designing lighting--DEC 2020

designing lighting

CAN LIGHTING SAVE RETAIL?  BENYA’S ART & SCIENCE  IALD MEASURES IMPACT OF COVID-19

ISSUE NO. 3

DECEMBER 2020

LIGHTING

T he Eisenhower Memorial OFFICE IN THE CLOUDS  THE NEW WORLD OFFICE  UP CLOSE WITH BARBARA HORTON

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

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designing lighting — 3

CONTRIBUTORS

Table of Contents Editorial Director’s Notepad

JIM BENYA

Letters to the Editor Feature Story: Can Lighting Save Retail?

By Randy Reid

Is the lighting industry influential enough to fix retail?

PAUL BLACKBURN

Just In IALD Measures Impact of COVID-19 on the Lighting Design Profession

by Jacob Wright

Analyzing the results of the IALD survey on the impact of the pandemic on the lighting community.

MALIA HULLFISH

A Sign of the Times A New York City design firm temporarily moves out of the city.

Eisenhower Memorial

by Randy Reid

LINDA LONGO

A glowing tribute to a legendary Commander-in-Chief.

Office in the Clouds

by Malia Hullfish

NLB Tesla Award Winner: Covington SF by Fisher Marantz Stone JIMM REIFSNYDER

Benya’s Art & Science:

A Line Of Light

The design, construction and application of the tape light.

The New World Office STEFANIE SCHWALB

by Jimm Reifsnyder

Adapting to the constantly evolving workplace with proper lighting.

Making the Case for the Inclusion of Lighting in the EU Renovation Wave

By Paul Blackburn

BEATRICE WITZGALL

Why Lighting must be included in the European Green Deal.

Making Waves

by Linda Longo

JACOB WRIGHT

Honoring a pioneer's legacy in the redesign of the Wave House in Palm Desert.

When the Light Came On Say Aloha to Mauna Lani

by Stefanie Schwalb

A re-imagined resort in paradise.

User-Friendly Covid-Conscious Indoor Quality Rating Offers Safety And Piece Of Mind

By Beatrice Witzgall

Upcoming Shows ON THE COVER Eisenhower Memorial, Courtesy of L'Observatoire International

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Advertisers Index Up Close with Barbara Horton

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designing lighting — 5

1920, Shemitz Bros. Electric | 1963, SRSA Lighting Design | 1977, elliptipar® | 2005, tambient®

designing lighting magazine is pleased to salute the lighting quotient® and the venerable heritage of the Shemitz family as they celebrate their 100th anniversary.

They have been instrumental in the design of many iconic lighting projects worldwide, including: Jefferson Memorial, Grand Central Terminal, Nelson-Atkins Museum of Art, Jet Blue Terminal at JFK International Airport, the Martin Luther King Jr. National Memorial, the World Trade Center Transportation Hub. the lighting quotient® is the parent company of elliptipar® and tambient®.

Randy Reid Editor 6

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Sylvan R. Shemitz 1925-2007

designing lighting

Allison S. Schieffelin

Cliff Smith Publisher

LEO At Home in More Places.

With a simple, understated aesthetic and new performance features, LEO area lightsoffer redesigned optics, expanded outputs, and distributions.

Designed by John Rizzi Find us at landscapeforms.com or contact us toll free at 800.430.6205.

designing lighting — 7

EDITORIAL DIRECTOR’S NOTEPAD

This was a tough year for me, as it was for you and every other person on earth. I have been tested for COVID-19 seven times, and all seven tests were negative. My mother was not so fortunate, and she died three days after being diagnosed with COVID. But my story is no different from yours, as almost every person on the planet has been affected by varying degrees. With the vaccine, 2021 will bring relief from the pandemic, but the question is will we heed the lessons we learned during this terrible year?

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

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I always thought my marriage had been good, but the pandemic strengthened it. Life is too short to spend it on an airplane or in a car traveling to a meeting that may or may not be beneficial. Earning a living is important, but chasing every last dollar is no longer as meaningful as it once was.

Below is my commitment to my employees, my industry and to my family: Participate in meaningful tradeshows, only. A strong LightFair, LEDucation and IES Annual Conference are very helpful for our industry, and we need those shows in person and I am personally excited about the new ArchLight Summit. However, I am no longer going to go to every show or conference just because it is being held.

Online Education will be my first choice. Prior to the pandemic, I would never dream of learning from my computer. Online education has come a long way, and I have participated in some great online training that was very professional and meaningful. For the most part I am doing it on my schedule and in small doses that fit well with my ADHD. In-person meetings. I am an old-school, people person. I want to shake someone’s hand, look him in the eye, and size up his or her character (usually in the first 10 seconds.) A perfect example of my new thinking is that I am establishing a friendship with one of the brightest people in lighting, Sam Koerbel, the founder of Lytei. Sam and I have never met in person, but I have watched many of his videos and now feel like I know him well because of Zoom. Although we have never shaken hands and I have not looked him in the eye personally, I have developed great respect and admiration for him and that would not have happened prior to the pandemic Networking online. This is totally foreign to me, but I am warming to the idea. The IES Past President’s traditionally get together at the Annual Conference for lunch and cocktails. Dan Salinas scheduled a Zoom call for us and it was wonderful, and we had about double the rate of participation that we typically have for in-person meetings.

If we leave the pandemic stronger than when we entered, and if it makes us better people, more considerate, more patient, and more forgiving, then perhaps COVID-19 was the wakeup call our society needed.

What will you do differently in 2021? Send your ideas to me at editor@designinglighting.com

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designing lighting — 9

LETTERS TO THE EDITOR

This is our first issue where we are introducing Letters to the Editor and we had a great response to our article, Who will be the UV Police? Below are some of the messages we received.

ANN REO, Independent Consultant for LED | IoT Product Development & Commercialization Solutions WELL DONE! Too many questions, too many products that need serious scrutiny during design and after installation.

Speaking from experience..... LED technology was a lot easier than creating an environment that kills the right UV light, keeps people safe, provides functional illumination AND looks good! Working remotely will go on longer than any of us thought.

R. KRISHNAN, Principal Focus Lighting Design (Dubai & Chennai) Randy, am glad your article is very timely. Everyone is talking about this and (has) gone ahead with manufacturing luminaires without any basic knowledge of the UV rays and its impact, of course, without understanding the dosage that could be beneficial or cause damage. As I know, there is no certifying agency at present or guidelines for that matter.

(The) earlier we come out with regulations/ guidelines and in consultation with the medical fraternity and manufacturers, the better. Once again a timely note.

STEPHEN CARLTON, Sales at The MH Companies Randy, this is really well written. Our rep agency is bringing on a new line that is the first UL listed upper air disinfecting light. The claim is that if installed correctly it has 0% chance of putting UV-C into the working space of a classroom. At what point is the rep NOT responsible for someone hurt by this technology. What happens when the paint used or the ceiling panels used in the space reflect UV-C back into the space? I’m concerned and have not yet pitched the product yet. In the NORMAL world of being a lighting rep, I suggest a light that might not be perfect for the application. With UV-C....? Yikes! I really don’t want to be the first one putting this into a classroom claiming it is the panacea that will solve the COVID problem without being able to answer ALL of the Architect’s and Engineer’s questions. I’m not there yet. I’ve read a ton and have a bunch of questions.

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Our audience was equally as passionate about a second article we published, Should Lighting Designers be licensed?

CHUCK CAMERON, Controls Specialist at Stan Deutsch Associates I float a bit in the middle on this issue. I think the mechanics could work like licensing for Architects and Engineers. After getting licensed in their home state, most of them end up licensed in more than one state and my understanding is there is reciprocity. One of my engineering clients has about 40 certificates on the wall. Like A&E licensing it would ensure technical knowledge and professional responsibility but have nothing to do with aesthetics. It could create more work for designers if they are required and/or if they can sign off on drawings in lieu of another professional. It would be similar to the idea of state certification or licenses for Interior Designers. Here is NY States definition of Certified Interior Designers. I think it would require a big push to get it adopted in enough states to make it worthwhile But without that, it would be more time and money spent to have some letters behind your name.

CARRIE WALKER, Associate IALD, LC Architectural Lighting Designer Great question! I'm not sure how you would license an LD. They'd pay money and take a test. What else? The LC is the same way - pay money and take a test, yet even distributors can be an LC. Then there's CLD, which is also a lot of money, but requires a submitted portfolio and 3 years minimum experience as a designer. That seems more reasonable than a test. But what is the benefit of having a license? Why do some assume a license validates your talent? I'm still deciding my answer, but I'm currently leaning toward no license for LDs.

