Italia Design, took lightly — then again, it’s not the first time the Venetian lighting manufacturer has changed its name.

As the third generation of the Tosetto family, Massimiliano gave approximately two years of thought to the idea of rebranding the firm on the advent of its 70th anniversary to emphasize the next phase in its design evolution. The planning included brainstorming sessions with experts such as the company’s newly appointed Design Curator Luca Nichetto; branding expert Béatrice Ferrari of Synesia; and Valerio

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Tamagnini, Co-founder & Creative Director of Studio Blanco.

Their criteria was to find a word that was simple (in a graphics and phonetic sense), easily recognizable, and would convey the company’s principles of being made in Italy with excellent craftsmanship and a commitment to research and development as well as technological innovation.

The official unveiling of the new brand took place in June and has continued with product launches in July and, most recently, in September.

“Our company has evolved several times in its history and the most

Resembling floating bubbles, Random Solo by Chia-Ying Lee can be specified in one color or in combination with different finish options (clear, chrome, gold, rose gold, glossy smoke and frosted white).

significant evolutions have involved a change of name or logo; [therefore] we can say that this rebrand is in the nature of our family business,” Tosetto explains.

“Our company was founded by my

Designed by Chia-Ying Lee, the Random Solo suspension lamps expand upon the existing Random series by isolating the original three-

piece cluster and adding two new spherical, blown-glass lamps. The individual lights come in diameters of 4.72, 5.5, 7, 9, and 11 inches, as

well as five finishes. Each glass diffuser integrates an LED light source which diffuses a warm white light (2700K).

grandfather, Angelo, in 1950 as ‘Angelo Tosetto’ and it evolved until my father, Andrea, came up with the name ‘Studio Italia Design’ to mark his precise choice to abandon the typical traditional Venetian style that characterized the company

at that time and to embark on his own pursuit of contemporary style. And it was a good choice, since this name has led us to grow and establish ourselves as a solid and capable lighting company on an international level.”

Following in that tradition, Tosetto says, “Now the time has come for us to show who we are today, and I couldn’t think of a better occasion than our 70th anniversary.

This new name – Lodes – marks the beginning of a new era of design and

designing lighting — 39

The Jefferson Suspension Lamps were designed for Lodes by Venetian designer Luca Nichetto, who is also the company’s new Design Curator. It is created through a special pressing technique that imprints details on the crystal surface. The vortex motif decorating the diffuser is embellished by the timeless classicism of Bohemian crystal.

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innovation for us, deeply rooted in the manufacturing knowhow consolidated over time. This rebrand is part of a process which has been conceived with a long-term perspective to create value capitalizing on our history and experience.”

As Italy, along with the rest of the world, faced a country-

wide lockdown to combat the COVID-19 pandemic, Tosetto observes, “The spaces we live in became central to our lives more so than ever before. With the emphasis on what makes our environments not only safe, but also in tune with our wellbeing and comfort, the ‘new normal’ will embrace the pieces we choose to live with and what can enhance the

designing lighting — 41

Jefferson is available in various sizes and compositions to suit any space, including cluster configurations that multiply the kaleidoscopic effect of the light.

Standard sizes include the Jefferson mini, which consists of two elliptical crystal diffusers joined together on the black chrome frame. When lit, the undulating pattern on the crystal bodies appear to spin, creating a play of light.

Similarly, the small and medium variations are created through the addition of cylindrical modules made possible by extension joints.

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feeling of contentment in difficult times. We wish for Lodes to be part of these changes to our lives and view this unprecedented experience as a period of learning.”

Fans of Studio Italia Design need not worry about any drastic changes as Tosetto reassures, “The essence of the company stays the same, while our commitment to design and innovation is more markedly showcased by our new identity. In Luca Nichetto’s role as Design Curator, he will serve in the company’s creative evolution and continued efforts to accelerate the brand’s design credentials into a new era of competitive and high-quality products. Luca is both designing products for our company – such as the Jefferson suspension lamp – and is also introducing us to other designers whose values and aesthetics match our vision.”

Tosetto says he would like to see the Lodes brand be associated with “dynamism and freshness” and envisions its products as “versatile lighting solutions that are technologically savvy and adaptable to the creative attitude of those who choose them.”

