February 2003
Residential
Lighting
From Cloudless Climes to Peaks of Light
Also: Daylight Design • Banking on Matthew
RESIDENTIAL LIGHTING
”Under Starry Skies Above...” 28
A high-end residence in a sensitive environment demands
careful attention to the interrelationship of architectural materials,
colors, textures, and lighting
Peaks of Light 36
Robert Singer sets a mood, expanding and defining
residential spaces with light
DEPARTMENTS
3 Beardsley’s Beat
25 IES News
49 Light Products
52 Scheduled Events
55 Classified Advertisements
56 Ad Offices
56 Ad Index
President
2002-2003
Board of Directors
IESNA E getting their past—particular-
ly when stories come back to
haunt them in print or on the web. A
is one of the best work environ-
ments in New York City.”
The designer, Howard Brandston,
Randy Reid
colleague recently took great FIES and a past president of IESNA,
delight in showing me the January said, “My responsibility as a private
Past President 1975 issue of LD+A –which I edited
Pamela K. Horner, LC
Manager, Technical Training in my youth.
BEARDSLEY’S
OSRAM SYLVANIA Articles in that issue extolled the
Senior Vice-President
benefits of high-pressure sodium
BEAT
Ronnie Farrar, LC lighting for offices (“a warm glow”).
Lighting Specialist Another stressed the need to
Duke Power
replace carbon paper and typewriter
Executive Vice-President ribbons frequently to improve visibil-
William Hanley, CAE ity of the printed page.
Vice-President—-Design & Application No one can deny the distinct
John R. Selander, LC color temperature of HPS sources,
Regional Sales Manager
The Kirlin Company
or the need for fewer carbons—if practicing professional is to present
indeed carbon paper is still used. my point of view... I hope that the
Vice-President—Educational Activities But how does an editor evaluate a opportunity for innovation lies in all
Fred Oberkircher, LC
Director
lighting design? aspects of the lighting industry, not
TCU Center for Lighting Education The January 1975 cover story just in the creation of new sources
Texas Christian University of LD+A featured a New York and luminaires, but also in the
Vice-President—-Member Activities architect’s office with a single attempt to create exciting visual
Jeff Martin, LC RLM over each drafting table and compositions with light itself.”
Vice-President—-Technical & Research
a cluster of four in the conference Bravo, Howard! Your statement Charles
Ronald Gibbons room. Table luminaires and ceiling- of design and personal integrity in Beardsley,
Lighting Research Scientist, Advanced mounted cans offered additional those old pages of LD+A still rings Editor
Product Test and Evaluation Group
Virginia Tech Transportation Institute
illumination. true today.
The story drew fire from manu- Perhaps the last words on the
Treasurer facturers, who criticized the light- subject belong to another lighting
Boyd Corbett
Belfer Lighting ing. The responsible designer and legend, Jules Horton, FIES. At the
his colleagues defended the cover time he wrote, “As to the benefits
Directors
Jean Black
story, citing aesthetics and subjec- of enough light to discern one more
PPL Services Corp. tivity as factors to be considered. angel on the head of a pin, forget it,
Comments from manufacturers Howard. The veiling reflections
Anthony J. Denami, LC
Gresham Smith & Partners
included: would hide him anyway.”
“I could not believe such lousy
Donald Newquist, LC lighting was shown.”
Professional Design Associates, Inc.
“The cover story is a complete
Earl Print, LC abrogation of the efforts of the
Lightolier
Society in espousing energy-effi-
Joel Siegel, LC ciency lighting.”
Edison Price Lighting “This installation can only be
James Sultan, LC
described as disgraceful.”
Studio Lux “If 1920’s nostalgia was the
goal, I offer my congratulations.”
RVP/Directors
The client, on the other hand, had
Kevin Flynn this to say: “If seeing is believing,
Kiku Obata & Company
then come and see and visit what
Russ Owens, LC
West Coast Design Group
LETTERS
John-Michael Kobes
edge in this area grows it may
influence architectural lighting Art Director
Anthony S. Picco
practice and the spectral design
of light sources. It is wrong to Associate Art Director
erations are not the governing cri- directly. Although it is not impos- Statements and opinions expressed in articles and edito-
rials in LD+A are the expressions of contributors and
teria. sible to make physiological infer- do not necessarily represent the policies or opinions of
Stan Walerczyk, LC ences from psychophysical exper- the Illuminating Engineering Society of North America.
Advertisements appearing in this publication are the sole
Director of Lighting iments, it must be understood responsibility of the advertiser.
Sun Industries that these conclusions contain LD+A (ISSN 0360-6325) is published monthly in the
Concord, CA speculation. I believe that other United States of America by the Illuminating Engineering
Society of North America, 120 Wall Street, 17th Floor,
viewpoints about pupil size and New York, NY. 10005, 212-248-5000. Copyright 2003 by
Kevin Houser replies: brightness perception have been the Illuminating Engineering Society of North
America. Periodicals postage paid at New York, N.Y.
Mr. Walerczyk’s last sentence prematurely dismissed or never 10005 and additional mailing offices. Nonmember sub-
struck me as remarkable. As I addressed by Berman and his col- scriptions $44.00 per year. Additional $15.00 postage for
subscriptions outside the United States. Member sub-
understand it, he does not con- leagues. scriptions $30.00 (not deductible from annual dues).
sider spectral issues in lighting to For example, Alpern & Camp- Additional subscriptions $44.00. Single copies $4.00,
except Lighting Equipment & Accessories Directory and
be relevant unless they are about bell38 and Doesschate & Alpern39 Progress Report issues $10.00. Authorization to repro-
scotopically enhanced lighting claim that pupil size is affected by duce articles for internal or personal use by specific
clients is granted by IESNA to libraries and other users
and 20/20 visual considerations. both rods and cones, and that the registered with the Copyright Clearance Center (CCC)
Why would we limit ourselves to action spectrum for pupillary Transactional Reporting Service, provided a fee of $2.00
per copy is paid directly to CCC, 21 Congress Street,
these topics? Different lighting response peaks midway between Salem, MA 01970. IESNA fee code: 0360-6325/86 $2.00.
applications have different priori- the photopic and scotopic func- This consent does not extend to other kinds of copying
for purposes such as general distribution, advertising or
ties; while 20/20 considerations tions (near 530 nm). Indepen- promotion, creating new collective works, or resale.
like task visibility are often impor- dently, Thornton has identified “a POSTMASTER: Send address changes to LD+A, 120
tant, so is the color of human particular set of primaries as an Wall Street, 17th Floor, New York, NY 10005. Sub-
scribers: For continuous service please notify LD+A of
complexions, food, and merchan- invariant of the visual system,”40 address changes at least 6 weeks in advance.
dise, the brightness of room sur- and has termed the regions near This publication is indexed regularly by Engineering
Index, Inc. and Applied Science & Technology Index.
faces and objects, the visual effi- 450, 530, and 610 nm the “prime LD+A is available on microfilm from Proquest Infor-
ciency of electric light sources, color” regions of human vision. mation and Learning, 800-521-0600, Ann Arbor, MI
wrong References
1. CIE 41. “Light as a True Visual
to presume Quantity: Principles of Measure-
ment.” Paris, Central Bureau of the
that CIE. 1978.
2. CIE 13.3. “Method of Measur-
scotopic ing and Specifying Colour Rendering
Properties of Light Sources.” Paris,
enhancement Central Bureau of the CIE. 1995.
3. CIE. “Guide to the use of
Spectral Luminous Efficiency Fun-
is our only ctions.” Interim report of TC1-30,
Luminous Efficiency Functions.
spectral variable 1999.
4. Corth, R. “The Basis for a New
System of Colorimetry.” J. Illum.
Eng. Soc. 1979; Apr.: 155-161.
object coloration.40-45 Thornton 5. Guth, S.L. “Model for Color
suggests “it is more reasonable Vision and Light Adaptation.”
to relate ‘scotopic response’ and Journal of the Optical Society of
‘photopic response’ to the same America A 1991; 8: 976-993.
three spectral system responses, Erratum: 1992; 9: 344.
and to ascribe the difference 6. Guth, S.L. “Unified Model for
between scotopic and photopic to Human Color Perception and Visual
strong reduction in the redmost Adaptation II.” Proceedings SPIE –
system response when input lev- International Society for Optical
els fall to those labeled ‘sco- Engineers. 1993; 1913: 440-448.
topic’.”42 Note that the spectral 7. Howett, G.L. “Linear Opponent-
region identified by Alpern & Colors Model Optimized for
Campbell and ten Doesschate & Brightness Prediction.” NBSIR 85-
Alpern coincides with one of 3202. 1985.