KEVIN LEADFORD, Vice President, Innovation, Architectural Products and Services What makes this tough is that lighting designer is a very broad term. It includes everything from hiring a contractor to installing a barn light to Howard Brandston.

designing lighting — 11

FEATURE STORY

By RANDY REID

CAN Lighting

"People visit stores to touch the brand, not the product, and light becomes an integral part of that experience."

— Cecilia Ramos

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C

an lighting bring back retail? It’s a bold question.

Today’s lighting products are strong, and our technology is impressive, but are we influential enough that we can actually fix retail?

Even before the pandemic hit, retail was in the midst of a dramatic transformation, and parts of the industry are now unrecognizable. E-com weakened many companies and, unfortunately, COVID-19 will finish off several. Big names like Neiman Marcus, JC Penney, GNC, Lucky Brand Dungarees, Brooks Brothers, Ann Taylor, Men’s Warehouse, Jos. A Bank, Stein Mart,

FEATURE STORY

Save Retail?

Century 21 and many others have all recently filed for various versions of bankruptcy protection. A few of those businesses were purchased out of bankruptcy by mall owners like Simon Properties. Other mall owners, like CBL, have filed for bankruptcy themselves.

orable shopping experiences. Physical spaces need to be innovative to stay relevant, and lighting just may be the answer. Lighting can be used to transform the visual environment and as a tool to guide consumers and create these memorable experiences.

A January 10, 2020, study by retail advisor dor, reports that the worldwide average retail gross profit margin is 53.33%, and online margins are typically far less. Given this high in-store margin, John Mears, Business Development Manager, EOS Lightmedia, recommends that brands make deeper connections, build relationships and inspire consumers through unique, easy and mem-

According to a November 22, 2020, Wall Street Journal article, a new trend in retail is fewer SKUs. Coach is cutting its handbag selection in half; Bed Bath & Beyond is reducing its can opener selection by two thirds; and Kohl’s is slimming down women’s apparel styles by 40%.

While cutting SKUs may lower costs, fewer products on the shelves are not a reason to visit a store.

designing lighting — 13

FEATURE STORY

One way that lighting can improve retail is with wayfinding.

Target is one of the retailers to lead this movement, using Acuity Brands’ Atrius indoor location services that allow Target’s app to locate shoppers in the stores, guide them to products, and send location-based promotions and coupons.

Indoor wayfinding is promising but may be more practical with higher-end merchandise.

Bill Plageman, Amerlux’s VP of Marketing and Product Development, said, “The second a customer enters a retail space, a message should be communicated by the lighting design alone. Whether it is the cool sophistication of a luxury retailer or the bright frenzy of a toy store, effective lighting can tell customers the story of what to expect and guide them on their purchasing journey.”

In my hometown of Nashville, I recently visited two stores that typically have lines of customers waiting outside their door. Apple and Ballard Designs sell very different products, but they have a few things in common: high quality products that are relatively expensive and a mastery of the new economy with a strong online presence complemented by unique in-store experiences. Both companies have made shopping an event and their stores are destinations.

Ballard Design has salespeople trained in design, and the Ballard designer recommends products such as furniture and lighting that complement each other. The Apple store salesperson recommends laptops, iPads and iPhones that also complement each other. The stores allow the consumer real-life visuals, and both are selling, to a degree, beauty.

Even before COVID, upper-end markets were moving toward an “Experience Design” model where consumers would visit a specialty showcase venue to be wowed by products that could be purchased either online or in the store.

Cecilia Ramos, Senior Director, Architectural Market at Lutron Electronics, explained the importance of elevating an object with light and bringing value to it. Ramos said that she sees a curation of light leading the consumer through the space and taking a journey where the store dials in the perfect color temperature and creates a visual dance. Ramos said, “People visit stores to touch the brand, not just the product, and light becomes an integral part of that experience.” She explained that a consumer may first see (or eye) a sweater online, and then visit the store to feel it, try it on, and be guided through a clean appealing scenario, which drives impulse and instore purchases.

Ramos went on to say that there are specific color temperatures that are evocative of a brand’s DNA, like Louis Vuitton and their warm leather. She said, “You can almost feel the brand because of the quality of the light.”

The Nike store, in New York City, designed by CallisonRTKL(architect) and Tillotson Design Associates (lighting), features very unique and personalized dressing rooms. The

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FEATURE STORY

Rogers 302, Toronto, photo credit: Eos Lightmedia Corporation

Tillotson team selected Ketra for its flexibility and quality of light needed to offer a dynamic try-on experience. Ketra is used to simulate scenes that people don’t normally experience such as saturated, colored light, adding excitement to the shopping experience. Each room has light settings that can be adjusted from active outdoors to yoga studios to morning light or nightlife—giving a taste of what wearing cutting-edge Nike gear will actually feel like in the real world.

Bonnie Littman, President of USAI, explained that lighting on the merchandising floor should be different than lighting in the fitting room, bathroom or even in and around display/ testing mirrors, as it is a part of the customer’s purchasing experience from start to finish. She said, “Spotlighting in a display window brings customers in, while specific color-tuning lighting highlights individual products on the selling floor, and warm lighting gives customers a flattering glow while trying on a product in the fitting room. At each step of the way, different lighting fixtures, temperatures and colors are necessary to create dynamic and layered lighting.”

As retailers redesign their stores, lighting is pivotal in enticing customers, as well as integrating wellness features

to ensure customers feel safe. In addition to UV disinfection, which we discussed in great detail in our October 2020 issue, grocery and big box stores could install a type of social-distancing LiFi system. Shopping carts could be equipped with sensors that cause ceiling lights to briefly flash if two customers are within six feet of each other. Similar technology exists today with mobile phones but has yet to be implemented in any meaningful way, as many think it is too intrusive.

There is no question that both COVID-19 and the shift towards e-commerce will have a long-lasting impact on the retail in-store experience. For retailers that see this as an opportunity, rather than a death sentence, the future can be a bright one. Stores that have invested in their ‘look’, including well-thought-out lighting, will be the big winners.

Can Lighting fix retail? By itself, no. But given the many tools our industry offers, such as UV disinfecting, wayfinding, social distancing alarms, personalized dressing rooms, and helping stores become a destination, lighting can be and should be, one of the most valuable tools in bringing back retail. 

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JUST IN...

New architectural lighting products available for specification Company: Eureka Mill is a range of acoustic luminaires designed to absorb sound and reduce ambient noise in modern spaces with high ceilings or hard surfaces. Fifteen felt blades create a cylindrical shape, which traps and absorbs sound within the luminaire’s hollow column. When sound waves encounter the felt fibers, the fibers’ slight movement absorbs a portion of the waves. The PET material is composed of at least 40% recycled content and is 100% recyclable. “The idea of this product was to create a cylindrical acoustic family of fixtures,” said Louis Thomas-Bérubé, director of design at Eureka. “With the repetition of the panels, we were able to create rhythm and animate the whole shape.”

Company: Nadarra & WALO WALO has designed the WALOSUMMER OLED light fixtures for Nadarra to distribute nationwide. Available as a floor lamp, a workplace lamp, and a pendant lamp, the elegant stainless steel pieces are equipped with three delicately curved and exchangeable light sources. The OLED panels come in four shape variants: curved, circle, square, and oblong. All light sources can be rotated, making the lamp very flexible and highly versatile. WALO lamps are some of the first OLED devices that can be controlled with a remote device that provides dimming capabilities.

Company: Hubbell Lighting The SpectraClean™ 254 is an expansion of Hubbell Lighting’s award-winning SpectraClean portfolio, which launched in 2019 with 405 nanometer (“nm”) solutions. The portfolio features a series of luminaires that leverage developments in the disciplines of lighting science and microbiology to combine white and ultraviolet 254 nm light to meet ambient and task lighting requirements while providing a continuous, unobtrusive disinfection option for commercial applications.

With SpectraClean, dosage times are measured in minutes, not hours.

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Company: Peerless Offering both visual comfort and uniform illumination in spaces with deconstructed ceilings, Peerless Venue luminaires bring a unique look and feel to environments.

As direct/indirect luminaires, Peerless Venue delivers direct light distribution through a dual optical system that creates uniformity across the lens. Indirect optics are recessed along the top of the fixture, distributing light evenly across a ceiling plane. “Peerless Venue evokes a feeling of clouds floating across a ceiling,” said Jamal Smith, business unit leader at Peerless. “This unique aesthetic, combined with high-quality uniform illumination, enables a designer to define spaces where people gather and collaborate."

Company: WAC Lighting Designed with a modern aesthetic and advanced technologies that captivate leading architects and designers, the STRUT System of Architectural Solutions from WAC is a new lighting, power and control system complete with elements designed for discriminating technical performance.

