Architectural SSL - June 2015

ARCHITECTURAL SSL • Chronicling the Advancement of LEDs in the Built Environment

MISSING THE MARK. Quality of “white” light is probably best defined by its impact on surface colors as seen by human observers. It is odd, therefore, that the very core terminology of non-lighting colorists is missing key descriptors: hue, value, saturation and intensity.

AT THE FRONT The business of light—lighting designers and their clients discuss trends and motivations as to why they're pursuing SSL.

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SSL BUZZ LED illumination allows Austrian performing arts center not only to look fantastic, but be fully ready for HD television broadcasts.

SSL PROJECTS Boston's latest art work, "As if it Were Already Here," is captivating the city with its undulating form and everchanging LED-lit color scheme.

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Call to Arms. What is needed now is the creation of a small, intense and fast moving task force to attack the white light issues at hand and create a new lexicon and new standards to better serve designers and end users.

SSL Buzz: An interview with author/lighting guru Jason Livingston Project Profile: Taliesin West shines anew following LED retrofit

ARCHITECTURAL SSL • 519 BRIARCLIFF ROAD, BOLINGBROOK, IL 60440 1506SSLCVR.indd 1

White Pages: Wireless controls, part 3; LVDC power supply options

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Two sizes: 4" and 5"

s

Up to 12,800 lumens

s

Up to 103 lumens per watt

s

Zero uplight

2015 INDOOR Entrant Guide

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33 Project Profile: Madison Square Garden 37 Project Profile: Taliesin West

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BUZZ

PERSPECTIVES

07 3:10 to Yuma

05 LED Insights

DOE tests the impact of extreme heat on LEDs

“Integration" and the “Internet of Things” were the buzzwords at Lightfair. But what does it mean for lighting?

By Jim Crockett

13 Making the Stars Shine French resort puts a new spin on Starry Night

48 SSL Observed 12 Nexus of Art & Science Jason Livingston expounds on lighting in a new book.

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“All design decisions—lamp technology, fixture type, control systems, etc—have to satisfy this question: ‘What is the desired look and feel of the space?’”

Without risk no innovation occurs. But entrepreneurs could use a break on certain safety issues which dampen spirits.

By Kevin Willmorth

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37

FEATURES

DESIGN & PRODUCTS

14 Market Setting Feature: White Light Re-Examined

40 White Pages Wireless controls; making power supplies smaller.

A new lexicon is needed to truly describe light emitted onto surfaces by LED, including intensity, hue, value and saturation. At the same time, confusion caused by obsolete color metrics must be eliminated.

by Kevin Willmorth

20 At the Front: Business of Light We delve a little deeper into the decision-making process of lighting designers and their clients as to what’s driving their adoption of LED, and where they’re choosing to use it.

by Vilma Barr

42 Advances Tunable downlights; bidirectional high bays; lighting sensors; PAR38s; accent lights; wallpacks; area lights

Architectural SSL, Vol. 9, No. 3 (ISSN# 1941-8388) is published five times per year by Construction Business Media.

Publication Office: Construction Business Media, 579 First Bank Drive, Suite 220, Palatine, IL 60067; 847 359 6493; www.architecturalssl.com. (Copyright © 2015 by Construction Business Media) POSTMASTER: Send address changes to Architectural SSL Magazine, 519 East Briarcliff Road, Bolingbrook, IL 60440.

26 Featured Project: As if it Were Already Here Arup combines structural engineering and state-of-the-art lighting to bring Janet Echelman’s ethereal art work to life over the Rose Kennedy Greenway in Boston.

by Ellen Lampert-Greaux

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SEEM 4 ®

IS EXPANDING UP & DOWN

Introducing Seem 4 LED, direct/indirect with flush or exposed pop lenses. Flexible linear suspended lengths in 1' increments and configurations in playful patterns give Seem 4 the ultimate flexibility to meet your design vision.

Visit focalpointlights.com for more information.

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NUMBER 38 • JUNE 2015 www.architecturalssl.com Gary Redmond

Managing Partner Director Publishing Operations gary@architecturalssl.com

Tim Shea

Managing Partner Director Business Development tim@architecturalssl.com

Smart Lighting Takes BIG Picture Thinking sensors can be located to gather in this informa-

Dave Pape

EDITORIAL Jim Crockett 847 359 6493 Kevin Willmorth Megan Mazzocco 847 359 6493

Vice President Director, Art & Production dave@architecturalssl.com Editorial Director jimc@architecturalssl.com Editor kevin@architecturalssl.com Senior Editor megan@architecturalssl.com

CONTRIBUTING EDITORS Vilma Barr Barbara Horwitz-Bennett Ellen Lampert-Greaux Chuck Ross

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Jan Bottiglieri

Copy Editor

DESIGN & PRODUCTION Dave Pape Art Director dave@architecturalssl.com Lauren Lenkowski Alex Mastera

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SUBSCRIPTION INQUIRIES There is no charge for subscriptions to qualified requestors in the U.S. All other annual subscriptions will be charged $39 for standard delivery or $55 for air mail delivery. For subscriptions, inquiries or address changes, call 630 739 0900 ext. 100.

The digitization and computerization of lighting is not going away any time soon, so the evolved thing to do is put on the big boy pants.

tion. That being said, the most critical criteria in even considering such a concept is whether you or your client will frankly be able to not only see data trends, but parse that into information, and actionable information at that. For just like spam, tons of data points with no meaning

One of the things I did in Manhattan besides

are not useful. Back to Enlighted, their custom-

attend Lightfair this past month was to visit the

ers are the likes of Google and AT&T, and they

Guggenheim, which we featured a couple years

have saved those customers money on lighting,

back when light artist James Terrell temporarily

in large part because the company leases the

lit the place in color. I have to say I was disap-

lighting system, including controls, to the client

pointed, initially. Not only was it smaller than

with the big idea being if the client doesn’t save

I expected, its facade was rather mundane—

money, they don’t make any.

painted concrete—and its interior equally Spar-

But beyond not having to pay all the upfront

tan, given Frank Lloyd Wright’s flare for detail.

costs of an advanced lighting system, what was

That being said, once I started circling my way

really cool was all the things a building operator

up the ramps of the signature circular atrium,

can learn by carefully watching his/her build-

the real genius of the museum’s design hit me;

ing. In the demo, the Enlightened guys took us

for as Wright intended, the space was all about

through the movement patterns of people in a

the art, not his architecture.

given day and week. In just this example, I could

I came to a similar realization walking—or I

quickly see a bunch of benefits: immediate areas

should say finally sitting down—at Lightfair. The

where I’d need to replace carpeting—perhaps not

buzzwords of the show were “Internet of Things”

use carpeting at all; blocks of real estate to re-

and “integration.” Everyone broke out the “Big

purpose or even consolidate as bunches of sales

Data” stick, but I wasn’t sure what was the end

staff were only at their desks on Mondays.

game—until I sat down. That happened to be

Others, of course, have figured this out too.

in the booth of Enlighted, who wasn’t actually

Philips showed off its “Location Services” tech,

showing a lighting product, but a system that

where via the lights and one’s mobile phone,

rides on lighting. The Englighted folks come out

retailers can start shooting you information,

of the networking world, and like many, saw an

including coupons for something a shopper is

opportunity to bring the benefits of Big Data to

looking for, or just happens to be wandering by.

the built environment, but they seem to know

Philips, in fact, just had the system installed in a

what they’re doing. Of course many of you may

supermarket in France—so it’s coming. .

be asking what’s Big Data? I know I didn’t really

The computerization of lighting is here to stay.

understand the term until I heard it pop up at

But that’s not necessarily a bad thing, as lighting

another show. Here’s one definition: “extremely

as a possible revenue source, be it in retail, or

large data sets that may be analyzed computa-

selling it as transactional energy to cities des-

tionally to reveal patterns, trends and associa-

perately needing power in peak demand season,

tions, especially relating to human behavior and

proffer plenty of good reasons to not only install

interactions.” Huh? Clearly it’s not necessarily

smart lighting—but put in the best.•

about lighting, but better understanding buildings, how people use them, and how we can cre-

A Publication of Construction Business Media

Member:

ate better environments while making or saving more money. The lighting-specific connection is turning things off, but in the big picture, lighting is really the infrastructure where myriads of

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Jim Crockett, editorial director

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A SIMPLY SUPERIOR LED Providing superior lighting solutions to the design community, No. 8 Lighting’s LED luminaires out perform the other downlights in installation, operation and function. n n n n

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8lighting.com

ROOM PHOTO: MATTHEW MILLMAN

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LED Performance in Extreme Heat DOE GATEWAY STUDY OF LEDS IN EXTREME HEAT SHOWS CHINKS

Measured Illuminances along East-West Line

Initial 2500-hr.

5000-hr

Among the earliest success stories for LED luminaires were exterior area, roadway and parkinglot applications that benefited from, among other factors, long lifespans that reduced maintenance required to replace failed lamps. In its latest GATEWAY demonstration report, the U.S. Dept. of Energy’s Solid-State Lighting Program updates its study of LED fixture resilience in one of the most extreme outdoor settings this country offers, the Yuma Sector Border Patrol Area near the Mexican border, and finds that performance is degrading faster than anticipated, though the cause for that change remains unclear.

ABOVE: Illuminance values (tested at 3 different times) increased near the test pole compared to the initial values, but decreased farther away from the pole. Illuminance values were normalized for a 25 °C (77 °F) condition.

This location is definitely an extreme testing ground for exterior LED lighting, because fixtures here rarely get a break from the heat. During a typical year, maximum temperatures at sunset

Horizontal + Vertical Illuminance Values AR§A

HOuRS

AVg (L x)

µAX (L x)

µi∑ (L x)

µAX/µi∑ RATiO

AVg/µi∑ RATiO

SECONDARY FENCE (VERTICAL)

Initial 2500 5000

5.6 5.8 5.7

7.4 7.8 8.6

4.2 4.4 4.1

1.8 1.8 2.1

1.3 1.3 1.4

fall between 101 to 112 degrees F, with minimums falling between 36 and 43 degrees F., and average nighttime temperatures ranging from 63 to 68 degrees F. So, high ambient heat and solar radiation heat up fixtures during the day, which then turn on and start generating their own internal heat just as ambient temperatures begin to decline.

The six luminaires were initially installed in February 2014 on three of the 205 poles used to

3 ROWS CLOSEST TO SECONDARY FENCE (HORIZONTAL)

Initial 2500 5000

8.1 7.3 7.2

14.9 15.5 15.5

3.7 2.5 3.1

4.1 6.1 5.0

2.2 2.9 2.3

ALL (HORIZONTAL)

Initial 2500 5000

21.3 19.5 18.7

44.0 55.6 55.9

3.7 2.5 3.1

12.0 21.8 18.0

5.8 7.6 6.0

3 ROWS CLOSEST TO PRIMARY FENCE (HORIZONTAL)

Initial 2500 5000

27.6 23.4 22.5

40.2 46.8 45.4

20.4 12.9 13.9

2.0 3.6 3.3

1.4 1.8 1.6

quartz metal halide fixtures topping the rest of

PRIMARY FENCE (VERTICAL)

Initial 2500 5000

28.3 21.3 21.2

35.6 29.9 30.6

20.7 13.7 13.5

1.7 2.2 2.3

1.4 1.6 1.6

to anticipated performance levels, or if the quality

illuminate the 125 ft. separating a 7.2-mile stretch of parallel primary and secondary border fencing, near the Yuma San Luis Port of Entry. A December 2014 report written after 2500 hours of operation, compared the fixtures’ performance to that of the the poles in this border area. This time, researchers wanted to see if the LED units were living up of the illumination they produced had degraded over the course of the previous year—especially given the setting’s particularly harsh conditions.