When it comes to manufacturing operations and distribution, there are no changes on the horizon. “Our business is healthy and does not require any drastic intervention,” Tosetto comments. “Everything stays essentially the same as far as our distribution is concerned. Of course, we will keep evolving; it is in our DNA and in the nature of the business. We just launched our new website lodes.com in seven languages to best serve our global customers in the 90 markets where our products are available today.”

In North America, Lodes (just as with Studio Italia Design) is distributed exclusively through JB Lighting Collection, which is headquartered in New Jersey and co-founded by industry veterans Josie Anthony and Blair Hutkin.

“All of the channels of distribution will remain the same — both in terms of the rep organization, as well as showrooms and e-commerce,” Josie Anthony affirms. “The rebranding to Lodes is especially exciting for us, not just because we are proud to continue to distribute such a storied, well-regarded line, but also because it represents an opportunity for us to grow as an organization. As Lodes expands its product offering, we will further expand our sales network and seek out additional channels of distribution.”

The product line and inventory of Studio Italia Design will still be available under the Lodes brand. “In addition to offering Studio Italia Design’s iconic assortment of designs, Lodes is committed to regularly introducing new and design-forward pieces. We're pleased to be a part of this exciting time for the Lodes brand as it evolves under the continued leadership of General Manager Massimiliano Tosetto,” Anthony remarks.

While the global pandemic has caused shipping delays for other manufacturers’ products in a wide variety of categories, that is not the case with JB Lighting Collection. Realizing the need for deep inventory, Anthony and Hutkin have amassed a healthy supply of Studio Italia Design and Lodes products in their New Jersey warehouse for immediate shipping to serve specifiers’ needs on their architectural projects. “We look forward to the next 70 years of design and innovation,” says Anthony of the Lodes brand. 

designing lighting — 43

Lighting Up Hidden Pond By

STEF SCHWALB

While the pandemic has brought the bulk of travel to a screeching halt with its arrival, there are still plenty of places to get away, and even though travelers need to remain sixfeet apart from people outside their bubble, that doesn’t mean we can’t enjoy a few bursts of fun—and there are several new hospitality properties opening on a regular basis as proof.

W

hile the pandemic has brought the bulk of travel to a screeching halt with its arrival, there are still plenty of places to get away, and even though travelers need to remain six-feet apart from people outside their bubble, that doesn’t mean we can’t enjoy a few bursts of fun—and there are several new hospitality properties opening on a regular basis as proof. We recently came across Hidden Pond, an awardwinning coastal Kennebunkport hotel tucked away on 60 wooded acres. As one of the properties included in the Kennebunkport Resort Collection, Hidden Pond is described as “part wilderness retreat, part gated community, part summer camp.”

This relaxing destination offers rustic

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luxury, plenty of privacy, serene, and a close proximity to area attractions.

As one of the top luxury hotels in New England, Hidden Pond is made up of 40-plus free-standing cottages, bungalows, and lodges surrounded by a beautiful pristine birch forest.

Located just one mile from the beach, the resort also includes a luxury spa; an organic garden named The Farm; two pools; and two food and beverage options. Earth is a farm-to-fork restaurant that features fresh organic and seasonal ingredients in all of their dishes, and the Back Porch Bar serves up local brews and fruit-infused cocktails by the pool.

Although it has been in operation

since 2008, this year Hidden Pond has unveiled 10 new Treetop Lodges.

Nine of these lodges were constructed earlier in 2020 and were part of a soft launch that took place in July. The tenth structure — a new signature two-bedroom Treetop Lodge suite designed by renowned menswear fashion designer Todd Snyder —

Photo: Jeff Roberts Imaging

was just introduced this September.

Inspired by his forthcoming Fall 2020 runway collection, the suite — dubbed the From Away cabin by L.L. Bean x Todd Snyder — was created in collaboration with heritage Mainebased brand L.L. Bean. Providing considerable space between each cottage, guests can now choose

between a one-bedroom bungalow, a one- or two-story, two-bedroom cottage, or one of the brand-new Treetop Lodge accommodations that feature studios and one-bedroom suites.