Thornton’s prime color regions 8. Hunt, R.W.G. “A Model of
(530 nm). Taken together these Colour Vision for Predicting Colour
results suggest that energy at Appearance.” Color Research and
530 nm would yield smaller pupils Application. 1982; 7: 95-112.
and greater brightness per watt 9. Hunt, R.W.G., and Pointer, M.
than the 507 nm region support- R. “A Colour-Appearance Transform
ed by Berman. for the CIE 1931 Standard
It is also important to remem- Colorimetric Observer.” Color
ber that Berman and his col- Research and Application. 1985;
leagues used very sensitive tests 10: 165-179.
in an effort to isolate and quanti- 10. Hunt, R.W.G. “A Model of
www.iesna.org
Colour Vision for Predicting Colour 11. 1964; 221-230. 36. Berman, S.M., Fein, G.
Appearance in Various Viewing 23. Thornton, W.A. “Color Jewett, D. Benson, B., Law, T. and
Conditions.” Color Research and Discrimination Index.” J. Opt. Soc. Myers, A. “Luminance-Controlled
Application. 1987: 12; 297-314. Am. 1972; 62(2): 191-194. Pupil Size Affects Word-Reading
11. Hunt, R.W.G. “Revised 24. Thornton, W.A. “A System of Accuracy.” J. Illum. Eng. Soc.
Colour-Appearance Model for Photometry and Colorimetry Based 1996; 25(1): 51-59.
Related and Unrelated Colours.” Directly on Visual Response.” J. 37. Berman S.M., Jewett, D.L.,
Color Research and Application. Illum. Eng. Soc. 1973; 3(Oct): 99- Benson, B.R., and Law, T.M.
1991; 16: 146-165. 111. “Despite Different Wall Colors,
12. Hunt, R.W.G. “An Improved 25. Thornton, W.A. “A Validation Vertical Scotopic Illuminance
Predictor of Colourfulness in a of the Color Preference Index.” J. Predicts Pupil Size.” J. Illum. Eng.
Model of Colour Vision.” Color Illum. Eng. Soc. 1974; Oct.: 48-52. Soc. 1997; 26(2): 59-68.
Research and Application. 1994; 26. Thornton, W.A. “Brightness 38. Alpern, M.G. & Campbell,
19: 23-26. Meter.” J. Illum. Eng. Soc. 1980; F.W. “The spectral sensitivity of the
13. Jerome, C.W. “Flattery vs. Oct.: 52-63. consensual light reflex.” J. Physiol.
Color Rendition.” J. Illum. Eng. 27. Xu, H. Color Rendering 1962; 164: 478-507.
Soc. 1972: Apr.: 208-211. Capacity of Illumination. J. Illum. 39. ten Doesschate, J. & Alpern,
14. Jerome, C.W. “The Flattery Eng. Soc. 1984; Jan.: 270-276. M.G. “Response of the pupil to
Index.” J. Illum. Eng. Soc. 1973; 28. Fotios, S.A. “Lamp Colour steady state retinal illumination.”
Jul.: 351-354. Properties and Apparent Bright- Science. 1965; 149: 989-991.
15. Jerome, C.W. “Absolute Color ness: A Review.” Lighting Re- 40. Thornton, W.A. “Toward a
Rendering.” J. Illum. Eng. Soc. search and Technology. 2001; More Accurate and Extensible
1974; Oct.: 25-28. 33(3): 163-181. Colorimetry, Part II. Discussion.”
16. Judd, D.B. “A Flattery Index 29. Rea, M.S., Figueiro, M.G. & Color Research and Application.
for Artificial Illuminants.” Illumin- Bullough, J. D. “Circadian photobiol- 1992; 1(3): 162-186.
ating Engineering. 1967; 62(Oct): ogy: an emerging framework for 41. Thornton, W.A. “Toward a
593-598. lighting practice and research.” More Accurate and Extensible
17. Nayatani, Y., Takahama, K., Lighting Research and Technol- Colorimetry, Part I. Introduction.
and Sobagaki, H. “Prediction of ogy. 2002; 34(3): 177 – 190. The Visual Colorimeter-Spectro-
Color Appearance Under Various 30. Berman, S.M., Jewett, D.L., radiometer. Experimental Results.”
Adapting Conditions.” Color Re- Bingham, L R., Nahass, R.M., Perry, Color Research and Application.
search and Application. 1986; 11: F. and Fein, G. “Pupillary Size Dif- 1992; 17(2): 79-122.
62-71. ferences under Incandescent and 42. Thornton, W.A. “Toward a
18. Nayatani, Y., Hashimoto, K., High Pressure Sodium Lamps.” J. More Accurate and Extensible
Takahama, K. and Sobagaki, H. “A Illum. Eng. Soc. 1987; 16(1): 3-20. Colorimetry, Part III. Discussion
Nonlinear Color-Appearance Model 31. Berman, S.M. “Photopic (continued).” Color Research and
using Estevez-Hunt-Pointer Pri- Luminance Does Not Always Predict Application. 1992; 17(4): 240-
maries.” Color Research and Perceived Room Brightness.” Light- 262.
Application. 1987; 12: 231-242. ing Research and Technology. 43. Thornton, W. A. “Toward a
19. Nayatani, Y., Mori T., 1990; 22(1): 37-41. More Accurate and Extensible
Hashimoto K., Takahama, K., and 32. Berman, S.M. “Energy Colorimetry, Part IV. Visual Ex-
Sobagaki H. “Comparison of Color Efficiency Consequences of Sco- periments with Bright Fields and
Appearance Models.” Color Re- topic Sensitivity.” J. Illum. Eng. Both 10° and 1.3° Field Sizes.”
search and Application. 1990; 15: Soc. 1992; 21(1): 3-14. Color Research and Application.
272-284. 33. Berman, S.M., Fein, G., 1997; 22(3): 189-198.
20. Nayatani, Y., Sobagaki, H., Jewett, D.L., Saika, G., and Ashford, 44. Thornton, W. A. & Fairman,
Hashimoto, K., and Yano, T. F. “Spectral Determinants of H. S. “Toward a More Accurate and
“Lightness Dependency of Chroma Steady-State Pupil Size with Full Extensible Colorimetry, Part V.
Scales of a Nonlinear Color- Field of View.” J. Illum. Eng. Soc. Testing Visually Matching Pairs of
Appearance Model and its Latest 1992; 21(2): 3-13. Lights for Possible Rod Partici-
Formulation.” Color Research and 34. Berman, S.M., Fein, G. pation on the Aguilar-Stiles Model.”
Application. 1995; 20: 156-167. Jewett, D.L., and Ashford, F. “Lu- Color Research and Application.
21. Sagawa, K. “The Future of minance-Controlled Pupil Size 1998; 23(2): 92-103.
CIE Photometry, Toward a System Affects Landolt C Task Perfor- 45. Thornton, W. A. “Toward a
More Visually Meaningful.” CIE mance.” J. Illum. Eng. Soc. 1993; More Accurate and Extensible
Symposium ’99, 75 years of CIE 22(2): 150-165. Colorimetry. Part VI. Improved
Photometry. Budapest, Hungary. 35. Berman, S.M., Fein, G. Weighting Functions. Preliminary
1999; 159-163. Jewett, D.L., and Ashford, F. “Lan- Results.” Color Research and
22. Sanders, C.L. & Wyszecki, G. dolt-C Recognition in Elderly Sub- Application. 1998; 23(4): 226-
“Correlate for Brightness in Terms jects is Affected by Scotopic In- 233.
of CIE Color Matching Data.” CIE tensity of Surround Illuminants.” J.
Compte Rendu. 15th Session. Illum. Eng. Soc. 1994; 23(2): 123-
Vienna. Vol. B. CIE Publication No. 130.
6 LD+A/February 2003 www.iesna.org
should be impossibly difficult to February. A January/February meet-
D
o we need a conference and
does it need to be an annual understand; the Conference should ing will give sufficient time to recu-
event? Should it appeal to a offer new and interesting important perate from the past LIGHTFAIR
select few or to a large audience? topics. We must clearly differenti- and ample time to prepare for the
How can we get more paper sub- ate our offerings from those found following LIGHTFAIR. This improve-
missions? Does the conference at LIGHTFAIR. We should do what ment will take place in 2006 as we
have to be in August, or perhaps LIGHTFAIR does not. Also, we are already locked into Chicago in
can we find a hotter month? should keep certain elements that August of 2003, and Tampa in
Our current Bylaws state: “An have always set the Annual Con- August of 2004.