Specifically, researchers were looking for shifts

ABOVE: The horizontal measurements were recorded approximately 9.5 in. above the ground and the vertical measurements were recorded at 4 and 8 ft. above the ground along the fences.

in color temperature and illuminance (essenZ

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tially, brightness). Color metrics shifted slightly, but the 33K average drop in correlated color temperature was well within nominal tolerances allowed for in the governing standard listed by the American National Standards Institute.

However, illuminance levels (measured at a range of distances and heights in vertical and horizontal grid patterns established during the fixtures’ February 2014 installation) showed decline.

The measurements are focused on the middle of the three poles with LEDs. Researchers found the distribution of illuminance had shifted over the course of the previous year, with values nearest to that pole increasing, while they decreased with distance away from the pole. “This pattern of changes in illuminance would not be expected from normal LED lumen depreciation,” the report’s authors state. “Those changes

THEATER LIGHTING: MONTFORHAUS, FELDKIRCH, AUSTRIA

would occur uniformly throughout the

Lighting Fit for a Jewel Box—and Hi-Def TV

measurement area.”

Several possible contributors to this unusual pattern of decreased

The Austrian town of Feldkirch is now home to

illuminance are being considered.

a stunning new “culture and congress centre”

One potential factor is luminaire dirt

called Montforthaus, designed by Berlin-based

depreciation (LDD), a factor in light loss

Hascher Jehle Architektur. As befits such a

common to exterior luminaires. Be-

striking structure, the facility’s custom-designed

cause the changes noticed at the Yuma

lighting solution (by Belzner Holmes/Light Design

installation—with higher illuminance

Engineering) pairs cutting-edge technology with

levels close to a pole and lower levels at

glamorously good looks.

high angles—are similar to those found

The lighting design team worked closely with

where dirt accumulation is a known

Zumtobel to create a solution that could work

cause, the researchers believe LDD

throughout both the lobby and performance

would explain at least some portion of

space—and provide flicker-free, step-less dim-

the measured changes.

ming, to enable HD-quality TV broadcasts live

Other possible contributors to these

“WITH THE MFH-PANOS, WE HAVE DEVELOPED A LUMINAIRE THAT IS TRULY UNIQUE. BUT THE POTENTIAL FOR GLOBAL SUCCESS IS CLEAR.”

from the facility. The company’s PANOS infinity

shifts researchers plan to study, going

family formed the foundation for the finished

forward, include LED depreciation, lens

product, the MFH-PANOS, which included more

material changes and driver changes.

than 2,500 individual luminaires.•

To better understand these changes, DOE researchers are exploring plans for thermal simulations of the fixtures, among other issues.•

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ABOVE: The core objective of the lighting solution was to achieve a flicker-free environment that could be dimmed to zero, which would enable TV broadcasts in high definition from the facillity itself. Zumtobel developed a custom solution based on its PANOS line that facilitated the mixing of cold white and warm white LED sources.

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6/17/15 10:37

OFFICE LIGHTING: INGERSOLL RAND HQ, BUILDING D, DAVIDSON, N.C.

LED in Line with Sustainability Goals

Welcome To The Family

Transforming the interior space of Ingersoll Rand’s Building D commercial, which comprises nearly 53,000 sq. ft. across two levels,

Sternberg's

Rialta®

was achieved through efforts that included the installation of more energy-efficient lighting, a building automation system and ENERGY STAR equipment and appliances. Additionally, only low-emitting materials were specified and used for the renovation, and they included GE’s LED fixtures, including the Lumination ET Series of recessed troffers. Featured in the conference room are Lumination BL Series LED Luminaires, that seamlessly integrate within the ceiling for a clean, contemporary look.

Before LED lighting and controls were installed, the footcandle reading averaged 40 fc. It now is between 43 and 44 fc. with better uniformity. Overall, the LED lighting has reduced light power density, or watts per sq. ft., by more than 36% over the ASHRAE baseline. As LED lighting produces less heat than traditional light sources, the AC load can be reduced by 0.32 watts with every watt saved in a lighting system. Providing additional energy reduction for Building D, the new lighting has lessened HVAC cooling loads and improved HVAC efficiency by an additional 3%. According to Jefferson Hynds, director of innovation at Ingersoll Rand, the trick is turning these energy-efficient ideals

Rialta, The New Stardard In Light Column Design The Monolithic cannular design of Rialta® incorporates three stylish luminous tops. Lensed models incorporate a state of the art LED optical system that provides uniform surface brightness and even illumination.

Rialta® mounts to the walkway via an invisible mounting system, giving a modern seamless appearance. For more information visit sternberglighting.com

into another business level. Doing so, he says, will make one much more successful in changing culture and changing behavior.•

ABOVE: The 215 employees at Building D now utilize offices and open floor work stations with access to numerous additional areas, including conference rooms of various sizes, copy/print rooms and break rooms. An LED upgrade cut increased average footcandles available in each area, while dropping power density significantly.

sternberglighting.com 800.621.3376

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FESTIVALS: VAL D’ISERE

Taking it to the Streets Airstar, a leading company in lighting balloon technology for the event and staging industry, used all its savoir-faire, to illuminate the French ski resort of Val d’Isère. At its annual Airstar Night Light, over 30 balloons of various shapes, sizes and colors were deployed to the delight of the local bourd of tourism. The spectacle is a great point of differentiation for the resort. “We were looking for a unique identity in order to stand out as a resort, and so sought an innova(Photos: Vincent Tim and Andy Parant)

tive lighting solution that would have a wow effect while being easy to deploy,” says David Hemelsdael, events and entertainment manager at the Val d’Isère Tourism Office.

In less than 10 minutes, the tourism office technical team can stop the traffic on the main road, cover it entirely with snow, and set up the entertainment activities as well as the lighting balloons with the help of an Airstar team. The centre of the village then becomes the stage of a lighting show like no other. Various animations brighten up the

ABOVE: Lighted balloons from Airstar have become a weekly presence during the winter in the French ski resort of Val d’Isere, when Thursday nights see the appearance of more than 30 LED-illuminated balloons in various shapes and sizes, including the DMX controllable “flame” product.

public as they wander about, using Airstar lighting solutions: ice sculpting, DJ sets, live performances, percussionists; all these animations create a magical and festive ambiance for all ages.

The Airstar Night Light also allows the lighting manufacturer to test and validate new lighting solutions such as the new “mobile” made of three Ball and Rock Delices attached under each Diamond and Star balloons, as well as the purposed built 160cm wide Crystal cover on a pole.

AREA LIGHTING: MCEUAN PARK, COEUR D’ALENE, IDAHO

Lighting up the Night Sky—But Not Too Much In their plans for the redesigned McEuan Park

“We are simply delighted with the results.

in Coeur D’Alene, Idaho, lighting designers from

As far as I know, Airstar is the only company

that city’s Trindera Engineering certainly want-

capable of offering cost effective solutions that

ed to provide illumination levels that helped

are capable of lighting up a street so quickly. No

evening visitors feel safe and comfortable. But,

wonder they are the undisputed leader in their

knowing nighttime views are a big attraction

field,” comments David Hemelsdael. “Our main

in the heart of Big Sky Country, limiting light

challenge is to reinvent ourselves each year:

trespass also was an important goal.

last year we had a marine theme, with jellyfish

MayaLED luminaires from Luminis helped

light trespassing upward or into neighboring residential areas. And, while the poles used for

and fish shaped balloons; this year we chose

the designers address both requirements, in a

mounting fixtures along park walkways are a

a galactic theme, and we are already working

design that also referenced the park’s natural

durable aluminum, they’ve been powder coated

closely with Airstar on a new concept for 2016,”

setting. The full-cutoff fixtures direct illumina-

in a wood-grain pattern to match the surround-

he concludes.•

tion only where it’s needed, without unwanted

ing environment.•

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“WHILE MOST EXTERIOR LIGHTING SOLUTIONS ARE INSTALLED FOR SAFETY OR SECURITY, DEALERSHIPS ALSO INSTALL LIGHTING ELEMENTS TO DRAW THE CUSTOMER’S EYE TO THE DEALERSHIP AND ITS VEHICLES.”

AREA LIGHTING: PIONEER FORD, BREMEN, GA.

Dealership Delighted with Switch to LED Galleon area luminaires from Eaton’s Cooper

Working with local utility Georgia Power,

Lighting division have improved the lighting

the team conducted a photometric analysis to

performance, energy efficiency and reliability

ensure the new lighting would meet Illuminat-

at Pioneer Ford, in Bremen, Ga. “The lighting is

ing Engineering Society (IES) standards and

amazing,” says Bob Winiarczyk, the dealer-

the desired illumination levels. Using the ex-

ships’ president. “It’s definitely a more modern,

isting pole locations, the conversion replaced

cleaner look. And with the recent time change,

62,1000-watt metal halide products with

customers can still see the color and features

421-watt LED fixtures to meet the high lumen

of the vehicles during evening hours.

output needs for the new and used vehicle

The conversion has resulted in a 61% en-

K J U Geometric Purist Versatile

inventory display areas.•

ergy reduction, while providing brighter and uniform illumination, and reducing the high number of lighting maintenance issues the

selux.us

auto dealership was experiencing. “Even the transport drivers delivering vehicles at night have commented on how unloading vehicles is like working in daylight,” says Winiarczyk.

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BOOK REVIEW: DESIGNING WITH LIGHT

Lighting for the Desired Look and Feel of a Space understanding and respect for the complexities

the required number of foot-candles and ends

of good lighting design. But the book also dis-

with a calculation confirming that number—

cusses how to think about light and how to talk

that’s a pretty limited way of working. From my

about light with clients, a topic that isn’t covered

perspective a lighting designer has to gather

or covered as deeply in other texts. The preva-

information to fully understand the project so

lence of colored LEDs means that a thorough un-

that the question: “What is the desired look and

Jason Livingston is principal of Studio T+L,

derstanding of color, not just color temperature,

feel of the space?” can be answered. All design

Brooklyn, N.Y, interdisciplinary theatrical and

is more important than ever. Light’s effect on

decisions–lamp technology, fixture type, control

architectural designers and consultants. He

our health is another issue that is relatively new.

system, etc –have to satisfy the answers to that

recently published a new book, Designing With

Research is ongoing and it remains to be seen

question.

Light: The Art, Science, and Practice of Architec-

exactly how this subject will affect the practice

tural Lighting Design. The book

of lighting design.

Jason Livingston, Principal, Studio T+L

is a comprehensive introduc-

Q: Where do you see the cross-over between architectural lighting design and theatrical

tion to the theory and practice

Q: On the subject of lighting education for all

lighting design, as you practice them?

of lighting design and its use of

designers, how do you respond to comments that

JL: It’s almost exclusively one direction-the-

to define and enhance a space.

creativity in lighting design isn’t all that impor-

ater to architecture. Stage lighting designers

Vilma Barr recently spoke with

tant so long as the lighting system is functional.

understand the properties of light and how to

the lighting designer.