Outside of Snyder’s creative contribution, the remainder of the

Treetop Lodges were designed

by Louise Hurlbutt of Hurlbutt Designs in collaboration with Maine-based designer Krista Stokes.

Inspired by rustic, design-forward treehouses, Hidden Pond’s newest accommodations illustrate a playful balance that seamlessly combines indoor and outdoor living. Influenced

designing lighting — 45

by the resort’s location, the color scheme features various shades of gray that are reminiscent of the woods at daybreak and dusk. They are complemented by a range

As collaborators on the design, Hurlbutt and Stokes found lighting always played an integral part in the creative process. “Lighting has played a major role in the design of the Tree

lighting fixtures that were influenced by nature — the sun, wheat grass, woods — providing an easy transition from outdoors to indoors,” they explain. “The entry boasts a pendant

Photo: Jeff Roberts Imaging of hues found throughout the Kennebunkport region: deep blues, greens, dark russet, and a pictureperfect palette of earth tones.

The expansive windows showcase peaceful environs, and many of the furniture pieces and decor are made of materials sourced from the outdoors. Reclaimed burled wood frames the mirrors; the showers are tiled with pebble stones; and the floors and walls are lined with shiplap wood. Meanwhile, the custom furniture pieces are made from reclaimed Russian pine and the headboards from reclaimed Russian oak. The curated wall art also features by tree branches and stones foraged locally.

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Cottages at Hidden Pond particularly because of the setting of the cottages surrounded by trees,” they explain.

“The natural light is constantly changing inside the cottages throughout the day from sunlight streaming through the trees, sunrise to sunset, so we chose light fixtures that would add to the natural light and give a soft, ambiance at night.”

While natural light inspires the setting, both indoors and out, nature itself serves as the inspiration for the range of fixtures that were selected for the various rooms and spaces throughout the property. “Sticking to the woodland esthetic at Hidden Pond, we were inspired to choose quality

light reminiscent of a pine cone, and the living room has a statement sunburst chandelier, coordinating with the wheat grass pendants over the kitchenette peninsula.”

When it comes to choosing fixtures, Hurlbutt and Stokes have been influenced by a variety of elements that integrate seamlessly with the overall design aesthetic of the property and its furnishings. “The lighting style at the Hidden Pond cottages is modern,” they reveal, “yet sticking with the rustic-refined vibe of the resort we chose antique handrubbed bronze, gilt, and black finishes to accent the stained wood and custom Russian pine wood furniture.”

“Mixed metals in light fixtures have become very on trend.

Photo: Jeff Roberts Imaging

Photo: Jeff Roberts Imaging not operating at full capacity,” they note. “We must be understanding as lead times are delayed and things are not in stock as they might have normally been prior to COVID-19. We are very grateful to all of our vendors — especially the people that helped us push through quarantine to get our lighting delivered and installed at Hidden Pond before the resort opened July 1.”

Photo: Douglas Friedman In terms of what’s hot in the design space right now, Hurlbutt and Stokes say that mixed metals — especially in light fixtures — have become very on trend. Although COVID-19 is having an impact across all industries, including design, the team remains hopeful and

full of gratitude for everyone working behind the scenes to bring projects to fruition. “Regarding COVID-19, patience is key. As designers, we must remember our vendors faced the same challenges with factory closures due to quarantine and many are still

And while inspiration can be difficult to access in quarantine, Hurlbutt and Stokes are finding new ways to keep invigorating their process and creativity. “Due to COVID-19, our current inspiration comes from social media pages, design magazines, and virtual tours of vendor showrooms,” they conclude, “which are a recent addition that have quickly become a great way to view new products and get inspiration while remaining safe and distant! Prior to COVID-19, we were more influenced by travel, museums, and art shows.” 

designing lighting — 47

Who will be the

By RANDY REID

President Trump’s diagnosis of COVID-19 proves anyone can catch this disease — making UV disinfection even more crucial.

A HYPOTHETICAL STORY.

A

large financial institution on Wall Street opened their doors October 1st and allowed their 700 employees the choice to work from the office again. The firm thought they had done everything right. In September, they installed UVC (254 nm) devices in their HVAC, as close to the coils as possible.