Annual Conference shall be held ference apart, i.e., a place for com- Content: The opening session
once each year on a date and at a mittees to do their work, a place to will be kept, but it will be shorter.
place approved by the Board of conduct our annual business, and a The keynote speaker will remain so
place for some of the traditional cer- long as we find a suitable speaker
emonies. with something important to say.
POINTS
through Wednesday, several com- no conclusion on whether we want
mittees have their meetings the lighting or non-lighting keynote
weekend before—some as early as speakers. The papers are the cor-
the Friday before, which means nerstone of the conference and
committee members have to arrive make no mistake, the Board will do
Directors, for the presentation and on Thursday evening. Spending a whatever is needed to improve their
discussion of technical, research, calendar week at the Annual Con- quality and their quantity. Seminars
design and application papers and ference (especially when most must continue to improve and we
reports of interest to the Society.” attendees have already spent a will appoint an Annual Conference
While we have made several cos- week at LIGHTFAIR two months ear- chairperson to coordinate all
metic improvements in the IESNA lier) is a lot to ask. The task force aspects of the conference program.
Annual Conference over the past recommended a two-day confer- The Honors luncheon will continue,
few years, your Board of Directors ence with two days of committee but may be combined with IIDA as
Randy Reid created a taskforce in August and meetings preceding the conference both are intended to honor our
directed it to reengineer your con- for a maximum of four days. The finest. The luncheon will be refor-
ference. The group was headed by Board of Directors approved this matted and perhaps made more for-
past president, Pam Horner, and recommendation and it will take mal. The President’s banquet will
focused on four areas: purpose, effect after the Society’s Centen- likely move to Monday evening and
duration, time of year, and content. nial Celebration in 2006. there will be a focus on increased
Part of the problem in changing Time of year. The Conference networking opportunities during
the conference is that a society as has been held in August for as far and after the meal. We will revisit
old as ours is deeply rooted in tradi- back as anyone can remember. One the timing of both the progress
tion—and that’s usually a good reason was to accommodate stu- report and the tabletop exhibits.
thing. However, sometimes tradi- dents. Another was to encourage The Board of Directors’ question
tion interferes with progress and we members to bring their families and and answer is an important time to
are committed to strengthening incorporate a vacation into the con- hear from our membership and that
your conference while preserving ference. As the conference has session will remain unchanged.
key aspects of our nearly 100 years evolved, very few students attend. Bottom line. In 2006 and
of tradition. With many two-income families, we beyond, you’ll find a shorter, more
Purpose. Should the goal be to see far fewer members bringing productive conference with in-
grow the Conference and increase spouses or children. Therefore, creased networking opportunities. I
attendance? Do we dumb down the August is no longer sacred. And want to hear from you. Let me know
content to appeal to the beginners? how does one get excited planning what you think of our planned
Instead of reducing the content to a trip to San Antonio with 100+ improvements and whether you pre-
the lowest common denominator, temperatures? fer a keynote speaker from the
the Board agreed with the task The taskforce recommended and industry or outside the industry.
force that improving attendance by the board agreed to move the con- Send your comments to: randyreid
trying to appeal to everyone is not ference from August to January/ @comcast.net
necessarily the goal. We currently
have little or no beginner level mate-
rial at the Annual Conference, and
we should keep it that way. The
Visit
Visit our
our
task force agreed that the confer-
ence should focus on intermediate online
online bookstore
bookstore
and advanced/masters level infor-
mation. However, that does not nec- at
at www.iesna.org
www.iesna.org
essarily imply that the material
8 LD+A/February 2003 www.iesna.org
a few, then proceed to others. Because of the help of
H
ere it is February and I find my term as South-
western Region RVP more than half over. My many in this region’s REC we have met several of our
term is for three years (the new standard) and goals.
I find this first half has passed by quickly. I wish to The newly reactivated Mexico Section is now a
thank all those that have made it such a pleasure. I
look forward to the second half.
For those of you contemplating being an RVP as
well as those assisting the RVP as a member of the REGIONAL
VOICES
Regional Executive Council or as a Section President
please note that self-motivation is a must. During the
years that I served on the REC under several RVP’s I
always wondered why I did not receive more input
from the RVP on what I should be doing. Now as an
RVP I know. The workload of the RVP is large con- legal entity in Mexico and has a very active mem-
sidering the fact that it is an unpaid, voluntary addi- bership. They have recently hosted their latest
tion to their already full employment, personal and Jornada Internacional de Iluminacion, bringing in
other professional requirements. speakers from as far away as Italy. We have, through
the efforts of the San Jacinto Section, a new student
chapter at the University of Houston. The Student
Lighting Design program has been revamped and is
active.
For those of you The job of the RVP and members of the REC can be Thomas
demanding. It can also be very rewarding, both from Duncan, PE, LC
contemplating being a personal side and in helping the profession. I hearti- Southwestern
ly suggest that all consider assisting the society by Region RVP
an RVP... serving in such a capacity. I know it has been and
still is very rewarding for me.
please note that
self-motivation
is a must.
W
hen we are presented with
a bright source that is located above 53 degrees from by the subject was varied by means
located straight ahead of horizontal (when we are looking of a cap with a visor of different
us, we experience glare. If the straight ahead) is unlikely to cause transmissions. In this way, all the
source is excessively bright we will any discomfort glare. photometric quantities associated
experience disability glare. That is, Or is it? with the experimental set-up were
the intensity of the source is so All of us, at one time or another, held constant except the amount of
harsh that it prevents us from being have had the experience of sitting in overhead glare impacting the sub-
able to see well. A good example of an office directly under a two-by-four ject. The researchers’ conclusion
this will be the high beam from an type parabolic luminaire with either was that the higher the luminaire
three or four T8 fluorescent lamps. luminance, the higher the subject’s
Do we feel very comfortable? Does discomfort. This study definitely
QUALITY
many people who would say that it 53 degrees, proving the existence
of overhead glare.
Another study on overhead glare
was done at an IESNA and IALD joint
Overhead committee QVE/MOQ workshop in
approaching car. In interior lighting 1999. In this study, a series of four
environments, it is unusual that we Glare experiments was performed to
will experience this type of disabili- understand the phenomenon of over-
ty glare. But rather, we may be sub- head glare. Subjects experienced in
jected to a high enough source lighting provided assessment of the
brightness that will make us feel is uncomfortable, as there are peo- degree of discomfort caused by a
uncomfortable. Hence we term it ple saying it is comfortable. The glare source positioned at five dif-
discomfort glare. luminaire undoubtedly is beyond 53 ferent positions corresponding to
Peter Ngai Discomfort glare has been inves- degrees from our horizontal line of 55, 65, 75, 85 and 95 degrees
tigated for over half a century. We sight. Our traditional belief is that it above a horizontal line of sight in a
know quite well the factors that should not cause any visual dis- simulated office space. The glare
influence discomfort glare—name- comfort because we cannot see the source was set to high, medium and
ly, the size of the glare sources, the bright object. But it does, at least low values and so was the ambient
luminance of the sources, the over- to some. The reason for this is sim- illuminance. The results showed
all luminance of the environment, ple: our sensation to brightness that people do experience discom-
the angle of deviation of the does not fall off the cliff right fort from overhead glare source if
sources from the horizontal line of beyond 53 degrees. We are still the luminance of the glare source is
sight and the number of glare sensitive to glare at 55 degrees and high enough. Specifically, the study
sources within the field of view. In higher but at a continually reduced found that there is an increase in
North America, we use the Visual level. If source luminance is high discomfort with increasing source
Comfort Probability (VCP) System enough, we will experience discom- luminance and size of the glare
to estimate the glare potential of a fort. The discomfort glare that is source. The discomfort is reduced
luminaire under predetermined con- associated with a glare source by increasing the light levels in the
ditions. At the present time, there located higher than 53 degrees room. And as expected, there is a
are some questions among lighting from our horizontal line of sight is decrease of discomfort with an
specialists as to whether VCP is the termed “Overhead Glare. “ increase in deviation from horizontal
best predictor of discomfort glare or The subject of glare is well inves- line of sight. The results showed
not. However, the overall underlying tigated, from Luckiesh and Guth to that the median BCD (boundary
concept is sound. Hopkinson to Fry to Kanaya just to between comfort and discomfort)
Our glare sensation is very name a few. Kanaya showed that as luminance for deviations up to 85
much affected by the location of the angle of deviation from horizon- degrees is around 9000 cd/m2.
glare source from our horizontal tal line of sight increased from 60 to That is, a glare source with lumi-
line of sight. If it is straight ahead 75 degrees, discomfort was also nance of 9000 cd/m2 will cause dis-
in front of us, we will experience reduced accordingly. However, the comfort to 50 percent of the people
much greater visual discomfort first research that solely focused on even when it occurs 85 degrees
than if it is away from our line of glare from overhead sources was above a horizontal line of sight.
sight. Conversely, the farther away done by Sheedy and Bailey of the In 2000, another study comple-
it is from our line of sight, the less University of California School of mentary to the above mentioned
we will be affected by the bright- Photometry in 1995. They studied research using similar method but
ness of the source. One fundamen- the effect of overhead glare on visu- with naïve subjects was conducted
tal assumption of this system is al discomfort produced by a glare at the Lighting Research Center at
that discomfort glare exists if the source located directly overhead Rensselaer. The findings from this
source of glare is within 53 the subject. The intensity of the study were similar to those of the
degrees above our line of sight. glare source was held constant. But previous study. The only difference
10 LD+A/February 2003 www.iesna.org
was in the level of luminance value neers? Well, the short answer is ship between glare source size and
beyond which subjects felt discom- that whenever visual comfort is an visual comfort. However, at this
fort for all angles. The 1999 study important issue. Take for example, time we recommend the maximum
with lighting professionals reported lighting for school classrooms. luminance of the luminaires should
a value of 9000 cd/m2 while the Most of the time, students’ atten- be no more than 10,000 cd/m2.