JL: I don’t understand why so many schools and

manipulate them and how to use light to create

departments don’t think that lighting design

an environment and tell a story. There are so

Q: Students who are taking

should be part of that preparation. Especially,

many aspects of design that are different, start-

a lighting design course can make good use of

when so many architects and interior designers

ing with the hardware and continuing through

your book. How do you suggest that a practicing

either light their own projects or hand the work

to aspects like LPDs.

designer make use of it?

over to their electrical engineer. Good light-

JL: One of the book’s objectives is that architects

ing design and effective illumination is not the

Q: What have you found about the attitude of

and interior designers come away with a new

same thing. For example, if students are taught

corporate clients to lighting design?

that lighting design begins with determining

JL: While many have embraced good lighting design, the majority of corporate clients don’t place a high value on it. Most only see initial costs and perhaps operational costs. They are not aware of the research that has been done on the ongoing value of good lighting design. Clients should have a clear understanding of its value to request that their architects hire a professional lighting designer, and not ask if the expense is really necessary. •

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RETAIL: BORY MALL, BRATISLAVA, SLOVAKIA

Starry, Starry Mall Architects with the Italian firm Studio Fuksas turned to the nighttime sky in their lighting plans for the new Bory Mall in Bratislava, Slovakia. Looking for point-source fixture that could be controlled to balance with natural daylight, the designers opted for Skim downlights from ERCO.

CORRIDOR CEILINGS WERE TO BE ILLUMINATED IN A MANNER THAT WOULD EVOKE THE IMAGE OF A STARRY SKY VIA AN IRREGULAR ARRANGEMENT OF POINT LIGHTS.

In total, 2,500 of the 28W fixtures now light up the malls’ public corridors. About a third of the fixtures—those installed above display windows—are fitted with oval flood lenses to eliminate overlap with lighting from individual ABOVE: The use of the Skim downlights over competitive products meant 20% less luminaires were needed, lowering operating costs by as much as 40%.

shops. All the luminaires feature automatic three-stage control, which dims them or turns them off completely when natural light provides adequate illumination.•

LIGHT LIGHT EMITTING DREAMS Awaken your imagination with Lumascape precision engineered LED lighting solutions.

Design. Create. Illuminate. www.lumascape.com

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The excitement of fresh opportunities coming to lighting masks enduring issues of failing metrics, confusing definitions and missing foundations on which to build new approaches. White light tuning is a hot button topic that deserves attention, starting with redressing the problem of defining white light itself.

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By Kevin Willmorth, editor

The emergence of solid-state technology elevates

Defining White

The Romance and Science of Artificial Light

the discussion of white light to a white hot topic,

Just what exactly is white light? White could

Pointing to “daylight” as an ideal reference for

fueled by fresh opportunities to tune, adjust, and

be described as lacking in hue or color. CCT in

white light fails to consider that sunlight falling

apply white light with sophistication. Solid-state

degrees Kelvin provides nothing more than a sim-

to earth ranges from a low of 1800K (orange)

sources and controls can deliver virtually any

plistic relative comparison. A low number indicat-

through 5000K mid-day (pale blue) to 10000K for

state of white light desired—in static or dynamic

ing warm tones, higher for cooler. The failure of

blue sky glow. With radiant “light” energy ranging

forms. With most research and past practices

this metric to describe “white” is obvious in side-

from ultraviolet, through visible infrared, the

based on old source technologies, exciting new

by-side comparison. A 2700K “white” source ap-

variations in spectral power distribution are vast

opportunities are open for real discovery and

pears yellow compared to a blue appearing 5000K

and changeable.

change. The time has come to re-define appli-

“white” light. Neither could be considered “white.”

cable metrics of “white” light and human visual

Only through the dynamic of the human visual

romantically revered as delivering preferred

performance that reach beyond sterile academic

system, which accommodates uniform color shift-

“white” light. Yet, the color of light emitted by fila-

exploration and marketing jargon. However, to

ing, is this difference somewhat neutralized. We

ment lamps is a physical characteristic of heating

succeed in this expansive voyage, several old and

perceive our world primarily by reflected light,

a metal filament to attain a balance between light

many new issues must be addressed.

where the non-whiteness of light sources imparts

emission and service life, not achievement in high

noticeable distortion.

visual performance or color perfection. Modern

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Incandescent and halogen lamps are often

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fluorescent sources are the product of market driven selective evolution, leading to 3500K and 4100K as the center region of white light for commercial applications. These sources trick the human visual system into seeing “white,” while delivering incomplete spectral power emissions.

Solid-state lighting delivers “white” by blending source colors, phosphor down-converting 405nm, or 456nm blue light—or a combination of these.

This is not “purer” or a more perfect form of light.

However, the ability to create fuller spectral power distributions and vary those profiles using controls, is a significant advancement.

White Color Preference vs. Visual Performance The question of whether occupants prefer a specific color of white light based on illuminance levels has been an item of discussion for 75 years.

Preferences for white light color varies widely around the world. The preference for incandescent color can be as much based on subjective choice as based on the failure of fresher technolo-

PERCEPTION AND DISTORTIONS OF WHITE

Just as there exist many shades of white paint, light sources impose shades of white. What is perceived as “white” is a composite of the light transmitted directly and reflected from surfaces. Ideally, white light would not impose a distortion of color perception.

gies to deliver acceptable quality. Meanwhile, the preference for warm-enhanced light for low light application contrasts with research indicating that low level visual response is greater under higher CCT sources. If the choice of a particular

derivatives—compare a subject source to a fixed

shade of white is simply subjective, employing

reference with exactly the same CCT value. This

light that delivers a tunable range of CCTs adjust-

produces no definition of the quality of “white”—

able to suit occupant’s preference seems an excit-

as there is no reference to purity of white com-

ing opportunity. Conversely, research indicates

pared to any neutral standard. If one attempts to

human visual performance at task level lighting

apply a single base standard “white,” say of 4000K

illuminance is enhanced by high CCT white light.

to all sources, the results would show that only

This has led to recommendations that high CCT

sources of 4000K are a true “white” light, with all

lighting systems deliver enough improvement in

others proving inferior. Ultimately, current color

visual acuity to support reduction in light levels

quality metrics do not define white light qual-

over lower CCT systems. However, fluorescent

ity, just rough comparisons within the confines

sources have been available for some time capa-

of a single CCT. Further, current metrics do not

ble of delivering this benefit, with little movement

fully consider or reflect differences between full

in the market to exploit this opportunity. Discov-

spectrum sources (sun and filament) and spec-

ering what qualities of the high CCT approach

trally enhanced (phosphor converted) sources.

are failing to capture the market’s interest begs

5000K daylight white at 98 CRI appears cyan blue

additional investigation.

against the orange glow of 1800K 98CRI candle

WHITE LIGHT AND SURFACE COLOR PERCEPTION

Utilization of uniform white light sources in various forms allows surface coloration to stand alone, revealing the designers intended subtle shading between surfaces. This demands al sources deliver virtually identical spectral distribution, regardless of CCT or CRI.

light. A 3000K halogen, 3000K fluorescent, and Color Quality Metric Failure Mode One

3000K LED can all achieve 98CRI, yet appear dis-

Beyond CCT there exists no “proof” of color

tinctly different when compared to one another.

quality to support the notion that one source or product is superior at generating “white”

Color Quality Metrics Failure Mode Two

light. Current metrics—including CRI and similar

Color metrics founded on fixed reference color

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the color by its dominant reflected wavelength.

Value refers to the quality of that color. Darker values are referred to as shades, lighter values are often referred to as tints. Saturation, also known as Chroma, defines color depth or purity.

Adding black to a color to create a darker shade, or white to tint a hue lighter both reduce their value. The combination of these descriptions come together in an HSV scale graphic designers, fabric colorists, paint formulators, and color specialists use. These professionals understand that lighting conditions shift hue, alter value, and distort saturation. While the calculations inside color metrics (CRI) address this effect to some degree, the terms themselves are excluded. Since perception of color is a composite of the quality of light falling onto and then reflected from surfaces, the connection between HSV and white

USE OF WHITE AS A COLOR

The purposeful use of discrete white color differences, such as that used here between the daylight and perimeter lighting effect, can be used to enhance special definition and depth. The distortion of surface coloration in this case was deliberate, creating definition that would otherwise be muted under a monochromatic approach.

light are inexorably bound. The opportunity to define “white” light that more directly reflects this relationship, with usable terms and metrics, has yet to be fully explored.

Steady State or Dynamic Modulation The current interest in color tuning tied to

THE IMPORTANCE OF LIGHT SOURCE “WHITE” DEFINITION IS APPARENT IN ITS IMPACT ON SURFACE COLORS. ODDLY, THE CORE TERMINOLOGY OF COLORISTS IS MISSING FROM LIGHTING METRICS.

swatch sets, while allowing distortions based on

intensity, such as dim-to-warm LED products, is a

CCT value is apparent when viewing a color chart

by-product of accepting the performance of prior

under a dimmable incandescent lamp. At full

technologies as ideal. Incandescent lamps dim-to-

brightness, the CRI value will be 98+. Under this

warm due to filaments producing a warmer color

light, blues will appear muddier than they appear

when they are operated at lower temperatures

under daylight, while reds and oranges will ap-

(dimmed state). This was an acceptable flaw in

pear prominent. As the lamp is dimmed, CRI will

white light performance behavior, not a desirable

remain at 98+, even when blues are lost entirely.

feature designed into the technology. Designing

To expose the flaw even further, comparison of

solid state lighting—which exhibit no such behav-

the aforementioned states against equivalent

ior—to parrot this color shift, based on intensity

natural daylight will show how dramatic the color

setting is one opportunity being explored. Yet, an

shifts are, and how distorting color metrics based

equally strong case can be made for products that

on CCT creates a confused metric for defining

dim toward moonlight blue in outdoor products,

white light. This points to a very real need for

red-orange for coastal wildlife regions, or to fully

a new “white” light metric that indicates color

separate color and intensity as independently

distortion from a neutral “white” baseline.

controlled performance characteristics.

Missing Hue, Value and Saturation

state lighting is delivery of white light to simulate

The importance of light source “white” definition

variability in daylight based not on intensity, but

is apparent in its impact on surface colors. Oddly,

time of day and season. Part of the preference for

the core terminology of colorists is missing from

natural light, beyond spectral quality, may be its

lighting metrics. Hue, Value and Saturation are

changeable nature, in color, intensity and direc-

the terms used to describe color. Hue describes

tionality. Use of controls to create a natural break

An intriguing potential for application of solid-

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from the monotony of fixed-light systems is an

are currently no metrics to define recommended

achievable approach worth considering further.

levels, nor are their standards for application of these techniques.

Doping White Light The science of non-visual response to light has

Moving Forward

revealed there are several characteristics of

The introduction of artificial light created the

white light available for exploitation. The most

issue of truncated spectrums on visual perfor-

discussed is the melatonin suppression effect

mance, while the definition of white light quality

(which reduces the feeling of sleepiness) of light

has been the focus of a great deal of discussion.

sources producing specific blue light content.