Upper air disinfectors (254 nm) had been mounted to the eightfoot ceilings. The restrooms troffers had been retrofitted, and two of the four LED tubes that had been retrofitted in 2015 were removed and replaced with magnetic disinfectant strips (405 nm), giving the bathroom a weird bluish hue.

Many of the LED flat panels that were installed in 2015 were replaced with new luminaires (far-UVC light 222 nm) that provided lumens and continuous disinfection during the day. Still, other devices (254 nm) were installed to disinfect only at night when the space was unoccupied. Vacancy sensors were placed at all entrances and, as an added precaution, each 254 nm fixture had its own sensor equipped with PIR technology.

On October 1st, 212 associates showed up, eager to have a break from their kids and desperate to find some sense of normalcy. All 212 wore masks. By 10 a.m., a few of the older employees moved their masks to their chin in an effort to talk.

The associates were aware of the many safety measures in place with UV disinfection being one of those components. Later that day two employees from the customer retention team began to see small lesions on their skin. A third complained of eye fatigue.

By 2:00 p.m. five employees from that department complained

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about skin and eye irritation, and all suspected it came from the luminaires above their work area. They moved to a conference room and filed a maintenance report. The next day, maintenance, unsure of what to do, disconnected the fixtures above their work area.

Because they were in a safe building, on October 2nd, many workers removed their masks entirely while working at their desk, but most would reapply them when walking to a conference room or restroom. Monday, October 4th, two associates said they were not feeling well and left work early. They did not return on October 5th and four other people, who worked in close proximity decided to work from home. Late in the day, all six people realized they were all working from home and none felt well. They agreed to get tested the following day. One took an instant test which came back positive for COVID-19, two more took a two-hour test--also positive--and three others took a sendaway test and did not have immediate results. The text messages went out with a fury, and by 3 p.m. on October 6th a decision was made to close the building again.

All fixtures were certified by a third party; the job was designed by an experienced, award-winning Lighting Designer; and the plans were approved by the manufacturers. The contractor was licensed, although not trained on UV disinfection, and really had no idea of the complications.

On October 8th, an army of people arrived at the building including four engineers and one PhD from two different manufacturers, two regional managers from those manufacturers, two

UV Police?

"With UV-C, too much can cause harm, not enough can cause harm, and the wrong type can cause harm. In other words, the dose has to be perfect!" contractors and their supervisor, as well as the rep that sold the job. The team discovered that two vacancy sensors were simply not installed on the fixtures in the customer retainment area. No one knew why. All disinfection units installed on the four HVAC units were correctly connected and working as designed. Unfortunately, two additional HVAC units had been added in 2012 and were not on the original plans, so those units did not receive any disinfection devices. Of the 50 upper air units that were shipped, only 45 were installed and the remaining 5 were unaccounted for. The open-office layout was designed with 4-foot-high panels and, because of COVID, one of the managers insisted that his team have 8-foot panels. This extra protection actually blocked much of the UV disinfection in that area.

In

my opinion, it is not an issue of certifying the products but of certifying the installation. Our industry has strong electrical compliance, but there is no application compliance. What body or organization will be responsible for ensuring accurate installs? Which organization will act as the UV-C Police to ensure the fixtures are installed correctly? Who will measure the radiance and at what levels?

Should the measurements be taken at desk height, or at 6 foot?

UV disinfection is like the Wild, Wild, West, with lots of claims and different companies making outlandish promises. No one quite knows where to turn.

Where have we heard the “Wild, Wild, West” term before?

In 2006-2008 as LEDs were moving into general lighting. It was complete chaos with outrageous and unproven claims.

In 2008, the industry stepped up and IES gave us LM79 and LM80. That same year ENERGY STAR®, along with the DOE Solid State Lighting (SSL) team, created a qualification process for consumer-focused LED lighting products in order to avoid the market-introduction pitfalls that compact fluorescent light bulbs (CFLs) had suffered in the early 1990s, with their stark color temperatures, long warm up time, low CRI, short life and over-hyped expectations.

Also, in 2008 energy efficiency program managers in the Northeast turned to a little-known organization in our industry, the DLC, to create a similar resource for commercial-grade LED luminaires, and thus, the DLC, as we know it today, was born. The DLC continues to help us over a decade later, and their role is greatly expanded.