2000 study showed a 16,000 tion will be on the teachers or the Those who feel “more comfortable”
cd/m2 value for the naïve subjects. with a lower value should feel free to
This suggests that lighting design- reduce the luminance. After all,
ers are more sensitive to discomfort 9000 cd/m2 represents only a 50
glare than naïve subjects. While the pattern percent satisfaction level for lighting
there may be technical debate on professional.
this discrepancy, this much is clear: of the results
for practical applications in long- References:
term work environments, we need to
consider a level of overhead source
are exactly what Illuminating Engineering Society
of North America, IESNA Lighting
luminance that is much lower than
the BCD values determined in the
would be Handbook, 9th Edition, 2000.
Commission Internationale de I”
studies. This is because we do not Eclairage, CIE Publication 117,
want to design a lighting system in expected from Discomfor t Glare in Interior
which only 50 percent of the people Lighting, 1995.
are satisfied. Moreover, this BCD the fundamental Lukiesh, M., and Guth, S.K.
level is for luminance of the glare Brightness in Visual Field at
source at 85 degrees. For angles formulae on which Borderline between Comfort and
below 85 degrees, say 55 and 65 Discomfort (BCD). Illuminating
degrees, the lamp luminance values the conventional Engineering. pp. 650-670. 1949.
should be much lower. Hopkinson, R.G., Architectual
There was another interesting
finding from this research: the pat-
discomfort glare Physics: Lighting, Her Majesty’s
Stationary Office, London, 1963.
tern of the results are exactly what
would be expected from the funda-
prediction systems Fry, G.A., A Simplified Formula for
Discomfort Glare, JIES, 8, pp 10-
mental formulae on which the con- 20, 1976.
ventional discomfort glare predic- are based Akashi, Y., Muramatsu, R., and
tion systems, such as VCP, Glare Kanaya, S., Unified Glare Ratings
index and the UGR system are (UGR) and Subjective Appraisal of
based. As a matter of fact, the Discomfort Glare, Lighting Re-
2000 study shows that the approx- chalkboards. If the luminaires on search and Technology,28, pp 199-
imate level of discomfort produced the ceiling direct most of the light 206, 1996.
by a glare source between 55 downward, it can create overhead Mistrick, R.G., and Choi, A., A
degrees from line of sight and the glare and can create a very uncom- comparison of the Visual Comfort
edge of the visual field of view can fortable visual condition for the Probability and Unified Glare Rating
be predicted using the Unified Glare occupants of the classrooms. This Systems, JIES, 28, pp 94-101,
Rating system. is especially true for luminaires with 1999.
Is overhead glare a different kind high lumen and high brightness Sheedy, J. E., and Bailey, I.L.,
of glare? No. The research results sources such as HID, compact fluo- Symptoms and Reading Perfor-
imply that overhead glare is simply rescent or the linear T5 and T5HO mance with Peripheral Glare
an extension of discomfort glare and lamps where the bare lamps are vis- Sources, Work with Display Units
not an entirely separate phenom- ible. One can experience similar 94, Eds. A Grieco, G. Molteni, B.
enon. It confirmed that discomfort overhead glare in offices, confer- Piccoli, and E. Occhipinti, Elsevier
glare does not cease at 55 degrees ence rooms, libraries, hospitals, and Science, Amsterdam, 1995.
from line of sight, but continues until courtrooms just to name a few. An Ngai, P., and Boyce, P.R., The
the glare source passes well outside adverse by-product of overhead Effect of Overhead Glare on Visual
the field of view. The data does show glare is veiling reflection. When Discomfort, JIES, 29, 29 – 38,
that the luminance required to pro- most of the intense brightness of 2000.
duce discomfort glare at very high the luminaire is directly overhead, Boyce, P.R., Hunter, C.M., and
angles, i.e., when the it is overhead, veiling reflection is most prominent. Inclan, C., Overhead Glare and Vis-
is much higher than is required at As we stated earlier, in long-term ual Discomfort, Conference Pro-
lower angles i.e., when it is closer to work environments, we need to con- ceedings, The Illuminating Engin-
the line of sight. There is no doubt sider a level of overhead source eering Society of North America,
such luminances are well within the luminance that is much lower than pp. 43 – 64, 2002.
range of our present day light the BCD (9000 - 16,000 cd/m2)
sources and luminaires. level. There are still some aspects of Peter Ngai, LC, PE, FIESNA, is
When is overhead glare a con- overhead glare that need further vice-president, engineering, Peer-
cern for lighting designers and engi- explorations, such as the relation- less Lighting, Berkeley, CA.
12 LD+A/February 2003 www.iesna.org
E
very space has two sets of used: 0.16 for dark interiors, 0.32 multitude of deleterious factors has
requirements for vision: those for average mid-range lightness, been the subject of great discus-
that are external, properties 0.64 for light reflectances. The sion. These factors include: viewer’s
of the scene; and those that are selection should also be easy age, subnormal vision, moving tar-
internal, the viewer’s reaction. The (Table I). Visual adaptation is set gets, distance, need for accuracy,
external stimulus is the product of by the average weighted (lumi- and many more. Parry Moon has
illuminance and reflectance. The nance x area) luminance of the suggested a safety factor of at least
internal response is retinal adapta- visual field. ten. For many years, IESNA has
Illuminance – Is quantified indi- used eight—the visibility reference
rectly by selection of an adaptation function—as the safety or “fudge”
VIEWS ON THE that quantifies an extensive list of factor. To compare our Adaptation-
VISUAL
visual sensitivities. Reflectance computations with
Adaptation – Two kinds: the IESNA findings, we will therefore
unfocused general adaptation, such use eight as the safety factor, but
as the first appearance of an unfa- only when making a comparison
F
or many years, we may not
have been looking under all of stimulus for more basic research. time to be active; humans, on the
the “right rocks” when trying Badia et al. (1991), Boyce et al. other hand, will interpret as being
to link lighting to human perfor- (1997), and Figueiro et al. (2001) time to go to bed.
mance and well-being or when trying showed that bright light exposure at
to characterize lighting quality. The night increased brain activity,
lighting quality matrix in Chapter 10
of the IESNA Lighting Handbook
improved cognitive performance,
and subjective alertness, respec- RESEARCH
RECAP
covers a wide range of visual criteria tively. Also, epidemiologists are
(performance, glare, color, etc.), but hypothesizing that light at night may
be associated with increased risk of
certain types of cancer (Davis et al.,
2001; Hansen, 2001; Schernham-
We may not mer et al., 2001). In summary, I
have been lecturing about light and Why propose a new framework
have been health for a few years now, and it for lighting practice?
continues to surprise me how I must There are five basic characteris-
looking under continuously update my lectures to
reflect new and exciting research. It
tics of light: quantity, spectrum, dis-
tribution, timing and duration. The
all of the is now impossible to ignore the fact
that light is not just for vision.
characteristics that are ideal for
vision are quite different than those
that are maximally effective for the
“right rocks” What do we know about circadi- circadian system. Certainly, we are Mariana G.
an photobiology? years away from a complete under- Figueiro,
when trying to Biological rhythms that repeat at standing of the impact of light on Lighting
approximately every 24 hours are circadian regulation, but an initial Research
link lighting to called circadian rhythms. These framework for the effects of light on Center
include cycles such as sleep/wake, vision and on the circadian system
human body temperature, hormone produc- can be helpful in paving the way to
tion and alertness (Arendt, 1995).