STRUT incorporates direct and indirect illumination, wall wash, downlighting, accent lighting, and pendants utilizing connected control technologies to give clients a personalized and modular experience.

Company: Visa Lighting The Rae family includes models of 4, 6, and 8-foot nominal lengths, with the option for custom lengths in increments of 11 inches. The cross-section is a mere 1.375" wide and 1.25" high and the luminaire produces 375-750 lumens per foot, depending on the output level specified.

Company: Light Cognitive (Finland) Light Cognitive has created Oculus, a circular LED skylight, which gradually changes color according to the time of day, bringing the benefits of natural light indoors. Its name derives from the circular opening found at the center of domes in Ancient Roman architecture, allowing natural light to enter buildings.

"Our strategy was to scale down the cross section as far as we could, without having a significantly negative impact on performance or appearance of the illuminated diffuser," states Design Engineer Hans Nielsen.

Company: Amerlux

Company: Louis Poulsen The PH Septima, designed by Poul Henningsen, features a poetic shape and seven glass shades, all embellished with alternating clear and frosted sections. The glass shades, with their clear and frosted sections, are positioned so that the frosted sections cover the clear sections underneath. This allows the layers to spread the light in a more diffused way.

Curvano offers a 2.5" aperture in recessed and pendant mount as well as direct and direct/indirect with five curved-diameter corner options and three circular selections. Paired with its superior color-rendering capabilities up to 4000K and 90 CRI, this latest addition to Amerlux’s linear slot offering provides the autonomy to add stunning dimension and comfortable, flexible illumination to any interior architectural design.

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IALD Measures Impact of COVID-19 on the Lighting Design Profession

By JACOB WRIGHT

I

n October, the IALD released an article detailing the results of a survey they had issued to lighting design firms. The purpose of the survey was to see how COVID-19 impacted the lighting design industry and their businesses. The results were somewhat expected, with activity declining and projects slowing down.

This is not the only takeaway, though, as the survey was much more detailed and provided a look into industryspecific impacts to a level the industry has not seen before. Below are some of the graphs and findings of the survey.

from the industry, primarily the current discussion surrounding UV-C implementation and the use of lighting as a disinfectant. These measures are naturally focused on essential sectors, such as government and health, to combat the pandemic.

It is encouraging to see positive developments in the sea of bad news that comes with a pandemic.

Sectors that involved public interaction or outings were the most heavily hit by the pandemic as one might expect (see FIGURE 1). Interestingly, not every sector was negatively impacted, as the government, health, and residential sectors increased by a significant degree. These findings support the current news cycle we’ve heard

have been able to get back to working on projects at a faster rate in October than in the early days of the pandemic (in this case, the month of May). More projects are moving ahead slowly, and less projects have slowed or stopped in October than in May. There has been a substantial level of adaption throughout all industries when it comes to finding ways to safely

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Additionally, the IALD assessed project progress and the ability for designers to conduct business (see FIGURE 2).

The results indicate that designers

conduct business amidst a pandemic, and it is nice to see that the lighting design profession is included in that number.

Finally, the IALD examined the impact on staffing and internal operations

Photo: Zachary Petersoeye

(see FIGURE 3). Almost half of the lighting firms surveyed were able to retain all staff that were on board before the pandemic. Unfortunately, employment opportunities are decreasing in the profession, along with some instances of layoffs and wage decreases. One could look at these results with a glass halffull or half-empty perspective, but

given the headlines that were first emerging about employment and economic hardships throughout the world, lighting designers don’t seem to have been hit as hard as other professionals.

Overall, the lighting design profession

is not immune to the impacts of COVID-19, virtually no industry is, but the positive trends these results show is an encouraging look to the future of our industry. We thank the IALD for publishing these results and allowing us to use their findings.

The IALD’s initial article on these results can be found here. 

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A Sign of the Times SUSA N BRA DY LIGHT ING DESIG N TEMP ORAR ILY MOVE S TO NE W JERS E Y -------- -------- -------- -------- ---

This message is to inform you that SBLD Studio has moved our office from New York City to Montclair, NJ. This move was necessitated by the end of our lease term at 132 W 36th St. Due to the current Covid situation our entire staff is currently working remotely so we chose to temporarily “park” the office (desks and computers) in Montclair, NJ, where Susan Brady lives. Currently our design staff is all working from home; divided equally between NJ and NY. It is our intention that once the Covid crisis is over we will once again have a NY office.

We are respectfully requesting that although our office is currently located in NJ, we be permitted to maintain our current NYC sales representatives. My team feels it would be extremely difficult to develop personal relationships with new representatives while working remotely which prevents us from meeting in person.

Please call or email me with any comments or concerns you have regarding this situation.

Regards,

Susan Brady

SBLD Studio 575 Bloomfield Ave, 2nd floor Montclair, NJ 07042 201-424-1888

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EISENHOWER MEMORIAL

Photography by Halkin Mason Photography, All Rights Reserved.

By RANDY REID

I

n the past decade, the lighting industry has seen major changes in its available technology. In fact, the reality is that so much of the lighting technology we rely on today did not exist ten years ago. Hervé Descottes and his team at L'Observatoire International experienced this progression firsthand while working on the Eisenhower Memorial in Washington, D.C. This project was commissioned in 2009 to honor President Dwight D. Eisenhower and his legacy of patriotism, public service, and pragmatism. The Eisenhower Memorial Commission envisioned a site that reflected President Eisenhower’s devotion to the values of democracy.

Dreamed up by award-winning architect Frank Gehry, the memorial sits at

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the base of Capitol Hill between the Federal Aviation Administration, the Department of Education, and the Department of Health in Human Services, symbolizing the significant changes that President Eisenhower made to national infrastructure. The memorial features a 45-foot tall stainless-steel tapestry, bronze statues, and stone bas reliefs inscribed with words from his D-Day address and inaugural address.

Descottes and his team began working on the design in 2009. At the time the project was based around the use of metal halide lights per the guidance of the Washington DC Parks Department.

“Because of maintenance, light sources were such an important factor in this type of public project. When we design a project like this, we have to think long

term, but 5 years ago, it was extremely restricted and very important to follow the guidelines of the city,” said Descottes, “We could not suggest any other light source than what they already had in the book.”

According to Descottes, the team began talking about the way in which potential advances in lighting technology would change the scope of the project from the time they looked at the first model for the memorial. He credits team member Jenny Ivansson with convincing the city to change their minds towards the use of LEDs. Around 2017, L’Observatoire was able to issue their plans, and by then they had convinced the National Park Service to future-proof the memorial by converting everything to LED. “At that

Jenny Ivansson and Hervé Descottes, L’Observatoire International

point, though, there were still no frame projectors that were bright enough to do the job. In the submittal phase, we converted the projectors to LED,” said Ivansson.

Ivansson also noted the importance of the approval of a 3000K source, saying, “We were responsible for the streetlighting that is adjacent to the park. These streets need to be lit with traditional Washington,

designing lighting — 23

Andrea Hartranft Bunch D.C., pole lighting, but we knew that a 4000 K source would ruin the look of our site; to get to 3000 was very important—it really picked up the right color of the stone.”

The team carried this level of precision into every aspect of the project, such as when creating strong, but not overpowering, shadows.

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“We used layers of projectors. We have framing projectors lighting the stone behind with a specific angle and then another in front of the sculpture,” said Descottes, “When you light a three-dimensional object, you don’t want to have too many light sources from different angles, because then you kill the shadow, so we implemented only one single direction of shadows.”

"We used layers of projectors. We have framing projectors lighting the stone behind with a specific angle and then another in front of the sculpture."

The lighting of the 400-foot long tapestry required rigorous mockup testing as well, as the lights for the tapestry were about 2 feet out, but had to light a height of 45 feet.

Of their mockup process, Descottes said, “We started in our Los Angeles office, doing smaller scale mockups to test. Then we moved and did the mockup at the architect’s office on a bit

of a larger scale to make sure that the relationship between the stone, the light, the color, and the tapestry worked well together. When we were all in agreement, we headed to D.C. and made even bigger mockups.”

Other challenges of the project included weather proofing, hiding cables, and making sure fixtures could not be seen

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DWIGHT D. EISENHOWER MEMORIAL WASHINGTON, D.C. LIGHTING DESIGN: Hervé Descottes Jenny Ivansson L’Observatoire International ARCHITECT: Gehry Partners LLP Photography compliments of Halkin Mason Photography FIXTURE SCHEDULE: Downlighting: BK Lighting Flood Lights: Bega Framing Projectors: WE-EF Steplights: Cole Lighting Linear Uplights: i2Systems Tapestry Lighting: PixelRange Wall Sconces: Lucifer Bathroom downlights: Reggiani

"You cannot deliver a project like this without giving time and respect to the process." from any of the various viewing angles. Overall, the memorial required great collaboration with the architects and the engineer, making Descottes particularly grateful for his long-standing relationship with Gehry and his team.

and respect to the process,” said Descottes, “Our 22-year-old collaboration with Frank and his team was important in constructing that trust to push further the project and to realize Frank’s vision for a beautiful feeling of softness and warmth.”