Today we are in a similar situation. Simply replace the initials LED with UVC and its deja vu all over again.

In general lighting, most lighting designers tell me they usually err on the side of too much light instead of not enough, as tuning down lumens is much easier than adding additional luminaries. It is very difficult to achieve surface disinfection in inhabited spaces, like offices because of the risk of exposure to the people working in the space. With UV-C, too much can cause harm, not enough can cause harm, and the wrong type can cause harm. In other words, the dose has to be perfect!

designing lighting — 49

Photo: Kenall

Once the UV-C disinfection job has been installed, whose job is it to make sure it is, in fact, perfect? Does the luminaire manufacturer have a responsibility to send an engineer to ensure the upper air fixtures are not reflecting radiance off a shiny object? What about the local rep that may have done the commissioning? What is the role of the lighting designer, who worked close with the manufacturer to prescribe the proper dose? If a person is injured, who gets sued?

consumer, healthcare, and professional products that meet appropriate containment criteria and caution against products without safety certifications.

What is the industry doing to tame the UV-C beast?

Video Link to UL discussion https://youtu.be/ae_vXQ-TpoE

WE ASKED IES. Mark Lien, Market Relations Manager, explained that the IES Testing Procedures Committee is developing a method of measurement of UV sources to enable manufacturers to test products in a way that can be compared. He also said that the IES Photobiology Committee is also working on an RP for UV applications. Alex Baker, IES Manager of Government Affairs & Public Policy, explained that IES is working on a project to promote awareness of and improve the application of ultraviolet “disinfection” technology with the International Ultraviolet Association. Today’s IES is more professional and much faster than the IES in years past, so we expect these results soon. However, at this point the IES has no plans in getting into the application verification business.

NEXT, WE ASKED UL. Adam Lilien,Global Business Development Manager, Connected Technologies and Pamela Gwynn, Principal Engineer, explained that UL, the American Lighting Association (ALA) and NEMA have released a new position paper due to an increased demand for sanitizing and germicidal capabilities in the face of COVID-19. The paper "Ultraviolet-C (UVC) Germicidal Devices: What Consumers Need To Know" provides a deeper look at the UVC germicidal devices available to consumers and their potential to cause severe injuries to humans and pets, as well as damage to plants and materials. UL has a path to certification for many types of

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THEN, WE ASKED THE DLC. We spoke to Leora Radetsky, Senior Lighting Scientist, who explained that the DLC has no plans to add disinfection lighting product to the QPL. The DLC is drafting a white paper for their members to introduce them to the topic. The paper will provide enough information for the members to understand the technology, the terminology, and the applications regarding dosing and disinfection rates to inactivate specific pathogens. The paper will also discuss the various types: Upper Air, Surface Disinfection, and HVAC. Originally, I misunderstood thinking the members were the OEMs who pay the bills, but it is only for their utility customers.

LAST, WE ASKED TWO LUMINAIRE MANUFACTURES. Cliff Yahnke, Ph.D., Director of Clinical Affairs at Kenall is arguably one of the country’s experts in visible light disinfection, due to his role in the development of Indigo-Clean Continuous Environmental Disinfection. He said, “Although we employ 405 nanometer and not UV, we know our product is completely safe because we invest in third party testing to

Coming in the December Issue:

IEC62471. Safety of lighting disinfection is critical, and easy to misunderstand, so it’s important to insist on a test certificate --for each product being used, and against all hazard categories-- from a third party UL certified laboratory.” Yahnke also explained that Kenall has strict dosing parameters for every installation and hospitals submit room dimensions and Kenall determines the number of fixtures required to meet their clinical performance claim.

Santino Nemi, Chief Operating Officer at Viscor cautioned that a little knowledge is harmful. Santino explained that some agents berate him to quickly bring UV products to the market. He has been successful in fending them off by asking if they would you be willing to sign a hold-harmless agreement. An immediate change in tone occurs and the rep begins to understand the inherent risks. “The UV-C products resemble the look of a luminaire—but that is the only thing it has in common with lighting.”

Can Lighting Save Retail?