Modern understanding of the effect of light on

Enhancing this energy delivery has little effect on

human performance, how light interacts with

the perception of color, while imparting a state

the surfaces, and the dynamics of non-visual re-

of increased energy or feeling of wellness for

sponses to light energy sets the stage for changes

occupants. While this has been present in other

in how we define and deliver white light. The chal-

artificial light sources, proposals now suggest

lenge is in moving from subjective conjecture and

using solid-state technology to tune white light

academic discussion to applicable metrics, stan-

content with the specific intent to modify/support

dards, and recommended practices. Solid-state

the circadian rhythm of human occupants. This

lighting presents an opportunity to build lighting

can also be applied inversely, by limiting emission

systems with greater fidelity and sophistication.

in spaces, such as hospital rooms, hotel rooms,

This potential will be wasted if the current state

or residential bedrooms to support melatonin ac-

of weak metrics persists.

cumulation to enhance sleep performance. There

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CRITICAL WHITE PERFECTION

In color critical applications, simplistic CRI and CCT metrics are relatively useless in determining a white source’s suitability. Study of spectral power distribution, and testing of color performance in application, to verify suitability will remain necessary until more comprehensive metrics can be developed.

The combined forces of the IES, IALD, CIE, IEEE,

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CONTROLS ARE THE KEY

Control technologies that offer visual references and commissioning of lighting components are necessary to allow application to focus on the desired effect over hardware arrangements and connections.

This demands uniformity of controls and addressability between a wide range of products from diverse sources.

DIVORCING THE CONNECTION BETWEEN COLOR AND INTENSITY

By separating color from intensity, visual effects, such as those used in retail, can be made to reflect seasonal, fashion, and stylistic goals. Color can be set to suit the coloration of the display or seasonal effect, with intensity adjusted to produce the visual impact desired.

UNTIL THE HURDLE OF A MORE REALISTIC DEFINITION IS CLEARED, THE FINER WORK OF DEVELOPING STANDARDS AND PRACTICES CANNOT BE RE-BUILT.

ing models, or failure to include relevant practical

the time to be hobbled by conflicts with lamp

application considerations.

manufacturers, inclusion of every special inter-

What is needed is an immediate, out-of-box

est’s ideas, pandering to the least interested, or

effort to attack white light issues. Whether a joint

promotion of any technology. The time is now to

effort between the existing organizations and

provide guidance to the technical powerhouses,

academia—or one formed in isolation—matters

giving them rock solid standards on which to base

less than the speed and intensity of work. This

new products and drive technical development

includes creating standards to define white light

into the future.

that addresses its effect on rendering surface

Until the hurdle of a more realistic definition of

colors in hue, value, and saturation, while elimi-

white light and its characteristics is cleared, the

ANSI, and NEMA command positions of authority

nating the confusing metrics that assign identical

finer work of developing application standards

and responsibility to effect change. However, with

“quality” marks to sources that obviously distort

and practices cannot be re-built. This includes

a history of taking years in committee to solve (or

color. The effort should re-define the term “white”

redressing light level recommendations, glare

fail to resolve) issues, the infrastructure seems

light, and establish a relationship between spec-

and comfort, the issues of spectral content and its

incapable of redressing the weaknesses of the

tral delivery (CCT and completeness of spectral

effect on circadian activity, application of lighting

current definitions. Meanwhile, technology moves

power distribution) and visual performance—cre-

controls for color and intensity variation, and

forward regardless, with or without guidance.

ating a first-ever visual performance metric. The

mitigation of negative impacts of artificial light

Further, researchers in human vision, physiology,

effort must produce practical, real world lighting

on human health. Until the foundation is rebuilt

and lighting affect are not organized to provide

metrics that make sense to end users, lighting

on solid ground, any discussion or recommenda-

the answers directly, resulting in a body of re-

customers, and professionals alike—without be-

tion based on the current flimsy state of white

search that often conflicts, includes conclusions

ing dumbed down to the point of being useless;

light definition is weakened to anecdote and

irrelevant to practical application, obsolete light-

a primary flaw in current standards. This is not

subjective opinion.•

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TOPICS AT THE FRONT

0

TH E B U S I N E S S O F LI G HT I N G

By Vilma Barr, contributing writer

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What drives the decision to adopt LED? Is it pure energy savings?

Is it cost? Is it novelty? We asked a number of people what their or their client’s thinking was in context of places where LED has been embraced. The answers are quite surprising.

In the world of retail, LVMH is a luxury conglomerate composed of iconic brands such as Louis Vuitton, Sephora, Bulgari and Hennessy. In fact, the company operates 11 million sq. ft. of selling and support space. Three years ago, it investigated the use of LED lighting as a means to significantly cut its operating budget. In fact they wanted to cut 70% of what went into lighting--far surpassing the remaining costs to run its factories, ship its products or other expenses.

“LEDS DO A BETTER JOB OF HIGHLIGHTING PRODUCT FEATURES AND ARE MORE PLEASING TO SHOPPERS.”

The results detailing the documented savings so impressed Bernard Arnault, LVMH’s chairman and CEO, that he established a company-wide effort to reduce its appetite for energy. Headed by Sylvie Bénard, the LED lighting options were carefully scrutinized and then implemented. A post-installation evaluation was thumbs-up. “LED lights, it turns out, do a better job of highlighting product features and are more pleasing to shoppers than incandescents or fluorescents,” Bénard says. LVMH has subsequently established agreeCOLD, HARD FACTS

ments with 20 lighting suppliers

Left, Barneys In Beverly Hills, by Cooley Monato; (Above, top) Tienda Loewe, Valencia, Spain, and Tag Heuer, Las Vegas; the latter are highend retail outlets operated by the international conglomerate LVMH, who recently made the transition to all-LED for its stores. That said, Renee Cooley adds that when working for such high-end clients, designers must make sure LEDs are tested work well before installation.

catalog and establishing a website

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and has followed up by publishing a for internal use by all of its brands.

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TOPICS AT THE FRONT

Unfortunately, the decision to adopt LED is not so cut and dried, and it’s not always about saving en-

TUNED IN

One feature that has Paugh’s museum clients excited about LED is its tunability, particularly because of the frequency with which exhibits change. It also allows for more daylight-like conditions for Impressionist works.

ergy. However, in adopting LED, be it for new construction or retrofit, one commonality is universal: it’s best to have a plan. Emily Monato, a principal with Cooley Monato Studio, can’t emphasize this enough, and notes it may be the most important business decision a client can make. The New York based firm does a lot of work in the hospitality and retail world. The former has significantly jumped on the LED bandwagon, but not at little expense—and we’re not talking about the cost of the technology itself, but lessons learned from flying blind. For many of her firm’s clients, the big issue is the debate as to whether to retrofit LEDs

CAUTION KEY

Museums tend to be conservative in their technology adoption, says Paugh. As a result, LED replacement sources were the more appropriate choice in this instance.

into existing fixtures, or completely renovate. From a pure cost perspective, the answer sounds obvious, but Monato says they’ve worked with people who learned the hard way that 1 for 1 replacement is not a no brainer. “There’s a lot of compatability issues. And we’re being called in a lot to fix these jobs where they jumped too soon,” she says.

Diligent in-office and on-site testing is essential to warding off potentially negative installation results, adds Monato’s partner

Design had been getting too many

two. Next came testing. “In some

Renee Cooley. “We have to know it’s

pitches to try everybody’s LED

instances we did them side by side,

going to work,” says Cooley. “When

replacement lamps. He decided it

in some cases we set them up to

we decided on a new office location,

was time to roll up his sleeves and

toggle back and forth,” said Paugh.

we made sure there was sufficient

figure out which products made

After assembling a pros and cons

space to set up our own light lab

the most sense. His process began

checklist, the team settled on a

to test product performance,” she

by first defining the performance

lamp from Sylvania. The curators,

explains.

criteria he wanted, including CRI,

ultimately, were a critical part of

CCT and beam angle, in this case

this process. For example, in one

Cultural Considerations

for spot and flood lamps. He came

instance, the team was looking at a

In the case of Clint Paugh, who

up with a dozen points, then sent

painting by Josef Albers—one of his

manages lighting in Kansas City’s

out a notice to all the reps that had

Interaction of Color series—which

Nelson-Adkins Museum of Art, he

been calling on him, indicating if

included a purple square inside a

had simply had enough. As the

their product comes close, send it

red square. The source they chose

main lighting consultant for the

over. He got back 16 samples, of

to illuminate the painting made the

museum, the principal of Helios

which he narrowed to four, then

red pop, and the designer thought

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“YOU CAN GET REALLY GOOD LED PAR 38S FOR $40 VS. $120 A COUPLE OF YEARS AGO—SO THERE’S NO STICKER SHOCK.”

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TOPICS AT THE FRONT

feel there was an LED MR16 up to snuff. Today, that’s not the case, as he put in an order for 1500 PAR 38s and about 800 MR16s. “That’s about 70% of the gallery.”

That said, the thing about the transition to LED that has he and his clients are the most excited about is color tuning. In fact, right now, in their Impressionist collection, they’ve been experimenting with it to achieve a kind of daylight filter in concert with the tungsten lamps in there now. At first they tried a mix of 3000K and 2700K lamps, but now they’re looking into the tunable products. “The ability to change color [Kelvin temperature wise] is a big deal for us.”

It’s so, he says, particularly because they’re so frequently changing exhibits. The ability to also add RGB color is appealing in concert with various social events that occur in the museum.

One product Paugh has been OWNER INVOLVEMENT

The museum’s curators proved critical in the process of selecting the right LED sources, particularly in conveying information essential as to how the colors of the art works should appear.

especially impressed with is Ketra’s PAR 38 lamp. It’s not so much the light source as it is the company’s innovative software which makes this whole tuning effort fairly seamless. Right now they’re retrofitting Edison Price track heads with the Ketra lamps. They’re also experimenting outright replacing a lot of the T8 fixtures in the

this was cool. Then the curator

bandwagon? “In museums there’s

no sticker shock anymore,” says

museum with the company’s linear

stepped up and said that was not

not a lot of emphasis on being

Paugh.

fixtures as the main ambient

the intent of the artist at all, as

state of the art, as [art] conser-

both colors should be the same

vationists tend to be leery. The

that the use of LED is part of an

intensity. So in this case, Paugh

whole imbroglio over the van Gogh

upgrade as a whole, and that fact,

vs. whole fixture replacement is

said that client involvement made

museum about LEDs being harmful

in their eyes, makes the invest-

not an easy one, says Paugh, and

a huge difference.

to artwork—which turned out to

ment not so outlandish. Some

it depends on the situation. Right

be inaccurate—didn’t help. In fact,

of this willingness is also due to

now, retrofit lamps appeal to him

game was a different story. Some

at least here at the Nelson-Atkins,

an obsolescence issue—the 45W

as they address his fear that some-

were excited to be part of the pro-

if LED wasn’t a good choice, we

halogen MR16s that have been the

thing cooler and more innovative is

cess from the get go; others not so

would have found another alterna-

museum’s go-to source, have been

around the corner.

much. They did a number of these

tive,” says Paugh.

phased out. In fact, anticipating

Now getting the curators in the

kinds of get togethers, and each

Price of the technology, was not

His clients are also well aware

source in the museum.

The debate over lamp retrofit

Frankly, he’s also not sure that

this at the end of 2013, Paugh or-

every fixture manufacturer has

time more people would come.

a factor. “You can get really good

dered 45,000 lamps so the museum

made up its mind on exactly where

Was there pressure from the

LED PAR 38s for $40 vs. $120 just

could go two years without needing

they want to go when it comes to

museum at all to jump on the LED

a couple of years ago—so there’s

to look at LED. In 2013 Paugh didn’t

their LED offerings.