performance The human circadian timing is con-
trolled by the circadian pacemaker,
and well-being the biological clock located in the
suprachiasmatic nucleus (SCN) of
the brain. Light is the main input to
synchronize the biological clock to
is that all there is to lighting quality? the solar (24-hour) day (Brainard et
Based on the rapidly emerging al., 1997). If we are not exposed to
science of circadian photobiology, sufficient amount of light of the
the simple answer must be, no, be- right spectrum, for a sufficient
cause light is not just for vision. amount of time, and at the right tim-
ing, our biological clock becomes
Why isn’t light just for vision? desynchronized with the solar day
In 1980, Al Lewy showed that and decrements in physiological
PO
bright white light (2500 lux for two functions, neurobehavioral perfor-
F
hours during the night between mance and sleep usually occur. (It
02:00 and 04:00 hours) suppressed is important to note, however, that
human melatonin to daytime levels light is the main, but not the only
(Lewy et al., 1980) and later synchronizer of the biological clock.
showed that bright white light Exercise, social activities, and
relieved symptoms of seasonal scheduled meals have also been
affective disorder (SAD). These dis- shown to synchronize the clock,
coveries were very important although their impact on circadian
because they stimulated other clini- rhythmicity is weaker than light).
cal research. Eus van Someren (van It is now widely known that mela-
Someren et al., 1997) has shown tonin is a hormone produced by the
that exposing Alzheimer’s patients pineal gland at night and under con-
to bright light during the day and ditions of darkness. Generally, mela-
darkness at night consolidated their tonin is used as a marker of the cir-
rest/activity patterns, Miller et al. cadian clock. Melatonin is believed
(1995) showed that cycled light, to be the hormone of darkness, the
instead of continuous light, im- one that tells the body it is night-
proved growth rate of premature in- time. Nocturnal animals, such as
www.iesna.org
practical applications where the cir- Phase advance resets the clock What can be recommended?
cadian system as well as the visual to an earlier time and phase This initial framework clearly illus-
system are considered in achieving delay resets the clock to a later trates how light affects the two sys-
good “lighting quality.” time. Because our clock’s natur- tems so differently. Unfortunately,
al rhythm is a bit longer than 24 we have limited understanding of
1. Quantity: Typical light levels hours, we need to advance it the interactions between these
found in an office environment every morning in order to be syn- lighting characteristics in affecting
(500 lux from white light on the chronized to the solar day. the circadian system. Until a more
workplane) are more than suffi- 4. Duration: The visual system comprehensive framework is devel-
cient for the visual system to responds to a light stimulus very oped for the circadian system (in
process information. One hour fast (less than 1 second). The terms of light quantity, spectrum,
exposure to this same white duration of light exposure needed timing, duration, and distribution)
light, however, is barely sufficient to suppress melatonin is longer the various experiments reviewed
to stimulate the circadian photo- than the duration of light expo- above will remain isolated findings
biological system. sure needed to activate the visu- with limited implications for prac-
2. Spectrum: The visual system is al system; suppression of mela- tice. For example, we know that
most sensitive to the middle tonin content in the bloodstream exposure to light during the day
wavelength portion of the spec- starts at approximately 10 min- affects the relative importance of
trum, while the photobiological utes after bright light exposure light exposure at night (Lynch et al.,
system is responsive to the short was initiated. 1985 and Hebert et al., 2002).
wavelength portion. For exam- 5. Spatial Distribution: For the visu- Therefore, it is premature to recom-
ple, at 500 lux on the workplane, al system, light distribution is mend, as some have suggested,
a 7500 kelvin (K) fluorescent critical to visual performance. that people should not read books
lamp is almost 2.5 times more For example, the accurate rendi- or watch television at night or that
effective in suppressing mela- tion of the patterns of light and people should use red LEDs as
tonin (1 hour exposure) than a dark on this page are necessary night-lights. Until we better under-
3000 K fluorescent lamp. In to identify the words I have writ- stand the significance of light expo-
terms of visual performance, ten - the circadian system does sure (quantity, spectrum, distribu-
they are the same (even though not respond to these patterns, tion, timing, and duration) during
the 7500 K lamp would probably only the overall amount of light the preceding 24 hours, we cannot
appear brighter). reaching the retina. predict the impact of light exposure
3. Timing: Operation of the visual on a given night.
system does not depend on tim- Table 1 summarizes a framework In effect, we can presently say
ing of light exposure; it responds for visual and circadian functioning, very little about “lighting quality”
to a light stimulus at any time of based on what we know today. for the circadian system, but it is
the day or night. Depending on Much is still unknown about circa- absolutely necessary to begin to
the timing of light exposure, how- dian photobiology and its interac- educate ourselves about this rapid-
ever, light can phase advance or tion with lighting, but one thing can- ly emerging area of science
phase delay the biological clock, not be denied: light is not just for because it will dramatically affect
or it can have no effect at all. vision. lighting practice in the coming
years. Hopefully, the framework in
Table 1 is a helpful step in this direc-
Lighting Application tion.
characteristics circadian - day shift circadian - night
(broad-band vision work shift work References:
light) Arendt J. 1995. Melatonin and
quantity low high high the Mammalian Pineal Gland.
(300-500 lux on task (~1000 lux at eye) (~1000 lux at eye) Published Chapman & Hall, 2-6
~100 lux at eye) Boundary Row, London, SE1 8HN,
spectrum photopic (peak sensitivity short-wavelength short-wavelength UK.
555 nm) (peak sensitivity (peak sensitivity Badia P, Myers B, Boecker M,
420-480 nm) 420-480 nm) Culpepper, J. 1991. Bright light
spatial distribution important independent of independent of effects on body temperature, alert-
distribution (task luminance, contrast distribution distribution ness, EEG and Behavior. Physiol
and size determine (illuminance at eye) (illuminance at eye)
visibility) Behav 50(3): 583-588.
timing any time subjective morning periodically
Boyce P, Beckstead JW, Eklund
throughout shift NH, Strobel RW, Rea MS. 1997.
duration very short (less than 1 s) long (1-2 hr) short (15 min Lighting the graveyard shift: The
pulses influence of a daylight-simulating
skylight on the task performance
Table 1—A proposed framework for lighting practice. For cells that are shaded, evidence is less and mood of nightshift workers.
certain, and the results of future research will be needed to refine and corroborate these pre- Light Res Technol 29(3): 105-134.
liminary guidelines (Rea et al., 2002). Brainard GC, Rollag MD, Hanifin
18 LD+A/February 2003 www.iesna.org
JP. 1997. Photic Regulation of footprint and size of the building
B
efore a stage show comes to
Melatonin in Humans: Ocular and Broadway it opens “on the and the spacing of the structural
neural Signal Transduction. J Biol road” to get the kinks out of steel. The most economical mod-
Rhythms, 12(6): 537 - 546 it. Often the producers hire a “show ule for a developer’s building is five
Davis S, Mirick DK, Stevens RG. doctor” to make changes that will feet, which dictates the spacing of
2001. Night shift work, light at help insure the play’s success in the columns and the size of the
night, and risk of breast cancer. J New York. various offices.
Natl Cancer Inst 93(20): 1557- Something similar happens with Some tenants are large corpora-
1562. a developer’s speculative office tions with office buildings through-
Figueiro MG, Rea MS, Boyce P, building. A construction cost of out the country. They have their
White R, Kolberg K. 2001. The $200/sq ft for a million square foot own formula for space allocation. A
effects of bright light on day and office building makes for a risky in- large communication company has
night shift nurses’ performance and vestment, even with a major tenant seven different sized private
well-being in the NICU. Neonatal lined up before breaking ground.
Intens. Care 14(1): 29-32. Since you can’t try out an office
ENERGY
Hansen J. 2001. Light at night, building on the road, many develop-
shiftwork, and breast cancer risk. J ers engage an architect’s architect
Natl Cancer Inst 93(20): 1513-
1515.
Herbert M, Martin SK, Lee C,
Eastman CI. 2002. The effects of Energy
CONCERNS
prior light history on the suppres-
sion of melatonin by light in
humans. J Pineal Res 33: 198-203.
conservationists offices, one for each of its execu-
tive levels, and has rules for how
Lewy AJ, Wehr TA, Goowin FK, et
al. 1980. Light suppresses mela-
recommend that many persons have to share a “pri-
vate” office, and how many square
tonin secretion in humans. Sci- feet to allow for each occupant in
ence, 210: 1267-1269. available daylight an open plan area.