The conversation evolved from less of an interview to more of a brainstorming session with all of us asking each other questions. We agreed that the lack of application verification is a huge problem. Adam suggested creating a financial program either from the utilities or federal stimulus, to fund a pot of money that would be rebated to end users who install UV disinfection combined with the best practices of the Well Building Standard. Buildings could become healthy and safe at the same time. The question is where would the money come from and which body would manage it?

Santino said, “Responses from regulatory bodies have evolved, but there is still no framework in place to certify a job.”

We went back to UL for a second call and Pamela Gwynn explained that it is unclear who should have the final sign-off once the disinfection luminaires have been installed. Pam said, “It is up to the manufacturer to get their protocol tested and get conformity documents that show if you follow the protocol, the device will meet its specifications.”

In some cases, the FDA is involved as medical claims are part of their jurisdiction. UL is not overly concerned about misuse in the medical field as most health care facilities have a governing body of individuals who have jurisdiction to ensure what is being used in the hospitals is correct.

Adam Lilien said, “UL is developing new guidelines as the technology adapts.”

Link to video https://youtu.be/Gy7eI2MxKgk

If we are going to gain trust and help get the world back to work, the industry has to come together and ensure we prevent those issues experienced in our hypothetical financial firm.

As an industry, we can’t introduce UV to the world the way we launched CFL. 

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UPCOMING SHOWS

6-10 JAN 2021

DALLAS

16-17 MAR 2021

18-20 MAY 2021

NEW YORK CITY NEW YORK CITY

22-24 JUN 2021

6-7 AUG 2021

21-22 SEP 2021

SANTA CLARA

NEW ORLEANS

DALLAS

7-13 OCT 2021

11-12 NOV 2021

13-18 MAR 2022

LONDON

FRANKFURT

STREET & AREA LIGHTING CONFERENCE

ATLANTA 52

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designing lighting 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.

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UP CLOSE

Human Centric Lighting?

It’s about time!

"Most architectural lighting designers think of time as static ... but with circadian entrainment, it’s all about time."

Dr. Mark Rea, Professor, Lighting Research Center

G

ood lighting design has traditionally been about making architectural spaces beautiful with minimum power density. That tradition of course will continue, but the element of time has become ever more important.

Energy is, after all, the product of power and time. More significantly, lighting must vary with the time of day to ensure good sleep and thereby healthy building occupants.

Typically, time is a neglected tool of lighting design. Most architectural lighting designs think of time as static. But with circadian entrainment, it’s all about time. If you think about stage lighting there is a fixed person in the audience, and in each scene the lighting changes to reflect a new time.

General lighting is the reverse. In real life you have static lighting and the people move. Time is an essential element in theater lighting, but usually not embraced in general lighting design. Why? Light can be a way of articulating sequences to show the time of day or mood. Some circadian jobs are done in simplistic terms, with cool lighting in the morning and warm in the 54

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evening. Lighting can be a much more powerful dimension.

A designer may need 300 lux on a horizontal surface and have to meet a certain watts/sq foot requirement. But the lights don’t always have to come from the ceiling. We will begin to see self-illuminous screens and perhaps and instead of a static watts/sq foot, what if the job consumed more power in the morning and less in the afternoon and could still meet the energy code?

Lighting should have more layers. Some open-air offices now offer Zoom Rooms where the employee will go to have great lighting for their online meeting. What if those horizontal lumens could be delivered at the desk, where the resources are? Employees should be able to quickly change the lighting to meet their specific task, and vertical illumination has to play a role. Designers seem to be stuck with ceiling lighting, and that is where the tonnage is, but I think that world is going to change.

I look forward to the time when time is a featured element of good lighting design. 

LOO K I N G FO R TU N ABLE W H ITE M A DE E ASY ?

Think BW

6500K

2700K

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The BW165 provides uniform illumination, performance optics and integral driver options with deep dimming, all wrapped in a compact 1.65� modern design.

www.birchwoodlighting.com

designing lighting — 55

Motive Outdoor Light as Expression Light space, light architecture, light expressively.

Motive luminaires celebrate the beauty of light and its interaction with architecture, objects, and space, blurring the line between indoor and outdoor lighting to create out-of-theordinary settings.

Designed by Justin Champaign Find us at landscapeforms.com or contact us toll free at 800.430.6205.