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z

Pushing the Frontier

ing,” says Nestor Infanzon, FAIA,

hide around the campus—better

At the very western tip of Texas,

LEED AP, BD+C Director of Planning

lighting can help prevent problems,

in the Chihuahuan Desert where

& Construction at UTEP. “It’s also

as we want a walkable, safe cam-

the Lone Star state converges with

about landscaping, architecture,

pus,” says Infanzon. “When you add

Mexico and New Mexico, the cam-

wayfinding and accessibility.”

all those factors together, a lighting

pus of University of Texas El Paso

Maintenance was a big part of

masterplan provided a foundation

occupies over 500 acres nestled

the plan. “We have seven miles of

amid various mountains and ar-

roads, and a variety of lights on

royos. This topographical campus

each of them,” says Infanzon. “One

was never in question. It’s been

oddity—more specifically a need to

of our big goals was to simplify

in the plan from day one, with no

illuminate and maintain the roads

things—we wanted to standard-

hesitation from the university. It’s

that connect the campus—was one

ize the campus’ fixtures in part to

a wonderful source—it renders

of the major drivers for UTEP to

simplify our inventory, but also

people well at night to the security

make the LED plunge. That said,

because we wanted LED.”

issue—so you can clearly see if

the university didn’t just jump at

Another surprising driver was

for us to build a friendlier campus.”

Adds Yarnell: “The use of LED

someone’s face is threatening.”

the first LED fixture to come along.

tuition. “We want to be extremely

Instead, they commissioned Bruce

responsible to costs,” says Infanzon.

positive. “The area has been trans-

Yarnell of Shawnee, Kan.-based

“So in thinking of ways to manage

formed, says Infanzon. “It’s great

Yarnell Assocs., to develop a light-

the cost of tuition, power consump-

to see people walking around so

ing masterplan. “We always find

tion became a huge target.”

much, even as late as 10 o’clock,

value in having a comprehensive vision—and it’s beyond just light-

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Security was yet another factor.

“There are lots of places people can

Reaction to LED has been

because they feel safe—that wasn’t

HUMAN CONSIDERATIONS

The campus green feature’s Structura’s striking “Reed” poles, of which LEDs are mounted. LIghting designer Bruce Yarnell notes humanization of the campus was a major goal.

always the case.”

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look like. And we could immediately

sistance. “The incentives do help—

ments from the mayor as to how

Infanzon even received com-

recognize the differences,” says

and we were delighted we could

impressed he was to see how the

Infanzon.

take advantage of those—but our

core of the campus has changed.

DUE DILIGENCE

Modeling proved a major part in identifying the right sources for different parts of the campus, be they roadways or the main campus green.

is that the light is actually a softer,

we can. And much more efficient

tudes change, and they’re hanging

yet it delivers better perception.

campus lighting is a big part of our

out more on campus.”

“It’s something we appreciate,

big-picture plan,” says Infanzon.

In fact, the school has just

given that El Paso, during the day,

“The question isn’t LED anymore,

started a movie night on one of

is very bright as the sun is very

it’s about knowing the right prod-

the lawn areas. “One of our main

intense; so at night, it’s almost a

ucts,” says Yarnell. For example,

goals was to make it a more human

relief to have that softer tone.”

he notes his team didn’t pick the

space,” says Yarnell.

As far as LED’s cost, Infanzon

most cutting edge technologies.

notes it’s part of doing business.

“We wanted the lights to blend well

where students walk, and 4000K on

“The first thing that matters to us

down the road, and be so that the

the roadways, in part, as research

is life of the product. Our life cycle

university could easily scale up or

has shown it helps drivers with

is 50 years, so we weren’t looking

replace any fixture.”

better reaction times.

for a 3-year payback, the question

“That’s a unique thing about working with Bruce is that we always had an idea of alternative

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philosophy is to move ahead where

“We’re also seeing students atti-

He used 3000K sources in areas

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One subtle difference, he notes,

we wanted answered is whether

“In the next 10-15 years we’ll have all LED,” says Infanzon.•

these fixtures would last 25 years?”

That said, UTEP has a good

Next issue, we continue the conver-

choices, and he provides examples

working relationship with the local

sation, with a focus on the relation-

of what different fixtures would

utility who offered financial as-

ship between designer and owner.

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F§ATUR§D PRoj§Ct

“As If It Were Already Here” Boston, Mass.

A Palette Mixed Masterfullly

Artist: Janet Echelman Structural Engineer: Arup Lighting: Arup Integrator: ALPs Contractor: Gaston Electric Text: Ellen Lampert-Greaux Photos: Arup, Lumenpulse The Challenge: For the structural engineers and lighting design team at Arup, before they could even think about an illumination scheme, they first had to figure the right way to securely anchor and light artist Janet Echelman’s art work, as the flowing mesh sculpture flies 70 ft. in the air at its lowest point, 200 ft., at its highest, with spans up to 600 ft. across; It also had to withstand wind speeds of up to 105 miles per hour, with between 50,000 and 70,000 pounds of force in one of the windiest corridors of the city.

The Solution: The engineering team decided to attach the sculpted, knotted mesh sculpture to three different buildings across the Rose Kennedy Greenway. Next, the firm’s lighting team developed custom software to analyze the complex behavior of the flowing net under extreme wind conditions. In fact, they used stricter criteria than for a skyscraper.

The lighting comprises 44 high-performance Lumenpulse Lumenbeam Grande dimmable 100W RGBW LED fixtures placed on existing light poles and terraces. The fixtures are linked to a DMX control system with wireless repeaters to create colorchanging patterns that enhance the colors of the mesh.

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Floating high above Boston’s Rose

international firm of designers,

laborates with Janet on her work,”

Kennedy Greenway Park is Janet

engineers and technical specialists.

notes Arup senior consultant Jake

Echelman’s “As If It Were Already

The iconic art work was created

Wayne, who spearheaded the

Here,” a monumental art instal-

in response to a public art com-

illumination effort. “She engages

lation as ethereal as it is power-

petition, specifically designated

us throughout the entire process,

ful. Likened to a parachute, an

for the Rose Kennedy Greenway

from winning the initial competi-

acrobatic net, or giant shoelaces,

Conservancy. When Echelman

tion through the final installation.”

installation of this wonder required

was given the commission, she

a feat of aerial engineering involv-

contacted Arup, who would provide

date, the work weighs just 2,000

ing six cranes. Executing it, and its

structural engineering and lighting

pounds, yet can exert many tens of

dramatic lighting, was Arup, the

services. “Arup regularly col-

thousands of pounds of force onto

Echelman’s largest piece to

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INTO THE WIND Artist Janet Echelman’s site-specific installation was created to float above Rose Kennedy Greenway Park in Boston and is attached to three neighboring buildings that anchor the 2,000 pound sculpture to resist high winds.

the buildings that support it under

netting sections and the structural

of this corner from urban roadway

the high winds which can occur

ropes. It covers 20,250 ft. or almost

to open park space. In fact, the col-

along this corridor. “This was a

one-half acre, over parkland that

ored stripes in the piece are meant

great project,” says Wayne, noting

used to be six traffic lanes that

to recall the six lanes of traffic.

the tough structural aspects were

were put underground in Boston’s

par for the course. “That’s always

Big Dig effort. The result is the

structural challenge comes from

a major component in making her

Greenway, a series of parks that

the fact that the sculpture sits 70

pieces work,” says Wayne.

rejoins a part of the city that was

ft. in the air at its lowest point, 200

once split from the core by the

ft. at its highest, spans up to 600 ft.

miles of knotted twine—542,500

highway. Echelman’s newest cre-

at its width, and attaches to three

knots to be exact—including soft

ation was inspired by the evolution

different buildings. “The weight

The art work is made of over 100

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For the engineers at Arup, the

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6/17/15 11:21

alone was a challenge,” explains Wayne, about an installation that sways with the wind. “It’s in the air like a giant sail. The load and forces are incredible.”

Designed to withstand wind speeds of 105 miles per hour, and between 50,000 and 70,000 pounds of force, the installation required Arup to develop custom software to analyze the complex behavior of the flowing net under extreme wind events. “Our structural engineers will say that the level of computational sophistication

LIGHT UP THE NIGHT Forty-four high-performance Lumenbeam Grande dimmable 100W RGBW LED fixtures from Lumenpulse were placed on existing light poles and terraces to dramatically illuminate the knotted mesh of the art work.

required to analyze the piece far exceeds that required to design the buildings themselves,” says Wayne.

Each of this artist’s pieces is sitespecific, and this one’s movement in the wind is part of the design, but as Wayne explains, she chose one of the windiest corridors in Boston. “The request for proposals was for the Greenway specifically, so this was created for the park, and the structural engineers suggested spaces and buildings that can bear the load of the relatively delicate piece.”

Echelman specifically chose the colors and shapes of the mesh. It’s heavier ropes are attached to three different buildings.

When it came to lighting the piece, Wayne’s first thought was “it’s complicated.” The scheme actually comprises multiple buildings and works within the city’s infrastructure. “We worked with the Greenway Conservancy to see what was feasible in terms of the installation of lighting fixtures.”

Existing light poles ultimately provided the best locations to attach the majority if LED lights that would illuminate the sculpture—a total of 12, existing 17-ft. acorn light poles were identified with two LED fixtures to be assigned per pole. Elsewhere, a pair of 25-ft. pendant light poles would accommodate four fixtures; and fixtures would also be attached to a pair of buildings, one the Hotel Intercontinental, the other at 125

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HIGH STAKES Twelve existing acorn-style light poles were included in the lighting layout, with two of the LED fixtures attached at different heights.

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JOHNNY ON THE SPOT The Lumenbeam Grande fixture was the workhorse of the project. These LED fixtures were chosen for their controllabilty via DMX, as well as the fact that Lumenpulse’s Boston office is right around the corner from the installation.

High Street; six fixtures would

A BUTTERFLY’S LIFE While the project is a huge success, it is not permanent. For now, it will remain in place until October, as the vagaries of a Boston winter might be too harsh for the installation to survive. “They have to think about the conservation of the piece,” says Wayne, “but people love it, it’s great public art.”

formance, 100W luminaire used for

asked ourselves where can we put

Wayne says, the idea is to look for

lighting architectural exteriors and

the lights, what are our best op-

local manufacturers to be partners

façades, as either flood or accent

tions, and then working from those

when possible, and to help with

lighting, and in this case, dimming

locations, how could we best place

costs. As a result, the fixtures were

control via DMX.

the lights,” explains Wayne.

sourced from Montreal-based

Once the locations were de-

Arup’s design criterion was to

Lumenpulse, whose U.S. offices

achieve a uniform wash of light

termined, the decision was made

were in Boston—around the corner

across the face of the sculptural

to use LED fixtures for technical

in fact. “They asked to be involved

net surface, with a comfortable and

reasons as well as local sourcing.

and were excited to become part of

dimmable brightness of lighting

Wayne notes. “Technical for the

the project, working with Janet to

to ensure the piece is distinctly

controllability that the dimmable

realize her vision,” says Wayne.

illuminated in comparison with

as the beam aspects we needed.”

1506SSLFEA.indd 29

Lumenbeam Grande, a high-per-

kinds of public art installations,

RGBW LED fixtures gave us, as well

www.architecturalssl.com

As far local sourcing, with these

be installed on each terrace. “We

The 44 fixtures used to light the installation are all the same: the

the surrounding environment and the night sky glow. The fixtures

ARCHITECTURAL SSL • 06.15 • 29

6/17/15 11:21

illuminating the mesh were aimed

repeaters that pick up the DMX sig-

very carefully to avoid any glare to

nals provided by ALPS (Advanced

the pedestrian viewers below.