“At the end of the day, it’s all about trust in order to do a good job. You cannot deliver a project like this without giving time

The L’Observatoire team was certainly successful in bringing this vision to life. 

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Office in the

Clouds

By MALIA HULLFISH Located in San Francisco’s tallest building, the Covington San Francisco office is an “office in the clouds.” From its seductive curves to its stunning views, this expansive and bright office transports office goers to a futuristic dimension. Four lighting designers from Fisher Marantz Stone—Paula Martinez-Nobles, Kathryn Czub, Amy Leder, and Charles Stone— took advantage of the ethereal space when working on this project, working with the architect to really bring their joint vision to life.

The NLB is now accepting entries for the 2021 Tesla Awards. You may submit your project here.

Photography by: © Jason O'Rear 28

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designing lighting — 29

“There were some existing curves to the floor plate, so, wanting to take advantage and play off of it, we actually developed some curves with the architectural team,” said Martinez-

interruption despite the curving nature of the tower.”

In order to accomplish this, the lighting designers needed to be

“We highlighted the architecture and let that be the main speaking point,” said Leder, “That allowed for a clean work environment that doesn’t distract your focus and allows

Photography by: © Jason O'Rear

Nobles, “It was especially important for us to be able to successfully highlight the architect’s finishes and curves, making sure that the coves look just as good. You can imagine how precise we needed to be in order for the coves to look continuous and seamless and to not have any

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very precise in their placement of the fixtures, even getting onto lifts with the contractors in order to play around with setting them at different distances. They wanted to make sure to complement the architecture and views, not distract from them.

you to be as productive as possible in an environment that you feel comfortable in.”

Of the views, Martinez-Nobles said, “The feedback that we’ve gotten from the architect and the owners is that the view is the most important thing,

and we weren’t competing with the view.”

The designers also had to be mindful of perimeter daylight harvesting. On

you are using daylight harvesting, you know that your lights in the interior are getting dimmed down especially at the perimeter, so we played with the coves and allowed those to sort of bounce

vertical surfaces. One way that you can combat the falling off or falling dark is if, when you are looking out the window, when you turn around and your eyes have adjusted to

off of the glass and also allowed some of that special sparkle at the perimeter. We didn’t want everything to fall away with a cloudy day.”

daylight, there’s still some vertical surface that’s illuminated.”

Photography by: © Jason O'Rear

bright cloudy days, this can result in the creation of a dead zone at its inner boundary. “Especially with San Francisco, on these floors you have heavy fog. What we wanted to avoid is putting too much light at the perimeter; we didn’t necessarily need it,” said Martinez-Nobles, “But when

She also added, “I think another thing to point out with working with daylight is being especially mindful of the

Even during “white-out” daytime weather conditions, the office creates visual interest through high contrast ratios and a balance between interior and exterior views. The designers

designing lighting — 31

Photography by: © Jason O'Rear

accomplished this through highly luminous and “graphically assertive” coves and accents. “I think that the key was really using the volumes in the space and using that to guide where light lives,” said Czub.

Stone also added, “The challenge of daylight is everywhere. You have plenty. It’s abundant; it’s free. So much so that our design reaction to the curving coves, the strong moves, lighting surfaces in the lobby, the choice of downlights, the refined details, they all contribute to having no distraction from the space you’re in and to provide luminosity. It is really extraordinary at sundown, where you just can’t believe you’re in an office building.”

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COVINGTON SAN FRANCISO SAN FRANCISCO, CA

Impressed by the highly refined details of the complex space, the National Lighting Bureau (NLB) awarded the Fisher Marantz Stone team with a Tesla Award. Created with the intention of celebrating collaborative, high-benefit lighting projects and showcasing the best practices in lighting design, the Tesla Awards had 9 recipients in its inaugural year. Fisher Marantz Stone took home five of them.

The Covington San Francisco office — with its soft light embracing, rather than fighting against the building — was certainly deserving of this award. 

LIGHTING DESIGN: Paula Martinez-Nobles, IALD, IES, NOMA, LEED AP BD+C Kathryn Czub, IALD, IES, LEED AP BD+C Amy Leder, IALD, IES, LEED AP ID+C Charles G. Stone II, FIALD, IES, LC LEED AP BD+C Fisher Marantz Stone ARCHITECT: Lehman Smith McLeish (LSM) 80,000 sq ft 3000K, 80+ and 90+ CRI FIXTURE SCHEDULE: Uplight and downlight cove: Ecosense Recessed downlights: USAI & Reggiani Recessed linear downlights: Gammalux Decorative Lights: XAL Flexible linear LED strips: Q-tran Preset Dimming Control System: Lutron

ECO DC ®

TED

PAT

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PAT

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designing lighting — 33

Ledgor Lighting

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BENYA’S ART & SCIENCE

A Line Of Light

By JAMES R BENYA, PE, FIES, FIALD

T

he idea of a “line of light” is not a new one. Linear lighting effects are among the most effective at rendering architectural and interior shapes and forms.

Often, the light source itself is concealed, and only the effect of the light on nearby surfaces is seen, such as with cove lighting, niche lighting and undershelf lighting. Lines of light can be used to edge-light glass and acrylic panels. More recently, lines of exposed luminaires are used to create interconnecting lines of light across ceilings and walls. Linear designs are also becoming popular for exterior lighting.

This is especially significant because legacy light sources limited line of light options. Incandescent festoon lamp strips are too hot, neon lamps require custom lamps and high voltage, and fluorescent lamps are big and clumsy. And there was always a lot of cost involved. Before the LED era, line-oflight designs were impractical and uncommon.

Among the most practical and unique abilities of LEDs is that low wattage LED sources can be mounted to a flexible tape. Tape light is very compact – the tape and a simple extrusion can be as small as ¾” wide and 3/8” tall and can be surface mounted or routed into building elements like a ceiling, wall or the bottom of a shelf or a cabinet. With a wide selection of colors of white, monochromatic, white light

tuning or RGB color, the range of achievable effects is quite broad. Even high CRI products are moderately priced and readily available. It is low voltage and dimmable and can operate from plug-in power supplies as well as hardwired power supplies. There are even special versions of tape light designed to be used in wet environments, with the LED’s and tape sealed in a clear watertight compound including a version capable of being completely submerged. Best of all, tape light can be inexpensive and for DIY installations, can be purchased from online stores or lighting showrooms with all the parts you need to actually do-it-yourself.

Tape light is literally a tape onto which are mounted low wattage LED’s. The tape is a heat-conductive, thin and flexible insulator with circuit-board traces on the side opposite the LEDs. Connect a DC power source to one end, and the LED’s emit hemispherical diffuse light. It is sold in reels with adhesive insulation on the back side that permit the tape to be stuck directly onto an aluminum extrusion that mounts the light to a surface and acts as a heat sink for the LED’s.

Depending on the number of LED’s per foot and their wattage, a tape light can generate up to about 800 lumens per foot (2,600 lumens per meter), although I suspect that most applications are between 100 and 400 lumens per

Courtesy of Q-tran

designing lighting — 35

BENYA’S ART & SCIENCE

Before the LED era, line-of-light designs were impractical and uncommon. foot. Considering that this light is emitted only to one side, it is much more effective than conventional fluorescent lamps but a fraction of the size. Tape light systems can provide general illumination, task lighting, ambient lighting, wallwashing, and a number of special effects that are impractical and nearly impossible with other light sources.

For instance, in the design of restaurants, lighting the knee space under the customer’s side of a bar serves to light the floor and causes the bar top to seem to float, while not affecting the customer’s view once seated. Once impractical, it is almost standard practice today with tape light.

From an electrical point of view, most tape light is called “constant voltage”, which means a steady DC power source feeds one end and all LED’s operate together. In the US, most tape light is either 12 volts or 24 volts DC. Tape can be field cut at regular points, generally every 4 to 12 inches marked on the tape. Because tape is low voltage, inexpensive power supplies and low voltage control components can be used for everyday applications like lighting inside of cabinets and drawers using magnetic reed switches or tiny PIR motion sensors.