Lynch HJ, Deng MH, Wurtman Der Scutt told me that, in gener-
RJ. 1985. Indirect Effects of Light: be used to al, for a building to reach its maxi-
Ecological and Ethological Consid- mum rental potential, it should have Willard L.
erations. The Medical and Bio- reduce the a 15 ft deep perimeter zone for pri- Warren,
PE, LC,
logical Effects of Light. Annals of vate offices, each one a multiple of
the New York Academy of Sci-
ences 453: 231 – 241.
electric load, 5 ft, with the smallest office 10 ft
wide along the window wall by 15 ft
FIESNA
Saratoga Showcase
From the outside looking in, the soft, warm-toned interior of this elegant 4000-sq-ft home in Saratoga
Springs, NY, suggests incandescent when, in fact, the lighting in the home is predominantly fluores-
cent. In the past, homeowners have relegated fluorescent luminaires mostly to basements and garages.
Things are changing, though, and the Lighting Research Center (LRC) in Troy, NY, is helping the United
States Environmental Protection Agency (US EPA) bring those changes about.
The LRC, in conjunction with the US EPA, is implementing a market transformation effort to increase
the penetration of energy-efficient lighting in residential new construction. LRC lighting designers have
recently completed a pilot project in the Saratoga home to test
reactions to high-quality fluorescent lighting.
The home’s kitchen contrasts rich woods, polished granite countertops, and wheat-
colored walls. Soffit heights allow continuous mounting of 11 W, T2 luminaires above
and below the cabinets, providing even illumination. These subminiature fluorescents
are mounted toward the front of the cabinets and are slim enough to be invisible from
any viewing angle. Lensed compact fluorescent luminaires containing 26 W lamps sup-
plement the ambient lighting.
In the dining room, a cove conceals the same T2 luminaires used in the kitchen but
runs only along one wall, adding an interesting asymmetrical element. The cove is
mounted only twelve inches below the ceiling line to better integrate it into the capitols
of the decorative columns. Throughout the house, each cove and valance fascia repli-
cates the millwork of columns and built-in cabinet units, creating continuity between fur-
nishings and lighting. A chandelier, fitted with 14 W mini-twist compact fluorescent
lamps (CFLs) in alabaster glass cups, provides indirect light and adds to the tranquil
ambience.
In the adjacent two-story foyer (not shown), a larger version of the same chandelier
houses candelabra-based incandescents in case the view of mini-twist CFLs is undesirable to someone descending the curved
staircase. Viewers cannot tell the difference between the lighting in the two chandeliers, demonstrating how far energy-efficient
luminaires have come.
In the living room, along the expanse of the long wall, a glass lens diffuses light from
a valance that is mounted twenty-four inches below the ceiling. Contiguous 32 W, T8s
are side-mounted behind the valance to cast light up and down the walls and fill the
large room with soft, glare-free light.
The designers used the same technique to add a touch of elegance to the master
bedroom. Alabaster wall sconces in hallways contain low-wattage lamps. The alabaster
glass often used in Energy Star luminaires conceals the CFLs.
The 2700K to 3000K lamps used throughout the home blend well with halogen
accent lights and complement warm surface colors and rich fabrics. Illuminance levels
meet IESNA recommendations for areas such as kitchen work counters, passageways,
and dining areas. Occupancy sensors and dimming controls further reduce energy con-
sumption.
Education is the key to widespread acceptance of any initiative. Belmonte Builders
of Clifton Park, NY, who provided the demonstration site, was excited to learn about
the differing characteristics among T2s, T5s, T8s, and the myriad of CFLs that exist.
US EPA has recently introduced a residential Energy Star “house-pack,” a whole-
house lighting package or lighting upgrade that builders can offer their clients. It
includes Energy Star light fixtures and ceiling fans. One of the main drawbacks to more
frequent use of Energy Star fixtures has been the small selection of high-quality fixtures
and the higher cost of the lamp/ballast combination. Manufacturers have responded
by designing more—and more attractive—improved-performance fixtures. Some are
including CFLs with their packages. The much-maligned fluorescent is ready to come
up out of the basement and make its appearance in even the most upscale of living
rooms.
Designers are Patricia Rizzo, Design Project Manager, LRC, and Jean Paul
Freyssinier-Nova, Lighting Design Specialist, LRC.
—Patricia Rizzo
Steel Meals
The challenge: designing light for a contemporary and architecturally
designed 4000-sq-ft restaurant with exposed ceilings. Natural materials
like stone, mahogany, and cherry wood bring out warmth and texture,
creating a dramatic Zen atmosphere and space. The Steel restaurant in
Dallas focuses on an Indo-Chinese menu that merges French, Chinese,
and Vietnamese cuisines.
“The name steel made it very simple to select more industrial-like
material for the construction and also lighting,” says lighting designer
Hatsumi K. Johnston. “Pendant lighting over the three booths uses track
heads with barns and louvers for an industrial look.”
Upon stepping down from the street level, patrons view the iron entry
doors. First impression of the interior is a wall of white, sheer curtain
hanging from a polished steel column, which acts as a focal point, creat-
ing mystery from ceiling to floor. The sheer drapes divide the sushi bar
and main dining rooms from the back bar. This is lighted by a low voltage
monorail system of 50-W MR16’s that emphasize texture and shade, cre-
ating a large, but soft and elegant element.
The same monorail system was also used in the wine room, highlight-
ing wine bottle necks with long beams and creating random light and
shadows, as well as providing necessary light in the space.
Mini ellipse theater projectors with barndoor’s and 35-W MR16’s dra-
matically light the glassware and small bowls of bamboo on tabletops.
For flexibility, the projectors were clamped onto suspended plumbing pipe
with a 75-W Fresnel projector offering fill light throughout the restaurant.
“The beam of light is perfectly centered in the table to illuminate the
beautiful Asian cuisine,” says Johnson. “Ambient lighting is very impor-
tant to me. Supplementary illumination is offered by candles and the rope
lighting along the wall
in the cove.”
At the sushi bar and
the lounge bar, a
curved monorail sys-
tem creates contrasts
on the grid wood walls.
To avoid multiple pene-
trations into the wood
ceiling, task lighting in
bars was achieved with
recessed, adjustable
gang lights.
Both the front bars
and all the backs of
booths located in Steel
are lighted by low tem-
perature, inexpensive
linear lighting to softly dress-up and add texture throughout the restaurant.
“In the bar, the track over the counter provides beams of light on the glass-
ware. Reflections on the white sheer drapes offer diffuse light. Diners love
the beautiful surroundings and setting,” says Johnson.
—John-Michael Kobes
IES News
120 Wall St., 17th Floor
New York, NY 10005
IESSUSTAINING
MEMBERS
A high-end residence
in a sensitive environment
demands careful attention
to the interrelationship of
architectural materials, colors,
textures, and lighting
“UNDER
STARRY SKIES ABOVE...”
All lighting is
circuited by zone,
and pre-set scenes
are controlled
on a “whole-house”
dimming system.
T
he primary challenge for this 8,550 sq ft residence review and refinement, a building permit was finally approved.
evolved around its location in an environmentally sen- Once construction was finally started, the project demanded
sitive and serene valley site in Northern California. constant attention to the interrelationship of architectural
Neighbors were concerned that the structure, new landscaping materials, colors, textures, plant life, lighting equipment, and
and lighting might be too visible from adjacent hilltop homes lighting effects, with the natural surroundings. Optimizing the
and potentially disturb the harmony and natural beauty of the indoor/outdoor relationship was paramount to the design’s
valley. success. The five-year planning/design/construction process
Legal challenges related to various environmental issues, continued to require meticulous coordination among the archi-
including the potential effects on a native salamander habitat tect, interior designer, contractor, city review board, client and
and the general impact on the valley topography. As a result, a lighting designer to keep things on track. Successful planning
comprehensive environmental impact study and report was resulted in a harmonious integration of environment, architec-
undertaken. As a compromise, some restrictions were applied ture, and award winning lighting design.
to the architectural design, landscape design and the private
access road. Also, a local “dark sky” ordinance restricted the Exterior Lighting
landscape lighting design. This ordinance required that no Lighting at the front gate had to be subtle but still clearly
lighting be directed upwards and that any source over 20 watts identify the entrance for visitors and emergency vehicles. An
be shielded from view. adjacent oak tree provided a convenient mounting position for
With the direction and cooperation of the client, the design a small shielded downlight directed towards the gate and call
team worked closely with the regulating agencies and the con- box for the surveillance camera. The address is clearly illumi-
cerned community members to successfully address their con- nated on the stone gate column with a concealed graze light,
cerns. To help everyone visualize the impact of the design, a which also enhances the stone details in light and shadow. As
geographically accurate scaled site model was developed, com- you continue up the winding and secluded private drive, a
plete with proposed landscaping. To help understand the exte- series of small recessed 90-degree hooded luminaires with 20-
rior lighting, a nighttime mockup/presentation of the various W MR16 lamps delineate the way. They are mounted in a 12-
landscape lighting fixture types and lamps was also presented inch-high curb detail facing away from any off site viewing
for review, complete with proper lamping and shielding. angles on 40-ft centers and are activated by drive-over pressure
Eventually, after nearly two years of design collaboration, switches. The lights automatically turn off after you pass to
www.iesna.org LD+A/February 2003 29
The five-year building process required meticulous coordination
among the design team, contractor, city review board, and
client. All lighting required precise shielding to obscure
off-site viewing and to satisfy environmental concerns
and strict zoning codes.