Lighting and

“As we defined the project we

Production Ser-

went through various iterations.

vices), the local

In looking at the overall costs, we tried to streamline the project and picked one fixture that gave us the

”WE LET IT GO DARK FOR A FEW SECONDS. THAT MAKES IT VERY COMPELLING AND THEATRICAL, AS THERE’S THAT ‘WOW’ MOMENT WHEN IT COMES BACK ON.”

integrator who implemented the wireless network.

In terms of programming the

most flexibility and ease of installa-

RGBW fixtures, Wayne recalls quite

ling and theatrical—there’s that

required various iterations of the

tion,” Wayne explains.

a few nights spent on site program-

‘wow’ moment when it comes back

lighting as the piece moved up in

“The lighting adds additional

ming. “We ran through several

on, and really draws people in.”

down in space as it evolved. Con-

layers of color to the mesh, which

scenes just to see how the piece

changes according to what color

responded to colors,” says Wayne.

a series of five different colors that

also didn’t pan out, so additional

of light we shine on it. There are a

“After we selected the colors and

cycle from a brief moment of dark

pole locations had to be found.

lot of reds and orange tones in the

looks, we took Janet through the

to a color that holds for a while.

Finally, despite all the work, it will

piece, so when you add those tones

looks so that she could make fur-

All of the sequences are of one

have a short life. For now, it will

it really pops, but there are also

ther refinements.”

color: “We decided to let the piece

remain in place until October as

express itself differently as each

winter might be too harsh for the

blues and greens. It is really magi-

Once set, the team choreo-

Ultimately Wayne programmed

versations with certain buildings

cal to see how the mesh changes

graphed the cycles, using various

color hits using the specific hues

installation to survive. “They have

color under the light.”

colors as well as bright white. “We

that we developed with Janet.”

to think about the conservation of

Lumenpulse supplied a Pharos DMX control system with wireless

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1506SSLFEA.indd 30

even let it go dark for a few sec-

Looking back, Wayne says the

onds. That makes it very compel-

entire project was a challenge as it

the piece,” says Wayne, “but people love it, it’s great public art.”•

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“BIG DIG” EXPRESSED The colors in the lights enhance the colors of the mesh, which Echelman says evoke the six lanes of traffic, which prior to Boston’s epic Big Dig project, once ran above ground in the place the park currently occupies.

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THE GARDEN UPS ITS GAME WITH ANIMATED LED LIGHTING Madison Square Garden New York City

Madison Square Garden recently underwent a $1 billion renovation that has led to a transformation of its nighttime exterior to a canvas of animated color-changing illumination. This new media façade “of spectacular proportions,” is courtesy of the work of Al Borden and the his Philadelphia-based firm, the Lighting Practice.

No stranger to monumental Manhattan lighting projects, Borden, principal of the firm, has helped transform New York mainstays such as the Empire State Building, the Hemsley Building, and the Pershing Viaduct—the vehicular approach to Grand Central Station.

But in the case of the Garden there was an extra edge which involved more than just lighting up the walls—it had to represent the enthusiasm of the game or concert activity going on within.

Known as “MSG Refresh,” the façade illumination was part of a complete facility renovation. Architecturally, the Garden’s façade is indented with a series of 48 vertical coves. Historically, these features were lit with big flood lights on the roof and at ground level. Borden, however, decided to break from legacy.

“We felt that a more effective and dynamic approach would be to add vertical, concealed edge-lighting to each of the coves,” says Borden.

Specifically, a linear network of lights runs vertically along the edge of the left and right walls of each cove. For the rooftop ring, up lights spaced about 10 ft. apart were specified, with the luminaires facing the ring wall and running continuously around the circular top of the building.

To get there, three concepts were developed: uplighting, edge-lighting and direct-view light-

ABOVE: In mounting the ColorGraze fixtures into each wall, 15 of the fixtures comprised one cove lighting circuit.

Depending on cove lengths, additional fixtures were custom cut and added, enabling each cove interior wall to be completely filled with light. At its longest length, up to four LED Colorgraze lighting circuits were utilized to fill in

the tallest coves.

ing. Mock ups, involving equipment from three qualified vendors, proved edge-lighting would be the most effective solution for the budget and what was desired.

The RFP process led to the selection of Philips

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6/16/15 16:54

SSLProfile:

Madison Square Garden, New York City

THE CHALLENGE: Transform Madison Square Garden’s exterior lighting from traditional flood lighting to a dynamic, 20th century solution that could provide animation and color changing.

THE SOLUTION: Create linear networks of light by edge-lighting each of the Garden’s 46 architectural coves with powerful RGBW LED luminaires. Each cove wall was designated subdivided into left, right, upper and lower lighting circuits. Altogether about 1,820 units were required to cover all 46 cove walls.

PROJECT CREDITS:

Owner: Madison Square Garden Company Lighting Design: The Lighting Practice Architect: Brisbin, Brook, and Beynon Architects PRODUCTS:

Philips ColorGraze MX4 Powercore RGBW units Philips Reach Powercore fixtures (ring rooftop)

GOOD GAME MANAGER A key feature of Philip’s system is that the software running it is self-diagnosing, monitoring the entire façade and rooftop lighting circuit. It is capable of scanning the lighting system’s circuit fault conditions from unwanted dimming to fixture outages.

Text: Louis M. Brill

Lighting. Immediately, Borden says, the company

MX4 Powercore units were required to cover all

similar to window washer’s rig. It was then

launched an aggressive schedule. “The goal was

46 cove walls.

rigged from the top and lowered down from the

to have the building lighting up and running by

For the rooftop up-lighting, Reach Powercore

the first fall home game of the 2014 season. They

fixtures were specified—of which 92 units were

beat the deadline by almost a week.”

provided to light the ring façade.

roof line.

Extending the Crowd With all the Garden’s new LED lighting in place,

The supplier began by evaluating its inven-

Installation began with the arduous task of

tory of LED fixtures to determine appropriate

gaining access to each cove, and once within,

the building’s exterior look pushes its street

target beam angles, the quantity and place-

installing an anchoring system. The ColorGraze

side presence into another dimension. “Once the

ment of fixtures and their preferred mounting

luminaires were configured to follow the left and

building’s façade illuminations are animated and

positions. According to Justin Rowlings, Philips’

right insets. Depending on their locations, the

in play, it’s like seeing the court energy bursting

manager of application engineering, ColorGraze

fixtures were set at different heights, but despite

out of the building,” says Borden.

Powercore RGBW fixtures were chosen—each

their varying lengths they all required the same

of which had a beam angle of 60-in. × 30-in.—a

installation process.

For example, since many of the Garden’s inside activities are sport competitions, possible

According to Patrick Dooley with North Shore

illuminations, he says, could be in the beginning

cove wall. “Each fixture also includes a custom

Neon, one of the project installers, the challenge

of an event of presenting team colors to identify

installed holographic diffuser film within each

was the shear height. “All the coves start 136-ft.

each team’s presence. “Once that game activity

LED module, which makes the narrow beam

up, and then depending on the façade design,

is underway, when a team scores, the building’s

‘wider’ to get the best fill light possible for each

ranged from 124-ft. in length down—these being

illuminations can be animated with a special

cove wall,” says Rowlings.

the majority—to the other coves that were any-

flourish to signify added game points—that kind

where between 58- to 12-ft. in length.”

of exterior lighting activity is easily noticed by

custom spread that was hand picked to fill each

Each cove wall was designated by a zone, with fixtures placed on the left and right sides, and

In order to gain accessibility to coves where

the passing public and gets them to feel more

again subdivided into upper and lower half light-

the contractor could not use its standard lift

connected to whatever is happening inside on

ing circuits. Altogether about 1,820 ColorGraze

equipment, it required the use of a man basket

the court.”•

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www.architecturalssl.com

6/17/15 14:57

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See how TE is helping designers maximize the potential of modern lighting systems at te.com © 2015 TE Connectivity Ltd. family of companies. All Rights Reserved. EVERY CONNECTION COUNTS, TE, TE Connectivity and TE connectivity (logo) are trademarks of the TE Connectivity Ltd. family of companies. Other logos, product and/or Company names might be trademarks of their respective owners.

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6/15/15 16:34

WRIGHT’S TALIESIN WEST EVOLVES SEAMLESSLY INTO THE 21ST CENTURY Taliesin West Scottsdale, Ariz.

If you’ve never been to Frank Lloyd Wright’s latter-years-of-residence/architecture school in the desert—you might be surprised by its rough nature. In many ways, it still reflects the camplike setting the architect created in opening up shop in the late ‘30s as a winter refuge. Today, the complex is still the home of Wright’s school of architecture, but it’s also the headquarters of the Frank Lloyd Wright Foundation. The latter organization, beyond being driven to keep the Prairie School master’s legacy alive, is also environmentally conscious, and is in various stages of upgrading the venerable facility. A big system targeted by the foundation’s environmental consultant, Big Green Zero, was lighting—a challenge because the overwhelming edict was not to make any notable physical changes to the space.

They turned to Studio Lux for an assessment after hearing a presentation on LED by the firm’s founder and principal Christopher Thompson.

Upon a site visit, the Studio Lux team, led by Jim Sultan, the firm’s senior lighting designer, was soundly instructed in the history of the complex, Wright’s vision and his personal philosophies. “He believed a building is never finished; it’s always evolving,” says Sultan. “We took that as the spirit of the project.”

What was not inspiring was the state of the electrical system. “We found stuff that would make an electrician’s hair turn gray,” jokes Sultan.

The challenge became how to invisibly upgrade the crumbling infrastructure to accommodate LED and current code and, of course, choose the right LED sources for the historic environment. “Our mission became how can we renovate

ABOVE: Frank Lloyd Wright believed a building is always evolving. That philosophy became the credo of the

project, and a fact the team of Studio Lux and OSRAM Sylvania found to be true in the course of the project in just evaluating LED possibilities, including investigation of wireless control. “Lighting is always evolving,” says Antonio Giacobbe with OSRAM. More than 1600 LED sources were added seamlessly to the space.

where needed, but emulate Wright and not put light where he didn’t want it.”

Studio Lux recommended a replacement of all incandescent sources with LED—in large part to meet the big-picture goal of cutting energy

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SSLProfile:

Taliesin West, Scottsdale, Ariz.

THE CHALLENGE: Upgrade Taliesin West to 21st Century Lighting standards without affecting the aesthetics of the historic space.

THE SOLUTION: Studio Lux worked exclusively with OSRAM Sylvania to incorporate over 1600 carefully selected LED sources to replace inefficient incandescent bulbs. In tandem, the two entities reviewed offerings from the company’s catalog, including products not yet listed, and came away with a matrix for replacement sources and new fixtures where they were warranted.

PROJECT CREDITS:

Owner: Frank Lloyd Wright Foundation Lighting Design: Studio Lux PRODUCTS:

All ULTRA LEDs: 125 8W G25s; 86 12W A19s; 1001 14W A19s; two 13W PAR 30LNs; 25 16W PAR 38s; 23 8W A15s; 20 15W B30s; 29 21W HD Pro Series PARs; 19 6W R20s; 148 6W B10s; 39 8W PAR20s; and 118 6W B13s.