Dimming is a little tricky, however. Because tape is usually constant voltage, regular phase-cut dimming will result in significant 120 hertz flicker except at full light. To minimize flicker, use of pulse-width modulation (PWM) dimmers operating at 400 hertz or more is recommended. This complicates installations a bit, but with 0-10-volt dimmers and a PWM dimming module or power supply, flicker free results are readily achieved. For bargain installations and to save cost , a low voltage manual PWM dimmer can be installed at the end of the tape, especially if there is an on-off switch in an appropriate location and the dimmer is infrequently adjusted.

-------To the design and construction professional using tape light, I recommend the following additional considerations:

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• Get some tape light and test it. Its easy and safe to work with, and it will allow you to understand how much light you need. You will learn firsthand the necessary light output for various applications.

• Explore the dozens of different extrusion types. There are angled extrusions for wallwashing, mud-in extrusions to create lines in ceilings and walls, shallow and deep extrusions for various applications, and special extrusions and fittings for corners and ends.

• A diffusing lens should be used when a reflection of the light sources may occur. This is especially true for undercabinet lighting when the counter below is polished stone.

• A new generation of sophisticated optics is entering the marketplace. Some will enable asymmetric linear effects such as asymmetric cove lighting and gradient wallwashing, very worthwhile to the lighting design professional.

• Outdoors, consider a sealed linear lighting product with a lens. While waterproof outdoor-rated tape light will work, it will be difficult to keep clean and will accumulate dirt.

Finally, thoroughly study the candidate manufacturers and their products. For the best and most professional outcomes, I strongly recommend made-to-order tape light.

The contractor measures the planned installation and sends the information to the manufacturer, who then makes each piece and ships it very quickly. Cutting and making up field connections in the field with tape light is difficult and often results in intermittent or faulty connections. Factory made connections ensure long term performance without sections of tape going dark. I’ve been working with tape light for over 10 years, including in my own home and office, and I’ve learned the hard way about bad connections. In the end it is not more expensive compared to electrician’s work and the result will be better. 

LINEAR LED LIGHTING Q-Tran LED strips are perfectly suited for a wide variety of applications, including commercial and retail spaces. Our linear products are available in static white, dynamic white, static color, or dynamic color.

One step, one bin LEDs guarantee the highest color quality and best color matching across our static white line, while our high efficacy line can deliver up to 1150 lumens per foot. Reach out today with any questions or to request samples.

www.q-tran.com sales@q-tran.com (203) 367-8777

Grand Canal Shoppes | Location: Las Vegas, NV | Lighting Designer: KGM Architectural Lighting | Products Used: ARKA, SW24/5.0, BOXA-SW

designing lighting — 37

world offfice

By JIMM REIFSNYDER

The

New

Transitioning from the work office to the home office has been increasingly difficult.

Home can be full of distractions – roommates, pets, kids, spouses – and responsibilities that shirk our attention away. You might be looking for ways to feel more professional in an otherwise informal setting. A few tricks we have seen to reproduce an office setting at home (ie. change out of your sweats, use a standing desk, get a white board) can shift your mind’s perception. Our industry knows that lighting does not only change the room’s ambiance, but also has lasting effects on wellness and stability.

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FROM YELLOW TO BLUE: SHIFTING HOME OFFICE ILLUMINATION

Lutron, photo courtesy of Jake Holt

A room’s entire atmosphere can be changed just by color temperature.

Warm lighting is typically associated with comfort and coziness. There is a feeling of closeness much like sitting around a campfire swapping stories. As we move

into bluer tones, our body’s alertness is activated much more. It is standard for commercial offices to use fixtures ranging from 4000K~6000K as with blueenriched lighting, our bodies feel more ‘awake’. Cooler color temperatures are

less straining on the eyes and known for improved task management.

While the go-to solution for office lighting is to choose a brighter and whiter (read: more blue) light source, it’s

designing lighting — 39

KETRA LIGHTING LINE

important to consider how and why it affects us so. Under cool temperature lighting, our bodies stimulate more energy - the same way we feel in the middle of the day as opposed to sunset. Our body’s biophilia weens us toward the sun’s light cycle, so when we spend the majority of our time inside, our body attempts to align with the artificial light. Standard task lighting, however, is typically a static cool color temperature and often not dimmed, which throws circadian rhythm out of sync.

Realigning this rhythm is best honed through a mixture of changes in color temperature, dimming, and

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scheduling to simulate natural lighting without being outside. Studies have shown that following the sun’s natural cadence has been favorable toward mood, sleep, and overall stability by boosting morale, lowering stress, and improving task performance. Opt for blue light tones during the day and warmer lighting at night. Set a schedule for how warm, how bright, and how much blue lighting we are exposed to throughout the day to help create boundaries on how we utilize the space. For those whose kitchens or living rooms have turned into a makeshift office, having color temperature, dimming, and timing capabilities is even more beneficial.

ACHIEVING OPTIMAL ILLUMINATION FLEXIBILITY A prime example of an allencompassing solution would be Ketra’s human centric lighting line.

While Ketra offers fun colors, you can also sync fixtures to an astronomical timer to replicate outdoor lighting conditions based on time and location.

Ketra’s patented technology boasts high performance with consistent

CASE STUDIES •

Princeton Case Study

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University of Texas locker room Case Study

•

Franklin and Marshall Case Study

•

Madison College Case Study

•

Ketra in Residential Application: Whistling Valley Home

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Ketra in Commercial Application: Delos

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Deep Dive into Wellness

color and flicker-free dimming to 0.1%.

Each LED uses a four-channel system following the black body curve, giving the user precise control on vibrancy and intensity for over 17 million colors, 1400K ~ 10,000K. TruBeam control allows for customizable optics on the reflector and lens, while Color Lock maintains uniform color across all lights throughout the LED’s lifetime.

Singularly, these capabilities are considered top-of-the-line, features found in quality lighting. Ketra’s most impressive feat is having the technology compact into various fixture styles that can seamlessly integrate into Lutron’s home automation systems. They have created a light source with a dynamic palette of control allowing for complete personalization for any task at hand.

In the coming months and years, we will need to continually adapt to the constantly changing work environment. It would seem to us that we will never go back to 100% working in the office and according to a report from Deutsch Bank, most workers express a desire to continue working from home at least part of the time, even when it’s no longer necessary. If we mix home and work lifestyles, then we must be deliberate in the way we use indoor lighting that is not strenuous to our bodies. There

are several excellent case studies on how lighting can affect people in the commercial workspace; now, we need to transition those ideas to the new work environment.

ABOUT WESTERN LIGHTING & ENERGY CONTROLS Western’s business has always been segmented equally between commercial and residential sectors.

This understanding of both sides of the business helped us plan for this new evolution of workspaces. Western began in 1996 as a small sales agency servicing the San Diego lighting community and has been servicing the Los Angeles market for over 10 years now. Western is committed to offering responsive service and innovative products to professionals in the lighting and energy control industry. Our goal is to take the project from Specification to project start up. Clients can trust that we are providing appropriate product solutions that will ensure the most successful and efficient outcome for each project we touch. 

designing lighting — 41

EUROPEAN UNION

Making the Case for the Inclusion of Lighting in the EU Renovation Wave By

PAUL BLACKBURN

The European Green Deal, which aims for the continent to be climate neutral by 2050, provides an action plan with two core objectives: to boost the efficient use of resources by moving to a clean, circular economy and to restore biodiversity and reduce pollution.

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T

he European Green Deal, which aims for the continent to be climate neutral by 2050, provides an action plan with two core objectives: to boost the efficient use of resources by moving to a clean, circular economy and to restore biodiversity and reduce pollution.

The plan is devised by the European Commission, and they have signaled their intention to turn their political commitment into a legal obligation in the near future.

More specifically, they have stated that they intend for all sectors of the European economy to reach the targets they have set by taking specific actions, which include:

• investing in environmentally friendly technologies • supporting industry to innovate • decarbonizing the energy sector • ensuring buildings are more energy efficient • working with international partners to improve global environmental standards The EU has pledged to commit at least €100 billion to the industries and businesses which are most affected by the transition towards a greener economy; they call it the ‘Just Transition Mechanism.’ This is in addition to a wider investment by the commission of €750 billion which will be available 2021 – 2027 as part of the Next Generation EU financial commitment.

As of October 14th this year, the first set of European Green Deal initiatives were launched, and among them is the Renovation Wave, which aims to improve and refurbish building stock within the EU. The goal of the Renovation Wave is to guide the building sector towards a clean, decarbonized energy system.

The European Commission sees that the sector is responsible for a third of the continent’s emissions, but that only 1% of buildings undergo an energy efficient renovation each year.

The commission claims that 75% of building stock is currently energy efficient. However between 85-95% of existing buildings will continue to be used in 2050. The Renovation Wave aims to renovate 35 million inefficient buildings by 2030.