Narrow spots
over the
headboards
provide
individually
controlled
reading lights.
Mirror trims
allow flexible
artwork lighting.
ious pre-programmed scenes for mood and function depend- stonework and to highlight the tabletop. Eave-mounted accent
ing on the client’s preference. Switching circuits are broken into lights directly outside windows help overcome the “black hole”
groups for ambient lighting, focal lighting and task lighting for effect while linking the interior to the exterior. The balance of
maximum flexibility, convenience and lighting balance. There interior/exterior brightness can be controlled from within the
are four primary types of recessed luminaires used throughout space.
the house. For general lighting, we selected a haze baffle lumi-
naire fitted with a 75-W A19 lamp. In the kitchen and bath- Dining Room
rooms where California energy code restrictions required fluo- Because of the panoramic view and potential reflections in
rescent lighting, similar downlights with a haze baffle were the windows, we decided to forgo a formal decorative fixture
used with 3000K, 32-W CFLs (compact fluorescent lamps). over the table. The whole space is illuminated with adjustable
They all blend well together on the ceiling because of the same recessed pinhole luminaires and lamped with 20-W MR16’s.
appearance, aperture size and baffle color. They are fitted with hex cell louvers to minimize nighttime
For adjustable focal lighting, we used a 1-3/4 in. pinhole reflections in the windows. Circuits are grouped so the fixtures
luminaire with 50-W MR16 lamps for most areas. In areas can be switched in various combinations to illuminate a single
where the adjustment angle needs to be above 45 degrees, a centerpiece or the whole table. Another grouping focused
mirror trim was used. This allowed an adjustment up to 90 behind the diners provides a backdrop of illumination on ver-
degrees. The beam spreads vary between 8 and 40 degrees. tical surfaces to minimize contrast and aid visual comfort. No
Also, different spread lenses were used to shape the beams of lights are aimed directly over diner’s heads. Candles and indi-
light beyond the available beam spreads. Hex cell louvers were rect light from the table illuminate their faces and food, while
also used where appropriate for additional glare control and to providing a festive sparkle on the china and crystal.
minimize possible source images in the windows.
Wine Cellar
Living Room Fixtures concealed within custom stone façade housings are
Decorative floor and table lamps provide the general illumi- mounted in the four corners of the passageway. They give a
nation in the living room. IC rated recessed pinhole and mirror warm indirect “torch like” glow that enhances the architecture
trim luminaires were selected to minimize appearance and to of the vaulted ceiling while providing general illumination.
provide maximum flexibility for illumination of artwork and This is somewhat reminiscent of an old rathskeller and sets the
focal accents. Their locations were restricted by the coffered mood for the wine cellar entrance.
architectural ceiling detail. The water feature/sculpture is illuminated from two direc-
tions to enhance its shape and form. A concealed 20-W
Family Room MR16FL source from behind provides a soft uplight glow to
In the family room, IC rated recessed luminaires with 75-W provide depth. Adjustable recessed pinhole fixtures from above
A-19 lamps were used to provide a layer of general illumina- fitted with 20-W MR16 spots are focused to bring out the tex-
tion. Pinhole trims with 50-W MR16 lamps with various beam ture of the sculpture and provide sparkle on the water. These
spreads were selected for focal lighting on art, walls, and sources are controlled separately to allow fine-tuning of the
www.iesna.org LD+A/February 2003 31
(right) Lighting concealed with custom stone facades
provides pathway and architectural illumination.
(below) Decorative fluorescent lighting offers
general illumination for master bath and meets
California Energy Code requirements. Wet-rated glass trims
and small-lensed fixtures provide focal and
general shower lighting. Accent fixtures are concealed
in the skylight well for the tub area.
Master Bath
Once again, combinations of decorative and architectural
luminaires are used together to provide quality illumination
that is both functional and aesthetically pleasing. The center
mounted decorative pendant is actually lamped with 2700K
compact fluorescent lamps that fulfill the California Title 24
energy restrictions. However, neither the quality of lighting nor
the aesthetics were compromised in this combination. Wet
rated and lensed recessed pinhole luminaires with 50-W MR16
NFL lamps were located over the basins, tub and shower areas
for both general and focal lighting. Sconces mounted on the
mirrors above the basins provide soft fill lighting from the sides
to minimize garish facial shadows.
Master Bedroom
Individually controlled and dimmable recessed and shielded
INSIDE-OUT
SYNERGY
A clerestory
illuminates most of
the building with
an extraordinary
amount of natural
daylight.
An open-office
environment
encourages
interaction among
researchers
S
igma-Aldrich is a leading sup-
plier of life science and high-
technology research products.
The Sigma-Aldrich Life Science and
High Technology Center is home to
the company’s expanding biotech-
nology research and development
division. Located in downtown St.
Louis, one block from the compa-
ny’s corporate headquarters, the
Center provides office and lab space
for up to 240 scientists and staff, as
well as a corporate learning center
and 300-seat auditorium.
Hellmuth, Obata + Kassabaum
Inc. (HOK) partnered with the St.
PEAKS OF LIGHT
Robert Singer sets a mood, expanding and defining
residential spaces with light
Y
ou walk into a home and what do you see? Any home, be it a 500
sq ft studio apartment or a 40,000 sq ft mansion, will elicit com-
ments about the view, the furniture, and the comfort of the sur-
roundings. Ever wonder what the view or the furniture would be like
with no thought put into the lighting design? The dilemma of enhanc-
ing the appearance of a home is a challenge for a designer faced with the
scale and scope of a premiere residence. With clients who own exclusive
estates in the mountain enclaves of Aspen, the Roaring Fork Valley and
other prime locations throughout the world, Robert Singer and
Associates first seeks to create drama. The award-winning designer
works closely with all of the design team—architects, interior designers
and clients—to create layers of light for each aspect and room of a home.
As Singer states, “Our goal is to create a warm, glowing environment, as
welcoming to the visitor as it is to the owner.”
Perceived brightness is created by indirect sources that throw light onto
ceiling planes and wall surfaces. Finishing touches include augmenting
the lighting with accent and decorative elements.
Buttermilk Residence
Located on the slopes near Aspen, the Buttermilk house is a classic cas-
tle with state-of-the-art features. Designed by A. Horacio Ravazzani y
Arquitectos Asociados, Uruguay, the interior and exterior of the house is
constructed of exposed board form concrete augmented with stone, wood
and plaster. Because of the nature of the construction, there was no room
for error in locating the light sources.
“The client required the lighting to be functional, flexible and have a
warm candle-like glow. In order to achieve the clients’ requirements, we
needed to create layers of light encompassing general, accent, task, and
decorative lighting. A state of the art control system was used to marry all
of these elements into preset portraits of lights or scenes for the client that
36 LD+A/February 2003 www.iesna.org
can be easily controlled throughout the house,” says Singer. bility. In accordance with local building codes, the exterior
The visitors’ eye is first drawn to the 200 ft long interior lighting was kept to an unobtrusive and subtle level. Uplights
passage that resembles a street. Locations for the decorative focused on the garage and steplights throwing a warm, glow-
lanterns, wall sconces and recessed track were blocked out ing light onto the stone wall accomplished this task within the
in the concrete. The concept of the lighting design was to required parameters.
have the decorative elements appear to be the only light
source producing the incandescent candle-like glow. Red Mountain Residence
However, the true light source for the stairs, interior street Overlooking the Roaring Fork Valley with a spectacular view
and accent lighting emanate from the hidden track fixtures, of Aspen Mountain, a majestic private estate crowns a ridge on
which can be placed where needed, giving the client great Red Mountain. A 25,000 sq ft cutting edge contemporary
flexibility. home with an extensive art collection required museum quali-
The dramatic technique of grazing the regal stone columns ty lighting while maintaining a minimal intrusion of decorative
was achieved with low voltage PAR36 fixtures set to enhance fixtures. According to Singer, “the challenge was to maintain
rather than flatten the texture and nuances of the stones. For the warm glow required for a residence without the enhance-
the interior street scene, a combination of decorative lanterns, ment of decorative light sources.”