A LOT OF LAMPS OSRAM Sylvania became an official partner on the project donating, or providing at reduced cost, more than 1600 LED sources for the retrofit. They’re also providing nearly 700 sources for the retrofit of Spring Green in Madison.

Normally, Studio Lux doesn’t package

consumption by 60%; but also to reduce mainte-

one of those partners, Studio Lux did not take

nance overall, including implementing an opera-

this decision lightly. “We were looking for best

products in their specs; this case was different,

tions scheme where lighting product choices

solutions—not necessarily the cheapest price—so

particularly because the consultant was also

would be taken out of the hands of maintenance

I wanted to talk to a number of manufacturers.”

looking to the future and evolving technology,

staff. In preparation for this decision, Studio Lux

One of the people Sultan reached out to was

such as wireless control—and again—wanted a

did a full site survey of all the complex’s existing

Antonio Giacobbe, technical sales manager of

partner who shared their vision and could offer

lamps. “Phase 1 was a way to determine 1 for 1

OSRAM Sylvania’s Commercial Markets Group.

assistance in helping deliver next phases. “This

replacements; Phase 2 involved suggestions for

Sultan obtained samples of all of their lamps

project is just scratching the surface,” he says.

new fixtures that would still work within the

and came to the conclusion that OSRAM “were

spirit of the design,” says Sultan.

the guys.” “We knew we were heading into a

dous PR for its role in the project, Giacobbe says

While OSRAM Sylvania will receive tremen-

very sensitive building [as far as disrupting or

that’s not been his motivation. “The PR is nice,

the right supplier. When it came to evaluating

changing things]. So we wanted to bring the

but I really wanted to see this [restoration of

options, Sultan knew there were definite things

best products to the table that would ultimately

the facility] happen and show we could deliver a

he wanted: a true 2700K color temperature; con-

deliver the quality of light the foundation

comprehensive solution.”

sistent quality LEDs that weren’t pink or yellow;

wanted,” says Giacobbe. “I worked with Antonio

and a manufacturer who could offer a breadth of

from the beginning,” adds Sultan. “It really just

“They’re thrilled, which is why they’ve asked for

products. They also wished to identify fixtures

went to confirm my belief that if a designer is not

more,” says Sultan, referring to the fact that the

for future renovations. “What we were really

working directly with a factory, they’re not get-

team has also evaluated the foundation’s Spring

looking for was a willingness to participate and

ting the scoop. In fact, if I could give a speech to

Green complex in Madison, Wisc. “We did a full

someone who would become a partner.”

young lighting designers, I’d tell them not to just

site survey, and many of the lamps we identi-

rely on reps, but to build strong relationships

fied at Taliesin West are now going into Spring

directly with manufacturers as well.”

Green.” •

With this survey complete, it came time to find

Partnerships are a key component in the way the foundation does business. Having become

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Both the foundation and Sultan are sold.

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By Mark Vermeulen, TE Connectivity

Removing the Stumbling “Block” of LED Lighting Applying Low-Voltage Direct Current thinking to lighting luminaires could change the fixture game.

With the emergence of LED lighting, the number of options for lighting

the required functionality or popular interior design concepts, and

designers and architects has greatly improved. In fact, the quality

not design solely based on technological constraints. Simply put, an

of LED lighting has reached a level where the need for other light

LVDC infrastructure frees the arm that has been tied behind designers’

sources has mostly disappeared, and luminaires can be designed in

backs, and allows them the freedom create the most aesthetically

many different form factors to fit nearly every kind of lighting need

pleasing luminaires ever.

imaginable.

One thing that has not changed substantially however, is how the

The benefits of distributed power are not just in the design, but also in the installation. In the United States, especially, main power needs

power needed to drive the LED luminaires is distributed. Designers

to be put into cable conduits. These are difficult to install and require

are continually having to work around the bulky power “block” which

specialized and qualified installers. In an LVDC application, if the power

hinders the design part of luminaire design and using LEDs in beautiful

consumption of a luminaire is limited to 100W, it can be connected to a

applications.

UL Class II power supply, where there are few limitations in the actual

Applying a low voltage direct current (LVDC) infrastructure, also known as distributed power, could be the key to eliminating the final

installation. With simplified connection and installation, lighting then becomes “plug and play” and more versatile than ever before.

stumbling block to more widespread LED adoption by removing the block itself.

Learning from Consumer Electronics Distributed power in itself is not a new concept. It is actually widely used in other industries but until recently, it has been not widely

LVDC infrastructure frees lighting designers to create aesthetically pleasing luminaires because they’re no longer restrained by bulky power supplies

used in the lighting industry. For example, laptops computers have undergone a transformation from bulky, heavy technological equipment to sleek, chic “ultrabooks,” based largely on their use of

From LVDC to Plug and Play

distributed power. The heavy books of just a few years ago have been

Plug-and-play lighting is extremely flexible and easy to modify over

replaced by notebooks 1-inch thick due to the use of distributed power

time with very limited costs. Applications in retail spaces are just one

and an intermediate LVDC step in the power conversion via the laptops

example that comes to mind. Imagine the flexibility of a store owner

power adapter.

in their ability to change a lighting design at a fraction of the costs

The available power is locally converted further down to the level that is required to power the microcontroller, hard drive and other parts inside in an efficient and compact way. The power adapter

compared to mains powered lighting. Lighting configurations could be used to enhance displays or alter the customer experience easily.

In commercial applications as a whole, the need to use cable

performs the conversion from an unsafe mains supply voltage to

conduits disappears as well, even in a ceiling structure or inside walls.

an inherently safe low voltage supply that is touch-safe. As safety

Therefore the space required to recess luminaires into a ceiling or

distances are solved in the power adapter, the computer itself can

wall is greatly reduced as the design-in depth is now restricted only by

become extremely thin and light. Even the names have changed to

the interconnect, and no longer determined by the need to fit a bulky

reflect this trend, going from “laptop computers” that you had to sit

driver.

down to use, to notebooks and tablets that can easily be slipped in a briefcase or handbag.

Future is Now What does this mean for manufacturer’s and lighting designers? Now

Distributed Power for Lighting

is the time to remove the last hurdle to making the best LED lighting

If we apply this same concept to lighting, it’s possible to create a

solutions available to the market. Using a distributed power approach

lighting fixture that no longer needs a bulky external power supply per

LVDC pluggable lighting and will not only bring the technical benefits

light source, but instead can use one central power supply for multiple

to more widespread adoption of LED lighting, but also unlock the

light sources combined with a small DC/DC converter inside the

potential to design beautiful spaces with LED lighting because fixtures

luminaire. This enables manufacturers to design luminaires around

are now both functional and beautiful.•

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By Kevin Willmorth, Editor

Exploring Wireless Controls, Pt. 3 Open and proprietary wireless controls options are available; both have pros and cons; both will work in new or retrofit cases.

Editor’s Note: Part 2 of this series (February issue), examined the

EnOcean-Powered System.

growth of wireless technologies, and specifically reviewed the various

Leviton’s LevNet RF system, on the other hand, represents an example

means of executing wireless systems by use of Zig-Bee, Bluetooth and

of EnOcean self-powered controls comprised of transmitters, receivers

other protocols of the like. This final installment actually takes a look

and transceivers. Additional components include hybrid wired controls

at two different approaches using a pair of readily available products

with wireless features integrated for remote control using self-

on the market today and how they might be incorporated on a typical

powered sensors or switches.

lighting project.

Consistent with EnOcean standards, all wireless controls operate at 315MHz. Fixtures controlled by the system must be circuited through

Proprietary Hybrid Option

either an interface module/receiver, or include one within the fixture,

One example of a proprietary wireless control option is Lutron’s

LED module, or retrofit lamp itself, operating at 315MHz compatible

Maestro Wireless offering. This system is an example of a hybrid

with EnOcean controls standards. The system is easily retrofit into

controls approach. Fixtures remain hard-wire connected to wall box

commercial spaces, with the capacity to mix hard wire controlled load

controls and dimmers. The dimmers control light levels in the same

schemes with wireless controls. Further, special controls include hotel

manner as they would in conventional hard wired system. Circuiting

room key cards, thermostats, plug-in modules for portable loads, and

from the power supply to the fixtures remains conventional as well.

constant voltage PWM LED control modules.

Switches, companion controls, dimmers and interfaces are available

Commissioning the installed system requires manually setting

for line voltage dimming, 3-wire fluorescent style control, PWM, and

device addresses, and learning mode programming of modules to

0–10V control, all connected in a similar manner as any standard hard

bring out all of the systems capabilities. The system is well suited

wired system.

to small commercial spaces, hospitality, high-end residential and

Where the Maestro Wireless system differentiates itself is that the

similar applications, where complexity is limited by the number of

dimmers and switches are specific to this system, and include wireless

controlled loads and interface sensors. What’s nice about the EnOcean

receivers within each component. This provides a dual function of each

self-powered components is that they eliminate batteries and open

control. Manual control at the switches and dimmers directly with no

the door to incorporating other product manufacturer components

wireless input, and wireless remote control of the switch or dimmer’s

operating on the same frequency and EnOcean standards, to be

function using remote controls, daylight or occupancy sensors. The

incorporated.

operating frequency of the system is 434MHz, while the controls interface language is proprietary to Lutron.

Commissioning is completed by features built into controls that

Since this system is more reliant on wireless controls of the lighting loads and interface between controls, more care needs to be taken into consideration. This includes avoiding signal lass from massive

are easily accomplished during installation. Battery-powered sensors

walls, as well as paying attention to transmission distances involved.

make adding automatic controls simpler still.

Since these basic systems do not include self-healing network features, signal losses can result in unreliable results. However, with care,

Usage

this can be resolved in the design and installation phases. Further,

This hybrid approach can be used to retrofit a conventionally wired

the LevNet system includes accessories for connect the system to

space with wireless remote control, without changing fixtures, while

a computer for testing, monitoring and commissioning the LevNet

presenting end users a familiar interface that requires no special

environment.

training or experience to understand. The addition of a layer of automatic controls, and the addition of remote controls that can be

A Good Fit For Many

mounted to walls, located on desks, or even clipped to a car visor

These two example systems, while not the only solutions available,

utilizes wireless capabilities to enhance the end user experience very

represent reliable, commercial-grade products that deliver the

simply and elegantly—and at a reasonable overall cost. For small

advantages and flexibility of a wireless interface with reasonable

commercial, room-by-room applications, hospitality, and residential

simplicity for ease of installation. These examples are perhaps not well

applications, this is a good solution for both new construction and

suited to very large or complex facility-wide applications, where the

retrofit installations.

more sophisticated controls systems shine.•

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Product Introductions

Infinite Possibilities Taking control to new levels, USAI Lighting’s Infinite Color+ downlights combines white light that can be tuned to any color temperature from 1800K to 12000K with the ability to change the actual hue produced to any color in the spectrum. Available with products in the BeveLED 2.0 fixture family, Infinite Color+ can be managed with any industry standard DMX512 control system.  Visit www.usailighting.com or Circle 291.

Is the preference for incandescent color in residential applications based on an actual color choice, or simply familiarity coupled with the failure of other technologies to deliver?

1 Spot On—Wherever You Want it Intended to create accent lighting in small spaces, the Eklipse Lighting PIXIS mini-spot can be installed on a stem or jack-plug, and its articulated arm allows for full 360-degree rotation (the lamp head, itself, tilts up to 80 degrees).  Visit www.eklipselighting.com or Circle 292.