LightingEurope has stated their support for the EU Renovation Wave, and they have stated the case for all renovations to include an upgrade of lighting installations. Besides influencing acquisitions of innovative lighting technologies and driving future investment, the initiative will be a key factor in the European lighting industries recovery from the economic damage inflicted upon it by the COVID-19 pandemic.

In an official statement, Lighting-Europe commented that they could only agree with Vice President Timmermans, that we need “everyone in Europe to have a home they can light, heat, or cool without breaking the bank or breaking the planet.” However, this statement of support was caveated by their assertion of regret that no specific reference to lighting was made as part of the main Renovation Wave Communication, which was published recently by the commission. Ourania Georgoutsakou, the Secretary General of LightingEurope, commented that this oversight was made in light of the benefits lighting can deliver not only in terms of energy savings but also in creating safe and quality indoor environments.

The lighting industry in Europe has already developed innovative and energy efficient lighting systems, ready to be installed across the entire range of industries affected by the Renovation Wave. It is widely known that properly designed and well-coordinated lighting systems are one of the most cost effective ways to reduce energy consumption and CO2 emissions.

The European Commission itself has estimated that LED based lighting systems can reduce the EU’s consumption of electricity by up to 48 TWh by 2050.

As part of their statement on why renovations of European buildings should always include lighting installations, LightingEurope set out a number of recommendations so that the full benefits of higher quality lighting installations could be enjoyed, including; • the use of LED lighting, in combination with controls and sensors • a full renovation of luminaires that include controls and sensors, with a minimum Smart Readiness Indicator (SRI) level. The SRI should also be applied across Europe to maximize it’s potential for energy savings and a better indoor environment • the design of safe indoor spaces that includes the installation of UV-C disinfection technologies, as a means not only to address the current COVID-19 pandemic but also more generally and in the longer term to help ensure healthy indoor environments • the introduction of mandatory minimum requirements on Indoor Environment Quality (IEQ)

designing lighting — 43

EUROPEAN UNION

• access to public financing should

to obtain full subsidy.

Photography Anthony Mcgee

be subject to the fulfilment of certain conditions. An obligation to include lighting renovation to obtain full subsidy should be introduced.

The Lighting Industry Authority (LIA) has also made a statement about the role lighting installations should play as part of the Renovation Wave, stating "By switching from incandescent lamps to energy efficient LED lamps, it is estimated that Europeans have benefitted from up to 90 per cent savings. Furthermore, these lighting systems, in addition to allowing for large energy savings, also offer significant benefits to the building users as regards their visual comfort, wellbeing, and productivity.”

The LIA reciprocated LightingEurope’s recommendations that the SRI should be applied throughout the EU so that maximum energy savings can be harvested and the wellbeing of building occupants can be improved.

They called for renovations to lead to a minimum SRI score.

They made their own set of recommendations that access to public financing should only be secured if their recommended conditions are met, and there is an obligation to renovate lighting in order to be able

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Their recommendations included:

lighting industry.

• lighting compliance with EN12464-1

With commitments being made to create 160,000 green jobs in the construction sector by 2030; to reduce carbon emissions and energy usage; to support climate targets, improvements in quality of life, health and well-being for residents, decarbonised, digitalised and smarter homes and the establishment of a New European Bauhaus to oversee affordable sustainable design.

• use of controls and sensors, with a minimum SRI level • for lighting service 1a (occupancy control for indoor lighting), a minimum functionality level of 2 (automatic detection) should be required, as level 2 functionality is simple to implement and is based on established technologies that provide good additional levels of energy saving and user satisfaction as compared to level 1; and • for lighting service 2 (control artificial lighting power based on daylight levels), a minimum functionality level of 3 (automatic dimming) should be required, as level 3 functionality is simple to implement and is based on established technologies that provide good additional levels of energy saving and user satisfaction as compared to level 2.

Despite the fact that lighting technology was not mentioned specifically within the statements made by the European Commission, there is still plenty of encouragement for the

It’s easy to see that within these commitments, and by the counter statements made by LightingEurope, that lighting technology has a big role to play in future renovations of European building stock.

The priorities of the Renovation Wave include tackling energy poverty and renovating the worst performing buildings, renovating public buildings including schools, hospitals and public administrative buildings.

Further information on the topic can be found in LightingEurope’s position paper entitled Recommendations on the Renovation Wave Initiative, and the European Commission’s factsheet entitled The European Green Deal – Renovation Wave. 

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designing lighting — 45

By

LINDA LONGO

MAKING WAVES

RESIDENTIAL

46

P

alm Desert’s famous Wave House was designed by renowned architect and industrial designer Walter S. White in 1955 for artist Miles C. Bates, who enjoyed inviting fellow artists and celebrities over for frequent parties. Comprised of 800 square

— designing lighting

feet of space, the one-bedroom, two-bath home was used primarily for socializing instead of daily living.

Over the ensuing decades, however, the building fell into disrepair and was even scheduled for demolition until a grassroots

movement under the name “Save the Wave” generated publicity for the designated Palm Desert Historic Landmark and persuaded the city to abandon its decision to tear down the structure (to build senior affordable housing) and instead sell the property via public auction in 2018.

Wave House_exterior Even in daytime, the lighting is designed to highlight the structure’s unusual roof shape, which is what gave the property its name.

or hanging anything from the ceiling (since the roof and ceiling are one in the same), the Stayners had to brainstorm a solution that would not alter that signature design yet still replicate the light quality and vision that the original architect intended.

Further complicating the process, several owners over the years had undertaken some ill-advised remodeling efforts, altering the home’s footprint as well as covering – and even removing – original elements. The house also needed updates to make it more seismically stable, plus the inclusion of ecofriendly elements such as additional insulation to improve HVAC efficiency.

Perhaps the ultimate hurdle that Stayner Architects had to overcome was walking the line between historic preservation and the desire to make the property flexible enough to serve multiple purposes.

Honoring a Pioneer When it came to sustainability, it turns out that architect Walter White was ahead of his time, designing the Wave House’s architecture to be highly environmentally efficient — the home features underground ducts that “precool” the air; the cantilever of the roof was built to align with the movement of the sun. As a result, the sun is kept out of the house in summer, and in the winter, when the sun is lower in the sky, the roof line allows the house to capture the sun’s light and heat up the floors.

Photography by Tim Hirschmann The winning bid went to the fatherand-son team of Stayner Architects in Los Angeles. The duo’s intention from the start was to bring back the look and feel of the house as it was in its glory days.

One of the distinguishing characteristics of the Wave House – which is

now listed on the National Register of Historic Places – is the undulating roof, a patented design using wooden dowels. That artistic creation, however, provided some modern-day challenges for Gilbert Stayner and his son, Christian, as they set about their mission. Since the roof’s unusual construction did not allow for wiring

Due to White’s use of many glass windows, daytime lighting was not a concern; evening lighting, however, was a different matter. Instead of employing lighting to merely pop the façade, Stayner Architects wanted to honor White’s legacy by highlighting the internal glow of the house.

Historical research into the lighting available in the 1950s helped shape the best way to replicate the look

designing lighting — 47

RESIDENTIAL and feel of the light in the space. The team even found nighttime archival images that were especially helpful in getting a sense of the quality of the light. The resulting interior lighting combines a recreation of White’s 1950s light with carefully sourced periodaccurate fixtures.

Photography by Tim Hirschmann

“Our interest was in the changes in lighting quality, rather than simply the fixtures, between the 1950s and today, as well as how the original architect approached the lighting design for the house given its unusual roof/ ceiling conditions,” Christian Stayner explains.

“The original drawings of the house were very useful. They are part of the Architecture & Design Collection of the University of California, Santa Barbara. The house is interesting in that the one-of-a-kind roof construction doesn’t allow for conventional down or surface lighting to be installed (although subsequent owners had figured out ways to run surface conduit and install ceiling fans and lamps). Similarly, we knew of only one wall sconce, which was mounted outdoors and installed into the CMU walls.”

Stayner adds, “Equally important was our investigations in the field: we found remnants of the linear fluorescent lamps that White had designed to fit into the structural steel C-channels that supported the roof and windows. The idea was to uplight the undulating roof from below, but above eyelevel; we were able to reconstruct this intent by using color-tunable tape lighting.”

In another pleasant surprise, they discovered White had experimented with a number of other strategies for lighting. For example, he designed lighting into soffits above the mirrors, which the Stayner Architects team put back into service.

Wave House_backyard ESmall in size, the Wave House was designed to have a flow from indoors to outside, which is ideal when entertaining.

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— designing lighting

“He glazed surfaces (such as the ceiling of one bathroom) and used glazing and the semi-reflective underside of the curving roof surface to bounce natural and artificial light into secondary spaces,” Stayner recounts.