downlights and PAR36s were used to create the layered light- The entry barrel vault is uplighted with an indirect incan-
ing effects. The effect of a glowing greenhouse bisecting the descent linear source that appears to penetrate the exterior
interior street of the home was created by custom designed glass and continues into the entry vestibule. Recessed down-
Edison Price PAR36s. Custom designed board form concrete lights and wall washers create a warm invitation into this
steplights graze light across the steps leading to a future sculp- extraordinary estate. The barrel-vaulted ceiling in the great
ture location. To accommodate the location for future dis- room is washed by twelve 500-W quartz asymmetrical throw
plays, a dramatic pool of light was located below a skylight to light sources mounted in the lower soffit. Complementing
complement the natural light source. Beyond the pool of light this effect is the glowing clerestory eave lighted with linear
and double doors, the visitor finds the media room and the- incandescent strip sources. The towering fireplace is high-
ater. Layers of light, including incandescent cove uplighting, lighted with recessed 150-W quartz PAR38s washing the
decorative wall sconces and table lamps, and fiber optics illu- patinaed copper. PAR36s graze the stone columns with light.
minating the steps, combine to allow the client superior flexi- For the art niches and seating areas, Singer utilized AR and
BANKING ON MATTHEW’S
I
n the Jacksonville, FL, his-
toric San Marco district,
quaint boutiques and eater-
ies abound. Matthew’s restaurant
offers diners a relaxed, yet
refined dining experience in this
upper income neighborhood.
“The restaurant was designed
to be hip, stylish and forward
thinking without being intimi-
dating or stuffy,” says Larry
Wilson, chief designer of Rink
Reynolds Diamond Fisher
Wilson, P.A.
Attractive and inviting;
warm woods, moss green
upholstery, and periodic bursts
of auburn lure guests through
the doors of Matthew’s. Small in
size, the restaurant can enter-
tain about 50 indoors and a sea-
sonal terrace serving al fresco
dining can be set for 24 guests
42 LD+A/February 2003 www.iesna.org
(left) Custom banquettes are 5 feet high to give a sense
of privacy. The heavily padded booths offer an enclosed
and secluded feeling. Louis Poulsen “Magazin” fixtures
provide general ceiling lighting.
(bottom) A single narrow-spot MR16 reflects off
artwork in each banquette.
as needed. The menu changes nightly and is available with from the start. “I treated the small space as a ‘jewel box,’ mak-
wine pairings. Diners can select from a wide variety of ing every detail important,” Wilson says. “The visible light fix-
seafood cooked with Southern, Mediterranean, Asian, and tures were chosen to be very high tech and industrial in nature.
Middle Eastern influences. The
menu is seasonal and chef
Matthew Medure composes a
daily tasting menu and an
adventure menu that offers din-
ers a unique and exciting culi-
nary experience. The wine list
provides over 400 selections.
The casual, yet romantically
elegant Matthew’s restaurant
originally wasn’t a restaurant at
all. Built as a bank in the 1920’s,
the space was transformed and
the restaurant opened in 1998.
Bank tellers of the past are now
replaced with the men and wo-
men of chef and owner Medure’s
serving brigade. Construction of
the 1940 sq ft establishment
took about seven months to
complete. Designers kept the
original terrazzo floor with
inlayed bronze strips.
Larry Wilson was involved
www.iesna.org LD+A/February 2003 43
Most are stainless steel, some also with frosted glass.” brothers. Having special meaning to chef Medure, the col-
Lighting obviously played a key role. “We wanted to main- umn’s three-dimensional raven is lit with a MR-16 nar-
tain flexibility in the seating, so we needed a lighting system rowspot as it watches over the dining room.
that gave general illumination without blasting light. We also As Jacksonville emerges as an up-and-coming metropoli-
wanted to simulate a candlelight feel, particularly for the tan icon, Wilson aims to design a space that competes on a
tables in the center of the room,” added Wilson. national level.
A privacy screen hand-sanded by Wilson shields the waiter “It’s very rewarding to receive feedback that it feels like a
station and the back of the house from diners. The 1/2 inch space that could be found in cities like New York, Chicago
Plexiglas screen is supported by wax-polished cold-rolled and Los Angeles.”—John-Michael Kobes
rusted-steel columns and is backlit with votive candles set
directly behind it on small, individually clear Plexglas shelves The designer: Larry Wilson received his bachelor degree
in interior design from the College of Architecture,
forming a grid. University of Florida with High Honors in 1976. Wilson
Pinlights in the ceiling were avoided and a mix of floor- was a Distinguished Alumnus 2002, Department of
recessed halogen uplights, recessed incandescent cove lights, Interior Design, College of Architecture, University of
surface-mounted incandescent MR-16 accent lights, decora- Florida. He has also served on the advisory board for the
tive pendants and decorative wall sconces were installed. All University of North Florida, Department of Communi-
cations and Visual Arts. Mr. Wilson is past president,
the fixtures are controlled independently and are dimmable Florida North Chapter of the American Society of Interior Designers. He is the
to ensure a proper illumination balance. past chairman of ethics and appellations for ASID (1991), as well as, past chair-
Except for the cove lighting that existed in the raised ceil- man of the Florida North Chapter, ASID, Association, (1989-1991).
ing over the entry area, all of the initial lighting was
removed. Fluorescent lamps were replaced with an incan-
descent source for a warmer color temperature.
Because the restaurant is a retrofit into an old branch bank
space, designers were restricted by the locations of the
restrooms, the ceiling heights and the original existing store-
front. The restricted square footage helped create the open
kitchen concept. A focal point of the establishment, the
kitchen puts Medure and his staff on display. While patrons
enjoy culinary creations, as many as four diners receive
front-row seating at the chef’s table, which is actually a gran-
ite counter. Three Louis Poulsen pendants light the counter.
Privileged guests get a firsthand look at the details involved
in every step throughout Medure’s preparation and presenta-
tion of his dishes, created with all fresh ingredients, organi-
cally grown vegetables, and farm-raised meat.
The display kitchen is illuminated by recessed downlights
with sealed lenses, which is a code requirement. “I treated
the lighting in the kitchen in a dramatic way and the chal-
lenge was that it had to be highly functional lighting,”
Wilson says. “I had to restrict the light to the work surfaces
and food prep areas, because I did not want any spill light to
over illuminate the area.”
Concerned about overpowering the entire restaurant with
bright kitchen fixtures, Wilson used downlights lamped with
50-W MR-16’s. In addition, there are indirect lights under
the hood of the hot line that are simple A lamps encased in
a jelly jar globe (again a code requirement).
While trying to keep the intimacy level at a high, Wilson
created a private space within the space, compensating for
the close and sometimes claustrophobic setting a small area
can bring out. Wilson installed high-backed, heavily padded
booths to provide the enclosed and secluded feeling.
Cantilevered lights highlight the artwork placed on the wall
in each booth, which enhances the warm glow that bounces
off the ash wood paneling.
The most personal detail at Matthew’s is a raven-topped
square column at the host stand. During chef Medure’s child-
hood, he was known as “little bird” by his grandmother and
44 LD+A/February 2003 www.iesna.org
conventional unique modular ed spectrum rendering colors more
design for indirect/semi-indirect vividly, providing better contrast
ambient lighting applications. between black and white for better
Fashioned with two physically sep- visual acuity. Manufactured with a
arated T5 high output housings, rare earth additive in the glass, this
the fixtures “void-detail” serves to lamp meets the needs of retailers
enrich the leading edge design for an ultrawhite display light, simi-
while filling space with glare-free lar to sunlight, while improving the
indirect illumination. The two-piece, lamp’s life by up to 200 percent,
die formed cold rolled steel housing reducing energy costs and eliminat-
forms an 8 5/8 x 1 3/4 in. architec- ing maintenance issues from early
Lumastrobe’s BT10-SS-RT is a low tural profile and is available in 4 and lamp failure.
cost signaling and warning device 8 ft lengths for individual or contin- Circle 96 on Reader Service Card.
that is achieved by combining their uous rows.
featherweight stop sign and bat- Circle 98 on Reader Service Card.
LIGHT
tery powered LED baton into a sin-
gle, hand-held stop sign. Although
the baton does not illuminate the
sign, the combination of the reflec-
tive tape and the lights effectively
brings attention to the sign mes-
sage. Operator fatigue is minimized
utilizing this lightweight (only 1.72
PRODUCTS
pounds with batteries), durable and
weather proof signaling device.
Circle 100 on Reader Service Card.