2 Look Ma, No Switches When it hits the market in the third quarter of 2015, this new, long-necked PAR30L LED lamp from Soraa can be ordered with optional built-in wireless control, allowing them to be dimmed, grouped to create scenes and otherwise operated without need for a connected wall switch or dimmer.  Visit www.soraa.com or Circle 293.

3 Who’s Watching?

Improvements to the Osram IR Oslon Black infrared LEDs (IREDs) have boosted light output by 70%, compared to a similar standard design. In surveillance cameras and other applications, the new components can provide illumination over a distance of more than 100 meters.  Visit www.osram-os.com or Circle 294.

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Product Introductions

It Goes Up and Down The Meteor Lighting Whiz Bidirectional high-bay luminaire delivers simultaneous illumination to both floors and ceilings, in a compact package capable of producing up to 25,000 lumens with an efficacy of 100 lumens per watt. Plus, the uplight and downlight functions can be dimmed separately or together.

Two lumen packages and three color temperatures are available.  Visit www.meteor-lighting.com or Circle 295.

The opportunity to utilize lighting that can be tuned to deliver a range of CCTs that can be adjusted after installation presents an exciting opportunity.

4 When You Need to Get High For high-ceilinged applications, the IC 1400 Lumen Downlight Series from Juno Lighting Group use only 21 watts to produce lighting output equivalent to a 120-watt PAR38 or BR40 incandescent fixture.  Visit www.junolightinggroup.com or Circle 296.

5 Address Your Control Issues Sensors from Enlighted can be incorporated into individual OEM fixtures during manufacturing or installed by end users as a retrofit option. The highly intelligent devices can distinguish people from other heat sources and feature on-board processors capable of independent decision without need for centralized control.  Visit www.enlightedinc.com or Circle 297.

6 Tough Customer The Albeo ABR1 Series high-bay fixture from GE Lighting is designed to perform in unforgiving climates and demanding settings. It’s IP66-rated for heavy-industrial and wet applications, as well as in ambient temperatures up to 149°F. Three distribution patterns available.  Visit www.gelighting.com or Circle 298.

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Product Introductions

Light Where You Want It The ultra-sleek 1-in.-diameter Lightplane 1 Round from Architectural Lighting Works features a fieldadjustable light channel that can be rotated up to 350 degrees by simply loosening a set screw. The fixtures are offered in suspended and wall-mount models, with lumen packages intended for ambient or decorative applications, in a range of color temperatures and lengths—plus, sections can be joined to create continuous rows.  Visit www.alwusa.com or Circle 299.

The challenge now is in moving lighting research from academic discussion into the real work of redefining the metrics, standards, and recommended practices involved.

1 Well-Adjusted Design Kim Lighting ArcheType X outdoor luminaires feature new Light Engine Adjustable Ready (LEAR) modules—the LED emitters are each independently adjustable, at the factory or in the field, for configuration to any standard or custom distribution pattern.  Visit www.kimlighting.com or Circle 300.

2 A Merge Urge The linear recessed bus of the new Merge system from Tech Lighting can support recessed gimbal heads or, as shown here with the FreeJack dropdown arm, more than 80 styles of pendants and more than 25 spot heads, allowing for simultaneous accent and task illumination.  Visit www.techlighting.com or Circle 301.

3 Rugged Design Eye Lighting’s Aphos Mini Series luminaires feature a rugged design and produce the bright white light needed in parking garages, warehouses, canopies and other hard-working locations. Fixtures can be specified in Type II, IIA, III and V configurations.  Visit www.eyelighting.com or Circle 302.

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Product Introductions

Ride the Wave The LN series of suspended, ambient luminaires from Cree is the first product line to feature WaveMax technology for optical efficiency of up to 90%, along with precise optical control. The LN line incorporates the technology into sleek, architectural fixtures that deliver efficacy of up to 110 lumens per watt, with a color rendering index of 90+.  Visit www.cree.com or Circle 303.

If warm white light is preferred at low levels, why do street lighting systems delivering much higher CCT at low illuminance levels receive such strong positive response?

4 For a Rapid ROI The Civilight Professional 14W 5/6-in. downlight replaces units for 75W incandescent lamps. Available in standard Edison or GU24 bases, the dimmable downlights are offered with various color temperatures and are designed for projects where ROI is key.  Visit www.civilight-na.com or Circle 304.

5 Put It On Display This 25W LED full-cutoff wall pack from Access Fixtures is priced lower than an equivalent 100W pulse-start metal halide fixture, so owners enjoy a payback from the moment of purchase. The durable fixture features a die-cast aluminum housing and a hinged, full-cutoff front frame.  Visit www.accessfixtures.com or Circle 305.

6 LED Update Newbury pendant fixtures from Hudson Valley Lighting are among several new offerings to show off a classic Italian glass-making technique of inlaying strands of brass into molten glass. The nearly-dissolved brass strands create bubbles that glow when the fixture is illuminated.  Visit www.hudsonvalleylighting.com or Circle 306.

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ADV§RTIS§R

∆§BSIT§

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ACCESS LIGHTING

www.accesslighting.com

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ARCHITECTURAL AREA LIGHTING

www.aal.net

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IFC

B-K LIGHTING

www.bklighting.com

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BODINE / PHILIPS

www.bodine.com

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CIVILIGHT

www.civilight.com

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EATON

www.eaton.com

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IBC

FINELITE

www.fineliteled.com

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01

FOCAL POINT

www.focalpointlights.com

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04

KIM LIGHTING / HUBBELL

www.kimlighting.com

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LIGHTSHOW WEST

www.lightshowwest.com

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36

LUMASCAPE

www.lumascape.com

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LUMINIS

www.luminis.com

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NO 8 LIGHTING

www.8lighting.com

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SELUX

www.selux.us

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STERNBERG VINTAGE LIGHTING

www.sternberglighting.com

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TE CONNECTIVITY

www.te.com

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THE CONTINUING ARCHITECT

www.thecontinuingarchitect.com

—

47

CIVILIGHT

LED Diamond Candelabras Combine

NEXT ISSUE:

Experience Civilight’s dimmable Architectural Series LED Diamond candelabras with their beautiful silver or gold metallic finishes and our state-of-art patented optical design that extends their quality performance over a long lifetime.

In the August issue of SSL, we continue our “Business of Light” story, but this time with more of a focus on issues lighting designers and their clients need to resolve to make successful LED projects. Elsewhere, we jet to Turin to see how LED has helped transform a former palace into a modern residence for more than royalty. We also take a look at excellent area lighting at an Austrian Ski Resort in Lech. Closer to home, we break down the Biogen Idec campus in Cambridge, Mass., a GE Edison Award winner.

www.civilight-na.com

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THE MOST INTERESTING AIA APPROVED COURSES ON THE WEB. THECONTINUINGARCHITECT.

Better Content Better Learning

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Adding Value by Embracing the Risk of the Undone and reassemble them a few times in the process

to small production runs, where the extra work

of reaching the ultimate end product. While I

and cost of approvals is infeasible. This is akin

manage risk through use of modern tools, risk of

to demanding the Wright flyer to pass current

failure is a constant companion. With solid-state

FAA regulations, or requiring Ford’s Model A to

lighting, there is an added layer of ever-changing

pass NHSTA crash tests. While safety regulation

technology, planned obsolescence cycles, and

delivers value in safer products, it does have a

new products running into projects in process.

taste of risk aversion, mass hysteria and corpo-

This adds risk and stress… and yet, fun. Without

rate protectionism. Something really needs to be

Doing what has not been done before is fraught

risk and the challenge of making something from

done to open the door to one-off and ultra-low

with risk from the unknown. The day Lewis and

nothing, I would be bored to tears.

volume product creation. The risk of failure of

Without risk, including lessons learned from failure, innovation would never occur and life would be boring; so take a chance and do something that adds new value.

Clark set off to explore the West, they spent

Not every idea works as planned. Some

one small sculptural 24VDC desk light is hardly

more effort inventing means of transport than

crumble like sand castles at the beach—leaving

the same as a failure of a mass produced 277V

they did actual survey work. When the Wright

you hot, tired and burnt red. Yet, when a large

office troffer, yet the cost to list both are roughly

Brothers began to build their first airplane, they

project comes together successfully, the risks

the same—seems goofy to me.

found no engines existed to suit their needs—

seem irrelevant. For example, a recent 1200 watt

forcing them to build motors before building the

custom light system I was involved with, consist-

goniometer, custom task lights, and a few

flying machine. Henry Ford found manufacturing

ed of 94 LEDs, 94 drivers, with a total of 3 power

sculptural gadgets—I realize there are going to

methods and practices of his day unsuitable to

supplies, housing, lenses, retractable legs and

be moments where I feel like an idiot for putting

meet his needs, so he took on re-invented mass

a myriad of switches and cables. The number of

things together that I designed incorrectly, or

production and labor utilization. In more con-

individual components—mostly custom—totaled

missing details that make something not work as

temporary time, John Q. Public faced the daunt-

in the hundreds, all needing to have to come

planned. I also know there will be tools that can’t

ing process of converting a flat pack of particle

together on an impossible deadline. There was

be found, and others that need to be made to get

board into a bookshelf, requiring he make three

no room to fail and little room to recover from a

the job done. Yet, if none of this were the case, I’d

trips to a hardware store to buy tools he did not

miscalculation. It was a serious thrill ride rival-

be bored with it all. Embracing the risk is part of

have and fasteners missing from the kit. Each of

ing any at Six Flags. By the way, this is precisely

converting undone ideas into finished, valuable

these have one thing in common—they embraced

the type of project most large scale manufactur-

products—oh yeah, not to mention the thrill of

the risk of the undone to create new value,

ers avoid.

seeing an idea become real.•

including the fact that the work involved effort beyond their core focus.

As a designer, most everything I do is for the

As I ponder the work in front of me—a custom

However, because the availability of key components—once impossible to buy without a corporate account—makes specialty projects pos-

first time. I add value by doing something not

sible. Now, small market players have access to

already done. Because of this, I frequently spend

many of the components they need. This can fuel

ABOUT THE AUTHOR:

as much time finding or making the tools I need

innovation that leads to exciting new product

Kevin Willmorth, a lighting expert and fixture designer,

as I do actually making the thing I want to get

directions. Unfortunately, one massive roadblock

has been instrumental in helping create a vision and

done. I also put things together, take them apart,

remains—safety approvals. The process is hostile

mission statement for Architectural SSL.

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With the industry’s broadest portfolio of lighting and controls solutions, coupled with our experience and vision, Eaton can provide you with the unparalleled guidance you need for your next project.

Visit us at AIA Booth Number 3617. eaton.com/lighting

Follow us on social media to get the latest product and support information.

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A r c h e Ty p e X

™

Kim Lighting is proud to announce the new LEAR™ (Light Engine Adjustable Ready) module, a concept that brings unparalleled flexibility to the lighting industry. By incorporating this latest design, Kim Lighting has developed the first outdoor luminaires with independently adjustable LED emitters. We call this concept the Type X distribution. X is whatever you want it to be.

• LED modules rotate 355 degrees with 70 degrees

of tilt for maximum flexibility • Create your user defined distribution specific

to your site using AGi32 v16 new feature Design Isolines • Site, flood, wall product options • Visit us at LightFair booth 721 for a

demonstration of just how easy it is.

Infinite adjustability…

http://www.kimlighting.com/typex/

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