“A utility room at the center of the building that has a wooden screen on top (which we reconstructed) acts somewhat like a roomsized lamp to light adjacent spaces.”

White had even designed a boom arm cantilevered off the wood-framed wall in the kitchen that supports the one hanging lamp in the house. “In the shower of the main bathroom, we discovered a rusted-out pocket that once held incandescent lights to provide illumination from below, something we were able to recreate,” Stayner comments.

RESIDENTIAL Discovering Lighting Solutions To achieve the results that Strayner Architects was seeking, the team turned to Ketra Lighting’s wireless lighting products and control

daylight sensors to the integration of third-party products and onboard memory and astronomical time clock functionality. Ketra’s N4 hub was also specified, along with Ketra’s specification-grade and fully programmable X2 keypads.

“We were able to use the Ketra products to adjust the color

Wave House_bedroom By completely and evenly illuminating the interior, each room feels much larger than it is

Photography by Tim Hirschmann

system. The Ketra A20 lamps are fully tunable and able to deliver an omni-directional or semi-directional beam pattern. Plus, each lamp is individually addressable, configurable, and wirelessly controllable for simple retrofitting applications like the Wave House. Also used was Ketra’s N3 satellite that performs several system functions, from controlling the Ketra linear luminaires and the connection to vacancy/occupancy and

temperature and lighting levels to make a small building feel much more expansive, although we had a lot more control than White did in the 1950s,” Stayner confides. “During the day, the lighting is mostly there to supplement the extensive natural lighting from glazing on all sides; the Ketra products allow us to tune the lighting so it mostly disappears. At night, there was an intention of using darkness and the interior reflectivity of the glazing to

amplify the Mid-Century ‘glass house’ phenomenon that makes one feel [like they are] in the middle of the desert despite the town having developed significantly over the past 65+ years.”

With nothing able to be hung from the ceiling, any hanging fixtures are cantilevered, such as the steel bar over the kitchen table, sourced from Holland and lit with a Ketra A20 lamp. Two areas of the kitchen that

designing lighting — 49

RESIDENTIAL originally had fluorescent tubes now have their effect replicated using linear tape light. In addition, a pair of built-in architectural box lights in the bathrooms over the mirrors were replaced with tape light.

Observes John Going, Stayner Architects’ architectural designer and project manager, “Ketra technology was key in being able to match the color temperature of both the tungsten-based incandescent bulbs as well as the much cooler fluorescents available in 1955 to create the actual effect of that era’s lighting.”

The remaining lighting for the restored Wave House consists of vintage 1950s table and wall lamps that have been outfitted for modern living with Ketra bulbs. As a final touch, tape light was added on the tops of some of the interior walls to enhance the sensation that the roof is floating.

“In many ways the house itself is the best vintage light fixture, as it really operates in that way,” Stayner remarks. “There are also some fun table lamps [we found] from 1952 by Swedish brothers Uno and Östen Kristiansson, who were similar to Walter S. White in their experimentation with materials and their interest in both design and fabrication.”

Mission Accomplished After a 14-month restoration, the Wave House was unveiled to rave reviews during Palm Desert’s 2020 Modernism Week in February.

Before the pandemic hit full force, Stayner Architects had plans to occasionally offer the property as event space for the community to hold art, music, and social gatherings — just as it once did under original

owner Miles Bates. Longer-term plans for the property include adding a pair of one-bedroom units, a swimming pool. and a cabana out back.

Stayner explains, “While the City did provide some nominal funding to encourage restoration, the work was entirely undertaken by us as a private developer. We worked in partnership with the City to find a way to make the house accessible to the local community and visitors (as tourism constitutes about one-third of the local economy), while also a financially viable investment in the longer-term.

During the 2020 Modernism Week, the Historical Society acted as docents for tours of the house. The property is currently available to be booked for overnight stays on our website and the plan is to resume hosting smaller events such as product launches, conferences, lectures, weddings, and other celebrations once the pandemic is over.” 

Wave House_side by side Ketra Lighting’s products were specified in different color temperatures to create specific ambiances in the home (i.e. warm in the bedroom, and cooler in the bathroom)

Photography by Tim Hirschmann

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WHEN THE LIGHT CAME ON

AUNT BABBY’S STORY I remember how hard my brother and his wife tried to have a baby. It took them 5 years but, finally, their son Joseph was born. He was a very active child. Whenever he visited his grandparents and aunt, he loved flipping light switches to listen to the click and, of course, to turn the light on and off. Clearly, he loved lighting.

No one that knew him was surprised when he went to college to study lighting. However, to find a lighting study program in the late 1960s was not an easy task. While specialized lighting courses were available in drama schools, Joseph’s interest was broader than that. When it came time to choose a university, his options boiled down to a choice between theatrical lighting instruction at the North Carolina School of the Arts, NCSA, or the offerings at NC State’s School of Architecture. Joseph made his choice with a single coin toss. While seemingly careless, this random decision had a profound and auspicious impact on young Joseph. His education in theatrical lighting design was remarkable, and he ended up teaching lighting starting in his second year at NCSA. Looking back, I remember my surprise every time the lights suddenly went out when my little nephew was visiting. When the lights turned back on, I’d peer over to the doorway where—sure enough—Joseph was standing.

Nowadays, Joseph doesn’t announce his entrance into a room by turning the lights off. And you don’t know him as Joseph, but rather Jody. Jody Good, who recently retired from Spectrum Engineers in Salt Lake City after 40 years in lighting.

HERE’S TO HIS LONG AND IMPACTFUL CAREER.

Coming in February:

Two IES Presidencies: Constrasts of 9/11 and the Pandemic designing lighting — 51

HOSPITALITY

Say Aloha to Mauna Re-imagined and Re-introduced by Auberge Resorts Collection

All photos: Mauna Lani, Auberge Resorts Collection.

By

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STEF SCHWALB

T

here are some destinations that just stay with you even long after you’ve left them. For me, Mauna Lani on the Big Island of Hawaii is one of them. For three decades, this iconic property has been one of the state’s

HOSPITALITY

Lani and anxious wondering what its new version would be. Now that I’ve gotten a first-hand look at the images of how Auberge Resorts Collection has re-imagined it, I am counting the seconds until I return. As its first property in the Hawaiian Islands, the organization turned to Meyer Davis—a New Yorkbased, multi-disciplinary, award-winning design studio—to seamlessly combine Mauna Lani’s rich cultural history with a contemporary-yet-organic sensibility for its interior design.

most renowned resorts. Spectacular sunsets, ocean breezes, gorgeous grounds, and so much more make this one of my favorite travel experiences.

When I heard it was closed for a re-design, I have to admit I was both excited

Mauna Lani, which translates to “mountain reaching heaven,” is located on sacred land that features royal fish ponds, natural lava plains, lush tropical gardens, coral-strewn coves, and breathtaking beaches.

The summits of Hawaii’s five great mountains—Hualālai, Mauna Loa, Mauna Kea, Kohala, and Haleakalā— also rise around the resort. Described as “an inspiring spiritual haven that captures a distinct sense of place deeply rooted in rich cultural traditions,” the property spans across 32 sun-kissed, oceanfront acres on the Kohala Coast. It features five private bungalows and 333 guest rooms and suites; Hālau, a central meeting place and the cultural heart of this luxury resort; three pools; five restaurants and lounges; a signature spa and wellness haven; two top-ranked golf courses; plenty of exceptional amenities; plus curated cultural and transformational experiences. We caught up with Meyer Davis founders Will Meyer and Gray Davis for details on their design approach, the lighting, and the inspiration behind a project based in paradise. To capture the spirit and the beauty of the region was no easy task.

“Lighting and materiality were the most important factors of

this renovation. We were working with a very large, kind of sparse envelope. The architecture could very easily have started to become very outdated, and it needed to be reconnected with the surrounding landscape and culture of Hawaii,” explains Meyer, “We spent a lot of time thinking about how to frame the views and bring things down to a more human scale. One of the big ways we typically do that is with lighting—decorative lighting as well as lighting details and accents that help guests focus within a large space.”

The team created a kind of secondary architecture out of teak, and then proceeded to incorporate pendants, table lamps, and more lighting, to make the public areas feel more like living rooms. “Lighting was also an excellent way for us to portray craft, whether through weaving, porcelain, or other interesting methods of construction.”

For example, outdoors at the Hā Bar making sure the spectacular scenery is part of the experience was paramount. “The Hā Bar fixture was a custom design, fabricated by Hubbardton Forge. This piece was designed to bring texture to the bar, but it hugs the ceiling because we didn’t want to interrupt the view,” says Meyers, “It’s very simple but helpful in guiding guests towards this bar from afar, and then not

designing lighting — 53

HOSPITALITY

obstructing their sightline once they arrive.” Meanwhile inside for the accommodations, which feature luxurious textures of rich hardwoods and natural fabrics, keeping the focal point on the spectacular sightline from the private balconies was important as well. “For guest rooms, we try to keep things feeling residential, hence the fabric shades.

You could say the fixtures have a bit of a Mid-century vibe,” notes Meyers, “We love the simplicity of these forms, and again—they have personality and subtle details, but they’re kind of made to fade into the room and keep guests’ focus on the view out the window.”

When it came to the choice of fixtures, certain styles of lighting and eras did influence and have an impact on the team’s design. “For this project, it’s probably safe to say there was a bit of a mid-century lean, even a bit of 1970s style. We were kind of thinking about the heyday of Hawaii tourism, after it became a state and people were really starting to explore the islands,” explains Davis, “But we are also very passionate about lighting as a studio, and we try to create or select fixtures that are artistic, show attention to craft and detail, and add personality to the space. We played with form a lot. Mauna Lani was our first project completed in Hawaii, and we really loved the experience of learning 54

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In terms of what trends Meyer and Davis are seeing in the hospitality design space right now in light of

seems like most are confident that we will get past this period, so while we’re making accommodations for it as needed, it’s being done under the pretense that people will travel, gather, and celebrate just as they previously did—perhaps with more appreciation for those opportunities,” says Davis, “Right now, the big adjustments are making sure we are giving people space, as well as looking for better and more attractive touchless options.” The team is typically designing for luxury brands, and with that comes consistent emphasis on creating spaces that are easy to clean, give guests options based on their comfort levels, and have maximum durability and comfort. “Health and wellness has

COVID-19, they happily report they aren’t seeing anything too dramatic.

“To be honest, we don’t see a lot of drastic changes from our clients. It

been a trend for a years now,” Davis concludes, “and the current crisis is emphasizing for us that travel is a gift and should be restorative.” 

more about the history and culture of the location. It is our second completed property for Auberge Resorts Collection. We have another property for them in Riviera Maya, Mexico opening next year.”

JOIN US FOR AN EVENT AS UNIQUE AS YOU ARE LIGHTING MANUFACTURERS: Be sure to register now to participate in ArchLIGHT Summit, a bold new commercial lighting show for the architectural, specification and design communities coming to Dallas Market Center in fall 2021. Reserve your booth before February 28, 2021 to take advantage of the early commitment discount.

archlightsummit.com

SEPT 21- 22, 2021 PARTNERS

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KEEPING SCORE WITH A COVID-CONSCIOUS INDOOR QUALITY RATING SYSTEM BEATRICE WITZGALL

Could a COVID-Conscious Rating System for shared interiors help us feel more secure in shared spaces during the pandemic?

USER-FRIENDLY COVID-CONSCIOUS INDOOR QUALITY RATING OFFERS SAFETY AND PIECE OF MIND

A

s the season for outdoor gatherings quickly draws to a close, people may again consider gathering indoors — despite the risk. So how do we avoid another global outbreak and lockdown?

As an architect and technology entrepreneur, I asked myself: What would help me feel comfortable going back to the office, meeting friends for

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dinner, sending children to school or visiting grandparents? I believe the answer lies in the deployment of a user-friendly COVID-Conscious Indoor Quality Rating System that will grant people the opportunity to objectively assess their risk of the ability to safely to go to work, attend school, or be indoors with an extended social circle. The rating system would investigate various building parameters ranging from air

and people turnover to UV disinfecting devices.

Such transparency about how spaces are rated and classified will boost confidence and provide valuable information around the safe return to shared spaces such as offices, restaurants, schools and stores. It would evaluate the relationship between occupancy, space, its ventilation, and what measures are taken to combat

Courtesy of Intellego Technologies

By

Photography by Tarun Kathuria the virus. This universal COVID-Conscious Indoor Quality Rating System can analyze any indoor space, allowing people to autonomously determine their personal risk tolerance when deciding what indoor spaces they will occupy this winter. For example, the COVID IQ Safety Rating would show whether our choice of restaurant is riskier or not than a trip to the grocery store.

Rating systems are commonplace and impact our lives on a daily basis — we use them to evaluate everything from the restaurants we choose to dine in, to the food we eat, to the buildings we occupy, such as LEED, WELL or Living Building certified spaces.

To ensure confidence in this new COVID-Conscious Safety Rating System, it is critical to use simple, clear, transparent parameters and data to create a standardized, objective approach.

The ability to collect and analyze all this data will result in a reliable classification system on a scale of 1 to 10 (with clear parameters for each rating). We have 5-star ratings for hotels and Michelin stars for restau-

rants. Office spaces are also graded

by Class, anything from a Class A+ to a Class C building, and depending on the rating, the operator/owner can charge more money for its use and people can make informed decisions.

We understand that COVID transmission is about exposure to the virus.

Although there is no method proven for 100% prevention, general CDC guidelines suggest exposure should be no more than 15 minutes at a distance of at least 6-ft. That said, there are essentially three main factors determining transmission: size of space, quality of ventilation (air flow e.g. HVAC equipment and exchange/ turn-over of fresh, uncontaminated air) and density of occupants (people & turn-over). In addition, we should also look at what additional measures can be taken to combat the virus such as UV-C disinfection lighting. While UV-C is still a new technology having a framework for evaluation provides confidence and could help with wider adoption if implemented effectively.

Architects and mechanical engineers are trained to assess spaces. They should know the size and type of

HVAC equipment, whether UV-C disinfecting devices have been installed near the coils and know how much air turnover or air refreshment rate the space has. They should also know if UV-A disinfecting lighting is installed in occupied spaces and if UV-C is installed in unoccupied spaces. Also, there has to be a way to prove the devices are and setup as intended. Essentially, we must develop a catalogue of parameters that should be assessed by an independent inspector who evaluates the space accordingly.

I propose the development of a COVID-Conscious Classification System for shared indoor spaces.

Additionally, I would like to call out to all industry experts and organizations to help to develop such a risk assessment and rating system and explore initiatives on how we can make our shared indoor spaces Covid-conscious and safer. The question then becomes who should ultimately be responsible for developing and maintaining such a rating system: ASHRAE, UL, LEED, WELL, DLC, NLB, CABA or even the CDC or another regulatory body? 

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UPCOMING SHOWS

7-10 JAN 2021

6-7 AUG 2021

17-18 AUG 2021

DALLAS

NEW ORLEANS

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24-26 AUG 2021

21-22 SEP 2021

7-13 OCT 2021

STREET & AREA LIGHTING CONFERENCE

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27-29 OCT 2021

11-12 NOV 2021

13-18 MAR 2022

NEW YORK CITY

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Photography by Ks Kyun

SANTA CLARA

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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

Up Close with

Barbara Horton B

arbara Horton, Principal of HLB Lighting Design went on the record regarding the relationship between Reps and Lighting Designers in the age of COVID.

Barbara expressed that she was very happy with her relationships with her manufacturers and their reps and is pleased with how the industry has adapted, explaining, “We need

each other.” She said that the manufacturers and reps have become more inventive and creative as they conduct live demonstrations during their webinars. While nothing can fully replace in-person meetings, she and her team are very pleased with the training and updates they have received.

“Because we are not having training around a lunch meal, we are more productive,” she said, “We have learned that we can have the ‘lunch and learn’ without the ‘lunch’. Reps don’t have to wine and dine the design teams to get good information to them.” She also stated that the reps were doing a great job in shipping samples to their homes.

Barbara believes that the lighting design industry seems to ride on the tails of technology and that worldwide there is a new consciousness that wellness is critical and needs to be a part of work and life. She explained, “Hotels, restaurants, and offices now want to bring a lot more daylight to the workers. Daylight, wellness, and controls will be the focus for the next coming years.”

She also noted that IoT is sparking is a lot of interest, especially in exterior. HLB is working on smart city guidelines with a few reps across the country and is working with universities and IT departments as well as large-city managers. HLB has also had company-wide webinars with three of the largest U.S. lighting companies to discuss their individual technologies.

Most importantly, Barbara explained that one of the most impactful actions lighting designers can take is to support universities and continue to offer internships whenever possible—even in tough times, saying “We need the lifeline of young people that inspire our industry.” 

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A picture is worth a thousand words… …and more lighting sales!

The O’Hanlon Group provides timely lighting design assistance to rep agencies, manufacturers and distributors for any application - new or retrofit, indoor or outdoor – as deliverables from your company.

Let us help you WOW your customers by showcasing your lighting expertise with accurate, informative and visually telling presentations.

Call, text or e-mail for more info. C: 865-207-4845 E: johanlon@ohginc.com W: ohginc.com

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